title: Lee Kerslake

text: In 2003, Kerslake and Daisley's lawsuit was dismissed by the United States District Court in Los Angeles. This dismissal was upheld by the United States Court of Appeals for the Ninth Circuit. Kerslake performed with his own band the "Lee Kerslake Band", guested with various bands and regularly joined ex-Heep members Ken Hensley and Paul Newton in "Uriah Heep Legends".


title: Lee Kerslake

text: In early 2007 it was announced on the Uriah Heep website that Kerslake left the band 'due to ongoing health problems'. Kerslake was semi-retired because of illness.


title: Lee Kerslake

text: In 2015 Lee started to record his first solo album "Eleventeen" which came from when he used to count as a child and couldn't understand why there wasn't an eleventeen.


title: Lee Kerslake

text: In 2016 Lee teamed up with Tayla Goodman from London Bridge films, whom he met while dog-walking in Crystal Palace park and together with Pyrojunkies’ Shane Cauldwell, they produced a music video for his solo album "Celia Seanna".


title: Lee Kerslake

text: In 2018 Kerslake and Goodman started making a documentary on Lee's life and his bucket list. Lee insisted that he wanted to leave a legacy for his fans and some money for his wife Sue. The documentary will feature Ian Paice from Deep Purple, Joe Elliott from Def Leppard, Mick Box from Uriah Heep, Nicko Mcbrain from Iron Maiden, and Gene Simmons from Kiss. The documentary was due to be completed by September 2019.


title: Lee Kerslake

text: In December 2018, Kerslake revealed that he was battling prostate cancer, saying that "the doctor gave me about eight months to live". He further stated that five years previously, he had been given four years to live. Kerslake's further health complications include psoriasis, psoriatic arthritis and two heart murmurs.


title: Lee Kerslake

text: Kerslake revealed that it was his final wish to receive the platinum album certifications for the "Blizzard of Ozz" and "Diary of a Madman" albums that he had worked on, and Osbourne granted that wish. Kerslake wrote a letter to Osbourne, informing him of his ill-health and desire to receive the records. Kerslake subsequently received his platinum plaques.


title: Lee Kerslake

text: On 14 December 2018, Kerslake joined Uriah Heep onstage at the Shepherd's Bush Empire, contributing percussion and vocals to "Lady in Black".


title: Lee Kerslake

text: On 19 September 2020, Kerslake died from cancer at age 73. He had completed recording a solo album before his death, titled "Eleventeen", posthumously released on 26 February 2021.


title: Algerian National Navy

text: The Algerian Naval Force (ANF; ) is the naval branch of the Algerian military. The naval force operates from multiple bases along the country's nearly coastline, fulfilling its primary role of monitoring and defending Algeria's territorial waters against all foreign military or economic intrusion. Additional missions include coast guard and maritime safety missions as well a projection of marine forces ("fusiliers marins"). Algerian forces are an important player in the Western Mediterranean.


title: Algerian National Navy

text: As with other Algerian military branches, the naval force was built and structured with assistance from the Soviet Union during the Cold War, but has also relied on other sources for equipment in some areas. Since the end of the Cold War, Russia has remained an important partner, but Algeria has increasingly sought additional sources for equipment as well as building its own shipbuilding capacity.


title: Algerian National Navy

text: Principal naval bases are located at Algiers, Annaba, Mers el-Kebir, Oran, Jijel and Tamentfoust. Mers el Kébir is home to the OMCN/CNE shipbuilding facilities where several Algerian vessels have been built. Algeria's naval academy at Tamentfoust provides officer training equivalent to that of the army and the air force academies. The naval force also operates a technical training school for its personnel at Tamentfoust.


title: Algerian National Navy

text: The bulk of the Algerian Naval Force is still based on Cold War designs, although work is being done to both acquire new platforms as well as modernize existing equipment. The surface fleet is equipped with a mixture of smaller ships well suited to coastal and Exclusive Economic Zone (EEZ) patrol work. The fleet is led by three Koni class frigates which have been updated with more modern systems. These are due to be augmented in the coming years by a pair of MEKO A-200 frigates which will represent the most modern equipment of the naval force when they enter service, also, Algeria signed a contract with China Shipbuilding Trading Company for the construction of three light frigates about 2,800 tons full load. A mixture of six corvettes and off-shore patrol vessels complement the frigates, while a large number of smaller boats cover the role of coastal patrol. Algeria had maintained a relatively large fleet of Osa class fast attack craft by the end of the Cold War, but it is questionable whether any of these remain in operational use.


title: Algerian National Navy

text: Algeria has had a small submarine presence in the Mediterranean with a pair of Kilo class patrol submarines, though the recent acquisition of an additional four upgraded boats will expand this presence significantly. Their amphibious warfare capacity has traditionally been limited with a small group of landing ships essentially for coastal transport roles. This capacity will be greatly upgraded with the planned acquisition of an amphibious transport dock capable of supporting more robust operations. In the area of civil support, the purchase of seagoing rescue tugs will mark the first ability of an African nation to provide valuable services to economic and commercial operators in the Western Mediterranean.


title: Algerian National Navy

text: The Algerian military has long maintained a strong veil of secrecy over its organization and equipment, making an exact accounting of operational vessels difficult to ascertain. Open sources are known to vary widely in their reports of several aspects of Algerian equipment.


title: Algerian National Navy

text: The Naval force is currently being upgraded with the following technological developments: the existing units are being modernized, with the submarine force strengthened by two new Kilo class submarines (last generation).


title: Thai curry

text: Thai curry (, ) is a dish in Thai cuisine made from curry paste, coconut milk or water, meat, seafood, vegetables or fruit, and herbs. Curries in Thailand mainly differ from the curries in India in their use of ingredients such as herbs and aromatic leaves over a mix of spices.


title: Thai curry

text: The first Thai dictionary from 1873 CE (2416 in the Thai Buddhist calendar) defines "kaeng" as a watery dish to be eaten with rice and utilizing shrimp paste, onions or shallots, chillies, and garlic as essential ingredients. Coconut milk is not included in this definition and many Thai curries, such as and , do not feature it. Curries in Lanna (northern Thai) cuisine, with only a few exceptions, do not use coconut milk due to coconut palms not growing well, if at all, in the climate of the Thai highlands. The spiciness of Thai curries depends on the amount and kind of chilli used in the making of the paste. Even within one type of curry the spiciness can differ widely.


title: Thai curry

text: The word "curry" figures in the Thai language as ""kari"" (), and refers to dishes using either an Indian-style curry powder, known as "phong kari" in Thailand, or to the dish called "kaeng kari", an Indian-influenced curry that is made with spices that are common to Indian dishes but less often used in these proportions in Thai cuisine. "Kung phat phong kari" (prawns fried with egg and curry powder) is an example of a dish using the Indian style curry powder.


title: Thai curry

text: Although is also defined as being of "watery" substance, the thickness of the sauce can vary considerably from broth-like to that of a thick stew, and it can even be a completely dry dish. Representatives of dry curries, dishes which are (stir-)fried with a curry paste, are and . and are representatives of the more broth-like curries. and resemble stews. (a steamed fish curry), (curry aspic from northern Thailand) and noodle dishes such as are also seen as Thai curry dishes as they all use curry pastes in their preparation.


title: Thai curry

text: The dish called is an exception to the rule that a should contain chillies, garlic, onions and shrimp paste. It is a clear Chinese style meat and/or vegetable broth with mixed vegetables and often also minced pork, tofu and glass noodles. The name translates as "bland curry" but it is seen as being a "tom", a soup, and it is therefore also often called "tom chuet".


title: Thai curry

text: Curries are eaten in combination with rice, the long-grained jasmine rice in central and southern Thailand and sticky rice in northern and northeastern Thailand, and with noodles such as (fermented rice noodles). Certain curries can also be eaten with "roti", the Thai version of the Indian-style fried flat bread from Malaysia called .


title: Thai curry

text: Thai curries are always made with a curry paste. Common ingredients used in many Thai curry pastes are:


title: Thai curry

text: Depending on the type of curry, additional ingredients for the paste can include spices such as turmeric, pepper, coriander seeds, cardamom pods, and cumin, or other ingredients such as boiled fermented fish, and fingerroot.


title: Thai curry

text: Ingredients are traditionally ground together with a mortar and pestle, though increasingly with an electric food processor. With many curries, the paste is first stir-fried in cooking oil before other components are added in to the dish. This allows certain flavours in the spices and other ingredients in the paste to develop that cannot be released at the lower temperature of boiling water.


title: Thai curry

text: Both "khrueang kaeng" () and "nam phrik kaeng" () are used to describe "curry paste" in Thailand. The latter is sometimes even shortened to only "phrik kaeng" ().


title: Thai curry

text: Thai curry pastes can be made at home from the bare ingredients, bought freshly made at markets in Thailand, or they can be had packaged at shops and supermarkets.


title: Thai curry

text: Most Thai curries are made with meat, fish or shellfish as their main ingredient. Vegetables and fruit, but also certain tree leaves such as from the "Acacia pennata" ("cha-om") and the "Ficus virens" ("phak lueat"), and flowers such as those of the "Sesbania grandiflora" ("dok khae") and banana ("hua pli"), can be added. Curries that contain mainly vegetables are, for example, "kaeng liang" (mixed vegetables) and "kaeng nomai" (bamboo shoots). Ingredients were dictated by regional and seasonal availability: both pork and chicken (possibly first domesticated from wild jungle fowl in what is now Thailand) are easily available, and so are many varieties of fish, and shellfish, both fresh water species from the many rivers, lakes and rice paddies, as well as salt water species from the Andaman Sea and the Gulf of Thailand. Other traditional ingredients in Thai curries include frogs, snakes, snails, wild birds and game such as Sambar deer and wild boar. Commonly used vegetables in curries are Thai eggplant ("makhuea pro"), yardlong beans ("thua fak yao"), and different types of squash and pumpkins ("fak").


title: Thai curry

text: Fresh kaffir lime leaves ("bai makrut"), fingerroot ("krachai"), or fresh herbs such as Thai basil ("horapa") are often added to Thai curries. Kaffir lime leaves and "krachai" are often cooked along with the other ingredients but fresh herbs such as Thai basil are nearly always added at the last moment to preserve the full taste and serve as a contrasting note to the flavours of a curry. Fish sauce is not only used when cooking the curry as a flavouring and for its salty taste, but it is usually also available at the table as a condiment, mixed together with sliced green bird's-eye chillies for those that prefer their curries more salty and spicy. Sugar (traditionally palm sugar) is used with curries that need to be sweetened. Besides lime juice, tamarind juice can also see use in sour curries as the souring agent such as in "kaeng som". To achieve the most fragrance from the ingredients in a curry paste, the curry paste is often first fried together with vegetable oil or coconut oil that has separated from the coconut cream, before adding in the other ingredients.


title: Brussels South Charleroi Airport

text: Brussels South Charleroi Airport (BSCA), also unofficially called Brussels-Charleroi Airport, Charleroi Airport or rarely "Gosselies Airport", is an international airport, located in Gosselies, a part of the city of Charleroi in the Province of Hainaut in Wallonia, Belgium. The airport is north of Charleroi and south of central Brussels. In terms of passengers and aircraft movements, it is the second busiest airport in Belgium having served 8.224.196 passengers in 2019 (82.043 movements). It is also a busy general aviation airfield, being home to 3 flying schools.


title: Brussels South Charleroi Airport

text: The first aeronautical activities in Gosselies date back to 1919 as a flying school, then aeronautical maintenance activities the following year. The British aircraft manufacturer Fairey Aviation settled a subsidiary Avions Fairey on the site (then known as "Mont des Bergers") in 1931.


title: Brussels South Charleroi Airport

text: During World War II, the site was arranged as an Advanced Landing Ground (A-87) for the allied air forces, from 14 September 1944 until 10 August 1945.


title: Brussels South Charleroi Airport

text: Gosselies airfield became a public aerodrome after World War II, but the main activities of the site remained aeronautical constructions (installation of SABCA in 1954, then SONACA in 1978, taking the place of Fairey).


title: Brussels South Charleroi Airport

text: In the 1970s, the Belgian national airline Sabena launched a Liège–Charleroi–London service, but this was soon dropped because of poor results. Gosselies was left with almost no passenger traffic, the airport being mainly used for private or pleasure flights, training flights and occasional charters to leisure destinations around the Mediterranean Sea or to Algeria.


title: Brussels South Charleroi Airport

text: Operations at Brussels South Charleroi grew in the 1990s, with a new commercial management structure (BSCA – Brussels South Charleroi Airport) and the arrival of Irish low-cost airline Ryanair in 1997, which opened its first continental base at Charleroi a few years later.


title: Brussels South Charleroi Airport

text: Although criticised for the subsidies paid by the Walloon government to help its installation, Ryanair opened new routes from Brussels South Charleroi (they also closed two destinations: London–Stansted and Liverpool, although Stansted was re-introduced in June 2007 before being suspended again). Other low-cost carriers later joined Ryanair in Brussels South Charleroi, such as Wizz Air. The Polish airline Air Polonia operated services from here to Warsaw and Katowice before going bankrupt in August 2004.


title: Brussels South Charleroi Airport

text: In September 2006, it was announced that Moroccan low-cost airline Jet4you would launch three weekly flights to Casablanca (on Wednesday, Thursday and Sunday) starting 1 November 2006, in code-share cooperation with Belgian airline Jetairfly.


title: Brussels South Charleroi Airport

text: A new terminal opened in January 2008. It has a capacity of up to 5 million passengers a year, which means that it has reached its maximum capacity in 2010 (5,195,372 passengers).


title: Brussels South Charleroi Airport

text: The European Commission objected to assistance the airport offered to Ryanair, since the airport is owned by the Wallonia regional government and thus the discounts and other benefits could be considered state aid. However, the Court of First Instance (a European Union court) decided on 17 December 2008 that the Commission's decision finding that illegal aid had been granted to Ryanair should be annulled and quashed as being erroneous in law. However, in March 2012, the Commission reopened the case in order to take this judgment into account.


title: Brussels South Charleroi Airport

text: In January 2017, a second terminal (Terminal 2) was opened in order to relieve the T1 during rush hours and to be able to accommodate 10 million passengers a year in the future.


title: Brussels South Charleroi Airport

text: In May 2019, work began on an extension of Charleroi Airport’s runway, bringing it to a total length of 3200 metres. Runway 06/24 is undergoing a 650 meter extension on the 24 end of the runway.


title: Brussels South Charleroi Airport

text: On Friday 8 October 2021, the runway extension was officially inaugurated in the presence of Minister Walloon in charge of Airports Jean-Luc Crucke.


title: Brussels South Charleroi Airport

text: The SABCA facility on site conducts depot-level maintenance, repair and overhaul work on United States Air Force F-16s based in Europe.


title: Brussels South Charleroi Airport

text: The following airlines operate regular scheduled and charter flights at Brussels South Charleroi Airport:


title: Brussels South Charleroi Airport

text: There are several shuttles to different cities in the neighbouring countries (Luxembourg, Metz, Thionville, Lille) plus a regular coach service that runs from the airport to Brussels-South railway station. Also, a special bus (Airport Express – A) operates from the airport to Charleroi-South railway station. A combined bus and train ticket to any other Belgian railway station can be bought in the terminal.


title: The Turin Horse

text: The Turin Horse () is a 2011 Hungarian philosophical drama film directed by Béla Tarr and Ágnes Hranitzky, starring János Derzsi, Erika Bók and Mihály Kormos. It was co-written by Tarr and his frequent collaborator László Krasznahorkai. It recalls the whipping of a horse in the Italian city of Turin that is rumoured to have caused the mental breakdown of philosopher Friedrich Nietzsche. The film is in black-and-white, shot in only 30 long takes by Tarr's regular cameraman Fred Kelemen, and depicts the repetitive daily lives of the horse-owner and his daughter.


title: The Turin Horse

text: The film was an international co-production led by the Hungarian company T. T. Filmműhely. Tarr announced then that it was to be his last film. After having been postponed several times, it premiered in 2011 at the 61st Berlin International Film Festival, where it received the Jury Grand Prix. The Hungarian release was postponed after the director had criticised the country's government in an interview.


title: The Turin Horse

text: The film begins with a narrator explaining German philosopher Friedrich Nietzsche's infamous mental breakdown in Turin, Italy in 1889 after seeing a man continually whip his horse, which yet refused to move. After uttering his final words, "Mutter, ich bin dumm" ("mother, I am stupid"), Nietzsche becomes mute and demented, cared for by his family until his death a decade later.


title: The Turin Horse

text: The film focuses on a pair of impoverished potato farmers, father and daughter, and their horse (stated by the narrator, literally or metaphorically, to be the same one seen by Nietzsche) living in the 19th century countryside where a violent wind blows unremittingly. They live out an arduous and repetitive existence defined by nihilistic despair; they often take turns sitting by the window alone. The horse is increasingly uncooperative, refusing to leave the property or eat and drink. A neighbour visits to trade some goods; he claims that the nearby town has been completely destroyed, and blames the apocalyptic scenario on both God and man. Later, a band of gypsies arrives and drains the farmers' well of water. The father decides they must abandon the farm; the two pack and depart with the horse behaving uncharacteristically well, but return home and unpack shortly after leaving for unspecified reasons. They remove the horse's reins and shut it in the barn. The world then plunges into complete darkness; the two try to light lamps but find they quickly extinguish, even the coals. The next day, the winds can no longer be heard inside the house. Now subsisting on raw potatoes, the daughter refuses to eat or talk, seemingly resigning to her fate. The father appears to follow, not finishing his potato and sitting with his daughter in silence.


title: The Turin Horse

text: Director Béla Tarr says that the film is about the "heaviness of human existence". The focus is not on mortality, but rather the daily life: "We just wanted to see how difficult and terrible it is when every day you have to go to the well and bring the water, in summer, in winter... All the time. The daily repetition of the same routine makes it possible to show that something is wrong with their world. It's very simple and pure." Tarr has also described "The Turin Horse" as the last step in a development throughout his career: "In my first film I started from my social sensibility and I just wanted to change the world. Then I had to understand that problems are more complicated. Now I can just say it’s quite heavy and I don’t know what is coming, but I can see something that is very close – the end."


title: The Turin Horse

text: According to Tarr, the book the daughter receives is an "anti-Bible". The text was an original work by the film's writer, László Krasznahorkai, and contains references to Nietzsche. Tarr described the visitor in the film as "a sort of Nietzschean shadow". As Tarr elaborated, the man differs from Nietzsche in that he is not claiming that God is dead, but rather puts blame on both humans and God: "The key point is that the humanity, all of us, including me, are responsible for destruction of the world. But there is also a force above human at work – the gale blowing throughout the film – that is also destroying the world. So both humanity and a higher force are destroying the world."


title: The Turin Horse

text: The idea for the film had its origin in the mid 1980s, when Tarr heard Krasznahorkai retell the story of Nietzsche's breakdown, and ended it by asking what happened to the horse. Tarr and Krasznahorkai then wrote a short synopsis for such a story in 1990, but put it away in favour of making "Sátántangó". Krasznahorkai eventually wrote "The Turin Horse" in prose text after the production of the duo's previous film, the troublesome "The Man from London". "The Turin Horse" never had a conventional screenplay, and Krasznahorkai's prose was what the filmmakers used to find financial partners.


title: The Turin Horse

text: "The Turin Horse" was produced by Tarr's Hungarian company T. T. Filmműhely, in collaboration with Switzerland's Vega Film Production, Germany's Zero Fiction Film and France's MPM Film. It also had American involvement through the Minneapolis-based company Werc Werk Works. The project received 240,000 euro from Eurimages and 100,000 euro from Medienboard Berlin-Brandenburg.


title: The Turin Horse

text: Filming was located to a valley in Hungary. The house, well and stable were all built specifically for the film, and were not artificial sets but proper structures of stone and wood. The supposed 35-day shoot was set to take place during the months of November and December 2008. However because of adverse weather conditions, principal photography was not finished until 2010.


title: The Turin Horse

text: Tarr announced at the premiere of "The Man from London" that he was retiring from filmmaking and that his upcoming project would be his last. "The Turin Horse" was originally planned to be finished in April 2009 and ready to be screened at the 2009 Cannes Film Festival. After several delays, it was finally announced as a competition title at the 61st Berlin International Film Festival, where it premiered on 15 February 2011.


title: The Turin Horse

text: "The Turin Horse" was originally set to be released in Hungary on 10 March 2011 through the distributor Mokep. However, in an interview with the German newspaper "Der Tagesspiegel" on 20 February, Tarr accused the Hungarian government of obstructing artists and intellectuals, in what he referred to as a "culture war" led by the cabinet of Viktor Orbán. As a consequence to these comments, Mokep cancelled its release of the film. It eventually premiered in Hungary on 31 March 2011 instead. It was distributed in five prints through a collaboration between Cirko Film and Másképp Alapítvány.


title: The Turin Horse

text: "The Turin Horse" received critical acclaim. At Metacritic, the film received an average score of 80/100, based on 15 reviews, which indicates "generally favorable reviews". The film holds an 89% "Certified Fresh" rating on the review aggregator Rotten Tomatoes based on 63 reviews, with an average rating of 8.10/10. The critical consensus states, "Uncompromisingly bold and hauntingly beautiful, Bela Tarr's bleak parable tells a simple story with weighty conviction."


title: The Turin Horse

text: Mark Jenkins of NPR described the film as "... an absolute vision, masterly and enveloping in a way that less personal, more conventional movies are not." A. O. Scott of "The New York Times" lavished the film with praise, concluding, "The rigors of life can grind you down. The rigor of art can have the opposite effect, and "The Turin Horse" is an example — an exceedingly rare one in contemporary cinema — of how a work that seems built on the denial of pleasure can, through formal discipline, passionate integrity and terrifying seriousness, produce an experience of exaltation. The movie is too beautiful to be described as an ordeal, but it is sufficiently intense and unyielding that when it is over, you may feel, along with awe, a measure of relief. Which may sound like a reason to stay away, but is exactly the opposite."


title: The Turin Horse

text: Ray Bennett of "The Hollywood Reporter" wrote from the Berlinale: "Fans of Tarr’s somber and sedate films will know what they are in for and will no doubt find the time well spent. Others might soon grow weary of measured pace of the characters as they dress in their ragged clothes, eat boiled potatoes with their fingers, fetch water, clean their bowls, chop wood and feed the horse." Bennett complimented the cinematography, but added: "That does not, however, make up for the almost complete lack of information about the two characters, and so it is easy to become indifferent to their fate, whatever it is." "Variety"'s Peter Debruge also noted how the narrative provided "little to cling to", but wrote: "Like Hiroshi Teshigahara's life-changingly profound "The Woman in the Dunes" ... by way of Bresson, Tarr's tale seems to depict the meaning of life in a microcosm, though its intentions are far more oblique. ... As the premise itself concerns the many stories not being told (Nietzsche is nowhere to be found, for instance), it's impossible to keep the mind from drifting to all the other narratives unfolding beyond the film's sparse horizon."


title: The Turin Horse

text: The film won the Jury Grand Prix Silver Bear and the Competition FIPRESCI Prize at the Berlin Film Festival. It was selected as the Hungarian entry for the Best Foreign Language Film at the 84th Academy Awards, but it did not make the final shortlist. "Tiny Mix Tapes" named it the best film of 2012.


title: Oskar Gröning

text: Oskar Gröning (10 June 1921 – 9 March 2018) was a German SS "Unterscharführer" who was stationed at the Auschwitz concentration camp. His responsibilities included counting and sorting the money taken from prisoners, and he was in charge of the personal property of arriving prisoners. On a few occasions he witnessed the procedures of mass killing in the camp. After being transferred from Auschwitz to a combat unit in October 1944, Gröning surrendered to the British at the end of the war; his role in the SS was not discovered. He was eventually transferred to the UK as a prisoner of war and worked as a farm labourer.


title: Oskar Gröning

text: Upon his return to Germany, he led a normal life, reluctant to talk about his time in Auschwitz. However, more than 40 years later, after learning about Holocaust denial, he decided to make public his activities at Auschwitz. He openly criticised those who denied the events that he had witnessed and the ideology to which he had subscribed. Gröning was notable as a German willing to make public statements about his experience as an SS soldier, which were self-incriminating and which exposed his life to public scrutiny. In particular, he confessed to stealing jewellery and money from gas chamber victims for his personal benefit.


title: Oskar Gröning

text: In September 2014, Gröning was charged by German prosecutors as an accessory to murder in 300,000 cases, for his role at the Auschwitz concentration camp. His trial began in April 2015, after the court had ruled that, at the age of 93, he was still fit to stand trial. The trial was held in Lüneburg, Germany. On 15 July 2015, he was found guilty of knowingly facilitating mass murder and sentenced to four years' imprisonment. Following a number of unsuccessful appeals against the prison sentence, Gröning died on 9 March 2018 while hospitalized before he was set to begin his sentence.


title: Oskar Gröning

text: Gröning was born in June 1921, in Lower Saxony, the son of a skilled textile worker. His mother died when he was four. His father, a nationalist and strict conservative, joined "Der Stahlhelm" after Germany's defeat in the First World War (during which his father had lost an eye), and his father's anger at how Germany had been treated following the Treaty of Versailles increased as his textile business went bankrupt in 1929 due to insufficient capital.


title: Oskar Gröning

text: Gröning stated that his childhood had been one of "discipline, obedience and authority". Gröning was fascinated by military uniforms, and one of his earliest memories was of looking at photos of his grandfather, who served in an elite regiment of the Duchy of Brunswick, on his horse and playing his trumpet. He told "Der Spiegel" in 2005, that as a child, he played marbles in the street with Anne Selig, the daughter of a Jewish ironmonger whose store was next to his home. When Nazi stormtroopers held up a sign outside the shop saying, "Germans, do not buy from Jews," he said, he was unmoved. He joined the Scharnhorst (the Stahlhelm's youth organisation) as a small boy in the 1930s, and later the Hitler Youth when the Nazis came to power in 1933. Influenced by his family's values, he felt that Nazism was advantageous to Germany and believed that the Nazis "were the people who wanted the best for Germany and who did something about it." He participated in the burning of books written by Jews and other authors that the Nazis considered degenerate in the belief that he was helping Germany free itself from an alien culture, and considered that National Socialism was having a positive effect on the economy, pointing to lower unemployment.


title: Oskar Gröning

text: Gröning left school with high marks and began a traineeship as a bank clerk when he was 17, but war was declared in 1939 shortly after he started employment, and eight of the twenty clerks present were immediately conscripted into the army. This allowed the remaining trainees to further their banking careers in a relatively short time; however, despite these opportunities, Gröning and his colleagues were inspired by Germany's quick victories in France and Poland and wanted to contribute.


title: Oskar Gröning

text: Gröning wanted to join an elite army unit and set his sights on joining the Schutzstaffel. Without his father's knowledge, he did so in 1940 at a hotel where the SS was recruiting. Gröning said that his father was disappointed to learn this when he came home after having joined.


title: Oskar Gröning

text: Gröning described himself as a "desk person" and was content with his role in SS salary administration, which granted him both the administrative and military aspects he wanted from a career.


title: Oskar Gröning

text: Gröning worked as a bookkeeper for a year until 1942, when the SS ordered that desk jobs were to be reserved for injured veterans, and that fit members in administrative roles were to be subjected to more challenging duties. Gröning and about 22 of his colleagues travelled to Berlin where they reported to one of the SS economic offices.


title: Oskar Gröning

text: They were then given a lecture by several high-ranking officers who reminded them of the oath of loyalty they took, which they could prove by doing a difficult task. The task was top secret: Gröning and his fellow SS men had to sign a declaration that they would not disclose it to family or friends, or people not in their unit. Once this had concluded, they were split into smaller groups and taken to various Berlin stations where they boarded a train in the direction of Katowice with orders to report to the commandant of Auschwitz, a place Gröning had not heard of before.


title: Oskar Gröning

text: Upon arrival at the main camp, they were given provisional bunks in the SS barracks, warmly greeted by fellow SS men and provided with food. Gröning was surprised at the myriad food items available in addition to basic SS rations. The new arrivals were curious about what function Auschwitz served. They were told that they should find out for themselves because Auschwitz was a special kind of concentration camp. Immediately someone opened the door and shouted "Transport!", causing three or four people to leave the room.


title: Oskar Gröning

text: The next day, Gröning and the other arrivals reported to the central SS administrative building and were asked about their background before the war. One of the officers said Gröning's bank clerk skills would be useful, and took him to barracks where the prisoners' money was kept. Gröning was told that when prisoners were registered into the camp, their money was stored here and later returned to them when they left.


title: Oskar Gröning

text: It became clear that Auschwitz was not a normal internment camp with above-average SS rations, but that it served an additional function. Gröning was informed that money taken from interned Jews was not actually returned to them. When he inquired further, his colleagues confirmed that the Jews were being systematically exterminated and that this had included the transport of prisoners who had arrived the previous night.


title: Oskar Gröning

text: Gröning's responsibilities included sorting and counting the multitude of currencies taken from arriving deportees, sending it to Berlin, and guarding the belongings of arrivals until they were sorted. He related that he was astonished to learn of the extermination process, but later accepted his part in it, stating that his work became "routine" after several months.


title: Oskar Gröning

text: His bureaucratic job did not shield him completely from physical acts of the extermination process: as early as his first day, Gröning saw children hidden on the train and people unable to walk who had remained among the rubbish and debris after the selection process had been completed, being shot. Gröning also heard:


title: Oskar Gröning

text: After witnessing this, Gröning claimed, he went to his boss and told him that he could not work at Auschwitz anymore, stating that if the extermination of the Jews is necessary, "then at least it should be done within a certain framework". Gröning claims that his superior officer denied this request citing a document he had signed before being posted, forcing him to continue his work.


title: Oskar Gröning

text: One night towards the end of 1942, Gröning and others in their SS barracks on the outskirts of Birkenau were awakened by an alarm. They were told that a number of Jews who were being taken to the gas chambers had escaped and hidden in the woods. They were ordered to take pistols and search the woods. When his group arrived at the extermination area of the camp they saw a farmhouse, in front of which were SS men and the bodies of seven or eight prisoners who had been caught and shot. The SS men told Gröning and his comrades that they could go home, but they decided to remain in the shadows of the woods. They watched as an SS man put on a gas mask and emptied a tin of Zyklon B into a hatch in the cottage wall. Gröning said the humming noise from inside "turned to screaming" for a minute, then to silence. A comrade later showed him the bodies being burnt in a pit. A "kapo" there told him details of the burning, such as how gases developed in the body and made the burning corpses move.


title: Oskar Gröning

text: Gröning claimed that this disrupted the relative tranquillity his job gave him and that he yet again complained to his superior. His boss listened but reminded him of the pledge that he and his fellow SS men made. Gröning thus returned to work. He declared that he manipulated his life at Auschwitz so as to avoid witnessing the camp's most unpalatable aspects.


title: Oskar Gröning

text: Gröning's application to transfer to a unit on the front-line was successful, and in 1944 he joined an SS unit fighting in the Battle of the Bulge in the Ardennes. He was wounded and sent to a field hospital before rejoining his unit, which eventually surrendered to the British Army.


title: Oskar Gröning

text: He realised that declaring "involvement in the concentration camp of Auschwitz would have a negative response", and so tried not to draw attention to it, putting on the form given to him by the British that he worked for the SS-Wirtschafts-Verwaltungshauptamt instead. He said he did this because "the victor's always right", and that things happened at Auschwitz which "did not always comply with human rights".


title: Oskar Gröning

text: Gröning and the rest of his SS colleagues were imprisoned in an old Nazi concentration camp. He was later sent to the UK as a forced labourer in 1946 where he had a "very comfortable life". He ate good food and earned money, and travelled through the Midlands and Scotland giving concerts for four months, singing German hymns and traditional English folk songs to appreciative British audiences.


title: Oskar Gröning

text: Gröning was released and returned to Germany in 1947 or 1948. Upon being reunited with his wife, he said: "Girl, do both of us a favour: don't ask." He was unable to regain his job at the bank due to having been a member of the SS, so he got a job at a glass factory, working his way up to a management position. He became head of personnel, and was made an honorary judge (a sort of juror) of industrial tribunal cases.


title: Oskar Gröning

text: Upon return to Germany, Gröning lived with his father-in-law. At the dinner table, they once made "a silly remark about Auschwitz", implying that he was a "potential or real murderer," whereupon Gröning became enraged, banging his fist on the table and demanding: "This word and this connection are never, ever, to be mentioned again in my presence, otherwise I'll move out!" Gröning said that this request was respected.


title: Oskar Gröning

text: Gröning led a normal middle-class life after the war. A keen stamp collector, he was once at his local philately club's annual meeting, more than 40 years after the war, when he fell into a conversation about politics with the man next to him. The man told him it was "terrible" that Holocaust denial was illegal in Germany, and went on to tell Gröning how so many bodies could not have been burnt, and that the volume of gas that was supposed to have been used would have killed all living things in the vicinity.


title: Oskar Gröning

text: Gröning said little in response to these statements, replying only: "I know a little more about that, we should discuss it some time." The man recommended a pamphlet by Holocaust denier Thies Christophersen. Gröning obtained a copy and mailed it to Christophersen, having written his own commentary on it, which included the words:


title: Oskar Gröning

text: Gröning then began receiving phone calls and letters from strangers who tried to tell him Auschwitz was not actually a place for exterminating human beings in gas chambers.


title: Oskar Gröning

text: It became apparent that his comments condemning Holocaust denial had been printed in a neo-Nazi magazine, and that most of the anonymous calls and letters were "From people who tried to prove that what I had seen with my own eyes, what I had experienced in Auschwitz was a big, big mistake, a big hallucination on my part because it hadn't happened."


title: Oskar Gröning

text: As a result of such comments, Gröning decided to speak openly about his experiences, and publicly denounce people who maintain the events he witnessed never happened. He said his message to Holocaust deniers was:


title: Oskar Gröning

text: Gröning did not consider himself guilty of any crime, because he was in no way directly involved in the killing. He described his part in the extermination machine as an involuntary "small cog in the gears", which gave him involuntary guilt in turn. Citing his summons to testify against a member of the SS accused of murdering prisoners at Auschwitz, he also said he was innocent in the eyes of the law, pointing to the fact that he spoke as a witness and not as a defendant.


title: Oskar Gröning

text: In the BBC book and DVD set "", author Laurence Rees indicates that although Gröning had requested to leave Auschwitz after he witnessed killings, his objection was only on the basis of its practical implementation, and not on the general militaristic principle of the mass extermination of enemies. Gröning said that he thought at the time that it was justified due to all the Nazi propaganda he had been subjected to, in that Germany's enemies were being destroyed, which to him made the tools of their destruction (such as gas chambers) of no particular significance. Because of this, he said his feelings about seeing people and knowing that they had hours to live before being gassed were "very ambiguous".


title: Oskar Gröning

text: He explained that children were murdered because, while the children themselves were not the enemy, the danger was the blood within them, in that they could grow up to become dangerous Jews. Rees points to Gröning's ultra-nationalist upbringing as indication of how he was able to justify the extermination of helpless children. Gröning said that the horrors in the gas chambers did eventually dawn on him when he heard the screams.


title: Oskar Gröning

text: Rees writes that Gröning described his time at Auschwitz as if he were talking about another Oskar Gröning at Auschwitz—and as a result, the post-war Gröning spoke more candidly about his time there by segregating the Gröning that contributed to the running of a death camp from the modern Gröning that condemns Nazi ideology.


title: Oskar Gröning

text: Gröning said that the screams of those in the gas chambers had never left him, and he never returned to Auschwitz because of his shame. He said he felt guilt towards the Jewish people, and for being part of the organisation that committed crimes against them, despite "not having been one of the perpetrators myself". He asked for forgiveness from God and from the Jewish people.


title: Oskar Gröning

text: In September 2014, it was reported that Gröning, then aged 93, had been charged by state prosecutors with having been an accessory to murder for his role at Auschwitz receiving and processing prisoners and their personal belongings. The indictment stated that Gröning economically advanced Nazi Germany and aided the systematic killing of 300,000 of the 425,000 Hungarian Jews who were deported to Auschwitz by 137 railway transports during the summer of 1944.


title: Oskar Gröning

text: Gröning's prosecution has been reported to have been a part of Germany's final effort to bring the last Nazi war-crimes suspects to justice. State prosecutors managed to charge the defendant on a legal precedent set in 2011 by the conviction of the former Sobibor extermination camp guard John Demjanjuk by a court in Munich for his presence as a guard at the camp rather than for a specific act of murder.


title: Oskar Gröning

text: The trial commenced on 20 April 2015 at Lüneburg Regional Court ("Landgericht"). In an opening statement, Gröning asked for forgiveness for his mainly clerical role at Auschwitz in the summer of 1944, by saying: "For me there's no question that I share moral guilt", the 93-year-old told the judges, acknowledging he knew about the gassing of Jews and other prisoners. "I ask for forgiveness. I share morally in the guilt but whether I am guilty under criminal law, you will have to decide."


title: Oskar Gröning

text: Eva Mozes Kor, who was 10 years old when she arrived at Auschwitz, testified that she and her twin sister were used for the cruel medical experiments conducted by Josef Mengele and that she had lost her parents and older sisters in Auschwitz. Kor conversed with and embraced the defendant after giving evidence, while other Holocaust survivors in the courtroom protested against this gesture. Another witness, Max Eisen, who was 15 years old at the time of entry into Auschwitz, described the brutality of the extermination part of the camp, including extracting gold teeth from dead victims. On 12 May 2015, Susan Pollack, an 84-year-old Briton, gave evidence of how she was taken from Hungary to Auschwitz and Bergen-Belsen; describing the living conditions encountered at Auschwitz, she said: "I was in a barrack with about 800 other girls ... we were losing weight, we weren't able to use our minds anymore".


title: Oskar Gröning

text: That same day, Ivor Perl, an 83-year-old Briton who was born in Hungary into a religious Jewish family, also gave evidence; Perl testified that he was 12 years old when he arrived at Auschwitz and that he and his brother lost their parents and seven siblings in the Holocaust. In July, Irene Weiss, an 84-year-old survivor from the United States, testified that her family was torn apart on arrival at Auschwitz in May 1944, during the mass deportation of Hungarian Jews and that she had lost both her parents, four siblings and 13 cousins at Auschwitz.


title: Oskar Gröning

text: On 15 July 2015, he was found guilty of being an accessory to the murder of at least 300,000 Jews. Reacting to the sentence, Auschwitz survivor Kor said that she was "disappointed" adding: "I would like the court to prove to me, a survivor, how four years in jail will benefit anybody." Gröning's defence lawyer, Hans Holtermann, reviewed the decision before planning to appeal.


title: Oskar Gröning

text: On 28 November 2016, the appeal was declined by the German Federal Court of Justice (BGH). In August 2017, Gröning was judged to be fit for prison. An appeal to the Federal Constitutional Court also failed. The latter court ruled his age was not a valid reason not to send him to jail.


title: Oskar Gröning

text: On 15 January 2018, Gröning applied for pardon as a last measure to avoid imprisonment. The pardon was rejected.


title: James M. Cox

text: James Middleton Cox (March 31, 1870 July 15, 1957) was an American businessman and politician who served as the 46th and 48th governor of Ohio, and a two-term U.S. Representative from Ohio. As the Democratic nominee for President of the United States at the 1920 presidential election, he lost in a landslide to fellow Ohioan Warren G. Harding. His running mate was future president Franklin D. Roosevelt. He founded the chain of newspapers that continues today as Cox Enterprises, a media conglomerate.


title: James M. Cox

text: Born and raised in Ohio, Cox began his career as a newspaper copy reader before becoming an assistant to Congressman Paul J. Sorg. As owner of the "Dayton Daily News", Cox introduced several innovations and crusaded against the local Republican Party boss. He served in the United States House of Representatives from 1909 to 1913 before being elected as Governor of Ohio. As governor, Cox introduced a series of progressive reforms and supported Woodrow Wilson's handling of World War I and its aftermath.


title: James M. Cox

text: He was chosen as the Democratic nominee for president on the forty-fourth ballot of the 1920 Democratic National Convention. Running on a ticket with future President Franklin D. Roosevelt as his vice presidential running mate, Cox suffered the worst popular vote defeat (a 26.17% margin) since the unopposed re-election of James Monroe in 1820.


title: James M. Cox

text: Cox retired from public office after the 1920 presidential election to focus on his media conglomerate, which expanded into several cities. By 1939, his media empire extended from Dayton to Miami. He remained active in politics, supporting Roosevelt's campaigns and attending the 1933 London Economic Conference.


title: James M. Cox

text: Cox was born on a farm near the tiny Butler County, Ohio village of Jacksonburg, the youngest son of Gilbert Cox and Eliza Andrew; he had six siblings. Cox was named James Monroe Cox at birth; he was later known as James Middleton Cox, possibly because he spent part of his early years in Middletown, Ohio. Cox was educated in a one-room school until the age sixteen. After his parents divorced, he moved with his mother in 1886 to Middletown, where he started a journalistic apprenticeship at the "Middletown Weekly Signal" published by John Q. Baker. In 1892 he received a job at the "Cincinnati Enquirer" as a copy reader on the telegraph desk, and later started to report on spot news including the railroad news. In 1894, Cox became an assistant to Middletown businessman Paul J. Sorg who was elected to U.S. Congress, and spent three formative years in Washington, D.C. Sorg helped Cox to acquire the struggling "Dayton Evening News", and Cox, after renaming it into the "Dayton Daily News", turned it by 1900 into a successful afternoon newspaper outperforming competing ventures. He refocused local news, increased national, international and sports news coverage based on Associated Press wire service, published timely market quotes with stock-exchange, grain and livestock tables, and introduced several innovations including photo-journalistic approach to news coverage, suburban columns, book serializations and McClure's Saturday magazine supplement inserts, among others. Cox started a crusade against Dayton's Republican boss, Joseph E. Lowes, who used his political clout to profit from government deals. He also confronted John H. Patterson, president of Dayton's National Cash Register Co., revealing facts of antitrust violations and bribery. In 1905, foretelling his future media conglomerate, Cox acquired the "Springfield Press-Republic" published in Springfield, Ohio, and renamed it, the "Springfield Daily News".


title: James M. Cox

text: In 1908, he ran for Congress as a Democrat and was elected. Cox represented Ohio in the United States House of Representatives for two terms from 1909 to 1913, and resigned after winning election as Governor of Ohio.


title: James M. Cox

text: Cox won the 1912 election for Governor of Ohio, in a three-way race gaining 41.5% of the vote. Cox served three terms; after winning the 1912 election, he served from 1913 to 1915; he lost reelection in 1914, but won the 1916 and 1918 elections, and served from 1917 to 1921. He presided over a wide range of measures such as laying the foundation of Ohio's unified highway system, creating "no fault workers' compensation system" and restricting child labor. He introduced direct primaries and municipal home rule, started educational and prison reforms, and streamlined the budget and tax processes.


title: James M. Cox

text: During World War I, Cox encouraged voluntary cooperation between business, labor, and government bodies. In 1918, he welcomed constitutional amendments for Prohibition and women's suffrage. Cox supported the internationalist policies of Woodrow Wilson and reluctantly supported US entry into the League of Nations.


title: James M. Cox

text: In 1919, shortly after the Great War ended, Governor Cox backed the Ake Law, introduced by H. Ross Ake, which banned the German language from being taught until the eighth grade, even in private schools. Cox claimed that teaching German was "a distinct menace to Americanism, and part of a plot formed by the German government to make the school children loyal to it." Legislation restricting the teaching of foreign languages was declared unconstitutional in "Meyer v. Nebraska".


title: James M. Cox

text: A capable and well-liked progressive reformer, Cox was nominated for the presidency by the Democratic Party at the 1920 Democratic convention in San Francisco defeating A. Mitchell Palmer and William Gibbs McAdoo on the 44th ballot.


title: James M. Cox

text: Cox conducted an activist campaign visiting 36 states and delivering 394 speeches mainly focusing on domestic issues, to the displeasure of the Wilsonians, who pictured the election "as a referendum on the League of Nations." To fight unemployment and inflation, he suggested simultaneously lowering income and business profits taxes. He promised to introduce national collective bargaining legislation and pledged his support to the Volstead Act. Cox spoke in support of Americanization to increase the immigrant population's loyalty to the United States.


title: James M. Cox

text: Despite all of his efforts, Cox was defeated in the 1920 presidential election by a fellow Ohioan and newspaperman, U.S. Senator Warren G. Harding of Marion. The public had grown weary of the turmoil of the Wilson years and eagerly accepted Harding's call for a "return to normalcy." Cox's running mate was future president, then-Assistant Secretary of the Navy Franklin D. Roosevelt. One of the better-known analyses of the 1920 election is in Irving Stone's book about defeated presidential candidates, "They Also Ran." Stone rated Cox as superior in every way over Harding and claimed that Cox would have made a much better president. Stone argued that there was never a stronger case in the history of American presidential elections for the proposition that the better man lost. Of the four men on both tickets, all but Cox would ultimately become president: Harding won and was succeeded by his running mate, Calvin Coolidge, after Harding died in office, and Roosevelt would be elected president in 1932. Cox would, however, outlive all three men by several years.


title: James M. Cox

text: During the campaign, Cox recorded several times for "The Nation's Forum", a record label that made voice recordings of American political and civic leaders in 1918-1920. Among them was the campaign speech now preserved at the Library of Congress that accused the Republicans of failing to acknowledge that Wilson's successful prosecution of the Great War had, according to Cox, "saved civilization."


title: James M. Cox

text: After stepping down from public service, he concentrated on building a large media conglomerate, Cox Enterprises. In 1923 he acquired the "Miami Daily News" and the "Canton Daily News". In December 1939, he purchased the "Atlanta Georgian" and "Journal", just a week before that city hosted the premiere of "Gone with the Wind". This deal included radio station WSB, which joined his previous holdings, WHIO in Dayton and WIOD in Miami, to give him, "'air' from the Great Lakes on the north to Latin America on the south."


title: James M. Cox

text: He continued to be involved in politics, and in 1932, 1936, 1940, and 1944, Cox supported and campaigned for the presidential candidacies of his former running mate Franklin D. Roosevelt, unlike the other losing Democratic presidential candidates of the time John W. Davis and Al Smith. In 1933, Cox was appointed by Roosevelt to the U.S. delegation to the failed London Economic Conference.


title: James M. Cox

text: In 1915, Cox built a home near those of industrialists Charles Kettering and Edward Deeds in what later became Kettering, Ohio where he lived for four decades. It was constructed in the classical French-Renaissance style with six bedrooms, six bathrooms, two tennis courts, a billiards room and an in-ground swimming pool. Cox named the home Trailsend.


title: James M. Cox

text: Cox died at Trailsend on July 15, 1957 after a series of strokes. He is interred in the Woodland Cemetery and Arboretum, Dayton, Ohio.


title: James M. Cox

text: Cox was married twice. His first marriage to Mayme Simpson Harding lasted from 1893 to 1912, and ended in divorce. He married Margaretta Parker Blair in 1917 and she survived him. Cox had six children, three by Mayme Harding, sons James McMahon and John William and a daughter Helen Harding, a son who died in infancy, and two daughters by Margaretta Blair: Anne Cox Chambers and Barbara Cox Anthony. His son James M. Cox Jr., who took over the business after his death, was chairman of Cox Enterprises, Cox Communications, and Cox Media Group in Atlanta. His daughter Helen died in 1921 and her husband Daniel Joseph Mahoney was president of Cox Newspapers. His descendants through Chambers and Anthony, including billionaires Blair Parry-Okeden, James C. Kennedy, James Cox Chambers, Katharine Rayner and Margaretta Taylor, are major shareholders in Cox Enterprises.


title: James M. Cox

text: Cox practiced a variety of trades throughout his life, being a farmer, reporter, Congressional staff member, newspaper publisher and editor, politician, elected official and finally, a regional media magnate.


title: James M. Cox

text: In Ohio, Cox is remembered as a crusading publisher of the "Dayton Daily News" and progressive governor; the newspaper's editorial meeting room is still referred to as the "Governor's Library". The James M. Cox Dayton International Airport, more commonly referenced simply as "Dayton International Airport", was named for Cox as well.


title: James M. Cox

text: Cox is credited with words, "If there is anything in the theory of reincarnation of the soul then in my next assignment, if I be given the right of choice, I will ask for the aroma of printers ink."


title: James M. Cox

text: The Cox Fine Arts Building at the Ohio Expo Center and State Fair in Columbus, Ohio, is named in honor of Cox.


title: Progressive music

text: Progressive music is music that attempts to expand existing stylistic boundaries associated with specific genres of music. The word comes from the basic concept of "progress", which refers to advancements through accumulation, and is often deployed in the context of distinct genres, with progressive rock being the most notable example. Music that is deemed "progressive" usually synthesizes influences from various cultural domains, such as European art music, Celtic folk, West Indian, or African. It is rooted in the idea of a cultural alternative and may also be associated with auteur-stars and concept albums, considered traditional structures of the music industry.


title: Progressive music

text: As an art theory, the progressive approach falls between formalism and eclecticism. "Formalism" refers to a preoccupation with established external compositional systems, structural unity, and the autonomy of individual art works. Like formalism, "eclecticism" connotes a predilection toward style synthesis or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms, and cultural codes. In marketing, "progressive" is used to distinguish a product from "commercial" pop music.


title: Progressive music

text: Progressive jazz is a form of big band that is more complex or experimental. It originated in the 1940s with arrangers who drew from modernist composers such as Igor Stravinsky and Paul Hindemith. Its "progressive" features were replete with dissonance, atonality, and brash effects. Progressive jazz was most popularized by the bandleader Stan Kenton during the 1940s. Critics were initially wary of the idiom. Dizzy Gillespie wrote in his autobiography; "They tried to make Stan Kenton a 'white hope,' called modern jazz and my music 'progressive,' then tried to tell me I played 'progressive' music. I said, 'You're full of shit!' 'Stan Kenton? There ain't nothing in my music that's cold, cold like his."


title: Progressive music

text: Progressive big band is a style of big band or swing music that was made for listening, with denser, more modernist arrangements and more room to improvise. The online music guide AllMusic states that, along with Kenton, musicians like Gil Evans, Toshiko Akiyoshi, Cal Massey, Frank Foster, Carla Bley, George Gruntz, David Amram, Sun Ra, and Duke Ellington were major proponents of the style.


title: Progressive music

text: "Progressive rock" is almost synonymous with "art rock"; the latter is more likely to have experimental or avant-garde influences. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes. With the arrival of a "progressive" label, the music was dubbed "progressive pop" before it was called "progressive rock". "Progressive" referred to the wide range of attempts to break with the standard pop music formula. A number of additional factors contributed to the label—lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", some harmonic language was imported from jazz and 19th-century classical music, the album format overtook singles, and the studio, rather than the stage, became the focus of musical activity, which often involved creating music for listening, not dancing.


title: Progressive music

text: During the mid 1960s, pop music made repeated forays into new sounds, styles, and techniques that inspired public discourse among its listeners. The word "progressive" was frequently used, and it was thought that every song and single was to be a "progression" from the last. In 1966, the degree of social and artistic dialogue among rock musicians dramatically increased for bands such as the Beach Boys, the Beatles, and the Byrds who fused elements of composed (cultivated) music with the oral (vernacular) musical traditions of rock. Rock music started to take itself seriously, paralleling earlier attempts in jazz (as swing gave way to bop, a move which did not succeed with audiences). In this period, the popular song began signaling a new possible means of expression that went beyond the three-minute love song, leading to an intersection between the "underground" and the "establishment" for listening publics. The Beach Boys' leader Brian Wilson is credited for setting a precedent that allowed bands and artists to enter a recording studio and act as their own producers.


title: Progressive music

text: The music was developed immediately following a brief period in the mid 1960s where creative authenticity among musical artists and consumer marketing coincided with each other. Before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music. Assisted by the mid 1960s economic boom, record labels began investing in artists, giving them freedom to experiment, and offering them limited control over their content and marketing. The growing student market serviced record labels with the word "progressive", being adopted as a marketing term to differentiate their product from "commercial" pop. Music critic Simon Reynolds writes that beginning with 1967, a divide would exist between "progressive" pop and "mass/chart" pop, a separation which was "also, broadly, one between boys and girls, middle-class and working-class." Before progressive/art rock became the most commercially successful British sound of the early 1970s, the 1960s psychedelic movement brought together art and commercialism, broaching the question of what it meant to be an artist in a mass medium. Progressive musicians thought that artistic status depended on personal autonomy, and so the strategy of "progressive" rock groups was to present themselves as performers and composers "above" normal pop practice.


title: Progressive music

text: "Proto-prog" is a retrospective label for the first wave of progressive rock musicians. The musicians that approached this genre harnessed modern classical and other genres usually outside of traditional rock influences, longer and more complicated compositions, interconnected songs as medley, and studio composition. Progressive rock itself evolved from psychedelic/acid rock music, specifically a strain of classical/symphonic rock led by the Nice, Procol Harum, and the Moody Blues. Critics assumed King Crimson's debut album "In the Court of the Crimson King" (1969) to be the logical extension and development of late 1960s proto-progressive rock exemplified by the Moody Blues, Procol Harum, Pink Floyd, and the Beatles. According to Macan, the album may be the most influential to progressive rock for crystallizing the music of earlier "proto-progressive bands [...] into a distinctive, immediately recognizable style". He distinguishes 1970s "classic" prog from late 1960s proto-prog by the conscious rejection of psychedelic rock elements, which proto-progressive bands continued to incorporate.


title: Progressive music

text: "Post-progressive" is a term invented to distinguish a type of rock music from the persistent "progressive rock" style associated with the 1970s. In the mid to late 1970s, progressive music was denigrated for its assumed pretentiousness, specifically the likes of Yes, Genesis, and Emerson, Lake & Palmer. According to musicologist John Covach, "by the early 1980s, progressive rock was thought to be all but dead as a style, an idea reinforced by the fact that some of the principal progressive groups has developed a more commercial sound. [...] What went out of the music of these now ex-progressive groups [...] was any significant evocation of art music." In the opinion of King Crimson's Robert Fripp, "progressive" music was an attitude, not a style. He believed that genuinely "progressive" music pushes stylistic and conceptual boundaries outwards through the appropriation of procedures from classical music or jazz, and that once "progressive rock" ceased to cover new ground – becoming a set of conventions to be repeated and imitated – the genre's premise had ceased to be "progressive".


title: Progressive music

text: A direct reaction to prog came in the form of the punk movement, which rejected classical traditions, virtuosity, and textural complexity. Post-punk, which author Doyle Green characterizes "as a kind of progressive punk", was played by bands like Talking Heads, Pere Ubu, Public Image Ltd, and Joy Division. It differs from punk rock by balancing punk's energy and skepticism with a re-engagement with an art school consciousness, Dadaist experimentalism, and atmospheric, ambient soundscapes. It was also majorly influenced from world music, especially African and Asian traditions. In the same period, new wave music was more sophisticated in production terms than some contemporaneous progressive music, but was largely perceived as simplistic, and thus had little overt appeal to art music or art-music practice. Musicologist Bill Martin writes; "the [Talking] Heads created a kind of new-wave music that was the perfect synthesis of punk urgency and attitude and progressive-rock sophistication and creativity. A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it is post-progressive rock as well."


title: Progressive music

text: "Progressive soul" is used by Martin to refer to a musical development in which many African-American recording artists by the 1970s were creating music in a manner similar to progressive rock. This development inspired greater musical diversity and sophistication, ambitious lyricism, and conceptual album-oriented approach in black pop. Among the musicians at its forefront were Sly Stone, Stevie Wonder, Marvin Gaye, Curtis Mayfield, and George Clinton. According to Geoffrey Himes, "the short-lived progressive-soul movement flourished" from 1968 to 1973 and demonstrated "adventurous rock guitar, socially conscious lyrics and classic R&B melody". Similar to contemporaneous white prog musicians, progressive black musicians in the 1970s directed their creative control toward ideals of "individualism, artistic progression and writing for posterity", according to music academic Jay Keister, who notes that this pursuit sometimes conflicted with the collective political values of the Black Arts Movement.


title: Progressive music

text: Among the stylistic characteristics shared from progressive rock in black progressive music of this period were extended composition, diverse musical appropriation, and recording music intended for listening rather than dancing. Rather than the song-based extended compositions and suites of progressive white music, black counterparts in the 1970s generally unified an extended recording with an underlying rhythmic groove. Instrumental textures were altered in order to signify a change in section over an extended track's course. Examples of these characteristics include Funkadelic's "Wars of Armageddon" (1971) and Sun Ra's "Space Is the Place" (1973). Unlike the European art music appropriations used by white artists, progressive black music featured musical idioms from African and African-American music sources. However, some also borrowed elements from European American traditions to augment a song's lyrical idea. For example, Wonder added pleasant-sounding instrumental textures from a string section to "Village Ghetto Land" (1976), lending a sense of irony to an otherwise bleak critique of social ills in urban ghettos.


title: Progressive music

text: "Progressive electronic" is defined by AllMusic as a subgenre of new age music, and a style that "thrives in more unfamiliar territory" where the results are "often dictated by the technology itself." According to Allmusic, "rather than sampling or synthesizing acoustic sounds to electronically replicate them" producers of this music "tend to mutate the original timbres, sometimes to an unrecognizable state." Allmusic also states that, "true artists in the genre also create their own sounds."


title: Progressive music

text: Tangerine Dream's 1974 album "Phaedra", recorded with a Moog sequencer, was described as "an early masterpiece of progressive electronic music" by "Rolling Stone". In house music, a desire to define precise stylistic strands and taste markets saw the interposition of prefixes like "progressive", "tribal", and "intelligent". According to disc jockey and producer Carl Craig, the term "progressive" was used in Detroit in the early 1980s in reference to Italian disco. The music was dubbed "progressive" because it drew upon the influence of Giorgio Moroder's Euro disco rather than the disco inspired by the symphonic Philadelphia sound. By 1993, progressive house and trance music had emerged in dance clubs. "Progressive house" was an English style of house distinguished by long tracks, big riffs, mild dub inflections, and multitiered percussion. According to Simon Reynolds, the "'progressive' seemed to signify not just its anti-cheese, nongirly credentials, but its severing of house's roots from gay black disco."


title: Progressive music

text: In the mid 1990s, the Lowercase movement, a reductive approach towards new digital technologies, was spearheaded by a number of so-called "progressive electronica" artists.


title: Progressive music

text: Reynolds posited that "the truly progressive edge in electronic music involves doing things that can't be physically achieved by human beings manipulating instruments in real-time." He criticized terms like "progressive" and "intelligent", arguing that "it's usually a sign that it's gearing up the media game as a prequel to buying into traditional music industry structure of auteur-stars, concept albums, and long-term careers. Above all, it's a sign of impending musical debility, creeping self-importance, and the hemorrhaging away of fun." Reynolds also identifies links between progressive rock and other electronic music genres, and that "many post-rave genres bear an uncanny resemblance to progressive rock: conceptualism, auteur-geniuses, producers making music to impress other producers, [and] showboating virtuosity reborn as the 'science' of programming finesse."


title: Progressive music

text: "Progressive rap" has been used by academics to describe a certain type of hip hop music. Anthony B. Pinn regards it as a thematic subset alongside gangsta rap and "status rap", which expresses concerns about social status and mobility. While exploring existential crises and philosophical contradictions similar to gangsta rap, progressive rap, he says, "seeks to address these concerns without intracommunal aggression and in terms of political and cultural education, providing an interpretation of American society and a constructive agenda (e.g. self respect, knowledge, pride, and unity) for the uplift of Black America". He adds that works of the genre also utilize "a more overt dialogue with and interpretation of Black religiosity". In a corollary analysis, fellow academic Evelyn L. Parker says that progressive rap "seeks to transform systems of injustice by transforming the perspective of their victims" while demonstrating "the clear prophetic voice reflecting the rage caused by the dehumanizing injustices that African Americans experience".


title: Progressive music

text: Early works of progressive rap such as the 1982 Grandmaster Flash and the Furious Five song "The Message" and the music of Public Enemy featured expressions of anger about chaotic urban life. Other formative groups such as De La Soul, A Tribe Called Quest, and Brand Nubian helped establish the genre's thematic mode. At the turn of the 2000s, Outkast and The Roots were among the few progressive-rap acts who "ruminated on hip-hop's post-millennial direction" and "produced records in an avant-garde vein purposely intended to evolve the music" while achieving commercial success, according to Miles Marshall Lewis. Kanye West, another influential artist in hip hop's progressive tradition, achieved even greater success with his opening trilogy of education-themed albums in the 2000s. His 2010 album "My Beautiful Dark Twisted Fantasy" has also been associated with prog-rap due largely to its sampling of records from progressive rock as well as its ostentatious sensibilities.


title: Progressive music

text: The UK has also produced notable performers in progressive rap, including Gaika and Kojey Radical, who are credited by "Vice" in 2016 for working "deliberately outside the confines of grime and traditional UK hip hop to create genuinely progressive rap that rivals the US for creativity, urgency, and importance, and portrays a much broader black British music landscape than you hear on the radio." More recently, American studies and media scholar William Hoynes highlights the progressive rap of Kendrick Lamar as being in the tradition of African-American art and activism that operated "both inside and outside of the mainstream to advance a counterculture that opposes the racist stereotypes being propagated in white-owned media and culture".


title: Rashad al-Alimi

text: Rashad Muhammad al-Alimi (born 1954) is a Yemeni politician currently serving as the Chairman of the Presidential Leadership Council since 7 April 2022.


title: Rashad al-Alimi

text: Rashad al-Alimi was born in 1954 in Al-Aloom, a village in the Taiz Governorate, and is the son of judge Mohammed ben Ali al-Alimi. He graduated from Gamal Abdel Nasser High School in Sanaa in 1969. He subsequently obtained a bachelor's degree in military science from the Kuwait Police College in 1975, and another university degree in arts from the University of Sanaa in 1977, then a master's degree and a doctorate in sociology from Ain Shams University in Egypt between 1984 and 1988.


title: Rashad al-Alimi

text: A member of the General People's Congress, he was Minister of the Interior from 4 April 2001 to 2008. He then became Chairman of the Supreme Security Committee and Deputy Prime Minister in charge of Defense and Security Affairs in May 2008, subsequently becoming a member of the Yemeni National Dialogue Conference, then adviser to President Abdrabbuh Mansur Hadi in 2014.


title: Rashad al-Alimi

text: On 3 June 2011, during the Battle of Sanaa, al-Alimi was wounded along with Ali Abdullah Saleh during an attack on the Al-Nahdin Mosque in the Presidential Palace. He was subsequently transferred to Saudi Arabia and to Germany for treatment, before returning to Sanaa on 13 June 2012. He left the city again as a result of the Houthi takeover in Yemen and began living in Saudi Arabia in 2015. Al-Alimi became Chairman of the Presidential Leadership Council, a body given the powers of the President of Yemen, on 7 April 2022.


title: David Leslie Johnson-McGoldrick

text: David Leslie Johnson-McGoldrick (né Johnson) is an American screenwriter and producer of film and television.


title: David Leslie Johnson-McGoldrick

text: Johnson began writing plays in the second grade and wrote his first screenplay at age nineteen after graduating from Lexington High School in Lexington, Ohio. He attended Ohio State University in Columbus, Ohio, and graduated with a Bachelor of Fine Arts Degree in Photography and Cinema.


title: David Leslie Johnson-McGoldrick

text: Johnson began his career as a production assistant on Frank Darabont's "The Shawshank Redemption", which was filmed on location in Johnson's hometown of Mansfield, Ohio, at the historic Mansfield Reformatory, where Johnson's great-grandfather had been a prison guard. Johnson spent the next five years as Darabont's assistant, using the opportunity to hone his craft as a screenwriter. He wrote at least two scripts for the cancelled "Return of the Thing", a four-hour sequel mini-series to John Carpenter's 1982 cult classic "The Thing". The project was ultimately cancelled for unknown reasons. He would further work with Darabont on his television series "The Walking Dead" and "Mob City".


title: David Leslie Johnson-McGoldrick

text: Johnson has collaborated several times with filmmaker James Wan, contributing entries in "The Conjuring" franchise, dramatizations of the real-life cases of Ed and Lorraine Warren, paranormal investigators, as well as the DC Comics film "Aquaman" and its upcoming sequel. He is also set to write a sequel to "The Flash".


title: Bacillus (shape)

text: A bacillus (), also called a bacilliform bacterium or often just a rod (when the context makes the sense clear), is a rod-shaped bacterium or archaeon. Bacilli are found in many different taxonomic groups of bacteria. However, the name "Bacillus", capitalized and italicized, refers to a specific genus of bacteria. The name Bacilli, capitalized but not italicized, can also refer to a less specific taxonomic group of bacteria that includes two orders, one of which contains the genus "Bacillus". When the word is formatted with lowercase and not italicized, 'bacillus', it will most likely be referring to shape and not to the genus at all. Bacilliform bacteria are also often simply called rods when the bacteriologic context is clear.


title: Bacillus (shape)

text: Bacilli usually divide in the same plane and are solitary, but can combine to form diplobacilli, streptobacilli, and palisades.


title: Bacillus (shape)

text: There is no connection between the shape of a bacterium and its color upon Gram staining; there are both gram-positive rods and gram-negative rods. MacConkey agar can be used to distinguish among gram-negative bacilli such as "E. coli" and salmonella.


title: David Rocastle

text: David Carlyle Rocastle (2 May 1967 – 31 March 2001) was an English professional footballer who played as a midfielder in the roles of a playmaker and a winger.


title: David Rocastle

text: He spent the majority of his career at Arsenal where he was nicknamed "Rocky". Rocastle then went on to feature in the Premier League for Leeds United, Manchester City and Chelsea, before later playing in the Football League for Norwich City and Hull City and finishing his career in Malaysia with Sabah FA. Rocastle also played for the England national team, in all earning 14 international caps for the Three Lions.


title: David Rocastle

text: Arsène Wenger, who became Arsenal manager four years after Rocastle left the club, has described him as "a modern player, because the revolution of the game has gone on to more technique, and more skill" and as having an "exceptional dimension as a footballer". Rocastle is seen as a universally popular, iconic and legendary figure by many fans of the Gunners. The David Rocastle indoor centre at Arsenal's academy is named after him and his name is displayed at the Emirates Stadium.


title: David Rocastle

text: Rocastle was born in Lewisham on 2 May 1967 to Caribbean immigrants Leslie and Linda Rocastle, who moved to London during the 1950s. His father died aged 29 in 1972 from pneumonia when Rocastle was five years old, and his mother Linda subsequently remarried and had two more children. Rocastle attended the Turnham Primary School and the Roger Manwood secondary school in his teenage years.


title: David Rocastle

text: After being rejected by Millwall, Rocastle joined Arsenal's Academy under Terry Neill in May 1982 and was given a professional contract in December 1984 by Neill's successor Don Howe. In his early career he faced problems with his eyesight, and contact lenses had to be used. According to his teammate Martin Keown "They couldn't work out why Rocastle was running around dribbling with his head down. So they took him to the halfway line and said: 'Can you see the goal?' and he couldn't. His eyesight was terrible. They sorted him out with contact lenses and his career took off."


title: David Rocastle

text: He made his debut against Newcastle United 28 September 1985 and made 16 league appearances in the 1985–86 season, scoring once, against Aston Villa 8 March 1986, as Arsenal finished seventh in the league. Rocastles first goal came three weeks earlier in the FA-cup game against Luton Town 15 February which ended in a 2–2 draw. He remained a regular player in the first team following the departure of Don Howe and the appointment of George Graham as manager in May 1986.


title: David Rocastle

text: In January 1987, Arsenal were away to Manchester United at Old Trafford. During the match Rocastle was sent off for retaliating to a tackle by United midfielder Norman Whiteside, a move which caused a huge scuffle between several of the opposing players. This scenario has been illustrated by many as the start of the fierce rivalry which now exists between the two clubs, especially as the two clubs being actively involved in competition for major honours almost every season since.


title: David Rocastle

text: Rocastle went on to score the winning goal in the 1986–87 League Cup semi-final replay against Tottenham Hotspur which was won by a margin of 2 goals to 1 at White Hart Lane. The month before his 20th birthday he won a 1986–87 League Cup winners medal as Arsenal beat Liverpool 2–1 in the cup final at Wembley. Due to his feats during this season, Rocastle was bestowed with the honour of being named in 1987's PFA Team of the Year and as well won the 1987 Barclays Young Eagle award. In the following season, he was again an influential member of the Arsenal side which reached the 1987–88 League Cup final against Luton Town the following year. In the game Arsenal surrendered a 2–1 lead with only seven minutes of the final left to play, and ended up losing 3–2 to a last minute Luton goal. He was also ever present for the Gunners in the 1987–88 season, helping Arsenal win the Football League Centenary Trophy in a 2–1 win over Manchester United.


title: David Rocastle

text: Rocastle's first league championship with Arsenal came in 1988–89, when he played in every game that season. Rocastle’s memorable solo strike against Middlesbrough 19 November 1988 and a lob from 30 yards against Aston Villa 31 December 1988 stood out during the title winning season. The success was sealed when they beat Liverpool 2–0 in the final game of the season at Anfield, snatching the title from the hosts on goals scored. Once again Rocastle won the Barclays Young Eagle award, with the honour bestowed upon him at the end of the 1989 season. Arsenal were however unable to compete in the 1989–90 European Cup because the ban on English clubs in European competition after the 1985 Heysel tragedy still had one year to run, but Rocastle would have the chance of playing in Europe's premier club competition twice over the next few seasons. Arsenal went on to finish fourth in the 1989–90 league season, missing out on a return to Europe as only the runners-up were entitled to a UEFA Cup place. Rocastle was struggling with a knee injury and had a decline in form, so he had an exploratory surgery on his knee to come back before the end of the season.


title: David Rocastle

text: In 1990–91, Rocastle was limited to just 16 league appearances but he still played more than enough games to win another league title medal with Arsenal, who lost only one game that season. He started the games in the first two months of that winning season. Rocastle played against Manchester United 20 October 1990 at Old Trafford, and was involved and fined after the brawl. When he returned after two months absence at Boxing Day against Derby County, he broke his toe in the first minute of the game, and a new operation of his knee was also required.


title: David Rocastle

text: The following season, he played 39 league games for the Gunners, and a renaissance for Rocastle playing in a modified role in central midfield. The new signing Ian Wright and Rocastle were childhood friends who went on to represent the Gunners together in the 1991–92 campaign. His last appearance in an Arsenal shirt was against Southampton 2 May 1992 in a 5–1 win. He scored four league goals in his last season. The most memorable, on 19 October 1991, was a lob from 25 yards over Peter Schmeichel at Old Trafford in a 1–1 draw, and his last goal for Arsenal, again against Manchester United at Highbury 1 February 1992 in a 1–1 draw. Rocastle was also tasting European football for the first time as Arsenal reached the second round of the European Cup.


title: David Rocastle

text: In seven years for Arsenal Rocastle played 277 games and scored 34 goals, collecting two league title medals and a winner's medal in the League Cup, and playing the 1989 FA Charity Shield and 1991 FA Charity Shield at Wembley.


title: David Rocastle

text: On 23 July 1992, Rocastle's decade at Arsenal came to an end when he was sold to reigning league champions Leeds United, in a deal that several Arsenal fans, teammates and football writers saw as doltish, cold and woeful. This view stemmed from the way in which the midfielder was dealt with by manager George Graham, given his fine performances and return to fitness during 1991–92, his general popularity and the player's stated opposition to the deal.


title: David Rocastle

text: Rocastle's arrival at Leeds United made him, up to that point, the club's' most expensive signing at up to £2 million. Manager Howard Wilkinson saw Rocastle as an eventual replacement for the veteran midfielder Gordon Strachan. However, Strachan would go on to spend nearly three more years at Elland Road and remained a regular first team player for two more seasons, by which time Rocastle had left the West Yorkshire club. He went on to play a total of 34 games for Leeds, only half of them in the starting line-up.


title: David Rocastle

text: He made his debut for the club in a European Cup tie away to Bundesliga side VfB Stuttgart 16 September 1992 in a 3–0 defeat. Rocastle did not start in the new Premier League until 21 November against his former club Arsenal in a 3–0 win at Elland Road. He scored his first goal for Leeds in a 1–0 win against Manchester City 13 March 1993. Many Leeds fans would have liked to see the manager Wilkinson place more faith in Rocastle, because he was a popular figure, with glimpses of his outstanding technical ability shining through in spite of repeated injury problems. Rocastle scored his second and last goal in the following season for Leeds in a 4–1 victory over Chelsea 6 November 1993. His last game for Leeds came in the Premier League as a substitute for Strachan against Arsenal 18 December 1993.


title: David Rocastle

text: Late in December 1993, he moved to Maine Road as replacement for David White, who in turn had joined Leeds earlier that month. Rocastle moved to City in a straight swap valued at £2 million and he made his debut against Southampton in a 1–1 draw 28 December 1993.


title: David Rocastle

text: He was an instant hit with the fans and his class shone through immediately in a side that included a number of budget signings. Even though he was only 26, he had suffered numerous injuries in recent seasons and they were beginning to take their toll. But Rocastle still had what it took to thrill the City fans and, against Ipswich Town 5 February 1994, he produced one moment of Brazilian skill that set up a goal for Carl Griffiths and all but lifted the roof off Maine Road. It was a dummy, feign and drag back that saw him spin away from three defenders before his low cross was turned in by Griffiths at the near post to make it 1–1.


title: David Rocastle

text: In Manchester City Rocastle scored two goals as City finished 16th in the Premier League – their lowest finish since winning promotion to the top flight in 1989. Rocastle scored the winning goal against Swindon Town 26 February 1994, and his second 5 March against Queens Park Rangers in a 1–1 draw at Loftus Road.


title: David Rocastle

text: Though his career hadn’t flourished since leaving his beloved Gunners, Rocastle's time with the Blues proved that, on his day, he was still one of the best English midfielders of his generation. He only played 23 games for City and it’s amazing he made the impact he did given that he was only with the club for eight months, but he had and there was a great deal of disappointment when he was allowed to join Chelsea a few weeks before the 1994/95 season.


title: David Rocastle

text: By the time Rocastle arrived at Chelsea from Man City in August 1994 for £1.25 million, his knee problem was common knowledge in the game. However, Chelsea manager Glenn Hoddle took the view that sixty minutes of Rocastle was worth ninety minutes of many other players. Hence he started regularly, but was substituted in two-thirds of the thirty-nine games he played that first season. His debut came 20 August 1994 at Stamford Bridge against Norwich City in a 2–0 win. Rocastle would go on to play 40 times for Chelsea and scored two goals in his time there. One of these came in a League Cup win over AFC Bournemouth, with the other being netted in a 1995 European Cup Winners Cup's first-round game against FK Viktoria Žižkov. His performance in midfield on a memorable night 14 March 1995, when a 1–0 deficit against Club Brugge KV was overturned to send Chelsea through to the final-four, was probably his finest hour for them, even though he was inevitably substituted with thirty minutes to go. His experience proved invaluable throughout a European Cup-Winners Cup run which ended at the Semi-Final stage, going out to eventual winners Real Zaragoza by a single goal on aggregate.


title: David Rocastle

text: Injury problems returned to haunt Rocastle in 1995–96, and he played just one game all season at Blackburn Rovers 28 October 1995. This would be the last game that Rocastle played for Chelsea, although he remained with the club until his contract at Chelsea expired in the summer of 1998.


title: David Rocastle

text: Rocastle was loaned out to Norwich City in Division One, and made his Norwich debut against Grimsby Town on 18 January 1997. Rocastle impressed the Norwich fans with his intelligent passing and commitment and Mike Walker extended his loan spell for a second month. However Norwich were unable to meet his wage demands and Rocastle returned to Chelsea after 11 games in yellow and green. Rocastle also had trials with clubs including Aberdeen and Southampton shortly afterwards.


title: David Rocastle

text: In October 1997, Rocastle was loaned out to Hull City in Division Three, and scored on his debut for the Tigers against Scarborough. Rocastle’s final appearance for Hull City, a 2–1 defeat at home to Chester on Boxing Day 1997, also proved to be his last in English football.


title: David Rocastle

text: Rocastle eventually left Chelsea in 1998 to join up with Malaysian team Sabah on a free transfer. He quickly became a highly influential and popular player at the club and still had the knack of occasionally producing outstanding goals. Perhaps the best from his Malaysia stint was a long-range effort in a 4–1 home win against Perak, at the Likas Stadium in Kota Kinabalu, as Rocastle volleyed the ball in from 50 metres. Rocastle then saw Sabah upon a memorable run to the 1998 Malaysian FA Cup final where he earned a runners up medal. He eventually brought his playing days to an end in December 1999 due to injury.


title: David Rocastle

text: After making two appearances for the England 'B' side, Rocastle was capped 14 times at under-21 level for England during the second half of the 1980s, scoring twice. Whilst playing for the Young Lions, he earned a runners-up medal in the 1988 Toulon Tournament and got to the UEFA European Under-21 Championship semi-finals of the same year.


title: David Rocastle

text: Aged 21, he was capped at senior level for the first time against Denmark on 14 September 1988. Rocastle never found himself on the losing side as England won seven of the internationals that he appeared in and drew the other seven. A knee operation in 1990 put him out of World Cup contention after he had been an England regular. Rocastle was excluded although he had played in five of England's six World Cup qualifying matches. He was one of 26 players chosen by the manager, Bobby Robson, to go to training camp before the tournament, but he was one of four dropped from the official 22-man squad. Graham Taylor recalled Rocastle three times afterwards but he wasn't selected for the 1992 Euros. His final appearance for England came just after his 25th birthday, on 17 May 1992 against Brazil. Rocastle won 14 full caps for England but did not score.


title: David Rocastle

text: In February 2001, Rocastle announced that he was suffering from non-Hodgkin's lymphoma, an aggressive form of cancer which attacks the immune system, and had been diagnosed the previous October. He underwent a course of chemotherapy and was hopeful of a recovery. He died on 31 March 2001, aged 33, and was survived by his wife and children. Many years later, it was revealed that Rocastle's cancer had been declared terminal from the time of his diagnosis in October 2000.


title: David Rocastle

text: Six weeks after Rocastle's death, his nine-year-old son Ryan was Arsenal's mascot for their FA Cup final match against Liverpool, a match in which they took the lead but ultimately lost 2–1.


title: David Rocastle

text: Five years and a day after his death, 1 April 2006 was designated "David Rocastle Day", as part of the celebrations of Arsenal's final season at Highbury. Upon the day a league game was played which saw a brace from Thierry Henry in an eventual 5–0 win for Arsenal over Aston Villa. Fans paid tribute to Rocastle before the start of the match with a minute's applause.


title: David Rocastle

text: In August 2006, Arsenal opened the David Rocastle indoor centre at the club's academy, located at Hale End in Walthamstow, London. Rocastle is also one of 32 Arsenal legends honoured by having their images illustrated on the side of the new Emirates Stadium. On 30 March 2013, Arsenal played a game which marked the 12-year anniversary of Rocastle's death. The fans sang his name throughout the first ten minutes, and his famous quote of "Remember who you are, what you are, and who you represent!" was shown on the screen. Just after this, Arsenal scored the first goal in a 4–1 victory in the match against Reading. Hull City paid tribute to Rocastle by erecting a sign in his honour at the KC Stadium for their league match against Arsenal in May 2015. On 2 April 2016, Arsenal's fans paid another similar tribute to him at the Emirates during Arsenal's match against Watford, which marked the 15th anniversary of Rocastle's death.


title: David Rocastle

text: He is the cousin of another professional footballer, Craig Rocastle, and his brother Stephen played for Norwich City and was on the books of Derry City as well.


title: David Rocastle

text: The David Rocastle Trust is a charity based in London, UK founded in memory of Rocastle. The charity, which was chosen by Arsenal as their club charity for the 2005–06 season, supports Rocastle's family as well as community projects and other registered charities.


title: Disappearance of Morgan Nick

text: Morgan Chauntel Nick (September 12, 1988 – disappeared June 9, 1995) is an American girl who was abducted at a Little League Baseball game. Her mother is known for creating the Morgan Nick Foundation, which helps people find their missing children.


title: Disappearance of Morgan Nick

text: On June 9, 1995, Morgan Nick and her mother, Colleen Nick, went to a Little League baseball game in the town of Alma, Arkansas. At around 10:30 p.m., Morgan asked her mother if she could catch fireflies with her friends. At first, her mother was uncertain, but eventually let her go. She was last seen at 10:45 p.m. by her friends, emptying sand out of her shoes alone near her mother's car while her group of friends emptied their shoes a few dozen feet away. Morgan's friends reported seeing a "creepy" man talking to Morgan as she was putting her shoes back on.


title: Disappearance of Morgan Nick

text: When the game ended shortly thereafter, Morgan's friends returned without her. They told Colleen that Morgan was at her car, but when Colleen returned to the car, Morgan was not there. She has not been seen or heard from since.