Early life.

Giacchino was born in Riverside Township, New Jersey. His father's ancestors were Italians, they came from Sicily and his mother's ancestors emigrated from Abruzzo in the center of Italy; he holds dual American and Italian citizenship. Giacchino grew up in Edgewater Park Township, New Jersey. He graduated from Holy Cross High School in Delran Township, New Jersey in 1986.  Giacchino began combining images and music at age 10, when he began creating stop-motion animation with homemade soundtracks in his basement. While in high school, an art teacher who mentored Giacchino recommended to his parents that he attend the School of Visual Arts in New York City. Giacchino describes visiting the school with his parents thus:  I thought, wow, this is fantastic. They actually have colleges like this? Where I can do the things that I am really interested in doing? That was amazing to me. I loved SVA. I loved the kind of freedom that it provided. It was kind of like this great experiment—okay, you're here because you like something. So let's see how much you like it. We're not going to regulate you too much. We're going to see how passionate and driven you are, and how much you want this thing.  Giacchino enrolled at SVA, majoring in film production and minoring in history. During his final year at SVA, his instructor in film publicity announced an unpaid internship was available at Universal Pictures. Giacchino, who was the only one interested, obtained the six-month position, which he filled at night while attending school during the day and working at Macy's to pay his rent. He graduated from SVA in 1990 with a Bachelor of Fine Arts, after which he took music classes at the Juilliard School.

Career.

Video games.

When Giacchino's internship ended, Universal hired him, giving him a job upon graduation from college. He later moved to Disney, and when Disney relocated to Los Angeles, Giacchino moved with them, working in publicity, while taking night classes in instrumentation and orchestration at UCLA. His work for Disney had him interacting with the various personnel who worked in films, such as the producers who hired composers, so when a job at Disney Interactive opened for a producer, Giacchino obtained the job, thinking he could hire himself to write music for the games he produced.  Giacchino's composition work for Disney Interactive during the 16-bit era included the Sega Genesis game "Gargoyles", the SNES game "Maui Mallard in Cold Shadow" and the various console versions of "The Lion King". However his first major composition was for the DreamWorks video game adaptation of the 1997 movie, "". The video game was one of the first PlayStation- (also on Sega Saturn) console title to be recorded with an original live orchestral score. Giacchino has since continued his relationship with DreamWorks which also included composing the score for the "Small Soldiers" video game in 1998, providing full orchestral scores for many of their popular videogames. He also worked with Pandemic studios to create the theme for "". Giacchino's award-winning compositions covers the first four instalments of the "Medal of Honor" series, ("Medal of Honor", "", "" and ""), "", and also the scores for several other World War II-related video games like "Secret Weapons Over Normandy", "Call of Duty" and "". Additionally, Giacchino composed themes for "", and co-wrote the theme of "Black" with composer Chris Tilton. He also composed the score for "Alias", which was based on the television series of the same name. In 2008 Giacchino wrote music for "". In 2007, he returned to the "Medal of Honor" franchise as he composed the music for "".

Film and television.

Giacchino's work on various video games led to his entrance into television.  In 2001, J. J. Abrams, producer of the television series "Alias", discovered Giacchino through his video game work and asked him to provide the new show's soundtrack. The soundtrack featured a mix of full orchestral pieces frequently intermingled with upbeat electronic music, a departure from much of his previous work. Giacchino would go on to provide the score for J. J. Abrams's 2004 television series "Lost", creating an acclaimed score which employed a unique process of using spare pieces of a plane fuselage for percussion parts. The score for "Lost" is also notable for a signature thematic motif: a brass fall-off at the end of certain themes. Just like his counterpart Stu Phillips, he worked with the television show creator Abrams on his shows with his music scores while Abrams supplied the show's main themes on certain series such as "Alias".  In 2004, Giacchino received his first big feature film commission. Brad Bird, director of Pixar's "The Incredibles", asked Giacchino to provide the soundtrack for the film after having heard his work on "Alias". The upbeat jazz orchestral sound was a departure in style not only for Giacchino but for Pixar, which had previously relied on Randy and Thomas Newman for all of its films. Director Brad Bird had originally sought out John Barry – perhaps best known for his work on the early James Bond films—but Barry was reportedly unwilling to repeat the styles of his earlier works.  Giacchino was nominated for two Grammy Awards in 2005 for "The Incredibles": Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media and Best Instrumental Composition.  Like his other counterparts Joel McNeely, J. A. C. Redford and Frank DeVol, Giacchino mostly associated with Disney from early in his career up to most recently, ranging from video games such as "Mickey Mania" and "Gargoyles" to films such as "The Incredibles" and eventually collaborated with Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain at Disneyland, at Disneyland Paris, and Space Mountain at Hong Kong Disneyland.  Giacchino also composed scores for the 2005 films "Sky High" and "The Family Stone", and the television movie "The Muppets' Wizard of Oz". Additionally, he wrote the music for Joseph Barbera's final theatrical Tom and Jerry cartoon "The Karate Guard", and scored the Abrams-directed 2006 film "". Giacchino's next musical achievement was his Paris-inspired score for the Disney-Pixar film "Ratatouille", which includes the theme song "Le Festin", performed by French artist Camille. He received his first Academy Award nomination for this score. He also created the score for Abrams' 2009 "Star Trek" film.  Giacchino scored the Pixar film "Up" (and its accompanying animated short "Partly Cloudy"), for which he collaborated with director Pete Docter. This marked the first time Giacchino worked with a Pixar director other than Brad Bird. This work gained Giacchino his first Academy Award for Best Original Score: the first-ever win for Pixar in that category. Giacchino notes that he won on the same night as his SVA classmate Joel Harlow won for Best Makeup Oscar for "Star Trek".  Giacchino has continued his collaboration with J. J. Abrams. For the Abrams-produced monster film "Cloverfield", Giacchino wrote an homage to Japanese monster scores in an overture titled "ROAR!", which played over the credits, and constituted the only original music for the film. He also composed for the pilot of the Abrams-produced American television series "Fringe", after which Giacchino gave scoring duties to his assistant Chad Seiter, who scored the first half of season one. The task was then passed on to Chris Tilton, who scored the latter half of season one and all subsequent seasons.  In 2016, Giacchino composed the score for the Marvel film "Doctor Strange," as well as the score for the Disney film "Zootopia". Giacchino also composed the fanfare for the new Marvel Studios logo, which debuted with "Doctor Strange". In September 2016, it was announced that Giacchino had been chosen to replace composer Alexandre Desplat as the composer for the "Star Wars" anthology film "Rogue One" after Desplat was unavailable following reshoots. Giacchino then scored another Marvel Studios film, 2017's "". and its sequel, 2019's "Spider-Man: Far From Home."  Giacchino returned to Pixar to score "Coco" (2017) and "Incredibles 2" (2018). He also composed the score for Taika Waititi's "Jojo Rabbit". In 2021, Giacchino will re-team with Matt Reeves to score" The Batman"  In 2018, Giacchino wrote, directed and scored. The short film is a satirical take on Japanese game shows, starring Patton Oswalt, Ben Schwartz, Dermot Mulroney, Amy Brenneman,,, and. Monster Challenge originally premiered at Fantastic Fest in 2018 and premiered on YouTube on March 20, 2020.

Additional compositions.

In addition to his long list of soundtracks, in 2005 Giacchino collaborated with Walt Disney Imagineering in creating two new soundtracks for the updated versions of Space Mountain at Disneyland, at Disneyland Paris, and Space Mountain at Hong Kong Disneyland. Giacchino was also contracted by Sarah Vowell, who played character Violet in "The Incredibles", to compose the score to the audio version of her book "Assassination Vacation". Michael Giacchino's music can also be heard in "" during the "travel log videos" shown in the queue for both the Disneyland and Walt Disney World versions of the attraction.  In 2009, he was asked to conduct the Academy Awards orchestra for the 81st Academy Awards. For this project he rearranged many famous movie themes in different styles, including a 1930s Big Band treatment of "Lawrence of Arabia" and a bossa nova of "Moon River". Giacchino also composed the fanfare for the 100th Anniversary logo for Paramount Pictures.

Acting.

In 2015, Giacchino played an It's a Small World operator in the film "Tomorrowland" which he scored. Additionally, the same year, he played First Order Stormtrooper FN-3181 in J. J. Abrams' "". He reprised the role in the 2018 animated film "Ralph Breaks the Internet".

Style.

Giacchino is noted for using humorous titles filled with puns on his soundtrack albums. "Dawn of the Planet of the Apes" and "Jurassic World" in particular had many ape- and dinosaur-related double entendres such as "Gorilla Warfare" and "Raptor Your Heart Out". Many of those have references to previous works of his, both in style and naming. Giacchino used themes from the track "U-Boat" from the "Medal of Honor" soundtrack in the tracks "Sawyer Jones and the Temple of Boom" and "Sub-Primed" from the 5th and 6th season "Lost" soundtracks as the submarine motif. In terms of naming, the score for "The Incredibles" contains a piece named "100 Mile Dash", and subsequently "Ratatouille" had "100 Rat Dash", "Up" had "Three Dog Dash", and "Coco" had "Shrine and Dash". Another series of examples: "World's Worst Beach Party" from the first "Lost" album, "World's Worst Last 4 Minutes To Live" from the "" soundtrack, "Galaxy's Worst Sushi Bar" from "" (2010 deluxe release), "World's Worst Landscaping" from the second "Lost" album, "World's Worst Car Wash" from the soundtrack album "Lost: The Final Season", and "World's Worst Field Trip" from the soundtrack of "Super 8". The soundtrack for "" also has a track titled "World's Worst Parking Valet", and the score for "Zootopia" contains a track titled "World's Worst Animal Shelter". Inversely, the score for "Mercenaries: Playground of Destruction" has a track titled "World's Best Carpool Lane"; the "Speed Racer" score has tracks titled "World's Best Autopia" and "World's Worst Road Rage;" the has a track titled "World's Worst Water Feature".

Michael Giacchino (; born October 10, 1967) is an American musician and composer of music for films, television and video games. He has received an Academy Award, a Primetime Emmy Award, and three Grammy Awards.

Michael Giacchino (* 10. Oktober 1967 in Riverside, New Jersey) ist ein US-amerikanischer Komponist und Oscar-Preisträger. Giacchino wurde bekannt durch seine Arbeit an Videospielen wie "Medal of Honor", "Call of Duty", Filmen wie "Die Unglaublichen", "Star Trek" und Fernsehserien wie "Lost" oder "Alias – Die Agentin". Für die Filmmusik von "Ratatouille" wurde er 2008 mit dem Grammy in der Kategorie "Bestes komponiertes Soundtrackalbum für Film, Fernsehen oder visuelle Medien" ausgezeichnet und für einen Oscar nominiert. 2010 gewann er den Oscar und zwei Grammys für seine Filmmusik in "Oben".


Development.

Roland was designed to a joint French and German requirement for a low-level mobile missile system to protect mobile field formations and fixed, high-value targets such as airfields. Development began in 1963 as a study by Nord Aviation of France and Bölkow of Germany with the system then called SABA in France and P-250 in Germany. The two companies formed a joint development project in 1964 and later (as Aérospatiale of France and MBB of Germany) founded the Euromissile company for this and other missile programs. Aerospatiale took primary responsibility for the Roland 1 day/clear-weather system while MBB took primary responsibility for the Roland 2 all-weather system. Aerospatiale was also responsible for the rear and propulsion system of the missile while MBB developed the front end of the missile with warhead and guidance systems. The first guided launch of a Roland prototype took place in June 1968, destroying a CT-20 target drone and fielding of production systems was expected from January 1970. The test and evaluation phase took much longer than originally anticipated with the clear-weather Roland I finally entering operational service with the French Army in April 1977, while the all-weather Roland II was first fielded by the German Army in 1978 followed by the French Army in 1981. The long delays and ever-increasing costs combined with inflation meant Roland was never procured in the numbers originally anticipated.

Variants.

The Roland SAM system was designed to engage enemy air targets flying at speeds of up to Mach 1.3 at altitudes between 20 meters and 5,500 meters with a minimum effective range of 500 meters and a maximum of 6,300 meters. The system can operate in optical or radar mode and can switch between these modes during an engagement. A pulse-doppler search radar with a range of 15–18 km detects the target which can then be tracked either by the tracking radar or an optical tracker. The optical channel would normally be employed only in daylight against very low-level targets or in a heavy jamming environment.  The Roland missile is a two-stage solid propellant unit 2.4 meters long with a weight of 66.5 kg including the 6.5 kg multiple hollow-charge fragmentation warhead which contains 3.5 kg of explosive detonated by impact or proximity fuses. The 65 projectile charges have a lethal radius of 6 meters. Cruising speed is Mach 1.6. The missile is delivered in a sealed container which is also the launch tube. Each launcher carries two launch tubes with 8 more inside the vehicle or shelter with automatic reloading in 10 seconds.  For defense of fixed sites such as airfields the shelter Roland can be integrated in the CORAD (Co-ordinated Roland Air Defense) system which can include a surveillance radar, a Roland Co-ordination Center, 8 Roland fire units and up to 8 guns.

Missile variants.

Current systems are capable of launching Roland 2, Roland 3 or VT1 missiles. Roland's latest upgraded versions have limited ability to counter incoming low RCS munitions (large-caliber heavyweight rockets).

Carriers.

The Roland system has been installed on a variety of platforms, amongst them:  Roland 2 was proposed in the early 1980s for installation on the Leopard 1 tank chassis, probably to meet an expected Dutch army requirement but was never built. In configuration it would have been very similar to the AMX-30R.  American Roland on the M109 chassis was built in prototype form but production systems were rather hastily installed on 6×6 flatbed trucks. In the late 1980s there was an attempt to revive the American Roland program with the Paladin submission to the U.S. Army's "LOS-F-H" ("L"ine "O"f "S"ight - "F"orward - "H"eavy) battlefield air defense program. This new version of the American Roland system would have used the existing XM975 vehicle for testing & evaluation purposes, with production systems being fitted on a new modified M2 Bradley chassis.  An airliftable shelter named Roland CAROL has also been developed, which is a 7.8t container that can be deployed on the ground to protect fixed assets like airfields or depots or fitted on an ACMAT truck.

Combat use.

On 1 June 1982, during the Falklands War, Sea Harrier no XZ456 was shot down south of Stanley by members of the GADA 601, an Argentine antiaircraft unit deployed in the area. The launcher, one of four examples delivered to Argentina, was captured in fairly intact condition by the British around Port Stanley after the surrender. It was taken back to Britain as a valuable prize and studied in detail. It is believed that an Iraqi Roland missile succeeded in shooting down an American A-10 Thunderbolt II at the beginning of the Iraq War, during the Battle of Baghdad.

Rolandgate.

In October 2003, controversy erupted between Poland and France when Polish forces from the Multinational force in Iraq found four French Roland surface-to-air missiles. Polish and international press reported that Polish officers claimed these missiles had been manufactured in 2003. France pointed out that it had never sold weapons to Iraq after July 1990 in violation of the embargo. Polish authorities would later remark that the four missiles were manufactured in 1984, and that the 2003 date was the last time when Iraqi personnel had serviced them. Investigations by the Polish authorities came to the conclusion that the persons responsible for the scandal were low level commanders. Wojskowe Służby Informacyjne, the Polish Army's intelligence unit, had not verified their claims before they were leaked to the press. Poland apologized to France for the scandal, but these allegations against France worsened the already somewhat strained relationships between the two countries. The entire incident was sarcastically called "Rolandgate" by the Polish media, using the unofficial naming conventions of US political scandals after Watergate.

The Roland is a Franco-German mobile short-range surface-to-air missile (SAM) system. The Roland was also purchased by the U.S. Army as one of very few foreign SAM systems.

Das Waffensystem Roland ist ein in den 1970er-Jahren in deutsch-französischer Kooperation entwickeltes, allwetterfähiges, autonomes und ECM-resistentes Flugabwehrraketensystem zur Bekämpfung tief- und tiefstfliegender Luftfahrzeuge.


History.

The Royal Bavarian State Railways opened the 23 km long route from Augsburg to Oberhausen on 5 December 1903; all trains began and ended at Augsburg Hauptbahnhof. The volume of traffic on the route entirely fulfilled the expectations of the operator and, in 1909, the line was classed as the second most profitable "Lokalbahn" in Bavarian Swabia.  Between 1929 and May 1933 the main line from Augsburg to Ulm was relayed west of Augsburg-Oberhausen for a length of 7.5 km as part of the electrification of the railway. In doing so the branch off point for the "Weldenbahn" was moved to the station at Augsburg-Hirblinger Strasse. From there it ran at that time between the two tracks of the main line as far as Neusäß, where it rejoined the original trackbed.  Since 1949 there has been a bus connexion from Augsburg to Welden in parallel with the railway. In the following decades this, together with the growth of private motor vehicles, resulted in a decline in traffic on the railway line. From the summer timetable of 1975 there were no services at all on Saturday afternoons, Sundays or public holidays. On 21 January 1986 passenger services were withdrawn on the basis of a DB proposal agreed on 17 July 1985 by the management der DB.  Goods traffic, which was always meagre, ceased between Lohwald and Welden in the first half of 1986, and the track was dismantled on this section as early as summer 1986. The dye factory of Keim in Lohwald was supplied until July 1989 by rail, but after the firm moved to Diedorf the remaining section of line was closed and lifted. Only in the area of the old station at Neusäß and between Neusäß and Augsburg-Hirblinger Strasse are remains of the tracks still to be seen.

Present situation.

The name and trackbed of the "Weldenbahn" remain today in the form of a cycle path; and the tarmac route is particularly liked by inline skaters. Public transports services today are provided by the regional bus lines 501 (Augsburg-Neusäß-Aystetten-Welden) and 500 (Augsburg-Neusäß-Aystetten) within the Augsburg Transport Network ( "Augsburger Verkehrs-Verein" or "AVV") zur Verfügung. The lines are operated by Regionalbus Augsburg GmbH (RBA).

The Augsburg–Welden railway (also referred to in German as the Weldenbahn or "Welden railway") was a branch line in southern Germany that ran from the city of Augsburg to Welden. In its narrowest sense it was a single-tracked branch line, that initially branched off in Augsburg-Oberhausen and, from 1933, from the Augsburg–Ulm main line station at Augsburg-Hirblinger Strasse.

Die Bahnstrecke Neusäß–Welden, auch Weldenbahn genannt, war eine Nebenbahn in Bayern. Sie führte von Neusäß bei Augsburg nach Welden. Die Personenzüge begannen und endeten in Augsburg Hbf – ebenso wie die Streckenkilometrierung. Zunächst zweigte die Strecke im alten Neusäßer Bahnhof von der Hauptstrecke Augsburg–Ulm ab. 1933 wurde eine neue, zweite Strecke zwischen Augsburg und Neusäß gebaut. Dadurch erfolgte die betriebliche Trennung nicht mehr in Neusäß, sondern schon vorher.


Early life.

Tartakovsky was born Gennady Borisovich Tartakovsky () on January 17, 1970, in Moscow, to Jewish parents. His father, Boris, worked as a dentist for government officials and the Soviet Union national ice hockey team. Genndy felt that his father was a very strict and old-fashioned man, but they had a close relationship. His mother, Miriam, was an assistant principal at a school. He also has a brother, Alexander, who is two years older and a computer consultant in Chicago. Before coming to the United States, his family moved to Italy. There, Tartakovsky was first drawn to art, inspired by a neighbor's daughter. Tartakovsky later commented, "I remember, I was horrible at it. For the life of me, I couldn't draw a circle".  Tartakovsky's family moved to the United States when he was seven due to concerns about the effect of antisemitism on their children's lives. The family originally settled in Columbus, Ohio and later moved to Chicago. He was greatly influenced by the comics he found there; his first purchase was an issue of "Super Friends". Tartakovsky began attending Chicago's Eugene Field Elementary School in the third grade. School was difficult because he was recognized as a foreigner. He went on to attend Chicago's prestigious Lane Technical College Prep High School and says he did not fit in until his sophomore year. When he was 16, his father died of a heart attack. Afterwards, Genndy and his family moved to government-funded housing, and he began working while still attending high school.  To satisfy his ambitious family, which was encouraging him to be a businessman, Tartakovsky tried to take an advertising class. However, he signed up late and had little choice over his classes. He was assigned to take an animation class and this led to his study of film at Columbia College Chicago before moving to Los Angeles to study animation at the California Institute of the Arts (with his friend Rob Renzetti) and there he also met Craig McCracken. At CalArts, Tartakovsky directed and animated two student films, one of which became the basis for "Dexter's Laboratory". After two years at CalArts, Tartakovsky got a job at Lapiz Azul Productions in Spain on "". There, "he learned the trials of TV animation, labor intensive and cranking it out". While he was in Spain, his mother died of cancer.

Career.

Craig McCracken acquired an art director job at Hanna-Barbera for the show "2 Stupid Dogs" and recommended hiring Rob Renzetti and Tartakovsky as well. This was a major turning point in Tartakovsky's career. Hanna-Barbera let Tartakovsky, McCracken, Renzetti and Paul Rudish work in a trailer in the parking lot of the studio, and there Tartakovsky started creating his best-known works. "Dexter's Laboratory" grew out of a student film with the same title that he produced while at the California Institute of the Arts. Tartakovsky also co-wrote and pencilled the 25th issue of the "Dexter's Laboratory" comic book series, titled "Stubble Trouble". Additionally, he helped produce "The Powerpuff Girls", co-directed several episodes and served as the animation director and a cinematographer for "The Powerpuff Girls Movie". Both projects were nominated repeatedly for Emmy Awards, with a third project, "Samurai Jack" finally winning "Outstanding Animated Program (For Programming Less Than One Hour)" in 2004 – the same year he would win in the category for Outstanding Animated Program (for Programming One Hour or More) for "Star Wars: Clone Wars".  "Star Wars" creator George Lucas hired Tartakovsky to direct "", a successful animated series taking place between "" and "". The series won three Emmy awards: two for "Outstanding Animated Program (for Programming One Hour or More)" in 2004 and 2005, and another for "Outstanding Individual Achievement in Animation" (for background designer Justin Thompson in 2005). Tartakovsky was not involved in the and has no plans to work on future "Star Wars" projects.  In 2005, Tartakovsky was appointed creative president of Orphanage Animation Studios. In 2006, he was chosen as the director for a sequel to "The Dark Crystal", but was replaced and the film was later scrapped. Tartakovsky served as animation director on the pilot episode of "Korgoth of Barbaria", which aired on Adult Swim in 2006 but was not picked up as a series. He also directed a series of anti-smoking advertisements, one for Nicorette in 2006 and two for Niquitin in 2008. In 2009, Tartakovsky created a pilot entitled "Maruined" for Cartoon Network's "Cartoonstitute" program, which was not picked up. In 2009, it was announced that Tartakovsky would write and direct a "Samurai Jack" film from Fred Seibert's Frederator Studios and J. J. Abrams' Bad Robot Productions. In June 2012, Tartakovsky said that he had a story to conclude the series and title character's story, but the project had been shelved after Abrams moved on to direct "Star Trek". In 2010, Tartakovsky created storyboards for Jon Favreau's "Iron Man 2". He created a new series for Cartoon Network, "Sym-Bionic Titan", between 2010 and 2011. He had hoped to expand on the initial season, but it was not renewed. On April 7, 2011, an animated prologue by Tartakovsky for the horror movie "Priest" premiered online.  In early 2011, Tartakovsky moved to Sony Pictures Animation, where he made his feature film directing debut with "Hotel Transylvania" (2012). In July 2012, he signed a long-term deal with Sony to develop and direct his own original projects. In June 2012, Sony announced that Tartakovsky was slated to direct a computer-animated "Popeye" feature. On September 18, 2014, Tartakovsky revealed an "animation test". In March 2015, Tartakovsky announced that despite the well-received test footage, he was no longer working on the project. He moved onto directing original story "Can You Imagine?", announced in 2014, but it was cancelled.  Tartakovsky directed a sequel to "Hotel Transylvania", released in 2015. In December 2015, Adult Swim announced that Tartakovsky would return for a final season of "Samurai Jack", during which he stepped away from Sony Pictures Animation. When the series finished airing in 2017, Tartakovsky returned to Sony and directed "" (2018). After its financial success, two original projects were announced: an R-rated comedy called "Fixed" and an action-adventure film entitled "Black Knight".  In May 2019, it was announced that Adult Swim had commissioned a new series from Tartakovsky entitled "Primal", which is about "a caveman at the dawn of evolution... [and a] dinosaur on the brink of extinction". It aired on October 7, 2019.  On May 11, 2020, it was announced that the Popeye film would start production again from scratch but this time under King Features and a new writer, T.J. Fixman

He is also known for co-creating "Sym-Bionic Titan" and directing the animated "Hotel Transylvania" film trilogy. Additionally, Tartakovsky was a pivotal crew member of "The Powerpuff Girls" and worked on other series such as "2 Stupid Dogs" and "".

Genndy Tartakovsky (, Geburtsname:, "Gennadi Borissowitsch Tartakowski"; * 17. Januar 1970 in Moskau, Sowjetunion) ist ein in den USA tätiger Animator, Regisseur, Storyboard-Künstler, Produzent, Drehbuchautor, Comic-Autor und Künstler.


Biography.

Hanstein was born in Halle, German Empire, to a Prussian noble family which originated in the Eichsfeld. His father, Carlo von Hanstein (1875–1936) was a Prussian Army officer and Junker.  In the late 1930s, "Huschke" drove a BMW 328 sports car. As he had joined the SS, his car was fitted with SS rune number plates (SS-333). In 1940, he, together with Walter Bäumer, won the Mille Miglia in a BMW 328 coupe. He was one of the only three non-Italians to have won the Mille Miglia, along with fellow German and 1931 winner Rudolf Caracciola and 1955 winner Stirling Moss.  As a result of World War II, Hanstein's family's possessions were lost in socialist East Germany. In June 1950, he married Ursula von Kaufmann (1916–2005) on the Nürburgring race track. After the war, Hanstein began a new career. In 1950, he joined Volkswagen in the press department and in 1951, moved to Porsche, where he was head of public relations and race director from 1952 to 1968. Hanstein joined Porsche, then a small sports car manufacturer, serving as a kind of ambassador especially to foreign markets like France, which were rather difficult for Germans at the time. He became the face of Porsche to the motorsports world and press, a perfect partner for Ferry Porsche's more quiet leadership. Due to his aristocratic background and diplomatic skills, he succeeded both in selling cars as well as passing technical inspections before races, like at the 24 Hours of Le Mans where he led Porsche 356 to class wins.  In 1956, Hanstein drove a Porsche 550 Spyder all the way to Sicily to enter in the Targa Florio, for which he hired Umberto Maglioli. The experienced Italian did most of the driving in the long distance race across the mountains, scoring Porsche's first major win. Hanstein led the Porsche racing teams until the middle of the 1960s, when Porsche decided to let young engineers like Ferdinand Piëch take over. Without Hanstein's aristocratic skills, the Porsche team promptly ran into trouble at 1968 24 Hours of Le Mans due to misunderstandings with the French.  Huschke von Hanstein, the so-called "racing baron", continued to serve as representative in German and international automobile organizations. During the mid-1970s, he was the German representative for the Commission Sportive Internationale (CSI), the organization responsible for all racing regulations for Formula One. He died in 1996 in Stuttgart.

Fritz Sittig Enno Werner von Hanstein (3 January 1911 – 5 March 1996) nicknamed "Huschke von Hanstein", was a German racing driver who from the 1950s served both as Porsche's public relations manager and chief of their racing department.

Fritz Sittig Enno Werner von Hanstein (* 3. Januar 1911 in Halle an der Saale; † 5. März 1996 in Stuttgart) war ein deutscher Motorsportler und Vizepräsident der Automobilsportkommission. Hanstein begann seine Karriere während der 1930er Jahre und gewann 1938 die deutsche Sportwagen-Bergmeisterschaft sowie 1940 das Ersatzrennen der Mille Miglia. Seit 1933 Mitglied der SS war Hanstein während des Zweiten Weltkriegs zunächst Adjutant von Werner Lorenz, dem Leiter der Volksdeutschen Mittelstelle der SS. Aus ungeklärter Ursache fiel er 1944 in Ungnade und sollte als Panzerfahrer in der Waffen-SS eingesetzt werden. 1951 kam Hanstein zu Porsche, wo er von 1952 bis 1968 als Rennleiter, Rennfahrer und Leiter der Öffentlichkeitsarbeit maßgeblich das Image des Sportwagenherstellers prägte. Hanstein führte gemäß Urkunde des Polizeipräsidiums Stuttgart vom 24. Oktober 1956 offiziell den Rufnamen (Vornamen) Fritz-Huschke.


History.

The turnstile antenna was invented by George Brown in 1935 and described in scholarship in 1936. The patent history reveals the popularity of the turnstile antenna over the years.

Characteristics.

The antenna can be used in two different modes: "normal mode" and "axial mode".

Normal mode.

In directions perpendicular to its axis the antenna radiates linearly polarized radio waves (horizontally polarized when the antenna's axis is vertical). This is called "normal mode". The radiation pattern, a superposition of the two dipole patterns, is close to omnidirectional but actually "cloverleaf shaped", with four small maxima off the ends of the elements. The pattern departs from omnidirectional by only ±5 percent. The radiation in these horizontal directions is often increased by vertically stacking multiple turnstile antennas (called "bays") fed in phase. This increases the gain by strengthening the radiation in the desired horizontal directions but causes partial cancellation of the radiation in vertical directions, reducing power wasted radiated into the sky or down toward the earth. These stacked normal mode turnstile antennas are used at VHF and UHF frequencies for FM and television broadcasting.  Since the first turnstiles invented by Brown operated in this mode, the normal mode turnstile is occasionally called the "George Brown turnstile antenna".

Axial mode.

Off the ends of the antenna's axis, perpendicular to the plane of the elements, the antenna radiates circularly-polarized (CP) radio waves. This is called "axial mode". The radiation off one end is righthand-circularly-polarized and the other end is lefthand-circularly-polarized. Which end produces which polarization is determined by the phase of the feed connections. Since in a directional antenna only a single beam is wanted, in a simple axial-mode antenna a flat conducting surface such as a metal screen reflector is added, a quarter-wavelength behind the crossed elements. The waves in that direction are reflected back 180° and the reflection reverses the polarization sense, so the reflected waves reinforce the forward radiation. For example, if the radio waves radiated forward are right-circularly-polarized, the waves radiated backwards will be left-circularly-polarized. The flat reflector reverses the polarization sense so the reflected waves are right-circularly-polarized. By locating the reflector λ/4 behind the elements the direct and reflected waves are in phase and add. Addition of the reflector increases the axial radiation by a factor of 2 (3 dB).  Another common way to increase the axial mode radiation is to replace each dipole with a Yagi array.  In a circularly polarized antenna, it is important that the direction of polarization of the transmitting and receiving antennas be the same, since a right-circularly-polarized antenna will suffer a severe loss of gain receiving left-circularly-polarized radio waves, and vice versa.  Axial mode turnstile antennas are often used for satellite and missile antennas, since circular polarization is used in satellite communication. This is because with circularly polarized waves the relative orientation of the antenna elements does not affect the gain.

Feeding the antenna.

For the antenna to function, the two dipoles must be fed with currents of equal magnitude in phase quadrature, meaning the phase of the sine waves must be 90° apart. This is done with feed-line techniques or by adding reactance in series with the dipoles.

Quadrature feed.

A popular method of feeding the two dipoles in a turnstile antenna is to split the RF signal from the transmission line into two equal signals with a two way splitter, then delay one by 90 degrees additional electrical length. Each phase is applied to one of the dipoles.

Modified dipole dimensions.

By modifying the length and shape of the dipoles, the combined terminal impedance presented to a single feed-point can achieve pure resistance and yield quadrature currents in each dipole. This method of changing the physical dimensions of the antenna element to yield quadrature currents is known as "turnstile feeding".

Applications.

Stacked arrays.

Brown's original patent described stacking multiple turnstile antennas vertically to make a high gain horizontally polarized omnidirectional antenna for radio broadcasting. These were used for some of the first FM broadcasting antennas in the 1930s. However most modern FM broadcast antennas use circular polarization so the signal strength will not vary with the orientation of the receiver's antenna.

Batwing or superturnstile array.

A later innovation involved changing the shape of the dipole elements, from simple rods to broader shapes, to increase the bandwidth of the antenna. Early TV broadcast antennas used "cigar shaped" elements, shown in image of 1939 RCA Empire State Building antenna above. A common shape today is the "batwing" or "superturnstile" antenna, used for television broadcasting in the VHF or UHF bands The "batwing" shape of each element produces an antenna with wide impedance bandwidth. Up to eight batwing antennas are usually stacked vertically and fed in phase to make a high gain omnidirectional antenna for TV broadcasting. The wide bandwidth was needed at the low VHF analog TV broadcast band, as the 6 MHz TV channel bandwidth was about 10% of the frequency.

Spacecraft antennas.

Circular polarization was used for spacecraft (satellite and missile) communication, since circular polarization is not sensitive to the relative orientation of the antennas, and the space vehicle's antenna could have any orientation with respect to the ground antenna. High gain Yagi turnstile antennas were often used for the ground station.  The US Nike missile program made use of the axial mode for telemetry and used the "modified dipole" technique to force the quadrature currents.

A turnstile antenna, or crossed-dipole antenna, is a radio antenna consisting of a set of two identical dipole antennas mounted at right angles to each other and fed in phase quadrature; the two currents applied to the dipoles are 90° out of phase. The name reflects the notion the antenna looks like a turnstile when mounted horizontally. The antenna can be used in two possible modes. In "normal mode" the antenna radiates horizontally polarized radio waves perpendicular to its axis. In "axial mode" the antenna radiates circularly polarized radiation along its axis.

Ein Kreuzdipol ist eine Antenne, die aus zwei über Kreuz angeordneten Dipolen besteht. Sie wurde vom amerikanischen Ingenieur George Harold Brown als (wörtlich übersetzt „Drehkreuz-Antenne“) im Jahr 1935 patentiert.


Early life and education.

Azikiwe was born on 16 November 1904 in Zungeru, Northern Nigeria. His first name means "my father is alive" in the Igbo language, and his parents were Igbo. His father, Obed-Edom Chukwuemeka Azikiwe (1879–March 3, 1958), a native Onye Onicha, was a clerk in the British Administration of Nigeria who traveled extensively as part of his job. Azikiwe's mother was Rachel Chinwe Ogbenyeanu (Aghadiuno) Azikiwe (1883-January 1958), who was sometimes called Nwanonaku and was the third daughter of Aghadiuno Ajie. Her family descended from a royal family in Onitsha, and her paternal great-grandfather was Obi (Ugogwu) Anazenwu. Azikiwe had one sibling, a sister named Cecilia Eziamaka Arinze. As a young boy Azikiwe spoke Hausa, the regional language. His father, concerned about his son's fluency in Hausa and not Igbo, sent him to Onitsha in 1912 to live with his paternal grandmother and aunt to learn the Igbo language and culture. In Onitsha, Azikiwe attended Holy Trinity School (a Roman Catholic mission school) and Christ Church School (an Anglican primary school). In 1914, while his father was working in Lagos, Azikiwe was bitten by a dog; this prompted his worried father to ask him to come to Lagos to heal and to attend school in the city. His father was sent to Kaduna two years later, and Azikiwe briefly lived with a relative who was married to a Muslim from Sierra Leone. In 1918, he was back in Onitsha and finished his elementary education at CMS Central School. Azikiwe then worked at the school as a student-teacher, supporting his mother with his earnings. In 1920, his father was posted back to southern Nigeria in the southeastern city of Calabar. Azikiwe joined his father in Calabar, beginning secondary school at the Hope Waddell Training College. He was introduced to the teachings of Marcus Garvey, Garveyism, which became an important part of his nationalistic rhetoric.  After attending Hope Waddell, Azikiwe transferred to Methodist Boys High School in Lagos and befriended classmates from old Lagos families such as George Shyngle, Francis Cole and Ade Williams (a son of the Akarigbo of Remo). These connections were later beneficial to his political career in Lagos. Azikiwe heard a lecture by James Aggrey, an educator who believed that Africans should receive a college education abroad and return to effect change. After the lecture, Aggrey gave the young Azikiwe a list of schools accepting black students in America. After completing his secondary education, Azikiwe applied to the colonial service and was accepted as a clerk in the' treasury department. His time in the colonial service exposed him to racial bias in the colonial government. Determined to travel abroad for further education, Azikiwe applied to universities in the U.S. He was admitted by Storer College, contingent on his finding a way to America. To reach America, he contacted a seaman and made a deal with him to become a stowaway. However, one of his friends on the ship became ill and they were advised to disembark in Sekondi. In Ghana, Azikiwe worked as a police officer; his mother visited, and asked him to return to Nigeria. He returned, and his father was willing to sponsor his trip to America.

Newspaper career.

He applied as a foreign-service official for Liberia, but was rejected because he was not a native of the country. By 1934, when Azikiwe returned to Lagos, he was well-known and viewed as a public figure by some members of the Lagos and Igbo community. He was welcomed home by a number of people, as his writings in America evidently reached Nigeria. In Nigeria, Azikiwe's initial goal was to obtain a position commensurate with his education; after several unsuccessful applications (including for a teaching post at King's College, he accepted an offer from Ghanaian businessman Alfred Ocansey to become founding editor of the "African Morning Post" (a new daily newspaper in Accra, Ghana). He was given a free hand to run the newspaper, and recruited many of its original staff. Azikiwe wrote "The Inside Stuff by Zik", a column in which he preached radical nationalism and black pride which raised some alarm in colonial circles. As editor, he promoted a pro-African nationalist agenda. Yuri Smertin described his writing there: "In his passionately denunciatory articles and public statements he censured the existing colonial order: the restrictions on the African's right to express their opinions, and racial discrimination. He also criticized those Africans who belonged to the 'elite' of colonial society and favoured retaining the existing order, as they regarded it as the basis of their well being." During Azikiwe's stay in Accra he advanced his New Africa philosophy later explored in his book, "Renascent Africa". The philosophic ideal is a state where Africans would be divorced from ethnic affiliations and traditional authorities and transformed by five philosophical pillars: spiritual balance, social regeneration, economic determinism, mental emancipation and "risorgimento" nationalism. Azikiwe did not shy away from Gold Coast politics, and the paper supported the local Mambii party.  The "Post" published a 15 May 1936 article, "Has the African a God?" by I. T. A. Wallace-Johnson, and Azikiwe (as editor) was tried for sedition. He was originally found guilty and sentenced to six months in prison, but his conviction was overturned on appeal. Azikiwe returned to Lagos in 1937 and founded the "West African Pilot", a newspaper which he used to promote nationalism in Nigeria. In addition to the "Pilot", his Zik Group established newspapers in politically- and economically-important cities throughout the country. The group's flagship newspaper was the "West African Pilot", which used Dante Alighieri's "Show the light and the people will find the way" as its motto. Other publications were the "Southern Nigeria Defender" from Warri (later Ibadan), the "Eastern Guardian" (founded in 1940 and published in Port Harcourt), and the "Nigerian Spokesman" in Onitsha. In 1944, the group acquired Duse Mohamed's "Comet". Azikiwe's newspaper venture was a business and political tool. The "Pilot" focused less on advertising than on circulation, largely because expatriate firms dominated the Nigerian economy. Many of Azikiwe's newspapers emphasized sensationalism and human-interest stories; the "Pilot" introduced sports coverage and a women's section, increasing coverage of Nigerian events compared with the competing "Daily Times" (which emphasized expatriate and foreign-news-service stories). The "Pilot" initial run was 6,000 copies daily; at its peak in 1950, it was printing over 20,000 copies. Azikiwe founded other business ventures (such as the African Continental Bank and the Penny Restaurant) at this time, and used his newspapers to advertise them.  Before World War II, the "West African Pilot" was seen as a paper trying to build a circulation base rather than overtly radical. The paper's editorials and political coverage focused on injustice to Africans, criticism of the colonial administration and support for the ideas of the educated elites in Lagos. However, by 1940 a gradual change occurred. As he did in the "African Morning Post", Azikiwe began writing a column ("Inside Stuff") in which he sometimes tried to raise political consciousness. "Pilot" editorials called for African independence, particularly after the rise of the Indian independence movement. Although the paper supported Great Britain during the war, it criticized austerity measures such as price controls and wage ceilings. In 1943 the British Council sponsored eight West African editors (including Azikiwe), and he and six other editors used the opportunity to raise awareness of possible political independence. The journalists signed a memorandum calling for gradual socio-political reforms, including abrogation of the crown colony system, regional representation and independence for British West African colonies by 1958 or 1960. The memorandum was ignored by the colonial office, increasing Azikiwe's militancy.  He had a controlling interest in over 12 daily, African-run newspapers. Azikiwe's articles on African nationalism, black pride and empowerment dismayed many colonialist politicians and benefited many marginalized Africans. East African newspapers generally published in Swahili, with the exception of newsletters such as the "East African Standard". Azikiwe revolutionized the West African newspaper industry, demonstrating that English-language journalism could be successful. By 1950, the five leading African-run newspapers in the Eastern Region (including the "Nigerian Daily Times") were outsold by the "Pilot". On 8 July 1945, the Nigerian government banned Azikiwe's "West African Pilot" and "Daily Comet" for misrepresenting information about a general strike. Although Azikiwe acknowledged this, he continued publishing articles about the strike in the "Guardian" (his Port Harcourt newsletter). He led a 1945 general strike, and was the premier of East Nigeria from 1954 to 1959. By the 1960s, after Nigerian independence, the national "West African Pilot" was particularly influential in the east. Azikiwe took particular aim at political groups which advocated exclusion. He was criticized by a Yoruba faction for using his newspaper to suppress opposition to his views. At Azikiwe's death, "The New York Times" said that he "towered over the affairs of Africa's most populous nation, attaining the rare status of a truly national hero who came to be admired across the regional and ethnic lines dividing his country."

Political career.

Azikiwe became active in the Nigerian Youth Movement (NYM), the country's first nationalist organization. Although he supported Samuel Akinsanya as the NYM candidate for a vacant seat in the Legislative Council in 1941, the NYM executive council selected Ernest Ikoli. Azikiwe resigned from the NYM, accusing the majority Yoruba leadership of discriminating against the Ijebu-Yoruba members and Ibos. Some Ijebu members followed him, splitting the movement along ethnic lines. He entered politics, co-founding the National Council of Nigeria and the Cameroons (NCNC) with Herbert Macaulay in 1944. Azikiwe became the council's secretary-general in 1946.

Conspiracy allegations and Zikist movement.

As a result of Azikiwe's support for a general strike in June 1945 and his attacks on the colonial government, publication of the "West African Pilot" was suspended on 8 July of that year. He praised the striking workers and their leader, Michael Imoudu, accusing the colonial government of exploiting the working class. In August, the newspaper was allowed to resume publication. During the strike, Azikiwe raised the alarm about an assassination plot by unknown individuals working on behalf of the colonial government. His basis for the allegation was a wireless message intercepted by a "Pilot" reporter. After receiving the intercepted message, Azikiwe went into hiding in Onitsha. The "Pilot" published sympathetic editorials during his absence, and many Nigerians believed the assassination story. Azikiwe's popularity, and his newspaper circulation, increased during this period. The allegations were doubted by some Nigerians, who believed that he made them up to raise his profile. The skeptics were primarily Yoruba politicians from the Nigerian Youth Movement, creating a rift between the factions and a press war between Azikiwe's "Pilot" and the NYM's "Daily Service".  A militant youth movement, led by Osita Agwuna, Raji Abdalla, Kolawole Balogun, M. C. K. Ajuluchukwu and Abiodun Aloba, was established in 1946 to defend Azikiwe's life and his ideals of self-government. Inspired by his writings and Nwafor Orizu's Zikism philosophy, members of the movement soon began advocating positive, militant action to bring about self-government. Calls for action included strikes, study of military science by Nigerian students overseas, and a boycott of foreign products. Azikiwe did not publicly defend the movement, which was banned in 1951 after a failed attempt to kill a colonial secretary.

Opposition to Richards constitution.

In 1945, British governor Arthur Richards presented proposals for a revision of the Clifford constitution of 1922. Included in the proposal was an increase in the number of nominated African members to the Legislative Council. However, the changes were opposed by nationalists such as Azikiwe. NCNC politicians opposed unilateral decisions made by Arthur Richards and a constitutional provision allowing only four elected African members; the rest would be nominated candidates. The nominated African candidates were loyal to the colonial government, and would not aggressively seek self-government. Another basis of opposition was little input for the advancement of Africans to senior civil-service positions. The NCNC prepared to argue its case to the new Labour government of Clement Attlee in Britain. A tour of the country was begun to raise awareness of the party's concerns and to raise money for the UK protest. NCNC president Herbert Macaulay died during the tour, and Azikiwe assumed leadership of the party. He led the delegation to London and, in preparation for the trip, traveled to the US to seek sympathy for the party's case. Azikiwe met Eleanor Roosevelt at Hyde Park, and spoke about the "emancipation of Nigeria from political thralldom, economic insecurity and social disabilities". The UK delegation included Azikiwe, Funmilayo Ransome-Kuti, Zanna Dipcharima, Abubakar Olorunimbe, Adeleke Adedoyin and Nyong Essien. They visited the Fabian Society's Colonial Bureau, the Labor Imperial Committee and the West African Students' Union to raise awareness of its proposals for amendments to the 1922 constitution. Included in the NCNC proposals was consultation with Africans about changes to the Nigerian constitution, more power to the regional House of Assemblies and limiting the powers of the central Legislative Council to defense, currency and foreign affairs. The delegation submitted its proposals to the colonial secretary, but little was done to change to Richards' proposals. The Richards constitution took effect in 1947, and Azikiwe contested one of the Lagos seats to delay its implementation.

1950-1953.

Under the Richards constitution, Azikiwe was elected to the Legislative Council in a Lagos municipal election from the National Democratic Party (an NCNC subsidiary). He and the party representative did not attend the first session of the council, and agitation for changes to the Richards constitution led to the Macpherson constitution. The Macpherson constitution took effect in 1951 and, like the Richards constitution, called for elections to the regional House of Assembly. Azikiwe opposed the changes, and contested for the chance to change the new constitution. Staggered elections were held from August to December 1951. In the Western Region (where Azikiwe stood), two parties were dominant: Azikiwe's NCNC and the Action Group. Elections for the Western Regional Assembly were held in September and December 1951 because the constitution allowed an electoral college to choose members of the national legislature; an Action Group majority in the house might prevent Azikiwe from going to the House of Representatives. He won a regional assembly seat from Lagos, but the opposition party claimed a majority in the House of Assembly and Azikiwe did not represent Lagos in the federal House of Representatives. In 1951, he became leader of the Opposition to the government of Obafemi Awolowo in the Western Region's House of Assembly. Azikiwe's non-selection to the national assembly caused chaos in the west. An agreement by elected NCNC members from Lagos to step down for Azikiwe if he was not nominated broke down. Azikiwe blamed the constitution, and wanted changes made. The NCNC (which dominated the Eastern Region) agreed, and committed to amending the constitution.  Azikiwe moved to the Eastern Region in 1952, and the NCNC-dominated regional assembly made proposals to accommodate him. Although the party's regional and central ministers were asked to resign in a cabinet reshuffle, most ignored the request. The regional assembly then passed a vote of no confidence on the ministers, and appropriation bills sent to the ministry were rejected. This created an impasse in the region, and the lieutenant governor dissolved the regional house. A new election returned Azikiwe as a member of the Eastern Assembly. He was selected as Chief Minister, and became premier of Nigeria's Eastern Region in 1954 when it became a federating unit.

Presidency and later life.

Azikiwe became governor-general on 16 November 1960, with Abubakar Tafawa Balewa as prime minister, and became the first Nigerian named to the Privy Council of the United Kingdom. When Nigeria became a republic in 1963, he was its first president. In both posts, Azikiwe's role was largely ceremonial.  He and his civilian colleagues were removed from office in the 15 January 1966 military coup, and he was the most prominent politician to avoid assassination after the coup. Azikiwe was a spokesman for Biafra and advised its leader, Chukwuemeka Odumegwu Ojukwu, during the Biafran War (1967–1970). He switched his allegiance back to Nigeria during the war, and appealed to Ojukwu to end the war in pamphlets and interviews. "The New York Times" said about his politics, "Throughout his life, Dr. Azikiwe's alliance with northerners put him at odds with Obafemi Awolowo, a socialist-inclined leader of the Yoruba, the country's other important southern group."  After the war, Azikiwe was chancellor of the University of Lagos from 1972 to 1976. He joined the Nigerian People's Party in 1978, making unsuccessful bids for the presidency in 1979 and 1983. He left politics involuntarily after the 31 December 1983 military coup.  Azikiwe died aged 91 on 11 May 1996 at the University of Nigeria Teaching Hospital in Enugu after a long illness, and is buried in his native Onitsha.

Honours.

Places named after Azikiwe include:  His picture appears on Nigeria's ₦500 banknote since 2001.

Achievements.

Azikiwe was inducted into the Agbalanze society of Onitsha as Nnanyelugo in 1946, a recognition for Onitsha men with significant accomplishments. In 1962, he became a second-rank red cap chieftain (Ndichie Okwa) as the Oziziani Obi. Chief Azikiwe was installed as the Owelle-Osowa-Anya of Onitsha in 1972, making him a first-rank hereditary red cap nobleman (Ndichie Ume) in the Igbo branch of the Nigerian chieftaincy system.  He established the University of Nigeria, Nsukka in 1960, and Queen Elizabeth II appointed him to the Privy Council of the United Kingdom. He was made Grand Commander of the Federal Republic (GCFR), Nigeria's highest national honour, in 1980.

Sports.

Azikiwe competed in boxing, athletics, swimming, football and tennis. He was the great-uncle of footballer Jeffrey Sarpong. He was a fan of Celtic FC.  Football was brought to Nigeria by the British as they colonized Africa. However, any leagues that formed were segregated. Nnamdi saw this as an injustice and he emerged as a leader in terms of connection sports and politics at the end of the colonial period. In 1934 Zik was denied the right to compete in a track and field event because Nigeria was not allowed to participate, this happened another time because of his Igbo background, and Zik had decided that enough was enough and wanted to create his own club. Nnamdi founded Zik’s Athletic Club (ZAC) which would open its doors to sportsmen and women of all races, nationalities, tribes, and classes of Nigeria. In 1942 the club went on to win both the Lagos League and the War Memorial Cup. After these victories, Nnamdi opened up more ZAC branches throughout Nigeria. During the war years ZAC would go on tours. They would usually play a match in front of a couple thousand fans and after the match, they would speak out about the injustices that was British colonization. ZAC matches would happen all over the country and it made the people of Nigeria feel a sense of unity and nationalism that would help them fight for freedom. In 1949 some ZAC players participated in a tour of England. On the return from the tour they stopped in Freetown, Sierra Leone, and Nigeria defeated the locals by 2 goals. This victory was more than a decade before Nigerian independence, but it marked the birth of Nigeria’s National Team. Finally, after years of struggle, in 1959 the last British official left the NFA, and on August 22, 1960, a few weeks prior to its formal independence, Nigeria joined the world football body of FIFA. None of this would have been possible if it was not for Nnamdi Azikiwe. He united Nigeria through sport and brought about a sense of nationalism that was referred to as ‘Nigerian-ness’.

Nnamdi Azikiwe, PC (16 November 1904 – 11 May 1996), usually referred to as "Zik", was a Nigerian statesman and political leader who served as the first President of Nigeria from 1963 to 1966. Considered a driving force behind the nation's independence, he came to be known as the "father of Nigerian Nationalism".

Benjamin Nnamdi Azikiwe, bekannt als "Nnamdi Azikwe" oder volkstümlich als "Zik" (* 16. November 1904 in Zungeru, Nigeria; † 11. Mai 1996 in Nsukka), war ein nigerianischer Politiker und der erste Staatspräsident von 1963 bis 1966.


Early life and education.

Anish Kapoor was born in Mumbai, India, to a Jewish mother and an Indian Punjabi Hindu father. His maternal grandfather served as cantor of the synagogue in Pune. At the time, Baghdadi Jews constituted the majority of the Jewish community in Mumbai. His father was a hydrographer and applied physicist who served in the Indian Navy. Kapoor is the brother of Ilan Kapoor, a professor at York University, Toronto, Canada.  Kapoor attended The Doon School, an all-boys boarding school in Dehradun, then in the state of Uttar Pradesh, India. He is said to have "hated" his time at Doon. In 1971 he moved to Israel with one of his two brothers, initially living on a kibbutz. He began to study electrical engineering, but had trouble with mathematics and quit after six months. In Israel, he decided to become an artist. In 1973, he left for Britain to attend Hornsey College of Art and Chelsea School of Art and Design. There he found a role model in Paul Neagu, an artist who provided a meaning to what he was doing. Kapoor went on to teach at Wolverhampton Polytechnic in 1979 and in 1982 was Artist in Residence at the Walker Art Gallery, Liverpool. He has lived and worked in London since the early 1970s.

Career.

Kapoor became known in the 1980s for his geometric or biomorphic sculptures using simple materials such as granite, limestone, marble, pigment and plaster. These early sculptures are frequently simple, curved forms, usually monochromatic and brightly coloured, using powder pigment to define and permeate the form. He has said of the sculptures "While making the pigment pieces, it occurred to me that they all form themselves out of each other. So I decided to give them a generic title, "A Thousand Names", implying infinity, a thousand being a symbolic number. The powder works sat on the floor or projected from the wall. The powder on the floor defines the surface of the floor and the objects appear to be partially submerged, like icebergs. That seems to fit inside the idea of something being partially there..." Such use of pigment characterised his first high-profile exhibit as part of the "New Sculpture" exhibition at the Hayward Gallery London in 1978.  In the late 1980s and 1990s, Kapoor was acclaimed for his explorations of matter and non-matter, specifically evoking the void in both free-standing sculptural works and ambitious installations. Many of his sculptures seem to recede into the distance, disappear into the ground or distort the space around them. In 1987, he began working in stone. His later stone works are made of solid, quarried stone, many of which have carved apertures and cavities, often alluding to, and playing with dualities (earth-sky, matter-spirit, lightness-darkness, visible-invisible, conscious-unconscious, male-female, and body-mind). "In the end, I’m talking about myself. And thinking about making nothing, which I see as a void. But then that’s something, even though it really is nothing."  Since 1995, he has worked with the highly reflective surface of polished stainless steel. These works are mirror-like, reflecting or distorting the viewer and surroundings. Over the course of the following decade Kapoor's sculptures ventured into more ambitious manipulations of form and space. He produced a number of large works, including "Taratantara "(1999), a 35-metre-high piece which was installed in the Baltic Flour Mills in Gateshead, England, prior to the renovation beginning there which turned the structure into the Baltic Centre for Contemporary Art; and "Marsyas" (2002), a large work consisting of three steel rings joined by a single span of PVC membrane that reached end to end of the Turbine Hall of Tate Modern. Kapoor's "Eye in Stone" (Norwegian: "Øye i stein") is permanently placed at the shore of the fjord in Lødingen in northern Norway as part of Artscape Nordland. In 2000, one of Kapoor's works, "Parabolic Waters", consisting of rapidly rotating coloured water, was shown outside the Millennium Dome in London.  The use of red wax is also part of his repertoire, evocative of flesh, blood, and transfiguration. In 2007, he showed "Svayambh" (which translated from Sanskrit means "self-generated"), a 1.5-metre block of red wax that moved on rails through the Nantes Musée des Beaux-Arts as part of the Biennale estuaire; this piece was shown again in a major show at the Haus der Kunst in Munich and in 2009 at the Royal Academy in London. Some of Kapoor's work blurs the boundaries between architecture and art. In 2008, Kapoor created "Memory" in Berlin and New York for the Guggenheim Foundation, his first piece in Cor-Ten, which is formulated to produce a protective coating of rust. Weighing 24 tons and made up of 156 parts, it calls to mind Richard Serra's huge, rusty steel works, which also invite viewers into perceptually confounding interiors.  In 2009, Kapoor became the first Guest Artistic Director of Brighton Festival. Kapoor installed four sculptures during the festival: "Sky Mirror" at Brighton Pavilion gardens; "C-Curve" at The Chattri, "Blood Relations" (a collaboration with author Salman Rushdie); and "1000 Names", both at the Fabrica Gallery. He also created a large site-specific work titled "The Dismemberment of Jeanne d’Arc" and a performance-based installation: "Imagined Monochrome". The public response was so overwhelming that police had to re-divert traffic around "C Curve" at the Chattri and exercise crowd control.  In September 2009, Kapoor was the first living artist to have a solo exhibition at the Royal Academy of Arts. As well as surveying his career to date, the show also included new works. On display were "Non-Object" mirror works, cement sculptures previously unseen, and "Shooting into the Corner", a cannon that fires pellets of wax into the corner of the gallery. Previously shown at MAK, Vienna, in January 2009, it is a work with dramatic presence and associations and also continues Kapoor's interest in the self-made object, as the wax builds up on the walls and floor of the gallery the work slowly oozes out its form.  In early 2011, Kapoor's work, "Leviathan", was the annual "Monumenta" installation for the Grand Palais in Paris. Kapoor described the work as: "A single object, a single form, a single colour...My ambition is to create a space with in a space that responds to the height and luminosity of the Nave at the Grand Palais. Visitors will be invited to walk inside the work, to immerse themselves in colour, and it will, I hope, be a contemplative and poetic experience."  In 2011, Kapoor exhibited "Dirty Corner" at the Fabbrica del Vapore in Milan. Having fully occupied the site's "cathedral" space, the work consists of a huge steel volume, 60 metres long and 8 metres high, that visitors enter. Inside, they gradually lose their perception of space, as it gets progressively darker and darker until there is no light, forcing people to use their other senses to guide them through the space. The entrance of the tunnel is goblet-shaped, featuring an interior and exterior surface that is circular, making minimal contact with the ground. Over the course of the exhibition, the work was progressively covered by some 160 cubic metres of earth by a large mechanical device, forming a sharp mountain of dirt which the tunnel appears to be running through.  In 2016, his art exposition in MUAC (Mexico City) was a success, with literary contributions from Catherine Lampert, Cecilia Delgado, and Mexican writer Pablo Soler Frost.  Kapoor sued the National Rifle Association (NRA) in 2018. The gun lobby group had, without the sculptor's consent, used a filmed image of "Cloud Gate" in an approximately one-minute-long promotional video called "The Violence of Lies". The suit was ultimately settled out of court. Kapoor reported that the settlement included the removal of his work from the NRA's film, saying "They have now complied with our demand to remove the unauthorized image of my sculpture "Cloud Gate" from their abhorrent video, which seeks to promote fear, hostility, and division in American society".

Public commissions.

Kapoor's earliest public commissions include the "Cast Iron Mountain" at the Tachikawa Art Project in Japan, as well as an untitled 1995 piece installed at Toronto's Simcoe Place resembling mountain peaks. In 2001, "Sky Mirror", a large mirror piece that reflects the sky and surroundings, was commissioned for a site outside the Nottingham Playhouse. Since 2006, "Cloud Gate", also known as "The Bean," a 110-ton stainless steel sculpture with a mirror finish, has been permanently installed in Millennium Park in Chicago. Viewers are able to walk beneath the sculpture and look up into an "omphalos" or navel above them.  In the autumn of 2006, a second 10-metre "Sky Mirror", was installed at Rockefeller Center, New York City. This work was later exhibited in Kensington Gardens in 2010 as part of the show "Turning the World Upside Down", along with three other major mirror works. In 2009, Kapoor created the permanent, site-specific work "Earth Cinema" for Pollino National Park, the largest national park in Italy, as part of the project "ArtePollino – Another South". Kapoor's work, "Cinema di Terra" ("Earth Cinema"), is a 45m long, 3m wide and 7m deep cut into the landscape made from concrete and earth. People can enter from both sides and walk along it, viewing the earth void within. "Cinema di Terra" officially opened to public in September 2009.  Kapoor was also commissioned by Tees Valley Regeneration (TVR) to produce five pieces of public art, collectively known as the "Tees Valley Giants". The first of these sculptures, "Tememos", was unveiled to the public in June 2010. "Temenos" stands 50 metres high and is 110 metres in length. A steel wire mesh pulled taut between two enormous steel hoops, it remains an ethereal and an uncertain form despite its colossal scale.  In 2010, "Turning the World Upside Down, Jerusalem" was commissioned and installed at the Israel Museum in Jerusalem. The sculpture is described as a "16-foot tall polished-steel hourglass" and it "reflects and reverses the Jerusalem sky and the museum's landscape, a likely reference to the city's duality of celestial and earthly, holy and profane".  Also in June, Kapoor's "Orbit" was announced as the winning proposal for an artwork for the 2012 Olympic Games. The Greater London Authority selected Kapoor's sculpture from a shortlist of five artists as the permanent artwork for the Olympic Park. At 115 metres tall, "Orbit" is the tallest sculpture in the UK.  A granite monument, a memorial garden, is to commemorate the British victims of 9/11 in New York's Hanover Square.  When asked if engagement with people and places is the key to successful public art, Kapoor said:

Architectural projects.

Throughout his career, Kapoor has worked extensively with architects and engineers. Kapoor says this body of work is neither pure sculpture nor pure architecture. His notable architectural projects include:  Of his vision for the Cumana station in Monte Sant'Angelo, Naples, Italy under construction (), Kapoor has said:

Working with text.

In a collaboration with author Salman Rushdie, Kapoor conceived a sculpture consisting of two bronze boxes conjoined with red wax and inscribed around the outside with the first two paragraphs of Rushdie's text; "Blood Relations" or an "Interrogation of the Arabian Nights" in 2006.

Other projects.

Kapoor has designed stage sets including for; the opera "Idomeneo" at Glyndebourne in 2003; "Pelléas et Mélisande", La Monnaie in Brussels, and a dance-theatre piece called "in-i" with Akram Khan and Juliette Binoche at the National Theatre in London.

Vantablack controversy.

In 2014 Kapoor began working with Vantablack, a substance thought to be one of the least reflective substances known. Vantablack S-VIS, a sprayable paint which uses randomly-aligned carbon nanotubes and only has high absorption in the visible light band, also called the "blackest black" color, has been exclusively licensed to Anish Kapoor's studio for artistic use. His exclusive licence to the material has been criticized in the art world, but he has defended the agreement, saying: "Why exclusive? Because it's a collaboration, because I am wanting to push them to a certain use for it. I've collaborated with people who make things out of stainless steel for years and that's exclusive."  Artists like Christian Furr and Stuart Semple have criticized Kapoor for what they perceive as an appropriation of a unique material, to the exclusion of others. In retaliation, Semple developed a pigment called the "pinkest pink" and specifically made it available to everyone, except Anish Kapoor and anyone affiliated with him. He later stated that the move was itself intended as something like performance art and that he did not anticipate the amount of attention it received. In December 2016, Kapoor posted an Instagram post of his middle finger dipped in Semple's pink, which he had acquired. Semple developed more products such as "Black 2.0" and "Black 3.0", which has similar qualities to Vantablack despite being acrylic, and "Diamond Dust," an extremely reflective glitter made of glass shards, all of which were released with the same restriction against Kapoor as the "pinkest pink".  Nanolab, a Waltham, Massachusetts-based carbon nanotube manufacturer, partnered with Boston artist Jason Chase to release a nanotube-based black paint called Singularity Black. During the first showing of the colour, Chase, alluding to Vantablack, stated that "its possibilities have been stunted by not being available to experiment with," and Singularity Black's release was important to create access.

Exhibitions.

Kapoor initially began exhibiting as part of New British Sculpture art scene, along with fellow British sculptors Tony Cragg and Richard Deacon. His first solo exhibition took place at Patrice Alexandra, Paris, in 1980. He achieved widespread recognition when he represented Britain at the 1990 Venice Biennale, and recounts the experience in Sarah Thornton's "Seven Days in the Art World". In 1992 Kapoor contributed to documenta IX with "Building Descent into Limbo". In 2004, he participated in The 5th Gwangju Biennale in Gwangju, Korea. Solo exhibitions of his work have since been held in the Tate and Hayward Gallery in London, Kunsthalle Basel in Switzerland, Reina Sofia in Madrid, the National Gallery of Canada in Ottawa, Musée des arts contemporains (Grand-Hornu) in Belgium, the CAPC Museum of Contemporary Art in Bordeaux, the Centro Cultural Banco do Brasil in Brazil, and the Guggenheim in Bilbao, New York City and Berlin.  In 2008, the Institute of Contemporary Art in Boston held the first U.S. mid career survey of Kapoor's work. That same year, Kapoor's "Islamic Mirror" (2008), a circular concave mirror, was installed in a 13th-century Arab palace now being used as by the Convent of Santa Clara in Murcia, Spain.  Kapoor was the first living British artist to take over the Royal Academy, London, in 2009; the show attracted 275,000 visitors, rendering it at the time the most successful exhibition ever by a living artist held in London. Eventually it was overtaken by the more than 478,000 who attended the David Hockney exhibition at the Tate Modern in 2017. This show subsequently travelled to the Guggenheim Museum Bilbao. In 2010, Kapoor retrospective exhibitions were held at the National Gallery of Modern Art (NGMA) in New Delhi and Mumbai's Mehboob Studio, the first showcase of his work in the country of his birth. In 2011 Kapoor had a solo touring exhibition with the Arts Council, part of their "Flashback " series of shows. In May he exhibited "Leviathan" at the Grand Palais, and two concurrent shows in Milan at the Rotonda della Besana and Fabbrica del Vapore. He had a major exhibition at the Museum of Contemporary Art, Sydney (MCA) from December 2012 to April 2013 as part of the Sydney International Art Series.  "Dirty Corner", exhibited at the Palace of Versailles in 2015, was a topic of controversy due to its "blatantly sexual" nature. Kapoor himself reportedly described the work as "the vagina of a queen who is taking power".

Collections.

Kapoor's work is collected worldwide, notably by the Museum of Modern Art in New York City; Tate Modern in London; Fondazione Prada in Milan; the Art Gallery of New South Wales, Sydney; the Guggenheim in Bilbao; De Pont Museum of Contemporary Art in Tilburg, the Netherlands; the Moderna Museet, Stockholm; the 21st Century Museum of Contemporary Art in Kanazawa, Japan; and the Israel Museum in Jerusalem.

Personal life.

In 1995, Kapoor married German-born medieval art historian Susanne Spicale. They have a daughter Alba and a son Ishan and lived in a house designed by architect Tony Fretton in Chelsea, London. They separated and divorced in 2013. Kapoor has since been in a relationship with garden designer Sophie Walker and the two married in 2016 (or early 2017).

Awards and honours.

Artistic accolades  Civilian honours  Honorary Fellowships  Other

Sir Anish Kapoor (born 12 March 1954) is a British Indian sculptor specializing in installation art and conceptual art. Born in Mumbai, Kapoor has lived and worked in London since the early 1970s when he moved to study art, first at the Hornsey College of Art and later at the Chelsea School of Art and Design.

Sir Anish Kapoor (* 12. März 1954 in Mumbai, Indien) ist ein indisch-britischer Bildhauer. Als Träger einiger der begehrtesten Kunstpreise und hoher ziviler Auszeichnungen gehört er zu den weltweit angesehensten Künstlern unserer Zeit.


Early life.

Johann Georg Hagen was born in Bregenz, Austria. He was the son of a school teacher.

Entering the Jesuit Order.

Johann entered the Society of Jesus, commonly known as the Jesuits, in Gorheim, Germany in 1863. He attended the Jesuit College Stella Matutina in Feldkirch, Austria and also studied mathematics and astronomy at the University of Bonn and the University of Münster. He volunteered for the ambulance service in the Franco-Prussian War, but was struck with typhoid fever.

Expulsion.

On July 4, 1872, Otto von Bismarck, chancellor of Germany, expelled the Jesuits from the German Empire. Johann left for England where he was eventually ordained into the priesthood.

Emigration to US.

In June 1880, he left England for the United States. There he began teaching at Sacred Heart College in Prairie du Chien, Wisconsin. There he cultivated his interest in astronomy and built a small observatory for making astronomical observations. In Wisconsin, he became a naturalized citizen.  He was called to serve as the Director of the Georgetown University Observatory in 1888. There he continued his research and published numerous articles and texts. In mathematics, the Rothe–Hagen identity is named after him; it appears in his three-volume 1891 publication, "Synopsis of Higher Mathematics".

Vatican Observatory.

In 1906, John was called by Pope Pius X to take charge of the Vatican Observatory in Rome. He died in Rome in 1930.  The crater Hagen, 55 km in diameter, on the far side of the Moon is named after him.

Johann (John) Georg Hagen (March 6, 1847 in Bregenz, Austria – September 5, 1930 in Rome, Italy), was an Austrian Jesuit priest and astronomer. Naturalized American citizen he was called to Rome by Pope Pius X in 1906 to be the first Jesuit director of the new Vatican Observatory. Father Hagen was also the spiritual director of Maria Elizabeth Hesselblad (1870-1957), who was baptized by him on August 15 1902 and eventually was canonized on June 5 2016 by pope Francis.

Johann Georg Hagen, SJ (* 6. März 1847 in Bregenz, Vorarlberg; † 5. September 1930 in Rom) war ein österreichischer Jesuit und Astronom.