Background and development.

While establishing herself as an artist and working her way up through the New York underground club scene, Gaga released her debut studio album, "The Fame". Speaking about the title and concept of the album, Gaga explained: ""The Fame" is about how anyone can feel famous. [...] Pop culture is art. It doesn't make you cool to hate pop culture, so I embraced it and you hear it all over "The Fame". But, it's a sharable fame. I want to invite you all to the party. I want people to feel a part of this lifestyle." Gaga stated in an interview with MTV UK that she had been working on the album for two and a half years and completed half of it during the first week of January 2008. As well as writing the lyrics, Gaga worked on the melodies and synth work of the album, with record producer RedOne. According to Gaga, the first track "Just Dance" is a joyous, heart-themed song, which appeals to people going through tough times in their life. "LoveGame", the second track, was inspired by Gaga's sexual crush on a stranger in a night club to whom she said, "I wanna ride on your disco stick". It was written in four minutes based on the disco stick hook. "Paparazzi" has been interpreted with different meanings. However Gaga explained in an interview with About.com, that the song was inspired by her struggles and hunger for fame and love. Essentially a love song, "Paparazzi" dealt with enticing the media and asked the question, whether one can have both fame and love.  "Poker Face" was inspired by Gaga's boyfriends who enjoyed gambling, and also dealt with her personal experience of bisexuality; her fantasies about women while having sex with men, thus representing her 'poker face'." "Boys Boys Boys" was inspired by the similarly titled Mötley Crüe song "Girls, Girls, Girls". Gaga explained that she wanted a female version of the song that rockers would like too. "Beautiful, Dirty, Rich" summed up her time of self-discovery, living in the Lower East Side and dabbling in drugs and the party scene. "Eh, Eh (Nothing Else I Can Say)" was about breaking up with a boyfriend and finding someone new. "Brown Eyes" was inspired by the British rock band Queen and, according to Gaga, is the most vulnerable song on the album.  Gaga further clarified the ideas behind "The Fame", and her inspirations and visions for the album. She believed that the most important thing missing from contemporary pop music was the combination of the visual imagery of the artist with the music. Gaga incorporated theatrics in her live performances of the songs from the album. Hence she hoped that people would take notice of the performance art, which she was trying to bring back with the album and its music; according to her, the music put the lifestyle in front of it.  "I just feel like this record is really different- you[']ve got club bangers to more 70s glam to more singer-songwriter records to rock music. [...] "The Fame" is not about who you are—it's about how everybody wants to know who you are! Buy it and listen to it before you go out or in the car. [...] I think you've really got to allow artists' creativity to marinate. It took me a while but really delving into myself I finally got it. I couldn't be more proud of it. It's not just a record[,] it's a whole pop art movement[.] It's not just about one song."

Composition.

Musically, the album combines electropop, synth-pop, and dance-pop, while drawing influences from 1980s music. Songs like "Poker Face", "Just Dance" and "LoveGame" are uptempo dance songs, with "Poker Face" carrying a dark sound with clear vocals on the chorus and a pop hook. "Just Dance" is synth-based while "LoveGame" has a more dance-oriented beat, and "Money Honey" has a moderate techno groove. All of them combined synths of clipped marching beats, sawing electronics and contained mild R&B-infused beats. "Paparazzi" carried a sultry beat while "Summerboy" had influences of the music of Blondie. "Eh, Eh (Nothing Else I Can Say)" is credited as a ballad compared to the rest of the dance-fueled tracks from "The Fame". The song has a 1980s synth-pop feel to it, while incorporating the "Eh, Eh" hook from Rihanna's single "Umbrella" (2007).  Lyrically, the songs on "The Fame" talk about being famous and achieving popularity; "Poker Face" is about sexual innuendo and teasing. Gaga explained to the "Daily Star" that the lyrics carry a bit of an undertone of confusion about love and sex. According to the BBC, the "Mum-mum-mum-mah" hook used in the song is sampled from Boney M's 1977 hit "Ma Baker". "Just Dance" talks about being intoxicated in a party, with lyrics like "What's going on on the floor? / I love this record, baby but I can't see straight anymore". "LoveGame" portrays a message about love, fame and sexuality. "Paparazzi" portrays a stalker who is following somebody being his or her biggest fan. The lyrics also portray the desire of capturing the attention of the camera as well as achieving fame. Gaga explained that,  "This idea of "The Fame" runs through and through. Basically, if you have nothing—no money, no fame—you can still feel beautiful and dirty rich. It's about making choices, and having references—things you pull from your life that you believe in. It's about self-discovery and being creative. The record is slightly focused, but it's also eclectic.[...] The music is intended to inspire people to feel a certain way about themselves, so they'll be able to encompass, in their own lives, a sense of inner fame that they can project to the world, and the carefree nature of the album is a reflection of that aura. I like to funnel interesting ideas to the rest of the world through a pop lens."

Critical reception.

"The Fame" received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 71, based on 13 reviews. AllMusic editor Stephen Thomas Erlewine called the album "music that sounds thickly sexy with its stainless steel synths and dark disco rhythms", and wrote that it is "glorious pop trash and a wicked parody of it." Nicole Powers of "URB" complimented its "irony-laden lyrics, delivered in a style that owes a little something to Gwen Stefani," as well as the album's "deluxe ditties". Mikael Wood of "Entertainment Weekly" called it "remarkably (and exhaustingly) pure in its vision of a world in which nothing trumps being beautiful, dirty, and rich. In this economy, though, her high-times escapism has its charms".  Alexis Petridis of "The Guardian" found it "packing an immensely addictive melody or an inescapable hook, virtually everything sounds like another hit single", and predicted that it "certainly sounds like it could be big." Daniel Brockman from "The Boston Phoenix" wrote that "Gaga ups the ante in terms of catchy songwriting and sheer high-in-the-club-banging-to-the-beat abandon." Ben Hogwood of "musicOMH" praised Gaga's "blend of sassy attitude, metallic beats and sharp, incisive songwriting", elements which he felt are integral to "creating pop music".  Although he panned "Eh, Eh (Nothing Else I Can Say)", "Paper Gangsta", and "Brown Eyes", Evan Sawdey of "PopMatters" called "The Fame" "a solid dance album" and wrote that "much of the album's success can be attributed to rising club producer RedOne." Joey Guerra from the "Houston Chronicle" felt that although the songs present in the album are not innovative, Gaga deserved credit for bringing real dance music to the mass. Genevieve Koski of "The A.V. Club" felt that the "whole point" of the album is "glitter-laced, dance-inciting energy that bodes well for extended club play". "Slant Magazine"s Sal Cinquemani viewed that Gaga's lyrics veer between "cheap" and "nonsensical drivel", while her singing is "uneven at best". He added that the highlights such as "Poker Face", "Starstruck", "Paper Gangsta", and "Summerboy" rely "almost solely on their snappy production and sing-along hooks."  Freedom du Lac from "The Washington Post" criticized the album for lacking originality. "MSN Music"s Robert Christgau gave the album an "honorable mention" and quippedly referred to it as "shallowness at its most principled." "The Fame" garnered five Grammy nominations at the 52nd Annual Grammy Awards on December 2, 2009. The album itself was nominated for Album of the Year and won Best Electronic/Dance Album.

Commercial performance.

In the United States, "The Fame" debuted at number 17 on the "Billboard" 200 with sales of 24,000 on the issue dated November 15, 2008. After fluctuating down the charts, the album reached number 10 on the issue dated March 7, 2009. The album also topped "Billboard"s Dance/Electronic Albums chart; it stayed at the number-one spot for 108 non-consecutive weeks. In March 2020, the album was certified six-times platinum for shipments of six million copies, by the Recording Industry Association of America (RIAA). With the release of "The Fame Monster", which was also combined with "The Fame" as a deluxe edition, the album jumped from 34 to 6 on the "Billboard" 200 with sales of 151,000. It reached its highest sales week on the issue dated January 9, 2010 with 169,000 copies sold. On the issue dated January 16, 2010, "The Fame" moved to a new peak of two on the "Billboard" 200 after being on the charts for 62 weeks. By the end of 2009, "The Fame" became the fifth best-selling album of the year.  "The Fame" has sold 4.9 million copies in the United States as of March 2019 and is the seventh best-selling digital album, selling 1.086 million digital copies. Including equivalent album units, "The Fame" has sold 8.8 million in the country. It was ranked at number 12 on the "Billboard" Top 200 Albums of All Time list. Following Gaga's Super Bowl LI halftime show performance, "The Fame" re-entered the "Billboard" 200 at number 6, selling 17,000 copies and 38,000 total album-equivalent units. It has spent a total of 223 weeks on the chart.  In Canada, the album reached number-one, and has been certified seven times platinum by Music Canada for shipment of 560,000 copies. It had sold 476,000 copies as of March 2011. The album debuted at number six, and peaked at number two in New Zealand as well as being certified double platinum. In Australia, the album debuted at number 12 and peaked at number three. The album has been certified quadruple platinum in Australia, by the Australian Recording Industry Association (ARIA) for shipments of 280,000 copies.  "The Fame" debuted in the United Kingdom at number three with first week sales of 25,228 copies. After spending 10 weeks in the top 10, it replaced Ronan Keating's "Songs for My Mother" at the top position. Since then, the album spent four consecutive weeks at the number-one spot. It has since been certified ten-times platinum by the British Phonographic Industry (BPI), and has sold 3 million copies as of October 2018. It also became the first album to reach the platinum certification based on digital sales after selling 300,000 units in the UK. The album is the ninth best-selling album in the UK of the 21st century, and the 31st best-selling album in UK chart history.  In France, "The Fame" debuted at number 73 and peaked at number two for five weeks. It has been certified diamond status by the Syndicat National de l'Édition Phonographique and, as of February 2012, has sold 630,000 copies. In Ireland, the album entered the charts at number-eight, and in its fifth week climbed to number-one for two consecutive weeks. In mainland Europe, the album peaked at number one on the European Top 100 Albums, the Austrian Albums Chart and the German Album Chart. In Germany, it became the fourth most downloaded album ever. It also reached the top 20 in Mexico, Belgium, the Czech Republic, Denmark, Finland, Greece, Hungary, Italy, the Netherlands, Norway, Poland, Russia, and Switzerland. Combined with its reissue, "The Fame Monster", the album has sold over 15 million copies worldwide.

Promotion.

Live performances and media appearances.

To promote the album, Gaga did several performances worldwide. Her first televised appearance was on Logo's NewNowNext Awards on June 7, 2008. She also performed on Michalsky StyleNite at Berlin Fashion Week, "So You Think You Can Dance", "Jimmy Kimmel Live!", "The Tonight Show with Jay Leno", as well as in Vietnam for the 57th Miss Universe beauty pageant during the swimsuit competition. On January 31, 2009, she performed on television in Ireland on RTÉ One's show "Tubridy Tonight". Three songs from "The Fame" were used in the second season of The CW's series "Gossip Girl": "Paparazzi" in the episode "Summer, Kind of Wonderful", "Poker Face" in "The Serena Also Rises", and "Money Honey" in "Remains of the J". Gaga also performed "Poker Face" on "American Idol" on April 1, 2009. To celebrate the launch of the show "Dirty Sexy Money", ABC created a music video of Gaga's song "Beautiful, Dirty, Rich", directed by Melina Matsoukas. It was initially announced as Gaga's second single, but "Poker Face" was chosen instead, with "Beautiful, Dirty, Rich" being released as a promotional single. There were two videos released for the song – the first was composed of clips from "Dirty Sexy Money", and the second was the actual music video. The song charted on the UK Singles Chart due to digital downloads and peaked at number 83.

Tour.

The album received further promotion from her first headlining concert tour, The Fame Ball Tour, which started on March 12, 2009 in San Diego, California. It was Gaga's first concert tour with North American shows in March, followed by dates in Oceania and a solo trek through Europe. Dates in Asia soon followed, as well as two performances at England's V Festival and two shows in North America that had been postponed from April. Gaga described the tour as a traveling museum show incorporating artist Andy Warhol's pop-performance art concept. Tickets were distributed for charity also. Alternate versions of the show with minimal variations were planned by Gaga to accommodate different venues.  The show consisted of four segments, with each segment being followed by a video interlude to the next segment, and it ended with an encore. The set list consisted of songs from "The Fame" only. Gaga appeared on the stage in new costumes including an innovative dress made entirely of bubbles and premiered an unreleased song called "Future Love". An alternate set list with minor changes was performed for European dates. The show received positive critical appreciation with critics complimenting her vocal clarity and fashion sense as well as her ability to pull off theatrics like a professional artist.

Singles.

"Just Dance" was released as the album's lead single commercially worldwide on June 17, 2008, through digital distribution. The song was critically acclaimed with reviewers complimenting its club anthem-like nature and the synth-pop associated with it. It achieved commercial success by topping charts in the United States, Australia, Canada, the Republic of Ireland, the Netherlands and the United Kingdom, as well as reaching the top 10 in 16 other countries. The song received a Grammy nomination in the Best Dance Recording category but lost to electronic duo Daft Punk for their song "Harder, Better, Faster, Stronger".  "Poker Face" was released as the second single from the album. It was also well received by critics, most of whom have praised the robotic hook and the chorus. The single achieved greater success than "Just Dance" by topping the charts in almost all the countries it was released to. "Poker Face" became Gaga's second consecutive number one on the Hot 100. On December 2, 2009, "Poker Face" received three Grammy nominations in the categories of Song of the Year, Record of the Year, and won for Best Dance Recording.  "Eh, Eh (Nothing Else I Can Say)" was the album's third single in Australia, New Zealand, Sweden and Denmark and fourth in France. The song received mixed reviews. Some critics compared it to nineties Europop while the others criticized it for bringing the party-like nature of the album to a halt. It failed to match the success of the previous singles in Australia and New Zealand by reaching 15 and nine, respectively. It peaked at two in Sweden and at seven in France.  "LoveGame" was released as the third single in the United States, Canada and some European nations. It was the fourth single in Australia, New Zealand, and the United Kingdom. The song was critically appreciated for its catchy tune and the "I wanna take a ride on your disco stick" hook. The song has reached the top 10 in countries such as the United States, Australia and Canada and the top 20 in others.  "Paparazzi" was announced as the third single in the United Kingdom and Ireland with a release date of July 6, 2009, the fourth single in the United States, and the fifth single overall. The song has reached the top five in Australia, Canada, Ireland and the United Kingdom. It also reached the top 10 in the United States. The song has received critical acclaim for its fun-filled, club-friendly nature and is deemed the most memorable and telling song from the album. The associated music video for the song was shot as a mini-movie with Gaga starring as a doomed starlet who is almost killed by her boyfriend, but in the end takes her revenge and reclaims her fame and popularity.

"The Fame Monster".

"The Fame Monster" is a reissue of "The Fame", released on November 18, 2009. Initially planned solely as a part of the deluxe edition of "The Fame", Interscope later decided to release the eight new songs as a standalone EP in some territories. The decision was also due to Gaga believing the re-release was too expensive and that the albums were conceptually different, describing them as yin and yang. The deluxe edition of the album contains "The Fame" in its entirety along with "The Fame Monster". The album deals with the darker side of fame, as experienced by Gaga over the course of 2008–09 while travelling around the world, and are expressed through a monster metaphor. Cover artwork was done by Hedi Slimane and has a gothic look which Gaga had to convince her record company to allow her to shoot. The composition takes its inspiration from Gothic music and fashion shows. Contemporary critics gave a positive review of the album, with the majority of them complimenting the songs "Bad Romance", "Telephone", and "Dance in the Dark". In some countries the album charted together with "The Fame" while in others like the United States, Canada and Japan, it charted as a separate album. It has reached top 10 in most of the major markets. She announced The Monster Ball Tour supporting the album, which started on November 27, 2009 in Montreal, Canada, and finished on May 6, 2011, in Mexico City, Mexico.

Track listing.

Notes

Personnel.

Personnel adapted from "The Fame" liner notes.

Certifications and sales.

!scope="row"|Philippines (PARI) !scope="row"|Worldwide

The Fame is the debut studio album by American singer Lady Gaga. It was released on August 19, 2008, by Interscope Records. After joining Kon Live Distribution and Cherrytree Records in 2008, Gaga began working on the album with different producers, primarily RedOne, Martin Kierszenbaum, and Rob Fusari. Musically, "The Fame" is an electropop, synth-pop, and dance-pop album that displays influences from 1980s music. Lyrically, it visualizes Gaga's love of fame in general, while also dealing with subjects such as love, sex, money, drugs, and sexual identity. The album was primarily promoted through The Fame Ball Tour and multiple television appearances, and was reissued as a deluxe edition with "The Fame Monster" on November 18, 2009.

《超人气》-{zh-tw:(英语:"The Fame"); zh-cn:(英译:The Fame); zh-hk:(中译:超人气);}-是美国创作歌手女神卡卡的首张录音室专辑。由新视镜唱片于2008年8月19日发行。于2008年加入Kon Live Distribution以及樱桃树唱片后,卡卡开始与多名制作人着手录制专辑,主要有RedOne、马汀·奇阿斯邦以及罗布·富萨里。


Constitutional nature.

The Constitution of 1978 regulates the General Council of the Judiciary in paragraphs 2 and 3 of the section 122.  This means that, the Constitution only detail the way of election of the eight members of the GCJ that they will be chosen between the most renowned jurists. It requires a minimum of 15 years of experience. Four of them must to be chosen by the Congress and the other four by the Senate. Both case requires a majority of three fourths of the members of every Chamber to be elected member of the GCJ.  Otherwise, for the election of the twelve members precedents of the judiciary, with independence of the professional category that they belong (Magistrate of the Supreme Court, Magistrate or Judge), the Constitution refers to what is established in a future Organic Law. The Cortes fulfilled this constitutional mandate with the approval of the Organic Law 6/1985, of 1 July, of the Judicial Power.

Functions.

The GCJP is not a jurisdictional body, but an overseeing and organising body of the Spanish Judiciary - it does not form part of the judiciary itself. Among its main functions are:  The GCJP is also compelled to report on all the laws and legal dispositions of the State and the Autonomous Communities pertaining to judicial questions, as well as being consulted in the naming of the Attorney General of the State.

Composition and manner of election.

The Constitution determines in its article 122.3:  The Organic Law 2/2001 (currently in force), modified the Organic Law 6/1985 in which refers to the election system:

Changes in the Organic Law and new reform proposal.

According to the original wording of Article 112 of the Organic Law 6/1985, of July 1st, of the Judiciary.

Each of the chambers that form the Cortes Generales chose ten members by a qualified majority of three fifths. Six among active duty judges and four among lawyers of recognized competence. Members of the outgoing Council or those who provided services in their technical bodies could not be elected.  The President is appointed by the Plenary of the GCJ between members of the judicial career or jurists of recognized competence. During his term, members can not be removed, replaced, or terminated and can not be re-elected. Formally, they are appointed by the King of Spain.

According to the modification made by Organic Law 2/2001 of June 21st.

Organic Law 2/2001, of June 21, modified article 122 of the Organic Law of the Judiciary reforming the election method between members coming from the judiciary. The professional associations of the judiciary or groups of judges who make up at least 2% of the total on active duty may present to the chambers a total of thirty-six candidates, of which the Congress shall elect six And the other six will be chosen by the Senate from among the remaining thirty.

Reform proposal of 2012.

Alberto Ruiz-Gallardón, minister of Justice, announced in 2012 his intention to change the method of election of the 12 members of the GCJ, returning to the old system of 1985. However, on December 21, 2012 the minister attended to the Council of Ministers with a preliminary project in which it was established that the election of the twenty members of the governing body of the judges was carried out directly by the Parliament, without previous elections in the judicial career. Ruiz-Gallardón considered that the reform, consensual with the PSOE, would contribute to depoliticization justice. The Council of Ministers rejected this project.

Members of the GCJ.

The members of the General Council of the Judiciary are the President, the Vice-president and the Members.

Presidents.

The President of the GCJ is also the President of the Supreme Court. They are:

Members.

These are the current Members of the GCJ since November 29, 2013. They were elected by the Congress and the Senate:

The General Council of the Judiciary (GCJ) (, (CGPJ) is the constitutional body that governs all the Judiciary of Spain, such as courts, and judges, as it is established by the Spanish Constitution of 1978, article 122 and developed by the Organic Law 6/1985 of the Judicial Power (LOPJ). The President of the CGJP is also the president of the Supreme Court.

司法权总委员会(,缩写CGPJ)是西班牙司法权的领导机构,由最高法院院长和20名成员组成。它由1978年西班牙宪法建立,之后由1985年和2001年的组织法修正了部分内容。西班牙最高法院院长同时兼任司法权总委员会主席。


Early life.

Batmönkh was born in Khyargas sum of Uvs aimag on 10 March 1926. When starting primary school, he took his brother's name, Jamba, as a surname. After graduating seventh grade in his native Uvs aimag, he entered the National University of Mongolia's two year preparatory program. From 1947 to 1951, he studied at the National University's School of Economics.  He met his future wife when they were both 16 years old. Both Batmönkh and Daariimaa were housed in the same dormitory, when they were studying in the National University of Mongolia's School of Economics, and the Agricultural Technical College, respectively. They were married one year later. Daariimaa worked for 33 years at the National University of Mongolia Library, until 1988, when she retired.

Early political career.

Batmönkh became a member of the ruling Mongolian People's Revolutionary Party (MPRP) in 1948. In 1951, Batmönkh started work as a professor at the Pedagogical University. In 1973, after working as a professor and director at the university for over twenty years, he was promoted to Minister of Science (Superintendent of the Department of Science Education of the Party's Central Bureau). In the spring of 1974, he was promoted to Vice Chairman of the Council of Ministers of the MPRP. In June 1974, during a Session of the People's Great Khural, he was further promoted to the Chairman of the Council of Ministers, an office analogous to Prime Minister.

Leadership of Mongolia (1984-1989).

In 1984, along with D. Molomjamts, Batmönkh played a key role in easing Tsedenbal's way out of power. In 1984, he became the Head of State when the party's long-time leader, Yumjaagiin Tsedenbal, was ousted in a party congress. Batmönkh strengthened Mongolia's alliance with the Soviet Union, but as in many other communist countries, there was much pressure for the party to give up power. He also called for the improvement of relations with China, saying during a meeting with President Kim Il sung while on a state visit to Pyongyang in November 1986 that "renewing the development of Sino-Mongolian relations is important for our two countries’ people’s common interest".  Batmönkh's reign contributed to the creation of major energy (the construction of Ulaanbaatar and Erdenet power stations, and the connection of the Central high-power electric grid with the Soviet Union's Siberian Grid) and mining (the beginning of the operations of Erdenet and Baganuur coal mines, and Bor-Ondor gypsum mine) infrastructure, together with, various other light production and food processing factories.

Role in the Mongolian Revolution of 1990.

In late 1989, the Democratic movement garnered strength. In March 1990 the first democratic alliance, called Ardchilsan Kholboo (Mongolian Democratic Union), launched a hunger strike urging that the communist government led by Batmönkh resign.  Batmönkh decreed that the only way to end the situation was the resignation of the MPRP's Politburo, and maintained a strict policy of never using force. A book was later published with title "Never use force." After discussions with the members of the Politburo and after the Eighth Congress of the Party's Central Committee, the MPRP officially stepped down from power on 9 March 1990.  Batmönkh's widow later recounted: "It was March of 1990. Batmönkh was sitting at home, preparing for his speech to the MPRP's 8th Congress. The telephone rang, and after speaking a while he suddenly said "We few Mongolians should never make each other's noses bleed" and threw the phone away. It was not typical of him, he was a very calm person. He then said "Some leaders have come together and asked me to sign something. I'll go there and come back". He kept asking for his tie, not seeing that it was right next to him. To think about it now, he was very flustered and nervous. He went out without eating, just drinking a cup of tea at the door. I stayed at home, nervous that the protestors had clashed outside. In reality, they (others in Politburo and in authority) had asked him to sign a draft of a decree to crack down and scatter the protest outside. People who were present there later recalled that Batmönkh said "I will never sign this. We few Mongols have not yet come to the point that we will make each other's noses bleed," smacked the table, and left the room."  "He had resigned by the time he came home that evening. He didn't say what happened to me in detail. He was never a person to talk much about work. He was a very calm person," his widow said.

After retirement.

In 1990, most of his family members became unemployed after being accused of political corruption. He and his wife made bread and sold deel and gutals. From 1992 until his death, he lived in Dambadarjaa (Sukhbaatar district) while planting vegetables and fruits.  He was privately critical of the new administration (particularly of Punsalmaagiin Ochirbat, the new president) after his retirement. He died in 1997.

In popular culture.

Batmönkh's role in the 1990 democratic movement was dramatized in the 2016 Mongolian film "Don't Forget" ("Бүү март").

Jambyn Batmönkh (, ; 10 March 1926 – 14 May 1997) was a Mongolian communist political leader and economics professor. He was the leader of Mongolia during its transition into democracy in 1990.

姜巴·巴特蒙赫(,1926年-3月10日-1997年-5月14日)蒙古族,今蒙古国乌布苏省夏尔嘎斯县(Khyargas)人,蒙古政治家。曾任蒙古人民革命党中央委员会总书记、蒙古人民共和国大人民呼拉尔主席团主席。


Hunters or jumpers.

Show jumping events have hunter classes, jumper classes and hunt seat equitation classes.  Hunters are judged subjectively on the degree to which they meet an ideal standard of manners, style, and way of going. Conversely, jumper classes are scored objectively, based entirely on a numerical score determined only by whether the horse attempts the obstacle, clears it, and finishes the course in the allotted time. Jumper courses tend to be much more complex and technical than hunter courses because riders and horses are not being judged on style. Courses often are colorful and at times, quite creatively designed.  Hunters have meticulous turnout and tend toward very quiet, conservative horse tack and rider attire. Hunter bits, bridles, crops, spurs, and martingales are tightly regulated. Jumpers, while caring for their horses and grooming them well, are not scored on turnout, are allowed a wider range of equipment, and may wear less conservative attire, so long as it stays within the rules. Formal turnout always is preferred; a neat rider gives a good impression at shows.  In addition to hunters and jumpers, there are equitation classes, sometimes called hunt seat equitation, which judges the ability of the rider. The equipment, clothing, and fence styles used in equitation more closely resemble hunter classes, although the technical difficulty of the courses may more closely resemble showjumping events. This is because both disciplines are designed to test the rider's ability to control the horse through a difficult course consisting of rollbacks, combinations, and higher obstacles.

Rules.

Jumper classes are held over a course of show jumping obstacles, including verticals, spreads, and double and triple combinations, usually with many turns and changes of direction. The intent is to jump cleanly over a set course within an allotted time. Time faults are assessed for exceeding the time allowance. Jumping faults are incurred for knockdowns and blatant disobedience, such as refusals (when the horse stops before a fence or "runs out") ("see "Modern rules" below"). Horses are allowed a limited number of refusals before being disqualified. A refusal may lead to a rider exceeding the time allowed on course. Placings are based on the lowest number of points or "faults" accumulated. A horse and rider who have not accumulated any jumping faults or penalty points are said to have scored a "clear round". Tied entries usually have a jump-off over a raised and shortened course, and the course is timed; if entries are tied for faults accumulated in the jump-off, the fastest time wins.  In most competitions, riders are allowed to walk the initial course but not the jump-off course (usually the same course with missing jumps, e.g., 1, 3, 5, 7, 8 instead of 1, 2, 3, 4, 5, 6, 7, 8, 9 or the same course but timed) before competition to plan their ride. Walking the course before the event is a chance for the rider to walk the lines he or she will have to ride, in order to decide how many strides the horse will need to take between each jump and from which angle. Going off course will cost time if minor errors are made and major departures will result in disqualification.  The higher levels of competition, such as "A" or "AA" rated shows in the United States, or the international "Grand Prix" circuit, present more technical and complex courses. Not only is the height and width ("spread") of an obstacle increased to present a greater challenge, technical difficulty also increases with tighter turns and shorter or unusual distances between fences. Horses sometimes also have to jump fences from an angle rather than straight on. For example, a course designer might set up a line so that there are six and a half strides (the standard measure for a canter stride is twelve feet) between the jumps, requiring the rider to adjust the horse's stride dramatically in order to make the distance.  Unlike show hunter classes, which reward calmness and style, jumper classes require boldness, scope, power, accuracy, and control; speed also is a factor, especially in jump-off courses and speed classes (when time counts even in the first round). The first round of the class consists of the rider and horse having to go around the course without refusing or knocking down any jumps while also staying within the time allowed. If the horse/rider combination completes the first round successfully, then they move on to the second round, called the "jump-off". In a jump-off, the rider needs to plan ahead of time because they need to be very speedy and also not have any faults. The jump-off has fewer jumps than the first round but is usually much more difficult. To win this round, the rider has to be the quickest while still not refusing or knocking down any jumps.

History.

Show jumping is a relatively new equestrian sport. Until the Inclosure Acts, which came into force in England in the 18th century, there had been little need for horses to jump fences routinely, but with this act of Parliament came new challenges for those who followed fox hounds. The Inclosure Acts brought fencing and boundaries to many parts of the country as common ground was dispersed amongst separate owners. This meant that those wishing to pursue their sport now needed horses that were capable of jumping these obstacles.  In the early horse shows held in France, there was a parade of competitors who then took off across country for the jumping. This sport was, however, not popular with spectators since they could not follow to watch the jumping. Thus, it was not long before fences began to appear in an arena for the competitions. This became known as "Lepping". 1869 was the year ‘horse leaping’ came to prominence at Dublin horse show. Fifteen years later, "Lepping" competitions were brought to Britain and by 1900 most of the more important shows had "Lepping" classes. Separate classes were held for women riding sidesaddle.  At this time, the principal cavalry schools of Europe at Pinerolo and Tor-di-Quinto in Italy, the French school in Saumur, and the Spanish school in Vienna all preferred to use a very deep seat with long stirrups when jumping. While this style of riding may have felt more secure for the rider, it also impeded the freedom of the horse to use its body to the extent needed to clear large obstacles.  An Italian riding instructor, Captain Federico Caprilli, heavily influenced the world of jumping with his ideas promoting a forward position with shorter stirrups. This style placed the rider in a position that did not interfere with the balance of the horse while negotiating obstacles. This style, now known as the forward seat, is commonly used today. The deep, Dressage-style seat, while useful for riding on the flat and in conditions where control of the horse is of greater importance than freedom of movement, is less suitable for jumping.  The first major show jumping competition held in England was at Olympia in 1907. Most of the competitors were members of the military and it became clear at this competition and in the subsequent years, that there was no uniformity of rules for the sport. Judges marked on their own opinions. Some marked according to the severity of the obstacle and others marked according to style. Before 1907 there were no penalties for a refusal and the competitor was sometimes asked to miss the fence to please the spectators. The first courses were built with little imagination, many consisting of only a straight bar fence and a water jump. A meeting was arranged in 1923 which led to the formation of the BSJA in 1925. In the United States, a similar need for national rules for jumping and other equestrian activities led to the formation of the American Horse Shows Association in 1917, which now is known as the United States Equestrian Federation.  An early form of show jumping first was incorporated into the Olympic Games in 1900. Show jumping in its current format appeared in 1912 and has thrived ever since, its recent popularity due in part to its suitability as a spectator sport that is well adapted for viewing on television.

Original scoring tariff.

The original list of faults introduced in Great Britain in 1925 was as follows: Water jumps were once at least 15 feet (5 m) wide, although the water often had drained out of them by the time the last competitor jumped. High jumping would start with a pole at around five feet high, but this was later abandoned since many horses went under the pole. It was for this reason that more poles were added and fillers came into use. Time penalties were not counted until 1917.

Modern rules.

Rules have evolved since then, with different national federations having different classes and rules. The international governing body for most major show jumping competitions is the Fédération Équestre Internationale (FEI). The two most common types of penalties are jumping penalties and time penalties.

Tack.

Show jumping competitors use a very forward style of English saddle, most often the "close contact" design, which has a forward flap and a seat and cantle that is flatter than saddles designed for general all-purpose English riding or dressage. This construction allows greater freedom of movement for the rider when in jumping position and allows a shorter stirrup, allowing the rider to lighten the seat on the horse. Other saddles, such as those designed for dressage, are intended for riders with a deep seat, can hinder a rider over large fences, forcing them into a position that limits the horse's movement and may put the rider dangerously behind the movement of the horse.  At international levels, saddle pads are usually white and square in shape, allowing the pair to display a sponsorship, national flag, or breeding affiliation. In contrast, riders in show hunters and equitation often use "fitted" fleece pads that are the same shape as the saddle. Girths vary in type, but usually have a contour to give room for the horse's elbows, and many have belly guards to protect the underside of the horse from its shoe studs when the front legs are tightly folded under.  Bridles may be used with any style of cavesson noseband, and there are few rules regarding the severity of this equipment. The figure-8 cavesson is the most popular type. Bits may also vary in severity, and competitors may use any bit, or even a "bitless bridle" or a mechanical hackamore. The ground jury at the show has the right, however, based on veterinary advice, to refuse a bit or bridling scheme if it could cause harm to the horse.  Boots and wraps are worn by almost all horses, due to the fact that they may easily injure their legs when landing or when making tight turns at speed. Open-fronted tendon boots usually are worn on the forelegs, because they provide protection for the delicate tendons that run down the back of the leg, but still allow the horse to feel a rail should it get careless and hang its legs. Fetlock boots are sometimes seen on the rear legs, primarily to prevent the horse from hitting itself on tight turns.  Martingales are very common, especially on horses used at the Grand Prix level. The majority of jumpers are ridden in running martingales since these provide the most freedom over fences. Although a standing martingale (a strap connecting directly to the horse's noseband) is commonly seen on show hunters and may be helpful in keeping a horse from throwing its head up, it also may be quite dangerous in the event of a stumble, restricting a horse from using its head to regain its balance. For this reason, standing martingales are not used in show jumping or eventing. Breastplates also are common, used to keep the saddle in place as the horse goes over large fences.

Rider attire.

Rider attire may be somewhat less formal than that used in hunter riding. An approved ASTM/SEI equestrian helmet with a harness is always required, however, and is a practical necessity to protect the rider's head in the event of a fall. Tall boots are required, usually black. Spurs are optional, but commonly used. Breeches are traditional in color, usually white, tan, or beige. At approved competitions, depending on sanctioning organization, a dark-colored coat usually is worn (although under the rules of the USEF tweed or wash jackets are allowed in the summer and lighter colors are currently in fashion), with a light-colored (usually white) ratcatcher-style shirt and either a choker or stock tie. In hot summer weather, many riders wear a simple short-sleeved "polo" style shirt with helmet, boots and breeches, and even where coats are required, the judges may waive the coat rule in extremely hot weather. Gloves, usually black, are optional, as is the plaiting of the horse's mane and tail.  At FEI Grand Prix levels, dress is more strictly controlled. Riders must wear white or light-colored shirts, white ties or chokers, black or brown boots, white or light fawn breeches, and red or black jackets. Members of the military, police forces, and national studs, however, retain the right to wear their service uniforms instead of FEI-prescribed dress. In some circumstances, members of international teams may wear jackets in their country's respective colors or add national insignia.

Types of show jumps.

Show jumping fences often are colorful, sometimes very elaborate and artistic in design, particularly at the highest levels of competition. Fences are designed to break away if stuck by the horse, both to simplify scoring, but also for safety, particularly to prevent falls by the horse. Types of jumps used include the following:  At international level competitions that are governed by FEI rules, fence heights begin at. Other competition levels are given different names in different nations, but are based primarily on the height and spread of fences  In the United States, jumping levels range from 0–9 as follows: USEF Jumper Levels  In Germany, competition levels are denoted by the letters E, A, L, M, S, and correspond to heights ranging from 0.80 to 1.55 meters.

The horses.

A show jumper must have the scope and courage to jump large fences as well as the athletic ability to handle the sharp turns and bursts of speed necessary to navigate the most difficult courses. Many breeds of horses have been successful show jumpers, and even some grade horses of uncertain breeding have been champions. Most show jumpers are tall horses, over, usually of Warmblood or Thoroughbred breeding, though horses as small as have been on the Olympic teams of various nations and carried riders to Olympic and other international medals. There is no correlation between the size of a horse and its athletic ability, nor do tall horses necessarily have an advantage when jumping. Nonetheless, a taller horse may make a fence appear less daunting to the rider.  Ponies also compete in show jumping competitions in many countries, usually in classes limited to youth riders, defined as those under the age of 16 or 18 years, depending on the sanctioning organization. Pony-sized horses may, on occasion, compete in open competition with adult riders. The most famous example was Stroller, who only stood but was nonetheless an Individual silver medal winner and part of the Great Britain show jumping team in the 1968 Summer Olympics, jumping one of the few clean rounds in the competition. Significant jumpers from the United States are included in the Show Jumping Hall of Fame.

Show jumping, also known as "stadium jumping", "open jumping", or simply "jumping", is a part of a group of English riding equestrian events that also includes dressage, eventing, hunters, and equitation. Jumping classes are commonly seen at horse shows throughout the world, including the Olympics. Sometimes shows are limited exclusively to jumpers, sometimes jumper classes are offered in conjunction with other English-style events, and sometimes show jumping is but one division of very large, all-breed competitions that include a very wide variety of disciplines. Jumping classes may be governed by various national horse show sanctioning organizations, such as the United States Equestrian Federation in the USA or the British Showjumping Association in Great Britain. International competitions are governed by the rules of the International Federation for Equestrian Sports (FEI, from the body's French name of "Fédération Équestre Internationale").

障碍超越为马术三项赛中的其中一项,于1866年,巴黎举行首届格兰披治障碍超越赛,于1900年则确认为奥运会项目。骑手和马匹要求在35米乘60米、45米乘70米或70米乘90米的场地中,按规定路线,于90秒内顺序跳过10至13个的障碍,包括垂直障碍、伸展障碍、水障、双重组合障碍及三重组合障碍。通常比赛两回合,以罚分方式进行,踢掉一道障碍物扣4分、马匹第一次不服从指令扣4分、超时每秒扣一分,另外,马匹第二次不服从指令则会被淘汰。最少罚分者为胜利,如果同分则需要进行决赛,决赛仍然同分则以时间快慢作胜负。


Etymology.

The name Kew, recorded in 1327 as "Cayho", is a combination of two words: the Old French "kai" (landing place; "quay" derives from this) and Old English "hoh" (spur of land). The land spur is formed by the bend in the Thames.

Governance.

Kew forms part of the Richmond Park UK Parliament constituency; the Member of Parliament is Sarah Olney. For elections to the London Assembly it is part of the South West London Assembly constituency.  Kew was added in 1892 to the Municipal Borough of Richmond which had been formed two years earlier, and which was in the county of Surrey. In 1965, under the London Government Act 1963, the boundaries of Greater London were expanded to include Kew which, with Richmond, transferred to the new London Borough of Richmond upon Thames.

Economy.

The fashion clothing retailer Jigsaw's headquarters are in Mortlake Road, Kew.  A former industry in Kew was that of nameplate manufacturing, by the Caxton Name Plate Manufacturing Company, based on Kew Green. The company was founded in 1964 and folded in 1997.

Chrysler and Dodge.

Kew Retail Park stands on the site of a former factory where, from the 1920s until 1967, Dodge made lorries with the model name Kew. Cars were also manufactured there. Dodge Brothers became a Chrysler subsidiary in 1928 and truck production moved to Chrysler's car plant at Kew. In 1933 it began to manufacture a British chassis, at its works in Kew, using American engines and gearboxes. After Chrysler bought the Maxwell Motor Company and their Kew works, the cars of the lighter Chrysler range – Chrysler Airflows, De Sotos and Plymouths — were assembled at this Kew site until the Second World War. The various models of De Sotos were named "Richmond, Mortlake and Croydon"; Plymouths were "Kew Six" and "Wimbledon".  During the Second World War this Chrysler factory was part of London Aircraft Production Group and built Handley Page Halifax aircraft assemblies. When wartime aircraft production ceased, the plant did not resume assembly of North American cars.

People.

Royal associations with Kew.

The Tudors and Stuarts.

Charles Somerset, 1st Earl of Worcester, was granted lands at Kew in 1517. When he died in 1526 he left his Kew estates to his third wife, Eleanor, with the remainder to his son George. In 1538 Sir George Somerset sold the house for £200 to Thomas Cromwell, who resold it for the same amount to Charles Brandon, 1st Duke of Suffolk. Brandon had probably already inhabited Kew during the life of his wife Mary Tudor, the daughter of Henry VII and widow of the French king Louis XII. According to John Leland's "Cygnea Cantio" ("Swan Song"), she stayed in Kew (which he refers to as "Cheva") for a time after her return to England.  One of Henry VIII's closest friends, Henry Norris, lived at Kew Farm, which was later owned by Elizabeth I's favourite, Robert Dudley, Earl of Leicester. This large palatial house on the Thames riverbank predated the royal palaces of Kew Palace and the White House. Excavations at Kew Gardens in 2009 revealed a wall that may have belonged to the property.  In Elizabeth's reign, and under the Stuarts, houses were developed along Kew Green. West Hall, which survives in West Hall Road, dates from at least the 14th century and the present house was built at the end of the 17th century.  Elizabeth Stuart, daughter of James I, was given a household at Kew in 1608.  Queen Anne subscribed to the building of the parish church on Kew Green, which was dedicated to St Anne in 1714, three months before the Queen's death.

The Hanoverians.

The Hanoverians maintained the strongest links with Kew, in particular Princess Augusta who founded the botanic gardens and her husband Frederick, Prince of Wales who lived at the White House in Kew. Augusta, as Dowager Princess of Wales, continued to live there until her death in 1721. Frederick commissioned the building of the first substantial greenhouse at Kew Gardens.  In 1761 the future George III and Queen Charlotte moved into the White House at Kew. They established their main summer court at Kew from the 1760s and 1770s. Queen Charlotte died at the Dutch House in Kew in 1818.  William IV spent most of his early life at Richmond and at Kew Palace, where he was educated by private tutors.

Georgian expansion.

During the French Revolution, many refugees established themselves in Kew, having built many of the houses of this period. In the 1760s and 1770s the royal presence attracted artists such as Thomas Gainsborough and Johann Zoffany.

Demography.

In the ten years from the time of the 2001 census, the population rose from 9,445 to 11,436, the sharpest ten-year increase in Kew since the early 20th century. This was partly accounted for by the conversion of former Thames Water land to residential use, and increases in property sizes. The figures are based on those for Kew ward, the boundaries of the enlarged parish having been adjusted to allow for all wards in the borough to be equally sized.

Ethnicity.

The 2011 census showed that 66.2% of the population were White British. Other White was the second largest category at 16%, with 8.1% being Asian.

Transport.

A main mode of transport between Kew and London, for rich and poor alike, was by water along the Thames which, historically, separated Middlesex (on the north bank) from Surrey: Kew was also connected to Brentford, Middlesex by ferry, first replaced by bridge in 1759. The current Kew Bridge, which carries the South Circular Road (the A205) was opened by King Edward VII and Queen Alexandra in 1903.  The A205 road commencing there passes through Kew as a single carriageway. However Kew Road provides the main road link to Richmond. The M4 motorway starts a short distance north of Kew, providing access to Heathrow Airport and the west. The A316 road starts in Chiswick and continues over Chiswick Bridge and a complex junction with the South Circular Road at at the south-eastern end of the district.  Since 1869 rail services have been available from Kew Gardens station. London Underground (District line) services run to Richmond and to central London. London Overground trains run to Richmond and (via Willesden Junction) to Stratford.  Three bus routes serve Kew: the 65, 391 and R68.  River bus services supported by publicly funded Transport for London are from Kew Pier, to Richmond, Hampton Court and to Westminster Pier in central London.

Sport and leisure.

Kew's several other sports clubs include:  The nearest football club in the Football League is Brentford FC, approximately one mile away.

Societies.

The Kew Horticultural Society, founded in 1938, organises an annual show in late August/early September as well as talks, events and outings throughout the year.  The Kew Society, founded in 1901 as the Kew Union, is a civic society that seeks to enhance the beauty of Kew and preserve its heritage. It reviews all planning applications in Kew with special regard to the architectural integrity and heritage of the neighbourhood, and plays an active role in the improvement of local amenities. The Society, which is a member of Civic Voice, organises community events including lectures and outings and produces a quarterly newsletter.  The Richmond Local History Society is concerned with the history of Kew, as well as Richmond, Petersham and Ham.

Places of worship.

Five churches in Kew are currently in use:  Former churches include the late 19th-century Cambridge Road Wesleyan Methodist Chapel, previously known as the Gloucester Road Wesleyan Methodist Chapel and also known as Cambridge Road Methodist Church, which was in use from 1891 to 1969. A late Victorian Salvation Army hall at 6 North Road, built in the style of a chapel, was converted into flats (1–5 Quiet Way) in the early 21st century.

Cemeteries and crematorium.

Mortlake Crematorium and two cemeteries – North Sheen Cemetery and Mortlake Cemetery – are located in Kew.

Literary references to Kew.

I am His Highness' dog at Kew;
 Pray tell me, sir, whose dog are you?  And the wildest dreams of Kew are the facts of Khatmandhu  Go down to Kew in lilac-time, in lilac-time, in lilac-time;
 Go down to Kew in lilac-time (it isn't far from London!)
 And you shall wander hand in hand with love in summer's wonderland;
 Go down to Kew in lilac-time (it isn't far from London!)  Trams and dusty trees.
 Highbury bore me. Richmond and Kew
 Undid me.  Lady Croom: My hyacinth dell is become a haunt for
 hobgoblins, my Chinese bridge, which I am assured is
 superior to the one at Kew, and for all I know at Peking, is
 usurped by a fallen obelisk overgrown with briars.

Kew () is a district in the London Borough of Richmond upon Thames, north-east of Richmond and west by south-west of Charing Cross; its population at the 2011 census was 11,436. Kew is the location of the Royal Botanic Gardens ("Kew Gardens"), now a World Heritage Site, which includes Kew Palace. Kew is also the home of important historical documents such as "Domesday Book", which is held at The National Archives.

邱(Kew ),或译基尤,是英国伦敦泰晤士河畔列治文区下属一区,是伦敦的郊区之一,位于查令十字西南处。邱园位于此地。法国大革命发生时有很多难民搬来,但现在已经是伦敦的富人区之一,此地没有摩天大楼,绿化良好。


诺斯菲尔德 (伊利诺伊州)

Geography.

Northfield is located in Northfield Township, Cook County at 42°6'N 87°46'W (42.10,-87.77). According to the 2010 census, Northfield has a total area of, all land.

Demographics.

As of the census of 2000, there were 5,389 people, 2,155 households, and 1,532 families residing in the village. The population density was 1,822.4 people per square mile (702.9/km2). There were 2,241 housing units at an average density of 757.9 per square mile (292.3/km2). The racial makeup of the village was 92.48% White, 0.52% African American, 0.04% Native American, 5.57% Asian, 0.43% from other races, and 0.96% from two or more races. Hispanic or Latino of any race were 1.67% of the population.  There were 2,155 households out of which 31.2% had children under the age of 18 living with them, 62.8% were married couples living together, 6.3% had a female householder with no husband present, and 28.9% were non-families. 26.1% of all households were made up of individuals and 13.5% had someone living alone who was 65 years of age or older. The average household size was 2.50 and the average family size was 3.04.  In the village, the population was spread out with 25.9% under the age of 18, 3.4% from 18 to 24, 21.9% from 25 to 44, 28.0% from 45 to 64, and 20.9% who were 65 years of age or older. The median age was 44 years. For every 100 females, there were 90.8 males. For every 100 females age 18 and over, there were 85.0 males.  The median income for a household in the village was $91,313, and the median income for a family was $114,279. Males had a median income of $85,788 versus $36,567 for females. The per capita income for the village was $63,857. About 1.2% of families and 1.6% of the population were below the poverty line, including 1.2% of those under age 18 and 0.9% of those age 65 or over.

Government.

Northfield is represented by Democrat Jan Schakowsky of Illinois's 9th congressional district in the United States House of Representatives, Democrat Tammy Duckworth and Democrat Dick Durbin in the United States Senate, State Representative Robyn Gabel, State Senator Daniel Biss and Northfield town President Fred Gougler.

Education.

Northfield is home to New Trier High School's freshman campus.  Northfield houses Middlefork (K–3) and Sunset Ridge School (4–8). It shares its ZIP code (60093) with Winnetka. The high school is New Trier High School.  A small part of Northfield (east of the former Chicago and Northwestern train tracks) is served by Avoca School District 37 in Wilmette. An even smaller part (south of Winnetka Avenue between Sunset Ridge Road and the Forest Preserve) is served by Glenview School District 34 in Glenview.  Christian Heritage Academy is a private school in Northfield that serves students in preschool through twelfth grade. It offers a Christian based education, equipping students to be lifetime followers of Jesus Christ.  Northfield is also home to Glenview Montessori School, a fully accredited, non-sectarian school for 2-6 year olds. The Glenview Montessori School is part of the Deerfield Montessori Schools, one of the first Montessori schools established in Illinois.  Saint Louise de Marillac High School was an all-girls Catholic secondary school in Northfield from 1967 to 1994, run by the Daughters of Charity. In 1994, Marillac merged with Loyola Academy. The campus was sold to Christian Heritage Academy.  The local Catholic parish, St. Phillip the Apostle, ran an elementary school which closed in 2004. The facility is currently leased by the Hyde Park Day School, a University of Chicago laboratory school for students with learning disabilities.

Public safety.

Northfield Fire-Rescue Department.

The Northfield Fire-Rescue Department, headed by Chief Michael Nystrand, is a combination department. They respond to fire related emergencies, medical emergencies, and specialized rescue situations. The Department operates out of one station, centrally located at 1800 Winnetka Avenue. The Northfield Fire Rescue Department's Paramedic program is overseen by Saint Francis Hospital in Evanston, as part of Illinois EMS Region X.

Northfield Police Department.

The Northfield Police Department, headed by Chief William Lustig, is responsible for all law enforcement operations in Northfield as well as emergency communications (E-911) for the Village. The police department, operated out of one station within the city hall complex, is well known for professionalism and good community relations. This department is Accredited by CALEA, and was one of the first in the State of Illinois to become so accredited.

Economy.

The headquarters of Kraft Foods was formerly located in Northfield. Medline Industries now occupies Kraft's former office location. The Stepan Company, a manufacturer of specialty chemicals, is also headquartered here.

Top employers.

According to Northfield's 2018 Comprehensive Annual Financial Report, the top employers in the city are:

Northfield is an affluent village in Cook County, Illinois, United States, located approximately north of downtown Chicago. It is part of a collection of upscale residential communities north of Chicago that belong to New Trier Township and the greater North Shore. As of the 2010 census, the village's population was 5,420.

诺斯菲尔德(英语:Northfield)是位于美国伊利诺伊州库克县的一个村落。


Plot.

The drama tells the story of John Lennon's teenage years from 1955 to 1960.  John was separated from his mother, Julia Lennon, when he was five. He was brought up by his aunt and uncle, Mimi and George Smith, as their own son. He learns the truth at George's funeral, becomes curious and seeks out his mother. John becomes obsessed with rock 'n' roll music during a visit to Blackpool with Julia.  When John is suspended from school, Julia offers to let him stay at her house during school hours so that Mimi won't discover his suspension. Julia teaches John how to play the banjo. Mimi discovers their arrangement and demands that it stop, but John refuses and moves in with Julia. A week later, John overhears an argument between Julia and her husband, and he decides to return to Mimi.  John tells Mimi that he wants to start a rock 'n' roll band and she buys him a guitar. John organizes some of his friends into a band which he names the Quarrymen. They play their first gig at a village fête, where they play a rendition of "Maggie Mae". After the show, John meets Paul McCartney, who auditions for the band with the song "Twenty Flight Rock". Paul is accepted into the band and he and John begin writing songs together. The Quarrymen soon become very popular. John meets Paul's friend, George Harrison, who also auditions. George is accepted into the band as lead guitarist.  Julia holds a birthday party for John at her home. After the party, John confronts her about his missing father, Alf Lennon, and asks why Julia gave him up. He also confronts Mimi, who tells him that Julia cheated on Alf and refused to work on the marriage. Alf allowed 5-year-old John to decide whom he wanted to live with, and John chose his father. Alf planned to move with John to New Zealand, but when Julia abandoned the family, John was torn by his devotion to his mother. Without the time or money to legally determine custody, Mimi assumed custodianship of John and raised him as her son. John is upset by this revelation, and leaves in anger.  John moves out to live on his own. Over time, John accepts his past and Julia and Mimi become friendly. When Julia is hit and killed by a car, however, John is consumed by an anger that he cannot overcome. Two years later, he asks Mimi for his passport so that he can travel to Hamburg with his newly formed band, The Beatles. Mimi asks John to call her as soon as he arrives in Hamburg. The film ends with the caption, "John phoned Mimi as soon as he arrived in Hamburg...and every week thereafter for the rest of his life."

Production.

The film was the directorial debut of conceptual artist/photographer Sam Taylor-Johnson. The screenplay was written by Matt Greenhalgh, who also wrote the Joy Division film "Control". It was shot on location in Liverpool, the last house on the right at the end of Sussex Road in Ickenham, Middlesex and at Ealing Studios in West London. Some of the interior school scenes were filmed at Sacred Heart Catholic College in Crosby. Following the announcement of the film, initial media accounts indicated that it would be based on the book "Imagine This: Growing Up With My Brother John Lennon" by Lennon's half sister Julia Baird. However, the credits for the completed film do not reference either the book or Baird, with sole writing credit accorded to screenwriter Matt Greenhalgh. The director consulted both Paul McCartney and Yoko Ono about the script, with both firmly correcting the depiction of Mimi to be less strict and more loving of John.  The film received a National Lottery funding of £1.2 million from the UK Film Council Premier Fund, with an additional £35,500 from its Development Fund to create the script. The film also received a grant from Film4 (the film division of Channel 4).

Release.

The film premiered in the UK on 26 December 2009. Its US release was on 8 October 2010, coinciding with that weekend's celebrations of the 70th anniversary of Lennon's birth.  HanWay Films represented worldwide sales. Distributor Icon Entertainment International took the rights for the United Kingdom and Australia. Mars Distribution acquired the rights for France. The Weinstein Company distributed the film in the United States, Germany and Latin America.

Festival screenings.

The film had its world premiere on 29 October 2009 at the closing night of the London Film Festival. The film was screened at the 2010 Sundance Film Festival on 27 January. It screened again at the Maui Film Festival in Wailea, Hawaii, on 18 June 2010, the Traverse City Film Festival in Traverse City, Michigan on 27 July 2010, and at The Fest For Beatles Fans convention in Chicago on 14 August 2010.

Reception.

Critical reception.

The film has received mostly positive reviews from film critics. Based on 135 reviews, it holds an 80% "Certified Fresh" rating on review aggregation site Rotten Tomatoes. The site's critical consensus of the film is: "Don't expect any musical insights, but this look at John Lennon's early life benefits from its restrained, low-key approach and some fine acting from Aaron Johnson."

Awards.

"Nowhere Boy" was nominated for four British Academy Film Awards: Outstanding British Film, Best Supporting Actress (one each for Anne-Marie Duff and Kristin Scott Thomas), and Outstanding Debut by a British director (Sam Taylor-Wood). The film also won the Audience Choice Award for Best Feature at the San Diego Film Festival in 2010.

Soundtrack.

The soundtrack features several of the songs played by The Quarrymen at the time depicted in the film. New recordings were made featuring performances by Johnson and the Nowhere Boys. Sangster was able to play the guitar before landing his role, but, as he is right-handed, learned how to play left-handed, à la McCartney. Producers negotiated with Yoko Ono for the rights to use Lennon's song "Mother" in the film. In addition to the featured songs, British electronica duo Goldfrapp provide the film's instrumental score. The soundtrack was released digitally on 11 December 2009 and in stores as a two-disc album by Sony Music Entertainment on 29 December 2009.  Disc 1 contains songs featured in the film, and Disc 2 is made up of rock and roll classics that inspired the film and Lennon himself.

Nowhere Boy is a 2009 British biographical drama film about John Lennon's adolescence, his relationships with his aunt Mimi Smith and his mother Julia Lennon, the creation of his first band, the Quarrymen, and its evolution into the Beatles. The film is based on a biography written by Lennon's half-sister Julia Baird. The film received its US release on 8 October 2010, coinciding with that weekend's celebrations of the 70th anniversary of Lennon's birth (9 October 1940).

《约翰连侬:不羁前传》(英语:英语:"Nowhere Boy")是一套2009年的英国传记歌舞剧情片,讲述约翰·连侬少年时代的故事,以及他与他的监护人姑妈咪咪·史密斯、他的母亲之间的关系。还包括他所组的第一支乐团 The Quarrymen,由此演变成日后闻名的披头士。电影改编自连侬的同母异父妹妹茱莉亚·贝德所写的传记。影片于2010年10月8日在美国上映,正好与那个周末所举行的约翰·连侬70周年诞辰庆典相吻合。


Compositions.

Hirasawa's music takes from such concepts as analytical psychology, advances in digital technology, the philosophies of yin and yang, and principles of nature versus machines. As an avid fan of science fiction novels since the 1970s and an eclectic reader overall, he's been inspired by the works of Frank Herbert, Carl Jung, Hayao Kawai, Kenji Miyazawa, George Orwell, Wilhelm Reich, Antoine de Saint-Exupéry, Theodore Sturgeon, Nikola Tesla and Kurt Vonnegut.  A constant source of inspiration for his music has come from Thailand. On a 1994 trip to Phuket, Hirasawa went through a "Thai shock", amazed by the country's culture, namely its transsexual cabaret performers, some of whom he would invite to be singers on his albums and guest performers in his concerts throughout his career. After many trips back to the country Hirasawa grew to be increasingly identified with the transsexual population, incorporating their problems and experiences in society into his work.  On having his music categorized based on western trends, Hirasawa has said:

Performances.

For every main solo album he releases, Hirasawa also stages an accompanying "Interactive Live Show", an interactive concert that merges computer graphics with his music to tell a story. The flow of each show is determined by audience participation; for example, "Interactive Live Show 2000 Philosopher's Propeller" was formatted as a maze, and the audience was asked to choose which direction to go in. Provided with phone numbers to four cellular phones during one song, the audience was allowed to call the numbers to have Hirasawa play the corresponding ringtones. This created an improvised harmony between the background music and the ringing phones. Since 1998, participation has been possible through the internet.  Hirasawa's live music is built on samples he activates with various hand-crafted machines and pre-recorded tracks without vocals. For the "Solar Live" concerts, he used solar power and a power-generating wheel as the source of energy for his electronic equipment.  Hirasawa has worked since the start of his solo career to decrease the amount of performers around himself. Most of his solo albums from 1992 onwards feature no guest musicians, and live backing bands were relinquished in 1994. Since then, only a few select shows have had guest singers or backing instrumentalists.

Equipment usage.

One of Hirasawa's defining factors that set him apart from other Japanese electronic artists is ever-changing production techniques and gear of choice.

Guitars.

Hirasawa has favored guitars designed specifically by Japanese instrument manufacturers. With a movement in the early '80s of electric guitar makers moving away from mass-producing copies of foreign designs and towards original ones, Hirasawa played many unique models. Over a five-year period, from Mandrake's last days to the early P-Model phase, he used the H.S. Anderson Rider, Fernandes Art Wave and ESP Random Star, painting them in bright colors (burgundy, yellow, blue and white). In 1983 he settled on Tōkai Gakki's aluminum guitars as his main ones, attracted by their unique material and design. He used multiple Tōkai Talbos over an eleven-year period, with the guitar becoming an integral part of his image.  After Tōkai discontinued production and customer support for the Talbo due to financial difficulties in the mid-'90s, Hirasawa requested Fernandes to make him a guitar of his design in 1994 called "PHOTON", a Talbo-shaped guitar with a wooden body. In 2004, he requested TALBO Secret FACTORY, a manufacturer of Talbos run by other musicians who also liked the guitar and wanted to continue to use it, to build a Talbo of his own design, called "ICE-9" (named after the material of the same name from Kurt Vonnegut's novel "Cat's Cradle"). It became Hirasawa's main guitar for the next eight years. To showcase it, he made an eponymous mini-album in 2005.  Hirasawa has continued to work with the TALBO Secret FACTORY, requesting the conversion of one of his early Tōkai models into a new design of his, the "ASTRO", in 2011 and asking for the renewal of the "PHOTON" with new specifications after two decades of usage. In 2012, Secret FACTORY co-founder HISASHI gifted him a Talbo of his own design, the "EVO 0101Z", which Hirasawa adopted as his new main guitar, owning standard copies as well as two equipped with single coil guitar pickups for selective usage.  Besides those, Hirasawa has also used different types of guitar for specific purposes, playing MIDI guitars like the Ibanez X-ING IMG-2010 and Casio MG500, various acoustic and classical models, classic surf ones like the Mosrite and the Jaguar, and the Aria AS-100C/SPL silent guitar.

Electronics.

Hirasawa has used Amiga computers extensively in his work, starting out with CG production in 1987, and later on applying it on his albums and live shows, using applications such as Say, SCALA, Bars & Pipes, SuperJAM! and OctaMED. He stopped using Amigas with the "LIMBO-54" shows of 2003 and the "Byakkoya"/"Paprika" albums of 2006, since "maintaining an Amiga now is, like maintaining a classic car, costly".  In the '90s he started a gradual transition to Microsoft Windows (later on dabbling in Ubuntu for a time), using programs such as Delay Lama, Vocaloids, Bars'n'Pipes (an unofficial continuation of the Amiga program), Cakewalk Sonar and Synth1.  When choosing string tones Hirasawa aims to find ones with unstable pitches and a "dark sound", which he finds harmonious, such as the Mellotron, Kurzweil synths and EASTWEST's line of Symphonic sounds.

Recording/Production.

In the '90s, Hirasawa gradually moved his work from professional facilities to home, dubbing his workspace on various residences "Studio WIRESELF". He finally moved completely to it by the recording of 2000's "Philosopher's Propeller". The following year he undertook the sustainable energy project "Hirasawa Energy Works" and changed his lifestyle so that all his music would be recorded with solar energy. To reduce carbon emission, Studio WIRESELF was outfitted to be powered completely by a photovoltaic system of 2 solar panels, with 2 car batteries to store extra energy. Years later, Hirasawa added 2 more panels to the studio and retired the batteries.  Initially Studio WIRESELF operated on large pieces of equipment, both analog and digital. With the advances of technology and the streamlining of production under Hirasawa Energy Works, the working landscape transitioned to software synthesizers, with the physical elements of the studio reduced to one recording booth and two workstations, one for Hirasawa and the other for engineer Masanori Chinzei.

Activism and charity.

In 1988, Hirasawa sold a at a flea market in Yoyogi for charity, it contained 3 New Age songs made specifically for the release and came with a 36-page long booklet chronicling the self-analysis of his dreams and reality. All proceeds were donated to the volunteering welfare facility for the mentally ill in Gunma Prefecture, founded by the psychologist who gave Hirasawa counseling around the time he made the P-Model albums "Scuba" and "Karkador".  In 2001, a pregnant stray cat appeared in Hirasawa's studio. He took care of her and helped carry out four of her pregnancies from 2001 to 2002. Since he could not take care of all the kittens, Hirasawa created a temporary site to recruit possible adopters and keep up with the welfare of the various cats.  As Hirasawa objected to the American response after the September 11 attacks, which he believes involved excessive carnage, and the Japanese government's aiding of such actions, he offered downloads of online banners and two of his songs for free, which he hoped would be used as tools of objection. One of them is a rerecording of 1994's "Love Song", which is about children in the battlefield; the other is "High-Minded Castle", about a man who "can not know the truth and true background through media, he tries to face the real tragedy on the other side of the world". The latter was taken from the "Blue Limbo" album, which displays a dystopian theme partly influenced by the American government's retaliation.  To support freelance journalists, independent and citizen media, Hirasawa started a free music archive to be used by independent news as background music. He sent e-mails to various associates and members of P-Model requesting involvement, the only one to join was guitarist PEVO 1go. The files uploaded were instrumental mixes of songs by both musicians, including some from "Vistoron", whose concept revolves around the propagation of a false reality by mass media.  In the aftermath of the 2011 Tōhoku earthquake and tsunami and the Fukushima Daiichi nuclear disaster, Hirasawa started traveling around the country with a Geiger counter, measuring the radiation levels and reporting them in his Twitter account. In June 2011, a song was posted on his site, titled : A rerecording of the P-Model song "Boat" (from 1984's "Scuba") in the style of "The Aggregated Past – Kangen Shugi 8760 Hours" project, with the lyrics changed to protest against Japan's use of nuclear power and to criticize the government and the media. The song, credited to "Stealthman", was only available on the site for six days, but could be redistributed if unaltered and not for profit. An instrumental mix was posted on the site by Hirasawa after the original was taken down, following the same distribution guidelines. As these events occurred, Hirasawa told a story on Twitter of being assaulted and having his computer and website hacked by "Stealthman". Through his tweets and the way the posts were worded on his website, Hirasawa effectively distanced himself from the track and disowned it. The song is available on the karaoke service provider Xing's online song library, credited to "Stealthman".

Personal life.

Hirasawa has an older brother, artist, who goes by the moniker "YOU1". He formed a stage effects team to give Mandrake shows visual flair and appeared on the band's last show, running on a treadmill. Yūichi was P-Model's art director for the band's first 9 years of existence, and has done occasional artwork for his brother from 2013 onwards. His only musical credits are for writing the lyrics of "For Kids" and "Sunshine City" (from "In a Model Room"), and for doing backing vocals on "Rocket" (from "The Ghost in Science").  In 2013, Yūichi opened the Gazio in Tsukuba. Although branded as a "new wave" café, the establishment was heavily themed around P-Model and Susumu: it was adorned with various band related memorabilia, served original cocktails titled after his songs and often held special events and shows by members and associates of the band; Susumu made exclusive content for it and, as he gives his brother most things he has no need for at a given moment, many studio and stage objects were displayed in the café. Gazio ceased operations as an active restaurant in 2015 and rebranded as an art studio; Yūichi now holds twice monthly "Café Gazio" events in Kichijōji.  Their father,, was a firefighter as well as a calligrapher: Under the penname, he wrote the names of album and band for the cover art of the P-Model album "Potpourri".  Since childhood, Hirasawa showed a love for machines, and thought of himself as an engineer. He was a RC plane enthusiast (at one point in time wanting to be a pilot) and repaired broken devices (such as radios and flashlights) given to him by his parents. He studied in the electronics department of, where he was the first to finish the graduation project, the construction of a TV, out of sheer luck, since he did not fully understand the circuits. He also had motocross as a hobby for a time.  He enrolled in the in 1972 and graduated "cum laude" in 1975 from the university's interior design course. According to the "Tokyo Designers' Gakuin College '75 Design Annual", his graduation project was a dome-shaped stage set hall for Tangerine Dream shows.  During the early days of Mandrake, he worked as a part-time carrier on a fruits and vegetables market during the morning and at a Pepsi warehouse during the night, alongside Mandrake co-founder Fumiyasu Abe. In 1978, Hirasawa applied for a part-time lecturer position at Yamaha Music Foundation, and since he was the only person that applied for that position, he got the job. He taught courses at the Yamaha Synthesizer School until 1983, and met various musicians that he would later collaborate with through these lectures. After leaving his position as teacher, he took to making commercial jingle for the rest of the decade to make ends meet.  Hirasawa started smoking in 1979 and quit in 2001. He's also a teetotaler, since drinking anything larger than a fifth of a cup of beer makes him feel like his head is exploding. Regardless of that, he used to drink small amounts of wine during recording sessions to preserve his voice, which he's since replaced with throat lozenges.  Hirasawa has spoken out in favor of the Big Pharma conspiracy theory. He has been known to promote the usage of alternative medicine, including the widely discredited Miracle Mineral Solution, and has posted on Twitter extensively about his experiences with acupuncture and moxibustion.  A vegetarian, Hirasawa doesn't eat meat, remarking, "At any rate, meat is unappetizing and gross. Eating meat makes me tired and makes me throw up". He lives in a house in Tsukuba with his pet calico cat. The house also has a garden, where he grows some of his food; he also cultivates bacteria to make yogurt out of soy milk.  While repeatedly incorporating various concepts from Shintoism and Buddhism in his themes, as well as ones from other Asian religions, Hirasawa has never specified what his beliefs are. However, at one point in time, he supported the return of the imperial cult of the Emperor of Japan as a psychological measure: "I think His Majesty needs to recover his glorification. In this matter, I’m sort of right wing; the Emperor of Japan needs to regain his symbolic position as a God. But this is for the sake of a healthy process of collective consciousness, so please don't lump my position in with all the militaristic talk".

Discography.

Soundtracks.

Hirasawa has appeared as a musical guest on various Japanese TV and radio shows (sometimes with P-Model) and some of his songs that were not made with the intention of being BGM have been used to this end. He has also contributed songs for the anime "X-Bomber" (see "other projects") and has worked on various commercial jingles (most of them unidentified) for companies like Denon,, Japan Tobacco, Kirin, Mazda, Mizuno, NTT, Rado, Snow Brand Milk Products,, Unicharm and Volvo.

Singles/free MP3 downloads.

This list also includes a set of purchasable MP3s that promote their main album.

In the fifth year of elementary school, Hirasawa took up the electric guitar, inspired by the surf and instrumental rock bands he heard on the radio and on TV, later joining his junior high school's band. In 1973 he formed Mandrake, a progressive rock band that incorporated elements from heavy metal and krautrock. Being one of the few Japanese progressive rock bands of its time, Mandrake achieved little success and released no albums during its lifetime.

平泽进(,1954年-4月1日),日本音乐家、音乐制作人。在1979年以电子乐乐团「P-MODEL」成员身份正式出道,之后与和一同被称为「Techno御三家」()乐团之一。乐团本身经过多次曲折,目前处于称为「培养」的休止状态,现在则是以个人为主,进行各式各样的活动。爱称为「师父」()、「Hirasawa」()。


History.

The event of Monlam in Tibet was established in 1409 by Tsong Khapa, the founder of the Geluk tradition. As the greatest religious festival in Tibet, thousands of monks (of the three main monasteries of Drepung, Sera and Ganden) gathered for chanting prayers and performing religious rituals at the Jokhang Temple in Lhasa.  In 1517, Gedun Gyatso became the abbot of Drepung monastery and in the following year, he revived the Monlam Chenmo, the Great Prayer Festival and presided over the events with monks from Sera, Drepung and Gaden, the three great monastic Universities of the Gelugpa Sect.  "The main purpose of the Great Prayer Festival is to pray for the long life of all the holy Gurus of all traditions, for the survival and spreading of the Dharma in the minds of all sentient beings, and for world peace. The communal prayers, offered with strong faith and devotion, help to overcome obstacles to peace and generate conducive conditions for everyone to live in harmony." The celebration of Monlam in the Lhasa Jokhang was forbidden during the Cultural Revolution (1966–1976), although it had not been practiced there since 1959, and would not be hosted in Lhasa again until 1986. During the late 1980s, Tibetan organizers used Monlam and post-Monlam ceremonies for political demonstrations. During Monlam, monks stood on platforms to pray for the long life of the 14th Dalai Lama, boys threw rocks at observing police, and symbols advocating Tibetan independence displayed. When these demonstrations failed to produce results, monks even suggested boycotting Monlam to show their displeasure with the government. Since security forces were prohibited from breaking up the demonstrations as "they were ostensibly [purely] religious", the city government suspended the Monlam in 1990.  Monlam festivals are upheld by Tibetan Buddhist monasteries established in exile in India.

Practices.

Examinations for the highest 'Lharampa Geshe' degree (a degree in Buddhist philosophy in the Geluk tradition) were held during the week-long festival. Monks would perform traditional Tibetan Buddhist dances (cham) and huge ritual offering cakes (tormas) were made, that were adorned with very elaborate butter sculptures. On the fifteenth day the highlight of Monlam Chenmo in Lhasa would be the "Butter Lamp Festival" (Chunga Chopa), during which the Dalai Lama would come to the Jokhang Temple and perform the great Buddhist service. Barkhor Square in front of the Jokhang would be turned into a grand exhibition site for the huge tormas. At the end of the festival, these tormas would be burned in a large bon-fire.  Traditionally, from New Year's Day until the end of 'Monlam', lay Tibetans would make merry. Many pilgrims from all over Tibet would join the prayers and teachings, and make donations to the monks and nuns.  Many other monasteries would hold special prayer sessions and perform religious rituals, for example some monasteries would unfold huge religious scroll-paintings (thangkas) for all to see.

Aspiration Prayers.

In the Kagyu Monlam Chenmo, the main practice by the assembled monks and lay people is the Wishing Prayer of Samantabhadra, part of the preserved words of the Buddha according to the Tibetan tradition. This prayer has at its core the Enlightened Attitude (Bodhisattva Vow) of Mahayana Buddhism, that the practitioner may attain enlightenment for the benefit of all beings.

Monlam also known as The Great Prayer Festival, falls on 4th–11th day of the 1st Tibetan month in Tibetan Buddhism.

默朗木祈愿大法会(,又称默朗钦莫、默朗钦波,汉语:传召法会、传召大法会)是宗喀巴大师所倡导的四大藏传佛教佛事之一,也是藏传佛教格鲁派寺院重要的节庆之一。哲蚌寺、色拉寺、甘丹寺僧众及卫藏、安多地区的信徒在此期间均会前往拉萨大昭寺来参与这已有五百多年历史的活动。


Life and career.

Traue was born in Mittweida, Saxony, in the former German Democratic Republic (East Germany). Her mother was a dancer and musician. Traue was raised speaking Russian. She trained as an artistic gymnast from age six to her teens in an elite training unit. Her stage career began when she portrayed Jeanne d'Arc in a school play. At sixteen, she won the lead role in the International Munich Art Lab's first ever "Hip Hopera" (the musical "West End Opera"). Traue performed and toured with the production for four years, appearing on stages throughout Germany, Europe, and in New York City. Subsequently, Traue appeared in several films and television movies, such as "Kleinruppin Forever", "Berlin am Meer" and "Phantomschmerz".  In 2008, Traue was chosen for the lead female role in the film "Pandorum", a science fiction/thriller film directed by Christian Alvart, written by Travis Milloy, and starring Dennis Quaid and Ben Foster.  In 2013, Traue played villain Faora in the Superman film "Man of Steel", to positive reviews. In preparation for the role of Faora, Traue underwent an intense four-month training and dieting program.  In 2015, Traue portrayed Bony Lizzie in the Universal Pictures action-fantasy film "Seventh Son". She received critical acclaim in Germany for portraying the fictional character of Giselle Neumayer in the 2016 ARD-produced TV movie "Der Fall Barschel", and nominations as best actress in German TV productions for 2016 both for her female lead roles in the TV mini series "Weinberg" and "Berlin 1". She has since been cast in several German and international movies and TV productions in lead roles or recurrent supporting roles, including the 2017 movie "Bye Bye Germany" alongside actor Moritz Bleibtreu directed by Sam Garbarski, and the 2017 Amazon series pilot episode "Oasis". Traue's further acting appearances in 2017 and 2018 include the German Netflix series production "Dark" (as Agnes Nielsen), and German movies "Das Ende der Wahrheit", "Spielmacher" and "Ballon". In 2019, Traue leads the cast in the German ZDFneo TV mini series "Dead End".

Antje Traue (; born 18 January 1981) is a German actress. She speaks German and English fluently, and appeared in her first English-language role in the film "Pandorum". She may be internationally best known for her portrayal of the villainous, indestructible character of Faora in the 2013 Superman movie "Man of Steel", and her role as Agnes Nielsen in the German Netflix series "Dark".

安婕·特拉乌(英语:Antje Traue,,1981年-1月18日)是一位德国女演员,能熟练地说英语。她第一部英语电影是《深空失忆》,为她赢得了名声。而在2013年的电影《超人:钢铁之躯》中饰反派菲奥拉。