title: Americanization School

abstract: The Americanization School in Oceanside, California, built in 1931, was intended as an assimilation school where Spanish-speaking Oceanside residents would be taught English and civics. Historically, it reflects a time before the rise of multiculturalism where immigrants who arrived in the United States were more actively Americanized in assimilation programs. The building, now known as the Crown Heights Resource Center, was designed by Irving Gill. It was listed on the National Register of Historic Places in 1994. The school was one of the last works by Gill, a pioneer of modern architecture and one of nearby San Diego's most celebrated architects.

text:
# Americanization School

The **Americanization School** in Oceanside, California, built in 1931, was intended as an assimilation school where Spanish-speaking Oceanside residents would be taught English and civics. Historically, it reflects a time before the rise of multiculturalism where immigrants who arrived in the United States were more actively Americanized in assimilation programs.

The building, now known as the **Crown Heights Resource Center**, was designed by Irving Gill. It was listed on the National Register of Historic Places in 1994. The school was one of the last works by Gill, a pioneer of modern architecture and one of nearby San Diego's most celebrated architects.

## Building design

Late in his career, Gill had been taking fewer and smaller projects. Several were in Oceanside, where he continued to try to develop his work. The Americanization school displays hints of Art Deco while also taking in North AfricanIslamic influences that he picked up from his brief partnership with Frank Mead, another San Diego architect. Gill designed the 3,550-square-foot (330 m2) wood-frame and stucco structure to fit its triangular, wedge-shaped corner site. With a prominent corner, Gill placed an arched entryway with a minimalist Islamic-style dome atop a short, octagonal tower. For class space, Gill planned two wings to run back from the corner, along the length of the lot in a V-shape; however, only one was ever built. To break up a potentially monotonous wall, he stepped the classes into three sections along the edge of the property. To bring in natural light, he placed clerestory windows and French doors to the south-facing side.

## Conversion

By the early 1990s, the structure was not in use, rundown and boarded up. In 1992, the City of Oceanside began a $316,000 restoration, with $50,000 in city money and the rest in donated services. The Crown Heights Resource Center moved into the structure in July 2001 from a nearby house. The resource center was initially opened in 1996 in response to the high crime rate and gang activity in the surrounding neighborhood, and is operated by the Housing and Neighborhood Services Department of the City of Oceanside.

## InfoBox

|  | |
| --- | --- |
| Americanization School | |
| U.S. National Register of Historic Places | |
|  | |
|  | |
|  | |
| Location | 1210 Division St., Oceanside, California |
| Coordinates | 33°11′47″N 117°22′19″W / 33.19639°N 117.37194°W / 33.19639; -117.37194 |
| Area | less than one acre |
| Built | 1931 |
| Architect | Gill, Irving J. |
| Architectural style | Moderne, Islamic |
| NRHP reference No. | 94000311 |
| Added to NRHP | April 08, 1994 |


title: Amolops bellulus

abstract: Amolops bellulus, commonly known as the Pianma torrent frog, is a species of frog in the family Ranidae that is endemic to the Gaoligong Mountains. It is only known from the area of its type locality in Nujiang Lisu Autonomous Prefecture in Yunnan, China, but it is expected to occur in the adjacent Myanmarian part of the mountains. Amolops bellulus lives in and near fast-flowing mountain streams. Its status is insufficiently known.

text:
# Amolops bellulus

***Amolops bellulus***, commonly known as the **Pianma torrent frog**, is a species of frog in the family Ranidae that is endemic to the Gaoligong Mountains. It is only known from the area of its type locality in Nujiang Lisu Autonomous Prefecture in Yunnan, China, but it is expected to occur in the adjacent Myanmarian part of the mountains. *Amolops bellulus* lives in and near fast-flowing mountain streams. Its status is insufficiently known.

## InfoBox

| *Amolops bellulus* | |
| --- | --- |
| Conservation status | |
|
Near Threatened  (IUCN 3.1) | |
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Chordata |
| Class: | Amphibia |
| Order: | Anura |
| Family: | Ranidae |
| Genus: | *Amolops* |
| Species: | ***A. bellulus*** |
| Binomial name | |
| ***Amolops bellulus***
Liu, Yang, Ferraris & Matsui, 2000 | |
|


title: American Electrology Association

abstract: The American Electrology Association is the largest professional membership organization for practitioners of electrolysis permanent hair removal. Although its name says American, its membership is actually international.

text:
# American Electrology Association

The **American Electrology Association** is the largest professional membership organization for practitioners of electrolysis permanent hair removal.

Although its name says American, its membership is actually international.

## Certification

Together with Educational Testing Service they created and administer the Certified Professional Electrologist exam.

Those passing the exam are known as Board Certified Electrologists, Certified Professional Electrologists (CPE).

1. "Sugaring Hair Removal Aftercare". Retrieved 2024-02-02.

## InfoBox

American Electrology Association
| Abbreviation | AEA |
| --- | --- |
| Formation | 1958 |
| Type | Professional body |
| President | Pearl G. Warner |
| Main organ | Board of Directors |
| Website | www.electrology.com |


title: Ed Kolman

abstract: Edward Victor Kolman was a professional American football player who played offensive tackle for six seasons for the Chicago Bears and New York Giants. He was selected in the fifth round of the 1940 NFL draft.

text:
# Ed Kolman

**Edward Victor Kolman** (October 21, 1915 – July 31, 1985) was a professional American football player who played offensive tackle for six seasons for the Chicago Bears and New York Giants. He was selected in the fifth round of the 1940 NFL draft.

## InfoBox

Ed Kolman
| No. 29, 72 | |
| --- | --- |
| Position: | Offensive tackle |
| Personal information | |
| Born: | (1915-10-21)October 21, 1915
Brooklyn, New York, U.S. |
| Died: | July 31, 1985(1985-07-31) (aged 69)
New Hyde Park, New York, U.S. |
| Height: | 6 ft 2 in (1.88 m) |
| Weight: | 232 lb (105 kg) |
| Career information | |
| High school: | Boys |
| College: | Temple |
| NFL draft: | 1940 / round: 5 / pick: 37 |
| Career history | |
|  | |
|  | |
| Career highlights and awards | |
|  | |
|  | |
|  | |
| Player stats at **PFR** | |
|  | |


abstract: The 1912 Minnesota Attorney General election was held on 5 November 1912 in order to elect the attorney general of Minnesota. Republican nominee and incumbent acting attorney general Lyndon A. Smith defeated Democratic nominee William F. Donohue and Prohibition nominee J.H. Morse.

text:
# 1912 Minnesota Attorney General election

The **1912 Minnesota Attorney General election** was held on 5 November 1912 in order to elect the attorney general of Minnesota. Republican nominee and incumbent acting attorney general Lyndon A. Smith defeated Democratic nominee William F. Donohue and Prohibition nominee J.H. Morse.

## General election

On election day, 5 November 1912, Republican nominee Lyndon A. Smith won the election by a margin of 82,953 votes against his foremost opponent Democratic nominee William F. Donohue, thereby retaining Republican control over the office of attorney general. Smith was sworn in for his first full term on 3 January 1913.

### Results

Minnesota Attorney General election, 1912
| Party | | Candidate | Votes | % |
| --- | --- | --- | --- | --- |
|  | **Republican** | **Lyndon A. Smith (incumbent)** | **166,950** | **60.04** |
|  | Democratic | William F. Donohue | 83,997 | 30.21 |
|  | Prohibition | J.H. Morse | 27,140 | 9.75 |
| Total votes | | | **278,087** | **100.00** |
|  | Republican **hold** | | | |

## InfoBox

1912 Minnesota Attorney General election
| --- | |
| --- | --- |
|  | |
| Nominee **Lyndon A. Smith** William F. Donohue J.H. Morse  Party Republican Democratic Prohibition  Popular vote **166,950** 83,997 27,140  Percentage **60.04%** 30.21% 9.75% | |
| ---  **Attorney General before election**
Lyndon A. Smith (Acting)
Republican **Elected Attorney General**
Lyndon A. Smith
Republican | |


title: Amiga 4000

abstract: The Amiga 4000, or A4000, from Commodore is the successor of the Amiga 2000 and Amiga 3000 computers. There are two models: the A4000/040 released in October 1992 with a Motorola 68040 CPU, and the A4000/030 released in April 1993 with a Motorola 68EC030. The Amiga 4000 system design was generally similar to that of the A3000, but introduced the Advanced Graphics Architecture (AGA) chipset with enhanced graphics. The SCSI system from previous Amigas was replaced by the lower-cost Parallel ATA. The original A4000 is housed in a beige horizontal desktop box with a separate keyboard. Later, Commodore released an expanded tower version called the A4000T. The machine is reported to have sold 11,300 units in Germany.

text:
# Amiga 4000

The Amiga **4000,** or **A4000**, from Commodore is the successor of the Amiga 2000 and Amiga 3000 computers. There are two models: the A4000/040 released in October 1992 with a Motorola 68040 CPU, and the A4000/030 released in April 1993 with a Motorola 68EC030.

The Amiga 4000 system design was generally similar to that of the A3000, but introduced the Advanced Graphics Architecture (AGA) chipset with enhanced graphics. The SCSI system from previous Amigas was replaced by the lower-cost Parallel ATA.

The original A4000 is housed in a beige horizontal desktop box with a separate keyboard. Later, Commodore released an expanded tower version called the A4000T.

The machine is reported to have sold 11,300 units in Germany.

## Technical information

### Processor and RAM

The stock A4000 shipped with either a Motorola 68EC030 or 68040 CPU, 2 MB of Amiga Chip RAM and up to 16 MB of additional RAM in 32-bit SIMMs. There is a non-functional jumper that was intended to expand the "chip RAM" to 8MB. Later, third-party developers created various CPU expansion boards featuring higher-rated 68040, 68060 and PowerPC CPUs. Such hardware also typically offers faster and higher-capacity RAM (128 MB or greater).

### A4000-CR version

Unlike previous Amiga models, early A4000 machines have the CPU mounted in an expansion board; the motherboard does not have an integrated CPU. Later revisions of the A4000 have the CPU and 2 MB RAM surface-mounted on the motherboard in an effort to reduce costs. These machines are known as the A4000-CR (cost-reduced) and the surface-mounted CPU is a 68EC030. The cost-reduced models also make use of a non-rechargeable lithium battery for real-time clock battery backup rather than a rechargeable NiCad battery. The NiCad backup battery is one of the most common causes of problems in an aging device that uses one because it has a tendency to eventually leak. The released fluids are somewhat corrosive and can eventually damage the circuitry.

### Graphics and sound

The A4000 is the first Amiga model to have shipped with Commodore's third-generation Amiga chipset, the 32-bit Advanced Graphics Architecture (AGA). As the name implies, AGA introduces improved graphical abilities, specifically, a palette expanded from 12-bit color depth (4,096 colors) to 24-bit (16.8 million colors) and new 64, 128, 256 and 262,144 (HAM-8) color modes. Unlike earlier Amiga chipsets, all color modes are available at all display resolutions. AGA also improves sprite capacity and graphics performance. The on-board sound hardware remains identical to that of the original Amiga chipset (the Paula sound chip), namely, four DMA-driven 8-bit PCM channels, with two channels for the left speaker and two for the right.

### Peripherals and expansion

The A4000 has a number of Amiga-specific connectors, including two DE-9 ports for joysticks, mice, and light pens, a standard 25-pin RS-232 serial port and a 25-pin Centronics parallel port. As a result, at launch the A4000 was compatible with many existing Amiga peripherals, such as MIDI devices, serial modems and sound samplers.

Like the just-earlier Amiga model, the 3000, the A4000 has four internal 32-bit Zorro III expansion slots. This expansion bus allows the use of devices which comply with the AutoConfig standard, such as graphic cards, audio cards, network cards, SCSI controllers, and later even USB controllers. One of the most notable hardware items of the era is the NewTek Video Toaster system which became popular in the 1990s for amateur and commercial desktop video production of standard-definition broadcast quality video, consisting of tools for video switching, chroma keying, character generation, animation, and image manipulation.

The three ISA slots can be activated by use of a bridgeboard, which connects the Zorro and ISA buses. Such bridgeboards typically feature on-board IBM-PC-compatible hardware, including Intel 80286, 80386, or 80486 microprocessors allowing emulation of an entire IBM-PC system in hardware. Compatible ISA cards may then be installed into the two remaining ISA slots.

Later, in an effort to offer modern expansion options third-party developers created replacement expansion boards for the A4000 which provide PCI slots allowing use of higher performance and widely available PCI hardware, such as graphic, sound, and network cards.

### Operating system

The A4000 shipped with AmigaOS 3.0, consisting of Workbench 3.0 and Kickstart 3.0, which together provide a single-user multi-tasking operating system and support for the built-in hardware. Following release of AmigaOS 3.1 it became possible to upgrade the A4000 by installing compatible Kickstart 3.1 ROM chips. The later AmigaOS 3.5 and 3.9 releases were software-only updates requiring Kickstart 3.1.

AmigaOS 4, a PowerPC-native release of the operating system, can be used with the A4000 provided a CyberStorm PPC board is installed. Likewise, MorphOS, an alternative Amiga-compatible operating system, can be used with this hardware.

Variants of platform-independent operating systems, such as Linux and BSD, can also be used with the A4000.

### Specifications

| Attribute | Specification |
| --- | --- |
| Processor | Motorola 68EC030 or 68040 at 25 MHz |
| Bus speed | 25 MHz |
| RAM | 2–18 MB on board (2 MB "chip" RAM and up to 16 MB additional RAM);
Upgradable by further 128 MB via the CPU slot and 512 MB per Zorro III slot |
| ROM | 512 kB Kickstart ROM |
| Chipset | Advanced Graphics Architecture (AGA)
 |
| Video | 24-bit color palette (16.8 Million colors)
Up to 256 on-screen colors in indexed mode
262,144 on-screen colors in HAM-8 mode
Resolutions from:
* 320×200 to 1280×400 (NTSC) * 320×256 to 1280×512i (PAL) * 640×480 (VGA), 800×600i, 1024×768i, 1280×720i, 1280×1024i  Horizontal scan rates of 15.60-31.44 kHz
Vertical scan rates of 50–72 Hz |
| Audio | 4 × 8-bit PCM channels (2 stereo channels)
28–56 kHz maximum DMA sampling rate (dependent on video mode in use) |
| Internal storage | 120 MB 3.5" IDE hard disk drive (upgradable) |
| Removable storage | 3.5" HD floppy disk drive (1.76 MB capacity) |
| Input/output ports | Analog RGB video out (DB-23M)
Audio out (2 × RCA)
Keyboard (6 pin mini-DIN)
2 × Mouse/Gamepad ports (DE9)
RS-232 serial port (DB-25M)
Centronics style parallel port (DB-25F)
Floppy disk drive port (DB-23F)
Internal buffered ATA controller (40-pin) |
| Expansion slots | 4 × 100pin 32-bit Zorro III slots
1 × AGA video slot (inline with Zorro slot)
3 × 16-bit ISA slots (requires bridgeboard to activate)
1 × 200-pin CPU expansion slot
4 or 5 × 72-pin SIMM slots |
| Operating system | AmigaOS 3.0 (Kickstart 3.0/Workbench 3.0) |
| Physical dimensions | W × H × D: 15 × 5 × 1514" (380 × 125 × 395 mm) |
| Other | 2 × front-accessible 3.5" drive bays
1 × front-accessible 5.25" drive bay
2 × internal 3.5" drive mountings
Key lock (disables mouse and keyboard) |

## Notable uses

Digital Domain used an Amiga 4000 for motion control effects in films such as *True Lies*, *Apollo 13*, and *Titanic*.

## InfoBox

Amiga 4000
| An Amiga 4000 desktop | |
| --- | --- |
| Manufacturer | Commodore |
| Type | Personal computer |
| Release date | 1992 (1992) |
| Discontinued | 1994 (1994) |
| Units sold | 11,300 units in Germany |
| Operating system | AmigaOS 3.0 |
| CPU | Motorola 68EC030 or 68040 @ 25 MHz |
| Memory | 2-18 MB |
| Predecessor | Amiga 3000 |
| Successor | Amiga 4000T |


title: Amiga A570

abstract: The Amiga A570 is a single-speed external CD-ROM drive for the Amiga 500 computer launched by Commodore in 1992. It was designed to be compatible with Commodore CDTV software as well as being able to read ordinary ISO 9660 CD-ROM discs. The original designation was A690, and pre-production devices under this name were delivered to developers. The A690/A570 used a proprietary Mitsumi CD-ROM interface. It contained a header for an internal 2 Megabyte fast memory expansion, but this proprietary memory module was never put into production and only a few rare developer examples of this exist today. It is also notable that by the time of the A570's launch, the A500 computer had already been discontinued. The Amiga 600 was, like the later A1200, incompatible with this external drive. Thus, Commodore were in the position of having launched a CD-ROM drive for a discontinued machine, while a similar device was unavailable for their current low-end Amiga. This move by Commodore marketing department could be justified by the fact that millions of A500 systems existed already, along with considerable demand for Commodore to release a more advanced data storage solution. The device had no through connector, so it was not possible to connect both an A590 and an A570 to the computer at the same time. The A590, despite having an XT IDE hard disk, also carried a SCSI interface that allowed third-party hard disks and CD-ROM drives to be fitted. While these drives did not carry CDTV emulation, the lack of success of the CDTV format made this a null disadvantage for most users.

text:
# Amiga A570

The **Amiga A570** is a single-speed external CD-ROM drive for the Amiga 500 computer launched by Commodore in 1992. It was designed to be compatible with Commodore CDTV software as well as being able to read ordinary ISO 9660 CD-ROM discs.

The original designation was A690, and pre-production devices under this name were delivered to developers. The A690/A570 used a proprietary Mitsumi CD-ROM interface. It contained a header for an internal 2 Megabyte fast memory expansion, but this proprietary memory module was never put into production and only a few rare developer examples of this exist today.

It is also notable that by the time of the A570's launch, the A500 computer had already been discontinued. The Amiga 600 (ostensibly the A500's direct replacement) was, like the later A1200, incompatible with this external drive. Thus, Commodore were in the position of having launched a CD-ROM drive for a discontinued machine, while a similar device was unavailable for their current low-end Amiga. This move by Commodore marketing department could be justified by the fact that millions of A500 systems existed already, along with considerable demand for Commodore to release a more advanced data storage solution.

The device (like the Amiga A590 hard disk drive that was sold by Commodore for the A500) had no through connector, so it was not possible to connect both an A590 and an A570 to the computer at the same time. The A590, despite having an XT IDE hard disk, also carried a SCSI interface that allowed third-party hard disks and CD-ROM drives to be fitted. While these drives did not carry CDTV emulation, the lack of success of the CDTV format made this a null disadvantage for most users.

## Features

* Single speed CD-ROM reader
* Headphone jack on the front panel
* Audio control knob on the front panel to adjust the volume of the headphones if connected, it did not change the volume out of the rear ports as they are designed to go to an amplified speaker setup which will have their own controls
* Stereo audio in and stereo audio out connectors. The audio in connects from the A500 to the A570 and the audio out goes to the speakers (or monitor).
* 2 Megabyte RAM internal interface connector
* Rear connector bay port to add a SCSI interface card

CDs could not be inserted directly into the A570 and needed to be put in a caddy before being inserted into the reader slot.

The A570 had no need for drivers. It was automatically recognized as a standard Amiga expansion card by the Amiga Zorro bus Autoconfig feature. Programs for playing Audio CDs were available on a bundled 'A570 Tools' floppy disk, public domain software disk collections, and then on Aminet.

The A570 also featured an external power supply, which was the same model as the A500 power supply.


title: Idsteiner Kantorei

abstract: Idsteiner Kantorei is a mixed choir in Idstein, Rheingau-Taunus-Kreis, Germany. The group performs regularly in the Protestant Unionskirche in services and concerts, also in smaller churches of the region and internationally. They practice collaboration with other choirs for larger projects.

text:
# Idsteiner Kantorei

**Idsteiner Kantorei** (Idstein chorale) is a mixed choir in Idstein, Rheingau-Taunus-Kreis, Germany. The group performs regularly in the Protestant Unionskirche in services and concerts, also in smaller churches of the region and internationally. They practice collaboration with other choirs for larger projects.

## History and location

The Idsteiner Kantorei was founded by Edwin Müller in 1972, based on the church choir at the Unionskirche. He was succeeded by Carsten Koch, who is also lecturer of conducting at the Musikhochschule Frankfurt, in 2003. The choir performs in major services, such as Christmas, Easter and Konfirmation, and sings regular concerts, some in chamber formation in the smaller historic churches of the region.

The historic Unionskirche had a 1783 Stumm organ, which was replaced in 1912 by an instrument of Walcker, but retaining the historic case (*Prospekt*).

## Choral concerts

Two to three annual concerts with soloists and orchestra have included a Bach cantata and the Missa, BWV during the *Idsteiner Bachtage* of 2000, with the orchestra Antichi Strumenti in historically informed performance conducted by Edwin Müller. In 2002, on the occasion of the Hessentag, the choir and the choirs of St. Martin, Idstein, performed Haydn's *Die Schöpfung* in two concerts, one "not only for children". The conductors Müller and Franz Fink each conducted half of the work, with soloists Valentina Farcas, Daniel Sans and Johannes Schendel, and again the Antichi Strumenti. In 2010, another joined project of these choirs was Verdi's *Messa da Requiem*. Now Carsten Koch and Frank Fink conducted the Nassauische Kammerphilharmonie and soloists Christiane Kohl, Christa Bonhoff, Dantes Diwiak and Andreas Pruys. In 2015, the joined choirs performed Te Deum and Gloria by Karl Jenkins. In an international collaboration also with the Belgian choir De Wase Kantorij from the sister town Zwijndrecht, they performed again Haydn's *Die Schöpfung* in 2016, with soloists Susanne Völger, Christian Rathgeber and Johannes Hill, both in Idstein and in Zwijndrecht. In 2017, the Idsteiner Kantorei could perform a concert in the Unionskirche again, after it had been renovated for several years. They performed Ola Gjeilo's *Sunrise Mass* and Eric Whitacre's *Five Hebrew Love Songs*.

## InfoBox

| Idsteiner Kantorei | |
| --- | --- |
| Choir | |
| Choral concert at the Unionskirche, Idstein, conducted by Carsten Koch, Bach: *Christmas Oratorio*, Part 4 | |
| Origin | Idstein, Hesse, Germany |
| Founded | 1972 (1972) |
| Genre | Mixed choir |
| Members | 80 |
| Chief conductor | Carsten Koch |
| Website | www.idsteiner-kantorei.de |


title: 1996 Tercera División play-offs

abstract: The 1996 Tercera División play-offs to Segunda División B from Tercera División were the final playoffs for the promotion from 1995–96 Tercera División to 1996–97 Segunda División B. The first four teams in each group took part in the play-off.

text:
# 1996 Tercera División play-offs

The **1996 Tercera División play-offs** to Segunda División B from Tercera División (Promotion play-offs) were the final playoffs for the promotion from 1995–96 Tercera División to 1996–97 Segunda División B. The first four teams in each group (excluding reserve teams) took part in the play-off.

## Format

The 68 participating teams were divided into 5 series each made up of 4 groups in the category, with the exception of  *Series E* , which was only formed by  *Group XII* . Each series was divided into 4 groups formed by a 1st, a 2nd, a 3rd and a 4th classified from each group, which played a double-round playoff. Each victory was equivalent to 3 points, the tie to 1 point and the defeat to 0 points. The champion of each group obtained the promotion to Second Division B.

The distribution of each series was as follows:

## Teams for 1995–96 play-offs

| Group I – Galicia | Group II – Asturias | Group III – Cantabria | Group IV – Basque Country | Group V – Catalonia |
| --- | --- | --- | --- | --- |
| 1st CCD Cerceda | 1st Real Titánico | 1st RS Gimnástica de Torrelavega | 1st Zalla UC | 1st UE Tàrrega |
| 2nd Puente Orense CF | 2nd Real Oviedo B | 2nd Racing de Santander B | 2nd SD Zamudio | 2nd CE Europa |
| 3rd RC Celta de Vigo B | 3rd Club Marino de Luanco | 3rd CD Tropezón | 3rd SD Gernika Club | 3rd FC Santboià |
| 4th CD Lalín | 4th Caudal Deportivo | 4th SD Noja | 4th CD Elgoibar | 4th Palamós CF |

| Group VI – Valencian Community | Group VII – Community of Madrid | Group VIII – Castile and León | Group IX – E. Andalusia and Melilla | Group X – W. Andalusia and Ceuta |
| --- | --- | --- | --- | --- |
| 1st CF Llíria | 1st CF Rayo Majadahonda | 1st CD Laguna | 1st CP Ejido | 1st CD San Fernando |
| 2nd CD Acero | 2nd AD Orcasitas | 2nd Zamora CF | 2nd UD Maracena | 2nd Atlético Sanluqueño CF |
| 3rd CF Gandía | 3rd CD Carabanchel | 3rd CA Bembibre | 3rd Guadix CF | 3rd Isla Cristina CD |
| 4th Pinoso CF | 4th AD Colmenar Viejo | 4th CA Burgalés | 4th Motril CF | 4th Chiclana CF |

| Group XI – Balearic Islands | Group XII – Canary Islands | Group XIII – Region of Murcia | Group XIV – Extremadura | Group XV – Navarre and La Rioja |
| --- | --- | --- | --- | --- |
| 1st CF Sóller | 1st CD Corralejo | 1st Real Murcia | 1st CP Cacereño | 1st CD Calahorra |
| 2nd CD Playas de Calviá | 2nd UD La Pared | 2nd Cartagena FC | 2nd Jerez CF | 2nd CD Oberena |
| 3rd CD Atlético Baleares | 3rd UD Realejos | 3rd AD Mar Menor | 3rd Moralo CP | 3rd Peña Sport FC |
| 4th UD Poblense | 4th UD Las Palmas B | 4th Águilas CF | 4th Mérida Promesas UD | 4th CD Ribaforada |

| Group XVI – Aragon | Group XVII – Castilla–La Mancha |
| --- | --- |
| 1st Real Zaragoza B | 1st Tomelloso CF |
| 2nd Utebo FC | 2nd CD Manchego |
| 3rd UD Casetas | 3rd Puertollano Industrial CF |
| 4th UD Barbastro | 4th Manzanares CF |

## Tables and results

### Group A-1

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Real Oviedo B | 6 | 3 | 2 | 1 | 11 | 6 | +5 | 11 | Promoted to Segunda División B |
| 2 | CCD Cerceda | 6 | 3 | 1 | 2 | 8 | 6 | +2 | 10 |  |
| 3 | AD Colmenar Viejo | 6 | 2 | 2 | 2 | 9 | 7 | +2 | | 8 |
| 4 | CA Bembibre | 6 | 1 | 1 | 4 | 6 | 15 | 9 | | 4 |

Source: Fútbol Regional

| Home \ Away | BEM | CER | CVJ | OVI |
| --- | --- | --- | --- | --- |
| CA Bembibre |  | 5–0 | 2–2 | 1–2 |
| CCD Cerceda | 2–0 |  | 2–1 | 0–0 |
| AD Colmenar Viejo | 4–0 | 1–0 |  | 1–1 |
| Real Oviedo B | 4–1 | 2–4 | 2–1 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group A-2

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | CD Carabanchel | 6 | 3 | 3 | 0 | 13 | 4 | +9 | 12 | Promoted to Segunda División B |
| 2 | Ponte Orense CF | 6 | 3 | 3 | 0 | 9 | 4 | +5 | 12 |  |
| 3 | CA Burgalés | 6 | 1 | 3 | 2 | 4 | 6 | 2 | | 6 |
| 4 | Real Titánico | 6 | 0 | 1 | 5 | 4 | 16 | 12 | | 1 |

Source: Fútbol Regional

| Home \ Away | BGL | CAR | POR | TIT |
| --- | --- | --- | --- | --- |
| CA Burgalés |  | 0–0 | 0–1 | 2–0 |
| CD Carabanchel | 4–1 |  | 0–0 | 5–0 |
| Ponte Orense CF | 1–1 | 1–1 |  | 4–1 |
| Real Titánico | 0–0 | 2–3 | 1–2 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group A-3

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | RC Celta de Vigo B | 6 | 3 | 2 | 1 | 9 | 4 | +5 | 11 | Promoted to Segunda División B |
| 2 | Zamora CF | 6 | 3 | 2 | 1 | 8 | 5 | +3 | 11 |  |
| 3 | CF Rayo Majadahonda | 6 | 2 | 2 | 2 | 7 | 7 | 0 | | 8 |
| 4 | Caudal Deportivo | 6 | 1 | 0 | 5 | 4 | 12 | 8 | | 3 |

Source: Fútbol Regional

| Home \ Away | CAU | CEL | RMJ | ZAM |
| --- | --- | --- | --- | --- |
| Caudal Deportivo |  | 1–0 | 2–4 | 1–2 |
| RC Celta de Vigo B | 3–0 |  | 1–1 | 2–2 |
| CF Rayo Majadahonda | 1–0 | 1–1 |  | 0–1 |
| Zamora CF | 4–2 | 1–0 | 1–1 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group A-4

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Club Marino de Luanco | 6 | 4 | 1 | 1 | 13 | 2 | +11 | 13 | Promoted to Segunda División B |
| 2 | CD Lalín | 6 | 3 | 2 | 1 | 7 | 8 | 1 | 11 |  |
| 3 | CD Laguna | 6 | 2 | 1 | 3 | 5 | 7 | 2 | | 7 |
| 4 | AD Orcasitas | 6 | 0 | 2 | 4 | 3 | 11 | 8 | | 2 |

Source: Fútbol Regional

| Home \ Away | LAG | LAL | MAR | ORC |
| --- | --- | --- | --- | --- |
| CD Laguna |  | 0–1 | 1–0 | 3–1 |
| CD Lalín | 3–0 |  | 0–0 | 2–1 |
| Club Marino de Luanco | 1–0 | 7–1 |  | 2–0 |
| AD Orcasitas | 1–1 | 0–0 | 0–3 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group B-1

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | RS Gimnástica de Torrelavega | 6 | 4 | 2 | 0 | 14 | 3 | +11 | 14 | Promoted to Segunda División B |
| 2 | SD Zamudio | 6 | 3 | 3 | 0 | 9 | 5 | +4 | 12 |  |
| 3 | CD Ribaforada | 6 | 1 | 1 | 4 | 4 | 13 | 9 | | 4 |
| 4 | UD Casetas | 6 | 1 | 0 | 5 | 7 | 13 | 6 | | 3 |

Source: Fútbol Regional

| Home \ Away | CAS | GIM | RIB | ZAM |
| --- | --- | --- | --- | --- |
| UD Casetas |  | 2–5 | 2–0 | 2–4 |
| RS Gimnástica de Torrelavega | 1–0 |  | 3–0 | 1–1 |
| CD Ribaforada | 2–1 | 0–4 |  | 1–1 |
| SD Zamudio | 1–0 | 0–0 | 2–1 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group B-2

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | SD Gernika Club | 6 | 4 | 1 | 1 | 9 | 6 | +3 | 13 | Promoted to Segunda División B |
| 2 | Racing de Santander B | 6 | 3 | 1 | 2 | 9 | 6 | +3 | 10 |  |
| 3 | UD Barbastro | 6 | 1 | 2 | 3 | 6 | 9 | 3 | | 5 |
| 4 | CD Calahorra | 6 | 1 | 2 | 3 | 6 | 9 | 3 | | 5 |

Source: Fútbol Regional

| Home \ Away | BAB | CAL | GER | RAC |
| --- | --- | --- | --- | --- |
| UD Barbastro |  | 2–0 | 0–2 | 0–1 |
| CD Calahorra | 2–2 |  | 1–1 | 0–1 |
| SD Gernika Club | 2–0 | 2–1 |  | 1–0 |
| Racing de Santander B | 2–2 | 1–2 | 4–1 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group B-3

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Real Zaragoza B | 6 | 4 | 1 | 1 | 14 | 6 | +8 | 13 | Promoted to Segunda División B |
| 2 | CD Oberena | 6 | 3 | 1 | 2 | 12 | 11 | +1 | 10 |  |
| 3 | CD Elgoibar | 6 | 2 | 2 | 2 | 9 | 7 | +2 | | 8 |
| 4 | CD Tropezón | 6 | 1 | 0 | 5 | 3 | 14 | 11 | | 3 |

Source: Fútbol Regional

| Home \ Away | ELG | OBE | TRO | ZAR |
| --- | --- | --- | --- | --- |
| CD Elgoibar |  | 2–4 | 2–0 | 0–1 |
| CD Oberena | 1–1 |  | 3–1 | 3–2 |
| CD Tropezón | 0–3 | 1–0 |  | 1–4 |
| Real Zaragoza B | 1–1 | 4–1 | 2–0 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group B-4

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Zalla UC | 6 | 4 | 2 | 0 | 6 | 1 | +5 | 14 | Promoted to Segunda División B |
| 2 | Peña Sport FC | 6 | 3 | 1 | 2 | 7 | 2 | +5 | 10 |  |
| 3 | SD Noja | 6 | 2 | 2 | 2 | 9 | 12 | 3 | | 8 |
| 4 | Utebo FC | 6 | 0 | 1 | 5 | 5 | 12 | 7 | | 1 |

Source: Fútbol Regional

| Home \ Away | NOJ | PÑS | UTE | ZAL |
| --- | --- | --- | --- | --- |
| SD Noja |  | 1–0 | 5–3 | 0–0 |
| Peña Sport FC | 5–0 |  | 1–0 | 0–1 |
| Utebo FC | 2–2 | 0–1 |  | 0–1 |
| Zalla UC | 2–1 | 0–0 | 2–0 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group C-1

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | CF Gandía | 6 | 4 | 1 | 1 | 7 | 4 | +3 | 13 | Promoted to Segunda División B |
| 2 | CF Sóller | 6 | 2 | 2 | 2 | 7 | 7 | 0 | 8 |  |
| 3 | CE Europa | 6 | 2 | 1 | 3 | 4 | 5 | 1 | | 7 |
| 4 | Águilas CF | 6 | 2 | 0 | 4 | 10 | 12 | 2 | | 6 |

Source: Fútbol Regional

| Home \ Away | ÁGU | EUR | GAN | SÓL |
| --- | --- | --- | --- | --- |
| Águilas CF |  | 3–1 | 2–1 | 2–3 |
| CE Europa | 2–0 |  | 0–1 | 0–0 |
| CF Gandía | 2–1 | 1–0 |  | 2–1 |
| CF Sóller | 3–2 | 0–1 | 0–0 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group C-2

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | AD Mar Menor | 6 | 4 | 2 | 0 | 10 | 3 | +7 | 14 | Promoted to Segunda División B |
| 2 | Pinoso CF | 6 | 3 | 0 | 3 | 10 | 7 | +3 | 9 |  |
| 3 | UE Tàrrega | 6 | 2 | 2 | 2 | 10 | 8 | +2 | | 8 |
| 4 | CD Playas de Calviá | 6 | 1 | 0 | 5 | 4 | 16 | 12 | | 3 |

Source: Fútbol Regional

| Home \ Away | MAR | PCA | PIN | TÀR |
| --- | --- | --- | --- | --- |
| AD Mar Menor |  | 4–0 | 2–1 | 1–1 |
| CD Playas de Calviá | 0–1 |  | 1–2 | 2–1 |
| Pinoso CF | 0–1 | 4–0 |  | 1–2 |
| UE Tàrrega | 1–1 | 4–1 | 1–2 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group C-3

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Llíria CF | 6 | 4 | 1 | 1 | 13 | 3 | +10 | 13 | Promoted to Segunda División B |
| 2 | Cartagena FC | 6 | 3 | 0 | 3 | 10 | 12 | 2 | 9 |  |
| 3 | UD Poblense | 6 | 2 | 1 | 3 | 7 | 11 | 4 | | 7 |
| 4 | FC Santboià | 6 | 1 | 2 | 3 | 5 | 9 | 4 | | 5 |

Source: Fútbol Regional

| Home \ Away | CAR | LLÍ | POB | SBO |
| --- | --- | --- | --- | --- |
| Cartagena FC |  | 2–1 | 3–0 | 3–1 |
| Llíria CF | 6–1 |  | 2–0 | 1–0 |
| UD Poblense | 2–1 | 1–3 |  | 3–1 |
| FC Santboià | 2–1 | 0–0 | 1–1 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group C-4

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Real Murcia | 6 | 5 | 1 | 0 | 13 | 0 | +13 | 16 | Promoted to Segunda División B |
| 2 | CD Acero | 6 | 2 | 3 | 1 | 6 | 7 | 1 | 9 |  |
| 3 | Palamós CF | 6 | 1 | 1 | 4 | 6 | 10 | 4 | | 4 |
| 4 | CD Atlético Baleares | 6 | 1 | 1 | 4 | 4 | 12 | 8 | | 4 |

Source: Fútbol Regional

| Home \ Away | ACE | BAL | MUR | PAL |
| --- | --- | --- | --- | --- |
| CD Acero |  | 4–1 | 0–0 | 1–0 |
| CD Atlético Baleares | 0–0 |  | 0–1 | 2–1 |
| Real Murcia | 5–0 | 2–0 |  | 3–0 |
| Palamós CF | 1–1 | 4–1 | 0–2 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group D-1

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | CD Manchego | 6 | 4 | 2 | 0 | 8 | 1 | +7 | 14 | Promoted to Segunda División B |
| 2 | Moralo CP | 6 | 2 | 2 | 2 | 5 | 2 | +3 | 8 |  |
| 3 | Motril CF | 6 | 1 | 2 | 3 | 2 | 6 | 4 | | 5 |
| 4 | CD San Fernando | 6 | 1 | 2 | 3 | 2 | 8 | 6 | | 5 |

Source: Fútbol Regional

| Home \ Away | MAN | MOR | MOT | SFE |
| --- | --- | --- | --- | --- |
| CD Manchego |  | 1–0 | 0–0 | 2–0 |
| Moralo CP | 0–1 |  | 4–0 | 0–0 |
| Motril CF | 0–0 | 0–1 |  | 2–0 |
| CD San Fernando | 0–0 | 1–4 | 1–0 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group D-2

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | CP Ejido | 6 | 4 | 1 | 1 | 11 | 1 | +10 | 13 | Promoted to Segunda División B |
| 2 | Atlético Sanluqueño CF | 6 | 4 | 0 | 2 | 8 | 4 | +4 | 12 |  |
| 3 | Mérida Promesas UD | 6 | 3 | 1 | 2 | 7 | 6 | +1 | | 10 |
| 4 | Puertollano Industrial CF | 6 | 0 | 0 | 6 | 2 | 17 | 15 | | 0 |

Source: Fútbol Regional

| Home \ Away | ASL | EJI | MEP | PUI |
| --- | --- | --- | --- | --- |
| Atlético Sanluqueño CF |  | 1–0 | 2–0 | 3–0 |
| CP Ejido | 2–0 |  | 3–0 | 5–0 |
| Mérida Promesas UD | 1–0 | 0–0 |  | 4–0 |
| Puertollano Industrial CF | 1–2 | 0–1 | 1–2 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group D-3

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | CP Cacereño | 6 | 4 | 0 | 2 | 18 | 5 | +13 | 12 | Promoted to Segunda División B |
| 2 | Isla Cristina CD | 6 | 4 | 0 | 2 | 19 | 9 | +10 | 12 |  |
| 3 | UD Maracena | 6 | 3 | 0 | 3 | 9 | 14 | 5 | | 9 |
| 4 | Manzanares CF | 6 | 1 | 0 | 5 | 3 | 21 | 18 | | 3 |

Source: Fútbol Regional

| Home \ Away | CAC | ICR | MNZ | MAR |
| --- | --- | --- | --- | --- |
| CP Cacereño |  | 0–2 | 3–1 | 5–1 |
| Isla Cristina CD | 0–5 |  | 3–1 | 5–0 |
| Manzanares CF | 0–4 | 1–6 |  | 2–1 |
| UD Maracena | 3–0 | 3–0 | 2–0 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group D-4

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | Guadix CF | 6 | 4 | 1 | 1 | 9 | 4 | +5 | 13 | Promoted to Segunda División B |
| 2 | Tomelloso CF | 6 | 3 | 2 | 1 | 10 | 3 | +7 | 11 |  |
| 3 | Jerez CF | 6 | 2 | 2 | 2 | 6 | 9 | 3 | | 8 |
| 4 | Chiclana CF | 6 | 0 | 1 | 5 | 5 | 14 | 9 | | 1 |

Source: Fútbol Regional

| Home \ Away | CHI | GUA | JER | TOM |
| --- | --- | --- | --- | --- |
| Chiclana CF |  | 0–1 | 2–2 | 1–3 |
| Guadix CF | 3–1 |  | 3–1 | 1–0 |
| Jerez CF | 2–1 | 1–0 |  | 0–0 |
| Tomelloso CF | 3–0 | 1–1 | 3–0 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

### Group E

| Pos | Team | Pld | W | D | L | GF | GA | GD | Pts | Qualification or relegation |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| 1 | UD Realejos | 6 | 2 | 4 | 0 | 8 | 6 | +2 | 10 | Promoted to Segunda División B |
| 2 | UD Las Palmas B | 6 | 2 | 2 | 2 | 4 | 5 | 1 | 8 |  |
| 3 | UD La Pared | 6 | 1 | 3 | 2 | 4 | 5 | 1 | | 6 |
| 4 | CD Corralejo | 6 | 1 | 3 | 2 | 5 | 5 | 0 | | 6 |

Source: Fútbol Regional

| Home \ Away | COR | LPR | LPA | REA |
| --- | --- | --- | --- | --- |
| CD Corralejo |  | 0–0 | 2–0 | 1–1 |
| UD La Pared | 2–1 |  | 0–0 | 1–1 |
| UD Las Palmas B | 1–0 | 1–0 |  | 1–1 |
| UD Realejos | 1–1 | 2–1 | 2–1 |  |

Updated to match(es) played on completed. Source: FutbolMe
Legend: Blue = home team win; Yellow = draw; Red = away team win.

## Teams promoted

17 teams were promoted to Segunda División B.


title: Don H. Barden

abstract: Don Hamilton Barden was an American casino executive. He was the first black casino owner in Las Vegas. His company, The Majestic Star Casino, LLC, filed for bankruptcy protection in 2009.

text:
# Don H. Barden

**Don Hamilton Barden** (December 20, 1943 – May 19, 2011) was an American casino executive. He was the first black casino owner in Las Vegas. His company, The Majestic Star Casino, LLC, filed for bankruptcy protection in 2009.

## Career

When one of Barden's companies acquired the Fitzgeralds Las Vegas casino, Barden became the first African-American casino owner in Vegas.

Barden was the manager, chairman, president and chief executive officer of The Majestic Star Casino, LLC, from its formation, with responsibility for key policy making functions. Since their inception, Barden had also served as president and chief executive officer of Majestic Investor Holdings, LLC, and manager of Barden Colorado Blackhawk, Colorado, Barden Mississippi Tunica, Mississippi, and Barden Nevada Las Vegas, Nevada; and chairman and president of BDI. Barden also served as chairman of Barden Gary Foundation, Inc., and Don H. Barden Foundation, Inc. since their formations.

Additionally, he was the president and chief executive officer of Barden Companies, Inc. and a group of other companies he owned and/or operated. Over the past 30 years, Barden had successfully developed, owned and operated many business enterprises in various industries including real estate development, casino gaming, broadcasting, cable television and international trade. In 2003, *Black Enterprise* Magazine selected Barden as Company of the Year. In 2004, Barden received the Trumpet Award for Entrepreneur of the Year.

In 2007, Barden was awarded the rights to build a casino in the North Shore area of Pittsburgh, adjacent to Heinz Field, home of the Pittsburgh Steelers. The selection was made over heavy objections of local taxpayers who preferred another competing offer from Isle of Capri Casinos. That offer would have built a new multi-purpose arena adjacent to a casino complex in the area now occupied by the Civic Arena. Isle of Capri agreed to foot the entire cost of the new complex, valued at the time at $290 million. Barden's selection by the Commonwealth of Pennsylvania Gaming Commission forced the city of Pittsburgh and the buildings principal tenant, the Pittsburgh Penguins, to come up with an alternate plan, using taxpayer money to fund the facility.

In 2008, Barden was unable to secure permanent financing that would have permitted work to continue on the North Shore Casino project. Work at the site was stopped for weeks, until another investor could be found. Only after Chicago billionaire Neil Bluhm of JMB Realty bought controlling interest in the project, did work continue. Barden retained a minority interest in the project.

For years the Barden gambling facility in Gary existed beside another gambling facility belonging to Donald Trump. Barden bought the second facility for a price reflecting historic revenue at a time when several other facilities were opening up in Illinois and Indiana. Majestic Star and Fitzgerald casinos in Indiana, Mississippi and Colorado filed for bankruptcy in November 2009. In December 2011, the facilities were turned over to creditors. The Nevada casino and Barden's ownership in the Pittsburgh, Pennsylvania casino were separately held and were not part of the bankruptcy.

## Death

On May 19, 2011, Barden died of lung cancer at The Barbara Ann Karmanos Cancer Institute in Detroit. He was 67. Earlier that year, his wife Bella had filed for legal separation, saying in court documents that her husband was so sick with cancer that he could not make his own business and financial decisions. He and his wife Bella are interred at Woodlawn Cemetery near the Michael Jackson commemorative cenotaph.

## Legacy


title: Along Came Youth

abstract: Along Came Youth is a 1930 American pre-Code comedy film directed by Lloyd Corrigan and Norman Z. McLeod and written by George Marion, Jr., Maurice Bedel and Marion Dix. The film stars Charles "Buddy" Rogers, Frances Dee, Stuart Erwin, William Austin, Leo White and Betty Boyd. The film was released on December 20, 1930, by Paramount Pictures.

text:
# Along Came Youth

***Along Came Youth*** is a 1930 American pre-Code comedy film directed by Lloyd Corrigan and Norman Z. McLeod and written by George Marion, Jr., Maurice Bedel and Marion Dix. The film stars Charles "Buddy" Rogers, Frances Dee, Stuart Erwin, William Austin, Leo White and Betty Boyd. The film was released on December 20, 1930, by Paramount Pictures.

## Plot

## Cast

## InfoBox

| Along Came Youth | |
| --- | --- |
| Theatrical release poster | |
| Directed by | Lloyd Corrigan
Norman Z. McLeod |
| Screenplay by | George Marion, Jr.
Maurice Bedel
Marion Dix |
| Starring | Charles "Buddy" Rogers
Frances Dee
Stuart Erwin
William Austin
Leo White
Betty Boyd |
| Cinematography | Henry W. Gerrard |
| Edited by | Jane Loring |
| Music by | Karl Hajos |
| Production
company | Paramount Pictures |
| Distributed by | Paramount Pictures |
| Release date | * December 20, 1930 (1930-12-20) |
| Running time | 74 minutes |
| Country | United States |
| Language | English |


title: Eight Rings

abstract: Eight Rings is an American Thoroughbred racehorse and the winner of the 2019 American Pharoah Stakes.

text:
# Eight Rings

**Eight Rings** (foaled March 24, 2017, in Kentucky) is an American Thoroughbred racehorse and the winner of the 2019 American Pharoah Stakes.

## Career

Eight Rings' first race was on August 4, 2019, at Del Mar, where he came in first.

On September 2, 2019, he competed in the Grade 1 2019 Del Mar Futurity, but did not finish after a collision with another horse, Storm the Court.

In his third race on September 27, 2019, he competed in the Grade 1 2019 American Pharoah Stakes. He won the race, defeating Storm the Court, who he collided with at the 2019 Del Mar Futurity. The win earned him a spot in the 2019 Breeders' Cup Juvenile and earned him consideration in the 2020 Road to the Kentucky Derby.

On November 1, 2019, Eight Rings competed in the 2019 Breeders' Cup Juvenile, finishing in 6th place behind his rival Storm the Court who won the race. On that result, trainer Bob Baffert said, "He didn't show up that day. I'm still upset at myself for not having him ready that day."

Eight Rings next start was in the 2020 Bachelor Stakes at Oaklawn Park, where he came fifth.

## Pedigree

Pedigree of Eight Rings (USA), 2017
| Sire
Empire Maker (USA)
2000 | Unbridled (USA)
1987 | Fappiano | Mr. Prospector |
| --- | --- | --- | --- |
| | | Killaloe |
| | Gana Facil | Le Fabuleux |
| | Charedi |
| | Toussaud (USA)
1989 | El Gran Senor | Northern Dancer |
| | | Sex Appeal |
| | Image of Reality | In Reality |
| | Edee's Image |
| Dam
Purely Hot (USA)
2008 | Pure Prize (USA)
1998 | Storm Cat | Storm Bird |
| | | Terlingua |
| | Heavenly Prize | Seeking The Gold |
| | Oh What A Dance |
| | Wood Not (USA)
2001 | Kissin Kris | Kris S |
| | | Toes Forward |
| | Wood So | Baederwood |
| | Impudence |

## InfoBox

| Eight Rings | |
| --- | --- |
| Sire | Empire Maker |
| Grandsire | Unbridled |
| Dam | Purely Hot |
| Damsire | Pure Prize |
| Sex | Stallion |
| Foaled | 2017 |
| Country | USA |
| Color | Dark Bay/Brown |
| Breeder | WinStar Farm, LLC |
| Owner | SF Racing LLC |
| Trainer | Bob Baffert |
| Record | 4:2-0-0 |
| Earnings | $236,951 |
| Major wins | |
| American Pharoah Stakes (2019) | |
| Last updated on January 9th, 2020 | |


title: Alvesta Municipality

abstract: Alvesta Municipality is a municipality in Kronoberg County, southern Sweden. Its seat is in Alvesta. The present municipality was created in 1971, when the market town (köping) Alvesta was amalgamated with four surrounding rural municipalities. Amalgamations had also taken place in 1952 and 1963. The number of original local government entities within the present municipality is twelve. The municipal arms are from 1951 and depict three bees and a winged wheel. This symbolizes the railway that is so vital for the industry, while the bees signify the hard-working spirit that the locals pride themselves with. The municipality boasts nature areas and is suitable for fishing, canoeing or playing golf. The mansion of Huseby is a popular place to visit, located some 15 kilometers south of the town Alvesta, and hosts a couple of museums. There are also old churches scattered around the municipality, some medieval, among them the Alvesta Church.

text:
# Alvesta Municipality

**Alvesta Municipality** (*Alvesta kommun*) is a municipality in Kronoberg County, southern Sweden. Its seat is in Alvesta.

The present municipality was created in 1971, when the market town (*köping*) Alvesta (instituted in 1945) was amalgamated with four surrounding rural municipalities. Amalgamations had also taken place in 1952 and 1963. The number of original local government entities within the present municipality is twelve.

The municipal arms are from 1951 and depict three bees and a winged wheel. This symbolizes the railway that is so vital for the industry, while the bees signify the hard-working spirit that the locals pride themselves with.

The municipality boasts nature areas and is suitable for fishing, canoeing or playing golf.

The mansion of Huseby is a popular place to visit, located some 15 kilometers south of the town Alvesta, and hosts a couple of museums. There are also old churches scattered around the municipality, some medieval, among them the Alvesta Church.

## Localities

There are 6 urban areas (or tätort) in Alvesta Municipality.

In the table the localities are listed according to the size of the population as of December 31, 2005. The municipal seat is in bold characters.

| # | Locality | Population |
| --- | --- | --- |
| 1 | **Alvesta** | 7,647 |
| 2 | Moheda | 1,852 |
| 3 | Vislanda | 1,773 |
| 4 | Grimslöv | 638 |
| 5 | Torpsbruk | 354 |
| 6 | Hjortsberga | 229 |

## Demographics

This is a demographic table based on Alvesta Municipality's electoral districts in the 2022 Swedish general election sourced from SVT's election platform, in turn taken from SCB official statistics.

In total there were 20,256 inhabitants, including 14,578 Swedish citizens of voting age. 42.0% voted for the left coalition and 56.0% for the right coalition. Indicators are in percentage points except population totals and income.

## Notable natives

Some well-known natives of Alvesta are the national famous magician Joe Labero and the ATP tennis player Jonas Björkman. The former world #1 in the same sport, Mats Wilander, was originally from Torpsbruk in the north part of the municipality.

Swan J. Turnblad (1860–1933) American newspaper publisher associated with *Svenska Amerikanska Posten*, a Swedish language newspaper once published in Minneapolis, Minnesota, was born in Tubbemåla in Vislanda parish.

## Politics

Result of the 2010 election:

## InfoBox

| Alvesta Municipality *Alvesta kommun* | |
| --- | --- |
| Municipality | |
| Alvesta town hall | |
|  | |
|  | |
| Coordinates: 56°54′N 14°33′E / 56.900°N 14.550°E / 56.900; 14.550 | |
| Country | Sweden |
| County | Kronoberg County |
| Seat | Alvesta |
| Area | |
| Total | 1,074.26 km2 (414.77 sq mi) |
| Land | 974.19 km2 (376.14 sq mi) |
| Water | 100.07 km2 (38.64 sq mi) |
|  | Area as of 1 January 2014. |
| Population (31 December 2023) | |
| Total | 20,040 |
| Density | 19/km2 (48/sq mi) |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |
| ISO 3166 code | SE |
| Province | Småland |
| Municipal code | 0764 |
| Website | www.alvesta.se |


title: Eager (band)

abstract: Eager was a band formed by Patrick Andrew, formerly of the band PFR. Patrick began forming the new band with Greg Pope in 1995. Greg, who was also a songwriter, had been touring with PFR as a backup guitarist. To quell rumors of the unannounced but impending PFR breakup, Patrick publicly explained the new band as just "a side project". The two songwriters recruited drummer Paul Eckberg in Minneapolis, Minnesota, and the three moved to Nashville, Tennessee in the fall of 1996. They quickly enlisted Mark Kloos from Raleigh, North Carolina, who was Greg's former bandmate in Apple Green and The Greg Pope Band. The group recorded a self-titled album in early 1997, which Jimmie Lee Sloas produced. It was released that fall. The band continued touring and playing live shows until disbanding in mid-1998.

text:
# Eager (band)

**Eager** was a band formed by Patrick Andrew, formerly of the band PFR. Patrick began forming the new band with Greg Pope in 1995. Greg, who was also a songwriter, had been touring with PFR as a backup guitarist. To quell rumors of the unannounced but impending PFR breakup, Patrick publicly explained the new band as just "a side project". The two songwriters recruited drummer Paul Eckberg in Minneapolis, Minnesota, and the three moved to Nashville, Tennessee in the fall of 1996. They quickly enlisted Mark Kloos from Raleigh, North Carolina, who was Greg's former bandmate in Apple Green and The Greg Pope Band.

The group recorded a self-titled album in early 1997, which Jimmie Lee Sloas produced. It was released that fall. The band continued touring and playing live shows until disbanding in mid-1998.

## Members

## Genre

Combines Christian with Pop & Contemporary.

## Discography

*Eager* (1997, Warner Bros. Records, Questar/Mission Records)

## InfoBox

| Eager | |
| --- | --- |
| Origin | Nashville, Tennessee |
| Years active | 1995 (1995)–1998 (1998) |
| Labels | Warner Bros. Records |
|  | |
| Past members | Patrick Andrew, Greg Pope, Mark Kloos, Paul Eckberg |


title: American (1917 automobile)

abstract: The American was an American automobile, built in Plainfield, New Jersey, manufactured from 1917 to 1924. The company also used names American Balanced Six or American Six, "Balanced" referred to its chassis, not the engine. It was an assembled car, one of many built in its time, and it used components from several manufacturers like Borg & Beck for clutch, Warner transmission, Stromberg carburetor and Rutenber engines. The company was never large; its peak production was 1400 vehicles built in 1920. In that same year a powerful 58 hp Herschell-Spillman six-cylinder engine replaced old 45 hp Rutenber six. American was commonly advertised as a 'Smile Car' because the company believed their cars offered trouble-free miles for their owners. In 1923 the company became associated with the Bessemer Motor Truck Corporation; that October, the company became Amalgamated Motors Corporation, incorporating Northway and Winther as well. Before spring of 1924 American car was out of production. The total number of cars produced was about 6000 cars. For a brief time, famed racing driver and future automobile designer Louis Chevrolet worked as a vice-president and the head of American's engineering department.

text:
# American (1917 automobile)

The **American** was an American automobile, built in Plainfield, New Jersey, manufactured from 1917 to 1924. The company also used names American Balanced Six or American Six, "Balanced" referred to its chassis, not the engine. It was an assembled car, one of many built in its time, and it used components from several manufacturers like Borg & Beck for clutch, Warner transmission, Stromberg carburetor and Rutenber engines.

The company was never large; its peak production was 1400 vehicles built in 1920. In that same year a powerful 58 hp Herschell-Spillman six-cylinder engine replaced old 45 hp Rutenber six. American was commonly advertised as a 'Smile Car' because the company believed their cars offered trouble-free miles for their owners. In 1923 the company became associated with the Bessemer Motor Truck Corporation; that October, the company became Amalgamated Motors Corporation, incorporating Northway and Winther as well. Before spring of 1924 American car was out of production. The total number of cars produced was about 6000 cars.

For a brief time, famed racing driver and future automobile designer Louis Chevrolet worked as a vice-president and the head of American's engineering department.


title: East Diamante

abstract: East Diamante is a submarine volcano located 43 km (27 mi) south of Anatahan in the Northern Mariana Islands of the northwestern Pacific Ocean. It forms part of the Izu–Bonin–Mariana Arc and is hydrothermally active, containing a complex, elongated caldera at its summit.

text:
# East Diamante

**East Diamante** is a submarine volcano located 43 km (27 mi) south of Anatahan in the Northern Mariana Islands of the northwestern Pacific Ocean. It forms part of the Izu–Bonin–Mariana Arc and is hydrothermally active, containing a complex, elongated caldera at its summit.

## Geology

East Diamante is one of two submarine volcanoes in the southern Izu–Bonin–Mariana Arc that have erupted felsic magmas, the other being Zealandia Bank. Dacite is the primary rock type and generally has a porphyritic texture, with phenocrysts embedded in a matrix of quartz, plagioclase, clinopyroxene, orthopyroxene and iron-titanium oxides. The phenocrysts account for up to 41% of the total rock volume.

The summit of East Diamante lies 127 m (417 ft) below sea level and is truncated by an elongated, northeast–southwest-trending caldera. Formation of the caldera was followed by the emplacement of a central dome complex and the construction of a volcanic cone on the southwest caldera rim. The central dome complex displays hydrothermal activity, including black smokers.

Argon–argon dating of dacite from inside the caldera has given an age of 20,000 ± 4000 years, indicating that the volcano was active in the Late Pleistocene. Volcanism continued into the Holocene, but the age of the last eruption is unknown.

## InfoBox

| East Diamante | |
| --- | --- |
| Bathymetic image of East Diamante as viewed from the north/northeast | |
| Northern Mariana IslandsEast Diamante (North Pacific ) | |
| Summit depth | −127 m (−417 ft) |
| Location | |
| Location | Northern Mariana Islands |
| Coordinates | 15°56′N 145°40′E / 15.93°N 145.67°E / 15.93; 145.67 |
| Country | United States |
| Geology | |
| Type | Submarine volcano |
| Volcanic arc/chain | Izu–Bonin–Mariana Arc |
| Last eruption | Unknown |


title: 1918 Corangamite by-election

text:
# 1918 Corangamite by-election

A by-election was held for the Australian House of Representatives seat of Corangamite on 14 December 1918. This was triggered by the death of Nationalist MP Chester Manifold.

In October, the Labor Party had won a by-election for the safe conservative seat of Swan when the entry of the Farmers' and Settlers' Association had split the conservative vote. The Nationalists quickly introduced preferential voting, which was first practiced at the Corangamite by-election. Although the Labor candidate, future Prime Minister James Scullin, came first on the primary vote, Nationalist preferences elected William Gibson of the Victorian Farmers' Union, who thus became the first "Country" member of the Australian Parliament.

## Results

Corangamite by-election, 1918
| Party | | Candidate | Votes | % | ±% |
| --- | --- | --- | --- | --- | --- |
|  | Labor | James Scullin | 10,630 | 42.5 | +2.9 |
|  | Victorian Farmers | William Gibson | 6,604 | 26.4 | +26.4 |
|  | Nationalist | George Knox | 5,737 | 22.9 | -37.5 |
|  | Ind. Nationalist | Russell Coldham | 1,174 | 4.7 | +4.7 |
|  | Returned Soldiers | Thomas Leaper | 895 | 3.6 | +3.6 |
| Total formal votes | | | 25,040 | 98.0 |  |
| Informal votes | | | 516 | 2.0 |  |
| Turnout | | | 25,553 | 73.2 |  |
| Two-party-preferred result | | | | | |
|  | Victorian Farmers | William Gibson | 14,096 | 56.3 | +56.3 |
|  | Labor | James Scullin | 10,944 | 43.7 | +4.1 |
|  | Victorian Farmers **gain** from Nationalist | | **Swing** | -4.1 |  |

## InfoBox

1918 Corangamite by-election
| --- | |
| --- | --- |
|  | |
| First party Second party Third party  **NAT**  Candidate William Gibson James Scullin George Knox  Party Victorian Farmers Labor Nationalist  Popular vote 6,604 **10,630** 5,737  Percentage 26.4% **42.5%** 22.9%  Swing 26.4pp 2.9pp 37.5pp  TPP **56.3%** 43.7%   TPP swing 56.3pp 4.1pp | |
| ---  **MP before election**
Chester Manifold
Nationalist **Elected MP**
William Gibson
Victorian Farmers | |


title: 1921 Rose Bowl

abstract: The 1921 Rose Bowl, known at the time as the Tournament East-West Football Game, was a college football bowl game played on January 1, 1921, at Tournament Park in Pasadena, California. It was the seventh Rose Bowl Game. The California Golden Bears defeated the Ohio State Buckeyes by a score of 28–0 in the second Big Ten Conference versus Pacific Coast Conference (PCC) meeting in the Rose Bowl, the first being the 1902 Rose Bowl, which featured Michigan and Stanford. California's victory stood as the only Rose Bowl win for a PCC team over a Big Ten team until the 1953 Rose Bowl. California finished the season undefeated after handing Ohio State its first loss of the season. The Bears, who outscored their opponents 510–14 for the season, remained undefeated from 1920 until 1924. End Harold Muller was named Player of the Game. He completed a 53-yard touchdown pass to Brodie Stephens after receiving a toss from Pesky Sprott. Sprott scored two touchdowns after carrying the ball 20 times for 90 yards. It was the last time Ohio State was shut out until the 1993 season. Ohio State All-American Gaylord Stinchcomb rushed for 82 yards.

text:
# 1921 Rose Bowl

The **1921 Rose Bowl**, known at the time as the **Tournament East-West Football Game**, was a college football bowl game played on January 1, 1921, at Tournament Park in Pasadena, California. It was the seventh Rose Bowl Game. The California Golden Bears defeated the Ohio State Buckeyes by a score of 28–0 in the second Big Ten Conference versus Pacific Coast Conference (PCC) meeting in the Rose Bowl, the first being the 1902 Rose Bowl, which featured Michigan and Stanford. California's victory stood as the only Rose Bowl win for a PCC team over a Big Ten team until the 1953 Rose Bowl.

California finished the season undefeated after handing Ohio State its first loss of the season. The Bears, who outscored their opponents 510–14 for the season, remained undefeated from 1920 until 1924. End Harold Muller was named Player of the Game. He completed a 53-yard touchdown pass to Brodie Stephens after receiving a toss from Pesky Sprott. Sprott scored two touchdowns after carrying the ball 20 times for 90 yards. It was the last time Ohio State was shut out until the 1993 season.

Ohio State All-American Gaylord Stinchcomb rushed for 82 yards.

## Scoring

|  | 1 | 2 | 3 | 4 | Total |
| --- | --- | --- | --- | --- | --- |
| **California** | 7 | 14 | 0 | 7 | **28** |
| Ohio State | 0 | 0 | 0 | 0 | **0** |

| Qtr. | Team | Scoring play | Score |
| --- | --- | --- | --- |
| **1** | **CAL** | Sprott 1 yard rush, Toomey kick good | CAL 7–0 |
| **2** | **CAL** | Stephens 37 yard pass from Muller, Toomey kick good | CAL 14–0 |
| | **CAL** | Sprott 5 yard rush, Toomey kick good | CAL 21–0 |
| **4** | **CAL** | Deeds 1 yard rush, Toomey kick good | CAL 28–0 |
| Source: | | | |

## InfoBox

| 1921 Tournament East-West football game | |
| --- | --- |
| 7th Rose Bowl Game | |
|  | |
|  | |
| 1 2 3 4 Total  **California** 7 14 0 7 28  **Ohio State** 0 0 0 0 0 | |
| Date | January 1, 1921 |
| Season | 1920 |
| Stadium | Tournament Park |
| Location | Pasadena, California |
| MVP | Harold Muller (California) |
| Attendance | 42,000 |
|


title: Albanian literature

abstract: Albanian literature stretches back to the Middle Ages and comprises those literary texts and works written in Albanian. It may also refer to literature written by Albanians in Albania, Kosovo and the Albanian diaspora particularly in Italy. Albanian occupies an independent branch within the Indo-European family and does not have any other closely related language. The origin of Albanian is not entirely known, but it may be a successor of the ancient Illyrian language. The Archbishop of Antivari Guillaume Adam wrote a report in 1332 in which he said that Albanians used Latin letters in their books although their language was quite different from the Latin language. The oldest surviving documents written in Albanian are the "Formula e pagëzimit" recorded by Pal Engjëlli, Bishop of Durrës in 1462 in the Gheg dialect, and some New Testament verses from that period.

text:
# Albanian literature

**Albanian literature** stretches back to the Middle Ages and comprises those literary texts and works written in Albanian. It may also refer to literature written by Albanians in Albania, Kosovo and the Albanian diaspora particularly in Italy. Albanian occupies an independent branch within the Indo-European family and does not have any other closely related language. The origin of Albanian is not entirely known, but it may be a successor of the ancient Illyrian language.

The Archbishop of Antivari Guillaume Adam wrote a report in 1332 in which he said that Albanians used Latin letters in their books although their language was quite different from the Latin language.

The oldest surviving documents written in Albanian are the "Formula e pagëzimit" (Baptismal formula) recorded by Pal Engjëlli, Bishop of Durrës in 1462 in the Gheg dialect, and some New Testament verses from that period.

## Medieval period

### 15th century

The expansion of the Ottoman Empire pushed many Albanians from their homeland during the period of the Western European Renaissance humanism. Among the Albanian émigrés that became known in the humanist world are historian Marin Barleti (1460–1513) who in 1510 published in Rome a history of Skanderbeg, which was translated into many other European languages, or Marino Becichemi (1468–1526), Gjon Gazulli (1400–1455), Leonicus Thomeus (1456–1531), Michele Maruli (15th century), Michele Artioti (1480–1556) and many others who were distinguished in various fields of science, art and philosophy.

### 16th century

The cultural resistance was first of all expressed through the elaboration of Albanian in the area of church sacrifices and publications, mainly of the Catholic confessional region in the North, but also of the Orthodox in the South. The Protestant reforms invigorated hopes for the development of the local language and literary tradition when cleric Gjon Buzuku translated the Catholic liturgy into Albanian, trying to do for Albanian what Luther did for German.

*Meshari* (The Missal) by Gjon Buzuku, published by him in 1555, is the first literary work published in Albanian. The refined level of the language and the stabilised orthography must be a result of an earlier tradition of writing Albanian, a tradition that is not known. But there is some fragmented evidence, dating earlier than Buzuku, which indicates that Albanian was written at least since the 14th century AD. The first known evidence dates from 1332 AD and deals with the French Dominican Guillelmus Adae, Archbishop of Antivari, who in a report in Latin writes that Albanians use Latin letters in their books although their language is quite different from Latin. Of special importance in supporting this are: a baptizing formula (*Unte paghesont premenit Atit et Birit et spertit senit*) of 1462, written in Albanian within a text in Latin by the bishop of Durrës, Pal Engjëlli; a glossary with Albanian words of 1497 by Arnold von Harff, a German who had travelled through Albania, and a 15th-century fragment from the Bible from the Gospel of Matthew, also in Albanian, but in Greek letters.

Albanian writings of these centuries must not have been religious texts only, but historical chronicles too. They are mentioned by the humanist Marin Barleti, who, in his book *The Siege of Shkodra* (*De Obsidione Scodrensi*) (1504), confirms that he leafed through such chronicles written in the language of the people (*in vernacula lingua*). Despite the obstacles generated by the Counter-Reformation which was opposed to the development of national languages in Christian liturgy, this process went on uninterrupted. During the 16th to 17th centuries, the catechism *E mbësuame krishterë* (Christian Teachings) (1592) by Lekë Matrënga, *Doktrina e krishterë* (The Christian Doctrine) (1618) and *Rituale romanum* (1621) by Pjetër Budi, the first writer of original Albanian prose and poetry, an apology for George Castriot (1636) by Frang Bardhi, who also published a dictionary and folklore creations, the theological-philosophical treaty *Cuneus Prophetarum* (The Band of Prophets) (1685) by Pjetër Bogdani, the most universal personality of Albanian Middle Ages, were published in Albanian.

Bogdani's work is a theological-philosophical treatise that considers with originality, by merging data from various sources, principal issues of theology, a full biblical history and the complicated problems of scholasticism, cosmogony, astronomy, pedagogy, etc. Bogdani brought into Albanian culture the humanist spirit and praised the role of knowledge and culture in the life of man; with his written work in a language of polished style, he marked a turning point in the history of Albanian literature.

Another important writer of the Early Albanian Literature was Jul Variboba.

### 17th century

During 17th and 18th centuries, the literature of Orthodox and Muslim confessional cultural circles witnessed a greater development. An anonymous writer from Elbasan translated into Albanian a number of sections from the Bible; T. H. Filipi, also from Elbasan, brings the *Dhiata e Vjetër dhe e Re* (The Old and the New Testament). These efforts multiplied in the following century with the publication in 1827 of the integral text of the *Dhiata e Re* (The New Testament) by G. Gjirokastriti and with the big corpus of (Christian) religious translations by Kostandin Kristoforidhi (1830–1895), in both main dialects of Albanian, publications which helped in the process of integrating the two dialects into a unified literary language and in setting up the basis for the establishment of the National Church of the Albanians with the liturgy in their own language.

Although in opposite direction with this tendency, the culture of Voskopoja is also to be mentioned, a culture that during the 17th century became a great hearth of civilization and a metropolis of the Balkan peninsula, with an Academy and a printing press and with personalities like T. Kavaljoti, Dh. Haxhiu, G. Voskopojari, whose works of knowledge, philology, theology and philosophy assisted objectively in the writing and recognition of Albanian. Although the literature that evolved in Voskopoja was mainly in Greek, the need to erect obstacles to Islamization made necessary the use of national languages, encouraging the development of national cultures. Walachian and Albanian were also used for the teaching of Greek in the schools of Voskopoja, and books in Walachian were also printed in its printing presses. The works of Voskopoja writers and savants have brought in some elements of the ideas of the European Enlightenment. The most distinguished of them was Teodor Kavaljoti. According to the notes of H.E. Thunman, the work of Kavaljoti, which remained unpublished, in most part deals with issues from almost all branches of philosophy. It shows the influence of Plato, Descartes, Malebranche and Leibniz.

## Early Modern period

One of the results of the influence of Islam and particularly Sufi orders, and the culture of the invader, was the emergence of a school of poetry known as the school of the bejtexhinj during the 18th century, or of a literature written in Albanian but by means of an Arabic alphabet. Its authors such as Nezim Frakulla, Sulejman Naibi, Hasan Zyko Kamberi, Shahin and Dalip Frashëri, and others dealt in their works with motifs borrowed from Oriental literature, wrote religious texts and poetry in a language suffocated by orientalisms and developed religious lyric and epic. The poetry of the bejtexhinj was strongly influenced by Turkish, Persian and Arabic literary models in fashion at the time both in Istanbul and the Middle east. Most of the genres and forms prevalent in Turkish and Persian verse are to be encountered in Albanian. There are either as isolated poems or within the divans: the murabba', quatrain; the ilahi, religious hymns; the qaside, the longer panegyric odes favoured by the Arabs; and the ghazal, shorter poems, often love lyrics which were favoured by the Turks and Persians. The subject matter was often religious, either meditatively intimate or openly didactic, serving to spread the faith. The speculative character of much of this verse derived its inspiration from the currents of Islam: from Sunnite spirituality to the intense mystical spheres of Shi'ite Sufism and later, to the more liberal, though equally mystical reflections of Bektashi pantheism. Secular verses occur as well: love lyrics, nature poetry and historical and philosophical verse.

The first major poet among the bejtexhinj was Nezim Frakulla (1680–1760) who wrote his first poetry in Turkish, Persian and Arabic including two divans. Between 1731 and 1735 he composed a divan and various other poetry in Albanian, as well as an Albanian- Turkish dictionary in verse form. His divan include verse ranging from panegyrics on local pashas and military campaigns, to odes on friends and patrons, poems on separation from and longing for his friends and lovers, description of nature in the springtime, religious verse, and in particular, love lyrics.

Another famous bejtexhinj is Hasan Zyko Kamberi who was one of the most commanding representatives of the Muslim tradition in Albanian literature, through his main work, a 200-page *mexhmua* (verse collection). Kamberi's secular verse covers a wide range of themes.

### 19th century

The 19th century, the century of national movements in the Balkans, found Albanians without a sufficient tradition of a unitary development of the state, language and culture but, instead, with an individualistic and regionalist mentality inherited from the supremacy of clan and kinship and consequently with an underdeveloped national conscience, though with a spirit of spontaneous rebellion. In this historical cultural situation emerged and fully developed an organized ideological, military and literary movement, called *Rilindja Kombëtare* (National Renaissance). It was inspired by the ideas of National Romanticism and Enlightenment, which were cultivated among the circles of Albanian intelligentsia, mainly émigrés in the old settlements in Italy and the more recent ones in Istanbul, Bucharest, United States, Sofia and Cairo.

National Renaissance, nurturing the Albanian as a language of culture, the organization of national education and the establishment of a national literature on the cultural level as well as the creation of the independent state – these were the goals of this movement which gave birth to the school of Albanian Romanticism. It was imbued with the spirit of national liberation, with the nostalgia of the émigré and the rhetorical pathos of past heroic wars. This literary school developed the poetry most. Regarding the motifs and poetical forms, its hero was the ethical man, the fighting Albanian, and to a lesser degree the tragic man. It is closely linked with the folklore tradition.

The pursuit of this tradition and the publications of *Rapsodi të një poeme arbëreshe* (Rhapsody of an Arbëresh Poem) in 1866 by Jeronim De Rada, of *Përmbledhje të këngëve popullore dhe rapsodi të poemave shqiptare* (Collection of Albanian Folk Songs and Rhapsodies of Albanian Poems) in 1871 by Zef Jubani, *Bleta shqiptare* (Albanian Bee) in 1878 by Thimi Mitko, etc., were part of the cultural programme of the National Renaissance for establishing a compact ethnic and cultural identity of Albanians.

Two are the greatest representatives of Albanian Romanticism of 19th century: Jeronim De Rada (1814–1903), and Naim Frashëri (1846–1900), born in Albania, educated at Zosimea of Ioannina, but emigrated and deceased in Istanbul. The first is the Albanian romantic poet brought up in the climate of European Romanticism, the second is the Albanian romanticist and pantheist who merges in his poetry the influence of Eastern poetry, especially Persian, with the spirit of the poetry of Western Romanticism.

De Rada wrote a cycle of epical-lyrical poems in the style of Albanian rhapsodies: *Këngët e Milosaos* (The Songs of Milosao), 1836, *Serafina Topia* 1839, *Skënderbeu i pafat* (Unlucky Skanderbeg) 1872–1874 etc. with the ambition of creating the national epos for the century of Skanderbeg. Following the traces of Johann Gottfried Herder, De Rada raised the love for folk songs in his poetry and painted it in ethnographic colours. His works reflect both Albanian life with its characteristic customs and mentalities, and the Albanian drama of the 15th century, when Albania came under Ottoman rule. The conflict between the happiness of the individual and the tragedy of the nation, the scenes by the riversides, women gathering wheat in the fields, the man going to war and the wife embroidering his belt, all represented with a delicate lyrical feeling.

Naim Frashëri wrote a pastoral poem *Bagëti e bujqësia* (Shepherds and Farmers) (1886), a collection of philosophical, patriotic and love lyrics *Lulet e verës* (Summer Flowers), (1890), an epical poem on Skanderbeg *Histori e Skënderbeut* (The History of Skanderbeg) (1898), a religious epical poem *Qerbelaja* (1898), two poems in Greek *O Eros* (i.e. O Love) and *O alithis pothos ton skipetaron* (i.e. The True Desire of Albanians), some lyrics in Persian *Tehajylat* (The Dream) and many erudite works in Albanian. He is recognised as the greatest national poet of Albanians. Frashëri established modern lyrics in Albanian poetry. In the spirit of *Bucolics* and *Georgics* of Virgil, in his *Bagëti e bujqësia* (Shepherds and Farmers) he sang to the works of the land tiller and shepherd by writing a hymn to the beauties of his fatherland and expressing the nostalgia of the émigré poet and the pride of being Albanian. The longing for his birthplace, the mountains and fields of Albania, the graves of his ancestors, the memories of his childhood, feed his inspiration with lyrical strength and impulse.

The inner experiences of the individual freed from the chains of medieval, Oriental mentality on one hand and the philosophical pantheism imbued with the poetical pantheism of the European Romanticism on the other hand, give to the lyrical meditations of Frashëri a universal human and philosophical dimension. The most beautiful poems of *Lulet e verës* (Summer Flowers) collection are the philosophical lyrics on life and death, on time that goes by and never comes back leaving behind tormenting memories in the heart of man, on the Creator melt with the Universe. Naim Frashëri is the founder of the national literature of the Albanians and of the national literary language. He raised Albanian to a modern language of culture, evolving it in the model of the popular speech.

The world of the romantic hero with its vehement feelings is brought to Albanian Romanticism by the poetry of Zef Serembe. The poetry of Ndre Mjeda and Andon Zako Çajupi, who lived at the end of Renaissance, bears the signs of disintegration of the artistic system of Romanticism in Albanian literature.

Çajupi (1866–1930) is a rustic poet, the type of a folk bard, called the Mistral of Albania; he brought to Albanian literature the comedy of customs and the tragedy of historical themes. Graduated from a French college in Alexandria and the Geneva University, a good connoisseur of French literature, Çajupi was among the first translate La Fontaine's fables into Albanian, thus opening the way to the translation and adoption of works of world literature into Albanian, which has been and remains one of the major ways of communication with the world culture.

Distinguished writers of this period are: Naum Veqilharxhi, Sami Frashëri, Vaso Pasha, Jeronim de Rada, Gavril Dara the Younger, Zef Serembe, Naim Frashëri, Dora d'Istria, Andon Zako Çajupi, Ndre Mjeda, Luigj Gurakuqi, Filip Shiroka, Mihal Grameno, Risto Siliqi, Aleksandër Stavre Drenova, etc.

## Modern period

### Independence

The main direction taken by the Albanian literature between the two World Wars was realism, but it also bore remnants of romanticism.

Gjergj Fishta (1871–1940), wrote a poem of national epos breadth *The Highland Lute* (*Lahuta e malësisë*) in 17.000 verses, in the spirit of Albanian historical and legendary epos, depicting the struggles of Northern highlanders against Slav onslaughts. With this work he remains the greatest epical poet of Albanians. A Franciscan priest, erudite and a member of the Italian Academy, Gjergj Fishta is a multifaceted personality of Albanian culture: epical and lyrical poet, publicist and satirist, dramatist and translator, active participant in the Albanian cultural and political life between the two Wars. His major work, *The Highland Lute* (1937, english edition 2005), is a reflection of the Albanian life and mentality, a poetical mosaic of historic and legendary exploits, traditions and customs of the highlands, a live fresco of the history of an old people, which places on its center the type of Albanian carved in the calvary of his life along the stream of centuries which had been savage to him. Fishta's poem is distinguished by its vast linguistic wealth, is a receptacle for the richness of the popular speech of the highlands, the live and infinite phraseology and the diversity of clear syntax constructions, which give vitality and strength to the poetic expression. The poetical collections *Mrizi i Zanave* (The Fairies' Mead) with patriotic verse and *Vallja e Parrizit* (Paris's Dance) with verses of a religious spirit, represent Fishta as a refined lyrical poet, while his other works *Anzat e Parnasit* (Parnassus' Anises) and *Gomari i Babatasit* (Babatas' Donkey) represent him as an unrepeatable satirical poet. In the field of drama, *Juda Makabe* and *Ifigjenia n' Aulli* may be mentioned along his tragedies with biblical and mythological themes.

The typical representative of realism was Millosh Gjergj Nikolla, Migjeni (1913–1938). His poetry *Free Verse* (*Vargjet e lira*, 1936; English, 2015), and prose are permeated by a severe socialist realism on the misery and tragic position of the individual in the society of the time. The characters of his works are people from the lowest strata of Albanian society. Some of Migjeni's stories are novels in miniature; their themes represent the conflict of the individual with institutions and the patriarchal and conservative morality. The rebellious nature of Migjeni's talent broke the traditionalism of Albanian poetry and prose by bringing a new style and forms in poetry and narrative. He is one of the greatest reformers of Albanian literature, the first great modern Albanian writer.

Lasgush Poradeci (1899–1987), a poetical talent of a different nature, a brilliant lyrical poet, wrote soft and warm poetry, but with a deep thinking and a charming musicality *Vallja e yjeve* (The Dance of Stars), 1933, *Ylli i zemrës* (The Star of Heart), 1937.

Fan Stilian Noli (1882–1965) F.S. Noli is one of the most versatile figures—he was a distinguished poet, historian, dramatist, aesthete and musicologist, publicist, translator and master of Albanian. With his poetry, non-fiction, scientific and religious prose, as well as with his translations, Noli has played a fundamental role in the development of the modern Albanian. His introductions to his own translations of world literature made him Albania's foremost literary critic of the inter-war period. He wrote the plays *The Awakening* and *Israelites and Philistines* and in 1947 he published in English the study *Beethoven and the French Revolution*.

Albanian literature between the two Wars did not lack manifestations of sentimentalism (Foqion Postoli, Mihal Grameno) and of belated classicism, especially in drama (Et'hem Haxhiademi). Manifestations of the modern trends, impressionism, Symbolism, etc. were isolated phenomena in the works of some writers (Migjeni, Poradeci, and Asdreni), that did not succeed in forming a school. Deep changes were seen in the system of genres; prose (Migjeni, F. S. Noli, Faik Konitza, Ernest Koliqi, Mitrush Kuteli, etc.) drama and satire (Gjergj Fishta, Kristo Floqi) developed parallel to poetry. Ernest Koliqi wrote subtle prose, full of coloring from his town of Shkodër, (*Tregtar flamujsh*, (Trader of Flags), 1935. Mitrush Kuteli is a magician of Albanian, the writer that cultivated the folk style of narration into a charming prose, *Net shqiptare* (Albanian Nights) 1938; *Ago Jakupi* 1943; *Kapllan aga i Shaban Shpatës* (Kapllan Aga of Shaban Shpata), 1944.

Faik Konica is the master who gave Albanian prose a modern image. Coming from a renowned family, inheriting the conscience of belonging to an elite, which he manifested strongly in his life and work, he discarded Oriental mentality, inherited from the Ottoman occupation, with a joking smile that he translated into a cutting sarcasm in his work. Erudite, knowledgeable in all major European languages and some Eastern ones, a friend of Guillaume Apollinaire, called by foreigners "*a walking encyclopaedia*", Konitza became the model of Western intellectual for the Albanian culture. Since his youth he was dedicated to the national movement, but contrary to the mythical, idealising and romanticising feeling of the Renaissance, he brought in it the spirit of criticism and experienced the perennial pain of the idealist who suffers for his own thoughts. He established the *Albania* magazine (Brussels 1897–1900, London 1902–1909), that became the most important Albanian press organ of the Renaissance. Publicist, essayist, poet, prose writer, translator and literary critic, he, among others, is the author of the studies *L'Albanie et les Turcs* (Paris 1895), *Memoire sur le mouvement national Albanais* (Brussels, 1899), of novels *Një ambasadë e zulluve në Paris* (An Embassy of the Zulu in Paris) (1922) and *Doktor Gjilpëra* (Doctor Needle) (1924), as well as of the historical-cultural work *Albania—the Rock Garden of South-Eastern Europe* published posthumously in Massachusetts in 1957.

The literature of the Albanians of Italy in the period between the two Wars continued the tradition of the romanticist school of the 19th century. Zef Skiro (1865–1927) through his work *Kthimi* (Return), 1913, *Te dheu i huaj* (In Foreign Soil), 1940, wanted to recover the historical memory of Albanians emigrated since the 15th century after the death of Skanderbeg.

Also another distinguished writer of Albanian Romanticism who was published in Albania and abroad was, Lazar Eftimiadhi. A graduate of Sorbone, he wrote several articles introducing the Albanian reader to major works of western literature. He also translated works of writers like Hans Christian Andersen, and collaborated with at Gjergj Fishta and others in many important translations. His collection of short stories titled *"Merushja"* is a pearl of Albanian Romanticism and Humanity and was published by several houses including a 1932 London Edition.

Distinguished writers of this period are: Fan Stilian Noli, Gjergj Fishta, Faik Konitza, Haki Stërmilli, Lasgush Poradeci, Mitrush Kuteli, Migjeni, etc.

## Socialism

The drastic political change after the Communist takeover in Albania interrupted connections to pre-WWII literary traditions. The new regime had an extremely suspicious attitude towards intellectuals and writers, who were seen as representatives of the "old regime". Those years were characterized by notorious witch hunts against writers. The practices and policies undertaken by Stalin in the 1930s in the Soviet Union were applied in Albania throughout the 46 years of Communist rule.

In the political and cultural context of Communist Albania, writers could choose either complete obedience and service to the regime, compromise with clans in the Albanian Writers Union, or stop publishing their works. The later option led to the creation of the "literature of the drawers". Yet very few writers were able to hide their works due to the strict surveillance from the Communist authorities, and no one was able to circulate their works illegally, so samizdat were non-existent throughout the Communist period in Albania. Any writers deemed suspicious by the authorities were arrested, imprisoned, or executed, with or without trial.

The literature of this period developed within the framework of Socialist Realism, the only direction allowed by official policy. Albanian writers had to focus on the partisan war and the efforts to build socialism, and also prevent the influence of "decadent" Western culture. Subjects which did not contribute to Communist ideology and politics were deemed taboo. The very treatment of taboo subjects in a conformist manner amounted to extreme dissent.

The most elaborate type of novel was the novel of Socialist Realism of ethical and historical character, with a linear subject matter (Jakov Xoxa, Sterjo Spasse, Fatmir Gjata), but novels with a rugged composition, open poetics, and a philosophical substratum issuing from association of ideas and historical analogies (Ismail Kadare, Petro Marko) as well as the satirical novel are not lacking. A satirical novel is *The Rise and Fall of Comrade Zylo* by Dritëro Agolli.

The short story and novel were developed by Dhimitër Shuteriqi, Teodor Laço, Dhimitër Xhuvani, Petraq Zoto, and others; poetry by Ismail Kadare, Dritëro Agolli, Fatos Arapi, Xhevahir Spahiu, Mimoza Ahmeti, and others. Drama and comedy (by Spiro Çomora, *Karnavalet e Korçës* (The Carnival of Korça), 1961) developed to a lesser degree.

## Contemporary period

Albania's best-known contemporary writer is Ismail Kadare (1936–2024) whose novels have been translated into 45 languages. With his novels *The General of the Dead Army* (1963), *The Siege* (1970), *Chronicle in Stone* (1971), *The Three-Arched Bridge* (1978), *Broken April* (1980), *The File on H.* (1981), *The Palace of Dreams* (1981), *The Pyramid* (1992); and *The Successor* (2002), Kadare brought Albanian literature into the mainstream of modern European literature.

The central theme of Kadare's works is totalitarianism and its mechanisms. His work represents an artistic encyclopedia of Albanian life. The philosophy, beliefs, dramas, and historical and cultural traditions of Albania, filtered through the artistry of the writer, in Kadare's work, express the vitality of the spiritual culture of the Albanian people. Kadare creates a modern prose making wide use of historical analogies, parables and associations, Albanian legends and mythology. Starting from the epic world of medieval legends and ballads, the prose of Kadare brings ancient folk traditions 'up to date' by showing their relevance to the modern world.

In 1992 Kadare was awarded the Prix mondial Cino Del Duca; in 1998, the Herder Prize; in 2005, the inaugural Man Booker International Prize; in 2009, the Prince of Asturias Award of Arts; and in 2015, the Jerusalem Prize. He was awarded the Park Kyong-ni Prize in 2019, and the Neustadt International Prize for Literature in 2020. In 1996, France made him a foreign associate of the Académie des Sciences Morales et Politiques of France, and in 2016, he was a *Commandeur de la Légion d'Honneur* recipient. He has been nominated for the Nobel Prize in Literature 15 times. Since the 1990s, Kadare has been asked by both major political parties in Albania to become a consensual President of Albania, but has declined.

His nominating juror for the Neustadt Prize wrote: "Kadare is the successor of Franz Kafka. No one since Kafka has delved into the infernal mechanism of totalitarian power and its impact on the human soul in as much hypnotic depth as Kadare." His writing has also been compared to that of Nikolai Gogol, George Orwell, Gabriel García Márquez, Milan Kundera, and Balzac. Living in Albania during a time of strict censorship, Kadare devised cunning stratagems to outwit Communist censors who had banned three of his books, using devices such as parable, myth, fable, folk-tale, allegory, and legend, sprinkled with double-entendre, allusion, insinuation, satire, and coded messages. In 1990, to escape the Communist regime and its *Sigurimi* secret police he defected to Paris. *The New York Times* wrote that he was a national figure in Albania comparable in popularity perhaps to Mark Twain in the United States, and that "there is hardly an Albanian household without a Kadare book." Kadare is regarded by some as one of the greatest writers and intellectuals of the 20th and 21st centuries.

Ridvan Dibra is a leading figure of contemporary Albanian literature, and author of several innovative works. He has been rewarded with several national and international prizes, including the *Rexhai Surroi Prize* for the best Albanian novel of the year 2012, for his novel, "*Legjenda e vetmisë*" (The Legend of Solitude).

Luljeta Lleshanaku is one of the most important and most acclaimed Albanian poets today. She's the author of seven volumes of poetry, a couple of which have been translated in various languages. English translations include: "Fresco" (2002), "*Child of Nature*"(2010), "*Haywire: New and Selected Poems*" (2011) and "*Negative Space*"(2018), the translation of which by Ani Gjika has been shortlisted for the 2019 Griffin Poetry Prize. She received the 2009 Crystal Vilenica Award for European poets.

Fatos Kongoli, born in 1944 in Elbasan, is considered to be one of the most "forceful and convincing" representatives of contemporary Albanian literature. During the Stalinist dictatorship in Albania he did not write or publish any important works. He came to prominence after the regime fell, with his novel *The Loser* (1992). His novels deal with the years of the Hoxha regime and the aftermath, as Albanian society transitions into a democracy without being able to shake off the demons of the past.

Other important writers include Ben Blushi, whose debut novel *Living on an Island* (2008), dealing with the Islamization of Albanians, went on to become a best-selling book after the fall of Communism in Albania. His second novel, *Otello, the Moor of Vlora* (2009), was awarded the European Union Prize for Literature. His later novels went on to become national bestsellers.

Ag Apolloni (born 13 June 1982) is an Albanian writer, poet, playwright, scholar, and essay writer. He is a professor at the University of Prishtina, Kosovo. His literary works are widely acclaimed for their dramatic dimension, philosophical treatment, and critical attitude towards history, politics, and society. In 2020 he was granted citizenship of Albania.

## Sources

* Antologjia e letërsisë shqiptare 1", Shtëpia Botuese e Librit Shkollor, Tirana, 1996
* "Historia e letërsisë shqipe I, II", Instituti i Historisë e i Gjuhësisë i Universitetit të Tiranës, Tirana, 1960.
* "Historia e letërsisë shqiptare", Akademia e Shkencave, Tirana, 1983
* Eqrem Çabej, "Shqiptarët midis Perëndimit dhe Lindjes", Tirana, 1994
* Jorgo Bulo, "Letërsia shqiptare" – shqiperia.com

## Further reading

* Anamali, Skënder; Prifti, Kristaq (2002). *Historia e popullit shqiptar: vëllimi i parë* (in Albanian). Tiranë: Toena. ISBN 9992716223.
* Elsie, Robert (2010). *Historical Dictionary of Albania*. Londër: Rowman & Littlefield.
* Shatro, Bavjola (2016). *Between(s) and Beyond(s) in Contemporary Albanian Literature*. Cambridge Scholars Publishing. ISBN 9781443899970.
* Berishaj, Anton (2020). "VEPRA E PJETËR BOGDANIT DHE POETIKA E BAROKUT". *STUDIME: Revistë Për Studime Filologjike, Numër 26* (in Albanian). Prishtinë: ASHAK.
* Apolloni, Ag (2012). *Paradigma e Proteut* (in Albanian). Prishtinë: OM.
* Aliu, Ali (2012). *Kënaqësia e leximit* (in Albanian). Prishtinë: ASHAK.
* Hamiti, Sabri (1995). *Letërsia e vjetër shqipe* (in Albanian). Prishtinë.`{{cite book}}`: CS1 maint: location missing publisher (link)
* Hamiti, Sabri (2013). *Letërsia moderne shqipe* (in Albanian). UET press. ISBN 9789995639457.


title: Ekmečić

abstract:
Ekmečić is a Serbo-Croatian surname, derived from the word ekmečija, a Turkish loanword (ekmekci), meaning "bread maker" or "bread seller". Its literal meaning is "the descendant of an ekmekci" or "little bread maker". People with this surname:
  - Ismet Ekmečić, Slovenian footballer of Bosniak descent
  - Milorad Ekmečić, Serbian historian, originally from Bosnia
  - Savo Ekmečić, Bosnian football goalkeeper

text:
# Ekmečić

**Ekmečić** is a Serbo-Croatian surname, derived from the word *ekmečija*, a Turkish loanword (*ekmekci*), meaning "bread maker" or "bread seller" (*ekmek* means "bread"). Its literal meaning is "the descendant of an ekmekci" or "little bread maker".

People with this surname:

## InfoBox

Ekmečić
| Language(s) | Serbo-Croatian |
| --- | --- |
| Origin | |
| Language(s) | Turkish |
| Derivation | *ekmečija* (sh); *ekmekci* (tr) |
| Meaning | "bread maker" or "bread seller" |