Plot.

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

The tableaux vivants.

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

Rembrandt.

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

Goya.

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

Ingres.

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

Delacroix.

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

El Greco.

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

Watteau.

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

Themes.

Art and Life.

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

Light and Dark.

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

Love and Work.

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

Production.

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

Reception.

The film had 207,294 admissions in France.

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

Passion ist ein französisch-schweizerischer Spielfilm von Regisseur Jean-Luc Godard aus dem Jahr 1982. Die einzelnen Handlungsfragmente geben dem Publikum Rätsel auf. Thematisch ist Godard dem Geheimnis der Malerei auf der Spur und untersucht Licht und Komposition einiger Gemälde von Rembrandt, Ingres, Goya und Delacroix.


Plot summary.

After reading Dostoïevsky, Mirbeau plumbs the depths of psychology to describe a Catholic priest, Jules Dervelle, whose body and mind are rebelling against social oppression and the corruption of the Catholic Church.  An indictment of the dreary materialism of provincial French society, where life is governed by cupidity and closed-mindedness, Octave Mirbeau's 1888 novel, "L'Abbé Jules" also offers an indictment of the repressive institutions of family and religion. Object of his neighbors’ fearful curiosity, the novel's eponymous hero, Jules Dervelle, constitutes, for the author, a vehicle for exploring the mysteries of the human psyche, the abuses of religion, and the human longing for the transcendental and the sacred.  Returning to his native village of Viantais after a six-year absence in Paris, Jules revolutionizes his countrymen with his scandalous behavior and unorthodox religious views. Consenting to tutor his young nephew, Albert Dervelle – whom Mirbeau uses as an uncorrupted and innocent narrator – Jules exposes his ideas on sexuality, education, and man's "quest for an ideal".  Retrospective narrative allows Mirbeau to recount Jules's past, his introduction into the priesthood, and the scandalous behavior resulting in his subsequent exile to a remote parish. After his repatriation in Viantais, Jules installs himself in an overgrown country estate, where he delights in the unspoiled simplicity of nature. Wishing to instill in Albert the artlessness of animals, Jules instructs his young charge to throw away his books. He advises Albert that it is easier to "fabricate a Jesus or Mohammed" than it is to dismantle the adulterated social being that each individual has become so that can return to the original purity of his status as a "Nothing."  Jules is a self-contradictory and self-loathing character. He is a bibliomaniac who despises the artificiality of the knowledge found in books; when he comes to finagle from Père Pamphile – an old Trinitarian monk, who is both a double and the opposite of Jules – money he needs for his library, Pamphile indignantly refuses. He is an enemy of Catholicism, but he yearns for an experience of the divine.  Through Jules and Pamphile, two rich and complex characters, the author elaborates his evolving views on the social evils that pervert man's instincts, artistic sensibilities, and spiritual yearnings for the absolute.  Robert Ziegler : "For the most part, the message of Mirbeau's novel is a negative one, aimed at exposing the imposture perpetuated by doctors, judges, educators and priests, dismantling the symbolic systems that culture creates. Mirbeau's text designates literature as repository of meaning."

L'Abbé Jules (Abbé Jules) is a novel written by the French journalist, novelist and playwright Octave Mirbeau, and published by Ollendorff in 1888.

L’Abbé Jules ist ein Roman des französischen Autors Octave Mirbeau, der zunächst als Fortsetzungsroman in der satirischen Zeitschrift "Gil Blas" und als Buchausgabe direkt danach im Jahr 1888 in Paris bei Éditions Charpentier erschien (jüngste französische Neuausgabe, mit Vorwort von Pierre Michel: Éd. de l’Âge d'Homme, Lausanne 2010).


Concept and construction.

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

Service history.

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

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

Die Berlin Nakroma ist eine osttimoresische Fähre, die die Landeshauptstadt Dili mit der Exklave Oe-Cusse Ambeno und der vorgelagerten Insel Atauro verbindet.


Club career.

Born in Ballymena, County Antrim, Worthington played as a left-back and a midfielder and started his career with hometown team Ballymena United in 1979, where he was Ulster Football Writers Young Player of the Year in 1981. He moved into English football with Notts County on 1 July 1981 for a £100,000 fee.  Worthington signed for Sheffield Wednesday on 6 February 1984 for a £125,000 fee, and he stayed at the club for over 10 years. He earned promotion into the First Division with Wednesday in the 1983–84 season as Second Division runners-up. He was a member of the team that won the League Cup as well as a return into the First Division after finishing in third place in the Second Division in 1990–91. Two years later, Worthington and his teammates were losing finalists in the 1993 FA Cup Final.  Worthington left Wednesday to sign for Leeds United on 4 July 1994 for a £325,000 fee, spending two seasons at the club and one season at Stoke City, after signing on a free transfer on 18 July 1996.

International career.

Worthington was capped 14 times by the Northern Ireland national under-18 team before making his debut for the senior national team in a 1–1 draw away to Wales in the 1983–84 British Home Championship on 22 May 1984. This was notable for being Northern Ireland's final match in the last ever British Home Championship, the point gained being enough for Northern Ireland to win, and keep in perpetuity, the trophy. In Northern Ireland's subsequent successful qualifying campaign for the 1986 FIFA World Cup, Worthington started one qualifying match and came on as a substitute in three more. In the Finals tournament itself, Worthington started two of Northern Ireland's three matches, against Algeria and Spain. He served as Northern Ireland captain from 1995 to 1996. Worthington's 66th and final cap was gained in Northern Ireland's 3–0 victory in a home friendly against Belgium on 11 February 1997.

Managerial career.

Blackpool.

Worthington's managerial career started as the player-manager at Blackpool on 8 July 1997. He soon retired from playing to take on sole managerial duties, but two and a half seasons in charge ended with his resignation on 23 December 1999 following a dip in form that saw the club lying in the Second Division relegation battle. "I have taken the club as far as I can," he stated.

Norwich City.

After acting as assistant to Howard Wilkinson with the England under-21 team, Worthington moved to Norwich City on 27 June 2000 as assistant to Bryan Hamilton. He was given the role of assistant manager for the Northern Ireland national under-21 team on 22 August 2000, which he shared with his duties at Norwich. He was appointed caretaker manager at Norwich on 4 December 2000 after Hamilton resigned and on 2 January 2001 was appointed as permanent manager. He later saved the club from relegation into the Second Division. The 2001–02 season, Worthington's first full season, saw Norwich reach the 2002 First Division play-off Final, in which they lost to Birmingham City in a penalty shoot-out.  In his third full season in charge, 2003–04, Worthington took Norwich into the Premier League after winning the First Division championship with a club record 94 points. With one match remaining in 2004–05, Norwich were one point above the relegation zone, but after a 6–0 defeat by Fulham were relegated in 19th place.  Norwich were tipped to make an instant return into the Premier League in 2005–06 having retained the majority of their squad. The team failed to mount the expected promotion challenge, which led to some supporters calling for Worthington to leave the club, with Norwich finishing the season ninth in the Championship table. After a defeat to Plymouth Argyle early in September 2006, Norwich's majority shareholders, Delia Smith and Michael Wynn-Jones, released a statement expecting Worthington to improve the team's performance in the following matches. Worthington was sacked by Norwich almost immediately after a 4–1 defeat to Burnley on 1 October 2006, a result that left the team 17th in the table.

Leicester City.

Worthington was appointed caretaker manager of relegation threatened Championship club Leicester City for the rest of 2006–07 on 11 April 2007. Despite losing his first match to former club Norwich, he was able to steer Leicester to safety and stated his desire to become Leicester's permanent manager. He lost out on the position to Martin Allen.

Northern Ireland.

Worthington was appointed as manager of Northern Ireland on 1 June 2007, initially on a short-term contract until the end of the UEFA Euro 2008 qualifying campaign in November. At the time of his appointment, Northern Ireland led their qualification group. Although Northern Ireland eventually finished third in their qualification group, the Irish Football Association gave Worthington a two-year contract in January 2008. This was subsequently renewed in January 2010, lasting until the end of the UEFA Euro 2012 qualifying campaign. However, after a poor UEFA Euro 2012 qualification campaign he stepped down on 11 October 2011 after the final qualifier against Italy.

York City.

Worthington was appointed manager of League Two club York City on 4 March 2013, after Gary Mills was sacked two days earlier. His first match in charge was a 3–2 defeat away to AFC Wimbledon on 9 March 2013. On the last day of the season, 27 April 2013, York won 1–0 away to Dagenham & Redbridge, which secured the club's League Two status, finishing the season in 17th place. He signed a new one-year rolling contract with York on 3 May 2013. Worthington managed the team that reached the League Two play-offs in 2013–14, in which York were beaten 1–0 on aggregate in the semi-final by Fleetwood Town. He resigned as York manager on 13 October 2014 with the team one place above the relegation zone, and was quoted as saying "In recent weeks, performances have not been up to my high standards and I take full responsibility for this".

Personal life.

Worthington married Sandra Hopkins in Nottingham in 1983. His cousin is fellow manager Brendan Rodgers.

Honours.

As a player.

Ballymena United  Sheffield Wednesday

As a manager.

Norwich City

Nigel Worthington (born 4 November 1961) is a Northern Irish former professional footballer who was most recently the manager of York City.

Nigel Worthington (* 4. November 1961 in Ballymena) ist ein ehemaliger nordirischer Fußballspieler und aktueller Trainer. Seine erfolgreichste Zeit als Spieler verbrachte er zwischen 1984 und 1994 bei Sheffield Wednesday. Zwischen 2007 und 2011 trainierte er die nordirische Nationalmannschaft.


Characteristics.

The servaline genet's fur is rufous with black spots on neck, back and sides. Its feet are black. Its long tail is banded with wide black and narrow white rings. It is short-haired and has a dark broken stripe along the spine. The tip of its tail is bright.  Measurements of male museum specimens range from in head and body with a long tail. Females range from in head and body with a long tail.

Distribution and habitat.

The Servaline genet is distributed from the Sanaga River in Cameroon southwards to the Congo Basin and eastwards to Uganda and Tanzania. In the Republic of Congo, it was recorded by camera-traps in the Western Congolian forest–savanna mosaic of Odzala-Kokoua National Park during surveys in 2007.  In Tanzania's Udzungwa Mountains, a Lowe's servaline genet was recorded in 2000 and photographed in 2002 for the first time. In 2005, camera trap records were also obtained in the Uluguru and Nguru ranges at altitudes of. It is thought possible that it also occurs in other parts of the Eastern Arc Mountains.  The Zanzibar servaline genet is endemic to Unguja Island, Zanzibar, and became known to science in 1995 when a specimen was killed close to the Jozani forest. Several individuals were recorded by camera traps for the first time in January 2003 in the Jozani-Chwaka Bay National Park.

Taxonomy.

The servaline genet was first described by Jacques Pucheran in 1855. Five subspecies are recognised: The crested servaline genet ("G. cristata") was also considered to be a subspecies of the servaline genet, but is now generally regarded as a distinct species.

The servaline genet ("Genetta servalina") is a genet species native to Central Africa. As it is widely distributed and considered common, it is listed as Least Concern on the IUCN Red List.

Die Serval-Ginsterkatze oder Waldginsterkatze ("Genetta servalina") ist eine Raubtierart aus der Familie der Schleichkatzen (Gattung Ginsterkatzen). Sie lebt in Teilen von West-, Zentral- und Ostafrika, wo sie vor allem Regenwälder sowie andere Wald- und Buschlandschaften bewohnt. Die Art gilt als ungefährdet.


Biography.

Early life and education.

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

Academic and Writing Career.

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

Family life.

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

Contributions to Poetry and Literary Criticism.

Influence.

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

"TISH".

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

'Surviving the Paraphrase'.

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

Poetry.

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

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

Frank Davey als Frankland Wilmot Davey (* 19. April 1940 in Vancouver, British Columbia, Kanada) ist ein kanadischer Dichter, Schriftsteller und ehemaliger Hochschullehrer.


History.

Like all barrier islands, Assateague has changed in form over the years. The structure of barrier islands is determined by movement of sand in the littoral zone, the land-facing side of the island. At one time, the island was connected to the lowest point of Fenwick Island. However, the 1933 Chesapeake–Potomac hurricane created an inlet south of Ocean City, Maryland. This inlet separated the two landforms. Normally, it would have silted back due to the littoral drift that ran from north to south. However, after the storm, between 1933 and 1935 a permanent system of artificial jetties was built to preserve the inlet as a navigation channel. As a result, the island has drifted considerably westward, and the two landmasses are now over apart. While this process has benefitted Ocean City, creating wider beaches and better fishing access, it caused erosion problems on Assateague.  Between 1933 and the early 1960s, federal interest in creating a national seashore on the island alternated with periodic pushes for development. In 1950, a 15-mile section of the Maryland side of Assateague was plotted for development, and a paved road, Baltimore Boulevard, was constructed to traverse the new development. The Ash Wednesday Storm of 1962 destroyed or covered most of Baltimore Boulevard, and many of the structures on the island were destroyed. Although some private landowners on the island supported re-development, by this time the state of Maryland generally supported a national seashore and legislation was introduced in the United States Congress. After Congressional efforts did not produce final legislation in 1964, new legislation in 1965 was successful and Assateague Island National Seashore was formed.

Parks and Refuge.

The entirety of Assateague Island is owned and operated by three different agencies: the NPS, Maryland State Parks, and United States Fish and Wildlife Service. All of the land on the island north of the Maryland-Virginia state line is the Assateague Island National Seashore, with the exception of the smaller Assateague State Park. The national seashore was established in 1965 to preserve the barrier island and surrounding waters, and provide recreational opportunities. All of the island south of the state border in Virginia is the Chincoteague National Wildlife Refuge, with the exception of a one-mile stretch of land including the recreational beach and interpretive facilities managed by the NPS. The Refuge was established in 1943 to provide habitat for migratory birds, primarily snow geese. The U.S. Geological Survey has initiated studies aimed at mitigating the potential sea-level rise on this barrier island complex.

Human use of the island.

The National Park Service allows off-road vehicles with permits in certain areas. Car camping sites are available in both the National Seashore and Assateague State Park by reservation. Backcountry sites are also available from the National Seashore. There is no camping available from the Chincoteague National Wildlife Refuge. Pets are prohibited in all areas except certain parts of the National Seashore and parts of the state park. Kayak touring is a popular way to see the wildlife, especially on the calmer bay side. The best times to backcountry camp are in the spring and fall. Summer months are known for heavy mosquito populations, particularly on the bay side.  Assateague State Park comprises almost and lies in Maryland within the National Seashore. The state park is the most developed area on the island with 350 campsites. Most of the water around the island is within the boundaries of the national seashore. The island has a land area of and has no resident population in either Maryland or Virginia, though a few retained property rights until 2006. These were mainly hunting camps.

Fauna.

Large populations of birds inhabit the island, including American oystercatcher, great blue heron, and snowy egret. There are over 320 species that are known to inhabit the island during some portion of the year. These include gulls, terns, and other shorebirds along with raptors, waterbirds, and waterfowl. The piping plover is a threatened species that nests on Assateague.  The feral horse population of Assateague Island is alternately known as the Assateague horse in Maryland and the Chincoteague Pony in Virginia. This distinction, made both on per-breed and per-individual basis, is sometimes a matter of disagreement. The traditional definition of a horse or a pony is based on whether the animal in question falls over or under. The equines on the island tend to be under 14.2, but have a horse phenotype. It is argued that their relatively small size is primarily due to environmental, rather than genetic conditions. The National Park Service provides information about these animals through brochures and the internet.  The Maryland and Virginia horses are kept apart by fencing at the border between the two states. Though commonly called "wild," these horses had domesticated ancestors, claimed in legend to be survivors of a Spanish galleon that shipwrecked along the coast, but possibly just local colonial horses allowed to run loose. When excess numbers are removed from the island and they are placed into human ownership, they adapt quickly to domestication. Made famous by Marguerite Henry in her children's book "Misty of Chincoteague", the animals are popular tourist attractions and subjects for photography.  The Maryland horses are owned and managed by the NPS, who have carefully followed the population over generations. In Virginia, the Chincoteague ponies are owned by the Chincoteague Volunteer Fire Company. Once a year in July, the local "salt water cowboys" round them up and sort a number of animals to be removed from the island, which are put up for auction on Pony Penning Day.  To keep their numbers under control on the Maryland side, a federal contraceptive program has been in place since 1994. In Virginia, the Pony Penning Days auction keeps the horse population at levels required by agreement with the Chincoteague National Wildlife Refuge.

Assateague Island is a long barrier island located off the eastern coast of the Delmarva Peninsula facing the Atlantic Ocean. The northern two-thirds of the island is in Maryland while the southern third is in Virginia. The Maryland section contains the majority of Assateague Island National Seashore and Assateague State Park. The Virginia section contains Chincoteague National Wildlife Refuge and a one-mile stretch of land containing the lifeguarded recreational beach and interpretive facilities managed by the National Park Service (or NPS). It is best known for its herds of feral horses, pristine beaches and the Assateague Lighthouse. The island also contains numerous marshes, bays, and coves, including Toms Cove. Bridge access for cars is possible from both Maryland and Virginia, though no road runs the full north/south length of the island.

Assateague Island ist eine unbewohnte amerikanische Insel in Maryland und Virginia. Die längliche Düneninsel an der Ostküste der Vereinigten Staaten von Amerika ist in Nord-Süd-Richtung 60 km lang. Die Vereinten Nationen haben Assateague Island zum Biosphärenreservat erklärt. Das Innenministerium der Vereinigten Staaten hat die gesamte Insel zum National Natural Landmark erklärt.


History.

The Nobel Museum opened in the spring of 2001 for the 100th anniversary of the Nobel Prize. Its name was changed to Nobel Prize Museum in 2019, in conjunction with Erika Lanner becoming the museum's new director.  According to the manifesto of the museum, the intentions are to be a “reflecting and forward-looking and spirited memory of Nobel laureates and their achievements, as well as of the Nobel Prize and Alfred Nobel.” To achieve these aims, the museum offers exhibitions, films, theatre plays, and debates related to science; in addition to its bistro and shop. Museum exhibitions feature prominent Nobel laureates such as Marie Curie, Nelson Mandela, and Winston Churchill.  The museum frequently offers creative exhibitions such as “Sketches of science”, a photo exhibition with 42 Nobel laureates photographed with their own sketch of their Nobel discovery. This exhibition has also been shown in other parts of the world as well, including Dubai and Singapore. For visitors who want to bring a piece of the museum home, a souvenir shop is available that contains items about Alfred Nobel and the museum. One of the most popular items is Alfred Nobel's gold medal made in dark fair trade chocolate. Another one is the Swedish “dynamite” candy that is flavored with jalapeño pepper. During 2011, the souvenir shop collaborated with the artist Artan Mansouri who made paintings that symbolized Nobel's life. Besides that, the shop offers a lot of educational toys for children, books by and about Nobel Prize laureates, and also unique items only found in the Nobel Museum shop.  There is also Bistro Nobel featuring Nobel chocolate, Swedish cakes, and also lunch and dinner. At the bistro, Nobel ice cream is served as well; this ice cream can only be found in the Nobel Bistro. The Nobel tea is usually served every year at the Nobel banquet.

The Nobel Prize Museum (formerly the Nobel Museum ()) is located in the former Stock Exchange Building ("Börshuset") on the north side of the square Stortorget in Gamla Stan, the old town in central Stockholm, Sweden. (The Swedish Academy and the Nobel Library are also in the same building.) The Nobel Prize Museum showcases information about the Nobel Prize and Nobel prizewinners, as well as information about the founder of the prize, Alfred Nobel (1833–1896). The museum's permanent display includes many artifacts donated by Nobel Laureates, presented together with personal life stories.

Das Nobelmuseum (schw.: "Nobelmuseet") ist ein schwedisches Museum in Stockholm. Das Museum widmet sich Informationen um den Nobelpreis, Nobelpreisgewinnern von 1901 bis zur Gegenwart und dem Leben des Nobelpreisstifters Alfred Nobel (1833–1896). Es ist gemeinsam mit der Schwedischen Akademie und deren Nobelbibliothek im ehemaligen Gebäude der Stockholmer Börse untergebracht, das sich am Platz "Stortorget" in der Altstadt von Stockholm befindet. Das Museum zeigte Ausstellungen zu Persönlichkeiten wie Marie Curie, Nelson Mandela oder Winston Churchill sowie weiteren Nobelpreisträgern. Im Frühjahr 2001 öffnete das Museum.


Name.

Al-Khazneh means "The Treasury" in Arabic, a name derived from legends regarding the decorative stone urn high on the second level, which in reality is solid sandstone.  One legend is that the Egyptian Pharaoh and some of his army escaped the closing of the Red Sea, created the Khazneh by magic as a safe place for his treasury and continued in his pursuit of Moses. This led to the name Khaznet el-Far'oun, "Treasury of the Pharaoh".  Another legend claims that bandits or pirates hid their loot in the urn. Significant damage from bullets can be seen on the urn, attributed by local lore to Bedouins who are said to have shot at the urn in the early 20th century, in hopes of breaking it open and spilling out the "treasure".

History.

Al-Khazneh was originally built as a mausoleum and crypt at the beginning of the 1st century AD during the reign of Aretas IV Philopatris.  Many of the building's architectural details have eroded away during the two thousand years since it was carved and sculpted from the cliff. The sculptures are thought to be those of various mythological figures associated with the afterlife. On top are figures of four eagles that would carry away the souls. The figures on the upper level are dancing Amazons with double-axes. The entrance is flanked by statues of the twins Castor and Pollux who lived partly on Olympus and partly in the underworld.

Impact of tourism.

In 1812, the city of Petra and Al-Khazneh was rediscovered by Swiss explorer Johann Ludwig Burckhardt. As Western Europe continued to explore the Middle East, tourism became more common, and by the 1920s, a small hotel had opened near Petra. While Petra was not as popular as larger, more central cities like Cairo, tourism started to change the economy and social structure of the Bedouin people who lived nearby.  Tourism is now the main source of income in Jordan. Hotels, souvenir shops, restaurants and horse rental services are all found within a few-mile radius of Petra itself. While the economic effects have been largely positive, the site faces threats from the increased tourism.  Humidity from large crowds of people visiting the site can cause damage to the dry sandstone. White spots have appeared on walls and columns from stearic acid deposition due to hands resting against the walls. The Khazneh surface itself has receded by 40 mm in less than ten years from touching, leaning, or rubbing on the walls of the Khazneh.

In popular culture.

The Treasury has appeared in many Hollywood films, gaining particular fame after being featured in climactic scenes in the popular 1989 film "Indiana Jones and the Last Crusade", in which its facade is represented as the entrance to the final resting place of the Holy Grail near Hatay. The interior scenes of the temple were filmed at Elstree Studios in England.  "Ancient Megastructures: Petra", a television series from National Geographic Channel, is dedicated to the Khazneh, explaining how it was created through human resourcefulness and courageous endeavour.  The Treasury is also depicted in Hergé's "The Red Sea Sharks", one of the "Adventures of Tintin", "Sinbad and the Eye of the Tiger", Sky 1 travel series "An Idiot Abroad", The Sisters of Mercy 1988 music video for "Dominion", the history series "The Naked Archeologist", and the Korean drama "Misaeng".

3D model with laser scanning.

The Treasury was spatially documented in 2012 by the non-profit research group Zamani Project, which specialises in 3D digital documentation of tangible cultural heritage. A 3D model can be viewed at zamaniproject.org. The data generated by the Zamani Project create a permanent record that can be used for research, education, restoration, and conservation.

Al-Khazneh (; "The Treasury") is one of the most elaborate temples in Petra, a city of the Nabatean Kingdom inhabited by the Arabs in ancient times. As with most of the other buildings in this ancient town, including the Monastery (Arabic: Ad Deir), this structure was carved out of a sandstone rock face.

Das Khazne al-Firaun () ist ein von den Nabatäern aus dem Fels geschlagenes Mausoleum in der antiken Stadt Petra im heutigen Jordanien. Es befindet sich gegenüber dem Eingang zum Siq, der Schlucht, die zugleich den Eingang zur Felsenstadt darstellt.


Social origins.

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

Lyrics.

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

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

No One Likes Us, We Don’t Care (Niemand mag uns, uns ist das egal) ist der Fangesang der Fans des Londoner Fußballvereins FC Millwall. Er wird zur Melodie von Rod Stewarts Song "Sailing" gesungen. Die Millwall-Fans singen ihn zu Beginn des Spiels, oder wenn ein Tor gefallen ist. Er ist ein zentrales Element der Identitätsbildung der Millwall-Fans, und bekannt im gesamten englischen Fußball.


Synopsis.

The series follows Rob (Rob Schneider), a former lifelong bachelor and landscape architect with Obsessive Compulsive Disorder, who marries into a tight-knit Mexican American family and attempts to be closer to them, often ending in disastrous results despite his good intentions.

Production.

The pilot first appeared on CBS's development slate in October 2010. On February 4, 2011, CBS placed a pilot order, written by Rob Schneider and Lew Morton, and directed by Jamie Widdoes. The series' executive producers were Schneider, Morton, and Kim and Eric Tannenbaum. The series then premiered, and concluded on March 1, 2012, after eight episodes.

International broadcast.

In Canada, the series airs on Global and premiered on January 19, 2012, after "The Office".

Reception.

Reviews for "Rob" were generally unfavorable. Jace Lacob of "The Daily Beast" described it as CBS's "worst new show" and wrote of the first episode that "there isn’t a single Latin name among the writers or producers" and that it "offers a wafer-thin appreciation and awareness of Mexican culture, one that doesn’t go beyond guacamole and the occasional use of the Spanish endearment "mija" (my daughter)." Robert Bianco of "USA Today" wrote in his review that "Some of this barrage of stereotypes might be passable if even one character were intelligently written and skillfully played, but there's hardly a moment or performance in Rob that doesn't reek of the leftover and the second-rate" and that "Schneider's the only actor who even seems to be trying." In a more positive review, Glenn Garvin of "The Miami Herald" wrote in his review that the show is a "rather funny sitcom about the cultural collisions that occur every day in an increasingly blended America". The show received a 28/100 rating on Metacritic.

Rob (stylized in promos as ¡Rob!) is an American sitcom television series that premiered on CBS on January 12, 2012, at as a mid-season replacement for "Rules of Engagement", and ended on March 1, 2012. The series stars Rob Schneider alongside Cheech Marin, Claudia Bassols, Diana Maria Riva, Eugenio Derbez, Ricky Rico, and Lupe Ontiveros. The show was produced by "Two and a Half Men"s The Tannenbaum Company and CBS Television Studios. On May 13, 2012, CBS canceled the series.

Rob ist eine US-amerikanische Sitcom, die vom 12. Januar bis zum 1. März 2012 bei dem US-Fernsehsender CBS ausgestrahlt wurde. Produziert wurde die Serie von The Tannenbaum Company.


History.

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

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

WERZ oder auch WERZ-FM (Branding: ""Z107"") ist ein US-amerikanischer kommerzieller Popsender aus Portsmouth, New Hampshire. WERZ sendet "ein Classic Hit"-Sendeformat auf der UKW-Frequenz 107,1 MHz. Eigentümer und Betreiber ist der größte Radiokonzern der USA iHeartMedia, Inc.


History.

Predecessor sides.

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

Postwar and formation of TS.

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

Other sports departments.

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

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

TS Woltmershausen ist ein Sportverein aus dem Bremer Stadtteil Woltmershausen. Die erste Fußballmannschaft der Männer nahm zweimal am DFB-Pokal teil. Die erste Fußballmannschaft der Frauen spielte einmal um den DFB-Pokal. Die erste Handballmannschaft der Frauen spielte zwei Jahre in der 2. Bundesliga.


Styles and usage.

Bird control deterrent spikes are normally around long, and work by reducing the area available for birds to land on. This forces larger varieties of birds, such as seagulls, pigeons, and crows, to land elsewhere. Birds that attempt to alight on spike-protected surfaces receive a light prick from one or more of the spikes, which is uncomfortable but generally not harmful. As a result, the Royal Society for the Protection of Birds (RSPB) recommends bird control spikes for deterring pigeons from gardens.  Described as "the most effective (type of) stand-alone bird deterrent", bird control spikes can be placed along ledges, walls, on top of commercial signage, closed circuit television cameras and in rain gutters, in order to prevent birds from perching on the surfaces. Bird control spikes are most common in city centres and coastal areas, where feral birds are more common and more likely to come into conflict with humans. In addition, killing or harming birds without a valid reason is illegal in some areas; for example the Wildlife and Countryside Act 1981 in the United Kingdom forbids killing wild birds that are not causing serious damage to property or posing a serious risk to human health, which puts pressure on authorities and landowners to find non-lethal bird control methods.  Some bird control deterrent spikes are electrified, using the same principle as an electric fence to increase effectiveness, and the distress call of the shocked bird can frighten others in the area. However, such devices cause unnecessary harm to birds or other wildlife, and are therefore illegal in some areas, such as the United Kingdom. Sharp-tipped bird control spikes are illegal in much of the rest of the world, and are unsuitable for areas which are regularly accessible for humans. As a result, some companies manufacture special blunted spikes for use where sharp spikes are dangerous or illegal. However, the blunt spikes are less effective at deterring birds, and cannot block climbing animals.  The same "passive deterrent" concept is also frequently employed to discourage human intrusion into secured or dangerous areas. In this application, spikes are employed in a similar manner to barbed wire or razor wire, providing a clearly visible and obvious deterrent to climbing or attempts to traverse a particular area. A common example is where pipes, conduits, structural beams and other such infrastructure must penetrate a fence or similar barrier and may provide a means to circumvent the barrier. A collar of large spikes approximately long is fixed around part or all of the circumference of the penetrating element. Such measures are often employed near bridges, dams, cliffs and other such fall risks as an aid to public safety.

Alternatives.

The spikes can become clogged by leaves, debris and bird feathers. If left unchecked, this can allow birds to perch easily on top. In addition, spikes can make buildings appear less attractive or untidy, especially landmark buildings. In these cases, other methods of control must be used. The only reliable bird control methods are barriers that do not allow the birds to be in an area or on a surface. Netting and mesh exclude or totally block birds from unwanted areas. Low current electric barrier will protect any surface or ledge from unwanted birds nesting, roosting, or loafing. Because spikes attract small birds or pigeons nesting right into the spikes by adding nesting debris, twigs, and grass it is advisable to start with netting and low current barriers because these methods always work.

A bird control spike, also known as an anti-roosting spike or roost modification, is a device consisting of long, needle-like rods used for bird control. Bird control spikes can be attached to building ledges, street lighting, and commercial signage to prevent wild or feral birds from perching or roosting. Birds can produce large quantities of unsightly and unhygienic feces, and some birds have very loud calls that can be inconvenient for nearby residents, especially at night. As a result, bird control spikes are used to deter these birds without causing them harm or killing them.

Taubenspikes (von engl. "spike" für Spitze, allgemeiner auch "Vogelabwehrspitzen" oder "Taubenabwehr-Leisten" genannt) sind auf Leisten angebrachte lange Metallspitzen, die vor allem an Gebäudefassaden, Brücken und anderen Bauwerken angebracht werden, um Tauben daran zu hindern, dort zu landen und zu nisten. Das Vergrämungsmittel dient also der Taubenabwehr.


Early life.

Riggins was born in Seneca, Kansas of partial Czech ancestry and attended Centralia High School in Centralia, Kansas. While there, he was a three-sport athlete, earning high school All-American recognition in football, all-state honors in basketball and twice winning the Class B 100-yard dash state title.  Riggins' high school is now located on John Riggins Avenue, which runs through a main part of Centralia.  On October 12, 2012 John with his brothers Frank (Junior) and Bill Riggins were on hand to dedicate the Centralia High School football field renaming it Riggins Field in honoring their parents, Franklin Eugene and Mildred Riggins. The Pro Football Hall of Fame dedicated a plaque and NFL Films was there to film the event. The Riggins brothers took center field for the opening coin toss and the Centralia High School Panthers went on to beat the Troy (Kansas) High School Trojans with a final score of 55–0.

College career.

Riggins attended and played college football at the University of Kansas for the Jayhawks, where he was an All-American and two-time All-Big Eight Conference first-team selection. Riggins led the Jayhawks to a Big Eight Conference championship win in 1968. The team then went to the 1969 Orange Bowl, which they lost to Penn State, 15–14.  During his senior season in 1970, Riggins rushed for 1,131 yards and scored a then school-record 14 touchdowns. He finished his career with 2,659 rushing yards, which broke Gale Sayers's career rushing record for the school Riggins is now ranked fifth for Kansas' all-time rushing leaders and 14th for total yards.  While at Kansas, Riggins majored in journalism.

Professional career.

New York Jets.

Riggins was drafted #6 in the first round of the 1971 NFL Draft by the New York Jets and as a rookie he became the first Jet to lead the team in both rushing and receiving. On October 15, 1972, the Jets set a team-record of 333 rushing yards against the New England Patriots, beating them 41–13. Riggins, who had 168 yards, and Emerson Boozer, who had 150 yards, became the only running back tandem in franchise history who both rushed for 150 yards in a game. Although he missed the final two games in 1972 because of knee surgery, Riggins rushed for 944 yards, four yards less than Matt Snell's franchise record.  Riggins was among the top ten rushers in the American Football Conference in 1974 despite missing four games with a shoulder injury. After only four years with the Jets, he was already the fourth leading rusher in team history with 2,875 yards. In 1975, Riggins became the first player in franchise history to rush for 1,000 or more yards in a season. On December 21, 1975, he ran for 121 yards against the Dallas Cowboys which gave him 1,005 for the season. In what turned out to be his last season with the Jets, Riggins made his only appearance in the Pro Bowl.  Riggins was named the Jets' MVP (now known as the Martin Award) in 1972 and 1975.

Washington Redskins.

In 1976, Riggins signed as a free agent with the Washington Redskins, who offered him a five-year, $1.5 million contract, compared to the $63,000 he earned in his final year with the Jets. He was used mostly in short-yardage situations in his first season with Washington and missed much of the 1977 season with a knee injury. However, he gained more than 1,000 yards each of the next two seasons and was a major part of the Redskins' offense.

Contract dispute.

During training camp in July 1980, Riggins requested to renegotiate his $300,000-per-year contract and the Redskins refused. He then chose to leave camp and the Redskins placed him on the left camp-retired list, a move that made him ineligible to play for any other team in the league. Riggins sat out the 1980 season and did not rejoin the Redskins until 1981, when new Washington head coach Joe Gibbs traveled to Kansas to make a peace offering.  "He had a camouflage outfit on", Gibbs recalled.  Riggins' return also came at the suggestion of Ed Garvey, who was the executive director of the NFL Players Association.  Eleven months after he left, Riggins returned to training camp in 1981 with a new contract, telling the media "I'm bored, I'm broke, and I'm back."

Return to the Redskins.

Upon Riggins' return in 1981, he managed just 714 rushing yards but scored 13 touchdowns.  During the strike-shortened 1982 season, Riggins gained 553 yards. He was much more successful during the playoffs, during which he gained 444 yards in victories over the Detroit Lions, Minnesota Vikings (where he had a franchise playoff record 185 yards), and Dallas Cowboys, and helped the Redskins reach Super Bowl XVII. Riggins rushed for a then-Super Bowl record 166 yards on 38 carries as the Redskins beat the Miami Dolphins 27–17. He was then named Super Bowl MVP.  A play that was designed for gaining short yardage called "70 chip" turned out to be the key play of the game. With 10 minutes remaining, Riggins took a handoff on 4th-and-inches, stiffarmed cornerback Don McNeal and ran for a 43-yard touchdown. The Super Bowl win was the Redskins' first championship victory since 1942. Riggins' total of 610 yards amounted to 43 percent of Washington's offense in the four playoff games. His four consecutive playoff games with over 100 yards was an NFL postseason record. On December 6, 2007, Riggins' run was voted by fans as the Redskins' Greatest Moment.  The 610 rushing yards and 625 yards from scrimmage he gained in the 1982 playoffs are both single NFL postseason records.  In 1983, Riggins rushed for 1,347 yards, scored a then-NFL record 24 touchdowns, won the Bert Bell Award, and was named All-Pro for the first time in his career. Riggins went on to have another outstanding postseason, rushing for 242 yards and two touchdowns in their two playoff games, extending his NFL record of postseason games with at least 100 rushing yards to six. However, he only rushed for 64 yards and a touchdown in the Redskins' 38-9 Super Bowl XVIII loss against the Los Angeles Raiders.  Two other career milestones happened in the 1983 season for Riggins. On November 20, 1983, he set an NFL record by scoring in his 12th consecutive game during a 42–20 win over the Los Angeles Rams. His record would end at 13 consecutive games the following week. Then on December 17, 1983, Mark Moseley set an NFL kicking record by scoring 161 points in a season, which also made him the league leader in scoring that season. Riggins, who scored 144 points, was second on the season scoring list. This was the first time since 1951 that the top two scorers in a season played on the same team.  Riggins gained 1,239 yards in 1984 and tied for the league lead in rushing TDs (14), despite a bad back. In 1985, he rushed for more than 100 yards in three of his last four starts before being replaced by George Rogers as the starter. He retired after that season.  Riggins played 175 games in 14 seasons, had 13,442 total yards (11,352 rushing and 2,090 receiving) and 116 total touchdowns (104 rushing and 12 receiving). Riggins rushed over 1,000 yards five times in his career and over 100 yards in 35 games, including a then-record six in post-season. He rushed 251 times for 996 yards in the playoffs. He also had 12 touchdowns in nine post-season contests, good for fourth all-time tied with Terrell Davis and Marshawn Lynch.

Honors.

On October 21, 1990, Riggins and Joe Theismann were inducted into the Redskins' Ring of Fame. As Riggins' name was called, he ran onto the field in full Redskins uniform, including pads, and was received by the crowd at RFK Stadium with thunderous applause. Riggins later explained that he "just had to hear <nowiki>[</nowiki>the roar of the crowd<nowiki>]</nowiki> one more time".  In 1992, he was inducted into the Pro Football Hall of Fame.  On October 13, 2007, Riggins was inducted into the University of Kansas' Ring of Honor at Memorial Stadium.

After football.

Acting.

In 1994, he began acting lessons and has since starred in off-off-Broadway productions of the plays "Gillette" and "A Midsummer Night's Dream" (in which he played Bottom). His television credits include "Guiding Light", "" and "One Tree Hill".  Riggins' acting career began at Centralia High when a teacher cast him as the lead role in his junior play. His career as a professional actor started in 1992 when he appeared in "Illegal Motion" at the Olney Theatre Center for the Arts. He starred as a beleaguered head football coach accused of inappropriate recruiting practices.

Commentating.

Since retiring from professional football, Riggins has worked as a sports commentator on television and radio.  In 1998, John and Chris Russo hosted "Riggins and Russo" on Sundays during the football season. The show was aired on WCBS-TV in New York City, focusing primarily on the Jets' and Giants' upcoming games.  Since 2006, Riggins has served as color commentator on Westwood One for the network's weekly national radio broadcast of "Sunday Night Football".  On July 18, 2006, Triple X ESPN Radio was launched with Riggins hosting "The John Riggins Show". Riggins could be heard in the Washington, D.C. area weekdays from 4-7pm on 94.3 FM, 92.7 FM & 730 AM, WXGI 950 AM in Richmond, Virginia and WXTG-FM 102.1 FM in Virginia Beach, Virginia and WXTG (AM) 1490 in Hampton, Virginia. The last show of the series aired on its second anniversary, July 18, 2008. With the merger of Triple X into WTEM to form "ESPN 980", Riggins' afternoon show was replaced by WTEM's afternoon drive show, "The Sports Reporters". Riggins stayed with ESPN 980 as a commentator at large.  On January 3, 2008, Riggins co-hosted the 74th Orange Bowl pre-game show. That same night, the Kansas Jayhawks defeated the Virginia Tech Hokies 24–21. It came 39 years after Riggins and the Jayhawks last played in the game in 1969. He offered congratulations to his Alma Mater in his closing comments, saying "The KU ship's been out at sea since '48. It finally came to port tonight!"  In September 2008 it was announced that Riggins would co-host the program "Sirius Blitz" with Adam Schein on Satellite Radio Stations Sirius 124 and XM 105. Following his involvement with "Sirius Blitz" Riggins began hosting his own show, The John Riggins Show, which simulcasts on television and radio on MASN-TV and WTOP-HD3, which airs each weekday afternoon. Riggins has been critical on his radio shows of the current management of the Washington Redskins under owner Dan Snyder.  Previously, he had been a panelist on "Redskins Report" until that show was canceled in December 2008 due to budget cuts.  In 2016, Riggins returned to ESPN 980 Redskins radio in a variety of roles. Weekly appearances consisted of a one-hour appearance on Tuesdays with Bram Weinstein, a Thursday appearance on moving drive with Kevin Sheehan & Chris Cooley and a Friday appearance on Inside The Locker Room with Doc Walker, Brian Mitchell and Scott Jackson. Additionally, Riggins co-hosted the Washington Redskins Radio Network pregame show with Kevin Sheehan before every Redskins game.

Personal life.

Riggins has been married twice and has six children Robert, Portia, Emil, Liberty, Hannah and Coco. He now resides in Cabin John, Maryland near the Potomac River with his wife Lisa Marie.  It was at the 1985 National Press Club's Salute to Congress at 529 14th Street NW in Washington D.C. that Riggins drunkenly told Supreme Court Justice Sandra Day O'Connor to "loosen up Sandy baby" because she was "too uptight" when the two met at dinner. Riggins then fell asleep under the table. The next time Mrs. O'Connor and John Riggins met at a function years later, he gave her a dozen roses.

Robert John Riggins (born August 4, 1949), nicknamed "The Diesel" and "Riggo", is a former American football running back who played professionally in the National Football League (NFL) for the New York Jets and Washington Redskins. He played in college at the University of Kansas. He was known for his powerful running style and productivity well into the latter years of his career; in 1983 at age 34, he rushed for an NFL single-season record 24 touchdowns, and again led the league in rushing touchdowns the following season at age 35. Although he had only one Pro Bowl appearance in his career, Riggins had his greatest success in the postseason, and was named the Most Valuable Player of Super Bowl XVII where he scored one touchdown and rushed for 166 yards in a 27-17 win for the Washington Redskins over the Miami Dolphins. Riggins was inducted into the Pro Football Hall of Fame in 1992.

Robert John Riggins (* 4. August 1949 in Seneca, Kansas), auch The Diesel genannt, ist ein ehemaliger US-amerikanischer American-Football-Spieler auf der Position des Runningbacks.


Geography.

Homigot is one of the easternmost points on the Korean peninsula and as such serves every year as a gathering place for thousands to greet Korea's first sunrise of the New Year. The beach is also home to the Hands of Harmony sculpture. The shore of Homigot, which is the tip of Pohang's, is a place where the cold currents and warm currents intersect. Accordingly, fixed shore net fishing is active and there are plenty of fish resources such as squid and mackerel pike. Also, the sea breeze is so strong that it is the first test run in North Gyeongsang Province to build a wind generator in 2001. Homigot is a gentle hill mountainous terrain that protrudes three sides into the sea except for the southern part, which is densely populated with five to six peaks at altitudes between 120 and 180 meters above sea level. Pohang Airport, the existing road network linking national roads and provincial roads, as well as nearby port of Guryongpo and Daebo is secured, making it easy to construct wind farms without additional infrastructure investment.

Natural Environment.

An analysis of ground weather from 1993 to 2001 at the automatic weather station at Homigot's northern tip showed a distinct difference between summer and winter of wind speed. Starting in October, the wind speed slowly increased, reaching its peak in December and January, and gradually decreasing until July. The average wind speed of more than 5 m/s was measured from December to March, but the average wind speed was below 4 m/s from May to August. In other words, wind speeds tend to remain strong at night in winter and fall during daytime. On the other hand, the wind speed increases in the spring and summer between 3-4 p.m., and the wind speed is maintained almost constant in autumn. Therefore, it is considered that the energy generated by wind power will be concentrated in the winter night time.

History.

Joseon Dynasty.

During the Myeongjong of Joseon Dynasty in the 16th century, Homigot was explained in 'A secret view of the mountains and water(山水秘境)'by feng shui geomanologist Namsago. In the book, he explained that Homigot corresponds to the tiger's tail. Gim Jeong-ho made Daedongyeojido and measured Homigot seven times to confirm that it is the most eastern part of the country. It is also called Janggigot(長鬐串) and Dongeulbaegot(冬乙背串). Yukdang Choi Nam-sun chose the sunrise of Homigot as one of the 10 best points to the Joseon Dynasty.

A tale of Yeon Oh-rang and Se O-nyeo.

There is a tale about Yeon Oh-rang Se O-nyeo in Homigot. The name of the main character, Yeon Oh-rang, is believed to have been derived from Youngil bay. In the story of Yeon Oh-rang and Se Oh-nyeo of Samguk yusa, the couple moved to Japan to become kings, and Silla, which had lost the sun and moon, gave the silk that Se O-nyeo had woven. Many theories are being expressed regarding the interpretation of the story, as a member of the Talhae of Silla family is being pushed back to the Japanese government by the family of Hyeokgeose of Silla.

Tourism in North Gyeongsang Province.

The sunrise history travel zone is a wide area theme tour centered on the sunrise spot in Korea and Silla culture. The project includes Homigot of Pohang. The project aims to improve the sunrise point environment at Homigot.

Traffic.

Homigot, which is located along Yeongil Bay, is frequently shipped by large ships carrying steel materials, products from POSCO. and other miscellaneous goods. Also, fishing boats are active. In particular, the seas near Homigot are areas where ships of ports are frequently traversed and traveled.

Festival.

The Sunrise Festival.

The sunrise festival at Homigot is held every year on January 1. The sunrise festival has variety of programs. Busking and radio DJ zone are available for citizen participation. Also, there are experiences of decorating Korean paper(Hanji), making a kite for lucky. The most famous is the New Year's Tteokguk(Rice cake soup) eating event. When the New Year comes, rice cake soup for 10,000 people is boiled and shared in a large Gamasot. Gamasot is displayed at Homigot.

The Octopus Festival.

The Octopus Festival is held every year on April. It has variety programs. The main theme is catching octopus with bare hand and octopus auction.

The camping Festival.

The festival was held to promote the city's attractions and entertainment by using camping, which is the center of the recent trend of healing culture. According to Pohang City government the festival is designed to promote regional economic boom, see and enjoy the event ahead of the regular season. Those who participated in the festival were able to experience camping cook contest, watching the Russia World Cup game and water gun play etc. About 2,000 tourists participated in the festival.

Lighthouse.

The Homigot Lighthouse (Korean: 호미곶등대) is an active lighthouse in Pohang, South Korea. With a height of 26.4 metres (87 ft), it is the tallest in South Korea. The lighthouse was built in 1900s, made with only bricks not using rebar. It is shaped like an occipital shape and to ensure the stability of the lower part, the lower part was held wider and narrower as it gradually rose.

National Lighthouse Museum.

Korea National Lighthouse Museum is placed in Homigot, right beside Homigot Lighthouse. There is information about all the Lighthouse in Korea.  There is 5 themes in the museum.

Hand of Coexistence.

'Hand of Coexistence' was made by a professor Seung-guk Kim at Yeongnam University with the support of Pohang Construction and Daegu Bank. In commemoration of the new millennium, 'Hand of Coexistence' is a two-handed sculpture set up at Homigot in Pohang in December 1999. The right hand, 8.5 meters high in the sea, and 5.5 meters high in the sunrise plaza.

<mapframe latitude="36.0760323" longitude="129.5638422" zoom="12" width="400" height="300" align="right" /> Homigot () is a point of land jutting out into the East Sea, is located to the east of urban Pohang in. Homigot means "tiger's tail cape." The shape of the Korean Peninsula is often compared to a tiger. Homigot is located on a cape equivalent to the tail of a tiger, so it was designated Homigot.

Homigot (koreanisch ), auch Janggigot () genannt, ist der nordöstlichste Punkt einer rund 20 km langen Halbinsel an der Südostküste in Südkorea nahe der Stadt Pohang. Bekannt ist Homigot unter anderem durch seinen Leuchtturm, der als der höchste und älteste Leuchtturm Südkoreas gilt und durch das jährlich zum Jahresausklang stattfindende "Homigot Sunrise Festival".