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Final Transmission
|
[
[
"Final Transmission",
"performer",
"Cave In"
]
] |
2019 studio album by Cave In
|
was largely composed by Scofield. The members of Cave In had emotional difficulty revisiting the demos and completing the album. On this topic, Brodsky said: "I don't think I've cried so much putting together any record [...] I don't try to look too deeply into how these things work, but these recordings are some of our last moments spending time with [Caleb]." At the time of the album's announcement, McGrath said he hadn't listened to the album all the way through yet. He said: "I feel really lucky to have this record. I love it, but I don't like listening
|
[] |
Final Transmission
|
[
[
"Final Transmission",
"performer",
"Cave In"
]
] |
2019 studio album by Cave In
|
to it. I'm sure I'll listen to it eventually, but right now it's difficult. Just hearing him play kills me. I'll miss him forever." The lyrics and vocals for the track "Shake My Blood" were performed by all three surviving members of Cave In after the death of Scofield, which Brodsky said was the first time he was able to express his feelings in song form. He said: "It's a mix of extreme grief, frustration and anger. I was trying to do something to gain the clearest answer about whatever the next move might be." The title Final Transmission refers
|
[] |
Final Transmission
|
[
[
"Final Transmission",
"record label",
"Hydra Head Records"
],
[
"Final Transmission",
"performer",
"Cave In"
]
] |
2019 studio album by Cave In
|
to this being the final release to include Scofield's contributions. When asked in an interview if the title could be a double entendre that also refers to this being the final album from Cave In, McGrath said he was unsure. He elaborated: "It was nice to get out there and play a few shows, but we're still going through the process of moving forward. I think we need to live through this first, [and] then we'll have an idea of what the future holds." Release Cave In will release Final Transmission on June 7, 2019 though Hydra Head Records. Hydra
|
[] |
Final Transmission
|
[
[
"Final Transmission",
"performer",
"Cave In"
]
] |
2019 studio album by Cave In
|
Head has released the majority of Cave In's releases to date since 1997, but has been largely inactive since 2012. Half of all proceeds from album sales will go to Scofield's family. Before deciding to finish and release their 2018 demos as Final Transmission, Cave In struggled with how they wanted to continue. According to Brodsky, McGrath suggested they should do whatever they could to support the Scofield family, which was a "sobering moment" that "helped to start clear the fog of how to climb out of the depths of what we were experiencing." Cave In began promoting Final Transmission
|
[] |
Final Transmission
|
[
[
"Final Transmission",
"performer",
"Cave In"
]
] |
2019 studio album by Cave In
|
with an online stream of "All Illusion" on April 8, 2019. The track was selected to be the first release because it features Scofield's only lyrical contribution to the album. "All Illusion" originally had lyrics written entirely by Brodsky, but Cave In found some lyrics in Scofield's journal and incorporated them into the song. On May 14, Cave In made "Shake My Blood" available for online streaming. Reception On the review aggregator website Metacritic, Final Transmission has a score of 82 out of 100 based on 7 reviews, indicating "universal acclaim". Many reviewers noted the record's background, with Kerrang!s Nick
|
[] |
Final Transmission
|
[
[
"Final Transmission",
"performer",
"Cave In"
]
] |
2019 studio album by Cave In
|
Ruskell stating that "as a tribute, it is wonderful," though he also notes that the album is "superb" without taking it into consideration. Writing for Under the Radar, Adam Turner-Heffer did comment that the album could've been made better had Scofield been present to give the band more time to complete it. Critics also draw out similarities Final Transmission has with the band's previous output such as Jupiter. The album was featured on Bandcamps "Bandcamp Daily" section on June 14, 2019. Track listing Personnel Cave In Stephen Brodsky - vocals, guitar, bass on “All Illusion” and “Shake My Blood” John-Robert
|
[] |
Laocoön and His Sons
|
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[
"Laocoön and His Sons",
"depicts",
"Laocoön"
],
[
"Laocoön and His Sons",
"location of discovery",
"Rome"
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[
"Laocoön and His Sons",
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sculpture
|
The statue of Laocoön and His Sons, also called the Laocoön Group (), has been one of the most famous ancient sculptures ever since it was excavated in Rome in 1506 and placed on public display in the Vatican, where it remains. It is very likely the same statue praised in the highest terms by the main Roman writer on art, Pliny the Elder. The figures are near life-size and the group is a little over in height, showing the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents. The group has been called "the
|
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"Laocoön Group",
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"Laocoön"
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
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"Laocoön"
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[
"Laocoön and His Sons",
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"Laocoön"
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sculpture
|
prototypical icon of human agony" in Western art, and unlike the agony often depicted in Christian art showing the Passion of Jesus and martyrs, this suffering has no redemptive power or reward. The suffering is shown through the contorted expressions of the faces (Charles Darwin pointed out that Laocoön's bulging eyebrows are physiologically impossible), which are matched by the struggling bodies, especially that of Laocoön himself, with every part of his body straining. Pliny attributes the work, then in the palace of Emperor Titus, to three Greek sculptors from the island of Rhodes: Agesander, Athenodoros and Polydorus, but does not
|
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
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"Family"
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sculpture
|
probably an original work of the later period, continuing to use the Pergamene style of some two centuries earlier. In either case, it was probably commissioned for the home of a wealthy Roman, possibly of the Imperial family. Various dates have been suggested for the statue, ranging from about 200 BC to the 70s AD, though "a Julio-Claudian date [between 27 BC and 68 AD] ... is now preferred". Although mostly in excellent condition for an excavated sculpture, the group is missing several parts, and analysis suggests that it was remodelled in ancient times and has undergone a number of
|
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Laocoön and His Sons
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[
[
"Laocoön and His Sons",
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[
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sculpture
|
restorations since it was excavated. It is on display in the Museo Pio-Clementino, a part of the Vatican Museums. Subject The story of Laocoön, a Trojan priest, came from the Greek Epic Cycle on the Trojan Wars, though it is not mentioned by Homer. It had been the subject of a tragedy, now lost, by Sophocles and was mentioned by other Greek writers, though the events around the attack by the serpents vary considerably. The most famous account of these is now in Virgil's Aeneid (see the Aeneid quotation at the entry Laocoön), but this dates from between 29 and
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
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Laocoön and His Sons
|
[
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"Laocoön and His Sons",
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"based on",
"Trojan Horse"
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sculpture
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19 BC, which is possibly later than the sculpture. However, some scholars see the group as a depiction of the scene as described by Virgil. In Virgil, Laocoön was a priest of Poseidon who was killed with both his sons after attempting to expose the ruse of the Trojan Horse by striking it with a spear. In Sophocles, on the other hand, he was a priest of Apollo, who should have been celibate but had married. The serpents killed only the two sons, leaving Laocoön himself alive to suffer. In other versions he was killed for having had sex with
|
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Laocoön and His Sons
|
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sculpture
|
his wife in the temple of Poseidon, or simply making a sacrifice in the temple with his wife present. In this second group of versions, the snakes were sent by Poseidon and in the first by Poseidon and Athena, or Apollo, and the deaths were interpreted by the Trojans as proof that the horse was a sacred object. The two versions have rather different morals: Laocoön was either punished for doing wrong, or for being right. The snakes are depicted as both biting and constricting, and are probably intended as venomous, as in Virgil. Pietro Aretino thought so, praising the
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
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"Man"
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sculpture
|
group in 1537: ...the two serpents, in attacking the three figures, produce the most striking semblances of fear, suffering and death. The youth embraced in the coils is fearful; the old man struck by the fangs is in torment; the child who has received the poison, dies. In at least one Greek telling of the story the older son is able to escape, and the composition seems to allow for that possibility. History Ancient times The style of the work is agreed to be that of the Hellenistic "Pergamene baroque" which arose in Greek Asia Minor around 200 BC, and
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
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Laocoön and His Sons
|
[
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"depicts",
"Laocoön"
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[
"Laocoön and His Sons",
"depicts",
"Altar"
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[
"Laocoön and His Sons",
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"Laocoön"
]
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sculpture
|
whose best known undoubtedly original work is the Pergamon Altar, dated c. 180-160 BC, and now in Berlin. Here the figure of Alcyoneus is shown in a pose and situation (including serpents) which is very similar to those of Laocoön, though the style is "looser and wilder in its principles" than the altar. The execution of the Laocoön is extremely fine throughout, and the composition very carefully calculated, even though it appears that the group underwent adjustments in ancient times. The two sons are rather small in scale compared to their father, but this adds to the impact of the
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
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"Marble"
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sculpture
|
central figure. The fine white marble used is often thought to be Greek, but has not been identified by analysis. Pliny In Pliny's survey of Greek and Roman stone sculpture in his encyclopedic Natural History (XXXVI, 37), he says: ....in the case of several works of very great excellence, the number of artists that have been engaged upon them has proved a considerable obstacle to the fame of each, no individual being able to engross the whole of the credit, and it being impossible to award it in due proportion to the names of the several artists combined. Such is
|
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Laocoön and His Sons
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[
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[
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sculpture
|
the case with the Laocoön, for example, in the palace of the Emperor Titus, a work that may be looked upon as preferable to any other production of the art of painting or of [bronze] statuary. It is sculptured from a single block, both the main figure as well as the children, and the serpents with their marvellous folds. This group was made in concert by three most eminent artists, Agesander, Polydorus, and Athenodorus, natives of Rhodes. It is generally accepted that this is the same work as is now in the Vatican. It is now very often thought that
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"made from material",
"Marble"
]
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sculpture
|
the three Rhodians were copyists, perhaps of a bronze sculpture from Pergamon, created around 200 BC. It is noteworthy that Pliny does not address this issue explicitly, in a way that suggests "he regards it as an original". Pliny states that it was located in the palace of the emperor Titus, and it is possible that it remained in the same place until 1506 (see "Findspot" section below). He also asserts that it was carved from a single piece of marble, though the Vatican work comprises at least seven interlocking pieces. The phrase translated above as "in concert" (de consilii
|
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"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
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[
"Laocoön and His Sons",
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sculpture
|
were the same individuals. Though broadly similar in style, many aspects of the execution of the two groups are drastically different, with the Laocoon group of much higher quality and finish. Some scholars used to think that honorific inscriptions found at Lindos in Rhodes dated Agesander and Athenodoros, recorded as priests, to a period after 42 BC, making the years 42 to 20 BC the most likely date for the Laocoön group's creation. However the Sperlonga inscription, which also gives the fathers of the artists, makes it clear that at least Agesander is a different individual from the priest of
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"depicts",
"Family"
],
[
"Laocoön and His Sons",
"country",
"Italy"
]
] |
sculpture
|
the same name recorded at Lindos, though very possibly related. The names may have recurred across generations, a Rhodian habit, within the context of a family workshop (which might well have included the adoption of promising young sculptors). Altogether eight "signatures" (or labels) of an Athenodoros are found on sculptures or bases for them, five of these from Italy. Some, including that from Sperlonga, record his father as Agesander. The whole question remains the subject of academic debate. Renaissance The group was unearthed in February 1506 in the vineyard of Felice De Fredis; informed of the fact, Pope Julius II,
|
[
"Laocoön Group",
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Laocoön and His Sons
|
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[
"Laocoön and His Sons",
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sculpture
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an enthusiastic classicist, sent for his court artists. Michelangelo was called to the site of the unearthing of the statue immediately after its discovery, along with the Florentine architect Giuliano da Sangallo and his eleven-year-old son Francesco da Sangallo, later a sculptor, who wrote an account over sixty years later: The first time I was in Rome when I was very young, the pope was told about the discovery of some very beautiful statues in a vineyard near Santa Maria Maggiore. The pope ordered one of his officers to run and tell Giuliano da Sangallo to go and see them.
|
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Laocoön and His Sons
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[
"Laocoön and His Sons",
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"Laocoön"
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[
"Laocoön and His Sons",
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sculpture
|
So he set off immediately. Since Michelangelo Buonarroti was always to be found at our house, my father having summoned him and having assigned him the commission of the pope’s tomb, my father wanted him to come along, too. I joined up with my father and off we went. I climbed down to where the statues were when immediately my father said, "That is the Laocoön, which Pliny mentions". Then they dug the hole wider so that they could pull the statue out. As soon as it was visible everyone started to draw (or "started to have lunch"), all the
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
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Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
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sculpture
|
while discoursing on ancient things, chatting as well about the ones in Florence. Julius acquired the group on March 23, giving De Fredis a job as a scribe as well as the customs revenues from one of the gates of Rome. By August the group was placed for public viewing in a niche in the wall of the brand new Belvedere Garden at the Vatican, now part of the Vatican Museums, which regard this as the start of their history. As yet it had no base, which was not added until 1511, and from various prints and drawings from the
|
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Laocoön and His Sons
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sculpture
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time the older son appears to have been completely detached from the rest of the group. In July 1798 the statue was taken to France in the wake of the French conquest of Italy, though the replacement parts were left in Rome. It was on display when the new Musée Central des Arts, later the Musée Napoléon, opened at the Louvre in November 1800. A competition was announced for new parts to complete the composition, but there were no entries. Some plaster sections by François Girardon, over 150 years old, were used instead. After Napoleon's final defeat at the Battle
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
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Laocoön and His Sons
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[
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[
"Laocoön and His Sons",
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"Snake"
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"Laocoön and His Sons",
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"Laocoön and His Sons",
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sculpture
|
of Waterloo in 1815 most (but certainly not all) the artworks plundered by the French were returned, and the Laocoön reached Rome in January 1816. Restorations When the statue was discovered, Laocoön's right arm was missing, along with part of the hand of one child and the right arm of the other, and various sections of snake. The older son, on the right, was detached from the other two figures. The age of the altar used as a seat by Laocoön remains uncertain. Artists and connoisseurs debated how the missing parts should be interpreted. Michelangelo suggested that the missing right
|
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"Laocoön Group",
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Laocoön and His Sons
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[
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sculpture
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arms were originally bent back over the shoulder. Others, however, believed it was more appropriate to show the right arms extended outwards in a heroic gesture. According to Vasari, in about 1510 Bramante, the Pope's architect, held an informal contest among sculptors to make replacement right arms, which was judged by Raphael, and won by Jacopo Sansovino. The winner, in the outstretched position, was used in copies but not attached to the original group, which remained as it was until 1532, when Giovanni Antonio Montorsoli, a pupil of Michelangelo, added his even more straight version of Laocoön's outstretched arm, which
|
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Laocoön and His Sons
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[
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"Marble"
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"Laocoön and His Sons",
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"Rome"
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"Laocoön and His Sons",
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sculpture
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remained in place until modern times. In 1725-27 Agostino Cornacchini added a section to the younger son's arm, and after 1816 Antonio Canova tidied up the group after their return from Paris, without being convinced by the correctness of the additions but wishing to avoid a controversy. In 1906 Ludwig Pollak, archaeologist, art dealer and director of the Museo Barracco, discovered a fragment of a marble arm in a builder's yard in Rome, close to where the group was found. Noting a stylistic similarity to the Laocoön group he presented it to the Vatican Museums: it remained in their storerooms
|
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Laocoön and His Sons
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[
[
"Laocoön and His Sons",
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"Laocoön and His Sons",
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sculpture
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for half a century. In 1957 the museum decided that this arm—bent, as Michelangelo had suggested—had originally belonged to this Laocoön, and replaced it. According to Paolo Liverani: "Remarkably, despite the lack of a critical section, the join between the torso and the arm was guaranteed by a drill hole on one piece which aligned perfectly with a corresponding hole on the other." In the 1980s the statue was dismantled and reassembled, again with the Pollak arm incorporated. The restored portions of the children's arms and hands were removed. In the course of disassembly, it was possible to observe breaks,
|
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Laocoön and His Sons
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[
[
"Laocoön and His Sons",
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[
"Laocoön and His Sons",
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sculpture
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cuttings, metal tenons, and dowel holes which suggested that in antiquity, a more compact, three-dimensional pyramidal grouping of the three figures had been used or at least contemplated. According to Seymour Howard, both the Vatican group and the Sperlonga sculptures "show a similar taste for open and flexible pictorial organization that called for pyrotechnic piercing and lent itself to changes at the site, and in new situations". The more open, planographic composition along a plane, used in the restoration of the Laocoön group, has been interpreted as "apparently the result of serial reworkings by Roman Imperial as well as Renaissance
|
[
"Laocoön Group",
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Laocoön and His Sons
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[
[
"Laocoön and His Sons",
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[
"Laocoön and His Sons",
"depicts",
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sculpture
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and modern craftsmen". A different reconstruction was proposed by Seymour Howard, to give "a more cohesive, baroque-looking and diagonally-set pyramidal composition", by turning the older son as much as 90°, with his back to the side of the altar, and looking towards the frontal viewer rather than at his father. Other suggestions have been made. Influence The discovery of the Laocoön made a great impression on Italian artists and continued to influence Italian art into the Baroque period. Michelangelo is known to have been particularly impressed by the massive scale of the work and its sensuous Hellenistic aesthetic, particularly its
|
[
"Laocoön Group",
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Laocoön and His Sons
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sculpture
|
depiction of the male figures. The influence of the Laocoön, as well as the Belvedere Torso, is evidenced in many of Michelangelo's later sculptures, such as the Rebellious Slave and the Dying Slave, created for the tomb of Pope Julius II. Several of the ignudi and the figure of Haman in the Sistine Chapel ceiling draw on the figures. Raphael used the face of Laocoön for his Homer in his Parnassus in the Raphael Rooms, expressing blindness rather than pain. The Florentine sculptor Baccio Bandinelli was commissioned to make a copy by the Medici Pope Leo X. Bandinelli's version, which
|
[
"Laocoön Group",
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Laocoön and His Sons
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[
[
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[
"Laocoön and His Sons",
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"Laocoön and His Sons",
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sculpture
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anatomy. It has also been suggested that this woodcut was one of a number of Renaissance images that were made to reflect contemporary doubts as to the authenticity of the Laocoön Group, the 'aping' of the statue referring to the incorrect pose of the Trojan priest who was depicted in ancient art in the traditional sacrificial pose, with his leg raised to subdue the bull. Over 15 drawings of the group made by Rubens in Rome have survived, and the influence of the figures can be seen in many of his major works, including his Descent from the Cross in
|
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Laocoön and His Sons
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[
[
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"Laocoön and His Sons",
"country",
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"Laocoön and His Sons",
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sculpture
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Antwerp Cathedral. The original was seized and taken to Paris by Napoleon Bonaparte after his conquest of Italy in 1799, and installed in a place of honour in the Musée Napoléon at the Louvre. Following the fall of Napoleon, it was returned by the Allies to the Vatican in 1816. Laocoön as an ideal of art Pliny's description of Laocoön as "a work to be preferred to all that the arts of painting and sculpture have produced" has led to a tradition which debates this claim that the sculpture is the greatest of all artworks. Johann Joachim Winkelmann (1717-1768) wrote
|
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Laocoön and His Sons
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sculpture
|
nature, never ceases to open boundlessly before the mind. We examine, — we are impressed with it, — it produces its effect; but it can never be all comprehended, still less can its essence, its value, be expressed in words. The most unusual intervention in the debate, William Blake's annotated print Laocoön, surrounds the image with graffiti-like commentary in several languages, written in multiple directions. Blake presents the sculpture as a mediocre copy of a lost Israelite original, describing it as "Jehovah & his two Sons Satan & Adam as they were copied from the Cherubim Of Solomons Temple by
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
] |
Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"depicts",
"Laocoön"
],
[
"Laocoön and His Sons",
"main subject",
"Laocoön"
]
] |
sculpture
|
three Rhodians & applied to Natural Fact or History of Ilium". This reflects Blake's theory that the imitation of ancient Greek and Roman art was destructive to the creative imagination, and that Classical sculpture represented a banal naturalism in contrast to Judeo-Christian spiritual art. The central figure of Laocoön served as loose inspiration for the Indian in Horatio Greenough's The Rescue (1837–1850) which stood before the east facade of the United States Capitol for over 100 years. Near the end of Charles Dickens' A Christmas Carol, Ebenezer Scrooge self-describes "making a perfect Laocoön of himself with his stockings" in his
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
] |
Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"depicts",
"Laocoön"
],
[
"Laocoön and His Sons",
"main subject",
"Laocoön"
]
] |
sculpture
|
with the unconvincing portrayal of the snakes: In 1910 the critic Irving Babbit used the title The New Laokoon: An Essay on the Confusion of the Arts for an essay on contemporary culture at the beginning of the 20th century. In 1940 Clement Greenberg adapted the concept for his own essay entitled Towards a Newer Laocoön in which he argued that abstract art now provided an ideal for artists to measure their work against. A 2007 exhibition at the Henry Moore Institute in turn copied this title while exhibiting work by modern artists influenced by the sculpture. Findspot The location
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
] |
Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"depicts",
"Laocoön"
],
[
"Laocoön and His Sons",
"location of discovery",
"Rome"
],
[
"Laocoön and His Sons",
"main subject",
"Laocoön"
]
] |
sculpture
|
ally of Augustus and patron of the arts. He bequeathed the gardens to Augustus in 8 BC, and Tiberius lived there after he returned to Rome as heir to Augustus in 2 AD. Pliny said the Laocoön was in his time at the palace of Titus (qui est in Titi imperatoris domo), then heir to his father Vespasian, but the location of Titus's residence remains unknown; the imperial estate of the Gardens of Maecenas may be a plausible candidate. If the Laocoön group was already in the location of the later findspot by the time Pliny saw it, it might
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
] |
Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"depicts",
"Man"
],
[
"Laocoön and His Sons",
"depicts",
"Beard"
]
] |
sculpture
|
have arrived there under Maecenas or any of the emperors. The extent of the grounds of Nero's Domus Aurea is now unclear, but they do not appear to have extended so far north or east, though the newly rediscovered findspot-location is not very far beyond them. Notes References Barkan, Leonard, Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture, 1999, Yale University Press, , 978-0-300-08911-0 Beard, Mary, Times Literary Supplement, "Arms and the Man: The restoration and reinvention of classical sculpture", 2 February 2001, subscription required, reprinted in Confronting the Classics: Traditions, Adventures and Innovations, 2013 EBL
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
] |
Laocoön and His Sons
|
[
[
"Laocoön and His Sons",
"depicts",
"Laocoön"
],
[
"Laocoön and His Sons",
"main subject",
"Laocoön"
]
] |
sculpture
|
the Census database FlickR group "Responses To Laocoön", a collection of art inspired by the Laocoön group Lessing's Laocoon etext on books.google.com Laocoonte: variazioni sul mito, con una Galleria delle fonti letterarie e iconografiche su Laocoonte, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50, luglio/settembre 2006 Nota sul ciclo di Sperlonga e sulle relazioni con il Laoocoonte Vaticano, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre 2006 Nota sulle interpretazioni del passo di Plinio, Nat. Hist. XXXVI, 37, a cura del Centro studi classicA, "La Rivista di Engramma" n. 50. luglio/settembre
|
[
"Laocoön Group",
"Laocoön and His Sons (Laocoön)",
"Laocoön"
] |
Sweetacres
|
[
[
"Sweetacres",
"performer",
"The Nudie Suits"
],
[
"Sweetacres",
"instance of",
"Album"
]
] |
album by The Nudie Suits
|
Sweetacres is the second album from Auckland band The Nudie Suits. It was recorded between 2004 – 2005 in Melbourne, Australia and in Auckland. Track listing "Inheriting The Stereo" – 2:44 "Cabin Blues" – 2:48 "Harangue" – 2:43 "Sweetacres" – 4:03 "Bright Lights" – 3:08 "At The Old Diary" – 4:02 "Hubba Hubba Mother" – 3:17 "Here Comes Bronco" – 2:59 "Losing To Rock'n'Roll" – 2:27 "I've Had Enough" - 3:07 Personnel Mark Lyons - Vocals, Acoustic Guitar, Bass, Keyboards, Percussion, Harmonica Dionne Taylor - Hawaiian Steel Guitar, Harmony Vocals Tam Taylor - Violin, Keyboards, Harmony Vocals Mark Elton -
|
[] |
Simeonov
|
[
[
"Simeonov",
"instance of",
"Surname"
]
] |
family name
|
Simeonov (, ) is a Bulgarian masculine surname, its feminine counterpart is Simeonova or Simionova. It may refer to Albena Simeonova (born 1964), Bulgarian environmental activist Aleksandar Simeonov (disambiguation) Dimitar Simeonov (born 1987), Bulgarian football player Filipa Simeonova (born 1991), Bulgarian rhythmic gymnast Ivan Simeonov (born 1926), Bulgarian sprint canoer Kaspar Simeonov (born 1955), Bulgarian volleyball player Mihail Simeonov (born 1929), Bulgarian artist Nikola Simeonov (born 1939), Bulgarian Olympic marathon runner Simeon Simeonov (disambiguation) Svetlin Simeonov (born 1975), Bulgarian football midfielder Svilen Simeonov (born 1974), Bulgarian football player Todor Simeonov (born 1976), Bulgarian football player Valeri Simeonov (born 1955), Bulgarian
|
[] |
Derwin James
|
[
[
"Derwin James",
"place of birth",
"Haines City, Florida"
],
[
"Derwin James",
"educated at",
"Florida State University"
],
[
"Derwin James",
"educated at",
"Auburndale High School"
],
[
"Derwin James",
"educated at",
"Haines City High School"
],
[
"Derwin James",
"member of sports team",
"Los Angeles Chargers"
],
[
"Derwin James",
"sport",
"American football"
]
] |
American football defensive back
|
Derwin Alonzo James Jr. (born August 3, 1996) is an American football strong safety for the Los Angeles Chargers of the National Football League (NFL). He played college football at Florida State. He was drafted by the Chargers in the first round of the 2018 NFL Draft. Early years James attended Auburndale High School in Auburndale, Florida before transferring to his hometown Haines City High School in Haines City, Florida. He was rated by Rivals.com as a five-star recruit and was ranked as the best safety and fifth best player overall in his class. James committed to Florida State University
|
[] |
Derwin James
|
[
[
"Derwin James",
"member of sports team",
"Los Angeles Chargers"
]
] |
American football defensive back
|
free safety prospect in the draft by DraftScout.com and was ranked the second best safety by NFL analyst Mike Mayock and Sports Illustrated. The Los Angeles Chargers selected James in the first round (17th overall) in the 2018 NFL Draft. James was the second safety drafted in 2018, behind Alabama safety Minkah Fitzpatrick (11th overall, Miami Dolphins). On June 1, 2018, the Los Angeles Chargers signed James to a fully guaranteed four-year, $12.38 million contract that includes a signing bonus of $7.09 million. 2018 season James entered training camp slated as the starting strong safety, but suffered a hamstring injury
|
[] |
Derwin James
|
[
[
"Derwin James",
"member of sports team",
"Los Angeles Chargers"
]
] |
American football defensive back
|
that limited his progress. He also saw competition for the role from veterans Adrian Phillips and Rayshawn Jenkins. Head coach Anthony Lynn named James the starting strong safety to begin the regular season, alongside free safety Jahleel Addae. He made his professional regular season debut and first career start in the Los Angeles Chargers' season-opener against the Kansas City Chiefs and recorded three combined tackles, broke up two passes, and made his first career sack on quarterback Patrick Mahomes in their 38–28 loss. On September 23, 2018, James collected nine combined tackles, deflected a pass, and made his first professional
|
[] |
Derwin James
|
[
[
"Derwin James",
"relative",
"Karlos Williams"
]
] |
American football defensive back
|
required surgery, requiring a maximum of three months to recover. He was placed on injured reserve on September 1, 2019. He was designated for return from injured reserve on November 25, 2019, and began practicing with the team again. He was activated on November 30, 2019. Career Statistics Personal life James is a cousin of Vince Williams and Karlos Williams, both former Florida State Seminoles players, as well as Mike James, former Miami Hurricanes running back. He is also the second cousin of former Miami Hurricanes and NFL star running back Edgerrin James. References External links Florida State Seminoles bio
|
[] |
Grenagh GAA
|
[
[
"Grenagh GAA",
"sport",
"Gaelic football"
],
[
"Grenagh GAA",
"sport",
"Hurling"
]
] |
gaelic games club in County Cork, Ireland
|
Grenagh GAA is a Gaelic Football and hurling club based in the village of Grenagh in Cork, Ireland. The club participates in Cork GAA competitions and in Muskerry board competitions. In 2010, the club played in the Premier division of the Cork Intermediate Football Championship and in Mid Cork Junior Hurling Championship. Their rivals are local side Whitechurch. Grenagh GAA club was established in 1934. Achievements Cork Intermediate A Football Championship Winners (2) 2007, 2013 Cork Junior Football Championship Runners-Up 2006 Cork Junior Hurling Championship Winners (1) 2013 Runners-Up 1958, 2004 Cork Minor B Hurling Championship Winners (1) 1997 Cork
|
[] |
First Battle of Krithia
|
[
[
"First Battle of Krithia",
"instance of",
"Battle"
],
[
"First Battle of Krithia",
"participant",
"Ottoman Empire"
]
] |
A Battle in Gallipoli during theFirst World War
|
The First Battle of Krithia () was the first Allied attempt to advance in the Battle of Gallipoli during the First World War. Starting on 28 April, three days after the Landing at Cape Helles, the attack broke down due to the defensive power of the Ottoman opposing forces, poor leadership and planning, lack of communications and exhaustion and demoralisation of the troops. Prelude On the morning of 25 April 1915, the 29th Division (Major General Aylmer Hunter-Weston), landed on five beaches around Cape Helles at the southern tip of the Gallipoli peninsula in the Ottoman Empire. The main landings
|
[] |
First Battle of Krithia
|
[
[
"First Battle of Krithia",
"instance of",
"Battle"
]
] |
A Battle in Gallipoli during theFirst World War
|
two divisions, rather than two understrength regiments fighting a delaying action. Battle The battle commenced around on 28 April with a naval bombardment. The plan of advance was for the French to hold position on the right while the British line would pivot, capturing Krithia and assailing Achi Baba from the south and west. The overly-complex plan was poorly communicated to the brigade and battalion commanders of the 29th Division who would make the attack. Hunter-Weston remained far from the front; because of this, he was not able to exert any control as the attack developed. The initial advances were
|
[] |
First Battle of Krithia
|
[
[
"First Battle of Krithia",
"instance of",
"Battle"
]
] |
A Battle in Gallipoli during theFirst World War
|
machine gun post near 'Y' Beach. No further advance would be made up the ravine until the 1/6th Gurkha Rifles captured the post on the night of This involved them going up a vertical slope, which had defeated the Royal Marine Light Infantry and the Royal Dublin Fusiliers. The site became known as 'Gurkha Bluff'. The exhausted, demoralised and virtually leaderless British troops could go no further in the face of stiffening Ottoman resistance. In places, Ottoman counter-attacks drove the British back to their starting positions. By the attack was called off. Aftermath About troops participated in the battle and
|
[] |
First Battle of Krithia
|
[
[
"First Battle of Krithia",
"instance of",
"Battle"
],
[
"First Battle of Krithia",
"participant",
"Ottoman Empire"
]
] |
A Battle in Gallipoli during theFirst World War
|
suffered and casualties. The scale and duration of the battle was minor compared to later fighting but the First Battle of Krithia was one of the most significant of the campaign as it proved that the original British assumption of a swift victory over an indifferent enemy was mistaken. Helles became the scene of numerous attrition battles, in which success would be measured by an advance of or the capture of a trench. Footnotes References External links First Battle of Krithia at Firstworldwar.com Category:Conflicts in 1915 Category:1915 in the Ottoman Empire Category:Battles of the Gallipoli campaign Category:Battles of World War
|
[] |
Medallions
|
[
[
"Medallions",
"author",
"Zofia Nałkowska"
]
] |
book by Zofia Nałkowska
|
Medallions (the original Polish title: Medaliony) is a book consisting of eight short stories by the Polish author Zofia Nałkowska. The book was originally published in 1946, soon after the end of World War II. In it, Nałkowska calmly related selected stories of Nazi atrocities in Poland and the fates of their victims. Nałkowska was a member of a special committee for the investigation of Nazi crimes that took place in Poland, where she had learned facts directly from victims and witnesses. Part of the text was published in English in the Introduction to Modern Polish Literature edited by Adam
|
[] |
Syarhey Nikifarenka
|
[
[
"Syarhey Nikifarenka",
"given name",
"Syarhey"
]
] |
Belarusian footballer
|
Syarhey Ivanavich Nikifarenka (; ; born 18 February 1978) is a Belarusian football coach and a former player. He is the manager for the Under-19 squad of Shakhtyor Soligorsk. He spent the majority of his career in Shakhtyor Soligorsk. He is Shakhtyor's all-time top scorer and was one of the most prolific scorers of Belarusian League in the late 1990s and 2000s. From 2015 till 2016 he worked as a Shakhtyor Soligorsk head coach. Honours Shakhtyor Soligorsk Belarusian Premier League champion: 2005 Belarusian Cup winner: 2003–04 References External links Player profile on official site Category:1978 births Category:Living people Category:People from
|
[
"Siarhiej Nikifarenka"
] |
Mignon Mignon
|
[
[
"Mignon Mignon",
"instance of",
"Song"
],
[
"Mignon Mignon",
"performer",
"René la Taupe"
],
[
"Mignon Mignon",
"country of origin",
"France"
]
] |
2010 single by René la Taupe
|
"Mignon Mignon" is a 2010 song recorded by virtual singing groundhog René la Taupe. It was the second single from the album Les Aventures de René la Taupe and was released in July 2010. It became a number-one hit in France. Background and lyrics Commercial Director of Fox Mobile France Stéphane Boulissière said: "We had a big commercial success with "Merde" with over 100,000 downloads. At the time we proposed this song to a record company but nobody wanted it. We believed in it and we launched "Mignon Mignon"". The song was initially composed for being just a ringtone. The
|
[] |
Mignon Mignon
|
[
[
"Mignon Mignon",
"instance of",
"Song"
]
] |
2010 single by René la Taupe
|
music video was released on the Internet and the music video became immediately an Internet meme, with over 5 million views on YouTube in two months. A few time after, the song was available digitally, then was released as CD single in late August 2010. The single, remixed, instrumental and music video versions were all included in the album. The lyrics, written by Christian Büttner, Hank Hobson and Marcello Pagin, suggest the chubby look of the animal that makes it adorable. The song deals with topics of overweight and scatology. According to Boulissière, the lyrics are "naive and funny. Success
|
[] |
Mignon Mignon
|
[
[
"Mignon Mignon",
"instance of",
"Song"
]
] |
2010 single by René la Taupe
|
comes from there. These lyrics are a simple opposing view to everything that takes place in French music. And the substance of lyrics - a character who accepts and enjoys the beads - goes against the cult of thin and tanned body." He admitted that the song was performed to generate controversy, and the vulgarity and grammar mistakes in the lyrics were "wanted to create a marketing buzz, to get people talking". The song was not finely-worked. There was also a derivative version by Jamba, a brand of Fox Mobile Group under the title "Mauvais, Mauvais" (English: "Bad, Bad") released
|
[] |
Mignon Mignon
|
[
[
"Mignon Mignon",
"country of origin",
"France"
]
] |
2010 single by René la Taupe
|
after the failure of the France team in the 2010 FIFA World Cup but it was not successful. Chart performances "Mignon, Mignon" debuted at number 12 on the French Digital Chart on 17 July 2010, then climbed to number two where it remained for three weeks and topped the chart for two weeks, then fell off and totaled 18 weeks in the top 50. The success of the single generated an increase of the ringtone sales, becoming one of the most downloaded of the middle of 2010 with help from Fun Radio. On the chart edition of 4 September, the
|
[] |
Mignon Mignon
|
[
[
"Mignon Mignon",
"instance of",
"Song"
],
[
"Mignon Mignon",
"country of origin",
"France"
]
] |
2010 single by René la Taupe
|
single entered the French Physical Chart at number one. With over 17,300 units sold in this first week, the single performed the highest weekly sales of a single in 2010 in France. The single stayed atop for 13 weeks and eventually become the best-selling single of the year. In 2010 only, the song sold 114,546 units and 117,389 downloads. Controversy In September 2010, pianist and composer Serge Gamany stated that "Mignon Mignon" was actually a plagiarism of one of his songs, "Au Parc de Mougins", a medley for piano and accordion, which was publicly performed weekly during over a year
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"date of death",
"1108"
],
[
"Urse d'Abetot",
"date of birth",
"1040"
],
[
"Urse d'Abetot",
"place of birth",
"Normandy"
]
] |
Sheriff of Worcester
|
Urse d'Abetot (c. 1040 – 1108), first feudal baron of Salwarpe in Worcestershire, was a Norman who followed King William the Conqueror to England, and served as Sheriff of Worcestershire in about 1069. Little is known of his origins. Although Urse's feudal overlord in Normandy was present at the Battle of Hastings in 1066, there is no evidence that Urse himself took part in the invasion. Urse built the earliest form of Worcester Castle in Worcester, which encroached on the cathedral cemetery there, earning him a curse from the Archbishop of York. Urse helped to put down a rebellion against
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"place of birth",
"Normandy"
]
] |
Sheriff of Worcester
|
conquest of England On 5 January 1066 Edward the Confessor, King of England, died. Edward's lack of children meant there was no clear legitimate successor, leading eventually to a succession dispute. Some medieval writers state that shortly before Edward's death he named his brother-in-law, Harold Godwinson, Earl of Wessex, as his heir. Others claim that Edward had promised the throne to his cousin, William, Duke of Normandy, a powerful autonomous ruler in northern France. Harold, the most powerful English noble, took the initiative and was crowned king on 6 January. William, lacking Harold's proximity to the centres of English royal
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"date of birth",
"1040"
]
] |
Sheriff of Worcester
|
is the case with many of the documents mentioning Urse. Other sources of information on Urse are Domesday Book, which mentions his landholdings in 1086, and a number of chronicles, including William of Malmesbury's Gesta pontificum Anglorum, Florence of Worcester's Chronicon ex chronicis, and Hemming's Cartulary, a mixed chronicle and cartulary from Worcester Cathedral. There are also mentions of Urse in Norman sources, such as charters for Saint-Georges de Boscherville Abbey. Family and early life Urse came from an undistinguished family, and made his way on military reputation. He was probably born in about 1040, but the exact date is
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"place of birth",
"Normandy"
]
] |
Sheriff of Worcester
|
unknown. He was from St Jean d'Abbetot in Normandy, where his family had lands, and where he himself was a tenant of the lords of Tancarville. Other tenants of the Tancarville lords included Robert d'Abetot and his wife Lesza, who held lands close to St Jean d'Abbetot in the early 12th century; despite the name, it is not certain that Robert d'Abetot was related to Urse. Urse had a brother usually called Robert Despenser, sometimes known as Robert fitz Thurstin, who also became a royal official. The historian Emma Mason suggested that Urse may have been a nickname rather than
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"place of birth",
"Normandy"
]
] |
Sheriff of Worcester
|
a forename, perhaps given on account of his tenacious temperament. Urse's usual last name derives from his ancestral village in Normandy. His brother's usual last name of Despenser derives from his office, that of dispenser, in the royal household. Ralph, the Lord of Tancarville during the reign of King William I of England and Urse's overlord in Normandy, fought at the Battle of Hastings, but there is no evidence that Urse himself was present. He is probably the same person as the "Urse d'Abetot" who was a witness to a charter of William before the invasion of England. The historian
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"place of birth",
"Normandy"
]
] |
Sheriff of Worcester
|
II Rufus and Henry I. While William I granted the duchy of Normandy to his eldest son, Robert Curthose, England went to his second surviving son, William Rufus. Henry (later Henry I), the youngest son, was given a sum of money. In 1088, shortly after William Rufus became king, Urse was present at the trial of William de St-Calais, Bishop of Durham, and is mentioned in De Iniusta Vexacione Willelmi Episcopi Primi, a contemporary account of the trial. During William I's reign, Urse had served the king mainly as a regional official, but during William II's reign Urse began to
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"date of death",
"1108"
]
] |
Sheriff of Worcester
|
ratified between the brothers. During Henry's reign, the king regranted Urse's lands to him, with some of them now granted as a tenant-in-chief when previously Urse had held those lands as an under-tenant, and not directly from the king. Urse's lands at Salwarpe were previously held by Roger of Montgomery, but were granted to Urse as a direct tenant of the king when Roger's son, Robert of Belesme, was outlawed in 1102. Urse continued to attest many of Henry's charters until 1108, although he did not use the title of "constable" in those charters. Sometime between May and July 1108,
|
[] |
Urse d'Abetot
|
[
[
"Urse d'Abetot",
"date of death",
"1108"
]
] |
Sheriff of Worcester
|
could be used in what type of case. Death and legacy Urse died some time in 1108. Little is known of his wife, Alice, whose death is unrecorded. Urse was succeeded as sheriff by his son Roger d'Abetot, who was exiled in about 1110 and forfeited the office of sheriff. Roger's successor, Osbert d'Abetot, was probably Urse's brother. Urse also had a daughter, probably named Emmeline, who married Walter de Beauchamp. Walter succeeded to Urse's lands after Roger's exile. A charter for the Abbey of Saint-Georges, Boscherville may indicate that Urse had a second son, named Robert. Urse may also
|
[] |
Plokštinė missile base
|
[
[
"Plokštinė missile base",
"country",
"Lithuania"
]
] |
former missile base of the Soviet Union in Lithuania
|
Plokštinė missile base () was an underground base of the Soviet Union. It was built near Plokščiai village, north of Plungė, in the sparsely populated Plokštinė forest near Plateliai Lake, Samogitia, Lithuania. This was the first nuclear missile base of the Soviet Union, built to house underground R-12 Dvina ballistic medium-range missiles. In 2012, a Cold War Museum was opened at the site. The site appears to have been operated by the 79th Guards Missile Regiment, part of the 29th Guards Rocket Division. History Construction When the United States started building underground military bases in the late 1950s, the Soviet
|
[] |
Plokštinė missile base
|
[
[
"Plokštinė missile base",
"instance of",
"Military base"
]
] |
former missile base of the Soviet Union in Lithuania
|
Union felt the need to maintain its military capabilities. Therefore, in September 1960, the Soviet Union started the rapid construction of an underground military base. It was one of the first in the Soviet Union, near the village of Plokščiai in the Lithuanian SSR. The chosen location was above sea level, which meant that its missiles could reach all of the European NATO members and NATO member Turkey. In addition, the soil was easy to excavate and the local population was small. There were no bigger towns or villages nearby, just isolated houses whose inhabitants were paid 4,500 rubles to
|
[] |
Amy's Eyes
|
[
[
"Amy's Eyes",
"illustrator",
"Richard Egielski"
]
] |
book
|
Amy's Eyes is a children's fantasy novel by Richard Kennedy, published by Harper & Row in 1985, and illustrated by Richard Egielski. Plot summary The narrative begins in an orphanage where Amy inadvertently brings her sailor doll to life. It continues on a ship where he has become captain and she has transformed into a doll herself. The book is a principally a coming-of-age tale and a nautical adventure involving pirates and the search for lost treasure. The story contains whimsical elements such as a sailing ship crewed by Mother Goose animals, but also has darker themes including the obsession
|
[] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"place of birth",
"Roanne"
],
[
"Édouard Carpentier",
"country of citizenship",
"France"
],
[
"Édouard Carpentier",
"place of death",
"Montreal"
],
[
"Édouard Carpentier",
"family name",
"Carpentier"
]
] |
French-Canadian professional wrestler
|
Édouard Ignacz Weiczorkiewicz (; July 17, 1926 – October 30, 2010) was a French-born Canadian professional wrestler better known by his ring name Édouard Carpentier. In a career that spanned from the 1950s into the 1970s, he garnered several world championships. Early life Weiczorkiewicz was born in 1926 in Roanne, Loire, France to a Russian father and a Polish mother. He joined the French resistance during World War II under the German occupation and was awarded the Croix de Guerre and the Croix du combattant medals by the French government at the close of the war. He moved to Montreal,
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[
"Edouard Carpentier"
] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"family name",
"Carpentier"
],
[
"Édouard Carpentier",
"sport",
"Professional wrestling"
]
] |
French-Canadian professional wrestler
|
Québec in 1956 and became a Canadian citizen. He also became an all around athlete with gymnastic skills. Professional wrestling career Carpentier was a crowd favourite, one of the first wrestlers to delight fans with acrobatic leaps from the turnbuckles and a variety of other aerial manoeuvres such as the rope-aided twisting headscissors. He was always a fan favourite in his bouts and was matched against numerous villains, perhaps the most well known of whom was the legendary Killer Kowalski. The highpoint of his career was his NWA World Heavyweight Championship reign from 1956 to 1957. He won the title
|
[
"Edouard Carpentier"
] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"family name",
"Carpentier"
]
] |
French-Canadian professional wrestler
|
in a disputed contest against Lou Thesz on 14 June 1957. Some NWA territories and officials recognized the disputed win as a legitimate title change, while others did not. This led to the split of the NWA and led to the creation of other organizations, all with their own world titles. He was later recognized as the first holder of the Omaha version of the World Heavyweight Championship. He eventually dropped the belt to Verne Gagne.. The Omaha title was unified with the AWA World Heavyweight Championship in 1963. Carpentier headlined Madison Square Garden three times in 1962 with tag
|
[
"Edouard Carpentier"
] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"place of death",
"Montreal"
],
[
"Édouard Carpentier",
"family name",
"Carpentier"
],
[
"Édouard Carpentier",
"sport",
"Professional wrestling"
]
] |
French-Canadian professional wrestler
|
team partner Bobo Brazil. They had two main events against Buddy Rogers & Handsome Johnny Barend; another against Rogers & Killer Kowalski. He teamed numerous times with Antonino Rocca, as well as with Vittorio Apollo. In solo matches at the Garden, he defeated Giant Baba, Skull Murphy, Magnificent Maurice, and Hans Mortier. After his retirement, Carpentier operated a school for teaching professional wrestling skills. He also operated in the early 1980s as a babyface colour commentator, alongside heel play-by-play host Guy Hauray, for the Montreal-based Grand Prix Wrestling, and then, together for the World Wrestling Federation, when the WWF bought
|
[
"Edouard Carpentier"
] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"place of death",
"Montreal"
],
[
"Édouard Carpentier",
"family name",
"Carpentier"
]
] |
French-Canadian professional wrestler
|
the Montreal territory in 1985. They hosted the French edition of the WWF television show Superstars, sold to French-speaking countries. He was replaced by former Québécois wrestler Raymond Rougeau in 1992. Death On 30 October 2010, Carpentier died of a heart attack at his home in Montreal, aged 84. He had also suffered a heart attack in 2000. Carpentier had been in poor health for many years, battered from his acrobatic, high-flying style. Championships and accomplishments Atlantic Athletic Commission Atlantic Athletic Commission World Heavyweight Championship (1 time) American Wrestling Association World Heavyweight Championship (Omaha version) (1 time) International Wrestling Alliance
|
[
"Edouard Carpentier"
] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"place of death",
"Montreal"
]
] |
French-Canadian professional wrestler
|
IWA World Heavyweight Championship (Chicago version) (1 time) Lutte Internationale Canadian International Heavyweight Championship (2 times) Canadian International Tag Team Championship (1 time) - with Mad Dog Vachon Montreal Athletic Commission / International Wrestling Alliance International Heavyweight Championship (Montreal version) (5 times) National Wrestling Alliance NWA World Heavyweight Championship (1 time)1 North American Wrestling Alliance/Worldwide Wrestling Associates/NWA Hollywood Wrestling NWA Americas Heavyweight Championship (1 time) WWA World Heavyweight Championship (Los Angeles version) (2 times) WWA World Tag Team Championship (2 times) - with Ernie Ladd (1) and Bob Ellis (1) WWA International Television Tag Team Championship (4 times) - with
|
[
"Edouard Carpentier"
] |
Édouard Carpentier
|
[
[
"Édouard Carpentier",
"award received",
"Wrestling Observer Newsletter Hall of Fame"
],
[
"Édouard Carpentier",
"family name",
"Carpentier"
],
[
"Édouard Carpentier",
"sport",
"Professional wrestling"
]
] |
French-Canadian professional wrestler
|
Sandor Szabo (2), Nick Bockwinkel (1) and Ernie Ladd (1) Professional Wrestling Hall of Fame and Museum (Class of 2010) Stampede Wrestling Stampede Wrestling Hall of Fame (Class of 1995) Wrestling Observer Newsletter awards Wrestling Observer Newsletter Hall of Fame (Class of 1997) 1Carpentier was awarded the title by disqualification when Thesz could not continue the match due to a back injury. For 71 days, the NWA recognized the title as being in dispute between Carpentier and Thesz. References External links Carpentier at the SLAM! Wrestling Canadian Hall of Fame - a 1961 documentary by the NFB. Category:1926 births Category:2010
|
[
"Edouard Carpentier"
] |
St Cecilia's College
|
[
[
"St Cecilia's College",
"instance of",
"School"
]
] |
school in Derry, County Londonderry, Northern Ireland
|
St Cecilia's College is a secondary school located in Derry, Northern Ireland. It is a Catholic-maintained girls' school with an enrolment of 947 pupils aged 11–18 and is located in the Creggan area of Derry. It has 60 teaching staff. The college had decanted to the Northland Road to facilitate the construction of a new building which opened for the start of term in September 2010. It is within the Western Education and Library Board area. In March 2001 a programme for the extension and refurbishment of the College was announced under Public-private partnership arrangements. In March 2006 it was
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[] |
St Cecilia's College
|
[
[
"St Cecilia's College",
"instance of",
"School"
]
] |
school in Derry, County Londonderry, Northern Ireland
|
announced that the College would be granted specialist status from September 2006. As a specialist school it will receive £100 per pupil for the four years of designation and a £100,000 capital grant to support development of the specialism. St Cecilia's College new campus was built on the site of the original college on Blighs Lane, Creggan. St Cecilias new sports pavilion and playing fields were built on the grounds of St Marys old site in Creggan. Motto St Cecilia's College's motto is 'Aspire, Endeavour, Achieve.' References Category:Catholic secondary schools in Northern Ireland Category:Secondary schools in Derry (city) Category:Girls' schools
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[] |
Inna Makarova
|
[
[
"Inna Makarova",
"educated at",
"Gerasimov Institute of Cinematography"
],
[
"Inna Makarova",
"spouse",
"Sergei Bondarchuk"
],
[
"Inna Makarova",
"child",
"Natalya Bondarchuk"
],
[
"Inna Makarova",
"award received",
"Stalin Prize"
],
[
"Inna Makarova",
"award received",
"People's Artist of the USSR"
],
[
"Inna Makarova",
"place of death",
"Moscow"
]
] |
Soviet and Russian actress
|
Inna Vladimirovna Makarova (; 28 July 1926 – 25 March 2020) was a Soviet and Russian actress. She grew up in Novosibirsk. In 1948 she graduated from the Gerasimov Institute of Cinematography in Moscow and began to work as an actress at the National Film Actors' Theatre. In 1949, she was awarded the Stalin Prize for her role as Lyubov Shevtsova in Sergei Gerasimov's The Young Guard. In 1985, she was awarded the designation of People's Artist of the USSR. Inna Makarova was married to Sergei Bondarchuk and is the mother of Natalya Bondarchuk. Makarova died in Moscow on 25
|
[
"Inna Vladimirovna Makarova"
] |
Inna Makarova
|
[
[
"Inna Makarova",
"award received",
"Stalin Prize"
],
[
"Inna Makarova",
"place of burial",
"Troyekurovskoye Cemetery"
]
] |
Soviet and Russian actress
|
March 2020 at the age of 93. Selected filmography It Happened in the Donbass (1945) The Young Guard (1948) The Return of Vasili Bortnikov (1953) The Rumyantsev Case (1956) The Height (1957) My Beloved (1958) The Girls (1961) Balzaminov's Marriage (1964) The Big Ore (1964) Crime and Punishment (1970) Russian Field (1971) Incorrigible Liar (1973) It Is Not Evening Yet (1973) Dead Souls (1984) Strawberries (1996) Pushkin: The Last Duel (2006) The Mystery of the Snow Queen (2014) References External links Biography Category:1928 births Category:2020 deaths Category:Burials in Troyekurovskoye Cemetery Category:Russian film actresses Category:People's Artists of the USSR Category:Stalin Prize
|
[
"Inna Vladimirovna Makarova"
] |
Edward McCausland
|
[
[
"Edward McCausland",
"occupation",
"Cricketer"
],
[
"Edward McCausland",
"given name",
"Edward"
],
[
"Edward McCausland",
"country of citizenship",
"New Zealand"
],
[
"Edward McCausland",
"country of citizenship",
"Australia"
],
[
"Edward McCausland",
"family name",
"McCausland"
]
] |
New Zealand rugby union player (1865-1936)
|
Edward Elsmere Montgomery McCausland, (11 May 1865 – 9 November 1936) was an Australian born sportsperson who as a rugby footballer toured with the 1888–89 New Zealand Native football team. The touring party played predominantly rugby union, but also a small number of association football and Victorian rules football matches. McCausland was also a cricketer of note and is recorded to have represented Wellington in a First-class match. Personal history McCausland was born in Jamieson, Victoria Australia in 1865 to John Conyngham McCausland and his wife Sarah. McCausland's parents were originally from County Armagh in Ireland, but emigrated to Australia
|
[] |
Edward McCausland
|
[
[
"Edward McCausland",
"country of citizenship",
"New Zealand"
],
[
"Edward McCausland",
"country of citizenship",
"Australia"
],
[
"Edward McCausland",
"family name",
"McCausland"
],
[
"Edward McCausland",
"place of birth",
"Sydney"
],
[
"Edward McCausland",
"place of death",
"Sydney"
]
] |
New Zealand rugby union player (1865-1936)
|
where his father became a manager for the Union Bank of Australia. Around 1880 the family moved to New Zealand and McCausland followed his father into banking. By 1892 McCausland had returned to Australia, marrying Alice Shore that year in St Leonards, New South Wales. The marriage was short lived and in 1895 he remarried to Ada Barber, the couple settling in Goulburn. The couple had six sons. In 1930 Ada died and in 1932 McCausland married again, to Alice Maud Barber, the sister of his second wife. He died in Sydney in 1936 at the age of 71. New
|
[] |
Edward McCausland
|
[
[
"Edward McCausland",
"country of citizenship",
"New Zealand"
],
[
"Edward McCausland",
"family name",
"McCausland"
]
] |
New Zealand rugby union player (1865-1936)
|
Zealand Natives McCausland was a keen sportsman as a youth, and played rugby while a teenager, representing the New Zealand Bank's team at the age of 18. By 1886 McCausland was a regular three-quarter with Wellington and by 1888 he represented both Gordon and Auckland. When the 1888 New Zealand Natives rugby union team was being selected, McCausland was not an initial choice. As an employee of the Bank of New Zealand, it would have required a lengthy leave of absence, and McCausland was not part of Natives' captain Joe Warbrick's plans. When Warbrick broke a bone in his foot,
|
[] |
Edward McCausland
|
[
[
"Edward McCausland",
"country of citizenship",
"New Zealand"
],
[
"Edward McCausland",
"family name",
"McCausland"
]
] |
New Zealand rugby union player (1865-1936)
|
McCausland was offered a place on the team and after obtaining a 12-month leave of absence from his employer he stepped in as a replacement for the injured captain. His duties for the Natives also included tour secretary and stand in umpire. He was the best goal-kicker in the Native side, and on the British leg of their tour scored 151 points in 63 matches – making him the highest points scorer on tour. It was most likely due to only being granted 12 months leave from his banking position that McCausland returned to New Zealand following the Victorian leg
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[] |
Alexandre de Riquer
|
[
[
"Alexandre de Riquer",
"occupation",
"Painter"
],
[
"Alexandre de Riquer",
"occupation",
"Writer"
],
[
"Alexandre de Riquer",
"occupation",
"Poet"
],
[
"Alexandre de Riquer",
"occupation",
"Designer"
]
] |
Spanish artist (1856-1920)
|
Alexandre de Riquer i Ynglada, 7th Count of Casa Dávalos () (Born 3 May 1856 - 13 November 1920), was a versatile artist intellectual and Catalan designer, illustrator, painter, engraver, writer and poet. He was one of the leading figures of Modernisme in Catalonia. He belonged to an aristocratic family, the Counts of Casa Dávalos. His father, Martí de Riquer, Marquis of Benavent, was a senior leader of the Carlist of Catalonia, while his mother, Elisea Ynglada, belonged to a family of intellectuals and artists (including writers such as Joseph and Wifred Coroleu and painter Ricard Modest Urgell). In 1885,
|
[
"Alejandro Riquer e Inglada",
"Alejandro de, Conde de Casa Dávalos Riquer Inglada",
"Alexandre de Riquer i Inglada",
"Alexandre De Riquer",
"Alejandro de Riquer",
"Alejandro De Riquer",
"Alejandro de Riquer Inglada, conde de Casa Dávalos",
"Alejandro de De Riquer",
"Conde de Casa Dávalos",
"Alexandre de Riquer Inglada",
"Alejandro Riquer Inglada",
"Alexandre de Riquer Inglada, conde de Casa Dávalos",
"Alexandre de Conde de Casa Dávalos Riquer Inglada",
"Alexandre de, Conde de Casa Dávalos Riquer Inglada",
"Conde de Casa Davalos",
"Alexandre de Conde de Casa Davalos Riquer Inglada",
"Alexandre de Riquer",
"Alejandro de Riquer Inglada"
] |
Alexandre de Riquer
|
[
[
"Alexandre de Riquer",
"occupation",
"Writer"
]
] |
Spanish artist (1856-1920)
|
drawing classes he enrolled in the School of Fine Arts in Toulouse of Languedoc, France. Then returned to Barcelona to continue his studies at the art school of La Llotja "where he was to study for several years under Tomas Padro, Claudi Lorenzale and, in particular, Antoni Caba, the teacher who he most admired." He entered the world of publishing through the guidance of his friend, writer and illustrator Apel-les Mestres. "In 1876, Riquer took over some of his work on ornamental lettering and cover illustration," which led to a collaborative publishing work which brought great impact on Riquer's creative
|
[
"Alejandro Riquer e Inglada",
"Alejandro de, Conde de Casa Dávalos Riquer Inglada",
"Alexandre de Riquer i Inglada",
"Alexandre De Riquer",
"Alejandro de Riquer",
"Alejandro De Riquer",
"Alejandro de Riquer Inglada, conde de Casa Dávalos",
"Alejandro de De Riquer",
"Conde de Casa Dávalos",
"Alexandre de Riquer Inglada",
"Alejandro Riquer Inglada",
"Alexandre de Riquer Inglada, conde de Casa Dávalos",
"Alexandre de Conde de Casa Dávalos Riquer Inglada",
"Alexandre de, Conde de Casa Dávalos Riquer Inglada",
"Conde de Casa Davalos",
"Alexandre de Conde de Casa Davalos Riquer Inglada",
"Alexandre de Riquer",
"Alejandro de Riquer Inglada"
] |
Alexandre de Riquer
|
[
[
"Alexandre de Riquer",
"field of work",
"Poster"
]
] |
Spanish artist (1856-1920)
|
activity. By 1879, he is becoming known in the art world. The diversification of his work continued in the following years by designing jewelry, programs, furniture decoration and ceramic painting. In the year 1894, he was introduced to the movement of the pre-Raphaelites. His first trip to London in 1894 is where he "discovered modern poster and that the idea of propagating the form was embraced as a missionary undertaking. The artist's view of his role in [Barcelona]: Posters! Why, ever since I saw the first of the new posters the thing tempted me so strongly that I offered to
|
[
"Alejandro Riquer e Inglada",
"Alejandro de, Conde de Casa Dávalos Riquer Inglada",
"Alexandre de Riquer i Inglada",
"Alexandre De Riquer",
"Alejandro de Riquer",
"Alejandro De Riquer",
"Alejandro de Riquer Inglada, conde de Casa Dávalos",
"Alejandro de De Riquer",
"Conde de Casa Dávalos",
"Alexandre de Riquer Inglada",
"Alejandro Riquer Inglada",
"Alexandre de Riquer Inglada, conde de Casa Dávalos",
"Alexandre de Conde de Casa Dávalos Riquer Inglada",
"Alexandre de, Conde de Casa Dávalos Riquer Inglada",
"Conde de Casa Davalos",
"Alexandre de Conde de Casa Davalos Riquer Inglada",
"Alexandre de Riquer",
"Alejandro de Riquer Inglada"
] |
Alexandre de Riquer
|
[
[
"Alexandre de Riquer",
"place of death",
"Palma de Mallorca"
],
[
"Alexandre de Riquer",
"occupation",
"Designer"
]
] |
Spanish artist (1856-1920)
|
do tradesmen's posters her for nothing; not one would listen to me. English art and Japanese art would cause a great influence on his creations. Riquer distinguished himself as a graphic designer with great drawing skills. He made posters, etchings, illustrations in books and magazines, certificates, postcards, stamps, menus, sheet music, business cards and bookplates (which Lluís de Yebra documented 142 articles between 1900 and 1924). He died in Palma de Mallorca in 1920. "His library and the undispersed part of his collections were acquired after his death by the Barcelona Museums and the National Library of Catalonia." Training 1869-1871:
|
[
"Alejandro Riquer e Inglada",
"Alejandro de, Conde de Casa Dávalos Riquer Inglada",
"Alexandre de Riquer i Inglada",
"Alexandre De Riquer",
"Alejandro de Riquer",
"Alejandro De Riquer",
"Alejandro de Riquer Inglada, conde de Casa Dávalos",
"Alejandro de De Riquer",
"Conde de Casa Dávalos",
"Alexandre de Riquer Inglada",
"Alejandro Riquer Inglada",
"Alexandre de Riquer Inglada, conde de Casa Dávalos",
"Alexandre de Conde de Casa Dávalos Riquer Inglada",
"Alexandre de, Conde de Casa Dávalos Riquer Inglada",
"Conde de Casa Davalos",
"Alexandre de Conde de Casa Davalos Riquer Inglada",
"Alexandre de Riquer",
"Alejandro de Riquer Inglada"
] |
Atotoztli II
|
[
[
"Atotoztli II",
"child",
"Ahuitzotl"
],
[
"Atotoztli II",
"mother",
"Chichimecacihuatzin I"
],
[
"Atotoztli II",
"father",
"Moctezuma I"
]
] |
daughter of the Aztec emperor Moctezuma I
|
Atotoztli () or Huitzilxochtzin () was a daughter of the Aztec emperor Moctezuma I and Chichimecacihuatzin I, the daughter of Cuauhtototzin, the ruler of Cuauhnahuac. She married Tezozomoc, son of the previous emperor Itzcoatl, and gave birth to three sons who would later become emperors themselves: Axayacatl, Tizoc, and Ahuitzotl. Some sources indicate she served as regent or even huetlatoani herself. The Anales de Tula and Relación de la Genealogía state she ruled the Triple Alliance herself, possibly for as long as 30 years. If true, the records of the Mexica may have omitted her from the records because she
|
[] |
Moçâmedes Railway
|
[
[
"Moçâmedes Railway",
"terminus",
"Moçâmedes"
],
[
"Moçâmedes Railway",
"country",
"Angola"
]
] |
railway line in Angola
|
The Moçâmedes Railway () is an 860 km railway line in Angola, between Moçâmedes and Menongue. The line is operated by the company Caminhos de Ferro de Moçâmedes E.P. The port city of Moçâmedes was renamed Namibe between 1985 and 2016, so the railway was sometimes called the Namibe Railway (). However, the railway company retained its original legal name. Its cargo flow point is made through the port of Namibe. History Construction began on the railway in 1905, when Angola was a Portuguese colony. The railway was opened to traffic in 1910, and continued to be extended inland until
|
[] |
Moçâmedes Railway
|
[
[
"Moçâmedes Railway",
"terminus",
"Moçâmedes"
],
[
"Moçâmedes Railway",
"country",
"Angola"
]
] |
railway line in Angola
|
it reached its current terminus at Menongue (formerly Serpa Pinto) in December 1961. The line was originally built with narrow gauge track, but it was re-gauged to Cape gauge in 1950, matching the gauge of other lines in Angola and southern Africa. After Angola obtained its independence from Portugal in 1975, the Angolan Civil War broke out, resulting in the destruction of most of Angola's railway infrastructure. When the fighting ended in 2002, the Angolan government sought to restore rail service. The China Hyway Group rebuilt the Moçâmedes Railway between 2006 and 2015. The railway is expected to serve mines
|
[] |
Vance Arnold & The Avengers
|
[
[
"Vance Arnold & The Avengers",
"performer",
"Joe Cocker"
]
] |
album by Joe Cocker
|
Vance Arnold and the Avengers - Live at the Esquire Club Recorded live in Sheffield, England, 1963. A live recording that lay dormant for over 30 years sheds light on Joe Cocker's early career when he was an apprentice gas-fitter, at the time performing as Vance Arnold & The Avengers. The recording was made live on stage with a reel to reel tape by his first manager (The Mad Hatter) Terry Thornton, owner of the Esquire Club, Leadmill Road, Sheffield. Track listing Sixteen Tons (Merle Travis)- 2:57 Money (That's What I Want) (Barrett Strong) Georgia On My Mind (Hoagy Carmichael,
|
[
"Vance Arnold and the Avengers - Live at the Esquire Club"
] |
Milwaukee County Historical Society
|
[
[
"Milwaukee County Historical Society",
"inception",
"1935"
],
[
"Milwaukee County Historical Society",
"instance of",
"Museum"
]
] |
history museum & research center in North Old World Third Street Milwaukee, WI
|
The Milwaukee County Historical Society, also known as MCHS, is a local historical society in Milwaukee County, Wisconsin. Founded in 1935, the organization was formed to preserve, collect, recognize, and make available materials related to Milwaukee County history. It is located in downtown Milwaukee in the former Second Ward Savings Bank building. MCHS houses the Harry H. Anderson Research Library and a museum. The library collects and preserves manuscripts, records, photographs, and family history information. The museum preserves three-dimensional artifacts related to Milwaukee County history, including paintings, ribbons, uniforms, flags, furniture, and china in a collection of over 20,000 items.
|
[] |
Milwaukee County Historical Society
|
[
[
"Milwaukee County Historical Society",
"instance of",
"Museum"
]
] |
history museum & research center in North Old World Third Street Milwaukee, WI
|
Locations In addition to the main museum and research library, the MCHS owns three historic house museums and one historic site: the Lowell Damon House in Wauwatosa; the Kilbourntown House in Estabrook Park; and the Jeremiah Curtin House and Trimborn Farm in Greendale. Benjamin Church House The Benjamin Church House (also known as Kilbourntown House), a wood and brick residence, was built during 1843–1844 by a pioneer carpenter of that name in Kilbourntown, a settlement on the west side of the Milwaukee River. In 1846, Kilbourntown merged with Juneautown on the east side of the river and Walker's Point to
|
[] |
John Murtha
|
[
[
"John Murtha",
"country of citizenship",
"United States"
],
[
"John Murtha",
"occupation",
"Politician"
],
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
John Patrick Murtha Jr. (; June 17, 1932 – February 8, 2010) was an American politician from the Commonwealth of Pennsylvania. Murtha, a Democrat, represented Pennsylvania's 12th congressional district in the United States House of Representatives from 1974 until his death in 2010. He is the longest-serving member ever of the United States House of Representatives from the Commonwealth of Pennsylvania. A former Marine Corps officer, Murtha was the first Vietnam War veteran elected to the U.S. House of Representatives. A member of the Pennsylvania House from 1969 to 1974, he narrowly won a special election to Congress in 1974
|
[] |
John Murtha
|
[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
and was successively reelected every two years until his death. In the first decade of the 21st century, Murtha had been best known for his calls for a withdrawal of American forces in Iraq, as well as questions about his ethics. In 2006, after the Democrats won control of Congress in the 2006 midterm elections he made a failed bid to be elected House Majority Leader during the 110th Congress (2007–2009) with the support of the new House Speaker, Nancy Pelosi. He lost to Steny Hoyer of Maryland. After the Republicans' defeat to the Democratic Majority in 2006 Murtha re-assumed
|
[] |
John Murtha
|
[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
his chairmanship of the House Appropriations Defense Subcommittee. He had previously chaired this subcommittee from 1989 to 1995 and served as its ranking member from 1995 to 2007. Background Murtha was born into an Irish-American family in New Martinsville, West Virginia, near the border with Ohio and Pennsylvania, and grew up in Westmoreland County, Pennsylvania, a largely suburban county east of Pittsburgh. He was the son of Mary Edna (née Ray) and John Patrick Murtha Sr. As a youth, he became an Eagle Scout. He also worked delivering newspapers and at a gas station before graduating from The Kiski School,
|
[] |
John Murtha
|
[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
an all-male boarding school in Saltsburg, Pennsylvania. Murtha left Washington and Jefferson College in 1952 to join the Marine Corps and was awarded the American Spirit Honor Medal for displaying outstanding leadership qualities during training. He became a drill instructor at Parris Island and was selected for Officer Candidate School at Quantico, Virginia. He was then assigned to the Second Marine Division, Camp Lejeune, North Carolina. As an undergraduate, Murtha was initiated into the Kappa Sigma Fraternity. Murtha remained in the Marine Forces Reserve and ran a small business, Johnstown Minute Car Wash (which still operates in the West End
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[] |
John Murtha
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[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
section of Johnstown). He also attended the University of Pittsburgh on the G.I. Bill, and received a degree in economics. Murtha later took graduate courses from the Indiana University of Pennsylvania. He married his wife Joyce on June 10, 1955. They had three children: daughter Donna and twin sons Patrick and John M., who live in Johnstown. Murtha left the Marines in 1955. He remained in the Reserves after his discharge from active duty until he volunteered for service in the Vietnam War, serving from 1966 to 1967, serving as a battalion staff officer (S-2 Intelligence Section), receiving the Bronze
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[] |
John Murtha
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[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
Star with Valor device, two Purple Hearts, and the Vietnamese Cross of Gallantry. He retired from the Marine Corps Reserve as a colonel in 1990, receiving the Navy Distinguished Service Medal. Political career Soon after returning from Vietnam, Murtha won the Democratic nomination for what was then the 22nd District, which was based in Johnstown. He lost fairly handily to longtime Republican incumbent John Saylor. Murtha was elected to represent the 72nd legislative district in the Pennsylvania House of Representatives in a special election on May 20, 1969. The election was triggered by the death of Representative Edward McNally, who
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John Murtha
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[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
died in November 1968. He was elected to a full term in 1970. Congressman Saylor died in October 1973, nine months into his 13th term. Murtha immediately jumped into the special election contest in what was now the 12th District. In the February 1974 special election, which took place during the burgeoning Watergate scandal, Murtha defeated one of Saylor's former aides, Harry Fox, by only 242 votes. He defeated Fox by a significantly wider margin that November and was reelected 17 times. Murtha faced tough primary challenges in 1982, 1990 and again in 2002. The 1982 challenge occurred when the
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John Murtha
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[
[
"John Murtha",
"family name",
"Murtha"
]
] |
Wisconsin politician
|
Republican-controlled state legislature took advantage of Murtha's connection to Abscam, and incorporated most of the district of fellow Democrat and Vietnam War veteran Don Bailey of Westmoreland County into the 12th District. The 2002 challenge occurred when the state legislature redrew the district of fellow Democrat Frank Mascara to make it more Republican-friendly, shifting a large chunk of Mascara's former territory into Murtha's district. Mascara opted to run against Murtha in the Democratic primary, since the new 12th was geographically more his district than Murtha's. However, Mascara was badly defeated. In 2006, Murtha's Republican challenger was Diana Irey, a county
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