Background and development.

Minogue signed a three-album deal with British dance label Deconstruction in 1993, and released its first offering, her self-titled fifth studio album on 19 September 1994. The following year, the singer worked with Australian musician Nick Cave and his band the Bad Seeds as a featuring artist to their single "Where the Wild Roses Grow". Additionally, Minogue began a relationship with French photographer Stéphane Sednaoui, and embarked on a series of trips throughout North America, Asia, and Australasia to gain inspiration for her upcoming record. She was encouraged by Sednaoui and Cave to take creative control over her next musical project, so she started writing lyrics. Explaining to British magazine "NME" that she wanted to "experiment" with her image and sound, Minogue decided to team up with British trio Brothers in Rhythm, who previously worked on her self-titled album."If [the album] works, it'll be my graduation. I've learned a lot, but–if this works–it'll mean I'm past a certain point. I've grown up. It's the best I can do at this moment, the most I can ask of myself."Each morning, she would present a set of lyrics to Brothers in Rhythm member Dave Seaman from the night before, and by October 1995, they started recording rough demos in Chippenham. From those sessions, they completed their first track "You're the One", which remains unreleased. Four more songs were developed at Real World studios in Box, Wiltshire; "Too Far", "Did It Again", "Limbo", and "Cowboy Style". Moreover, "Limbo" and "Did It Again" were published in their original demo form because Minogue felt the "raw[ness]" of the tracks worked better than being polished.  Seaman noted that Minogue's input was more significant this time round, stating that majority of the album's subject matter was taken from "her own ideas", and that she wanted to grow as a person from this experience. Sonically, Minogue was inspired by artists-producers including Björk, Garbage, Towa Tei, and U2, all introduced to her by Sednaoui. Furthermore, she cited British "pioneers" like The Verve, The Prodigy, The Chemical Brothers and The Eels as influences to the album. Originally crafted to be an electronic dance record, the singer began working with Welsh band Manic Street Preachers, and the initial sound started to blend with rock elements. It was Minogue's first record to incorporate live instrumentation, a technique that was never introduced in her first five studio records.  Deconstruction's A&R department were absent during the album's process, due to the illness of the label's director Pete Hadfield. Because of this, Minogue stood in to take partial creative control over the project. In order to help produce the album, she attended each music session with Steve Anderson and Seaman to learn about composing, arranging instruments, and "distorting" sections of the album's tracks. As a result of this, she was credited as a co-composer and co-producer on the songs "Too Far", "Breathe", and "Say Hey" with Brothers in Rhythm; she played the grand piano and the synthesizer. In total, "Impossible Princess" took nearly two years to record, the longest period of time Minogue had worked on a project since her time acting on the Australian soap opera "Neighbours" (from 1986 to 1988). Anderson later explained that its lengthy time was "due to the pure perfectionism of all creatively involved".

Composition.

Musically, "Impossible Princess" is a departure from Minogue's previous sound, encompassing various elements from the dance genre, and adopts a more "experimental" approach. Music publications like AllMusic, the Daily Vault and "Slant Magazine" identified the record as part of the techno and Britpop revolution that spanned between mid-to-late 1990s. Some reviewers, such as Nick Levine at Digital Spy and Marcel Anders from "Orkus", labelled "Impossible Princess" a straightforward dance record, though Anders noted some tracks were heavily "guitar-driven". Moreover, Pop Cultured editor Bence Illés wrote that it is a "very dark trip hop album", that was influenced by drum and bass, trance, and even elements of jazz and alternative rock. Chris True, writing for AllMusic, believed that Minogue's transition to more mature dance-oriented music moved outside of her typical sound, which "seemed to be the domain of teenage girls." The vocal production on the record is diverse; it features segments of spoken word and rapping, alongside shouting and singing. "Slant"'s Sal Cinquemani compared Minogue's vocals to those of American singer Madonna by saying that they never "venture outside her comfort zone", but noticed that "Impossible Princess" "finds Minogue stretching herself way beyond anything she had done before—or anything she's done since."  Lyrically, a mass proportion of the album deals with the theme of self-discovery and freedom of expression. The first batch of darker tunes opens with the "chaotic" drum and bass composition "Too Far", which has Minogue discuss her paranoia and anger; she had to write the song at a local cafe in order to leave her home in London, which she claimed to have infested "negative vibes" at the time. "Did It Again", a rock song heavily influenced with Middle Eastern beats, was inspired by negative stories that the British press had published about her. As a result, Minogue used this as an advantage and wrote it as if she was "telling herself off". The guitar-driven tune "I Don't Need Anyone" doesn't have a linear story, as Minogue commented with Deconstruction that it was taken from four sets of songs, all interpreting different moods and stories. "Jump", the album's only recognised trip hop number, advises the public to accept her during the course of her career and personal choices."I wanted to put as much of myself into this album as possible. I've written lyrics before, but they've been safe–just neatly rhymed words and that's that. Now I have songs in which, from beginning to end, I don't want another word, I don't want a word removed. [...] It's a new harmony I've found, that I haven't had before. It's not that I've dragged any demons out of myself, but they're much more personal songs than ever before."Moreover, other material consists of softer tunes, including the joyful number "Some Kind of Bliss", which was the first single to the album. According to Sean Smith—author of the "Kylie" biography—he said that it was the first track that showcased the infamous "indie Kylie" style that attracted mixed responses in the UK, and is fully composed with live instrumentation. Written in Japan, the fifth track, "Breathe", was described as a "subtle" electronica song that expresses Minogue's ability to contemplate and feel "very still" while in an intense environment. Another electronic-infused tune is "Say Hey", which Minogue proclaims it to be a "late-night, early-morning" type of song. The lyrics, although inspired by her relationship with Sednaoui, highlights the need for communication, though not delving into conversation. "Dreams" serves as the album's closing song, and is an orchestral pop ballad that discusses the persistence of pushing boundaries and experimentation through her career.  The remaining tracks on the record discuss her relationship between herself and Sednaoui. The first track on the album to introduce their relationship is "Cowboy Style", a country number that was influenced by Celtic and tribal percussion. It details Minogue meeting Sednaoui for the first time and achieves a metaphorical experimentalism throughout its lyrical delivery. However, the theme of frustration lingered into the album's seventh track, the techno-induced "Drunk", which has Minogue feeling unsatisfied with the relationship, despite "having so much feeling for [someone]". "Limbo", a hybrid between rock, techno and drum and bass beats, was written in Spain, where Minogue discusses her inability to leave a certain country to meet someone, due to bureaucracy laws. Outside of Sednaoui, Minogue mentions her meeting an ex-boyfriend on "Through the Years", feeling insecure and doubtful about the entire situation; the composition was compared to Björk's single "Venus as a Boy" by Cinquemani and R. Smith.

Packaging and title.

The cover sleeve and images were shot by Stéphane Sednaoui. Inspired by French and Japanese pop culture, Sednaoui took inspiration from Nobuyoshi Araki's work and tried to convey a similar aesthetic to the photo shoot. The cover depicts Minogue sitting and surrounded by swirling multi-coloured lights, dressed in a blue Véronique Leroy mini dress. Because Deconstruction wanted to distribute a limited-edition version of the album, Sednaoui had to photograph separate artwork and dedicate it to those editions. The lenticular sleeve required multiple static cameras to shoot Minogue in the dark. In order to create the long-exposure effect of the lights circulating around the singer, Sednaoui fully dressed himself in a black body suit so he couldn't be seen in the final shot. However, Minogue remarked that "the shoot was so very difficult but we knew that once we got it right it would be amazing."  The title of the record is a reference to the 1994 novel, "Poems to Break the Harts of Impossible Princesses", written by Billy Childish. A copy of the book had been dedicated to Minogue but was accidentally passed on to Nick Cave, who eventually gave it to Minogue not long after. She recalled only looking at the title of the book and saying that "It had me written all over it." Additionally, she believed that the poems in the book summarised where she was at that time in her life. Furthermore, the title was used in the album's song "Dreams", during the chorus: "These are the dreams of an impossible princess". Although copies of the album and its title were printed in mid-1997, on 31 August 1997, Diana, Princess of Wales, was killed in a fatal car accident. Due to the impact of her death, Minogue and Deconstruction felt the album's aforementioned title was "insensitive" and the label delayed its release. Also feeling the title would be inappropriate to have on the album, Minogue and her management came to a mutual agreement to re-title it "Kylie Minogue" in Europe, the same name as her 1994 record. However, the album re-instated the "Impossible Princess" title in those regions upon its re-release on 23 March 2003.

Release.

Deconstruction planned to have the album out in January 1997, but it was postponed to May. Then the label aimed to release it in September that year, but the album was postponed again. Because of constant delays, Mushroom Records premiered six of the album tracks—"Some Kind of Bliss", "Too Far", "Say Hey", "Limbo", "I Don't Need Anyone", and "Did It Again"—on a special sample compact disc, and all six recordings were distributed as radio singles to both Australia and New Zealand. Because of the European postponement sparked by Diana, Princess of Wales' death in August, Deconstruction conducted a similar promotional campaign and distributed six different songs on a sample cassette tape.  On 22 October 1997, BMG released the album in the Japanese market, which included the bonus track "Tears", alongside the lenticular cover sleeve and four additional post cards that included images of the album's photo shoot. The following month, "Impossible Princess" was printed on both CD and cassette formats in Russia and Poland. The standard edition of "Impossible Princess" was finally made available in Australia, New Zealand, and Japan in early January, and was issued in Europe and the United Kingdom in March that year. The following month, BMG distributed it as a cassette tape in Malaysia, whilst the standard edition with new artwork was released in Taiwan. Deconstruction planned to release "Impossible Princess" in North America, but after its commercial failure, Minogue's label pulled the idea. Five years after its original release, "Impossible Princess" was remastered by Festival Mushroom in Australia and New Zealand, and BMG for European and UK regions, as a double CD album; the first disc featured the standard track list, whilst a bonus disc featured remixes and three unreleased recordings.

Promotion.

Live performances.

Deconstruction and Minogue held a release party at Tower Records, United Kingdom in March 1998. Minogue conducted a small-concert tour, where she travelled to Australia, New Zealand and Hong Kong through October 1997; it was her first time in both New Zealand and Hong Kong. It then expanded the venues in Norway, Denmark, and the Netherlands. Furthermore, she appeared on several television shows to promote the singles off the album, such as the UK channels "Top of the Pops", the "National Lottery Show", amongst many others. However, because the album had not been released in the UK at the time, and the album was "selling better" in Australia, she performed several album tracks on television shows in her home country such as "Hey Hey It's Saturday" and MTV Australia. Although she did not perform any non-singles, she promoted the album's release at the 1998 Mardi Gras ceremony in Sydney, Australia, where she performed "Better the Devil You Know" and the Leonard Bernstein cover "Somewhere".  In May 1998, Minogue confirmed the Intimate and Live concert tour, which commenced on 2 June at the Palais Theatre in Melbourne, Australia that same year. She initially wanted to finish the tour in Melbourne on 4 July, but due to high demand in England, the singer hosted three additional concert performances. The tour attracted positive reviews from spectators and publications, praising the idea of a smaller venue show, alongside compliments towards her vocal performance and stage presence. Each concert had drawn in approximately 2,000 audience members in Australia, and was deemed a commercial success by the Australian media. To complete the tour's promotion, an accompanying live album and DVD were released on 30 November and 23 July 2003, and was shot at Capitol Theatre, Sydney.

Singles.

The first single of "Impossible Princess", "Some Kind of Bliss" was released on 8 September 1997. Initial critical responses were mixed, who were ambivalent towards Minogue's shift to rock music, though retrospective reviews have become more positive, noting it as a "lost classic". Commercially, it reached the top 40 in Australia and the UK, whilst peaking at number 46 on the New Zealand Singles Chart, her last charting release in the 1990s decade in the latter region. The album's second single was "Did It Again", which was released on 24 November 1997. It achieved a better critical and commercial response in Australia and the UK, reaching the top 20 on both regional charts, and was certified Gold in the former region for shipments of 35,000.  The third single off the album was "Breathe", released on 9 March 1998. Unlike the album's previous single, it made moderate impact on the charts, reaching number 23 in Australia and inside the top 20 in the UK. "Too Far" was released on 21 May 1998 as the first and only promotional single, and the album's fourth single overall. The track, along with Jump, was at first considered to be the lead single, but was scrapped. A 12" vinyl was issued in the UK and US, which included two remixes, but did not chart in either territories. "Cowboy Style", the album's fifth and final single, was distributed only in Australia on 5 October 1998; it was not released in the UK due to Minogue's leave with Deconstruction. Owing to a limited number of issued formats, the track managed to chart for a sole week at number 39 on the regional top 50.

Critical reception.

Upon its release, critical reception of "Impossible Princess" was divided by regions, particularly between the UK, and throughout Australasia and the Americas. Ben Willmott from British magazine "NME" rated it four points out of 10, criticising the production of collaborator James Dean Bradfield, and labelled Minogue a "total fraud" for introducing new musical genres that were disparate from her previous work. Likewise, magazines such as "Music Week" and "Q" lambasted the record's repetitious nature, though the former publication did acknowledge the improvement in Minogue's vocal range and abilities.  Australian and American media were generally welcoming to the album; John Mangan from Australia's "The Age" newspaper commended the diverse set of styles and Minogue's songwriting skills, saying ""Impossible Princess" sounds right and constitutes another step in the right direction." Similarly, an editor at "Who" magazine commended the sound, and pointed out that "Vocally, Kylie has never sounded better or more human. Her phrasing here is unique." In conclusion, they acknowledged that ""Impossible Princess" is the best, most complete work of her career." Cameron Adams, writing for "Herald Sun", listed the record as his "CD of the Week"; He favored the singles as the album's best tracks, but also said, ""Impossible Princess" is her best yet, the classy, personal pop album she has always threatened." Michael Dwyer, writing for the "Western Mail" highlighted the "club-dance" tracks as the better cuts, while examining that ""Impossible Princess"' range of styles approaches and collaborators makes it as hard as ever to say just who is making progress here, but progress it most assuredly is." Larry Flick from American magazine "Billboard" described the album as "stunning", concluding that "it's a golden commercial opportunity for a major record company with vision and energy to release it in the United States...".  Retrospective reviews on "Impossible Princess"—both from European and Australasian areas—have been much more positive, with AllMusic's Chris True labelling it a "pretty damn good record", and openly criticised the critical reception around the album's early release, deeming it a "shame". Nevertheless, he believed that "Unlike Minogue's early work, this album sounds stronger and has a more natural feel. Her songwriting abilities have come a long way, and "Impossible Princess" actually flows together as an album." "Slant Magazine" editor Sal Cinquemani awarded it four stars, and was impressed with the album's "starkly personal and unified cord", saying it "is the work of an artist willing to take risks, not a pop queen concerned with preserving her reign." Cinquemani added it to the staff choices of their Vital Pop: 50 Essential Pop Albums lists. Awarding four stars, Nick Levine from British tabloid Digital Spy commended the mixture of genres and Minogue's input. Although he noticed the material's lack of commercial appeal, he concluded, "Brave, revealing and rarely less than surprising, it's a key piece in the trickier-than-you-think jigsaw puzzle that is Kylie Minogue's recording career." While reviewing her tenth album "X" (2007), Evan Sawdey from "PopMatters" commented "For those who still have a copy of her Manic Street Preachers-assisted "Impossible Princess", then you have one of the most crazed, damn-near perfect dance-pop albums ever created."

Commercial performance.

Commercially, the album experienced success on the Australian Albums Chart. It debuted at number four on 25 January 1998, the highest debuting album by an Australian female artist of the year. It stalled at number eight during its second and third week, but fell outside the top ten in its fourth. By 26 April, the album had spent 14 weeks in the chart and was placed at number 48, before leaving the chart. When Minogue promoted the album with live shows, alongside the announcement of a national tour, "Impossible Princess" re-entered the charts on 10 May at number 40. Whilst embarking her Intimate and Live tour in June, it entered the top ten for three non-consecutive weeks between the months June–July. In total, the album was present for 35 weeks in the top 50, making this Minogue's longest charting album at the time until her following studio album, "Light Years", spent 41 weeks in the top 50 chart. The album was certified Platinum by the Australian Recording Industry Association (ARIA) for physical shipments of 70,000 units.  In the UK and Scotland regions, "Impossible Princess" made minor impact on the record charts. It debuted at number 10 on the UK Albums Chart, making it the third highest debuting album of that week. It fell to number 22 the following week, and again to number 41, its final charting position was at 70. However, it entered the chart again during the start of May 1998, at number 91. In a similar run, the album also charted at number 10 on the Scottish Albums Chart. The album's lack of success in the UK and Europe, led British publications to recognise it as Minogue's worst-selling studio album in those regions, was noted for the lack of promotional activity such as touring and live performances, alongside constant delays and title changes. After a year of release, "" mocked the album sales, stating: "We've done something to improve Kylie's records: we've banned them."

Impact.

"Impossible Princess" is widely considered Minogue's most personal and experimental work to date, and is thus far her only release where she plays the role of a co-producer and composer. Despite this, she identified the album's release period as her most disappointing moment in her career. Minogue has commented that if she wrote another album of personal songs, she would consider it "Impossible Princess" part two, and vowed never to do such a thing again, as she feels it would "get equally critiqued". When asked again in 2015, she confirmed she would never create another album like "Impossible Princess".  During its commercial release, "Impossible Princess" was the subject of scrutiny by the British public, who did not appreciate her move into indie music and electronica. Michael R. Smith from Daily Vault noticed the sonic and lyrical similarities between this and "Ray of Light" (1998) by Madonna, though he believed Minogue's release "deserved a better fate". Minogue's long-term friend, British fashion designer William Baker, felt that the lack of proper promotion and management on Deconstruction's end was partly the reason for the album's commercial failure in the UK. Because of this, Minogue contemplated retiring from the music industry for good, but decided to part with Deconstruction and BMG in December 1998. Signing to Parlophone in 2000, she released her studio album "Light Years" that same year to positive reception; "The Guardian"'s Tim Jonze believes that "Light Years" saved her career, whereas Michael Paoletta from "Billboard" mentioned that "Impossible Princess" is the most misunderstood album in her career.  Nevertheless, "Impossible Princess" has been included on several lists of the most underrated albums, including from publications such as "Flavorwire", "Slant Magazine" and Faster Louder. Alongside this, it was nominated for Album of the Year at the 1998 ARIA Music Awards, her first nomination in that category, but lost to "Unit" by Regurgitator. It was further nominated for Best Pop Release and for Best Female Musician, losing both out to Australian singer Natalie Imbruglia. The following year, Minogue was nominated for Single of the Year for "Did It Again" and Best Female Artist. Larrisa Dubecki, writing for "The Age", felt the album was one of the key re-inventions of her career. In 2018, "Slant Magazine" called it Minogue's best album; Sal Cinquemani wrote that it "offers few spiritual revelations of the sort found on Madonna’s landmark album "Ray of Light" [...] She had a hand in writing every song here, lending a starkly personal and unified cord that she wouldn’t achieve again until 2018’s "Golden"". On the 20th anniversary of the album, Ben Neutze of "Daily Review" wrote that "The "Impossible Princess" Kylie may never be what Minogue is remembered for, but it stands as the most intriguing chapter of her career, and the only significant glimpse at who this pop icon might be when stripped of the, gold hot-pants, and other glorious facades."

Track listing.

Notes

Personnel.

Credits adapted from the CD liner notes of "Impossible Princess":

Impossible Princess (retitled Kylie Minogue in Europe for a temporary period) is the sixth studio album by Australian singer Kylie Minogue. It was first released in Japan by BMG on 22 October 1997, and distributed worldwide by Mushroom and Deconstruction months later. The singer asserted partial creative control over the project—taking part as a co-producer and composer to the material—and was assisted by various musicians and producers, namely Brothers in Rhythm, Manic Street Preachers, David Ball and Rob Dougan.

Impossible Princess je šesté studiové album australské zpěvačky Kylie Minogue. Vydáno bylo v říjnu roku 1997 společností Deconstruction Records. Na jeho produkci se podíleli například James Dean Bradfield a Dave Eringa. V některých zemích album vyšlo pod názvem "Kylie Minogue". Autorem fotografie na obalu alba je Stéphane Sednaoui. V hitparádě UK Albums Chart se umístilo na desáté příčce.


Background.

In June 2003, after having produced and featured on several songs by other artists, Williams released his debut single "Frontin'", featuring Jay Z. Despite insisting that the single was a one-off, and that he was purely a producer and not an artist in his own right, it was announced that Williams would release his own studio album.  The album includes the three already-released singles "Can I Have It Like That" (featuring Gwen Stefani), "Angel" (only released in the UK) and "Number One" (featuring Kanye West) and performances featuring Jay Z, Nelly, Slim Thug, Snoop Dogg, Lauren London, Jamie Cullum and Pusha T of Clipse. Originally the album had been slated for release on November 15, 2005, but the date was delayed at Williams' request. Most recently, a music video for "That Girl" (featuring Snoop Dogg) was released and has been receiving airplay on VH1. On this album, Pharrell makes his solo production debut without his partner Chad Hugo. In an interview on the delay, he stated that he felt the album needed more work. Nearly six months later, it was finally released.

Critical reception.

The album received generally mixed reviews from critics. Christian Hoard of "Rolling Stone" called it "still only so-so, offering a series of modestly tuneful, sometimes snoozy soul-pop-hip-hop songs". "Entertainment Weekly" said the album "seems divided against itself, rest assured that all of the songs have something in common: they're not remotely catchy". For AllMusic, Andy Kellman wrote that "it's not like any part of it is flat-out poor, but it's a shame it didn't turn out better". In his consumer guide for MSN Music, Robert Christgau gave the album a two-star honorable mention rating (), indicating a "likable effort consumers attuned to its overriding aesthetic or individual vision may well enjoy". He cited "Raspy Shit" and "Number One" as highlights and quipped, "keepin' it playa like he says, for exactly what that's worth".

Accolades.

The album was nominated for Best Rap Album at the Grammy Awards of 2007, but lost to "Release Therapy" by Ludacris.

Commercial performance.

"In My Mind" debuted at number three on the US "Billboard" 200 behind LeToya's self-titled debut album and the compilation's "Now 22", selling 142,000 copies in its first week. The album dropped to the number nine in its second week, selling an additional 51,000 units, for a two-week total of 193,000 copies sold. As of March 2014, "In My Mind" has sold 406,000 copies in the United States. The album has sold 2,889,025 copies worldwide.

Track listing.

All songs written and produced by Pharrell Williams; songs with co-writers are noted.

In My Mind is the solo debut studio album by American recording artist and record producer Pharrell Williams. The album was released on July 25, 2006 by Star Trak Entertainment and Interscope Records. It debuted at number 3 on the US "Billboard" 200 and sold 142,000 copies in its first week. It was also certified Silver in the United Kingdom for sales of over 60,000 copies.

In My Mind je první sólové studiové album amerického hudebníka a producenta Pharrella Williamse. Vydáno bylo v červenci roku 2006 společnostmi Star Trak Entertainment a Interscope Records. V hitparádě Billboard 200 se umístilo na třetí příčce a za první týden se prodalo 142 000 kusů alba. Do různých písní z alba přispěli například Kanye West („“), Gwen Stefani („“), Snoop Dogg („“) a Jamie Cullum („“).


Design.

"Mississippi" was long overall and had a beam of and a draft of. She displaced as designed and up to at full combat load. The ship was powered by four-shaft Curtis turbines and nine oil-fired Babcock & Wilcox boilers rated at, generating a top speed of. The ship had a cruising range of at a speed of. Her crew numbered 1,081 officers and enlisted men. As built, she was fitted with two lattice masts with spotting tops for the main gun battery. The main armored belt was thick, while the main armored deck was up to thick. The main battery gun turrets had thick faces on barbettes. The conning tower had thick sides.  The ship was armed with a main battery of twelve /50 caliber guns in four, three-gun turrets on the centerline, placed in two superfiring pairs forward and aft of the superstructure. Unlike earlier American battleships with triple turrets, these mounts were true three-gun barrels, in that each barrel could elevate independently. The secondary battery consisted of fourteen /51 caliber guns mounted in individual casemates clustered in the superstructure amidships. Initially, the ship was to have been fitted with twenty-two of the guns, but experiences in the North Sea during World War I demonstrated that the additional guns, which would have been placed in the hull, would have been unusable in anything but calm seas. As a result, the casemates were plated over to prevent flooding. The secondary battery was augmented with four /50 caliber guns. In addition to her gun armament, "Mississippi" was also fitted with two torpedo tubes, mounted submerged in the hull, one on each broadside.

Modifications.

"Mississippi" was heavily modernized in the early 1930s. Her original turbines were replaced with new geared models manufactured by Westinghouse, and she received six express boilers designed by the Bureau of Engineering. This improved her performance to a top speed of from. Her armament was also revised, with the main battery turrets being modified to allow elevation to 30 degrees, greatly extending the range of the guns. Two of the 5-inch guns were removed, and eight 5-inch/25 caliber anti-aircraft guns were installed. She received an additional armored deck, and her underwater protection was improved. Both lattice masts were removed; a heavy tower bridge was built in place of the fore mast, and a light pole mast was erected in place of the main mast. These alterations greatly increased her displacement, to standard and full load. Her crew increased significantly, to 1,443.  In early 1945, while under repair for combat damage, "Mississippi" received a new secondary battery. The old 51-caliber 5-inch guns were removed, and eight more of the 25-caliber anti-aircraft guns were installed, along with thirteen quadruple Bofors 40 mm mounts and forty 20 mm Oerlikon guns. To compensate for the added weight, the ship's armored conning tower was removed.

Service history.

The keel for "Mississippi" was laid down on 5 April 1915 at the Newport News Shipbuilding Company of Newport News, Virginia. She was launched on 25 January 1917, and after completing fitting-out work, was commissioned into the US Navy on 18 December 1917. Then-Captain Joseph Lee Jayne served as the ship's first commanding officer. After completing sea trials off Virginia, "Mississippi" departed the United States on 22 March 1918 for the Gulf of Guacanayabo in Cuba, where she conducted further training. Later in the year, she returned to Hampton Roads, Virginia, where she began a cruise between Boston and New York. From 1919 to 1921, William A. Moffett served as the ship's commander. On 31 January 1919, she left for another round of training in the Caribbean. "Mississippi" was reassigned to the Pacific Fleet and she accordingly left the east coast on 19 July. Throughout the 1920s, the ship routinely returned to the Caribbean for winter training exercises. Two of the original fourteen 5-in/51 caliber guns were removed in 1922. During Fleet Problem I, held in February 1923, "Mississippi" sank the old pre-dreadnought "Coast Battleship No. 4" (formerly ), battering her first with her 5-inch guns at ranges between before firing a salvo of 14-inch shells that struck "Coast Battleship No. 4" amidships and inflicted fatal damage. During the gunnery exercise, spotter aircraft were used for the first time to help direct an American battleship's guns in a major exercise.  While conducting gunnery practice off San Pedro on 12 June 1924, there was an explosion in her forward superfiring Gun Turret No. 2. The resulting fire asphyxiated 44 members of the turret crew. Upon returning to port the gunpowder that was still in Gun No. 5, the remaining gun in the turret, exploded and killed four members of the rescue team. The shell that was in the gun narrowly missed the passenger ship "Yale". This was, at the time, the deadliest peace-time disaster in the Navy's history.  She left San Francisco on 15 April 1925 for war games held off Hawaii, after which she went on a cruise to Australia, returning to California on 26 September. The ship returned to the east coast in early 1931 for a major modernization at Norfolk Navy Yard that began on 30 March. This overhaul significantly changed the ship's profile by removing the original fore and aft lattice mast. The former was replaced with a tower. Modernization also included replacement of earlier 3-inch/50 cal anti-aircraft guns with eight 5-inch/25 caliber guns. Further training exercises followed in September 1933. On 24 October 1934, she passed through the Panama Canal on her way back to the Pacific Fleet, where she remained through mid-1941, apart from the normal winter cruises in the Caribbean. By this time, World War II had broken out in Europe, spawning the Battle of the Atlantic. In response, President Franklin D. Roosevelt initiated the Neutrality Patrols to protect American shipping. On 7 May 1941, Admiral Harold Rainsford Stark, the Chief of Naval Operations, transferred "Mississippi", the battleships and, the aircraft carrier, four light cruisers, and two destroyer squadrons to the Atlantic to reinforce the Neutrality Patrols. On 15 June, "Mississippi" arrived back in Norfolk, where she prepared to make her first patrol in the North Atlantic, which consisted of escorting a convoy from Newport, Rhode Island to Hvalfjordur, Iceland. She began another convoy escort mission on 28 September, also to Iceland. "Mississippi" remained there through November to protect American shipping in the area. During this period, she was assigned to the "White Patrol", a special task group, along with the other two battleships and a pair of heavy cruisers.

World War II.

On 9 December, two days after the Japanese attack on Pearl Harbor, "Mississippi" departed Iceland, bound for the Pacific Theater. She reached San Francisco on 22 January 1942, where she conducted training and escorted convoys along the west coast over the following seven months. Beginning in May 1942, the original 5-inch/51 caliber guns of the secondary battery were removed to make room for anti-aircraft machine guns. On 6 December, she escorted a convoy of troop ships to Fiji, returning to Pearl Harbor on 2 March 1943. Her first major combat operation began on 10 May, when she left Hawaii to support the liberation of the Aleutian Islands. She bombarded Kiska on 22 July, and the Japanese garrison withdrew from the island a few days later. After the conclusion of the campaign, "Mississippi" returned to San Francisco for an overhaul. On 19 October, she left San Pedro to join the invasion fleet that would attack the Gilbert Islands. During the Gilbert and Marshall Islands campaign on 20 November, while "Mississippi" was bombarding Makin, there was again an explosion in her No. 2 turret, this time killing 43 men. After repairs, she continued on in the campaign, bombarding Kwajalein on 31 January 1944, Taroa on 20 February, and Wotje on 21 February. On 15 March, she shelled Japanese positions at Kavieng on New Ireland, before returning to the United States for an overhaul in Puget Sound. This overhaul increased the number of 5-inch/25 cal guns from eight to fourteen.  After returning to the fleet, "Mississippi" provided gunfire support for the Marines that went ashore at Peleliu, bombarding Japanese positions on 12 September, three days before the landing. She remained there, shelling the island for a week, before proceeding on to Manus, which had recently been taken by American forces. Assigned to the invasion fleet for the Philippines under Rear Admiral Jesse B. Oldendorf, "Mississippi" left Manus on 12 October and arrived off Leyte on the 19th, when she began the coastal bombardment. During the Battle of Leyte Gulf, on the night of 24 October, "Mississippi" and the rest of the coastal bombardment battleships decisively defeated the Japanese Southern Force under Vice Admiral Shōji Nishimura in the Battle of Surigao Strait. During the battle, the Japanese warships failed to detect the American vessels with their radar. Additionally, the narrow strait forced the Japanese to steam in line ahead, while "Mississippi" and the other battleships were stationed at the entrance, where they were able to fire full broadsides. As a result, Nishimura was unable to avoid having his "T" crossed. In the ensuing action, American destroyers inflicted heavy damage on the Japanese force, which was then annihilated by the concentrated fire from the battleships. "Mississippi", which was equipped with older fire control radar, had trouble identifying targets in the darkness, and so fired only one 12-gun salvo, after Oldendorf had given the order to cease fire. This salvo was the last fired in the action, and proved to be the last time a battleship fired its guns at another battleship.  "Mississippi" remained off Leyte, providing gunfire support until 16 November, when she withdrew to the Admiralty Islands to make preparations for the next operation. On 28 December, she returned to Leyte, anchoring in San Pedro Bay. The ship began shelling Japanese positions on the island of Luzon on 6 January 1945. During the bombardment, a Japanese kamikaze struck the ship, but she remained on station, bombarding the Japanese defenses, until 10 February, when she withdrew to Pearl Harbor for repairs. She returned to service in time to join the invasion fleet that attacked Okinawa, arriving off Nakagusuku Wan on 6 May. She shelled Shuri Castle, inflicting heavy damage on a major strongpoint in the Japanese defensive line. Another kamikaze (initially identified as a friendly plane) hit the ship on 5 June, but she remained in action off Okinawa until 16 June. In July of 1945 she had repairs done in USS ABSD-5 a floating repair dry dock. After the Japanese government announced it would surrender, "Mississippi" steamed to Sagami Wan, Honshū, as part of the occupation force, arriving there on 27 August. She was present during the signing of the surrender documents on 2 September in Tokyo Bay. Four days later, she left Japanese waters, bound for the United States. She reached Norfolk on 27 November.

Postwar career.

Upon arriving in Norfolk, the ship was converted into a gunnery training ship, and was assigned the hull number AG-128 on 15 February 1946. In some references her hull number is given as EAG-128. The initially planned armament as a training ship differed somewhat from that actually installed. No. 1 turret was replaced by a twin 6-inch (152 mm)/47 caliber dual-purpose turret, the same as mounted on the anti-aircraft cruisers. No. 2 and No. 3 14-inch turrets were removed, but No. 4 turret was initially retained. Three twin 5-inch (127 mm)/38 caliber dual-purpose mounts, two single 5-inch/54 caliber dual-purpose mounts (as on the aircraft carriers), two twin 3-inch (76 mm)/50 caliber mounts, and two 40 mm Bofors quad mounts were installed. Additional weapons proposed but not equipped included two twin 5-inch/54 caliber mounts and two twin 3-inch/70 caliber mounts, but the twin 5-inch/54 mount never entered service and the 3-inch/70 mount was not ready until 1956. Also, a triple 8-inch/55 caliber rapid-fire turret as on the heavy cruisers was proposed in place of No. 3 14-inch turret, but this was not equipped. It is unclear if a proposed mixed 20 mm Oerlikon battery of quadruple, twin, and single mounts was installed.  "Mississippi" was reconstructed at the Norfolk Naval Shipyard from November 1945 through April 1948. During the yard period she served as the flagship of the operational development force from 18 March to 15 May 1947, and as the flagship of Battleships-Cruisers Atlantic Fleet (COMBATCRULANT) from 11 June to 14 July 1947. In April 1947 she effectively replaced as an anti-aircraft training ship, with "Wyoming" mooring at a pier across from "Mississippi" and the bulk of "Wyoming"s crew "cross-decking" to "Mississippi". After emerging from the reconstruction, she served in the operational development force, carrying out gunnery tests and helping evaluate new weapon systems. The ship had two new RIM-2 Terrier missile launchers installed in 1952 with No. 4 turret removed, the work being completed on 9 August at the Norfolk Naval Shipyard. The first test firings of a ship-borne Terrier missile took place on 28–29 January 1953 off Cape Cod. "Mississippi" later tested the Petrel missile, a radar-homing weapon, in February 1956. On 17 February, "Mississippi" was decommissioned at Norfolk, sold for scrap to Bethlehem Steel on 28 November, and subsequently broken up.

USS "Mississippi" (BB-41/AG-128), the second of three members of the of battleship, was the third ship of the United States Navy named in honor of the 20th state. The ship was built at the Newport News Shipbuilding Company of Newport News, Virginia, from her keel laying in April 1915, her launching in January 1917, and her commissioning in December that year. She was armed with a battery of twelve guns in four three-gun turrets, and was protected by heavy armor plate, with her main belt armor being thick.

USS Mississippi byla druhá loď třídy New Mexico. Pojmenována byla v souladu s doktrínou USA po jednom z amerických států, konkrétně po 22 státě - Mississippi. Měla dvě sesterské lodě New Mexico a Idaho.


Location.

The main streets in Józsefváros are Baross utca, Rákóczi út and Üllői út; Kálvin tér connects this district with the 5th and 9th. Keleti (Eastern) Railway Station is located at the junction of 7th, 8th and 14th districts.

Name.

The 18th century suburb was first called "Alsó-Külváros" (literally "Lower Suburb"). It was named after the heir of the Hungarian throne, Emperor Joseph II in 1777.

Description.

Józsefváros mostly consists of old, often neglected residential buildings with nice interiors. It can be divided into three parts, the borders being Grand Boulevard ("Nagykörút") and the roads "Fiumei út" and "Orczy út".  The innermost, central part includes several remarkable spots, such as the National Museum, and the central buildings of the Eötvös Loránd University, the Semmelweis University, the Academy of Drama and Film, and the Metropolitan Ervin Szabó Library, complemented by the Kempelen Farkas Student Information and Resource Centre. The Piarist Secondary School, the main building of the Károli Gáspár University of the Reformed Church, and the Law Faculty of the Pázmány Péter Catholic University are also situated here, as well as the Hungarian Radio. This part is called "Palace Quarter", out of which one can still see Wenckheim Palace, hosting the Metropolitan Library, and Pálffy Palace with the Classical Music Collection of the above. This neighborhood underwent major renovations between 1996 and 2002 and it has become a happy, swarming place with scores of students and several cafés and pizzerias. The second part, beyond Nagykörút (about farther) has a worse reputation, due to the prostitution that was rampant in the 1990s (and earlier), which has been mostly eliminated through cameras throughout the district. In this part one can find the Centre for Foreign Languages (the oldest and "authentic" language examination place in Hungary), Erkel Theatre (a department of the Hungarian State Opera House), the Hungarian Natural History Museum, Corvin Budapest Film Palace (a multiplex cinema), one of Budapest's biggest gardens (Orczy-kert), and a large complex of cliniques.  Its traditional craftsmen neighbourhood, which became a slum in the previous decades, is currently under re-development. The dilapidated 19th century housing stock is cleared to make way for large office blocks and housing developments. Corvin-Szigony Project is the biggest urban renewal project in Central-Europe. The effects and methods of the project were criticized, mainly for the destruction of the architectural heritage of the area.  The residential parts occupy less area in the third part, which is noted for Eastern Railway Station, Józsefváros Railway Station and Kerepesi Cemetery, one of the most famous cemeteries in Hungary, with mausoleums for the most reputable historical personalities.

Demographics.

The population is relatively homogeneous with Magyar majority (89.7%). Józsefváros is noted for its high concentrations of Roma (Gipsy) residents (3.4%). The district has attracted a significant number of Chinese immigrants (0.5%). (2001 census)

Politics.

The current mayor of VIII. District of Budapest is András Pikó (Momentum).  The District Assembly, elected at the 2019 local government elections, is made up of 18 members (1 Mayor, 12 Individual constituencies MEPs and 5 Compensation List MEPs) divided into this political parties and alliances:

Related novels and movies.

Ferenc Molnár's youth novel, "The Paul Street Boys" "(A Pál utcai fiúk, 1907)", which was made into film several times (see the Imdb entry of the most famous version), originally takes place at real venues of this district: Pál utca, Mária utca and Füvészkert (botanical garden).  In 2004, a caricaturistic animated movie "Nyócker" was made about an infamous part of this district which has been screened in several European countries and won numerous awards on the international scene.  The starting and closing scenes of "Fateless" ("Sorstalanság," 2005), the movie made from Imre Kertész's Nobel Prize–winning novel, were screened in this district, namely at "Lőrinc pap tér".

Twin towns.

"Józsefváros is twinned with:"

Józsefváros () is the 8th district of Budapest, Hungary. It is the part of the city centre in the wider sense as one of the 18–19th century older suburbs, close to Belváros.

VIII. obvod, jinak také Józsefváros, se nachází v centru Budapešti. Název Józsefváros znamená „Josefovo město“ na počest Josefa II. Zajímavostí je, že VIII. obvod ve Vídni je po tomto císaři pojmenován také.


Commission and construction.

The statue was constructed by Bulgarian sculptor Emil Venkov (1937–2017) under a 1981 commission from the Communist Party of Czechoslovakia. While following the bounds of his commission, Venkov intended to portray Lenin as a bringer of revolution, in contrast to the traditional portrayals of Lenin as a philosopher and educator. Venkov intended the statue to function as a critique of communism and depict Lenin as a violent man, with abstract rifles and flames on the statue, in contrast to the traditional depiction of Lenin holding a book.  Venkov's work was completed and installed in Poprad, Czechoslovak Socialist Republic (now Slovakia), in 1988 at a cost of 334,000 Kčs, (), shortly before the fall of Czechoslovak communist rule during the 1989 Velvet Revolution.

Sale and move to Seattle.

Lewis E. Carpenter, an English teacher in Poprad originally from Issaquah, Washington, found the hollow monumental statue lying in a scrapyard with a homeless man living inside it. The Lenin statue was waiting to be cut up and sold for the price of the bronze. Carpenter had met and befriended Venkov in an earlier visit to Czechoslovakia. Carpenter's initial interest in buying the statue was to preserve it for its historic and artistic merit. Later he intended to use it to attract customers for an ethnic Slovak restaurant he wanted to open in Issaquah.  In close collaboration with a local journalist and good friend, Tomáš Fülöpp, Carpenter approached city officials, saying that despite its current unpopularity, the statue was still a work of art worth preserving, and offered to buy it for (). After bureaucratic hurdles, he signed a contract with the Mayor of Poprad on March 16, 1993. The Mayor then began to reconsider, and asked the City Council to vote on the sale. After they voted to approve it, the Poprad council reconsidered, and asked the Slovak Ministry of Culture for its blessing, which they gave four more months later.  After final approval to buy and move the statue out of the country, Carpenter consulted with both Venkov and the architect who had overseen the original casting of the bronze before deciding to cut the statue into three pieces and ship it to Rotterdam, and then on to the United States, all of which ultimately cost (). Carpenter financed much of that by mortgaging his home. The statue arrived in Issaquah in August 1993, and Carpenter planned to install it in front of a Slovak restaurant. He died in a car accident in February 1994, during public debates on whether to display the statue in Issaquah that ended in rejection from the suburb's residents. After Carpenter's death, his family planned to sell the statue to a Fremont foundry to be melted down and repurposed into a new piece. The foundry's founder, Peter Bevis, sought instead to display the statue in Fremont, and agreed to have the Fremont Chamber of Commerce hold the statue in trust until a buyer was found. The statue was unveiled on June 3, 1995, at the corner of Evanston Avenue North and North 34th Street on private property, one block south of the Fremont Rocket, another artistic Fremont attraction.  The owners moved the statue two blocks north to the intersection of Fremont Place North, North 36th Street and Evanston Avenue North in 1996, on a property with commercial retail spaces occupied by a Taco del Mar and a gelato shop at the time. The new location is three blocks west of the Fremont Troll, a Fremont art installation under the Aurora Bridge.  The Carpenter family continues to seek a buyer for the statue. the asking price was, up from the 1996 price of ().

Fremont curiosity.

The statue of Lenin became a Fremont landmark and object of curiosity, representing the quirky nature of the artistic neighborhood, whose motto is "Libertas Quirkas" — freedom to be peculiar. Like the Fremont Troll and the "Waiting for the Interurban" sculpture, the Lenin statue has often been decorated, appropriated, or vandalized with various intentions, both whimsical and serious.  Knute Berger, acknowledging that "we are supposed to be amused" by the "hippie whimsy" of a Soviet symbol in the middle of an American city, said that seeing the statue cannot help but remind us of the killing and repression Lenin inspired. But Berger reflected that perhaps the meaning of this Soviet relic is the opposite, that it is "a trophy of Western triumphalism", representing the victory over communism and the fall of the Berlin Wall. Berger opines that by removing the statue from its original context where it was meant to keep the Slovak people in awe, given a new context where it oppresses no one and is used entirely in the service of free enterprise and profit making. Berger goes on to compare the Lenin statue with Native American totem poles, so many of which were once on display in the city that they became a "symbol of Seattle". Some of Seattle's most iconic 'totem poles' (actually Alaskan Tlingit carved house posts) were brazenly stolen from an Alaska village by respected members of the scientific and business community, the Harriman Alaska expedition, so immersed in the triumph of their own culture over that of Native Americans that little thought was given to what Dr. Robin K. Wright of the Burke Museum called "a very clear case of theft". Berger said the story of victory of one culture over another told by the totem pole, or the Lenin statue, make it "an icon, but if you know the story, a complicated one."  A glowing Soviet-style red star or Christmas lights have been added to the statue during the holiday season since 2004. For the 2004 Solstice Parade, the statue was made to look like John Lennon. During Gay Pride Week, the statue is dressed in drag.  The BBC highlighted Seattle's Lenin statue after protesters removed Lenin statues in Ukraine.  The statue's hands are often painted (and repainted) red to protest what critics perceive as the glorification of what they see as a historical villain who has blood on his hands. The Taco del Mar restaurant, one of the retail property's tenants, constructed a monumental-scale burrito wrapped in foil for the statue to hold, which one Fremont publisher said did not turn out as intended, but rather "looked like a doobie."  In June 2017, the statue's sculptor, Emil Venkov, died at age 79. The Association of Slovak Artists noted the loss of an artist whose long career helped define Slovak monumental and architectural sculpture, creating works distinctive for their subtext.  Alt-right media have held up the example of the Fremont Lenin statue to protest the removal of Confederate monuments and memorials in the US. On August 16, 2017, in the wake of the Charlottesville, Virginia Unite the Right rally, pro-Trump Twitter conspiracy theorist Jack Posobiec led a gathering of several protesters at the statue to demand its removal. The same day, Mayor Ed Murray said his office contacted Lake View Cemetery to "express our concerns" about the United Confederate Veterans Memorial there, and ask for its removal. On August 17, Murray added that he believed the Lenin statue should go as well, because we should "not idolize figures who have committed violent atrocities and sought to divide us", though he was aware the Lenin statue was also on private property. In the following days, a city staffer told "The Washington Post" off the record that the Seattle City Council was considering debating a symbolic resolution on removing the Lenin statue and the Confederate memorial, though the city government has no power to remove either against the wishes of the owners, since neither monument, nor the properties they are on, are city-owned. In an article discussing Confederate monuments in "USA Today", Allen Guelzo said that there should be a movement of protesters asking that the statue be removed, as Lenin's "murderous ideas and deeds dwarf any of [the] sins" of Robert E. Lee.  A bill introduced to the state legislature in early 2019 by a group of Republican representatives called for the statue's removal and replacement, in response to a bill reconsidering a statue of Marcus Whitman at the Washington State Capitol. One of Fremont's major landowners, businesswoman Suzie Burke, told KUOW radio that if any of the bill's sponsors actually lived in the Seattle area, she would have invited them to come to Fremont to discuss it, and she would have reminded them that the government does not have the authority to remove privately owned artwork on private property. One of the bill's sponsors said he would never infringe on private property rights, and that the bill was intended as a tongue-in-cheek reaction to State Senate opposition to the Whitman statue.

The Statue of Lenin, Seattle, is a bronze statue of Communist revolutionary Vladimir Lenin, by Bulgarian sculptor Emil Venkov. It was completed and put on display in the Czechoslovak Socialist Republic in 1988, the year before the Velvet Revolution of 1989. In 1993 the statue was bought by an American who had found it lying in a scrapyard. He brought it home to Washington state, but died before he could carry out his plans for displaying the Soviet era memento.

Socha Lenina (anglicky "Statue of Lenin"), známá též jako Popradský Lenin, je se svými 5 metry největší sochou Vladimira Iljiče Lenina ve Spojených státech. Nachází se ve čtvrti Fremont ve městě Seattle.


Playing career.

Having been drafted by the Edmonton Oilers in the 2011 NHL Entry Draft, on 29 March 2013, Rieder's playing rights were traded to the Phoenix Coyotes in exchange for Kale Kessy. At the conclusion of his major junior career in the 2012–13 season with the Kitchener Rangers of the Ontario Hockey League (OHL), on 15 April 2013, Rieder signed a three-year, entry-level contract with Phoenix.  In the 2014–15 season, his second professional campaign in North America, Rieder received his first NHL recall by the Coyotes from the club's American Hockey League (AHL) affiliate, the Portland Pirates, on 2 November 2014. That same day, he scored his first NHL goal, the game winner for the Coyotes.  On 1 December 2014, Rieder set an NHL record by a first-year player by scoring two short-handed goals 58 seconds apart during the same penalty kill in a 5–2 win against the Edmonton Oilers.  On February 21, 2018, during the 2017–18 season, Rieder (along with goaltender Scott Wedgewood) were traded to the Los Angeles Kings in exchange for goaltender Darcy Kuemper. In the final stretch of the regular season, Rieder appeared in 20 games with the Kings, scoring four goals and six points. He made his Stanley Cup playoff debut in Los Angeles' first-round sweep to the Vegas Golden Knights.  On July 1, 2018, as a free agent, Rieder returned to the Edmonton Oilers organization after signing a one-year, $2 million contract. Signing with the Oilers with the ambition to play alongside countryman Leon Draisaitl, Rieder was unable to contribute early in the 2018–19 season, finding himself in a bottom six checking-line role. Failing to register a goal with the Oilers after 60 games, Rieder was singled out publicly by Oilers CEO Bob Nicholson, stating their intention to not to sign him after the season, on which Nicholson later apologized. Rieder completed the season with a career low 11 assists in 67 games.  On June 25, 2019, Rieder was not tendered a qualifying offer from the Oilers, releasing him as a free agent. On September 4, 2019, Rieder was invited to a professional tryout agreement with the Calgary Flames. On September 27, 2019, after a successful pre-season, he was signed to a one-year, two-way contract with the Flames.

International play.

Rieder was named to the Germany men's national ice hockey team and made his senior debut at the 2014 IIHF World Championship.

Tobias Rieder (born 10 January 1993) is a German professional ice hockey forward. He is currently playing for the Calgary Flames of the National Hockey League (NHL). Rieder was originally selected by the Edmonton Oilers in the fourth round, 114th overall, of the 2011 NHL Entry Draft, although he did not join them until 2018. He has also previously played with the Arizona Coyotes and Los Angeles Kings.

Tobias Rieder (* 10. ledna 1993, Landshut) je německý hokejový útočník hrající v severoamerické National Hockey League (NHL) za tým Arizona Coyotes. V roce 2011 ho draftoval ze 114. pozice tým Edmonton Oilers, za který však neodehrál jediné utkání.


Club career.

Early career.

Ménez was born in Longjumeau, Essonne. As a child, he grew up in Vitry-sur-Seine, not far from his birthplace, and supported hometown club Paris Saint-Germain. Ménez became attracted to football through his father and older brother who were football players themselves. Ménez began his career at local club CA Vitry. After a year at the club, Ménez joined the Centre de Formation de Paris, a youth sporting club designed to cater only to football players under the age of 19. While at C.F.F.P, Ménez developed and honed his technical skills and was placed into the playmaker position by his coaches. After five years at the academy, he departed the club after developing friction with the academy coaches. After leaving CFFP, Ménez joined CSF Brétigny, a local Parisian club that also trained French internationals Patrice Evra and Jimmy Briand. He spent only a year at the club before securing a move to professional club Sochaux in Franche-Comté.

Sochaux.

Upon his arrival at Sochaux, Ménez entered the club's youth academy and began attending the sports department's elite high school, Vignes de Seloncourt, with ambitions of becoming an accountant. While in the club's academy, Ménez was adept both on and off the field earning good grades in school. On 24 March 2004, at the age of 16, he signed his first professional contract with Sochaux, agreeing to a three-year deal until June 2007. Upon signing the contract, he became the youngest professional football player in the history of Ligue 1. Ménez was subsequently promoted to the club's senior team and assigned the number 26 shirt by manager Guy Lacombe. Prior to signing his contract, Ménez drew strong interest from English clubs Arsenal and Manchester United. The latter club's manager at the time, Sir Alex Ferguson, was later accused by Sochaux's former president Jean-Claude Plessis of tapping up Ménez; he accused Ferguson of meeting with the player's parents in Paris and offering them financial favours. Manchester United denied the accusations. Ménez travelled to Manchester and visited the team's facilities and Old Trafford, the club's stadium, before deciding to remain in France.  On 7 August 2004, Ménez made his professional debut in the club's opening match of the 2004–05 season against Ajaccio. He started the match and played 57 minutes before being substituted for in a 1–0 win. Despite being so young, Ménez was a regular within the team, often rotating between the bench and starting XI. On 20 November, he scored his first professional goal in a 3–1 victory over Monaco. Two months later, Ménez became the youngest player in league history to score a hat-trick after recording one in the team's 4–0 victory over Bordeaux. He scored the goals in a seven-minute span to assure Sochaux of victory. Ménez was a regular during the team's 2004–05 UEFA Cup campaign, appearing in six matches with the club. Sochaux suffered elimination in the Round of 32 at the hands of Greek club Olympiakos. Following the season, Ménez was nominated for the UNFP Young Player of the Year award but lost out to Nantes midfielder Jérémy Toulalan.  For the 2005–06 season, Ménez switched to the number 11 shirt and was given a more prominent role within the team by new manager Dominique Bijotat. He appeared in 31 league matches, fifth-best on the team, and scored three goals. Ménez scored his first goal on 15 October 2005 in a 1–1 draw against Bordeaux. At the beginning of the new year, Ménez scored his final two goals in another 1–1 draw with Nice and a 4–0 victory over Saint-Étienne. Sochaux finished the season in a disappointing 15th position after finishing the four previous seasons in the top ten. This led Ménez to become unsettled and to declare his desire to leave the club. On 8 June 2006, Sochaux chairman Dassier announced that he would consider offers for the player with Ligue 1 clubs Paris Saint-Germain, Bordeaux, Monaco and English club Arsenal reported to be interested.

Monaco.

On 22 June 2006, Sochaux announced on its website that it had reached an agreement with fellow Ligue 1 club Monaco for the transfer of Ménez. He signed a four-year contract, with the transfer fee undisclosed. Ménez was given the number 10 shirt by manager László Bölöni and inserted into his preferred left-winger position. He made his club debut on 19 August in the team's 1–1 draw with Rennes, appearing as a substitute. On 30 September, Ménez scored his first goal for the club in a 2–1 win over Le Mans, netting the game-winner ten minutes from time. Following the firing of Bölöni and the arrival of new manager Ricardo Gomes, Ménez struggled to get consistent playing time and grew frustrated, which led to interest abroad from Manchester United and Liverpool. On 11 November, however, he was re-inserted into the starting line-up and scored the equalising goal in a 2–2 draw with Lorient. Ménez maintained his form into the new year, but struggled for fitness in February due to a groin injury. The injury required surgery and Ménez missed two months of play. He returned to the team in April and scored goals in three-straight matches against Lille, Valenciennes and Marseille. Ménez finished the 2006–07 campaign by scoring the only goal in a win over the champions Lyon.  Despite summer interest from English Premier League clubs, Ménez opted to remain at Monaco. In the 2007–08 campaign, he scored his first goal in the team's 3–0 victory over his former club Sochaux. The following week, he netted again, this time in a 3–1 win over Le Mans. On 15 December, Ménez scored a double in a 3–1 victory against Lens. It was his first multi-goal game since his hat-trick three years prior. The following month, Ménez scored both of the team's goal in a 2–0 away win against Metz. On 23 February 2008, he suffered an injury in a league match against Paris-Saint Germain, which led to him leaving the match at half-time. The injury was discovered to be serious and Ménez missed three months before returning for the final two matches of the season making obligatory substitute appearances.

Roma.

After featuring in Monaco's first three league matches of the season, it was reported on 27 August 2008 that Ménez had signed a four-year contract with Italian club Roma. The transfer fee was priced at €10.5 million with Monaco set to receive another €1.5 million in incentives. Ménez was announced as the replacement for departed wingers Mancini and Ludovic Giuly and selected the number 24 shirt, the former number of club legend Marco Delvecchio. He made his debut for the club on 31 August in the team's Serie A match against Napoli, appearing as a substitute in the 63rd minute. Ménez made his UEFA Champions League debut in the team's group stage match against Bordeaux, playing 51 minutes in a 3–1 victory. On 6 December, he scored his first goal for the club in a 1–0 victory over Chievo. For the majority of the campaign, however, Ménez struggled for consistent playing time, rarely lasting an entire match and often starting on the bench for consecutive matches under Luciano Spalletti. On 24 May 2009, he appeared as a substitute in the 75th minute against A.C. Milan. After five minutes on the field, Ménez scored a goal to put Roma up 2–1; the capital club went on to win the match 3–2. The following week, he started the match and scored a goal in a 3–2 win over Torino. He was later substituted out in the 59th minute.  For the 2009–10 season, Ménez switched to the unusual number 94 shirt. He scored against Milan his first goal on 18 October 2009. On 6 January 2010, he drew the ire of new manager Claudio Ranieri and several teammates, who criticised him for his substitute appearance against Cagliari in which he gave a somewhat lackadaisical effort. Following the criticism, Ménez stated, "I touched the lowest point of my career in that game away to Cagliari," and, "My teammates were right to criticise me." On 11 January, Ménez issued an apology to coach Ranieri and his teammates and brushed off rumours of him issuing a transfer request by declaring himself fully committed to the team. On 30 January, midfielder Simone Perrotta stated that Ménez simply needed a confidence boost. After appearing as a substitute for four consecutive matches after the Cagliari match, Ménez made his first start since December 2009 in a league match against Catania on 21 February. He capped the return by assisting on the game-winning goal scored by Mirko Vučinić. Ménez finished the campaign by starting eight of the final ten league matches as Roma finished the season in second place and qualified for the UEFA Champions League.  In the 2010–11 season, Ménez began the season as a starter under Ranieri after his successful end to the previous season. Despite being a starter, however, Ranieri continued to undermine Ménez's durability as he consistently substituted the player out in every match he started. On 3 November, Ménez scored his first goal of the campaign in a 3–2 Champions League victory over Swiss club Basel. A week later, he assisted on a Marco Borriello goal in a 3–2 win over Fiorentina. On 13 November, for the first time in the season, Ménez played an entire match after playing in a 1–1 draw with Juventus. In the team's next league match against Udinese, he scored his first league goal and also assisted on a goal in a 2–0 win. After going scoreless in December, on 22 January 2011, Ménez scored the final goal in a 3–0 win over Cagliari. On 16 February, Ménez scored a goal in Roma's first leg of its Champions League first knockout round tie with Shakhtar Donetsk. Five days later, Ranieri resigned from his position as manager and replaced with Vincenzo Montella. Under Montella, Ménez appeared in the manager's first three matches as a substitute. On 13 March, he made his first start under Montella in a league match against Lazio, but was substitute out after 55 minutes. On 23 March, in an interview with French newspaper "L'Equipe", Ménez admitted that he was frustrated with his playing time under Montella. The frustration reached its zenith when, on 21 April, Ménez and Montella got into an altercation during a morning training session after Montella reportedly "spent a quarter of an hour berating the France international" for his lack of commitment. Later that night, following the team's Coppa Italia tie with Inter Milan, while leaving the Stadio Olimpico in his vehicle, Ménez was attacked by stone-throwing "thugs", which resulted in his car windshield being smashed.

Paris Saint-Germain.

On 25 July 2011, Paris Saint-Germain confirmed that the club had signed Ménez to a three-year contract. The transfer fee was €8 million plus possible future incentives. He was presented to the media the same day – alongside fellow new signing and international teammate Blaise Matuidi – and was assigned the number 7 shirt. Ménez made his club debut for the team in its 1–0 defeat to the New York Red Bulls at the Emirates Cup. He made his competitive debut for PSG on 6 August 2011 in the team's opening 1–0 league defeat to Lorient. The following week, he assisted on the team's opening goal, scored by Kevin Gameiro, in a 1–1 draw with Rennes. On 18 August 2011, in PSG's first leg UEFA Europa League playoff round tie against Luxembourger club Differdange, Ménez scored the final goal for the team in a 4–0 away win. He also assisted on a goal in the victory. Three days later, he again assisted Gameiro for a goal in a 2–1 win over Valenciennes, helping PSG earn its first league win of the season. On 28 August, Ménez netted his first league goal for the club away to Toulouse; Paris Saint-Germain won the match 3–1.  Under the guidance of coaches Antoine Kombouaré and later Carlo Ancelotti, Ménez enjoyed a strong campaign which saw him deliver seven goals and 12 assists in 33 league appearances for PSG, a career best for him. On 4 December 2011, during a 3–2 home league victory against Auxerre, Ménez scored PSG's 2,000th goal in top-flight football.  In the 2012–13 season, Ménez was used less prolifically in Ligue 1 matches. With two goals and two assists in five European appearances, however, he has been one of his club's main actors in their Champions League efforts, developing a strong understanding on the pitch with new star striker Zlatan Ibrahimović, another former Serie A player.

A.C. Milan.

In June 2014, Italian club A.C. Milan confirmed that the club had signed Ménez on a three-year contract. On 31 August 2014, Ménez scored a penalty on his debut for Milan against Lazio. He went on to score two goals against Parma helping Milan win the game. His first goal in this game was from a penalty, and the second goal was a beautifully worked backheel finish. On 8 November, Ménez scored a penalty kick and assisted Stephan El Shaarawy's goal as Milan drew Sampdoria 2–2.  On 23 November, Ménez scored a beautiful goal as he calmy converted El Shaarawy's cross in the far net in the "Derby della Madonnina" against Inter. He then scored two goals and was named man of the match in the next game against Udinese. Ménez also continued his impressive form and scored a beautiful goal as he dribbled past 3 defenders and put it in the net as he helped Milan beat Napoli 2–0. Ménez scored two goals and created an assist in the 3–1 defeat of Parma on 1 February. He followed this with a penalty in a 2–2 draw with Hellas Verona on 7 March and a brace in a 3–1 defeat of Cagliari on 21 March, hitting a career high in goals for a single club (15, surpassing his previous best of 14 for PSG). On 4 March 2015, Ménez scored the winning goal after a long solo run against Palermo in a 2–1 victory, Milan's first away win of 2015. Ménez's season, however, ended poorly; on 29 April 2015, he was sent off for a second bookable offensive during the 3–1 defeat against Genoa and was handed a four-match ban for an insulting gesture, also missing the team's last match against Atalanta due to an injury. Ménez ended his first season at Milan as the club's top scorer, with 34 appearances and 16 goals in all competitions.  In the subsequent summer, Ménez suffered back problems and underwent surgery in Monaco. On 21 August, he was ruled out for a month as further back complications arose. An infection meant he missed the first 26 games of the 2015–16 season and was kept from playing until his return in a 2–1 league win over Genoa on 14 February 2016. On 1 March, he started a match for the first time since April 2015, playing 76 minutes and scoring twice in a 5–0 Coppa Italia defeat of Alessandria, sending Milan to the final for the first time since 2003.

Bordeaux.

On 1 August 2016, Bordeaux and Milan reached an agreement for the transfer of Ménez. On 3 August, two days after signing for the club, he was involved in a gruesome incident in a pre-season match against Lorient. The injury occurred in the second-half when Lorient midfielder Didier Ndong inadvertently stood on Ménez's head, causing the former French international to lose part of his right ear in the process. Ménez had only come on as a substitute in the 62nd minute but had to be taken off a little more than 15 minutes later when the incident happened. Ndong offered his apologies to Ménez for his part in the accident, stating, "I offer my apologies to Jeremy Ménez and Girondins de Bordeaux. I give him my full support for the coming days and hope to see him very quickly on the pitches of Ligue 1."

Antalyaspor.

On 9 June 2017, he joined the Turkish club Antalyaspor.

América.

On 5 January 2018, it was announced Ménez had joined Mexican side Club América. He made his Liga MX debut on 27 January against Atlas. He appeared as a substitute in the 67th minute for Cecilio Domínguez in América's 1–0 win. The following week, Ménez scored his first goal for América in a 5–1 against Lobos BUAP. On 10 February, he scored from the penalty spot to equalize the score in América's 1–1 draw against Tigres UANL. On 2 May, he scored two penaltys against Pumas UNAM in the quarterfinals away match, which América would later win 4–1.  On 4 August, during a friendly match against Pachuca, he suffered an anterior cruciate ligament injury ruling him out between 6 and 9 months, leaving him out of the 2019 Torneo Apertura.  On 29 August 2019, it was announced that Ménez and Club América ended their contractual relation on a mutual agreement.

Paris FC.

On 27 September 2019, he signed a one-year contract with French club Paris FC. In June 2020, after the end of the season, Ménez left Paris FC and became a free agent.

International career.

Youth.

Ménez has earned caps with all of France's youth teams. He is a member of the group, commonly known as the "Génération 1987", that produced current internationals Hatem Ben Arfa, Karim Benzema and Samir Nasri, alongside himself. Ménez made his youth international debut with the under-16 team on 11 December 2002 in a friendly match against Greece, playing alongside Nasri and Ben Arfa. In the match, Ménez scored the fifth goal of a 6–1 victory. At the 2003 Aegean Cup in Turkey, he scored goals in three consecutive matches. Ménez scored goals against the Ukraine and Israel and netted his final goal in the third-place match against Belgium.  At the Tournio de Montaigu, Ménez scored three goals, second-best on the team behind Ben Arfa. He scored a goal in the team's 8–0 win over Gabon in the team's opening group match and, in the following match, scored the opening goal in the team's 3–0 win over Russia. In the team's final group stage match against England, Ménez netted another goal in a 3–1 victory. At a regional tournament in Salerno, Italy, Ménez led the team to the title by scoring a double in the final match against the hosts. He also scored two goals in the group matches against Japan and Finland. Ménez finished the under-16 campaign with 14 appearances and a team-leading 12 goals.  With the under-17 team, Ménez, Ben Arfa, and Nasri were joined by Karim Benzema and tasked with the goal of winning the 2004 UEFA European Under-17 Football Championship on home soil. Ménez made his debut with the team in the opening match of the season against Sweden. In the Tournio de Val-de-Marne, he scored one goal. France were crowned champions without conceding a goal. At the 2004 UEFA European Under-17 Football Championship, Ménez contributed to the team's winning the competition by scoring two goals, netting one against Turkey in the group stage and a second in the semi-finals against Portugal. In total with the under-17s, he made 17 appearances and scored 6 goals. Due to increased playing time at his parent club Sochaux, Ménez's stint with the under-18 team was uneventful. Ménez did appear with the team at the 2005 Meridian Cup, scoring five goals in four matches as France were crowned champions.  The foursome of Ben Arfa, Nasri, Benzema and Ménez returned to international play together for under-19 duty. The four were joined by Issiar Dia, Blaise Matuidi and Serge Gakpé with the objective of winning the 2006 UEFA European Under-19 Football Championship. In the first round of qualification for the tournament, Ménez went scoreless as France advanced through the round undefeated. In the final round of qualification, he scored a double against Bulgaria in a 4–0 win. Despite finishing the round undefeated, however, France were eliminated after being beaten on points by Scotland.  Ménez was absent from the under-21 team during his early eligibility term but made his debut on 25 May 2008 in the team's 2–1 friendly match win over the Netherlands. He went months without a call-up before finally returning to the team ahead of the important two-legged playoff against Germany in qualification for the 2009 UEFA European Under-21 Football Championship in October 2008. Ménez appeared in both legs as France were defeated 2–1 on aggregate. The 1–0 loss in the second leg eliminated France from the competition and also ended Ménez's under-21 career.

Senior.

On 5 August 2010, Ménez was called up to the senior team for the first time by new manager Laurent Blanc for the team's friendly match against Norway on 11 August 2010. He made his international debut in the match starting on the right wing as France were defeated 2–1. On 9 February 2011, Ménez assisted on the only goal, scored by Karim Benzema, in the team's 1–0 win over Brazil at the Stade de France. After appearing regularly in qualifying for UEFA Euro 2012, on 29 May 2012, Ménez was named to the squad to participate in the competition. On 5 June, in the team's final warm-up friendly ahead of the Euro, he scored his first international goal in a 4–0 shutout win over Estonia. At Euro 2012, Ménez made his debut at a senior international competition on 15 June in the team's second group stage match against Ukraine. In the contest, he started and scored France's opening goal in a 2–0 victory.

Honours.

Paris Saint-Germain  América  France U17

Jérémy Ménez (; born 7 May 1987) is a French professional footballer who plays as a forward for French club Paris FC. Ménez has been described as an ambidextrous, technically skilled, pacy playmaker.

Jérémy Ménez (* 7. května 1987, Longjumeau, Francie) je francouzský fotbalový útočník a bývalý mládežnický i seniorský reprezentant, od léta roku 2019 působí ve francouzském klubu Paříž FC ve druhé lize.


Early life and education.

He was born in Philadelphia as the eldest son of David Serber and Rose Frankel in a Jewish family. His mother, Rose Serber, died in 1922 and David married Charlotte's cousin Frances Leof in 1928. Robert Serber earned his B.S. in engineering physics from Lehigh University in 1930 and earned his Ph.D. in physics from the University of Wisconsin–Madison with John Van Vleck in 1934. He married Charlotte Leof (26 Jul 1911 – 1967), the daughter of his stepmother's uncle, in 1933.  Shortly before receiving his doctorate, Serber was selected for a National Research Council postdoctoral fellowship and planned on conducting research at Princeton University with Eugene Wigner. However, after spontaneously enrolling at the University of Michigan's physics summer school, he changed his plans and went to work with J. Robert Oppenheimer at the University of California, Berkeley. For the next four years, he shuttled with Oppenheimer between Berkeley and the California Institute of Technology, where Oppenheimer held a secondary faculty appointment. In 1938, he took one of the era's few tenure-track professorships in physics at the University of Illinois at Urbana–Champaign, where he stayed until he was recruited for the Manhattan Project.

Manhattan Project.

He was recruited for the Manhattan Project in 1941, and was in Project Alberta on the dropping of the bomb. When the Los Alamos National Laboratory was first organized, Oppenheimer decided not to compartmentalize the technical information among different departments. This increased the effectiveness of the technical workers in problem solving, and emphasized the urgency of the project in their minds, now they knew what they were working on. So it fell to Serber to give a series of lectures explaining the basic principles and goals of the project. These lectures were printed and supplied to all incoming scientific staff, and became known as "The Los Alamos Primer", LA-1. It was declassified in 1965. Serber developed the first good theory of bomb assembly hydrodynamics. Serber's wife Charlotte Serber was appointed by Oppenheimer to head the technical library at Los Alamos, where she was the only wartime female section leader.  Serber created the code-names for all three design projects, the "Little Boy" (uranium gun), "Thin Man" (plutonium gun), and "Fat Man" (plutonium implosion), according to his reminiscences (1998). The names were based on their design shapes; the "Thin Man" would be a very long device, and the name came from the Dashiell Hammett detective novel and series of movies of the same name; the "Fat Man" bomb would be round and fat and was named after Sydney Greenstreet's character in "The Maltese Falcon" (from Hammett's novel). "Little Boy" would come last and be named only to contrast to the "Thin Man" bomb. This differs from the unsupported theory, now abandoned, that "Fat Man" was named after Churchill and "Thin Man" after Roosevelt (see Links).  Serber was to go on the camera plane for the Nagasaki mission, "Big Stink", but it left without him when group operations officer Major James I. Hopkins ordered him off the plane as he had forgotten his parachute, reportedly after the B-29 had already taxied onto the runway. Since Serber was the only crew member who knew how to operate the high-speed camera, Hopkins had to be instructed by radio from Tinian on its use. Serber was with the first American team to enter Hiroshima and Nagasaki to assess the results of the atomic bombing of the two cities.

Post-war work and personal life.

Although Oppenheimer sought an appointment for Serber in the Berkeley physics department following the end of the war, this was soon forestalled, possibly because of the anti-Semitism of department chair Raymond Thayer Birge. Birge had previously refused to offer a tenure-track appointment to Serber after he received his University of Illinois offer, opining that "one Jew in the department is enough." Oppenheimer prevailed in placing him as head of the theoretical division of the Berkeley Radiation Laboratory under Ernest Lawrence; however, as his mentor segued into policy consultancies and the presidency of the Institute for Advanced Study in 1947, Serber frequently took over his courses, ultimately resulting in his appointment to the Berkeley faculty.  In 1948, Serber had to defend himself against anonymous accusations of disloyalty, mostly because his wife Charlotte's family were Jewish intellectuals with socialist leanings, and also because he tried to remove politics from discussions of the feasibility of the fusion bomb, leading to arguments with Edward Teller. Although he had been cleared of any potential wrongdoing at a subsequent hearing that year, he was denied a prerequisite security clearance for a Japanese physics conference in 1952, precipitating his refusal to join a Teller-chaired Department of Defense advisory group.  While he reluctantly signed the loyalty oath stipulated by the Levering Act for Berkeley personnel in 1950, growing antagonism between Oppenheimer and the more conservative Lawrence eventually spurred his departure. In 1951, he became a professor of physics at Columbia University at the behest of Manhattan Project colleague I. I. Rabi. He served as chair of the department from 1975 until his retirement as professor emeritus in 1978.  At Columbia, Serber served as doctoral advisor to future Nobelist Leon Cooper. He also collaborated with Abraham Pais on meson studies and developed the Serber-Dancoff method, a refined technique for analyzing strong coupling. He also consulted numerous labs, businesses, and commissions, including Brookhaven National Laboratory (where he worked one day a week during the academic year and occasional summers for twenty years) and Fermilab, as a specialist in the proton–proton chain reaction and the focusing properties of particle accelerators. Although largely bereft of any ideology, he refused to join the Defense Department-affiliated JASON consulting group because of his previous clearance issues and opposition to the Vietnam War.  After being diagnosed with Parkinson’s disease, Charlotte Serber suffered from depression and took her own life with an overdose of sleeping pills on May 22, 1967. In the years thereafter, he began a relationship with the widowed Kitty Oppenheimer. She talked him into buying a yawl, which they sailed from New York to Grenada. In 1972, they purchased a ketch, with the intention of sailing through the Panama Canal and to Japan via the Galapagos Islands and Tahiti during Serber's sabbatical. They set out, but Kitty became ill, and was taken to Gorgas Hospital, where she died of an embolism on October 27, 1972. Serber and Toni Oppenheimer scattered her cremains near the Oppenheimers' longtime vacation home in Saint John, U.S. Virgin Islands, which he continued to use.  Following his retirement, he married Fiona St. Clair, a fabric designer from Saint Thomas, U.S. Virgin Islands, in 1979. He adopted her son Zachariah, and they had another son, William, in November 1980.  He served as president of the American Physical Society in 1971. A year later, Serber was awarded the J. Robert Oppenheimer Memorial Prize.  Serber appears in the Oscar-nominated documentary "The Day After Trinity" (1980). In the 1989 movie dramatization of the Manhattan Project, "Fat Man and Little Boy", he was portrayed by H. David Politzer, a professor of theoretical physics at Caltech. Politzer was awarded the Nobel Prize in Physics in 2004.  Serber died June 1, 1997 at his home in Manhattan from complications of surgery for brain cancer.

Robert Serber (March 14, 1909 – June 1, 1997) was an American physicist who participated in the Manhattan Project. Serber's lectures explaining the basic principles and goals of the project were printed and supplied to all incoming scientific staff, and became known as "The Los Alamos Primer". The "New York Times" called him “the intellectual midwife at the birth of the atomic bomb.”

Robert Serber (14. března 1909 – 1. června 1997) byl americký fyzik, který se podílel na projektu Manhattan. Serberovy přednášky vysvětlující základní principy a cíle projektu byly vytištěny a dodány všem příchozím vědeckým pracovníkům, a staly se známé jako "Los Alamoské základy".


Description.

Microraptorians were a group of basal dromaeosaurids (popularly known as 'raptors') with slender proportions and long limbs. With the exception of "Hesperonychus" from the late Cretaceous of North America, all microraptorians have been found in the Yixian and Jifuotang Formations of Liaoning county, China, hence why microraptorians are sometimes referred to as "Liaoning dromaeosaurs". These formations (collectively known as the Jehol group) have been dated to the early Cretaceous and at that time would have been part of a temperate wetland ecosystem threatened by frequent volcanic eruptions. Like other dromaeosaurids, microraptorians were carnivores with relatively large, serrated teeth and an hyper-extendable second toe equipped with a curved claw.

Size and proportions.

Most microraptorians were small dinosaurs, with taxa like "Microraptor" and especially "Zhongjianosaurus" being among the smallest non-avian dinosaurs known. However, some microraptorians, such as "Tianyuraptor" and "Changyuraptor", were larger and similar to other dromaeosaurids in size. Many microraptorians also had long and robust arms and legs, in contrast to the stockier eudromaeosaurs, although long arms are not universal to the group since the basal microraptorian "Tianyuraptor" had unusually short arms by dromaeosaurid standards. Considering this, it is likely that the small size and long wings of some microraptorians are an example of convergent evolution with other small paravians and early birds such as "Anchiornis" and "Archaeopteryx".

Feathers.

The fossilization conditions of the Jehol group are very accommodating to the preservation of soft structures in fossils, and as a result many microraptorians have been preserved with a covering of feathers. Not only have long, advanced feathers been preserved on the arms and tails of many specimens, but a few species even have long feathers on their legs. This condition has also been seen in other paravians such as "Anchiornis", and has caused these kinds of dinosaurs to be labelled as "four-winged dinosaurs". The largest known "four-winged" dinosaur, "Changyuraptor," is a microraptorian. It is possible that some microraptorians such as "Microraptor" were able to use these wings to glide or take off from the ground.

Characteristic features.

Microraptorines can be distinguished from other dromaeosaurids due to the following features: In addition, several features are present in microraptorines with the exception of "Tianyuraptor", which is believed to be a basal member of the clade:

Classification.

Microraptoria is usually classified as a clade of dromaeosaurids. Senter and colleagues expressly coined the name without the subfamily suffix "-inae" to avoid perceived issues with erecting a traditional family-group taxon, should the group be found to lie outside Dromaeosauridae proper. Sereno offered a revised definition of the sub-group containing "Microraptor" to ensure that it would fall within Dromaeosauridae, and erected the subfamily Microraptorinae, attributing it to Senter "et al.", though this usage has only appeared on his online TaxonSearch database and has not been formally published.  The cladogram below follows a 2012 analysis by paleontologists Phil Senter, James I. Kirkland, Donald D. DeBlieux, Scott Madsen and Natalie Toth.

Microraptoria (Greek, μίκρος, mīkros: "small"; Latin, raptor: "one who seizes") is a clade of basal dromaeosaurid theropod dinosaurs. The first microraptorians appeared 125 million years ago in China. Many are known for long feathers on their legs and may have been semi-arboreal powered fliers, some of which even capable of launching from the ground. Most microraptorians were relatively small; adult specimens of "Microraptor" range between ) and weigh up to, making them some of the smallest known dinosaurs.

Microraptoria (mikroraptoři – v překladu „malí lupiči“) byl klad menších dravých dinosaurů – teropodů, podobných a vývojově příbuzných ptákům. Patřili do čeledi Dromaeosauridae a obvykle byli skutečně jen malých rozměrů, dosahovali celkové délky těla od 90 do 180 centimetrů. Nejznámějším rodem je čínský "Microraptor", který patří k nejmenším známým neptačím dinosaurům. V Číně již byly objeveny velmi malé (asi 1 cm dlouhé) stopičky neznámých mikroraptorinů.


List of air carriers banned in the European Union

Legal procedure.

The process by which an air carrier is listed is laid out in Regulation (EC) No 2111/2005 of the European Parliament and Council. It involves consultation among the regulatory agencies of the member states, the institutions of the European Community, the authorities with responsibility for regulatory oversight of the air carrier concerned, and the air carrier itself. Before being listed, each air carrier has the right of appeal. The list is subject to periodic review.  In June 2016, all restrictions on Air Madagascar, Iran Air, Lion Air, Citilink, Batik Air, and all Zambian airlines were removed from the list of air carriers banned in the EU.  On 30 November 2017, Avior Airlines from Venezuela was added to the list because of "unaddressed safety deficiencies." No further details were given at the time.  On 14 June 2018, all remaining Indonesian airlines not already removed from the list were removed from the list of air carriers banned in the EU.  On 3 February 2019, Turkmenistan Airlines was banned from European Union airspace, "pending confirmation that it meets international air safety standards", but the ban was lifted on 16 October 2019.  On 8 December 2019, Gabon's airlines were removed from the list, while the Armenian Civil Aviation Committee was "put under heightened scrutiny because of signs of a decrease in safety oversight", and a new update to the list was published on the next day.  As of January 2020, Syria's airlines are not specifically mentioned on the list, but in practice there is a ban against them in the context of the general EU sanctions against Syria.

List of air carriers.

Annex B.

Annex B of the EU list covers airlines which are restricted to operating only certain aircraft within the EU. Air carriers listed in Annex B could be permitted to exercise traffic rights by using wet-leased aircraft of an air carrier which is not subject to an operating ban, provided that the relevant safety standards are complied with. It includes the following airlines, with the airline license having been issued in the respective countries:

The European Union (EU) publishes a list of air carriers that are banned from entering the airspace of any of its member states for failing to meet EU regulatory oversight standards. The first version of the list was published in 2006, on the legal basis of Regulation No. 474/2006 of the European Commission, issued on 22 March of that year. The current version of the list was published on 4 June 2020.

Seznam leteckých společností zakázaných v Evropské unii je seznam aerolinií, které neplní požadavky EU pro vstup do vzdušného prostoru jakékoliv ze členských zemí. První verze seznamu byla zveřejněna v roce 2006. V současnosti je vydávána evropskou agenturou pro bezpečnost letectví (EASA), mezi roky 2006 až 2008 je vydával předchůdce EASA, JAA.


Biography.

Wessel was born in Jonsrud, Vestby, Akershus, Norway and was one of thirteen children in a family. In 1763, having completed secondary school at Oslo Cathedral School, he went to Denmark for further studies. He attended the University of Copenhagen to study law, but due to financial pressures, could only do so for a year. To survive, he became an assistant land surveyor to his brother and they worked on the Royal Danish Academy of Sciences and Letters' topographical survey of Denmark. This was not enough, however, and he took on extra work as a cartographer. He worked as a surveyor for the rest of his life, stopping only for a sabbatical year in 1778 to finish his law degree. By 1798 had risen to the supervisory role of Royal Inspector of Surveying.  It was the mathematical aspect of surveying that led him to exploring the geometrical significance of complex numbers. His fundamental paper, "Om directionens analytiske betegning," was presented in 1797 to the Royal Danish Academy of Sciences and Letters. Since it was in Danish and published in a journal rarely read outside of Denmark, it went unnoticed for nearly a century. The same results were independently rediscovered by Argand in 1806 and Gauss in 1831.  One of the more prominent ideas presented in "On the Analytical Representation of Direction" was that of vectors. Even though this was not Wessel's main intention with the publication, he felt that a geometrical concept of numbers, with length and direction, was needed. Wessel's approach on addition was: "Two straight lines are added if we unite them in such a way that the second line begins where the first one ends and then pass a straight line from the first to the last point of the united lines. This line is the sum of the united lines". This is the same idea as used today when summing vectors.  Wessel's priority to the idea of a complex number as a point in the complex plane is today universally recognised. His paper was re-issued in French translation in 1897, and in English in 1999 as "On the analytic representation of direction" (eds. Bodil & Lützen).  In 1815, Wessel was made a knight of the Order of the Dannebrog for his contributions to surveying.

Sources.

A Source Book in Mathematics, by David Eugene Smith, has "essential" passages of ""Om directionens analytiske betegning"" translated into English (see page 55).

Caspar Wessel (June 8, 1745, Vestby – March 25, 1818, Copenhagen) was a Danish–Norwegian mathematician and cartographer. In 1799, Wessel was the first person to describe the geometrical interpretation of complex numbers as points in the complex plane. He was the younger brother of poet and playwright Johan Herman Wessel.

Caspar Wessel (8. června 1745, Vestby - 25. března 1818, Kodaň) byl norsko-dánský matematik, kartograf a geodet. Jako první na světě, roku 1799, dospěl ke geometrické a goniometrické interpretaci komplexních čísel a definoval jako první vektorový počet. Dospěl též k Moivreově větě.