Life.

Baptised on 28 February 1611 in Bristol, England, Sir John Yeamans was a younger son of John Yeamans, a brewer of Redcliffe, Bristol who died about 1645, and his wife Blanche Germain. The younger Yeamans was a colonel in the Royalist army during the English Civil War.  In about 1650 Yeamans migrated to Barbados, and within a decade he had become a large landholder there (he had held land in Barbados since 1638) a colonel of the militia, judge of a local court of common pleas, and by July 1660 he was on the council of that colony.

Carolina.

In the deteriorating economic conditions of the 1660s and 1670s many Barbadian planters sought better opportunities. In 1663 a number of planters in Barbados made arrangements with the proprietors of Carolina for establishing a colony at Cape Fear. The proprietors, by the exercise of their influence at court, secured a baronetcy for Yeamans, conferred on him 12 January 1665, and on 11 January 1665 they appointed him governor of their colony, with a jurisdiction extending from Cape Fear to San Mateo.  The region was named Clarendon County. Yeamans was also instructed to explore the coast south of Cape Fear. He sailed with three vessels from Barbados in January 1665, and reached Cape Fear, but sustained heavy loss on the way from rough weather. Accordingly, he soon returned to Barbados, leaving the management of the new settlement to a deputy, Captain Robert Sandford (whose lieutenant was Joseph Woory, Yeamans's nephew). However the colonists abandoned Clarendon by the autumn of 1667.  In 1669 another attempt at colonisation was made. Three ships of settlers were sent to Port Royal Island from the British Isles calling first at Barbados. Instructed by the proprietors to name a governor Yeamans named himself and joined the expedition until it reached Bermuda. In Bermuda he appointed the elderly William Sayle in his place and abruptly returned to Barbados. The expedition continued and successfully founded South Carolina's first permanent English settlement in April 1670.  Sayle died in March 1671. Before his death he nominated as his successor the deputy governor, Joseph West, and this appointment was approved by the colonists. Yeamans arrived in the new colony in 1671 and was disappointed not to be made governor immediately, and used his position as speaker of the colonies first parliament to harass West. He also started to build a plantation into which he brought 200 African slaves.  On 21 August 1671 the proprietors, to the great dissatisfaction of the colonists, appointed Yeamans to the governorship. He was proclaimed Governor of the English Province of Carolina at Charles Town on 19 April 1672. Early in his governorship at the bequest of the proprietors he initiated a land survey for what would become Charles Town and expanded his plantation.  The colony during his governorship suffered from internal dissensions, and was threatened both by the Spaniards and the Indians. The proprietors found fault with Yeamans as extravagant and indifferent to their interests. The colonists objected to his profits as an exporter of food-stuffs from Barbados. In May 1674 the proprietors replaced Yeamans with his predecessor Joseph West, but Yeamans apparently died before he received the notice. The minutes of the colony's Grand Council show that Yeamans presided as governor over a meeting on 3 August 1674, but minutes for the next meeting on 13 August 1674 report that Yeamans had died.

Yeamans family.

Sir John Yeamans married twice: firstly to – Limp, with whom he had five sons, and secondly on 11 April 1661 to Margaret Berringer, they had four children (two sons and two daughters). It is likely that Yeamans had Benjamin Berringer, his former business partner and husband of Margaret, poisoned just weeks before the marriage. However the death was investigated and Yeamans was cleared by the council.  Yeamans' many descendants were still in prominent positions in West Indies affairs at the start of the 20th century. John's younger brother, Robert, also received a baronetcy on 31 December 1666 but he left no children.  Yeamans' connection with the colony is still commemorated by the ancient mansion of Yeamans Hall, on Goose Creek, near Charleston. Sir John's considerable wealth in Barbados passed to his son, Major Sir William Yeamans, second baronet, and great-grandfather of Sir John Yeamans of Barbados, whose son, Sir Robert (d. 19 February 1788), was the last baronet.  Lieutenant Colonel Josiah Martin, the last colonial governor of the Province of North Carolina was a member of the same West Indies Yeamans family.  Yeamans was one of a large, often prominent, family named Yeamans or Yeomans of Bristol, England some of whom later became Quakers. One prominent member of the family was Robert Yeamans a sheriff of Bristol. In 1643 he plotted to seize a city gate and let in a Royalist army to overwhelm the Parliamentary garrison. The plot was discovered and he along with some fellow conspirators were executed by the Parliamentary military governor for treason. Robert Yeamans was not a close relation of Sir John.

Sir John Yeamans, 1st Baronet (1611–1674) was an English colonial administrator described in his day as "a pirate ashore". He was an early leader and governor of the Province of Carolina.

Sir John Yeamans, 1. Baronet (* Februar 1611 in Bristol, England; † August 1674 wahrscheinlich in Charleston, im heutigen US-Bundesstaat South Carolina) war ein englischer Kolonialbeamter und Gouverneur der Province of Carolina.


Life.

Glaser was born in Jena. His father worked as an engineer with Carl Zeiss, then as now a high-profile Jena company. When he was 10 the war which had been a feature of his early life ended and Jena found itself in the Soviet occupation zone of what remained of Germany. Glaser's father was forcibly relocated to the Soviet Union where he was put to work as a scientific researcher between 1946 and 1952. Roland Glaser was nevertheless able to pass his final school exams in Jena in 1953.  Glaser studied Biology at Jena's Friedrich Schiller University, obtaining his first degree in 1958. His doctorate, supervised by Manfred Gersch (1909–1981), followed in 1961, received for work on water pollution through radiation. While working on his doctorate he was employed as a research assistant by the national. After this, between 1962 and 1965, he moved to the Academy of Sciences at Berlin, employed in the Institute for Medicine and Biology, his work including research on ion transport. He received his Habilitation (a higher academic qualification) from Jena in 1965. Between 1965 and 1970 he remained at Jena as an assistant professor, lecturing in aspects of Zoology.  In 1970 Glaser obtained a professorship in Biophysics at the Humboldt University of Berlin. He would retain the post for thirty years. In 1979 he became a corresponding member of the national Academy of Sciences and Humanities. Between 1981 and 1985 or 1990 he served as President of the Association for Physical and Mathematical Biology. Internationally, between 1976 and 1988 he sat as a member of the UNESCO European Committee on Biophysics.  1989/1990 was a time of change, and in October 1990 German reunification formally put an end to the political division between East and West Germany. In 1992 Glaser's professorship at the Humboldt was confirmed, however, and he continued to live in Berlin. His seminal introduction to Biophysics continued to reappear in English and in German, periodically in editions updated by Glaser, most recently in 2012.

Roland Glaser (born Jena 23 May 1935) is a German biophysicist and writer. Between 1981 and 1990 he served as President of the Association for Physical and Mathematical Biology. (""Gesellschaft für physikalische und mathematische Biologie"").

Roland Glaser (* 24. März 1935 in Jena) ist ein deutscher Biophysiker und ehemaliger Hochschullehrer. Er war Vorsitzender der Gesellschaft für physikalische und mathematische Biologie der Akademie der Wissenschaften der Deutschen Demokratischen Republik (DDR) und von 1970 bis 2000 ordentlicher Professor und langjähriger Dekan an der Humboldt-Universität Berlin.


Olympische Sommerspiele 1988/Teilnehmer (Südkorea)

Archery.

Korea's third appearance in Olympic archery was even more successful than its previous one. The women's team was flawless, winning all three of the individual medals and the team gold. The men also won the team gold, with Park Sung-soo adding a fourth individual medal to bring the Koreans' total to six.  Women's Individual Competition:  Men's Individual Competition:  Women's Team Competition:  Men's Team Competition:

Athletics.

Men's 10,000 metres  Men's Marathon  Men's 4 × 100 m Relay  Men's 4 × 400 m Relay  Men's 3.000 m Steeplechase  Men's Long Jump  Men's Hammer Throw  Men's Shot Put  Men's Discus Throw  Men's Javelin Throw  Men's Decathlon  Men's 20 km Walk  Women's 4 × 100 m Relay  Women's 4 × 400 m Relay  Women's Marathon  Women's Discus Throw  Women's Javelin Throw  Women's Shot Put  Women's Heptathlon

Cycling.

Fifteen cyclists, eleven men and four women, represented South Korea in 1988.

Fencing.

20 fencers, 15 men and 5 women, represented South Korea in 1988.

Modern pentathlon.

Three male pentathlete represented South Korea in 1988.  Men's Individual Competition:  Men's Team Competition:

Shooting.

Twenty two South Korean shooters (fourteen men and eight women) qualified to compete in the following events:

Swimming.

Men's 50 m Freestyle  Men's 100 m Freestyle  Men's 200 m Freestyle  Men's 400 m Freestyle  Men's 1500 m Freestyle  Men's 100 m Backstroke  Men's 200 m Backstroke  Men's 100 m Breaststroke  Men's 200 m Breaststroke  Men's 100 m Butterfly  Men's 200 m Butterfly  Men's 200 m Individual Medley  Men's 400 m Individual Medley  Men's 4 × 100 m Freestyle Relay  Men's 4 × 200 m Freestyle Relay  Men's 4 × 100 m Medley Relay  Women's 50 m Freestyle  Women's 100 m Freestyle  Women's 200 m Freestyle  Women's 100 m Backstroke  Women's 200 m Backstroke  Women's 100 m Breaststroke  Women's 200 m Breaststroke  Women's 100 m Butterfly  Women's 200 m Butterfly  Women's 4 × 100 m Freestyle Relay  Women's 4 × 100 m Medley Relay

Synchronized swimming.

Three synchronized swimmers represented South Korea in 1988.

Tennis.

Men's Singles Competition  Women's Singles Competition

South Korea was the host nation and competed as "Korea" at the 1988 Summer Olympics in Seoul. 401 competitors, 269 men and 132 women, took part in 218 events in 27 sports.

Südkorea war Gastgeber der Olympischen Sommerspiele 1988 in Seoul. Die Nation ging mit einer Delegation von 401 Athleten (269 Männer und 132 Frauen) in 218 Wettkämpfen in 27 Sportarten ins Rennen. Fahnenträger bei der Eröffnungsfeier war der Judoka Cho Yong-chul.


Biography.

Vinzent studied philosophy, theology, Jewish studies, ancient history, and archaeology at the Universities of Eichstätt, Paris (Diplom, Philosophy and Theology, 1978–83), Ludwig-Maximilians-Universität, Munich, Germany (Ph.D., 1987–91), and Ruprecht-Karls Universität Heidelberg, Germany (Postdoctoral research, Habilitation, 1991-5). He worked as a pastor between 1984 and 1991, and from the 1990s onward he has also been a serial entrepreneur (IT, Internet, HR, energy, waste, utilities and infrastructure).  Vinzent has held academic posts as senior research fellow at King's College, Cambridge (1991-3), senior research fellow at the Berlin-Brandenburgische Akademie der Wissenschaft (tenure), Berlin (1993-5), C4-professor (non-tenure) for history of theology in the times of the Reformation and Modernity, University of Mainz, Germany (1996-7), C4-professor for history of theology (tenure), University of Cologne, Germany (1997-9), HG Wood Professor of Theology, University of Birmingham (1999-2010), including a stint as head of department (1999-2001). He joined the Department of Theology and Religious Studies at King's College London in September 2010. During the years 2010 to 2015 he served as Adjunct Professor of Korea University, Seoul. Since 2012 he is Fellow of the Max Weber Centre for Advanced Social and Cultural Studies, Erfurt University. Additionally, in 2015/2016 Fellow of TOPOI, Humboldt University Berlin, and in 2017/2018 Guest scholar at Augsburg University, Germany.  In 2003 he initiated and co-authored the Birmingham study with Guidelines on the ‘Trialogue of Cultures’ as a result of a major 8-European-country study of teaching and learning about Islam, Judaism and Christianity in schools, funded by the ALTANA/BMW-Foundation (Herbert-Quandt-Stiftung) with a major research grant (2000-2002). This resulted in the creation of a 10-year initiative by the foundation in which during the years 2005 to 2015 around 200 German schools took part in a trialogue competition. The aim was, based on the Guidelines to develop creative projects in schools for a better co-cultural-living. The results have led to a list of publications, a children broadcast teaching course by the Hessischer Rundfunk and various other media.  Together with Professor Allen Brent, he has directed the major research project on 'Early Christian Iconography and Epigraphy', a project generously funded by the British Academy (2011–12); as prime investigator he was running the Arts and Humanities Research Council (AHRC) funded major research project on ‘Meister Eckhart and the early 14th century Parisian University’ (2013-2016) following his re-discovery of new Parisian Questions of this medieval philosopher and theologian. He is now co-leading together with Marie-Anne Vannier (Université de Lorraine, Metz) a major research project on ‘Teaching and Preaching with Patristic auctoritates – Meister Eckhart in France and Germany, past and present’, funded by the French Agence National de la Recherche (ANR) and the Deutsche Forschungsgemeinschaft (DFG) (2018-2021). Since 2003 he has served as one of the directors of the International Conference on Patristic Studies, is editor-in-chief of Studia Patristica, the conference's official publication, has initiated and is editor of the series Studia Patristica Supplements and of the series Eckhart: Texts and Studies.  Vinzent is board member of the Eckhart Gesellschaft (2016-), and member of a series of academic societies, the European Academy of Science (Vienna, 2001-), the Academia Europeae (London, 2015-), the Eckhart Society (2011-), International Society of Neoplatonic Studies (2012-), Internationale Gesellschaft für Theologische Mediävistik (2014-), Oswald von Wolkenstein-Gesellschaft (2017-).

Contributions.

In a series of monographs he has published on early Christian beliefs (Monarchianism, Trinity, Apostles' Creed) and their reception in the Middle Ages, the Enlightenment and in contemporary theology. His main contribution to the field of historical theology is his radical attempt to read sources non-anachronistically. As a result, Christianity is seen as a religion which developed its contours much later than previously assumed. In his recent monograph on the Resurrection, he argues that its foundational writings, especially the canonical and non-canonical Gospels, all stem from the middle of the second century, and even Paul's letters, written around the mid first century, only became influential a hundred years later. The Roman teacher and businessman Marcion of Sinope is identified as one of the key thinkers and founders of Christianity. Key concepts like Christianity as a separate'religion', being based not only on sayings of a Rabbi Jesus, but on the exemplary life of a divine messenger and saviour Jesus Christ who died on the cross and rose again, the 'Gospel' as a new literary genre that encapsulates the novelty of Christ's message and of Christianity, the 'New Testament' as the title of the collection of the foundational writings of this new religion (in antithesis to the 'Old Testament' of the Jewish law and the prophets), the introduction of sacraments, new ways of fasting and asceticism all go back to this Roman teacher.  Similarly, Vinzent has shown that the Christian Creed is a later development and, like that of Christian festivals (except Easter which was adopted from Judaism, but was radically altered by Marcion – a change which was adopted only at a time when the other festivals were introduced) is a product of the fourth century. Especially the Apostles' Creed seems to have derived from the dogmatic disputes in 340 AD.  On the basis of Vinzent's views, the early history and the nature of Christianity looks very different from our common understanding. Christianity developed as one of the Jewish sects and did not move beyond this framework before the reconceptualization by Marcion of Sinope in the years after 140 AD. Moreover, the various theologies and communities that mushroomed from the mid second century became gradually influenced by the 'Gospel(s)' and 'Paul'.  A more recent research area of Vinzent is Meister Eckhart (c. 1260–1329), his writings and thinking. Vinzent argues that Eckhart was an extraordinarily creative Christian thinker who re-conceptualized almost every key idea of his religion. He shows that Eckhart challenged even core concepts like the 'Trinity', the 'Fall', the 'Sacraments' and other ideas that normally are taken for granted as being central to Christianity.  In the latter field he has contributed major studies, but also discoveries of new texts by Meister Eckhart (four more Parisian Questions and others), provided the Biblical Index to the critical edition of Eckhart’s works in the Klostermann edition (Stuttgart), editions, translations and commentaries to Eckhart’s works. As a result, Eckhart is embedded more deeply within the discourse of the late 13th and early 14th century discourse of scholasticism at the University of Paris, Oxford and Erfurt. Moreover, it became clear that Eckhart was not only one of the most successful and debated preachers with a great impact on the development of his vernacular middle high German language, but that he was also a sought after and highly recognized University master with his Latin works. In a very recent new manuscript discovery at the Wartburg Castle of Eisenach, Germany, Eckhart’s own vernacular translation of some of his Latin works seems to be preserved (with a parallel codex in Berlin and fragments in Munich).  Both subject areas link to Vinzent's attempt to push the boundaries of theology and to develop a radical transformational theology by which this subject such as the resurrection are understood as being principally open to challenge, criticism and reformulation. He claims that theology is measured against its natural claim of dealing with the very first principle(s) and truth. As such, it cannot be conceived as a closed system, but needs to be co-essential with that of its own object.  His latest research pertains to historiographical methodology. Influenced by the sociological debates of modernity, particularly through his fellowship at the Max Weber Kolleg, Erfurt, he reflected on the various turns (cultural turn, material turn), and developed his anachronological criticism further in his project on ‘Retrospection’. In this he highlights the paradox between the retrospective nature of any writing of history and the progressive form of language and any form of narrative, including that of history.  Markus Vinzent and the Bearing of Marcion on the Early Church and the Origins of the Gospel  Markus Vinzent is the head of the research project at the Max Weber Centre for Advanced Cultural and Social Studies on the place of Marcion of Sinope in the development of the gospel genre. The project, entitled ‘The Gospel of Marcion: The Beginnings of Christianity’, proceeds from the premise that the four canonical gospels of the New Testament were composed in the first-century and were canonised following the end of the second-century AD. The project brings into question the scholarly consensus surrounding the dating and redaction history of the canonical gospels, to show that the teacher and naval merchant, Marcion, was the first to compile a work of literature recognisable today as belonging to the gospel tradition. The predominant language of Marcion’s home region, Sinope, a Bithynian-Pontian Roman province, is widely accepted to be Pontiac Greek, a dialect of Ancient Greek, although it remains yet unknown, whether or not Marcion was fluent in the language.  Vinzent (2014) argues, that the core writings of the New Testament were likely heavily redacted, if not outright created, in the second-century AD, namely the canonical gospels (as well as the non-canonical gospels), which stem from the middle of the second-century AD, the Pauline Epistles (going back to Paul, but severely redacted when further ‘Pauline’ letters and "Acts" were added). Even further redactions followed in the second-century, when the texts were gathered to form the collection of the New Testament. The Roman teacher and merchant, Marcion of Sinope, is regarded by Christianity as one of its key thinkers and founders, and is associated with the first compilation of a gospel and 10 Pauline letters. Vinzent’s views stand apart from the conventional understanding of scholarship. The early Church first developed itself out of a ‘Jewish sect’, but it failed to shed its Jewish trappings until Marcion reinterpreted it in the years following 140 AD. For Vinzent, it was Marcion, who through the corpus of the ten Pauline Epistles and his one Gospel, helped to spread the belief in the Resurrection of Christ throughout Christendom.  Thus Marcion’s Gospel is taken to be the historical font for each of the four canonical gospels, because they consult Marcion as their source. In his own words, Marcion created the literary genre of the gospel tradition and gave his work its name, all whilst without historical precedent in the attachment of the name of this genre to the story of Jesus. Through the collected texts of his Gospel and the ten Pauline Epistles, which he came to publish as ‘the New Testament’, the first collection ever to take this name, Marcion gave a previously ‘Jewish sect’ an increasingly Christian profile, thus setting in motion their establishment into the institutional environment of the Roman world, in that Christianity had finally come to shed its Jewish identity. In the introduction to his New Testament, Marcion copies Tertullian’s example, and denounces the four later canonical gospels as plagiarism. Thus Vinzent thinks that from this, the basis was created for the establishment of the Pauline Epistles as canon, through the connection of the later four canonical gospels with origins of the wider New Testament, in which the Acts of the Apostles are found at the end. Markus’s project enjoys a scholarly connection to reconstructions of the Gospel of Marcion undertaken by Theodor Zahn, Adolf von Harnack, Dieter T. Roth, and Matthias Klinghardt.  According to Vinzent, Marcion placed the Resurrection of Christ at the centre of Christian belief in the second-century, through his rediscovery of Paul and the publication of the ten Pauline Epistles, in conjunction with his gospel, which was later condemned by opponents as a variation of the Gospel of Luke. Further still in his analysis, Vinzent holds that the Resurrection of Christ became an important element of belief only in those circles most influenced by the writings of Paul and the Gospel of Marcion.  For Vinzent, the ‘Gospel of Marcion’ was initially composed for teaching, and not publication, however, as soon as it was published, it was heavily plagiarised by several teachers and scribes, and then revised for publication into several different editions under the guise of various pseudonymous attributions to the Apostles and their disciples.  Vinzent supports the investigation of David Trobisch and Matthias Klinghardt (2011), which examines the origin of the post-Marconite gospels as ‘canonical redaction’. According to Klinghardt, the compilation of the 27 individual articles into a single literary unit is supposedly not the result of a coherent process of collection and selective procuration, but much rather the product of a single, or even multiple redactors. Vinzent combines these assumptions with the hypothesis, in that the redaction followed as a reaction to the Gospel of Marcion, and amongst other things, that it embodied an anti-Marconian current, which supposedly means that it was intended to be understood as a response to Marcion and as an alternative written in opposition to his condemned gospel. Vinzent sees evidence of this editorial intention in the writings of Origen of Alexandria, Irenaeus of Lyon, Tertullian, and Justin the Martyr. Thus Vinzent presents the following points:  • Marcion created the first so-called ‘gospel’ and the first ‘New Testament’. He also assumed, amongst other things, that the origin of the gospel was an active oral tradition in Rome.  • Marcion is strongly associated with the intellectual tradition of Middle Platonism.  • Marcion’s New Testament consisted of the following texts: the Gospel of Marcion, the Epistles to Galatians, First Thessalonians, Second Thessalonians, Romans, First Corinthians, Second Corinthians, Laodiceans, Colossians, Philippians, and Philemon.  • Although originally compiled for his own teaching, the text of the Gospel of Marcion reached a far wider audience than first intended and was subsequently plagiarised, revised, and distilled into pseudoepigraphia attributed to pseudonyms, e.g., Mark, Matthew, Luke, and John, but also to other prominent authorities, i.e., Peter.  • Because of this situation, Marcion was likely to have felt himself compelled, firstly to publish the texts of the Pauline Epistles and the Gospel, and secondly, to provide the collection with a preliminary introduction, i.e., disclamatory statement. In these statements, Marcion points to the inconsistency of his ‘New (Marconite) Gospel’ with its inclusion alongside the Hebrew Bible and its reconstruction in pseudoepigraphia by Jewish writers.  • The Gospel of Mark, unlike the Gospels of Matthew and Luke, only broadly follows the structure of the Gospel of Marcion, in that Mark does not include an account of Jesus’s childhood. On the other hand, the redactor of Luke maintains the closest resemblance to the text of the Gospel of Marcion, appearing unexpectedly to have been simultaneously influenced by previous redactions to the Gospels, which also find their root in the ‘Gospel of Marcion’. Otherwise, the Ascension of Christ is set at the end of the Gospel by the redactor, and the Gospel of Matthew greatly extends the childhood and adolescence stories of Jesus and embeds several references to the Torah and the Prophets into them.

Markus Vinzent (born 1959) is a historian of religion (specializing in early Christianity, Patristics and Medieval Studies, Historiography, Retromodernity, Religion and Business). He is professor in the Department of Theology & Religious Studies at King's College London, and fellow of the Max Weber Center for Advanced Social and Cultural Studies, Erfurt, Germany.

Markus Vinzent (* 12. April 1959 in Saarbrücken) ist ein deutscher Religionshistoriker, Hochschullehrer und Seelsorger mit den Schwerpunkten Frühchristentum, Patristik und Mittelalter, Geschichtsschreibung, Religion und Wirtschaft. Vinzent lehrt in der Abteilung für Theologie und Religionswissenschaft am Kings College in London und ist Mitglied des Max Weber-Kollegs für Sozial- und Kulturwissenschaften in Erfurt.


Winners and nominees.

The nominees for the 92nd Academy Awards were announced on January 13, 2020, at 5:18 a.m. PST (13:18 UTC), at the Academy's Samuel Goldwyn Theater in Beverly Hills, by actors John Cho and Issa Rae.

Awards.

Winners are listed first, highlighted in boldface, and indicated with a double dagger ().

Governors Awards.

The Academy held its 11th Annual Governors Awards ceremony on October 27, 2019, and presented the following four awards:

Films that received multiple awards and nominations.

At the 92nd Academy Awards, 53 films received 124 nominations. Of these, 16 films received 24 Academy Awards of Merit.

Presenters and performers.

Presenters.

The presenters for the 92nd Academy Awards were:

Performers.

Musical performances at the ceremony were:

Ceremony information.

During its board of directors meeting in April 2019, the Academy voted to rename the Best Foreign Language Film category to Best International Feature Film, and continued to allow animated and documentary films to be eligible for the award. The requirement for nominees to have the majority of their dialogue be in a language other than English remains in force. The category of Best Makeup and Hairstyling was also expanded from seven finalists and three nominees to ten finalists and five nominees.  ABC Entertainment president Karey Burke announced in January 2020 that the ceremony would once again forego a host, citing the success of the format from the previous ceremony (necessitated by the withdrawal of originally announced host Kevin Hart). Burke stated that the ceremony would feature "huge entertainment values, big musical numbers, comedy, and star power".

Box office performance of nominated films.

Forty-eight nominations went to 15 films on the list of the year's 50 top-grossing movies. Only "Toy Story 4" (5th), "Joker" (9th), "Knives Out" (15th), "How to Train Your Dragon: The Hidden World" (16th), "1917" (17th), "Once Upon a Time in Hollywood" (20th), "Ford v Ferrari" (22nd), "Little Women" (28th), and "A Beautiful Day in the Neighborhood" (46th) were nominated for Best Picture, Best Animated Feature or any of the directing, acting or screenwriting awards. The other top 50 box-office hits that earned nominations were "Avengers: Endgame" (1st), "The Lion King" (2nd), "Star Wars: The Rise of Skywalker" (3rd), "Frozen II" (4th), "Maleficent: Mistress of Evil" (24th), and "Rocketman" (33rd).

Ceremony highlights.

The show opened with a comedy routine featuring Steve Martin and Chris Rock; following the host-less ceremony from the prior year, ABC's vice president of special programming Rob Mills said they felt it was tradition to open the ceremony with a bit of comedy before starting the awards.  The performance of "Into the Unknown" from "Frozen II" featured Idina Menzel and Aurora joined by nine of Elsa's voice actresses from international dubs of the film. Up-and-coming actors such as Beanie Feldstein, Kelly Marie Tran, Anthony Ramos, Utkarsh Ambudkar and George MacKay were used introduce some of the veteran presenters, an idea by producers Lynette Howell Taylor and Stephanie Allain to highlight inclusion within the Hollywood community.  James Corden and Rebel Wilson presented the award for Best Visual Effects dressed in cat costumes to satirize their starring roles in "Cats" — a film critically-panned for its visual effects, among other factors — and told the audience "As cast members of the motion picture "Cats", nobody more than us understands the importance of good visual effects"; Mills said Corden had come up with this idea. The next day, February 10, the Visual Effects Society issued a statement criticizing Corden and Wilson's act, commenting that "[t]he best visual effects in the world will not compensate for a story told badly".  Another highlight of the ceremony was Eminem's surprise performance of "Lose Yourself" from "8 Mile" (2002). The song had been nominated for and ultimately won Best Original Song in 2003, but Eminem declined to attend the ceremony due to his lack of confidence that the song would actually win, among other factors. The idea of bringing Eminem back originated from Mills and the Academy, wanting to keep a "high energy" musical act in line with Justin Timberlake and Queen + Adam Lambert's opening performances during the 89th and 91st Academy Awards, respectively, as well as to find a way to give Eminem a chance to perform his winning song. Further, Eminem found the opportunity timely as he had just released a new album, "Music to Be Murdered By". The performance was a closely-held secret by the ceremony's producers, and Eminem was reportedly given the option to drop out of the show if word of the performance leaked, and thus was scheduled in mid-ceremony rather than as an opening act so that if he did back out, it would not have disrupted the program.  When accepting the award for Best Director, Bong Joon-ho spoke through his interpreter: "When I was young and studying cinema, there was a saying that I carved deep into my heart, which is, the most personal is the most creative." He then said in English that this quote had come from "our great Martin Scorsese", which prompted the audience to give Scorsese an enthusiastic standing ovation. Later in the night, Bong confirmed in a separate press conference held for South Korean media that he read the quote from a book written by David Thompson; Bong did not mention the book's title at that time, but it was eventually turned out to be "Scorsese on Scorsese", co-written by Thompson and Ian Christie.  As Kwak Sin-ae, CEO of Barunson E&A and producer of "Parasite", finished her acceptance speech for Best Picture, and, vice president of South Korean conglomerate CJ Group and executive producer of "Parasite", was about to give one, the stage lights went off. The audience—including Tom Hanks, Rita Wilson, Charlize Theron, and Margot Robbie in the front row—then vocally pleaded for the lights to go back on to allow Lee to deliver her remarks. It is well-known that acceptance speeches are often cut due to the longer-than-usual run time of the Academy Awards. In South Korea, questions arose as to whether it was appropriate for Lee to give an acceptance speech when she was not a part of "Parasite"s Best Picture nominated team, which were producers Kwak and Bong. In response, Kwak wrote in a social media post that it was arranged in advance that, in the event "Parasite" were to win Best Picture, she would give a quick speech and Lee would give one next. Kwak also wrote that Bong had a shortage of speeches after winning three categories prior.

Viewership.

An estimated 23.6 million viewers watched the ceremony live, with a 5.3 rating among key demographic viewers. It represented a 20% decrease over the previous year's ceremony, and made it the least-watched Oscar ceremony of all time. The ceremony still eventually ranked as the most watched award show of the 2019–2020 television season, as declining viewership is a phenomenon seen across all award shows over the past few years. The 2020 Oscars is also one of the last live awards shows to have aired in the U.S. amidst the current upheaval in the general awards show calendar due to the COVID-19 pandemic.

Reactions.

"Parasite"s Best Picture win was well-received by film critics, who hailed it as a major step forward for popular appreciation of international film and for restoring the legitimacy of the Academy. "The academy gave best picture to the actual best picture", wrote Justin Chang of the "Los Angeles Times", who continued that the film awards body was "startled... into recognizing that no country's cinema has a monopoly on greatness". Conversely, U.S. president Donald Trump lambasted "Parasite"s win at a campaign rally in Colorado on February 20, 2020, questioning why a foreign film won Best Picture; his comments were widely condemned as "xenophobic" and "racist". The North American distributor of the film, Neon, responded by tweeting: "Understandable, he can't read."

In Memoriam.

The annual "In Memoriam" segment was introduced by Steven Spielberg, with Billie Eilish singing "Yesterday" accompanied by Finneas O'Connell over the sequence.  The segment was reported to have omitted some notable 2019 deaths, including Luke Perry, Valentina Cortese, Sue Lyon, Carol Lynley, Tim Conway, Michael J. Pollard, Jan-Michael Vincent, Sid Haig, Carol Channing, René Auberjonois, Caroll Spinney, Bob Einstein, and Cameron Boyce, even though the Academy's website features a larger list that includes these, among other omissions during the ceremony.

External links.

News resources.

Other resources

The 92nd Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), honored the best films of 2019 and took place at the Dolby Theatre in Hollywood, Los Angeles, California. After more than a decade of holding the Academy Award ceremonies towards the end of February, the 92nd Academy Awards took place earlier in the month, on February 9, 2020. During the ceremony, AMPAS presented Academy Awards (commonly referred to as Oscars) in 24 categories. The ceremony was televised in the United States by ABC, produced by Lynette Howell Taylor and Stephanie Allain, and directed by Glenn Weiss. Citing the success of the format at the 91st presentation in 2019, ABC announced that the ceremony would again be conducted without a host.

Die 92. Verleihung der Oscars () fand am 9. Februar 2020 im Dolby Theatre in Los Angeles statt. Im Jahr der Oscarverleihung werden immer Filme des Vorjahres ausgezeichnet, in diesem Fall die Filme des Jahres 2019. Die Produktion der 92. Oscarverleihung übernahmen erstmals die beiden US-amerikanischen Filmproduzentinnen Lynette Howell Taylor und Stephanie Allain. Wie bereits im Vorjahr wurde die Verleihung erneut ohne Moderator durchgeführt.


Plot.

Charlie Barber is a successful theater director in New York City. His theater company is currently producing a play that stars his wife Nicole, a former teen film actress. The couple is experiencing marital troubles and sees a mediator, who suggests that they each write down what they like about one another, but Nicole is too embarrassed to read hers aloud and they decide to forgo the counseling.  Nicole is offered a starring role in a television pilot in Los Angeles, and she decides to leave the theater company and temporarily live with her mother in West Hollywood, taking the couple's young son Henry with her. Charlie decides to stay in New York, as the play is in the process of moving to Broadway. Despite the couple agreeing to split amicably and forgo lawyers, Nicole hires Nora Fanshaw, a family lawyer. Nicole tells Nora the full story of her relationship with Charlie and how she gradually felt neglected by him and how he rejects her ideas and desires. Nicole also reveals that she thinks Charlie slept with the stage manager of the theater company. Charlie flies out to Los Angeles to visit his family, revealing that he has won a MacArthur Fellowship grant, but Nicole serves him divorce papers. Charlie meets with Jay Marotta, a brash and expensive lawyer who urges Charlie to fight dirty, but Charlie returns to New York without hiring him. He receives a call from Nora, who urges him to get a lawyer soon or risk losing custody of Henry. Charlie returns to Los Angeles and hires Bert Spitz, an empathetic and retired family lawyer who favors a civil and conciliatory approach.  On Bert's counsel, Charlie rents an apartment in Los Angeles to be closer to his family and strengthen his custody case. Charlie wishes to avoid going to court, so Bert arranges a meeting with Nora and Nicole. Nora argues that Charlie refused to respect Nicole's wishes to move back to Los Angeles and that Henry would prefer to stay with his mother rather than fly back and forth between coasts. Bert privately advises Charlie to drop his New York residency altogether, but a frustrated Charlie refuses and decides to fire him.  Using the first payout of his MacArthur Fellowship grant, Charlie hires Jay on retainer. The case moves to court, where Nora and Jay argue aggressively on behalf of their clients and attempt to paint the other party in a negative light. Nora highlights Charlie's past infidelity and emotional distance, while Jay exaggerates Nicole's drinking habits as alcoholism and threatens criminal action for hacking into Charlie's emails. Meanwhile, Charlie and Nicole remain friendly out of court and share time with Henry, who is increasingly annoyed with the back and forth.  Disillusioned with the legal process, the couple decides to meet in private away from the lawyers. A friendly discussion in Charlie's apartment devolves into a heated argument; Nicole claims that Charlie has now fully merged with his own selfishness, and Charlie punches a hole in a wall and says he wishes that she would die. He then breaks down in shame and apologizes; Nicole comforts him. An appointed expert evaluator monitors a night in with Charlie and Henry, during which Charlie accidentally cuts himself. Soon after, the couple agrees to relax their demands and reach an equal agreement to finalize the divorce, although Nora negotiates slightly better terms for Nicole, against Nicole's wishes.  A year later, Charlie's play has a successful Broadway run, while Nicole has a new boyfriend and is nominated for an Emmy Award for directing an episode of her show. Charlie informs Nicole that he has taken a residency at UCLA and will be living in Los Angeles full-time to be closer to Henry. Later, he discovers Henry reading Nicole's list of things she likes about Charlie she wrote down during counseling. Henry asks Charlie to read it aloud to him, and Charlie does so, becoming emotional as Nicole watches from afar. That evening, after attending a Halloween party together, Nicole offers to let Charlie take Henry home even though it is her night. As Charlie walks out to his car carrying a sleeping Henry, Nicole stops Charlie to tie his shoe for him. He thanks her, and they part ways once more.

Cast.

Jasmine Cephas Jones, Mary Wiseman, Matthew Maher, Gideon Glick, and Becca Blackwell appear as members of Nicole and Charlie's theater group.

Production.

The idea for the film first came to Baumbach in 2016, while in post-production on "The Meyerowitz Stories". He began to research the subject, and met with three-time collaborator Driver to discuss the role. In November 2017, it was announced Driver, Scarlett Johansson, Laura Dern, Merritt Wever and Azhy Robertson were set to star in the film. David Heyman produced the film under his Heyday Films banner, and Netflix produced and distributed. In March 2018, Kyle Bornheimer joined the cast of the film, and in June 2018, it was announced that Ray Liotta had also been added.  Principal photography began on January 15, 2018, and lasted 47 days through April 2018, taking place in New York City and Los Angeles.  Speaking of writing the film following his divorce from actress Jennifer Jason Leigh, as well as his parents' divorce (which served as inspiration for his earlier film "The Squid and the Whale"), Baumbach said: Following the release of the film, Baumbach said, "I showed [Leigh] the script and then I showed her the movie a little bit ago. She likes it a lot."

Release.

"Marriage Story" had its world premiere at the Venice Film Festival on August 29, 2019, and also screened at the Telluride Film Festival on August 31, 2019, and the Toronto International Film Festival on September 8, 2019, where it was first runner-up for the People's Choice Award. It also served as the Centerpiece selection at the New York Film Festival on October 4, 2019, and the BFI London Film Festival on October 6, 2019. Netflix gave it a limited release in theatres beginning November 6, 2019, before streaming the film starting December 6, 2019.

Home media.

In January 2020, it was announced that "Marriage Story", "The Irishman", "American Factory" and "Atlantics" would receive DVD and Blu-ray releases by The Criterion Collection. The release of "Marriage Story" will come on July 21, 2020.

Reception.

Box office.

Although Netflix does not publicly disclose the theatrical grosses of its films, "IndieWire" estimated "Marriage Story" grossed around $160,000 from five theaters in its opening weekend (and a total $200,000 over its first five days). The site wrote that "normally, these (estimated) numbers would be disappointing," but "given the theaters and more limited seating, as well as awareness of imminent streaming access within the month" it was sufficient for Netflix. Playing at 16 theaters the following weekend, the film made an estimated $140,000, and then $340,000 from 85 theaters in its third. Expanding to 130 theaters in its fourth weekend of release the film made $360,000, for a month-long running total of $1.2 million. The following weekend, despite being released digitally onto Netflix starting the Friday, the film made an estimated $300,000 from 120 theaters, and then $120,000 from 80 theaters the following week.  "Marriage Story" grossed an estimated $2 million in North America and $333,686 in other territories, for a worldwide total of $2.3 million.

Critical response.

On Rotten Tomatoes, the film has an approval rating of 95% based on 364 reviews, with an average rating of 8.81/10. The website's critics consensus reads: "Observing a splintering union with compassion and expansive grace, the powerfully acted "Marriage Story" ranks among writer-director Noah Baumbach's best works." On Metacritic, it has a weighted average score of 94 out of 100, based on 53 critics, indicating "universal acclaim".  Owen Gleiberman of "Variety" wrote, "At once funny, scalding, and stirring, built around two bravura performances of incredible sharpness and humanity, it's the work of a major film artist, one who shows that he can capture life in all its emotional detail and complexity — and, in the process, make a piercing statement about how our society now works." Alonso Duralde of "TheWrap" praised the acting and Baumbach's screenplay, saying, "One wonders if Baumbach left references to "Kramer vs. Kramer" or "Two for the Road" on the cutting-room floor, but either way, "Marriage Story" is a film that deserves to be mentioned in their company. It's devastating, essential, and destined to be remembered long after this awards cycle ends." In his review for "The Hollywood Reporter", Jon Frosch concurred, writing: "Other American films about divorce have portrayed this phenomenon — the legal process driving and shaping the couple's feelings rather than vice versa — but none with the force and clarity of this one [...] It's also funny and, when you least expect it (and most need it), almost unbearably tender, thanks in large part to the sensational leads, who deliver the deepest, most alive and attuned performances of their careers." Rating the film 5 stars out of 5, Peter Bradshaw of "The Guardian" called it a "wonderfully sweet, sad and funny film" that serves as a "glorious laugh-out-loud, cry-out-loud portrait of a relationship in its death throes" and praised the performances of the cast. Writing for "The Washington Post", Ann Hornaday gave the film 3.5 stars out of 4 and praised Johansson and Driver as the "two-person fulcrum around which this funny-sad, happy-harrowing movie revolves."  In a mixed review, "GQ"s David Levesley opined that the film was "fundamentally, a good piece of cinema", but disliked the unacknowledged upper-class privilege that the characters possessed, commenting: "The world of third-wave coffee, delicatessens and Upper West Side therapy has been done to death and does not speak to as much of the human condition as the people wading through it themselves seem to think." Armond White of "The National Review" also panned the film's bourgeois themes and the lead actors' performances, writing: "This story is really about class rivalry clouded by a sex-and-cinema surface. The obnoxious sentimentality of Marriage Story forces a filmmaker's self-righteousness on us... It is Johansson and Driver who suffer Baumbach's superficiality. This is his least-bad movie only because the quality of the performances [of the supporting cast] is improved."

Accolades.

"Marriage Story" was chosen by the American Film Institute, the National Board of Review, and "Time" magazine as one of the ten best films of the year. The film received a leading six nominations at the 77th Golden Globe Awards, including Best Motion Picture – Drama, winning one award for Best Supporting Actress – Motion Picture. The film received eight nominations at the 25th Critics' Choice Awards, three nominations at the 26th Screen Actors Guild Awards for the performances of Driver, Johansson, and Dern, five nominations at the 73rd British Academy Film Awards, one nomination by Cinema for Peace for the most Valuable Film of 2020 and six nominations at the 92nd Academy Awards. "Time" Magazine's annual best performances of the year list by Stephanie Zacharek listed Driver as the third best film acting performance of 2019. Laura Dern won the Best Supporting Actress Award at the 92nd Academy Awards.

Marriage Story is a 2019 drama film written, directed, and produced by Noah Baumbach. It stars Scarlett Johansson and Adam Driver, with Laura Dern, Alan Alda, Ray Liotta, Julie Hagerty, and Merritt Wever in supporting roles. The film follows a married couple, an actress and a stage director (Johansson and Driver), going through a coast-to-coast divorce.

Marriage Story ist eine US-amerikanische Tragikomödie von Noah Baumbach. Sie hatte am 29. August 2019 im Rahmen der Filmfestspiele von Venedig ihre Weltpremiere und wurde im September 2019 beim Toronto International Film Festival gezeigt. Am 6. Dezember 2019 wurde der Film in das Programm von Netflix aufgenommen.


Camp construction.

On the sparsely wooded plains in eastern Thailand a few miles from the Cambodian border, a compound of bamboo and thatch houses was opened on 21 November 1979 after the fall of the Khmer Rouge. Following the establishment of an emergency camp for refugees at Sa Kaeo, the Thai Ministry of the Interior authorized Mark Malloch Brown of the UNHCR to build a second camp at the foot of Khao-I-Dang Mountain.  According to Martin Barber, Chief of UNHCR's Kampuchean Unit, "The site, covering an area of 2.3 square kilometers on a gently sloping hill, had good drainage. It opened...after just four days of preparatory work spent in establishing the overall design of the camp and developing the basic infrastructure (roads, water tanks, and latrines) of the first "chunk". The camp was divided into sections holding 10,000-12,000 people. Each section had space allocated for reasonable housing and for necessary services including supplementary feeding.

Camp population.

On 19 October 1979, Thai Prime Minister Kriangsak Chomanan enacted an "open door" policy which permitted Cambodian refugees to cross the border safely and to reside in specific locations. Khao-I-Dang (known to aid agencies as KID) was intended to serve as a temporary holding center for refugees who would either be repatriated to Cambodia or expatriated to third countries. On the first day 4,800 people arrived and by 31 December there were 84,800. Between November 1979 and the end of January 1980 an average of 1,600 refugees arrived in the camp each day. Thailand's open door policy was abruptly ended on 24 January 1980 and KID was closed to new arrivals.  Originally planned to hold 300,000 refugees, the population eventually reached 160,000 in March 1980. Later, as KID became the main holding center for refugees awaiting third country visas, illegal entry to the camp was highly sought after by refugees desperate to escape from Cambodia, and smuggling, theft, and violence spiraled out of control. In July and August 1980 UNHCR began transferring large numbers of refugees out of KID to Phanat Nikhom, Sa Kaeo II, Mairut, and Kap Choeng. By December 1982 the population had dropped to 40,134 as refugees were forcibly repatriated, sent to third countries, or sent back to the border camps.

Camp residents.

The presence at Khao-I-Dang of a large number of refugees with education and experience in administration, health, teaching, or technical skills reduced the language problems and allowed early involvement of refugees in all fields of activities.  Many Cambodians recall spending some time at KID, including Dr Haing S. Ngor of the film The Killing Fields, who (as a refugee) was employed in 1979 in the 400-bed ICRC hospital. The final scene in the film was shot at KID in 1983, in the surgical ward where Dr. Ngor had worked. Former refugees who have described their experiences in Khao-I-Dang include Molyda Szymusiak, Chanrithy Him, Oni Vitandham and Mohm Phat.

Camp services.

Provision of adequate food and water was a major logistical problem. Water was brought in each day by trucks from supply areas one to two hours away. Water was rationed to 10–15 liters per person per day in the camp and 50–60 liters per hospitalized patient/day).  Educational and medical services were provided by Thai and international relief organizations. KID soon became the most serviced camp on the Thai-Cambodian border. It may have been the most elaborately serviced refugee camp in the world. By early-1980, 37 voluntary agencies were working in the camp. Most health services were provided by ICRC, Doctors Without Borders, the Thai Red Cross, CARE, Irish Concern, Catholic Relief Services, the International Rescue Committee, the American Refugee Committee, Christian and Missionary Alliance, OXFAM, Handicap International, Malteser International, and YWAM.

Camp hospital.

ICRC chose KID for their first border surgical hospital where acute trauma patients were cared for, at first mainly war wounded, but later large numbers of landmine victims. Surgical equipment was donated from the French hospital ship "L'Île de Lumière". Initially two hospitals (A and B) were constructed with 900 beds each in 17 wards: four pediatric wards, including one intensive feeding center; two wards for gynecology and obstetrics; two surgical wards, including an admission and emergency center; one tuberculosis center; and eight general medicine wards, In addition, there was a surgical unit with two operating rooms containing four operating tables, and a post-operative unit. There also were two hospital kitchens, a warehouse, a laboratory, and an x-ray room. Each ward housed 70-120 patients, and the capacity of the entire facility was about 1,800 patients.  The ICRC hospital began treating patients on 27 November 1979 and during its first 54 days of operation 521 surgeries were performed, 162 of these related to war injuries, including 22 amputations. Overall, 80% of operations were emergency surgery related to trauma, with the remainder performed to alleviate severe pain or bleeding. During the first two months an average of 9.5 operations per day were performed with a maximum of 16.  By late-1980 Hospital B fell into disuse and was converted into smaller buildings for other purposes, some of which were destroyed in a fire in 1981.  As of June 1984, the medical teams working at KID ICRC Hospital consisted of four surgeons, four anesthesiologists and 13 nurses sent by nine national Red Cross Societies: (Belgium, Finland, France, Iceland, Japan, Norway, Sweden, Switzerland, and the United Kingdom). The medical coordinator and the administrator of the hospital were sent by the New Zealand and the Canadian Red Cross Societies respectively. Moreover, 120 Thai and Khmer medical staff assisted these teams in their work.  UN Secretary General Kurt Waldheim visited Khao-I-Dang Hospital on 6 August 1980, and Perez de Cuellar visited on 27 January 1985. Former President Jimmy Carter and First Lady Rosalynn Carter visited on 6 June 1985.

Camp closure.

Khao-I-Dang's size steadily declined as its population was resettled in other countries. It eventually became a camp made up of persons who had been rejected for resettlement; many had been rejected by more than one country. With the prospects of further resettlement diminishing, Thailand declared the camp closed at the end of December 1986. Relocations to border camps of the illegal camp residents began in March 1987. In response to international pressure, selection for resettlement of the residual population was extended again in 1988, after which Thai authorities officially decreed that all remaining refugees would be transferred to the border for repatriation to Cambodia. The residents of KID were vocal in opposition to what they felt was a forced repatriation and held numerous demonstrations. By December 1989 camp population was 11,600.  The camp finally closed on 3 March 1993 during the UNTAC operation when all remaining residents were moved to Site Two Refugee Camp to await repatriation to Cambodia. At the closing ceremony, then UNHCR Special Envoy Sérgio Vieira de Mello called KID a "powerful and tragic symbol" of the Cambodian exodus and the international humanitarian response.

Khao-I-Dang Holding Center (, ) was a Cambodian refugee camp 20 km north of Aranyaprathet in Prachinburi (now Sa Kaeo) Province of Thailand. The most enduring refugee camp on the Thai-Cambodian border, it was established in late-1979 and administered by the Thai Interior Ministry and the United Nations High Commissioner for Refugees (UNHCR), unlike other camps on the border, which were administered by a coalition made up of UNICEF, the World Food Program, International Committee of the Red Cross (ICRC) (briefly), and after 1982, the United Nations Border Relief Operation (UNBRO).

Khao-I-Dang, auch Khao-I-Dang Holding Center (Thailändisch: เขาอีด่าง, Kambodschanisch: ខាវអ៊ីដាង gesprochen "Khau i Dang", kurz KID), war ein Flüchtlingslager 20 Kilometer nördlich von Aranyaprathet im gleichnamigen Distrikt in der thailändischen Provinz Sa Kaeo.


Production.

Fruit.

Perry pears are thought to be descended from wild hybrids, known as "wildings", between the cultivated pear "Pyrus communis" subsp. "communis" and the now-rare wild pear "Pyrus communis" subsp. "pyraster". The cultivated pear "P. communis" was brought to northern Europe by the Romans. In the fourth century CE Saint Jerome referred to perry as "piracium". Wild pear hybrids were, over time, selected locally for desirable qualities and by the 1800s, many regional varieties had been identified. The majority of perry pear varieties in the UK originate from the counties of Gloucestershire, Herefordshire and Worcestershire in the west of England; perry from these counties made from traditional recipes now forms a European Union Protected Geographical Indication. Of these perry pear varieties, most originate in parishes around May Hill on the Gloucestershire/Herefordshire border. The standard reference work on perry pears was published in 1963 by the Long Ashton Research Station; since then many varieties have become critically endangered or lost. There were over 100 varieties, known by over 200 local names, in Gloucestershire alone. These local pears are particularly known for their picturesque names, such as the various "Huffcap" varieties ('Hendre Huffcap', 'Red Huffcap', 'Black Huffcap', all having an elliptical shape), those named for the effects of their product ('Merrylegs', 'Mumblehead'), pears commemorating an individual ('Stinking Bishop', named for the man who first grew it, or 'Judge Amphlett', named for Assizes court judge Richard Amphlett), or those named for the place they grew ('Hartpury Green', 'Bosbury Scarlet', 'Bartestree Squash'). The perry makers of Normandy grew their own distinctive varieties such as "Plant de Blanc", "Antricotin" and "Fausset"; the perry of Domfront, which has been recognised with AOC status since 2002 and PDO status since 2006, must be made with a minimum of 40% "Plant de Blanc".  Pear cultivars used for perry-making tend to be small in size, turbinate or pyriform in shape, and too astringent for culinary use. Specific perry pear cultivars are regularly used to make single variety perries: this was formerly the usual practice in traditional perry making, meaning that in the past each parish would have produced its own characteristic and distinctive perries due to the very restricted distribution of many varieties. Blended perries, made from the juice of several varieties, were traditionally disregarded as they tended to throw a haze, though in modern commercial production this is overcome with filtration and use of a centrifuge.  Good perry pears should have higher concentrations of tannins, acids, and other phenolic compounds. Some of the pears considered to produce consistently excellent perry include the Barland, Brandy, Thorn, and Yellow Huffcap cultivars. Compared to cider apples, perry pears have fewer volatile components and consequently fewer aromatics in the finished product. Their tannin profile is very different from that of cider apples, with a predominance of astringent over bitter flavours. They do, however, contain a high concentration of deca-2,4-dienoate, a group of esters that affords them their prominent pear aroma. Another important attribute of perry pears that distinguishes them from cider apples is their relatively higher content ratio of sorbitol to other sugars, such as fructose. Because sorbitol is not readily fermented by yeast, it is not converted to ethanol, and perry therefore tends to have more residual sugar than cider produced from the fermentation of apples. In addition to producing a sweeter beverage, sorbitol also contributes to increased body and a softer mouthfeel in the finished perry. Compared to apples, pear pressing is made more difficult by the additional presence of specialized cells known as sclereids, which have thick cell walls that provide extra support and strength to the pear tissue. Because of this inherent perry pear attribute, the addition of enzymes and pressing aids is a commonly used practice for improving perry production.

Orchard management and harvesting.

While cultivation of pears has been to some extent modernised, they remain a difficult crop to grow. Perry pear trees can live to a great age, and can be fully productive for 250 years. Pear trees, both domestic and perry varieties, grow incredibly slowly, taking up to, if not over, a decade before they bear enough fruit for harvest. They also grow to a considerable height and can have very large canopies; the largest recorded, a tree at Holme Lacy which still partly survives, covered three quarters of an acre and yielded a crop of 5–7 tons in 1790. Given the long maturing period of pear trees, they can be difficult to manage against diseases. Their size makes it difficult to apply pesticides, which makes preventing fire blight, a disease caused by the bacterium "Erwinia amylovora" that pears are even more susceptible to than cider apples, quite challenging. These difficulties, along with demand for perry pears having (until recently) taken a decline, have prompted a national collection of perry pear cultivars to be gathered, housed, and cared for at the Three Counties Agricultural Showground at Malvern in Worcestershire, UK to maintain genetic resources, which has now become the National Perry Pear Centre at Hartpury. Similar germplasm repositories can be found at the National Clonal Germplasm Repository in Corvallis, Oregon.  There are also key differences between cider and perry production in the harvesting and growing process. Perry trees famously take more time to mature than cider trees. While cider trees may come to bear fruit in three to five years, traditionally managed perry trees typically take much longer, so much so that people say that you plant "pears for your heirs".  Even when fully grown, pear trees bear less fruit than apples, which is one reason that perry is less common than cider. When it comes time to harvest, pears should be picked before they are ripe and then left to ripen indoors, while apples should be allowed to ripen on the tree. Both apples and pears suffer from fire blight, which can devastate entire orchards, but pears are also susceptible to pear psylla (also known as Psylla pyri). These insects kill the entire pear tree and are very resistant to insecticide, making them a severe problem for pear orchards. Another added complication is that while apples are often harvested mechanically, pears must be harvested by hand, greatly increasing the time and cost of harvesting.

Perry-making technique.

Traditional perry making is broadly similar to traditional cider making, in that the fruit is picked, crushed, and pressed to extract the juice, which is then fermented using the wild yeasts found on the fruit's skin. Traditional perry making employed querns and a rack and cloth press, in which the pulp is wrapped in cloth before being squeezed with a press. Modern perry production can use a belt press, which is much more efficient for pressing fruit. It works by sending the fruit down a conveyor belt, on which it is then pressed by rollers. The principal differences between perry and cider production are that pears must be left for a period to mature after picking, and the pomace must be left to stand after initial crushing to lose tannins, a process analogous to wine maceration. Additionally, because of the variation in hardness of the fruit, it can be more difficult to determine if a pear is ready for pressing than an apple. There are also key chemical compositional differences between apples and pears; these factors play a crucial role in pre-fermentation and fermentation decisions for perry production. Compared to most apples, pears tend to have more sugar and total phenolic compounds. The main sugars in perry pears are glucose (192 –284 mg/L), xylose (140–176 mg/g), and galacturonic acid (108–118 mg/g). Types of sugar that are present in the juice play an important role in yeast activity and determine the success of fermentation Unlike the juice of apples, pear juice contains significant quantities of unfermentable sugar alcohols, particularly sorbitol. The presence of sorbitol can give perry a residual sweetness, in addition to a mild laxative effect. Pear juices contain rather low levels of amino acids, sources of nitrogen such as aspargine, aspartic acid and glutamic acid.  After initial fermentation, many perries go through malolactic fermentation. On average, compared to apples, pears have higher levels of titrable acidity, most of it being citric acid. In environments with high levels of malic acid, such as grape must in winemaking, malolactic fermentation bacteria convert malic acid to lactic acid, reducing the perception of acidity and increasing complexity of flavour. However, if high levels of citric acid are present, as in pear pomace, malolactic fermentation bacteria catabolyse citric acid to acetic acid and oxaloacetic acid, instead of lactic acid. This results in a floral, citrus-like aroma in the final product, lacking the diacethyl odour typical for most products that have undergone a malolactic fermentation.

History.

The earliest known reference to fermented alcoholic drinks being made from pears is found in Pliny, but perry making seems to have become well established in what is today France following the collapse of the Roman empire; references to perry making in its later heartland of England do not appear before the Norman Conquest. In the medieval period, France retained its association with pear growing, and the majority of pears consumed in England were in fact imported from France.  By the sixteenth and seventeenth century, however, perry making had become well established in the west of England, where the climate and soil was especially suitable for pear cultivation. In the three counties of Worcestershire, Gloucestershire and Herefordshire in particular, as well as in Monmouthshire across the Welsh border, it was found that perry pears grew well in conditions where cider apple trees would not. Smaller amounts were also produced in other cider-producing areas such as Somerset. Perry may have grown in popularity after the English Civil War, when the large numbers of soldiers billeted in the Three Counties became acquainted with it, and reached a zenith of popularity during the eighteenth century, when intermittent conflicts with France made the importing of wine difficult. Many farms and estates had their own orchards, and many varieties of pear developed that were unique to particular parishes or villages.  Whereas perry in England remained an overwhelmingly dry, still drink served from the cask, Normandy perry ("poiré") developed a bottle-fermented, sparkling style with a good deal of sweetness.

Modern commercial perries.

The production of traditional perry began to decline during the 20th century, in part due to changing farming practices – perry pears could be difficult and labour-intensive to crop, and orchards took many years to mature. The industry was, however, to a certain degree revived by modern commercial perry making techniques, developed by Francis Showering of the firm Showerings of Shepton Mallet, Somerset, in the creation of their sparkling branded perry Babycham. Babycham, the first mass-produced branded perry, was developed by Showering from application of the Long Ashton Institute's research, and was formerly produced from authentic perry pears, though today it is produced from concentrate, the firm's pear orchards having now been dug up. Aimed at the female drinker at a time when wine was not commonly available in UK pubs, Babycham was sold in miniature Champagne-style bottles; the drink was for many years a strong seller and made a fortune for the Showering family. A competing brand of commercial perry, Lambrini, is manufactured in Liverpool by Halewood International. The Irish drinks company Cantrell and Cochrane, Plc (C&C), more famous for its Magners and Bulmers ciders, launched a similar light perry, Ritz, in 1986.  Like commercial lager and commercial cider, commercial perry is highly standardised, and today often contains large quantities of cereal adjuncts such as corn syrup or invert sugar. It is also generally of lower strength, and sweeter, than traditional perry, and is artificially carbonated to give a sparkling finish. Unlike traditional perry, its manufacture guarantees a consistent product: the nature of perry pears means that it is very difficult to produce traditional perry in commercial quantities. Traditional perry was overwhelmingly a drink made on farms for home consumption, or to sell in small quantities either at the farm gate or to local inns.

Decline and revival of traditional perry.

Both English perry making, and the orchards that supplied it, suffered a catastrophic decline in the second half of the 20th century as a result of changing tastes and agricultural practices (in South Gloucestershire alone, an estimated 90% of orchards were lost in the last 75 years). Many pear orchards were also lost to Fire blight in the 1970s and 1980s. As well as the clearing of orchards, the decline of day labouring on farms meant that the manpower to harvest perry pears – as well as its traditional consumers – disappeared. It also lost popularity due to makers turning to dessert or general purpose pears in its manufacture rather than perry pears, resulting in a thin and tasteless product. In the UK prior to 2007, the small amounts of traditional perry still produced were mainly consumed by people living in farming communities.  However, perry (often marketed under the name "pear cider", below) has in very recent times increased in popularity, with around 2.5 million British consumers purchasing it in one year. In addition, various organisations have been actively seeking out old perry pear trees and orchards and rediscovering lost varieties, many of which now exist only as single trees on isolated farms; for example, the Welsh Cider Society recently rediscovered the old Monmouthshire varieties "Burgundy" and the "Potato Pear" as well as a number of further types unrecorded up to that point.

Pear concentrate ciders.

"Pear cider".

"Pear cider" has in recent years been used as an alternative name for alcoholic drinks containing pear juice, in preference to the term perry. According to the BBC, the term was first used when Brothers Cider, a product industrially made from pear concentrate, rather than the traditional method using perry pears, was sold at Glastonbury Festival in 1995: nobody understood what perry was and were told that it was "like cider, but made from pears".  The use of the term "pear cider", instead of perry, is one of the reasons for a new commercial lease of life to a drink that was in decline; in two years sales of the drink increased from £3.4 million to £46 million. The brewers Brothers, Gaymers and Bulmers/Magners now all have their own brands of pear cider, and Tesco and other major supermarkets have increased the number of pear ciders that they sell. The term "pear cider" is seen by the manufacturers as being more marketeable to the younger 18–34 demographic and by differentiating their products from previous brands associated with the word perry, such as Babycham and Lambrini that are either associated with the female market or deemed out of fashion by the younger demographic.  CAMRA defines perry and pear cider as different drinks, stating that "pear cider" as made by the large industrial cidermakers is a pear-flavoured drink, or more specifically a cider-style drink flavoured with pear concentrate, whereas "perry" should be made by traditional methods from perry pears only. (Brothers, Bulmers and other pear ciders are made from pear concentrate, often imported.) Others, including the industry trade National Association of Cider Makers, maintain that the terms "perry" and "pear cider" are interchangeable. Its own rules specify that perry or pear cider may contain no more than 25% apple juice.

Outside England, Wales and Normandy.

In Australia.

The beverage is becoming increasingly popular in Australia. Small local manufacturers are beginning to appear such as Gypsy Cider, brewed by 2 Brothers Brewery in Melbourne, Henry's of Harcourt (VIC) and LOBO Cider and Paracombe Premium Perry in the Adelaide Hills. Few traditional European Perry pears are available; it is believed that Moorcroft, Gin, Green Horse & Yellow Huffcap varieties are in Australia. Eating pears are generally used with differing results in Australia. Australian Food Standards permit up to 25% of apple juice in Perry or Pear cider. The importation of pear ciders from abroad include brands such as Weston's, St Helier, Magners, Rekorderlig and Kopparberg now available. The only true Perry imported comes from Weston's where it also has the European Union Geographical indication protection. Weston's also import an Organic Pear Cider into Australia.

In Sweden.

As 'Pear cider', the drink is popular in Sweden with brands such as Briska, Kopparberg, Herrljunga Cider, Rekorderlig Cider, and Gravendals being present.

In the United States.

With hard cider sales on the increase in the American alcoholic beverage market, the production of perry has increased alongside, with many craft cideries making perries (typically called pear cider in the United States) alongside their apple ciders. As the craft beer and cider industries took off in the United States in the 1990s, a few players experimented with perries. One of the first commercially available domestic perries in the US was Ace Cider's Perry Cider, introduced in 1996. Today, even mass market brands, such as MillerCoors' Crispin Hard Cider Company and Boston Beer Company's Angry Orchard, are producing perries.

In New Zealand.

New Zealand is seeing a surge in the popularity of Pear Cider with Old Mout Cidery, Mac's, and Monteith's Brewery each producing a pear cider.

In Japan.

In Japan, the most commonly used pear is the nashi pear. Nashi pears are used for both cider and eating purposes. Japanese perry may be called "pear sparkling wine".  Pear Cider can be used as marketing terms to describe canned or bottled ciders containing a cider widget, or which are cold-filtered rather than pasteurised. Higher quality pear cider is sold in champagne-style bottles (cidre bouché). Many pear ciders are sold in corked bottles, but some screw-top bottles exist.

In Austria.

In the Mostviertel region of Lower Austria, '' is a traditional fermented alcoholic beverage made from the unfiltered juice of pears. In some parts of Austria, Most can also be made of apples or a combination of apples and pears.

Perry is an alcoholic beverage made from fermented pears, similar to the way cider is made from apples. It has been common for centuries in England, particularly in the Three Counties (Gloucestershire, Herefordshire and Worcestershire); it is also made in parts of South Wales and France, especially Normandy and Anjou. It is also made in Commonwealth countries like Canada, Australia, and New Zealand.

Perry ist ein dem französischen Cidre oder dem britischen Cider verwandter Obstschaumwein, wobei als Grundlage jedoch Birnen an Stelle von Äpfeln verwendet werden. Andere Namen sind "Poiré" auf französisch oder "Pear Cider" auf englisch.


Visiting.

The visitor center is administered by the Bureau of Land Management. There is a skeleton reconstruction of an adult "Allosaurus" (and other bones) on display in the visitor center, along with many other exhibits. A renovated and expanded quarry visitor center was dedicated on April 28, 2007. The visitor center is open seasonally with variable hours.

History.

The quarry was found by sheepherders and cattlemen as they drove their animals through the area during the late 19th century. In 1927, the Department of Geology at the University of Utah, under the direction of Chairman F.F. Hintze, visited the area and collected 800 bones. In 1939-41 a field party of Princeton University, led by William Lee Stokes (1915-1994, known as the "Father of Utah geology"), came on site to extensively dig up specimens. Because of the proximity to Cleveland, Utah, and because these expeditions were financed by Malcolm Lloyd, the site was later known as the Cleveland-Lloyd Quarry. In three summers, the 1939-1941 Princeton expeditions collected 1,200 bones. A part of these bones was sent to Princeton and eventually the bones were sorted to mount a complete composite skeleton of "Allosaurus", but World World II broke out and the skeleton was not really mounted and exhibited in the University until February 1961. This "Allosaurus" skeleton,, in the campus of New Jersey, is most likely the first "Allosaurus" skeletal mount obtained from the Quarry. In the meantime, and because excavations had been interrupted by the war, work started again in 1960, when young paleontologist James Henry Madsen Jr. (1932-2009) was hired within the University of Utah to assist William Lee Stokes with the excavations.  As of 1960 Stokes and Madsen founded the "University of Utah Cooperative Dinosaur Project", with funds of the University of Utah. This project granted casts or specimens of dinosaurs to museums and institutions from the USA but also from countries all around the world, in exchange of financial and excavation assistance. The project continued until 1976 when the University of Utah interrupted the funding. Madsen managed to continue excavating the Quarry by means of a private company he founded the same year, Dinolab, intended to sell casts of dinosaur skeletons to museums, institutions and private buyers. Before that, in 1974, a new dinosaur had been described by Madsen, then Assistant Research Professor of Geology and Geophysics in the University of Utah. He named it "Stokesosaurus clevelandi", honouring his mentor, professor William Lee Stokes. In 1976, another new dinosaur was described from fossils found in the quarry by Madsen. He named it "Marshosaurus bicentesimus", honouring American paleontologist Othniel Charles Marsh (1831-1899). In 1987, Brigham Young University paleontologists excavated a fossil dinosaur egg, at the time the oldest such egg ever found.  Over the years, excavations led by the University of Utah and the Natural History Museum of Utah have resulted in the collection of more than 12,000 fossil bones from the quarry. While most of the original fossils are currently housed at the Natural History Museum of Utah, many skeletons reproduced from Cleveland-Lloyd dinosaur remains are now on exhibit in more than 65 museums worldwide. Original specimens from the quarry remain on public exhibit in Utah at the Natural History Museum of Utah in Salt Lake City, the Utah State University Eastern Prehistoric Museum in Price and the Earth Science Museum at Brigham Young University in Provo.  The U.S. Department of the Interior, Bureau of Land Management (BLM) opened a visitor center at the Cleveland-Lloyd Dinosaur Quarry in 1968. This was the first-ever BLM visitor center. On April 28, 2007 a new, larger facility was dedicated that has updated exhibits. The new visitor center generates its own electricity from rooftop solar panels.  Early in 2019, the quarry reached the official status of "national monument" under the name of "Jurassic National Monument".

Geology.

The Cleveland-Lloyd Dinosaur Quarry of east central Utah has produced one of the most prolific dinosaurs bone assemblages in the Upper Jurassic beds of North America. The quarry is part of the Brushy Basin Member of the Morrison Formation. The fossil deposit, which is interpreted to be a possible predator trap, consists of a calcareous smectitic mudstone which accumulated on the floodplain of an anastomosing river system. An anastomosing river system consists of multiple interconnected channels confined by prominent levees separated by interchannel topographic lows. The depositional environment of the quarry mudstone was an interchannel seasonal accumulation of clay nested in a topographic low between channel levees called a floodpond.  Dinosaurs became entrapped in the cohesive and adhesive mud as they drank and hunted near the floodpond. The preserved fauna consists of almost all dinosaurs with the majority being carnivorous dinosaurs including "Allosaurus" (material from at least 44 individuals make up almost 67% of all remains), "Torvosaurus" (1), "Ceratosaurus" (1), "Stokesosaurus" (2), "Marshosaurus" (2), and possibly an "Ornitholestes". Herbivorous dinosaurs include "Camarasaurus" (5), "Haplocanthosaurus" (1), "Barosaurus" (1), "Amphicoelias" (1), "Mongolosaurus" (1), an unidentified sauropod, "Camptosaurus" (5), "Stegosaurus" (4), a possible ankylosaur (1), and an unidentified ornithopod. Non-dinosaurian fauna include a crocodile ("Goniopholis"), 2 turtles ("Glyptops"), 4 genera of gastropoda (snails), and 4 genera of charophyte.  The atypical predator/prey ratio (3:1) represented at the quarry may be explained by pack hunting tendencies of "Allosaurus". The high percentage of smaller individual allosaurs suggests that juveniles coordinated their efforts to capture and kill prey. They may have followed their prey into the floodpond and subsequently became mired themselves. The close spatial proximity of skull elements (most belonging to "Allosaurus") supports this hypothesis. Larger individual theropods almost certainly became mired while attempting to scavenge the carcasses of other entrapped dinosaurs (Richmond and Morris, 1996). However, some palaeontologists suggest that the mass deaths were in fact a result of a drought, and not a predator trap. Debates continue to this day.

Paleofauna.

Fossil taxa discovered at the Cleveland-Lloyd site include:

Jurassic National Monument, at the site of the Cleveland-Lloyd Dinosaur Quarry, well known for containing the densest concentration of Jurassic dinosaur fossils ever found, is a paleontological site located near Cleveland, Utah, in the San Rafael Swell, a part of the geological layers known as the Morrison Formation.

Das Jurassic National Monument ist ein US-amerikanisches National Monument im Emery County in Utah. Es wurde am 12. März 2019 mit Unterzeichnung des Kongress-Gesetzes "John D. Dingell, Jr. Conservation, Management, and Recreation Act" durch Präsident Donald Trump ausgewiesen. Das National Monument wurde zum Schutz dieser Dinosaurier-Fundstelle in einem Steinbruch ausgewiesen. Weit über 15.000 Knochen wurden seit 1927 in dieser Ausgrabungsstätte ausgegraben und es werden noch viele tausend weitere Knochen auf dem Gelände vermutet. Das Bureau of Land Management betreut das "Jurassic National Monument".


Background and promotion.

Shortly after releasing the bonus tracks to "Bloom", Kelly announced he was going to start recording "album 4". Throughout late 2018, Kelly announced he has a title for the upcoming album. After the release of his second EP, he responded to a fan, stating that "no songs from the EP will be on album 4". He also stated that he erased all material on the 4th album that was already there, and start from scratch. One of the deleted songs, was a collab between MGK and Lana Del Rey, which never came to fruition. On April 2, MGK posted a 16-second video snippet of a song along with the album title on social media. The video shows a girl in the bathtub with the album title looming above her. Kelly revealed that he would be going on tour soon for the Hotel Diablo World Tour to promote the upcoming album. On May 10, a 58-second video was posted, with Kelly rapping in preparation of the album. The song was rumored to be titled "Breaking News 2", a sequel to "Breaking News" from his 2013 mixtape "Black Flag". By the first week of June, three singles from the album had been released.  On June 11, Kelly announced the release date and shared a video of himself getting a head tattoo with the album name inked, with the caption reading "album comes JULY 5th". On June 27, Kelly revealed the album cover art.

Artwork and title.

Kelly explained his personal thoughts in an interview with Beats 1 because of its nostalgic and dark feel, saying:  In an interview with ALT923Radio, Kelly revealed that the original name of the album was "Delirium". He explained why this didn't come to fruition:

Singles.

The first single was "Hollywood Whore", released on May 17, 2019. The music video, directed by Jordan Wozy, was released May 29, 2019. The song's lyrical content describes the music industry and how it can manipulate artists.  The second single, "El Diablo", was released on May 31, 2019. The music video, directed by Snuffy.NYC & Jimmy Regular, was released on July 25, 2019. The song is a mention of all the people who thought MGK's career was "falling down" due to the feud between MGK and Eminem. He also expresses his thoughts on the people who MGK thinks they "took credit and became famous".  The third single, "I Think I'm Okay", was released on June 7, 2019. Kelly released the song with Travis Barker and Yungblud. The music video, directed by Andrew Sandler, was released June 14, 2019.  The fourth single, "Glass House" was released on July 5, 2019. It features vocals from Naomi Wild. Its lyrical themes reveal mental struggles and drug problems, and being "all alone in a glass house".

Promotional singles.

The song "Floor 13" was released on July 5, 2019. The song contains a cameo appearance from Kelly's daughter Casie at the end of the track.

Critical reception.

The album has received mostly positive reviews. Markos Papadatos of the Canadian internet news service "Digital Journal" praised the lyrics and overall album sound and mood. He wrote "Overall, Machine Gun Kelly has released a solid new album, "Hotel Diablo". It showcases his maturity and growth as a singer-songwriter and musician." Papadatos concluded with "Most impressive about Machine Gun Kelly is that the same energy that he exudes on this album, he displays on stage in a live setting, which is incredible." He gave the album an A rating.  Jeremy Markus of "The Cornell Daily Sun" gave the album a positive review, while also stating the album is a powerful successor to 2018's "Binge". He wrote, "Besides the improvement in writing, the album is simply much more enjoyable to listen to. Gone are the odd hooks and off-beat rapping from last year's project; they are replaced with intricate flows and a cohesive sound that spans across the entire production."  A negative review came from Dhruva Balram of "NME", who said that "Despite the potency of its material, the project's lyricism feels apathetic. While his contemporaries, from Juice WLRD to Post Malone, are pushing the envelope, crafting new sounds and forging new paths, MGK sticks to a tried-and-tested formula which, ultimately, feels bland. At times, the album feels stagnated, as if it's stuck in a 2012 timewarp." He concluded that it was "a formulaic album that's been re-worked with the same puzzle pieces: clever wordplay, catchy beats and enough meat on its body to keep it alive. But it doesn't have enough of those facets to be in any way distinguished."

Commercial performance.

"Hotel Diablo" debuted at number five on the "Billboard" 200, with 39,000 equivalent album units, 16,000 of that sum in album sales. It is his fourth top 10 album. It slid down to no. 20 in its second week, selling 20,585 album equivalent units. In week 3, it slid down to 38, selling 13,141 units.

Hotel Diablo is the fourth studio album by American rapper Machine Gun Kelly. It was released on July 5, 2019 via Bad Boy Records and Interscope Records. The album is supported by four singles: "Hollywood Whore", "El Diablo", "I Think I'm Okay" with Yungblud and Travis Barker, and "Glass House" featuring Naomi Wild, with promotional single FLOOR 13. The record is a rap rock album and follows less than 10 months after September 2018's "Binge" EP. The album's production also included Foster The People frontman Mark Foster.

Hotel Diablo ( für „"Hotel Teufel"“) ist das vierte Studioalbum des US-amerikanischen Rappers Machine Gun Kelly. Es erschien am 5. Juli 2019 über die Labels Bad Boy Entertainment und Interscope Records.


History.

From 1978 to 2009 the team never qualified for tournament finals. In late 2010, the team sealed qualification to the championships for the very first team in their history. During the qualification stage they finished second in their group behind the Czech Republic and qualified for the playoffs as a result of being one of the best runners-up in the whole qualification process. Their most notable win came in a 4–1 home win over Germany. In the next stage they played against Scotland in a two-legged affair in which they won 4–2 on aggregate over the two games.  Their remarkable qualification campaign saw them qualify for the finals where they were drawn against Belarus, Denmark and Switzerland in Group A. In their first two group games they were comfortably beaten by Belarus and Switzerland. In their final group game they defeated Denmark who were the hosts of the tournament 3–1. Iceland would finish third in the group, level on points with the second placed and fourth placed teams. Following the end of the tournament, UEFA announced its Team of the Tournament with striker Kolbeinn Sigþórsson named on the list.

Current squad.

The following players were named in the squad for the friendly match against England U20, played on 19 November 2019. "All caps and goals are correct as of 19 November 2019." ! colspan="9" bgcolor="#B0D3FB" align="left" | ! colspan="9" bgcolor="#B0D3FB" align="left" | ! colspan="9" bgcolor="#B0D3FB" align="left" |

Recent call-ups.

The following players are still eligible for and have previously been called up to the under-21 squad. ! colspan="9" bgcolor="#B0D3FB" align="left" | ! colspan="9" bgcolor="#B0D3FB" align="left" | ! colspan="9" bgcolor="#B0D3FB" align="left" |

The Iceland men's national under-21 football team is a national under-21 football team of Iceland and is controlled by the Football Association of Iceland. The team is considered to be the feeder team for the senior Icelandic men's national football team. Since the establishment of the UEFA European Under-21 Football Championship in 1978, the team has reached the Euro Championship finals on one occasion in 2011 where they were knocked out in the group stages.

Die isländische U-21-Fußballnationalmannschaft ist eine Auswahlmannschaft isländischer Fußballspieler. Sie unterliegt dem Isländischen Fußball-Verband und repräsentiert ihn international auf U-21-Ebene, etwa in Freundschaftsspielen gegen die Auswahlmannschaften anderer nationaler Verbände oder bei Europameisterschaften des Kontinentalverbandes UEFA. Spielberechtigt sind Spieler, die beim ersten Qualifikationsspiel zu einem Turnier ihr 21. Lebensjahr noch nicht vollendet haben und die isländische Staatsangehörigkeit besitzen.


Biography.

Born in Bucharest, she was the daughter of an Aromanian journalist (who had immigrated from Macedonia) and his Romanian wife. The Constante family left the city during the World War I German occupation, and Lena spent much of her childhood in Iaşi, Kherson, Odessa, London and Paris.  Returning at the end of the conflict, she studied Painting at the Romanian Art Academy in Bucharest, and established friendships with leading intellectuals of her time, including Brauner, Mircea Vulcănescu, Petru Comarnescu, Henri H. Stahl, Mihail Sebastian, and Paul Sterian. During the period, she became sympathetic to left-wing politics and joined the sociological project initiated by Dimitrie Gusti, aiding in the creation of comprehensive monographs on traditional Romanian society; her visits to various villages acquainted her with traditional folk art, especially religious icons, which she later used as inspiration in her work.  Constante first exhibited her art in 1934, and had personal shows in 1935, and 1946; her last exhibit before being arrested occurred in Ankara, Turkey (1947).  After 1945, she was employed as a stage designer by the newly founded Ţăndărică Theater, where she met Elena Pătrăşcanu, Lucreţiu's wife. In early 1946, when Pătrăşcanu, who was Romania's Minister of Justice, decided to go against the will of his party and intervened in the standoff between King Michael I and the Petru Groza executive ("greva regală" – "the royal strike"), she mediated between him and two well-known anti-communist figures Victor Rădulescu-Pogoneanu and Grigore Niculescu-Buzeşti, in an attempt to ensure their support for a political compromise.  Together with her friend Brauner, as well as Remus Koffler, Belu Zilber, Petre Pandrea, Herant Torosian, Ionel Mocsony Stârcea, the engineer Emil Calmanovici, Alexandru Ştefănescu and others, she was implicated in Pătrăşcanu's 1954 trial, being sentenced to twelve years in prison. The person who took initiative in bringing her to trial was Securitate deputy chief Alexandru Nicolschi.  During repeated interrogations by the Securitate, Constante tried to fend off false accusations of "Titoism" and "treason", but, the victim of constant beatings and torture (much of her hair was torn from the roots), and confronted with Zilber's testimony — which implicated her —, she eventually gave in and admitted to the charges.  Throughout the rest of her life, she maintained a highly critical view of Zilber, and expressed her admiration for Pătrăşcanu, who had for long resisted pressures and had been executed in the end. As she stated in 2004, "I did not know [Lucreţiu Pătrăşcanu] too well. It was not [because of] him that I went to jail. Neither was it [because of] Mrs. Elena [Pătrăşcanu]. His friend, Belu Zilber, made us go to jail, me and my husband. Zilber was never pleased with all the things he kept inventing in his confessions and he would concoct some stuff that aimed to please the interrogators. To please [Gheorghiu-]Dej."  For much of her time in prison, Constante was kept in virtually complete solitude, a special regime which she later attributed to her earlier refusal to confess. Repeatedly beaten and again tortured during her stay in special prisons for women, she much later confessed that she was never able to forgive the people responsible for her plight. She was freed in 1962; in 1963, she married Brauner, who had also been released. They both were rehabilitated during Nicolae Ceauşescu's campaign of reviewing Romania's history under Gheorghiu-Dej (1968).  Constante exhibited her works on two other occasions (in 1970 and 1971, both centered on tapestry and collage art).  In 1990, after the Romanian Revolution, she published her French-language autobiography "L'évasion silencieuse" ("The Silent Escape"), at the Éditions La Découverte in Paris. The volume, which Vladimir Tismăneanu has compared to the works of Margarete Buber-Neumann, is written as a diary, and makes use of her prolific memory, which allowed her to record an immense succession of days, years after events had passed. It won the Prize of French-Language Writers' Association, and was translated into English as "", with a preface by Gail Kligman; the Romanian version ("Evadarea tăcută") received the Romanian Academy's "Lucian Blaga Prize". In 1993, she also published "Evadarea imposibilă. Penitenciarul politic de femei Miercurea Ciuc 1957-1961" ("The Impossible Escape. The Political Prison for Women in Miercurea Ciuc 1957-1961").  In 1997, Constante starred as herself in "Nebunia Capetelor", a film by Thomas Ciulei based on "The Silent Escape"; Ciulei had originally intended to cast Maia Morgenstern as Constante, but ultimately decided to pay a special tribute to the book's theme ("I wanted to force the spectator to build himself an imaginary space, as Lena Constante had done when she was in her cell").

Lena Constante (June 18, 1909 – November 2005) was a Romanian artist, essayist and memoirist, known for her work in stage design and tapestry. A family friend of Communist Party politician Lucreţiu Pătrăşcanu, she was arrested by the Communist regime following the conflict between Pătrăşcanu and Gheorghe Gheorghiu-Dej. She was indicted in his trial and spent twelve years as a political prisoner.

Lena Constante (* 18. Juni 1909; † November 2005) war eine rumänische Künstlerin, Autorin und Bühnenbildnerin. Sie ist vor allem durch ihre autobiographischen Werke über den Aufenthalt in politischer Haft bekannt geworden.