"Another Night" is a multi platinum-selling crossover hit by the German Eurodance and pop music project Real McCoy. The single is featured on their hit album, Another Night, the U. S. release of Space Invaders. The song was written and produced in Germany by Juergen Wind and Frank Hassas in 1993 under the producer team name Freshline. In 2008, "Another Night" was ranked at number 91 in Billboard Magazine's Top 100 Songs of the First 50 Years of the Hot 100. Ten years commemorating the 60th anniversary of the Hot 100, "Another Night" ranked at position 117. "Another Night" was released in Europe in the Summer of 1993 through Hansa Records. At first the single was only a minor hit Europe, it had peaked at No.18 in Germany but had managed to make the Top 100 in other countries in Europe. Thanks to the promotional efforts of BMG Canada, the single reached No.1 on the Canadian charts in the Spring of 1994. The success of the single in Canada caught the attention of Arista Records CEO Clive Davis who at the time had become interested in bringing another European music project to the U.
S. market after becoming successful with the Swedish pop group Ace of Base. Once a new deal was finalized between Arista and BMG, the project name was shortened to Real McCoy and an all new release of the single was planned for Summer 1994. Thanks to the promotional efforts of Arista in 1994, "Another Night" reached No.3 in the U. S. charts and remained on the U. S. chart for over 45 weeks. It was certified Platinum by the Recording Industry Association of America; the single achieved Platinum sales in Australia and Silver status in the United Kingdom. While singer Patricia "Patsy" Petersen stars in the music videos for the single, the actual vocals on the track were recorded with studio singer Karin Kasar. German rapper Olaf Jeglitza performed the rap vocals on the single. "Another Night" was inspired by Roni Griffith's 1981 song "Desire", the Coca-Cola theme tune and Captain Hollywood Project's 1992 song "More and More." The song lyrics tell the story of a woman who longs to be with the anonymous individual she encounters every night in her dreams.
The rap vocals represent the man's voice in the woman's head, saying the things she wants to hear and promising to fulfill her desires. However, each dawn brings pain to the vocalist, as she realizes "when the night is gone, I'll be alone." Billboard described the song as a "instantly infectious and jaunty li'l rave/NRG jumper that may remind some of "What Is Love" by Haddaway. A close spin, reveals a frothy confection that stands on its own pop merits. Nicely contrasted male/female duet vocals kick lovely, as do peppy remixes by the Berman Brothers and Armand Van Helden. Wooing folks aboard, single has the strength to keep the glow of summer parties lingering for a long time to come." David Browne from Entertainment Weekly noted "a swooshing glop of diva-on-a-downer voice, Eurotrash synths, rapping." The Gavin Report wrote that "those of you into catchy, high-energy, pop creations from groups like the Captain Hollywood Project or Culture Beat will love this track." "Another Night" debuted on the Billboard Hot 100 at number 77 on the week ending August 27, 1994.
On the week ending November 12, 1994, the single reached its peak position of number three. The song brought the group the distinction of having the longest run at number three on the Billboard Hot 100, it stayed on the chart for 45 weeks. In 2017, to mark the 25th anniversary of the Mainstream Top 40/Pop Songs chart, Billboard magazine released a list of the 100 best-performing pop airplay songs since the chart's beginning in 1992. "Another Night" topped the list. Two music videos were filmed for the single's release. In the US version of the music video for the single, Jeglitza is Real McCoy, the DJ of a pirate radio station, powered by four men with handcycle-mounted generators. Petersen is driving around town on her moped, mounting posters promoting McCoy's radio broadcasts while listening to the broadcast on a boombox, she is attracted to McCoy's voice and image, but has never met him. As McCoy leaves his hidden studio after another night's broadcast, he walks by Petersen on her moped; this version was directed by Nigel Dick.
The European version of the film is inspired by the film Metropolis. It features one male and one female, they communicate with each other by videophone, their conversation intercut with dance sequences from black-and-white movies of the 1920s and 1930s, as well as color snippets of Jeglitza and Petersen performing the lyrics to the song. The robots are able to view each other directly, the male with a binocular headset and the female with a telescope; as the song progresses, the stiff movements of the robots become more dance-like. At the end of the video, the two robots meet and walk away together, arm in arm. Album Version – 3:57 Club Mix – 5:17 Dance Mix – 5:04 Inferno Mix – 6:26 Nightmare Mix – 6:00 Pob's P-O-B Mix – 5:12 Black Belt Mix – 5:56 Ragga Airplay Mix – 3:43 Ragga II House Mix – 5:16 Super Best Alan Edit – 3:39 Armand's New School Mix – 5:16 Armand's Nightmare Mix – 6:40 US Airplay Hot Mix – 3:59 US Club Mix – 5:47 US House Mix – 5:17 Psycho Mix – 5:30 Justin Lewis List of number-one singles in Australia during the 1990s List of RPM number-one dance singles of 1994 List of Billboard Mainstream Top 40 number-one songs of the 1990s List of n
Prianti Nur Ramadhani, better known as Nia Ramadhani, is an Indonesian actress. She was born in Jakarta, Indonesia, on 16 April 1990, she has one younger sister, Thalita Ramadhani, both of them were raised by their mother since their parents' divorce when she was four years old. Ramadhani entered the entertainment industry when she was 15, she had a lead role in Bawang Merah Bawang Putih alongside Revalina S. Temat. By 2007 she had appeared in some movies as well. In 2007, along with Mike Lewis and Lia Waode, she starred in the film Suster Ngesot, directed by Arie Aziz. In 2008, she starred in the horror movie Hantu Jembatan Ancol, her mother said didn't like to her'open appearance'. The same year, she starred in the horror movie Kesurupan. Prior of the release of this film, pictures of her wearing a bikini in a swimming pool began to appear on the Internet, her comment was. In April 2010, she married Adriansyah Bakrie, the son of Indonesian politician and entrepreneur Aburizal Bakrie, she retired from show business shortly afterward.
In October 2010, she changed her name to "Ramadhania Ardie Bakrie". She and her husband have one daughter and two younger sons advertising Permen Bonkies Yes Bean Frutitamin Permen Lotte Khong Guan Biscuit Sunsilk Shampoo Nia Ramadhani on IMDb Profile and news at KapanLagi.com
The Basilique Notre-Dame de l'Épine is a Roman Catholic basilica in the small village of L'Épine, near Châlons-en-Champagne and Verdun. It is a major masterpiece in the Flamboyant Gothic style. Started around 1405-1406, construction lasted until 1527. Elevated to a basilica from 1914, Notre-Dame-de-l'Épine takes its name from the devotion given to a statue of the Virgin holding the Child Jesus. According to a legend from the 17th century that has since evolved, the statue was found by shepherds in the Middle Ages in a burning thorn bush; the basilica is in the Gothic architectural tradition. The façade is crowned with two spires; the right spire is 55 metres high. The left spire was leveled in 1798 to allow the installation of a Claude Chappe telegraph, it was rebuilt in 1868. The basilica was classified a historic monument in 1840. In 1998 it was registered on the World Heritage List by UNESCO under the title of "roads to St Jacques de Compostela in France". Notre-Dame de l'Épine has always struck travelers and inspired writers Victor Hugo, Alexandre Dumas,Joris-Karl Huysmans, Paul Claudel and Paul Fort.
The basilica has remarkable gargoyles. Inside, you can admire a rood screen of the late 15th century whose right arcade houses the statue of the Virgin for which this basilica is famous. Statues include the Venerated Seated virgin and St. Jacques in wood; the altars date from 1542, the rood screen from the 17th century. The tribune and organ case are 16th century; the tribune is decorated with seven pagan gods. The choir organ is from Merklin. Stained glass is from the 19th and 20th centuries manufactured by the Champigneulle house. Citations Sources External link Page du télégraphe Chappe
The Law Society of Alberta is the self-regulating body for lawyers in Alberta, Canada. The Law Society is governed by the Legal Profession Act; as a law society, the Law Society is much more than a professional association and every lawyer who practices in Alberta must belong to it. The Society's mandate is to regulate the legal profession in the public interest; the Society is concerned with admission and discipline of members, educating the public, preventing the unauthorized practice of law. The Law Society is governed by members of the profession elected by its membership to serve as benchers. In addition to elected Benchers, there are four lay benchers appointed by the Minister of Justice. There are 24 benchers in total, each expected to serve three-year terms; the Society has passed The Rules of the Law Society of Alberta to govern the Society, to exercise the Society's powers and duties, for the management and conducts of its business and affairs. The Society is a member of the Federation of Law Societies of Canada.
To practice law in the Province of Alberta, a person must be admitted to the bar and a member of the Society. The Society sets its own educational admission requirements; these include a Bachelor of Laws degree, completion of a twelve-month period of apprenticeship with an experienced practitioner called articling, completion of bar admission exams. Bar admission exams in Alberta are more akin to assignments which test practical application of the law instead of pure legal knowledge. In addition to these academic requirements, the Legal Profession Act requires that a candidate be of "good character and reputation."The Alberta Bar is one of the few that still admits its members one at a time in a personalized ceremony. Once admitted, lawyers in Alberta, as in other common-law Canadian provinces but unlike England, are both barristers and solicitors. Members of the Society are notaries public pursuant to section 3 of the Notaries Public Act, but unlike those who become notaries public through an appointment, members of the Society do not have an appointment expiration date.
The Law Society has disciplinary functions over its members. This responsibility includes the task of enforcing the rules of the Law Society, to discipline offending lawyers. To aid in this task, the Society has passed a Code of Professional Conduct, in essence a written code of ethics to which all lawyers must abide; the ultimate sanction the Society could impose is disbarment. A lawyer, disbarred is no longer able to practice law in Alberta. Canadian Bar Association Alberta Civil Trial Lawyers Association Law Society of Alberta Alberta Justice System List of Presidents of the Law Society of Alberta
Downtown Washington Historic District is a national historic district located at Washington, Franklin County, Missouri. The district encompasses 83 contributing buildings and 9 contributing structures in the central business district of Washington; the district developed between about 1849 and 1940, includes representative examples of Greek Revival, Late Victorian, American Craftsman style architecture. Located in the district is the separately listed Henry Thias house. Notable buildings include the St. Francis Borgia Catholic Church complex, U. S. Post Office, Waterworks Building, Calvin Theater, railway depot, Masonic lodge, it was listed on the National Register of Historic Places in 1989
Terry Hirst was a British-Kenyan cartoonist and one of the leading figures in Africa's post-independence "golden age" of art and scholarship from the mid-1960s to the early 1980s which saw a flowering of work in the arts and the academic world. Terry Hirst was born in 1932 in Brighton in England. In 1965, Hirst moved to Kenya. Terry Hirst grew up in Brighton in southern England. From an early age Hirst knew, he was always drawing and every morning as he made the paper run in his neighbourhood he would read through all the cartoons in all the papers. From the 1940s to 1950, Hirst's thoughts and attitudes were shaped by political cartoonists from across the political spectrum, including Low, Shepard, Lancaster, Cummings and Vicky, but it never occurred to him to be a cartoonist. He wanted to be an artist. To the disappointment of his headmaster, Hirst turned down the opportunity to go to Oxford University and chose instead to take up a Fine Art course at the Brighton College of Art. After he graduated he was soon appointed the Head of the Art Department at one of the largest comprehensive schools in Nottingham.
While teaching in Nottingham, Hirst stumbled upon a newspaper advertisement for art teachers willing to teach in Africa. The choice was between Kenya. Fueled by a sense of adventure, Hirst left England in 1965 to assume a teaching position at Kenya High School in Nairobi. Part of the reason he took up the position in Kenya, Hirst says, was because of a returning settler who had told him about what a "terrible time" he had had in Kenya, he had given Hirst a copy of Jomo Kenyatta's Facing Mount Kenya to show him what he had been through, but when Hirst read the book he says it "blew my mind...! It was about, not ways of having but ways of being and I couldn't tell him that I loved it!" Hirst's decision to go to Kenya rather than Ghana was influenced by the fact that the Kenyan contract was for two years while the Ghanaian contract stipulated a five-year commitment. To Hirst, five years sounded. At Kenya High School Hirst proceeded to design a new art room, with Peter Kareithi, the Inspector of Art at the Ministry of Education, he helped to develop "a new model of creative education."
Kenya needed a cadre of professionally trained art teachers for its expanding secondary schools and the five-year British model seemed like a "farce" in such a situation. Hirst helped introduce a two year course with an emphasis on teaching learners the essentials on materials and technique. Hirst was a part-time lecturer at the University of Nairobi and working with Gregory Maloba, one of the few trained artists in Kenya at the time, he spearheaded the introduction of a three-year B. Ed Art Course; the new system proved to be a success with the first generation of students to graduate producing outstanding work, featured in the internationally distributed African Arts magazine. In 1966, Hirst was "invited," as he puts it, by the Kenyan government to head art teacher-training at the Kenyatta University College. There, again with Maloba, he helped establish the Fine Art Department. Besides his teaching work, Hirst was active in other areas of the art scene, he became a founding member of the Paa Ya Paa Art Gallery where he met with "some of the most creative minds of the ‘independence’ generation."
He contributed two one-man exhibitions of paintings at the Paa Ya Paa Gallery which both sold out. Hirst had started to draw as a freelance cartoonist for the Daily Nation newspaper, when Hillary Ng’weno invited him to illustrate his regular Monday satirical column "With a Light Touch." In 1973, two years after he started his collaboration with Ng'weno, the idea for a satirical magazine based on one of the characters in Ng'weno's column was born. Hirst and Ng'weno envisioned Joe as a magazine that would feature illustrated jokes, comic strips and short stories by local writers; the character, Hirst explains, is "a survivor who has to laugh to keep from crying." The purpose of the magazine itself "was to comment on the news and to socialise people into being urban... to build a multiplicity of relationships... friendly but not involved emotionally." To help make Joe a reality, Jonathan Kariara of Oxford University Press gave Hirst and Ng'weno "a room, a table and two chairs" so they could start work on the magazine.
When the first edition of Joe came out in 1973 it was an immediate success, the magazine built its circulation at home and abroad. After a year, however, Ng’weno left to start the "Weekly Review," a political commentary magazine. Joe meanwhile continued to grow more successful thanks to the popularity of comic strips such as Edward Gitau's "City Life" and Hirst's "The Good, The Bad, And The Ugali." Short stories by writers like David Maillu, Meja Mwangi, Leonard Kibera and Ngũgĩ wa Thiong'o, who were well known in Kenya contributed to the popularity of the magazine. At its peak, Joe's circulation reached 30,000 with copies going out as far as West Africa. And, how, one morning, while working at the Joe offices, Hirst looked up to see a young Frank Odoi, freshly arrived from Ghana, beaming down at him with the words, "I'm here. I have come from Ghana to join you." Hirst and his wife, Nereas N'gendo, were to run the magazine for the next ten years. Besides his work at Joe, Hirst was doing editorial cartoons for the Daily Nation including the popular Hirst on Friday and Hirst on Sunday cartoons.
Despite growing political repression, Hirst considers those years to be among the happiest, creatively, of his life. He felt independent and free, able to do what he wanted "from inner necessity" rather tha