Background.

A hair weave is human or artificial hair utilized for the integration with one's natural hair. Weaves can alter one's appearance for long or short periods of time by adding further hair to one's natural hair or by covering the natural hair all together with human or synthetic hairpieces. Weaving additional human or synthetic pieces can enhance one's hair by giving it volume and length, and by adding color without the damage of chemicals or adopting a different hair texture than that of their own. However, hair loss can occur either along the front hairline or above the ears due to the wearing of specific hair styles for a prolonged period of time, such as weaves. Such hair loss in known as "traction alopecia".  By the late 17th century, wigs in various shapes and sizes became a latest fashion trend. Hair weaves in particular, did not grow interest until the 1950s; even during that time celebrities had been the only ones using them. When the "long, disco-haired" era evolved there became a widespread use of hair weave. Since that era, hair weave has only become more popular. Most human hair weaves come from Asian countries like India and China.

Installation method.

Pinchbraid extensions were invented in the 1980s. They are individual locks of hair tied into the native hair with a durable upholstery thread.  Tape-in hair extensions last from four to eight weeks and the hair can be gently combed and washed while wearing the extensions. In addition, the extensions need to be treated with specialized shampoos, conditioners and styling products to keep them in top condition. The extensions can be easily taken off by applying glue remover and can be easily installed by using liquid adhesive or glue tape.  Clip-in weaves, also known as clip-in hair extensions, can be integrated into natural hair to add length and volume. Clip in hair extensions can be purchased for $50 – $1000, depending on the desired quality. The clip in hair extensions most commonly come in as a long strand of one contoured piece that can be cut into multiple layers for creating separate layers on a user's head. When the hair is purchased from a beauty supply store or a specialized online brand, it comes with clips, which are sewn into the hair. It is also possible to buy the hair (in bundles) and the clips separately, the clips can then be sewn on easily by the purchaser or by a stylist. Once the clips are sewn in, the user clips in the hair herself or can visit a stylist, to help create a look that is natural.  This technique is the least permanent and lacks the disadvantages such as traction alopecia associated with glue extensions. The hair weft has small toupée clips sewn onto them. Usually a set of clip-in extensions averages eight strips of human hair in varying widths from two inches to eight inches. Starting at the nape of the neck, the hair is sectioned neatly, then the weft is placed onto this section with the clips open and facing the scalp. Each clip is snapped into place. It can be helpful to lightly backcomb each section for a more secure grip. This is repeated until each clip-in weft is in place. Clip-ins can be worn for an entire day; however, some people take them off to sleep.  Bonding is a method of weaving that lasts for a shorter period of time in comparison to sew-in weaving. It involves the application of hair glue to a section of wefted hair then onto a person's natural hair; special hair adhesives are used in bonding to prevent damage to one's natural hair. This technique is commonly used and does not cause damage to the hair unless taken out without proper directions from a professional. It is advised that weave bonding be installed for up to 3 weeks because the glue begins to loosen up and lessens the attractiveness of the hair. There are 2 types of bonding methods: soft bond and hard bond. Soft bond is flexible and comfortable to wear and is made using latex/acrylic based adhesives. Hard bond is the industry term for bonding treatments whose adhesive contains cyanoacrylate, or super glue. Hard bond adhesives last longer than soft bond adhesives because it is not water based and therefore less susceptible to deterioration. Nonetheless, the hard bond adhesives are not as comfortable as the soft bond adhesive because they are rigid. These bond attachments generally last 4–6 weeks before a maintenance appointment is necessary.  Fusion method involves a machine similar to a hot glue gun used to attach human hair extensions to individual strands of one's natural hair of about 1/8 to 1/4 inch squared sections for a truly authentic look. Another option for fusion attachments is using hair which is pre-tipped with a keratin adhesive. A heat clamp is then used to melt the adhesive to attach the extension hair to the natural hair. Fusion weave allows washing hair frequently and the use of regular hair products such as hair gels. This technique is very time consuming taking 3 or more hours. They need re-positioning every 2–3 months as the natural hair grows. Due to various chemicals in the glue, which may cause hair loss and scalp irritation, combined with heat, this method is more damaging to natural hair.  Micro ring (also known as micro-bead or micro loop) hair extensions use small metal rings or beads (usually aluminum) and can sometimes be lined with silicone to attach the extension hair. They are fixed to small sections of natural hair and tightened using a special tool that clamps the bead around the natural hair.  The micro-beads are designed to be small enough so that they are not visible in normal use. They need re-positioning every two to three months as the natural hair grows and the micro-beads move away from the scalp.  As they do not use heat or adhesives, these hair extensions should cause less damage than some types of extensions, if placed correctly and properly taken care of. Today, there are many sizes available for micro rings/beads from about. The sizing makes a difference on the weight of the extensions, the feel, and the visibility. Some micro-beads are so tiny that they mimic a non surgical hair transplant. The stylist installing the extensions should determine what size micro rings/beads are best for the client's hair length and texture, prior to installation on the head. Netting is a technique which involves braiding natural tresses under a thin, breathable net that serves as a flat surface onto which stylists can weave extensions. This method requires the use of hair net or cap to be placed over the person's hair that has been braided. Netting provides more flexibility than track placement because the stylist is not limited to sewing extensions to a braid. With netting there is the option of sewing the hair wefts onto the net or gluing. This technique is not as time-consuming when compared to the other hair techniques because it takes about 2–4 hours to complete. The most recent development in weave extensions are lace fronts, which are made from a nylon mesh material formed into a cap that is then hand-ventilated by knotting single strands of hair into the tiny openings of the cap, giving the hair a more natural and authentic continuity than typical extensions. It has few variations including straight, wavy and curly. Furthermore, the extension units can be woven in or attached to a person's hairline with special adhesives. To ensure a proper fit, head measurements are taken into account with this type of weave. A lace frontal is best placed by a professional since more advanced weaving and hair extensions are used. This method is commonly used because it makes it possible to have access to a certain part of their scalp.  Tracking involves the braiding of a person's natural hair. This is one of the most commonly used methods as it is quite fast and lasts considerably longer than other techniques. However, it does not allow for regular hair maintenance. In order to prevent the hair from being bumpy or uneven, the hair is sewn horizontally or vertically across the head from one side to the other starting from the bottom. The braided hair is then sewn down and the hair weft extensions are sewn onto the braids. A weave can consist of a few tracks, or the whole head can be braided for a full head weave. With a full head weave, the braids are sewn down or covered with a net. Extensions are then sewn to the braids. The number of tracks used depends on the desired look.

Types of hair.

The most popular and commonly available form of hair is known as premium hair. It is sold in most beauty supply stores or online. The roots and tips of hairs are interwoven in premium hair which causes tangling. This is due to the opposing cuticle layers catching onto one another. However, as it is the most inexpensive type of hair, it is a best seller.  Premium hair comes in two types:

Synthetic fiber.

Synthetic fibers are made of various different materials and contain no human hair. Synthetic fibers come in weave (weft) and single strands (bulk) for braids. They do not last as long as human hair because they can be easily damaged by friction and heat. The quality of fibers varies greatly. Depending on quality, they may never look like human hair, as they can be stiff and move differently from human hair. Synthetic fibers are much less expensive than human hair. Heating appliances such as curling irons, flat irons, and straightening combs generally should never be used on most types of synthetic hair. There are some newer versions of synthetic fibers that are more resistant, human-like fibers that can be heat processed allowing for heat styling.

Futura.

Futura is a type of synthetic fiber that can withstand heat up to 400 °F (200 °C), and can actually outlast human hair. It is very similar to human hair given it is tangle-free and has a natural sheen. It can be straightened or curled, however, it takes longer to set and futura cannot be colored. It is sometimes sold as a human hair blend.

Human hair.

The human hair shaft is made up of dead, hard protein, called keratin, in three layers. The inner layer is called the medulla and may not be present. The next layer is the cortex and the outer layer is the cuticle. The cortex makes up the majority of the hair shaft. The cuticle is formed by tightly packed scales in an overlapping structure similar to roof shingles. Most hair-conditioning products attempt to affect the cuticle. There are pigment cells that are distributed throughout the cortex, giving the hair its characteristic color. The cuticle is a hard shingle-like layer of overlapping cells, some five to twelve deep, formed from dead cells that form scales which give the hair shaft strength and protect the inner structure of the hair. The hair cuticle is the first line of defense against all forms of damage; it acts as a protective barrier for the softer inner structures, including the medulla and cortex.  The cuticle is responsible for much of the mechanical strength of the hair fiber. A healthy cuticle is more than just a protective layer, as the cuticle also controls the water content of the fiber. Much of the shine that makes healthy hair so attractive is due to the cuticle. In the hair industry, the only way to obtain the very best hair (with cuticle intact and facing the same direction) is to use the services of "hair collectors," who cut the hair directly from people's heads, and bundle it as ponytails. This hair is called virgin cuticle hair, or just cuticle hair.  <nowiki>*</nowiki>Hair extensions made of true virgin, raw (cuticle hair) have the most durability and ease of use as the integrity of the hair has not been broken or altered by the method of collection. This continues to be true if this hair is then simply wefted or sewn on a track, without any processed chemical or steamed done on the hair.

Human hair industry.

The selling of human hair for weaves, wigs, and other hair styling products is an industry that generates hundreds of millions of dollars annually and is growing as a large export economy in some Asian countries, such as India, at a rate of 10–30 percent annually. In India, a large portion of the hair is sourced from Hindu temples where hair is donated for religious practices, particularly in honor of the Hindu god Vishnu. This hair is highly sought out for its 'virgin', untreated qualities, as well as its great length. From there the hair is cleaned and the color is removed before being re-dyed for international style tastes.

Color, texture and quality.

Color.

Artificial hair colors:  Manufacturers of artificial hair use a standard scale to classify the hair by color. The lower the number on the package, generally, the darker the color. 1 usually denotes darkest black, and would become lighter with increasing number value, ending at the lightest blonde, then finally white. These colors vary greatly from one manufacturer to another, and certain specialty hair suppliers also create their own signature patterns and colors.  Human hair colors:  Come in an endless variety from platinum blonde to darkest natural black. True raw blonde human hair is scarce and is highly sought after.

Textures of human and artificial hair.

Textures of artificial hair vary from very straight to extremely curly, or kinky. The exact names of curl patterns vary by brand, and the possibilities of curl patterns with synthetic hair are endless, but some examples of packaged textures include:  Textures of human hair vary from very straight to extremely curly or kinky, and all the naturally occurring textures that are in-between. The exact curl patterns vary by person and so the possibilities of curl patterns with true raw hair are endless.

Methods of integration.

The misnomer of 'tracks' comes from the common, long-lasting method of integrating wefts, known as the 'track and sew' method. The 'tracks' are usually cornrows, braided in the direction of how the hair will fall. Toward the face or away, with or without a part, the tracks build the foundation of how the end result will look. The wefts are then sewn onto the braids, usually with a specially made, blunt-ended needle. The needle can be curved or straight. There are many different colors of specially-made thread to choose from, depending on what color of hair you will be integrating. Darker hair lends to darker thread. When the hair is braided at a high level of tension, the client is at risk for traction alopecia.  Wefts may also be bonded directly to the clients hair using special bonding glue. Care must be taken not to bond the wefts directly to the scalp, as it can cause sensitivities in some clients. A patch test is frequently recommended, as per manufacturer's directions. Glue has become less popular since it was discovered that glue can cause severe and often permanent health issues such as headaches, bald spots and dermatitis.  The "invisible part" is a technique used by hair stylists that hides any evidence that the person is wearing an extension. The extension will appear as if it is growing directly from the person's scalp. This look can be achieved with either the sew-in or glue method. This technique allows a long lasting method of attaching commercial hair to the natural hair. Application generally takes about an hour. It will last about 8 weeks.  Bulk hair can also be bonded to the hair, using many different methods, from clips to adhesive.  In the South East Asian Region, the practical method of lengthening-re-bondage has been in use since the mid-19th century. The lengthening-re-bondage method consists of two treatments. The first treatment consists of re bonding and ironing. The second treatment of lengthening-re bondage involves gentle pulling and tugging of the hair. These two treatments are highly effective in lengthening hair without causing serious damage.  Bulk hair can also be added with thread if bonding is not suitable. This may be because the wearer has excessively oily hair or because there is a need to wash hair daily. Adding hair extensions with thread means that damage to the natural hair can be avoided and that the hair extension attachment areas are not vulnerable to external elements like heat, oils and water.

Shampooing and styling of integrations.

Shampooing of artificial hair integrations can be as easy as shampooing real hair, with some considerations. For instance, many manufacturers suggest using a mild shampoo, or even a wig shampoo.  Directions included with the integrations may indicate what type of shampoo to use; the methods of brushing, combing and drying that are most advisable; and what heat setting to use when drying the hair, or if it is even advisable to do so.  The same care taken when shampooing must also be used when styling artificial hair. It is often recommended that the texture of hair purchased should be the style in which the hair is worn. Using heat to straighten curly hair, or to curl straight hair, damages it. The more damage the hair sustains, the shorter the lifespan of the artificial hair.  Most human hair extensions can be treated as real hair, albeit more gently. *Since human hair extensions are usually heavily processed to achieve uniform color and texture, a mild shampoo is recommended, along with a light conditioner to reduce tangling. When shampooing it is suggested that a sulfate and alcohol free product be used, since those contents cause frizz and dry out the hair. Cool water is also recommended when shampooing, to reduce or prevent matting and excessive tangling. Having to remove snarls and tangles loosens the foundation of the integrations and further damages the hair. It is best to shampoo the hair in a top down motion.  <nowiki>*</nowiki>An important factor concerning the care of true, raw (remy, virgin) human hair extensions, since this hair has had absolutely no processes, chemical or steam done, is that these extensions are simply human hair and can be simply shampooed or washed as much as desired.

Artificial hair integrations, more commonly known as hair extensions or hair weaves, add length and/or fullness to human hair. Hair extensions are usually clipped, glued, or sewn on natural hair by incorporating additional human or synthetic hair. These methods include tape in extensions, clip in or clip on extensions, fusion method, weaving method, and wigs.

Haarverlängerung ist eine Bezeichnung für verschiedene Methoden, das Eigenhaar am Kopf durch fremde Echt- oder Kunsthaarsträhnen kräftiger und länger erscheinen zu lassen. Der englische Fachbegriff lautet Hair Extensions. In Deutschland wird diese Dienstleistung aufgrund handwerkskammerlicher Bestimmungen hauptsächlich von Friseuren angeboten. In einigen Bundesländern erteilen Handwerkskammern jedoch auch berufsfremden Personen „Ausnahmebewilligungen beschränkt auf Haarverlängerung“.


Editing for time.

Radio edits often shorten a long song in order to make it more commercially viable for radio stations. The normal length for songs played on the radio is between 3 to 4 minutes. The amount of cut content differs however, ranging from a few seconds to effectively half of a song being cut. It is common for radio edits to have shortened intros and/or outros. In the intro, any kind of musical build-up is removed, or, if there is no such build-up, an extensive intro is often halved. In the outro, occasionally, the song will simply fade out earlier, common on tracks with long instrumental endings, or, if it doesn't fade out, a part before the ending will be cut out. It is also frequent that a chorus is repeated less often towards the end. However, if necessary, many radio edits will also edit out verses, choruses, bridges, or interludes in between.  An example is the radio edit of 'Heroes' by David Bowie, which fades in shortly before the beginning of the third verse and fades out shortly before the vocal vamping at the end of the song. Another example is B.o.B's song, "Nothin' On You" featuring Bruno Mars, whose radio edit skips the first five seconds & starts with the sixth second in which Bruno Mars starts singing the first chorus. The second half of the first chorus is sometimes skipped, along with the last 24 seconds which is the normal fade-out part in which B.o.B says, "Yeah, and that's just how we do it/And I'ma let this ride/B.o.B and Bruno Mars", and the radio edit ends with the fourth and last chorus with an earlier fade-out. A third example would be the song, "The Man" by Aloe Blacc, in which the radio edit skips the "I'm the man/Go ahead & tell everybody/What I'm saying ya all" part & the first ten seconds. Also, the third chorus of the song is shortened.  Some songs will be remixed heavily and feature different arrangements than the original longer versions, occasionally even being completely different recordings. A popular example of this is "Revolution" by The Beatles which is a completely different recording from the version which appears on "The White Album". Another example is Miley Cyrus's "Adore You", whose original album version is a slow, quiet version clocking in at 4 minutes & 37 seconds; the radio edit is a completely different version which is a remix done by Cedric Gervais running at 3 minutes & 36 seconds. Likewise, an attempt at a radio edit for Arlo Guthrie's 18-minute epic "Alice's Restaurant" scrapped the entire monologue that served as the main base of the song's popularity and instead was a 4-minute, three-verse rock and roll song. This also became more prevalent with the rise of the 12" record, as artists like New Order started making songs specifically for the format. Many of the 7" mixes aimed for pop radio airplay of their songs feature very different arrangements, such as "Bizarre Love Triangle", or even a completely different recording, such as "Temptation".  Some long songs do not have a radio edit, despite being as long as 5, 6, 7, or 8 minutes in length, presumably due to listener demand from radio stations. Examples of this include the following 10 songs: "Vicarious" (2006) by Tool at 7 minutes and 6 seconds, "Hey Jude" (1968) by The Beatles at 7 minutes and 11 seconds long, "You're the Voice" (1986) by John Farnham at 5 minutes and 4 seconds long, "Stairway to Heaven" (1971) by Led Zeppelin at 8 minutes and 3 seconds, "One" (1989) by Metallica at 7 minutes and 24 seconds, "American Pie" (1971) by Don McLean with a length of 8 minutes and 32 seconds, "Georgia Dome" (2004) by Ying Yang Twins (which actually has a radio edit but removing profanity & not shortening it) at 6 minutes and 6 seconds, "Like a Rolling Stone" (1965) by Bob Dylan at 6 minutes & 13 seconds, "Someone Saved My Life Tonight" (1975) by Elton John at 6 minutes & 45 seconds, and "Again" (2015) by Fetty Wap at 5 minutes and 13 seconds. The idea of extended songs receiving airplay on commercial radio was extremely rare until the birth of progressive radio in the mid-1960s; most rock music formats descend from progressive radio, and as such, rock songs tend to be played at their longer original length than songs of other formats.  On rare occasions, a radio edit might be longer than the original album version. This may occur when the song is edited for form, such as in the cases of "Creep" by Radiohead, "2 On" by Tinashe, and "Miserable" by Lit. "Creep"'s radio edit has a 4-second drumstick count off before the regular first second, "2 On" repeats part of the chorus 1 more time than it does on the normal version, and Miserable's radio edit adds the chorus between the first and second verses. Some radio edits lengthen some parts of the song while shortening others. For example, the radio edit of "Thinking Out Loud" by Ed Sheeran has a 6-second introduction before the first verse but later in the song cuts from the end of the second verse to the beginning of the last chorus, omitting the second chorus and the guitar solo. Different radio stations may edit songs differently for length; an example is "Uptown Funk" by Mark Ronson and Bruno Mars.  The syndicated radio format "QuickHitz", notably adopted by the Calgary radio station CKMP-FM in August 2014, utilizes even shorter edits of songs, from 1 minute and 30 seconds to 2 minutes in length.  In the song "The Entertainer" by Billy Joel, he alludes directly to radio edits for time:

Editing for content.

Radio edits often come with any necessary censorship done to conform to decency standards imposed by government agencies, such as the Federal Communications Commission in the United States, the Canadian Radio-television and Telecommunications Commission in Canada, the Kapisanan ng mga Brodkaster ng Pilipinas in the Philippines, the Korea Communications Commission in South Korea, the Australian Communications and Media Authority in Australia, and Ofcom in the United Kingdom. The offending words may be silenced, reversed, distorted, or replaced by a tone or sound effect. The edits may come from the record label itself, broadcasters at the corporate level before the song is sent for airplay to their stations, or in rarer cases, at a radio station itself depending on local standards.  Some individual stations may be more lenient with words that tread the broadcast-appropriate line, depending on their management and programming format; for instance a rhythmic AC, classic hits, adult contemporary or urban contemporary station may indeed make several radio edits to a song to appeal to a broad base of listeners, while a rhythmic contemporary, modern rock or hip-hop-focused station might be more apt to have a light hand in their radio edits to appeal both to listeners and artists who would be favorable to the station's reputation. Some edits might even be done for promotional reasons; for instance a song that mentions a city's name or a certain radio station might see a special'station cut' where the station and its community are mentioned in the song (as heard in Lady Gaga's "You and I", which has a reference to Nebraska that is easily substituted with another region, state or city; similarly Sia's "Cheap Thrills" is sometimes edited to replace the line "turn the radio on" with "...turn [station name] on" to promote the radio station on which the song is playing).  In an unusual case, Lizzo's 2019 single "Truth Hurts" was edited locally in June 2019 by the market-leading Top 40 station WIXX in Green Bay, Wisconsin, not because of inappropriate content, but due to Lizzo's reference in a lyric to an unsaid new player on the Minnesota Vikings. As WIXX is one of three flagship stations for the Green Bay Packers' radio network and features wraparound content involving the Packers, the station determined that referencing their hometown football team's closest rival in a positive manner would be jarring to local listeners.  One example would be "Dynamite" by Taio Cruz, replacing the word, "fuck" with a sound effect. Another example is "Talk Dirty" by Jason Derulo featuring 2 Chainz, in which the radio edit omits 3 of the words present in the song: "penis", "sex", & "pussy". "Penis" is replaced with an elephant sound effect, "sex" is replaced by an echo of the word "oral" that precedes it in the standard album version from "Tattoos" & "Talk Dirty", and "pussy" is replaced with a sound effect of a cat meowing. Occasionally, the song may be re-recorded with different lyrics, ranging from just the replacement of one line being re-recorded, like James Blunt's "You're Beautiful," which replaces "fucking high" from the original version on his "Back to Bedlam" album with "flying high" in the second verse, to the entire song be completely changed, such as D12's "Purple Hills", which replaces profanity, drug references, and other inappropriate lyrics from the original "Purple Pills". Another example of the first type (one-line replacement) is The Black Eyed Peas song "Let's Get It Started", whose original title was "Let's Get Retarded" but was changed to make it suitable for radio play. Sean Kingston's "Beautiful Girls", in some radio edits, changed "You got me suicidal" to "in denial". The whole chorus of Cee Lo Green's "Fuck You" substituted the word "Fuck" with "Forget", thus changing the title to "Forget You" on the radio edit. In Bruno Mars' song "That's What I Like", as played on "The Steve Harvey Morning Show", "You and your ass invited" is replaced by an instrumental version; the same occurs in the line, "Sex by the fire at night".  Radio edits may have more or fewer words edited than the "clean version", because of the stations' or agencies' standards. A "dirty" radio edit preserving the offensive language but maintaining the shorter play time may be produced, which may be aimed at club play, nighttime radio, and non-terrestrial radio stations. Kid Rock wrote the term "radio edit" into two of his songs, both of which are the same on radio and album versions. After two million copies of Michael Jackson's "They Don't Care About Us" had already been shipped, the lyrics of the original track with the words "Jew me" and "Kike me" were replaced with "do me" and "strike me" due to its controversial anti-Semitic references. Radio edit versions of the track remained with the original version until the edited version was pressed and released. An example occurs in Lady Gaga's song "Poker Face", where the line, "P-p-p-poker face, p-p-poker face" is misheard as, "P-p-p-poker face, p-p-fuck her face". Some radio stations repeated the word "poker" from the first part of the line, while others played the original version. A promotional CD single is available containing both of these versions. The edited version is available on the compilation "Now 31" in the US.

Other terms.

Other terms for a "radio edit"  Airplay edit

In music, a radio edit is a modification, typically truncated, intended to make a song more suitable for airplay, whether it be adjusted for length, profanity, subject matter, instrumentation, or form. Radio edits may also be used for commercial single versions, which may be denoted as the "7" version". However, not all "radio edit" tracks are played on radio.

Ein Radio Edit (deutsch: "Radio-Bearbeitung") ist die tontechnische Kürzung eines Musikwerks mit dem Ziel, den Titel für eine Radioausstrahlung geeigneter zu machen. Normalerweise ist die Spieldauer eines Radio Edits kürzer (2,5 bis etwa 4 Minuten) als der Originaltitel, hat einen höheren Lautheitspegel und enthält unter Umständen keine anstößigen Textpassagen.


History.

The organization was known previously as the World Society for the Protection of Animals (WSPA). This resulted from the merger of two animal welfare organizations in 1981, the World Federation for the Protection of Animals (WFPA) founded in 1953 and the International Society for the Protection of Animals (ISPA) founded in 1959. In June 2014, the charity became World Animal Protection.

Campaigns.

Animals in the wild.

In 1985 WSPA launched a campaign to outlaw bullfighting in cities in France and Spain.  In the 1990s, the charity contributed to the prohibition of bear dancing in Greece, Turkey, and India. In India, the charity funded a sanctuary for bears previously used in the trade.  After a BBC investigation in September 2013, the charity launched a campaign against the caged civet coffee trade. Several retailers have since stopped selling coffee produced by caged civets.  The charity campaigns in Asia for an end to the bear bile industry. In Pakistan they work to end bear baiting by campaigning for a change in law, offering alternative livelihoods to bear owners and housing bears rescued from bear baiting in a purpose built sanctuary.

Animals in communities.

The organization is working to end the inhumane culling of stray dogs, which many countries do in a misguided effort to eliminate rabies. The organization points out that vaccination programs are the only effective way to eliminate rabies, and work with governments on vaccination programs. In 2012, a mass vaccination program was started in the Shaanxi, Guizhou and Anhui Provinces of China, working with the Chinese Animal Disease Control Centre; as of June 2014, 750 veterinarians have been trained and over 90,000 dogs have been vaccinated. Mass vaccination programs have also been delivered in Bali, The Philippines, Bangladesh, Kenya, Zanzibar, and Kathmandu, Nepal.  A second focus is on stray dog population management itself, through proven humane methods such as education, improved legislation, registration and identification of dogs, sterilisation and contraception, holding facilities and rehoming centres. They help governments design a program, and monitor and evaluate progress, using the model provided in the document "Humane Dog Population Management Guidance", developed in November 2007 by The International Companion Animal Management Coalition (ICAM Coalition), of which the organization is a member.  Programs often include veterinary services such as mobile clinics for stray cats and dogs or those belonging to people who cannot afford veterinary care. The animals are sterilized, vaccinated, and provided other needed veterinary care. Such programs are provided in Sri Lanka, Zanzibar, Colombia, Brazil, Costa Rica, Sierra Leone, and Bali.  A further focus is on helping working animals (horses, donkeys, and mules) in the West Bank, where mobile clinics were noticing increases in signs of neglect and cruelty. Through a partner organization, the Palestine Wildlife Society, "In each community, we train a few people who can teach others about equine welfare. They attend workshops and visit communities where our training is already having an impact. They then share what they learn. Word spreads. Habits change. Animal welfare improves. And, because their animals are healthier, owners can earn a better living too."

Animals in disasters.

The charity has disaster operations teams in Asia and Latin America. In the aftermath of disasters they travel to worst affected areas to administer emergency veterinary care, distribute food and reunite animals with their owners where possible. The work is of particular benefit in developing world countries, where communities rely on animals for food, transport and income. The charity also works with governments and local animal welfare groups in disaster-prone areas to set up national warning systems and teach communities how to protect their animals in the event of a disaster.  In November 2013 the charity were filmed for a BBC documentary called "Vets in the Disaster Zone", during disaster response work in the Philippines after Typhoon Haiyan. The programme aired on "BBC Two" on 28 April 2014.

Animals in farming.

World Animal Protection works with governments, food businesses and farmers to improve the welfare of farmed animals. They encourage the general public to buy food produced in line with high welfare standards.  In 2013 the charity joined with Compassion in World Farming to create a business benchmark on farm animal welfare (BBFAW). According to The Guardian, there has been a 10 percent rise in companies publishing farm animal welfare policies since the benchmark launched.

Global animal welfare.

The charity is campaigning for a universal declaration on animal welfare. In 2013 they successfully lobbied the United Nations to include language on animal welfare in two General Assembly Resolutions on agriculture and disaster risk reduction.

Jeannette McDermott Award.

In 2015 the World Animal Protection awarded Marcelle Meredith, Executive Director of the National Council of Societies for the Prevention of Cruelty to Animals - South Africa (NSPCA), and former Board member of the World Animal Protection, with the Jeannette McDermott award for animal welfare. The award was created in Canada by the World Animal Protection in 1996 "in recognition of someone’s life devoted to animal welfare." Dominique Bellemare, Chairman of WAP Canada stated: "Marcelle has done amazing work for the past decade and for the cause of animal welfare. She has used her years on the international platform to advance the cause of animal welfare in Africa. I thank her profusely for all her work and dedication."

World Animal Protection, formerly The World Society for the Protection of Animals (WSPA) is an international non-profit animal welfare organization that has been in operation for over 30 years. The charity describes its vision as: A world where animal welfare matters and animal cruelty has ended.

Die World Animal Protection (früher World Society for the Protection of Animals – WSPA) ist eine international arbeitende Tierschutzorganisation, die bereits seit mehr als 30 Jahren aktiv ist. Die Wohltätigkeitsorganisation beschreibt ihre Vision wie folgt: Eine Welt, in der das Wohl der Tiere wichtig ist und Grausamkeit gegenüber Tieren ein Ende gefunden hat.


Biography.

Freedman was, from 1925 to 1937, a partner with Samuel D. Leidesdorf in the John H. Woodbury Laboratories, a dermatological institute and a derivative company of the old Woodbury Soap Company. Benjamin H Freedman was listed on the letterhead of the Institute for Arab American Affairs and around 1946, along with his wife, listed as "R M Schoendorf" (Rose M. Schoendorf Freedman), "sponsored a series of advertisements under the imprint of 'The League for Peace with Justice in Palestine'". In 1946 he sued the American Jewish Committee for libel and the case was thrown out in less than a month.  In 1988, the Institute for Historical Review, an organization known for propagating Holocaust denial, published Robert John's "Behind the Balfour Declaration", including a single acknowledgment to Freedman. John wrote that Freedman "gave me copies of materials on the Balfour Declaration, which I might never have found on my own and (he) encouraged my own research."

Activities.

He was a financial backer of the author Conde McGinley, publisher of the antisemitic periodical "Common Sense". In the 1955 libel trial by Rabbi Joachim Prinz against McGinley, Freedman testified that "he [Freedman] had given Mr. McGinley financial support of'more than $10,000 but less than $100,000'". Prinz had sued McGinley for calling him a "red rabbi."  At the Henry George School, Benjamin Freedman spoke on "The Genesis of Middle East Tensions". Long John Nebel reported on WNBC that Freedman would discuss anti-Semitism. Freedman was politically active until the mid-1970s when he was well over 85 years old. He died in May 1984 at the age of 94.  Freedman opposed the nomination of Anna M. Rosenberg to be United States Assistant Secretary of Defense in 1950. An article in the "ADL Bulletin" titled "The Plot Against Ann Rosenberg" attributed the attacks on Rosenberg's loyalty to "professional anti-Semites and lunatic nationalists", including the "Jew-baiting cabal of John Rankin, Benjamin Freedman, and Gerald Smith".  Freedman, an apostate Jew, was well known to the Anti-Defamation League and the American Jewish Committee as an active supporter of the Arab cause in the Middle East. (fn 33) In the course of his erratic and often contradictory testimony before the Senate committee, Freedman revealed the roles played by anti-Semitic agitators and right-wing anticommunists — including Gerald L. K. Smith, Conde McGinley, the "Reverend" Wesley Swift, Congressman John Rankin, Senator Joseph McCarthy, and J. B. Matthews — in the campaign against the Rosenberg appointment. (fn 34)  He is mentioned in a report by the House Un-American Activities Committee.

Benjamin Harrison Freedman (October 4, 1890 – May 1984) was an American businessman, Holocaust denier, and vocal anti-Zionist. Born in a Jewish family, he converted from Judaism to Roman Catholicism. Outside of political activism, Freedman was a partner in a dermatological institute and investor for small businesses.

Benjamin Harrison Freedman, auch "Friedman" (* 5. Oktober 1890 in Manhattan, New York City; † April/Mai 1984) war ein amerikanischer, antisemitischer und antizionistischer Aktivist.


History.

Memorial dedication.

In 1923, former UT athletics director L. Theo Bellmont (the west side of the stadium is named in his honor), along with 30 student leaders, presented the idea of building a concrete stadium to replace the wooden bleachers of Clark Field to the Board of Regents. Heralded as "the largest sports facility of its kind in the Southwest" upon its completion in 1924, the first unit of the stadium consisted of the east and west stands with a seating capacity of 27,000. It was designed as a dual-purpose facility with a track surrounding the football field. The stadium was financed through donations from both students and alumni. The estimated cost of the structure was $275,000.  The student body dedicated the stadium in honor of the 198,520 Texans – 5,280 of whom lost their lives – who fought in World War I. A statue, representing the figure of democracy, was later placed atop the north end zone seats of the stadium. In World War II, the University lost many former players, including former coach Jack Chevigny. The Athletics Council rededicated the newly enlarged stadium on September 18, 1948 prior to the Texas-LSU game, honoring the men and women who had died in the war. On November 12, 1977, a small granite monument was unveiled and placed at the base of the statue, during the TCU-Texas game. The ceremony rededicated Texas Memorial Stadium to the memory of all alumni in all American wars.  The University of Texas honored legendary football coach Darrell K Royal, who enlisted in the US Army Air Corps in 1943, played at the University of Oklahoma under legendary Coach Bud Wilkinson, and who led Texas to three national championships and eleven Southwest Conference titles, by officially naming the stadium after him in 1996. Additionally, the University established the Royal-Texas Memorial Stadium Veterans Committee, composed of alumni who served in World War II, Korea, Vietnam or the Gulf Wars. The committee is charged to forever dedicate the stadium in the memory of, and in honor of, UT students and alumni who gave their lives for their country. Each year, one home football game is designated as Veterans Recognition Day, commemorating the memorial aspect of the stadium and to honor the memory of war soldiers.

Renovations and expansions.

The stadium has been expanded several times since its original opening.

Scoreboard.

The scoreboard measures at tall and wide with a pixel resolution of 2064 x 848. The scoreboard was installed as part of a US$149.9 million stadium renovation, $8 million of which was spent on audiovisual improvements. The new HD screen was the centerpiece of these improvements and debuted at the start of the 2006 football season. Previously, two scoreboards were in place, one in the south end, the Freddie Steinmark Memorial Scoreboard and Jumbotron, and one in the north end, a video matrix screen. Both were removed after the 2005 season. The new scoreboard replaced the one in the south end. The north end no longer features a scoreboard as it was removed for the 2008 stadium expansion, the giant Longhorn symbol at the very top was sold on eBay. On November 8, 2015, the UT Longhorns rededicated the scoreboard to Freddie Steinmark in a ceremony attended by many previous Longhorn players.  At the time of its creation, it was called the largest HD video screen in the world, though it was quickly surpassed by a larger screen in Tokyo.

Criticism.

A downside for fans is that the screen can be used to allow more obtrusive advertising to be displayed during games. It has been controversial among fans because at some times a large portion (more than 50%) of the screen is being used for advertising and other non-game related graphics. This has led to some fans (including "Austin American-Statesman" commentator Kirk Bohls) calling the new screen "Adzillatron". Complaints have also been made about the scoreboard being too loud and about it broadcasting advertisements to those in the stadium, even over the top of the band playing in the stadium. In its first usage, the portion of the new screen that was typically used for showing replays and film highlights was approximately the same size as the old video screen. More recent games have featured a 16:9 format image centered in a ring of advertisement and score/clock related information.

Darrell K Royal–Texas Memorial Stadium (formerly War Memorial Stadium, Memorial Stadium, and Texas Memorial Stadium), located in Austin, Texas, on the campus of the University of Texas, has been home to the Longhorns football team since 1924. The stadium has delivered a home field advantage with the team's home record through November 17, 2018 being (76.4%). Prior to construction to build permanent south end zone seating and luxury suites, the official stadium seating capacity was 100,119, which made the stadium the largest in the Big 12 Conference, the eighth largest stadium in the United States, and the ninth largest stadium in the world.

Das Darrell K Royal-Texas Memorial Stadium (früher einfach Memorial Stadium oder Texas Memorial Stadium) ist ein American-Football-Stadion auf dem Campus der University of Texas at Austin in Austin im US-Bundesstaat Texas. Es dient als Heimspielort des College-Football-Teams der "Texas Longhorns", das in der NCAA organisiert ist. Mit einer Kapazität von offiziell 100.119 Zuschauern ist es das sechstgrößte Stadion der NCAA und das achtgrößte in Nordamerika.


Neighborhoods.

Amsterdam-Centrum consists of fourteen neighborhoods: Binnenstad (comprising the Burgwallen Oude Zijde and Burgwallen Nieuwe Zijde areas), Grachtengordel (including the Negen Straatjes district), Haarlemmerbuurt, Jodenbuurt, Jordaan, Kadijken, Lastage, Oosterdokseiland, Oostelijke Eilanden (including the Czaar Peterbuurt), Plantage, Rapenburg, Uilenburg, Westelijke Eilanden and Weteringschans.  Neighborhoods are largely traditional divisions of the inner city rather than strictly defined administrative units; as such, they have no level of autonomy, administrative privileges or governing bodies of their own.

Borough government.

Until 2014, the Amsterdam boroughs, called "stadsdelen" (also known as urban districts in English), were governed by a directly elected district council ("deelraad") as well as a separate district executive board, the members of which were appointed and controlled by the council. Since the 2014 municipal elections, the district councils have been abolished and replaced by smaller, but still directly elected district committees ("bestuurscommissies"). The district committees are elected every four years, on the same day as the city's central municipal council. Each district committee elects three of its members to form an executive committee ("dagelijks bestuur"). The district committees' jurisdiction is determined by the central municipal council. Responsibilities delegated to the 2014 district committees include parks and recreation, streets and squares, refuse collection, permits and events, preparation of zoning plans, passports and drivers licenses, and welfare work.  The former district council of Amsterdam-Centrum originally had 27 members but was enlarged in 2006 with two extra members. The last district executive board president was Jeanine van Pinxteren (GL, 2010–2014), who had succeeded Els Iping (PvdA, 2006–2010) and Anne Lize van der Stoel (VVD, 2002–2006). The new district committee of Amsterdam-Centrum consists of 13 members. It was elected on 19 March 2014 with five national political parties represented in the committee. On 7 April 2014, the committee elected its executive board. Executive committee chair is Boudewijn Oranje (D66), and the other members are Jeanine van Pinxteren (GL) and Roeland Rengelink (PvdA). The borough office (Dutch: "stadsdeelkantoor"; English: district office; also known as "stadsloket" in Dutch) of Amsterdam-Centrum is located at the central city hall, housed in the Stopera building.

Amsterdam-Centrum is the inner-most borough and historical city centre of Amsterdam, Netherlands containing the majority of the city's landmarks. Established in 2002, Amsterdam-Centrum was the last area in the city to be granted the status of self-governing borough. The borough is only 8.04 km large and covers the old innercity and the UNESCO-listed Amsterdam canal belt. In 2013, the borough had approximately 85,000 inhabitants, who on average had the second-highest income per household in the city (after Amsterdam-Zuid) and one of the highest in the country.

Amsterdam-Centrum ist ein Stadtteil der großstädtischen Gemeinde Amsterdam in der niederländischen Provinz Nordholland. Die Innenstadt () hatte 86.422 Einwohner (Stand: 1. Januar 2017) und eine Fläche von 8,04 km2, wovon 1,73 km2 Wasser sind.


Origins and development.

As German Army preparations for "Operation Sea Lion" got under way in July 1940, frustration soon grew over when and what types of ships the "Kriegsmarine" would supply for use in the planned Channel crossing. The immense task of converting hundreds of inland river barges and motor coasters into proper landing craft began, and the "Kriegsmarine" was unable to give the Army a date for their availability.  Anxious to begin landing exercises, Field Marshal Walther von Brauchitsch finally ordered General of Engineers Jacob to build sea-going transports for the army. Jacob assigned this task to "Pionier-Battalion 47" of 7th Army Corps. The battalion moved to Carteret on the western side of the Cotentin Peninsula, and the men of this unit searched the French countryside for buoyant materials to construct self-propelled rafts and ferries.  Aircraft designer Fritz Siebel (a colonel in the Luftwaffe), putting a captured aircraft plant near Amiens in north-eastern France back into production, was approached by a Lieutenant Colonel from "Pionier-Battalion 47". The colonel asked Siebel if he could requisition a large pile of empty gasoline containers discarded outside next to the plant. Siebel agreed to part with the cache, provided the colonel explained what use he would make of them. The answer interested Siebel, and got him pondering the question of how to ferry troops and heavy equipment across the English Channel given the time and materials.  "Pionier-Battalion 47" began experimenting with a host of makeshift materials for constructing powered rafts, including wine-barrels, tree trunks, kapok-filled sacks, and ship's canvas. Early efforts to use open-ended river-crossing pontoons came to naught. The iron beams and bolts used to hold them together failed to stand up to the waves, and the pontoons were overwhelmed in a light sea.  During the evolution, an unknown at OKH ("Oberkommando des Heeres") thought of using a larger closed-end bridging pontoon developed during World War I by Austrian Colonel of Engineers Hans Herbert. By spanning two connected pontoons with a deck, guns, vehicles, and troops could be transported. This idea evolved into the Herbert ferry. Only sixty-four of these pontoons available, too few to consider mass-production.  Another type of closed-end pontoon was available in greater numbers. This was the heavy pontoon bridge ("schwere Schiffsbrücke"), of which 364 were in inventory. Colonel Siebel, assigned a "Sonderkommando" (special command) for improvising Luftwaffe invasion craft, built a prototype with two heavy bridging-pontoons spaced apart in a catamaran arrangement connected by steel cross-beams. In the center, mounted on a pyramid-shaped truss-work, were two end-to-end surplus aircraft engines. This vessel was dubbed the "kleine fähre" (small ferry) and initial testing was conducted on "Rangsdorfer See", a lake near Berlin.  Chief of the Army General Staff General Franz Halder and a party of other Army officers were invited to witness one of these tests, but they were unimpressed by the ferry's performance. It could only make 4 knots and seemed overly flimsy. Halder noted “Nothing new, may not stand up in surf.” Others in the party questioned whether transported soldiers would arrive in fighting condition.  Despite the Army's misgivings, Siebel continued working on modifying the ferry's design, reducing the initial spacing between the pontoons to, and requesting from Krupp-Rheinhausen (with assistance from "WasserPrüfung 5") construction of a large steel platform covered with wood planking. This would both serve as the vessel's cargo deck, providing longitudinal and lateral strength to withstand operating on the sea. Indeed, this version would prove capable of surviving Force 6 waves.  The only propulsion systems available in the quantities needed to mass-produce these improvised invasion craft were diesel truck engines and aircraft engines. In consultation with engineers from "Pionier-Battalion 47", Siebel settled on a combination of four 75 hp Ford V-8 engines (two each mounted side-by-side in the aft end of the pontoons) linked to standard marine propellers. For auxiliary power, three BMW 6U 750 hp aircraft engines could mount on elevated platforms along the aft edge of the cargo deck.  Early problems with this arrangement included engine failure due to insufficient cooling, solved by linking the water-cooled aircraft engines to the diesel truck engines via piping to the pontoon compartments. Steering the craft by water screws alone also presented difficulties. A telegraph connected the wheelhouse to the two pontoon engine crews. But because of the vessel's broad beam, the crews had to react simultaneously to requests for changes in speed or the ferry would begin turning, a movement the rudders could barely counteract.  On 31 August 1940, the new Siebel ferry was tested in the Ems estuary by the Special Command of the Merchant Shipping Division. Using only the ship's aircraft engines, it attained a maximum speed of. In contrast to the truck engines in the pontoons, the aero engines were directly controlled by the helmsman via throttles in the wheelhouse, allowing him to vary each engine's RPM. This greatly improved manoeuvrability, but the aircraft engines were noisy, prevented voice communication on deck, and consumed large amounts of fuel. For "Sea Lion", it was decided to use them only for the run-up onto the invasion beaches or as a back-up in the event the water screws were damaged.  On 4 September, two additional versions of the Siebel ferry, one powered by Opel Blitz truck engines and one powered by Ford V-8s were tested on the Ems estuary. Using only water screw propulsion, they achieved a cruising speed of, although it was believed this could be raised through efficient propellers.  The Siebel ferry pontoons were flat-bottom and square in front. In combination with the vessel's wide cargo deck, this made for an exceptionally stable gun platform. The Luftwaffe mounted various-sized flak pieces on the ferries, and tested their suitability for engaging both air and surface targets while at sea. The versatile 8.8 cm guns proved well-suited for this role.  Series production of the Siebel ferry began in September 1940 at Antwerp as a joint Army–Luftwaffe venture with the Army's "Böndel Pionier-Sonderkommando" (Engineer Special Command) assembling the pontoons, decking and water propulsion while Col. Siebel's "Luftwaffe-Sonderkommando" installed the auxiliary aircraft engines. By late September, twenty-five of these craft were complete.  For "Operation Sea Lion", the "Luftwaffe" organized the Siebel ferries into two flotillas: "Flakkorps I" (assigned to 9th Army) and "Flakkorps II" (assigned to 16th Army) to provide flank defense against air, ground, and surface targets for the First Wave tow formations. Each Siebel ferry could transport a complete flak unit consisting of one 8.8 cm gun and two 2 cm guns plus their three prime movers (although 9th Army planned to transport the necessary towing vehicles and support personnel separately via barges). Upon reaching the invasion beaches, the ferries could land their flak units, then assist with unloading the larger steamers anchored offshore. The Army referred to the Siebel ferries as “destroyer substitutes”.

Wartime service.

With its simplicity of design, sturdy construction, good sea-keeping, and the ease with which it could be disassembled and shipped via rail to virtually any point on the Continent, the Siebel ferry proved a useful and adaptable amphibious vessel for transporting troops, vehicles, and supplies across open water wherever needed by Germans. It was also easily-configured to serve a variety of purposes, from minelaying to convoy escort.  Following "Sea Lion's" postponement in October 1940, the "Luftwaffe" decided in the fall of 1941 to continue producing Siebel ferries apart from the Army under its Special Ferry Command ("Fähre-Sonderkommando"). It replaced the diesel truck engines on the original design with BMW and other type aircraft engines, housing four of them in enlarged pontoon ends connected to water screws via a reversing gearbox. Some of these vessels were assigned to the Army and operated with mixed crews, but the Army disliked the use of aircraft engines, claiming they were prone to catching fire and consumed excessive amounts of fuel. The Army Engineer Ferry Construction Command at Antwerp continued using vehicle engines as the main propulsion unit, and considered them reliable compared to the "Luftwaffe's" aircraft engines.  Two ferries were transferred to the Romanian Navy in late 1941.

The Siebel ferry ("Siebelfähre") was a shallow-draft catamaran landing craft operated by Germany's Wehrmacht during World War II. It served a variety of roles (transport, flak ship, gunboat, convoy escort, minelayer) in the Mediterranean, Baltic and Black Seas as well as along the English Channel. They were developed for Operation Sea Lion in 1940, the cancelled German invasion of England. Siebel ferries continued performing after the war's end in 1945.

Die Siebelfähren waren provisorische Landungsboote der deutschen Wehrmacht, die während des Zweiten Weltkrieges im Rahmen des Unternehmens Seelöwe eingesetzt werden sollten.


Early life.

Fuld was born in New York City, the son of Richard Severin Fuld Sr. and Elizabeth Schwab. He is a second cousin of Oakland Athletics outfielder Sam Fuld.  He attended Wilbraham & Monson Academy, where he gained his high school diploma.  He received both a B.A. and B.S. in 1969 from the University of Colorado Boulder, where he participated in the Naval Reserve Officer Training Corps program and was president of the school's chapter of the Alpha Tau Omega fraternity. Fuld completed his M.B.A. at New York University's Stern School of Business in 1973.  Fuld is a member of Kappa Beta Phi.

Career.

Fuld's first career as an Air Force pilot came to an end when he got into a fistfight with a commanding officer. He said he had been defending a young cadet who was being taunted by the senior officer. He then began his career with Lehman Brothers in 1969, the year the firm's senior partner Robert Lehman died. Fuld started trading commercial paper and developed a reputation as an accomplished fixed income trader.

Lehman Brothers.

Fuld worked for Lehman for nearly 40 years. During this time, Fuld witnessed and participated in the numerous changes which the organization endured, including its merger with Kuhn, Loeb & Co, its acquisition by American Express, its merger with E.F. Hutton, and its ultimate spin-off from American Express in 1994, once again as Lehman Brothers. Once public, the new company traded under the stock ticker LEH.  Having served as CEO from 1994 through the firm's collapse in 2008, Fuld was the longest-tenured CEO on Wall Street at the time of the financial crisis of 2007–2008. Fuld had steered Lehman through the 1997 Asian Financial Crisis, a period where the firm's share price dropped to $12 in 1998. Lehman had a yearly loss of $102 million in 1993, but after Fuld became CEO the firm had fourteen straight years of profits, including one of $4.2 billion in 2007, although in 2008 it reported a Q2 loss of $2.8 billion and filed for bankruptcy later that year. Similar to the fall of Barings Bank, this was accomplished by driving up company earnings through excessive leverage and risk.  Fuld had a succession of "number twos" under him, usually titled as President and Chief Operating Officer. T. Christopher Pettit served until November 26, 1996, when he lost a power struggle with his deputies, likely brought about after Pettit had a mistress, which violated Fuld's unwritten rules on marriage and social etiquette. This president and COO position would remain vacant until Joseph Gregory was appointed President and COO in 2002. Bradley Jack and Joseph M. Gregory were appointed co-COOs in 2002, however Jack was demoted to the Office of the Chairman in May 2004 and departed in June 2005 with a severance package of $80 million, making Gregory the sole COO and President. Along with CFO Erin Callan, Gregory was demoted on June 12, 2008, and replaced by Bart McDade, who would see Lehman through bankruptcy.  In 2006, "Institutional Investor" magazine named Fuld America's top chief executive in the private sector. That same year in December, Fuld told "The Wall Street Journal", "as long as I am alive this firm will never be sold."  In March 2008, Fuld appeared in "Barron's" list of the 30 best CEOs and was dubbed "Mr. Wall Street".  Overall, Fuld received nearly half a billion dollars in total compensation from 1993 to 2007. In 2007, he was paid a total of $22,030,534, which included a base salary of $750,000, a cash bonus of $4,250,000, and stock grants of $16,877,365. According to "Bloomberg Businessweek", Fuld "famously demanded loyalty of everyone around him and demonstrated his own by keeping much of his wealth tied up in the firm", even buying Lehman shares on margin, according to a friend.

Lehman Brothers bankruptcy and aftermath.

Fuld was initially praised for handling the initial subprime mortgage crisis well, better than any of the other bulge bracket firms, behind Goldman Sachs.  Fuld was said to have underestimated the downturn in the US housing market and its effect on Lehman's mortgage bond underwriting business. Fuld was already the longest-tenured CEO on Wall Street and kept his job as the subprime mortgage crisis took hold, while CEOs of rivals like Bear Stearns, Merrill Lynch, and Citigroup were forced to resign. In addition, Lehman's board of directors, which includes retired CEOs like Vodafone's Christopher Gent and IBM's John Akers were reluctant to challenge Fuld as the firm's share price spiraled lower.  Fuld was criticized for not completing several proposed deals, either a capital injection or a merger, that would have saved Lehman Brothers from bankruptcy. Interested parties had included Warren Buffett and the Korea Development Bank. Fuld was said to have played a game of brinkmanship, refusing to accept offers that could have rescued the firm because they didn't reflect the value he saw in the bank.  However, "New York" magazine had a different view on Fuld's last three months as CEO before the firm's bankruptcy. Hugh "Skip" McGee III, then-head of the Investment Banking Division, had earlier disagreed with COO Joseph M. Gregory's appointment of one of his subordinates, Erin Callan, as CFO. On June 11, 2008, McGee organized a meeting of the firm's senior bankers, who forced Fuld to demote Callan and Gregory. Gregory's replacement as president and COO was Bart McDade. While Fuld remained CEO in title, it has been said that a management coup had taken place and that the one person in charge then was McDade. "New York" magazine's account also stated that Fuld was desperately searching for a buyer during the summer and even offering to step aside as CEO to facilitate the sale of the firm, being quoted as saying "We have two priorities, that the Lehman name and brand survive and that as many employees as possible be saved, and you'll notice our priority isn't price".  In his 2009 book "A Colossal Failure Of Common Sense", Larry McDonald—a senior Lehman Brothers trader in the years leading up to the crash—wrote that Fuld's "smoldering envy" of Goldman Sachs and other Wall Street rivals led him to ignore warnings from Lehman executives about the impending crash, and that Fuld insisted the firm's chief risk officer leave the boardroom during key discussions.  In October 2008, Fuld was among twelve Lehman Brothers executives who received grand jury subpoenas in connection to three criminal investigations led by the United States Attorney's offices in the Eastern and Southern Districts of New York as well as the District of New Jersey, related to the alleged securities fraud associated with the collapse of the firm.  On October 6, 2008, Fuld testified before the United States House Committee on Oversight and Government Reform regarding the causes and effects of the bankruptcy of Lehman Brothers. During the testimony, Fuld was asked if he wondered why Lehman Brothers was the only firm that was allowed to fail, to which he responded: "Until the day they put me in the ground, I will wonder."

After Lehman Brothers.

On November 10, 2008, Fuld transferred his Florida mansion to his wife Kathleen for $100. They had bought it four years earlier for $13.75 million.  In March 2009, Fuld sent out an email stating that he had joined Matrix Advisors in New York City.  In May 2010, Fuld was registered by the Financial Industry Regulatory Authority (FINRA) as employed by Legend Securities, a securities brokerage and investment banking firm in New York. Fuld left the firm in early 2012.  By July 2015, Matrix Advisors, led by Fuld, had grown to about two dozen employees. The firm focuses on small and medium-sized enterprises, advising clients on a range of matters, from opening product distribution channels to completing mergers and acquisitions and sourcing private equity and venture capital funding. By 2016 Matrix Private Capital LLC had $100 million in assets under management from 18 families. By November 2017 the company had expanded by opening offices in Los Angeles and Palm Beach.  Also in mid-2015, Fuld put up for auction his 71-acre estate in Sun Valley, Idaho. The property was estimated to sell for $30 to $50 million in August 2015, but sold at auction in September for just over $20 million.  As of 2018 Fuld remained critical of the government's decision not to bail out Lehman despite bailing out other financial firms in distress. Fuld reserves his most pointed criticisms for his longtime rival, Henry Paulson, who ran Goldman Sachs Group Inc. before heading the U.S. Treasury during the financial crisis of 2007–2008. By 2018, almost all claims brought against Lehman since the bankruptcy had been resolved (with $4.1 billion remaining from $1.2 trillion).  In a 2018 book on the subject - "The Fed and Lehman Brothers: Setting the Record Straight on a Financial Disaster" -Johns Hopkins University professor Laurence M. Ball argues that Lehman had ample collateral to justify a U.S government loan that would have staved off bankruptcy, rejecting statements from former officials that such a bailout would have been illegal.

Accolades and directorships.

In 2006, Fuld was named No. 1 CEO in the Brokers & Asset Managers category, by "Institutional Investor" magazine. In 2007 he received a $22 million bonus.  Fuld at one time served on the board of directors of the Federal Reserve Bank of New York, a position he ceased holding shortly before the bankruptcy of Lehman Brothers. He is a member of the International Business Council of the World Economic Forum and the Business Council. He also serves on the Board of Trustees of New York-Presbyterian Hospital. He was also on the board of directors of the Robin Hood Foundation but was removed from the Board following the Lehman Brothers bankruptcy.  In October 2008, CNN named Fuld as one of the "Ten Most Wanted: Culprits of the Collapse" regarding the financial crisis of 2007–2008; he was placed 9th on the list.  In December 2008, Fuld was given the "Lex Overpaid CEO" award of the "Financial Times" for having received $34 million in 2007 and $40.5 million in 2006, the last two years before his bank's failure.

Richard Severin Fuld Jr. (born April 26, 1946) is an American banker best known as the final chairman and chief executive officer of Lehman Brothers. Fuld held this position since the firm's spinoff from American Express in 1994 until 2008. Lehman Brothers filed for bankruptcy protection under Chapter 11 on September 15, 2008, and subsequently announced the sale of major operations to parties including Barclays Bank and Nomura Securities.

Richard „Dick“ Severin Fuld, Jr. (* 26. April 1946 in New York City) ist ein US-amerikanischer Bankmanager und war der letzte Vorsitzende und Chief Executive Officer der Investmentbank Lehman Brothers. Er hielt seine Position seit 1994 zusammen mit Joseph M. Gregory als Stellvertreter bis zur Insolvenz des Unternehmens im Jahr 2008.


The Castle of Franquemont.

Description of the Castle 1305-1677 (According to Auguste Quiquerez 1801-1882) : Working the irregularities of the ground, the castle was built on two superposed terraces. The entry was situated on the south flank and lead to a large square, surrounded by walls thus delimiting a courtyard flanked by the dependences and a dungeon. The principal body of the structure dominated the fosse and gave access to a smaller courtyard. From there, traces of a wall indicate what must have been a rectangular building (approximately 60 x 30m). The latter was flanked on the west side by oval casemate structures, double walling of which A. Quiquerez provided a drawing dating from the 1850s. Most probably a chapel was constructed to the centre part of the building elevated above the fosse. Furthermore it had a well or cistern in the northern part.  The last known inhabitant before the castle of Franquemont was destroyed in 1677 was Count Claude de Franquemont.

House of Franquemont.

Several branches have existed of the Franquemont family all of which have roots in the Montbéliard and Württemberg family. Few remain as most branches no longer exist due to the lack of male heirs. Only the Württemberg branch still exists.  The branch of Franquemont in Franche-Comté originates from the Counts of Montbéliard, founded in the House of Württemberg by Etienne de Montfaucon count of Montbéliard (1325-1397). After his death, his natural son Henri inherits Franquemont. Among the earliest genealogical records is Henri's son Jean de Franquemont, Bailiff of Montbeliard (1489). This branch continued for more than ten generations as lords of Tremoing and Pierrefitte. In the 16th century the Franquemont's provide five Knights of the Order of St. George. In 1720 this branch of Franquemont was given the title of count. The land of Han-en-Barrois located in Barrois-Mouvant, was erected to County by Leopold Duke of Lorraine in favour of George-Gabriel de Montbéliard Count of Franquemont, his Chamberlain. The denomination Franquemont-en-Barrois originated from the fief of Franquemont on the Doubs in the County of Montbéliard, first appanage of his ancestors. Several alliances exist with the de Châtelet, d'Arbonnay, de Brunecoff, de Maillet, d’Aspremont, de Gilley, etc.  The line of Franquemont in Franche-Comté is related to the line of Franquemont in Württemberg by Henriette d'Orbe-Montfaucon countess of Montbéliard (1387-1444), granddaughter of Etienne de Montfaucon.  The Franquemonts in Württemberg descend from Carl Eugen, 12th Duke of Württemberg (1728–1793). He gave the name Franquemont to five of his natural sons. All five were officers in the Württemberg Army (Cape Regiment) which brought them to the Dutch East Indies with the Dutch East India Company (VOC). The eldest, Frederic William von Franquemont (1744-1790) was the colonel in command of the second battalion of the Cape Regiment. Another of them was the well known General Count Frederic von Franquemont (1770–1842) who, after his return from the Indies became a highly decorated army General, leading the Franquemont Regiment of the Württemberg army in the Battle of Nations (1813) and Battle of Waterloo (1815). Count Frederic and his brother Colonel Carl von Franquemont were the only two of their generation to return to Württemberg after a captivity by the British in Ceylon. Descendants of their brothers returned to Europe only several generations later when the East Indies were no longer a colony of the Netherlands and became the Republic of Indonesia.

Franquemont is an ancient lordship on the banks of the river Doubs dominated by the castle of Franquemont. It comprised the river banks from le Theusseret to Le Moulin du Plain, the valley, hamlets, mills and villages of Gourgouton, Montbaron, Vautenaivre, Beaujour and Goumois.

Franquemont ist eine ehemalige Herrschaft („Seigneurie“) zu beiden Seiten des Flusses Doubs, dominiert durch die Burg Franquemont. Die Herrschaft umfasste die Ufer des Doubs von Le Theusseret bis Le Moulin du Plain, das Tal, die Mühlen, Weiler und Dörfer Gourgouton, Montbaron, Vautenaivre, Beaujour und Goumois.


Plot.

In Ancona, Giovanni is a therapist, whose 17-year-old son Andrea is accused of stealing a rare ammonite fossil from his school. Andrea is suspended and protests his innocence, but later confesses to his mother Paola he and his friend stole it as a prank, and intended to return it before it broke. Giovanni and Andrea make plans to go jogging together, but Giovanni is called to the distant home of a patient who is severely distressed about a possible cancer diagnosis. Instead, Andrea goes scuba diving with a friend and swims into an underwater cave, where he accidentally drowns. Giovanni, Paola and their daughter Irene are left to mourn. Giovanni investigates the diving equipment model and becomes suspicious that Andrea's was defective, but Paola reminds him the verdict was that it was functioning properly. Giovanni, once a distant observer of his patients' struggles, begins having difficulty analyzing them, particularly the one he went to see on the day Andrea died, against whom he shows signs of impatience and hostility.  One day, Paola receives a love letter sent to Andrea by a girl named Arianna, whom he had met at a camp. The family does not know Arianna, and never knew Andrea had a girlfriend. They realize she does not know Andrea has died and attempt to contact her, eventually inviting her to their home. Giovanni stops by a music store to buy an album, ostensibly for a friend of Andrea, but more for Andrea. A clerk gives him a Brian Eno album. Arianna arrives on her way to a destination, and sees Andrea's bedroom. She shows Giovanni photographs Andrea sent her of himself in his room, some of which are very amusing. The family welcomes Arianna and offers to host her in their home, but she informs them she is hitchhiking with her friend Stefano to spend vacation in France. The family offers Arianna and Stefano a short ride, but it lingers to a point where they drive into the night and reach Menton, in the border between Italy and France. Bidding Arianna and Stefano goodbye, the family watch their bus leave Italy and wander in the beach as a new life awaits them.

Production.

Italian director Nanni Moretti first developed the idea for "The Son's Room" out of a longtime interest to write about a psychoanalyst and play one. He came up with the story when he learned his wife was pregnant with a boy.  Cinematographer Giuseppe Lanci said they opted to shoot in Ancona, looking for a sea and port and deciding against Genoa for its large size and Trieste for its distractingly beautiful buildings. Filming was suspended for three months, mid schedule, due to Moretti's illness. In addition, the crew's contracts expired, and everything was interrupted by a strike action and Christmas break.

Reception.

Critical reception.

The film received positive reviews, with Rotten Tomatoes measuring an 84% approval rating based on 83 reviews, with an average rating of 7.3/10. The website's critical consensus reads, ""The Sons Room" is a moving and contemplative study of grief." On Metacritic, the film has a weighted average score of 73 out of 100, based on 34 critics, indicating "generally favorable reviews". Roger Ebert gave it three and a half stars, writing, "Sometimes in a quite ordinary way a director can reach out and touch us." Stephen Holden of "The New York Times" assessed it as touching, drawing a parallel to the September 11 attacks that year, which showed how sudden tragedy devastates the living. Holden opined the film was not very creative but featured solid acting. David Rooney of "Variety" called it "a delicate drama of pain and grief," criticizing Moretti's performance as overly self-conscious but praising Morante as "deeply moving." Meredith Brody of "The Chicago Reader" said the film demonstrated "tender skill." "Time Out" praised it as "Subtle, psychologically astute and engagingly unassertive in tone," concluding it is "A gem." Michael Wilmington of "The Chicago Tribune" called the film "moving."  The film appears in "Empire"'s 2008 list of the 500 greatest movies of all time at number 480. Peter Bradshaw of The Guardian, included the film in its list of ten 'Best films of the noughties' (2000-2009).

Accolades.

"The Son's Room" was the winner of the Palme d'Or at the 2001 Cannes Film Festival, noted for being the first Italian film to win the highest Cannes honour in over 20 years. The film was Italy's submission to the Academy Award for Best Foreign Language Film, but it was not nominated.

The Son's Room () is a 2001 Italian film directed, written and produced by Nanni Moretti. It depicts the psychological effects on a family and their life after the death of their son. It was filmed in and around the city of Ancona, with a cast led by Moretti, Laura Morante and Jasmine Trinca.

Das Zimmer meines Sohnes (Originaltitel: "La stanza del figlio") ist ein italienischer Spielfilm aus dem Jahr 2001 von Nanni Moretti, der auch die männliche Hauptrolle spielt.


Plot.

The story focuses on Jane Hudson (Katharine Hepburn), a single, middle-aged elementary school secretary (she refers to her position as "a fancy secretary") from Akron, Ohio. She is on her summer vacation and is now enjoying her lifelong dream of a vacation in Venice after saving up money for the past few years for the big trip. During the ride on a vaporetto to the Pensione Fiorini, she meets two fellow Americans, Lloyd (MacDonald Parke) and Edith (Jane Rose) McIlhenny. At the hotel, they are greeted by Signora Fiorini (Isa Miranda), a widow who transformed her home into a pensione after World War II. Also staying at the property are Eddie Yaeger (Darren McGavin), a young American painter studying art, and his wife Phyl (Mari Aldon).  Jane is also pestered off and on during her stay by a friendly young Italian street urchin, Mauro.  That evening, Jane walks to the Piazza San Marco, where the sight of so many couples leaves her slightly depressed. While seated in a café, she becomes aware of a solitary Italian man watching her and quickly leaves.  The following day, Jane goes shopping and sees a red glass goblet in the window of an antiques store. Upon entering she discovers that the owner, Renato de Rossi (Rossano Brazzi), is the very man from whom she fled the night before. He assures her that the goblet is an authentic 18th-century artifact, and she purchases it after he teaches her the art of bargaining. Hoping to see her again, Renato offers to search for a matching goblet. The next morning, Jane returns to the shop with Mauro and is disappointed to discover that Renato is not there. Jane then accidentally steps backward into a canal while filming de Rossi's shop.  That evening, he comes to her pensione and confesses his attraction for her. When Jane resists his advances, he warns her not to waste an opportunity for happiness, and she is about to agree to have dinner with him when the McIlhennys return from a shopping expedition on the island of Murano, during which they purchased a set of new red goblets similar to the one Jane bought. Renato realises that she thinks he has swindled her, but he assures her that some designs have been used for centuries on Murano and he insists that her goblet is an antique.  The two attend a concert at the piazza, where an orchestra plays the overture to "La gazza ladra". When a flower seller approaches them, Renato is surprised when Jane chooses a simple gardenia instead of an orchid. Later, as the couple are wandering through the city, Jane accidentally drops her gardenia into a canal; despite much effort, Renato is unable to retrieve it for her. They return to the pensione, where he kisses her, and she responds passionately and murmurs, "I love you," before rushing off to her room. The next day, she treats herself to salon treatments and new clothes in anticipation of their date that evening. While she waits for him at the piazza, Renato's assistant Vito (Jeremy Spenser) arrives and inadvertently reveals that he is Renato's son. Stunned to discover Renato is married and has several children, Jane takes refuge in a bar where she encounters Phyl, who confides that her marriage is in trouble.  Upon returning to the pensione, Jane discovers Eddie is having an affair with Signora Fiorini. Renato arrives and tells her their relationship is none of her business. He admits he is married, but claims he and his wife are separated, a fact he concealed because he did not want to scare her away. He accuses her of being immature and unwilling to accept what she can have in reality instead of just longing for more. After dinner, Jane and Renato venture to Renato's apartment and their affair is consummated.  After spending time with Renato on the island of Burano, Jane, unwilling to remain in a relationship she knows is destined to end unhappily, decides to return home. Renato begs her to stay, but Jane insists it is better to leave the party before it ends. Although she asks him not to come to the train station, she hopes he will ignore her request. As the train begins to leave the station, Jane is thrilled to see Renato running toward it. He tries to hand her a package but the train is moving too quickly, so he opens it to reveal he had bought her another gardenia.

Production.

Arthur Laurents had written "The Time of the Cuckoo" specifically for Shirley Booth, who starred in the 1952 Broadway production and won the Tony Award for Best Performance by a Leading Actress in a Play for her performance. Producer Hal Wallis expressed interest in purchasing the film rights, but felt Booth was too old for the role, and envisioned Katharine Hepburn and Ezio Pinza in the leads. Ilya Lopert ultimately acquired the rights with the intention of casting Booth and hiring Anatole Litvak to direct. It was later reported that she was negotiating with Daniel Mann instead, and Laurents would be adapting his play for the screen. Laurents' screenplay was allegedly unsatisfactory, and newly hired director David Lean tried to improve it with associate producer Norman Spencer and writers Donald Ogden Stewart and S.N. Behrman, but without success. He finally brought in novelist H.E. Bates to collaborate with him.  Numerous names were mentioned in conjunction with the project before filming finally began. At one point producer Lopert considered casting director-actor Vittorio De Sica as Renato. Roberto Rossellini expressed interest in directing the film with Ingrid Bergman as Jane, and Olivia de Havilland supposedly considered starring in the project.  Government officials initially resisted director David Lean's request to allow his crew to film on location during the summer months, the height of the tourist season, especially when local gondolieri, fearful they would lose income, threatened to strike if he was given permission to do so. The problem was resolved when United Artists made a generous donation to the fund established to finance the restoration of St Mark's Basilica. Lean also was required to promise the cardinal no short dresses or bare arms would be seen in and around the city's holy sites.  In one scene, the character of Jane Hudson falls into a canal when she steps backwards while photographing Di Rossi's shop in "". Leading lady Katharine Hepburn, concerned about her health, was disinclined to do the stunt herself, but Lean felt it would be obvious if he replaced her with a stunt double. He filled the water with a disinfectant that caused it to foam, which added to Hepburn's reluctance, then required her to film the scene four times until he was satisfied with the results. That night, Hepburn's eyes began to itch and water. She was eventually diagnosed with a rare form of conjunctivitis that plagued her for the remainder of her life.  Upon seeing the completed film, Production Code Administration head Geoffrey Shurlock notified United Artists executives that the film would not be approved because of its depiction of adultery. Of particular concern was the scene in which Jane and Renato consummate their relationship. Eighteen feet of footage was deleted, and the PCA granted its approval. The National Catholic Legion of Decency, however, objected to a line of dialogue that was finally trimmed, and the organisation bestowed the film with a B-rating, designating the film "morally objectionable in part".  In later years, Lean described the film as his favourite. He became so enamoured with Venice during filming that he made it his second home.

Preservation.

The Academy Film Archive preserved "Summertime" in 2008.

Critical reception.

Bosley Crowther of "The New York Times" observed, "In adapting for the screen Arthur Laurents' stage play "The Time of the Cuckoo", Mr. Lean and H.E. Bates discarded most of the individual shadings and psychological subtleties of that romance. They reduced the complicated pondering of an American woman's first go at love with a middle-aged merchant of Venice to pleasingly elemental terms. And they let the evident inspiration for their heroine's emotional release be little more than the spell cast by the city upon her fitful and lonely state of mind. The challenge thus set of making Venice the moving force in propelling the play has been met by Mr. Lean as the director with magnificent feeling and skill. Through the lens of his color camera, the wondrous city of spectacles and moods becomes a rich and exciting organism that fairly takes command of the screen. And the curious hypnotic fascination of that labyrinthine place beside the sea is brilliantly conveyed to the viewer as the impulse for the character's passing moods...It is Venice itself that gives the flavor and the emotional stimulation to this film. For it can't be denied that the credibility of the brief love affair...is considerably strained in substance. Nor can it be honestly gainsaid that the break-up after a blissful go-round is abrupt and illogical."  "Variety" wrote the film "stacks up as promising entertainment - with some reservations. There is a lack of cohesion and some abruptness in plot transition without a too-clear buildup. Lesser characterizations, too, are on the sketchy side...Rossano Brazzi...scores a triumph of charm and reserve. Hepburn turns in a feverish acting chore of proud loneliness."  Laura Bushell of Channel 4 rated the film four out of five stars and commented, "Hepburn made a career out of playing vibrant heroines with a vulnerable side and it's her portrayal of Jane's insecurity and loneliness that give the film its substance..."Summertime"'s notions of dating etiquette and holiday romance have dated greatly...but as a coming-of-age story it remains touching. As a showcase for Katharine Hepburn, it is superb."

Awards and honours.

The film was nominated for the BAFTA Award for Best Film from any Source.  David Lean won the New York Film Critics Circle Award for Best Director and was nominated for the Academy Award for Best Director. Katharine Hepburn was nominated for the Academy Award for Best Actress. She also was nominated for the BAFTA Award for Best Foreign Actress.

In popular culture.

In the anime based on Naoki Urasawa's manga "Monster", Anna Liebert's employer Mr. Roso states the film as one of his favourites and always cries when it's on. In addition, he talks about the beauty of Venice and its soundtrack as major influences in his life.  In the TV series "Call the Midwife" episode "Episode 1" of series 2, the midwives Jenny, Chummy, Cynthia and Trixie attended the cinema where they watch "Summertime" for Jenny's birthday.

Summertime (released in the UK as Summer Madness) is a 1955 British-American Technicolor romance film directed by David Lean and starring Katharine Hepburn, Rossano Brazzi, Darren McGavin, and Isa Miranda. The screenplay by Lean and H.E. Bates is based on the play "The Time of the Cuckoo" by Arthur Laurents.

Traum meines Lebens (OT: "Summertime") ist ein britisch-US-amerikanisches Filmdrama des Regisseurs David Lean aus dem Jahr 1955. Es ist eine Verfilmung des Bühnenstücks "The Time of the Cuckoo" von Arthur Laurents.


History.

The party was founded on 14 July 1990 in Novi Sad. At the First Party Congress, the LSV adopted the party program, which defined following principles of the party: liberty, equality, justice, solidarity, and publicity. At the Second Congress, which was held in July 1997, the LSV adopted a new statute.  In the first years of its existence, the party's activities were mainly directed towards organization of anti-war actions. Together with other parties, it organized anti-war demonstrations in Vojvodina and publicly opposed mobilization of Vojvodina citizens for the front lines in Croatia and Bosnia and Herzegovina.

Goals.

The League advocates the "right of autonomous decisions about fundamental affairs of Vojvodina within Serbia", which, according to the League, was abolished after the so-called Yogurt Revolution in 1988 and after constitutional changes from 1990, which, according to the League, diminished the autonomy of Vojvodina to "protocolar minimum".  In December 1998, the League proclaimed that its political goal is establishment of the Republic of Vojvodina within a federalized Serbia. In recent years, the League mostly abandoned the idea of a Republic of Vojvodina, but it still advocated a greater level of autonomy for the province. In November 2011, League official Aleksandra Jerkov stated that "Vojvodina needs more jurisdictions", but that "there is no need for it to be a republic".

Participation in elections.

Parliamentary elections.

In the 1990 Serbian general election, the League supported candidates of the Union of Reform Forces of Yugoslavia and the Association for Yugoslav Democratic Initiative in several electoral districts.

Provincial elections.

In the 2004 provincial election, the LSV was part of the "Together for Vojvodina" coalition. The coalition won 9.44% of the popular vote in the first-round of voting. The party subsequently participated in post-election provincial government.  In the 2008 provincial election, the LSV was again part of the "Together for Vojvodina" coalition. The coalition won 8.25% of the popular vote in the first-round of voting, representing a drop of -1.19% from the previous election. The party subsequently participated in post-election provincial government.

Positions held.

Major positions held by League of Social Democrats of Vojvodina members:

The League of Social Democrats of Vojvodina ( / "Liga socijaldemokrata Vojvodine", LSV) is autonomist, regionalist, social-democratic political party in the Vojvodina region of Serbia. The founder and current leader of the party is Nenad Čanak.

Die Liga der Sozialdemokraten der Vojvodina () ist eine serbische Regionalpartei aus der AP Vojvodina. Gegründet wurde die Partei am 14. Juli 1990 in Novi Sad. Parteiführer und Gründungsmitglied ist Nenad Čanak.


Playing career.

Brett McLean was selected with the sixth last pick, 242nd overall, in the 1997 NHL Entry Draft by the Dallas Stars. Despite a productive junior career with the Kelowna Rockets of the Western Hockey League, McLean was unable to earn a contract from the Stars. Unsigned, McLean toiled in the minor leagues with affiliates of the Calgary Flames and the Minnesota Wild before signing with the Chicago Blackhawks and making his NHL debut in the 2002–03 season.  In the 2003–04 season, McLean played his first full year in the NHL as he scored 11 goals with the rebuilding Blackhawks. Brett scored his first career NHL goal in his third career game on October 16, 2003 against Marc Denis and the Columbus Blue Jackets in a 2-1 Blackhawks loss. He signed as a free agent with the Colorado Avalanche on July 21, 2004. In 2004–05, he joined the Malmö Redhawks of the Swedish Elitserien during the NHL lockout. Brett scored a career-high 40 points in 2005–06 with the Avalanche and backed up the following season with 15 even strength goals in the 2006–07 season.  On July 1, 2007, McLean signed a three-year contract with the Florida Panthers. In his first season with the Panthers in 2007–08, McLean finished 5th on the team in points with 37 in 67 games. He failed to reproduce the same form in the 2008–09 season as his points total dipped to 19. Following the Panthers failure to reach the playoffs, McLean was bought out from the remaining year of his contract on June 29, 2009.  On September 9, 2009, McLean was invited to the Tampa Bay Lightning training camp for the 2009–10 season. McLean was among the final cuts before the season began and was released. On October 10, 2009, McLean signed a one-year contract with SC Bern, in Swiss National League, where he spent the next two years. A.  On July 1, 2011, after two years spent in Europe, McLean signed a two-way contract with the Chicago Blackhawks. Unable to stick with the Blackhawks out of training camp, McLean was assigned to affiliate, the Rockford IceHogs of the AHL. Upon reaching the midpoint of the 2011–12 season without a recall, McLean sought a release and returned to the Swiss NLA, signing and later extending for a further season with HC Lugano on March 15, 2012.  On June 3, 2015, McLean left the NLA after six seasons and signed a one-year contract with Austrian club, EHC Black Wings Linz of the EBEL. After two productive seasons with Linz, at after completing his 18th full professional season in 2016–17, McLean opted to end his professional career and return home to Canada on March 22, 2017.

Brett McLean (born August 14, 1978 9:13pm) is a Canadian former professional ice hockey centre who played in the National Hockey League for the Chicago Blackhawks, Colorado Avalanche and the Florida Panthers.

Brett McLean (* 14. August 1978 in Comox, British Columbia) ist ein ehemaliger kanadischer Eishockeyspieler und derzeitiger -trainer, der im Verlauf seiner aktiven Karriere zwischen 1994 und 2017 unter anderem 393 Spiele für die Chicago Blackhawks, Colorado Avalanche und Florida Panthers in der National Hockey League auf der Position des Centers bestritten hat. Darüber hinaus spielte er in Europa für den SC Bern und HC Lugano in der Schweizer National League A sowie den EHC Linz in der Erste Bank Eishockey Liga.