General description.

The Cembalet is an electro-mechanical piano requiring amplification to produce a usable sound level. Cembalets have 61 keys and a keyboard range of C2 to C7 (65.4 Hz – 2093 Hz). The Cembalet had ground stainless steel reeds and a pick-up using variable capacitance. The keyboard action is very simple. Each key is a single lever element pivoted on a fulcrum point with a spring to return it to the rest position. The key is extended at the rear so that a plectrum and damper pad can be mounted close to the tuned spring steel reed. This plectrum lifts and releases the reed causing it to vibrate when the key is depressed. The vibration of the reed is converted to an electrical signal by a pick-up. The unique playing feel of a Cembalet comes from the resistance of the steel reeds as they reach and exceed their point of release.

Comparison with Pianet.

After introducing the Cembalet, Hohner produced a variation of the mechanical design named the Pianet. These two instruments were sold in parallel until the late 1960s. Case styles were identical for models C and N through the 1960s causing many to misidentify these instruments. The most obvious point of visual difference is the differing keyboard range, C to C for the Cembalet and F to F for the Pianet.  Reed-based pianos have voices that differ markedly depending on the material and geometry of the reeds, the way they are excited, and the way the vibrations are converted to electrical energy. The Cembalet pushed the tip of the reed upward until it cleared the plectrum, where as the Pianet pulls the reed upward using a pad adhered over a length of around one quarter inch positioned back from the tip of the reed. The attack of the note and the harmonics produced vary significantly. In addition the plate of the capacitive pickup is to the side in the Cembalet producing further differences in the way the vibration of the reed is converted to an electrical signal.

Models.

During the production life of the Cembalet the case, mechanical features and electronics changed to keep pace with developments in electronics manufacture, reductions in manufacturing costs, and fashion. Changes to the Cembalet were also applied to Pianet production. Dating the manufacturing envelope and availability of the various Cembalet models is confused by misidentification of Pianet models as Cembalets and by the differences in sales availability of models between Europe and the United States.

Cembalet.

Approximate manufacturing span 1958-1960  The Cembalet has a rectangular case side-profile with no taper towards the front. It has a gold lid lift bar fitted to the front of the lid. It has tapered cylindrical wooden legs with gold ferrules at the foot that mount to angled blocks on the underside of the case. It has a wooden fascia panel below the keys with a central lid lock. The keys are wood with conventional plastic laminates for the top and front. The word 'Cembalet' appears in gold facing upward on the left hand end of the music support ledge. The ledge includes a routed recess for the bottom of the music. It has a valve pre-amplifier and a knee lever for volume control.

Cembalet I & Cembalet II (console model).

Approximate manufacturing span 1960-1963  The Cembalet I has a rectangular case side-profile with no taper towards the front. It has a gold lid lift bar fitted to the front of the lid. It has tapered cylindrical wooden legs with gold ferrules at the foot that mount to angled blocks on the underside of the case. It has a wooden fascia panel below the keys with a central lid lock. The keys are wood with conventional plastic laminates for the top and front. The word 'Cembalet I' appears in gold facing upward on the left hand end of the music support ledge. The ledge includes a routed recess for the bottom of the music. It has a valve pre-amplifier and a knee lever for volume control. The Cembalet II has a side case profile with taper towards the front of the lid. It has a gold lid lift bar fitted to the front of the lid. The sides are extended to the floor with a shaped foot extending toward the player. It has a wooden fascia panel below the keys with a central lid lock. The music support ledge includes a formed recess for the bottom of the music. A speaker housing containing two speakers is fitted below the keyboard and spans the full width of the keyboard in front of the player's knees. Just one speaker was used in early Cembalet II. Two additional rotary controls are fitted at the left hand end of the keyboard.

Cembalet C, CF, & CH.

Approximate manufacturing span 1963-1965  The Cembalet C has a case profile with a taper towards the front. It has tapered cylindrical legs that mount to the underside of the case. It has a gold hammertone painted aluminum fascia panel below the keys with a lock fitted centrally. This panel also performs the key leveling function. The keys are injection-moulded plastic. The word 'Cembalet C' or 'CH' appears in gold facing upward on the left hand end of the music support ledge. The ledge includes a formed recess for the bottom of the music. It has a transistorised pre-amplifier and a knee lever for volume control.

Cembalet LH - probably a prototype.

Manufactured: sometime during C production  The Cembalet LH has a case profile with a taper towards the front. It has tapered cylindrical legs that mount to the underside of the case. It has a gold hammertone painted aluminium fascia panel below the keys with a lock fitted centrally. This panel also performs the key leveling function. The keys are injection-moulded plastic. The word 'Cembalet LH' appears in gold facing upward on the left hand end of the music support ledge. The ledge includes a formed recess for the bottom of the music. It has a transistorised pre-amplifier, a small transistorised power amplifier, two small speakers like the Pianet L and a knee lever for volume control.

Cembalet N.

Approximate manufacturing span 1965-1968  The Cembalet N has a case profile with a taper towards the front. It has tapered rectangular cross-section legs in an inverted 'V' that mount to the ends of the case and are secured by a large threaded knob. The legs are braced by a gold cross bar towards the base of the rear legs. It has a gold hammertone painted aluminum fascia panel below the keys with a lock fitted centrally. This panel also performs the key leveling function. The keys are injection-moulded plastic. The word 'Cembalet N' appears in gold facing forward on the left hand face of the music support ledge. It has a transistorised pre-amplifier and a floor pedal volume control. An optional amplifier, the Amplifier CP, was available which mounted underneath the keyboard between the legs. It is a 12 watt valve amplifier with two inbuilt speakers and two inputs, one for the keyboard and one for a record player.

Bibliography.

Vail, Mark. "Vintage Synthesizer". Backbeat Books, 1993 & 2000, - Chapter on electric pianos, harpsichords & clavichords of the 50s & 60s by Barry Carson.

The Cembalet is a type of electro-mechanical piano built by the Hohner company of Trossingen, West Germany from the late-1950s to the late 1960s. The designer of the Cembalet was Ernst Zacharias. The Cembalet was a reed-based electric piano intended for home use. It was the first keyboard produced by Hohner as a piano-like instrument rather than an instrument having the sustained note of an organ. It was adopted by popular musicians for recording and performance in the early 1960s due to its portability and ability to be amplified by electronic means.

Das Cembalet ist ein Musikinstrument aus der Gattung der elektro-mechanischen Instrumente. Sein Erfinder war der deutsche Musiker Ernst Zacharias. Er ist auch der Erfinder des Pianet und Clavinet. Ab 1958 wurde das Cembalet von der Firma Hohner gebaut. Der Klang wird von mit Plektrum angerissenen Metallzungen erzeugt. Elektromagnetische Tonabnehmer leiten den Klang an einen eingebauten Vorverstärker weiter.


Plot summary.

Long before the Europeans came, nomads roamed the polar region of Alaska in constant search for game. The people of the Gwich'in, who belong to the Athabaska tribes, wander the areas around the Yukon River, the Porcupine River, the Tanana River and their tributaries.  Because of a lack of food and an upcoming strict winter, one of these Gwich'in nomad groups decides to leave behind two old women in the snow-covered wilderness. Left back and dumbfounded in fright, 75-year-old Sa' and 80-year-old Ch'idzigyaak remain seated in the snow after the leader announced the decision to the tribe. Before moving on, Ch'idzigyaak's daughter gives them an untanned moose's skin, or babiche. As another familial gesture, Ch'idzigyaak's grandson hides his osseous hatchet, which is the symbol of his manhood, for the two women. The tribe leaves. Left back to themselves, the two women at first sit silently. In their desperation, however, they decide it's better to die trying to survive. Sa' succeeds in killing a squirrel using the hatchet as a weapon. The two women boil the meat and drink the broth. They then go on to set rabbit traps and in the middle of the night wake to animal noises: they find two rabbits in their traps. The women now decide to move on to hunt better game. In order to cross the snow, they make themselves snowshoes. Eventually, they reach a river where their tribe had fished successfully in the warmer season. On each night of their journey of several days, the women dig a snow shelter protected by animal hides. They save the embers of their campfires to start a new fire the next evening. In this way, the fire never goes out. In the mornings, the two old women complain about their pains in the joints. Finally they reach their familiar river and set up a winter camp there. However, they hide inland from The People, another tribe, for fear of cannibalism. Fortunately, the two old women succeed in building up a generous supply of food made up of smoked musquashes and beavers. In the summer, they catch large amounts of fish and manage to dry and store them away.  In the next winter, the tribe returns to the area. The leader concludes that the two women must have survived because there are no remains of them. He believes that if they can find the women, the tribe might be able to muster a new sense of survival, for his people are starving after having had little hunting luck all through winter. The leader sends off Daagoo, a tracker, and a few young warriors to locate the women. The weak group staggers away. But Daagoo picks up the scent of smoke, and before long they track down the women's camp. The two women at first do not trust the small group but Daagoo gives both of them his word: the men want peace with the two women. Sa' and Ch'idzigyaak hesitate for a long time. In the end they sense that Daagoo is honest. They submit to his request for they had been in fact very lonely, missing their home tribe a lot. However, they do not admit this right away. In spite of their deep mistrust (from having been left alone to die before) their hearts grow soft again. So in the end the two old women deliver rations of food to their own people. Ch'idzigyaak's grandson makes an effort and visits them in the camp, but the daughter is still ashamed and does not visit for a while. In the end, however, the daughter finally visits the mother.  From then on the Gwich'in never ever leave their elderly behind. They will never think of doing that again.

Note.

This article is based on the in the German Wikipedia from 2007-9-30.

Two Old Women: An Alaskan Legend Of Betrayal, Courage And Survival is a 1993 novel by Velma Wallis, set in northeastern Alaska.

Zwei alte Frauen ist eine Erzählung von Velma Wallis, die 1993 unter dem englischen Titel "Two old women. An Alaska Legend of Betrayal, Courage and Survival" in Fairbanks erschien.


History.

Jenkins was a respected composer and arranger throughout the 1930s and 1940s. As musical director for Decca Records, Jenkins released an experimental concept album "Seven Dreams" consisting of seven radioplay-style musicals named for their protagonists. The album became a top-ten hit on the Billboard charts.  In "Seven Dreams", the characters take a journey by train from New York to New Orleans. The "Second Dream" was called "The Conductor." In the last part of the dream, the title character steps off the train to smoke a cigarette. He hears a lonely woman in a shack sing of her troubles, in a song called "Crescent City Blues." The woman's song is sung by Beverly Mahr, Jenkins's wife.  Cash heard the song during a stint with the U.S. Air Force in Germany, and adapted it into "Folsom Prison Blues." Cash said in the 1990s, "At the time, I really had no idea I would be a professional recording artist; I wasn't trying to rip anybody off."  Nonetheless, Jenkins was not credited on the original record from Sun Records. According to Cash's manager Lou Robin, Cash acknowledged the debt to Jenkins's song, but was reassured by Sun founder Sam Phillips that he had no reason to fear a plagiarism suit. Fifteen years later, Jenkins sued for royalties. In the early 1970s, after the song became popular, Cash paid Jenkins a settlement of approximately $75,000.

Similarities and differences with "Folsom Prison Blues".

Unlike the fast-paced rock and roll style of "Folsom Prison Blues," "Crescent City Blues" is a slow, 16-bar blues torch song. The instrumentation is entirely orchestral, while the Cash song is an uptempo number with a heavy guitar riff from Luther Perkins.  Many of lyrics are exactly the same, except for the points where Cash changes the perspective of the narrator. For example, both begin "I hear the train a comin'/It's rollin' 'round the bend." The Jenkins song follows that with "And I ain't been kissed lord/Since I don't know when," but Cash follows it with the darker "And I ain't seen the sunshine/Since I don't know when." All of the verses have this dichotomy, with an identical narrative path and stark differences in tone. Where Jenkins' narrator says "But I'm stuck in Crescent City/Just watching life mosey by," Cash has his protagonist sing the far darker "But I shot a man in Reno/Just to watch him die."

"Crescent City Blues" is a song written by composer Gordon Jenkins and sung by Beverly Mahr, and released on his "Seven Dreams" album in 1953. It is a torch song about a lonely woman hoping to leave the Midwestern town of Crescent City. Its melody borrows heavily from the 1930s instrumental "Crescent City Blues" by Little Brother Montgomery. It is most notable for having been adapted by singer Johnny Cash as the "Folsom Prison Blues."

Crescent City Blues ist ein Song, der 1953 von Gordon Jenkins geschrieben wurde. Es wurde als Teil der Suite "Seven Dreams" veröffentlicht. Die Suite besteht teilweise aus Erzählungen und teilweise aus Musik. Bei dem Erzähler handelte es sich um Bill Lee, den Vater von Spike Lee.


Structure.

Sulfur is tetrahedral in SOCl and the oxidation state of the sulfur atom is +6, as in sulfuric acid.

Synthesis.

SOCl is prepared by the reaction of sulfur dioxide and chlorine in the presence of a catalyst, such as activated carbon.  The product can be purified by fractional distillation.

Legacy routes.

Sulfuryl chloride was first prepared in 1838 by the French chemist Henri Victor Regnault.  Legacy routes include oxidation of thionyl chloride:

Reactions.

Sulfuryl chloride reacts with water, releasing hydrogen chloride gas and sulfuric acid:  SOCl will also decompose when heated to or above 100 °C, about 30 °C above its boiling point.  Upon standing, SOCl decomposes to sulfur dioxide and chlorine, which gives the older samples a slightly yellowish color.

Uses.

Sulfuryl chloride is used as a source of Cl. Because it is a pourable liquid, it is considered more convenient than Cl to dispense. It is used as a reagent in the conversion of C−H to C−Cl adjacent to activating substituents such as carbonyls and sulfoxides. It also chlorinates alkanes, alkenes, alkynes, aromatics, ethers (such as tetrahydrofuran) and epoxides. Such reactions occur under free radical conditions using an initiator such as AIBN. It can also be used to convert thiols or disulfides into their corresponding sulfenyl chlorides, though sulfinyl chlorides result from thiols in some cases. SOCl can also convert alcohols to alkyl chlorides. In industry, sulfuryl chloride is most used in producing pesticides.  Sulfuryl chloride can also be used to treat wool to prevent shrinking.

Precautions.

Sulfuryl chloride is toxic, corrosive, and acts as a lachrymator. It releases hydrogen chloride upon contact with water, as well as donor solvents such as dimethyl sulfoxide and dimethylformamide.

Sulfuryl chloride is an inorganic compound with the formula SOCl. At room temperature, it is a colorless liquid with a pungent odor. Sulfuryl chloride is not found in nature, as can be inferred from its rapid hydrolysis.

Sulfurylchlorid ist eine farblose, in Gegenwart von Wasser ätzend wirkende Flüssigkeit, die zur Gruppe der anorganischen Säurechloride gezählt wird. Es ist das Dichlorid der Schwefelsäure.


United Kingdom.

In the British Army, the senior subaltern rank was captain-lieutenant, obsolete since the 18th century. Before the Cardwell Reforms of the British Army in 1871, the ranks of cornet and ensign were the junior subaltern ranks in the cavalry and infantry respectively, and were responsible for the flag. A subaltern takes temporary command of proceedings during Trooping the Colour. Within the ranks of subaltern, in a battalion or regiment, a Senior Subaltern may be appointed, usually by rank and seniority, who is responsible for discipline within the junior officer ranks and is responsible to the adjutant for this duty, although the adjutant is ultimately responsible to the commanding officer for the discipline of all the junior officers within the unit.

United States.

The Continental Army carried over the rank structure from the British Army including the subaltern ranks of lieutenant, cornet, ensign and subaltern. Continental Army subalterns ranks were supposed to wear green colored cockades in their hats. State militias in the American Revolutionary War period had ensign and sometimes subaltern ranks, with the subaltern rank below the ensign rank where they coexisted. In 1800, the United States Army's cornet, ensign and subaltern ranks were replaced by second lieutenant. In 1862, the United States Navy began using the ensign rank, which began using a gold bar as insignia in 1922. Second lieutenants received the gold bar insignia in 1917. When the United States Air Force became a separate military branch from the Army, it kept the Army's commissioned officers ranks and insignia.

Women's ranks.

From 1941 to 1949, the Auxiliary Territorial Service (ATS) of the British Army used the ranks of second subaltern and subaltern, which were equivalent to second lieutenant and lieutenant respectively. From 1949 to 1950, the ATS's successor organization, the Women's Royal Army Corps, also used the same ranks until it abandoned them in favour of regular British Army ranks. Princess Elizabeth held the rank of second subaltern in the ATS during World War II.

A subaltern () is a primarily British military term for a junior officer. Literally meaning "subordinate", subaltern is used to describe commissioned officers below the rank of captain and generally comprises the various grades of lieutenant.

Subalternoffizier war ursprünglich, d. h. während des 17. Jahrhunderts, ein aus dem Französischen abgeleitetes Wort, das einen nachgeordneten Offizier, meist unterhalb der Ebene des Kompaniechefs ohne eigene Befehls- und Strafgewalt bezeichnete (abgeleitet vom Lateinischen „sub alter“, unter einem anderen). Das Wort, das nach dem Dreißigjährigen Krieg allmählich in die deutsche militärische Sprache übernommen wurde, bezeichnete keinen offiziellen Rang oder Titel, sondern wies nur auf den Unterschied zu den Stabsoffizieren (französisch auch „officiers supérieurs“), der Generalität oder den Verwaltungsoffizieren hin.


Description.

The Santa Rosa and San Jacinto Mountains National Monument was established in October 2000, through Congressional legislation (Public Law 106-351). It covers an area of. It is administered jointly by the US Bureau of Land Management (BLM) and U.S. Forest Service–San Bernardino National Forest (SBNF).  Many flora and fauna species within the national monument are state and federal listed threatened or endangered species, including the Peninsular Bighorn Sheep ("Ovis canadensis cremnobates"), a subspecies endemic to the Peninsular Ranges.  The Cahuilla peoples own substantial acreage within the monument, are one of the managing agencies, and have historic cultural sites and interests throughout the mountains.  More than 200 cultural resources have been recorded on federally managed lands within the monument, including the Martinez Canyon Rockhouse, which is listed on the National Register of Historic Places.

Preservation history.

Since the late 19th century, the area has been protected as public lands, beginning as forest reserves and then as part of the San Bernardino National Forest in 1925. In 1928, Mount San Jacinto State Park was established and has within the national monument boundary. In 1917 and 1927, state game refuges were established on both the Santa Rosa and San Jacinto Mountains. In the 1960s, the state agency California Department of Fish and Game began to set aside special areas called ecological reserves to protect certain species and habitats, and there are now three reserves with of state reserve lands in the monument. Other state agencies involved in conservation of the area include the Philip L. Boyd Deep Canyon Desert Research Center (part of the University of California Natural Reserve System) and the Coachella Valley Mountains Conservancy. In addition, the 1964 Wilderness Act established the San Jacinto Wilderness, and in 1984, the California Desert Protection Act added the Santa Rosa Wilderness in the Colorado Desert section of the Sonoran Desert. Other agencies include local and tribal governments that have habitat conservation plans, including the Habitat Conservation Plan addition to the Cahuilla Tribal Conservation Program. Private conservation organizations, such as The Nature Conservancy, American Land Conservancy, and Friends of the Desert Mountains, have also contributed to the protection of the mountains through land purchases and acquisitions.

Landscape, vegetation, and wildlife.

The monument is oriented northwest to southeast along the edge of the broad Coachella Valley, and the terrain rises sharply from below sea level to nearly. These mountains are a part of the Peninsular Range Province, which extends from the Baja Peninsula in Mexico to the San Jacinto Mountains in California. San Jacinto Peak is the highest point in the Peninsular Range Province and has one of the steepest fault-block escarpments in North America.  The differences in elevation, temperature, and moisture give rise to diverse vegetation. Being the western boundary of the Sonoran Desert, the eastern mountainslopes are hotter and drier, while the western side is affected by the Pacific Ocean and receives more precipitation with cooler temperatures. There are several major vegetation areas ranging from sand dunes/sand fields, chaparral, and mesquite to riparian zones of willow and cottonwood, desert fan palm oasis woodland, and pinyon pine woodland, with the highest elevations supporting lodgepole pine timberline forest.  Another factor influencing plant and animal species is the "island" aspect of the San Jacinto Mountains and the Peninsular Range, the unique isolation of the landform on three sides-the Pacific Ocean to the west, the Salton Trough/desert environment to the east, and the San Gorgonio Pass to the north. Biologists believe that this isolation has contributed to evolution of subspecies such as the San Diego mountain kingsnake.  California fan palm ("Washingtonia filifera") groves, part of the natural community of oasis riparian woodland, are located at permanent water sites of both Santa Rosa and San Jacinto Mountains. The fan palm is a relict species, although not listed under the Endangered Species Act. Associated plants in the oasis woodland include honey mesquite ("Prosopis glandulosa"), arrow weed, and deer grass. The largest plant category in the national monument is collectively known as desert scrub and includes Sonoran Cresosote Scrub and Sonoran Mixed Woody and Succulent Scrub vegetation communities. Desert scrub occupies more than and consists of creosote bush ("Larrea tridentata"), burrobrush ("Ambrosia dumosa"), cacti, and other stem succulents. Desert scrub is found on the alluvial fans and intermountain bajadas, growing on coarse, well-drained soils. Wildlife of the desert scrub plant community includes the federally protected Peninsular Ranges bighorn sheep ("Ovis canadensis nelsoni") and the desert tortoise ("Xerobates agassizii" syn. "Gopherus agassizii").  On both sides of the mountains, montane coniferous forest occurs from around in elevation. Vegetation in this area includes Jeffrey pine, ponderosa pine, incense cedar, and sugar pine.  Rare plants in the national monument include Hidden Lake bluecurls ("Trichostema austromontanum" ssp. "compactum"), a plant federally listed as threatened in 1998 and found at a single vernal pool site. Others include Nuttall's scrub oak, desert sand verbena, and vanishing wild buckwheat.  There are nineteen species endemic to the Santa Rosa and San Jacinto Mountains National Monument area. These species require or are restricted to a small geographical area which makes them vulnerable to habitat disturbance. A few of these species are Johnston's rockcress, Casey's June beetle, Coachella Valley round-tailed ground squirrel, Munz's mariposa lily, San Jacinto bush snapdragon, Santa Rosa Mountain linanthus, Tahquitz ivesia, and Ziegler’s aster.  The Bureau of Land Management lists eight animal species within the monument as endangered, threatened, or rare. Of these, all but one are federally listed with the southern rubber boa being state-listed as threatened. In addition to the Peninsular bighorn sheep and the desert tortoise, some of these protected wildlife include the Coachella Valley fringe-toed lizard and the southwestern willow flycatcher.

Management and recreation.

The Santa Rosa and San Jacinto Mountains National Monument is managed by a mosaic of entities, including the Bureau of Land Management (), US Forest Service (), Cahuilla peoples (), California Department of Parks and Recreation (), other State of California agencies (), and privately (). Most of the common recreational uses of hiking, mountain biking, horseback riding and camping are allowed, with the exception of special areas such as ecological reserves and essential bighorn sheep habitat. The Pacific Crest Trail traverses the western part of the national monument and is one of the nation’s first National Scenic Trails established by the National Trails System Act (Public Law 90-543). This segment of the trail is managed by the US Forest Service and Bureau of Land Management through a Memorandum of Understanding (MOU).  The National Monument legislation (introduced on February 16, 2000, by Congresswoman Mary Bono) authorized the establishment of a management plan that included cooperative agreements with existing organizations, such as that of the Cahuilla peoples and the University of California, as well as maintaining most of the historical land uses, except mining and geothermal activities.

The Santa Rosa and San Jacinto Mountains National Monument is a National Monument in southern California. It includes portions of the Santa Rosa and San Jacinto mountain ranges, the northernmost ones of the Peninsular Ranges system. The national monument covers portions of Riverside County, west of the Coachella Valley, approximately southeast of downtown Los Angeles.

Das Santa Rosa and San Jacinto Mountains National Monument ist ein Schutzgebiet vom Typ eines National Monuments im US-Bundesstaat Kalifornien. Es wurde im Oktober 2000 vom US-Kongress errichtet, um die biologische Vielfalt der Bergkette und ihre kulturelle Bedeutung für die Cahuilla-Indianer zu bewahren. Das Gebiet wird gemeinsam verwaltet vom Bureau of Land Management, einer Behörde des US-Innenministeriums, und dem United States Forest Service, denen vor der Unterschutzstellung die Flächen im Bundesbesitz unterstellt waren, sowie dem Stammesrat der Cahuilla, denen ein Teil der Flächen gehören.


General information.

The Bronze Star Medal was established by Executive Order 9419, 4 February 1944 (superseded by Executive Order 11046, 24 August 1962, as amended by Executive Order 13286, 28 February 2003).  The Bronze Star Medal may be awarded by the Secretary of a military department or the Secretary of Homeland Security with regard to the Coast Guard when not operating as a service in the Navy, or by such military commanders, or other appropriate officers as the Secretary concerned may designate, to any person who, while serving in any capacity in or with the Army, Navy, Marine Corps, Air Force, or Coast Guard of the United States, after 6 December 1941, distinguishes, or has distinguished, herself or himself by heroic or meritorious achievement or service, not involving participation in aerial flight—  The acts of heroism are of a lesser degree than required for the award of the Silver Star. The acts of merit or acts of valor must be less than that required for the Legion of Merit but must nevertheless have been meritorious and accomplished with distinction.  The Bronze Star Medal (without the "V" device) may be awarded to each member of the Armed Forces of the United States who, after 6 December 1941, was cited in orders or awarded a certificate for exemplary conduct in ground combat against an armed enemy between 7 December 1941 and 2 September 1945. For this purpose, the US Army's Combat Infantryman Badge or Combat Medical Badge award is considered as a citation in orders. Documents executed since 4 August 1944 in connection with recommendations for the award of decorations of higher degree than the Bronze Star Medal cannot be used as the basis for an award under this paragraph.  Effective 11 September 2001, the Meritorious Service Medal may also be bestowed in lieu of the Bronze Star Medal (without Combat "V" device) for meritorious achievement in a designated combat theater.

Appearance.

The Bronze Star Medal was designed by Rudolf Freund (1878–1960) of the jewelry firm Bailey, Banks & Biddle. (Freund also designed the Silver Star.)  The medal is a bronze star in circumscribing diameter. In the center is a diameter superimposed bronze star, the center line of all rays of both stars coinciding. The reverse bears the inscription with a space for the name of the recipient to be engraved. The star hangs from its ribbon by a rectangular metal loop with rounded corners. The suspension ribbon is wide and consists of the following stripes: white 67101; scarlet 67111; white; center stripe ultramarine blue 67118; white; scarlet; and white.

Authorized devices.

The Bronze Star Medal with the "V" device to denote heroism is the fourth highest military decoration for valor. Although a service member may be cited for heroism in combat and be awarded more than one Bronze Star authorizing the "V" device, only one "V" may be worn on each suspension and service ribbon of the medal. The following ribbon devices must be specifically authorized in the award citation in order to be worn on the Bronze Star Medal, the criteria for and wear of the devices vary between the services:

History.

Colonel Russell P. "Red" Reeder conceived the idea of the Bronze Star Medal in 1943; he believed it would aid morale if captains of companies or of batteries could award a medal to deserving people serving under them. Reeder felt another medal was needed as a ground equivalent of the Air Medal, and suggested calling the proposed new award the "Ground Medal". The idea eventually rose through the military bureaucracy and gained supporters. General George C. Marshall, in a memorandum to President Franklin D. Roosevelt dated 3 February 1944, wrote  The Air Medal had been adopted two years earlier to raise airmen's morale. President Roosevelt authorized the Bronze Star Medal by Executive Order 9419 dated 4 February 1944, retroactive to 7 December 1941. This authorization was announced in War Department Bulletin No. 3, dated 10 February 1944.  President John F. Kennedy amended Executive Order 9419 per Executive Order 11046 dated 24 August 1962 to expand the authorization to include those serving with friendly forces. This allowed for awards where US service members become involved in an armed conflict where the United States was not a belligerent. At the time of the Executive Order, for example, the US was not a belligerent in Vietnam, so US advisers serving with the Republic of Vietnam Armed Forces would not have been eligible for the award.  Since the award criteria state that the Bronze Star Medal may be awarded to "any person... while serving in any capacity in or with" the US Armed Forces, awards to members of foreign armed services serving with the United States are permitted. Thus, a number of Allied soldiers received the Bronze Star Medal in World War II, as well as UN soldiers in the Korean War, Vietnamese and allied forces in the Vietnam War, and coalition forces in recent military operations such as the Persian Gulf War, War in Afghanistan, and the Iraq War. A number of Bronze Star Medals with the "V" device were awarded to veterans of the Battle of Mogadishu.

World War II infantry award.

As a result of a study conducted in 1947, a policy was implemented that authorized the retroactive award of the Bronze Star Medal (without the "V" device) to all soldiers who had received the Combat Infantryman Badge or the Combat Medical Badge during World War II. The basis for this decision was that these badges were awarded only to soldiers who had borne the hardships which resulted in General Marshall's support of the establishment of the Bronze Star Medal. Both badges required a recommendation by the commander and a citation in orders.

U.S. Air Force criteria controversy.

In 2012, two U.S. airmen were allegedly subjected to cyber-bullying after receiving Bronze Star Medals for meritorious non-combat service. The two airmen, who had received the medals in March 2012, had been finance NCOICs in medical units deployed to the War in Afghanistan. The awards sparked a debate as to whether or not the Air Force was awarding too many medals to its members, and whether the Bronze Star should be awarded for non-combat service. This prompted the Air Force to take down stories of the two posted to the internet, and to clarify its criteria for awarding medals. The Air Force contended that meritorious service awards of the Bronze Star outnumber valor awards, and that it views awards on a case-by-case basis to maintain the integrity of the award.  This is not the first time that the USAF has been criticized for offering this award. The Department of Defense investigated the award of the Bronze Star Medal (BSM) by the USAF to some 246 individuals after operations in Kosovo in 1999. All but 60 were awarded to officers, and only 16 of those awarded were actually in the combat zone. At least five were awarded to officers who never left Whiteman Air Force Base in Missouri. During this campaign, the Navy had awarded 69 BSMs, and the Army with 5,000 troops in neighboring Albania (considered part of the combat zone) awarded none. In the end, there was a Pentagon review and decision by Congress in 2001 to stop the awarding of Bronze Stars to personnel outside the combat zone.

The Bronze Star Medal is a United States decoration awarded to members of the United States Armed Forces for either heroic achievement, heroic service, meritorious achievement, or meritorious service in a combat zone.

Die Bronze Star Medal, inoffiziell auch "Bronze Star", ist eine Auszeichnung der US-Streitkräfte, die für herausragende Leistungen im Kampfeinsatz oder besonders verdiente Pflichterfüllung verliehen wird. Ausgenommen sind fliegerische Einsätze, für diese wird das in etwa gleichrangige Distinguished Flying Cross verliehen. Die Medaille wurde 1944 das erste Mal vergeben und kann auch an Mitglieder alliierter Nationen verliehen werden, wenn diese an der Seite von US-Amerikanern kämpfen.


History.

Igor Matviyenko was a music producer and composer working at the Soviet music studio SPM Record when he came up with the idea to start Lyube in 1988. His goal was to put together a band with patriotic themed songs and a strong male vocal. After devoting time to finding the right frontman, Matvienko chose Nikolay Rastorguyev, with whom he had worked earlier in the band "Leysia, pesnia" ().  Rastorguyev came up with the band's name. "Lyube" has two simultaneous derivations. It is a nickname for the Moscow suburb of Lyubertsy, which is where Rastorguyev lived. It is also a slang word meaning "any" and signifies a diversity of choices or views.  Initially, the band had Aleksandr Nikolayev on bass, Vyacheslav Tereshenok on guitar, Rinat Bakhteev on drums, and Aleksandr Davydov on keyboard, with Rastorguyev as the lead vocalist. Over time, only Rastorguyev remained of the original group. Lyube's first tour took place in 1989, with the band giving concerts in the Russian cities of Pyatigorsk and Zheleznovodsk. These initial concerts were poorly attended. The band's first real break took place in December 1989 when they were invited to perform in a series of concerts sponsored by Alla Pugacheva. Rastorguyev wore an old-style military uniform for the performance. After that, the uniform became a part of the singer's image for many years.

Early 1990s: Debut and Rise to Fame.

The band released its first compilation of songs in 1990, titled "We will now live a new way" (). The same year, the band's membership changed, with Yuriy Ripyakh taking over on drums and Vitaliy Loktev taking over on keyboard. Aleksandr Vaynberg came on board as second guitar. After the release of the compilation, Lyube gained national exposure in Russia, appearing in television programs and being nominated to take place in the prestigious "Song of the Year" () competition.  In 1991, Lyube released its first official LP. The debut album was titled "Atas" (), and included the title song, along with the songs "Pops Makhno" (), "Taganskaya station" (), "Don't destroy, you men" (), and "Lyubertsy" (). These songs were already well known to Lyube fans from the band's performances in concert, on the radio, and on television. The recording took place at recording studio "Sound" () and at a studio of the Moscow Palace of Youth. The album cover featured a photograph of the band members dressed like Red Army soldiers from the days of the Russian Civil War, further building on Rastorguyev's and the band's military styling. The same year, Lyube held a series of concerts at the Moscow sports mega-complex "Olympic" () where they unveiled a number of new songs, including "Stop fooling around, America" (), "Rabbit fur" (), and "Have mercy, Lord, upon us sinners and save us..." ().  Lyube filmed their first music video in 1991 in the Russian city of Sochi, using "Stop fooling around, America" as the song. The music video incorporated early CGI and animation elements. In 1994, the music video was submitted to the Midem festival in Cannes and received a special jury prize for "Comedic and visual quality". After its initial success, the band's membership changed again. Evgeniy Nasibulin and Oleg Zenin were added as back-up vocalists. Yuriy Ripyakh was replaced on drums by Aleksandr Erokhin, previously the drummer for the group "Gulyai Poleh" (). Aleksandr Nikolayev was replaced on bass by Sergey Bashlykov. By this time, the band had built a fan base and developed a large following in Russia.  In 1992, Lyube released its second album, titled "Who said that we lived badly...?" (). The songs for the album were recorded at the Moscow Palace of Youth and Stas Namin's Studio, and the mastering was completed at studio MSM in Munich, Germany. The album included such hits as "Come, let's play" (), "Stop fooling around, America", "Rabbit fur", "Tram five" (), and "Old noble" (). Around the release of the second album, Aleksandr Vaynberg and Oleg Zenin left the band in order to start their own group called "Nashe Delo" ().

Mid-1990s: Pinnacle of Success.

Lyube's follow-up to their sophomore effort took two years to complete. The new album was titled "Lyube Zone" (), which was a play on words as the term "zone" has a secondary meaning that refers to a camp for convicts. Some songs on the new album featured Russian folk instruments, including the balalaika, the domra, and the bayan. A number of songs were recorded using teams of back-up vocalists led by Anatoliy Kuleshov, who joined the group in 1994. The recording was done at studios at Mosfilm and the mastering was completed by the German company Audiorent. Upon completing the album, the group decided to combine the music videos based on the album's songs into a feature film. Directed by Dmitry Zolotukhin, the film was produced with the participation of studios Kontakt, Mosfilm, and Gorky. Marina Levtova took on the lead role, while secondary roles were played by a number of known film and stage actors. The film's story was based on seven songs from the new album. Levtova played a reporter who travels to a camp for convicts, where she interviews convicts, guards, and orphans from a nearby orphanage. Each person's story becomes one of the group's songs. The group delayed the release of their third album by more than a year while the film was being completed in order to ensure a simultaneous release of the album and the accompanying film.  With "Lyube Zone", the group diversified its musical output, adding softer songs and rock ballads. The album was a critical and commercial success and won the "Bronze spinner" () award as the best domestic release for 1994. As the album was being completed in 1993, band member Vyacheslav Tereshonok died from a drug overdose and was replaced by Sergey Pereguda who earlier was part of such Russian music groups as "Integral" () and "Veselye Rebyata" ().  In 1995, Lyube recorded the song "Kombat" (). The lyrics were written by Aleksandr Shaganov and the music was created by Igor Matvienko. The song has a military feel to it and chronicles episodes from World War II. The first live performance of Kombat took place in Moscow at a concert celebrating the 50 years anniversary of the Allied victory over Nazi Germany. Kombat became the title song and the first single for the group's next album and was recognized as the "best song of 1995" in Russia. The album Kombat was released in 1996 and, in addition to the title song, contained the songs "Moscow streets" (), "Demobilization soon" (), "AWOL" (), and "There served two friends" (), all of which featured war-related themes. Fittingly, the album cover depicted a red star atop a military uniform. Most of the songs included on Kombat combined elements of Russian folk music with modern rock, which became a distinctive feature of Lyube's sound.  In May 1996, Lyube played a live television concert as part of unveiling Kombat. Given the military action taking place in Chechnya and the Caucasus in 1996, the war themes of Kombat resonated with Russian audiences. The title song topped the charts and the album received the award for "best album of 1996". That same year, Rastorguyev fulfilled a long time dream by recording and producing an album of Beatles songs that was titled "Four nights in Moscow" (). By the end of 1996, Lyube was at the height of its popularity despite losing Aleksandr Nikolayev, their long-time bass player, to an auto accident. He was replaced by Pavel Usanov.

Late 1990s: Retrospectives, Covers, and Soundtracks.

In 1997, Rastorguyev became a "Recognized Artist of the Russian Federation" (), the second-highest honor for a singer in Russia, awarded by the country's President. In the spring of that year, Lyube released a greatest hits album called "Collected works 1989-1997" (). In addition to the band's hits, the album also had the new song "Guys from our neighborhood" (). At the end of 1997, Lyube released its new album, called "Songs about people" (). In addition to "Guys from our neighborhood", the most popular songs on the new album were "There, past the mists" (), "Years" (), and "Starlings" (). The new album featured more lyrical, slower tempo songs that spoke to human relationships and nostalgia for days gone by.  In early 1998, Lyube took part in a concert celebrating the famous Russian singer Vladimir Vysotsky, where they covered two of Vysotsky's hits: "On soldiers' mass graves" () and "Song about stars" (). Rastorguyev also lent his vocal talent to recording the song "Borders" () from the film "Hot spot" () and the song "There is only the moment" () from the film "The Sannikov Land" () for inclusion in the third collection of the series "Old songs about what matters" (). Lyube also recorded a number of songs for the soundtracks of the films "On a lively place" () and "Harness" ().  In 1999, Lyube celebrated its 10-year anniversary with a Ukraine tour titled "Lyube - 10 years!" (). That year, the group released a new song titled "Whistle-stops" (), which would appear on the group's next album.

2000s to the Present.

In May 2000, Lyube released their new album and held a major concert at the Sports Complex Olympic in Moscow showcasing both old and new songs and celebrating the band's 10-year anniversary. In addition to "Substations", the new album featured the hit "Soldier" (), for which Lyube won a Russian Grammy, and also the hit "We'll Bust Through" (), which became the theme song to the Russian television series "Deadly Force" ().  In 2001, Lyube played a live concert on Victory Day in Red Square. That same year, Russian president Vladimir Putin, an avowed fan of the band, appointed Rastorguyev to the position of Cultural Advisor to the Russian government. British producers of the documentary film "Russian Army" bought rights from Lyube to use their songs "Demobilization soon" and "Kombat" in the film. Toward the end of the year, Lyube released "Collected works. Volume 2" () that included old hits that did not make it into the original "Collected works", along with the new recordings "You carry me, river" () and "Song about stars".  In March 2002, Lyube released a new album, titled "Let's drink it for..." (). The album followed a retro style reflecting the sound of Russian "VIA" bands of the 1960s and 1970s. The band used vintage instruments during recording to approximate the sound of the sixties and seventies as close as possible. Songs on the album included "Birches" (), "Haymaking" (), "You carry me, river" (), "Two girlfriends" (), "Singing guitar" (), "It was, it was" (), and "Grandma" (). The album stayed near the top of the charts throughout 2002 and subsequently received the "Album of the Year" award from the Russian music recording industry in 2003. In the same period, Rastorguyev was elevated to "National Artist of the Russian Federation" and band members Anatoliy Kuleshov, Vitaliy Loktev, and Aleksandr Erokhin were all awarded the title "Recognized Artist of the Russian Federation".  In 2004, Lyube celebrated their 15-year anniversary by releasing a two-album set. The first album, titled "Guys from our regiment" (), was released in 2004 and featured the band's earlier hits and new recordings dealing with war-time themes. The second album, titled "Rasseya" (), featured all new songs, including the title hit "Rasseya" and the song "Don't watch the clock" (). The album also included a special version of "Through the tall grass" (), recorded together with members of the Russian special forces from the spetsnaz Alfa group and a rock rendition of the Hymn of the Russian Federation. From its title to its cover art to its song selection, Rasseya featured patriotic themes.  Toward the end of 2006, Lyube released a new single called "Moscow girls" () and began work on a new album, which would take them two years. In 2008, while still working on the new album, the band released "Collected works. Volume 3" that included songs from the albums "Atas", "Who said that we lived badly...?", "Lyube Zone", "Kombat", "Songs about people", "Let's do it for...", and "Rasseya". It also featured two new songs: "A hunter's hut" () and "My Admiral" (), recorded for the soundtrack of the Russian film "Admiral".  In 2009, Lyube released the new album they had been working on for the previous two years, titled "Our people" (). The album featured both previously released hits, such as "A hunter's hut", "If..." (), "My Admiral", "Moscow girls", and new songs, such as "Verka" (), "And sunrise" (), "Calendar" (), and the title song, "Our people". The new album moved away from war-time and patriotic themes, focusing more on love and relationships. It also featured duets with such popular Russian singers as Grigory Leps, Nikita Mihalkov, and Victoria Dayneko. That same year, Lyube celebrated their 20-year anniversary with a series of live concerts at the Kremlin and an international tour.  At present, the band has five members, still led by Rastorguyev. Lyube has only produced one original song in English, called "No More Barricades", which addresses the topic of democracy in Russia.  Nearly all songs were composed by Igor Matviyenko (music), Alexander Shaganov (lyrics), and Mikhail Andreyev (lyrics).

Lyube () is a Russian rock band from Lyubertsy, a city in Moscow Oblast. Lyube's music is a mixture of several genres, with influences from both Russian folk music, rock, Russian chanson, and Soviet military songs. The band was founded in 1989, and since then have released sixteen albums. Lyube's producer and main songwriter is Igor Matviyenko.

Ljube () ist der Name einer russischen Band mit starkem patriotischen Einschlag. Die Musik zeichnet sich durch einen kraftvoll-melancholischen Klang und einen hohen Anspruch an Komposition, Arrangement, musikalische Umsetzung und Lyrik aus. Sie ist seit Anfang der 1990er Jahre eine der bekanntesten und erfolgreichsten Formationen Russlands.


Biography.

Stephen Desberg was born in Brussels in 1954 as the third child of an American lawyer from Cleveland and a French mother who taught him French at the Sorbonne after the Liberation of Paris. They settled in Brussels when Stephen's father became responsible for the distribution of Metro-Goldwyn-Mayer films in Belgium, Luxemburg and the Netherlands. After finishing college two years late, he studied law at the Université Libre de Bruxelles, but didn't finish his studies.  His youth was mainly dominated by American movies, but he also enjoyed the weekly "Spirou" magazine with series like "Buck Danny" or the works of Raymond Macherot. He only discovered the authors who published in the main competitor "Tintin" magazine much later. He became a regular at the comics shop of Michel Deligne, who also republished classic comics and a fanzine. After Desberg published his first work here, Deligne introduced him to Maurice Tillieux, one of the major authors of "Spirou" at the time. At first, he offered some ideas and synopses to Tillieux for series like "Jess Long" and "Tif et Tondu", but he eventually moved to full scenarios for "Tif et Tondu", drawn by Will. He started working for a number of other "Spirou" authors, including Benn, Pierre Seron, Raymond Macherot and Eric Maltaite (the son of Will).  His first success came in 1980 with "Billy the Cat", drawn by Stéphane Colman. He also created "421" with Eric Maltaite, in 1983 "Arkel" with Marc Hardy, and in 1988 "Jimmy Tousseul" with Daniel Desorgher. Despite all this, he was simultaneously but unsuccessfully trying to become a professional musician.  By the late 1980s, he moved from the young adolescent comics more towards the adult comics and graphic novel market, with 2 comics with Will and a series with Johan De Moor, the son of Bob De Moor, for Casterman, his first move away from publisher Dupuis. After some more short-lived series and collaborations, he started "IR$" with Bernard Vrancken. In 2000 starts "Le Scorpion" with Enrico Marini. Both series became a considerable success. In the following decade, Desberg started a considerable number of new series with multiple artists and publishers, making him by 2010 one of the major writers of contemporary Franco-Belgian comics.

Stephen Desberg (born 10 September 1954 in Brussels) is a Belgian writer of comics. In 2010, he was the 10th bestselling author of comics in France, with 412,000 copies of all his comics together sold that year.

Stephen Desberg (* 10. September 1954 in Brüssel, Belgien) ist ein belgischer Comicautor und sowohl mit Funnys als auch im realistischen Genre erfolgreich. Die Mehrzahl der von ihm getexteten Comicserien liegen auch in deutscher Übersetzung vor.


Plot.

It's 1987 in Bayonne, New Jersey and Debby Miller has just been diagnosed with a condition called hysterical blindness in which there are moments when her sight fades in and out. The doctor tells her to try to have fun with her friends. She and her best friend Beth go to their favorite pub, Ollie's, and try to find a man and have a drink. Beth flirts with the bartender and Debby gets angry with her and decides to go outside. There she meets Rick. He wants little to do with her but she convinces him to walk her to her car. As a 'thank you' she offers to buy him a drink and tells him that she will be at the same bar again tomorrow.  The next day they run into each other at the same bar and she asks him to go somewhere else and they end up at his house. It is clear that Rick has little interest in Debby, so to move things along she tells him that she 'gives a great blow job.' Afterwards, she thinks she has found love, but Rick was only looking for a one-night stand. Debby goes home, where her mother Virginia has also started dating an older man named Nick who wants her to move with him to Florida. Nick passes away suddenly from a heart attack, and Virginia realizes that until she met Nick, she had been living her life waiting for things to happen to her. In the end, Debby, Beth and Virginia struggle to find stability in their New Jersey town and agree that all they need is each other.

Hysterical Blindness is a 2002 American television film directed by Mira Nair and starring Gena Rowlands, Uma Thurman, Juliette Lewis and Ben Gazzara. The film premiered on HBO on August 21, 2002. In 2003, Uma Thurman won a Golden Globe Award for her portrayal of Debby Miller. Ben Gazzara and Gena Rowlands also won Best Supporting Actor/Actress awards for their performances as Virginia Miller and Nick Piccolo at the 2003 Emmy Awards. The opening titles by Trollbäck + Company won a Primetime Emmy award for Outstanding Main Title Design in 2003.

Hysterical Blindness ist ein US-amerikanisches Filmdrama von Mira Nair aus dem Jahr 2002. Das Drehbuch schrieb Laura Cahill anhand des eigenen Theaterstücks.


History.

The Tijuana airport opened as the "Aeropuerto Federal de Tijuana" on May 1, 1951, replacing Tijuana's former airport, then located on today's Aguacaliente Boulevard. The airport's runway had an orientation of 10/28 and was 2 kilometers in length (6,500 feet) and the first terminal was built on the southwest part of the airport, facing the current terminal built in 1970. The airport was named after General Abelardo L. Rodríguez, Governor of Baja California, and late President of Mexico.  In 1954, Mexicana de Aviacion began direct Tijuana-Mexico City flights. The airport was incorporated to ASA in 1965. Under President Gustavo Diaz Ordaz, a National Plan of Airports was initiated and headed by Gilberto Valenzuela Ezquerro, Secretary of Public Works (Secretario de Obras Publicas). As more people arrived and settled in Tijuana in the 1960s, demand for flights increased.

Runway and Facilities.

At the inauguration of the Amistad Dam between Texas and Mexico in 1969, President Richard Nixon notified President Gustavo Díaz Ordaz of his intent to initiate Operation Intercept to stem the flow of narcotics between the U.S. and Mexico. As political pressure rose between Washington and Mexico City, to minimize incursion into U.S. airspace, Gilberto Valenzuela Ezquerro, Secretary of Public Works and in charge of the Tijuana airport’s expansion, re-oriented the runway from 10/28 to 09/27. The change in orientation impacted Tijuana's approach over Cerro San Isidro, a 2,600 foot (800 meter) land obstacle which increased the east approach glide slope above 3 degrees and prevented a full Instrument Landing System (ILS approach) on the 27 runway required during foul weather landings. Due to prevailing winds, the 27 runway is Tijuana's main approach pattern.  The construction of the new terminal and a 2.5 kilometer 09-27 runway to accommodate larger aircraft was finished in July 1970 and inaugurated on November 19, 1970, by then-President Gustavo Diaz Ordaz and Gilberto Valenzuela Ezquerro, Secretary of Public Works. The total cost for the improvements in 1970 was $108,487,000 Pesos ($8,678,960 U.S. dollars). The original terminal was then assigned as an air base for the Mexican Armed Forces, and it is now known as the "aeropuerto viejo", or "old airport". The terminal, however, is seldom referred as Terminal 1, with Main Terminal being referred as Terminal 2.  In 1983, Tijuana became Mexico's fastest growing city, to meet increased airport demand; both terminal and parking areas were expanded. In 1987, air traffic suffered a sharp decline due to the suspension of service by Aeromexico. With the restructuring of Aeromexico in 1988, service and air traffic increased causing delays in service. Terminal space and parking for passengers became inadequate. To meet airport demand, Mexico issued its first two 10 year private sector airport "co-investments" to expand both the departure lounges and parking areas. Construction of both were completed in 1991

Airport Privatization.

Mexico’s airport privatization program was initiated on December 22, 1995, when the Secretariat of Communications and Transportation (Secretaria de Comunicaciones y Transporte) published the "Ley de Aeropuertos" (Airport Law). The Tijuana airport became part of the Pacific Airport Group (Grupo Aeroportuario del Pacífico) consisting of 12 airports and headquartered in Guadalajara. In 1999, a consortium consisting of the Spanish investors Unión Fenosa, Dragados and Aeropuertos Españoles y Navegación Aérea (AENA), together with the Mexican strategic investor Grupo Empresarial Ángeles, collectively known as Aeropuertos Mexicanos del Pacifico, S.A. de C.V. (AMP), won the Pacific 12 airport package.

Expansion.

As part of the airport privatization concession, the airport terminal was expanded and renovated in 2002, when the extension of concourse A and B was built, allowing the terminal to double its capacity. Several taxiways were also expanded to allow the operations of larger aircraft such as the Boeing 747. Nevertheless, as the airport has become one of the most important hubs and gateways in the country, there is a plan of a new terminal, which could house the operations of the major airline at the airport: Aeroméxico (including Aeroméxico Connect). As of today, both of the concourses have been expanded and remodeled, including the progressive introduction of glass-jetways replacing the old ones. From 2011 to 2012, the airport's Terminal 1 underwent major renovations in Concourse A and B, including new customs and international arrivals facilities, construction of a new bus terminal, and other exterior renovations. In December 2015 the Cross Border Xpress (CBX) cross-border bridge and passenger terminal on the U.S. side opened.

International Service.

From 2006 until September 2014, Aeroméxico operated three weekly flights to Tokyo-Narita, but in September 2014 they stopped in Monterrey instead. Aeroméxico resumed services to Shanghai on March 26, 2010 after the airline halted service 11 months earlier due to the 2009 flu pandemic. The airline temporarily suspended service to Shanghai once again from September 4, 2011 to January 10, 2012. In 2019, it was announced that the Mexico City-Tijuana-Shanghai route would be cancelled, making Hainan's service to Beijing the only remaining international flight from the airport. However, international service ended in early 2020 after Hainan announced the cessation of all flights to Mexico.

Cross Border Xpress ("CBX", Terminal 2).

Cross Border Xpress, or CBX, is the world's third cross-border passenger terminal (after Geneva and Basel-Mulhouse). It consists of a terminal on the U.S. side of the border and a bridge to connect the Tijuana Airport with that terminal, and opened on December 9, 2015.  The project consists of a second terminal, located on U.S. soil adjacent to the border, and an international bridge. This building serves as a check-in and processing facility for departing passengers only, with no gates or arrival facilities (thus functionally resembling Hong Kong International Airport Terminal 2), but with its own parking and customs offices, that links passengers to gates at Terminal 1 via a 390-foot bridge across the border. The structural scheme is intended to allow greater access to flights out of Tijuana Airport for both domestic and international air carriers.  The project had an initial estimated cost of 78 million US dollars and a final completion cost of 120 million US dollars, funded by Mexican and U.S. private investors and Grupo Aeroportuario del Pacífico. Building E of Tijuana's Terminal 1 underwent restructuring, to support the new bridge own structure on Mexican soil. The initial design was the work of Ralph Nieders who first introduced the concept of a cross-border passenger terminal in Mexico City to Mexicana de Aviación in 1989, to the San Diego Association of Governments in 1990 and in 2002, to the Bush-Fox Presidential Commission, Partnership for Prosperity, in Washington D.C. The design of the joint binational Terminal 2 building is the work of late Mexican architect Ricardo Legorreta.

Location.

Runway 09/27 runs east-west approximately 300 meters south of the U.S.-Mexico border. The approach to the runway is either from the east (normally) or from the west (when Santa Ana wind conditions exist).  Brown Field Municipal Airport (SDM/KSDM) in San Diego, California lies just over one nautical mile (about 2 km) north of TIJ, with a similar runway length and orientation. However, SDM is a general aviation field not set up for scheduled passenger service. Both SDM and TIJ are designated ports of entry for their respective countries.

Facilities.

The airport consists of a single runway, a parallel taxiway, and a 23 gate main terminal with two concourses, a food court and a high-tech control tower, one of the tallest in Mexico. At the opposite side of the Main Terminal building there is another terminal and runway, the Old Airport Terminal, which houses military aviation, mostly performed by the Mexican Armed Forces; south of the adjacent runway (closed for commercial operations), there are 4 remote positions, mostly used by cargo airliners, linked by a shorter taxiway to the main runway. The airport is also used to a lesser extent for general aviation, housed at the General Aviation Building (GAB Terminal).  Main Terminal:  GAB Terminal:  Old Airport Terminal  Cross Border Xpress ("CBX", Terminal 2):

Airlines and destinations.

Old airport terminal.

The Old Airport Terminal (known for locals as "Aeropuerto Viejo", "old airport") is set for aviation of the Mexican Military and federal police forces. This military airbase belongs to the Northwestern Region of the Mexican Air Force. One cargo airline operates at the terminal.  Incoming flights of these armed forces agencies usually arrive from the Mexican Air Force Central Region, mostly from Mexico City International Airport or nearby airbases.

GAB Terminal.

Note: The General Aviation Building (GAB Terminal) is used for general/non-commercial aviation or private jets. The General Aviation Building is designed to receive up to 120 persons per hour and it has all the services for the convenience of passengers during their private flights. It has a surface of 420 m (4,700 sq. ft.), where there are government offices, administrative offices, a pilots lounge, and passenger lounge. Two aviation schools are based at this terminal, along with one cargo airline operating there.

Ground transportation.

Bus.

The airport may be reached from Downtown Tijuana or Zona Rio by local bus. It costs $11.00 MXN ($0.60 USD).

Shuttle.

Volaris provides a shuttle service from San Diego, California, United States to General Abelardo L. Rodríguez International Airport to allow San Diego residents make connections within Mexico. You cannot board this shuttle at San Diego International Airport, but instead take a local bus from the Airport to the Depot Amtrak Station, 1050 Kettner Blvd. on the corner of Broadway Ave, Downtown San Diego, CA 92101. There is no equivalent shuttle from TIJ airport back to downtown San Diego as most people pay to use CBX and then take private vehicles or Uber or taxis as there is no public transportation from CBX.

Taxi.

Due to a prohibition by Mexican law, Mexican cities' public taxis may drop passengers at the airport, but cannot pick up passengers from the terminal. The airport thus offers transportation for passengers from the terminal to any point of the city on the SAAT Taxis ("Servicio Aeroportuario de Autotransporte Terrestre", Spanish for Terrestrial Transport Airport Service, an airport government-leased taxi company). This and other authorized taxi carriers may be reached at the arrivals hall. This inflates taxi prices, forcing passengers to either pay them or walk outside the airport.

Tijuana International Airport, sometimes referred to as General Abelardo L. Rodríguez International Airport, in Tijuana, Baja California, Mexico, is Mexico's second northernmost airport after Mexicali International Airport. The airport is located in the city's Otay Centenario borough, just immediately south of the U.S border. It is one of the 20 busiest airports in Latin America, handling 8,925,900 passengers in 2018, and the fifth busiest in Mexico after Mexico City, Cancun, Guadalajara and Monterrey airports. The airport can handle up to 10 million passengers per year and 360 flights per day.

Der Flughafen General Abelardo L. Rodríguez International ist ein internationaler Flughafen in Tijuana im Nordwesten Mexikos im Bundesstaat Baja California Norte. Er war der wichtigste Standort der ersten mexikanischen Billigfluggesellschaft Avolar. Die bedeutendsten mexikanischen Fluggesellschaften fliegen den Flughafen von verschiedenen Zielen in Mexiko an. Der Flughafen wird von der Grupo Aeroportuario del Pacífico betrieben.


History.

Following the Battle of Austerlitz and the War of the Third Coalition, Napoleon dissolved the Holy Roman Empire, annexed parts of Austria and certain German states to France, and formed the German states into the Confederation of the Rhine. Napoleon was their "protector," but as the Confederation was above all a military alliance, their foreign policy was utterly dominated by France, and the states had to supply France with large numbers of military troops. Disquiet about mass-conscription (the "levée en masse") also trigged an uprising, known as the Peasants' War, in 1798 within modern-day Belgium and Luxembourg. In Germany, Napoleon formed two new states, the Grand Duchy of Berg and the Kingdom of Westphalia, which he gave to his brothers Joachim Murat and Jerome Bonaparte respectively. The Austrian Netherlands and Prince-Bishopric of Liège were annexed and became "départements" of France.  During the French occupation, the Napoleonic Code was introduced, during which the German people came into contact with the ideals of the French Revolution, including nationalism. In Prussia, which was not part of the French-dominated Confederation of the Rhine, but still occupied by France, this created a dynamic towards constitutional, political, social, and military reform which would prove critical during the Liberation War. In the Confederation itself, there were already riots against the French rule, and after the devastation of the French army during the French invasion of Russia, the commander of the Prussian Corps, Yorck, signed a ceasefire with Russia. This was to be the decisive trigger of the Liberation War.

Results.

The French period contributed significantly to the emergence of the idea of unity and national consciousness in Germany. The many regions with their various dialects found in the struggle against the French occupation "German" as a common definition of anti-French sentiment or freedom. At the Wartburg Festival in 1817 the first real movements among the students were formed - fraternities and student organizations emerged. The colors black, red and gold were symbolic of this. After the Vormärz period, the desire for freedom from the government was suppressed, until the March Revolution in 1848 and the formation of the first German parliament, though not all German-speaking territories were involved. In the Prussian War of Liberation conscription modeled after the levée en masse of General Gerhard von Scharnhorst was introduced and the Prussian army reforms introduced. The Prussian reforms (1807-1812) during the French period include not only the formal abolition of the Holy Roman Empire in 1806 but also the largest political and social upheavals between the Early Modern Period and the Modern Period in Germany. With the abandonment of Francis II from the Holy Roman Empire to the Austrian Empire, there was also created a political split between Prussia and Austria, which laid the ground for Austrian exclusion from the German Question.

In Northern European historiography, the term French period (,, ) refers to the period between 1794 and 1815 during which most of Northern Europe was controlled by Republican or Napoleonic France. The exact duration of the period varies by the location concerned.

Als Franzosenzeit wurde – vor allem in der deutschsprachigen Literatur des 19. Jahrhunderts – die Epoche der französischen Herrschaft über große Teile Europas zwischen 1792 und 1815 (Napoleonische Kriege) bezeichnet. Sie wurde oft mit der Regierungszeit Napoleon Bonapartes gleichgesetzt und meinte insbesondere die Zeit der französischen Besatzung großer Teile des damaligen Deutschland, ihrer direkten Zugehörigkeit zum französischen Kaiserreich oder zu napoleonischen Vasallenstaaten wie dem Königreich Westphalen. Die Franzosenzeit endete mit Napoleons militärischer Niederlage in der Schlacht bei Waterloo 1815.


History.

Formation.

In 1988 drummer Bev Bevan approached Jeff Lynne, wanting to record another ELO album. Lynne declined to participate, so Bevan signalled that he intended to continue the band without him. Lynne, however, objected over use of the ELO name, and the final agreement reached between the two resulted in ELO officially disbanding and Bevan forming a new band in 1989 called Electric Light Orchestra Part Two. Original ELO co-founder Roy Wood was approached about joining the band, but declined. Bevan recruited longtime ELO string conductor and co-arranger Louis Clark into his new band, but not as an official member (Clark was never an official member of the original ELO either.) The first line-up comprised Bevan, plus three musicians completely unrelated to ELO: Eric Troyer (keyboards and vocals), Peter Haycock (guitar and vocals) and Neil Lockwood (guitar and vocals). John Payne had also been recruited as a member early on but dropped out, eventually to join Asia in 1991, and Jim Steinman was also in the frame at the beginning as producer before himself leaving the project but suggesting his friend Troyer as a possible member.

Debut album.

ELO Part Two released a self-titled album in 1991 which featured former ELO violinist Mik Kaminski on one track. The album was intended to hark back to ELO's classic sound of the mid-to-late 1970s, but compared to the original ELO being under the creative control initially of both Wood and Lynne and then Lynne after Wood's departure, ELO Part II were more democratic in terms of songwriting and lead vocals.  The first tour featured the band performing live with The Moscow Symphony Orchestra, (MSO), and was well received in the UK. Approximately two-thirds of the songs performed were ELO hits. The concert in ELO's home town of Birmingham was captured on video and on the live album with the long-winded title "Performing ELO's Greatest Hits Live Featuring The Moscow Symphony Orchestra". Kaminski, former ELO cellist Hugh McDowell, and former ELO bassist Kelly Groucutt were part of the live band, with Groucutt sharing lead and backing vocals with Troyer, Haycock and Lockwood. Kaminski, McDowell and Groucutt were initially appearing as guest artists from a band they had formed called OrKestra, itself a vehicle to exploit their past association with ELO, but eventually dissolved it and joined ELO Part Two full-time by 1993. McDowell's tenure with the band was short. Plans to tour the USA with the MSO were cancelled as costs became prohibitive.  The band continued to tour Germany and the UK in 1992 with Louis Clark playing keyboards to emulate the strings of the absent orchestra. In 1993 Haycock and Lockwood left the band, and were replaced by guitarist/vocalist Phil Bates, who had been in the band Trickster, one of the opening acts for ELO's 1978 world tour. A world tour was undertaken by ELO Part Two in 1993, including dates in the USA and Eastern Europe.

Moment of Truth.

Now a six-piece band with a slightly altered name, Electric Light Orchestra Part II recorded a second studio album, "Moment of Truth", which was released in 1994. The album was not a commercial success. The band continued its tour schedule over the following years, sometimes augmenting the core band with a backing orchestra. On these rare occasions they hired local orchestras at each venue to cut down costs. Another live album with orchestral backing was recorded in Sydney, Australia in 1995 and was released the following year in Germany as a double album "One Night", and the year after that in the USA as a single album "One Night - Live in Australia". The band sold the master tapes of this album and it has since been remixed, remastered, and re-released several times under different titles.

Later career and transition to The Orchestra.

Phil Bates remained with the band until January 1999 and was replaced by Parthenon Huxley (guitar, vocals). In November 1999 Bevan played his last show with the band at the Sands Hotel in Atlantic City and issued a press release in early 2000 indicating that ELO Part II had split. Due to Bev Bevan selling his rights to the ELO name to Jeff Lynne the band could not continue under the name ELO Part II.  The remaining members, however, recruited drummer Gordon Townsend and decided to continue as The Orchestra who continue to tour up to the present day.

ELO Part II were a band formed by Electric Light Orchestra drummer and co-founder Bev Bevan. The band also included former ELO bassist and vocalist Kelly Groucutt, and violinist Mik Kaminski for most of its career, along with conductor Louis Clark who toured as a guest with ELO in its later years.

ELO Part II war eine britische Musikband aus den 1990er Jahren. Die Band wurde von Bev Bevan, einem ehemaligen Mitglied der Musikgruppe Electric Light Orchestra, gegründet. Nach deren Auflösung 1987 versuchte man, den ELO-Fans eine „neue Heimat“ zu geben. Nach einem längeren Rechtsstreit formierte ELO-Schlagzeuger Bev Bevan 1990/1991 ohne Jeff Lynne "Electric Light Orchestra Part II" (gleichnamiges Album im Jahre 1991), kurz "ELO Part II", mit bescheidenem Erfolg.


Plot.

Leocadia ("Leo") Macías (Marisa Paredes) writes popular romance novels under a pen name, Amanda Gris. Unlike her romantic ("pink") novels, her love life is troubled. She has a difficult relationship with her husband Paco (Imanol Arias), a military officer stationed in Brussels and later in Bosnia, who is physically and emotionally distant. The film starts with Leo writing about the feeling of having lost her lover, a feeling that she compares to the pain of a tight pair of boots that she cannot take off. Almodovar took for this first part of the film strong plot elements from Dorothy Parker's short story, "The Lovely Leave"  Leo begins to change the direction of her writing, wanting to focus more on darker themes such as pain and loss, and can no longer write her romantic Amanda Gris novels. However, her publishers demand sentimental happy endings, at least until her contract is up. She begins to re-evaluate her life through her relationship with her publishers, her husband, her best friend Betty (Carme Elías), her "crab-faced" sister Rosa (Rossy de Palma) and her bickering elderly mother (Chus Lampreave). Only her maid (played by flamenco dancer Manuela Vargas) appears steadfast. She also meets Ángel (Juan Echanove), a prominent newspaper editor who quickly falls for Leo and her writing.  After signing a contract with the newspaper, "El País", Leo tells Ángel that she cannot write romances anymore, and that she has written a dark ("black") novel about a young mother whose daughter kills her husband because he tried to rape her. After that, the corpse of the dead man is hidden in a refrigerator. Although Leo throws this story out, she later learns that someone is turning it into a movie. (In fact, Almodóvar himself created a movie based on this same plot, "Volver", released eleven years later in 2006.)  After the inevitable disintegration of her marriage and then learning that her best friend was her husband's lover, Leo takes and survives an overdose, then goes with her mother to the village of Almagro to rest and recover. There she receives a call from her publishers, who are apparently delighted by the two manuscripts they have received from her — romances Leo never wrote or submitted. She returns to Madrid and learns that Ángel is her ghostwriter. More surprises unfold when she attends a brilliant dance performance featuring her maid, Manuela Vargas, and Joaquín Cortés, who plays the maid's son, Antonio. Antonio soon confesses that he is the one who took her manuscript now being made into a movie. A final surprise for Leo: after a false start, she finds love with the smitten Ángel, and the film ends with the tenuous promise of a "new year".

References forward to other Almodóvar films.

In "The Flower of my Secret", the plot of Leo's new, gritty, novel is stolen and used as the basis of a film screenplay "The Freezer". In a coup of life imitating art, a decade later it formed the basis of Almodóvar's own 2006 film "Volver".  Another sub-plot scene from "The Flower of my Secret", the student doctors being taught how to persuade a grieving mother to allow her son's organs to be used in transplant, was used as the starting point of Almodóvar's 1999 film "All About My Mother".  Leo tells Ángel that she earned money reading and writing letters for her illiterate neighbors as a child, a detail from Almodóvar's own life that appears in "Dolor y gloria" (the title of which bears a striking resemblance to Leo's "El País" column, titled "Dolor y Vida.")

The Flower of My Secret () is a 1995 film by Spanish director Pedro Almodóvar. The film was selected as the Spanish entry for the Best Foreign Language Film at the 68th Academy Awards, but was not accepted as a nominee.

Mein blühendes Geheimnis (span. "La flor de mi secreto") ist ein Film des spanischen Regisseurs Pedro Almodóvar aus dem Jahr 1995.


Plot.

In 1883, in the Sudan, a force of 10,000 poorly trained Egyptian troops under the command of British Army Col. William "Billy" Hicks (Edward Underdown) is lured into the desert and slaughtered by Muslim zealots led by Muhammad Ahmed (Laurence Olivier), a fanatic Sudanese Arab who believes he is the Mahdi, the prophesied "saviour of humanity". British Prime Minister William Ewart Gladstone (Ralph Richardson), who does not wish to send more military forces to Khartoum, is under great pressure to send military hero Major General Charles George Gordon (Charlton Heston) there to salvage the situation and restore British prestige. Gordon has strong ties to Sudan, having broken the slave trade there in the past, but Gladstone distrusts him. Gordon has a reputation for strong, if eccentric, religious beliefs and following his own judgement, regardless of his orders. Lord Granville (Michael Hordern), the British Foreign Secretary, knowing this, tells Gladstone that by sending Gordon to Khartoum, the British government can ignore all public pressure to send an army there, and absolve themselves of any responsibility over the area if Gordon ignores his orders. Gladstone is mildly shocked at the suggestion, but as it is popular with the public and Queen Victoria, he adopts it for the sake of expediency.  Gordon is told that his mission, to evacuate troops and civilians, is unsanctioned by the British government, which will disavow all responsibility if he fails. He is given few resources and only a single aide, Colonel J. D. H. Stewart (Richard Johnson). After an attempt to recruit former slaver Zobeir Pasha (Zia Mohyeddin) fails, Gordon and Stewart travel to Khartoum, where Gordon is hailed as the city's savior upon his arrival in February 1884. He begins organising the defences and rallying the people, despite Stewart's protests that this is not what he was sent to do.  Gordon's first act is to visit the Mahdi in his insurgent camp, accompanied by only a single servant. He gains the Mahdi's respect and, in the verbal fencing at the parley, discovers that the rebel leader intends to make an example of Khartoum by taking the city and killing all its inhabitants. The River Nile city of Khartoum lies at the confluence of the White Nile and the Blue Nile. A qualified military engineer, Gordon wastes no time upon his return in digging a ditch between the two to provide a protective moat.  In Britain, Gladstone, apprised of how desperate the situation has become, orders Gordon to leave, but, as he had feared, his command is ignored. Colonel Stewart is sent by Gordon to London to explain the situation in Khartoum. Over the next several months, a public outcry forces Gladstone to send a relief force, but he sees to it that there is no urgency, hoping to the last that Gordon will come to his senses and save himself.  Gordon, however, has other ideas. News arrives in Khartoum about a relief force lead by General Wolseley being sent from England. When the waters recede in winter, drying up his moat, the small Egyptian army is finally overwhelmed by 100,000 Mahdist tribesmen. On 26 January 1885, the city falls under a massive frontal assault. Gordon himself is killed along with the entire garrison and populace of some 30,000, although the Mahdi had forbidden killing Gordon. In the end, Gordon's head is cut off, stuck on top of a long pole, and paraded about the city in triumph, contrary to the Mahdi's injunctions.  The film ends with another narration by Leo Genn explaining the aftermath. The relief column arrived two days too late.  The British withdrew from the Sudan shortly thereafter, and the Mahdi himself died six months later. In the United Kingdom, public pressure, and anger at the fate of Gordon, eventually forced the British and their Egyptian allies to re-invade the Sudan ten years later, and they recaptured Khartoum in 1898.  Roger Delgado, George Pastell and Jerome Willis also had parts. They all later played a villain in "Doctor Who".

Production.

Development.

Robert Ardrey wrote the script at the encouragement of producer Julian Blaustein. Ardrey says it took him three years "on and off" but once he did it he sold it for $150,000.  In May 1962 MGM announced they would make the film from Ardrey's script. It was to be an adventure movie in the vein of "55 Days at Peking" and "Lawrence of Arabia".  In October 1963 Ardrey scouted locations in Africa with Blaustein.  "Everybody was interested and nobody doubted the subject," said writer Robert Ardrey. "But there was strong feeling against the big picture which might gross $12,000,000 but cost $25,000,000. Frankly "Khartoum" is a proposition that could bust a studio if handled the wrong way."  In April 1964 Blaustein announced he would make the film for United Artists and that Burt Lancaster would star as Gordon. The following month Laurence Olivier agreed to play the Mahdi and Lewis Gilbert signed to direct.  However filming was pushed back meaning Lancaster, Olivier and Gilbert had to pull out. In April 1965 Charlton Heston agreed to play Gordon. By June Olivier was back on the film with Basil Dearden to direct. In July 1965, it was announced that Ralph Richardson and Richard Johnson would join the cast as Prime Minister Gladstone and Colonel Stewart respectively.

Shooting.

Filming took place in Egypt, Pinewood Studios and London. It started at Pinewood on August 9, 1965 then in September moved to Egypt. Once location filming finished, the shoot went on hiatus to give Olivier time to be available for interior scenes in December.  It was the last movie filmed in Ultra Panavision 70 until "The Hateful Eight", written and directed by Quentin Tarantino forty-nine years later.

Reception.

Reviews for "Khartoum" at the time were generally positive. "Sight and Sound" described the film as being "beautifully photographed, lavishly mounted, intelligently acted, but ultimately dull." "The Times" praised the film for the screenplay. However negative reviews came from "The Daily Telegraph" and the "New Statesman", which criticized the film for its historical inaccuracies (for example the Mahdi did not want to kill everyone in the capital and called for killing only soldiers).  In the 21st century, historian Alex von Tunzelmann criticized the film for factual inaccuracies and Olivier's unrealistic accent and blackface makeup. Literature professor Edward Said blasted "Khartoum" for what he described as a propagandistic portrayal of good versus evil by clashing "despotically violent Arab masculinity against a noble, rational Western one."  Film director Martin Scorsese said "Khartoum" was one of his guilty pleasures. "Charlton Heston... is marvelous; and Laurence Olivier has a lot of fun as the Mahdi, with a space between his front teeth. It isn't very good filmmaking, but it has a mystical quality about it. This was a holy war. At the end-when Mahdi killed Gordon, and then six months later he died himself-it was as if the two of them canceled each other out, religiously and historically. It's a story I want to be told, over and over again, like a fairy tale."

Khartoum is a 1966 film written by Robert Ardrey and directed by Basil Dearden. It stars Charlton Heston as British Gen. Charles "Chinese" Gordon and Laurence Olivier as Muhammad Ahmed (a Sudanese leader whose devotees proclaimed him the Mahdi), with a supporting cast that includes Richard Johnson and Ralph Richardson. The film is based on historical accounts of Gordon's defence of the Sudanese city of Khartoum from the forces of the Mahdist army, during the 1884-1885 Siege of Khartoum. The opening and closing are narrated by Leo Genn.

Khartoum ist ein britischer Monumentalfilm von Basil Dearden aus dem Jahr 1966 mit Charlton Heston und Laurence Olivier in den Hauptrollen.


Life and career.

Dayton was born in Alameda County, California, and grew up in Grass Valley, California. After graduating from Ygnacio Valley High School in Concord, California, he attended the UCLA Film School, studying film and television in the late 1970s; while there, he met Valerie Faris, a dance student and native of Los Angeles County, California, who became his wife and his partner. They have three children together. Valerie is the daughter of Paula Forbes, a supervising painter, and Jim Faris, a film editor.  As a pair, Dayton and Faris have directed and produced music videos, documentaries, commercials and films. They have directed music videos for bands such as Oasis, Red Hot Chili Peppers, Beastie Boys, and R.E.M.. Their 1996 video for "Tonight, Tonight" by The Smashing Pumpkins won six MTV Video Music Awards. Another of their videos that found significant success was for the 1990 Extreme song "More Than Words".  They directed a number of sketches for the 1995-1998 HBO sketch comedy series "Mr. Show".  In 1998, they established a production company, Bob Industries. Through this company the pair directed commercials for companies such as Hewlett-Packard, Volkswagen, Sony, GAP, Target, IKEA, Apple Computer, and ESPN. The two directed a 1999 commercial for the Volkswagen Cabrio, titled "Milky Way", whose soundtrack consisted entirely of the 1972 Nick Drake song "Pink Moon", and which is credited with initiating a massive revival of interest in Nick Drake's music.  They began to be offered feature films to direct at around this time; among projects that they turned down were "The Mod Squad" (1999) and "Bad Boys II" (2003).  In 2001, they began to work on the film "Little Miss Sunshine"; it was released in 2006. The film won the Audience Award at the 2006 Sydney Film festival and an ovation at the 2006 Sundance Film Festival, and was nominated for an Academy Award for Best Picture. Their directing style for the film involved a high level of improvisation to allow the actors to create organic connections to the roles.  In 2006, the pair were announced as the directors of a planned screen adaptation of Tom Perrotta's novel "The Abstinence Teacher" for Warner Independent Pictures. In 2007 Perrotta wrote a screenplay with input from Dayton and Faris. However, by 2012 they had left the project, and it was taken over by director Lisa Cholodenko.  Their next film was "Ruby Sparks" in 2012. Dayton and Faris then directed "Battle of the Sexes", about the tennis match between Billie Jean King and Bobby Riggs, with Emma Stone as King and Steve Carell as Riggs. The film also stars Elisabeth Shue, Alan Cumming, and Sarah Silverman; it was released in 2017.

Jonathan Dayton (born July 7, 1957) and Valerie Faris (born October 20, 1958) are a team of American film and music video directors who received critical acclaim for their feature film directorial debut, "Little Miss Sunshine" (2006). Later the married couple directed the romantic comedy-drama "Ruby Sparks" (2012), and the biographical sports drama "Battle of the Sexes" (2017). Their most recent directing project is the Netflix comedy series, "Living With Yourself", starring Paul Rudd, which premiered on October 17, 2019.

Jonathan Dayton (* 7. Juli 1957 in Alameda County, Kalifornien) und Valerie Jean Faris (* 20. Oktober 1958 in Los Angeles County, Kalifornien) sind ein US-amerikanisches Regisseur-Duo.


Binding (Drug Distribution).

A drug in blood exists in two forms: bound and unbound. Depending on a specific drug's affinity for plasma protein, a proportion of the drug may become bound to plasma proteins, with the remainder being unbound. If the protein binding is reversible, then a chemical equilibrium will exist between the bound and unbound states, such that:  Notably, it is the unbound fraction which exhibits pharmacologic effects. It is also the fraction that may be metabolized and/or excreted. For example, the "fraction bound" of the anticoagulant warfarin is 97%. This means that of the amount of warfarin in the blood, 97% is bound to plasma proteins. The remaining 3% (the fraction unbound) is the fraction that is actually active and may be excreted.  Protein binding can influence the drug's biological half-life. The bound portion may act as a reservoir or depot from which the drug is slowly released as the unbound form. Since the unbound form is being metabolized and/or excreted from the body, the bound fraction will be released in order to maintain equilibrium.  Since albumin is alkalotic, acidic and neutral drugs will primarily bind to albumin. If albumin becomes saturated, then these drugs will bind to lipoprotein. Basic drugs will bind to the acidic alpha-1 acid glycoprotein. This is significant because various medical conditions may affect the levels of albumin, alpha-1 acid glycoprotein, and lipoproteins.

Impact of the altered protein binding.

Only the unbound fraction of the drug undergoes metabolism in the liver and other tissues. As the drug dissociates from the protein, more and more drug undergoes metabolism. Changes in the levels of free drug change the volume of distribution because free drug may distribute into the tissues leading to a decrease in plasma concentration profile. For the drugs which rapidly undergo metabolism, clearance is dependent on the hepatic blood flow. For drugs which slowly undergo metabolism, changes in the unbound fraction of the drug directly change the clearance of the drug.  The fraction unbound can be altered by a number of variables, such as the concentration of drug in the body, the amount and quality of plasma protein, and other drugs that bind to plasma proteins. Higher drug concentrations would lead to a higher fraction unbound, because the plasma protein would be saturated with drug and any excess drug would be unbound. If the amount of plasma protein is decreased (such as in catabolism, malnutrition, liver disease, renal disease), there would also be a higher fraction unbound. Additionally, the quality of the plasma protein may affect how many drug-binding sites there are on the protein.

Drug interactions.

Using 2 drugs at the same time can sometimes affect each other's fraction unbound. For example, assume that Drug A and Drug B are both protein-bound drugs. If Drug A is given, it will bind to the plasma proteins in the blood. If Drug B is also given, it can displace Drug A from the protein, thereby increasing Drug A's fraction unbound. This may increase the effects of Drug A, since only the unbound fraction may exhibit activity.  Note that for Drug A, the % increase in unbound fraction is 100% – hence, Drug A's pharmacological effect can potentially double (depending on whether the free molecules get to their target before they are eliminated by metabolism or excretion). This change in pharmacologic effect could have adverse consequences.  However, this effect is really only noticeable in closed systems where the pool of available proteins could potentially be exceeded by the number of drug molecules. Biological systems, such as humans and animals, are open systems where molecules can be gained, lost or redistributed and where the protein pool capacity is almost never exceeded by the number of drug molecules. A drug that is 99% bound means that 99% of the drug molecules are bound to blood proteins not that 99% of the blood proteins are bound with drug. When two, highly protein-bound drugs (A and B) are added into the same biological system it will lead to an initial small increase in the concentration of free drug A (as drug B ejects some of the drug A from its proteins). However, this free drug A is now more available for redistribution into the body tissues and/or for excretion. This means the total amount of drug in the system will decrease quite rapidly, keeping the free drug fraction (the concentration of free drug divided by the total drug concentration) constant and yielding almost no change in clinical effect.  The effects of drugs displacing each other and changing the clinical effect (though important in some examples) is vastly overestimated usually and a common example incorrectly used to display the importance of this effect is the anticoagulant Warfarin. Warfarin is highly protein-bound (>95%) and has a low therapeutic index. Since a low therapeutic index indicates that there is a high risk of toxicity when using the drug, any potential increases in warfarin concentration could be very dangerous and lead to hemorrhage. In horses, it is very true that if warfarin and phenylbutazone are administered concurrently, the horse can develop bleeding issues which can be fatal. This is often explained as being due to the effect of phenylbutazone ejecting warfarin from its plasma protein, thus increasing the concentration of free warfarin and increasing its anticoagulant effect. However, the real problem is that phenylbutazone interferes with the liver's ability to metabolize warfarin so free warfarin cannot be metabolized properly or excreted. This leads to an increase in free warfarin and the resulting bleeding issues.

Plasma protein binding refers to the degree to which medications attach to proteins within the blood. A drug's efficiency may be affected by the degree to which it binds. The less bound a drug is, the more efficiently it can traverse cell membranes or diffuse. Common blood proteins that drugs bind to are human serum albumin, lipoprotein, glycoprotein, and α, β‚ and γ globulins.

Als Proteinbindung, auch Plasmaproteinbindung (PPB) oder Plasmaeiweißbindung (PEB) genannt, wird die reversible Bindung von Stoffen an Eiweißbestandteile des Blutes (Plasmaproteine, Erythrozytenproteine) oder der Körpergewebe bezeichnet. An dieser Proteinbindung können verschiedene Formen chemischer Bindungen beteiligt sein, namentlich ionische Bindungen, Wasserstoffbrückenbindungen, Dipol-Dipol-Wechselwirkungen sowie hydrophobe Wechselwirkungen. Die Proteinbindung hat zur Folge, dass die gebundenen Stoffe, unter anderem Arzneimittel und verschiedene körpereigene Substanzen, ihre normale Wirkung nicht oder nur vermindert ausüben, da sie nicht wie sonst mit der Umgebung reagieren können. Der durch Proteine gebundene Anteil eines Stoffes ist somit pharmakologisch inaktiv. Kleine Moleküle erlangen durch die Bindung eine stark verlängerte Halbwertszeit, werden also nur sehr verlangsamt über die Niere ausgeschieden.