Biography.

Crowley was born in Brockton, Massachusetts. His mother, Mary Crowley, was a homemaker. His father, William C. Crowley, was a vice president for public relations with the Boston Red Sox, and a former U.S. Army Air Forces B-17 pilot, who spent two years as a POW in a German POW camp.  Crowley was educated at the College of the Holy Cross, graduating with a B.A. in English in 1973. He joined the United States Air Force in June 1973. He spent 26 years in the Air Force, and was stationed in New Hampshire, New York, Massachusetts, Colorado, Washington, Turkey, and Germany. During the Gulf War, he was stationed at Incirlik Air Base for four months. In 1997, he was named senior director of public affairs for the United States National Security Council and Special Assistant to the President for national security affairs. During the Kosovo War, he worked with Javier Solana, Secretary General of NATO from April to June 1999. He retired from the Air Force in September 1999 at the rank of Colonel.  In 2001, Crowley became a vice president of the Insurance Information Institute, specializing in the impact of terrorism on insurance in the wake of the September 11 attacks. He then joined the Center for American Progress as a senior fellow in 2003, later becoming the Center's director of national defense and homeland security.

Public service career.

In 2009, President Barack Obama nominated Crowley to be Assistant Secretary of State for Public Affairs. Crowley was sworn into office on May 26, 2009.  He was noted for his dry wit: when reminding Americans on the ban on visiting North Korea, he pointed out on Twitter that "we only have a handful of former presidents" to visit North Korea and retrieve captured Americans. He was forced to apologize to Libyan dictator Muammar Gaddafi after telling an interviewer that Gaddafi's speech to the United Nations did not make "a lot of sense".

Chelsea Manning controversy.

On March 10, 2011, Crowley publicly criticized the Pentagon for the alleged mistreatment of military prisoner Chelsea (then known as Bradley) Manning, the U.S. soldier suspected of providing whistle-blower website WikiLeaks with classified diplomatic cables.  Crowley told an audience of about twenty people at Massachusetts Institute of Technology's Center for Future Civic Media that while Manning was "in the right place," she was being mistreated by the United States Department of Defense. Crowley called the Defense Department's treatment of Manning "ridiculous and counterproductive and stupid." When asked "Are you on the record?" by British journalist Philippa Thomas, Crowley replied "Sure."  His remarks, revealed in Thomas's blog, caused anger in the White House. On March 13, 2011, Crowley resigned from office. In his resignation letter, Crowley stood by his remarks, writing that while the "unauthorized disclosure of classified information is a serious crime under U.S. law", the "exercise of power in today's challenging times and relentless media environment must be prudent and consistent with our laws and values".

Philip J. "P.J." Crowley (born July 28, 1951) is the former United States Assistant Secretary of State for Public Affairs, having been sworn into office on May 26, 2009. He resigned on March 13, 2011, following comments he made about the treatment of Chelsea (formerly Bradley) Manning. Crowley was named the 2011-2012 recipient of the General Omar N. Bradley Chair in Strategic Leadership, a joint initiative among the United States Army War College, Dickinson College and the Pennsylvania State University – Dickinson School of Law. While in residence, Crowley conducted classes at the three institutions. He is currently teaching at George Washington University and is affiliated with the university's Institute for Public Diplomacy and Global Communication.

Philip J. Crowley (* 28. Juli 1951 in Brockton, Massachusetts) ist ein ehemaliger US-amerikanischer Regierungsbeamter. Er war von 2009 bis 2011 Sprecher von US-Außenministerin Hillary Clinton.


History.

In 1906, a group of young sailors founded the Uruguayan Yacht Club in Montevideo`s bay in order to promote sailing in the region. Years later the club moved to Buceo`s bay and in 1939 the club consolidated its presence with the construction of an eight-story building. Architects Jorge Herrán and Luis Crespi designed the boat-shaped building which, since 1997, has been considered part of Uruguay`s historical legacy. Late in the 20th century, the yacht club incorporated branches in Punta del Este and Santiago Vázquez.  The club`s ensign is Uruguay`s national flag according to a constitutional decree approved on 11 August 1908. The club has an emblem with a sun and an anchor and a burgee with four blue stripes on white and a red anchor at the canton.

International relations.

The club started its international relations in 1909 with the arrival of sailors from the Yacht Club Argentino. Since then, the yacht club promotes international contacts with clubs around the world and encourages sailors to participate in worldwide sailing events such as world and regional sailing championships and Olympic games. The Yacht Club Uruguayo is the recognized national member for Uruguay of the International Sailing Federation.

Club's facilities.

The club is ideally located in the center of Montevideo, allowing visiting sailors a very comfortable and unique stay on Montevideo`s shores. The port is located 10 minutes from downtown and 15 minutes from Aeropuerto Internacional de Carrasco airport. The club can hold over 300 boats and has embarkation services 24 hours a day. The yacht club also has two open swimming pools, six tennis courts, three football five courts and a football seven court.

The Yacht Club Uruguayo is situated in the city of Montevideo and it officially represents the International Sailing Federation (ISAF) in Uruguay.

Der Yacht Club Uruguayo (YCU) befindet sich in der Stadt Montevideo und vertritt offiziell den Internationalen Segelverband (ISAF) in Uruguay.


History.

Early terminus.

The first railway station to occupy the Flinders Street site was called Melbourne Terminus, and was a collection of weatherboard train sheds. It was opened on 12 September 1854 by the Lieutenant-Governor, Charles Hotham. The terminus was the first city railway station in Australia, and the opening day saw the first steam train trip in the country. It travelled to Sandridge (now Port Melbourne), over the now redeveloped Sandridge Bridge, travelling along the now light rail Port Melbourne line.  The first terminus had a single platform 30 metres long, and was located beside the Fish Market building on the south-west corner of Swanston and Flinders Streets. An additional platform was provided in 1877, along with two overhead bridges to provide passenger access, followed by additional timber and corrugated iron buildings and a telegraph station in 1879. The first signal boxes were opened at the station in 1883, one at each end of the platforms.  Melbourne's two other early central-city stations, Spencer Street and Princes Bridge, opened in 1859. Spencer Street served the lines to the west of the city, and was isolated from the eastern side of the network until a ground level railway was built connecting it to Flinders Street in 1879, this track being replaced by the Flinders Street Viaduct in 1889.  Princes Bridge was originally separated from Flinders Street, even though it was only on the opposite side of Swanston Street. Once the railway line was extended under the street in 1865 to join the two, Princes Bridge was closed. It was reopened in April 1879, and from 1909 slowly became amalgamated into Flinders Street. Federation Square now occupies its site. Up until the 1880s a number of designs for a new station had been prepared, but none ever went further.

Current building.

In 1882, the government decided to build a new central passenger station to replace the existing ad-hoc station buildings. A design competition was finally held in 1899, and 17 entries were received. The competition was essentially for the detailed design of the station building, because the location of the concourse and entrances, the track and platform layout, the type of platform roofing, and even the room layout to some extent, were already decided.  In 1899, the £500 first prize was awarded to railway employees James Fawcett and H.P.C. Ashworth, of Fawcett and Ashworth, whose design, named "Green Light", was of French Renaissance style. It included a large dome over the main entrance, and tall clock tower over the Elizabeth Street entrance. A train shed over the platforms was intended to have many arched roofs running north–south, but only an alternative plan survives, depicting an impressive three-arched roof (running east–west) over the concourse.  Work began in 1900 on the rearrangement of the station tracks, while the final design of the station building was still being worked on. Work on the central pedestrian subway started in 1901, with the foundations of the main building completed by 1903.  In 1904, in mid construction, the plans were extensively modified by the Railways Commissioners. The proposed train shed was replaced by individual platform roofs, and it was decided not to include a concourse roof. To increase office space, a fourth storey was added to the main building, which resulted in the arches above each entrance on Flinders Street being lowered, decreasing their dominance.  In 1905, work began on the station building itself, starting at the west end and progressing towards the main dome. Ballarat builder Peter Rodger was awarded the £93,000 contract. The building was originally to have been faced in stone, but that was considered too costly, so red brick, with cement render details, was used for the main building instead. Grey granite from Harcourt was used for many details at ground level on the Flinders street side, "in view of the importance of this great public work". The southern facade of the main building consisted of a lightweight timber frame clad with zinc sheets, which were scored into blocks and painted red in order to look like large bricks. That was done to created corridors instead of what were to be open-access balconies inside the train shed. Work on the dome started in 1906. The structure required heavy foundations as it extended over railway tracks. In May 1908, work was progressing more slowly than planned, with the expected completion date of April 1909 increasingly unlikely to be met. Rodger's contract was terminated in August 1908. A Royal Commission was appointed in May 1910, finding that Rodger could be held accountable for the slow progress in 1908, but he should be compensated for the difficulties before then. The Way and Works Branch of the Victorian Railways took over the project, and the station was essentially finished by mid-1909. The verandah along Flinders Street, and the concourse roof and verandah along Swanston Street, were not completed until after the official opening in 1910.  The building has three levels at the concourse, or Swanston Street, end, and four at the lower Elizabeth Street, or platform, end. Numerous shops and lettable spaces were provided, some on the concourse, but especially along the Flinders Street frontage, many at lower than street level, accessed by stairs, which created a fifth / basement level. The top three levels of the main building contain a large number of rooms, particularly along the Flinders Street frontage, mostly intended for railway use, but also many as lettable spaces. Numerous ticket windows were located at each entry, with services, such as a restaurant, country booking office, lost luggage office and visitors help booth, at the concourse or platform level. Much of the top floor was purpose-built for the then new Victorian Railway Institute, including a library, gym and a lecture hall, later used as a ballroom. Those rooms have been largely abandoned and decaying since the 1980s. For a number of years in the 1930s and 1940s, the building featured a creche next to the main dome on the top floor, with an open-air playground on an adjoining roof. Since 1910, the basement store beside the main entrance has been occupied by a hat store, known as 'City Hatters' since 1933.  The first electric train service operated from Flinders Street to Essendon in 1919, and by 1926 it was the world's busiest passenger station. To cater for the increasing numbers of passengers, the Degraves Street subway from the station was extended to the north side of Flinders Street in 1954. In March 1966, Platform One was extended to long.

Redevelopment plans.

Plans arose at various times from the 1960s to the 1970s for the demolition or redevelopment of the station, as well as the adjacent Jolimont Yard area. The station had fallen into disrepair, having not been cleaned in decades, and covered with advertising hoardings and light up signs.  In 1962, the Minister for Transport and HKJ Pty Ltd signed an agreement for a £30 million redevelopment of the station that would have resulted in the demolition of the clock tower and replacement with an office building up to 60 stories high. Work was to begin in 1964, but instead the Gas & Fuel Building was constructed over the Princes Bridge station. In 1967 a company purchased the option to lease the space above Flinders Street Station, planning to build a shopping plaza and two office towers, the dome and clock tower being kept as part of the design, but strong opposition saw this project lapse.  In 1972, Victorian Premier Henry Bolte unveiled another redevelopment plan, to cover of space above the Flinders Street Station and Jolimont Yard for a complex of shops, offices, theatres and other community facilities. A newspaper report of 1974 said that planning was still underway for the $250 million proposal, but by 1975, public perceptions had begun to turn towards retention of the station. A Builders Labourers Federation green ban at the time helped preserve it in its existing form.  In 1989, under the John Cain Government an agreement to construct the "Festival Marketplace" was signed. Designed by Daryl Jackson architects, it was to be built over the existing platforms in a style sympathetic to the existing station, and be completed by 1992. Planned to feature shops, restaurants and cafes, the project was abandoned in 1991 after the inability of the financiers to come up with the $205 million required due to the early 1990s recession.  In November 2011, the Victorian Government launched a $1 million international design competition to rejuvenate and restore the station. In October 2012, after receiving 118 submissions, six finalists were selected. The public could vote and the jury's choice and people's choice winner were announced on 8 August 2013. The competition winner was Hassell + Herzog & de Meuron, while the people's choice winner were University of Melbourne students Eduardo Velasquez, Manuel Pineda and Santiago Medina.

Refurbishment.

The Swanston Street concourse has undergone the most change of any part of the station, and is now three times the depth of the original structure, and only the canopy and roofed area on Swanston Street remains of the original. After the first round of works in 1985 a City of Melbourne councillor, Trevor Huggard, described the renovation as "vandalism of historically important sections of the station", and in 1997 the National Trust of Australia described the additions to the concourse as unsympathetic and detrimental to the station, having "the character of a modern shopping centre".  The television displays used to display next train information were added to each platform in July 1980.  In 1982, a $7 million refurbishment was announced by the Minister of Transport Minister for Transport, Stephen Crabb, divided into four phases, designed by the railways architect Kris Kudlicki. Completed by 1984, the first escalators at the station provided on platform 2 / 3 replaced the ramps, and new public toilets were provided, replacing those over the platforms. The main station concourse was tiled and extended westward over the tracks, with skylights added above the ramps,16 new shops opened on the concourse. A restaurant was built on the southern side facing the river, which opened in October 1985, but closed soon after, becoming instead the "Clocks on Flinders" poker machine venue in 1994. The main steps were embedded with electrical circuits to keep them dry in June 1985.  In 1993, the Elizabeth Street pedestrian subway opened at the Southbank end. Conservation work was also carried out to the main building, with the external facade painted in the original colours, exterior feature lighting installed, and the stained glass feature windows above each entry restored. Further changes were made through the late 1990s with the opening of access from the main Swanston Street concourse to platform 1, platform resurfacing with tactile tiles, and the replacement of the remainder of the original platform access ramps (except platform 10) with escalators and elevators.  The tracks to the east of the station were rebuilt in 1997/98 to clear the way for the Federation Square project. Jolimont Yard was eliminated, with $40 million spent to reduce 53 operating lines between Flinders Street and Richmond Station to just 12. The number of points was also reduced, from 164 to 48. These changes also saw a reallocation of platform usage at the station, country trains being shifted from platform 1 to platform 10, and Clifton Hill group trains being shifted from the deleted Princes Bridge Station to platform 1.  The final round of changes were completed by 2007. It included refurbishment of the building roof and concourse foundations, an upgrade of platform 10 with escalators and a lift replacing the ramp, the relocation of all ticket booking offices to the main entrance under the main dome and new LCD Passenger Information Displays installed on the platforms, subways and concourse. In March 2009 an escalator replaced the lift to platform 12 and 13, with platform 13 also extended westwards into daylight along the alignment of the former platform 11.  In 2008, the retail pavilions on the concourse were rebuilt, increasing their area. An investigation of the potential of the abandoned spaces in the station, overseen by a taskforce comprising representatives from Connex, the Committee for Melbourne, Melbourne City Council, Heritage Victoria, was completed the same year, but the conclusions have not been made public. In January 2010, one of the first announcements by the new Minister for Public Transport was that the government was investigating the refurbishment of the abandoned spaces for "cultural uses".  In mid-February 2015, Premier Daniel Andrews and Minister for Public Transport Jacinta Allan announced that $100 million would be spent for urgent refurbishment works to upgrade station platforms, entrances, toilets, information displays and the restoration of exterior of the main building. By July 2017, the station had been almost completely repainted in the original 1910 colours. The Premier announced that works were likely to continue for another 18 months.  As painting continued in January 2018, a further round of works was announced including the renewal of the Elizabeth Street pedestrian subway and rebuilding of the subway's south entrance to include direct access to platform 10.

Clocks.

The distinctive clocks under the main dome that show the departure times of the next trains date back to the 1860s. Sixty Bathgate indicators were purchased from England for use at the Flinders Street, Spencer Street, Richmond and South Yarra stations. Those at Flinders Street were placed into storage when the old station was demolished in 1904, with 28 placed into the new station in 1910. They were located at the main entry under the dome, the southern side archway, and the Degraves and Elizabeth Street entrances.  Manually operated by a railway officer using a long pole, during an 8-hour period the clocks at the main entrance were changed an average of 900 times. The original indicator clocks were removed from service in 1983 as part of a redevelopment of the station, with their replacement by digital displays planned. An outpouring of public outrage and sentimentality saw the decision reversed within one day. The clocks at the main entrance were altered to automatic operation by computer, but those at the Degraves and Elizabeth Street entrances were replaced by large airport-style split-flap displays.  The space "under the clocks" or "on the steps" leading to the dome has been a popular informal meeting place for Melburnians since the station's opening. Although the area was not intended for this purpose, and there is no seating or other infrastructure to suggest it as a destination, the locationopposite the well-known Young and Jackson Hotel and overlooking two of the busiest tram routes in the citymeans it is accessible and visible to many of the city's main pedestrian thoroughfares. Many people who meet "under the clocks" do not arrive by train; the site's cultural significance extends beyond its main function as a transport hub.  A clock tower has also existed at the end of Elizabeth Street since 1883. The first clock was known as the 'Water Tower Clock', after a wooden framed water tower erected on the site in 1853. This clock remained in place until 1905 when work begun on the new station, the clocktower being moved to outside Princes Bridge station. In 1911 it was moved to Spencer Street station, where it remained until the station redevelopment of 1967. Sold to a private collector, it was returned to public ownership and in 1999 was put on display at the Scienceworks Museum, Spotswood. It was returned to Southern Cross station in 2014.  Today's Elizabeth Street clock tower was constructed between August 1906 and November 1907, the clock being built by Melbourne clockmaker F Ziegeler to an English design. Originally needing to be wound every day, it is now electrically operated. It was cleaned and overhauled between 2017 and 2018 before being fully restored to service.

Signal boxes.

The first signal boxes were opened at the station in 1883, one at each end of the platforms. By the 1890s a third island platform had been constructed. From the 1900s until 1983 five signal boxes controlled traffic into Flinders Street Station.  Flinders Street A was located at the western end of Flinders Street between the lines to St Kilda / Port Melbourne and Spencer Street, and controlled all traffic from the west. Constructed of brick it was of "traditional" Victorian Railways design, it had two mechanical lever frames of equal size, totalling 280 levers. The mechanical signals were decommissioned in October 1979. The signal box has been burnt twice, the second time being in 2002, destroying the timber and glass superstructure and slate roof. In 2009 it is now being rebuilt as "Signal", a youth arts centre funded by the City of Melbourne.  Flinders Street B was located at the Richmond end of Flinders Street platform 8/9 and controlled the southern tracks into and out of the station from Jolimont Yard. Constructed of brick it was of traditional Victorian Railways design, and was demolished when the Federation Square Deck was built.  Flinders Street C was located beyond the Richmond end of Flinders Street platform 4/5 and controlled the northern tracks into and out of the station from the yard. Constructed of brick it was of 'traditional' Victorian Railways design, and was demolished when the Federation Square Deck was built.  Flinders Street D was located at the Richmond end of the Princes Bridge station island platform (later renumber to Flinders Street 15/16). Of utilitarian brick construction it remains in place today just outside the Federation Square Deck, but is unused as a signal box.  Flinders Street E was located at Richmond Junction, and controlled the junction as well as access into the Richmond end of the stabling sidings. Of utilitarian brick construction it remains in place today underneath the William Barak Bridge, but is unused as a signal box.  Since 1983, the station has been remotely controlled by Metrol. The station precinct is operated by four interlockings corresponding to former signal boxes A, B, D and E.

Platforms.

The platform layout at Flinders Street is unusual among Australian terminal stations for being almost entirely composed of through tracksa product of the constrained geography of the site and the haphazard development of the rail network around it. The first platform at the station, constructed near and parallel to Flinders Street itself, was barely long, and allowed trains from Port Melbourne to terminate. The opening of the rail connection under Swanston Street in 1865 enabled trains from Brighton to access the platform, and so it was later extended to enable the simultaneous arrival of trains from the east and west.  A second platform to the south of the first was provided in 1877, after the amalgamation of railway companies began to increase traffic at the station. Platform expansion began in earnest following the 1882 recommendation that Flinders Street be developed as a major terminal, and the subsequent government acquisition of the railways: between 1889 and 1892, three further platforms were constructed on land acquired from the former fish market in anticipation of additional traffic, which eventuated when Essendon, Coburg and Williamstown trains were routed across the viaduct in 1894. Development continued with the completion of the 1899 ground plan, which specified a total of 11 platformsplatform 1 along the main building and five pairs of island platforms to the south. The remaining platforms were constructed as works progressed on the main building, and in 1909, a decision was made to extend platforms 10 and 11 eastwards, creating two new platforms numbered 12 and 13.  Railway officials proposed amalgamating the nearby Princes Bridge station with Flinders Street with improved passenger connections in the 1890s, but failed to obtain funding from the state government for the project despite the massive redevelopment works. Nevertheless, the two stations were merged for signalling and operational purposes in 1910, and in 1966, platform 1 at Flinders Street was extended to meet its counterpart at Princes Bridge, creating a single platform face with a length over. The west end of platform 1 could also be used as a separate "platform 1 West". Eventually, in 1980, Princes Bridge was formally incorporated into Flinders Street and its three platforms were renumbered 14, 15 and 16.  Several platforms were decommissioned in the early 1990s following reductions in suburban train services. Platform 11 fell into disuse following the closure of the Port Melbourne line in 1987, and platforms 14, 15 and 16 were closed, along with the west end of platform 1. The platform 11 site was converted into a bar and restaurant in 2014, although proposals were made to reopen it by the East West Link Needs Assessment Platforms 15 and 16 were demolished during construction of Federation Square, but platform 14 remains intermittently in use.  A short dock platform, known as the Milk Dock or Parcels Dock, was constructed in 1910 to the north of platform 1 at the west end of the main building. Prior to the widespread transport of dairy products by road, the dock was a distribution centre for milk and other small goods arriving in Melbourne on early morning trains from Gippsland. Other small goods and parcels were later also loaded at the dock until most such traffic ceased in the 1960s. The structure remains essentially intact.  Three concourses link the platforms. The main concourse is at the east end of the station, located off Swanston Street and the main dome, and has direct access to all platforms via escalators, stair and elevators. The Degraves Street subway runs under the centre of the station, exiting to Flinders Street at the north end, with stairs directly connecting to all platforms except for platform numbers 12 and 13. The Elizabeth Street subway is at the west end, and has direct access via ramps to all platforms except for platform numbers 12, 13 and 14. Platform 1 has access via stairs via the Elizabeth street subway.  Trains may use a different platform if the platform it is originally scheduled at is occupied.  Platform 1: Destinations via City Loop – Clifton Hill Group:  Platform 2 & 3: Destinations via City Loop – Burnley Group:  Platform 4 & 5: Destinations via City Loop – Northern Group:  Destinations via Richmond:  Platform 6 & 7: Destinations via City Loop – Caulfield Group:  Destinations via Richmond:  Platform 8 & 9: Destinations via Southern Cross:  Destinations via City Loop – Caulfield Group:  Platform 10: Destinations via Southern Cross:  Platform 12 & 13: Destinations via Richmond:  Platform 14: Destinations via City Loop – Clifton Hill Group:

Transport links.

Dysons operates eight routes via Flinders Street:  Ventura Bus Lines operates two routes via Flinders Street:  Yarra Trams operates 14 services via Flinders Street, Swanston Street and Elizabeth Street:

Flinders Street railway station is a railway station on the corner of Flinders and Swanston Streets in Melbourne, Victoria, Australia. It serves the entire metropolitan rail network. Backing onto the city reach of the Yarra River in the heart of the city, the complex covers two whole city blocks and extends from Swanston Street to Queen Street.

Der Bahnhof Flinders Street ist der wichtigste Nahverkehrsknotenpunkt der Hauptstadt Melbourne des australischen Bundesstaats Victoria. Das Empfangsgebäude liegt an der Ecke der "Flinders Street" und "Swanston Street", die Rückseite der Bahnanlagen bildet der Yarra River. Der Eingangsbereich befindet sich auf Straßenhöhe und eine Ebene höher als die Bahnanlagen, die in Tieflage als Durchgangsbahnhof gestaltet werden konnten.


History.

Established by Milesian settlers in order to facilitate trade with the native Getae, it is considered the oldest urban settlement on Romanian territory. Scymnus of Chios (ca 110 BC), dated its founding to 630 BC, while Eusebius of Caesarea set it during the time of the 33rd Olympic Games (657 – 656 BC). The earliest documented currency on Romanian territory was an 8-gram silver drachma, issued by the city around 480 BC.  Archaeological evidence seems to confirm that all trade with the interior followed the foundation of Histria. Traders reached the interior via Histria and the Danube valley, demonstrated by finds of Attic black-figure pottery, coins, ornamental objects, an Ionian lebes and many fragments of amphoras. Amphoras have been found in great quantity at Histria, some imported but some local. Local pottery was produced following establishment of the colony and certainly before the mid-6th century. During the archaic and classical periods, when Histria flourished, it was situated near fertile arable land. It served as a port of trade soon after its establishment, with fishing and agriculture as additional sources of income. By 100 AD, however, fishing had become the main source of Istrian revenue.  Around 30 AD, Histria came under Roman domination. During the Roman period from the 1st to 3rd centuries AD, temples were built for the Roman gods, besides a public bath and houses for the wealthy. Altogether, it was in continuous existence for some 14 centuries, starting with the Greek period up to the Roman-Byzantine period. The Halmyris bay where was the city founded was closed by sand deposits and access to the Black Sea gradually was cut. Trade continued until the 6th century AD. The invasion of the Avars and the Slavs in the 7th century AD almost entirely destroyed the fortress, and the Istrians dispersed; the name and the city disappeared.

Geographic setting.

Ancient Histria was situated on a peninsula, about east of the modern Romanian commune of Istria, on the Dobruja coast. The ancient seashore has since been transformed into the western shore of Sinoe Lake, as the Danube's silt deposits formed a shoal which closed off the ancient coastline. The current Sinoe Lake was at the time the open northern bay, while another bay on the southern shore served as the port. The acropolis with sanctuaries was established on the highest point of the coastal plain. The settlement itself, erected in the 6th century, was 1/2 mile (800 meters) to the west of the acropolis. The settlement had stone paved streets and was protected by strong wall. Water was collected along 12.5 mile (20 km) long aqueducts.

Archaeology.

The ruins of the settlement were first identified in 1868 by French archaeologist Ernest Desjardins. Archaeological excavations were started by Vasile Pârvan in 1914, and continued after his death in 1927 by teams of archaeologists led successively by Scarlat and Marcelle Lambrino (1928–1943), Emil Condurachi (1949–1971), Dionisie Pippidi (1971-1989), Petre Alexandrescu (1990-1999), Alexandru Suceveanu (1990-2009), Alexandru Avram and Mircea Angelescu (starting 2010). The Histria Museum, founded in 1982, exhibits some of these finds. The excavation project and site also features prominently in the film "The Ister".  Archeological research in Histria managed to identify and classify several layers on site. The layer stratification can be divided primarily between the Archaic and Classical periods:

Archaic Greek layers.

The ancient Greek city covered around 60 hectares. There are very few written references to the archaic city and archeological research provides the main historical resource. The main deity was Apollo Ietros ("The Healer"). Zeus (Gr. Polieus) was the "protector deity" of the city and Aphrodita was also confirmed by archeological research. Historians believe all six Milesian tribes (Greek: "phylai") were represented in the colony, yet only four tribes are attested to: the Aigikoreis, Argadeis, Boreis and Geleontes. The only clue concerning the government of the city was given by Aristotle in "Politica". Thanks to his comment, it is clear that the first government of Histria was an oligarchy. From an economic point of view, the town was developed around port-related activities.

Archaic Greek layer I (650–600 BC).

After the stage of emporium, a polis was founded soon after 650 BC. Temples and dwellings of this time were discovered. By the beginning of the VIth century Histria was already a prosperous colony.

Archaic Greek layer II (600–550 BC).

During this period a new city wall was built around the city, probably in connection with the frequent raids of the scythians. The Acropolis started to be defended by a wall, discovered by Sc. Lambrino. Another city wall was running around the western Plateau, defending also the port.

Archaic Greek layer III (550–500 BC).

The Archaic age of Histria is finishing with a massive destruction on the occasion, most probably, of an expedition of the Persian general Mardonios (Mardonios (old Persian Marduniya, Persian Mrdunya, Greek Μαρδόνιος (Mardónios), Latin Mardonius; † 479 B. C. during the battle of Plateaea). Another theory says the destruction of the city has taken place, probably in 512 BC, when Darius I undertook a war against the Scythians. It is still unclear if this fact is connected to the Persian expedition led by Darius, to the Scythians followers of the Persian army during the retreat or to the expedition of Mardonios.

Classical Greek layers.

During the classical period, there was continuity in the cults of Apollo Ietros; Zeus (Gr. Polieus) and Aphrodita. During the classical period many written sources describe the political organisation of the area. The Odrysian kingdom was involved in fighting with the Scythians ruled by Ariapeithes and Histria was situated between the two kingdoms. Due to that, most probably, Histria town was forced to join the Delian League. In the 5th century BC, these colonies were under the influence of the Delian League, passing in this period from oligarchy to democracy. From an economic point of view it was during this era that the first Histrian coins were minted: a didrachma, oboli and bronze coins.

Classical Greek layer I (500–425 BC).

The town was flourishing in the period of Athens's Peloponnesian Wars when the Athenian fleet came to the Greek colonies placed on the shores of the "Pontos Euxeinos" (Black Sea) to collect the contributions for the Delian Treasure (Thucydides). A new wall was built to protect a wider area then before, around the Histrian Acropolis, probably in connection with the democratic "revolution" mentioned by Aristotle in "The Politics" (cap. 5), referring to the change of the Histrian constitution, evolving from oligarchy to democracy. The city wall, protecting the settlement and the port, was repaired.

Classical Greek layer II (425–350 BC).

The town was dismantled for a second time in the 4th century BC, during the war between the Scythian king Ateas and Macedonian king Philip II. who destroyed the city walls protecting the Acropolis and the one protecting the whole town.

Hellenistic layers.

During the Hellenistic period, there was continuity in the cult of Apollo Ietros, Zeus (Gr. "Polieus") and Aphrodita. A new temple for a "grand deity" was built. There is also evidence of the cult of Athena, Poseidon, Helikonios, Taurios, Demetra, Hermes Agoraios, Heracles, Asclepios, Dioscurii and others. A new wall also appears, protecting a 10 ha area. During the Hellenistic period Histria had become an important supplier of grain for Greece. However, the economic power of Histria was represented by trade. In the Hellenistic period, the gymnasium and the theater were erected.

Hellenistic layer I (350–300 BC).

The town was once again destroyed around 339 BC. During the period 313–309 BC, a rebellion of Pontic towns took place. Miletus however awarded Histrians equal political rights, or so-called isopoliteia.

Hellenistic layer II (300–175 BC).

Around 260 BC, Byzantium was involved in a dispute with Histria and Callatis (modern Mangalia) over Tomis "emporion" (Εμπόριον, market) (i.e. modern Constanţa). Another destruction of the city, somewhere around 175 BC, was most probably wreaked by Bastarni passing through after being called upon by Macedonian king Philip V or Perseus to reinforce the army.

Hellenistic layer III (175–100 BC).

Mithridates installed a military garrison in Histria, which probably caused the third destruction of the city in the Hellenistic period. During the rule of Mithridates staters are minted in Histria.

Hellenistic layer IV (100–20 BC).

Burebista arrived in Dobruja.  The Hellenistic period was ended by Marcus Antonius who was in charge of the eastern Roman government, and was defeated by Octavian at Actium.

Roman layers.

Early Roman layer IA (30–100 AD).

Continuous with the Hellenistic period. A new thermae (Thermae I) was built. This period is considered by historians, thanks to two inscribed artifacts, as the second founding of the city.

Early Roman layer IB (100–170 AD).

In around 170 AD, a part of the town was destroyed.

Early Roman layer IC (170–250 AD).

The town suffered serious destruction from which it never recovered. The main theory is that it was destroyed by an invasion of Goths and Carpi. Another theory presumes that the town was destroyed in an earthquake.

Bulgarian period (9th and 10th centuries).

Bulgars arrived in Scythia Minor in the late 7th century.

Histria or Istros (, Thracian river god, Danube), was a Greek colony or "polis" (πόλις, city) near the mouths of the Danube (known as Ister in Ancient Greek), on the western coast of the Black Sea. Histria is derived from the Latin word "Hister", meaning "Danube", the river the city was located near, and "-ia", a suffix added to a word to signify that it was a location or place, as in Gallia or Iberia. Altogether Histria means "On the Danube", "Located near (or by) - The Danube". It was the first urban settlement on Romanian territory when founded by Milesian settlers in the 7th century BC. It was under Roman rule from the 1st to 3rd centuries AD. Invasions during the 7th century AD rendered it indefensible, and the city was abandoned. In antiquity, it also bore the names Istropolis, Istriopolis, and Histriopolis (Ἰστρόπολις, Ἰστρία πόλις).

Histria (), auch Istria, Istros () oder Istropolis (), war eine antike Stadt nahe dem heutigen rumänischen Ort Istria an der westlichen Küste des Schwarzen Meeres.


History.

The "Bureau du Roi" was probably started in 1760, when the commission was formally announced. Its first designer was Jean-François Oeben, the master cabinet maker of the royal arsenal. The first step in its construction was the fabrication of an extremely detailed miniature model in wax. The full scale desk was finished in 1769 by his successor, Jean Henri Riesener, who had married Oeben's widow.  Made for the new "Cabinet du Roi" at the Palace of Versailles, it was transferred to the Louvre Museum in Paris after the French Revolution, but has been returned to the Palace of Versailles in the 20th century where it stands again in the room where it was standing before the Revolution, i.e. the "Cabinet intérieur du Petit Appartement" ("Inner study of the Private Apartments"), the famous study room where kings Louis XV and Louis XVI carried out their daily work, and where King Louis XVI decided to support the American insurgents in 1777. Secret diplomatic papers were kept inside the secretary's secret drawers, whose only key the king always carried with him.

Description.

The desk is covered with intricate marquetry of a wide variety of fine woods. In an oval reserve at the center of its 'public' side, away from the king himself, is the marquetry head of Silence, with forefinger to lips, a reminder of the discretion required in the king's business. Gilt-bronze moldings of plaques, statuettes, miniature busts and vases, even integral scrolling gilt-bronze candle stands, further adorn the surfaces of the desk. The original design was to have a miniature bust of Louis XV on top, but it was replaced by Minerva after his death in 1770.  Riesener later executed a simplified second version of the Bureau du Roi for Pierre-Gaspard-Marie Grimod, comte d'Orsay; today this may be seen in the Wallace Collection in London. His copy was the first of a number of replicas that were produced from the 1870s onwards by leading cabinetmakers in Paris, including four examples by François Linke.

The Bureau du Roi (, "the King's desk"), also known as Louis XV's roll-top secretary (), is the richly ornamented royal cylinder desk which was constructed at the end of Louis XV's reign, and is now again in the Palace of Versailles.

Der zylinderförmige Arbeitstisch von Ludwig XV., besser bekannt unter dem Namen „Bureau du Roi“ (der Schreibtisch des Königs), ist eine Schreibtischkonstruktion in Zylinderform mit reichbestückter Verzierung, die 1760 (bis 1769) für König Ludwig XV. maßangefertigt wurde. Die Arbeiten an dem Schreibtisch wurden von Jean-François Oeben, einem der bekanntesten Kunsttischler in Diensten des Königs, begonnen und von Johann Heinrich Riesener fertiggestellt. Der Schreibtisch im Stil des Louis-quinze gilt als eines der berühmtesten Möbelstücke der französischen Geschichte – auf seine Fertigstellung musste der König rund 10 Jahre warten. Es steht in den Räumen, die seinerzeit als innerer Kabinettsbereich am Hofe galten, in einem Zimmer, das zum kleinen Arbeitstrakt des Königs im Schloss von Versailles gehörte.


Early life.

Scheele was born in Hamburg. After graduating from the Gymnasium Bahrenfeld high school in Hamburg in 1977 and after Zivildienst, Scheele studied political science, sports and education at the University of Hamburg. He graduated in 1984 with the first state examination for teaching at high schools.

Career.

From 1985 to 1987 Scheele was a spokesman for former SPD state chairman Ortwin Runde. He then moved to the Center for Vocational Training ("Zentrum zur beruflichen Qualifizierung") as deputy managing director and in 1991 became sole director. In 1995, he moved to the Hamburg Municipal Workers' Employment Agency ("Hamburger-Arbeit-Beschäftigungsgesellschaft") as the managing director and served there until his appointment as State Secretary in 2008. He was for many years district chairman of the SPD Hamburg North.  From 2 April 2008 to 31 December 2009, Scheele was State Secretary in the Federal Ministry of Labor and Social Affairs serving under the then Federal Minister Olaf Scholz (SPD). After the change of government as a result of the 2009 federal election, he retired from office.  From February 2010 until his appointment to the Senate, Scheele was managing director of the Elbe-Werkstätten and other Hamburg companies offering jobs for people with disabilities.  On March 23, 2011, Scheele was appointed senator and president of the Department of Labor, Social Affairs, Family and Integration by Olaf Scholz, now First Mayor in Hamburg (Senate Scholz I). He was confirmed in his office for the Senate Scholz II. On 3 July 2015, the Board of the Federal Employment Agency ("Bundesagentur für Arbeit, BA") elected him in an extraordinary meeting as new board member for the labor market of the BA and thus in the three-member board.  On 7 October 2016, the Board of the Federal Agency decided to propose Scheele in the office of Chairman of the Board. On 1 April 2017, he took office.

Personal life.

Detlef Scheele is married and has three children.

Detlef Scheele (born 30 September 1956) is a German politician (SPD). On 1 April 2017, he became Chairman of the German Federal Employment Agency.

Detlef Scheele (* 30. September 1956 in Hamburg) ist ein deutscher Politiker (SPD) und seit 1. April 2017 Vorstandsvorsitzender der Bundesagentur für Arbeit. Zuvor war er von 2008 bis 2009 beamteter Staatssekretär im Bundesministerium für Arbeit und Soziales, von 2011 bis 2015 Hamburger Senator für Arbeit, Soziales, Familie und Integration und seit 2015 Vorstandsmitglied der Bundesagentur für Arbeit.


Video archiving.

For long-term preservation of digital video sustainable container formats as well as audio/video codecs are necessary. There is no consensus to date among the archival community as to which file format or codecs should be used for preservation purposes for digital video. The previously proclaimed encodings were Motion JPEG 2000 (lossless) and uncompressed video.  FFV1 has turned out to be a viable addition to that choice and was added as a suitable option for preservation encoding in 2014. With compression ratios comparable to JPEG 2000 "lossless" and its lower computing requirements, it is already being used by professional archives as their long-term storage codec. Especially archives where the collections do not feature extensive broadcast materials but rather consist of, oral history-, ethnographic-recordings and the likes, ""favored the lossless FFV1 encoding"" in communications with the "Federal Agencies Digitization Guidelines Initiative" (FADGI) team.  As of 2015, standardization of FFV1 through the Internet Engineering Task Force (IETF) is work in progress as part of the European PREFORMA Project, as well as implementation of a conformance checker for FFV1/PCM in a Matroska (MKV) container. Details of FFV1's standardization plan have been prepared by MediaArea (authors of MediaInfo) as part of their conformance checking tool "Media CONCH".  It is also listed as a format option for long-term preservation of moving images on sites of the U.S. Library of Congress', State Records NSW and others. The Society of American Archivists has published a paper in August 2014, suggesting only FFV1 as preservation codec for video.  The "Digital Preservation" project at the U.S. Library of Congress identified AVI and Matroska as common container formats for FFV1.

Development and improvements.

The "Österreichische Mediathek" has also developed DVA-Profession a Free Software solution for archive-suitable mass video digitization, mainly using FFV1 as video encoding throughout the whole workflow, without transcoding. Additionally, they have initiated the development of "FFV1.3" (=version 3 of FFV1) together with Michael Niedermayer (FFmpeg), Peter Bubestinger and Dave Rice.  FFV1.3 contains improvements and new features such as support for multi-threaded encoding/decoding, error resilience and integrity validation by CRC checksums, storing of display aspect ratio (DAR) and field order. It was tested for over 1 year, and officially released stable for production in August 2013.  In August 2016, support for 48bit/16bpc (=bits per component) in RGB was added. Before that, 16bpc in FFV1 were only supported in YCbCr and RGB was limited to 14bpc.

Suitable as preservation codec.

Within the video archiving domain, the interest in FFV1 is increasing, as can be seen in a thread on the AMIA-L mailing list, the PrestoCentre Forum or the Archivematica mailing list. Companies are also picking up FFV1 support. For example, NOA (formerly "NOA Audio Solutions"), announced support for the FFV1 in their product line in July 2013 and KEM-Studiotechnik released a film-scanner with FFV1 output in November 2013.  In an interview for "The New York Times" magazine about "Tips on Archiving Family History", Bertram Lyons from the U.S. Library of Congress says: In January 2013, the possible use and adoption of FFV1 as an archiving codec was addressed in the issue of PrestoCentre's "AV Insider" magazine: PACKED - the "Centre of Expertise in Digital Heritage" in Belgium, say in an article about video formats for archiving: In 2015, the International Federation of Television Archives (FIAT/IFTA) mentioned FFV1 explicitly in their call-for-presentations for their annual World Conference, asking "Is FFV1 the new JPEG2000"?. A workshop titled "FFV1 for Preservation" is also featured.

Applications supporting FFV1.

Here is a list of applications known to be able to read and/or write FFV1 video files, either natively or by installing codec packages.  Entries marked with "-" means that they generally only support either encoding "or" decoding.  The term ""built-in"" means that the application can handle FFV1 without the necessity to install additional codec packages. Applications that come with FFV1 support out of the box, usually use FFmpeg's or Libav's libraries in order to do so.  The list is far from being complete, and will be augmented over time:

Compression details.

FFV1 is not strictly an intra-frame format; despite not using inter-frame prediction, it allows the context model to adapt over multiple frames. This can be useful for compression due to the very large size of the context table, but can be disabled to force the encoder to generate a strictly intra-frame bitstream. As the gained compression seems to decrease with later versions of FFV1 (version 2,3), the use of GOP size greater than "1" might disappear in the future.

Prediction process.

During progressive scanning of a frame, the difference between a current pixel and its predicted value, judging by neighboring pixels, is sent to the entropy-coding process. The prediction is done as follows: The third value, "Top + Left - TopLeft", is effectively equivalent to applying the top predictor to the current and the left sample, followed by applying the left predictor to the prediction residual of the top predictor. This method, also known as the gradient, exploits both horizontal and vertical redundancy. So in simple terms the prediction is the median of the top, left, and gradient prediction methods. For improved performance and simplicity, the edges of the frame are assumed to be zero to avoid special cases. The prediction in encoding and decoding is managed using a ring buffer.

Entropy coding process.

The residuals are coded using either variable-length coding or arithmetic coding. Both options use a very large context model. The "small" context model uses (11*11*11+1)/2=666 contexts based on the neighboring values of (Left-TopLeft), (TopLeft-Top), and (Top-TopRight). The "large" context model uses (11*11*5*5*5+1)/2=7563 contexts based on the same values as before, but also (TopTop - Top) and (LeftLeft-Left), where "TopTop" is the pixel two above the current one vertically, and "LeftLeft" is the pixel two to the left of the current one. In arithmetic coding, each "context" actually has 32 sub-contexts used for various portions of coding each residual, resulting in a grand total of 242,016 contexts for the "large" model. The arithmetic coder of FFV1 is very similar to (and based on) that of H.264.

Status.

On April 16, 2006, a commit-message by Michael Niedermayer confirmed that the bitstream of FFV1 (version 1) is frozen: The bitstream of version 1 is frozen and considered stable for production use since April 2006.

Codec.

The remark "experimental" in the source code was overlooked back then and removed in March 2010.  Version 2 was an intermediate version, that was never officially released and should not be used for production purpose.  The bitstream of version 3 is frozen since August 3, 2013. The final commit marking this version as officially released for production usage was on August 26, 2013. There is still no any VFW multithreaded encoder of FFV1.3 for Windows in 2017. FFdshow can encode only FFV1.1 stream with single CPU core.  Improvements beyond FFV1.3 are work in progress and being discussed on the IETF "CELLAR" mailing list. Planned are additional support for color-handling, especially non-linear/logarithmic color spaces.

Documentation.

The current authoritative documentation was started in April 2012, and stayed in a very basic state until 2015. In 2015, as part of the IETF standardization process, the documentation is now improved and reviewed by the CELLAR working group in close cooperation with Michael Niedermayer.

FFV1, which stands for "FF video codec 1", is a lossless intra-frame video codec. It can use either variable length coding or arithmetic coding for entropy coding. The encoder and decoder are part of the free, open-source library libavcodec in the project FFmpeg since June 2003. FFV1 is also included in ffdshow and LAV Filters, which makes the video codec available to Microsoft Windows applications that support system-wide codecs over Video for Windows (VfW) or DirectShow. FFV1 is particularly popular for its performance regarding speed and size, compared to other lossless preservation codecs, such as M-JPEG2000. The European Broadcasting Union (EBU) lists FFV1 under the codec-family index "31" in their combined list of video codec references.

FFV1 oder FFmpeg Videocodec 1, ist ein verlustfreier intra-frame Videocodec. Er ist Teil der freien Codec-Sammlung libavcodec des Projektes FFmpeg. FFV1 ist auch in ffdshow (einem freien Decoder und Encoder für Windows) enthalten, weil ffdshow auch auf libavcodec basiert.


Biography.

Born in Golders Green, London, United Kingdom of Bengali and Finnish origin, Lahiri attended the Henrietta Barnett School in Hampstead Garden Suburb, where she excelled in languages and music. She graduated from Birkbeck, University of London with a degree in humanities and literature in 2005.

Career.

Modelling and singing.

Lahiri was scouted in Covent Garden at age 14 by Select Model Management in London. She was sent on an audition for what she thought was a music video which turned out to be an audition for a musical group. At first, she was reluctant to audition but changed her mind. She performed All Saints' "Never Ever" and was chosen to become a part of the girl group Precious. The band was chosen by British viewers to represent the UK in the 1999 Eurovision Song Contest with their first single, "Say It Again", and arrived 12th. After that, they released their first album, called "Precious", which yielded two Top 10 hit singles: "Rewind" and "It's Gonna Be My Way". In the summer of 2000, the band tried to enter the United States market. In November 2000, they released their last single, called "New Beginning", with a video clip set in an industrial warehouse with the girl band acting like tough girls. By the end of 2000, the group went under scrutiny and the members decided it was time to stop.  Following the breakup of Precious, Lahiri returned to her education, attending Birkbeck, University of London, while continuing to model. During this time, she has modelled for brands such as Asda and ASOS as well as gracing the covers of "Company" and "More". She was one of the FHM PitGirls in 2003.

Acting.

In 2003, Lahiri landed her first acting role alongside Sienna Miller in "Keen Eddie". Miller advised Lahiri what acting classes to take and which reputable agencies she should try to have represent her. In 2004, she appeared in the movie "Tornado" with Daniel Bernhardt, and in "The Grooming" with Jacqueline Bisset. By 2005, she finished her studies in humanities and literature and was free to pursue her interest in acting full-time.  In 2006, Lahiri moved to Los Angeles, where she focused on becoming an actress. Being an established model, Lahiri signed with Next Models and became the face of the Anna Beth's jewels new collection. That same year, she starred in "I Can't Think Straight".  By 2007, Lahiri moved back to London, where she appeared in five episodes of "Dream Team" as Emma. Following that, she filmed "Daylight Robbery" and "".  In 2009, Lahiri focused on modeling; she was signed to agencies such as Models 1 in London, Next Models in Los Angeles, and MC2 Models in Tel Aviv. She was featured in editorials for "She]" magazine as well as landing a campaign for Poule de Luxe. She also appeared in "The Scar Crow" and "Life Blood".  In 2010, she made the short film "The Commuter", which was filmed entirely on the Nokia N8 in HD. She had a small part in "Swinging with the Finkels" and played Maddie in "Meet Pursuit Delange", a short film.  In 2011, Lahiri starred opposite Adrien Brody in a Super Bowl advertisement for Stella Artois.

Barry's Boot Camp.

In 2006, Lahiri began working out with Barry's Boot Camp, which eventually led to her training to become a fitness instructor. Since then, she has trained the likes of Kim Kardashian and Natalie Imbruglia. In 2011, she played an integral role in the establishment of Barry's Boot Camp in London. Today, she splits her time among modelling, acting, and being a fitness instructor.

Anya Lahiri (born 1 May 1982 in Golders Green, London) is a British actress, model, singer and fitness instructor who is of Bengali and Finnish origin.

Anya Lahiri (* 1. Mai 1982 in Golders Green, London) ist eine britische Schauspielerin, Sängerin und Model indischer und finnischer Abstammung. Sie war von 1998 bis 2000 Mitglied der britischen Pop-Girlgroup Precious.


History.

Concerns over scenarios involving nuclear accidents or incidents on American soil are not recent. As early as the 1960s, officials were concerned that a nuclear weapon might be smuggled into the country, or that an airplane carrying a nuclear weapon might crash and contaminate surrounding areas. In late 1974, President Gerald Ford was warned that the FBI received a communication from an extortionist wanting $200,000 () after claiming that a nuclear weapon had been placed somewhere in Boston. A team of experts rushed in from the United States Atomic Energy Commission but their radiation detection gear arrived at a different airport. Federal officials then rented a fleet of vans to carry concealed radiation detectors around the city but forgot to bring the tools they needed to install the equipment. The incident was later found to be a hoax. However, the government's response made clear the need for an agency capable of effectively responding to such threats in the future. Later that year, President Ford created the Nuclear Emergency Search Team (NEST), which under the Atomic Energy Act is tasked with investigating the "illegal use of nuclear materials within the United States, including terrorist threats involving the use of special nuclear materials".  One of its first responses was in Spokane, Washington on November 23, 1976. An unknown group called the "Days of Omega" had mailed an extortion threat claiming they would explode radioactive containers of water all over the city unless paid $500,000 (). Presumably, the radioactive containers had been stolen from the Hanford Site, less than 150 miles (240 km) to the southwest. NEST immediately flew in a support aircraft from Las Vegas and began searching for non-natural radiation, but found nothing. No one ever responded, despite the elaborate instructions given, or made any attempt to claim the (fake) money, which was kept under surveillance. Within days, the incident was deemed a hoax, though the case was never solved. To avoid panic, the public was not notified until a few years later.

Today.

According to the "Bulletin of the Atomic Scientists", NEST has the ability to deploy as many as 600 people to the scene of a radiological incident, though deployments do not usually exceed 45 people. NEST has a variety of equipment (weighing up to 150 tons) and has the support of a small fleet of aircraft which includes four helicopters and three airplanes, all outfitted with detection equipment.  When an airborne response to an incident is underway, the Federal Aviation Administration grants NEST flights a higher control priority within the United States National Airspace System, designated with the callsign "FLYNET".

Capabilities.

Since 1975, NEST has been warned of 125 nuclear terror threats and has responded to 30. All have been false alarms. While it is common belief that NEST does not have the technology to accurately detect nuclear threats within the noise of natural radiation, in fact it has had the capability to distinguish between man-made and natural radiation since the 1970s. At first, there were still some problems with this simple distinction, as man-made radiation also includes such things as medical radiation. A man under treatment for Graves' disease with radioactive iodine set off alarms in the New York City subway. After being strip-searched and interrogated he was sent on his way.  Since its initial creation, the detection equipment has been improved and now data can be processed accurately enough to home in on the activity of any single nuclear element desired.

In popular culture.

NEST is mentioned in the motion pictures "Broken Arrow", "The Peacemaker", "The Manhattan Project", "", "Atomic Train" and "Vishwaroopam", as well as in the made-for-television film "Special Bulletin" and the television series "24" and "". NEST also appears in the books "Gideon's Corpse" by Douglas Preston and Lincoln Child, "The Fifth Horseman" by Larry Collins and Dominique Lapierre, and "The Sum of All Fears" by Tom Clancy. NEST is mentioned in the first-person shooter video game "", when a nuclear threat was suspected in the Middle East, as well as the stealth action game "Metal Gear Solid". NEST is featured somewhat prominently in an episode of the television series "Castle" when a dirty bomb is found in New York City.  The need for a NEST team is raised in an episode of the television series "The Blacklist" when it is learned that a group of operatives the protagonists are seeking are in fact nuclear weapons placed somewhere within the U.S.  One of the main characters of "Zankyō no Terror" ("Terror in Resonance") is a NEST researcher.  NEST appears as a possible player character profession in the role-playing game "Delta Green" in the 2019 sourcebook "The Complex".

The Nuclear Emergency Support Team (NEST), formerly known as the Nuclear Emergency Search Team, is a team of scientists, technicians, and engineers operating under the United States Department of Energy's National Nuclear Security Administration (NNSA). Their task is to be "prepared to respond immediately to any type of radiological accident or incident anywhere in the world".

Das Nuclear Emergency Support Team (NEST) ist ein US-amerikanisches Programm für alle Arten von nuklearen Notfällen der National Nuclear Security Administration (NNSA) des Energieministeriums der Vereinigten Staaten.


Current collection.

The current collection of the museum is divided in the following categories:  In the central hall of the museum stands an original Egyptian temple, the Temple of Taffeh, which was taken apart in Egypt and reconstructed in the museum.

History of the collection.

Reuvens takes charge.

The collection of the Rijksmuseum van Oudheden began with an inheritance in 1743. After the death of Gerard van Papenbroek, his collection was bequeathed to Leiden University. The bequest comprised about 150 antiquities and was published in 1746 by a professor of the university. It was put on public display but poorly cared for until half a century later when it would finally get an official curator. This curator was classicist Dr. Caspar Reuvens, the world's first archaeology professor. Along with his duties as a professor at the university came the care of the archaeological cabinet, then consisting mainly of the Papenbroek inheritance.  Reuvens quickly added other collections from both within and outside Leiden to the university's antiquities. Antiquities from the Rijksmuseum Amsterdam were transferred to Leiden with government support in 1825. Some pieces from the Thoms Collection were among the favorites of the director of the Amsterdam museum. It was agreed that these would not be moved to Leiden until after his directorship. These became part of the Leiden collection in 1844. In 1826, a collection of prehistorical materials arrived from the Museum of Natural History.

The contributions of Rottiers.

The growth of the National Museum of Antiquities would prove to be depended much more upon foreign investments. Despite the gathering of antiquities from various Dutch organizations, the really important additions to the museum would come from buying personal collections. Among the first of these was the first Rottiers Collection. It belonged to a retired Flemish colonel who had begun collecting during a stay in Athens. In 1820, this collection was offered to the government of the Low Countries and Reuvens was sent to determine its value and recommend on whether to buy or not. Reuvens was enthusiastic about the collection because it contained original Greek sculpture and Greek pottery, categories which lacked in the Leiden collection until then. Cautioning the ministry not to buy at any price, the Rottiers collection was eventually sold for the sum of 12,000 guilders and placed in the National Museum of Antiquities.  In 1822, Rottiers sold a second collection, of smaller importance, to the government. The best piece in this collection would later turn out to be a modern cast of a marble head, a forgery. With both the first and the second Rottiers collections, the origins would remain shady. In both cases it was hinted or outright claimed that Rottiers and his son had dug up at least part of the antiquities themselves. However, in both cases it would turn out that perhaps all of the collection was bought. Rottiers also repeatedly admitted to selling forgeries and misleading buyers, but told Reuvens that he would never do so to him and that his earlier mistakes were youthful folly.  From 1824 to 1826, Rottiers made a journey through the Mediterranean, paid for by the ministry. This journey was Rottiers' own idea, and the purpose of it was to buy antiquities. Reuvens, who was not very enthusiastic about this project, was asked to provide Rottiers with instructions. During these travels Rottiers complained a lot, and for a while failed to produce any real results. The ministry had to go as far as send him an official warning to stop using government funds for anything other than buying antiquities. Plans of Rottiers' to start his own excavations were never discussed with Reuvens, and eventually Rottiers actually excavated on Melos. After this excavation Rottiers continued his travels and bought antiquities. During a lengthy stay on Rhodes, he studied and described the medieval architecture, large parts of which would later be destroyed, making the drawings commissioned by Rottiers invaluable.  In March and September 1826, the museum received the acquired antiquities. Reuvens wrote a largely negative report. Though he was pleased with some of the pieces, most were hardly special and Rottiers had not provided substantial background information.

The contributions of Humbert.

Rottiers was not the only agent working for the Dutch government procuring antiquities however. While Rottiers was working in the eastern Mediterranean, Jean Emile Humbert was collecting and excavating in Tunisia. After selling his personal collection to the government, Humbert was asked to return to Tunisia on an archaeological expedition. Raised to the Order of the Netherlands Lion, with instructions from Reuvens and with a state-funded budget Humbert would collect and excavate antiquities in Tunisia from 1822 to 1824. Most important about this first expedition by Humbert was the acquisition of eight statues, which are still on display as centerpieces in the museum.  A second expedition by Humbert never reached Tunisia because Humbert preferred staying in Italy. Despite this blatant disregard of the agreements, the expedition did produce some considerable results. A collection of Etruscan artifacts, known as the "Museo Corazzi", was bought for over 30.000 guilders but pleased Reuvens because Etruscan antiquities were virtually unknown outside Italy at the time. By far the most important deal of the expedition was the acquisition of the very large d'Anastasy Collection of Egyptian antiquities. After a lengthy period of negotiations by the Dutch ambassador in Rome and Humbert with agents of d'Anastasy the collection was eventually sold for roughly 115.000 guilders. It would be the largest deal in the careers of Humbert and Reuvens both, and provided the museum with an internationally appraised Egyptian collection.

Death of Reuvens.

In the final years of Reuvens' life, there was a severe decline in governmental support for the museum. The rebellion and seceding of Belgium in 1830 were costly matters for the king, and little to no room was found for adventurous expeditions or excavations. Reuvens died in 1835, after suffering what seems to be a severe stroke by the reports. He left behind a young museum with a scholarly renowned collection, which had grown from the Papenbroek inheritance to now include a large amount of Etruscan, Egyptian, Carthaginian, Roman, Greek and other items.

Leemans takes over.

After his death, Reuvens' work was taken over by his student, Conradus Leemans, who had excavated with Reuvens and was present at his death. As described below, under Leemans, the museum would finally get its own building. Prospects for continuing the growth of the collection looked bleak, however, after royal interest waned and with the enormous cost of the d'Anastasy deal still in mind. Leemans found a solution by using the official gazette to appeal private collectors, Dutch ambassadors and consuls for donations and aid in building the collection. The appeal was successful and objects from all over the world kept flowing in.  In 1839, Leemans, now appointed director, bought some 100 vases with funds from the king. They belonged to a collection that had been excavated a decade before in Italy and belonged to Lucien Bonaparte. Leemans published this collection in 1840 and had published the Egyptian collection the year before. The Etruscan collection was published by a colleague. Publications would continue and the next period in the history of the museum is described as "a period of consolidation after the restless pioneer years".

History of the housing.

Before and under Reuvens.

Finding an adequate building for the archaeological collection had been a matter of ongoing strife between Reuvens, the trustees of the museum and the Dutch government. When Reuvens was first appointed professor of archaeology, and thereby curator of the Papenbroek collection, the antiquities were housed in a building of the botanical gardens of the university. The damp atmosphere caused serious damage to the sculptures, however, and the collection had already outgrown its housing which resulted in several statues being placed outside.  In 1821, the archaeological cabinet was moved to a new wing of the Museum of Natural History. Reuvens was unhappy with this location as well though, because it was much too small for the growing collection and because the windows provided far from enough light. In 1824, Reuvens was offered some more room of the Museum of Natural History, but Reuvens refused the insufficient extra space and proposed an entirely new building designed especially for the National Museum of Antiquities, which would also give him a lecture hall, restoration facilities and other required rooms. Reuvens plans for this new building would prove much too expensive unfortunately.  The collection continued growing however and the room granted to it was obviously insufficient. Several other solutions were sought, including redecorating a medieval church and giving Reuvens part of a new academy building. Reuvens refused these options however, because they weren't real solutions. This led to considering a much more drastic plan: moving the museum altogether to another city. Brussels, Amsterdam and the Hague were considered. Reuvens argued against all of these, using Leiden's thriving academic climate in the humanities as a main argument for keeping the collection there. Eventually, Amsterdam became the prime candidate, being the capital of the Netherlands and Brussels having seceded from the kingdom along with the rest of Belgium. Before the relocation could begin however, the academic world was shocked by the unexpected death of the still young Reuvens.

Under Leemans.

Reuvens' student, Conrad Leemans, was appointed temporary curator of the collection and was asked to compile reports on the state of the museum and Reuvens' intended publications. Leemans followed Reuvens in complaining about the poor state of the antiquities due to limited finances and a poor housing. In November 1835, a turning event occurred for the museum when the university bought an 18th-century mansion and offered to place the collection there. Leemans set to work in redecorating the mansion and moving the collection to the new building. Budgetary problems and the difficulties of transporting some of the largest pieces through the city were eventually overcome and, in August 1838, the National Museum of Antiquities finally had its official opening for the public. Reuvens' collection had grown to a real museum.

The Rijksmuseum van Oudheden (English: National Museum of Antiquities) is the national archaeological museum of the Netherlands, located in Leiden. It grew out of the collection of Leiden University and still closely co-operates with its Faculty of Archaeology. The museum calls itself "the national centre for archaeology" and focuses on ancient Egypt, the ancient Near East, the classical world of Greece, Etruria and Rome and the early (prehistoric, Roman and Medieval) Netherlands.

Das Rijksmuseum van Oudheden () ist das nationale archäologische Museum der Niederlande. Das Museum befindet sich in einem historischen Gebäudekomplex (einschließlich Beginenhof) an der Rapenburg, der bekanntesten Gracht in Leiden.


Background.

The album's lyrical themes cover a variety of social and political topics, including misogyny/sexism ("It's a M.A.N.S World" and "Inconceivable?"), animal rights ("Display to Me..."), racism ("Unchallenged Hate" and "From Enslavement to Obliteration"), materialism ("Private Death"), and anti-capitalism ("Make Way!"). The album calls for social change, as seen in the song "Uncertainty Blurs the Vision," quoting Rudimentary Peni at the song's conclusion.  Shane Embury retrospectively commented on the band's progression up until "From Enslavement to Obliteration" in "Kerrang!" magazine:

Reception.

In 2009 "From Enslavement to Obliteration" was ranked number 1 in "Terrorizer"'s list of essential European grindcore albums. Writer Jonathan Horsley described it as marking "the genre's perilous rite of passage through Britain's post-industrial urban landscape." "Classic Rock" reviewer remarked how the stable line-up brought "new maturity and coherence" and reminded that "for an all-too-brief moment in time, this album could lay claim to being the most extreme collection of songs ever recorded".  In 2017, "Rolling Stone" ranked "From Enslavement to Obliteration" as 59th on their list of 'The 100 Greatest Metal Albums of All Time.'

Track listing.

"The Curse".

The Curse is a free 7-inch extended play by the grindcore band Napalm Death, included in the initial copies of the "From Enslavement to Obliteration" LP, which was released through Earache Records in September 1988.  The cover uses the famous photograph of Phan Thi Kim Phuc fleeing a napalm attack, taken by Nick Ut.

Trivia.

Some LPs had a sticker with the following line printed on it: "We wanted to be the biggest rock band in the world and you don't do that sounding like Napalm Death" Joe Elliot (Def Leppard)  Grindcore band Sore Throat included a track called "From Off License to Obliteration" on their 101-track 1988 album "Disgrace to the Corpse of Sid", also released on Earache Records.

From Enslavement to Obliteration is the second studio album by grindcore band Napalm Death, released in 1988. It is the final studio album with vocalist Lee Dorrian and guitarist Bill Steer, and the first to feature bassist Shane Embury, the band's longest-tenured member. A remastered version was released on 2 April 2012.

From Enslavement to Obliteration ist das zweite Studioalbum der englischen Grindcore-Band Napalm Death und das erste in der Bandgeschichte, an dem der bis heute in der Band aktive Bassist Shane Embury zu hören ist. Es erschien im September 1988 bei Earache Records und gehört zu den wegweisenden Alben des Genres. Einem Teil der Erstauflage lag eine EP mit dem Titel "The Curse" bei, die fünf Bonustracks enthielt.


Early life and career.

Born in Philadelphia, Pennsylvania to a dancer mother and musician father, Harris worked as a nurse, and a bouncer in New York City jazz clubs. Before he began his acting career, Harris served as a medic in the United States Army during World War II. After hanging out with many struggling actors, he took a dare and auditioned for his first role and was cast as the father in "Nothing But a Man", a critically acclaimed 1964 film about black life in the South starring Ivan Dixon and Abbey Lincoln.  Some of his most prominent roles included the villainous, steel-armed Tee Hee in the James Bond film "Live and Let Die", Scatter in "Super Fly", Bubbletop Woodson in "Let's Do It Again", Captain Bollin in "Shaft's Big Score", Inspector Daniels in "The Taking of Pelham One Two Three", Joseph in "Islands in the Stream" and Ugandan President Idi Amin in the TV movie "Victory at Entebbe".  He also appeared in "Trouble Man", "King Kong", "Black Caesar", "Hell Up in Harlem", "Friday Foster", "Shrunken Heads", "Harley Davidson and the Marlboro Man" and in guest-starring roles on "Sanford and Son", "Good Times", and "Love Boat" among others. Harris was a member of the Negro Ensemble Company in New York City and appeared on Broadway in the Pulitzer Prize-winning play, "No Place to Be Somebody".

Death.

On October 17, 2004, Harris died of heart failure while admitted at Motion Picture and Television Hospital, aged 81. Harris was cremated and interred in Philadelphia, his place of birth. At the time of his death, Harris was survived by his two children; his daughter Kimberly and his son Gideon.

Julius W. Harris (August 17, 1923 – October 17, 2004) was an American actor who appeared in more than 70 movies and numerous television series in a career that spanned four decades. Harris is best known for his roles in 1970s blaxploitation films such as "Live and Let Die", "Black Caesar" and "Hell Up in Harlem".

Julius W. Harris (* 17. August 1923 in Philadelphia, Pennsylvania; † 17. Oktober 2004 in Woodland Hills, Los Angeles, Kalifornien) war ein US-amerikanischer Schauspieler.


Types.

An autosampler normally consist of a robotic device that can either bring the sample to a sampling station, or bring a sampling device to the sample that stays on a tray (or carousel) along with other samples.

Autosamplers for solids.

Some autosamplers for solids are used in conjunction with elemental analyzers. Common models consist of a carousel that holds the samples that are commonly wrapped in metal (usually tin or silver) foil. Usually, by spinning by the carousel a fixed number of degrees, a sample falls into the reactor, which is constantly purged by a carrier gas (He, for example).  Other autosamplers for solids can be used for non-destructive analyses as well, like weighing and gamma ray measurements, for example. In these cases, a mechanism brings the sample to the analyzer and, when the measurement is finished, it removes the sample, thus allowing a consecutive measurement.

Autosamplers for liquids.

Autosamplers for liquids work along many kinds of machines that perform different kinds of chemical measurements, like titrators, gas chromatographers, liquid chromatographers, water analyzers (like total carbon analyzers, dissolved inorganic carbon analyzers, nutrient analyzers) and many others.  Many autosamplers for liquids consist of a carousel and the sampling apparatus. The carousel holds the samples, and revolves around its center so that samples change their horizontal position. There may be several concentric rings holding samples in a carousel. The sampling apparatus can be fixed horizontally, only moving up and down to allow the carousel to move, or it can also move horizontally, depending on the design of the system. The sampling apparatus in most of such autosamplers consist of a needle connected to a remote pumping syringe via tubing. Similar designs have been employed for titrators, which do not have a sampling apparatus, but a titration apparatus.  Another common design for autosamplers for liquids is of a sampling apparatus that moves freely in the 3D space, similarly to CNC routers and 3D printers, for instance. The sampling apparatus, in these autosamplers, can also be simply a needle, as for most carousel autosamplers, or it can be a syringe, thus dispensing the need for a remote pump. This kind of design is appropriate for small sample volumes (in the order of tens of microliters), commonly used in gas chromatography, for example.  A less common, but potentially much more affordable, kind of autosampler for liquids is a robotic arm which carries the sample to the sampling tube or needle, or to the titration area.

Autosamplers for gases.

Autosamplers for gases can be as simple as a pump that continuously sucks air or any gas mixture inside the analytical device, or be the same as the one used for liquids, but with a gas-tight syringe.

Compatibility issues.

Many autosamplers are sold as optional parts of the analytical setup, and make up for a substantial portion of its total cost. It is noteworthy that autosamplers for different devices work in a very similar way and could easily be adopted by different machines. However, this is uncommon as manufacturers often restrict the compatibility of accessories to their analytical setup.  Lack of compatibility between analytical instruments from different manufacturers has been repeatedly recognized as a problem in analytical scenarios. A solution often proposed is the adoption of standards by different manufacturers which would enable machines to communicate between them seamlessly. However, there has been little real progress in this area, despite larger efforts in this direction.  It is noted that many manufacturers incorporate contact closure pins/ports on their autosamplers, which means that the autosamplers are able to communicate with the other parts of most third party chromatography instrumentation. A different solution for the lack of compatibility between analytical instruments is their coupling by means of scripting.. This way, substantial savings are possible.

An autosampler is commonly a device that is coupled to an analytical instrument providing samples periodically for analysis. An autosampler can also be understood as a device that collects samples periodically from a large sample source, like the atmosphere or a lake, for example.

Ein Autosampler ist ein Gerät, das automatisch Laborgeräten wie Chromatographen und Spektrometern Proben zuführt. Es gibt ihn in verschiedenen Bauweisen, wobei am häufigsten ein Probenkarusell zum Einsatz kommt. Die Probenkapazität reicht von einigen wenigen, bis mehreren tausend Proben. Je nach Ausführung können Autosampler auch Probenvorbereitungen, wie Temperieren und Verdünnen vornehmen.


Statistics and extent.

As per 2014, it pastorally served 291,000 Catholics (10.0% of 2,900,872 total) on 219,887 km2 in 48 parishes with 69 priests (62 diocesan, 7 religious), 75 deacons, 43 lay religious (14 brothers, 29 sisters) and 7 seminarians.  It comprises the entire state of Utah.

History.

In 1871 Fr. Patrick Walsh built the first Catholic Church in Utah, dedicating it to St. Mary Magdalene. Father (later Bishop) Lawrence Scanlan arrived in 1873 to become pastor. He took care of the Catholic military men, immigrant miners and railroad workers who numbered in the hundreds. Small churches, schools, an orphanage and a hospital were built, staffed by clergy and by the Sisters of the Holy Cross, to serve the growing Catholic population. As the nineteenth century came to a close, the Catholic community in Salt Lake City was rapidly outgrowing the small church of St. Mary Magdalene. In 1887 the Church in Utah became the Apostolic Vicariate of Utah, on territory split off from its metropolitan diocese, the Archdiocese of San Francisco. Ground was broken for the new church in 1899. Construction for the Cathedral of the Madeleine would last nearly a decade, costing a small fortune for the estimated 3,000 Catholics in Utah at the turn of the century. Assistance was obtained from Catholic Mission Societies.  On January 27, 1891 it was renamed the Diocese of Salt Lake and on March 27, 1931 it lost territory to establish the Diocese of Reno. Finally, on March 31, 1951 it was renamed the Diocese of Salt Lake City.

Bishops.

The following includes the lists of bishops, coadjutor bishops, and auxiliary bishops of the diocese and their dates of service.

Catholic Education.

The Diocese of Salt Lake City has many Catholic elementary-middle schools with its borders:  As well, the diocese has three Catholic high schools within its borders:

The Roman Catholic Diocese of Salt Lake City, is a Latin diocese of the Roman Catholic Church in the United States.

Das Bistum Salt Lake City (, ) ist eine in den Vereinigten Staaten gelegene römisch-katholische Diözese mit Sitz in Salt Lake City, Utah.


Early life.

Monnerville was born in Fort-de-France on 21 February 1956. His mother, a primary school teacher, and his father, a professional musician, encouraged Jean-Marc to study classical percussion. The nickname "Kali" was developed in primary school in homage to "Kalimero," a well-known cartoon character of the time. Kali's musical career began in earnest when his father sent him to France in the early 1970s to study music composition and theory. His first group, "Gaoule" was symbolically named after a notorious slave massacre carried out in the French West Indies in the 17th century.  His signature Rasta style developed in 1979 with his sophomore ensemble, 6ème Continent. Their notable singles included an iconoclastic version of "Adieu Foulards" and "Reggae Dom-Tom", a hard-hitting song which evoked the difficult relationship between France and its former colony. In June 1983, 6ème Continent rose to national prominence when they stepped in to replace the Nigerian singer Femi Kuti at the "Fète de la Musique." Playing on an open-air stage erected on the Place du Trocadéro, 6ème Continent proved an enormous hit. After being asked to "modernize their sound" by CBS Records (the international name of Columbia Records), Monnerville made the executive decision to split up the group.

Developing Career.

Kali returned to Martinique to start a solo career, intentionally ignoring the popular "Zouk" craze and focusing on traditional music of the West Indies. This return to musical heritage was further explored on the albums "Racines I" (1989) and "Racines II" (1990) by fusing acoustic piano and banjo with percussion and synthesizers. After returning to Paris for a live performance in 1990, he was selected to represent France in the 1992 Eurovision Song Contest. His performance, the original composition Monté la riviè (Going up the River) was regarded by fellow contestants to be "an absolute surprise" for its offbeat subject matter and inclusion of the banjo. While the French entry ranked 8th among 22, his performance garnered major popularity and helped the sales of his next album "Lese la Te Tounen" (Let the Earth Move). In 1994 he won an award from the Sacem (French Association of Songwriters and Composers), citing his composition "Pan Patchew" as "Best Song of 1994."

Recent Music.

His 1995 album "Débranché" (Unplugged), reverts to a purely acoustic sound. Following the record's success, Kali was invited to perform in Zimbabwe where he joined other musicians celebrating the Centenary of the first anti-colonial insurrection. "Racines IV," a 1998 album, celebrated the artist’s comeback to traditional West Indian music since 1992. In 2002, Kali commemorated the centenary of the eruption of the Pelée volcano with "Bèlè Boum Bap." The fifth album in the "Racines Caraïbes" series was released in November 2007, featuring guest performances by Jocelyne Beroard, Tanya Saint-Val, Emeline Michel and Ralph Thamar.

Discography.

As Gaoulé: As 6eme Continent: As Kali:

Jean-Marc Monnerville (born 21 February 1959), better known by his stage name Kali, is a French musician from Martinique known for his contributions to Modern Zouk, banjo playing and his work with the Eurovision Song Contest. He is further notable for his often controversial, politically-charged lyrics comment on imperialism, slavery and military proliferation.

Kali (* 21. Februar 1956 in Fort-de-France als "Jean-Marc Monnerville") ist ein französischer Sänger und Banjo-Spieler aus Martinique. Sein Debütalbum erschien 1989. Er vertrat Frankreich beim Eurovision Song Contest 1992 im schwedischen Malmö mit seinem Zouk-Song "Monté la riviè" (dt.: "Geh den Fluss hinauf") und erreichte den Achten von 22 Plätzen mit 73 Punkten.


Early life.

Peter Collinson was born in Cleethorpes, Lincolnshire in 1936. His parents, an actress and a musician, separated when he was two years old; he was raised by his grandparents. From the age of eight until 14 he attended the Actor's Orphanage in Chertsey, Surrey, where he had the chance to write and act in many plays.  Noël Coward, who was president of the orphanage at the time, became his godfather and helped him to obtain jobs in the entertainment industry, which was dramatized in the radio play "Mr Bridger's Orphan" by Marcy Kahan in 2013. (Collinson later directed Coward in his best-known film, "The Italian Job" (1969)). He auditioned for RADA but was rejected, so went to work for the New Cross Empire theatre when aged 14. He did a variety of theatrical jobs until 1954, when he was called up for national service. He served as a private with the Queen's Royal Regiment (West Surrey) for two years in Malaya during the Malayan Emergency.

Career.

Collinson's early television work included time as a floor manager for the BBC and directing for ATV at Elstree studios. He was an assistant director on a short, "The Pit" (1962), and made a documentary, "Blackwater Holiday" (1963).  He also worked with Telefís Éireann, the Republic of Ireland's national TV station, and in 1963 he won a Jacob's Award for his production "The Bomb". He produced a stage musical in Dublin, "Carrie" (1963), starring Ray McAnally.  Collinson began to direct TV: the film "Don't Ever Talk to Clocks" (1964), "In Loving Memory" (1964), "The One Nighters". He also made episodes of "Sergeant Cork" (1964), "The Sullavan Brothers" (1964), "The Plane Makers" (1964), "Love Story" (1964-65), "Front Page Story" (1965), "Knock on Any Door" (1965), "A Day of Peace" (1965) "Blackmail" (1965-66), and "The Power Game", "Women, Women, Women" and "The Informer" (all 1966).

Features.

Whilst working in TV he met producer Michael Klinger, who offered him the director role on the film "The Penthouse" (1967); this became Collinson's directorial debut. Starring Suzy Kendall, the low-budget film was released in the US and proved to be a surprise hit.  Collinson followed it with "Up the Junction" (1968), starring Kendall and Dennis Waterman, which received some strong reviews.  Collinson directed two films for Paramount, both produced by Michael Deeley: "The Long Day's Dying" (1968), a low-budget war film, and "The Italian Job" (1969), a caper movie starring Michael Caine and Noel Coward. Dino De Laurentiis said he was to direct a film about Ned Kelly in Australia, "The Iron Outlaw", but it was never made.  Instead, Collinson went to Turkey where he directed Tony Curtis and Charles Bronson in "You Can't Win 'Em All" (1970). He clashed with Curtis during filming. He was meant to helm a biopic of Robert Capa, but it was never made.  Back in England he made "Fright" (1971), a thriller with Susan George. He did a horror movie for Hammer Films, "Straight On till Morning" (1972), with Rita Tushingham, then "Innocent Bystanders" (1972), a thriller shot in Spain and Turkey with Stanley Baker.  Collinson went to Spain to direct a Western, "The Man Called Noon" (1973). He followed it with "Open Season" (1974), starring Peter Fonda; a remake of "And Then There Were None" (1974), filmed in Iran with Oliver Reed; a remake of "The Spiral Staircase" (1975), shot in England with Jacqueline Bisset; "Target of an Assassin" (1976), filmed in South Africa with Anthony Quinn; and "The Sell Out" (1976), shot in Israel with Reed.  He went to Canada for "Tomorrow Never Comes" (1978), with Donald Sutherland and Susan George; it was entered into the 11th Moscow International Film Festival. He followed it with "The House on Garibaldi Street" (1979), a US telemovie starring Topol.  His last feature was "The Earthling" (1980), shot in Australia with William Holden and Ricky Schroder.  He was meant to direct "The Gangster Chronicles" for US television but died shortly before filming was to begin. Richard Sarafian stepped in.

Personal life.

During the filming of "The Earthling" (1980), Collinson discovered he was terminally ill; he died from lung cancer in Los Angeles. He was survived by his wife Hazel and two sons, aged 13 and 10.

Peter Collinson (1 April 1936 – 16 December 1980) was a British film director probably best remembered for directing "The Italian Job" (1969).

Peter Collinson (* 1. April 1936 in Lincolnshire, England; † 16. Dezember 1980 in Los Angeles, Kalifornien) war ein britischer Filmregisseur.


Biography.

Dollar began developing World Changers Ministries Christian Center in 1986. He held the church's first worship service in the cafeteria of Kathleen Mitchell Elementary School in College Park, with eight people in attendance. He later renamed the ministry as World Changers Church International (WCCI), and the congregation moved from the cafeteria to a dedicated chapel. Four services were held each Sunday, and Creflo added a weekly radio broadcast. On December 24, 1995, WCCI moved into its present location, the 8,500-seat facility known as the World Dome. The church has said that the nearly $20 million World Dome was built without any bank financing., the congregation reported having around 30,000 members, and $70 million in revenue (gross cash collections) for 2006.  In June 2012, Dollar was arrested in an alleged attack on his 15-year old daughter, according to the Fayette County, Georgia, Sheriff's Office. Dollar was accused of choking and punching his 15-year old daughter and the story was corroborated by Dollar's other 19-year old daughter. The charges were dropped in January 2013 after he attended anger management classes. The Fayette County Police Department released details of a 911 call.  In October 2012, Creflo Dollar Ministries leased Loews Paradise Theater in The Bronx for a new church location in New York.  Dollar also speaks at conferences and writes about his gospel of wealth and his involvement in televangelism.  Dollar and his wife Taffi have five children and live in Atlanta.

Finances and prosperity gospel teachings.

Dollar is known for his controversial teachings regarding prosperity theology. He has long been criticized for living a lavish lifestyle. He owns two Rolls-Royces, a private jet, and high-end real estate such as a million-dollar home in Atlanta, a $2.5 million home in Demarest, New Jersey, and a home in Manhattan that he bought for $2.5 million in 2006 and sold for $3.75 million in 2012. Dollar has refused to disclose his salary. For declining to disclose any financial information to independent audit, Creflo Dollar Ministries received a grade of "F" (failing) for financial transparency by the organization Ministry Watch.  Dollar was among six televangelists who were the subject of a 2007 investigation led by United States Senator Chuck Grassley of Iowa as ranking member of the Senate Finance Committee. Grassley asked for financial information to determine whether Dollar made any personal profit from financial donations and requested that Dollar's ministry make the information available by December 6, 2007. The investigation also asked for information from five other televangelists: Benny Hinn, Kenneth Copeland, Eddie L. Long, Joyce Meyer, and Paula White. Dollar contested the probe, arguing that the proper governmental entity to examine religious groups is the IRS, not the Committee on Finance. Dollar and three others were not cooperative, and the probe concluded in 2011 without any charges.  On November 24, 2014, Dollar's private Gulfstream III jet, N103CD, ran off the runway at Biggin Hill Airport, United Kingdom. There were no serious injuries.

Creflo Augustus Dollar Jr. (born Michael Smith, January 28, 1962) is an American televangelist and the founder of the non-denominational World Changers Church International based in College Park, Georgia, a suburb of Atlanta. Dollar also heads the Creflo Dollar Ministerial Association (formerly called International Covenant Ministries), Creflo Dollar Ministries, and Arrow Records.

Creflo Augustus Dollar (* 28. Januar 1962) ist ein US-amerikanischer Fernsehprediger und Begründer der "World Changers Church International". Er erregte globale Aufmerksamkeit, als er seine Gemeinde dazu aufrief, ihm beim Erwerb eines 60 Millionen Dollar Privatjets finanziell unter die Arme zu greifen.