Background.

Arizona's Martin Luther King Day controversy.

Super Bowl XXVII was originally scheduled to be played at Sun Devil Stadium in Tempe, Arizona, the home of the Phoenix Cardinals. In 1983, U.S. President Ronald Reagan signed a bill creating Martin Luther King Jr. Day, a national holiday honoring African-American civil rights leader Martin Luther King Jr. In 1986, the first year that the holiday was observed, Arizona Governor Bruce Babbitt, a Democrat, had issued an executive order creating the holiday after the state legislature voted against it. Babbitt's successor, Republican Evan Mecham, rescinded the order on the grounds that Babbitt did not

Buffalo Bills.

The Bills entered Super Bowl XXVII trying to avoid becoming the first team to lose three consecutive Super Bowls. Once again, the team was loaded with Pro Bowl players, boasting 12 Pro Bowl selections. During the regular season, Buffalo's no-huddle offense ranked as the number two offense in the league (6,114 yards) and ranked as the number one rushing offense (2,436 yards). Running back Thurman Thomas rushed for a career-high 1,487 yards and 9 touchdowns during the regular season, while also catching 58 passes for 626 yards and another 3 touchdowns. Running back Kenneth Davis rushed for 613 yards, caught 15 passes for 80 yards, and added another 251 yards returning kickoffs. Quarterback Jim Kelly had 269 out of 462 completions for 3,457 yards, 23 touchdowns, and 19 interceptions. Wide receiver Andre Reed led the team with 65 receptions for 913 yards and 3 touchdowns, receiver James Lofton contributed 51 receptions for 786 yards and 6 touchdowns, and wide receiver Don Beebe caught 33 passes for 554 and 2 touchdowns. Also, tight end Pete Metzelaars recorded 30 receptions for 298 yards and 6 touchdowns. The Bills also had one of the best offensive lines in the

The Resurrection of the Dallas Cowboys.

Super Bowl XXVII saw the resurrection of the Dallas Cowboys. From 1966 to 1985, the team made the playoffs 18 out of 20 seasons under coach Tom Landry, including five Super Bowl appearances and two Super Bowl wins. But in the late 1980s, the team suffered several losing seasons, including a 3–13 regular season record in 1988. Then Jerry Jones bought the team on February 25, 1989, and in a controversial move, promptly fired Landry, the only coach Dallas had in 29 years as an NFL franchise. Jones replaced Landry with University of Miami head coach Jimmy Johnson.  With Johnson as head coach and Jones as his own general manager, people in the league thought they could take advantage of them. Both lacked NFL experience, and instead of hiring coaching assistants with experience in the league, they hired ones that worked with Johnson in Miami. Compounding this issue was

Playoffs.

The Cowboys easily defeated their first playoff opponent, the Philadelphia Eagles, 34–10. Dallas' defense held the Eagles to only 178 offensive yards and sacked quarterback Randall Cunningham five times. Meanwhile, the Cowboys recorded 160 rushing yards and 185 passing yards. Aikman completed 15 of 25 passes and 2 touchdowns, while Smith ran for 114 yards and a touchdown.  Dallas then defeated the San Francisco 49ers 30–20 in the NFC Championship Game. This was the first time that the two teams met in the NFC Championship since the 49ers narrowly beat the Cowboys in the 1981 NFC Championship Game on a late touchdown pass known as "The Catch". The 49ers came into the game with the league's best regular season record at 14–2 and led the league

Super Bowl pre-game news and notes.

Even though the Bills had more experienced players than the Cowboys, Dallas was favored to win Super Bowl XXVII based on the recent dominance of NFC teams in the Super Bowl. Some writers and fans were starting to compare Buffalo to the Super Bowl losers Minnesota Vikings and the Denver Broncos.  Still, many thought that the inexperienced Cowboys might panic under the pressure of playing in their first Super Bowl, and thus make a number of mistakes. Also, some thought Buffalo's no-huddle offense could eventually wear down and dominate Dallas' young defense.  Finally, Jimmy Johnson was looking to become the first head coach to win a college football national championship (University of Miami in 1987) and a Super Bowl. As of 2019, Johnson, Cowboys' successor Barry Switzer, and current Seattle Seahawks head coach Pete Carroll remain the only

Broadcasting.

The game was broadcast on television in the United States by NBC. Dick Enberg served as the play-by-play announcer with color commentator Bob Trumpy in the broadcast booth. CBS was originally scheduled to broadcast Super Bowl XXVII, but the NFL allowed NBC and CBS to swap Super Bowls XXVI and XXVII so CBS could use Super Bowl XXVI as a strong lead-in for its coverage of the 1992 Winter Olympics.  Bob Costas hosted all the events with analyst Mike Ditka, who joined NBC almost immediately after he was fired as head coach of the Chicago Bears earlier in January. Other contributors included former "Boston Globe" sportswriter Will McDonough (assigned to Buffalo's locker room); former Oakland/Los Angeles Raiders tight end Todd Christensen; "The Tonight Show" host Jay Leno; Cris Collinsworth (participating in an NFL Experience piece with Christensen as well as reporting from the Dallas locker room); former Los Angeles Lakers basketball player Magic Johnson (then working as a commentator for the "NBA on NBC"; Johnson was assigned to an interview with

Entertainment.

Pregame ceremonies.

The pre show featured The Rockettes dance company in a tribute to Hollywood music and cinema in the United States. Also featured were former Eagles singer Glenn Frey and Fleetwood Mac.  Country music singer Garth Brooks sang the national anthem. He was accompanied by actress Marlee Matlin, who signed the anthem for the deaf fans. Brooks very nearly did not

Halftime show.

After Super Bowl XXVI, where a special episode of "In Living Color", broadcast by future NFL broadcaster Fox during the game's halftime period, successfully attracted viewers away from the Super Bowl telecast on CBS (with viewership falling by 22% over halftime), the NFL began the process of heightening the profile of the halftime show in an effort to attract mainstream viewers. Radio City Productions, who would produce the halftime show, attempted to court Michael Jackson to serve as the headline act by meeting with him and his manager Sandy Gallin. After three failed negotiations, one having asked the NFL for a fee of $1 million, Jackson's management agreed to allow him to perform at Super Bowl XXVII.  Although the

Game summary.

First Quarter.

Super Bowl XXVII started out well for Buffalo. The Cowboys were forced to a three-and-out on their opening possession. Bills special teams expert Steve Tasker then blocked the ensuing punt, knocking the ball out of bounds at the Cowboys 16-yard line. Four plays later, Thurman Thomas scored on a 2-yard touchdown run to give the Bills the 7–0 early lead.  Dallas then reached their own 40-yard line on their next drive, but an illegal formation penalty nullified running back Emmitt Smith's 12-yard run. Troy Aikman then threw two consecutive incompletions, and the Cowboys were forced to punt again. The Bills subsequently advanced to midfield with the aid of a 15-yard

Second Quarter.

Early in the second quarter, Kelly's 40-yard completion to Reed gave the Bills a first down at the Cowboys 4-yard line. But the Bills failed to score on three rushing attempts. On fourth down, Kelly's pass was intercepted in the end zone by safety Thomas Everett.  On Buffalo's next drive, linebacker Ken Norton Jr. hit Kelly, re-injuring the quarterback's knee that he sprained earlier in the season, and playoff star Frank Reich took Kelly's place. Reich started out well, completing his first two passes, including a 38-yard completion to Reed to advance the ball to the Dallas 22-yard line, while running back Kenneth Davis was also a major contributor on the drive, rushing five times for 28 yards. However, Thomas was stopped for no gain on third down and 1 at the 4-yard line. Rather than attempt another fourth-down play near the goal line, the Bills settled for Steve Christie's 21-yard field goal to cut their deficit to 14–10 with

Third Quarter.

Dallas then took the opening drive of the second half and advanced 77 yards in 11 plays, featuring a 25-yard reception by Irvin. However, on third down and 2, Aikman's pass to Novacek in the end zone was overthrown, forcing Dallas to settle for Lin Elliott's 20-yard field

Fourth Quarter.

Early in the 4th quarter, Aikman threw a 45-yard touchdown pass to Alvin Harper. Then on the second play of the Bills' next possession, Everett intercepted a pass from Reich and returned it 22 yards to Buffalo's 8-yard line, setting up another touchdown three plays later on Smith's 10-yard run. After Buffalo received the ensuing kickoff, Reich fumbled a high snap while in a shotgun formation. Norton recovered the loose ball and returned it 9 yards for a touchdown, increasing the Cowboys' lead to 52–17. The 21 points by the Cowboys is the most for a team in the 4th quarter, matched by the Kansas City Chiefs in Super Bowl LIV. The Cowboys also became just the second team to score two non-offensive touchdowns in a Super Bowl. The Raiders also did so in Super Bowl XVIII with a blocked punt return and an interception return.  One of the more memorable moments of the game came after the Cowboys had built a 35-point lead. Buffalo QB Frank Reich lost a fumble while being sacked by Cowboys lineman Jim Jeffcoat. Dallas tackle Leon Lett picked up the ball with no one in front of him, appeared ready to score on

Final statistics.

Sources: NFL.com Super Bowl XXVII, Super Bowl XXVII Play Finder Dal, Super Bowl XXVII Play Finder Buf

Individual statistics.

Completions/attempts Carries Long

Records set.

The following records were set in Super Bowl XXVII, according to the official NFL.com boxscore

Starting lineups.

Officials.

For the first (and to date only) time in Super Bowl history, officials changed shirts at halftime, going from short sleeves in the first half to long sleeves for the second.  Donnie Hampton died January 30, 1995 at age 47, one day after Super Bowl XXIX.

Super Bowl XXVII was an American football game between the American Football Conference (AFC) champion Buffalo Bills and the National Football Conference (NFC) champion Dallas Cowboys to decide the National Football League (NFL) champion for the 1992 season. The Cowboys defeated the Bills by the score of 52–17, winning their third Super Bowl in team history, and their first one in 15 years. This game is tied with Super Bowl XXXVII as the third-highest scoring Super Bowl with 69 combined points. The Bills became the first team to lose three consecutive Super Bowls, and just the second team to play in three straight (the Miami Dolphins played in Super Bowls VI–VIII, winning VII and VIII). The game was played on January 31, 1993 at the Rose Bowl in Pasadena, California, the seventh Super Bowl held in the Greater Los Angeles Area.

第二十七届超级碗(英语:Super Bowl XXVII)是美国国家橄榄球联盟1992赛季的总决赛,由美联冠军布法罗比尔队对阵国联冠军达拉斯牛仔队。比赛于1993年1月31日在帕萨迪纳的玫瑰碗体育场举行。


Roman Catholic Diocese of Perpignan-Elne

天主教佩皮尼昂-埃尔恩教区

History.

The Diocese of Elne is created in the 6th century. The first known Bishop of Elne is Dominus, mentioned in 571 in the "Chronicle" of John of Biclarum. Among others are Cardinal Ascanio Maria Sforza (1494–95), Cardinal Caesar Borgia (1495–98), Cardinal Francisco Lloris y de Borja (1499-1506), Cardinal Jacques de Serra (1506–12), Cardinal Girolamo Doria (1530–33); and Bishop Olympe-Philippe Gerbet (1854–64).  The Cathedral of Elne (eleventh century) and the adjoining cloister are rich examples of elaborate medieval ornamentation. In the later Middle Ages, and under the influence of Roman Law, Roussillon witnessed revivals of slavery; this is proved by numerous purchase deeds of Muslim and Christian slaves, dating back to the fourteenth and fifteenth centuries.  The diocese honours especially St. Vincent de Collioure, martyr (end of the third century); and St. Eulalia and St. Julia, virgins and martyrs (end of third century). In memory of former ties with the metropolis of Tarragona, the Church of Perpignan honours several Spanish saints: St. Fructuosus, Bishop of Tarragona, and his deacons Augurius and Eulogius, martyred at Tarragona in 259; some martyrs of the Diocletian persecution (end of third century); Justa and Rufina of Seville; Felix and Narcissus of Gerona; Aciselus and Victoria of Cordova; Leocadia, of Toledo; St. Ildefonsus (607-67), Archbishop of Toledo.  After becoming Bishop of Elne in 1495, Caesar Borgia decides to raise the taxes on the clergy, resulting in an uprising in 1497. Those same taxes are cut in two the following year, after the clergy complained to the king.  The Benedictine Dom Briard (1743-1828), who continued the series of "Historiens de France", belonged to Perpignan. At Perpignan Pope Benedict XIII (Pedro de Luna) held a council 1 November 1408, to rally his partisans; they gradually melted away and on 1 February 1409, the eighteen remaining bishops advised the antipope to send ambassadors to Pisa to negotiate with Pope Gregory XII.  Numerous councils were held at Elne: in 1027 (the Synod of Toulouges), 1058, 1114, 1335, 1337, 1338, 1339, 1340, and 1380. The council held in 1027 decreed that no one should attack his enemy from Saturday at nine o'clock to Monday at one; and that Holy Mass be said for the excommunicated for a space of three months, to obtain their conversion. The author of "l'Art de verifier les Dates" wrongly maintains that the Council of Elvira was held at Elne.  The chief places of pilgrimage of the diocese are: Notre-Dame du Château d'Ultréra, at Sorède; Notre-Dame de Consolation, at Collioure; Notre-Dame de Font Romeu, at Odeillo; Notre-Dame de Forca-Réal, near Millas; Notre-Dame de Juigues, near Rivesaltes; the relics of Sts. Abdon and Sennen at Arles on the Tech.

The Roman Catholic Diocese of Perpignan–Elne (Latin: "Dioecesis Elnensis"; French: "Diocèse de Perpignan–Elne"; Catalan: "Bisbat de Perpinyà–Elna") is a diocese of the Latin Rite of the Roman Catholic Church in France. The diocese comprises the Department of Pyrénées-Orientales. This see continues the old Diocese of Elne, which was renamed and had its see relocated at Perpignan, in 1601 after a papal bull of Pope Clement VIII. Its territory brought together the Diocese of Elne, part of the Spanish Diocese of Urgel known as French Cerdagne, three cantons of the Diocese of Alet, and two villages of the Diocese of Narbonne.

天主教佩皮尼昂-埃尔恩教区(、)是法国一个罗马天主教教区,属蒙彼利埃总教区。


弗里德林·鲁道夫·迪奥多·冯·辛格尔·艾特林

Biography.

Fridolin Rudolph von Senger und Etterlin was born on 4 September 1891, in Waldshut near the Swiss border. In 1912, he became a Rhodes scholar at Oxford and acquired fluency in French and English. World War I interrupted his education in August 1914, and he was commissioned a lieutenant in the reserves. Senger remained in the postwar Reichswehr as a cavalry officer. Senger studied for two years at the Cavalry School in Hannover, spent four years with the cavalry inspectorate in Berlin, and by 1938 was promoted Colonel.

World War II.

Senger took part in the Battle of France in 1940. In October 1942 he was given command of the 17th Panzer Division in Southern Russia. In June 1943, during the Battle of Sicily he was German Liaison Officer to the Italian 6th Army (General Alfredo Guzzoni), and commanded the German units on the island until 17 July 1943 when General Hans-Valentin Hube assumed control of all Axis troops on the island. In August 1943, Senger took command of the German forces on the islands of Sardinia and Corsica. He conducted the evacuation when the German positions became untenable. On 8 October 1943 he received the command of the XIV Panzer Corps in Italy.  During the Battle of Monte Cassino, Senger fought at the Gustav Line, which included Monte Cassino. The German position was only broken by the Allies in May 1944.

Later life.

After the war he wrote his memoirs, entitled "Neither Fear nor Hope" (which were translated into English), and he continued to write on military matters and theory. He was invited to the Königswinter conferences by Lilo Milchsack. These annual conferences helped to heal the bad memories after the end of the Second World War. At the conference he worked with the politician Hans von Herwath, future German President Richard von Weizsäcker and other leading German decision makers as well as British politicians like Dennis Healey, Richard Crossman and the journalist Robin Day.  In 1950, Senger was one of the authors of the Himmerod memorandum which addressed the issue of rearmament ("Wiederbewaffnung") of the Federal Republic of Germany after World War II. Senger was introduced by B. H. Liddell Hart to the military historian Michael Howard. Howard, who had fought in Italy during the war, recalls him saying, "May I give you a word of advice? Next time you invade Italy, do not start at the bottom." He was the father of Bundeswehr General and military author Ferdinand Maria von Senger und Etterlin (1923–1987).

Fridolin von Senger und Etterlin (4 September 1891 – 9 January 1963) was a general in the Wehrmacht of Nazi Germany during World War II.

弗里德林·鲁道夫·迪奥多·冯·辛格尔·艾特林骑士(德语:Fridolin Rudolf Theodor Ritter und Edler von Senger und Etterlin,1891年-9月4日-1963年-1月9日)是纳粹德国第二次世界大战的一名装甲兵上将。先后指挥过17装甲师和第14装甲军,并在蒙特卡西诺战役中指挥少量兵力给予盟军庞大的伤亡。


萨拉米斯战役 (前306年)

Background.

During the wars of the Diadochi that followed the death of Alexander the Great, Ptolemy, who had seized control of Egypt, had taken over the island of Cyprus and used it as a base of operations against his rival Antigonus I Monophthalmus. From Cyprus, Ptolemy's forces were able to raid the coasts of Syria and Asia Minor, territories controlled by Antigonus. In early 306 BC, Antigonus resolved to remove this threat, and ordered his son, Demetrius, to capture the island. Demetrius at the time was in Greece, where he had in the previous year overthrown the garrison installed in Athens by the ruler of Macedon, Cassander. The city, along with neighbouring Megara, was restored to democratic rule, and allied itself with Demetrius. As a result, when Demetrius sailed from Athens in spring 306 to capture Cyprus, he was accompanied by 30 Athenian quadriremes.  Crossing the Aegean, Demetrius made for the coast of Caria, whence he called upon the Rhodians to join him, per the terms of their alliance with his father. The Rhodians, however, who maintained good relations with Ptolemy, refused. Going on to Cilicia, where he was reinforced with more troops, Demetrius then crossed over to Cyprus with an army of 15,000 infantry and 500 cavalry. This was accompanied by a fleet numbering 53 heavy ships—7 heptereis, 10 hexereis, 20 quinqueremes—and upwards of 110 lighter vessels—triremes and quadriremes—although the exact numbers are somewhat unclear. He was opposed by Ptolemy's brother, Menelaus, who disposed of 12,000 infantry, 800 cavalry, and 60 ships.

Siege of Salamis and Ptolemy's arrival in Cyprus.

Demetrius landed on the Karpasia Peninsula on the northeast of the island and established a fortified encampment, protected by a palisade and a moat. From there he began raiding the area, and captured the towns of Karpasia and Urania. Leaving his fleet there, he then marched on land against the city of Salamis. Menelaus confronted Demetrius in battle some forty "stadia" (about five miles) from the city, but his army of 12,000 infantry and 800 cavalry were defeated in a brief battle with heavy loss (1,000 dead and 3,000 captured according to Diodorus Siculus) and had to retreat behind its walls. Demetrius freed the captives and enrolled them in his army, but soon they tried to defect, so Demetrius sent them to his father in Syria instead.  Following the battle, Menelaus hastily made ready for a siege of Salamis, mounting catapults on the walls, and sent messengers to his brother for aid. Demetrius also began preparations for the first of the sieges that would earn Demetrius his later nickname of "Poliorcetes" ("the Besieger"): skilled craftsmen and large quantities of wood and iron were brought from Asia to begin constructing large siege engines, including two large battering rams encased in large canopies to protect them from missiles, and a massive, nine-level mobile siege tower or helepolis, equipped with catapults and ballistae on each level, operated by a crew of over 200 men. Demetrius then brought his fleet and siege train into action and assaulted the city. After a few days, Demetrius' machines opened a breach in the wall and his subsequent assault nearly proved decisive, and was only stopped by nightfall. During the night, Menelaus gathered flammable material and was able to set the largest siege engines on fire.  In the meantime, in response to his brother's appeals, Ptolemy himself had sailed from Alexandria at the head of his fleet. He arrived at Paphus, on the western coast of Cyprus, at the head of 140 warships, all quadriremes and quinqueremes, and of over 10,000 men on 200 transports. According to Plutarch, Ptolemy issued an ultimatum to Demetrius to leave Cyprus, while the latter countered with the offer that he would do so, if Ptolemy were to withdraw his garrisons from the cities of Sicyon and Corinth in Greece.  Ptolemy decided to try to make a night dash from Citium, round Cape Greko, to Salamis, hoping to surprise Demetrius and combine his fleet with his brother’s sixty ships so they could then outnumber Demetrius. Demetrius, however, informed of Ptolemy's arrival, took steps in order to prevent this from happening: he equipped his ships with missile-throwers, brought aboard his best troops as marines, and sailed his fleet to anchor just outside the harbour of the city, bottling up Menelaus in the harbour and interposing himself between the two enemy fleets. This meant that Demetrius took a calculated risk that he would be able to defeat Ptolemy before Menelaus could sail out of the harbour and attack him in the rear.

The naval combat before Salamis.

As Ptolemy's fleet came into view of the city right after dawn on the day of the battle, they found Demetrius' fleet deployed and waiting for them. His fleet augmented to some 180 vessels with ships captured in Cyprus, Demetrius concentrated the bulk against Ptolemy, leaving only 10 quinqueremes under Antisthenes to blockade the narrow exit of the harbour of Salamis and prevent or at least delay Menelaus' intervention. Demetrius had gathered his best ships—the seven Phoenician heptereis, the Athenian squadron, and behind them 10 hexereis and 10 quinqeremes—on the left, under command of the admiral Medius of Larissa. Medius was apparently the actual overall commander of the fleet, although Demetrius himself was also present on the left wing on his flagship, a hepteres. His centre comprised the lightest vessels in his fleet, under the command of Themison of Samos and Marsyas of Pella, while the right was entrusted to Hegesippus of Halicarnassus and Pleistias of Cos, the chief pilot ("archikybernetes", the second-in-command after Medius) of the fleet. Ptolemy quickly matched his fleet to mirror his opponent's dispositions: he ordered the transports carrying his army to fall back, and massed the largest ships of his fleet on his own left, which he commanded in person. As the historian Richard Billows writes, "the battle was in effect a race to see which of the two dynasts could first defeat the enemy's right wing and turn to attack the enemy's center", with the "added question of whether or not Menelaus would succeed in breaking out of Salamis in time to intervene".  According to Diodorus Siculus, who provides the fullest, and probably most reliable, account of the battle, when the two fleets were about three "stadia" apart, both Demetrius and Ptolemy raised the signal to attack (a gilded shield), and the two fleets charged each other. Diodorus describes the ramming and boarding actions, as well as the missile exchanges, that dominated the fight:  Demetrius himself won distinction for his bravery when Ptolemy's men boarded his flagship, "by hurling his javelins at some of them and by striking others at close range with his spear", despite being himself subject to "many missiles of all sorts". Of his three bodyguards, who tried to protect him with their shields, one was killed and the others severely wounded. The Athenians also fought with distinction, as Demetrius awarded 1,200 suits of armour to Athens from the spoils taken. In the end, both left wings proved victorious, but it was Demetrius who won the race: by the time Ptolemy turned to attack Demetrius' centre, he found the rest of his fleet already defeated and in flight. Menelaus' 60 ships meanwhile, under the command of Menoetius, managed to break through Demetrius' blockade, only to find the battle already lost.

Aftermath of the battle.

Demetrius tasked Neon and Burichus with pursuing the defeated enemy and picking up the men from the sea, and returned in triumph to his camp. According to Diodorus, his fleet had only lost 20 damaged ships, all of which returned to service after repairs, while Ptolemy's fleet had lost 80 ships. More importantly, Demetrius' forces had captured fully 40 of Ptolemy's warships intact with their crews, as well as over a hundred of the transports with some 8,000 troops aboard. Plutarch goes further, claiming that Ptolemy managed to save only eight of his ships, and that 70 of Ptolemy's ships were captured. Among the numerous prisoners taken by Demetrius was the courtesan Lamia of Athens, who later became the mistress of Demetrius, as well as Leontiscus, one of Ptolemy's sons.  Following his defeat, Ptolemy retreated to Egypt, and Menelaus was forced to surrender Salamis and its garrison, further increasing Demetrius' strength. Demetrius then moved to take over the rest of Cyprus, taking over the garrisons into his own army as well. According to Diodorus, the total strength added to his forces thus were 16,000 infantry and 800 cavalry. Despite their rivalry, the relationship between Ptolemy and Demetrius was characterized by a mutual respect and chivalrous conduct: after the Ptolemaic victory at Gaza in spring 312 BC Ptolemy had unconditionally released the captives and baggage train of Demetrius', a gesture reciprocated by Demetrius after his success at Myus in the next year. Demetrius honoured this after Salamis as well, immediately releasing Menelaus and other relatives and friends of Ptolemy who had been captured with their personal possessions. When Ptolemy recaptured Cyprus in 295 BC, and found Demetrius' mother and children at Salamis, he again reciprocated by immediately releasing them.

Impact.

The victory at Salamis was used by Antigonus as a suitable pretext for his own proclamation as king ("basileus"), the Macedonian throne having lain vacant since the murder of Alexander IV of Macedon by Cassander in 309 BC. At the same time, Demetrius was raised to co-king alongside his father. Antigonus' assumption of the royal title was followed by an attempt to eliminate Ptolemy for good in a massive, but failed, invasion of Egypt in autumn 306, and then by the celebrated, but equally unsuccessful, Siege of Rhodes by Demetrius in 305–304 BC. Finally, in 302 BC the remaining dynasts—Ptolemy, Cassander, Seleucus, and Lysimachus—having in turn assumed the royal title themselves, allied against Antigonus and defeated him in the Battle of Ipsus in 301 BC. Antigonus was killed, and his realm was broken up and divided among the victors. Demetrius survived the battle, and thanks to his large fleet managed to maintain control of a coastal and insular realm encompassing Cyprus, the Cyclades, Sidon, Tyre, Corinth, and the major cities of western Asia Minor. During the next years, Cyprus became a base of operations for Demetrius in the Levant, and for his imposition of control over Athens and southern Greece. During his absence in Greece, however, Ptolemy seized Cyprus in 295 BC.  The Battle of Salamis is proposed by modern scholars as one of three possible naval battles—along with the Battle of Amorgos (322 BC) and the Battle of Cos (261/255 BC)—that provided the occasion for the erection of the statue of the Nike of Samothrace.

The naval Battle of Salamis in 306 BC took place off Salamis, Cyprus between the fleets of Ptolemy I of Egypt and Antigonus I Monophthalmus, two of the Diadochi, the generals who, after the death of Alexander the Great, fought each other for control of his empire.

萨拉米斯战役(Battle of Salamis)是第四次继业者之战中托勒密(埃及总督)与德米特里(安提柯之子)在塞浦路斯的萨拉米斯一场陆战和一场重要海战。


Biography.

Cai Guo-Qiang was born in 1957 in Quanzhou, Fujian Province, China. His father, Cai Ruiqin, was a calligrapher and traditional painter who worked in a bookstore. As a result, Cai Guo-Qiang was exposed early on to Western literature as well as traditional Chinese art forms. As an adolescent, Cai witnessed the social effects of the Cultural Revolution; he grew up in a setting where explosions were common, where “gunpowder [was] used in both good ways and bad, in destruction and reconstruction”.  Cai began painting in the early 1970s; his work turned away from the calligraphic and ink wash disciplines practiced by his father and towards the Western practice of oil and watercolor painting. Cai studied Scenic Design at the Shanghai Theatre Academy between 1982 and 1985. During that same time, he began to experiment with adding gunpowder into his painting compositions “seeking to use the forces of nature to reduce my own control of the canvas.” After moving to Japan in 1986, Cai spent years honing his signature use of gunpowder. Cai's first solo exhibition to gain significant global attention was "Primeval Fireball" (1991, P3 art and environment, Tokyo). For most audiences, it was an introduction to Cai's medium and method; an encompassing presentation of his intermingling of installation art, gunpowder drawing and conceptual performance. The exhibition was Cai's debut as a mature artist; the installation solidified his reputation as a “gunpowder artist” and laid out his conceptual focus for the next decade by kickstarting his decade-long series "Projects for Extraterrestrials". Rather than literally, the term “Extraterrestrials” in this context is used as a challenge to adjust the vision of the world from a Ptolemaic fixation to an inclusive universal mentality - where humans are part of the cosmic landscape. The most notable works in this series include: "45.5 Meteorite Craters Made by Humans on Their 45.5 Hundred Million Year Old Planet: Project for Extraterrestrials No. 3" (1990), "Fetus Movement II: Project for Extraterrestrials No. 9" (1992), "The Horizon from the Pan-Pacific: Project for Extraterrestrials No. 14" (1994), "Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10" (1993), "Restrained Violence–Rainbow: Project for Extraterrestrials No. 25" (1995), "Dragon Sight Sees Vienna: Project for Extraterrestrials No. 32" (1999).  In 1995, Cai was sponsored by a grant from the Asian Cultural Council to move to the United States, participate in a residency as part of the P.S.1 Studio Program. At P.S.1, he developed "The Century with Mushroom Clouds: Project for the 20th Century" (1996) and was short listed for "The Hugo Boss Prize 1996" for his installation "Cry Dragon/Cry Wolf: The Ark of Genghis Khan". He continued to exhibit internationally, participating in "The Second" and "Third Asia-Pacific Triennial of Contemporary Art", at the Queensland Art Gallery, Brisbane (1996, 1999) and winning the Golden Lion at the 48th Venice Biennale in 1999 for "Venice’s Rent Collection Courtyard".  These successes lead to greater recognition in the United States, starting with the realization of "How is Your Feng Shui? Year 2000 Project for Manhattan" (2000) for the 2000 Whitney Biennial in which Cai offered feng shui remedies to visitors using an interactive computer program. In 2004, "Cai Guo-Qiang: Inopportune" at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North was awarded the Best Monograph Show and Best Installation in a Museum by the United States branch of the International Association of Art Critics.  In 2005 he debuted his daytime explosion events with "Black Rainbow: Explosion Project for Edinburgh" and "Black Rainbow: Explosion Project for Valencia" (2005), for which he exploded a black smoke rainbow over each city.  The combined achievement of the touring retrospective exhibition "I Want to Believe" (2008) at the Solomon R. Guggenheim Museum and his appointment as the Director of Visual and Special Effects for the Beijing Olympic Games placed Cai in the spotlight of critical and popular attention. This key point in Cai's career established him as a global powerhouse for artistic production. That year he was also awarded the 7th Hiroshima Art Prize. Since then his many solo exhibitions and projects include "Saraab" (2011, Doha), "1040M Underground" (2011, Ukraine), "Da Vincis do Povo" (2013, Brasilia, São Paulo and Rio de Janeiro), "Falling Back to Earth" (2013, Brisane), "The Ninth Wave" (2014, Shanghai), "There and Back Again" (2015, Yokohama), "My Stories of Painting" (2016, Maastricht), "The Spirit of Painting" (2017, Madrid), "Flora Commedia" (2018, Florence) and "In the Volcano" (2019, Naples).  Cai is one of six artist-curators who made selections for "Artistic License: Six Takes on the Guggenheim Collection", on view at the Solomon R. Guggenheim Museum from May 24, 2019 through January 12, 2020.

Artwork.

Cai Guo-Qiang's work crosses multiple mediums including drawing, installation, explosion event, and performance. Drawing upon Eastern philosophy and contemporary social issues as a conceptual basis, his artworks respond to culture and history and establish an exchange between viewers and the larger universe around them. His explosion art and installations are imbued with a force that transcends the two-dimensional plane to engage with society and nature. Cai's practice draws on a variety of symbols, narratives, traditions and materials including fengshui, Chinese medicine, shanshui paintings, science, flora and fauna, portraiture, and fireworks. Cai is among the first artists to contribute to discussions of Chinese art as a viable intellectual narrative with its own historical context and theoretical framework.

Gunpowder drawings / paintings.

"Primeval Fireball: The Project for Projects," 1991.First realized at p3 art and environment, Tokyo. Seven gunpowder drawings. Gunpowder on paper, mounted on wood as folding screens. These gunpowder drawings are, from left to the right, front to the back: "Fetus Movement II: Project for Extraterrestrials No. 9" (1991), "Rebuilding the Berlin Wall: Project for Extraterrestrials No. 7" (1991), "Inverted Pyramid on the Moon: Project for Humankind No. 3" (1991), "Reviving the Ancient Signal Towers: Project for Extraterrestrials No. 8" (1990), "A Certain Lunar Eclipse: Project for Humankind No. 2" (1991), "The Vague Border at the Edge of Time/Space Project" (1991) and "Bigfoot's Footprints: Project for Extraterrestrials No. 6" (1990). Installation dimensions variable. Collection of the artist and various private and public collectionsThe installation, "Primeval Fireball: The Project for Projects" featured seven large scale gunpowder and ink on paper drawings that outlined hypothetical explosion projects. These gunpowder drawings are: "Fetus Movement II: Project for Extraterrestrials No. 9" (1991), "Rebuilding the Berlin Wall: Project for Extraterrestrials No. 7" (1991), "Inverted Pyramid on the Moon: Project for Humankind No. 3" (1991), "Reviving the Ancient Signal Towers: Project for Extraterrestrials No. 8" (1990), "A Certain Lunar Eclipse: Project for Humankind No. 2" (1991), "The Vague Border at the Edge of Time/Space Project" (1991) and "Bigfoot's Footprints: Project for Extraterrestrials No. 6" (1990). Each project proposed vast ignitions that would form colossal monuments to transcend spatial or spiritual barriers. To date, only two of the explosion projects has been realized: "Fetus Movement II: Project for Extraterrestrials No. 9" (1992) and "Footprints of History: Fireworks Project for the Opening Ceremony of the 2008 Beijing Olympic Games" (2008) was realized as part of the Beijing Olympics.  "Drawings on Pleats Please Garments for Issey Miyake Fashion Show," 1998.Gunpowder on "Pleats Please" garments, 63 pieces. Issey Miyake CollectionIn 1998, Cai collaborated with Issey Miyake to create "Dragon: Explosion on Pleats Please Issey Miyake", realized at Fondation Cartier pour l’art contemporain, Paris on October 5. Cai ignited 63 garments from Issey Miyake's "Pleats Please"; the serpentine explosion seared abstract “dragons” into each piece. After debuting in on the catwalk, the garments exhibited at Fondation Cartier before travelling to New York and Tokyo as part of the exhibition "Issey Miyake Making Things".  "Unmanned Nature: Project for the Hiroshima City Museum of Contemporary Art," 2008Gunpowder on paper and water pond, 400 x 4500 cm. Collection of the artist"Unmanned Nature" is an unpopulated landscape depicted on a curved drawing surrounding a reflective pool of water. It pays homage to traditional ink wash paintings; a subtitle on the signature refers to the fourteenth century ink wash painting "Dwelling in the Fu-ch’un Mountains" by Huang Kung-Wang (1269 – 1354). His largest drawing to date, "Unmanned Nature" was created for "The 7th Hiroshima Art Prize: Cai Guo-Qiang" (2008). Cai depicted “an overwhelming nature that has existed before the dawn of humankind and that will continue to exist after our extinction.”  "Day and Night", 2009Gunpowder on paper, 300 x 3200 cm. Collection of the artist.Executed for "Cai Guo-Qiang: Hanging Out in the Museum" (2009) at the Taipei Fine Arts Museum, "Day and Night" is a scroll painting that tells the story of the dancer's emotional journey from day to night. A dancer was positioned behind a screen of vertically hung paper sheets with her backlit movements projected onto the paper for Cai to sketch. Each iteration of the model's body is surrounded by a garden of plants and flowers that enhance the shape reflected in the model's movements. Scholar Wang Hui described the aim of this work as an attempt “to pin down—with the alchemy of gunpowder on paper—that eternal spiritual search of ‘asceticism and quietude’ that the movement of the human body suggests.” Here Wang Hui invokes an austerity and stillness that is not usually associated with Cai’s gunpowder work.  "Seasons of Life," 2015 Gunpowder on canvas, Dimensions variable. "Spring", "Summer" & "Winter": 259 x 648 cm; "Fall": 259 x 810 cm. Private Collection."Seasons of Life" is Cai’s first gunpowder work to be created using color gunpowder and canvas in almost 30 years. The installation is composed of a series of 4 canvases, each dedicated to a season: "Spring, Summer, Fall, Winter". The central motif was derived from shunga, erotic illustrations from the Japanese Edo period; pairs of men and women making love surrounded by seasonal plants and birds. "Spring" begins with cherry blossoms, winter jasmine, camellia and swallows; "Summer" is rich with iris, lily, peony and cuckoos; Fall turns to morning glory, chrysanthemum, pampas grass and geese; culminating in "Winter"’s plum blossoms, polyanthus, pine, cranes and whiteeyes. the Winter panel. From "Spring" to "Winter", the pairs undergo a transformation from youth to age. Their bodies are decorated by tattoos derived from hanafuda, or Japanese playing cards, that mirror the surrounding plants and animals; glorifying the cyclical seasons of life.  "Heaven Complex No. 1, No. 2, No. 3", 2017Gunpowder on canvas, 300 x 750 cm. Collection of the artist.Created for the 2017 BBC series "Civilisations" (a re-envisioning of the 1969 program presented by Kenneth Clark), "Heaven Complex" depicts an idyllic garden filled with gigantic blooms of carnations, peonies and über-pansies. The work consists of two phases: a color gunpowder ignition and a black gunpowder ignition. The first ignition created a vibrant scene that was then darkened by the second. During this second ignition, the colorful canvas was covered by a second set of canvases, to create a monochromatic abstract ”ghost” of the garden.  "Spirit of Painting", 2017Gunpowder on canvas, 300 x 1800 cm. Commissioned by Museo Nacional del Prado. Collection of the artist.Cai's residency at the Museo Nacional del Prado for the exhibition "The Spirit of Painting. Cai Guo-Qiang at the Prado," culminated in the production of the gunpowder painting "The Spirit of Painting", a chronicle of Cai's stylistic engagement with the Old Masters. The sprawling work was divided into five sections dedicated (from left to right) to Titian, El Greco, Rubens, Velázquez and Goya; each one focusing on an artwork from the Prado's Collection.

Explosion events.

"Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10," 1993Realized at the Gobi desert, west of the Great Wall, Jiayuguan, Gansu Province, February 27, 1993, 7:35 p.m., 15 minutes. Gunpowder (600 kg) and two fuse lines (10,000 m each). Explosion length: 10,000 m. Commissioned by P3 art and environment, Tokyo [Ephemeral]One Cai's most seminal explosion events from his series "Projects for Extraterrestrials", "Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10" was realized on February 27, 1993 through the support of P3 art and environment, Tokyo. For this explosion event, Cai ran 10,000 meters of fuse into the Gobi Desert, west of the Great Wall in Jiayuguan, Gansu Province. Small charges were placed every 3 meters and larger charges (60 kg each) were placed every 1,000 meters, mimicking the placement of ancient signal towers. The explosion event is the first example of Cai's ability to inspire and organize large numbers of volunteers to realize a monumental artwork. To offset costs, he worked with a Japanese travel agency to organize a group of Japanese tourists, who paid to attend the event and, along with local volunteers, helped lay the fuse lines.  The explosion event accompanied the solo exhibition "Long Mai: The Dragon Meridian" at P3 art and environment, Tokyo.  "The Century with Mushroom Clouds: Project for the 20th Century," 1996Realized at various sites that include Nuclear Test Site, Nevada; at Michael Heizer’s "Double Negative" (1969–70), Mormon Mesa, Overton, Nevada; at Robert Smithson’s "Spiral Jetty" (1970) Salt Lake, Utah; and at various sites looking toward Manhattan, New York, February - April, approximately 3 seconds each. Gunpowder (10g) and cardboard tubes. Dimensions variable. [Ephemeral]Cai's first major project after moving to the United States was "The Century with Mushroom Clouds: Project for the 20th Century"—a series of hand-held detonations executed in New York and Nevada. Cai deployed 10 grams of gunpowder in cardboard rolls to create mushroomoid smoke clouds at key points relating to the Manhattan project to re-enact and commemorate the atomic ignitions in the 20th Century. The ignitions were realized between February–April, 1996 at the Nuclear Test Site, Nevada; at Michael Heizer's "Double Negative" (1969–70), Mormon Mesa, Overton, Nevada; at Robert Smithson's "Spiral Jetty" (1970) Salt Lake, Utah; and at various sites looking toward Manhattan, New York.  The work was executed in anonymity and using guerrilla tactics; Cai did not obtain any official permission and was often forced to flee authorities to avoid explaining the performance. The constrained ignitions rival the “extravagant, highly theatrical performances of expenditure” that characterize the spectacle of his other explosion events. The simple recycled material used to cobble together the miniature simulated atomic clouds are resourceful, low-budget and executed personally by Cai. For each ignition, Cai was accompanied by a photographer or videographer to preserve the action of these ephemeral events. The resulting photographs are among Cai's most recognizable works.  "Asia-Pacific Economic Cooperation (APEC) Cityscape Fireworks," 2001Realized at The Bund, Huangpu River, and Oriental Pearl TV tower, Shanghai, October 20, 2001, 9:00 p.m., Approximately 20 minutes  Fireworks (200,000 shots of explosive). Explosion dimensions variable. Commissioned by the Asia-Pacific Economic Cooperation [Ephemeral]On October 20, 2001, Cai realized the "Asia-Pacific Economic Cooperation (APEC) Cityscape Fireworks" for the closing ceremonies of the APEC conference. Using 200,000 fireworks, 10 barges, 18 yachts, and 23 buildings along the Bund, the 20-minute pyrotechnic performance was unprecedented in scale and spectacle, not only in China but globally.  For his solo exhibition at the Shanghai Art Museum, "Cai Guo-Qiang" (2002), Cai created a series of 14 gunpowder drawings, "Drawings for Asia-Pacific Economic Cooperation," that commemorated the successful explosion events by capturing key moments from the display.  "Fireworks Project for the Opening Ceremony of the 2008 Beijing Olympic Games", 2008Realized in Beijing, August 8, 2008, 8:00 pm, Fireworks. Commissioned by The International Olympic Committee and The Beijing Organizing Committee for the Games of the XXIX Olympiad [Ephemeral] As Director of Visual and Special Effects for the opening and closing ceremonies of the 2008 Olympics in Beijing, Cai designed the fireworks for the Opening and Closing Ceremonies of the Olympic and Paralympic Games. These events included the iconic "Five Olympic Rings", "Lighting of the Olympic Cauldron" and "Footprints of" History, in which 29 giant footprints appeared in the sky along the central axis of Beijing, to symbolize the 29 Olympiads. This portion of the event fostered an immediate controversy, as to ensure the quality of the live broadcast, pre-shot footage that had been “cleaned” using computer graphics was inserted. The opening event was broadcast to a global television audience of four billion.  "Black Ceremony", 2011Realized outside Mathaf: Arab Museum of Modern Art, Doha, December 5, 2011, 3:00 pm, approximately 3 minutes, 8,300 smoke shells fitted with computer chips. Commissioned by Mathaf: Arab Museum of Modern Art [Ephemeral]"Black Ceremony" was a landmark daytime explosion event realized outside Mathaf: Arab Museum of Modern Art, Doha on December 5, 2011. Using 8,300 PixelBurst (smoke shells fitted with computer chips), Cai constructed enormous shapes in the sky – most notable a black pyramid and a seven-color rainbow. The work's theme was death; it was a spiritual funeral for those Arab people who had died far away from home. "Black Ceremony" was a stylistic and technical departure from Cai's previous daytime explosion events. Previous events ("Black Rainbow: Explosion Project for Edinburgh" and "Black Rainbow: Explosion Project for Valencia" (2005) and "Clear Sky Black Cloud" (2006)) only used black smoke and traditional detonation. "Black Ceremony" not only included colored smoke, but the computer chip-based shells allowed for unprecedented precision in the creation of complex shapes.  "Sky Ladder," 2015Realized off Huiyu Island, Quanzhou, June 15, 4:45 am (dawn), 100 seconds. Gunpowder, fuse and helium balloon, 500 x 5.5 m. [Ephemeral]After 21 years and 4 attempts, "Sky Ladder" was finally realized on June 15 off Huiyu Island, Quanzhou. Cai had previously attempted the explosion event in Bath (1994), Shanghai (2001), and Los Angeles (2012). The ladder was constructed from a flexible metal base in 5 x5 meter segments covered in strings of fireworks, suspended in the air with a helium balloon. The ladder “allows [Cai] to have an eternal dialogue with the universe, so infinitely far, yet so close.”  The execution of this 500-meter ladder was the subject of the Netflix documentary "Sky Ladder: The Art of Cai Guo-Qiang", directed by Oscar-winning filmmaker Kevin Macdonald. The documentary told the story of Cai's rise to global success through interviews with the artist, family, friends, colleagues, and critics.  "City of Flowers", 2018 Realized above Piazzale Michelangelo, November 18, 3:50 pm, approximately 13 minutes 30 seconds. Fireworks, 170 meters tall. [Ephemeral]Using the blue skies of Florence as his canvas, Cai created an explosive tableau of Renaissance flowers on November 18, 2018. Inspired by Botticelli's "Primavera", 50,000 custom-made fireworks released smoke to form thousands of flowers. The explosion lasted about 10 minutes on Piazzale Michelangelo overlooking the city. The spectacle introduced Cai's solo exhibition, "Flora Commedia: Cai Quo-Qiang at the Uffizi".

Installations.

"Bringing to Venice What Marco Polo Forgot," 1995Realized at Palazzo Giustinian Lolin and Grand Canal. Installation incorporating wooden fishing boat from Quanzhou, Chinese herbs, ginseng (100 kg), utensils to prepare and drink herbal beverages, and other artworks by the artist as components. Boat: 700 x 950 x 180 cm. Commissioned by the 46th Venice Biennale, Italy, 1995. Museo Navale di Venezia (fishing boat), private collections (other components)For his first participation in the 46th Venice Biennale, Cai piloted a Quanzhou fishing boat from Piazza San Marco down the Canale Grande to the pier of the Palazzo. The work commemorated the 700th anniversary of Marco Polo's return to Venice from Quanzhou: “Marco Polo brought back to the West many new and rare things and interesting stories. But he did not bring back the important spirit, the Eastern view of the cosmos and of life. By using Chinese medicine as one of the symbols of this spirit, I will bring the things that Marco Polo could not.”  The boat remained docked at the pier for the duration of the exhibition, while within the Palazzo's hall, five types of bottled herbal medicine were sold from a vending machine, each keyed to one of the five traditional Chinese elements of nature and life: water, wood, metal, fire, and earth. Notes on the wall from a specialist in Eastern medicine explained how each of the herbal mixes, with their five tastes (salty, sour, hot, bitter and sweet) related to the body's organs (kidney, liver, lung, heart and spleen).  "Rent Collection Courtyard", 1999 108 life-sized sculptures created on site by Long Xu Li and nine guest artisan sculptors, 60 tons of clay, wire and wood armature. Commissioned by the 48th Venice Biennale. [Artwork Not Extant]"Venice’s Rent Collection Courtyard" (1999, Deposito Polveri, Arsenale, Venice) earned Cai the Golden Lion award at the 48th Venice Biennale and drew international critical attention and controversy for its reinterpretation of the 1965 Social Realist sculptural group "Rent Collection Courtyard", executed by sculptors from the Sichuan Academy of Fine Arts. The 108 life-sized sculptures were created on-site by nine guest artisan sculptors and Long Xu Li, one of the original sculptors of the 1965 series. The figures were produced over several weeks preceding the exhibition opening, and completed during the ten days of the exhibition so that the opening audience would witness the sculptors at work. The gradual drying process of the unfired clay left the works first cracked then falling apart; the disintegration enhancing the experience of the figures who are both enacting and undergoing the violent destruction of oppression. Cai's recreation of the sculpture group was hailed as both a challenging and self-reflective examination of nationhood and as a base imitation of a highly regarded national icon.  "Inopportune: Stage One", 2004Nine cars and sequenced multichannel light tubes. Dimensions variable. Collection of the artist"Inopportune: Stage One" is a monumental installation created for Cai's first major solo exhibition in the United States, "Cai Guo-Qiang: Inopportune" at the MASS MoCA (Massachusetts Museum of Contemporary Art) in 2004. "Inopportune: Stage One" is a series of nine white cars with sequenced multi-channel light tube that simulate the spiraling of an exploding car. Its initial installation at MASS MoCA mimicked the horizontal form of a Chinese scroll painting, but future configurations varied from vertical to circular, most iconically for the 2008 Solomon R Guggenheim Museum retrospective exhibition "I Want to Believe" in New York.  "Head On", 200499 life-sized replicas of wolves and glass wall. Wolves: gauze, resin, and hide. Dimensions variable. Commissioned by Deutsche Bank AG. Deutsche Bank Collection"Head On" was first realized for the Deutsche Guggenheim exhibition "Cai Guo-Qiang": "Head On" (2006, Berlin). "Head On" is not only one of Cai's most recognizable artworks, it is also his most exhibited. The installation consists of 99 life-sized replicas of wolves cyclically crashing into a glass wall. The wolves are constructed from papier-mâché, plaster, fiberglass, resin, and painted hide. The height and thickness of the glass wall were copied from the measurements of the Berlin Wall. Its installation is accompanied by the video artwork "Illusion II"; a two-channel video installation that documents the explosion event realized for the same exhibition.  "Head On" presents a “wall in the head”—its transparency making the wall more physically felt by the viewer. The work represents “society’s tendency to search only for the obvious, missing instead what may not be immediately evident but ultimately more dangerous.”  "Heritage", 201399 life-sized replicas of animals, water, sand, drip mechanism. Dimensions variable. Commissioned by funds from the Josephine Ulrick and Win Schubert Diversity Foundation through and with the assistance of the Queensland Art Gallery | Gallery of Modern Art Foundation. Collection of Queensland Art Gallery, BrisbaneDuring a site visit to the Queensland's North Stradbroke Island, Cai had a transcendent experience in which he had a vision of what would later be developed into the installation "Heritage". "Heritage" is an installation consisting of 99 life-size replicas of animals from all continents and climates standing in white sand haphazardly around a clear pool of water. The animals gathered around "Heritage" emulate the diverse cultures and races present on earth. Each lifelike animal was sculpted out of Styrofoam and covered in animal pelts with glass eyes and sculpted tongues. At the centre of the pool, a mechanism releases a drop of water into the pool.

Social Projects.

"Man, Eagle and Eye in the Sky", 2003.Realized at Siwa Oasis, Egyptian Sahara desert. In collaboration with over 600 schoolchildren from 40 schools throughout the governate of Marsha Matruh, November 11–14, 2003. Silk and bamboo handmade kites and paint. Commissioned by Siwa Art Project, Egypt. Collection of the artist [Ephemeral].In November 2003, Cai realized the performance event "Man, Eagle and Eye in the Sky" in the Siwa Oasis, Egyptian Sahara desert. In collaboration with over 600 schoolchildren from 40 schools, they painted and flew 300 silk and bamboo handmade kites shaped as men, eagles and eyes. Later that year, Cai executed a series of 12 gunpowder on paper drawings, mounted on wooden panels as screens, that played on these motifs and the theme of flying kites. These gunpowder drawings were among Cai's first representative gunpowder drawings that explored the use of light and shade through the capturing of smoke with glassine paper.

Curated Projects.

"DMoCA (Dragon Museum of Contemporary Art): Everything is Museum", 2000 -Dehua kiln (dated 1956) transported and reconstructed on site, 2.5 x 2.5 x 35 m. Commissioned by Echigo-Tsumari Art Triennial 2000, Niigata Prefecture."DMoCA" is the first in Cai's "Everything is Museum" series that establishes museums in unusual or deserted places. For the first iteration, a 'dragon' kiln was relocated from Dehua, China to Niigata, Japan for the Echigo-Tsumari Art Triennial 2000. For each following Triennial, Cai has invited a contemporary artist to construct an artwork using the "DMoCA" kiln as a site-specific inspiration: Kiki Smith, "Pause" (2003); Kōtarō Miyanaga, "Range" (2006); Jennifer Wen Ma, "You Can’t always See Where You are Going, But Can You See Where You’ve Been" (2009); Ann Hamilton, "air for everyone" (2012); "Thrown Rope for Japan", Peter Hutchinson (2015); Wang Sishun, Flower of Happiness (2018).  "Peasant da Vincis," 2013 -  Cai's curated project "Cai Guo-Qiang: Peasant da Vincis" is a series of exhibitions that feature the work of Chinese peasant inventors: artisanal aircraft, submarines, and robots. The product of over a decade of research, the exhibition showcases the peasants’ courage and individual creativity, by exploring their contributions to China's urbanization and modernity. In 2013, the exhibition toured throughout Brazil, showing in Brasília, São Paulo, and Rio de Janeiro; it was the most visited contemporary art exhibition by a living artist that year. In 2015, "Peasant da Vincis" travelled to Milan's National Museum of Science and Technology Leonardo da Vinci, home to many of Leonardo da Vinci's inventions. Its corresponding children's program "Children da Vincis" (in which children create their own inventions from everyday recyclable objects) was highlighted in "Parasophia: Kyoto International Festival of Contemporary Culture", where a nine-story bamboo pagoda, decorated with hundreds of the children's creations, was erected inside the Kyoto Municipal Museum.

Awards.

Grants and Awards:  Distinguished Positions:

Personal life.

The artist moved from Beijing to New York in 1995, but as of 2017, continues to maintain a separate house in the former. In the mid-2010s, he made his gunpowder paintings in a Long Island fireworks factory. His Manhattan studio was renovated by Shohei Shigematsu and OMA. Guo-Qiang intends for it to eventually become a foundation with public viewing. He sought a property, unlike his prior studios, where he would both work and live with his family, fulfilling a goal to combine his personal and professional lives.  Guo-Qiang purchased a former horse farm in Chester, New Jersey, in 2011 from an Olympic equestrian. The property was redesigned by architect Frank Gehry and his former student Trattie Davies. They converted the barn into a 14,000-square-foot studio, the stables into archives, and its hayloft into an exhibition space. Guo-Qiang had met Gehry in 2009 at Guo-Qiang's Guggenheim Bilbao solo show, and their friendship included a 2013 trip to Guo-Qiang's hometown of Quanzhou to propose a contemporary art museum. The two began work on Guo-Qiang's Chester property soon after he purchased it. The 9,700-square-foot house is built outward from the original, stone core structure in glass and sequoia. At Guo-Qiang's request, the titanium roofing curls at their edges, like flying carpets. The house has multiple small balconies. The artist lives in the Chester house with his wife and two daughters. He wears his hair short, like a drill sergeant.

Selected solo exhibitions.

For a full list of exhibitions and projects.

Selected bibliography.

Recent publications:  Exhibition catalogues:  Articles and essays:

Cai Guo-Qiang (; born 8 December 1957) is a Chinese artist who currently lives and works in New York City and New Jersey.

蔡国强(1957年12月8日),出生于中国福建省泉州市,是一位中国艺术家。目前旅居在美国纽约和新泽西从事创作工作。


Name.

The brand name Davidoff originates from the surname of its Russian Empire-born Jewish founder, Zino Davidoff (born Sussele-Meier Davidoff; 1906, Novhorod-Siverskyi – 1994, Geneva), who ran a tobacco specialist shop in Geneva, Switzerland, from 1936 to 1994. He was known as the "King of Cigars".

History.

After the Second World War, Zino Davidoff decided to acquire a license to produce his own series of cigars. As he had discerning international customers, he named the various formats of this “Château” cigar series after famous Bordeaux vineyard estates. The first in the series was the “Château Latour” in 1946.  In 1967, Zino Davidoff was approached by Cubatabaco, Cuba's state tobacco monopoly, about creating a line of cigars carrying the “Davidoff” name. The cigars were rolled in the newly established El Laguito factory in Havana, which had been established to roll Cuban President Fidel Castro's own personal cigars, named Cohíba.  In 1968, the first cigars carrying the name “Davidoff” were released. The first formats were the No. 1, the No. 2 and the Ambassadrice. In 1970, Oettinger AG, located in Basel, Switzerland, acquired the rights to the Davidoff trademark.  In 1971, the Davidoff “Mini Cigarillos” (short fillers made of 100% tobacco) and, in 1972, the first Davidoff pipe tobaccos were released. As of 1975, the cigars of the Château series were delivered in cabinets bearing the Davidoff logo.  In 1976, the “Mille Series” and, in 1977, the “Dom Pérignon” cigar, named after the champagne, were released. In 1986, a limited release of “Anniversario” cigars were produced, to celebrate Zino Davidoff's 80th birthday.  The Zino Davidoff Group was spun out of Davidoff in 1980 to exclusively market non-tobacco luxury goods such as watches, leather goods, pens, fragrances, eyewear, coffee, and cognac. Public health researchers have suggested that this was in order to engage in trademark diversification (also known as "brand stretching") to promote the tobacco products, because it allows for advertising the brand in the face of restrictions on the direct promotion of tobacco products.  After numerous disputes over quality and ownership rights, Zino Davidoff and Cubatabaco decided to end their relationship. Leading up to this, in August 1989, Zino had publicly burned over one hundred thousand cigars that he had deemed of low quality and unfit to sell. All Davidoff products produced in Cuba were officially discontinued in 1991. An agreement was signed that no more Davidoff cigars from Cuba would be sold.  In 1990, after discontinuing Cuban-made products, Davidoff started to produce cigars in the Dominican Republic. After numerous test runs, Zino Davidoff found a partner in the local producer “Tabadom”, owned by Hendrik Kelner.  In 1991, the first Dominican-made Davidoff cigars were launched, continuing the product lines and cigar formats of their Cuban predecessors. With the move to the Dominican Republic, the Château series was renamed to “Grand Cru”, and the individual formats were numbered instead of carrying the names of vineyard estates.  In 1991, the limited release called “Aniversario” became an ongoing cigar series, called the “Aniversario” series. In 1992, the “Special” cigar series was released, with the format “Special R” as the first product. In 1994, the 87 year old Zino Davidoff died in Geneva, Switzerland. In 2001, the “Millennium Blend” cigar series was launched. In 2010, Davidoff Cigars released the “Puro d’Oro” series.  In 2013, Davidoff Cigars released the “Nicaragua” series, which was the first product line of Davidoff to incorporate tobaccos from Nicaragua into the cigar blend, and the first series since the Davidoff Cuban products which made use of tobaccos not sourced in the Dominican Republic. Moving forward, Davidoff Cigars started to make use of tobaccos sourced from other countries than the Dominican Republic to diversify their product portfolio.  In 2015, Davidoff Cigars released the “Escurio” series, which contained tobaccos sourced from Brazil. In the same year, the cigar line “Winston Churchill” was launched. In 2016, Davidoff Cigars released the “Yamasa” cigar series.

Davidoff products today.

Current tobacco products.

Over the years, Davidoff Cigars made changes to its product lineup. These are the cigar series currently on the market:

Cigars.

Davidoff Signature  Davidoff Grand Cru  Davidoff Aniversario  Davidoff Millennium  Davidoff Colorado Claro  Davidoff Nicaragua & Nicaragua Box Pressed  Davidoff Escurio  Davidoff Yamasa  Davidoff Winston Churchill & The Late Hour  Davidoff Special Releases (Chinese New Year, Royal Release, 702 Series)  Davidoff Primeros

Cigarillos.

Davidoff Mini Cigarillos Silver  Davidoff Mini Cigarillos Gold  Davidoff Mini Cigarillos Platinum  Davidoff Mini Cigarillos Nicaragua  Davidoff Mini Cigarillos Escurio

Cigarettes.

Imperial Brands has owned the Davidoff cigarette brand name since purchasing it in 2006.  Davidoff Silver  Davidoff Gold  Davidoff Classic  Davidoff Ice Green  Davidoff One  Davidoff Slims

Smoker's accessories.

Davidoff Cigars produces a number of smoker's accessories, including humidors, lighters, cigar cutters, ashtrays, cigar cases, pipes and pipe accessories.

Davidoff is a Swiss premium brand of cigars, cigarettes and smoker's accessories. The Davidoff cigarette brand has been owned by Imperial Brands after purchasing it in 2006. The non-cigarette portion of the Davidoff tobacco brand is owned by Oettinger Davidoff AG, which is based in Basel, Switzerland.

大卫杜夫(Davidoff)是瑞士的产品品牌之一,以高级烟草产品见称,包括雪茄、香烟、干邑、烟斗烟草。


Plot.

To celebrate his upcoming marriage to Tracy, Doug travels to Las Vegas with his best friends Phil and Stu, as well as Tracy's brother Alan, in Doug's future father-in-law Sid's vintage Mercedes-Benz W111. They check into a hotel suite in Caesars Palace, and celebrate with a few drinks on the hotel rooftop. The next morning, Phil, Stu, and Alan awaken to find they have no memory of the previous night. Doug is nowhere to be found, Stu's tooth is missing, the suite is in disarray, a tiger is in their bathroom, a chicken is in their living room, and a baby is in the closet. They see Doug's mattress impaled on a statue outside of Caesars Palace and when they ask for their Mercedes, the valet delivers an LVPD police cruiser.  Using clues to retrace their steps, the trio travel to a hospital where they discover they were drugged with Rohypnol, known as roofies, causing their memory loss, and that they went to the hospital from a chapel the previous night. At the chapel, they learn that Stu married a stripper named Jade, despite being in a long-term relationship with his domineering and philandering girlfriend Melissa. Outside the chapel, the trio is attacked by gangsters saying they are looking for someone. They flee and track down Jade. They are then arrested by the police for having stolen a police cruiser. After being told that the Mercedes has been impounded, the trio are released when they unknowingly volunteer to be targets for a taser demonstration. While driving the Mercedes, they discover a naked Chinese man named Mr. Chow in the trunk. Chow jumps out of the trunk, beats the trio up with a crowbar and flees. Alan confesses that he drugged their drinks to ensure they had a good night, believing the drug to be ecstasy.  Returning to their suite, they find the boxer Mike Tyson, who orders the trio to return his tiger to his mansion immediately. Stu drugs the tiger, load it into the Mercedes, and drive towards Tyson's home. However, the tiger awakens midway and attacks them, clawing Phil on the neck and damaging the car's interior. After pushing the car the rest of the way to the mansion, they deliver the tiger to Tyson. While driving back, their car is intentionally t-boned by a black Cadillac Escalade. The passengers are revealed to be the gangsters from the chapel, and their boss Chow. Chow accuses the trio of kidnapping him and stealing $80,000 in poker chips. As the trio denies this, Chow tells them he has Doug, and threatens to kill him if it is not returned. Unable to find Chow's $80,000, Alan, with help from Stu and Jade, uses his knowledge of card counting to win $82,400 playing blackjack.  The next morning, they meet with Chow in the desert and exchange the chips for Doug, only to find this Doug is the black drug dealer who accidentally sold Alan the roofies. With Doug's wedding set to occur in five hours, Phil calls Tracy to tell her that they cannot find Doug. Meanwhile, in discussion with Stu, "Black Doug" mentions that someone that takes roofies is more likely to end up on the floor than on the roof; Stu suddenly realizes where Doug is before Phil can reveal Doug's disappearance to Tracy. The trio travels back to Caesars Palace where they find a dazed and sunburned Doug on the roof. They realize that they had moved him there on his mattress the previous night as a practical joke but immediately forgot when the roofies wore off. Doug had thrown the mattress onto the statue in an attempt to signal help. Before leaving, Stu makes arrangements to go on a date with Jade the following week. With no flights available back to Los Angeles, the four quickly drive home to make the wedding. Despite their late arrival, Doug and Tracy are married. At the wedding, Stu angrily breaks up with Melissa, having grown tired of her philandering and domineering attitude. As the reception ends, Alan finds Stu's digital camera containing photos of the events from the night in Las Vegas, and the four agree to look at the pictures together before deleting them.

Cast.

Todd Phillips, the film's director, appears as Mr. Creepy, who appears briefly in an elevator. Professional skateboarder Mike Vallely portrays Neeco, the high-speed tuxedo delivery man. Las Vegas personalities Wayne Newton and Carrot Top appear as themselves in the photo slide show.

Production.

Writing.

The plot of "The Hangover" was inspired by a real event that happened to Tripp Vinson, a producer and friend of executive producer Chris Bender. Vinson had gone missing from his own Las Vegas bachelor party, blacking out and waking up "in a strip club being threatened with a very, very large bill I was supposed to pay".  Jon Lucas and Scott Moore sold the original script of "The Hangover" to Warner Bros. for over $2million. The story was about three friends who lose the groom at his Las Vegas bachelor party and then must retrace their steps to figure out what happened. It was then rewritten by Jeremy Garelick and director Todd Phillips, who added additional elements such as Mike Tyson and his tiger, the baby, and the police cruiser. However, Lucas and Moore retained writing credit in accordance with the Writers Guild of America, West's screenwriting credit system.

Casting.

Ed Helms, Zach Galifianakis, and Bradley Cooper were all casual acquaintances before "The Hangover" was filmed, which Helms said he believed helped in establishing a rapport and chemistry amongst their characters. Helms credited Phillips for "bringing together three guys who are really different, but really appreciate each others' humor and sensibilities". Helms also said the fact that the story of the three characters growing closer and bonding informed the friendship between the three actors: "As you spend 14hours a day together for three months, you see a lot of sides of somebody. We went through the wringer together, and that shared experience really made us genuine buddies."  Lindsay Lohan was offered the role of Jade in the film. However, she turned it down, saying that the script "had no potential".

Filming.

On a budget of $35million, principal photography took place in Nevada for fifteen days.  "The Hangover" was mostly filmed on location at Caesars Palace, including the front desk, lobby, entrance drive, pools, corridors, elevators, and roof, but the suite damaged in the film was built on a soundstage.  Helms said filming "The Hangover" was more physically demanding than any other role he had done, and that he lost eight pounds while making the film. He said the most difficult day of shooting was the scene when Mr. Chow rams his car and attacks the main characters, which Helms said required many takes and was very painful, such as when a few of the punches and kicks accidentally landed and when his knees and shins were hurt while being pulled out of a window. The missing tooth was not created with prosthetics or visual effects, but is naturally occurring: Helms never had an adult incisor grow, and got a dental implant as a teenager, which was removed for filming.  Jeong stated that his jumping on Cooper's neck naked wasn't a part of the script, but rather improvisation on their part. It was added with Phillips' blessing. Jeong also stated that he had to receive his wife's permission to appear nude in the film.  Phillips tried to convince the actors to allow him to use a real Taser until Warner Bros. lawyers intervened.  Regarding the explicit shots in the final photo slide show in which his character is seen receiving fellatio in an elevator, Galifianakis confirmed that a prosthesis was used for the scene, and that he had been more embarrassed than anyone else during the creation of the shot. "You would think that I wouldn't be the one who was embarrassed; I was extremely embarrassed. I really didn't even want it in there. I offered Todd's assistant a lot of money to convince him to take it out of the movie. I did. But it made it in there."  The scenes involving animals were filmed mostly with trained animals. Trainers and safety equipment were digitally removed from the final version. Some prop animals were used, such as when the tiger was hidden under a sheet and being moved on a baggage cart. Such efforts were given an "Outstanding" rating by the American Humane Association for the monitoring and treatment of the animals.

Music.

The film's score was composed by Christophe Beck. The film featured 20 songs, consisting of music by Kanye West, Dyslexic Speedreaders, Danzig, The Donnas, Usher, Phil Collins, The Belle Stars, T.I., Wolfmother and The Dan Band, who tend to feature in Phillips' films as the inappropriate, bad-mouthed wedding band. The Dan Band's cover of the 50 Cent single "Candy Shop" appeared in "Part II". Pro-skater and punk musician Mike Vallely was invited with his band, Revolution Mother, to write a song for the film and also makes a cameo appearance as the high speed tuxedo delivery guy.  "Right Round" by Flo Rida is played over the ending credits. The film uses the Kanye West song "Can't Tell Me Nothing" for which Zach Galifianakis made an alternative music video.

Release.

Box office.

"The Hangover" was a financial success., it had grossed $467,416,722, of which $277,322,503 was in Canada and the United States. It was tenth-highest-grossing film of 2009 in the world, the ninth-highest-grossing film of 2009 in the U.S. and the highest-grossing R-rated comedy ever in the United States, surpassing a record previously held by "Beverly Hills Cop" for almost 25years. Out of all R-rated films, it is the sixth-highest-grossing ever in the U.S., behind "The Passion of the Christ", "Deadpool", "American Sniper", "It" and "The Matrix Reloaded". However, adjusted for inflation "The Hangover" earned less than half the total earned by "Beverly Hills Cop" and is out grossed by several comedies including "Porky's".  On its first day of release in the U.S., the film drew $16,734,033 on approximately 4,500screens at 3,269sites, and exceeded the big-budgeted "Land of the Lost—"the other major new release of the weekend—for first day's box office takings. Although initial studio projections had the Disney·Pixar film "Up" holding on to the number one slot for a second consecutive weekend, final revised figures, bolstered by a surprisingly strong Sunday showing, ultimately had "The Hangover" finishing first for the weekend, with $44,979,319 from3,269 theaters, averaging $13,759 per venue, narrowly edging out "Up" for the top spot, and more than twice that of "Land of the Lost", which finished third with $18.8million. The film exceeded Warner Bros.' expectations—which had anticipated it would finish third behind "Up" and "Land of the Lost"—benefiting from positive word-of-mouth and critical praise, and a generally negative buzz for "Land of the Lost". It stayed at the number one position in its second weekend, grossing another $32,794,387, from 3,355theaters for an average of $9,775 per venue, and bringing the 10-day amount to $104,768,489.

Home media.

"The Hangover" was released on DVD, Blu-ray, and UMD on December 15, 2009. There is a single-disc theatrical version featuring both fullscreen and widescreen options (DVD only), as well as a widescreen two-disc unrated version of the film, also containing the theatrical version (DVD, Blu-ray, and UMD). The unrated version is approximately seven minutes longer than the theatrical version. The unrated version is on disc one and the theatrical version, digital copy, and the different features are on disc two. "The Hangover" beat "Inglourious Basterds" and "G-Force" in first week DVD and Blu-ray sales, as well as rentals, selling more than 8.6million units and making it the best-selling comedy ever on DVD and Blu-ray, beating the previous record held by "My Big Fat Greek Wedding".

Reception.

Critical response.

On Rotten Tomatoes, the film has an approval rating of 78% based on 238 reviews and an average rating of 6.79/10. The site's critical consensus reads, "With a clever script and hilarious interplay among the cast, "The Hangover" nails just the right tone of raunchy humor, and the non-stop laughs overshadow any flaw." On Metacritic, the film has a score of 73 out of 100 based on 31 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.  Roger Ebert of the "Chicago Sun-Times" gave it three-and-a-half stars out of four and praised the film for its funniness and comedic approach. A. O. Scott of "The New York Times" praised Cooper, Helms and Galifianakis for their performances in the film as well as Todd Phillips for its direction. Scott later went on to say that the film is "safe as milk". Mick LaSalle of the "San Francisco Chronicle" also praised Phillips' direction. LaSalle also praised the film's comedic scenes and called it "the funniest movie so far this year [2009]". Betsy Sharkey of the "Los Angeles Times" praised the film for its perverseness. Sharkey also said that the film is "filled with moments as softhearted as they are crude, as forgiving as unforgivable". Although Joe Leydon of "Variety" criticized the film's trailers and TV-spots for its "beer-and-boobs, party-hearty farce", he also praised the film for its cleverness.  Conversely, Richard Corliss of "Time" said that "virtually every joke [in the film] either is visible long before it arrives or extends way past its expiration date" and added, "Whatever the other critics say, this is a bromance so primitive it's practically Bro-Magnon." In his review in "The Baltimore Sun", Michael Sragow called the film a "foul mesh of cheap cleverness and vulgarity" Joe Neumaier of the "Daily News" gave the film two-and-a-half out of five stars and noted, "Amusing as it is, it never feels real. That may not seem like a big deal—a lot of funny movies play by their own rules—except that "The Hangover" keeps doubling-down on the outlandishness." Family-oriented reviewers have harangued the film, noting that Galifianakis said he tried to forbid his own mother from seeing it and that he yells at parents of kids who tell him they like the film.  Critics noted the weak character development, especially in its female characters. Critics also focused on misogyny and stereotyping, in particular the Asian gangster. Ebert, despite his praise, stated, "I won't go so far as to describe it as a character study" but that the film is more than the sum of its parts—parts that may at first seem a little generic or clichéd, since many other films (such as "Very Bad Things") have already explored the idea of a weekend in Vegas gone wrong. The film's premise has several similarities to "Dude, Where's My Car?" Both films are about "a couple guys waking up after a night of getting trashed, only to find they are missing something important", whose adventures include "a trail of clues, a missing car, dubious encounters with strippers and wild animals, a brush with the law and gangs chasing them for something they don't realize they have".

Accolades.

On January 17, 2010, "The Hangover" won the Golden Globe Award for Best Motion Picture – Musical or Comedy. It was also named one of the top ten films of the year by the American Film Institute. The film won "Best Ensemble" from the Detroit Film Critics Society.

Impact and legacy.

By depicting and celebrating Las Vegas as the "ultimate guys' getaway", "The Hangover" had a major impact on Caesars Palace and Las Vegas. It was reported in 2013 that as of that year, guests were still continuing to quote to Caesars staff two lines from the film's check-in scene: "Did Caesar live here?" and "Do you know if the hotel is pager friendly?" As a result of the film, "Hangover"-themed slot machines became popular at casinos throughout the Las Vegas Valley, the Caesars Palace gift shop sold tens of thousands of "Hangover"-related souvenirs, and the Las Vegas Convention and Visitors Authority received numerous inquiries from persons interested in recreating some of the film's most wild scenes, such as those involving a tiger.  The Las Vegas branch of Madame Tussauds added "Hangover"-themed rooms recreating the hotel room and the wedding chapel and a tie-in rooftop cocktail bar.  In 2018, Hasbro issued a parody version of their board game "Clue" where players have to locate a missing friend somewhere in the city after a wild night of carousing.

Sequels.

Principal photography of "The Hangover Part II" began in October 2010, with Bradley Cooper, Ed Helms, Justin Bartha, and Zach Galifianakis returning, in addition to Ken Jeong who appears in a much larger role. The film was released on May 26, 2011.  Filming of "The Hangover Part III" began in September 2012, and was released on May 23, 2013.

The Hangover is a 2009 American comedy film directed by Todd Phillips, co-produced with Daniel Goldberg, and written by Jon Lucas and Scott Moore. It is the first installment in "The Hangover" trilogy. The film stars Bradley Cooper, Ed Helms, Zach Galifianakis, Heather Graham, Justin Bartha, Ken Jeong, and Jeffrey Tambor. It tells the story of Phil Wenneck, Stu Price, Alan Garner, and Doug Billings, who travel to Las Vegas for a bachelor party to celebrate Doug's impending marriage. However, Phil, Stu, and Alan wake up with Doug missing and no memory of the previous night's events, and must find the groom before the wedding can take place.

是一部2009年美国喜剧电影,由陶德·菲利普斯执导,他与丹尼尔·葛伯格共同监制,强·卢卡斯和史考特·摩尔编剧。


Discovery and observation.

Bennu was discovered on 11 September 1999 during a Near-Earth asteroid survey by the Lincoln Near-Earth Asteroid Research (LINEAR). The asteroid was given the provisional designation and classified a near-Earth asteroid. Bennu approached close to Earth and it was observed extensively by the Arecibo Observatory and the Goldstone Deep Space Network using radar imaging as Bennu closely approached Earth on 23 September 1999.

Naming.

The name "Bennu" was selected from more than eight thousand student entries from dozens of countries around the world who entered a "Name That Asteroid!" contest run by the University of Arizona, The Planetary Society, and the LINEAR Project in 2012. Third-grade student Michael Puzio from North Carolina proposed the name in reference to the Egyptian mythological bird Bennu. To Puzio, the OSIRIS-REx spacecraft with its extended TAGSAM arm resembled the Egyptian deity, which is typically depicted as a heron.  Its features will be named after birds and bird-like creatures in mythology.

Physical characteristics.

Bennu has a roughly spheroidal shape, resembling a spinning top. Bennu's axis of rotation is tilted 178 degrees to its orbit; the direction of rotation about its axis is retrograde with respect to its orbit. While the initial ground based radar observations indicated that Bennu had a fairly smooth shape with one prominent boulder on its surface, high resolution data obtained by OSIRIS-REx revealed that the surface is much rougher with more than 200 boulders larger than on the surface, the largest of which is across.  There is a well-defined ridge along the equator of Bennu. The presence of this ridge suggests that fine-grained regolith particles have accumulated in this area, possibly because of its low gravity and fast rotation. Observations by the OSIRIS-REx spacecraft has shown that Bennu is rotating faster over time. This change in Bennu's rotation is caused by the Yarkovsky–O'Keefe–Radzievskii–Paddack effect, or the YORP effect. Due to the uneven emission of thermal radiation from its surface as Bennu rotates in sunlight, the rotation period of Bennu decreases by about one second every 100 years.  Observations of this minor planet by the Spitzer Space Telescope in 2007 gave an effective diameter of, which is in line with other studies. It has a low visible geometric albedo of. The thermal inertia was measured and found to vary by approximately 19% during each rotational period. The data suggest that the regolith grain size is moderate, ranging from several millimeters up to a centimeter, and evenly distributed. No emission from a potential dust coma has been detected around Bennu, which puts a limit of 10 g of dust within a radius of 4750 km.  Astrometric observations between 1999 and 2013 have demonstrated that 101955 Bennu is influenced by the Yarkovsky effect, causing the semimajor axis to drift on average by meters/year. Analysis of the gravitational and thermal effects has given a bulk density of ρ = kg/m, which is only slightly denser than water. Therefore, the predicted macroporosity is %, suggesting the interior has a rubble pile structure. The estimated mass is.

Photometry and spectroscopy.

Photometric observations of Bennu in 2005 yielded a synodic rotation period of. It has a B-type classification, which is a sub-category of carbonaceous asteroids. Polarimetric observations show that Bennu belongs to the rare F subclass of carbonaceous asteroids, which is usually associated with cometary features. Measurements over a range of phase angles showed a phase function slope of 0.040 magnitudes per degree, which is similar to other near-Earth asteroids with low albedo.  Before OSIRIS-REx, spectroscopy indicated a correspondence with the CI and/or CM carbonaceous chondrite meteorites. Preliminary spectroscopic surveys of the asteroid's surface by OSIRIS-REx then confirmed this meteorite-asteroid linkage, dominated by phyllosilicates. These phyllosilicates are hydrated minerals that hold water chemically bound, so that Bennu could potentially be mined for water. (See: Asteroidal water.)

Activity.

Bennu is an active asteroid, sporadically emitting plumes of dust and rocks as large as. Scientists hypothesize the releases may be caused by thermal fracturing, volatile release through dehydration of phyllosilicates, and/or meteoroid impacts.  Before the arrival of OSIRIS-REx, Bennu had displayed polarization consistent with Comet Hale-Bopp and 3200 Phaethon, a rock comet. Bennu, Phaethon, and inactive Manx comets are examples of active asteroids. B-type asteroids displaying a blue color in particular, may be dormant comets. If the IAU declares Bennu to be a dual-status object, its comet designation would be P/ (LINEAR).

Surface features.

All geological features on Bennu are named after various species of birds and bird-like figures in mythology. The first features to be named were the final four candidate OSIRIS-REx sample sites, which were given unofficial names by the team in August 2019. On March 6, 2020 the IAU announced the first official names for 12 Bennu surface features, including regiones (broad geographic regions), craters, dorsa (ridges), fossae (grooves or trenches) and saxa (rocks and boulders).

Candidate sample sites.

On December 12, 2019, after a year of mapping Bennu's surface, a target site was announced. Named Nightingale, the area is near Bennu's north pole and lies inside a small crater within a larger crater. Osprey was selected as the backup sample site.

Origin and evolution.

The carbonaceous material that composes Bennu originally came from the breakup of a much larger parent body—a planetoid or a proto-planet. But like nearly all other matter in the Solar System, the origins of its minerals and atoms are to be found in dying stars such as red giants and supernovae. According to the accretion theory, this material came together 4.5 billion years ago during the formation of the Solar System.  Bennu's basic mineralogy and chemical nature would have been established during the first 10 million years of the Solar System's formation, where the carbonaceous material underwent some geologic heating and chemical transformation inside a much larger planetoid or a proto-planet capable of producing the requisite pressure, heat and hydration (if need be)—into more complex minerals. Bennu probably began in the inner asteroid belt as a fragment from a larger body with a diameter of 100 km. Simulations suggest a 70% chance it came from the Polana family and a 30% chance it derived from the Eulalia family.  Subsequently, the orbit drifted as a result of the Yarkovsky effect and mean motion resonances with the giant planets, such as Jupiter and Saturn. Various interactions with the planets in combination with the Yarkovsky effect modified the asteroid, possibly changing its spin, shape, and surface features.  Cellino et al. have suggested a possible cometary origin for Bennu, based on similarities of its spectroscopic properties with known comets. The estimated fraction of comets in the population of near Earth objects is. This includes rock comet 3200 Phaethon, originally discovered as, and still numbered as an asteroid.

Orbit.

Possible Earth impact.

On average, an asteroid with a diameter of can be expected to impact Earth about every 130,000 years or so. A 2010 dynamical study by Andrea Milani and collaborators predicted a series of eight potential Earth impacts by Bennu between 2169 and 2199. The cumulative probability of impact is dependent on physical properties of Bennu that were poorly known at the time, but was found to not exceed 0.071% for all eight encounters. The authors recognized that an accurate assessment of's probability of Earth impact would require a detailed shape model and additional observations (either from the ground or from spacecraft visiting the object) to determine the magnitude and direction of the Yarkovsky effect.  The publication of the shape model and of astrometry based on radar observations obtained in 1999, 2005, and 2011, made possible an improved estimate of the Yarkovsky acceleration and a revised assessment of the impact probability. The best estimate of the impact probability is a cumulative probability of 0.037% in the interval 2175 to 2196. This corresponds to a cumulative score on the Palermo scale of −1.71. If an impact were to occur, the expected kinetic energy associated with the collision would be 1,200 megatons in TNT equivalent (for comparison, TNT equivalent of Little Boy was approx 15 kiloton).

2060 close approach.

Bennu will pass from Earth on 23 September 2060, and will be too dim to be seen with common binoculars. The close approach of 2060 causes divergence in the close approach of 2135. On 25 September 2135, the nominal approach distance is from Earth, but Bennu could pass as close as. There is no chance of an Earth impact in 2135. The 2135 approach will create many lines of variations and Bennu may pass through a gravitational keyhole during the 2135 passage which could create an impact scenario at a future encounter. The keyholes are all less than 55 km wide.  On 25 September 2175, there is a 1 in 24,000 chance of an Earth impact, but the nominal 2175 approach is in February 2175 at a distance of roughly. The most threatening virtual impactor is on 24 September 2196 when there is a 1 in 11,000 chance of an Earth impact. There is a cumulative 1 in 2,700 chance of an Earth impact between 2175–2199.

Long term.

Lauretta et al. reported in 2015 their results of a computer simulation, concluding that it is more likely that 101955 Bennu will be destroyed by some other cause: The orbit of Bennu is intrinsically dynamically unstable, as are those of all NEOs. In order to glean probabilistic insights into the future evolution and likely fate of Bennu beyond a few hundred years, we tracked 1,000 virtual "Bennus" for an interval of 300 Myr with the gravitational perturbations of the planets Mercury–Neptune included. Our results... indicate that Bennu has a 48% chance of falling into the Sun. There is a 10% probability that Bennu will be ejected out of the inner Solar System, most likely after a close encounter with Jupiter. The highest impact probability for a planet is with Venus (26%), followed by the Earth (10%) and Mercury (3%). The odds of Bennu striking Mars are only 0.8% and there is a 0.2% chance that Bennu will eventually collide with Jupiter.

Meteor shower.

As an active asteroid with a small Earth-MOID, Bennu may be the parent body of a weak meteor shower. Bennu particles would radiate around September 25 from the southern constellation of Sculptor. The meteors are expected to be near the naked eye limit and only produce a Zenith hourly rate of less than 1.

OSIRIS-REx.

The OSIRIS-REx mission of NASA's New Frontiers program was launched towards on September 8, 2016. On December 3, 2018, the spacecraft arrived at the asteroid Bennu after a two-year journey. One week later, at the American Geophysical Union Fall Meeting, investigators announced that OSIRIS-REx had discovered spectroscopic evidence for hydrated minerals on the surface of the asteroid, implying that liquid water was present in Bennu's parent body before it split off. OSIRIS-REx is expected to return samples to Earth in 2023.

Selection.

Bennu was selected from over known asteroids by the OSIRIS-REx selection committee. The primary constraint for selection was close proximity to Earth, since proximity implies low impulse (Δv) required to reach an object from Earth orbit. The criteria stipulated an asteroid in an orbit with low eccentricity, low inclination, and an orbital radius of. Furthermore, the candidate asteroid for a sample-return mission must have loose regolith on its surface, which implies a diameter greater than 200 meters. Asteroids smaller than this typically spin too fast to retain dust or small particles. Finally, a desire to find an asteroid with pristine carbon material from the early Solar System, possibly including volatile molecules and organic compounds, reduced the list further.  With the above criteria applied, five asteroids remained as candidates for the OSIRIS-REx mission, and Bennu was chosen, in part for its potentially hazardous orbit.

101955 Bennu (provisional designation ) is a carbonaceous asteroid in the Apollo group discovered by the LINEAR Project on 11 September 1999. It is a potentially hazardous object that is listed on the Sentry Risk Table with the second-highest cumulative rating on the Palermo Technical Impact Hazard Scale. It has a cumulative 1-in-2,700 chance of impacting Earth between 2175 and 2199. It is named after the Bennu, the ancient Egyptian mythological bird associated with the Sun, creation, and rebirth.

小行星101955(临时名称)是林肯近地小行星研究小组在1999年9月11日发现的一颗阿波罗型小行星。它是OSIRIS-REx计划在2023年携带样品返回地球任务锁定的目标。它是列在哨兵系统的巴勒莫撞击危险指数第三级,有着撞击地球最高度危机的小天体。