Overview.

Premier League rebranding.

On 9 February 2016, the Premier League announced a rebrand; beginning with the 2016–17 season, the competition was known simply as the Premier League, without any sponsor's name attached. As part of the rebranding, a new logo was introduced.

Ticket prices.

From the beginning of the 2016–17 season, ticket prices for away fans were capped at £30 per ticket.

Summary.

Antonio Conte enjoyed a successful start as Chelsea manager, winning the title in his first season at the club and earning a record number of league victories for a season, with only poor early form preventing them from also setting a new points total. Tottenham Hotspur shrugged off a disappointing Champions League campaign to push Chelsea close for the title, though they ultimately missed out. However, they finished the season with statistically both the best attack and defence, with striker Harry Kane once again claiming the Golden Boot. Furthermore, the season marked the end of Tottenham's 118-year stay at the White Hart Lane stadium, temporarily using Wembley for the subsequent season, before a new stadium move. Manchester City finished one spot better than the previous season in Pep Guardiola's first season in charge, though ended the season trophy-less, despite recording the third-best attack and reaching the semi-finals of the FA Cup. Liverpool made the Champions League for the first time in three years in Jürgen Klopp's first full season, though they were prevented from finishing any higher than fourth by an inconsistent start to 2017, a consequence of both losing their £35 million signing Sadio Mané to international duty in January and February as well as suffering from several dropped points against bottom-half teams.  Despite winning seven of their final eight games, Arsenal finished fifth and failed to qualify for the Champions League for the first time since 1997, as fan pressure on both manager Arsène Wenger and majority-shareholder Stan Kroenke grew. While they did win the FA Cup for the third time in four seasons, making Wenger the most successful manager in the competition's history, they endured yet another disappointing Champions League run, eliminated at the round of 16 for a seventh successive year. Manchester United finished sixth, one lower than the previous season, in José Mourinho's first season in charge, with their failure to turn any one of their 15 draws – with 12 earned amidst the season-record 25 matches unbeaten run – into victories proving problematic. They did at least win the EFL Cup and won the Europa League final. The latter was the first Europa League title in their history, not only securing a place in the Champions League but also made them only the fifth club to have won all three major European trophies.  In only their second-ever top-flight season, AFC Bournemouth built on the success of the previous season as they secured a ninth-place finish and scored 55 goals, defying the critics who had tipped them to struggle from second-season syndrome. Much as Chelsea had the previous season, Leicester City made a poor defence of their title, despite having what turned out to be the best Champions League run of any English club this season. They were beaten by Hull City in the first match, the first time this has happened to a reigning Premier League champion. With the club struggling, manager Claudio Ranieri was sacked in February and replaced by coach Craig Shakespeare, who steered the club to 12th. It broke the record of the lowest finish for Premier League title holders, previously set by Chelsea, but comfortably clear of relegation.  Swansea City had looked dead and buried after early struggles under Francesco Guidolin and then a disastrous spell with Bob Bradley as manager, but were saved by a late improvement under Paul Clement's management. Burnley fared the best of the promoted clubs, with only atrocious away form preventing them finishing higher as they made their home-ground of Turf Moor one of the hardest places to get a point from – and secured a second successive top-flight season for the first time in 40 years. Watford, in their first successive top-flight campaign for 30 years, successfully ensured a third consecutive Premier League season – however, as a result of poor away form, a disastrous end to the season and several spells of indifferent form throughout the campaign, the Hornets were unable to really build on the previous season despite recording their first league victories over Manchester United and at Arsenal since the 1980s.  After several successive escapes from relegation, Sunderland's resilience finally broke and they dropped into the Championship after a decade, having spent virtually the entire season rooted to the bottom of the table. Middlesbrough also struggled through their first top-flight season in eight years, with a poor end to the season, the weakest goal-scoring record in the division and an inability to turn one of their 13 draws into victories dooming them. Hull City were the final relegated side, never quite recovering from a disastrous pre-season which saw manager Steve Bruce quit and next to no new players signed. Despite encouraging early season form under Mike Phelan, a dismal run in the winter saw him sacked and replaced by Marco Silva, who steered the club to a much better second half of the season, but it ultimately proved to be a case of too little, too late.

Teams.

Twenty teams competed in the league – the top seventeen teams from the previous season and the three teams promoted from the Championship. The promoted teams were Burnley, Middlesbrough and Hull City. Burnley and Hull City returned to the top flight after a season's absence while Middlesbrough returned after a seven-year absence. They replaced Newcastle United, Norwich City and Aston Villa, ending their top flight spells of six, one and twenty-eight years respectively.

League table.

<onlyinclude></onlyinclude>  Player scored 4 goals
(H) – Home team
(A) – Away team

The 2016–17 Premier League was the 25th season of the Premier League, the top English professional league for association football clubs, since its establishment in 1992. The season began on 13 August 2016 and concluded on 21 May 2017. Fixtures for the 2016–17 season were announced on 15 June 2016.

Die Premier League 2016/17 war die 25. Spielzeit der "Premier League" und gleichzeitig die 118. Erstligasaison im englischen Fußball. Die Saison begann am 13. August 2016 mit dem Spiel des Aufsteigers Hull City gegen den Meister Leicester City (2:1) und endete am 21. Mai 2017.


Tenth Annual Industries.

Tenth Annual Industries was a former name of the company until 1998. It produced commercials, an MTV animated series "Beavis and Butt-Head" and music videos (including Michael Jackson's "Leave Me Alone", Peter Gabriel's "Digging in the Dirt", Cher's "I Got You Babe" (with Beavis and Butt-Head), Tom Petty's "Runnin' Down a Dream", U2's "Hold Me, Thrill Me, Kiss Me, Kill Me" and Red Hot Chili Peppers' "Love Rollercoaster").

Television.

Mondo Media has produced animation for Fusion, MTV and Adult Swim.  The "Happy Tree Friends" television series was the company's first full-length television production. It premiered in the United States on September 25, 2006 on G4 and ran for only one season of 13 episodes.  In 2013, Canadian channel Bite teamed up with Mondo Media and YouTube to create "Bite on Mondo", a program in which content creators pitched ideas for new shows. The pitches are funded through Mondo and use YouTube's popularity to decide whether or not they will be picked up. The winning pitches were broadcast on Bite on August 29, 2014. In October 2014, parent company Blue Ant Media, Mondo Media, and Corus Entertainment announced that Teletoon would air a new series featuring shorts from the program. It was expected to premiere in 2016 on Teletoon at Night, but instead premiered on September 4, 2015 as "Night Sweats" on Adult Swim Canada.  In 2015, Mondo Media produced the animated sketch comedy series "Like, Share, Die" on Fusion. Each 15-minute episode of the series consists of several short segments and episodes of Mondo-produced web series.  In May 2019, El Rey Network began airing an anthology of Mondo series called the "Mondo Animation Hour".

Mondo Media is an American company that produces animation targeted at teens and young adults. The company was founded in 1988 in San Francisco, California. The company produces ad-supported, internet-based animated segments called "Mondo Mini Shows".

MondoMedia ist ein US-amerikanischer YouTube-Kanal. Er wurde am 22. Januar 2007 gegründet und veröffentlicht die "Mondo Mini Shows". Er wird vom Unternehmen "Mondo Media" betrieben, das Animationsvideos für Jugendliche und junge Erwachsene produziert. Aufgrund des Erfolges wurde die Videoreihe "Happy Tree Friends" ins Fernsehen übernommen. "Dick Figures" wurde nominiert für den "Annie Award for Best Directing in an Animated Television or other Broadcast Venue Production". Einige gezeigte Serien wurden mit bekannten Persönlichkeiten produziert. "Off The Curb" wurde von Carlos Alazraqui, John Di Maggio, und Gary Anthony Williams und anderen vertont. "Mr. Wong" wurde von den South-Park-Produzenten Pam Brady und Kyle McCulloch geschrieben und vertont.


Club career.

Born in Hamburg, Katrín made her club debut for KR of the Úrvalsdeild kvenna when she was 14 years old. She represented KR in the inaugural season of the UEFA Women's Cup in 2001–02.  Katrín attended the University of California, Berkeley in the United States and played for their women's soccer team from 2008 until 2010. She was signed by Kristianstads DFF of the Damallsvenskan for the summer of 2010. In 2011, she returned to California to play for new Women's Premier Soccer League (WPSL) franchise Orange County Waves. She scored six goals in nine regular season appearances as the team won the 2011 WPSL Championship.  In January 2012 Katrín agreed to join Philadelphia Independence of Women's Professional Soccer (WPS), but the league folded before the season started. Instead she returned to Kristianstads and played out the 2012 Damallsvenskan season, scoring four goals in 21 appearances.  In January 2013 Katrín signed for Liverpool Ladies, who had finished bottom of the FA WSL in 2011 and 2012 but were investing heavily in improving their team. She scored the second goal as Liverpool beat Bristol Academy 2–0 on the final day to secure the league title. Liverpool retained their league title in 2014 but fared poorly in 2015, finishing seventh of eight teams. Katrín was among four players to be released by the club at the end of the season.  On New Year's Eve 2015 Katrín joined Doncaster Rovers Belles, alongside veteran Liverpool teammate Becky Easton. Doncaster were relegated after only winning one game all season, secured by Katrín's winning goal against Reading F.C. Women. She left the club at the expiry of her one-year contract, and promptly re-joined KR.

International career.

Katrín made her senior debut for Iceland in August 2006, a 1–0 home defeat to Sweden in the 2007 FIFA Women's World Cup qualifiers.  At UEFA Women's Euro 2009, Katrín played in two of the three group matches as Iceland were eliminated in the first round. National team coach Siggi Eyjólfsson also selected Katrín in his Iceland squad for UEFA Women's Euro 2013.

Katrín Ómarsdóttir (born 27 June 1987) is an Icelandic football midfielder who plays for KR. Before spending four seasons in the English FA WSL with Liverpool and Doncaster Rovers Belles from 2013, she had played professional football in Sweden and the United States. Katrín has over 60 caps for Iceland's national team and represented her country at the 2009 and 2013 editions of the UEFA Women's Championship.

Katrín Ómarsdóttir (* 27. Juni 1987 in Hamburg, Deutschland) ist eine isländische Fußballspielerin, die seit 2006 für die isländische Fußballnationalmannschaft der Frauen spielt und mit dieser an den Europameisterschaften 2009 und 2013 teilnahm. Auf Vereinsebene spielte sie zunächst in Island, wo sie mit KR Reykjavík Meister und Pokalsieger wurde, später in den USA, Schweden und England, wo sie mit den Liverpool Ladies Englischer Meister wurde. Aktuell steht sie wieder bei KR Reykjavík unter Vertrag.


Mission.

Their mission has three major points: They seek to provide essential support, including food, shelter, medical care, clothing, tutoring and professional training, social support, mental health counseling and legal help. Secondly, they aim to create processes that support stability and self-esteem of each client and foster the independence of each child. Finally, they aim to eradicate the structural causes that produce marginalization, lack of opportunities, ignorance, indifference and the crisis of values. In addressing these needs, they seek to focus on responding to expressed needs instead of constructing a program that imposes a structure on each individual.

Vision.

Their vision is that every person regardless of age, race, social condition or gender, by virtue of their dignity is able to be for him/herself a responsible agent of their own well-being, moral progress, and spiritual development.

Arco Iris Projects.

Project Betaña.

Gran Betaña is one of the poorest neighborhood of La Paz. Arco Iris started Project “Betaña” in 1996, helping more than 200 youngsters each year (from 6 to 14 years old) through educational classrooms, school supplies, dining rooms, sports and medical assistance. There are 10 full-time teachers. The children that go to public school in the morning go to the Center after classes, have lunch, spend the afternoon at the Center and go to their homes in the evening. Other groups go to the Center in the morning and after having lunch they go to school in the afternoon. The Center also has a nursery where about 50 younger children get food, medical attention and learning assistance.

Casa de Paso.

The “Caso de Paso” (Pass through House) works in two areas. One group of professionals makes daily visits to the places where homeless children live (in parks, under bridges, cemeteries, etc.) to provide social help (medical, clothing, blankets, food, etc.), recreational and sport activities, and psychological and educational assistance. The “House of Improvement” takes children that leave their life in the streets and helps them to achieve social reintegration. Some of these children are reintegrated into their own families and others are moved to the “Casa Esperanza” or “Obrajes Girls Homes.” The project helps approximately 400 children each year.

Fundación Arco Iris (Rainbow Foundation) (NGO) is a Catholic NGO (founded by German priest Jose Maria Neuenhofer in 1994) based in La Paz that fights against the discrimination, marginalization and lack of opportunity that thousands of young people suffer. They focus specifically on orphans, children of the incarcerated, victims of domestic violence, and those who live or work in the streets of La Paz. At present, the Foundation has 8 centers plus a hospital.

Die Fundación Arco Iris („Regenbogen-Stiftung“) ist ein Hilfswerk, das sich für Kinder und Jugendliche auf der Straße, von der Straße sowie vermehrt für soziale Projekte, wie Kindergarten, Kindertagesstätte und Schulbildung einsetzt. Das Einsatzgebiet liegt vornehmlich in der bolivianischen Hauptstadt La Paz und in der angrenzenden Stadt El Alto. Die Stiftung wurde im Jahr 1994 vom deutschen Pfarrer Josef Maria Neuenhofer gegründet. Heute betreibt die Stiftung vier Heime für Kinder und Jugendliche, zehn weitere soziale Projekte und ein Krankenhaus.


Stańczyk während des Balls am Hofe der Königin Bona, als die Kunde vom Verlust von Smolensk eintrifft

Stańczyk.

Stańczyk, the male figure depicted in the painting, was the court jester when Poland was at the height of its political, economic and cultural power during the era of the Renaissance in Poland, during the reign of King Sigismund I the Old (reigned 1506–1548). He was a popular figure; besides his fame as a jester he has been described as an eloquent, witty, and intelligent man, using satire to comment on the nation's past, present, and future. Unlike jesters of other European courts, Stańczyk has always been considered as much more than a mere entertainer. Stańczyk's fame and legend were strong in his own time and enjoyed a resurgence in the 19th century, and he remains well known to this day.  Scarcity of sources gave rise to four distinct hypotheses about Stańczyk in the 19th century: that he was entirely invented by Jan Kochanowski and his colleagues, that he was "perhaps a typical jester dressed by his contemporaries in an Aesopian attire, perhaps a Shakespearean vision of 19th century writers, or perhaps indeed a grey eminence of the "societatis ioculatorum"". In any measure, consensus among modern scholars is that such a person indeed existed and even if he did not, the figure had a tremendous importance to Polish culture of later centuries, appearing in works of many artists of the 19th and 20th centuries. He appears in a work of, among others, Julian Ursyn Niemcewicz (in "Jan z Tęczna. Powieść historyczna", 1825) and several works by Józef Ignacy Kraszewski (1839, 1841).

Content.

The full title of the painting is "Stańczyk w czasie balu na dworze królowej Bony wobec straconego Smoleńska" (Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk).  The primary composition of the painting is in the contrast between the solemn jester (Stańczyk) – obviously the focus of the painting – and the lively ball going on in the background. Stańczyk is shown sitting alone in a dark room, while a ball, hosted by the royal family, is in full swing in the neighbouring hall. His appearance is unlike that one would expect in a jester – gloomy, deep in thought. His seriousness is reinforced by his accessories: his marotte lies discarded on the floor, whereas a holy medallion of the Black Madonna of Częstochowa can be seen on his torso. The wrinkled carpet at Stanczyk's feet could have been formed by his collapsing heavily into the chair upon reading the letter, or through a nervous shifting of the feet thereafter. On the table lies a letter likely announcing that Poland has lost Smolensk (now in Russia) to the Grand Duchy of Muscovy, causing Stańczyk's sorrow and reflection on his fatherland's fate. The letter seems to have been discarded by some official, and only the jester realizes its significance – while the rulers are partying, celebrating the recent victory at the battle of Orsha, disregarding the bad news about Smolensk. The letter bears the year 1533 (A.d. MDXXXIII) and the name "Samogitia", a province of the Commonwealth. The note is incongruent with the actual date of the fall of Smolensk in 1514, and is a matter of ongoing debate, with an outright mistake by the meticulous Matejko, known for use of symbolism and iconography, being unlikely. Another symbol, a lute, symbol of glory, is being carried by a midget, stereotyped as a person of low stature and morale in Matejko's time; this suggests a decline of the Jagiellon dynasty's fortunes. The window is thrown - or was blown - open, ruffling the tablecloth and alluding to an upset of the present order. Through the open window, the darkened profile of Wawel Cathedral in Krakow is visible - the site of the coronation of Polish kings. Next to it, a comet is seen – a portent of ill fortune. The imagery of downfall is completed with the inclusion of the three stars of Orion's Belt seen above and to the left of the cathedral spire. In Greek mythology, Orion was a powerful hunter blinded by ego and his own greatness, but was ultimately brought down by the pinprick of a scorpion's sting.

History, significance and historiography.

Matejko was fascinated by Stańczyk from the times of his youth, and portrayed him in several of his works (most notably, besides the painting discussed here, in "Consecration of King Sigismund's Bell", 1874 and "Prussian Homage, 1882"). Working on this painting, Matejko was also inspired by the book "Król zamczyska" by Seweryn Goszczyński, whose main character – a loner, living in the castle's ruins, trying to reconcile past and present, and himself inspired by Stańczyk – likely influenced this painting. Completed in 1862, when Matejko was twenty four years old, it is one of his most famous works and the one that launched him to fame. It is seen as a key painting for the understanding of Matejko's style and intentions in his art. Matejko used his own face for Stańczyk, and with this work, began a series of paintings analyzing and interpreting the history of Poland through the figure of Stańczyk.  The painting is also seen as highly significant for the culture of Poland in general. It has been described as one of the most recognizable paintings in the Warsaw National Museum, and is a flagship painting for the "Collection of Polish paintings prior to 1914". The painting has created an image of Stańczyk that has become iconic, and has been repeated in other works such as the play "Wesele" (1901) of Stanisław Wyspiański. Matejko's most famous paintings are usually large, group scenes; individual scenes are less common in his work.  Upon its creation, the painting did not gather much attention, and was acquired by the Kraków Society of Friends of Fine Arts for a purpose of a gift lottery. It was subsequently won by a certain individual, Korytko, in whose possession it was slightly damaged. Upon Matejko's rise to fame, the painting was rediscovered and applauded as a masterpiece, and acquired by the Warsaw National Museum in 1924. During World War II it was looted by the Nazis. It was subsequently seized by the Soviet Union and returned to Poland around 1956.

Notes.

The title erroneously suggests that Poland was at the time ruled by Queen Bona Sforza, when in fact, on July 30, 1514, when Smolensk was lost to Russia, Poland was ruled by King Sigismund the Old and his first wife, Queen Barbara Zápolya. Zápolya was the queen of Poland from 1512 to 1515; Bona Sforza married Sigismund only in 1518. Smolensk was captured in 1514, during the second Muscovite–Lithuanian War.

Stańczyk (, English: "Stańczyk during a ball at the court of Queen Bona in the face of the loss of Smolensk") is a painting by Jan Matejko finished in 1862. This painting was acquired by the Warsaw National Museum in 1924. During World War II it was looted by the Nazis and subsequently by the Soviet Union, but was returned to Poland around 1956.

Stańczyk w czasie balu na dworze królowej Bony wobec straconego Smoleńska (deutsch: "Stańczyk während eines Balls am Hof von Bona Sforza im Angesicht des Verlusts von Smolensk") ist ein Gemälde des polnischen Malers Jan Matejko aus dem Jahr 1862. Motiv ist der Hofnarr Stańczyk, der im 16. Jahrhundert drei polnischen Königen gedient hatte und später zu einer nationalen Integrationsfigur geworden war. Das in Öl auf Leinwand ausgeführte, 120 Zentimeter breite und 88 Zentimeter hohe Gemälde gehört zur Sammlung des Nationalmuseums Warschau.


Topography.

The reserve is bounded to the north by the Kaga River, to the east by the southern spur of the southern Urals, the Uzyan River to the south, and the Kraków mountains to the west. The tops of many ridges are smoothed and covered with forest. The forest stands on the slopes of the mountains in the east of the reserve transition to steppes and meadows in the lower ground.

Climate and Ecoregion.

Bashkirski is located at the southern end of the "Ural montane forests and tundra" ecoregion, which is a meeting zone between European and Asian vegetation zones (across the Urals). (WWF ID#610).  The climate of Bashkirski is "Humid continental climate, cool summer" (Köppen climate classification Subartic climate(Dfc)). This climate is characterized by mild summers (only 1-3 months above ) and cold, snowy winters (coldest month below ).

Flora and fauna.

Because of its location at the meeting point of several ecoregions, the reserve has high levels of biodiversity. Vegetation include Siberian and European, Central Asian and arctic types. Forests cover 80% of the reserve, mostly with boreal forest forms of pine, and larch, with some sections of the reserve having large stands of birch. Along the lower rivers are strips of alder/willow forest. The reserve records 812 species of vascular plants, 95 species algae, 42 of fungi (macromycetes), 322 of lichens, and 124 of mosses. The animals of the reserve are those typical of the southern Ural forests - brown bear, squirrel, lynx, red squirrel, and grouse. the park has recorded 275 species of vertebrates, including 17 species of fish, 3 of amphibians, 6 of reptiles, and the 196 species of birds and 53 species of mammals. The fast, cold streams support trout.

Management.

There is a nature museum at the reserve, but visits to the territory itself requires permission from reserve management, and only a limited number of ecological tour routes are allowed to be used with guides.

Bashkirsky Nature Reserve (Zapovednik) () ()is located in the central part of the Bashkir (Southern) Urals. It features forested mountain slopes from the western slopes of the southern Ural Mountains to the Kaga River, and a displays the transition from mountain forest to steppe-forest. The reserved is situated in the Burzyansky District of Bashkortostan.

Der Baschkirische Sapowednik () ist ein Naturreservat im zentralen Bereich des Südural. Im Naturschutzgebiet gibt es zwischen den westlichen Hängen des Urals und dem Fluss Kaga bewaldete Berghänge und einen Übergang zwischen dem Wald im Gebirge und einem Steppenwald. Das Gebiet ist im Rajon Bursjansky von Baschkortostan gelegen.


Early life and education.

Born Margaret Elphinstone in Westminster, London, Rhodes was the youngest daughter of the 16th Lord Elphinstone and his wife, Lady Mary Bowes-Lyon, an elder sister of Queen Elizabeth The Queen Mother. Less than a year older than the future queen, she was a frequent playmate of the young Princess Elizabeth. During the Second World War she lived at Windsor Castle and Buckingham Palace, and took a secretarial course. On 20 November 1947, she was a bridesmaid to Princess Elizabeth at her wedding to Philip Mountbatten, Duke of Edinburgh.

Career.

During World War II, she worked as a secretary for MI6. She was a Woman of the Bedchamber – a mix of lady-in-waiting and companion – to her aunt, Queen Elizabeth The Queen Mother, from 1991 until the latter's death in 2002.  In the 2000 Birthday Honours Rhodes was appointed Lieutenant of the Royal Victorian Order (LVO). She lived in the Garden House, a grace and favour residence in Windsor Great Park. In the run-up to the Queen's 80th birthday in April 2006, Rhodes gave an interview to the BBC in which she stated her belief that the Queen would not abdicate.  Her autobiography, "The Final Curtsey", was published in 2011. She was the "castaway" on BBC Radio 4's "Desert Island Discs" on 3 June 2012.  Rhodes appeared in seven documentaries about her first cousin Queen Elizabeth II.  On 27 November 2016, Buckingham Palace confirmed that Rhodes had died, aged 91, on 25 November following a short illness.

Personal life.

On 31 July 1950, she married the writer Denys Gravenor Rhodes (1919–1981), with Princess Margaret as one of the bridesmaids. The couple had four children and one grandson:

Ancestry.

Having been a first cousin to Elizabeth II, Rhodes shared half her ancestry with the Queen, including several notable peers.

Margaret Rhodes (; 9 June 1925 – 25 November 2016) was a first cousin of Queen Elizabeth II. From 1991 to 2002, she served as Woman of the Bedchamber to Queen Elizabeth The Queen Mother.

Margaret Rhodes LVO (* 9. Juni 1925 in London; † 25. November 2016) war die Cousine der britischen Königin Elisabeth II. und ihrer verstorbenen Schwester Prinzessin Margaret. Sie war Hofdame bei der britischen Königinmutter Elizabeth Bowes-Lyon. Sie trug den Höflichkeitstitel The Hon. Mrs Rhodes.


History.

The club was founded on December 1, 1966 and are one of two affiliates with Académica de Coimbra, the other is Académica do Sal. One of some in the nation having two affiliates in a championship, the other for example is CD Travadores and Benfica on Praia that are affiliated with S.L. Benfica. It is also the third oldest club in the city of Espargos.  The club won their first ever regional title in 1986, as the national competition was cancelled, they never appeared. They won their second title in 1988 and qualified into the nationals for the first time.  Between 1992 and 1993 with Juventude and Palmeira, then again in 2003 and 2004 and 2004 and 2005, the team had the same title with Associação Académica do Sal. Since 2003, the club won the most titles on the island with 14 titles and is fifth of any of the island leagues with the most championship titles. Also the club won 4 cup titles, their recent was in 2009. The club also has 5 super cup titles, their first was in 2008, their next two was won every two years, in 2011 and in 2013.  Académico do Aeroporto brought a new manager named Lúcio Antunes who was coaching the Angolan team Progresso Associação do Sambizanga, he coached for a season His management brought Académico to win their second regional consecutive title on April 21, 2016, their fourth time from 2002 to do so and now totals 14, the club finished with a new record of 35 points led by an additional two clubs and four matches in the season. The club's last seasonal match was a 5-1 win over Santa Maria, one of the season's highest and Académico's last win over that club. In other competitions was the regional cup, where the only failure the club did was a loss at the cup final to Juventude in May. Qualified as champions, Académico entered the 2016 Super Cup and defeated Juventude to win their recent title. Académico appeared in the 2016 championships in mid-May and was placed in Group B, the club finished with 7 points and had two wins and scored four goals, this was the third season that they finished third. Antunes was to return to coach the Cape Verdean team but he declined it, he continues to coach Académico do Aeroporto do Sal. In November, Cabeto left and Moniz was once again as president.  The club celebrated the 50th year of foundation on December 1, 2016.  Académico do Aeroporto do Sal started off the 2017 Premier Division season third, then second at the 3rd round, the club was fourth at rounds 2 to 4. Ivan Lopes replaced Mendes as director of the club in mid February. The club remained second until April 14 when they took the first-place position. The club had a two-point difference with Santa Maria two weeks before the end of the regional season. Académico do Aeroporto won the final match of the season and threw out Pedra de Lume (Verdun) out of the Premier Division for the following season, the result was 1-0 and claimed their third consecutive title, 15th overall. In goalscoring, this is the number with 29, one less than Juventude's. Académico do Aeroporto once again headed to the cup final for 2017 and faced Académica do Sal in the Airport Island Derby, another consecutive cup final loss was made and lost the title to that club.  Académico do Aeroporto appeared in the 2017 regional super cup, qualified as champion, they faced the cup winner Académica do Sal and the Airport Island Derby was featured in the Super Cup held on October 14, the club won their 6th title after a tough match which defeated 4-2 in the penalty shootout as the match ended in a goal draw. Académico had two straight wins defeating clubs not powerful on the island, at the third round on December 17, they played with Santa Maria, they made another loss to the island's oldest club and the score was 1-2 at the third round, they were fourth place at the fourth round after a goal draw with Juventude. On January 14, the club defeated Académica do Sal in the island's only rivalry, the Airport Rivalry and put that club in their worst scenario as they were seventh and had no goals scored, that club was seventh. Académico was still fourth with 13 points, their match, a 1-3 win over Gaviões. Académico defeated ASGUI on February 10 then suffered a loss to Florença Santa Maria next round. Académico do Aeroporto is still fourth. A win over Santa Maria followed, then a goal draw with Juventude Sal, the Airport Derby came and a 2-1 win over Académica Sal and is not the last match of the derby as that club is seventh outside the relegation zone. Académico saw the unexpected, a loss to Palmeira, with it, a chance for their fourth consecutive title and national participation as they have 23 points. Gaviões will be the season's final challenge in Sal and likely to kick that club into the Second Division next season.

Opening Tournament successes.

Their first opening tournament title was won in 2005, their second which made it two in a row in 2006, in 2011, the club won three titles in a row, recently the club won one opening tournament title every two years for four years between their third in a row and 2015, their recent win was the 2015 season. Together with Juventude and Palmeira Santa Maria they have 10 points, 3 wins and a draw. Académico has 9 goals and makes it third with three less than Juventude.  Académico do Aeroporto's recent opening tournament final appearance was the 2017 season, they lost the title to SC Santa Maria.

National appearances.

Their first national participation was in 1988, they lost one of the matches and was a non-participant in the finals. In 1995 they finished 2nd place in Group C with two points, the first with a point system and the only with the old two point system, the club failed to advance into the final stage.  In the 2002 national championship season, their first match was a loss to Batuque of São Vicente and was last place, next was three consecutive wins as they defeat São Nicolau's Atlético, Académica do Fogo and Santo Antão's Sanjoanense, they were second place. A single goal draw with Maio's Onze Unidos was next, it put the club first place. Next was a loss to almighty Sporting Praia before their bye week, their position fallen to fourth. Their final match of the season was a win over the ailing Académica da Brava. Along with Académica do Fogo and SC Atlético, the club had 16 points and was third, the points was second ranked. From the reintroduction of the group stage in 2003 up until the stage changed in 2016, not a single club would have 16 points. As the national championships became three groups and each club has a six match regular season, still not a single club has over 16 points today.. Académico do Aeroporto finished fourth, shared with SC Atletico and Académico do Aeroporto, they also had 5 wins and a draw, the difference was the club scored 19 goals, less than Académica do Fogo's 21 and more than and Atlético's 17.  In the 2006 season, Académico do Aeroporto do Sal had four wins and finished first with 12 points and 12 goals scored, as they shared the same points with Sporting Praia, the club had four goals more. Overall, Mendes scored the most with seven goals in the nationals. From 2007, their performances slowly waned but not in 2010, it slowly continued up to 2017.  Between 2011 and 2015, Académico participated once every two years in the national championships after winning an island title. In 2015, the club scored 12 goals and 9 points and was placed third and did not participate in the playoffs. The 10 May match was suspended and was rescheduled to 3 June and Académica beat Sporting Brava 2–1. The club received the 2015 Fair Play Award. In 2015, the city opened a sports complex with artificial turf, a gym, a pool, an auditorium and a multipurpose hall.  Académico do Aeroporto made their third straight appearance at the national championships in mid-May and placed itself in Group B, this time, one of three groups, other clubs in the same group are another Académica club of Porto Novo, Mindelense and Paulense. Antunes has left the club as coach and Nelito is the clubs' new coach who came in May. In the past four rounds, the club did not make a win, they not have a two match losing streak and the club was listed as a non-participant in the upcoming playoffs and was last place in the group, the club lost to almighty Mindelense, the nation's two best club, the club picked up a position and finished third in the group with 5 points. The club did not have a low number of points in the regular season in over two decades.

Playoff participation.

The team, Académico do Aeroporto were the first place champions for Sal Island in 2003 and 2006, Académico do Aeroporto had made it in the 2003 season and lost to FC Ultramarina, a team from Tarrafal 3–1 in the first leg, the second leg beat the team 3 to 2 and claimed the 2002–03 season title and is the only club from Sal Island to win a single national title, Pu scored the first two goals in the first leg, in the last Dixa scored the remainder in the next, the club did not achieve entry into the 2004 CAF Champions League the following year. The 2005–06 season saw the team in the second leg of the semi-finals to win six points, one of the highest in history on advancing to the finals, they competed with Sporting Clube da Praia, one of the best teams in Cape Verde and won 1–0 by Gerson in the first leg but Académico do Aeroporto was tied in the second leg but did not claim the 2005–06 title, it went to Sporting Clube da Praia with the most points. Their last playoff participation was in 2011 where they scored a single goal in each of the two matches with São Vicente's Mindelense, the club lost the first match, they later won the second match, their continuation of remaining in the playoffs was finished and finished as a semifinalist.

Cape Verdean Cup.

As the club won their first and recent title for the club. It was the second club from Sal to appear at the second Cape Verdean Cup in the summer of 2009 and did not appear in the finals. They were one of four teams that participated in the national level.

Stadium.

Estádio Marcelo Leitão is a multi-use stadium in Espargos, Cape Verde. It is currently used mostly for football matches. The stadium holds 8,000. The stadium has seat rows in the east side and is east-southeast of the city center and Monte Curral. The stadium is home to the two best football clubs on the island, the other being Académica do Sal, other clubs based in Espargos includes Juventude which is based in Morro Curral and the stadium is being located inside the neighborhood. Other clubs based in Espargos but a neighborhood includes the recently added clubs of Gaviões, Chã de Matias and GDRC Pretória. Clubs playing the stadium but based on other parts of the island include Santa Maria, SC Verdun Pedra de Lume, Palmeira de Santa Maria and ASGUI, Florença.

Uniform.

Its uniform color has a T-shirt colored in half, amber yellow in the left and black on the right with black shorts and amber yellow socks used during home games and a uniform with black shorts and the remainder white for away games.  Its former uniform colours were yellow with a black short for home matches and black clothing for away matches up to the 2013 season. From September 2014 to early April 2017, its uniform all colored white used during away games.

Rivalry.

Académica do Sal is the club's only rival and is called the Airport Derby ("Clássico da Ilha do Aeroprto", "Derby of the Island of the Airport"), where Espargos was founded upon, sometimes, it is known as the Derby of the Académicas of Sal or the Sal Island Derby, the only derby on the island.

Other sports.

Other sports that Académica has are basketball (second oldest), handball, volleyball (third oldest) and athletics. The team is a member of the Sal Regional Basketball Association ("Associação Regioinal do Basquetebol (or Basquete) do Sal", "ARBS").  Basketball and volleyball are played at Polidesportivo Municipal do Sal and athletics in the same stadium as football.

Académico do Aeroporto (Capeverdean Crioulo, ALUPEC or ALUPEK: "Akadémiku du Aeropurtu") is a football club that had played in the Premier division and plays in the Sal Island League in Cape Verde. It is based in the city of Espargos in the island of Sal. The team was is named after its nearby airport (Sal International Airport). Its current director is Ivan Lopes since mid-February 2017, its chairman is Carlos Moniz who returned for the second time and its manager was Lúcio Antunes since 2015. Now that Verdun Pedra de Lume was relegated, the club became the island's five unrelegated original clubs.

Académico do Aeroporto do Sal (kurz Académico do Aeroporto) ist ein kapverdischer Fußballverein von der Insel Sal, aus der Inselhauptstadt Espargos. Vereinspräsident ist Carlos Cabeto, aktueller Trainer ist Lúcio Antunes (Stand:Frühjahr 2016).


History.

Early history.

A 250-foot artesian well has been used for brewing on the site since at least 1572. William Waldon (1805 - 1854), a farmer originally from Gainford, founded the Lion Brewery in the village of Stranton (subsequently a part of West Hartlepool) on land he bought from Ralph Walker for £300 in 1852. After Waldon's death in 1854, the brewery passed to his widow, Jane. John William Cameron was recruited to manage the brewery from 1865. In 1872 he took on the brewery and its 16 public houses under a 21-year lease. Henry Wilson, of the Phoenix Works in Stockton-on-Tees, built new brewery facilities for John Cameron in 1875. Further land for expansion of the brewery was purchased in 1876. Between 1885 and 1890 more land was bought and plans were made to build a new brewery. The present brewery building was completed in 1892. When the lease expired in 1893, Cameron purchased the brewery outright from the Waldons for £34,442.

Public listing and acquisition trail.

In 1894 the company went public, valued at £345,000, and owned 119 public houses. John William Cameron used this juncture to enter into semi-retirement, and managerial responsibility was devolved to his brother, Watson Cameron (died 1920).  Nixey, Coleclough & Baxter of the Brunswick Brewery in Hartlepool, was acquired in 1895, along with around 80 public houses. It had been the largest competing brewery in Hartlepool. The newly acquired brewery was closed in 1898, and Nixey and Baxter were both appointed to the Camerons board.  John William Cameron died in 1896, by which time the brewery was one of the largest in the North of England.  In 1897, T E Chapman & Son of Sunderland was acquired with 83 public houses, and its managing director, Abel Chapman, joined the Cameron board of directors. By this time, John Ellerman was vice chairman of Camerons.  That same year, the Lion Brewery was further extended, to a 70 quarter capacity, capable of producing 130,000 barrels a year. In 1899 Camerons began to bottle mineral water and the company continued to expand. By this time 400 licensed premises were owned, including the majority of Hartlepool's public houses. The company prospered, and by 1907 the share capital of the company was £350,000 with another £350,000 of capital in the form of mortgage debenture stock.  In 1910, Heslop's Grange Brewery in Stockton was acquired along with 28 licensed houses. John Ellerman was company chairman by 1913. In 1915 the Lion Brewery was damaged by German shellfire. In 1920 Watson Cameron died, and A. J. Morgan and H. J. Hewlett became joint managing directors of the company. Morgan was in charge of organization and the offices, whilst Hewlett was in charge of brewing. Robert Newton Ltd of Newcastle was acquired, with 35 licences, and Plews and Sons Ltd of Darlington, with 100 licensed premises. In 1922, Watson's son, John Watson Cameron joined the company, and in 1935 he was made chairman and managing director.  The company share price doubled in value between 1933 and 1938. Cameron's ale was sold as far north as Newbiggin-by-the-Sea in Northumberland, as far east as Guisborough, as far west as Hawes and as far south as Thirsk by 1938. Over 400 licensed houses were owned. Directly and indirectly the company employed 1,500 people. Cameron's owned 46 percent of all public houses within the Borough of Hartlepool by 1939.  In 1950, John Watson Cameron's wife, Lillian, was appointed to the board, responsible for the furnishings and decoration of Cameron's licensed houses. In 1953, the Stranton bottling facility was opened. In March 1955, Strongarm bitter was introduced, as the industrial workers of West Hartlepool demanded a stronger pint.  A controlling interest was acquired in John J Hunt, which owned the Ebor Brewery in York and Scarborough & Whitby Breweries along with 221 licensed public houses for around £400,000 in 1953. In 1956 J Fryer & Sons of Brompton-on-Swale was acquired. In 1959 the West Auckland Brewery was acquired with 80 licensed public houses. In 1961 Russell & Wrangham of Malton was acquired with 90 licensed public houses. By 1967 the company had a market capitalization of £6.7 million, or £106 million in 2013 prices. In 1971, John Watson Cameron retired as managing director, although he remained as executive chairman, and his son, John Martin Cameron, became managing director. Camerons introduced its own "lager" brand, Icegold, in 1972. Icegold was top fermented and actually a very pale ale rather than an authentic lager.

Corporate ownership.

In January 1974, Ellerman Lines acquired the 25 percent stake in Camerons previously owned by Sir John Ellerman, 2nd Baronet, who had died. Directors and Cameron family members held a nine percent stake and Bass Charrington held ten percent.  In 1975, the company was acquired by Ellerman Lines for £14 million, in an attempt to diversify from its declining shipping business. By this time Cameron's owned 500 pubs and 100 off-licences.  In 1980 Hansa lager was launched, brewed under licence from Dortmunder Actien Brauerei. Camerons spent £2 million to upgrade their brewing facilities in order to brew bottom fermented lager, in what CAMRA described as "the most ambitious [lager-brewing scheme] for a regional brewer yet". The company had sales of £51 million in 1981, and one percent of the British beer market. Market share in the Tees Valley area was 25 percent.  In 1983, Ellerman Lines was acquired by the Barclay brothers for £45 million. In 1984, the Barclays attempted to sell Camerons to Scottish & Newcastle for £44 million, but the brothers cancelled the negotiations when the government referred the deal to the Monopolies Commission.  In 1985, Cameron's held five percent of the UK beer market. In 1985, the maltings building was demolished. Alistair Arkley was appointed managing director in 1985. Arkley split the pub and the brewing sides of the company into separate divisions, and divested the low-margin off-licence business. In 1986, Cameron's acquired 90 pubs from Mansfield Brewery, including 78 northern pubs and clubs, most of which were former North Country Breweries outlets, for £13 million. In 1988, the company expanded into the North West for the first time after it acquired 17 pubs in north Lancashire.  In 1988, Camerons and Tolly Cobbold were sold to Brent Walker for £248 million. Camerons controlled 480 licensed public houses and 270 hotels and off-licences. In 1989, Camerons Brewery was described as one of the most efficient in the country, with a total annual capacity of over 500,000 barrels and production of 400,000.  In 1991, the heavily-indebted Brent Walker sold the brewery and 51 pubs to Wolverhampton & Dudley for £18.7 million, beating a rival offer from the management. Brent Walker retained the bulk of the Cameron's estate, which it spun off as a Hartlepool-headquartered pubco called Pubmaster, which controlled 1,600 pubs and was sold to a syndicate of investment groups for £171.3 million in 1996. Meanwhile, the soft drinks arm was spun off under a management buyout called Orchid Drinks, with brands including Purdey's and Amé (acquired by Britvic in 2000 for £67 million).  W&D had acquired a company that was in a "sorry state". Initially, brewery staff numbers were reduced from 360 to 120, and part of the brewery was mothballed, after W&D ended a contract to brew Labatt lager at the plant. However, W&D invested heavily in the brewery site and marketing, and the profitability of the brewery greatly improved. By 1995 W&D had doubled the size of the Cameron pub estate they inherited to 101 pubs. It was widely suggested by customers that the Camerons beers greatly improved after being acquired by W&D.  In 1997, contract brewing returned to the plant, with a licence to brew Foster's lager. By 1997, Cameron's market share in the North East had grown to 10 percent, supplying pubs from Alnwick to Hull. In 1998, £1 million was spent on a new filtration and fermentation system and a keg plant at the brewery. In 1999, a further £500,000 was invested in the previously mothballed areas of the brewery to bring it to its full capacity of 400,000 barrels after it won a series of contracts to brew Harp Lager, Heineken and Kronenbourg.  Total production of Strongarm surpassed one billion pints (5.7 million hectolitres) in 2000. The 2002 "Good Beer Guide" remarked that the Strongarm was "Now substantially improved and with consistent character".

Independence.

Castle Eden Brewery, owned by David Soley, took over Camerons in April 2002 for £35 million, moving all operations to Hartlepool and closing down the Castle Eden plant. The Kronenbourg 1664 contract was renewed by Scottish & Newcastle in December 2002. In 2003, £500,000 was spent to build a new bottling line and an on-site microbrewery, The Lion's Den. In 2008, Cameron's spent £4 million expanding its capacity from 375,000 barrels to around 800,000 barrels. This followed the agreement of a contract with Scottish & Newcastle to supply Kronenbourg 1664, Foster's and John Smith's bitter until 2019. Previously the brewery had only produced Kronenbourg 1664.  In 2013, Camerons acquired the Hexham-based Head of Steam craft beer chain, including seven outlets, in a deal financially backed by Carlsberg.  In 2015, Gold Bullion joined Strongarm as a year-round beer.  In July 2016, Camerons acquired Leeds Brewery's estate of seven pubs.

Operations.

In 2011, the brewery had a capacity of over 1.5 million hectolitres (over 1 million barrels) per annum. Production in 2012 was 900,000 hectolitres, with around 40,000 hl in own brand sales. The bulk of the brewery's own production is cask conditioned ale but it also sells bottled and keg ales. The company's most famous beer is Strongarm, a 4% abv bitter introduced in 1955, and other regular beers are IPA, Bullion Gold and Trophy Special. Strongarm is made with 18 percent crystal malt, which contributes significantly to its distinctive ruby red colour and its roasted, malty flavour.  The barley comes from Yorkshire and Scotland. Camerons uses up to five different yeast strains for its various brands.  Its arrangements with brewing companies include contracts to produce Foster's, Kronenbourg 1664, John Smith's Magnet, Tetley Imperial, and the keg versions of Tetley Mild and Tetley Dark Mild.  The company owns 75 public houses.  Although the Dutch brewer Heineken holds a 24 percent stake in the company, it is a silent partner, with no board representation or managerial control.

The Lion Brewery.

The brewery building is called the Lion Brewery, and the company offers tours of the brewery. The Lion Brewery has two wells, one of them 250 feet deep. Most of the brewery was built in 1890 when the company had aspirations to supply the whole of the North East. There are still a few reminders of lavish opulence; the floor and walls of the brewhouse are furnished with Italian marble that cost £7,000 in 1970.  In 2011, the brewery had a capacity of over 1.5 million hectolitres per annum. It is the ninth largest brewery in the UK. It has twelve Yorkshire Squares for brewing ale.  In 2013, the brewery building was used as a filming location in the "Prodigal Son" episode of Vera.  A £700,000 visitor's centre was opened next to the brewery in 2004, in the former Stranton Arms public house.

Advertising and sponsorship.

In 1996, a £500,000 television and radio campaign saw Cameron's Strongarm advertised across Yorkshire and the Midlands for the first time.  Cameron's was one of the first breweries to sponsor football kits, with Middlesbrough FC from 1984–86 and Hartlepool United from 1985-1990 and 1993-2000.  In 2014, Cameron's began sponsoring BriSCA F1 driver John Downson Jnr, from Thornley. Dowsy, as he is often referred to, is a North East stockcar racer who races under the number 94. John has previously raced BriSCA F2s, where he was the 2012 pole sitter in the BriSCA Formula 2 Stock Cars World Championship race at Barford Raceway, before making the switch to the more powerful V8 powered formula, the BriSCA F1s later in the year. John is the first driver from the area to feature in a BriSCA Formula 1 Stock Cars World Championship title race for almost 20 years, finishing 10th in 2013, narrowly avoiding qualifying for the event in 2014.

Camerons Brewery Ltd is a brewery established by John William Cameron in Hartlepool, County Durham, England in 1865. It is the largest independent brewer in the North East of England, with a brewery capacity of 1.5 million hectolitres (900,000 hl production in 2012) and a tied estate of 75 houses. It is one of the oldest industrial concerns in Hartlepool, and has historically been one of the largest employers.

Die Camerons Brewery ist ein Unternehmen in Hartlepool, das die dortige Lions Brewery betreibt. 2012 wurden 900.000 Barrels Bier produziert.


Background and recording.

With the release of "Document" in 1987, R.E.M. fulfilled its contract with I.R.S. Records. Frustrated that its records did not see satisfactory overseas distribution, in early 1988 the band told I.R.S. head Jay Boberg that it was leaving the label. Guitarist Peter Buck also explained that his group felt it was being pressured to sell well by I.R.S., yet felt I.R.S.'s distributor MCA Records did not consider the ensemble a priority. R.E.M.'s management then approached any record companies that expressed interest in the band. Though other labels offered more money, R.E.M. ultimately signed a deal with Warner Bros. Records—reportedly between $6 million and $12 million—due to the company's assurance of total creative freedom. In light of its move to a major label, the band became defensive in interviews about accusations from some fans who claimed it was selling out.  R.E.M. began the album process by recording demos at Robbie Collins' Underground Sound Recording Studio in Athens, Georgia in February 1988. Bill Berry, Peter Buck and Mike Mills recorded the basic tracks in two configurations: (1) drums, guitar, and bass, and (2) percussion, mandolin, and accordion. The demos were mixed by Robbie Collins, Buren Fowler (guitar tech for Peter Buck and later member of Drivin N Cryin), and David LaBruyere (later bassist for Vic Varney, Michelle Malone, and John Mayer) and presented to R.E.M. management. Michael Stipe used these recordings for his vocal arrangements. Some of these demos, including "Title," "Great Big," "Larry Graham" and "The Last R.E.M. Song," have never been commercially released. The demo "Larry Graham" was named for Sly and the Family Stone bassist Larry Graham, who was famous for his slap-bass style. "Larry Graham" has many similarities musically with "Out Of Time" opener "Radio Song." "Title" was an older song which had been demoed for "Document" the prior year and performed often on the Work Tour. "Title" is the only unreleased song from these demo sessions known to have recorded vocals.  Just one month after signing with Warner Bros., the band recorded the basic tracks for "Green" at Ardent Studios Studio A in Memphis, Tennessee from May 24 through July 5, 1988, with Scott Litt producing. Recording and mixing resumed later that month at Bearsville Sound Studios in Bearsville, New York. Three unreleased songs were recorded in Bearsville, including "Carnival" and two untitled songs. "The Wrong Child" was recorded and mixed under the working title "Mozart." The Bearsville sessions continued until September 3, 1988—barely two months before "Green"'s release.

Music.

In a 1988 interview, Peter Buck described "Green" as an album that didn't feature any typical R.E.M. songs. Describing the band's standard output as "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things", the guitarist noted that for "Green", "We wrote major key rock songs and switched instruments." Singer Michael Stipe had reportedly told his bandmates to "not write any more R.E.M.-type songs". Bassist Mike Mills argued that "Green" was an experimental record, resulting in an album that was "haphazard, a little scattershot". Band biographer David Buckley wrote, "[S]onically, "Green" is all over the place, the result being a fascinatingly eclectic album rather than a unified artistic move forward".  "Green" was envisioned as an album where one side would feature electric songs and the other, acoustic material, with the plan failing to come to fruition due to a lack of acoustic songs deemed fit for release. David Buckley highlighted three main musical strands on "Green": "ironic pop songs" like "Stand" and "Pop Song 89", harder-hitting tracks such as "Orange Crush" and "Turn You Inside-Out", and "pastoral acoustic numbers" that had Peter Buck playing mandolin, with track 11 singled out as an anomaly. Buck had become fond of playing acoustic music with his friends in that period, and thus purchased an "oddly-shaped Italian mandolin-cum-lyre" in 1987; he would play the instrument on three of the tracks on "Green". From this period onward, R.E.M. would swap instruments among members, and on "Green" the group also incorporated accordion, cello, and lap steel guitar.

Artwork and packaging.

The cover art was painted by New York City minimalist line painter Jon McCafferty. Promotional copies of the album were housed in a mauve, cloth-covered Digipack, with the title and artist debossed and a number "4" embossed over both of the "R"s. The color and texture are made to imitate tree bark.  The original pressings of the album and cassette tape covers had the number 4 spot varnished over the R in both "Green" and "R.E.M." In return, "R. Stand" appears instead of "4. Stand" on the track list on the back cover. Allegedly, this was a product of an early typing mistake: due to "4" being a number very close to "R" on the keyboard, "Green" was once misspelled "G4een", and the mistake was adopted this way. The album was the first by the band to feature printed lyrics, although only the lyrics to "World Leader Pretend" appeared.  "Green" is the first R.E.M. album to also be released in a special edition version, though it was only released as a promotional CD. R.E.M. would go on to create a special edition version of each subsequent album they released, with the exception of their final studio album—2011's "Collapse into Now".  Although the title of the album is "Green", the cover artwork to the LP is orange in color (this was changed to a lighter shade of yellow for some versions of the CD and cassette tape.) The reason for this is that, staring at the orange image for several seconds and then closing one's eyes causes a green negative image to appear. When viewed in this manner, the cover art appears to depict green grass.

Release and reception.

"Green" was released on November 7, 1988, in the United Kingdom, and the following day in the United States. R.E.M. chose the American release date to coincide with the 1988 presidential election, and used its increased profile during the period to criticize Republican candidate George H. W. Bush while praising Democratic candidate Michael Dukakis. With warm critical reaction and the conversion of many new fans, "Green" ultimately went double-platinum in the US, reaching number 12, and peaked at number 27 in the UK. "Orange Crush" became R.E.M.'s first American number one single on both the Mainstream and Modern Rock Tracks charts. It was the band's first gold album in the UK, making it the quartet's European breakthrough. "What I love about it is the immensely unlikely lyrics," remarked Neil Hannon, frontman of The Divine Comedy, "and, in the mandolin on 'You Are The Everything' and 'The Wrong Child', it's got a bit of what comes later but in a much purer way. It's so small and intense, it's amazing."  Some advance promo cassettes of the album, dating from September 1988, contained alternate mixes of "World Leader Pretend" (with different intro), "Turn You Inside-Out" (with different ending), and the untitled eleventh track (different drum mix). All of these mixes are otherwise unreleased.  The band would tour extensively in support of the album throughout 1989, before beginning work on 1991's "Out of Time". "Green" has gone on to sell four million copies worldwide.  R.E.M. supported the album with its biggest and most visually developed tour to date, featuring back-projections and art films playing on the stage. The tour was much larger in scope than the "Work" tour that supported the previous album. This was especially true in venues outside of the United States due to Warner Bros. Records ability to market the band overseas. On the final night of the 11-month trek to support "Green", at the Fox Theater, in Atlanta, GA, the band performed their first full-length album, "Murmur", in order, from start to finish, followed by "Green," in order, from start to finish. The night was concluded by an encore set performed by Microwave & the Melons—the road crew led by guitar tech Mark "Microwave" Mytrowitz. It marked the only live performance of "The Wrong Child," and one of the few live performances of "Hairshirt." After the "Green" tour, the band members unofficially decided to take the following year off, the first extended break in the group's career.  Some songs from "Green"—such as "Pop Song 89" and "Orange Crush"—had appeared occasionally on the "Work" tour in 1987. Though the lyrics were embryonic, the melodies and arrangements were similar to those that appeared on the finished record. Similarly, the band began playing versions of "Low" and "Belong" in the later part of the Green Tour, both of which would appear on their next album "Out of Time".  Portions of the tour would be filmed for the band's first live video album "Tourfilm".  The album was remastered in 2013 for its 25th anniversary, adding the bonus live album "Live in Greensboro 1989" by Rhino Records; was released on May 14. Additionally, the EP "Live in Greensboro EP" was released on April 20 as a promotion for Record Store Day.  Nirvana singer and guitarist Kurt Cobain listed it in his top fifty albums of all time. In 1989, "Sounds" ranked the album at number 62 in its list of "The Top 80 Albums from the '80s." In 1993, "The Times" ranked the album at number 70 in their list of "The 100 Best Albums of All Time." In 2013, "NME" ranked it at number 274 in its list of the "500 Greatest Albums of All Time".

Track listing.

All songs written by Bill Berry, Peter Buck, Mike Mills, and Michael Stipe.  Side one – "Air side"  Side two – "Metal side"  25th anniversary disc two – "Live in Greensboro, 1989"  Record Store Day 2013 Exclusive – "Live in Greensboro EP"  Notes

Personnel.

R.E.M.  Additional musicians  Production

Chart positions.

Album Singles

Release history.

In 2005, Warner Bros. Records issued an expanded two-disc edition of "Green" which includes a CD, a DVD-Audio disc containing a 5.1-channel surround sound mix by Elliot Scheiner, lyrics, and the original CD booklet with expanded liner notes.  Green Note  Box sets

References.

Works cited

Green is the sixth studio album by American rock band R.E.M., released on November 7, 1988 by Warner Bros. Records. Produced by the band and Scott Litt, it continued to explore political issues both in its lyrics and packaging. The band experimented on the album, writing major-key rock songs and incorporating new instruments into their sound including the mandolin, as well as switching their original instruments on other songs.

Green ist das sechste Studioalbum der US-amerikanischen Alternative-Rock-Band R.E.M. und das erste Album, das sie für das Major-Label Warner aufnahm.


History.

Background.

Hand painted Chinese porcelain dinner wares became the height of fashion in Europe and North America during the 18th century as a way showing off wealth and status in society. The porcelain was ordered through different East India Companies and later independent American traders; all Western trading companies with ships sailing to China. The porcelain was decorated with a combination of Chinese patterns and Western motifs selected by its commissioner. The Chinese manufacturers sent porcelain samples of decorations to their prospective clients in Europe and the United States and their clients provided the porcelain painters in China with paintings, drawings or sketches for their orders. These dinner wares are categorized into "familles" (French for "families") mainly by the colours they are painted in such as famille verte, noire, jaune and rose.  These sets of tableware included all the dishes necessary to set a grand table for a gala dinner. A 1766 order form from the Swedish East India Company stated that "small services" contained 224 pieces and a "larger service" 281 pieces. Punchbowls however, were not included in these sets, they were ordered separately as showcase pieces. The bowls were used to serve hot or cold drinks at special occasions in clubs, at social gatherings and in wealthy homes, or before or after grand dinners.  After the British settlement at Sydney Cove was established in 1788, a significant part of the Chinese porcelain shipped to Australia came via British traders living in India. Operating under licences issued by the British East India Company, who held a commercial monopoly in the Far East, this trade was known as the 'Country Trade', the Indian ships were called 'Country Ships' and their captains 'Country Captains'. Examination of the cargo of ships wrecked during the early colonisation of Australia show that the Country Trade played an important role in getting supplies, including Chinese porcelain traded via India often in Indian-built vessels, to the early Australian colonies.  The two Sydney punchbowls are the only known examples of Chinese export porcelain hand painted with Sydney scenes and dating from the Macquarie era, lasting 1810–1821. The bowls were procured in China sometime between 1796 and 1820; about three decades after the First Fleet's arrival at Port Jackson in Sydney Cove. By 1850 Chinese-made porcelain imports had been replaced with British earthenwares transfer-printed with decoration of Chinese derivation.

Function.

Whilst the drinking of punch from punchbowls was an actual social practice of the times, the Sydney Cove punchbowls were specially commissioned and expensive items which had other purposes. Such punchbowls were prestigious items owned by individuals of high rank in society, such as John Hosking Sydney's first elected Mayor, and New York's fourth Governor Daniel Tomkins, who also acquired a punchbowl. The two punchbowls, previously owned by Hosking, are the first Chinese objects acquired by the Australiana Fund. The bowls could also have been commissioned as commemorative gifts, like the 1812 Grand Lodge of Pennsylvania Union Lodge punchbowl gift. and the New York City punchbowl presented to the City of New York on 4July 1812. It has also been suggested that, given the Aboriginal marriage motif, the Sydney punchbowls may have been a marriage gift. Punchbowls were also regarded as exotic souvenirs at the time.  It is also possible the Sydney punchbowls may have had other purposes – to promote the fledgling settlement and to encourage new settlers. In 1820, artist John William Lewin's patron, merchant Alexander Riley, looking for ways to promote the New South Wales colony, stated: "It has long been a subject of our consideration in this Country that a Panorama exhibited in London of the Town of Sydney and surrounding scenery would create much public interest and ultimately be of service to the Colony". This purpose is clearly set forth even in the title of William Charles Wentworth's tome on New South Wales, which contained the engraving of Lewin's Sydney Cove painting. The full title ends ""... With a Particular Enumeration of the Advantages Which These Colonies Offer for Emigration, and Their Superiority in Many Respects Over Those Possessed by the United States of America"". The punchbowls were also an opportunity to present the art of topographical panoramas in the form of a high status object and to portray the new colony in a more glamorous way than that of simply a remote convict colony as perceived at the time.

Commissioning.

The gilded monogram initials on the Library punchbowl are perhaps the only current clue as to the original commissioner of the punchbowls. The initials are difficult to decipher because of partial loss of the gilt Copperplate script. Possibilities include HCA or HA, TCA or FCA over B. Several candidates have been suggested including Henry, 3rd Earl of Bathurst, and Sir Thomas Brisbane, New South Wales Governor in 1821–1825 after Lachlan Macquarie, but the most likely is Henry Colden Antill (1779–1852). Antill was appointed aide-de-camp to the fifth New South Wales Governor, Macquarie who was in office 1810–1821, on his arrival in Sydney on 1January 1810. He was promoted to Major of Brigade in 1811 and retired from the British Army in 1821. Antill settled on land first at Moorebank near Liverpool and then in 1825 on his estate near Picton—named Jarvisfield in honour of Macquarie's first wife, Jane Jarvis. He was buried at Jarvisfield on 14August 1851. Antill had subdivided part of the estate in 1844, making possible the founding of the town of Picton. When the State Library acquired its punchbowl in 1926, the Antill family of Picton — Henry's antecedents — had no knowledge of the punchbowl's provenance.

20th-century provenance.

The Library punchbowl.

The State Library's punchbowl was the earlier of the two to become more widely known. It was presented to the Library by Sydney antiques dealer, auctioneer and collector, William Augustus Little, in November 1926, an event reported in the Sydney "Evening News" on 3November 1926. The punchbowl discovery itself was reported in several Australian newspapers earlier in March, including "The Sydney Morning Herald" on 4March 1926, with the title "Bookshop Find : Relic of Early Sydney". These newspaper articles state that Little bought the punchbowl from London antiquarian bookseller, Francis Edwards Ltd of 83 Marylebone High Street and that Little subsequently had it appraised by experts from the Victoria and Albert Museum (V&A) in February 1926. The newspapers report that the V&A wished to keep the bowl. The articles also state that the bowl had "paintings of Sydney in 1810, executed to the order of Major Antill who was Governor Macquarie's aide-de-camp". Among the clientele of Francis Edwards Ltd were some of the noted Australiana collectors of the day, including William Dixon, James Edge-Partington, David Scott Mitchell and the Mitchell Library itself.  Before Little's purchase, the punchbowl had been the property of Sir Timothy Augustine Coghlan, New South Wales Agent-General in London, who bought the bowl for £40 in 1923 from one Miss Hall for his own collection. The bowl was subsequently in the possession of Francis Edwards Ltd before Coghlan's unexpected death in London on 30April 1926. Coghlan had personally collected the bowl from a Miss Hall at 'Highfield', 63 Seabrook Rd, Hythe (Kent), England, a few months after she had decided to offer the bowl to the New South Wales Government for £50. Earlier, a visit to Miss Hall by a Sydney schoolteacher, Jessie Stead, on 6August 1923, resulted in the proposal that the bowl ought to be the property of the City of Sydney. Jessie Stead later indicated that she was informed by Miss Hall that her father had acquired the bowl in the late 1840s – the earliest dating for the punchbowls' provenance – and that Miss Hall believed the bowl was commissioned for William Bligh, New South Wales's fourth Governor (in office 1806–1808). In 2002, the State Library of New South Wales digitised the punchbowl images with the support of the Nelson Meers Foundation, a philanthropic foundation supporting Australian arts, and the bowl became one of the 100 extraordinary library objects to be exhibited as part of Mitchell Library's centenary celebrations in 2010.

The Museum punchbowl.

The second Sydney punchbowl had a much more circuitous journey to the present. The bowl first appeared in May 1932, when Sir Robert Witt, chairman of the British National Art Collections Fund, wrote to James MacDonald, Director of the Art Gallery of New South Wales, inquiring if a Sydney museum would be interested in acquiring the second punchbowl. The Gallery Director referred the offer to William Herbert Ifould, Principal Librarian of the Public Library of New South Wales, in August 1932. Ifould wrote directly to Sir Robert Witt indicating that the bowl was not required by the Library as a very similar one was already held. Ifould received a reply dated 31October 1932, stating that during the intervening months the owner of the bowl in England – whose name was undisclosed – had since sold the bowl to another undisclosed buyer. The bowl's subsequent whereabouts was unknown until 1988. In the original offer by Sir Robert – who had also co-founded the Courtauld Institute of Art in London – a suggestion was made that this bowl had been made to the order of Arthur Phillip, the first Governor of New South Wales (in office 1788–1795) who established the settlement at Sydney Cove. However, no evidence to support this view was given in Witt's letter.  1988 was the bicentenary of non-indigenous settlement in Australia and, as such, there was renewed interest in the 'lost' second Sydney punchbowl. The bowl eventually turned up in a catalogue for a Chinese export porcelain exhibition at Newark Museum, New Jersey, United States, titled "Chinese Export Porcelain: A Loan Exhibition from New Jersey Collections". The bowl had been lent by Peter Frelinghuysen Jr., a former United States Congressman (in office 1953–1975). The discovery was made by Terry Ingram, a Sydney journalist specialising in antiques and art, who wrote about it in his Saleroom column, titled "Newark Museum packs Aussie punch", in "The Australian Financial Review" on 25August 1988. It transpired that in the early 1930s, the bowl was acquired by Frelinghuysen's parents in a private negotiation with the owner at the time the National Art Collections Fund was attempting to raise interest from Sydney's cultural institutions. This discovery drew the attention of Paul Hundley, senior curator of the Australian National Maritime Museum (ANMM)'s USA Gallery, the Gallery itself a bicentennial gift of the American people to Australia. In May 2006, the ANMM announced it had acquired the bowl as a part gift from Frelinghuysen through the American Friends of the ANMM, a charitable organisation recognised by the US Internal Revenue Service which enabled Frelinghuysen to receive appropriate taxation benefits. "The Australian Financial Review" reported the acquisition in its Saleroom column, titled "Museum bowled over", on 18May 2006. The punchbowl has been on display in the Museum's USA Gallery ever since. It also features as one of the "100 Stories from the ANMM", has digitised images in the ANMM catalogue and can be viewed on YouTube. At the time the ANMM acquired the punchbowl in 2006, the bowl was valued at $A330,000.

Ceramic origin.

The notes accompanying the State Library's acquisition of its punchbowl indicate that on 25February 1926, William Bowyer Honey, Keeper, Department of Ceramics, Victoria & Albert Museum, had appraised this particular punchbowl. Honey concluded that the bowl was made in China during Emperor Chia Ch'ing's reign in 1796–1820. In 1757, foreign trade had been restricted to Canton. Chinese exports, consisting largely of tea, porcelain and silk, had to be paid for in silver. The European (and soon the American) presence was restricted to the Thirteen Factories known as hongs on the harbour of Canton (now known as Guangzhou). The Canton hongs themselves are frequently illustrated on punchbowls, known as hong bowls, whereas the portrayal of ports that traded with Canton – such as Sydney and New York – are extraordinarily rare. The Canton System lasted until the defeat of China's Qing dynasty by the British Empire in the first of the Opium Wars in 1842. Virtually no Chinese export porcelain was produced from 1839 to 1860 because of the Opium Wars. Canton hong trade was subsequently overshadowed by the rise of Hong Kong as a trading centre – territory ceded to the British as a consequence of China's military defeats – and the subsequent establishment of 80 Treaty ports along China's coast. The punchbowls therefore are a product made just before China's eclipse, commissioned in Canton, where they were painted and glazed by Chinese ceramic artists. The unpainted bowls, however, would have first been manufactured in Jingdezhan, a town by road from Canton, where pottery factories have operated for nearly 2,000 years, and still do today.

Similarities and differences.

The punchbowls can be considered a harlequin pair as they are similar but not exactly matching. They are both Chinese ceramics ware of Cantonese origin, made of clear glaze on hard-paste porcelain and painted with polychrome famille rose overglaze enamel and gilding. They are similar in size, each approximately in diameter, high and weighing about, footring high and in diameter. Whilst the indigenous Australian groups painted within the inner centre of both bowls are identical, the outer panoramic views of Sydney Cove are not. The Library punchbowl has a view from the eastern side of Sydney Cove whilst the view on the Museum bowl is from Dawes Point on the western shore. This pairing follows a standard convention in late 18th-and early 19th-century topographical art of painting two views of the same scene from opposite vantage points.  Whilst the Cantonese ceramic painters would have worked from images of Sydney Cove and the Aboriginal group provided by the customer commissioning the punchbowls, the border and edge trims were generally left to the choice of the ceramic painters. The traditional floral motif of such Chinese flowers as chrysanthemums, peonies, cherry and plum blossom has been applied to the internal borders of both bowls in a similar pattern. However, the external borders differ considerably. The Library bowl has a more traditional Chinese outer border design in vermilion, rose and gilt, whilst the Museum bowl has a trim of looped circles on a cobalt blue ground, edged with narrow gold bands. There are other differences. The Library bowl has large, gilded monogram initials on the outside and the footring has a single narrow gold band and gilded lower edge. However, the Museum bowl has no visible monogram but the footring does have "View of the Town of Sydney in New South Wales" lettered in black.

Illustration sources.

Sydney Cove.

The sources of the two illustrations of Sydney Cove and the Aboriginal group are not known. The ceramic colouring bears a general resemblance to contemporary Sydney Cove images which implies that an original watercolour or hand coloured engraving was used for copying rather than black and white images. In the case of the Library punchbowl, the depiction of Sydney Cove is most likely done from an engraving after a now lost drawing by Lewin, which may date to 1814. This Sydney Cove engraving appeared as a full-page illustration in the second edition of "A Statistical, Historical and Political Description of New South Wales and its dependent settlements in Van Diemen's Land etc" (London, 1820) by Wentworth, with a later, smaller, version as one of ten Port Jackson harbour views illustrated on "Map of Part of New South Wales" (London, 1825) by publisher and engraver, Joseph Cross. As Australia's first professional artist, Lewin produced many paintings for Macquarie and his senior officers. He also made a number of commissions for Riley. Lewin had a close association with Antill and both were part of Governor Macquarie's 50-strong excursion party to inspect land and the new road over the Blue Mountains from 25April to 19May 1815. The road had been built by convicts in 1814, after the first European crossing by Gregory Blaxland, William Lawson and Wentworth in May 1813.  Unlike the Library punchbowl, the Sydney Cove image on the Museum punchbowl is not known in its entirety in any other version so it is assumed that the original artwork provided by the commissioner to the ceramic artists in China has been lost. The only similar Sydney Cove view of the period is an original watercolour by convict artist Joseph Lycett, which first appeared in an engraved version as page 86 in "Views in New South Wales, 1813–1814 [and] An Historical Account of the Colony of NSW, 1820–1821" (Sydney, 1819) by soldier, James Wallis. A second engraved version appeared on page 74 of a similar folio edition "Album of original drawings by Captain James Wallis and Joseph Lycett, ca 1817–1818 etc" by publisher Rudolph Ackermann in London, 1821. However, the Dawes Point fortifications — designed by the convict architect Francis Greenway — and its gun emplacements, dominate the foreground of both engravings. The Museum punchbowl view pre-dates this as it has, instead, a grassy slope and figures of an Aboriginal man and woman in the equivalent location. The Lycett version has other major differences, including a less extensive vista of the eastern side of the Harbour.

Aboriginal group.

The Aboriginal group forms the inner centre piece in the tondo of both bowls. As the same image was used for both bowls, the implication is that the Chinese ceramic painters were copying from the same drawing and finishing them at the same place and time. The image is of a group of four Aboriginal men with club, shield and spears, one woman with a baby on her shoulders – standing and turned slightly away from the rest of the figures – and another woman cowed by the men. This is thought to depict a preliminary marriage ceremony. As with the Museum bowl's Sydney Cove image, no directly related, surviving, version is known that would have been used by the ceramic artists to paint the Aboriginal group. The closest match is a drawing after an apparently now-lost original sketch by Nicolas-Martin Petit, artist on the 1800–1803 French expedition to Australia led by Nicolas Baudin. Research made around 2009–2012, indicated that during Baudin's expedition, a report was prepared for Emperor Napoleon on the feasibility of capturing the British colony at Sydney Cove. As this expedition progressed around coastal Australia, Petit began to specialise in the drawing of portraits of indigenous peoples. The French expedition arrived at Port Jackson on 25April 1802. Petit's drawing was copied for publication as plate 114 in the "Voyage autour du monde : entrepris par ordre du roi (Paris, 1825) ", regarding a voyage around the world (1817–1820) led by Louis-Claude de Saulces de Freycinet. The engraving is entitled "Port Jackson, Nlle Hollande. Ceremonie preliminaire d'un mariage, chez les sauvages" (ceremony before a marriage among the natives, Port Jackson, New Holland). Port Jackson aborigines are from the Eora group of indigenous people living in the Sydney Basin.

Sydney Cove panoramas.

The Library punchbowl.

The panorama on the Library punchbowl begins with a view of the eastern shore of Sydney Cove. In the foreground is an octagonal two-storey, yellow, sandstone house 1, built by Governor Macquarie in 1812 for his favourite boatman and former water bailiff, Billy or William Blue. The drawing of this little house – now the site of the Sydney Opera House — is out of all proportion to its actual modest size. To the left of the house is a sandy beach where the Circular Quay ferry wharves now stand. Facing the beach is First Government House 2 where the Museum of Sydney is now situated.  On the western shore is the Rocks district, the convicts' side of the town, with two windmills on the ridge. The buildings were simple vernacular houses. Newly arrived convicts often found lodging in the district and in the 1790s a large number of the inhabitants were also Aborigines. To the left of The Rocks area is a long, low, military barracks 3, built between 1792 and 1818 around Barracks Square/the Parade Ground – which is now Wynyard Park. It was from here that, in 1808, the New South Wales Corps marched to arrest Macquarie's predecessor William Bligh, an event later known as the Rum Rebellion. Heading east is St. Philip's Church 4 – the earliest Christian church (Church of England) in Australia – erected in stone in 1810 on Church Hill – now Lang Park. In 1798, the original wattle and daub church – on what is now the corner of Bligh and Hunter Streets – was burnt down, allegedly by disgruntled convicts in response to a decree by the second New South Wales Governor (1795–1800), John Hunter, that all colony residents, including officers and convicts, attend Sunday services. The jail had earlier suffered a similar fate.  Further along the ridge to the east is Fort Phillip, flying the Union Jack, on Windmill (later Observatory) Hill where the Sydney Observatory is now located. It was the highest point above the colony, affording commanding views of the Harbour approaches from east and west. On the waterfront below Fort Phillip is the yellow, four-storey, Commissariat Stores, 5, constructed by convicts for Macquarie in 1810 and 1812. One of the largest buildings constructed in the colony at the time, it is now the site of the Museum of Contemporary Art. The foreshore buildings on the extreme right are the warehouse and "Wharf House" residence of merchant, Robert Campbell 6 who was to become one of the colony's biggest landholders. This is now the site of the Sydney Harbour Bridge pylons and is just to the left of Dawes Point. Three British sailing ships, flying either the Red Ensign of the Merchant Navy or (more likely) the White Ensign of the Royal Navy, are anchored in the Cove along with four sailboats and five canoes.

The Museum punchbowl.

The Sydney Cove panorama on the Museum punchbowl is dated between 1812 and 1818. The vantage point is from beneath Dawes Point, shown with its flagstaff and before the Dawes Point fortifications built 1818–1821 7. Looking directly into Campbell's Cove, the immediate focal points are Robert Campbell's warehouse and the "Wharf House" roof of his residence 6. To the right of Campbell's Wharf are extensive stone walls marking boundaries between properties in this part of the Rocks district 8. First Government House can be seen at the head of Sydney Cove in the distance 2 and around the eastern shore a small rendition of Billy Blue's 1812-house 1. The Governor and civil personnel lived on the more orderly eastern slopes of the Tank Stream, compared to the disorderly western side where convicts lived. The Tank Stream was the fresh water course emptying into Sydney Cove and supplied the fledgling colony until 1826. Further along is Bennelong Point – with no sign of Fort Macquarie built from December 1817 – and Garden Island – the colony's first food source. The distant vista of the eastern side of the Harbour goes almost as far as the Macquarie Lighthouse – Australia's first lighthouse – built between 1816 and 1818 on South Head. There are seven sailing ships flying the white ensign of the British Royal Navy in the Harbour, along with three sailboats and two canoes.

The Sydney punchbowls, made in China during the Jiaqing Emperor's reign (1796–1820) over the mid-Qing dynasty, are the only two known examples of Chinese export porcelain hand painted with Sydney scenes and dating from the Macquarie era. The bowls were procured in Canton about three decades after the First Fleet's arrival at Port Jackson where the British settlement at Sydney Cove was established in 1788. They also represent the trading between Australia and China via India at the time. Even though decorated punchbowls were prestigious items used for drinking punch at social gatherings during the 18th and 19th centuries, it is not known who originally commissioned these bowls or what special occasion they were made for.

Die Sydneyer Bowleschalen sind die beiden einzigen bekannten Beispiele von Export-Porzellan aus China mit handbemalten Sydney-Szenen, datiert auf die Macquarie-Ära (1810–1821). Die Bowleschalen wurden über drei Dekaden lang in China produziert, nachdem die First Fleet in Port Jackson angekommen war, wo die britischen Siedler im Jahr 1788 die Siedlung Sydney Cove gründeten.