Gameplay.

The player directly controls the on-screen character through a third-person perspective to interact with people, objects, and enemies throughout the game. The player can also turn the camera around the characters, which allows for a 360° view of the surroundings. The world of "Final Fantasy XIII" is rendered to scale relative to the characters in it; instead of a caricature of the character roaming around miniature terrain, as found in the earlier "Final Fantasy" games, every area is represented proportionally. The player navigates the world by foot or by chocobo. Players may save their game to a hard disk drive using save stations, where the player can also purchase items from retail networks or upgrade their weapons. An in-game datalog provides a bestiary and incidental information about the world of "Final Fantasy XIII". The "Final Fantasy XIII Ultimate Hits International" version of the game, released in Japan, also contains an "Easy" mode option.

Battle system.

As in "Final Fantasy XII", enemies are integrated into the open field and can be approached or avoided by the player. When the player's character touches an enemy, the screen transitions from the regular map to a separate battle screen similar to those used in previous "Final Fantasy" titles; the character's health is fully restored after each battle.  A maximum of three characters may be used in battles, which use a variant on the series' traditional Active Time Battle (ATB) system

Crystarium.

The Crystarium is a leveling system consisting of six crystals and resembles the Sphere Grid from "Final Fantasy X". Each crystal in the Crystarium represents one of the six roles, and is divided into ten levels. Each level contains various nodes that supply bonuses to

Synopsis.

Setting.

"Final Fantasy XIII" is set on the world of Gran Pulse (often simply called Pulse). Central to the story is Cocoon, a massive artificial sphere that floats above Pulse's surface and is ruled by the Sanctum, a theocratic government. The two worlds are controlled by fal'Cie, mechanical beings with godlike power. The Cocoon fal'Cie are responsible for keeping Cocoon floating, as well as providing light and water to the people that live inside. Each fal'Cie handles a specific task. The fal'Cie have the capability of marking the humans that live in Pulse and Cocoon as their servants. These servants, called l'Cie, are branded with a symbol representing either Pulse or Cocoon and are given a "Focus"—a task to complete. If the l'Cie complete their task in time, they are transformed to crystal

Characters.

The six main playable characters of "Final Fantasy XIII" are Lightning, the main protagonist of the game, a former soldier and older sister to Serah; Snow Villiers, Serah's fiancé and leader of NORA, a paramilitary group; Oerba Dia Vanille, the game's narrator and an exile who is later revealed to be a l'Cie from

Plot.

In Cocoon, the citizens of the town of Bodhum are being evicted, or Purged, after coming in contact with something from Pulse. Over the course of the game, the player is shown flashbacks of the events of the previous thirteen days, which began when a fal'Cie from Pulse was discovered near Bodhum. Lightning's sister Serah had found the fal'Cie from Pulse and been changed into a l'Cie by it. Lightning and Sazh derail a Purge train bound for Pulse in an attempt to save Serah. As Snow leads his resistance group NORA to rescue the Purge exiles, several of them are killed. Heading to the fal'Cie Anima to save Serah, Snow is joined by two of the

Development.

Development of "Final Fantasy XIII" began in February 2004, shortly after the release of "Final Fantasy X-2 International + Last Mission" in Japan. At the time, the project was internally referred to by the codename "Colors World". Over the first year, director Motomu Toriyama and scenario conceptor Kazushige Nojima conceived ideas for the plot. Nojima thought up the crystal mythology that became the basis for the "Fabula Nova Crystallis" series, including concepts such as the fal'Cie and l'Cie. Toriyama then created a story premised on this mythology. He wanted to portray "characters at the mercy of a predetermined, unjust fate" who "belong together but collide heavily". In order to achieve this, each of the story's thirteen chapters was made to focus on different protagonists. Chapters seven and eight were to mark a turning point in the interpersonal relationships of the party.  In March 2006, when the structural part of the narrative started to come together, lead scenario writer Daisuke Watanabe joined the team. Toriyama gave him a rough outline of the first eight chapters, which included several cornerstone scenes that needed to be kept, like when party members were separated or reunited. He told Watanabe what he wanted to express with the scenario, and asked him to flesh out the story and to strengthen how the points in his outline connected. For example, Toriyama's rudimentary instructions in the document would say "Snow and Hope reconcile". Watanabe had to decide about how the scenes with this reconciliation would play out, then write the scenario that way. To emphasize what the story tried to express, Watanabe adjusted the personalities Toriyama had given to each character. For example, he felt that the party should not have a "reliable and calm leader type" at the beginning of the story, in order to more accurately show the confusion and unease after the protagonists transform into l'Cie. Toriyama has said that one of the storytelling challenges was the despair of the characters and the many points at which they are seemingly cornered. He mentioned the scene where Sazh tries to commit suicide as one such example: Although Toriyama felt it was "almost a little too dark", he wanted to include something like it in the game. In contrast, he said that lighthearted elements such as Sazh's Chocobo chick helped maintain a good balance.  At the beginning of the development, the game was intended to be released on the PlayStation 2. In May 2005, however, after the positive reception of the tech demo of "Final Fantasy VII", the team decided to move the game to the PlayStation 3 and developed it with the new Crystal Tools engine, a seventh generation multiplatform game engine created by Square Enix for its next generation games. Square Enix believed that developing a new engine would speed up development time later in the project, though it would initially cause a delay in the game's development. However, the delay was longer than originally anticipated as the engine had to accommodate the requirements of several other games in addition to "XIII". Another factor in the platform move was the delayed release of "Final Fantasy XII", which came out a very short time before the release of the PlayStation 3. A PC port was considered during development, but was decided against due to how Square Enix saw the video game market situation at the time as well as additional complexities that Square Enix did not have experience with related to the PC platform, such as security issues. "Final Fantasy XIII" was first shown at the 2006 E3 convention. The trailer shown was an artistic concept that did not represent the final concept for the game, since at the time there was no playable form of the game. Announced alongside the game was "Final Fantasy Versus XIII", later retitled as "Final Fantasy XV", and the PlayStation Portable game "Final Fantasy Type-0", originally titled "Final Fantasy Agito XIII", the three of which form the "Fabula Nova Crystallis Final Fantasy" series. Square Enix explained that although all three games are thematically linked, they are not directly related in terms of story.  The developers for "Final Fantasy XIII" were divided into multiple areas, with each developer or team focusing only on a specific task such as developing a specific in-game area or modeling characters. Each physical area of the game was developed separately; after an initial design was approved, teams were assigned to a specific location and filled in details without reusing assets from other areas. Several of the game's developers had worked on previous installments of the series. Director Motomu Toriyama had worked on "Final Fantasy X" and "X-2"; producer Yoshinori Kitase had worked on "V" through "VIII" and as the producer for "X" and "X-2"; main-character designer Tetsuya Nomura had performed the same role for "VII", "VIII", "X", and "X-2", and battle-system director Toshiro Tsuchida reprised that role from "Final Fantasy X". As "XIII" was the first "Final Fantasy" game for the PlayStation 3, the development team's internal goal was for the game to have the same "gameplay and craftmanship" impact that "Final Fantasy VII" and "X" had as the first games of the series on their respective consoles. They aimed to sell five million copies of the game. Toriyama wanted the game to be "the ultimate single player RPG".  Tsuchida's concept for the battle system was to maintain the strategic nature of command-based battles. The system stemmed from a desire to create battles similar to those found in the film "". Magic points (MP), which had been a part of the battle system in previous "Final Fantasy" titles, were removed in the game's battle system as Tsuchida and the other designers felt that it gave players an incentive to not use their most powerful magic attacks due to the MP cost, in turn making battles less interesting. The Paradigm system was designed early in the battle system's development, with the intent of making battles rely on quickly changing strategies and feel fast-moving. Originally there were only five roles, but the Saboteur was later added as the designers felt that its abilities were missing from the game and did not fit with the other roles. Together with the maximum of three characters in a combat situation, the groupings of enemies were designed to force the player to switch Paradigms to keep them engaged in the battles.  Toriyama wanted Lightning to be a new type of female character with an athlete's body and a less feminine nature than some of the previous female characters of the series. His guideline to Nomura was to make her "strong and beautiful", and she was intended to be reminiscent of "Final Fantasy VII"s Cloud Strife. Fang was initially meant to be a male character, but the gender was changed to coincide with the updated character designs during the latter part of development. The graphics capabilities of the PS3 and Xbox 360 compared to previous consoles allowed Nomura to use more complex elements in the character designs than before, such as Lightning's cape and detailed facial features. This in turn meant that the art team had to do much more work for each character or area than in previous games. Nomura did not take an involved role in the creation of the non-playable characters.  Unlike previous games in the series which were more inspired by Asian locations and culture, "Final Fantasy XIII" was intended by the art team to be reminiscent of the United States. Pulse was based on landscape photographs the team took from across the country, and Cocoon was intended to be a "melting pot" of different ethnicities. The setting was also given a science fiction aesthetic to make it stand out more in comparison with other entries in the series. Art director Isamu Kamikokuryo revealed that many additional scenarios such as Lightning's home, which were functioning in an unreleased build during development, were left out of the final version due to concerns about the game's length and volume. Kamikokuryo said the content they cut was, in itself, enough to make another game. According to Toriyama, the cuts were made in "various stages of [the game's] development", and that some of the content was removed just before the game's completion. The game, unlike previous titles in the series, includes no explorable town areas; Toriyama said in an interview that the team was unable to make them as graphically appealing as the rest of the game and chose to eliminate them. Toriyama intended to have a piece of downloadable content available for the game that would include a new area, weapons and quests, but was forced to cut it as well due to quality concerns so late in the project and difficulties with the different systems for extra content on the two gaming consoles.  A playable demo of "Final Fantasy XIII" was included in the Japanese version of "", released on April 16, 2009. Toriyama stated that the release of the demo, which was not in the original development schedule, helped the team recognize a shared vision for what the game should look and feel like, a problem which had been plaguing the development team up until then. It helped the team prioritize the work that still needed to be done, which increased the development speed for the remainder of the project. The game was intended to appeal to both Western and Japanese audiences, and focus groups from both regions were used. The English localization began while development was still in progress to lessen the delay between the Japanese and worldwide releases. The game was initially going to be released solely for the PlayStation 3, but an Xbox 360 version was announced late in the game's development cycle. The Xbox version, due to technical limitations, runs at a lower resolution (720p maximum) than the PlayStation version and is spread across 3 discs.

Versions and merchandise.

The game was released in Japan on December 17, 2009, and in North America, Europe and Australia on March 9, 2010. Alongside the release of the game in Japan, Japanese alcoholic beverage distributor Suntory released the "Final Fantasy XIII Elixir" to promote the game. On the same day, a "Final Fantasy XIII" PlayStation Home personal space was made available for free in Japan until January 13, 2010, along with a costume and personal space furnishings; they were released to the Asian, European, and North American versions of PlayStation Home on March 11, 2010. On December 18, 2012, the game was re-released as part of the "Final Fantasy 25th Anniversary Ultimate Box" Japanese package. It was re-released again on November 21, 2013, as part of the Lightning Ultimate box, a Japan exclusive edition which includes "Final Fantasy XIII" and its two sequels.  The game was released bundled with consoles in different regions. The game was bundled in Japan with a limited-edition white PlayStation 3 with a pink color print of Lightning on the surface of the console, and with an Xbox 360 with the silver strip on the hard drive emblazoned with the "Final Fantasy XIII" logo in the western release. A limited quantity of themed Xbox faceplates created by Nomura were made available through a select few retailers in Europe, North America, and Australia. PAL territories received a limited collector's edition of the game for both Xbox 360 and PlayStation 3, with the "Final Fantasy XIII Original Sound Selection" "best of" soundtrack CD, three Eidolon art

Reception.

"Final Fantasy XIII" sold over one million units on its first day of sale in Japan, and had sold 1.7 million copies for the PlayStation 3 in Japan by the end of 2009, and 1.9 million by the end of 2010. Square Enix had anticipated high initial sales for the game and shipped close to two million units for its launch. The game sold more than one million copies in North America in its release month. In March 2010, Square Enix stated that "Final Fantasy XIII" was the fastest-selling title in the franchise's history. By April of the same year, American game sales for the PlayStation 3 and Xbox 360 reached an estimated 800,000 and 500,000 units respectively. According to Media Create, female gamers accounted for nearly a third of the game's Japanese fanbase. As of July 2012, a combined total of 9.7 million units has been sold on consoles for both "Final Fantasy XIII" and its sequel "Final Fantasy XIII-2". As of January 2013, the game had sold 6.6 million copies worldwide. In September 2014, Square Enix announced the "Final Fantasy XIII" series has been widely successful and has shipped over 11 million copies worldwide. In November 2018, the series was added to Xbox One backwards compatibility. As of 2017, the game has sold over 7 million copies worldwide on consoles. By April 2018, the Windows version has sold over 746,000 copies according to SteamSpy.  "Final Fantasy XIII" received generally positive reviews. Review aggregator website Metacritic gave the PlayStation 3 version 83/100 based on 83 reviews, the Xbox 360 version 82/100 based on 54 reviews, and the Microsoft Windows version 65/100 based on 6 reviews. It was rated 39 out of 40 by the Japanese gaming magazine "Famitsu". "Dengeki" praised the game for the battle system, stating that the battles are by far the most exciting in the series, and concluded "Final Fantasy XIII" deserved a score of 120, as 100 would not be enough. The game was voted as the second best game of 2009 in Dengeki Online's reader poll, and in January 2010, it was voted the best game ever in "Famitsu" reader poll. The game received a Best RPG of the year award nomination at the Spike Video Game Awards, but lost to "Mass Effect 2". It won the "Future Division" award at the Japan Game Awards 2009 and later won a Game Designers Award at the Japan Game Awards 2010.  Universal praise was given to the technical milestones achieved by the game's graphics and presentation. "Edge" felt that Cocoon in particular was an "inspired setting [...] blessed with a vibrancy and vivid colour that often leaves you open-mouthed". GameSpot called the art design "magnificent". Further praise was given to the pre-rendered animation sequences and the almost seamless transition of visual quality between these and the realtime gameplay. Many also appreciated the game's soundtrack, with Masashi Hamauzu providing "a score with catchy hooks and blood-pumping battle melodies", according to "Wired".  The battle system of "Final Fantasy XIII" received widespread praise. The increased pace of battles was appreciated, with several reviews describing it as "thrilling"; "Edge"s description of the battle system summarized it as "among the genre's finest". 1UP.com said that "Despite the fact that two-thirds of your party is AI-controlled, FFXIII's battles may be the most involving the series has ever seen." The story got a mixed reception, with "Wired" remarking that the plot was "a little more human and less esoteric than in previous games". 1UP.com felt that the story was "hardly world-class writing", but that the writers clearly knew the medium well and had attempted to avoid clichés. Reviewers felt that the characters worked well together, and that the interactions among them as the game progressed made up for shortcomings in the story.

Sequels.

At the Square Enix First Production Department Conference held on January 18, 2011, Square Enix announced that they were developing a direct sequel to "Final Fantasy XIII", entitled "Final Fantasy XIII-2", which they intended to build on the game's story and characters while taking on board the criticism and other feedback about the original. It was released on December 15, 2011, in Japan, January 31, 2012, in North America and February 3, 2012, in Europe, for both the PlayStation 3 and the Xbox 360. Motomu Toriyama and Yoshinori Kitase returned to their respective roles as director and producer. The game begins three years after the events of "Final Fantasy XIII", and features Serah and newcomer Noel as the main protagonists. "XIII-2" is the fifth sequel game in the "Final Fantasy" series, after "Final Fantasy X-2", "", "", and "". Most of the team returned again to create a second sequel entitled "", meant to wrap up the story of Lightning and the "Final Fantasy XIII" universe. The game was released in November 2013 in Japan and in February 2014 in North America and Europe. Toriyama stated in the "Ultimania Omega" companion book prior to "XIII-2"s announcement that he hoped to write a story "where Lightning ends up happy", though at the time Square Enix had no plans to make a sequel.

Final Fantasy XIII is a science fantasy role-playing video game developed and published by Square Enix for the PlayStation 3 and Xbox 360 consoles and later for the Microsoft Windows operating system. Released in Japan in December 2009 and worldwide in March 2010, it is the thirteenth title in the mainline "Final Fantasy" series. The game includes fast-paced combat, a new system for the series for determining which abilities are developed for the characters called "Crystarium", and a customizable "Paradigm" system to control which abilities are used by the characters. "Final Fantasy XIII" includes elements from the previous games in the series, such as summoned monsters, chocobos, and airships.

Final Fantasy XIII ("ファイナルファンタジーXIII - Fainaru Fantadží Sátýn") je videohra typu RPG od japonské firmy Square Enix pro platformy PlayStation 3, Xbox 360 a později i prostřednictvím sítě Steam i pro Microsoft Windows. V Japonsku vyšla v prosinci 2009 a ve zbytku světa v březnu 2010 jakožto třinácté dílo ze série. Pro hráče na PC byla třináctka k dispozici až od 9. října 2014 prostřednictvím služby Steam. Tento díl přinesl značné změny jak v soubojovém systému, tak i ve způsobu vývoje postav, avšak zachovává velké množství elementů z předchozích dílů, jako využívání vyvolávaných bytostí nebo recyklaci názvů příšer, schopností, jmen postav apod. Hlavní hrdinkou je bývalá vojákyně, která si říká „Lightning“. Žila a sloužila v armádní složce zodpovědné za lov nestvůr, avšak jediná událost jí převrátila život vzhůru nohama a stala se psancem, zatíženým blíže nespecifikovaným úkolem, jehož nesplnění by ji proměnilo v ohavnou nemyslící zrůdu.


History.

The club was established in 1927 and played in local leagues until World War II. In 1946 they joined the Thurrock Combination League, and went on to win the Essex Junior Cup in 1948 and 1949. In 1949 the club joined Division Two of the London League. They finished fourth in their first season, and were promoted to Division One. The following season they won Division One, but were not promoted to the Premier Division. However, despite finishing ninth in 1952–53, they were promoted. After finishing seventh, then third in their first two seasons in the Premier Division, they won the division in 1954–55. In 1957 the club switched to the Delphian League, finishing as runners-up in their first season. When the league folded in 1963 they joined Division Two of the Athenian League. After finishing second in 1968–69, the club was promoted to Division One. They won the Division One title in 1970–71, earning promotion to the Premier Division.  In 1973 Aveley joined Division Two of the Isthmian League, which became Division One in 1977. They won the Essex Thameside Trophy in 1979–80 and the Hornchurch Charity Cup in 1982–83. In 1985–86 they finished bottom of the division, and were relegated to Division Two North. After finishing second in 1989–90, a season in which they also became the first club from the bottom division to win the League Cup, the club was promoted back to Division One. Although they finished fourth in their first season back in Division One, the club finished bottom of the division the following season, but were not relegated. However, in 1992–93 they finished bottom again and were relegated to Division Two. In 1994–95 the club were relegated to Division Three, where they remained until 2002, when league reorganisation saw them placed in Division One North.  Aveley were transferred to Division One East of the Southern League in 2004, before returning to Division One North of the Isthmian League in 2006. They won the division in 2008–09, and were promoted to the Premier Division. After finishing third in Isthmian League under manager Rod Stringer, the club lost in the promotion play-off semi-finals to eventual winners Boreham Wood. In 2011–12 the club were relegated back to Division One North after finishing third-from-bottom. In their first season in Division One they finished fifth and qualified for the promotion play-offs. They lost 3–1 to Maldon & Tiptree in the semi-finals.

Ground.

The club played at Lodge Meadow until moving to Mill Field in 1952, at which point they gained the nickname "the Millers". The new ground was built by supporters on land they had purchased, and a stand was bought from Grays Athletic for £100, subsequently becoming known as the Pepper Stand. The ground was opened with a local derby match against Grays.Terracing was installed on the other side of the ground, on which a 400-seat wooden stand was erected in 1958 at a cost of £2,600, together with additional terracing. Floodlights were installed in 1967, with Grays again the visitors for the first match played under them. At the time of its closure, the ground had a capacity of 4,000, of which 400 was seated and covered.  During the 2010s the club bought the site of a former gravel pit from Thurrock Council using money raised from selling Mill Field to developers. The 2016–17 season being the club's last at Mill Field, as the moved to Parkside for the start of the 2017–18 season. The new ground featured two seated stands on either side of the pitch, one of which was built into the clubhouse, with the clubhouse roof overhang providing cover. Two covered terraces were erected behind each goal, either side of the goalmouth, whilst an artificial pitch was installed. In 2018, Parkside hosted a number of games in the CONIFA World Cup.

Aveley Football Club are a football club based in Aveley, Essex, England. They are currently members of the and play at Parkside.

Aveley FC (celým názvem: Aveley Football Club) je anglický fotbalový klub, který sídlí ve městě Aveley v nemetropolitním hrabství Essex. Založen byl v roce 1927. Od sezóny 2018/19 hraje v Isthmian League North Division (osmá nejvyšší soutěž v Anglii). Klubové barvy jsou modrá a bílá.


Etymology.

Most modern Celticists regard the tribal name "Uolcae" as being related to (hawk); perhaps related at the Proto-Indo-European level to Latin "falco" (hawk). Compare the Gaulish personal name "Catuuolcus" to Welsh "cadwalch" 'hero', literally 'battle-hawk', though some prefer to translate Gaulish "*uolco-" as 'wolf' and, by semantic extension, 'errant warrior'.  The name "Tectosages", literally 'possession-seekers', meant 'claim-stakers', perhaps closer in sense to 'claim-jumper' or 'land grabber', and a direct cognate is found in Old Irish "techtaigidir" 'he/she seeks to (re)establish a land claim'.

Volcae of the Danube.

Julius Caesar was convinced that the Volcae had originally been settled east of the Rhine, for he mentioned the Volcae Tectosages as a Gaulish tribe which still remained in western Germany in his day ("Gallic Wars" 6.24):  Caesar related a tradition associating the Celtic tribe of the Volcae to the vast Hercynian Forest, though they were more probably to be located in the eastern range of the České Středohoří; yet, Volcae of his time were settled in Moravia, east of the Boii. Their apparent movement may indicate that the Volcae were newcomers to the region. Caesar's remark about the wealth of this region may have referred not only to agriculture but also to the mineral deposits there, while the renown attributed to the Volcae "in peace and in war" resulted from their metallurgical skills and the quality of their weapons, both attracting the attention of their northern neighbors. Together with the Boii in the upper basin of the Elbe river to the west and the Cotini in Slovakia to the east, this area of Celtic settlement in "oppida" led to the exploitation of natural resources on a grand scale and the concentration of skilled craftsmen under the patronage of strong and wealthy chieftains. This culture flourished from the mid second to the mid-1st century BCE, until it buckled under the combined pressure of the Germanic peoples from the North and the Dacians from the East.  Allowance must be made for Julius Caesar's usual equation of primitive poverty with admirable hardihood and military prowess and his connection of luxurious imports and the proximity of "civilization", meaning his own, with softness and decadence. In fact, long-established trading connections furnished Gaulish elites with Baltic amber and Greek and Etruscan wares.  Caesar took it as a given that the Celts in the Hercynian Forest were emigrant settlers from Gaul who had "seized" the land, but modern archeology identifies the region as part of the La Tène homeland. As Henry Howarth noted a century ago, "The Tectosages reported by Caesar as still being around the Hercynian forest were in fact living in the old homes of their race, whence a portion of them set out on their great expedition against Greece, and eventually settled in Galatia, in Asia Minor, where one of the tribes was called Tectosages."

Volcae of Gaul.

Volcae Arecomici.

The Volcae Arecomici ( of Ptolemy's "Geography" ii), according to Strabo, dwelt on the western side of the lower Rhône, with their metropolis at Narbo (Narbonne): "Narbo is spoken of as the naval-station of these people alone, though it would be fairer to add 'and of the rest of Celtica', so greatly has it surpassed the others in the number of people who use it as a trade-centre." They were not alone in occupying their territory, with its capital at Nemausus (Nîmes).  The Volcae Arecomici of their own accord surrendered to the Roman Republic in 121 BC. They occupied the district between the Garonne ("Garumna"), the Cévennes ("Cebenna mons"), and the Rhône. This area covered most of the western part of the Roman province of Gallia Narbonensis. They held their assemblies in the sacred wood of Nemausus, the site of modern Nîmes.  In Gaul they were divided into two tribes in widely separated regions, the Arecomici on the east, living among the Ligures, and the Tectosages (whose territory included that of the Tolosates) on the west, living among the Aquitani; the territories were separated by the Hérault ("Arauris") or a line between the Hérault and the Orb ("Orbis").

Volcae Tectosages.

West of the Arecomici the Volcae Tectosages (whose territory included that of the Tolosates) lived among the Aquitani; the territories were separated by the Hérault ("Arauris") or a line between the Hérault River and the Orb ("Orbis"). Strabo says the Volcae Tectosages came originally from the region near modern Toulouse and were part of the Volcae.  The territory of the Volcae Tectosages (Οὐόλκαι Τεκτόσαγες of Ptolemy's "Geography" ii) in Gaul lay outside the Roman Republic, to the southwest of the Volcae Arecomici. From the 3rd century BC, the capital city of the Volcae Tectosages was "Tolosa" (Toulouse). When the Cimbri and Teutones invaded Gaul, the Tectosages allied themselves with them, and their town Tolosa was sacked in retribution by Quintus Servilius Caepio in 106 BC. Tolosa was incorporated into the Roman Republic as part of the province of Gallia Aquitania with the conquest of Gaul by Julius Caesar in 52 BC. The Roman conquest of Tolosa ended the cultural identity of the Volcae Tectosages.  According to Ptolemy's "Geography", their inland towns were Illiberis, Ruscino, Tolosa colonia, Cessero, Carcaso, Baetirae, and Narbo colonia.  The Volcae Tectosages were among the successful raiders of the Delphi expedition and were said to have transported their booty to Tolosa. A significant part of these raiders however did not return and crossed the Bosporus instead. As a result, Tectosages was also the name of one of the three great communities of Gauls who invaded and settled in Anatolia in the country called after them "Galatia".  Venceslas Kruta suggests that their movement into this region was probably motivated by a Carthaginian recruiting post situated close by, a main attraction of the region for Celtic mercenaries eager for more campaigning. Indeed, after crossing the Pyrenees in 218 BC, Hannibal in travelling through southern Gaul was greeted by warlike tribes: the Volcae, the Arverni, the Allobroges, and the Gaesatae of the Rhône Valley, who rose to prominence around the middle of the 3rd century BC. From around that time, this part of Gaul underwent a process of stabilization buttressed by the formation of new and powerful tribal confederations as well as the development of new-style settlements resembling the urban centers of the Mediterranean world, of which Tolosa and Nemausus (Nîmes) were no exception.  In 107, the Volcae, allies of the Tigurini, a branch of the Helvetii who belonged to a coalition that formed around the Cimbri and the Teutons, defeated a Roman army at Tolosa. In 106-5, Q. Servilius Caepio was sent with an army to put down the revolt, and as a result, Tolosa was sacked, and thereafter the town and its territory were absorbed into Gallia Narbonensis, thereby establishing firm control over the western Gallic trade corridor along the Carcassonne Gap and the Garonne. The Volcae were highly influential in Moravia, and together with the Boii and the Cotini and other Danubian tribes, they controlled a highly active network of trade routes connected to the Mediterranean and the German lands. The prowess of these tribes and their proximity led to their name being borrowed into Germanic as *"Walhaz", a generic term for "Celt" and eventually "Roman" as the two cultures merged in time. This word has been applied widely to any former Roman provincials, including the Welsh, Italians, and French. Compare: English "Welsh", Flemish Dutch "waalsch" "Walloons", German "welsch" "French", Switzerland German "Churwelsch" "Churer Romance" (an old name for Romansh, which used to be spoken in Chur), Old Norse "Valir" "Roman; French". The word was also borrowed by the Slavs, who used it to refer to the Vlachs. Polish applied it not only to Vlachs ("Wołosi") but also Italians ("Włosi"); the same pair of ethnonyms also exist in Czech: "Valaši" (= Vlachs or Wallachians) & "Vlaši" (= an archaic denomination for Italians). Moreover, Hungarian name of Italy ("Olaszország") and the archaical ethnonym "Oláhok" (meaning Wallach, i.e., Romanian) are derived from the same root.  More examples in German as used in Switzerland include "Welschschweiz" "French-speaking Switzerland", "Welschdörfli" "Romansh Village" a historic section of Chur, and "Welschgraben" "French trenches" formerly a Burgundian defensive barrier. (See German.)  The name "Walhaz" is contained in Wallachia, Wallonia, and also, in the original meaning of "Gallic" or "Roman" appears in the word walnut and Old English "Galwal" "Gaul; France".

The Volcae () were a tribal confederation constituted before the raid of combined Gauls that invaded Macedonia c. 270 BC and fought the assembled Greeks at the Battle of Thermopylae in 279 BC. Tribes known by the name Volcae were found simultaneously in southern Gaul, Moravia, the Ebro valley of the Iberian Peninsula, and Galatia in Anatolia. The Volcae appear to have been part of the late La Tène material culture, and a Celtic identity has been attributed to the Volcae, based on mentions in Greek and Latin sources as well as onomastic evidence. Driven by highly mobile groups operating outside the tribal system and comprising diverse elements, the Volcae were one of the new ethnic entities formed during the Celtic military expansion at the beginning of the 3rd century BC. Collecting in the famous excursion into the Balkans, ostensibly, from the Hellene point of view, to raid Delphi, a branch of the Volcae split from the main group on the way into the Balkans and joined two other tribes, the Tolistobogii and the Trocmi, to settle in central Anatolia and establish a new identity as the Galatians.

Volkové-Tektoságové byly keltské kmeny, o nichž se hovoří v antických pramenech (Caesar). Žili ve Francii, na Balkáně, v Malé Asii (dnešní Turecko) a připisují se jim i keltské památky na území České republiky, zejména na Moravě. S dalšími keltskými kmeny utvořili po roce 278 př. n. l. Galatské království. Někteří numismatikové jim přisuzují vedlejší řady zlatých ražeb v severozápadním kvadrantu Čech i mince s "tektoságským" křížem na jihu Německa. O toto určení se však vedou spory.


Historical context.

The Holy Roman Emperor Joseph II ruled as co-regent of the Habsburg Monarchy with his mother, Maria Theresa, from 1765 to 1780. The empress's July Decree of 1770 granted the peasants the right to justice through royal officials rather than their lords' courts. The Patent of 1772 even granted them the right to appeal to the sovereign, and limited the "robot" (labour that lords could demand of their serfs) to three days a week and twelve hours a day. The October Decree of 1773 capped the price of letters of release, which serfs could buy from their lords to gain their freedom.  Following her death in 1780, Joseph II pursued further liberal reforms. His policies included the 1781 Edict of Toleration, in which the Roman Catholic Emperor granted Protestant denominations more equality than in the past. This represented a tremendous change from the Catholic-centered policies of his mother. Joseph was an enlightened absolutist ruler, incorporating reason and Enlightenment ideals into his administration. Emperor Joseph’s enlightened despot contemporaries, Catherine the Great of Russia and Frederick the Great of Prussia, both claimed to detest feudalism yet chose to appease their noble classes by strengthening the serfdom system during their years in power. Author T. K. E. Blemming describes the rulers' compromises, arguing that "in exchange for absolute power at a national level it was necessary to hand over to them [nobles] absolute power on their estates." Joseph refused to give in to the nobles’ demands, which would soon create difficulties in the implementation of his decrees.

The motivations of Joseph II.

Much of the Habsburg economy was based on agriculture in the 18th century. The nobles and clerics were traditionally exempt from taxes, and the burden fell mainly on the peasants. After paying dues to the landlord, the serfs were unable to create high tax revenues for Joseph's centralized state. The Emperor recognized that the abolishment of the feudal system would allow peasants to pay higher tax rates to the state. Joseph’s primary objection to feudalism was economic, but his moral objections also arose from witnessing the “inhumanity of serfdom”. He abolished beatings and hoped to allow serfs to appeal court rulings to the throne following a reorganization of the landlord judicial system.

Consequences of the Serfdom Patent.

The Patent was enforced differently amongst all of the various Habsburg lands. The nobility in Bohemia refused to enact its provisions, while the Transylvanian nobles simply refused to notify the peasants in their region about this emancipation document. The Hungarian estates claimed that their peasants were not serfs, but “tenants in fee simple, who were fully informed as to their rights and duties by precise contracts” and continued to restrict these “tenants”. In contrast, the peasants of the German-speaking provinces were actually aided by the Patent. The 1781 Serfdom Patent allowed the serfs legal rights in the Habsburg monarchy, but the document did not affect the financial dues and the physical corvée (unpaid labor) that the serfs legally owed to their landlords. Joseph II recognized the importance of these further reforms, continually attempting to destroy the economic subjugation through related laws, such as his Tax Decree of 1789. This new law would have finally realized Emperor Joseph II’s ambition to modernize Habsburg society, allowing for the end of corvée and the beginning of lesser tax obligations. Joseph’s latter reforms were withdrawn upon his death, but the personal freedom of serfs remained guaranteed through the first half of the nineteenth century due to the consequences of the 1781 Serfdom Patent.

The Serfdom Patent of 1 November 1781 aimed to abolish aspects of the traditional serfdom () system of the Habsburg Monarchy through the establishment of basic civil liberties for the serfs.

Patent o zrušení nevolnictví byl výnos římského císaře a českého krále Josefa II. z 1. listopadu 1781, který pro české země zrušil nevolnictví, či jak je psáno v patentu „tělesné poddanství neboli člověčenství", a nahradil je „mírným poddanstvím podle příkladu zemí rakouských". Byla zrušena bezprostřední osobní závislost poddaných na vrchnosti, poddaný se stával osobně svobodným. Poddaní tak nově získali právo uzavírat manželství bez souhlasu vrchnosti, svobodně se stěhovat, odcházet pracovat a studovat i mimo hranice panství.


History.

The abbey was founded in about 1070 by Countess Alberada of Schweinfurt and her husband, Count Hermann of Habsburg-Kastl, and until the secularisation of 1803 was the oldest monastery on the upper Main.  In the late Middle Ages and until 1575 only members of the nobility were accepted as monks.  After the Thirty Years' War the abbey had to be rebuilt. The abbots Eucharius Weiner and Kilian Düring commissioned Johann Leonhard Dientzenhofer and after his death in 1707, his brother Johann Dientzenhofer. Construction began in 1698. The church, built in of Baroque style, was consecrated in 1719. The interior is built, not with right angles, but with a series of ellipses. The main altar, the chancel and the statues of saints in the church and on the facade are by Balthasar Esterbauer; the ceiling frescoes are by Melchior Steidl. The choir stalls were made by the court cabinet maker and ebonist of Schönborn, Johann Georg Nesstfell.  In the second half of the 18th century Banz Abbey was known throughout the Holy Roman Empire as a place of Catholic enlightenment and for the scholarship of its monks. This did not save it from secularisation and dissolution in 1803.

After dissolution.

In 1813 Duke Wilhelm in Bavaria, acquired the former abbey premises, which were thereafter known as Schloss Banz ("Banz Castle").  In 1933 Duke Ludwig Wilhelm in Bavaria, sold the buildings to the Community of the Holy Angels (""Gemeinschaft von den heiligen Engeln""), an order dedicated to the spiritual care of expatriate Germans. Since 1978 the former monastery has been in the possession of the Hanns Seidel Foundation, an organisation closely associated with the political party CSU, and is used as a conference centre. It also accommodates a collection of fossils and other curiosities, such as Egyptian mummies.  The estate of the former monastery, including vast forests, is today owned by Duke Max Emanuel's eldest daughter Sophie, Hereditary Princess of Liechtenstein.

Banz Abbey (German: "Kloster Banz"), now known as Banz Castle (German: "Schloss Banz"), is a former Benedictine monastery, since 1978 a part of the town of Bad Staffelstein north of Bamberg, Bavaria, southern Germany.

Klášter Banz ( "Kloster Banz") nebo opatství Banz, které nyní známé také jako Zámek Banz ( "Schloss Banz"), je bývalým benediktinským klášterem, který od roku 1978 patří územím k bavorskému městu Bad Staffelstein nacházející se severně od Bamberku.


Education.

In 1896, Boris Podolsky was born into a poor Jewish family in Taganrog, in the Don Host Oblast of the Russian Empire, and he moved to the United States in 1913. After receiving a Bachelor of Science degree in Electrical Engineering from the University of Southern California in 1918, he served in the US Army and then worked at the Los Angeles Bureau of Power and Light. In 1926, he obtained an MS in Mathematics from the University of Southern California. In 1928, he received a PhD in Theoretical Physics (under Paul Sophus Epstein) from Caltech.

Career.

Under a National Research Council Fellowship, Podolsky spent a year at the University of California, Berkeley, followed by a year at Leipzig University. In 1930, he returned to Caltech, working with Richard C. Tolman for one year. He then went to the Ukrainian Institute of Physics and Technology (Kharkiv, USSR), collaborating with Vladimir Fock, Paul Dirac (who was there on a visit), and Lev Landau. In 1932 he published a seminal early paper on Quantum Electrodynamics with Dirac and Fock, In 1933, he returned to the US with a fellowship from the Institute for Advanced Study, Princeton.  In a letter dated November 10, 1933, to Abraham Flexner, founding Director of the Institute for Advanced Study at Princeton, Einstein described Podolsky as ""one of the most brilliant of the younger men who has worked and published with [Paul] Dirac"." In 1935 Einstein and others at the Institute wrote letters of recommendation for Podolsky, addressed to Louis T. More, Dean of the Graduate School of the University of Cincinnati, in which Einstein wrote, ""I am happy to be able to tell you that I estimate Podolsky’s abilities very highly.. he is an independent investigator of unquestionable talent"." In 1935, Podolsky took a post as professor of mathematical physics at the University of Cincinnati. At the University of Cincinnati he was MS adviser to Chihiro Kikuchi, and PhD adviser to Herman Branson and Alex Green. In 1961, he moved to Xavier University, Cincinnati, where he worked until his death in 1966.

Work.

Working with Albert Einstein and Nathan Rosen, Podolsky conceived the EPR paradox. This famous paper stimulated debate as to the interpretation of quantum mechanics, culminating with Bell's theorem and the advent of quantum information theory.  In 1933, Podolsky and Lev Landau had the idea to write a textbook on electromagnetism beginning with special relativity and emphasizing theoretical postulates rather than experimental laws. This project did not come to fruition due to Podolsky's return to the United States, where he had immigrated in 1913. However, in the hands of Lev Landau and E. Lifshitz, the outline they produced became "The Classical Theory of Fields" (1951). On the same basis, Podolsky and K. Kunz produced "Fundamentals of Electrodynamics", Marcel Dekker Press (1969), to which Podolsky's son, Robert, contributed most of the questions at the end of each chapter.

Possible contact with Soviet spies during World War II.

A 2009 book by John Earl Haynes, Harvey Klehr and Alexander Vassiliev, "Spies: The Rise and Fall of the KGB in America", identifies Podolsky as a contact (QUANTUM) who met twice with Soviet secret services in 1942 and 1943. The evidence for these contacts is somewhat indirect. Early during World War II, several VENONA cables identify a contact named QUANTUM who sought out Soviet intelligence in 1942 and asked for a position in the USSR to work on processing Uranium 235. A 1943 VENONA cable shows QUANTUM provided relatively simple equations known as Graham's Law of gaseous diffusion (known since 1848) which can be used to separate fissile U-235 from unwanted U-238. QUANTUM was paid $300 for this information according to a VENONA cable. The Soviets never contacted him again because they felt QUANTUM was unreliable. A former KGB officer named Alexander Vassiliev took notes from the KGB archive after the fall of the USSR which suggested that QUANTUM was Podolsky.

In popular culture.

Podolsky is played by the actor Gene Saks in the Hollywood film "I.Q."

Boris Yakovlevich Podolsky (; 29 June 1896 – 28 November 1966) was a Russian-American physicist of Russian Jewish descent, noted for his work with Albert Einstein and Nathan Rosen on entangled wave functions and the EPR paradox.

Boris Podolsky (29. června 1896 – 28. listopadu 1966) byl americký fyzik rusko - židovského původu. Známý je především díky práci s Albertem Einsteinem a Nathanem Rosenem na kvantovém provázání a takzvaném EPR paradoxu.


Overview.

There is a strong evolutionary pressure for animals to blend into their environment or conceal their shape, for prey animals to avoid predators and for predators to be able to avoid detection by prey. Exceptions include large herbivores without natural enemies, brilliantly colored birds that rely on flight to escape predators, and venomous or otherwise powerfully armed animals with warning coloration. Cryptic animals include the tawny frogmouth (feather patterning resembles bark), the tuatara (hides in burrows all day; nocturnal), some jellyfish (transparent), the leafy sea dragon, and the flounder (covers itself in sediment).

Methods.

Methods of crypsis include (visual) camouflage, nocturnality, and subterranean lifestyle. Camouflage can be achieved by a wide variety of methods, from disruptive coloration to transparency and some forms of mimicry, even in habitats like the open sea where there is no background.  As a strategy, crypsis is used by predators against prey and by prey against predators.  Crypsis also applies to eggs and pheromone production. Crypsis can in principle involve visual, olfactory, or auditory camouflage.

Visual.

Many animals have evolved so that they visually resemble their surroundings by using any of the many methods of natural camouflage that may match the color and texture of the surroundings (cryptic coloration) and/or break up the visual outline of the animal itself (disruptive coloration). Such animals may resemble rocks, sand, twigs, leaves, and even bird droppings (mimesis). Other methods including transparency and silvering are widely used by marine animals.  Some animals change color in changing environments seasonally, as in ermine and snowshoe hare, or far more rapidly with chromatophores in their integuments, as in chameleon and cephalopods such as squid.  Countershading, the use of different colors on upper and lower surfaces in graduating tones from a light belly to a darker back, is common in the sea and on land. It is sometimes called Thayer's law, after the American artist Abbott Handerson Thayer, who published a paper on the form in 1896 that explained that countershading paints out shadows to make solid objects appear flat, reversing the way that artists use paint to make flat paintings contain solid objects. Where the background is brighter than is possible even with white pigment, counter-illumination in marine animals, such as squid, can use light to match the background.  Some animals actively camouflage themselves with local materials. The decorator crabs attach plants, animals, small stones, or shell fragments to their carapaces to provide camouflage that matches the local environment. Some species preferentially select stinging animals such as sea anemones or noxious plants, benefiting from aposematism as well as or instead of crypsis.

Olfactory.

Some animals, in both terrestrial and aquatic environments, appear to camouflage their odor, which might otherwise attract predators. Numerous arthropods, both insects and spiders, mimic ants, whether to avoid predation, to hunt ants, or (for example in the large blue butterfly caterpillar) to trick the ants into feeding them. Pirate perch ("Aphredoderus sayanus") may exhibit chemical crypsis, making them undetectable to frogs and insects colonizing ponds.

Auditory.

Some insects, notably some Noctuid moths, (such as the large yellow underwing), and some tiger moths, (such as the garden tiger), were originally theorized to defend themselves against predation by echolocating bats, both by passively absorbing sound with soft, fur-like body coverings and by actively creating sounds to mimic echoes from other locations or objects. The active strategy was described as a "phantom echo" that might therefore represent "auditory crypsis", with alternative theories about interfering with the bats' echolocation ("jamming").  Subsequent research has provided evidence for only two functions of moth sounds, neither of which involve "auditory crypsis". Tiger moth species appear to cluster into two distinct groups. One type produces sounds as acoustic aposematism, warning the bats that the moths are unpalatable, or at least performing as acoustic mimics of unpalatable moths. The other type uses sonar jamming. In the latter type of moth, detailed analyses failed to support a "phantom echo" mechanism underlying sonar jamming, but instead pointed towards echo interference.

Effects.

There is often a self-perpetuating co-evolution, or evolutionary arms race, between the perceptive abilities of animals attempting to detect the cryptic animal and the cryptic characteristics of the hiding species. Different aspects of crypsis and sensory abilities may be more or less pronounced in given predator-prey species pairs.  Zoologists need special methods to study cryptic animals, including biotelemetry techniques such as radio tracking, mark and recapture, and enclosures or exclosures. Cryptic animals tend to be overlooked in studies of biodiversity and ecological risk assessment.

External links.

In ecology, crypsis is the ability of an animal to avoid observation or detection by other animals. It may be a predation strategy or an antipredator adaptation. Methods include camouflage, nocturnality, subterranean lifestyle and mimicry. Crypsis can involve visual, olfactory (with pheromones), or auditory concealment. When it is visual, the term cryptic coloration, effectively a synonym for animal camouflage, is sometimes used, but many different methods of camouflage are employed by animals.

Somatolýza (doslova „rozklad těla“) je název pro krycí zabarvení živočichů, které vypadá zdánlivě pestré a dobře viditelné. Pokud se ale takto zbarvení jedinci nacházejí ve svém přirozeném prostředí, je jejich silueta pro případné pozorovatele rozostřena a tvar těla není vizuálně zřetelně zachytitelný. Typickými živočichy využívajícími princip somatolýzy jsou tygři, levharti, jaguáři, zebry, dále někteří motýli, hadi, pavouci. Na principu somatolýzy funguje i tzv. dazzle kamufláž, používaná za 1. a 2. světové války, pomocí níž měly být siluety lodí roztříštěny a mělo být obtížnější určit druh, typ a vzdálenost plavidla.


History.

The club was established on 8 May 1890 as East Grinstead, but did not play their first competitive match until 1900, when they were founder members of the Mid-Sussex League. They won the league in 1901–02 on goal average and were runners-up in 1904–05. The club were joint winners of the Sussex Junior Cup with Arundel in 1908–09, and went on to finish as runners-up in the Mid-Sussex League again in 1910–11 and 1911–12. In 1920 they were founder members of the Sussex County League, and finished bottom of the table in its first season. After finishing eleventh out of twelve the following season, they left the league. They returned in 1924, but after finishing bottom of the table again in both 1924–25 and 1925–26, they left again after failing to be re-elected and dropped into Division One of the Brighton, Hove & District League. The club were Division One runners-up in 1927–28, after which they joined Division Three of the Southern Amateur League.  East Grinstead were Division Three champions in 1931–32, earning promotion to Division Two. However, they finished bottom of Division Two in 1933–34, and after being relegated to Division Three, they finished bottom of Division Three in 1934–35. They then returned to the Mid-Sussex, and after winning it in 1936–37, returned to the Sussex County League for a third spell. In the first season after World War II they were placed in the Eastern Division and finished the season as runners-up. The league reverted to a single division the following season, and after a second division was added in 1952, the club remained in Division One until the end of the 1978–79 season, when they were relegated to Division Two. During this period they won the league's Baldwin Cup in 1951–52. In 1988–89 they finished bottom of the division and were relegated to Division Three. However, after finishing third in Division Three 1990–91 they were promoted to back Division Two, and two seasons later they finished third in Division Two, earning promotion to Division One.  After finishing bottom of Division One in 1994–95, East Grinstead were relegated back to Division Two. In 1997 they were renamed East Grinstead Town. The club were promoted back to Division One after finishing third in 2002–03, and won the Sussex RUR Cup in 2003–04, beating Three Bridges 4–0 in the final. However, they were relegated back to Division Two the following season. In 2007–08 they won Division Two, and were promoted back to Division One. After finishing as Division One runners-up in 2013–14, they were promoted to Division One South of the Isthmian League. In 2019–20 the club were bottom of the table with only ten points in early March and at risk of relegation. However, the season was abandoned due to the coronavirus pandemic and all promotion and relegation was cancelled.

Ground.

Until 1962 the club played at West Street, which was shared with the local cricket club. They were forced to leave the ground, having been given notice in 1958, and temporarily played at King George's Field before moving to East Court in 1967.  A large bank was created on one side of the pitch, with a covered terrace located in the centre. Floodlights were installed in 1997, with two new stands built in 2008.

East Grinstead Town Football Club is a football club based in East Grinstead, West Sussex, England. They are currently members of the and play at East Court.

East Grinstead Town FC (celým názvem: East Grinstead Town Football Club) je anglický fotbalový klub, který sídlí ve městě East Grinstead v nemetropolitním hrabství West Sussex. Založen byl v roce 1890 pod názvem East Grinstead FC. Od sezóny 2018/19 hraje v Isthmian League South East Division (8. nejvyšší soutěž). Klubové barvy jsou zlatá a černá.


History.

The club was established in 1928 as Woolwich Borough Council Athletic Club. They joined the Woolwich and District League and were champions in their first season. The following season saw them join Division One of the Western Section of the Kent County Amateur League. In 1934 Division One was renamed the Premier Division, and after finishing second-from-bottom of the division in 1934–35, the club were relegated to Division One. They finished bottom of Division One in 1939–40, but the league was largely abandoned the following season due to World War II.  Woolwich Borough Council rejoined the Kent County Amateur League in 1947, and despite their pre-war position, the club were placed in the Premier Division of the Western Section. However, after finishing second-from-bottom of the division in 1948–49, they left the league, dropping into Division Two of the South London Alliance. In 1954–55 they won the Division Two title, earning promotion to Division One. The following season saw them win Division One, resulting in promotion to the Premier Division. They went on to win the Premier Division title in six successive seasons from 1960–61 to 1965–66, also winning the Queen Mary Cup twice.  In 1965 the club was renamed London Borough of Greenwich following a change of London Borough boundaries. The club won a seventh South London Alliance Premier Division title in 1974, and in 1977 they moved up to the Senior Division of the London Spartan League. They won the Senior Division in 1979–80, earning promotion to the Premier Division. At the end of the season the club adopted its current name. In 1982–83 the club won the league's Senior Cup. In 1984 they transferred to the Kent League. They won the League Cup in their first season in the league, before going on to win back-to-back league titles in 1986–87 and 1987–88, as well as winning the League Cup for a second time in 1986–87. However, they were prevented from being promoted to the Southern League when the council refused planning permission for the necessary ground improvements.  Greenwich won a third League Cup in 1997–98. After five consecutive top-half finishes between 2006–07 and 2010–10, Greenwich finished bottom of the Kent League in 2011–12. The league was renamed the Southern Counties East League in 2013, and in 2014–15 the club won the Premier Division Cup. The following season saw them win the league, earning promotion to Division One South of the Isthmian League. In 2016–17 the club finished third in the division, qualifying for the promotion playoffs. However, they lost 4–3 to Corinthian-Casuals in the semi-finals. Although a fourth-place finish the following season saw the club finish fifth and reach the play-offs again, they lost 3–0 to Corinthian-Casuals in the semi-finals. At the end of the season they were moved into the South East Division as the league was reorganised.  In 2018–19 Greenwich finished bottom of the South East Division and were relegated to the Premier Division of the Southern Counties East League (the renamed Kent League).

Ground.

Following the club's establishment, most home matches were played at Danson Park in Welling, before they moved to Harrow Meadow in Eltham in 1937. In 1978 floodlights were installed and inaugurated with a friendly match against Charlton Athletic. During the 1988–89 season the club was forced to groundshare at Erith & Belvedere's Park View ground, before returning to Harrow Meadow. The club was forced to move its pitch closer to the clubhouse, with a temporary stand installed behind one goal, later replaced by two small shelters.  At the end of the 2008–09 season Harrow Meadow was sold to property developers, with the club subsequently groundsharing with Holmesdale (from 2009) and then at Dartford's Princes Park (from 2013). In 2016 the club agreed a 30-year lease to share Cray Valley PM's Badgers Sports ground. The ground includes a 100-seat stand on one side of the pitch and a small covered area on the other. However, the club were evicted at the end of the 2018–19 season for failing to pay rent, and subsequently moved to the Phoenix Sports Ground in Barnehurst, sharing with Phoenix Sports.

Greenwich Borough Football Club is a football club based in south-east London, England. They are currently members of the and play at the Phoenix Sports Ground in Barnehurst.

Greenwich Borough FC (celým názvem: Greenwich Borough Football Club) je anglický fotbalový klub, který sídlí v jihovýchodním Londýně. Založen byl v roce 1928 pod názvem Woolwich Borough Council AC. Od sezóny 2018/19 hraje v Isthmian League South East Division (8. nejvyšší soutěž). Klubové barvy jsou červená a černá.


Formative years.

Everlast went to Taft High School at the same time Ice Cube and N.W.A and the Posse member Krazy Dee were attending. Everlast states about N.W.A in an interview with "LA Weekly" “I was around when that (referring to: "Straight Outta Compton") was being made. I watched and learned a lot...Wild to think about some of the places I've been and things I've seen in L.A. Doing shit in World on Wheels in Mid-City and Skateland in Compton. This was an accident. I'm here as a white kid opening up for the likes of Big Daddy Kane, Slick Rick and N.W.A. cause I'm rolling with Ice-T. I was just coming up in the game. I opened for them, met them. They were larger than life.”

Career.

Late 1980s to mid 1990s: Early career and group's breakthrough.

Emerging as a member of the Rhyme Syndicate, Everlast's first solo album "Forever Everlasting" (1990), largely made possible by MC Ice-T, was a disappointment commercially. Following the album's failure, Everlast teamed up with DJ Lethal and high school friend Danny Boy to form House of Pain in Los Angeles, California. They all attended Taft High School. The group was signed to Tommy Boy Records, and their eponymous debut album (1992) went multi-platinum, spawning the successful DJ Muggs produced single "Jump Around". This song was also remixed twice by Pete Rock, one version featuring a verse from him and one without. The album also featured Cypress Hill member, B-Real, on the song "Put Your Head Out".  Fashioning themselves as rowdy Irish American hooligans (Lethal is actually of Latvian heritage), they toured with various rap and alternative-rock bands such as The Ramones, Beastie Boys and Rage Against the Machine after their breakthrough. They participated together with Helmet, along with several other rap acts, on the influential 1993 rock-rap collaborative "Judgment Night" movie soundtrack (Everlast also played a villain in the film). The group eventually disbanded in 1996, and Everlast once again pursued a solo career.

1998 to 2001: Solo breakthrough.

Everlast's second solo album "Whitey Ford Sings the Blues" (1998)—which was released a full eight years after his solo debut and after he had a major heart attack—was both a commercial and critical success (selling more than three million copies). "Whitey Ford Sings the Blues" was hailed for its blend of rap with acoustic and electric guitars, developed by Everlast together with producers Dante Ross and John Gamble. The album's lead single "What It's Like" proved to be his most popular and successful song, although the follow-up single, "Ends", also reached the U.S. rock top 10.  Everlast followed-up this success by collaborating with Santana on the track "Put Your Lights On" on Santana's 1999 album "Supernatural". It charted at No. 118 on the pop chart, but did considerably better with rock radio airplay, peaking at No. 8 on the Mainstream Rock Tracks chart. "Put Your Lights On" won Best Rock Performance by a Duo or Group with Vocal at the 2000 Grammy Awards. That year, a feud erupted between Everlast and Eminem. Eminem and Everlast crossed paths before a concert in early 1999. Eminem says he did not greet Everlast because he did not recognize him right away, and said Everlast did not acknowledge him. Everlast's version is that he tried to congratulate Eminem on his success, and Eminem blew him off. Everlast's verse from the Dilated Peoples all star track "Ear Drums Pop (Remix)" contained a thinly veiled reference to Eminem ("Cock my hammer, spit a comet like Haley/I buck a.380 on ones that act shady"), and went on to warn "You might catch a beatdown out where I come from" in his recounting of the incident. Eminem, in turn, blasted Everlast several times in public and with the song "I Remember (Dedication to Whitey Ford)" released as the B-side to his group D12's 12" vinyl single "Shit on You." In it, Eminem talks about how he remembered Everlast's music, however, now "Kid Rock and Limp Bizkit came along." Everlast responded with the track "Whitey's Revenge," released only on his official website. While the song contained references to Eminem's strained relationships with his wife and mother, it was "Better run and check your kid for your DNA", again referring to Eminem's daughter, Hailie Jade Mathers, that set Eminem off. The track ends with the spoken words, "I ain't wasting no more time with you man. Fuck that shit, That's it". Eminem and D12 responded with "Quitter", the second half of which is a take off on "Hit 'Em Up" by 2Pac and the Outlawz (a diss song mainly aimed at The Notorious B.I.G.). The track ends with the spoken words, "Fuck him, that's it, I'm done, I promise, I'm done, that's it." It was reported that long-time friends of Eminem, group Limp Bizkit, were meant to be featured on "Quitter", but Fred Durst canceled at the last moment. The record continued its release without featuring Limp Bizkit, causing the Everlast-Eminem dispute to continue. Everlast echoed similar sentiment on the status of this feud, stating in various interviews that he felt everything had been said and he would now refrain from further responses. However, following Eminem's disses towards them on "Quitter", Evidence & Dilated Peoples, responded with the track, "Search 4 Bobby Fisher." In a TRL interview, Limp Bizkit member DJ Lethal made a statement that if Mathers and Schrody were to fight in real life, Everlast would win. This irked Eminem, and an insulting track aimed at both Everlast and Limp Bizkit appeared on D12's mainstream debut, Devil's Night, as a hidden track called "Girls". B-Real of Cypress Hill claimed that Everlast recorded another diss towards Eminem following the release of "Quitter", but it went unreleased due to him deciding to instead squash the feud. Eminem, their fight has settled since then and there is a mutual respect between Mathers and Schrody. Further indicating an end to lyrical hostilities between the two, Eminem seemingly gave a shout out to Everlast on "The Marshall Mathers LP 2" song entitled "Baby".  Despite the success of "Whitey Ford Sings the Blues" and his success with Santana, Everlast's follow-up album, "Eat at Whitey's" (2000), stumbled commercially at first in the United States. However, it was eventually certified gold. The album was also embraced critically, especially by "Rolling Stone" which reviewed the album between "good" and "great" and focused on it as that month's most important release.

2002 to present day: Subsequent success.

After the sale of the Tommy Boy Records' catalog of master tapes to Warner Bros. Records and its metamorphosis to a dance music label in 2002, Everlast was without a label, but in 2003 he signed with Island/Def Jam. His fourth solo album, "White Trash Beautiful" (2004), was subsequently released after almost a four-year hiatus. Produced by Everlast and Dante Ross and featuring a lead single of the same name, "White Trash Beautiful" was described as an "effective mix of hip-hop trope and bluesy strum."  In early 2006, Everlast teamed up with his former House of Pain mates DJ Lethal and Danny Boy to join the hip-hop group La Coka Nostra. The group first came to be due to the former House of Pain Hype man Danny Boy starting the group as a collective with rappers Slaine and Big Left (who has since left the group). Soon after the group started Ill Bill of a now disbanded Non Phixion and Everlast joined the group. Their first known song was "Fuck Tony Montana" which features B-Real of Cypress Hill and Sick Jacken. Due to the popularity of the song online, the group released several more online for free.  In 2007 Everlast was chosen to do the theme song for the TV show "Saving Grace". The song plays during the show's main title sequence, and was originally released to digital outlets only, however, it was also included on Everlast's fifth solo album, "Love, War and the Ghost of Whitey Ford". The album was released on September 23, 2008, on Everlast's own record label Martyr Inc, with distribution by Hickory Records/Sony/ATV Music Publishing (It was revealed through diditleak.co.uk that the album leaked out early on Friday August 29). A second single and video, "Letter Home From The Garden Of Stone", was released for free download from martyr-inc.com in December 2007. The third single, a cover of Johnny Cash's "Folsom Prison Blues", was released to download on August 19. The music video for "Stone in My Hand" debuted on the martyr-inc website on October 28, 2008 making it the fourth video for the album.  The group's debut album A Brand You Can Trust was released on July 14, 2009. The album features guests like Snoop Dogg, B-Real, Bun B, Immortal Technique, Sick Jacken and Q-Unique. La Coka Nostra then joined the likes of Nas and Ill Bill's brother Necro on Rock The Bells.  In October 2011, his sixth solo album, "Songs of the Ungrateful Living", was released through Martyr Inc. in partnership with EMI. Produced by Everlast in collaboration with DJ Lethal, Fredwreck and Darius Holbert, the album featured the lead single "I Get By." Like "Love, War and the Ghost of Whitey Ford", a number of tracks on "Songs of the Ungrateful Living" contained overtly political and social themes.  Everlast left the group in 2012 in order to attend to his daughter's medical issues.  In a 2013, Everlast and Eminem were featured on a Busta Rhymes track together. On August 27, 2013, Everlast's acoustic album "The Life Acoustic" was released via his own record label Martyr Inc. That year, Everlast sued the inflatables company "Jump Around Rentals" for using the phrase "If You Want To Get Down Jump Around" in their advertising, arguing it belonged to House of Pain.  Starting in 2017, joining with Divine Styler and Sick Jacken, Everlast released a Warporn mixtape.  On September 7, 2018, Everlast's 7th Studio album "Whitey Ford's House Of Pain" was released.

Personal life.

In 1996, he converted from Catholicism to Islam; however, in a 2011 interview he stated "even though I would consider myself still to be Muslim, I don't really. I really kinda reject all organized religion."  In April 2005 he married former "Penthouse" Pet model (under the pseudonym "Cassia Riley") Lisa Schrody in May 2009. They have two daughters. Their first-born was diagnosed with cystic fibrosis in 2009 shortly after birth.

Musical style and influences.

Everlast's music ranges from blues to hip hop and rock. His influences include N.W.A, Beastie Boys, Cypress Hill, Ice-T, Gang Starr, Johnny Cash, Bob Dylan, Tom Petty, The Rolling Stones, Bruce Springsteen, Neil Young, and Run–D.M.C.

Discography.

Studio albums

Erik Francis Schrody (born August 18, 1969), known by his stage name Everlast, is an American musician, singer, rapper, actor, and songwriter, known for his solo work and as the front-man for hip hop group House of Pain. He was also part of the hip hop supergroup La Coka Nostra, which consists of members of House of Pain and other rappers. In 2000, he received a Grammy Award for Best Rock Performance by a Duo or Group with Vocal with Latin rock band Santana for "Put Your Lights On".

Everlast, vlastním jménem Erik Francis Schrody, (* 18. srpna 1969) je americký zpěvák. Věnuje se různým hudebním žánrům, včetně hip hopu, rocku a blues. Po vydání svého prvního alba, které nemělo příliš velký úspěch, založil v roce 1991 kapelu House of Pain. Ta vydala tři desky a poté se rozpadla. Everlast se následně začal věnovat vydávání sólových alb. V roce 1999 spolupracoval na písni „Put Your Lights On“ z alba "Supernatural" hudebníka Carlose Santany. Později působil ve skupině La Coka Nostra.


Definition and scope.

Most anthropologists who use the phrase "digital anthropology" are specifically referring to online and Internet technology. The study of humans' relationship to a broader range of technology may fall under other subfields of anthropological study, such as cyborg anthropology.  The Digital Anthropology Group (DANG) is classified as an interest group in the American Anthropological Association. DANG's mission includes promoting the use of digital technology as a tool of anthropological research, encouraging anthropologists to share research using digital platforms, and outlining ways for anthropologists to study digital communities.  Cyberspace itself can serve as a "field" site for anthropologists, allowing the observation, analysis, and interpretation of the sociocultural phenomena springing up and taking place in any interactive space.  National and transnational communities, enabled by digital technology, establish a set of social norms, practices, traditions, storied history and associated collective memory, migration periods, internal and external conflicts, potentially subconscious language features and memetic dialects comparable to those of traditional, geographically confined communities. This includes the various communities built around free and open-source software, online platforms such as 4chan and Reddit and their respective sub-sites, and politically motivated groups like Anonymous, WikiLeaks, or the Occupy movement.  A number of academic anthropologists have conducted traditional ethnographies of virtual worlds, such as Bonnie Nardi's study of World of Warcraft or Tom Boellstorff's study of Second Life. Academic Gabriella Coleman has done ethnographic work on the Debian software community and the Anonymous hacktivist network.  Anthropological research can help designers adapt and improve technology. Australian anthropologist Genevieve Bell did extensive user experience research at Intel that informed the company's approach to its technology, users, and market.

Methodology.

Digital fieldwork.

Many digital anthropologists who study online communities use traditional methods of anthropological research. They participate in online communities in order to learn about their customs and worldviews, and back their observations with private interviews, historical research, and quantitative data. Their product is an ethnography, a qualitative description of their experience and analyses.  Other anthropologists and social scientists have conducted research that emphasizes data gathered by websites and servers. However, academics often have trouble accessing user data on the same scale as social media corporations like Facebook and data mining companies like Acxiom.  In terms of method, there is a disagreement in whether it is possible to conduct research exclusively online or if research will only be complete when the subjects are studied holistically, both online and offline. Tom Boellstorff, who conducted a three-year research as an avatar in the virtual world Second Life, defends the first approach, stating that it is not just possible, but necessary to engage with subjects “in their own terms”. Others, such as Daniel Miller, have argued that an ethnographic research should not exclude learning about the subject's life outside the internet.

Digital technology as a tool of anthropology.

The American Anthropological Association offers an online guide for students using digital technology to store and share data. Data can be uploaded to digital databases to be stored, shared, and interpreted. Text and numerical analysis software can help produce metadata, while a codebook may help organize data.

Ethics.

Online fieldwork offers new ethical challenges. According to the American Anthropological Association's ethics guidelines, anthropologists researching a community must make sure that all members of that community know they are being studied and have access to data the anthropologist produces. However, many online communities' interactions are publicly available for anyone to read, and may be preserved online for years. Digital anthropologists debate the extent to which lurking in online communities and sifting through public archives is ethical.  The Association also asserts that anthropologists' ability to collect and store data at all is "a privilege", and researchers have an ethical duty to store digital data responsibly. This means protecting the identity of participants, sharing data with other anthropologists, and making backup copies of all data.

Digital anthropology is the anthropological study of the relationship between humans and digital-era technology. The field is new, and thus has a variety of names with a variety of emphases. These include techno-anthropology, digital ethnography, cyberanthropology, and virtual anthropology.

„Kyberantropologie se zabývá studiem člověka a proměn lidské interakce v kontextu moderních počítačových, informačních a komunikačních technologií.“ Její náplní je analýza významů a hodnot, které vznikají při vzájemném působení uživatele a kybernetického systému, zkoumá tedy dopad digitálních technologií na člověka, analyzuje vztah mezi reálným prostorem a kyberprostorem a snaží se pochopit diskurzy a praktiky uživatelů počítačů a digitálních technologií. Výzkumná metoda kyberantropologie se nazývá kyberetnografie.


Biography.

Early years.

Flieg, born to a Jewish merchant family in Chemnitz, was an antifascist from an early age. In 1931, he was, at the instigation of local Nazis, expelled from the Gymnasium in his home town because of an anti-military poem. He completed school in Berlin, and began a degree in media studies there. After the 1933 Reichstag fire, he fled to Czechoslovakia, where he took the name Stefan Heym.  In Czechoslovakia, the only remaining democracy in Central Europe at that time, he worked for German newspapers published in Prague such as "Prager Tagblatt" and "Bohemia" and also managed to have some of his articles published in translation by Czech newspapers. During this time he signed his articles under several pseudonyms, including Melchior Douglas, Gregor Holm and Stefan Heym.

United States.

In 1935, he received a grant from a Jewish student association, and went to the United States to continue his degree at the University of Chicago, which he completed in 1936 with a dissertation on Heinrich Heine. Between 1937 and 1939 he was based in New York as Editor-in-Chief of the German-language weekly "Deutsches Volksecho", which was close to the Communist Party of the USA. After the newspaper ceased publication in November 1939, Heym worked as a freelance author in English, and achieved a bestseller with his first novel, "Hostages" (1942).  From 1943, Heym (who had become a U.S. citizen), contributed to the World War II war effort. He was a member of the Ritchie Boys, a unit for psychological warfare under the command of émigré Hans Habe. His work consisted of composing texts designed to influence Wehrmacht soldiers, to be disseminated by leaflet, radio and loudspeaker. These experiences formed the background for a later novel, "The Crusaders", and were the basis for "Reden an den Feind" ("Speeches to the Enemy"), a collection of those texts.  After the war Heym led the "Ruhrzeitung" in Essen, and then became editor in Munich of "Die Neue Zeitung", one of the most important newspapers of the American occupying forces. Because of his refusal to soften his critical stance toward Nazism and the German elites that had collaborated with it and his refusal to begin to discreetly weave doubts about Soviet intentions into his editorials, Heym was transferred back to the U.S. toward the end of 1945 and was discharged because of an allegedly "procommunistic" mindset.  In the following years he worked as a freelance author once again. In 1952 he gave all his American military commendations back in protest against the Korean War and moved first to Prague, then in the following year to the German Democratic Republic (GDR, "East Germany").

GDR.

In the GDR, Heym initially received privileged treatment as a returning antifascist emigre. He lived with his wife in a state-provided villa in Berlin-Grünau. Between 1953 and 1956, he worked at the "Berliner Zeitung", thereafter primarily as a freelance author. In the early years of his life in the GDR, Heym supported the regime with socialist novels and other works. Heym's works, which he continued to write in English, were published by a publishing house founded for him (Seven Seas Publishers). In German, translations were printed in large numbers.  Conflicts with the GDR authorities became apparent from 1956 on, as despite the destalinisation of the leadership, the publication of Heym's book on the June 17, 1953, uprising, "Five Days in June", was rejected. Tensions increased after 1965, when Erich Honecker attacked Heym during an SED party conference. In 1969, Heym was convicted of breaching the exchange control regulations after publishing his novel "Lassalle" in West Germany. He was nonetheless able to leave the GDR on foreign trips, such as his two-month visit to the U.S. in 1978, and his books continued to appear, albeit in lower print runs, in the GDR.  In 1976, Heym was among those GDR authors who signed the petition protesting the exile of Wolf Biermann. From this point on Heym could only publish his works in the West, and he began composing works in German. In 1979, he was again convicted of breaching exchange controls and excluded from the GDR Authors Association. Heym expressed support for German reunification as early as 1982, and during the 1980s supported the civil rights movement in the GDR, contributing a number of speeches to the East Berlin demonstrations in autumn 1989.

After reunification.

In the years after reunification, Heym was critical of what he saw as the discrimination against East Germans in their integration into the Federal Republic, and argued for a socialist alternative to the capitalism of the reunited Germany. At the federal elections in 1994, Heym stood as an independent on the Open List of the then Party of Democratic Socialism, and won direct election to the Bundestag from the seat of Berlin-Mitte/Prenzlauer-Berg.  As chairman by seniority he held the opening speech of the new Parliament in November 1994, but resigned in October 1995 in protest against a planned constitutional amendment raising MP expense allowances. In 1997, he was among the signers of the "Erfurt Declaration", demanding a red-green alliance (between SPD and Greens) to form a minority government supported by the PDS after the 1998 federal elections. He died suddenly of heart failure in Ein Bokek in Israel whilst attending a Heinrich Heine Conference.  Heym was honoured with honorary doctorates from the University of Bern (1990) and University of Cambridge (1991), and honorary citizenship of Chemnitz, his birthplace (2001). He was also awarded the Jerusalem Prize (1993) for literature 'for the freedom of the individual in society', and the peace medal of the IPPNW. Previously he had won the Heinrich-Mann-Prize (1953), and the National Prize of the GDR, 2nd class (1959). He died in 2001, aged 88, and was buried in the Weißensee Cemetery.

Helmut Flieg or Hellmuth Fliegel (10 April 1913 – 16 December 2001) was a German writer, known by his pseudonym Stefan Heym (). He lived in the United States (or served in its army abroad) between 1935 and 1952, before moving back to the part of his native Germany which was, from 1949 to 1990, the German Democratic Republic (GDR, "East Germany"). He published works in English and German at home and abroad, and despite longstanding criticism of the GDR remained a committed socialist.

Stefan Heym, vlastním jménem Helmuth Flieg (10. dubna 1913, Chemnitz – 16. prosince 2001, Ejn Bokek, Izrael), byl německý socialistický spisovatel a novinář. Roku 1933 odešel do Československa, kde přijal pseudonym Stefan Heym, a v letech 1935-1952 žil v USA.


History.

TV4 was launched on 15 September 1990. The channel invested in an extensive news organisation and Swedish drama series. The premiere suffered from technical faults and the drama series weren't popular with critics.  In 1991, two of the channels oldest entertainment programmes premiered: the Swedish version of "Jeopardy!" and the Saturday night bingo show "Bingolotto". Bingolotto in particular became highly popular. This year also saw TV4 awarded a license to broadcast terrestrially.  Terrestrial broadcasts started on 2 March 1992. During this year, "Nyhetsmorgon" started and marked the introduction of weekday breakfast television in Sweden.  During the 1990s TV4 would broadcast several popular Friday night entertainment shows such as "" (Swedish version of "Fort Boyard"), "", "", "", "" ("Soundmix Show"), "", ("") and "" ("Mini Playback Show").  They have also broadcast several home-grown sitcoms such as "" and "En fyra för tre" as well as the soap opera "Tre kronor".  In the early 1990s, the TV4 Group decided to move their 7pm evening news to 7:30pm in order to compete with the most popular news programme, "Rapport", which, at that time, was broadcast on SVT2. This failed and the news was subsequently moved to 6:30pm. In 2004, the evening news was moved to 7pm, and the status quo reinstated.  In 2004, TV4 began transitioning to become a digital-only service, starting by shutting down its analogue satellite signal. On 19 September 2005, TV4 began shutting down analogue terrestrial transmissions, starting at the island of Gotland. The analogue shutoff was completed by October 2007.  Since 2004, TV4 has been broadcasting a Swedish version of the internationally popular Pop Idol format.  In July 2018 it was announced that Bonnier Broadcasting would be acquired by Telia Company for 9.2 billion SEK, thus making Telia the new owner of TV4. The acquisition was completed on 2 December 2019.

Programming.

TV4 offers a mix of news, sports, drama series, soaps, entertainment, current affairs programmes, sitcoms, feature films, documentaries and phone-in shows. News is an important part of TV4. It broadcasts the news program "Nyheterna", (The News) at 7pm & 10pm and "Nyhetsmorgon" ("News Morning") in the mornings. On weekend mornings there is children's programming in Swedish before "Nyhetsmorgon" starts. After 11pm until "Nyhetsmorgon", it shows reruns and some Swedish and English television series. After the "Nyhetsmorgon" ends on weekdays the "(After ten)" starts followed by English spoken TV series up until the news at 7pm. In the daytime on weekends there are often reruns and sports programs. Then main Swedish and English TV programs are broadcast up to the 10pm news. Friday nights have included family entertainment at 8pm since the early 1990s. "Bingolotto" occupied Saturday evenings from 1991 to 2004. TV4 then moved Bingolotto to Sundays and started broadcasting feature films instead. With the start of Deal or No Deal in 2006, family entertainment returned to Saturday nights. Later, there are other entertainment shows on Saturday evenings. On Sunday evenings, Swedish-produced television programs are shown until 9pm when they show a movie on Saturday nights. They also show a movie after the entertainment show.  After about 11pm until Nyhetsmorgon starts they show reruns and some Swedish and English television series. The foreign programs are mainly from the UK and USA. All foreign programmes, as well as segments of local programmes with foreign language content (e.g. news interviews), are subtitled into Swedish. TV4 also offers investigative journalism programmes, most notably ("Cold Facts").

Regional stations.

As a part of its public service obligations, TV4 owns and operates a number of regional and local opt-out stations. When the local stations were set up, they were owned by both local investors and the TV4 Group themselves. Since the start of TV4 Uppland in 1996, the number of stations has been sixteen. Although some stations have closed and others have been set up, the total number of stations has stayed unchanged.  The TV4 Group brought out many of the local stations and became the sole owner of fifteen stations in 2001. The only independent station, TV4 Fyrstad, went bankrupt in 2003 and was replaced by TV4 Väst, owned and operated by the TV4 Group. The TV4 Group later merged the stations into five regional companies and in 2004, a single company: TV4 Sverige AB. , these are the local TV4 stations:  After the closedown of the analogue transmitters and the termination of TV4's public service obligations, the pattern of the local stations is due to a major overhaul which will see the number of local stations increase.

TV4 Play and C More.

TV4 Play is the brand used for the video on demand service offered by the TV4 Group (Sweden), more specifically to the streaming services offered on the TV4 Play website, www.tv4play.se. Content on TV4 Play usually comes with advertisements, but users can watch the same content without advertisements on the subscription-based C More platform, which also provides a livestream of TV4 and its sister channels.

Jurisdiction.

As TV4 is broadcast from Sweden, it has to follow much tighter advertising rules than its main competitors, Modern Times Group (TV3) and Discovery Communications Nordic (Kanal 5). Initially this meant that the TV4 Group was not allowed to include advertising breaks, meaning that the advertising had to be put in between the programmes.  Nonetheless, the TV4 Group felt the urge to include advertising breaks. Therefore, it made several "Inför" programmes. The "Inför" programmes were short versions of TV4 programmes that were scheduled in the middle of programmes. For example, "Fångarna på fortet" would be divided into two parts and in between these, "Inför Bingolotto" would be shown. This allowed TV4 to broadcast advertising in the gaps between "Inför Bingolotto" and the two halves of "Fångarna på fortet".  The Broadcasting Commission repeatedly ruled that the "Inför" programmes couldn't be considered as real programmes. In 2000 they were replaced by a programme called "Dagens namn", in which the current name day was mentioned. This was later on replaced by "Om en bok" in which famous people presented a book they enjoyed.  This ended in April 2002 when a new Radio and TV Law came into force, allowing the TV4 Group to interrupt its programmes for advertising, but not to the same extent as TV3 and Kanal 5.  The Radio and TV Law also restricted the amount of advertising that can be shown to ten percent of the programming. Since TV4 was the only commercial channel allowed to broadcast terrestrially, it had to pay a special fee to the government, consisting of a fixed fee and a variable element based on the amount of advertising that the TV4 Group sells. The TV4 Group worked to have this fee removed, especially with the launch of digital terrestrial television.  The centre-right Reinfeldt Cabinet intended to relax the advertising rules. TV4 would then broadcast up to twelve minutes of advertising (as opposed to the previous ten minutes in prime time and eight minutes during other time). The amount of advertising overall would also raise from ten percent to fifteen percent, giving TV4 the same rules as the UK-based broadcasters.

TV4 is a Swedish free-to-air television network owned by TV4 AB, a subsidiary of the Bonnier Broadcasting Group. It started broadcasting by satellite in 1990 and, since 1992, on terrestrial television. In 1994, TV4 became the largest channel and remained so for a number of years. The two channels of Sveriges Television (SVT) lost more and more viewers for a couple of years. After making schedule changes in 2001, SVT1 had practically the same numbers of viewers as TV4. From 2004 to 2019, the TV4 Group was a fully active member of the European Broadcasting Union.

TV4 je švédská komerční televizní stanice. Byla založena 15. září 1990, kdy začala vysílat přes satelit. Od roku 1992 rozšiřuje signál pozemního vysílání a o dva roky později (v roce 1994) se stala největší televizní stanicí ve Švédsku.


Music.

He started in the 80's recording with a band called Homeland. Besides his own group, Newcombe has worked with a number of bands, most notably The Dandy Warhols, The High Dials, The Manvils, Innaway, and The Quarter After. He recorded and produced Dead Meadow's album "Got Live if You Want It", and has recorded a cover of Ewan MacColl's song 'Dirty Old Town' with Lorraine Leckie on her 2008 album "Four Cold Angels".

"The Brian Jonestown Massacre".

Newcombe founded The Brian Jonestown Massacre in San Francisco, California in 1990. Core members in the early years included Matt Hollywood, Jeffrey Davies, Joel Gion, Travis Threlkel, Peter Hayes (BRMC), Patrick Straczek, Ricky Maymi, Brian Glaze, Elise Dye and Dean Taylor, though the line up was subject to frequent changes. Newcombe wrote the majority of songs, with Hollywood collaborating or contributing others on occasion until his departure in 1998, whereupon Newcombe's name became almost synonymous with the BJM. Newcombe was also heavily involved in the post-production of his albums, often engineering and mixing them on his own. A prolific artist, he authored over 150 songs in a fifteen-year period.

The Committee to Keep Music Evil.

Newcombe founded his own record label which has released albums by The Brian Jonestown Massacre ("Bravery, Repetition and Noise" and the re-release of "Spacegirl and Other Favourites"), The Lovetones' ("Be What You Want"), and Dead Meadow's ("Got Live if You Want It"). According to the official website, the purpose of the label is to "...release BJM music not available through other channels, and to record new bands which we will be producing from time to time, while pursuing the goal of making the world unsafe for rock and roll". Many of the releases on this label are produced or engineered by Rob Campanella.  In 2016 he composed the soundtrack for British indie film Moon Dogs, directed by Philip John.

Personal life.

Part of Newcombe's life is featured prominently in the documentary film "Dig!" which focuses on the tense relationship between The Brian Jonestown Massacre and The Dandy Warhols as both bands struggle for success. Newcombe has battled drug addiction, alcoholism and depression. He lives in Berlin with his wife Katy and their son Wolfgang and actively works on his musical projects.  In recent years, Newcombe has mostly worked from his own recording studio in Berlin, where he produced albums for other artists, including Dead Meadow and remixed tracks for The Vacant Lots.

Anton Alfred Newcombe (born August 29, 1967) is an American singer, songwriter, multi-instrumentalist, producer, and founder of the music group The Brian Jonestown Massacre.

Anton Alfred Newcombe (* 29. srpna 1967, Newport Beach, Kalifornie, USA) je americký hudebník, producent a zakladatel kapely The Brian Jonestown Massacre.