Background.

By 1986, Michael had spent five years as the lead singer of the popular duo Wham! and had grown tired of accusations that the group, which featured his best friend Andrew Ridgeley, was nothing more than a teenybopper group despite the serious subject matter that was included on albums such as "Fantastic" and "Make It Big". After the success of "Make It Big" Michael had grown weary of continuing the group, and expressed to Ridgeley the desire that they should split up. A decision was made that the group would dissolve following the end of a tenure at Wembley Stadium for what was titled "Wham: The Final". Following the split, Michael began to work on songs that eventually would make his first solo album, which would be titled "Faith".

Recording.

Michael spent the greater part of 1987 writing and recording the songs for the "Faith" album. In addition to playing various instruments on the album, he wrote and produced every track on the recording except for one, "Look at Your Hands", which he co-wrote with David Austin. A contemporary "black" pop-R&B album, "Faith" showcases the vocals of Michael in a new style mode. Its songs are littered with introspective lyrics, which generated controversies about Michael's personal relationships at that time. Most of the material was recorded at Puk Recording Studios in Denmark and Sarm West Studios in London. The album covered many styles of which included soul ("Father Figure", "One More Try"), rock ("Look at Your Hands", "Faith", "Hand to Mouth"), funk ("Monkey", "Hard Day") and jazz ("Kissing a Fool").  Some of the material was more graphic than Michael's previous efforts with Wham! One such song was "I Want Your Sex", which had three parts: the first part was titled "Rhythm 1: Lust", which was the version that would eventually be released as a single and featured electro funk influences; the second part was titled "Rhythm 2: Brass in Love", which mixed a more instrumentally-based funk live instrumentation with a smoother R&B arrangement during the verses; the third part, which was edited to be the final song on the album, was titled "Rhythm 3: A Last Request", featuring a jazz-influenced quiet storm and R&B sound combined with lyrics telling of Michael drunkenly trying to bring his lover to his bed.  The title track began with an organ fanfare that was actually the music to Wham!'s "Freedom" played as if in a cathedral. After this, the song featured a rockabilly sound similar to Bo Diddley while Michael added his own style with his vocals. "Father Figure" originally was a dance-styled production until Michael removed the snare drums from it and kept it that way because he loved what he heard, making the song a mid-tempo R&B ballad. "One More Try" was a soul song in the tradition of songs by Marvin Gaye and Stevie Wonder; its lyrics tell of a man who pushes his lover away out of fear of repeating past relationships, only to accept the invitation in the end.  "Hard Day", much like the first two parts of "I Want Your Sex", was inspired by funk. The social commentary song "Hand to Mouth" had a slight pop and folk approach while a similar social commentary song, "Look at Your Hands", co-written by Michael and David Austin, produced a pop song with rock elements featuring a piano and saxophone. "Monkey" returns to the funk influences of some of the other songs. A remix of the song by Jimmy Jam and Terry Lewis brings a new jack swing approach to the original. "Kissing a Fool" is a jazz-influenced ballad with lyrics solemnly describing a breakup.

Release.

25 weeks after its release, "Faith" reached number one on the US "Billboard" 200. Its early, and successive, success on the chart was said to be partly sustained—with help from plenty of press appearances and promotions—by its strong single releases. After "I Want Your Sex" helped propel "Faith" to its debut atop the chart, the second single "Faith" aided the album's continuing sales dominance. It also reached number one on the UK Albums Chart, although it stayed at the top spot for only one week. "Faith" stayed for 51 non-consecutive weeks inside the "Billboard" 200 top 10, including 12 weeks at number one. It was also the first album by a white solo artist to hit number one on the "Billboard" Top Black Albums chart.  In a 1988 interview with "Jet" magazine, Michael was quoted as saying: "I was much happier with ["Faith"] being the No. 1 Black [chart] album than I was when it became the No. 1 Pop album. There was much more of a sense of achievement. I knew this album would be a shock or a surprise to people in this country. The uptempo side of the new music is more overtly sexual, more black."  During 1987 and 1988, "Faith" produced a string of hit singles for Michael, including six top-five "Billboard" Hot 100 hits, four of which ("Faith", "Father Figure", "One More Try", and "Monkey") reached number one, making him the only British male solo artist to have four number one hits from one album on the "Billboard" Hot 100. "Faith" was 1988's best-selling single in the United States; with "Careless Whisper" having been the best-selling single in 1985, Michael became the first musician to achieve two "Billboard" Year-End number one singles chart since the Beatles' "Hey Jude" topped the Year-End singles chart in 1968 after "I Want to Hold Your Hand" had done so in 1964. Michael also had both the year's number one album and the number one single, which hadn't happened since 1970, when Simon & Garfunkel grabbed both positions with "Bridge over Troubled Water" and its title track.

The Faith Tour.

Michael embarked on a world tour to promote the album in February 1988, opening at Tokyo's Budokan arena, before going on to dates in Australia, Europe and North America. In Los Angeles, Michael was joined on stage by Aretha Franklin for a duet on "I Knew You Were Waiting (For Me)". While on tour, new singles from the album continued to be released. In June, Michael interrupted the tour to sing three songs at Wembley Stadium's Nelson Mandela 70th Birthday Tribute.

Critical reception.

Mark Coleman of "Rolling Stone" praised Michael for emerging as "one of pop music’s leading artisans, a painstaking craftsman who combines a graceful knack for vocal hooks with an uncanny ability to ransack the past for musical ideas and still sound fresh" and dubbed Michael the "Elton John of the 1980s". Coleman also claimed that "Faith" is "a concept album of sorts" incorporating "disco groove [varying] from urban thump to slow tropical heat wave", praising it for being "grounded in a passion and personal commitment".  "Faith" earned Michael numerous accolades, including Album of the Year at the 31st Grammy Awards. Michael was awarded three awards at the 1989 American Music Awards: Favorite Pop/Rock Male Artist, Favorite Soul/R&B Male Artist and Favorite Soul/R&B Album for "Faith". He was also honoured with the MTV Video Vanguard Award. "Faith" was the best-selling album of 1988 in the United States, and eventually reached Diamond certification by the Recording Industry Association of America. According to Nielsen SoundScan, current sales of the album stand at 11 million copies, making it the 52nd-bestselling album in the United States. "Faith" has sold around over 20 million copies worldwide.

Reappraisal.

In a "Billboard" review, "Faith" was considered to have "cemented [Michael] as an MTV icon and a global superstar" and shaping the sound of "late-'80s pop as much as any LP of its time." Writing for BBC Music, Ian Wade praised "Faith" for being a "classic of its era" and "one of the more listenable major releases of the 80s." He also regarded the album being responsible for turning Michael into a "proper international superstar, confirming his rightful place at pop’s top table."  Reviewing the reissue of "Faith" for the "Metro" in 2011, Arwa Haider claimed: ""Faith" still bursts with self-belief, designer vanity, classic songs and imagery, right from the opening title track which begins with a funeral church organ rendition of Wham!'s hit, "Freedom", before clicking into jaunty rock 'n' roll. It's easy to hear why "Faith" achieved multi-million status, although the masterful ballads ("Father Figure", "One More Try") have stood the test of time better than Michael's funk-pop." Following the 30th anniversary of the release of the single "Faith", Nate Hertweck wrote in a Grammy Awards review that the song "change[d] everything".  In 1989, "Faith" was ranked at number 84 on "Rolling Stone"s list of the Greatest Albums of the 80s. In 2003, the album was ranked at number 480 on "Rolling Stone"s list of the 500 Greatest Albums of All Time while in 2012, the album ranked eight places higher at number 472 on an updated list by the magazine. "Faith" was ranked 79th in a 2005 survey held by British television's Channel 4 to determine the 100 Greatest Albums of All Time. In 2006, "Q" magazine placed the album at number 24 in its list of 40 Best Albums of the '80s. "Slant Magazine" listed the album at number 62 on its list of Best Albums of the 1980s.

2011 remastered release.

A remastered edition of "Faith" was released on 31 January 2011 in the UK and on 1 February 2011 in the US. It is available in several formats: "Limited Edition Collectors Box Set", "Two-CD and DVD Special Edition", "Two-CD Edition" and "iTunes LP". The box set release features: the remastered album on CD, an additional CD of remastered 12" versions and B-sides; a DVD featuring a TV special from 1987, a hardbound book that includes an exclusive interview with George Michael, sleeve notes, rare photos and memorabilia; a vinyl album replica of the original LP; and a memorabilia envelope that includes five art prints, reproduction poster, tickets and tour pass from the "Faith" tour sourced from Michael's personal archive. All this is housed in a 12 x 12 numbered, black and gold-foiled slipcase with original artwork overlay. The first 2,000 copies were also provided with a hand-numbered lithograph attached (taped) outside the box set. The 2011 re-release received universal acclaim from music critics according to Metacritic.

Track listing.

Note

2011 remaster.

Disc one  Track 1–9 of the first disc features the remastered version of the original album.  Disc two  Note  2011 remaster DVD

Faith is the debut studio album by the English singer George Michael, released on 30 October 1987 by Columbia Records and Epic Records. In addition to playing various instruments on the album, Michael wrote and produced every track on the recording except for one, "Look at Your Hands", which he co-wrote with David Austin. A "black" inspired pop-R&B album, "Faith"'s songs include introspective lyrics, which generated controversies about Michael's personal relationships at that time.

Faith ist das Debütalbum von George Michael als Solokünstler. Es erschien im Oktober 1987 und wurde nach dem gleichnamigen Song benannt.


Early life, education.

Iryna Khalip was born on November 12, 1967 in Minsk, a city in Belorussian SSR. Her father is an arts and theater critic. She graduated from Belarus State University with a focus in journalism studies in 1989.

Early journalism career.

Afterward graduation Khalip got a job at the government paper "Sovetskaya Belorussiya". She decided she wanted to become a full-time journalist in 1994, at age 26. She has stated "I was looking for something not very difficult...something easy and interesting. I was only half right, because journalism is really interesting, but not easy."  Belarus, which had gained independence from the USSR after the dissolution of the Soviet Union in 1991, elected Alexander Lukashenko as president in 1994. He quickly became known for restricting freedom of speech and freedom of the press. Khalip has stated "Dictatorships don’t like journalists - they either destroy them or buy them out." That year, Lukashenko fired the editor of "Soviet Belarusia" after the employees proposed privatizing the paper, and also demanded the paper become his "mouthpiece." Khalip quit her job and became a correspondent with other papers.  In 1997, Khalip was reporting at a rally that opposed Belarus unifying with Russia. She was clubbed by riot police and dragged by her hair, and her father, who was with her at the rally, was beaten into unconsciousness.

"Imya" intimidation attempt.

Khalip later went to work for the independent newspaper "Imya" (""Name""). In 1999, the Belarusian government issued a warning to "Imya" over an article Khalip had written about the Central Electoral Committee's activities. According to the chair of the Belarusian Press Committee, the article and the newspaper's coverage of the upcoming presidential elections amounted to "incitement to overthrow the state," and a second warning would lead to the paper's closure.  That year, police came to Khalip's home and detained her for an entire day. They interrogated and allegedly threatened her, and while she was detained, they searched her apartment, confiscated travel documents, and took her work computer.

2000 detainment.

In March 2000, Khalip was reporting on a Minsk demonstration protesting an official ban on a public march. The banned march was intended to be part of the opposition festivities commemorating the 1918 founding of the Belarusian Democratic Republic. She was forced into a police vehicle and detained at an Interior Ministry facility in Minsk, along with 34 other journalists. She was released later that day.

"Belorusskaya Delovaya Gazeta".

In 2003, President Lukashenko altered the Belarusian criminal code to make it illegal for journalists to write anything negative about the president. At that point, Khalip had written multiple articles on corruption in the prosecutor's office for "Belorusskaya Delovaya Gazeta" ("Belarusian Business Newspaper"). The newspaper was accordingly forced to suspend its activities for "insulting the honor and dignity of the president." In 2006, the newspaper was forced to close permanently.

"Novaya Gazeta".

After the closure of the "Belorusskaya Delovaya Gazeta" Khalip became a regular editor and reporter for the Minsk bureau of "Novaya Gazeta" ("New Gazette"), a newspaper based in Moscow. The paper is famous for being the very last independent newspaper in Russia. There are no independent newspapers in Belarus, making it one of the few outlets for independent Belarusian journalists.  The paper is known for being outspoken about the corruption of governments in the former Soviet Republics, and its journalists have faced brutal intimidation and persecution. Anna Politkovskaya, one of their well-known reporters and a winner of the 2002 Courage in Journalism Award, was shot to death outside her flat in 2006. Three years before that, the "Gazeta" investigative journalist Yuri Shchekochikhin died in highly suspicious circumstances; many factions believe he was poisoned by the KGB. Khalip, however, has stated she won't stop reporting on civil and human rights abuses, because “[It would] betray my friends. [It would] betray the memory of their husbands. There is only one way to go ahead.”

Reporting on Emmanuel Zeltser.

Khalip’s more notable reporting is related to abduction, detention and torture of Emmanuel Zeltser, a prominent American lawyer who spent 16 months in the Belarusian KGB detention before being released thanks to the intervention of the United States government and human rights organizations, including Amnesty International. As was widely reported, on March 11, 2008, Zeltser and his assistant Vladlena Funk were abducted in London U.K. by the Belarusian KGB operatives. Both were drugged and secretly renditioned across international borders to Belarus aboard a private jet belonging to Boris Berezovsky, a notorious Russian “oligarch”, wanted by the Interpol for fraud and money laundering and close friend of the Belarusian dictator Alyaksander Lukashenka.  Khalip sent a text of her journalistic investigation to the "Novaya Gazeta" editorial office on Saturday, November 22, 2009. That day at 17:43 she received an email from "Drug Drug" titled "Greetings from Boris." It read "Irka if you won’t remove the article you will meet with [murdered reporter] Anna Politkovskaya, or tomorrow you will meet with intoxicated niggers. With love, BA (sic)." Khalip immediately called London and spoke to Berezovsky, who assured her he had not sent the email and theorized it was the "special services."  The next Monday and Tuesday she gathered more information for the article at the behest of her editor-in-chief. That Tuesday, at 8:53 p.m., she received a call to her mobile phone from a pay phone. A unknown man stated “You have been warned, bitch, haven’t you? If the article is published, you must not leave your house any more.”  On the evening of Thursday, November 26, she received a telegram from Moscow stating “HERO OF EUROPE THE MATTER DOES NOT CONCERN PAL PALYCH BUT VLADIMIROVICH DRINK HENNESSEY AND DRINK HEALTH OF YOUR SON IF YOU DO NOT CARE FOR YOUR HEALTH." The telegram made obvious references to her private phone conversations the last few days. Days earlier, she had discussed Russian official Pavel Pavlovich Borodin (Pal Palych) with her editors at "Novаya Gazeta", informing them that Emmanuel Zeltser was the New York attorney for Borodin. She had also requested her husband, future presidential candidate Andrei Sannikov, pick up Hennessy cognac at a shop. Also, the couple's year-old son had been ill, and she had made several phone calls concerning the issue.  When the Charter 97 website later asked about the source of the threats, Khalip stated “Only those who have a possibility to intercept emails of others could make threats to me. In our country it’s a prerogative of secret services...KGB servicemen are used to stay nameless and faceless in the crowd. They do not like when their illegal and sometimes criminal actions become known...”  Despite the explicit death threats, Khalip and her editors decided to publish the story in the December 9 edition of "Novaya Gazeta". The harassment was addressed in the article.

'Hunter's Case' interrogation.

On March 3, 2010, it was reported by Charter97.org that Khalip and her husband Andrei Sannikov had been summoned to the Partyzanski District militia department in Minsk for questioning. Chief interrogating officer Alyaksandr Paznyak oversaw the interrogations, questioning them individually in an effort to uncover if they were connected to a criminal case involving "defamation" of Ivan Korzh, a former member of the KGB in the Gomel region. According to Khalip, they were asked "if we were coordinators of the website charter97.org, if we conducted journalistic investigation of the 'hunters’ case,' if I published anything relating to this issue, if we met with his family, if we published anything on the website 'Belorusski Partizan.' Our answers to all questions were decisive “no”, which is absolutely true.”

2010 presidential elections.

In March 2010, Khalip's husband Andrei Sannikov declared his intention to take part in the Belarus presidential election of 2010 as a candidate. Along with Uladzimir Niaklajeu and Jarasłaŭ Ramančuk, he was considered one of the main opposition candidates. With Khalip's support, he officially registered on November 18, 2010. After the presidential elections took place on December 19, 2010, incumbent Aleksandr Lukashenko was proclaimed the winner with roughly 80% of the popular vote.

December 19 demonstration.

On the night of December 19, thousands of protesters peacefully filled a large square in central Minsk, deeming the election results fraudulent. Many oppositional political candidates were present. The police broke up the rally, beating and injuring people and arresting more than 600. Khalip and her husband Andrei Sannikov were among those beaten by police during the rally, and according to eye-witnesses, were singled out from the crowd. Later, on the way to the hospital to treat Sannikov's broken legs, their car was intercepted while Khalip was giving a telephone interview to the Moscow radio station Ekho Moskvy (Echo of Moscow). Khalip screamed on air that they were being forcibly removed from their car, arrested, and beaten.  On March 22, while accusing her of lying about being beaten, Lukashenko admitted that Khalip's phone had been bugged and was being listened to by the government.

Detainment.

Both Khalip and Sannikov were detained in a KGB facility in Minsk. Hours after the arrest, Khalip borrowed a mobile phone from another detainee and called her mother, asking her to take care of her young son. According to Sannikov's lawyer Pavel Sapelko, he was denied proper medical treatment for his injuries. Sapelko also reported that the couple was officially charged with the crimes of "organizing an unsanctioned gathering and participating in mass disorder" on December 29, after 10 days detention with no charges. If convicted, the result could be up to 15 years in prison.

Custody threats.

On December 25, "The Daily Telegraph" reported that authorities were threatening to remove Khalip's young son, at the time three years old, from her mother's custody. The child had been placed in the custody of Khalip's 74-year-old mother after his parents' incarceration. The child at the time believed his parents were on an extended business trip. Child Welfare Services required Khalip's mother to undergo a series of medical and psychological tests to assess if she would be able to retain custody, including testing for H.I.V. and syphilis, saying they would make a decision by the end of the month. Khalip's mother stated “This is an effort to put pressure on Irina. They are capable of squeezing her, and this of course is the most sensitive place.”  After the announcement, activists rallied for Khalip and her son outside the Belarus Embassy in Moscow, holding signs demanding their reunion. Boris Nemtsov was present, holding a sign of Khalip with the others.  By January 11, Khalip's mother reported that the authorities found her fit enough to retain custody of the boy, though he was required to undergo a medical check as well.

House arrest.

After the protests, Khalip was released from the detention center on January 30, and placed under stringent house arrest. Her husband remained incarcerated. Though reunited with her son, she was expressly forbidden from communicating with the outside world or media in any way, and was not allowed to use a phone or a computer, or to go near windows. She was not allowed to receive any correspondence, though she was allowed to talk with family members. Two KGB guards were permanently stationed in her apartment to ensure compliance; if attempted communication, she would be sent back to prison.

Legal prosecution.

On February 3, it was announced that her husband's press secretary, journalist Aleksandr Otroschenkov, had been sentenced to a four-year prison term for participating in the protest rally. The judgement was handed down by Judge Tatiana Cherkas under article 293 of the Criminal code, despite the fact that Otroschenkov had been involved in the protest solely as a professional journalist.  On February 4, it was reported that Khalip's lawyer Tamara Harayeva had withdrawn from her defense team, giving no explanation. Three days later, Khalip's lawyer Uladzimer Toustsik abruptly withdrew from the case as well. A family member in touch with Khalip said that the authorities had threatened to revoke their licenses to practice law if they continued to represent her. It was also reported that authorities were trying to force her to accept a state-appointed lawyer. On February 18, it was revealed that both of Khalip's former lawyers had been stripped of their licenses to practice law. The Belarusian Justice Ministry stated they had been disbarred for their "refusal to represent Khalip".  As of February 20, 46 people had been charged in the "riot" case, among them four of the nine presidential candidates. Further protests took place after activist Vasuk Parfyankow was sentenced to four years in a high-security prison. Sixteen journalists and activists including Khalip still faced prosecution, all facing the possibility of 15 years in prison if their cases proceed to trial.  On April 15, Minsk city Court heard an appeal from Andrei Sannikov's lawyer Pavel Sapelka against the extent of his detention term, but was denied. According to Radio Svaboda (Radio Freedom), Sannikov's health after his last meeting with his lawyers was "satisfactory". He is to be tried on April 27.  On April 18, the Minsk City Court officially sent a case against Khalip to the court of the Zavadski district of Minsk, stating "The case has just been received by the court. A date and a judge have not been appointed." Iryna Khalip, Syargei Martseleu and Pavel Sevyarynets are to be charged under part 1 of article 342 of the Criminal Code of Belarus for “taking part or organizing the actions that violate public order.” That day Minsk City Court also extended Khalip's house arrest for another month.  Amnesty International designated Khalip and her husband as prisoners of conscience. The Committee to Protect Journalists has also called for Belarusian authorities to immediately lift all restrictions on Khalip's movement and to drop the "fabricated" charges against her.  On 16 May, Khalip was convicted of "organizing and preparing activities severely disruptive of public order" and given a suspended sentence of two years' imprisonment.

Awards and recognition.

"Time" magazine selected her for the 2005 special issue "European Heroes", in the category "Brave Hearts".  In October 2009, Khalip was awarded the Courage in Journalism Award from the International Women's Media Foundation.  In October 2013, Tom Stoppard awarded her the "International writer of courage" of the PEN Pinter Prize, a major international human rights award.

Personal life.

Khalip is currently married to Andrei Sannikov, and has a son.

Iryna Khalip (or Irina Khalip;, ) (born November 12, 1967) is a Belarusian journalist, reporter and editor in the Minsk bureau of "Novaya Gazeta", known for her criticism of Belarusian President Alexander Lukashenko.

Iryna Chalip (, ; * 12. November 1967 in Minsk) ist eine oppositionelle weißrussische Journalistin. Sie ist die Ehefrau des verhafteten weißrussischen Präsidentschaftskandidaten von 2010 Andrej Sannikau.


Background.

By 1690, the Nine Years' War was in its third year. The greater part of the forces involved on both sides was engaged in the Spanish Netherlands where the Dutch, with considerable English and a little Spanish help, concentrated their war effort. Along the Rhine – where ultimately the war would prove no more decisive than the Netherlands' campaign – the German Princes provided the bulk of the troops to face France. The one area where the Allies had great hopes of forcing – "... a door... into France, big enough... for us to get in at", was Italy.  The territories of Victor Amadeus II, Duke of Savoy, split into several distinct areas: the County of Nice, the Duchy of Savoy, the Duchy of Aosta, and the Principality of Piedmont. Nice occupied the region on the Mediterranean where the Alps meet the sea; Savoy occupied the region where the Alps border the French province of Dauphiné; and Piedmont, which also contained the capital city of Turin and was the most important and populous region, linked the mountains to the Po valley.  King Louis XIV tended to consider the Savoyard state as subsidiary to his rule – despite Amadeus's determination to maintain his independence he was often little more than a vassal compelled to follow the French king's wishes. Even before the outbreak of the war Louis XIV had a military presence in Italy with the control of two imposing fortresses: Pinerolo, to the west, annexed by France fifty years earlier in defiance of the 1631 Treaty of Cherasco; and to the east in Duchy of Montferrat, the fortress of Casale, acquired in 1681 after Ferdinand Charles, Duke of Mantua, surrendered it to Louis XIV in exchange for an initial payment of 1,000,000 livres and an annual subsidy of 60,000 livres.

Prelude.

At the beginning of 1690 Amadeus had yet to declare himself against Louis XIV. Although his small army (8,000 men at the start of 1690) aroused only French contempt, Louis XIV understood that he had to retain Savoy in the French orbit. Ignoring Amadeus's own sovereign interests, the French sought guarantees and made their demands on the Duke: Amadeus was either to send 2,000 infantry and three dragoon regiments to assist French forces in the Spanish Netherlands – nearly half his army – or, he was to unite them with Nicolas Catinat's forces for an attack on the Spanish Milanese; he was also to hand over to Catinat the citadel of Turin and, further down the Po River, Verrua. If he did not do so he would, in Louvois' words, "be punished in such a manner that he remembers it for the rest of his life."  French demands from the Duke were nothing less than an attack on Savoyard independence, and the intimidation ultimately proved counter-productive. In the early summer of 1690 Amadeus realised he had to stand up to France and he began to look towards the Grand Alliance. But he had conditions. Amadeus reiterated his family claim to the Duchy of Montferrat, over which the House of Savoy was in perennial dispute with the Duke of Mantua, stipulating the razing of Casale as the minimum he would accept in this region; he also demanded the reacquisition of Pinerolo as the "sine qua non" of Savoyard entry into the war on the Allied side, and sought to take over at least one French place in Dauphiné. Amadeus's hectic preparations for war and his negotiations for financial assistance from England and Spain, were followed by a declaration of war against France on 4 June.

Battle.

In July Catinat took command of French forces in Piedmont, totalling some 12,000 men. Amadeus, meanwhile, received 10,000 Spanish reinforcements from the Spanish possession of Milan, and was also promised 5,000 Imperial troops under Prince Eugene of Savoy – a cousin of Amadeus. Additionally, Amadeus's Protestant community, the Vaudois, who had previously suffered religious persecution from Louis XIV and Amadeus alike, had since become reconciled with their Duke, and took up arms in defence of their valleys. Little quarter was asked or given when fighting the French.  Determined to punish Amadeus, Louis XIV had ordered Catinat to use his force to burn and tax (put under contribution) large tracts of parts of Savoy and the Plain of Piedmont – attempts by local peasants to retaliate were met by hanging anyone who was found carrying arms. However, the Marquis de Feuquieres, sent by Catinat with 1,200 troops to Luserna, suffered a major setback and was forced to abandon the town with the loss of some 600 men.  While Catinat's army manoeuvred on the Piedmontese plain Marquis de Saint-Ruth took most of the exposed Duchy of Savoy, routing the Savoyard forces; only the great fortress of Montmélian, less than 60 km north of Grenoble, remained in ducal hands. Although Savoy was far less important than Piedmont, its loss was a major setback for the Grand Alliance, making an invasion of France now much less likely. In a desperate attempt to halt the destruction and intimidation Amadeus – against the advice of Eugene – insisted on engaging the French with his own and Spanish troops. Believing that Feuquieres was lost, and anxious to catch the French whilst they were weak, Amadeus left his camp at Villafranca with the intention of attacking and surrounding Catinat.  Catinat left his camp at Cavour and marched south with the intention of taking Saluzzo; when Amadeus moved to stop him, the result was the engagement at the abbey of Staffarda on 18 August. Marshes and hedges impeded movement on the battlefield and sheltered the Savoyard line, but French troops eventually broke Amadeus's army. Only Eugene's command of the Savoyard cavalry and his conduct in retreat saved the Allied army from disaster. Amadeus suffered 2,800 casualties and 1,200 prisoners; he also lost 11 of his 12 cannon. Catinat's casualties amount to some 2,000 troops.

Aftermath.

Catinat subsequently took Saluzzo, Savigliano, and Fossano. More of Amadeus's territory was put under contribution; those towns which Amadeus ordered not to pay – such as Ceresole and Autrive – were torched. When Eugene's Imperial troops finally arrived in Piedmont little could be achieved due to Spanish hesitancy and reluctance: in Eugene's words: "... they want to do absolutely nothing." The Imperial commander had to be satisfied with small raids against the enemy. In one such operation in September Eugene was unable to prevent his men – who were used to the brutality of the Turkish wars – castrating then killing 200 French prisoners.  Catinat proceeded to Susa, a vital fortress controlling communications with Briançon in Dauphiné, opening trenches there on 11 November; the stronghold capitulated two days later. But hopes of taking Turin, and capturing the Asti region and south-east Piedmont in order to link up with Casale had to be scaled back due to supply and communication problems, manning shortages, and sickness within the army. The French, therefore, unable to live off the resources of a devastated Piedmont, were forced into winter quarters in Savoy, Dauphiné, and Provence. Eugene's imperialists found quarters in Montferrat much to the consternation its pro-French ruler, the Duke of Mantua.

The Battle of Staffarda, 18 August 1690, was fought during Nine Years' War in Piedmont-Savoy, modern-day northern Italy. The engagement was the first major encounter in the Italian theatre since Victor Amadeus, the Duke of Savoy, had joined the Grand Alliance in opposition to France earlier that year. The battle was a clear victory for the French commander, Nicolas Catinat, who proceeded to take other Piedmontese strongholds. The French also overran most of the Duchy of Savoy, but due to sickness, lack of infantry, and problems with supply, Catinat was unable to besiege Amadeus's capital Turin as King Louis XIV had hoped.

Die Schlacht bei Staffarda fand im Rahmen des pfälzischen Erbfolgekrieges am 18. August 1690 zwischen französischen Truppen unter Nicolas de Catinat und den Alliierten unter Viktor Amadeus II. von Savoyen statt. Die Schlacht endete mit einem eindeutigen französischen Sieg, daraufhin wurde fast das gesamte Herzogtum Savoyen besetzt.


Education.

Hugo was born 1976 in Johannesburg, South Africa. He began his career working in the film industry in Cape Town, before undertaking a two-year residency at Fabrica research centre, Treviso, Italy.

Work.

Hugo’s work is governed by an autodidactic approach to photography and a deep scepticism of the role of the photographic medium. He is one of a generation of post-Apartheid photographers that seeks to confront photography’s history of representing marginalised and disempowered people. His work aims to challenge preconceptions around the representation of groups of people ‘other’ to the Western European norm.  Hugo's first major work "Looking Aside" (2006) depicts portraits of people "whose appearance makes us look aside" – the blind, people with albinism, the aged, his family and himself. Each man, woman and child poses in a sterile studio setting, under crisp light against a blank background. His "Rwanda 2004: Vestiges of a Genocide" (2011) was described by the Rwanda Genocide Institute as offering "a forensic view of some of the sites of mass execution and graves that stand as lingering memorials to the many thousands of people slaughtered." Hugo's most recognized work is "The Hyena & Other Men" (2007), which has received a great deal of attention.  His series "Messina/Mussina" (2007) was made in the town of Musina on the border between Zimbabwe and South Africa, after "Colors" magazine asked Hugo to work on an AIDS story. "Nollywood" (2009) consists of pictures of the Nigerian film industry. For "Permanent Error" (2011) Hugo photographed the people and landscape of an expansive dump of obsolete technology in Ghana. "There is a Place in Hell for Me and My Friends" (2012) depicts Hugo’s family and friends from South Africa in digitally manipulated black and white portraits that aim to explore the contradictions of racial classification based on skin colour. "Kin" (2014) places even greater emphasis on the photographer’s family and community which Hugo describes as “an engagement with the failure of the South African colonial experiment and my sense of being ‘colonial driftwood’.”  In the Spring of 2014, Hugo was commissioned by Creative Court to work in Rwanda for its "Rwanda 20 Years: Portraits of Forgiveness" project. The project was displayed in The Hague in the Atrium of The Hague City Hall for the 20th commemoration of the 1994 genocide in Rwanda. A selection of the photos have also been displayed in New York at the exhibition "Post-Conflict" which was curated by Bradley McCallum, artist in residence for the Coalition for the International Criminal Court. The project served as the impetus for the photographic series "1994" (2017) which explores the post-revolutionary era in both South Africa and Rwanda through a series of portraits of children from both countries.  "Flat Noodle Soup" (2016) chronicles Hugo’s lengthly engagement with the city of Beijing, exploring how concerns with expressing personal identity within societal norms and pressures are universal and trans-national.

Fashion.

Hugo has produced fashion photography features for various publications. These include Arena Homme Plus, Re-Edition Magazine, Document Journal, System Magazine and AnOther Man. He has also collaborated on publications with Louis Vuitton and Hood By Air.

Editorial.

Hugo is a regular contributor to titles such as the New Yorker, Zeit magazine, Le Monde and The New York Time’s magazine. He has written extensively about his own work and that of other photographers with his article on Garth Walker being featured in Aperture magazine, Winter, 2013. In May 2015 he was invited to guest edit the supplement DeLuxe for the Dutch newspaper NRC.nl.

Film.

In 2011 Hugo collaborated with Michael Cleary, co-directing the music video for South African musician Spoek Mathambo's cover version of Joy Division's "She's Lost Control". For the video, Hugo won the Young Director Award at the Cannes Lions International Festival of Creativity. In 2015 he directed the music video for "Dirty", a song by controversial South African musical artists Dookoom.

Exhibitions.

Pieter Hugo has exhibited extensively in various countries. He has had major museum solo exhibitions at the Museu Coleção Berardo, Lisbon, Portugal (2018), the Museum für Kuns und Kulturgeschichte, Dortmund, Germany (2017), the Kunstmuseum Wolfsburg, Germany (2017), The National Portrait Gallery, London (2015), the Ludwig Museum, Budapest (2013), the Institute of Modern Art, Brisbane, Australia (2010), the Multimedia Art Museum, Moscow (2012) and the South African National Gallery, Cape Town (2007).  He has been included on important group exhibitions such as "Civilization: The Way We Live Now" at the National Museum of Modern and Contemporary Art in Seoul, South Korea (2018), "Another Kind of Life: Photography on the Margins" at the Barbican Art Gallery, London, England (2018), "Good Hope. South Africa and The Netherlands from 1600" at the Rijksmuseum, the Netherlands (2017), "Street & Studio: An urban history of photography" at the Tate Modern, London, UK (2008), "reGeneration: 50 Photographers of Tomorrow" at the DeVos Art Museum, Marquette, Michigan, USA (2008) and "How to Live Together", 27th São Paulo Biennale, Brazil; Museo de Arte Contemporaneo de Santiago, Chile (2006) among many others.  List of exhibitions  Solo exhibitions  Group exhibitions

Publications.

Hugo has had four monographs published on his career. These include "Pieter Hugo: The Hyena and Other Men" (2008) by Aaron Schuman published by the Fotografiemuseum, Amsterdam; "Pieter Hugo: Selected Works" (2009) edited by the Área De Cultura / Ajuntament de Tarragona; "This Must Be the Place" (2012) with essays by TJ Demos and Aaron Schuman, published by Prestel: Munich; and "Pieter Hugo: Between the Devil and the Deep Blue Sea" (2017) with essays by the editors, Ralf Beil and Uta Ruthkamp, published by Prestel: Munich.  List of publications  Publications by Hugo  Selected books and catalogues

Pieter Hugo (born 1976)<ref name="http://www.pieterhugo.com"> is a photographer who primarily works in portraiture and whose work considers the role of photography between documentary and art traditions with a focus on peripheral communities. He lives in Cape Town.

Pieter Hugo (* 29. Oktober 1976 in Johannesburg) ist ein südafrikanischer Fotograf, der sich mit Porträts und Dokumentationen aus seiner Heimat Südafrika und Afrika befasst. Hugo lebt und arbeitet in einem Loft in Kapstadt mit Blick auf den Tafelberg.


History.

for Unix-like systems is part of the X/Open Portability Guide since issue 2 of 1987. It was inherited into the first version of POSIX and the Single Unix Specification. It first appeared in Version 1 AT&T Unix.  The version of bundled in GNU coreutils was written by Torbjorn Granlund, David MacKenzie, and Paul Eggert.

Usage.

The Single UNIX Specification specifications for are:  Most Unix and Unix-like operating systems add extra options. The BSD and GNU coreutils versions include, where free space is listed in human readable format, adding units with the appropriate SI prefix (e.g. 10MB),, listing inode usage, and, restricting display to only local filesystems. GNU includes as well, listing filesystem type information, but the GNU shows the sizes in 1K blocks by default.

Specification.

The Single Unix Specification (SUS) specifies by original space is reported in blocks of 512 bytes, and that at a minimum, the file system names and the amount of free space.  The use of 512-byte units is historical practice and maintains compatibility with and other utilities. This does not mandate that the file system itself be based on 512-byte blocks. The option was added as a compromise measure. It was agreed by the standard developers that 512 bytes was the best default unit because of its complete historical consistency on System V (versus the mixed 512/1024-byte usage on BSD systems), and that a option to switch to 1024-byte units was a good compromise. Users who prefer the more logical 1024-byte quantity can easily to without breaking many historical scripts relying on the 512-byte units.  The output with shall consist of one line of information for each specified file system. These lines shall be formatted as follows:  In the following list, all quantities expressed in 512-byte units (1024-byte when -k is specified) shall be rounded up to the next higher unit. The fields are:

Example.

The following is an example of the output of the df command.  $ df Filesystem 1024-blocks Free %Used Iused %Iused Mounted on /dev/hd4 32768 16016 52% 2271 14% / /dev/hd2 4587520 1889420 59% 37791 4% /usr /dev/hd9var 65536 12032 82% 518 4% /var /dev/hd3 819200 637832 23% 1829 1% /tmp /dev/hd1 524288 395848 25% 421 1% /home /proc - - - - - /proc /dev/hd10opt 65536 26004 61% 654 4% /opt

' (abbreviation for disk f"'ree") is a standard Unix command used to display the amount of available disk space for file systems on which the invoking user has appropriate read access. is typically implemented using the statfs or statvfs system calls.

codice_1 (codice_2; Abkürzung für ) ist ein Systemprogramm unter Unix- und unixähnlichen Betriebssystemen, mit dem der Speicherverbrauch von gemounteten Dateisystemen abgefragt werden kann. Es ist durch POSIX spezifiziert.


Early life and education.

Born in Savile Row, London, Jessel was the son of Zadok Aaron Jessel, a Jewish merchant, and his wife Mary, "née" Harris. He was educated at Mr Neumegen's School for Jews at Kew, and being prevented by religious disabilities from proceeding to the University of Oxford or Cambridge, went to University College London, matriculating in 1840. He entered Lincoln's Inn as a student in 1842, and a year later took his BA at the University of London, becoming MA and gold medallist in mathematics and natural philosophy in 1844. In 1846 he was elected a fellow of University College, London.  He entered Lincoln's Inn in 1842 as a student and was called to the bar in 1847, taking chambers in Stone Buildings. He read in the chambers of the conveyancer Peter Bellinger Brodie, and was the pupil of Edward John Lloyd and of Barnes Peacock.

Career.

Jessel's earnings during his first three years at the bar were 52, 346, and 795 guineas, from which it will be seen that his rise to a tolerably large practice was rapid. His work, however, was mainly conveyancing, and for long his income remained almost stationary. By degrees, however, he got more work, and was appointed Queen's Counsel in 1865, becoming a bencher of his Inn in the same year and practising in the Court of Chancery. Jessel entered Parliament as Liberal Party member for Dover in 1868, and although neither his intellect nor his oratory was of a class likely to commend itself to his fellow-members, he attracted William Ewart Gladstone's attention by two learned speeches on the Bankruptcy Bill which was before the house in 1869, with the result that in 1871 he was appointed Solicitor General.  Jessel's reputation at this time stood high in the chancery courts; on the common law side he was unknown, and on the first occasion upon which he came into the Court of Queen's Bench to move on behalf of the Crown, there was very nearly a collision between him and the bench. His forceful and direct method of bringing his arguments home to the bench was not modified in his subsequent practice before it. His great powers were fully recognised; his business in addition to that on behalf of the Crown became very large, and his income for three years before he was raised to the bench amounted to nearly £25,000 per annum. In 1873, Jessel succeeded Lord Romilly as Master of the Rolls. From 1873 to 1881, Jessel sat as a judge of first instance in the rolls court, being also a member of the Court of Appeal.  In November 1874 the first Judicature Act came into effect, and in 1881 the Judicature Act of that year made the Master of the Rolls the ordinary president of the first Court of Appeal, relieving him of his duties as a judge of first instance. In the Court of Appeal Jessel presided almost to the day of his death.  On 22 February 1878, Jessel survived an assassination attempt by Henry John Dodwell, a disturbed clergyman. For some time before 1883 he suffered from diabetes with chronic disorder of the heart and liver, but struggled against it; on 16 March 1883 he sat in court for the last time, and five days later he died, aged 59, at his residence in London, the immediate cause of death being cardiac syncope. The following day, the Court of Appeal adjourned in his honour.  In person Jessel was a stoutish, square-built man of middle height, with dark hair, somewhat heavy features, a fresh ruddy complexion, and a large mouth.

Legacy.

As a judge of first instance Jessel was a revelation to those accustomed to the proverbial slowness of the chancery courts and of the Master of the Rolls who preceded him. He disposed of the business before him with rapidity combined with correctness of judgment, and he not only had no arrears himself, but was frequently able to help other judges to clear their lists. His knowledge of law and equity was wide and accurate, and his memory for cases and command of the principles laid down in them extraordinary. In the rolls court he never reserved a judgment, not even in the Epping Forest case ("Commissioners of Sewers v Glasse", L.R. 19 Eq.; "The Times", 11 November 1874), in which the evidence and arguments lasted twenty-two days (150 witnesses being examined in court, while the documents went back to the days of King John), and in the Court of Appeal he did so only twice, and then in deference to the wishes of his colleagues.  The second of these two occasions was the case of "Robarts v The Corporation of London" (49 "Law Times" 455; "The Times", 10 March 1883), and those who may read Jessel's judgment should remember that, reviewing as it does the law and custom on the subject, and the records of the city with regard to the appointment of a remembrancer from the 16th century, together with the facts of the case before the court, it occupied nearly an hour to deliver, but was nevertheless delivered without notes this, too, on 9 March 1883, when the judge who uttered it was within a fortnight of his death. Never during the 19th century was the business of any court performed so rapidly, punctually, and satisfactorily as it was when Jessel presided.  He was Master of the Rolls at a momentous period of legal history. The Judicature Acts, completing the fusion of law and equity, were passed while he was judge of first instance, and were still new to the courts when he died. His knowledge and power of assimilating knowledge of all subjects, his mastery of every branch of law with which he had to concern himself, as well as of equity, together with his willingness to give effect to the new system, caused it to be said when he died that the success of the Judicature Acts would have been impossible without him. His faults as a judge lay in his disposition to be intolerant of those who, not able to follow the rapidity of his judgment, endeavoured to persist in argument after he had made up his mind; but though he was peremptory with the most eminent counsel, young men had no cause to complain of his treatment of them.  Jessel sat on the royal commission for the amendment of the Medical Acts, taking an active part in the preparation of its report. He actively interested himself in the management of London University, of which he was a fellow from 1861, and of which he was elected vice-chancellor in 1880. He was one of the commissioners of patents, and trustee of the British Museum. He was also chairman of the committee of judges which drafted the new rules rendered necessary by the Judicature Acts. He was treasurer of Lincoln's Inn in 1883, and vice-president of the council of legal education. He was also a fellow of the Royal Society.  Jessel's career marks an epoch on the bench, owing to the active part taken by him in rendering the Judicature Acts effective, and also because he was the last judge capable of sitting in the House of Commons, a privilege of which he did not avail himself. He was the first Jew who, as solicitor-general, took a share in the executive government of his country, the first Jew who was sworn a regular member of the privy council, and the first Jew who took a seat on the judicial bench of Great Britain; he was also, for many years after being called to the bar, so situated that any one might have driven him from it, because, being a Jew, he was not qualified to be a member of the bar.

Family.

Jessel married in 1856 Amelia Moses, daughter of Joseph Moses, who survived him together with three daughters and two sons, the elder of whom, Charles, was made a baronet shortly after the death of his distinguished father and in recognition of his services (see Jessel Baronets). Jessel's younger son Herbert Jessel was elevated to the peerage as Baron Jessel in 1924.  A great-nephew of Jessel, Richard Frederick Jessel, was a naval hero of the Second World War. Richard's son, Toby Jessel, was Conservative MP for Twickenham from 1970 until 1997. Richard's daughter, Camilla Jessel, was the second wife of the Polish composer Andrzej Panufnik.  He was the second cousin once removed of the American Vaudeville star and comedian George Jessel, who was named after him.

Sir George Jessel, (13 February 1824 – 21 March 1883) was a British judge. He was one of the most influential commercial law and equity judges of his time, and served as the Master of the Rolls. He was the first Jew to be a regular member of the Privy Council and to hold high judicial office.

Sir George Jessel (* 13. Februar 1824 in London; † 21. März 1883 ebenda) war ein englischer Jurist. Er war Reichsarchivar, Richter, Kronanwalt (Solicitor General) von 1871 bis 1873 und hatte von 1873 bis 1883 das Amt des Master of the Rolls inne.


History.

Yuneec was originally a manufacturer of radio-controlled model aircraft. The company built the first successful electric powered paraglider that was manufactured in series production, the EPac. Former company owner Tian Yu then turned his attention to an electric ultralight trike, the Yuneec International ETrike. From there he designed a series of electric motors, the Yuneec Power Drive series, the all-composite E430 and the EViva motorglider. Collaboration with Flightstar Sportplanes of the US brought the Yuneec International e-Spyder design to completion, using an existing airframe with new electric power components.  In July 2010, Yuneec's E430 electric aircraft, won the Lindbergh Electric Airplane Prize at the World Electric Aircraft symposium. Yuneec's e-Spyder was the world's first certified electric aircraft, having received the DULV Type Certification in February 2013.  In 2014 the company became a founding member of Dronecode, a non-profit hosted by the Linux Foundation with the aim of providing Linux kernel-based common free software for drone manufacturers.  In August 2015, Intel Corporation invested $60 million in Yuneec. Intel and Yuneec agreed to work together on development of future projects. That same month, Yuneec launched Breeze, a drone capable of capturing UltraHD 4K photos and videos. Yuneec announced a retail partnership with Best Buy covering the Typhoon drone series and the Typhoon Wizard controller.  The Typhoon G featuring its GB203 3-axis gimbal designed for use with the GoPro camera was released in September 2015 to smooth and stabilize aerial footage. In October 2015, Yuneec released the Typhoon Wizard, an ultra-lightweight remote control compatible with the Typhoon drone series designed to be used with one hand. Yuneec partnered with Ocean Alliance, a whale conservation organization, in 2015 to create a safer way of collecting health data from whales. Rather than using biopsy darts, Ocean Alliance began using Yuneec drones outfitted with petri dishes to retrieve samples.  One of Yuneec's drones, the Typhoon Q500+, was seized by the police in June 2016 when its operator was flying it near the White House. The operator crashed a drone on The Ellipse near the White House in October 2015.  Yuneec released the Typhoon H in July 2016. The drone used the Intel RealSense 3D depth camera technology which tracks depth and human motion. The SkyView FPV headset was released in August 2016. The headset connects to a drone's onboard camera allowing the user to control the drone from the first person view.  In late 2016 the company established a new a research and development center, "Yuneec Advanced Technology Labs AG", near Zurich, Switzerland to work on computer vision, obstacle avoidance and flight control software development.  At the beginning of 2017 the company introduced the Yuneec H520, a modular hexacopter drone intended for the commercial market, including fire department, police, construction, surveying, inspection and mapping. The H520 can carry various cameras as payloads and can operate in an encrypted mode. A version, the Yuneec 3DR H520-G, was developed in conjunction with drone software company 3D Robotics and intended for the American government and military market.  In May 2017, suppliers reported that the company was arrears, but the company said that it was mainly due to the two sides had different opinions on product delivery quality and payment details. On the other hand, nearly half of Yuneec's suppliers had not been paid for more than a year. Yuneec has not made supplier payments on time since the second quarter of 2017.  In September a 2019 Yuneec announced the Mantis G, a foldable drone with gimballed and stabilized camera. The same month the company and Leica Camera AG announced a strategic partnership and presented the Typhoon H3 drone, which incorporates camera software and hardware co-engineered with Leica.

Yuneec International is a Chinese aircraft manufacturer based in Jinxi, Kunshan, a town in Jiangsu owned through an off-shore Cayman Islands holding company, Yuneec Holding Limited. Yuneec was originally a manufacturer of radio-controlled model aircraft and marketed its man-carrying aircraft in the United States through GreenWing International. Yuneec produced the Yuneec International E430, the first electric aircraft designed to be commercially produced, although only prototypes were ever built. In the late 2010s, the company moved to specialize in the development and production of unmanned aerial vehicles (UAVs), for the aerial photography role.

Yuneec International Electric Aviation ist ein chinesisches Unternehmen, das sich ursprünglich mit der Herstellung von Modellflugzeugen befasste. Seit einigen Jahren verlagerte sich der Betrieb hin zur Entwicklung und Produktion von Elektroantrieben für Luftfahrzeuge und elektrisch angetriebenen Leichtflugzeugen.


Olympische Sommerspiele 1996/Teilnehmer (Kasachstan)

Archery.

Kazakhstan sent six archers to Atlanta. Only one, Vadim Chikarev, won a match in the individual round. Chikarev had competed on the Unified Team in Barcelona. The women's team defeated the United States in the team round.  Women's Individual Competition:  Men's Individual Competition:  Women's Team Competition:  Men's Team Competition:

Athletics.

Men's 100 metres  Men's 20 km Walk  Men's 50 km Walk  Men's Pole Vault  Men's Triple Jump  Men's Shot Put  Women's 100 metres  Women's 400 metres  Women's 400m Hurdles  Women's Long Jump  Women's High Jump  Women's Shot Put  Women's Heptathlon  Women's 10 km Walk

Boxing.

Men's Flyweight (– 51 kg)  Men's Bantamweight (– 54 kg)  Men's Featherweight (– 57 kg)  Men's Light Welterweight (– 63.5 kg)  Men's Welterweight (– 67 kg)  Men's Light Middleweight (– 71 kg)  Men's Light Heavyweight (– 81 kg)  Men's Super Heavyweight (+ 91 kg)

Cycling.

Road competition.

Men's Individual Road Race  Women's Individual Road Race

Track competition.

Men's Points Race  Men's Individual Pursuit (4,000 metres)  Women's Points Race

Diving.

Women's 3m Springboard  Women's 10m Platform

Fencing.

One male fencer represented Kazakhstan in 1996.

Judo.

Men's Half-Lightweight  Men's Lightweight  Men's Half-Middleweight  Men's Middleweight  Men's Half-Heavyweight  Men's Heavyweight  Women's Half-Middleweight  Women's Half-Heavyweight

Modern pentathlon.

Men's Individual Competition:

Shooting.

Men's Rapid-Fire Pistol (25 metres)  Men's Air Rifle (10 metres)  Men's Small-Bore Rifle, Three Positions (50 metres)  Men's Small-Bore Rifle Prone (50 metres)  Men's Running Target (10 metres)  Women's Air Pistol (10 metres)  Women's Sporting Pistol (25 metres)

Swimming.

Men's 50 m Freestyle  Men's 100 m Freestyle  Men's 200 m Freestyle  Men's 100 m Backstroke  Men's 100 m Breaststroke  Men's 100 m Butterfly  Men's 200 m Individuel Medley  Men's 4 × 100 m Freestyle Relay  Men's 4 × 100 m Medley Relay <br> Women's 50 m Freestyle

Wrestling.

Men's Light-Heavyweight

Kazakhstan competed in the Summer Olympic Games as an independent nation for the first time at the 1996 Summer Olympics in Atlanta, United States. Previously, Kazakhstani athletes competed for the Unified Team at the 1992 Summer Olympics. 96 competitors, 72 men and 24 women, took part in 99 events in 14 sports.

Kasachstan nahm an den Olympischen Sommerspielen 1996 in Atlanta, USA, mit einer Delegation von 96 Sportlern (72 Männer und 24 Frauen) teil.


Playing career.

As a youth, Wallace played in the 1998 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Alaska.

College.

Wallace played four collegiate seasons (2002–2006) at the University of Notre Dame, where he set a school record by playing in all 153 games during his career. He scored 25 goals with 34 assists for 59 points and had 39 penalties for 86 minutes. As a senior, he notched 11 goals and 12 assists for 23 points to finish fifth on the team in scoring.

Professional.

An undrafted free agent, Wallace was signed to a contract after attending a tryout camp with Pittsburgh in the fall of 2006. In his first season, he split time between the ECHL's Wheeling Nailers and the AHL's Wilkes-Barre/Scranton Penguins, seeing action in 51 games with 11 goals and 20 assists for 31 points and 62 penalty minutes. He played in 11 playoff games for Wilkes-Barre/Scranton, scoring a goal and an assist. In 2007-08, Wallace played in 74 games with Wilkes-Barre/Scranton, accruing 12 goals and 14 assists for 26 points and 83 minutes in penalties. He played in 22 postseason games in helping the Baby Penguins advance to the Calder Cup finals against Chicago. He had two goals and six assists for eight points and 21 penalty minutes in the playoffs.  Wallace made his NHL debut on December 10, 2008, against the New Jersey Devils. He registered his first NHL point, an assist, on December 18, 2008 vs. the Atlanta Thrashers.  On February 23, 2012 Wallace was claimed off waivers by Tampa Bay Lightning from the New York Islanders after playing 31 games in the NHL season.  After seven professional seasons within North America, Wallace left as a free agent and signed a one-year contract with Örebro HK of the Swedish Hockey League on August 6, 2013. In his debut season in Sweden, Wallace adapted quickly in Örebro, posting 15 goals and 32 points in 55 games to earn a one-year contract extension on April 3, 2014. In the midst of the 2014–15 season, having been unable to replicate his previous seasons form with Örebro, Wallace was loaned to fellow SHL outfit Brynäs IF on December 10, 2014.  On September 7, 2015, having left Sweden after two-years as a free agent, Wallace agreed to a one-year contract with German club, Grizzlys Wolfsburg of the Deutsche Eishockey Liga.  As a free agent after three seasons abroad, Wallace opted to return to his hometown in Anchorage, and agreed to play in third tier ECHL, signing a standard contract with the Alaska Aces on October 13, 2016.  On May 25, 2017, Wallace again left North America and moved to the UK to sign a one-year deal with the Sheffield Steelers of the EIHL.  After a season in Sheffield, Wallace moved to league rivals Milton Keynes Lightning. Wallace and teammate Ryan Lannon later replaced Doug McKay as head coach early into the 2018-19 season.  At the conclusion of the season, Wallace was hired by Nottingham Panthers director of hockey Guillaume Doucet to be the club's new head coach - replacing Rich Chernomaz.

Timothy Todd Wallace (born August 6, 1984) is a former American professional ice hockey center. He is currently the head coach of UK EIHL side Nottingham Panthers after arriving in May 2019. Wallace had served as joint player-coach for Milton Keynes Lightning alongside Ryan Lannon during the 2018–19 EIHL season.

Timothy Todd „Tim“ Wallace (* 6. August 1984 in Anchorage, Alaska) ist ein US-amerikanischer Eishockeyspieler, der zuletzt bei den Sheffield Steelers in der Elite Ice Hockey League unter Vertrag stand.


Biography.

Baltakis was born into a family of Lithuanian farmers as the second of eleven children and named as Antanas. He studied in gymnasiums in Kretinga and Anykščiai until he was arrested by Nazi agents in 1944 and sent to forced labour.  After the liberation from the forced labour camp at the end of World War II, he began to study at the Catholic University of Leuven in 1945 and a year later joined the mendicant Franciscan Order, where he was tonsured with the name "Paulius" and made his solemn profession of vows on 15 September 1950. Baltakis was ordained as a priest on 24 August 1952, after completing his theological studies.  From 1952 Baltakis was attached to the parish and missionary work among Lithuanian emigrants in the United States and Canada. He organised the construction of a monastery printing house, Lithuanian cultural centre "Kultūros židinys" and taught at a Lithuanian school. In 1979 he was elected provincial superior of the Lithuanian St. Casimir Franciscan Province and served in this office until 1984.  On 1 June 1984 Pope John Paul II appointed him as an Apostolic Visitor for the Lithuanian Roman Catholics in diaspora and made him Titular Bishop of Egara. He received his episcopal consecration in the Cathedral of the Immaculate Conception in Portland, Maine, on 14 September 1978 from Cardinal Pio Laghi.  Baltakis resigned these titles in 2003 and remained in the United States until April 2018 when he returned to Lithuania.  Baltakis died on 17 May 2019 in Kaunas.

Paulius Antanas Baltakis, O.F.M. (1 January 1925 – 17 May 2019) was a Lithuanian Roman Catholic prelate who served as the last Apostolic Visitor for the Lithuanians in Diaspora from 1 June 1984 until his resignation in 2003.

Paulius Antanas Baltakis OFM (* 1. Januar 1925 in Troškūnai; † 17. Mai 2019 in Kaunas) war ein litauischer Ordensgeistlicher und römisch-katholischer Auslandsbischof (Apostolischer Visitator) der Litauer.


Life.

Utenhove was born into a Flemish patrician family in Ghent; he belonged to the Van der Gracht branch. His relation Karel Utenhove, who worked as amanuensis to Erasmus, was from another branch (Van Markegen). He was acquainted with John Laski, with whom Karel had travelled to Italy in 1525; and became a Protestant.  Utenhove left Flanders in 1544; a morality play, written by him in 1532, was ill-received when performed in 1543. From this time, he had a peripatetic existence, and would travel all over Europe. In the summer of 1548 Utenhove came to England from Strasbourg in advance of Laski, and co-operated with him in the organisation of the strangers' churches in London and Canterbury. It was on his recommendation that Valérand Poullain of Lille was brought over from Strasbourg as pastor of the French-speaking Protestant exiles at Canterbury. Poullain organised an offshoot from this community at Glastonbury, under the patronage of Lord Protector Somerset. To Glastonbury Utenhove sent Flemish and Walloon weavers, who introduced the manufacture of broadcloth and blankets in the west of England. John Hooper employed Utenhove on a mission to Heinrich Bullinger in Switzerland, in April 1549. He left England with Laski in 1553.  He lived in Strasbourg, Emden and Poland, where he met and married his wife, Anna. From 1559, at the accession of Elizabeth I of England, Utenhove once more took up residence in London, where he remained until his death in 1566. He took a leading part in affairs as ‘first elder’ of the Dutch church. He died in London in 1565, leaving a widow (Anna de Grutere de Lannoy) and three children.

Works.

During his stay in London, where he played an important role in the local Dutch church community, Utenhove translated the Psalms, which were published in 1566 as "De Psalmen Davids" ("The Psalms of David"). That same year saw the publication of his translation of the New Testament, "Het Nieuwe Testament na der Griekscher waerheyt in Nederlandsche sprake grondlick end trauwelick overghezett" ("The New Testament Translated Thoroughly and Faithfully into the Dutch Tongue According to the Original Greek") at the request of the church community of Emden.  He also wrote ‘Simplex et Fidelis Narratio de... Belgarum aliorumque Peregrinorum in Anglia Ecclesia,’ Basle, 1560. Laski's London ‘Catechismus’ (distinct from the Emden one) is known in the Flemish version by Utenhove, printed at London in 1551.  His translation of the New Testament is important for Dutch literary history as it is the first complete translation of any Bible part into Dutch, and as it borrows significantly from the eastern Low Saxon dialects of Dutch, it is also one of the first literary documents from that part of the Low Countries. His attempt to translate the Greek text as literally as possible and highbrow choice of vocabulary, however, prevented widespread acceptance of the translation.

Jan Utenhove (Ghent 1516 – London January 6, 1566) was a writer from the Low Countries best known for his translations into the Dutch language of the Psalms and the New Testament.

Jan (Johannes, John) van Utenhove van der Gracht (* 1516 in Roborst (Borst; Bost) oder Gent; † 6. Januar 1566 in London) war ein flämischer Humanist und reformierter Theologe.


Synopsis.

A woman dressed in an evening gown is sitting in a wooden rocking chair; no other props or scenery are called for. She sits totally still until the very end of the play. The chair apparently starts and stops “rocking of its own accord, since her feet are visible on its footrest. The motion creates a ghostly atmosphere.” The woman (W) is described in the notes as “Prematurely old. Unkempt grey hair. Huge eyes in white expressionless face.” Beckett is equally specific when it comes to the gown: “Black lacy high-necked... Long sleeves. Jet sequins... Incongruous headdress set with extravagant trimming to catch the light.”  As she rocks she hears a “dull, expressionless” pre-recorded voice (V) – her own – recount details from her own life, and that of her dead mother's, in what Enoch Brater describes as “a performance poem in the shape of a play.”  “The French title, "Berceuse", means both ‘rocking chair’ and ‘lullaby’, while the English "Rockaby" refers to a traditional lullaby in which a baby's cradle falls from a treetop, thus bring together in one song the images of birth and death which are so often juxtaposed in Beckett.” Both a traditional cradle and a rocking chair have rockers. “[T]he synchrony of the rocking motion and the dimeter verse line – one back-and-forth per line – plays against the recorded narrative.” To achieve this effect Billie Whitelaw was encouraged by Beckett to “‘think of it as a lullaby’ which she interpreted as ‘soft, monotonous, no colour, soothing, rhythmic... [a] drive toward death.”  The play can be broken down into four sections. All begin with the childlike demand, “More” (consider Oliver Twist’s request for more gruel). Billie Whitelaw pronounced it more like ‘maw’ – a pun – “to suggest a need for nourishment.” or even “Ma”.  Intermittently, she joins in three of the lines: ‘time she stopped’, ‘living soul’ and ‘rock her off’” at which point the rocking stops and only starts again when she demands “More,” each time a little softer than the time before. The fact that time play begins with this word indicates that this scene has been being played out for some time before this. At the end of the final section the woman fails to join in with the voice, the rocking ceases and the woman's head slowly inclines; “she has apparently died.”

Section 1.

“The first section details W’s decision to stop going ‘to and fro’ in the outside world in search of ‘another like herself’” evocative of Molloy’s quest to find his mother. The voice’s speech is fragmented and simple “creating an affinity between the language of the child and that of senescence and dying.” This could also be a reason for the “huge eyes”.  As with "Not I", the voice speaks in the third person.

Section 2.

The second section reprises and therefore emphasizes the decision taken in Section 1. It also marks the “beginning of her next phase of activity – sitting at her upstairs window, searching the windows opposite to see another ‘one living soul... like herself.’”  “Life is nothing more nor less than the act of perception or the state of being perceived, or, in the words of Bishop Berkeley which find echoes throughout Beckett’s work, ‘"esse est percipi"’ (‘to be is to be perceived’). She sees no one however and is seen by no one. “Voice has become the woman’s own Berkeleyan observer, without whose surveillance any claim to existence would be invalidated.”

Section 3.

In the third section the woman has lowered her standards again. She would be content now to simply see a raised blind as evidence of life. At the end of this section she realises it is “time she stopped” even this activity.  “A drawn blind [is] and old custom signifying death” and the last thing she does herself before sitting down in the old rocker is “let down the blind” before closing her own eyelids. This decision [is] first announced in part three by the lines ‘till the day came/in the end came/close of a long day’ reiterated at the opening of part four.  “The objects surrounding [the] ‘window’ endow it with layers of feeling. ‘Pane’ and ‘blind’ imply more than the "things" of windows, and ironically comment on the classical metaphor of ‘window’ as ‘eyes of the soul.’”

Section 4.

In the final “section V describes W’s relocation downstairs to sit in her mother’s rocking chair where she will wait for death” in exactly the same manner as her mother before her.  The action on stage becomes concurrent with the narration which becomes a “little softer each time” until the rocking stops completely. She has stopped actively searching for another and given up watching for proof of the existence of another, but through all of this she has always had the voice for company; now she is “done with that” too and has concluded that it is time she herself “was her own other... living soul.”  The fact that “the word ‘down’ is repeated six times in the first seven lines of this final section, while it is used only once in the preceding sections (‘all blinds down’)... coupled with the play's first mention of the ‘steep stair’, gives verbal shape to the internal descent that is about to be recounted. The woman is descending into the depths of her self.” Billie Whitelaw has said: “[The voice of the woman in "Rockaby"] gets softer because she's getting weaker, and the rock of the chair should be lessening, and the light is lessening.... In fact, the woman in "Rockaby" is actually going further and further down that steep stair. So with the last ‘More’ she knows she's on the way out, and as long as that rocker keeps rocking she's all right. Once it stops she's gone... I do find it very frightening to do. And I find it desperately lonely to do. I feel very, very lonely in that chair.”  “In French, ‘"chair"’ means flesh, especially naked flesh, so that the combined image of ‘rocking chair,’ ‘mother rocker,’ and ‘rocking flesh’ bring together inside a single word two realities of subject and object, the object being endowed with subjective realism.”  The woman selects what initially appears like an unusual outfit for this final scene, an elaborate evening gown. Whether this was the one her mother used when she went through the same steps is unclear; it does however “marks both the uniqueness of the occasion of her retreat to the rocking chair and, as well, her re-enactment of her mother’s action. Whatever her motive in wearing this dress, it constitutes a remnant of an earlier life.”  It has been suggested that the “other” that the woman has been searching for all this time is actually her mother. There is clearly an underlying text here of a little lost girl looking for her ‘mammy’. Having abandoned the search she opts for the rocker's “embrace” (“those arms at last”) dolled up as her mother so that she can fulfil both roles, she can become her “own other”. “Other” and “mother” sound very similar. As Molloy puts it: “I have her room. I sleep in her bed... I have taken her place. I must resemble her more and more.

Background.

Although Billie Whitelaw has very much made the role on W her own it is not strictly true that the part was written specifically for her, even though in a letter to The Actors' Equity Association in 1982 Beckett intimated that it had been. “In his original letter asking Beckett for the play, Labeille had directly associated the name of Irene Worth... with the project.” Whitelaw only came to play the part because Worth was offered a film role and the opening of the play could not be postponed to accommodate her. Beckett declared himself “very pleased with switch to Billie” and her performance benefited from a high degree of support from him as always.  As with all Beckett's later plays it is clear he has drawn again on personal memories. “There was the frail figure of his maternal grandmother, ‘little Granny’, Annie Roe, dressed in ‘her best black’, sitting in a rocking chair at the window of Cooldrinagh, where she lived out the final years of her life. The woman in the play gazes out at other windows for ‘another living soul’, as Beckett himself sat, often for hours on end, staring at the rows of cell windows on the grey Santé prison” which backed his apartment in the Boulevard Saint-Jacques.  Needless to say, knowing Beckett to be the art lover he was, one can catch glimpses of a number of paintings he was familiar with: "Whistler's Mother", van Gogh’s "La Berceuse" or Rembrandt’s "Margaretha Trip (de Geer)". A favourite of his, Beckett owned a copy of Jack B Yeats’s exhibition catalogue, which included one entitled "Sleep", a painting of an old woman a sitting by the window, with her head drooped low onto her chest.

Related Texts.

"Krapp’s Last Tape".

As Krapp sits on the “bench by the weir” he realises his mother has passed on when “the blind went down, one of those dirty brown roller affairs.” In 1950 Beckett himself sat beside his dying mother's bed “until he could stand it no more [and] went for a walk along the Grand Canal. [When] he returned to the nursing home [he] sat outside for a while on a bench, shivering in the evening wind. When he looked up at her window, he saw the shade go down, the signal she had died.

"Murphy".

Murphy’s rocking chair is the one possession to which he is attached. It gives his body pleasure and sets free his mind. “The chair asserts the pun ‘off his rocker’” which could similarly refer to the dead mother in "Rockaby" who people maintained had “gone off her head”.

"Film".

“The room in "Film" contains a rocking chair with a carved headrest, which when ‘O’ sits back, frames his head. His rocking matches his emotions as he gazes at various images of himself and when ‘E’ finally violates the angle of immunity.

Rockaby is a short one-woman play by Samuel Beckett. It was written in English in 1980, at the request of Daniel Labeille, who produced it on behalf of "Programs in the Arts", State University of New York, for a festival and symposium in commemoration of Beckett's 75th birthday. The play premiered on April 8, 1981 at the State University of New York at Buffalo, starring Billie Whitelaw and directed by Alan Schneider. A documentary film, "Rockaby", by D. A. Pennebaker and Chris Hegedus records the rehearsal process and the first performance. This production went on to be performed at the Annex at La MaMa Experimental Theatre Club, and, in December 1982, at the Cottesloe, Royal National Theatre, London.

Rockaby ['rakəbai] ist ein kurzer Einakter, den Samuel Beckett 1980 für die "State University of New York" schrieb. Diese wollte ein Symposium zum 75. Geburtstag Becketts veranstalten und hatte ihn um einen Beitrag gebeten. "Rockaby" wurde am 8. April 1981 unter der Regie von Alan Schneider in Buffalo uraufgeführt.