The 1992 San Miguel Beermen season was the 18th season of the franchise in the Philippine Basketball Association. The San Miguel Beermen welcomes the return of the "Skywalker" Samboy Lim in the lineup; the Beermen were tied with two other teams and Presto on top of the standings in the First Conference with seven wins and four losses. At the start of the semifinal round, the San Miguel coaching staff decided to change their import Derrick Chievous after a spat with some of his teammates. Chievous played in all of their 11 games in the eliminations and his replacement was Rick Calloway. San Miguel beat Alaska Milkmen in a playoff game to enter the finals for the first time since winning the grandslam in 1989. Going up against Shell Rimula-X Turbo Chargers in the championship series, the Beermen were the underdogs with Shell having Bobby Parks, who won his unprecedented seventh best import award, providing the big difference against his counterpart; the Beermen lost in the title series in five games.
In the All-Filipino Conference, the Beermen won their last two games in the eliminations to finish second and a game behind defending champion Purefoods Tender Juicy Hotdogs, which top the standings with eight wins and two losses. During the semifinal round, the Beermen won their first six outings for a magic number 13 wins and gain one of the two finals berth as their winning streak reach to eight games. Going into the last day of the semifinal round, the Beermen played the 7-Up Bottlers with both teams losing only once in the semifinals, the third-year ballclub 7-Up are close to their first finals stint and the Beermen can afford to lose and choose the Bottlers as their opponent instead of the more experience Purefoods squad looking for their fifth straight All-Filipino finals appearance, but San Miguel went on to beat 7-Up, leaving the Bottlers in a playoff game with Purefoods, which the Hotdogs won. In a classic All-Filipino championship showdown between the Beermen and the Hotdogs, the San Miguel Beermen won in a hard-fought seven game series for their first crown in three years and their ninth overall title.
The Beermen decided to bring back Jay Taylor, who came in late for the team last season, as their import for the Third Conference. Taylor was replaced after playing only four games. Coming in was Kenny Travis, a former Purefoods import back in 1988. San Miguel had to go through a knockout game against Shell to qualify in the semifinal round; the Beermen earned a playoff for the second finals berth against 7-Up by winning six of their eight semifinal outings and on a verge of playing in a finals series for the third time in the season, having beaten the Bottlers in all their four meetings in the Third Conference, but 7-Up came well-prepared and beat San Miguel, 102-91, in a playoff game on December 3. The Beermen placed fourth in the season-ending conference. July 28: Ato Agustin scored a night-high 42 points as San Miguel seize solo leadership in the semifinals of the All-Filipino Conference with their 10th victory in 13 games, a 118-106 win over Purefoods, which now lost two straight games and dropped to 10 wins and four losses.
July 30: San Miguel swept the first round of the semifinals, winning against 7-Up, 103-97 in overtime. Both teams won their first three outings in the semifinals and the Uncolas were riding high on a four-game winning streak before their match. October 11: Kenny Travis scored 52 points as San Miguel beat defending champion Alaska, 118-115, for only their second win in six games into the Third Conference. Renato Agustin won the Most Valuable Player award. MVP Winner Renato Agustin and Ramon Fernandez were named to the Mythical five selection. Ferdinand Ravena was voted the season's Rookie of the year. Assistant Coach: Filomeno Pumaren Team Manager: Eddie Veneracion
Jin is a toneless pinyin romanization of various Chinese names and words. These have been romanized as Kin and Chin. "Jin" occurs in Japanese and Korean. It may refer to: Jin, major state of the Zhou dynasty, existing from the 11th century BC to 376 BC Jin dynasty known as Liang Jin and Sima Jin Jin, Five Dynasties and Ten Kingdoms period Later Jin, Five Dynasties and Ten Kingdoms period Jin dynasty known as the Jurchen Jin Later Jin, precursor of the Qing dynasty Jin, precursor of the Jinhan Confederation Balhae known as Jin Jin Prefecture, a former Chinese prefecture centered on present-day Linfen, Shanxi Jin Prefecture, a former Chinese prefecture centered on present-day Ankang, Shaanxi Jin Prefecture, a former Chinese prefecture centered on Luyang in present-day Hunan Shanxi, official abbreviation Jin Tianjin, official abbreviation Jin Jin River, a tributary of the Bei River in Guangdong Jin River, a tributary of the Min River in Sichuan Jin River, a river in Quanzhou Municipality, Fujian Jin River, a tributary of the Xiang River in Hunan Jin, various Chinese surnames Jin, various Korean surnames Jin, a Japanese manga series by Motoka Murakami Jin, a Japanese television adaptation of the manga "Jin, the Wind Master", an episode of Yu Yu Hakusho Jin Akanishi, Japanese musician Jin Akimoto, Japanese mixed martial artist Jin Hanato, Japanese footballer Jin Hiratsuka, Japanese footballer Jin Horikawa, Japanese voice actor Jin Ikoma, Japanese footballer Jin Okubo, Japanese cyclist Jin Ueda, Japanese table tennis player Jin Watanabe, Japanese handball player MC Jin, Hong Kong American rapper Jin, the stage name of Park Myung-eun, South Korean singer with the girl group Lovelyz Jin, the stage name of Kim Seok-jin, South Korean singer of the boy band BTS Jin Jin stage name of Park Jin Woo, south Korean singer of the boy group Astro Jin Kazama, the protagonist of the Tekken video game series Jin-Soo Kwon, a character in Lost Jin, a character in the O-Parts Hunter series Jin, a character in Samurai Champloo media Jin, a character in YuYu Hakusho Jin Kariya, a character in the anime Bleach Jin Kirigiri, a character in Danganronpa Jin Kisaragi, a character in BlazBlue video games Jin Shirato, a character in Persona 3 Jin Uzuki, a character in Xenosaga Jin Ryu, a character in Beyblade Jin Kaien, a character in Grand Chase Jin, the protagonist of the Choushinsei Flashman Jin, an antagonist in Xenoblade Chronicles 2 Jin Bubaigawa known as Twice, an antagonist in My Hero Academia Jin Saotome, main protagonist of Cyberbots: Full Metal Madness JIN, the code for Jinja Airport in Uganda Jin Air, a South Korean airline Jin language Jīn, the Chinese name for the catty, a traditional East Asian unit of weight Jin, a deadwood bonsai technique Jinhan confederacy known as Qinhan Jinn Jinzhou Jinjiang Gin Chin
Phoenix Tower stands at the northeast corner of the city walls in Chester, England. The tower is recorded in the National Heritage List for England as a designated Grade I listed building, it has been known as Newton Tower and King Charles' Tower. The structure originated in the 13th century. During the part of the 16th century the tower was leased to two city guilds, the Painters and Stationers, the Barbers and Chandlers, who sublet it to other guilds. By 1612 the fabric of the tower was in a poor condition, the lead had been lost from its roof, it was restored by the two guilds, above the door they placed a plaque containing the date 1613 and a carving of a phoenix, the emblem of the Painters. In the Civil War, during the Siege of Chester in 1645, the tower had a gun in each storey, it was damaged in the conflict. A plaque on the tower states that King Charles I stood on the tower on 24 September 1645 as he watched his soldiers being defeated at the Battle of Rowton Heath; the historian Simon Ward has expressed doubts about this and has suggested that the king may have stood instead on a tower of Chester Cathedral, which he considers is confirmed by evidence that a captain standing beside him was killed by a stray shot.
The guilds resumed possession of the tower in 1658, repaired it. They ceased possession by about 1773. However, by 1838, the tower was described as being in a dilapidated condition. By this time, the city was promoting it as a tourist attraction because of its reputed connection with King Charles. In the late 1850s, the lower chamber was being used by a print-seller, in the century the tower was made a private museum; the tower is constructed with a pyramidal slate roof. It is semicircular in plan; the tower is in the lower two of which are below the walkway on the wall. Each of the upper stages contains a chamber. At the level of the walkway, in the third stage, is a round-headed doorway. Above the doorway is a plaque dated 1613 containing the carved image of a phoenix. An external stairway leads to the upper storey. Internally, the lower chamber is octagonal in plan, with a diameter of about 30 feet, it contains five slit windows. Externally, between the upper two stages, is a string course. In the upper stage is a doorway and four three-light leaded casement windows.
The top of the tower has lead hip roofs and an ornate weathervane. List of sections of Chester city walls and associated structures Grade I listed buildings in Cheshire West and Chester The Phoenix Tower The Phoenix Tower on'Chester: a Virtual Stroll Around the Walls'
Katiola Department is a department of Hambol Region in Vallée du Bandama District, Ivory Coast. In 2014, its population was 106,905 and its seat is the settlement of Katiola; the sub-prefectures of the department are Fronan and Timbé. Katiola Department was created in 1969 as one of the 24 new departments that were created to take the place of the six departments that were being abolished, it was created from territory, part of Centre Department. Using current boundaries as a reference, from 1969 to 1974 the department occupied the same territory as Hambol Region. In 1974, Katiola Department was divided to create Dabakala Department. In 1997, regions were introduced as new first-level subdivisions of Ivory Coast. Katiola Department was included as part of Vallée du Bandama Region. In 2009, Katiola Department was divided again to create Niakaramandougou Department. In 2011, districts were introduced as new first-level subdivisions of Ivory Coast. At the same time, regions were reorganised and became second-level subdivisions and all departments were converted into third-level subdivisions.
At this time, Katiola Department became part of Hambol Region in Vallée du Bandama District
Mako Idemitsu is an experimental video art and film artist. Mako Idemitsu was born in Ohta-ku, Japan and is the daughter of Japanese businessman and art collector Sazō Idemitsu, founder of Idemitsu Kosan, she attended Waseda University in Tokyo from 1958 to 1962, before relocating to New York in 1963. Through her father's collecting Mako was introduced to Sam Francis and moved into his California home in the early 1960s before becoming his fourth wife in 1966. Mako was subsequently disowned by her father. Idemitsu has two sons from her marriage with Francis and Shingo, it was as a young mother that she became a film and video artist. She was to find that among the hippies and the liberated counterculture of the 1960s in California, she was to experience male chauvinism, different in nature from that of her homeland, but chauvinism nonetheless, it was whilst searching for a role outside that of wife and mother, which she had fallen into, that she by impulse bought a Super 8 film camera and began her career as a film artist.
Mako Idemitsu returned to Japan with Francis and her sons in 1973 planning to stay in Japan for a year. In 1974 when Francis returned to the United States, Mako Idemitsu chose to remain in Japan and the couple would divorce, with Francis marrying for a fifth time in 1985. On the subject of her father, Mako Idemitsu said that he had a Confucian attitude towards women, embraced a patriarchal view of the role of men and women that led to the belittling of his wife and daughters, she said that he acted to deny them their individuality and independence. In the early 1970s, Mako Idemitsu was one of the pioneers of video art; the technical limitations of the equipment at the time had an influence on the direction of her work. Idemitsu first started to work in the United States with 8 mm film and moving onto 16 mm film, she became interested in capturing the mood and interplay of light and shadow. When she switched to working with video, the inability of the video cameras of the time to capture the quality of light, led to the increasing use of narrative in her work.
On her return to Japan the cumbersomeness of the equipment and an inability to film outdoors led to her use of indoor one camera setups. Defined as feminist, Mako Idemitsu's work is a reflection not just on gender roles, but on the nature of personal identity and self in society, she showed how the modern family in Japan was oppressing the identities of Japanese women. Mako Idemitsu's first films were home movies of her sons and of family life; this domestic setting, with the action revolving around family interactions, remains the main theme of her films. In her work a recurring motif is that of a television set featuring a disembodied torso, head or just an eye; these disembodied characters female, may act indifferently to her protagonists or may actively oppresses them, can be interpreted both at face value as the mother, daughter, or wife of the protagonist, or as a representation of their inner mind. For example, in Idemitsu's Great Mother trilogy, in as much as they are presented as the protagonist's mothers, these disembodied women represent the super-ego of the protagonist and are a personification of a lifetime of learned cultural values and societal norms, are thus an internalized ideal from which the protagonist cannot escape.