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N Seoul Tower

The N Seoul Tower the YTN Seoul Tower and known as the Namsan Tower or Seoul Tower, is a communication and observation tower located on Namsan Mountain in central Seoul, South Korea. At 236 metres, it marks the second highest point in Seoul. Built in 1971, the N Seoul Tower is South Korea's first general radio wave tower, providing TV and radio broadcasting in Seoul; the tower broadcasts signals for Korean media outlets, such as KBS, MBC and SBS. Built in 1969 at a cost of US$2.5 million, Namsam tower was opened to the public in 1980. Seoul Tower was completed on December 3, 1971, designed by architects at Jangjongryul though at the time the facility interior was not furnished, it took until August 1975 for the third floor of the observatory deck, open hall, souvenir shop, in addition to bring the other facilities to completion. However, despite finalization of tower construction, the observatory was closed to the public until October 15, 1980. Since the tower has been a landmark of Seoul. Tower elevation ranges from 236.7 m at the base to 479.7 m above sea level.

Seoul Tower had its name changed to N Seoul Tower in 2005 whereas the "N" stands for'new','Namsan', and'nature.' 15 billion KRW was spent in renovating and remodeling the tower. When N Seoul Tower's original owner merged with CJ Corporation, it was renamed the N Seoul Tower, it has been known as the Namsan Tower or Seoul Tower. It is Korea's first general radio wave tower that holds transmissions antennas of KBS, MBC, SBS TV, FM, PBC, TBS, CBS, BBS FM. Seoul Tower chosen to worldwide travel expert evaluation and reader preferences is registered the world's 500 attractions in research; the N Seoul Tower is divided into three main sections, including the N Lobby, N Plaza, the N Tower. The N Plaza consists of two floors. Plaza P0/B1: Includes: Entrance to Observatory, Information Desk, Alive Museum, Children's Theater, Nursing room; the N Lobby holds the N Gift, N Sweetbar, BH Style, the Alive Museum, Nursing Room, Information booth, a cafe, entrance to observatory. Plaza P1: Includes: Ticket booth, Food Court, Light Garden, Grass Terrace, Souvenir Shop, Characters & Photos.

N Plaza has two floors. The first floor includes N Terrace, N Gift and a burger shop; the second floor houses the Place Dining, an Italian restaurant, the Roof Terrace where the "Locks of Love" can be found. Plaza P2: Includes: Restaurant, Roof Terrace, Cafe The N Tower has four floors: 1F, 2F, 3F, 5F. There are four observation decks, as well as two restaurants. Most of the city of Seoul can be seen from the top. Close to N Seoul Tower is a second lattice transmission tower; the tower offers a digital observatory with a 360° panoramic view that showcases Korea's history through 32 LCD screens. This is located on the third floor of the N Tower. Tower T1 Includes: Korean Restaurant "Hancook" Tower T2: Includes: Analogue Observatory, The Wishing Pond, Sky Restroom, Sky Coffee, Photo Studio Tower T3: Includes: Digital Observatory, Shocking Edge and Digital High-powered Telescope, Gift shop Tower T5: Includes: A revolving restaurant Many visitors ride the Namsan cable car up the Mt. Namsan to walk to the tower.

The tower is renowned for its cityscape views. The 236.7 m tower sits on the Namsan mountain. It attracts thousands of tourists and locals every year during nighttime when the tower lights up. Photographers enjoy the panoramic view; each year 8.4 million visit the N Seoul Tower, surrounded by many other attractions South Korea offers, including Namsan Park and Namsangol Hanok Village. Visitors may go up the tower for a fee that differs for the following groups: children and teenagers, adults. Rates differ for each group size. In 2012, surveys conducted by Seoul City revealed foreign tourists ranked the N Seoul Tower as the number one tourist attraction; the N Seoul Tower is now a symbol of Seoul. The N Seoul Tower is illuminated in blue from sunset to 23:00 on days where the air quality in Seoul is 45 or less. During the spring of 2012, the Tower was lit up for 52 days, four days more than in 2011; the tower uses the latest LED technology to offer visitors a digital, cultural art experience through'light art.'

The N Seoul Tower puts on many different shows, including the "Reeds of Light" and "Shower of Light." An exception to this is Earth Day. On Earth Day, lights were held nationwide to promote awareness of energy conservation. At 8 p.m KST. on that day, lights at N Seoul Tower on Namsan disappear into darkness. In a poll of nearly 2,000 foreign visitors conducted by the Seoul Metropolitan Government in November 2011, 16 percent stated that hanging named padlocks on the Tower fence as a symbol of love was their favorite activity in Seoul; this attraction is situated at the Roof Terrace. The "Locks of Love" is a popular location for people to hang locks that symbolize eternal love, has been depicted in many Korean television shows and movies for this reason.'Love padlocks' is a common couple activity consists of the purchasing of a padlock and key, where initials and symbols can be inscribed onto the surface of the lock with markers and pens. Securing the padlocks on the fences filled with locks of previous participants, the key is thrown away as a symbol of everlasting love.

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WTVJ

WTVJ, virtual channel 6, is an NBC owned-and-operated television station licensed to Miami, United States and serving Fort Lauderdale. The station is owned by the NBC Owned Television Stations subsidiary of NBCUniversal, as part of a duopoly with Fort Lauderdale-licensed WSCV, a flagship station of the co-owned Telemundo network; the two stations share studios on Southwest 27th Street in Miramar. The station first signed on the air on March 21, 1949 at 12:00 p.m. WTVJ was the first television station to sign on in the state of Florida, the 16th station in the United States. Broadcasting on VHF channel 4, the station was founded by Wometco Enterprises, a national movie theater chain, headquartered in Miami; the station's original studio facilities were located in the former Capitol Theater on North Miami Avenue in Downtown Miami, the first theater operated by Wometco when the company was founded in 1926. The station was a primary CBS affiliate, but carried programming from the other three major broadcast networks of that era.

During the late 1950s, the station was briefly affiliated with the NTA Film Network. WTVJ was the only commercial television station in the Miami market until Fort Lauderdale-based WFTL-TV signed on the air on December 24, 1954, operating as an NBC affiliate. However, WFTL had no success whatsoever in competing against WTVJ, in part because television sets were not required to have UHF tuning capability until the All-Channel Receiver Act went into effect in 1964. NBC continued to allow WTVJ to cherry-pick programs broadcast by the network until WCKT signed on in July 1956 and WFTL went dark. Channel 4 shared ABC programming with WCKT, by way of an arrangement with the network to allow both stations to cherry-pick programming. Although ABC had a full-time affiliate in WITV, due to the aforementioned lack of UHF penetration at that time, this arrangement continued until WPST-TV signed on in August 1957. WTVJ served as the de facto CBS affiliate for West Palm Beach, until WTVX signed on in 1966.

WTVJ served as the producing station for CBS' Jackie Gleason Show after Gleason moved the program from New York City to Miami Beach in 1964. Wometco founder and president Mitchell Wolfson died in 1983 and a long-rumored secret plan to run the company after his death was never found; the remaining Wolfson heirs had no desire to keep the company in the family, it unraveled, making it a ripe takeover target. Investment firm Kohlberg Kravis Roberts & Co. took over Wometco in 1984 in a $1 billion deal, the largest corporate buyout in history to that date. KKR sold most of Wometco's entertainment assets to the latter company's chief operating officer Arthur Hertz in 1985. With the cash from this sale, KKR purchased Storer Broadcasting's station properties, shortly after the Federal Communications Commission raised the television station ownership limit from seven stations to twelve. KKR's intent was to sell the properties within a few years at a higher price. In 1986, KKR opted to put the Storer stations on the market.

The firm had plans to sell channel 4 for a record price of close to $500 million, although the station was worth far less. CBS saw a chance to acquire an owned-and-operated station in the fast-growing Miami market. However, it lost a bidding war to television syndication company Lorimar-Telepictures. CBS, tried to block the deal. Thus, CBS threatened to yank its affiliation with WTVJ if the Lorimar deal went through, which would force the station to become an independent. Lorimar walked away from the group deal in May 1986, CBS made an offer to buy WTVJ for $170 million, far below KKR's asking price of at least $270 million. Over the next few months, the only offers to buy WTVJ came from companies that owned large groups of independent stations, such as Tribune Broadcasting, Pappas Telecasting Companies and Chris-Craft Industries/United Television; these and other companies wanted to convert WTVJ into an independent station or a Fox affiliate, for a price far lower than KKR's asking price. The only way that KKR could make such a large profit was to sell WTVJ to another network, as some potential buyers had no interest in keeping CBS while the only ones that could purchase the station for the asking price were ABC and NBC.

CBS did not believe that KKR would sell WTVJ to another network, so it returned with a low offer. KKR turned CBS's offer down out of hand and approached the other networks. ABC was not interested, since it was more than satisfied with its longtime affiliate, WPLG. However, NBC was interested because its longtime affiliate, WSVN preempted the network's daytime lineup—including programs that the network aired in the noon timeslot, in favor of running a local newscast—as well as an occasional prime time show. NBC was far less tolerant of preemptions than CBS and ABC at the time, was annoyed at losing valuable advertising in such a fast-growing market; this had not been a problem at first since most of the programs that were pree

Diving at the 2015 Pan American Games – Women's 3 metre springboard

The women's 3 metre springboard competition of the diving events at the 2015 Pan American Games will be held on July 12 at the CIBC Pan Am/Parapan Am Aquatics Centre and Field House in Toronto, Canada. The winner of the competition will qualify his country a quota place for the 2016 Summer Olympics in Rio de Janeiro, Brazil. If the host nation of the Olympics wins the event, the runner up will qualify instead; the individual diving competitions all consist of two rounds. In the first, the divers each perform five dives; the best 12 divers in the preliminaries advance to the final. In the final round, the divers perform a final set of five dives, with the scores from those dives used to determine final ranking. Seven judges evaluate each dive, giving the diver a score between 0 and 10 with increments of 0.5. The two highest and two lowest scores from each judge are dropped; the remaining three scores are summed, multiplied by the degree of difficulty of the dive to give the total score for the dive.

Scores from each dive in the round are summed to give the round score. Green denotes finalists

Guillaume André Villoteau

Guillaume André Villoteau was a French musicologist. An ambulant musician, engaged in the dragons, Villoteau integrated the mastery of Notre Dame de Paris on the eve of the French Revolution, he left the orders and entered the Paris Opera during the Reign of Terror where he became conductor of the choir. The singer François Lays having refused to leave, he took his place in the Commission des sciences et des arts which accompanied the army of the East during the French campaign in Egypt and Syria by Bonaparte. Villoteau was interested in Arabic music, he started from scratch and could not rely on any music score: his interlocutors benefited only from an oral transmission. He had the opportunity to carry out his musical research until Philæ, collected a valuable collection of instruments bought by his friend François-Joseph Fétis and donated to the Museum of Music of Brussels, his contributions to music form 505 pages in the Imperial edition in folio of the Description de l'Égypte and 1015 pages in the Panckoucke edition.

It will be a real treatise on Egyptian music and present. On his return to France, he retired in 1809 to his property of the Mazerais, a commune of Savonnières, where he became mayor from 1813 to 1815, he moved to Tours where he set up the first mutual school in the city. Recherches sur l'analogie de la musique avec les arts, v. I y v. II, Paris: Imperial edition, 1807 Dissertation sur les diverses espèces d'instruments de musique que l'on remarque parmi les sculptures qui décorent les antiques monuments de l'Égypte. In Description de l'Égypte, Paris: Prunelle, Imperial edition, 1809, p. 181. Description historique, technique et littéraire des instruments de musique des Orientaux, Paris: Imperial edition, 1813 De l'état actuel de l'art musical en Egypte. Relation historique et observations faites sur la musique en ce pays. In Description de l'Égypte, Paris: Panckoucke, 1827. Musique de l'antique Egypte, Brussels: Degreef-Laduron, 1830. Fétis, "Villoteau", in Dictionnaire universelle des musiciens, 1844, vol.

8, p. 459–464. Mayaud, "Guillaume-André Villoteau et l'Égypte: l'expérience d'une vie", in Voyages et voyageurs, circulation des hommes et des idées à l'époque révolutionnaire, actes du 130e congrès des sociétés savantes, La Rochelle, April 2005, p. 121132. Grinevald, "Villoteau, ethno-musicien de Bonaparte et de l’Égypte", Touraine Généalogie, Bulletin n° 92, 4th trimester 2012, p. 398. Grinevald, Guillaume-André Villoteau: Ethnomusicographe de l'Égypte, Paris, L'Harmattan, 2014. 302 p.. ISBN 978-2-343-03310-5 Guillaume-André Villoteau et l'Égypte Guillaume-André Villoteau Villoteau, Guillaume André, writer on music on Oxford Index Villoteau, l’ethno-musicien bonapartiste de la musique égyptienne on Influences Guillaume-André Villoteau: ethnomusicographe de l'Égypte on Stanford University Libraries Guillaume-André Villoteau / François-Joseph Fétis on Library of Congress

Lottie Gilson

Lottie Gilson was a popular comedian and vaudeville singer of the 1880s and 1890s. She was billed as "The Little Magnet" in recognition of her ability to engage audiences. Due to her popularity, she was much sought-after by Tin Pan Alley publishers to boost sheet music sales. Songs associated with Gilson include "The Sunshine of Paradise Alley", "The Little Lost Child", "The Sidewalks of New York", "My Mother Was a Lady", she was born Lydia Deagon in Switzerland. Details of her early life are unknown including when she first came to the United States and when she made her stage debut; the first record of her performing is in 1884, at the Bowery's Old National Theatre, where she became a regular act. Her success at Old National led to engagements at top New York theaters of the day: Tony Pastor's, Henry Miner's, Hyde & Behman's, she was soon established as one of the top soubrettes of vaudeville. She appeared at Miner's Theatre and Tony Pastor's new 14th Street Theatre in Lower Manhattan and Hyde & Behman's in Brooklyn.

Like many vaudeville stars, Gilson was known not for her singing talent, but for her personality and showmanship. Her rapport with her audience and talent for attracting customers earned her the nickname "The Little Magnet", which became part of her billing. In the beginning, her act was ballads and tear-jerkers. After a few years she expanded into bawdy comical songs, such as "You're Not the Only Pebble on the Beach", she pioneered methods of engaging the audience that were so copied they became cliches. One was the use of a hand-mirror to reflect the spotlight into the audience, shining it on male customers and thus making them a part of her act; the practice of cajoling the audience to sing along on the chorus was another of Gilson's trademarks. A staged variation of audience participation involved a teenage boy in the balcony—ostensibly a customer, but a shill—who is inspired to sing with or to the performer. Gus Edwards was one such balcony-singer. Gilson was in the forefront of another vaudeville practice, taking money from Tin Pan Alley sheet music publishers to promote songs by including them in her act.

Her popularity made her attractive to publishers, who could be sure that songs would be heard and appreciated by a large audience when she sang them. According to publisher and songwriter E. B. Marks, Gilson could "draw tears from an audience with a vapid song". Marks's "The Little Lost Child", her promotion played a role in the success of "The Sidewalks of New York". Lottie Gilson died June 1912 in New York City. Lottie Gilson at Find a Grave Recording of "Just a Plain Little Irish Girl" sung by Gilson, at Internet Archive "The Soubrette", a 1911 article written by Gilson in Green Book

Candidates of the 1959 Tasmanian state election

This article provides information on candidates who stood for the 1959 Tasmanian state election, held on 2 May 1959. No MHAs retired at this election; the House of Assembly had been expanded prior to this election, with members elected from each division increased from six to seven. Braddon Labor MHA Charley Aylett contested Denison. Sitting members are shown in bold text. Tickets that elected at least one MHA are highlighted in the relevant colour. Successful candidates are indicated by an asterisk. Seven seats were up for election; the Labor Party was defending three seats, although sitting MHA Reg Turnbull was running as an independent. The Liberal Party was defending three seats. There was one new seat. Seven seats were up for election; the Labor Party was defending three seats. The Liberal Party was defending three seats. There was one new seat. Seven seats were up for election; the Labor Party was defending three seats. The Liberal Party was defending three seats. There was one new seat. Seven seats were up for election.

The Labor Party was defending three seats. The Liberal Party was defending three seats. There was one new seat. Seven seats were up for election; the Labor Party was defending three seats. The Liberal Party was defending three seats. There was one new seat. Members of the Tasmanian House of Assembly, 1956–1959 Members of the Tasmanian House of Assembly, 1959–1964 Tasmanian Parliamentary Library