Release.

The film had its world premiere at the 2019 Sundance Film Festival on January 24, 2019. Netflix acquired the distribution rights to the film which was released worldwide on June 19, 2019, along with a theatrical run in New York and Los Angeles. The film was also screened at the, the San Francisco International Film Festival, Sheffield Doc/Fest, the Hot Docs Canadian International Documentary Festival and the Montclair Film Festival.

Reception.

Critical response.

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 97% based on 30 reviews. On Metacritic, which assigns a normalized rating to reviews, the film has a weighted average score of 81 out of 100, based on 13 critics, indicating "universal acclaim".  A. O. Scott of "The New York Times" praised the film, calling it "a chronicle of civic betrayal and the abuse of power, and also of heartbreak, under the perspective by the filmmaker Petra Costa, who narrates the documentary in the first person." Leslie Felperin of "The Guardian" gave the film 4 out of 5 stars, saying, "Costa manages to craft an intimate primer about the state's descent into populism and the fraying of the country's democratic fabric." David Ehrlich of "IndieWire" gave the film a grade of B, and described it as "an angry, intimate, and haunting portrait of Brazil's recent slide back into the open jaws of dictatorship." The online newspaper "The A.V. Club" praises the coverage of the themes, but criticizes the documentary's lack of comprehensiveness: "Costa understandably places emphasis on the unjust political machinations of Brazil’s Lower House, but also glosses over the failures of Rousseff’s government and its incontrovertible manipulation of the federal budget."

Controversy.

The documentary caused controversy in Brazil and was considered by some to be a partisan propaganda tool by those claiming Petra Costa misrepresented historical facts about Brazil and tampered with photos removing guns in a picture of two dead leftist militants - including Pedro Pomar (a political mentor of Costa's mother) - who were killed by the police in 1976 during the military ditactorship.  Costa confirmed editing the photo, alleging she wanted to pay tribute to the men, since the National Truth Commission confirmed the scene was tampered with by the military to justify an alleged gunfight and held the State responsible for the crime. Luan Sperandio of Gazeta do Povo enumerated a list of 45 alleged omissions and false narratives in the documentary, concluding that "the film fulfills its role: to ignore facts, data and evidence to sell the Worker's Party world view of the impeachment, Lula's arrest and the election of Jair Bolsonaro."  The Brazilian President Jair Bolsonaro said that "the film is not a documentary but a fiction, and only fit for vultures to eat."

Accolades.

! scope="col"| Award! scope="col"| Date of ceremony! scope="col"| Category! scope="col"| Recipient(s)! scope="col"| Result! scope="col" class="unsortable"|! scope="row" rowspan="1"|! scope="row" rowspan="1"| Sheffield International Documentary Festival! scope="row" rowspan="1"| Sundance Film Festival! scope="row" rowspan="1"| Academy Awards! scope="row" rowspan="1"| Cinema for Peace

The Edge of Democracy () is a 2019 Brazilian documentary film directed by Petra Costa. The film follows the political past of the filmmaker in a personal way, in context with the first term of President Lula and the events leading to the impeachment of Dilma Rousseff, analyzing the rise and fall of both presidents as well as the 2014 socio-political crisis that swept Brazil. The arrest of Lula paved the way for Jair Bolsonaro 2018 campaign and presidency. It had its world premiere at the 2019 Sundance Film Festival and was released by Netflix on June 19, 2019. It was nominated for Best Documentary Feature at the 92nd Academy Awards.


Plot and setting.

"Brum" is the story of a small replica car who ventures out into Big Town when his owner isn't looking, and gets up to all manner of adventures. Each episode begins and ends in the same way, with Brum leaving the other cars in the motor museum when the owner's back is turned and heading out to explore Big Town, before eventually returning to his place. Each series has had its own background music. From series 1-2 the introduction music was the same but in series 2 they used different instruments. From Series 3-5 the music became jazzy and a new Title sequence was Directed by Nigel P. Harris.  The car can express himself in various mechanical ways including opening and closing his doors and bonnet, bobbing his suspension, and flashing and swivelling. The actors in "Brum" do not speak – mime and off-screen narration help propel the story. It was therefore easy to prepare episodes for airing in other countries, and the series has been broadcast in many parts of the world and in many languages.  The stories are set in the city of Birmingham, England, since in addition to its onomatopoeic nature of a car engine revving, Brum (as a contraction of "Brummagem") is a common colloquial name for Birmingham. Although later series make no direct mention of Birmingham, calling it simply Big Town, many of the city's streets and landmarks can be seen in each episode.  The show was written by a range of writers. Anne Wood primarily wrote all the first series, while the second was written by Tom Poole, Dirk Campbell, Andrew Davenport and Morgan Hall. The last two series were written by Nigel P. Harris (5 Episodes) and the existing Ragdoll team.  The car itself – a half-scale replica of a late-1920s Austin 7 Chummy convertible – was designed and built by Rex Garrod. It is now housed at the Cotswold Motoring Museum in Bourton-on-the-Water, Gloucestershire, which is also where the opening and closing sequences of the programme were filmed.

DHX Media revivals.

February 2016 saw the release of a rebooted "Brum", made by the current owners of the franchise DHX Media. The show now takes place in a white world instead of the Big Town and features new friends for Brum. The first episode, "Brum's Car Wash Adventure", premiered on 4 March 2016 via the official Brum YouTube channel. A total of 25 CGI episodes were produced, with a second series currently airing.  Another series, this time animated using Toon Boom Harmony Animation called "Brum & Friends" premiered on the channel in September 2017.

Kiddie ride.

A coin operated kiddie ride of Brum was made by Amutec Ltd. 3 versions were made in the years 2004, 2005 and 2006.

Brum () is a British children's television series about the adventures of a small, radio controlled vintage car. Set in Birmingham, England and produced by Ragdoll Productions, "Brum" was first broadcast in 1991 and the last live action series was broadcast in 2002. It was initially directed, written and produced by Anne Wood and initially narrated by Toyah Willcox. The show was first aired on BBC One, as well as airing on satellite and pay television where it was screened on TCC and Living, and also aired in the United States on Discovery Family, in Australia on ABC, Max, Nickelodeon, ABC Kids and ABC2, in Brunei on RTB, in Indonesia on antv, in Singapore on Kids Central, in South Africa on SABC2 (with both an English dub and an Afrikaans dub) and CBeebies, in Kenya on KBC, in New Zealand on TV3, in Namibia on NBC, in Zimbabwe on ZTV, in Ireland on RTÉ, in Germany on BFBS and SSVC Television, in the Netherlands on Nederland 3, in Bangladesh on BTV and in the Emirates on Dubai 33. It also aired on the now defunct children's channel, KPC "Kids Pick Cartoons". A new CGI-animated series, aimed at young pre-school children, was produced in 2016.


Mission.

Atlantic School of Theology is a public ecumenical university that serves Christ's mission by shaping effective and faithful ordained and lay leaders and understanding among communities of faith.

History.

Atlantic School of Theology was founded in 1971 and formally incorporated on June 28, 1974, by an Act of the Legislature of Nova Scotia. Atlantic School of Theology is accredited by the Association of Theological Schools in the United States and Canada and by the Maritime Provinces Higher Education Commission.  AST was formed in 1971 through a merger of the following institutions:  Theological education has been offered on the property in Halifax since 1878. AST occupies the former campus of Pine Hill Divinity Hall situated on the coast of the Atlantic Ocean in eastern Canada.  The university received its charter to grant degrees in 1974 from the government of Nova Scotia. In 1975, fire destroyed the Holy Heart Theological Institute. In 2002, AST and nearby Saint Mary's University signed a collaboration agreement. The two universities remain independent.

Academic programs.

AST's degree programs include the Master of Divinity - offered on campus (30 credits over 3 years) or in a blended campus/internet format (30 credits over 5 years, including a work placement) - and the Master of Arts (8 credits as a second theological degree or 18 credits as a first theological degree). The Master of Arts in Religious Studies and Theology is offered in collaboration with Saint Mary's University. The M.A. degree is usually pursued in preparation for doctoral studies, for vocational formation, or for personal enrichment. The M.Div. degree, which is usually pursued in preparation for service to faith communities, may also be undertaken at the Honours level (35 credits). Both M.Div. and M.A. students may choose to write a thesis.  Atlantic School of Theology's ecumenical degree programs also prepare students for chaplaincy in the contexts of health care, universities, prisons, and the military.  AST also offers a Graduate Certificate in Theological Studies (10 credits); an Adult Education Certificate in Theological Studies (4 components, fully online); a Diploma in Youth Ministry; and a Diploma in the New Evangelization. An expanding number of Continuing Education offerings is part of AST's non-credit programming.  Independent researchers and scholars, the public, area clergy, and those undertaking sabbaticals are welcome to make use of AST's library resources.

Centres.

The Canadian Centre for Ethics in Public Affairs (CCEPA) is jointly sponsored by Atlantic School of Theology and Saint Mary's University.

Atlantic School of Theology (AST) is a Canadian public ecumenical university that provides graduate level theological education and undertakes research to assist students to prepare for Christian ministries and other forms of public leadership. It is located in Halifax, Nova Scotia, Canada, and its enrolment is approximately 160 degree and non-degree students. Persons of all religious traditions, or none, are welcome to study at AST.


Description.

MLVM is a specialized vehicle designed breasted mountain. The hull is inspired from SU-76 tank destroyer but is substantially modified for rough terrain. The turret is the same as that installed on the Romanian TAB-71M (8 × 8) APC. This turret is recognisable by the large day sight mounted on the left side, which is provided with a protective cage.. The vehicle has been designed specifically to be used in mountainous areas.  Armament consists of a heavy machine gun KPVT 14.5 mm caliber, and a co-axial PKT machine gun 7.62 mm;  The hull is made of welded steel plates and ensures protection against bullet caliber 7.62 mm and artillery splinters. The suspension is torsion bar. Road wheels (six from each drive sprocket) have holes to reduce weight. MLVM is fully amphibious, being propelled with a maximum speed of 5–6 km/h in water. Prior to the crossing of rivers or lakes (although the MLVM is amphibious, it is not designed for marine infantry use), a trim vane must be erected at the front and bilge pumps turned on, taking no more than 5 minutes. Suspension is torsion bar type with six rubber-tyred spoked road wheels either side, drive sprocket at the front, idler at the rear and track-return rollers. Some vehicles have been observed with five - not six - road wheels.  Regarding internal arrangement, in front, on the left, stands the driver's hatch. It has at its disposal three periscopes for observation during day time and central one can be replaced by a night vision block during night-time. Behind the driver's hatch is located the commander. Both can use the hatch from the ceiling, in the front left side. Commander has at its disposal an IR night vision system and has a hatch with two wide-angle vision blocks to his sides and a periscope/vision block which can be raised and rotated to allow the commander to view the area around the vehicle from under armor. The troop room is at the rear, have two roof hatches, six firing ports (three in each side) each with an associated day periscope and a door in the rear which has two firing ports and two day periscopes as well as containing some diesel fuel and which is used as fuel reservoir. The troops are seated three each side, with the seventh manning the turret.

Modernization.

A similar modernization package with MLI-84M has been proposed for MLVM and included the OWS 25R turret (Oerlikon KBA automatic Cannon-07 25 mm caliber coaxial machine gun PKT and can equip with a guided anti-tank missile launcher Spike), laser/IR illumination warning system, smoke grenades launchers, more advanced optical system, automatic transmission, Mercedes-Benz diesel engine or Deutz (approximately 400 horsepower), automatic fire extinguishing systems and improved command and control and the ability to mount additional armor plates. The weight of the new vehicle was 11.3 tons, but the maximum speed, power and autonomy were improved due to better engine performance. As a result of improvements in weaponry, the vehicle can be classified as a combat infantry.  The result of the modernization program was a vehicle that is compatible with NATO standards. A prototype was shown at the exhibition of arms and military technical Expomil 2005.

MLVM (, meaning "infantry fighting vehicle of vânători de munte") is a Romanian armoured personnel carrier. The vehicle was designed and used as an infantry fighting vehicle for the "vânători de munte" units of the Romanian Army, though technically it is a tracked armoured personnel carrier according to UN classification because of its light armor and armament.


Early life and education.

Soyer was born in Ankara, the capital city of Turkey, in 1959. He graduated from high school in Bornova, a district of İzmir, before returning to Ankara to attend Ankara University Faculty of Law. He graduated in 1981. During his education, he was also an actor and assistant theatrical director. He completed two masters degrees, one in Webster University Geneva in the field of international relations and another at Dokuz Eylül University about the European Union.

Political career.

In addition to serving as Mayor of Seferihisar and İzmir, Soyer served as an advisor to the former mayor of İzmir, Ahmet Piriştina. He also served as the assistant general secretary and executive member for foreign relations in the İzmir Chamber of Commerce. He was the General Secretary for the EXPO 2015 Steering and Executive Committees.

Mayor of Seferihisar.

Soyer was elected Mayor of Seferihisar, a coastal district of İzmir, in the 2009 local election. He was the candidate of the main opposition center-left Republican People's Party (CHP). He was re-elected for a second term in the 2014 local election.  Soyer drew national attention for his success as Seferihisar mayor, having established the town as a modal tourist destination as part of the slow movement culture. Seferihisar became a member of Cittaslow, the first of its kind in Turkey. Because of his success and popularity in Seferihisar, Soyer was frequently seen as a potential future candidate for Mayor of İzmir.

Mayor of İzmir.

Following the announcement that the serving mayor of İzmir, Aziz Kocaoğlu, would not stand for another term, the CHP began considering new candidates. Despite Kocaoğlu deciding to re-enter the race shortly before the CHP was due to announce its candidate, Soyer was eventually selected, having long been seen as the frontrunner. Soyer was supported by the İYİ Party, with which the CHP formed an electoral alliance named the Nation Alliance.  In the 2019 mayoral election, which was held as part of the 2019 local elections, Soyer was elected with 58.1% of the vote, beating the People's Alliance candidate Nihat Zeybekçi. Zeybekçi, a former Economy Minister, received 38.7% of the vote.

Family and personal life.

Soyer is married and has two kids. His wife, Neptün Soyer, worked in the tourism sector between 1999 and 2002.

Nurettin Soyer.

Soyer's father, Nurettin Soyer, was a prosecutor who took part in opening cases against prominent politicians following the 1980 coup d'état. His prosecutions led to 5 death sentences, 9 life sentences and sentences ranging from 10 months to 36 years for another 221 defendants. Most of those prosecuted were from far-right groups, most notably the Grey Wolves. One defendant who received 5 years in prison was Alparslan Türkeş, the founder and first leader of the Nationalist Movement Party (MHP).  When Tunç Soyer became the CHP's candidate for Mayor of İzmir in 2019, the governing People's Alliance that includes the MHP sharply criticised him for his father's actions against nationalist politicians. However, Nurettin Soyer was also defended for being the only prosecutor ever to bring a case against Fethullah Gülen, the leader of the Gülen Movement, a terrorist organisation designated by Turkish law under the name 'FETÖ'.

Mustafa Tunç Soyer (born 1959) is a Turkish politician from the Republican People's Party (CHP) who currently serves as the Mayor of İzmir, Turkey's third largest city. He was elected to the position in the 2019 mayoral election. He previously served as the Mayor of Seferihisar, a coastal district of İzmir, from 2009 to 2019.


Early career.

Koniaris began playing youth basketball during primary school, in 2006, after joining a local team in Akrotiri, Chania.

Professional career.

Koniaris began his pro career in 2013, after he signed with the Greek League club PAOK. On 24 July 2014, Koniaris' agent, Tasos Delimpaltadakis, announced via Twitter, that Panathinaikos had signed a young point guard. Some hours after this, Panathinaikos announced the signing of Koniaris, for 5 years. As a member of Panathinaikos, Koniaris won two Greek Cups, in 2015 and 2016.  On August 19, 2016, he returned to PAOK, after signing a three-year contract with them. On June 30, 2019, Koniaris signed a three-year contract (two years guaranteed, plus one option year) with the Greek EuroLeague club Olympiacos.

National team career.

Greek junior national team.

With the junior national teams of Greece, Koniaris won the gold medal at the 2013 TBF Under-16 World Cup in Sakarya, Turkey, where he helped Greece win the gold medal. He was named to the tournament's All-Tournament Team, and was also named the MVP of the tournament. He also won the bronze medal at the 2013 FIBA Europe Under-16 Championship.  He also played at the 2014 FIBA Europe Under-18 Championship, and at the 2014 FIBA Under-17 World Cup. He was selected by head coach Ilias Papatheodorou to play at the 2015 FIBA Under-19 World Cup, but he was suffering from OCD in his right ankle, which ruled him out. He also played at the 2016 FIBA Europe Under-20 Championship Division B, where he won a bronze medal.  He also played at the 2017 FIBA Europe Under-20 Championship, where he won a gold medal, and was voted to the All-Tournament Team.

Greek senior national team.

Koniaris has also been a member of the senior Greek national basketball team. He played at the 2019 FIBA World Cup qualification.

Antonis Koniaris (alternate spelling: Antonios) (; born September 30, 1997) is a Greek professional basketball player for Olympiacos of the EuroLeague. He is a 1.93 m (6'4") tall point guard-shooting guard.


Biography.

Hilda Ericsson was born the only child of Carolina Margaretha Nilsson and Peter Simon Simonsson, a saddler appointed to the Royal Stables. When she met Lars Magnus Ericsson, she was 17 years old and he was almost 31. Her father had called him to their home to repair an organ. They married one year later in 1878, after she had turned 18, and they had four children together: Johan (1879- ), Gustaf (1880-1965), Anna (1881-1967) and Lars Magnus Jr. (1892-1921).  In the same year as their wedding, Lars Magnus Ericsson and Carl Johan Andersson, one of his former colleagues, founded a mechanical workshop for repairing telephones, the L.M. Ericsson & Co. Mekaniska Verkstad. It was located in Drottninggatan in Stockholm.  During the infancy of their children and her pregnancies, Hilda Ericsson was involved in testing new products and in developing their own telephones - a new invention at that time. As she had a better education than her husband, she was responsible for finances, clients and managed deliveries. As the company grew, more employees were hired. At that time, winding of electromagnetic coils with satin-coated copper wire was considered women's work. Hence, a third of the workforce was female in 1881. It was Hilda Ericsson who was responsible for the company's female employees. She also took over management of the growing company when her husband was traveling, for example, when he was at the International Exposition of Electricity in Paris in 1881. Although her contribution to the company's success is traceable through the vast correspondence she had with her husband, she was not credited during her lifetime. On the contrary: after the opening of the large factory in Tulegatan and the production of the 20,000th telephone, all employees were portrayed to commemorate the event, but there was no mention of Hilda Ericsson and no photographs.  In 1903, both left the company (which had already developed globally) and bought a farm in Alby, in the South of Stockholm district. They established a model farm, in which she was responsible for finances, he for agricultural innovations. When she died in 1941, she was buried next to her husband in the Botkyrka's cemetery.

Hilda Carolina Ericsson, born Hilda Simonsson (3 August 1860 - 3 January 1941 in Stockholm), founded the telecommunications company Ericsson together with her husband Lars Magnus Ericsson. She was involved in testing inventions and developing new products. In her husband's absence, she took over the company's management.


Life.

Glaser was born in Jena. His father worked as an engineer with Carl Zeiss, then as now a high-profile Jena company. When he was 10 the war which had been a feature of his early life ended and Jena found itself in the Soviet occupation zone of what remained of Germany. Glaser's father was forcibly relocated to the Soviet Union where he was put to work as a scientific researcher between 1946 and 1952. Roland Glaser was nevertheless able to pass his final school exams in Jena in 1953.  Glaser studied Biology at Jena's Friedrich Schiller University, obtaining his first degree in 1958. His doctorate, supervised by Manfred Gersch (1909–1981), followed in 1961, received for work on water pollution through radiation. While working on his doctorate he was employed as a research assistant by the national. After this, between 1962 and 1965, he moved to the Academy of Sciences at Berlin, employed in the Institute for Medicine and Biology, his work including research on ion transport. He received his Habilitation (a higher academic qualification) from Jena in 1965. Between 1965 and 1970 he remained at Jena as an assistant professor, lecturing in aspects of Zoology.  In 1970 Glaser obtained a professorship in Biophysics at the Humboldt University of Berlin. He would retain the post for thirty years. In 1979 he became a corresponding member of the national Academy of Sciences and Humanities. Between 1981 and 1985 or 1990 he served as President of the Association for Physical and Mathematical Biology. Internationally, between 1976 and 1988 he sat as a member of the UNESCO European Committee on Biophysics.  1989/1990 was a time of change, and in October 1990 German reunification formally put an end to the political division between East and West Germany. In 1992 Glaser's professorship at the Humboldt was confirmed, however, and he continued to live in Berlin. His seminal introduction to Biophysics continued to reappear in English and in German, periodically in editions updated by Glaser, most recently in 2012.

Roland Glaser (born Jena 23 May 1935) is a German biophysicist and writer. Between 1981 and 1990 he served as President of the Association for Physical and Mathematical Biology. (""Gesellschaft für physikalische und mathematische Biologie"").


Biography.

Vinzent studied philosophy, theology, Jewish studies, ancient history, and archaeology at the Universities of Eichstätt, Paris (Diplom, Philosophy and Theology, 1978–83), Ludwig-Maximilians-Universität, Munich, Germany (Ph.D., 1987–91), and Ruprecht-Karls Universität Heidelberg, Germany (Postdoctoral research, Habilitation, 1991-5). He worked as a pastor between 1984 and 1991, and from the 1990s onward he has also been a serial entrepreneur (IT, Internet, HR, energy, waste, utilities and infrastructure).  Vinzent has held academic posts as senior research fellow at King's College, Cambridge (1991-3), senior research fellow at the Berlin-Brandenburgische Akademie der Wissenschaft (tenure), Berlin (1993-5), C4-professor (non-tenure) for history of theology in the times of the Reformation and Modernity, University of Mainz, Germany (1996-7), C4-professor for history of theology (tenure), University of Cologne, Germany (1997-9), HG Wood Professor of Theology, University of Birmingham (1999-2010), including a stint as head of department (1999-2001). He joined the Department of Theology and Religious Studies at King's College London in September 2010. During the years 2010 to 2015 he served as Adjunct Professor of Korea University, Seoul. Since 2012 he is Fellow of the Max Weber Centre for Advanced Social and Cultural Studies, Erfurt University. Additionally, in 2015/2016 Fellow of TOPOI, Humboldt University Berlin, and in 2017/2018 Guest scholar at Augsburg University, Germany.  In 2003 he initiated and co-authored the Birmingham study with Guidelines on the ‘Trialogue of Cultures’ as a result of a major 8-European-country study of teaching and learning about Islam, Judaism and Christianity in schools, funded by the ALTANA/BMW-Foundation (Herbert-Quandt-Stiftung) with a major research grant (2000-2002). This resulted in the creation of a 10-year initiative by the foundation in which during the years 2005 to 2015 around 200 German schools took part in a trialogue competition. The aim was, based on the Guidelines to develop creative projects in schools for a better co-cultural-living. The results have led to a list of publications, a children broadcast teaching course by the Hessischer Rundfunk and various other media.  Together with Professor Allen Brent, he has directed the major research project on 'Early Christian Iconography and Epigraphy', a project generously funded by the British Academy (2011–12); as prime investigator he was running the Arts and Humanities Research Council (AHRC) funded major research project on ‘Meister Eckhart and the early 14th century Parisian University’ (2013-2016) following his re-discovery of new Parisian Questions of this medieval philosopher and theologian. He is now co-leading together with Marie-Anne Vannier (Université de Lorraine, Metz) a major research project on ‘Teaching and Preaching with Patristic auctoritates – Meister Eckhart in France and Germany, past and present’, funded by the French Agence National de la Recherche (ANR) and the Deutsche Forschungsgemeinschaft (DFG) (2018-2021). Since 2003 he has served as one of the directors of the International Conference on Patristic Studies, is editor-in-chief of Studia Patristica, the conference's official publication, has initiated and is editor of the series Studia Patristica Supplements and of the series Eckhart: Texts and Studies.  Vinzent is board member of the Eckhart Gesellschaft (2016-), and member of a series of academic societies, the European Academy of Science (Vienna, 2001-), the Academia Europeae (London, 2015-), the Eckhart Society (2011-), International Society of Neoplatonic Studies (2012-), Internationale Gesellschaft für Theologische Mediävistik (2014-), Oswald von Wolkenstein-Gesellschaft (2017-).

Contributions.

In a series of monographs he has published on early Christian beliefs (Monarchianism, Trinity, Apostles' Creed) and their reception in the Middle Ages, the Enlightenment and in contemporary theology. His main contribution to the field of historical theology is his radical attempt to read sources non-anachronistically. As a result, Christianity is seen as a religion which developed its contours much later than previously assumed. In his recent monograph on the Resurrection, he argues that its foundational writings, especially the canonical and non-canonical Gospels, all stem from the middle of the second century, and even Paul's letters, written around the mid first century, only became influential a hundred years later. The Roman teacher and businessman Marcion of Sinope is identified as one of the key thinkers and founders of Christianity. Key concepts like Christianity as a separate'religion', being based not only on sayings of a Rabbi Jesus, but on the exemplary life of a divine messenger and saviour Jesus Christ who died on the cross and rose again, the 'Gospel' as a new literary genre that encapsulates the novelty of Christ's message and of Christianity, the 'New Testament' as the title of the collection of the foundational writings of this new religion (in antithesis to the 'Old Testament' of the Jewish law and the prophets), the introduction of sacraments, new ways of fasting and asceticism all go back to this Roman teacher.  Similarly, Vinzent has shown that the Christian Creed is a later development and, like that of Christian festivals (except Easter which was adopted from Judaism, but was radically altered by Marcion – a change which was adopted only at a time when the other festivals were introduced) is a product of the fourth century. Especially the Apostles' Creed seems to have derived from the dogmatic disputes in 340 AD.  On the basis of Vinzent's views, the early history and the nature of Christianity looks very different from our common understanding. Christianity developed as one of the Jewish sects and did not move beyond this framework before the reconceptualization by Marcion of Sinope in the years after 140 AD. Moreover, the various theologies and communities that mushroomed from the mid second century became gradually influenced by the 'Gospel(s)' and 'Paul'.  A more recent research area of Vinzent is Meister Eckhart (c. 1260–1329), his writings and thinking. Vinzent argues that Eckhart was an extraordinarily creative Christian thinker who re-conceptualized almost every key idea of his religion. He shows that Eckhart challenged even core concepts like the 'Trinity', the 'Fall', the 'Sacraments' and other ideas that normally are taken for granted as being central to Christianity.  In the latter field he has contributed major studies, but also discoveries of new texts by Meister Eckhart (four more Parisian Questions and others), provided the Biblical Index to the critical edition of Eckhart’s works in the Klostermann edition (Stuttgart), editions, translations and commentaries to Eckhart’s works. As a result, Eckhart is embedded more deeply within the discourse of the late 13th and early 14th century discourse of scholasticism at the University of Paris, Oxford and Erfurt. Moreover, it became clear that Eckhart was not only one of the most successful and debated preachers with a great impact on the development of his vernacular middle high German language, but that he was also a sought after and highly recognized University master with his Latin works. In a very recent new manuscript discovery at the Wartburg Castle of Eisenach, Germany, Eckhart’s own vernacular translation of some of his Latin works seems to be preserved (with a parallel codex in Berlin and fragments in Munich).  Both subject areas link to Vinzent's attempt to push the boundaries of theology and to develop a radical transformational theology by which this subject such as the resurrection are understood as being principally open to challenge, criticism and reformulation. He claims that theology is measured against its natural claim of dealing with the very first principle(s) and truth. As such, it cannot be conceived as a closed system, but needs to be co-essential with that of its own object.  His latest research pertains to historiographical methodology. Influenced by the sociological debates of modernity, particularly through his fellowship at the Max Weber Kolleg, Erfurt, he reflected on the various turns (cultural turn, material turn), and developed his anachronological criticism further in his project on ‘Retrospection’. In this he highlights the paradox between the retrospective nature of any writing of history and the progressive form of language and any form of narrative, including that of history.  Markus Vinzent and the Bearing of Marcion on the Early Church and the Origins of the Gospel  Markus Vinzent is the head of the research project at the Max Weber Centre for Advanced Cultural and Social Studies on the place of Marcion of Sinope in the development of the gospel genre. The project, entitled ‘The Gospel of Marcion: The Beginnings of Christianity’, proceeds from the premise that the four canonical gospels of the New Testament were composed in the first-century and were canonised following the end of the second-century AD. The project brings into question the scholarly consensus surrounding the dating and redaction history of the canonical gospels, to show that the teacher and naval merchant, Marcion, was the first to compile a work of literature recognisable today as belonging to the gospel tradition. The predominant language of Marcion’s home region, Sinope, a Bithynian-Pontian Roman province, is widely accepted to be Pontiac Greek, a dialect of Ancient Greek, although it remains yet unknown, whether or not Marcion was fluent in the language.  Vinzent (2014) argues, that the core writings of the New Testament were likely heavily redacted, if not outright created, in the second-century AD, namely the canonical gospels (as well as the non-canonical gospels), which stem from the middle of the second-century AD, the Pauline Epistles (going back to Paul, but severely redacted when further ‘Pauline’ letters and "Acts" were added). Even further redactions followed in the second-century, when the texts were gathered to form the collection of the New Testament. The Roman teacher and merchant, Marcion of Sinope, is regarded by Christianity as one of its key thinkers and founders, and is associated with the first compilation of a gospel and 10 Pauline letters. Vinzent’s views stand apart from the conventional understanding of scholarship. The early Church first developed itself out of a ‘Jewish sect’, but it failed to shed its Jewish trappings until Marcion reinterpreted it in the years following 140 AD. For Vinzent, it was Marcion, who through the corpus of the ten Pauline Epistles and his one Gospel, helped to spread the belief in the Resurrection of Christ throughout Christendom.  Thus Marcion’s Gospel is taken to be the historical font for each of the four canonical gospels, because they consult Marcion as their source. In his own words, Marcion created the literary genre of the gospel tradition and gave his work its name, all whilst without historical precedent in the attachment of the name of this genre to the story of Jesus. Through the collected texts of his Gospel and the ten Pauline Epistles, which he came to publish as ‘the New Testament’, the first collection ever to take this name, Marcion gave a previously ‘Jewish sect’ an increasingly Christian profile, thus setting in motion their establishment into the institutional environment of the Roman world, in that Christianity had finally come to shed its Jewish identity. In the introduction to his New Testament, Marcion copies Tertullian’s example, and denounces the four later canonical gospels as plagiarism. Thus Vinzent thinks that from this, the basis was created for the establishment of the Pauline Epistles as canon, through the connection of the later four canonical gospels with origins of the wider New Testament, in which the Acts of the Apostles are found at the end. Markus’s project enjoys a scholarly connection to reconstructions of the Gospel of Marcion undertaken by Theodor Zahn, Adolf von Harnack, Dieter T. Roth, and Matthias Klinghardt.  According to Vinzent, Marcion placed the Resurrection of Christ at the centre of Christian belief in the second-century, through his rediscovery of Paul and the publication of the ten Pauline Epistles, in conjunction with his gospel, which was later condemned by opponents as a variation of the Gospel of Luke. Further still in his analysis, Vinzent holds that the Resurrection of Christ became an important element of belief only in those circles most influenced by the writings of Paul and the Gospel of Marcion.  For Vinzent, the ‘Gospel of Marcion’ was initially composed for teaching, and not publication, however, as soon as it was published, it was heavily plagiarised by several teachers and scribes, and then revised for publication into several different editions under the guise of various pseudonymous attributions to the Apostles and their disciples.  Vinzent supports the investigation of David Trobisch and Matthias Klinghardt (2011), which examines the origin of the post-Marconite gospels as ‘canonical redaction’. According to Klinghardt, the compilation of the 27 individual articles into a single literary unit is supposedly not the result of a coherent process of collection and selective procuration, but much rather the product of a single, or even multiple redactors. Vinzent combines these assumptions with the hypothesis, in that the redaction followed as a reaction to the Gospel of Marcion, and amongst other things, that it embodied an anti-Marconian current, which supposedly means that it was intended to be understood as a response to Marcion and as an alternative written in opposition to his condemned gospel. Vinzent sees evidence of this editorial intention in the writings of Origen of Alexandria, Irenaeus of Lyon, Tertullian, and Justin the Martyr. Thus Vinzent presents the following points:  • Marcion created the first so-called ‘gospel’ and the first ‘New Testament’. He also assumed, amongst other things, that the origin of the gospel was an active oral tradition in Rome.  • Marcion is strongly associated with the intellectual tradition of Middle Platonism.  • Marcion’s New Testament consisted of the following texts: the Gospel of Marcion, the Epistles to Galatians, First Thessalonians, Second Thessalonians, Romans, First Corinthians, Second Corinthians, Laodiceans, Colossians, Philippians, and Philemon.  • Although originally compiled for his own teaching, the text of the Gospel of Marcion reached a far wider audience than first intended and was subsequently plagiarised, revised, and distilled into pseudoepigraphia attributed to pseudonyms, e.g., Mark, Matthew, Luke, and John, but also to other prominent authorities, i.e., Peter.  • Because of this situation, Marcion was likely to have felt himself compelled, firstly to publish the texts of the Pauline Epistles and the Gospel, and secondly, to provide the collection with a preliminary introduction, i.e., disclamatory statement. In these statements, Marcion points to the inconsistency of his ‘New (Marconite) Gospel’ with its inclusion alongside the Hebrew Bible and its reconstruction in pseudoepigraphia by Jewish writers.  • The Gospel of Mark, unlike the Gospels of Matthew and Luke, only broadly follows the structure of the Gospel of Marcion, in that Mark does not include an account of Jesus’s childhood. On the other hand, the redactor of Luke maintains the closest resemblance to the text of the Gospel of Marcion, appearing unexpectedly to have been simultaneously influenced by previous redactions to the Gospels, which also find their root in the ‘Gospel of Marcion’. Otherwise, the Ascension of Christ is set at the end of the Gospel by the redactor, and the Gospel of Matthew greatly extends the childhood and adolescence stories of Jesus and embeds several references to the Torah and the Prophets into them.

Markus Vinzent (born 1959) is a historian of religion (specializing in early Christianity, Patristics and Medieval Studies, Historiography, Retromodernity, Religion and Business). He is professor in the Department of Theology & Religious Studies at King's College London, and fellow of the Max Weber Center for Advanced Social and Cultural Studies, Erfurt, Germany.


History.

In June 2018,, a South Korean talent management and television production company founded and headed by former SM Entertainment executive Jung Chang-hwan, announced that it will launch its own all-girl group, NATURE, in August.

2018: Debut, line up changes and further releases.

Nature made their debut on August 3 with the single album "Girls and Flowers" and its the lead single, "Allegro Cantabile".  In the end of August, Nature began a called "Pop Cover Project", where the girls vocally cover a popular pop song and perform a dance sequence. The project consists of 5 covers. The first video was released on August 28 with cover "Walk Like An Egyptian" (with Yeolmae) by The Bangles, the second video was released on September 8 with cover "My Sharona" by The Knack, the third video was released on September 13 with cover "Shut Up and Let Me Go" by The Ting Tings, the fourth video was released on September 17 with cover "Rhythm Nation" by Janet Jacksonand the last video was released on September 20 with cover "Kiss" by Prince.  On November 4, new member Loha was introduced as part of the group through V Live. The next day, the group began teasing their upcoming second single album "Some & Love", which was schedule to release on November 22. On November 22, their second single album with the lead single, "Some (You'll Be Mine)" was released.Following their Performance Version of the music video was released on December 3.

2019: "I'm So Pretty", line up changes, Aurora's hiatus and "Nature World: Code A".

On January 15, Nature released a music video for the B track, "Dream About You", from their previous second single, "Some & Love". The video features the group donning blue tutus in a dream-like environment and it signifies the first time the group has incorporated an object into the complete choreography, which is a'magic' star-wand. A Performance Version of the music video was released on January 25.  On June 24, it was confirmed that Nature would make their comeback on July 10 with their first mini album "I'm So Pretty". Member Gaga was not involved due to her currently being on hiatus to focus on her studies. The music video for "I'm So Pretty" was released on July 10. A Performance Version of the music video was released on July 24.  On October 8, former Produce 101 contestant and soloist Kim So-hee was introduced as a new member following her signing with n.Ch Entertainment and also confirmed that Gaga has departed from the group to focus on her studies. n.CH Entertainment also confirmed that the group is preparing for a comeback in November. It was later confirmed that the group would make their comeback on November 12 with their second mini album "Nature World: Code A". Member Aurora was not involved due to her participation in the third season of the Chinese audition show Idol Producer. The music video for "Oopsie (My Bad)" was released on November 12.

2020: Japanese debut and comeback as seven with "Nature World: Code M".

Nature signed with Pony Canyon and debuted in Japan on February 12, 2020, with a Japanese version of their single "I'm So Pretty". On June 1, the group was confirmed to make their comeback on June 17 with their third single album "Nature World: Code M". Loha will not participate due to health reasons, while Aurora will also not participate. It was announced on June 15 that member Sunshine had suffered a leg injury and, while she participated in the album, would not be able to perform on stage for album promotions.

Nature (Hangul: 네이처; Stylized as NATURE) is a South Korean girl group formed by in 2018. The group debuted on August 3, 2018, with the single album "Girls and Flowers", accompanied by the lead single "Allegro Cantabile". The group has divided into three sub-units - Charming, Twinkle, and Cutie.


Club career.

Malmö FF.

Nazari began playing football at Malmö FF at the age of five. He made his way up to the first team and made his Allsvenskan debut in a match against Mjällby AIF on 20 April 2011. Nazari signed a -year first team contract on 4 May 2011, keeping him at the club until the end of the 2013 season. He made his UEFA debut on 26 July 2011 in the 2011–12 UEFA Champions League third qualifying round against Rangers F.C.. Nazari saw much more limited play during the 2012 season due to high competition in the central midfield. He only played one match during the season, a goalless home draw against BK Häcken. Back in Malmö FF during the 2014 season, Nazari made sporadic substitution appearances, adding up to a total of ten matches during the league season.

Loan spells.

On 29 March 2013 it was announced that Nazari was to be on loan at Superettan club Assyriska FF until the end of the 2013 season. At the same time he extended his contract with Malmö FF until the end of the 2015 season. Nazari played 23 matches and scored four goals for Assyriska during his loan spell at the club. After having made sporadic appearances for Malmö FF during the 2014 season Nazari went on loan to Norwegian side Fredrikstad for the duration of the 2015 season.

Falkenbergs FF.

On 7 January 2016 it was confirmed that Nazari had signed a contract with Falkenbergs FF in the Allsvenskan. Nazari scored his first goal for Falkenbergs on 21 February 2016 in the 2015–16 Svenska Cupen. He left the club at the end of 2017.

IFK Mariehamn.

Nazari joined Veikkausliiga side IFK Mariehamn in May 2018.

Ratchaburi.

After beginning his playing career with the Philippines, Nazari joined Thai League 1 side Ratchaburi Mitr Phol in February 2019.

Kedah.

On 14 December 2019, Amin Nazari agreed to join Malaysia Super League side Kedah.

International career.

Nazari was born in Sweden, his parents are from Iran and the Philippines. He is therefore eligible to play for Sweden, Iran or the Philippines. Nazari has stated that playing for Sweden would be the most logical choice should the opportunity arise in the future. His older brother Omid Nazari played for the Iranian national team and now he represents to the Philippines.  In 2009, he played for Sweden's under-17 team during the 2010 UEFA European Under-17 Championship qualifying round, playing in all three matches and scoring one goal.  In September 2018, it was announced that Nazari received a call-up from the Philippines.  On 6 September 2018, Nazari made his debut for the Philippines in a 1-1 draw against Bahrain. He was a starter during that match and was replaced by Adam Reed in the 73rd minute.

Outside football.

Sponsorship.

Amin Nazari has been outfitted by German sportswear manufacturer Puma.

Amin Nazari (; born 26 April 1993) is a Filipino professional footballer who plays as a midfielder for Malaysia Super League Kedah FA and the Philippines national team.


Background.

Abdullah Ibrahim was born in Cape Town in 1934. Before his conversion to Islam in 1968, he was known as "Dollar Brand". He had a mixed racial heritage, making him a Coloured person according to the South African government. His mother played piano in a church and the style of the hymnal music she played would remain an influence on Ibrahim. In addition, he learned to play several genres of music during his youth in Cape Town, including "marabi", "mbaqanga", and American jazz. He became well known in jazz circles in Cape Town and Johannesburg, and in 1959, along with Kippie Moeketsi, Hugh Masekela, Jonas Gwangwa, Johnny Gertze, and Makaya Ntshoko, formed the mixed-race group The Jazz Epistles. Although the group avoided explicitly political activity, the apartheid government was suspicious of it and other jazz groups, and targeted them heavily during the increase in state repression following the Sharpeville massacre. The Epistles broke up, and in 1962 Ibrahim went into exile. In the 1960s and 70s, Ibrahim and his wife Sathima Bea Benjamin largely lived in exile in Europe and the United States, returning to South Africa only for brief periods of time. He lived for a while in New York City, playing with the band of Duke Ellington and learning composition at the Juilliard School of Music. As the Black Power movement developed in the 1960s and 1970s, it influenced a number of Ibrahim's friends and collaborators, who began to see their music as a form of cultural nationalism. Ibrahim in turn began to incorporate African elements into his jazz.

Recording and production.

The piece was created while the apartheid government of South Africa was forcibly removing Coloured families from their homes as part of the destruction of District Six; this destruction of a neighbourhood that was "a symbol of resilience and creativity in the face of racial oppression" influenced Ibrahim's music. Ibrahim met Rashid Vally at the latter's Johannesburg record shop, Kohinoor, in the early 1970s. Vally produced two of Ibrahim's albums in the following years. The pair produced a third album in 1974, titled "Underground in Africa", in which Ibrahim abandoned his financially unsuccessful folk-infused jazz of the previous albums. The new album was instead a fusion of jazz, rock music, and South African popular music; it sold much better than Ibrahim's previously collaborations with Vally. While recording "Underground", Ibrahim collaborated with Oswietie, a local band of which Robbie Jansen and Basil Coetzee were saxophonists, and who played a large role in creating the album's fusion style. After the success of "Underground", Ibrahim asked Coetzee to bring together a supporting band for his next recording: the group Coetzee put together included Jansen, as well as others who had not worked on "Underground".  "Mannenberg" was recorded in June 1974 during one of Ibrahim's visits to South Africa, in a studio in Cape Town, and was produced by Rashid Vally on his new label As-Shams (the name suggested by Ibrahim, meaning in Arabic "The Sun"). The track was recorded after Ibrahim began improvising at the piano, and gradually asked the rest of the band to join in; although Ibrahim made suggestions about the melody, the piece also contained collective improvisation. The piece was made after a few days of recording previously composed music; it was recorded quickly — Ibrahim recalled in 2014 that it took only one take. Asked in an interview how the title came about, he said: "Because Basil was from Manenberg and for us Manenberg was just symbolic of the removal out of District Six, which is actually the removal of everybody from everywhere in the world, and Manenberg specifically because... it signifies, it's our music, and it's our culture..." The township of Manenberg was considered symbolic with respect to apartheid in the same was as Soweto. The track was released on the album "Mannenberg – Is Where It's Happening" in the same year. The album only featured two songs; "Mannenberg", and "The Pilgrim" (which was similarly long, at 12 minutes and 47 seconds). The title "Mrs. Williams from Mannenberg", in reference to Gladys Williams, former housekeeper of one of the musicians, Morris Goldberg, was also considered for the album, and a photograph of her by Ibrahim was used on the album cover.

Musical themes.

"Mannenberg" has a "lilting melody" with a "gentle, hypnotic groove". The song has been described as an example of the use of purely musical techniques to convey subversive messages. The piece has no lyrics, but drew on a number of aspects of black South African culture, including church music, jazz, "marabi", and blues, to create a piece that conveyed a sense of freedom and cultural identity. It includes a saxophone solo by Coetzee, whose role in the song earned him his nickname "Manenberg". During the recording, the piano played by Ibrahim had thumbtacks attached to the hammers; the instrument thus had a "metallic timbre" that was generally associated with "marabi" music. Jazz pianist Moses Molelekwa would later state that "Mannenberg" was "a dance song, a party song [like] most of the jazz that was coming out at that period." Commentator John Edwin Mason would write that "It had an irresistible hook—its beautiful melody. It was driven by an infectious, danceable beat." The popularity of the piece was also attributed to the fact that it contained elements of many musical styles, thus sounding familiar to a large number of listeners: the groove of the piece incorporated elements of "marabi", the beat was similar to that of "ticky-draai", and the saxophone melody drew from "langarm", while all of it was based on an "underlying aesthetic" of jazz. The piece also had similarities to "Jackpot", a 1960 mbaqanga tune by Zacks Nkosi, who believed that "Mannenberg" was a rip-off of his piece. The various African genres that were incorporated into the song came from the Coloured and the black communities of the country. Ibrahim stated that to the musicians the piece was an "affirmation... that our inherent culture is valid."

Reception and impact.

Vally began to play "Mannenberg" from loudspeakers outside his store even before the album was released, and sold 5,000 copies of the recording in its first week on sale. The song became wildly popular, and the LP sold more copies in two years than any previous jazz LP recorded in the country, and it cemented Ibrahim's status as South Africa's most popular jazz musician. The piece itself has been described as the "most iconic of all South African jazz tunes", and its release has been identified as the moment at which the genre of Cape jazz became well-known, though it was not the first song in this genre. Vally did not have the financial ability to sell the album across the country, and so signed a deal with Gallo Records, the biggest South African record company at the time. Some 43,000 copies were sold in the first seven months; for comparison, an album selling 20,000 copies was considered a hit. The popularity of Coetzee and Jansen increased with that of "Mannenberg", and they became sought-after musicians in Cape Town nightclubs.  The song is reported to have inspired Nelson Mandela with hope during his imprisonment: Ibrahim recalled in a May 2012 interview for Voice of America's "JazzBeat" that the record was smuggled by a lawyer into Robben Island, where music was banned, and played in the control room over the loudspeakers, and that on hearing the song Mandela said: "Liberation is near."  A few months after the release of "Mannenberg", South African police fired upon protesting children during the June 1976 Soweto Uprising; this event led Ibrahim and Benjamin to publicly express support for the African National Congress, which was still banned at the time. The piece became identified with the movement against apartheid in the 1980s, partly due to Coetzee and Jansen playing it at a number of protests and rallies against the apartheid government. Jansen would accompany many of these performances with speeches about being proud of ones' own culture, and of "rising up" to challenge apartheid. Fragments of the piece were used as the tune to lyrics that expressed anger and resistance to the apartheid government. It was variously described as the "most powerful anthem of the struggle in the 1980s", the "unofficial national anthem" of South Africa, and "a beloved anthem of hope and resistance for many South Africans".

Legacy and memorial.

On the 40th anniversary of the album's release, Lindsay Johns praised "Mannenberg" in "The Spectator", saying that the song was "threnodic, passionate and ethereally beautiful." He went on to state that while "Mannenberg" was specifically about the forced relocation of Coloured people to the Cape Flats, it had also given a voice to poor, oppressed, and marginalized communities across the world. Thus, according to Johns, "Mannenberg" shared with other great music the characteristic of being "both specific and universal." He added:  The place where "Mannenberg" was recorded is commemorated with an abstract sculpture of seven stainless-steel pipes, mounted outside the building where the original studios were. Designed by electrical engineer Mark O'Donovan and performer Francois Venter, the pipes have been tuned to correspond to the first seven notes of the melody, and are inscribed with the instruction: "Run a stick along these pipes to hear Mannenberg".

Personnel.

Credits adapted from AllMusic.

Other versions.

When the album was first released in the United States its name was changed to "Cape Town Fringe". The recording was released as a CD in 1988 by Bellaphon Records. A shorter version of the song, "Mannenberg (Revisited)", appears on Ibrahim's album "Water from an Ancient Well", released in 1986. The "Mannenberg" sessions were subsequently released on his "Voice of Africa" album in 1989, and the shorter version was included as a track on the album "The Mountain" in the same year. It was collected on the 2002 release "The Best of Abdullah Ibrahim", as well as on the 2005 collection "Abdullah Ibrahim: A Celebration", in honour of his 70th birthday.  The album "African Tributes" by Darius Brubeck & the Nu Jazz Connection features Ibrahim's "Mannenberg/The Wedding" as track 4. The piece was also included in the collections "Smooth Africa" (2000) and "Essential South African Jazz" (2007), both of which featured various musicians. "Mannenberg" was the first track on guitarist Ernest Ranglin's 2012 album "Avila", which received a five-star rating from AllMusic. "Mannenberg" was also on the soundtrack of Lee Hirsch's 2002 documentary film "", which examined the movement against apartheid through the music of the period.

"Mannenberg" is a Cape jazz song by South African musician Abdullah Ibrahim, first recorded in 1974. Driven into exile by the apartheid government, Ibrahim had been living in Europe and the United States during the 1960s and '70s, making brief visits to South Africa to record music. After a successful 1974 collaboration with producer Rashid Vally and a band that included Basil Coetzee and Robbie Jansen, Ibrahim began to record another album with these three collaborators and a backing band assembled by Coetzee. The song was recorded during a session of improvisation, and includes a saxophone solo by Coetzee, which led to him receiving the sobriquet "Manenberg".


Description.

In its native range in the southern hemisphere, "Corella eumyota" can grow to a length of about and is grey or ivory in colour. The tunics of large individuals are thin, transparent and papery, while smaller individuals, which are a great deal more abundant, are thicker and gelatinous. This species has been introduced into the northern hemisphere and here it is described as being long, semitransparent and white, brown, or orangeish, the siphons often being orange.  It is normally recumbent, lying on its right side, roughly oval in shape, but fitting its body to the contours of its surroundings. The inhalent siphon is at the tip of the body and the exhalent siphon a third of the way down the right side. The siphons cannot be retracted. Although the tunic may be clean, it is sometimes covered by a biotic film or overgrown by others of its species or other tunicates. The hind gut can be seen through the tunic and forms a simple curve, and this helps distinguish it in European waters from the fairly similar sea grapes ("Molgula" spp), which have an "S"-shaped gut.

Distribution.

"Corella eumyota" is native to the waters around Antarctica and to the southern parts of South America, South Africa, Australia and New Zealand. It has a wide distribution on the Antarctic continental shelf at depths ranging between. It has been introduced into the northern hemisphere and is now present in northwestern Europe, in Spain, France, Ireland and the south coast of England.

Ecology.

"Corella eumyota" is a suspension feeder, creating a current to draw water in at one siphon, filtering out the food particles and expelling the water through the other siphon. It largely feeds on organic particles stirred up from the sediment. In its native Antarctic waters, this is a slow-growing, long-lived species. It spawns in the austral summer. The larvae are retained inside the body cavity until they are well-advanced; when they are released they settle on the seabed within a few minutes, so groups of this sea squirt are found growing quite close to each other.

Corella eumyota, the orange-tipped sea squirt, is a solitary tunicate in the family Corellidae. It is native to the Southern Ocean, the Antarctic, South America, southern Australia, New Zealand and South Africa, and has been introduced into European waters where it has become invasive.


Term as Governor.

Copley arrived in the Maryland colony following a Protestant rebellion that had overthrown the proprietorship of the Catholic Calvert family. The Protestants, who were the majority in the colony, had ejected their leaders after a brief conflict, echoing the Glorious Revolution that had occurred in England in 1688. From the overthrow of the proprietary government in 1689 until the arrival of Copley in 1692, Maryland had been governed by leaders of the rebellion, who called themselves the Protestant Associators. Their rule was somewhat catholic; the only courts that met at the time were the county courts and the associators used their executive power to punish their enemies.  Copley's arrival in the colony in 1692 heralded the return of British control to the colony, though the leaders of the rebellion took care to find ways to cement their power in the elected lower house of colonial government, the assembly. Having felt that their rights were abused by a strong executive power prior to the rebellion, they sought ways to prevent a similar situation under royal control. They appointed their own clerk, a man named John Lewellin, and created a number of standing committees designed to ensure the continuity and power of the assembly. Among these were a committee on elections, which would establish that the legislature itself would have control of how its members were elected. In addition, a committee on aggrievances handled complaints from the citizenry, a committee of laws was responsible for overhauling the legal code of the colony, and a committee on accounts oversaw economic and financial legislation.  Dealing with the assembly was not the only challenge Copley faced. There were significant salaries to be derived from colonial offices, and at the same time Copley himself was appointed Governor, Thomas Lawrence was appointed Secretary of the colony, a position from which he might derive great wealth. Lawrence and Copley had argued even before their arrival in the colony, and Lawrence sailed on a later ship because of this argument. Before he arrived in September 1692, two other men had been doing the work of the Secretary and taking the proceeds that accrued with the work. As Lawrence was attempting to recoup that money, Copley made a deal with the assembly to further weaken his opponent and to increase his own coffers. The assemblymen were interested in determining exactly which government officials received how much money, in order to prevent the sort of nepotism that had occurred in the proprietary government. Copley agreed to sign legislation to that effect. Authorized by that legislation, the assembly took some of the fees that had accrued to the Secretary and allowed the Governor to receive them instead. Copley, in turn, took other fees from the Secretary's office and gave them to Nehemiah Blakiston, one of the leaders of the Protestant Associators who now sat on the Governor's council, the upper house of the legislature. Lawrence became a rallying point for Marylanders who opposed Copley's rule and that of the Governor's council. They supporting him as he continued the power struggle in a fight over the appointments of county clerks.  Meanwhile, the legislature and Governor continued the work of rebuilding colonial government following the rebellion. They rewrote the legal code of the colony, adopting many laws that had existed previously and passing new ones to address some of their grievances with the proprietary government and strengthen the institution of slavery. They also established the Church of England as the state religion of the colony, and passed laws restricting the practice of other religions. In the midst of these efforts, Copley, like many recent arrivals to the colony, suddenly took sick and died. His enemy Thomas Lawrence took over, one of a series of people who would briefly serve at the helm of the colony before the arrival of the new royally-appointed governor, Francis Nicholson.

Sir Lionel Copley (16481693) was the 1st Royal Governor of Maryland from 1692 through his death in 1693. He was the first official royal governor appointed by the British crown after the colony was removed from the proprietary control of the Calvert family during the Glorious Revolution. Copley engaged in a series of political struggles with the colonial assembly and the colonial secretary, Thomas Lawrence, in the year between his arrival and his death the next year.


Early life and family.

Nicholas Greenberry was Baptised at Irnham,South Kesteven, Lincolnshire, England born to Nicholas and Catherine Greeneberrie Nee Hawkins of Imham, Lincolnshire, England. He married Anne UNKNOWN MAIDEN NAME in Kent, England. A Nicholas Greenberry also shows up in the state papers of Charles II:  Nicholas and Anne Greenberry nee Howard had six children: Anne who died as an infant born 19 Mar 1671 at Hoborn, London, London, England. Charles, born 9 FEB 1672 at Holburn, London, Middlesex, England. Katherine, born 1674 at Holburn, London, Middlesex, England. Anne, born 1676 at Anne Arundel County; and Elizabeth, born 23 September 1678 at Anne Arundel County.  Greenberry arrived at Patuxent, in the Maryland Colony, aboard the sailing ship "Constant Friendship" in 1674. He was accompanied by his wife, two children, and three servants. On 9 July 1674, Capt. William Wheatly, master, claimed rights due for transportation of 43 passengers on board, including "Mr Greenberry his wife & two Children."  Nicholas Greenberry died on December 17, 1697 and is buried in St Anne's Churchyard in Annapolis, Maryland. The inscription on his tombstone reads:

Land ownership.

According to Maryland Land Warrants, Annapolis Land Office, Liber 15, folio 837, Greenberry was granted a warrant for of land located in "Providence" (now Annapolis) on July 29, 1674.  Later, in 1680, Nicholas bought another tract of land near "Providence" called "Fuller" from Colonel William Fuller. This land was resurveyed and renamed "Greenberry Forest". Greenberry called the home "Whitehall", a name it retains to this day. In later years, this home became the residence of Horatio Sharpe, governor of the Maryland Colony. Sharpe had a Georgian mansion built on the site.  In 1685, Colonel Nicholas Greenberry bought 250 acres (1 km2) of land called "Towne Neck". This is located at the mouth of the Severn River and became known as "Greenberry Point". The colony's Deputy Governor, Governor Notley, was forced from office for hanging two Protestants for rebellion against authority. He was replaced by a Committee of twenty citizens. Greenberry was one of the gentlemen justices chosen as a member of that committee.

Revolt.

On July 27, 1689, the Protestant Association, under John Coode, seized St. Marys, the capital of the colony, in a revolt against the proprietary government. This same year, Nicholas was captain of foot in the Anne Arundel County Militia. He was promoted to Major in 1690. He then quickly received a commission of Colonel, and was appointed Commander of the Military Forces of Anne Arundel and Baltimore Counties.  The proprietaryship was disallowed on 27 June 1691. Sir Lionel Copley took the office as governor, and quickly appointed Greenberry as a member of the council. Copley died in September 1693, at which time Greenberry was appointed by Sir Edmund Andros, Governor of Virginia, as President of the Council, Acting Governor of Maryland, and Keeper of the Great Seal of Maryland. Greenberry served in this capacity until he was replaced on 26 July 1694 by Francis Nicholson by a commission from the King dated in February 1694.

High court appointment.

On 2 March 1695, Nicholas Greenberry was on the high Court of Chancery of Maryland. Here is the way it reads verbatim:

Seal of Maryland.

According to Charles Francis Stein, in his Origin and History of Howard Co., Maryland, on page 214, he writes:  Nicholas Greenberry died at the age of 70 on 17 December 1697 at "Whitehall". His wife Anne died 27 April 1698 at the age of 50. Both are buried in St. Anne's Episcopal Church Cemetery, Annapolis, Maryland.

Colonel Nicholas Greenberry (15 December 1640December 17, 1697) was the 4th Royal Governor of Maryland, and Commander of the Military Forces of Anne Arundel and Baltimore Counties.


Historical Background.

The period beginning in England in 1642 and lasting until 1660 is known as the Interregnum, meaning "between kings." At this time, there was no monarch on the throne, and theatre was against the law. Spanning from 1642 to 1649, the English Civil War occurred. This war was an uprising against the current King of England, King Charles I, led by Oliver Cromwell, a Puritan. Cromwell's opposition to the throne was religious but political, as well, which led him to build up an army with the ability to imprison King Charles, who was beheaded in 1649, ending the war. After his death, the King's wife and children were given permission to leave the country, so they travelled to France to escape and receive protection.  The years following became known as the Commonwealth Era (1649-1660) because Cromwell, who established himself as the monarch figure without assuming any official authority, ruled the nation with Parliament support and renamed the England Republic to the English Commonwealth. These were tough times for England as Cromwell persecuted many families, especially those who fought on the behalf of King Charles I and Irish families that held rustic Catholic beliefs. Needless to say, Oliver Cromwell quickly fell out of the majority's favour, and he died in 1658 of natural causes. Two years later, Charles II, the beheaded king's son, returned to England and began the Restoration by restoring the throne and claiming his role as the proper King of England.  In addition, King Charles II's return restored the legality of theatre. This history is significant because it explains that since Charles II spent most of his life in France, he, as King, appreciated French culture, which prominently impressed upon England during the Restoration, particularly Restoration theatre.

Structure.

There are no extant photos, elaborate diagrams, paintings, or other forms of visual evidence of the inside of the Lincoln's Inn theatre, but certain aspects are understood of the theatre according to its time period. However, a great example of the layout of the inside is the Theatre Royal in Richmond, England, which contains components of Restoration theatre spaces and still stands today. Lincoln's Inn Fields Playhouse was very small. In fact, Milhous believes that "the smaller seating capacity... hurt the [Duke’s] company in the long run" as they moved as newer theatres came along (Milhous 71). It was around 75 feet long by 30 feet wide with about a 650-person audience seating maximum capacity (The Restoration Theater; Wilson and Goldfarb 249). It was originally an indoor tennis court; courts were used as theatre spaces because they had a similar structure with a narrow, rectangular shape and gallery seating. The stage was raked, sloping upward toward the back of the stage, in order to help with perspective. The audience was divided into the pit, boxes, and galleries. The pit had backless benches and a raked floor that rose toward the back of the audience to help sightlines. Mostly single men sat here, and it was the noisiest, rowdiest area in the theatre. Boxes sat upper class aristocrats—mostly married couples with wives who wanted to be seen. Galleries held the lower class, including servants of the upper classes in attendance.  The English stage, unlike French or Italian theatres, had a very deep apron to provide adequate acting space, and the background and perspective scenery served as solely as scenery. The Lincoln's Inn Fields Playhouse orchestra was housed beneath the stage, and the apron was extended two feet to cover completely the orchestra pit and obtain close proximity between the actors and the audience, creating an intimate atmosphere. Another uniqueness of English theatres is that there were typically two pairs of doors, one on each side of the stage, called proscenium doors with balconies above them for the actors to utilize in performances. Proscenium doors served as entrances and exits disregarding the possibility of multiple locations. Candelabras provided light for the space, and manual moveable scenery was used to move the show along (The Restoration Theater).

The Duke's Company.

The building was constructed as a real tennis court in 1656. Thomas Lisle's wife Anne Tyler and a man named James Hooker developed the indoor court in the winter of 1656 and 1657. Tudor-style real tennis courts were long, high-ceiling buildings, with galleries for spectators; their dimensions — about 75 by 30 feet — are similar to the earlier theatres, and much larger than a modern tennis court.  After the English Restoration in 1660, Lincoln's Inn Fields Playhouse received its first company through the efforts of the King himself and two men who dedicated themselves to theatre. Sir William Davenant had received a patent from Charles the I in 1639 when he was in power, but he had never used it due to the theatre ban. When theatre was restored, Davenant and a man named Thomas Killigrew wanted to create theatre in England and thus, Killigrew obtained a warrant expressing that he could "raise a company and a theatre, provided that his company and Davenant’s should be the only ones allowed to play in London" (Hotson 199). Davenant, then, drafted their joint warrant and after much debate over whether or not their role in theatre infringed on the Master of the Revels’ power, they appealed to Charles II. Charles II determined their Letters of Patent were valid and created two companies to perform "legitimate drama" in London: the Duke's Company of his brother, The Duke of York, led by William Davenant, and his company, the King's Company, led by Thomas Killigrew. Original intentions were positive, but competition was quickly apparent between the two. Both companies briefly performed in the theatrical spaces that had survived the interregnum and civil war (including the Cockpit and Salisbury Court), but scrambled to quickly acquire facilities that were more to current tastes. Taking a hint from their new King's taste, Killigrew and Davenant both chose a solution that had been used in France: converting tennis courts into theatres.  In March 1660, Sir William Davenant contracted to lease Lisle's Tennis Court in order to renovate it into a theatre, and he bought adjoining land to expand the building into the garden area. Killigrew's theatre on Vere Street (Gibbon's Tennis Court) opened first, in November 1660. Davenant apparently spent more time in his remodelling: Lincoln's Inn Fields opened on 28 June 1661, with the first "moveable" or "changeable" scenery used on the British public stage, and the first proscenium arch. Wings or shutters ran in grooves and could be smoothly and mechanically changed between or even within acts. The production was a revamped version of Davenant's own five-year-old opera "The Siege of Rhodes" where the soon-to-be famous actor, Thomas Betterton, performed the prologue. The result was such a sensation that it brought Charles II to a public theatre for the first time. This production at Lincoln's Inn Fields Playhouse "emptied Killigrew’s theatre" according to Milhous (19). Milhous also explains that the companies and other theatres "deliberately engaged in vicious head-on collision[s], mounting the same plays" (19). The competing King's Company suddenly found itself playing to empty houses, as diarist and devoted playgoer Samuel Pepys notes on 4 July:  I went to the theatre [in Vere Street] and there I saw "Claracilla" (the first time I ever saw it), well acted. But strange to see this house, that use to be so thronged, now empty since the opera begun—and so will continue for a while I believe.  "The Siege of Rhodes" "continued acting 12 days without interruption with great applause" according to the prompter John Downes in his "historical review of the stage" "Roscius Anglicanus" (1708). This was a remarkable run for the limited potential audience of the time. More acclaimed productions by the Duke's Company "with scenes" followed at Lincoln's Inn Fields in the course of 1661 (including "Hamlet" and "Twelfth Night"), all highly admired by Pepys. The King's Company was forced to abandon their own, technically unsophisticated tennis-court theatre and commission the construction of a new theatre in Bridges Street, where the Theatre Royal opened in 1663.  Prince Cosimo III of Tuscany visited the Lisle theatre in 1669, and his official diarist left us this account: [The pit] is surrounded within by separate compartments in which there are several degrees [steps] of seating for the greater comfort of the ladies and gentlemen who, according to the liberal custom of the country, share the same boxes. Down below [in the pit] there remains a broad space for other members of the audience. The scenery is entirely changeable, with various transformations and lovely perspectives. Before the play begins, to render the waiting less annoying and inconvenient, there are very graceful instrumental pieces to be heard, with the result that many go early just to enjoy this part of the entertainment.  The theatre was implicated by the Grand Jury of Middlesex on 7 July 1703 for showcasing "profane, irrelevant, lewd, indecent, and immoral expressions". It was also a hot target for riots and disorderly assemblies, murders, and other misdemeanors, but despite its troubles, the theatre remained very popular including hosting the first paid performance of Purcell's Dido and Aeneas in 1700 and Handel's final two operas (Pedicord 41).  Davenant died in 1668 and the Duke's Company, now under Thomas Betterton, performed out of Lincoln's Inns Fields until 1671, when they relocated to the elaborate new Dorset Garden Theatre which was more popular at the time. In 1672, the theatre in Bridges Street burnt down, and the King's Company temporarily occupied the recently vacated Lincoln's Inn Field, until their new theatre opened in 1674.

Betterton and Rich.

The building was converted back to a tennis court and remained one for almost 20 years. During that time, the Duke's Company, occupying the Dorset Theatre, subsumed the King's Company, housed in the newly rebuilt Theatre Royal, to form the United Company, performing out of Drury Lane. Betterton, a famous English actor, was forced out as the head of the company in 1688, staying on as an actor (and filling a day-to-day managerial role) while a succession of leaders embezzled funds and cut costs by cutting actors' salaries. This uniting created many conflicts between the members of the companies. For example, each company would have one actor who would always play Hamlet, but when the companies are combined, who claims the role? Due to rivalry and competition within the United Company, Thomas Betterton petitioned to the king to separate and create his own company. So, under Christopher Rich, the United Company split. Betterton left with a band of actors and a newly issued license to perform, and from 1695 to 1705 his company performed back at Lincoln's Inn Fields Playhouse, refurbishing the abandoned building back into a theatre. The New Theatre in Lincoln's Inn Fields opened in April 1695 with William Congreve's "Love for Love". It was later the first venue for Congreve's plays "The Mourning Bride" (1697) and "The Way of the World" (1700). The building went unused as a theatre from 1705 until it was demolished in 1714 or shortly before, in preparation to build a new theatre. The man behind the new construction was none other than Christopher Rich, who after 16 years of management, had been pushed out of Drury lane. Rich died in 1714, but his son John Rich led a company at the theatre until 1728. On 29 January 1728, Rich's theatre hosted the first, very successful, production of John Gay's "The Beggar's Opera" (making "Rich gay and Gay rich"). The theatre was finally abandoned in December 1732, when the company moved to the new Covent Garden Theatre, built by Rich using the capital generated by "The Beggar's Opera".  The old building was used as a barracks, an auction room, a warehouse for china, and was finally demolished in 1848 to make room for an extension to the neighbouring premises of the Royal College of Surgeons.

Lisle's Tennis Court was a building off Portugal Street in Lincoln's Inn Fields in London. Originally built as a real tennis court, it was used as a playhouse during two periods, 1661–1674 and 1695–1705. During the early period, the theatre was called Lincoln's Inn Fields Playhouse, also known as The Duke's Playhouse, The New Theatre or The Opera. The building was demolished and replaced by a purpose-built theatre for a third period, 1714–1728. The tennis court theatre was the first public playhouse in London to feature the moveable scenery that would become a standard feature of Restoration theatres.


Background.

Although the Judiciary Act of 1891 (which created the United States courts of appeals and rendered a small part of the Supreme Court's jurisdiction discretionary subject to grant of writ of certiorari) had relieved pressure on the Supreme Court's docket, the court remained obliged to rule:  on the merits all cases appealed to it over which it had jurisdiction... [after the 1891 act, ] Congress gave the Court discretionary review authority over appellate decisions in diversity, patent, revenue, criminal and admiralty cases. Parties wishing to appeal such cases would file a petition for certiorari, which the Court could grant or deny without passing on the merits.  Nonetheless, the number of appeals was a one-way upward ratchet, and the Justices argued that the only way to fix the problem once and for all was to have the Court conduct virtually all of its business by way of writ of certiorari.

Proposal.

In December 1921, Chief Justice William Howard Taft appointed three justices to draw up a proposal which would amend the Judicial Code of the United States, and define further the jurisdiction of the nation's circuit courts. The resulting bill, created by Justices Willis Van Devanter, James Clark McReynolds, and George Sutherland, took many trips to Congress by the Chief Justice and his associates. Taft also journeyed to the United Kingdom in 1922, to study the procedural structure of British courts.  When approved in 1925, "the Judges Bill", as it was known, dramatically shrank the number of cases coming directly to the court, yet retained a mandatory oversight on cases which raised questions involving federal jurisdiction. It called for the circuit courts of appeals to have appellate jurisdiction to review 'by appeal or writ of error' final decisions in the district courts, as well as for the district courts of Alaska, Hawaii, Puerto Rico, China, the United States Virgin Islands, and the Panama Canal Zone. The circuit courts were also empowered to modify, enforce or set aside orders of the Interstate Commerce Commission, the Federal Reserve Board, and the Federal Trade Commission. The bill further provided that "A final judgment or decree in any suit in the highest court of a State in which a decision in the suit could be had, where is drawn in question the validity of a treaty or statute of the United States may be reviewed by the Supreme Court on a writ of error." Lastly, cases involving final decrees which brought into question the validity of a wide range of Federal or state treaties, would come to the Court by certiorari. Four justices would be required to vote affirmatively to accept petitions, which meant that the Court's agenda would now be controlled by "judicial review" and that thousands of cases clogging the dockets could now be cut to hundreds which met the new requirements.  The Chief Justice vigorously pursued the passage of this bill, taking his fellow justices with him to Congress over the four years in which the bill was discussed. Congress chose to pass the act in 1925. This action rendered the majority of the Supreme Court's workload discretionary by removing the possibility of direct appeal to the court in most circumstances. Henceforth, pursuant to §237(b) of the act, appellants would file petitions for writs of certiorari with the Supreme Court, which would be accepted at the discretion of four of the nine Justices. "No longer did the Court have to hear almost every case an unhappy litigant presented to it. Instead, for the most part, the Court could select only those relatively few cases involving issues important enough to require a decision from the Supreme Court."

The Judiciary Act of 1925 (43 Stat. 936), also known as the Judge's Bill or Certiorari Act, was an act of the United States Congress that sought to reduce the workload of the Supreme Court of the United States.


Plot.

U.S. Army veteran Alicia West (Naomi Harris) returns to her hometown in New Orleans where she is recruited into the city's police department. Alicia is reminded by her new partner Kevin Jennings (Reid Scott) about the differences of residing in the community she grew up in and the police department.  In order for Jennings to get home to date night with his wife, West takes his place in a double shift with another member of the force, Brown. He gets a call in the middle of their shift and they head over to meet with his CI in an abandoned building where he tells her to wait in the car. Alicia hears gunfire coming from the building where Brown went in and heads over, armed with a Glock pistol and a vest fitted with a body camera. There, Alicia witnesses detective Terry Malone (Frank Grillo) and his men murder an unarmed drug dealer. When Malone attempts to explain away the situation to her, the other, Smitty (Beau Knapp), panics upon seeing Alicia's body cam and shoots at her, causing Alicia to fall through the floor onto the ground below.  A wounded Alicia escapes while she is being tracked by Malone and his men. When a fellow police officer arrives, Alicia realizes they are working with Terry, forcing her to hide out in the store of Milo Jackson (Tyrese Gibson), a member of the community who is reluctant to hide her. She tries to get help from her partner, Jennings, but she finds out that he is one of the cohorts and she runs away from him. Meanwhile, Malone blames West for the shooting and manipulates criminal kingpin Darius into putting out an open bounty on West because one of the kids that Malone murdered was Darius' nephew. While recovering in Milo's home, Alicia has a gun pointed at her head by Missy’s son. Alicia then learns that Darius put out a bounty on her and that the whole community is tracking her down. Alicia managed to escape but a wounded Milo is left behind and is captured by Darius. Darius tortures Milo, but Milo refuses to divulge where to find Alicia. Alicia records herself and hides her body cam in an abandoned house. Alicia then exposes herself where Darius does business. She convinces Darius that she has proof that Malone killed Darius nephew. One of Darius henchman hacks into Alicias body cam where the footage is downloaded. Darius is now convinced that the footage of the execution of his nephew concludes that Malone is the real killer. Malone and his enforcers arrive to track down Alicia; during the ensuing chaos, Darius is killed by Malone, and Brown is killed by Smitty, who is in turn killed by West. West gives the body camera to Milo so that he can sneak into the police station and upload the footage, while she stays and tries to outrun Malone who is trying to kill her.  There is a standoff between Malone and West with the whole black community looking on. When West gets the upper hand, other police officers arrive and tell her to put down the gun. At the same time, the captain gets the footage and radios SRT to get them to stand down and tells them that West is innocent. Malone tries one last time to kill her, pretending she has a gun, but her partner, Jennings, shoots him in the chest and incapacitates him.  Malone is arrested and West's name is cleared earning the respect of the other police officers and the community.

Production.

In August 2017, it was announced Screen Gems had acquired Peter A. Dowling's spec script "Exposure", and Sean Sorensen will produce the film under his Royal Viking Entertainment banner. In August 2018, it was announced Deon Taylor would direct the film, and Roxanne Avent will serve as an executive producer under her Hidden Empire Film Group banner. In December 2018, Naomie Harris joined the cast of the film, which was retitled from "Exposure" to "Black and Blue". In January 2019, Frank Grillo, Reid Scott, Tyrese Gibson, Beau Knapp, Mike Colter and Nafessa Williams joined the cast of the film. In March 2019, James Moses Black joined the cast of the film. In April 2019, Frankie Smith joined the cast of the film.

Filming.

Principal photography began on January 16, 2019, and concluded on February 28, 2019. The movie was shot using CineAlta cameras, Sony α7S II and Sony Xperia 1 smartphones. All these devices are marketed and manufactured by Sony, the parent company of Sony Pictures and Screen Gems.

Release.

"Black and Blue" had its world premiere at the Urbanworld Film Festival on September 21, 2019. It was released on October 25, 2019. It was previously scheduled to be released on September 20, 2019.

Reception.

Box office.

In the United States and Canada, "Black and Blue" was released alongside "The Current War" and "Countdown", and was projected to gross $8–11 million from 2,062 theaters in its opening weekend. It made $3.1 million on its first day, including $675,000 from Thursday night previews. It went on to debut to $8.3 million, finishing sixth; social media monitor RelishMix said the low figure was blamed on audiences being "bored with this type of cop thriller". In its second weekend the film fell 50% to $4.1 million, finishing eighth.

Critical response.

On review aggregation website Rotten Tomatoes, the film holds an approval rating of 52% and an average rating of 5.41/10, based on 89 reviews. The site's critics consensus reads: ""Black and Blue" is elevated by Naomie Harris' central performance, even if the end result suffers from a simplistic treatment of topical themes." On Metacritic, the film has a weighted average score of 54 out of 100, based on 23 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film a grade of "A-" on an A+ to F scale, while those PostTrak gave it an overall positive score of 80%, including an average 4 out of 5 stars.  Candice Frederick of "TheWrap" wrote: ""Black and Blue" is chock-full of heart-pounding car chases and suspenseful moments that are certain to entertain mainstream audiences, but the film falters when it attempts, beyond its title to reflect a necessary and under-discussed conversation about societal issues."

Black and Blue is a 2019 American action thriller film directed by Deon Taylor from a screenplay by Peter A. Dowling. The film stars Naomie Harris, Tyrese Gibson, Frank Grillo, Mike Colter, Reid Scott, and Beau Knapp, and follows a rookie police officer who goes on the run after she witnesses a murder.


Operational history.

In 1953 she took part in the Fleet Review to celebrate the Coronation of Queen Elizabeth II.  On 17 May 1958 "Aurochs" was patrolling the Molucca Sea off Indonesia when an unidentified aircraft machine-gunned her. The aircraft remained at high altitude and "Aurochs" sustained no casualties or damage. President Sukarno's Indonesian government told the UK's Conservative Government that its armed forces had not made the attack. The UK Foreign and Commonwealth Office stated that it accepted the assurance and assumed that North Celebes rebels had carried out the attack.  It is true that Permesta rebels in North Sulawesi were supported by a "Revolutionary Air Force", AUREV ("Angkatan Udara Revolusioner"). However, all AUREV aircraft, munitions and pilots were supplied by the Nationalist Chinese air force or the CIA. Two CIA pilots, William H. Beale and Allen Pope, had been using Douglas B-26 Invader aircraft to attack Indonesian and foreign targets in the area since April 1958. By 17 May Beale had quit the operation, but Pope continued to fly sorties until the day after "Aurochs" was attacked, 18 May, when he tried to attack an Indonesian Navy convoy but was shot down and captured.  Apart from the "Affray" which had been lost in an accident in 1951, "Aurochs" was the only one of her class not to be modernised. In March 1961, the submarine was among the vessels that took part in a combined naval exercise with the United States Navy off Nova Scotia.  "Aurochs" was decommissioned in 1966 and arrived at Troon in February 1967 for breaking up.

HMS "Aurochs" (P426), was an of the Royal Navy, built by Vickers Armstrong and launched 28 July 1945. Her namesake was the aurochs ("Bos primigenius"), an extinct Eurasian wild ox ancestral to domestic cattle and often portrayed in cave art and heraldry.


Education.

Harcourt was raised in New York City and attended the Lycée Français de New York. He earned a B.A. degree in political theory from Princeton University in 1984, a J.D. degree from Harvard Law School in 1989, and a Ph.D. in political science from Harvard in 2000.

Career.

As a lawyer, Harcourt has represented inmates on death and those serving life imprisonment without parole. His most notable clients include Walter McMillian, and Doyle Lee Hamm, whose 2018 execution was called off because an IV line could not be set.  Harcourt is also an academic. He was appointed the Julius Kreeger Professor of Law and Criminology at University of Chicago in 2003 and elected chairman of the Department of Political Science in 2010. In 2013, he became a chaired professor at the École des hautes études en sciences sociales in Paris. Since 2014, he has been the Isidor and Seville Sulzbacher Professor of Law and Director of the Columbia Center for Contemporary Critical Thought at Columbia University.

Works.

Harcourt's writings focus on punishment, social control, legal and political theory, and political economy from a critical, empirical, and social theoretic perspective.  In 2012, he published, "The Illusion of Free Markets: Punishment and the Myth of Natural Order" which explored the relationship between laissez faire and mass incarceration.  In "Illusion of Order: The False Promise of Broken Windows Policing" he challenged evidence for the broken windows theory and critiqued the assumptions of the policing strategy. In "Language of the Gun", he develops a post-structuralist theory of social science, arguing that social scientists should embrace the ethical choices they make when they interpret data.  He has also edited works by Michel Foucault in French and English. He is the editor of the French edition of Foucault's 1972 Collège de France lectures on "Théories et institutions pénales" (published by Gallimard in 2015) and Foucault's 1973 Collège de France lectures on "La société punitive" (published by Gallimard in 2013). He is the co-editor, with Fabienne Brion, of Foucault's 1981 Louvain lectures "Mal faire, dire vrai. Fonction de l'aveu en justice".  In 2016, he published "Exposed: Desire and Disobedience in the Digital Age", which explores how digital practices have transformed the circulation of power in contemporary society and produced what he refers to as a new "expository society". "Exposed" was translated into French as "La Société d'exposition" and reviewed in "Le Monde" and "Le Figaro".  In 2018, he published "The Counterrevolution: How Our Government Went to War Against Its Own Citizens".

Awards and honors.

In 2015, Harcourt was awarded an honorary doctorate from the Aix-Marseille University in France for his contributions to contemporary critical thought.  He is also the recipient of the 2009 Gordon J. Laing Prize for his 2007 book, "Against Prediction: Profiling, Policing and Punishing in the Actuarial Age."  In 2019, Harcourt received from the New York City Bar Association the Norman J. Redlich Capital Defense Distinguished Service Award for his longtime advocacy on behalf of individuals on death row.

Notes.

References Select publications

Bernard E. Harcourt (born 1963) is an American critical theorist with a specialization in the area of punishment, surveillance, legal and political theory, and political economy. He also does pro-bono legal work on human rights issues.