Life.

Jakob Julius David was born the son of a wealthy German-Jewish farmer in Habsburg Moravia. The family soon moved to Fulnek, where the father died. David attended high schools in Kremsier and Opava. Here he fell ill in 1873 severely from typhus, which he was severely limited in his vision. In addition, he has since been hard of hearing. Nevertheless, he began in 1877 in Vienna with a degree in Germanic and history and took an active interest in student life in the capital.  Since he was denied due to his disability, the teaching profession, he worked as a tutor and then as a journalist. Jakob Julius David worked as an editor and journalist, including for the"Viennese fashion,"the"time", the"Monday"Revue,"the Vienna Allgemeine Zeitung", the"Neue Wiener Journal"and the "Wiener Zeitung". He was also a freelance writer.  In 1889 he obtained his Promotion to the doctor of philosophy. He moved from Judaism to Catholicism, but had no great significance because it was still in close contact with Jewish personalities and wrote for Jewish publications, such as the"Austrian weekly", philo-Semitic articles. 1891 David married Julie Ostruska, the marriage produced a daughter. In 1899 he made an extended trip to Italy. Jakob Julius David joined the Masonic Lodge"future"for the magazine"circle"he wrote reviews. In 1905 he was diagnosed with bronchial cancer and died in 1906 at the age of 47 years in Vienna and is on the Vienna's Central Cemetery (group 0, row 1, number 52) buried in a memorial grave.

Artistic creation.

His literary output includes poems, films, tales and drama, where his best and most lasting work is undoubtedly the stories. In his early work reflects the influence of Conrad Ferdinand Meyer s. Many of his novels and short stories deal with his Moravian home or are in the middle-class located milieu of Vienna. Stylistically, Jakob Julius David is judged very differently, and his works are part of the naturalism associated with it, on the other hand, regarded as the representative of literary decadence. Others assign it to the Austrian realism. Although the author is one part of the lesser known writers in Austria, but his stories were issued in the last 20 years, again and again.

Jakob Julius David (6 February 1859 – 20 November 1906) was an Austrian novelist and journalist, born in Mährisch Weißkirchen.

Jakob Julius David (geboren 6. Februar 1859 in Mährisch Weißkirchen, Kaisertum Österreich; gestorben 20. November 1906 in Wien) war ein österreichischer Journalist und Schriftsteller.


Biography.

Canellas, son of a Spanish father and a German mother, was born in Plauen, Saxony, in 1921. After the end of World War II he spent some time in Spain and then moved to Hesse and adopted German citizenship. He became the managing director of a fruit importer in Frankfurt.  In 1964 Canellas became chairman of Kickers Offenbach, a club then playing in the second division Regionalliga Süd. Offenbach won promotion to the Bundesliga in 1968 and 1970 but suffered immediate relegation on both occasions.  The day after the end of the 1970–71 Bundesliga season Canellas invited officials of the German Football Association and the press to his 50th birthday celebration. It was there that he broke the 1971 Bundesliga scandal by replaying voice recordings he had made of attempts to manipulate Bundesliga games through bribes. Earlier attempts to inform the German Association had been ignored by the latter. Canellas stepped down immediately as chairman of Kickers Offenbach and was initially banned for life from holding any office at a German football club but this ban was lifted in 1976. The following scandal took 18-months to clear up and saw 52 players and two managers banned and fined.  Canellas retired from his business in 1974. On a flight from Mallorca to Frankfurt in 1977 the plane he was on, Lufthansa Flight 181, was hijacked by members of the PLO and the hostages were later freed by the German counter-terrorism unit GSG 9 in Mogadishu.  Canellas died of lung cancer after a long illness in Offenbach in 1999.

Horst-Gregorio Canellas (6 June 1921 – 23 July 1999) was a German entrepreneur and football official. Canellas is best known for his role in breaking the 1971 Bundesliga scandal. He was also a hostage on the hijacked German Lufthansa Flight 181 in 1977.

Horst-Gregorio Canellas (* 6. Juni 1921 in Plauen; † 23. Juli 1999 in Offenbach am Main), spanische Schreibweise "Cañellas", war ein deutsch-spanischer Unternehmer und Fußballfunktionär. Als Präsident des damaligen Erstligisten Kickers Offenbach deckte er den ersten Bundesligaskandal im deutschen Profifußball auf.


Early life.

Born in 1128, Constance was the only child of Prince Bohemond II of Antioch and Alice, the second daughter of King Baldwin II of Jerusalem. She was named after her paternal grandmother, Constance of France. Bohemond was killed in a battle at the Ceyhan River in February 1130. After his death, Alice assumed the regency for Constance. According to rumors spreading in Antioch, Alice was planning to send Constance to a monastery or to marry her off to a commoner. Bohemond's cousin, Roger II of Sicily, regarded himself as Bohemond's lawful successor because he was the senior member of the House of Hauteville.  The Antiochene noblemen sent envoys to Baldwin II, urging him to come to the principality, but Alice decided to resist her father. The 12th-century historian, William of Tyre, also accused her of seeking assistance from Imad ad-Din Zengi, Atabeg of Aleppo. According to William of Tyre's account, her envoys were captured by BaldwinII's soldiers, who had meanwhile reached Antioch. Before long, Alice was forced to beg for mercy from her father. He removed Alice from the regency, ordering her to leave Antioch.

Reign.

Childhood.

The Antiochene noblemen acknowledged Baldwin II as regent, swearing fealty to him and Constance. He made Joscelin I, Count of Edessa, her guardian to rule the principality until her marriage. BaldwinII died on August21, 1131, and JoscelinI died a week later.  Alice again laid claim to the regency. However, most Antiochene lords remained hostile to the idea of a female ruler and sent envoys to BaldwinII's successor, Fulk of Anjou, who was Alice's brother-in-law. Alice made an alliance with Joscelin II, Count of Edessa, and Pons, Count of Tripoli, in early 1132. Fulk had to travel to Antioch by sea, because Pons did not allow him to march through the County of Tripoli. Fulk landed at St. Symeon where the Antiochene barons acknowledged him as regent. He appointed Rainald I Masoir, Constable of Antioch, to administer the principality.  Fulk returned to Antioch when Zengi dispatched Sawar, governor of Aleppo, to invade the principality in 1132 or 1133. After defeating the invaders, Fulk entered Antioch. Since the principality needed a firm government, the Antiochene noblemen approached Fulk to select a husband for Constance. He chose Raymond of Poitiers, the younger son of William IX, Duke of Aquitaine. He did not announce his decision in public because he wanted to prevent Alice and RogerII of Sicily from intervening.  Alice's sister, Melisende, Fulk's wife, persuaded Fulk to allow Alice to return to Antioch in 1135. Alice wanted to tighten the relationship of the principality and the Byzantine Empire; therefore, she offered Constance's hand to Manuel, a son of the Byzantine Emperor, John II Komnenos. To prevent the Byzantine marriage, Fulk sent his envoy to France to Raymond of Poitiers to urge him to come to Antioch, which he did, traveling in disguise, because RogerII of Sicily wanted to capture him in southern Italy.

First marriage.

Raymond of Poitiers arrived at Antioch in April 1136. Ralph of Domfront, Latin Patriarch of Jerusalem, made Alice believe that Raymond came to Antioch to marry her instead of her nine-year-old daughter. However, Constance was kidnapped from the palace, and Ralph of Domfront blessed her marriage to Raymond in the cathedral. With the marriage, Raymond became the ruler of the principality, and Alice retired to Lattakieh.  In early 1147 Roger II of Sicily extended an offer to Louis VII of France to transport the French crusaders to the Holy Land during the Second Crusade. Fearing that Roger only wanted to assert his claim to Antioch, LouisVII and his wife Eleanor of Aquitaine (niece of Raymond of Poitiers) declined. Louis and his crusaders came to the principality in March 1148. Before long, rumors spread among the crusaders about a love affair between Raymond and Eleanor. The crusaders tried to convince her husband to launch a campaign against Aleppo, the capital of Nur ad-Din, but LouisVII decided to leave Antioch to Jerusalem, forcing Eleanor to accompany him.

Widowhood.

Raymond was killed in the Battle of Inab during an expedition against Nur ad-Din Zangi on June29, 1149. Since Raymond and Constance's four children were still underage, there was no one to "perform the duties of a prince and raise the people from despair", according to William of Tyre. Nur ad-Din invaded the principality and seized all Antiochene territories to the east of the Orontes River. Aimery of Limoges, Latin Patriarch of Antioch, directed the defense, but most noblemen preferred a secular ruler. After learning of Raymond's fate, Constance's cousin, Baldwin III of Jerusalem, hurried to Antioch and assumed the regency. He also concluded a truce with Nur ad-Din.  Baldwin III returned to Antioch in summer 1150. He wanted to persuade Constance to remarry, proposing three candidates (Yves, Count of Soissons, Walter of Saint Omer, and Ralph of Merle), but she declined. Urged by BaldwinIII, Constance went to Tripoli in early 1152 to meet him and her two aunts, Melisende and Hodierna. The two ladies tried to persuade Constance to choose among the three candidates, but she returned to Antioch without making a promise to remarry. According to William of Tyre, Patriarch Aimery convinced Constance to resist, because he wanted to control the government of the principality. The Byzantine Emperor ManuelI Komnenos sent his widowed brother-in-law, the middle-aged John Rogerios Dalassenos, to Antioch to marry Constance. However, because of his age, she "regarded him with displeasure", according to the contemporaneous John Kinnamos, and refused to marry him.  Historian Steven Runciman says that Constance may have refused the candidates proposed by BaldwinIII and ManuelI because she had met Raynald of Châtillon, a knight from France. Even though William of Tyre described Raynald as a "knight of common sort", Constance decided to marry Raynald. Their betrothal was kept secret because Constance wanted to obtain BaldwinIII's permission for the marriage.

Second marriage.

After Baldwin sanctioned the marriage, Constance and Raynald married in early 1153. Raynald took charge of the administration of the principality. However, he was unpopular because his subjects regarded him as an upstart. His frequent attempts to raise funds brought him into conflict with Patriarch Aimery and Emperor ManuelI during the subsequent years. The emperor forced Raynald to pay homage to him in the spring of 1159. Raynald was captured and imprisoned by Majd al-Din, governor of Aleppo, during a plundering raid in November 1160 or 1161.  After her husband fell into captivity, Constance announced her intention to administer the principality, but most Antiochene noblemen preferred a male ruler. BaldwinIII of Jerusalem hurried to Antioch and declared Constance's fifteen-year-old son, Bohemond III, the lawful prince, charging Patriarch Aimery with the administration of the principality. Constance did not accept Baldwin's decision and protested against it to Emperor Manuel.  Manuel dispatched his nephew, Alexios Bryennios Komnenos, and John Kamateros to Antioch to begin negotiations about his marriage to Constance's daughter, Maria. The marriage contract was signed and the emperor's delegates confirmed Constance's position as the ruler of the principality. BaldwinIII, who came to Antioch to meet the imperial envoys, did not protest.  Constance's son, Bohemond, reached the age of majority in 1163. To strengthen her position against her son, Constance sought assistance from Constantine Kalamanos, Byzantine governor of Cilicia. However, the Antiochene barons made an alliance with Thoros II of Cilician Armenia and forced her to leave Antioch. After Constance's removal, BohemondIII took control of the principality. Before long, Constance died, probably in Lattakieh or Byblos, according to Steven Runciman.

Family.

Constance's first husband, Raymond of Poitiers, was the second son of William IX, Duke of Aquitaine and his second wife, Philippa of Toulouse. He was born in 1114. According to William of Tyre, Constance was left with "two sons and as many daughters still underage" when her husband died in 1149. Their elder son, Bohemond, was five at the time of Raymond's death. He seized Antioch from his mother in 1163. Constance and Raymond's eldest daughter, Maria, who was born in the late 1140s, was famed for her beauty. She married the Byzantine Emperor Manuel I Komnenos in 1161. Her younger sister, Philippa of Antioch, was given in marriage to Humphrey II of Toron in the late 1160s.  Whether the father of Constance's second son, Baldwin, was Raymond of Poitiers or Raynald of Châtillon cannot be determined with certainty. Baldwin died fighting at the head of a Byzantine cavalry regiment in the Battle of Myriokephalon on September17, 1176. It is certain that Raynald fathered Agnes, who became the wife of Béla III of Hungary. Raynald and Constance's second daughter, Alice, became the third wife of Azzo VI of Este in 1204.

Further reading.

Constance of Hauteville (1128–1163) was the ruling Princess of Antioch from 1130 to 1163. She was the only child of Bohemond II of Antioch by his wife, Alice of Jerusalem. Constance succeeded her father at the age of two, after he fell in battle, although his cousin, Roger II of Sicily, laid claim to Antioch. Her mother assumed the regency, but the Antiochene noblemen replaced her with her father (Constance's grandfather), Baldwin II of Jerusalem. After he died in 1131, Alice again tried to take control of the government, but the Antiochene barons acknowledged the right of her brother-in-law, Fulk of Anjou, to rule as regent for Constance.

Konstanze (* 1127; † nach 1163, vor 1167) war Fürstin von Antiochia von 1130 bis zu ihrem Tod. Sie war die einzige Tochter des Fürsten Bohemund II. und dessen Frau Alice von Jerusalem, einer Tochter des Königs Balduin II.


Taxonomy.

The species was first described in 1876 by Julius von Haast, director of the Canterbury Museum, Christchurch, New Zealand. He named it after the British taxonomist John Edward Gray, a zoologist at the British Museum. His description was based on three skulls he had received in May 1875 from a William Hood, Esq., who had retrieved them from three specimens that were part of a group of 28 individuals that had stranded on Waitangi Beach, Chatham Island, in the summer of 1874-75.

Description.

Gray's beaked whale is a fairly slender member of the genus. The melon on the whale bulges towards the blowhole and slopes down towards the beak. The beak itself is very long and pointed for a beaked whale, and has a relatively straight mouth line. In both sexes, 17–22 small teeth per row located towards the back of the mouth have been reported, but not confirmed. In males, two small, triangular teeth are present halfway down the mouth. The overall coloration is dark on top and light below, and both sexes have a white beak. Females are lighter on top and have additional white markings near the genitals. Adult males often carry linear scars that probably result from fighting, and both males and females may display circular scars from cookiecutter shark bites. "M. grayi" are long and weigh around. They are believed to be around long when born.

Behavior.

Gray's beaked whale is very gregarious. It has a tendency to strand in large groups, once involving 28 individuals. Other strandings involved five to eight animals. The upper teeth may be used in holding prey, but why only this species has them is not clear.  Gray's beaked whale is said to be the most common species of whale to beach in New Zealand. Two whales that stranded themselves on Opape Beach in the Bay of Plenty, New Zealand, in December 2010, were initially thought to be Gray's beaked whales, but later found to be the very rare spade-toothed whale.

Population and distribution.

This species typically lives in the Southern Hemisphere between 30 and 45°, and is typically observed at depths of. Many strandings have occurred off New Zealand, but others have happened off Australia, South Africa, South America, and the Falkland Islands. This species has been sighted in groups off the coast of Madagascar and in the Antarctic area. Oddly, one specimen stranded off the Netherlands, in a different hemisphere and several thousand miles away from all other strandings. No population estimates exist, but they are believed to be rather common.

Conservation.

These whales have not been hunted deliberately and they have not been entangled in fishing gear. Gray's beaked whale is included in the Memorandum of Understanding Concerning the Conservation of the Manatee and Small Cetaceans of Western Africa and Macaronesia (Western African Aquatic Mammals MoU) and the Memorandum of Understanding for the Conservation of Cetaceans and Their Habitats in the Pacific Islands Region (Pacific Cetaceans MoU)

Gray's beaked whale ("Mesoplodon grayi"), sometimes known as Haast's beaked whale, the scamperdown whale, or the southern beaked whale, is one of the better-known members of the genus "Mesoplodon". This species is fairly gregarious and strands relatively frequently for a beaked whale. In the Māori language, this species is called "hakurā" or "iheihe".

Der Camperdown-Wal ("Mesoplodon grayi"), auch als Gray-Zweizahnwal bezeichnet, ist eine Walart aus der Familie der Schnabelwale (Ziphiidae). Durch seine lange Schnauze und die Zähne im Oberkiefer unterscheidet er sich von den anderen Vertretern der Gattung der Zweizahnwale ("Mesoplodon").


Initial activity.

Otpor was formed in Belgrade on 10 October 1998 in response to a controversial piece of legislation in Serbia — the university law — introduced earlier that year by the Serbian government under Prime Minister Mirko Marjanović. Also, days before Otpor got announced, the government introduced a decree (uredba) outlining special measures in the wake of the ongoing NATO bombing threat. Citing the decree, on 14 October 1998, the government's Ministry of Information headed by Aleksandar Vučić banned the publishing of "Dnevni telegraf", "Danas", and "Naša borba", three Belgrade dailies which were critical of the government to varying degrees.  The newly formed group named Otpor mostly consisted of the Demokratska omladina (Democratic Party's youth wing) members, activists of the various NGOs that operated in Serbia, and students from the two public universities in Belgrade — University of Belgrade and University of Arts. It quickly grew from a small group into a network of similarly politically minded young people, many of whom were already veterans of anti-Milošević demonstrations such as the 1996-97 protests and the 9 March 1991 protest. With the political opposition in Serbia in disarray, Otpor decided to build a broad political movement rather than a traditional NGO or political party. Frustrated with opposition leaders protecting their narrow personal and party interests, which often degenerated into infighting, the group also decided that "it would have no leaders".  Early on, Otpor defined its objectives and methods, including an account of what it saw as the main problems of the country, in the "Declaration of the Future of Serbia." The declaration was signed and supported by all prominent student organizations in Serbia. An advisory body was set up and its members became the main promoters of the declaration.  Initially, Otpor's activities were limited to the University of Belgrade. In an effort to gather new nonpartisan energy, not to mention making it harder for state media to discredit and smear them as just another opposition political group, Otpor avoided publicizing its ties to the Democratic Party (DS) even though the two organizations held similar political goals and shared many of the same members. Early on they agreed the organization's symbol to be the clenched fist. Young designer Nenad "Duda" Petrović created the logo.

Four students get arrested for stenciling Otpor logo.

The authorities' immediate reaction to the appearance of Otpor was extremely heavy-handed, even before the movement held any public gatherings. In the early morning hours of Wednesday, 4 November 1998, four students — 22-year-old Teodora Tabački (enrolled at the University of Belgrade's Faculty of Philosophy), Marina Glišić (22, Faculty of Philosophy), Dragana Milinković (22, Faculty of Philology), and Nikola Vasiljević (19, University of Arts' FDU) — were arrested for stencil spraying the clenched fist symbol on the UofB's Faculty of Mathematics building facade. Later that same day, after reportedly being intimidated into signing a pre-typed, joint statement of guilt, the four students were taken

"Dnevni telegraf" gets fined for publishing an Otpor ad.

The organization gained further prominence when the "Dnevni telegraf" (daily tabloid owned and edited by Slavko Ćuruvija) 7 November issue appeared on newsstands with Otpor's ad featuring the clenched fist symbol on the front page. The paper had previously been banned for "spreading defeatism by running subversive headlines", a punishment meted out under the controversial new government decree. And though the

Veran Matić wears Otpor t-shirt during MTV Europe Awards live broadcast.

Several days later, on Thursday, 12 November, another instance of Otpor's public exposure occurred — this time at the 1998 MTV Europe Music Awards ceremony in Assago near Milan where Radio B92 was the recipient of the Free Your Mind award. Accepting the award presented by Michael Stipe, Peter Buck, and Mike Mills of R.E.M. during live broadcast, B92 head Veran Matić came out on stage in an Otpor T-shirt with inscription "Живи Отпор!" (Live the Resistance) above the clenched fist logo. In his acceptance speech, delivered in Serbian, Matić explicitly mentioned the four students that were arrested and sentenced the previous week.  The awards ceremony was carried live in Serbia on TV Košava, a station owned at the time by Milošević's daughter Marija. However, when it came time for the Free

Organization grows into a movement.

Otpor next managed to bring opposition parties together and mobilize the population of Serbia against Milošević. It stressed the importance of mobilizing the population to vote, but also promoted "individual resistance" (i.e. nonviolent methods of civic disobedience in order to counter possible electoral fraud). This strategy was slowly embraced by the opposition parties in the months to come.  The strategy was based on two assumptions:  By fall 1999 and early 2000, the Serbian opposition political parties, most notably the Democratic Party and the Serbian Renewal Movement (SPO), realized the potency of Otpor's methods and the resonance of its message with the youth. Thus began the battle for control of Otpor between DS and SPO. Since both parties already had a significant number of their youth wing members within Otpor, this trend continued on a large scale with both DS and SPO (and other opposition parties as well) instructing their local chapters throughout Serbia to recruit party youth members en masse into Otpor. As a result, Otpor's membership swelled into tens of thousands.  Otpor's unified message and diverse membership proved much more attractive to young activists than

Strategy and tactics.

Principles of the movement.

Otpor operated on the basis of three principles: unity,

Examples of specific campaigns.

Humor was the basis of Otpor's campaigns; it used irony to provoke the government and motivate Serbians to join the movement. The following are specific campaigns designed by Otpor in 1998-2000  A Dinar for Change: Otpor activists painted Milošević's face on a barrel and set up in front of the Belgrade National Theater, asking passersby to pay one Yugoslav dinar to hit the portrait. The activists went to the sidelines and watched as the barrel attracted more and more attention. Police eventually confiscated the barrel.  Happy Birthday Milošević: Activists in Niš created this event to "celebrate" Milošević's party with a cake, a card, gifts, and wishes. More than 2,000 citizens had the opportunity to sign the card, and gifts such as handcuffs, a one-way ticket to the Hague, and a prison uniform were received on his behalf.  The Fist is the Salute: A poster campaign depicting many well-known Serbians raising their fists in

Post-Milošević.

In the immediate months following 5th October Overthrow, Otpor members were suddenly the widely praised heroes throughout FR Yugoslavia as well as in the eyes of Western governments. From the wide range of local celebrities and public figures seeking positive attention by wearing Otpor T-shirts, to Partizan basketball club painting the Otpor logo in the center circle for their FIBA Suproleague game, the clenched fist was omnipresent. This widespread popularity inspired even some individuals tied to the former government to become involved with the DOS authorities by praising Otpor and its activities.  The pop-culture component of Otpor's activities became especially pronounced in this period. On 16 November, little over a month after the overthrow, Otpor received the Free Your Mind award at the 2000 MTV Europe Music Awards. Activists Milja Jovanović and Branko Ilić were on hand in Stockholm to accept the award presented to them by French actor Jean Reno. Back home a couple of days later, FR Yugoslavia's foreign minister Goran Svilanović held a reception for Otpor's delegation consisting of Milja Jovanović, Ivan Andrić, and Nenad Konstantinović in order to congratulate them on the MTV award. Then, in early December, Serbian singer-songwriter Đorđe Balašević held a concert in Belgrade's National Theater specifically for and in praise of Otpor members, which was televised nationally on RTS2. The movement even turned to concert promotion itself, organizing several Laibach gigs in Belgrade.  In the midst of all the praise and adulation, the movement promised to keep on. Otpor initially attempted to establish itself in a "watch dog" role after the revolution by launching campaigns holding the new government accountable, pressing for democratic reforms, and fighting corruption. It started weeks after the revolution with "Samo vas gledamo" (We're Watching You) campaign, sending the message of accountability to new authorities. In parallel, by November 2000, with the upcoming December 2000 parliamentary elections, launched two campaigns named "Overi" (Verify It) and "Upotrebi ga" (Use It). Though some already questioned the movement's raison d'être, the idea behind both was to encourage the electorate to "verify" the 5 October revolution by voting against the parties that were part of the government - the Socialist Party of Serbia (SPS) and the Serbian Radical Party (SRS) - at the upcoming constituent republic-level parliamentary election.  In 2001, the corruption monitoring becoming the new focus with several new anti-corruption campaigns started ("Bez anestezije", etc.), but it was clear that Otpor experienced problems staying relevant on the transformed political scene of Serbia and FR Yugoslavia.

Otpor leaders after Otpor.

Though its members often proudly talked of the movement's "horizontal command hierarchy" and its lack of established leadership structure, Otpor still exhibited a top-down organizational model with several members from its Belgrade central office clearly asserting themselves as the main decision makers. Their involvement in Otpor served as a springboard to Serbian political, business, and NGO careers.

Srđa Popović and Ivan Marović.

In terms of media exposure, Srđa Popović is Otpor's best known member. He features prominently in Western television news items and documentaries about the movement such as the BAFTA-winning feature documentary "How to Start a Revolution" and PBS' "Bringing Down A Dictator" as well as numerous international print and Internet media pieces about the direct and indirect influence of former Otpor members on various post-2000 revolutions around the globe.  Shortly after 5 October 2000 revolution, he left Otpor to pursue a political career in Serbia, becoming a Democratic Party (DS) MP in the Serbian assembly as well as an environmental adviser to prime minister Zoran Đinđić. In essence, it was 27-year-old Popović's return to the DS since he was active in the party's youth wing since the early

Slobodan "Cole" Homen and Nenad "Neca" Konstantinović.

Unlike Popović and Marović, Slobodan Homen mostly kept behind the scenes while at Otpor. Born to affluent parents - prominent Belgrade lawyers Borivoje Homen and Dušanka Subotić - young Slobodan was raised in privileged circumstances. During his days studying law, before becoming one of Otpor's founding members, he was the president of the University of Belgrade's student parliament. Described by sources quoted in the Serbian media as Otpor's "alpha and omega" during the movement's heyday in the spring and summer of 2000, Homen and his cousin Nenad Konstantinović handled everything from money to transportation. Homen was also the main point of contact for the foreign-based organizations that donated significant funds to Otpor. Otpor's headquarters was owned by Homen's family. Some accused Homen of an obvious conflict of interest in this situation after allegations appeared that his family actually rented out the space to Otpor, which was paying for it with the money from the incoming donations.  After

Slobodan Đinović.

During his Otpor days, Slobodan Đinović, leader of the student organization at the University of Belgrade's Faculty of Mechanical Engineering, founded an NGO called the Center for Political Analysis (CPA). The idea behind the venture was to set up an organization ready to become an alternative source for disseminating information in case Milošević shut down all the non-governmental media outlets.  Soon after Milošević fell, Đinović founded Media Works, the first Wi-Fi provider in Serbia. Center for Political Analysis eventually folded as Đinović

Ivan Andrić and Dejan Ranđić.

The creative presence behind many of Otpor's visuals and media campaigns was Ivan Andrić. After the revolution, he left the movement for politics, joining the Civic Alliance of Serbia (GSS) and becoming managing board member of the state-owned Belgrade Youth Center. He later joined the Liberal Democratic Party

Legacy.

In addition to contributing to Slobodan Milošević's overthrow, Otpor has become the model for similar youth movements around Eastern Europe. MTV granted Otpor the Free Your Mind award in 2000. There were several award-winning documentaries made about the movement, most notably "Making of The Revolution" by Eric Van Den Broek and Katarina Rejger (launched at the Amnesty International Film Festival in 2001) and "Bringing Down A Dictator" by Steve York, which won a Peabody Award in 2002, narrated by Martin Sheen. It has reportedly been seen by over 23 million people around the world.  Otpor members were instrumental in inspiring and providing hands-on training to several other civic youth organizations in Eastern Europe and elsewhere, including Kmara in the Republic of Georgia (itself partly responsible for the downfall of Eduard Shevardnadze), Pora (black) (which was part of the Orange Revolution) and Vidsich (opposing the president Viktor Yanukovych) in Ukraine, Zubr in Belarus (opposing the president Alexander Lukashenko), MJAFT! in Albania, Oborona in Russia (opposing the president Vladimir Putin), KelKel in Kyrgyzstan (active in the revolution that brought down the president Askar Akayev), Bolga in Uzbekistan (opposing Islam Karimov) and in Lebanon. A similar group of students was present in Venezuela against Hugo Chávez. In 2008, an April 6 Youth Movement was founded in Egypt, which facilitated and joined the 2011 Egyptian protests, and took advice from Otpor in the process.  In 2002, some former Otpor members, most notably Slobodan Đinović and Srđa Popović, founded the Centre for Applied Nonviolent Action and Strategies (CANVAS). This NGO disseminated the lessons learned from their successful nonviolent struggle through scores of trainings and workshops for pro-democracy activists and others around the world, including in Egypt, Palestine, Western Sahara, West Papua, Eritrea, Belarus, Azerbaijan, Tonga, Burma and Zimbabwe as well as labor, anti-war, and immigration rights activists in the United States.  In their search for lessons learned from other activist movements, the April 6 Youth Movement in Egypt consulted with Otpor members and adopted some of their strategies in their rallying for the 2011 Egyptian revolution.  In interviews, the leaders and consultants of Otpor have described their involvement in the planning, coordination and implementation of the 2011 "Arab spring" revolutions.  Otpor was an inspiration for SQUELCH!, a satirical political party in the University of California, Berkeley's student government.

Otpor (,, stylized as Otpor!) was a political organization in Serbia (then part of FR Yugoslavia) from 1998 until 2004.

Otpor! (, dt. "Widerstand!") war eine serbische Organisation, seit 2000 auch Partei, die bei politischen Umwälzungen durch sogenannte "Farbrevolutionen" in Osteuropa (Ukraine) und im Transkaukasus (Georgien) aktive Unterstützung für Oppositionsparteien und -gruppen leistete. Auch die Jugendbewegung des 6. April, eine der Initiatoren der ägyptischen Revolution von 2011, hatte Kontakt zu Otpor und ließ sich von ihr inspirieren.


Location.

The 1966 Eurovision Song Contest was hosted in Luxembourg City. The venue chosen to host the 1966 contest was the Villa Louvigny, which also hosted the Eurovision Song Contest 1962. The building served as the headquarters of Compagnie Luxembourgeoise de Télédiffusion, the forerunner of RTL Group. It is located in Municipal Park, in the Ville Haute quarter of the centre of the city.

Format.

During the voting process, the presenter (Josiane Chen) accidentally greeted United Kingdom by saying "Good night, London". She then realized her mistake and said "Good evening, London", after Michael Aspel, who was the spokesperson for the United Kingdom, at that time, responded by saying "Good morning, Luxembourg".  1966 marked the year the first ever black singer graced the Eurovision stage, Milly Scott representing the Netherlands. She was also the first singer to use a portable microphone. This was the last contest that Denmark participated in until 1978, more than a decade later.  It was also one of the first contests in which an entry was not accompanied by an orchestra. The Italian entry "Dio, come ti amo" performed by Domenico Modugno had been rearranged since its performance at the Sanremo Music Festival and officially broke the EBU rule that stated the arrangement should be finalised well in advance. During the Saturday afternoon rehearsal Modugno performed the new arrangement with three of his own musicians as opposed to the orchestra, which went over the three minute time limit. Following his rehearsal Modugno was confronted by the show's producers about exceeding the time limit and was asked to use the original arrangement with the orchestra. Modugno was so dissatisfied with the orchestra that he threatened to withdraw from the Contest. Both the producers and EBU scrutineer Clifford Brown felt it was too short notice to fly Gigliola Cinquetti to Luxembourg to represent Italy, so the EBU gave in and allowed Modugno to use his own ensemble instead of the orchestra. Despite websites and the official programme listing Angelo Giacomazzi as the conductor, Giacomazzi actually played the piano for the entry.  This year's voting was also characterised with numerous cases of "neighbourly" or "bloc" voting - a problem that would plague the contest in many future decades. Sweden for example received all its 16 points, bar one, from its Nordic neighbours - as did Finland. Denmark likewise received all its points from Nordic nations. The voting of the Nordic countries was met with booing from the Luxembourg audience. Portugal and its sole neighbour Spain exchanged maximum five points, with Switzerland and Austria - also two countries neighbouring each other - doing likewise. France was spared the indignity of no points from its micro-state neighbour Monaco. Ireland awarded maximum points to its culturally closest neighbour the United Kingdom with the Netherlands doing the same for Belgium.

Participating countries.

All countries which participated in the 1965 contest returned for a second consecutive year.

Conductors.

Each performance had a conductor who was maestro of the orchestra.

Returning artists.

Two artists returned for a third time in this year's contest. Udo Jürgens from Austria whose previous participations were in 1964 and 1965; and Domenico Modugno from Italy, who last participated in 1958 and 1959.

Scoreboard.

5 points.

Below is a summary of all 5 points in the final:

International broadcasts and voting.

The table below shows the order in which votes were cast during the 1966 contest along with the spokesperson who was responsible for announcing the votes for their respective country. Each national broadcaster also sent a commentator to the contest, in order to provide coverage of the contest in their own native language. Details of the commentators and the broadcasting station for which they represented are also included in the table below.

The Eurovision Song Contest 1966 was the 11th edition of the annual Eurovision Song Contest. It took place in Luxembourg City, Luxembourg, following France Gall's win at the 1965 contest in Naples, Italy with the song "Poupée de cire, poupée de son". It was the second time Luxembourg hosted the event after the 1961 edition. The contest was held at the Villa Louvigny on Saturday 5 March 1966 and was hosted by Josiane Chen.

Der 11. Grand Prix Eurovision de la Chanson Européenne, so der offizielle Titel in diesem Jahr, fand am 5. März 1966 in Luxemburg statt, da die Vorjahressiegerin France Gall für dieses Land angetreten war.


Early life.

Gustav Wilhelm Hermann Scholz was born to a blacksmith and a housewife in Berlin. In 1944 he began an apprenticeship as a mechanic, and after the end of the Second World War he was trained as chef.

Career.

In 1947, Scholz attended a boxing school in Berlin. On 8 October 1948, he was a last-minute replacement for a professional match against Werner Eichler, though he had not previously competed as an amateur, and he won the fight. Eicher was injured so badly that he had to postpone his wedding which was scheduled to be held the next day. Scholz logged his first defeat on 10 March 1958 against Charles Humez.  On 19 May 1951, Scholz won a points victory against defending champion Walter Schneider and became the German champion in the welterweight category for the first time. He defended his title successfully against Charles Oechsle and Leo Starosch in 1952. At the end of 1952, Scholz put his championship title in the welterweight division and stepped down from the middleweight category. In 1954 he appeared in Madison Square Garden in his first U.S. match, defeating American boxer Al Andrews. In 1955 he was diagnosed with tuberculosis, which forced him to take a one and a half year sabbatical.  After recovering from his illness, he won a knockout match against defending champion Peter Müller in a 29 June 1957 German middleweight championship. He defended the title with another knockout victory in May 1958 against Max Resch. On 4 October 1958, he defeated Charles Humez in Berlin's Olympiastadion by technical knockout in the 12th round, and thus won the European Championship in the middleweight division. Humez announced his retirement on 18 January 1989. Scholz successfully defended both titles against Hans Werner Wohlers (by point victory in July 1959) and against Peter Müller (by technical knockout in the first round in November 1959). He successfully defended his European title against Andre Drille in December 1959. In the same year, he published the book "Ring Free" with memories of the beginnings of his career.  In 1961 Scholz put down his two middleweight title and moved to the light heavyweight division. In this class, he lost a fight against Harold Johnson for the championship on 23 June 1962, but on 4 April 1964, he won the European light heavyweight championship against defending champion Giulio Rinaldi. After that, Scholz finished his boxing career.  Between 1948 and 1964 Scholz had a total of 96 fights, of which he won 88, including 46 by knockout; only two times he lost, both on points. His success as a boxer earned him great popularity in Germany, especially in the 1950s and 1960s when he was compared to Max Schmeling, the most prominent boxing star of Germany.  His success in boxing brought him a short-lived career in the entertainment industry. He appeared in 1960 as Boxer Breitenbach in the television production "The Champion Boxer". That same year, he played the role of Ralf Moebius in Paul Martin's musical comedy "Marina". In the "Music Film Hit Parade 1961" by Franz Marischka, he was known as Ralf Hegener. In 1959 and 1962 he collaborated with the Werner Müller orchestra and the vocal group The 3 Travellers at Telefunken and Metronomes, and released three music singles.

1965-1984.

Following his career as a professional boxer, Scholz opened the advertising agency Zühlke and Scholz in Berlin, trying to build on his popularity as an athlete. In 1971 he was seen in a supporting role as a police officer in Thomas Engel's teleplay "Lucky". In 1977 he made a guest appearance as a boxing coach in the 20th episode of the TV comedy series "Odds and Ends". In 1980 he published his autobiography, "The Way Out of Nowhere", but received negative publicity in those years due to his drinking habits.

1984-2000.

On the evening of 22 July 1984, Scholz shot his 49-year-old wife Helga, whom he had married in 1955, in their Berlin villa. He was arrested the following day. Helga was buried two weeks later in the presence of approximately 1,000 people. Scholz claimed the shooting was an accident and that the "shot had been loosened during the cleaning of the gun". On 1 February 1985, the court sentenced him to custodial arrest for three years on the charge of manslaughter and violation of the Arms Act of Germany. The case was the subject of an episode of the documentary series "The Major Criminal Cases" in 2012. Scholz was released in August 1987.  In October 1993, Scholz married Sabine Arndt. During 1997-98, he suffered several strokes, and developed dementia. He tried to commit suicide twice. He had also been diagnosed with Alzheimer's disease. He died of cardiac arrest on 21 August 2000 at a nursing home in Hoppegarten. He was buried in the Woodland Cemetery in Zehlendorf, Berlin. His widow Sabine married actor Klaus Jürgen Wussow in 2004. In August 2008, at the request of Sabine, Scholz's body was reburied at the Berlin Cemetery highway.

"The Bubi Scholz Story".

In 1997-98, director Roland Suso Richter filmed "The Bubi Scholz Story" for television from a screenplay by Uwe Timm, with Benno Fürmann in the role of young Scholz and Götz George playing the adult Scholz. Scholz himself could not attend the premiere of the film in May 1998 due to his poor health. This was Fürmann's breakthrough starring and he received the German TV Award as Best Actor in a telefilm, for the role of Scholz.

Gustav Wilhelm Hermann "Bubi" Scholz (12 April 1930 – 21 August 2000) was a German boxer. He was popularly called Bubi. In the 1950s and early 1960s he won the German National Boxing Championship and European Boxing Championship several times. After his retirement in 1964, he acted in six films and several TV series. Scholz married twice, and was imprisoned for three years on charges of murdering his first wife. He developed dementia and was diagnosed with Alzheimer's disease in his later life. He attempted suicide twice and died at the age of 70 due to cardiac arrest.

Gustav Wilhelm Hermann „Bubi“ Scholz (* 12. April 1930 in Berlin; † 21. August 2000) war ein deutscher Boxer. In den 1950er und frühen 1960er Jahren war er mehrfach Deutscher Meister und Europameister verschiedener Gewichtsklassen.


Characters.

The main characters are anthropomorphic animals. The given names of the animals are of Old High German in origin, most of them were in common use as personal names in medieval Lorraine.

In medieval European folklore and literature.

The figure of Reynard is thought to have originated in Lorraine folklore from where it spread to France, Germany, and the Low Countries. An extensive treatment of the character is the Old French "Le Roman de Renart" written by Pierre de Saint-Cloud around 1170, which sets the typical setting. Reynard has been summoned to the court of king Noble, or Leo, the lion, to answer charges brought against him by Isengrim the wolf. Other anthropomorphic animals, including Bruin the bear, Baldwin the ass, and Tibert (Tybalt) the cat, all attempt one stratagem or another. The stories typically involve satire whose usual butts are the aristocracy and the clergy, making Reynard a peasant-hero character. The story of the preaching fox found in the Reynard literature was used in church art by the Catholic Church as propaganda against the Lollards. Reynard's principal castle, Maupertuis, is available to him whenever he needs to hide away from his enemies. Some of the tales feature Reynard's funeral, where his enemies gather to deliver maudlin elegies full of insincere piety, and which feature Reynard's posthumous revenge. Reynard's wife Hermeline appears in the stories, but plays little active role, although in some versions she remarries when Reynard is thought dead, thereby becoming one of the people he plans revenge upon. Isengrim (alternate French spelling: "Ysengrin") is Reynard's most frequent antagonist and foil, and generally ends up outwitted, though he occasionally gets revenge.

"Ysengrimus".

Reynard appears first in the medieval Latin poem "Ysengrimus", a long Latin mock-epic written c. 1148–1153 by the medieval poet Nivardus, that collects a great store of Reynard's adventures. He also puts in an early appearance in a number of Latin sequences by the preacher Odo of Cheriton. Both of these early sources seem to draw on a pre-existing store of popular culture featuring the character.

"Roman de Renart".

The first "branch" (or chapter) of the "Roman de Renart" appears in 1174, written by Pierre de St. Cloud, although in all French editions it is designated as "Branch II". The same author wrote a sequel in 1179—called "Branch I"—but from that date onwards, many other French authors composed their own adventures for Renart "li goupil" ("the fox"). There is also the text "Reinhard Fuchs" by Heinrich der Glïchezäre, dated to 1180.  Pierre de St. Cloud opens his work on the fox by situating it within the larger tradition of epic poetry, the fabliaux and Arthurian romance:

"Van den vos Reynaerde".

A mid-13th-century Middle Dutch version of the story by Willem die Madoc maecte ("Van den vos Reynaerde", Of Reynaert the Fox), is also made up of rhymed verses (the same AA BB scheme). Like Pierre, very little is known of the author, other than the description by the copyist in the first sentences:  "Madocke" or "Madoc" is thought to be another one of Willem's works that at one point existed but was lost. The "Arnout" mentioned was an earlier Reynard poet whose work Willem (the writer) alleges to have finished. However, there are serious objections to this notion of joint authorship, and the only thing deemed likely is that Arnout was French-speaking ("Walschen" in Middle Dutch referred to northern French-speaking people, specifically the Walloons). Willem's work became one of the standard versions of the legend, and was the foundation for most later adaptations in Dutch, German, and English, including those of William Caxton, Goethe, and F. S. Ellis.

Chaucer.

Geoffrey Chaucer used Reynard material in the "Canterbury Tales"; in "The Nun's Priest's Tale", Reynard appears as "Rossel" and an ass as "Brunel".

Early modern tradition.

In 1481, the English William Caxton printed "The Historie of Reynart the Foxe", which was translated from "Van den vos Reynaerde". Also in the 1480s, the Scottish poet Robert Henryson devised a highly sophisticated development of Reynardian material as part of his "Morall Fabillis" in the sections known as "The Talking of the Tod". Hans van Ghetelen, a printer of Incunabula in Lübeck printed an early German version called "Reinke de Vos" in 1498. It was translated to Latin and other languages, which made the tale popular across Europe. Reynard is also referenced in the Middle English poem "Sir Gawain and the Green Knight" during the third hunt.  Tybalt in Shakespeare's "Romeo and Juliet" is named after the cat in Reynard the Fox (and is called 'Prince of Cats' by Mercutio in reference to this). Jonson's play "Volpone" is heavily indebted to Reynard.

Modern treatment.

19th century.

"Reinecke Fuchs" by Goethe is a poem in hexameters, in twelve parts, written 1793 and first published 1794. Goethe adapted the Reynard material from the edition by Johann Christoph Gottsched (1752), based on the 1498 "Reynke de vos".  In Friedrich Nietzsche's "The Twilight of the Idols", Nietzsche uses Reynard the Fox as an example of a dialectician.  German artist Johann Heinrich Ramberg made a series of 30 drawings which he also etched and published in 1825.  "Renert" [full original title: "Renert oder de Fuuß am Frack an a Ma'nsgrëßt"], was published in 1872 by Michel Rodange, a Luxembourgeois author. An epic satirical work—adapted from the 1858 Cotta Edition of Goethe's fox epic "Reineke Fuchs" to a setting in Luxembourg— it is known for its insightful analysis of the unique characteristics of the people of Luxembourg, using regional and sub-regional dialects to depict the fox and his companions.

20th- and 21st-century literature.

Fedor Flinzer illustrated "Reineke Fuchs" ("Reynard the Fox") for children.  French artist Rémy Lejeune (Ladoré) illustrated "Les Aventures de Maître Renart et d'Ysengrin son compère", "Bibliolâtres de France" editions (1960)

Dutch antisemitic version (1937).

"Van den vos Reynaerde" (Of Reynaert the Fox) was an anti-Semitic children's story, written by the Belgian-born Dutch politician Robert van Genechten, and named after the Middle Dutch poem. It was first published in 1937 in "Nieuw-Nederland", a monthly publication of the Dutch Nazi Party's front, the NSB. In 1941 it was published as a book.  The story features a rhinoceros called Jodocus, somewhat akin to the Dutch word "jood" (which means "jew"); and a donkey, Boudewijn, who occupies the throne. "Boudewijn" was the Dutch name for the contemporary real-world Belgian crown prince. In the story, Jodocus is an outsider who comes to the Empire and subsequently introduces new ideas that drastically alter the natural order. The land is then declared a "Republic", where "liberty, equality and fraternity" are to be exercised, presenting a dystopian view of a socialist republic: "There was no one who kept to the rules of the race. Rabbits crept into foxholes, the chickens wanted to build an eyrie." Eventually, Reynard and the others trick and kill Jodocus and his colleagues.  "Van den vos Reynaerde" was also produced as a cartoon film by Nederlandfilm in 1943, mostly financed with German money. While lavishly budgeted, it was never presented publicly, possibly because most Dutch Jews had already been transported to the concentration camps and the film came too late to be useful as a propaganda piece, possibly also because the Dutch collaborationist Department of People's Information, Service and Arts objected to the fact that the fox, an animal traditionally seen as "villainous", should be used as a hero. In 1991, parts of the film were discovered in the German "Bundesarchiv". In 2005, more pieces were found, and the film has been restored. The reconstructed film was shown during the 2006 Holland Animation Film Festival in Utrecht and during the KLIK! Amsterdam Animation Festival in 2008, in the Netherlands.

In movies and television.

Ladislas Starevich's 1930 puppet-animated feature film "Le Roman de Renard" (The Tale of the Fox) featured the Reynard character as the protagonist. The documentary film "" (1962) parallels Hitler's rise to power with the Reynard fable.  Initially, Walt Disney Animation Studios considered a movie about Reynard. However, due to Walt Disney's concern that Reynard was an unsuitable choice for a hero, the studio decided to make Reynard the antagonist of a single narrative feature film named "Chanticleer and Reynard" (based on Edmond Rostand's "Chanticleer") but the production was scrapped in the mid-1960s, in favor of "The Sword in the Stone" (1963). Ken Anderson used the character designs for "Robin Hood" (1973) such as the animal counterparts (e.g. Robin Hood like Reynard is a fox while the Sheriff of Nottingham like Isengrim is a wolf).  In 1985, a French animated series, "" ("I Reynard"), was created that was loosely based on Reynard's tales. In it, the original animals are anthropomorphic humanoid animals (to the point that, primary, only their heads are that of animals) and the action occurs in modern Paris with other anthropomorphic animals in human roles. Reynard is a young mischievous fox with a little monkey pet called Marmouset (an original creation). He sets off into Paris in order to discover the city, get a job and visit his grumpy and stingy uncle, Isengrim, who is a deluxe car salesman, and his reasonable yet dreamy she-wolf aunt, Hersent. Reynard meets Hermeline, a young and charming motorbike-riding vixen journalist. He immediately falls in love with her and tries to win her heart during several of the episodes. As Reynard establishes himself in Paris, he creates a small company that shares his name which offers to do any job for anyone, from impersonating female maids to opera singers. To help with this, he is a master of disguise and is a bit of a kleptomaniac, which gets him into trouble from police chief Chantecler (a rooster) who often sends cat police inspector Tybalt after him to thwart his plans.  The Goethe fox epic was adapted into a 1989 German television film produced by Manfred Durniok and ZDF called "Isegrim ind Reineke"; animation was outsourced to Shanghai Animation Film Studio in China. Unlike other versions, this portrays Renart (Reineke) as quite villanous while Isegrim (who is not related in this version) just tries to keep his job safe from the fox's tricks. While Reineke always tricks and beats the wolf, usually some twist of fate or accident still prevents him from winning and keeps Isegrim's job safe in the court. The movie, which is actually 6 episodes of unrelated stories strung together, is available on DVD.  "Le roman de Renart" is a 2005 CGI feature animated film made in Luxembourg in French with an English dub called "Renart The Fox" or "The Adventures of Renny the Fox".  The TV show "The Magicians" includes a character based on Reynard. In this version, he is a violent pagan trickster god and son of Persephone who is accidentally summoned by a group of hedge witches. He ends up killing most of the summoners and taking over the body of their leader using it to rape the sole survivor of the group who summoned him. This event drives that characters plot for much of the series.

In music.

Reynard the Fox is the name of a number of traditional folk songs (Roud 190, 358 and 1868).

Reynard the Fox is a literary cycle of medieval allegorical Dutch, English, French and German fables. The first extant versions of the cycle date from the second half of the 12th century. The genre is very popular throughout the Late Middle Ages, and in chapbook form throughout the Early Modern period.

Le Roman de Renart, der "Fuchsroman", ist ein Werk der altfranzösischen Literatur, das ab etwa 1170 im Norden Frankreichs entstand und die nachfolgenden Fuchsdichtungen in Europa maßgeblich beeinflusste.


Plot summary.

The novel revolves around three boys who grow up as friends in Boston — Dave Boyle, Sean Devine, and Jimmy Marcus. When the story opens, Dave is abducted by child molesters while he, Sean, and Jimmy are horsing around on a neighborhood street. Dave escapes and returns home days later, emotionally shattered by his experience. The book then moves forward 25 years: Sean has become a homicide detective, Jimmy is an ex-convict who currently owns a convenience store, and Dave is a shell of a man. Jimmy's daughter disappears and is found brutally murdered in a city park, and that same night, Dave comes home to his wife, covered in blood. Sean is assigned to investigate the murder, and the three childhood friends are caught up in each other's lives again.

Film adaptation.

"Mystic River", the Academy Award-winning adaptation of the novel, was released in 2003. The film was directed by Clint Eastwood and starred Sean Penn as Jimmy Markum (the character's last name was changed from Marcus to Markum for the film), Tim Robbins as Dave, and Kevin Bacon as Sean. Sean Penn won the Best Actor in a Leading Role and Tim Robbins won the Best Supporting Actor for their respective performances. It was also nominated for four other Academy Awards: Best Picture, Best Director (Eastwood), Best Supporting Actress (Marcia Gay Harden), and Best Adapted Screenplay (Brian Helgeland).

Awards and nominations.

"Mystic River" won the 2002 Dilys Award presented by the Independent Mystery Booksellers Association. The same year, it also won the Massachusetts Book Award.

Mystic River is a novel by Dennis Lehane that was published in 2001. It won the 2002 Dilys Award and was made into an Academy Award-winning film in 2003.

Spur der Wölfe (Originaltitel "Mystic River") ist ein Roman des US-Amerikaners Dennis Lehane aus dem Jahr 2001. Er handelt von drei Jugendfreunden, deren Leben von einem Verbrechen überschattet wird und die sich als Erwachsene, als eine weitere Gewalttat geschieht, erneut mit dieser Vergangenheit konfrontiert sehen. Namensgeber für den Roman ist der Fluss Mystic River in Massachusetts, USA. Clint Eastwoods Filmversion des Romans wurde 2004 mit zwei Oscars ausgezeichnet. Parallel zur Veröffentlichung des Films erschien das Werk im deutschsprachigen Raum in mehreren Auflagen unter dem Titel "Mystic River".


Deterministic ω-automata.

Formally, a deterministic ω-automaton is a tuple "A" = ("Q",Σ,δ,"Q","Acc") that consists of the following components: An "input" for "A" is an infinite string over the alphabet Σ, i.e. it is an infinite sequence α = ("a","a","a"...). The "run" of "A" on such an input is an infinite sequence ρ = ("r","r","r"...) of states, defined as follows:  The main purpose of an ω-automaton is to define a subset of the set of all inputs: The set of "accepted" inputs. Whereas in the case of an ordinary finite automaton every run ends with a state "r" and the input is accepted if and only if "r" is an accepting state, the definition of the set of accepted inputs is more complicated for ω-automata. Here we must look at the entire run ρ. The input is accepted if the corresponding run is in "Acc". The set of accepted input ω-words is called the "recognized ω-language" by the automaton, which is denoted as L(A).  The definition of "Acc" as a subset of "Q" is purely formal and not suitable for practice because normally such sets are infinite. The difference between various types of ω-automata (Büchi, Rabin etc.) consists in how they encode certain subsets "Acc" of "Q" as finite sets, and therefore in which such subsets they can encode.

Nondeterministic ω-automata.

Formally, a nondeterministic ω-automaton is a tuple "A" = ("Q",Σ,Δ,"Q","Acc") that consists of the following components: Unlike a deterministic ω-automaton, which has a transition function δ, the non-deterministic version has a transition relation Δ. Note that Δ can be regarded as a function : "Q" × Σ → P("Q") from "Q" × Σ to the power set P("Q"). Thus, given a state "q" and a symbol "a", the next state "q" is not necessarily determined uniquely, rather there is a set of possible next states.  A "run" of "A" on the input α = ("a","a","a"...) is any infinite sequence ρ = ("r","r","r"...) of states that satisfies the following conditions:  A nondeterministic ω-automaton may admit many different runs on any given input, or none at all. The input is accepted if at least one of the possible runs is accepting. Whether a run is accepting depends only on "Acc", as for deterministic ω-automata. Every deterministic ω-automaton can be regarded as a nondeterministic ω-automaton by taking Δ to be the graph of δ. The definitions of runs and acceptance for deterministic ω-automata are then special cases of the nondeterministic cases.

Acceptance conditions.

Acceptance conditions may be infinite sets of ω-words. However, people mostly study acceptance conditions that are finitely representable. The following lists a variety of popular acceptance conditions.  Before discussing the list, let's make the following observation. In the case of infinitely running systems, one is often interested in whether certain behavior is repeated infinitely often. For example, if a network card receives infinitely many ping requests, then it may fail to respond to some of the requests but should respond to an infinite subset of received ping requests. This motivates the following definition: For any run ρ, let Inf(ρ) be the set of states that occur infinitely often in ρ. This notion of certain states being visited infinitely often will be helpful in defining the following acceptance conditions.  The Streett condition is the negation of the Rabin condition. Therefore a deterministic Streett automaton accepts exactly the complement of the language accepted by the deterministic Rabin automaton consisting of the same data.  Every Büchi automaton can be regarded as a Muller automaton. It suffices to replace F by F<nowiki>'</nowiki> consisting of all subsets of "Q" that contain at least one element of F. Similarly every Rabin, Streett or parity automaton can also be regarded as a Muller automaton.

Example.

The following ω-language "L" over the alphabet Σ = {0,1}, which can be recognized by a nondeterministic Büchi automaton: "L" consists of all ω-words in Σ in which 1 occurs only finitely many times. A non-deterministic Büchi automaton recognizing "L" needs only two states "q" (the initial state) and "q". Δ consists of the triples ("q",0,"q"), ("q",1,"q"), ("q",0,"q") and ("q",0,"q"). "F" = {"q"}. For any input α in which 1 occurs only finitely many times, there is a run that stays in state "q" as long as there are 1s to read, and goes to state "q" afterwards. This run is successful. If there are infinitely many 1s, then there is only one possible run: the one that always stays in state "q". (Once the machine has left "q" and reached "q", it cannot return. If another 1 is read, there is no successor state.)  Notice that above language cannot be recognized by a deterministic Büchi automaton, which is strictly less expressive than its non-deterministic counterpart.

Expressive power of ω-automata.

An ω-language over a finite alphabet Σ is a set of ω-words over Σ, i.e. it is a subset of Σ. An ω-language over Σ is said to be recognized by an ω-automaton "A" (with the same alphabet) if it is the set of all ω-words accepted by "A". The expressive power of a class of ω-automata is measured by the class of all ω-languages that can be recognized by some automaton in the class.  The nondeterministic Büchi, parity, Rabin, Streett, and Muller automata, respectively, all recognize exactly the same class of ω-languages. These are known as the "ω-Kleene closure of the regular languages" or as the regular ω-languages. Using different proofs it can also be shown that the deterministic parity, Rabin, Streett, and Muller automata all recognize the regular ω-languages. It follows from this that the class of regular ω-languages is closed under complementation. However, the example above shows that the class of deterministic Büchi automata is strictly weaker.

Conversion between ω-automata.

Because nondeterministic Muller, Rabin, Streett, parity, and Büchi automata are equally expressive, they can be translated to each other. Let us the following abbreviation formula_1: for example, "NB" stands for nondeterministic Büchi ω-automaton, while "DP" stands for deterministic parity ω-automaton. Then the following holds. A comprehensive overview of translations can be found on the referenced web source.

In automata theory, a branch of theoretical computer science, an ω-automaton (or stream automaton) is a variation of finite automata that runs on infinite, rather than finite, strings as input. Since ω-automata do not stop, they have a variety of acceptance conditions rather than simply a set of accepting states.

Ein ω-Automat ("Omega-Automat") ist ein mathematisches Modell, das eine Erweiterung des endlichen Automaten auf die Eingabe unendlicher Wörter darstellt. "Endlich" heißt der Automat deshalb, weil die Anzahl seiner inneren Zustände endlich ist. Ebenso ist das Alphabet, über dem dieser Automat arbeitet, endlich.


History.

Oberiberg is first mentioned around 1217-22 as "Yberge". Until the separation, in 1884, into Unteriberg and Oberiberg the independent municipality was known simply as Iberg.

Geography.

Oberiberg has an area,, of. Of this area, 50.2% is used for agricultural purposes, while 39.1% is forested. Of the rest of the land, 1.9% is settled (buildings or roads) and the remainder (8.8%) is non-productive (rivers, glaciers or mountains).  It consists of the village of Oberiberg and the hamlet of Hoch-Ybrig.

Demographics.

Oberiberg has a population (as of ) of., 7.1% of the population was made up of foreign nationals. Over the last 10 years the population has grown at a rate of 4.7%. Most of the population () speaks German (98.2%), with Portuguese being second most common ( 0.4%) and Albanian being third ( 0.3%).  In the 2007 election the most popular party was the SVP which received 62.1% of the vote. The next three most popular parties were the CVP (19.1%), the SPS (8.6%) and the FDP (7.2%).  In Oberiberg about 56.6% of the population (between age 25-64) have completed either non-mandatory upper secondary education or additional higher education (either university or a "Fachhochschule").  Oberiberg has an unemployment rate of 0.8%., there were 98 people employed in the primary economic sector and about 41 businesses involved in this sector. 41 people are employed in the secondary sector and there are 11 businesses in this sector. 134 people are employed in the tertiary sector, with 49 businesses in this sector.  From the, 557 or 77.6% are Roman Catholic, while 95 or 13.2% belonged to the Swiss Reformed Church. Of the rest of the population, there are 5 individuals (or about 0.70% of the population) who belong to the Orthodox Church. There are less than 5 individuals who are Islamic. 33 (or about 4.60% of the population) belong to no church, are agnostic or atheist, and 24 individuals (or about 3.34% of the population) did not answer the question.  The historical population is given in the following table:

Weather.

Oberiberg has an average of 163.6 days of rain per year and on average receives of precipitation. The wettest month is July during which time Oberiberg receives an average of of precipitation. During this month there is precipitation for an average of 15.4 days. The month with the most days of precipitation is June, with an average of 16.5, but with only of precipitation. The driest month of the year is October with an average of of precipitation over 15.4 days.

Oberiberg is a village and municipality in Schwyz District in the canton of Schwyz in Switzerland. The municipality comprises the village of Oberiberg and the hamlet and ski area of Hoch-Ybrig.

Oberiberg ist eine politische Gemeinde im Bezirk Schwyz des Kantons Schwyz in der Schweiz. Sie liegt an der Ibergereggstrasse zwischen Einsiedeln und Schwyz.


Biography.

Early life and education.

Margarete Bieber was born on 31 July 1879 in Schönau, Landkreis Schwetz (present day Przechowo, Poland) to Jewish parents Valli Bukofzer, and Jacob Heinrich Bieber, a factory owner. She attended a girls' school in Schwetz (present day Świecie) for six years before being sent to a finishing school in Dresden.  In 1899 she went to Berlin where she attended Gymnasialkurse, a private school founded by Helene Lange. In 1901 she passed the "Maturitätsprüfung" in Thorn and registered at the University of Berlin. As women were not allowed to enroll, she audited her classes, attending lectures by Hermann Alexander Diels, Reinhard Kekulé von Stradonitz and Ulrich von Wilamowitz-Moellendorff. She graduated in the winter semester 1901/02 in Berlin. In 1904 she moved to Bonn, studying under Paul Clemen, Georg Loeschcke and Franz Bücheler. She received her PhD from the University of Bonn in 1907, her dissertation concerning representations of ancient Greek costume in art.

Research and professorship.

In the following years, Bieber did extensive research throughout the Mediterranean. She was the first woman to receive a travel grant from the German Archaeological Institute (DAI) in 1909. From then until 1914, she did research in Athens and later Rome. She became a member of the DAI in 1913. When the First World War broke out, Bieber returned to Germany and worked as a Red Cross worker. From Easter 1915, she taught seminars and ran the Archaeological Institute at the University of Berlin for her former instructor Georg Loeschcke, who was ill. After he died in November 1915, a successor was appointed and she was not allowed to continue teaching as women could not receive habilitation at the time. Bieber continued to teach private courses out of her home, counting Dora and Erwin Panofsky among her students.  After several unsuccessful attempts, her postdoctoral was finally approved in 1919 and she became an associate professor in classical archaeology at the University of Giessen. She was the second woman to become a University professor in Germany. Beginning in 1928, she headed the Giessen Institute of Archaeology and in 1931, she was made a full professor. Her future looking secure, she adopted a six-year-old girl named Ingeborg in 1932. After the Nazis seized power in Germany, they removed Jewish people from academic positions and Bieber was removed from her professorship in July 1933. She, Ingeborg and her governess Katharina Freytag left Germany for England where Bieber became an honorary fellow at Somerville College, Oxford.

Emigration to America.

Bieber left for the United States in 1934 at the invitation of Barnard College, where she was a lecturer. She was recommended to Columbia University, where she became a visiting professor in the Department of Art History and Archaeology in 1936. She applied for American citizenship in 1939.  In 1939, she published "The History of the Greek and Roman Theater". It became a foundational text for students of the ancient theaters of Greece and Rome, delving into the nuances of production and the practicalities of staging.  During World War II, Bieber assisted German refugees. She retired from Columbia University in 1948, though she continued to lecture at the Columbia University School of General Studies and at Princeton University. The Bollingen Foundation helped to fund "The Sculpture of the Hellenistic Age", published in 1955. She continued to publish works, describing sculpture in American museums and ancient clothing.  Bieber was elected a Fellow of the American Academy of Arts and Sciences in 1971 and in 1974, the Archaeological Institute of America awarded her the Gold Medal for Distinguished Archaeological Achievement. She remained active in her later years, living with her adopted daughter, Ingeborg Sachs. Her final work, "Ancient Copies", was published in 1977 and detailed the transformation and reflection in Roman copies of Greek art. Bieber died on 25 February 1978 in New Canaan, Connecticut. She was 98.

Selected bibliography.

A bibliography of Bieber's writings when she was 90 included some 327 items.

Margarete Bieber (31 July 1879 – 25 February 1978) was a Jewish German-American art historian, classical archaeologist and professor. She became the second woman university professor in Germany in 1919 when she took a position at the University of Giessen. She studied the theatre of ancient Greece and Rome as well as the sculpture and clothing in ancient Rome and Greece.

Margarete Bieber (* 31. Juli 1879 in Schönau, Westpreußen; † 25. Februar 1978 in New Canaan, Connecticut, USA) war eine deutsch-amerikanische Klassische Archäologin und Hochschullehrerin, der 1933 als Jüdin die Lehrerlaubnis entzogen wurde. Sie war die erste habilitierte Professorin der Archäologie an einer deutschen Universität und gilt als Pionierin des Frauenstudiums.


Life.

Böhm was born in 1661 in Hohenkirchen. He received his first music lessons from his father, a schoolmaster and organist who died in 1675. He may also have received lessons from Johann Heinrich Hildebrand, Kantor at Ohrdruf, who was a pupil of Heinrich Bach and Johann Christian Bach. After his father's death, Böhm studied at the Lateinschule at Goldbach, and later at the Gymnasium at Gotha, graduating in 1684. Both cities had Kantors taught by the same members of the Bach family who may have influenced Böhm. On 28 August 1684 Böhm entered the University of Jena. Little is known about Böhm's university years or his life after graduation. He resurfaces again only in 1693, in Hamburg. We know nothing of how Böhm lived there, but presumably he was influenced by the musical life of the city and the surrounding area. French and Italian operas were regularly performed in Hamburg, while in the area of sacred music, Johann Adam Reincken of St. Katharine's Church ("Katharinenkirche") was one of the leading organists and keyboard composers of his time. Böhm may have also heard Vincent Lübeck in the nearby Stade, or possibly even Dieterich Buxtehude in Lübeck, which was also close.  In 1698 Böhm succeeded Christian Flor as organist of the principal church of Lüneburg, the Church of St. John ("Johanniskirche"). Soon after Flor died in 1697, Böhm applied for an audition for the post, mentioning that he had no regular employment at the time. He was promptly accepted by the town council, settled in Lüneburg and held the position until his death. He married and had five sons. From 1700 to 1702 he must have met and possibly tutored the young Johann Sebastian Bach, who arrived in Lüneburg in 1700 and studied at the Michaelisschule, a school associated with the Church of St. Michael ("Michaeliskirche"). Practically no direct evidence exists to prove that Bach studied under Böhm, and indeed studying with the organist of the Johanniskirche would have been difficult for a pupil of the Michaelisschule, since the two choirs were not on good terms. Yet this apprenticeship is extremely likely. Carl Philip Emmanuel Bach, writing to Johann Nikolaus Forkel in 1775, claimed his father loved and studied Böhm's music, and a correction in his note shows that his first thought was to say that Böhm was Johann Sebastian's teacher. On 31 August 2006 the discovery of the earliest known Bach autographs was announced, one of them (a copy of Reincken's famous chorale fantasia on "An Wasserflüssen Babylon") signed "Il Fine â Dom. Georg: Böhme descriptum ao. 1700 Lunaburgi". The "Dom." bit may suggest either "domus" (house) or "Dominus" (master), but in any case it proves that Bach knew Böhm personally. This connection must have become a close friendship that lasted for many years, for in 1727 Bach named none other than Böhm as his northern agent for the sale of keyboard partitas nos. 2 and 3.  Böhm died on 18 May 1733 at the advanced age of 71. His son Jakob Christian, who would have inherited his post, died young. The position eventually went to Ludwig Ernst Hartmann, Böhm's son-in-law.

Works.

Böhm is mainly known for his compositions for organ and harpsichord (primarily preludes, fugues, and partitas). Many of his works were designed with flexibility of instrument in mind: a particular piece could be played on the organ, the harpsichord, or the clavichord, depending on the situation in which the performer found himself. Böhm's music is notable for its use of the "stylus phantasticus", a style of playing based on improvisation.  Böhm's most important contribution to North German keyboard music is the chorale partita, a large-scale composition consisting of several variations on a particular chorale melody. He effectively invented the genre, writing several partitas of varying lengths and on diverse tunes. Later composers also took up the genre, most notably Johann Sebastian Bach. Böhm's chorale partitas feature sophisticated figuration in several voices over the harmonic structure of the chorale. His partitas generally have a rustic character and can be successfully performed on either the organ or the harpsichord.  For a more complete list, see bibliography in McLean.

Georg Böhm (2 September 1661 – 18 May 1733) was a German Baroque organist and composer. He is notable for his development of the chorale partita and for his influence on the young J. S. Bach.

Georg Böhm (* 2. September 1661 in Hohenkirchen; † 18. Mai 1733 in Lüneburg) war ein deutscher Organist und Komponist des Barocks.


History.

Delta County was created by the Colorado legislature on February 11, 1883, out of portions of central Gunnison County. The county was named from a delta of arable land at the mouth of the Uncompahgre River, where it flows into the Gunnison River.

Geography.

According to the U.S. Census Bureau, the county has a total area of, of which is land and (0.6%) is water.

Demographics.

At the 2000 census there were 27,834 people, 11,058 households, and 7,939 families living in the county. The population density was 24 people per square mile (9/km2). There were 12,374 housing units at an average density of 11 per square mile (4/km2). The racial makeup of the county was 92.29% White, 0.52% Black or African American, 0.76% Native American, 0.32% Asian, 0.03% Pacific Islander, 4.25% from other races, and 1.83% from two or more races. 11.39% of the population were Hispanic or Latino of any race. Of the 11,058 households 29.00% had children under the age of 18 living with them, 60.30% were married couples living together, 7.90% had a female householder with no husband present, and 28.20% were non-families. 24.80% of households were one person and 12.40% were one person aged 65 or older. The average household size was 2.43 and the average family size was 2.89.  The age distribution was 24.00% under the age of 18, 6.30% from 18 to 24, 23.60% from 25 to 44, 26.50% from 45 to 64, and 19.70% 65 or older. The median age was 42 years. For every 100 females there were 100.80 males. For every 100 females age 18 and over, there were 98.60 males.  The median household income was $32,785 and the median family income was $37,748. Males had a median income of $31,348 versus $19,916 for females. The per capita income for the county was $17,152. About 8.50% of families and 12.10% of the population were below the poverty line, including 15.00% of those under age 18 and 9.60% of those age 65 or over.

Politics.

Delta is a powerfully Republican county. No Democratic presidential candidate has reached forty percent of Delta County's vote since Lyndon Johnson carried the county in 1964, and since 1920 Franklin D. Roosevelt in 1932 is the only other Democrat to gain a majority, although Roosevelt did win a plurality against Alf Landon in 1936.

Media.

The local papers are the Delta County Independent and the Merchant Herald.

Delta County is one of the 64 counties of the U.S. state of Colorado. As of the 2010 census, the population was 30,952. The county seat is Delta.

Das Delta County ist eine Verwaltungseinheit (County) im westlichen Teil des US-Bundesstaates Colorado. Der Verwaltungssitz (County Seat) ist Delta, die größte Stadt des Bezirks.


Biography.

Lunceford was born on a farm in the Evergreen community, west of the Tombigbee River, near Fulton, Mississippi. The 53 acre farm was owned by his father, James. His mother was Idella ("Ida") Shumpert of Oklahoma City, an organist of "more than average ability". Seven months after James Melvin was born, the family moved to Oklahoma City. The family next moved to Denver where Lunceford went to high school and studied music under Wilberforce J. Whiteman, father of Paul Whiteman, whose band was soon to acquire a national reputation. As a child in Denver, he learned several instruments. After high school, Lunceford continued his studies at Fisk University. In 1922, he played alto saxophone in a local band led by the violinist George Morrison which included Andy Kirk, another musician destined for fame as a bandleader.

Career.

In 1927, while an athletic instructor at Manassas High School in Memphis, Tennessee, he organized a student band, the Chickasaw Syncopators, whose name was changed to the Jimmie Lunceford Orchestra. Under the new name, the band started its professional career in 1929, and made its first recordings in 1930. Lunceford was the first public high school band director in Memphis. After a period of touring, in 1934 the band accepted a booking at the Harlem nightclub The Cotton Club for their revue 'Cotton Club Parade' starring Adelaide Hall. The Cotton Club had already featured Duke Ellington and Cab Calloway, who won their first widespread fame from their inventive shows for the Cotton Club's all-white patrons. With their tight musicianship and the often outrageous humor in their music and lyrics, Lunceford's orchestra made an ideal band for the club, and Lunceford's reputation began to steadily grow. Jimmie Lunceford's band differed from other great bands of the time because it was better known for its ensemble than for its solo work. Additionally, he was known for using a two-beat rhythm, called the Lunceford two-beat, as opposed to the standard four-beat rhythm. This distinctive "Lunceford style" was largely the result of the imaginative arrangements by trumpeter Sy Oliver, which set high standards for dance-band arrangers of the time.  Though not well known as a musician, Jimmie Lunceford was trained on several instruments and was even featured on flute in "Liza".  Comedy and vaudeville played a distinct part in Lunceford's presentation. Songs such as "Rhythm Is Our Business" (featured in a 1937 musical short with Myra Johnson (Taylor) on vocals), "I'm Nuts about Screwy Music", "I Want the Waiter (With the Water)", and "Four or Five Times" displayed a playful sense of swing, often through clever arrangements by trumpeter Sy Oliver and bizarre lyrics. Lunceford's stage shows often included costumes, skits, and obvious jabs at mainstream white bands, such as Paul Whiteman's and Guy Lombardo's.  Despite the band's comic veneer, Lunceford always maintained professionalism in the music befitting a former teacher; this professionalism paid off and during the apex of swing in the 1930s, the Orchestra was considered the equal of Duke Ellington's, Earl Hines' or Count Basie's. This precision can be heard in such pieces as "Wham (Re-Bop-Boom-Bam)", "Lunceford Special", "For Dancers Only", "Uptown Blues", and "Stratosphere". The band's noted saxophone section was led by alto sax player Willie Smith. Lunceford often used a conducting baton to lead his band.  The orchestra began recording for the Decca label and later signed with the Columbia subsidiary Vocalion in 1938. They toured Europe extensively in 1937, but had to cancel a second tour in 1939 because of the outbreak of World War II. Columbia dropped Lunceford in 1940 because of flagging sales. (Oliver departed the group before the scheduled European tour to take a position as an arranger for Tommy Dorsey). Lunceford returned to the Decca label. The orchestra appeared in the 1941 movie "Blues in the Night".  Most of Lunceford's sidemen were underpaid and left for better paying bands, leading to the band's decline.

Death.

After playing McElroy's Ballroom in Portland, Lunceford and his orchestra were in Seaside, Oregon, to play at The Bungalow dance hall on July 12, 1947. Before the performance Lunceford collapsed during an autograph session at a local record store. He died while being taken by ambulance to the Seaside hospital. Lunceford was 45. Dr Alton Alderman performed an autopsy in nearby Astoria, Oregon, and concluded that Lunceford died of coronary occlusion.  Lunceford had complained about an aching leg as they arrived in Seaside, and had been suffering with high blood pressure for a while, and had recently complained about not feeling well. Allegations and rumors circulated that he had been poisoned by a restaurant owner who was unhappy at having to serve a "Negro" in his establishment. He was buried at Elmwood Cemetery in Memphis.

Legacy.

Band members, notably Eddie Wilcox and Joe Thomas, kept the band going for a time but finally had to break up the Jimmie Lunceford Orchestra in 1949.  In 1999, band-leader Robert Veen and a team of musicians set out to acquire permission to use the original band charts and arrangements of the Jimmie Lunceford canon. 'The Jimmie Lunceford Legacy Orchestra' officially debuted in July 2005 at the North Sea Jazz Festival in the Netherlands.  The Jimmie Lunceford Jamboree Festival was founded in 2007 by Ron Herd II a.k.a. R2C2H2 Tha Artivist and Artstorian, with the aim of increasing recognition of Lunceford's contribution to jazz, particularly in Memphis, Tennessee. The Jimmie Lunceford Legacy Awards was created by the Jimmie Lunceford Jamboree Festival to honor exceptional musicians with Memphis ties as well as those who have dedicated their careers to excellence in music and music education.  His music continues to have an impact. Most recently the tune "Rhythm is Our Business" was included as track on the compilation set Memphis Jazz Box in 2004 in honor of Lunceford's close ties to Memphis.  On July 19, 2009, a brass note was dedicated to Lunceford on Beale Street, Memphis, Tennessee.

Selected discography.

Prior to Lunceford's success on Decca (beginning September 1934), he made the following recordings:

The Chronological...Classics series.

note: every recording by Jimmie Lunceford & His Orchestra is included in this 10 volume series from the CLASSICS reissue label...

James Melvin Lunceford (June 6, 1902 – July 12, 1947) was an American jazz alto saxophonist and bandleader in the swing era.

James Melvin „Jimmie“ Lunceford (* 6. Juni 1902 in Fulton, Missouri; † 12. Juli 1947 in Seaside, Oregon) war ein US-amerikanischer Jazzmusiker (Altsaxophon) und Bandleader.


History.

The theatre was designed in 1930 by Edward A. Stone, with an interior designed by Marc-Henri Levy and Gaston Laverdet. Named after Prince Edward (at the time Prince of Wales, briefly Edward VIII and later Duke of Windsor), it opened on 3 April 1930 with a performance of the musical "Rio Rita". Other notable events in its opening years included the London debut of famed cabaret artiste Josephine Baker, who performed her famous 'Bananas Dance'.  In 1935, Stone converted the theatre to a dance and cabaret hall, being renamed the "London Casino".  As the London Casino, it was badly damaged and all its windows lost on 10 May 1941, in London's worst air raid of the Second World War. All neighbouring buildings directly across Greek Street were destroyed.  Stage alterations were undertaken by Thomas Braddock in 1942, and that year the building re-opened as the "Queensberry All Services Club"—a club for servicemen where the shows were broadcast on the BBC. After the war, the architects T. and E. Braddock restored the building to theatrical use, becoming the "London Casino" once again — where the 'King of Yiddish Music', Leo Fuld, was a major attraction. The last production before Cinerama took over the building was "Wish You Were Here", which included a full-size swimming pool on stage.

Cinerama.

The three-projector, very-wide-screen Cinerama process had made its debut in New York in September 1952 with "This Is Cinerama", a spectacular travelogue designed to make the most of the process, and an enormous box office success. The Cinerama Corporation chose the Casino Theatre for the UK debut of the system, and in 1954 architects Frank Baessler and T. and E. Braddock drew up plans for the conversion. This required the installation of three separate projection boxes at stalls level, and a 65 ft-wide-by-26 ft-high deeply curved screen in front of the proscenium. Five speakers behind the screen and others around the auditorium supported the system's seven-track stereophonic sound. Many front stall's seats were removed, and others were lost by the installation of the projection boxes. The sightlines from the upper circle were too poor, and it was taken out of use. Seating capacity was reduced to 1,337.  The premiere of "This Is Cinerama" took place on 30 September 1954. Like all subsequent presentations, the film was shown on a theatrical basis, with reserved seats and an intermission, which was required to load the spools for the second half onto the single projectors in each box. Unlike future 'roadshow' practice, there were three shows a day and the film ran until 28 January 1956. From 3 February 1956, the second Cinerama film, "Cinerama Holiday" was presented, running until 22 February 1958. From 25 February 1958, the third Cinerama travelogue, "Seven Wonders of the World" played, running until 31 October 1959 before being replaced by "South Seas Adventure" from 3 November 1959 to 4 March 1961. The final Cinerama travelogue presentation was "Search for Paradise" from 8 March 1961 to 27 October 1962.  The Casino was chosen for the World Premiere of "How the West Was Won", the second (and final) narrative film in the three-strip Cinerama process. The premiere took place on 2 November 1962, and the film ran for 123 weeks, closing on 13 March 1965. This was the final three-strip presentation at the Casino, for the Cinerama corporation had in 1963 adopted 70mm "single lens" Cinerama as the future standard. The two outer projection boxes at the Casino were taken out of use, and the centre box enlarged to take two Philips DP70 projectors capable of 35mm and 70mm projection. The single-strip system had made its debut in the UK at the Coliseum Cinerama at the end of 1963, and the first film in the process at the Casino was "The Greatest Story Ever Told", which ran from 8 April to 28 July 1965.  The Casino now entered into a period of large-scale 70mm "presented in Cinerama" roadshow runs:- For the next two years the Casino found the going increasingly tough, with revivals of old films and premieres of not-very-good new ones. The final presentation "in Cinerama" was the feeble "Run, Run, Joe!" and Cinerama vacated the Casino in May 1974.

Return to theatrical use.

The theatre was acquired by EMI, and refurbished at a cost of £150,000. The Cinerama screen was removed and replaced with a conventional one within the proscenium and the 70mm projectors were removed and replaced with a single 35mm projector and non-rewind system. The Casino Theatre continued in use as a cinema showing films, including the remake of "King Kong". It also staged occasional theatre productions such as "Dean" (a musical about James Dean) in 1976, and the following year a Christmas production of Peter Pan with Ron Moody as Captain Hook. The final film run was a revival of "Lady Sings the Blues" and "Mahogany" which ended on 8 April 1978. The building was then converted back into a full-time theatre by RHWL Architects and given its original name, reopening with the world première of the musical "Evita" on 21 June 1978. Further renovations were undertaken by RHWL in 1992–93, increasing the size of the stage, reopening 3 March 1993 with a revival of "Crazy for You". The ABBA musical "Mamma Mia!" premièred here on 6 April 1999, transferring to the Prince of Wales Theatre after a five-year run.  Owned by the Delfont Mackintosh Group, and with a capacity of 1,716, it formerly hosted "Mary Poppins" until 12 January 2008, before the show toured the UK. "Jersey Boys" opened on 18 March 2008 and moved to the Piccadilly Theatre in March 2014, A revival of "Miss Saigon" opened at the Prince Edward Theatre in May 2014.  Disney's production of "Aladdin" opened in June 2016 at the theatre.

The Prince Edward Theatre is a West End theatre situated on Old Compton Street, just north of Leicester Square, in the City of Westminster, London.

Das Prince Edward Theatre ist ein Theater in London, England. Es befindet sich in der "Old Compton Street" in der Nähe des "Leicester Square" im West End. Das Theater bietet Platz für 1618 Zuschauer.


Life.

Hieronymus Cock was born into an artistic family. His father Jan Wellens de Cock and his brother Matthys Cock were both painters and draftsmen. He was admitted as a master painter in the Guild of Saint Luke in Antwerp in 1545. He resided in Rome from 1546 to 1547. When he returned to Antwerp in 1547, he married Volcxken Diericx. Together with his wife he founded in 1548 the publishing house "Aux quatre vents" or "In de Vier Winden" (the "House of the Four Winds"). The publishing house issued its first prints in 1548. The majority of Cock's prints were made after paintings or designs purposely made for him by artists from the Low Countries such as Frans Floris, Pieter Brueghel the Elder, Lambert Lombard, Maarten van Heemskerck and Hieronymus Bosch as well as architectural and ornament designs by Cornelis Floris and Hans Vredeman de Vries. Cock employed some of the best engravers of his time such as Johannes Wierix, Adriaen Collaert, Philip Galle, Cornelis Cort and the Italian Giorgio Ghisi.  In 1559 and 1561 he published two series of landscape prints by an anonymous Flemish draughtsman now referred to as the Master of the Small Landscapes. The series of landscapes were drawn from nature in the vicinity of Antwerp and had an important influence on the development of Flemish and Dutch realist landscape art.

Quatre Vents.

The publishing house "Aux Quatre Vents" played an important role in the spread of the Italian High Renaissance throughout northern Europe as Cock published prints made by prominent engravers such as Giorgio Ghisi, Dirck Volckertsz Coornhert and Cornelis Cort after the work of leading Italian painters like Raphael, Primaticcio, Bronzino, Giulio Romano and Andrea del Sarto. The Italian historian of architecture Vincenzo Scamozzi copied many of the engravings published by Cock in 1551 for his volume on Rome entitled 'Discorsi sopra L'antichita di Roma' (Venice: Ziletti, 1583).  Cock collaborated with the Spanish cartographer Diego Gutiérrez on a 1562 "Map of America".  Hieronymus Cock collaborated with Antwerp architect and designer Cornelis Floris de Vriendt in the publishing of Cornelis Floris' designs for monuments and ornaments: the ‘’Veelderley niewe inuentien van antycksche sepultueren’’ (‘The many new designs of antique sculptures') was published in 1557 and the ‘’Veelderley veranderinghe van grotissen’’ (‘Many varieties of grotesques’) in 1556. The publication of these books contributed to the spread of the so-called Floris style throughout the Netherlands.  The Dutch publisher Philip Galle worked at Cock's printing house from 1557 and succeeded him in 1570.

Pictorum aliquot celebrium Germaniae inferioris effigies.

At his death in 1570 Cock left behind the most prominent print publishing establishment in Europe north of the Alps. His widow Volcxken continued the publishing house until her death in 1601. In 1572 she published a book by Dominicus Lampsonius called "Pictorum aliquot celebrium Germaniae inferioris effigies" (literal translation: "Effigies of some celebrated painters of Lower Germany"), a set of 23 engraved portraits of artists with short verses in Latin printed below them. Hieronymus Cock had been working on this publication at the time of his death. The quality of the 23 prints was outstanding as they had been made by some of the leading engravers of the time such as Johannes Wierix, Adriaen Collaert and Cornelis Cort.  The artists included in the book were (in the order in which they appear in the book): Hubert van Eyck, Jan van Eyck, Hieronymus Bosch, Rogier van der Weyden, Dirk Bouts, Bernard van Orley, Jan Mabuse, Joachim Patinir, Quentin Matsys, Lucas van Leyden, Jan van Amstel, Joos van Cleve, Matthys Cock, Herri met de Bles, Jan Cornelisz Vermeyen, Pieter Coecke van Aelst, Jan van Scorel, Lambert Lombard, Pieter Bruegel the Elder, Willem Key, Lucas Gassel, Frans Floris and ending with Hieronymus Cock. The book includes a poem by Lampsonius dedicated to the memory of Hieronymus Cock and applauding the work of his widow. The portraits and texts present an honour roll of the earlier generations of Netherlandish artists. Their publication thus contributed to the formation of a canon of famous Netherlandish painters, which was well underway even before Karel van Mander published in 1604 his biographies of early and contemporary Netherlandish artists in his Schilder-boeck.  The publisher Hendrik Hondius I published in 1610 a book with almost the same title ('Pictorum aliquot celebrium, præcipué Germaniæ Inferioris', in English: 'Effigies of some celebrated painters, chiefly of Lower Germany') that contained 69 engraved portraits of painters. Hondius' work included in its first part reworked versions of 22 of the portraits of the 1572 publication. The portrait of Hieronymus Cock (often numbered 23) was not included by Hondius maybe because the likeness was made after death, rather than drawn "ad vivum" (after the living model) as was the case for the other portraits.

Hieronymus Cock, or Hieronymus Wellens de Cock (1518 – 3 October 1570) was a Flemish painter and etcher as well as a publisher and distributor of prints. Cock is regarded as one of the most important print publishers of his time in northern Europe. His publishing house played a key role in the transformation of printmaking from an activity of individual artists and craftsmen into an industry based on division of labour. His house published more than 1,100 prints between 1548 and his death in 1570, a vast number by earlier standards.

Hieronymus Jérôme Cock (* um 1510; † 1570) war ein niederländischer Verleger. Cock, der als einer der bedeutendsten Verleger von Stichen im 16. Jahrhundert gilt, betätigte sich auch selbst als Maler und Kupferstecher.