Glen Allen is a census-designated place in Henrico County, United States. The population was 14,774 as of the 2010 census, up from 12,562 at the 2000 census. Areas outside the CDP which use a "Glen Allen" mailing address include residences in neighboring Hanover County. Called "Mountain Road Crossing" when rail service began in 1836, the settlement which came to be known as Glen Allen took its name from the homestead of a local landowner, Mrs. Benjamin Allen, its most noted resident was Captain John Cussons, a native Englishman, Confederate scout and entrepreneur. Cussons founded a successful printing company, he built a fashionable resort hotel known as Forest Lodge adjacent to the railroad tracks. The area of Glen Allen used to be rural farmland, but it is now a growing suburb of Richmond. According to the United States Census Bureau, the CDP has a total area of 8.86 square miles, of which 8.79 square miles are land and 0.069 square miles, or 0.76%, are water. The Glen Allen census-designated place is in northern Henrico County 11 miles north-northwest of downtown Richmond.
The CDP is bordered to the north by the Chickahominy River, which forms the Henrico–Hanover County line. The eastern border of the CDP is Interstate 95, from the Chickahominy River south to East Parham Road; the southern border of the CDP follows East Parham Road, U. S. Route 1, Virginia State Route 157, Jessie Chavis Drive, North Run, Woodman Road, Blackburn Road, Winston Boulevard, Indale Road to the Amtrak railroad line, which it follows south to Hungary Road; the western border of the CDP follows Hungary Spring Road, Old Route 33, Attems Way, U. S. Route 33 to Courtney Road follows a power line northeast back to the Amtrak rail line; the border follows the railroad north to County Road 625 takes Old Washington Highway to the Chickahominy River. Glen Allen uses two postal addresses, ZIP codes 23059 and 23060, which cover neighboring communities as well, including rural areas of Hanover County to the north; the Glen Allen CDP includes all or portions of the communities of Hunton, Longdale, Holly Glen Estates and Yellow Tavern.
As of the census of 2000, there were 12,562 people, 5,131 households, 3,504 families residing in the CDP. The population density was 1,420.1 people per square mile. There were 5,297 housing units at an average density of 598.8/sq mi. The racial makeup of the CDP was 74.9% White, 19.5% African American, 0.4% Native American, 3.2% Asian, 0.1% Pacific Islander, 0.8% from other races, 1.2% from two or more races. Hispanic or Latino of any race were 1.7% of the population. There were 5,121 households out of which 33.5% had children under the age of 18 living with them, 55.0% were married couples living together, 10.6% had a female householder with no husband present, 31.7% were non-families. 26.2% of all households were made up of individuals and 5.6% had someone living alone, 65 years of age or older. The average household size was 2.45 and the average family size was 2.98. In the CDP, the population was spread out with 24.8% under the age of 18, 7.0% from 18 to 24, 37.1% from 25 to 44, 22.8% from 45 to 64, 8.3% who were 65 years of age or older.
The median age was 35 years. For every 100 females, there were 90.2 males. For every 100 females age 18 and over, there were 86.1 males. The median income for a household in the CDP was $55,205, the median income for a family was $63,670. Males had a median income of $42,279 versus $31,073 for females; the per capita income for the CDP was $25,719. About 1.0% of families and 2.5% of the population were below the poverty line, including 2.8% of those under age 18 and 1.6% of those age 65 or over. 1980.....6,202 1990.....9,010 2000....12,562 2010....14,774Source U. S. Census Bureau A selection in Money Magazine's 2007 "Top 100 Places to Live" A selection in Money Magazine's 2009 "Top 100 Places to Live" Appliance maker Hamilton Beach and insurer Markel are based in Glen Allen. Gene Alley, former Major League Baseball shortstop Dave Brat, former member of the U. S. House of Representatives from Virginia's 7th congressional district Chris Durkin, soccer Andrew Knizner, baseball player for the St. Louis Cardinals R. C.
The launeddas are a typical Sardinian woodwind instrument made of three pipes. They are a polyphonic instrument, with one of the pipes functioning as a drone and the other two playing the melody in thirds and sixths. Predecessors of the launeddas can be traced back to 2700 BCE in Egypt, where reed pipes were called ‘memet’. During the Old Kingdom in Egypt, memets were depicted on the reliefs of seven tombs at Saqqarra, six tombs at Giza, the pyramids of Queen Khentkaus; the launeddas themselves date back to at least the eighth century BCE and are still played today during religious ceremonies and dances. Distinctively, they are played using extensive variations on a few melodic phrases, a single piece can last over an hour, producing some of the "most elemental and resonant in European music". Launeddas are used to play a complex style of music by circular breathing that has achieved some international attention Efisio Melis, Antonio Lara, Dionigi Burranca and Luigi Lai. Melis and Lara were the biggest stars of the 1930s golden age of launeddas, each taught their style to apprentices like Lara's Aureliu Porcu.
Launeddas consist of two five-holed chanters of different lengths and one drone. They are played using circular breathing. Since the late 20th century the launeddas have been used in non-traditional contexts. In 1990, the American jazz saxophonist Dave Liebman released. Long Sound, where he collaborates with the launeddas players Alberto Mariani, Carlo Mariani, Dionigi Burranca; the CD was recorded in Milan in November 1989. In 1996, the British free jazz saxophonist Evan Parker released a double-CD collaboration with Carlo Mariani and other world musicians entitled Synergetics--Phonomanie III, recorded in Ulrichsberg, Austria in September 1993. Triple pipes F. W. Bentzon, The Launeddas. A Sardinian folk music instrument, Akademisk Forlag, Copenhagen, 1969. P. Mercurio, La Cultura delle Launeddas. Cabras. I Suoni del Maestro Giovanni Casu, Nuoro, 2011. F. W. Bentzon, Cagliari, 2002 ISBN 88-88998-00-4. "Launeddas, et sardisk folkemusikinstrument." F. W. BENTZON. (Dansk Musik-tidsskrift, May, 1961, No.
3, pp. 97–105. Bernard Lortat-Jacob. "Theory and'Bricolage': Attilio Cannargiu's Temperament", Yearbook for Traditional Music, Vol. 14, pp. 45–54. P. Mercurio, Launeddas Patrimonio dell'Umanità. Strumento dell'Identità Musicale Sarda, collana “Ethnomusica & Istruzione”, Milano, 2015 ISBN 9786050345346 Efisio Melis and Antonio Lara - Launeddas, cited in Robert Andrews; the Rough Guide to Sardinia, p. 335. 3rd edition. ISBN 1-84353-741-9. Launeddas player Luigi Lai Sonus de Canna, information on history, construction details in Italian Triplepipe.net, information on history, MP3 samples All about launeddas and sardinian music
Diogo Jorge Moreno Valente is a Portuguese professional footballer who plays as a left winger for S. C. Espinho. Valente was born in Aveiro. A product of Boavista FC's youth system, he made his professional debuts for the northerners in the 2004–05 season and established himself as first-choice as the team achieved two consecutive sixth places in the Primeira Liga. Valente served a one-year loan at G. D. Chaves in the second division. In July 2006, Valente signed for an undisclosed fee with FC Porto but, in January 2007, after appearing just once, he was loaned to C. S. Marítimo, where he scored at C. D. Aves. Valente was loaned again from 2007 to 2009, this time at Leixões S. C. which had returned to the top flight for 2007–08. Alongside teammates Paulo Machado and Vieirinha loaned by Porto, he proved instrumental as the Matosinhos club not only retained its league status but finished in a best-ever sixth position the following campaign. On 1 July 2009, Valente left Porto by mutual agreement, joining S.
C. Braga for an undisclosed fee; as the Minho side finished in a best-ever second position he appeared sometimes not making the squad of 18. Valente featured for Académica de Coimbra during 2010–11, on loan. On 29 June 2011, he signed a one-year deal with the Students. In late May 2012, Valente joined Romanian club CFR Cluj on a three-year contract, where he shared teams with a host of compatriots, he scored three competitive goals during his spell at the Stadionul Dr. Constantin Rădulescu, including one in the defeat to FC Dinamo București for the Supercupa României. On 20 August 2015, after an unassuming top flight spell at Gil Vicente FC, 30-year-old Valente moved abroad again and signed a one-year deal with Şanlıurfaspor in the Turkish TFF First League, he returned to his country and its second level at the end of the campaign, representing in quick succession S. C. Freamunde and U. D. Oliveirense. Valente earned his first cap for the Portugal under-21 team on 29 March 2005, featuring 89 minutes in a 1–0 away win over Slovakia for the 2006 UEFA European Championship qualifiers.
Fourth Arts Block is the leadership organization for the East Village, Manhattan cultural district in New York City, United States, building a permanent home for the arts and preserving the neighborhood's creative character. FAB advocates for the District, directs marketing and outreach efforts, leads projects that contribute to sustainable development, supports the development and capacity of its members. East Fourth Street is home to more than a dozen nonprofit cultural and community organizations, was designated a Cultural District by Mayor Michael Bloomberg in January 2006. “Downtown's Theater Row" contains 10 theater companies, two dance companies, four visual arts organizations, two non-profit community development organizations that have worked to create a plan for the long-term development of the cultural buildings on the block. The East Village and Lower East Side of Manhattan has gone through remarkable change in the past three decades, when it began to experience a major real estate boom together with a huge influx of young, single professionals attracted by the neighborhood's vibrant, creative character.
The story of the neighborhood surrounding East 4th Street between Second Avenue and the Bowery is unique in its history of artistic activity and grassroots activism. At the turn of the century, 66 East 4th Street, known as Turin Hall, was a focal point for the German immigrant community, the first Yiddish theater in New York, in what became the Yiddish Theater District. Next door, at 64 E. 4th, was the Labor Lyceum, where early advocates for unionizing gathered and the International Ladies Garment Workers' Union was born. However, by the 1970s, the city was holding on to a large number of vacant properties, all acquired through eminent domain, with plans, developed by Robert Moses, to raze this "slum area" entirely. Neighborhood protest and the city's economic downturn halted everything other than the establishment of the'Cooper Square Urban Renewal Area" and a hopeful plan for its development; the empty buildings sat there unused until La Mama, a small experimental theater and a founder of the Off-Off-Broadway movement which embraced artistic experimentation and social protest, led by the legendary Ellen Stewart, secured a 30-day lease from the city on a dilapidated property.
The city's condition for the low rent was that La Mama would bear full responsibility for anything beyond the most basic maintenance of the building's shell. Other neighborhood arts groups secured similar 30-day leases in adjoining vacant buildings on the block. Fixing the properties up was all on their shoulders; the 30 day leases stayed in effect for anywhere from 15 to 30 years. That ended in October 2005 when these same pioneering tenants became owners and the East 4th Street Cultural District became a reality. At this chapter in the gentrification story, the exodus begins. Artists and small arts groups are forced out due to wildly escalating rents. Manhattan communities once more prove inhospitable to the kind of diversity and cutting edge creativity these small groups represent. However, in a decision that surprised many, the city - with unanimous support at all levels of government - decided to sell six buildings and two vacant lots on East 4th Street between 2nd Avenue and the Bowery for $1 each to the artist tenants.
Local leadership, seeking to diversify the area's reliance on bars/clubs/restaurants as its prime source of economic activity, enthusiastically lent its support. The East 4th Street Cultural District was created. All the properties are restricted to non-profit cultural use in perpetuity; the East 4th Street Cultural District is only one block long, yet it encompasses 17 theaters and rehearsal studios, three film editing suites, a large screening room. Each year it hosts over 200,000 people attending performances and readings involving more than 1200 artists. Through the plan for the Cultural District, more than 35,000 square feet of vacant space on East 4th Street will be transformed into active cultural use. FAB engages in a number of activities throughout the year that engage and strengthen the broader local community, such as the Load OUT!, a biannual “reuse and repurposing riot” aimed at transforming one person’s trash into another person’s treasure. Beginning in 2013, leaders from organizations on the Fourth Arts Block began inviting local civic and arts groups to plan for the first-ever Lower East Side History Month, which took place in May 2014 and is imagined as an annual event.
With 33 local groups on the steering committee alone, LESHM debuted with scores of theater, visual arts, panel discussion and participatory events scheduled throughout the month, with everything from a Bowery film festival to a discussion about saxophonist Ornette Coleman and the Five Spot Café. The month kicked off with “Chalk LES,” a weekend when anyone and everyone was encouraged to write official and personal histories on sidewalks where notable events occurred. Home to both the Rod Rogers Dance Company and the DUO Multicultural Arts Center, 62 East 4th Street is a five-story building which stands between Second Avenue and the Bowery. By 2007 the building was deteriorated; the NYC Department of Design and Construction began the exterior renovation under the leadership of SUPERSTRUCTURES Engineers + Architects. The façade restoration of 62 East Fourth Street involved the recreation of the cornice and the balconies, replacement of the windows with appropriate materials, analysis of paint in order to match the historic color.
Terry Crook known by the nickname of "TC", is an English former professional rugby league footballer who played in the 1960s, 1970s and 1980s, coached in the 1980s. He played at representative level for Yorkshire, at club level for Wakefield Trinity (Heritage No. 735, Bramley and Batley, as a fullback, wing, or centre, i.e. number 1, 2 or 5, or, 3 or 4, coached at club level for Batley and Dewsbury. Terry Crook was born in Outwood, West Riding of Yorkshire, Terry Crook represented Yorkshire in 1977. Yorkshire played Lancashire at Castleford on 1 March 1977 when TC received his'county call up' in the centres. Yorkshire won 18–13 with the'White Rose' team being: Keith Mumby, Peter Muscroft, Terry Crook, Bill Francis, John Atkinson, David Topliss, Gary Stephens, Jimmy Thompson, David Ward, Vince Farrar, Paul Rose, Phil Lowe, Steve Norton. Subs: Nigel Stephenson, Sammy Lloyd. Muscroft, Ward and Stephesnon scored the tries with Mumby and Lloyd kicking the goals Terry Crook signed for Wakefield Trinity in April 1967, from the Wakefield Trinity Juniors, making his début in an away league game at Keighley on 11 October 1967, Wakefield Trinity winning 21–19.
He played three games in that first 1967–68 season with his second game against the 1967 Australian Kangaroos, TC lining up against Graeme Langlands and Ken Irvine. Although not part of the team he was part of the club that won the 1967 and 1968 RL Championships as well as Wembley 1968, he scored his first try at Keighley in November 1969, but it was not until the 1971–72 season that he started to establish himself as a first team regular, playing eleven games at full back with six on the wing. He kicked 32 goals in this season, including nine against Workington Town in September 1971, three off the club record, extending this to ten goals in the home game with Batley in December 1971, two off the club record; the following season saw him move into the centres and playing another 30 games. In October 1973 he played against the Australian Kangaroos for a second time, this time lining up against Mick Cronin and Steve Rogers in the centres. Terry Crook played right-centre, i.e. number 3, scored a goal in Wakefield Trinity's 2–7 defeat by Leeds in the 1973 Yorkshire County Cup Final during the 1973–74 season at Headingley Rugby Stadium, Leeds on Saturday 20 October 1973, played right-centre, i.e. number 3, scored 2-goals in the 13–16 defeat by Hull Kingston Rovers in the 1974 Yorkshire County Cup Final during the 1974–75 season at Headingley Rugby Stadium, Leeds on Saturday 26 October 1974.
He reached'one step from Wembley' after Wakefield Trinity were defeated in the 1975 RL Challenge Cup semi-final, 7–13 by Widnes. Appearances and goals continued over the following years, earning TC a testimonial in 1977, the same year he gained his only Yorkshire appearance, he was transferred to Bramley after his testimonial year. He played his last game of his first stint, at loose forward at Salford in December 1977, he returned to Belle Vue a year and played in the second row at Castleford in the BBC2 Floodlit Trophy in September 1979. He played 13 games in the 1979 -- 80 season. Another game followed in 1980–81 with his final three coming in 1981–82, his last Wakefield Trinity game was at Whitehaven in a 9–9 draw on 3 January 1982, playing at full back. His final Wakefield Trinity total read... Played: 240, Tries: 43, Goals: 325, dg: 3, his goals see him positioned in 7th on the all-time Wakefield Trinity goal kickers and points see him lie in 8th in Wakefield Trinity's all-time points scoring lists, during his time at Wakefield Trinity he scored forty 3-point tries and, three 4-point tries.
Terry Crook appears to have scored three drop-goals for Wakefield Trinity, but prior to the 1974–75 season all goals, whether. When Terry re-signed for Wakefield Trinity in 1979 he joined the coaching set up with responsibility for the Wakefield Trinity Colts team, he moved to Batley, in 1982, as player-coach from June 1982 to November 1984, this was followed by a move to Dewsbury, in April 1987 to December 1988, before moving back to Wakefield Trinity in 1991 to take up the role of coach to Wakefield Trinity's fledgling Academy team. He coached Yorkshire's Academy side in 1991–92, he spent ten years at Stanley Rangers coaching a junior team from Under-9s to Under-17s, which included players such as Nigel Wright, Richard Goddard, Steve McCurrie, Paul Crook, Darren Rogers, Barry Eaton, Carl Briggs and Michael'Mickey' Clarkson. Wakefield Trinity Wildcats – Interview with TC
Jemmape was a department of the First French Republic and of the First French Empire in present-day Belgium. It was named after the Battle of Jemappes, fought between the French and the Austrians in 1792 near the village of Jemappes, near Mons. Jemappes was spelled Jemmape, Jemmappes at the time, its territory corresponded less with that of the Belgian province of Hainaut. It was created on 1 October 1795, when the Austrian Netherlands and the Prince-Bishopric of Liège were annexed by the French Republic. Before the reunion with France, its territory was part of the County of Hainaut and the Tournaisis, a part of the County of Namur and of the Bishopric of Liège; the Chef-lieu of the department was Mons. The department was subdivided into the following three arrondissements and cantons: Mons: Boussu, Chièvres, Enghien, Lens, Le Roeulx, Mons, Pâturages and Soignies. Charleroi: Beaumont, Charleroi, Fontaine-l'Évêque, Merbes-le-Château and Thuin. Tournai: Antoing, Celles, Frasnes, Leuze, Péruwelz, Quevaucamps and Tournai.
After Napoleon was defeated in 1814, the department was dissolved and it became part of the United Kingdom of the Netherlands as the province of Hainaut. The Prefect was the highest state representative in the department; the Secretary-General was the deputy to the Prefect. The office of Subprefect of Mons was held by the Prefect until 1811