Plot.

Gelsomina and her three younger sisters live with their parents on an Italian farm. As the eldest, she takes on a heavier burden, taking care of her sisters and assisting her father, Wolfgang with bee keeping. One evening, as the family is playing on the beach, they are told to be quieter and discover that a TV show is being filmed nearby. They watch and, as they are about to leave, the star, Milly, calls them over and gives Gelsomina a hair clip.  Watching the program on TV, Gelsomina learns that it is launching a competition called Countryside Wonders, in which seven farmers will compete to have their products featured. While her father is strongly against participating, her mother warms to the idea, even though the quality of their honey is not great.  Meanwhile, Wolfgang hires a juvenile delinquent named Martin to help with honey production. Martin never talks. Though Wolfgang tries to help Martin, he discovers that he is ineffectual.  Unbeknownst to her father, Gelsomina applies on behalf of her family. She forgets about it after her father's old friend comes to stay. Later, left alone by their parents, while switching out the honeycombs to put in the processor, she accidentally injures one of her sisters, Marinella. At the hospital, while Marinella is being stitched up, Gelsomina realizes that Martin forgot to change the bucket which collects the processed honey and, on returning home, they find honey spilled over the floor. At the same time, they are visited by a man from the competition to inspect their production room. The children clean the work area and they are accepted. However, Wolfgang is infuriated by the news.  Nevertheless, the family competes on the show, where they are dressed in ridiculous garb and must plead their case to the judges. On TV, Wolfgang freezes and cannot explain what makes his honey so special. However, Gelsomina steps up and, with Martin, performs a trick in which he whistles and bees crawl out of her mouth onto her face. The family loses the competition, however. Martin runs away and Gelsomina follows him but cannot find him. On the last boat ride back from the island, she finds herself alone with Milly, who takes off her wig and gives Gelsomina a hairpin. Gelsomina swims back to the island and finds Martin, but returns to her family without him. Because they lost the competition and have no money, the family is forced to leave the farm. Before they go, they discuss leaving something behind under the floorboards for someone else to discover.

Production.

Director Alice Rohrwacher based the movie on her memories of her childhood working for her parents, who were beekeepers. Rohrwacher stated that some parts of the film were filmed illegally, particularly the parts with the bees which they were not supposed to film for insurance purposes and which she filmed anyway on a national holiday when no one was around to stop her.

Reception.

"The Wonders" premiered at the 2014 Cannes Film Festival to positive reviews. On review aggregator Rotten Tomatoes, the film holds an approval rating of 95% based on 63 reviews, with an average rating of 7.3/10. The website's critical consensus reads, ""The Wonders" offers a charming coming-of-age tale that doubles as a quietly effective tribute to a vanishing way of life." On Metacritic, the film has a score of 76 out of 100, based on 17 critics, indicating "generally positive reviews".

The Wonders () is a 2014 internationally co-produced drama film directed by Alice Rohrwacher. It was selected to compete for the Palme d'Or at the 2014 Cannes Film Festival; it won the Grand Prix.

Land der Wunder (Originaltitel: "Le meraviglie", dt.: „Das Wunderwerk“; internationaler englischsprachiger Titel: "The Wonders", dt.: „Die Wunder“) ist ein Spielfilm von Alice Rohrwacher aus dem Jahr 2014. Die europäische Koproduktion, für die die Regisseurin auch das Drehbuch verfasste, erzählt vom Alltag einer deutsch-italienischen Familie, die auf einem Bauernhof an der Grenze zwischen der Toskana und Latium lebt und unter erschwerten Bedingungen Honig produziert. Als die älteste Tochter (dargestellt von der Laiendarstellerin Maria Alexandra Lungu) die Familie für eine kommerzielle Fernsehshow anmelden will, führt das zum offenen Konflikt mit dem Vater (Sam Louwyck).


History.

In June 2018,, a South Korean talent management and television production company founded and headed by former SM Entertainment executive Jung Chang-hwan, announced that it will launch its own all-girl group, NATURE, in August.

2018: Debut, line up changes and further releases.

Nature made their debut on August 3 with the single album "Girls and Flowers" and its the lead single, "Allegro Cantabile".  In the end of August, Nature began a called "Pop Cover Project", where the girls vocally cover a popular pop song and perform a dance sequence. The project consists of 5 covers. The first video was released on August 28 with cover "Walk Like An Egyptian" (with Yeolmae) by The Bangles, the second video was released on September 8 with cover "My Sharona" by The Knack, the third video was released on September 13 with cover "Shut Up and Let Me Go" by The Ting Tings, the fourth video was released on September 17 with cover "Rhythm Nation" by Janet Jacksonand the last video was released on September 20 with cover "Kiss" by Prince.  On November 4, new member Loha was introduced as part of the group through V Live. The next day, the group began teasing their upcoming second single album "Some & Love", which was schedule to release on November 22. On November 22, their second single album with the lead single, "Some (You'll Be Mine)" was released.Following their Performance Version of the music video was released on December 3.

2019: "I'm So Pretty", line up changes, Aurora's hiatus and "Nature World: Code A".

On January 15, Nature released a music video for the B track, "Dream About You", from their previous second single, "Some & Love". The video features the group donning blue tutus in a dream-like environment and it signifies the first time the group has incorporated an object into the complete choreography, which is a'magic' star-wand. A Performance Version of the music video was released on January 25.  On June 24, it was confirmed that Nature would make their comeback on July 10 with their first mini album "I'm So Pretty". Member Gaga was not involved due to her currently being on hiatus to focus on her studies. The music video for "I'm So Pretty" was released on July 10. A Performance Version of the music video was released on July 24.  On October 8, former Produce 101 contestant and soloist Kim So-hee was introduced as a new member following her signing with n.Ch Entertainment and also confirmed that Gaga has departed from the group to focus on her studies. n.CH Entertainment also confirmed that the group is preparing for a comeback in November. It was later confirmed that the group would make their comeback on November 12 with their second mini album "Nature World: Code A". Member Aurora was not involved due to her participation in the third season of the Chinese audition show Idol Producer. The music video for "Oopsie (My Bad)" was released on November 12.

2020: Japanese debut and comeback as seven with "Nature World: Code M".

Nature signed with Pony Canyon and debuted in Japan on February 12, 2020, with a Japanese version of their single "I'm So Pretty". On June 1, the group was confirmed to make their comeback on June 17 with their third single album "Nature World: Code M". Loha will not participate due to health reasons, while Aurora will also not participate. It was announced on June 15 that member Sunshine had suffered a leg injury and, while she participated in the album, would not be able to perform on stage for album promotions.

Nature (Hangul: 네이처; Stylized as NATURE) is a South Korean girl group formed by in 2018. The group debuted on August 3, 2018, with the single album "Girls and Flowers", accompanied by the lead single "Allegro Cantabile". The group has divided into three sub-units - Charming, Twinkle, and Cutie.

Nature (, stilisierte Schreibweise NATURE) ist eine südkoreanische Girlgroup, die 2018 von n.CH Entertainment gegründet wurde. Nature debütierte am 3. August 2018 mit der Single "Allegro Cantabile ()". Der offizielle Fanclub-Name der Gruppe lautet Leaf.


Club career.

Malmö FF.

Nazari began playing football at Malmö FF at the age of five. He made his way up to the first team and made his Allsvenskan debut in a match against Mjällby AIF on 20 April 2011. Nazari signed a -year first team contract on 4 May 2011, keeping him at the club until the end of the 2013 season. He made his UEFA debut on 26 July 2011 in the 2011–12 UEFA Champions League third qualifying round against Rangers F.C.. Nazari saw much more limited play during the 2012 season due to high competition in the central midfield. He only played one match during the season, a goalless home draw against BK Häcken. Back in Malmö FF during the 2014 season, Nazari made sporadic substitution appearances, adding up to a total of ten matches during the league season.

Loan spells.

On 29 March 2013 it was announced that Nazari was to be on loan at Superettan club Assyriska FF until the end of the 2013 season. At the same time he extended his contract with Malmö FF until the end of the 2015 season. Nazari played 23 matches and scored four goals for Assyriska during his loan spell at the club. After having made sporadic appearances for Malmö FF during the 2014 season Nazari went on loan to Norwegian side Fredrikstad for the duration of the 2015 season.

Falkenbergs FF.

On 7 January 2016 it was confirmed that Nazari had signed a contract with Falkenbergs FF in the Allsvenskan. Nazari scored his first goal for Falkenbergs on 21 February 2016 in the 2015–16 Svenska Cupen. He left the club at the end of 2017.

IFK Mariehamn.

Nazari joined Veikkausliiga side IFK Mariehamn in May 2018.

Ratchaburi.

After beginning his playing career with the Philippines, Nazari joined Thai League 1 side Ratchaburi Mitr Phol in February 2019.

Kedah.

On 14 December 2019, Amin Nazari agreed to join Malaysia Super League side Kedah.

International career.

Nazari was born in Sweden, his parents are from Iran and the Philippines. He is therefore eligible to play for Sweden, Iran or the Philippines. Nazari has stated that playing for Sweden would be the most logical choice should the opportunity arise in the future. His older brother Omid Nazari played for the Iranian national team and now he represents to the Philippines.  In 2009, he played for Sweden's under-17 team during the 2010 UEFA European Under-17 Championship qualifying round, playing in all three matches and scoring one goal.  In September 2018, it was announced that Nazari received a call-up from the Philippines.  On 6 September 2018, Nazari made his debut for the Philippines in a 1-1 draw against Bahrain. He was a starter during that match and was replaced by Adam Reed in the 73rd minute.

Outside football.

Sponsorship.

Amin Nazari has been outfitted by German sportswear manufacturer Puma.

Amin Nazari (; born 26 April 1993) is a Filipino professional footballer who plays as a midfielder for Malaysia Super League Kedah FA and the Philippines national team.

Amin Adam Nazari (* 26. April 1993 in Malmö) ist ein philippinisch-schwedischer Fußballspieler. Nazari wurde in Schweden geboren. Seine Eltern stammen aus dem Iran und den Philippinen.


Background.

Abdullah Ibrahim was born in Cape Town in 1934. Before his conversion to Islam in 1968, he was known as "Dollar Brand". He had a mixed racial heritage, making him a Coloured person according to the South African government. His mother played piano in a church and the style of the hymnal music she played would remain an influence on Ibrahim. In addition, he learned to play several genres of music during his youth in Cape Town, including "marabi", "mbaqanga", and American jazz. He became well known in jazz circles in Cape Town and Johannesburg, and in 1959, along with Kippie Moeketsi, Hugh Masekela, Jonas Gwangwa, Johnny Gertze, and Makaya Ntshoko, formed the mixed-race group The Jazz Epistles. Although the group avoided explicitly political activity, the apartheid government was suspicious of it and other jazz groups, and targeted them heavily during the increase in state repression following the Sharpeville massacre. The Epistles broke up, and in 1962 Ibrahim went into exile. In the 1960s and 70s, Ibrahim and his wife Sathima Bea Benjamin largely lived in exile in Europe and the United States, returning to South Africa only for brief periods of time. He lived for a while in New York City, playing with the band of Duke Ellington and learning composition at the Juilliard School of Music. As the Black Power movement developed in the 1960s and 1970s, it influenced a number of Ibrahim's friends and collaborators, who began to see their music as a form of cultural nationalism. Ibrahim in turn began to incorporate African elements into his jazz.

Recording and production.

The piece was created while the apartheid government of South Africa was forcibly removing Coloured families from their homes as part of the destruction of District Six; this destruction of a neighbourhood that was "a symbol of resilience and creativity in the face of racial oppression" influenced Ibrahim's music. Ibrahim met Rashid Vally at the latter's Johannesburg record shop, Kohinoor, in the early 1970s. Vally produced two of Ibrahim's albums in the following years. The pair produced a third album in 1974, titled "Underground in Africa", in which Ibrahim abandoned his financially unsuccessful folk-infused jazz of the previous albums. The new album was instead a fusion of jazz, rock music, and South African popular music; it sold much better than Ibrahim's previously collaborations with Vally. While recording "Underground", Ibrahim collaborated with Oswietie, a local band of which Robbie Jansen and Basil Coetzee were saxophonists, and who played a large role in creating the album's fusion style. After the success of "Underground", Ibrahim asked Coetzee to bring together a supporting band for his next recording: the group Coetzee put together included Jansen, as well as others who had not worked on "Underground".  "Mannenberg" was recorded in June 1974 during one of Ibrahim's visits to South Africa, in a studio in Cape Town, and was produced by Rashid Vally on his new label As-Shams (the name suggested by Ibrahim, meaning in Arabic "The Sun"). The track was recorded after Ibrahim began improvising at the piano, and gradually asked the rest of the band to join in; although Ibrahim made suggestions about the melody, the piece also contained collective improvisation. The piece was made after a few days of recording previously composed music; it was recorded quickly — Ibrahim recalled in 2014 that it took only one take. Asked in an interview how the title came about, he said: "Because Basil was from Manenberg and for us Manenberg was just symbolic of the removal out of District Six, which is actually the removal of everybody from everywhere in the world, and Manenberg specifically because... it signifies, it's our music, and it's our culture..." The township of Manenberg was considered symbolic with respect to apartheid in the same was as Soweto. The track was released on the album "Mannenberg – Is Where It's Happening" in the same year. The album only featured two songs; "Mannenberg", and "The Pilgrim" (which was similarly long, at 12 minutes and 47 seconds). The title "Mrs. Williams from Mannenberg", in reference to Gladys Williams, former housekeeper of one of the musicians, Morris Goldberg, was also considered for the album, and a photograph of her by Ibrahim was used on the album cover.

Musical themes.

"Mannenberg" has a "lilting melody" with a "gentle, hypnotic groove". The song has been described as an example of the use of purely musical techniques to convey subversive messages. The piece has no lyrics, but drew on a number of aspects of black South African culture, including church music, jazz, "marabi", and blues, to create a piece that conveyed a sense of freedom and cultural identity. It includes a saxophone solo by Coetzee, whose role in the song earned him his nickname "Manenberg". During the recording, the piano played by Ibrahim had thumbtacks attached to the hammers; the instrument thus had a "metallic timbre" that was generally associated with "marabi" music. Jazz pianist Moses Molelekwa would later state that "Mannenberg" was "a dance song, a party song [like] most of the jazz that was coming out at that period." Commentator John Edwin Mason would write that "It had an irresistible hook—its beautiful melody. It was driven by an infectious, danceable beat." The popularity of the piece was also attributed to the fact that it contained elements of many musical styles, thus sounding familiar to a large number of listeners: the groove of the piece incorporated elements of "marabi", the beat was similar to that of "ticky-draai", and the saxophone melody drew from "langarm", while all of it was based on an "underlying aesthetic" of jazz. The piece also had similarities to "Jackpot", a 1960 mbaqanga tune by Zacks Nkosi, who believed that "Mannenberg" was a rip-off of his piece. The various African genres that were incorporated into the song came from the Coloured and the black communities of the country. Ibrahim stated that to the musicians the piece was an "affirmation... that our inherent culture is valid."

Reception and impact.

Vally began to play "Mannenberg" from loudspeakers outside his store even before the album was released, and sold 5,000 copies of the recording in its first week on sale. The song became wildly popular, and the LP sold more copies in two years than any previous jazz LP recorded in the country, and it cemented Ibrahim's status as South Africa's most popular jazz musician. The piece itself has been described as the "most iconic of all South African jazz tunes", and its release has been identified as the moment at which the genre of Cape jazz became well-known, though it was not the first song in this genre. Vally did not have the financial ability to sell the album across the country, and so signed a deal with Gallo Records, the biggest South African record company at the time. Some 43,000 copies were sold in the first seven months; for comparison, an album selling 20,000 copies was considered a hit. The popularity of Coetzee and Jansen increased with that of "Mannenberg", and they became sought-after musicians in Cape Town nightclubs.  The song is reported to have inspired Nelson Mandela with hope during his imprisonment: Ibrahim recalled in a May 2012 interview for Voice of America's "JazzBeat" that the record was smuggled by a lawyer into Robben Island, where music was banned, and played in the control room over the loudspeakers, and that on hearing the song Mandela said: "Liberation is near."  A few months after the release of "Mannenberg", South African police fired upon protesting children during the June 1976 Soweto Uprising; this event led Ibrahim and Benjamin to publicly express support for the African National Congress, which was still banned at the time. The piece became identified with the movement against apartheid in the 1980s, partly due to Coetzee and Jansen playing it at a number of protests and rallies against the apartheid government. Jansen would accompany many of these performances with speeches about being proud of ones' own culture, and of "rising up" to challenge apartheid. Fragments of the piece were used as the tune to lyrics that expressed anger and resistance to the apartheid government. It was variously described as the "most powerful anthem of the struggle in the 1980s", the "unofficial national anthem" of South Africa, and "a beloved anthem of hope and resistance for many South Africans".

Legacy and memorial.

On the 40th anniversary of the album's release, Lindsay Johns praised "Mannenberg" in "The Spectator", saying that the song was "threnodic, passionate and ethereally beautiful." He went on to state that while "Mannenberg" was specifically about the forced relocation of Coloured people to the Cape Flats, it had also given a voice to poor, oppressed, and marginalized communities across the world. Thus, according to Johns, "Mannenberg" shared with other great music the characteristic of being "both specific and universal." He added:  The place where "Mannenberg" was recorded is commemorated with an abstract sculpture of seven stainless-steel pipes, mounted outside the building where the original studios were. Designed by electrical engineer Mark O'Donovan and performer Francois Venter, the pipes have been tuned to correspond to the first seven notes of the melody, and are inscribed with the instruction: "Run a stick along these pipes to hear Mannenberg".

Personnel.

Credits adapted from AllMusic.

Other versions.

When the album was first released in the United States its name was changed to "Cape Town Fringe". The recording was released as a CD in 1988 by Bellaphon Records. A shorter version of the song, "Mannenberg (Revisited)", appears on Ibrahim's album "Water from an Ancient Well", released in 1986. The "Mannenberg" sessions were subsequently released on his "Voice of Africa" album in 1989, and the shorter version was included as a track on the album "The Mountain" in the same year. It was collected on the 2002 release "The Best of Abdullah Ibrahim", as well as on the 2005 collection "Abdullah Ibrahim: A Celebration", in honour of his 70th birthday.  The album "African Tributes" by Darius Brubeck & the Nu Jazz Connection features Ibrahim's "Mannenberg/The Wedding" as track 4. The piece was also included in the collections "Smooth Africa" (2000) and "Essential South African Jazz" (2007), both of which featured various musicians. "Mannenberg" was the first track on guitarist Ernest Ranglin's 2012 album "Avila", which received a five-star rating from AllMusic. "Mannenberg" was also on the soundtrack of Lee Hirsch's 2002 documentary film "", which examined the movement against apartheid through the music of the period.

"Mannenberg" is a Cape jazz song by South African musician Abdullah Ibrahim, first recorded in 1974. Driven into exile by the apartheid government, Ibrahim had been living in Europe and the United States during the 1960s and '70s, making brief visits to South Africa to record music. After a successful 1974 collaboration with producer Rashid Vally and a band that included Basil Coetzee and Robbie Jansen, Ibrahim began to record another album with these three collaborators and a backing band assembled by Coetzee. The song was recorded during a session of improvisation, and includes a saxophone solo by Coetzee, which led to him receiving the sobriquet "Manenberg".

Mannenberg ist ein Musikstück von Abdullah Ibrahim, das 1974 erstmals auf Schallplatte erschien. Es gilt als Symbol gegen die damalige Apartheidpolitik in Südafrika. Der Titel bezieht sich auf das Township Manenberg nahe Kapstadt, das von zwangsumgesiedelten Coloureds bewohnt wurde. Das Stück ist dem Cape-Jazz zuzurechnen.


Description.

In its native range in the southern hemisphere, "Corella eumyota" can grow to a length of about and is grey or ivory in colour. The tunics of large individuals are thin, transparent and papery, while smaller individuals, which are a great deal more abundant, are thicker and gelatinous. This species has been introduced into the northern hemisphere and here it is described as being long, semitransparent and white, brown, or orangeish, the siphons often being orange.  It is normally recumbent, lying on its right side, roughly oval in shape, but fitting its body to the contours of its surroundings. The inhalent siphon is at the tip of the body and the exhalent siphon a third of the way down the right side. The siphons cannot be retracted. Although the tunic may be clean, it is sometimes covered by a biotic film or overgrown by others of its species or other tunicates. The hind gut can be seen through the tunic and forms a simple curve, and this helps distinguish it in European waters from the fairly similar sea grapes ("Molgula" spp), which have an "S"-shaped gut.

Distribution.

"Corella eumyota" is native to the waters around Antarctica and to the southern parts of South America, South Africa, Australia and New Zealand. It has a wide distribution on the Antarctic continental shelf at depths ranging between. It has been introduced into the northern hemisphere and is now present in northwestern Europe, in Spain, France, Ireland and the south coast of England.

Ecology.

"Corella eumyota" is a suspension feeder, creating a current to draw water in at one siphon, filtering out the food particles and expelling the water through the other siphon. It largely feeds on organic particles stirred up from the sediment. In its native Antarctic waters, this is a slow-growing, long-lived species. It spawns in the austral summer. The larvae are retained inside the body cavity until they are well-advanced; when they are released they settle on the seabed within a few minutes, so groups of this sea squirt are found growing quite close to each other.

Corella eumyota, the orange-tipped sea squirt, is a solitary tunicate in the family Corellidae. It is native to the Southern Ocean, the Antarctic, South America, southern Australia, New Zealand and South Africa, and has been introduced into European waters where it has become invasive.

Corella eumyota ist eine sessil und solitär lebende Art der Seescheiden aus der Familie Corellidae. Sie kommt im Südlichen Ozean an den Küsten der Antarktis, Südamerika, Südaustralien, Neuseeland und Südafrika vor. Von hier wurde sie in europäische Gewässer eingeführt, wo sie 2002 vor den Küsten von Frankreich entdeckt wurde.


Term as Governor.

Copley arrived in the Maryland colony following a Protestant rebellion that had overthrown the proprietorship of the Catholic Calvert family. The Protestants, who were the majority in the colony, had ejected their leaders after a brief conflict, echoing the Glorious Revolution that had occurred in England in 1688. From the overthrow of the proprietary government in 1689 until the arrival of Copley in 1692, Maryland had been governed by leaders of the rebellion, who called themselves the Protestant Associators. Their rule was somewhat catholic; the only courts that met at the time were the county courts and the associators used their executive power to punish their enemies.  Copley's arrival in the colony in 1692 heralded the return of British control to the colony, though the leaders of the rebellion took care to find ways to cement their power in the elected lower house of colonial government, the assembly. Having felt that their rights were abused by a strong executive power prior to the rebellion, they sought ways to prevent a similar situation under royal control. They appointed their own clerk, a man named John Lewellin, and created a number of standing committees designed to ensure the continuity and power of the assembly. Among these were a committee on elections, which would establish that the legislature itself would have control of how its members were elected. In addition, a committee on aggrievances handled complaints from the citizenry, a committee of laws was responsible for overhauling the legal code of the colony, and a committee on accounts oversaw economic and financial legislation.  Dealing with the assembly was not the only challenge Copley faced. There were significant salaries to be derived from colonial offices, and at the same time Copley himself was appointed Governor, Thomas Lawrence was appointed Secretary of the colony, a position from which he might derive great wealth. Lawrence and Copley had argued even before their arrival in the colony, and Lawrence sailed on a later ship because of this argument. Before he arrived in September 1692, two other men had been doing the work of the Secretary and taking the proceeds that accrued with the work. As Lawrence was attempting to recoup that money, Copley made a deal with the assembly to further weaken his opponent and to increase his own coffers. The assemblymen were interested in determining exactly which government officials received how much money, in order to prevent the sort of nepotism that had occurred in the proprietary government. Copley agreed to sign legislation to that effect. Authorized by that legislation, the assembly took some of the fees that had accrued to the Secretary and allowed the Governor to receive them instead. Copley, in turn, took other fees from the Secretary's office and gave them to Nehemiah Blakiston, one of the leaders of the Protestant Associators who now sat on the Governor's council, the upper house of the legislature. Lawrence became a rallying point for Marylanders who opposed Copley's rule and that of the Governor's council. They supporting him as he continued the power struggle in a fight over the appointments of county clerks.  Meanwhile, the legislature and Governor continued the work of rebuilding colonial government following the rebellion. They rewrote the legal code of the colony, adopting many laws that had existed previously and passing new ones to address some of their grievances with the proprietary government and strengthen the institution of slavery. They also established the Church of England as the state religion of the colony, and passed laws restricting the practice of other religions. In the midst of these efforts, Copley, like many recent arrivals to the colony, suddenly took sick and died. His enemy Thomas Lawrence took over, one of a series of people who would briefly serve at the helm of the colony before the arrival of the new royally-appointed governor, Francis Nicholson.

Sir Lionel Copley (16481693) was the 1st Royal Governor of Maryland from 1692 through his death in 1693. He was the first official royal governor appointed by the British crown after the colony was removed from the proprietary control of the Calvert family during the Glorious Revolution. Copley engaged in a series of political struggles with the colonial assembly and the colonial secretary, Thomas Lawrence, in the year between his arrival and his death the next year.

Lionel Copley (* 1648 in Wadsworth, Yorkshire, England; † 12. September 1693 in Maryland) war ein englischer Kolonialgouverneur der Province of Maryland.


Career.

On 26 September 1795 "Minotaur" and recaptured "Packet". The French corvette brig "Insolent", of 18 guns and 90 men, had captured "Walsingham Packet", which was sailing from Falmouth to Lisbon, on 13 September. "Insolent" narrowly escaped being herself captured at the recapture of "Walsingham Packet", getting into Lorient as the British ships came into range.  "Minotaur" fought at the battle of the Nile in 1798, engaging the "Aquilon" with HMS "Theseus" and forcing her surrender. In the battle "Minotaur" lost 23 men dead and 64 wounded.  After the French surrendered Rome on 29 September 1799, Captain Thomas Louis had his barge crew row him up the Tiber River where he raised the Union Jack over the Capitol.  In May 1800, "Minotaur" served as the flagship of Vice-Admiral Lord Keith at the siege of Genoa. On 28 April, the squadron captured the "Proteus", off Genoa.  On 8 January 1801 captured the French bombard "St. Roche", which was carrying wine, liqueurs, ironware, Delfth cloth, and various other merchandise, from Marseilles to Alexandria., "Tigre", "Minotaur",,, and the schooner "Malta", were in sight and shared in the proceeds of the capture.  She was present at the landings in Aboukir Bay during the invasion of Egypt in 1801 where she lost a total of three men killed, and six wounded. Because "Minotaur" served in the navy's Egyptian campaign (8 March to 8 September 1801), her officers and crew qualified for the clasp "Egypt" to the Naval General Service Medal that the Admiralty authorised in 1850 to all surviving claimants.  On 28 May 1803 "Minotaur", in company with, and later joined by, captured the French frigate "Franchise". "Franchise" was 33 days out of Port-au-Prince, and was pierced for twenty-eight 12-pounder guns on her main deck and sixteen 9-pounders on her quarterdeck and forecastle, ten of which were in her hold. She had a crew of 187 men under the command of Captain Jurien.  "Minotaur" was present at the surrender of the French garrison at Civitavecchia on 21 September 1804. She shared the prize money for the capture of the town and fortress with,, "Transfer", and the bomb vessel. The British also captured the French polacca "Il Reconniscento".  "Minotaur", under Captain Charles John Moore Mansfield, participated in the Battle of Trafalgar. There she was instrumental in capturing the Spanish ship "Neptuno", although "Neptuno"s crew recaptured her in the storm that followed the battle.  "Minotaur" was towards the rear of Nelson's wing of his fleet at Trafalgar. Mansfield pledged to his assembled crew that he would stick to any ship he engaged "till either she strikes or sinks – or I sink". Late in the battle he deliberately placed "Minotaur" between the damaged "Victory" and an attacking French ship; he was later awarded a sword and gold medal for his gallantry. Both are now in the National Maritime Museum.  In 1807 "Minotaur" served as the flagship of Rear-Admiral William Essington at the battle of Copenhagen.  Then on 25 July, during the Anglo-Russian War, 17 boats from a British squadron under the command of Captain Charles Pater, consisting of "Minotaur",, and, attacked a flotilla of four Russian gunboats and a brig off Aspö Head near Fredrickshamn in the Grand Duchy of Finland, Russia (present-day Hamina, Finland). Captain Forrest of "Prometheus" commanded the boats and succeeded in capturing gunboats Nos. 62, 65, and 66, and the transport brig No. 11. The action was sanguinary in that the British lost 19 men killed and 51 wounded, and the Russians lost 28 men killed and 59 wounded. "Minotaur" alone lost eight men killed and had 30 wounded, of whom four died of their wounds on the next day or so. In 1847 the Admiralty issued the Naval General Service Medal with clasp "25 July Boat Service 1809" to surviving claimants from the action. "Cerberus" then moved to the Mediterranean in 1810.

Shipwreck.

Whilst sailing from Gothenburg to Britain, under the command of John Barrett, "Minotaur" in darkness and heavy weather struck the Haak Bank, or "Razende Bol", on the Texel off the Netherlands, then part of the First French Empire, in the evening of 22 December 1810, after becoming separated from her consorts, HMS and "Loire". "Minotaur" got stuck in the sand, rolled on her side and quickly made water. It was decided to cut all the masts to lighten the ship; this destroyed some of the boats. By the early morning, the ship had nevertheless sunk deeper, flooding the forecastle. Waves pounded the hull. Around 08:00, the hull split asunder. The crew, taking refuge on the poop deck, tried to evacuate on a remaining launch and two yauls. Thirty-two men escaped on a yaul. When they reached the Dutch coast, this inspired another eighty-five to use the launch; they too reached the shore. Captain Barrett, together with about a hundred men, then tried to escape with the remaining yaul but it was swamped and all drowned. Around 14:00, the "Minotaur" turned completely, drowning the remaining crew. The 110 of her crew that had taken to her boats informed the Dutch authorities of the disaster. Another twenty survivors were rescued by a pilot vessel. The authorities placed the survivors under custody and refused to dispatch more rescue vessels until the following morning. The rescue party found however that apart from four men who had reached shore by clinging to wreckage, no survivors remained on the vessel or in the surrounding water. The death toll therefore was between 370 and 570 men. All survivors were taken to France as prisoners of war.  Three and a half years later, when the prisoners were released, the customary court martial decided that the deceased pilots were to blame for steering the ship into an unsafe position, having misjudged their location by over 60 miles because of the weather. Some of the survivors, including Lieutenant Snell, criticized the Dutch authorities for their failure to despatch rescue boats sooner. Snell stated "The launch which had brought on shore eighty-five men, was of the smallest description of 74 launches, with one gunwale entirely broken in, and without a rudder. This will better prove than anything I can say how easy it would have been for the Dutch admiral in the Texel to have saved, or to have shown some wish to have saved, the remaining part of the crew". Reports from the Dutch chief officer of the marine district of the North coast indicated that the Dutch had sent two boats out to examine the wreck site on the morning of 23 December, but the wind and the seas prevented them from approaching. Maritime historian William Stephen Gilly concluded in 1850 that "There is not the slightest doubt but that, had the Dutch sent assistance, the greater part of the ship's company would have been saved".

Legacy.

The famed landscape painter J. M. W. Turner depicted the sinking, though the subject was not originally the "Minotaur", but a generic merchant ship. Turner had been producing sketches in preparation for the painting as early as 1805, but by the time he had completed the painting in 1810, the recent wreck of "Minotaur" was a subject of much discussion. He named the painting to capitalise on this public interest.  The shipwreck of "Minotaur" remains the largest ever, in terms of loss of life, on the Dutch coast, with the possible exception of the loss of on 24/25 December 1811, on the same location. The tragic event, and the British accusations, made the Dutch realise that, despite the notoriously dangerous shoals in their waters, they lacked specialised equipment to save the crews of wrecked ships. In response on 11 November 1824, for the area of the Texel the "Koninklijke Noord-Hollandsche Redding-Maatschappij" was founded, the first Dutch sea-rescue organisation.  Master's mate Stephen Hilton brought home the Union Jack from "Minotaur" at Trafalgar as a souvenir, along with an Austrian flag from a captured Spanish ship. His descendants presented the flags to St Mary's Church in Kent in 1930, where they hung until 2011 when the church sold them to the National Maritime Museum for a reported sum of £175,000. After conservation work the flag was put on display in October 2015 in the National Maritime Museum to mark Trafalgar Day. It has lost its right-hand edge, and an oblong section that may have been cut away as a souvenir, but was in surprisingly good condition. After cleaning and gently ironing out 200 years’ worth of creases and crumples it gained several centimetres, and now measures an imposing 233 x 310 cm.

Notes, citations, and references.

Notes;  Citations  References

HMS "Minotaur" was a 74-gun third-rate ship of the line of the Royal Navy, launched on 6 November 1793 at Woolwich. She was named after the mythological bull-headed monster of Crete. She fought in three major battles – Nile, Trafalgar, and Copenhagen (1807) – before she was wrecked, with heavy loss of life, in December 1810.

Die HMS "Minotaur" war ein englisches 74-Kanonen-Linienschiff der Leviathan-Klasse, das 1793 vom Stapel lief und an drei bedeutenden Seeschlachten teilnahm. Sie wurde nach dem Vorbild der erbeuteten französischen "Courageux" gebaut und strandete 1810 an der holländischen Küste.


Early life and family.

Nicholas Greenberry was Baptised at Irnham,South Kesteven, Lincolnshire, England born to Nicholas and Catherine Greeneberrie Nee Hawkins of Imham, Lincolnshire, England. He married Anne UNKNOWN MAIDEN NAME in Kent, England. A Nicholas Greenberry also shows up in the state papers of Charles II:  Nicholas and Anne Greenberry nee Howard had six children: Anne who died as an infant born 19 Mar 1671 at Hoborn, London, London, England. Charles, born 9 FEB 1672 at Holburn, London, Middlesex, England. Katherine, born 1674 at Holburn, London, Middlesex, England. Anne, born 1676 at Anne Arundel County; and Elizabeth, born 23 September 1678 at Anne Arundel County.  Greenberry arrived at Patuxent, in the Maryland Colony, aboard the sailing ship "Constant Friendship" in 1674. He was accompanied by his wife, two children, and three servants. On 9 July 1674, Capt. William Wheatly, master, claimed rights due for transportation of 43 passengers on board, including "Mr Greenberry his wife & two Children."  Nicholas Greenberry died on December 17, 1697 and is buried in St Anne's Churchyard in Annapolis, Maryland. The inscription on his tombstone reads:

Land ownership.

According to Maryland Land Warrants, Annapolis Land Office, Liber 15, folio 837, Greenberry was granted a warrant for of land located in "Providence" (now Annapolis) on July 29, 1674.  Later, in 1680, Nicholas bought another tract of land near "Providence" called "Fuller" from Colonel William Fuller. This land was resurveyed and renamed "Greenberry Forest". Greenberry called the home "Whitehall", a name it retains to this day. In later years, this home became the residence of Horatio Sharpe, governor of the Maryland Colony. Sharpe had a Georgian mansion built on the site.  In 1685, Colonel Nicholas Greenberry bought 250 acres (1 km2) of land called "Towne Neck". This is located at the mouth of the Severn River and became known as "Greenberry Point". The colony's Deputy Governor, Governor Notley, was forced from office for hanging two Protestants for rebellion against authority. He was replaced by a Committee of twenty citizens. Greenberry was one of the gentlemen justices chosen as a member of that committee.

Revolt.

On July 27, 1689, the Protestant Association, under John Coode, seized St. Marys, the capital of the colony, in a revolt against the proprietary government. This same year, Nicholas was captain of foot in the Anne Arundel County Militia. He was promoted to Major in 1690. He then quickly received a commission of Colonel, and was appointed Commander of the Military Forces of Anne Arundel and Baltimore Counties.  The proprietaryship was disallowed on 27 June 1691. Sir Lionel Copley took the office as governor, and quickly appointed Greenberry as a member of the council. Copley died in September 1693, at which time Greenberry was appointed by Sir Edmund Andros, Governor of Virginia, as President of the Council, Acting Governor of Maryland, and Keeper of the Great Seal of Maryland. Greenberry served in this capacity until he was replaced on 26 July 1694 by Francis Nicholson by a commission from the King dated in February 1694.

High court appointment.

On 2 March 1695, Nicholas Greenberry was on the high Court of Chancery of Maryland. Here is the way it reads verbatim:

Seal of Maryland.

According to Charles Francis Stein, in his Origin and History of Howard Co., Maryland, on page 214, he writes:  Nicholas Greenberry died at the age of 70 on 17 December 1697 at "Whitehall". His wife Anne died 27 April 1698 at the age of 50. Both are buried in St. Anne's Episcopal Church Cemetery, Annapolis, Maryland.

Colonel Nicholas Greenberry (15 December 1640December 17, 1697) was the 4th Royal Governor of Maryland, and Commander of the Military Forces of Anne Arundel and Baltimore Counties.

Nicholas Greenberry (* 1627 in England; † 17. Dezember 1697 in Annapolis, Maryland) war ein englischer Kolonialgouverneur der Province of Maryland.


Historical Background.

The period beginning in England in 1642 and lasting until 1660 is known as the Interregnum, meaning "between kings." At this time, there was no monarch on the throne, and theatre was against the law. Spanning from 1642 to 1649, the English Civil War occurred. This war was an uprising against the current King of England, King Charles I, led by Oliver Cromwell, a Puritan. Cromwell's opposition to the throne was religious but political, as well, which led him to build up an army with the ability to imprison King Charles, who was beheaded in 1649, ending the war. After his death, the King's wife and children were given permission to leave the country, so they travelled to France to escape and receive protection.  The years following became known as the Commonwealth Era (1649-1660) because Cromwell, who established himself as the monarch figure without assuming any official authority, ruled the nation with Parliament support and renamed the England Republic to the English Commonwealth. These were tough times for England as Cromwell persecuted many families, especially those who fought on the behalf of King Charles I and Irish families that held rustic Catholic beliefs. Needless to say, Oliver Cromwell quickly fell out of the majority's favour, and he died in 1658 of natural causes. Two years later, Charles II, the beheaded king's son, returned to England and began the Restoration by restoring the throne and claiming his role as the proper King of England.  In addition, King Charles II's return restored the legality of theatre. This history is significant because it explains that since Charles II spent most of his life in France, he, as King, appreciated French culture, which prominently impressed upon England during the Restoration, particularly Restoration theatre.

Structure.

There are no extant photos, elaborate diagrams, paintings, or other forms of visual evidence of the inside of the Lincoln's Inn theatre, but certain aspects are understood of the theatre according to its time period. However, a great example of the layout of the inside is the Theatre Royal in Richmond, England, which contains components of Restoration theatre spaces and still stands today. Lincoln's Inn Fields Playhouse was very small. In fact, Milhous believes that "the smaller seating capacity... hurt the [Duke’s] company in the long run" as they moved as newer theatres came along (Milhous 71). It was around 75 feet long by 30 feet wide with about a 650-person audience seating maximum capacity (The Restoration Theater; Wilson and Goldfarb 249). It was originally an indoor tennis court; courts were used as theatre spaces because they had a similar structure with a narrow, rectangular shape and gallery seating. The stage was raked, sloping upward toward the back of the stage, in order to help with perspective. The audience was divided into the pit, boxes, and galleries. The pit had backless benches and a raked floor that rose toward the back of the audience to help sightlines. Mostly single men sat here, and it was the noisiest, rowdiest area in the theatre. Boxes sat upper class aristocrats—mostly married couples with wives who wanted to be seen. Galleries held the lower class, including servants of the upper classes in attendance.  The English stage, unlike French or Italian theatres, had a very deep apron to provide adequate acting space, and the background and perspective scenery served as solely as scenery. The Lincoln's Inn Fields Playhouse orchestra was housed beneath the stage, and the apron was extended two feet to cover completely the orchestra pit and obtain close proximity between the actors and the audience, creating an intimate atmosphere. Another uniqueness of English theatres is that there were typically two pairs of doors, one on each side of the stage, called proscenium doors with balconies above them for the actors to utilize in performances. Proscenium doors served as entrances and exits disregarding the possibility of multiple locations. Candelabras provided light for the space, and manual moveable scenery was used to move the show along (The Restoration Theater).

The Duke's Company.

The building was constructed as a real tennis court in 1656. Thomas Lisle's wife Anne Tyler and a man named James Hooker developed the indoor court in the winter of 1656 and 1657. Tudor-style real tennis courts were long, high-ceiling buildings, with galleries for spectators; their dimensions — about 75 by 30 feet — are similar to the earlier theatres, and much larger than a modern tennis court.  After the English Restoration in 1660, Lincoln's Inn Fields Playhouse received its first company through the efforts of the King himself and two men who dedicated themselves to theatre. Sir William Davenant had received a patent from Charles the I in 1639 when he was in power, but he had never used it due to the theatre ban. When theatre was restored, Davenant and a man named Thomas Killigrew wanted to create theatre in England and thus, Killigrew obtained a warrant expressing that he could "raise a company and a theatre, provided that his company and Davenant’s should be the only ones allowed to play in London" (Hotson 199). Davenant, then, drafted their joint warrant and after much debate over whether or not their role in theatre infringed on the Master of the Revels’ power, they appealed to Charles II. Charles II determined their Letters of Patent were valid and created two companies to perform "legitimate drama" in London: the Duke's Company of his brother, The Duke of York, led by William Davenant, and his company, the King's Company, led by Thomas Killigrew. Original intentions were positive, but competition was quickly apparent between the two. Both companies briefly performed in the theatrical spaces that had survived the interregnum and civil war (including the Cockpit and Salisbury Court), but scrambled to quickly acquire facilities that were more to current tastes. Taking a hint from their new King's taste, Killigrew and Davenant both chose a solution that had been used in France: converting tennis courts into theatres.  In March 1660, Sir William Davenant contracted to lease Lisle's Tennis Court in order to renovate it into a theatre, and he bought adjoining land to expand the building into the garden area. Killigrew's theatre on Vere Street (Gibbon's Tennis Court) opened first, in November 1660. Davenant apparently spent more time in his remodelling: Lincoln's Inn Fields opened on 28 June 1661, with the first "moveable" or "changeable" scenery used on the British public stage, and the first proscenium arch. Wings or shutters ran in grooves and could be smoothly and mechanically changed between or even within acts. The production was a revamped version of Davenant's own five-year-old opera "The Siege of Rhodes" where the soon-to-be famous actor, Thomas Betterton, performed the prologue. The result was such a sensation that it brought Charles II to a public theatre for the first time. This production at Lincoln's Inn Fields Playhouse "emptied Killigrew’s theatre" according to Milhous (19). Milhous also explains that the companies and other theatres "deliberately engaged in vicious head-on collision[s], mounting the same plays" (19). The competing King's Company suddenly found itself playing to empty houses, as diarist and devoted playgoer Samuel Pepys notes on 4 July:  I went to the theatre [in Vere Street] and there I saw "Claracilla" (the first time I ever saw it), well acted. But strange to see this house, that use to be so thronged, now empty since the opera begun—and so will continue for a while I believe.  "The Siege of Rhodes" "continued acting 12 days without interruption with great applause" according to the prompter John Downes in his "historical review of the stage" "Roscius Anglicanus" (1708). This was a remarkable run for the limited potential audience of the time. More acclaimed productions by the Duke's Company "with scenes" followed at Lincoln's Inn Fields in the course of 1661 (including "Hamlet" and "Twelfth Night"), all highly admired by Pepys. The King's Company was forced to abandon their own, technically unsophisticated tennis-court theatre and commission the construction of a new theatre in Bridges Street, where the Theatre Royal opened in 1663.  Prince Cosimo III of Tuscany visited the Lisle theatre in 1669, and his official diarist left us this account: [The pit] is surrounded within by separate compartments in which there are several degrees [steps] of seating for the greater comfort of the ladies and gentlemen who, according to the liberal custom of the country, share the same boxes. Down below [in the pit] there remains a broad space for other members of the audience. The scenery is entirely changeable, with various transformations and lovely perspectives. Before the play begins, to render the waiting less annoying and inconvenient, there are very graceful instrumental pieces to be heard, with the result that many go early just to enjoy this part of the entertainment.  The theatre was implicated by the Grand Jury of Middlesex on 7 July 1703 for showcasing "profane, irrelevant, lewd, indecent, and immoral expressions". It was also a hot target for riots and disorderly assemblies, murders, and other misdemeanors, but despite its troubles, the theatre remained very popular including hosting the first paid performance of Purcell's Dido and Aeneas in 1700 and Handel's final two operas (Pedicord 41).  Davenant died in 1668 and the Duke's Company, now under Thomas Betterton, performed out of Lincoln's Inns Fields until 1671, when they relocated to the elaborate new Dorset Garden Theatre which was more popular at the time. In 1672, the theatre in Bridges Street burnt down, and the King's Company temporarily occupied the recently vacated Lincoln's Inn Field, until their new theatre opened in 1674.

Betterton and Rich.

The building was converted back to a tennis court and remained one for almost 20 years. During that time, the Duke's Company, occupying the Dorset Theatre, subsumed the King's Company, housed in the newly rebuilt Theatre Royal, to form the United Company, performing out of Drury Lane. Betterton, a famous English actor, was forced out as the head of the company in 1688, staying on as an actor (and filling a day-to-day managerial role) while a succession of leaders embezzled funds and cut costs by cutting actors' salaries. This uniting created many conflicts between the members of the companies. For example, each company would have one actor who would always play Hamlet, but when the companies are combined, who claims the role? Due to rivalry and competition within the United Company, Thomas Betterton petitioned to the king to separate and create his own company. So, under Christopher Rich, the United Company split. Betterton left with a band of actors and a newly issued license to perform, and from 1695 to 1705 his company performed back at Lincoln's Inn Fields Playhouse, refurbishing the abandoned building back into a theatre. The New Theatre in Lincoln's Inn Fields opened in April 1695 with William Congreve's "Love for Love". It was later the first venue for Congreve's plays "The Mourning Bride" (1697) and "The Way of the World" (1700). The building went unused as a theatre from 1705 until it was demolished in 1714 or shortly before, in preparation to build a new theatre. The man behind the new construction was none other than Christopher Rich, who after 16 years of management, had been pushed out of Drury lane. Rich died in 1714, but his son John Rich led a company at the theatre until 1728. On 29 January 1728, Rich's theatre hosted the first, very successful, production of John Gay's "The Beggar's Opera" (making "Rich gay and Gay rich"). The theatre was finally abandoned in December 1732, when the company moved to the new Covent Garden Theatre, built by Rich using the capital generated by "The Beggar's Opera".  The old building was used as a barracks, an auction room, a warehouse for china, and was finally demolished in 1848 to make room for an extension to the neighbouring premises of the Royal College of Surgeons.

Lisle's Tennis Court was a building off Portugal Street in Lincoln's Inn Fields in London. Originally built as a real tennis court, it was used as a playhouse during two periods, 1661–1674 and 1695–1705. During the early period, the theatre was called Lincoln's Inn Fields Playhouse, also known as The Duke's Playhouse, The New Theatre or The Opera. The building was demolished and replaced by a purpose-built theatre for a third period, 1714–1728. The tennis court theatre was the first public playhouse in London to feature the moveable scenery that would become a standard feature of Restoration theatres.

Das Lincoln’s Inn Field Theatre, auch "Lincoln’s Inn Field Playhouse" (von englisch "play" (Theaterstück)), war ein englisches Theater, welches aus dem "Lisle’s Tennis Court" entstanden ist. Es stand an der "Portugal Street", nahe dem heute größten öffentlichen Platz in London, den Lincoln’s Inn Fields.


Background.

Although the Judiciary Act of 1891 (which created the United States courts of appeals and rendered a small part of the Supreme Court's jurisdiction discretionary subject to grant of writ of certiorari) had relieved pressure on the Supreme Court's docket, the court remained obliged to rule:  on the merits all cases appealed to it over which it had jurisdiction... [after the 1891 act, ] Congress gave the Court discretionary review authority over appellate decisions in diversity, patent, revenue, criminal and admiralty cases. Parties wishing to appeal such cases would file a petition for certiorari, which the Court could grant or deny without passing on the merits.  Nonetheless, the number of appeals was a one-way upward ratchet, and the Justices argued that the only way to fix the problem once and for all was to have the Court conduct virtually all of its business by way of writ of certiorari.

Proposal.

In December 1921, Chief Justice William Howard Taft appointed three justices to draw up a proposal which would amend the Judicial Code of the United States, and define further the jurisdiction of the nation's circuit courts. The resulting bill, created by Justices Willis Van Devanter, James Clark McReynolds, and George Sutherland, took many trips to Congress by the Chief Justice and his associates. Taft also journeyed to the United Kingdom in 1922, to study the procedural structure of British courts.  When approved in 1925, "the Judges Bill", as it was known, dramatically shrank the number of cases coming directly to the court, yet retained a mandatory oversight on cases which raised questions involving federal jurisdiction. It called for the circuit courts of appeals to have appellate jurisdiction to review 'by appeal or writ of error' final decisions in the district courts, as well as for the district courts of Alaska, Hawaii, Puerto Rico, China, the United States Virgin Islands, and the Panama Canal Zone. The circuit courts were also empowered to modify, enforce or set aside orders of the Interstate Commerce Commission, the Federal Reserve Board, and the Federal Trade Commission. The bill further provided that "A final judgment or decree in any suit in the highest court of a State in which a decision in the suit could be had, where is drawn in question the validity of a treaty or statute of the United States may be reviewed by the Supreme Court on a writ of error." Lastly, cases involving final decrees which brought into question the validity of a wide range of Federal or state treaties, would come to the Court by certiorari. Four justices would be required to vote affirmatively to accept petitions, which meant that the Court's agenda would now be controlled by "judicial review" and that thousands of cases clogging the dockets could now be cut to hundreds which met the new requirements.  The Chief Justice vigorously pursued the passage of this bill, taking his fellow justices with him to Congress over the four years in which the bill was discussed. Congress chose to pass the act in 1925. This action rendered the majority of the Supreme Court's workload discretionary by removing the possibility of direct appeal to the court in most circumstances. Henceforth, pursuant to §237(b) of the act, appellants would file petitions for writs of certiorari with the Supreme Court, which would be accepted at the discretion of four of the nine Justices. "No longer did the Court have to hear almost every case an unhappy litigant presented to it. Instead, for the most part, the Court could select only those relatively few cases involving issues important enough to require a decision from the Supreme Court."

The Judiciary Act of 1925 (43 Stat. 936), also known as the Judge's Bill or Certiorari Act, was an act of the United States Congress that sought to reduce the workload of the Supreme Court of the United States.

Der Judiciary Act of 1925 (auch Certiorari Act oder Judges’ Bill, voller Titel "An Act To amend the Judicial Code, and to further define the jurisdiction of the circuit courts of appeals and of the Supreme Court, and for other purposes") (43 Stat. 936) ist ein Gesetz des 68. Kongress der Vereinigten Staaten vom 13. Februar 1925.


Plot.

"Arcania: Fall of Setarrif" ties up the loose ends of the main game's story and adds yet another chapter to the epic tale. After the demon that possessed King Rhobar III was exorcised, it made its way to Setarrif to find a new host. In Setarrif, which is cut off from the rest of the island, chaos and anarchy spread rapidly.  King Rhobar III is troubled by these facts and is afraid of losing the city and some of his companions, which are in Setarrif at that very moment. The nameless hero therefore is sent by the king and must journey to Setarrif but he has no idea of what lies before him.

Overview.

A new threat casts its shadow over the Southern Isles. A mysterious demon, consumed by hatred, terrifies the population and pools his force against the coastal city of Setarrif. The dramatic situation exacerbates after a volcanic eruption in the mountains nearby. Thereupon the nameless hero joins forces with his strongest allies and courageously faces the new menace.

Development.

The development of the addon started around mid 2010, although it was planned earlier in the development of "". With the current financial problems of the publisher, no other details have been revealed regarding the development of the game. JoWooD's community manager announced on one of the fansites that the debut trailer would be available in March 2011.  On March 3, 2011, JoWooD Entertainment released the official website and first trailer for the add-on.  On March 22, 2011, JoWooD Entertainment announced that the expansion has been delayed indefinitely because of legal issues with BVT Games Fund III.  However, on September 21, 2011, the new publisher, Nordic Games, announced that the add-on would be available on October 25, 2011 for Microsoft Windows.

Arcania: Fall of Setarrif is the standalone expansion for "". It was released on October 25, 2011 after a long period of silence from both publishers and after being delayed indefinitely in March 2011.

Arcania – Fall of Setarrif (Eigenschreibweise ArcaniA Fall of Setarrif) ist ein lineares Action-Rollenspiel des ehemaligen deutschen Entwicklerstudios Spellbound Entertainment. Das Standalone-Addon zu "Arcania – Gothic 4" wurde ursprünglich vom österreichischen Publisher JoWooD in Auftrag gegeben, aber nach Verzögerungen und der Insolvenz von JoWooD erst am 25. Oktober 2011 durch Nordic Games für PC veröffentlicht. Später folgten Konsolenumsetzungen für PlayStation 3 und 4 sowie Xbox 360.


Career.

Club.

Born in Birmingham, Alabama, Richards joined FC Dallas Academy in 2017 after spending some time with Texans SC Houston. On April 12, 2018, he signed a contract with FC Dallas becoming their 22nd Homegrown Player. In May 2018, Richards, alongside FC Dallas colleague Thomas Roberts, went to a 10-days trial at FC Bayern Munich as part of an agreement between the two clubs. Due to his performance, in July he was offered a one-year loan with the German club. On July 21, 2018, Richards debuted for Bayern senior team at the 2018 International Champions Cup, replacing Sandro Wagner in the 62nd minute of the 3–1 win against Paris Saint-Germain F.C. During the 2018/2019 season, he spent time with Bayern München U19s becoming a team regular starter and getting praises for his aerial abilities and his passing skills. On January 19, 2019, Richards signed a $1.5 million permanent contract with FC Bayern Munich. On August 19, 2019, he made his professional debut when he started for FC Bayern Munich II at the 3. Liga in their 2–1 away win against Hallescher FC. On June 20, 2020, he made his Bundesliga debut in a 3–1 victory against Freiburg.

International.

In January 2018, Richards was called for the MNT Youth National Team Summit Camp, which gathered 153 players from U16, U17, U18, U19, and U20 Youth National Teams. In May 2018, he made his debut for the United States U20 team in a match against Honduras. On November 12, 2018, Richards was called for the 2018 CONCACAF U-20 Championship as one of the three replacements allowed before the beginning of the "Qualification Stage". He, then, started in two of the three tournament's remaining matches, including the final, a 2–0 win, against Mexico. On May 10, 2019, Richards was included by coach Tab Ramos in the 21-man squad called to represent the United States at the 2019 FIFA U-20 World Cup. The defender started all the five matches the Americans played in the tournament, including the stunning 3–2 win against heavy favorites, France. Richards played the entire game in all but one of the matches (the one against Nigeria).

Christopher Jeffrey Richards (born March 28, 2000) is an American soccer player who plays as a defender for FC Bayern Munich II at the 3. Liga.

Christopher Jeffrey „Chris“ Richards (* 28. März 2000 in Birmingham, Alabama) ist ein US-amerikanischer Fußballspieler, der seit Juli 2018 beim FC Bayern München aktiv ist.


History.

The house was built for the Tavastian nation as "Hämäläisten talo" ("Tavastians' house") in 1931. From early on, it was actively rented for entertainment purposes, including theater plays and dances. By the 1950s it had become a popular dance place and carried the slang name "Hämis". During the 1960s the house started to concentrate more on rock music.  In 1970 the club was given the name "Tavastia klubi". The programme included weekly jazz, rock and disco concerts. During the 1970s many bands, which would later become very famous in Finland and even abroad, rose to fame from the concerts in Tavastia. These include such acts as Hurriganes, Sleepy Sleepers, Wigwam and Dave Lindholm. During this time a few popular foreign acts played in the club as well, including Tom Waits, John Lee Hooker and Dr. Feelgood.  By the 1980s the club had achieved a legendary status in the Finnish rock music scene. In the 1980s more domestic bands rose to fame through Tavastia, most importantly Hanoi Rocks. Foreign visitors included Nico featuring Mad Sheer Khan, Sir Douglas Quintet, Fabulous Thunderbirds, Jason & The Scorchers, Dead Kennedys, The Ventures, Public Image Ltd, Pogues and Nick Cave.  The 1990s saw new popular domestic acts rise to fame from the stages of the club. These include Don Huonot, Kingston Wall and The 69 Eyes. In 1994 a "little brother" club "Semifinal" was opened in the basement of Tavastia to cater for the "rising star" bands and other smaller acts. For example, HIM played for the first time in the Tavastia's address in Semifinal when Ville Valo, the lead-singer to be, was still playing bass. Valo is said to have told the Tavastia's manager Juhani Merimaa that he would one day play a sold-out gig in the upstairs club. Valo kept his promise, and HIM went on to become one of the best selling acts in the history of Finnish music.  Today, Tavastia is one of the oldest European rock music clubs that remain in continuous use.

The Tavastia Club () is a popular rock music club in Helsinki, Finland. The house is owned by Hämäläis-Osakunta, one of the student nations at the University of Helsinki, but since 1991 the club has been operated by a private enterprise renting the house from the nation. It is located in central Helsinki Kamppi district on the street Urho Kekkosen katu. The capacity is 700 people.

Tavastia ist ein Liveclub für Rockmusik in Helsinki, Finnland. Er hat ein Fassungsvermögen von 700 Personen. Das Gebäude im zentralen Stadtteil Kamppi wurde 1931 als Hauptstelle der Studentenvereinigung "Hämäläis-Osakunta" erbaut. Die Mitglieder der Vereinigung entstammen der historischen Landschaft "Häme" (lateinisch: Tavastia). Im Erdgeschoss war das Tanzlokal "Hämis" eingerichtet. 1970 wurde der Raum zum Rockclub Tavastia umgewandelt, die oberen Etagen werden von der Studentenvereinigung weiterhin belegt. Der Club hat sich als Spielstätte für alle Arten von Rockmusik und seltener auch anderen Musikstilen etabliert.


Production.

Filmed from February 2015 until the end of 2017, Reichert and Bognar were granted filming access by Fuyao at both their Ohio and Chinese plant locations. They were inspired to make this film as the events they aimed to depict were taking place in the same Moraine Assembly plant once occupied by General Motors, which was the central topic of their 2009 Oscar-nominated documentary short "."  It was not until the editing process that the filmmakers decided to centralize the experiences of workers themselves during the Fuyao plant take-over, which they describe as the "beating heart of the story".  The Mandarin Chinese language portions of the film were facilitated by the inclusion of two Chinese filmmakers, Yiqian Zhang and Mijie Li, one or both of whom would travel to Ohio monthly. The directors credit these two as essential in providing a connection to the Chinese subjects depicted in the film.

Style.

The filmmakers implemented a fly-on-the-wall documentary filmmaking approach, in which no dialogue external to the subjects of the film is included, and the sounds of the factory and the dialogue of the workers is prioritized. In order to make focal such an audio/visual approach, the filmmakers implemented the use of lavalier microphones to effectively balance worker dialogue amid noise emanating from the factory's machinery. The voice-over narration provided by the factory workers was often recorded at their respective homes, independently from the factory setting. According to Bognar, implementing the film's narration in this way to create an effect of depicting a worker's inner monologue.

Reception.

After the film's screening at Sundance, it garnered wide acclaim. On Rotten Tomatoes, the film has an approval rating of 96% based on reviews from 83 critics, with an average of 8.39/10. The site's consensus reads: ""American Factory" takes a thoughtful – and troubling – look at the dynamic between workers and employers in the 21st-century globalized economy." On Metacritic it has a weighted average score of 86 out of 100 based on 23 critics, indicating "universal acclaim".  David Edelstein of "New York Magazine" wrote: "It’s a great, expansive, deeply humanist work, angry but empathetic to its core. It gestures toward the end of the working world we know – and to the rise of the machines." Eric Kohn at "IndieWire" described it as "A fascinating tragicomedy about the incompatibility of American and Chinese industries."  The film won Best Documentary Feature at the 2020 Academy Awards as well as the Independent Spirit Award for the same category.

Home media.

"American Factory" is scheduled to be released on DVD and Blu-ray in 2020 as part of The Criterion Collection.

American Factory () is a 2019 American documentary film directed by Steven Bognar and Julia Reichert, about Chinese company Fuyao's factory in Moraine, a city near Dayton, Ohio, that occupies Moraine Assembly, a shuttered General Motors plant. The film had its festival premiere at the 2019 Sundance Film Festival. It is distributed by Netflix and is the first film produced by Barack and Michelle Obama's production company, Higher Ground Productions. It won an Academy Award for Best Documentary Feature.

American Factory ist ein US-amerikanischer Dokumentarfilm, von Steven Bognar und Julia Reichert, über die Unternehmensentwicklung des chinesischen Autoglasherstellers Fuyao in Moraine, einem Vorort von Dayton in Ohio.


Plot.

U.S. Army veteran Alicia West (Naomi Harris) returns to her hometown in New Orleans where she is recruited into the city's police department. Alicia is reminded by her new partner Kevin Jennings (Reid Scott) about the differences of residing in the community she grew up in and the police department.  In order for Jennings to get home to date night with his wife, West takes his place in a double shift with another member of the force, Brown. He gets a call in the middle of their shift and they head over to meet with his CI in an abandoned building where he tells her to wait in the car. Alicia hears gunfire coming from the building where Brown went in and heads over, armed with a Glock pistol and a vest fitted with a body camera. There, Alicia witnesses detective Terry Malone (Frank Grillo) and his men murder an unarmed drug dealer. When Malone attempts to explain away the situation to her, the other, Smitty (Beau Knapp), panics upon seeing Alicia's body cam and shoots at her, causing Alicia to fall through the floor onto the ground below.  A wounded Alicia escapes while she is being tracked by Malone and his men. When a fellow police officer arrives, Alicia realizes they are working with Terry, forcing her to hide out in the store of Milo Jackson (Tyrese Gibson), a member of the community who is reluctant to hide her. She tries to get help from her partner, Jennings, but she finds out that he is one of the cohorts and she runs away from him. Meanwhile, Malone blames West for the shooting and manipulates criminal kingpin Darius into putting out an open bounty on West because one of the kids that Malone murdered was Darius' nephew. While recovering in Milo's home, Alicia has a gun pointed at her head by Missy’s son. Alicia then learns that Darius put out a bounty on her and that the whole community is tracking her down. Alicia managed to escape but a wounded Milo is left behind and is captured by Darius. Darius tortures Milo, but Milo refuses to divulge where to find Alicia. Alicia records herself and hides her body cam in an abandoned house. Alicia then exposes herself where Darius does business. She convinces Darius that she has proof that Malone killed Darius nephew. One of Darius henchman hacks into Alicias body cam where the footage is downloaded. Darius is now convinced that the footage of the execution of his nephew concludes that Malone is the real killer. Malone and his enforcers arrive to track down Alicia; during the ensuing chaos, Darius is killed by Malone, and Brown is killed by Smitty, who is in turn killed by West. West gives the body camera to Milo so that he can sneak into the police station and upload the footage, while she stays and tries to outrun Malone who is trying to kill her.  There is a standoff between Malone and West with the whole black community looking on. When West gets the upper hand, other police officers arrive and tell her to put down the gun. At the same time, the captain gets the footage and radios SRT to get them to stand down and tells them that West is innocent. Malone tries one last time to kill her, pretending she has a gun, but her partner, Jennings, shoots him in the chest and incapacitates him.  Malone is arrested and West's name is cleared earning the respect of the other police officers and the community.

Production.

In August 2017, it was announced Screen Gems had acquired Peter A. Dowling's spec script "Exposure", and Sean Sorensen will produce the film under his Royal Viking Entertainment banner. In August 2018, it was announced Deon Taylor would direct the film, and Roxanne Avent will serve as an executive producer under her Hidden Empire Film Group banner. In December 2018, Naomie Harris joined the cast of the film, which was retitled from "Exposure" to "Black and Blue". In January 2019, Frank Grillo, Reid Scott, Tyrese Gibson, Beau Knapp, Mike Colter and Nafessa Williams joined the cast of the film. In March 2019, James Moses Black joined the cast of the film. In April 2019, Frankie Smith joined the cast of the film.

Filming.

Principal photography began on January 16, 2019, and concluded on February 28, 2019. The movie was shot using CineAlta cameras, Sony α7S II and Sony Xperia 1 smartphones. All these devices are marketed and manufactured by Sony, the parent company of Sony Pictures and Screen Gems.

Release.

"Black and Blue" had its world premiere at the Urbanworld Film Festival on September 21, 2019. It was released on October 25, 2019. It was previously scheduled to be released on September 20, 2019.

Reception.

Box office.

In the United States and Canada, "Black and Blue" was released alongside "The Current War" and "Countdown", and was projected to gross $8–11 million from 2,062 theaters in its opening weekend. It made $3.1 million on its first day, including $675,000 from Thursday night previews. It went on to debut to $8.3 million, finishing sixth; social media monitor RelishMix said the low figure was blamed on audiences being "bored with this type of cop thriller". In its second weekend the film fell 50% to $4.1 million, finishing eighth.

Critical response.

On review aggregation website Rotten Tomatoes, the film holds an approval rating of 52% and an average rating of 5.41/10, based on 89 reviews. The site's critics consensus reads: ""Black and Blue" is elevated by Naomie Harris' central performance, even if the end result suffers from a simplistic treatment of topical themes." On Metacritic, the film has a weighted average score of 54 out of 100, based on 23 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film a grade of "A-" on an A+ to F scale, while those PostTrak gave it an overall positive score of 80%, including an average 4 out of 5 stars.  Candice Frederick of "TheWrap" wrote: ""Black and Blue" is chock-full of heart-pounding car chases and suspenseful moments that are certain to entertain mainstream audiences, but the film falters when it attempts, beyond its title to reflect a necessary and under-discussed conversation about societal issues."

Black and Blue is a 2019 American action thriller film directed by Deon Taylor from a screenplay by Peter A. Dowling. The film stars Naomie Harris, Tyrese Gibson, Frank Grillo, Mike Colter, Reid Scott, and Beau Knapp, and follows a rookie police officer who goes on the run after she witnesses a murder.

Black and Blue ist ein Action-Thriller von Deon Taylor, der im Oktober 2019 in die US-amerikanischen und im November 2019 in die deutschen Kinos kam.


Operational history.

In 1953 she took part in the Fleet Review to celebrate the Coronation of Queen Elizabeth II.  On 17 May 1958 "Aurochs" was patrolling the Molucca Sea off Indonesia when an unidentified aircraft machine-gunned her. The aircraft remained at high altitude and "Aurochs" sustained no casualties or damage. President Sukarno's Indonesian government told the UK's Conservative Government that its armed forces had not made the attack. The UK Foreign and Commonwealth Office stated that it accepted the assurance and assumed that North Celebes rebels had carried out the attack.  It is true that Permesta rebels in North Sulawesi were supported by a "Revolutionary Air Force", AUREV ("Angkatan Udara Revolusioner"). However, all AUREV aircraft, munitions and pilots were supplied by the Nationalist Chinese air force or the CIA. Two CIA pilots, William H. Beale and Allen Pope, had been using Douglas B-26 Invader aircraft to attack Indonesian and foreign targets in the area since April 1958. By 17 May Beale had quit the operation, but Pope continued to fly sorties until the day after "Aurochs" was attacked, 18 May, when he tried to attack an Indonesian Navy convoy but was shot down and captured.  Apart from the "Affray" which had been lost in an accident in 1951, "Aurochs" was the only one of her class not to be modernised. In March 1961, the submarine was among the vessels that took part in a combined naval exercise with the United States Navy off Nova Scotia.  "Aurochs" was decommissioned in 1966 and arrived at Troon in February 1967 for breaking up.

HMS "Aurochs" (P426), was an of the Royal Navy, built by Vickers Armstrong and launched 28 July 1945. Her namesake was the aurochs ("Bos primigenius"), an extinct Eurasian wild ox ancestral to domestic cattle and often portrayed in cave art and heraldry.

Die HMS "Aurochs" (Schiffskennung P426, später S62) war ein U-Boot der "Amphion"-Klasse des Submarine Service der Royal Navy. Sie wurde am 21. Juni 1944 in der Werft von Vickers-Armstrong in Barrow-in-Furness, der einzigen U-Boot-Werft Großbritanniens, auf KIel gelegt, lief am 28. Juli 1945 vom Stapel und wurde am 7. Februar 1947 fertiggestellt. Wie bei allen Booten der "Amphion"-Klasse beginnt ihr Name mit dem Buchstaben A. Sie ist nach dem Auerochsen (Bos primigenius) benannt, einem ausgestorbenen eurasischen Wildochsen, von dem die Hausrinder abstammen und der oft in der Höhlenmalerei und Heraldik dargestellt wird.


Culture & Sightseeing.

Sights.

Gimcheon's claim to fame is Jikjisa Temple (직지사), located at the foot of Mt. Hwangaksan. The temple was constructed in 418 (the 2nd year of King Nulji's reign, Silla Dynasty). Jikjisa is an important head temple of the Jogye Order of Korean Buddhism. This temple is in perfect harmony with the nearby valley and pine forest. The foliage in fall is particularly breathtaking. It features Birojeon Hall (also known as ‘Cheonbuljeon Hall’), in which approximately 1,000 Buddha statues are enshrined, along with a thousand year old arrowroot. Iljumun Gate, Daeungjeon Hall (one of the most famous architectural structures of the Joseon Dynasty) and a 1.63m-tall Seated Stone Buddhist Statue (Treasures No. 319) from the Unified Silla Period, can also be found on the temple grounds.  Jikjisa is believed to have been first constructed by the Goguryeo monk Ado in the year 418, long before Buddhism gained general acceptance in Silla. Jikjisa was largely destroyed during the Seven Year War in the 1590s. The reconstruction of the temple spanned from 1610 to about 1670.  Jikjisa is possibly one of the oldest temples in South Korea and it is relatively well-connected to a convenient train and bus service. Jikjisa Station is located at the foot of the mountain, along the Gyeongbu Line railroad. It is served only by local commuter trains, which run twice daily in each direction. Overnight or weekend temple stay programs are available at the main complex.  Temple Admission Fees: Adults: 2,500 won Youth: 1,500 won Children: 1,000 won *Free: ages under 6 and over 65  Directions to Jikjisa: - Dong Seoul Terminal to Gimcheon (Departure 3 times a day (10:10, 14:10, 18:10), 3 hour ride). - Get on the bus (No. 11, No. 111) to Jikjisa Temple at Gimcheon Station or Gimcheon Bus Terminal(25 minute ride).

Hiking & Mountains.

Mt. Hwangaksan (1,111m in elevation), home of Jikjisa, is located in the Sobaeksan Mountains. The area is a well known habitat for many cranes that reside on this mountain. This location is also famous for its thick pine forests, pristine streams, beautiful fall foliage and splendid snowscapes.  Other Natural & Outdoor Cultural Properties:  Various events including a beauty pageant, a grape fair, sales and food fair introducing various grape foods are offered every July in the downtown area.  An annual sporting event held at the Sport City every May. Traditional military band performances and ballroom dancing are also offered, in addition to various food events.  An annual festival at the Gimcheon Art Hall every October emphasizing the importance of family through plays and dramatic performances.

Shopping & Restaurants.

Gimcheon's dining options mainly consist of the average Korean, Japanese, and Chinese restaurants that are found in abundance throughout Korea. The majority of the city's restaurants are locally owned but some major chains can also be found, including more popular or Western-friendly choices.

Traditional Food.

Traditional restaurants can be found in almost all of Gimcheon's districts but the largest concentration of such establishments is located at the base of Jikjisa Temple, in the Jikji Culture Park. The Culture Park features an ample selection of both local and traditional specialities.

Expat & Western Dining.

The Lucky Penny is a locally owned restaurant in the Bugok-dong neighborhood. The menu includes Western and American favorites such as hamburgers, quesadillas, Philly cheesesteak sandwiches and other popular dishes. Jared Sandler, Professor of English at Gimcheon University, is a regular visitor to the Lucky Penny. He gained the status of "#1 Customer" after donating a television that hangs on the wall to this very day.

Shopping.

Downtown Gimcheon, centered around the train station, consists of the largest selection of shopping in town. In the middle of town there is a popular five-day market held on days ending in 0 and 5. Most days, though, there quite a few vendors in the area and the two largest traditional markets in town are always open for business.  Major Stores include:  Being a smaller town, Gimcheon does lack certain amenities such as large department stores. The closest locations for larger stores is the city of Gumi, located roughly 20 minutes away by train, where shops such as Lotte Mart and Homeplus can easily be found.

Banking & Financial Services.

Available financial institutions in Gimcheon include:  NOTE: English speaking staff are only found at the largest banks or headquarter centers.

Transportation.

Road.

Gimcheon is located along the Gyeongbu Expressway and many major roadways connect the city to other surrounding areas.

Rail.

Main transportation connections are via the Gyeongbu Line and the Gyeongbuk Line train lines. In 2010, a newly constructed KTX station, Gimcheon-Gumi Station opened on the outskirts of the city center The district around this new KTX station is slowly expanding, however, currently it is only accessible by vehicle, local bus or taxi. From the KTX station to Gimcheon Train Station (the main downtown shopping center) via taxi, it is roughly a 15,000 to 20,000₩ expense.  Distance to other destinations:  NOTE: The times listed are rough estimations solely meant to provide a general idea. For specific times, contact the Korail train services for more information.

Community & Expat Information.

In 2004, it was reported that the population was 144,587, including 143,527 Koreans and 1,060 non-Koreans.  While Gimcheon is much smaller compared to its nearby counterparts, there is a sizeable expat community scattered amongst the seven district neighborhoods. As of 2013, there are an estimated 40 to 60 expats residing within the city limits, most employed as English teachers through the government run EPIK (English Program in Korea) and TaLK programs.

Administrative Districts.

The outlying regions of Gimcheon are divided into fourteen "myeon" (or townships) and one "eup" (or large village). In addition, the city center is divided into seven "dong", or precincts.

Gimcheon (;, trans., 'gold spring city') is a city in North Gyeongsang Province, South Korea. It is situated on the major land transportation routes between Seoul and Busan, namely the Gyeongbu Expressway and Gyeongbu Line railway.

Gimcheon (kor., zu deutsch ‚Goldener Frühling‘) ist eine Stadt in der südkoreanischen Provinz Gyeongsangbuk-do. Sie liegt mit ihren knapp 150.000 Einwohnern nordwestlich von Daegu nahe der Provinzgrenze zu Chungcheongbuk.