107th Street–Beverly Hills is one of five Metra stations within the Beverly Hills neighborhood of Chicago, Illinois, along the Beverly Branch of the Rock Island District Line. The station is located at 1901 West 107th Street opposite the intersection of South Walden Parkway,  from LaSalle Street Station, the northern terminus of the line. In Metra's zone-based fare system, 107th Street is in zone C. As of 2018, 107th Street–Beverly Hills is the 121st busiest of Metra's 236 non-downtown stations, with an average of 395 weekday boardings.

As of 2022, 107th Street–Beverly Hills is served by 40 trains (20 in each direction) on weekdays, by 21 trains (10 inbound, 11 outbound) on Saturdays, and by 16 trains (eight in each direction) on Sundays and holidays.

107th Street Station contains its original station house, but is unstaffed. Parking is available along both side of the tracks between 105th Street and 108th Street. South Walden Parkway runs along the west side of the tracks and contains parking lots between the street and the tracks. Although this street terminates at 107th Street, the parking lot continues to 108th Street. On the east side of the tracks, a parking lot runs north from 108th Street behind the west side of Hale Avenue. Between 107th and 105th Streets, another parking lot runs directly between Hale Avenue and the tracks. No bus connections are available.

References

External links

Station from 107th Street from Google Maps Street View

Metra stations in Chicago
Former Chicago, Rock Island and Pacific Railroad stations
Railway stations in the United States opened in 1892


Mark Povinelli (born August 9, 1971) is an American stage, television and movie actor who also does occasional stunt work. Povinelli is also a noted social activist advocating for the rights of others with dwarfism. In June 2017 Povinelli was elected President of the Little People of America, an organization started in 1957 by Billy Barty, which promotes awareness, advocacy and medical assistance for individuals with forms of dwarfism. Povinelli stands 3’ 9½" and weighs 75 pounds (115 cm, 34 kg) as a consequence of spondyloepiphyseal dysplasia congenita (SEDc), a skeletal dysplasia caused by a mutation in the COL2A1 (type II collagen) gene.

Life and career
Povinelli was born in Elyria, Ohio, and is the youngest of four children. His parents and siblings are average-size. His older brother Brian Povinelli is a marketer who inspired Mark's acting career. He is of Italian descent. Povinelli graduated from Our Lady of Good Counsel High School in Wheaton, Maryland in 1989, and then graduated in 1993 from Miami University with a degree in Mass Communications and a minor in Theater Acting.  His repertory encompasses drama, comedy, and fantasy. He has appeared in a wide range of productions, from stage plays by William Shakespeare and Ben Jonson to roles in television series such as Modern Family and Boardwalk Empire, as well as in popular movies including The Polar Express (2004, directed by Robert Zemeckis). Onstage in 2003 in Lee Breuer's production of Henrik Ibsen's A Doll's House, retitled Mabou Mines DollHouse, Povinelli drew praise from The New York Times: "The men embody small-minded convention and stunted possibilities...Mr. Povinelli makes us feel Torvald's repressive sexual virility at every turn." He has characterized his approach to acting for The Village Voice: "Being so tremendously different provides you with an analytical depth ... Like any actor, I try to bring as much of myself to the role I'm playing as possible. Every day I go out I'm made aware of my size. Why should I deny myself the richness of that experience when I go onstage?"

Povinelli starred opposite Robert Pattinson and Oscar winners Reese Witherspoon and Christoph Waltz in the Fox 2011 film Water for Elephants, playing the role of Kinko. The film was adapted from the NY Times bestseller by Sara Gruen and premiered April 2011.

He appeared in Mirror Mirror (2012), which starred Julia Roberts, Armie Hammer (The Social Network), and Lily Collins. In the same year, Povinelli was cast as a series regular on the television series Are You There, Chelsea?, starring Laura Prepon. This made him the first little person ever to be cast as a series regular on a network studio sitcom.

In 2015-2016 he had a recurring role as "The Cat" in the Amazon Studios original Mad Dogs, which also starred Steve Zahn and Michael Imperioli.

Since 2014 Mark can be heard weekly on LA Talk Radio's "Perfectly Imperfect Radio" program.

Personal life
Povinelli currently resides in Los Angeles with his wife, Heather Davis, and their two children. Mark's brother-in-law, Erik Davis, was the 2020 El Presidente of Old Spanish Days Fiesta and is a television executive. Erik lives with his wife Angelique and their dog Joy, just north of Montecito, CA.

Filmography
Films:
 2021: Nightmare Alley - The Major
 2013: Pawn Shop Chronicles - Harry
 2012: The Hot Flashes - Coach Paul Lazarini
 2012: Mirror Mirror - Half Pint
 2011: Water for Elephants - Kinko / Walter
 2008: Beer for My Horses - Merriweather
 2007: Epic Movie - Oompa Loompa

Television:
 2018: My Dinner with Hervé - Billy Barty
 2016: Sigmund and the Sea Monsters - Sigmund
 2016: Still the King - Santonio Trillions
 2015: Mad Dogs - The Cat
 2015: Dog with a Blog - Gary
 2015: Happyish - JJ Keebler
 2013: Anger Management - Little Elvis
 2013: Child of the 70's - Bridges
 2012: Criminal Minds - Mr. Conrad
 2012: Breakout Kings - Kurt Peebles
 2012: Are You There, Chelsea? - Todd, The bartender
 2011: A.N.T. Farm - Officer 39
 2011: Modern Family - Bobby, "Our Children, Ourselves"
 2010: The Whole Truth - Judge Roland Tomassy
 2010: Boardwalk Empire - Kevin Kiley
 2010: 'Til Death -  Luther (2 episodes)
 2010: Cold Case - Nathaniel 'Biggie' Jones '71
 2009: It's Always Sunny in Philadelphia - Tiny (2 episodes)
 2008: Pushing Daisies - Simon
 2003: Charmed - Seamus Fitzpatrick
 2003: The Parkers - Frank Osgood
 2002: The Hughleys - Norman

Awards
2005 Best Actor - Fantasy at the ShockerFest International Film Festival

References

External links

1971 births
Actors with dwarfism
American actors with disabilities
American male film actors
American male stage actors
American male television actors
American people of Italian descent
Living people
Male actors from Ohio
People from Elyria, Ohio


The 1998 Canterbury-Bankstown Bulldogs season was the 64th in the club's history. Coached by Steve Folkes and captained by Simon Gillies then Darren Britt, they competed in the 1998 NRL season's, finishing the regular season 9th (out of 20) to make a top-ten play-off grouping before reaching the grand final which they lost to the Brisbane Broncos.

Match results

Grand final

The 1998 NRL grand final was the conclusive and premiership-deciding game of the 1998 NRL season. It was the first grand final of the re-unified National Rugby League and featured minor premiers and the previous year's Super League premiers, the Brisbane Broncos against the Canterbury-Bankstown Bulldogs. It was to be the first grand final under the National Rugby League partnership's administration and the last to be played at the Sydney Football Stadium. It was also the first time these two sides had met in a grand final.

Brisbane scored first but by half time trailed the Canterbury side 10–12. However, the Brisbane club scored 28 unanswered points in the second half, winning 12–38 and equaling the second highest score for a team in grand final history.

See also
 List of Canterbury-Bankstown Bulldogs seasons

References

Canterbury-Bankstown Bulldogs seasons
Canterbury Bulldogs season


Etna (formerly Miller's Settlement and Columbia, sometimes referred to as Aetna) is an unincorporated community in Tompkins County, New York, United States. It lies at an elevation of 1020 feet (311 m).

References

Hamlets in Tompkins County, New York


The Egherul Mare () is a left tributary of the river Tur in Romania and Hungary. It discharges into the Tur near Túrricse.

References

Rivers of Romania
Rivers of Hungary
Rivers of Satu Mare County
International rivers of Europe


Julieta Cardinali (born October 21, 1977) is an Argentine film and television actress.

Career
Julieta Cardinali began her career in television as the first non-brazilian Paquita at argentinian version of the television show El show de Xuxa hosted by Xuxa. In 1995, she was part of the television program staff of Jugate con todo hosted by Cris Morena. In 1996, she was part of the cast of the television series Montaña rusa, otra vuelta. In 1997, she was part of the cast of the television series Sueltos. In 1997, she was part of the cast of the television series Como pan caliente. In 1997, she was part of the cast of the television series Naranja y media. In 1997, she was part of the cast of the television series Socios y más. In 1998, she was part of the cast of the television series Lo dijo papá. In 1998, she made her film debut, with the movie Buenos Aires me mata. From 1998 to 2000, she was part of the cast of the youth television series Verano del '98. In 2000, she acted in the movie Una noche con Sabrina Love. In 2001, she was part of the cast of the television series Los médicos de hoy. In 2001, she was part of the cast of the television series EnAmorArte. In 2001, she makes a small participation in the television series  El Hacker 2001. In 2002, she was part of the cast of the television series Máximo corazón. In 2002, she was part of the cast of the television series Tiempo final. In 2002, she was part of the cast of the television series Maridos a domicilio. In 2002, she acted in the movie Valentín. In 2003, she was part of the cast of the television series Malandras. In 2003, she was part of the cast of the television series Disputas. In 2003, she acted in the movie El Nominado. In 2004, she was part of the cast of the television series Sangre fría. In 2004, she acted in the movie Un mundo menos peor. In 2005, she was part of the cast of the television series Numeral 15. In 2005, she acted in the movie Un Buda. In 2005, she acted in the movie La Suerte está echada. In 2006, she was part of the cast of the television series El tiempo no para. In 2006, she was part of the cast of the television series Soy tu fan. In 2007, she acted in the movie La Antena. In 2007, she acted in the movie ¿De quién es el portaligas?. In 2008, she acted in the movie 14, Fabian Road. In 2009, she was part of the cast of the television series Rosa, Violeta y Celeste. In 2009, she acted in the movie Tres deseos. In 2009, she acted in the movie El reclamo. In 2010, she was part of the cast of the television series Caín y Abel. In 2011, she was part of the cast of the television series Proyecto Aluvión. In 2012, she was part of the cast of the television series En terapia. In 2012, she acted in the movie Una cita, una fiesta y un gato negro. In 2013, she was part of the cast of the television series Farsantes. In 2013, she was the protagonist of the Spanish miniseries Carta a Eva. In 2013, she was part of the cast of the television series Lynch. In 2013, she acted in the movie Lectura según Justino. In 2014, she was part of the cast of the television series Señores Papis. In 2014, she acted in the movie Necrofobia. In 2014, she acted in the movie Los del suelo. In 2014, she acted in the movie El amor y otras historias. In 2015, she was part of the cast of the television series Viudas e hijos del Rock and Roll. In 2016, she was part of the cast of the television series Los ricos no piden permiso. In 2016, she was part of the cast of the television series Ultimátum. In 2016, she acted in the movie Ataúd blanco. In 2017, she acted in the movie Casi leyendas. In 2018, she was part of the cast of the television series Edha.

Personal life
On  July 23, 2010, she married Andrés Calamaro, whom was her boyfriend for 5 years. On January 9, 2007, she gave birth to the couple's first child, a girl, whom they called Charo Calamaro Cardinali. The couple divorced in 2011.

Filmography

Television

Television Programs

Movies

Theater

Awards and nominations

References

External links

 Julieta Cardinali interview at La Nación by Gabriela Navarra

1977 births
Actresses from Buenos Aires
Argentine film actresses
Living people


Asphalt most often refers to:
 Bitumen, also known as "liquid asphalt cement" or simply "asphalt", a viscous form of petroleum mainly used as a binder in asphalt concrete
 Asphalt concrete, a mixture of bitumen with coarse and fine aggregates, used as a road surface

Asphalt may also refer to:
 Asphalt (1929 film), a German silent film by Joe May
 Asphalt (1964 film), a South Korean film by Kim Ki-young
 Asphalt (novel), an American novel by Carl Hancock Rux
 Asphalt (series), a racing game series produced by Gameloft
 Asphalt, Kentucky
 USS Asphalt (IX-153), a Trefoil-class concrete barge
 Asphalt modified racing, a variant of modified stock car racing using cars designed for asphalt surfaces

See also
 Asphaltum, Indiana
 Shilajit or black asphaltum, an organic-based clay


Movement conservatism is a term used by political analysts to describe conservatives in the United States since the mid-20th century and the New Right. According to George H. Nash (2009) the movement comprises a coalition of five distinct impulses. From the mid-1930s to the 1960s, libertarians, traditionalists, and anti-communists made up this coalition, with the goal of fighting the liberals' New Deal. In the 1970s, two more impulses were added with the addition of neoconservatives and the religious right.

R. Emmett Tyrrell, a prominent right-wing writer, says, "the conservatism that, when it made its appearance in the early 1950s, was called the New Conservatism and for the past fifty or sixty years has been known as 'movement conservatism' by those of us who have espoused it."  Political scientists Doss and Roberts say that "The term movement conservatives refers to those people who argue that big government constitutes the most serious problem.... Movement conservatives blame the growth of the administrative state for destroying individual initiative." Historian Allan J. Lichtman traces the term to a memorandum written in February 1961 by William A. Rusher, the publisher of National Review, to William F. Buckley Jr., envisioning National Review as not just "the intellectual leader of the American Right," but more grandly of "the Western Right." Rusher envisioned philosopher kings would function as "movement conservatives".

Recent examples of writers using the term "movement conservatism" include Sam Tanenhaus, Paul Gottfried, and Jonathan Riehl. New York Times columnist Paul Krugman devoted a chapter of his book The Conscience of a Liberal (2007) to the movement, writing that movement conservatives gained control of the Republican Party starting in the 1970s and that Ronald Reagan was the first movement conservative elected president.

History
Paul Krugman described the rise of movement conservatism in his 2007 book The Conscience of a Liberal as occurring in several phases between 1950 and Reagan's election as president in 1980. These phases included building a conceptual base, a popular base, a business base, and an institutional infrastructure of think tanks. By the 2000s, movement conservatives had substantial control over the Republican Party.

Conceptual base

Author and magazine editor William F. Buckley Jr. was one of the founding members of the movement.  His 1951 book God and Man at Yale argued against Keynesian economics, progressive taxation and the welfare state and gave him a national audience. In 1955, he founded National Review, which provided a platform for arguing the movement conservative viewpoint. His emphasis was on an anti-Communist foreign policy and a pro-business, anti-union  domestic policy. However, in its early days the magazine also included sentiments of white supremacy. In the August 24, 1957 issue, Buckley's editorial "Why the South Must Prevail" spoke out explicitly in favor of segregation in the South. It argued that "the central question that emerges... is whether the White community in the South is entitled to take such measures as are necessary to prevail, politically and culturally, in areas where it does not predominate numerically? The sobering answer is Yes – the White community is so entitled because, for the time being, it is the advanced race.".
When Buckley ran for mayor of New York in 1965, he may have been the first conservative to endorse affirmative action, or, as he called it, “the kind of special treatment [of African Americans] that might make up for centuries of oppression.” He also promised to crack down on labor unions that discriminated against minorities, a cause even his liberal opponents were unwilling to embrace. Buckley pointed out the inherent unfairness in the administration of drug laws and in judicial sentencing. He also advanced a welfare “reform” plan whose major components were job training, education and daycare.

In 1969, in his capacity as founding editor of National Review, launched a decade and a half earlier as a “conservative weekly journal of opinion” that stood in opposition to the dominant liberal ethos of the time, Buckley toured African-American neighborhoods in Cleveland, Detroit, Chicago, San Francisco, Oakland, Los Angeles and Atlanta organized by the Urban League and afterward singled out for special praise “community organizers” who were working “in straightforward social work in the ghettos.” In an article in Look magazine months later, Buckley anticipated that the United States could well elect an African-American president within a decade, and that this milestone would confer the same reassurance and social distinction upon African Americans that Roman Catholics had felt upon the election of John F. Kennedy. That, he said, would be “welcome tonic” for the American soul. This Buckley, who emerged in the years after 1965, bore little resemblance to the one who, eight years earlier in 1957, had penned an editorial he titled “Why the South Must Prevail”.
https://www.politico.com/magazine/story/2017/05/13/william-f-buckley-civil-rights-215129

The movement also gathered support from such disparate sources as libertarian Monetarists like economist Milton Friedman and neoconservatives like Irving Kristol. Friedman attacked government intervention and regulation in the 1950s and thereafter. Other free market economists began rejecting the expansion of the welfare state embodied in President Franklin D. Roosevelt's New Deal. Friedman also associated himself with the 1964 presidential campaign of Barry Goldwater, the first time a movement conservative ran for president, unsuccessfully in this case. Irving Kristol and the magazine The Public Interest were another source of intellectual direction for the movement. During the 1960s, Kristol and his associates argued against the Great Society policies of President Lyndon B. Johnson, which had expanded the welfare state through Medicare and the War on Poverty.

Popular base
Robert W. Welch Jr. founded the John Birch Society in 1958 as a secret grass-roots group to fight Communists, who Welch said controlled much of the American establishment, and whose agents included even Eisenhower himself. Welch used the dues to build an elaborate organizational infrastructure that enabled him to keep a very tight rein on the chapters.  Its main activity in the 1960s, says Rick Perlstein, "comprised monthly meetings to watch a film by Welch, followed by writing postcards or letters to government officials linking specific policies to the Communist menace". After its quick rise in membership William F. Buckley, Jr. and National Review mobilized movement conservatives, including Goldwater himself, to denounce the John Birch Society as an extremist fringe element of the conservative movement.

Ronald Reagan was a key figure in expanding the popularity of movement conservatism from intellectual circles into the popular mainstream, by emphasizing the dangers of an excessively large federal government. In October 1964, Reagan delivered a speech as part of his support for candidate Goldwater titled "A Time for Choosing". The speech represented the ideology of movement conservatism, arguing against big government bureaucracy and welfare while also denouncing foreign aid. The speech was widely applauded and gave Reagan a national audience. He was elected Governor of California in 1966 and 1970.

In the wake of civil rights legislation passed in 1964 and 1968, many white southern Democrats began shifting to the Republican Party.  This ended the exceptionalism of the "one-party South" in presidential elections and brought significant additional political power to the Republican Party, although these voters were not necessarily movement conservatives. In 1994, for the first time the Republicans controlled the majority of the house seats from the South, and by 2014 had gained a virtual monopoly of state and national offices throughout most of the South.

Business base
Movement conservatives embraced an anti-regulation and anti-union message as part of their appeal to business interests, with whom they had common ground in terms of tax policy. For example, in 1958 Barry Goldwater referred to influential union leader Walter Reuther as a "more dangerous menace than the Sputnik or anything Soviet Russia might do to America."  While unions had a strong presence in major northern manufacturing industries, many southern and western states had significantly less union presence, and many business leaders wanted them to remain that way.

Institutional infrastructure

In the late 1960s and 1970s, movement conservatives persuaded wealthy individuals and businesses to establish a conservative intellectual and political infrastructure. This includes think tanks that resemble academic institutions but publish studies supporting conservative and libertarian arguments. The American Enterprise Institute was founded in 1943, but was expanded dramatically with new funding in 1971. The Heritage Foundation was created in 1973, and the Cato Institute was founded in 1974.

Impact of the movement

According to Krugman, movement conservatives drove America's shift to the political right in the 1970s and 1980s and "empowered businesses to confront and, to a large extent, crush the union movement, with huge consequences for both [increasing] wage inequality and the political balance of power." Union representation nationally in the U.S. declined from over 30% in the 1950s to 12% by the early 2000s. Fareed Zakaria stated in November 2016 in describing a book about conservative Alan Greenspan: "It's also a vivid portrait of the American establishment as it moved right from the 1970's to the 1980s and 1990s."

Political roles
Scholars have traced the political role of movement conservatives in recent decades. Political scientist Robert C. Smith reports that in the 1960 presidential election, "While movement conservatives supported Nixon against Kennedy, the support was half-hearted." Smith notes that National Review, edited by William F. Buckley Jr., called Nixon the lesser of two evils.

Historian William Link, in his biography of Jesse Helms, reports that "By the mid-1970s, these movement conservatives wanted to control the Republican Party and, ultimately, the national government."

Phyllis Schlafly, who mobilized conservative women for Reagan, boasted after the 1980 election that Reagan won by riding "the rising tides of the Pro-Family Movement and the Conservative Movement. Reagan articulated what those two separate movements want from government, and therefore he harnessed their support and rode them into the White House."

However, movement conservatives had to compete for President Reagan's attention with fiscal conservatives, businessmen, and traditionalists. Nash (2009) identifies a tension between middle-of-the-road republicans and "movement conservatives." Conservative historian Steven Hayward says, "Movement conservatives bristled at seeing the GOP establishment so well represented in Reagan's inner circle", and they did not realize how well this arrangement actually served Reagan.

To sabotage movement plans, the fiscal conservatives sometimes would leak movement conservatives' plans to the press.

New Left historian Todd Gitlin finds that, "movement conservatives of a religious bent had to be willing to accept a long-term strategy for limiting abortion (via legislation banning partial-birth abortion, and certain statewide bans), rather than go for broke with a probably doomed constitutional amendment."

Movement conservative publications and institutes
 American Enterprise Institute
 The American Spectator magazine, a conservative political magazine
 City Journal, official publication of the Manhattan Institute
 First Things, magazine on religion
 FreedomWorks, a conservative activist group
 The Heritage Foundation, a conservative think tank
 Humanitas, a traditionalist conservative publication
 Independence Institute, a conservative think tank
 Intercollegiate Studies Institute, a traditionalist conservative academic organization
 Leadership Institute, an organization for conservative activists
 Manhattan Institute for Policy Research
 Media Research Center, conservative organization which monitors and reports on liberal media bias
 Modern Age, a traditionalist conservative intellectual journal
 National Review magazine, a conservative political magazine; founded in 1955 by William F. Buckley, Jr.
 Policy Review magazine, a conservative academic magazine
 Project for a New American Century, a neoconservative think tank
 Townhall.com, conservative news, information, and commentary

See also

 Timeline of modern American conservatism

References

Further reading
 Frohnen, Bruce et al. eds. American Conservatism: An Encyclopedia (2006) .
 Perlstein, Rick. "Thunder on the Right: The Roots of Conservative Victory in the 1960s," OAH Magazine of History, Oct 2006, Vol. 20 Issue 5, pp 24–27.

Articles containing video clips
New Right (United States)


Gilbert Joseph "Bus" Griffiths (1913 – September 25, 2006) was a cartoonist, lumberjack, and fisherman.  He was best known for his graphic novel Now You're Logging, published 1978 by Harbour Publishing.  Now You're Logging presented, in cartoon form, a complete look at the techniques, tools, and personalities of logging on the West Coast in the 1930s.

He began drawing cartoons while working as a logger, doing work for Vancouver's Maple Leaf Publishing during World War II and comic strips about logging for BC Lumberman magazine.  He retired from logging in 1961 and began work as a commercial fisherman.  In 1972 he began work on Now You're Logging to document logging in the era before modern technology.  A complete picture is presented of the techniques and lives of the typical logger of the 1930s, with tree felling and log bucking, high climbers, chasers, choker setters, a hooktender, an accident and rescue in the woods, the use of the crosscut saw, rigging, a spar (tree), log transport on both truck and water, and operation of the steam donkey all shown and explained.  This depiction of logging is interwoven with a love story involving one of the loggers and the daughter of a fishing family near their logging camp.

The Comics Journal said about the book in 1996: "a true anomaly: written and drawn by a man with decades of experience in the woods, it's a book with no clear antecedent, more intent on documenting a way of life than telling a story", adding "it might just change your perception of what comics are, what they can do, and why we need them."

He also illustrated the children's book Patrick and the Backhoe by Howard White (Nightwood Editions) and Bush Poems by Peter Trower (Harbour Publishing).

References

 Obituary from Sequential: Comics News and Culture From Canada
 An academic analysis of Now You're Logging from Labour/Le Travail, Canadian Committee on Labour History
 Excerpts from Now You're Logging from the B.C. Forest Discovery Centre website

Bibliography
 1978: Now You're Logging (Harbour Publishing)
 1978: Bush Poems (Harbour Publishing)
 1991: Patrick and the Backhoe (Nightwood Editions)

1913 births
2006 deaths
Canadian editorial cartoonists
Canadian comic strip cartoonists
Canadian graphic novelists
People from Moose Jaw
Artists from Saskatchewan


The Wayne Lyman Morse United States Courthouse is a federal courthouse located in Eugene, Oregon. Completed in 2006, it serves the District of Oregon as part of the Ninth Judicial Circuit. The courthouse is named in honor of former U.S. Senator Wayne Morse who represented Oregon for 24 years in the Senate and was a Eugene area resident. Located in downtown Eugene, the building overlooks the Willamette River.

Standing six stories tall, the  building contains six courtrooms as well offices for the courts and other federal agencies such as the United States Marshals Service. The courthouse also has offices for Oregon's two U.S. Senators and for the U.S. Representative in the district. Designed by architect Thom Mayne, the building has won several design awards and earned Leadership in Energy and Environmental Design (LEED) Gold certification for energy efficiency. The courthouse was the first new federal courthouse to earn LEED Gold certification.

History
In 1999, the General Services Administration (GSA) held a competition to design a new courthouse for Eugene. Architect Thom Mayne of the Morphosis firm won the design competition, though at the time the location for the new courthouse was hypothetical. The new building was replacing the old Eugene Federal Building on High Street and Sixth Avenue in downtown, which did not have room for expansion and did not meet newer security requirements. Design of the new building began in 2001 for the  site. The project was included in the Design in Excellence program, GSA's project that seeks to increase the quality of architecture in federal government projects. The design of the structure received an award from the GSA in 2002.

On April 7, 2004, federal officials held a groundbreaking ceremony at the site for what was estimated to be a $70 million project. The site on East Eighth Avenue and Ferry Street formerly housed an Agripac cannery and is situated along the Willamette River. Local developers and officials hoped the courthouse and a potential new hospital in that area of town would spur further development and revitalize the area. In July 2004, construction began with site preparation including digging out a hole for underground parking. At that time the project was expected to be completed in August 2006.

Plans called for a four-story structure covered with zinc panels on the exterior with a total of , including a three story tall atrium. Plans for zinc on the exterior were later changed to stainless steel due to costs. Designed by Mayne and the DLR Group, the building was to be built using concrete and steel with a goal of earning Leadership in Energy and Environmental Design (LEED) certification for sustainability, with large amounts of natural lighting designed to help secure that distinction. On the outside many security measures were incorporated into the design. The building was to include six courtrooms, administrative offices, and space for the offices of the U.S. Marshals Service. Despite security concerns as a federal building, the architect and judge Michael Robert Hogan sought to have an open feel to the structure. Hogan, the chief judge of the United States District Court for the District of Oregon, was the primary government official tasked with working with the architect to design the courthouse.

J. E. Dunn Construction Group served as the general contractor on the project, with the DLR Group serving as the architect of record and as the electrical engineering firm. KPFF Consulting Engineers did the structural engineer work and GLUMAC International completed the plumbing and mechanical engineering.

On July 11, 2005, the  tall building was topped out and the last steel beam put into place. Construction on the project ended in August 2006 with completion in November. During construction crews removed  of material during excavation at the site, poured  of concrete with  of rebar, used  of structural steel, and on the exterior  of windows and  of stainless steel were used. On December 1, 2006, the $78.8 million Wayne Lyman Morse U.S. Courthouse was dedicated and officially opened. The total cost to complete the project was $96 million. The Morse Courthouse was completed on budget and on time, but due to budget cuts, elements including a rooftop reflecting pool and etching of the United States Bill of Rights onto the exterior were removed from the project. When it opened it became the first new federal courthouse in the United States to earn LEED Gold certification.

Design

The finished building reflected two major influences: Judge Hogan had wanted a more traditional courthouse, similar in style to the United States Supreme Court building, while architect Mayne pushed for a modern glass and steel structure. Though opposed at first to each other's design thoughts, the two worked together to incorporate elements of each person's ideas. After years of working on the design process, including 25 revisions, the two compromised on elements with Hogan responsible for pushing for a set of steps leading to the main floor on the second level as well as the feel of the courtrooms. While Mayne had a reputation as an architect of confrontation and dislocation, this was one of three GSA Design in Excellence programs he had worked on with the artistically conservative federal government. Regarding them, he said: "Obviously, those are buildings that require negotiation. I couldn't be too bad."

The completed design resulted in a curving structure standing five stories tall with  of space. The bottom two floors are covered in glass and house offices, while the top three floors are covered in ribbons of steel and primarily house courtrooms. Three pavilions rise from the main structure to create these upper floors where the six courtrooms are located. Each of the top three floors have two courtrooms; two for the judges of federal district court, two for magistrate judges of the court, and two for the bankruptcy court, with these courtrooms spread out amongst the pavilions; two per pavilion and all on the third floor. Chambers for the judges are located above the courtrooms and include a seventh chamber for a visiting judge. On the same level as the judge's chambers are two law libraries for the court. The three floors featuring the courtrooms are joined to the rest of the building via the  tall atrium. Located on the second floor is the jury assembly room, which when not in use by the court is used as exhibit and meeting space.

The courtrooms vary from as large as  to as small as  and are in a pear-shaped design. Designs for the courtrooms were partly based on the courtrooms of the Bordeaux Law Courts in France. The jury box is recessed and does not resemble a traditional jury box. The courtrooms feature ribbons of wood panels on the walls in rooms that narrow as they reach the bench at the front. The wood is primarily cherry with walnut accents. Natural light is let into the courtrooms from small opening in the walls. Videoconferencing is available in the courtrooms.

In addition to the natural light from the atrium and skylights, the building is further illuminated inside by lightboxes and screens that are part of the artwork. Other interior details include steel mesh, a central courtyard, panels of stainless steel, pillars with burnished steel, and excerpts from the United States Constitution on the wall. Also, the areas leading into the elevators have clear panels in the floor, and the main staircase is also constructed partly of transparent materials, with the steps made of gray slate. The exterior ribbons of stainless steel also extend into the lobby of the building.

The exterior features a large set of stairs that leads from the street level to the main entrance on the second floor. This  wide grand entrance also serves a security function of reducing the chance of a car bomb reaching the main entrance. Other security measures in the design include the underground parking and setting the courtrooms back from the street. The facility was designed as a Security Level IV facility by the government. Other exterior features include structural elements left exposed along with portions of the curved metal skin that extend out from the building. Mayne, the building's architect, stated that it was "the language of the ribbon" to describe the exterior design.

Artwork, LEED, and awards

Artist Matthew Ritchie was commissioned to create much of the building's artwork. One piece is a metal sculpture located on the exterior in the courtyard that mimics the nearby Willamette River's watershed, and includes metal spheres attached to the line shaped metal. The other main piece of art is a piece with two lightboxes on the interior that display different images as one moves along the display that uses lenticular glass. Images represent themes of the river and of legal history.

Energy efficient and sustainability features designed into the project led to a LEED Gold certification from the U.S. Green Building Council. Elements that led to this include landscaping that reduces runoff from rainwater, much natural light, a more efficient HVAC system that is located under the floors, and a location near public transit. Landscaping includes using drought resistant native species to reduce the need for irrigation. The floor-based HVAC system is more energy efficient and helps keep the temperature of the entire building more even and uses radiant heating and cooling. Additionally, the construction used environmentally friendly sealants, carpets, paints, and adhesives as well as preventing 90% of the construction waste from entering landfills. Also, potable water usage is reduced by 40% due to the use of low-flow sinks, showers, and toilets. The contractor also recycled 90% of the materials from the building that previously occupied the site.

In addition to the LEED certification, the building also won a Progressive Architecture Award in 2004 from Architecture magazine and AIA/COTE award from Architect magazine in 2007. The Chicago Athenaeum also gave the design an award in 2007 as part of its American Architecture Awards. The Morse Courthouse was also the first U.S. courthouse included at the Venice Biennale of Architecture. The Oregonian newspaper called the courthouse "the most architecturally important new building in Oregon in decades".

Tenants
The bottom two floors of the facility house offices, including those for the federal courts, the U.S. Attorney's Office, the U.S. Marshals Service, and U.S. Probation and Pretrial Services. Additionally, there are offices for both of Oregon's United States Senators and an office for a single member of the United States House of Representatives. Representative Peter DeFazio of Oregon's 4th congressional district uses that office.

References

External links

AIA brochure
The Judge & the Architect  - Eugene Weekly
Morse United States Courthouse article by Morphosis

2006 establishments in Oregon
Buildings and structures in Eugene, Oregon
Courthouses in Oregon
Federal courthouses in the United States
Government buildings completed in 2006
Leadership in Energy and Environmental Design gold certified buildings


Metropolitan Opera Live in HD (also known as The Met: Live in HD) is a series of live opera performances transmitted in high-definition video via satellite from the Metropolitan Opera in New York City to select venues, primarily movie theaters, in the United States and other parts of the world. The first transmission was of a condensed English-language version of Mozart's The Magic Flute on December 30, 2006. Many of the video recordings are later rebroadcast via public television as part of the Great Performances at the Met series, and most are made available for streaming at Met Opera on Demand, a collection which also includes earlier SD video telecasts and audio recordings from Metropolitan Opera radio broadcasts.

History
To transmit the series via satellite simulcast in the US and Canada, the Met has partnered with Fathom Events. The series is broadcast to AMC Theatres, Cinemark, Cineplex Entertainment, Regal Entertainment Group (Regal Cinemas, United Artists and Edwards), Goodrich, Kerasotes, Marcus and National Amusements movie theaters as well as a series of independent venues such as arts centers and college campuses. Its aims include building a larger audience for the Met and garnering excitement for arts at a local level.

The original idea for presenting operas in this way came from the new incoming general manager of the Met, Peter Gelb in late 2006. Gelb brought in veteran TV director Gary Halvorson to oversee the series. Exhibiting the Met's performances in digital movie theaters is in line with other audience-expanding efforts by the Met such as radio broadcasts on Sirius Radio, iPod downloads, live streaming video on the Met website, and free opening night screenings in Times Square and at Lincoln Center. The Met is also sponsoring free HD broadcasts into selected New York City public schools.

The simulcasts allow more people to experience the Met's performance offerings. This audience includes current opera fans unable to get to New York City to see the shows in person and potential opera fans looking for an easy, affordable method of checking out a new art form.

Tom Galley, chief operations and technology officer of National CineMedia, describes the experience by saying:

In the US, the series has also been broadcast in both high definition and regular TV as part of the Public Broadcasting Service's Great Performances series under the title Great Performances at the Met. In addition, selected performances can now be viewed online.

International expansion
The first season included seven theatres in Britain, two in Japan and one in Norway. After its successful launch, several other countries joined for the second season and 100 screens were added, selling an additional 20,000 tickets.  These included cinemas in Belgium, France, Germany, Italy, and Spain.

2008 saw the network expand even further to include more screens in the countries named above plus other countries such as Australia, Austria, the Czech Republic, Hungary, Latvia, Lithuania, Luxembourg, the Netherlands, New Zealand, Argentina (Buenos Aires and Mar del Plata), and Poland, as well as the territory of Puerto Rico.

Reaction in the British press has been positive:

The author Peter Conrad praised Gelb's showmanship:

Production
 six Metropolitan Opera employees work full-time on Live in HD. About 40 people work on the technical aspects of each broadcast, with one comparing the scale of the logistics to the preshow coverage of the Emmy or Academy Awards. Host Renée Fleming volunteers her services. No same-day substitution of a major cast member for a Live in HD performance was necessary until January 2010, perhaps because of the appeal of performing for a worldwide audience and the opportunity to appear on the subsequent DVD of the broadcast.

Audience
Movie and radio broadcast revenue increased for the Met from about $5 million in 2006, Live in HD's first year, to $22 million in 2008, with Live in HD contributing the bulk of the growth. For the 2009/10 season, the Met spent about $12 million in production and received about half of the $47 million box-office gross. After paying royalties to its cast and crew, the Met earned a $8 million profit. The Met's Live in HD revenue for the 2012/13 season was $34.5 million.

According to a 2008 study commissioned by Opera America, most Live in HD attendees were "moderate and frequent opera goers". About one in five, however, did not attend a live opera performance in the previous two years, with some being completely new to opera and attending because of curiosity about it. The majority claimed to equally enjoy broadcast and live opera, and more than half stated they would "very likely" attend an opera performance at the Met if visiting New York. A 2011 University of British Columbia thesis found that "Live in HD does not at present cannibalize the local live opera audience ... [but] There is no evidence that [it] generates more live opera attendance or brings new audiences into local opera houses".

A report outlines the economics of the Met's 2013–2014 season:
Last season, 10 operas were transmitted via satellite into at least 2,000 theaters in 66 countries, including more than 800 U.S. theaters. Box office hit $60 million worldwide (average ticket prices were $23 last season), with theater owners splitting sales 50–50 with the Met (insiders say the split is more advantageous to the Met in North America) and Fathom taking a small percentage as well.

Vladica and Davis have utilised Q methodology to analyse audience reactions and judgments of entertainment value with respect to this series, and related cultural events transmitted to cinemas.

By the time the Met began planning for its tenth anniversary season (2015–2016), its Live in HD series had become a major source of income, bringing in $60 million in yearly revenue and $17 to $18 million in profit, 12% of the total for the company. It was being presented in 2,000 theatres in 70 countries and 11 time zones.

Seasons

2006–2007
Beginning on December 30, 2006, as part of the company's effort to build revenues and attract new audiences, the Met broadcast a series of six performances live via satellite into movie theaters. The series was carried in over 100 movie theaters across North America plus others in Britain, Japan and one in Norway. It included:
 Julie Taymor's production of Mozart's The Magic Flute, on December 30, 2006, in an abridged English version conducted by James Levine and starring Ying Huang as Pamina, Matthew Polenzani as Tamino, and Nathan Gunn as Papageno.
 Bellini's I puritani, on January 6, 2007, starring Anna Netrebko, Eric Cutler and Franco Vassallo in the roles of Elvira, Arturo and Riccardo, in the 1976 Sandro Sequi production conducted by Patrick Summers.
 The world premiere of Tan Dun's The First Emperor, on January 13, 2007, with Plácido Domingo in the title role of Emperor Qin in a production by Zhan Yimou and conducted by Dun himself.
 Tchaikovsky's Eugene Onegin, on February 24, 2007, starring Dmitri Hvorostovsky, Renée Fleming and Ramón Vargas in the roles of Onegin, Tatiana and Lensky in Robert Carsen's simple but beautiful production conducted by Valery Gergiev.
 Rossini's The Barber of Seville, on March 24, 2007, in the new hit production by Bartlett Sher, with Peter Mattei, Joyce DiDonato and Juan Diego Flórez as Figaro, Rosina and Almaviva, and conducted by Maurizio Benini.
 Puccini's Il trittico, on April 28, 2007, in another new hit production, this time by Jack O'Brien and conducted by James Levine. Maria Guleghina, Salvatore Licitra and Juan Pons, in the roles of Giorgetta, Luigi and Michele, sang in Il tabarro, Barbara Frittoli starred in the title role of Suor Angelica, and Gianni Schicchi was played by Alessandro Corbelli with Olga Mykytenko and Massimo Giordano in the roles of Lauretta and Rinuccio. Stephanie Blythe starred in all three operas, singing the roles of Frugola, the Princess and Zita.

In addition, limited repeat showings of the operas were offered in most of the presenting cities. Within the US, digital sound for the performances was provided by Sirius Satellite Radio.

These movie transmissions were successful at the box office as well as having received wide and generally favorable press coverage. The Met reports that 91% of available seats were sold for the HD performances. According to General Manager Peter Gelb, there were 60,000 people in cinemas around the world watching the March 24 transmission of The Barber of Seville. The New York Times reported that 324,000 tickets were sold worldwide for the 2006–07 season, while each simulcast cost $850,000 to $1 million to produce.

If one counts Il trittico as a single work, this is the only Met Live in HD season in which every work broadcast is by a different composer. The Met nearly accomplished this during the 2014–15 season, but swapped Il barbiere di Siviglia in for The Death of Klinghoffer, thus causing a double-up of Rossini operas (as La donna del lago was already scheduled).

2007–2008
Due to the success of the first season, the Metropolitan Opera decided to increase the number of HD broadcasts to movie theaters from six to eight during the 2007–2008 season. Further, the number of available theaters expanded to 330 across the US and additional countries throughout the world.

The first showing on December 15, 2007, Gounod's Roméo et Juliette, was seen on 477 screens and sold an estimated 97,000 tickets. The series continued by featuring seven more of the Met's productions following Roméo et Juliette and ending with La fille du régiment on April 26, 2008.

The Met planned to broadcast to double the number of theaters in the US compared with the previous season, as well as to additional countries. The number of participating venues in the US, which includes movie theatre chains as well as independent theatres and some college campus venues, was 343. While "the scope of the series expands to include more than 700 locations across North America, Europe, Asia, and Australia.... The Met has said that it hopes to reach as many as one million audience members with this season's HD transmissions"

The schedule of live broadcasts included:

 Gounod's Roméo et Juliette (Anna Netrebko, Roberto Alagna, Nathan Gunn, conducted by Plácido Domingo), broadcast on December 15, 2007
 Humperdinck's Hansel and Gretel (Christine Schäfer, Alice Coote, Philip Langridge, conducted by Vladimir Jurowski), broadcast on January 1, 2008
 Verdi's Macbeth (Željko Lučić, Maria Guleghina, John Relyea, conducted by James Levine), broadcast on January 12, 2008
 Puccini's Manon Lescaut (Karita Mattila, Marcello Giordani, Dwayne Croft, conducted by James Levine), broadcast on February 16, 2008
 Britten's Peter Grimes (Anthony Dean Griffey, Patricia Racette, Felicity Palmer, conducted by Donald Runnicles), broadcast on March 15, 2008
 Wagner's Tristan und Isolde (Deborah Voigt, Robert Dean Smith, Matti Salminen, conducted by James Levine), broadcast on March 22, 2008
 Puccini's La bohème (Ramón Vargas, Angela Gheorghiu, Ludovic Tézier, Ainhoa Arteta, conducted by Nicola Luisotti), broadcast on April 5, 2008
 Donizetti's La fille du régiment (Natalie Dessay, Juan Diego Flórez, Alessandro Corbelli, conducted by Marco Armiliato), broadcast on April 26, 2008

By the end of the season, 920,000 peopleexceeding the total number of people who attended live performances at the Met over the entire seasonattended the 8 screenings bringing in a gross of $13.3 million from North America and $5 million from overseas.

2008–2009
The HD season for 2008–2009 included 11 productions, including the Opening Night Gala on September 22, 2008, (broadcast in North America only).

 Opening Night Gala (Excerpts from La traviata, Manon and Capriccio, starring Renée Fleming), broadcast on September 22, 2008
 Richard Strauss' Salome (Karita Mattila, Kim Begley, Juha Uusitalo, conducted by Patrick Summers), broadcast on October 11, 2008
 John Adams' Doctor Atomic (Gerald Finley, Eric Owens, Sasha Cooke, conducted by Alan Gilbert), broadcast on November 8, 2008
 Berlioz's La damnation de Faust (Marcello Giordani, Susan Graham, John Relyea, conducted by James Levine), broadcast on November 22, 2008
 Massenet's Thaïs (Renée Fleming, Thomas Hampson, Michael Schade, conducted by Jesús López Cobos), broadcast on December 20, 2008
 Puccini's La rondine (Angela Gheorghiu, Roberto Alagna, Samuel Ramey, Lisette Oropesa, Marius Brenciu, conducted by Marco Armiliato), broadcast on January 10, 2009
 Gluck's Orfeo ed Euridice (Stephanie Blythe, Danielle de Niese, Heidi Grant Murphy, conducted by James Levine, broadcast on January 24, 2009
 Donizetti's Lucia di Lammermoor (Anna Netrebko, Piotr Beczała, Mariusz Kwiecień, conducted by Marco Armiliato), broadcast on February 7, 2009
 Puccini's Madama Butterfly (Patricia Racette, Marcello Giordani, Dwayne Croft, conducted by Patrick Summers), broadcast on March 7, 2009
 Bellini's La sonnambula (Natalie Dessay, Juan Diego Flórez, Michele Pertusi, conducted by Evelino Pidò), broadcast on March 21, 2009
 Rossini's La Cenerentola (Elīna Garanča, Lawrence Brownlee, Alessandro Corbelli, conducted by Maurizio Benini), broadcast on May 9, 2009

As of February 2009, over 1.1 million tickets to HD broadcasts had been sold.

2009–2010

 Puccini's Tosca (Karita Mattila, Marcelo Álvarez, George Gagnidze, conducted by Joseph Colaneri), broadcast on October 10, 2009
 Verdi's Aida (Violeta Urmana, Dolora Zajick, Johan Botha, conducted by Daniele Gatti), broadcast on October 24, 2009
 Puccini's Turandot (Maria Guleghina, Marcello Giordani, Marina Poplavskaya, Samuel Ramey, conducted by Andris Nelsons), broadcast on November 7, 2009
 Offenbach's Les Contes d'Hoffmann (Joseph Calleja, Anna Netrebko, Kate Lindsey, Alan Held, conducted by James Levine), broadcast on December 19, 2009
 Richard Strauss' Der Rosenkavalier (Renée Fleming, Susan Graham, Kristinn Sigmundsson, Christine Schäfer, conducted by Edo de Waart), broadcast on January 9, 2010
 Bizet's Carmen (Elīna Garanča, Roberto Alagna, Barbara Frittoli, Teddy Tahu Rhodes, conducted by Yannick Nézet-Séguin), broadcast on January 16, 2010
 Simon Boccanegra (Plácido Domingo, James Morris, Adrianne Pieczonka, Marcello Giordani, conducted by James Levine), broadcast on February 6, 2010
 Thomas' Hamlet (Simon Keenlyside, James Morris, Marlis Petersen, conducted by Louis Langrée), broadcast on March 27, 2010
 Rossini's Armida (Renée Fleming, Lawrence Brownlee, John Osborn, conducted by Riccardo Frizza), broadcast on May 1, 2010

2010–2011

Lucia di Lammermoor became the first opera to receive a repeat HD broadcast, having previously been HD'd during the 2008-09 season.
 Wagner's Das Rheingold (Bryn Terfel, Eric Owens, Stephanie Blythe, Richard Croft, conducted by James Levine), broadcast on October 9, 2010
 Mussorgsky's Boris Godunov (René Pape, Aleksandrs Antonenko, Ekaterina Semenchuk, conducted by Valery Gergiev), broadcast on October 23, 2010
 Donizetti's Don Pasquale (Anna Netrebko, John Del Carlo, Mariusz Kwiecień, Matthew Polenzani, conducted by James Levine), broadcast on November 13, 2010
 Verdi's Don Carlo (Roberto Alagna, Ferruccio Furlanetto, Marina Poplavskaya, Simon Keenlyside, conducted by Yannick Nézet-Séguin), broadcast on December 11, 2010
 Puccini's La fanciulla del West (Deborah Voigt, Marcello Giordani, Lucio Gallo, conducted by Nicola Luisotti), broadcast on January 8, 2011
 John Adams' Nixon in China (James Maddalena, Janis Kelly, Kathleen Kim, conducted by John Adams), broadcast on February 12, 2011
 Gluck's Iphigénie en Tauride (Susan Graham, Plácido Domingo, Paul Groves, conducted by Patrick Summers), broadcast on February 26, 2011
 Donizetti's Lucia di Lammermoor (Natalie Dessay, Joseph Calleja, Ludovic Tézier, conducted by Patrick Summers), broadcast on March 19, 2011
 Rossini's Le comte Ory (Juan Diego Flórez, Joyce DiDonato, Diana Damrau, conducted by Maurizio Benini), broadcast on April 9, 2011
 Richard Strauss' Capriccio (Renée Fleming, Joseph Kaiser, Russell Braun, conducted by Andrew Davis), broadcast on April 23, 2011
 Verdi's Il trovatore (Sondra Radvanovsky, Dmitri Hvorostovsky, Marcelo Álvarez, Dolora Zajick conducted by Marco Armiliato), broadcast on April 30, 2011
 Wagner's Die Walküre (Deborah Voigt, Jonas Kaufmann, Eva-Maria Westbroek, Bryn Terfel, conducted by James Levine), broadcast on May 14, 2011

2011–2012

 Donizetti's Anna Bolena (Anna Netrebko, Ekaterina Gubanova, Ildar Abdrazakov, conducted by Marco Armiliato), broadcast on October 15, 2011
 Mozart's Don Giovanni (Mariusz Kwiecień, Marina Rebeka, Luca Pisaroni, Barbara Frittoli, conducted by Fabio Luisi), broadcast on October 29, 2011
 Wagner's Siegfried (Jay Hunter Morris, Bryn Terfel, Deborah Voigt, conducted by Fabio Luisi), broadcast on November 5, 2011
 Glass' Satyagraha (Richard Croft, Maria Zifchak, Rachelle Durkin, conducted by Dante Anzolini), broadcast on November 19, 2011
 Handel's Rodelinda (Renée Fleming, Andreas Scholl, Stephanie Blythe, conducted by Harry Bicket), broadcast on December 3, 2011
 Gounod's Faust (Jonas Kaufmann, René Pape, Marina Poplavskaya, conducted by Yannick Nézet-Séguin), broadcast on December 10, 2011
 Baroque pasticheThe Enchanted Island (David Daniels, Joyce DiDonato, Danielle de Niese, Plácido Domingo, Lisette Oropesa, Anthony Roth Costanzo, conducted by William Christie), broadcast on January 21, 2012
 Wagner's Götterdämmerung (Deborah Voigt, Jay Hunter Morris, Waltraud Meier, conducted by Fabio Luisi), broadcast on February 11, 2012
 Verdi's Ernani (Angela Meade, Marcello Giordani, Dmitri Hvorostovsky, Ferruccio Furlanetto, conducted by Marco Armiliato), broadcast on February 25, 2012
 Massenet's Manon (Anna Netrebko, Piotr Beczała, Paulo Szot, conducted by Fabio Luisi), broadcast on April 7, 2012
 Verdi's La traviata (Natalie Dessay, Matthew Polenzani, Dmitri Hvorostovsky, conducted by Fabio Luisi), broadcast on April 14, 2012

2012–2013

 Donizetti's L'elisir d'amore (Anna Netrebko, Matthew Polenzani, Mariusz Kwiecień, Ambrogio Maestri, conducted by Maurizio Benini), broadcast on October 13, 2012
 Verdi's Otello (Johan Botha, Renée Fleming, Falk Struckmann, conducted by Semyon Bychkov), broadcast on October 27, 2012
 Adès' The Tempest (Simon Keenlyside, Isabel Leonard, Audrey Luna, conducted by Thomas Adès), broadcast on November 10, 2012
 Mozart's La clemenza di Tito (Elīna Garanča, Barbara Frittoli, Giuseppe Filianoti, conducted by Harry Bicket), broadcast on December 1, 2012
 Verdi's Un ballo in maschera (Marcelo Álvarez, Sondra Radvanovsky, Dmitri Hvorostovsky, Kathleen Kim, Stephanie Blythe, conducted by Fabio Luisi), broadcast on December 8, 2012
 Verdi's Aida (Liudmyla Monastyrska, Roberto Alagna, Olga Borodina, conducted by Fabio Luisi), broadcast on December 15, 2012
 Berlioz's Les Troyens (Bryan Hymel, Susan Graham, Deborah Voigt, conducted by Fabio Luisi), broadcast on January 5, 2013
 Donizetti's Maria Stuarda (Joyce DiDonato, Elza van den Heever, Matthew Polenzani, conducted by Maurizio Benini, broadcast on January 19, 2013
 Verdi's Rigoletto (Željko Lučić, Diana Damrau, Piotr Beczała, conducted by Michele Mariotti), broadcast on February 16, 2013
 Wagner's Parsifal (Jonas Kaufmann, René Pape, Peter Mattei, Katarina Dalayman, conducted by Daniele Gatti), broadcast on March 2, 2013
 Zandonai's Francesca da Rimini (Eva-Maria Westbroek, Marcello Giordani, Mark Delavan, conducted by Marco Armiliato), broadcast on March 16, 2013
 Handel's Giulio Cesare (Natalie Dessay, David Daniels, Alice Coote, conducted by Harry Bicket), broadcast on April 27, 2013

2013–2014

 Tchaikovsky's Eugene Onegin (Anna Netrebko, Mariusz Kwiecień, Piotr Beczała, conducted by Valery Gergiev), broadcast on October 5, 2013
 Shostakovich's The Nose (Paulo Szot, Andrey Popov, Alexander Lewis, conducted by Pavel Smelkov), broadcast on October 26, 2013
 Puccini's Tosca (Patricia Racette, Roberto Alagna, George Gagnidze, conducted by Riccardo Frizza), broadcast on November 9, 2013
 Verdi's Falstaff (Ambrogio Maestri, Angela Meade, Stephanie Blythe conducted by James Levine), broadcast on December 14, 2013
 Dvorák's Rusalka (Renée Fleming, Dolora Zajick, Piotr Beczała, conducted by Yannick Nézet-Séguin), broadcast on February 8, 2014
 Borodin's Prince Igor (Ildar Abdrazakov, Oksana Dyka, Anita Rachvelishvili, conducted by Gianandrea Noseda), broadcast on March 1, 2014
 Massenet's Werther (Jonas Kaufmann, Sophie Koch, David Bižić, Lisette Oropesa, conducted by Alain Altinoglu), broadcast on March 15, 2014
 Puccini's La bohème (Kristīne Opolais, Vittorio Grigolo, Susanna Phillips, conducted by Stefano Ranzani), broadcast on April 5, 2014
 Mozart's Così fan tutte (Susanna Phillips, Danielle de Niese, Matthew Polenzani, Isabel Leonard, Rodion Pogossov, Maurizio Muraro, conducted by James Levine), broadcast on April 26, 2014
 Rossini's La Cenerentola (Joyce DiDonato, Juan Diego Flórez, Luca Pisaroni, conducted by Fabio Luisi), broadcast on May 10, 2014

2014–2015
The 2014–2015 season presented 12 operas in 10 HD transmissions, including (for the first time in the series) two "double-bills" where two short operas were staged together on the same program. John Adams's The Death of Klinghoffer was originally planned for an HD transmission but was replaced by Il barbiere di Siviglia due to controversy after the work was accused of being anti-Semitic. The 2014–15 season is the most recent season in which more of the operas being broadcast were first-time Live in HD broadcasts (8 operas in 6 broadcasts) than repeat broadcasts (4 operas in as many broadcasts); all seasons since then have either had equal numbers or more operas getting repeat broadcasts.

 Macbeth (Željko Lučić, Anna Netrebko, Joseph Calleja, René Pape, conducted by Fabio Luisi), broadcast on October 11, 2014
 Le nozze di Figaro (Ildar Abdrazakov, Marlis Petersen, Peter Mattei, conducted by James Levine), broadcast on October 18, 2014
 Carmen (Anita Rachvelishvili, Aleksandrs Antonenko, Anita Hartig, Ildar Abdrazakov,  conducted by Pablo Heras-Casado), broadcast on November 1, 2014
 Il barbiere di Siviglia (Isabel Leonard, Lawrence Brownlee, Christopher Maltman,  conducted by Michele Mariotti), broadcast on November 22, 2014
 Die Meistersinger von Nürnberg (Michael Volle, Johan Botha, Annette Dasch, conducted by James Levine), broadcast on December 13, 2014
 The Merry Widow  (Renée Fleming, Nathan Gunn, Kelli O'Hara, Thomas Allen conducted by Andrew Davis), broadcast on January 17, 2015
 Les contes d'Hoffmann (Vittorio Grigolo, Hibla Gerzmava, Thomas Hampson, Kate Lindsey  conducted by Yves Abel), broadcast on January 31, 2015
 Iolanta and Duke Bluebeard's Castle (Anna Netrebko, Piotr Beczała, Nadja Michael, Mikhail Petrenko,  conducted by Valery Gergiev), broadcast on February 14, 2015
 La donna del lago (Joyce DiDonato, Juan Diego Flórez, Daniela Barcellona,  conducted by Michele Mariotti), broadcast on March 14, 2015
 Cavalleria rusticana and Pagliacci (Marcelo Álvarez, Eva-Maria Westbroek, Patricia Racette,  conducted by Fabio Luisi), broadcast on April 25, 2015

2015–2016

 Il trovatore (Anna Netrebko, Yonghoon Lee, Dmitri Hvorostovsky, Dolora Zajick,  conducted by Marco Armiliato), broadcast on October 3, 2015
 Otello (Aleksandrs Antoņenko, Sonya Yoncheva, Željko Lučić,  conducted by Yannick Nézet-Séguin), broadcast on October 17, 2015
 Tannhäuser (Johan Botha, Eva-Maria Westbroek, Peter Mattei, Michelle DeYoung,  conducted by James Levine), broadcast on October 31, 2015
 Lulu (Marlis Petersen, Susan Graham, Johan Reuter,  conducted by Lothar Koenigs), broadcast on November 21, 2015
 Les pêcheurs de perles (Matthew Polenzani, Diana Damrau, Mariusz Kwiecień,  conducted by Gianandrea Noseda), broadcast on January 16, 2016
 Turandot (Nina Stemme, Marco Berti, Anita Hartig,  conducted by Paolo Carignani), broadcast on January 30, 2016
 Manon Lescaut  (Kristīne Opolais, Roberto Alagna, Massimo Cavalletti,  conducted by Fabio Luisi), broadcast on March 5, 2016
 Madama Butterfly (Kristīne Opolais, Roberto Alagna, Dwayne Croft,  conducted by Karel Mark Chichon), broadcast on April 2, 2016
 Roberto Devereux (Sondra Radvanovsky, Matthew Polenzani, Elīna Garanča, Mariusz Kwiecień,  conducted by Maurizio Benini), broadcast on April 16, 2016
 Elektra  (Nina Stemme, Waltraud Meier, Adrianne Pieczonka, Eric Owens,  conducted by Esa-Pekka Salonen), broadcast on April 30, 2016

2016–2017
The 2016–2017 season included the presentation of the first opera by a female composer in the series, L'Amour de loin of Kaija Saariaho, which also marked the first opera in the series to feature a female conductor, Susanna Mälkki. The presentation of Der Rosenkavalier marked the final performances in their respective roles by Renée Fleming (the Marschallin) and Elīna Garanča (Octavian).

 Tristan und Isolde (Nina Stemme, Stuart Skelton, Ekaterina Gubanova, René Pape, conducted by Sir Simon Rattle), broadcast on October 8, 2016
 Don Giovanni (Simon Keenlyside, Hibla Gerzmava, Malin Byström, Paul Appleby, Adam Plachetka conducted by Fabio Luisi), broadcast on October 22, 2016
 L'Amour de loin (Eric Owens, Susanna Phillips, Tamara Mumford, conducted by Susanna Mälkki), broadcast on December 10, 2016
 Nabucco (Plácido Domingo, Liudmyla Monastyrska, Dimitry Belosselskiy, Jamie Barton, conducted by James Levine), broadcast on January 7, 2017
 Roméo et Juliette (Diana Damrau, Vittorio Grigolo, Mikhail Petrenko, Elliot Madore, Virginie Verrez, conducted by Gianndrea Noseda), broadcast on January 21, 2017
 Rusalka (Kristīne Opolais, Brandon Jovanovich, Jamie Barton, Eric Owens, Katarina Dalayman, conducted by Mark Elder), broadcast on February 25, 2017
 La traviata (Sonya Yoncheva, Michael Fabiano, Thomas Hampson, conducted by Nicola Luisotti), broadcast on March 11, 2017
 Idomeneo (Matthew Polenzani, Alice Coote, Elza van den Heever, Nadine Sierra, conducted by James Levine), broadcast on March 25, 2017
 Eugene Onegin (Anna Netrebko, Peter Mattei, Alexy Dolgov, Štefan Kocán, conducted by Robin Ticciati), broadcast on April 22, 2017
 Der Rosenkavalier (Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, conducted by Sebastian Weigle), broadcast on May 13, 2017

2017–2018

 Norma (Sondra Radvanovsky, Joyce DiDonato, Joseph Calleja, Matthew Rose, conducted by Carlo Rizzi), broadcast on October 7, 2017
 Die Zauberflöte (Golda Schultz, Kathryn Lewek, Charles Castronovo, Markus Werba, René Pape, conducted by James Levine), broadcast on October 14, 2017
 The Exterminating Angel (Sally Matthews, Alice Coote, Christine Rice, Iestyn Davies, Rod Gilfry, John Tomlinson, Amanda Echalaz, conducted by Thomas Adès), broadcast on November 18, 2017
 Tosca (Sonya Yoncheva, Vittorio Grigolo, Željko Lučić, conducted by Emmanuel Villaume), broadcast on January 27, 2018
 L'elisir d'amore (Pretty Yende, Matthew Polenzani, Ildebrando D'Arcangelo, Davide Luciano, conducted by Domingo Hindoyan), broadcast on February 10, 2018
 La bohème (Sonya Yoncheva, Susanna Phillips, Michael Fabiano, Lucas Meachem, conducted by Marco Armiliato), broadcast on February 24, 2018
 Semiramide (Angela Meade, Elizabeth DeShong, Javier Camarena, Ildar Abdrazakov, conducted by Maurizio Benini), broadcast on March 10, 2018
 Così fan tutte (Kelli O'Hara, Amanda Majeski, Serena Malfi, Ben Bliss, Adam Plachetka, Christopher Maltman, conducted by David Robertson), broadcast on March 31, 2018
 Luisa Miller (Sonya Yoncheva, Olesya Petrova, Piotr Beczała, Plácido Domingo, conducted by Bertrand de Billy), broadcast on April 14, 2018
 Cendrillon (Joyce DiDonato, Alice Coote, Stephanie Blythe, Kathleen Kim, conducted by Bertrand de Billy), broadcast on April 28, 2018

2018–2019

 Aida (Anna Netrebko, Anita Rachvelishvili, Aleksandrs Antoņenko, Quinn Kelsey, conducted by Nicola Luisotti), broadcast on October 6, 2018
 Samson et Dalila (Elīna Garanča, Roberto Alagna, Laurent Naouri, Dmitry Belosselskiy, conducted by Mark Elder), broadcast on October 20, 2018
 La fanciulla del West (Eva-Maria Westbroek, Jonas Kaufmann, Željko Lučić, Carlo Bosi, conducted by Marco Armiliato), broadcast on October 27, 2018
 Marnie (Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, conducted by Robert Spano), broadcast on November 10, 2018
 La traviata (Diana Damrau, Juan Diego Flórez, Quinn Kelsey, conducted by Yannick Nézet-Séguin), broadcast on December 15, 2018
 Adriana Lecouvreur (Anna Netrebko, Piotr Beczała, Anita Rachvelishvili, Ambrogio Maestri, conducted by Gianandrea Noseda), broadcast on January 12, 2019
 Carmen (Clémentine Margaine, Roberto Alagna, Aleksandra Kurzak, Alexander Vinogradov, conducted by Louis Langrée), broadcast on February 2, 2019
 La fille du régiment (Pretty Yende, Javier Camarena, Stephanie Blythe, Maurizio Muraro, Kathleen Turner, conducted by Enrique Mazzola), broadcast on March 2, 2019
 Die Walküre (Christine Goerke, Eva-Maria Westbroek, Stuart Skelton, Greer Grimsley, Jamie Barton, conducted by Philippe Jordan), broadcast on March 30, 2019
 Dialogues des Carmélites (Isabel Leonard, Adrianne Pieczonka, Karita Mattila, Karen Cargill, conducted by Yannick Nézet-Séguin), broadcast on May 11, 2019

2019–2020 (abbreviated)

The final three performances were cancelled due to the COVID-19 pandemic.
 Turandot (Christine Goerke, Yusif Eyvazov, Eleonora Buratto, James Morris, conducted by Yannick Nézet-Séguin) broadcast on October 12, 2019
 Manon (Lisette Oropesa, Michael Fabiano, Artur Ruciński, Carlo Bosi, conducted by Maurizio Benini), broadcast on October 26, 2019
 Madama Butterfly (Hui He, Elizabeth DeShong, Bruce Sledge, Paulo Szot, conducted by Pier Giorgio Morandi), broadcast on November 9, 2019
 Akhnaten (Anthony Roth Costanzo, J'Nai Bridges, Dísella Lárusdóttir, Aaron Blake, Zachary James, conducted by Karen Kamensek), broadcast on November 23, 2019
 Wozzeck (Peter Mattei, Elza van den Heever, Gerhard Siegel, Christian Van Horn, conducted by Yannick Nézet-Séguin), broadcast on January 11, 2020
 Porgy and Bess (Eric Owens, Angel Blue, Denyce Graves, Latonia Moore, Frederick Ballentine, Alfred Walker, Golda Schultz, conducted by David Robertson), broadcast on February 1, 2020
 Agrippina (Joyce DiDonato, Brenda Rae, Kate Lindsey, Iestyn Davies, Matthew Rose, conducted by Harry Bicket), broadcast on February 29, 2020,

The following broadcasts were scheduled, but cancelled due to the COVID-19 pandemic:
 Der fliegende Holländer (Evgeny Nikitin, Anja Kampe, Sergey Skorokhodov, Franz-Josef Selig, conducted by Valery Gergiev). Originally scheduled for March 14, 2020, the Live-in-HD performance was cancelled, but a video recording prepared from rehearsal tapes of earlier performances was telecast on July 5, 2020, as part of the PBS Great Performances series and is available for streaming at Met Opera on Demand.
 Tosca (Anna Netrebko, Brian Jagde, Michael Volle, conducted by Bertrand de Billy), originally scheduled for April 11, 2020
 Maria Stuarda (Diana Damrau, Jamie Barton, Stephen Costello, Michele Pertusi, conducted by Maurizio Benini), originally scheduled for May 9, 2020

2020–2021 (cancelled)

Due to the COVID-19 pandemic the Met was forced to cancel its entire 2020–2021 season. The following performances were scheduled to be broadcast:
 Aida (Anna Netrebko, Piotr Beczała, Anita Rachvelishvili, Ludovic Tézier, conducted by Yannick Nézet-Séguin)
 Il Trovatore (Sonya Yoncheva, Ekaterina Semenchuk, Roberto Aronica, Quinn Kelsey, conducted by Michele Mariotti)
 Fidelio (Lise Davidsen, Brandon Jovanovich, Franz-Josef Selig, Tomasz Konieczny, Golda Schultz, conducted by Yannick Nézet-Séguin)
 Die Zauberflöte (Christiane Karg, Stanislas de Barbeyrac, Thomas Oliemans, Kathryn Lewek, Stephan Milling, conducted by Gustavo Dudamel)
 Roméo et Juliette (Nadine Sierra, Stephen Costello, Joshua Hopkins, Julie Boulianne, Ildar Abdrazakov, conducted by Yannick Nézet-Séguin)
 Don Giovanni (Peter Mattei, Gerald Finley, Ailyn Pérez, Isabel Leonard, Ben Bliss, conducted by Yannick Nézet-Séguin)
 Dead Man Walking (Joyce DiDonato, Etienne Dupuis, Susan Graham, Latonia Moore, conducted by Yannick Nézet-Séguin)
 Die Frau ohne Schatten (Elza van den Heever, Nina Stemme, Evelyn Herlitzius, Klaus Florian Vogt, Michael Volle, conducted by Yannick Nézet-Séguin)
 Nabucco (George Gagnidze, Anna Netrebko, Dmitry Belosselskiy, Varduhi Abrahamyan, Najmiddin Mavlyanov, conducted by Marco Armiliato)
 Il Pirata (Diana Damrau, Javier Camarena, Nicolas Testé, conducted by Maurizio Benini)

2021–2022

 Boris Godunov (René Pape, David Butt Philip, Ain Anger, Maxim Paster, Aleksey Bogdanov, conducted by Sebastian Weigle), broadcast on October 9, 2021
 Fire Shut Up in My Bones (Will Liverman, Angel Blue, Latonia Moore, Ryan Speedo Green, conducted by Yannick Nézet-Séguin), broadcast on October 23, 2021
 Eurydice (Erin Morley, Joshua Hopkins, Jakub Józef Orliński, Barry Banks, Nathan Berg, conducted by Yannick Nézet-Séguin), broadcast on December 4, 2021
 Cinderella (Isabel Leonard, Stephanie Blythe, Emily D'Angelo, Jessica Pratt, Laurent Naouri, conducted by Emmanuel Villaume), broadcast on January 1, 2022
 Rigoletto (Quinn Kelsey, Piotr Beczala, Rosa Feola, Andrea Mastroni, Varduhi Abrahamyan, conducted by Daniele Rustioni), broadcast on January 29, 2022
 Ariadne auf Naxos (Lise Davidsen, Brenda Rae, Isabel Leonard, Brandon Jovanovich, Johannes Martin Kränzle, Sean Michael Plumb, Wolfgang Brendel, conducted by Marek Janowski), broadcast on March 12, 2022
 Don Carlos (Matthew Polenzani, Sonya Yoncheva, Jamie Barton, Etienne Dupuis, Eric Owens, John Relyea, conducted by Patrick Furrer), broadcast on March 26, 2022
 Turandot (Liudmyla Monastyrska, Yonghoon Lee, Ermonela Jaho, Ferruccio Furlanetto conducted by Marco Armiliato), broadcast on May 7, 2022
 Lucia di Lammermoor (Nadine Sierra, Javier Camarena, Artur Rucinski, Christian Van Horn, conducted by Riccardo Frizza), broadcast on May 21, 2022
 Hamlet (composed by Brett Dean) (Allan Clayton, Brenda Rae, Rod Gilfry, Sarah Connelly, Sir John Tomlinson, Willian Burden, Jacques Imbrailo, conducted by Nicholas Carter), broadcast on June 4, 2022

2022–2023

The season was originally scheduled to include a broadcast of Don Carlo in a four-act Italian version on November 19, 2022. It was removed from the schedule and replaced with Falstaff following the firing of Anna Netrebko from the Don Carlo revival. This is the second time that an HD broadcast has been replaced, after the replacement of The Death of Klinghoffer in 2014.
 Medea (Sondra Radvanovsky, Matthew Polenzani, Janai Brugger, Michele Pertusi, conducted by Carlo Rizzi), broadcast on October 22, 2022.
 La Traviata (Nadine Sierra, Stephen Costello, Luca Salsi, conducted by Daniele Callegari) broadcast on November 5, 2022
 The Hours (Renée Fleming, Kelli O'Hara, Joyce DiDonato, Denyce Graves, William Burden, Kyle Ketelsen, conducted by Yannick Nézet-Séguin) broadcast on December 10, 2022
 Fedora  (Sonya Yoncheva, Piotr Beczala, Rosa Feola, Lucas Meachem, conducted by Marco Armiliato, broadcast January 14, 2023
 Lohengrin (Piotr Beczala, Tamara Wilson, Christine Goerke, Evgeny Nikitin, Günther Groissböck, Brian Mulligan, conducted by Yannick Nézet-Séguin), broadcast March 18, 2023
 Falstaff (Michael Volle, Ailyn Pérez, Christopher Maltman, Hera Hyesang Park, Marie-Nicole Lemieux, Bogdan Volkov, Jennifer Johnson Cano, conducted by Daniele Rustioni) broadcast on April 1, 2023
 Der Rosenkavalier (Lise Davidsen, Samantha Hankey, Erin Morley, Günther Groissböck, conducted by Simone Young) broadcast April 15, 2023
 Champion (Eric Owens, Ryan Speedo Green, Latonia Moore, Stephanie Blythe) conducted by Yannick Nézet-Séguin), broadcast April 29, 2023.
 Don Giovanni (Peter Mattei, Adam Plachetka, Federica Lombardi, Ana María Martínez, Ying Fang, Ben Bliss, conducted by Nathalie Stutzmann) broadcast May 20, 2023
 Die Zauberflöte (Lawrence Brownlee, Erin Morley, Kathryn Lewek, Thomas Oliemans, Stephen Milling, conducted by Nathalie Stutzmann), broadcast June 3, 2023

2023–2024

 Dead Man Walking (Joyce DiDonato, Susan Graham, Ryan McKinny, Latonia Moore, conducted by Yannick Nézet-Séguin)  broadcast on October 21, 2023
 X, The Life and Times of Malcolm X (Will Liverman, Leah Hawkins, Raehann Bryce-Davis, Victor Ryan Robertson, Michael Sumuel, conducted by Kazem Abdullah) to be broadcast November 18, 2023
 Florencia en el Amazonas (Ailyn Pérez, Mattia Olivieri, Gabriella Reyes, Mario Chang, Nancy Fabiola Herrera, Michael Chioldi, Greer Grimsley, conducted by Yannick Nézet-Séguin) to be broadcast December 9, 2023
 Nabucco (Liudmyla Monastyrska, George Gagnidze, SeokJong Baek, Dmitry Belosselskiy, Maria Barakova, conducted by Daniele Callegari) to be broadcast January 6, 2024
 Carmen (Aigul Akhmetshina, Piotr Beczala, Angel Blue, Kyle Ketelsen, conducted by Daniele Rustioni to be broadcast January 27, 2024
 La Forza del Destino (Lise Davidsen, Brian Jagde, Igor Golovatenko, Soloman Howard, Judit Kutasi, conducted by Yannick Nézet-Séguin) to be broadcast March 9, 2024
 Romeo et Juliette (Nadine Sierra, Benjamin Bernheim, Will Liverman, Samantha Hankey, Alfred Walker, Frederick Ballentine, conducted by Yannick Nézet-Séguin) to be broadcast March 23, 2024)
 La Rondine (Angel Blue, Jonathan Tetelman, Emily Pogorelc, Bekhzod Davronov, conducted by Speranza Scappucci) to be broadcast April 20, 2024
 Madama Butterfly (Asmik Grigorian, Jonathan Tetelman, Lucas Meachem, Elizabeth DeShong, conducted by Xian Zhang) to be broadcast May 11, 2024

References

External links
 Live in HD, Metropolitan Opera
 Met Opera on Demand

Metropolitan Opera
Opera-related lists


The following article presents a summary of the 1914 football (soccer) season in Brazil, which was the 13th season of competitive football in the country.

Campeonato Paulista

In 1914 there were two different editions of the Campeonato Paulista. One was organized by the Associação Paulista de Esportes Atléticos (APEA) while the other one was organized by the Liga Paulista de Foot-Ball (LPF).

APEA's Campeonato Paulista

Final Standings

São Bento declared as the APEA's Campeonato Paulista champions.

LPF's Campeonato Paulista

Final Standings

Germânia and Hydecroft matches were canceled, as both clubs abandoned the competition.

Corinthians declared as the LPF's Campeonato Paulista champions.

State championship champions

Brazil national team
The Brazil national football team played its first matches in 1914, which are displayed in the following table.

References

External links
 Brazilian competitions at RSSSF
 1914 Brazil national team matches at RSSSF

Seasons in Brazilian football
Brazil


An adjurist (from the Latin word "adjure", meaning to swear or to exorcise) is a follower of religious teachings that, per the Catholic Encyclopedia, are defined as "an urgent demand made upon another to do something, or to desist from doing something, which demand is rendered more solemn and more irresistible by coupling with it the name of God or of some sacred person or thing."

Description
There are few references to adjurists in modern literatures, though obscure mentions of the group can be found in theological and philosophical writings.

Media references to such groups continues to become mainstreams with articles appearing in the Washington Post in February, 2008 highlighted the rise of such activities noting "About 70 priests serve as trained exorcists in Poland, about double the number of five years ago. An estimated 300 exorcists are active in Italy. Foremost among them: the Gabriele Amorth, 82, who performs exorcisms daily in Rome and is dean of Europe's corps of demon-battling priests."

In popular culture, the adjurist concept was used in the straight-to-video film The Devil's Tomb, starring Cuba Gooding Jr. and Ron Perlman.  In the movie, Henry Rollins plays a priest claiming to be a member of a group performing exorcisms and ingesting evil spirits.

Within theosophy, Helena Petrovna Blavatsky wrote there are references to "the Adjurists, Exorcists, Conjurerists, and Intercessors" in relation to Nigromancy, or the practice of the black arts.  Ascribing evil intent to adjurists is common in older texts, though some believe their actions to be misunderstood and actually noble."

References

Exorcism in the Catholic Church


Etna is an unincorporated community in Garfield County, Oklahoma, United States. Etna is east-southeast of Enid, off U.S. 412 and south on County 950.  It lies at an elevation of 1184 feet (361 m).

References

Unincorporated communities in Garfield County, Oklahoma
Unincorporated communities in Oklahoma


Crockett is a surname of British origin, which derives from the Middle English word "croket", meaning "a large curl"., although some are also derived from the French name "Crocketagne". The name may refer to:

Affion Crockett (born 1974), American actor
Alex Crockett (born 1981), British rugby player
Alexander G. Crockett (1862–1919), American politician
Alvin Crockett (1831–1902), American politician
Andrew Crockett (banker) (1943–2012), British banker
Anne B. Crockett-Stark (born 1942), American politician
Anthony Crockett, (1945–2008), British bishop
Anthony Crockett (soldier) (1756-1838), American soldier and politician
Antony Crockett (born 1956), British doctor
Basil Crockett (1877–1939), British soldier
Bob Crockett (1863–1935), Australian cricket umpire
Charley Crockett (born 1984), American blues, country and Americana musician
Clare Crockett (1982 - 2016), Catholic nun
Cordell Crockett (born 1965), American guitarist
Damarea Crockett (born 1997), American football player
Davey Crockett (baseball) (1875–1961), American baseball player
David Crockett (wrestling) (born 1946), American professional wrestling announcer
Davy Crockett (1786–1836), American frontiersman
Davy Crockett (outlaw) (1853–1876), American outlaw
Dick Crockett (1915–1979), American actor
Earl C. Crockett (1903–1975), American politician
Effie Crockett (1857–1940), American actress
G. L. Crockett (1928–1967), American singer
George Crockett Jr. (1909–1997), American politician
Granville Smith Crockett (1799—c. 1838/1846), American politician from Tennessee
Henri Crockett (born 1974), American football player
Ingram Crockett (1856–1936), American writer
Ivory Crockett (born 1948), American sprinter
James Crockett (soccer) (1910–1986), American soccer player
James Underwood Crockett (1930–1979), American gardener and television presenter
Jasmine Crockett (born 1981), American politician
Jim Crockett (1909-1973), American professional wrestling promoter
Jim Crockett Jr. (1944-2021), American professional wrestling promoter
John Crockett (director) (1918–1987), British stage and television director
John Crockett (frontiersman) (1754–1794), American frontiersman, soldier, and father of Davy
John McClannahan Crockett (1816–1887), American politician
John Watkins Crockett Jr. (1818–1874), American politician
John Wesley Crockett (1807–1852), American politician
Joseph Crockett (1905–2001), American sport shooter
Juli Crockett (born 1975), American playwright
Kennedy M. Crockett (1920–2001), American diplomat
Larry Crockett (1926–1955), American racing car driver
Linda Crockett (born 1950), American writer
Lucy Herndon Crockett (1914-2002), American novelist
Michael Crockett (born 1983), Australian rugby player
Molly J. Crockett (born 1983), American neuroscientist
Montay Crockett (born 1993), American football player
Ray Crockett (born 1967), American football player
Rita Crockett (born 1957), American volleyball player
Robert O. Crockett (1881–1955) American politician
S. R. Crockett (1860–1914), British writer
William J. Crockett (1914–1999), American diplomat
Willis Crockett (born 1966), American football player
Wyatt Crockett (born 1983), New Zealand rugby player
Zack Crockett (born 1972), American football player

Fiction
Isaiah Crockett (comics), fictional character in DC Comics
Sonny Crockett, fictional detective in the television series Miami Vice

See also
Crockett (disambiguation)

References

English-language surnames
Surnames of British Isles origin


Etna is an unincorporated community in Clark County, Washington.

History

A post office called Etna was established in 1882, and remained in operation until 1918. The name is a transfer from Etna Green, Indiana.

References

Geography of Clark County, Washington


Albert Joe Demby (born 1934 in Gerihun, Bo District, British Sierra Leone; died 2021 in Freetown) was a Sierra Leonean politician and a member of the Sierra Leone People's Party. He served as the Vice President of Sierra Leone from 29 March 1996 to 25 May 1997, when the administration was overthrown by a military junta. After the junta was deposed in 1998, he continued his term until 1999, when he was dropped from the vice presidency by Ahmad Tejan Kabbah in favor of Foday Sankoh. The vice-presidency was stripped from Sankoh in 2000, and Demby took his place once again. Kabbah's term ended in 2002, and Demby was succeeded as vice president by Solomon Berewa, who had previously served as Minister of Justice and Attorney-General. Like Berewa, Joe Demby was from the Mende ethnic group.

He died on Saturday 20 March 2021, at his home in Sierra Leone.

References

1934 births
2021 deaths
Vice-presidents of Sierra Leone
Sierra Leone People's Party politicians
Mende people
People from Kenema District


Etna (Aetna) is an unincorporated community located in the town of New Diggings, in Lafayette County, Wisconsin, United States. It lies at an elevation of 758 feet (231 m). Originally named Aetna, a local legend has it that a lime kiln representing the spouting of the Sicilian Mount Etna stood on the spot of the community.

Notes

Unincorporated communities in Lafayette County, Wisconsin
Unincorporated communities in Wisconsin


Kobzar (Ukrainian: Кобзар, "The bard"), is a book of poems by Ukrainian poet and painter Taras Shevchenko, first published by him in 1840 in Saint Petersburg, Russia. Taras Shevchenko was nicknamed The Kobzar after the publishing of this book. From that time on this title has been applied to Shevchenko's poetry in general and acquired a symbolic meaning of the Ukrainian national and literary revival.

The first publication consisted of eight poems: "Думи мої, думи мої, лихо мені з вами" (My thoughts, my thoughts, you are my doom), "Перебендя" (Perebendya), "Катерина" (Kateryna), "Тополя" (Poplar tree), "Думка" (Thought), "Нащо мені чорні брови" (Why should I have Black Eyebrows), "До Основ'яненка" (To Osnovyanenko), "Іван Підкова" (Ivan Pidkova), and "Тарасова ніч" (Taras's night).

There were three editions of the Kobzar during Shevchenko's lifetime: 1840, 1844 and 1860. Two last of them included Hajdamaki — another famous book (poem) by Taras Shevchenko, published in 1841. 1844 edition was entitled as Чигиринський Кобзар і Гайдамаки ("Chyhyryn's Kobzar and Hajdamaki" or "Kobzar of Chyhyryn and Hajdamaki").

Censorship in the Russian Empire prompted publication of the poetry by Taras Shevchenko in non-Russia-ruled lands, such as Prague (now in the Czech Republic) or German editions.

Word definition

Literally, kobzar in Ukrainian means a bard, although not a regular one, but rather the one who along with singing plays on a musical instrument, kobza. Kobza is roughly similar to a lute.

In the contemporary Ukrainian the word is also associated with the famous Ukrainian poet Taras Shevchenko who was given the same nickname.

A complete collection of Ukrainian poems by Taras Shevchenko is called Kobzar too, after the title of Shevchenko's first book.

Important editions of the XIX — early XX centuries.
Publications in Osnova magazine
Read more: Kobzar 1861
In January–December 1861, an unordered selection of 69 poems by Taras Shevchenko was published in the magazine Osnova (Books I-XII) edited by Vasyl Bilozersky. Each of the publications was entitled "Kobzar". The text is printed in Kulishivka and has accents on words with several syllables (except for the letter "i", on which the printing house could not always mark accents for technical reasons). Book I appeared during Shevchenko's lifetime, and an obituary was published in February II.

In 1867, the Kobzar was published at the expense of the Russian publisher D. Kozhanchikov. It was at that time the most complete edition of "Kobzar", compiled by MI Kostomarov and GS Vashkevich. On June 6, 1867, IT Lysenkov filed a lawsuit with the St. Petersburg District Court, accusing D. Yu. Kozhanchikov of illegally publishing Shevchenko's works. MO Nekrasov, MI Kostomarov and OM Pippin acted as experts in court. The process, which lasted ten years, ended in favor of D. Kozhanchikov (see: Bezyazychny V. Taras Shevchenko and bookseller Ivan Lysenkov... // Book trade. — 1964. — No. 3). [5]

"Kobzar", published in 1911 in St. Petersburg
More extensive (containing many previously unpublished works of the poet) was the Prague edition of "Kobzar" in 1876, commissioned by the Kiev "Community" Alexander Rusov. He brought Taras Hryhorovych's brothers Osyp and Mykyta to Kyiv from Kyrylivka. Citizens bought from them the right to publish all works. On October 24, 1874, a "merchant" was concluded in Kyiv. Under its terms, for four years Shevchenko had to receive 5 thousand rubles — a huge amount at the time. In 1875, Alexander Rusov left for Prague, where he published Kobzar (1875-1876) in two volumes. Russian imperial censorship allowed to import only the first volume into Russia. In the second volume, 18 poems (from the Big Book) appeared for the first time.

1878 — in Geneva, Mikhail Drahomanov published a pocket version of the Kobzar in reprint. The size of the book is 9 by 5 cm. The books were smuggled into Ukraine in cigarette packs.

1880 — Mikhail Drahomanov published a version of the Kobzar in Ukrainian Latin.

1889 — The Kobzar was first published in Kyiv.

In 1907, 1908 and 1910 a relatively complete edition of "Kobzar" was published, prepared by the Ukrainian scientist Vasyl Domanytsky.

A 19-volume Kobzar was published by the same scholar in 1911 at the Valentin Yakovenko publishing house in St. Petersburg, dedicated to the 50th anniversary of Taras Shevchenko's death. The title page of the publication with a portrait of Shevchenko was made by Ivan Kramskaya, and the drawings were prepared by Samiylo Dudin and Mykhailo Tkachenko.

1914 — in Lviv The Taras Shevchenko Scientific Society reprinted a small number of phototypes of the first edition from 1840 (114 pages), which are also rare today. They differ from the first printing by lower quality of paper. On a separate page the initial data of this edition — the publisher, year of the reprint edition, circulation were specified. Books with this page are very rare.

1928--in Kyiv-Kharkiv, was published an illustrated edition by the publishing house Radianske selo (Soviet village).  The cover wrappers are by Okhrim Sudomora.

Edition

Lifetime publications

The first edition
The first edition of "Kobzar" was printed in the private printing house of EF Fischer in St. Petersburg (Russia) with a circulation of 1,000 copies. Of these, the first 100 copies had 115 pages of text, but most of them, after the intervention of the censor, were removed and destroyed before the sale, and about ten, which Taras Shevchenko gave to friends — remained. Currently, the only known copy, which has 115 pages of text that belonged to Taras Shevchenko and was confiscated from him during his first arrest, is kept in St. Petersburg (Russia), and the remaining books have 114 pages.

The first edition of "Kobzar" included eight early works:

 "My thoughts, my thoughts, woe is me with you!"
 "Perebendya",
 "Katerina",
 "Poplar",
 "Thought" (Why do I have black eyebrows...),
 "To Osnovyanenko",
 "Ivan Pidkova",
 "Tarasova night".

Six of them were dedicated.

Of all the lifetime editions of the works, the first "Kobzar" had the most attractive appearance: high-quality paper, convenient format, clear font. A notable feature of this "Kobzar" is the etching at the beginning of the book by Vasyl Sternberg: the folk singer is a kobzar with a boy-guide. This is not an illustration of a separate work, but a generalized image of a kobzar, which gave the name to the collection. The release of this "Kobzar", even cut by tsarist censorship, is an event of great literary and national significance.

After the arrest of Taras Shevchenko in 1847, the Kobzar was banned in the Russian Empire and confiscated from libraries and bookstores, as well as from individual citizens, which made this publication rare during the poet's lifetime. Only a few copies of Taras Shevchenko's Kobzar of 1840 have survived in the world. One of them (114 pages) is stored in the National Library of Ukraine named after Vernadsky, another — in the Cherkasy Museum "Kobzar", is also in the Museum of the Liberation Struggle. S. Bandera (London — Great Britain) and in the library of Harvard University (USA). Kobzar was copied and even sold in manuscripts. A copy of the Kobzar, transcribed and painted by T. Shevchenko's friends, which they presented to him instead of the one taken away by the guards after his return from exile, has been preserved.

Second edition
In 1844, under the title "Chyhyryn Kobzar", a reprint of the first edition of "Kobzar" was published with the addition of the poem "Haydamaky".

Third edition
"Kobzar" was published in 1860 at the expense of Platon Symyrenko, with whom Taras Shevchenko met during his last trip to Ukraine in 1859 in Mliiv. Platon Simirenko - a well-known sugar producer and philanthropist in Ukraine - allocated 1,100 rubles for the publication of "Kobzar". This edition was much more complete than the previous ones: it included 17 works. At the beginning - a portrait of Taras Shevchenko. However, the poems "Dream", "Caucasus", "Heretic", the poem "Testament" and similar works could not be included in the publication due to censorship.

Other lifetime publications
A number of poems that were not included in the Kobzar due to censorship were published by the poet's friends in Leipzig in 1859: a collection of New Poems by Pushkin and Shevchenko.

In the same year, 1860, Kobzar was translated by Russian poets (St. Petersburg, 1860; translated into Russian by M. Gerbel). This is the last edition of "Kobzar" during the author's lifetime.

Publication of the Ukrainian diaspora
1922 - an illustrated collection of T. Shevchenko's poems entitled "Kobzar" with a biography and foreword by Bohdan Lepky was published by the Ukrainske Slovo publishing house in Berlin.

1940 - A unique alphabet of the Kobzar is published by the Ukrainian publishing house in Kraków.

See also

 Izbornyk
 List of Ukrainian-language poets
 List of Ukrainian-language writers
 Ukrainian literature

References

External links
 The Kobzar of the Ukraine: being select poems of Taras Shevchenko by A. J. Hunter at Internet Archive

Ukrainian poems
Taras Shevchenko
Ukrainian books
Poetry collections
1840 books
Ukrainian-language books


Chenal (pronounced Sh Nahl) is an unincorporated community located in southeastern Pointe Coupee Parish, Louisiana, United States. The word "chenal" is the French word for "channel". The community's name is derived from a body of water located just south of it. This body of water, known as "the Chenal" or "le chenal", is a remnant of the Old Mississippi River channel that once flowed through the area. This channel as well as nearby False River were once parts of the main channel of the Mississippi.

History

The first church to be known in this area as Our Lady of the Immaculate Conception was established in the area as a mission in 1853. The church later burned down and was relocated to its current site in Lakeland, Louisiana. The site of the original church, in the area still known as Chenal, is the current location of the Chenal Cemetery.

A post office was established in Chenal in 1892. This post office closed down in 1951 when a new post office was set up in Rougon, to service both communities.

Geography
Chenal is situated west of the Mississippi River, along Louisiana Highway 414. It is nearly due north of the nearby community of Rougon.

References

Unincorporated communities in Pointe Coupee Parish, Louisiana
Baton Rouge metropolitan area
Unincorporated communities in Louisiana


Volodymyr Semenovych Stelmakh (; born 18 January 1939) is a Ukrainian banker, economist, and politician who served as Governor of the National Bank of Ukraine from on two occasions, from 2000 to 2002 and from 2004 to 2010.

In February 2010 he was awarded the Order of Yaroslav the Wise (second degree).

Governor of the National Bank of Ukraine
From January 2000 to January 2003 Stelmakh served his first turn as Governor of the National Bank of Ukraine (NBU). According to Stelmakh, one of the main initiators of his resignation was Prime Minister Anatoliy Kinakh, who wanted to cover the lack of revenue to the 2002 state budget by printing more money. As head of the NBU he stated he was categorically against such a step, because it was fraught with a jump in inflation.

On 16 December 2004 Stelmakh was again appointed the Governor of the NBU.

During the 2007 Ukrainian parliamentary election Stelmakh was placed number 28 on the electoral list of Our Ukraine–People's Self-Defense Bloc. However, Stelmakh refused the deputy mandate in favor of his post at the NBU.

References

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1939 births
Living people
People from Sumy Oblast
Ukrainian politicians
Recipients of the title of Hero of Ukraine
Recipients of the Order of Prince Yaroslav the Wise, 2nd class
Recipients of the Order of Prince Yaroslav the Wise, 3rd class
Recipients of the Order of Prince Yaroslav the Wise, 4th class
Recipients of the Order of Prince Yaroslav the Wise, 5th class
Governors of the National Bank of Ukraine
Financial University under the Government of the Russian Federation alumni
Laureates of the State Prize of Ukraine in the Field of Architecture
Laureates of the Honorary Diploma of the Verkhovna Rada of Ukraine
Soviet bankers


Masonboro Island is a barrier island in New Hanover County, North Carolina, United States. The island, which is undeveloped and accessible only by boat, is a component of the North Carolina National Estuarine Research Reserve and a North Carolina State Natural Area. It lies south of Wrightsville Beach, separated by Masonboro Inlet, and north of Carolina Beach, separated by Carolina Beach Inlet. The island is a destination for boating, surfing, and camping.

Masonboro Island is a mix of marshes, dunes and tidal flats, with beaches along its Atlantic coastline and a chain of small hills and wetland islands along Masonboro Sound, which is part of the Intracoastal Waterway. The beaches are a nesting ground for loggerheads and green sea turtles, and the waters on the sound side of the island are a nursery for spot, mullet, flounder and pompano.

References

Barrier islands of North Carolina
Protected areas of New Hanover County, North Carolina
Masonboro Island State Natural Area
Landforms of New Hanover County, North Carolina
Wetlands of North Carolina


Aetna, Arkansas, may refer to:
Aetna, Craighead County, Arkansas
Aetna, Sharp County, Arkansas