Early years.

His musical influences range from Johnny Ventura, Wilfrido Vargas, Fernando Villalona, Sergio Vargas and Juan Luis Guerra to Luis Miguel, Elvis Presley, The Beatles, Julio Iglesias and Sting. Although Santacruz has cited that his biggest musical influence was his mother, who from an early age used to sing boleros to him and also used to make imaginary interviews to a young Daniel with a small tape recorder. His father, also a music lover, introduced him to classical music and to the 1950s and 1960s sound. The first musical notes are known from his maternal grandmother Ana Zulema Victoria who was a pianist and also a piano teacher.

Career.

His career began in 1996 as a member of various bands in the Dominican Republic. During that time Santacruz found to have writing skills and bought his first guitar. In this period he also participated in studio recordings as a background singer for other artists, and also for radio and TV commercials. In 2000 he was part of the MQV Church choir for two years next to Juan Luis Guerra, who is the musical director of the church.  In 2003 together with Ambiorix Francisco, Santacruz produced his first solo album: "Por un beso", earning a nomination for "Premio Lo Nuestro" as Best New Artist.  From 2004 to 2007 Santacruz took a break from the stage and started writing and producing for other artists.  At the end of 2008 his second album "Radio Rompecorazones" is released, produced by himself with Alejandro Jaen. The single "Adónde va el amor?" along with the album achieved two Latin Grammy Award nominations in 2009, Best Contemporary Tropical Album and Best Tropical Song. Both the single and the album received an incredible support in the United States, Latin America and Europe.  History repeats itself in 2011 when his third album "Bachata Stereo" produced again with Jaén in collaboration with Richy Rojas, with just two months on the market receives again a nomination in the Latin Grammy Award for Best Contemporary Tropical Album  His song "Lento", a sensual Kizomba fusion which has a video with the Kizomba dancer sensation: Sara Lopez is one of Daniel's biggest hits. To the date Lento has more than 100 million views in Youtube.  In 2016 his album ""Toda La Vida"" (a tribute for Mexican singer Emmanuel) got a nomination for The Latin Grammy Award for Best Contemporary Tropical Album and the song ""La Carretera"" co-written with Prince Royce got a nomination as well for best Tropical song.

Songwriter.

Daniel Santacruz is considered a hit maker, since 2004 Santacruz has written top charting songs for artists such as Prince Royce (Incondicional, Soy El Mismo, Culpa Al Corazón, La Carretera), Shakira (Deja Vu feat Prince Royce), Ha-Ash (Me Gustas Tu), Hector Acosta (Tu veneno, Aprenderé, No moriré, Ojala), Toby Love (Lejos), Reik (Me duele amarte), Monchy y Alexandra (Perdidos, No es una novela), Leslie Grace, Victor Manuel, Charlie Cruz, José Feliciano, Milly Quezada, Andy Andy among others.  Since 2004, Daniel has received 12 ASCAP awards (American Society of Composers, Authors and Publishers), 3 Billboards, 2 Latin American Music Awards, and 3 Premio Lo Nuestro for the songs "Perdidos" and "No Es Una Novela" (performed by the famous Dominican duet Monchy y Alexandra), and "Soy El Mismo" performed Prince Royce besides 6 Latin Grammy nominations for 3 of his own albums and some of his songs. In 2018 Santacruz received the Dominican Republic Soberano Award for Songwriter of the Year for second time in a row.

Daniel Santacruz (born November 23, 1976) is an American musician, singer and record producer. Born in New Jersey and raised in the Dominican Republic to a Cuban father and a Dominican mother. Santacruz is a six time Latin Grammy Award nominee.

Daniel Santacruz (* 23. November 1976 in New Jersey) ist ein dominikanischer Sänger und Komponist. Der Sohn eines kubanischen Vaters und einer dominikanischen Mutter, wurde in New Jersey geboren, wuchs aber in der Dominikanischen Republik auf. Er interessierte sich seit seiner frühen Jugend für Musik und war als autodidaktischer Komponist beeinflusst von Musikern wie Wilfrido Vargas, Juan Luis Guerra und Luis Miguel. 1997 schloss er sich der Gruppe "Rikarena" an.


Nomenclature.

"Dalmatian Croatia" ("Dalmatinska Hrvatska") and "Littoral Croatia" ("Primorska Hrvatska") are modern appellations amongst historians for the Duchy. The state is sometimes called a principality, i.e. the "Principality of Croatia". The first recorded name for the Duchy was "Land of the Croats" () in 852. Croatia was not yet a kingdom at the time and the term "regnum" is used in terms of a country in general. In Byzantine sources the entity was usually called just "Croatia" ().  The first known duke, Borna, was named "Duke of Dalmatia" () and later "Duke of Dalmatia and Liburnia" () in the Annales regni Francorum. The Croatian name is recorded in contemporary charters of Croatian dukes from the second half of the 9th century. Trpimir I was named "Duke of the Croats" () in a Latin charter issued in 852, while Branimir was defined as "Duke of the Croats" () on a preserved inscription from Šopot near Benkovac.

Geography.

Within the area of the Roman province of Dalmatia, various tribal groupings, which were called "sclaviniae" by the Byzantines, were settled along the Adriatic coast. Croatia in the early Middle Ages was an area bounded by the Eastern Adriatic hinterland on one side, then extended to a part of western Herzegovina, western and central Bosnia, then into Lika, Gacka and Krbava, and North-West to Vinodol and Labin in the Croatian Littoral area. Several coastal Dalmatian cities were under the rule of the Byzantines, including Split, Zadar, Kotor and Dubrovnik, as well as islands of Hvar and Krk. To the south Croatia bordered with the land of the Narentines, which stretched from the rivers Cetina to Neretva, and had the islands of Brač, Hvar, Korčula, Mljet, Vis and Lastovo in its possession. In the southern part of Dalmatia, there was Zahumlje (Zachumlia), Travunia and Dioclea (today Montenegro). North of Croatia there was the Duchy of Pannonia. Croatia, as well as other early medieval states, didn't have a permanent capital and Croatian dukes resided in various places on their courts. The first important center of Croatia was Klis near Split, where Duke Trpimir I resided. Other dukes ruled from the towns of Solin, Knin, Biaći and Nin.

History.

Background.

Most of Dalmatia in the 7th century was under the Avar Khaganate, a nomadic confederacy led by the Avars who subjugated surrounding Slavic tribes. In 614 the Avars and Slavs sacked and destroyed the capital of the province of Dalmatia, Salona, and retained direct control of the region for a few decades until they were driven out by the Croats. The earliest recorded Croatian leader, referred to by the Emperor Constantine Porphyrogenitus, was Porga. After their participation in Samo and Kubrat's 632 defeat of the Avars, White Croats were either invited into Dalmatia by the Byzantine Emperor Heraclius (r. 610-641) and allowed to settle there, or prevailing the Avars after that lengthy war the Croats migrated across the Sava from Pannonia Savia and settled Dalmatia on their own. In either case, a new wave of Avars retook Pannonia in 677 but only as far as the Sava and Danube. By the early 9th century, Croatia emerged as a political entity with a duke as head of the state, territorially in the basins of the rivers Cetina, Krka and Zrmanja. It was administered in 11 counties ("županija"). According to "De Administrando Imperio", the Croats in Pannonia were subject to the Franks for several years, <nowiki>"</nowiki>"as they had formerly been in their own country"<nowiki>"</nowiki>, until they rebelled and defeated the Franks after a seven-year war, but it is not known on which specific war and time span this refers to.  Although the Christianization of Croats began right after their arrival to Dalmatia, in the early 9th century a part of the Croats were still pagan.

Frankish vassalage.

The Franks gained control of Pannonia and Dalmatia in the 790s and the first decade of the ninth century. In 788 Charlemagne, after conquering Lombardy, turned further east and subjugated Istria. In the 790s Duke Vojnomir of Pannonia accepted the Frankish overlordship, whose land the Franks placed under the March of Friuli and tried to extend their rule over the Croatians of Dalmatia. In 799 the Franks under the leadership of Eric of Friuli were defeated in the Battle of Trsat in Liburnia. However, from 803 Frankish rule was recognized in most of northern Dalmatia. The Franks also waged wars with the Byzantine Empire until a peace treaty, known as the Pax Nicephori, was signed in 812. By that treaty the Byzantines retained control of the coastal cities and islands in Dalmatia, while acknowledging Frankish rule over Istria and the Dalmatian hinterland. From c. 810 Borna, who resided in Nin, ruled most of northern Dalmatia and was a vassal of the Carolingian Empire. Borna was Duke of the Guduscani, a Croatian tribe that lived along the river Guduča near Bribir in northern Dalmatia, later the center of the Croatian state. His rule was marked by the rebellion of Ljudevit Posavski against the Franks, who defeated Borna in 819 somewhere near the River Kupa and began to ravage Dalmatia, but harsh conditions and constant attacks from Borna's men forced Ljudevit to retreat. In 821 Borna died and was succeeded by his nephew Vladislav.

Between East and West.

The Duchy of Croatia was located between two major powers of the Middle Ages: the Eastern Roman Empire in the East which controlled the Dalmatian cities and islands and aimed to extend their rule over the entire former Roman province of Dalmatia, and the Franks in the West seeking to control the northern and northwestern lands. The Byzantine influence on Croatia was also reflected on the creation of Croatian law and in trade with the Byzantine coastal cities.  In the second quarter of the 9th century the Croats began developing a navy. Along with the Narentines, who were still pagan at the time and occupied the territory of the river Neretva mouth, they were active in the Adriatic Sea and made shipping and traveling in the area hazardous, especially for Venice. Therefore, in 839 the Venetians under Doge Pietro Tradonico attacked the eastern coast of the Adriatic, including Croatia, but during the assault they signed peace with their ruler, "princeps" Mislav (), who ruled from Klis near Split. The peace treaty was signed at a place named St. Martin. The Doge also attacked Narentine islands, but failed to defeat them and made peace with their leader, who is mentioned as count "Drosaico" by the chronicler John the Deacon. However, the peace treaty was short-lasting and next year the Venetians were defeated by the Narentines under count "Diuditum". Piracy continued in the Adriatic, as well as hostility towards Venice, which is seen from the contract between Emperor Lothair I and Doge Tradonico, in which the Doge committed himself to defend the cities in Italy and Istria from Slavic attacks.  Duke Mislav was succeeded around 845 by Trpimir I, who continued the formal legacy of being the vassal of the Frankish king Lothair I (840–855), although he managed to strengthen his personal rule in Croatia. Arab campaigns thoroughly weakened the Byzantine Empire and Venice, which was used in the advance of the Croatian duke in 846 and 848. In 846 Trpimir successfully attacked the Byzantine coastal cities and their "patricius". Between 854 and 860, he successfully defended his land from the Bulgarian invasion under Knyaz Boris I of Bulgaria, somewhere in Northeastern Bosnia, concluding a peace treaty with Boris and exchanging gifts. Constantine Porphyrogenitus mentions the traditional friendship between the Bulgarians and Croatians, who coexisted peacefully up to that time.  In a Latin charter preserved in a rewrite from 1568, dated to 4 March 852 or, according to a newer research, about 840, Trpimir refers to himself as "leader of the Croats with the help of God" (); his land, called "Kingdom of the Croats" (), can simply be interpreted as the "Realm of the Croats", since Trpimir was not a king. The term "regnum" was also used by other dukes of that time as a sign of their independence. This charter also documents his ownership of the Klis Fortress, from where his rule was centered, and mentions Mislav's donations to the Archbishopric of Split. In the proximity of his court in Klis, in Rižinice, Trpimir built a church and the first Benedictine monastery in Croatia. Trpimir's name is inscribed on a stone fragment from an altar screen of the Rižinice monastery church. He is more expressly remembered as the founder of the House of Trpimirović, a native Croat dynasty that ruled, with interruptions, from 845 until 1091 in Croatia.  In 864 Duke Domagoj, founder of the House of Domagojević, usurped the throne after the death of Trpimir and forced his sons, including Zdeslav, to flee to Constantinople. During the rule of Domagoj piracy was a common practice in the Adriatic. The pirates attacked Christian sailors, including a ship with papal legates returning from the Eighth Catholic Ecumenical Council, thus forcing the Pope to intervene by asking Domagoj to stop piracy, but his efforts were of no avail. Domagoj waged wars with the Arabs, Venetians and Franks. In 871 he helped the Franks, as their vassal, to seize Bari from the Arabs, but later actions of the Franks under the rule of Carloman of Bavaria led to a revolt by Domagoj against the Frankish rule. The revolt succeeded and Frankish overlordship in Dalmatia ended, but was to continue a little longer over Pannonian Croatia. Domagoj's rule also saw increased Byzantine influence in the area, especially reflected in the establishment of Theme of Dalmatia. After the death of Domagoj in 876 Zdeslav, who had close ties to Byzantium, returned from exile, usurped the throne from an unnamed son of Domagoj and restored peace with Venice in 878.

Independent realm.

Duke Zdeslav's reign was short and ended in 879 when Branimir of the House of Domagojević killed him and usurped the throne. Branimir was unlike Zdeslav a proponent of Rome and returned the country to the Roman fold. He had regular contacts with Pope John VIII, to whom he sent a letter revealing his intentions to entrust his people and his country to the Apostolic See. The Pope replied to his requests, praising his initiative and in 879 the Duchy under Branimir, now free of Frankish suzerainty, received papal recognition as a state.  The second half of the 9th century marked a significant increase in papal influence in the Southeastern Europe. Pope John VIII complained to Domagoj about the obstinacy of Patriarch Ignatius who denied his jurisdiction over Bulgaria and appointed a new Archbishop. The Pope also requested from Dukes Zdeslav and Branimir assistance and protection for his legates who were crossing Croatia on their way to Bulgaria. Although the exact geographical extent of the Duchy is not known, these requests confirm geographical contiguity between Croatia and Bulgaria, which bordered probably somewhere in Bosnia.  Muncimir (also called Mutimir), the youngest son of Trpimir, came to throne after the death of Branimir (c. 892), which marked the return of the House of Trpimirović to power. A Latin charter from Biaći near Trogir dated to 28 September 892 named Muncimir "Duke of the Croats" (). During his rule, in the late 9th century the Hungarians crossed the Carpathians and entered the Carpathian Basin. They invaded northern Italy and also defeated Duke Braslav from the Duchy of Pannonia, endangering Croatia.  Muncimir ruled until about 910 when he was succeeded by Tomislav, the last duke and the first king of Croatia. Venetian chronicler John the Deacon wrote that in 912 a Venetian ambassador, returning from Bulgaria, passed through Croatian territory before reaching the land of Zahumlje, which suggests that Croatia at the time also bordered Bulgaria, then under the rule of Simeon I. In Historia Salonitana, a chronicle from the 13th century written by Thomas the Archdeacon from Split, Tomislav was mentioned as Duke of Croatia in 914. According to "De Administrando Imperio", Croatia at the time had 100,000 infantrymen and 60,000 horsemen, 80 large ships and 100 smaller vessels, but these numbers are viewed as a clear exaggeration and an overemphasis of the Croatian forces. Croatia also waged battles with the Magyars during the early 10th century.  During the war between the Byzantium and Bulgaria of Simeon I, in about 923, the Byzantines concluded an alliance with Croatia. Prior to that the Bulgarians had several decisive victories against the Byzantines, capturing Adrianople and endangering Constantinople. In 924 Simeon I deposed Zaharija from rule in Serbia, who fled to Croatia. In 926, Simeon's troops invaded Croatia, but were severely defeated in the Battle of the Bosnian Highlands. In 927 Pope John X sent his legates to mediate a peace treaty between Croats and Bulgarians.  During these years Croatia was elevated to the status of a kingdom. It is generally said that Duke Tomislav was crowned king in 925, but this is not certain since it is not known when and where was he crowned, or was he crowned at all. However, Tomislav was the first Croatian ruler whom the Papal chancellery honoured with the title king. Tomislav is mentioned as a king in two preserved documents published in the "Historia Salonitana" and by the "Chronicle of the Priest of Duklja", where Tomislav's rule was specified at 13 years. In a note preceding the text of the Council conclusions in Split in 925 it is written that Tomislav is the king "in the province of the Croats and in the Dalmatian regions" ("in prouintia Croatorum et Dalmatiarum finibus Tamisclao rege"). In the 12th canon of the Council conclusions in 925 the ruler of the Croats is called "king" ("rex et proceres Chroatorum"), while in a letter sent by the Pope John X Tomislav is named "King of the Croats" ("Tamisclao, regi Crouatorum"). Although there are no inscriptions of Tomislav to confirm the title, later inscriptions and charters confirm that his 10th century successors called themselves "kings".

The Duchy of Croatia (; also Duchy of the Croats, "Kneževina Hrvata"; Greek: "Χρωβατία") was a medieval state that was established in the former Roman province of Dalmatia. Throughout its time it had several seats – namely, Klis, Solin, Knin, Bijaći and Nin. It comprised the "littoral –" the coastal part of today's Croatia "–", except Istria, and included a large part of the mountainous hinterland, as well. The duchy was in the center of competition between the Carolingian Empire and the Byzantine Empire for rule over the area. Rivalry with Venice emerged in the first decades of the 9th century and was to continue for the following centuries. Croatia also waged battles with the Bulgarian Empire, with whom the relations improved greatly afterwards, and the Arabs and sought to extend its control over important coastal cities under the rule of Byzantium. Croatia experienced periods of vassalage to the Franks or Byzantines and "de facto" independence until 879, when Duke Branimir was recognized as an independent ruler by Pope John VIII. The duchy was ruled by the Trpimirović and Domagojević dynasties. Around 925, during the rule of Tomislav, Croatia became a kingdom.

Das Herzogtum Kroatien (,, ), auch Fürstentum Kroatien, zeitgenössisch auch Rotkroatien (lateinisch "Croatia rubea"), war ein mittelalterliches slawisches Herzogtum der Kroaten (kroatisch "Kneževina Hrvata") vom 7. bis ins 10. Jahrhundert. In der Geschichtsschreibung wird es auch als Dalmatinisches Kroatien (kroatisch "Dalmatinska Hrvatska") oder Küstenländisches Kroatien (kroatisch "Primorska Hrvatska") bezeichnet, in Abgrenzung vom sogenannten Pannonischen Kroatien (kroatisch "Panonska Hrvatska"), dem teils gleichzeitig existierenden kroatischen Herzogtum Unterpannonien.


Early life and education.

Alaa Salah was born in either 1996 or 1997. Her mother is a fashion designer and her father works in the construction industry. She studies engineering and architecture at Sudan International University in Khartoum.

2018–19 Sudan protests/Revolution.

Since December 2018, a series of protests against President Omar al-Bashir took place, demanding economic reforms and the resignation of the president. A state of emergency was declared in February 2019 as a result of the protests. 6 and 7 April saw the largest protests since the declaration of the state of emergency. In continuing protests, the army was seen protecting protesters from the security forces on 10 April. Eventually the protests led to the military removing al-Bashir from power, installing a transitional council in his place led by Ahmed Awad Ibn Auf, but the demonstrators, including Salah, claimed it was just a change of leadership of the same regime and demanded a civilian transitional council.

Photograph.

As protests continued, on 8 April Lana Haroun took an image of an initially unnamed woman dressed in a white thoub standing on a car, who spoke to and sang with other women around her during a sit-in near the army headquarters and the presidential palace. The image was widely shared on social media and caught international media attention. The image has been described as symbolic of the crucial role of women in the success of the demonstrations, since the vast majority of protesters, almost 70 per cent, have been women. Sudanese women played major political roles in Sudanese and Africa-wide human rights struggles since the 1950s via the Sudanese Women's Union, continued creating organisations such as the No to Oppression against Women Initiative in 2009, and remained politically active during the 2018–2019 Sudanese Revolution.  Salah's white robe, a traditional Sudanese thoub, recalled the dress of female Sudanese protesters against previous dictatorships, as well as that of student protesters who were referred to as "Kandakas" after ancient Nubian queens. Her golden earrings are traditional feminine wedding attire. Commentators called the pose "the image of the revolution". Hala Al-Karib, a Sudanese women's rights activist said: "It is a symbol of an identity of a working woman — a Sudanese woman that's capable of doing anything, but still appreciates her culture."

MANSAM and UNSC speech.

As a member of MANSAM, one of the major Sudanese women's networks who signed the 1 January 2019 Forces of Freedom and Change declaration, Salah gave a speech at the 29 October 2019 meeting of the United Nations Security Council (UNSC).  Salah stated that despite women often having constituted 70% of protestors, they were "side-lined in the formal political process" of creating transitional institutions. She stated that women's representation in the new governance structure "[fell] far below [their] demand of 50% parity". She argued that "there is no excuse for [women] not to have an equal seat at every single table". She summarised her argument for women's representation stating, Salah also called for judicial accountability and disarmament; and for the political process to be inclusive of women, "civil society, resistance groups, ethnic and religious minorities, those who have been displaced, and people with disabilities to lead to sustainable peace".

Alaa Salah (, ; born 1996/1997) is a Sudanese student and anti-government protester. She gained world-wide media attention from a picture of her taken by Lana Haroun that went viral in April 2019. The image of Salah has been dubbed as "Woman in White" or "Lady Liberty" of Sudan. As a member of MANSAM, one of the main Sudanese women's networks who signed the 1 January 2019 Forces of Freedom and Change declaration, Salah gave a speech at the 29 October 2019 meeting of the United Nations Security Council, insisting that in the Sudanese transitionary institutions women have equal representation to men.

Alaa Salah (; * 1996 oder 1997 in Khartum) ist eine sudanesische Studentin und Demonstrantin gegen die damalige Regierung bei den Protesten im Sudan 2018/19. Weltweite Medienaufmerksamkeit erlangte sie durch ein Foto von der örtlichen Aktivistin und Fotografin Lana Haroun, das im April 2019 in den sozialen Netzwerken viral verbreitet wurde. Aufgrund des Bildes wurde sie als „Frau in Weiß“ oder „Lady Liberty“ bezeichnet; ihre Erscheinung wurde mit der Freiheitsstatue verglichen. Sie ist zu einer Ikone des Aufstands des Landes geworden.


History.

The Circus Tavern opened its doors as an Entertainment Complex in 1974 and continues to host a wide range of public sporting events, cabaret shows and a multitude of private hire events including weddings and film crew hires. Its capacity is 1100 seated.  The Circus Tavern was the venue of the PDC World Darts Championships from its inauguration event in 1994, up until 2007, and broadcast on Sky Sports. Phil Taylor reached the final in all 14 of the PDC World Darts Championship tournaments that were held at the Circus Tavern, winning 11 of those 14 finals. The last World Championship match held at the Circus Tavern was the 2007 PDC World Darts Championship final, where Raymond van Barneveld came from 0–3 down in sets to defeat Phil Taylor, 7–6 in sets, after a sudden death leg. Many people consider this match to be the greatest in the history of darts. At the time of the match, it was not known that it would be the last World Championship to be held at the Circus Tavern.  On 2 April 2007, Barry Hearn announced that the 2008 PDC World Darts Championship would be held at the Alexandra Palace in London.  Other darts events were held at the Circus Tavern in the three years following. In 2008, the Circus Tavern was the venue for the opening round and the play-offs of the BetFred League of Legends, broadcast on Setanta Sports. In 2009 and 2010, the Players Championship Finals were held at the Circus Tavern, broadcast on ITV, featuring the top 32 players from the previous year's Players Championship Order of Merit. In 2019, the BDO signed a contract to hold the World Masters at the Circus Tavern.  There were also two other televised darts events held at the Circus Tavern, as listed below:

The Circus Tavern is an entertainment venue in Purfleet, Essex, England which hosts functions, cabaret acts and is also a nightclub venue. However, it is most famous as having been a long-time venue of the PDC World Darts Championship.

Die Circus Tavern ist eine Veranstaltungshalle () in der englischen Ortschaft Purfleet, Essex. Bekannt wurde sie als Austragungsort der PDC-Weltmeisterschaften im Darts, die dort zwischen 1994 und 2007 stattfanden.


Context.

The insurgency is a direct continuation of the Iraqi Civil War from 2014 to 2017, with mostly Sunni rebel groups continuing armed opposition against the Shia-led Iraqi Government. Along with the Islamic State of Iraq and the Levant (ISIL), other insurgents fighting the government include a group known as the White Flags which is reportedly composed of former ISIL members and Kurdish rebels and is believed by the government of Iraq to be part of Ansar al-Islam and possibly affiliated with al-Qaeda. The group operates mostly in the Kirkuk Governorate and has used an assortment of guerilla tactics against government forces. Other factions opposed to the Iraqi government include the Iraqi Baath Party currently led by Izzat Ibrahim al-Douri a former official to Saddam Hussein during his rule in Iraq and has been active in Iraq's conflict since the US-led invasion in 2003 leading multiple factions including the Naqshbandi Army and Supreme Command for Jihad and Liberation. In September 2017, Abu Bakr al-Baghdadi, the leader of ISIL, called on ISIL supporters around the world to launch attacks on Western news media and continued in his message the ISIL must focus on combating the two-pronged attack on the Muslim Ummah; these statements marked a departure from previous rhetoric which was focused on the state building of ISIL and heralded a shift in ISIL's strategy toward a classical insurgency.

Course of the insurgency.

Since ISIL's loss of Mosul in late 2017 which was declared as Iraq's victory over ISIL and widely seen as an end to the Civil War, and declared as such by Iraq's Prime Minister Haidar al-Abadi, multiple incidents of violence have occurred being carried out by the conflicting sides, in spite of Iraq's declaration of victory over ISIL the group is widely seen as far from gone and continues to retain a presence throughout Iraq, and still capable of carrying out attacks and skirmishes with pro-government forces. ISIL has been waging a guerrilla war with a strong presence in the governorates of Kirkuk, Diyala, Saladin, and Sulaymaniyah, with local forces largely ill-equipped and inexperienced, ISIL has also taken advantage of the areas rough terrain to carry out operations. ISIL has also made a notable presence in the cities of Kirkuk, Hawija and Tuz Khurmato and has carried out attacks at night in rural areas.  ISIL fighters also reportedly move through villages during the day without interference from security forces, and locals have been asked by ISIL to give fighters food and give information on the whereabouts of Iraqi personnel, locals have also stated that ISIL fighters will frequently enter into Mosques and ask for Zakat to fund the insurgency. Among ISIL's operations include assassinations, kidnappings, raids and ambushes.  According to the Pentagon, as of fall 2018 ISIL was still stronger than it was between 2006–2007, when the group declared the Islamic State of Iraq during its incarnation as al-Qaeda in Iraq, citing a UN report which claimed that ISIL still had 20,000–30,000 fighters in Syria and Iraq. That claim of strength was simultaneously tempered though, with the Pentagon saying that ISIL had lost all of its territory and fighters were scattered, making them much less of a threat. The Pentagon predicted that ISIL will lose strength because of their dispersion in a way similar to what happened to al-Qaeda, while also warning that ISIL is still in a position to make a comeback.  Following ISIL's defeat they have been greatly weakened and violence in Iraq has been sharply reduced in 2018. Only 95 people lost their lives during the month of May, the lowest figure in 10 years.

Timeline.

2018.

January–April.

Between January and February 2018, Iraqi security forces and Peshmerga clashed with the White Flags around parts of the Kirkuk and Saladin governorates for control of oil fields which the Iraqi government claims the group's priority is. The Iraqi government said in the clashes the composition of the White Flag's fighters are ISIL members and individuals linked to the Kurdish mafia, the government also alleges that the Kurdistan Region allowed oil theft to occur in the area while it was under their control and enabled ISIL for their own interests.  In March 2018, in two separate attacks ISIL reportedly killed 10 individuals including a pro-government Sunni tribal Sheikh along with his son and guests at his house in the town of Al-Shirqat south of Mosul, in the other attack ISIL killed 5 individuals from the same family whom were Iraqi Turkmen and Shia at a fake checkpoint set up by the group posing as Iraqi security forces.

The Iraqi Insurgency (2017–present) is an ongoing insurgency that began in late 2017 after the Islamic State of Iraq and the Levant (ISIL) lost territorial control in the Iraqi Civil War of 2014 to 2017. Several rebel groups, including ISIL, White Flags and the Iraqi Baath Party fight the Iraqi military (largely backed by the United States and other countries conducting airstrikes against ISIL) and allied paramilitary forces (largely backed by Iran).

Der Konflikt im Irak seit 2019 ist eine Auseinandersetzung zwischen der irakischen Regierung, vom Iran unterstützten schiitischen Milizen sowie den Streitkräften der Vereinigten Staaten.


Organisation.

The castellany of Bruges was founded at around the year 1000 under the rule of Count Baldwin IV of Flanders (980–1035) as part of the county of Flanders. The head of the castellany was a burgrave, who represented the Count of Flanders. The burgrave was replaced by a bailiff in the 12th century. The fief was first called the "Castellany of Bruges", but later took on the name "Brugse Vrije". In Middle Ages it was divided into Amts.

The Manor.

The governing body of the Brugse Vrije was located at the Burg, the square in Bruges where both the civil and eclessiastical administration were located. Initially the Vrije was seated next to the "Steen" (castle of the count), on the west side of the Burg. In the 15th century, the Vrije moved to the other side, where it took over a portion of the count's former court, the Dukes of Burgundy having moved their residence to the newly built. In 1434–1440 the Vrije added a tribunal to the southern side, facing towards, a canal in Bruges. In 1520–1525, the complex was extended along the row with a new high tribunal, the aldermen's chamber and an entrance-hall. The architect was Jan van de Poele. A gallery with high arches was built on the Burg-side in 1528–1532. In 1606–1607, a chapel was added next to the aldermen's chamber and in 1664–1666 an "orphan room", in which records of the castellany's orphans were kept. The still existing façades on the Groenerei side was built at this time. Lastly, the part of the manor that is visible on the Burg, and which was significantly enlarged by the purchase of the "Love" in 1555, was rebuilt in 1722–1727 in the Neoclassical style after a design by Jan Verkruys.  The now classified as heritage (1938) building still exists in this form and was used from 1795 to 1984 as a courthouse. Now the building on the Burg houses the city archives, with the reading room located in the chapel. Next to the old Court of Justice lies the renaissance hall. Located in this former aldermen's chamber of the old Palace of the Brugse Vrije, is the monumental 16th-century Emperor-Charles-fireplace, made of oak wood, alabaster and marble, designed by Lanceloot Blondeel.

The Brugse Vrije was a castellany in the county of Flanders, often called in English 'the Franc of Bruges'. It included the area around Bruges, and was bordered by the North Sea, the Westerschelde and the Yser river. The city of Bruges was separated from the castellany in 1127. Since then the city and the Vrije were considered as separate customary law areas. The Brugse Vrije was a rich agricultural region. It had its own burgrave, who was seated at the Burg, a square in Bruges, and became part of the "Four Members of Flanders" at the end of the 14th century, together with the three major cities of Ghent, Brugge and Ypres. The Brugse Vrije sat in the meetings of the States of Flanders.

Das Brügger Freiamt (Niederländisch: "Brugse Vrije") war die größte Kastellanei in der Grafschaft Flandern. Es umfasste die Gegend um Brügge und wurde von der Nordsee, der Westerschelde und der Yser begrenzt.


Physical interpretation.

Frame fields always correspond to a family of ideal observers immersed in the given spacetime; the integral curves of the timelike unit vector field are the worldlines of these observers, and at each event along a given worldline, the three spacelike unit vector fields specify the spatial triad carried by the observer. The triad may be thought of as defining the spatial coordinate axes of a local "laboratory frame", which is valid very near the observer's worldline.  In general, the worldlines of these observers need not be timelike geodesics. If any of the worldlines bends away from a geodesic path in some region, we can think of the observers as test particles that accelerate by using ideal rocket engines with a thrust equal to the magnitude of their acceleration vector. Alternatively, if our observer is attached to a bit of matter in a ball of fluid in hydrostatic equilibrium, this bit of matter will in general be accelerated outward by the net effect of pressure holding up the fluid ball against the attraction of its own gravity. Other possibilities include an observer attached to a free charged test particle in an electrovacuum solution, which will of course be accelerated by the Lorentz force, or an observer attached to a "spinning" test particle, which may be accelerated by a spin–spin force.  It is important to recognize that frames are "geometric objects". That is, vector fields make sense (in a smooth manifold) independently of choice of a coordinate chart, and (in a Lorentzian manifold), so do the notions of orthogonality and length. Thus, just like vector fields and other geometric quantities, frame fields can be represented in various coordinate charts. Computations of the components of tensorial quantities, with respect to a given frame, will always yield the "same" result, whichever coordinate chart is used to represent the frame.  These fields are required to write the Dirac equation in curved spacetime.

Specifying a frame.

To write down a frame, a coordinate chart on the Lorentzian manifold needs to be chosen. Then, every vector field on the manifold can be written down as a linear combination of the four coordinate basis vector fields: Here, the Einstein summation convention is used, and the vector fields are thought of as first order linear differential operators, and the components formula_4 are often called contravariant components. This follows the standard notational conventions for sections of a tangent bundle. Alternative notations for the coordinate basis vector fields in common use are formula_5  In particular, the vector fields in the frame can be expressed this way: In "designing" a frame, one naturally needs to ensure, using the given metric, that the four vector fields are everywhere orthonormal.  More modern texts adopt the notation formula_7 for formula_8 and formula_9 or formula_10 for formula_11. This permits the visually clever trick of writing the spacetime metric as the outer product of the coordinate tangent vectors: and the flat-space Minkowski metric as the product of the gammas: The choice of formula_9 for the notation is an intentional conflation with the notation used for the Dirac matrices; it allows the formula_9 to be taken not only as vectors, but as elements of an algebra, the spacetime algebra. Appropriately used, this can simplify some of the notation used in writing a spin connection.  Once a signature is adopted, by duality every "vector" of a basis has a dual "covector" in the cobasis and conversely. Thus, every "frame field" is associated with a unique "coframe field", and vice versa; a coframe fields is a set of four orthogonal sections of the cotangent bundle.

Specifying the metric using a coframe.

Alternatively, the metric tensor can be specified by writing down a coframe in terms of a coordinate basis and stipulating that the metric tensor is given by where formula_17 denotes tensor product. This is just a fancy way of saying that the coframe is "orthonormal". Whether this is used to obtain the metric tensor after writing down the frame (and passing to the dual coframe), or starting with the metric tensor and using it to verify that a frame has been obtained by other means, it must always hold true.

Relationship with metric tensor, in a coordinate basis.

The vierbein field, formula_18, has two kinds of indices: formula_19 labels the general spacetime coordinate and formula_20 labels the local Lorentz spacetime or local laboratory coordinates.  The vierbein field or frame fields can be regarded as the “matrix square root” of the metric tensor, formula_21, since in a coordinate basis, where formula_23 is the Lorentz metric.  Local Lorentz indices are raised and lowered with the Lorentz metric in the same way as general spacetime coordinates are raised and lowered with the metric tensor. For example:  The vierbein field enables conversion between spacetime and local Lorentz indices. For example:  The vierbein field itself can be manipulated in the same fashion:  And these can combine.  A few more examples: Spacetime and local Lorentz coordinates can be mixed together:  The local Lorentz coordinates transform differently from the general spacetime coordinates. Under a general coordinate transformation we have:  whilst under a local Lorentz transformation we have:

Comparison with coordinate basis.

Coordinate basis vectors have the special property that their Lie brackets pairwise vanish. Except in locally flat regions, at least some Lie brackets of vector fields from a frame will "not" vanish. The resulting baggage needed to compute with them is acceptable, as components of tensorial objects with respect to a frame (but not with respect to a coordinate basis) have a direct interpretation in terms of measurements made by the family of ideal observers corresponding to the frame.  Coordinate basis vectors can very well be null, which, by definition, cannot happen for frame vectors.

Nonspinning and inertial frames.

Some frames are nicer than others. Particularly in vacuum or electrovacuum solutions, the physical experience of inertial observers (who feel no forces) may be of particular interest. The mathematical characterization of an inertial frame is very simple: the integral curves of the timelike unit vector field must define a geodesic congruence, or in other words, its acceleration vector must vanish:  It is also often desirable to ensure that the spatial triad carried by each observer does not rotate. In this case, the triad can be viewed as being gyrostabilized. The criterion for a nonspinning inertial (NSI) frame is again very simple: This says that as we move along the worldline of each observer, their spatial triad is parallel-transported. Nonspinning inertial frames hold a special place in general relativity, because they are as close as we can get in a curved Lorentzian manifold to the Lorentz frames used in special relativity (these are special nonspinning inertial frames in the Minkowski vacuum).  More generally, if the acceleration of our observers is nonzero, formula_34, we can replace the covariant derivatives with the (spatially projected) Fermi–Walker derivatives to define a nonspinning frame.  Given a Lorentzian manifold, we can find infinitely many frame fields, even if we require additional properties such as inertial motion. However, a given frame field might very well be defined on only part of the manifold.

Example: Static observers in Schwarzschild vacuum.

It will be instructive to consider in some detail a few simple examples. Consider the famous Schwarzschild vacuum that models spacetime outside an isolated nonspinning spherically symmetric massive object, such as a star. In most textbooks one finds the metric tensor written in terms of a static polar spherical chart, as follows: More formally, the metric tensor can be expanded with respect to the coordinate cobasis as A coframe can be read off from this expression: To see that this coframe really does correspond to the Schwarzschild metric tensor, just plug this coframe into  The frame dual is the transposed inverted coframe as (The plus sign on formula_42 ensures that formula_1 is "future pointing".) This is the frame that models the experience of static observers who use rocket engines to ""hover" over the massive object". The thrust they require to maintain their position is given by the magnitude of the acceleration vector This is radially inward pointing, since the observers need to accelerate "away" from the object to avoid falling toward it. On the other hand, the spatially projected Fermi derivatives of the spatial basis vectors (with respect to formula_1) vanish, so this is a nonspinning frame.  The components of various tensorial quantities with respect to our frame and its dual coframe can now be computed.  For example, the tidal tensor for our static observers is defined using tensor notation (for a coordinate basis) as where we write formula_47 to avoid cluttering the notation. Its only non-zero components with respect to our coframe turn out to be The corresponding coordinate basis components are  Compare the tidal tensor formula_52 of Newtonian gravity, which is the traceless part of the Hessian of the gravitational potential formula_53. Using tensor notation for a tensor field defined on three-dimensional euclidean space, this can be written The reader may wish to crank this through (notice that the trace term actually vanishes identically when U is harmonic) and compare results with the following elementary approach: we can compare the gravitational forces on two nearby observers lying on the same radial line: Because in discussing tensors we are dealing with multilinear algebra, we retain only first order terms, so formula_56. Similarly, we can compare the gravitational force on two nearby observers lying on the same sphere formula_57. Using some elementary trigonometry and the small angle approximation, we find that the force vectors differ by a vector tangent to the sphere which has magnitude By using the small angle approximation, we have ignored all terms of order formula_59, so the tangential components are formula_60. Here, we are referring to the obvious frame obtained from the polar spherical chart for our three-dimensional euclidean space:  Plainly, the coordinate components formula_62 computed above don't even scale the right way, so they clearly cannot correspond to what an observer will measure even approximately. (By coincidence, the Newtonian tidal tensor components agree exactly with the relativistic tidal tensor components we wrote out above.)

Example: Lemaître observers in the Schwarzschild vacuum.

To find an inertial frame, we can boost our static frame in the formula_63 direction by an undetermined boost parameter (depending on the radial coordinate), compute the acceleration vector of the new undetermined frame, set this equal to zero, and solve for the unknown boost parameter. The result will be a frame which we can use to study the physical experience of observers who fall freely and radially toward the massive object. By appropriately choosing an integration constant, we obtain the frame of Lemaître observers, who fall in "from rest at spatial infinity". (This phrase doesn't make sense, but the reader will no doubt have no difficulty in understanding our meaning.) In the static polar spherical chart, this frame is obtained from Lemaître coordinates and can be written as Note that formula_68, and that formula_69 "leans inwards", as it should, since its integral curves are timelike geodesics representing the world lines of "infalling" observers. Indeed, since the covariant derivatives of all four basis vectors (taken with respect to formula_1) vanish identically, our new frame is a "nonspinning inertial frame".  If our massive object is in fact a (nonrotating) black hole, we probably wish to follow the experience of the Lemaître observers as they fall through the event horizon at formula_71. Since the static polar spherical coordinates have a coordinate singularity at the horizon, we'll need to switch to a more appropriate coordinate chart. The simplest possible choice is to define a new time coordinate by This gives the Painlevé chart. The new line element is With respect to the Painlevé chart, the Lemaître frame is Notice that their spatial triad looks exactly like the frame for three-dimensional euclidean space which we mentioned above (when we computed the Newtonian tidal tensor). Indeed, the spatial hyperslices formula_79 turn out to be locally isometric to flat three-dimensional euclidean space! (This is a remarkable and rather special property of the Schwarzschild vacuum; most spacetimes do not admit a slicing into flat spatial sections.)  The tidal tensor taken with respect to the Lemaître observers is where we write formula_81 to avoid cluttering the notation. This is a "different tensor" from the one we obtained above, because it is defined using a "different family of observers". Nonetheless, its nonvanishing components look familiar: formula_82. (This is again a rather special property of the Schwarzschild vacuum.)  Notice that there is simply no way of defining static observers on or inside the event horizon. On the other hand, the Lemaître observers are not defined on the entire "exterior region" covered by the static polar spherical chart either, so in these examples, neither the Lemaître frame nor the static frame are defined on the entire manifold.

Example: Hagihara observers in the Schwarzschild vacuum.

In the same way that we found the Lemaître observers, we can boost our static frame in the formula_83 direction by an undetermined parameter (depending on the radial coordinate), compute the acceleration vector, and require that this vanish "in the equatorial plane" formula_84. The new Hagihara frame describes the physical experience of observers in "stable circular orbits" around our massive object. It was apparently first discussed by the astronomer Yusuke Hagihara.  In the static polar spherical chart, the Hagihara frame is which in the equatorial plane becomes The tidal tensor formula_93 where formula_94 turns out to be given (in the equatorial plane) by Thus, compared to a static observer hovering at a given coordinate radius, a Hagihara observer in a stable circular orbit with the same coordinate radius will measure "radial" tidal forces which are slightly "larger" in magnitude, and "transverse" tidal forces which are no longer isotropic (but slightly larger orthogonal to the direction of motion).  Note that the Hagihara frame is only defined on the region formula_98. Indeed, stable circular orbits only exist on formula_99, so the frame should not be used inside this locus.  Computing Fermi derivatives shows that the frame field just given is in fact "spinning" with respect to a gyrostabilized frame. The principal reason why is easy to spot: in this frame, each Hagihara observer keeps his spatial vectors "radially aligned", so formula_100 rotate about formula_101 as the observer orbits around the central massive object. However, after correcting for this observation, a small precession of the spin axis of a gyroscope carried by a Hagihara observer still remains; this is the "de Sitter precession" effect (also called the "geodetic precession" effect).

Generalizations.

This article has focused on the application of frames to general relativity, and particularly on their physical interpretation. Here we very briefly outline the general concept. In an "n"-dimensional Riemannian manifold or pseudo-Riemannian manifold, a frame field is a set of orthonormal vector fields which forms a basis for the tangent space at each point in the manifold. This is possible globally in a continuous fashion if and only if the manifold is parallelizable. As before, frames can be specified in terms of a given coordinate basis, and in a non-flat region, some of their pairwise Lie brackets will fail to vanish.  In fact, given any inner-product space formula_102, we can define a new space consisting of all tuples of orthonormal bases for formula_102. Applying this construction to each tangent space yields the orthonormal frame bundle of a (pseudo-)Riemannian manifold and a frame field is a section of this bundle. More generally still, we can consider frame bundles associated to any vector bundle, or even arbitrary principal fiber bundles. The notation becomes a bit more involved because it is harder to avoid distinguishing between indices referring to the base, and indices referring to the fiber. Many authors speak of internal components when referring to components indexed by the fiber.

In general relativity, a frame field (also called a tetrad or vierbein) is a set of four orthonormal vector fields, one timelike and three spacelike, defined on a Lorentzian manifold that is physically interpreted as a model of spacetime. The timelike unit vector field is often denoted by formula_1 and the three spacelike unit vector fields by formula_2. All tensorial quantities defined on the manifold can be expressed using the frame field and its dual coframe field.

Eine Tetrade (auch Vierbein genannt) ist eine Methode, um in der allgemeinen Relativitätstheorie die Krümmung der Raumzeit zu berechnen. Dazu verwendet man statt einer Koordinatenbasis eine nichtholonome Orthonormalbasis für den Tangentialraum formula_1, sodass die Basisvektoren orthonormiert sind, also deren inneres Produkt der Metrik des Minkowski-Raums entspricht.


Les oliviers de la justice.

Les oliviers de la justice was based on "Les oliviers de la justice", a novel by Jean Pelegri. It was filmed in Algeria under war conditions during the Algerian War with a French production company. The musical score was composed by Maurice Jarre. At Cannes, it was shown out of competition in a sideline section of the festival dedicated to the work of promising young directors and was given the Critics Prize; the last for a film by an American until Francis Ford Coppola received the Critics Prize for Apocalypse Now in 1979. After Cannes, Olive Trees received rave reviews for its run in Paris. Cynthia Grenier for the New York Times wrote, under the sub-headline "Justice Triumphs, ""Olive Trees of Justice" a fiction feature made in Algeria against a backdrop of the Algerian conflict, provoked a rare unanimity, from the farthest right to the farthest left in the press, both as to the quality and the courage of the undertaking." In 1963 Olive Trees of Justice was shown in New York at the first New York Film Festival. It did not get a regular run until 1967 when it got a booking at the New Yorker Theater, as reported by Howard Thompson in the New York Times. Mr. Thompson wrote "The Olive Trees of Justice was photographed during the crucial days of 1962 in the heart of Algiers and in the vineyard countryside, with a cast of non-professionals under an American born director. James Blue, who previously made short films here and in France, and has recently worked for the United States Information Agency. Mr. Blue should certainly be making films somewhere." Blue was interviewed for Film Comment in 1963 by Mary Batten. He said about Olive Trees: “What I was trying to do in The Olive Trees was to avoid any kind of fabricated emotion. Of course, I’m not trying to say I didn’t want emotion in this film—that would be completely contrary to my goals—but I wanted to bring about emotion by a synthesis of authenticity in the décor, in the actual setting, in the things that real people said, in the way real people looked, where they lived, in a juxtaposition of all that, a development of the old idea of ‘montage of attractions,’ along a certain theme.” On October 11, 2014, Olive Trees was screened at the Hollywood Theatre in Portland Oregon. It was part of the Mid Century Oregon Genius Screening Series put on by The Oregon Cartoon Institute. The series included a screening of Maurice (1987) by James Ivory, with Mr. Ivory in person. James Blue and James Ivory had met while attending the University of Oregon in the 1950s.

The March.

The March is a 1964 documentary film about the 1963 civil rights March on Washington. A quarter of a million people took part in the March on Washington. A television audience of millions watched Martin Luther King Jr. deliver his “I Have a Dream” speech. James Blue captured it on film. The March was shot in 35mm black and white film by a crew of 14 sound and camera men in 7 pairs, most of them from Hearst News. Blue was brought onto the project after the camera crews were hired. George Stevens Jr, the head of USIA films, said "I asked Jim Blue to become involved. No one at Hearst could craft the kind of film we wanted." Over three days they shot 59,795 feet of film - more than 11 hours of material. It was edited by Blue down to 3,021 feet, for a running time of 33 minutes. The budget was $50,000. In addition to directing and editing, it was narrated by Blue, including released prints in Spanish and French. The March was made for the Motion Picture Service unit of the United States Information Agency, a government entity that made informational, some would say propaganda, films. At the time, by law, USIA films were only seen outside of the United States. In 1990 the law was changed to allow USIA films to be shown domestically 12 years after they had been made.  The March won first place in the short features section of the fifth (1965) International Film Festival For Youth at Cannes. The March was screened at Venice, Tours, Bilbao and Cannes film festivals. It won grand prizes at Bilbao and Cannes. At Bilbao it won first prize for “Contributing Most to Friendliness and Understanding Between Peoples.” The Cannes Jury credited the film for its “concentrated rhythm which permitted clear interpretation of the way a powerful peaceful force was used to uphold a general desire for universal justice.” It was added to the National Film Registry in 2008. After being added to the National Film Registry, The March was restored by the Motion Picture Preservation Lab, which is responsible for performing preservation work on motion pictures held by the National Archives. Audrey Amidon was leader on the preservation of the film. Restoration work was completed in 2013. On the fiftieth anniversary of the March on Washington 2013 BAMcinématek presented two weeks of films, August 13–28 under the title "Time for Burning: Cinema of the Civil Rights Movement." The series included A Raisin in the Sun, To Kill a Mockingbird, Nothing But a Man, and much more. It concluded with a screening of Blue's The March.

United States Information Agency.

George Stevens Jr. met Blue at Cannes in 1962 and hired him to make films for the United States Information Agency. Prior to making The March, he had made three short films for the USIA. They were A Letter from Colombia (1962), The School at Rincon Santo (1962) and Evil Wind Out (1962). Collectively they are called the “Colombian Trilogy” on the Alliance for Progress. In August, 1963, George Stevens Jr., having returned from the Moscow Film Festival, gave a lecture to the Washington Film Council at the State Department Building in Washington. As part of the presentation he showed USIA films, including School at Rincon Santo and Letter to Columbia. In October 1963 Bosley Crowther in the New York Times wrote an article arguing that the USIA films should be legally shown in the States. He claimed that "The content of so many of these films is informative and inspiring, too, that to keep them from American audiences is to miss a natural chance to extend their use." he had recently seen a private screening of the films put on by George Stevens Jr. He wrote "A lovely little item, "The School at Rincon Santo" shows how the people of a Columbian village high in the mountains got together and built their first schoolhouse. It is meant to illustrate the spirit of the Alliance of Progress - People helping themselves. Shot by the USIA unit, headed by James Blue, it has a nice touch of poetry, compounded with the literalness of documentary." He ended the piece with "Several exciting projects are now in the works. James Blue is putting together an extensive documentary account of the August Freedom March on Washington, shot by several freely roving cameramen." Blue had only recently finished the final edit. The release prints would be struck starting December 3. Blue's last film for the USIA was A Few Notes on our Food Problem (1968). It was Blue's first film in color. It focused on agricultural production on three continents. It was shot in Taiwan, India, Uganda, and Brazil. It was nominated for the Academy Award for Best Feature Documentary.

Ford Foundation Grant.

Blue was among the first filmmakers to receive a grant for film making. In 1964 the Ford Foundation awarded twelve American filmmakers grants of up to $10,000 for a one-year period. The recipients could use the money to either produce short films or for travel and study. The awards were described as a “pilot project” by the director of the foundation’s program in humanities and the arts, W. McNeil Lowry. The filmmakers included Kenneth Anger, Bruce Conner, Jordan Belson and Stan Vanderbeek. The Foundation said: "James Blue, Portland, Ore., will travel consult with other directors in the United States, Canada and abroad." Blue interviewed dozens of world filmmakers. The audtiotapes and videotapes are now housed at the University of Oregon.  The audiotapes were of:  The filmed interviews (Partial Listing) were of:

Educator.

Blue first taught at UCLA in 1964 and in the first classes offered by the American Film Institute. Among his students were Francis Ford Coppola, George Lucas, Thom Andersen, and Jim Morrison.

Kenya Boran.

In 1974 Blue created, with David MacDougall, the film Kenya Boran. It had four parts: Boran Herdsmen, Boran Women, Harambee: Pull Together, Kenya Boran. It was commissioned by American Universities Field Staff, and was funded by the National Science Foundation. It was shot over two months in Kenya. Margaret Mead called Kenya Boran the best ethnographic film she had ever seen.

The Invisible City: Houston's Housing Crisis.

Invisible City: Houston's Housing Crisis consisted of six one-hour episodes of an interactive public television series. Blue called it a “complex documentary.” It was later issued in two parts as “Who Killed the Fourth Ward?”(1978) and “Invisible City” (1979). “Who Killed the Fourth Ward?” is a three-hour documentary. It was made by Blue, Brien Huberman, and Ed Hugetz. The Fourth Ward is one of the oldest black communities in Houston. It addresses the city's acquisition of an historic Afro-American church for commercial expansion of the business district. The film features elected city officials, businessmen, and people of the Fourth Ward. Brian Huberman wrote “James Blue’s journey into the Fourth Ward provides a series of experiences for the audience to access this strange world, It can be a scary journey when Blue is put on the spot by challenging questions about, poverty, failure and race." Blue made “Invisible City” with Adele Santos, an architect at Rice University, whose students had researched the film. It looked at the decay of Houston’s housing stock. The film includes realtors, builders, heads of city agencies, and renters of properties. According to Blue’s colleague Gerald O’Grady: “The complex documentary began with a concern for and a commitment to changing a particular situation in an urban culture in which Blue himself lived. It was not to take a side but to explore all the facts in their complexity, and to research the problem in books and interviews and consultations with as many citizens from every strata involved in the issue, either as manager or victim.” The documentary was shot on Super 8mm film that was transferred to video tape.

National Endowment for the Arts media funding panel.

Blue was one of nine on the 1970 NEA funding panel. The others were Roger Englander (Chairman), Arthur Mayer, Dean Myhr Donn Pennebaker, Sheldon Renan, David Stewart. George Stoney, Willard Van Dyke. Among the programs they were involved in was the Public Media Program. It was a pilot program that provided funding for support of arts programming on film, television and radio. It also provided funding for regional film centers. Both Blue and Sheldon Renan were from Portland, Oregon. One of the regional film centers they approved for funding was the NW Film Center in Portland. For the Fiscal Year 1972, grants of $1,979,877 were given for the Public Media Program.

Early life and education.

Blue, with his family, moved from Tulsa to Portland, Oregon in 1942. Blue attended Jefferson High School in Portland. He graduated from the University of Oregon with a BA in Speech and Theater in 1953. After a hitch in the army he returned to the U of O for a Masters in Theater Arts, then left after receiving a scholarship to complete his Masters at the Institut des hautes études cinématographiques (IDHEC) in Paris from 1956-58. At IDHEC Blue took classes from Jean Mitry and Georges Sadoul. Fellow students were Costa-Gavras, Johan van der Keuken, and James Dormeyer. At the IDHEC he made the film, with Johan van der Keuken, Paris a l'aube (1957).

The James Blue Alliance.

In 2014, Richard Blue, James Blue's brother, created the James Blue Alliance to preserve and share James Blue's legacy of pioneering participatory investigative media. Richard Blue and the Alliance have been raising funds for the restoration of Olive Trees of Justice to be re-released by Milestone Films. In 2015 Richard Blue was given the first Elmer Buehler Award for his work in restoring Olive Trees. The Alliance chose the University of Oregon to house the James Blue's films, papers and ephemera, as a resource for students, historians, film-makers, and others. On October 19, 2017, the James Blue Alliance, in partnership with the NW Film Center, presented the premiere of the documentary film Citizen Blue: The Life and Art of Cinema Master James Blue at the Whitsell Auditorium in Portland, Oregon. The Alliance funded the James Blue Award to be given out at the Ashland (Oregon) Independent Film Festival to "a filmmaker whose first or second documentary or narrative feature exemplifies the values of Oregonian director James Blue (1930-80), whose work addressed complex issues of social justice and social/political change." The James Blue Award was given at the 2019 Ashland Independent Film Festival to Alyssa Fedele and Zachary Fink of The Rescue List.

James Blue (October 10, 1930 in Tulsa, Oklahoma – June 14, 1980 in Buffalo, New York) was a filmmaker. His most notable films were "Les oliviers de la justice" (literal English title "The Olive Trees of Justice") (1962, US), "A Few Notes on Our Food Problem" (1968) and "The March" (1964). "Les oliviers de la justice" was given the Prix de la Société des Écrivains de Cinéma et de Télévision award (Critics Prize) at the 1962 Cannes Film Festival. "A Few Notes on our Food Problem" received an Academy Award nomination for best feature documentary. "The March" was added to the National Film Registry in 2008.

James Blue (* 10. Oktober 1930 in Tulsa, Oklahoma; † 14. Juni 1980 in Buffalo, New York) war ein US-amerikanischer Dokumentarfilmregisseur.


Career.

2015 season – Latvian R2 class champion.

In 2015, at age 14, Rovanperä competed in Latvia, where a driver's license is not a requirement to take part in rallying. Between the stages his car was driven by co-driver Risto Pietiläinen, who also used to be the co-driver of Kalle Rovanperä's father Harri in WRC rallies. On 18 October 2015 Rovanperä won the Latvian rally championship with his Citroen C2R2 Max car in the R2 class.

2016 season – Latvian open class champion.

For the first three rallies of the 2016 Latvian rally series, Rovanperä drove a 300-horsepower four-wheel-drive Škoda Fabia S2000. It was a completely new WRC2 class rally car with a two-liter naturally aspirated engine. The first race, on 16–17 January, ended in Rovanperä's overwhelming victory. The second place driver Ralfs Sirmacis lost the eight stage rally by one minute and 10 seconds. Rovanperä won each of the stages.  The second rally, also in January 2016, was won by Rovanperä after a ferocious final spurt. His car's power steering was lost on the second stage and he lost over a minute. Eventually Rovanperä was able to win the rally with a 20.4 second margin to second-place Raimonds Kisiels. Rovanperä won nine of the ten stages.  Rovanperä placed second in the Kurzeme rally in Latvia in May. It was the first rally in the 2016 Baltic Rally Trophy series. He was able to finish the rally despite suffering an axle damage and losing torque in his rear wheels.  For the rest of the season Rovanperä got to drive a new Škoda Fabia R5 car. He placed second in Rally Zemaitija in Latvia in June and won the Tallinn rally in Estonia in August.  In September Rovanperä was second in Liepaja rally, the penultimate rally of the Latvian championship series.  Latvia rally in October closed out the season. Rovanperä won the rally and clinched the championship. Over the season, he won four times, placed second three times, and finished outside the podium only once. He is the youngest driver ever, at age of 16, to win a national open class rally championship in any country.

2017 season – three national series and WRC debut.

In January 2017 the Finnish motorsport association AKK-Motorsport granted 16-year-old Rovanperä a special permission to take part in Finnish rally races and the Ralli SM national championship series.  In February Rovanperä took part in his first Finnish championship rally in Mikkeli. He won the rally by a 10.7-second margin to second-place Teemu Asunmaa despite suffering a tire puncture. In June Rovanperä took his second Finnish rally championship series victory in Kouvola.  In 2017 Rovanperä participated in the national championship series of three countries: Latvia, Italy and Finland. In Latvia and Finland he was driving Toni Gardemeister's team's Škoda Fabia R5 and in Italy a Peugeot team's Peugeot 208 T16. In Latvia Rovanperä won two of his first rallies and place second in the third one. In Italy he did not have notable success.  In June 2017 the Finnish transport safety agency Trafi granted Rovanperä a special permission to apply for a driver's license when he turns 17. The normal required age in Finland is 18. On Monday 2 October, a day after his 17th birthday, Rovanperä successfully completed the mandatory driving test after having completed the theory part beforehand. Having a driver's license allows him to take part in WRC rallies.  In the beginning of October Rovanperä placed second in Rally Liepaja in Latvia. As well as being part of the Latvian championship series, it was also Rovanperä's first rally in the European Rally Championship. Rovanperä had already previously clinched the 2017 Latvian open class rally championship for the second year in a row.  Rovanperä participated in his first WRC rally at Wales Rally GB in October 2017, driving an M-Sport Ford Fiesta R5 car in Wales as well as in Rally Australia in November. He won the Rally Australia in WRC2, but was also the only contestant in the class. He also finished tenth in the total evaluation, gained a point and therefore became the youngest ever driver to score a point.

2018 season.

Rovanperä joined the Škoda Motorsport team for the 2018 season, with a plan to contest in the WRC2 series in 6–7 events. Rovanperä will use a private entered car for some of the rallies, including the season opener Monte Carlo Rally. Rovanperä will also contest some events in the Asia Pacific Championship series.  In May, Kalle suffered a large accident on the Rally Argentina. Locked in a battle with teammate Pontus Tidemand for the WRC-2 victory on the final day, Rovanperä misjudged a fast left-hander and rolled violently, his car landing on top of a spectator's car parked at the side of the stage. Thankfully there was nobody in the car, and he and his co-driver were unscathed.  He had a successful season, leading in Argentina prior to the accident, and was leading again in Finland when his suspension broke, before finally bagging a win with a dominant drive in Wales, where he'd made his debut one year earlier.

Career results.

WRC results.

<nowiki>*</nowiki> Season still in progress.

Kalle Rovanperä (born October 1, 2000) is a Finnish rally driver. Rovanperä is the son of former World Rally Championship driver Harri Rovanperä. He has garnered international attention by starting rallying at an exceptionally young age. He is the 2019 World Rally Championship-2 Pro champion, and also the 2016 and 2017 Latvian open class champion and the 2015 Latvian R2 class champion.

Kalle Rovanperä (* 1. Oktober 2000 in Jyväskylä) ist ein finnischer Rallyefahrer. 2020 wird der amtierende WRC2 Pro Weltmeister in der Rallye-Weltmeisterschaft für Toyota als jüngster Werksfahrer aller Zeiten eingesetzt. Er ist der Sohn von Harri Rovanperä.


History.

AEW, which launched in January 2019, filed for several trademarks, including Tuesday Night Dynamite, presumably a name for a television show. In June 2019, AEW filed an additional trademark for Wednesday Night Dynamite, leading to many sources believing the show would air on Wednesday nights under this name.  On May 8, 2019, AEW reached a new media rights deal with British media company ITV plc to broadcast AEW shows on ITV4. On May 15, 2019, AEW and WarnerMedia announced a deal for a weekly prime-time show airing live on TNT and would also stream live events and pay-per-views on B/R Live in the United States and Canada.  In April, Jim Ross confirmed the show would be a weekly two-hour live show. During Fight for the Fallen, Chris Jericho confirmed the show would be starting in October. On July 24, AEW announced the show would premiere on Wednesday, October 2, and would broadcast live from the Capital One Arena in Washington, D.C. On August 2, it was announced that the show had sold out within 3 hours of tickets going on sale. AEW President Tony Khan said that they chose to air the show on Wednesday nights instead of Tuesday nights because TNT airs the National Basketball Association (NBA) on Tuesday and Thursday nights, and it also prevented competition against the National Football League (NFL) on Thursday nights, as it might compete with Khan's NFL franchise.  In August 2019, WWE announced that it was moving their WWE Network show "NXT" to the USA Network and expanding the program to a live, two-hour broadcast in the same timeslot as AEW's upcoming show. "NXT" premiered on USA on September 18, two weeks before AEW's broadcast debut on TNT. On August 30, the day before All Out, TNT aired a one-hour special called "Countdown to All Out" at 10pm ET, which averaged 390,000 viewers.  Like they had done for each of their pay-per-view events, AEW began a "Road to" YouTube series on September 4 entitled "The Road to AEW on TNT" to build anticipation for the debut broadcast of the show. On September 19, 2019, the show's name was revealed as "All Elite Wrestling: Dynamite". A two-hour preview show called "Countdown to All Elite Wrestling: Dynamite" aired on October 1 at 8pm ET and averaged 631,000 viewers.  On September 25, 2019, AEW announced an international streaming deal with FITE TV primarily for regions outside of North America via the "AEW Plus" package, which includes live streaming and replay access of "Dynamite" in simulcast with its U.S. airing. In Canada, Bell Media's TSN acquired broadcast rights to "Dynamite", marking the return of professional wrestling to the network after "WWE Raw" moved to rival network The Score (now Sportsnet 360) in 2006. The show is broadcast in simulcast with TNT in the U.S (but is subject to scheduling) and is streamed on TSN Direct as well as TSN's website. In the United Kingdom, "Dynamite" will be added to ITV Hub on Thursday evenings, and air on ITV4 on Friday nights.  On October 2, 2019, "Dynamite" debuted on TNT which averaged 1.409 million viewers, which made it the largest television debut on TNT in five years. Also on October 2, "NXT" would make their two-hour debut on USA Network (the previous two episodes featured the first hour on USA with the second hour on the WWE Network), and they averaged 891,000 viewers. "Dynamite" beat out "NXT" in viewership and more than doubled its competition in the key adults 18-49 demographic, scoring 878,000 viewers compared to "NXT"s 414,000. This would also mark the beginning of the "Wednesday Night Wars". Prior to and after the episode, untelevised matches were filmed to air on "AEW Dark" on the following Tuesdays (except before pay-per-view events, where the episodes air Fridays) on AEW's YouTube channel.  On January 15, 2020, it was announced that TNT had extended the contract for the series through 2023.  Beginning on March 18, 2020, AEW began airing empty arena shows from Daily's Place in Jacksonville, Florida. This was due to the COVID-19 pandemic that caused many restrictions for live events around the world.

Roster.

The wrestlers featured on All Elite Wrestling take part in scripted feuds and storylines. Wrestlers are portrayed as heroes, villains, or less distinguishable characters in scripted events that build tension and culminate in a wrestling match.

AEW Dynamite, also known as Wednesday Night Dynamite or simply Dynamite, is a professional wrestling television program that is produced by the American promotion All Elite Wrestling (AEW) and airs on TNT in the United States. The show debuted on October 2, 2019, and serves as the flagship program of AEW. The show airs live weekly for two hours. "AEW Dynamite" is the first professional wrestling program to air on TNT since the final episode of "WCW Monday Nitro" on March 26, 2001.

AEW Dynamite, auch All Elite Wrestling: Dynamite, ist eine US-amerikanische Wrestling-Show. Sie wird seit dem 2. Oktober 2019 von All Elite Wrestling (kurz: AEW) produziert und jeden Mittwochabend live gesendet.


Background and critical responses.

"Patience" didn't exist during the creation of the original "Dreamgirls" musical, a stage drama which made its debut on Broadway in December 1981. Songwriters Henry Krieger and Willie Reale devised "Patience" for the musical's 2006 movie adaption, which also featured the title "Dreamgirls". The r&b track has been incorporated to more recent revivals of the stage drama, with "Patience" being one of several elements crossing from the adaption to its parent production.  The socially-charged lyrics and impassioned singing behind the song make it an inspirational piece of protest music meant to evoke the 70s-era musical work of artists such as Donny Hathaway, Marvin Gaye, and Stevie Wonder. "Patience" is performed both in the film and on by the trio of Eddie Murphy, Anika Noni Rose, and Keith Robinson. It was produced by The Underdogs.  In the context of the film, "Patience" is a politically-charged piece written by talented singer-songwriter C.C. White (played by Robinson) and recorded by star performer James "Thunder" Early (played by Murphy) coupled with vocalist Lorrell Robinson (played by Rose) and a gospel choir. In a scene set in 1973, the song comes into being after Early seeks to develop his public image while being under the thumb of manipulative, shady record business figure Curtis Taylor, Jr. (played by Jamie Foxx). Much to the chagrin of his employees, Foxx's character axes the song's release. This feeds into the flashes of anxiety and depression suffered by Murphy's character, which he self-medicates through illicit drug use.  "Patience" was one of three "Dreamgirls" songs nominated for the Academy Award for Best Original Song at the 79th Academy Awards. The others were "Love You I Do" and "Listen". All three "Dreamgirls" songs (as well as the piece "Our Town" that Randy Newman penned for "Cars") lost the Oscar to "I Need to Wake Up" by Melissa Etheridge, which the songwriter created for "An Inconvenient Truth".  At the 2007 Academy Awards ceremony, "Patience" was performed by Rose and Robinson along with a gospel choir and their co-stars Beyoncé Knowles and Jennifer Hudson.  Film critics who viewed the song's creation and use in "Dreamgirls" as a highlight of the movie include Peter Rainer of the Christian Science Monitor and David Rooney of "Variety". Rainer commented that the emotional scene displayed "Murphy at his best."

"Patience" is a song written by Henry Krieger and Willie Reale for the 2006 film "Dreamgirls". The movie is an adaption of the musical of the same name, which made its debut on Broadway in December 1981. The R&B track has been incorporated to more recent revivals of the stage drama, with "Patience" being one of several elements crossing from the adaption to its parent production.

Patience ist ein für den Film Dreamgirls von Henry Krieger und Willie Reale geschriebenes Lied. Es wurde im Film, wie auch auf dem zugehörigem Soundtrack von Eddie Murphy, Anika Noni Rose und Keith Robinson gesungen. Das Lied wurde 2007 in der Sparte Bester Song für den Oscar nominiert.


Early life.

Duboeuf was born on 14 April 1933 in Crêches-sur-Saône, near the village of Chaintré, in the Pouilly-Fuissé appellation of France. Pouilly-Fuissé consists of five villages, southwest of the commune of Mâcon, in the central French wine-making region of Burgundy. Duboeuf was raised on a small farm, where his family owned a few acres of Chardonnay vines. His father died when he was very young, and his uncle and older brother, Roger, took over the business.

Career.

Duboeuf helped on the family vineyard growing up, cranking the manual grape crusher when he was just six. At the age of 18, he began delivering wine on his bicycle from producers to local restaurants. He began bottling Beaujolais to meet a customer's commission, and went on to form a syndicate of 45 local growers, the Ecrin Mâconnais-Beaujolais. The organization fell apart due to squabbling, and Duboeuf became a négociant in 1964, when he founded Les Vins Georges Duboeuf.

Les Vins Georges Duboeuf.

Duboeuf's business produces more than 2.5 million cases of wine annually. He was almost single-handedly responsible for popularizing the annual Beaujolais nouveau phenomenon, and won awards for his wines. The company's wine labels are easily recognizable by their use of colorful flower images and the distinctive Duboeuf insignia.  In 2018, Duboeuf passed control of the company to his son Franck Duboeuf.

Personal life.

He married his wife Rolande in the early 1960s, and they had two children, Fabienne and Franck.  On 4 January 2020, Duboeuf died from a stroke at age 86.

Georges Duboeuf (14 April 1933 – 4 January 2020) was a French wine merchant, and the founder of Les Vins Georges Duboeuf, one of the largest wine merchants in France. The company is known especially for its popularization and production of Beaujolais wines, leading to Duboeuf's nicknames of "le roi du Beaujolais" or sometimes "pape du Beaujolais" (the king or pope of Beaujolais).

Georges Dubœuf (* 14. April 1933 in Crêches-sur-Saône; † 4. Januar 2020 in Romanèche-Thorins) war ein französischer Winzer und Weinhändler.


Early life.

Martínez was born to former 400 metres runner Isabel Contreras. He initially practised several sports, including basketball and judo, until he was about 10 years old. It was his mother who encouraged him to take up athletics and linked him up with a friend and coach.  Martínez has stated that he initially did not like athletics, but after doing a test with the said coach he was told he had the potential to enter the provincial sports school. He began specialising in the jumps under the supervision of coach Manuel Guilarte, whom he credits for instilling in him the love of athletics.

Career.

At the 2013 World Youth Championships in Donetsk, Martínez equalled the World Youth Championship record set by compatriot Héctor Dairo Fuentes in 2005 with an attempt of 16.63 m in the fourth round, earning him his first major gold medal.  Martínez's record-breaking continued into 2014, as he jumped a world youth best of 17.24 m in front of a home crowd in the Cuban capital Havana. He then broke the World Junior Championship record twice at the 2014 World Junior Championships in Eugene, Oregon, jumping 17.08 m with a 0.6 m/s headwind on his first attempt and 17.13 m with a 0.7 m/s headwind on his second attempt. He became the fourth Cuban world junior champion in the triple jump after Yoelbi Quesada in 1992, René Hernández in 1996, Arnie David Giralt in 2002 and Pedro Pablo Pichardo in 2012.

Lázaro Martínez Santrayll (born 3 November 1997) is a Cuban athlete who specialises in the triple jump and the long jump. He is a former World Junior Championship record holder for the triple jump with an attempt of 17.13 m jumped at the 2014 edition in Eugene, Oregon, and also holds the former world youth best in the triple jump, with an attempt of 17.24 m jumped in Havana.

Lázaro Martínez Santrayll (* 3. November 1997 in Guantánamo) ist ein kubanischer Leichtathlet, der sich auf den Dreisprung spezialisiert hat. Er ist mehrfacher Jugend- und Juniorenweltmeister.


Gameplay.

There are 12 characters to choose from, most of which have melee attacks, with some of them having range attacks. All characters are one of three classes: Damage, support, or tank. There are three bars for different abilities that go down when the player uses an ability connected to it. Each ability has its own cooldown period as well.

Development.

Development of "Bleeding Edge" began as a passion project and was built out of inspiration from the original Ninja Theory game "Kung Fu Chaos". Creative director Rahni Tucker stated the reasoning behind this game existing was "At home, I play a lot of team multiplayer games, all the way from MOBAs to team shooters. And then I was like: where is this game? A third-person action competitive team multiplayer. It doesn't really exist and it sounds like my dream project". Tucker said they came to that shortly after the development of "" concluded. Tucker pitched the game and at the time nothing came of it but she stated that around halfway for "Hellblade", Ninja Theory approached her on the idea and development went into production. The game began with a development team of ten people and by launch had expanded to 25 developers which were a contrast to the average first party Xbox Game Studios large teams with hundreds of developers. Lead artist Aaron McElligo stated that the game began with realistic visuals that Ninja Theory had been known for but quickly realized in a game like this that would not work out.  "Bleeding Edge" was leaked ahead of reveal at E3 2019.

Reception.

"Bleeding Edge" received mixed reviews from critics, according to review aggregator Metacritic.  "PC Gamer" criticized the design of the map they played and the controller layout, but praised the feel and look of the melee attacks and abilities.

Bleeding Edge is a multiplayer online combat video game being developed by British developer Ninja Theory and published by Xbox Game Studios for Xbox One and Microsoft Windows. The game launched on 24 March 2020.

Bleeding Edge ist ein Computerspiel, das von Ninja Theory entwickelt wird und von den Xbox Game Studios am 24. März 2020 für Windows und Xbox One erschienen ist.


Family.

Reginald was born at Wiggonholt in West Sussex, the son of the parish rector, Rev. Thomas Bacon, and his wife, Lavinia Emma, the daughter of George Shaw of Teignmouth in Devon. Rev. Thomas was the nephew of the industrialist, Anthony Bushby Bacon of Elcot Park in Berkshire and the grand-uncle of the historian, Emma Elizabeth Thoyts, of Sulhamstead House, also in Berkshire.

Early career.

Reginald entered the Navy in 1877, qualified as a torpedo lieutenant, and first came to wider notice as commander of a flotilla of torpedo boats in the British naval manoeuvres of 1896. In 1897 he served as a member of the British punitive expedition to Benin, and on his return from active service wrote the book "Benin, the City of Blood" (1897), describing the campaign.  Promoted to captain in 1900, he left the Mediterranean Station and, was appointed to the new position of Inspecting Captain of Submarines and given the task of introducing and developing the Royal Navy's earliest submarine boats. In August 1901 came the accompanying appointment as captain of, which had recently been converted into the world ́s first submarine depot ship. He was the acknowledged possessor of a fine technical brain, and Fisher's enthusiasm for Bacon's intelligence hardly hindered his career. That the Admiralty shared Fisher's impression of Bacon is evident not only in its decision to appoint so junior a captain to a comparatively senior position, but also in the laudatory minutes that attached themselves to Bacon's official reports.  In early 1901 he was appointed by King Edward to take part in a special diplomatic mission to announce the King ́s accession to the governments of Austria-Hungary, Romania, Serbia, and Turkey.

Technical ability and character.

Bacon was well-qualified for his new work with submarines, having served in the torpedo branch of the navy throughout the 1890s. He had spent several years on the staff of HMS Vernon, Britain's main torpedo school, and his character was dominated by a pronounced flair for things mechanical. Later in his career Bacon made a significant contribution to the design of the revolutionary all-big-gun battleship "Dreadnought", developed siege guns for the British Expeditionary Force in 1914 and mastered the technical complexities required to implement his proposal for a North Sea Mine Barrage. After his retirement, he settled down to write books with titles such as "A Simple Guide to Wireless for All Whose Knowledge of Electricity is Childlike".  Historian Mike Dash observes that while "there is no doubt that [his] mastery of the technology with which he dealt reinforced the independence of the submarine branch, he was a remote and stubborn centraliser who rarely admitted he needed help from anybody".  Another trait which became increasingly significant in Bacon's naval career was "the unfortunate knack which [he] developed of polarising the opinions others held of him." He was not, like his nemesis Roger Keyes, who succeeded him as both ICS and commander of the Dover Patrol, a friend to all men. To Maurice Hankey, during the war, Bacon was "the one officer with offensive spirit"; to the notoriously offensive-minded Reginald Tyrwhitt, commander of the Harwich Force, he was a worse enemy than the Germans, unwilling to take risks and "our bugbear... the Streaky One has obsessed everyone at the Admiralty and does exactly what he pleases with them... You will understand me when I say he is not a white man."

Inspecting Captain of Submarines.

According to biographer Michael Dash, "None of these controversies... should be allowed to obscure Bacon's early achievements as ICS, which were very considerable. To Bacon goes the credit of developing the semi-autonomous submarine branch that consistently performed well in peace and war. Equally important, his determined caution ensured that the branch was developed along sensible lines". Bacon was acutely aware of the early shortcomings of underwater craft and "particularly emphasised" that he did not "commend rashness, in fact my life is spent in preaching caution... The only fear regarding the safety of the Boats is that familiarity may breed over-confidence". His philosophy was that "success belongs to the man who pays attention to infinite details".  Bacon's chief contribution to the early development of the submarine was the design for HMS "A1", the first British-designed boat and a significant advance over the earlier Holland Class boats. "A1", developed by Bacon in conjunction with the naval architects of Messrs Vickers, Sons & Maxim, added a conning tower and a periscope to the pioneering design of the Irish-born American inventor John P. Holland, making her significantly more seaworthy and a more potent attacking threat. "While RN submarines retained Holland's ideas in outline... the specifics of the design from the A class onwards were essentially British", Dash writes. Bacon also played an important role in the design of the remainder of Britain's A-class submarines and worked out the first tactics for British boats.

First Captain of HMS Dreadnought.

Bacon was the first captain of the battleship. In June 1906 he commissioned her for her trials and took her on a special cruise to the West Indies. In August 1907 he was appointed to the position of Director of Naval Ordnance succeeding Jellicoe.

Coventry Ordnance Works.

In July 1909 he was promoted Rear-Admiral, and in November 1909 he retired from the Active List as director of Naval Ordnance to take up the appointment of managing director of the Coventry Ordnance Works (COW).  During his time there, the Coventry works manufactured the QF 4.5-inch howitzer, the BL 5.5 inch Mark I naval gun and the Army's biggest gun to date, the BL 9.2-inch howitzer. On the outbreak of war, prompted by the German army's bombardment of the Liège forts, the Coventry factory privately designed the BL 15-inch howitzer, designed to be road transportable by three 105 hp Daimler-Foster Artillery tractors. The Army was unimpressed by its lack of range and didn't adopt the weapon, but Winston Churchill, as First Lord of the Admiralty, formed the Howitzer Brigade of the Royal Marine Artillery with the twelve guns. The first howitzer was shipped to France in February 1915 and Bacon was given a temporary commission in the Royal Marine Artillery as an extra Colonel 2nd Commandant. In April 1915 he was called to the Admiralty, where Churchill and Jackie Fisher were keen to send a single 15-inch howitzer to Gallipoli. He arranged for the howitzer (no. 3) to be transported, and a few days later was in Paris ready to start for the Dardanelles, when he was recalled to London by Churchill and made Commander-in-Chief, Dover, replacing Rear-Admiral Horace Hood.

Commander of the Dover Patrol.

Bacon became commander of the Dover Patrol in April 1915 and was involved in the development of the North Sea Mine Barrage. Bacon spent some time considering and planning the Zeebrugge and Ostend raids, but he felt that crucial details of his plan were altered or omitted due to inexperience.  In his book 'Room 40: British Naval Intelligence, 1914–1918,' Patrick Beesly was not complimentary of Bacon suggesting that his brilliance may have been marred by his fixation on a correct way of doing things, and of 'being convinced that he was the only man in the regiment who was marching in step.' Bacon insisted that the Dover Barrage was an effective block to German U-boats breaking out into the Atlantic despite reports from Naval Intelligence that U-boats were regularly passing through it under cover of darkness. After repeated refusals to illuminate the barrage at night, Bacon was instructed to do so by Rosslyn Wemyss following his replacement of Sir John Jellicoe as First Sea Lord. The discovery and destruction of a U-boat transiting the barrage took place the next night, and Bacon was sacked by Eric Campbell Geddes from command of the Dover Patrol, replaced by Roger Keyes, shortly thereafter.

Family and retirement.

Bacon retired again shortly after leaving the Dover Patrol. He wrote numerous books, including biographies of John Jellicoe, 1st Earl Jellicoe and his old mentor Admiral of the Fleet Lord Fisher.  He married Cicely Surtees of Darlington, County Durham in 1897. They had a daughter and two sons, both of whom died young, one as a soldier during the First World War and the other from pneumonia as a naval cadet in 1919. Bacon died on 9 June 1947 at home in Romsey, Hampshire.

Admiral Sir Reginald Hugh Spencer Bacon, (6 September 1863 – 9 June 1947) was an officer in the Royal Navy noted for his technical abilities. He was described by the First Sea Lord, Admiral Sir Jacky Fisher, as the man "acknowledged to be the cleverest officer in the Navy".

Admiral Sir Reginald Hugh Spencer Bacon, KCB, KCVO, DSO (* 6. September 1863 in Wiggonholt, England; † 9. Juni 1947 in Romsey, England) war ein britischer Marineoffizier der Royal Navy. Der Erster Seelord John „Jacky“ Fisher sagte über ihn: « acknowledged to be the cleverest officer in the Navy » (deutsch: der anerkannt klügste Offizier in der Marine).


Biography.

She started her career in showbusiness with her father Poncho D'Alessio who had a musical show called "La Familia D'Alessio" on a Tijuana television station. She then moved to Mexico City and released a single "Mi Corazón es un Gitano", a cover of the Italian song "Il Cuore è Uno Zingaro" which won the Sanremo Music Festival, both in 1971. Then she was selected to perform the theme song of the telenovela of Televisa titled "Mundo de juguete". She was invited to take roles on "Ana del Aire" and other productions in the 1970s and 1980s. Lupita sang the title song of telenovela "Pacto de Amor", where she also acted.  In 1978, she won the Mexican national final to select the country's entrant in the seventh edition of the OTI Festival which was held in Santiago, Chile. Her entry, entitled "Como tú" (Just like you) was received with critical acclaim and as a result she got the third place in the contest. This fact helped her to consolidate her musical career in Mexico.  In 1980, Lupita was one of the main characters in Ernesto Alonso's "Aprendiendo a Amar", where she played the role of her older daughter (the younger daughter was played by Erika Buenfil). The telenovela starred Susana Dosamantes (mother of Paulina Rubio). Lupita also sang the theme song "A Mí". She performed concerts on tour in Central and South America.  In 1986, Lupita starred in the movie "Mentiras" alongside Juan Ferrara, where she played Lupita Montero, an aspiring singer; she performed several songs for the soundtrack of the movie, including "Mudanzas". In 1987, she appeared in the short telenovela "Tiempo De Amar", alongside Fernando Allende. Her last project of the 1980s was 1989's "Quién te crees tú", the theme to her last finished acting project, telenovela "Lo Blanco y lo Negro".  In 2000, she accepted a telenovela role in TV Azteca's "Ellas, inocentes o culpables", although she left the production after a month. She returned to Televisa in 2002 for a guest appearance on the situation comedy "La Jaula" with Cesar Bono, Carlos Eduardo Rico, and Sheyla Tadeo.  For her work in television and as a recording artist, D'Alessio has her handprints and star imbedded on the Paseo de las Luminarias in Mexico City.  In 2011, she participated as a critic in several episodes of "Parodiando."  In 2018, she starred her own biography on the mini series Hoy voy a Cambiar, adding another big number one hit together with the song Yo Sigo Aqui.

Lupita D'Alessio (, born Guadalupe Contreras Ramos on March 10, 1954 in Tijuana, Baja California) is a Mexican singer and actress. She is nicknamed "La Leona Dormida" (a title of one of her songs which translates to "The sleeping lioness").

Lupita D’Alessio ("María Guadalupe Contreras Ramos"; * 10. März 1954 in Tijuana), bekannt als "La Leona Dormida", ist eine mexikanische Sängerin und Schauspielerin.