title: Only the Strong (Big Noyd album)

abstract: Only The Strong is the second solo studio album by American rapper Big Noyd. It was released on September 23, 2003, via Landspeed Records. The album was produced by the Alchemist, Havoc, Emile, DJ Sebb, Steve Sola, and Noyd Inc. It features guest appearances from Mobb Deep, Chinky, Infamous Mobb, PMD, and Shamika Rodriguez.

text:
# Only the Strong (Big Noyd album)

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *HipHopDX* | 3/5 |
| *Now* | 3/5 |
| RapReviews | 4/10 |

***Only The Strong*** is the second solo studio album by American rapper Big Noyd. It was released on September 23, 2003, via Landspeed Records. The album was produced by the Alchemist, Havoc, Emile, DJ Sebb, Steve Sola, and Noyd Inc. It features guest appearances from Mobb Deep, Chinky, Infamous Mobb, PMD, and Shamika Rodriguez.

## Track listing

| No. | Title | Writer(s) | Producer(s) | Length |
| --- | --- | --- | --- | --- |
| 1. | "Only the Strong Intro" |  | Alchemist | 0:30 |
| 2. | "Watch Out" |  | Havoc | 3:38 |
| 3. | "Shoot 'Em Up (Bang Bang), Pt. 1" | * Perry * Maman | Alchemist | 3:33 |
| 4. | "Something for All That" (featuring Prodigy) |  | Noyd Inc. | 2:56 |
| 5. | "We Gangsta" | * Perry * Muchita | Havoc | 3:39 |
| 6. | "Being on Point (Prelude)" | Perry |  | 0:49 |
| 7. | "All 4 the Luv of the Dough" (featuring Prodigy) | * Perry * Johnson * Muchita | Havoc | 3:04 |
| 8. | "Invincible" (featuring Infamous Mobb, Chinky and Shamika Rodriguez) | * Perry * Jamal Raheem * Lionel Cooper * James Chandler * Muchita | Havoc | 5:20 |
| 9. | "Wildin' on the Tour Bus Skit" | Perry |  | 1:06 |
| 10. | "Noyd Holdin' It Down" (featuring Havoc) | * Perry * Muchita * Maman | Alchemist | 2:56 |
| 11. | "Shoot 'Em Up (Bang Bang), Pt. 2" (featuring Mobb Deep) | * Perry * Johnson * Muchita * Maman | Alchemist | 3:47 |
| 12. | "Air It Out" (featuring Havoc) | * Perry * Muchita * Maman | Alchemist | 3:27 |
| 13. | "Higher" (featuring Shakim) |  | Emile | 3:10 |
| 14. | "Going Right at 'Em" (featuring PMD) |  | DJ Sebb | 3:18 |
| 15. | "That Fire" (featuring V12) | * Perry * Steve Sola | Steve Sola | 3:47 |
| 16. | "The Kid Is Nice" | * Perry * Haynie | Emile | 3:29 |
| 17. | "N.O.Y.D." | * Perry * Maman | Alchemist | 4:13 |
| Total length: | | | | 52:42 |

Sample credits

## Personnel

* Tajuan "Big Noyd" Perry – vocals, executive producer
* Albert "Prodigy" Johnson – vocals (tracks: 4, 7, 11)
* Jamal "Big Twins/Twin Gambino" Raheem – vocals (track 8)
* Lionel "G.O.D. Pt. III" Cooper – vocals (track 8)
* James "Ty Knitty" Chandler – vocals (track 8)
* Shalene "Chinky" Evans – vocals (track 8)
* Shamika Rodriguez – vocals (track 8)
* Kejuan "Havoc" Muchita – vocals (tracks: 10-12), producer (tracks: 2, 5, 7, 8)
* Shakim – vocals (track 13)
* Parrish "PMD" Smith – vocals (track 14)
* Shaun "V-12" Walker – vocals (track 15)
* Alan "The Alchemist" Maman – producer (tracks: 1, 3, 10, 11, 12, 17), executive producer
* Noyd Inc. – producer (track 4)
* Emile Haynie – producer (tracks: 13, 16)
* Sébastien "DJ Sebb" Vuignier – producer (track 14)
* Steve Sola – producer (track 15)

## Charts

Chart performance for *Only The Strong*
| Chart (2003) | Peak
position |
| --- | --- |
| US Top R&B/Hip-Hop Albums (*Billboard*) | 45 |
| US Independent Albums (*Billboard*) | 27 |
| US Heatseekers Albums (*Billboard*) | 36 |

## InfoBox

| Only The Strong | |
| --- | --- |
|  | |
| Studio album by Big Noyd | |
| Released | September 23, 2003 (2003-09-23) |
| Genre | Hip hop |
| Length | 52:42 |
| Label | LandSpeed |
| Producer |  |
| Big Noyd chronology | |
| *Episodes of a Hustla*
(1996) ***Only The Strong***
(2003) *On the Grind*
(2005) | |


abstract: The Croatia women's national under-15 football team represents Croatia in international women's football matches for players aged 15 or under. It is governed by the Croatian Football Federation, the governing body for football in Croatia. It is a member of UEFA in Europe and FIFA in global competitions. The team's colours reference two national symbols: the Croatian checkerboard and the country's tricolour. They are colloquially referred to as the Lavice ('Lionesses'). The Lavice compete in the UEFA Under-15 Development Tournament.

text:
# Croatia women's national under-15 football team

The **Croatia women's national under-15 football team** represents Croatia in international women's football matches for players aged 15 or under. It is governed by the Croatian Football Federation, the governing body for football in Croatia. It is a member of UEFA in Europe and FIFA in global competitions. The team's colours reference two national symbols: the Croatian checkerboard and the country's tricolour. They are colloquially referred to as the *Lavice* ('Lionesses'). The *Lavice* compete in the UEFA Under-15 Development Tournament.

## Recent results

### 2023

## InfoBox

Croatia Women's U15
| Association | HNS |
| --- | --- |
| Confederation | UEFA (Europe) |
| Head coach | Božidar Miletić |
| Top scorer | Melani Mihić (3) |
| FIFA code | CRO |
|  | |
|  | |
|  | |
| First international | |
| Slovenia 4–0 Croatia (Slovenia; 28 October 2015) | |
| Biggest win | |
| Croatia 3–0 Romania (Osijek, Croatia; 29 August 2023) | |
| Biggest defeat | |
| Slovenia 4–0 Croatia (Slovenia; 28 October 2015) | |
| Website | hns-cff.hr |


title: Only Us (Dear Evan Hansen song)

abstract: "Only Us" is a song from Act 2 of the 2015 musical Dear Evan Hansen, which premiered on Broadway in 2016. Benj Pasek and Justin Paul wrote both the music and lyrics to the song.

text:
# Only Us (Dear Evan Hansen song)

"**Only Us**" is a song from Act 2 of the 2015 musical *Dear Evan Hansen*, which premiered on Broadway in 2016. Benj Pasek and Justin Paul wrote both the music and lyrics to the song.

## Synopsis

Zoe Murphy visits the home of the main protagonist, Evan Hansen, after everything the latter had done to help her family in the wake of Zoe's brother, Connor's death. During their conversation, Zoe expresses her accepting Evan for who he is despite his difficulties and the two begin a relationship together, even though it's all being driven by Evan's lie that he was "friends" with Connor.

## 2021 film version

| "Only Us" | |
| --- | --- |
|  | |
| Song by Kaitlyn Dever and Ben Platt | |
| from the album  *Dear Evan Hansen: Original Motion Picture Soundtrack* | |
| Released | September 24, 2021 |
| Recorded | 2020 |
| Genre | * Musical * theatrical * pop |
| Length | 3:59 |
| Label | Interscope |
| Songwriter(s) | Pasek & Paul |
| Producer(s) |  |
| Ben Platt singles chronology | |
| "You Will Be Found"
(2021) "**Only Us**"
(2021) "Sincerely, Me"
(2021) | |
|  | |
| Audio | |
| "Only Us" (2021 film version) on YouTube | |
|  | |

"Only Us" was featured in Universal Pictures' 2021 film adaptation of the musical, starring Ben Platt, who reprised his performance in the title role and was sung by him and Kaitlyn Dever as Zoe Murphy. The film, which premiered at the 2021 Toronto International Film Festival on September 9, 2021, followed by a theatrical release on September 24, 2021, is directed by Stephen Chbosky from a screenplay by Levenson, who also serves as an executive producer with Michael Bederman, Pasek & Paul and the show's lead producer Stacey Mindich. Ben's father Marc Platt and Adam Siegel serve as producers.

In the film, the scene plays out the same. However, during the final chorus, there are flash forwards intercut into the scene, showing the growth of Evan and Zoe's relationship by going to prom and on a date to an amusement park.

This version of the song was made available as an exclusive download from the soundtrack album on September 3, 2021, alongside Carrie Underwood and Dan + Shay's version. The album was released on the same day as the film.

## Carrie Underwood and Dan + Shay version

| "Only Us" | |
| --- | --- |
|  | |
| Song by Carrie Underwood and Dan + Shay | |
| from the album  *Dear Evan Hansen: Original Motion Picture Soundtrack* | |
| Released | September 24, 2021 |
| Recorded | 2021 |
| Genre | * Musical * theatrical * pop |
| Length | 3:45 |
| Label | Interscope |
| Songwriter(s) | Pasek & Paul |
| Producer(s) | Dan Smyers |
|  | |
| Music video | |
| "Only Us" (Carrie Underwood/Dan + Shay version) on YouTube | |
|  | |

Carrie Underwood and Dan + Shay also recorded a cover of the song for the soundtrack album of the 2021 film version. It was released as an exclusive download on September 3, 2021. A music video of their version, showing Underwood and Dan + Shay recording the song in the studio, intercut with footage of Platt and Dever as Evan and Zoe in the film, was released on September 24, 2021.

## Cover versions

## InfoBox

| "Only Us" | |
| --- | --- |
| Song by Laura Dreyfuss and Ben Platt | |
| from the album  *Dear Evan Hansen: Original Broadway Cast Recording* | |
| Released | 2017 |
| Genre | show tune |
| Length | 3:49 |
| Songwriter(s) | Pasek & Paul |
|  | |
| Music video | |
| "Only Us" on YouTube | |
|  | |


title: Opera in South Korea

text:
# Opera in South Korea

Along with the exchange and dissemination of cultures, opera was introduced into South Korea in the early 20th century. In recent years, South Korea has synchronized with the international opera market and introduced popular works from London's West End and Broadway. Many first-class theaters and productions have trained many opera singers. Actors whose talent has recently been recognized by overseas production teams have also begun to enter the international stage.

## History

The origins of Korean opera can be traced back to the early 20th century, when South Korea began to introduce Western culture and opera became part of it. The development of opera in Korea has undergone several stages, including the introduction, localization, and prosperity stages.

### Introduction stage

Opera was first introduced to Korea in January 1948, with a production of Verdi’s *La traviata* titled *Chun Hee* in Korean held at the Sigongkwan Theatre (now Myeongdong Theatre) in central Seoul. South Korea's opera performances mainly imported classic works from Europe and the United States, such as "Turandot" and "La bohème".

### Localization stage

During the localization phase South Korea began to create opera works suitable for the tastes of local audiences, which incorporated traditional Korean musical elements. When Koreans first adopted the international opera tradition in the 1950 production of Chunhyang, they chose their own stories. Composer Hyun Ji-Myung used Western styles to compose music and orchestral orchestration and conducted opera performances himself. It can be said that everything is international except the subject matter. Of course, the costumes and sets are Korean.

### Prosperity stage

Korean opera audiences prefer to see Carmen, La traviata, and La bohème, but the government has changed its strategy and promoted original operas. Even independent original opera creation plans. Now, many young composers and screenwriters are planning large-scale productions, funded by the government's Ministry of Culture, Sports and Tourism. More and more Koreans are beginning to enjoy opera and have more opportunities to watch and participate in opera performances.

## Performance style

There are two separate stage genres, both of which are also known locally as "opera". One of them is very old and traditional, called pansori. And another genre, from a near-old time maybe a hundred years ago, is called changgeuk. *Changgeuk* is a form of sung drama that evolved from *pansori* storytelling. "Chang" means "singing" and "geuk" means "drama". So it is a "music-drama" like Wagner. Pansori is one of the traditional Korean folk rap art, its melody is delicate and sad, the voice is husky and deep, full of Korean national spirit and cultural beliefs. Its performance is a sitting lying drum, a standing singing, singing while speaking, singing mainly. In 1964, the Korean government designated Pansori as the fifth important intangible cultural property. In 2003, UNESCO included Pansori in the Representative List of the Oral and Intangible Cultural Heritage of Humanity.


title: Opera in Latin America

abstract:
The history of opera in Latin America dates back to at least the early 18th century. Newspaper articles suggest that, around the time that Italian opera was introduced to Latin America, it was received with some disdain due to the language barrier. However, translations in the librettos of certain operas suggest that there was greater interest from Latin Americans than the news had credited. Opera arrived in Latin America as a consequence of European colonization. On October 19, 1701, La púrpura de la rosa premiered in Lima in the Viceroyalty of Peru, the first opera known to be composed and performed in the Americas. It is an opera in one act by Spanish composer Tomás de Torrejón y Velasco with a libretto by Pedro Calderón de la Barca, and is the only surviving opera by Torrejón y Velasco. It tells the myth of the love of Venus and Adonis, which provoked Mars's jealousy and his desire for vengeance. Although the libretto follows the Greek myth, the tragic love story is seen as a resemblance of the alliance that was formed from a political marriage between the Spanish and French monarchies.
Opera performances were performed also in the country of Mexico. It is within that nation that the first indigenous opera composers of Latin America emerged, with Manuel de Zumaya being considered the first and most important early opera composer. Outside of Perú and Mexico, opera was slower to gain a foothold, and it wasn't until the early to mid-19th century that other nations in Latin America began producing their own opera composers. Many of these 19th-century operas focus on the historical conflict between Europeans and indigenous peoples and were influenced by zarzuela, a form of Spanish opera. Mexican zarzuelas, as well as revistas, soon arose from Spanish influence and gained popularity. In the 20th century many nationalist operas were composed across Latin America, with particularly thriving opera scenes in Mexico, Argentina and Brazil. Today, there are numerous active opera houses throughout Latin America and composers continue to write new operas. We also have organizations such as the International Brazilian Opera Company (IBOC) and Opera Hispanica who are promoting new Latin American operatic repertoire internationally.

text:
# Opera in Latin America

The history of **opera in Latin America** dates back to at least the early 18th century. Newspaper articles suggest that, around the time that Italian opera was introduced to Latin America, it was received with some disdain due to the language barrier. However, translations in the librettos of certain operas suggest that there was greater interest from Latin Americans than the news had credited. Opera arrived in Latin America as a consequence of European colonization. On October 19, 1701, *La púrpura de la rosa* premiered in Lima in the Viceroyalty of Peru, the first opera known to be composed and performed in the Americas. It is an opera in one act by Spanish composer Tomás de Torrejón y Velasco with a libretto by Pedro Calderón de la Barca, and is the only surviving opera by Torrejón y Velasco. It tells the myth of the love of Venus and Adonis, which provoked Mars's jealousy and his desire for vengeance. Although the libretto follows the Greek myth, the tragic love story is seen as a resemblance of the alliance that was formed from a political marriage between the Spanish and French monarchies. Opera performances were performed also in the country of Mexico. It is within that nation that the first indigenous opera composers of Latin America emerged, with Manuel de Zumaya (c. 1678–1755) being considered the first and most important early opera composer. Outside of Perú and Mexico, opera was slower to gain a foothold, and it wasn't until the early to mid-19th century that other nations in Latin America began producing their own opera composers. Many of these 19th-century operas focus on the historical conflict between Europeans and indigenous peoples and were influenced by zarzuela, a form of Spanish opera. Mexican zarzuelas, as well as revistas, soon arose from Spanish influence and gained popularity.

In the 20th century many nationalist operas were composed across Latin America, with particularly thriving opera scenes in Mexico, Argentina and Brazil. Today, there are numerous active opera houses throughout Latin America and composers continue to write new operas. We also have organizations such as the International Brazilian Opera Company (IBOC) and Opera Hispanica who are promoting new Latin American operatic repertoire internationally.

## 18th-century opera

In 1711, the opera *Partenope* premiered in Mexico City. Its music was by Manuel de Zumaya, the most important Mexican baroque composer. This opera is particularly important because it was the first opera composed in North America and the first opera composed in the Americas by someone from the Americas.

## 19th-century opera

The first opera composed and premiered in Brazil was José Maurício Nunes Garcia's *I Due Gemelli*; the text has since been lost. *A Noite de São João* may be considered the first truly Brazilian opera, with a text in Portuguese by Elias Álvares Lobo. The most famous Brazilian composer was Antônio Carlos Gomes. Many of his operas premiered in Italy, with texts in Italian. However, Gomes often used typically Brazilian themes in his work, such as in his operas *Il Guarany* and *Lo schiavo*.

Although Mexico and other countries had already begun producing their own opera, Europe’s opinion of these new operas was regarded as more important than Latin America’s own opinion. Moreover, most performers in Mexico were European, and it took a substantial amount of time before Mexico gained its own control over its own opera companies and performances.

The nineteenth-century opera *Guatimotzin* by Mexican composer Aniceto Ortega was the first conscious attempt to incorporate pre-Hispanic elements into the formal characteristics of opera. Other important 19th-century Mexican operas are *Agorante, rey de la Nubia* by Miguel Meneses (premiered during the commemorative festivities for the birthday of Emperor Maximilian I of Mexico), *Pirro de Aragón* by Leonardo Canales, and *Keofar* by Felipe Villanueva. The operatic works of Melesio Morales are the most important in Mexico in the 19th century. His operas *Romeo y Julieta*, *Ildegonda*, *Gino Corsini*, and *Cleopatra* were very successful among the public of Mexico City, and premiered in Europe. The last opera by Melesio Morales, *Anita*, which was composed in 1908, did not premiere until 2000.

Morales's last period of composition coincided with the creation of operas in Mexico by his son Julio Morales, and the operas of Felipe Villanueva, Ricardo Castro, and Gustavo E. Campa. The work of Ricardo Castro is a part of the tradition of historic, nationalist operas, such as *Guatimotzin* by Aniceto Ortega, *Il Guarany* by Antônio Carlos Gomes, *Ollanta* and *Atahualpa* by José María Valle Riestra, *Huémac* by Pascual de Rogatis, and *Quiché Vinak* by Jesús Castillo. This tradition formed part of a turn-of-the-century operatic movement, in which other important figures included Eliodoro Ortiz de Zárate (Chile), José María Ponce de León (Colombia), Augusto Azzali (Colombia), León Ribeiro (Uruguay), Francisco Hargreaves (Argentina), Miguel Rojas (Argentina), and Edoardo Torrens (Argentina).

The first Venezuelan opera was *El maestro Rufo Zapatero*, an opera buffa composed by José María Osorio in 1847. (However, many have called *Virginia*, by José Ángel Montero, the first Venezuelan opera, though it premiered in 1877 under the auspices of the president Antonio Guzmán Blanco) . Earlier, various zarzuelas has been composed, but the first to premiere is believed to be *Los alemanes en Italia* by José Ángel Montero in the 1860s. Montero also premiered the one-act zarzuelas *El Cumpleaños de Leonor*, *El Charlatán Mudo*, *La Modista*, and many others. Another major Venezuelan composer was Reynaldo Hahn, his operas include *Le Merchand de Venise* and *Ciboulette*. Hahn's work was greatly influenced by his teacher Jules Massenet. In zarzuela, another important figure was Pedro Elías Gutiérrez, who incorporated typically Venezuelan rhythms into his work.

Tomás Giribaldi's *La Parisina* is considered the first Uruguayan opera. It premiered in September 1878. The work was very successful and awakened public interest in operas written by Uruguayan composers. Because of this success, the Uruguayan Oscar Camps y Soler wrote his opera *Esmeralda, la gitana*, based on the Victor Hugo 1831 novel *The Hunchback of Notre-Dame*; the opera premiered in Montevideo in 1879. Other Uruguayan composers that wrote opera in this era, motivated by the success of *La Parisina*, include León Ribeiro and Alfonso Broqua. León Ribeiro premiered his opera *Colón* in 1892 during the celebration of the 400th anniversary of the discovery of America. Alfonso Broqua wrote one opera, *Tabaré*, based on the eponymous 1888 poem by José Zorrilla de San Martín.

In the 19th and 20th century, a number of operas were produced in Latin America in which conflict between Europeans and indigenous peoples was a theme. Among the most important operas of this type are *Liropeya* by León Ribeiro (Uruguay); *Guatimotzin* by Aniceto Ortega (Mexico); *Il Guarany* by Antonio Carlos Gomes (1836–1896), based on a novel by the Brazilian José Martiniano de Alencar; *Atzimba* by Ricardo Castro (Mexico, 1864–1907); the three eponymous operas based on the *Tabaré* by José Zorrilla de San Martín, written, respectively, by Arturo Cosgaya Ceballos (Mexico, 1869–1937), Heliodoro Oseguera (Mexico), and Alfonso Broqua (Uruguay); *Los Martirios de Colon* written by Federico Ruiz (Venezuela) and the three Ecuadorian operas based on the novel *Cumandá o un drama entre salvajes* by Juan León Mera, namely *Cumandá* by Luis H. Salgado (1903–1977), *Cumandá o la virgen de las selvas* by Pedro Pablo Traversari Salazar (1874–1956), and *Cumandá* by Sixto María Durán Cárdenas (1875–1947).

## 20th century and contemporary opera

**Argentina**

In Argentina, opera developed with the massive European (mainly Italian) immigration at the beginning of the century and with the opening of the Teatro Colón in 1908 where most of those world premieres took place. The most influential Argentinian opera composers include Ettore Panizza (whose opera *Aurora* was commissioned for the Colón inaugural season and *Bizancio* from 1939), Felipe Boero (*El Matrero* from 1929 his most famous opera, also *Tucumán* 1918, *Ariana y Dyonisos*, 1920, *Raquela*, 1923 and *Siripo*, 1937), Juan José Castro (composer of *Bodas de sangre* and *La zapatera prodigiosa*, both after Federico Garcia Lorca's plays and *Proserpina y el extranjero*, 1952), Carlos López Buchardo (*El sueño de Alma*, 1914), Pascual De Rogatis (*Huemac*, 1916 and *La novia del hereje*, 1934), Eduardo Garcia Mansilla (*La angelical manuelita*,1917), Constantino Gaito (*Petronio*, 1919; *Ollantay*, 1926, *La sangre de las guitarras*), 1927, Floro Ugarte (*Saika*, 1920), Gilardo Gilardi (*Ilse*, 1923; *La leyenda del urutaú*, 1934), Athos Palma (*Nazdah*, 1924), Hector Iglesias Villoud (*El Oro del Inca*, 1953), Virtú Maragno and Alberto Ginastera composer of *Don Rodrigo*, *Beatrix Cenci* and *Bomarzo*.

In recent years other Argentinean opera composers include Roberto Garcia Morillo (*El caso Maillard*, 1977) Mario Perusso (*La voz del silencio*), Claudio Guidi-Drei (*Medea*, 1973), Juan Carlos Zorzi (*Antigona Velez*, 1991 and *Don Juan*, 1993), Pompeyo Camps (*La hacienda*, 1987, *Marathon*, 1990 and *La oscuridad de la razón*, 1996), Gerardo Gandini (*La ciudad ausente*, 1995 and *Liederkreis*, 2000), Ástor Piazzolla (*Maria de Buenos Aires*) and Osvaldo Golijov (*Ainadamar'’).* In 2006 Centre for Experimentation (CETC) of Teatro Colón, proposed that national poet Rodolfo Enrique Fogwill work with the composer of his choice. He chose Oscar Edelstein who went on to make the script for "Eterna flotación: Los Monstruito’" from two poems of Fogwill, "Contra el Cristal de La Pecera de Acuario" (Against the Glass of the Aquarium) " and "El Antes de los Monstruito" from the book "Lo Dado", to transform them into a continuous discourse that functions as a dramatic text. The opera dealt with the presidency of Menem and the era of decadency, leading to the headline by music critic, Juan Carlos Montero, "The Poetic versus Social Degradation."

**Brazil**

Important Brazilian opera composers in the first half of the 20th century include Heitor Villa-Lobos, the composer of operas such as *Izath*, *Yerma*, and *Aglaia*; and Camargo Guarnieri, composer of *Um Homem Só* and *Pedro Malazarte*. Contemporary Brazilian opera continues these avant-garde tendencies, as is the case with works like *Olga* by Jorge Antunes, *A Tempestade* by Ronaldo Miranda, *O Cientista* by Silvio Barbato, and "Tamanduá (The Anteater) – A Brazilian Opera" by Joao MacDowell, founder of the International Brazilian Opera Company (IBOC), a New York-based non-profit with a mission to create new repertoire based on collaboration of Brazilian and international artists.

**Cuba**

Opera has been present in Cuba since the latest part of the 18th century.

**Ecuador**

Recent Ecuadorian operas include *Los Enemigos* by Mesías Maiguashca, based on the story *The Secret Miracle* by Jorge Luis Borges; *Manuela y Bolívar* by Diego Luzuriaga; and the instrumental opera *El árbol de los pájaros* by Arturo Rodas.

**Mexico**

In the 1940s, Carlos Chavez was the director of the Instituto Nacional de Bellas Artes (INBA), which was a federal institution to protect and administer the fine arts. Before it was created, Mexican composers were limited in the work they could output, and faced many roadblocks. Chavez, additionally, founded an opera company and academy within the INBA that sought to give the opportunity to aspiring artists to learn, perform, and compose opera in Mexico. Apart from Chavez’s interest in expanding the availability of opera in Mexico, he himself was a skilled composer who integrated aspects of Indianism into his work, infusing traditional Italian opera with Latin American culture. Because of his broad influence, this new style became popular in Mexico from the 1920s to 1950s, despite having been introduced earlier.

Another interesting group is those composers that have tried to develop a Yucatecan operatic tradition based on Mayan legends. These composers typically work in Mérida, Yucatán, and have been scorned by Mexican nationalist historians. These composers include Cosgaya Ceballos, Ríos Escalante, Ricalde Moguel, Rivera Velador, Cárdenas Samada, and Jebe Halfdan. In the first half of the 20th century, composer Julián Carrillo was an important figure in Mexican opera, along with composers similar to him, including Antonio Gomezanda, Juan León Mariscal, Julia Alonso, Sofía Cancino de Cuevas, José F. Vásquez, Arnulfo Miramontes, Rafael J. Tello, Francisco Camacho Vega, and Efraín Pérez Cámara. All of these composers have been relegated by official musical historiography, which only recognizes the work of nationalist composers. Since the end of the 20th century in Mexico (and in all of Latin America), composers are increasingly interested in writing opera. Important Mexican opera composers in the early 21st century include Federico Ibarra, Daniel Catán, Leandro Espinosa, Marcela Rodríguez, Víctor Rasgado, Javier Álvarez, Roberto Bañuelas, Luis Jaime Cortez, Julio Estrada, Gabriela Ortiz, Enrique González Medina, Manuel Henríquez Romero, Leopoldo Novoa, Hilda Paredes, Mario Stern, René Torres, Juan Trigos, Samuel Zyman, Mathias Hinke, Ricardo Zohn-Muldoon, Isaac Bañuelos, Gabriel de Dios Figueroa, Enrique González-Medina, José Carlos Ibáñez Olvera, Víctor Mendoza and Emmanuel Vázquez.

**Uruguay**

Recent Uruguayan operas include *Time and Again Barelas* by Miguel del Aguila, a full opera premiered in 2006 commissioned by the city of Albuquerque on its tricentennial celebration. Other operas by Miguel del Aguila include *Cuauhtemoc* and *Composer Missing* both premiered in the US.

**Venezuela**

In contemporary Venezuela, there are great lyrical composers, including María Luisa Escobar, whose works include *Kanaime*, *Orquídeas Azules*, and *Princesa Girasol*. Other important composers include Hector Pellegatti (author of the *verismo* opera *El Negro Miguel* with lyrics by Pedro Blanco Vilariño), Alexis Rago (author of *El Páramo*, *Miranda*, and *Froilán el Infausto*), and Federico Ruíz (author of the famous opera buffa *Los Martirios de Colón*, with a libretto by Aquiles Nazoa). Today, most operatic activity in Venezuela takes place at Teatro Teresa Carreño. Here, operas such as *El Páramo* by Alexis Rago and *Los martirios de Colón* by Federico Ruiz have recently premiered.

Other recent premieres include the opera *Gertrudis* by Gerardo Gerulewicz, with a libretto by Xiomara Moreno, work premiered in concert and in full stage production in Caracas, Venezuela.

Venezuelan-American composer Sylvia Constantinidis who has written both, music and libretto for several lyrical works: two Dramatic Contemporary Operas, *Araminta* and *Afrodita*; one Experimental Short Opera, *Aurora*; and three Children Operas, *Lincoln*, *Ponce de Leon*, and *The First ThanksGiving*. Some scenes from *Araminta* were premiered in Concert in England 2017. *Afrodita*, was premiered in concert in England 2015 and in Miami, USA also in 2015. *Aurora*, the Experimental Short Opera, was premiered in England in 2011. The three Children Operas: *Lincoln*, *Ponce de Leon*, and *The First ThanksGiving*; were all premiered in Florida, USA in 2001, 2002, and 2003. For these three Children Operas, Constantinidis received the "Educator of Note Award 2003" by the “Ethel and W. George Kennedy Family Foundation”, and the Young Patronesses of the Opera, the Florida Grand Opera. In 2024 Ángel Hernández Lovera premiered the ópera *Alice* conducted by Elisa Vega.

**Perú**

In November 2012 chamber operas "Secreto", "La Cena", "Post Mortem", "María Fernanda se reb(v)ela" and "Sacrificio" by composers Clara Petrozzi, Gonzalo Garrido Lecca, Sadiel Cuentas, Rafael Leonardo Junchaya and Alvaro Zúñiga were premiered in the French Alliance Theatre. All five operas had librettos by Maritza Núñez. In December 2012 Nilo Velarde's opera "Akas Kas", with libretto by Celeste Viale and commissioned by Perú's Culture Ministry, was premiered in Peru's Grand National Theater by Peru's National Orchestra, National Ballet, National Folklore Ensamble, National Chorus and National Children Chorus. In October 2013 Nilo Velarde's Opera "La Ciudad Bajo el Mar", with libretto by Maritza Núñez, was premiered in Perú's Grand National Theatre by the National Children Chorus. In December 2015 Jimmy Lopez's "Bel Canto", with libretto by Nilo Cruz and commissioned by the Lyric Opera of Chicago, was premiered in Ardis Krainik Theatre of the Civic Opera House, Chicago. In May 2016 Alvaro Zuñiga's "Ger Mania", with libretto by Maritza Núñez, was premiered in Helsinki, Finland.

## Sources


title: Open Ideas

abstract:
Open Ideas is an album by Trio 3, a jazz group consisting of saxophonist Oliver Lake, bassist Reggie Workman and drummer Andrew Cyrille.
It was recorded in 2001 and released on the Palmetto label.

text:
# Open Ideas

***Open Ideas*** is an album by Trio 3, a jazz group consisting of saxophonist Oliver Lake, bassist Reggie Workman and drummer Andrew Cyrille. It was recorded in 2001 and released on the Palmetto label.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |

In his review for AllMusic, Jonathan Widran states that "Not every tune has a strong focus, as the title track almost seems like an avant-garde experiment searching for a slight melody halfway through."

Joel Roberts, in a review for All About Jazz, wrote: "These veterans of the avant-jazz wars... combine musical excellence and compositional skills with a shared sensibility that's well summed up by the album's title, *Open Ideas*... There's a staggering amount of knowledge and history on display here... While the trio's roots stretch back to the free-jazz movement of the '60s... and none of its members has ever shied away from tackling difficult music, this set makes for highly accessible, though challenging, listening. Not just for avant-gardists, *Open Ideas* is recommended for all those with open ears."

## Track listing

1. "Casino" (Andrew Cyrille) – 6:28
2. "Hooray for Herbie" (Mal Waldron) – 6:27
3. "Open Ideas" (Cyrille, Lake, Workman) – 5:46
4. "Y2 Chaos" (Reggie Workman) – 5:24
5. "Prophet's Path" (Reggie Workman) – 8:14
6. "Valley Sketch" (Oliver Lake) – 3:50
7. "Willow Song" (Reggie Workman) – 4:24
8. "5-4-3-2" (Andrew Cyrille) – 6:05
9. "Dance 2" (Oliver Lake) – 3:57

## Personnel

## InfoBox

| Open Ideas | |
| --- | --- |
|  | |
| Studio album by Trio 3 | |
| Released | 2002 |
| Recorded | October 22 & 23, 2001 |
| Studio | Maggie's Farm, Pipersville, Pennsylvania |
| Genre | Jazz |
| Length | 50:35 |
| Label | Palmetto |
| Producer | Matt Balitsaris |
| Trio 3 chronology | |
| *Encounter*
(2000) ***Open Ideas***
(2002) *Time Being*
(2006) | |


title: Crosshaven railway station

abstract: Crosshaven railway station was on the Cork, Blackrock and Passage Railway in County Cork, Ireland.

text:
# Crosshaven railway station

**Crosshaven railway station** was on the Cork, Blackrock and Passage Railway in County Cork, Ireland.

## History

The station opened on 16 June 1903.

Passenger services were withdrawn on 12 September 1932.

## Routes

| Preceding station |  | Disused railways |  | Following station |
| --- | --- | --- | --- | --- |
| Carrigaline |  | Cork, Blackrock and Passage Railway
Cork-Crosshaven |  | Terminus |

## Further reading

* R.V.J. Butt (1995). *The Directory of Railway Stations*. Patrick Stephens Ltd. ISBN 1-85260-508-1

## InfoBox

| Crosshaven | |
| --- | --- |
| General information | |
| Location | Cork, County Cork
Ireland |
| History | |
| Original company | Cork, Blackrock and Passage Railway |
| Pre-grouping | Cork, Blackrock and Passage Railway |
| Post-grouping | Great Southern Railways |
| Key dates | |
| 16 June 1903 | Station opens |
| 1 June 1932 | Station closes |
|  | |
|  | |
|  | |


title: Ontario Medical Association

abstract: The Ontario Medical Association (OMA) is a membership organization that represents the political, clinical and economic interests of Ontario physicians. Practising physicians, residents, and medical students enrolled in any of the six Ontario faculties of medicine are eligible for OMA membership. The OMA runs programs to encourage healthy living practices and illness prevention.

text:
# Ontario Medical Association

The **Ontario Medical Association** (**OMA**) is a membership organization that represents the political, clinical and economic interests of Ontario physicians. Practising physicians, residents, and medical students enrolled in any of the six Ontario faculties of medicine are eligible for OMA membership. The OMA runs programs to encourage healthy living practices and illness prevention.

## History

The OMA was founded in 1880 by physicians across the province of Ontario who encouraged the profession to unite and form a provincial medical association.

The OMA is governed by a board of directors. The board is made up of 11 directors: eight physician directors and three non-physician directors. The officers of the board are the chair, president, president-elect and the immediate past president. The president-elect and immediate past president are non-voting observers on the board.

The General Assembly is another large member body that collects member input to help identify and recommend organizational priorities to the board, including opportunities and challenges facing the profession. The General Assembly is composed of the General Assembly steering committee, the Priority and Leadership Group, the three panels and working groups.

## Membership and structure

The Ontario Medical Association (OMA) represents more than 43,000 physicians and medical students across the province. While membership is voluntary, as of 1991, all practicing physicians in Ontario are mandated by law to pay dues to the organization, regardless of whether or not they choose to be members. The Ministry of Health recognizes the organization as the sole negotiator on behalf of physicians in Ontario and has been called a union by Bob Rae, a claim rejected by the OMA.

## Publications

### Ontario Medical Review

The Ontario Medical Review has played a pivotal role in documenting the achievements of Ontario's physicians and providing thoughtful, in-depth stories about the challenges facing the province's health-care system for more than 100 years.

Published quarterly and delivered to 39,000 physicians, the magazine reaches family doctors, specialists and residents, as well as medical students, in every corner of the province. It is a vital source of information about how the Ontario Medical Association is advocating for health-system modernization and improved care for Ontario patients. Recent stories showcasing physician expertise include an article on how OMA health-care advocates affect system change, tackling physician burnout to narrowing the gender pay gap in medicine.

First launched as the Bulletin in 1922 and renamed the Ontario Medical Review in 1943, the magazine is one of the oldest and most trusted medical publications in Canada. Today's OMR continues the tradition of being a vital conduit to the experience of Ontario physicians on the front lines of medicine, where they are working hard every day to meet their patients’ needs and lay the groundwork for a better health-care system.

## Foundation

The OMA engages in fundraising and philanthropy through the Ontario Medical Foundation (OMF). Starting in 2018, the OMF began a transformation to dedicate more time and funds to charitable causes beyond its community of members. The OMF has received donations and sponsorships from over 7000 sponsors including individuals, corporations and societies. Some of the foundation's largest donors are Amgen, AstraZeneca, Bayer, the Canadian Medical Association, GlaxoSmithKline, KPMG, Merck Frosst, Pfizer Canada, Pharmacia, Royal Bank of Canada and Sun Life Financial.

## Ontario Medical Schools

## InfoBox

Ontario Medical Association
|
|  |
| Abbreviation | OMA |
| Formation | 1880; Foundation 1881. |
| Type | Professional Association |
| Headquarters | Toronto, Ontario, Canada |
| Membership | More than 39,000 |
| Official language | English |
| President | Dr. Andrew Park |
| President-Elect | Dr. Dominik Nowak |
| CEO | Ms. Kimberly Moran |
| Website | www.oma.org |


title: Crimson Cord

abstract: Crimson Cord is the fifth studio album from Christian hip hop recording artist Propaganda. The album was produced by Beautiful Eulogy and released by Humble Beast Records on April 29, 2014. It met with commercial and critical success.

text:
# Crimson Cord

***Crimson Cord*** is the fifth studio album from Christian hip hop recording artist Propaganda. The album was produced by Beautiful Eulogy and released by Humble Beast Records on April 29, 2014. It met with commercial and critical success.

## Recording and release

*Crimson Cord* was produced by the hip-hop trio Beautiful Eulogy. It was released on April 29, 2014. Prior to the album's release, Propaganda released a music video for the title track on April 8, 2014.

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| Christian Music Zine |  |
| Cross Rhythms |  |
| Jesus Freak Hideout |

 |
| New Release Tuesday |  |

*Crimson Cord* met with positive reception from music critics. Timothy Monger of AllMusic rated the album four stars out of five, indicating how Propaganda "aims to inspire by simply producing good art." At Jesus Freak Hideout, Michael Weaver gave the album four out of five stars, while Mark Rice and Scott Fryberger gave it four-and-a-half stars. Weaver stated that "*Crimson Cord* is a deep and thought-provoking experience," and Rice wrote that "*Crimson Cord* features some equally mind-bending raps and spoken work pieces". Fryberger said that the album contains "the same quality fans have come to expect" because it "takes you through a fair dosage of beat-driven tracks as well as poetry-with-beats".

Dwayne Lacy of New Release Tuesday rated the album four-and-a-half stars out of five, remarking on how Propaganda's albums come with a vast array of information to be gleaned out of his music, and that his message comes across with "much reality and relevance when presenting the Gospel." At Christian Music Zine, Anthony Peronto rated the album a perfect five stars, remarking that "there is many a-pleasure to be had examining *Crimson Cord*." Aubrey McKay of Wade-O Radio considered the album a "must have" for every Christian hip hop fan, and expressed that "Everything from the album cover art to the concept of the album was beautiful artistry."

## Chart performance

For the *Billboard* charting week of May 17, 2014, *Crimson Cord* charted at No. 55 on the *Billboard* 200, No. 5 and 2 on the Christian Albums and Top Gospel Albums charts, respectively, No. 8 on the Rap Albums, and No. 13 on the Independent Albums chart.

## Track listing

Tracklist
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "You Mock Me" | Jason Petty, Thomas Joseph Terry, Courtland Urbano, Bryan Winchester | 2:36 |
| 2. | "Crimson Cord" | Petty, Terry, Urbano, Winchester | 4:03 |
| 3. | "Daywalkers" (featuring Lecrae) | Petty, Lecrae Moore, Terry, Urbano, Winchester | 3:04 |
| 4. | "Make" | Petty, Terry, Urbano, Winchester | 2:39 |
| 5. | "Bored of Education" | Petty, Terry, Urbano, Winchester | 4:47 |
| 6. | "Thanks Rev" | Petty, Terry, Urbano, Winchester | 1:55 |
| 7. | "I Ain't Gave Up on You Yet" | Petty, Terry, Urbano, Winchester | 3:42 |
| 8. | "Framed Stretch Marks" (featuring Derek Webb and Braille) | Petty, Terry, Urbano, Winchester | 3:38 |
| 9. | "I Don't See It" | Petty, Terry, Urbano, Winchester | 3:16 |
| 10. | "Three Cord Bond" | Petty, Terry, Urbano, Winchester | 4:28 |
| 11. | "How Did We Get Here" (featuring Andy Mineo and JGivens) | Perry, Jeremiah Givens, Andy Mineo, Terry, Urbano, Winchester | 3:30 |
| 12. | "Redeem" (featuring Lee Green) | Petty, Lee Green, Terry, Urbano, Winchester | 4:28 |
| 13. | "Tell Me Yours" | Petty, Terry, Urbano, Winchester | 3:48 |
| Total length: | | | 45:54 |

iTunes edition bonus track
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 14. | "Make (Remix)" | Petty, Terry, Urbano, Winchester | 2:30 |

## Chart performance

| Chart (2014) | Peak
position |
| --- | --- |
| US *Billboard* 200 | 55 |
| US Christian Albums (*Billboard*) | 5 |
| US Top Gospel Albums (*Billboard*) | 2 |
| US Independent Albums (*Billboard*) | 13 |
| US Top Rap Albums (*Billboard*) | 8 |

Notes Footnotes  1. "Propaganda Crimson Cord". Humble Beast Records. Archived from the original on May 31, 2014. Retrieved May 30, 2014.
2. Houston, Rob (March 31, 2014). "Propaganda releases street date for next album, 'Crimson Cord'". *HM*. Doug Van Pelt. Retrieved May 30, 2014.
3. "Music Video: Propaganda - Crimson Cord". *Rapzilla*. Philip Rood and Chad Horton. April 8, 2014. Retrieved May 31, 2014.
4. Monger, Timothy. "*Crimson Cord* \- Propaganda | Songs, Reviews, Credits, Awards". AllMusic. Retrieved June 6, 2014.
5. Peronto, Anthony (April 28, 2014). "Propaganda – Crimson Cord (Review)". Christian Music Zine. Archived from the original on May 8, 2014. Retrieved May 8, 2014.`{{cite web}}`: CS1 maint: unfit URL (link)
6. Hayes, Steve (October 12, 2015). "Review: Crimson Cord - Propaganda". Cross Rhythms. Retrieved October 14, 2015.
7. Weaver, Michael (April 27, 2014). "Propaganda, "Crimson Cord" Review". Jesus Freak Hideout. Retrieved May 8, 2014.
8. Rice, Mark (April 27, 2014). "Propaganda, "Crimson Cord" Review: Second Staff Opinion". Jesus Freak Hideout. Retrieved May 8, 2014.
9. Fryberger, Scott (April 30, 2014). "Propaganda, "Crimson Cord" Review: JFH Staff's *Additional* 2 Cents". Jesus Freak Hideout. Retrieved May 8, 2014.
10. Lacy, Dwayne (June 11, 2014). "Professor Propaganda takes us to school yet again". New Release Tuesday. Retrieved June 14, 2014.
11. McKay, Aubrey (April 29, 2014). "Album Review: Propaganda – Crimson Cord". *Wade-O Radio*. DJ Wade-O. Archived from the original on May 14, 2014. Retrieved May 14, 2014.
12. "Propaganda - Awards". *AllMusic*. All Media Network. Retrieved May 21, 2014.
13. "Propaganda: *Billboard* 200". Retrieved May 8, 2014.
14. "Propaganda: Christian Albums". Retrieved May 8, 2014.
15. "Propaganda: Top Gospel Albums". Retrieved May 8, 2014.
16. "Propaganda: Independent Albums". Retrieved May 8, 2014.
17. "Propaganda: Rap Albums". Retrieved May 8, 2014.

## InfoBox

| Crimson Cord | |
| --- | --- |
|  | |
| Studio album by Propaganda | |
| Released | April 29, 2014 (2014-04-29) |
| Genre | Christian hip hop, spoken word |
| Length | 45:54 |
| Label | Humble Beast |
| Producer | Beautiful Eulogy |
| Propaganda chronology | |
| *Excellent*
(2012) ***Crimson Cord***
(2014) *Crooked*
(2017) | |


title: Crimson Dawn (disambiguation)

abstract: Crimson Dawn is a fictional realm in the Marvel Comics Universe. Crimson Dawn may also refer to:

text:
# Crimson Dawn (disambiguation)

**Crimson Dawn** is a fictional realm in the Marvel Comics Universe.

**Crimson Dawn** may also refer to:

## People

## Literature

## Other uses

* Crimson Dawn (fictional organization) a fictional crime syndicate led by Darth Maul in the *Star Wars* universe
* "Crimson Dawn" (song) a 2008 single by Seth Lakeman
* Crimson Dawn (band), a fictional band featured in the *South Park* episode "Band in China"


title: Crown steeple

abstract: A crown steeple, or crown spire, is a traditional form of church steeple in which curved stone flying buttresses form the open shape of a rounded crown. Crown spires first appeared in the Late Gothic church architecture in England and Scotland during the Late Middle Ages, continued to be built through the 17th century and reappeared in the late 18th century as part of the Gothic Revival.

text:
# Crown steeple

A **crown steeple**, or **crown spire**, is a traditional form of church steeple in which curved stone flying buttresses form the open shape of a rounded crown. Crown spires first appeared in the Late Gothic church architecture in England and Scotland during the Late Middle Ages, continued to be built through the 17th century and reappeared in the late 18th century as part of the Gothic Revival.

## Gothic crown spires

The crown steeple on Newcastle Cathedral was erected in 1448.

The crown spire of St Giles' Cathedral, Edinburgh was erected in 1495, and rebuilt by John Mylne in 1648.

Another medieval crown steeple was built on the Chapel of King's College, Aberdeen (1500–1509), although this too was rebuilt in the 17th century, after the original blew down.

The crown steeple of the Glasgow Tolbooth, in Glasgow's Merchant City, was built in 1626–1634 by John Boyd, and at the time was the only such steeple in western Scotland.

In 1698, Sir Christopher Wren added a tower with a crown steeple to St Dunstan-in-the-East, London.

## Gothic Revival crown steeples

Crown steeples were often incorporated into Gothic Revival churches. An octagonal bell tower with crown spire was added to St Giles' Church in Pontefract in 1790. The open spire of Faversham Parish Church, Kent was built in 1797, and a crown steeple was added to Tillington Parish Church, Sussex, in 1807.

A secular example tops the Wallace Monument, near Stirling, erected in 1869 to a design by the architect John Thomas Rochead.

Other ecclesiastical examples include those at Tarbert, Kintyre (1886), and the Kelvin Stevenson Memorial Church, Glasgow, by John James Stevenson (1902).

The south facade of the Victoria and Albert Museum, London, is a hybrid of Gothic and classical architectural forms, topped by a crown steeple. This part of the building was designed by Aston Webb, and completed in 1909.

## Modern versions

One of the most recent examples is at St Michael's Parish Church, Linlithgow, where an aluminium crown spire was added in 1964. This replaced an historic crown steeple whose weight had begun to threaten the integrity of the tower. This was illustrated in Slezer's view of Linlithgow Palace.

A crown spire was proposed for the long-unfinished crossing of Westminster Abbey, scheduled to be completed in time for the Diamond Jubilee of Elizabeth II in 2013. Nothing came of it.


title: Critic's Choice (play)

abstract: Critic's Choice is a play written by Ira Levin. It opened at the Ethel Barrymore Theatre on December 14, 1960 and ran for 189 performances, closing on May 27, 1961. Levin's inspiration was then-New York Herald Tribune drama critic Walter Kerr and his playwright wife Jean. Otto Preminger directed. Oleg Cassini provided the costumes. A play in three acts, Critic's Choice tells the story of theater critic Parker Ballantine whose second wife, Angela, writes a play which is produced on Broadway. The play is awful and Parker must decide whether or not to review the play honestly. Reviewing for The New York Times, Howard Taubman wrote, "Ira Levin's new comedy, which opened at the Ethel Barrymore last night, is not much of a play." And, "Otto Preminger's staging discloses a seasoned hand, although his pacing often turns languid and his ideas for comedy run thin, like the playwright's." In 1963, the play was made into a film of the same name starring Bob Hope and Lucille Ball.

text:
# Critic's Choice (play)

***Critic's Choice*** is a play written by Ira Levin.

It opened at the Ethel Barrymore Theatre on December 14, 1960 and ran for 189 performances, closing on May 27, 1961. Levin's inspiration was then-*New York Herald Tribune* drama critic Walter Kerr and his playwright wife Jean. Otto Preminger directed. Oleg Cassini provided the costumes.

A play in three acts, *Critic's Choice* tells the story of theater critic Parker Ballantine whose second wife, Angela, writes a play which is produced on Broadway. The play is awful and Parker must decide whether or not to review the play honestly.

Reviewing for *The New York Times*, Howard Taubman wrote, "Ira Levin's new comedy, which opened at the Ethel Barrymore last night, is not much of a play." And, "Otto Preminger's staging discloses a seasoned hand, although his pacing often turns languid and his ideas for comedy run thin, like the playwright's."

In 1963, the play was made into a film of the same name starring Bob Hope and Lucille Ball.

## Characters

* Parker Ballantine: a theater critic in his late 30s or early 40s.
* Angela Ballantine: Parker's second wife; a blonde of twenty-seven or twenty-eight.
* John Ballantine: twelve years old, Parker's son with his first wife Ivy.
* Dion Kapakos: twenty-nine or thirty, the director of Angela's new play.
* Essie: the Ballantine's black maid.
* Charlotte Orr: Angela's mother.
* Ivy London: Parker's first wife, Mother of John. In her mid-to-late thirties.

## Plot summary

### Act one

The action takes place in the Ballantines’ Washington Square duplex apartment in Manhattan. Act One opens on Parker, Angela, and John Ballantine at the breakfast table. John reports that the downstairs neighbor, Dr. von Hagedorn, is writing a play. This prompts Angela to announce that she has been thinking about writing a play herself. It would be based on her memories of her Uncle Ben, who ran a rooming house.

Parker is skeptical, but Angela insists and goes off to start work on the play. This gives Parker the idea to write an article for *Harper’s* magazine entitled "Don’t Write That Play!"—a piece that would discourage amateur playwrights. As Angela begins to write, Parker starts dictating his article into a tape recorder.

Angela completes her play, entitled “The Gingerbread World”, and sends it off to a producer. While awaiting his response, she asks Parker to read it. He does, and tells Angela that the play is horrendous. Angela reacts angrily, but when she phones the producer, S.P. Champlain, she learns that he loves the play and wants to produce it, with Dion Kapakos as director.

Kapakos, however, feels the play needs work. He demands a rewrite, including a change of title, to “A Houseful of Silence.” Among his other artsy and grandiose changes is the addition of a Greek chorus and a new ending: the suicide of Uncle Ben.

The play's first run-through is attended by Parker's son, John. John reports to Parker that the play is the worst thing he's ever seen and questions his father about whether he would really review the play honestly were it to open in New York. John worries that Parker will repeat the mistake he made with the *first* Mrs. Ballantine: that he'll write a favorable review of a bad play just because it was written by his wife. John is concerned that this will end Parker's marriage to Angela.

Parker assures John that, unlike his first marriage, his and Angela's is a strong one and secure enough to weather an honest review. Parker explains that were he to lie about Angela's play, he would lose his own self-respect and become angry with Angela and the whole world as a result.

As Angela prepares to depart with Dion to New Haven and Boston for the out-of-town try-outs of “A Houseful of Silence,” they learn that Parker intends to review the play in New York. Angela becomes furious. She storms out of the apartment after recriminating with Parker over writing the *Harper's* piece. Parker sits down with his tape recorder and begins to erase the entire tape of his article as the curtain falls on Act One.

### Act two

Charlotte, Angela's mother, has been staying in the apartment to cook for Parker and John while Angela is out of town. Charlotte begs Parker to give the play a positive review for the sake of the marriage.

The doorbell rings and Ivy London, Parker's first wife, appears. She has learned, from a phone call to Parker's maid, that Angela is out of town. Angela reports to Parker that she has just come from Boston where she was in the same hotel as Angela and Dion and she believes that the two are having an affair. Ivy also tells Parker that she still love him. Ivy leaves and Charlotte re-enters. Charlotte admits she's been eavesdropping on the conversation with Ivy, and tells Parker she believe what Ivy has reported: that it is likely that Angela and Dion are having an affair. Charlotte calls Parker naïve for not believing the rumor and warns him that if he gives Angela's play a bad review that night, he will lose Angela forever.

Angela and Dion return to the apartment before going to the theater for the opening of the show. Once again, Angela begs Parker not to review the play. She reminds Parker that he lied about Ivy's bad performances six times while Parker was married to Ivy. She tells Parker that Dion loves her. She repeats Parker's words that during the opening of the play they are not husband and wife, but critic and playwright. She asks whether she should even come home after the play that night.

Parker finally backs down, gives his tickets back to Angela, and says he won’t review the play after all. Angela and Dion leave for the theater and Parker begins to drink heavily. John becomes angry at Parker for going back on his word about reviewing the play and about staying honest to himself. Parker continues to drink, calls Ivy, and invites her to the apartment to give him a backrub.

### Act Three

Ivy is busy making dinner for Parker as he continues to drink. Ivy again proclaims her love to Parker and tells him they will get back together. Parker becomes increasingly drunk and maudlin about not being true to his word about doing his job as a critic regardless of Angela's connection with the play. Finally, Parker decides he must review the play and he rushes out to catch a cab to the theater. Ivy leaves.

Charlotte and John return from the opening night party discussing how bad the play was. Angela and Dion storm in carrying the newspaper reviews. Angela tells Charlotte that Parker reviewed the play after all and now Angela is moving out and going to live with Dion.

Parker, now sober, returns home and enters with Ivy while John is reading Parker's review, “Opening Night Report”. Angela grabs her suitcase and readies to leave the apartment, but Parker insists that she listen to him. Parker then apologizes for making fun of Angela when she first began to write the play, and for not going to New Haven and Boston to make suggestions to improve it. He tells her that if she did have an affair with Dion in Boston then he, Parker, is to blame for not having traveled there with her. He begs her forgiveness, but goes on to say that “A Houseful of Silence” was an awful play, he was right to give it a bad review, and that Angela should not try to keep Parker from doing his work as a critic. He promises that if Angela writes another play he will help her, and he asks her to stay with him. Angela, charmed, relents. Dion and Ivy leave together. Angela and Parker retreat to the bedroom.

## Opening night cast

* Integerity Comes First in "Critic's Choice": Comedy by Ira Levin Debut at Barrymore, by Howard Taubman. *The New York Times*, December 15, 1960
* Botto, Louis. *Playbill: At This Theatre* (Applause Books, 2002) (ISBN 1-55783-566-7)
* Levin, Ira. *Critic's Choice* (Random House, New York, 1961)

## InfoBox

| Critic's Choice | |
| --- | --- |
| First publication (1961) | |
| Written by | Ira Levin |
| Date premiered | December 14, 1960 |
| Place premiered | Ethel Barrymore Theatre, USA |
| Original language | English |
| Subject | Theater, marriage, playwriting |
| Genre | Comedy |
| Setting | New York City apartment |


title: Critic's Choice (film)

abstract: Critic's Choice is a 1963 American comedy film directed by Don Weis. Based on the 1960 Broadway play of the same name by Ira Levin, the movie stars Bob Hope and Lucille Ball and includes Rip Torn, Marilyn Maxwell, Jim Backus, Marie Windsor and Jerome Cowan in the cast. This is the last of four films that Hope and Ball made together.

text:
# Critic's Choice (film)

***Critic's Choice*** is a 1963 American comedy film directed by Don Weis. Based on the 1960 Broadway play of the same name by Ira Levin, the movie stars Bob Hope and Lucille Ball and includes Rip Torn, Marilyn Maxwell, Jim Backus, Marie Windsor and Jerome Cowan in the cast.

This is the last of four films that Hope and Ball made together.

## Plot

Parker Ballantine is a theatrical critic, busily praising or disparaging the shows of Broadway. His wife Angela is feeling useless and restless, so she writes a play about her mother and sisters.

Angela does not believe Parker should review her work, since he will look prejudiced if he does so favorably and it will hurt her feelings if he knocks it. Parker has read it and is not impressed. A major producer, however, decides to back it.

Handsome Dion Kapakos directs the play and tries to strike up a romantic interest in the playwright. Angela continues to resist, but she's getting more fed up with Parker's negativity by the hour.

Before the play's first out-of-town tryout in Boston, the conflicted Parker goes to see his ex-wife, Ivy, and gets a little tipsy. He decides to go to the opening, then writes a negative review. The trouble gets worse when he gets home.

## Cast

## Critical reception

*The New York Times* wrote, "It is pleasing to look at in its expensive décor, color and scope, ably played by its experienced stars and ingratiating in its quieter insights into a sophisticated marital relationship. So long as it meanders modestly through some above-average repartee, it provides an agreeable way to pass an evening. Instead of leaving well enough alone, unfortunately, the director, Don Weis, has tried to upholster the shaky plot with slapstick and broad burlesque...Both stars, old hands at this sort of thing, go through their paces with benign good humor, but their subtler comic talents remain untapped. At this rate, the critics' popularity seems unlikely to improve."

Sources * Martin, Mick and Porter, Marsha "DVD & Video Guide 2006"

## InfoBox

| Critic's Choice | |
| --- | --- |
|  | |
| Directed by | Don Weis |
| Screenplay by | Jack Sher |
| Based on | *Critic's Choice*
1960 play
by Ira Levin |
| Produced by | Frank P. Rosenberg |
| Starring | Bob Hope
Lucille Ball
Rip Torn
Marilyn Maxwell |
| Cinematography | Charles Lang |
| Edited by | William H. Ziegler |
| Music by | George Duning |
| Distributed by | Warner Bros. Pictures |
| Release date | * April 13, 1963 (1963-04-13) |
| Running time | 100 min. |
| Country | United States |
| Language | English |
| Box office | $1,250,000 (US/ Canada) |


title: Operation Candytuft

abstract: During World War II, Operation Candytuft was a British raid by 2nd Special Air Service launched on 27 October 1943.

text:
# Operation Candytuft

During World War II, **Operation Candytuft** was a British raid by 2nd Special Air Service launched on 27 October 1943.

## Description

Inserted by boat on Italy’s east coast between Ancona and Pescara, the troopers were to destroy railway bridges and disrupt rear areas. The raid was conducted by No. 3 Commando and 6 Demolition Corps under the command of Major Terence Otway. They were dropped as planned at Naine, a small village 10 miles north of the objectives. A fire fight broke out in the village due to the unexpected presence of the 153 grenadiers who were transferred from the Gustav line three days earlier. In order to replenish his supplies Major Ottoway retreated south to Malconi where he and his team were surrounded by the Wehrmacht and later surrendered.

## InfoBox

| Operation Candytuft | |
| --- | --- |
| Part of World War II | |
| Date 27 October 1943  Location Ancona and Pescara, Italy  Result British victory | |
| Belligerents | |
| United Kingdom | Italy<br>Germany |
| Casualties and losses | |
| Two captured | |


title: Ooh, Yes I Do

abstract: "Ooh, Yes I Do" is the ninth single by the Dutch girl group Luv', released in the autumn of 1979 by CNR/Carrere Records. The song appears on the group's 1979 third studio album True Luv'. It was a hit in Benelux, Denmark, France, Germany and Austria. The Spanish version of the record turned gold in Mexico.

text:
# Ooh, Yes I Do

**"Ooh, Yes I Do"** is the ninth single by the Dutch girl group Luv', released in the autumn of 1979 by CNR/Carrere Records. The song appears on the group's 1979 third studio album True Luv'. It was a hit in Benelux, Denmark, France, Germany and Austria. The Spanish version of the record turned gold in Mexico.

## Background

In the summer of 1979, Luv' and their producers and songwriters (Hans van Hemert and Piet Souer) decided to leave Philips/Phonogram Records (which had released the group's records for two years). José Hoebee, Patty Brard, Marga Scheide and their team signed a 750,000 Dutch Guilder contract with CNR affiliated to Carrere Records on October 7, 1979. With this new deal, Luv's challenge was to prove that after one year and a half of mainstream success, the trio could still score hit records in the music charts. The formation's first single released by Carrere was "Ooh, Yes I Do", a track composed and produced by Van Hemert. The song used a melody inspired by the flute theme of ABBA's "Gimme! Gimme! Gimme! (A Man After Midnight)" (1979). It became an instant hit. A Spanish version (entitled "Si, Que Si") was recorded for the Latin American market and reached gold status in Mexico.

In 2021, DJ WR (Wouter Reinders) and DJ BarFeet (Maarten Bervoets) posted the uptempo remixes of "Ooh, Yes I Do" and "Si, Que Si" on their YesterMix's YouTube channel.

## Commercial performance

**Ooh Yes I Do** was a Top 5 hit in Denmark and the Netherlands, a Top 10 record in Belgium and France, a Top 20 single in Austria and a Top 30 song in Germany.

The single sold 200.000 copies in France.

## Track listing and release

CNR/Carrere licensed the rights for Luv's records to various labels worldwide.

**7" Vinyl**

* a. "Ooh, Yes I Do"
* b. "My Guy"

| Countries | Year | Label | Catalog |
| --- | --- | --- | --- |
| Netherlands | 1979 | CNR/Carrere Records | 49.565 |
| Germany/Austria | 1979 | Carrere Records | 2044165 |
| France | 1979 | Carrere Records | 49.565 |
| Scandinavia | 1979 | EMI/Carrere Records | 49.565 |
| Spain | 1979 | Carrere Records | Car 0012 |
| Italy | 1979 | RCA Records | PB 6459 |
| Mexico | 1979 | Discos Musart | 30603 |
| South Africa | 1979 | Moonshine Records |  |

## Cover versions

* In 1980, Franz Lambert covered the song for the German compilation "Pop-Orgel Hit-Parade 6".
* In 2006, Dutch drag queen Lola recorded a version of "Ooh, Yes I Do".

## Charts and certification

### Weekly charts

| Chart (1979–1980) | Peak
position |
| --- | --- |
| Europarade (currently Eurochart Hot 100 Singles) | 10 |
| Netherlands (Dutch Top 40) | 5 |
| Netherlands (Nationale Hitparade (currently Single Top 100) | 4 |
| Belgium/Flanders (BRT Top 30) | 5 |
| Belgium/Flanders (Ultratop) | 7 |
| Germany (Media Control Charts/Musikmarkt) | 27 |
| Austria (Ö3 Hitparade) | 13 |
| Denmark (BT Hitlisten) | 2 |
| France (SNEP chart) | 10 |

### Year-end charts

| Chart (1979–1980) | Position |
| --- | --- |
| Netherlands (Nationale Hitparade) 1979 | 70 |
| Netherlands (Dutch Top 40) 1979 | 84 |
| Netherlands (Dutch Top 40) 1980 | 198 |
| Belgium/Flanders (Ultratop) 1979 | 91 |
| Germany (Media Control Charts/Musikmarkt) 1980 | 101 |

## Certification

"Si,que si", the Spanish version of "Ooh, Yes I Do", turned gold in Mexico in May 1980.

## InfoBox

| "**Ooh, Yes I Do**" | |
| --- | --- |
|  | |
| Single by Luv' | |
| from the album  *True Luv'* | |
| B-side | "My Guy" |
| Released | November 1979 |
| Recorded | 1979 |
| Genre | Pop |
| Length | 2:58 |
| Label | CNR/Carrere Records (Benelux, France, Spain, German speaking countries)
EMI (Scandinavia)
RCA Records (Italy)
Discos Musart (Mexico)
Moonshine records (South Africa) |
| Songwriter(s) | Hans van Hemert |
| Producer(s) | Hans van Hemert |
| Luv' singles chronology | |
| "Eeny Meeny Miny Moe"
(1979) "'***Ooh, Yes I Do'***"
(1979) "Ann-Maria"
(1980) | |


title: Christoph Bernstiel

abstract: Christoph Bernstiel is a German politician in the Christian Democratic Union (CDU) who served as a member of the German Bundestag from 2017 to 2021. In addition, he has served on the Halle (Saale) municipal council since 2014.

text:
# Christoph Bernstiel

**Christoph Bernstiel** (born 8 February 1984 in Bernburg, Bezirk Halle) is a German politician in the Christian Democratic Union (CDU) who served as a member of the German Bundestag from 2017 to 2021. In addition, he has served on the Halle (Saale) municipal council since 2014.

## Education and early career

Bernstiel studied political science and sociology at the Martin Luther University of Halle-Wittenberg until 2010 graduating with a Magister Artium. From 2010 to 2017, he worked at the multimedia centre Mitteldeutsches Multimediazentrum Halle (Saale), initially as PR officer and later as head of communications.

While working, Bernstiel took a compact study course at the German Press Academy (depak) from 2010 to 2012, graduating with a degree in communication management. In 2012, he founded the company KOBE PR. He has been a certified PR consultant since 2013, certified by the testing and certification organisation of the German communications industry PZOK.

## Political career

### Early beginnings

Bernstiel joined the CDU and the Junge Union (JU), the youth section of the CDU, in 2005. In 2006, he became a member of the RCDS, the German Association of Christian Democratic Students. Bernstiel was elected chairman of the Bernburg county branch of the JU from 2006 to 2007 and, following administrative reform, chairman of the Salzland county branch of the JU from 2007 to 2011. From 2009 to 2011, he was commissioner for social policy in the federal executive of the JU. Bernstiel served as chairman of the North Halle (Saale) local branch of the CDU from 2013 to 2019. He has been on the Halle (Saale) municipal council since 2014 and, since 2017, Member of the Bundestag for Halle (Saale), Kabelsketal, Landsberg, and Petersberg after previously defeating several competitors within his own party. Since 2019 Bernstiel is head of the specialised committee on federal and European affairs of the Saxony-Anhalt CDU.

### Member of the Bundestag

On 24 September 2017, Bernstiel was elected to the German Bundestag as a direct candidate with 27.1% of all first votes in the Halle constituency and northern Saale district going to the CDU. In parliament, he served on the Committee on Internal Affairs and Community and was a substitute member of the Study Commission "Artificial Intelligence – Social Responsibility and Economic, Social and Ecological Potential".

He was also a substitute member of the Committee on Cultural and Media Affairs and the Committee on Family Affairs, Senior Citizens, Women and Youth. He was further a member of the working groups of the CDU/CSU parliamentary group on the economic development of the Eastern part of Germany, municipal policy, and young Members as well as a member of the SME Circle in the German Bundestag.

In addition, Bernstiel was a member of the German-Nordic, German-Japanese and German-Baltic parliamentary friendship groups. He also served as deputy chair of the Bundestag group of CDU parliamentarians from Saxony-Anhalt, a member of the board of trustees of the Foundation for the Study of the SED Dictatorship and substitute member of the board of trustees of the Federal Agency for Civic Education.

In the field of internal affairs, Bernstiel's key areas are IT security and cybersecurity and political extremism. Since early 2019, this also includes the critical review of security issues in building up the 5G network in Germany. His work focuses on securing the technological sovereignty of Germany and preventing the country from becoming dependent on individual manufacturers.

He is working to keep the participation of Chinese companies in the expansion of the 5G mobile network as low as possible to prevent manipulation or intervention in the national security of Germany.

Bernstiel also takes an active role against any form of extremism and politically motivated crime. Alongside these key areas, Bernstiel also works on the topics of counterintelligence, international police missions, and the digital radio network for German security authorities and organizations. In the new allocation of frequencies, Bernstiel is working to ensure that security authorities and not the energy industry are allotted the 450 MHz band.

### Career in local politics

Christoph Bernstiel was elected to the municipal council of Halle (Saale) in 2014. He was a member of the committee on planning affairs and the committee on human resources development until 2018. He is currently a member of the committee on order and environmental affairs and deputy chair of the committee on urban development. On 26 May 2019, Bernstiel was re-elected to the municipal council.

## InfoBox

| Christoph Bernstiel | |
| --- | --- |
|  | |
|  | |
| Member of the Bundestag for Halle | |
| **In office**
20172021 | |
|  | |
| Personal details | |
| Born | (1984-02-08) 8 February 1984
Bernburg, Bezirk Halle, East Germany
(now Germany) |
| Citizenship | German |
| Political party | CDU |
| Occupation | Politician |
|  | |


abstract: Pueyrredón is a station on Line D of the Buenos Aires Underground. The station will have combinations with Line H at Santa Fe. The station was opened on 23 February 1940 as part of the extension of Line D from Tribunales to Palermo.

text:
# Pueyrredón (Line D Buenos Aires Underground)

**Pueyrredón** is a station on Line D of the Buenos Aires Underground. The station will have combinations with Line H at Santa Fe.

The station was opened on 23 February 1940 as part of the extension of Line D from Tribunales to Palermo.

## Nearby

Media related to Pueyrredón (Line D Buenos Aires Underground) at Wikimedia Commons

## InfoBox

| Pueyrredón | |
| --- | --- |
|  | |
| General information | |
| Location | Av. Santa Fe and Av. Pueyrredón |
| Coordinates | 34°35′39.9″S 58°24′9.1″W / 34.594417°S 58.402528°W / -34.594417; -58.402528 |
| Platforms | Island platforms |
| History | |
| Opened | 23 February 1940 |
|  | |
| Services | |
| Preceding station  Buenos Aires Underground Following station  Agüerotowards Congreso de Tucumán  Line D*Transfer to:  Santa Fe*  Facultad de Medicinatowards Catedral | |
|  | |
|  | |
|  | |


title: Džejla Glavović

abstract: Džejla Glavović is a Bosnian fashion model and beauty queen. She was crowned in the Philippines as the second Miss Earth representing her country Bosnia and Herzegovina and became the first Bosnian woman to win a major international title in beauty contest.

text:
# Džejla Glavović

**Džejla Glavović** (Bosnian: Џејла Главовић) is a Bosnian fashion model and beauty queen. She was crowned in the Philippines as the second Miss Earth representing her country Bosnia and Herzegovina and became the first Bosnian woman to win a major international title in beauty contest.

## Miss Earth 2002

Glavović won the second edition of Miss Earth. She placed the highest score in the interview round and at the conclusion of the second edition of Miss Earth pageant, she was crowned Miss Earth 2002 by the outgoing titleholder Catharina Svensson of Denmark, which was held in Quezon City, Philippines on 20 October 2002.

She was the first delegate from her country, Bosnia and Herzegovina, to win a title from one of the four major international beauty pageants namely: Miss Earth, Miss International, Miss Universe, and Miss World.

Aside from winning the Miss Earth 2002 title, Glavović also won the Miss Talent special award.

## Dethronement

Džejla was dethroned on 28 May 2003. This came in the same year when another pageant winner, Miss Universe's Oxana Fedorova was dethroned. The reason given for her dethronement from Carousel Productions, the pageant organizer, claimed she failed to fulfill her duties. Kenyan Winfred Omwakwe took over the position of Miss Earth 2002.

## InfoBox

| Džejla Glavović | |
| --- | --- |
| Born | Džejla Glavović
1983 (age 4041) |
| Height | 1.80 m (5 ft 11 in) |
| **Beauty pageant titleholder** | |
| Major
competition(s) | Miss Earth 2002
(Winner; Dethroned) |
|  | |


title: David Rea (musician)

abstract: David Rea was an American folk guitarist, singer, composer and songwriter. He played with many of the famous names of modern folk music and folk rock, such as Gordon Lightfoot, Joni Mitchell, Richie Havens, Judy Collins, Ian and Sylvia, Fairport Convention, The New Riders of the Purple Sage and Michal Hasek. He said he learned his finger picking style from Reverend Gary Davis who spent the last years of his life in Montreal. He was friends with Felix Pappalardi who produced Rea's best known album, Maverick Child. His song writing includes co-writing the hit song "Mississippi Queen". He wrote a radio opera Emperor for the Canadian Broadcasting Corporation. He won the Gabriel Award for Excellence in Broadcasting for a three-part series David Rea's Robert Johnson, about the blues singer Robert Johnson. Rea’s parents owned a cottage on the Upper French River, where David would enjoy summers along with his brother Jim and sister Betsy, and their two Dalmatian dogs. David played banjo and guitar. occasionally entertaining other cottagers. David made a connection in Toronto and often played at the Riverboat nightclub where he met Ian and Sylvia and Gordon Lightfoot - both of whom he would record with.

text:
# David Rea (musician)

**David Rea** (pronounced "ray") (October 26, 1946 in Akron, Ohio  October 27, 2011 in Portland, Oregon, United States) was an American folk guitarist, singer, composer and songwriter. He played with many of the famous names of modern folk music and folk rock, such as Gordon Lightfoot, Joni Mitchell, Richie Havens, Judy Collins, Ian and Sylvia, Fairport Convention, The New Riders of the Purple Sage and Michal Hasek. He said he learned his finger picking style (known as the Travis pick or alternate bass independent thumb picking) from Reverend Gary Davis who spent the last years of his life in Montreal. He was friends with Felix Pappalardi who produced Rea's best known album, *Maverick Child*. His song writing includes co-writing the hit song "Mississippi Queen". He wrote a radio opera *Emperor* for the Canadian Broadcasting Corporation. He won the Gabriel Award for Excellence in Broadcasting for a three-part series *David Rea's Robert Johnson*, about the blues singer Robert Johnson.

Rea’s parents owned a cottage on the Upper French River, where David would enjoy summers along with his brother Jim and sister Betsy, and their two Dalmatian dogs. David played banjo and guitar. occasionally entertaining other cottagers. David made a connection in Toronto and often played at the Riverboat nightclub where he met Ian and Sylvia and Gordon Lightfoot - both of whom he would record with.


title: Sabrana dela

abstract: Sabrana dela is a 7 piece box set from the Serbian and Yugoslav hard rock band Kerber, released in 2009. Sabrana dela features remastered versions of all six studio albums released by the band, and the previously unreleased track "Sveti Nikola" on the seventh disc.

text:
# Sabrana dela

***Sabrana dela*** (trans. *Collected Works*) is a 7 piece box set from the Serbian and Yugoslav hard rock band Kerber, released in 2009. *Sabrana dela* features remastered versions of all six studio albums released by the band, and the previously unreleased track "Sveti Nikola" on the seventh disc.

## Track listing

### *Nebo je malo za sve*

All tracks are written by Kerber

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Mezimac" ("Minion") | 3:35 |
| 2. | "Heroji od staniola" ("Tin Foil Heroes") | 4:20 |
| 3. | "Sutrašnji dan" ("Tomorrow's Day") | 5:50 |
| 4. | "Samo ti (Svemu si lek)" ("Only You (Heal Everything)") | 3:50 |
| 5. | "Bele utvare" ("White Apparitions") | 4:10 |
| 6. | "Nebo je malo za sve" ("The Sky Is Not Big Enough for All") | 3:50 |
| 7. | "Kao tvoj Kerber" ("Like Your Cerberus") | 3:15 |
| 8. | "Tvoja pesma" ("Your Song") | 4:20 |

### *Ratne igre*

All music is composed by Kerber

| No. | Title | Lyrics | Length |
| --- | --- | --- | --- |
| 1. | "Ratne igre" ("War Games") | Kerber | 3:36 |
| 2. | "Babaroga" ("Babaroga") | Duško Arsenijević | 3:33 |
| 3. | "Mesečar" ("Sleepwalker") | Kerber | 3:42 |
| 4. | "Zauvek slobodna" ("Forever Free") | Kerber | 4:00 |
| 5. | "Dođi" ("Come") | Kerber | 3:34 |
| 6. | "Hteo bih..." ("I Wish...") | Duško Arsenijević | 3:29 |
| 7. | "Šta ostaje" ("What's Left") |  | 3:57 |
| 8. | "Vreme za uspomene" ("Time for Memories") | Kerber | 3:17 |
| 9. | "Get Me Out" | Gordon Rowley | 4:10 |

### *Seobe*

All music is composed by Kerber

| No. | Title | Lyrics | Length |
| --- | --- | --- | --- |
| 1. | "Bolje da sam druge ljubio" ("I Should Have Kissed Other Girls") | Duško Arsenijević | 3:42 |
| 2. | "Blagi bože, podigni me" ("Dear God, Lift Me Up") | Nikola Čuturilo | 3:43 |
| 3. | "Kad ljubav izda" ("When Love Betrays") |  | 4:15 |
| 4. | "Ne igram ruski rulet" ("I Don't Play Russian Roulette") | Duško Arsenijević | 3:50 |
| 5. | "Još ovu noć mi daj" ("Give Me just This more Night") | Nikola Čuturilo | 5:15 |
| 6. | "Hajde da se volimo" ("Let's Make Love") | Duško Arsenijević | 3:35 |
| 7. | "Čovek od meda" ("Man Made of Honey") | Bora Đorđević | 4:42 |
| 8. | "Sa tobom ne mogu dalje" ("I Can't Go On With You") | Bora Đorđević | 4:42 |
| 9. | "Beli tragovi" ("White Traces") | Duško Arsenijević | 3:15 |
| 10. | "Seobe" ("Migrations") | Duško Arsenijević | 3:46 |

### *Ljudi i bogovi*

All lyrics are written by Duško Arsenijević; all music is composed by Kerber

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Svet se brzo okreće" ("The World Is Turning Fast") | 4:12 |
| 2. | "Od srca daleko" ("Far Away from the Heart") | 4:29 |
| 3. | "Na raskršću" ("At the Crossroads") | 4:49 |
| 4. | "Laže šarene" ("Sweet Little Lies") | 4:31 |
| 5. | "Bliznakinje" ("Twin Girls") | 4:27 |
| 6. | "Između jave i sna" ("Between Reality and Dream") | 4:03 |
| 7. | "Deda, pradeda" ("Grandfather, Great-Grandfather") | 4:12 |
| 8. | "Kad prođe sve" ("When Everything's Over") | 3:43 |
| 9. | "Manifest" ("Manifesto") | 4:03 |

### *Peta strana sveta*

| No. | Title | Lyrics | Music | Length |
| --- | --- | --- | --- | --- |
| 1. | "Mama – Tata" ("Mom – Dad") | Duško Arsenijević | Keber | 3:39 |
| 2. | "Ana" | Duško Arsenijević | Kerber | 3:31 |
| 3. | "Sam" ("Alone") | Duško Arsenjević | Kerber | 4:46 |
| 4. | "Otkad te ne volim" ("Since I've Stopped Loving You") | Duško Arsenijević | Kerber | 4:41 |
| 5. | "Nema ničega iza oblaka" ("There's Nothing Beyond the Clouds") | Duško Arsenijević | Kerber | 3:39 |
| 6. | "Igraj sad" ("Dance Now") | Duško Arsenijević | Kerber | 4:38 |
| 7. | "Nažalost" ("Unfortunately") | Bora Đorđević | Kerber | 3:35 |
| 8. | "Kod Amerikanca" ("At *The American*") | Bora Đorđević | Kerber | 4:01 |
| 9. | "Ljubav je" ("Love Is") | * Bora Đorđević * Duško Arsenijević | Dragoljub Ilić | 4:42 |
| 10. | "Nikad ponovo" ("Never Again") | Duško Arsenijević | Kerber | 3:45 |

### *Zapis*

All lyrics are written by Duško Arsenijević; all music is composed by Kerber

| No. | Title | Length |
| --- | --- | --- |
| 1. | "Medena" ("Honey Girl") | 4:30 |
| 2. | "Sanjam" ("I'm Dreaming") | 4:15 |
| 3. | "Poslednja" ("The Last One") | 4:30 |
| 4. | "Vodi me" ("Take Me") | 6:50 |
| 5. | "Šta mogu pesme" ("What Songs Can Do") | 4:30 |
| 6. | "Čudna stvar" ("Strange Thing") | 4:50 |
| 7. | "Osvani" ("Stay until Dawn") | 5:10 |
| 8. | "Abrakadabra" ("Abracadabra") | 4:50 |
| 9. | "Luka" | 4:20 |
| 10. | "Pronađi mesto" ("Find a Place") | 6:00 |

### *Sveti Nikola*

| No. | Title | Lyrics | Music | Length |
| --- | --- | --- | --- | --- |
| 1. | "Sveti Nikola" | Dejan Perašević | Tomislav Nikolić | 4:10 |

## Credits

* Goran Šepa \- vocals
* Tomislav Nikolić - guitar
* Branislav Božinović - keyboard
* Zoran Žikić - bass guitar
* Zoran Stamenković - drums
* Dragoljub Đuričić \- drums
* Branko Isaković \- bass guitar
* Saša Vasković - bass guitar
* Josip Hartl - drums
* Vladan Stanojević - acoustic guitar
* Goran Đorđević - percussion

## InfoBox

| Sabrana dela | |
| --- | --- |
|  | |
| Box set by Kerber | |
| Released | 2009 |
| Recorded | 1983–1998 |
| Genre |  |
| Length | 4:05:03 |
| Label | PGP-RTS |
| Producer | Various |
| Kerber chronology | |
| *Antologija 1983–1998 II*
(1998) ***Sabrana dela***
(2009) *Unplugged Live Sava Centar*
(2018) | |


title: Emmanuel Church, Aleppo

abstract: Armenian Evangelical Emmanuel Church is an Armenian Evangelical Church in Aleppo, Syria. The church was established in 1852. However, the current building of the church was erected in 1923 and presently serves as the seat of the Armenian Evangelical congregation in Syria, which is a member of the Union of the Armenian Evangelical Churches in the Near East. Emmanuel Church was damaged after being shelled by rebels on 17 January 2016.

text:
# Emmanuel Church, Aleppo

**Armenian Evangelical Emmanuel Church** is an Armenian Evangelical Church in Aleppo, Syria. The church was established in 1852. However, the current building of the church was erected in 1923 and presently serves as the seat of the Armenian Evangelical congregation in Syria, which is a member of the Union of the Armenian Evangelical Churches in the Near East.

Emmanuel Church was damaged after being shelled by rebels on 17 January 2016.

## Pastors

* Adoor Agha Niziblian (1852-1855)
* Rev. Nazar Makanian (1855-1865)
* Rev. Sarkis Sarkissian (1865-1890)\*
* Rev. Garabed Markarian (1865-1890)\*
* Mr. Kevork Kazanjian (1865-1890)\*
* Mr. Garabed Adanalian (1865-1890)\*
* Mr. Krikor Tchoukourian (1865-1890)\*
* Mr. Karekin Kouyoumjian (1865-1890)\*
* Rev. Manouk Missirian (1891-1903)
* Rev. Stepan Tovmassian (1904-1913)
* Rev. Hovhaness Eskijian (1913-1916)
* Visiting pastors and preachers (1917-1923)
* Rev. Garabed Haroutounian (1922-1931)
* Rev. Sisag Manoukian (1931-1932)
* Rev. Siragan Agbabian (1932-1952)
* Rev. Soghomon Nuyujukian (1950-1959)
* Rev. Hovhannes Karjian (1960-1979; asst. 1956-1958)
* Rev. Soghomon Kilaghbian (1980-1995)
* Visiting pastors and preachers (1995-1997)
* Rev. Serop Megerditchian (1997-2015)
* Mr. Samuel Tashjian (2016–2019)

(\*years unknown)

1. Children dead and Armenian Evangelical Church in Aleppo damaged in rocket attacks and bombings in Syria

## InfoBox

| Emmanuel Church | |
| --- | --- |
| Emmanuel Church in 1950 | |
| Religion | |
| Affiliation | Armenian Evangelical Church |
| Year consecrated | 1923 |
| Location | |
| Location | Aleppo, Syria |
| Geographic coordinates | 36°12′28.5″N 37°09′2″E / 36.207917°N 37.15056°E / 36.207917; 37.15056 |
| Architecture | |
| Type | Church |