Henrique Adriano Buss (born 14 October 1986), simply known as Henrique (), is a Brazilian professional footballer who plays as a central defender for Coritiba. He has played for the Brazil national team, making his debut in 2008 and being included among the 23-man list for the 2014 FIFA World Cup.

His main asset is his versatility, as he can play as a central defender, right back or defensive midfielder.

Club career

Coritiba and Palmeiras
Henrique started his career at Coritiba in his home region. In 2008, he was bought by Palmeiras in a deal partially financed by Traffic Group. Part of the later transfer fee of Henrique from Barcelona was credited to Desportivo Brasil, the subsidiary of Traffic and re-distributed by Desportivo to Palmeiras.

Barcelona
Dutch club Ajax were said to have tabled a bid for Henrique in June 2008, which was soon followed by a report saying he had agreed terms with Barcelona. In the end, Barcelona had secured Henrique's services from Palmeiras for €8 million, with an extra €2 million in bonuses. He signed a five-year deal and was to be immediately loaned out to German Bundesliga side Bayer Leverkusen. The transfer to Barça was officially completed a day later. Henrique made 27 league appearances in his season with Leverkusen and reached the final of the 2008–09 DFB-Pokal. He returned to Barcelona in June 2009, being given the number 23 shirt upon his return. On 31 August 2009, he was again loaned out, this time to Racing de Santander. The loan was renewed for a second year on 26 July 2010.

Barcelona wrote-down €1.757 million for the residual contract value of Henrique for the 2010–11 season.

Palmeiras
On 15 July 2011, Henrique returned to Brazil on another loan deal from Barcelona. During the 2012 Copa do Brasil campaign, coach Luiz Felipe Scolari started playing Henrique as a holding midfielder and the player thrived in the new role, with Palmeiras eventually winning the competition.

On 2 June 2012, Barcelona cancelled Henrique's contract, prompting his release from the club. He then joined Palmeiras on a free transfer after a successful loan spell in 2011–12. Palmeiras, however, remained the holder of 80% of Henrique's economic rights, with 20% of any future transfer fee to be paid to unknown parties. Henrique also became second captain of the squad, behind dead-ball specialist Marcos Assunção in the pecking order.

Napoli
On 30 January 2014, Henrique officially signed with Italian Serie A club Napoli. The deal was completed for €4 million with the player agreeing to a three-and-a-half-year contract. He played all 90 minutes of their 3–1 victory over Fiorentina in the 2014 Coppa Italia Final on 3 May.

Fluminense
On 11 January 2016, Henrique joined Fluminense on a three-year contract.

International career
On 21 March 2008, Henrique received his first call up to the Brazil national team after centre back Juan was cut from the squad due to an injury to his ankle.

On 16 April 2013, Henrique was called up by Luiz Felipe Scolari, his former coach at Palmeiras, for a friendly against Chile on 24 April at the Mineirão. But on 19 April, as Palmeiras would play against Tijuana the next day, Henrique was cut from the list, and Rodrigo Moledo of Internacional was called up in his place. On the same day, Conmebol had moved the Palmeiras game and Henrique was recalled, but Moledo was nonetheless kept on the list.

On 7 May 2014, Henrique was selected as part of the Brazil squad for the upcoming World Cup, to be played on home soil.

His sole appearance at the tournament was the final two minutes of the quarter-final victory over Colombia, replacing the injured forward Neymar, as Brazil eventually finished fourth.

Career statistics

Club

International

Honours
Coritiba;
Campeonato Brasileiro Série B: 2007
Paraná State Championship: 2022
Palmeiras
São Paulo State Championship: 2008
Copa do Brasil: 2012
Campeonato Brasileiro Série B: 2013

Napoli
Coppa Italia: 2013–14
Supercoppa Italiana: 2014

Corinthians
Campeonato Paulista: 2018, 2019

Individual
 Campeonato Carioca Team of the year: 2017

References

External links

1986 births
Living people
Brazilian people of German descent
Brazilian men's footballers
Men's association football defenders
Campeonato Brasileiro Série A players
Campeonato Brasileiro Série B players
Coritiba Foot Ball Club players
Sociedade Esportiva Palmeiras players
Fluminense FC players
Sport Club Corinthians Paulista players
La Liga players
FC Barcelona players
Racing de Santander players
Bundesliga players
Bayer 04 Leverkusen players
Serie A players
SSC Napoli players
UAE Pro League players
Ittihad Kalba FC players
Primeira Liga players
B-SAD players
2014 FIFA World Cup players
Brazil men's international footballers
Brazilian expatriate men's footballers
Brazilian expatriate sportspeople in Germany
Brazilian expatriate sportspeople in Italy
Brazilian expatriate sportspeople in Portugal
Brazilian expatriate sportspeople in Spain
Brazilian expatriate sportspeople in the United Arab Emirates
Expatriate men's footballers in Germany
Expatriate men's footballers in Italy
Expatriate men's footballers in Portugal
Expatriate men's footballers in Spain
Expatriate men's footballers in the United Arab Emirates
People from Marechal Cândido Rondon
Footballers from Paraná (state)


Noise: The Political Economy of Music is a book by French economist and scholar Jacques Attali which is about the role of music in the political economy.

Attali's essential argument in Noise: The Political Economy of Music (French title: Bruits: essai sur l'economie politique de la musique) is that music, as a cultural form, is intimately tied up in the mode of production in any given society. Although this idea is familiar in strands of Marxism, the novelty of Attali's work is that it reverses the traditional understandings about how revolutions in the mode of production take place:

"[Attali] is the first to point out the other possible logical consequence of the “reciprocal interaction” model—namely, the possibility of a superstructure to anticipate historical developments, to foreshadow new social formations in a prophetic and annunciatory way. The argument of Noise is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility which is that mode of production’s baleful mirror image."

Attali's Four Stages of Music
Attali believes that music has gone through four distinct cultural stages in its history: Sacrificing, Representing, Repeating, and a fourth cultural stage which could roughly be called Post-Repeating. These stages are each linked to a certain "mode of production"; that is to say, each of these stages carries with it a certain set of technologies for producing, recording and disseminating music, and also concomitant cultural structures that allow for music's transmission and reception.

Sacrificing refers to the pre-history of modern music—the period of purely oral tradition. In historical terms, this period could be dated to anytime before about 1500 AD. This is the period before mass-produced, notated music—a period when the musical tradition exists solely in the memory of people, generally in the form of oral songs and folktales. Here, Attali characterizes music as being contrasted to the "noise" of nature—of death, chaos and destruction. In other words, music stands in contrast to all of those natural forces that threaten man and his cultural heritage. The purpose of music in this era is to preserve and transmit that cultural heritage, by using music to reinforce memory. Music in this period is ubiquitous and often tied up in festival. He calls the chapter Sacrificing because in this era, music is a ritualized, structuralized sublimation of the violence of nature.

Representing refers to the era of printed music—roughly 1500-1900 AD. During this era, music becomes tied to a physical medium for the first time, and therefore becomes a commodity for sale in the marketplace. During this era, Attali characterizes music as being a spectacle that is contrasted to silence—think of the hushed anticipation that greets the professional performer in the concert hall. During this era, music also becomes separated from the human life-world: no longer the purview of peasants at their labor, music becomes a highly complex, mechanical process that is articulated by specialists. He calls this chapter Representing because the project of the performer is to "re-present" music—to bring it out of absence and into presence by drawing the intent of the composer from the page and articulating it to a waiting audience:

"Beginning in the eighteenth century, ritualized belonging became representation. The musician… became a producer and seller of signs who was free in appearance, but in fact almost always exploited and manipulated by his clients…''
The attitude of music then changed profoundly: in ritual, it was one element in the totality of life… In contrast, in representation there was a gulf between the musicians and the audience; the most perfect silence reigned in the concerts of the bourgeoisie… The trap closed: the silence greeting the musicians was what created music and gave it autonomous existence, a reality. Instead of being a relation, it was no longer anything more than a monologue of specialists competing in front of consumers. The artist was born, at the same time that his work went on sale…" (Attali, 46-47)

Repeating refers to the era of recorded and broadcast sound—roughly 1900 AD-present. During this period, notation (which could be thought of as a highly coded, written guide to how music should be sounded) was replaced by recording (which is the sounding of music, trapped and preserved on vinyl, tape or disc). During this era, Attali asserts that the goal of music is not memory or quality, but fidelity—the goal of those engaged in the musical project (which includes not only composers and performers, but sound engineers, studio execs and the like) is to record sound as clearly and flawlessly as possible, and to perfectly reproduce these recordings. In this era, each musical work is contrasted to the other versions of itself—the key question for the musician becomes: how faithfully can he re-produce the "original" recording? Attali calls this chapter Repeating, then, because each musical act is a repetition of what came before: music is made up of ever-more-perfect echoes of itself:

"The advent of recording thoroughly shattered representation. First produced as a way of preserving its trace, it instead replaced it as the driving force of the economy of music… for those trapped by the record, public performance becomes a simulacrum of the record: an audience generally familiar with the artist’s recordings attends to hear a live replication… For popular music, this has meant the gradual death of small bands, who have been reduced to faithful imitations of recording stars. For the classical repertory, it means the danger… of imposing all of the aesthetic criteria of repetition—made of rigor and cold calculation—upon representation." (Attali, 85)

Also important to Repeating are Attali’s ideas of Exchange-Time and Use-Time.  Attali defines Exchange-Time as the time spent towards earning the money needed to purchase a recording, whereas Use-Time involves the time spent listening to recordings by the purchaser.  In a society made up of recording labels and radio stations, far more recordings are produced than an individual can listen to in a lifetime, and in an effort to spend more time in Use-Time than in Exchange-Time people begin to stockpile recordings of what they want to hear.  Attali states that this stockpiling has become the main method of use by consumers, and in doing so, shorter musical works have been valorized.  More importantly, according to Attali, this process of stockpiling removes the social and political power from music. (Attali, 101)

Attali hints at a Post-Repeating era in his chapter 'Composing', but never fully develops his theory of it. While many readers consider this to be influenced by electronic musical techniques such as sampling, remixing and electronic manipulation (which were common in 1985 when the English translation was published), it is doubtful that they would have influenced Attali given that "Noise" was first published in French in 1977 (and one can assume the manuscript was completed at least several months prior to publication). Still, a style of music created from the manipulation of recorded material known musique concrète was created in France in 1948 and institutionalized in the form of the Groupe de recherches musicales (GRM) for nearly three decades at the time of the book's composition.

References

1977 non-fiction books
Economics of the arts and literature
Economics books
History books about music
Works about the information economy
Monographs
Music history
Music and politics
Presses Universitaires de France books


Comediehuset (The Comedy House) or Sillgateteatern (The Herring-Street Theatre) was a Swedish theatre, active in Gothenburg from 1779 until 1833. It was the first permanent Public theatre in Gothenburg and the only one until 1816. It was located at the corner of Sillgatan, the Herring-street (now Postgatan) and Nedre Kvarnbergsgatan.

History

Background
Prior to the foundation of the first theater, travelling theatre companies had visited Gothenburg, the first one being recorded in 1696. They were foreign, usually from Germany, but by the 1750s, the Swedish theater company of Peter Lindahl regularly visited the town. During the 1770s, amateur theater became popular among the wealthy city elite due to the theater interest of Gustav III of Sweden, and the family of Alströmer and Hall staged amateur theater and became patrons of theater.

In about 1775, Patrik Alströmer and his brother Clas Alströmer, had a proper theater building constructed, known as the Comedy House. Originally of wood, it was rebuilt in stone in 1782. This was to become the 4th public theater in Sweden, after Björngårdsteatern (1640) and Bollhuset (1667) in Stockholm, and the second outside of the capital, after Egges teater in Norrköping (1762), and prior to Spektakelhuset in Karlskrona and Spektakelhuset in Gävle (both founded in 1784). This was a part of a great enthusiasm and development of the theatre had begun in the country after King Gustav III of Sweden had founded the Royal Swedish Opera in 1773. Many theaters were founded in smaller cities around Sweden in the 18th-century, but Comediehuset was one of few to have success enough to last past a few years.

Permanent theatre
It is not exactly known when the theater was first used. Likely, it was used by travelling theater companies from the start. From 1779, however, the building was used by the theater company Gemenasiska sällskapet. It was managed by, in succession, Johan von Blanc (1779-86); Gustaf Simson (1786-87) and finally by Lovisa Simson (1787-92) in companionship with Andreas Widerberg (1786-90).

The standard of the Comediehuset was considered high. The theater's outside the capital was not as closely guarded by the authorities, and controversial plays often had premier sooner in Gothenburg, Karlskrona and Norrköping earlier than in Stockholm. The Marriage of Figaro had its premier in Sweden in Comediehuset in 1786, and Hamlet in 1787, much sooner than in the Royal Dramatic Theatre in Stockholm. Comediehuset also arranged public masquerade balls, concerts, opera and ballet, and had its own restaurant. Travelling guests artists also performed there, often foreign, such as French pantomime artists, Italian Opera and English circus artists.

Later history
In 1792, the theater was dissolved. However, it continued to be used by travelling theater companies. From 1793 until 1800, it was used by the company of Johan Anton Lindqvist, during which it in effect continued as a permanent theater. The following years, it was temporarily used by a succession of theater companies.

From 1810 until 1816, it was again permanently used by Johan Anton Lindqvist, until the building was deemed unsuitable and Lindqvist moved his theater to the second theater in Gothenburg, the newly established Segerlindska teatern (1816–1892), which was also called Stora teatern and Mindre teatern (from 1864), which in its turn was replaced by Stora Teatern, founded in 1859.

After repairs, Comediehuset was temporarily used for some performances until it was closed in 1833. The empty building burnt down 13 March 1867.

References
 Manne Ekman, GP.se, Stora Teatern, 2002-08-28,
 Wilhelm Berg: Anteckningar om Göteborgs äldre teatrar / Band 2. 1794-1816 (1896-1900)
 Wilhelm Berg: Anteckningar om Göteborgs äldre teatrar / Band 1. 1690-1794  (1896-1900)
 Wilhelm Berg: Anteckningar om Göteborgs äldre teatrar / Band 3. 1816-1833  (1896-1900)

Former theatres in Sweden
18th century in Gothenburg
History of theatre
1779 establishments in Sweden
19th century in Gothenburg
Cultural history of Sweden
Theatres completed in 1779


Tercis-les-Bains (; ) is a commune of the Landes department in Nouvelle-Aquitaine in southwestern France.

Population

See also
Communes of the Landes department

References

Communes of Landes (department)


Gaujacq (; ) is a commune in the Landes department in Nouvelle-Aquitaine in southwestern France.

Population

References

See also
Communes of the Landes department

Communes of Landes (department)


"Milk Chocolate Girl" is an English R&B song by Belgian-Turkish singer Hadise.  It is the third single from her debut album Sweat and was the most successful song by Hadise, until the release of "My Body" in 2008 which debuted in a higher position than "Milk Chocolate Girl".

Production
"Milk Chocolate Girl" was written by Hadise herself along with Yves Jongen. The song came about when Hadise was working on her debut album Sweat. She daily enjoyed a piece of chocolate to regain her strength, when one day she turned round to her producer and said "Chocolate is so delicious. I really couldn’t do without it", her producer then replied "What’s this infatuation women have with chocolate?" This comment, referring to the fact that women often say its better than sex contributed to the lyrics; "The sweet taste makes ya want to scream, A lot of woman say its better than ya know what I mean."

Chart performance
"Milk Chocolate Girl" was the third single from Sweat released in Belgium. The song debuted on the Belgium Singles Top 50 at number twenty-six. It later peaked at Thirteen remaining on the chart for Eighteen weeks in total.

Charts

Track listing
"Milk Chocolate Girl (Radio Edit)" - 3:17
"Milk Chocolate Girl (Extended)" - 5:49
"Ain't Doing It Right (Radio Edit)" - 3:52

References

2005 singles
Hadise songs
English-language Belgian songs
Songs written by Yves Jongen
Songs written by Hadise
2005 songs


Diocese of Zagreb may refer to:

 Roman Catholic Diocese of Zagreb, central archdiocese of the Catholic Church in Croatia
 Serbian Orthodox Diocese of Zagreb, Eastern Orthodox diocese

See also
Catholic Church in Croatia
Eastern Orthodoxy in Croatia
Diocese of Požega (disambiguation)
Diocese of Zadar (disambiguation)
Diocese of Šibenik (disambiguation)


Michael Walsh (born 30 May 1986, Liverpool) is an English footballer.

Walsh joined Chester from Rhyl in 2004, making his first-team debut the following January as a substitute in an FA Cup tie at AFC Bournemouth in the left back slot. Walsh joined fellow youngsters Robbie Booth, Gavin Lynch and Shaun Whalley in being given first-team opportunities under Ian Rush. His Football League debut followed, again as a substitute at Cambridge United a week later, with his first goal arriving in a 2–2 draw against Southend United on 5 March 2005.

Despite his involvement in the first-team squad, Walsh and the majority of his teammates were released at the end of the season. He spent time on trial with Wrexham and briefly returned to Rhyl before joining Bangor City in September 2005.

He followed this with a two-year spell with Marfin Laiki League side APOP Kinyras Peyias. In 2011, he returned to Wales, rejoining Bangor City before moving to Aberystwyth Town in January 2012.

As a youngster, Walsh captained the North Wales under 18s side.

External links
welsh-premier.com profile
www.low.org.uk profile

References

1986 births
Living people
English Football League players
English men's footballers
Cymru Premier players
Men's association football fullbacks
Men's association football midfielders
Chester City F.C. players
Rhyl F.C. players
Bangor City F.C. players
APOP Kinyras FC players
Expatriate men's footballers in Cyprus
Footballers from Liverpool
Aberystwyth Town F.C. players


The Diocese of Szombathely () is a Latin suffragan diocese in the Ecclesiastical province of the Metropolitan Veszprém in Hungary.

Its cathedral episcopal see is Szombathely Cathedral (), dedicated to the Visitation of Our Lady, in the city of Szombathely.

History
 June 17, 1777: Established as Diocese of Szombathely (German Steinamanger), on territories split off from the Diocese of Veszprém (also Hungary) and then Diocese of Zagreb (Croatia). Its first bishop was John Szily (1777–1799), who built the episcopal residence and the cathedral. His successor, Cardinal Franz Herzen (1799–1804), was envoy of Austrian emperor Joseph II to the Holy See.
 Lost Alpine territory on 1922.05.18 to establish Apostolic Administration of Burgenland (in Austria).

Statistics
As per 2014, it pastorally served 298,100 Catholics (76.9% of 387,500 total) on 4,660 km² in 142 parishes with 135 priests (105 diocesan, 30 religious), 86 lay religious (30 brothers, 56 sisters) and 16 seminarians.

Episcopal ordinaries
(all Roman Rite)

Suffragan Bishops of Szombathely
 János Szily di Felsőszopor (1777.02.17 – death 1799.01.02), previously Bishop of Knin (Croatia) (1775.04.24 – 1777.02.17)
 Cardinal Franziskus von Paula Herzan von Harras (Czech) (1800.05.12 – 1804.06.01), Cardinal-Priest of S. Croce in Gerusalemme (1788.04.07 – 1804.06.01); previously created Cardinal-Priest of S. Girolamo dei Croati (1780.12.11 – 1782.09.13), transferred Cardinal-Priest of Ss. Nereo ed Achilleo (1782.09.13 – 1788.04.07), Camerlengo of Sacred College of Cardinals (1788.03.10 – 1789)
 Leopold Perlaki Somogy (1806.08.26 – death 1822.02.20)
 András Bolle (1825.03.21 – death 1844)
 Gábor Balassa (1844.06.07 – death 1851.08.11)
  Ferenc Szenczy (1852.09.04 – death 1869.02.19)
 Enrico Szabó (1869.11.22 – death 1881)
 Cornelio Hidasy (1883.03.15 – death  1900)
 István Vilmos (1901.12.16 – 1910.12.24), succeeding as former Titular Bishop of Domitiopolis (1898.11.28 – 1901.12.16) and Auxiliary Bishop of Szombathely (1898.11.28 – 1901.12.16)
 Archbishop János Mikes (born Romania) (1911.12.11 – retired 1936.11.21); emeritate first as Titular Bishop of Acmonia (1936.01.10 – 1936.11.21), then Titular Bishop of Helenopolis in Palæstina (1936.11.21 – 1939.08.05), finally 'promoted' Titular Archbishop of Selymbria (1939.08.05 – 1945.03.28)
 József Grősz (1939.07.19 – 1943.05.07), previously Titular Bishop of Orthosias in Phœnicia (1928.12.17 – 1939.07.19) as Auxiliary Bishop of Győr (Hungary) (1928.12.17 – 1939.07.19); later Metropolitan Archbishop of Archdiocese of Kalocsa (Hungary) (1943.05.07 – death 1961.10.03)
 Sándor Kovács (1944.03.03 – death 1972)
BIOS TO ELABORATE
 Auxiliary Bishop: József Winkler (1959.09.15 – 1981.01.30)
Apostolic Administrator Árpád Fábián, Norbertines (O. Praem.) (1972.02.08 – 1975.01.07 see below)
 Árpád Fábián, O. Prae]] (see above 1975.01.07 – 1986.05.14)
 Auxiliary Bishop: György Póka (1982.04.05 – 1987.03.03)
 István Konkoly (1987.06.05 – 2006.06.20)
 András Veres (2006.06.20 – 2016.07.17.)
 Administrator of the Diocese István Császár  (2016.07.18 – 2017.06.18)
 János Székely (2017.06.18 – ...), previously Titular Bishop of Febiana (2007.11.14 – 2017.06.18) as Auxiliary Bishop of Archdiocese of Esztergom–Budapest (Hungary) (2007.11.14 – 2017.06.18).

See also
 List of Catholic dioceses in Hungary
 Roman Catholicism in Hungary

Notes and references

Sources
 GCatholic.org, with Google map - data for all sections
 Catholic Hierarchy

External links

1770s establishments in the Habsburg monarchy
18th-century establishments in Hungary
Religious organizations established in 1777
Roman Catholic dioceses in Hungary
Roman Catholic Ecclesiastical Province of Veszprém
Szombathely


Ger (; ) is a commune in the Pyrénées-Atlantiques department in south-western France.

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Last words are the final utterances before death. The meaning is sometimes expanded to somewhat earlier utterances.

Last words of famous or infamous people are sometimes recorded (although not always accurately) which became a historical and literary trope. According to Karl Guthke, last words as recorded in public documents are often reflections of the social attitude toward death at the time, rather than reports of actual statements. Published last words may reflect words that the dying person's intimates or supporters wished were their final testament.

Actual last words are typically less grandiose than those attributed to historical figures, and are also seldom published. Dying people frequently suffer delirium, diminished mental acuity, inability to speak clearly, or some combination of the three. McLeod stated that people near death do not normally remain mentally clear. Some do not speak before their death. "People will whisper, and they'll be brief, single words – that's all they have energy for."

Actual final utterances are often short or difficult to interpret. Diminished breathing can limit volume, and medications, lack of energy, dry mouth, and lack of dentures can also frustrate communication. Last words are commonly the names of spouses or children, or banal utterances such as "Mama" and "Oh, fuck".

See also
List of last words

References

Further reading


Toulouzette () is a commune in the Landes department in Nouvelle-Aquitaine in southwestern France.

Population

See also
Communes of the Landes department

References

Communes of Landes (department)


The 1883 New York Metropolitans finished with a 54–42 record, finishing in fourth place in the American Association. This was the first season in the Association for the Metropolitans, who had previously played as an independent team from 1880–1882.

Regular season

Season standings

Record vs. opponents

Opening Day lineup

Roster

Player stats

Batting

Starters by position
Note: Pos = Position; G = Games played; AB = At bats; H = Hits; Avg. = Batting average; HR = Home runs

Other batters
Note: G = Games played; AB = At bats; H = Hits; Avg. = Batting average; HR = Home runs

Pitching

Starting pitchers
Note: G = Games pitched; IP = Innings pitched; W = Wins; L = Losses; ERA = Earned run average; SO = Strikeouts

References
 1883 New York Metropolitans team page at Baseball Reference

New York Metropolitans seasons
New York Metropolitans season
New York Metropolitans season
19th century in Manhattan
Washington Heights, Manhattan


"Spring Can Really Hang You Up the Most" (1955) is a popular song with lyrics by Fran Landesman, set to music by Tommy Wolf. The title is a jazz rendition of the opening line of T.S. Eliot's The Waste Land, "April is the cruellest month". The song describes how somebody feels sad and depressed despite all the good things associated with spring.

Collaboration
Tommy Wolf was a pianist, composer, arranger, and musical director who met Fran Landesman while she was sitting in the bar of the Crystal Palace, a night club in St. Louis. Wolf was on the bandstand playing.  This experience inspired her to begin writing song lyrics and in 1952 Wolf began setting her lyrics to music.  More Landesman–Wolf collaborations followed, including the melodies for the songs for the Broadway musical The Nervous Set.

Notable recordings
Jackie Cain and Roy Kral – Storyville Presents Jackie & Roy (1955)
Ella Fitzgerald – Clap Hands, Here Comes Charlie! (1961)
Mark Murphy – Rah! (1961)
Stan Getz – Reflections (1963)
Julie London - Sophisticated Lady (1962)
Carmen McRae – Bittersweet (1964)
Hampton Hawes and Martial Solal – Key for Two (1968)
Phil Woods - Phil Woods & The Japanese Rhythm Machine (1975)
Blossom Dearie – Winchester in Apple Blossom Time (1977)
Betty Carter – The Audience with Betty Carter (1979)
Ian Shaw - A Ghost in Every Bar: The Lyrics of Fran Landesman (Splash Point, 2012)
Bette Midler - Some People's Lives (1990)
Norah Jones - Spring Can Really Hang You Up The Most / Come Away With (2022)
Radka Toneff - Live in Hamburg (1992,recorded in 1981)
Zoot Sims - Zoot Sims in Paris (1962)

References

External links
"Spring Can Really Hang You Up the Most" at Jazz Standards
"Fran Landesman biography" at Fran Landesman

Songs with lyrics by Fran Landesman
1955 songs
Ella Fitzgerald songs
Bette Midler songs
Barbra Streisand songs


Geaune (; ) is a commune in the Landes department in Nouvelle-Aquitaine in southwestern France.

Population

References

See also
Communes of the Landes department

Communes of Landes (department)


Saint-Loubouer (; ) is a commune in the Landes department in Nouvelle-Aquitaine in southwestern France.

Population

See also
Communes of the Landes department

References

Saintloubouer


Pimbo () is a commune in the Landes department in Nouvelle-Aquitaine in southwestern France.

Population

See also
Communes of the Landes department

References

Communes of Landes (department)


Hagetmau () is a commune in the Landes department in Nouvelle-Aquitaine in southwestern France.

Sights

Population

Notable Residents
The sociologist Henri Lefebvre was born here in 1901.

References

See also
Communes of the Landes department

Communes of Landes (department)


Leandro da Silva (born 11 January 1989) is a Brazilian professional footballer who plays as a central defender.

Club career
Born in Rio Branco do Sul, Paraná, Silva started his professional career with Coritiba. He appeared with the first team in the 2009 edition of the Brazilian Cup, against CSA and Ponte Preta.

In that summer, Silva was bought by S.L. Benfica. He was immediately loaned to another side in the Portuguese Primeira Liga, Guimarães-based Vitória SC, being rarely used during the season.

On 25 March 2011, Silva returned to Brazil and signed a long-term contract with Paraná Clube. After failing to appear officially, however, he moved clubs and countries again, joining Doxa Katokopias F.C. from the Cypriot First Division.

International career
Silva was part of the Brazil under-20 squad at the 2009 South American Youth Championship, as the nation emerged victorious.

Honours
Brazil U20
South American Youth Championship: 2009

References

External links
Futpédia profile
Coritiba official profile

1989 births
Living people
Footballers from Paraná (state)
Brazilian men's footballers
Men's association football defenders
Coritiba Foot Ball Club players
Paraná Clube players
Primeira Liga players
S.L. Benfica footballers
Vitória S.C. players
Cypriot First Division players
Doxa Katokopias FC players
Nea Salamis Famagusta FC players
Brazil men's youth international footballers
Brazilian expatriate men's footballers
Expatriate men's footballers in Portugal
Expatriate men's footballers in Cyprus
Brazilian expatriate sportspeople in Portugal
Brazilian expatriate sportspeople in Cyprus


IEJ may refer to:

 the Iejima Airport
 the Israel Exploration Journal
 the Nazi "Institut zur Erforschung der Judenfrage" ("Institute for Study of the Jewish Question")


Ponson-Debat-Pouts is a commune in the Pyrénées-Atlantiques department and Nouvelle-Aquitaine region of south-western France.

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Performance Network Theatre, founded in 1981, was Ann Arbor, Michigan's premiere professional Equity theatre. It produced a wide variety of dramas, classics, comedies, Pulitzer Prize and Tony award-winners, many of which were World or Michigan Premieres. Its professional season included five to seven main stage productions. Other programming included seasonal productions that ran in repertory over the holiday season, the Northern Writers' Project—a week-long playwriting intensive, children's programming, the Fireside Festival of New Plays, the Open Table Series, the Open Stage series, music and more.

On December 18, 2015,  the Theatre announced that it would close at the conclusion of the year.

Overview
Performance Network was a 501 (c)(3) nonprofit organization that began its tenure in Ann Arbor in 1981.  Performance Network became Ann Arbor's professional theatre in September 1997 and built an elegant theatre in the heart of downtown in September 2000.

Performance Network's primary stage, the Shure Theater, was an intimate space that seated 139 patrons.

History

David Bernstein and Jim Moran founded the Performance Network Theatre in 1981 as an arts collective. In addition to Bernstein and Moran, active collective members in the playwriting group included Lyn Coffin, Davi Napoleon, Judith Ottmar, Al Sjoerdsma and Rochel Urist. The theatre evolved into a nonprofit corporation in the mid-eighties. After the departure of the original founders, the organization continued to produce and present experimental, original and socially relevant work under the cooperative direction of Linda Kendall, Annemarie Stoll, Johanna Broughton, (and in time, Peter Knox). Eventually, the early 1990s saw departures from the artistic staff leave the artistic direction in the hands of Johanna Broughton, who (with her husband Dan Walker, along with Carla Milarch and David Wolber) led the theatre from the 'Warehouse Years' to professional status and in 2000 moved it from Ann Arbor's Washington Street location to the corner of 4th and Huron, near the Kerrytown district. In 1997, Performance Network secured a contract with Actors’ Equity and established itself as Ann Arbor's professional theatre.  In doing so, it was able to
 Increase the reputation of the Network by placing it in a higher tier of theatres nationally
 Gain access to plays of nationally recognized merit, unavailable to community theatres
 Increase artistic quality by hiring more experienced actors, directors, and designers
 Gain listing in respected theatrical publications and presentation by participating in the Michigan Equity Theatre Alliance, the National New Play Network, and Theatre Communication Group
 Expand the audience base by gaining press coverage in Southeastern Michigan publications.
In 2003, direction of the theatre was turned over to Milarch and Wolber. Under Milarch and Wolber, Performance Network excelled at choosing a wide range of artistically challenging shows and began receiving multiple awards for artistic quality. In order to continue producing high quality work Milarch decided to join Wolber in the Artistic department.  In 2012, Performance Network switched to a dual leadership structure and hired Erin Sabo to partner with Wolber. In May 2014, the Board of Directors suspended all operations, as the theater did not have resources to pay its staff, actors and vendors in a timely manner, and to make debt payments.  In July 2014, the Board announced that the theatre would reopen under the management of local actor-directors John Manfredi and Suzi Regan. Under the new management team, the Network produced one and a half seasons.  Despite excellent reviews for some of the productions,  both ticket sales and donations dropped precipitously.  In October 2015, the theatre announced that unless it could raise $50,000 before Thanksgiving, it would need to close its doors permanently.  The funding campaign failed to reach its goal.  In December, the staff and Board of Directors announced that the theatre company was no longer sustainable.

Programs

Professional Season
The professional season included classic and contemporary plays under a Small Professional Theatre contract with Actors’ Equity Association.  Performance Network strived to include a classic play, musical, and world premiere in each season.  The season began in the fall and ran a full year.

Patrons could purchase a subscription to the professional season that gives them tickets at a discounted rate.  Alternatively, patrons could purchase "Flex Tickets" or anytime tickets to use in any combination for any number of shows they pleased over the course of the season.

Apprenticeships and Internships
Performance Network's Apprenticeship program offered an intensive year-long paid position.  The apprenticeship offered hands-on training in the areas of stage management, house management, development, marketing, and technical theatre.  Apprentices developed a well-rounded experience in all aspects of theatre management.

Internships provided applicants a comprehensive experience in all elements of professional theatre, including box office, house management, and technical and clerical skills.  Unlike the apprenticeship, which allowed apprentices to experience multiple areas of theatre, interns selected which field they would like to focus on.

Staff, Board of Directors, and Associate Artists
In the Theatre's final 18 months, its staff members included:
 John Manfredi, Executive Director
 Suzi Regan, Artistic Director
 Sara Dean, Company Manager
 Meghan Bortle, Apprentice
 Melissa Mercieca, Apprentice

Past staff members include:
 Erin Sabo, Managing Director
 David Wolber, Artistic Director
 Carla Milarch, Associate Artistic Director
 Logan Ricket, Associate Development Director
 Joshua Parker, Technical Director
 Jennifer Pan, Assistant Technical Director & Graphic Designer
 Becky Fox, Director of Outreach and Education
 Anna Simmons, Company Manager & Resident Stage Manager
 Dayne White Bull, Marketing Assistant
 Justin Dietzel, Apprentice
 Eric Hohnke, Apprentice
 Jahmeel Powers, Apprentice
 Derek Ridge, Apprentice

Board of Directors
 Ron Maurer, President
 Mary Avrakotos, Treasurer
 Tom DeZure, Vice-president
 Steve Gerber, Secretary
 Ed Abbott
 Barbara Bach
 Norman Bash
 Heather Bell
 Gene Dickirson
 Hanna Goodstein
 Terry Heck
 David Herzig
 Steve Klein
 Jessica Litman
 Sheila Sasser
 Phil Stoffregen

Associate Artists
 Naz Edwards
 Monika Essen
 Sarab Kamoo
 Will Myers
 Jan Radcliff
 Chelsea Sadler
 John Seibert
 Malcolm Tulip
 Daniel C. Walker
 David Wells
 Leigh Woods
 Joseph Zettelmaier

Production history
The 2015–2016 season
(Suzi Regan, artistic director)
 Who's Afraid of Virginia Woolf? by Edward Albee—Holiday Shows:
 Why Not Me? A Sammy Davis Jr. Story by Tim Rhoze
 Dickens: An A Capella Carol by Charles Dickens

The 2014–2015 season
(Suzi Regan, artistic director)
Driving Miss Daisy by Alfred Uhry
This Wonderful Life by Steve Murray
Gift of the Magi by Annie Martin and Suzi Regan
Yellow Man by Dael Orlandersmith
Stones in His Pockets by Marie Jones
Salvage by Joseph Zettelmaier
Other Desert Cities by Jon Robin Baitz A co-production with the Jewish Ensemble Theatre (Michigan Premiere)

The 2013–2014 season:
(David Wolber, artistic director)
 An Iliad adapted by Lisa Peterson & Denis O'Hare, based on Homer's Iliad (Michigan Premiere)
 Jerry's Girls with Music and Lyrics by Jerry Herman, Concepts by Larry Alford, Wayne Cilento, and Jerry Herman
 County Line by David Wells (World Premiere)
 Venus In Fur by David Ives (Michigan Premiere)
 Richard III by William Shakespeare

The 2012–2013 Season:
(David Wolber, artistic director)
 The Glass Menagerie by Tennessee Williams
 A Little Night Music with Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
 Brill by David Wells, Music by Frank Allison (World Premiere)
 Good People by David Lindsay-Abaire (Michigan Premiere)
 The Mountaintop by Katori Hall (Michigan Premiere)
 Becky Shaw by Gina Gionfriddo (Michigan Premiere)
 My Name is Asher Lev by Aaron Posner, Adapted from the novel by Chaim Potok (Michigan Premiere), a co-production with the Jewish Ensemble Theatre

The 2011–2012 season:
(David Wolber, artistic director)
 Time Stands Still by Donald Margulies (Michigan Premiere)
 Ain't Misbehavin': The Fats Waller Musical Show, conceived by Richard Maltby, Jr. and Murray Horwitz
 God of Carnage by Yasmina Reza, translated by Christopher Hampton (Michigan Premiere)
 Dead Man's Shoes by Joseph Zettelmaier (World Premiere)
 Red by John Logan (Michigan Premiere)
 In the Next Room (or The Vibrator Play)  by Sarah Ruhl (Michigan Premiere)
 Burn This by Lanford Wilson

The 2010–2011 season:
(David Wolber, artistic director)
 Sonia Flew by Melinda Lopez (Michigan Premiere), a co-production with the Jewish Ensemble Theatre
 The Drowsy Chaperone, Book by Bob Martin and Don McKellar, Music and Lyrics by Lisa Lambert and Greg Morrison (Michigan Premiere)
 The War Since Eve by Kim Carney (World Premiere)
 The Piano Lesson by August Wilson
 Circle Mirror Transformation by Annie Baker (Michigan Premiere)
 Next Fall by Geoffrey Nauffts (Michigan Premiere)
 Marie Antoinette: The Color of Flesh by Joel Gross (Michigan Premiere)

The 2009–2010 season:
(David Wolber, artistic director)
The Blonde, the Brunette and the Vengeful Redhead by Robert Hewett (Michigan Premiere)
Christmas Carol'd by Joseph Zettelmaier (World Premiere)
K2 by Patrick Meyers
It Came From Mars by Joseph Zettelmaier (World Premiere), a co-production with Williamston Theatre
Little Shop of Horrors Book/Lyrics by Howard Ashman, Music by Alan Menken
The Seafarer by Conor McPherson (Michigan Premiere)
Woman Before a Glass by Lanie Robertson (Michigan Premiere)

The 2008–2009 season:
(David Wolber, artistic director)
Nine Parts of Desire (play) by Heather Raffo
Geoffrey and Jeffrey by Kim Carney (World Premiere)
Rosencrantz and Guildenstern are Dead by Tom Stoppard
A Feminine Ending by Sarah Treem (Michigan Premiere)
Fences by August Wilson
A Picasso by Jeffrey Hatcher (Michigan Premiere)

The 2007–2008 season:
(Carla Milarch/David Wolber, artistic director)
The Clean House by Sarah Ruhl (Michigan Premiere)
The Baker's Wife by Joseph Stein and Stephen Schwartz
Souvenir (play) by Stephen Temperley (Michigan Premiere), a co-production with Boarshead Theatre
Doubt by John Patrick Shanley
Exits and Entrances by Athol Fugard (Michigan premiere)
The Little Dog Laughed by Douglas Carter Beane (Michigan Premiere)
The Day Everything Went Wrong by Malcolm Tulip (World Premiere)

The 2006–2007 season:
(Carla Milarch, artistic director)
The Retreat From Moscow by William Nicholson (Michigan Premiere)
The Fantasticks by Harvey Schmidt, book and lyrics by Tom Jones
Language Lessons by Joseph Zettelmaier (World Premiere)
Candida by George Bernard Shaw
Amadeus by Peter Shaffer
Dirty Blonde by Claudia Shear (Michigan Premiere)

The 2005–2006 season:
(Carla Milarch, artistic director)
Ice Glen by Joan Ackermann (NNPN rolling world premiere)
Jacob Marley's Christmas Carol by Tom Mula (Michigan premiere)
Moonglow by Kim Carney (world premiere), a co-production with Boarshead Theatre
A Doll's House by Henrik Ibsen
A Life In The Theatre by David Mamet
I Am My Own Wife by Doug Wright (Michigan premiere)

The 2004–2005 Season:
(Carla Milarch, artistic director)
Humble Boy by Charlotte Jones (September–October 2004)
She Loves Me by Joe Masteroff, lyrics by Sheldon Harnick, music by Jerry Bock (November–December 2004)
Boston Marriage by David Mamet (January–February 2005)  (Michigan premiere)
The Stillness Between Breaths by Joseph Zettelmaier (March–April 2005) (world premiere)
Summer and Smoke by Tennessee Williams (April–May 2005)
Take Me Out by Richard Greenberg (July–August 2005)  (Michigan premiere)

The 2003–2004 Season:
(Carla Milarch, artistic director)
The Sins of Sor Juana by Karen Zacarias (September–October 2003)  (Michigan premiere)
Tongue of a Bird by Ellen McLaughlin (October–November 2003) (Michigan premiere)
The Home Team by Kim Carney (November–December 2003) (world premiere)
Spike Heels by Theresa Rebeck (January–February 2004) (Michigan premiere)
Kimberly Akimbo by David Lindsay-Abaire (March–April 2004) (Michigan premiere)
The Threepenny Opera by Bertolt Brecht, music by Kurt Weill, translated by Robert David MacDonald (April–May 2004)

The 2002–2003 Season:
(Daniel C. Walker, artistic director)
Defying Gravity by Jane Anderson (Michigan premiere)
The Spirit House by Adam Kraar (world premiere)
Man of La Mancha
Necessary Targets by Eve Ensler (Michigan premiere)
Copenhagen by Michael Frayn
Sin by Wendy MacLeod (Michigan premiere)
2003 TreeTown Performance Festival (June-Aug 2003)
Peter Sparling Dance Company
Brilliant traces
Mosaic Youth Theatre - Reality
Brass Tacks - A Work in Progress
Terpsichore's Kitchen - Dancing in Summer
LIMF Nodes - The Blue Hour by David Mamet
Pangea - The Search for Intelligent Improv in the Universe
Rowen Education Network - Candy Corn, Christ, and the Convoluted Creation of Golf

The 2001–2002 Season:
(Daniel C. Walker, artistic director)
Taking Leave by Nagle Jackson (Michigan premiere)
It's All True by Jason Sherman (Michigan premiere)
Stop Kiss by Diana Son (Michigan premiere)
Elizabeth Rex by Timothy Findley (American premiere)
The White Rose by Lillian Garrett-Groag (Michigan premiere)
Special Relativity by Richard Strand (world premiere)
2002 TreeTown Performance Festival (June-Aug 2002):
Peter Sparling Dance Company
Dada Boy Paints on Canvas
Mosaic Youth Theatre - Heartbeat
Chimera Theatre's A Streetcar Named Desire by Tennessee Williams
James McNeill Whistler
Terpsichore's Kitchen - Dancing in Summer
Ground Zen and Skinny Arms
Collection
Anton in Show Business

The 2000–2001 Season:
(Daniel C. Walker, artistic director)
The Maiden's Prayer by Nicky Silver (Michigan premiere)
Wit by Margaret Edson (Michigan premiere)
Fuddy Meers by David Lindsay-Abaire (Michigan premiere)
Maggie Rose by Kim Carney (world premiere)
Struggling Truths by Peter Mellencamp (world premiere)
Art by Yasmina Reza, translated by Christopher Hampton (Michigan premiere)

The 1999–2000 Season:
(Daniel C. Walker, artistic director)
As Bees in Honey Drown (Michigan premiere)
Not Waving by Gen LeRoy (Michigan premiere)
Three Days of Rain by Richard Greenberg (Michigan premiere)
Picasso at the Lapin Agile by Steve Martin (Michigan premiere)
The Ride Down Mt. Morgan by Arthur Miller (Michigan premiere)
...and Associates by Jerry Lax and Ed Stein (world premiere)

The 1998–99 Season:
(Johanna Broughton, executive director)
Avenue X: An A Cappella Musical book & lyrics by John Jiler, music by Ray Leslee
The Talking Cure by Rachel Urist (world premiere)
Innocent Thoughts by William Missouri Downs (Michigan premiere)
Private Eyes by Steven Dietz (Michigan premiere)
How I Learned To Drive by Paula Vogel (Michigan premiere)
The 1998 Guest presentations:
Ellipsis Theatre Ensemble's The Moon Wolf
Jesse Richards & Hundredth Monkey's Animal Lovers Project
MorrisCo Art Theatre's The Importance Of Being Earnest
MOSAIC Youth Theatre's heartBEAT
Open Theatre's Quartet
Drake Enterprises' Moby Dick Rehearsed
Shivaree by William Mastrosimone
Shadow Theatre Company's Closet Land
Autumn Dances Annual Choreographers Showcase
1999 TreeTown Performance Festival Guest presentations June - August 1999:
Mosaic Youth Theatre's Everybody's TalkinBrass Tacks Ensemble's King Lear
Heartlande Theatre Company's Mainstream
Shadow Theatre Company's Echoes
Terpsicore's Kitchen's Summer Dances
RAH Productions Strange Love & Unusual Sex
Mercury Theatre Company's Office HoursThe 1997–98 Season (PNT's first Equity season):
(Johanna Broughton, executive director)
Molly Sweeney by Brian Friel  (Michigan premiere)
The Waiting Room by Lisa Loomer  (Michigan premiere)
Inverted Pyramid by Larry Dean Harris (world premiere)
Life In Refusal by Ari Roth  (Michigan premiere)
White Picket Fence by Michael Grady (Michigan premiere)
Psychopathia Sexualis (play) by John Patrick Shanley  (Michigan premiere)The 1997-98 Guest Presentations:Autumn Dances Annual Choreographers Showcase
Ellipsis Theatre Ensemble's Ave Maria Played Softly
Spontaneous Me Productions's The Borstal Boy
MorrisCo Art Theatre's Agnes of God
Peridot Productions' No Exit
Dutchman by LeRoi Jones (Amiri Baraka)
The 12th Annual Raise The Roof
Autumn Dances Annual Choreographers Showcase
Ellipsis Theatre Ensemble's Why We Have A Body
Walk and Squawk's Inhlanzi Ishelwe Amanzi
The Shadow Theatre Company's The Complete Works of William Shakespeare (abridged)
Sensible Footwear - Comedic Feminist Terrorists
Walk and Squawk's How Could You Stoop SoLo?
Brilliant Traces by Cindy Lou Johnson
Basement Arts presents A Midsummer Night's Dream
Drop Dead by Billy Van Zandt & Jane MilmoreThe 1997 Productions:Mary Goldstein & the Author by OyamO
River Dreams by Elise Bryant
The Tiger Bounds by Malcolm Tulip
Viva, La Click-ka! by Rudolfo Valier Alvarado
Some of My Best Friends Are... by Joan Lipkin, music & lyrics by Tom Clear The 1997 Guest Presentations:In the Heart of the Wood by Todd Jefferson Moore
MorrisCo Art Theatre's Summer and Smoke
Come Good Rain written and performed by Toronto actor/playwright George Bwanika Seremba
Spring Dances Annual Choreographers Showcase
Sensible Footwear - Comedic Feminist Terrorists
Walk and Squawk presents Shameless Rainbow Youth Theater
MorrisCo Art Theatre presents Uncle Vanya
Dance / Partners by Terri Sarris and Patricia Plasko
The Birthday Party by Harold Pinter
Mosaic Youth theatre of Detroit presents What Fools These Mortals Be!
Ellipsis Theatre Ensemble presents A Woman's Lot and Under a Rhyming Planet
Walk & Squawk Performance Project's Who It Is

Affiliations

Performance Network Theatre was a member of the Theatre Communications Group (TCG), the National New Play Network (NNPN), Americans for the Arts, the Cultural Alliance of Southeast Michigan (CASM), the Ann Arbor Convention and Visitors Bureau (AACVB),  and the Ann Arbor Chamber of Commerce. The Theatre's activities were supported by the Michigan Council for Arts and Cultural Affairs, and the National Endowment for the Arts.

Awards

National Awards:

2013 Edgerton Foundation New American Play Award: County Line by David Wells
2011 Edgerton Foundation New American Play Award: Dead Man's Shoes by Joseph Zettelmaier
2009 Edgerton Foundation New American Play Award: It Came From Mars by Joseph Zettelmaier

Organizational Awards::
Voted "Best Local Theatre" by Metro Times readers, 2009
2006 Critics Choice and Angel Award for Outstanding Service to the LGBT
CommunityVoted "Best Theatre" by Current Magazine readers 1996–2008.
Best Overall Season by the Oakland Press 2005
The DeVine Award for Outstanding Contributions by the Detroit Free Press 2001 & 2005
Non-Profit Excellence Award nomination - Non-profit Enterprise at Work, 1997 & 2000
Governor's Arts Award nomination, 1998 & 2000

Wilde Awards:2014Best Performance, Actor - Drama: John Manfredi - An Iliad
Best Performance, Actress - Comedy: Maggie Meyer - Venus in Fur2013Best Music Direction: R. MacKenzie Lewis - Little Night Music
Best Musical: Phil Simmons, director - A Little Night Music
Best Performance, Actor - Comedy: John Seibert - In the Next Room or The Vibrator Play
Best Performance, Actor – Musical: John Seibert - A Little Night Music
Best Performance, Actress – Musical: Naz Edwards - A Little Night Music2012Best Design - Sets: Monika Essen - Red
Best New Script: Joseph Zettelmaier - Dead Man's Shoes2011Best Comedy: John Seibert, director - Circle Mirror Transformation
Best New Script: Kim Carney - The War Since Eve
Best Performance, Actor - Musical: Phil Powers - The Drowsy Chaperone2010Best Actor - Comedy: Jacob Hodgson - It Came From Mars
Best Actress - Comedy: Suzi Regan - The Blonde, the Brunette and the Vengeful Redhead
Best Design - Lights: Andrew Hungerford - K2
Best Design - Props: Charles Sutherland - It Came From Mars
Best Drama: Tim Edward Rhoze, director - K2
Best Musical: Carla Milarch, director - Little Shop of Horrors
Best Production of a New Script: Tony Caselli, director - It Came From Mars
Best Support - Musical: Aaron T. Moore - Little Shop of Horrors
Best Teamwork: James Bowen & John Michael Manfredi - K22009Best Actress – Drama: Inga Wilson - A Feminine Ending
Best Improv, Cabaret or Original Production: Malcolm Tulip, director - The Day Everything Went Wrong
Best Performer – Play with LGBT Themes or Characters: Roxanne Wellington - The Little Dog Laughed
Best Production with LGBT Themes or Characters: Ray Schultz - The Little Dog Laughed2008Best Actor – DRAMA: Jon Bennett - Doubt
Best Actress – DRAMA: Jan Radcliff - Doubt
Best Actress – ORIGINAL / IMPROV / LGBT THEMES: Carla Milarch - Dirty Blonde
Best Local Professional DRAMA: John Seibert, director - Doubt
Best Local Professional Production with LGBT Themes or Characters: Jim Posante, director - Dirty Blonde
Best Technical Design - Set: Monika Essen - The Baker's Wife2007Best Actor – DRAMA: Malcolm Tulip - Amadeus
Best Local Professional DRAMA: Malcolm Tulip, director - Amadeus
Best Local Professional Production with LGBT Themes or Characters: Gillian Eaton, director - I Am My Own Wife2006Best Lead Actor – DRAMA: Ray Schultz - Take Me Out
Best Lead Actress – DRAMA: Carmen Decker - Moonglow
Best Supporting Actor – DRAMA: Darrell Glasgow - Take Me Out
Favorite Local Professional Production – COMEDY: Tony Caselli, director - Jacob Marley's Christmas Carol
Favorite Local Professional Production with LGBT Themes or Characters: Jim Posante & Tony Caselli, directors - Take Me Out2005Best Female Performer in a Local Professional Production – COMEDY: Gillian Eaton - Humble Boy
Best Supporting Female Performer in a Local Professional Production – COMEDY: Laurel Hufano - Boston Marriage2004Favorite Local Professional Production with LGBT Themes or Characters: James Posante, director - The Home Team
Favorite Male Performer in a Local Professional Production – COMEDY: David Wolber - The Home Team
Favorite Performer in a Local Professional Production – MUSICAL: Rochelle Rosenthal - The Threepenny Opera2003Favorite Local Professional Production – MUSICAL / MUSICAL REVUE: Malcolm Tulip, director - Man of La Mancha
Favorite Performer in a Local Professional Production – MUSICAL: Robert Grossman - Man of La Mancha2002Best Local Professional Production – COMEDY: Carla Milarch, director - Special Relativity
Best Performer in a Local Professional Production – DRAMA: Michelle Murphy - Stop Kiss

Rogue's Gallery Award Winners2013 WinnersScenic Design (Proscenium Seating): Daniel C. Walker, Brill
Lead Actress (Drama): Carla Milarch, The Glass Menagerie
Lead Actress (Musical): Naz Edwards, A Little Night Music
Lead Actor (Musical): John Seibert, A Little Night Music2012 WinnersNew Play or Adaptation: Joseph Zettelmaier, Dead Man's Shoes
Lighting Design (Proscenium Seating): Justin Lang, Red
Lead Actress (Drama): Suzi Regan, Time Stands Still
Properties Design: Monika Essen, Red
Best Rogue: Drew Parker, Dead Man's Shoes [TIE] 2011 WinnersBest Musical: The Drowsy Chaperone (director Carla Milarch)
Choreography (Dance): Phil Simmons, The Drowsy Chaperone
Lead Actor (Drama): Andrew Huff, Next Fall

Rogue's Gallery Award Nominees:2013 NomineesBest Drama: The Glass Menagerie (director Tim Rhoze)
Best Musical: A Little Night Music (director Phil Simmons)
Sound Design: Carla Milarch, Good People
Duo or Trio: Sarab Kamoo and David Wolber, Becky Shaw
Best Rogue: Alex Leydenfrost, Good People
Lead Actress (Drama): Carollette Phillips, The Mountaintop
Lead Actor (Drama): Brian Marable, The Mountaintop
Lead Actor (Drama): Kevin Young, The Glass Menagerie
Supporting Actress (Drama): Naz Edwards, My Name is Asher Lev
Lead Actress (Comedy): Suzi Regan, Good People
Lead Actor (Comedy): Phil Powers, Brill
Supporting Actress (Comedy): MaryJo Cuppone, Good People
Supporting Actress (Comedy): Maggie Meyer, Becky Shaw
Supporting Actress (Musical): Leslie Hull, A Little Night Music2012 Nominees'''
Best Drama: Time Stands Still (director Kate Peckham)
Best Comedy: God of Carnage (director David J. Magidson)
Best Musical: Ain't Misbehavin (director Tim Edward Rhoze)
Scenic Design (Proscenium Seating): Monika Essen, Red
Lighting Design (Proscenium Seating): Mary Cole, Burn This
Sound Design: Will Myers, Dead Man's Shoes
Properties Design: Monika Essen, God of Carnage
Choreography (Dance): Robin Wilson, Ain't Misbehavin'''
Choreography (Movement or Fight): Joseph Zettelmaier, Burn ThisEnsemble (2–4): God of CarnageEnsemble (5 or more): Ain't Misbehavin
Best Rogue: Darrell Glasgow, Burn This
Lead Actor (Drama): Mark Rademacher, Red
Supporting Actress (Drama): Heidi Bennett, Time Stands Still
Supporting Actress (Comedy): Leslie Hull, In the Next Room or the vibrator play
2011 Nominees
Best Drama: Sonia Flew (director David Wolber)
Best Comedy: The War Since Eve (director David Wolber)
New Play or Adaptation: Kim Carney, The War Since Eve
Lighting Design (Proscenium Seating): Daniel C. Walker, Marie Antoinette: The Color of Flesh
Properties Design: Charles Sutherland, The Piano Lesson
Ensemble (2–4): Marie Antoinette: The Color of Flesh
Ensemble (5 or more): The Piano Lesson
Ensemble (5 or more): Sonia Flew
Supporting Actor (Drama): John Seibert, Next Fall
Supporting Actress (Comedy): Sarah Ann Leahy, Circle Mirror Transformation
Lead Actress (Musical): Andrea Mellos, The Drowsy Chaperone
Supporting Actress (Musical): Naz Edwards, The Drowsy Chaperone
Supporting Actor (Musical): Matt Anderson, The Drowsy Chaperone
Supporting Actor (Musical): Scott Crownover, The Drowsy Chaperone

AnnArbor.com::
Best Local Play 2009: The Blonde, the Brunette and the Vengeful Redhead, David Wolber, director
Best Acting Performances (male) 2009: John Manfredi, A Picasso, Will Myers, A Feminine Ending, James Bowen, Fences, Malcolm Tulip, Rosencrantz and Guildenstern are Dead
Best Acting Performances (female) 2009: Inga Wilson, A Feminine Ending, Sheila Alyce Slaughter, Fences, Suzi Regan, The Blonde, the Brunette and the Vengeful Redhead
Best Tech Achievements 2009: Monika Essen's set for Fences, Daniel C. Walker's lighting design for Rosencrantz and Guildenstern are Dead and Christmas Carol'd
Best Locally Produced Show (2008): Doubt, John Seibert, director
Best Performance (female) 2008: Jan Radcliffe, Doubt; Sarab Kamoo, 9 Parts of Desire
Best Performance (male) 2008: Jon Bennett, Doubt, Robert Grossman, Exits and Entrances
Favorite On-Stage Moments 2008: Roxanne Wellington and Barton Bund's power lunch in The Little Dog Laughed; Tom Whalen & Jim Porterfield's reconciliation scene, Geoffrey and Jeffrey
Best Tech Achievements 2008: Daniel C. Walker's set for Doubt, Monika Essen's set for 9 Parts of Desire and Geoffrey and Jeffrey, Vincent Mountain's set for The Day Everything Went Wrong

Ann Arbor News:
Best New Play 2007: Language Lessons, Joseph Zettelmaier
Best Female Performance 2007 (tie): Carla Milarch, Dirty Blonde; Aphrodite Nikolovski, Language Lessons and The Clean House; Terry Heck, Language Lessons
Best Male Performance 2007 (tie): Malcolm Tulip, Amadeus; Phil Powers, Dirty Blonde; John Seibert, The Baker's Wife
Best Set Designer 2007: Monika Essen, designer
Best Performance by a New Face 2007: Jacob Hodgson, Candida
Best Production 2007: Amadeus, Malcolm Tulip, director
Best Lead Actress 2006: Carmen Decker, Moonglow
Best Lead Actor 2006: Malcolm Tulip, I Am My Own Wife
Best Supporting Actor 2006: Loren Bass, Moonglow
Best New Play 2006: Kim Carney's Moonglow
Best Lead Actress 2005: Mindy Woodhead, Summer and Smoke
Best Director 2005: Tony Caselli, Summer and Smoke
Best Technical Achievement 2005: Monika Essen's set for Summer and Smoke
Best Production 2005: Summer and Smoke

Detroit Free Press Awards:
Best Play 2006: Take Me Out
Best Director 2006: Jim Posante & Tony Caselli, Take Me Out
Best Featured Actor 2006: Darrell Glasgow, Take Me Out
Best Featured Actress 2005: Laurel Hufano, Boston Marriage
Award for Outstanding Contribution to Theater in a season 2005: Gillian Eaton, Humble Boy, Boston Marriage
Best Director 2003: Malcolm Tulip, Man of La Mancha
Best Featured Actress 2003: Terry Heck, Necessary Targets
Best Actress 2002: Gillian Eaton, Elizabeth Rex
Award for Outstanding Contributions to Theatre 2001: Johanna Broughton and Daniel C. Walker
Best Actress 2001: Jan Radcliff, Wit

References

External links
Performance Network website
/ Davi Napoleon's history of the Performance Network in the Ann Arbor Observer.

Culture of Ann Arbor, Michigan
Theatre companies in Michigan
Tourist attractions in Ann Arbor, Michigan
Theatre in Michigan


Morlaàs (; Gascon Morlans) is a commune in the Pyrénées-Atlantiques department in south-western France.

It is the seat of a canton.

After the Roman city of Benearnum (today's Lescar) was razed by the Vikings in 841, Morlaàs became the capital of the ancient province of Béarn. It remained the capital until the 12th century, when Orthez took over.

Population

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Thèze is the name of 2 communes in France:

 Thèze, in the Alpes-de-Haute-Provence department
 Thèze, in the Pyrénées-Atlantiques department


Fast & Furious (also known as Fast & Furious 4) is a 2009 action film directed by Justin Lin and written by Chris Morgan. It is the direct sequel to The Fast and the Furious and 2 Fast 2 Furious as well as the fourth installment in the Fast & Furious franchise. It stars Vin Diesel, Paul Walker, Michelle Rodriguez, and Jordana Brewster. In the film, Dominic Toretto (Diesel) and FBI agent Brian O'Conner (Walker) are forced to work together to avenge the murder of Toretto's lover Letty Ortiz (Rodriguez) and apprehend drug lord Arturo Braga (John Ortiz).

A fourth film was announced in July 2007, with the returns of Diesel, Walker, Rodriguez, and Brewster confirmed shortly thereafter. To account for the cast seeing absences from either of the previous two installments, the film was developed to place The Fast and the Furious: Tokyo Drift (2006) as occurring beyond the events of Fast & Furious, while the short film Los Bandoleros (2009) was produced and released. Principal photography began in February 2008 and concluded that July, with filming locations including Los Angeles and the Dominican Republic. Lin, Morgan, and composer Brian Tyler returned in their roles from Tokyo Drift. Fast & Furious is the first film to feature D-BOX motion. It was also the first film in the franchise to be produced by Diesel.

Fast & Furious premiered at the Gibson Amphitheatre in Los Angeles on March 12, 2009, and was released in the United States on April 3, by Universal Pictures. The film received mixed reviews from critics, with praise for reuniting the original cast and the action sequences, but criticism for its screenplay. It grossed over $360 million worldwide, exceeding expectations to become the then-highest-grossing film in the franchise. It also grossed $72.5 million worldwide during its opening weekend, which made it the highest-grossing worldwide spring weekend opening, until the release of Alice in Wonderland (2010). It was followed by Fast Five in 2011.

Plot

Dominic Toretto and his crew, consisting of girlfriend Letty, Tego Leo, Rico Santos, Cara and Han Lue, are hijacking fuel tankers in the Dominican Republic. Dom suspects the police are on their trail, and leaves Letty behind to protect her from being caught. Months later, in Panama City, Dom gets a call from his sister Mia, who tells him Letty has been killed in a car crash. Dom heads to Los Angeles to attend her funeral and finds traces of nitromethane at the crash site. He coerces the local mechanic into giving the name of the buyer, David Park, and is informed that the only car that uses nitromethane in the area is a green 1972 Ford Torino Sport. Meanwhile, FBI agent Brian O'Conner is trying to track down a Mexican drug lord, Arturo Braga, whose identity to the public is unknown; his search also leads him to Park.

Dom arrives at Park's apartment and hangs him out of the window by his ankles before Brian arrives. Brian saves Park, who in turn becomes the FBI's new informant and gets Brian into a street race. Brian selects a modified 2002 Nissan Skyline GT-R R34 from the impound lot; Dom also shows up, in his 1970 Chevrolet Chevelle SS. Ramon Campos, Braga's second-in-command, and Gisele Yashar, Braga's liaison, reveal that the winner will become the last driver on a team that traffics heroin between the Mexico–United States border. Dom wins by bumping Brian's car while in nitro, making him lose control. Brian uses his power as an FBI agent to arrest another driver, Dwight Mueller, and takes his place on the team. The team meets up with Braga's henchman, Fenix, and Dom notices that Fenix drives the same Torino the mechanic described.

They drive across the border using tunnels to avoid detection. Dom confronts Fenix and learns that he kills the drivers after their work is done, and that he killed Letty when she tried to escape him. A stand-off ensues; Dominic detonates his car with nitrous to distract Braga's men, and Brian hijacks a 1999 Hummer H1 with $60 million worth of heroin in it. Brian and Dom drive back to LA and hide the heroin in a police impound lot, where they pick up a modified 2008 Subaru Impreza WRX STI hatchback; they drive to Dom's house and reunite with Mia. Dom attacks Brian when he learns he was the last person in contact with Letty; Brian explains Letty was working undercover, tracking Braga in exchange for clearing Dominic's record. Brian tells his superiors that in exchange for Dominic's pardon, he will lure Braga into a trap, forcing him to show up to exchange money for the heroin. At the drop site, the man who claims to be Braga is revealed as a decoy, and Campos—the real Braga—escapes with Fenix to Mexico. In the ensuing chaos, Fenix nearly runs over Gisele before Dom saves her. The failed trap results in Brian being taken off active duty.

With Gisele's help, Brian and Dom travel to Mexico to catch Braga in the Subaru and Dom's rebuilt 1970 Dodge Charger R/T, and apprehend him at a church. As Braga's henchmen try to rescue him, Brian and Dom drive through the tunnels back to the United States. Brian is chased by Fenix ahead of the others until he is T-boned and pushed out of the tunnels. Before Fenix can kill him, Dom drives out of the tunnels and into Fenix, killing him. As police and helicopters approach the crash site on the American side of the border, Brian tells Dom to leave, but Dom says he is tired of running. Despite Brian's request for clemency, the judge sentences Dom to 25 years to life without parole. Brian resigns from the FBI and Dom boards a prison bus that will transport him to Lompoc penitentiary. As the bus drives down the road, Brian, Mia, Leo, and Santos arrive in their cars to intercept it.

Cast

 Vin Diesel as Dominic Toretto: A professional street racer, criminal, and fugitive.
 Paul Walker as Brian O'Conner: An FBI agent and former LAPD police officer who previously aided Dom in avoiding law enforcement, and was in a relationship with Mia Toretto, which later got patched up again.
 Michelle Rodriguez as Letty Ortiz: Dominic's wife, who dies in an automobile explosion caused by Fenix Calderon.
 Jordana Brewster as Mia Toretto: Dominic's sister and Brian's ex-girlfriend, but the relationship was later patched up again.
 John Ortiz as Arturo Braga / Ramon Campos: A Mexican drug lord who recruits street racers to smuggle heroin across the Mexico–U.S. border.
 Gal Gadot as Gisele Yashar: A liaison for Braga who shows a romantic interest in Dom.
 Laz Alonso as Fenix Calderon: Braga's right-hand man.

The central cast is rounded out by Sung Kang as Han Lue, Ron Yuan as David Park, Braga's right-hand man, while Puerto Rican singers Tego Calderón and Don Omar feature as Leo and Santos respectively, members of the oil heist team. Shea Whigham plays Brian's snarky colleague Michael Stasiak, and Liza Lapira portrays Sophie Trinh, an FBI agent who works closely with Brian. Jack Conley features as Richard Penning, Brian's boss, a scout of street racers for Braga. Greg Cipes, Neil Brown Jr., and Brandon T. Jackson play Dwight Mueller, Malik Herzon, and Alex, respectively, the other members of Braga's street racing team.

Production

Development
After positive reception from audiences to Vin Diesel's cameo in Tokyo Drift, Universal was confident in effectively reinventing the series with its original stars. The film was announced in July 2007, with Diesel, Paul Walker, and several other cast members of the original film reprising their roles.

Filming
Filming began in 2008. The movie cars were built in Southern California's San Fernando Valley. Around 240 cars were built for the film. However, the replica vehicles do not match the specifications they were supposed to represent. For example, the replica version of F-Bomb, a 1973 Chevrolet Camaro built by Tom Nelson of NRE and David Freiburger of Hot Rod magazine, included a 300 hp crate V8 engine with a 3-speed automatic transmission, whereas the actual car included a twin-turbo 1,500 hp engine and a 5-speed transmission.

The original Dodge Charger 426 Hemi R/T that was used in the original movie was a 1970, but the car in this movie was a 1969 Dodge Charger R/T 426 Hemi with a slightly modified front grill and rear tail lights to appear as a 1970 car; the original 1970 Dodge Charger was in pieces, being totally disassembled for restoration.

The original red 1970 Chevrolet Chevelle SS seen in the end credits of the first Fast & Furious movie, also makes an appearance but is later highly modified for a street race.

The most radical vehicles built for the film were the Chevy trucks constructed for the fuel heist. Powered by 502ci GM big block motors, the '67 had a giant ladder-bar suspension with airbags using a massive 10-ton semi rear axle with the biggest and widest truck tires they could find. The '88 Chevy Crew Cab was built with twin full-floating GM 1-ton axles equipped with Detroit Lockers and a transfer case directing power to both axles and capable of four-wheel burnouts.

Another vehicle built for the film was the blue Nissan Skyline GT-R R34 owned by an uncredited owner which brought a 241-mile per hour top speed at the Bayshore Route Highway in Japan. It was a hard car to build by the production so they made clones by acquiring Nissan Skyline 25GT's and made them look like the original car. The Skyline
that was also used at the desert was actually a dune buggy using a Skyline R34's shell.

Music

The score to Fast & Furious was composed by Brian Tyler, who recorded his score with the Hollywood Studio Symphony at the Newman Scoring Stage at 20th Century Fox. The score album was released on CD by Varèse Sarabande Records with over 78 minutes' worth of music.

The trailers for the film feature the track "We Are Rockstars" by Does It Offend You, Yeah? and a Travis Barker-remixed version of "Crank That" by Soulja Boy Tell 'Em.

The official soundtrack was released on March 31, 2009, on Star Trak, with production handled primarily by The Neptunes. Singles include "Blanco" and "Krazy" by Pitbull and "Bad Girls" by Robin Thicke. The soundtrack also features the song "G-Stro" by Busta Rhymes featuring Pharrell Williams, a leftover track from Busta Rhymes' album Back on My B.S. Star Trak and Interscope Records released the soundtrack for the film with "Crank That" not included. Another song omitted was "Rising Sun" by South Korean group TVXQ.

The Japanese version of the movie features the song "Before I Decay" by Japanese rock group The GazettE.

Release

Theatrical
It was originally set to release on June 12, 2009, but moved it up to April 3, 2009, instead. It was the first motion-enhanced theatrical film to feature D-BOX motion feedback technology in selected theaters.

Home media
Fast & Furious was released on DVD and Blu-ray on July 28, 2009. The DVD is a two-disc set that includes:
 Digital copy of the film
 Under the Hood: Muscle Cars & Imports
 High Octane Action: The Stunts
 Shooting the Big Rig Heist
 Driving School with Vin Diesel
 Original short film Los Bandoleros, the never-before-seen short film that reveals the events leading up to the explosive beginning of Fast & Furious. It is written and directed by Vin Diesel and was produced in the Dominican Republic. This was released on the iTunes Store as a free download.

, the DVD and Blu-ray sales have sold 4,616,164 copies generating $77,846,318 in sales revenue. It was re-released in Australia on Blu-ray including a digital copy and re-titled Fast & Furious 4 on March 30, 2011.

Reception

Box office
On its first day of release Fast & Furious grossed $30.6 million, and peaked at the top spot of the weekend box office with $72.5 million, more than Tokyo Drift earned in its entire domestic run. The film had the sixth-biggest opening weekend of 2009 and was double what most industry observers expected. Additionally, it surpassed The Lost World: Jurassic Parks record for having the largest opening weekend for any Universal film.

It also held the record for the highest-grossing opening weekend in April and of any car-oriented film, the record having been previously held by Cars, which grossed $60.1 million. Both of these records were broken two years later by Fast Five, which grossed $86.2 million. Fast & Furious also held the record for the highest opening weekend for a spring release, until it was broken by Tim Burton's Alice in Wonderland. Its worldwide gross on its opening weekend stands at $102.6 million with $7.2 million coming from the UK, $8.6 million from Russia, $6 million in France and $3 million from Germany.

The film ended its theatrical release on July 2, 2009, with a gross of $155.1 million in the United States and Canada, and $205.3 million internationally, for a worldwide total of $360.4 million, making it the 17th highest-grossing film of 2009.

Critical response

On Rotten Tomatoes, Fast & Furious holds an approval rating of 29% based on 178 reviews, with an average rating of 4.6/10. The site's critics consensus reads: "While Fast and Furious features the requisite action and stunts, the filmmakers have failed to provide a competent story or compelling characters." On Metacritic, the film has a weighted average score of 46 out of 100 based on 28 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.

Lisa Schwarzbaum of Entertainment Weekly gave the film a B+ and wrote, "Fast & Furious is still no Point Break. But it's perfectly aware of its limited dramatic mission ... it offers an attractive getaway route from self-importance, snark, and chatty comedies about male bonding." Writing for The Hollywood Reporter, Kirk Honeycutt called it "the first true sequel of the bunch. By reuniting the two male stars from the original and ... continuing the story from the first film, this new film should re-ignite the franchise." Betsy Sharkey of the Los Angeles Times considered it a "strange piece of nostalgia, where, without apology, fast cars still rule and fuel is burned with abandon." Roger Ebert, who had given positive reviews to the previous films, considered the story, dialogue, and acting to all be perfunctory: "I admire the craft involved, but the movie leaves me profoundly indifferent. After three earlier movies in the series, which have been transmuted into video games, why do we need a fourth one? Oh. I just answered my own question."

Accolades

Sequels

Fast & Furious was the last film of the franchise to feature street racing, before transitioning into "more accessible action elements" with Fast Five (2011). It received praise and surpassed the box-office take of Fast & Furious, as did Fast & Furious 6 (2013). They were followed by Furious 7 (2015) and The Fate of the Furious (2017). The pictures each earned more than $1billion, respectively becoming one of the highest-grossing films of 2015 and 2017. After F9 (2021) being delayed multiple times from an original 2019 date, Fast X (2023), and untitled eleventh and twelfth films are scheduled to be released as the final mainline films of the franchise.

References

External links

2009 films
2000s action adventure films
2009 action thriller films
2000s chase films
2009 crime thriller films
2000s heist films
2000s road movies
American action thriller films
American chase films
American heist films
American road movies
American sequel films
Interquel films
D-Box motion-enhanced films
2000s English-language films
Fast & Furious films
Films about the Federal Bureau of Investigation
Films about automobiles
Films about Mexican drug cartels
American films about revenge
Films directed by Justin Lin
Films produced by Neal H. Moritz
Films scored by Brian Tyler
Films set in the Dominican Republic
Films set in Los Angeles
Films set in Mexico
Films set in Panama
Films shot in Los Angeles
One Race Films films
Original Film films
Relativity Media films
Universal Pictures films
Films with screenplays by Chris Morgan
Films set in Koreatown, Los Angeles
2000s American films
2000s Mexican films


Hot stamping or foil stamping is a printing method of relief printing in which pre-dried ink or foils are transferred to a surface at high temperatures. The method has diversified since its rise to prominence in the 19th century to include a variety of processes. After the 1970s, hot stamping became one of the most important methods of decoration on the surface of plastic products.

Process
In a hot stamping machine, a die is mounted and heated, with the product to be stamped placed beneath it. A metallized or painted roll-leaf carrier is inserted between the two, and the die presses down through it. The dry paint or foil used is impressed into the surface of the product. The dye-stamping process itself is non-polluting because the materials involved are dry. Pressure and heat cause the relevant sections of the foil to become detached from the carrier material and become bonded with the printing surface.

Tools
Along with foil stamping machines, among the commonly used tools in hot stamping are dies and foil. Dies may be made of metal or silicone rubber, and they may be shaped directly or cast. They can carry high levels of detail to be transferred to the surface and may be shaped to accommodate irregularities in the surface.

Foils are multilayered coatings that transfer to the surface of the product. Non-metallic foils consist of an adherence base, a color layer, and a release layer. Metallic foils replace the color layer with a layer of chrome or vacuum-metallized aluminum. Metallic foil construction has a metal-like sheen and is available in different metal shades such as gold, silver, bronze, and copper. Pigment foil does not have a metallic sheen but may be glossy or matte. Holographic foil paper includes a 3-dimensional image to provide a distinctive appearance to specific areas of a digitally printed application. Printing is often done on leather or paper.

Different hot stamping machines serve different purposes, but the most common hot stamping machines are simple up-and-down presses. Three of the most common brands are Kwikprint, Kingsley, and Howard. However, for more industrial applications Kluge and Heidelberg presses are more commonly used.

History
In the 19th century, hot stamping became a popular method of applying gold tooling or embossing in book printing on leather and paper. The first patent for hot stamping was recorded in Germany by Ernst Oeser in 1892.

From the 1950s onward, the method became a popular means of marking plastic . Hot Stamping technology for plastic is used for electric components (TV frames, audio components, refrigerators etc.), cosmetic containers (lipstick, cream, mascara, shampoo bottle etc.), automobile parts (interior and exterior materials).

As of 1998, it was one of the most commonly used methods of security printing.

Foil stamping can be used to make Radio-frequency identification (RFID) tags, although screen printing is faster and cheaper.

DIY Methods
Several do-it-yourself (DIY) techniques exist for crafting foiling stamps. Notably, the advent of 3D printing technology has empowered enthusiasts to fashion stamps from high-temperature resins. When coupled with a conductive wrapper to enhance thermal conductivity within the resin, it becomes possible to attain intricately detailed stamps.

See also
Cold foil printing
Pad printing

References

Printing terminology


Thèze (; ) is a commune in the Pyrénées-Atlantiques department in south-western France.

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques


Yair Auron (, Ya'ir Oron; born April 30, 1945) is an Israeli historian, scholar and expert specializing in Holocaust and genocide studies, racism and contemporary Jewry. Since 2005, he has served as the head of the Department of Sociology, Political Science and Communication of The Open University of Israel and an associate professor.

Biography
Yair Auron completed his bachelor's degree in history and sociology at the Tel-Aviv University. He earned a master's degree from The Hebrew University, and a Ph.D. from the Université de la Sorbonne Nouvelle in Paris (France).

Academic career
From 1974 to 1976, Auron worked as the director of the Education Department inside the Yad Vashem (the Holocaust Memorial in Jerusalem). In the 1980s, he worked as a researcher at the Melton Center for Jewish Education of the Hebrew University and also as an academic director of European Section at the Israel-Diaspora Institute, an external institute of Tel-Aviv University. From 1996 to 1999 he was a senior lecturer and head of the Division of Cultural Studies at the Max Stern Academic College of Emek Yezreel.

Auron is an  associate director of the Institute on the Holocaust and Genocide, Jerusalem. He is also a member of the academic board of directors at the Zoryan Institute (an NPO) in Cambridge, Massachusetts (US) and an advisory board member of The Genocide Education Project (also known as GenEd, an NPO) in San Francisco (US).

Published works
Jewish-Israeli Identity, Sifriat Poalim (with Kibutzim College of Education), Tel-Aviv, 1993, 204 pp. (Hebrew).
The Banality of Indifference: The Attitude of the Yishuv and the Zionist Movement to the Armenian Genocide, Dvir (with Kibutzim College of Education), Tel-Aviv, 1995, 395 pp. (Hebrew).
Les Juifs d’Extrême Gauche en Mai 68, Éditions Albin Michel, Paris, 1998, 335 pp.
We are all German Jews: Jewish Radicals in France During the Sixties and Seventies, Am Oved (with Tel-Aviv University and Ben-Gurion University ), Tel-Aviv, 1999, 288 pp. (Hebrew, translation of the French edition, with revisions).
The Banality of Indifference: Zionism and the Armenian Genocide, Transaction, Rutgers University Press, New Brunswick, 20 00, 405 pp. (translation of the Hebrew edition, with revisions and adaptations). Second Edition, Transaction Publishers, 2001; Third Edition, 2003.
The Banality of Denial, Transaction, Rutgers University Press, New Brunswick, 2003, 338 pp.
Denial: Israel and the Armenian Genocide, Maba, Tel Aviv, 2005 (Hebrew edition, with revisions and adaptations).
The Pain of Knowledge - Holocaust and Genocide issues in Education, Transaction, New Brunswick, 2005. A German edition was published by Der Schmerz des Wissens, , Lich/Hessen, 2005.

See also
Armenia–Israel relations
Genocide studies
Holocaust studies

References

External links

Hebrew University Jerusalem, Israel Armenian Studies Program

Israeli historians
1945 births
Living people
Hebrew University of Jerusalem alumni
Tel Aviv University alumni
Historians of the Holocaust
Genocide studies scholars
Yad Vashem people


Since its inception in 1979, The Football Conference has formed the fifth-highest level of the overall English Football League System.

The 2003–04 Football Conference season was the 25th season of the Football Conference and the last consisting of a single division. The top team and the winner of the play-offs were promoted to Football League Two, while this season only one team was relegated.

A total of 22 teams contest the division, including 17 sides from last season, two relegated from the Football League Two and winners of Northern Premier League, Southern Football League and Isthmian League.

Promotion and relegation

Teams promoted from Northern Premier League
 Accrington Stanley

Teams promoted from Southern Football League
 Tamworth

Teams promoted from Isthmian League
 Aldershot Town

Teams relegated from Third Division
 Exeter City
 Shrewsbury Town

Overview
Chester City clinched the league title and won promotion to Football League Two.

Shrewsbury Town also earned promotion to League Two following their 3–0 play-off win on penalties after a 1–1 draw with Aldershot Town.

No clubs were relegated on the basis of their performances, due to Margate being demoted, Telford folding and the winners and runners-up of the Unibond League not meeting the criteria for a place in the Football Conference.

Shrewsbury Town had the highest attendance, 84,150 in all, with an average of 4,007. Margate and Leigh RMI had the least spectators with 11,905 and 11,881, respectively, with an average of 567 and 566, respectively.

The total number of attendance was 880,220, yielding an average of 1905 per game, which was the all-time record for the Football Conference.

The regular season began on 9 August 2003, and ended on 24 April 2004.

Final league table

Locations

Results

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|match_FAR_CHE=1–2
|match_FAR_D&R=2–2
|match_FAR_EXE=1–2
|match_FAR_FGR=1–3
|match_FAR_GRN=1–2
|match_FAR_HAL=1–0
|match_FAR_HER=0–5
|match_FAR_LEI=1–1
|match_FAR_MAR=1–1
|match_FAR_MOR=2–4
|match_FAR_NOR=2–0
|match_FAR_SCA=1–2
|match_FAR_SHR=1–3
|match_FAR_STB=2–0
|match_FAR_TAM=3–3
|match_FAR_TEL=2–1
|match_FAR_WOK=1–0

|name_FGR=Forest Green Rovers
|match_FGR_ACC=2–1
|match_FGR_ALD=3–1
|match_FGR_BAR=1–1
|match_FGR_BRT=1–1
|match_FGR_CHE=2–1
|match_FGR_D&R=1–3
|match_FGR_EXE=2–5
|match_FGR_FAR=1–1
|match_FGR_GRN=1–2
|match_FGR_HAL=1–2
|match_FGR_HER=1–7
|match_FGR_LEI=2–2
|match_FGR_MAR=1–2
|match_FGR_MOR=1–2
|match_FGR_NOR=0–0
|match_FGR_SCA=4–0
|match_FGR_SHR=1–1
|match_FGR_STB=3–1
|match_FGR_TAM=2–1
|match_FGR_TEL=0–0
|match_FGR_WOK=2–2

|name_GRN=Gravesend & Northfleet
|match_GRN_ACC=0–0
|match_GRN_ALD=1–3
|match_GRN_BAR=1–1
|match_GRN_BRT=1–2
|match_GRN_CHE=0–4
|match_GRN_D&R=1–2
|match_GRN_EXE=3–2
|match_GRN_FAR=2–0
|match_GRN_FGR=1–1
|match_GRN_HAL=1–0
|match_GRN_HER=2–5
|match_GRN_LEI=3–1
|match_GRN_MAR=2–1
|match_GRN_MOR=6–0
|match_GRN_NOR=2–2
|match_GRN_SCA=1–1
|match_GRN_SHR=0–3
|match_GRN_STB=2–3
|match_GRN_TAM=2–0
|match_GRN_TEL=1–2
|match_GRN_WOK=2–2

|name_HAL=Halifax Town
|match_HAL_ACC=1–1
|match_HAL_ALD=1–2
|match_HAL_BAR=1–2
|match_HAL_BRT=1–4
|match_HAL_CHE=0–3
|match_HAL_D&R=3–0
|match_HAL_EXE=2–0
|match_HAL_FAR=2–0
|match_HAL_FGR=0–1
|match_HAL_GRN=1–0
|match_HAL_HER=1–2
|match_HAL_LEI=2–1
|match_HAL_MAR=0–1
|match_HAL_MOR=1–0
|match_HAL_NOR=5–3
|match_HAL_SCA=1–0
|match_HAL_SHR=0–0
|match_HAL_STB=2–1
|match_HAL_TAM=1–2
|match_HAL_TEL=1–1
|match_HAL_WOK=2–2

|name_HER=Hereford United
|match_HER_ACC=1–0
|match_HER_ALD=4–3
|match_HER_BAR=2–0
|match_HER_BRT=1–2
|match_HER_CHE=2–1
|match_HER_D&R=1–1
|match_HER_EXE=1–1
|match_HER_FAR=2–0
|match_HER_FGR=5–1
|match_HER_GRN=3–3
|match_HER_HAL=7–1
|match_HER_LEI=0–1
|match_HER_MAR=2–1
|match_HER_MOR=3–0
|match_HER_NOR=1–0
|match_HER_SCA=2–1
|match_HER_SHR=2–1
|match_HER_STB=1–0
|match_HER_TAM=0–1
|match_HER_TEL=2–1
|match_HER_WOK=0–1

|name_LEI=Leigh RMI
|match_LEI_ACC=1–2
|match_LEI_ALD=2–2
|match_LEI_BAR=1–4
|match_LEI_BRT=0–1
|match_LEI_CHE=2–6
|match_LEI_D&R=2–1
|match_LEI_EXE=1–1
|match_LEI_FAR=0–2
|match_LEI_FGR=1–2
|match_LEI_GRN=1–2
|match_LEI_HAL=1–1
|match_LEI_HER=0–5
|match_LEI_MAR=4–2
|match_LEI_MOR=3–1
|match_LEI_NOR=1–0
|match_LEI_SCA=1–4
|match_LEI_SHR=2–2
|match_LEI_STB=1–3
|match_LEI_TAM=1–1
|match_LEI_TEL=1–1
|match_LEI_WOK=0–1

|name_MAR=Margate
|match_MAR_ACC=3–1
|match_MAR_ALD=1–2
|match_MAR_BAR=0–1
|match_MAR_BRT=1–2
|match_MAR_CHE=1–2
|match_MAR_D&R=3–3
|match_MAR_EXE=0–1
|match_MAR_FAR=3–0
|match_MAR_FGR=2–0
|match_MAR_GRN=1–3
|match_MAR_HAL=2–0
|match_MAR_HER=1–3
|match_MAR_LEI=2–0
|match_MAR_MOR=1–1
|match_MAR_NOR=3–1
|match_MAR_SCA=0–2
|match_MAR_SHR=0–2
|match_MAR_STB=1–4
|match_MAR_TAM=3–2
|match_MAR_TEL=1–0
|match_MAR_WOK=1–2

|name_MOR=Morecambe
|match_MOR_ACC=1–0
|match_MOR_ALD=2–0
|match_MOR_BAR=1–3
|match_MOR_BRT=2–1
|match_MOR_CHE=0–1
|match_MOR_D&R=3–2
|match_MOR_EXE=0–3
|match_MOR_FAR=3–2
|match_MOR_FGR=4–0
|match_MOR_GRN=2–2
|match_MOR_HAL=2–0
|match_MOR_HER=2–2
|match_MOR_LEI=1–0
|match_MOR_MAR=3–3
|match_MOR_NOR=3–0
|match_MOR_SCA=2–1
|match_MOR_SHR=3–3
|match_MOR_STB=2–1
|match_MOR_TAM=4–0
|match_MOR_TEL=1–0
|match_MOR_WOK=2–1

|name_NOR=Northwich Victoria
|match_NOR_ACC=3–3
|match_NOR_ALD=1–1
|match_NOR_BAR=1–1
|match_NOR_BRT=1–2
|match_NOR_CHE=0–4
|match_NOR_D&R=0–1
|match_NOR_EXE=1–1
|match_NOR_FAR=1–1
|match_NOR_FGR=0–4
|match_NOR_GRN=0–0
|match_NOR_HAL=0–1
|match_NOR_HER=1–5
|match_NOR_LEI=0–1
|match_NOR_MAR=0–3
|match_NOR_MOR=1–1
|match_NOR_SCA=1–1
|match_NOR_SHR=0–2
|match_NOR_STB=1–2
|match_NOR_TAM=1–0
|match_NOR_TEL=1–0
|match_NOR_WOK=1–4

|name_SCA=Scarborough
|match_SCA_ACC=2–1
|match_SCA_ALD=1–0
|match_SCA_BAR=2–2
|match_SCA_BRT=1–2
|match_SCA_CHE=2–2
|match_SCA_D&R=0–0
|match_SCA_EXE=2–3
|match_SCA_FAR=2–1
|match_SCA_FGR=2–2
|match_SCA_GRN=2–0
|match_SCA_HAL=1–0
|match_SCA_HER=3–3
|match_SCA_LEI=4–1
|match_SCA_MAR=0–1
|match_SCA_MOR=1–0
|match_SCA_NOR=1–0
|match_SCA_SHR=1–1
|match_SCA_STB=2–2
|match_SCA_TAM=0–1
|match_SCA_TEL=1–1
|match_SCA_WOK=2–2

|name_SHR=Shrewsbury Town
|match_SHR_ACC=0–0
|match_SHR_ALD=1–2
|match_SHR_BAR=0–1
|match_SHR_BRT=1–0
|match_SHR_CHE=0–0
|match_SHR_D&R=2–1
|match_SHR_EXE=2–2
|match_SHR_FAR=3–0
|match_SHR_FGR=2–0
|match_SHR_GRN=1–1
|match_SHR_HAL=2–0
|match_SHR_HER=4–1
|match_SHR_LEI=3–1
|match_SHR_MAR=1–1
|match_SHR_MOR=2–0
|match_SHR_NOR=3–1
|match_SHR_SCA=4–1
|match_SHR_STB=3–1
|match_SHR_TAM=3–1
|match_SHR_TEL=0–0
|match_SHR_WOK=1–0

|name_STB=Stevenage Borough
|match_STB_ACC=2–1
|match_STB_ALD=0–1
|match_STB_BAR=1–2
|match_STB_BRT=1–0
|match_STB_CHE=0–0
|match_STB_D&R=0–2
|match_STB_EXE=2–2
|match_STB_FAR=3–2
|match_STB_FGR=2–1
|match_STB_GRN=2–2
|match_STB_HAL=1–0
|match_STB_HER=0–2
|match_STB_LEI=4–0
|match_STB_MAR=2–1
|match_STB_MOR=0–1
|match_STB_NOR=1–0
|match_STB_SCA=2–2
|match_STB_SHR=2–0
|match_STB_TAM=3–1
|match_STB_TEL=0–1
|match_STB_WOK=1–1

|name_TAM=Tamworth
|match_TAM_ACC=1–1
|match_TAM_ALD=3–3
|match_TAM_BAR=2–0
|match_TAM_BRT=1–1
|match_TAM_CHE=1–5
|match_TAM_D&R=2–0
|match_TAM_EXE=2–1
|match_TAM_FAR=2–1
|match_TAM_FGR=1–0
|match_TAM_GRN=1–3
|match_TAM_HAL=2–0
|match_TAM_HER=1–3
|match_TAM_LEI=4–3
|match_TAM_MAR=1–1
|match_TAM_MOR=2–3
|match_TAM_NOR=2–1
|match_TAM_SCA=0–0
|match_TAM_SHR=1–1
|match_TAM_STB=1–2
|match_TAM_TEL=0–1
|match_TAM_WOK=2–0

|name_TEL=Telford United
|match_TEL_ACC=1–0
|match_TEL_ALD=2–5
|match_TEL_BAR=1–2
|match_TEL_BRT=2–2
|match_TEL_CHE=0–2
|match_TEL_D&R=1–0
|match_TEL_EXE=2–0
|match_TEL_FAR=2–4
|match_TEL_FGR=0–2
|match_TEL_GRN=1–1
|match_TEL_HAL=2–1
|match_TEL_HER=0–3
|match_TEL_LEI=5–0
|match_TEL_MAR=1–1
|match_TEL_MOR=2–1
|match_TEL_NOR=0–1
|match_TEL_SCA=2–1
|match_TEL_SHR=1–0
|match_TEL_STB=0–2
|match_TEL_TAM=2–0
|match_TEL_WOK=1–0

|name_WOK=Woking
|match_WOK_ACC=2–2
|match_WOK_ALD=2–2
|match_WOK_BAR=2–2
|match_WOK_BRT=1–0
|match_WOK_CHE=1–2
|match_WOK_D&R=0–0
|match_WOK_EXE=1–0
|match_WOK_FAR=3–2
|match_WOK_FGR=1–1
|match_WOK_GRN=3–2
|match_WOK_HAL=2–2
|match_WOK_HER=0–1
|match_WOK_LEI=2–0
|match_WOK_MAR=0–0
|match_WOK_MOR=4–1
|match_WOK_NOR=3–0
|match_WOK_SCA=2–1
|match_WOK_SHR=3–3
|match_WOK_STB=1–1
|match_WOK_TAM=4–0
|match_WOK_TEL=3–1

|update=
|source=  Soccerbase; Sky Sports Football Yearbook 2004–2003
}}

Play-offs

The Conference National play-offs determined the second team that would be promoted to Football League Two. The teams placed second through fifth qualified for the play-offs. The semi-finals were played in a two-leg, home and away format, while the final was played as one leg.

 Semifinals Aldershot Town won 4–2 on penalties after tying 1–1 on Aggregate.Shrewsbury Town won 5–3 on penalties after tying 2–2 on Aggregate.''

Play-Off Final

Top scorers in order of league goals

Source:

References

External links
 Official Football Conference website

National League (English football) seasons
5
English


Pontacq (; ) is a commune in the Pyrénées-Atlantiques department in south-western France.

Population

Notable people
 Joseph Barbanègre (1772–1830) - French General
 Matthieu Sans (1988-) - Rugby player
 Pierre Lacaze (1934-1995) - Athlete, Rugby Union & League player

See also
 Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Espoey (; ) is a commune in the Pyrénées-Atlantiques department in south-western France.

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Soumoulou (; ) is a commune in the French department of the Pyrénées-Atlantiques, region of Nouvelle-Aquitaine (before 2015: Aquitaine), southwestern France. It is 120 km from the Basque Coast and the beaches south of the Landes coast and 70 km from the Pyrenees.

References

See also
Communes of the Pyrénées-Atlantiques department

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Nousty (; ) is a commune in the Pyrénées-Atlantiques department in south-western France.

The inhabitants of the town of Nousty are called Noustysiens, Noustysiennes in French.

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Lée () or Lee is a commune in the Pyrénées-Atlantiques department in south-western France.

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Idron () is a commune in the Pyrénées-Atlantiques department in south-western France. It is an eastern suburb of Pau

Population

See also
Communes of the Pyrénées-Atlantiques department

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia


Bizanos (;  ) is a commune in the Pyrénées-Atlantiques department in southwestern France.

Population

Sports
The home ground of local football club Pau FC, the Nouste Camp, is located in Bizanos.

See also
Communes of the Pyrénées-Atlantiques department
Jean-Michel Larqué

References

Communes of Pyrénées-Atlantiques
Pyrénées-Atlantiques communes articles needing translation from French Wikipedia