title: Collective work

text:
A collective work is a work that contains the works of several authors assembled and published under the direction of one natural or legal person who owns the copyright in the work as a whole.
Definitions vary considerably from one country to another, but usually treat ownership of the work as a whole as distinct from ownership of the individual contributions, so the individual authors may retain the right to publish their work elsewhere.
It is common for publication of articles on the Internet, when isolated from the context of the overall work, to be considered to be outside of the standard agreement between the author and the owner of the collective work.

General

International agreements

Many countries have agreed to be bound by the terms of the Berne Convention and/or the TRIPS Agreement.

Article 2.5 of the Berne Convention for the Protection of Literary and Artistic Works (Paris Text 1971) specifies: "Collections of literary or artistic works such as encyclopaedias and anthologies which, by reason of the selection and arrangement of their contents, constitute intellectual creations shall be protected as such, without prejudice to the copyright in each of the works forming part of such collections."

Section 10.2 of the TRIPS Agreement, to which members of the World Trade Organization are bound, states, "Compilations of data or other material, whether in machine readable or other form, which by reason of the selection or arrangement of their contents constitute intellectual creations shall be protected as such. Such protection, which shall not extend to the data or material itself, shall be without prejudice to any copyright subsisting in the data or material itself."

Limitation on publisher rights

In general, the author of a contribution to a collective work retains the copyright, and the publisher does not have the right to reuse the contribution in some context other than the collective work without the express consent of the author.
In England it has been held that exploiting the work of a freelance newspaper photographer in a back numbers website was a use that had not been contemplated in the original license and was not covered by the license.
Such reuse would also infringe the journalist's copyright in the United States.
In a 1997 case in the Netherlands it was held that reuse of newspaper articles on a website and CD-ROM went beyond the implied license.
In Germany any attempt by the author to grant rights to exploit their work in a way that was unknown when the contract was made is null and void under the law.
In France, online publication is considered fundamentally different from print publication.

Creative Commons

The Creative Commons legal code for Attribution-NonCommercial 2.0 (CC2.0) defines a collective work as:

The license for a CC2.0 work allows the user to incorporate the CC2.0 work in a collective work in all media and formats whether now known or hereafter devised. The collective work does not have to be released under a Creative Commons license, but access to the incorporated CC2.0 work must be consistent with the CC2.0 license, and the author must be credited.

Common law countries

The British Statute of Anne (1710) was the first copyright law in the world.
The statute is considered a "watershed event in Anglo-American copyright history ... transforming what had been the publishers' private law copyright into a public law grant".
Under the statute, copyright was for the first time vested in authors rather than publishers; it also included provisions for the public interest, such as a legal deposit scheme. The statute was an influence on copyright law in several other nations, including the United States, and even in the 21st century is "frequently invoked by modern judges and academics as embodying the utilitarian underpinnings of copyright law".

Australia

In Australia a collective work is a work composed of separate parts that each attract their own copyright.
An example would be a song in which the author of the music and the author of the lyrics each have copyright in their contribution.
The authors have a moral right to be attributed, but only if they are author of a substantial part and it is reasonable to identify the author.
It may be unreasonable to attribute each author in a collective work such as an encyclopedia.

Canada

Under Canadian copyright law, a collective work means
(a) an encyclopaedia, dictionary, year book or similar work,
(b) a newspaper, review, magazine or similar periodical, and
(c) any work written in distinct parts by different authors, or in which works or parts of works of different authors are incorporated;

When the author of a work is the first owner of copyright, any rights granted by the author revert to his estate.
However, this does not apply to the assignment of the copyright in a collective work or a licence to publish a work or part of a work as
part of a collective work.

Robertson v Thomson Corp,  is a 2006 Supreme Court of Canada decision on the ownership of copyright in published text that are stored in databases.  The ruling held that though a newspaper held the copyright in the collection and the arrangement of freelance articles and in its newspaper, it could not publish the articles within a database.  Publication within the database would remove the articles from the context of the collective work and therefore their publication as such was not within the rights held by the newspaper.
Robertson decided that freelance journalists' copyright can stop the republication of their articles onto databases which display one article at a time but not onto CD-ROMs featuring whole newspapers. The court decided that a CD-ROM in which individual articles may only be viewed in the context of a whole newspaper is not a republication of an individual article as an individual work, but is rather a reproduction of the newspaper as a whole as a work.

United Kingdom

In the United Kingdom section 178 of the Copyright, Designs and Patents Act 1988 (CDPA) defines a collective work as either "(a) a work of joint authorship or (b) a work in which there are distinct contributions by different authors or in which works or parts of works of different authors are incorporated."
The general principle is that authors who contribute to a collective work have the right to control future exploitation in their works unless this is expressly waived in the contract.
The editor receives a separate copyright in the collective work for their efforts as long as they meet the originality standard set by the government.
The copyright law related to collective works does not provide an exception to the general European term of protection of 70 years following death, which would apply to death of the last surviving author.

The Copyright Act 1842 stated that the authors of contributions to collective works did not retain full copyright control over their works. However, they had the right to be paid, the right to refuse consent for additional uses of their work, reversion of copyright after 28 years and (if agreed with the owner of the collective work) the ability to publish their own work.
The 1911 Act, which replaced the 1842 Act, stated that the owner of a collective work would only gain ownership of the copyright of contributions where they had given or promised some valuable consideration and there was no agreement to the contrary.
The author would retain copyright if this could be inferred from the mutual intention of the parties.
Under the Copyright Act 1911, no copyright vests in the proprietor of a collective work unless the author is employed under a contract of service or apprenticeship, or there is an assignment in writing; and when the copyright vests in the proprietor of a periodical by reason of a contract of service or apprenticeship, the author may restrain separate publication.

With the 1911 act the author of a contribution would regain copyright after 25 years, but this would be concurrent with the publisher's right in the collective work.
It was argued that reversion of full rights to the author would have been "a great hardship to proprietors of collective works, particularly of those permanent in nature, such as ecyclopaedias, if they could not have acquired from the author an unfettered right to produce the work at any future time as part of the collective work."
The author could, however, restrain the publisher from transferring or licensing their work to others.
Under the Copyright Act 1956 employees retained copyright in their work unless there was an agreement to the contrary.
The  CDPA removed the waiver on employee rights.

United States

In the Copyright law of the United States, the Copyright Act of 1976, section 101, defines a collective work as "a work, such as a periodical issue, anthology, or encyclopedia, in which a number of contributions, constituting separate and independent works in themselves, are assembled into a collective whole".
It is protected as long as the "author" can show that the selection and organization of the contributions is original, and that these contribution can themselves be protected, as opposed to being mere facts such as statistical data.

Article 201 (c) states, "Copyright in each separate contribution to a collective work is distinct from copyright in the collective work as a whole, and vests initially in the author of the contribution. In the absence of an express transfer of the copyright or of any rights under it, the owner of copyright in the collective work is presumed to have acquired only the privilege of reproducing and distributing the contribution as part of that particular collective work, any revision of that collective work, and any later collective work in the same series".
The compiler, or author of the collection, owns copyright in the expression he or she contributed, which is primarily the selection and arrangement of the separate contributions, but may include such things as a preface, advertisements, etc., that the collective author created.
The contributions remain the property of the authors by default, but the property may be passed to the owner of the collective work by contract.
They may also obtain ownership of the contributions if they are works made for hire.

The Supreme Court case of New York Times Co. v. Tasini (2001) concerned free-lance journalists who had been paid for their contributions to paper editions of newspapers and magazines, but their contracts had not covered digital rights for reproduction on CD-ROMs or publication on the Internet.
When the articles were distributed in electronic form a few years later, the court ruled that this did not constitute a revision of the work, because the articles could be accessed individually.
A revision must maintain the articles in their context of origin.
In Faulkner v. National Geographic Enterprises Inc. (2005), a Court of Appeal ruled that an electronic version of a newspaper was a revision of the collective work if it reproduced the paper version identically, including advertisements and photographs.

European countries

"The New Renaissance", the report of the Comité des Sages Reflection Group on Bringing Europe's Cultural Heritage Online, published on 10 January 2011, stated that the public sector had a duty to digitize their cultural heritage. Under the heading of "Ensuring wide access to and use of digitised public domain material" the report stated:

The Copyright Term Directive of 2006 was intended to address the second concern, but has not been effective in harmonizing the terms and definitions.
It does state that the term of protection for works whose right-holder is a legal person, as well as for collective works, is 70 years after the work is made available to the public.
It also states that where "the natural persons who have created the [collective] work are identified as such in the versions of the works which are made available to the public" the duration of protection is 70 years after the death of the last surviving author.
However, there is no standard European definition of the terms "works of joint authorship" and "collective works", so each country must define laws and make legal decisions over when a work with multiple authors is a work of joint authorship, collective work or simply a collection of separate works.

Czech Republic

In the Czech Republic a collective work is a work that is created with the participation of more than one authors at the initiative and under the management of a natural person or of a legal entity and made available to the public under that person's or entity's name and where the individual contributions involved in the work are not capable of independent use. The work is protected for 70 years after it was made publicly available.

France

The concept of a collective work (œuvre collective) in the copyright law of France is complex, and case law and scholarly views do not always agree.
Bernard Edelman, in his l'œuvre collective : une définition introuvable (1998), describes the legal definition of collective works as "obscure and tangled".
However, all authorities agree that the concept of an oeuvre collective in France covers dictionaries, encyclopaedias and periodical works such as newspapers or magazines.

A "collective work" in France is a work created at the initiative of a natural or legal person who edits it, publishes it and discloses it under his direction and name and in which the personal contributions of the various authors who participated in its production are merged in the overall work for which they were conceived, without it being possible to attribute to each author a separate right in the work as created.
"A collective work shall be the property, unless proved otherwise, of the natural or legal person under whose name it has been disclosed.  The author's rights shall vest in such person."
"In the case of ... collective works, the term of the exclusive right shall be 70 years from January 1 of the calendar year following that in which the work was published."

It does not matter whether the contributors are identified or remain anonymous.
The maître takes all the ownership rights in a collective work, and these rights are directly vested in the maître rather than transferred from the contributors, as long as the maître directed the creative process enough for it to be considered a collective work.
In a 22 March 2012 decision the French Supreme Court (Cour de cassation) stated that "the natural or legal person at the initiative of a collective work is vested with the author's rights over this work and, in particular, the moral rights prerogatives".
Each contributor to the collective work retains the moral rights to their contribution.

The rise of the Internet has opened new questions about the rights of the authors of contributions to a collective work.
When a newspaper is reproduced in its entirety the reproduction falls under the collective work regime.
Publication in successive editions of a newspaper during the course of the day, each of which reproduces a large part of the previous edition, is not seen as publication in another newspaper.
Electronic publication of the entire newspaper could therefore be seen as an edition of the same collective work.
However, partial or selective reproduction may require the agreement of the contributors.
Further, the contributors to a newspaper may have the right to separately publish a thematic selection of articles without infringing the rights of the owner of the collective work.

Germany

The main relevant law in Germany is the Copyright Act of 9 September 1965, the Gesetz über Urheberrecht und verwandte Schutzrechte  (UrhG).
German copyright law defines collective works as collections of works, data, or other independent elements, provided that the collection itself is a personal intellectual creation (UrhG, sec. 4 para 1), in other words: a work as defined by UrhG, sec. 2 para 2.
The authors grant the rights of exploitation to a third party who decides what works to include in the collection.
The difference from a work of joint authorship is that it is practical to separately exploit the parts of a collective work, while that cannot be done with parts of a work of joint authorship.
It is possible to distinguish between the collection as a work and the parts as different works.

Since the authors retain copyright in their contributions, both the authors and the creator of the collective work must consent to its exploitation.
The creator and the authors of the contributions may enforce their rights separately.
The copyright term of each contribution is measured from the death of the author of the contribution.
The collective work resembles a joint work in that the author of each contribution may require the consent to alteration or exploitation of all the contributors "if such consent may reasonably be demanded of them".
Two years after granting an exploitation right to an editor, or after delivering the work to the editor, the author can revoke the grant if the work has not been published and the author has been harmed as a result.

Hungary

In Hungary a work shall be regarded as a collective work if the contributions of the authors co-operating in the creation of the work are combined in the product of joint creation in a manner which makes the separate determination of the individual authors' rights impossible.  In the case of a collective work ... the copyright shall be transferred by legal succession to the natural or legal person,   business company or legal entity at whose initiative and under whose instructions the work was created and who published it in his own name.
The term of protection of a collective work shall be seventy years counted from the first day of the year following the first disclosure of the work.

Italy

Article 3 of the Italian Copyright Law defines collective works as formed by "the assembling of works or parts of works possessing the character of a self-contained creation resulting from selection and coordination with a specific literary, scientific, didactic, religious, political or artistic aim, such as encyclopaedias, dictionaries, anthologies, magazines and newspapers". The collective work as a whole is protected for 70 years from publication. For magazines, newspapers and other periodical works, each individual part or issue is given an independent term. The collective works shall be protected as original works, independently and without prejudice to the copyright on the works or parts of works of which they are composed."

Article 7 of the Copyright Law considers the author as the one who organizes and directs the creation of the work: "The author of a collective work is considered to be the person who organizes and directs its creation itself."
What characterizes the collective work is not so much the structural element as the creative coexistence of two levels: that of individual contributions that make up the work and the total ideation of the work and the choice and coordination of contributions or of organization and direction of creative activity carried out by employees.

The individual parts of the collective work are deemed creative works, so the rights to them are retained by their individual creators. This is stated in paragraph 2 of Article 38 of the Copyright Law stating: "The right to use their own contributions separately is reserved for the individual employees of the collective work, in compliance with the agreed terms, and failing that, the following standards."
Moreover, the Article 38 also provides that: "With a collective work, unless otherwise agreed, the right to economic use is with the publisher of the same" where "publisher" means the natural or legal person who assumes the economic risk and bear the costs imposed by the creation and publication of the work.

As part of these works we must therefore distinguish three distinct holders of rights: the author (who organizes and directs its creation), the publisher (who owns only the economic rights) and individual authors.
Article 42 allows the use of a fragment from the collective work by the author provided it indicates the collective work from which it was taken, and the date of publication:
"The author of the article or other work that is reproduced in a collective work shall be entitled to reproduce it in separate publications or collected in a volume, provided that it indicates the collective work from which it is taken and the date of publication."

Kosovo

In Kosovo the copyright in the collective work lasts for seventy years after the lawful disclosure of the work, unless the natural persons who have created the work are identified as such in the versions of the work which are disclosed to the public.
In case of identification of the authors, copyright will last for seventy years from the date of death of the last surviving author.
Property rights and other copyrights pertaining to a database or collective work created during employment are considered to have passed to the employer exclusively and without limitations, unless the contract provides otherwise,

A collective copyright work is a work created by collaboration of several authors, by combining their contribution separately into a whole such as encyclopedias, lexicons, databases, computer programs, collections and similar works at the initiative and under the direction of a natural or legal person as the ordering party.
It is considered that the authors transfer unlimited and exclusive rights to all the material and other copyright in the collective work, unless otherwise provided by contract.
The principal of the collective copyright work has the right to publish and use the work in its own name, but every copy of the work must contain a list of authors participating in
the creation of collective work.

Netherlands

Under Dutch copyright law Article 5 states that "if a literary, scientific or artistic work consists of separate works by two or more persons, the person under whose guidance and supervision the work as a whole has been made or, if there is no such person, the compiler of the various works, shall be deemed the author of the whole work, without prejudice to the copyright in each of the works separately". This could apply to works such as anthologies or encyclopedias.
The term of protection is not specified, so by default the collective work may be assumed to be protected until 70 years after the death of the person deemed to be author of the whole work. If this person is a legal person, protection would be for 70 years after publication.

Norway

In Norway a work is protected for 70 years following the year of death of the author.
In a collective or joint work, this is counted from the death of the longest surviving author.
For a motion picture, the following are considered authors: main director, scriptwriter, dialogue author, and composer of original musical score.

Spain

Under the 1987 copyright law of Spain collections of other works, such as anthologies, and other elements or data that by the selection or arrangement of materials constitute intellectual creations, are considered protected works without prejudice to the rights of the authors of the original works.
A collective work is a work created by the initiative and under the coordination of a natural or legal person who edits and publishes it under their name and consists of the collection of contributions from different authors whose personal contributions are based on autonomous creation, and for whom it is not possible to attribute separately a right over the whole of the work. Unless otherwise agreed, the rights to the collective work belong to the person who publishes and disseminates it under their name.
The duration of rights over a collective work shall be sixty years from the date of its disclosure.
Article 28 of the 1996 revision to this law grants collective works protection for 70 years following  lawful disclosure of the work.

Other countries

Algeria

In Algeria a collective work is protected for 50 years from publication, 50 years from the time it was made accessible to the public if unpublished, or 50 years from the time it is realized that it has not been made available to the public within 50 years of creation.

China

Chinese law is in some ways closer to that of common law countries than to European civil law.
It follows the general principle that ownership is originally vested in the author, but makes an exception with collective works.
Article 11 of the Chinese copyright code states that when a legal entity or organization directs creation of a work and bears responsibility for the work, that entity is considered the author of
the work. All rights vest in the organizational author.

Philippines

Under the copyright law of the Philippines, a "collective work" is a work which has been created by two or more natural persons at the initiative and under the direction of another with the understanding that it will be disclosed by the latter under his own name and that contributing natural persons will not be identified.
When an author contributes to a collective work, his right to have his contribution attributed to him is deemed waived unless he expressly reserves it.

Vanuatu

In Vanuatu a "collective work" is a work created by two or more individuals at the initiative and under the direction of another person on the understanding that (a) the work will be disclosed by that other person under that person's own name; and (b) the identity of the contributing individuals will not be indicated.
The person who initiated and directed the creation of a collective work is the original owner of the economic rights.
A "work of joint authorship" is a work created by two or more authors and in which the contribution of each author is not separate from the contribution of the other author or the contributions of the other authors, but does not include a collective work.
For a collective work (other than an work of applied art) and an audiovisual work protection extends for 50 years on and after the date on which the work: was made; or first made available to the public; first published; whichever date is the latest.

Notes

Sources

Copyright law
Intellectual property law


title: Charles Arthur Brown

text:
Charles Arthur Brown, M.M. (August 20, 1919 – May 14, 1997) was an American-born Catholic missionary and bishop. As a member of the Catholic Foreign Mission Society of America (Maryknoll) he was assigned to missions in Bolivia. He served as the Auxiliary Bishop of the Archdiocese of Santa Cruz from 1957 to 1997.

Early life and education
Charles Brown was born in the Highbridge section of the Bronx, New York, to James and Mary Jane (Sullivan) Brown and was one of 11 children.  He was educated at Sacred Heart School and Cathedral College, a minor seminary for the Archdiocese of New York.  He entered Maryknoll following graduation and entered Venard Apostolic College in Clarks Summit, Pennsylvania.  He completed his studies for the priesthood at Maryknoll Seminary in New York before being ordained a priest on June 9, 1946.

Priesthood
Brown spent his entire career in the Maryknoll Mission in Bolivia.  He did pastoral work in Cochabamba before being the named the National Director of Vocations by the Bolivian bishops in 1953.  In the fall of the same year, he became pastor at St. Peter's parish in La Paz.  Brown also held Maryknoll leadership positions in South America.

Episcopacy
Pope Pius XII appointed Brown as the Titular Bishop of Vallis and Auxiliary Bishop of Santa Cruz on November 29, 1956.  He was consecrated a bishop by Cardinal Francis Spellman at St. Patrick’s Cathedral in New York on February 27, 1957.  The principal co-consecrators were New York Auxiliary Bishop Joseph Flannelly and Coadjutor Bishop Luis Aníbal Rodríguez Pardo of Santa Cruz.  He attended all four sessions of the Second Vatican Council (1962-1965).  He served the diocese, and later, Archdiocese of Santa Cruz as vicar general and helped to organize a pre-seminary.  He remained as the auxiliary bishop until his resignation was accepted by Pope John Paul II in August 1995.

Later life and death
Bishop Brown continued to reside in Santa Cruz, but because his health was declining he was only able to provide limited ministry.  He went to Rome in 1996 at the invitation of Pope John Paul II to celebrate a special Golden Jubilee Mass of thanksgiving at St. Peter’s Basilica for all priests, who like the pope, were ordained in 1946.  Brown was unable to take part in the Mass as he was taken ill. His need for medical treatment became more urgent upon his return to Santa Cruz and he returned to New York. He was treated at New York University Medical Center before moving to St. Teresa’s Residence at Maryknoll.  He spent a few days there before he was hospitalized again and he died on May 14, 1997, at Phelps Memorial Hospital in Tarrytown, New York.  His funeral was celebrated by Cardinal John O'Connor of New York at Our Lady Queen of Apostles Chapel in the  Maryknoll Center.  He had another funeral in Santa Cruz and was laid to rest in the Cathedral-Basilica of San Lorenzo.

References

1919 births
1997 deaths
Religious leaders from the Bronx
American Roman Catholic clergy of Irish descent
American Roman Catholic missionaries
Roman Catholic missionaries in Bolivia
20th-century Roman Catholic bishops in Bolivia
20th-century American Roman Catholic titular bishops
Maryknoll Seminary alumni
Maryknoll bishops
Participants in the Second Vatican Council
American expatriates in Bolivia
Catholics from New York (state)
Roman Catholic bishops of Santa Cruz de la Sierra


title: Darío Scatolaro

text:
Rubén Darío Enrique Scatolaro (born 3 February 1957 in Chajarí (Entre Ríos), Argentina), known as Darío Scatolaro, is an Argentine former professional footballer who played as a midfielder for clubs of Argentina, Chile and Spain.

Clubs
 Boca Juniors 1979
 Real Murcia 1979–1980
 Real Oviedo 1980–1981
 Gimnasia LP 1982–1983
 Deportes La Serena 1984
 Magallanes 1985
 O'Higgins 1986–1988
 San Luis 1989–1990
 Deportes Arica 1991
 Coquimbo Unido 1992–1994
 Magallanes 1995
 Santa Teresa 1996

Personal life
He is the father of the professional footballer Marcelo Scatolaro, who was born in San Bernardo, Santiago de Chile, when he played for Magallanes in Chile.

Honours
O'Higgins
  (1):

Magallanes
 Tercera División de Chile (1):

References

External links

1957 births
Living people
Argentine sportspeople of Italian descent
Argentine men's footballers
Men's association football midfielders
Boca Juniors footballers
Real Murcia CF players
Real Oviedo players
Club de Gimnasia y Esgrima La Plata footballers
Deportes La Serena footballers
Deportes Magallanes footballers
O'Higgins F.C. footballers
San Luis de Quillota footballers
San Marcos de Arica footballers
Coquimbo Unido footballers
Argentine Primera División players
Primera Nacional players
Chilean Primera División players
Primera B de Chile players
Tercera División de Chile players
Argentine expatriate men's footballers
Argentine expatriate sportspeople in Chile
Expatriate men's footballers in Chile
Argentine expatriate sportspeople in Spain
Expatriate men's footballers in Spain
Footballers from Entre Ríos Province


title: Özel Türkbaş

text:
Özel Türkbaş (September 1, 1938 – July 22, 2012) was a Turkish-born actress, model, singer and belly dancer, who helped popularize belly dancing in the US and recorded traditional music aimed at a western audience, including the successful 1969 album Bellydance with Özel Türkbaş: How to Make Your Husband a Sultan.

Life and career
She was born in Manisa, Turkey, and moved to Ankara as a child; her mother was a professional dancer.  She was a member of the State Children's Theatre in Ankara, before starting a singing career with her sister in Istanbul.  During the 1950s, she worked as a model, and also starred in 14 films in Turkey including Gunah Koprusu in 1955, where she met Ayhan Türkbaş who became her husband.  She also represented Turkey at international film festivals.

In 1959 she was invited to the US by a promoter, and began performing dance in clubs.  Franco Zeffirelli then recruited her to play the role of La Orientale in his production of the opera Thais, in Dallas, Texas, with the New York City Ballet.  After the show closed, she continued to tour the country, often performing three 45-minute shows each night and helping to spark a nationwide craze for the style.

She would make her entrance wearing an elaborate cape. Because her agents had told her it was important to establish that she was Turkish or people wouldn't watch her, she began by singing in Turkish. Then she removed the cape. With her veil draped around her torso, she started her dance. She played finger cymbals throughout her set, including floor-work and drum solos. Sometimes she would invite a male audience member up for some humorous volunteer participation.  As her English improved, she developed a monologue and told jokes as well. Usually her jokes involved sultans, harems and other aspects of Turkish culture, just as comics mine their own lives for their material.

She settled in New York City with her husband, and regularly appeared in clubs on Eighth Avenue and in the Catskills. Türkbaş regularly worked with leading musicians, and in 1969 released the album How to Make Your Husband a Sultan, on which she was accompanied by the leading Turkish clarinet player Mustafa Kandıralı, together with violinist Cevdet Çağla, Ahmet Yatman (kanun), Tarik Bulut (piano), Gerhard Rudolph (bass guitar), and Leszlo Kubinyi (drum).  The record contained a complete 17-minute dance routine, together with other traditional songs, and sold an estimated 150,000 copies in the US, and reportedly one million in Turkey.  How To Make Your Husband A Sultan was included in the book 1,000 Recordings To Hear Before You Die.

She followed it up with several further albums including How to Belly Dance for Your Sultan, Dance into Your Sultan's Heart, Alla Turca, and Kismet. She also wrote two books, The Turkish Cookbook by Ozel and The BellyDancer in You.

After she retired from performing, she and her husband owned restaurants and invested in real estate, owning properties in Manhattan and Long Island.  She died in New York in 2012 at the age of 73.

References

External links
  How To Make Your Husband A Sultan at Allmusic.com
 Interview with Özel Türkbas and others

1938 births
2012 deaths
People from Manisa
Turkish emigrants to the United States
Belly dancers


title: Erkan Inan

text:
Erkan Inan (born 7 November 1989) is a Swedish-Turkish professional basketball player who last played for the Solna Vikings of the Swedish Basketligan. He has also previously played in the Turkish Basketball League and the Turkish Basketball Second League.

Professional career
Inan began his professional career with the Solna Vikings in 2007–08 as he averaged 0.5 points in 12 games as a rookie. The Vikings went on to win the 2008 Basketligan championship.

In 2008, Inan moved to Turkey and signed with Genç Banvitliler where he averaged 4.4 points and 1.9 rebounds in 22 games in 2008–09. He started the 2009–10 season with Banvitliler as well but in December 2009, he left the club and joined Banvit B.K. where he played out the rest of the season.

In 2010, Inan signed with TTNet Beykoz for the 2010–11 season where he had a career-best year with averages of 15.9 points, 4.2 rebounds, 2.5 assists and 1.5 steals in 17 games.

In August 2011, Inan signed with Trabzonspor for the 2011–12 season. In January 2012, he left Trabzonspor and signed with Genç Telekom for the rest of the season.

Following the death of his father in April 2012, Inan returned to Sweden and signed with 08 Stockholm for the 2012–13 season. However, an injury sustained in December 2012 ruled him out for the rest of the season. In 14 games, he averaged 11.6 points, 4.0 rebounds and 2.9 assists per game.

On August 17, 2013, Inan signed with the Solna Vikings for the 2013–14 season, returning to the club for a second stint.

Personal
Inan's father, Mehmet, died in April 2012 after a long battle with cancer. His brother, Serkan, is also a professional basketball player; the two played alongside each other with the Solna Vikings in 2013–14.

References

External links
Eurobasket.com profile
TBLStat.net profile
ProBallers.com profile
FIBA.com profile

1989 births
Living people
Bandırma B.İ.K. players
Beykozspor basketball players
People from Sundbyberg Municipality
Swedish men's basketball players
Swedish people of Turkish descent
Solna Vikings players
Trabzonspor B.K. players
08 Stockholm Human Rights players
Point guards
Shooting guards
Sportspeople from Stockholm County


title: College Ward, Utah

text:
College Ward is an unincorporated community in Cache County, Utah, United States.

The community is located in the southern Cache Valley along U.S. routes 89/91, approximately midway between Wellsville and Logan, the county seat. The city of Nibley borders College Ward to the east.

History
This area was part of a tract of more than  that Brigham Young donated in 1877 for the endowment of Brigham Young College. The first settlers leased plots of land and moved here in 1879.

Demographics

See also

References

External links
1968 Masters Thesis from Utah State University, THE HISTORY OF COLLEGE AND YOUNG WARDS, CACHE COUNTY, UTAH by John A. Hansen

Unincorporated communities in Cache County, Utah
Unincorporated communities in Utah


title: This Is How (disambiguation)

text:
This Is How is a 2012 self-help book by Augusten Burroughs.

This Is How also may refer to:

"This Is How", song by Silverstein from This Is How the Wind Shifts  2013
"This Is How", song by DJ Ghastly from The Mystifying Oracle
This Is How, a 2009 novel by M. J. Hyland
"This Is How (We Want You to Get High)", a song by George Michael released on the soundtrack of the 2019 film Last Christmas


title: Baby Mine (song)

text:
"Baby Mine" is a song from the 1941 Disney animated feature Dumbo. The music is by Frank Churchill, with lyrics by Ned Washington. Betty Noyes recorded the vocals for the original film version.  In the film, Dumbo's mother, Mrs. Jumbo, an elephant locked in a circus wagon, cradles her baby Dumbo with her trunk while this lullaby is sung. It is also the last appearance of the circus animals.

The song was nominated for an Academy Award for Best Original Song at the 14th Academy Awards in 1942.  It is also listed on AFI's "100 Years... 100 Songs" as one of America's greatest film songs.

Recordings
Early popular recordings include those by Les Brown, Glenn Miller, and Jane Froman, followed by several others; and decades later, the song regained attention.
Bette Midler covered the song on the 1988 Beaches soundtrack. In the same year, Bonnie Raitt and Was (Not Was) recorded the song for the album, Stay Awake: Various Interpretations of Music from Vintage Disney Films.

Alison Krauss recorded the song for the 1996 album The Best of Country Sing the Best of Disney. Her version peaked at number 82 on the RPM Country Tracks chart in Canada. Krauss' cover earned her a Grammy nomination for Best Female Country Vocal Performance in 1997.

Soap actress Kassie DePaiva recorded the song with Jim Brickman for The Disney Songbook.

An instrumental version by violinist Jenny Oaks Baker was included in the Grammy-nominated album Wish Upon a Star, released in 2011.

Brian Wilson recorded his own arrangement of "Baby Mine" on his In the Key of Disney Disney cover album in 2011.

There have been numerous Disney compilation releases of the original, as well as an Original Cast recording from the musical, Disney's On the Record: A New Musical Review

The song is used recurrently in the AMC television drama Halt and Catch Fire as a lullaby that Donna Clark (Kerry Bishé) sings to her daughters.

Sharon Rooney and Arcade Fire covered the song for the 2018-2019 live-action remake of Dumbo, while Norwegian singer Aurora performed the song for the trailer.

The song also features in the 2019 Netflix sci-fi drama I Am Mother, sung by Clara Rugaard and later by Nina Ferro.

References
Notes

Sources

Disney songs
1941 songs
Dumbo
Songs about elephants
Songs written for animated films
Songs with lyrics by Ned Washington
Songs with music by Frank Churchill
Alison Krauss songs
Bette Midler songs
Brian Wilson songs
Kenny Loggins songs
Songs about parenthood
Lullabies
Walt Disney Records singles


title: Spell – Dolce mattatoio

text:
Spell – Dolce mattatoio () is a 1977 Italian film directed by Alberto Cavallone.

Release
Spell was distributed in Italy by Stefano Film on 20 May 1977 as Spell – Dolce mattatoio (). After a short run in Italy, it was released as L'uomo, la donna e la bestia () to capitalize on the popularity of Walerian Borowczyk's La Bête. Cavallone commented on the re-titling of the film as "very irritating" and that the re-release was "definitely a shitty title."

Reception
In contemporary reviews, Leonardo Autera of Corriere della Sera stated that the film was "redundant, clunky, and amateurishly acted and ultimately, lacking any semblance of style"

See also
 List of Italian films of 1977

References

Footnotes

Sources

External links

1977 films
1977 drama films
1970s Italian-language films
Italian drama films
Incest in film
1970s Italian films


title: Leland, Utah

text:
Leland is an unincorporated community in southern Utah County, Utah, United States. Its elevation is . Formerly a separate settlement, it has been largely absorbed into the city of Spanish Fork, with most of the rest being included in boundaries of Benjamin (a census-designated place).

References

Former populated places in Utah County, Utah
Spanish Fork, Utah


title: Church music in Scotland

text:
Church music in Scotland includes all musical composition and performance of music in the context of Christian worship in Scotland, from the beginnings of Christianisation in the fifth century, to the present day. The sources for Scottish Medieval music are extremely limited due to factors including a turbulent political history, the destructive practices of the Scottish Reformation, the climate and the relatively late arrival of music printing. In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, which led to the development of a distinct form of liturgical Celtic chant. It was superseded from the eleventh century by more complex Gregorian chant. In the High Middle Ages, the need for large numbers of singing priests to fulfill the obligations of church services led to the foundation of a system of song schools, to train boys as choristers and priests. From the thirteenth century, Scottish church music was increasingly influenced by continental developments. Monophony was replaced from the fourteenth century by the Ars Nova consisting of complex polyphony. Survivals of works from the first half of the sixteenth century indicate the quality and scope of music that was undertaken at the end of the Medieval period. The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver, who produced complex polyphonic music.

The Reformation had a severe impact on church music. The song schools of the abbeys, cathedrals and collegiate churches were closed down, choirs disbanded, music books and manuscripts destroyed and organs removed from churches. The Lutheranism that influenced the early Scottish Reformation attempted to accommodate Catholic musical traditions into worship. Later the Calvinism that came to dominate was much more hostile to Catholic musical tradition and popular music, placing an emphasis on what was biblical, which meant the Psalms and most church compositions were confined to homophonic settings. James VI attempted to revive the song schools, however, the triumph of the Presbyterians in the National Covenant of 1638 led to and end of polyphony. In the eighteenth century Evangelicals tended to believe only the Psalms of the 1650 Psalter should be used in the services in the church, while the Moderates attempted to expand psalmody in the Church of Scotland to include hymns the singing of other scriptural paraphrases. Lining out began to be abandoned in favour of singing stanza by stanza. In the second half of the eighteenth century these innovations became linked to a choir movement that included the setting up of schools to teach new tunes and singing in four parts. More tune books appeared and the repertory further expanded.

The nineteenth century saw the reintroduction of accompanied music into the Church of Scotland, influenced by the Oxford Movement.  Organs began to be added to churches from the mid-nineteenth century, but they remained controversial and were never placed in some churches. Hymns were also adopted by the main denominations. The American Evangelists Ira D. Sankey and Dwight L. Moody helped popularise accompanied church music in Scotland. In the Scottish Episcopal Church, the Oxford Movement and links with the Anglican Church led to the introduction of more traditional services and by 1900 surpliced choirs and musical services were the norm. In Episcopalian cathedrals and churches that maintain a choral tradition, the repertoire of Anglican church music continues to play an important part of worship.

In the twentieth century ecumenical movements including the Iona Community and the Dunblane Consultations on church music, were highly influential on church music throughout Britain and the United States and there was a return to the composition of choral music.

Middle Ages

Sources
The sources for Scottish Medieval music are extremely limited. These limitations are the result of factors including a turbulent political history, the destructive practices of the Scottish Reformation, the climate and the relatively late arrival of music printing. What survives are occasional indications that there was a flourishing musical culture. There are no major musical manuscripts for Scotland from before the twelfth century. Neither does Scottish music have an equivalent of the Bannatyne Manuscript in poetry, giving a large and representative sample of Medieval work. The oldest extant piece of Church music written in Scotland is in the Inchcolm Fragment. Musicologist John Purser has suggested that the services dedicated to St. Columba in this manuscript and the similar service in the Sprouston Breviary, dedicated to St. Kentigern, may preserve some of this earlier tradition of plain chant. Other early manuscripts include the Dunkeld Music Book and the Scone Antiphoner. The most important collection is the mid-thirteenth century Wolfenbüttel 677 or W1 manuscript, which survives only because it was appropriated from St Andrews Cathedral Priory and taken to the continent in the 1550s. Other sources include occasional written references in accounts and in literature and visual representations of musicians and instruments. The limitations on the survival of Medieval musical manuscripts is partly because of the relatively late development of printing in Scotland, which would mean that only from the mid-sixteenth century do large numbers of printed works survive.

Early Middle Ages

In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant. The development of British Christianity, separate from the direct influence of Rome until the eighth century, with its flourishing monastic culture, led to the development of a distinct form of liturgical Celtic chant. Although no notations of this music survive, later sources suggest distinctive melodic patterns. Celtic chant is thought have been superseded from the eleventh century, as elsewhere in Europe, by more complex Gregorian chant. The version of this chant linked to the liturgy as used in the Diocese of Salisbury, the Sarum Use, first recorded from the thirteenth century, became dominant in England and was the basis for most surviving chant in Scotland. It was closely related to Gregorian chant, but it was more elaborate and with some unique local features. The Sarum rite continued to be the basis of Scottish liturgical music in Scotland until the Reformation and where choirs were available, which was probably limited to the great cathedrals, collegiate churches and the wealthier parish churches it would have been used in the main ingredient of divine offices of vespers, compline, matins, lauds, mass and the canonical hours.

High Middle Ages

In the High Middle Ages, the need for large numbers of singing priests to fulfill the obligations of church services led to the foundation of a system of song schools, to train boys as choristers and priests, often attached to Cathedrals, wealthy monasteries and collegiate churches. The proliferation of collegiate churches and requiem masses in the later Middle Ages would have necessitated the training of large numbers of choristers, marking a considerable expansion of the song school system. Over 100 collegiate churches of secular priests were founded in Scotland between 1450 and the Reformation. They were designed to provide masses for their founders and their families, who included the nobility and the emerging orders of the Lords of Parliament and the wealthy merchants of the developing burghs. From the thirteenth century, Scottish church music was increasingly influenced by continental developments, with figures like the musical theorist Simon Tailler studying in Paris, before returned to Scotland where he introduced several reforms of church music. The Wolfenbüttel 677 manuscript contains a large number of French compositions, particularly from Notre Dame de Paris, beside inventive pieces by unknown Scottish composers.

Late Middle Ages

Monophony was replaced from the fourteenth century by the Ars Nova, a movement that developed in France and then Italy, replacing the restrictive styles of Gregorian plainchant with complex polyphony. The tradition was well established in England by the fifteenth century. The distinctive English version of polyphony, known as the Contenance Angloise (English manner), used full, rich harmonies based on the third and sixth, which was highly influential in the fashionable Burgundian court of Philip the Good, where the Burgundian School associated with Guillaume Dufay developed. In the late fifteenth century a series of Scottish musicians trained in the Netherlands before returning home, including John Broune, Thomas Inglis and John Fety, the last of whom became master of the song school in Aberdeen and then Edinburgh, introducing the new five-fingered organ playing technique. Survivals of works from the first half of the sixteenth century from St. Andrews and St. Giles, Edinburgh, and post-Reformation works from composers that were trained in this era from the abbeys of Dunfermline and Holyrood, and from the priory at St. Andrews, indicate the quality and scope of music that was undertaken at the end of the Medieval period.

Renaissance

The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver (c. 1488–1558), a canon of Scone Abbey. His complex polyphonic music could only have been performed by a large and highly trained choir such as the one employed in the Scottish Chapel Royal. James V was also a patron to figures including David Peebles (c. 1510–79?), whose best known work "Si quis diligit me" (text from John 14:23), is a motet for four voices. These were probably only two of many accomplished composers from this era, whose work has largely only survived in fragments. Much of what survives of church music from the first half of the sixteenth century is due to the diligent work of Thomas Wode (d. 1590), vicar of St Andrews, who compiled a part book from now lost sources, which was continued by unknown hands after his death.

Impact of the Reformation

The Reformation had a severe impact on church music. The song schools of the abbeys, cathedrals and collegiate churches were closed down, choirs disbanded, music books and manuscripts destroyed and organs removed from churches. The Lutheranism that influenced the early Scottish Reformation attempted to accommodate Catholic musical traditions into worship, drawing on Latin hymns and vernacular songs. The most important product of this tradition in Scotland was The Gude and Godlie Ballatis (1567), which were spiritual satires on popular ballads composed by the brothers James, John and Robert Wedderburn. Never adopted by the kirk, they nevertheless remained popular and were reprinted from the 1540s to the 1620s.

Later the Calvinism that came to dominate the Scottish Reformation was much more hostile to Catholic musical tradition and popular music, placing an emphasis on what was biblical, which meant the Psalms. The Scottish Psalter of 1564 was commissioned by the Assembly of the Church. It drew on the work of French musician Clément Marot, Calvin's contributions to the Strasbourg Psalter of 1539 and English writers, particularly the 1561 edition of the Psalter produced by William Whittingham for the English congregation in Geneva. The intention was to produce individual tunes for each psalm, but of 150 psalms 105 had proper tunes and in the seventeenth century, common tunes, which could be used for psalms with the same metre, became more frequent. Because whole congregations would now sing these psalms, unlike the trained choirs who had sung the many parts of polyphonic hymns, there was a need for simplicity and most church compositions were confined to homophonic settings.

During his personal reign James VI attempted to revive the song schools, with an act of parliament passed in 1579, demanding that councils of the largest burghs set up "ane sang scuill with ane maister sufficient and able for insturctioun of the yowth in the said science of musik". Five new schools were opened within four years of the act and by 1633 there were at least twenty-five. Most of those without song schools made provision within their grammar schools. Polyphony was incorporated into editions of the Psalter from 1625, but usually with the congregation singing the melody and trained singers the contra-tenor, treble and bass parts. However, the triumph of the Presbyterians in the National Covenant of 1638 led to the end of polyphony and a new psalter in common metre, but without tunes, was published in 1650. In 1666 The Twelve Tunes for the Church of Scotland, composed in Four Parts, which actually contained 14 tunes and was designed for use with the 1650 Psalter, was first published in Aberdeen. It would go through five editions by 1720. By the late seventeenth century these two works had become the basic corpus of the tunes sung in the kirk.

Eighteenth century

In the eighteenth century there were growing divisions in the kirk between the Evangelicals and the Moderate Party. While Evangelicals emphasised the authority of the Bible and the traditions and historical documents of the kirk, the Moderates tended to stress intellectualism in theology, the established hierarchy of the kirk and attempted to raise the social status of the clergy. In music the evangelicals tended to believe that only the Psalms of the 1650 Psalter should be used in the services in the church. In contrast the Moderates believed that Psalmody was in need of reform and expansion. This movement had its origins in the influence of English psalmondist and hymnodist Isaac Watts (1674–1748) and became and attempt to expand psalmondy in the Church of Scotland to include hymns the singing of other scriptural paraphrases.

From the late seventeenth century the common practice was lining out, by which the precentor sang or read out each line and it was then repeated by the congregation. From the second quarter of the eighteenth century it was argued that this should be abandoned in favour of the practice of singing stanza by stanza. This necessitated the use of practice verses and the pioneering work was Thomas Bruce's The Common Tunes, or, Scotland's Church Musick Made Plane (1726), which contained seven practice verses. The 30 tunes in this book marked the beginning of a renewal movement in Scottish Psalmody. New practices were introduced and the repertory was expanded, including both neglected sixteenth-century settings and new ones. In the second half of the eighteenth century these innovations became linked to a choir movement that included the setting up of schools to teach new tunes and singing in four parts. More tune books appeared and the repertory further expanded, although there were still fewer than in counterpart churches in England and the US. More congregations abandoned lining out.

In the period 1742–45 a committee of the General Assembly worked on a series of paraphrases, borrowing from Watts, Philip Doddridge (1702–51) and other Scottish and English writers, which were published as Translations and Paraphrases, in verse, of several passages of Sacred Scripture (1725). These were never formally adopted, as the Moderates, then dominant in the church, thought they were too evangelical. A corrected version was licensed for private use in 1751 and some individual congregations petitioned successful for their use in public worship and they were revised again and published 1781. These were formally adopted by the assembly, but there was considerable resistance to their introduction in some parishes.

After the Glorious Revolution episcopalianism retrained supporters, but they were divided between the "non-jurors", not subscribing to the right of William III and Mary II, and later the Hanoverians, to be monarchs, and Qualified Chapels, where congregations, led by priests ordained by bishops of the Church of England or the Church of Ireland, were willing to pray for the Hanoverians. Such chapels drew their congregations from English people living in Scotland and from Scottish Episcopalians who were not bound to the Jacobite cause and used the English Book of Common Prayer. They could worship openly and installed organs and hired musicians, following practice in English parish churches, singing in the liturgy as well as metrical psalms, while the non-jurors had to worship covertly and less elaborately. The two branches united in the 1790s after the death of the last Stuart heir in the main line and the repeal of the penal laws in 1792. The non-juring branch soon absorbed the musical and liturgical traditions of the qualified churches.

Catholicism had been reduced to the fringes of the country, particularly the Gaelic-speaking areas of the Highlands and Islands. Numbers probably reduced in the seventeenth century and organisation had deteriorated. Clergy entered the country secretly and although services were illegal they were maintained. The provisions of the Roman Catholic Relief Act 1791, which allowed freedom of worship for Catholics who took an oath of allegiance, were extended to Scotland in 1793 and provided some official toleration. Worship, in chapels within the houses of members of the aristocracy or adapted buildings was deliberately low key. It typically involved an unsung Low Mass in Latin. Any form of musical accompaniment was prohibited by George Hay, who was vicar apostolic of the Lowland District in the period 1778 to 1805.

Nineteenth century

The nineteenth century saw the reintroduction of accompanied music into the Church of Scotland. This was strongly influenced by the English Oxford Movement, which encouraged a return to Medieval forms of architecture and worship. The first organ to be installed by a Church of Scotland church after the Reformation was at St. Andrews, Glasgow in 1804, but it was not in the church building and was used only for weekly rehearsals. Two years later the city council was petitioned to allow it to be moved into the church, but they deferred to the local presbytery, who decided, after much deliberation, that they were illegal and prohibited their use within their jurisdiction. In 1828 the first organ was controversially installed in an Edinburgh church. Around the same time James Steven published his Harmonia Sacra: A Selection of the Most Approved Psalm and Hymn Tunes, provocatively printed a frontispiece showing a small organ. The Church Service Society was founded in 1865 to promote liturgical study and reform and a year later organs were officially admitted to churches. They began to be added to churches in large numbers and by the end of the century roughly a third of Church of Scotland ministers were members of the society and over 80 per cent of kirks had both organs and choirs. However, they remained controversial, with considerable opposition among conservative elements within the church and organs were never placed in some churches.

Similarly, when the Scottish Episcopal Church was able to rebuild after the last post-1688 Penal Laws were finally lifted in 1792, the lingering Anglo-Catholic influence of both the Jacobite Non-juring schism and the later Oxford Movement led to the reintroduction of High Church services and, by 1900, of surpliced choirs and harmonied musical services. A similar pattern occurred following the  success of the 1780-1829 campaign for Catholic Emancipation. As the Catholic Church also left the catacombs and began to rebuild after centuries of religious persecution. Music was reintroduced into the Tridentine Mass and organs began being placed in churches during the early 19th century. By 1820 there were organs in churches in seven towns. For Catholics in the Gàidhealtachd, Fr. Allan MacDonald (1859-1905) anonymously published hymnals in the Scottish Gaelic language at Oban in 1889 and 1893. John Lorne Campbell has since meticulously documented the origins of each hymn in both collections. Some, Fr. MacDonald had collected from those of his parishioners who were well-versed in the oral tradition. Others were his own compositions and literary translations.

Furthermore, as both a musical accompaniment for Low Mass and as an alternative to Calvinist worship - particularly the 17th-century practice of unaccompanied Gaelic psalm singing and precenting the line - Fr. MacDonald also composed a series of sung Gaelic paraphrases of Catholic doctrine about what is taking place during the Tridentine Mass. These paraphrases continued to be routinely sung during Mass upon Benbecula, Barra, South Uist and Eriskay until the aftermath of the Second Vatican Council. Even though the same basic melodies were used by Catholic Gaels on every island, each parish developed its own distinctive style of singing them.

The sung liturgical texts and the tunes  were both transcribed based on recordings made during the 1970s at St. Peter's Roman Catholic Church in Daliburgh, South Uist. They were published for the first time with musical notation in the 2002 bilingual Mungo Books edition of Fr. Allan MacDonald's poetry and songs.

The Free Church that broke away from the kirk in 1843 in the Great Disruption, was more conservative over music, and organs were not permitted until 1883.

Hymns were first introduced in the United Presbyterian Church in the 1850s. They became common in the Church of Scotland and Free Church in the 1870s. The Church of Scotland adopted a hymnal with 200 songs in 1870 and the Free Church followed suit in 1882. The visit of American Evangelists Ira D. Sankey (1840–1908), and Dwight L. Moody (1837–99) to Edinburgh and Glasgow in 1874–75 helped popularise accompanied church music in Scotland. The Moody-Sankey hymnbook remained a best seller into the twentieth century. Sankey made the harmonium so popular that working-class mission congregations pleaded for the introduction of accompanied music.

Twentieth century

In the early twentieth century the Catholic Church in Scotland formalised the use of hymns, with the publication of The Book of Tunes and Hymns (1913), the Scottish equivalent of the Westminster Hymnal. The foundation of the ecumenical Iona Community in 1938, on the island of Iona off the coast of Scotland, led to a highly influential form of music, which was used across Britain and the US. Leading musical figure John Bell (b. 1949) adapted folk tunes or created tunes in a folk style to fit lyrics that often emerged from the spiritual experience of the community. The Dunblane consultations, informal meetings at the ecumenical Scottish Church House in Dunblane in 1961–69, attempted to produce modern hymns that retained theological integrity. They resulted in the British "Hymn Explosion" of the 1960s, which produced multiple collections of new hymns. The growth of a tradition of classical music in Scotland also led to a renewed interest in choral works. Over  30 have been created by James MacMillan (b. 1959), including his St. Anne's Mass (1985), which calls for congregational participation and his Magnificat and Nunc Dimittis (2000) for orchestra and choir.

See also
 Fr. Allan MacDonald
 Gaelic psalm singing
Hymnody in the Anglosphere (article in German)
 Tàladh Chrìosda

References

Scottish music
Scotland
Scottish music history
Christianity in Scotland
Church of Scotland


title: Grabovë e Sipërme

text:
Grabovë e Sipërme (also: Grabova; , ) is a village in Albania inhabited by Aromanians. The village is located in the former municipality of Lenie. At the 2015 local government reform it became part of the municipality Gramsh.

History
Grabova was a medieval town created in the 10th century. Aromanians have left Grabova on several occasions, although the village has never been completely deserted. The first wave of depopulation took place in the 17th century, when Grabova shared the fate of Moscopole and during the inter-war period, starting with 1931, many of Grabovars emigrated to Elbasan and Lushnjë. In 1933, 15 families from the village emigrated to Romania; they initially settled in Southern Dobruja and then, in 1940, in the village of Nisipari, Constanța County, from where they moved to the larger nearby towns (Medgidia, Ovidiu, Constanta). Another important immigration began in 1950, when communist authorities used the craftsmen from Grabova to build the industrial units in Korçë, Pogradec, Gramsh, Elbasan, and Tirana.

In the 18th century the Grabovë Church was built in the village. Owing to its past the town has another 18th century church: the church of Saint Paraskeva () built in 1718, and the school of Simon Baba.

Most common names in Grabova

Family names
Bardhi, Buzo, Cyco, Canuti, Nishku, Trushi, Thano, Verushi.

Male names
Andoni, Kristo, Dhimo, Theodhor (Dhori), Jani, Jorgji, Llambi, Dhionis, Pandeli, Piro, Spiro, Sotir (Sotiraqi), Themistokli, Thoma, Vangjeli, etc.

Female names
Dhimitra, Margarita, Maria, Naunka, Parashqevi, Thomaidha, Violeta (Violta)

Notable people originated from Grabova

Andrei Șaguna, Metropolitan bishop of the Romanian Orthodox Church
Cyril of Bulgaria, the first Patriarch of the restored Bulgarian Patriarchate
Lika Yanko, Bulgarian painter
Çetiri family of painters, icon painters active in central and southern Albania

References

Populated places in Gramsh, Elbasan
Villages in Elbasan County
Aromanian settlements in Albania


The 2014 San Jose State Spartans football team represented San Jose State University in the 2014 NCAA Division I FBS football season. The Spartans were led by second-year head coach Ron Caragher and played their home games at Spartan Stadium. They were members of the Mountain West Conference in the West Division. They finished the season 3–9, 2–6 in Mountain West play to finish in fifth place in the West Division.

Schedule

Schedule Source:

Game summaries

North Dakota

At No. 5 Auburn

At Minnesota

Nevada

UNLV

At Wyoming

At Navy

Colorado State

At Fresno State

Hawaii

At Utah State

At San Diego State

Coaching staff
Ron Caragher returned for his second season as San Jose State head coach. New at defensive coordinator was Greg Robinson, a longtime coach who previously served as defensive coordinator at the University of Texas at Austin in 2013. Robinson's career also included a stint as defensive coordinator for the NFL's Denver Broncos from 1995 to 2000, including the Broncos' Super Bowl-winning seasons in 1997 and 1998.

References

San Jose State
San Jose State Spartans football seasons
San Jose State Spartans football


title: Ridhiwani Kikwete

text:
Ridhiwani Jakaya Kikwete (born 16 April 1979) is a Tanzanian lawyer and CCM politician. He is currently a Deputy Minister of State Office of the President Public Service Management and Good Governance in Tanzania. Member of Parliament for Chalinze Constituency (CCM).

Early life and career
He was educated at Shaaban Robert Secondary and Mkwawa Secondary schools. He then joined the University of Dar es Salaam and graduated with an LLB.

Political career
Ridhiwani is a member of the governing Chama Cha Mapinduzi. In March 2014, he succeeded in being nominated to contest for the Chalinze by-election following the death of Saidi Bwanamdogo. He received 758 (55.6%) of the 1,368 votes cast in the party's internal opinion poll. In April 2014 he won in a landslide victory by more than 86% in Chalinze constituency by-election. In January 2022, he was appointed Deputy Minister of land, housing and human settlements.

Personal life
He is the firstborn of fourth president of Tanzania, Jakaya Kikwete. He married Arafa in 2008.

References

External links

 Ridhiwani has rights to vie for Chalinze parliamentary seat

1979 births
Living people
21st-century Tanzanian lawyers
Chama Cha Mapinduzi politicians
Shaaban Robert Secondary School alumni
Mkwawa Secondary School alumni
University of Dar es Salaam alumni


title: Cabinet, Idaho

text:
Cabinet is a populated place located in Bonner County, Idaho, United States.
Its elevation is .

Population

Its population is 1,137 with 1,085 (95.43%) White, 3 (0.26%) of Black, 19 (1.67%) Hispanic, 3 (0.26%) Asian, 14 (1.23%) Indian, and 4 (0.35%) other. There are 569 males and 568 females and a total of 592 households averaging 2.34 people per household. The average home value is $81,600 and the average income is $23,510.

References

Populated places in Idaho


title: Lajos Szűcs (politician)

text:
Dr. Lajos Szűcs (born 15 September 1964) is a Hungarian jurist and politician, member of the National Assembly (MP) for Dabas (Pest County Constituency XIV) from 2001 to 2014, and for Vecsés (Pest County Constituency VII) since 2014.

Early life
Szűcs finished Puskás Tivadar Secondary Technical School of Telecommunications Engineering with a professional qualification in 1982. He received his degree in public education studies and pedagogy in a distance learning course at Eszterházy Károly Teacher's Training College in Eger in 1992. His second degree is in public administration from the College of Public of Administration in Budapest, obtained in 1998. He studied law at Eötvös Loránd University of Budapest between 1999 and 2008. He is active in several NGOs including the National Civil Guards' Alliance, the Alliance for the Protection of the Village of Ócsa and the Ócsa Club. During the 1990 local elections, he worked as a campaign manager for Ócsa and later as an officer in charge of public education and mayoral affairs in the local mayor's office.

Political career
He founded the Ócsa branch of Fidesz with Attila Buza, mayor of Ócsa in November 1993. He was elected to both the party's county and National Board. In the 1998 parliamentary election, he was again head of campaign and became his personal assistant when Buza had secured a seat in Parliament. In the 1998 local elections, he was elected to the General Assembly of Pest County.

He was elected MP in the by-election held on 13 April 2001 succeeding Attila Buza, who died in a car accident. Szűcs served in the Committee on Health and Social Affairs and Immunity, Incompatibility and Mandate Committee. He was elected incumbent MP in the 2002 election, representing Dabas. He had been on the Committee on Social and Family Affairs since May 2002. He was elected to the local assembly in Ócsa in the October 2002 local elections. He was appointed one of the recorders of the National Assembly in October 2004. In the parliamentary election held in 2006, he was elected MP for Dabas. he was elected member of the Committee on Immunity, Incompatibility and Mandate on 30 May 2006. He served as President of the General Assembly of Pest County between 2006 and 2010. He was elected MP for the fourth time in the 2010 parliamentary election. He was a member of the Municipal and Regional Development Committee from 2010 to 2014. Szűcs was re-elected MP for Vecsés in 2014 and 2018. He is a member of the Legislative Committee and vice-chairman of the Committee on Budgets since 2014.

Non-political career
On 29 January 2011 he was elected President of the Hungarian Tennis Association. On 22 September 2012 he was re-elected. After 4 years, he was confirmed in his position on 10 December 2016. In 2018 the Hungarian taxation authority started investigation against the Federation. In May 2020 the Federation had a deficit of 3.5 billion HUF (10.8 million USD), the whole presidency resigned, except Szűcs and vice president Zsolt Bohács. On 27 July 2020 the Federation elected János Lázár for new president.

References

External links

1964 births
Living people
Hungarian jurists
Fidesz politicians
Members of the National Assembly of Hungary (1998–2002)
Members of the National Assembly of Hungary (2002–2006)
Members of the National Assembly of Hungary (2006–2010)
Members of the National Assembly of Hungary (2010–2014)
Members of the National Assembly of Hungary (2014–2018)
Members of the National Assembly of Hungary (2018–2022)
Members of the National Assembly of Hungary (2022–2026)
Politicians from Budapest


title: Ryosuke Sakazume

text:
is a Japanese short track speed skater. He competed at the 2014 Winter Olympics in the men's 1000 metres and the men's 1500 metres events. He also competed at the 2018 Winter Olympics in the men's 1000 metres and men's 5000 metre relay.

References

External links

1990 births
Living people
Japanese male short track speed skaters
Olympic short track speed skaters for Japan
Short track speed skaters at the 2014 Winter Olympics
Short track speed skaters at the 2018 Winter Olympics
Asian Games medalists in short track speed skating
Asian Games silver medalists for Japan
Asian Games bronze medalists for Japan
Short track speed skaters at the 2011 Asian Winter Games
Short track speed skaters at the 2017 Asian Winter Games
Medalists at the 2011 Asian Winter Games
Medalists at the 2017 Asian Winter Games
21st-century Japanese people


title: ACS Ksar

text:
Association Culturelle et Sportive du Ksar () known as ACS Ksar is a Mauritanian football club based in Nouakchott the capital of the Mauritania. The club plays in the Ligue 1 Mauritania.

History
The club was founded in 1978 in the Ksar neighborhood of Nouakchott. It was known in the 1990s under the name of ASC Sonader Ksar (Association Sportive et Culturelle Sonader Ksar) when it was sponsored by SONADER (Sociètè Nationale pour le Développement Rural).

Ksar won their first title in 1983, their second in 1983.  The club won two consecutive titles in 1993, Ksar first appeared at the continental level in 1992.  Ksar won their recent championship title in 2004 and a year later entered into their recent continental competition and their first and only as the CAF Champions League.

Ksar won their first cup title in 1979 and brought Ksar to their only continental appearance.  Ksar (then also known as SONADER) won two consecutive cup titles in 1994, the club did not enter the continental cup competition.  Their recent cup title was won in 2014.  Ksar won their only Super Cup title in 2014 as Ksar entered as cup winner.

Ksar appeared once in the Arab Champions' League (now the UAFA Club Cup) in the 2005-06 season.

At the continentals, all clubs they challenged were from the westernmost part and the northernmost part of the continent, two are sub-Saharan clubs.

Stadium
Currently the team plays at the 10,000 capacity Stade Olympique (Nouakchott).

Honours
Ligue 1: 5
1983, 1985, 1992, 1993, 2004
Coupe du Président de la République: 5
1979, 1993, 1994, 2014, 2015
Mauritanean Super Cup: 1
2014

League and cup history

Performance in CAF competitions

Performance in UAFA competitions
Arab Cup of Champions Clubs / Arab Champions League / UAFA Club Cup: 1 appearance
2005-06 – First round

Positions
2012-13: 2nd (championship), Semi-finalist (cup)

Statistics
Best position: First round (continental)
Best position at cup competitions: First Round (continental)
Appearances at a Super Cup competition: 2 (national)
Total matches played at the continental competitions: 10
Total matches played at home: 5
Total matches played away: 5
Total number of wins at the continental competitions: 2
Total home wins: 2
Total draws at the continental competitions: 3
Total home draws: 2
Total away draws: 1
Total number of goals scored at the continental competitions: 7
Total goals scored at the Super Cup: 2

References

External links
Team profile – maurifoot.net
Team profile – MauritanieFootball.com
Team profile – soccerway.com

Football clubs in Mauritania

Acs Ksar
Association football clubs established in 1978
1978 establishments in Mauritania


title: Cameo, Colorado

text:
Cameo is an extinct coal mining town located in Mesa County, Colorado, United States. The townsite is located off I-70 Exit 46  at  at an elevation of .

History
The Cameo post office operated from December 14, 1907, until February 28, 1969.  The community was named for a cameo-like formation near the original town site.  The townsite was the location of a coal mine and a coal-fired power plant until both were decommissioned in the early 21st century. The former town is now the location of the Cameo Shooting and Education Complex, established in 2018.

See also

Bibliography of Colorado
Geography of Colorado
History of Colorado
Index of Colorado-related articles
List of Colorado-related lists
List of ghost towns in Colorado
List of post offices in Colorado
Outline of Colorado

References

External links

State of Colorado
History Colorado

1907 establishments in Colorado
Former populated places in Mesa County, Colorado
Geography of Mesa County, Colorado
Ghost towns in Colorado
History of Colorado
Mining communities in Colorado
Populated places established in 1907


title: Naseeb Shaheen

text:
Naseeb Azeez Shaheen ( June 21, 1931 - September 26, 2009) was an American scholar who specialized in Biblical allusions in the work of Shakespeare.

Born in Chicago, he graduated in 1962 from the American University of Beirut in Lebanon with a Bachelor of Arts. In 1965, he received a Master of Arts and, in 1969, a Ph.D. in English Literature from the University of California at Los Angeles. Shaheen was a professor of English Literature at the University of Memphis. His course work included Shakespeare, English Renaissance Literature, and The Bible as Literature.

Shaheen authored four books on the biblical allusions in Shakespeare's plays: tragedies (1987); histories (1989); comedies (1993); a selection of plays (Biblical References in Shakespeare's Plays, 1999).

Selected works
 "Of Oreb, or Of Sinai" English Language Notes (Sep 1971) 9 (1): 25-28.
 "Spenser and the New Testament" American Notes & Queries (Sep 1971) 10 (1): 4.
 "Milton's Muse and the De Doctrina" Milton Quarterly (Oct 1974) 8 (3): 72-76.
 Biblical References in The Faerie Queene, Memphis State University Press (1976).
 "Binder Unbound, Or, How Not to Convert the Jews" Studies in Short Fiction (Summer 1976) 13 (3): 376.
 "Butler's Use of Scripture in the Way of All Flesh" Essays in Literature (Spring 1978) 5 (1): 39-51.
 “Like the Base Judean” Shakespeare Quarterly Vol. 31, No. 1 (Spring, 1980), pp. 93-95.
 "‘Trifles Light as Air': A Note on Othello, III. iii. 313" Notes and Queries (1980) 27 (2): 169-170.
 "A Warning for Fair Women and the Ur-Hamlet" Notes and Queries (1983) 30 (2): 126-127.
 "Misconceptions about the Geneva Bible" Studies in Bibliography Vol. 37, (1984), pp. 156–158.
 "Shakespeare and the Rheims New Testament" American Notes & Queries (Jan/Feb 1984) 22 (5/6): 70.
 "The Incest Theme in Hamlet" Notes and Queries (1985) 32 (1): 51-a-51.
 "Shakespeare and the True Tragedy of Richard the Third" Notes and Queries (1985) 32 (1): 32-33.
 "Shakespeare and the Geneva Bible: "Hamlet", I.iii.54" Studies in Bibliography Vol. 38, (1985), pp. 201–203.
 Biblical References in Shakespeare's Tragedies, Newark: University of Delaware Press, (1987) .
 "Shakespeare's Knowledge of the Bible - How Acquired" Shakespeare Studies Vol. 20, (1988), p. 201.
 Biblical References in Shakespeare's History Plays, Newark: University of Delaware Press, (1989), .
 "Biblical References in Love's Labour's Lost" Notes and Queries (1991) 38 (1): 55-56.
 "Shylock's ‘Abram’ in The Merchant of Venice" Notes and Queries (1991) 38 (1): 56-57.
 "Shakespeare, the Psalter, and the Vulgate in "Henry V" Shakespeare Quarterly Vol. 43, No. 1 (Spring, 1992), pp. 71–72.
 "A Young Scholar from Rheims" English Language Notes (Mar 1993) 30 (3): 7.
 "Shakespeare's Knowledge of Italian" Shakespeare Survey (1994) 47: 161. "Studies the Italian narrative sources of William Shakespeare's plays. Shakespeare's acquaintance with John Florio's language manuals; Adherence of Shakespeare's plays to his Italian sources; Evidence in `The Merchant of Venice.'"
 "Shakespeare and the Tomson New Testament" Notes and Queries (1995) 42 (3): 290-291.
 "Biblical Echoes in Troilus and Cressida" Notes and Queries (1996) 43 (2): 160-162.
 "A Note on Troilus and Cressida, II.iii.1–37" Notes and Queries (1997) 44 (4): 503-505.
 "Shakespeare and the Authorized Version" Notes and Queries (1998) 45 (3): 343-345.
 Biblical References in Shakespeare's Plays, Newark: University of Delaware Press, (1999), . "This volume provides a survey of the English Bibles of Shakespeare's day, notes their similarities and differences, and indicates which version the playwright knew best. The biblical references in each of Shakespeare's plays are then analyzed, as are his references to the Prayer Book and the homilies. The question of what constitutes a valid biblical reference is also discussed."
 "Shakespeare and the Bishops' Bible" Notes and Queries (2000) 47 (1): 94-97.
 "The Taverner Bible, Jugge's Edition of Tyndale, and Shakespeare" English Language Notes (Dec 2000) 38 (2): 24.
 "Biblical References in Julius Caesar" Notes and Queries (2002) 49 (2): 226-227.
 "Collecting Pre-King James English Bibles" Private Library (Summer 2003) 6 (2): 52-61.
 "Shakespeare's Sonnet 146" English Language Notes (Jun 2004) 41 (4): 15-19.
 "Henry V and Its Quartos" Shakespeare Newsletter (Fall 2007) 57 (2): 43-48.
 "Ruth 3:15—The ‘He’ and ‘She’ Bibles" 'Notes and Queries' (2009) 56 (4): 621-624.
 Biblical References in Shakespeare's Plays University of Delaware Press, (2011), .

References

Book Reviews by Shaheen
 "Book Review of Shakespeare's Religious Background by Peter Milward (1973)" Shakespeare Studies (1977) 10: 368.
"Book Review of Christian Ritual and the World of Shakespeare's Tragedies by Herbert R. Coursen, Jr. (1976)" Shakespeare Studies (1979) 12: 300.
"Book Review of Shakespeare and the Bible by Steven Marx (2000)" Notes & Queries (Mar 2001) 48 (1): 58.

Reviews of Shaheen's Books
 Keenan, Hugh T. "Book Review of Biblical References in 'The Faerie Queene'''" Library Journal (4/1/1977) 102 (7): 812.
 Schell, Richard. "Book Review of Biblical References in 'The Faerie Queene'" Spenser Newsletter (1977) 8 (1): 11-12.
 Lewis, Cynthia. "Book Review of Biblical References in Shakespeare's Tragedies" Shakespeare Quarterly (Spring 1989) 40 (1): 108-111.
 Dollard, Peter. "Book Review of Biblical References in Shakespeare's Comedies" Library Journal (6/15/1993) 118 (11): 70.
 Evans, Robert C. "Book Review of Biblical References in Shakespeare's Comedies" Sixteenth Century Journal (1994) 25 (3): 707.
 Stritmatter, Roger. "Book Review of Biblical References in Shakespeare’s Comedies" Elizabethan Review (Autumn 1995) 3 (2).
 Nichols, Heidi L. "Book Review of Biblical References in Shakespeare's Plays" Sixteenth Century Journal (Spring 2000) 31 (1): 290-292.
 "Book Review of Biblical References in Shakespeare's Plays" Shofar: An Interdisciplinary Journal of Jewish Studies (Winter 2001) 19 (2): 203.
 Curren-Aquino, Deborah T. "Book Review of Biblical References in Shakespeare's Plays" Shakespeare Quarterly Spring 2001, Vol. 52 (1): 148.
 Beauregard, David. "Book Review of Biblical References in Shakespeare's Plays" Religion & the Arts Sep 2001, Vol. 5 (3): 317-330.

 Further reading
 McRary, Amy. "UT Special Collections acquires rare Bibles from Memphis estate", The Knoxville (TN) News-Sentinel'', Feb 18, 2012.

External links
 Finding Aid for the Shaheen Shakespeare Research Collection, 1940-2006, at The University of Tennessee Libraries, Special Collections, Knoxville

Shakespearean scholars
American biblical scholars
1931 births
2009 deaths
American academics of English literature


title: 2014 Michigan Attorney General election

text:
The 2014 Michigan Attorney General election took place on November 4, 2014, to elect the Attorney General of Michigan. Incumbent Republican Attorney General Bill Schuette was re-elected to a second term in office with 52.11% of the vote.

Republican Party

Candidates

Declared
 Bill Schuette, incumbent Attorney General

Democratic Party

Candidates

Declared
 Mark Totten, law professor at Michigan State University and candidate for the State Senate in 2010

Withdrew
 Godfrey Dillard, attorney and candidate for Michigan's 15th congressional district in 1996 (running for Secretary of State)

Minor parties

Libertarian Party
 Justin Altman, attorney

Green Party
 John Anthony La Pietra, attorney, nominee for Secretary of State in 2010 and nominee for Calhoun County Clerk and Register of Deeds in 2008 and 2012

Taxpayers Party
 Gerald Van Sickle, nominee for attorney general in 2002 and 2010

General election

Polling

Results

References

External links
 Bill Schuette for Attorney General
 Mark Totten for Attorney General
 John Anthony La Pietra Attorney General

Attorney General
Michigan Attorney General elections
November 2014 events in the United States
Michigan


title: Marcus Martin

text:
Marcus Martin (born November 29, 1993) is an American football guard who is a free agent. He was drafted by the San Francisco 49ers in the third round of the 2014 NFL Draft. He played college football at USC.

Early years
Martin attended Crenshaw High School in Los Angeles, California. As a senior, he helped the team win the 2010 L.A. City Division I championship. He received All-L.A. City,All-State Division 1 first-team, Offense Defense Bowl All-American, Offensive Lineman of the Year and Los Angeles Times All-Star honors.

He was considered a three-star recruit by Rivals.com and was rated as the 28th best offensive guard prospect of his class.

College career
Martin accepted a football scholarship from the University of Southern California. As a true freshman, he started 10 games and earned freshman all-American honors at left guard.

As a sophomore, he started 10 games at left guard. As a junior, he was voted a team captain and moved to center starting 13 games earning 1st team All-Pac-12. He suffered knee and ankle injuries in the season finale against UCLA and did not play in the 2013 Las Vegas Bowl.

He declared for the NFL Draft after his junior season. During his college career he had 20 starts at center and 13 at left guard.

Professional career

San Francisco 49ers
Martin was selected by the San Francisco 49ers in the third round (70th overall) of the 2014 NFL Draft. He was the second center to be selected and one of three USC Trojans to be selected that year. As a rookie, he suffered a dislocated kneecap in the third preseason game against the San Diego Chargers and was forced to miss the first two months of the regular season. He started the last 8 games at center, after replacing Daniel Kilgore who broke his leg in the seventh game against the Denver Broncos.

In 2015, he was named the starter at center over Kilgore. He had 14 starts, with 13 coming at center and one and at right guard.

In 2016, he was passed on the depth chart by Kilgore. He appeared in four games, starting 2 at left guard, before being placed on the injured reserve list with an ankle injury on December 31. He was waived on March 8, 2017.

Cleveland Browns
On March 9, 2017, Martin was claimed off waivers by the Cleveland Browns. He did not play any snaps during the season as a backup behind Austin Reiter.

Dallas Cowboys
On March 26, 2018, Martin signed as a free agent with the Dallas Cowboys. He came into training camp out of shape and struggled. He suffered a torn ligament in the right big toe during the preseason opener against the San Francisco 49ers and was placed on injured reserve on August 13.

Seattle Seahawks
On May 9, 2019, Martin signed with the Seattle Seahawks. He was released on August 31, 2019.

Detroit Lions
On September 23, 2020, Martin was signed to the Detroit Lions' practice squad. He was elevated to the active roster on November 7 and December 19 for the team's weeks 9 and 15 games against the Minnesota Vikings and Tennessee Titans, and reverted to the practice squad after each game. He was released on December 22, 2020.

New England Patriots
On December 28, 2020, Martin was signed to the New England Patriots active roster. He was placed on injured reserve on August 24, 2021. He was released on September 2, 2021 with an injury settlement.

References

External links
USC Trojans bio

1993 births
Living people
Crenshaw High School alumni
Players of American football from Los Angeles
American football centers
USC Trojans football players
San Francisco 49ers players
Cleveland Browns players
Dallas Cowboys players
Seattle Seahawks players
Detroit Lions players
New England Patriots players


title: Márta Talabér

text:
Márta Talabér (born January 27, 1972) is a Hungarian social pedagogue and politician, member of the National Assembly (MP) for Várpalota (Veszprém County Constituency V) from 2010 to 2014. She was elected mayor of Várpalota in the 2010 local elections.

References

1972 births
Living people
Hungarian educators
Hungarian women educators
Fidesz politicians
Mayors of places in Hungary
Members of the National Assembly of Hungary (2010–2014)
Women members of the National Assembly of Hungary
People from Veszprém
21st-century Hungarian women politicians


title: 2003 Davis Cup Asia/Oceania Zone Group III

text:
The Group III tournament was held July 23–27, in Kuala Lumpur, Malaysia, on outdoor hard courts.

Format
The eight teams were split into two groups and played in a round-robin format. The top two teams of each group advanced to the promotion pool, from which the two top teams were promoted to the Asia/Oceania Zone Group II in 2004. The bottom two teams of each group were placed in the relegation pool, from which the two bottom teams were demoted to the Asia/Oceania Zone Group IV in 2004.

Pool A

Results of Individual Ties

Pool B

Results of Individual Ties

Promotion pool
The top two teams from each of Pools A and B advanced to the Promotion pool. Results and points from games against the opponent from the preliminary round were carried forward.

Results of Individual Ties

Kuwait and Malaysia promoted to Group II for 2004.

Relegation pool
The bottom two teams from Pools A and B were placed in the relegation group.  Results and points from games against the opponent from the preliminary round were carried forward.

Results of Individual Ties

United Arab Emirates and Kyrgyzstan demoted to Group IV for 2004.

References

2003 Davis Cup Asia/Oceania Zone
Davis Cup Asia/Oceania Zone


title: Barela, Colorado

text:
Barela is a populated place located in Las Animas County, Colorado.
Its elevation is 5,761 feet.

A post office called Barela was established in 1874, and remained in operation until 1931. The community is named after Casimiro Barela, a member of the Colorado General Assembly who co-authored the Constitution of Colorado.

References

Unincorporated communities in Las Animas County, Colorado
Unincorporated communities in Colorado


title: When I Was a Work of Art

text:
When I Was a Work of Art (Lorsque j'étais une oeuvre d'art) is a novel by Éric-Emmanuel Schmitt, a Belgian dramatist and writer. The novel tells the story of a young man who gives up his humanity to an artist, who transforms the young man into a work of art. The novel was published in 2002 (originally in French) and was Schmitt's fourth novel. The novel is based on Faust by Goethe.

Plot
Tazio Firelli, a young man, is about to commit suicide when Zeus-Peter Lama, an eccentric well-known artist, offers to make Tazio want to live. Lama then convinces Tazio to give up his humanity to become a living sculpture named Adam Bis, the first of its kind according to Lama. While being a work of art, Tazio becomes depressed, feeling that he has lost his humanity and his freedom. Tazio then meets a blind painter named Carlos Hannibal and his daughter Fiona. The relationship between the three gives Tazio the will to live again. Fiona then organises a lawsuit, for the purpose of getting back Tazio's liberty. The lawsuit culminates when Lama announces that Tazio is a fake of the original Adam Bis and is hence worthless. Once free, Tazio marries Fiona.

Characters
 The narrator: Tazio Adam Firelli, 20 years old, suicidal and non-existent, who will become the living sculpture "Adam bis"
 Zeus-Peter Lama: a famous contemporary artist
 Dr. Fichet : forensic doctor forced to work for Lama because of his gambling debts
 Carlos Hannibal: great painter of the invisible, lives near Lama's residence
 Fiona Hannibal: daughter of the painter Carlos Hannibal, future wife of Adam
 Enzo and Rienzi Firelli: brothers of Tazio, considered the most beautiful men in the world
 Zoltan: driver of Zeus-Peter Lama
 Titus : servant of Zeus-Peter Lama

Reception
The novel was generally well-received, with a review in the Figaro calling it an "original love story" with "excellent social commentary."

References

External links
http://www.frenchpubagency.com/Title-199175-Fiction-Literature/Lorsque-j%E2%80%99etais-une-oeuvre-d%E2%80%99art.html

2002 Belgian novels


title: Charles Ready Haskell

text:
Charles Ready Haskell was killed in the Goliad massacre.  There is a town and a county, both named Haskell in Texas named after him.

Haskell was a native of Tennessee.

References

People from Texas
1836 deaths
Year of birth missing
Haskell County, Texas


title: Gabul

text:
Gabul () may refer to:
 Gabulan


title: Manuel Octavio Bermúdez

text:
Manuel Octavio Bermúdez Estrada (born October 15, 1961) is a Colombian rapist and serial killer who confessed to killing 21 children in remote areas of Colombia. He has been given the nickname "El Monstruo de los Cañaduzales" ("The Monster of the Cane Fields"). He was sentenced to 40 years in prison.

Biography
Manuel Octavio Bermúdez was born  in Trujillo, Valle del Cauca, Colombia on October 15, 1961, and was orphaned after birth. He was adopted by an abusive mother who threw him off a balcony, breaking his hand and foot. This gave him a permanent limp. He was given to another family in the city of Palmira. His new parents were alcoholics and his father was described as abusive. Bermúdez later had several children of his own.

Bermúdez raped and killed at least 21 children in several towns of Valle del Cauca from 1999 to 2003. He had worked as an ice cream vendor and would lure his victims to corn fields with offers of money for picking corn. Bermúdez would then rape and strangle them to death while sometimes injecting them with a syringe to weary their legs.

The mother of 12-year-old Luis Carlos Gálvez reported his disappearance and Bermúdez had been seen with him. He was arrested on July 18, 2003. Investigators inspected a room he had rented in El Cairo and found newspaper clippings of the murders, syringes, Lidocaine, and the wristwatch Luis Carlos Gálvez was wearing the day he disappeared.

Bermúdez confessed to the murders of 21 children, 17 of whom were found and was sentenced to 25 years in prison on March 20, 2004. He is suspected of killing over 50 children.

See also
 List of serial killers in Colombia
 List of serial killers by number of victims

References

1961 births
1999 murders in Colombia
2003 murders in Colombia
1990s murders in Colombia
2000s murders in Colombia
Colombian murderers of children
Colombian people convicted of murder
Colombian rapists
Colombian serial killers
Living people
People convicted of murder by Colombia
People from Valle del Cauca Department