Characteristics.

The Angolan genet has long light brown coloured fur with dark spots and a continuous dark crested line across the back. Its throat and chest are light grey to greyish black. It has small spots on the front and shoulders. The spots are more numerous and slightly bigger on the sides. In head-to-body length it ranges from. Its bushy long tail is ringed with a dark tip. Its legs are dark at the back. It has a dark grey face, a black muzzle and is white around the eyes and mouth. Its crest on the back is up to long. It is distinguished from the common genet by the black rather than white tip to the tail and more irregular blotching and spotting on the coat. Melanistic individuals have been recorded in some areas.  The male of the species is larger than the female.

Distribution and habitat.

The Angolan genet occurs in Angola, Democratic Republic of the Congo, Malawi, Mozambique, Tanzania, Zambia and Zimbabwe. It lives in a variety of environments in its range, including both the local miombo woodlands and plains. During camera-trapping and transect surveys in Tanzania between 2007 and 2012, the Angolan genet was recorded north of Katavi National Park and in the Rukwa Region.

Threats.

The Angolan genet is not considered threatened by habitat change, but might be negatively affected by road traffic. In Tanzania, traditional healers use the Angolan genet in their practices. Some individuals are poached for this practise.

The Angolan genet or miombo genet ("Genetta angolensis") is a genet species endemic to Southern Africa. It is considered common in this region and therefore listed as Least Concern in the IUCN Red List. Little is known about its ecology.


Plot.

In Stratford, Ontario in 1904, William Spence (Fredric March), a medical student on the verge of becoming a doctor, receives "The Call" while passing a Methodist church one Sunday. His bride-to-be, Hope Morris (Martha Scott), accepts his decision to enter the ministry with a whole heart despite the disappointment of her prominent and affluent parents.  Will "dives right in", but with no vacancies in Canada, is posted as a circuit minister to a small town in rural Iowa, beginning a life for them of frequent moves around the district, dingy parsonages, and scraping a living from poor boxes and performing weddings. Hope yearns for a decent parsonage and a sense of permanence for their children, but uncomplainingly provides them a good life and a supportive home for Will.  For his part, Will understands his own nature and laughs at his own foibles, bending where he can in good conscience. He often enters situations in anger or to instruct but leaves humbled and renewed in spirit. While Will sincerely lives by and teaches by example (which includes his family) the tenets of the Methodist "Discipline", he also learns from his congregations to be flexible and change with the times. When their third child, a boy, is born, Hope and Will cannot agree on a name and he remains unbaptized for three months. Hope wants to name the baby William Spence Jr., but Will does not like the idea of his son going without a middle name as he did. He wants the boy to have and be called in "the good old Canadian custom" by the middle name of Frazer. Will seems to give in to Hope but the following Sunday baptizes him William Frazer Spence. Hope serenely accepts the change.  Oldest son Hartzell (named for Will's guiding bishop) has a hard time coping with the idea that a minister's son should be an example to the other boys. Will explains that "a pastor's family walks a tightrope, balancing with one foot on earth and one foot already in Heaven." After learning that Hartzell has been sneaking into the movies, a pastime seemingly forbidden by the "Discipline", Will takes him to the theater to point out why the film is bad for him. They see a western but rather than finding it sinful, Will is impressed by its moral. The following Sunday he preaches a sermon advising his congregation that young people may have something to teach their elders.  In the 1920s, the family is assigned to a church in Denver, Colorado, that, despite having many well-heeled members, is old, uncomfortable and decrepit. In a time of economic prosperity for the country, the Spences cope with possibly their most dilapidated parsonage yet. Will has come to appreciate his wife's serenity with life and resolves to provide her a decent parsonage by building a new church.  His plans at first are thwarted by power struggles among several snobbish members of the church. He loses one wealthy patron, Mrs. Sandow (Beulah Bondi), to the Baptists when he refuses to stop ministering to her chauffeur (Harry Davenport), and another, influential banker Preston Thurston (Gene Lockhart), after organizing a children's choir to replace the off-key church choir, run for years by Mrs. Thurston (Laura Hope Crews), her family and social circle. Soon after, Hartzell (Frankie Thomas) is expelled from school because of a gossip campaign falsely accusing him of making a young girl pregnant and forcing her family to move to San Francisco.  A deeply discouraged Will investigates a job offer in California that offers the beautiful church and parsonage he and Hope have always dreamed of but discovers that he cannot surrender in his struggles with the Thurstons. He seeks out the girl's family and learns that there is no truth to any part of the rumor. Returning to Denver, Will confronts Mrs. Thurston and her circle, who started the rumors to punish Will, and suggests that if they don't contribute substantially to the building of the new church, he will call them out in his sermons.  A repentant Mrs. Sandow begs to return to the church and Will inveigles from her the stained glass window, new Skinner organ, and carillon that as luxuries are being cut from the plans to finance a recreation center for the church. A year later, their dream church and parsonage finished, Will accepts the challenge of returning to Iowa to aid a small church in trouble, confident that he leaves behind a revitalized church when its members, including all those with whom he locked horns, gather spontaneously on a weekday morning to sing "The Church's One Foundation" as he plays it on the new carillon.

Reception.

The film was received quite warmly both theatrically and critically, the "New York Times" calling it "a Fine and Human Story of a Minister's Life".

Radio adaptation.

On April 20, 1942, "Lux Radio Theatre" presented "One Foot in Heaven". The one-hour adaptation starred Fredric March and Martha Scott.

Notes.

Olivia de Havilland was originally scheduled for the role of Hope Spence, but was moved over to star opposite Errol Flynn in "They Died with Their Boots On".  Raymond Massey was Hartzell Spence's choice to play his father while his mother preferred Fredric March. The studio's decision to cast March was made independently of the family's wishes.  The Reverend Norman Vincent Peale was hired as a technical advisor on the film.  The film which Spence goes to see with Hartzell is William S. Hart's 1917 Western "The Silent Man". At the Hollywood premiere of the film, Hart was a guest of honor.  In an uncredited role, Gig Young made one of his earlier on-screen performances as a dog groomer seeking a license.  The book on which the movie is based takes place and ends well before 1939. However, the use of "Methodist Church" in the film is an impossibility because Methodist faith in America did not unify under the name "Methodist Church" until after the terms of reunification of the Methodist Episcopal Church, the Methodist Episcopal Church, South, and the Methodist Protestant Church were agreed upon and voted upon in Kansas City in 1939.

One Foot in Heaven is a 1941 American biographical film starring Fredric March, Martha Scott, Beulah Bondi, Gene Lockhart and Elisabeth Fraser. The film was adapted by Casey Robinson from the autobiography by Hartzell Spence. It was directed by Irving Rapper.


Plot.

On 5 December 1492, a gang led by former bishop Niklas is killed by villagers who refuse to put up with the gang's looting and killing any longer. In years in which the gang's death date coincides with a full moon, they return as murderous ghosts.  The public is unaware of this and annually celebrates the Sinterklaas tradition on 5 December, with adults not believing that Sinterklaas exists but making little children believe that he is benevolent. The Zwarte Pieten are not blackened by soot from chimneys but as a result of the fire in which they were killed. Niklas' crosier (bishops’ staff) has sharp edges and is a weapon. On 5 December Sinterklaas and the Zwarte Pieten do not stand out, as many people are dressed like them for the celebration.  The last time the ghostly gang returned was in 1968. Hundreds of people were killed, including the whole family of a little boy, Goert, who is now a police detective. The authorities downplay the incidents, and they, as well as the Roman Catholic Church, keep the possible involvement of Niklas a secret.  Since there is a full moon on 5 December 2010, Goert is very concerned and recommends forbidding all Sinterklaas activities and increasing surveillance, but he is not taken seriously and sent on leave. As Goert predicts, the gang returns and kills hundreds of people. While the gang is immune to bullets, they are finally chased away by fire.

Reception.

"Sint" received negative reviews upon its release, with critics stating that the film's premise showed promise, but never reached its full potential.  Chris Cabin of "Slant Magazine" rated the film one out of four stars, calling it "predictably plotted and visually monotonous", criticizing the film's "unexceptional" kills and, lack of tension and/or scares. James Dennis from '"Screen Anarchy" gave the film a mixed review, writing, "With strong effects work, it's a breezy, fun ride while it lasts, but it's not something that will linger in the mind long. And that's a bit of a shame given the potential of Saint's creepy premise."

Controversy.

While children are not permitted to see the film, parental concern arose over the film's poster, seen in the streets and in the lobbies of movie theaters. It shows Sinterklaas with a mutilated face and a malevolent look. Some people were concerned that this could be confusing and frightening for little children that still believe in Sinterklaas. A legal complaint was filed in October 2010, requesting the removal of all posters. In the subsequent court case, director Dick Maas argued that if parents could make their children believe that Sinterklaas existed they could also inform their children that the man on the poster was not the real Sinterklaas. The court ruled in favor of Maas, noting that the mutilated face was not visible enough on the poster, and rejected the complaint.

Sint (released on DVD as Saint in Europe and Saint Nick in the United States) is a 2010 Dutch dark comedy horror film about Sinterklaas, the character on which the Anglo-Saxon Santa Claus is based. The film was directed by Dick Maas and marked his return to the horror genre, in which he gained acclaim with his debut "De Lift" (1983) and "Amsterdamned" (1988). The story distorts the popular traditions of Sinterklaas and portrays him as a ghost who murders large numbers of people when his annual celebration night coincides with a full moon.


Singles.

The album's lead single, "Wall to Wall" was released on May 29, 2007. The song was produced by Sean Garrett, written by Walter Scott. The single reached at number 79 on the US "Billboard" Hot 100, due to no digital release for this single.  "Kiss Kiss"; a collaboration with a fellow American recording artist T-Pain, was released as the album's second single on September 11, 2007. Following the non-success of his first single, this single became a big success in the United States. The song reached at number one on the "Billboard" Hot 100, and number 6 on the Canadian Hot 100, also reaching the top ten in Australia, Canada and New Zealand.  "With You" was released as the album's third single on December 4, 2007. The song was produced by the production team StarGate. The single became his second successful single in the most international music markets. It has since become one of the highest-charting singles of Brown's solo career, entering the foreign music markets, where his previous efforts have failed to these charts. It has reached the top ten; including in Australia, Canada, Ireland, New Zealand, and United Kingdom.  The re-release of its first single from "The Forever Edition", called "Forever" (produced by Polow da Don). It was released on April 29, 2008. The song debuted at number 9 on the "Billboard" Hot 100, due of its high digital sales. However, it dropped quickly due to the lack of sales during these following weeks. The song then re-entered the top ten again, after airplay increases and has peaked at number 2.

Critical reception.

"Exclusive" received generally positive reviews from critics, scoring 69 out of 100 based on 11 reviews on Metacritic. Rob Sheffield from "Rolling Stone" said that “It's been a long stretch between Usher albums — long enough for Chris Brown to build a whole career, growing from a temporary substitute to an undeniably major pop star. He seals the deal with "Exclusive", an all-grown-up album on a level with Justin Timberlake's "Justified" (2002), Rihanna's "Good Girl Gone Bad" (2007) or even Bobby Brown's "King of Stage" (1986), and gave the album three and a half out of five stars.  Neil Drumming from "Entertainment Weekly" rated the album as B- said that, "Like his onscreen ("This Christmas") character, Brown is most charming when he's playing up his youth: singing of MySpace romance, meeting his girl's 'pops,' and such". But he also said, "sadly, Brown's adolescent voice and playful scatting — while cute — are steamrolled by pushy collaborators, whether it's those Stargate guys (Ne-Yo, Rihanna) falling back on that ol' guitar noodling, or T-Pain milking his vocoder. Ease back, people, and let the boy sing". However, Sal Cinquemani of "Slant Magazine" criticized the unoriginality of the album, writing, "...there's still nothing very 'exclusive' about "Exclusive" at all." Michael Arceneaux of "PopMatters" wrote, ""Exclusive" seems aimless, an album where Brown is doing what he’s told versus being the anchor of his own ship." The album ranked number 34 on "Rolling Stone"s list of the Top 50 Albums of 2007.

Accolades.

At the 2008 Grammy Awards, "Exclusive" was nominated for a Grammy Award in the category of "Best Rap/Sung Collaboration" for "Kiss Kiss", a collaboration with T-Pain. However, the award was given to the 2007 rival single, "Umbrella" by Rihanna featuring Jay-Z. The album also nominated for a NAACP Image Awards in a category for "Best Album", while Chris himself won for "Best Male Artist". At the 2008 BET Awards, Chris received 4 nominations in four categories, including "Best Male R&B Artist", "Best Collaboration" for "Kiss Kiss", and "Viewer’s Choice" for "Kiss Kiss" and "No Air", his duet with Jordin Sparks.  On June 22, 2008, Fearne & Reggie revealed on their UK's chart show BBC Radio 1, that all three tracks from the album "Exclusive" have appeared on the top forty. Two of which on the top ten, including "With You" (at number 35), "No Air" with Jordin Sparks (at number 2), and "Forever" (at number 5).

Commercial performance.

"Exclusive" debuted at number four on the US "Billboard" 200 chart, with first-week sales of 294,000 copies in the United States. As of March 2011, the album has sold 1,973,000 copies in the United States. On August 23, 2019, the album was certified triple platinum by the Recording Industry Association of America (RIAA) for sales of over three million copies in the United States.  In the United Kingdom, the album debuted at number 31 on the UK Albums Chart and eventually peaked at number three on the chart. It spent a total of 52 weeks on the chart. On September 5, 2008, the album was certified platinum by the British Phonographic Industry (BPI) for sales of over 300,000 copies in the UK.

Track listing.

"The Forever Edition" includes a DVD with a documentary titled "Chris Brown on Tour", which is a montage of performances from his Up-Close & Personal tour and behind-the-scenes footage. It also features a cameo appearance from Keyshia Cole, who held her own sold-out "Just like You" tour.  Two versions of "The Forever Edition" were made available; the first included the DVD, and the second did not. Only the CD edition was made available in the United Kingdom, while most other countries had both editions available.  Notes  Samples credits

BET bonus DVD.

Confirmed by Wal-Mart.

Exclusive is the second studio album by American recording artist Chris Brown. It was released on November 6, 2007, by CBE, Jive Records. The record serves as Chris Brown's second studio release under his CBE record label, Jive. The record also serves as the follow-up from his multi-platinum selling debut album, "Chris Brown" (2005). The album debuted at number four on the US "Billboard" 200, selling 295,000 copies in the first week. The album was supported by five singles, with three of the singles becoming top three hits on the "Billboard" Hot 100, and also charting highly on other charts worldwide. The album earned a triple platinum certification by the Recording Industry Association of America (RIAA) in the United States.


Career.

Early Life in Argentina.

Becchio was born in Argentina's second-city of Córdoba located at the foothills of the Punilla Valley in the geographical centre of the country. As a child, he had a keen interest in tennis but football was his main passion; idolising legendary striker Gabriel Batistuta and following Buenos Aires-based Boca Juniors. In 2000 aged 16, he would make the 425 mile-move south to join the youth ranks at "Los Xeneizes" where he would be joined in his age group by the younger Carlos Tevez who would go on to achieve great success in European club football by winning Premier League titles with Manchester United and Manchester City. Life at Boca was a memorable experience for the teenager as he travelled to Europe to play in youth tournaments in Italy, Switzerland and Germany but it wouldn't be long before the opportunity to move to the continent on a permanent basis would arise.

Moving to Spain.

Real Mallorca offered Becchio the chance to move to the La Liga side in 2003. With opportunities at Boca limited, he agreed to make the move to the Balearic Islands where he was joined by his parents and younger brother Mathias after selling their family restaurant business in Argentina to support their son in Europe. Mallorca coach Héctor Cúper placed Becchio in the 'B' team where he scored five times in twenty-nine appearances. In his second season at the club, he signed for Ciudad de Murcia on a loan deal.  After two years at Mallorca, Becchio moved to the Iberian Peninsula when he signed for Catalan club Terrassa FC where he spent the 2005/2006 season before moving fifteen miles across the region to sign for reigning UEFA Champions League winners FC Barcelona. Becchio admitted that he would never have a chance of featuring for the first team but relished the opportunity to train with world class footballers such as Ronaldinho and Lionel Messi, whilst in the 'B' team he would compete with notable young prodigies including Bojan Krkić and Giovani dos Santos for a starting position. A year later, he would be on the move again; heading south-west to join Segunda División B team Mérida UD.  During the 2007/2008 campaign, Becchio finally found regular football with "Los Romanos" and repaid the faith shown in him by topping the division top scorer charts with twenty-two goals for the season, including a final day hat-trick versus CD Baza. Mérida finished fourth and qualified for the division play-offs versus Ponferradina but lost on aggregate over two legs. Becchio's performances during the campaign didn't go unnoticed however, as he became the most saleable asset for the debt-stricken club after being monitored by scouts from across Europe.

Leeds United.

2008–09 season.

In July 2008, he joined League One side Leeds United on trial aiming to impress manager Gary McAllister in pre-season friendlies against Shelbourne and Barnet. He was recommended to Leeds scout Gwyn Williams by former Spanish Newcastle defender Marcelino. On 31 July, he signed for Leeds on a three-year contract. He made his first start for Leeds in their 5–2 win over Chester City in the first round of the League Cup. He was given his first league start against Yeovil Town in a 1–1 draw; in which it took him just 25 seconds to score his first Leeds goal. He scored his second goal for the club in his first start at Elland Road in a 4–0 victory over Crystal Palace in the League Cup. The following week, he came off the bench to head home his third Leeds goal in the 2–1 win over local rivals Bradford City in the Football League Trophy.  During the 2008–09 season, Becchio only missed one match in all competitions, which was due to suspension. In a sequence of appearances which saw him start 24 consecutive matches – including the entire busy Christmas period and while deputising for the injured Jermaine Beckford – he scored nine goals. With the loan signing of Lee Trundle from Bristol City, and the January transfer window signing of Mike Grella, manager Simon Grayson publicly stated that Becchio would be given a short resting period so that he would be ready for the vital last few months of the season, although that never materialised as Becchio was insistent on retaining his place in the team. Grayson frequently referred to Becchio as Lazarus due to various points in the season where he would be injured but would make a remarkable recovery to be fit and ready for the next match. In the final game of the season he scored his 18th goal of the season in all competitions, which in turn contributed to the relegation of Northampton Town. His 19th of the season came against Millwall in the League One play-off semi-final, in which he rounded off a fine team move started by Ben Parker, with Beckford and Andy Robinson also playing vital roles. He scored 19 goals in his début season in English football at Leeds.

2009–10 season.

Becchio scored his first goal of the 2009–10 season in the 1–0 league win against Wycombe Wanderers. He had a goal incorrectly ruled out for offside in the League Cup tie against Liverpool; replays showed that he was onside as Beckford flicked on Ľubomír Michalík's headed pass. He missed the game against Milton Keynes Dons as his wife was due to give birth. Becchio and his wife welcomed their first daughter named Bianca who was born on 27 September 2009 at the Leeds General Infirmary. He picked up a serious ankle injury in the game against Charlton Athletic, when he stepped on the ball whilst controlling it from a high pass, and had to be substituted. Radio Leeds believed Becchio might have broken his ankle, although the club were waiting to have a second scan on his ankle after the swelling went down. The scan showed that he had suffered ligament damage to his ankle, according to Leeds assistant manager Ian Miller. Becchio did not play for the Leeds first team again until late November. In his absence Leeds signed Welsh International striker Sam Vokes on loan from Wolverhampton Wanderers until 2 January 2010 as cover.  On 25 November 2009, Becchio returned from injury and played in Leeds' reserve team game against Lincoln City, to help boost his match fitness. Becchio scored a goal in a 2–1 victory and also managed to get a full 90 minutes under his belt. He returned for the first team as a substitute in the FA Cup second round draw with Kettering Town. Two days later, he came on as a substitute against Oldham Athletic and scored his first goal since his long layoff, this his third of the season. He returned to Leeds' starting lineup in the league at the expense of Sam Vokes against Brentford. His fifth goal of the season was a header against Hartlepool United on boxing day, which took a heavy deflection.  Becchio played against Premier League team Manchester United when Leeds won 1–0 away at Old Trafford on 3 January 2010 in the FA Cup third round, but he picked up an injury and was substituted in stoppage time. Becchio struggled for goals for Leeds since returning from injury, with him being asked to play in more of a deeper strikers role to hold the ball up for the midfield. Against Tottenham Hotspur Becchio was dropped to the bench and replaced up front by Robert Snodgrass, although he later came on in the second half after replacing midfielder Michael Doyle as Leeds earned a replay against the Premier League side. Becchio's sixth goal of the season for Leeds came in the FA Cup replay against Tottenham, after Beckford's shot was parried by Heurelho Gomes and it fell into the path of Becchio who slotted it into the back of the net. Goals number seven and eight for Becchio came in the following game against Hartlepool. This was the first double he scored in a competitive match for Leeds.  Becchio disputably scored his ninth goal of the season with an injury time equaliser coming against Leyton Orient when his goal-bound shot was deflected in by Orient defender Charlie Daniels; the goal was credited to Daniels but Becchio said he felt the goal should be his as his shot was goal-bound. Becchio scored another two goals against Oldham, taking his tally to 10 goals for the season. He continued his fine goal scoring form when he scored his 11th goal of the season in the Yorkshire derby against Huddersfield Town, with the game finishing 2–2. Goal number 12 of the season came against Tranmere Rovers, with Becchio scoring with a diving header.  Becchio was substituted early on in the first half against Norwich City after being knocked unconscious after a clash of heads with Michael Nelson. Becchio's head also landed heavily on the ground which caused him to swallow his tongue. He was substituted by Mike Grella and due to the injury was ruled out against Swindon Town.  Becchio returned from injury for Leeds when he was named on the bench against Southend United and managed to score his 13th goal of the season in the 83rd minute after he replaced Beckford as a substitute in Leeds' 2–0 win. Goals number 14 and 15 came when Becchio scored a brace against Carlisle United. Becchio scored his 16th of the season with a goal against Gillingham in Leeds 3–2 defeat. Becchio's 17th goal came against MK Dons in Leeds' 4–1 win. Becchio played an instrumental part as Leeds were promoted to the Football League Championship after finishing in 2nd place in League One and thus earning automatic promotion.

2010–11 season.

Becchio started the opening game and scored Leeds' 1st goal of the Championship season against Derby County and slotted in an equaliser after a run by Jonny Howson, however Leeds lost 2–1. Becchio's second goal of the season came in Leeds' second match of the season in the League Cup against Lincoln City. Becchio scored his 3rd goal of the season in the match against Swansea City. Despite being dropped for the game against Doncaster, he returned to the side in the yorkshire derby vs Sheffield United as Leeds ran out 1–0 winners. Becchio scored his 4th goal of the season against Preston North End. Becchio scored his 5th goal of the season with a fine left footed volley and received the man of the match award against Middlesbrough. In the post match on-the-pitch interview with Sky Sports he also famously swore live on air stating that it was a "fucking unbelievable win!"  His sixth goal of the season came in the following game in the 2–1 loss against Leicester City. In November 2010 Becchio entered contract negotiations with Leeds over extending his contract. In the game against Hull City Becchio suffered a black eye after being elbowed by Ian Ashbee Becchio scored his 7th, 8th & 9th goals of the season with a 17-minute hat trick against Bristol City after coming on as a second-half substitute Becchio was praised by manager Simon Grayson after his thrilling quick fire hat-trick vs Bristol City, Grayson said that it was a great performance by Becchio and he is still young and can only get better. Becchio revealed that he was looking to sign a new contract at Leeds.  On 3 December 2010, Becchio won The Championship PFA Player of the month Award for November beating off competition from Adel Taarabt, Lewis McGugan, Scott Sinclair and Jay Bothroyd for the award. Becchio scored his 10th and 11th goals of the season when he scored a brace against Crystal Palace from 1–0 down. Leeds confirmed that contract talks with Becchio were ongoing and had only been delayed due to translation issues. Becchio scored his 12th goal of the season against Burnley.  On 18 December 2010, after the 2–0 home win against Queens Park Rangers which took Leeds to second place in the Championship, Becchio signed a new three and a half year contract with Leeds. "I'm very happy to sign," he told the club's official website. "I love the fans, we are doing well and we want to get to the Premier League." 1 January 2011, Becchio scored his 13th goal of the season with an injury time equaliser against Middlesbrough.  On 8 January, Becchio helped earn Leeds a 1–1 draw against Arsenal, Leeds went 1–0 up when Robert Snodgrass scored a second half penalty, Arsenal equalised in the 90th minute when Cesc Fàbregas scored a penalty. However, on 18 January, Becchio was injured and missed the second leg which Arsenal went on to win 3–1. Becchio returned to Leeds' starting lineup against Portsmouth and scored his 14th goal of the season, the goal also reached his 50th goal milestone for Leeds in all competitions. Becchio scored his 15th goal of the season against Norwich City. His 16th goal of the season came against Yorkshire rivals Barnsley, the game marked his 100th league start for Leeds. Becchio scored his 20th goal of the season against Watford in a 2–2 draw, however Becchio picked up an injury in the same game which caused him to miss all the remaining games left in the season. After doing some rehab on his hamstring injury in Spain, Becchio returned to light training for Leeds in time for the start of pre season training.

2011–12 season.

However, Becchio injured his hamstring again before a pre-season tour of Scotland. On 22 July, Becchio had surgery on his hamstring injury. The injury would rule Becchio out for a few months and meant he would miss the start of the 2011–12 season. After five months out injured Becchio returned to Leeds' first team when he was named on the bench against Crystal Palace on 10 September, he came on as a second-half substitute and scored his first goal of the season with a header in Leeds' 3–2 victory, the goal also marked Becchio's 50th 'League goal' milestone for the club. Becchio came on as a substitute against Bristol City on 1h September providing the assist for Ross McCormack's winning goal.  Becchio made his first start of the season on 20 September, coming into the side against fierce rivals Manchester United. After being used as a substitute due to the form of Andy Keogh and Ross McCormack. On 22 October 2011, Becchio thought he had scored a dramatic late winner against Peterborough United in a 3–2 win, however teammate Darren O'Dea was credited with the goal. After getting a rare start Becchio scored his second goal of the season on 29 November in Leeds' emphatic 4–0 win against Nottingham Forest.  During December, Becchio was linked with a move to fellow Championship side Middlesbrough. However, Leeds Chairman Ken Bates revealed he wouldn't sell Becchio to one of the clubs closest rivals in the same league. Becchio's third goal of the season came as a consolation in Leeds' 4–1 loss against Barnsley on 31 December 2011.  Becchio finished the 2011–12 season with his lowest goal tally for Leeds with just 11 league goals, however this was largely down to a hamstring injury suffered towards the end of the 2010–11 of the season, causing him to miss the following pre-season training and the first part of the subsequent season. On 4 May, Neil Warnock stated his belief that Becchio would come back a stronger player for the 2012–13 season and recapture his prior form with a full pre-season behind him.

2012–13 season.

Becchio scored his first goal of the season in the first game of the season against Shrewsbury Town in the League Cup on 11 August. Becchio scored his second goal of the season and his first in the league by scoring the winner in Leeds opening day victory against Wolverhampton Wanderers. Becchio scored his seventh goal of the season on 22 September against Nottingham Forest. Becchio scored his 10th goal of the season on 30 October in Leeds' 3–0 League Cup win against Premier League side Southampton to help Leeds advance to the Quarter Finals of the competition.  Becchio scored a brace against local rivals Huddersfield Town to help earn Leeds a 4–2 victory on 1 December. The goals were his 13th and 14th of the season. Becchio scored his 15th goal of the season against Premier League side Chelsea in the League Cup tie on 19 December 2012. On 22 December Becchio scored his 16th and 17th goal against Middlesbrough helping Leeds win 2–1.  On 1 January, Becchio scored his 76th Leeds United league goal, which makes him Leeds' 10th All-Time Goalscorer in the league, overtaking Arthur Hydes.  On 24 January 2013, Leeds announced that Becchio had handed in a transfer request after talks of a new deal broke down. A Leeds statement said Becchio was already the club's highest earner and his wage demands "were beyond a level we could support". On 30 January 2013, Becchio was revealed to be in talks to join Norwich City as part of a swap deal for Norwich's Welsh international striker Steve Morison who was in talks to move to Leeds United. Norwich manager Chris Hughton confirmed that he was hoping to complete a deal to sign Becchio as part of a swap deal for Steve Morison. Becchio scored 19 goals for Leeds in the 2012–13 season for Leeds before departing the club.  In total Becchio scored 87 goals in 221 appearances for Leeds in all competitions.

Norwich City.

On Transfer deadline day 31 January 2013, Norwich confirmed the signing of Becchio on their website on a three-and-a-half-year deal in a swap for striker Steve Morison, making their second incoming transfer of the January window. He was handed shirt number 19. He made his début away at QPR on 2 February 2013, coming on in the 87th minute as a substitute. He would subsequently make his first start the following match at home against Fulham on 9 February, playing the majority of the match but not scoring.

Rotherham United loan.

On 1 September 2014, Luciano sign for Rotherham United on loan until 1 January 2015.

Belgrano.

After being released by Norwich City at the end of the 2014/15 season when his contract expired, Becchio returned to his homeland Argentina to play for Club Atlético Belgrano in the Argentine Primera División. He signed a one-year deal. He resolved the contract in September 2015 due to injuries, with Becchio saying "I did not want to take the money from Belgrano, my dream was to play, and of course I didn't want to not play the game," he said, "I came to play here, as the injury will take me longer than the rest of the tournament. I can't do it, so I rescinded the contract. Then we'll see if I can go back once I've recovered".

Becchio returns to Rotherham.

On 21 January 2016 it was confirmed that Becchio had re-signed for English Championship side Rotherham United on a contract until the end of the season, to work under former Leeds manager Neil Redfearn.

Trial spells.

After leaving Rotherham, Becchio had trial spells at Bristol City and Coventry City.

CD Atlético Baleares.

On 12 January 2017, Becchio revealed on his official Twitter page that he had signed for Spanish side CD Atlético Baleares managed by Christian Ziege. On 24 January 2017, Becchio scored on his debut in a 1-0 victory over UE Cornellà. He helped the club reach the Segunda División B – Group 3 playoffs scoring 5 goals in 18 games.

CD Binissalem.

Becchio joined CD Binissalem and scored on his debut.

Coaching career.

On 17 January 2018, Becchio returned to CD Atlético Baleares as Assistant Manager to the Argentine Manager Horacio Melgarejo.

Personal life.

Luciano is married to Patricia Bosquet with whom he has three children. Their first born child, daughter Bianca, was born at Leeds General Infirmary in September 2009.  Becchio's boyhood hero was former Boca Juniors, Fiorentina and AS Roma striker Gabriel Batistuta.

Luciano Héctor Becchio (born 28 December 1983) is an Argentine retired professional footballer who played as a striker. He is currently the assistant manager of Segunda División B – Group 3 side CD Atlético Baleares.


Origins.

The roots of Tara lay in a group known as "The Cell". This shadowy group, headed by the evangelist William McGrath, was made up of a mixture of his youthful followers and senior Orangemen who met at 15 Wellington Park, McGrath's Malone Road, Belfast base for his mission. Young men such as Fraser Agnew, Roy Garland and Clifford Smyth, became part of this growing but mainly clandestine group. The cell spearheaded a campaign of speeches to Protestant audiences, more political than religious in tone, encouraging unionists to turn away from the relatively moderate Terence O'Neill and to lend their support to his most vocal political opponent, the hardline Ian Paisley.

Development.

In November 1966 McGrath reconstituted the Cell as Tara, choosing the name to reflect his belief in the Irish heritage of his politico-religious mission. It was intended as an outlet for virulent anti-Catholicism. The group endorsed British Israelism as it sometimes claimed that Ulster Protestants were descendants of the Lost tribe of Israel. The group espoused a form of historical revisionism, arguing that the early inhabitants of Ireland had come from modern Scotland before being displaced by the Irish, whilst also utilising Gaelic terms and symbols. An Orange Order lodge attached to Tara and founded by McGrath was named "Ireland's Heritage" as a consequence of these views. Tara adopted as its motto "we hold Ulster that Ireland might be saved and Britain reborn". As a movement Tara sought to establish a Protestant Northern Ireland in which law and order would be paramount and the Roman Catholic Church would be outlawed. Tara viewed Catholics as being in a grand conspiracy with moderate unionists and left-wing groups and felt that a conflict between Protestantism and Catholicism was inevitable. As a result members of Tara were expected to be proficient in weapon use and were encouraged to join the security forces.  A short-lived alliance with the Ulster Volunteer Force (UVF) was attempted and Roy Garland, a leading Orangeman in the 60s and 70s, and now an author, was one of Tara's members who worked closely with the UVF for a time. The leaders of the UVF initially encouraged their members to also become involved in Tara. With the UVF under the command of Samuel McClelland in the late 1960s, McGrath felt that an alliance with the better-armed group could help advance Tara's aims.  Tara enjoyed a rush of members around 1969 as McGrath's prophecy of a doomsday scenario in Northern Ireland looked like it might come true with the advent of the Troubles and a UVF bombing campaign, which McGrath suggested in a whispering campaign was the work of the Irish Army. Tara soon established their regular meeting place as Clifton Street Orange Hall, one of the most important centres of Belfast Orangeism, although McGrath did not openly tell the Orange Order leadership that he was using the rooms for Tara meetings, rather simply stating that he need them for generic meetings. A more formalised structure was adopted with Garland as deputy leader, Clifford Smyth as Intelligence Officer and leading roles for Frank Millar Jr and "Protestant Telegraph" journalist David Browne, whilst Davy Payne was also associate with the group, albeit at a lower level.  Although initially Tara and the UVF co-operated closely, a number of people contacted McClelland to tell him that McGrath, who secretly pursued homosexual and pederastic relationships, was using the link-up with the UVF as a way to pick up young men who were members of the organisation. McClelland confronted McGrath who fiercely denied the allegations, but following a fiery argument the relationship between the UVF and Tara was ended and McClelland burnt the Tara ledger in which the names of his UVF men had been entered. From that point on the UVF proscribed Tara membership for its volunteers and sought to hamper the work of Tara. On a more practical level a number of UVF members who had become involved in Tara also informed their UVF superiors that Tara did not possess much in the way of weaponry or military know-how and according to Steve Bruce "Tara had a good line in martial rhetoric but even its claims to be ready for martial defence rang hollow". Bruce further adds that, for the most part, UVF members had simply used their attendance at Tara meetings as an opportunity to identify new recruits for their own group.

Decline.

Tara failed to attract much interest as its ideas were too esoteric for most loyalists. By 1971 McGrath's relationship with his deputy Garland had deteriorated, as the two began to differ over ideology, whilst Garland had also been informed by some young members of Tara that McGrath had made passes at them. Garland broke from Tara soon afterwards and confirmed to the UVF that their suspicions about McGrath had been correct. A war of words erupted between the two groups, with McGrath and Tara regularly attacked in the pages of UVF magazine "Combat" and McGrath undertaking a letter-writing campaign to the press accusing the UVF of being a communist organisation. McGrath sought to boost the ailing movement by linking up with John McKeague, a member of the Free Presbyterian Church, leading figure in the Shankill Defence Association and founder of the Red Hand Commando who allegedly shared McGrath's sexual attraction to men and children. The pair met at the Kincora Boys' Home, where McGrath took up a position in 1971, to discuss trading weapons for their respective groups. Around this time McGrath also made contact with another leading homosexual unionist, Sir Knox Cunningham, and secured funding for Tara from him.  By 1974 Tara had an estimated 300–400 members, which was significantly less than the group had at their 1969 peak. In an attempt to inject some life into the group, which unlike the UVF, RHC and UDA was not active in shooting or bombing attacks, McGrath imported a quantity of rifles, machine guns and ammunition from hard-line Protestants in the Netherlands with whom he had close links. The group continued to speak of a coming "doomsday" scenario in which they would have to take the lead in battling the Irish government and returning the island to its pre-Catholic roots, although beyond some drilling Tara undertook no real activity. According to Steve Bruce the group did little beyond releasing occasional threatening statements but was quickly superseded by the UVF/RHC and eventually also the UDA. The group spread rumours about senior unionist figures whom it felt were too moderate.  A 1981 arms find damaged the group whilst McGrath had already been caught up in the Kincora scandal. McGrath pleaded guilty to fifteen charges related to child sex abuse in December 1981 and was sentenced to four years imprisonment, representing the effective end of the by then near-moribund Tara. The name reappeared in 1986, when a leaflet denouncing the Anglo-Irish Agreement and predicting again the onset of the doomsday scenario was circulated, although this seems to have been the work of a handful of die-hards rather than a reorganised movement.

Tara was an Ulster loyalist movement in Northern Ireland that espoused a brand of evangelical Protestantism. Preaching a hard-line and somewhat esoteric brand of loyalism, Tara enjoyed some influence in the late 1960s before declining amid a high-profile sex abuse scandal involving its leader William McGrath.


Language.

The Inughuit speak Inuktun, also known as North Greenlandic, Thule Inuit, or Polar Eskimo. It is a dialect of Inuktitut, an Eskimo–Aleut language related to the Greenlandic language spoken elsewhere in Greenland. In Kalaallisut, the official dialect of Greenlandic, Inuktun is called "Avanersuarmiutut".

Population.

Before 1880, their population was estimated to be between 100 and 200 people. From 1880 to 1930, they were estimated to number 250. In 1980, their estimated population was 700, and it rose to 800 in 2010.

History.

Early history.

The Inughuit are believed to be descended from the Thule people who spread across the North American Arctic around the eleventh century. The earliest discovered Thule settlement is found in modern-day Uummannaq. There was also extensive contacts with other Inuit peoples from different regions. Around the 17th century, climate change cooled the northwest areas of Greenland which cut off the Inughuit from other Inuit and regions.  It was during this time that the Inughuit developed their unique language, culture, and fashion which differs significantly from other Inuit peoples. Around this period, the Inughuit also lost the ability and skills to built kayaks or umiaks, which inevitably further restricted travel and contact with other communities.

Modern history.

The Inughuit were first contacted by Europeans in 1818, when John Ross led an expedition into their territory. Ross dubbed them "Arctic Highlanders". They are believed to have previously lived in total isolation, to the point of being unaware of other humans, and are cited as one of the only non-agricultural societies to live without armed feuds or warfare, a state that continued after contact. Erik Holtved, a Dane, was the first university-trained ethnologist to study the Inughuit.  During the mid-19th century, Inuit from Baffin visited and lived with the Inughuits. The Baffin Inuit reintroduced some technologies lost to the Inughuit like boats, fishing leister, and bows and arrows. The Inughuit in their part taught the Baffin Inuit a more advanced form of sled technology. American and European explorers in the 19th and early-20th centuries had extensive contacts with the Inughuits. Explorers like Robert Peary and Frederick Cook both had Inughuits in their teams acting as guides. However, more sustained contact with outsiders changed many aspects of Inughuit life like a dependence on trade goods and the introduction of new diseases which the Inughuit had no immunity to.  Greenlandic anthropologist and explorer Knud Rasmussen established a trading post in Uummannaq in 1910. He also worked to modernize Inughuit society like establishing a governing hunter's council for the Inughuit in 1927. It was during this period that Christian missionaries arrived in the region to evangelize. In consequence of the relative isolation of the Inughuit, they remained absent from growing Greenlandic Inuit nationalism and the nation-building process sweeping the Inuit of western and southern Greenland. The subsequent Cold War era had substantial effects on the Inughuit. In the 1950s, the United States established an Air Force Base close to Uummannaq. This forced many Inughuits to move over north towards Qaanaaq, which proved disastrous to the cultural and social life of the Inughuit.

Settlements.

Inughuit people live north of the Arctic Circle on the west coast of Greenland, between 75°—80° N and 58°–74° W. The northernmost settlement was at the village of Etah (at 78° 19' N), but it was abandoned due to the extremely harsh conditions there. The northernmost constant settlement is now Hiurapaluk.  Pituffik, also known as "Dundas" or "Thule" to Europeans, was the chief settlement of the Inughuit until 1953 when it was displaced by the United States' Thule Air Base, with its residents relocated to Qaanaaq. Established in 1953, Qaanaaq is the largest Inughuit settlement.

The Inughuit (also spelled Inuhuit), or the Smith Sound Inuit, historically Arctic Highlanders, are Greenlandic Inuit. Formerly known as "Polar Eskimos", they are the northernmost group of Inuit, and the world's northernmost people, living in Greenland. Inughuit make up about 1% of the population of Greenland.


Club career.

Vojvodina.

Medojević came through the youth ranks at FK Vojvodina and made his professional debut during the 2006–07 season, in a 1–0 away win against FK Mladost Apatin on 2 May 2007. However, because of his young age, he failed to make appearances during the 2007–08 season. In the 2008–09 season, he returned to the first team and made two league appearances. From the 2009–10 season, Medojević became an important member of the team and collected 25 league appearances, scoring two goals.

Wolfsburg.

On 2 January 2012, after four years playing for Vojvodina, Medojević signed his first contract outside of Serbia with Bundesliga contender VfL Wolfsburg. He finally made his league debut during a 2–2 home draw against 1. FC Nürnberg on 31 March 2013. He was kept off the field by a chronically inflamed achilles tendon while at Wolfsburg, and had not recovered from his injury when he left.

Eintracht Frankfurt.

On 31 August 2014, Medojević signed with Eintracht Frankfurt on a three-year contract. He underwent surgery for his chronic achilles tendon injury, after which a long period of recovery followed. He made his return for Eintracht on 30 September 2017 in a 2-1 win against VfB Stuttgart, after having spent 565 days without playing a professional match.

Darmstadt 98.

In January 2019, Medojević signed a one-and-a-half year contract with Darmstadt 98.

Honours.

Club.

Vojvodina VfL Wolfsburg Eintracht Frankfurt

Slobodan Medojević (Serbian Cyrillic: Слободан Медојевић; born 20 November 1990) is a Serbian footballer who plays as a defensive midfielder for Cypriot First Division club AEL Limassol.


Early life.

Elvio Romero was born in Yegros, Paraguay in 1926. At a very young age he joined the promotion of Hérib Campos Cervera, Josefina Plá, Augusto Roa Bastos, who would renovate Paraguayan literature.  He is considered an important twentieth century Paraguayan poet. Brazilian critic Walter Wey wrote in 1951:  “the star of the young poet is manly and strong and his rough and low vibration style helps him for the tragic themes of violent death and hunger...we are sure that his message once mature will show us something amazing.”

Career.

A Communist militant, who after the end of Paraguayan Civil War in 1947 was forced at the age of twenty to abandon along many others the country that he called “"nuestra profunda tierra"”. He lived in exile in Argentina, and never forgot his homeland or his people. He returned to Paraguay after General Alfredo Stroessner fell from power, and worked in numerous diplomatic posts, such as in the Paraguayan embassy in Buenos Aires. He has performed editorial work and gave recitals and conferences in various cultural centres of America and Europe.  The Guatemalan novelist Miguel Ángel Asturias, Nobel prize winner in literature in 1967, in the introduction of the book "El sol bajo las raices," wrote about the work:' “what characterizes Elvio Romero’s poetry is his flavour of earth, wood, water and sun and the rigor with which he deals with these themes in no way detracts from his ease of verse and the desire to interpret the drama of his country’s joyous nature and sadness of existence as in many of our countries. Few American voices so deep and faithful to the man and his problems, therefore, universal. Invalid poetry, I call this poetry. Invalid poetry for life, for the life’s game and fire. But not the life seen by the European, always lacking compared to our magic and wonderful world but as we see it. Elvio Romero, as all the authentic poets in América, hasn’t got to live in an empty world with his imagination, that world already exists."

Life in exile.

Exile, GEY, and other expressions of live itself, are present in Romero’s work. Romero writes: “During the long exile I had to go through, my people, my friends and some strangers too, came to my house, my exile house, bringing the fragrance of the things that are far, reconfronting my retirement.  I shared the fight of my people for their freedom, I lived paying attention to the fight protagonized by the thousands of combatants that cautiously prepared the for coming of the nation. And my singing was forming like this, between vibrant and melancholic exaltations of those lights and shadows that, alternatively, sadden the soul. I don’t know if soon, or late, I understood that I should pick up in my poetry all the states of mood that came from that sadness and revelry. So I opened all windows for all the winds in the world to get in, and that’s how I could collect all the leaves of the decay of a combative fire. All of my feelings, all of them, mixed, and that’s where a gold pigeon came out flying to the warm of my passions and imaginations"

Distinctions.

As an essayist, he is the author of “Miguel Hernández, destiny and poetry” and of “El poeta y sus encrucijadas” (1991), piece by which he won the National Prize of Literature in his first edition.  He collaborated with the newspaper “Ultima Hora”, of Asunción, and various cultural publications in Argentina.  Living in Buenos Aires, Argentina, where he performed diplomatic shows in the Cultural Aggregate of the Paraguayan Embassy in Buenos Aires, he died in May 2004.

Elvio Romero (1926-2004) was a Paraguayan poet. He straddled the decades of the 1940s and 1950s in the history of Paraguayan poetry.


Plot.

Jerzy is a Polish director, making a film at a studio in Switzerland which contains a series of tableaux vivants. His producer László is impatient because there is no apparent story to the film and Jerzy keeps delaying and cancelling shoots, repeatedly citing difficulties with the lighting. During the filming, Jerzy gets involved with two local women: Isabelle, an earnest young factory worker with a stutter, and Hanna, the worldly German owner of the motel where the crew are staying. Hanna is married to Michel, a difficult man with a chronic cough who owns the factory where Isabelle works.  Isabelle is fired from her job and attempts to organize her fellow workers to strike – not for her sake, but for their own. The film crew is meanwhile recruiting factory workers as extras for the tableaux that Jerzy is shooting. Jerzy continues to search for the right lighting in the studio and to try to manage an increasingly unruly group of extras. At the same time he is trying to continue his relationship with Hanna, with whom he has shot some test footage that the two review together while discussing the intersection of love and work. Jerzy is also taken with Isabelle, who also wants to merge love and work. She tries to get Jerzy involved with her cause and to make meaningful connections with the film crew, asking them why films never show people working.  Finally, Isabelle and Jerzy have an intimate encounter and Isabelle gives up her virginity. She accepts a payoff from Michel, her fellow workers having abandoned their half-hearted attempt at a strike. László secures more money for the film but Jerzy feels the tug of the dramatic events of the Solidarity movement in Poland and of his family back there. Feeling unable to complete the project, he leaves for Poland without either Isabelle or Hanna but instead with a waitress from the motel. Isabelle and Hanna connect up with each other and also decide to go to Poland.

The tableaux vivants.

Though the original paintings which the tableaux vivants portray are frozen in space and time and can be studied at leisure in two dimensions, in silence, the film makes them three-dimensional. The camera moves around the actors, who move in and out of position, the lighting varies and recorded classical music plays. However, viewers are given no chance to appreciate any of the tableaux in any depth because only partial views are shown for relatively brief moments.

Rembrandt.

"The Night Watch" is intercut with views of Isabelle working in the factory. There is discussion over what story the painting is telling, or whether it has no story at all, over its intricate construction, and over the source and intensity of its lighting. These three themes echo throughout "Passion", which has continuing arguments over the significance of plot, the relationships between characters, and the inadequacies of artificial light (symbolising the artificiality of cinema itself).

Goya.

Accompanied by the Introitus of Mozart's "Requiem", elements of four Goya paintings are shown. At first only the woman from the apparently innocent pastoral scene of "The Parasol" can be seen, who then walks towards the firing squad in "Third of May 1808" and is enmeshed in the horrors of war. In the background can be glimpsed "La Maja Desnuda", exuding sexual allure, while actors are getting ready for "Charles IV of Spain and His Family". Inserted are shots of Isabelle asleep in her apartment.

Ingres.

Paintings of nude women in Turkish baths, such as "The Valpinçon Bather" and "The Turkish Bath", are only recreated in fragments, interrupted by episodes in the motel and in the factory. The naked actresses in the studio continue the theme of desire, typified by the Naked Maja, while the outside scenes reprise the world of work. When Jerzy is not content with the lighting, as usual, the producer asks him what is «the right light». He responds by plunging the studio into darkness, to show that it is a place where lighting can never match reality, and draws a comparison between Hanna, a woman open to the light, and Isabelle who is opaque. However, Jerzy does persuade Isabelle to be one of the naked models.

Delacroix.

In these tableaux, which recreate the "Entry of the Crusaders in Constantinople" and "Jacob wrestling with the Angel", there is a high degree of movement. Knights on horseback circle restlesly around the set of the Greek city, while Jerzy himself becomes part of the scene when he begins a wrestling match with the actor playing the Angel.

El Greco.

Set to Fauré’s Requiem, the tableau of the "Assumption of the Virgin" has parallel scenes in the motel involving Jerzy and Isabelle, who admits she is still a virgin.

Watteau.

"The Embarkation for Cythera" is only shown in disjointed fragments, after it becomes evident that the film is never going to be completed, and the camera stays far away, giving a dispassionate documentary air to the empty ship and isolated couples. Significantly, it is the only tableau in the open air exploiting natural light.

Themes.

Art and Life.

In several ways, the film looks back to Godard's 1963 film "Contempt", about the tensions among a multinational team on location making a film that will never be completed. That film also had Michel Piccoli as one of the male leads and was shot by Raoul Coutard. It too oscillated between the demands of art, in that case a debased commercial version of an immortal work, and of life.  In "Passion", the contrast between the two is clear. The world of the tableaux vivants is that of high art, of rich colours and forms embodied in costumes and props of beauty and accompanied by a soundtrack of masterpieces. That of people outside, both those making the film and those at the motel and the factory, is one where, though they may have ideals, they cannot escape everyday issues of survival, particularly sex and money. It is a world that is grey, wintry and often dull.  The artistic interludes in the film have no dialogue, just as the paintings they represent speak silently to viewers by means of form and colour. But the life of the film makers and townspeople suffers from lack of communication, with often incoherent conversations that are sometimes in different unsubtitled languages. One character has a stutter, another a hacking cough, one is mute, and the producer tries to talk to the director through a closed window.  Links are made between the world of imagination that is being created in the studio and the quotidian world of the characters. The characters playing the producer and the backer keep complaining that there is no plot. To which the director Jerzy replies that life does not have coherent plots, that things just happen, but it is art that can escape this grim cycle and is necessary for that reason.  Specific links between art and reality are seen at moments: the armed crusaders entering Constantinople are parallelled by the police suppressing the factory strike; the ship due to sail for Cythera is paired with a jet trail in the sky; the close-ups of Hanna in the motel are matched by zooms on to faces by Goya. Though life can be drab, full of tensions and misunderstandings, art can soar above it because it can convey pure emotion. As Godard said in 1982: «Sometimes one has to film emotion, to fill the screen with pure emotion. Only painting and music can achieve that.»

Light and Dark.

The opposition of light and dark first appears in the Night Watch, the first of the tableaux vivants, in the context of how light is distributed in the painting. Later on, during the Ingres episode, the two women Isabelle and Hanna are described by Jerzy as the opposition of night and day. According to him, Hanna is like the day, as she is opened towards everything, while Isabelle is like the night because she is difficult to reach.  The studio is the place governed by man-made light, whereas the places outside the studio are often shot in inadequate natural light. Yet the lighting of the tableaux vivants in the studio can never reach the qualities of pure natural light outside, and therefore remains artificial.

Love and Work.

The life of the characters is bound by the needs of love and of work, and the ways in which the two get mixed. Jerzy starts an affair with Hanna, owner of the motel where he is staying, and after a screen test wants her to be in his film as well. The industrial nature of the film studio is contrasted with the factory owned by Hanna's husband, at which Isabelle works. Isabelle even suggests that the repetitive movements of manufacturing mirror those of lovemaking.

Production.

Outdoor shooting began at the end of November 1981 beside Lake Geneva at Nyon, followed by indoor shooting from January 1982 at Billancourt Studios in Paris. For both crew and cast, the director was extremely demanding. Sophie Loucachevsky, who played the production secretary, recalled: "In the frost and the snow we waited outside in underclothes and nightdresses while Godard sat alone in a car and wept, clutching a teddy bear."  Godard had met the German actress Hanna Schygulla in Hollywood when she was shooting "One from the Heart" with Francis Ford Coppola and asked her to participate, sending her a three-page synopsis in English titled "Passion: Work and Love". For the role of the director, his alter ego, Godard chose the Polish actor Jerzy Radziwiłowicz, well known from his work with Andrzej Wajda. To the French actress Isabelle Huppert he gave her the role of an unglamorous factory worker who is still a virgin, and added to her difficulties by requiring her to stutter.  Like most of Godard's work from this period, "Passion" is shot in colour with a 1.37 aspect ratio. Cinematographer Raoul Coutard, collaborating with Godard for the first time since 1967, won the Technical Grand Prize for cinematography at the 1982 Cannes Film Festival.

Reception.

The film had 207,294 admissions in France.

Passion is a 1982 film by Jean-Luc Godard, the second full-length film made during his return to relatively mainstream filmmaking in the 1980s.


Concept and construction.

The Democratic Republic of East Timor is made up of three main parts, being the eastern half of Timor, the exclave of Oecusse adjacent to the northwestern coast of Timor, and the island of Atauro. Passport-free transport between these three locations is possible only by sea.  In 2002, the German Federal Ministry for Economic Cooperation and Development (BMZ) commissioned a cooperation project to improve East Timorese living conditions by establishing a regular maritime passenger and goods transport connection between the three locations.  From 2003 to 2006, a passenger ferry was chartered to operate such a connection. During that period, around 3,400 passengers used the service each month. In February 2007, a new ferry commissioned by the BMZ and financed by KfW Development Bank, the "Nakroma", was officially handed over to the East Timorese government to assume the operation of the service.  The donated ferry was built in Surabaya, Indonesia, by PT PAL. She is a roll-on/roll-off vessel long, and has a beam of. Her tonnage is and. She can carry up to 300 passengers (20 in first class, 149 in second class forward, and 131 in second class aft), and up to of cargo.  In recognition of the success of the cooperation project, the ferry was renamed "Berlin Nakroma".

Service history.

"Berlin Nakroma" operates regular ferry services linking Dili with Pante Macassar in Oecusse, and with Atauro, using landing facilities in Dili and Oecusse that were upgraded as part of the cooperation project.  The vessel flies an Indonesian flag with Jakarta as her port of registry, although an East Timorese ship registry was established in 2015 and was scheduled to be up and running by 2017.  In July 2017, it was announced that the German government had donated €7.5 million to the East Timor Ministry of Public Works, Transport and Communication (MOPTK), for the building of a "Berlin Nakroma II". East Timor would be designing the new ship, while the funds from Germany would be used to build her.

Berlin Nakroma is a roll-on/roll-off passenger and cargo ferry owned and operated by the Government of East Timor since 2007. A gift to East Timor from the Federal Republic of Germany, she links Dili, capital city of East Timor, with Pante Macassar in the East Timorese exclave of Oecusse, and with Atauro Island.


Biography.

Early life and education.

Frank Davey was born in Vancouver, British Columbia, but raised in the nearby Fraser Valley village of Abbotsford (1941 population 562), close to the Canada-US border. He was the son Wilmot Elmer Davey, a hydro company laborer and truck driver, and Doris Brown, who had emigrated with her family from Britain at age 4. Much of his childhood in Abbotsford is pseudonymously recounted in his 2005 poetry volume "Back to the War" and in the first person in his 2011 memoir "When TISH Happens". Together the two books also provide the only mid-century literary portrait of the surprisingly diverse Abbotsford community and the surrounding Fraser Valley farmland. Davey enrolled at the University of British Columbia in 1957 where he met the influential poetry theorist Warren Tallman and student writers George Bowering, Daphne Marlatt, Carol Bolt, Jamie Reid, and Fred Wah, and in 1960 the charismatic San Francisco poet Robert Duncan. With Bowering, Reid, and Wah, and the advice of Tallman and Duncan, he founded the poetry newsletter "TISH" in 1961.

Academic and Writing Career.

The success of "TISH", which the editors mailed free of charge for nineteen successive months to poets, editors, and critics across Canada and much of the US, brought Davey to the attention of the senior Canadian writers George Woodcock and Louis Dudek. Woodcock, editor of the journal "Canadian Literature", commissioned in 1962 the first of several essays from him, and Dudek invited him to guest-edit a Vancouver issue of his important poetry magazine "Delta". Woodcock's intervention may have been the more significant, encouraging the young poet to take up literary criticism as well, and from the 1970s to the 90s write a body of work that would be called 'the most individual and influential ever written in Canada.'  Davey published his first poetry collection, "D-Day and After", in 1962, with an introduction by Tallman that emphasized how this was poetry as the act of the moment rather than poetry as the commonplace attempt 'to express... feelings.' It was the first of more than a hundred volumes to be published by the "TISH" editors. Receiving an MA from UBC in 1963, Davey taught for the Canadian armed forces at Royal Roads Military College in Victoria, BC until 1969, while also working on a doctorate in poetics at the University of Southern California in the summers of 1965 and 1966, and a 1966–67 leave of absence. He witnessed the 1965 Watts riots from an apartment within the curfew zone, feeling more endangered, he indicates in 'Writing a Life' (99–100) and "When TISH Happens" (224), by the US National Guard than by the mostly black protesters. It seems very possible that this experience contributed to his later insistence in his political and cultural writings that the Canadian nation-state should be a collaboration open to the meaningful participation of all its citizens. In the fall of 1965 his third and fourth volumes of poetry were published. He also launched his poetry and criticism journal "Open Letter" that fall of 1965, designing it initially as an open editorial dialogue with former "Tish" editors Bowering and David Dawson. In the spring of 1968 he received his PhD, having presented a thesis on the poetics of the Black Mountain poets.  In the spring of 1969 he was appointed Writer-in-Residence for 1969–70 at Sir George Williams (now Concordia) University in Montreal. The following year he joined the faculty of York University in Toronto to teach Canadian Literature and, amid teaching and research collaborations with Clara Thomas and Barbara Godard, quickly assumed a nationally influential role. He published two poetry collections in each of 1970, 1971, and 1972, and a selected poems in 1972. He published a monograph on Earle Birney in 1971, and the widely praised "From There to Here: A Guide to English-Canadian Literature Since 1960", the first book to theorize Canadian postmodernism, in 1974. But his most important contribution in these years was his withering critique, 'Surviving the Paraphrase,' of the thematic criticism of Northrop Frye, D. G. Jones and Margaret Atwood which he delivered at the founding conference of the Association for Canadian and Quebec Literatures in the spring of 1974. That paper, in Stephen Scobie's words 'a vastly influential essay', almost immediately discredited thematic criticism in Canada and, forty years later, reverberates as well within Canadian postcolonial studies.  In 1976 he was appointed Coordinator of the York University creative writing program, and also joined, along with bpNichol and Michael Ondaatje, the new editorial board of The Coach House Press. With the assistance of Nichol and Barbara Godard, he was also expanding the pages and range of "Open Letter" to give attention to Québécois poets, women writers, and poststructuralist poetics, developing it into what Gregory Betts in "The Canadian Encyclopedia" would call 'Canada's most important forum for discussion and examination of innovative and experimental ideas and texts.' In 1982 he helped conduct a month-long workshop in Dharwar, India, for young academics many of whom became major contributors to Canadian Studies in that country. Here he wrote one of his most important long poems, the "brilliant poetic commentary on postcolonialism" "The Abbotsford Guide to India", published in 1986—one of six poetry books he published in the 1980s. That year he was also elected chair of the York University Department of English. Two years earlier he had published the first study of Margaret Atwood's feminism: "Margaret Atwood: A Feminist Poetics."  In 1990 he was named the first Carl F. Klinck Professor of Canadian Literature at the University of Western Ontario (now Western University), in London, Ontario, and began a new writing phase in which he adapted discourse analysis to Canadian cultural studies, and examined various Canadian cultural scenes—from those of literary criticism to those of politics, celebrity, and popular crime writing. His new books included "Post-National Arguments: The Politics of the Anglo-Canadian Novel since 1967" (1993), "Reading 'KIM' Right" (1993), an analysis of the public persona of Kim Campbell, Canada's first woman prime minister, "Canadian Literary Power" (1994), a study of how Canadian literary reputations are constructed and defended, "Karla's Web: A Cultural Examination of the Mahaffy-French Murders" (1994), an examination of how newspaper crime writing distorts both victims and criminal justice issues, "Cultural Mischief: A Practical Guide to Multiculturalism" (1996), a poetry collection that mocked both the sentimentalities of multiculturalism's proponents and the narcissism of its critics, and "Mr & Mrs G-G" (2002) an examination of Canadian Governor-General Adrienne Clarkson and her husband, writer John Ralston Saul, that accused both of a pretentiousness that misrepresented and stifled actual Canadian realities. As Betts observes with some understatement, this was 'a critical stance that has occasionally put him into conflict with the Canadian literary establishment.' Its consequences are likely reflected in Davey's description in "When TISH Happens" of Canadian literary and academic prizes as institutional rewards for 'banality and careerism' (304). Meanwhile, in May 1994 he had been elected president of the Association of Canadian College and University Teachers of English (ACCUTE). That November he had led the Association in issuing a controversial and widely publicized 'caution' against the postsecondary education policies of the British Columbia government and the resulting working conditions and quality of education at its recently established University Colleges.  Davey continued his creativity at the expense of currently established critical pieties in the poetry collections "Dog" (2002) and "Risky Propositions" (2005), both partly directed at identity politics, the 'flarf' books "Lack On!" (2009), a mock-Lacanian tribute to Fred Wah, and "Bardy Google" (2010), part of which was a Dunciad-like send-up of recent Canadian criticism, and the limited edition visual poetry book, "Canonical Canadian Literature" (2011). Meanwhile, the final years of provincial mandatory retirement legislation ended his Western Ontario teaching years in 2005. He was elected to the Royal Society of Canada in 2014.

Family life.

Davey married education student Helen Simmons, also from Abbotsford, in 1962, during the final year of his MA studies. She later taught school in Victoria and accompanied him to the University of Southern California where she earned a master's degree in special education. They divorced in 1969. Shortly after, he married Linda Jane McCartney, with whom he had two children, Michael Gareth, b. 1970, and Sara Geneve, b. 1971. Linda Davey graduated from Osgoode Hall Law School in 1978 and practiced law in Toronto until 1994. She also served with Davey on the editorial board of the Coach House Press from 1976 to 1988. She died of a brain tumor in 2000. His memoir, "How Linda Died", which contains many details of their life together and their relations with their children, is, according to "BC Bookworld" editor Alan Twigg, 'Davey's most accessible and memorable book... his most atypically direct and personal.'

Contributions to Poetry and Literary Criticism.

Influence.

Davey has usually been viewed as a major influence on both Canadian poetry and Canadian literary criticism. Twigg has quoted George Fetherling as having called "TISH" Canada’s'most influential literary magazine.' Ken Norris, in his study of Canadian little magazines, calls Davey's "Open Letter" 'the most important avant-garde periodical in Canada.' Betts writes that '[T]hrough his books of poetry, his literary and cultural criticism and his rich range of essays on diverse topics, Davey has been a major figure involved in introducing the idea and practice of postmodernism to writers in Canada.' Scobie adds that he has 'often been seen as a 'poet's poet''(276).

"TISH".

Betts writes that 'the TISH community has been described as the first post-colonial literary movement in English Canada because they wrote after and neither about nor because of colonialism.' Alexander Varty, reviewing "When TISH Happens" for "The Georgia Straight", writes that it is possible 'that TISH's emphasis 'on the self as a consciousness in process rather than a stable persona' has become the norm in Canadian poetry and indeed in much Canadian fiction – a significant contribution, and one that's worth celebrating.'

'Surviving the Paraphrase'.

Diana Brydon begins her introduction to the Frank Davey 'festschrift issue' of "Studies in Canadian Literature": 'In 1974, Frank Davey's conference paper 'Surviving the Paraphrase' took the small world of Canadian literary criticism by storm. The tenor of discussion changed as writers and critics became more self-conscious about their place in the world and how they engaged it in their work.' In her essay in this issue, Smaro Kamboureli writes''Surviving the Paraphrase,' originally presented in 1974 at the founding meeting of the association of Canadian and Quebec Literatures, and subsequently published in "Canadian Literature" in 1976, inaugurates a pivotal moment... in the development of Canadian criticism, for it presents one of the earliest, albeit brief, critiques of thematic criticism in Canada.' She adds 'If I were to identify a single major contribution Davey has made to Canadian critical discourse, this would be the instrumental role he has played in showing the importance of methodology, that methodology is inextricably related to how we understand the canon, textuality, the critical act, and nation-formation. The fact that he drew attention to method at a time when Canadian literary discourse was by and large oblivious to it makes his contribution all the more important. Method – directly thematized or appearing in different guises – figures in his work with remarkable consistency and with interesting results.'

Poetry.

The poems of Davey’s first poetry collection, "D-Day and After", described in Tallman’s introduction as 'a weathervane pointing which way the verse winds may be blowing,' for the most part adapted the early projectivist poetics and typewriter spacing of Charles Olson to the lyric poem. It was mockingly reviewed by Ontario poet and playwright James Reaney – 'I’m not too sure that instead of projecting himself through his typewriter, his typewriter isn't projecting itself through him.' Two of the poems, however, 'To the Lions Gate Bridge' and 'The Guitar Girls,' are among the most successful processual poems produced by the Tish poets, with the former declared by Robert Duncan to be 'a poem without lapse' In Davey's next three books, "Bridge Force" (1965), "City of the Gulls and Sea" (1964), and "The Scarred Hull" (1966), Olson's influence is evident mostly in the research-based focus on place, especially in the latter. All three rather undistinguished books only slightly declined the prevailing lyric conventions of Canadian poetry. But they also differed significantly from each other.  Davey's emerging tendency to modify or enlarge his poetics with each new book or cluster of books became more apparent in his first four poetry books of the 1970s and their differing approaches to a phenomenological prosody. "Weeds" (1970) is a sequence of one-paragraph prose poems with frequent disjunctions between the sentences. "The Clallam" (1973) is a narrative of a 1907 British Columbia shipwreck constructed in brief exclamatory sections that recall the abrasive mock narratives of Jack Spicer. "King of Swords" (1972) retells much of the Arthurian story in contemporary diction to suggest the continuing persistence of that story's self-destructive masculinism. "Arcana" (1973) uses longer lines, postmodern indeterminacy and the imagery of the Rider-Waite Tarot deck in purportedly unfinished'manuscript poems,' each dated and printed within quotation marks. All these books were outside, or alongside, usual Canadian poetry practices. The most visible Black Mountain influence in the latter two books was the medievalism of Robert Duncan, but much differently framed.  Davey published two strikingly unusual books in the 1980s. The first was "Capitalistic Affection!" (1982), in which a young boy absorbs sexual stereotypes in the weekly comic strips of the North American 1940s. The book uses comic strip idioms, mixed with occasional metafictional commentary, to analyze further the Arthurian inheritance and its imbrication with commodity culture, while also creating numerous disturbingly poignant moments. He followed this in 1986 with another anomalous work, "The Abbotsford Guide to India", a book of poetry constructed as a tourist guide. Critic Katie Trumpener comments that 'Davey's "Guide" is a manifesto from Abbotsford about the connected perspectives and cultural cross-pollination of different peripheries,' one that 'bypasses... the empire's nominal centre' and adds that the poems 'point to the obvious vestiges of colonial consciousness in a still emphatically "British" Columbia (especially in the survival of colonial attitudes toward its own 'Indians'), but they also identify more mysterious residues of colonial self-doubt and self-hatred.' Again these books had little relationship to the ongoing lyric norms of Canadian poetry or, in their sharp movements away from each of Davey’s preceding books, to the more consistent modes of poetic dissent being created by other Canadian poets such as bill bissett, Daphne Marlatt, and bpNichol. He also published in the 1980s the bitterly humorous "Edward & Patricia" (1984) and the collection of poetic reorientations of Canadian history "The Louis Riel Organ and Piano Company" (1985). The latter contains Davey's most frequently taught longer poem, 'Riel,' a Spicerian deconstruction of the various narratives that have claimed to represent the Canadian Métis martyr.  In all these books there had been evident a strong interest in cultural criticism and semiotics, an interest which became central to his literary criticism in the early 1990s with the publication of his "Post-National Arguments" and "Canadian Literary Power". Davey's first poetry collection of the 1990s was the ironically titled "Popular Narratives" (1994), with its cover image of the Ljubljana statue of the Slovenian national poet France Prešeren being blessed by a beautiful muse but both covered in bird droppings. Among the book's 'popular' narratives were Davey's story of the murder of Agnes Bernauer in fifteenth-century Bavaria and his prose-poem elegy for bpNichol into which he incorporates the stories of both Eloise and Abelard and Camille Claudel and Auguste Rodin as ones of teacher-student exploitation. As he had written in 1972 in "King of Swords", 'the myth of Arthur continues.' In 1996 he published the collection "Cultural Mischief", with one of its poems a very different elegy to the painter Greg Curnoe, constructed of 32 short staccato stanzas that echo the disjunctive structure of Curnoe's best-known paintings. It's a poem that Lynette Hunter writes 'not only erases the heroic elegiac voice but also textures the body of the dead.'  During the next few years and the illness and death of his wife, and his writing of "How Linda Died" (2002), Davey appears to have worked on the completing of a manuscript first published as the on-demand digital chapbook "War Poems" in 1979 and published as a much longer book, "Back to the War", in 2005. The 75 poems narrate a childhood story of being on the 'backside' of World War II but in a family that replicates much of that war’s tensions and gender metaphors, into which the child becomes an unknowing but inevitable conscript. On the cover is a photo of the battlecruisers "HMS Hood" and "HMS Repulse" in Vancouver harbour on which has been superimposed an amateur snapshot of a young boy in a British sailor suit. Like most of Davey's books, including "The Scarred Hull, Weeds, The Clallam, King of Swords, Capitalistic Affection!, Edward & Patricia", and "The Abbotsford Guide to India", the collection functions as both a long poem and a unified sequence of separable parts.  Davey takes up flarf techniques in his 2010 "Bardy Google", manipulating internet algorithms to produce a variety of texts that portray the limitations and variety of internet culture. For many readers the most surprising of these has been 'Sydney's Wreck,' in which Davey's algorithms produce a collage-narrative of the World War II disappearance and later location of the Australian light cruiser – a narrative in which the ideological investments of a wide range of Australians becomes evident. As usual, flarf throws a luminous spotlight on language usage. Here Davey uses it to extend the semiotics underpinnings of his "Popular Narratives" and "Cultural Mischief". Davey's 2014 collection "Poems Suitable to Current Material Conditions" is almost entirely (and mischievously) about language, from poems that riff on cliché phrases such as 'I’m good,' 'just sayin',' and 'going forward,' to a flarf poem that puns on Jacques Lacan’s name and theories to illuminate the feelings of lack and entitlement that societies both wealthy and poor repeatedly declare.  In a note written on "Tish" in 1991 Tallman writes that Davey's magazine "Open Letter" can be viewed as standing for all the ventures of the "Tish" poets 'as evidence of some active secret of the imagination original "Tish" let loose upon the world,' and that Davey can be viewed 'as a type of all the other "Tish" poets who were in on the secret' – 'that he exemplifies in himself how much imagination when possessed can manage.' Davey's own imagination appears to have been strongly influenced by the events of the Second World War, from the title of his first collection through the comic strip images of the war in "Capitalistic Affection!", his'multiple choice' Hiroshima poem of "Cultural Mischief", the coloring book warfare and plastic war machines of "Back to the War", to the colliding ideologies of HMAS 'Sydney's Wreck' in "Bardy Google".

Frankland Wilmot Davey, FRSC (born April 19, 1940) is a Canadian poet and scholar. Born in Vancouver, British Columbia, he grew up in the Fraser Valley village of Abbotsford. In 1957 he enrolled at the University of British Columbia where, in 1961, shortly after beginning MA studies, he became one of the founding editors of the influential and contentious poetry newsletter "TISH". In the spring of 1962 he won the university's Macmillan Prize for poetry, and published the poetry collection "D-Day and After", the first of the Tish group's numerous publications. In 1963 he began teaching at Canadian Services College Royal Roads Military College in Victoria. He began doctoral studies at the University of Southern California in the summer of 1965, completing in 1968. After serving as writer-in-residence at Montreal's Sir George Williams University, he joined the English Department of York University in Toronto in 1970, becoming department chair in 1986. He was appointed in 1990 to the Carl F. Klinck Chair of Canadian Literature at the University of Western Ontario in London. From 1975 to 1992 he was one of the most active editors of the Coach House Press. He currently lives in Strathroy, Ontario.


Social origins.

Several other football clubs in the UK have a history of hooliganism, but various commentators including Danny Baker and Rod Liddle (both men are Millwall supporters) have questioned why Millwall's history have consistently been singled out to the point where the name of Millwall has become almost synonymous with hooliganism. This in turn has created a siege mentality amongst ordinary, law-abiding Millwall fans.  From the late 1960s through to the early 1980s there was a gradual increase in academic study of, and political concerns over, violence at football matches. Millwall featured in some of these studies. In 1977 a "Panorama" programme by the BBC Dr. Anthony Clare used Millwall as an example of fans who were looking for trouble and, using a militaristic analogy, said:  This was followed up by Don Atyeo who wrote in "Blood & guts, violence in sports" (1979) that "F-Troop are Millwall's hard men, an older (generally middle to late 20s), tougher brigade who are bent on 'rucking' at every opportunity, even to the extent of attending games which Millwall are not even playing". In his book "The Soccer Tribe" (1981), Desmond Morris mentions several football firms, by dwelt on hooliganism by Millwall supporters by quoting a long extract about F-Troop from Atyeo's book, and so introduced an even wider audience to Millwall's hooligans.  Southwark-born writer and journalist Michael Collins believes that it is due to what he terms the demonisation of the white working classes, and that as Millwall's support has always been drawn from this group, they present an easy target for the press and media alike. Collins writes: "At the end of the 19th century around the time Millwall F.C. was formed, middle-class journalists used to descend on the area like Baudelaireian flaneurs, to report on the urban working class as though they were discovering natives from the remote islands of the Empire".  Supporters of other clubs, social groups and members of professions who perceive themselves as not being liked for various reasons, have used variations of the chant. Wealdstone F.C., Burnley F.C., MK Dons, Crawley Town, AIK, Shamrock Rovers, Philadelphia Union, Columbus Crew SC, Seattle Sounders FC, Urawa Red Diamonds, Raith Rovers, Hertha BSC, Detroit City FC, RB Leipzig, San Diego State Aztecs men's basketball and MSV Duisburg supporters have also adopted the chant. Anaheim Ducks fans have adopted the line "No one likes us, we don't care" as an informal motto, usually replacing the "D" in "don't" for the team's logo, a stylized D. After an NHL playoff series against the Winnipeg Jets, some fans in Anaheim were shown on TV holding a banner with the motto. Rangers supporters sing a version of the song with the lyrics changed to reflect a bitter rivalry with Celtic; however, this version contains lyrics which have been condemned as sectarian. Non-league team Dulwich Hamlet F.C. also sing a version, with the lyrics changed to: "No one knows us, we don't care."  During the Super Bowl LII victory parade for the Philadelphia Eagles on February 8, 2018, football center Jason Kelce sang a profane version of the chant referencing Philadelphia (which as mentioned above has been co-opted by Philadelphia Union supporters known as the Sons of Ben; that version uses the tune of "Oh, My Darling, Clementine", which has the same rhyming scheme, but a different melody, than "Sailing"), to the crowd's delight.

Lyrics.

No one likes us, no one likes us
 No one likes us, we don't care!  We are Millwall, super Millwall
 We are Millwall from The Den!

"No one likes us, we don't care" is a football chant which originated with the supporters of Millwall in the late seventies. The chant is to the tune of (We Are) Sailing by Rod Stewart. The chant was originally sung by Millwall fans in response to the sustained criticism of their behaviour by the press and the image of many Millwall fans as hooligans, perpetuated by the media. The chant reached a worldwide audience when Millwall reached the FA Cup Final in 2004.


History.

The station went on the air September 21, 1972, as WKXR-FM. In March 1982, the call letters were changed to WERZ and the format was changed to Top 40/CHR. Their first slogan was "The New Z107, The Continuous Music FM", then later, "WERZ107, New Hampshire's Hot FM". The first program director was Jack O'Brien and the studios were located at 11 Downing Court in Exeter.  Boston area concert promoter Don Law's Precision Media purchased the station in 1986 and modified the format to a hybrid AC/Top 40 format (Hot AC), with the slogan, "The All New 107 FM WERZ, Playing Today's Hits And Yesterday's Classics". Ratings dropped precipitously until around 1990, when the tempo of the music was picked up, the older Adult Contemporary music was dropped, and more current music was added to the rotation. The slogan became, "107.1 FM WERZ, Where We Play More Music And More Variety". Specialty weekend programs helped to boost ratings, including the legendary "American Top 40" with Shadoe Stevens, the "Weekly Top 40" with Rick Dees, and "The WERZ's House Party Saturday Night" featuring uptempo party songs and a megamix of popular dance music, as well as frequent prize giveaways and heavy listener interaction and requests.  WERZ was a Hot AC throughout all of the 2000s, during which their slogan was "The Hits of the '80s, the '90s, and today. We are 107.1 WERZ" (As with all prior iterations, the "we are Z..." was played off the call letters: We R Z...). For the first time in December 2008, WERZ went all-Christmas. After the holiday season, WERZ became an Adult Contemporary station playing an even bigger mix of the '80s, the '90's, and Today. Then, in December 2009, WERZ went Christmas again and this time returned as Hot AC with their fifth slogan, "The '80s, The '90s, and now are all on today's mix, 107.1 WERZ".  In February 2010, WSKX and WERZ announced that Matty in the Morning, syndicated by WXKS-FM out of Boston, would be moving from WSKX to WERZ.  On October 4, 2012, at 3 pm, WERZ flipped back to their Top 40/CHR roots as "The All New Z107, The Seacoast's Hit Music", reviving the format and branding that WERZ used from 1982 to 1986.

WERZ (107.1 FM) is a radio station licensed to Exeter, New Hampshire, and located at 107.1 on the FM dial. The station is owned by iHeartMedia. WERZ broadcasts from studios located on Lafayette Road in Portsmouth and from a transmitter located on Long Hill in Stratham. Its on-air call sign is "Z107, Exeter/Portsmouth". WERZ's signal serves the coastal area from Salem Harbor up north to Biddeford, Maine, including the Portsmouth and Dover-Rochester areas of New Hampshire, southern York County, Maine and northeastern Massachusetts, where it overlaps with sister station WXKS-FM from Boston.


History.

Predecessor sides.

The origins of the club lie with predecessor sides "Turnverein 1890 Woltmershausen", "Fußballverein 1900 Woltmershausen", and the workers' club "Arbeiterturnverein Woltmershausen", which was established in 1896 and renamed "Allgemeinen Turnverein Woltmershausen" in 1909. "TV" and "ATV" were merged in 1933 when the Nazis banned left-leaning workers' clubs as politically undesirable.  "FV" had its first successes in the 1920s playing in the Bezirksliga Weser-Jade (II). From 1943-45, the team was part of the Gauliga Weser-Ems (I), the war-weakened successor to the Gauliga Niedersachsen (I), which was one of 13 regional circuits established in the 1933 reorganization of German football under the Third Reich. Only a single season of play was completed in the Gauliga Weser-Ems before competition collapsed just 2 or 3 games into the 1944-45 season because of the war. "FV" finished in second place in one of the leagues three divisions, but did not take part in play for the overall division title.

Postwar and formation of TS.

After the conflict, "ATV" reemerged in late 1945, followed by "TV 1890" in the spring of 1946. The former membership of "FV 1900" joined "ATV" to create "Sportverein Woltmershausen von 1896" on 8 March 1947. This club won its way into the Amateurliga Bremen (II) in 1949 where they competed until being sent down in 1959. They returned to Amateurliga play in 1961 and earned their best result in 1967, finishing 3rd behind the second team sides of "Werder Bremen" and "Bremerhaven 93". However, they were demoted again at the end of a poor 1970-71 campaign and in 1974 entered into a union with "TV 1890" to create the current day club "Turn- und Sportverein Woltmershausen von 1890". They had a short three season turn in what had become the third tier Amateurliga before rebounding in 1981. Since then, the club has spent most of its time as part of the Amateurliga as that league eventually became a sixth tier circuit - now known as the Bremen-Liga - through multiple reorganizations of German football.

Other sports departments.

In addition to its football side, "TS" has a long history of participation in other sports and today also has departments for handball, running, Taekwando. dancing, tennis, table tennis, gymnastics and a variety of fitness activities.  The women footballers compete in the Verbandsliga Bremen (IV) and took part in their first DFB-Pokal (German Cup) tournament in 2011-12.  The handball team advanced to the 2. Bundesliga Nord in 1993 where they spent two seasons before settling into Regionalliga (III) play. In 2007, they slipped to the Oberliga (IV).

TS Woltmershausen is a German association football club from Woltmershausen, a district in the centre of the city of Bremen.