Background.

The Grand Coulee is an ancient river bed on the Columbia Plateau created during the Pliocene Epoch (Calabrian) by retreating glaciers and floods. Originally, geologists believed a glacier that diverted the Columbia River formed the Grand Coulee, but it was revealed in the mid-late 20th century that massive floods from Lake Missoula carved most of the gorge. The earliest known proposal to irrigate the Grand Coulee with the Columbia River dates to 1892, when the "Coulee City News" and "The Spokesman Review" reported on a scheme by a man named Laughlin McLean to construct a dam across the Columbia River, high enough that water would back up into the Grand Coulee. A dam that size would have its reservoir encroach into Canada, which would violate treaties. Soon after the Bureau of Reclamation was founded, it investigated a scheme for pumping water from the Columbia River to irrigate parts of central Washington. An attempt to raise funds for irrigation failed in 1914, as Washington voters rejected a bond measure.  In 1917, William M. Clapp, a lawyer from Ephrata, Washington, proposed the Columbia be dammed immediately below the Grand Coulee. He suggested a concrete dam could flood the plateau, just as nature blocked it with ice centuries ago. Clapp was joined by James O'Sullivan, another lawyer, and by Rufus Woods, publisher of "The Wenatchee World" newspaper in the nearby agricultural centre of Wenatchee. Together, they became known as the "Dam College". Woods began promoting the Grand Coulee Dam in his newspaper, often with articles written by O'Sullivan.  The dam idea gained popularity with the public in 1918. Backers of reclamation in Central Washington split into two camps. The "pumpers" favored a dam with pumps to elevate water from the river into the Grand Coulee from which canals and pipes could irrigate farmland. The "ditchers" favored diverting water from northeast Washington's Pend Oreille River via a gravity canal to irrigate farmland in Central and Eastern Washington. Many locals such as Woods, O'Sullivan and Clapp were pumpers, while many influential businessmen in Spokane associated with the Washington Water and Power Company (WWPC) were staunch ditchers. The pumpers argued that hydroelectricity from the dam could cover costs and claimed the ditchers sought to maintain a monopoly on electric power.  The

Construction.

Low dam.

On July 16, 1933, a crowd of 3,000 watched the driving of the first stake at the low dam site, and excavation soon began. Core drilling commenced that September while the Bureau of Reclamation accelerated its studies and designs for the dam. It would still help control floods and provide for irrigation and hydroelectricity, though at a reduced capacity. Most importantly, it would not raise its reservoir high enough to irrigate the plateau around the Grand Coulee. However, the dam's design provided for future raising and upgrading.  Before and during construction, workers and engineers experienced problems. Contracts for companies to construct the various parts of the dam were difficult to award as few companies were sizable enough to fill them. This forced companies to consolidate. In addition, Native American graves had to be relocated and temporary fish ladders had to be constructed. During construction additional problems included landslides and the need to protect newly poured concrete from freezing.

Cofferdams.

Two large cofferdams were constructed for the dam, but they were parallel to the river rather than straddling its width, so drilling into the canyon walls was not required. By the end of 1935 about 1,200 workers completed the west and east cofferdams. The west cofferdam was long, thick and was constructed above the bedrock. The cofferdams allowed workers to dry portions of the riverbed and begin constructing

Design change.

On August 4, 1934, President Franklin D. Roosevelt visited the construction site and was impressed by the project and its purpose. He spoke to workers and spectators, closing with this statement: "I leave here today with the feeling that this work is well undertaken; that we are going ahead with a useful project, and we are going to see it through for the benefit of our country." Soon afterward, Reclamation was allowed to proceed with the high dam plan but faced the problems of transitioning the design and negotiating an altered contract with MWAK. In, for an additional, MWAK and Six Companies, Inc. agreed to join together as Consolidated Builders Inc.

First concrete pour and completion.

On December 6, 1935, Governor Clarence Martin presided over the ceremonial first concrete pour. During construction, bulk concrete was delivered on site by rail-cars where it was further processed by eight large mixers before being placed in form. Concrete was poured into columns by crane-lifted buckets, each supporting eight tons of concrete. To cool the concrete and facilitate curing, about of piping was placed throughout the hardening mass. Cold water from the river was pumped into the pipes, reducing the temperature within the forms from to. This caused the dam to contract about in length; the resulting gaps were filled with grout.

Reservoir clearing.

In 1933, Reclamation began efforts to purchase land behind the dam as far as upstream for the future reservoir zone. The reservoir, known later as Lake Roosevelt, flooded and Reclamation acquired an additional around the future shoreline. Within the zone were eleven towns, two railroads, three state highways, about one hundred and fifty miles of country roads, four sawmills, fourteen bridges, four telegraph and telephone systems, and many power lines and cemeteries. All facilities had to be purchased or relocated, and 3,000 residents were relocated. The Anti-Speculation Act was passed in 1937, limiting the amount of land farmers could own to prevent inflated prices. The government appraised the land and offered to purchase it from the affected residents. Many refused to accept the offers, and Reclamation filed condemnation suits. Members of

Labor and supporting infrastructure.

Workers building the dam received an average of 80¢ an hour; the payroll for the dam was among the largest in the nation. The workers were mainly pulled from Grant, Lincoln, Douglas, and Okanogan counties and women were allowed to work only in the dorms and the cookhouse. Around 8,000 people worked on the project, and Frank A. Banks served as the chief construction engineer. Bert A. Hall was the chief inspector who would accept the dam from the contractors. Orin G. Patch served as the chief of concrete. Construction conditions were dangerous and 77 workers died.  To prepare for construction, housing for workers was needed along with four bridges downstream of the dam site, one of which,

Irrigation pumps.

With the onset of World War II, power generation was given priority over irrigation. In 1943, Congress authorized the Columbia Basin Project and the Bureau of Reclamation began construction of irrigation facilities in 1948. Directly to the west and above the Grand Coulee Dam, the North Dam

Expansion.

Third Powerplant.

After World War II, the growing demand for electricity sparked interest in constructing another power plant supported by the Grand Coulee Dam. One obstacle to an additional power plant was the great seasonality of the Columbia River's streamflow. Today the flow is closely managed—there is almost no seasonality. Historically, about 75% of the river's annual flow occurred between April and September. During low flow periods, the river's discharge was between and while maximum spring runoff flows were around. Only nine out of the dam's eighteen generators could run year-round. The

Pump-generating plant.

After power shortages in the Northwest during the 1960s, it was determined the six remaining planned pumps be pump-generators. When energy demand is high, the pump-generators can generate electricity with water from the Banks Lake feeder canal adjacent to the dam at a higher elevation. By 1973,

Overhauls.

A major overhaul of the Third Powerplant, which contains generators numbered G19 through G24, began in and will be continuing for many years. Among the projects to be completed before the generators themselves can begin to be overhauled include replacing underground 500 kV oil-filled cables for G19, G20 and G21 generators with overhead transmission lines (started in

Operation and benefits.

The dam's primary goal, irrigation, was postponed as the wartime need for electricity increased. The dam's powerhouse began production around the time World War II began, and its electricity was vital to the war effort. The dam powered aluminum smelters in Longview and Vancouver, Washington, Boeing factories in Seattle and Vancouver, and Portland's shipyards. In 1943, its electricity was also used for plutonium production in Richland, Washington, at the Hanford Site, which was part of the top-secret Manhattan Project. The demand for power at that project was so great that in 1943, two generators originally intended for the Shasta Dam were installed at Grand Coulee to hurry the generator installation schedule.

Irrigation.

Water is pumped via the Pump-Generating Plant's diameter pipes from Lake Roosevelt to a feeder canal. From the feeder canal, the water is transferred to Banks Lake which

Power.

Grand Coulee Dam supports four different power houses containing 33 hydroelectric generators. The original Left and Right Powerhouses contain 18 main generators and the Left has an additional three service generators for total installed capacity of 2,280 MW. The first generator was commissioned in 1941 and all 18 were operating by 1950. The Third Power plant contains a total of six main generators with a 4,215 MW installed capacity. Generators G-19, G-20 and G-21 in the Third Power Plant have a 600 MW installed capacity but can operate at a maximum

Spillway.

Grand Coulee Dam's spillway is long and is an overflow, drum-gate controlled type with a maximum capacity. A record flood in May and flooded lowland below the dam and highlighted its limited flood control capability at the time,

Cost benefits.

The Bureau of Reclamation in 1932 estimated the cost of constructing Grand Coulee Dam (not including the Third Powerplant) to be $168 million; its actual cost was $163 million in 1943 ($ in dollars). Expenses to finish the power stations and repair design flaws with the dam throughout the 1940s and '50s added another $107 million, bringing the total cost to $270 million ($ in dollars), about 33% over estimates. The

Environmental and social consequences.

The dam had severe negative consequences for the local Native American tribes whose traditional way of life revolved around salmon and the original shrub steppe habitat of the area. Because it lacks a fish ladder, Grand Coulee Dam permanently blocks fish migration, removing over of natural spawning habitat. By largely eliminating anadromous fish above the Okanogan River, the Grand Coulee Dam also set the stage for the subsequent decision not to provide for fish passage at Chief Joseph Dam (built in 1953). Chinook, Steelhead, Sockeye and Coho salmon (as well as other important species including Lamprey) are now unable to spawn in the reaches of the Upper Columbia Basin. The extinction of the spawning grounds upstream from the dam has prevented the Spokane and other tribes from holding the first salmon ceremony.  Grand Coulee Dam flooded over 21,000 acres (85 km) of prime bottom land where Native Americans had been living and hunting for thousands of years, forcing the relocation of settlements and graveyards. The Office of Indian Affairs negotiated with the United States Bureau of Reclamation on behalf of tribes who were concerned about the flooding of their grave sites. The Acquisition of Indian Lands for Grand Coulee Dam, 54 Stat.703 Act of June 20, 1940 allowed the Secretary of the Interior to remove human remains

Tourism.

Built in the late 1970s, the Visitor Center contains many historical photos, geological samples, turbine and dam models, and a theater. The building was designed by Marcel Breuer, and resembles a generator rotor. Since, on summer evenings, the laser light show at Grand Coulee Dam is projected onto the dam's wall. The show includes full-size images

Woody Guthrie connection.

Folk singer Woody Guthrie wrote some of his most famous songs while working in the area in the 1940s. In 1941, after a brief stay in Los Angeles, Guthrie and his family moved north to Oregon on the promise of a job. Gunther von Fritsch was directing a documentary about the Bonneville Power Administration's construction of the Grand Coulee Dam on the Columbia River, and needed a narrator. Alan Lomax had recommended Guthrie to narrate the film and sing songs onscreen. The original project was expected to take 12 months, but as filmmakers became worried about casting a political figure like Guthrie, they minimized his role. The Department of the Interior hired him for one month to write songs about the Columbia River and the construction of the federal dams for the documentary's soundtrack. Guthrie toured the Columbia River and the Pacific Northwest. Guthrie said he "couldn't believe it, it's a paradise", which appeared to inspire him creatively. In one month Guthrie wrote 26 songs, including three of his most famous: "Roll On, Columbia, Roll On", "Pastures of Plenty", and "Grand Coulee Dam". The surviving songs were released as "Columbia River Songs". The film "Columbia River" was completed in 1949 and featured Guthrie's music. Guthrie had been commissioned in 1941 to provide songs for the project, but it had been postponed by WWII.

Grand Coulee Dam is a concrete gravity dam on the Columbia River in the U.S. state of Washington, built to produce hydroelectric power and provide irrigation water. Constructed between 1933 and 1942, Grand Coulee originally had only two powerhouses. The third powerhouse, completed in 1974 to increase energy production, makes Grand Coulee the largest power station in the United States by nameplate-capacity at 6,809 MW.

Le barrage Grand Coulee (en ) est un barrage hydroélectrique de type poids sur la rivière Columbia, dans l'État de Washington, aux États-Unis destiné à produire de l'électricité et à permettre l'irrigation. Construit entre 1933 et 1942, il ne possédait à l'origine que deux centrales électriques produisant. En 1974, l'installation d'une troisième centrale porte la puissance à faisant de ce barrage le plus puissant des États-Unis et l'une des plus grandes structures en béton au monde.


Composition.

"Document" was R.E.M.'s first album to be co-produced both by the band and Scott Litt; this was a collaboration that continued through the productions of "Green", "Out of Time", "Automatic for the People", "Monster", and "New Adventures in Hi-Fi". The album's clear production and muscular rock riffs both helped to move the band toward mainstream success and built on the work done by Don Gehman, who had produced their previous album "Lifes Rich Pageant". This release not only launched "The One I Love" — R.E.M.'s first Top 10 hit on the "Billboard" Hot 100 at number 9 — but also gave them their first platinum album.  "Exhuming McCarthy" makes an explicit parallel between the red-baiting of Joe McCarthy's time and the strengthening of the sense of American exceptionalism during the Reagan era, especially the Iran-Contra affair. Starting with the click-clack of a typewriter, it also includes a sound clip of Joseph Welch's rebuke of McCarthy from the Army-McCarthy Hearings: "Let us not assassinate this lad further, Senator... You've done enough. Have you no sense of decency, sir, at long last? Have you left no sense of decency?"  "Strange" was originally recorded by post-punk band Wire on their debut album "Pink Flag". R.E.M.'s version of this song has slightly-altered lyrics—where the line "Joey's nervous" was changed to "Michael's nervous" in the first verse—and has a considerably faster tempo.  R.E.M. expanded their instrumentation somewhat on the album, adding a dulcimer to "King of Birds" and a saxophone to "Fireplace". Steve Berlin was brought in to add his saxophone skills because of a prior relationship with producer Scott Litt. This experimentation would lead to their adoption of the mandolin, which featured prominently on their subsequent albums "Green" and "Out of Time"; furthermore, the band's musicians began swapping instruments both in concert and the studio with an effort to create new sounds and avoid stagnation.

Packaging.

The original sleeve for the album featured the message "File under Fire", a reference to what Michael Stipe considered to be the central lyrical theme of the album, and also references the chorus to "The One I Love". A similar message ("File under water") could be found on the cover of the band's second album, "Reckoning", as well as on the compilation album "Eponymous" ("File under grain") referring to the idea behind "Talk About the Passion", which was about hunger. Two rejected suggestions for the title of the album—"R.E.M. No. 5" and "Table of Content"—also appear on the sleeve artwork. Other possible album titles included "Mr. Evil Breakfast", "Skin Up with R.E.M.", and "Last Train to Disneyland" (the last one having been suggested by Peter Buck, who felt that America under the presidency of Ronald Reagan was beginning to feel a lot like the famed amusement park).

Critical reception.

In a contemporary review for "The Village Voice", Robert Christgau said the band had moved on from their past work's escapism and that "their discovery of the outside world has sharpened their sense of humor along with everything else", citing "It's the End of the World as We Know It (And I Feel Fine)" as an "inspirational title". "Rolling Stone" reviewer David Fricke felt that the album was R.E.M.'s "finest to date", and said that ""Document" is the sound of R.E.M. on the move".  Stephen Thomas Erlewine of AllMusic said that "where "Lifes Rich Pageant" sounded a bit like a party record, "Document" is a fiery statement, and its memorable melodies and riffs are made all the more indelible by its righteous anger." "Rolling Stone" went on to include the album in their list of the 100 greatest albums of the 1980s (in 41st place), and then ranked it number 462 on 2012 list of the 500 Greatest Albums of All Time. In 2012, "Slant Magazine" listed the album at number 17 on its list of "Best Albums of the 1980s".

Reissue.

In 1999, the album was remastered by Bob Ludwig and re-released on Compact Disc by I.R.S. Records in the United States. This version came in a replica of the record sleeve made of cardboard. In 2005, Capitol Records (whose then parent company EMI at that time owned I.R.S. Records' catalog) issued an expanded DualDisc edition of "Document" which includes a digitally remastered version of the album on the CD side, a DVD-Audio, DTS and Dolby Digital 5.1-channel surround sound mix of the album done by Elliot Scheiner on the DVD side, and the original CD booklet.

Track listing.

All songs were written by Bill Berry, Peter Buck, Mike Mills and Michael Stipe, except where noted.  Side one – "Page side"  Side two – "Leaf side"  1993 "I.R.S. Vintage Years" reissue bonus tracks  Note  25th anniversary bonus disc, recorded live at Muziekcentrum Vredenburg in Utrecht, Netherlands, September 14, 1987

Personnel.

R.E.M.  Additional musicians Production

Release history.

Notes

Document is the fifth studio album by American rock band R.E.M., released on August 31, 1987 by I.R.S. Records. It was the first album by the band to be produced by Scott Litt.

Document est le cinquième album du groupe de rock américain R.E.M.. Il est sorti en 1987, quelques mois après la sortie de la compilation "Dead Letter Office" et est le dernier album original enregistré par le groupe pour le label I.R.S. Records.


History.

Camp Carson.

Camp Carson was established in 1942, following Japan's attack on Pearl Harbor. The city of Colorado Springs, Colorado purchased land south of the city and donated it to the War Department. Construction began immediately and the first building, the camp headquarters, was completed January 31, 1942. Camp Carson was named in honor of the legendary Army scout, General Christopher "Kit" Carson, who explored much of the West in the 1800s. At the construction's peak, nearly 11,500 workers were employed on various construction projects at the new camp. Facilities were provided for 35,173 enlisted men, 1,818 officers and 592 nurses. Nearly all of the buildings were of mobilization type construction, with wood sided exteriors. The hospital complex was constructed of concrete block, and considered to be semi-permanent, and had space for 1,726 beds, expandable to 2,000 beds. The 89th Infantry Division was the first major unit to be activated at Camp Carson. During World War II, over 100,000 soldiers trained at Camp Carson. Along with three other infantry divisions – the 71st Infantry Division, 104th Infantry Division and 10th Mountain Division – more than 125 units were activated at Camp Carson and more than 100 others were transferred to the mountain post from other installations.  Nurses, cooks, mule packers, tank battalions, a Greek infantry battalion, and an Italian ordnance company trained at Camp Carson during the war years. Camp Carson was also home to nearly 9,000 Axis prisoners of war – mostly Italians and Germans. The internment camp at Camp Carson opened on the first day of 1943. These POWs alleviated the manpower shortage in Colorado by doing general farm work, canning tomatoes, cutting corn, and aiding in logging operations on Colorado's Western Slope.  Between 1942 and 1956, pack mules were a common sight at Camp Carson. The first shipment arrived by train from Nebraska in July 1942. The mules were used by Field Artillery (Pack) battalions to carry equipment, weapons and supplies over mountainous terrain. The most famous of these animals was Hambone, the pride of the 4th Field Artillery Battalion. For 13 years, he carried first sergeants up Ute Pass to Camp Hale. Camp Hale, located near Leadville, Colorado, was where the Army conducted cold weather and mountain warfare training. Hambone died in March 1971 and was buried with full military honors.  By April 1946, the post-war military strength at the camp was around 600 and on 16 December 1949, Strategic Air Command opened a survival school at Camp Carson for training in mountainous terrain (moved to Stead Air Force Base, Nevada, in 1952.)

Designated Fort Carson.

Camp Carson was designated Fort Carson in 1954. In the 1960s, mechanized units were assigned to the fort and it was expanded to the present. Butts Army Air Field at the fort was constructed between 1963 and 1966 with a runway for light fixed-wing aircraft (cf. USAF C-130s at the nearby Peterson Air Force Base.)  Throughout its history Fort Carson has been home to nine divisions. An additional training area, comprising 235,000 acres (95,000 ha), was purchased in September 1983. Named the Piñon Canyon Maneuver Site, this training area is located approximately road miles to the southeast, and is used for large force-on-force maneuver training. Comprehensive maneuver and live fire training also occurs downrange at Fort Carson. Exercises and deployments continually hone the skills of Fort Carson soldiers. When not deployed, soldiers train annually at Piñon Canyon Maneuver Site and the National Training Center near Barstow, California. Additionally, units participate in joint exercises around the world, including Central and South Africa, Europe, and Southwest Asia. In 2003, most Fort Carson units were deployed in support of Operations Enduring Freedom and Iraqi Freedom. Troops from the 984th Military Police CO, 759th Military Police BN were also sent in support of the guard mission at Guantanamo Bay Naval Base, Cuba. President George W. Bush addressed soldiers and family members at the post on November 24, 2003, in praise of the soldiers' determination and the sacrifices their families have made.  Fort Carson's scenic location has made it one of the most requested duty stations in the U.S. Army. It is considered the second most popular CONUS duty station, after Fort Lewis, Washington, and adopted "Best Hometown in the Army" as its motto in 2007.  Construction in 2007 and 2008 preceded the return of the 4th Infantry Division (4ID) from Fort Hood after their 2008 Operation Iraqi Freedom deployment (~5,000 additional soldiers).

Location.

Fort Carson is located at 38°44'45" North, 104°47'6" West (38.745744, −104.784907). It is located in Pueblo County, El Paso County, and Fremont County.  According to the United States Census Bureau, the CDP has a total area of, all land.

Demographics.

As of the census of 2000, there were 10,566 people, 1,679 households, and 1,620 families residing in the CDP (the number increased to 13,183 by 2010). The population density was 1,126.8 people per square mile (434.9/km2). There were 2,664 housing units at an average density of 196.8 per square mile (75.9/km2). The racial makeup of the CDP was 62.8% White, 20.0% African American, 2.1% Asian, 1.7% Native American, 0.8% Pacific Islander, 7.9% from other races, and 3.8% from two or more races. Hispanic or Latino of any race were 15.4% of the population.  There were 1,679 households out of which 84.9% had children under the age of 18 living with them, 85.4% were married couples living together, 9.7% had a female householder with no husband present, and 3.5% were non-families. 3.2% of all households were made up of individuals, none of whom were 65 years of age or older. The average household size was 3.70 and the average family size was 3.74.  In the CDP, the population was spread out with 27.5% under the age of 18, 37.1% from 18 to 24, 34.2% from 25 to 44, 1.2% from 45 to 64, and 0.1% who were 65 years of age or older. The median age was 22 years. For every 100 females, there were 195.0 males. For every 100 females age 18 and over, there were 251.7 males.  The median income for a household in the CDP was $34,883, and the median income for a family was $34,385. Males had a median income of $19,865 versus $17,582 for females. The per capita income for the CDP was $12,772. About 7.8% of families and 9.4% of the population were below the poverty line, including 12.1% of those under the age of 18 and none of those 65 and older.

Controversy.

On February 14, 2007, the U.S. Army announced it was moving forward with a plan to expand the Piñon Canyon Maneuver Site in southeastern Colorado. If expanded, Piñon Canyon would be the Army's largest single training area in the nation, tripling the size of the current site by adding of private ranch land. At 650,000 acres (2630 km2), it would be nearly the size of the state of Rhode Island.  Many in the local civilian population are opposed to this plan, because much of the land in rural areas that would be added to the training site is civilian-owned ranch land, and many current landowners are unwilling to be supplanted, regardless of the compensation that may be offered. The Pinon Canyon Expansion Opposition Coalition, an activist group opposing the plans, says that former maps it obtained from the Army showed a "future expansion area" significantly greater than is now being contemplated. The Army's position is that expansion is essential for preparing soldiers for battle in evergrowing theaters such as Afghanistan and the Middle East.  On 25 November 2013, the U.S. Army announced that its plan to expand the Piñon Canyon Maneuver site had been cancelled.  In response to a Congressional ban on Army funding for an expansion plan, the United States Air Force moved in with a plan to use the area for V-22 Osprey flights.

Fort Carson is a United States Army installation located in unincorporated El Paso County, Colorado, near the city of Colorado Springs.

Une galaxie à sursaut de formation d'étoiles ou galaxie à flambée (de formation) d'étoiles ou (starburst galaxy en anglais) est une galaxie présentant un taux exceptionnel de formation d'étoiles par rapport aux taux observés dans la plupart des galaxies. Ce phénomène est limité dans le temps et constitue une étape dans la vie d'une galaxie. On déduit des observations que les sursauts de formation d'étoiles dans une galaxie résultent principalement d'une collision, ou d'une interaction avec une ou plusieurs galaxies proches. Le taux de formation d'étoiles dans une galaxie subissant un "starburst" est si grand que, si le taux était maintenu, les réservoirs de gaz à l'origine des étoiles se consumeraient sur des périodes beaucoup plus courtes que la durée de vie dynamique de la galaxie. Pour cette raison, on présume que ces sursauts sont temporaires. Parmi les galaxies "starburst" bien connues, on compte M82, les galaxies des Antennes et IC 10.


History.

Early history.

The Shors as a people formed as a result of a long process of intermixing between the Turkic, Ugrian, Samoyedic and Ket-speaking tribes. Their culture and origins are similar to those of the northern Altay people and some of the ethnic groups of the Khakas. The region where the Shors currently reside was Turkicized under the influence of the Yenisei Kirghiz during the medieval period. The Shors resulted from this ethnic mixing and adopted Turkic speech (the Shor language) as a result. Shor tribes began to become a distinct people around the 8th and 9th centuries CE. The Mongol conquest of the Altai-Sayan region in the 13th century added another layer of cultural influence over the local population and their languages. The region subsequently fell under the influence of the Oirats from the late 14th century to the early 17th century. Although Mongol control of the area was nominal, many of the languages (including Shor) contains significant amounts of Mongol loanwords. The Shors were a valuable asset to the Yenisei Kirghiz and Oirats as suppliers of ironware. Their ability to smelt iron from ore was a feat that only one other indigenous Siberian people (the Yakuts) were able to do before the Russian advance to the area.

Early modern history.

In the early 17th century, the Shors and their territory were conquered by the Russians. In the 18th century, Russian settlers began to move in to the area. The Shors' niche as producers of ironware for the Oirats, Altaians, and Kirghiz was soon eroded by the Russian traders. The Russians had more advanced products to offer and this ended Shor blacksmithing. Atop of this, Russian officials subjected the Shors to pay "yasak" in the form of furs. This resulted in most Shors abandoning their old occupations and villages to move to nearby towns so they can make a better living as hunters. However, they lived in squalid conditions. The use of nettle-fibre or wild hemp for clothing, primitive implements, and techniques continued on towards the 20th century.

Modern history.

The Shors were little affected by the Russian Revolution and its civil war until the Bolsheviks took the region in 1920. In 1929, the Shor National Region was formed but was quickly dissolved in 1939. The okrug (district) was disbanded because the Soviet authorities believed its existence might hinder the development of the iron and coal industries in the region. These minerals became important to the state after deposits were discovered in the Kuznetsk Basin in the 1930s. This discovery led to a new wave of Russian settlers and workers to the region and began displacing the Shors. The authorities considered the Shors to be numerically insignificant and that disenfranchising them would not be consequential to the state. The Shors greatly suffered as a result. They were driven out of their farms and villages and forced to work in the coal mines. The population of the Shors declined and the urban Shors struggled with alcoholism, drug addiction, suicide, and high lethal accident rates. Traditional Shor culture began to wane. The liberalization of Soviet rule beginning in the 1980s led to a Shor cultural revival and the establishment of many cultural and linguistic institutions (like the creation of The Association of Shor People in the 1990s). The current situation of the Shors is not free of issues however. Many Shors do not know their native language and show indifference to their traditional culture. Illness, discrimination, environmental racism, high death rates but low birth rates, drug and alcohol addiction, and the possibility of the Shors being swallowed up by the dominant Russian culture in the near future are other issues the modern Shors face.

Religion.

Christianity.

The Shors were originally practitioners of shamanism and animism but were converted to Russian Orthodox Christianity during Russian rule since the early 17th century. Conversions occurred rapidly after the establishment of the Altai Spiritual Mission in the 1830s. Most present Shors are Russian Orthodox Christians.

Shamanism.

Despite the conversion of Christianity among the Shors, shamanism has had and still is very important and influential to modern Shor spirituality. Shor Shamanism and its "kam" (shamans) have suffered persecution since Russian colonization of the region especially from the 17th to 20th centuries. The establishment of the Altai Spiritual Mission in the region resulted in the severe persecution of shamanism and the kam. Christian missionaries routinely lambasted Shor shamanism as being a dark cult and the kam as servants of the devil. There was many forced conversions to Christianity as well. During the soviet era, the authorities frequently designated the kam and others as enemies of the state and sentenced them to camps or even death. Graves, drums, ritual clothing, and more were burned or desecrated during this period. Shor shamanism saw a revival starting in the late 1980s and is considered a vital part of modern Shor identity.

Culture.

Economy.

The Shors were mainly engaged in hunting, fishing, some primitive farming, and pine nut picking. Blacksmithing and iron ore mining and melting were also important (hence, the name "Blacksmithing Tatars"). The lifestyle of the Shors changed significantly following the October Revolution of 1917. Most became skillful farmers, cattle-breeders, or industrial workers.

Family and clan structure.

The Shors were able to retain much of their ancient clan structure over the years. Each clan was traditionally led by a chief. Chiefs were elected in large clan gatherings. These gatherings was where important decisions, conflicts, and other issues were settled. Features of their society included matrilocal marriages, exogamy, a classisfactory system of kinship terms, and the belief in certain taboos that revolve around the former. Clans routinely organized communal hunts and shared the spoils equally among themselves. However, this clan system eroded beginning in the mid-nineteenth century under the Russian influence of separating families into individual units. A family now relied on a money economy and this soon resulted in wealth disparity and differentiation in Shor society.

Environment.

Environmental activist Alexander Arbachakov won a Whitley Award for his work preserving sustainable communities in Shor territory. The coal, iron, gold, and timber resources of the region are extracted by companies that show little regard to the Shors and the environment of the area. The Shors receive no direct financial benefits for the extraction of these minerals on their land. This has made some Shor feel attacked as minerals are often taken from places the Shors consider sacred.

Music.

Throat-singing is an ancient and traditional form of music in Shor culture. Epic stories about heroes and deities are popular and often accompanied by singing and the use of a kai-komus (two-stringed wooden instrument).

Education.

The first educational institution for the Shors was a missionary school that were established in the village of Kuzedevo around 1860. After 1867, the most talented graduates had the chance to continue their education at the College of Catechism in Kazan. However, the literacy rates of the Shors remained very low. The Soviets opened up ten schools and a children's home in 1921–22 in the village of Kabyrza. Within ten years, the number of schools in the region increased. Libraries and clubs were opened to abolish illiteracy. By 1932, a college to train teachers had 300 students and 70 of them were natives. By 1936, 114 schools (100 primary and 14 secondary) existed in the area. The use of Shor in the 1920s and the rising educational standards of the Shors led to an intellectual growth of the people. Scientists, teachers, doctors, writers, journalists, and clerks were represented within the Shors. Shor intellectual culture began to decline after the dissolution of the Shor National Region in 1939 and the removal of Shor as a language of instruction in schools in 1943. The teacher's college was closed while Shor intellectuals were repressed or killed fighting in the Great Patriotic War. The post-war period proved stagnant for Shor intellectual culture. The resurgence of the Shor identity beginning in the 1980s has led to a recent revival for traditional Shor culture and the establishment of new educational programs for native teachers, students, and the younger generation.

Shor mythology.

Creation myth.

The universe was originally empty until the god Ul'gen created the three skies. He placed his son Paktan in the lowest sky. He then placed a spirit called Keikush in the middle sky while he and his wife Chaasin lived in the upper sky. Ul'gen's younger brother, Erlik, decided to create things himself. Erlik created the mountains, birds, and other animals. Meanwhile, Ul'gen created man but didn't know to make human souls and as a result the man he created was nothing more than a lifeless husk. He then set out on a journey in search of a soul and left a hairless dog to protect man in his absence. Erlik saw his chance and made his way to the man. The dog refused to let him pass but Erlik made a deal with the dog. If the dog lets him pass, he'll give him fur. Erlik passed and the dog's body grew fur. Erlik proceeded towards the lifeless man, spat on him, rubbed dirt on him, and left.  Ul'gen returned with his aim failed and saw the condition of the man and dog. The dog revealed what happened and Ul'gen wondered whether Erlik knew how to create souls. He summoned Erlik and he replied that he knew how to create souls. With no other options, Ul'gen agreed that Erlik would create the soul of man if he can have their souls. However, the body of man would belong to Ul'gen. Erlik used a tube made out of a hollow angelica stem and placed the tube in man's mouth. Erlik blew the soul through the tube and into man's body. Ul'gen soon wanted to banish Erlik from Earth but Erlik pleaded to Ul'gen to give him a corner of land for him to live in. Ul'gen raised his staff and a hole opened up where it was resting. Snakes, insects, and other creatures crawled out onto the Earth and Erlik climbed down the hole to the underworld.

The worldview of the Shors.

The Shors traditionally believed that the universe was divided into three levels which were:  All these realms were said to be populated by spirits, humans, animals, and other creatures. The three worlds were linked via the axis of the World Tree or Mountain. The top of the World Tree housed the Heavenly Realm whilst its trunk passed through the Middle Earth and its roots reached down to the Underworld. The World Mountain was divided similarly with its peak connected to the Upper World and the foot of the mountain to the Earth.

Divisions of the Heavenly Realm.

The Heavenly realm is further divided into nine "skies". By ascending order these include:

Spirits and deities.

Traditional Shor religion is rich with deities and spirits. Some of the most revered or feared include:  Other popular deities the Shors recognized (along with other Turkic peoples) included:

References.

Flag of the Shor people

Shors or Shorians (Shor "шор-кижи") are a Turkic ethnic group native to Kemerovo Oblast of Russia. Their self designation is "Шор", or "Shor". They were also called Kuznetskie Tatars (кузнецкие татары), Kondoma Tatars (кондомские татары), Mras-Su Tatars (мрасские татары) in some of the documents of the 17th and 18th centuries.

Les Chors sont un peuple turc d'Asie centrale, vivant sur les rives du Tom, dans l'actuel Kouzbass (Russie). Ils font partie des Tatars de Kouznetsk (nommés ainsi à cause de leurs aptitudes de forgerons, "Kouznets(y)" en russe), eux-mêmes une branche des Altaïens. Ils ont donné leur nom à la Choria montagneuse, autour de Tachtagol.


History.

The show dates back to 1917 with the opening of the first "Schweizer Mustermesse Basel" (muba), of which a section was devoted to watches and jewellery. In 1925, muba invited several watch manufacturers to participate. In 1931, the "Schweizer Uhrenmesse" (Swiss Watch Show) was first held in a dedicated pavilion. After 1972's "Europe's meeting place" exhibition, companies from France, Italy, Germany, and the United Kingdom were also invited. In 1983, the show changed its name to BASEL with two numerals denoting the exhibition year, e.g., "BASEL 83". In 1986, companies from outside Europe were included for the first time, reflecting the increased number of visitors from outside Europe. In 1995, the show was renamed to "BASEL 95 - The World Watch, Clock and Jewellery Show" In 1999, a new hall with 36,000 sq m of exhibition space was added. The year 2000 saw an increase of 6% in trade visitors. In 2003 the show was again renamed to "Baselworld, The Watch and Jewellery Show." In 2004, with the introduction of a new hall complex, the exhibition area extended to 160,000 square meters, and attracted more than 89,000 visitors. In 2018, Baselworld saw a significant drop in exhibitors to 650, and the duration of the exhibition was shortened by two days, although attendance remained stable. In addition, Baselworld announced that it and SIHH will coordinate their dates from 2020 until 2024. In 2019, with the withdrawal of Swatch Group (they had announced in 2018 that they would no longer attend Baselworld 2019 with any of their brands), the show has been reduced by one day. In 2019, the show management announced a new concept for Baselworld. The show is to be developed from a classic trade fair to an experience platform and will also address consumers. In April 2020 Rolex, Patek Philippe, Chopard, Chanel and Tudor announced that they would be pulling out of Baselworld and host their own fair in April 2021.

Baselworld Watch and Jewellery Show is a trade show of the international watch and jewellery industry, organized each spring in the city of Basel, Switzerland, at Messe Basel.

Sa première édition remonte à 1917. Le salon se déroule généralement pendant les dernières semaines de mars sur une superficie de. Il rassemble environ de différents pour à.


Club career.

Czech Republic.

Born in Vaudreuil-Dorion, Quebec, Hainault began his professional career with Montreal Impact in the USL First Division in 2004, and played three competitive games for the team prior to signing with small Czech side SIAD Most. Hainault played there alongside former star striker Horst Siegl and made 46 appearances for Most in the Gambrinus liga and the Czech 2. Liga. He scored a game-winning goal for them in the 88th minute of his league debut against Slovácko in February 2006. He also spent a brief time on loan with Sparta Prague before returning to North America.

Major League Soccer.

The Houston Dynamo announced on April 14, 2009, that they had secured Hainault's international transfer certificate from Most; he had been training with the team throughout the 2009 pre-season. Hainault was signed to a standard four-year MLS contract and made a base salary of $55,125 in 2009. He made his MLS debut for Houston on May 3, 2009, coming on as a substitute for Wade Barrett in a game against New England Revolution.  Hainault turned down a call-up for two 2014 FIFA World Cup qualification matches due to an important club match-up against the Portland Timbers on October 15, 2011. It turned out to be a major factor in the game, with Hainault scoring his first goal of the season and opening goal of the game from a Brad Davis free kick. Houston went on to a 2–0 away win, clinching a playoff spot. Later in 2011, he scored two playoff goals, including the opening goal in a 2–0 win in the Eastern Conference Final of the 2011 MLS Cup Playoffs, sending the Dynamo to their first MLS Cup since 2007. Houston fell to the Los Angeles Galaxy on November 20, 2011, in a 1–0 final, with a goal from Landon Donovan.  After an off-season with much speculation of a transfer to Bordeaux, Hainault remained in Houston for 2012 and scored the game-winning goal over Chivas USA in the season opener on March 11, 2012.

Scottish Premier League.

After the 2012 Major League Soccer season, a season in which Hainault was dropped from the starting line-up for the final two months, he signed for Scottish Premier League club Ross County on a free transfer. Former Dynamo teammate and former Ross County player Adam Moffat sold him on the decision. It was announced on January 29 that Hainault had been approved for a work permit to officially join the club. Hainault made his debut for the club on February 23, 2013 against Motherwell as a 90th-minute substitute for Paul Lawson. On May 19, 2013, Hainault became an instant legend with the Ross County faithful with a 10-yard volleyed goal in the 1–0 win against fierce local rivals Inverness Caledonian Thistle to end the Inverness team's hopes of qualifying for Europe for the first time ever. The goal was Hainault's first for the club. Following the season, despite reports that Ross County were set to re-sign him,

Germany.

On July 4, 2013, it was announced that Hainault would join German club VfR Aalen of the 2. Bundesliga on a two-year contract beginning with the 2013–14 2. Bundesliga season. Hainault played 40 matches for Aalen, but saw his contract not renewed in 2015. He then joined newly promoted 3. Liga side 1. FC Magdeburg on a free transfer, signing a one-year contract. On April 20, 2016, he extended his contract with 1. FC Magdeburg until 2018. After missing significant time in the previous two years to injury, Hainault returned to the lineup regularly and help lead Magdeburg to promotion to the 2. Bundesliga in 2018. He turned down a new contract offer from the club, and signed a two-year contract with 1. FC Kaiserslautern in the offseason.

International career.

Hainault played all three of Canada's matches at the 2005 FIFA World Youth Championship in the Netherlands. He made his senior debut for Canada in a November 2006 friendly match against Hungary. By December 2009, he had earned a total of 15 caps, scoring one goal. He has so far represented Canada in three FIFA World Cup qualification matches. On March 29, 2011, Hainault scored his second international goal from a Will Johnson corner kick in friendly versus Belarus.

André Hainault (born June 17, 1986) is a Canadian international soccer player who plays as a defender for 1. FC Kaiserslautern.

André Hainault, né le à Vaudreuil-Dorion au Québec, est un joueur international canadien de soccer. Il joue au poste de défenseur central au FC Kaiserslautern.


Plot.

Before the play begins, two 11-year-old children, Ferdinand Reille and Bruno Vallon (Benjamin and Henry in the Broadway production), get involved in an argument because Bruno refuses to let Ferdinand join his 'gang'. Ferdinand knocks out two of Bruno's teeth with a stick. That night, the parents of both children meet to discuss the matter. Ferdinand's father, Alain (Alan in the Broadway production), is a lawyer who is never off his mobile phone. Ferdinand's mother, Annette is in "wealth management" (her husband's wealth, to be precise), and consistently wears good shoes. Bruno's father, Michel (Michael in the Broadway production), is a self-made wholesaler with an unwell mother. Michel's wife, Véronique (Veronica in the Broadway production), is writing a book about Darfur. As the evening goes on, the meeting degenerates into the four getting into irrational arguments, and their discussion falls into the loaded topics of misogyny, racial prejudice and homophobia. One of the central dramatic moments of the play occurs when Annette vomits on stage, all over the coffee table and books.

Production history.

Original London production.

Christopher Hampton's English translation of the play was first presented in a UK Premiere at the Gielgud Theatre in London's West End on 25 March 2008. This production was directed by Matthew Warchus and starred Ralph Fiennes, Tamsin Greig, Janet McTeer and Ken Stott. On the opening night of the performance, there was a power failure about an hour into the show. The show therefore had to continue in emergency lighting. The London production was widely acclaimed, receiving the Olivier Award for Best New Play of the year.

2009 Broadway production.

After some minor changes to the English script to accommodate American audiences, a Broadway production opened at the Bernard B. Jacobs Theatre in previews on February 28, 2009, and officially on March 22, 2009. Originally planned for a limited engagement to close July 19, 2009, the run was extended through February 28, 2010 before converting to an open-ended run. From July 27, 2009 to September 8, 2009, the play was suspended to allow the principal cast to tie up prior engagements before returning to fulfill their contracts. Directed once again by Matthew Warchus, the original cast included Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden. All four actors were nominated for Tony Awards for their performances. Harden won the Tony for Best Leading Actress in a Play. The Broadway production closed on June 6, 2010 playing 24 previews and 452 regular performances. It is the third-longest running play of the 2000s (after "The 39 Steps" and ""). While receiving mostly positive reviews, the play has also generated some negative reactions. Brendan Lemon of the "Financial Times" called the play "this piece of shallow arrogance", adding, "I detest the pathetic complicity between this author and her audiences... when I left the theatre, I thought: I’ll never laugh again." Broadway cast replacements include Ken Stott (who had starred in the London production), Christine Lahti, Jimmy Smits, Annie Potts (making her Broadway debut), Jeff Daniels (returning in the role of Michael and not his original role, Alan), Janet McTeer (who had appeared in the London production), Dylan Baker, Lucy Liu (in her Broadway debut).

Other productions.

The German premiere took place on December 2, 2006 at the Schauspielhaus Zürich with Dörte Lyssewski as Véronique Houillé, Tilo Nest as Michel Houillé, Corinna Kirchhoff as Annette Reille and Michael Maertens as Alain Reille. The play was directed by Jürgen Gosch.  The Slovenian premiere took place in 2007 at the National Theatre in Ljubljana. The play was directed by Janusz Kica.  The play was produced in French for the first time with a premiere on January 25, 2008, at the Théâtre Antoine in Paris. The actors were Isabelle Huppert as Véronique Houllié, André Marcon as Michel Houllié, Valérie Bonneton as Annette Reille and Éric Elmosnino as Alain Reille. The director was the author herself, Yasmina Reza.  In Spain, the play was released on October 2, 2008 at the Alcázar Theatre in Madrid, starring Maribel Verdú, Aitana Sánchez-Gijón, Antonio Molero and Pere Ponce. For their performances, they won and were nominated for numerous awards.  The Croatian premiere took place in 2008 at the National Theatre in Split. The play was directed by Nenni Delmestre. The second Croatian production took place in 2009 at Theatre Rugantino in Zagreb. The play was directed by Franka Perkovic.  In Serbia, the premiere of the play was in December 2008 at Atelje 212 in Belgrade. It was directed by Alisa Stojanović and starred Dušanka Stojanović, Tihomir Stanić, Jelena Đokić and Svetozar Cvetković.  The Sydney premiere took place on 3 October 2009 at the Sydney Opera House Drama Theatre. It was directed by Gale Edwards and starred Russell Dykstra, Sacha Horler, Marcus Graham, and Helen Thomson. The designer was Brian Thomson.  The Romanian premiere took place in 2010 at the Comedy Theater (Teatrul de Comedie) in Bucharest. The play was directed by Lucian Giurchescu, and the actors were Delia Nartea/Teodora Stanciu, Tania Popa, Marius Drogeanu and Alexandru Conovaru.  The Irish premiere took place in February 2011 at the Gate Theatre, Dublin starring Maura Tierney, Ardal O'Hanlon, Owen Roe and Donna Dent, and directed by Alan Stanford. The Chicago Premiere was presented at the Goodman Theatre in March 2011 directed by Rick Snyder and starring David Pasquesi. The play has just finished a run at the Guthrie Theatre, Minneapolis, MN.  "God of Carnage" had its Puerto Rican premiere on November 4, 2011 at the Tapia Theatre in San Juan starring Cordelia Gonzalez, Braulio Castillo, Jr., René Monclova and Luisa de los Ríos, and directed by Alina Marrero.  A flemish version called "God van de slachting" in Dutch, toured Flanders, Belgium in 2012. It was directed by acclaimed television director Jan Eelen and starred Els Dottermans, Frank Focketyn, An Miller and Oscar Van Rompay. The tour was hugely successful, mainly thanks to the fame of the director. The Raamtheater had previously performed the play, but their version was less successful.  In March 2013 "Un Dios Salvaje" premiered in Chile at Centro Mori Parque Arauco theatre, starring Blanca Lewin, Alvaro Espinoza, Ingrid Cruz and Elvis Fuentes, directed by Andrés Céspedes and produced by The Cow Company.  The United Arab Emirates premiere took place in Dubai in April 2013 with Director Nina Hein, at the Jam Jar. Actors were Russell Bell (Michael), Brook Butterworth (Annette), Mike Green (Alan) and Sophie Paris (Veronica).  A new production of the Christopher Hampton English translation was part of the 2018 summer season at the Theatre Royal, Bath. Directed by Lindsay Posner, it starred Elizabeth McGovern, Amanda Abbington, Nigel Lindsay, and Ralf Little.  In 2019, Brad Beckman discussed "God of Carnage" in his play analysis class at Syracuse University. Included in his production was Bobby McFerrin and Robin Williams's cover of Come Together by The Beatles.

Film adaptation.

Roman Polanski directed the 2011 film adaption of "God of Carnage", whose title was shortened to "Carnage". The film was shot in Paris, due to Polanski's outstanding criminal conviction in the United States, but the play's Brooklyn setting is retained in the film. Jodie Foster and John C. Reilly play Penelope and Michael, while Christoph Waltz and Kate Winslet play Alan and Nancy.

God of Carnage (originally in French Le Dieu du carnage) is a play by Yasmina Reza. It is about two sets of parents, one of whose child has hurt the other at a public park. They agree to meet to discuss the matter in a civilized manner. However, as the evening goes on, the parents become increasingly childish, resulting in the evening devolving into chaos. Originally written in French, the play was a success. It has since been translated into English, and has enjoyed equal acclaim in productions in both London and New York.

Le Dieu du carnage est une pièce de théâtre de Yasmina Reza, créée le, au Théâtre Antoine à Paris. La pièce (publiée le aux éditions Albin Michel) avait été créée en par Jürgen Gosch à la Schauspielhaus de Zurich et reprise ensuite au Berliner Ensemble. Elle a été adaptée au cinéma par Roman Polanski en 2011 sous le titre "Carnage."


Gameplay.

The player directly controls one member of a five-man team, with the object of carrying a football over the opposing team's goal line. The playing area is littered with hazards such as pits, bushes and logs. A ball carrier who trips over any of these, or who is punched by an opponent, fumbles the ball. The field is also laden with weapons: axes, maces, nooses, scythes, spears, swords and torches. A player can pick up one of these by running over it. It will appear at the top of the screen next to the player's score as a "concealed weapon", several weapons may be carried at once and one may be carried over after a touchdown. The ball carrier can be "grappled", essentially a mass tackle into which multiple characters can jump. Having a concealed weapon as well as having more characters jump into the grapple greatly increases a team's chance of gaining or retaining possession, although weapons cannot be used if both team captains are in the grapple. A character who is injured by a concealed weapon is out of play until a touchdown is scored.  If one team gets too far behind in score in the second half of the game, a computer-controlled troll is added to the losing side to help even the odds, and behaves more aggressively than regular players. Additionally, the troll cannot be killed by weapons. Up to two trolls can be in play at a time during a standard game (one per side or two on one side). During a one player "Pro Pigskin" game, if the computer-controlled team continues to lose heavily even after a troll has been added or falls behind very quickly early on, an option for a "Troll Bowl" will appear. If selected the player will face an entire team of trolls with only human players on their own side.  Gameplay tips are given between periods and statistics are given at the end of the game. Statistics cover Goals Scored, Injuries Inflicted and Pigskin Possession Time. Before the game we can read about teams background. Both teams are renegades bands. The blue band is led by Thor Akenbak, and the red one's captain is Atilla DeSoil.

Scoring.

A touchdown is worth six points, with a one-point bonus for keeping possession of the ball for longer than a minimum time. (Approximately 10 seconds)  It is possible to gain very high scores by eliminating most of the opposing team and then maintaining possession of the ball for as long as possible. Since a period can only end on a change of possession, a player can keep gaining single possession points well after the period clock has run out.

Controls.

Pigskin has two pass buttons, a punch button, and a button for selecting the team's strategy ("Block", "Scatter" and "Bad Attitude" when the player's team is in possession of the ball; "Get Ball", "Man-to-Man" and "Bad Attitude" when the opponent has it).

Sega Genesis version.

There is no scythe and torch. The music is shorter and plays at a lower volume. The game features soundbites from Atlanta Falcons coach Jerry Glanville. There is a hidden sound test.

Offers.

At one time, the makers of "Pigskin 621 A.D." offered tickets to the Super Bowl as part of a sweepstakes promotion associated with the arcade game. The game also advertised a free players handbook available by sending a self-addressed stamped envelope to a specified post-office box.

Development.

Designers Jeff Nauman and Brian Colin had previously worked on the Midway Games "Arch Rivals" and "Rampage", which are referenced in the game's tagline "Ancient Archrivals on a Rampage."  "Pigskin" is the last of only seven games made for Midway's MCR-68k system before completely switching over to newer TMS34010 based systems.

Pigskin 621 A.D. is an arcade game released in 1990 by Bally Midway. One player can battle the computer, or two players can battle head-to-head. Two teams compete to score as many touchdowns as possible in the tradition of American football, but actual play is more similar to rugby football.

Pigskin 621 A.D. (ou Jerry Glanville's Pigskin Footbrawl) est un jeu vidéo de football américain sorti en 1990 sur Mega Drive et arcade. Le jeu a été développé par Razor Soft et édité par Bally Midway Manufacturing Company.


History.

After Ukrainian independence in 1991, the stadium was given national status in 1996 and renamed again as the "Olympic" National Sports Complex. Kievans (Kyians) still commonly refer to it as the "Tsentralny" (Central) or "Respublykanskyi stadion" (Republican Stadium), and the nearby metro station "Olimpiiska" that was also called "Respublykanskyi Stadion".  In 1997–99, the stadium was renovated again in accordance with FIFA guidelines, and its capacity was reduced to 83,450. The stadium continued to be the home ground of Dynamo with the Lobanovsky stadium serving as a training ground. Sometime after 1998 big changes took place as it was no longer efficient to keep and maintain the stadium as a club ground. Dynamo decided to reconstruct the Lobanovsky Dynamo Stadium as its primary ground because match attendances rarely exceeded 10,000 spectators. Since that time Olympic has been used primarily for football international matches and was lent to FC Dynamo Kyiv for high-profile home games when a high attendance was expected. However it is not the official home ground of Dynamo or any other Kiev club, as they all have smaller home stadiums and training bases. The stadium is an official home ground of the Ukraine national football team and was the official venue of the Ukrainian Cup final until 2008. From 2008 Olympic underwent a major reconstruction in preparation for the continental championship.

Previous names.

For most of its history the stadium was known as the Republican Stadium.

1980 Summer Olympics.

Three Group C and three Group D matches, as well as a quarter-final were scheduled for here, a total of seven games. In the first match on 20 July, East Germany tied with Spain by a scoreline of 1–1. The one quarterfinal, held on 27 July 1980, saw East Germany thrash Iraq by the record-breaking score of 4–0 on the way to their third title.

Euro 2012.

On 18 April 2007, Poland and Ukraine were chosen by UEFA to co-host the finals of Euro 2012, with the Olimpiyskiy Stadium set to host the final. The reconstruction of the stadium involved the demolition and rebuilding of the lower tier, a completely new west stand with a two-level press box, luxury boxes between the two tiers, the addition of a 13-storey high-rise building to the west (to house the Sheraton Kiev Olimpiysky Hotel), and the addition of a new roof (of unique design) covering the entire seating area. The capacity of the stadium after the reconstruction is 70,050. Reconstruction began on 1 December 2008, when the winner of a tender was announced. It was scheduled to be finished in 2011. The stadium was officially opened by Ukrainian President Viktor Yanukovych on 8 October 2011.  Three Group D matches, a quarter-final and the final were scheduled for here (with the other matches in Group D being played at the Donbass Arena). In the first match, Ukraine beat Sweden by a scoreline of 2–1. The final, held on 1 July 2012, saw Spain thrash Italy by the record-breaking score of 4–0 on the way to their third title.

Concerts.

When international music superstars or bands come to Kiev, their concerts are often held in this stadium, as it is the biggest in Ukraine and one of the biggest in Europe. Artists to have performed here include George Michael and Shakira.  The Rolling Stones were scheduled to perform at the stadium on 25 July 2007 as part of their A Bigger Bang Tour, but the concert was moved to Warsaw, Poland because of political crisis and early parliament elections in Ukraine.  On 25 July 2012 was concert of world-famous rock-bands Red Hot Chili Peppers, Kasabian and The Vaccines.  Madonna performed a concert at the stadium on 4 August 2012 as part of her The MDNA Tour. 31,022 people visited her show.  Depeche Mode performed at the stadium on 29 June 2013 during their The Delta Machine Tour, in front of a crowd of 36,562 people.  Famous Ukrainian rock-band Okean Elzy performed and celebrate on the stadium their 20 anniversary on 21 June 2014. 71,045 people visited the show. The band again performed here the sold-out show on 18 June 2016 as a part of their 2016–2017 world tour.  Aerosmith were scheduled to perform at the stadium on 2 July 2014 as part of their Global Warming Tour, but the concert was cancelled due to Russian military intervention to Ukraine.

Transportation.

The stadium is located right in the centre of Kiev on the right bank of the River Dnipro. The stadium can be approached mainly by either Velyka Vasylkivska Street or Lesi Ukrainki Boulevard. Both streets' southern ends connect to the European route E95, which is known at that part of the city as Druzhby Narodiv Boulevard. However the main arena of the complex does not have a direct access to the mentioned streets and can only be reached through several smaller streets such as Fizkultury, Saksahanskoho, Shota Rustaveli, Esplanadna Streets and Hospitalny Lane.  There are several subway stations on the Kiev Metro located within walking distance: "Olimpiiska" (~) and "Palats Sportu" (~). These are usually closed during matches. It is possible to use other nearby stations Klovska, Zoloti Vorota, Teatralna, Palats "Ukrayina". In December 2010, Kiev City State Administration renamed the subway station "Respublikansky Stadion" as "Olimpiiska".

The Olympic National Sports Complex (also known as Olympic Stadium; ) is a multi-use sports and recreation facility in Kiev, Ukraine, located on the slopes of the city's central Cherepanova Hora (Cherepanov Hill), Pecherskyi District. The Olympic National Sports Complex Stadium, the home of FC Dynamo Kyiv, is the premier sports venue in Ukraine and the second largest in Eastern Europe after Moscow's Luzhniki Stadium. The complex beside its stadium also features several other sports facilities and is designed to host the Olympic Games (the stadium hosted some football matches at the 1980 Summer Olympics).

Le NSC Olimpiski (nom complet : Complexe sportif national "Olimpiski" ; Ukrainien : Національний спортивний комплекс «Олімпійський») est un stade ukrainien de places situé à Kiev.


Improvements.

The 20D features a new sensor and a greater megapixel count (8.2 megapixels instead of 6.3) and retains the Canon 1.6x crop factor. The 20D supports USB 2.0. The 20D has a larger buffer and can shoot more frames per second. It also uses the E-TTL II flash metering system and uses the DIGIC II image processor.  The EOS 20D (with appropriate firmware updates) can also accept the Canon Wireless File Transmitter WFT-E1/E1A for fast file transfer to a remote file server, either through an ethernet cable or a Wi-Fi network.

Resolution.

The Canon EOS 20D has several resolution settings:

Features.

The 20D is the first Canon prosumer camera to use the EF-S lens mount; the first Canon EOS camera to use the mount was the 300D (the Digital Rebel in North America).

EOS 20Da.

Canon released the EOS 20Da on 14 February 2005 in Japan. It is a variant of the 20D designed for astrophotography. On 1 June 2005 Canon announced that the 20Da would be made available worldwide.  The main differences between the 20Da and 20D are the replacement of the "hot mirror" infra-red (IR) filter which covers the CMOS sensor on the 20D and live view mode.  In conventional photography, the IR filter is used to make the spectral response of the CMOS sensor more like that of the human eye. In this way, the pictures gathered by the sensor more closely resemble the world as we see it. In astro-photography, many objects of interest emit strongly in the red H-α line, which is heavily attenuated by the IR filter on the 20D. The IR filter of the 20Da passes 2.5 times more light at around this 656 nm wavelength as the filter of the 20D, allowing more fine detail to be revealed in long exposures of emission nebulae. As a side effect, the color balance is slightly altered in normal daylight photography.  It is extremely difficult to focus an extremely dim image with a reflex viewfinder; locking the mirror up and opening the shutter (live view) was introduced in the 20Da to address this issue. When used the camera provides a live image of the center of the field of view to allow focusing on a bright star. Live view for this application requires a lens which supports fully mechanical focus in manual mode, and is not suitable for normal daytime use.  Reviews report that image noise in the 20Da is lower than in the 20D, and equivalent to that of the 5D MkII.  The EOS 20Da was discontinued when the 30D was introduced in 2006. Canon produced no similar model for astrophotography for years, resulting in many astrophotographers making similar aftermarket modifications to later Canon models.  In April 2012, Canon announced the EOS 60Da which is the successor to the EOS 20Da.

Firmware.

The latest firmware available for the 20D (and believed to be the final update) is version 2.0.3, made available 23 August 2005, which improves the communication reliability with some CF cards and other minor changes.

The Canon EOS 20D is an 8.2-megapixel semi-professional digital single-lens reflex camera, initially announced on 19 August 2004 at a recommended retail price of US$1,499. It is the successor of the EOS 10D, and was succeeded by the EOS 30D in August 2006. It accepts EF and EF-S lenses and uses an APS-C sized image sensor.

Le Canon EOS 20D (et son dérivé 20Da) est un appareil photographique reflex numérique mono-objectif semi-professionnel de 8,2 mégapixels commercialisé par Canon en 2004.


Professional career.

Kansas City Royals.

Oakland traded him to Kansas City in, along with Mike Wood, as part of a three-way trade that sent Carlos Beltrán to the Houston Astros, Octavio Dotel from the Astros to the Athletics, and John Buck from the Astros to the Royals. Although he had been one of the most highly regarded prospects in the Oakland organization, he became available when the Athletics were able to sign Eric Chavez to a long-term contract.  Royals management did not expect Teahen to make the opening-day roster in ; however, after hitting.344 in spring training and after injuries sidelined potential third basemen Chris Truby and Chris Clapinski, the Royals announced Teahen would be their regular third baseman for 2005, and he made his major-league debut on April 4, 2005.  His first hit was a triple and he hit 4 homers in his last 17 games of 2005. Teahen hit.240 in his rookie season with KC. In, he hit.290 with 18 home runs and 69 RBIs. During July, he raised his performance level with 10 home runs and 35 RBIs during the 38 games ending August 2. He continued to hit well, but suffered an injury and had to have season-ending surgery on September 8.  Going into the season, Teahen moved from third base to right field because of the arrival of young prospect Alex Gordon. His HR total dropped alarmingly to only 7 homers, after hitting 18 the year prior. During the season, he hit two inside-the-park home runs (leading the majors), bringing his total for 2008 to 14 HRs.  While in Kansas City, Teahen was a spokesman and fundraiser for a program that gave children with physical or mental challenges the chance to play baseball. Since Teahen obtained dual Canadian-American citizenship in 2005, he was able to play for the Canadian team in the 2009 World Baseball Classic. In, he hit.271 with a career-high 34 doubles, 12 home runs and 50 RBI in 144 games with Kansas City. He made 99 starts at third base, 31 in right field and three at second.

Chicago White Sox.

On November 5, 2009, Teahen was traded by the Royals to the Chicago White Sox in exchange for infielders Chris Getz and Josh Fields. He later received the 2009 Hutch Award for his efforts on and off the field.  On December 8, Teahen and the White Sox agreed to a three-year, $14 million deal.

Toronto Blue Jays.

On July 27, 2011, Teahen was traded to the Toronto Blue Jays with Edwin Jackson for Jason Frasor and Zach Stewart. The Blue Jays designated him for assignment on January 9, 2012. He was released on January 17. In his one season with the Blue Jays, Teahen played in 27 games, mostly as a pinch hitter and defensive replacement, and hit.190 with 1 home run and 3 RBI.

2012–2013.

Teahen signed a minor league contract with the Washington Nationals on February 6, 2012. Teahen spent the 2012 season with the Nationals Triple-A affiliate Syracuse Chiefs. According to the International League transactions page, Teahen declared free agency on November 2, 2012.  On November 26, 2012, Teahen signed a minor league contract with the Arizona Diamondbacks. He started the 2013 season with the Reno Aces, but was released by the Diamondbacks at his request on May 20.  The Texas Rangers signed Teahen to a minor league deal on May 23, 2013,  On June 17, 2013 he signed a contract to play for the York Revolution in the Atlantic League of Professional Baseball.  Teahen signed a minor-league contract with the San Francisco Giants on February 15, 2014. This contract did not include an invitation to major league spring training. He was released on March 19.  On December 15, it was reported that Teahen had retired.

2017.

On January 24, 2017, it was announced that Teahen would play in the semi-professional Italian Baseball League after signing with the Padua team.

Personal life.

Mark married Lauren McClain on December 31, 2010. They have three children. They also have three dogs, Espy, Ribi, and Ricki B. Espy has an account on Twitter.

Mark Thomas Teahen (born September 6, 1981) is an American-Canadian former professional baseball infielder who played in Major League Baseball (MLB) for the Kansas City Royals, Chicago White Sox, and Toronto Blue Jays. He graduated from Yucaipa High School in 1999 and attended St. Mary's College in California. Teahen was drafted 39th overall in the 2002 draft by the Oakland Athletics with a sandwich pick between the first and second rounds. He was one of the featured players in the book "Moneyball", which claimed that he had the potential to become the next Jason Giambi.

Mark Teahen, né le 6 septembre 1981 à Redlands (Californie), est un joueur canado-américain de baseball évoluant en Ligue majeure de baseball comme joueur de troisième but. Il est en mai 2013 sous contrat avec les Rangers du Texas.


History.

Formation (1980-1981).

Stiv Bators and Brian James first met each other in 1977 when the Dead Boys opened for the Damned on a few CBGB dates in New York and an English tour. They had remained good friends and the two had often discussed working together on a project after their respective bands had disbanded. The opportunity would come in 1980, when Bators was invited to London to join British punk band Sham 69, who had recently parted ways with their singer Jimmy Pursey. Bators had met the band in Los Angeles a few months before, and they had gotten on well together. James: "That was really the ticket to get Stiv over to London, so we could work. So they'd be rehearsing for this thing and getting it together, while me and Stiv in private would be working on stuff which was to become Lords stuff." With a change of name to the Wanderers, the short-lived band released only one album before disbanding in 1981. This finally allowed Bators and James to form their own band, having already aroused the interest of Miles Copeland, co-founder of I.R.S. Records. They experimented with different rhythm sections, rehearsing with bassists Tony James and Glen Matlock, and drummers Terry Chimes and Steve Nicol. James: "Musically it sounded alright, but... personality wise it just wasn't kind of fitting. So it was like me and Stiv and "the other two" all the time." Bators then approached his Wanderers bandmate Dave Tregunna and, with Rat Scabies of the Damned on drums, they performed a one-off gig in London at Hammersmith Clarendon as The Dead Damned Sham Band. Their set consisted of Dead Boys, Damned and Sham 69 material, as well as covers. Since Scabies was already committed to the Damned, they soon recruited Nick "Nicky" Turner of the Barracudas as their full-time drummer. Billed as the Things, the new band played their first gig in Paris in late 1981.  While brainstorming band names, Copeland had suggested the Lords of Discipline. At the time, he was also managing Sting, who had started to venture into acting, and one of the scripts that was presented to Sting was for the film "The Lords of Discipline". James: "So Miles said, "Oh, great name for the band, boys!... And we kind of thought, "Well, not really, especially if there's gonna be a film coming out with that name also." The band, however, liked the idea of calling themselves the Lords and they eventually settled on the Lords of the New Church.

The I.R.S. years (1982-1985).

Having signed with Copeland's I.R.S. Records, Copeland also took on managerial duties, the Lords of the New Church released their selfproduced eponymous debut album in July 1982. Musically, the album is a mix of punk, glam, garage rock and goth, described by "New Noise Magazine" as a "seedy concoction of spidery guitars, sleazy bass lines, jungle drums and gothic keyboards." For the subsequent tour, the band enhanced their live sound with keyboardist Matt Irving, who had also played on the album. "The Lords of the New Church" was well-received and peaked at #3 on the UK Indie Chart. The single "Open Your Eyes" reached #7 on the UK Indie Chart, #34 on the Canadian charts and #27 on the US Rock chart. Two other singles, "New Church" and "Russian Roulette", reached #34 and #12 on the UK Indie Chart, respectively.  "Is Nothing Sacred?", their second album released in September 1983, saw the band diversifying musically, incorporating new wave, classic rock and ska, along with synths, horns and a greater emphasis on the bass. Like their first album, "Is Nothing Sacred?" was produced by the band themselves, except for its first single - a cover version of "Live for Today" (#91 UK) - which was produced by Todd Rundgren. The success of the album's second single "Dance with Me" (#85 UK), a song that according to Dave Thompson's "Alternative Rock" came "close to a hit", was hampered when the video directed by Derek Jarman was pulled from MTV's rotation because, according to writer Colin Larkin, mistaken concerns were voiced about pedophilia. The song was later covered by Nouvelle Vague in 2006.  Their third album, 1984's "The Method to Our Madness", peaked at #158 on the US "Billboard" 200, while the single "M Style" reached #97 on the UK Single Chart. Two further singles, "Method to My Madness" and "When the Blood Runs Cold (Special Remix)", failed to chart. The album was produced by Chris Tsangarides, who had previously worked with hard rock acts like Thin Lizzy, Gary Moore and Tygers of Pan Tang. "The Method to Our Madness" was remixed for a 1985 US release. Mark Taylor replaced Irving as the band's new touring member.  In early 1985, the Lords recorded Madonna's "Like a Virgin" and released it as a single a few months later. James: "That was Miles' idea. It got nothing to do with us at all. We saw him in the office one day and he said, "I got this great idea." The single gained the band some attention and radio airplay, taking it to #2 on the UK Indie Chart in May. That same month, according to Bators, the band were dropped by I.R.S. but were still supported by the label's management side. Around the same time, two songs were recorded for a planned follow-up single that never materialized: "Lord's Prayer", written for the band by T.V. Smith, and a cover of Creedence Clearwater Revival's "Hey Tonight". Both songs were produced by Steven Van Zandt and included on the compilation album "Killer Lords" in late 1985.  Tregunna had for some time been dissatisfied with the band's management, convinced that they were being exploited by Copeland. He eventually left the band around the turn of the year to join Andy McCoy's Cherry Bombz. Bators said in March 1986: "We were supposed to do a tour of England in November and that would have held us over with enough money to survive. Two weeks before the tour started, I.R.S. stopped the release of the album ["Killer Lords"], which made all the promoters back out.... Dave had no money and on Christmas Eve he was evicted from his flat.... He had nowhere to go and we'd stopped touring, so he went with Cherry Bombz."

Final years and disbandment (1986-1989).

By early 1986, the Lords had replaced Tregunna with Grant Fleming (ex-Kidz Next Door), and augmented its lineup with a second guitarist, Alastair Symons (ex-The Dirty Strangers). Without a record deal, the band spent most of the year touring the US and Europe. They contributed two songs to I.R.S.'s soundtrack for "The Texas Chainsaw Massacre 2": "Good to Be Bad" and "Mind Warp". The songs weren't written specifically with the film in mind, according to Bators: "They were actual Lords' songs. When we got approached about it, I read the script and adapted the lyrics to it." When asked in 1986 how the Lords ended up on the soundtrack, Bators said: "Miles is our manager, publisher and ex-record company. So, our manager approached our publisher, who approached his record company."  In 1987, German independent label Perfect Beat released the Lords' rerecorded version of their 1983 single "Dance with Me". It was the last recording to feature Symons before he left the band shortly after. Produced by Vic Maile, the "Psycho Sex" EP followed later in 1987, released through the French label Bondage International. "Real Bad Time" was released as a separate single from the EP.  Turner and Fleming both left the band at the end of 1987 to be replaced by Danny Fury and a returning Tregunna in 1988. The Lords continued to gig around England and Europe for the next year and a half. In 1988, Illegal released the live album "Live at the Spit", recorded in Boston during the Lords' first American tour in 1982. Perfect Beat released two further live albums in 1988 and 1989: "Scene of the Crime", recorded in Zürich in January 1985; and "Second Coming", recorded during an October 1988 tour of Germany. A studio recording of The Creation's "Making Time" was released as a single in 1988 by Perfect Beat.  The Lords of the New Church broke up when Bators ended the band onstage after a concert on 2 May 1989, at the London Astoria. In order to pay off a tax bill, the Lords had booked a tour in spring of 1989. When Bators was told about the forthcoming gigs, he declined to do them. "Stiv said he couldn't do those shows because apparently he's hurt his back very badly", Tregunna said in 2003. When Bators, who by this time was living in Paris, eventually agreed to do only one show, the rest of the band decided to put an advert in the music press looking for a stand-in singer for the remaining dates. "We thought "If it looks like anyone could possibly do it, and it is a chance in a million, we'll then introduce him to Stiv", James said in 2007. "All these people came down, but none of them were right, so we thought "Let's not even mention this to Bators."... And so we did this show at the Astoria in London and sure enough he came on at the end with a T-shirt with our ad on it, and started to fire us all."  Bators died after being struck by a car in Paris in 1990. James said in 2007: "The only other person I've really been able to write with was Stiv Bators... Me and Stiv were fantastic. I've never really had that with anybody else.... it was like the riff master and the lyric master working together."

Reformation (2001-2007).

The band was re-established in 2001 when vocalist Steven Marque, co-vocalist and guitarist Jez Miller, and drummer Ozzy joined original members James and Tregunna for the recording of the "Believe it or Not" single, released by NDN Records in 2002. The band undertook a European tour in spring the same year. Miller and Ozzy departed the band after the UK leg of the tour and was replaced by Adam Becvare on vocals and guitar and Steve Murray on drums. This configuration of the band produced the album "Hang On" in 2003, which was sold at gigs without any official record company release. James, Tregunna, Becvare and former Lords touring keyboard player Mark Taylor reunited in October 2007 for a one-off 25th anniversary gig at the 100 Club in London.

The Lords of the New Church were an English/American gothic rock supergroup with a line-up consisting of four musicians from 1970s punk bands. The band originally comprised vocalist Stiv Bators (ex-the Dead Boys), guitarist Brian James (ex-the Damned), bassist Dave Tregunna (ex-Sham 69) and drummer Nick Turner (ex-the Barracudas). Launched in 1981, the band released three studio albums and three live albums prior to their dissolution in 1989. During this time, they underwent several line-up changes.

The Lords of the New Church est un groupe de rock britannique. Il est initialement actif entre 1982 et 1989, puis entre 2003 et 2007, de manière épisodique.


Plot summary.

Kelvin "Kelley" Morse and Jasper Arnold become involved in a car race and accidentally damage a restaurant owned by Samantha Cavanaugh's parents. Both are sentenced to perform community service by repairing the damage. Although Kelley comes from a wealthy family and Jasper's parents are working-class, they soon find themselves fighting over the same girl, Samantha. While Jasper and Samantha have been dating publicly for years, in secret, Kelley and Samantha begin to spend time together. They soon find that they have more in common than they imagined, and they fall in love. Eventually, Jasper learns of their interlude and doesn't like it. During a trip to Kelley's home in Boston, Kelley reveals to Samantha that his mother killed herself. Samantha brings Kelley into the house and they sleep together. In the morning, after Sam makes Kelley breakfast, Kelley's father arrives and informs him he must attend college early and give up his fling with Samantha. Upon returning to the small town, Samantha's parents soon learn that their daughter's osteosarcoma has relapsed, which was initially discovered after a track injury, and now has only a few months to live. Samantha tells Kelley that she thinks everyone has their own heaven and it is made of a combination of all the things we loved in life. She says that his mother has Kelley with her in her heaven. When Kelley learns the awful truth, he must decide if he should obey his father's wishes and go to college or stay by the side of the first girl he's ever loved. In the end he returns to be with Samantha during her final months of life. At her funeral, Kelley recites a passage from a poem he and Sam loved. The film closes with a shot of Samantha running through a field in her version of heaven.

Reception.

Box office.

The film opened at #5 at the North American box office, making $4.5 million USD in its opening weekend.

Critical response.

"Here on Earth" received negative reviews from critics. On Rotten Tomatoes it has an approval rating of 17% based on reviews from 69 critics. On Metacritic the film has a score of 25% based on reviews from 24 critics, indicating "generally unfavorable reviews".  Mick LaSalle of the "San Francisco Chronicle" praised Leelee Sobieski for her performance.  Roger Ebert criticized the film for its sentimentality. Paul Cullum of L.A. Weekly called the film "Complete and utter horseshit."

Soundtrack.

The single from the movie "Where You Are" by Jessica Simpson & Nick Lachey is a success and top 22 at the US Mainstream Top 40.  "Black Balloon" by Goo Goo Dolls and "Breakout" by Foo Fighters are played during the film, but do not appear on the soundtrack album.

Here on Earth is a 2000 American romantic drama film directed by Mark Piznarski from a screenplay by Michael Seitzman. The film stars Chris Klein, Leelee Sobieski, and Josh Hartnett. The original music score was composed by Kelly Jones and Andrea Morricone.

Un été sur Terre ou Le Paradis sur Terre au Québec ("") est un film américain de Mark Piznarski réalisé en 2000.


Background and recording.

"Rape Me" was written by Cobain on an acoustic guitar in Los Angeles in May 1991, around the time the band's second album, "Nevermind", was being mixed. It was first performed live on June 18, 1991, at The Catalyst in Santa Cruz. The earliest live versions of the song featured a guitar solo instead of a bridge.  The band had wanted to play the song during their appearance at the 1992 MTV Video Music Awards, but the network insisted they play their breakthrough single "Smells Like Teen Spirit" instead. Amy Finnerty, an MTV employee and friend of the band, recalled that Cobain was initially excited when he presented "Rape Me" to MTV at the first rehearsal, and he "acted like it was a gift." However, Finnerty was later lectured by the network on the band's choice of song, which they believed was about them, despite Finnerty's insistence to the contrary. The ongoing argument between MTV and Cobain escalated, with MTV threatening to cut Nirvana from the show, to stop playing the band's music videos, and even to boycott other artists on the band's management company, Gold Mountain, such as Sonic Youth or the Beastie Boys. Cobain only relented after being informed that MTV would fire Finnerty if the band played "Rape Me". To the surprise of the network's executives, Nirvana appeared at the final rehearsal on the day of the show, with Cobain holding and swinging Finnerty's hand as they walked down the aisle, as a show of support for Finnerty. At the start of the performance that night, Cobain played a few seconds of "Rape Me", which he later said he did "just to give [MTV] a little heart palpitation". MTV were allegedly about to switch to a commercial when Cobain stopped playing "Rape Me", and started playing their latest single, "Lithium" instead.  "Rape Me" was first recorded in the studio in October 1992, during a two-day demo session with Jack Endino at Word of Mouth in Seattle, Washington. Two takes of the song were recorded, one of which was instrumental, the other featuring lead vocals by Cobain and backing vocals by drummer Dave Grohl. Cobain was holding his then-infant daughter Frances Bean Cobain on his lap when he recorded his vocals, and she can be heard crying on the demo.  The final studio version of "Rape Me" was recorded in February 1993 by Steve Albini at Pachyderm Studio in Cannon Falls, Minnesota, for the band's third and final studio album, "In Utero". The instruments for the song were recorded on February 15. The following day, Cobain completed his vocals for the album during a reported six-hour session. Cobain used his Fender Jaguar guitar plugged into a Twin Reverb amp.  The song was relabeled "Waif Me" on the censored Wal-Mart and Kmart version of "In Utero", released in March 1994. The chain stores had originally refused to carry the album because of the song's title, as well as the fetus collage on the back cover, which was also edited. The song's proper title was listed in the booklet, and the recording remained the same. Cobain defended the band's decision to release a censored version of the album by explaining, "One of the main reasons I signed to a major label was so people would be able to buy our records at Kmart. In some towns, that's the only place kids can buy records."  On September 25, 1993, the band performed the song, along with "Heart-Shaped Box," on "Saturday Night Live" at NBC Studios in New York City. It was the band's first show with second guitarist, Pat Smear.  The final live performance of "Rape Me" was at Nirvana's last concert, at Terminal Einz in Munich, Germany on March 1, 1994.

Meaning, composition and lyrics.

"Rape Me" is an anti-rape song, written from the point of view of the victim. "It's like she's saying, 'Rape me, go ahead, rape me, beat me,'" Cobain told Darcey Steinke of "Spin" in 1993, "'You'll never kill me. I'll survive this and I'm gonna fucking rape you one of these days and you won't even know it. Gllian G. Garr described the song's lyrics as "part submissive invitation, part defiant taunt, a mix that confused and disturbed many listeners", and led to Cobain frequently having to explain the song's meaning.  When asked by MUCH's Erica Ehm in an August 1993 interview how the band was helping to raise awareness about sexism, Cobain replied, "By writing songs as blunt as 'Rape Me.'" He stated that it was a song meant to be so blunt that no one could misinterpret its meaning.  American musician Tori Amos commented on the song in a 1994 interview with the "NME", saying that she "thought it was very clear what it was about...It's a defiant song. But the scariest thing to a rape victim are the words 'rape me'. When I first heard it I broke out in a cold sweat, but when you get over that you realize he's turning it back on people."  The song has also been interpreted as an attack on the media for its perceived mistreatment of Cobain and his wife, Courtney Love. While most of the song was written before "Nevermind" was released, the bridge, which was written later, contains lyrics that address his occasionally contentious relationship with the media. As Cobain explained to Nirvana biographer Michael Azerrad, "It was actually about rape... but now I could definitely use it as an example of my life for the past six months or year, easily." In line with this interpretation, Azerrad suggested that the chorus lyric "I'm not the only one" was Cobain's way of saying that Love and their infant daughter, Frances Bean Cobain, were being hurt along with him by the media and public attention. According to Azerrad, the bridge lyric "My favorite inside source" was a reference to the manager of an unnamed Seattle band Cobain and Love suspected of being anonymously interviewed for a controversial "Vanity Fair" profile of the couple published in September 1992.

Release and reception.

"Rape Me" was released as a double A-side single with "All Apologies" on December 6, 1993 on CD, cassette, and 7" and 12" vinyl record formats. The single was not released commercially in the United States.  In her "Spin" cover story on the band, Steinke described the song as carrying a "quiet biblical angst." David Fricke, in his review of "In Utero" for "Rolling Stone", wrote that "'Rape Me' opens as a disquieting whisper, Cobain intoning the title verse in a battered croon, which sets you up beautifully to get blind-sided by the explosive hook line." Cobain biographer Charles R. Cross described the song as having "the same catchy soft/loud dynamic as "Teen Spirit," which "created a perfect Cobain aesthetic – beautiful, haunting and disturbing."  In 1999, "Rape Me" was voted number 90 in "Kerrang!"s "100 Greatest Rock Tracks Ever!". In 2015, "Rolling Stone" placed it at number 31 on their ranking of 102 Nirvana songs, with Julianne Escobedo Shepherd calling it "the closest to an actual Bikini Kill song that [Cobain] would ever write, using the lyrics as a woman-empowering taunt to show would-be rapists that their victims' spirits would not be tamped." In 2019, "The Guardian" ranked it at number 17 on their list of 'Nirvana's 20 greatest songs'.  In November 1993, "Rape Me" was voted the third "Most Wanted to be Heard" song by listeners of the Hawaii Free Radio.  "Rape Me" has occasionally received criticism for its intentionally blunt handling of sensitive subject matter. John Mulvey of the "NME" wrote that "while you can't doubt Cobain's personal political correctness, there's a distinct moral dubiousness about welding the words "RAPE ME!" to "In Utero"'s best sing-along chorus." Will Bryant of "Pitchfork" wrote that the song, despite its victim-empowering intent, "comes off as a shallow and transparent attempt to court controversy."  In 2019, Jenna Bush Hager revealed that her father, George W. Bush, prior to becoming U.S. President, broke one of her Nirvana CDs due to the lyrics of "a really bad song" implied to be "Rape Me."  "Rape Me" was re-released on both of Nirvana's greatest hits albums, "Nirvana" (2002) and "Icon" (2010).

Music video.

Although no music video was made for "Rape Me", two treatments for a proposed video were published posthumously in Cobain's "Journals" in 2002. They included scenes set in a prison, footage of flowers and seahorses as well as a man being prepared for a gynecological exam.  In 1999, the "Saturday Night Live" version of "Rape Me" began being aired as a music video on MTV2 to promote the album "Saturday Night Live: The Musical Performances, Volume 2".

Rwandan Genocide.

"Rape Me" was frequently misappropriated by the RTMLC radio station prior to, and during, the April–July 1994 Rwandan genocide as propaganda to encourage the rape of the Tutsi population.

Track listings.

Released as a double A-side with "All Apologies". CD single and 12" vinyl  Cassette and 7" vinyl  UK promo single  US promo CD (includes lyrics)

In popular culture.

In "The Simpsons" episode "That 90's Show", guest star "Weird Al" Yankovic sings a parody version called "Brain Freeze". Homer also creates a band called "Sadgasm", a parody of Nirvana, and is seen singing "Shave Me".  In the "South Park" episode "Hummels & Heroin", Cartman, Kenny, Kyle, and Butters perform a Barbershop Quartet cover of "Rape Me" for a retirement home.

"Rape Me" is a song by the American rock band Nirvana, written by vocalist and guitarist Kurt Cobain. It is the fourth song on the band's third and final studio album, "In Utero", released in September 1993.

Rape Me est une chanson du groupe de rock/grunge américain Nirvana. C'est la quatrième chanson figurant sur l'album "In Utero" sorti en 1993, et le deuxième single issu de ce dernier.