abstract: This is a list of the French Singles & Airplay Chart Reviews number-ones of 1982.

text:
# List of number-one singles of 1982 (France)

This is a list of the French Singles & Airplay Chart Reviews **number-ones of 1982**.

## Summary

### Singles Chart

| Week | Date | Artist | Single |
| --- | --- | --- | --- |
| 1 | 1 January | Ennio Morricone | "Chi mai" |
| 2 | 8 January | | |
| 3 | 15 January | Nana Mouskouri | "Je Chante Avec Toi, Liberté" |
| 4 | 22 January | Chagrin d'amour | "Chacun Fait Ce Qu'il Lui Plait" |
| 5 | 29 January | Nikka Costa | "(Out Here) On My Own" |
| 6 | 5 February | | |
| 7 | 12 February | | |
| 8 | 19 February | | |
| 9 | 26 February | | |
| 10 | 5 March | Chagrin d'amour | "Chacun fait ce qu'il lui plait" |
| 11 | 12 March | Kim Wilde | "Cambodia" |
| 12 | 19 March | | |
| 13 | 26 March | | |
| 14 | 2 April | | |
| 15 | 9 April | | |
| 16 | 16 April | | |
| 17 | 23 April | | |
| 18 | 30 April | | |
| 19 | 7 May | | |
| 20 | 14 May | | |
| 21 | 21 May | | |
| 22 | 28 May | | |
| 23 | 4 June | | |
| 24 | 11 June | Thierry Pastor | "Le coup de folie" |
| 25 | 18 June | | |
| 26 | 25 June | | |
| 27 | 2 July | Pop Concerto Orchestra | "Eden is a Magic World" |
| 28 | 9 July | | |
| 29 | 16 July | | |
| 30 | 23 July | | |
| 31 | 30 July | | |
| 32 | 6 August | | |
| 33 | 13 August | | |
| 34 | 20 August | | |
| 35 | 27 August | Kim Wilde | "Cambodia" |
| 36 | 3 September | Imagination | "Music and Lights" |
| 37 | 10 September | | |
| 38 | 17 September | | |
| 39 | 24 September | | |
| 40 | 1 October | Philippe Lavil | "Il tape sur des bambous" |
| 41 | 8 October | | |
| 42 | 15 October | | |
| 43 | 22 October | | |
| 44 | 29 October | Supertramp | "It's Raining Again" |
| 45 | 5 November | Philippe Lavil | "Il tape sur des bambous" |
| 46 | 12 November | | |
| 47 | 19 November | | |
| 48 | 26 November | | |
| 49 | 3 December | Dorothée | "Hou! La menteuse" |
| 50 | 10 December | | |
| 51 | 17 December | | |
| 52 | 24 December | | |
| 53 | 31 December | | |


abstract: The Women's field hockey Qualifying Tournament for the 2012 Summer Olympics were qualification tournaments that determined the final three spots for the 2012 Summer Olympics. The three events were held in Belgium, India and Japan from February to May 2012. Belgium, Japan and South Africa won the three tournaments, taking the final quotas for the Olympic Games.

text:
# Women's field hockey Qualifying Tournaments for the 2012 Summer Olympics

The **Women's field hockey Qualifying Tournament for the 2012 Summer Olympics** were qualification tournaments that determined the final three spots for the 2012 Summer Olympics.

The three events were held in Belgium, India and Japan from February to May 2012.

Belgium, Japan and South Africa won the three tournaments, taking the final quotas for the Olympic Games.

## Teams

Below is the list of 18 teams who participate in these qualifying tournaments:

| Zone | Tournament | Qualifier(s) |
| --- | --- | --- |
| Asia | 2010 Asian Games | India
Japan
Malaysia |
| Africa | 2011 African Olympic Qualifier | South Africa |
| Americas | 2011 Pan American Games | Canada
Chile
Mexico
~~Trinidad and Tobago~~ |
| Europe | 2011 EuroHockey Nations Championship | Azerbaijan
Belgium
Ireland
Italy
Spain |
| | EuroHockey Nations Trophy | Belarus
France
Poland
Russia
Ukraine |

**^1**  – Replaced by Austria

## Qualifying 1

Qualifier 1
| Tournament details | |
| --- | --- |
| Host country | India |
| City | New Delhi |
| Dates | 18–25 February |
| Teams | 6 |
| Venue(s) | Dhyan Chand National Stadium |
| Final positions | |
| Champions | South Africa |
| Runner-up | India |
| Third place | Italy |
| Tournament statistics | |
| Matches played | 18 |
| Goals scored | 61 (3.39 per match) |
| Top scorer(s) | Alessia Padalino (8 goals) |
| Best player | Marsha Marescia |

### Results

*All times are DST (UTC+5:30).*

#### Preliminary round

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | South Africa | 5 | 4 | 1 | 0 | 14 | 5 | +9 | 13 | Final |
| 2 | India | 5 | 3 | 1 | 1 | 11 | 7 | +4 | | 10 |
| 3 | Italy | 5 | 2 | 2 | 1 | 9 | 6 | +3 | 8 |  |
| 4 | Ukraine | 5 | 2 | 1 | 2 | 8 | 7 | +1 | | 7 |
| 5 | Canada | 5 | 1 | 1 | 3 | 7 | 15 | 8 | | 4 |
| 6 | Poland | 5 | 0 | 0 | 5 | 2 | 11 | 9 | | 0 |

Source: FIH
Rules for classification: 1) points; 2) goal difference; 3) goals scored; 4) head-to-head result.

##### Matches

| South Africa  2–1  Poland  Woods  39'
Coetzee  53' Report Zagajska  39' |
| --- |

| Italy  2–2  Canada  Wybieralska  3'
Padalino  63' Report Culley  40'
Stairs  61' |
| --- |

| India  1–1  Ukraine  Yendala  42' Report Vynohradova  26' |
| --- |

---

| Poland  1–4  Italy  Grzanka  49' Report Ruggieri  41'
Padalino  43', 48', 65' |
| --- |

| South Africa  2–0  Ukraine  Coetzee  20'
Chamberlain  29' Report |
| --- |

| India  4–1  Canada  Yendala  16'
Rani  19'
Chanu  29'
Thokchom  49' Report Haughn  69' |
| --- |

---

| Canada  2–5  Ukraine  Gillis  2'
Secco  48' Report Khilko  12', 28', 43'
Salenko  38'
Sadova  40' |
| --- |

| Italy  1–1  South Africa  Padalino  4' Report Penny  40' |
| --- |

| Poland  0–3  India  Report Ritu  14'
Rani  36'
Poonam  62' |
| --- |

---

| Ukraine  1–2  Italy  Sadova  39' Report Padalino  5'
Ruggieri  69' |
| --- |

| Canada  1–0  Poland  Jameson  65' Report |
| --- |

| India  2–5  South Africa  Lakra  23'
Yendala  52' Report Chamberlain  12', 32', 58'
Damons  53', 67' |
| --- |

---

| Ukraine  1–0  Poland  Ivakhnenko  28' Report |
| --- |

| South Africa  4–1  Canada  Damons  16'
Chamberlain  41', 60', 62' Report Culley  16' |
| --- |

| Italy  0–1  India  Report Ritu  55' |
| --- |

#### Classification round

##### Fifth and sixth place

| Canada  3–0  Poland  Culley  18'
Stairs  40'
Jameson  45' Report |
| --- |

##### Third and fourth place

| Italy  2–1  Ukraine  Padalino  34', 67' Report Sadovaia  42' |
| --- |

##### Final

| South Africa  3–1  India  Russell  4'
Coetzee  30'
Marescia  53' Report Ja. Kaur  57' |
| --- |

### Statistics

#### Awards

| Player of the Tournament | Top Goalscorer | Goalkeeper of the Tournament | Fair Play Award |
| --- | --- | --- | --- |
| Marsha Marescia | Alessia Padalino | Roberta Lilliu | India |

#### Final standings

1. South Africa
2. India
3. Italy
4. Ukraine
5. Canada
6. Poland

## Qualifying 2

Qualifier 2
| Tournament details | |
| --- | --- |
| Host country | Belgium |
| City | Kontich |
| Dates | 17–25 March |
| Teams | 6 |
| Venue(s) | Beerschot Tennis Club |
| Final positions | |
| Champions | Belgium |
| Runner-up | Ireland |
| Third place | Spain |
| Tournament statistics | |
| Matches played | 18 |
| Goals scored | 91 (5.06 per match) |
| Top scorer(s) | Audrey O'Flynn (8 goals) |
| Best player | Sofie Gierts |

### Results

*All times are CET (UTC+01:00).*

#### Preliminary round

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Belgium | 5 | 4 | 1 | 0 | 22 | 1 | +21 | 13 | Final |
| 2 | Ireland | 5 | 4 | 1 | 0 | 17 | 4 | +13 | | 13 |
| 3 | Spain | 5 | 2 | 1 | 2 | 12 | 6 | +6 | 7 |  |
| 4 | Russia | 5 | 2 | 1 | 2 | 9 | 11 | 2 | | 7 |
| 5 | France | 5 | 1 | 0 | 4 | 9 | 18 | 9 | | 3 |
| 6 | Mexico | 5 | 0 | 0 | 5 | 5 | 34 | 29 | | 0 |

Source: FIH
Rules for classification: 1) points; 2) goal difference; 3) goals scored; 4) head-to-head result.

##### Matches

| Spain  7–0  Mexico  Ybarra  21', 37'
Petchamé  26', 28'
Bonastre  65'
Malda  66', 70' Report |
| --- |

| Ireland  5–1  France  Speers  20'
O'Flynn  35'
Connery  38'
Jacob  45'
Harvey  47' Report Dutel  13' |
| --- |

| Belgium  4–0  Russia  Gierts  34'
Sinia  44'
De Groof  54'
Boon  70' Report |
| --- |

---

| Spain  2–1  France  Pérez  22'
Malda  32' Report Dutel  25' |
| --- |

| Ireland  3–0  Russia  Harvey  21'
O'Flynn  34', 39' Report |
| --- |

| Mexico  0–12  Belgium  Report Boon  8', 42', 67'
Coppey  19'
De Vos  23'
Raes  39'
Gierts  43'
Sinia  44'
Valcke  53'
De Groof  59', 61'
Danhaive  70' |
| --- |

---

| Mexico  0–5  Ireland  Report O'Flynn  44', 64'
Smyth  60', 66'
Sargent  69' |
| --- |

| Russia  3–2  France  Mozgovaya  27', 55'
Shamina  53' Report Preney  21'
Dutel  48' |
| --- |

| Belgium  1–0  Spain  Boon  2' Report |
| --- |

---

| Russia  5–1  Mexico  Grigorieva  14', 47', 59'
Osipova  33'
Shamina  60' Report Navarro  51' |
| --- |

| Ireland  3–2  Spain  O'Flynn  6', 28'
Speers  60' Report Malda  7'
Petchamé  66' |
| --- |

| France  0–4  Belgium  Report De Groof  19', 54', 59'
Delmée  25' |
| --- |

---

| France  5–4  Mexico  Roger  9'
Berly  10'
Dutel  30'
Preney  55', 68' Report Castillo  3', 19'
Navarro  42'
Correa  46' |
| --- |

| Spain  1–1  Russia  Ybarra  11' Report Shumilina  33' |
| --- |

| Belgium  1–1  Ireland  Boon  9' Report Watkins  23' |
| --- |

#### Classification round

##### Fifth and sixth place

| France  5–1  Mexico  Rogeau  5'
Roger  58'
Dutel  62', 65'
Preney  68' Report Navarro  18' |
| --- |

##### Third and fourth place

| Spain  5–1  Russia  Comerma  29'
Menéndez  31'
Petchamé  51'
Pérez  56', 32' Report Shamina  58' |
| --- |

##### Final

| Belgium  4–1  Ireland  Gierts  12', 17', 19'
Coppey  57' Report O'Flynn  56' |
| --- |

### Statistics

#### Awards

| Player of the Tournament | Top Goalscorer | Goalkeeper of the Tournament |
| --- | --- | --- |
| Sofie Gierts | Audrey O'Flynn | Ahidee Castíllo |

#### Final standings

1. Belgium
2. Ireland
3. Spain
4. Russia
5. France
6. Mexico

## Qualifying 3

Qualifier 3
| Tournament details | |
| --- | --- |
| Host country | Japan |
| City | Kakamigahara |
| Dates | 25 April–May 5 |
| Teams | 6 |
| Venue(s) | Gifu-ken Green Stadium |
| Final positions | |
| Champions | Japan |
| Runner-up | Azerbaijan |
| Third place | Chile |
| Tournament statistics | |
| Matches played | 18 |
| Goals scored | 78 (4.33 per match) |
| Top scorer(s) | Kaori Fujio (6 goals) |
| Best player | Sachimi Iwao |

### Results

*All times are JST (UTC+09:00).*

#### Preliminary round

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Japan | 5 | 4 | 1 | 0 | 23 | 1 | +22 | 13 | Final |
| 2 | Azerbaijan | 5 | 3 | 1 | 1 | 15 | 6 | +9 | | 10 |
| 3 | Chile | 5 | 2 | 2 | 1 | 8 | 6 | +2 | 8 |  |
| 4 | Belarus | 5 | 2 | 1 | 2 | 10 | 10 | 0 | | 7 |
| 5 | Austria | 5 | 1 | 0 | 4 | 3 | 22 | 19 | | 3 |
| 6 | Malaysia | 5 | 0 | 1 | 4 | 5 | 19 | 14 | | 1 |

Source: FIH
Rules for classification: 1) points; 2) goal difference; 3) goals scored; 4) head-to-head result.

##### Matches

| Chile  1–3  Belarus  Villagra  40' Report Mikheichyk  8', 53'
Silitskaya  50' |
| --- |

| Japan  7–0  Austria  Yamamoto  6'
Shibata  12'
Komazawa  25'
Murukami  30'
Mitsuhashi  50'
Nakagawa  64'
Otsuka  68' Report |
| --- |

| Azerbaijan  4–0  Malaysia  Aliyeva  17', 31'
M. Mammadova  45'
Muradi  56' Report |
| --- |

---

| Azerbaijan  3–0  Belarus  Aliyeva  52', 58'
Suleymanova  69' Report |
| --- |

| Japan  8–0  Malaysia  Fujio  10', 41', 61'
Iwao  33'
Murukami  38'
Nakagawa  43'
Komazawa  52'
Otsuka  55' Report |
| --- |

| Austria  0–3  Chile  Report D. Caram  6'
De. Infante  37', 63' |
| --- |

---

| Chile  0–0  Japan  Report |
| --- |

| Austria  0–5  Azerbaijan  Report Muradi  9'
F. Mammadova  18'
M. Mammadova  32'
Matjusaityte  49'
Han  66' |
| --- |

| Belarus  2–2  Malaysia  Silitskaya  17'
Halinouskaya  27' Report Othman  41'
Ruhani  68' |
| --- |

---

| Malaysia  1–2  Chile  Slyvester Silin  49' Report Urroz  66'
D. Caram  69' |
| --- |

| Azerbaijan  1–4  Japan  Han  6' Report Murukami  12'
Nakagawa  23', 58'
Iwao  32' |
| --- |

| Belarus  5–0  Austria  Kurhanskaya  8'
Stsiafutkina  23'
Mikheichyk  29'
Silitskaya  69'
Piotukh  70' Report |
| --- |

---

| Austria  3–2  Malaysia  Sandner  7', 67'
Laginja  53' Report Hashim  20'
Othman  27' |
| --- |

| Japan  4–0  Belarus  Fujio  3', 65'
Komazawa  23'
Yamamoto  55' Report |
| --- |

| Chile  2–2  Azerbaijan  De. Infante  60'
C. Caram  62' Report M. Mammadova  30', 40' |
| --- |

#### Classification round

##### Fifth and sixth place

| Austria  0–5  Malaysia  Report Othman  12'
Arumugam  31'
Sumantri  40'
Mohamad Din  43'
Hashim  47' |
| --- |

##### Third and fourth place

| Chile  2–1  Belarus  D. Caram  4'
C. Caram  9' Report Mikheichyk  53' |
| --- |

##### Final

| Japan  5–1  Azerbaijan  Komazawa  8', 48'
Shibata  21', 25'
Fujio  28' Report Aliyeva  41' |
| --- |

### Statistics

#### Awards

| Player of the Tournament | Top Goalscorer | Goalkeeper of the Tournament | Fair Play Award |
| --- | --- | --- | --- |
| Sachimi Iwao | Kaori Fujio | Viktoriya Shahbazova | Japan |

#### Final standings

1. Japan
2. Azerbaijan
3. Chile
4. Belarus
5. Malaysia
6. Austria

## InfoBox

2012 Women's Hockey Summer
Olympics Qualifying Tournament
| Tournament details | |
| --- | --- |
| Dates | 18 February–5 May 2012 |
| Teams | 18 (from 5 confederations) |
| Venue(s) | 3 (in 3 host cities) |
| Tournament statistics | |
| Matches played | 54 |
| Goals scored | 230 (4.26 per match) |
| Top scorer(s) | Audrey O'Flynn
Alessia Padalino (8 goals) |


title: 1991 Intercontinental Cup

abstract: The 1991 Intercontinental Cup was an association football match played on 8 December 1991 between Red Star Belgrade of SFR Yugoslavia, winners of the 1990–91 European Cup, and Colo-Colo of Chile, winners of the 1991 Copa Libertadores. The match was played at the neutral venue of the National Stadium in Tokyo in front of 60,000 fans. Vladimir Jugović was named as man of the match.

text:
# 1991 Intercontinental Cup

The **1991 Intercontinental Cup** was an association football match played on 8 December 1991 between Red Star Belgrade of SFR Yugoslavia, winners of the 1990–91 European Cup, and Colo-Colo of Chile, winners of the 1991 Copa Libertadores. The match was played at the neutral venue of the National Stadium in Tokyo in front of 60,000 fans. Vladimir Jugović was named as man of the match.

## Match details

| Red Star Belgrade | 3–0 | Colo-Colo |
| --- | --- | --- |
| Jugović  19', 58'<br>Pančev  72' | Report |  |

National Stadium, TokyoAttendance: 62,064Referee: Kurt Röthlisberger (Switzerland)

| GK **1**  Zvonko Milojević  DF **5**  Miodrag Belodedici  DF **2**  Duško Radinović  DF **6**  Ilija Najdoski  DF **3**  Goran Vasilijević  49'  DF **11**  Siniša Mihajlović  46'  MF **7**  Vlada Stošić  MF **4**  Vladimir Jugović  MF **8**  Milorad Ratković  MF **10**  Dejan Savićević ()  42'  FW **9**  Darko Pančev  **Substitutes:**  GK **12**  Dragoje Leković  DF **13**  Saša Nedeljković  DF **14**  Miroslav Tanjga  FW **15**  Ilija Ivić  **Manager:**  Vladica Popović |  | GK **1**  Daniel Morón  DF **3**  Lizardo Garrido  DF **4**  Javier Margas ()  DF **6**  Miguel Ramírez  42'  60'  DF **8**  Agustín Salvatierra   65'  MF **2**  Gabriel Mendoza  MF **5**  Eduardo Vilches  MF **7**  Marcelo Barticciotto  MF **10**  Jaime Pizarro  FW **9**  Patricio Yáñez  FW **11**  Rubén Martínez  **Substitutes:**  GK **12**  Marcelo Ramírez  FW **13**  Luis Pérez  FW **14**  Ricardo Dabrowski   65'  MF **15**  Raúl Ormeño  FW **16**  Hugo Rubio   60'  **Manager:**  Mirko Jozić |
| --- | --- | --- |

**Assistant referees:**
Samuel Yam-Ming Chan (Hong Kong)
Kiichiro Tachi (Japan)
**Fourth official:**
Shizuo Takada (Japan)

## InfoBox

1991 Intercontinental Cup
| Match programme cover | |
| --- | --- |
|  | |
| Date | 8 December 1991 |
| Venue | National Stadium, Tokyo |
| Man of the Match | Vladimir Jugović (Red Star Belgrade) |
| Referee | Kurt Röthlisberger (Switzerland) |
| Attendance | 62,064 |
|


title: Tom Lord-Alge

abstract: Tom Lord-Alge is an American music engineer and mixer. He began his career at Unique Recording in New York. Subsequently, he was the resident mixer at what used to be known as "South Beach Studios", located on the ground floor of the Marlin Hotel. Lord-Alge received two Grammy Awards for his work on Steve Winwood's Back in the High Life (1986), and Roll with It (1988), both winning in the 'Best Engineered Recording – Non-Classical' category. His third Grammy was for Santana's Supernatural (1999), which won Album of the Year. Lord-Alge has mixed records for U2, Simple Minds, The Rolling Stones, Pink, Peter Gabriel, OMD, Sarah McLachlan, Dave Matthews Band, Blink-182, Avril Lavigne, Hanson, Sum 41, Live, Manic Street Preachers, New Found Glory, Story of the Year and Marilyn Manson, among others.

text:
# Tom Lord-Alge

**Tom Lord-Alge** (born January 17, 1962) is an American music engineer and mixer. He began his career at Unique Recording in New York. Subsequently, he was the resident mixer at what used to be known as "South Beach Studios", located on the ground floor of the Marlin Hotel.

Lord-Alge received two Grammy Awards for his work on Steve Winwood's *Back in the High Life* (1986), and *Roll with It* (1988), both winning in the 'Best Engineered Recording – Non-Classical' category. His third Grammy was for Santana's *Supernatural* (1999), which won Album of the Year. Lord-Alge has mixed records for U2, Simple Minds, The Rolling Stones, Pink, Peter Gabriel, OMD, Sarah McLachlan, Dave Matthews Band, Blink-182, Avril Lavigne, Hanson, Sum 41, Live, Manic Street Preachers, New Found Glory, Story of the Year and Marilyn Manson, among others.

## Career

After doing live sound engineering for some time, Lord-Alge joined his brother Chris at Unique Recording in New York City in 1984. He began working as an assistant to Chris, who was then a staff engineer, and later became staff engineer until 1988.

Lord-Alge's first major project was engineering Steve Winwood's Grammy winning album *Back in the High Life* (1986) including its number one hit song "Higher Love". He went on to engineer Winwood's follow up *Roll with It* (1988) including its chart-topping title track. He then left Unique Recording to work as a freelance engineer and mixer.

Lord-Alge's turning point as a mixing engineer was in 1993 after mixing Crash Test Dummies' *God Shuffled His Feet*, featuring their hit "Mmm Mmm Mmm Mmm". Shortly thereafter he mixed Live's multi-platinum *Throwing Copper*, which to date has sold over eight million copies in the United States. The success of these albums marked the beginning of Lord-Alge's professional career as a mix engineer. He mixed out of South Beach Studios in Miami prior to it closing, and is represented exclusively by Global Positioning Services Management in Santa Monica.

Like Chris, Lord-Alge is well known for his extensive use of compression in mix down as both a creative and functional technique.

## Personal life

Lord-Alge is one of four brothers, two of whom are audio and mixing engineers (Chris and Jeff Lord-Alge), and two sisters (Meg and Lisa). Their mother, Vivian Lord, was a jazz singer and pianist, while their father sold jukeboxes for a living. Tom Lord-Alge credits his brother Chris as being a strong influence on his early development as an engineer and mixer.

## InfoBox

| Tom Lord-Alge | |
| --- | --- |
| Born | (1962-01-17) January 17, 1962 |
| Origin | New Jersey, United States |
| Genres | Rock, pop, indie rock, indie pop, pop punk |
| Occupation(s) | Mixer, record producer, audio engineer |
|  | |
| Website | tomlord-alge.com |


title: Panopticon (album)

abstract: Panopticon is the third full-length album by Los Angeles, California based post-metal band ISIS, released by Ipecac Recordings in 2004. The album's title is derived from philosopher Jeremy Bentham's panopticon prison ideal and philosopher/historian Michel Foucault's later allegorical appropriation of the concept. The liner notes also include quotes from technology writer Howard Rheingold and futurist Alex Steffen; as a concept album, Panopticon's focus is on the proliferation of surveillance technologies throughout modern society and the government's role in that spread. Critical response to Panopticon was generally very warm; as it followed 2002's critically acclaimed Oceanic, many reviewers were quick to hold the two in comparison. The consensus was that Panopticon represented a progression, of sorts. The album's sound continued ISIS' departure from the strictures of sludge and metal – which had been the hallmarks of their earlier material – and continued along the trajectory of post-metal, achieved by heightened use of melody and clean vocals. On April 29, 2014 a deluxe version of Panopticon, remastered by Mika Jussila, was released by Ipecac Recordings. It contains extra music in the transitions to and from "Wills Dissolve," adding 10 seconds to the overall running time of the album.

text:
# Panopticon (album)

***Panopticon*** is the third full-length album by Los Angeles, California based post-metal band ISIS, released by Ipecac Recordings in 2004. The album's title is derived from philosopher Jeremy Bentham's panopticon prison ideal and philosopher/historian Michel Foucault's later allegorical appropriation of the concept. The liner notes also include quotes from technology writer Howard Rheingold and futurist Alex Steffen; as a concept album, *Panopticon'*s focus is on the proliferation of surveillance technologies throughout modern society and the government's role in that spread.

Critical response to *Panopticon* was generally very warm; as it followed 2002's critically acclaimed *Oceanic*, many reviewers were quick to hold the two in comparison. The consensus was that *Panopticon* represented a progression, of sorts. The album's sound continued ISIS' departure from the strictures of sludge and metal – which had been the hallmarks of their earlier material – and continued along the trajectory of post-metal, achieved by heightened use of melody and clean vocals.

On April 29, 2014 a deluxe version of *Panopticon*, remastered by Mika Jussila, was released by Ipecac Recordings. It contains extra music in the transitions to and from "Wills Dissolve," adding 10 seconds to the overall running time of the album.

## Writing, recording and release

Writing for the record began in September 2003, soon after Isis had relocated from Boston to Los Angeles. According to guitarist Mike Gallagher, “we started working on ideas for songs and sounds as individuals, in pairs or as a whole group until we were able to shape the ideas into songs that we were all happy with and could stand behind”. While some tracks originated from "little jams" the band would do at sound check, the majority of the album was created in time dedicated to writing new material. Gallagher adds that “\[m\]usically speaking, *Panopticon* came out a couple of ideas that had been kicking around in our heads for some time, but the bulk of it was composed after we decided that it was time to do a new record. The writing process consisted mostly of an individual starting the core of an idea for a song at home then either pairing off with someone else or bringing it to everyone where it was worked on and refined until everyone was satisfied”. According to Jeff Caxide, this process was significantly different from that of previous Isis albums, as “everyone wrote a lot on this record. There is not one song that could be credited to one person”.

According to Turner, the album's inception and sound were organic, rather than engineered: “\[w\]e were interested in exploring ambient spaces a lot more—and these things tend to dictate a longer structure. It wasn't a conscious decision on our part; I guess it's just the nature of the style we write in.”

After having worked with members of 27 as guest musicians on previous full-length *Oceanic*, for *Panopticon* Isis turned to Justin Chancellor, bassist of tour-mates Tool. According to Turner, “he was one of the first names on the list. He's in a band that we all mutually respect and we felt like he was a person that understood what we were doing and could maintain a focus on what we were trying to attain. But he also has some interesting facets of his own musical personality that we thought would blend well with our style.” *Wavering Radiant*, Isis' 2009 final album, features Adam Jones, also of Tool, as a guest musician.

Recording took place at Paramount Studios, Los Angeles, California, from June to July 2004, with the album being produced by long-time collaborator Matt Bayles. The album was recorded onto analogue tape initially; after returning to the studio post-release in order to retrieve the master reels, half of them were discovered to be missing, presumed stolen. The album saw release in CD format on October 19, 2004, by Ipecac Recordings, whilst vinyl release was handled by Robotic Empire in the United States and Trust No One in Europe. The Japanese edition was handled by Daymare Recordings, who released a special edition with an enhanced video and digipak packaging. It entered the US *Billboard* Independent Albums chart on November 6 at number 47 and remained there for a week; this represented Isis' first chart exposure in any capacity.

In support of the album's release, Isis toured extensively. Their world tour took in a long stretch in the United States, dates in Australia, a spate in Japan with Converge and Mastodon and a further lengthy spell in Europe. Besides the heavy touring regimen, they also performed at the Los Angeles Museum of Contemporary Art to support an exhibition of 50's and 60's minimalist art.

A music video – Isis' first – was released for the track "In Fiction", directed by Josh Graham and shot during late 2004; the track was not, however, released as a single. The video deals heavily with the album's overarching theme of surveillance, as a young female protagonist flees five faceless observers and the ubiquity of video surveillance. At the close of the video, she transforms into a black miasma, which expands as tendrils grow from the fug. Its feel is described by Lee Wang of PopMatters as utilising a narrative mode similar to the cult 1962 French science fiction movie, *La jetée*; he also brings attention to the video's blue-and-black palate, much as is used on the album artwork, "simulating" black-and-white. This similarity was proved intentional, as guitarist Michael Gallagher attested to it being an intentional allusion. Two tracks from *Panopticon* – "Grinning Mouths" and "In Fiction" – were featured in the 2007 Flemish film *Ex Drummer*.

## Theme

The album's central concept is that of its namesake, the panopticon: a form of prison envisioned by utilitarian Jeremy Bentham in 1785; a central observation tower surrounded by windowless cells. Bentham's intention was that the prisoners be placated through the fear of constant surveillance, which he described as “a new mode of obtaining power of mind over mind, in a quantity hitherto without example.” While the design did not come to fruition during Bentham's time, it has been seen as an important development. For instance, the design was invoked by Michel Foucault (in *Discipline and Punish*) as metaphor for modern "disciplinary" societies and its pervasive inclination to observe and normalise. Foucault proposes that not only prisons but all hierarchical structures like the army, the school, the hospital and the factory have evolved through history to resemble Bentham's Panopticon. More recently, it has been used to describe the Internet. The liner notes also quote technology writer Howard Rheingold and futurist Alex Steffen, speaking of their concern with the proliferation of surveillance throughout modern society and how that constitutes a "panopticon society".

Both Foucault and Bentham are quoted in the liner notes, and Turner is forthcoming about their influence; both as political commentary and polemic material.

> I can see why Bentham found the design to be inspirational and possibly rewarding, but it also strikes me as this completely insidious and manipulative idea at the same time, a way of controlling and segregating individuals – which is the focal point of Foucault’s essay.

> One thing that I was referring to is maybe a certain controlling force, the modern parallel of it would be the US government and specifically its administration. If you want to look at it from that perspective then there is a certain kind of a central power and they're using the technology to further their means of surveillance. It's a different sort of construction but the same idea: there's a central controlling force and they're using multiple tools in the case of the internet in sort of surveying and directing the focus of their populous.

Aaron Turner, interviewed by Andreas Kohl

Although reviewers have read political intonations into the album's ostensible themes, deeming it “unashamedly prog in its ambition and dimensions”, Turner is reluctant to admit to such an agenda. "I'd hesitate to call the record 'political' because Isis has never taken a public political stand on anything. At the same time, it's intended to draw a parallel between the system that Bentham created and what's going on in the world right now". Likewise, he notes that the album is “absolutely not about a political agenda. I always try to write about stuff that is specific to my life during the time I write an album. And I try to find things that I'm emotionally and intellectually attached to. We've never been a political band. But right now politics are such a great importance. You can travel everywhere and you simply cannot ignore them. And so this is one of the main things that have been occupying my mind during the creation of this record. So beyond these things just being interesting themselves they have a lot of relevance to what's going on in the world right now \[...\] I think these things are relevant to everybody's lives and specifically to me and this band and what we experienced through living in this country over the last couple of years. And also I think my lyrics are so abstract and fragmented sometimes that I feel like those things are a better representation of what I'm writing about than printed lyrics might be.” Despite his denial that *Panopticon* is politically motivated, Turner does refer to the then-incumbent George W. Bush administration's tenure as a source of inspiration; about how Bentham's essay bore relevance to “hit home in terms of how \[it\] is treating its own citizens outside and within the country.”

Beyond the macroscopic, Turner has admitted that this album is more personal than previous releases. “This record is a lot more organic \[than *Oceanic*\] to me. It indeed is a lot more focused in a way that it is a lot more coherent than *Oceanic* was. I do feel that it has a wider emotional feel because it is a lot more personal stuff of myself behind it in the content. I don't really know how this comes across in the music. There is a lot more things in it that I was dealing with while writing the record and since, let's say *Celestial* for instance. It's hard to say actually.”

Allmusic's Wade Kergan felt the album artwork, an almost isometric aerial photograph of South San Francisco and San Bruno, California, “fits perfectly with the epic music on the disc itself”, while Pitchfork Media's Brandon Stosuy characterized it as “satellite spy” photography. Turner noted that the connection between the artwork and the theme was “certainly intentional”, further stating that he “wanted it to be something that was subtle, but not obvious straight away.”

## Sound

In describing the album's sound, critics often referred to bands operating on similar sonic strata as Isis. Allmusic reviewer Wade Kergan noted: “\[t\]he sound is "as angular as post-rock forefathers Slint and as cosmically expansive as Neurosis, yet closer to the intensity of hardcore than either of them”, while an *Uncut* review stated that *Panopticon* operates at “the rarely-explored mid-point between My Bloody Valentine and Slayer”. Furthermore, its sound was compared to that of High on Fire, Tool, A Perfect Circle, Mogwai, Sigur Ros, Pink Floyd, The Cure, Godspeed You! Black Emperor and Ride by various reviewers.

> It also becomes obvious that from the time of our first demo we've been constantly going into that direction through becoming more and more atmospheric, having the textural elements becoming more and more to the forefront and obviously becoming more melodic with each release.

Aaron Turner, interviewed by Andreas Kohl

Many reviewers compared the album with Isis' seminal previous record, *Oceanic*, often noting a 'progression'. Turner himself stated: “I do agree that it is a natural progression from *Oceanic*. It absolutely is an evolution and a step forward.” Sonically, compared with *Oceanic*, “the drums and vocals are submerged, the riffs intricately monolithic” and there is an increased prominence lent to electronics and synths; this led to it being characterised as “a little more polished”.

As with all Isis releases, the lyrics are almost indecipherable; something of which Turner is conscious, as well as its implications. “Even if you are a native speaker it is sometimes impossible to figure the lyrics out properly. I'm conflicted about that from time to time. But then I always think that I'm giving enough with the text that's included, the artwork and the imagery that gives people some clue to get into it. But leaves it open ended in a certain degree about the intention behind it. \[...\] While making an album it also is music first for us and lyrics second.” Writing for *Decibel*, Andrew Bonazelli noted that although only 30 percent of the lyrics were understandable, they were “extremely thoughtful”.

Many critics tied the album's conceptual roots with its sound; it was described as “\[evoking\] a sense of creeping voyeurism”. Some noted, though, that this notion is ‘subverted’ by the album's sound. As Mike Diver of Drowned in Sound explains in a glowing review, “\['Panopticon' is\] a misleading title; nothing terrifying emerges from the multiple layers of sound. Indeed, as far as Isis records go, this is positively joyous”. Similarly, its feel, likened to contemporaries Pelican's 2005 record *The Fire in Our Throats Will Beckon the Thaw*, is described by Andrew Bonazelli as ‘triumphant’.

## Reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| Allmusic |  |
| *Austin Chronicle* |  |
| *Drowned in Sound* | 10/10 |
| *OndaRock* | 7.5/10 |
| *Ox-Fanzine* | 9/10 |
| *Pitchfork* | 8.4/10 |
| *Rock Hard* | 9.5/10 |
| Sputnikmusic |  |
| Tiny Mix Tapes |  |
| *Uncut* |  |

The critical response to *Panopticon* was generally very warm; some offered extremely high praise, whilst others deemed it average. Although it was not lambasted by any major publications, several deemed it slightly inferior to *Oceanic*, released two years previously. As Michael Chamy noted in his review for the *Austin Chronicle*, it does not "reach the heights or descend to the depths of *Oceanic*, but it's an amazing journey to a place unlike any other." A Tiny Mix Tapes review agreed, stating that *Panopticon* "doesn't outshine *Oceanic*". Detailing this further, a Punknews reviewer noted: “the only flaw that I found in this otherwise exemplary recording was the less engrossing overall structure of the record; while *Oceanic was* \[...\] novel like in its structure with each chapter forming an overall arc, *Panopticon* is more like a series of short stories – disconnected, perhaps – but clearly penned by the same hand.” Others disagreed; Pitchfork's Brandon Stosuy held it to be a “stronger record” than *Oceanic*. Isis' next album, 2006's *In the Absence of Truth*, was met rather less fondly by both critics and the band themselves.

Reviewers agreed that “those with long attention spans will find \[the album\] utterly rewarding”; as a Punknews review expounds, "this record demands a great deal from the listener – attention and patience, certainly – those who give it a chance will find a band that is truly special, and manages to consistently exceed expectations." Similarly focusing on the length of the tracks, Brandon Stosuy of Pitchfork Media branded the record "stellar classical music". This contributed to “the record \[being\] imparted with a completely new melodic sense \[making the album\] their most friendly and accessible work to date”.

Nick Green highlighted "Wills Dissolve" as a standout track, whilst Drowned in Sound's Mike Diver selected "Backlit" and "Altered Course" as “two of the most emotionally engaging rock songs of a decade, or more”. Chamy deemed "Altered Course" “a masterfully constructed glacial flow, with Aaron Harris' heavy drumming keeping the mast pointed through the crushing turbulence”. Opener "So Did We" was deemed, throughout the entire Isis back catalog, “second only in visceral satisfaction to \[*Celestial's*\] 'Celestial (The Tower)'”. Dissecting that track further, the Punknews review found that "\[t\]he structure of repeating themes with an underlying 'storyline' is more like the classical Aristotelean narrative than a song; with no conventional verses, choruses or anything else familiar to be found."

The album also received a mixed review from Pat Long of *Uncut*, who summarized the album as "Red-eyed ambient metal droning" and questioned the relationship between its themes of surveillance and the nature of the mostly instrumental music itself, despite concluding that "those with long attention spans will find \[this album\] utterly rewarding." Mike Diver of Drowned in Sound was unequivocal in his assessment, stating: "\[t\]hat this is the metal record of the year is indisputable". *Decibel* went on to rank *Panopticon* as the 33rd best album of the decade, while *Sputnikmusic* ranked it the 74th best, the latter's Channing Freeman writing that the album "was free of the gimmicks that plague the genre, and even though countless other bands would beat their formula to death, *Panopticon* still stands head and shoulders above other albums of its kind."

## Track listing

All tracks are written by Isis

| No. | Title | Length |
| --- | --- | --- |
| 1. | "So Did We" | 7:31 |
| 2. | "Backlit" | 7:43 |
| 3. | "In Fiction" | 8:58 |
| 4. | "Wills Dissolve" | 6:47 |
| 5. | "Syndic Calls" | 9:39 |
| 6. | "Altered Course" (instrumental; featuring Justin Chancellor) | 9:58 |
| 7. | "Grinning Mouths" | 8:27 |
| Total length: | | 59:03 |

## Personnel

## InfoBox

| Panopticon | |
| --- | --- |
|  | |
| Studio album by ISIS | |
| Released | October 19, 2004 (2004-10-19) |
| Recorded | Paramount Studios, Los Angeles, California, June–July 2004 |
| Genre | Post-metal, sludge metal, progressive metal |
| Length | 59:03 |
| Label | Ipecac (CD)
(IPC-057)
Trust No One (vinyl)
(TNO027) (Europe)
Robotic Empire (vinyl)
(ROBO 041) (US)
Daymare Recordings (CD)
(PTCD-1012) (Japan) |
| Producer | Isis, Matt Bayles |
| ISIS chronology | |
| *Oceanic*
(2002) ***Panopticon***
(2004) *In the Absence of Truth*
(2006) | |
|  | |
| Vinyl edition cover | |
|  | |
| The cover of Robotic Empire's vinyl edition. | |
|  | |
|  | |


title: Oberea nigrolateralis

abstract: Oberea nigrolateralis is a species of beetle in the family Cerambycidae. It was described by Stephan von Breuning in 1950.

text:
# Oberea nigrolateralis

***Oberea nigrolateralis*** is a species of beetle in the family Cerambycidae. It was described by Stephan von Breuning in 1950.

## InfoBox

| *Oberea nigrolateralis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Coleoptera |
| Family: | Cerambycidae |
| Genus: | *Oberea* |
| Species: | ***O. nigrolateralis*** |
| Binomial name | |
| ***Oberea nigrolateralis***<br>Breuning, 1950 | |
|


title: Osteochilus bleekeri

abstract: Osteochilus bleekeri is a species of cyprinid fish endemic to Borneo and Sumatra.

text:
# Osteochilus bleekeri

***Osteochilus bleekeri*** is a species of cyprinid fish endemic to Borneo and Sumatra.

## Etymology

Named in honor of Dutch medical doctor and ichthyologist Pieter Bleeker (1819-1878), who reported this species as *Rohita triporos* (=*O. \[Neorohita\] microcephalus*) in 1852.

## InfoBox

| *Osteochilus bleekeri* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Actinopterygii |
| Order: | Cypriniformes |
| Family: | Cyprinidae |
| Subfamily: | Labeoninae |
| Genus: | *Osteochilus* |
| Species: | ***O. bleekeri*** |
| Binomial name | |
| ***Osteochilus bleekeri***<br>Kottelat, 2008 | |
|


title: V. M. Ezhumalai

abstract: V. M. Ezhumalai was an Indian actor and comedian who featured in Tamil language films. He was active in the field from 1937 till 1962. He had a style of his own making viewers to laugh by his body language as well as by voice. He started his career on stage and then switched to films. During the early days he was employed on a monthly salary at Modern Theatres, Salem along with other comedians like Kali N. Rathnam and A. Karunanidhi.

text:
# V. M. Ezhumalai

**V. M. Ezhumalai** was an Indian actor and comedian who featured in Tamil language films. He was active in the field from 1937 till 1962. He had a style of his own making viewers to laugh by his body language as well as by voice. He started his career on stage and then switched to films. During the early days he was employed on a monthly salary at Modern Theatres, Salem along with other comedians like Kali N. Rathnam and A. Karunanidhi.

## Filmography

| No. | Film | Character | Release Date |
| --- | --- | --- | --- |
| 1 | *Vallala Maharaja* |  | 1937 |
| 2 | *Sirikkadhe* |  | 23-12-1939 |
| 3 | *Rajayogam* |  | 21-09-1940 |
| 4 | *Dayalan* |  | 20-12-1941 |
| 5 | *Sathi Sukanya* |  | 1942 |
| 6 | *Naadaga Medai* |  | 19-04-1942 |
| 7 | *Diwan Bahadur* |  | 28-10-1943 |
| 8 | *Burma Rani* |  | 1945 |
| 9 | *Kannika* |  | 11-11-1947 |
| 10 | *Senbagavalli* |  | 20-02-1948 |
| 11 | *Kaamavalli* |  | 20-03-1948 |
| 12 | *Adhithan Kanavu* | Singaram | 11-12-1948 |
| 13 | *Vaazhkai* | Asampavitham | 22-12-1949 |
| 14 | *Digambara Samiyar* | Sundaram Pillai | 31-08-1950 |
| 15 | *Devaki* |  | 21-06-1951 |
| 16 | *Zamindar* |  | 30-08-1952 |
| 17 | *Madana Mohini* |  | 14-03-1953 |
| 18 | *Ponni* | Sokkan | 26-06-1953 |
| 19 | *Naalvar* |  | 05-11-1953 |
| 20 | *Nallakalam* |  | 19-05-1954 |
| 21 | *Mangalyam* |  | 22-05-1954 |
| 22 | *Malaikkallan* | Chadaiyan | 22-07-1954 |
| 23 | *Koondukkili* |  | 26-08-1954 |
| 24 | *Missiamma* | School Teacher, Native Physician | 14.01.1955 |
| 25 | *Pennarasi* |  | 07-04-1955 |
| 26 | *Guna Sundari* |  | 02-12-1955 |
| 27 | *Kokilavani* |  | 30-03-1956 |
| 28 | *Naan Petra Selvam* | Poyyamozhi | 14-01-1956 |
| 29 | *Makkalai Petra Magarasi* |  | 22-02-1957 |
| 30 | *Maya Bajaar* | Chinnamaya | 27-03-1957 |
| 31 | *Pathini Deivam* |  | 1957 |
| 32 | *Nalla Idathu Sammandham* |  | 14-02-1958 |
| 33 | *Kadan Vaangi Kalyaanam* | Subbaiah | 17-09-1958 |
| 34 | *Athisaya Thirudan* |  | 12-12-1958 |
| 35 | *Illarame Nallaram* |  | 01-08-1958 |
| 36 | *Kalaivaanan* | Maari | 09-04-1959 |
| 37 | *Panam Panthiyile* |  | 07-11-1961 |
| 38 | *Ellorum Vazhavendum* |  | 14-04-1962 |

## InfoBox

| V. M. Ezhumalai | |
| --- | --- |
| **V. M. Ezhumalai** in the film Digambara Samiyar | |
| Occupation | actor |
| Years active | 1937-1962 |


title: Leo Nowak (artist)

abstract: Leonard "Leo" Nowak was an American illustrator known for his work on Superman during the Golden Age of Comic Books, when he was one of Joe Shuster's assistants. In this role, he was the first to portray Lex Luthor as bald; in Luthor's earlier appearances, he had red hair. Prior to joining Shuster, Nowak had studied art with Frank N. Wilcox and Henry Keller, but instead worked as a musician. One day, during his time off, Nowak painted a mural in a nightclub where he played regularly; a salesman who admired the work told Nowak that Siegel and Shuster were looking for artistic assistance. Nowak visited their studio and was hired immediately. In 1942, Nowak co-created the first character to be known as Robotman. In 1943, Nowak was drafted into the United States Army, and left comics. In the 1970s, Nowak moved to Inyokern, where he became a political cartoonist.

text:
# Leo Nowak (artist)

**Leonard "Leo" Nowak** (December 24, 1907 in Elizabeth, New Jersey – January 6, 2001 in Inyokern, California) was an American illustrator known for his work on Superman during the Golden Age of Comic Books, when he was one of Joe Shuster's assistants. In this role, he was the first (in both the comic strip and the comic book) to portray Lex Luthor as bald; in Luthor's earlier appearances, he had red hair.

Prior to joining Shuster, Nowak had studied art with Frank N. Wilcox and Henry Keller, but instead worked as a musician. One day, during his time off, Nowak painted a mural in a nightclub where he played regularly; a salesman who admired the work told Nowak that Siegel and Shuster were looking for artistic assistance. Nowak visited their studio and was hired immediately.

In 1942, Nowak co-created (with Jerry Siegel) the first character to be known as Robotman.

In 1943, Nowak was drafted into the United States Army, and left comics.

In the 1970s, Nowak moved to Inyokern, where he became a political cartoonist.


title: Sven Jajcinovic

abstract: Sven Jajcinovic is a Croatian footballer who plays as a midfielder for German amateur side VfB Forstinning.

text:
# Sven Jajcinovic

**Sven Jajcinovic** (born 4 April 1993, Sisak, Croatia) is a Croatian footballer who plays as a midfielder for German amateur side VfB Forstinning.

## Club career

He made his debut for Milsami on 23 July 2016 in a game against FC Saxan, Milsami won this game with 2–0.

## InfoBox

Sven Jajcinovic
| Personal information | | | |
| --- | --- | --- | --- |
| Full name | Sven Jajcinovic | | |
| Date of birth | (1993-04-04) 4 April 1993 | | |
| Place of birth | Sisak, Croatia | | |
| Height | 1.70 m (5 ft 7 in) | | |
| Position(s) | Midfielder, Attacking midfielder | | |
| Team information | | | |
| Current team | VfB Forstinning | | |
| Youth career | | | |
|  | Segesta | | |
|  | Hrvatski Dragovoljac | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2011–2016 | Hrvatski Dragovoljac | 105 | (10) |
| 2016–2017 | Milsami Orhei | 24 | (0) |
| 2017–2018 | Hrvatski Dragovoljac | 26 | (2) |
| 2018–2019 | Kavala | 0 | (0) |
| 2018–2021 | SV Hohenlinden | 17 | (15) |
| 2021– | VfB Forstinning | 24 | (12) |
| \*Club domestic league appearances and goals, correct as of 24 August 2022 | | | |


# List of number-one singles of 1983 (Spain)

This is a list of the Spanish Singles number-ones of 1983.

## Chart history

| Issue Date | Song | Artist |
| --- | --- | --- |
| 3 January | "Amor de Hombre" | Mocedades |
| 10 January | "Words" | F. R. David |
| 17 January | | |
| 24 January | | |
| 31 January | | |
| 7 February | | |
| 14 February | | |
| 21 February | "Pass The Dutchie" | Musical Youth |
| 28 February | "Words" | F. R. David |
| 7 March | "The Girl Is Mine" | Michael Jackson and Paul McCartney |
| 14 March | "Maneater" | Hall and Oates |
| 21 March | "Pass The Dutchie" | Musical Youth |
| 28 March | "You Are a Danger" | Gary Low |
| 4 April | "Words" | F. R. David |
| 11 April | "Maneater" | Daryl Hall & John Oates |
| 18 April | "Embrujada" | Tino Casal |
| 25 April | "You Are a Danger" | Gary Low |
| 2 May | "Embrujada" | Tino Casal |
| 9 May | | |
| 16 May | "Billie Jean" | Michael Jackson |
| 23 May | "Embrujada" | Tino Casal |
| 30 May | "No Tengo Tiempo (Con los Dedos de una Mano)" | Azul y Negro |
| 6 June | | |
| 13 June | "Embrujada" | Tino Casal |
| 20 June | "No Tengo Tiempo (Con los Dedos de una Mano)" | Azul y Negro |
| 27 June | | |
| 4 July | "Barco a Venus" | Mecano |
| 11 July | | |
| 18 July | | |
| 25 July | | |
| 1 August | "Moonlight Shadow" | Mike Oldfield |
| 8 August | | |
| 15 August | | |
| 22 August | | |
| 29 August | | |
| 5 September | "Dolce Vita" | Ryan Paris |
| 12 September | | |
| 19 September | | |
| 26 September | | |
| 3 October | "Baby Jane" | Rod Stewart |
| 10 October | "Flashdance... What a Feeling" | Irene Cara |
| 17 October | | |
| 24 October | | |
| 31 October | | |
| 7 November | | |
| 14 November | | |
| 21 November | | |
| 28 November | "I Like Chopin" | Gazebo |
| 5 December | "Flashdance... What a Feeling" | Irene Cara |
| 12 December | | |
| 19 December | "Karma Chameleon" | Culture Club |
| 26 December | | |


title: Women in Estonia

abstract: Women in Estonia are women who were born in, who live in, or are from Estonia in Europe.

text:
# Women in Estonia

**Women in Estonia** are women who were born in, who live in, or are from Estonia in Europe.

## Politics

Estonian women first gained the right to vote in 24 February 1918 when Estonia gained independence from Russia.

On 26 January 2021, Kaja Kallas became the first female prime minister of Estonia.

## Fertility

Between 1970 and 1990, the total fertility rate (TFR - the average number of children a woman bears) of Estonian women was little over 2 children born per woman. A fast decrease of the TFR occurred after independence. In 1998 the lowest rate was recorded: 1.28 children born per women. In 2001, the United Nations reported through its annual world-population report that "Estonia was one of the fastest-shrinking nations on earth, at risk of losing nearly half its 1.4 million people by mid-century". To prevent this drop in TFR, one of the steps the Estonian government took since 2004 was to start "paying" women by providing them with subsidies "to have babies" known as "mother's salary". After giving birth and during maternity leave, working Estonian women received full monthly income for up to 15 months (equivalent to US$1,560.00); non-working women who gave birth received a monthly subsidy equivalent to US$200.00. The TFR slightly recovered in the subsequent years, but fluctuated by year, and continued to remain below the replacement rate (being 1.54 children/woman in 2014). As in many other European countries, the link between marriage and fertility has been weakened during the past decades: most children today are born outside of marriage (59% of children were born to unmarried women in 2014). The average age of mothers at first birth in 2014 was 26.6 years.

## Religion

In the past, according to Estonian mythology, the ancient women of Estonia believed in the female deity and protector of pregnant women in labor known as Rõugutaja.

First woman cleric Laine Villenthal was ordinated in 1967 by Estonian Evangelical Lutheran Church.

## InfoBox

Women in Estonia
| General Statistics | |
| --- | --- |
| Maternal mortality (per 100,000) | 2 (2010) |
| Women in parliament | 20.8% (2013) |
| Women over 25 with secondary education | 100% (2012) |
| Women in labour force | 71.9% (employment rate OECD definition, 2019) |
| Gender Inequality Index | |
| Value | 0.100 (2021) |
| Rank | 28th out of 191 |
| Global Gender Gap Index | |
| Value | 0.733 (2022) |
| Rank | 52nd out of 146 |


title: 1991 Indy Lights season

abstract: The 1991 Firestone Indy Lights Championship consisted of 12 races. Éric Bachelart won four races on his way to the championship. He was one of six different winners on the season.

text:
# 1991 Indy Lights season

The **1991 Firestone Indy Lights Championship** consisted of 12 races. Éric Bachelart won four races on his way to the championship. He was one of six different winners on the season.

## Calendar

| Race No | Track | State | Date | Laps | Distance | Time | Speed | Winner | Pole Position | Most Leading Laps | Fastest Race Lap |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Long Beach | California | April 14, 1991 | 45 | 2.687531=120.938895 km | 0'54:36.499 | 132.880 km/h | Éric Bachelart | Éric Bachelart | Éric Bachelart | ? |
| 2 | Phoenix | Arizona | April 21, 1991 | 75 | 1.6093=120.6975 km | 0'38:59.979 | 185.690 km/h | Robbie Groff | Mark Smith | Mark Smith | ? |
| 3 | Milwaukee | Wisconsin | June 2, 1991 | 100 | 1.6607976=166.07976 km | 0'54:47.080 | 181.890 km/h | Robbie Groff | John Marconi | Robbie Groff | ? |
| 4 | Detroit | Michigan | June 16, 1991 | 30 | 4.02325=120.6975 km | 0'56:27.903 | 128.254 km/h | Éric Bachelart | Éric Bachelart | Éric Bachelart | ? |
| 5 | Portland | Oregon | June 23, 1991 | 40 | 3.0930746=123.722984 km | 0'43:54.052 | 169.094 km/h | Éric Bachelart | P. J. Jones | P. J. Jones | ? |
| 6 | Cleveland | Ohio | July 7, 1991 | 32 | 3.8124317=121.9978144 km | 0'38:06.5 | 192.081 km/h | Mark Smith | Mark Smith | Mark Smith | ? |
| 7 | Meadowlands | New Jersey | July 14, 1991 | 63 | 1.9585181=123.38664 km | 0'45:18.60 | 163.390 km/h | Éric Bachelart | Mark Smith | P. J. Jones | ? |
| 8 | Toronto | Canada | July 21, 1991 | 42 | 2.8709912=120.58163 km | 0'47:41.265 | 151.714 km/h | P. J. Jones | Éric Bachelart | Robbie Buhl | ? |
| 9 | Denver | Colorado | August 25, 1991 | 30 | 3.122042=93.66126 km | 0'48:18.360 | 116.335 km/h | P. J. Jones | Robbie Groff | P. J. Jones | ? |
| 10 | Lexington | Ohio | September 15, 1991 | 34 | 3.6337994=122.004252 km | 0'51:35.404 | 141.893 km/h | Brian Till | Robbie Buhl | Éric Bachelart | ? |
| 11 | Nazareth | Pennsylvania | October 6, 1991 | 75 | 1.5223978=114.179835 km | 0'39:15.623 | 174.496 km/h | Robbie Buhl | Robbie Groff | Robbie Groff | ? |
| 12 | Monterey | California | October 20, 1991 | 34 | 3.5629902=121.1416668 km | 0'49:32.944 | 146.693 km/h | Mark Smith | Robbie Buhl | Mark Smith | ? |

1. time is calculated from posted speed

## Race summaries

### Long Beach race

Held April 14 at Long Beach, California Street Course. Éric Bachelart won the pole.

**Top Five Results**

1. Éric Bachelart
2. Robbie Buhl
3. Robbie Groff
4. Mark Smith
5. Franck Fréon

### Phoenix race

Held April 21 at Phoenix International Raceway. Mark Smith won the pole.

**Top Five Results**

1. Robbie Groff
2. Mark Smith
3. Éric Bachelart
4. Tommy Byrne
5. Johnny O'Connell

### Milwaukee race

Held June 2 at The Milwaukee Mile. John Marconi won the pole.

**Top Five Results**

1. Robbie Groff
2. Éric Bachelart
3. Franck Fréon
4. P. J. Jones
5. John Marconi

### Detroit race

Held June 16 at the Detroit street circuit. Éric Bachelart won the pole.

**Top Five Results**

1. Éric Bachelart
2. Franck Fréon
3. Brian Till
4. Robbie Buhl
5. Robbie Groff

### Portland race

Held June 23 at Portland International Raceway. P. J. Jones won the pole.

**Top Five Results**

1. Éric Bachelart
2. Franck Fréon
3. Mark Smith
4. Brian Till
5. P. J. Jones

### Cleveland race

Held July 7 at Burke Lakefront Airport. Mark Smith won the pole.

**Top Five Results**

1. Mark Smith
2. Brian Till
3. Robbie Groff
4. Johnny O'Connell
5. Robbie Buhl

### Meadowlands race

Held July 14 at the Meadowlands Sports Complex. Mark Smith won the pole.

**Top Five Results**

1. Éric Bachelart
2. P. J. Jones
3. Robbie Buhl
4. Robbie Groff
5. Mark Smith

### Toronto race

Held July 21 at Exhibition Place. Éric Bachelart won the pole.

**Top Five Results**

1. P. J. Jones
2. Robbie Buhl
3. John Marconi
4. Franck Fréon
5. Mark Smith

### Denver race

Held August 25 at the Denver, Colorado street circuit. Robbie Groff won the pole.

**Top Five Results**

1. P. J. Jones
2. Éric Bachelart
3. Roberto Quintanilla
4. Mark Smith
5. Brian Till

### Mid-Ohio race

Held September 15 at The Mid-Ohio Sports Car Course. Robbie Buhl won the pole. After a full-course caution to clean up the crash of Robbie Groff on lap 27 (of 34), the race went back to green on lap 30. Eric Bachelart and Robbie Buhl were running 1st-2nd. Going into turn one, Buhl got a jump on the restart, and dove inside. But Bachelart closed the door, and the two cars tangled. Brian Till, running third, slipped by to take the lead. The caution came out and the race finished under yellow. Hometown driver Brian Till won his first career Indy Lights race, with Mark Smith second.

**Top Five Results**

1. Brian Till
2. Mark Smith
3. Franck Fréon
4. P. J. Jones
5. Roberto Quintanilla

### Nazareth race

Held October 6 at Nazareth Speedway. Robbie Groff won the pole.

**Top Five Results**

1. Robbie Buhl
2. P. J. Jones
3. Éric Bachelart
4. Brian Till
5. Roberto Quintanilla

### Laguna Seca race

Held October 20 at Mazda Raceway Laguna Seca. Robbie Buhl won the pole.

**Top Five Results**

1. Mark Smith
2. Brian Till
3. Éric Bachelart
4. Mike Snow
5. P. J. Jones

## Final points standings

### Driver

For every race the points were awarded: 20 points to the winner, 16 for runner-up, 14 for third place, 12 for fourth place, 10 for fifth place, 8 for sixth place, 6 seventh place, winding down to 1 points for 12th place. Additional points were awarded to the pole winner (1 point) and to the driver leading the most laps (1 point).

| Place | Name | Country | Team | Total Points |  |  |  |  |  |  |  |  |  |  |  |  |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Éric Bachelart | Belgium | Landford Racing | 174 | 22 | 14 | 16 | 22 | 20 | 6 | 20 | 9 | 16 | 1 | 14 | 14 |
| 2 | Mark Smith | United States | Evergreen Racing | 155 | 12 | 18 | 6 | 8 | 14 | 22 | 11 | 10 | 12 | 16 | 5 | 21 |
| 3 | P. J. Jones | United States | Landford Racing | 123 | - | 3 | 12 | - | 12 | - | 17 | 20 | 21 | 12 | 16 | 10 |
| 4 | Franck Fréon | France | Fréon Racing Services | 121 | 10 | 6 | 14 | 16 | 16 | 8 | 8 | 12 | 8 | 14 | 4 | 5 |
| 5 | Brian Till | United States | Cole Performance | 120 | 6 | - | 8 | 14 | 12 | 16 | - | 6 | 10 | 20 | 12 | 16 |
| 6 | Robbie Buhl | United States | Leading Edge Motorsport | 110 | 16 | 5 | 4 | 12 | 8 | 10 | 14 | 17 | 2 | 1 | 20 | 1 |
| 7 | Robbie Groff | United States | Groff Motorsports | 107 | 14 | 20 | 21 | 10 | 4 | 14 | 12 | 3 | 1 | - | 8 | - |
| 8 | John Marconi | United States | Marconi Racing/U.S. Racing | 54 | 1 | 4 |  |  |  | 4 | 5 | 14 | 5 | 6 | - | 3 |
| | | | P.I.G. Racing | |  |  | 11 | - | 1 |  |  |  |  |  |  |  |
| 9 | Roberto Quintanilla | Mexico | Roquin Motorsports | 53 | - | - | - | 1 | 2 | 5 | 6 | 5 | 14 | 10 | 10 | - |
| 10 | Jeff Davis | United States | Leading Edge Motorsport | 39 | - | - | 3 | 2 | 3 | 3 | 4 | 4 | 6 | 4 | 8 | 2 |
| 11 | Johnny O'Connell | United States | Team Milkhouse | 37 | 4 | 10 | 5 | - | 6 | 12 | - | - | - | - | - | - |
| 12 | Tommy Byrne | Ireland | P.I.G. Racing | 35 | 5 | 12 | - | 5 | 5 | - | - | - | - | - | - | 8 |
| 13 | Mike Snow | United States | Bradley Motorsports | 29 | 8 | - | - | - | - | 1 | - | - | 3 | 5 | - | 12 |
| 14 | Dave Kudrave | United States | Bradley Motorsports | 16 | - | 1 | - | 6 | - | - | - | - | - |  |  |  |
| | | | Regency Racing | |  |  |  |  |  |  |  |  |  | 3 | - | 6 |
| 15 | Rob Wilson | New Zealand | McNeill Motorsports | 15 | 3 | 2 |  |  |  |  |  |  |  |  |  |  |
| | | | Stuart Moore Racing | |  |  | 2 | - | - | - | - | - | - | 8 | - | - |
| 16 | George Sutcliffe | United States | P.I.G. Racing | 9 | - | 8 | 1 | - | - | - | - | - | - | - | - | - |
| 17 | Bob Reid | United States | McNeill Motorsports | 8 | - | - | - | 4 | - | 2 | - | - | - |  |  |  |
| | | | Leading Edge Motorsport | |  |  |  |  |  |  |  |  |  | 2 | - | - |
| 18 | Scott Backman | United States | John Martin Racing | 4 | - | - | - | - | - | - | - | - | 4 | - | - | - |
|  | Page Jones | United States | Bradley Motorsports | 4 | - | - | - | - | - | - | - | - | - | - | - | 4 |
| 20 | Sandy Dells | United States | Roquin Motorsports | 3 | - | - | - | 3 | - | - | - | - | - | - | - | - |
|  | Wayne Cerbo | United States | Stuart Moore Racing | 3 | - | - | - | - | - | - | 3 | - | - | - | - | - |
| 22 | Marty Roth | Canada | Roquin Motorsports | 2 | 2 | - | - | - | - | - | - | - | - | - | - | - |
|  | Bob Doricott, Jr. | United States | Cameron-McGee Motorsports | 2 | - | - | - | - | - | - | - | - | - | 1 | - | 1 |
| 24 | Desiré Wilson | South Africa | Leading Edge Motorsport | 1 | - | - | - | - | - | - | - | - | 1 | - | - | - |

Note:

Race 7, 8 and 11 not all points were awarded (not enough competitors).

## Complete Overview

| first column of every race | 10 | = grid position |
| --- | --- | --- |

| second column of every race | 10 | = race result |
| --- | --- | --- |

**R13**=retired, but classified **NS**=did not start **NQ**=did not qualify **(6)**=place after practice, but grid position not held free **DIS(10)**=disqualified after finishing in tenth place

| **Place** | **Name** | **Country** | **Team** |  | |  | |  | |  | |  | |  | |  | |  | |  | |  | |  | |  | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Éric Bachelart | Belgium | Landford Racing | 1 | 1 | 2 | 3 | 8 | 2 | 1 | 1 | 3 | 1 | 5 | 7 | 6 | 1 | 1 | 6 | 5 | 2 | 2 | R13 | 9 | 3 | 9 | 3 |
| 2 | Mark Smith | United States | Evergreen Racing | 10 | 4 | 1 | 2 | 7 | 7 | 7 | 6 | 2 | 3 | 1 | 1 | 1 | 5 | 5 | 5 | 6 | 4 | 8 | 2 | 3 | R8 | 3 | 1 |
| 3 | P. J. Jones | United States | Landford Racing | 3 | R15 | 3 | 10 | 3 | 4 | 4 | R14 | 1 | 5 | 7 | R14 | 2 | 2 | 4 | 1 | 2 | 1 | 6 | 4 | 6 | 2 | 2 | 5 |
| 4 | Franck Fréon | France | Fréon Racing Services | 7 | 5 | 10 | 7 | 4 | 3 | 3 | 2 | 4 | 2 | 9 | 6 | 5 | 6 | 8 | 4 | 8 | 6 | 3 | 3 | 4 | R9 | 15 | 8 |
| 5 | Brian Till | United States | Cole Performance | 9 | 7 | 4 | R15 | 5 | 6 | 5 | 3 | 5 | 4 | 3 | 2 | (6) | NS | 7 | 7 | 10 | 5 | 4 | 1 | 7 | 4 | 4 | 2 |
| 6 | Robbie Buhl | United States | Leading Edge Motorsport | 8 | 2 | 11 | 8 | 6 | 9 | 9 | 4 | 9 | 6 | 2 | 5 | 3 | 3 | 2 | 2 | 3 | R11 | 1 | R14 | 2 | 1 | 1 | R17 |
| 7 | Robbie Groff | United States | Groff Motorsports | 6 | 3 | 5 | 1 | 2 | 1 | 11 | 5 | 12 | 9 | 4 | 3 | 4 | 4 | 3 | R10 | 1 | R13 | 5 | R15 | 1 | R7 | 5 | 15 |
| 8 | John Marconi | United States | Marconi Racing/U.S. Racing | 14 | 12 | 13 | 9 |  |  |  |  |  |  | 8 | 9 | 8 | 8 | 6 | 3 | 7 | 8 | 13 | 7 | - | - | 13 | 10 |
| | | | P.I.G. Racing |  |  |  |  | 1 | 5 | 8 | R16 | 6 | R12 |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
| 9 | Roberto Quintanilla | Mexico | Roquin Motorsports | 4 | R16 | - | - | - | - | 12 | R12 | 13 | 11 | 10 | 8 | 7 | 7 | 9 | 8 | 4 | 3 | 7 | 5 | 10 | 5 | 16 | 14 |
| 10 | Jeff Davis | United States | Leading Edge Motorsport | - | - | - | - | 10 | 10 | 16 | 11 | 14 | 10 | 11 | 10 | 9 | 9 | 10 | 9 | 9 | 7 | 12 | 9 | 8 | 6 | 12 | 11 |
| 11 | Johnny O'Connell | United States | Team Milkhouse | 2 | 9 | 8 | 5 | 12 | 8 | 2 | R15 | 11 | 7 | 6 | 4 | - | - | - | - | - | - | - | - | - | - | - | - |
| 12 | Tommy Byrne | Ireland | P.I.G. Racing | 5 | 8 | 7 | 4 | - | - | 6 | R8 | 7 | 8 | - | - | - | - | - | - | - | - | - | - | - | - | 11 | 6 |
| 13 | Mike Snow | United States | Bradley Motorsports | 11 | 6 | 9 | 13 | - | - | 13 | 13 | 10 | R14 | 13 | 12 | (10) | NS | - | - | 13 | 10 | 10 | 8 | 5 | DIS(10) | 7 | 4 |
| 14 | Dave Kudrave | United States | Bradley Motorsports | 15 | R18 | 6 | R12 | - | - | 10 | 7 | 8 | R13 | - | - | - | - | - | - | - | - |  |  |  |  |  |  |
| | | | Regency Racing |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  | 11 | 10 | - | - | 4 | 7 |
| 15 | Rob Wilson | New Zealand | McNeill Motorsports | 12 | 10 | 12 | 11 |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
| | | | Stuart Moore Racing |  |  |  |  | 11 | 11 | - | - | - | - | - | - | - | - | - | - | - | - | 9 | 6 | - | - | 14 | 16 |
| 16 | George Sutcliffe | United States | P.I.G. Racing | 16 | 13 | 15 | 6 | 9 | R12 | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - |
| 17 | Bob Reid | United States | McNeill Motorsports | - | - | - | - | - | - | 14 | 9 | - | - | 14 | 11 | - | - | - | - | - | - |  |  |  |  |  |  |
| | | | Leading Edge Motorsport |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |  | 14 | 11 | - | - | - | - |
| 18 | Scott Backman | United States | John Martin Racing | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | 12 | 9 | - | - | - | - | - | - |
|  | Page Jones | United States | Bradley Motorsports | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | 8 | 9 |
| 20 | Sandy Dells | United States | Roquin Motorsports | - | - | - | - | - | - | 15 | 10 | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - |
|  | Wayne Cerbo | United States | Stuart Moore Racing | - | - | - | - | - | - | - | - | - | - | 12 | 13 | 10 | R10 | - | - | - | - | - | - | - | - | - | - |
| 22 | Marty Roth | Canada | Roquin Motorsports | 13 | 11 | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - |
|  | Bob Doricott, Jr. | United States | Cameron-McGee Motorsports | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | 15 | 12 | - | - | 17 | 12 |
| 24 | Desiré Wilson | South Africa | Leading Edge Motorsport | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | 11 | R12 | - | - | - | - | - | - |
| - | Hugh O'Neill | United States | Sandy Dells Racing | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | 10 | 13 |
| - | Cheryl Glass | United States | Glass Racing | 18 | R17 | 14 | R14 | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - |
| - | Mark Ritchey | United States | Leading Edge Motorsport | 17 | 14 | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - |
| - | Ken Murillo | United States | ? | 19 | NQ | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - | - |

1. McHale, T.E. (September 16, 1991). "Collision spices up Indy Lights race". *Mansfield News-Journal*. p. 15. Retrieved September 4, 2020  via Newspapers.com.


title: Todome no Kiss

abstract: Todome no Kiss is a 2018 Japanese television drama, starring Kento Yamazaki, Mugi Kadowaki, Mackenyu, Yuko Araki, Jun Shison and Masaki Suda. It aired on Sundays at 22:30 (JST) on NTV from January 7, 2018. The short series titled Todome no Parallel is distributed exclusively via Hulu Japan. The series is 10 9-minute episodes that are told from other characters's perspectives after Eight is kissed and/or dies, as well as 'what if' stories where the characters decide to do things differently from the original series.

text:
# Todome no Kiss

***Todome no Kiss*** (トドメの接吻, *Kiss that Kills*) is a 2018 Japanese television drama, starring Kento Yamazaki, Mugi Kadowaki, Mackenyu, Yuko Araki, Jun Shison and Masaki Suda. It aired on Sundays at 22:30 (JST) on NTV from January 7, 2018.

The short series titled *Todome no Parallel* (トドメのパラレル, *Kiss that Kills -Parallel-*) is distributed exclusively via Hulu Japan. The series is 10 9-minute episodes that are told from other characters's perspectives after Eight is kissed and/or dies, as well as 'what if' stories where the characters decide to do things differently from the original series.

## Cast

## InfoBox

| *Todome no Kiss* | |
| --- | --- |
|  | |
| Also known as | Kiss that Kills |
| Genre | Romance
Drama |
| Written by | Yoshihiro Izumi |
| Directed by | Shintaro Sugawara
Hiroto Akashi |
| Starring | Kento Yamazaki
Mugi Kadowaki
Mackenyu
Yuko Araki
Hayato Sano
Jun Shison
Masaki Suda |
| Opening theme | *Sayonara Elegy* by Masaki Suda |
| Composer | Ken Arai |
| Country of origin | Japan |
| Original language | Japanese |
| No. of episodes | 10 |
| Production | |
| Running time | 50 minutes |
| Production company | NTV |
| Original release | |
| Network | NTV |
| Release | January 7 (2018-01-07)
March 11, 2018 (2018-03-11) |


title: Palo Verde station

abstract: Palo Verde is a Caracas Metro station on Line 1. It was opened on 10 November 1989 as part of the extension of Line 1 from Los Dos Caminos to Palo Verde. It serves as the easter terminus of the line. The adjacent station is Petare.

text:
# Palo Verde station

**Palo Verde** is a Caracas Metro station on Line 1. It was opened on 10 November 1989 as part of the extension of Line 1 from Los Dos Caminos to Palo Verde. It serves as the easter terminus of the line. The adjacent station is Petare.

## InfoBox

| Palo Verde | |
| --- | --- |
| Caracas Metro rapid transit station | |
| Entrance to the station | |
| General information | |
| Location | Sucre, Miranda<br>Venezuela |
| Coordinates | 10°28′43.4″N 66°47′54.6″W / 10.478722°N 66.798500°W / 10.478722; -66.798500 |
| Operated by | C.A. Metro de Caracas |
| Line(s) | Line 1 |
| Platforms | 2 side platforms |
| Tracks | 2 |
| Connections |  |
| Construction | |
| Structure type | underground |
| History | |
| Opened | 10 November 1989 (1989-11-10) |
|  | |
| Services | |
| Preceding station  Caracas Metro Following station  Petaretoward Propatria  Line 1  *Terminus* | |
|  | |
|  | |
|  | |


title: Osteocephalus yasuni

abstract: Osteocephalus yasuni is a species of frogs in the family Hylidae. It is found in the upper Amazon Basin in southern Colombia, Ecuador, and northeastern Peru at elevations of 70–250 m (230–820 ft) above sea level. The specific name yasuni refers to the Yasuni National Park where its type locality is.

text:
# Osteocephalus yasuni

***Osteocephalus yasuni*** is a species of frogs in the family Hylidae. It is found in the upper Amazon Basin in southern Colombia (Amazonas and Caquetá Departments), Ecuador, and northeastern Peru (Loreto Region) at elevations of 70–250 m (230–820 ft) above sea level. The specific name *yasuni* refers to the Yasuni National Park where its type locality is.

## Description

Males measure 44–56 mm (1.7–2.2 in) and females 43–62 mm (1.7–2.4 in) in snout–vent length. The dorsum is brown with dark brown spots. The ventral coloration varies, from bright yellow to yellowish cream in adult males and cream in adult females. Males have rough skin while females have smooth skin. It has expanded discs on the fingers.

## Habitat and conservation

The species' natural habitats are tropical primary moist forests, in both terra firme and seasonally flooded forests. It breeds in temporary pools. It is nocturnal, although during some months males can be heard calling during the daytime.

It is locally affected by habitat loss, but there are no major threats to this reasonably abundant and widespread species. It occurs in a number of protected areas, including its namesake Yasuni National Park.

## InfoBox

| *Osteocephalus yasuni* | |
| --- | --- |
|  | |
| Conservation status | |
|
Least Concern  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Hylidae |
| Genus: | *Osteocephalus* |
| Species: | ***O. yasuni*** |
| Binomial name | |
| ***Osteocephalus yasuni***
Ron and Pramuk, 1999 | |
|


title: Lenny DeRose

abstract: Lenny DeRose is a studio engineer and music producer who has been credited on several recordings dating back to the early 1980s. As an engineer, he has been credited for his work on several film soundtracks, including Naked in New York, 9½ Weeks, among others. DeRose has been nominated for several Juno Awards for his work, and has produced every recording released by The Philosopher Kings. In 1995, he received the Recording Engineer of the Year award for his work with the band. Releases for 2012 include Elise LeGrow, The Tragically Hip, Metric, Hey Ocean!, Walk Off the Earth, Whosarmy, and The Barenaked Ladies.

text:
# Lenny DeRose

**Lenny DeRose** is a studio engineer and music producer who has been credited on several recordings dating back to the early 1980s.

As an engineer, he has been credited for his work on several film soundtracks, including *Naked in New York*, *9½ Weeks*, among others. DeRose has been nominated for several Juno Awards for his work, and has produced every recording released by The Philosopher Kings. In 1995, he received the Recording Engineer of the Year award for his work with the band. Releases for 2012 include Elise LeGrow, The Tragically Hip, Metric, Hey Ocean!, Walk Off the Earth, Whosarmy, and The Barenaked Ladies.

## Performers

DeRose has worked with numerous acts over the past quarter-century, across an assortment of genres. Performers he has credited for collaborating with include (but not limited to):

## InfoBox

| Lenny DeRose | |
| --- | --- |
| Occupation(s) | Studio engineer, music producer |


title: Swainsona elegantoides

abstract: Swainsona elegantoides is a species of flowering plant in the family Fabaceae and is endemic to north-western Western Australia. It is an erect, probably annual plant with imparipinnate leaves, with about 11 narrowly egg-shaped leaflets, and racemes of 15 to 25 purple flowers.

text:
# Swainsona elegantoides

***Swainsona elegantoides*** is a species of flowering plant in the family Fabaceae and is endemic to north-western Western Australia. It is an erect, probably annual plant with imparipinnate leaves, with about 11 narrowly egg-shaped leaflets, and racemes of 15 to 25 purple flowers.

## Description

*Swainsona elegantoides* is an erect, probably annual plant that typically grows to a height of more than 100 cm (39 in) with stems about 5 mm (0.20 in) in diameter. Its leaves are imparipinnate, 50–100 mm (2.0–3.9 in) long with about 11 narrowly egg-shaped leaflets, the lower leaflets 10–25 mm (0.39–0.98 in) long and 3–8 mm (0.12–0.31 in) wide. There are variably-shaped stipules up to 10 mm (0.39 in) long at the base of the petiole. The flowers are arranged in racemes mostly 15–30 mm (0.59–1.18 in) of 15 to 25 on a peduncle 1–2 mm (0.039–0.079 in) long, each flower 10–15 mm (0.39–0.59 in) long. The sepals are joined at the base, forming a tube about 2 mm (0.079 in) long, the sepal lobes about twice the length of the tube. The petals are purple, the standard petal 10–15 mm (0.39–0.59 in) long, the wings 7–11 mm (0.28–0.43 in) long, and the keel 8–12 mm (0.31–0.47 in) long and 3–4 mm (0.12–0.16 in) deep. Flowering occurs from July to October, and the fruit is a pod 10–20 mm (0.39–0.79 in) long and 5–7 mm (0.20–0.28 in) wide with the remains of the hooked style about 5 mm (0.20 in) long.

## Taxonomy and naming

This species was first formally described in 1948 by Alma Theodora Lee who gave it the name *Swainsona beasleyana* subsp. *elegantoides* in *Contributions from the New South Wales National Herbarium*, from specimens collected near Mount Hales near the upper Murchison River by W.A. Crossland in 1884. In 1993, Joy Thompson raised the subspecies to species status in the journal *Telopea*. The specific epithet (*elegantoides*) means "like *Swainsona elegans*".

## Distribution and habitat

This species of pea grows among rocks, on flats and on moist floodplains in the Gascoyne, Murchison, Pilbara and Yalgoo bioregions in the north-west of Western Australia.

## InfoBox

| *Swainsona elegantoides* | |
| --- | --- |
|
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Fabales |
| Family: | Fabaceae |
| Subfamily: | Faboideae |
| Genus: | *Swainsona* |
| Species: | ***S. elegantoides*** |
| Binomial name | |
| ***Swainsona elegantoides***<br>(A.T.Lee) Joy Thomps. | |
|


title: Women's Running

abstract: Women's Running, formerly Her Sports + Fitness is a magazine geared towards female running enthusiasts. Published 6 times yearly by Outside, it is the only women's-specific running magazine available in the North American market. According to the publisher it was created "to serve a rapidly growing community of female runners". The magazine's editor-in-chief is Jen Ator, who was previously the fitness director of Women's Health for ten years.

text:
# Women's Running

***Women's Running***, formerly *Her Sports + Fitness* is a magazine geared towards female running enthusiasts. Published 6 times yearly by Outside, it is the only women's-specific running magazine available in the North American market. According to the publisher it was created "to serve a rapidly growing community of female runners".

The magazine's editor-in-chief is Jen Ator, who was previously the fitness director of *Women's Health* for ten years.

## History

### Founding

Before becoming *Women's Running* the magazine was first published in 2004 under the name *Her Sports + Fitness*, founded by former marketing executive and Martha Stewart apprentice Dawna Stone. Stone, also a triathlete, has said she got the idea to start an athletic magazine specifically designed for women after finding out Sports Illustrated for Women, her favorite magazine, was being discontinued.

In 2004, *Her Sports* won the Florida Magazine Association's Charlie Award for "Best New Magazine."

### Rebranding

In 2008, *Her Sports* was renamed *Women's Running,* a change aimed at serving the growing community of female runners—a demographic also noticed by other industry magazines such as Runner's World. According to RunningUSA, the rebranding tripled newsstand sales and dramatically increased subscriptions.

### Redesign

The magazine was redesigned in early 2012, unveiled for the first time in the March/April 2012 issue. The redesign included a new cover featuring celebrities and elite athletes, a "reader's corner" that featured issues popular on the magazine's social media websites, and the "parting shot" – dubbed "a sneak peek into the running life of a professional athlete."

### Competitor Group Ownership

On June 1, 2012 Competitor Group announced their acquisition of Women's Running Magazine, WomensRunning.com, and the Women's Half Marathon Series for an undisclosed amount. "This is a watershed moment for our organization as we greatly expand our media and event portfolio with a collection of powerful assets from which we will create the largest participatory platform in the world dedicated to female athletes,” said Scott Dickey, CEO of CGI in a press release.

### Current Owner

On October 12, 2017, *Women's Running,* along with other titles including *VeloNews* and *Triathlete* as well as book publisher VeloPress, were sold to Pocket Outdoor media. Women's Running was purchased by Outside in 2021.

### Other

In 2016 Amelia Gapin became the first openly transgender woman to be featured on the cover of *Women's Running*.

## Circulation

The magazine has a nationwide circulation of 105,000 (unaudited). The publisher estimates the readership to be 192,000.


title: 1991 Open Clarins

abstract: The 1991 Open Clarins was a women's tennis tournament played on outdoor clay courts at the Racing Club de France in Paris, France, and was part of the Tier IV category of the 1991 WTA Tour. It was the fifth edition of the tournament and was held from 16 September until 22 September 1991. First-seeded Conchita Martínez won her second consecutive singles title at the event and earned $27,000 first-prize money.

text:
# 1991 Open Clarins

The **1991 Open Clarins** was a women's tennis tournament played on outdoor clay courts at the Racing Club de France in Paris, France, and was part of the Tier IV category of the 1991 WTA Tour. It was the fifth edition of the tournament and was held from 16 September until 22 September 1991. First-seeded Conchita Martínez won her second consecutive singles title at the event and earned $27,000 first-prize money.

## Finals

### Singles

Conchita Martínez defeated  Inés Gorrochategui 6–0, 6–3

* It was Martínez' 3rd singles title of the year and the 10th of her career.

### Doubles

Petra Langrová /  Radka Zrubáková defeated  Alexia Dechaume /  Julie Halard 6–4, 6–4

## InfoBox

| 1991 Open Clarins | |
| --- | --- |
| Date | 16–22 September |
| Edition | 5th |
| Category | Tier IV |
| Draw | 32S / 16D |
| Prize money | $150,000 |
| Surface | Clay / outdoor |
| Location | Paris, France |
| Venue | Racing Club de France |
| Champions | |
| Singles | |
| Conchita Martínez | |
| Doubles | |
| Petra Langrová /  Radka Zrubáková | |
|  | |


title: Todomaru Koto no nai Ai

abstract: Todomaru Koto no nai Ai is Miho Komatsu 13th single released under Giza Studio label. It was released 30 May 2001. The single reached #22 for its first week and sold 12,780 copies. It charted for 2 weeks and, in total, sold 16,110 copies.

text:
# Todomaru Koto no nai Ai

**Todomaru Koto no nai Ai** (とどまることのない愛, lit. "A love that never stops) is Miho Komatsu 13th single released under Giza Studio label. It was released 30 May 2001. The single reached #22 for its first week and sold 12,780 copies. It charted for 2 weeks and, in total, sold 16,110 copies.

## Track listing

All songs are written and composed by Miho Komatsu and arranged by Yoshinobu Ohga

1. **Todomaru Koto no nai Ai** (とどまることのない愛)
2. **glass**
3. **NAKED**
4. **Todomaru Koto no nai Ai** (とどまることのない愛) (instrumental)

## InfoBox

| "Todomaru Koto no nai Ai" | |
| --- | --- |
| Single by Miho Komatsu | |
| from the album  *Miho Komatsu 5 ~source~* | |
| Released | May 30, 2001 |
| Recorded | 2001 |
| Genre | J-pop |
| Length | 20 minutes |
| Label | Giza Studio |
| Songwriter(s) | Miho Komatsu |
| Producer(s) | Miho Komatsu (Executive Producer : KANONJI ROCKAKU) |
| Miho Komatsu singles chronology | |
| "Love Gone"
(2001) "**Todomaru Koto no nai Ai**"
(2001) "Saigo no Toride"
(2001) | |


title: Palü Glacier

abstract: The Palü Glacier is a 3.5 km long glacier (2005) on the southeastern flank of Piz Palü in the Bernina Range. It belongs to the valley of Poschiavo in the canton of Graubünden. In 1973 it had an area of 6.47 km⁲. A lake formed at the bottom of the glacier, at a height of 2,322 metres. Below the glacier lake is another lake, the Lago Palü. Both lakes can be easily reached from the Alp Grüm railway station on the Bernina line.

text:
# Palü Glacier

The **Palü Glacier** (Romansh: *Vadret da Palü*) is a 3.5 km long glacier (2005) on the southeastern flank of Piz Palü in the Bernina Range. It belongs to the valley of Poschiavo in the canton of Graubünden. In 1973 it had an area of 6.47 km2.

A lake formed at the bottom of the glacier, at a height of 2,322 metres. Below the glacier lake is another lake, the Lago Palü. Both lakes can be easily reached from the Alp Grüm railway station on the Bernina line.

## InfoBox

| Palü Glacier | |
| --- | --- |
| *Vadret da Pälu* | |
|  | |
| Location | Graubünden, Switzerland |
| Coordinates | 46°22′0″N 9°58′30″E / 46.36667°N 9.97500°E / 46.36667; 9.97500 |
| Length | 3.5 km |


title: OTO Award for TV Female Actor

abstract: OTO Award for TV Female Actor has been bestowed to the most recognized female actors of the past year in Slovakia since 2000. In years 2010 and 2011, the award was split into two equivalent categories depending on a genre, TV drama or TV comedy. From 2012, the general category is held.

text:
# OTO Award for TV Female Actor

***OTO* Award
TV Female Actor**

---

**Currently held by**
Zuzana Mauréry

---

**First awarded | Last awarded**
2000 | Present

***OTO* Award for TV Female Actor** has been bestowed to the most recognized female actors of the past year in Slovakia since 2000. In years 2010 and 2011, the award was split into two equivalent categories depending on a genre, TV drama or TV comedy. From 2012, the general category is held.

## Winners and nominees

### 2000s

Zdena Studenková has won six consecutive times, making her the most winning actress.Emília Vášáryová comes the first in terms of her eight nominations, twice in drama.Kamila Magálová is one of the earliest triple nominees, having no winning bid though.Diana Mórová has scored out of four nominations two awards, once in a genre.

| Year | Recipient | Nominees |
| --- | --- | --- |
| 2000 | **Zdena Studenková**
(6 consecutive wins) |  |
| 2001 | |  |
| 2002 | |  |
| 2003 | |
| 2004 | |  |
| 2005 | |
| 2006 | **Zuzana Fialová**
(2 consecutive wins) |  |
| 2007 | | |
| 2008 | **Diana Mórová** |  |
| 2009 | **Petra Polnišová** |  |

### 2010s

| Year | Recipient | Nominees |
| --- | --- | --- |
| 2010 | Held only in genre | |
| 2011 | |
| 2012 | **Monika Hilmerová** |  |
| 2013 | **Helena Krajčiová** |  |
| 2014 | **Zuzana Šebová**
(2 consecutive wins) |  |
| 2015 | | |
| 2016 | **Tatiana Pauhofová** |  |
| 2017 | **Lujza Garajová-Schrameková** |  |
| 2018 | **Zuzana Mauréry** |  |

### Superlatives

Notes

Denotes also a winner in two or more of the main categories.
Denotes also a winner of the Absolute *OTO* category.
Denotes also an inductee into the Hall of Fame *OTO*.

## Associated categories

***OTO* Award
TV Female Actor – Drama**

---

**First awarded | Last awarded**
2010 | 2011

### TV Female Actor – Drama

| Year | Recipient | Nominees |
| --- | --- | --- |
| 2010 | **Emília Vášáryová** |  |
| 2011 | **Diana Mórová** |  |

2 nominations

---

***OTO* Award
TV Female Actor – Comedy**

---

**First awarded | Last awarded**
2010 | 2011

### TV Female Actor – Comedy

| Year | Recipient | Nominees |
| --- | --- | --- |
| 2010 | **Petra Polnišová**
(2 consecutive wins) |  |
| 2011 | |  |

2 awards 2 nominations * Petra Polnišová
* Helena Krajčiová


title: Ostredok

abstract: Ostredok is the highest hill of the Great Fatra, at the same time in the National Park Veľká Fatra. It lies in the main ridge of the mountain. It has two peaks, the main southern and a few meters lower north. The peaks are luminous, providing an undisturbed circular view. The slopes of Ostredok are smoothly modeled, steep, in winter there is a danger of avalanche dropping. The 49 km long Great-Frontier Highway is marked by the red tourist sign marked with a red tourist mark. [1] In Slovakia there are up to six hills called Ostredok. [2] [3]

text:
# Ostredok

**Ostredok** (1,596 m above sea level) is the highest hill of the Great Fatra, at the same time in the National Park Veľká Fatra. It lies in the main ridge of the mountain. It has two peaks, the main southern (1,596 m above sea level) and a few meters lower north (1,593 m above sea level). The peaks are luminous, providing an undisturbed circular view. The slopes of Ostredok are smoothly modeled, steep, in winter there is a danger of avalanche dropping.

The 49 km long Great-Frontier Highway is marked by the red tourist sign marked with a red tourist mark. \[1\]

In Slovakia there are up to six hills called Ostredok. \[2\] \[3\]

* Brandos, Otakar (2004). *Veľká Fatra, Šípska Fatra*. Ostrava: SKY. ISBN 80-86774-02-3.

* VKÚ Harmanec (2003). *Veľká Fatra*. Edícia turistických máp 1:50000. Harmanec: VKÚ. ISBN 80-8042-044-0.

## InfoBox

| Ostredok | |
| --- | --- |
|  | |
| Highest point | |
| Elevation | 1,596 m (5,236 ft) |
| Coordinates | 48°53′57″N 19°04′54″E / 48.89917°N 19.08167°E / 48.89917; 19.08167 |
| Geography | |
| OstredokLocation in Slovakia | |
| Location | Martin and Ružomberok Districts, Žilina, Slovakia |
| Parent range | Greater Fatra |


title: Marilyn Martin (album)

abstract: Marilyn Martin is the debut studio album by American singer Marilyn Martin, released in January 1986 by Atlantic Records. The album's various producers include Jon Astley, Arif Mardin, Simon Climie, John Parr and Phil Ramone. Three singles were released from the album; "Night Moves", "Move Closer" and "Body and the Beat". "Night Moves" reached No. 28 on the Billboard Hot 100, while "Move Closer" reached No. 34 on the Billboard Adult Contemporary chart. The Japanese CD release of the album featured the additional track "Thank You" and Martin's 1985 duet with Phil Collins, "Separate Lives".

text:
# Marilyn Martin (album)

***Marilyn Martin*** is the debut studio album by American singer Marilyn Martin, released in January 1986 by Atlantic Records. The album's various producers include Jon Astley, Arif Mardin, Simon Climie, John Parr and Phil Ramone.

Three singles were released from the album; "Night Moves", "Move Closer" and "Body and the Beat". "Night Moves" reached No. 28 on the *Billboard* Hot 100, while "Move Closer" reached No. 34 on the *Billboard* Adult Contemporary chart. The Japanese CD release of the album featured the additional track "Thank You" and Martin's 1985 duet with Phil Collins, "Separate Lives".

## Critical reception

Professional ratings
| Review scores | |
| --- | --- |
| Source | Rating |
| AllMusic |  |
| *Billboard* | favorable |
| *Cash Box* | favorable |

Upon release, *Cash Box* listed the album as one of their "feature picks" during February 1986. They commented: "Her strong voice and solid song selection should propel this record." *Billboard* wrote: "Outstanding rock vocalist gets the royal treatment from a bevy of producers. Despite lacking any clear-cut choices for singles, the album boasts several strong cuts, most notably "One Step Closer" and "Night Moves"." In a retrospective review, Alex Henderson of AllMusic described the album as a "strong debut" and a "solid pop/rock outing", showing "considerable promise" and a "very slick, glossy, high-tech" production.

## Track listing

| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Body and the Beat" | Robert Taylor, Marc Hunter | 4:04 |
| 2. | "Night Moves" | Marilyn Martin, John Parr, Jon Astley | 5:18 |
| 3. | "Too Much Too Soon" | Henry Gaffney, Madeline Stone | 4:35 |
| 4. | "Turn It On" | Holly Knight, Mike Chapman | 4:28 |
| 5. | "The Dream Is Always the Same" | Martin, Simon Climie | 4:31 |
| 6. | "One Step Closer" | Carl Sturken, Evan Rogers, David Grant, Jeff Pescetto | 4:28 |
| 7. | "Beauty or the Beast" | Martin, Parr | 4:28 |
| 8. | "Move Closer" | Phyllis Nelson | 4:15 |
| 9. | "Wildest Dreams" | Martin, Daryl Stuermer | 4:31 |
| 10. | "Here Is the News" | Charlie Dore, Julian Littman | 3:54 |
| Total length: | | | 44:32 |

Japanese CD edition
| No. | Title | Writer(s) | Length |
| --- | --- | --- | --- |
| 1. | "Body and the Beat" |  | 4:04 |
| 2. | "Night Moves" |  | 5:18 |
| 3. | "Too Much Too Soon" |  | 4:35 |
| 4. | "Turn It On" |  | 4:28 |
| 5. | "Thank You" | Dave A. Stewart, Feargal Sharkey | 4:31 |
| 6. | "One Step Closer" |  | 4:28 |
| 7. | "Beauty or the Beast" |  | 4:28 |
| 8. | "Move Closer" |  | 4:15 |
| 9. | "The Dream Is Always the Same" |  | 4:31 |
| 10. | "Here Is the News" |  | 3:54 |
| 11. | "Wildest Dreams" |  | 4:31 |
| 12. | "Separate Lives" (with Phil Collins) | Stephen Bishop | 4:09 |

## Personnel

**Production**

## Chart performance

| Chart (1986) | Peak
position |
| --- | --- |
| Canadian *RPM* Top Albums | 67 |
| Dutch Albums Chart | 64 |
| U.S. *Billboard* 200 | 73 |

## InfoBox

| Marilyn Martin | |
| --- | --- |
|  | |
| Studio album by Marilyn Martin | |
| Released | January 1986 |
| Genre | Pop rock |
| Length | 44:32 |
| Label | Atlantic |
| Producer |  |
| Marilyn Martin chronology | |
| ***Marilyn Martin***
(1986) *This Is Serious*
(1988) | |


title: Leon Heywood

abstract: Leon Heywood was an Australian professional snooker player.

text:
# Leon Heywood

**Leon Heywood** (26 May 1952 – 2014) was an Australian professional snooker player.

## Career

Heywood grew up in Adelaide, and was runner-up to Ron Atkins in the Australian National Snooker Championships in 1976. Both players represented Australia at the 1976 IBSF World Snooker Championship, where Heywood won only one of his seven group matches.

In a 1979 match against Graham Miles, Heywood became the first Australian amateur player to make a maximum break.

Heywood was accepted as a professional by the World Professional Billiards and Snooker Association (WPBSA) in 1983. He played ten matches as a professional, but did not win any of them. His first match was a 7–10 defeat by George Scott in the first qualifying round of the 1984 World Snooker Championship, and his last match ended in a 4–6 defeat by Ian Anderson at the 1987 Australian Professional Championship. The highest ranking that he achieved was 80th. Heywood died in 2014.

## InfoBox

Leon Heywood
| Born | (1952-05-26)26 May 1952 |
| --- | --- |
| Died | 2014 |
| Sport country | Australia |
| Professional | 1983–1988 |
| Highest ranking | 77 |


title: Sutton-in-Craven

abstract:
Sutton-in-Craven is a village, electoral ward and a civil parish in the Craven district of North Yorkshire, England that is situated in the Aire Valley between Skipton and Keighley. Historically part of the West Riding of Yorkshire, in 2001 the population was 3,480, increasing to 3,714 at the Census 2011.
The village is adjacent to Glusburn and Cross Hills, but although these three effectively form a small town, Sutton village maintains its distinct identity.

text:
# Sutton-in-Craven

**Sutton-in-Craven** is a village, electoral ward and (as just **Sutton**) a civil parish in the Craven district of North Yorkshire, England that is situated in the Aire Valley between Skipton and Keighley. Historically part of the West Riding of Yorkshire, in 2001 the population was 3,480, increasing to 3,714 at the Census 2011. The village is adjacent to Glusburn and Cross Hills, but although these three effectively form a small town, Sutton village maintains its distinct identity.

## History

The village existed before 1086 as "Sutun": listed in the *Domesday Book*. The landowner then was Ravenkeld who was taxed on 240 acres (100 hectares) of ploughland. But lands were then given by the Norman crown to its compatriots: Robert de Romille followed by Edmund de Boyvill and then Adam de Copley.

In the 14th century, the village was known as Sutton-in-Ayrdale but became Sutton-in-Craven in 1620.

In the late 17th century Sutton-in-Craven became part of the ancient parish of Kildwick so all Sutton residents were baptised, married and buried at Kildwick Parish Church. But in 1869 Sutton was constituted as a separate ecclesiastical district. Building a church for the new parish started in 1868 and its consecration day was the feast of St. Thomas, 21 December 1869.

Sutton-in-Craven Church of England Primary School opened in 1858.

### Industry

The main industry was farming of livestock until the Industrial Revolution when that was largely replaced by the textile industry. One of the oldest mills, Greenroyd Mill at Sutton Clough, was in 1815 Peter Hartley's cotton mill but only the remains of its two dams are still visible. The 1831 Census lists numerous cotton weavers. The Bairstow family were woollen manufacturers from 1838 until 1970 but a nursing home and houses now stand on the site of their mill. Only one of the original mill buildings remains today.

### Transport

In 1773 the first Bingley to Skipton section of the Leeds and Liverpool Canal passed 0.9 miles (1.4 km) to the north of Sutton. By 1781 the canal joined Leeds to Gargrave, and in 1816 completed the link to Liverpool.

In 1786 the Keighley and Kendal Turnpike road opened, followed in 1823 by the Blackburn to Addingham road, resulting in six stagecoaches a day passing through the area.

In 1847 the Leeds and Bradford Extension Railway opened its Shipley to Skipton section that passes 0.5 miles (0.8 km) to the north of Sutton at the Kildwick and Crosshills railway station.

## Landmarks

A park is opposite the Baptist Church behind the County Primary School. Sutton Clough, formerly part of the Sutton Hall Estate, is at the south of the village, and Lund's Tower and Wainman's Pinnacle are on a hill to the south-west. Craven House, the oldest village building, faces High Street and dates from the late 16th to early 17th centuries.

## People

The artist and scientific illustrator Brian Hargreaves (1935-2011) was born in Sutton.

## InfoBox

| Sutton-in-Craven | |
| --- | --- |
| Sutton-in-CravenLocation within North Yorkshire | |
| Population | 3,714 (2011 census) |
| London | 180 mi (290 km) SE |
| Civil parish | * Sutton |
| Unitary authority |  |
| Ceremonial county |  |
| Region |  |
| Country | England |
| Sovereign state | United Kingdom |
| Post town | KEIGHLEY |
| Postcode district | BD20 |
| Dialling code | 01535 |
|  | |
| Police | North Yorkshire |
| Fire | North Yorkshire |
| Ambulance | Yorkshire |
|  | |
|