Background.

The German Instrument of Surrender of 8 May 1945 had provided only for the military capitulation of German armed forces, the German signatories being representatives of the German High Command; consequently full civil provisions for the unconditional surrender of the German state remained without explicit formal basis. The Allies had already agreed through the European Advisory Commission a comprehensive text of unconditional surrender, intended to be used in the potential circumstances of Nazi power being overthrown within Germany either by military or civil authorities; a post-Nazi government being set up in Germany and seeking an armistice. In the event, Nazi power remained to the last, Adolf Hitler dying in the ruins of Berlin on 30 April 1945; and the claims of Karl Dönitz, his nominated successor, to have established a civil government at Flensburg being unacceptable to the Allies. So the previously agreed surrender text, redrafted as a declaration and with an extended explanatory preamble, was adopted unilaterally by the four Allied Powers as the 'Declaration regarding the defeat of Germany' on 5 June 1945. This spelled out the Allied position that, following the gross criminal abuses of Nazism, and in the circumstances of complete defeat, Germany now had no government or central administration, and that the vacated civil authority in Germany had consequently been assumed as a condominium of the four Allied Representative Powers on behalf of the Allied Governments overall; an authority subsequently constituted into the Allied Control Council.  The principle that hostilities against Germany should continue until its armed forces laid down their arms on the basis of unconditional surrender had been adopted by the Allies in the Moscow Declarations of October 1943. In the same declarations it was also stated that, following a German surrender, any individuals participating in atrocities within territories under German occupation would be returned to those territories to be judged and punished; while the entire leadership of Nazi Germany - classed as 'criminals' - would be seized and 'punished by the joint decision of the government of the Allies' (a formula then understood as indicating summary execution without trial, which remained British policy until April 1945). The principles of the Moscow Declarations were to be elaborated in the proceedings of the European Advisory Commission to specify that the Allies would undertake that both Nazism and German Militarism would be eradicated from Europe. In this respect the British War Cabinet came to agree with the American proposal that tribunals of justice should be established; with the consequence that all individual Nazi leaders would now be tried as criminals, and that all Nazi institutions, agencies and associations would be declared to be 'criminal organizations', proved membership of which would be grounds for judicial penalties. Since, in practice, by May 1945 such Nazi bodies were the only functioning institutions of German civil administration, the effect of this was to designate the entire civil apparatus of state power in Germany, and all employment within it, as 'criminal' activity in the service of the Nazi party; on the basis that "the Nazi state was structurally, in its genesis and throughout its existence, a vast criminal enterprise".  Nevertheless, although the Nazi state was designated as a criminal enterprise with no valid claim to exercise civil authority in Germany, this 'criminal' designation was not extended by the Allies to the German High Command and the members of the armed forces. Generals in the service of the Nazi state remained generals, soldiers remained soldiers and military orders issued by the German High Command were valid orders with legal effect right up to 8 May 1945, notwithstanding that the counterpart civil state of Germany was considered already extinct. It followed that the representatives of the German High Command had been legally entitled to sign the Instrument of Surrender in Berlin; and that their orders therein to the army, navy and airforce to lay down their arms were valid orders, properly enforceable through the procedures of military discipline.

Declaration text.

The preamble of the declaration asserted both German responsibility for the War and the complete legal extinction of Nazi Germany consequent on the unconditional surrender of all German armed forces and the total absence of any German central government authority; although the text of the articles of the Declaration maintained, in several places, the continued existence of a German national people and territory which for the purpose of the Declaration was taken to be as defined on 31 December 1937 (after the 1935 Saar referendum and before the 1938 Anschluss), subject to the four signatory powers also asserting their authority to determine the future boundaries of Germany. This claimed authority to determine the boundaries of Germany would shortly be exercised in the incorporation of eastern territories into Poland and the Soviet Union, and the short-lived creation of the Saar Protectorate in the west. The preamble also confirmed the four nominated representatives of the Governments of the United States of America, the Union of Soviet Socialist Republics and the United Kingdom, and the Provisional Government of the French Republic as the "Allied Representatives" who would from then on exercise supreme civil and military authority within German territory and over former German forces. Otherwise the text of the declaration was that prepared for, but not eventually used in, the German Instrument of Surrender of 8 May 1945, in the form previously agreed by the European Advisory Commission; but not including the 'dismemberment clause' proposed as being added to the agreed surrender instrument at Yalta. The Allies asserted that their assumption of sovereign powers within Germany would not effect its annexation. The Declaration consisted of 15 articles, of which the first eight were concerned with the capitulation of German Armed forces and the surrender to the Allied Powers of military equipment and intelligence assets. By July 1945, these actions had largely been completed. The key articles for the future governance of Germany were therefore Article 11, which provided for the arrest and trial by the Allies of Nazi leaders and other suspected war criminals; and Article 13, which provided almost unrestricted authority to the Allied Powers to direct German civil, economic and legal structures in the zones under their control. This latter article was extensively applied to effect the de-Nazification of public institutions and economic enterprises at all levels of German society, to extract reparations; and also in the Soviet zone to effect a major programme of land reform, redistributing expropriated rural land from large pre-war landed estates to the ownership of surviving tenant occupiers and expellee farmers from former eastern parts of Germany.

Legal status in international law.

At the time, the Allies maintained that with this declaration the former German state was recognised as having ceased to exist, its historic institutions and organisation having been expunged under the criminal assault of Nazi power; such that any continuing sovereign identity for Germany as a whole was now being represented solely by the Allied Control Council. Under the terms of the Potsdam Agreement, the Allies stated their intention that the exercise of full German sovereignty by the Allied Control Council would be one of tutelage and of limited duration; the Council of Foreign Ministers being tasked with preparing the terms for an eventual Peace Treaty and final settlement of the War, and with establishing through the Control Council a wholly new German Government and state adequate for the purpose of accepting that settlement. The Allied contention that the German Reich no longer existed was however, challenged in legal and political debate, with a number of scholars maintaining that the legal extinction of a state could only be achieved through formal annexation of its peoples and territory into another state; and that, this option having been explicitly forsworn in the Berlin Agreement, in some form the German national state must be considered as having survived the collapse of Nazi Germany independently of the Allied Control Council. Post-war legal debate also challenged the powers assumed by the Allies in Articles 11 and 13 to effect radical change to the civic, legal and economic structures of Germany, in direct conflict with the provisions of the Hague Conventions of 1899 and 1907 on the powers and responsibilities constraining military occupation in wartime. The Allies maintained that these conventions could not, and did not, apply in the circumstances of the occupation of Germany; as the complete and lasting elimination of Nazism and its crimes against humanity, and German militarism in general, were their major wartime objectives. Indeed, in October 1944 General Eisenhower, in his 'Proclamation number 1' concerning the intended Allied Occupation of Germany, had promised the total obliteration of Nazism and Militarism, the suspension of the German legal system, and the assumption by the Allies of supreme executive, legislative and judicial power. Subsequent to German reunification in 1990 the descendants of expropriated pre-war landowners challenged the legal basis of Allied occupying power in respect of the Soviet-instigated East German land reform; seeking through the German courts to dispossess the descendants of the post-war beneficiaries of the reform programme, or otherwise to be granted compensation at current market value. Following a succession of four cases being brought before the Federal Constitutional Court over a decade, an appeal was eventually made to the European Court of Human Rights in 2005, who found in favour of the legality of the Allied occupation. The postwar occupation of Germany was found to have been 'an occupation "sui generis"' which had 'conferred powers of sovereignty' on the Allied Powers.

Signatories.

The declaration was signed by the Allied commanders-in-chief:

Further developments.

The military forces of the Western Allies had pulled back westwards from the original "Line of contact", transferring the administration of the vacated territories into the Soviet occupation zone; at the same time taking over administrative responsibilities from Soviet forces for their respective sectors of Berlin. Subsequently, the Potsdam Agreement of 2 August 1945 confirmed the establishment of British, American and French zones of occupation, and set the boundary between Poland and Germany at the Oder-Neisse line; the former German territories east of this line now coming under Polish and Soviet (Kaliningrad Oblast) administrations, pending the final apportionment of territories in a future Final German Peace Treaty. This treaty was delayed due to ideological and political differences between the Allied Powers, and was only finally ratified in 1991 as the Treaty on the Final Settlement With Respect to Germany entered into force, formally ending the Occupation of Germany.  An Allied Control Council was established on 30 August 1945 to execute supreme governmental power over Allied-occupied Germany, which now did not include the German eastern territories. In its initial proceedings, the Allied Control Council assumed itself to be the sole repository of German state sovereignty especially in respect of external relations, but largely left each of the Allied Powers to administer their own occupation zones as they saw fit. The functioning of the Allied Control Council proved however, to be severely compromised by obstruction from one or another of the Allied Powers represented on it; initially France (who had not been invited to the Potsdam Conference and refused to be bound by the Potsdam Agreement), and latterly by the Soviet Union - who in 1948 walked out of the Control Council, preventing it from meeting again until 1991.

Commemoration.

A monument was erected at the site in the Wendenschloss district of Berlin-Köpenick on Niebergall Street which reads in German:

By the Berlin Declaration () of 5 June 1945, the four governments of the United States, Soviet Union, United Kingdom and France, acting on behalf of the Allies of World War II, jointly assumed "supreme authority" over German territory and asserted the legitimacy of their joint determination of issues regarding its administration and boundaries, prior to the forthcoming Potsdam Conference.

Berlínská deklarace z 5. června 1945 (oficiálně "Declaration regarding the defeat of Germany and the assumption of supreme authority with respect to Germany by the Governments of the United States of America, the Union of Soviet Socialist Republics, the United Kingdom and the Provisional Government of the French Republic") byl právní dokument, kterým Vítězné mocnosti převzali nejvyšší moc nad územím Říše a řešily základní administrativní otázky:


Club career.

Corinthians.

Born in São Paulo, Malcom began his career in the youth of hometown club Corinthians. In early 2014, he starred in the side that came runners-up to Santos in the Copa São Paulo de Futebol Júnior.  He was called by coach Mano Menezes into the first team and made his professional debut on 19 March 2014 in a Copa do Brasil first round game away to Bahia de Feira, playing the last ten minutes of the 2–0 win in place of Jádson. Four days later he made his sole appearance of the Campeonato Paulista season, coming on around the same mark for Luciano in a 3–0 home win over Atlético Sorocaba.  Malcom made his Campeonato Brasileiro Série A debut on 27 April 2014, as a substitute for Romarinho in a 2–0 home win over Flamengo. He scored his first professional goal on 18 September, opening a 1–1 draw with Chapecoense at Arena Corinthians.  He was a regular first team player during the 2015 Campeonato Brasileiro Série A championship campaign. He played a total of 70 games and scored 10 goals during his tenure at the club.

Bordeaux.

French team Bordeaux signed Malcom on 31 January 2016, replacing Sunderland-bound Wahbi Khazri. The club paid €5 million for half of his economic rights.  He made his Ligue 1 debut a week later, starting in a 4–1 home loss to Saint-Étienne and being substituted for Thomas Touré after 69 minutes. On 10 February, he scored his first goal in the last 16 of the Coupe de France, putting the "Girondins" 3–2 up in extra time in a 3–4 loss to Nantes, also at the Nouveau Stade de Bordeaux. It was not until 30 April that he made an assist, for Cheick Diabaté in a 4–2 win at Troyes, and the following week he scored his lone league goal of the season to open a 3–0 home victory against Lorient.  On 27 September 2017, Malcom signed a new contract, tying him to the club until June 2021. His final season was his most prolific, with 12 goals, all in the league. This commenced with two on 19 August in a 3–3 draw at Lyon, including a long-distance equaliser in added time.  With several influential displays he quickly became a fan favourite at the club, spending three seasons and scoring 23 goals in 96 appearances across all competitions. His long-range goal against Dijon on 1 December 2017 was voted Goal of the Season at the Trophées UNFP du football.

Barcelona.

On 24 July 2018, Spanish club Barcelona announced the signing of Malcom on a five-year contract for a reported transfer fee of €41 million plus an additional €1 million in bonuses. Corinthians received 2.5% of the fee.  He was previously close to joining Roma, with fans waiting for him to arrive at the airport and sporting director Monchi stating that the Italians would consider taking legal action against Barcelona.  Due to limits on players without European Union passports, Malcom was left out from the Barcelona squad that won the 2018 Supercopa de España. On 25 August, he made his official debut for the club in a 1–0 victory over Real Valladolid at the José Zorrilla, replacing compatriot Philippe Coutinho with six minutes left. On 6 November, Malcom scored his first competitive goal for Barcelona in a 1–1 away draw against Inter Milan in the UEFA Champions League. On 6 February 2019, Malcom was given a surprising start against Real Madrid in the Copa del Rey semi-finals first leg, scoring the equalizer in a 1–1 draw. On 2 April 2019, Malcom scored his first La Liga goal in a 4–4 draw away against Villarreal CF.

Zenit.

On 2 August 2019, Malcom joined Zenit Saint Petersburg on a five-year deal for a €40 million fee with an additional €5 million in variables. He made his debut the next day in a 1–1 home draw with FC Krasnodar, as a 71st-minute substitute for Alexey Sutormin. Due to injuries, he only played 64 minutes up to 4 October. He came back to the field on 29 February 2020 when he played 90 minutes in a goalless home draw with Lokomotiv Moscow.

International career.

Malcom was called up to Brazil's under-20 national team to compete at the South American Youth Football Championship in Uruguay, where he scored one goal in six matches as the "Seleção" finished in fourth place.  Later that year, he was called as a replacement for Kenedy for the 2015 FIFA U-20 World Cup in New Zealand. Malcom appeared in five matches, including the final, where Brazil lost to Serbia.  In September 2018, Malcom was called up by coach Tite for the senior team, ahead of friendlies against Saudi Arabia and Argentina.

Personal life.

Malcom's father named him after the African American activist Malcolm X.  In July 2015, state authorities in São Paulo discovered a fraud scheme when it was revealed that Malcom had obtained his driving licence – which usually takes three months of practice – only twenty days after his 18th birthday.  Malcom received criticism for his social media actions at Bordeaux: in September 2017 he posed for a photo with opponent Neymar after a heavy loss to Paris Saint-Germain, and three months later he and his compatriot teammates recorded a light-hearted video outside the stadium after a defeat.

Honours.

Corinthians Barcelona  Brazil U20 Brasil  Individual

Malcom Filipe Silva de Oliveira (born 26 February 1997), or simply Malcom (), is a Brazilian professional footballer who plays as a forward for Russian club Zenit Saint Petersburg.

Malcom Filipe Silva de Oliveira (* 26. února 1997, São Paulo, Brazílie), známý také pouze jako Malcom, je brazilský fotbalový útočník, který aktuálně hraje v ruském klubu Zenit Petrohrad.


Recording.

McCartney had initially intended to work on a trial basis with four of his favourite producers and select the best to record the whole album with. He ended up recording with all four: Mark Ronson, Ethan Johns, Paul Epworth and Giles Martin. Martin produced the majority of the tracks and acted as executive producer on the album. Recording took place at Henson Recording Studios in Los Angeles; Avatar Studios in New York; Abbey Road Studios, Air Studios and Wolf Tone Studios in London; and The Mill in East Sussex. The recording sessions started in January 2012 with Paul Epworth (at Wolf Tone and The Mill) and then resumed at Abbey Road during February–March with other songs taped with Ethan Johns. The sessions with Ronson took place probably around January 2012, with work resuming in July and then later in 2013. Songs produced by Martin were recorded at AIR Studios during March 2013 and in Los Angeles, very likely during the spring, according to author Luca Perasi.  Ronson had been selected following his set as DJ at McCartney's wedding to Nancy Shevell two years before production began. The producer was preoccupied with his own wedding, which occurred at about the same time, and had almost forgotten to call McCartney back to accept the offer. A few months after Ronson served as DJ for another McCartney event in New York, Ronson received a call inviting him into the studio. In total Ronson recorded three tracks – "New", "Alligator" and "Secret Life of a Party Girl" – although the last of these does not appear on the album.

Composition.

Speaking to BBC News in August 2013, McCartney said that the album would be "very varied", adding: "I worked with four producers and each of them brought something different." The tracks produced by Epworth "weren't written" but improvised. McCartney remarked of "New" that it was "a love song but it's saying, 'Don't look at me, I haven't got any answers.' It says, 'I don't know what's happening, I don't know how it's all happening, but it's good and I love you.'"  Other tracks are autobiographical. McCartney wrote "On My Way to Work" about his pre-fame past, alluding to a time when he worked as a driver's mate for Speedy Prompt Delivery in Liverpool. On the day that McCartney composed "Early Days", he had been reminiscing about his past in Liverpool with John Lennon: "I started to get images of us in the record shop listening to early rock and roll and looking at the posters and the joy that that gave me remembering all those moments." The refrain of "Queenie Eye" was taken from a game McCartney used to play during his childhood.  Regarding contemporary inspiration, McCartney acknowledged that the album had been influenced by his marriage to Shevell, about which he said: "This is a happy period in my life, having a new woman – so you get new songs when you get a new woman." He felt that "New" was generally joyful, but with an undercurrent of "pain getting changed to laughter". Ronson referred to the track "Alligator" in particular as being "brooding" and "quite tough". McCartney revealed that "Alligator" was the oldest song on the album. McCartney wrote "Everybody Out There" specifically to "get the audience singing along"; he said that he was particularly proud of "Early Days" and the hidden track "Scared".

Promotion.

"New" was released as a single to the iTunes Store and SoundCloud on 28 August 2013. The single was accompanied by an announcement that the album would be released on 14 October in the United Kingdom, and a day later in the United States. A deluxe edition of "New" was also announced, featuring two bonus tracks. An official McCartney Instagram account launched at the same time as the album was revealed. McCartney debuted the songs "Save Us" and "Everybody Out There" at the third annual iHeartRadio Music Festival.  On 23 September, McCartney's news blog unveiled the final artwork for "New", replacing the earlier minimal black-and-white logo used as a placeholder for online retailers. The logo and cover concept was conceived by UK art and design team Rebecca and Mike, with CGI created by Ben Ib. The imagery of fluorescent lights was inspired by the sculptural work of Dan Flavin. The titles of the deluxe edition bonus tracks were also announced as "Turned Out" and "Get Me Out of Here". Promotion later included a Twitter interview, on 4 October, when McCartney answered fan questions related to the album.  On 6 October, full-album listening events took place in the form of drive-ins: in the Los Angeles area, fans brought their vehicles to the Vinland Drive-In, while in New York City, listeners were taken to the rooftop of an Open Road Volkswagen dealership to sit in new cars belonging to the company. The drive-in idea came about late into the promotional campaign, when McCartney had been listening to the album in his own car about a week before the event took place.  On 10 October, McCartney and his band performed a surprise concert in New York's Times Square, after posting two short tweets announcing the event about an hour before it occurred. The fifteen-minute performance consisted of four tracks off the album: "New", "Save Us", "Everybody Out There" and "Queenie Eye". The event gathered a large crowd and came a day after another surprise concert to 400 students at the Frank Sinatra School of the Arts in Queens, New York. The latter performance was streamed on Yahoo! on 14 October. McCartney also performed songs from the album on "Jimmy Kimmel Live" and "Late Night with Jimmy Fallon".

Reception.

"New" was selected as BBC Radio 2's "Record of the Week" and received praise from "Mojo" magazine, "Rolling Stone" and "The Daily Telegraph". Writing for "Rolling Stone", Will Hermes admired the song's "bouncy harpsichord-laden melody" and likened the track to the Beatles' "Got to Get You into My Life".  The album received generally favourable reviews, according to Metacritic's aggregate score of 77 (out of 100), compiled from a sample of 31 music critics. In his review for "PopMatters", J.C. Maçek III wrote: ""New" is no "Abbey Road", but it is a remarkable album from the 71-year-old version of the man who has brought us decades of great rock 'n' roll songs." In "Rolling Stone", Will Hermes opined: ""New" feels energized and full of joyous rock & roll invention. More than a sentimental journey, it's an album that wants to be part of the 21st-century pop dialogue." Hermes highlighted "On My Way to Work" as "[t]he most Beatles-ish track" and described "Early Days" as "the head turner... a wistful, mostly acoustic memoir-reverie echoing George Harrison's 'All Those Years Ago,' albeit with some genteel bitchiness". In December that year, "Rolling Stone" ranked "New" the 4th best album of 2013.  Helen Brown of "The Daily Telegraph" noted McCartney's "fresh attitude" compared with the more introspective "Memory Almost Full", and added that "Though they're produced by men young enough to be his sons, these 12 songs are vintage Macca..." Brown wrote of the singer's efforts to address his past: "He needn't be so defensive, or so concerned about detractors – this album proves his talent is timeless."  Less impressed, Jesse Cataldo of the website Slant Magazine identified the album's "defining condition" as the same "middling, innocuous quality" typical of McCartney's solo career, and bemoaned that none of the four producers had "any real idea of how to adequately update his sound". Cataldo welcomed the songs that showed McCartney "at war with himself", and concluded: "while the brave-faced, sunny music that defines the album's back half may be as contrived as his jolly public persona, it's the touches of humanizing anxiety that make "New" significant, revealing active signs of creative life." Writing for the "NME", Barry Nicolson considered the album to be McCartney's "most enjoyable record in years" and, contrary to the title, "the sound of an old dog having fun with some old tricks". While also highlighting the Ronson-produced tracks "New" and "Alligator", Nicolson remarked on the Beatles influence on "Early Days", but found the latter song "marred by McCartney's longstanding preoccupation with ensuring everyone knows he was John Lennon's equal".

Commercial performance.

The album debuted at number 3 on both the "Billboard" 200 and "Billboard" Canadian Albums in North American charts, with first-week sales of 67,000 copies in the United States and 8,500 units in Canada, respectively. The album has sold 217,000 copies in the United States as of May 2016.  "New" received extensive airplay on Japanese radio stations, also peaking at number 4 on the country's Hot 100. Anticipation for McCartney's subsequent tour also boosted sales of "New" in Japan, providing the artist with his first album to chart in the top three positions there since "Tug of War" in 1982. The album reached the top five in at least ten countries; in Norway, McCartney topped the chart for the first time since his album "Flowers in the Dirt" in 1989. By the end of 2013, 15,000 copies of "New" had been sold in Brazil.

Track listing.

All songs written by Paul McCartney, except "Save Us", "Queenie Eye" and "Road" written by McCartney and Paul Epworth.

Collector's edition.

The special collector’s edition, released in 2014, is a 2CD/DVD reissue of "New". It contains exclusive content that tells the story of the making of the album as well as capturing unique moments during the international promotion campaign, such as concerts, pop up shows in New York and London, an album Q&A filmed at The Shard in London, chat show performances and footage of a signing session at HMV’s flagship store in London. The second CD includes two previously unreleased tracks ("Hell To Pay" and "Demons Dance") taken from the album recording sessions as well featuring 'Struggle' which was previously released as a Japanese bonus track. The second CD also includes live versions of "Save Us", "New", "Queenie Eye" and "Everybody Out There" recorded at the Tokyo Dome, Japan in November 2013.  The DVD contains a documentary "Something New" directed by Don Letts, a collection of behind-the-scenes footage from the international promotional trail, and music videos for "Queenie Eye", "Save Us", "Appreciate" and "Early Days". Also included is footage from the making of the "Queenie Eye", "Appreciate" and "Early Days" videos

Personnel.

Adapted from liner notes

New (stylised as NEW) is the sixteenth solo studio album by English musician Paul McCartney. It was released on 11 October 2013 through MPL Communications, Hear Music, and Universal International. The album was his first since 2007's "Memory Almost Full" to consist entirely of new compositions.

New je šestnácté sólové studiové album anglického hudebníka Paula McCartneyho. Vydalo jej dne 14. října 2013 hudební vydavatelství Virgin EMI Records a jde o McCartneyho první album složené z nových skladeb od roku 2007, kdy vyšla nahrávka "Memory Almost Full". Na albu se nachází celkem dvanáct písní a podíleli se na něm čtyři producenti: Mark Ronson, Ethan Johns, Paul Epworth a Giles Martin. V žebříčku UK Albums Chart se album umístilo na třetí příčce; stejného umístění dosáhlo i v Billboard 200.


Career.

Born in Casalpusterlengo, Province of Lodi, he played in the 1930s for A.C. Milan, and Genoa. A prolific goalscorer, known for his speed and ability in the air, he played 256 matches in Serie A, scoring 80 goals.  In the 1933–34 season, he scored 16 goals for Milan, finishing the season as the fifth highest scorer in Serie A, leading to his selection by manager Vittorio Pozzo to the national team for the 1934 FIFA World Cup on home soil. Italy won the title, although Arcari did not make a single appearance throughout the tournament; consequently, he is one of only four players in Italian national team history to become World champion while never being capped.  While Pietro's most notable success came at Milan, an unusual incident occurred while playing for Genoa in 1937. During a Fiorentina-Genoa match won 2–1 by Genoa in Florence the linesman called a nonexistent offsides on Arcari; the referee Caironi, without hesitation sent his colleague to the locker room, who was quickly replaced. That season, he won the Coppa Italia, as Genoa defeated Roma 1–0 in the final, played in Florence, on 6 June 1937; en route to the final, he eliminated his former club Milan in the semi-finals of the competition.

Personal life.

Pietro was the third son in a family of footballers: his older brothers Carlo Arcari and Angelo Arcari and younger brother Bruno Arcari all played football professionally. To distinguish them, Carlo was referred to as Arcari I, Angelo as Arcari II, Pietro as Arcari III and Bruno as Arcari IV. His brother Bruno, who also played for Milan throughout his career, even made an appearance for the national team.

Pietro Sante Arcari III (2 December 1909 – 8 February 1988) was an Italian footballer and forward, or as a right winger.

Pietro Sante Arcari III (2. prosince 1909, Casalpusterlengo – 8. února 1988) byl italský fotbalista. Nejčastěji nastupoval na postu útočníka.


History.

The band formed after the demise of Warhammer, who comprised Wayne Aston, Mike Clarke, Mitch Dickinson, Shane Embury.  Unseen Terror was named after Mitch Dickinson was listening to Septic Death. The song "Terrorain" by Septic Death has the lyric "Unseen Death - Terrorain". The Chernobyl disaster was fresh in the minds of many at the time, and Dickinson thought of the term "Unseen Terror", as the radiation in the air around the area of the disaster was invisible. The band was founded in early 1986 by singer/guitarist Mitch Dickinson and Shane Embury. The duo wrote many songs together as a two piece band during mid 1986 - mid 1987. These tracks were recorded on to cassette during rehearsals. These rehearsal tapes were subsequently distributed on an international level via the tape trading network of the time. These tapes caught the attention of Digby Pearson who later founded Earache Records.  A few months into 1987 the band were invited to contribute two tracks to the compilation LP "Diminished Responsibility" (1987), and the group landed a record contract at Earache Records.  Just after the recording the tracks for this compilation LP, the band recruited Pete Giles as their bass player. This line up did not last very long. Earache Records booked the recording studio for the recording of "Human Error" during a time when there were various difficulties occurring (both logistically and personally) for the band. These unchangeable dates in September 1987 for the recording ultimately meant that Dickinson and Embury had no choice but to fulfil the agreement with Earache. The original album back cover photographs were taken on location in Broseley, Shropshire, England (by Digby Pearson). After their debut album, Napalm Death drummer Mick Harris joined the band as singer. The band were invited by John Walters to a recording session for BBC Radio One, and a one-off performance in Nottingham with bassist Wayne Aston (who did not appear on the Peel sessions recordings). The Peel sessions were released as a limited 12" EP in the UK and a CD (with uncommissioned artwork) in the US. These releases remained as collectors items. More recently, re-releases occurred on the Earache compilation "Grind Madness at the BBC".

Unseen Terror was a British extreme metal band formed by Mitch Dickinson (Heresy) and Shane Embury (later of Napalm Death), and played extreme metal with a technical edge along with elements of hardcore punk. Their most notable feat took place in March 1988, when they recorded tracks for John Peel's BBC Radio 1 program.

Unseen Terror byla britská grindcoreová kapela založená roku 1986 v anglickém městě Broseley v hrabství Shropshire a aktivní v letech 1986–1990. Jejími členy byli např. Shane Embury a Mick Harris (oba působili i ve skupině Napalm Death).


Composition.

Dryden probably wrote the original libretto for "King Arthur" in 1684 to mark the 25th anniversary of King Charles II's Restoration the following year. The original text of "King Arthur" no longer exists but it was to be in three acts with an allegorical prologue. For unknown reasons Dryden abandoned his intention to have the whole work set to music and developed the prologue into another opera, "Albion and Albanius", a collaboration with the Catalan composer Louis Grabu. However, Charles II died in February 1685 and "Albion and Albanius" was first inauspiciously performed in June 1685 during the Monmouth Rebellion. It was a failure and Dryden shelved any plans he had for the rest of the "King Arthur" libretto.  In the meantime, England entered a turbulent period in its history. After the Catholic James II took the throne, Dryden too converted to Catholicism. When the Protestant William III overthrew James in the Glorious Revolution in 1688, Dryden refused to renounce his faith and so lost his job as poet laureate to his rival Thomas Shadwell. Purcell's career had also suffered after the death of the music-loving Charles II. With their sources of royal patronage gone, both playwright and composer were looking to make money as freelance professionals and the London stage offered attractive opportunities.  In 1690, the theatre manager Thomas Betterton decided to risk putting on another operatic work, the first since the ill-fated "Albion and Albanius". This was the semi-opera "Dioclesian" (1690), an adaptation of a play by Beaumont and Fletcher. Purcell's music for the production and the lavish staging made it a triumph and Betterton was eager for another such success. He persuaded Dryden to dust off and revise the libretto for "King Arthur" so Purcell could set it. The two had already collaborated on stage works (Dryden had written the prologue for "Dioclesian" and Purcell the incidental music for Dryden's comedy "Amphitryon") and Dryden was effusive in his praise of Purcell's musical abilities.  In his preface to the printed edition, Dryden explained he had had to adapt the libretto to the changed political circumstances of 1691: "But not to offend the present Times, nor a Government which has hitherto protected me, I have been oblig'd so much to alter the first Design, and take away so many Beauties from the Writing, that it is now no more what it was formerly..." He also made alterations to suit Purcell's musical needs: "the Numbers of Poetry and Vocal Musick, are sometimes so contrary, that in many places I have been oblig'd to cramp my Verses, and make them rugged to the Reader, that they may be harmonious to the Hearer: Of which I have no Reason to repent me, because these sorts of Entertainments are principally design'd for the Ear and the Eye; and therefore in Reason my Art on this occasion, ought to be subservient to his."

Performance history.

The exact date of the premiere is unknown but the wordbook was advertised in "The London Gazette" from 4 to 8 June 1691, suggesting a recent staging. Peter Holman believes it was performed in May. The production was not as spectacular as "Dioclesian" or the later "The Fairy Queen" but it proved the most financially successful for the theatre. Betterton himself took the role of King Arthur, despite being in his fifties. The contemporary writer Roger North was most impressed by Charlotte Butler's singing of Cupid, describing it as "beyond anything I ever heard upon the stage", partly ascribing her success to "the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex."  "King Arthur" was revived at least twice during Purcell's lifetime and continued to be performed in the later 1690s. The first major revival in the eighteenth century was staged in 1736. This production left the work unaltered, but later revivals involved varying degrees of revision. They included a performance in Dublin in 1763; David Garrick and Thomas Arne's version in 1770; and John Kemble and Thomas Linley's transformation of "King Arthur" into a two-act after-piece entitled "Arthur and Emmeline" in 1784.

Libretto.

Interpretation based on political allegory.

According to Curtis Price, the original 1684–5 version was probably an allegory of the Exclusion crisis, a major political dispute over who would succeed Charles II: his Catholic brother, James, Duke of York or the Duke of Monmouth, his illegitimate — but Protestant — son. The faction backing James was nicknamed the "Tories"; that in favour of Monmouth, the "Whigs". The latter were led by Anthony Ashley-Cooper, the Earl of Shaftesbury. Dryden was a convinced Tory and had already satirised Shaftesbury and other Whigs in his poem "Absalom and Achitophel" (1681). In Price's reading, King Arthur represents Charles II, the Britons are the Tories, and the Saxons are the Whigs. Oswald is the Duke of Monmouth and Osmond/Grimbald is the Earl of Shaftesbury. Philidel is the Marquess of Halifax, a political moderate much admired by Dryden (he would dedicate the printed edition of "King Arthur" to Halifax). Emmeline personifies the "national conscience."

Sources and influences.

Dryden did not base his libretto on standard versions of Arthurian myth, although he was familiar with such books as Geoffrey of Monmouth's "Historia Regum Britanniae". He did, however, use other works of literature as sources of inspiration. There are clear parallels between "King Arthur" and Shakespeare's "The Tempest" (which Dryden had revised in line with Restoration taste in collaboration with Sir William Davenant in 1667 and which had been turned into a semi-opera with music by Matthew Locke in 1674). Ellen A. Harris has described the links between the characters: Prospero and Merlin are both good magicians who use an "airy spirit" (Ariel in "The Tempest", Philidel in "King Arthur") to defeat a potential usurper (Alonzo/Oswald). The relationship between Arthur and Emmeline is like that between Ferdinand and Miranda. Like Miranda, Emmeline is an innocent who has "never seen a man" (quite literally true in the case of the blind Emmeline). Finally, there are obvious similarities between the "earthy spirits" Grimbald and Caliban, although there is no evil wizard corresponding to Osmond in "The Tempest".  Dryden also used material he found in epic poetry: the idea of the "enchanted wood" is taken from Canto XVII of Tasso's "Gerusalemme liberata"; and Andrew Pinnock suggests the rivalry between Arthur and Oswald is like the conflict between Gondibert and Oswald in Sir William Davenant's unfinished poem "Gondibert" (1650).  In his preface, Dryden explained how he had conducted historical research into Germanic paganism to write the sacrifice scene in the first act: "When I wrote it, seven years ago, I employ'd some reading about it, to inform my self out of "Beda", "Bochartus", and other Authors, concerning the rites of the Heathen "Saxons"...". But Andrew Pinnock believes "practically all the ritual came from a far handier source (which unaccountably Dryden forgot to mention): Aylett Sammes's "Britannia Antiqua Illustrata" (1676)."

Music.

The "Frost Scene" in the third act has always attracted praise from critics. Edward J. Dent wrote that "The Frost Scene is one of Purcell's most famous achievements" with "its bold contrasts of style, and the masterly piling up of the music to a climax at the end of the chorus <nowiki>'</nowiki>'Tis love that has warmed us'." Thomas Gray, commenting on the 1736 production, described it as "excessive fine" and claimed that the Cold Genius' solo was "the finest song in the play." This aria ("What power art thou who from below") is accompanied by shivering strings, probably influenced by a scene from Act IV of Jean-Baptiste Lully's opera "Isis" (1677) but, as Peter Holman writes, Purcell's "daring chromatic harmonies transform the Cold Genius from the picturesque figure of Lully (or Dryden, for that matter) into a genuinely awe-inspiring character — the more so because Cupid's responses are set to such frothy and brilliant music." It has been suggested that the whole scene was inspired by the Frost fairs held on the Thames during the 1680s.  Venus' act V air "Fairest Isle" achieved wide fame, inspiring Charles Wesley's hymn Love Divine, All Loves Excelling to the same tune.

Synopsis.

Act 1.

"Scene 1"  The Britons prepare for the battle which will decide who will rule their land: the Christian Arthur or the heathen Saxon Oswald. It augurs well for them: it is Saint George's Day and the Britons have already defeated the Saxons in ten battles. Conon, Duke of Cornwall, explains the origins of the war. Oswald had sought his daughter, the blind Emmeline's, hand in marriage but she rejected him because she is in love with Arthur. Arthur enters reading a letter of support from his magician Merlin. He meets Emmeline and tries to explain to her what seeing means. A trumpet calls Arthur to battle.  "Scene 2: The scene represents a place of Heathen worship; The three Saxon Gods, Woden, Thor, and Freya placed on Pedestals. An Altar."  Oswald and his magician Osmond sacrifice horses and pray to the Saxon gods for victory in the coming battle. Osmond's servant, the spirit Grimbald, arrives and says he has persuaded six Saxons to offer themselves as a human sacrifice. He also admits he has lost control of the other spirit, Philidel, "a puleing Sprite" who "Sighs when he should plunge a Soul in Sulphur,/As with Compassion touched of foolish man." Philidel was supposed to have drawn up the vapours from the marsh and blown them in the face of the Christian soldiers but when he saw the crosses on their banners, he refused to carry out this task. Osmond says he will punish Philidel later.  The sacrifice scene:  "Scene 3: "A battle supposed to be given behind the Scenes, with Drums, Trumpets, and military Shouts and Excursions.""  The Britons sing a song of triumph as the Saxons flee the battlefield:

Act 2.

"Scene 1"  The tender-hearted Philidel pities those soldiers who have lost their lives in the battle. Merlin arrives in his chariot and orders Philidel to tell him who he is. Philidel explains he is a spirit of the air and one of the fallen angels, but he has repented. He deserts Osmond and joins Merlin. Philidel tells Merlin that Grimbald is planning to deceive the victorious Britons by leading them to drown in rivers or fall off cliffs. Merlin leaves Philidel his band of spirits to save the Britons from this trap. Grimbald arrives disguised as a shepherd guiding Arthur and his men. Philidel and his spirits and Grimbald and his spirits compete to win Arthur's trust: Grimbald admits defeat, vows revenge on Philidel and vanishes.  "Scene 2: A pavilion"  Emmeline and her maid Matilda await news of the battle. To pass the time, a "Crew of Kentish Lads and Lasses" entertain them with songs and dances:  Oswald and his comrade Guillamar stray from the battlefield, chance upon the pavilion and kidnap Emmeline and Matilda.  "Scene 3"  A group of Britons continue the battle.  "Scene 4"  Arthur holds a parley with Oswald and begs him to return Emmeline, offering him land from the River Medway to the Severn, but Oswald refuses to relinquish her.

Act 3.

"Scene 1"  Arthur and his men attack Oswald's castle but Osmond's magic defeats them. Osmond has conjured a "Magick Wood" which bars access to the castle. Merlin promises to help Arthur reach Emmeline and restore her sight with potion in a vial.  "Scene 2: A deep wood"  Grimbald catches Philidel as he scouts the enchanted wood for Merlin. Philidel pretends to submit but secretly casts a spell on Grimbald which renders him powerless to move. Merlin asks Philidel to guide Arthur through the wood and gives him the vial, which the spirit uses to rid Emmeline of her blindness. Emmeline is amazed at the new world before her eyes. Merlin's spells also allow Arthur and Emmeline to meet for a brief moment, but Emmeline will not be free until the enchanted wood is destroyed. Osmond enters, intent on seducing Emmeline for himself, having drugged his master Oswald.  Osmond tries to win Emmeline over by showing her a masque acted by spirits. He conjures up a vision of "Yzeland" and "farthest Thule".  The masque fails to persuade Emmeline and Osmond resorts to force but the captive Grimbald's shouts interrupt him. Osmond goes to free him, promising Emmeline he will be back.

Act 4.

"Scene 1"  The freed Grimbald warns Osmond that Arthur is approaching the enchanted wood, where Merlin has undone his spells. Osmond decides to replace the threatening spells with seductive ones.  "Scene 2: Scene of the Wood continues"  Merlin leaves Arthur at the entrance to the wood with the spirit Philidel as his guide. Philidel has a wand which will banish all magical deception. Arthur hears seductive music from two Sirens bathing in a stream.  Though tempted, Arthur realises it is an illusion and presses on. Next, "Nymphs and Sylvans" emerge from the trees singing and dancing.  Again, Arthur rejects them and begins the task of destroying the wood. When he chops a tree with his sword, blood pours out of it and the voice of Emmeline cries out in pain. It convinces Arthur that it is Emmeline, who has been turned into a tree by Osmond, and Arthur is just about to embrace the tree when Philidel reveals it is really a trick by Grimbald. Philidel captures Grimbald and Arthur cuts down the tree, dispelling the enchantment from the wood and freeing the way to Oswald's castle. Philidel drags off Grimbald in chains.

Act 5.

"Scene 1"  Now his magic has been destroyed, Osmond is terrified of the approaching Arthur. He decides he must persuade Oswald to fight for him.  "Scene 2"  Arthur and the Britons are preparing to storm the castle when Oswald comes out and challenges his rival to single combat for the hand of Emmeline and the crown. They fight and Arthur disarms Oswald. Arthur spares his life but tells Oswald he and his Saxons must return to Germany because the Britons "brook no Foreign Power/ To Lord it in a Land, Sacred to Freedom." Osmond is cast into a dungeon with Grimbald. Arthur is reunited with Emmeline and the work ends with a celebratory masque.  The final masque: Merlin conjures a vision of the ocean around Britain. The Four Winds create a storm which is calmed by Aeolus: allowing Britannia to rise from the waves on an island with fishermen at her feet.

References.

Notes  Sources  Other sources

King Arthur, or The British Worthy (Z. 628), is a semi-opera in five acts with music by Henry Purcell and a libretto by John Dryden. It was first performed at the Queen's Theatre, Dorset Garden, London, in late May or early June 1691.

Král Artuš, aneb Britská čest (angl. "King Arthur, or The British Worthy", Z. 628) je anglická opera "(semi-opera)" od Henryho Purcella. Libreto sepsal John Dryden. Opera měla premiéru na konci května, nebo na začátku června 1691 v Dorset Garden Theatre v Londýně.


Early life.

Born in New York City, Zuroff moved to Israel in 1970 after completing his undergraduate degree in history (with honors) at Yeshiva University and high school studies at Yeshiva University High School for Boys. He obtained an M.A. degree in Holocaust studies at the Institute of Contemporary Jewry of the Hebrew University, where he also completed his Ph.D., which chronicles the response of Orthodox Jewry in the United States to the Holocaust and focuses on the rescue attempts launched by the Vaad ha-Hatzala rescue committee established by American Orthodox rabbis in 1939.  In 2000, Yeshiva University Press and KTAV Publishing House published his study of the history of the Vaad ha-Hatzala, which was awarded an Egit Grant for Holocaust and Jewish Resistance Literature by the Israeli General Federation of Labor (Histadrut) and also received the 1999-2000 Samuel Belkin Literary Award for the best book published by a Yeshiva University alumnus in the field of Jewish studies.

Career.

Simon Wiesenthal Center.

In 1978, he was invited to be the first director of the Simon Wiesenthal Center in Los Angeles, where he played a leading role in establishing the Center’s library and archives and was historical advisor for the Center’s Academy award-winning documentary "Genocide". He returned to Israel in 1980, where he served as a researcher for the U.S. Justice Department’s Office of Special Investigations. His efforts assisted in the preparation of cases against numerous Nazi war criminals living in the United States.  He rejoined the Wiesenthal Center in 1986 and uncovered the postwar escape of hundreds of Nazi war criminals to Australia, Canada, Great Britain and other countries. He continued to coordinate the center's international efforts to bring Holocaust perpetrators to justice. These efforts have influenced the passage of special laws in Canada (1987), Australia (1989) and Great Britain (1991) which enable the prosecution in those countries of Nazi war criminals.  Since the fall of Communism and the collapse of the Soviet Union, Zuroff has played a major role in the efforts to convince Lithuania, Latvia, and Estonia and other post-Communist societies to confront the widespread complicity of their nationals in the crimes of the Holocaust and to prosecute local Nazi collaborators. His public advocacy on these issues has been instrumental in the submission by Lithuania and Latvia of indictments (Lileikis, Gimžauskas, Dailidė) and/or extradition requests (Kalējs, Gecas) against local Holocaust perpetrators.  In 1993, Zuroff was appointed by the then Foreign Minister Shimon Peres to serve on the joint Israeli-Lithuanian commission of inquiry established to deal with pardons issued by the authorities of Lithuania, which had recently regained independence, to people suspected of Nazi war crimes, which has succeeded to date in achieving the cancellation by the Lithuanian authorities of approximately 200 rehabilitations granted to individuals who had participated in the murder of Jews during the Holocaust. In 2000 he claimed to have exposed the rehabilitations granted by the government of Latvia to alleged Nazi war criminals and has led the efforts to cancel these pardons.  Zuroff played an important role in the exposure, arrest, extradition and prosecution of Dinko Šakić, the former commandant of the Ustasha concentration camp Jasenovac. In early October 1999, Šakić, who lived for more than 50 years in Argentina, was sentenced in Zagreb to 20 years’ imprisonment (which was the maximum penalty under Croatian law at the time) for his crimes in the first-ever trial of a Nazi war criminal in a post-Communist country. In his book "Occupation: Nazi-Hunter; The Continuing Search for the Perpetrators of the Holocaust" (KTAV; Hoboken, 1994), Zuroff chronicles the belated efforts to prosecute Nazi war criminals in western democracies and explains the rationale for such efforts several decades after the crimes. The book was published in German by Ahriman Verlag. Starting in June 1999, Zuroff's activities as a Nazi-hunter were the subject of five television documentaries. The first, entitled "The Nazi-Hunter", was produced by ZDF (German Channel 2) in 1999; the second, entitled "The Last Nazi-Hunter", was produced by SWR (German Channel 1-regional station) in 2004 and the third, "The Final Hunt for the Nazis", by France 3 (Channel 3), was broadcast in December 2005.In 2009, the BBC produced "The Search for Dr. Death which followed Zuroff to South America in search of Dr. Aribert Heim, who committed horrendous crimes as a doctor at Mauthausen. In 2012, Israeli Channel 10 broadcast the documentary film, "Tzayad ha-Natzim ha-Acharon (The Last Nazi-Hunter).

Operation Last Chance.

In 2002, together with Aryeh Rubin, the founder of the Targum Shlishi Foundation of Miami, Florida, Zuroff launched Operation Last Chance, which offers financial rewards for information which will facilitate the prosecution and punishment of Nazi war criminals. To date, the project has been initiated in Lithuania, Latvia, Estonia (all in 2002); Poland, Romania, Austria (2003); Croatia, Hungary (2004) and Germany (2005). On January 15, 2008, the prize was increased from $10,000 to $25,000.  His second book on the hunt for Nazi war criminals, "Chasseur de nazis" (Paris: Michel-Lafon, 2008), written together with French journalist Alexandre Duyck, continues with the story of the renewed efforts spearheaded by Zuroff to hold Holocaust perpetrators accountable, especially in the wake of the breakup of the Soviet Union and the fall of Communism in Eastern Europe, and focuses on the results achieved by "Operation: Last Chance". That book was published in Serbian by the Zavod za udzbenike publishing company under the title "Lovac na naciste" in 2009 and in Polish by Wydawnictwo Dolnoslaskie under the title "Lowca Nazistow" in 2010.  Zuroff almost completely rewrote the French book about Operation Last Chance in a volume published in English in 2009 by Palgrave Macmillan: "Operation Last Chance: One Man's Quest to Bring Nazi Criminals to Justice". That book was published in German by Prospero Verlag in late 2011 under the title "Operation Last Chance; Im Fadenkreuz des "Nazi Jaegers"" and updated versions were published in 2012 in Serbian, Hungarian, and Finnish. In 2013, Propero Verlag published an updated German version. More recently, Romanian and Croatian versions of the book were published.  In 2006, his exposure in Budapest of convicted but unpunished Hungarian gendarme war criminal Dr. Sándor Képíró, who was said to be among the officers responsible for the mass murder of approximately 2,000 civilians in the city of Novi Sad, led to a criminal investigation against him, with his trial opening on May 5, 2011. A lawsuit by Képíró against Zuroff for libel, was denied. On July 18, 2011, the first-degree judgment declared Sándor Képíró's innocence, but the prosecution appealed against the sentence. Kepiro died in early September 2011, before the appeal was heard. Charles Zentai, who is accused of murdering an 18-year-old Jew, was located by Zuroff and the Hungarian government asked for his extradition from Australia to stand trial in Budapest.

Aribert Heim.

Zuroff, continued the hunt for the Nazi war criminal Aribert Heim after Simon Wiesenthal died in 2005. On July 6, 2008, Zuroff headed to South America as part of a public campaign to capture Heim. He elaborated on July 15, 2008 that he was sure Heim was alive and the groundwork had been laid to capture him within weeks. In fall 2009, his hunt for Aribert Heim, who committed war crimes in the Mauthausen concentration camp, was the subject of a BBC documentary entitled "The Search for Dr. Death", and a fifth documentary "Tzayad ha-Natzim ha-Acharon (The Last Nazi-Hunter)", was broadcast on Israeli Channel 10 on Holocaust Memorial Day in 2012.  Zuroff was lukewarm in his reaction to the reported death of Heim in Cairo in 1992. He observed in February 2009 that: Zuroff concedes, however, that Heim had undoubtedly lived in hiding in Egypt. Aribert Heim had reportedly killed "hundreds of inmates at the Mauthausen concentration camp in Austria by injecting gasoline into their hearts and performing surgery and severing organs without anaesthesia" notes Zuroff. In a 2011 interview he called Heim, "his biggest failure." In the light of fresh revelations about the extent to which the CIA and West German intelligence co-operated with Nazi criminals after the war, Zuroff said he thought it quite possible that Heim worked for West German intelligence and that this may have been the reason that he was never prosecuted.

Publications and other activities.

Over the years Zuroff has published more than 450 articles on various topics relating to the Holocaust, as well as other issues of concern in the Jewish world. His publications have appeared in scholarly journals such as "Yad Vashem Studies", "Simon Wiesenthal Center Annual", "Jewish Political Studies Review", and "American Jewish History", as well as in the "Los Angeles Times", "Sueddeutsche Zeitung" (Germany), "die Tageszeitung" (Germany), "Profil" (Austria), "Boston Globe", "Jerusalem Post", "Tikkun", "Jerusalem Report", "Maariv", "Haaretz", "Yediot Achronot", "The Jewish Chronicle", "Eretz Acheret", and other publications.  Zuroff has lectured extensively to audiences all over the world regarding the efforts to bring Nazi war criminals to justice. During the years 1992-1999, he served in the Education Corps of the Israeli Defense Forces (reserves) and lectured to thousands of soldiers about his work.  In 1995 and 1996, Zuroff was invited to Rwanda to assist the local authorities in their efforts to bring to justice the perpetrators of the genocide which took place in that country in spring 1994, and he has served as an official advisor to the Rwandan government.  On March 4th, 2020, Zuroff was invited to the Tennessee Holocaust Conference at The First Baptist Church in Greeneville, Tennessee, giving a lecture to approximately one-thousand children, educating them about the horrors of the holocaust and how he helped arrest Nazis that fled from their punishment after the war.

Honors.

In recognition of his efforts as a Nazi-hunter and Holocaust scholar, Zuroff was nominated by Serbian President Boris Tadić and the members of parliament of the Democratic Party of Serbia as a candidate for the 2008 Nobel Peace Prize.  On January 22, 2009, he was granted the honorary citizenship of the Serbian city of Novi Sad, in appreciation for the exposure of Sándor Képíró, who allegedly helped organize the murder of the city's Jews.  On January 15, 2010, Zuroff was decorated with the Order of Duke Trpimir by Croatian President Stjepan Mesić for special contributions against historical revisionism and for the reaffirming of antifascist foundations of the modern Republic of Croatia.  On February 16, 2017, the President of Serbia Tomislav Nikolic awarded the Gold Medal for Merit to Dr. Efraim Zuroff for "exceptional achievements" and his "selfless dedication to defending the truth about the suffering of Jews, and also Serbs, Roma and other nations during World War II".

Personal life.

He has four children and 14 grandchildren.  https://www.johnsoncitypress.com/History/2020/03/04/Regional-students-get-Holocaust-history-lesson-from-world-renowned-Nazi-hunter

Efraim Zuroff (; born August 5, 1948) is an American-born Israeli historian and Nazi hunter who has played a key role in bringing indicted Nazi and fascist war criminals to trial. Zuroff, the director of the Simon Wiesenthal Center office in Jerusalem, is the coordinator of Nazi war crimes research worldwide for the Wiesenthal Center and the author of its annual "Status Report" on the worldwide investigation and prosecution of Nazi war criminals which includes a list of "most wanted" Nazi war criminals.

Efraim Zuroff (:, * 5. srpna 1948 New York, USA) je izraelský historik, ředitel kanceláře Centra Simona Wiesenthala pro nacistické válečné zločiny a pronásledovatel ještě žijících a nepotrestaných nacistických válečných zločinců z druhé světové války. Má přezdívku „poslední lovec nacistů“.


History.

Early ASICs used gate array technology. By 1967, Ferranti and Interdesign were manufacturing early bipolar gate arrays. In 1967, Fairchild Semiconductor introduced the Micromatrix family of bipolar diode–transistor logic (DTL) and transistor–transistor logic (TTL) arrays.  Complementary metal-oxide-semiconductor (CMOS) technology opened the door to the broad commercialization of gate arrays. The first CMOS gate arrays were developed by Robert Lipp, in 1974 for International Microcircuits, Inc. (IMI).  Metal-oxide-semiconductor (MOS) standard cell technology was introduced by Fairchild and Motorola, under the trade names Micromosaic and Polycell, in the 1970s. This technology was later successfully commercialized by VLSI Technology (founded 1979) and LSI Logic (1981).  A successful commercial application of gate array circuitry was found in the low-end 8-bit ZX81 and ZX Spectrum personal computers, introduced in 1981 and 1982. These were used by Sinclair Research (UK) essentially as a low-cost I/O solution aimed at handling the computer's graphics.  Customization occurred by varying a metal interconnect mask. Gate arrays had complexities of up to a few thousand gates; this is now called mid-scale integration. Later versions became more generalized, with different base dies customized by both metal and polysilicon layers. Some base dies also include random-access memory (RAM) elements.

Standard-cell designs.

In the mid-1980s, a designer would choose an ASIC manufacturer and implement their design using the design tools available from the manufacturer. While third-party design tools were available, there was not an effective link from the third-party design tools to the layout and actual semiconductor process performance characteristics of the various ASIC manufacturers. Most designers used factory-specific tools to complete the implementation of their designs. A solution to this problem, which also yielded a much higher density device, was the implementation of standard cells. Every ASIC manufacturer could create functional blocks with known electrical characteristics, such as propagation delay, capacitance and inductance, that could also be represented in third-party tools. Standard-cell design is the utilization of these functional blocks to achieve very high gate density and good electrical performance. Standard-cell design is intermediate between and in terms of its non-recurring engineering and recurring component costs as well as performance and speed of development (including time to market).  By the late 1990s, logic synthesis tools became available. Such tools could compile HDL descriptions into a gate-level netlist. Standard-cell integrated circuits (ICs) are designed in the following conceptual stages referred to as electronics design flow, although these stages overlap significantly in practice:  These steps, implemented with a level of skill common in the industry, almost always produce a final device that correctly implements the original design, unless flaws are later introduced by the physical fabrication process.  The design steps, also called design flow, are also common to standard product design. The significant difference is that standard-cell design uses the manufacturer's cell libraries that have been used in potentially hundreds of other design implementations and therefore are of much lower risk than full custom design. Standard cells produce a design density that is cost effective, and they can also integrate IP cores and static random-access memory (SRAM) effectively, unlike gate arrays.

Gate-array and semi-custom design.

Gate array design is a manufacturing method in which diffused layers, each consisting of transistors and other active devices, are predefined and electronics wafers containing such devices are "held in stock" or unconnected prior to the metallization stage of the fabrication process. The physical design process defines the interconnections of these layers for the final device. For most ASIC manufacturers, this consists of between two and nine metal layers with each layer running perpendicular to the one below it. Non-recurring engineering costs are much lower than full custom designs, as photolithographic masks are required only for the metal layers. Production cycles are much shorter, as metallization is a comparatively quick process; thereby accelerating time to market.  Gate-array ASICs are always a compromise between rapid design and performance as mapping a given design onto what a manufacturer held as a stock wafer never gives 100% circuit utilization. Often difficulties in routing the interconnect require migration onto a larger array device with consequent increase in the piece part price. These difficulties are often a result of the layout EDA software used to develop the interconnect.  Pure, logic-only gate-array design is rarely implemented by circuit designers today, having been almost entirely replaced by field-programmable devices. Most prominent of such devices are field-programmable gate arrays (FPGAs) which can be programmed by the user and thus offer minimal tooling charges non-recurring engineering, only marginally increased piece part cost, and comparable performance.  Today, gate arrays are evolving into structured ASICs that consist of a large IP core like a CPU, digital signal processor units, peripherals, standard interfaces, integrated memories, SRAM, and a block of reconfigurable, uncommitted logic. This shift is largely because ASIC devices are capable of integrating large blocks of system functionality, and systems on a chip (SoCs) require glue logic, communications subsystems (such as networks on chip), peripherals and other components rather than only functional units and basic interconnection.  In their frequent usages in the field, the terms "gate array" and "semi-custom" are synonymous when referring to ASICs. Process engineers more commonly use the term "semi-custom", while "gate-array" is more commonly used by logic (or gate-level) designers.

Full-custom design.

By contrast, full-custom ASIC design defines all the photolithographic layers of the device. Full-custom design is used for both ASIC design and for standard product design.  The benefits of full-custom design include reduced area (and therefore recurring component cost), performance improvements, and also the ability to integrate analog components and other pre-designed—and thus fully verified—components, such as microprocessor cores, that form a system on a chip.  The disadvantages of full-custom design can include increased manufacturing and design time, increased non-recurring engineering costs, more complexity in the computer-aided design (CAD) and electronic design automation systems, and a much higher skill requirement on the part of the design team.  For digital-only designs, however, "standard-cell" cell libraries, together with modern CAD systems, can offer considerable performance/cost benefits with low risk. Automated layout tools are quick and easy to use and also offer the possibility to "hand-tweak" or manually optimize any performance-limiting aspect of the design.  This is designed by using basic logic gates, circuits or layout specially for a design.

Structured design.

"Structured ASIC design" (also referred to as ""platform ASIC design"") is a relatively new trend in the semiconductor industry, resulting in some variation in its definition. However, the basic premise of a structured ASIC is that both manufacturing cycle time and design cycle time are reduced compared to cell-based ASIC, by virtue of there being pre-defined metal layers (thus reducing manufacturing time) and pre-characterization of what is on the silicon (thus reducing design cycle time).  Definition from Foundations of Embedded Systems states that  This is effectively the same definition as a gate array. What distinguishes a structured ASIC from a gate array is that in a gate array, the predefined metal layers serve to make manufacturing turnaround faster. In a structured ASIC, the use of predefined metallization is primarily to reduce cost of the mask sets as well as making the design cycle time significantly shorter.  For example, in a cell-based or gate-array design the user must often design power, clock, and test structures themselves. By contrast, these are predefined in most structured ASICs and therefore can save time and expense for the designer compared to gate-array based designs. Likewise, the design tools used for structured ASIC can be substantially lower cost and easier (faster) to use than cell-based tools, because they do not have to perform all the functions that cell-based tools do. In some cases, the structured ASIC vendor requires that customized tools for their device (e.g., custom physical synthesis) be used, also allowing for the design to be brought into manufacturing more quickly.

Cell libraries, IP-based design, hard and soft macros.

Cell libraries of logical primitives are usually provided by the device manufacturer as part of the service. Although they will incur no additional cost, their release will be covered by the terms of a non-disclosure agreement (NDA) and they will be regarded as intellectual property by the manufacturer. Usually their physical design will be pre-defined so they could be termed "hard macros".  What most engineers understand as "intellectual property" are IP cores, designs purchased from a third-party as sub-components of a larger ASIC. They may be provided in the form of a hardware description language (often termed a "soft macro"), or as a fully routed design that could be printed directly onto an ASIC's mask (often termed a "hard macro"). Many organizations now sell such pre-designed cores — CPUs, Ethernet, USB or telephone interfaces — and larger organizations may have an entire department or division to produce cores for the rest of the organization. The company ARM (Advanced RISC Machines) "only" sells IP cores, making it a fabless manufacturer.  Indeed, the wide range of functions now available in structured ASIC design is a result of the phenomenal improvement in electronics in the late 1990s and early 2000s; as a core takes a lot of time and investment to create, its re-use and further development cuts product cycle times dramatically and creates better products. Additionally, open-source hardware organizations such as OpenCores are collecting free IP cores, paralleling the open-source software movement in hardware design.  Soft macros are often process-independent (i.e. they can be fabricated on a wide range of manufacturing processes and different manufacturers). Hard macros are process-limited and usually further design effort must be invested to migrate (port) to a different process or manufacturer.

Multi-project wafers.

Some manufacturers offer multi-project wafers (MPW) as a method of obtaining low cost prototypes. Often called shuttles, these MPW, containing several designs, run at regular, scheduled intervals on a "cut and go" basis, usually with very little liability on the part of the manufacturer. The contract involves the assembly and packaging of a handful of devices. The service usually involves the supply of a physical design database (i.e. masking information or pattern generation (PG) tape). The manufacturer is often referred to as a "silicon foundry" due to the low involvement it has in the process.

Application-specific standard product.

An application-specific standard product or ASSP is an integrated circuit that implements a specific function that appeals to a wide market. As opposed to ASICs that combine a collection of functions and are designed by or for one customer, ASSPs are available as off-the-shelf components. ASSPs are used in all industries, from automotive to communications. As a general rule, if you can find a design in a data book, then it is probably not an ASIC, but there are some exceptions.  For example, two ICs that might or might not be considered ASICs are a controller chip for a PC and a chip for a modem. Both of these examples are specific to an application (which is typical of an ASIC) but are sold to many different system vendors (which is typical of standard parts). ASICs such as these are sometimes called application-specific standard products (ASSPs).  Examples of ASSPs are encoding/decoding chip, standalone USB interface chip, etc.  IEEE used to publish an ASSP magazine, which was renamed to IEEE Signal Processing Magazine in 1990.

An application-specific integrated circuit (ASIC ) is an integrated circuit (IC) chip customized for a particular use, rather than intended for general-purpose use. For example, a chip designed to run in a digital voice recorder or a high-efficiency bitcoin miner is an ASIC. Application-specific standard product (ASSP) chips are intermediate between ASICs and industry standard integrated circuits like the 7400 series or the 4000 series. ASIC chips are typically fabricated using metal-oxide-semiconductor (MOS) technology, as MOS integrated circuit chips.

ASIC (), nazývaný i zákaznický integrovaný obvod, je integrovaný obvod navržený a vyráběný pro určitou specifickou aplikaci. I když v širším slova smyslu může pojem "zákaznický integrovaný obvod" zahrnovat i programovatelné obvody – například FPGA, CPLD a mikrokontroléry – naprogramované konkrétním firmwarem pro danou aplikaci, v praxi se pojem ASIC používá jen pro integrované obvody navržené a vyráběné speciálně pro konkrétní použití.


Personal life.

Rennie was born in Sunderland, Tyne and Wear, to Scottish parents. When he was four years old, the family emigrated to Canada. Rennie was brought up in middle-class Edmonton, Alberta, as the second of three boys. He graduated from Strathcona High School, where he met and befriended Bruce McCulloch from The Kids in the Hall. He dropped out from college and took up all sorts of odd jobs instead, leaving Edmonton for brief stays in Vancouver and Toronto before eventually settling in Vancouver. After a serious bout with alcoholism in his youth, Rennie managed to get his addiction under control at age 33 and was finally able to commit to acting.  He likes painting and admires abstract expressionist artists such as Basquiat, Motherwell and Pollock (the Champion spark-plug logo tattoo on his right arm is a homage to Stuart Davis). An enthusiastic mountain climber in his youth, Rennie still practices various sports. He loves a game of hockey but is, above all, an avid golfer. He resides alternately in Vancouver and Los Angeles. He is unmarried and has no children.

Career.

Early work.

Working at the campus radio of University of Alberta led Rennie to discover acting at age 25. He started his career on stage, performing at the A.B.O.P. Theatre in Edmonton in "Amerika", a play adapted from Franz Kafka's novel and followed with the critically acclaimed "American Buffalo" during the Edmonton International Fringe Festival. After attending Bruhanski Theatre Studio in Vancouver, he had his first professional theatrical performance in 1989 in Sally Clark's "Lost Souls and Missing Persons", a Touchstone Theatre production. This earned him an invitation to work at the Shaw Festival where he appeared in "Man and Superman" and in Pinero's "Trelawny of the Wells" (1990).

1993–2001.

Rennie's first appearance on screen was in the indie Canadian film "Purple Toast", filmed in 1990 and released in 1993. Also in 1993, he began to take small roles in television ("", "Forever Knight", and the revamped version of "The Outer Limits"). Rennie's profile within the Canadian industry was heightened during this period by leading roles in the television films "Paris or Somewhere" (1994) and "For Those Who Hunt the Wounded Down" (1996). Due to several disagreements during the production of the latter film, Rennie vowed never to work for the CBC again, though he has remained a staunch supporter of the Canadian industry as a whole. After his first appearance on "The X-Files", he was offered the role of Alex Krycek but turned it down because he did not want to commit to a television series at that time. His career gained momentum quickly and larger roles in Canadian films followed (the independent short film "Frank's Cock" by Mike Hoolboom, and Mina Shum's "Double Happiness" as Sandra Oh's love interest, for which he was nominated for a Genie Award as best supporting actor). He also had more important roles on television series, as in a two-parter for "La Femme Nikita".  His most prominent early roles were as guitar player Billy Tallent in Bruce McDonald's "Hard Core Logo" (1996) and as detective Stanley Raymond Kowalski in the third and fourth seasons of CTV series "Due South", which aired in over 150 countries. The Canadian band Billy Talent is named after his "Hard Core Logo" character. As for his part in "Due South", it has been said that his "disaffected intensity and hungover good looks" added an edge to the series.  Rennie was then seen in the recurrent roles of the convenience store guru Newbie on Don McKellar's cult television series "Twitch City" and of detective Bobby Marlowe on the award-winning series "Da Vinci's Inquest".  His interpretation of sex marathoner Craig Zwiller in Don McKellar's "Last Night" earned him his first Genie Award (1999). After a role in David Cronenberg's "eXistenZ" (1999), his first international success on the big screen was his appearance as the thug Dodd in Christopher Nolan's "Memento" (2000). The same year, he impersonated a chilling yet seductive drifter in "Suspicious River".

2002–present.

With the father characters of "Falling Angels" (2003) and "Flower and Garnet" (2002), Rennie expanded to playing more mature roles, rather than young, self-destructive rebels. He also impersonated self-controlled Inspector Wood in the period drama "Torso: The Evelyn Dick Story" (2002) and appeared as the quiet dyslexic painter of "Wilby Wonderful" (2004).  He has played guest roles in episodes of various Canadian or US television series like "Mutant X", "The Dead Zone", "Smallville", "Supernatural", "The L Word", "Bionic Woman" and more recently "Harper's Island". During the same time, he has interpreted contrasting characters in movies such as "The Butterfly Effect", "H20: the Last Prime Minister", "The Five People You Meet in Heaven", "" (2004), "Lucid" (2005), "Unnatural & Accidental" (2006), "The Invisible", "Tin Man", "Normal", "Silk" (2007), and "" (2008).  His recurring role as the Cylon Leoben Conoy in the reimagined "Battlestar Galactica" (2003–09) and his portrayal of the record producer Lew Ashby throughout the second season of "Californication" (2008) have earned him a new wide and international recognition.  In 2009–10, Rennie played a character named Jeff Slingerland aka Dr. Maurice Raynaud on the ABC series "FlashForward". Before the series was cancelled, David Goyer, who had previously directed him in "Blade" and "The Invisible", mentioned he would be back and was slated to appear in the second season. He also appeared as Russian mobster Vladimir Laitanan in the eighth season of "24".  In Fall 2010, he played the lead role of Detective Brian Sullivan on "Shattered", a series about a detective who suffers from multiple personality disorder. It aired in Canada on Global TV, followed by airings in other countries, though not the United States. Rennie received critical acclaim for his performance, and in 2011 won the Gemini and Leo awards for the role. Shattered was not renewed for a second season.  His 2010 appearances on the big screen included the Canadian film "Gunless", a Western comedy starring Paul Gross, as a bounty hunter on the trail of Gross' Montana Kid. He also reprised his role as Billy Tallent for a short appearance in "Trigger". "Trigger" is part of several films set in the same universe as "Hard Core Logo", directed again by Bruce McDonald; this one, starring Molly Parker and Tracy Wright, written by Daniel MacIvor, is about the reunion of two women who used to be in an alternative rock band together. Rennie also served as one of Trigger's executive producers. Another film, "Faith, Fraud & Minimum Wage", based on Canadian playwright Josh MacDonald's play "Halo", has been completed and is waiting for release.  Rennie made a number of television appearances in 2011, including a supporting role on "The Killing" as Rick Felder, Detective Sarah Linden's fiancé. He also guest starred on "Alphas", "" and "Rookie Blue".  Rennie was also cast as a series regular on the NBC series "The Firm". He plays Ray McDeere, the brother of the principal character, Mitch McDeere, played by Josh Lucas. It began airing as a midseason replacement for the 2011–12 season.  In 2015, Rennie was cast as a main character for the second season of Amazon's "The Man in the High Castle." He will join the cast in the role of Gary Connell, leader of the West Coast Resistance movement.

Callum Keith Rennie (born 14 September 1960) is a British-born Canadian television and film actor. He started his career in Canadian film and television projects, where his portrayal of Stanley Raymond Kowalski on the television series "Due South" was his first international success. After years acting in over 125 Canadian and international projects, he became widely known for his portrayal of the Cylon model number two Leoben Conoy on "Battlestar Galactica", and following that, his role as record producer Lew Ashby on the Showtime series "Californication".

Callum Keith Rennie (* 14. září 1960) je britský herec. Narodil se skotským rodičům v anglickém městě Sunderland; když mu byly čtyři roky, rodina odjela do Kanady. Herectví se začal věnovat již v osmdesátých letech, nejprve však v divadle. Svou první filmovou roli dostal v roce 1993. Později hrál například ve filmech "Osudový dotek" (2004), "Sněhový dort" (2006), "" (2007) a "" (2008). Dále hrál také například postavu hudebního producenta Lewa Ashbyho v seriálu "Californication".


Academic contributions.

Throughout his academic career, Beckerath maintained a high scholarly standard in his publications and articles and dispelled many previously held assumptions or beliefs by meticulously analyzing the original evidence. For instance, in a "GM" 154 (1996) paper, he examined and published a privately owned and poorly known stela, which dated to Year 22 of Osorkon II's reign and has frequently been called a Jubilee stela by academics (GM 154, pp. 19). Beckerath revealed, however, that this document did not mention any Sed festival or Jubilee celebrations for Osorkon II in this year as one would have expected if he had indeed celebrated his massive Jubilee Feast at this time. Instead, Beckerath demonstrated that the stela's text simply read: "Regnal Year 22 under the Majesty of the King of Upper and Lower Egypt, Usermaatre Setepenamun (i.e., Osorkon II), son of Re, the Appearance of the beloved Osorkon Meryamun" in the presence of the deities Osiris, Horus and Isis. (GM 154, p. 20). Osorkon II is shown being blessed by these gods in the stela.  In other words, the document was just a perfectly ordinary stela depicting the king before this trinity of gods. Beckerath aptly notes that this new evidence casts serious doubt upon the idea that the damaged Sed Jubilee date in Osorkon II's Bubastis Festival Hall should be read as Year 22, rather than Year 30 of this pharaoh's reign (the latter reading is possible with some restoration of the damaged numeral) as Edward Wente noted in his 1976 "JNES" review of Kitchen's "TIPE" book. Beckerath's analysis thus undermined the conventional view that this king celebrated his Sed Jubilee in his 22nd Year and suggests that Osorkon II likely celebrated his first Jubilee Feast in his 30th Year instead. Traditionally, in Egypt, Sed Jubilee Feasts were held on the 30th Year of a king's reign as is evidenced by the practices of other 22nd Dynasty kings such as Osorkon I, Shoshenq III and Shoshenq V.  In another article titled "Zur Datierung des Papyrus Brooklyn 16.205" in "GM" 140 (1994), pp. 15–17, Professor Beckerath argued that "the 49th regnal year of a king referred to in Pap. Brooklyn 16.205 [which] is generally ascribed to Shoshenq III of the 22nd Dynasty" and comes from a mummy bandage from Deir el-Bahari should be dated to Year 49 of the 21st dynasty king Psusennes I instead because "it is unlikely that private persons from Upper Egypt [would] refer to this late year of Shoshenq III." Shoshenq III is known to have lost effective control of Upper Egypt after his 8th Year when Pedubast I proclaimed himself king here. All mentions of Shoshenq III after his 8th Year in Upper Egypt are associated with the serving High Priest of Amun, Osorkon B. After the 1993 discovery of a new Tanite king named Shoshenq IV who ruled Egypt for a minimum of 10 years in the 13-year interval from Year 39 of Shoshenq III to Year 1 of Pami, Kenneth Kitchen accepted von Beckerath's proposal in the introduction to the latest (1996) edition of his book, "The Third Intermediate Period of Egypt (c. 1100-650 BC)." Kitchen writes that this new royal arrangement (i.e.: Shoshenq III->Shoshenq IV->Pami) means that "Papyrus Brooklyn 16.205 of a Year 49 followed by a Year 4 must now be attributed to the time of Psusennes I and Amenemope, not to Shoshenq III and Pimay. [i.e. Pami] (cf. 103, §83 below)" (Kitchen, TIPE 1996, p. xxvi).  Beckerath also advocated the view that Shoshenq II enjoyed an independent reign at Tanis in his book "Chronologie des Pharaonischen Ägypten." This view is seconded by Norbert Dautzenberg among other scholars.  He died in June 2016 at the age of 96.

Jürgen von Beckerath (19 February 1920, Hanover – 26 June 2016, Schlehdorf) was a German Egyptologist. He was a prolific writer who published countless articles in journals such as "Orientalia", "Göttinger Miszellen" (GM), "Journal of the American Research Center in Egypt" (JARCE), "Archiv für Orientforschung" (AfO), and "Studien zur Altägyptischen Kultur" (SAK) among others. Together with Kenneth Kitchen, he is viewed as one of the foremost scholars on the New Kingdom and the Third Intermediate Period of Egypt.

Jürgen Rudolf Friedrich von Beckerath (19. února 1920 Hannover, Výmarská republika – 26. června 2016) byl německý egyptolog a emeritní profesor na Westfälische Wilhelms-Universität v Münsteru.


Playing career.

Club.

Costinha was born in Lisbon to an Angolan father, who had emigrated to the Portuguese capital in the 1960s. In the summer of 1997, after years of playing in the lower leagues, he caught the interest of French club AS Monaco FC while playing with C.D. Nacional in the second division. After a tentative first season he became an important first-team member, helping with 28 matches and one goal to the 1999–2000 conquest of the Ligue 1 championship; he was part of a talented side which ousted Manchester United from the UEFA Champions League in 1998, on the away goals rule.  Aged almost 27, Costinha made his Primeira Liga debut when he signed with FC Porto in 2001, going on to be an instrumental midfield element in the northerners' two consecutive national championships. On 9 March 2004, he scored against and effectively knocked out Manchester United in the Champions League first knockout round; Porto went on to win the title, beating his former side Monaco 3–0 in the final.  Again a starter throughout most of the 2004–05 campaign, Costinha was sold to FC Dynamo Moscow in May 2005 for €4 million, alongside teammates Maniche and Giourkas Seitaridis, following Derlei (left in January). Unsettled, he left for Atlético Madrid, where he would play in 2006–07.  Costinha would be released by the "Colchoneros" in August 2007, joining Serie A's Atalanta BC, where he would appear very rarely throughout his spell (only one match, in his first season) due to serious injuries and, later, technical choices from his club, who considered the player unfit to play competitively, despite him having the highest salary in the first team (€700,000 per year, in a contract due to expire in June 2010). The club tried to agree a mutual termination of the contract with the player, and also attempted unsuccessfully to obtain rescision of his contract through the Italian Football League.

International.

Costinha made his debut for Portugal on 14 October 1998, during a 1–0 home win against Slovakia for the UEFA Euro 2000 qualifiers, going on to appear in the tournament's final stage where he scored an injury time header against Romania (same score).  He also played at Euro 2004 and the 2006 FIFA World Cup. During the latter, on 25 June, he took part in the Battle of Nuremberg, being one of four players sent off in the 1–0 round-of-16 victory over the Netherlands after two bookable offences, the second being a handball.  Costinha finished his international career with 53 caps and two goals, having been rarely called during the Euro 2008 qualifying stage.

Coaching career.

On 23 February 2010, 35-year-old Costinha left Atalanta by mutual consent. He immediately retired, being named shortly afterwards as Sporting CP's director of football, succeeding the sacked Ricardo Sá Pinto, his former international teammate. On 9 February 2011, the day after an interview to Sport TV in which he criticised the club's board of directors, he was dismissed.  In June 2011, in the same capacity, Costinha joined Servette FC, with the Swiss team being managed by countryman João Alves. It was reported that the pair did not see eye to eye on certain issues, and in November 2011, Alves was fired and replaced by João Carlos Pereira. The team's results worsened under Peireira and in April 2012, both Pereira and Costinha were fired, with Alves being reinstated as manager; Costinha reportedly contested the terms of his removal, claiming that his contract extended until June 2013.  Costinha was hired as manager of S.C. Beira-Mar on 18 February 2013, replacing Ulisses Morais. He left the club on 22 May, after its top flight relegation.  On 12 June 2013, Costinha was appointed at fellow league team F.C. Paços de Ferreira, who had made the qualifying rounds of the Champions League for the first time in its history. His midfield partner for Portugal and three clubs, Maniche, was hired as assistant; but Costinha was sacked after only four months, however, due to poor results.  On 20 June 2016, Costinha took over at Académica de Coimbra, recently relegated from the top division. Maniche again assisted him, until leaving for personal reasons in October.  On 30 May 2017, Costinha was appointed as manager of C.D. Nacional. In his first year, they were promoted back to the top tier as champions.  Costinha left a year later by mutual consent, due to the Madeira team's relegation as second from the bottom. Negative highlights included a 10–0 loss against eventual champions S.L. Benfica, on 10 February 2019.

Honours.

Player.

Monaco  Porto  Portugal

Manager.

Nacional

Francisco José Rodrigues da Costa, (born 1 December 1974), known as Costinha (), is a Portuguese former footballer who played as a defensive midfielder, and a current manager.

Francisco José Rodrigues da Costa známý jako Costinha (* 1. prosince 1974, Lisabon) je bývalý portugalský fotbalista a pozdější trenér. Nastupoval většinou na pozici defenzivního záložníka.