title: Tshekedi Khama

abstract: Tshekedi Khama was the regent-king of the Bamangwato tribe in 1926 after the death of Sekgoma II.

text:
# Tshekedi Khama

**Tshekedi Khama** (17 September 1905 – 10 June 1959) was the regent-king of the Bamangwato tribe in 1926 after the death of Sekgoma II.

## Background

Tshekedi Khama was born in Serowe, the son of Khama III, known as Khama the Great, by his fourth wife Semane Setlhoko. He was educated in Serowe, then at Lovedale, a Church of Scotland school in Cape Province. In 1923 he enrolled in the South African Native College in Fort Hare.

Tshekedi was named heir by his father over his son Sekgoma II, with whom he had quarrelled, although Khama set aside the decision in 1916 when he reconciled with Sekgoma. On the death of Khama III in 1923 Sekgoma II succeeded as king, but his reign was ended by his early death in 1925. Sekgoma's heir, Seretse Khama, was still a minor, and Tshekedi was named regent for the duration of Seretse's minority. A regency council was named to assist during Tshekedi's absence at the Native College.

## Regency

Tshekedi was installed regent on 9 January 1926, and promptly dissolved the regency council. In order to consolidate his position, he banished the influential Ratshosa family and destroyed their property. The Ratshosa sued Tshekedi, who ultimately prevailed in the Judicial Committee of the Privy Council. The incident prompted Sir Charles Rey, the British Resident Commissioner, to try to curb the chief's powers, as a result of which the two men frequently clashed. In 1933, Tshekedi had Phineas McIntosh, a white man, flogged in public. Rey used the opportunity to suspend Tshekedi as regent, and had Royal Marines sent from Cape Town. An inquiry led by Admiral Edward Evans, the acting high commissioner, led to Tshekedi being deposed from his office, but he was quickly reinstated.

As regent, Tshekedi opposed both the diminution of chiefly authority and attempts by South Africa to annex the protectorate. During World War II he strongly supported the British and encouraged enlistment in the British forces.

### Opposition to Seretse's marriage

In 1948 Seretse Khama, who was then studying in England, informed Tshekedi that he intended to marry Ruth Williams, an English woman. Tshekedi opposed the marriage, as did the South African and Rhodesian governments. Initially, Tshekedi managed to maintain his support, but at a kgotla on 20 June 1949 Seretse managed to secure the support of most of his people, some of whom suspected that Tshekedi opposed Seretse in order to secure the kingship for himself. After Seretse was acclaimed paramount chief, Tshekedi and some of his followers went into temporary exile in Rametsana, in the Kweneng district of Botswana. In 1950 both Seretse and Tshekedi were exiled by the British, although Tshekedi was allowed to return in 1952 as a private citizen.

## Post-regency

Tshekedi was appointed a member of the 'African Authority' by the British government 1953, along with his relative Rasebolai Kgamane. In 1956, he reconciled with Seretse, and went to London to secure the latter's return. After the return of Seretse, the three men formed a triumvirate at the centre of the protectorate's political life. Tshekedi pushed for the consolidation of local democracy and constitutional change, which eventually led to the protectorate's independence as Botswana.

Shortly after the conclusion of an important minerals agreement, initiated by Tshekedi, with the Rhodesian Selection Trust in 1959, Tshekedi's health deteriorated, and he was rushed to London for medical treatment. He died at The London Clinic of kidney failure on 10 June 1959, and his body was returned for burial in front of a large crowd at the family's burial ground on 17 June.

## Family

Tshekedi married Bagakgametse Moloi in 1936, but the marriage was quickly dissolved. He married secondly Ella Moshoela in 1938; they had five children.

Chief Khama's daughter, Princess Semane, married the king of the Royal Bafokeng Nation in South Africa. Among the descendants of this union is the current king of the Bafokeng, Leruo Molotlegi.

Chief Khama was portrayed by the South African actor Vusi Kunene in the Hollywood film *A United Kingdom*.

## Bibliography

* Benson, Mary (1960). *Tshekedi Khama*. Faber and Faber.

## InfoBox

| Tshekedi Khama | |
| --- | --- |
| *King (Kgosi) of Bechuanaland, Ruler of the Bangwato people of central Botswana; Paramount of the bamaNgwato* | |
| Dikgosi Tshekedi and Bathoen II on the occasion of the visit of the British royal Family in April 1947 | |
| Predecessor | Sekgoma II |
| Born | 17 September 1905
Bechuanaland |
| Died | 10 June 1959 (aged 53)
London |
| Father | Khama III |
| Mother | Semane Setlhoko Khama |


title: Luisa Giaconi

abstract: Luisa Giaconi was an Italian poet. Her work represents one of the most significant expressions of Italian symbolism in women's writing, projected towards the new sensibilities of the twentieth-century.

text:
# Luisa Giaconi

**Luisa Giaconi** (Florence, 18 June 1870 – Fiesole, 18 July 1908) was an Italian poet. Her work represents one of the most significant expressions of Italian symbolism in women's writing, projected towards the new sensibilities of the twentieth-century.

## Biography

Descendant of Baroness Schluga, who arrived in Tuscany following Maria Anna Carolina of Saxony (the first wife of Leopold II of Tuscany), Giaconi was born in Florence. However, she spent part of her youth moving from city to city following her father, a middle school mathematics teacher.

When her father died, she again moved to the capital of Tuscany, where she attended l’Accademia di Belle arti for six years, gaining the diploma with which she would make a living as a copyist at the Galleria degli Uffizi in Florence. She was a friend of Enrico Nencioni, her neighbor in via delle Caldaie in the Santo Spirito district, from whom she deepened her knowledge of English literature and was able to perfect the language. She had great admiration for the thought of Arthur Schopenhauer, whose works enjoyed renewed attention in the environment of Florentine aestheticism.

She published numerous poems in the periodical *Il Marzocco*, founded by Angiolo Orvieto; she hoped for a long time to be able to collect her verses from the publisher Paggi, whose bankruptcy in 1897 painfully broke her expectations. She had a long, passionate relationship with the journalist and professor of English literature Giuseppe Saverio Gargàno, one of the main collaborators of *Il Marzocco*, from 1899 until his death.

She spent the remaining years of her life in pain, caused by the tuberculosis that she had contracted at a very young age. She died at 38 in Fiesole. Her tomb, adorned with a rose plant, is located in the small cemetery of Settignano. The poems published in *Il Marzocco* were collected after her death in the volume *Tebaide* by Gargàno, who dedicated a long introduction to her and reviewed her verses in “Il Marzocco” along with those of the poet Gina Gennai.

## Poetic Production

Her poems, mainly in a symbolist style, appear to be influenced by Giovanni Pascoli’s poetry; both from the *Primi poemetti* as from the *Poemi conviviali*, from the *Poema paradisiaco* of Gabriele D’Annunzio and from the French symbolists. Giaconi's metric is particularly well-done, and she makes her own sophisticated innovations applied to a classical base. Her only poetry collection, *Tebaide*, was published posthumously in 1909, then re-edited with several additions in 1912. It is unclear if the title was suggested by Giaconi herself in life, or if it was taken from the title of the second poem of Gargàno's collection, referring to the place in which Coptic monasticism was developed and is a synonym for *cenobium*, a type of monastic community.

Her poetry represents one of the most interesting female testimonies of Italian Decadentism; moving from the symbolist experience, in which the influence of contemporary pictorial elements is present, towards suggestions of surrealism in the last part of Tebaide. Here, Giaconi focuses on the dream as a moment of experience in a different reality. In addition to the contrast between dream and reality, the principal themes of her works are made up of a desire for the infinite, the mysterious transformation of natural elements (such as the wind), the disquieting presence of death suggested in everyday life, as well as the passage towards a higher reality.

Her poetry especially struck Dino Campana, who proposed one of her most beautiful poems, *Dianora*, for publication to his own editor: this led to a misunderstanding in attribution that was only revealed several years later. In fact, Campana had not clearly indicated the author's name, but had only specified that she was a Florentine poet who died of tuberculosis at thirty years old: the editor thought that the poem was Campana's and that he was trying to pretend otherwise. This oversight was certainly helped along by the similarities between Giaconi's style and that of Campana.

## Works

* *Tebaide*, edited by G.S. Gargano, Bologna Zanichelli, 1909 and, with numerous additions, Bologna, Zanichelli, 1912

## Bibliography

* Natalia Costa-Zalessow, *Scrittrici italiane dal XIII al XX secolo. Testi e critica*, Ravenna, Longo, 1982
* Caterina Del Vivo, *Luisa Giaconi. Otto poesie, una prosa*, "Antologia Vieusseux", LXX, apr. - giu. 1983, pp. 54 – 64.
* Alfredo Luzi, *Escursioni surrealiste nella poesia di Luisa Giaconi (1870 - 1908)*, "Ermeneutica letteraria", II, 2006, pp. 171 – 175.
* Luisa Giaconi, *A fiore dell'ombra. Le poesie, le lettere, gli inediti*, con un saggio critico di Manuela Brotto, Pistoia, Petite plaisance, 2009


title: Luisa Gavasa

abstract: Luisa Gavasa Moragón is a Spanish actress. She made her feature film debut in Doña Perfecta (1977). Her portrayal of the groom's mother in The Bride (2015) earned her a Goya Award for Best Supporting Actress.

text:
# Luisa Gavasa

**Luisa Gavasa Moragón** (born 8 April 1951) is a Spanish actress. She made her feature film debut in *Doña Perfecta* (1977). Her portrayal of the groom's mother in *The Bride* (2015) earned her a Goya Award for Best Supporting Actress.

## Selected filmography

| Year | Title | Role | Notes | Ref. |
| --- | --- | --- | --- | --- |
| 2011 | *Chrysalis* | Luisa |  |  |
| 2013 | *Para Elisa* |  |  |  |
| 2015 | *La novia* (*The Bride*) | La madre ('the mother') |  |  |
| 2017 | *Las chicas del cable* |  | TV series |  |
| 2023 | *El maestro que prometió el mar* (*The Teacher Who Promised the Sea*) | Charo |  |  |
| | *El favor* (*Just One Small Favor*) | Amparito |  |  |
| 2024 | *Historias* (*Stories*) |  |  |  |

## InfoBox

| Luisa Gavasa | |
| --- | --- |
| Gavasa in 2017 | |
| Born | Luisa Gavasa Moragón
(1951-04-08) 8 April 1951
Zaragoza, Spain |
| Occupation | Actress |


title: Luganda Society

abstract: The Luganda Society is a non-governmental organization dedicated to the teaching and promotion of the Luganda language.

text:
# Luganda Society

The **Luganda Society** is a non-governmental organization dedicated to the teaching and promotion of the Luganda language.

## Founding

The Luganda Society was established in 1950 through the efforts of Michael B. Nsimbi, known as “The Father of Ganda literature.” Observing the detrimental effects of colonialism on Uganda society and culture, and the neglect and loss of local customs, language and culture, Nsimbi joined with other likeminded nationals to form the society, with the key goals of preserving, popularising and promoting the use of Luganda to both Baganda and non-Baganda.

## Society Aims

Since its establishment the specific aims of the Society have been:

* To promote proper use of the Luganda language and popularize Luganda literature
* To promote proper Luganda orthography among both Baganda and non-Baganda
* To promote research about Luganda words and idioms
* To encourage translation of foreign language literature into Luganda
* To organize Luganda language courses and competitions in schools
* To organize festivals highlighting the local language and culture through music and drama

## Achievements

The Luganda Society became a catalyst for inspiring and resourcing a number of writers in the Luganda language, including Solomon Mpalanyi, Phoebe Mukasa, Hugo Ssematimba, C. Kalinda, Dr. Livingstone Walusimbi

and Michael B. Nsimbi himself. In 1958 the society began a regular program on Radio Uganda to promote teaching and learning of Luganda and various aspects of Buganda's culture, and organise on-air Luganda language competitions. In 1959 the society began organising competitions in schools, and in 1965 began offering scholarships to the best students in Luganda, known today as the *Dr. Nsimbi Scholarship Scheme*. In 1963 the society organized the first Pageant of Uganda, a cultural festival held at Uganda's National Theater in Kampala, highlighting Uganda's many cultures.

The Society eventually gained government recognition for their cause, and from the 1970s worked together to produce a Luganda language curriculum at Makerere University, the country's only university at the time, in 1976. Nsimbi and fellow Society member Dr. Livingstone Walusimbi were instrumental in this process, which also saw the creation of a high school curriculum in 1979, and a curriculum for the National Teachers' Colleges in 1984. The Society also worked to establish the Luganda Teachers Association in 1988, and a curriculum for Teacher Training Colleges in 1994.

## Chairpersons of Luganda Society


title: Luke Rhodes

abstract: Luke Rhodes is an American professional football long snapper and linebacker for the Indianapolis Colts of the National Football League (NFL). He played college football at William & Mary.

text:
# Luke Rhodes

**Luke Rhodes** (born December 2, 1992) is an American professional football long snapper and linebacker for the Indianapolis Colts of the National Football League (NFL). He played college football at William & Mary.

## College career

Roads attended the College of William & Mary in Williamsburg, Virginia, where he was a linebacker for the William & Mary Tribe. He was given a red-shirt for the 2011 season, before starting 9 times for William & Mary as a red-shirt freshman in 2012.

Rhodes ultimately started in 45 of 47 games for the Tribe, and ended his collegiate career with 341 tackles (172 solo), five sacks, one interception, six forced fumbles, and two fumble recoveries.

Rhodes was selected three times tho the All-Colonial Athletic Association First Team and was the only Division I-AA player named to the watch list for the 2015 Butkus Award Watch List.

## Professional career

Pre-draft measurables
| Height | Weight | Arm length | Hand span | 40-yard dash | 10-yard split | 20-yard split | 20-yard shuttle | Three-cone drill | Vertical jump | Broad jump | Bench press |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 6 ft 1+58 in
(1.87 m) | 236 lb
(107 kg) | 29+78 in
(0.76 m) | 10+18 in
(0.26 m) | 4.73 s | 1.63 s | 2.76 s | 4.32 s | 7.13 s | 35.0 in
(0.89 m) | 9 ft 10 in
(3.00 m) | 29 reps |
| All values from Pro Day | | | | | | | | | | | | |

### Tampa Bay Buccaneers

Rhodes signed with the Tampa Bay Buccaneers as an undrafted free agent on May 2, 2016. He was released on September 3, 2016 as part of final roster cuts.

### Indianapolis Colts

On October 5, 2016, Rhodes was signed to the practice squad of the Indianapolis Colts. He was promoted to the active roster on December 7, 2016, where he was listed on the roster as a linebacker, participating mainly on special teams.

During the off-season, the Colts converted Rhodes to a new position, that of long snapper for punts and kickoffs. Rhodes successfully adapted to his new role and on August 28, 2017, was named the Colts' full-time long snapper after winning a training camp competition against rookie Thomas Hennessy.

On April 2, 2018, Rhodes signed an exclusive rights tender with the Colts through the 2018 season.

On June 11, 2019, Rhodes signed a four-year, $4.85 million contract extension with the Colts with $1.25 million guaranteed, making him the highest-paid long snapper in the league. He went on to be named an Associated Press (AP) Second-team All-Pro choice in 2020 and 2021.

In 2021, Rhodes handled long snapping duties in 16 games for the fifth consecutive season. He was named AP First-team All-Pro. Rhodes also became the first Indianapolis long snapper named to the Pro Bowl since Matt Overton in 2013.

On September 8, 2023, Rhodes signed a four-year, $6.465 million contract extension with the Colts, once again making him the highest-paid long snapper in the league.

## InfoBox

Luke Rhodes
| No. 46 – Indianapolis Colts | |
| --- | --- |
| Position: | Long snapper |
| Personal information | |
| Born: | (1992-12-02) December 2, 1992
Hollidaysburg, Pennsylvania, U.S. |
| Height: | 6 ft 2 in (1.88 m) |
| Weight: | 238 lb (108 kg) |
| Career information | |
| High school: | Hollidaysburg |
| College: | William & Mary (2011–2015) |
| Undrafted: | 2016 |
| Career history | |
|  | |
| * Offseason and/or practice squad member only | |
|  | |
| Roster status: | Active |
| Career highlights and awards | |
|  | |
|  | |
| Career NFL statistics as of 2023 | |
| Games played: 118  Total tackles: 14 | |
|  | |
| Player stats at **PFR** | |
|  | |


title: Luiz Melodia

abstract: Luiz Carlos dos Santos, widely known by his stage name Luiz Melodia, was a Brazilian singer-songwriter whose music was a characteristic crossover of multiple Music genres including Música popular brasileira (MPB), rock music, blues, soul music and samba. He has been described as 'one of the most important Brazilian-born musicians.' Son of samba music dilettante Oswaldo 'Melodia', Melodia grew up on a morro in the Estácio district—often referred to as the 'Birthplace [or cradle] of Samba'. Melodia's first LP record, Pérola negra, was released in 1973. He married fellow singer-songwriter and record producer Jane Reis, a Bahia native, in 1977; their only son, rapper Mahal Reis, was born in 1980. Melodia had another son, Iran, from a previous relationship. Over the course of his career, Melodia released several studio albums and performed extensively in both Brazil and Europe. In 1987, he sang in Châteauvallon, France, and Bern, Switzerland. In 1992, he appeared at the III Folcalquier Music Festival, again in France, and, in 2004, at the Montreux Jazz Festival. In 2012, Melodia went on a big band tour throughout Europe, having performed in a number of cities including London, Paris and Berlin. He also played in Denmark, Switzerland and Portugal. In 2015, Melodia was awarded Best Singer in the 26th Prêmio da Música Brasileira. The 29th edition of the prize saw a posthumous tribute to his life's work, with the likes of Caetano Veloso and Maria Bethânia, among several others, performing famous Melodia songs. He was ranked 45th out of 100 best Brazilian musicians and 27th out of 100 best Brazilian voices. Melodia was a fan of Chet Baker and John Coltrane, and a proud Black individual. He also worked briefly as an actor.

text:
# Luiz Melodia

**Luiz Carlos dos Santos** (7 January 1951 – 4 August 2017), widely known by his stage name **Luiz Melodia**, was a Brazilian singer-songwriter whose music was a characteristic crossover of multiple Music genres including Música popular brasileira (MPB), rock music, blues, soul music and samba. He has been described as 'one of the most important Brazilian-born musicians.'

Son of samba music dilettante Oswaldo 'Melodia' (whose epithet he took on as a stage name), Melodia grew up on a *morro* (a slum that stretches over a hillside, typical of Rio de Janeiro) in the Estácio district—often referred to as the 'Birthplace \[or cradle\] of Samba'. Melodia's first LP record, *Pérola negra* (*Black Pearl*), was released in 1973. He married fellow singer-songwriter and record producer Jane Reis, a Bahia native, in 1977; their only son, rapper Mahal Reis, was born in 1980. Melodia had another son, Iran, from a previous relationship.

Over the course of his career, Melodia released several studio albums and performed extensively in both Brazil and Europe. In 1987, he sang in Châteauvallon, France, and Bern, Switzerland. In 1992, he appeared at the III Folcalquier Music Festival, again in France, and, in 2004, at the Montreux Jazz Festival. In 2012, Melodia went on a big band tour throughout Europe, having performed in a number of cities including London, Paris and Berlin. He also played in Denmark, Switzerland and Portugal.

In 2015, Melodia was awarded Best Singer in the 26th Prêmio da Música Brasileira (Brazilian Music Prize). The 29th edition of the prize saw a posthumous tribute to his life's work, with the likes of Caetano Veloso and Maria Bethânia, among several others, performing famous Melodia songs. He was ranked 45th out of 100 best Brazilian musicians and 27th out of 100 best Brazilian voices.

Melodia was a fan of Chet Baker and John Coltrane, and a proud Black individual. He also worked briefly as an actor.

## Biography

### Early life

Melodia was born Luiz Carlos dos Santos in the Estácio district, Rio de Janeiro, on 7 January 1951. The only son of Oswaldo, a civil servant and amateur samba musician, and Eurídice, a seamstress, he first discovered music through his father, who played at home: "I would fetch his viola, try out a few chords and keep an eye on him. He never let me touch the 4-string viola, which really was a conversation piece, very beautiful. I learned a few things on it, though."

In light of his early affinity with music, Melodia decided to defy his father's plans, which were to have him finish school and pursue higher education. In 1963, alongside drummer-vocalist Walmir Lucena (aka Mizinho), Melodia started what would become a lifelong musical career. At the time, he took day jobs as a typographer, salesperson, counter attendant while also working as a nightclub musician. After dropping out of middle school, likely in 1964, Melodia spent his teenage years writing songs (never recorded) and playing Jovem Guarda and Bossa Nova hits with his newly-formed band *Os Instantâneos* (*The Swift Boys*; could be intended as a pun for *The Snapshots*) alongside friends Manoel, Nazzareno and Mizinho. He was also in another band, *Os Filhos do Sol* (*The Sons of the Sun*); they would play whatever it took to fire up a party, often times by singing in impromptu made-up English. Soon, well-connected *morro* scene habitués, Tropicália-related poet Waly Salomão and journalist Torquato Neto brought Melodia closer to mainstream music industry. Over this period, he was a partner to vocalist Marquinhos Sathan, who went on to become a relatively successful singer a few years afterwards.

A short lyrics excerpt is extant from his early period: 'Amo o céu e terra / e também o mar / amo a vontade que tenho de amar.' ('I love the sky and the earth / And the sea as well / I love this will to love that I have.')

### 1970s

Thanks to the introductions Salomão and Neto got him, Melodia was able to approach singer Gal Costa with song *Presente cotidiano* (*My everyday present*), but due to official censorship in force at the time, Costa was prevented from performing it at her regular Copacabana concerts—the song was however recorded by Costa for her 1973 album Índia (*Indian*) and by Melodia himself in 1978 for album *Mico de circo* (*Circus Monkey*). Instead, Melodia offered Costa another song, *Pérola negra* (*Black Pearl*), which she live-recorded for album *-Fa-Tal- Gal a Todo Vapor* (*Fatal—Gal at Full Steam*). The song was an immediate hit.

In 1972, singer Maria Bethânia recorded Melodia's *Estácio, holly Estácio* (untranslatable; it is a reference to his birthplace Estácio and what seems to be a play on words with 'holy' and/or 'holiday') for her album *pt:Drama - Anjo Exterminado* (*Drama—Exterminated Angel*).

In 1973, Melodia, who by then already went by his stage name, released his first studio album *pt:Pérola negra (álbum)* (*Black Pearl*). The album is described by pt:Rolling Stone Brasil (Brazil's edition of Rolling Stone magazine) as a 'contemporary wonder' (perhaps as an allusion to his second LP record's name; see below) and a 'masterpiece'. The album is consistently ranked as one of the best in Brazilian music history. (It was ranked 32nd out of 100 by Rolling Stone Brasil.) The title track, with its sleek arrangement for brass, double bass, voice and piano, was depicted as a 'tormented love song which stands as a hallmark to Melodia's oeuvre'.

While his attitude at the time was reported to preserve the irreverence and restlessness of his samba scene background, the record may have earned Melodia a reputation as a *maudit* (accursed) artist among critics, alongside others like Raimundo Fagner and João Bosco. The reason is unclear, but probably related to his insubordinate mindset. 'We weren't people that simply obeyed. You could say that we sidestepped the record label's house rules; we simply broke away from situations that weren't convenient. I have always believed in what I do", he stated.

In 1975, with song *Ébano* (*Ebony*), Melodia reached the finals of Festival Abertura (Start-out Festival), a singing-songwriting contest hosted by television channel Rede Globo. Backing him up on the occasion were members of an incipient Banda Black Rio (Black Rio band), as well as Azymuth's keyboardist Jose Roberto Bertrami.

Melodia's next album, *Maravilhas contemporâneas* (*Contemporary Wonders*) (1976), became popular thanks to song *Juventude transviada* (*Deviant Youth*), which featured in the soundtrack of Rede Globo's telenovela *Pecado Capital* (*Capital Sin*) by author Janete Clair.

Starting in 1977, Melodia became a contributor to Projeto Pixinguinha, sharing the stage with singers Zezé Motta and Marina Lima in tours around Brazil. *Mico de Circo*, another landmark, was released in 1978.

During the 1970s, Melodia was reported as leading a licentious life, having no papers or a bank account for some time, and as disorderly spending all his money earned from performances.

### 1980s and 1990s

Melodia released a total of four albums between 1980 and 1991: *Nós* (*We*) (1980), *Felino* (*Feline*) (1983), *Claro* (*Of Course*) (1985) and *Pintando o sete* (*Fooling Around*) (1991). In *Pintando o sete*, Melodia included a version of hit song *pt:Codinome Beija-Flor* (*I Go by Hummingbird*), made legendary by singer Cazuza. In 1991, the song featured in the soundtrack of *Dono do mundo* (*Owner of the World*), another Rede Globo telenovela. 1995 saw the release of *Relíquias* (*Mementos*). In the same year, Melodia made a guest appearance on album *Guitarra brasileira* (*Brazilian Guitar*) by musical partner Renato Piau, being credited on two of the tracks.

In 1997, Melodia released *14 Quilates* (*14-carat*). A year later, in 1998, he was featured on tribute album *Balaio do Sampaio* (*Sampaio's Pouch*) by pt:Sérgio Sampaio, who similarly to Melodia was known as a *maudit* artist. In 1999, he released a live acoustic album (*Luiz Melodia: acústico, ao vivo*) featuring guitarists pt:Renato Piau and Perinho Santana, which would result in a namesake concert tour the following year.

### 2000–2008

In 2001, Melodia released *Retrato do artista quando coisa* (*Portrait of the Artist as a Thing*), with string and wind arrangements on most tracks. The album sees his son Mahal making an appearance on *Lorena*. The title track, whose name makes an obvious reference to James Joyce's A Portrait of the Artist as a Young Man is set to verses by Brazilian poet Manoel de Barros. In 2002, Melodia released a CD & DVD box set entitled *Luiz Melodia convida – ao vivo* (*Luiz Melodia and Guests—Live*), recorded in Rio de Janeiro, which featured Zeca Pagodinho, Zezé Motta, Luciana Mello, and the legendary Elza Soares, among others. The set featured bonus track *Presente cotidiano* (*My Everyday Present*) as a studio-recorded duet with Gal Costa. He performed at pt:Parque dos Patins in 2005 for the project Vivo Na Lagoa (*Live in Lagoa*). In the same year he featured on album *Um pouco de mim – Sergio Natureza e amigos* (*A Little Bit About Me—Sergio Natureza & Friends*), on track *Vela no breu* (*A Candle in the Darkness*) by Paulinho da Viola and pt:Sergio Natureza. In 2006, he performed at Teatro Rival, in Rio de Janeiro and was featured on the cover of Carioquice magazine, a publication of the Cravo Albin Institute. He made an appearance that same year alongside pt:Eudes Fraga, Wanda Sá and pt:Claudia Telles on CD Par ou Ímpar by pt:Marcelo Lessa and pt:Paulinho Tapajós, featuring on track *Veludo azul* (*Blue Velvet*). Soon afterwards, Melodia brooded the idea of getting involved in a samba project. In mid-2006, he had been invited to give a special performance in commemoration of the 70th anniversary of Teatro Rival. The focal point was samba songs from different periods. His project resulted in a concert and, to some extent, this became the album *Estação Melodia* (*Melodia Station*) (2007) and also formed the basis of an MTV Brasil special. In 2008, he was awarded the Prêmio Rival (Rival Award).

### Later years and release of *Zerima* (2014)

In 2011, Melodia was a guest on fourth solo album by Titãs band member Sérgio Britto *Purabossanova* (a portmanteau for *Pure Bossa Nova*), which was released in September that year. In 2013, he held further concerts at Teatro Rival. In the same year, a multi-CD box set was released called *Três tons de Luiz Melodia* (*Three Shades* \[could be "Tones"\] *of Luiz Melodia*) containing three albums from three different decades: *Pérola negra*, from 1973; *Felino*, from 1983; and *Pintando o sete*, from 1991.

In 2014, during a concert at Teatro Rival, Melodia released his 13th solo album *pt:Zerima* (an anagram for Marize, his sister's name, who had passed away two years earlier), recorded at Som Livre studios. Zerima followed a 13-year gap without releasing new material. In it, Melodia reconnects with his samba and bossa nova roots. New compositions include *Cheia de Graça* (*Full of Grace*), as well as *Dor de carnaval* (*Carnival Heartache*) with special guest singer-songwriter Céu.

Melodia never thought the commercial success he obtained, which was significant, but not huge, made justice to the quality of his work. In an interview, he stated: 'By the way, other musicians don't get it \[why he didn't achieve as much fame as he deserved\]. Djavan said it once, and so did Caetano Veloso. It's a conundrum to many people. I don't really get it myself'. And: 'I still don't have that privilege \[of being duly recognised\]. Which is something my music certainly deserved. I may be wrong, but I think I was even cut off more than once: I didn't get that much attention from record labels I signed with. I know my work isn't that voluminous, but I think it should have gotten a lot more attention. It takes a certain budget to promote an artist, for marketing expenses. I never got that, except back then at the beginning.'

## Order of Cultural Merit

Melodia was awarded the Ordem do Mérito Cultural (Order of Cultural Merit) in 2011.

## Death

Luiz Melodia died on 4 August 2017 at the age of 66 in his hometown of Rio de Janeiro from bone marrow cancer.

## Discography

* *Pérola negra* (1973)
* *Maravilhas contemporâneas* (1976)
* *Mico de circo* (1978)
* *Nós* (1980)
* *Felino* (1983)
* *Claro* (1988)
* *Pintando o sete* (1991)
* *Relíquias* (1995)
* *14 Quilates* (1997)
* *Acústico ao vivo* (1999)
* *Luiz Melodia convida – DVD* (2003)
* *Estação Melodia* (2007)
* *Zerima* (2014)

## InfoBox

| Luiz Melodia | |
| --- | --- |
| Melodia, 2015 | |
| Background information | |
| Birth name | Luiz Carlos dos Santos |
| Also known as | Estácio's Poet |
| Born | (1951-01-07)7 January 1951
Rio de Janeiro, Brazil |
| Died | 4 August 2017(2017-08-04) (aged 66)
Rio de Janeiro, Brazil |
| Genres | Música popular brasileira, Samba, Soul music |
| Occupation(s) | singer-songwriter, actor |
| Instrument(s) | acoustic guitar, piano |
| Years active | 1963–2017 |


title: Tsukiji Shrine

abstract: Tsukiji Shrine is a Shinto shrine in Minato-ku, Nagoya, Aichi Prefecture, Japan.

text:
# Tsukiji Shrine

**Tsukiji Shrine** (築地神社, *Tsukiji-jinja*) is a Shinto shrine in Minato-ku, Nagoya, Aichi Prefecture, Japan.

## Services

### Annual Services

* January 1: New Year's Celebration
* Setsubun (in February): Setsubun Festival
* Vernal equinox: Ceremony for the spirits of the deceased of Tsukiji
* Around the Vernal Equinox: Service to comfort the spirits of people who have died working at Nagoya Port
* July 18: Nagoya Port's Summer Festival
* July 30: Chi-no-wakaguri, a Shinto purification ritual involving walking through a large ring of rope
* October 10: Kotohira-gū Festival and Izumo-taisha Festival
* October 23: this shrine's annual festival
* November 23: ceremonial offering by the Emperor of newly harvested rice to the deities
* Akihasan Hongū Akiha Jinja Festival
* December 31: New Year's Eve Festival and Purification Ceremony

### Monthly Services

* Every month on the 1st, 15th, and 23rd: a monthly festival

## InfoBox

| Tsukiji Shrine | |
| --- | --- |
| 築地神社 | |
|  | |
| Religion | |
| Affiliation | Shinto |
| Deity | Susanō |
| Location | |
| Location | 1-9-14 Chidori, Minato-ku, Nagoya, Aichi Prefecture |
| Shown within Japan | |
| Geographic coordinates | 35°5′49″N 136°53′11″E / 35.09694°N 136.88639°E / 35.09694; 136.88639 |
| Architecture | |
| Date established | 23 January 1938 |
| Glossary of Shinto | |


title: Tsukiji-guchi Station

abstract: .mw-parser-output.infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output.infobox-3cols-child{margin:auto}.mw-parser-output.infobox.navbar{font-size:100%}body.skin-minerva.mw-parser-output.infobox-header,body.skin-minerva.mw-parser-output.infobox-subheader,body.skin-minerva.mw-parser-output.infobox-above,body.skin-minerva.mw-parser-output.infobox-title,body.skin-minerva.mw-parser-output.infobox-image,body.skin-minerva.mw-parser-output.infobox-full-data,body.skin-minerva.mw-parser-output.infobox-below{text-align:center}@media screen{html.skin-theme-clientpref-night.mw-parser-output.infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os.mw-parser-output.infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive.mw-parser-output.infobox-table{display:table!important}body.skin--responsive.mw-parser-output.infobox-table>caption{display:table-caption!important}body.skin--responsive.mw-parser-output.infobox-table>tbody{display:table-row-group}body.skin--responsive.mw-parser-output.infobox-table tr{display:table-row!important}body.skin--responsive.mw-parser-output.infobox-table th,body.skin--responsive.mw-parser-output.infobox-table td{padding-left:inherit;padding-right:inherit}} Tsukiji-guchi Station is an underground metro station located in Minato-ku, Nagoya, Aichi, Japan operated by the Nagoya Municipal Subway's Meikō Line. It is located 5.4 kilometers from the terminus of the Meikō Line at Kanayama Station.

text:
# Tsukiji-guchi Station

**Tsukiji-guchi Station** (築地口駅, *Tsukiji-guchi-eki*) is an underground metro station located in Minato-ku, Nagoya, Aichi, Japan operated by the Nagoya Municipal Subway's Meikō Line. It is located 5.4 kilometers from the terminus of the Meikō Line at Kanayama Station.

## History

Tsukiji-guchi Station was opened on 29 March 1971.

## Lines

## Layout

Tsukiji-guchi Station has two underground opposed side platforms.

### Platforms

| **1** | Meikō Line | For Nagoyakō |
| --- | --- | --- |
| **2** | Meikō Line | For Kanayama, Sakae, and Ōzone |

There is one set of gates, beyond which there are four exits. Each platform has an up escalator and an elevator. There are coin lockers near Exit 2. There are bathrooms near Exit 1 and Exit 4, and near Exit 2 and Exit 3. The bathroom near Exit 2 and 3, and the gates, is also handicapped-accessible and has a baby changing area. On Platform 1 for Nagoyakō Station, train door 3 is closest to elevator, door 4 is closest to the escalator, and doors 5 and 12 are closest to the stairs. On the opposite platform, Platform 2 for Kanayama Station, train door 14 is closest to the elevator and doors 6 and 13 are closest to the stairs.

35°05′58″N 136°52′59″E / 35.0995°N 136.8830°E / 35.0995; 136.8830

## InfoBox

| E06
Tsukiji-guchi Station
築地口駅 | |
| --- | --- |
| Nagoya Municipal Subway station | |
| Entrance number 1 and surrounding area | |
| General information | |
| Location | 3-4-13 Kōraku, Minato, Nagoya, Aichi
（名古屋市港区港楽三丁目4-13）
Japan |
| Operated by | Transportation Bureau City of Nagoya |
| Line(s) | Meikō Line |
| Connections | * Bus terminal |
| Other information | |
| Station code | E6 |
| History | |
| Opened | 29 March 1971 (29 March 1971) |
| Passengers | |
|  | |
| 2008 | 2,038,146 |
|  | |
|  | |
| Services | |
| Preceding station  Nagoya Municipal Subway Following station  NagoyakōE07Terminus  Meikō Line  Minato KuyakushoE05towards Kanayama | |
|  | |
|  | |
|  | |


title: Truco

abstract: Truco, a variant of Truc, is a trick-taking card game originally from Valencia and the Balearic Islands, popular in South America and Italy. It is usually played using a Spanish deck. Two people may play, or two teams of two or three players each.

text:
# Truco

**Truco**, a variant of Truc, is a trick-taking card game originally from Valencia and the Balearic Islands, popular in South America and Italy. It is usually played using a Spanish deck. Two people may play, or two teams of two or three players each.

## Card ranking

* Ace of Swords ("Espada" in Southeast of Brazil, "Espadão" in Southern Brazil, "Ancho de espada" in Argentina, "Macho" (male) in Paraguay, "Espadilla" in Uruguay)
* Ace of Clubs ("Hembra" (female) in Paraguay, "Ancho de basto" in Argentina, "Bastillo" in Uruguay, "Bastião" in Southern Brazil)
* 7 of Swords ("Siete de espadas", "Siete bravo" in Uruguay, "Manilha de espada" in South of Brazil)
* 7 of Coins (*Siete de oros* in Spanish or *Sete ouro*, *Sete belo* or *Maneca de ouro* in Portuguese, "Siete bello" in Uruguay)
* 3s
* 2s (known as "Perruchos" in Paraguay)
* Ace of cups and ace of coins (*Anchos falsos* in Spanish, *Ás falso* in Southeast of Brazil, *Gueime* in South of Brazil, "Buempes" in Paraguay, "Copon" and "Huevo frito" respectively in Uruguay)
* Kings (*Reyes* in Spanish and *Reis* in Portuguese) (12s)
* Knights (*Caballos* in Spanish) (11s)
* Jacks (*Valetes* in Brazil, *Sotas* in Argentina) (10s)
(the face cards of King, Knight and Jack are called *Cartas negras*)
* 7 of clubs and 7 of cups (*Sietes falsos* in Spanish or *Sete copa* (seven of cups) in Portuguese, all cards from here down are considered "Cartas blancas")
* 6s
* 5s
* 4s (the 4 of clubs may be called *Zap* in the southeast of Brazil)

In southern and southeastern Brazil, the most popular variant, called Truco Paulista, uses dynamic card ranking. The ranks from the 3s and downwards remain the same, but the four trump cards, called *manilhas*, are decided by flipping one extra card up after dealing, called *vira*. The four cards conventionally ranked immediately above the flipped one (or, in the case of a flipped 3, the 4s) become the strongest cards. Their rank is as follows: clubs \> cups \> swords \> coins. This variant is popular because it makes it harder to cheat and can potentially turn a bad hand into a great one once the card flips.

The Uruguayan version uses a "Muestra" each hand. The following cards of the same suit as the "Muestra" are ranked higher than the Ace of swords and are called "Piezas": 2, 4, 5, Knight, which in some regions is called *Perico,* worth 30 points, and the Jack, which in some regions is called *Perica,* worth 29 points. Finally, if any player has the King of the same suit as the "Muestra" and the "Muestra" is a "Pieza", the King becomes that card.

The Venezuelan version is similar to the Uruguayan version, exception that the "Piezas" 2, 4, and 5 are not used. The "Muestra", or "vira" as it is known in Venezuela is designated by turning over the top card of the deck after shuffle or optionally, the top card following the deal. "La Vira" is then placed beneath the deck at right angles to it so that it is visible during the hand. The suit of *La Vira* designates the suit of *El Perico* (the Knight) and *La Perica* (the Jack) which become the highest two cards in the game. The remaining three Knights and Jacks are ranked as initially specified.

## Mano (Mão) and Pie (Pé)

In Truco with four or six players, two concepts govern which player begins the round and who ends it. The *mano* in Spanish or *mão* in Portuguese ("hand") is the one that plays first and the *pie* in Spanish or  in Portuguese ("foot"), the dealer, is the last to play. The hand is always the player on the right of the foot. The turn to deal is then passed counterclockwise, so the hand of the first round is the foot of the second and so on. If playing in teams, partners sit opposite each other.

They can also refer, when playing in teams of two, which player of the partnership plays before and which after. This has no significance in the game, as the playing is always done counterclockwise. But it has strategic significance since the foot of a team is traditionally considered the "captain" of the partnership that round.

If the game is tied (for example, if two opponents have the same points for envido), the hand wins. That advantage is offset by the fact that, as the last one to play, the foot plays with all their opponent's cards in sight. Also, the foot and the one sitting to the foot's left call *envido* in a game of four or more. Then, the hand is the first one to call his points for *envido*.

## Scoring

Players can earn points in three ways:

* *Truco* \- winning in the playing of the cards (the "tricks").
* *Envido* \- having the best combination of two cards of the same suit or a single card.
* *Flor* \- having all three cards of the same suit.

The points won by a player are added to their team's score (when playing in teams). Any bet, win, loss, or surrender by a player also affects their partners. For this reason, partnerships are usually formed by mutual arrangement. As in bridge, it is not rare for partners to share information using already established signs and gestures. Communication is usually performed through these standard gestures. Arranging a secret set of gestures is frowned upon.

## Play

Each player is dealt three cards from a subset of the deck consisting of the numbers 1 to 7 and figures *sota* in Spanish or *valete* in Portuguese (jack, worth 10), *caballo* in Spanish or *dama* in Portuguese (equivalent to a queen, worth 11) and *rey* in Spanish or *rei* in Portuguese (king, worth 12).

The game may be played by two players. Two teams of two players may play; less commonly three teams of two can play. The players sit so that play alternates from one team to the other.

The game is played until a team finishes a game with 30 points or more. The 30 points are commonly split into two halves, the lower half called *malas* in Spanish or *ruins* in Portuguese (bad) and the higher half called *buenas* in Spanish or *boas* in Portuguese (good). Therefore, a team with 8 points would be *ocho malas* or *oito ruins* (8 bad ones), and a team with 21 points would be *seis buenas* or *seis boas* (6 good ones). However, because both teams can score points in one round, it is possible (but rare) for both teams to go over 30 points in one round. Usually as soon as one team goes over 30 points, the game is ended, to prevent a tie. However, sometimes the winner is the one with more points, otherwise another hand is played, until the tie is broken.

Each type of scoring can be bid on to score more points. Bids can be accepted, rejected or upped. Bluffing and deception are fundamental strategies.

Each round has three tricks. The *mano* leads to the first trick by playing one card. Then, counterclockwise, each other player plays one card. The player with the highest card wins the trick. The cards remain face-up on the table during the round. Sometimes the highest cards tie. If these tied cards were played by the same team, that team wins the trick. Otherwise, the trick is called a draw, *parda*. The same *mano* then leads the next trick.

Winning two of three tricks wins a round, equivalent to one point. If one team wins the first two tricks, the third is not played. But if one of the games ends in a *parda*, the team that won the *earlier* of the other two tricks wins the round (e.g. If trick 1 was won by A, trick 2 was won by B, and trick 3 was a draw, A wins the round for having won the earlier trick). That concept is often referred to as "primera vale doble" (first is worth double) If trick 1 is drawn and trick 2 is won by B, the winner of the round is B and a third trick is not played). In the case of two *pardas* (ties), the winner of the remaining trick wins the round. In case of three *pardas*, the *mano* wins the round. The winner of each round is the first to play the next card. If a round is tied, or "parda", the hand plays first.

During play, the teams have multiple opportunities to raise the stakes.

* *Truco* \- Any player can call *truco* at any stage to increase the value of the round to 2 points for the winner team. The challenged team says *quiero* to accept or *no quiero* to refuse; if refused, the round ends with the calling team winning one point.
* *Retruco* \- The team that answered *quiero* to the *truco* can call *retruco* to increase the value of the round to 3 points. It may be said immediately after *truco* or after accepting the bid. The other team must answer *quiero* or *no quiero*; if refused, the round ends with the calling team winning two points.
* *Vale cuatro* \- The team that answered the *retruco* can say this immediately after the *retruco* or after accepting it. This makes the round worth the maximum possible four points; if refused, the round ends with the calling team winning three points.

*Truco* must be accepted explicitly if playing strictly by the rules: if *truco* is said, the only way to accept it is by saying *quiero*, but in a friendly game the players may accept an informal answer such as *veo, dale*. To call *retruco* immediately, it is necessary first to say *quiero* (and the same is true when calling *vale cuatro*). Instead of saying explicitly *quiero*, a player can play a card and it is implied that they accepted. So, for example, the dialogue must be *truco/quiero retruco/quiero vale cuatro*, with none of these words omitted.

A player can play his card face up or face down, in which case it does not count towards the score. A card can be played face down in order to prevent opponents from deducing the value of a remaining card, possible if *envido* or *flor/contraflor* has been played. If a player does not want his opponents to know his cards, which can be done in order to trick them into raising their bets, they can play their card face down. This is not the same as *irse al mazo* (going to the deck), accepting defeat without finishing the hand.

### *Envido*

In games of two people, *envido* must be said before the player plays a card. In team games, the foot and the player to the left of the foot are the ones who say *envido* (when they do, there are already cards played).

*Envido* bids have precedence before *Truco* bids. If one team calls *Truco* and the other calls *Envido*, the *Envido* dialogue must be completed (accepting, increasing or declining it) before the *Truco*.

When *Envido* is said, the challenged team/player can answer in any of these ways:

* *Quiero* \- accepts to take the bet.
* *Envido* \- accepts the 2 points of the first *Envido* and proposes to raise the bet by 2 points.
* *Real envido* \- accepts the 2 points of the first *Envido* and proposes to raise the bet by 3 points.
* *Falta envido* \- if the loser of the bet scores less than 15 points (or is in the "malas" half), the winner will get as many points as the loser needs to get to 15 points, and if the loser of the bet scores more than 15 points, the winner gets as many points as the loser needs to get to 30 points.
* *No quiero* \- refuses to take the last bet. Thus, the challenger team/player earns 1 point if no one raises, and the number of points that were accepted, plus the refuse point (e.g. *Envido-Real Envido-No quiero* is 3 worth points, and *Envido-Envido-Real Envido-No quiero* is worth 5 points).

For *Real envido*, the answers are the same, excepting *Envido* (because it would "lower" the bet). For *Falta Envido*, the answers are also the same as in *Envido*, excepting *Envido* and *Real Envido* (that leaves only *Quiero* and *No quiero*).

Unlike *truco*, *Quiero* and *No quiero* close the bidding, and *Envido* cannot be bid again. In the cases where the bidding is ended with *Quiero*, a comparison of the pairs (*puntos de envido* = "score of *envido*") is performed to see which team/player has the highest and wins the *envido*. To calculate the *puntos de envido*:

* The score of a pair of the same suit is the sum of the values of the cards + 20, with the face cards, Kings (12s), Knights (11s) and *Sotas* (10s), worth 0.
* If the player has no suit pair, then his *puntos de envido* is the value of his highest card, with Kings, Knights and *Sotas* worth 0.
* If playing without *Flor*, in case of having three cards of the same suit, the *puntos de envido* are those of the highest pair of the hand.
* A player is obliged to report his score correctly, even though that can be used later to deduce his cards. For example, if a player has already played a six of spades and they have 27 for envido, they are obliged to report the score correctly, although this reveals that they must hold the ace of spades. If the winner reports his score wrong, the points are given to the other team. The cards must be shown at or before the end of the hand.

The *puntos de envido* are told from the *mano* to the dealer player anticlockwise. A player can pass without stating their score if it is too low to win, thus avoiding revealing information about their cards. In case of a tie, the *mano* or the *mano*'s team has preference. If any player says *son buenas* ("They're good") on behalf of the team they admit defeat without stating their score. It is usual that while telling the *puntos de envido*, the partner of the player with the highest *envido* remains silent unless the other team says a higher *envido*. Then, the silent player either raises or folds.

After finishing the *truco*, the winner of *envido* has to show his cards by placing them on the table and announcing "\[the amount of the envido\] *en mesa*", or, in Argentina "las \[the amount of the *envido*\] *jugadas*" meaning that the announced cards have been played. Failure to do so may be noted by the other team who then takes the points.

The *envido* is referred to in conversation as *tanto*, as saying *envido* always counts as a bid.

### Flor

A *Flor* is three cards of the same suit in the hand. Any player with *Flor* must announce it or risk a penalty. The player with the best *Flor* wins 3 points for each *Flor*. A player without a *Flor* cannot announce one (on the contrary to *Envido*, where any player can announce it).

The call for *Flor* can only be made before playing the first card, by simply saying *Flor*. Then, any other player having *Flor* must announce his/her own (play is suspended, so players without *Flores* wait until the bet is over), going anticlockwise and by saying any of:

* *Flor*: A simple announcement. If nothing more is said, the team having the best *Flor* scores 3 points for each *Flor* announced this way or by an accepted *ContraFlor* (see below).
* *Con Flor me achico*: A player announces that they have *Flor*, but surrenders on behalf of the team. The *Flor* bet is closed and the opponent team scores 3 points for their *Flores* and 1 for the player's surrender.
* *ContraFlor*: A player announces *Flor* and challenges the opponent to answer (see below).
* *ContraFlor al resto*: A player announces *Flor* and proposes to raise the bet to the number of points the leading team needs to win the game plus 3 for each *Flor*.

After calling *ContraFlor*, the challenged team must answer:

* *Con Flor quiero*: the challenged team confirms that each *Flor* will be three points.
* *Con Flor me achico*: The same as above.
* *ContraFlor al resto*: See above.

After *ContraFlor al resto*, the answers are:

* *Con Flor quiero*: Accepts raising the bet to the number of points the leading team needs to win plus 3 per each *Flor*.
* *Con Flor me achico*: See above.

After the bet has been closed by saying *con Flor quiero* or *con Flor me achico*, players announce the *Flores*. The comparison between *Flores* is done as in *Envido*: the values of the three cards are added up plus 20 (Aces to 7 are worth the face value and *Sotas*, Knights and Kings, 0). When two *Flores* have the same suit, the one of that player playing earlier (counting anticlockwise) has precedence. If an earlier player announces a better *Flor*, it is usual to say *son buenas*, admitting defeat but without revealing information about their cards. At the end of the hand, the *Flores* must be shown.

As with all bets in *Truco*, each *Flor* (or surrender) is made on behalf of the team.

In Argentina, *Truco* is oftentimes played without *Flor*, called *Sin Flor*, or *Sin Jardinera* (without the gardenmaid).

#### *Pedir Flor*

This is a penalty for those players that, having a *Flor*, do not announce it. If a player suspects that another is hiding a *Flor*, he/she can challenge this player by saying *Pido Flor*. In the case that the player had actually a *Flor*, the challenger team earns three points. But, if the challenged player shows at least two different cards, his/her team earns one point.

## Tricks

Truco players trick their opponents:

* Playing fast and distracting them through constant conversation and jokes.
* Raising the stakes and bluffing.
* Asking questions with the words *envido* or *truco* while holding the cards (when holding cards, a player is active and can call a bet). For example, assuming players A and C form a team, and B and D the opposing team, Player A may bid *envido* and Player B may ask while being active -- "did he say *envido*?", which effectively raises the stakes. This may entice either A or C to quickly call "quiero", as they may have been fooled into thinking the raise was out of clumsiness and not really intended.
* When holding both a high and a low card, the low is placed in front of the high a and allowing an opponent to glimpse it, to convince them a *truco* is possible.

## *Pica Pica*

In a game of 6, sometimes *Pica Pica* is also played. Instead of two teams of three, opposing players pair up and play a game, adding the resulting points to their team's score. Usually *Pica Pica* is played every other game, but only if a team has 5 or more points, and no team has more than 20 (or 25). *Pica Pica* is also known as *Punta y Hacha*.

This is a way of finishing the game more quickly, because each pair in a pica pica plays a complete hand, with corresponding scores. Therefore, it is possible to have, for example, three *vale cuatro* in the same hand, which quickly raises scores. However, *envidos* and its raises are usually capped (usually 6 points).

## *Truco* in Brazil

*Truco* is popular in Brazil, with many regional variations. The most known versions (*Truco Paulista* and *Truco Mineiro*) use a French deck and different rules. *Truco Paulista* can be known as *Ponta Acima* in some regions.

*Truco* in Brazil is mostly associated with college culture and lifestyle. Students typically sit on a table to play while drinking alcoholic beverages. This scene has been featured in advertising campaigns and it was included in the program of every University "Olympic" Games around the country, known as *Jogos Universitários*. *Truco* can be played by two, three and even four people in each team, which is thought to make it more exciting.

Brazilian *Truco* has a maximum score of 12 points, values hands and cards differently (depending on where the game is played). It is common to use a best-of-three games system.

### *Truco* *Paulista*

*Truco Paulista* is a variety of *Truco* popular in Brazil, originally conceived in the state of São Paulo and is usually played between two teams of two players each. The game is won by the first team to reach 12 points. Each regular round is worth 1 point with some exceptions (see Pointing System).

One player is the first to shuffle and deal. The dealer is allowed to look at the faces of the cards before shuffling so as to be able to place certain cards at certain spots within the deck (e.g. placing the highest-ranking cards together). They are not allowed, however, to browse freely through the deck. After shuffling, the deck must be handed to the player to the left (the *cortador*), who can either reshuffle (without looking at the faces of the cards). cut it or do nothing. The deck (or the part of it chosen by the *cortador*) is then returned to the dealer who deals the cards from the top or bottom of the deck (this is chosen by the *cortador*). The cards must be dealt counter-clockwise, starting with the player to the dealer's right. They can be dealt one at a time or, most commonly, three at a time. If the *cortador* chooses not to reshuffle, they can deal their and their partner's cards in advance.

The players each play one card, starting with the player to the right of the dealer, the *mão* (hand) and ending with the dealer, called the  (foot). The player who played the highest-ranked card wins the trick for the team and begins the subsequent trick.

The rounds consist of a best-of-three tricks. The team that wins two tricks wins the round and gets the point. If the first trick (or first and second tricks) ends in a tie, the winner of the next trick wins the round. If the second or third tricks end in a tie, the winner of the first trick wins the hand. In the rare occasion that all three tricks end in ties, nobody is awarded the point. In the case of a tie, the following trick is started by the player who tied the last trick.

#### *Pointing System*

At any point in *Truco Paulista* during the game any of the players can raise the stakes by saying *truco*. When a player *asks for truco*, the opposing team has three options:

* Accept: the round is now worth three (3) points;
* Fold: the team that asked for *truco* gets one point;
* Raise the stakes even further by *asking for 6* (this can also be done later at any point if the team chooses to accept the *truco*).

If the team chooses to *ask for 6*, the round is now worth six points. The opposing team (the one who asked for *truco*) has the same three options:

* Accept: the round is now worth six points;
* Fold: the team that *asked for 6* gets three points;
* Raise the stakes even further by *asking for 9*.

This system goes on in this same pattern, with the players raising the stakes further to *game* and finally *match.*

When one of the teams reaches 11 points, they play the *mão-de-onze* (round of eleven). In this round, the members of each team can see their partner's cards before the round begins and the team with eleven points may choose to play the round or run away. If they choose to play, the round is worth three points. If they choose to run away, the opposing team is awarded one point. If any of the players ask for *truco* during the round of eleven, the team loses the round. For this reason, if one of the players is dealt an unbeatable hand (having the two best cards at the same time) they may simply show the cards to the rest of the table and win the round without having to play. If both teams reach eleven points, the round must be played.

If one of the players receives fewer or more than three cards dealt by a member of the opposing team, they can point out this error after the round has begun and win the round. If the error is pointed out before the hand begins the deck must be shuffled and the cards dealt again.

In *Truco Paulista* the cards are ranked in the following order, from strongest to weakest:

* Trump cards;
* 3s
* 2s
* Aces
* Kings
* Jacks
* Queens
* 7s
* 6;
* 5s
* 4s

8s, 9s and 10s are never included. Upon agreement, the 7s, 6s, 5s, and 4s can be removed from the deck, this is called playing with a clean deck (*jogar com baralho limpo*).

After the cards are dealt, one card from the remainder of the deck is turned over to determine the *trump cards* (*manilhas*), which rank above all others. The trump cards are the cards directly above the one which was turned over (e.g. if the card revealed is a 7, the trump cards are the queens). The strength of a trump card when compared to the others is determined by its suit, with diamonds being the weakest, followed by spades, hearts and clubs being the strongest.

### *Truco Mineiro*

*Truco mineiro* is a variety of *Truco* played mostly in the state of Minas Gerais. The rules are mostly the same as in *Truco Paulista*, except:

* Regular rounds are worth 2 points instead of 1;
* When a player *asks for truco*, they propose the round be worth 4 points; if refused, the team receives 2 points.
* When a player *asks for 6*, they propose the round be worth 8 points; if refused, the team receives 4 points;
* When a player *asks for 9*, they propose the round be worth 10 points; if refused, the team receives 8 points;

The round of eleven is replaced by the roughly similar *round of ten*, except that only the team with ten points is allowed to see each other's cards and that the round is worth four points instead of three. If both teams reach ten points the round must be played and they are not allowed to see each other's cards.

*Truco mineiro* uses a fixed set of trump cards, so there is no need to turn one card over after dealing to determine them (the order of the suits remain the same, however). The ranking of the cards is:

* 4 of clubs (known as *zap*)
* 7 of hearts
* Ace of spades (known as *espadilha*)
* 7 of diamonds (known as *pica fumo* or simply *sete de ouros*)
* 3s
* 2s
* Aces (except the ace of spades)
* Kings
* Jacks
* Queens
* 7s (clubs and spades only)
* 6s
* 5s
* 4s (except the 4 of clubs)

The game can also be played with only the cards up to the Queens, removing 4 through 7.

## *Señas* (signals)

*Señas* are gestures used between players of the same team to tell the *pie* (captain) their most valuables cards or if they have a good *envido* score. In some versions the official *señas* must be used, rather than private ones not generally understood. In the Argentine game the accepted *señas* are:

* *Ancho de Espadas* (Ace of swords) - Both eyebrows up or wink with the right eye.
* *Ancho de Bastos* (Ace of clubs) - Wink with the left eye.
* *Siete de Espadas* (Seven of swords) - With lips closed, slightly move the right side to the right.
* *Siete de Oro* (Seven of coins) - With lips closed, slightly move the left side to the left.
* *Tres* (any three) - Slowly and gently move the lower lip inside and take it back out slightly biting it with the two front teeth.
* *Dos* (any two) - With lips closed, move them to the outside as if they were simulating a kiss. The lips remain closed.
* *Ancho Falso* (Ace of cups and ace of coins) - Mouth open for few seconds or inflate the cheeks.
* High score for *envido* \- Shrink the middle of the face in such a way that the skin of the nose shrinks too. Another usual gesture is to slightly (and quickly) tilt your head towards the shoulder.
* Low or no score for *truco* \- Blink both eyes.
* 12, 11 or 10 - Touch shoulder, chin, triceps of the arm or elbow.

*Señas* are optional; there is no obligation to signal one's cards. The intention is that signals are made to one's partner when opponents are not looking, but they can also be used as a deceptive strategy, making a misleading signal intended to be noticed by the opposition; this is not against the rules.

## *Truco* in Paraguay

In Paraguay, "*truco*" enjoys great popularity, very similar to the Argentine variant but with certain peculiarities. In Paraguayan *truco*, if a player has not yet touched their cards, any calls they do will not be considered as such. Therefore, one of the "tricks" is to make these false calls to gauge the reaction of the distracted opponent. However, if a player already in the game has made a call before, what is said can be considered a response to the invitation.

In all cases, in the most important games, the custom of Paraguayan truco is that the rules are reviewed and agreed upon by the participants before starting the game, or at least the most controversial ones like the "Flor" or the "Falta Envido," given the large number of regional variants.

**The Flower**: There is no uniform rule, so it is customary to agree whether to play with it or not, and whether only during the "bad" (first 15 points) or also during the "good" (last 30 points), before starting the game to avoid inconveniences. If no agreement has been made, the game is played with the Flower during both the bad and good points for the player who calls it, and the game cannot be won with the Flower.

A little-used variant of the Flower, with loosely unified rules, is the "Flor Chaqueña," a play on words with the western region of Paraguay, arid and with scarce vegetation, and consists of having three "Cuatros" in hand. The Flor Chaqueña can award 3 points to the player who has it or grant them the game.

**The Envido**: As a general rule, the "Falta Envido" has a value equal to the points needed for the team closest to completing 30 points.

**The Truco**: It is played to the best of three hands, meaning the point is won by the player who wins two out of three games.

Emparde (Tie): If there is a tie in the first hand (empardar), the player or team that wins the second hand wins the point.

The "Pri": If a team wins the first hand, they will win the point if they tie in the second hand, or if, after losing the second hand, they tie in the third. Hence the expression used, "La pri vale oro" (The Pri is worth gold).

## Jargon (Spanish)

Many informal expressions have become part of the game, such as:

* *Siete bravo* (wild seven) - the seven of spades and the seven of coins are sometimes referred to as wild sevens.
* *Estar cargado* (to be loaded) - to have high score for a potential *envido* or to have a good hand for *truco*.
* *Vení* (come) or *vení acá* (come here) - said by the *pie* to a partner to ask them to play their lowest card, typically because the *pie* expects to play the winning card.
* *Andá allá* (go there) - in a game with teams of three, said to a player by the *pie* to ask them to play their lowest card because the third team member expects to win the hand.
* *Estoy seco* (I'm dry) or *estoy ciego* (I'm blind) - a player says this in relation to an envido or playing a hand if they do not have winning cards.
* *No ha venido* (it hasn't come) - a rhyming response to refuse an *envido*.
* *Va por las tuyas* or *son las tuyas* (play by your own \[cards\]) - said by a player who does not have good cards when *truco* or *envido* is challenged, to tell teammates to decide according to their own cards.
* *Falta un vidrio* \- sometimes said to trick opponents into revealing their score, because it sounds like *falta envido*.
* *Jugála callado* (Play it quietly) - warning teammate not to call *truco* or *envido*.
* *A cara de perro* \- Literally dog-faced; meaning following rules exactly, especially regarding the displaying of *envido*. In friendly games a player is often excused if they forget to show their cards to confirm their stated *envido* score. However, when playing with strangers or for money, games are usually played *a cara de perro*. Another example would be saying "envido", "truco", etc. in conversation; in strict playing this is a call.
* *Está peluda* (it's hairy) - This is said either when a player can win the hand but it leaves them with no other cards or when a player has low cards.
* *Dormir adentro/ dormir afuera* (Sleep inside/ sleep outside) - when a team or sole player makes more/less than 15 points.

### Jargon (Brazil)

* *Baralho Vazio*/*Baralho Limpo* (empty deck/clean deck) - used for the variations where the lowest cards 7s, 6s, 5s and 4s are not used.
* *Baralho cheio*/*Baralho sujo* (full deck/ dirty deck) - uses all the 40 cards.
* Melar/Cangar/Embuchar/Empachar/Amarrar - to play a card of the same value as the highest card at the table.
* *Mão de Onze* (also mão de dez)- When a player (or team) or both players (or teams) has 11 (or 10) points.
* *Mão de Ferro* (also mão escondida)- When both teams have need one point to win so the last round is playable in the dark (*no escuro*) where no one sees the cards. (This option is chosen by the players when both teams agree. Usually played in *Truco Paulista*).
* *Cair* (to fall) - To accept a *Truco*, *Seis* or *Nove*.
* *Correr* (to run) - To quit when the other player (or team) calls *Truco*, *Seis* or *Nove.*
* *Manilhas* \- trump cards.

In *Truco Paulista*, *manilha* are the cards of the next number of the one who was trumped at the beginning of the round. For example: if a 2 is trumped, the *manilha* are the 3s. Then, the strength of each *manilha* depends on the stamp, which follows (strongest to weakest): clubs (*zap*), hearts (*copas*), spades (*espadilha*), diamonds (*pica-fumo*).

* *Mão* (hand) - The first to play.
* (foot) - The last to play.
* *Marreco*/*Pato* (duck) - During the game, the losers are called *patos* or *marrecos*.
* *Turco* (Turk),*Túlio* (a male name),*Suco* (juice)... - words sounding similar to *truco*, used to joke (and scare team partners) during a *Mão de Onze*, when it is not allowed to call *truco* (mostly the play that say *truco* lose the game).
* *Na testa* (to the forehead) - The player with the strongest card in the game, the *Zap*, in order to show complete happiness for winning that round screams *Na testa!* and smashes the card directly to the opponent's forehead, often after licking it.
* *Meio Pau*/*Meio saco* (half dick/half sack)- to call *Seis* (works like a *retruco*). *Meio* means half and *Seis* is 6 (half dozen). However, in many variations, *Seis* does not mean 6 points.
* *Morrer de pau duro* (to die with a boner) - Losing the round despite holding hand the *Zap*.
* *Surra de pau mole* (equivalent to "pig blapping") - This one has many similar meanings. Basically it means winning the game or round on a bluff.
* *Passar de baixo da mesa* (to pass under the table) - When the opponents lose without making any points, they have to literally pass under the table as a punishment. It is used mainly in the southern like in the state of Santa Catarina.
* *A primeira vai à missa* (first hand is golden) - a way to indicate the importance of the first hand.

Jargon is often used to fool the other team.

## InfoBox

Truco
| The four top cards in Truco | |
| --- | --- |
| Origin | Spain |
| Family | Trick-taking |
| Players | 2, 4, or 6 |
| Skills | Tactics, Strategy |
| Cards | 40 |
| Deck | Spanish,<br>French (Some Brazilian variants) |
| Play | Anticlockwise |
| Playing time | 31 min. |
| Chance | Medium |
| Related games | |
| Aluette  Put  Truc  Truc y Flou | |


title: Luger Boa

abstract: Luger Boa is a New Zealand rock band led by Jimmy Christmas, formerly of The D4. Christmas formed Luger Boa after The D4 decided to take an indefinite break. Christmas describes the band as "pop-oriented", but with the "intensity of The D4". Their album Mutate or Die was released in 2009 and catapulted them into the public view, largely due to Christmas's fame from The D4. They have toured extensively in New Zealand, played at many festivals and opened for Kings of Leon in 2009. They opened for Meat Loaf in October 2011. They won Best Local Rock Song in the 2009 Rock Awards for their single "On My Mind". Their album, "New Hot Nights" was released in New Zealand and Australia on 2 May 2011.

text:
# Luger Boa

**Luger Boa** is a New Zealand rock band led by Jimmy Christmas, formerly of The D4. Christmas formed Luger Boa after The D4 decided to take an indefinite break. Christmas describes the band as "pop-oriented", but with the "intensity of The D4". Their album *Mutate or Die* was released in 2009 and catapulted them into the public view, largely due to Christmas's fame from The D4.

They have toured extensively in New Zealand, played at many festivals and opened for Kings of Leon in 2009. They opened for Meat Loaf in October 2011. They won Best Local Rock Song in the 2009 Rock Awards for their single "On My Mind".

Their album, "New Hot Nights" was released in New Zealand and Australia on 2 May 2011.

1. "Full interview with Luger Boa's Jimmy Christmas". TV3.
2. "Christmas is Coming". Taranaki Daily News. 18 October 2009. Retrieved 13 January 2013.

## InfoBox

| Luger Boa | |
| --- | --- |
| Origin | Auckland, New Zealand |
| Genres | Rock / glam / pop |
| Years active | 2008 (2008)–December 2014 (December 2014) |
| Labels | Stuka Records |
|  | |
| Members | Jimmy Christmas - Vocals
Johnny Lyon - Guitar
Sam Lockley - Guitar
Simon Nicholls - Bass
Joe Mac - Drums |


title: Lugg Island

abstract: Lugg Island is a small island in the Donskiye Islands group lying 2 km (1.2 mi) north-west of Lake Island, off the west end of Breidnes Peninsula, Vestfold Hills, Antarctica. It was first plotted from aerial photos taken by the Lars Christensen Expedition, 1936–37, and was named by the Antarctic Names Committee of Australia for Dr. D. Lugg, medical officer at Davis Station in 1963, who visited the island for biological studies.

text:
# Lugg Island

**Lugg Island** is a small island in the Donskiye Islands group lying 2 km (1.2 mi) north-west of Lake Island, off the west end of Breidnes Peninsula, Vestfold Hills, Antarctica. It was first plotted from aerial photos taken by the Lars Christensen Expedition, 1936–37, and was named by the Antarctic Names Committee of Australia for Dr. D. Lugg, medical officer at Davis Station in 1963, who visited the island for biological studies.

## Important Bird Area

The island forms part of the Magnetic Island and nearby islands Important Bird Area (IBA), comprising Magnetic, Turner, Waterhouse, Lugg, Boyd and Bluff Islands, along with intervening islands and marine area. The site was designated an IBA by BirdLife International because it supports large colonies of Adélie penguins totalling some 29,000 breeding pairs, based on 2012 satellite imagery.

## InfoBox

Lugg Island
| Lugg IslandLocation in Antarctica | |
| --- | --- |
| Geography | |
| Location | Antarctica |
| Coordinates | 68°32′S 77°57′E / 68.533°S 77.950°E / -68.533; 77.950 |
| Administration | |
| Administered under the Antarctic Treaty System | |
| Demographics | |
| Population | Uninhabited |


title: Tsui Wan Estate

abstract: Tsui Wan Estate is a public housing estate in Chai Wan, Hong Kong Island, Hong Kong, near Chai Wan Park, Yue Wan Estate and Tsui Lok Estate. Built on the reclaimed land in Chai Wan, the estate consists of 4 residential blocks completed in 1988. In 1999, some of the flats were sold to tenants through Tenants Purchase Scheme Phase 2. Tsui Lok Estate is a public housing estate in Chai Wan, located near Chai Wan Park, Yue Wan Estate and Tsui Wan Estate. Built on the former site of Yue Wan Temporary Housing Area on reclaimed land in Chai Wan, the estate consists of only 1 residential block built in 1999. Hang Tsui Court is a Home Ownership Scheme court on the reclaimed land in Chai Wan, near Chai Wan Park, Yue Wan Estate, Tsui Wan Estate and Tsui Lok Estate. It has 2 blocks built in 1997.

text:
# Tsui Wan Estate

**Tsui Wan Estate** (Chinese: 翠灣邨) is a public housing estate in Chai Wan, Hong Kong Island, Hong Kong, near Chai Wan Park, Yue Wan Estate and Tsui Lok Estate. Built on the reclaimed land in Chai Wan, the estate consists of 4 residential blocks completed in 1988. In 1999, some of the flats were sold to tenants through Tenants Purchase Scheme Phase 2.

**Tsui Lok Estate** (Chinese: 翠樂邨) is a public housing estate in Chai Wan, located near Chai Wan Park, Yue Wan Estate and Tsui Wan Estate. Built on the former site of Yue Wan Temporary Housing Area (Chinese: 漁灣臨時房屋區) on reclaimed land in Chai Wan, the estate consists of only 1 residential block built in 1999.

**Hang Tsui Court** (Chinese: 杏翠苑) is a Home Ownership Scheme court on the reclaimed land in Chai Wan, near Chai Wan Park, Yue Wan Estate, Tsui Wan Estate and Tsui Lok Estate. It has 2 blocks built in 1997.

## Houses

### Tsui Wan Estate

| Name | Chinese name | Building type | Completed |
| --- | --- | --- | --- |
| Tsui Fuk House | 翠褔樓 | Trident 4 | 1988 |
| Tsui Hong House | 翠康樓 | | |
| Tsui Ning House | 翠寧樓 | | |
| Tsui Shou House | 翠壽樓 | | |

### Tsui Lok Estate

| Name | Chinese name | Building type | Completed |
| --- | --- | --- | --- |
| Tsui Luk House | 翠祿樓 | Small Household Block | 1999 |

### Hang Tsui Court

| Name | Chinese name | Building type | Completed |
| --- | --- | --- | --- |
| Tsui Ching House | 翠晶閣 | NCB (Ver.1984) | 1997 |
| Tsui Ying House | 翠瑩閣 | | |

Hang Tsui Court is in Primary One Admission (POA) School Net 16. Within the school net are multiple aided schools (operated independently but funded with government money) and two government schools: Shau Kei Wan Government Primary School and Aldrich Bay Government Primary School.

## Demographics

According to the 2016 by-census, Tsui Wan Estate had a population of 6,446. The median age was 48.1 and the majority of residents (97.2 per cent) were of Chinese ethnicity. The average household size was 2.9 people. The median monthly household income of all households (i.e. including both economically active and inactive households) was HK$25,000.

## Politics

Tsui Wan Estate, Tsui Lok Estate and Hang Tsui Court are located in Tsui Wan constituency of the Eastern District Council. It is currently represented by Ku Kwai-yiu, who was elected in the 2019 elections.

## Education

Tsui Wan Estate is in Primary One Admission (POA) School Net 16. Within the school net are multiple aided schools (operated independently but funded with government money) and two government schools: Shau Kei Wan Government Primary School and Aldrich Bay Government Primary School.

## InfoBox

| Tsui Wan Estate | |
| --- | --- |
| Tsui Wan Estate | |
|  | |
| General information | |
| Location | 3 Tsui Wan Street, Chai Wan<br>Hong Kong Island, Hong Kong |
| Coordinates | 22°16′05″N 114°14′24″E / 22.2680619°N 114.2399175°E / 22.2680619; 114.2399175 |
| Status | Completed |
| Category | Public rental housing |
| Population | 6,446 (2016) |
| No. of blocks | 4 |
| No. of units | 703 |
| Construction | |
| Constructed | 1988 (1988) |
| Authority | Hong Kong Housing Authority |


title: Michael James MacDonald

abstract: Michael James MacDonald was a union leader, coal miner, volunteer firefighter and politician in Nova Scotia. Born and raised in Cape Breton, the son of James MacDonald, MacDonald worked in the coal mines as a young man in order to support his family following the death of his father. He was involved with the United Mine Workers of America and was president of Local Union 4521 from 1938 until 1941 when he had to quit mining after being seriously injured in a stone fall. He then worked as a salesman for a bakery in Sydney, Nova Scotia, forming a union and becoming its president. MacDonald was also involved in the co-operative movement, helping to find the Reserves Mines Credit Union and serving as its vice-president. He served as a member of the Reserve Mines Volunteer Fire Department for over 60 years having helped establish it in 1934. In the 1945 provincial election, he was elected to the Nova Scotia House of Assembly representing the Nova Scotia Co-operative Commonwealth Federation for Cape Breton Centre. He and CCF leader Russell Cunningham were the only two Opposition members in the legislature until the 1949 provincial election. He would remain a member of the assembly for 18 years. MacDonald served as leader of the CCF from 1953 to 1963, leading the party through the 1956 and 1960 provincial election. Despite the fact that the party received almost 9% of the vote in 1960, MacDonald was the only CCFer returned either time. He stepped down as leader in 1963 and James H. Aitchison became leader of the newly formed Nova Scotia NDP. MacDonald lost his seat in the 1963 provincial election and the NDP would not gain another seat in the House of Assembly until 1970. MacDonald also continued his union work as a business agent for the Retail, Wholesale and Department Store Workers from 1957 until his retirement in 1975 and was involved with the Cape Breton Labour Council and the Nova Scotia Federation of Labour. He also became active in municipal politics, serving on the Cape Breton County Council from 1974 to 1976.

text:
# Michael James MacDonald

**Michael James MacDonald** (August 8, 1909  July 3, 1997) was a union leader, coal miner, volunteer firefighter and politician in Nova Scotia.

Born and raised in Cape Breton, the son of James MacDonald, MacDonald worked in the coal mines as a young man in order to support his family following the death of his father. He was involved with the United Mine Workers of America and was president of Local Union 4521 from 1938 until 1941 when he had to quit mining after being seriously injured in a stone fall. He then worked as a salesman for a bakery in Sydney, Nova Scotia, forming a union and becoming its president.

MacDonald was also involved in the co-operative movement, helping to find the Reserves Mines Credit Union and serving as its vice-president. He served as a member of the Reserve Mines Volunteer Fire Department for over 60 years having helped establish it in 1934.

In the 1945 provincial election, he was elected to the Nova Scotia House of Assembly representing the Nova Scotia Co-operative Commonwealth Federation for Cape Breton Centre. He and CCF leader Russell Cunningham were the only two Opposition members in the legislature until the 1949 provincial election. He would remain a member of the assembly for 18 years.

MacDonald served as leader of the CCF from 1953 to 1963, leading the party through the 1956 and 1960 provincial election. Despite the fact that the party received almost 9% of the vote in 1960, MacDonald was the only CCFer returned either time.

He stepped down as leader in 1963 and James H. Aitchison became leader of the newly formed Nova Scotia NDP. MacDonald lost his seat in the 1963 provincial election and the NDP would not gain another seat in the House of Assembly until 1970.

MacDonald also continued his union work as a business agent for the Retail, Wholesale and Department Store Workers from 1957 until his retirement in 1975 and was involved with the Cape Breton Labour Council and the Nova Scotia Federation of Labour. He also became active in municipal politics, serving on the Cape Breton County Council from 1974 to 1976.

## InfoBox

| Michael James MacDonald | |
| --- | --- |
|  | |
| Leader of the
Nova Scotia Co-operative Commonwealth Federation | |
| **In office**
1953–1963 | |
| Preceded by | Russell Cunningham |
| Succeeded by | James H. Aitchison |
| Member of the Legislative Assembly | |
| **In office**
October 23, 1945  1963 | |
| Preceded by | Douglas MacDonald (CCF) |
| Succeeded by | Mike Laffin (Progressive Conservative) |
| Constituency | Cape Breton Centre |
|  | |
| Personal details | |
| Born | August 8, 1909 |
| Died | July 3, 1997(1997-07-03) (aged 87) |
| Political party | Co-operative Commonwealth Federation/New Democratic Party |
| Occupation | Trade Unionist |
|  | |


title: Martha Dix

abstract: Martha Dix was a German goldsmith and silversmith, as well as the wife of the painter Otto Dix. She was portrayed many times by her husband from 1921 to 1933. A well-known double portrait of the couple appears in the photographer August Sander's portfolio People of the 20th Century (1925).

text:
# Martha Dix

**Martha Dix** (née **Lindner**; other married name **Koch**; July 19, 1895, Cologne – March 6, 1985, Sarrians, France) was a German goldsmith and silversmith, as well as the wife of the painter Otto Dix. She was portrayed many times by her husband from 1921 to 1933. A well-known double portrait of the couple appears in the photographer August Sander's portfolio *People of the 20th Century* (1925).

## Life

Martha Lindner was born in Cologne in 1895 as the youngest of four children into a wealthy middle-class family. Her mother was Maria Juliane Lindner (née Rottluger), and her father was Bernhard Lindner, an insurance director. In addition to her mother tongue, she learned several foreign languages (French, Italian, English and Russian) and piano. In addition to music, she was also interested in fine arts and design from an early age, so she attended the Cologne Sonderbund exhibition when she was 17. She is described as “self-confident, assertive and demanding” and well-educated".

In 1914 she got engaged to the urologist Hans Koch, who basically would have preferred to have a relationship with her sister, five years older than her. The couple married in 1915 while Koch was still in the war; he returned to Düsseldorf due to an injury. where he opened his own art gallery ("Graphinett") after the war.

During this marriage with Koch, Martha gave birth to two children, the son Martin, called "Muggeli" (born 1917) and the daughter Han (born 1920), called "Hanali". A ménage à trois between Maria, Martha and Hans Koch is assumed, as the Cologne gallery owner Karl Nierendorf, who was also in love with Maria, described in his notes.

In October 1921, Otto Dix came to Düsseldorf at the invitation of Johanna Ey and Hans Koch, where he sold the latter two works and received his first portrait commission from him. He worked in the Koch house and the result was the unflattering portrait of Dr. Hans Koch. A love affair quickly developed between Martha Koch and Otto Dix, which culminated in the fact that she went to Dresden with him for a few months before returning to Düsseldorf. Hugo Erfurth's photographs from Dix's circle of friends in Dresden were taken during this early period.

Martha Dix proved that, despite her upper-class background, she was practical and adaptable. For example, she renovated the shared apartment and took care of the everyday things of living together. The two also enjoyed the urban life in the 1920s.

Otto and Martha Dix ("Jim and Mutzli") initially stayed in Düsseldorf. In the autumn of 1925 the family moved with their two and a half year old daughter Nelly into an apartment on Kaiserdamm in Berlin. Martha Dix's father had paid the rent for seven years in advance. In 1927, her son Ursus was born, and in 1928 she gave birth to her youngest son Jan. From 1927, Otto Dix had a professorship at the Dresden Art Academy, from which he was dismissed in 1933 by the National Socialists.

The Dix family first moved to Randegg Castle, which belonged to Hans Koch and initially lived in more or less precarious circumstances, as Dix was also prohibited from exhibiting. In 1935/1936, after the death of her father, Martha Dix had her own house and studio built with her inheritance in Hemmenhofen on the Lake Constance; she herself was registered as the client. The house remained the center of the Dix family's life for decades and this is where the three children grew up. Otto Dix traveled to Dresden until 1943 and annually after 1947, where he had a long-time lover Käthe König, with whom he had a daughter born in 1939. At the end of the war, Otto Dix was once again deployed and was in French captivity until February 1946. Members of the French occupation troops were quartered in the house in Hemmenhofen, which Martha Dix said she was able to come to terms with, among other things, because she spoke French.

Their daughter Nelly died in 1953, and Martha and Otto Dix took their granddaughter Bettina to live with them. After Otto Dix's death in 1969, she adopted Bettina in 1972 and traveled with her to Thailand, Morocco and France. After she had a first heart attack in 1979, Martha Dix moved to Sarrians in Provence, France, to live with her granddaughter Bettina, from where she made further trips to Greece and Turkey.

She handed over the house in Hemmenhofen and the rights to her husband's estate to the Otto Dix Foundation, which she founded in 1983, and whose shareholders were her two sons and granddaughter Bettina Dix-Pfefferkorn.

## Martha portrayed by Otto Dix

Between 1921 and 1933, Otto Dix portrayed Martha as often as otherwise only himself; in total it is the motif in over seventy paintings, watercolors and drawings. No other person plays such a diverse role in the artist's work as Martha. Most of the pictures were done in Düsseldorf, Dresden and Berlin, starting with portrait sketches in October 1921, when the couple was just getting to know each other in the Koch house, to the first representative oil painting that shows her as a complex personality, in black fur with a red hat.

Dix's portraits show his wife in a wide variety of roles. "Sometimes she is a muse and witty companion, sometimes a sophisticated woman, sometimes a mother and family center". However, he never painted them in a sexualized or erotic way, as is known from his other works, where he painted prostitutes and their surroundings. Two drawings from 1923 depicting “Mutzli” waking up in the morning are the ultimate eroticism that can be found in his pictures of Martha.

Dix was also present at the birth of his children, which was unusual for the time - he was drawing - from these experiences the unfinished painting *Birth and Newborn Child on Hands (Ursus)* emerged. This is followed by a whole series of works dealing with the theme of motherhood, children and family, including the painting *The Artist's Family* with clear echoes of traditional depictions of the Holy Family, albeit ironically. The last paintings with Martha Dix as a motif was made in 1928 (*Mrs. Martha Dix I and II*). In 1927 Otto Dix had started the long-term parallel relationship with Käthe König. A penultimate drawing, which differs greatly from the previous illustrations, *Mutz Sitting* was created in 1933, “distant and without illusions”. Martha Dix only reappears as a motif in a picture book from 1955 that was later created for her granddaughter Bettina.


title: Nógrádsáp

abstract: Nógrádsáp is a village in Nógrád County, Hungary with 826 inhabitants (2014).

text:
# Nógrádsáp

**Nógrádsáp** is a village in Nógrád County, Hungary with 826 inhabitants (2014).

1. Nógrádsáp at the Hungarian Central Statistical Office (Hungarian).
2. Nógrádsáp at the Hungarian Central Statistical Office (Hungarian). 2015

## InfoBox

| Nógrádsáp | |
| --- | --- |
|  | |
|  | |
| NógrádsápLocation of Nógrádsáp in Hungary | |
| Coordinates: 47°50′23″N 19°21′18″E / 47.83972°N 19.35500°E / 47.83972; 19.35500 | |
| Country | Hungary |
| Region | Northern Hungary |
| County | Nógrád |
| District | Rétság |
| Area | |
| Total | 15.47 km2 (5.97 sq mi) |
| Population (2015) | |
| Total | 811 |
| Density | 52/km2 (140/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| Postal code | 2685 |
| Area code | +36 35 |
| KSH code | 08387 |


title: Sali

abstract: Sali may refer to:

text:
# Sali

**Sali** may refer to:

## Places

* Sali, Algeria, a town and commune in Reggane District, Adrar Province, south-central Algeria
* Sali, Croatia, a village and a municipality in Zadar County, Croatia
* Sali, Ethiopia, a town in Lay Gayint in the Amhara Region of Ethiopia
* Shali, East Azerbaijan, also Sali, a village in Heris County, East Azerbaijan Province, Iran
* Sali-ye Bozorg, also known as Sālī, a village in Khorramabad County, Lorestan Province, Iran
* Sali-ye Kuchek, also known as Salī, a village in Khorramabad County, Lorestan Province, Iran
* Saly, also known as Sali, a seaside resort area in Thiès Region on the Petite Côte of Senegal

## Rivers

## People

### People with the given name

### People with the surname

## Other uses


title: Veneno Vivo

abstract: Veneno Vivo is an album by Brazilian singer Cássia Eller, released in 1998.

text:
# Veneno Vivo

***Veneno Vivo*** is an album by Brazilian singer Cássia Eller, released in 1998.

## Track listing

1. "Brasil"
2. "Amor Destrambelhado"
3. "Obrigado (Por Ter Se Mandado)"
4. "Vida Bandida"
5. "Billy Negão"
6. "Farrapo Humano"
7. "Nós"
8. "Mis Penas LLoraba Yo"
9. "Todo Amor Que Houver Nessa Vida"
10. "Ponto Fraco"
11. "Faça O Que Quiser Fazer"
12. "Geração Coca-Cola"
13. "Todas As Mulheres Do Mundo"
14. "Eu Queria Ser Cássia Eller"

## InfoBox

| Veneno Vivo | |
| --- | --- |
|  | |
| Live album by Cássia Eller | |
| Released | 1998 |
| Genre | Rock |
| Label | Universal Music |
| Cássia Eller chronology | |
| *Veneno AntiMonotonia*
(1997) ***Veneno Vivo***
(1998) *Com Você... Meu Mundo Ficaria Completo*
(1999) | |


title: Optile

abstract: Optile is a public transport organisation, created in October 2000 from a merger between several private bus companies serving suburban Paris. It regulates bus routes under the authority of Île-de-France Mobilités, the region's transport authority.

text:
# Optile

**Optile** (**Organisation Professionnelle des Transports d'Île-de-France**, or Professional Transport Organisation of Île-de-France) is a public transport organisation, created in October 2000 from a merger between several private bus companies serving suburban Paris. It regulates bus routes under the authority of Île-de-France Mobilités, the region's transport authority.

## Key facts

* 1,070 bus lines
* 1,100 of the 1,300 communes of Île-de-France served
* 24,000 bus stops
* 250 million passenger journeys per year


title: Fort Stanton

abstract: Fort Stanton was a United States Army fort near Lincoln, New Mexico.

text:
# Fort Stanton

**Fort Stanton** was a United States Army fort near Lincoln, New Mexico.

## Army Fort

It was built in 1855 by the 1st Dragoon and the 3rd and 8th Infantry Regiments to serve as a base of military operations against the Mescalero Apaches. Numerous campaigns were fought from 1855 until the 1880s. It was established to protect Hispano and White settlements along the Rio Bonito in the Apache Wars. Kit Carson, John "Black Jack" Pershing, Billy the Kid, Pat Garrett, and Buffalo Soldiers of the 9th Cavalry all lived here.

Confederate forces occupied the outpost in 1861, at the beginning of the American Civil War. This U.S. military fortification was abandoned with the withdrawal of U.S. forces in 1896.

The fort was originally established in part as the Mescalero Apache reservation. In 1873 the reservation was moved 30 miles southwest to its current location.

## Marine Hospital

In 1899, President William McKinley transferred Fort Stanton property from the War Department to the Marine Hospital Service, converting the military reservation to America's first federal tuberculosis sanatorium.

During World War II, Fort Stanton was used as a detention center for German and Japanese Americans arrested as "enemy aliens," and 411 German nationals taken from the luxury liner *Columbus* in 1939 (officially recorded as "distressed seamen paroled from the German Embassy" since the U.S. was still technically neutral at the time of their capture). The "enemy aliens" were mostly immigrant residents of the U.S. who had been taken into custody as suspected saboteurs shortly after the U.S. entered the war, despite a lack of supporting evidence or access to due process for most internees. The 31 German American internees, labeled "troublemakers" by the Department of Justice, were kept separate from the 17 Japanese Americans (also deemed "troublesome" by authorities) who were transferred to Fort Stanton on March 10, 1945. These new arrivals were deported to Japan later that year.

The hospital was closed in 1953.

## Later history

In 2008, New Mexico governor Bill Richardson announced plans to establish Fort Stanton as a living history venue, Fort Stanton State Monument, and funds to renovate headquarters, officers quarters, and stables.

In 2009, the area around Fort Stanton and Fort Stanton Cave was designated by the U.S. Congress as a National Conservation Area (NCA), with more than 25,000 acres in order to protect a unique cave resource, Snowy River Passage in Fort Stanton Cave National Natural Landmark. Snowy River was discovered in 2001 by members of the Fort Stanton Cave Study Project. The new NCA, called Fort Stanton – Snowy River Cave, is managed by the Bureau of Land Management, Roswell Field Office. The NCA has over 90 miles of multi-use trails for horseback riding, mountain bike riding and hiking. It is the venue of an annual endurance riding event that has grown to be 6 days long. The NCA is joined on its south and northeast boundaries by the Smokey Bear Ranger District of the Lincoln National Forest.

In 2012, members of the Southwestern Region of the National Speleological Society completed a restoration project on the second floor balcony of Building #9, located on the Fort Stanton Quadrangle.

In 2019, a team from AmeriCorps National Civilian Community Corps along with Fort Stanton Staff renovated and restored Fort Stanton's Hidalgo Building into a volunteer dormitory, began restoration on the historic school house, restored an original TB Hut, and expanded the hospital's current exhibit to include two new exhibits.

## Further reading

### Sanitarium

### World War II Internment Center

## InfoBox

|  | |
| --- | --- |
| Fort Stanton | |
| U.S. National Register of Historic Places | |
| U.S. Historic district | |
| New Mexico Historic Site | |
| NM State Register of Cultural Properties | |
|  | |
| Adjutant Office in 2009 | |
|  | |
| Location | 7 mi. SE of Capitan near U.S. 380 |
| Nearest city | Capitan, New Mexico |
| Coordinates | 33°29′40″N 105°31′35″W / 33.49444°N 105.52639°W / 33.49444; -105.52639 |
| Area | 195 acres (79 ha) |
| Built | 1855 (1855) |
| Architectural style | Colonial Revival, Mission/Spanish Revival |
| NRHP reference No. | 73001142 (original)<br>99001679 (increase) |
| NMSRCP No. | 60 |
| Significant dates | |
| Added to NRHP | April 13, 1973 |
| Boundary increase | January 14, 2000 |
| Designated NMHS | August 9, 2007 |
| Designated NMSRCP | May 23, 1969 |