title: Thiruvilwamala

abstract: Thiruvilwamala is a hilly village in the northern terrain of Thrissur district of Kerala state in southern India. It is located 47 kilometres northeast of district headquarters Thrissur. Kasavu clothing is made in Kuthampully, a nearby village.

text:
# Thiruvilwamala

**Thiruvilwamala** is a hilly village in the northern terrain of Thrissur district of Kerala state in southern India. It is located 47 kilometres northeast of district headquarters Thrissur. Kasavu clothing is made in Kuthampully, a nearby village.

## Location

The village, which is more of a temple town, is located on the banks of the Bharathappuzha river, with the nearest towns being Chelakkara, Ottapalam, Pazhayannur, and Shoranur. The Vilwadrinatha Temple, which is among the rare Sri Rama temples in Kerala, is in Thiruvilwamala. Even though people believe the deity as Lord Rama, actually it is of Lord Vishnu. There is another shrine for Lord Lakshmana, the younger brother of Lord Rama, inside the temple. Both the brothers have equal importance here. There are sub-shrines for Ganesha, Hanuman, Shiva, Parvati, Ayyappan and Serpent deities. Niramaala are Ekadashi are festive events.

## Noted personalities

Noted writer V. K. N. (Vadakke Koottala Narayanankutty Nair) Maanasi and V.K.K.Ramesh, P.A.Divakaran hails from this place. The poet P. Kunhiraman Nair had stayed here for long, having fallen in love with the scenic beauty and culture of the place. Raobahadur T.K. Nair, a former minister in Cochin State, hailed from this place. Current Kerala High Court Judge Ashok Menon & Additional Director General of Police Padmakumar IPS belong to Thiruvilwamala. The place has also given birth to prominent artists in the field of Kathakali, especially madhalam players like Venkichan Swamy and his pupils Appukutty Poduval & Chinna Kutta Poduval. It is the home of Carnatic musicians; the Sri Rama temple that hosts a relay south Indian classical concert on the auspicious day of ekadasi.

## Temples

Thiruvilwamala has many other ancient temples and more than four Shiva destination. Ivor Madom, the Krishna temple, has ceremonies performed in order to ensure peace after death.It is a contains a crematorium. Other significant temple is Kayarampara Parakottu Kavu Devi temple. The word 'Parakottu' refers to its position on the rocky topography. It is located close to the Vilvadhrinatha temple. There is also a Sai Baba temple nearby.

## Caves

Punarjani Guha (cave) is another major attraction in Thiruvilwamala, which is situated between the Vilwamala and the Bhoothamala towards the east of the Vilwadrinatha temple. It is a natural tunnel in the rocky hill. There is a belief that all the sins will be washed away if a person cross the cave from one end to the other and the person will be free from further births. Crossing the cave is difficult as one have to crawl through narrow sections to reach the other end. This ritual is known as 'Punarjani noozhal'. Only men are allowed to perform this ritual. This cave will be open to the public only on the Ekadasi day and hundreds of people participate in this ritual each year.

## Festivals

The Parakkottukavu Thalappoli festival falls on the last Sunday of the Malayalam month of Medam (mid-May). The firework spectacles in this pooram would match up to the fireworks of the world-famous Thrissur Pooram.

## Kuzhi Minnal

Kuzhu Mannal (or Kuzhal Minnal) is gunpowder filled in earth holes and measured in pounds. It has enormous doppler effect due to the hilly Thiruvilwamala region. Picture here shows one of a series of end part of the Thalappoli fireworks. The fumes released are said to purify the atmosphere particularly when crowds gather and the chance of diseases spreading increase.

## Education

* Govt. Vocational Higher Secondary School, Kattukulam
* G.U.P.S Kuthampully
* Seventh Day Adventist Higher Secondary School, Temple Rd
* Govt. Higher Secondary School, Pampady
* Nehru College of Engineering and Research Centre, Pampady
* Nehru College of Pharmacy, Pampady
* Christ New Life ICSE School, Punarjani Garden

## InfoBox

| Thiruvilwamala Thiruvilluamala | |
| --- | --- |
| town | |
| ThiruvilwamalaLocation in Kerala, IndiaThiruvilwamalaThiruvilwamala (India) | |
| Coordinates: 10°43′56″N 76°25′38″E / 10.7321277°N 76.4273357°E / 10.7321277; 76.4273357 | |
| Country | India |
| State | Kerala |
| District | Thrissur |
| Area | |
| Total | 37.94 km2 (14.65 sq mi) |
| Elevation | 50 m (160 ft) |
| Population | |
| Total | 24,175 |
| Density | 640/km2 (1,700/sq mi) |
| Languages | |
| Official | Malayalam, English |
| Time zone | UTC+5:30 (IST) |
| PIN | 680588 |
| Telephone code | 04884 |
| Vehicle registration | KL-48 |
| Nearest city | Ottapalam |
| Sex ratio | 1105:1000 / |
| Literacy | 83.85% |
| Lok Sabha constituency | Alathur |
| Climate | moderate (Köppen) |


title: Turkowo

abstract: Turkowo is a village in the administrative district of Gmina Kuślin, within Nowy Tomyśl County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 23 kilometres (14 mi) north-east of Nowy Tomyśl and 33 km (21 mi) west of the regional capital Poznań.

text:
# Turkowo

**Turkowo** \[turˈkɔvɔ\] is a village in the administrative district of Gmina Kuślin, within Nowy Tomyśl County, Greater Poland Voivodeship, in west-central Poland. It lies approximately 23 kilometres (14 mi) north-east of Nowy Tomyśl and 33 km (21 mi) west of the regional capital Poznań.

## InfoBox

| Turkowo | |
| --- | --- |
| Village | |
| Turkowo | |
| Coordinates: 52°24′N 16°26′E / 52.400°N 16.433°E / 52.400; 16.433 | |
| Country | Poland |
| Voivodeship | Greater Poland |
| County | Nowy Tomyśl |
| Gmina | Kuślin |


title: Glenda Randerson

abstract: Glenda Dorothy Randerson is a New Zealand painter. Her art is held in the permanent collection of Auckland Art Gallery Toi o Tāmaki.

text:
# Glenda Randerson

**Glenda Dorothy Randerson** (born 1949) is a New Zealand painter. Her art is held in the permanent collection of Auckland Art Gallery Toi o Tāmaki.

## Life

Randerson studied at the Elam School of Fine Arts in Auckland under Colin McCahon and began exhibiting in 1975. Her early paintings were still-lifes and domestic interiors, although later in her career she also painted figures. In the 1990s Randerson completed a series of portraits of New Zealand writers, including Joy Cowley and Stevan Eldred-Grigg.

She is the wife of former Court of Appeal judge Tony Randerson.


title: Justin Ponsor

abstract: Justin "J-Po" Ponsor was an American comics colorist. Ponsor was born in San Diego, California. After graduating from Palomar College, Ponsor began his professional career in 1996, working for WildStorm as an in-house colorist. He went freelance in 2000 and was one of the first creatives at CrossGen in 2002. In 2005, he began coloring almost exclusively for Marvel. His work on Avengers earned him a nomination for a Golden Issue Award by ComicBook.com in 2018. Ponsor died on May 18, 2019, after a two-year battle with cancer. He continued working up until his death.

text:
# Justin Ponsor

**Justin "J-Po" Ponsor** (April 20, 1977 – May 18, 2019) was an American comics colorist.

Ponsor was born in San Diego, California. After graduating from Palomar College, Ponsor began his professional career in 1996, working for WildStorm as an in-house colorist. He went freelance in 2000 and was one of the first creatives at CrossGen in 2002. In 2005, he began coloring almost exclusively for Marvel. His work on *Avengers* earned him a nomination for a Golden Issue Award by ComicBook.com in 2018.

Ponsor died on May 18, 2019, after a two-year battle with cancer. He continued working up until his death.


title: Nadzca'an

abstract: Nadzca'an is a Maya archaeological site located in the Balam Kú Biosphere Reserve of Campeche in Mexico. Nadzca'an was a classical period Maya city and ceremonial center built over an artificial plateau. It is located approximately 12 km northeast of the Maya site of Balamku. Numerous stelas have been found inside the main structures of the site, a mention to the emblem glyph of Calakmul is found carved on a monument from Nadzca'an.

text:
# Nadzca'an

**Nadzca'an** is a Maya archaeological site located in the Balam Kú Biosphere Reserve of Campeche in Mexico. Nadzca'an was a classical period Maya city and ceremonial center built over an artificial plateau. It is located approximately 12 km northeast of the Maya site of Balamku. Numerous stelas have been found inside the main structures of the site, a mention to the emblem glyph of Calakmul is found carved on a monument from Nadzca'an.

## Architecture

The archaeological site of Nadzca'an is divided into three architectural groups named Ah Kin, Chi'ik and Río Bec, which host two plazas, a ball court and several monumental buildings.

The Ah Kin group is the main architectural group of the site and has structures from the early Classic to the late Classic periods.

## History

Nadzca'an occupation began at the end of the Preclassic period and extended until the late Classic period, the development of the city covers approximately between the years 200 AD to 1000 AD. During this long development period, the site presented an important architectural change and evolution from the Peten style to the stylish Río Bec style.

The site was discovered in 1993 near the Escárcega–Chetumal highway and the community of Conhuas inside the thick jungle of Campeche. The site is now part of the protected zone of the Balam Kú Biosphere Reserve.

1. "Nadzca'an: Cerca del cielo". *Lugares INAH*.
2. "CIUDADES DEL PETEN CAMPECHANO: CARACTERÍSTICAS DE LA COMPOSICIÓN URBANA DE LOS SITIOS DE CALAKMUL, BALAMKU Y NADZCA\`AN".
3. "Zonas arqueológicas: Nadzca'an". *Sistema de Información Cultural*.

## InfoBox

Nadzca'an
| Shown within CampecheNadzca'an (Mexico) | |
| --- | --- |
| Location | Mexico |
| Region | Calakmul, Campeche |
| Coordinates | 18°36′25″N 89°51′06″W / 18.60694°N 89.85167°W / 18.60694; -89.85167 |
| Type | Ancient Maya City |
| History | |
| Founded | 150 - 200 AD |
| Abandoned | 900 - 1000 AD |
| Periods | Late Preclassic - Classic |
| Cultures | Maya civilization |
| Site notes | |
| Discovered | 1993 |
| Architecture | |
| Architectural styles | Rio Bec |


title: Roberto Demo

abstract: Roberto Demo is an Italian jazz singer-songwriter and vocal teacher. During the 1990s he attended seminars of artists like Barney Kessel, Mick Goodrick, Scott Henderson, Jim Hall (musician), and vocal teacher Jo Estill, who played a key role in his development. During his career he has recorded 2 albums), and played with several Italian and international artists, including Emanuele Cisi, Luigi Martinale, Jonathan Gee, Steve Rose, and Winston Clifford.

text:
# Roberto Demo

**Roberto Demo** (born 1965 in Turin) is an Italian jazz singer-songwriter and vocal teacher. During the 1990s he attended seminars of artists like Barney Kessel, Mick Goodrick, Scott Henderson, Jim Hall (musician), and vocal teacher Jo Estill, who played a key role in his development.

During his career he has recorded 2 albums (*La porta*, 2001, and *Sono un bluff*, 2005)), and played with several Italian and international artists, including Emanuele Cisi, Luigi Martinale, Jonathan Gee, Steve Rose, and Winston Clifford.

## Discography

* *La porta* (2001)
* *Sono un bluff* (2005)

* Official website
* Short biography at Jazzitalia


title: Robin Sibson

abstract: Robin Sibson was a British mathematician and educator. He was a fellow of King's College, Cambridge, professor of statistics at the University of Bath and then vice-chancellor of the University of Kent. He was chief executive of the Higher Education Statistics Agency from 2001 until 2009. He was also a member of the Committee for Higher Education and Research (CC-HER), the predecessor to the Steering Committee for Higher Education and Research (CDESR). He died on 19 March 2017 at the age of 72.

text:
# Robin Sibson

**Robin Sibson** (4 May 1944  19 March 2017) was a British mathematician and educator.

He was a fellow of King's College, Cambridge, professor of statistics at the University of Bath and then vice-chancellor of the University of Kent. He was chief executive of the Higher Education Statistics Agency from 2001 until 2009. He was also a member of the Committee for Higher Education and Research (CC-HER), the predecessor to the Steering Committee for Higher Education and Research (CDESR).

He died on 19 March 2017 at the age of 72.

## Research

He was the developer of natural neighbour interpolation on discrete sets of points in space.

## Selected bibliography

### Books

* Sibson, Robin; Jardine, Nicholas (1971). *Mathematical taxonomy*. London, New York: Wiley. ISBN 9780471440505.

### Chapter in books

* Sibson, Robin (1981), "A brief description of natural neighbour interpolation", in Barnett, Vic (ed.), *Interpreting multivariate data*, Chichester West Sussex New York: Wiley, pp. 21–35, ISBN 9780471280392

## InfoBox

| Robin Sibson | |
| --- | --- |
| Born | (1944-05-04)4 May 1944 |
| Died | 19 March 2017(2017-03-19) (aged 72) |
| Nationality | British |
| Alma mater | University of Cambridge |
| Known for | Natural neighbour interpolation |
| **Scientific career** | |
| Fields | Statistics |
| Institutions | University of Bath |
| Doctoral advisor | David George Kendall |
| Doctoral students | Guy Nason |
|  | |


abstract: La Memoria De Nuestra Tierra: California 1996 is a 10 ft x 30 ft rectangular mural, currently located in the University of Southern California's Graduate Student Lounge within the Ronald Tutor Campus Center. The mural was painted by artist Judy Baca in collaboration with students from the University's Roski School of Art and Design. This piece shows the Chicano history of Southern California through the depiction of various images inspired by the native history of the land and the more modern conflicts and issues Latinos have suffered.

text:
# La Memoria De Nuestra Tierra (Calif. 1996)

***La Memoria De Nuestra Tierra: California 1996*** is a 10 ft x 30 ft rectangular mural, currently located in the University of Southern California's Graduate Student Lounge within the Ronald Tutor Campus Center. The mural was painted by artist Judy Baca in collaboration with students from the University's Roski School of Art and Design. This piece shows the Chicano history of Southern California through the depiction of various images inspired by the native history of the land and the more modern conflicts and issues Latinos have suffered.

## History

*La Memoria de Nuestra Tierra* was commissioned by the University in July 1995 and dedicated on December 5, 1996.

The creation of the mural was sparked by a number of concerns and demands made by Latino and Chicano students during the 1993-1994 academic year. The University received 45 different submissions before choosing Baca, who was widely known for the creation of “The Great Wall of Los Angeles.” The mural was installed in USC's Student Center in August 1996.

Baca's mural was then rededicated on Sept. 30, 2010 at the grand opening of the Ronald Tutor Campus Center.

*La Memoria de Nuestra Tierra* translates to English as *The Memory of Our Land*. As its name suggests, the piece was created to celebrate Latino and, more specifically, Chicano culture and influence at The University of Southern California and in Los Angeles. The mural depicts central aspects of Mexican culture and religion, such as the Kiva, as well as instances and actors that played key roles in the interconnection between Mexican and American culture, such as the conquistadors and the U.S.-Mexico border.

Baca also created a mural under the same name that is currently on display at Denver International Airport. This mural, however, is more personal, depicting her grandparents journey from Mexico to Colorado.

## Important elements

### Kiva

The Kiva, a Native American ceremonial structure, is the central image of the Mural. This represents the native, religious and nurturing characteristics of Latino and Chicano culture. Based on this idea of the caring nature of the culture, the river flows from the kiva and onto the land, eventually turning into a paved road on the U.S side of the border, signaling the difference in culture. Corn also grows around the structure of the Kiva, supporting the idea of the Kiva as a provider of nutritional, religious and cultural nourishment for the community.

Kivas, which can be built above or below ground, were used for both religious and day-to-day domestic activities depending on the community that was utilizing them. Smaller Kivas often served as single-person homes, while those that were solely used for ritual purposes tended to be larger than multi-use structures.

### Conquistadors

At the center-right of the mural, on the Mexican side of the land, there is an illustration of a conquistador's head. The image of the conquistador has a helmet painted near the workers and activists that are depicted on the right edge of the mural. The conquistador is depicted as an illustration because there was a time during colonization when all people spoke different languages, making illustrations the chosen mode of communication over verbal communication.

The Conquistadors are major players in Latino history, making the way that the conquistador is depicted in Baca's work very important in understanding the Latino/Chicano experience. As mentioned above, the conquistador is "stamped" near the workers and the man running at the border, which is supposed to show these men's ever-present nature on this land and their need to claim control over it and the native people because they had different cultures and practices that were misunderstood as that of “savages.”

### U.S.-Mexico border

The U.S-Mexico border is clearly marked in the mural by a flowing river turning into a paved road, as previously mentioned, and it is easy to see the contrast of the two lands because the Mexican side is untouched or underdeveloped, while the U.S side shows development, crops, and greenery.

The larger meaning behind this mural is a sort of celebration of the importance of the land. On the far right of the mural we see a sleeping woman that wakes up displeased to realize that the border has become a part of her. Also on the far right, at the front of the line of workers, there is a man wearing a hoodie who is running from immigration officers.

All of these elements depict the history of the U.S.-Mexico border and the culture of migration across it. Mexican migrants and workers are often synonyms of criminality for border agents even though most people cross the border for economic and social reasons, searching for a better life in a land that once was their own, while still maintaining a strong connection to their homeland.

### Chicano activists

In the lower right corner of the mural, Baca depicts many artists and activists among the Chicano community. These activists include David Alfaro Siqueiros, Frida Kahlo, Diego Rivera, the United Farm Workers, and the Chicano Moratorium.

David Alfaro Siqueiros (1896–1974) was a Mexican artist and activist. Siqueiros painted many murals and helped begin the mural movement in Mexico. He engaged in political activism through his art as well as in his day-to-day life, particularly democracy and workers’ rights.

Frida Kahlo (1907–1954) was a Mexican artist and activist. Kahlo stood up for many social justice issues both physically and through her art. Her art includes messages of Mexican nationalism, Marxism, and feminism. She also protested US intervention in Latin America.

Diego Rivera (1886–1957) was a Mexican artist and activist. His art is very political, and through it he has supported the Mexican Revolution and the socialist revolution while condemning colonialism, capitalism, and imperialism.

Cesar Chavez (1927–1993) and the United Farm Workers were Mexican-American activists who protested farm workers’ treatments and advocated for their rights.

The Chicano Moratorium was an anti-Vietnam War protest that occurred in Los Angeles, California on August 29, 1970. The demonstration included approximately 30,000 Mexican-American activists.

### Los ranchos

On the upper part of the mural, Baca paints the los ranchos. The ranchos were occupied by Mexican settlers before the 1870s. Some ranchos Baca depicts are Rancho La Cienega, Palos Verdes, Los Verdugos, Santiago de Santa Ana, La Ballona and San Fernando. This land is typically viewed as a symbol of Hispanic California. The ranchos are often romanticized and viewed with a sense of nostalgia by many Hispanics. The land is reminiscent of a time before European-American settlers occupied and colonized the territory.

### Sonora Town

The left portion of the mural features the image of the deteriorating houses which represent Sonora Town. Sonora Town is referred to as Los Angeles’ first predominately Spanish-speaking neighborhood, or barrio, and has seen a variety of changing populations throughout the course of history. All of Sonora Town's inhabits have faced various social and economic issues that plagued the barrio. Following its initial development in 1899, the people of Sonora Town suffered extreme poverty, crime, and hazardous environments while receiving little aid or recognition from the government. The decrepit houses of Sonora Town illustrated in Baca's mural call attention to the state of California's neglect of this population of Spanish-speaking individuals.

### Silver Dollar Bar

In the mural, an image of a soldier is located along the illustration of a river. The soldier is labeled with the title “The Silver Dollar”, referencing the Silver Dollar Bar, which played a significant role in sparking the Chicano Movement of the 1970s. The Silver Dollar Bar marks the location when Chicano activist and journalist Ruben Salazar was murdered in an act of police brutality. The death of Salazar marked the official beginning of the Chicano Movement in Los Angeles and inspired Mexican Americans to actively protest violent police behavior. Baca's reference to the Silver Dollar Bar in the mural recognizes the history of police brutality against Mexican Americans and pays homage to the efforts of Chicano protestors who advocated for a safer and more just future.

### Santa Barbara missions

Two Chumash people are illustrated in the lower left corner of Baca's mural. These individuals represent the near extinction of a native people due to the intervention of colonists. The Chumash were native individuals of the California coast whose population and culture were greatly disturbed by European intervention and colonization. With the Santa Barbara missions came oppression, murder, and unbearable living conditions. These conditions allowed for the vast spread of disease, including dysentery syphilis, which drastically increased mortality rates and led to over a 50% decrease in the Chumash population. Baca symbolizes this widespread genocide with the depiction of Chumash corpus in the lower left of the mural.

1. Baca, Judy. *La Memoria de Nuestra Tierra: California 1996*. December 1996. Mural, 18’ x 9’. University of Southern California Tutor Campus Center, Los Angeles.
2. "Formal Dedication for "The Memory of Our Land" at Topping Student Center Draws Crowd Despite Rain - USC News". *news.usc.edu*. 5 January 1997. Retrieved 2018-04-08.
3. "Grand Opening for Tutor Campus Center Art - USC News". *news.usc.edu*. 7 October 2010. Retrieved 2018-04-08.
4. "Latina artist to paint Topping Center mural on Chicano themes - USC News". *news.usc.edu*. 3 September 1995. Retrieved 2018-04-08.
5. Baca, Judy (2005). "La Memoria De Nuestra Tierra: Colorado". *Aztlán: A Journal of Chicano Studies*. **30:1**: 195.
6. "An Iconographic Roadmap to the Mural - USC News". *news.usc.edu*. 5 January 1997. Retrieved 2018-04-08.
7. Adler, Michael (1993). "Why Is a Kiva? New Interpretations of Prehistoric Social Integrative Architecture in the Northern Rio Grande Region of New Mexico". *Journal of Anthropological Research*. **49:4** (4): 319–346. doi:10.1086/jar.49.4.3630153. JSTOR 3630153. S2CID 146876471.
8. "Judy Baca Mural Rededication | Judy Baca Artist". *www.judybaca.com*. Retrieved 2018-04-08.
9. Weber, David J. (2005). *Bárbaros Spaniards and Their Savages in the Age of Enlightenment*. New Haven: Yale University Press. ISBN 9780300105018.
10. "An Iconographic Roadmap to the Mural - USC News". *news.usc.edu*. 5 January 1997. Retrieved 2018-04-08.
11. "Judy Baca Mural Rededication | Judy Baca Artist". *www.judybaca.com*. Retrieved 2018-04-08.
12. Wilson, Tamar (2010). "The Culture of Mexican Migration". *Critique of Anthropology*. **30:4** (4): 399–420. doi:10.1177/0308275X10382728. S2CID 144475245.
13. *Encyclopedia of World Biography*. Detroit: Gale. 2004. p. 256.
14. Fernandez, Lorena Beatriz (2001). "An exporation and analysis of the sociological content in the art of Frida Kahlo: Mexican ethnic and cultural identity, feminism, the struggle of the disable and her political ideology". *Protest Dissertations Publishing*.
15. Vazquez, Adolfo Sanchez (July 15, 2014). "Diego Rivera: Painting and Partisanship". *Third Text*. **28** (3): 269–270. doi:10.1080/09528822.2014.917865. S2CID 154127625.
16. "Cesar E. Chavez and the United Farm Workers". *El Chicano Weekly*. March 31, 2011.
17. Green, Susan Marie. "Chicano Moratorium". *Sage Knowledge*.
18. "Judy Baca Mural Rededication | Judy Baca Artist". *www.judybaca.com*. Retrieved 2018-04-16.
19. Hornbeck, David (1978). "Land tenure and rancho expansion in Alta California". *Journal of Historical Geography*. **4** (4): 371–390. doi:10.1016/0305-7488(78)90099-3.
20. Griswold del Castillo, Richard. *The Los Angeles Barrio, 1850-1890*. Berkeley: University of California Press, 1979.
21. Escobar, Edward J. (1993). "The Dialectics of Repression: The Los Angeles Police Department and the Chicano Movement, 1968-1971". *The Journal of American History*. **79** (4): 1483–1514. doi:10.2307/2080213. JSTOR 2080213.
22. Dartt-Newton, Deana; Erlandson, Jon M. (2006). "Little Choice for the Chumash: Colonialism, Cattle, and Coercion in Mission Period California". *American Indian Quarterly*. **30** (3/4): 416–430. doi:10.1353/aiq.2006.0020. JSTOR 4139021. S2CID 161990367.
23. JACKSON, ROBERT H. (1990). "The Population of the Santa Barbara Channel Missions (Alta California), 1813-1832". *Journal of California and Great Basin Anthropology*. **12** (2): 268–274. JSTOR 27825426.


title: La Membrolle-sur-Choisille

abstract: La Membrolle-sur-Choisille is a commune in the Indre-et-Loire department in central France.

text:
# La Membrolle-sur-Choisille

**La Membrolle-sur-Choisille** (French pronunciation: \[la mɑ̃bʁɔl syʁ ʃwazij\] ) is a commune in the Indre-et-Loire department in central France.

## Population

The commune was created in 1873 from part of Mettray.

Historical population
| Year Pop. ±% p.a.  1876  801       1881  794 −0.18%  1886  763 −0.79%  1891  706 −1.54%  1896  699 −0.20%  1901  686 −0.37%  1906  652 −1.01%  1911  675 +0.70%  1921  727 +0.74%  1926  776 +1.31%  1931  837 +1.52%  1936  929 +2.11% | Year Pop. ±% p.a.  1946  1,061 +1.34%  1954  1,194 +1.49%  1962  1,261 +0.68%  1968  1,217 −0.59%  1975  1,885 +6.45%  1982  2,569 +4.52%  1990  2,644 +0.36%  1999  2,928 +1.14%  2007  3,042 +0.48%  2012  3,031 −0.07%  2017  3,324 +1.86% |
| --- | --- |
| Source: EHESS and INSEE (1968-2017) | |

## InfoBox

| La Membrolle-sur-Choisille | |
| --- | --- |
| Commune | |
|  | |
| Location of La Membrolle-sur-Choisille | |
| La Membrolle-sur-ChoisilleLa Membrolle-sur-Choisille | |
| Coordinates: 47°26′20″N 0°38′25″E / 47.4389°N 0.6403°E / 47.4389; 0.6403 | |
| Country | France |
| Region | Centre-Val de Loire |
| Department | Indre-et-Loire |
| Arrondissement | Tours |
| Canton | Saint-Cyr-sur-Loire |
| Intercommunality | Tours Métropole Val de Loire |
| Government | |
| Mayor (20202026) | Sébastien Marais |
| Area**1** | 6.87 km2 (2.65 sq mi) |
| Population (2021) | 3,291 |
| Density | 480/km2 (1,200/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 37151 /37390 |
| Elevation | 51–94 m (167–308 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: La Nave del Olvido

abstract: La Nave Del Olvido is a studio album released by Mexican singer José José in 1970. The most popular songs were "La nave del olvido", "Nadie, simplemente nadie" and "Del altar a la tumba", in what proved to be one of the richest productions of José José, combining the talent of composers such as Armando Manzanero, Rubén Fuentes, Dino Ramos and Nacho González, among others. Furthermore, this album includes the large orchestras of Chucho Ferrer and Magallanes. This album earned José earned a gold and platinum disc for its high sales.

text:
# La Nave del Olvido

***La Nave Del Olvido*** (spanish for "the ship of oblivion") is a studio album released by Mexican singer José José in 1970.

The most popular songs were "La nave del olvido", "Nadie, simplemente nadie" and "Del altar a la tumba", in what proved to be one of the richest productions of José José, combining the talent of composers such as Armando Manzanero, Rubén Fuentes, Dino Ramos and Nacho González, among others. Furthermore, this album includes the large orchestras of Chucho Ferrer and Magallanes. This album earned José earned a gold and platinum disc for its high sales.

## Track listing

1. "La nave del olvido" (Dino Ramos)
2. "El día más triste del mundo" (Armando Manzanero)
3. "Si alguien me dijera" (Armando Manzanero)
4. "Ven y verás" (Ignacio "Nacho" González)
5. "Alguien" (Rubén Fuentes; Martha Roth)
6. "Ella es así" (Rubén Fuente)
7. "Del altar a la tumba" (Armando Manzanero; Luis De Llano)
8. "Y el mundo sigue girando" (Leo Dan; Leonardo Favio; Roberto Lambertucci)
9. "Nadie, simplemente nadie" (Susana Fernández)
10. "Mirar el amor" (Alfonso Ontivero)
11. "Avalancha" (Ignacio "Nacho" González)
12. "Un mundo para ti" (Armando Manzanero)

## InfoBox

| La Nave Del Olvido | |
| --- | --- |
|  | |
| Studio album by José José | |
| Released | 1970 (México) |
| Recorded | Mexico |
| Genre | Latin pop |
| Label | RCA |
| Producer | Ignacio González / Rubén Fuentes |
| José José chronology | |
| *José José*
(1969) ***La Nave Del Olvido***
(1970) *El Triste*
(1970) | |


title: LTA-B1

abstract: LTA-B1 is an adaptive rowing classification. The classifications were developed and current as of March 2011.

text:
# LTA-B1

**LTA-B1** is an adaptive rowing classification. The classifications were developed and current as of March 2011.

## Definition

Rowing Australia defines this classification as "athletes with a visual impairment (LTA-B1, LTA-B2 and LTA-B3)"

## Events

Rowers in this classification compete in single and sculls for club, state, and national competitions. In international competitions, they compete in mixed cox fours sculls, with a maximum of two visually impaired rowers in the boat.

## Becoming classified

Classification is handled by FISA International Rowing Federation. Australians seeking classification through Rowing Australia as a visually impaired rower need to provide evidence of having been classified by an International Blind Sports Federation (IBSA) classifier or an Australian Paralympic Committee vision impairment classifier.


title: Roberto Manrique

abstract: Roberto Manrique is an Ecuadorian model, and actor best known for his roles in telenovelas. Starting his career in Ecuador, and later doing telenovelas for Telemundo in Colombia.

text:
# Roberto Manrique

**Roberto Manrique** (born April 23, 1979) is an Ecuadorian model, and actor best known for his roles in telenovelas. Starting his career in Ecuador, and later doing telenovelas for Telemundo in Colombia.

## Biography

He was born April 23, 1979, in Guayaquil – Ecuador, under the sign of Taurus, the last of five children. Roberto always stood out within the family circle for being a curious child with general knowledge, communications, arts, and creativity .

Xavier Manrique's father, a renowned cardiologist of his country and his mother Mencha Miranda, a dedicated educator, gave Roberto a family that supported the development of skills and talents grew so motivated to discover their potential.

Roberto studied his years at the Liceo Panamericano primary, where he was involved in all kinds of artistic activities that particularly stood out as a student participation. It also showed interest in the topics of social awareness, as part of groups like the Nature Foundation and undertaking campaigns that touched these issues on their own initiative and their friends like.

"I remember when I was 8 or 9 years, we had a club of friends, which sold all sorts of things in the doorways of our homes, from popcorn to wooden coasters painted for us was to raise funds for social projects . Met scholarships to a child and feel of the work done was of absolute fullness, felt that we were changing the world. "

At the time of the school, Roberto studied at the traditional high school Javier in Guayaquil, where he distinguished himself for his creativity in the projects he undertook. "The high school to me was a period that involved major challenges of adaptation and growth level was the confrontation of values education I had in my home, with the real world, with the pressure of adolescents and the desire to be accepted .

When choosing a career, Roberto chose the Social Communication with a concentration in Graphic Design at the Universidad Casa Grande in Guayaquil. "I remember it as one of the best times of my life, in which I could discover and develop my creativity , expands my personality and discover the career potential it had "While studying experienced and performed several jobs and trades, including Cinemark teller, TV presenter and creative advertising at BBDO, where he started out as a promising publicist. However, he decided to leave these jobs to concentrate on finishing his college career that culminated with honors since Roberto received the award for most creative student, he graduated in Technical Advertising (2000) and its degree in Communications (2002).

Upon completion of this phase of education and pursue professional communication Spiral mounted an advertising agency in order to work in Social Marketing. Despite the economic success that this company is represented, the fullness wasn't part of his life, and felt dissatisfied "For a year I thought I was happy, that was what I wanted, but it was the success that made me believe that so was, then I realized that I'm not made for an office or a computer, I need to create beyond ... with my body. "

To take a radical turn to his life, he closed his agency and traveled to Peru, where he worked as a waiter one time free of responsibilities as he wished. "Causality of life, I ended up stuck in an acting workshop that Productions Guana people gave me, that's where the magic happened and I discovered my passion, I discovered the freedom and the challenge of standing on a stage, the dedication required to take someone's life and nudity that it faces in vulnerability the theater. "

For health complications from his father who had been diagnosed with cancer decide to return to the country and pursuing a career in acting. A short time later, Roberto received his first acting opportunity and enter the talent to be part of a series called "The Sorceress "in which he plays an antagonist, since this project will definitely open the television set in Ecuador for three years and performs a series of characters in such productions as" I sell black eyes "," Jocelito "," My Premiums "" Singles without Commitment "," Archives of Fate, "" Heart Dominated "also venturing into the boards with plays such as" Humor of Chekhov one-act "," Cultural Pentagram "and" Venice. "" I am infinitely grateful that television has led me to the theater because that's really where I trained as an actor, I consider myself very lucky to have spent that process. "

After building a successful career in his native country Roberto decides it's time to go and seek new horizons and new opportunities and decides to move to Colombia from which to project itself internationally thanks to the great entertainment industry in the country neighbor "When you're attentive to life and listen to your heart, you know what your path is and no risk of being mistaken, for me Colombia was a natural movement of life, something I knew I had to do without giving room of fear or doubt. Part of this certainly gave me my father, shortly before he died he told my family that no one should dwell on this trip because I will find my destiny, after my dad passed I went to Colombia "

In Colombia I achieved several roles in television and theater: In the shadow of the volcano, Fathers and Children, That's life, murdered women, Victoria and Doña Bárbara, which airs on Telemundo.

In Colombia things weren't always easy for Roberto, start from scratch in a new market involved a series of challenges to face and he were meant great opportunities for growth as he tells us. "Colombia has been the best time of my life, and precisely because it was not an easy undertaking, I had to deal with economic distress, unemployment, loneliness, but that caused me to develop aspects that did not have before such as thrift, determination, discipline, absolute confidence towards life and toward myself. "

One of the first projects in which Roberto attended the play "In the shadow of the volcano," a story that deals with child sexual abuse, along with great actresses and actors like Alejandra Borrero, Gustavo Angarita, Diana Angel. " It was an honor for me to share the stage with great actors, definitely a learning experience in my acting career and the opportunity to bring my work to open dialogue on a topic as important and on which there is both taboo. "After participating in the series "Fathers and Sons", "That's life" and "Killer Women", and participating in countless advertising campaigns.

Finally Roberto achieved the role of the noble and proud Sebastian Villanueva in the telenovela "Victoria" at Telemundo, pulling its international projection. But this was only the beginning, then saw Roberto on the soap opera Dona Barbara, playing Maria Nieves, a cowboy sullen, bad-tempered and rude that concealed a very sensitive and we took more of a laugh and an occasional tear. Then came the moment that Roberto has secured its first international starring role on the soap opera "The Victorine" also by Telemundo. "I am very grateful to the life of a chance to be part of this project is far from a romance novel, it is more like a suspense thriller and action, with the possibility of developing a complex and interesting protagonist, alongside a cast of first. In 2013 participates in soap opera Marido En Alquiler playing Kike.

## Personal life

On August 27, 2021, Manrique publicly came out as gay and said that he had been in a relationship with his current boyfriend for seven years.

## Filmography

Television roles
| Year | Title | Roles | Notes |
| --- | --- | --- | --- |
| 2007–2008 | *Victoria* | Sebastián Villanueva |  |
| 2008–2009 | *Doña Bárbara* | María Nieves González | Series regular; 190 episodes |
| 2008 | *Mujeres asesinas* | Unknown role | Episode: "Claudia, La Cuchillera" |
| 2009–2010 | *Victorinos* | Victorino Manjarrés | Main role; 152 episodes |
| 2010 | *Los caballeros las prefieren brutas* | Daniel | Episode: "La habilidad y la química" |
| 2010 | *El Clon* | Alejandro "Snake" Cortés | Series regular; 181 episodes |
| 2011–2012 | *Flor Salvaje* | Sacramento Iglesias | Main role; 150 episodes |
| 2013–2014 | *Marido en alquiler* | José Enrique "Kike" Salinas Carrasco | Main role; 141 episodes |
| 2017–2018 | *Sin senos sí hay paraíso* | Santiago Sanín | Main role (seasons 2–3); 150 episodes |
| 2019 | *El final del paraíso* | Santiago Sanín | Main role (season 4); 82 episodes |
|

## Theater

* 2014: *Los hombres no mienten* \- Maximiliano
* 2014: *Mitad y Mitad*
* 2012: *Confesiones del Pene*
* 2012: *Herejía*
* 2010: *El Clon*
* 2009: *Victorinos*
* 2009: *La gata sobre el tejado caliente*
* 2006: *Humor de Chéjov en un acto*
* 2005: *Pentagrama cultural*
* 2004: *Venecia*
* 2003: *A la sombra del volcán*

## InfoBox

| Roberto Manrique | |
| --- | --- |
| Manrique in 2016 | |
| Born | (1979-04-23) 23 April 1979<br>Guayaquil, Ecuador |
| Occupation | Actor |


title: Rochefortia

abstract: Rochefortia is a genus of flowering plants in the family Boraginaceae. Its species are native to Mexico and Central America, the Caribbean, and Colombia, Peru, and Venezuela in South America.

text:
# Rochefortia

***Rochefortia*** is a genus of flowering plants in the family Boraginaceae.

Its species are native to Mexico and Central America, the Caribbean, and Colombia, Peru, and Venezuela in South America.

## Species

11 species are accepted, and one is unplaced.

## InfoBox

| *Rochefortia* | |
| --- | --- |
|  | |
| *Rochefortia spinosa* | |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Asterids |
| Order: | Boraginales |
| Family: | Boraginaceae |
| Subfamily: | Ehretioideae |
| Genus: | *Rochefortia*
Sw. (1788) |
|
| Type species | |
| *Rochefortia cuneata*
Sw. | |
| Synonyms | |
| *Diplostylis* H.Karst. & Triana (1854 publ. 1855) | |


title: La Maison Nucingen

abstract: La Maison Nucingen is a short story by Honoré de Balzac. It was published in 1837 and is one of the Scènes de la vie Parisienne of La Comédie humaine.

text:
# La Maison Nucingen

***La Maison Nucingen*** (English "The House of Nucingen", also translated as “The Firm of Nucingen”) is a short story by Honoré de Balzac. It was published in 1837 and is one of the *Scènes de la vie Parisienne* of *La Comédie humaine*.

## Plot summary

The story is told in the first person by an anonymous narrator. In the private dining room of a famous Parisian restaurant, the narrator overhears the conversation of four journalists in the next room, Andoche Finot, Émile Blondet, Couture and Jean-Jacques Bixiou, all recurring characters in *La Comédie humaine*.

They comment and speculate about the wealth of Eugène de Rastignac who they remember was poor when he first arrived in Paris. Bixiou tells the others that Rastignac owes his wealth to his dealings with Maison Nucingen, the famous Parisian bank run by Baron de Nucingen. Rastignac is the lover of Nucingen's wife Delphine. Nucingen pretends to be ignorant of this, but also decides to use Rastignac. Nucingen thinks that "capital is a power only when you are very much richer than other people", which is why he embarks on complex operations which can be summed up as follows: he raises the prices of securities and buys them back after having them artificially lowered. He even goes so far as to use men well regarded in the Parisian sphere, of which Rastignac is a part, to believe in his imminent ruin and to fuel the panic which then allows him to speculate. Nucingen has the art of combining false bankruptcies, advancing his pawns in the form of straw men. He can then buy back at a very low price the stocks that he had initially sold at higher prices.

His first liquidation enabled him to acquire a luxury mansion and embark on an extravagant business in shares in the mines of Wortschin. He then juggled with a second, then a third liquidation. Nucingen used a large number of "straw men", among them Eugène de Rastignac, and the count of Lupeaulx, who all enriched themselves in the process. However some of Nucingen's other clients, the Aldriggers, and the Beaudenords are financially ruined.

## Themes

Frederick Lawton wrote of this story "*The Firm of Nucingen* is a scathing satire of the world of stock-jobbing, where the money of the small investor is robbed with impunity under cover of legality".

## Recurring Characters

Rastignac is also the main character of *Père Goriot* which also features the Nucingens, and includes the start of his affair with Delphine.

## Adaptation

The story was adapted into the French movie Nucingen House in 2008.

1. Honoré de Balzac. The Human Comedy: Introductions and Appendix. Project Gutenberg. Retrieved 13 August 2021.
2. Frederick Lawton (1910). "Chapter VIII: Letters to "The Stranger," 1837, 1838". *Balzac*.
3. Cerfberr, Anatole; Christophe, Jules François. Repertory of the Comedie Humaine*, entry for 'RASTIGNAC (Eugene de)'*. Project Gutenberg. Retrieved 13 August 2021.
4. "Nucingen House". UniFrance. Retrieved 13 August 2021.

## InfoBox

| "La Maison Nucingen" | |
| --- | --- |
| Short story by Honoré de Balzac | |
| Illustration by Alcide Théophile Robaudi. | |
| Country | France |
| Language | French |
| Publication | |
| Publication date | 1837 |
| Series | La Comédie humaine |


title: L Street Bridge

abstract: The L Street Bridge is a bridge carrying the Rock Creek and Potomac Parkway over Rock Creek in Washington, D.C. It is the most downstream of three bridges where the Parkway switches from one side of the river to the other, the others being the bridge near P Street and the Shoreham Hill Bridge. Despite its name, the bridge does not carry or cross L Street, but it is adjacent to L Street's western terminus. The construction of the original bridge at this site was delayed by long-standing legal issues with the owners of the Chesapeake and Ohio Canal, which terminated at Rock Creek close to the position of the bridge. A lawsuit was initiated as early as 1912, but a resolution was not forthcoming. The situation changed in 1924 when a major flood damaged the canal to the point where it was uneconomical to repair it, strengthening the government's legal position. By 1931 these difficulties had been overcome and the bridge was scheduled to be completed by 1933. As the center portion of the parkway between K Street and P Street was the last to be completed, the L Street Bridge was initially unused while work continued. This middle portion was especially difficult to regrade and landscape because the valley had been used as an extensive dumping ground for debris and ashes. The original versions of both the L Street Bridge and Shoreham Hill Bridge were purposely built in a utilitarian style, using salvaged steel trusses from the Georgetown Aqueduct Bridge, in order to encourage the public to demand to replace them. The bridges were in fact replaced about ten years later. The current bridge was constructed from 1981 to 1983.

text:
# L Street Bridge

The **L Street Bridge** is a bridge carrying the Rock Creek and Potomac Parkway over Rock Creek in Washington, D.C. It is the most downstream of three bridges where the Parkway switches from one side of the river to the other, the others being the bridge near P Street and the Shoreham Hill Bridge. Despite its name, the bridge does not carry or cross L Street, but it is adjacent to L Street's western terminus.

The construction of the original bridge at this site was delayed by long-standing legal issues with the owners of the Chesapeake and Ohio Canal, which terminated at Rock Creek close to the position of the bridge. A lawsuit was initiated as early as 1912, but a resolution was not forthcoming. The situation changed in 1924 when a major flood damaged the canal to the point where it was uneconomical to repair it, strengthening the government's legal position. By 1931 these difficulties had been overcome and the bridge was scheduled to be completed by 1933.

As the center portion of the parkway between K Street and P Street was the last to be completed, the L Street Bridge was initially unused while work continued. This middle portion was especially difficult to regrade and landscape because the valley had been used as an extensive dumping ground for debris and ashes.

The original versions of both the L Street Bridge and Shoreham Hill Bridge were purposely built in a utilitarian style, using salvaged steel trusses from the Georgetown Aqueduct Bridge, in order to encourage the public to demand to replace them. The bridges were in fact replaced about ten years later. The current bridge was constructed from 1981 to 1983.

38°54′14″N 77°03′24″W / 38.903978°N 77.056590°W / 38.903978; -77.056590


title: La Unión, Azuay

abstract: La Unión is a town and parish in Chordeleg Canton, Azuay Province, Ecuador. The parish covers an area of 14.1 km² and according to the 2001 Ecuadorian census it had a population total of 1,622.

text:
# La Unión, Azuay

**La Unión** is a town and parish in Chordeleg Canton, Azuay Province, Ecuador. The parish covers an area of 14.1 km² and according to the 2001 Ecuadorian census it had a population total of 1,622.

## InfoBox

| La Unión | |
| --- | --- |
| Parish | |
| La Unión | |
| Coordinates: 2°51′S 78°47′W / 2.850°S 78.783°W / -2.850; -78.783 | |
| Country | Ecuador |
| Province | Azuay Province |
| Canton | Chordeleg Canton |
| Area | |
| Total | 5.4 sq mi (14.1 km2) |
| Population (2001) | |
| Total | 1,622 |
| Time zone | UTC-5 (ECT) |


title: Robert Thieme

abstract: Robert Bunger Thieme, Jr. was pastor of Berachah Church, a nondenominational Christian church in Houston, Texas, from 1950 to 2003. Affectionately called "the Colonel" by his congregation, he was a dispensationalist theologian who wrote over a hundred books and conducted over 10,000 sermons on various theological topics during his 55 years as a pastor.

text:
# Robert Thieme

**Robert Bunger Thieme, Jr.** (April 1, 1918 – August 16, 2009) was pastor of Berachah Church, a nondenominational Christian church in Houston, Texas, from 1950 to 2003. Affectionately called "the Colonel" by his congregation, he was a dispensationalist theologian who wrote over a hundred books and conducted over 10,000 sermons on various theological topics during his 55 years as a pastor.

## Biography

Thieme was born in Fort Wayne, Indiana, to Anna (Cloakey) and Robert Bunger Thieme. He was raised in Beverly Hills, California and attended Beverly Hills High School which included four years of Latin studies. Thieme's undergraduate work was at the University of Arizona at Tucson where he majored in Greek, and was elected to Phi Beta Kappa after graduating with honors in 1940. While attending university he met and married Betty Beal, the daughter of a Baptist minister.

Thieme's seminary studies at Dallas Theological Seminary (DTS) were interrupted by World War II service. During World War II he was in charge of training all Army Air Corps cadets at Luke Field, and rose to the rank of lieutenant colonel in the Army Air Corps. After World War II, Thieme resumed his theological studies at DTS, where he graduated magna cum laude. His 1949 master's thesis was entitled *Armageddon: An Investigation of the Campaign of the Great Day of God the Almighty*. During his time at DTS Thieme held a part-time pastorate at Reinhardt Bible Church in Dallas, Texas.

Thieme became pastor of Berachah Church in Houston, Texas, in 1950, interrupting his doctoral work at DTS after Dr. J. Ellwood Evans recommended him to the church. He was pastor at Berachah Church until he retired in 2003 due to Alzheimer's disease. Thieme dedicated his life to intensive study of the Scripture and teaching his congregation. Gifted in intellect and indefatigable in production, Thieme held Bible classes most nights of the week and twice on Sundays. Requiring strict academic discipline from his congregation as well, he earned the genuine respect of those in regular attendance. Those close to him knew him as humble and gentlemanly. Over the years Thieme spoke at numerous Bible conferences and ordained many men into the ministry. His recorded Bible classes and books are available free of charge.

After Thieme retired in 2003, his only son, Robert "Bobby" Thieme III, was elected by the congregation of Berachah Church to serve as the new pastor. Around this time R. B. Thieme, Jr., Bible Ministries began reformatting and revising existing material into modern formats (e.g. DVD and MP3).

## Theology

Thieme attended Dallas Theological Seminary and was influenced by its founder, Dr. Lewis Sperry Chafer. He can be described as a dispensationalist, non-denominational Christian who believed in Biblical inerrancy.

### ICE

Thieme's doctrinal study and unique vocabulary were based on a methodology he called **ICE**: Isagogics, Categories, and Exegesis. **Isagogics** is the study of the Bible in its historical context, including the human writer, the recipients, and the time in which they lived. **Categories** refers to a topical compilation of doctrine, so that one can approach the Bible on a line-by-line-precept-by-precept basis, and cross-reference Scripture effectively. **Exegesis**, as defined by Thieme, involves studying the grammar, syntax, and etymology of the original languages of Scripture, so that one is not relying on intermediate translations which may obscure or lose meanings. Through the ICE method, Thieme sought to accurately communicate the truths of the Bible.

### Doctrinal emphasis

Thieme built his ministry on the assertion that believers in Jesus Christ must learn the Word of God to know the will of God for their lives and to execute the plan of God for their lives. He defined *Bible doctrine* as the content of the Canon of Scripture, with emphasis on the communication of that content by teaching and instruction. Thieme covered most of the Bible with his congregation, verse by verse from the original languages using the aforementioned ICE methodology. He began every class by citing Hebrews 4:12, "The Word of God is alive and powerful, sharper than any two-edged sword ..." and 2 Timothy 3:16, "All Scripture is God-breathed, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness, that the man of God might be mature, thoroughly furnished unto every good work."

Thieme would then cite his responsibility under 2 Timothy 2:15, "Study to show thyself approved unto God, a workman that needeth not to be ashamed, rightly dividing the Word of Truth." Under this mandate, he emphasized doctrinal teaching on salvation and the post-salvation spiritual life of the believer in Jesus Christ.

#### Salvation through faith alone in Christ alone

Thieme taught the biblical definition of faith as a non-meritorious system of perception wherein the merit lies with the object of faith, Jesus Christ. The status of the subject is irrelevant, as one need only express positive volition toward Jesus Christ to receive eternal salvation. God the Father imputed all the sins of the human race, past, present and future, to Christ on the cross and judged them, thus completing the work of salvation. Therefore, salvation is available to anyone who believes in Christ. Thieme said an individual has the option of expressing positive volition privately, forming the sentences in thought, telling God the Father he is trusting in Christ for salvation. Nothing more is required.

Thieme believed contemporary Christianity has superimposed a number of false actions on the Gospel message. Consequently, at least every Sunday, he would emphasize what did **not** need to be done for salvation:

* Invite Christ into your heart
* Feel sorry for, or repent from personal sins
* Walk down an aisle
* Be baptized with water
* Join a church
* Give money to a church
* Give up something you enjoy

Thieme held that these actions, while some of them might be commendable from the human viewpoint, are an intrusion on faith. Faith is the absence of merit, and no human good of any form is acceptable to God for salvation. God extends the invitation to salvation, not the other way around. The Greek verb *metanoeo*, translated "repent" in the Bible, when used in connection with salvation, means to change one's mind about Christ and believe in him at the point of Gospel hearing. At that point, the grace of God does everything necessary to make faith effectual for salvation. The only personal sin that results in eternal condemnation is to die without having personally believed in Jesus Christ as Savior. God solved the sin problem, and made an issue of individual volition. God knows the thoughts of every individual, and is not constrained by geographical isolation or linguistic barrier in his dissemination of the salvation message to those who desire a relationship with him. Water baptism and legitimate church activities are post-salvation functions of the believer, not prerequisites for salvation.

Thieme categorized the Christian's life into three phases: the moment of salvation, the post-salvation life of the believer on Earth, and the believer in eternity. These distinctions allow the proper interpretation of verses pertaining to salvation (e.g. Acts 16:31, Eph. 2:8-9, Gen. 15:6), and verses pertaining to the post-salvation function of the believer (e.g. Jas. 2:17), so as not to obscure the simplicity of faith alone in Christ alone for salvation.

#### Spiritual growth

Thieme taught that believers in Jesus Christ grow spiritually from the daily intake of Bible doctrine communicated by their right pastor. He emphasized that no pastor is right for everyone, but that once a believer identifies a qualified, prepared pastor that is right for him, the believer must orient to the authority of that pastor, and consistently assimilate accurate doctrinal teaching from that pastor in order to grow spiritually. Thieme maintained that perception and application of Bible doctrine is the means by which believers fulfill their responsibility to God of growing in grace to spiritual maturity, and that without it believers will retrogress in their spiritual lives.

#### Mechanics for the spiritual life

Having established the perception and application of Bible doctrine as the basis for spiritual growth, Thieme focused much of his ministry on teaching the protocol and mechanics for the spiritual life of the believer in Jesus Christ. Thieme's objective was to delineate, from the Scripture, God's plan for the Church-Age believer, and the numerous grace assets God provided in eternity past for believers to fulfill his plan. God provides equal privilege and equal opportunity for all believers in Jesus Christ to execute his plan and receive his highest and best for them. Thieme compiled a list of forty benefits from the Scripture that God gives to every Church-Age believer at the moment of salvation. Among these is the power system God designed for the execution of his plan.

Thieme identified the scriptural mandates and objectives of the spiritual life as belonging to a single system of power and love. This power system was designed by God for Church-Age believers to become winners in human history. The system, or dynasphere, unifies God's grace provisions and mandates for believers, enabling them to keep his mandates, grow spiritually, and share the inner strength, virtue, and happiness of Jesus Christ. It is the same system used by the humanity of Christ to fulfill his mission during the First Advent. After his resurrection, ascension and session, Jesus Christ provided the operational system to his royal family on earth for them to glorify him.

Through use of the rebound technique, the spiritual recovery procedure of 1 John 1:9, the believer is restored to fellowship with God, becomes filled with the Holy Spirit, and enters into the divine system. Inside the system, the believer learns Bible doctrine and orients to the grace and doctrinal thinking of Jesus Christ. Bible doctrine in the soul of the believer and the filling of the Holy Spirit are the power options for the spiritual life. They underscore the importance of consistent exposure to expository Bible teaching throughout the believer's life on Earth, under the principle that "man shall not live on bread alone, but on every word that proceeds out of the mouth of God" (Matt. 4:4). As the believer grows from metabolized Bible doctrine, and combines his perception of doctrine with the application of doctrine through the problem-solving devices of God's system, his spiritual growth accelerates. The growing believer advances to spiritual adulthood where he shares the motivational and functional virtues of Jesus Christ, acquires the spiritual skills necessary for advanced problem solving, and becomes productive in Christian service. As the spiritual adult continues his advance to spiritual maturity, and applies the problem-solving devices in undeserved suffering, he glorifies God to the maximum and fulfills his destiny in Christ. For growing and mature believers, God works all things together for divine good.

In his book *Christian Integrity*, Thieme covers the divine system in great detail, with its priority, purpose, policy, objectives, and authority. In the Scripture the system is also referred to as the *sphere of love* (John 15:9-10), since it emphasizes love as the supreme virtue of the Christian life. The virtue love of the Christian life includes reciprocal love for God and impersonal love for all mankind. As the believer advances within God's system and develops capacity for love and happiness, God is free to impute maximum blessings to him. To this end, Thieme created numerous teaching aids and contemporary metaphors for communicating the mechanics of the spiritual life.

#### Supergrace and spiritual maturity

Thieme coined the term *supergrace* from James 4:6 (Gk. *meizona charin*), which says "he \[God\] gives greater grace." Thieme used supergrace as a synonym for spiritual maturity, with emphasis on the special blessings above and beyond salvation that God conveys to each believer who attains spiritual maturity. God is glorified when he is able to provide special blessings to the believer who has made the maturity adjustment to the justice of God in time. Supergrace is God's objective for the believer in time, and is the means of glorifying God in the Angelic Conflict.

Thieme considered it his job as a pastor-teacher to study and teach Bible doctrine daily in order for positive believers to grow to spiritual maturity and receive their supergrace blessings. He identified biblical passages where God is said to be waiting to provide these blessings to believers. In one such passage in Ephesians 1:3, Thieme concluded that supergrace blessings were placed on deposit for every believer before the creation of mankind, but are conveyed to the believer only at spiritual maturity. Though no believer can ever lose salvation, the believer who fails to advance to spiritual maturity forfeits his supergrace blessings, and receives discipline from God in time. What is lacking in the immature or reversionistic believer is capacity of soul, and that capacity is acquired only through persistent spiritual growth and exercise of the mechanics for the spiritual life.

Since supergrace blessings are unique to each believer, Thieme outlined them categorically as follows:

* Spiritual blessings - capacity of soul, love for God, occupation with Jesus Christ, sharing the happiness of God.
* Temporal blessings - wealth, promotion, success, social prosperity, sexual prosperity, technical prosperity, leadership dynamics.
* Blessings by association - friends and loved ones are blessed through their association with the mature believer.
* Historical impact - mature believer becomes the basis for blessing in his geographical periphery (i.e., salt of the Earth).
* Dying blessings - sting of death removed, great tranquility of soul in dying, anticipation of greater rewards for all eternity.

In addition to the above categories of blessings, Thieme explained from Romans 5, Philippians 3, Hebrews 11, and Revelation 2-3 that supergrace believers receive even greater blessings in eternity. Thieme called these rewards *surpassing grace* based on Ephesians 2:7. Surpassing grace rewards serve as an eternal memorial to God's grace.

#### Reversionism and national degeneration

Thieme's *Doctrine of Reversionism* detailed the consequences of the believer's neglect of the spiritual life God provides. Thieme outlined eight stages of spiritual degeneration in which a negative believer makes self-destructive decisions that reverse his spiritual growth. Through any number of distractions, or reaction to some person or circumstance, a believer at any stage of spiritual growth may neglect or reject Bible doctrine and enter into a frantic search for happiness to fill the resulting void. True happiness for the believer only comes from God's Word and the spiritual life he provided at salvation (Jer. 15:16). As self-directed efforts to obtain happiness prove futile, the frustrated believer develops aberrations in his emotional pattern and his attitude toward Bible doctrine becomes increasingly negative. During the early stages of reversionism God administers warning discipline to the believer to motivate spiritual recovery. If negative volition to Bible doctrine remains unchecked by spiritual recovery, the believer accepts human-viewpoint substitutes for Bible doctrine, and enters into the advanced stages of reversionism. As the darkness of human viewpoint is drawn into the soul, the reversionistic believer accumulates scar tissue of the soul (i.e., hardness of heart), and becomes characterized by perpetual mental attitude sins, unhappiness, emotional instability, and sometimes mental illness. God desires the believer to recover from spiritual degeneracy and have a virtuous, happy, fulfilled life, but the believer in the advanced stages of reversionism has ignored warning discipline from God, has repeatedly failed to avail himself of his spiritual assets to recover, and is liable for intensive discipline from God. When a maximum number of believers are in reversionism, there is an adverse impact on the nation in which they reside.

Thieme asserted that "as goes the believer, so goes the nation." He emphasized that while there is no such thing as a Christian nation, God blesses or curses a nation based on the attitude of its believers toward Bible doctrine. Just as individual believers in reversionism are liable for divine discipline, so a nation with a maximum number of reversionistic believers is liable for national discipline from God. Thieme enumerated five cycles of national discipline from Leviticus 26 that God administers to the spiritually degenerate nation. The cycles of discipline begin with a loss of individual freedom and economic recession, and if unchecked by the spiritual recovery of enough believers, they continue with the breakdown of law and order, military defeat, and culminate in the destruction of the nation. Thieme developed this extensively in his *Doctrine of Historical Trends.* Though his scriptural references were many, he frequently referenced Hosea 4:6. Thieme believed the United States is currently in the cycles of discipline. He referenced 2 Chronicles 7:14 as the means of national recovery.

### Criticism

Thieme's teachings have been the topic of critical books and papers by Stewart Custer, Robert Walter, Joe Wall, George King, and D. Koopmans.

### Blood of Christ controversy

Robert Thieme argued that the "blood of Christ" as mentioned in the bible is a mere metaphor for his death, arguing that the real blood of Christ has no significance in the atonement. Because this position was not held by other faculty members of Dallas theological seminary it caused a local controversy. John Walvoord said to him that Christ had to shed his blood to fulfill scriptures such as *1 Peter 1:18-19* and *Hebrews* 9*:22* while Robert G. Walter went somewhat farther than Walvoord, arguing that Thieme was outside Christian orthodoxy.

## Ministry

Thieme's ministry was primarily for believers in Jesus Christ who attended regularly, since classes typically involved verse-by-verse analysis, building upon previous lessons. Thieme would continue with the current series through Sundays and holidays, excepting New Year's Eve when he held a military communion service and gave a special message related to the upcoming year. The objective of his ministry was to lead positive believers to spiritual maturity. He had little interest in believers who were inconsistent or attended for some reason other than the teaching.

Thieme's style of teaching and vocabulary reflected his military background. He would frequently acknowledge members of the U.S. Armed Forces in attendance, expressing gratitude for the tremendous sacrifices made to preserve the freedom of assembly enjoyed at Berachah Church. Thieme wrote a number of books which focused on the Christian's military responsibilities, such as *War: Moral or Immoral*, and *Freedom through Military Victory*. Thieme also likened the Christian spiritual life to military service, using military metaphors in his books *Follow the Colors*, *Christian, at Ease!*, and *The Christian Warrior*. Thieme's teachings have attracted a number of military personnel.

Even after his retirement, Thieme's ministry continued to grow worldwide in a number of ways. By January 2007, many of his books had been translated into several languages, including Spanish, Portuguese, German, Hungarian, Romanian, Korean, Chinese, Thai, Visayan, Ilonggo and Russian. Currently, his Bible lessons are broadcast on the radio in a number of US states, Africa, and the Philippines. Tape distribution centers have been opened in Australia, England, the Philippines, and Germany.

Berachah Church has and continues to support Christian missions, especially through an organization called Operation Grace: World Missions. OGWN currently supports missionaries in the United States, Mexico, Costa Rica, Brazil, Thailand, Korea, the Philippines, Africa, England, Ukraine, Russia, Belarus, Moldova, and Kazakhstan.

## 1988 U.S. presidential election

In the 1988 presidential campaign, vice presidential candidate Dan Quayle, though a practicing Presbyterian, was reported to have listened to Thieme's tapes with his father-in-law.

The Associated Press wrote that Thieme was "a fundamentalist preacher who routinely attacks unions, feminists and homosexuals. ...\[Who\] is known for his unorthodox biblical interpretations and his attack on liberals, welfare recipients and others." *The New York Times* referred to Thieme as "notable for his pulpit attacks on 'do-gooders and liberals,' 'power-mad labor,' welfare recipients, homosexuals, gun controllers, rock music, feminists and the 'satanic' United Nations." The titles of Thieme's tapes were also featured in stories questioning Quayle's adherence to such beliefs, including "Slave Market of Sin", "Satanic Plot No. 1", and "Scar Tissue of the Soul". The Times reported that Quayle's own parents also listened to Thieme tapes and even attended his conferences. The coverage upset Quayle's wife Marilyn who defended the listening of the tapes and defended Thieme's religious interpretations. Quayle for his part held that he knew little of Thieme's views, pointing out that it was his wife who grew up listening to the tapes. He pointed out that his children have "never heard a Thieme tape. That's not part of our life."

The media focus on Thieme and Quayle led to a critical interview piece titled *The Private Ministry of Colonel Thieme (Marilyn Quayle’s Theologian)* by Garry Wills. It appeared in October 1989's first issue of the short-lived *Wigwag* magazine edited by Alexander Kaplen. Wills would go on to discuss Thieme in further detail in his 1990 book *Under God: Religion and American Politics*.

Thieme III asserted that the press's reporting on the subject was a smear campaign.

## InfoBox

| Robert Thieme | |
| --- | --- |
|  | |
| Born | Robert Bunger Thieme, Jr.<br>(1918-04-01)April 1, 1918<br>Fort Wayne, Indiana, U.S. |
| Died | August 16, 2009(2009-08-16) (aged 91)<br>Houston, Texas, U.S. |
| Occupation(s) | Theologian, author |
| Spouse | Betty Beal |
| Children | Robert "Bobby" Thieme, III |


title: Robertson County Courthouse (Kentucky)

abstract: The Robertson County Courthouse in Mount Olivet, Kentucky was built in 1870. It was listed on the National Register of Historic Places in 1978. It is a two-story "chaste yet straightforward Italianate building" designed and built by local builder G.M. Williams.

text:
# Robertson County Courthouse (Kentucky)

The **Robertson County Courthouse** in Mount Olivet, Kentucky was built in 1870. It was listed on the National Register of Historic Places in 1978.

It is a two-story "chaste yet straightforward Italianate building" designed and built by local builder G.M. Williams.

## InfoBox

|  | |
| --- | --- |
| Robertson County Courthouse | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | Court St., Mount Olivet, Kentucky |
| Coordinates | 38°31′54″N 84°02′09″W / 38.53167°N 84.03583°W / 38.53167; -84.03583 |
| Area | 0.5 acres (0.20 ha) |
| Built | 1870 |
| Built by | Williams, G.M. |
| Architectural style | Italianate |
| NRHP reference No. | 78001394 |
| Added to NRHP | February 14, 1978 |


title: La chingada

abstract: La chingada is a term commonly used in colloquial, even crass, Mexican Spanish that refers to various conditions or situations of, generally, negative connotations. The word is derived from the verb chingar, "to fuck". The concept of "la chingada" has been famously analysed by Octavio Paz in his book The Labyrinth of Solitude.

text:
# La chingada

***La chingada*** is a term commonly used in colloquial, even crass, Mexican Spanish that refers to various conditions or situations of, generally, negative connotations. The word is derived from the verb *chingar*, "to fuck".

The concept of "la chingada" has been famously analysed by Octavio Paz in his book *The Labyrinth of Solitude*.

## Spanish uses of the expression

The following list of expressions featuring "la chingada" appear in Gómez de Silva's *Diccionario breve de mexicanismos* (2001):

* *Estar dado a la chingada*: "to be given to la chingada," that is, ruined, that you have lost everything.
* *Estar de la chingada*: to be somehow too bad, difficult, or complicated.
* *Ir hecho la chingada*: to go lightning-fast.
* *Ir a la chingada*: "to go to la chingada," or to go away upset, to go fuck yourself.
* *Irse algo a la chingada*: to break or damage something, something "going away to la chingada".
* *Llevárselo a alguien la chingada*: to be angry, or in a tight spot.
* *Hijo de tu chingada madre*: "you son of your fucking mother" or "hijo de tu puta madre" (literally: son of your whore mother) meaning "you son of a whore" and also "*hijo-esu* (hijo de su) puta madre" is similar to saying "son of a bitch" in general. *Hijo de su chingada madre* can be idiomatically translated as "Son of your fucking mom" (*madre* means mother, *chingada* is "fuck" or other bad words).
* *Mandar a alguien a la chingada*: "send someone to la chingada," which means saying goodbye with disdain or annoyance to someone who is bothersome.
* *¡Me lleva la chingada!*: "I'm fucked!", exclamation of protest that is used to give vent to anger, when adversity is experienced, or surprise; euphemistic forms are: *¡me lleva la fregada!*, *la tía de las muchachas* —the aunt of the girls—, *la que se cayó por asomarse* —the one that fell because peeked—, *la tiznada* —the begrimed—, *la tostada* —the toast, the tan one—, *la trampa* —the trap—, *el tren* —the train—, *la tristeza* —the sadness—, *la trompada* —the slap—, *la verga* —the dick—.
* *Vete a la chingada*: "Fuck off!" or "go to hell"
* *Tu chingada madre*: "you motherfucker", or also like: "your fucked mother".


title: La Raulito

abstract: La Raulito is a 1975 Argentine film directed by Lautaro Murúa and written by Rocío Dúrcal, Manuel Alexandre and Rafaela Aparicio. In a survey of the 100 greatest films of Argentine cinema carried out by the Museo del Cine Pablo Ducrós Hicken in 2000, the film reached the 18th position.

text:
# La Raulito

***La Raulito*** (Little Ralph) is a 1975 Argentine film directed by Lautaro Murúa and written by Rocío Dúrcal, Manuel Alexandre and Rafaela Aparicio.

In a survey of the 100 greatest films of Argentine cinema carried out by the Museo del Cine Pablo Ducrós Hicken in 2000, the film reached the 18th position.

## Synopsis

The film tells the story of a real life fan of Boca Juniors football club, María Esther Duffau, who as a teenage girl adopted the identity of a man in order to survive on the streets of Buenos Aires.

The film shows the teenage Raulito wandering between a reformatory for juvenile offenders, prison and psychiatric hospital. Raulito manages to escape, and finds work at Constitución railway station in *Barrio* Constitución. Raulito meets up with another street child and they become close friends. They both eventually manage to escape to Mar del Plata.

## Release

The film premiered in Argentina on 10 July 1975.

## Cast

The cast list (in alphabetical order) was:

## Miscellaneous

A follow-up film was released in Spain in 1976, *La Raulito Released*, starring Charo López with a screenplay by Eduardo Barreiros and Eduardo Mignogna. The real life *La Raulito*, Mary Esher Duffau, died at the age of 74 on 30 April 2008, on the same day Boca Juniors played a Copa Libertadores match against the Brazilian club Cruzeiro Esporte Clube, with the players and fans observing a minute's silence in her remembrance.

## InfoBox

| La Raulito | |
| --- | --- |
| Marilina Ross as La Raulito | |
| Directed by | Lautaro Murúa |
| Written by | Juan Carlos Gené
Martha Mercader
José María Paolantonio |
| Produced by | Sabina Sigler |
| Starring | Manuel Alexandre
Rafaela Aparicio |
| Cinematography | Miguel Rodríguez |
| Edited by | Jorge Valencia |
| Music by | Roberto Lar |
| Distributed by | Helicon Producciones |
| Release date | * 1975 (1975) |
| Running time | 95 minutes |
| Country | Argentina |
| Language | Spanish |


title: Robin Hendrix

abstract: Robin Hendrix is a Belgian long-distance runner. He is the Belgian indoor record holder for the 5000 metres. Hendrix won one national title.

text:
# Robin Hendrix

**Robin Hendrix** (born 14 January 1995) is a Belgian long-distance runner. He is the Belgian indoor record holder for the 5000 metres.

Hendrix won one national title.

## Career

Hendrix competed in the men's under-23 category at the 2017 European Cross Country Championships held in Šamorín, Slovakia. He finished in 7th place and he won the silver medal in the team race, alongside Simon Debognies and Michael Somers. The following year, he finished in 15th place in the senior men's race at the 2018 European Cross Country Championships held in Tilburg, Netherlands.

In 2018, he also competed in the men's 5000 metres event at the 2018 European Athletics Championships held in Berlin, Germany. He finished in 15th place.

In 2019, he competed in the men's 3000 metres event at the 2019 European Athletics Indoor Championships held in Glasgow, Scotland. He did not qualify to compete in the final. In the same year, he also competed in the men's 5000 metres event at the 2019 Summer Universiade held in Naples, Italy and he won the bronze medal. He also competed in the men's 5000 metres event at the 2019 World Athletics Championships held in Doha, Qatar. He did not qualify to compete in the final.

In 2020, he won the gold medal in the men's 3000 metres at the 2020 Belgian Indoor Athletics Championships held in Ghent, Belgium. In 2021, he reached the final in the men's 3000 metres event at the 2021 European Athletics Indoor Championships held in Toruń, Poland.

## Achievements

### Personal bests

Road

### National titles

## InfoBox

Robin Hendrix
| Robin Hendrix in 2018 | |
| --- | --- |
| Personal information | |
| Nationality | Belgian |
| Born | (1995-01-14) 14 January 1995 |
| Sport | |
| Country | Belgium |
| Sport | Athletics |
| Event | Long-distance running |
| Medal record      Men's athletics  Representing  Belgium  European Cross Country Championships  2023 Brussels Senior race  Universiade  2019 Naples 5000 m | |


title: La Hoya, Álava

abstract:
La Hoya is an important archaeological site of the Bronze and Iron Ages in Laguardia, Álava, Basque Country, Spain. The fortified town was inhabited between the 12th and 3rd centuries BCE. It has three levels:
  - Middle-Late Bronze Age: in this early period, the fortifications, as well the houses, were all made of wood.
  - Early-Middle Iron Age: construction became more complex using mixed formulas with stone, wood and adobe. Most houses were near the wall in this period.
  - The Late Iron Age, with a cultural context that some classify as Celtiberian, shows important changes in urbanization: with paved streets and plazas that form a reticular structure. The wall is also rebuilt on stone. This final period also shows great advancement in the technologies: potter's wheel, elaborated blacksmithing, etc. The successive layers of rubble, that served as cementations for further edification, make up a small tell 3 meters high. The town was destroyed violently between 350 and 200 BCE, leaving the remains of the people and their everyday items in the streets.

text:
# La Hoya, Álava

**La Hoya** is an important archaeological site of the Bronze and Iron Ages in Laguardia, Álava, Basque Country, Spain. The fortified town was inhabited between the 12th and 3rd centuries BCE. It has three levels:

* Middle-Late Bronze Age: in this early period, the fortifications, as well the houses, were all made of wood.
* Early-Middle Iron Age: construction became more complex using mixed formulas with stone, wood and adobe. Most houses were near the wall in this period.
* The Late Iron Age, with a cultural context that some classify as Celtiberian, shows important changes in urbanization: with paved streets and plazas that form a reticular structure. The wall is also rebuilt on stone. This final period also shows great advancement in the technologies: potter's wheel, elaborated blacksmithing, etc.

The successive layers of rubble, that served as cementations for further edification, make up a small tell 3 meters high.

The town was destroyed violently between 350 and 200 BCE, leaving the remains of the people and their everyday items in the streets.

* Media related to La Hoya at Wikimedia Commons

## InfoBox

La Hoya
| View of La Hoya | |
| --- | --- |
| Shown within the Basque CountryLa Hoya, Álava (Spain) | |
| Location | Laguardia, Álava, Basque Country, Spain |
| Coordinates | 42°33′54″N 2°35′11″W / 42.565°N 2.5864°W / 42.565; -2.5864 |
| Type | Settlement |
| Area | 5.1 ha (13 acres) |
| History | |
| Founded | 12th century BCE |
| Abandoned | c. 250 BCE |
| Cultures | Celtiberian |
| Site notes | |
| Discovered | 1935 |
| Archaeologists | * Alejandro Sampedro Martínez * Armando Llanos |
|  | |
| Spanish Cultural Heritage | |
| Official name | Recinto Arqueológico de la Hoya |
| Type | Non-movable |
| Criteria | Monument |
| Designated | 17 July 1984 |
| Reference no. | RI-51-0005133 |
|  | |
|  | |


title: La débâcle des sentiments

abstract: "La débâcle des sentiments" is a 2007 song recorded by French singer and composer Stanislas, as a duet with Calogero. It was the third single from his debut album L'Équilibre instable on which it appears as fourth track on the first edition of the album and was released on 19 January 2009. It was written by Amaury Salmon and composed by Stanislas. It was successful in France and Belgium (Wallonia) where it hit respectively number two and number three.

text:
# La débâcle des sentiments

"**La débâcle des sentiments**" is a 2007 song recorded by French singer and composer Stanislas, as a duet with Calogero. It was the third single from his debut album *L'Équilibre instable* on which it appears as fourth track on the first edition of the album and was released on 19 January 2009. It was written by Amaury Salmon and composed by Stanislas. It was successful in France and Belgium (Wallonia) where it hit respectively number two and number three.

## Release and music video

Although the song was sent to radio stations on 24 October 2007 and was available digitally since March 2008 (it entered the Belgian chart at No. 33 on 8 March 2008), the song was only released as a CD single on 19 January 2008, because it was scheduled as first single but was cancelled and replaced by "Le Manège. In the second edition of the album, two versions of the song appears : the duet version and a solo version by Stanislas. As sign of popularity, the song and the music video were included on the famous double compilation *NRJ Music Awards 2009*.

A music video was shot in a retro decor. In it, both singers are participating in a fictitious show called *Words & Words* (based on the French real game television programme *Des chiffres et des lettres*) with the radio host Manu Payet portraying the presenter.

## Chart performances

In France, the single went straight to number two, on 24 January 2009, with 5,019 units sold, but was unable to dislodge Mikelangelo Loconte's single "Tatoue-moi" which was number-one then. However, the single dropped the weeks after and totalled six weeks in the top ten, 20 weeks in the top 50 and 24 weeks on the chart (top 100).

In Belgium (Wallonia), the single remained in the top 40 for 18 weeks on the Ultratop 50, four of them in the top ten, with a peak at number three on 20 December 2008, thanks to the digital downloads. The single was briefly ranked for two weeks in the Swiss Singles Chart, peaking at number 68 on 14 December 2008.

## Track listings

* **CD single**

| No. | Title | Length |
| --- | --- | --- |
| 1. | "La débâcle des sentiments" | 4:12 |
| 2. | "L'Hiver" | 5:06 |

* **Digital doawload**

| No. | Title | Length |
| --- | --- | --- |
| 1. | "La débâcle des sentiments" (album version) | 5:16 |
| 2. | "La débâcle des sentiments" (single version) | 4:12 |
| 3. | "La débâcle des sentiments" (solo version) | 5:16 |

## Charts

## InfoBox

| "La débâcle des sentiments" | |
| --- | --- |
|  | |
| Single by Stanislas and Calogero | |
| from the album  *L'Équilibre instable* | |
| B-side | "L'hiver" |
| Released | 19 January 2009 |
| Recorded | 2007 |
| Genre | Pop |
| Length | 4:12 |
| Label | Polydor |
| Songwriter(s) | Amaury Salmon |
| Producer(s) | Stanislas |
| Stanislas singles chronology | |
| "La Belle de Mai"
(2008) "**La débâcle des sentiments**"
(2009) "Les lignes de ma main"
(2009) | |


title: LaBreeska Hemphill

abstract: LaBreeska Hemphill was an American Southern gospel performer. She was a member of The Happy Goodman Family and The Hemphills. With her husband and children, she won eight GMA Dove Awards and three BMI Awards, and she was inducted into the Dollywood Gospel Hall of Fame and the Delta Music Museum Hall of Fame.

text:
# LaBreeska Hemphill

**LaBreeska Hemphill** (February 4, 1940 - December 9, 2015) was an American Southern gospel performer. She was a member of The Happy Goodman Family and The Hemphills. With her husband and children, she won eight GMA Dove Awards and three BMI Awards, and she was inducted into the Dollywood Gospel Hall of Fame and the Delta Music Museum Hall of Fame.

## Early life

Hemphill was born in 1940 in Flat Creek, Alabama. Her father was Walter Erskine Rogers and her mother, Gussie Mae Goodman.

## Career

Hemphill started performing Southern gospel music with her parents as part of The Happy Goodman Family in childhood. They performed at the Ryman Auditorium in Nashville, Tennessee, in 1949.

Hemphill and her husband began performing Southern gospel together at the Living Way Apostolic Church in West Monroe, Louisiana. They later pastored a Pentecostal church in Bastrop, Louisiana. They released their first record as The Hemphills through Canaan Records in 1966. They were active from the 1970s to the 1990s. Over the course of their career, they released over 20 records. Hemphill sang hit songs like *He's Still Working On Me*, *I Claim the Blood*, *Grandma's Rocking Chair*, and *Unfinished Task*. The band won eight GMA Dove Awards and three BMI Awards of Excellence. They were inducted into the Dollywood Gospel Hall of Fame and the Delta Music Museum Hall of Fame.

Hemphill authored four books, including a memoir about her husband in 2012.

## Personal life and death

Hemphill married Joel Hemphill in 1957. Her father-in-law, W. T. Hemphill, was the founder of the Living Way Apostolic Church. They had two sons, Joey and Trent, and a daughter, Candy. They resided in Joelton, a neighborhood of Nashville, Tennessee.

Hemphill died on December 9, 2015, in Nashville, Tennessee, at 75. Her funeral was held in West Monroe, Louisiana.

## Selected works

* Hemphill, LaBreeska (1976). *LaBreeska: An Autobiography*. Nashville, Tennessee: Hemphill Music Co. ISBN 9780960094813. OCLC 2372275.
* Hemphill, LaBreeska (2001). *The Hemphills, Partners in Emotion : The Story of Joel and LaBreeska Hemphill*. Camp Hill, Pennsylvania: Horizon Books. ISBN 9780889652033. OCLC 50283564.
* Hemphill, LaBreeska (2009). *My Daddy Played the Guitar*. Joelton, Tennessee: Trumpet Call Books. ISBN 9780967175683. OCLC 495846911.
* Hemphill, LaBreeska (2012). *Can Anything Good Come Out of Bawcomville?*. Joelton, Tennessee: Trumpet Call Books.

## InfoBox

| LaBreeska Hemphill | |
| --- | --- |
| Born | LaBreeska Rogers
February 4, 1940
Flat Creek, Alabama, U.S. |
| Died | December 9, 2015(2015-12-09) (aged 75)
Nashville, Tennessee, U.S. |
| Occupation | Southern gospel performer |
| Spouse | Joel Hemphill |
| Children | 2 sons, 1 daughter |
| Relatives |  |


title: Rockin' on Heaven's Floor

abstract: "Rockin' on Heaven's Floor" is a song by German recording artist Jeanette. It was written by Frank Johnes, Tom Remm, Bodybrain, and Kristina "Wonderbra" Bach, and produced by Johnes and Remm for her fourth studio album Break On Through (2003). Released as a single in German-speaking Europe in October 2003, the rock and pop song peaked at number three on the German Singles Chart, while reaching number six in Austria and Switzerland, becoming Jeanette's highest-charting single and only top ten hit in Switzerland to date.

text:
# Rockin' on Heaven's Floor

"**Rockin' on Heaven's Floor**" is a song by German recording artist Jeanette. It was written by Frank Johnes, Tom Remm, Bodybrain, and Kristina "Wonderbra" Bach, and produced by Johnes and Remm for her fourth studio album *Break On Through* (2003). Released as a single in German-speaking Europe in October 2003, the rock and pop song peaked at number three on the German Singles Chart, while reaching number six in Austria and Switzerland, becoming Jeanette's highest-charting single and only top ten hit in Switzerland to date.

## Formats and track listings

Maxi single
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Rockin' on Heaven's Floor" (Radio Mix) | 3:22 |
| 2. | "Rockin' on Heaven's Floor" (Acoustic Mix) | 3:49 |
| 3. | "Rockin' on Heaven's Floor" (Extended Rock Mix) | 4:02 |
| 4. | "Rockin' on Heaven's Floor" (Instrumental Mix) | 3:23 |
| 5. | "Orient Express" | 4:37 |

## Charts

## InfoBox

| "Rockin' on Heaven's Floor" | |
| --- | --- |
|  | |
| Single by Jeanette | |
| from the album  *Break On Through* | |
| Released | October 13, 2003 |
| Genre |  |
| Length | 3:24 |
| Label |  |
| Songwriter(s) |  |
| Producer(s) | * Johnes * Remm |
| Jeanette singles chronology | |
| "Right Now"
(2003) "**Rockin' on Heaven's Floor**"
(2003) "No Eternity"
(2004) | |


abstract: Rockin' the Joint is a compilation album of rock and roll music by Bill Haley & His Comets. Released on Decca Records in August 1958, it was the group's seventh album. The album consisted of recordings that, for the most part, had only been released previously as singles or on EPs; all of the recordings were produced by Milt Gabler. The title comes from the album's lead track, a 1957 re-recording of Haley's 1952 hit, "Rock the Joint", which was labelled "New Rock the Joint" on this release. Also included for the first time on album were the hits "See You Later Alligator", "Rip it Up", and "The Saints Rock and Roll". One track, "The Beak Speaks", was an instrumental featuring guitarist Franny Beecher, while "Rock Lomond" was a leftover from the recording sessions for the band's previous album, Rockin' the Oldies and is the only track on the album that had not previously been released. The only track copied from a previous Haley album is "Burn That Candle", which was also included on the Rock Around the Clock compilation.

text:
# Rockin' the Joint (Bill Haley & His Comets album)

***Rockin' the Joint*** is a compilation album of rock and roll music by Bill Haley & His Comets. Released on Decca Records in August 1958, it was the group's seventh album. The album consisted of recordings that, for the most part, had only been released previously as singles or on EPs; all of the recordings were produced by Milt Gabler. The title comes from the album's lead track, a 1957 re-recording of Haley's 1952 hit, "Rock the Joint", which was labelled "New Rock the Joint" on this release. Also included for the first time on album were the hits "See You Later Alligator", "Rip it Up", and "The Saints Rock and Roll". One track, "The Beak Speaks", was an instrumental featuring guitarist Franny Beecher, while "Rock Lomond" (based on the Scottish air "Loch Lomond") was a leftover from the recording sessions for the band's previous album, *Rockin' the Oldies* and is the only track on the album that had not previously been released. The only track copied from a previous Haley album is "Burn That Candle", which was also included on the *Rock Around the Clock* compilation.

## Track listing

1. "New Rock the Joint" (Harry Crafton, Wendell Keene, Harry Bagby)
2. "Move It On Over" (Hank Williams)
3. "How Many?" (Hal Barnes, Howard Blair)
4. "See You Later, Alligator" (Robert Guidry)
5. "The Beak Speaks" (Franny Beecher, Billy Williamson)
6. "Forty Cups of Coffee" (Danny Overbea)
7. "The Saints' Rock and Roll" (Traditional, arranged and adapted by Bill Haley, Milt Gabler)
8. "Sway with Me" (Bill Haley, Milt Gabler, Rusty Keefer, Catherine Cafra)
9. "It's a Sin" (Fred Rose, Zeb Turner)
10. "Burn That Candle" (Winfield Scott)
11. "Rock Lomond" (Traditional, arranged by Susan Heather)
12. "Rip it Up" (John Marascalco, Robert Blackwell)

## Personnel

## InfoBox

| Rockin' the Joint | |
| --- | --- |
|  | |
| Compilation album by Bill Haley and His Comets | |
| Released | August 11, 1958 |
| Recorded | Various dates 1955–1957; New York |
| Genre | Rock and roll |
| Label | Decca |
| Producer | Milt Gabler |
| Bill Haley and His Comets chronology | |
| *Rockin' Around the World*
(1958) ***Rockin' the Joint***
(1958) *Bill Haley's Chicks*
(1959) | |


title: Robert van Boxel

abstract: Robert van Boxel is a Dutch professional footballer who currently plays as a centre back for FC Lisse in the Dutch Derde Divisie.

text:
# Robert van Boxel

**Robert van Boxel** (born 20 January 1983 in Zwanenburg) is a Dutch professional footballer who currently plays as a centre back for FC Lisse in the Dutch Derde Divisie.

## Club career

He spent a few season in the PSV youth academy and played for ADO Den Haag, AGOVV Apeldoorn, SC Cambuur, MVV and Sparta Rotterdam, who loaned him back to Cambuur in 2013. He joined amateur side FC Lisse in summer 2015 from Sparta.

## Personal life

While playing for Lisse, van Boxel studied entrepreneurship and worked for a mobile telephone and internet service provider.

## InfoBox

Robert van Boxel
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Robert van Boxel | | |
| Date of birth | (1983-01-20) 20 January 1983 | | |
| Place of birth | Zwanenburg, Netherlands | | |
| Height | 1.88 m (6 ft 2 in) | | |
| Position(s) | Centre back | | |
| Team information | | | |
| Current team | FC Lisse | | |
| Number | 3 | | |
| Youth career | | | |
|  | RKVV NAS | | |
|  | Haarlem | | |
|  | PSV | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2003 | PSV | 1 | (0) |
| 20032004 | ADO Den Haag | 12 | (0) |
| 20042006 | AGOVV | 54 | (4) |
| 20062009 | MVV | 80 | (15) |
| 20092012 | Cambuur | 73 | (3) |
| 20122015 | Sparta | 36 | (2) |
| 20132014 | Cambuur (loan) | 7 | (0) |
| 2015 | FC Lisse | 27 | (1) |
| \*Club domestic league appearances and goals, correct as of 10 May 2015 (UTC) | | | |


title: La Ruche (school)

abstract: La Ruche was a French school founded by Sébastien Faure on anarchist principles. It operated from 1904 to February 1917.

text:
# La Ruche (school)

***La Ruche*** ("The Hive") was a French school founded by Sébastien Faure on anarchist principles. It operated from 1904 to February 1917.

## History

The anarchist Sébastien Faure founded *La Ruche* on 20 hectares of leased farmland in Le Pâtis, near Rambouillet, on the outskirts of Paris in 1904. The land was both the grounds for his alternative, experimental school and an anarchist commune. The school's name, *La Ruche*, or "The Hive", comes from the land's resource of honey, which the school used as supplementary income. Faure also funded the school through his lectures and books. He established a cooperative to buy and market the farm's produce. *La Ruche* operated as a soviet, following the will of the staff's weekly general assembly. The colony persisted until February 1917, when it closed under Faure's financial deficits.

### Sexual predation

It was revealed in 2021 that Faure had been accused in January 1918 of sexually assaulting young girls at *La Ruche* in a letter written by the anarchist Second Casteu, who relayed testimony from his daughter-in-law Marguerite, who had lived at La Ruche from November 1913 to its closure in February 1917. She alleged that Faure "took little ones into his bed at night and taught them obscene caresses", and believed that "this had been going on since the foundation of la Ruche", based on what she had been told by young girls at *La Ruche*. This was during Faure's trial for sexually assaulting young girls in a Parisian flea market in September 1917, with this testimony being uncovered as part of larger revelations of his pedophilia.

## Program

The school followed a program modeled on that of anarchist pedagogue Paul Robin. About 50 children between the ages of 5 and 16 attended the school, selected from an applicant pool. Children of politically repressed families were given special consideration, such as those of Émile Henry. Ideologically, Faure did not impose his anarchist beliefs on the children, but afforded the children full autonomy—they were not coerced into a specific course of study. *La Ruche* offered Esperanto lessons through the age of 10, when children were put into pre-apprenticeships that rotated between workshops multiple times per month. They began formal apprenticeships with a wage at the age of 13, whereupon they produced goods for the school. *La Ruche* used Paul Robin's approach to sex education and mixed-gender classes.

Teachers were unpaid. A common fund provided for their needs and lodging. There were no checks on the disbursement of the fund and there are no records of the arrangement being an issue.

## Legacy

Following *La Ruche*'s closure, Faure's disciple Aristide Lapeyre established the Elan school of Villeneuve-sur-Lot, which persisted from the 1930s through World War II.

## Bibliography

## Further reading

* Demeulenaere-Douyere, Christiane (1992). "Review of Sébastien Faure et « La Ruche » ou l'éducation libertaire". *Histoire de l'éducation* (in French) (53): 93–96. ISSN 0221-6280. JSTOR 41159302.