title: Toyokuni Shrine (Kyoto)

abstract: Toyokuni Shrine is a Shinto shrine located in Higashiyama-ku, Kyoto, Japan. It was built in 1599 to commemorate Toyotomi Hideyoshi. It is the location of the first tamaya ever constructed, which was later destroyed by the Tokugawa clan.

text:
# Toyokuni Shrine (Kyoto)

**Toyokuni Shrine** (豊国神社, *Toyokuni-jinja*) is a Shinto shrine located in Higashiyama-ku, Kyoto, Japan. It was built in 1599 to commemorate Toyotomi Hideyoshi. It is the location of the first *tamaya* (a Shinto altar for ancestor worship) ever constructed, which was later destroyed by the Tokugawa clan.

## History

This shrine is the official tomb and shrine of Toyotomi Hideyoshi, who died on September 18, 1598, in Kyoto.

Nobles, priests, warriors, and townspeople gathered at the shrine to celebrate the anniversary of Hideyoshi's apotheosis with banquets, musical recitals, and boisterous festivity. The shrine was closed by Tokugawa Ieyasu in June 1615 "to discourage these unseemly displays of loyalty to a man he had eclipsed."

The Meiji Emperor directed that the shrine be restored in Keiō 4, the 6th day of the 6th month (April 28, 1868). At that time, the shrine area was expanded slightly by encompassing a small parcel of land which had been part of the adjacent Hōkō-ji.

In 1897, the tercentenary of Hideyoshi was celebrated at this site.

## Architecture

It is generally believed that the *karamon* gate was originally built for Hideyoshi's Fushimi castle in 1598. When the castle was dismantled in 1623, the gate was first moved to Nijō castle, and then to the Konchi-in in Nanzen-ji. It was finally relocated to Toyokuni shrine in 1876 after the Meiji Restoration.

## Designated Cultural Properties

### National Treasures of Japan

### Important Cultural Properties

## InfoBox

| Toyokuni Shrine<br>豊国神社 | |
| --- | --- |
| *Karamon* gate at entrance to Toyokuni Shrine | |
| Religion | |
| Affiliation | Shinto |
| Deity | Toyotomi Hideyoshi |
| Location | |
| Location | 530 Chaya-chō, Shōmen-dōri, Yamato-ōdōri, Higashiyama-ku, Kyōto-shi, Kyōto-fu |
| Shown within Japan | |
| Geographic coordinates | 34°59′29″N 135°46′21″E / 34.99139°N 135.77250°E / 34.99139; 135.77250 |
| Architecture | |
| Date established | 1599 (1599) |
| Glossary of Shinto | |


title: Gasparo Angiolini

abstract:
Gasparo Angiolini, real name Domenico Maria Gasparo, son of Francesco Angiolini and Maria Maddalena Torzi, was an Italian dancer, choreographer and composer. He was born in Florence and died in Milan. He is known thanks to the polemics with the French ballet master Jean-Georges Noverre.
Gasparo Angiolini directed the ballet at the Imperial Theatre in Vienna, taking over the post in 1758, working closely with Christoph Willibald von Gluck on such works as Don Juan ou le Festin de Pierre (1761), and the opera Orfeo ed Euridice (1762). The dancing in both Don Juan and Orpheus were said to have insisted on the "primacy of drama". In addition to collaborating with Gluck, he also composed music for many of his ballets. He later succeeded Franz Hilverding as director of the Imperial Theatre in St. Petersburg, Russia in 1766. Both Hilverding and Angiolini are credited with bringing the pantomime ballet to Russia. Likewise, Angiolini also attempted to introduce elements of Russian culture into his own work through use of songs, folk dances, and Russian themes. In 1772–1773 Angiolini worked in Teatro San Benedetto in Venice. In 1778 he came to Milan to direct the theatre of La Scala. Angiolini was a choreographer interested in the dramatic possibilities of dance. He was also an early spokesman for a sense of Italian nationalism and spoke of the sad state where Germany and Russia were supporting better cultural institutions than was Italy. His wife was a ballerina Marie Thérèse Foliazzi (1733–1792). Giacomo Casanova was in love with her and admits in his memoirs that he stole her portrait. His son Pietro Angiolini was also a dancer and choreographer, his daughter Fortunata Angiolini (1776–1817) and her partner Armand Vestris have danced in Lisbon and London with great success. And Gasparo Angiolini was a ballet teacher of Vincenzo Galeotti.

text:
# Gasparo Angiolini

**Gasparo Angiolini** (7 February 1731 – 6 February 1803), real name **Domenico Maria Gasparo**, son of Francesco Angiolini and Maria Maddalena Torzi, was an Italian dancer, choreographer and composer. He was born in Florence and died in Milan.

He is known thanks to the polemics with the French ballet master Jean-Georges Noverre. Gasparo Angiolini directed the ballet at the Imperial Theatre in Vienna, taking over the post in 1758, working closely with Christoph Willibald von Gluck on such works as *Don Juan ou le Festin de Pierre* (1761), and the opera *Orfeo ed Euridice* (1762). The dancing in both Don Juan and Orpheus were said to have insisted on the "primacy of drama". In addition to collaborating with Gluck, he also composed music for many of his ballets.

He later succeeded Franz Hilverding as director of the Imperial Theatre in St. Petersburg, Russia in 1766. Both Hilverding and Angiolini are credited with bringing the pantomime ballet to Russia. Likewise, Angiolini also attempted to introduce elements of Russian culture into his own work through use of songs, folk dances, and Russian themes.

In 1772–1773 Angiolini worked in Teatro San Benedetto in Venice. In 1778 he came to Milan to direct the theatre of La Scala.

Angiolini was a choreographer interested in the dramatic possibilities of dance. He was also an early spokesman for a sense of Italian nationalism and spoke of the sad state where Germany and Russia were supporting better cultural institutions than was Italy.

His wife was a ballerina Marie Thérèse Foliazzi (1733–1792). Giacomo Casanova was in love with her and admits in his memoirs that he stole her portrait.

His son (or nephew) Pietro Angiolini was also a dancer and choreographer, his daughter Fortunata Angiolini (1776–1817) and her partner Armand Vestris have danced in Lisbon and London with great success.

And Gasparo Angiolini was a ballet teacher of Vincenzo Galeotti.

1. Arianna Béatrice Fabbricatore, La Querelle des Pantomimes : Danse, culture et société dans l’Europe des Lumières, Rennes, Presses universitaires de Rennes, coll. « Le Spectaculaire Arts de la scène », 2017 (471p.).
2. Arianna Béatrice Fabbricatore, « Gasparo Angiolini et la réforme morale de la danse italienne » in Danse et morale « European Drama and Performance Studies », n. 8, Paris, Classiques Garnier, 2017, p. 143-162.
* "Angiolini, Gasparo." Encyclopædia Britannica. 2007. Encyclopædia Britannica Online. Retrieved 23 Jan. 2007.
* Christopher Duggan. *The Force of Destiny: A History of Italy Since 1796*. (Boston: Houghton Mifflin Company, 2008) p. 4–5.
* Au, Susan. Ballet and Modern Dance, Second Edition. 2002. London: Thames and Hudson. Pages 34,36,38,61.

## InfoBox

| Gasparo Angiolini | |
| --- | --- |
| Born | Domenico Maria Angiolo Gasparini
(1731-02-09)9 February 1731
Florence, Italy |
| Died | 6 February 1803(1803-02-06) (aged 71)
Milan, Italy |
| Nationality | Italian |
| Occupation(s) | Dancer, choreographer and composer |
| Spouse | Marie Thérèse Foliazzi |
| Children | 2 |


title: Metropolitan Block (Lima, Ohio)

abstract: The Metropolitan Block is a historic commercial building along North Main Street in downtown Lima, Ohio, United States. Built in 1890 at the middle of Lima's petroleum boom, it is historically significant as a well-preserved example of Romanesque Revival architecture.

text:
# Metropolitan Block (Lima, Ohio)

The **Metropolitan Block** is a historic commercial building along North Main Street in downtown Lima, Ohio, United States. Built in 1890 at the middle of Lima's petroleum boom, it is historically significant as a well-preserved example of Romanesque Revival architecture.

## Architecture

The Metropolitan Block is a five-story building constructed in a Victorian version of the Romanesque Revival style. Built primarily of brick, the block includes many stone details throughout its exterior, supporting elements of cast iron on the first floor, and the original glass windows of its storefronts. Among the building's decorative elements are transom windows of lavender-colored glass above the entrances, awnings of canvas covering the sidewalks around the building, and turrets at the top of the facade.

Many elaborate buildings were constructed in downtown Lima during the oil boom of the 1880s and 1890s, including the adjacent Renz Block and many buildings on South Main Street; however, the Metropolitan Block is the only major building of the period not to have been significantly modified.

During the early twentieth century, the establishment of Standard Oil offices in Lima and the increasing size of the Lima Locomotive Works led to the construction of more ornate buildings in the city's downtown. Among these structures were the Elks Lodge and Ohio Theatre, located less than one city block away on North Street.

## Recognition

In 1979, the Metropolitan Block was added to the National Register of Historic Places in recognition of its unusually well-preserved architecture. A remaining portion of the Miami and Erie Canal and four Lima buildings, including the Allen County Courthouse across Main Street from the Metropolitan Block, had previously been listed on the National Register. In 1982, nearly twenty other buildings in the city were added to the National Register as part of the "Lima Multiple Resource Area," a group of architecturally-significant buildings in the city's downtown. Among the buildings included in this collection were the Renz Block, the Ohio Theatre, the Elks Lodge, and several buildings on the nearby Public Square.

## InfoBox

|  | |
| --- | --- |
| Metropolitan Block | |
| U.S. National Register of Historic Places | |
|  | |
| Front and side of the block | |
|  | |
| Location | 300 N. Main St., Lima, Ohio |
| Coordinates | 40°44′34″N 84°6′16″W / 40.74278°N 84.10444°W / 40.74278; -84.10444 |
| Area | less than one acre |
| Built | 1890 |
| Architectural style | Romanesque Revival |
| NRHP reference No. | 79001780 |
| Added to NRHP | November 29, 1979 |


title: Trakai Peninsula Castle

abstract: Trakai Peninsula Castle is one of the castles in Trakai, Lithuania. It is located on a peninsula between southern Lake Galvė and Lake Luka. Built around 1350–1377 by Kęstutis, Duke of Trakai, it was an important defensive structure protecting Trakai and Vilnius, capital of the Grand Duchy of Lithuania, against attacks of the Teutonic Knights. Much of the castle was destroyed in the 17th century. Remaining walls and towers are preserved and protected by the Trakai Historical National Park. The castle had seven towers connected by a 10 m (33 ft) high wall. The three largest towers, measuring 15 m × 15 m, protected the most vulnerable southwestern flank. A 12–14 m (39–46 ft) wide moat separated the structure from the town. The castle was attacked in 1382 and 1383 and in 1390. After the 1422 Treaty of Melno, the castle lost its significance as a defensive structure. It is known that Grand Dukes used it as a residence. Sigismund Kęstutaitis was murdered in the castle on 20 March 1440. In the 16th century the castle was used as a prison. It was destroyed during the Russo-Polish War (1654–1667) and never rebuilt. The territory was granted to a Dominican cloister in 1678 by Marcjan Aleksander Ogiński, Voivode of Trakai. It was not until the 1770s that the monks eventually built their monastery and church; these buildings are also part of the castle ensemble.

text:
# Trakai Peninsula Castle

**Trakai Peninsula Castle** is one of the castles in Trakai, Lithuania. It is located on a peninsula between southern Lake Galvė and Lake Luka. Built around 1350–1377 by Kęstutis, Duke of Trakai, it was an important defensive structure protecting Trakai and Vilnius, capital of the Grand Duchy of Lithuania, against attacks of the Teutonic Knights. Much of the castle was destroyed in the 17th century. Remaining walls and towers are preserved and protected by the Trakai Historical National Park.

The castle had seven towers connected by a 10 m (33 ft) high wall. The three largest towers, measuring 15 m × 15 m (49 ft × 49 ft), protected the most vulnerable southwestern flank. A 12–14 m (39–46 ft) wide moat separated the structure from the town. The castle was attacked in 1382 and 1383 (during the civil war of 1381–1384) and in 1390 (during the civil war of 1389–1392). After the 1422 Treaty of Melno, the castle lost its significance as a defensive structure. It is known that Grand Dukes used it as a residence. Sigismund Kęstutaitis was murdered in the castle on 20 March 1440.

In the 16th century the castle was used as a prison. It was destroyed during the Russo-Polish War (1654–1667) and never rebuilt. The territory was granted to a Dominican cloister in 1678 by Marcjan Aleksander Ogiński, Voivode of Trakai. It was not until the 1770s that the monks eventually built their monastery and church; these buildings are also part of the castle ensemble.

Trakai Peninsula Castle panorama from the eastern side

54°38′46″N 24°56′13″E / 54.646°N 24.937°E / 54.646; 24.937


title: MetroBus (St. Louis)

abstract: MetroBus is a public bus service operated by Metro Transit that serves the Greater St. Louis area. In 2023, the service had an annual ridership of 12,531,400, or about 41,400 per weekday as of the second quarter of 2024.

text:
# MetroBus (St. Louis)

**MetroBus** is a public bus service operated by Metro Transit that serves the Greater St. Louis area. In 2023, the service had an annual ridership of 12,531,400, or about 41,400 per weekday as of the second quarter of 2024.

## Service

MetroBus currently operates 59 fixed bus routes in a shared fare system with the MetroLink light rail service. Of its 59 bus routes, 46 of them operate in St. Louis City and County in Missouri with 13 routes in St. Clair County, Illinois. In September 2019, as part of Metro Reimagined, Metro restructured Missouri bus routes to add increased frequency on busy routes but discontinued six low ridership routes. That same year, Metro also removed or relocated more than 360 of the system's 5,400 bus stops.

In June 2021, Metro introduced the region's first electric buses including 40-foot and 60-foot articulated models. The 60-foot articulated buses are used exclusively on the #70 Grand bus line, the region's busiest.

Beginning with the COVID-19 pandemic in 2020, MetroBus has seen a sharp decline in ridership and it's estimated that full recovery could take several years. In addition, ongoing labor shortages have reduced Metro's ability to offer comprehensive service to its riders. In June 2023, weekend service was reduced on 26 routes and suspended on 4 others. In an effort to recruit more drivers, Bi-State's board signed a contract in August 2023 with Amalgamated Transit Union Local 788, which approved a salary increase for each of the next two fiscal years and a $5,000 signing bonus. However, recruitment remains low and Metro slashed the number of full-time bus driver slots in its 2024 budget by 21%, from 811 to 635.

In 2024, after several successful hiring events, Metro increased frequency on 17 bus routes in Missouri as part of its January service adjustment. At the time of the adjustment, driver ranks had increased to 618, up from 556 in November 2023. As part of its June service adjustment, Metro increased frequency on 15 MetroBus routes and relaunched evening service on four routes. As of June 4, Metro had 628 bus drivers, up from 618 in January. 628 drivers is just below the 635 positions budgeted for 2024.

## Routes

### Missouri

|
|  |
| Missouri Bus Routes | | |
| No. | Name | Notes |
| **1** | Gold | Route operates between the Central West End and Mallinckrodt transit centers. This route was originally operated by Washington University as a shuttle service between their medical and Hilltop campuses. Operations were handed over to Metro in 2006. |
| **2** | Red | Route operates between the Rock Road and Brentwood I-64 transit centers. Intermediate stops include the Delmar Loop, Skinker and Mallinckrodt transit centers. This route was originally operated by Washington University as a shuttle service between their campuses and other locations. Operations were handed over to Metro in 2006. |
| **4** | Natural Bridge | Route operates primarily along Natural Bridge Avenue between the North Hanley and Civic Center transit centers with an intermediate stop at UMSL–South. |
| **5** | Green | Route operated as part of a contract with Washington University. It begins and ends at the Mallinckrodt Transit Center with intermediate stops at the Skinker and University City–Big Bend MetroLink stations. |
| **8** | Shaw Cherokee | Route operates between the Central West End and Catalan transit centers. Generally follows Taylor, Chouteau, Tower Grove, Shaw, Grand Boulevard, Cherokee, Jefferson, and South Broadway. |
| **9** | Oakville | Route operates between the Shrewsbury Transit Center and Telegraph and Baumgartner in Oakville. Generally follows River de Peres Boulevard, Germania/Marceau, Broadway, and Telegraph. Jefferson Baracks is an intermediate destination. |
| **10** | Gravois Lindell | Route operates between the Central West End and Gravois–Hampton transit centers. The northern half of the route generally follows Olive/Lindell to the Civic Center Transit Center while the southern half follows Gravois to Hampton. |
| **11** | Chippewa | Route operates between the Civic Center and Shrewsbury transit centers. Generally follows Chouteau, South Jefferson, Chippewa, and Lansdowne. |
| **13** | Union | Route operates along Taylor, Lindell, and Union between the Central West End Transit Center and Union and West Florissant in North St. Louis. |
| **16** | City Limits | Route operates between the Riverview and Shrewsbury transit centers. Generally follows Jennings Station Road, Skinker/Kienlen, Jamieson Avenue and Lansdowne Avenue. |
| **18** | Taylor | Route operates along Taylor, Newstead, and Pope between the Central West End Transit Center and O'Fallon Park. |
| **19** | St. Louis Ave | Route operates between the Civic Center and Rock Road transit centers. Generally follows Tucker Boulevard, 13th Street, St. Louis Avenue, and St. Charles Rock Road. |
| **21** | Watson Road | Route operates between the Shrewsbury Transit Center and St. Louis Community College–Meramec. Generally follows Watson Road, Kirkwood Road (Lindbergh Boulevard) and Big Bend Boulevard. |
| **30** | Arsenal | Route operates between the Civic Center and Shrewsbury transit centers. Generally follows Chouteau, South Broadway, Arsenal, Watson, and Chippewa. Does not service the National Geospatial–Intelligence Agency during snow events. |
| **31** | Chouteau | Route operates between the Civic Center Transit Center and the Maplewood Commons shopping center. Generally follows Chouteau and Manchester to Hanley Road. Makes an intermediate stop at the Maplewood–Manchester Transit Center. |
| **32** | M.L. King | Route operates between the Civic Center and Rock Road transit centers. Generally follows 14th Street, Olive Street, Tucker Boulevard, Cole Street, Cass Avenue, and Dr. Martin Luther King Drive. |
| **33** | Midland | Route operates along Dorsett and Midland roads between the Clayton Transit Center and Westport Plaza. |
| **34** | Earth City | Route operates along Interstate 70 and Route 141 (Earth City Expressway) between the North Hanley Transit Center and the Riverport business parks. |
| **35** | Rock Road | Route operates along St. Charles Rock Road between the Rock Road Transit Center and DePaul Medical Center. |
| **40** | North Broadway | Route operates primarily along Broadway north of Olive Street between the Riverview and Civic Center transit centers. In downtown St. Louis, the route is coupled on Locust and Olive streets between 14th Street and Broadway. |
| **41** | Lee | Route operates primarily along Riverview Boulevard, Lee Avenue, and 20th Street between the Riverview and Civic Center transit centers. During snow events the route changes to West Florissant Avenue and Union Boulevard. |
| **42** | Sarah | Route operates primarily along Sarah Street in North St. Louis between the Central West Transit Center and O'Fallon Park. |
| **47** | Hanley | Route operates primarily along Hanley Road between the Clayton and North Hanley transit centers. In downtown Clayton the route is coupled on Central and Meramec avenues serving the St. Louis County Government complex. |
| **49** | Lindbergh | Route operates between the North Hanley Transit Center and South County Mall. Generally follows Lindbergh Boulevard and Natural Bridge Avenue. |
| **56** | Kirkwood-Webster | Route operates between the Shrewsbury Transit Center and St. Louis Community College–Meramec. Generally follows Big Bend Boulevard, Berry Road, and Lockwood Avenue. |
| **57** | Manchester | Route operates primarily along Manchester Road between the Maplewood Transit Center and Wildwood Town Center. Limited service is provided to St. Louis Community College–Wildwood. |
| **58** | Chesterfield Valley | Route operates between the Clayton Transit Center and the Chesterfield Valley. Generally follows Interstate 64 with intermediate stops at the Ballas Transit Center, Missouri Baptist Medical Center, and Chesterfield shopping centers. |
| **59** | Oakland | Route operates between the Central West End Transit Center and Highland Terrace at St. Mary's Hospital. Generally follows Oakland and Clayton avenues. |
| **60** | Shepley-Lilac | Route begins at the Riverview Transit Center and operates primarily along Chambers Road and Lilac Avenue serving destinations in Glasgow Village. |
| **61** | Chambers | Route operates between the North Hanley and Riverview transit centers. Generally follows Hanley Road, Airport/Chambers Road, and Bellefontaine Road. |
| **64** | Lucas Hunt | Route operates primarily along Lucas-Hunt and Halls Ferry roads between the Rock Road and Riverview transit centers. |
| **70** | Grand | Route operates almost entirely along Grand Boulevard between the North Broadway Transit Center and Loughborough Commons. This is Metro's busiest bus route and is operated with 60-foot, battery electric articulated buses. |
| **73** | Carondelet | Route operates between the Civic Center Transit Center and South County Mall. Generally follows 12th Street, South Broadway, Virginia and Michigan avenues, and Lemay Ferry Road. |
| **74** | Florissant | Route operates primarily along West and North Florissant avenues between the North County and Civic Center transit centers. Limited service is provided to St. Louis Community College–Florissant Valley. |
| **76** | McDonnell-Waterford | Route operates between the North County and North Hanley transit centers. Serves the Boeing campus near St. Louis Lambert International Airport and other industrial parks in North County. |
| **77** | Village Square | Route operates primarily along Hanley Road, Dunn Road, Lindbergh Boulevard, and New Halls Ferry Road between the North County and North Hanley transit centers. |
| **78** | Bellefontaine | Route operates between the North County and Riverview transit centers. Generally follows New Halls Ferry Road, Parker Road, and Bellefontaine Road and serves Christian Hospital Northeast and the National Personnel Records Center. |
| **79** | Ferguson | Route operates primarily on Florissant Road, Dunn Road, and Pershall Road between the North Hanley and North County transit centers. |
| **90** | Hampton | Route operates primarily on Goodfellow Boulevard and DeBaliviere Avenue in North St. Louis and Hampton Avenue and Germania/Marceau avenues In South St. Louis. This route also serves attractions in Forest Park. |
| **91** | Olive | Route operates along Olive Boulevard between the Delmar Transit Center and Chesterfield Village. |
| **94** | Page | Route operates along Page between the Civic Center Transit Center and Westport Plaza. Intermediate stops include the Wellston Transit Center. |
| **95** | Kingshighway | Route operates primarily along Kingshighway Boulevard between the North Broadway and Gravois–Hampton transit centers. Intermediate stops include the Central West End Transit Center and Barnes-Jewish Hospital. |
| **97** | Delmar | Route operates primarily along Delmar Boulevard between the Civic Center and Clayton transit centers with an intermediate stop at the Delmar Loop Transit Center. |
| **98** | Ballas-North Hanley | Route operates between the North Hanley and Ballas transit centers. Generally follows New Ballas Road where it serves both Mercy and Missouri Baptist medical centers and then continues along interstates 270 and 70. |
| **100** | Hazelwood | Route operates between the North Hanley Transit Center and several business and industrial parks around Hazelwood. Rush hour service includes DePaul Medical Center. |
| **174X** | North Express | Route operates primarily along Halls Ferry and North Broadway between the North County and North Broadway transit centers. |
|

### Illinois

|
|  |
| Illinois Bus Routes | | |
| No. | Name | Notes |
| **1** | Main Street – State Street | Route operates primarily along State and Main streets between the 5th & Missouri and Belleville transit centers. Intermediate stops include the Fairview Heights Transit Center and downtown Belleville. |
| **2** | Cahokia Heights | Route operates between the 5th & Missouri Transit Center and Cahokia Heights. Generally follows Mississippi Avenue, Falling Springs Road, and Camp Jackson Road. Intermediate stops include the St. Louis Downtown Airport and Cahokia High School. |
| **3** | Sauget – Water Street | Route operates primarily along Mississippi Avenue and Water Street between the 5th & Missouri Transit Center and Prairie Du Pont. Intermediate stops include Sauget Business Park. |
| **4** | 19th & Central | Route operates from the 5th & Missouri Transit Center to 19th and Wilford. Generally follows Broadway, Bond Avenue, 19th Street, Wilford Avenue, and 17th Street. |
| **5** | Missouri Avenue – ML King | Route operates from the 5th & Missouri Transit Center and serves locations in central East St. Louis. Generally follows Missouri and St. Louis avenues. |
| **6** | Rosemont | Route operates between the Emerson Park and Fairview Heights transit centers. Intermediate stops include the Jackie Joyner-Kersee Center and Washington Park MetroLink stations. |
| **8** | Alta Sita | Route operates between the Emerson Park Transit Center and Cahokia Village. Generally follows 25th Street, Bond Avenue, and Route 157. |
| **9** | Washington Park | Route operates between the Emerson Park and Washington Park transit centers. Intermediate stops include the Jackie Joyner-Kersee Center MetroLink station. |
| **12** | O'Fallon – Fairview Heights | Route operates between the Fairview Heights and Shiloh-Scott transit centers. Serves various locations in O'Fallon including St. Clair Square. |
| **13** | Caseyville | Route operates between the Fairview Heights Transit Center and Collinsville. Generally follows Main Street and Morrison Avenue. |
| **14** | Memorial Hospital – Westfield Plaza | Route operates between the Memorial Hospital Transit Center and 74th Street at Westchester. Intermediate stops include Memorial Hospital, Country Club Plaza, and Westfield Plaza. |
| **15** | Belleville – Shiloh – O'Fallon | Route operates between the Belleville Transit Center and downtown O'Fallon. Intermediate stops include Green Mount Crossing and Memorial Hospital. |
| **16** | St. Clair Square | Route operates between the College Transit Center and downtown Collinsville. Generally follows Route 159 with intermediate stops at the Belleville and Swansea transit centers and St. Clair Square. |
|

## Fares

MetroBus operates in a shared fare system with the MetroLink light rail service. When boarding, riders with valid passes present them to the operator. Riders without passes are able to pay exact change into the onboard farebox.

Metro also accepts some fares from Madison County Transit (MCT) on its services. MCT's 2-hour regional pass is accepted as full fare on MetroBus and its senior/ADA passes qualify as reduced fare on Metro services. In addition, Metro's 2-hour pass/transfer is valid for a single bus trip on MCT with no additional charge.

Residents called to jury duty in Metro's service area may travel on MetroBus free of charge.

| MetroBus Fare Structure | | |
| --- | --- | --- |
| Metro Fare Type | Mode | Current Fare |
| Cash Base Fare | Bus | $1.00 |
| Cash (Reduced Fare)\* | Bus | $0.50 |
| 2-Hour Pass/Transfer | Bus/Rail | $3.00 |
| 2-Hour Pass/Transfer (Reduced Fare)\* | Bus/Rail | $1.50 |
| 2-Hour Pass (from Lambert Airport) | Bus/Rail | $4.00 |
| (10) 2-Hour Passes | Bus/Rail | $30.00 |
| One-Day Adventure Pass | Bus/Rail | $5.00 |
| Weekly Pass | Bus/Rail | $27.00 |
| Monthly Pass | Bus/Rail | $78.00 |
| Monthly Pass (Reduced Fare)\* | Bus/Rail | $39.00 |
| Combo Pass | Bus/Rail | $98.00 |
| University Semester Pass | Bus/Rail | $175.00 |
| * Reduced fares require a Metro reduced fare permit † Two-hour passes can only be purchased as a mobile fare option on the Transit app | | |

## Fleet

Metro Transit operates 261 vehicles for MetroBus, including 237 35- and 40-foot low-emission, low-floor diesel buses made by Gillig; 10 electric 40-foot Gillig buses; and 14 electric 60-foot articulated New Flyer XE60 buses. Electric buses are charged overnight at the Brentwood and DeBaliviere garages, while in-service charging is at the North Broadway Transit Center.

All MetroBus vehicles are equipped with an accessible lift or ramp and include priority seating. Additionally, each vehicle is equipped with a two-bike bike rack, available on a first-come, first-served basis.

## Facilities

### Transit centers

MetroBus serves a total of 25 transit centers with 15 of them located in Missouri and 10 of them located in Illinois. 19 of them have direct connections with MetroLink.

#### Missouri

#### Illinois

### Other connections

At the Civic Center Transit Center, MetroBus passengers can connect with Amtrak, Greyhound and other national services at the neighboring Gateway Transportation Center. MetroBus also connects with Madison County Transit (MCT) bus routes at various stations and transit centers in the core St. Louis area including Civic Center, 8th & Pine, Convention Center and the Emerson Park Transit Center.

### Garages

Metro Transit operates three garages for MetroBus in the Greater St. Louis region:

* Brentwood Garage
* DeBaliviere Garage
* Illinois Garage

## InfoBox

MetroBus
|  | |
| --- | --- |
| A Metrobus on Tucker Blvd in 2012 | |
| Parent | Bi-State Development Agency |
| Founded | April 1963, 01 (01-04-1963) |
| Service area | Greater St. Louis, MissouriIllinois, U.S. |
| Service type | Local bus
Express bus |
| Routes | 59 |
| Stops | 5,000+ |
| Hubs | 25 transit centers
23 park and ride lots |
| Depots | 3 |
| Fleet | 242 diesel buses
24 electric buses |
| Daily ridership | 41,400 (weekdays, Q2 2024) |
| Annual ridership | 12,531,400 (2023) |
| Fuel type | Diesel
Electric |
| Operator | Metro Transit |
| Website | metrostlouis.org/metrobus |


title: MetroCenter (Arlington, Texas)

abstract: The MetroCenter at 1323 W. Pioneer Parkway in Arlington, Texas, opened in 2005. The 98,000 square-foot venue has hosted concerts, theatrical productions, conferences and other community events, and is also used by Fielder Church as a place of worship. It was built by the church for $17 million, and seats 1,700. As of 2024, the MetroCenter continues to host the annual MLK Youth Musical Extravaganza honoring Martin Luther King Jr.

text:
# MetroCenter (Arlington, Texas)

The **MetroCenter** at 1323 W. Pioneer Parkway (Spur 303) in Arlington, Texas, opened in 2005. The 98,000 square-foot venue has hosted concerts, theatrical productions, conferences and other community events, and is also used by Fielder Church as a place of worship. It was built by the church for $17 million, and seats 1,700. As of 2024, the MetroCenter continues to host the annual MLK Youth Musical Extravaganza honoring Martin Luther King Jr.

## History

The MetroCenter is an extension of Fielder Church and was conceived by former Senior Pastor Dr. Gary Smith and former Executive Pastor Mike Wierick. Plans were made as late as 2002, and costs were estimated to be around $21 million. Half of the money was raised by December 2002.

It was designed by Beck Group Architecture and constructed by Manhattan Construction Company. Acoustic Dimensions designed the high end audio and video system and Ford Audio and Video handled the installation. Phase two of its construction was expected to add an addition 1,450 seats, but plans were scrapped.

The MetroCenter was officially deemed ready for occupancy on January 6, 2005, with its first service being held on January 16. It was built and is advertised as a multi-purpose facility, the MetroCenter housed symphony, stage, musicals, conferences and rock concerts.

In January 2009, the MetroCenter was ranked #2 Top Performing Arts Venues in Tarrant County by seating capacity by the *Fort Worth Business Press*.

In 2010, Symphony Arlington announced that it would be moving to a new facility after being there since May 12, 2005, stating that the MetroCenter had been a problematic venue for classical musicians and audiences.

1. Jinkins, Shirley (January 9, 2005). "State-of-the-art facility isn't just for services". *Fort Worth Star-Telegram*. p. 39. Retrieved September 17, 2024  via Newspapers.com.
2. Austin, John (March 18, 2005). "MetroCenter becomes home for symphony". *Fort Worth Star-Telegram*. p. 33. Retrieved September 29, 2024.
3. Austin, John (March 18, 2005). "MetroCenter becomes home for symphony". *Fort Worth Star-Telegram*. Retrieved September 7, 2024  via Newspapers.com.
4. Ruiz, Dani (December 8, 2023). "Martin Luther King, Jr. "Advancing the Dream" Celebration". *NBC DFW*. Retrieved September 7, 2024.
5. Jones, Nathaniel (December 1, 2002). "Growing church altering city". *Fort Worth Star-Telegram*. p. 48. Retrieved September 17, 2024  via Newspapers.com.
6. Jinkins, Shirley (January 9, 2005). "Church: More projects are planned". *Fort Worth Star-Telegram*. p. 49. Retrieved September 17, 2024  via Newspapers.com.
7. "Tarrant County Performing Arts Venues - 2009 Book of Lists". *Fort Worth Business Press*. January 20, 2009. pp. 162–163. ISSN 1527-4667. Retrieved September 19, 2024.
8. Shaw, Puncb (October 17, 2016). "Band on the Run". *Fort Worth Star-Telegram*. Retrieved September 7, 2024  via Newspapers.com.

## InfoBox

MetroCenter
| MetroCenter during a church service in 2024. | |
| --- | --- |
|  | |
| Address | 1323 W. Pioneer Parkway (Spur 303)
Arlington, TX
United States |
| Coordinates | 32°42′35″N 97°07′48″W / 32.7096°N 97.130127°W / 32.7096; -97.130127 |
| Capacity | 1,700 |
| Opened | January 16, 2005 (2005-01-16) |


title: Michael's Harbour

abstract: Michael's Harbour is a designated place in the Canadian province of Newfoundland and Labrador. It is just outside Lewisporte. There are no stores or services and residents must commute to Lewisporte for essential services and Campbellton for education until the 9th grade. They commute to Lewisporte for high school. The community had a crisis in 2020 where a house burned down and it was determined that no fire department was obliged to provide services to the community. In February of the same year, the issue was resolved where the Lewisporte Fire Department agreed to provide service in exchange for CA$50 fee per homeowner.

text:
# Michael's Harbour

**Michael's Harbour** is a designated place in the Canadian province of Newfoundland and Labrador. It is just outside Lewisporte. There are no stores or services and residents must commute to Lewisporte for essential services and Campbellton for education until the 9th grade. They commute to Lewisporte for high school. The community had a crisis in 2020 where a house burned down and it was determined that no fire department was obliged to provide services to the community. In February of the same year, the issue was resolved where the Lewisporte Fire Department agreed to provide service in exchange for CA$50 fee per homeowner.

## Geography

Michaels Harbour is in Newfoundland within Subdivision G of Division No. 8.

## Demographics

As a designated place in the 2016 Census of Population conducted by Statistics Canada, Michaels Harbour recorded a population of 63 living in 27 of its 34 total private dwellings, a change of -11.3% from its 2011 population of 71. With a land area of 2.42 km2 (0.93 sq mi), it had a population density of 26.0/km2 (67.4/sq mi) in 2016.

## InfoBox

| Michael's Harbour | |
| --- | --- |
| Michael's HarbourMichael's HarbourMichael's Harbour | |
| Coordinates: 49°17′25″N 54°59′03″W / 49.29028°N 54.98417°W / 49.29028; -54.98417 | |
| Country | Canada |
| Province | Newfoundland and Labrador |
| Population (2016) | 63 |


title: Ge people (China)

abstract: The Ge is an ethnic group in the People's Republic of China. The Ge people are not officially recognised as national minority group, but as a sub-group under the Miao people. This is primarily because they speak the same language as the Miao people called Hmongic language, with slight variation. They are also often classified as Gejia people, who are living in a different region. Having constant conflict with their neighbouring Miao, they demanded for separate identity, and are officially categorised under "unidentified" status. With their unique custom and traditional practices, they consider themselves as distinct ethnic group. The total population is reported to be over 125,000. Their principal habitation is the Qiandongnan Miao and Dong Autonomous Prefecture in southeastern Guizhou province of southwestern China. Although majority of the people hold the ethnic religion, a small fraction of them were converted to Christianity by missionaries who entered in the 1920s.

text:
# Ge people (China)

The **Ge** (Chinese: ; pinyin: ) is an ethnic group in the People's Republic of China. The Ge people are not officially recognised as national minority group, but as a sub-group under the Miao people. This is primarily because they speak the same language as the Miao people called Hmongic language, with slight variation. They are also often classified as Gejia people, who are living in a different region. Having constant conflict with their neighbouring Miao, they demanded for separate identity, and are officially categorised under "unidentified" status. With their unique custom and traditional practices, they consider themselves as distinct ethnic group. The total population is reported to be over 125,000. Their principal habitation is the Qiandongnan Miao and Dong Autonomous Prefecture in southeastern Guizhou province of southwestern China. Although majority of the people hold the ethnic religion, a small fraction of them were converted to Christianity by missionaries who entered in the 1920s.

## History

The Ge people are considered to have originated from the Miao people. Their origin is explained in two different stories. According to one legend, once, an elite class of Han soldier met a Miao girl. He was in love with her and decided to marry her. At the time such inter-marriage between Han and Miao people was considered a sacrilege. The penalty was forfeit of official status and position. Overcome by love, they were married and were banished in isolation. In time, their descendants grew into a separate ethnic group. In another account, the Ge are a group of Miao in the western region who were left behind while the main Miao people migrated towards the east. On historical account, they originally inhabited the western part of Guizhou, and migrated to eastward to their present location. Migration was due to a policy of Chinese government to sympathise Miao people on behalf of the serving Miao soldiers.

## Society

The Ge people are separated into a number of villages. The size of their settlement vary according to the altitude of their habitation. Those in the highest altitude, such as the plateaus of Guizhou and Yunnan provinces, each village is composed of around 20 households. Whereas towards the valleys, villages are as large as 1,000 households. In contrast to other people in the same region, they do not construct their houses on elevated pilings. Their main occupation is agriculture and most of them practice slash-and-burn method. However, those villagers near to or admixture with the Han people employ sophisticated land use, from regular plowing and irrigation to use of fertilisers. Rice, wheat, and tobacco are their principal crops.

## Ethnic identity

After the Chinese Communist Party came to power, in 1953, it initiated classification of the ethnic groups in China. Based on social history, economic life, language and religion, China officially approved 38 of them as distinct ethnicity in 1954, out of the 400 groups investigated. The Ge people were categorised as sub-group of the main minority Miao. But the Ge claimed independent ethnicity, particularly considering their different customs and chronic hostility towards each other. Historically, they were at constant war with Miao and other people such as Qiang. Their demand for separation emerged into a political issue in the 1980s. With support of intellectuals on their claim of ethnic uniqueness, they made public shows, invited officials to investigate their villages, and publicised their demand in media. One of their most effective strategies was increased production of their handicrafts, and thereby attracting tourism. Ge women are known for their batik making, which are one of the main tourist attractions. The demand for ethnic identity came to height in 1986, when they withheld their grains for tax.

## Religion

The Ge people practice a combination of traditional religions, along with animism, polytheism and ancestor worship. In the past, they incorporated elements of Daoism and Buddhism into their native religion. According to the traditional animism, they believe that the world is full of demons, ghosts, dragons, angels and spirits, which are representations of the afterlife of their ancestors, animals, and trees. They have shamans to ward off evil spirits. Their unique ritual called "Harong" is an elaborate worship of ancestors.

### Christianity

Although Christianity is not the principal religion, it has significant impact among the Ge people. Out of the total population, hardly 130 people have converted to Christianity since the arrival of Christian missionaries in the 1920s. The first missionary was an Australian, Maurice H. Hutton, who arrived among the Ge people in 1925. Hutton noted that the first Christian convert was in 1935. After two years there were families of Christian, and Hutton made a hymn book and catechism for them. Hutton left in 1937, and the Chinese government extradited missionaries in China in 1951, so that most converts returned to their traditional religion. A remark notes, "They believed in the missionaries and not in Jesus."


title: Ge rum i Bröllopsgåln din hund!

abstract: Ge rum i Bröllopsgåln din hund! is Epistle No. 40 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, Fredman's Epistles. One of his best-known works, it describes an utterly chaotic wedding at a venue where soldiers mixed up with musicians and the wedding-party; the chimney catches fire, and even the priest robs the collection. The verse-pattern and elaborate rhyming scheme combine to assist the feeling of chaos. The epistle is subtitled "Angående Bröllopet hos Bensvarfvars"; the song is sometimes known under this name. James Massengale calls it "one of the wildest weddings in Swedish literature". The composition has been contrasted with the wedding at Cana, part of Bellman's use of Biblical allusions for comic effect.

text:
# Ge rum i Bröllopsgåln din hund!

**Ge rum i Bröllopsgåln din hund!** (Make room in the Wedding reception you dog!) is Epistle No. 40 in the Swedish poet and performer Carl Michael Bellman's 1790 song collection, *Fredman's Epistles*. One of his best-known works, it describes an utterly chaotic wedding at a venue where soldiers mixed up with musicians and the wedding-party; the chimney catches fire, and even the priest robs the collection. The verse-pattern and elaborate rhyming scheme combine to assist the feeling of chaos.

The epistle is subtitled "***Angående Bröllopet hos Bensvarfvars***" (Concerning the Wedding at Bensvarvars); the song is sometimes known under this name. James Massengale calls it "one of the wildest weddings in Swedish literature". The composition has been contrasted with the wedding at Cana, part of Bellman's use of Biblical allusions for comic effect.

## Context

Carl Michael Bellman is a central figure in the Swedish ballad tradition and a powerful influence in Swedish music, known for his 1790 *Fredman's Epistles* and his 1791 *Fredman's Songs*. A solo entertainer, he played the cittern, accompanying himself as he performed his songs at the royal court.

Jean Fredman (1712 or 1713–1767) was a real watchmaker of Bellman's Stockholm. The fictional Fredman, alive after 1767, but without employment, is the supposed narrator in Bellman's epistles and songs. The epistles, written and performed in different styles, from drinking songs and laments to pastorales, paint a complex picture of the life of the city during the 18th century. A frequent theme is the demimonde, with Fredman's cheerfully drunk Order of Bacchus, a loose company of ragged men who favour strong drink and prostitutes. At the same time as depicting this realist side of life, Bellman creates a rococo picture, full of classical allusion, following the French post-Baroque poets. The women, including the beautiful Ulla Winblad, are "nymphs", while Neptune's festive troop of followers and sea-creatures sport in Stockholm's waters. The juxtaposition of elegant and low life is humorous, sometimes burlesque, but always graceful and sympathetic. The songs are "most ingeniously" set to their music, which is nearly always borrowed and skilfully adapted.

## Song

### Music and verse form

The song has 9 verses, each consisting of 14 lines. The verses have a complex pattern of stresses and rhyming pattern, ABCCABBDDEFFEE, contributing to the humorously chaotic effect. The music is in **4**
**4** time, and is marked *Vivace*. The Epistle is dated 10 October 1771. The source of the melody has not been identified.

### Lyrics

The song, subtitled "Angående Bröllopet hos Bensvarfvars" (Concerning the Wedding at Bensvarvars), describes an utterly chaotic wedding at the Bensvarfvars tavern on Hornskroken street in the Södermalm island district of Stockholm. Soldiers are mixed up with musicians and the wedding-party; everybody talks at once, often angrily; an officer shouts drill commands to the soldiers. Meanwhile, the chimney catches fire; the preacher gives a fire-and-brimstone sermon on St. Paul, David, Saul, and original sin; music plays; soldiers drink; the bride's white gloves split; the bridegroom swears and bursts into tears; a bridesmaid curtsies; and the preacher collapses in a corner. At the end, a brawl breaks out; a Corporal punches everyone he can reach; the bridegroom gets lascivious; some of those present, including the priest, rob the collection meant for the Seraphim Hospital; and the party breaks up in disorder.

The start of epistle 40, "Concerning the Wedding at Bensvarvars"
| Carl Michael Bellman, 1790 | Prose translation | Image |
| --- | --- | --- |
| Ge rum i Bröllops-gåln din hund!
Jag slår dig med geväret.
Kors hvad trängsel!
Ingen stängsel!
Släpp in en kund.
Stig in. – Tack för besväret.
Korsgeväret
Sätt för porten;
Slån i lorten,
Om han käftar mot.
Vakta port och fenster.
Ögonen til vänster!
Musköt för fot!
Aj i skorsten brinner sot! | Make way in the wedding-hall you dog!
I'll hit you with my gun.
Gosh what a crush!
No fighting!
Let a customer in.
Come in. – Thanks for the trouble.
Port ... arms!
Close the door;
Hit the bloke,
If he answers back.
Guard door and windows.
Eyes ... left!
Order ... arms!
Oh, the chimney's on fire! | Swedish soldiers with muskets.
1825 illustration |

## Reception and legacy

The Epistle is described by the musicologist James Massengale as "of one of the wildest weddings in Swedish literature". He comments that the rhyming pattern effectively hides some of the rhymes, making the descriptive poem imitate prose. Firstly, Bellman does not rhyme the first two lines until lines 5 and 6, when the verse is well under way. Next, he ignores the fact that the music repeats from bar 5, but creates new rhymes and divisions in lines 5–10. To break up the order still further, Bellman interjects short sharp commands, with "Stig in!" (Come in!) at the start of line 6 of the first verse, "Håll" (Halt!) at the start of line 11 in the second verse, "Alarm!" at the start, "Skyldra" (Shoulder arms!) in line 13 of verse 3, and "Gevär!" (Arms!) at the beginning of verse 4. Massengale observes that these syntactic breaks destroy the listener's sense of position in the rhyming scheme, the uncertainty of the rhyme creating a feeling of the tumult of the chaotic wedding celebrations.

The scholar of literature Lars Lönnroth comments that we hear a crowd of heated wedding-guests shouting at one another in a "crazy comic *furioso*" in which it is impossible to discern who is saying what. What Fredman himself may be saying is also unclear, so that the whole thing, he writes, is a farce from beginning to end.

The critic Bo Nordstrand notes that Lönnroth draws a parallel between the Biblical wedding at Cana in Galilee and the epistle's wedding at Bensvarvars, and agrees that there is a "dialectic between the religious and the Bacchanalian". Like his contemporaries, Bellman wrote drinking songs that parody preaching and quote from the Bible and the book of Psalms, with Fredman as the opposite of a preacher; and he treats a wide range of ceremonies from weddings, baptisms, funerals, balls, society chapter rituals, and trials to military parades with parody and burlesque. Lönnroth states that a frequent pattern in the Epistles is for a serious ceremony gradually to disintegrate into pure farce. He notes for instance that this is seen not only in Epistle 40's descent into a brawl and wild rioting but also in Epistle 54, "Never an Iris": at the end of a sad and solemn funeral "at Corporal Boman's grave in St Katrina churchyard", Fredman "tactlessly" advises the widow to "choose a new Corporal \[by sitting\] on a folding bench \[with another man\]".

The Bellman Society wrote of the composition that "The catastrophic wedding at Bensvarvars, a pub in Södermalm, is a tumult that is developed at breakneck tempo. It starts with a chimney fire and ends with a resounding brawl where the officiating priest helps himself to the collection for a hospital."

Göran Hassler states in his annotated selection of Bellman's work that the Epistle has been recorded in interestingly different interpretations by Sven-Bertil Taube on his 1963 album *Carl Michael Bellman, Volume 2* (HMV), and by Cornelis Vreeswijk on his 1971 album *Spring mot Ulla, spring! Cornelis sjunger Bellman* (Philips). The Epistle has been translated into German.

## Sources

## InfoBox

| "Ge rum i Bröllopsgåln din hund!" | |
| --- | --- |
| Art song | |
| First page of sheet music, here in the 1920 Bonniers edition | |
| English | *Make room in the Wedding reception you dog!* |
| Written | 10 October 1771 |
| Text | poem by Carl Michael Bellman |
| Language | Swedish |
| Melody | Unknown origin |
| Published | 1790 in *Fredman's Epistles* |
| Scoring | voice and cittern |


title: Girardot F.C.

abstract: Giradot F.C. was a Colombian football (soccer) team, based in Girardot, Colombia. The club was founded in 1995 and played in Categoría Primera B. Due to financial difficulties, the team was relocated at the end of the 2008 season to the city of Palmira and rebranded as Deportes Palmira.

text:
# Girardot F.C.

**Giradot F.C.** was a Colombian football (soccer) team, based in Girardot, Colombia. The club was founded in 1995 and played in Categoría Primera B. Due to financial difficulties, the team was relocated at the end of the 2008 season to the city of Palmira and rebranded as Deportes Palmira.

## InfoBox

Girardot F.C.
|  | |
| --- | --- |
| Full name | Corporación Deportiva y Social
Girardot Fútbol Club |
| Nickname(s) | *Porteños* |
| Founded | 1995 |
| Dissolved | 2008
(became Deportes Palmira) |
| Ground | Estadio Luis Antonio Duque Peña
Girardot, Colombia |
| League | Categoría Primera B |
|  | |
|  | |
|  | |


# Ukraine in the Eurovision Song Contest 2013

Ukraine participated in Eurovision Song Contest 2013 with the song "Gravity" written by Karen Kavaleryan and Mikhail Nekrasov. The song was performed by Zlata Ognevich. The Ukrainian broadcaster National Television Company of Ukraine (NTU) organised a national final in order to select the Ukrainian entry for the 2013 contest in Malmö, Sweden. Nineteen entries competed in the national selection held on 23 December 2012 and "Gravity" performed by Zlata Ognevich was selected as the winner following the combination of votes from a five-member jury panel and a public televote.

Ukraine was drawn to compete in the first semi-final of the Eurovision Song Contest which took place on 14 May 2013. Performing during the show in position 7, "Gravity" was announced among the top 10 entries of the first semi-final and therefore qualified to compete in the final on 18 May. It was later revealed that Ukraine placed third out of the 16 participating countries in the semi-final with 140 points. In the final, Ukraine performed in position 22 and placed third out of the 26 participating countries with 213 points.

## Background

Prior to the 2013 contest, Ukraine had participated in the Eurovision Song Contest ten times since its first entry in 2003, winning it in 2004 with the song "Wild Dances" performed by Ruslana. Following the introduction of semi-finals for the 2004, Ukraine had managed to qualify to final in every contest they participated in thus far. Ukraine had been the runner-up in the contest on two occasions: in 2007 with the song "Dancing Lasha Tumbai" performed by Verka Serduchka and in 2008 with the song "Shady Lady" performed by Ani Lorak. Ukraine's least successful result had been 19th place, which they achieved during the 2005, with the song "Razom nas bahato" performed by GreenJolly.

The Ukrainian national broadcaster, National Television Company of Ukraine (NTU), broadcasts the event within Ukraine and organises the selection process for the nation's entry. NTU confirmed their intentions to participate at the 2013 Eurovision Song Contest on 24 September 2012. In the past, the broadcaster had alternated between both internal selections and national finals in order to select the Ukrainian entry. Between 2011 and 2012, NTU had set up national finals with several artists to choose both the song and performer to compete at Eurovision for Ukraine, with both the public and a panel of jury members involved in the selection. The method was continued to select the 2013 Ukrainian entry.

## Before Eurovision

### Evrobachennya 2013  Natsionalniy vidbir

The Ukrainian national final took place on 23 December 2012 at the NTU Studios in Kyiv. The show was hosted by Timur Myroshnychenko, Tatyana Goncharova and Tetiana Terekhova and broadcast on Pershyi Natsionalnyi as well as online via NTU's official website *1tv.com.ua* and the official Eurovision Song Contest website *eurovision.tv*.

#### Format

The selection of the competing entries for the national final and ultimately the Ukrainian Eurovision entry took place over two stages. In the first stage, artists and songwriters had the opportunity to apply for the competition by attending a scheduled audition. Twenty acts were selected and announced on 21 December 2012. The second stage was the televised final, which took place on 23 December 2012 and featured the twenty acts vying to represent Ukraine in Malmö. The winner was selected via the 50/50 combination of votes from a public televote and an expert jury. Both the public televote and the expert jury assigned scores ranging from 1 (lowest) to 20 (highest) and the entry that had the highest number of points following the combination of these scores was declared the winner. Viewers participating in the public televote during the show had the opportunity to submit a single vote per phone number for each of the participating entries via SMS. In the event of a tie, the tie was decided in favour of the entry that received the highest score from the jury.

#### Competing entries

Artists and composers had the opportunity to submit their entries between 1 October 2012 and 21 December 2012. Auditions were held on 21 December 2012 at the NTU Headquarters in Kyiv where a seven-member selection panel reviewed the 52 received submissions and shortlisted twenty entries to compete in the national final.

| Artist | Song | Songwriter(s) |
| --- | --- | --- |
| Alina Grosu | "Let Go" | Alina Grosu |
| Ana Stesia | "Dare to Change Your Life" | Artem Kuzmenkov |
| Angeliya | "Love Is Life" | Angeliya |
| Dasha Medova | "Don't Want to Be Alone" | Oleksandr Shvets, Evheniy Matyushenko |
| Dima Skalozubov | "Davno" (Давно) | Dima Skalozubov |
| DiO.filmy | "Medlyak" (Медляк) | Yuri Melnik, Oleg Voronovich, Vladimir Gudkov, Vadim Oleynik |
| Dmytro Yaremchuk | "Mama" (Мама) | Nazariy Yaremchuk jr. |
| Duet Emotion | "Saviour" | Milos Rosas |
| Eduard Romanyuta | "Get Real With My Heart" | Emanuel Olsson |
| Gvozdivchanka | "Naleteli gusenyata" (Налетели гусенята) | Traditional |
| Inesh | "Delayu shag" (Делаю шаг) | A. Shell, Inesh Kdyrova |
| Lena Korneeva | "You'll Be the Winner Forever" | Lena Korneeva, Nina Katolina |
| Marietta | "Wonder" | Dmitriy Sidorov, Natali Dali |
| Mariya Yaremchuk | "Imagine" | Mariya Yaremchuk |
| Matvey Vermiyenko | "Otkryvay menya" (Открывай меня) | Matvey Vermiyenko |
| Oksana Pekun and Maxim Novitskiy | "Zeleniy dubochok" (Зелений дубочок) | Maxim Novitskiy |
| Real Ivanna | "You Gave Me Everything" | Real Ivanna |
| Tetyana Shyrko | "Feeling Like a Sir" | Yuliya Slobodyan, Evheniy Matyushenko |
| Triniti | "Belym po belomu" (Белым по белому) | Astraya |
| Zlata Ognevich | "Gravity" | Karen Kavaleryan, Mikhail Nekrasov |

#### Final

The final took place on 23 December 2012. During the show, Oksana Pekun and Maxim Novitskiy announced their withdrawal following their performance. The remaining nineteen entries competed and the winner, "Gravity" performed by Zlata Ognevich, was selected through the combination of votes from a public televote and an expert jury. Ties were decided in favour of the entries that received higher scores from the jury. The jury panel consisted of Egor Benkendorf (President of NTU), Walid Arfush (producer), Olena Mozgovaya (music producer), Yuriy Rybchynsky (poet) and Olga Navrotska (stylist and designer). 14,612 votes were registered by the televote during the show. In addition to the performances of the competing entries, 2012 Junior Eurovision Song Contest winner Anastasiya Petryk, Gvozdivchanka, Matias, Oleg Vynnyk, Pavel Sokolov, Shanis and Tetyana Vorzheva performed as guests.

Final – 23 December 2012
| Draw | Artist | Song | Jury | Televote | | Total | Place |
| --- | --- | --- | --- | --- | --- | --- | --- |
| | | | | Votes | Points | | |
| ~~1~~ | ~~Oksana Pekun and Maxim Novitskiy~~ | ~~"Zeleniy dubochok"~~ |  | ~~23~~ |  |  |  |
| 2 | Mariya Yaremchuk | "Imagine" | 16 | 260 | 14 | 30 | 5 |
| 3 | Marietta | "Wonder" | 9 | 87 | 5 | 14 | 15 |
| 4 | Dmytro Yaremchuk | "Mama" | 11 | 533 | 17 | 28 | 7 |
| 5 | Inesh | "Delayu shag" | 10 | 133 | 8 | 18 | 13 |
| 6 | Zlata Ognevich | "Gravity" | 20 | 8,639 | 20 | 40 | 1 |
| 7 | Duet Emotion | "Saviour" | 15 | 162 | 10 | 25 | 10 |
| 8 | Gvozdivchanka | "Naleteli gusenyata" | 11 | 208 | 11 | 22 | 12 |
| 9 | Real Ivanna | "You Gave Me Everything" | 14 | 247 | 13 | 27 | 8 |
| 10 | Tetyana Shyrko | "Feeling Like a Sir" | 17 | 365 | 15 | 32 | 4 |
| 11 | Triniti | "Belym po belomu" | 8 | 108 | 6 | 14 | 15 |
| 12 | Ana Stesia | "Dare to Change Your Life" | 9 | 127 | 7 | 16 | 14 |
| 13 | Alina Grosu | "Let Go" | 13 | 387 | 16 | 29 | 6 |
| 14 | Dasha Medova | "Don't Want to Be Alone" | 19 | 905 | 18 | 37 | 2 |
| 15 | Lena Korneeva | "You'll Be the Winner Forever" | 13 | 240 | 12 | 25 | 10 |
| 16 | Angeliya | "Love Is Life" | 8 | 81 | 4 | 12 | 18 |
| 17 | Eduard Romanyuta | "Get Real With My Heart" | 14 | 1,847 | 19 | 33 | 3 |
| 18 | Matvey Vermiyenko | "Otkryvay menya" | 7 | 70 | 3 | 10 | 19 |
| 19 | DiO.filmy | "Medlyak" | 18 | 141 | 9 | 27 | 8 |
| 20 | Dima Skalozubov | "Davno" | 12 | 49 | 2 | 14 | 15 |

Detailed Jury Votes
| Draw | Song | E. Benkendorf | W. Arfush | Y. Rybchynsky | O. Mozgova | O. Navrotska | Total | Points |
| --- | --- | --- | --- | --- | --- | --- | --- | --- |
| ~~1~~ | ~~"Zeleniy dubochok"~~ |  |  |  |  |  |  |  |
| 2 | "Imagine" | **10** | 7 | 9 | 8 | 6 | 40 | 16 |
| 3 | "Wonder" | 7 | 6 | 7 | 6 | 2 | 26 | 9 |
| 4 | "Mama" | **10** | 6 | 5 | 6 | 2 | 29 | 11 |
| 5 | "Delayu shag" | **10** | 4 | 5 | 6 | 2 | 27 | 10 |
| 6 | "Gravity" | **10** | **10** | **10** | **10** | **10** | 50 | 20 |
| 7 | "Saviour" | **10** | 7 | 8 | 7 | 7 | 39 | 15 |
| 8 | "Naleteli gusenyata" | 7 | 7 | 5 | 5 | 5 | 29 | 11 |
| 9 | "You Gave Me Everything" | 9 | 7 | 7 | 7 | 6 | 36 | 14 |
| 10 | "Feeling Like a Sir" | **10** | 6 | **10** | **10** | 7 | 43 | 17 |
| 11 | "Belym po belomu" | 7 | 7 | 7 | 2 | 2 | 25 | 8 |
| 12 | "Dare to Change Your Life" | 7 | 5 | 7 | 4 | 3 | 26 | 9 |
| 13 | "Let Go" | 8 | 7 | 7 | 8 | 5 | 35 | 13 |
| 14 | "Don't Want to Be Alone" | **10** | 9 | **10** | 9 | 9 | 47 | 19 |
| 15 | "You'll Be the Winner Forever" | 6 | 7 | 8 | 7 | 7 | 35 | 13 |
| 16 | "Love Is Life" | 6 | 1 | 7 | 6 | 5 | 25 | 8 |
| 17 | "Get Real With My Heart" | **10** | 7 | 7 | 7 | 5 | 36 | 14 |
| 18 | "Otkryvay menya" | 6 | 2 | 6 | 1 | 2 | 17 | 7 |
| 19 | "Medlyak" | **10** | 9 | 9 | 8 | 8 | 44 | 18 |
| 20 | "Davno" | 6 | 6 | 7 | 8 | 4 | 31 | 12 |

### Preparation

Following Zlata Ognevich's victory at the Ukrainian national final, it was revealed that "Gravity" would undergo a revamp for the Eurovision Song Contest. On 27 January 2013, the composer of the song Mikhail Nekrasov opened a survey on the social network VK in order to gauge public opinion about possible changes including adding another refrain, increasing the tempo of the song (originally at 85BPM), possibly changing the backing vocalists and making modifications to the beginning and end of the song. On 6 February, the survey had come to a close with the following decisions being taken under consideration by the producers:

* 35% believe the ending is strong as it is with 25% advising that it should be performed higher and louder.
* 40% believe 85BPM is optimal with 24% advising an increase to 87-88BPM.
* 41% believe the lyrics that the backing vocalists sing "You'll never, you'll never break free from gravity" are adequate with 40% advising that Ognevich should also sing these lines.
* 60% believe a third refrain is required with 45% advising that the third refrain should need more development.
* 69% of voters believe the beginning has to be more powerful.
* 86% believe the current backing vocalists should not be changed with 46% believing their vocals should be more simplified so they do not overshadow Ognevich.

Nekrasov revealed that the song's main focus would remain on the instrumental, but that certain modifications have already started to take form such as changes in the backing vocals and the addition of new sounds to the instrumental. On 11 March, the revamped version of "Gravity" was presented to the public together with the official music video on YouTube. In an interview with Novyi Kanal, Ognevich revealed that they have received over 300 ideas for the music video of the song from a competition they opened invited fans to submit their concepts and that Angela Lisitsa would be responsible for designing the outfit for her Eurovision performance.

### Promotion

Zlata Ognevich made several appearances across Europe to specifically promote "Gravity" as the Ukrainian Eurovision entry. On 4 April, Ognevich was a guest of the AITF 2013 event which was held in Baku, Azerbaijan. On 13 April, Ognevich performed during the *Eurovision in Concert* event which was held at the Melkweg venue in Amsterdam, Netherlands and hosted by Marlayne and Linda Wagenmakers.

## At Eurovision

According to Eurovision rules, all nations with the exceptions of the host country and the "Big Five" (France, Germany, Italy, Spain and the United Kingdom) are required to qualify from one of two semi-finals in order to compete for the final; the top ten countries from each semi-final progress to the final. The European Broadcasting Union (EBU) split up the competing countries into six different pots based on voting patterns from previous contests, with countries with favourable voting histories put into the same pot. On 17 January 2013, a special allocation draw was held which placed each country into one of the two semi-finals, as well as which half of the show they would perform in. Ukraine was placed into the first semi-final, to be held on 14 May 2013, and was scheduled to perform in the first half of the show.

Once all the competing songs for the 2013 contest had been released, the running order for the semi-finals was decided by the shows' producers rather than through another draw, so that similar songs were not placed next to each other. Ukraine was set to perform in position 7, following the entry from Russia and before the entry from the Netherlands.

In Ukraine, both the semi-finals and the final were broadcast on Pershyi Natsionalnyi with commentary by Timur Miroshnychenko and Tetiana Terekhova. The three shows were also broadcast via radio on UR-1 with commentary by Olena Zelinchenko. The Ukrainian spokesperson, who announced the Ukrainian votes during the final, was Oleksiy Matias.

### Semi-final

Zlata Ognevich took part in technical rehearsals on 3 and 6 May, followed by dress rehearsals on 9 and 10 May. This included the jury show on 9 May where the professional juries of each country watched and voted on the competing entries.

The Ukrainian performance featured Zlata Ognevich performing on stage in a long beige dress designed by Olena Reva together with four backing vocalists. The singer was also accompanied on stage by Igor Vovkovinskiy, the tallest living person in the United States, who played the role of a fantasy giant in a brown coat and hat. The performance began with Vovkovinskiy carrying Ognevich to a stone podium from where she performed the rest of the song, with a blue fairytale forest scenery with butterflies and sunrises appearing on the LED screens throughout. The stage director and choreographer for the Ukrainian performance was Maksym Lytvynov. The four backing vocalists that joined Zlata Ognevich on stage were Ann Bailey, Holly Petrie, Cleveland Watkiss and Dasha Mineeva.

At the end of the show, Ukraine was announced as having finished in the top 10 and subsequently qualifying for the grand final. It was later revealed that Ukraine placed third in the semi-final, receiving a total of 140 points: 152 points from the televoting and 135 points from the juries.

### Final

Shortly after the first semi-final, a winners' press conference was held for the ten qualifying countries. As part of this press conference, the qualifying artists took part in a draw to determine which half of the grand final they would subsequently participate in. This draw was done in the order the countries appeared in the semi-final running order. Ukraine was drawn to compete in the second half. Following this draw, the shows' producers decided upon the running order of the final, as they had done for the semi-finals. Ukraine was subsequently placed to perform in position 22, following the entry from Greece and before the entry from Italy.

Zlata Ognevich once again took part in dress rehearsals on 17 and 18 May before the final, including the jury final where the professional juries cast their final votes before the live show. Zlata Ognevich performed a repeat of her semi-final performance during the final on 18 May. At the conclusion of the voting, Ukraine finished in third place with 214 points.

### Voting

Voting during the three shows consisted of 50 percent public televoting and 50 percent from a jury deliberation. The jury consisted of five music industry professionals who were citizens of the country they represent. This jury was asked to judge each contestant based on: vocal capacity; the stage performance; the song's composition and originality; and the overall impression by the act. In addition, no member of a national jury could be related in any way to any of the competing acts in such a way that they cannot vote impartially and independently.

Following the release of the full split voting by the EBU after the conclusion of the competition, it was revealed that Ukraine had placed third with the public televote and fourth with the jury vote in the semi-final. In the public vote, Ukraine received an average rank of 3.94, while with the jury vote, Ukraine received an average rank of 5.16. In the final, Ukraine had placed second with the public televote and sixth with the jury vote. In the public vote, Ukraine received an average rank of 5.66, while with the jury vote, Ukraine received an average rank of 8.74.

Below is a breakdown of points awarded to Ukraine and awarded by Ukraine in the first semi-final and grand final of the contest. The nation awarded its 12 points to Belarus in the semi-final and the final of the contest.

#### Points awarded to Ukraine

#### Points awarded by Ukraine

## InfoBox

| Eurovision Song Contest 2013 | |
| --- | --- |
| Country | Ukraine |
| National selection | |
| Selection process | Evrobachennya 2013  Natsionalniy vidbir |
| Selection date(s) | 23 December 2012 |
| Selected artist(s) | Zlata Ognevich |
| Selected song | "Gravity" |
| Selected songwriter(s) |  |
| Finals performance | |
| Semi-final result | *Qualified* (3rd, 140 points) |
| Final result | 3rd, 214 points |
| Ukraine in the Eurovision Song Contest | |
| ◄2012 **2013** 2014► | |


abstract: The School of Social Work is a school at the University of Illinois Urbana-Champaign that exclusively focuses on social work education. The school was originally a graduate school, but began an undergraduate program in Fall 2010. On July 28, 2017, Steve Anderson was named as the new dean of the school. He succeeded Wynne Korr on September 15. Korr had served since 2002.

text:
# University of Illinois School of Social Work

The **School of Social Work** is a school at the University of Illinois Urbana-Champaign that exclusively focuses on social work education. The school was originally a graduate school, but began an undergraduate program in Fall 2010.

On July 28, 2017, Steve Anderson was named as the new dean of the school. He succeeded Wynne Korr on September 15. Korr had served since 2002.

## Facilities

The School of Social Work houses one building, located on Nevada Street in Urbana. Until 2009, the building used to be housed on Oregon Street. The current location is three blocks east of the Main Quadrangle, and a block east of Busey–Evans Residence Halls.

## Ranking

As of 2016, the master's program has been ranked #16 nationally by *U.S. News & World Report*.

## Concentrations

Any student pursuing their MSW can choose from five different concentrations.

### Leadership and Social Change

Leadership and Social Change prepares students for a social work career focused on advocacy. The curriculum also includes international social work advocacy.

### Children, Youth, and Family Services

Children, Youth, and Family services prepares students for a social work career focused on serving disadvantaged children, youth, and families.

### Health Care

Health Care prepares students for a social work career focused on the medical field. Within this concentration, the social worker acts as a supportive network for their hospitalized client in need.

### Mental Health

Mental Health social workers focus on the internal mental problems that ail their clients.

### School Social Work

School Social Work prepares students to become Social Workers in schools.

## Requirements

### Bachelor of Social Work

Students pursuing their bachelor's degree must complete the following:

* 50 hours of volunteer or paid work in a social service agency.
* Maintain a 2.5 GPA or higher.
* Show evidence of strong communication and interpersonal skills.
* Show personal attributes that are suitable for the social work profession.
* Complete the application for the professional program entry.

### Master of Social Work

Students pursuing their master's degree must complete the required coursework and a semester long internship.

### PhD of Social Work

Students pursuing a doctorate degree must complete coursework organized around five curricular components: seminars in social welfare policy, research methodologies and statistics, an interdisciplinary area of study, a qualifying exam, and a dissertation.

40°6′23.3″N 88°13′16.1″W / 40.106472°N 88.221139°W / 40.106472; -88.221139

## InfoBox

University of Illinois School of Social Work
| Type | Public |
| --- | --- |
| Established | 1944 |
| Dean | Steve Anderson |
| Students | 546 |
| Undergraduates | 260 |
| Postgraduates | 286 |
| Location | Urbana, IL, USA |
| Affiliations | University of Illinois |
| Website | socialwork.illinois.edu |


title: Hexanematichthys mastersi

abstract: Hexanematichthys mastersi, the Master's catfish or Godfrey's catfish, is a species of catfish in the family Ariidae. It was described by James Douglas Ogilby in 1898, originally under the genus Arius. It dwells on the floors of inshore marine waters in Australia and Papua New Guinea. It reaches a maximum total length of 51 cm (20 in).

text:
# Hexanematichthys mastersi

***Hexanematichthys mastersi***, the **Master's catfish** or **Godfrey's catfish**, is a species of catfish in the family Ariidae. It was described by James Douglas Ogilby in 1898, originally under the genus *Arius*. It dwells on the floors of inshore marine waters in Australia and Papua New Guinea. It reaches a maximum total length of 51 cm (20 in).

## InfoBox

| *Hexanematichthys mastersi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Siluriformes |
| Family: | Ariidae |
| Genus: | *Hexanematichthys* |
| Species: | ***H. mastersi*** |
| Binomial name | |
| ***Hexanematichthys mastersi***<br>(Ogilby, 1898) | |
|
| Synonyms | |
| * *Arius mastersi* Ogilby, 1898 * *Arius sagoroides* Hardenberg, 1941 * *Sciades mastersi* (Ogilby, 1898) * *Tachysurus godfreyi* Whitley, 1941 | |


title: Thomas Gioeli

abstract: Thomas Salvatore "Tommy Shots" Gioeli is a high-ranking member of the Colombo crime family.

text:
# Thomas Gioeli

**Thomas Salvatore** "**Tommy Shots**" **Gioeli** (born 1952) is a high-ranking member of the Colombo crime family.

## Rise in the Colombo family

In the mid-1980s, Gioeli was imprisoned for robbery, his first incarceration. After his release, Gioeli became a made member, or full member, of the Colombo family. In the late 1980s, Gioeli started working for capo Vittorio "Vic" Orena, leader of the Colombo Brooklyn faction and one of the family's top earners. Gioeli has a wife Maureen and owns a home in Farmingdale, New York. John Marzulli of *New York Daily News* discovered that Gioeli had a press pass from Long Island's *Nightlife* magazine that had been issued to him in the 1980s and expired in 1987. *Nightlife* magazine editor Michael Cutino explained Gioeli's press credentials as the magazine was doing a nightclub promotion in The Hamptons, and Gioeli worked for a company that provided attractive "cigarette girls" for the event.

## Colombo wars and Wiseguy reputation

In 1982, Gioeli allegedly participated in the accidental killing of Veronica Zuraw, a former Catholic nun. Zuraw was killed by a stray bullet during the assassination of Colombo mobster Joseph Peraino. Government witness Dino Calabro claimed that Gioeli told him he was "going to hell" for killing a nun. However, Gioeli maintains his innocence and no charges in the Zuraw killing have been filed against him.

In 1997, Gioeli allegedly participated in the murder of Ralph Dols, a New York Police Department (NYPD) officer. Colombo consigliere Joel Cacace had ordered Dols' death because Dols had recently married Cacace's ex-wife, Kim Kennaugh. Gioeli allegedly took the order from Cacace and arranged for Calabro and Colombo mobster Dino Saracino to shoot Dols outside his Brooklyn house.

In 1989, the imprisoned Colombo boss Carmine Persico appointed Orena to be his temporary acting boss. By 1991 Orena, with the encouragement of Gambino crime family boss John Gotti, felt strong enough to challenge Persico for total control of the family. In response, Persico tried to assassinate Orena in 1991. This attack triggered a bloody internal conflict in the Colombo family between the Persico and Orena factions. Gioeli gave his support to Orena. Bloody shootouts between the two factions in 1991 resulted in murders of prominent Orena supporters. As the war progressed, many Orena loyalist switched sides to the Persico faction to avoid being killed. In 1991, Gioeli switched sides and became the top lieutenant and protégée of hitman Gregory Scarpa Sr.

On June 12, 1991, Gioeli, Calabro, and soldier Joseph Competiello allegedly murdered Frank Marasa, an Orena loyalist, outside Marasa's home in Brooklyn. Gioeli allegedly murdered Marasa because he was falsely accused of being involved in the murder of another Colombo associate.

## Fall of Orena and victory

On March 25, 1992, Gioeli and Calabro allegedly murdered John Minerva and Micheal Imbergamo as they sat in a parked car on Long Island. Minerva was murdered because he was a Colombo soldier with the Orena faction. Imbergamo was a friend of Minerva's who was not involved in organized crime.

On March 27, 1992, Gioeli and several Persico loyalists were ambushed, and became involved in a high-speed car chase. Gioeli was wounded in the shoulder and stomach, earning him the nickname "Tommy Shots" and a reputation for toughness.

In 1992, Orena was arrested and indicted on racketeering and murder charges. In 1993, one of Orena's last remaining allies, Joseph Scopo, was killed and Orena was sentenced to life in prison. The Persico faction now claimed victory and Persico's son, Alphonse "Little Allie Boy" Persico took effective control of the family.

## Family business

In the late 1990s, Persico and John DeRoss promoted Gioeli to Caporegime.

On August 3, 1995, Gioeli and other mobsters allegedly murdered Colombo associate Richard Greaves in Saracino's basement apartment. Greaves had asked the Colombo leadership for permission to leave the family and move to the Midwest. However, the leaders feared that Greaves might become a government witness and ordered his killing. Gioeli allegedly buried Greaves' body in an industrial park in Farmingdale, New York.

In May 1999, Gioeli, Dino Calabro, and Dino Saracino allegedly murdered William Cutolo, the new Colombo underboss, in Saracino's apartment. Alphonse Persico had been recently convicted of a gun possession charge in Florida; he feared that Cutolo, a former Orena lieutenant, would seize control of the Colombo family. Persico ordered Cutolo to meet him in a park in Brooklyn. Gioli, Calabro, and Saracino took Cutolo to Saracino's house, where they allegedly murdered him. Gioeli then allegedly buried Cutolo in the same location in Farmingdale, New York where he allegedly buried Greaves four years earlier.

After the 2004 conviction of acting boss Cacace, Gioeli was promoted to "Street boss", with his protégé Paul Bevacqua as acting capo. Gioeli's position included meeting with Carmine Persico and conveying messages to family leaders such as Vincent and Benny Aloi, John Franzese and John DeRoss.

## Indictments

On June 4, 2008, Gioeli was indicted for robbery, extortion, the 1991 Marassa murder, and the 1992 Minerva and Imbergamo murders. The robbery indictment involved a 1991 fur shop robbery in which Gioeli allegedly posed as a customer. On December 16, 2008, Gioeli was indicted on the 1995 Greaves murder and the 1999 Cutolo murder. Although Alphonse Persico was convicted in 2007 of ordering Cutolo's murder, prosecutors had lacked sufficient evidence then to indict Gioeli. However, by 2008, both Calabro and Competiello were now government witnesses planning to testify against Gioeli.

On February 9, 2010, Gioeli was briefly hospitalized after suffering a minor stroke. Already diagnosed with diabetes and cardiac problems, Gioeli had unsuccessfully petitioned the court on February 8 to be released from jail due to his medical problems. Gioeli has also complained to the court about his dental problems, the poor quality of the jail food, and allegedly unsanitary practices in the dispensation of his medicine.

In July 2010, Gioeli was indicted in the 1997 Dols murder. On May 9, 2012, the jury returned a mixed verdict. Gioeli was cleared of the Cutolo and Dols murders, but convicted of racketeering conspiracy to commit murder in the Minerva and Marasa cases. On March 19, 2014, Gioeli was sentenced to 18 years and 8 months in prison and ordered to pay $360,000 in restitution.

From September 2015, Gioeli was incarcerated in the low security wing of the Federal Correctional Complex, Butner in Butner, North Carolina until he was released on May 3, 2023.


title: Jari Sillanpää

abstract: Jari Veikko Sillanpää is a Finnish-Swedish singer. With over 820,000 records sold, he is the fifth-best-selling music artist and second-best-selling solo artist in Finland.

text:
# Jari Sillanpää

**Jari Veikko Sillanpää** (Finnish pronunciation: \[ˈjɑri ˈsilːɑmpæː\]; born 16 August 1965) is a Finnish-Swedish singer. With over 820,000 records sold, he is the fifth-best-selling music artist and second-best-selling solo artist in Finland.

## Life and career

Born into a Sweden-Finnish family, Sillanpää spent his childhood in Sweden. His mother was one of the tens of thousands Finnish children who were evacuated to Sweden during World War II. Sillanpää's maternal great-grandfather, Potif Afanasief, and great-grandmother were Russians.

Sillanpää moved to Finland in the mid-1990s. He gained fame after winning the Seinäjoki Tangomarkkinat tango contest in 1995.

Sillanpää's 1996 debut album *Jari Sillanpää* is the best-selling album of all time in Finland, with over 270,000 copies sold.

In 1998, Sillanpää was awarded the Male Soloist of the Year Emma award.

Sillanpää represented Finland in Eurovision Song Contest 2004 and his song "Takes 2 to Tango" (which he wrote the lyrics for) received 51 points in the semi-final, taking the 14th place and not qualifying for the final. Sillanpää participated in the Finnish National Final for the Eurovision Song Contest 2009 with the song "Kirkas kipinä", making it to the final show, but finishing out of the final three.

A Swedish citizen by birth, Sillanpää also obtained Finnish citizenship in the early 2010s. In 2006 Sillanpää came out publicly as homosexual.

In August 2018, Sillanpää received a suspended 10-month sentence for buying methamphetamine. In early 2020, Sillanpää was on trial for having filmed a computer screen with his phone while a child sexual abuse video was playing on the computer. Sillanpää denied the charge and said someone else had used his phone. He was convicted and given a fine of more than 15,000 euros.

## Discography

Albums * *Jari Sillanpää* (1996)
* *Hyvää joulua* (1996) – Christmas album
* *Auringonnousu* (1997)
* *Varastetut helmet* (1998)
* *Onnenetsijä* (1999)
* *Maa on niin kaunis* (2000) – Christmas album
* *Hän kertoo sen sävelin* (2001)
* *Määränpää tuntematon* (2003)
* *Albumi* (2008)
* *Al Ritmo Latino* (2008)
* *Kuin elokuvissa* (2009)
* *Millainen laulu jää* (2011)
* *Rakkaudella merkitty mies* (2014)

Compilation albums * *Kuninkaan kyyneleet* (2000)
* *Parhaat* (2005)
* *Kaikkien aikojen parhaat* (2013)

Singles * "Bum bum bum" (1997)
* "Valkeaa unelmaa" (1998)
* "Lauluni" (1999)
* "Kuuleeko Eero?" (1999)
* "Lumilinna" (1999)
* "Sininen & punainen" (2001)
* "Takes 2 to Tango" (2004)
* "Vierellesi kaipaan" (with Katri Helena) (2007)
* "Liekeissä" (2012)

Media related to Jari Sillanpää at Wikimedia Commons

## InfoBox

| Jari Sillanpää | |
| --- | --- |
|  | |
| Background information | |
| Born | (1965-08-16) 16 August 1965<br>Ludvika, Sweden |
| Genres | Iskelmä (schlager) |
| Instrument | Singing |
| Years active | 1995–present |
| Labels | MTV-Musiikki, Bridgehead, Suomen Mediamusiikki, Veijari-tuotanto |
|  | |
| Website | jarisillanpaa.com |


title: Jorge Perugorría

abstract: Jorge Perugorría Rodríguez is a Cuban actor, film director and painter. He is well known for his part as Diego in Strawberry and Chocolate (original title in Spanish Fresa y chocolate. He recently acted in Steven Soderbergh's Che, with Benicio del Toro and in the original Netflix series Four Seasons in Havana. He lives in Santa Fe, a neighborhood on the outskirts of Havana, with his wife Elsa Maria Fuentes de La Paz and their four children.

text:
# Jorge Perugorría

**Jorge Perugorría Rodríguez** (aka "Pichi," born 13 August 1965) is a Cuban actor, film director and painter. He is well known for his part as Diego in *Strawberry and Chocolate* (original title in Spanish *Fresa y chocolate* (co-directed by Tomás Gutiérrez Alea and Juan Carlos Tabío). He recently acted in Steven Soderbergh's *Che*, with Benicio del Toro and in the original Netflix series *Four Seasons in Havana.* He lives in Santa Fe, a neighborhood on the outskirts of Havana, with his wife Elsa Maria Fuentes de La Paz and their four children.

## Career

Perrugorría studied civil engineering until he turned to theater. He played Shakespeare with the Olga Alonso troupe, and starred in *The Glass Menagerie* with the Ritan Mountainer troupe. In the early 1990s, Perugorría helped found Havana’s Public Theatre, which started with Jean Genet’s *The Maids*. In this play, Perugorría acted the difficult part of Clara, working on a real gestural dimension for this feminine character. This led to his first opportunity in cinema.

Perugorría has played in several TV series or short films, but his first cinema success was *Fresa y Chocolate* (Strawberry and Chocolate), in which he played the part of Diego, a gay young man who meets a straight university student named David. The movie, subtly dealing with tolerance and sexual politics, made Perugorría recognizable as one of Cuba’s most famous actors.

He has since acted in nearly 50 films, including *Boceto* directed by Tomás Piard and *Derecho de asilo* by Octavio Cortázar. He has also appeared in Steven Soderbergh’s *Che*, and directed and acted in *Se vende* (For sale), a black comedy about the selling of bones of dead people. He is portraying Cuban police detective Conde in *Four Seasons in Havana,* a Netflix series based on novels of Cuban writer Leonardo Padura. It is a Spanish production by Tornesol.

## Awards/Nominations

* In 2015 he was nominated for the “Platino Award” for his role as Conde, from the Platino Awards for Iberoamerican Cinema.

* In 2014 he won the “Special Precolumbian Icon” from the Bogota Film Festival.

* In 2014 he was nominated for the “Audience Award” from Havana Film Festival.

* In 2012 he was nominated for “Audience Award” from SXSW Film Festival in Austin, Texas.

* In 2009 he won the“Special Jury Award” for the film *El cuerno de la abundancia* from Mar del Plata Film Festival.

* In 2009 he won “Honorary award” from Lleida Latin-American Film Festival.

* In 2006 he won a special award for his career accomplishments from the Turia Awards.

* In 2003 he won “Special Mention” for the film *Habana Abierta* in the Havana Film Festival.

* In 2003 he won “El Megano Award” for the film *Habana Abierta* in the Havana Film Festival.

* In 2001 he won “Golden India Catalina” for the film *Waiting list* from the Cartagena Film Festival.

* In the year 2000 he won “Special Award” for the film *Volaverunt* from the Yoga Awards.

* In 1995 he won “Premio Ace” for the film *Strawberry and Chocolates.*

* In 1994 he won “Silver Hugo” for the film *Strawberry and Chocolates* from the Chicago International Film Festival.

* In 1994 he won “Golden kikito” for the film *Strawberry and Chocolates* from the Gramado Film Festival.

* In 1993 he won “Best Actor” for the film *Strawberry and Chocolates* from Havana Film Festival.

## Filmography

### Director/Producer

* 2003: *Habana abierta*
* 2005: *Santiago y la Virgen en la Fiesta del Fuego* (documentary short)
* 2010: *Afinidades*
* 2012: *Amor crónico*
* 2012: *Se vende*
* 2015: *Fátima o el Parque de la Fraternidad*

### Actor

* 1966: *Rio, Verão & Amor*
* 1993: *Derecho de asilo*
* 1993: *Los perros tienen hambre* (short)
* 1993: *Strawberry and Chocolate*
* 1994: *Maite*
* 1995: *Dile a Laura que la quiero*
* 1995: *Guantanamera*
* 1995: *Shiralad. El regreso de los dioses* (TV series)
* 1996: *La sal de la vida*
* 1996: *Bámbola*
* 1996: *Cachito*
* 1996: *Edipo alcalde*
* 1996: *Un asunto privado*
* 1997: *Amor vertical*
* 1997: *Clandestine Stories in Havana*
* 1997: *Life According to Muriel*
* 1997: *Razor in the Flesh*
* 1997: *Things I Left in Havana*
* 1998: *Doña Bárbara*
* 1998: *Sidoglio Smithee*
* 1999: *By My Side Again*
* 1999: *Volavérunt*
* 2000: *The Waiting List*
* 2000: *Tierra del fuego*
* 2000: *Turbulence*
* 2001: *Honey for Oshun*
* 2001: *Vajont - La diga del disonore*
* 2002: *Nowhere*
* 2002: *Rancour*
* 2003: *Más vampiros en La Habana*
* 2003: *Tánger*
* 2004: *Caribe*
* 2004: *Scent of Oak*
* 2005: *Barrio Cuba*
* 2005: *Frutas en el café*
* 2005: *Gaijin - Ama-me Como Sou*
* 2005: *Hormigas en la boca*
* 2005: *Queens*
* 2006: *Virgin Rose*
* 2007: *Night of the Innocents*
* 2007: *The Heart of the Earth*
* 2008: *Horn of Plenty*
* 2008: *Che: Part One*
* 2008: *Che: Part Two*
* 2008: *La mala*
* 2010: *Afinidades*
* 2010: *Boleto al paraíso*
* 2012-2013: *Lynch* (TV series)
* 2012: *7 Days in Havana*
* 2012: *Amor crónico*
* 2012: *Clara no es nombre de mujer*
* 2012: *Dragoi ehiztaria*
* 2012: *Edificio Royal*
* 2012: *Se Vende*
* 2012: *Un amor de película*
* 2014: *Boccaccerías Habaneras*
* 2014: *His Wedding Dress*
* 2014: *La muerte del gato* (short)
* 2014: *La pared de las palabras*
* 2014: *Return to Ithaca*
* 2014: *Tarde para Ramón* (short)
* 2015: *Isola Margherita* (TV miniseries)
* 2015: *Viva*
* 2016: *Vientos de la Habana* (TV miniseries)
* 2016: *Un Cuento de Circo & A Love Song*
* 2017: *Kimura*
* 2018: *Rubirosa*
* 2018: *Black is Beltza*
* 2018: *Havana Kyrie*

http://link.galegroup.com.ezproxy.library.berkeley.org/apps/doc/A18125291/BIC?u=berkeleycoll&sid=BIC&xid=42d92946

## Trivia

Since 2005, Jorge Perugorría has been one of the patrons of DreamAgo, an international screenwriters association.

## InfoBox

| Jorge Perugorría | |
| --- | --- |
| Perugorría in 2011 | |
| Born | (1965-08-13) 13 August 1965<br>Wajay, Havana, Cuba |
| Other names | Pichi |
| Citizenship |  |
| Occupations | * Actor * film director * painter |
| Website | http://www.jorgeperugorria.com/ |


title: Joseph Smith Building

abstract: The Joseph Smith Building, also known as the JSB, is a building that houses classrooms and administrative offices at Brigham Young University (BYU) in Provo, Utah, United States. The building is named after Joseph Smith, founder of the Church of Jesus Christ of Latter-day Saints. It is the home to the BYU College of Religious Education, containing most of the offices of religion faculty and many classrooms where religion classes are held. It also has a large lecture hall that seats about 1,000 people and is used for large classes.

text:
# Joseph Smith Building

The **Joseph Smith Building**, also known as the **JSB**, is a building that houses classrooms and administrative offices at Brigham Young University (BYU) in Provo, Utah, United States. The building is named after Joseph Smith, founder of the Church of Jesus Christ of Latter-day Saints. It is the home to the BYU College of Religious Education, containing most of the offices of religion faculty and many classrooms where religion classes are held. It also has a large lecture hall that seats about 1,000 people and is used for large classes.

Media related to Joseph Smith Building (BYU) at Wikimedia Commons

## InfoBox

| Joseph Smith Building | |
| --- | --- |
|  | |
|  | |
| General information | |
| Type | Educational |
| Location | Provo, Utah |
| Coordinates | 40°14′51″N 111°39′04″W / 40.24750°N 111.65111°W / 40.24750; -111.65111 |
| Completed | 1991 |


title: Josef Reicha

abstract: Josef Reicha, also spelt Rejcha, was a Czech cellist, composer and conductor. He was the uncle of composer and music theorist Anton Reicha. Josef Reicha was born in Chudenice. In 1761 he moved to Prague, where he was taught cello by Franz Joseph Werner. In 1771, Reicha became first cellist in the orchestra of Prince (Fürst) Kraft Ernst von Oettingen-Wallerstein. Together with the famous violinist Anton Janitsch, who also played in the orchestra, Reicha toured several European cities during the late 1770s and visited Leopold Mozart in Salzburg in 1778. In his letters to Wolfgang Amadeus, Leopold praised Reicha's cello playing and compared the style of one of his cello concerts to those by Wolfgang Amadeus. Reicha adopted his nephew Anton in 1780 and subsequently taught him the violin and the piano. In 1785 Josef was made director of the orchestra in Bonn by Maximilian Francis of Austria, Elector of Cologne; the whole family moved to Bonn. Anton became a member of the court orchestra through his uncle. Other members included the young Beethoven, who played the viola and the organ, and Nikolaus Simrock, founder of the Simrock music publishing firm, who played the horn in the orchestra. Simrock would later publish Josef's works. In 1789 Josef became music director of the new theatre, Bonner Nationaltheater. His musical career was cut short in 1791, when he contracted gout. He died four years later in Bonn.

text:
# Josef Reicha

**Josef Reicha** (12 February 1752  5 March 1795), also spelt Rejcha, was a Czech cellist, composer and conductor. He was the uncle of composer and music theorist Anton Reicha.

Josef Reicha was born in Chudenice. In 1761 he moved to Prague, where he was taught cello by Franz Joseph Werner. In 1771, Reicha became first cellist in the orchestra of Prince (*Fürst*) Kraft Ernst von Oettingen-Wallerstein. Together with the famous violinist Anton Janitsch, who also played in the orchestra, Reicha toured several European cities during the late 1770s and visited Leopold Mozart in Salzburg in 1778. In his letters to Wolfgang Amadeus, Leopold praised Reicha's cello playing and compared the style of one of his cello concerts to those by Wolfgang Amadeus.

Reicha adopted his nephew Anton in 1780 (Josef married in 1779, but the marriage produced no children) and subsequently taught him the violin and the piano. In 1785 Josef was made director of the orchestra in Bonn by Maximilian Francis of Austria, Elector of Cologne; the whole family moved to Bonn. Anton became a member of the court orchestra through his uncle. Other members included the young Beethoven, who played the viola and the organ, and Nikolaus Simrock, founder of the Simrock music publishing firm, who played the horn in the orchestra. Simrock would later publish Josef's works. In 1789 Josef became music director of the new theatre, Bonner Nationaltheater. His musical career was cut short in 1791, when he contracted gout. He died four years later in Bonn.

## Style

Reicha wrote music for orchestra and chamber ensembles of different kinds. His works include symphonies, various concertos including eleven for cello, twelve partitas for wind instruments and miscellaneous other works. Most of Reicha's compositions were completed in Wallerstein, such as his flute concerto, before his Bonn years. His writing for strings and cello particularly is markedly virtuosic, reflecting his own skill. Music scholar Ludwig Schiedermair in 'Der junge Beethoven' (Leipzig, 1925) gave specific examples taken from Reicha's partitas and symphonies and has proven that these works influenced Beethoven. Other important admirers of Reicha included Leopold Mozart and Michael Haydn.

## Further reading