Datasets:

Paulgrim

/

miniviquae_passages

like 0

Aphrodite [SEP] Her most important fruit emblem was the apple, but she was also associated with pomegranates, possibly because the red seeds suggested sexuality or because Greek women sometimes used pomegranates as a method of birth control. In Greek art, Aphrodite is often also accompanied by dolphins and Nereids.

Aphrodite [SEP] A scene of Aphrodite rising from the sea appears on the back of the Ludovisi Throne ( 460 BC), which was probably originally part of a massive altar that was constructed as part of the Ionic temple to Aphrodite in the Greek polis of Locri Epizephyrii in Magna Graecia in southern Italy. The throne shows Aphrodite rising from the sea, clad in a diaphanous garment, which is drenched with seawater and clinging to her body, revealing her upturned breasts and the outline of her navel.

Aphrodite [SEP] Her hair hangs dripping as she reaches to two attendants standing barefoot on the rocky shore on either side of her, lifting her out of the water. Scenes with Aphrodite appear in works of classical Greek pottery, including a famous white-ground "kylix" by the Pistoxenos Painter dating the between 470 and 460 BC, showing her riding on a swan or goose.

Aphrodite [SEP] In BC, the Athenian sculptor Praxiteles carved the marble statue "Aphrodite of Knidos", which Pliny the Elder later praised as the greatest sculpture ever made. The statue showed a nude Aphrodite modestly covering her pubic region while resting against a water pot with her robe draped over it for support. The "Aphrodite of Knidos" was the first full-sized statue to depict Aphrodite completely naked and one of the first sculptures that was intended to be viewed from all sides.

Aphrodite [SEP] The statue was purchased by the people of Knidos in around 350 BC and proved to be tremendously influential on later depictions of Aphrodite. The original sculpture has been lost, but written descriptions of it as well several depictions of it on coins are still extant and over sixty copies, small-scale models, and fragments of it have been identified. The Greek painter Apelles of Kos, a contemporary of Praxiteles, produced the panel painting "Aphrodite Anadyomene" ("Aphrodite Rising from the Sea").

Aphrodite [SEP] According to Athenaeus, Apelles was inspired to paint the painting after watching the courtesan Phryne take off her clothes, untie her hair, and bathe naked in the sea at Eleusis. The painting was displayed in the Asclepeion on the island of Kos. The "Aphrodite Anadyomene" went unnoticed for centuries, but Pliny the Elder records that, in his own time, it was regarded as Apelles's most famous work.

Aphrodite [SEP] During the Hellenistic and Roman periods, statues depicting Aphrodite proliferated; many of these statues were modeled at least to some extent on Praxiteles's "Aphrodite of Knidos". Some statues show Aphrodite crouching naked; others show her wringing water out of her hair as she rises from the sea.

Aphrodite [SEP] Another common type of statue is known as "Aphrodite Kallipygos", the name of which is Greek for "Aphrodite of the Beautiful Buttocks"; this type of sculpture shows Aphrodite lifting her "peplos" to display her buttocks to the viewer while looking back at them from over her shoulder. The ancient Romans produced massive numbers of copies of Greek sculptures of Aphrodite and more sculptures of Aphrodite have survived from antiquity than of any other deity. Early Christians frequently adapted pagan iconography to suit Christian purposes.

Aphrodite [SEP] In the Early Middle Ages, Christians adapted elements of Aphrodite/Venus's iconography and applied them to Eve and prostitutes, but also female saints and even the Virgin Mary. Christians in the east reinterpreted the story of Aphrodite's birth as a metaphor for baptism; in a Coptic stele from the sixth century AD, a female orant is shown wearing Aphrodite's conch shell as a sign that she is newly baptized.

Aphrodite [SEP] Throughout the Middle Ages, villages and communities across Europe still maintained folk tales and traditions about Aphrodite/Venus and travelers reported a wide variety of stories. Numerous Roman mosaics of Venus survived in Britain, preserving memory of the pagan past.

Aphrodite [SEP] In North Africa in the late fifth century AD, Fulgentius of Ruspe encountered mosaics of Aphrodite and reinterpreted her as a symbol of the sin of Lust, arguing that she was shown naked because "the sin of lust is never cloaked" and that she was often shown "swimming" because "all lust suffers shipwreck of its affairs."

Aphrodite [SEP] He also argued that she was associated with doves and conchs because these are symbols of copulation, and that she was associated with roses because "as the rose gives pleasure, but is swept away by the swift movement of the seasons, so lust is pleasant for a moment, but is swept away forever."

Aphrodite [SEP] While Fulgentius had appropriated Aphrodite as a symbol of Lust, Isidore of Seville ( 560–636) interpreted her as a symbol of marital procreative sex and declared that the moral of the story of Aphrodite's birth is that sex can only be holy in the presence of semen, blood, and heat, which he regarded as all being necessary for procreation. Meanwhile, Isidore denigrated Aphrodite/Venus's son Eros/Cupid as a "demon of fornication" ("daemon fornicationis").

Aphrodite [SEP] Aphrodite/Venus was best known to Western European scholars through her appearances in Virgil's "Aeneid" and Ovid's "Metamorphoses". Venus is mentioned in the Latin poem "Pervigilium Veneris" ("The Eve of Saint Venus"), written in the third or fourth century AD, and in Giovanni Boccaccio's "Genealogia Deorum Gentilium".

Aphrodite [SEP] Aphrodite is the central figure in Sandro Botticelli's painting "Primavera", which has been described as "one of the most written about, and most controversial paintings in the world", and "one of the most popular paintings in Western art".

Aphrodite [SEP] The story of Aphrodite's birth from the foam was a popular subject matter for painters during the Italian Renaissance, who were attempting to consciously reconstruct Apelles of Kos's lost masterpiece "Aphrodite Anadyomene" based on the literary "ekphrasis" of it preserved by Cicero and Pliny the Elder. Artists also drew inspiration from Ovid's description of the birth of Venus in his "Metamorphoses".

Aphrodite [SEP] Sandro Botticelli's "The Birth of Venus" ( 1485) was also partially inspired by a description by Poliziano of a relief on the subject. Later Italian renditions of the same scene include Titian's "Venus Anadyomene" ( 1525) and Raphael's painting in the "Stufetta del cardinal Bibbiena" (1516).

Aphrodite [SEP] Titian's biographer Giorgio Vasari identified all of Titian's paintings of naked women as paintings of "Venus", including an erotic painting from 1534, which he called the "Venus of Urbino", even though the painting does not contain any of Aphrodite/Venus's traditional iconography and the woman in it is clearly shown in a contemporary setting, not a classical one.

Aphrodite [SEP] Jacques-Louis David's final work was his 1824 "magnum opus", "Mars Being Disarmed by Venus", which combines elements of classical, Renaissance, traditional French art, and contemporary artistic styles. While he was working on the painting, David described it, saying, "This is the last picture I want to paint, but I want to surpass myself in it. I will put the date of my seventy-five years on it and afterwards I will never again pick up my brush."

Aphrodite [SEP] The painting was exhibited first in Brussels and then in Paris, where over 10,000 people came to see it. Jean-Auguste-Dominique Ingres's painting "Venus Anadyomene" was one of his major works. Louis Geofroy described it as a "dream of youth realized with the power of maturity, a happiness that few obtain, artists or others."

Aphrodite [SEP] Théophile Gautier declared: "Nothing remains of the marvelous painting of the Greeks, but surely if anything could give the idea of antique painting as it was conceived following the statues of Phidias and the poems of Homer, it is M. Ingres's painting: the "Venus Anadyomene" of Apelles has been found."

Aphrodite [SEP] Other critics dismissed it as a piece of unimaginative, sentimental kitsch, but Ingres himself considered it to be among his greatest works and used the same figure as the model for his later 1856 painting "La Source". Paintings of Venus were favorites of the late nineteenth-century Academic artists in France. In 1863, Alexandre Cabanel won widespread critical acclaim at the Paris Salon for his painting "The Birth of Venus", which the French emperor Napoleon III immediately purchased for his own personal art collection.

Aphrodite [SEP] Édouard Manet's 1865 painting "Olympia" parodied the nude Venuses of the Academic painters, particularly Cabanel's "Birth of Venus". In 1867, the English Academic painter Frederic Leighton displayed his "Venus Disrobing for the Bath" at the Academy.

Aphrodite [SEP] The art critic J. B. Atkinson praised it, declaring that "Mr Leighton, instead of adopting corrupt Roman notions regarding Venus such as Rubens embodied, has wisely reverted to the Greek idea of Aphrodite, a goddess worshipped, and by artists painted, as the perfection of female grace and beauty."

Aphrodite [SEP] A year later, the English painter Dante Gabriel Rossetti, a founding member of the Pre-Raphaelite Brotherhood, painted "Venus Verticordia" (Latin for "Aphrodite, the Changer of Hearts"), showing Aphrodite as a nude red-headed woman in a garden of roses. Though he was reproached for his "outré" subject matter, Rossetti refused to alter the painting and it was soon purchased by J. Mitchell of Bradford.

Aphrodite [SEP] In 1879, William Adolphe Bouguereau exhibited at the Paris Salon his own "Birth of Venus", which imitated the classical tradition of "contrapposto" and was met with widespread critical acclaim, rivalling the popularity of Cabanel's version from nearly two decades prior. William Shakespeare's erotic narrative poem "Venus and Adonis" (1593), a retelling of the courtship of Aphrodite and Adonis from Ovid's "Metamorphoses", was the most popular of all his works published within his own lifetime.

Aphrodite [SEP] Six editions of it were published before Shakespeare's death (more than any of his other works) and it enjoyed particularly strong popularity among young adults. In 1605, Richard Barnfield lauded it, declaring that the poem had placed Shakespeare's name "in fames immortall Booke". Despite this, the poem has received mixed reception from modern critics; Samuel Taylor Coleridge defended it, but Samuel Butler complained that it bored him and C. S. Lewis described an attempted reading of it as "suffocating".

Aphrodite [SEP] Aphrodite appears in Richard Garnett's short story collection "The Twilight of the Gods and Other Tales" (1888), in which the gods' temples have been destroyed by Christians. Stories revolving around sculptures of Aphrodite were common in the late nineteenth and early twentieth centuries.

Aphrodite [SEP] Examples of such works of literature include the novel "The Tinted Venus: A Farcical Romance" (1885) by Thomas Anstey Guthrie and the short story "The Venus of Ille" (1887) by Prosper Mérimée, both of which are about statues of Aphrodite that come to life. Another noteworthy example is "Aphrodite in Aulis" by the Anglo-Irish writer George Moore, which revolves around an ancient Greek family who moves to Aulis.

Aphrodite [SEP] The French writer Pierre Louÿs titled his erotic historical novel "" (1896) after the Greek goddess. The novel enjoyed widespread commercial success, but scandalized French audiences due to its sensuality and its decadent portrayal of Greek society. In the early twentieth century, stories of Aphrodite were used by feminist poets, such as Amy Lowell and Alicia Ostriker. Many of these poems dealt with Aphrodite's legendary birth from the foam of the sea.

Aphrodite [SEP] Other feminist writers, including Claude Cahun, Thit Jensen, and Anaïs Nin also made use of the myth of Aphrodite in their writings. Ever since the publication of Isabel Allende's book "Aphrodite: A Memoir of the Senses" in 1998, the name "Aphrodite" has been used as a title for dozens of books dealing with all topics even superficially connected to her domain. Frequently these books do not even mention Aphrodite, or mention her only briefly, but make use of her name as a selling point.

Aphrodite [SEP] In 1938, Gleb Botkin, a Russian immigrant to the United States, founded the Church of Aphrodite, a Neopagan religion centered around the worship of a Mother Goddess, whom its practitioners identified as Aphrodite. The Church of Aphrodite's theology was laid out in the book "In Search of Reality", published in 1969, two years before Botkin's death.

Aphrodite [SEP] The book portrayed Aphrodite in a drastically different light than the one in which the Greeks envisioned her, instead casting her as "the sole Goddess of a somewhat Neoplatonic Pagan monotheism". It claimed that the worship of Aphrodite had been brought to Greece by the mystic teacher Orpheus, but that the Greeks had misunderstood Orpheus's teachings and had not realized the importance of worshipping Aphrodite alone. Aphrodite is a major deity in Wicca, a contemporary nature-based syncretic Neopagan religion.

Aphrodite [SEP] Wiccans regard Aphrodite as one aspect of the Goddess and she is frequently invoked by name during enchantments dealing with love and romance. Wiccans regard Aphrodite as the ruler of human emotions, erotic spirituality, creativity, and art. As one of the twelve Olympians, Aphrodite is a major deity within Hellenismos (Hellenic Polytheistic Reconstructionism), a Neopagan religion which seeks to authentically revive and recreate the religion of ancient Greece in the modern world. Unlike Wiccans, Hellenists are usually strictly polytheistic or pantheistic.

Aphrodite [SEP] Hellenists venerate Aphrodite primarily as the goddess of romantic love, but also as a goddess of sexuality, the sea, and war. Her many epithets include "Sea Born", "Killer of Men", "She upon the Graves", "Fair Sailing", and "Ally in War".

John and Mary Mattson House [SEP] The John and Mary Mattson House is a historic house located at 239 East Main Street in Sandy, Utah. The 1-1/2 story brick house was built in about 1910. According to its NRHP nomination, the house is significant for its association with the mining, smelting, and small farm period of 1871–1910 in Sandy.

John and Mary Mattson House [SEP] It is "among the best preserved examples" of a central-block-with-projecting-bays type of house that was fairly commonly built in Sandy, and its "Victorian Eclectic detailing is expressive of the level of craftsmanship attained locally." It was listed on the National Register of Historic Places on August 8, 1996.

Puerto Rico (board game) [SEP] Puerto Rico is a Euro-style board game designed by German designer Andreas Seyfarth, and published in 2002 by Alea in German, by Rio Grande Games in English, by Grow in Brazilian Portuguese, and by Κάισσα in Greek. Players assume the roles of colonial governors on the island of Puerto Rico during the age of Caribbean ascendancy. The aim of the game is to amass victory points in two ways: by exporting goods and by constructing buildings.

Puerto Rico (board game) [SEP] "Puerto Rico" can be played by three, four or five players, although an official two-player variant also exists. There is an official expansion released in 2004, which adds new buildings with different abilities that can replace or be used alongside those in the original game. A second, smaller expansion became available in 2009. Additionally, a couple of changes to the rules have been officially suggested that serve to balance the game.

Puerto Rico (board game) [SEP] In February 2004, Andreas Seyfarth released a separate card game called "San Juan" for two, three or four players. It is based on "Puerto Rico" and published by the same companies, following the same art style and making use of some of the same buildings and resources. "Puerto Rico" is one of the highest rated games on BoardGameGeek. , it ranked #18 out of all board games published.

Puerto Rico (board game) [SEP] Each player uses a separate small board with spaces for city buildings, plantations, and resources. Shared between the players are three ships, a trading house, and a supply of resources and doubloons (money). The resource cycle of the game is that players grow crops which they exchange for points or doubloons. Doubloons can then be used to buy buildings, which allow players to produce more crops or give them other abilities. Buildings and plantations do not work unless they are manned by colonists.

Puerto Rico (board game) [SEP] During each round, players take turns selecting a role card from those on the table (such as "Trader" or "Builder"). When a role is chosen, every player gets to take the action appropriate to that role. The player who selected the role acts first, and also receives a small privilege - for example, choosing the "Builder" role allows all players to construct a building, but the player who chose the role may do so at a discount on that turn.

Puerto Rico (board game) [SEP] Unused roles gain a doubloon bonus at the end of each turn, so the next player who chooses that role gets to keep any doubloon bonus associated with it. This encourages players to make use of all the roles throughout a typical course of a game. Puerto Rico uses a variable phase order mechanic, where a "governor" token is passed clockwise to the next player at the conclusion of a turn. The player with the token begins the round by choosing a role and taking the first action.

Puerto Rico (board game) [SEP] Players earn victory points for owning buildings, for shipping goods, and for manned "large buildings." Each player's accumulated shipping chips are kept face down and come in denominations of one or five. This prevents other players from being able to determine the exact score of another player. Goods and doubloons are placed in clear view of other players and the totals of each can always be requested by a player.

Puerto Rico (board game) [SEP] As the game enters its later stages, the unknown quantity of shipping tokens and its denominations require players to consider their options before choosing a role that can end the game. The following changes may be made to the official rules in order to create a more balanced game and one which gives each player a more equal chance of winning: The game can end in three different ways: In each case, players finish the current round before the game ends.

Puerto Rico (board game) [SEP] A player's total score is calculated by adding the number on each of their victory chips, the building value of all of their buildings, and the bonus points from large buildings. Manned large buildings award bonus points based on various game conditions (such as the Fortress, which gives one victory point for every three colonists on the player board, or the City Hall, which awards a point for every small or large violet building owned by the player).

Puerto Rico (board game) [SEP] The winner is the player with the most victory points. In the event of a tie, the player with the most total goods added to doubloons is given the tie-breaker. If a tie still exists between players, they tie. There are two primary strategies used in Puerto Rico, corresponding to the two means of earning victory points (VP).

Puerto Rico (board game) [SEP] One strategy, often called the 'shipping strategy', is to attempt a high level of goods production, and to ship those goods back to the homeland for points. Corn is produced free and indigo has a low investment cost, therefore these goods are commonly chosen when this strategy is used because all exports are valued the same. The major disadvantage of this strategy is that doubloons are harder to acquire, and thus buildings are harder to build.

Puerto Rico (board game) [SEP] The other major strategy is to produce crops that are worth more (i.e. tobacco and coffee), and to use the cash produced from selling/trading to buy more buildings that also give new abilities. Expensive buildings can give a player many victory points, but fewer goods are likely to be shipped to the homeland, and so the VPs from exports can be expected to be low.

Puerto Rico (board game) [SEP] In filling all their building spaces, a player can cause the game to end relatively quickly, before players using the 'shipping strategy' can capitalise on their investment in buildings and crops that increase shipment VPs. There are also many minor strategies that play on the nuances of how the buildings interact. In January 2004, Alea released an official expansion to "Puerto Rico". The addition consists of 14 new buildings that may be used alongside of, or instead of, the original 17.

Puerto Rico (board game) [SEP] A second expansion was under development, but it was later announced that it was cancelled. Instead, a different, but inclusive, expansion is included in the Alea 10th anniversary 'treasure chest' released in 2009, which contains expansions for a number of different games by the company. The Puerto Rico expansions included consist of the original expansion, as well as a small expansion of several new buildings and red 'nobleman' colonists, which interact with the new buildings.

Puerto Rico (board game) [SEP] An English language translation of the new expansion was released at the end of 2009 by Rio Grande Games. A playable online version is available, and, as of January 2017, 660,000 games had been played this way. An iPad version was launched in August 2011.

Deutsche Pfandbriefbank [SEP] Deutsche Pfandbriefbank AG is a German bank that specialises in real estate and public sector financing. As of 2016, it is a constituent of the MDAX trading index of German mid-cap companies. It is based in Unterschleißheim in Bayern, a suburb of Munich. Pfandbriefe is a German term for bonds issued in property financing. PBB was a part of Hypo Real Estate (HRE), which was nationalised by the German government during the 2008 financial crisis.

Deutsche Pfandbriefbank [SEP] It was spun off in 2015 under EU rules on state aid to banks. It was rated by Moody's up to June 2015. In May 2018, the German state – through HRE – placed around 22 million shares in PBB with institutional investors for 12.95 euros apiece in an accelerated bookbuilding; the sale raised around 287 million euros ($339.7 million) and slashed its stake in PBB to 3.5 percent from 20 percent. German public sector trust RAG Foundation bought a 4.5 percent stake.

Fillmore East [SEP] Fillmore East was rock promoter Bill Graham's rock venue on Second Avenue near East 6th Street in the (at the time) Lower East Side neighborhood, now called the East Village neighborhood of the borough of Manhattan of New York City. It was open from March 8, 1968, to June 27, 1971, and featured some of the biggest acts in rock music at the time.

Fillmore East [SEP] The Fillmore East was a companion to Graham's Fillmore Auditorium, and its successor, the Fillmore West, in San Francisco, Graham's home base.

Fillmore East [SEP] The theatre at 105 Second Avenue that became the Fillmore East was originally built as a Yiddish theater in 1925-26 – designed by Harrison Wiseman in the Medieval Revival style – at a time when that section of Second Avenue was known as the "Yiddish Theater District" and the "Jewish Rialto" because of the numerous theatres that catered to a Yiddish-speaking audience. Called the Commodore Theater, and independently operated, it eventually was taken over by Loews Inc. and became a movie theater, the Loews Commodore.

Fillmore East [SEP] It later became the Village Theatre, owned by Roger Euster, with on-site management by Ben Barenholtz. When Bill Graham took over the theatre in 1968, it was unused and had fallen into disrepair. Despite the deceptively small front marquee and façade, the theater had a substantial capacity of almost 2,700. The venue provided Graham with an East Coast counterpart to his existing Fillmore in San Francisco, California.

Fillmore East [SEP] Opening on March 8, 1968, the Fillmore East quickly became known as "The Church of Rock and Roll," with two-show, triple-bill concerts several nights a week. Graham would regularly alternate acts between the East and West Coast venues. Until early 1971, bands were booked to play two shows per night, at 8 pm and 11 pm, on both Friday and Saturday nights. Among the notable acts to play the Fillmore East was Jimi Hendrix.

Fillmore East [SEP] His album "Band of Gypsys" was recorded live on New Year's Day 1970. However, even before Hendrix hit the stage, British blues-rock trio Cream played the Fillmore East when it was called the "Village Theater" on September 20 & 23 1967. The Kinks played October 17th and 18th, 1969, supported by the Bonzo Dog Band. John Lennon and Yoko Ono sat in with Frank Zappa and the Mothers of Invention at the theater on June 6, 1971.

Fillmore East [SEP] The Allman Brothers Band played so many shows at Fillmore East that they were sometimes called "Bill Graham's house band"; additionally, the Grateful Dead played a total of 43 concerts at the theater from June 1968 through April 1971. Jefferson Airplane performed six shows and Taj Mahal played eight shows at the venue, while Crosby, Stills, Nash and Young did four shows in September 1969 and six performances in June 1970. Led Zeppelin made four appearances in early 1969, opening for Iron Butterfly.

Fillmore East [SEP] Amateur film footage of their January 31 performance can be viewed at the Led Zeppelin website. The Joshua Light Show, headed by Joshua White, was an integral part of many performances, with its psychedelic art lighting on a backdrop behind many live bands.

Fillmore East [SEP] From the summer of 1970, the Pig Light Show under the direction of Marc L. Rubinstein performed at the theater from time to time trading duties until the venue's closing in 1971 with Joe's Lights, made up of former members of the Joshua Light Show which remained the de facto house light show. National Educational Television taped a show on September 23, 1970, for broadcast. It featured The Byrds, Elvin Bishop Group, Albert King, Sha Na Na, Van Morrison and Joe's Lights.

Fillmore East [SEP] The Allman Brothers were also taped for broadcast but due to technical difficulties, the segment with them was not aired. The show, "Welcome To Fillmore East" was aired on WNET channel 13 in NYC and simulcast on WNEW-FM radio on October 10, 1970, at 10:00 pm in the NYC area. A thirty-minute clip from that show of the Allmans can be seen on YouTube.

Fillmore East [SEP] Because of the auditorium's excellent acoustics, many live albums were recorded at the Fillmore East, including: Because of changes in the music industry and large growth in the concert industry (as exemplified by the increased prevalence of arena and stadium bookings), Graham closed the Fillmore East after only three years.

Fillmore East [SEP] The final concert took place on June 27, 1971, with three billed acts (The Allman Brothers Band, The J. Geils Band, Albert King) and special surprise guests (Edgar Winter's White Trash, Mountain, The Beach Boys, Country Joe McDonald) in an invitation-only performance.

Fillmore East [SEP] The concert was simulcast live by New York City radio stations WPLJ and WNEW-FM, with between-set banter by many of New York's then-trend-setting disc jockeys (including WPLJ's Dave Herman and Vin Scelsa and WNEW-FM's Scott Muni and Alison Steele) among them. The Allman Brothers Band set was released as the second disc of the deluxe edition/remastered version of their "Eat a Peach" (1972 and 2006) album.

Fillmore East [SEP] In 2014, a six-disc set featuring the Allman Brothers Band's early and late shows at the Fillmore East of March 12 and 13, 1971 and including their performance on the venue's final night of June 27, 1971 was issued as "The 1971 Fillmore East Recordings". On November 17, 1972, the Fillmore East reopened as Villageast with "Virgin: A New Rock Opera Concert by The Mission".

Fillmore East [SEP] After a short run the Rock Opera closed and on December 15, 1972, Jerry Fuchs presented the opening night of concerts with a performance featuring Bloodrock, Elephants Memory and Trapeze. On December 16, 1972, the bill was Bloodrock, Foghat and The Fabulous Rhinestones.

Fillmore East [SEP] Fuchs went on to present several other concerts at Villageast including the New York Dolls and Teenage Lust on December 23, Chuck Berry and Bo Diddley on December 27, Steve Miller Band and Seatrain on December 28 and Roy Buchanan and Crazy Horse on December 30 and 31, 1972. On December 7, 1974, Barry Stuart (Stein), reopened the venue as the NFE Theatre ("NFE" stood for "New Fillmore East") with a concert presenting Bachman-Turner Overdrive.

Fillmore East [SEP] On December 31, 1974, the Ike & Tina Turner Revue headlined a bill that included Quicksilver Messenger Service and Hidden Strength. It operated through 1975, but was renamed the "Village East", supposedly due to objections from Bill Graham over the use of the Fillmore name. From 1980 to 1988, the renovated venue was home to The Saint, an early gay superclub.

Fillmore East [SEP] As of 2013, the former lobby building is owned by the Apple Bank for Savings, which has a branch at street level, and the rest of the interior of the auditorium has been demolished and replaced with an apartment complex, Hudson East, with its entrance at 225 East 6th Street. The building at 105 Second Avenue is now part of the East Village/Lower East Side Historic District, created in October 2012.

Fillmore East [SEP] In October 2014, the Greenwich Village Society for Historic Preservation unveiled a historic plaque on the building at a ceremony featuring Joshua White of the Joshua Light Show and critic/guitarist Lenny Kaye. Live Nation resurrected the Fillmore East name by rebranding the renovated Irving Plaza as "The Fillmore New York at Irving Plaza" on April 11, 2007, with English pop music singer and songwriter Lily Allen as the opening act.

Fillmore East [SEP] However, in May 2010 Live Nation conceded that the new name had not caught on and due to "unrelenting demand" the name "Irving Plaza" was restored beginning on June 23, 2010. Notes

Potoooooooo [SEP] Potoooooooo or variations of Pot-8-Os (1773 – November 1800) was a famous 18th-century Thoroughbred racehorse who won over 30 races and bested some of the greatest racehorses of the time. He went on to be an important sire. He is now best known for the unusual spelling of his name, pronounced "Potatoes".

Potoooooooo [SEP] Potoooooooo (also spelled Pot-8-Os, Pot8Os, Pot8O's or Pot 8 Os from various sources) was a chestnut colt bred by Willoughby Bertie, 4th Earl of Abingdon, in 1773. He was sired by the undefeated Eclipse. He was the first foal out of Sportsmistress, who was sired by Warren's Sportsman and traced to Thwaites' Dun Mare from family number 38 on her dam's side. The origin of his name has several different versions.

Potoooooooo [SEP] According to the most common, Abingdon intended to call the young colt "Potato" and instructed the stable boy to write the name on a feed bin. The stable boy spelled the name as "Potoooooooo" (Pot followed by 8 "o"s), which so amused Abingdon that he adopted the spelling. Subsequent writers have used a variety of spellings that reflect the intended revised pronunciation, "Potatoes". In The Jockey Club's online database equineline.com, the name is spelled as Pot8O's.

Potoooooooo [SEP] The "General Stud Book" uses Potoooooooo. Potoooooooo raced from 1776 to 1783, accumulating from 28 to 34 wins from an estimated 40 starts, mostly in 4 mile races on Newmarket's Beacon course. In 1776, he won a 100 guinea sweepstakes at Newmarket's first spring meeting. In 1777 at age four, he finished second in two Newmarket races for 4 year old colts, third at Nottingham, and fifth in the Great Subscription Purse at York.

Potoooooooo [SEP] In 1778 at age five, Potoooooooo was entered in the 1200 Guineas Stakes at Newmarket's first spring meeting. During the race, Abingdon sold the horse to Richard Grosvenor, 1st Earl Grosvenor for 1,500 guineas. Potoooooooo won the race and subsequently raced under Grosvenor's yellow and black silks. His subsequent wins that year included the 140 guineas subscription purse at the second spring meeting, a subscription at Ipswich, a £50 purse at Swaffham and another subscription race at Newmarket's second October meeting.

Potoooooooo [SEP] In 1779 at age six, he won a number of races at Newmarket, including the Gold Cup, a walkover for the Clermont Cup and the October Cup. In 1780, he again won several races at Newmarket, including the 140 guineas subscription purse where he beat King Fergus, the Jockey Club Plate and another walkover in the Clermont Cup. He also raced twice against Sir Charles Davers' Woodpecker, Herod's best son from these years, winning once.

Potoooooooo [SEP] In 1781, he won the Jockey Club Plate and the Whip, both by walkover, plus a 400 guineas sweep. In October, he received 85 guineas "by common consent" as a reward for "not" starting in the 140 guineas subscription purse. In 1782, he had a third walkover in the Clermont, won the Jockey Club Plate for a third time, and was victorious in the Craven Stakes, beating thirteen mostly younger horses.

Potoooooooo [SEP] In 1783 at age ten, he won the Whip at Newmarket, but lost a 300 guineas match race to Assassin, who had won the previous year's Derby, and a 200 guineas sweepstakes. In 1784, Potoooooooo was retired to stud at Oxcroft Farm near Balsham, Cambridgeshire, where he mostly covered mares owned by Grosvenor. For other mares, his stud fee was initially 5 guineas, gradually increasing to 21 guineas. In 1796, he was relocated to Upper Hare Park near Newmarket.

Potoooooooo [SEP] During his career, Potoooooooo sired 172 winners of £61,971. His leading offspring include: Potoooooooo died in November 1800 at the age of 27 and was buried at Hare Park. Some 200 years later, his skeleton was uncovered when a tree blew over. The skeleton is on display at the Kings Yard Galleries of the National Horseracing Museum in Newmarket. Potoooooooo was sired by the undefeated Eclipse, who was also a very successful stallion even though he never led the sire list.

Potoooooooo [SEP] His dam was Sportsmistress, whose dam Golden Locks was inbred 2 × 2 to Crab – he was both her maternal and paternal grandsire. Sportsmistress would produce a total of 11 foals including Sir Thomas, winner of the 1788 Derby. Pot-8-Os is inbred 4 × 4 to the Godolphin Arabian, meaning the latter appears twice in the fourth generation of Pot-8-Os pedigree.

St. Stephen's Cathedral, Vienna [SEP] St. Stephen's Cathedral (more commonly known by its German title: "Stephansdom") is the mother church of the Roman Catholic Archdiocese of Vienna and the seat of the Archbishop of Vienna, Christoph Cardinal Schönborn, OP. The current Romanesque and Gothic form of the cathedral, seen today in the Stephansplatz, was largely initiated by Duke Rudolf IV (1339–1365) and stands on the ruins of two earlier churches, the first a parish church consecrated in 1147.

St. Stephen's Cathedral, Vienna [SEP] The most important religious building in Vienna, St. Stephen's Cathedral has borne witness to many important events in Habsburg and Austrian history and has, with its multi-coloured tile roof, become one of the city's most recognizable symbols. By the middle of the 12th century, Vienna had become an important centre of German civilization, and the four existing churches, including only one parish church, no longer met the town's religious needs.

St. Stephen's Cathedral, Vienna [SEP] In 1137, Bishop of Passau Reginmar and Margrave Leopold IV signed the Treaty of Mautern, which referred to Vienna as a "civitas" for the first time and transferred St. Peter's Church to the Diocese of Passau. Under the treaty, Margrave Leopold IV also received from the bishop extended stretches of land beyond the city walls, with the notable exception of the territory allocated for the new parish church, which would eventually become St. Stephen's Cathedral.

St. Stephen's Cathedral, Vienna [SEP] Although previously believed built in an open field outside the city walls, the new parish church was in actuality likely built on an ancient cemetery dating to Ancient Roman times; excavations for a heating system in 2000 revealed graves below the surface, which were carbon-dated to the 4th century.

St. Stephen's Cathedral, Vienna [SEP] This discovery suggests that an even older religious building on this site predated the St. Rupert's Church, which is considered the oldest church in Vienna Founded in 1137 following the Treaty of Mautern, the partially constructed Romanesque church was solemnly dedicated in 1147 to Saint Stephen in the presence of Conrad III of Germany, Bishop Otto of Freising, and other German nobles who were about to embark on the Second Crusade.

St. Stephen's Cathedral, Vienna [SEP] Although the first structure was completed in 1160, major reconstruction and expansion lasted until 1511, and repair and restoration projects continue to the present day. From 1230 to 1245, the initial Romanesque structure was extended westward; the present-day west wall and Romanesque towers date from this period.

St. Stephen's Cathedral, Vienna [SEP] In 1258, however, a great fire destroyed much of the original building, and a larger replacement structure, also Romanesque in style and reusing the two towers, was constructed over the ruins of the old church and consecrated 23 April 1263. The anniversary of this second consecration is commemorated each year by a rare ringing of the Pummerin bell for three minutes in the evening.

St. Stephen's Cathedral, Vienna [SEP] In 1304, King Albert I ordered a Gothic three-nave choir to be constructed east of the church, wide enough to meet the tips of the old transepts. Under his son Duke Albert II, work continued on the Albertine choir, which was consecrated in 1340 on the 77th anniversary of the previous consecration. The middle nave is largely dedicated to St. Stephen and All Saints, while the north and south nave, are dedicated to St. Mary and the Apostles respectively.

St. Stephen's Cathedral, Vienna [SEP] Duke Rudolf IV, "the Founder", Albert II's son, expanded the choir again to increase the religious clout of Vienna. On 7 April 1359, Rudolf IV laid the cornerstone for a westward Gothic extension of the Albertine choir in the vicinity of the present south tower. This expansion would eventually encapsulate the entirety of the old church, and in 1430, the edifice of the old church was removed from within as work progressed on the new cathedral.

St. Stephen's Cathedral, Vienna [SEP] The south tower was completed in 1433, and vaulting of the nave took place from 1446 to 1474. The foundation for a north tower was laid in 1450, and construction began under master Lorenz Spenning, but its construction was abandoned when major work on the cathedral ceased in 1511. In 1365, just six years after beginning the Gothic extension of the Albertine choir, Rudolf IV disregarded St. Stephen's status as a mere parish church and presumptuously established a chapter of canons befitting a large cathedral.

St. Stephen's Cathedral, Vienna [SEP] This move was only the first step in fulfilling Vienna's long-held desire to obtain its own diocese; in 1469, Emperor Frederick III prevailed upon Pope Paul II to grant Vienna its own bishop, to be appointed by the emperor. Despite long-standing resistance by the Bishops of Passau, who did not wish to lose control of the area, the Diocese of Vienna was canonically established 18 January 1469, with St. Stephen's Cathedral as its mother church.

St. Stephen's Cathedral, Vienna [SEP] In 1722 during the reign of Karl VI, Pope Innocent XIII elevated the see to an archbishopric. During World War II, the cathedral was saved from intentional destruction at the hands of retreating German forces when "Wehrmacht" Captain Gerhard Klinkicht disregarded orders from the city commandant, "Sepp" Dietrich, to "fire a hundred shells and leave it in debris and ashes." On 12 April 1945, civilian looters lit fires in nearby shops as Soviet Army troops entered the city.

St. Stephen's Cathedral, Vienna [SEP] The winds carried the fire to the cathedral where it severely damaged the roof, causing it to collapse. Fortunately, protective brick shells built around the pulpit, Frederick III's tomb, and other treasures, minimized damage to the most valuable artworks. However, the Rollinger choir stalls, carved in 1487, could not be saved. Rebuilding began immediately after the war, with a limited reopening 12 December 1948 and a full reopening 23 April 1952.

St. Stephen's Cathedral, Vienna [SEP] The church was dedicated to St. Stephen, also the patron of the bishop's cathedral in Passau, and so was oriented toward the sunrise on his feast day of 26 December, as the position stood in the year that construction began. Built of limestone, the cathedral is long, wide, and tall at its highest point.

St. Stephen's Cathedral, Vienna [SEP] Over the centuries, soot and other forms of air pollution accumulating on the church have given it a black colour, but recent restoration projects have again returned some portions of the building to its original white. Standing at tall and affectionately referred to by the city's inhabitants as "Steffl" (a diminutive form of "Stephen"), St. Stephen's Cathedral's massive south tower is its highest point and a dominant feature of the Vienna skyline. Its construction lasted 65 years, from 1368 to 1433.

St. Stephen's Cathedral, Vienna [SEP] During the Siege of Vienna in 1529 and again during the Battle of Vienna in 1683, it served as the main observation and command post for the defence of the walled city, and it even contains an apartment for the watchmen who, until 1955, manned the tower at night and rang the bells if a fire was spotted in the city.