Early life.

The eldest of four children, Robert Durst was born on April 12, 1943 and grew up in Scarsdale, New York, in a Jewish family. He is the son of real estate investor Seymour Durst and his wife Bernice Herstein. His siblings are Douglas, Tommy, and Wendy. Durst's paternal grandfather, Joseph Durst, who was a tailor when he emigrated from Austria-Hungary in 1902, eventually became a successful real estate manager and developer, founding the Durst Organization in 1927. Seymour became head of the family business in 1974 upon his father's death.  When Robert was seven, his mother died as a result of a fall from the family's Scarsdale home; he later claimed that, moments before her death, his

Crimes for which Durst has been investigated.

Police have directly questioned Durst, and sometimes conducted searches, in connection to the disappearance of his first wife, Kathie McCormack, and the homicides of Berman and Morris Black. He was tried and acquitted of murder in the Black case.

Disappearance of Kathleen McCormack Durst.

In the fall of 1971, Durst met Kathleen "Kathie" McCormack, a dental hygienist. After two dates, he invited McCormack to share his home in Vermont, where he had opened a health food store; she moved there in January 1972. However, Durst's father pressured him to move back to New York to work in the family business. The couple returned to Manhattan, where they married on April 12, 1973—Durst's 30th birthday.  Shortly before her disappearance, McCormack was a student in her fourth and final year at the Albert Einstein College of Medicine in The Bronx and was only a few months short of earning her degree. She had intended to become a pediatrician. McCormack was last seen by someone other than Durst the evening of January 31, 1982, when she appeared unexpectedly at a dinner party thrown by her friend Gilberte Najamy in Newtown, Connecticut. Najamy noticed that McCormack was upset and was wearing red sweatpants, which Najamy found odd; McCormack had often dressed in much higher quality clothing. McCormack later left for her marital home in South Salem, New York, after a phone call from her husband.  Although the couple argued and fought that evening, Durst maintained that he put his wife on a commuter train to New York City at Katonah station, had a drink with a neighbor, and spoke to

Homicide of Susan Berman.

Susan Berman, a longtime friend of Durst who had facilitated his public alibi after McCormack's disappearance, was the daughter of David Berman, a reputed gangster who in the late 1940s operated the Flamingo Hotel and Casino in Las Vegas, Nevada. On December 24, 2000, Berman was found murdered execution-style in her home in Benedict Canyon, Los Angeles, California, after her neighbors called the police to report that her back door was open and her three fox terriers were loose.  A few days later, the Beverly Hills Police Department received a handwritten note postmarked December 23, which contained Berman's address and the word "cadaver." Durst is known to have been in northern California days before Berman was killed, and to have flown from San Francisco to New York

Killing and dismemberment of Morris Black.

On October 9, 2001, Durst was arrested in Galveston shortly after body parts belonging to his elderly neighbor, Morris Black, were found floating in Galveston Bay. He was released on $300,000 bail the next day. Durst missed a court hearing on October 16 and a warrant was issued for his arrest on a charge of bail jumping. On November 30, he was caught inside a Wegmans supermarket in Bethlehem, Pennsylvania, after trying to shoplift Band-Aids, a newspaper, and a chicken-salad sandwich with roasted red peppers on a pumpernickel baguette, even though he had $500 cash in his pocket. A police search of his rental car yielded $37,000 in cash, two guns, marijuana, Black's driver's license, and directions to Gilberte Najamy's home in Connecticut. Durst also used his time on the run to stalk his brother Douglas, visiting the driveway of his home in Katonah, New York while armed. Durst employed defense attorney John Waldron while he was held on charges in Pennsylvania. He was eventually extradited to Texas for trial.

Trial.

In 2003, Durst was tried for the murder of Black. He employed defense attorney Dick DeGuerin and claimed self-defense; DeGuerin conducted two mock trials in preparation for the case. Durst's defense team had difficulty communicating with him, so they hired psychiatrist Dr. Milton Altschuler to find out why. Altschuler spent over 70 hours examining Durst and diagnosed him with Asperger syndrome, saying, "His whole life's history is so compatible with a diagnosis of Asperger's disorder." His defense team argued at trial that the diagnosis explained his behavior.  Durst claimed he and Black, a cranky and confrontational loner, struggled for control of Durst's.22-caliber target pistol after Black grabbed it from its hiding place and threatened him with it. During the struggle, the pistol discharged, shooting Black in the face. During cross-examination, Durst admitted to using a paring knife, two saws, and an axe to dismember Black's body before bagging and dumping his remains in Galveston Bay. Black's head was never recovered, so prosecutors were unable to present

"The Jinx" TV Documentary.

In early 2015, a six-part HBO documentary titled "The Jinx: The Life and Deaths of Robert Durst" described circumstantial evidence linking Durst to the murder of Berman, who was believed to have knowledge of McCormack's disappearance. The documentary detailed the disappearance of McCormack, Berman's subsequent death, and the killing of Black. Against the advice of his lawyers and his wife Debrah Lee Charatan, Durst gave multiple interviews and unrestricted access to his personal records to the filmmakers. The FBI arrested Durst in New Orleans on

Berman trial.

Arrest.

A few days after a first-degree murder warrant was signed by a Los Angeles judge in relation to the Berman killing, Durst was arrested by FBI agents on March 14, 2015, at the Canal Street Marriott in New Orleans, where he had registered under the false name "Everette Ward." Durst, who had been tracked to the hotel after making two calls to check his voicemail, was observed wandering aimlessly in the lobby and mumbling to himself, having driven to New Orleans from Houston four days before.  In addition to a.38 revolver loaded with four live rounds and one spent shell casing, police recovered five ounces of marijuana, Durst's birth certificate and passport, maps of Louisiana, Florida, and Cuba, a "flesh-toned" latex mask, the fake Texas ID used to check into the hotel, a new cellphone, and cash totaling

Firearm charge.

On March 16, 2015, defense attorney Richard DeGuerin advised court authorities in New Orleans that his client waived extradition and would voluntarily return to California. Late that same day, Louisiana State Police filed charges against Durst for being a felon in possession of a firearm and for possession of a firearm with a controlled substance, forestalling his immediate return to California. Orleans Parish District Attorney Leon Cannizzaro commented that, in light of prior convictions that could influence Durst's sentencing, "[j]ust for those gun charges here in Louisiana, [Durst] could face up to life in prison".

Incarceration.

Durst (BOP Number 45101-079) was originally placed in USP

Trial.

The trial was scheduled to begin in Los Angeles after Durst was arraigned in California, but his transfer was delayed by the U.S. Bureau of Prisons due to "serious surgery," according to DeGuerin.  A conditional hearing was convened in February 2017, where Nick Chavin, Durst's close friend and best man at Chavin's wedding, testified that Durst had confessed to him of having murdered Berman. Chavin will be one of the prosecution's witness against Durst. A preliminary hearing was initially scheduled for October 2017, but was postponed to April 2018 to accommodate Durst's defense team, some of whom suffered damage to their homes and offices from Hurricane Harvey.  The pretrial hearings included extensive testimony from a number of older witnesses who potentially would not be available when the trial itself begins. In October 2018, Los Angeles County Superior

Other cases.

Days after the Berman murder, police were reportedly examining connections between Durst and the disappearances of 18-year-old Lynne Schulze from Middlebury, Vermont and 16-year-old Karen Mitchell from Eureka, California. Investigators are also looking into a possible connection between Durst and the disappearance of 18-year-old Kristen Modafferi, who was last seen in San Francisco in 1997.  Schulze, a Middlebury College freshman, visited Durst's health food store on December 10, 1971, the day she disappeared, and was last seen that afternoon near a bus stop across from the store. DeGuerin characterized the Schulze investigation as "opportunistic" and said he would not permit his client to be questioned by Vermont police. Author and investigative journalist Matt Birkbeck reported in 2003, and

Personal life.

On December 11, 2000, shortly before the Berman killing, Durst married Debrah Lee Charatan. According to "The New York Times", the couple briefly shared a Fifth Avenue apartment in 1990 but "have never lived together as husband and wife." Durst once told his sister that it was "a marriage of convenience"; "I wanted Debbie to be able to receive my inheritance, and I intended to kill myself," Durst said in a 2005 deposition.  According to "The New York Times", Charatan lived with one of Durst's real estate lawyers, Steven I. Holm, as of May 2017. It was reported in "Real Estate Weekly" that Stephen I. Holm died on October 17, 2019, and Debrah Lee Charatan was his wife. It's not publicly known when Charatan divorced Durst, or when she married Holm. Charatan and Holm were involved with a number of philanthropic ventures together.  Durst traveled and lived under dozens of aliases over the years, using different identities to buy cars, rent apartments, and open credit card accounts. "He had a scanner, copier, and a laminating machine," a former office employee of Durst told "Newsweek". "What I didn't realize is that I unwittingly saw what would have allowed Robert Durst to make a fake driver's license." Durst was also "a prolific user of private mailboxes," and apparently conducted business under a number of canine-themed names: Woofing LLC, WoofWoof LLC, and Igor-Fayette Inc.  In the early 1980s, Durst owned a series of seven Alaskan Malamutes, all of which were named Igor and all of which died under mysterious circumstances, according to his brother, Douglas. In December 2014, prior to the airing of "The Jinx", Douglas told "The New York Times" that, "In retrospect, I now believe he was practicing killing and disposing [of] his wife with those dogs." Durst was once recorded saying he wanted to "Igor" Douglas. Durst, however, has disputed the assertion that he owned seven dogs named Igor; he owned three, he said, one that was run over and another that died in surgery after eating an apple core, "before the Igor that lasted forever."  In late 1981, while Durst was still married to McCormack, he was nearing the end of a three-year affair with Prudence Farrow, who was also married at the time. According to the "New York Post", a few months before McCormack's disappearance in January 1982, Farrow called her and asked that she give Durst up, as friends said she wanted him all to herself. After Durst was acquitted of murdering Black in 2003, Farrow contacted law enforcement authorities with concerns for her safety, as she said Durst was angry with her for terminating their relationship three days before McCormack disappeared.  Durst has had a number of significant medical issues since 2015, including major surgeries for esophageal cancer, having a shunt installed in his brain for hydrocephalus, and cervical spinal fusion. When arrested in New Orleans in 2015, he was found to be in possession a variety of drugs, including the sleep aid melatonin, a muscle relaxant, and medications for high blood pressure, blood flow, and acid reflux.

Financial status and residences.

In mid-2002, Durst signed over a power of attorney to Charatan, and it is believed their holdings remain closely intermingled, although this may have changed with Charatan no longer being married to Durst. In 2006, Durst gave Charatan around $20 million of his $65 million trust settlement.  In 2011, Durst purchased a $1.75 million townhouse on Lenox Avenue in Harlem. A source close to his estranged family confirmed that he was living there at least some of the time, and they were keeping him under surveillance. Durst also owns three condominiums in a multi-story complex in Houston, and after filing suit, received a $200,000 settlement in 2006 from a Houston developer who refused to let him move into a unit newly purchased by his wife, which she had then immediately resold to Durst for $10. At the time of Berman's murder in Los Angeles, Durst had just sold a home in Trinidad, California, but maintained an office in Eureka while renting in nearby Big Lagoon.  Media have variously reported Durst's financial status as "real estate baron," "rich scion," "millionaire," "multimillionaire," and "billionaire." The Durst family's real estate holdings are worth more than $4 billion, but his brother Douglas was in control of the company beginning in 1994, shortly before their father's death. From about 1994 to 2006, Robert waged a legal campaign to gain greater control of the family trust and fortune. During that time he received $2 million a year from the trust. In 2006 the case was settled, with Durst giving up any interest in his family's properties and trusts in exchange for a one-time payment of about $65 million. It is unknown how much of that went to legal

Other legal issues.

In 2012 and 2013, Durst's family members sought and received restraining orders against him, claiming they were afraid of him. Durst was charged with trespassing in New York for walking in front of townhouses owned by his brother Douglas and other family members. He went on trial and was acquitted in December 2014. The judge also vacated the thirteen orders of protection his family members had

Robert Alan Durst (born April 12, 1943) is a Jewish American real estate heir; the son of New York City mogul Seymour Durst; and the elder brother of Douglas Durst, head of the Durst Organization. He is suspected of having murdered three individuals in different states: Kathleen McCormack Durst, his first wife, who disappeared in New York in 1982; Susan Berman, his longtime friend, who was killed in California in 2000; and his neighbor, Morris Black, who was killed in Texas in 2001. Durst was the subject of a multi-state manhunt after Black's body parts were found floating in Galveston Bay, but although he admitted to the dismembering of Black (which he was not charged with), he was ultimately acquitted of his murder on the grounds of self defense.

Robert Alan Durst (* 12. April 1943 in New York City, New York) ist ein amerikanischer Immobilienerbe, der Sohn des New Yorker Moguls Seymour Durst und der ältere Bruder von Douglas Durst, Chef der Durst-Organisation. Er wird verdächtigt, drei Personen in verschiedenen Staaten ermordet zu haben: Kathleen McCormack Durst, seine erste Frau, die 1982 in New York verschwand; Susan Berman, seine langjährige Freundin, die 2000 in Kalifornien getötet wurde; und seinen Nachbarn Morris Black, der 2001 in Texas ermordet wurde.


History.

Umaria was a part of Shahdol district before separation in 1998. Umariya is ruled by Lodhi Rajputs (Malgujars). The Lodhi Rajput Family built the temple of Lakshmi Narayan on southern bank of Narbada Barman ghat. They also built on the steps of the northern bank of Barman ghat Kareli a great gateway called the Hathi Darwaza, to allow their elephants passage. Later HH Thakur Shri Ranmat Singh Baghel, the descent of Maharaja Vikramaditya of Rewa came with his force and won it from Lodhis then it became the Southern Capital of Rewa Riyasat after some years in 17th century. Umaria was always a favourite town for many a princes and kings because the dense forests and tigers. The forests of Bandhavgarh were a game reserve of Maharaja of Rewa.

Climate.

Average Rainfall : 1293 m.m.  Average Max. Temperature :46.2 °C  Average Min. Temperature : -0.1 °C

Economy.

In 2006 the Ministry of Panchayati Raj named Umaria one of the country's 250 most backward districts (out of a total of 640). It is one of the 24 districts in Madhya Pradesh currently receiving funds from the Backward Regions Grant Fund Programme (BRGF).

Demographics.

According to the 2011 census Umaria District has a population of 644,758, roughly equal to the nation of Montenegro or the US state of Vermont. This gives it a ranking of 513th in India (out of a total of 640). The district has a population density of. Its population growth rate over the decade 2001-2011 was 24.73%. Umaria has a sex ratio of 953 females for every 1000 males, and a literacy rate of 67.34%.

Languages.

At the time of the 2011 Census of India, 83.58% of the population in the district spoke Hindi and 14.43% speak Bagheli as their first language.  Bagheli has a lexical similarity of 72-91% with Hindi (compared to 60% for German and English) and is spoken by about 7,800,000 people in Bagelkhand.

Bandhavgarh National Park.

Bandhavgarh () is a relatively small park, in the last few years this former game reserve has become one of India's most prominent National Parks. The major reason for all the interest is Bandhavgarh high density of tigers, which roam the mixed forests of sal, bamboo and ambilica officinale in search of an easy kill. The tigers have not only bolstered the local population by breeding successfully, they have also brought international media attention to the park and to the plight of the Royal Bengal Tiger. The density of the tiger population at Bandhavgarh is the highest known in India. 60 Tigers at 450 km. area in Bandhavgarh National Park. This is also "WHITE TIGER" country. The last known as captured by Maharaja Martand Singh in 1951. This White Tiger "Mohan", is now stuffed and display in the place of Maharajah of Rewa.

Attractions.

Bandhavgarh Fort  Bandhavgarh is the name of tehsil in Umaria District. Formerly it was the capital of the Bandhavgarh Kingdom of the Magha dynasty, then the headquarters of the tehsil. At present its headquarters is Umaria.  The fort of Bandhavgarh is a place of considerable archaeological and historical importance.  It is a natural impregnable fort and stands on a hill, at an attitude of about 2430 metres above sea-level. The Bamnia hill is also a part of the fort, because it is enclosed by a rampart. The fort is on the Rewa-Uma-Katni road at a distance of about 41 km from Umaria Town.  Chandia is situated on the Umaria-Katni road, at a distance of about 21 km. from Umaria. The railway station of Chandia Road, known as Chandia railway station.  The most important spot of Chandia is a small temple, enshrining Goddess Kalika. Her mouth is wide open, but her out-stretched tongue is broken. There is also an old temple of god Rama and his consort Janaki. It was the seat of Thakur of Chandia. A small fair meets at Suraswahi Chandia for 3 days in February/March, on the occasion of Shivaratri. Pali Birsinghpur  Pali is situated on the Umaria-Shahdol road, at a distance of about 36 km from Umaria. Another road goes from Pali to Mandla via Dindori. Pali is also a railway station, and there is a rest house for the tourists to stay. The station is known as the Pali-Birsinghpur station. Near the railway station there is a temple, enshrining Birasinidevi. By popular belief she is Goddess Kali, represented here as skeleton Goddess, but with her mouth closed. Many remains of old jain idols kept here in some Hindu temples. The annual fairs are held both in October and March, on the occasion of Navaratri, near the temple of Goddess.  Umaria Town  The headquarters town of the Umaria district and Bandhavgarh tehsil, formerly Umaria was the headquarters of the South Rewa District. It is situated at a distance of about 69 km from Shahdol.  Near the railway station stands a Siva temple, known as the Sagara temple. It was an old shrine, recently remodeled. Its main gates are still intact with stone statues, carved in Khajuraho models. Near about is Jwalamukhi temple. about 6.5 km from the town, there is another temple, with similar carvings of the Khajuraho pattern. It is known as the Mariwal temple.  Umaria is known for its coal-mines, which were opened in 1881 by the Government of India and transferred to the Rewa Darbar in the same year, mainly to meet the requirement of railway at Katni.  Baderi is a gram panchayat in Umaria district. It was the province of Baghela Dynasty. It is situated about 5 km from Umaria in Bandhavgarh Road. In 16th and 17th century, it was the capital of Rewa Riyasat before Umaria. There is Nand Mahal, ruled by Thakur Ranmat Singh in 16th century.  Manpur is a block and the biggest tehsil in umaria district. It is situated about 45 km from district headquarter and about 12 km from Bandhavgarh National Park in Tala-Jaisinghnagar road. There are 84 Gram Panchayats in Manpur tehsil.  Mangthar Dam (Birsinghpur Reservoir)  Birsinghpur Reservoir is located 12–13 km from Birsinghpur Pali Railway Station. This reservoir is constructed for Sanjay Gandhi Thermal Power Station. This reservoir is constructed on Johila river, which originates near Amarkantak in Anuppur district of Madhya Pradesh. Johila River is a tributary of the Son River, which is the second largest tributary of the Ganga river from the southern banks.

Umaria district is a district of Madhya Pradesh. The town of Umaria is the district headquarters. The district is part of Shahdol Division.

Umaria ist ein Distrikt im indischen Bundesstaat Madhya Pradesh. Die Fläche beträgt 4076 km2. Verwaltungssitz ist die Stadt Umaria mit 84.261 Einwohnern.


Development.

A prototype of the Galaxy Fold (obscured to hide its final design) and its "Infinity Flex Display" was unveiled during a Samsung developers' conference in November 2018, demonstrating the adaptations to Samsung's Android distribution and newly-unveiled One UI software. Google stated that it would work with OEMs to support foldable devices on Android (an effort achieved natively in Android 10).

Specifications.

The Galaxy Fold contains two displays; its front cover contains a small, 4.6-inch display in the center designed for one-handed use, and the device can fold open to expose a 7.3-inch display. Samsung rated the fold mechanism as supporting up to 200,000 uses. The tablet screen contains a large notch in the top-right corner, and is coated with a custom multi-layer laminate in lieu of glass. Its power button contains a fingerprint reader. Samsung did not state which system-on-chip it uses in the Galaxy Fold, beyond that it is a "state-of-the-art" CPU with a 7 nanometer production process, contains 12 GB of RAM, and has 512 GB of non-expandable storage. Teardowns later revealed that it was the Qualcomm Snapdragon 855, which is used in all regions (unlike other Samsung phones that have been split between Snapdragon and Samsung's in-house Exynos chips depending on the market). The Galaxy Fold will be sold with a 5G variant.  The device contains two batteries split between the two halves, totaling a 4380 mAh capacity. The Galaxy Fold contains 6 cameras, using the same sensors equipped on the Galaxy S10+, including three rear-facing camera lenses (12-megapixel, 12-megapixel telephoto, and 16-megapixel ultra wide-angle), as well as a 10-megapixel front-facing camera on the cover, and a second 10-megapixel front-facing camera, accompanied by an RGB depth sensor, on the inside screen.  The Galaxy Fold ships with Android 9.0 "Pie" and Samsung's One UI software; by means of Multi Window mode, up to three supported apps can be placed on-screen at once. Apps open on the smaller screen can expand into their larger, tablet-oriented layouts when the user unfolds the device.

Reception.

"Digital Trends" praised the Fold's software, performance, camera and main screen, while criticizing the price, the front screen design and the lack of water resistance. Chokkattu remarked that "[it's] a lot of fun to use because it's so new", but noted that "it remains technology that's out of reach for most people". "CNET" felt that the inside of the device felt "toy-like" in contrast to the premium exterior, noting the fragility of its screen, a plastic bezel, a "ridiculous and unnecessarily large" notch, a crease in the screen visible from certain viewing angles, and gaps at the top and bottom of the hinge that were potentially susceptible to dust and debris. The lack of water resistance was also noted, and it was felt that the size of the cover screen made typing difficult. It was concluded that the Galaxy Fold was a "testbed device for developers and the earliest adopters to buy, and for the rest of us to ponder over".  Dieter Bohn of "The Verge" considered the fold-out tablet screen a "joy" to use, but remarked that its thick form factor and small cover screen made the Galaxy Fold less suited for shorter, frequent uses like a smartphone. He also panned the display for not being as smooth as a glass screen, being susceptible to scratches and blemishes over time, the aforementioned crease, the large notch, a "jelly" distortion between the two sides when scrolling, and having too many potential points of failure. Bohn praised its high-end hardware, and especially its batteries, and felt that multitasking was flexible but inelegant, and buggy with certain apps on transitions between modes. In conclusion, he felt that the Galaxy Fold was "legitimately a marvelous thing to play with", but that the device was more of a status symbol than a legitimate consumer product.

Issues.

Review units showed a high rate of display failure; a teardown by iFixit noted that the crease contained noticeable gaps at the top and bottom, making it susceptible to foreign debris coming under the screen. This resulted in "bulges" experienced by multiple reviewers, including "Blick", and "The Verge"—whose screen was damaged in this manner. At Samsung's request, this teardown was removed from the website, although it was later reinstated after the re-release of the Galaxy Fold.  In addition, a number of other reviewers damaged the screen by mistakenly removing one of the clear laminate layers that covers it. Samsung advised that the "special protective layer" that coats the screen must not be removed, as doing so may cause damage to the screen. Concerns were raised that consumers may mistake it for a pre-installed screen protector without proper advisories: retail units of the Galaxy Fold did contain a disclaimer. Samsung later stated that it would "thoroughly inspect" the defective review units to investigate the issues.  After reports surfaced that Samsung had postponed a Chinese launch event, Samsung announced on April 22 that the launch (originally set for April 26) had been delayed indefinitely while they work to fix the issue, with plans to announce the new release date sometime within the coming weeks. Samsung later announced that Galaxy Fold pre-orders would automatically be cancelled if the device had not been shipped by May 31, and the customer had not otherwise confirmed their order. On May 24, 2019, U.S. retailer Best Buy cancelled all pre-orders. AT&T subsequently cancelled pre-orders on June 13, 2019, announcing that it would issue refunds, as well as complimentary US$100 bill credits.  "CNET" drew comparisons between the postponement and the battery-related recalls of the Galaxy Note 7. On a test by CNET, the Galaxy Fold's hinge only lasted for 120,000 folds (equivalent to 3 years of use) out of the advertised 200,000 folds (equivalent to 5 years of use).

Delay.

On July 24, 2019, Samsung announced that it was now targeting a September release, and detailed design changes intended to help reinforce the screen and protect the hinge. There are now "caps" on the top and bottom of the hinge area, extra layers of metal under the screen to improve its sturdiness, and the protective layer is extended under the bezels to hold it in place and prevent accidental removal. Samsung also stated that it had reduced the space between the hinge and body of the device.  Samsung issued more detailed care instructions with the new release, advising users against placing items or adhesives on the screen, pressing the screen with hard objects, exposure to liquids or small particles, removing the protective layer, and also warning about placing the phone near items sensitive to magnets (such as magnetic stripe cards and medical implants), "The Verge" felt that the new instructions were akin to "a pharmaceutical ad that has to disclose dozens of side effects". In the U.S., Samsung is distributing the Galaxy Fold solely through AT&T retail stores, Best Buy, and Samsung retail stores. These outlets will be equipped to offer "Premier Service" for the device, including an orientation session post-purchase that will include device setup, data migration from an existing phone, and one-on-one instruction on how to use its features. The "Premier Service" program also includes a dedicated customer support line specific to Galaxy Fold-related issues, and the ability to purchase a one-time screen replacement out-of-warranty from one of the aforementioned outlets for US$149 (however, the device still carries a standard one-year warranty).

The Samsung Galaxy Fold is an Android-based foldable smartphone developed by Samsung Electronics. Unveiled on February 20, 2019, it was released on September 6, 2019 in South Korea. The device is capable of being folded open to expose a 7.3-inch tablet-sized flexible display, while its front contains a smaller "cover" display, intended for accessing the device without opening it.

Das Samsung Galaxy Fold (Codename: "Winner") ist das erste faltbare Smartphone von Samsung Electronics. Es ist ein hybrid eines Smartphones und Tabletcomputers und wurde zuerst am 20. Februar 2019 vorgestellt. Die Software basiert auf dem Betriebssystem Android von Google. Seine Markteinführung wurde auf „unbestimmte Zeit“ verschoben, nachdem Tester teilweise nach einer Nutzungsdauer von einem oder wenigen Tagen Beschädigungen am faltbaren Display festgestellt hatten. Der Einführungspreis des Smartphones betrug 2000 US-Dollar. Seit dem 18. September 2019 ist das Smartphone in Deutschland nun zum Preis von 2.100 Euro zu haben.


Design and development.

After initial studies on gas turbines in the late 1920s, Daimler-Benz lost interest in them until 1939 with the arrival of Karl Leist. Work began immediately on the DB 670 (aka ZTL 5000), a ducted fan with compressor feeding an afterburner, driven by a DB 604 X-24 engine delivering. At a weight of, with an expected thrust of at a speed of and altitude of the DB 670 was abandoned due to the very low power/weight ratio. After a brief interlude studying pulse-jets Leist began work on what was to become the DB007.  Previous design efforts in Germany had investigated ducted fans (turbofans / by-pass turbojets) and contra-rotating compressor spools, but Leist incorporated both into the ZTL6000 (precursor to the ZTL 6001 / DB 007), resulting in a very complex design. Another novel feature was a turbine which passed alternately through the combustion chamber efflux and cooling air tapped from the bypass flow. By the Summer of 1942 design goals had been revised down and the new engine was given the designations ZTL6001 (company) and DB 007 / ZTL 109-007 (RLM), ZTL being an acronym for "Zweikreiststurbinen-Luftstrahltriebwerk" (two-circuit turbojet engine).  Air entered the engine through a conventional air intake, flow splitting after the initial guide vanes to the compressor inside and the ducted fan outside, with a by-pass ratio of approximately 2.45:1. The compressor consisted of seventeen stages of blading, eight carried on the inner drum, rotating at full engine speed, and nine on the outer drum which rotated in the opposite direction at 0.5:1 engine speed. Although extremely complicated mechanically, a compressor efficiency of 80% was expected with a very credible pressure ratio of 8:1. For comparison, typical engines of the era offered pressure ratios on the order of 3.5:1.  Further complication arose from the ducted fan which consisted of three stages of blading attached to the outside of the rotating compressor casing, with stators attached to the inside of the engine outer casing. Calculated efficiency of the fan section was 84%.  Air from the compressor passed to the four linked tubular combustion chambers, spaced evenly around the circumference with gaps to allow cool bypass air tapped from the by-pass duct to cool the turbine directly. Although this resulted in relatively poor turbine efficiency, at 74%, the cooling allowed a far higher Turbine Inlet Temperature (TIT) increasing the overall efficiency of combustion.  The turbine consisted of hollow nickel steel blading on a forged steel turbine wheel which drove the compressor via a hollow shaft and flexible coupling. the inner compressor drum was driven directly but a reduction gearbox drove the outer drum at half speed.  Structural materials were mainly cast aluminium alloys forward of the combustion chamber and welded sheet steel from the combustion chambers aft.

Operational history.

Only bench testing had been achieved before the program was cancelled in May 1944.

The Daimler-Benz DB 007, (RLM ("Reichsluftfahrtministerium" - Reich Air Ministry) designation ZTL 109-007, company designation ZTL6001), was an early German jet engine design stemming from design work carried out by Karl Leist from 1939. This was a complex design featuring contra-rotating stages and a bypass fan, making it one of the earliest turbofan designs to be produced. The end result of the design work was built as the DB 007 and began testing on a test-bed on 27 May 1943. Due to the expected low performance, complexity and the good results achieved by much simpler designs, work was halted on the DB 007 in May 1944 by order of the RLM.

Das Daimler-Benz 670 (RLM-Bezeichnung 109-007), war das erste funktionsfähige Zweistromtriebwerk, auch Mantelstromtriebwerk genannt, dessen erster Prüfstandlauf am 1. April 1943 stattfand.


Background.

In October 2018, Canadian Football League (CFL) commissioner Randy Ambrosie outlined a plan to grow the CFL's presence, which he dubbed CFL 2.0, including growth internationally. As part of this expansion the CFL held a special draft in January 2019 with the Liga de Fútbol Americano Profesional (LFA), the top-level pro American football league in Mexico. Players selected there were not signed to teams but rather had their rights held by their selecting teams. In March 2019, 18 players from in Italy, Germany, France, Finland, and Denmark attended the 2019 CFL Combine alongside Canadian players eligible for the normal CFL Draft; all players came from top club leagues in Europe, with the exception of two French players coming from Canadian university football and one Italian player from coming American junior college football. Only those that attended the combine were be eligible to be drafted in the CFL European Draft. Players selected in these drafts filled a new classification of CFL players called "global players" (in contrast to "National" Canadian players and "International" players which mostly consist of Americans); Ambrosie was initially seeking for each CFL team to have two roster spots for these new global players but, after negotiations with the CFLPA, it formally decided on one roster spot and two practice roster spots.

Selection order.

Unlike the normal CFL Draft, which sets selection order based on a team's record the previous season (similar to the NFL Draft), the preceding CFL–LFA draft instead used a weighted lottery system where teams received an increased chance at a higher draft priority (similar to the NBA Draft) but not a guarantee. Unlike either the 3-round CFL–LFA draft or the 8-round CFL draft, this draft will only consist of a single round. Similarly, the European draft also used a lottery system, with a draft order set on April 4.

The 2019 CFL European Draft took place on April 11, 2019. Nine players were chosen from a pool of 18 European players who attended the 2019 CFL Combine.

Der European CFL Draft 2019 war der erste "European CFL Draft" der kanadischen Canadian-Football-Liga Canadian Football League (CFL). Er fand am 11. April 2019 statt und bestand aus einer Runde, in der alle neun CFL-Teams einen europäischen Spieler auswählten. Es war nach dem CFL–LFA Draft im Januar 2019 der zweite Entry Draft für "globale" Spieler. Wählbar waren nur europäische Spieler, die zuvor am CFL Combine teilnahmen. Damit waren 18 Spieler aus fünf Ländern wählbar: Dänemark (2), Deutschland (6), Finnland (4), Frankreich (4), Italien (2). Vier ausgewählte Spieler stammten aus Frankreich, drei aus Deutschland und jeweils einer aus Italien und Finnland. Fünf ausgewählte Spieler spielten in der German Football League.


High school career.

Hunter attended Friends' Central School in Wynnewood, Pennsylvania. As a junior, he averaged 21.6 points, 11.0 rebounds, and 5.0 assists per game, while being named Pennsylvania Class AA Player of the Year. As a senior in 2016, Hunter averaged 23.5 points, 9.8 rebounds, 3.0 assists and 2.5 blocks per game. Hunter was rated as a four-star recruit and ranked as the 72nd overall recruit and 14th best small forward in the 2016 high school class.  On September 12, 2015, Hunter committed to Virginia, choosing UVA over other offers from NC State & Notre Dame.

College career.

During his redshirt freshman season, Hunter scored double figures in 16 games, including in 11 conference games. During a game against Louisville, Hunter scored the final 3 pointer to win the game at the buzzer. Hunter broke his wrist during the 2018 ACC tournament and could not play in the 2018 NCAA tournament. Without Hunter, the number 1 seed Virginia went on to lose in the first round to the number 16 seed, UMBC. After this season, Hunter was named to the All-ACC All-Freshman team, as well as being named the ACC Sixth man of the year. In his freshman season, Hunter posted 9.2 points and 3.5 rebounds per game. Hunter later announced that he would return to Virginia for the 2018–2019 season despite speculation that he could declare for the 2018 NBA draft.  In his sophomore season, Hunter averaged 15.2 points per game and 5.1 rebounds per game. He helped lead Virginia to another #1 seed in the 2019 NCAA Tournament. Virginia would win the 2019 Championship game 85–77 behind Hunter's 27 points and 9 rebounds, including a game-tying 3 with 12.9 seconds left in regulation.  Following his second season, Hunter announced his intention to forgo his final two seasons of collegiate eligibility and declare for the 2019 NBA draft, where he was taken 4th overall by the Los Angeles Lakers and later traded to the Atlanta Hawks.

Professional career.

Atlanta Hawks (2019–present).

On June 20, 2019, Hunter was drafted by the Los Angeles Lakers with the 4th overall pick in the 2019 NBA draft, and then traded to the New Orleans Pelicans in the Anthony Davis trade, and then again to the Atlanta Hawks along with Solomon Hill in exchange for picks Nos. 8, 17 and 35 in the 2019 NBA draft. On July 7, 2019, the Atlanta Hawks announced that they had signed with Hunter. On October 24, 2019, Hunter made his debut in NBA, started in a 117–100 win over the Detroit Pistons with fourteen points and two rebounds.

De'Andre James Hunter (born December 2, 1997) is an American professional basketball player for the Atlanta Hawks of the National Basketball Association (NBA). He played college basketball for the Virginia Cavaliers where they won the National Championship in 2019.

De’Andre James Hunter (* 2. Dezember 1997 in Philadelphia, Pennsylvania) ist ein US-amerikanischer Basketballspieler. Er gehört derzeit den Atlanta Hawks an.


History.

The Palamu district have site of Neolithic and chalcolithic settlement in the confluence of Son and North Koel river in Kabra-Kala mound.  During the medieval period Chero dynasty was ruling in the region which had become tributaries of Mughal empire during rule of Shahjahan and East India Company. In 1812 East India company took direct control of the region.

Geography.

The district lies between 23°50′ and 24°8′ north latitude and between 83°55′ and 84°30′ east longitude. It is bordered on the north by Sone River & Bihar and on the east by the Chatra and Hazaribagh districts, on the south by Latehar District and on the west by Garhwa District.  The major rivers flowing through Palamu district are Son, Koel and Auranga. The major crops grown are Rice and Sugarcane. Many minerals are found here like Iron ore, Bauxite, Lithium, Dolomite and Coal.

Administration.

Blocks/Mandals/Taluka.

Palamau district consists of 21 Blocks. The following are the list of the Blocks in Palamau district:

Economy.

In 2006 the Ministry of Panchayati Raj named Palamau one of the country's 250 most backward districts (out of a total of 640). It is one of the 24 districts in Jharkhand currently receiving funds from the Backward Regions Grant Fund Programme (BRGF).

Demographics.

According to the 2011 census Palamau district has a population of 1,939,869, giving it a ranking of 243rd in India (out of a total of 640). The district has a population density of. Its population growth rate over the decade 2001-2011 was 25.94%. Palamu has a sex ratio of 929 females for every 1000 males, and a literacy rate of 65.5%. 27.7% of the population are Scheduled Castes and 9.3% are Scheduled Tribes.  At the time of the 2011 Census of India, 65.49% of the population in the district spoke Hindi, 24.44% Magahi and 6.87% Urdu as their first language.

Education.

The only university in Medininagar is Nilamber-Pitamber University, created on January 17, 2009. The Chief Minister of Jharkhand declared that the Nilamber-Pitamber University would be set up in Medininagar in 2001. There are 66 primary schools, 30 middle schools, 17 Navsirijit schools, 10 high schools and 1 Engineering College in the Medininagar block.

Palamau is one of the twenty-four districts of Jharkhand state, India. It was formed in 1892. The administrative headquarter of the district is Medininagar, situated on the Koel River.

Palamu ist ein Distrikt im indischen Bundesstaat Jharkhand. Die Fläche beträgt 4393 km2. Verwaltungssitz ist die Stadt Medininagar (früher Daltonganj).


Career.

Early life.

Yolanda Léderer was born in 1909 in what was then Kolozsvár, Kingdom of Hungary (later Cluj-Napoca, Romania.) She studied at the Free School of Nagybánya and then attended the Royal Academy of Budapest from 1927 to 1929. Her parents were musicians. She learned bel canto singing and was a life-long lover of classical music, describing her later abstract work as musical.  In 1931, Yolanda Léderer moved to Brazil to marry a Hungarian chemist, Gabriel Mohalyi, who was employed there.

Figurative works.

Already an accomplished artist, Yolanda Mohalyi settled in São Paulo, Brazil and taught drawing and painting. Among her students were Giselda Leirner Eleonore Koch, and Alice Brill. Her earliest works were often vivid watercolors, with a sense of light and transparency, that show the influence of expressionism.  Many of Mohalyi's works from the 1930s focus on the human figure and show her concern for social injustice and the disadvantaged. In 1935, Mohalyi began to attend Lasar Segall's salon. Lasar Segall (1891-1957) made a deep impression on Mohalyi, strongly influencing her figurative work, which became darker and more sombre. Mohalyi's color palette became similar to Segall's, with a predominance of ochre tones in a dense and elaborate chromatism. However Mohalyi differed from Segall in her use of yellows. She displayed considerable skill in using oils to create luminous and transparent effects similar to her watercolors. The similarities between her work and Segall's were pointed out by critics such as and Sérgio Milliet, who called for Mohalyi to develop her own style.  Around 1937, Mohalyi joined the "Grupo dos Sete" (Group 7) alongside Victor Brecheret (1894-1955), Elisabeth Nobiling (1902-1975), Rino Levi (1901-1965), (1895-1967),  World War II brought changes: in 1939 Gabriel Mohalyi lost his job, and the couple moved to Rio Grande do Sul for a time. A number of German-Jewish refugees were among Mohalyi's students, and some of her works from the 1940s, such as "Memórias" (Memories) reflect the situation of World War II refugees. Mohaluyi's first solo exhibition took place in 1945 at the Instituto de Arquitetos do Brasil (Institute of Architects of Brazil). It was positively reviewed by art critic Luís Martins.  In 1951 Mohalyi made her first woodcuts, studying with Hansen Bahia (1915-1978) in Salvadore. During the 1950s, Mohalyi used dark, saturated colors for her paintings, sometimes mixing dense, heavy paint with sand or other materials to create a rough texture. Mohalyi's works gradually became more abstract, particularly their backgrounds, and showed some influences from Cubism. She increasingly attracted the attention of international collectors.  Between the 1950s and 1960s, Mohalyi created stained glass windows for the Fundação Armando Alvares Penteado (FAAP) and frescos for the (with Alfredo Volpi and others) and the church of São Domingo. Later, she designed stained glass for the Capela de São Francisco in Itatiaia.

Abstraction.

In 1957, Mohalyi returned to Europe for the first time since she had left in 1931. In Arezzo, Italy, she was deeply struck by the paintings of Piero della Francesca, a fifteenth-century Renaissance master. By her own account, his work determined her to abandon figurative painting. She rejected the modernist movements of cubism and expressionism for pure abstraction. On her return to Brazil, she visited Lasar Segall, whose work had so tremendously influenced her. He implored her not to become an abstractionist; Mohalyi felt "she just had to". Segall died soon after, on August 2, 1957. From then on, Mohalyi rejected figurative art and definitively embraced abstraction. Increasingly, her canvases featured large forms of color freely overlaid with linear elements. Wide gestures expanded into increasingly larger spaces and loose textures. Combinations of colors often created subtle transparencies, giving her later works in particular a sense of luminosity.  In 1958, Mohalyi received the, founded by (1903-1962), a director of the Museu de Arte Moderna de São Paulo (MAM) and a founder of the. In 1959, she participated in the Primeira Exposição Coletiva de Artistas Brasileiros na Europa.  Between 1960 and 1962, Mohalyi taught in the FAAP design and plastic arts course. In 1962, she represented Brazil at the first Bienal Americana de Arte in Córdoba, Argentina, where Sir Herbert Read chose her work for inclusion in an exhibition to visit the United States.  Mohalyi participated in multiple national and international exhibitions and almost all the international São Paulo Art Biennials between 1951 and 1967. In 1963, she was awarded the prize for best national painter in Brazil at the 7th São Paulo Art Biennial. She had a special room at the following Biennial in 1965. Throughout her life, Mohalyi exhibited widely, with solo exhibitions in Europe, Japan and the United States as well as Latin America. Her first major retrospective show occurred in 1976, at the Museu de Arte Moderna de São Paulo (MAM).

Legacy.

Yolanda Mohalyi died without heirs on August 23, 1978 in São Paulo, Brazil. Her friends Jürgen and Barbara Bartzsch were the executors of her estate. They catalogued her work and donated 50 of her paintings to the Museum of Contemporary Art, University of São Paulo (MAC). The works were selected by director Wolfgang Pfeiffer.  In 1979, a memorial exhibition of her work was shown at the 15th São Paulo Biennale. Her work was also shown in posthumous solo exhibitions in 1982 and 1984 at the DAN Galeria in São Paulo. DAN Galeria was founded in 1972 by J. Peter Cohn and Gláucia S. Cohn.  Mohalyi's work continues to be of interest in the 21st century. Art historian and curator Maria Alice Milliet has studied her work, curating exhibitions in 2008, 2009, and 2015. In 2008, an exhibit at the Oscar Niemeyer Museum in Curitiba focused on Mohalyi's lyrical abstraction. In 2009, a retrospective exhibition at the Pinacoteca do Estado de São Paulo covered Mohalyi's work from the 1930s to the 1970s.  In 2014, a retrospective of Mohalyi's work at the Museu de Arte Moderna de São Paulo (MAM) included more than 400 works. Wolfgang Pfeiffer presented a talk about her work.  In 2015, the retrospective exhibition "Yolanda Mohalyi: A Grande Viagem" at Dan Galeria, focused on around 50 of her works. The exhibition coincided with the publication of "Yolanda Mohalyi : a grande viagem (Yolanda Mohalyi : a great journey)" by Milliet and Margarida Sant'Anna, the most extensive biography to date about Mohalyi's work.

Yolanda Léderer Mohalyi (1909 – August 23, 1978) was a painter and designer who worked with woodcuts, mosaics, stained glass and murals as well as more usual materials. Her early work was figurative, but she increasingly moved towards abstract expressionism. With artists such as and, she opened the way for abstraction in Latin American art.

Yolanda Mohalyi (* 1909 in Kolozsvar, Ungarn heute Cluj Napoca, Rumänien; † 23. August 1978 in São Paulo) war eine ungarisch-brasilianische Malerin und Zeichnerin.


Biography.

Son of illiterate parents, as a child Gomes struggled against the limitations of his social status and the oppression of the Portuguese colonial system under António Salazar's rule. He supported Bissau-Guinean resistance against colonialism and greatly admired Amílcar Cabral. He left Guinea-Bissau to study cinema in Cuba (1972) at the Cuban Institute of Art and Cinematography, under the guidance of Santiago Álvarez. He continued his studies in Senegal, at the Senegalese Journal for Motion Picture News, under the direction of Paulin Soumanou Vieyra. He also co-directed two films with Sergio Pina and worked as an assistant with Chris Marker and Anita Fernandez.  Upon returning to liberated Guinea-Bissau, Gomes filmed his country's independence ceremony (24 September 1974), fulfilling the desire of Amílcar Cabral that it should be Bissau-Guineans themselves capturing this historical moment on film. After freeing itself from colonial rule, Guinea-Bissau was visited by many reporters and progressive filmmakers and Gomes, given his knowledge of cinema, was in great demand to assist them, which allowed him to expand his skills. At the end of the 1970s, he worked as a photographer and cameraman for the Ministry of Information.  Having first directed historical documentaries, Gomes filmed his first feature film, "Mortu Nega", in 1987. "Mortu Nega" depicts the struggle for independence and the challenges of the first post-independence years in Guinea-Bissau. The film was screened at several international film festivals and Gomes caught the attention of commentators and critics. He was particularly well received in France, which in later years enabled him to attract funding for the production of new films. In 2000, he was distinguished in France with the title of Chevalier des Arts et des Lettres.

Awards and accomplishments.

1988.

"Mortu Nega" won:

1992.

"Udju Azul di Yonta" won:

Flora Gomes is a Bissau-Guinean film director. He was born in Cadique, Guinea-Bissau on 31 December 1949 and after high school in Cuba, he decided to study film at the Instituto Cubano del Arte y la Industria Cinematográficos in Havana.

Florentino Gomes, bekannter unter seinem Künstlernamen Flora Gomes (* 13. Dezember 1949 in Cadique, Portugiesisch-Guinea) ist ein guinea-bissauischer Filmemacher. Er gilt als einer der bekanntesten Filmemacher Guinea-Bissaus und Westafrikas.


History.

The district of Bongaigaon was created on 29 September 1989 from parts of Goalpara and Kokrajhar districts. 2004 saw a loss of size when part of the district was split to make Chirang district.

Geography.

Bongaigaon district occupies an area of, comparatively equivalent to Réunion. Bongaigaon district is surrounded by Barpeta in the east, the Brahmaputra in the south and Kokrajhar in the north and west corner and share international border with Bhutan in the north. The places that are worth visiting in Bongaigaon are eco park, Bagheswari temple, tea garden, and Suryapahar. The history of Bagheswari temple is such that once a priest saw in his dream that Maa Bagheswari asked him to go to particular place where if he digs out he will find a sword that belonged to Maa Bagheswari. And next morning when the priest went to dig in the place he saw in his dreams, he found the sword. After that day a temple was built over the place and there they worship the sword. There is no idol inside the temple.

Economy.

In 2006 the Indian government named Bongaigaon one of the country's 250 most backward districts (out of a total of 640). It is one of the eleven districts in Assam currently receiving funds from the Backward Regions Grant Fund Programme (BRGF).

Divisions.

The district has three subdivisions: Bongaigaon, Bijni and North Salmara. In 2004, parts of the Bongaigaon district (mainly areas under Bijni subdivision) were given over to form the Chirang district, under the Bodoland Territorial Council (BTC), with its district headquarters at Kajalgaon.  There are four Assam Legislative Assembly constituencies in this district: Bongaigaon, Bijni, Abhayapuri North, and Abhayapuri South. The latter is designated for scheduled castes. Bijni is in the Kokrajhar Lok Sabha constituency, whilst the other three are in the Barpeta Lok Sabha constituency.

Demographics.

According to the 2011 census Bongaigaon district has a population of 738,804, roughly equal to the nation of Guyana or the US state of Alaska. This gives it a ranking of 496th in India (out of a total of 640). The district has a population density of. Its population growth rate over the decade 2001–2011 was 19.58%. Bongaigaon has a sex ratio of 961 females for every 1000 males, and a literacy rate of 70.44%.  Muslims are a majority of the district with 50.22% (371,033), while 359,145 people are Hindus (48.6%).

Language.

As per latest district language record, Assamese language is spoken by 362,006 people constituting (48.99%) of the district while Bangla language is spoken by 331,297 people constituting (44.84%) according to language census report of 2011.

Bongaigaon district (Prpn:ˈbɒŋgaɪˌgãʊ) is an administrative district in the state of Assam in northeastern India. The district headquarters are located at Bongaigaon. The district occupies an area of 2,510 km.

Bongaigaon ist ein Distrikt im Westen des indischen Bundesstaat Assam. Die Fläche beträgt 1093 km2. Verwaltungssitz ist die gleichnamige Stadt Bongaigaon.


Career.

Araújo is a career diplomat at the Ministry of Foreign Affairs (often called Itamaraty after its headquarters). He served in Itamaraty's division of Mercosur affairs from 1991 to 1995, from 2007 to July 2010 and from 2010 to 2015 he was deputy chief at the Brazilian Embassies in Ottawa and in Washington, D.C., respectively. In June 2018, he was promoted to the rank of First Class Minister in the Brazilian Foreign Service, a career diplomat's top rank, that allows them to be posted as Ambassadors. In the custom of the Brazilian Foreign Service, First Class Ministers are styled "Ambassador" even when they have not yet assumed the direction of an embassy, as was the case with Araújo.

Foreign Affairs Minister (2019–present).

After the election of Jair Bolsonaro as President of Brazil in October 2018, the newly promoted Ambassador Araújo was chosen to be the Foreign Minister in the new Administration. The choice was considered unusual. Araújo was not an influential member of Itamaraty, being described by "The Economist" as "hitherto-obscure diplomat", and got the job after a suggestion by Olavo de Carvalho. An anonymous group of Brazilian diplomats published a manifesto lamenting his appointment and claiming Araújo is "manifestly unprepared" and holds "ridiculous" and "absurd" opinions. Others, also speaking anonymously, described him as an "extremely scholarly man", with profound knowledge of ancient history.  Araújo assumed office as foreign minister on 1 January 2019. On 8 January 2019, he asked diplomats to inform the UN that Brazil had withdrawn from the Global Compact for Migration.

Positions.

During the PT administrations, Araújo publicly supported the core elements of Lula da Silva's and Dilma Rousseff's foreign policy. In 2008, for instance, he criticized those who called their progressive agenda "ideological" and defended the right of Hugo Chávez's Venezuela to be a member of Mercosur.  More recently, he began to state opinions that apparently denied his own previous positions. In a 2017 article published by the International Relations Research Institute (IPRI), Araújo praised U.S. President Donald Trump for his nationalist rhetoric and holds that he is restoring Western values that have been challenged by nihilism, which he believes is the Western enemy that replaced communism. In the same article, he praises the self-declared neo-fascist political analyst Aleksandr Dugin, whose books, according to Araújo, "should be studied".According to Paulo Roberto de Almeida, a senior Brazilian diplomat, Araújo's apparent ideological U-turn was a "deliberate" move to please Olavo de Carvalho and "get the job" in the Bolsonaro administration.  Araújo also maintains a blog entitled "Metapolitics 17 – Against Globalism", where he writes that globalism "is the economic globalization that has been driven by cultural Marxism" and that is "essentially anti-human and anti-Christian". On his blog, Araújo has also claimed that climate change is a "cultural Marxism" plot to undermine Western countries in order to support China's growth, and has also lamented the "criminalisation" of red meat, oil and heterosexual sex.  He has also claimed that Nazism was a leftist movement. His statement was criticised by German historians and scholars, such as Stefanie Schüler-Springorum and Wulf Kansteiner, as "nonsense" and "scientifically absurd".  He has called for Brazil to build a new alliance with the United States, Russia, Israel, India, Italy, Japan and the Visegrád Group nations.

Personal life.

Araújo was born in Porto Alegre on 15 May 1967. He graduated from the University of Brasília, where he studied linguistics and literature, and was trained as a diplomat at the Rio Branco Institute. Araújo is a practising Roman Catholic.  His father,, worked as an Attorney General of the Brazilian military dictatorship. During his tenure, Henrique Fonseca de Araújo acted to prevent Gustav Franz Wagner, a Nazi official and deputy commander of the Sobibór extermination camp, from being extradited to Germany. After the War, Wagner had managed to escape to Brazil, where he died some years after having his extradition denied by the Brazilian dictatorship. In his blog, Araújo defended his father, saying that he was not a Nazi supporter and only acted according to the "rule of law".

Ernesto Henrique Fraga Araújo (born 15 May 1967) is a Brazilian diplomat and Brazil's current Minister of Foreign Affairs. Chosen by Brazil's president Jair Bolsonaro in January 2019 following a suggestion made by Olavo de Carvalho, Araújo subscribes to conspiracy theories such as man-made climate change is untrue and a "communist plot", "globalism" is a process driven by "Cultural Marxism", and the Covid-19 (Coronarivus) pandemic is the result of another communist plot he dubbed "comunavirus".

Ernesto Henrique Fraga Araújo (* 15. Mai 1967 in Porto Alegre, Rio Grande do Sul) ist ein brasilianischer Diplomat, Politiker und seit dem 1. Januar 2019 Außenminister Brasiliens.


History.

The Aberdeen Bestiary and the Ashmole Bestiary are considered by Xenia Muratova, a professor of art history, to be "the work of different artists belonging to the same artistic milieu." Due to their "striking similarities" they are often compared and described by scholars as being "sister manuscripts." The medievalist scholar M. R. James considered the Aberdeen Bestiary <nowiki>"</nowiki>a replica of Ashmole 1511" a view echoed by many other art historians.

Provenance.

The original patron of both the Aberdeen and Ashmole Bestiary was considered to be a high-ranking member of society such as a prince, king or another high ranking church official or monastery. However since the section related to monastery life that was commonly depicted within the Aviarium manuscript was missing the original patron remains uncertain but it appears less likely to be a church member. The Aberdeen Bestiary was kept in Church and monastic settings for a majority of its history. However at some point it entered into the English royal collections library. The royal Westminster Library shelf stamp of King Henry the VIII is stamped on the side of the bestiary. How King Henry acquired the manuscript remains unknown although it was probably taken from a monastery. The manuscript appears to have been well-read by the family based off the amount of reading wear on the edges of the pages. Around the time King James of Scotland became the King of England the bestiary was passed along to the Marischal College, Aberdeen. The manuscript is in fragmented condition as many illuminations on folios were removed individually as miniatures likely not for monetary but possibly for personal reasons. The manuscript currently is in the Aberdeen Library in Scotland where it has remained since 1542.

Description.

Materials.

The Aberdeen bestiary is a gilded decorated manuscript featuring large miniatures and some of the finest pigment, parchment and gold leaf from its time. Some portions of the manuscript such as folio eight recto even feature tarnished silver leaf. The original patron was wealthy enough to afford such materials so that the artists and scribes could enjoy creative freedom while creating the manuscripts. The artists were professionally trained and experimented with new techniques - such as heavy washes mixed with light washes and dark thick lines and use of contrasting color. The aqua color that is in the Aberdeen Bestiary is not present in the Ashmole Bestiary. The Aberdeen manuscript is loaded with filigree flora design and "champie" style gold leaf initials. Canterbury is considered to be the original location of manufacture as the location was well known for manufacturing high-end luxury books during the thirteen century. Its similarities with the Canterbury Paris Psalter tree style also further draws evidence of this relation.

Style.

The craftsmanship of both Ashmole and Aberdeen bestiary suggest similar artists and scribes. Both the Ashmole and Aberdeen bestiary were probably made within 10 years of each other due to their stylistic and material similarities and the fact that both are crafted with the finest materials of their time. Stylistically both manuscripts are very similar but the Aberdeen has figures that are both more voluminous and less energetic than those of the Ashmole Bestiary. The color usage has been suggested as potentially Biblical in meaning as color usage had different interpretations in the early 13th century. The overall style of the human figures as well as color usage is very reminiscent of Roman mosaic art especially with the attention to detail in the drapery. Circles and ovals semi-realistically depict highlights throughout the manuscript. The way that animals are shaded in a Romanesque fashion with the use of bands to depict volume and form, which is similar to an earlier 12th-century Bury Bible made at Bury St.Edmunds. This Bestiary also shows stylistic similarities with the Paris Psalters of Canterbury. The Aviary section is similar to the Aviariium which is a well-known 12th century monastic text. The deviation from traditional color usage can be seen in the tiger, satyr, and unicorn folios as well as many other folios. The satyr in the Aberdeen Bestiary when compared to the satyr section of the slightly older Worksop bestiary is almost identical. There are small color notes in the Aberdeen Bestiary that are often seen in similar manuscripts dating between 1175 and 1250 which help indicate that it was made near the year 1200 or 1210. These notes are similar to many other side notes written on the sides of pages throughout the manuscript and were probably by the painter to remind himself of special circumstances, these note occur irregularly throughout the text.

Illuminations.

Folio page 1 to 3 recto depicts the Genesis 1:1-25 which is represented with a large full page illumination Biblical Creation scene in the manuscript. Folio 5 recto show Adam surrounded as a large figure surrounded by gold leaf towering over others with the theme of 'Adam naming the animals' - this starts the compilation of the bestiary portion within the manuscript. Folio 5 verso depicts quadrupeds, livestock, wild beasts, and the concept of the herd. Folio 7 to 18 recto depicts large cats and other beasts such as wolves, foxes and dogs. Many pages from the start of the manuscript's bestiary section such as 11 verso featuring a hyena shows small pin holes which were likely used to map out and copy artwork to a new manuscript. Folio 20 verso to 28 recto depicts livestock such as sheep, horses, and goats. Small animals like cats and mice are depicted on folio 24 to 25. Pages 25 recto to 63 recto feature depictions of birds and folio 64 recto to 80 recto depicts reptiles, worms and fish. 77 recto to 91 verso depicts trees and plants and other elements of nature such as the nature of man. The end folios of the manuscript from 93 recto to 100 recto depicts the nature of stones and rocks.  Seventeen of the Aberdeen manuscript pages are pricked for transfer in a process called pouncing such as clearly seen in the hyena folio as well as folio 3 recto and 3 verso depicting Genesis 1:26-1:28, 31, 1:1-2. The pricking must have been done shortly after the creation of the Adam and Eve folio pages since there is not damage done to nearby pages. Other pages used for pouncing include folio 7 recto to 18 verso which is the beginning of the beasts portion of the manuscript and likely depicted a lions as well as other big cats such as leopards, panthers and their characteristic as well as other large wild and domesticated beasts.

Missing Folios.

On folio 6 recto there was likely intended to be a depiction of a lion as in the Ashmole bestiary, but in this instance the pages were left blank although there are markings of margin lines. In comparison to the Ashmole bestiary, on 9 verso some leaves are missing which should have likely contained imagery of the antelope ("Antalops"), unicorn ("Unicornis"), lynx ("Lynx"), griffin ("Gryps"), part of elephant ("Elephans"). Near folio 21 verso two illuminations of the ox ("Bos"), camel ("Camelus"), dromedary ("Dromedarius"), ass ("Asinus"), onager ("Onager") and part of horse ("Equus") are also assumed to be missing. Also missing from folio 15 recto on are some leaves which should have contained crocodile ("Crocodilus"), manticore ("Mantichora") and part of parandrus ("Parandrus"). These missing folios are assumed from comparisons between the Ashmole and other related bestiaries.

The Aberdeen Bestiary (Aberdeen University Library, Univ Lib. MS 24) is a 12th-century English illuminated manuscript bestiary that was first listed in 1542 in the inventory of the Old Royal Library at the Palace of Westminster. Due to similarities, it is often considered to be the "sister" manuscript of the Ashmole Bestiary. The connection between the ancient Greek didactic text Physiologus and similar bestiary manuscripts is also often noted. Information about the manuscripts origins and patrons are circumstantial, although the manuscript most likely originated from the 13th century and was owned by a wealthy ecclesiastical patron from north or south England. Currently, the Aberdeen Bestiary resides in the Aberdeen Library in Scotland.

Das Bestiarium von Aberdeen (University of Aberdeen, Library, Univ Lib. MS 24) ist eine Bilderhandschrift, die in England vermutlich gegen Ende des 12. Jahrhunderts entstanden ist. Ein Bestiarium ist eine mittelalterliche Beschreibung von Tieren und Fabelwesen.


Background.

While working on his then-upcoming fourth studio album, Justin Bieber enlisted American DJ Skrillex to produce songs for the record after successfully working with him on "Where Are Ü Now", which he sent to Skrillex and Diplo for their project Jack Ü and that became a worldwide hit and helped to revamp his career. Regarding his will to work with the producer, Bieber commented: "Skrillex is a genius. He’s super futuristic and I just love his sounds. I think being able to incorporate that sound with what I’m doing has been super cool because it’s like new and fresh, and I feel like no one’s done it before." Skrillex, on other hand, commented about his involvement on the album, saying: "I heard some well-written songs that were really good that they wanted me to do production on and from there, we wrote some new songs. It was an opportunity to try some stuff that I had never done before and we ended up making something really unique." Skrillex also invited Michael Tucker, under his producer name BloodPop, to help him produce some tracks for the album. The producer wrote "Sorry" with other songwriters and immediately felt it was a relatable song. Later, he needed to convince Bieber's team that "Sorry" was "the song".

Release.

On October 18, 2015, Bieber announced the release of "Sorry", and a day later, the song was promoted through a Vine video that played the song in the background and featured King Bach and Michelle Obama. On October 21, 2015, Bieber posted an acoustic 13-second sample of the song, while on October 22, 2015, the song was officially released as "Purpose" second single. In the same day, Bieber posted a video on his Instagram, where he appeared in the studio with BloodPop and Skrillex, listening to the song and riding around on hoverboards. A "Latino remix" of the song, featuring Colombian singer J Balvin, was released worldwide on November 6, 2015.

Recording and writing.

"Sorry" is the result of a studio collaboration between Michael Tucker, under his producer moniker BloodPop, with songwriters Justin Tranter and Julia Michaels. Tucker was responsible for writing the music, while Tranter and Michaels contributed to the song's lyrics. Michaels and Tranter, who had already worked together in a handful of tracks and became songwriting partners, were asked to go write with Tucker in a session. Tucker created the song's melody with Bieber in mind, while Michaels was in a vocal booth with Tranter and the word "sorry" "popped out" of her head, as she recalled. After that, they came up with the lyrics, inspired by a personal event Michaels had, sent the demo to Bieber's team, and Bieber himself loved the track and "changed a couple things to make it feel more like him." Skrillex was responsible for the beat and claimed that he also acted as a support "for what Justin was saying and help[ed] keep it simple, and record good, memorable songs." Initially, Bieber thought the song was too safe and simple, but Skrillex told him it has a very refined simplicity about it.  BloodPop commented in an interview about the song, stating: "From the perspective of the producer, I find the muffled vocal chops to represent the people or situations in which Justin or the listener could be apologetic towards. The vocal manipulations make an ambiguous sound and a moment later Justin replies, Sorry. I love that narrative. Justin's vocal delivery and the triumphant key of the song gave the narrative a warm color. I am most excited by music that allows the beat to tell a story as much as the vocal and in 'Sorry,' the beat is saying moving forward, and apologizing, can be exciting and fun." Bieber, on the other hand, opined that "the more he listened to it the more he fell in love with it." He continued: "The melodies are really catchy and some people would misinterpret that for being safe but it's like The Beatles' 'Let It Be', simple melodies but it's so effective "music right now is missing those effective real songs."

Composition and lyrical interpretation.

According to the sheet music published at Musicnotes.com by Universal Music Publishing Group, the song is composed in the key of Eb Major with a moderately fast tempo of 100 beats per minute. Bieber's vocals range from the note of Eb to Bb. "Sorry" is a dancehall-pop, tropical house and moombahton song. It contains a "smooth but electrifying EDM beat, incorporating "brassy horn bleats", a reggaeton rhythm, warm island rhythms and a dembow riddim beat. It starts with a lone piano note before a distinct motif, most precisely a high-pitched coo, takes over. Bieber uses a smooth falsetto during the track. Bianca Gracie of Idolator drew parallels between "Sorry" and previous single "What Do You Mean?" for sharing "a similar tropical pop route" and found there were "a few more spritz of sweet, beachy and dancehall-inspired notes". Many critics also found sonic similarities between both songs.  Lyrically, the song is a plea "for a chance to apologize to an unidentified lover", with Bieber asking forgiveness, "saying that he misses more than just her body and "hoping they can 'both say the words and forget this. During the song, he sings: "I know you know that I made those mistakes maybe once or twice By once or twice I mean maybe a couple of hundred times. So let me, so let me redeem myself tonight Because I just need one more shot, a second chance." Andrew Unterbgerger of "Spin" noted that on the track, "Bieber's still a little too proud to beg he undercuts the penitence of his verses by deflecting 'You know there are no innocents in this game for two,' and never actually delivering the titular apology, merely asking if doing so would still be productive."  Regarding its lyrics, Sheldon Pearce of "Complex" found it to be "sincere", while Amy Davidson of Digital Spy thought the opposite, considering it an unapologetic song. Meanwhile, Jamieson Cox of "The Verge" wondered, "Is he singing to an ex or to listeners around the world?" Julia Michaels, one of its songwriters, claimed that, "We were just trying to capture that moment in a relationship or a particular moment in your life where you realize you made a mistake and you're finally ready to admit it and apologize." Later, Bieber admitted that the song was not an apology for his past transgressions, explaining: People ran with that that I was like, apologizing with that song and stuff. It really had nothing to do with that. It was about a girl." Later, he confirmed that the girl in question was his ex-girlfriend Selena Gomez.

Critical reception.

“Sorry” received positive reviews from critics. Leah Greenblatt of "Entertainment Weekly" cited the song for being "stripped down for maximum aerodynamics, the vocals mentholated and sweetened with a brushstroke of bass here, a snake-charmer synth line there." Andy Kellman of AllMusic selected the song as one of the album's highlights, citing the song and "What Do You Mean?" as tracks that "showed him making a deeper connection with his material and that, yes, he was progressing from performer to artist." Brad Nelson of "Pitchfork" also praised both songs for being "vivid tropical house tracks that sound like sunlight drifting down through palm fronds. Bieber's voice often resembles a breath contorted inexpressively through notes; here, he lets it weightlessly fall through textures. They are his best performances to date, allowing him to flex a rhythmic playfulness without communicating an iota of legible emotion." "USA Today" Maeve McDermott wrote: "'Sorry' is just as much of an earworm as his previous single 'What Do You Mean?', with the same summery neon-hued electronic production." For Bianca Gracie of Idolator, the song "is a few notches above of its single predecessor" due to "the combination of dancehall flair and the continued trend of his 'come hither' laid-back vocals," considering it "one that has been unmatched this year."  Michelles Geslani of Consequence of Sound applauded the collaboration with Skrillex and BloodPop, saying "the results are beyond promising. It's a chill number marked by warm island rhythms." Brennan Carley of "Spin" wrote that the song "starts with a tropical drum-n-bass situation before exploding into a glorious, neatly wound chorus," calling it "a subdued step forward for the Biebs." Andrew Unterberger of the same publication noted: "Like any number of classic Motown songs, 'Sorry' understands that take-me-back songs are always more persuasive when they sound like fun you're missing out on, and the song's euphoric drop is a better second-chance argument than any the singer could present himself." Mikael Wood of the "Los Angeles Times" called it "airy tropical-house banger that makes the singer's first big hit, the puppyish 'Baby', seem like an artifact from a different era (which it pretty much is).""Time" Nolan Feeney also appreciated the song saying: With a beat this breezy, though, that’s nothing to be sorry about." Dee Lockett of Vulture.com wrote: "it's a Caribbean-flavored house beat over which Bieber flexes his best falsetto." Sam C. Mac of "Slant Magazine" opined that the song brought "a mini-resurrection of the house/reggaeton fusion Moombahton, along with Bieber's most grown-n'-sexy lyrics." Amy Davidson of Digital Spy concluded: "With its show-offy vocal distortions and tropical feel, 'Sorry' might not be a sincere attempt at forgiveness—but that's probably why it sounds so good."

Year-end lists.

"Billboard" ranked "Sorry" at number 9 on its year-end list for 2015, writing: "Justin Bieber should try apologizing more often. From the bright opening notes to the manipulated vocal loop in the chorus, the Biebs brought EDM to his pop palette and made fans out of haters with an unforgivably good single."

Chart performance.

North America.

In the United States, "Sorry" debuted at number two on the "Billboard" Hot 100 on the issue dated November 14, 2015 with 277,000 downloads sold and 23.1 million US streams in its first week, becoming Bieber's second consecutive top-10 debut (after "What Do You Mean?" which debuted at number one) and his eighth top-10 "Billboard" single overall. The song was blocked from the top by Adeles "Hello", which debuted at number one with 1.11 million downloads sold its first week on sale. With having debuted at number one and number two with prior single '"What Do You Mean?" and "Sorry", respectively, Bieber's "Purpose" became only the fourth album in "Billboard's" history to have yielded multiple songs that entered the Hot 100 in the top-two positions (the others were Mariah Carey's "Daydream" in 1995–96, "Butterfly" in 1997–98, and Eminem's "Recovery" in 2010). Additionally, with "Sorry" at number two and "What Do You Mean" at number five, Justin Bieber became the 20th solo male artist to have two songs inside the top five. The following week, the song sold 129,000 downloads, descending to number four on the Hot 100. However, it moved from 37 to 27 on the Radio Songs chart, with 46 million all-format audience impressions. In its fourth week, after the release of "Purpose", the song ascended again to number two on the Hot 100, selling 82,000 copies. That week, Bieber's "What Do You Mean?" and "Love Yourself" (a track from "Purpose", which debuted on the chart after selling 140,000 downloads) were at number five and four on the Hot 100, respectively, which made the singer be only the third artist to have three singles inside the chart's top five (the others being The Beatles in 1964 and 50 Cent in 2005). Additionally, the same week, Bieber had 17 songs on the Hot 100 simultaneously, breaking the record previously held by The Beatles and Drake.  For the chart dated December 12, 2015, after Bieber's performance on the American Music Awards, "Sorry" ascended from two to one on Digital Songs, selling 178,000 downloads and becoming Bieber's third chart-topper on that chart, after 2012's "Boyfriend" and prior single "What Do You Mean?". For the chart dated January 2, 2016, the song became Bieber's first number-one single on the Streaming Songs chart, ascending from 2 to 1. That week, it also became his second number-one song on the Mainstream Top 40 chart. After eight non-consecutive weeks (seven consecutively) at number two, on the week charting 23 January 2016, "Sorry" dethroned Adele's "Hello" and became Bieber's second number-one single on the "Billboard" Hot 100, after selling 128,000 downloads and earning 145 million audience impressions. On the chart dated 6 February 2016, 'Sorry' stayed at the top of the Hot 100 for a third consecutive week, giving Bieber his longest number one on the chart. That week, Bieber's 'Love Yourself' ascended from 3 to 2, which made the singer be the 17th act in the Hot 100's history to rank at Nos. 1 and 2 simultaneously. He was just the 11th act to hold the Hot 100's top two as a lead artist on both songs. The following week, 'Sorry' became Bieber's first number-one song on the Radio Songs chart after earning 141 million audience impressions, however, it was beaten to the top on the Hot 100 by "Love Yourself". With that, Bieber became the 12th artist in the Hot 100's 57-year history to succeed himself at number one. On the issue dated 2 April 2016, "Sorry" spent its 21st week in the Hot 100's top ten, matching the mark for the most consecutive weeks logged in the Hot 100's top 10 from a song's debut. Impressively, Bieber's "What Do You Mean?" had already tied the record. The record was surpassed later by Bieber's own "Love Yourself", which spent 23 consecutive weeks in the top ten since its debut. As of February 2016, "Sorry" has sold 2 million copies in the U.S.

Europe and Oceania.

In the United Kingdom, the song entered at number two on the UK Singles Chart, once again behind Adele's "Hello", which debuted at number one on October 30, 2015. However, it climbed a place to the top of the UK Singles Chart on 20 November 2015, with 104,000 combined chart sales and 5.35 million streams, becoming Bieber's second chart-topping song in Britain. That week, Bieber had three songs inside the Official Singles Chart's top five, including "Sorry" (1), "Love Yourself" (3) and "What Do You Mean?" (5). No other male artist had achieved that in 34 years, since John Lennon did in January, 1981. In addition, the singer had eight songs inside the chart's top 40, the first time ever that a living act achieved this many entries simultaneously in the Official Singles Chart top 40 (the closest was Elvis Presley who managed a maximum of seven entries in 1957). The following week, 'Sorry' remained at number one, meanwhile 'Love Yourself' reached the number two position, making Bieber be the first act to dominate the two spots of the Official Singles Chart in 30 years, since Madonna did in 1985 with "Into the Groove" and "Holiday". The next week, "Sorry" was beaten to the top by Bieber's "Love Yourself", earning 5.5 and 5.97 million streams, respectively. With that, Bieber became the first act to replace themselves on the chart since Elvis Presley did in 2005. Also, he was the first living act to do so since The Beatles did in December 1963. "Sorry" and "Love Yourself" remained at the same place for two more consecutive weeks, making Bieber the first artist ever to log four weeks at numbers 1 and 2 consecutively, breaking the record previously held by The Beatles, who logged three consecutive weeks at numbers 1 and 2 in 1967–68. "Sorry" was the tenth best-selling song in the UK with sales of 934,000 in combined units including streams. On June 10, 2016, it was revealed that "Sorry" had become the first song to hit 100 million streams in the UK. As of September 2017, the song had accumulated 724,000 in actual sales, 144 million in streams, making a total of 2,168,000 combined units.  In Australia, "Sorry" entered at number two on the ARIA Singles Chart, becoming Bieber's third top-ten hit in 2015 and his fourth overall. In New Zealand, "Sorry" became Bieber's second consecutive number-one single.

Music video.

"Purpose: The Movement" version.

A dance video for "Sorry" was released on October 22, 2015. The video, which features the New Zealand dancers of ReQuest Dance Crew and The Royal Family dance crew, was directed and choreographed by New Zealander Parris Goebel, who also appears as a dancer. The video was initially intended to be a lyric video and was eventually kept as a dance video. As of June 2020, the music video has received 3.3 billion views on YouTube, making it the tenth most viewed video on the site, the 22nd to reach 1 billion views, the fifth fastest to reach 1 billion views, the fourth fastest to reach 2 billion views and the seventh fastest to reach 3 billion views.

Lyric video version.

The lyric video for "Sorry" was released on October 29, 2015. The video features a girl (played by dancer Lauren Hudson Petrilli) who goes through a day of her life, with the words of the song appearing in random places as she wanders around inside and outside her house, alongside the use of special effects. The video was directed by Zach King and Aaron Benitez.

Live performances.

Bieber performed the song on "The Ellen DeGeneres Show" on November 13, 2015. He was also a musical guest on "The Tonight Show Starring Jimmy Fallon". Additionally, Bieber performed the song during the 2015 American Music Awards, which took place at Microsoft Theater on 22 November 2015 in Los Angeles, California. The singer also took the stage to perform "Sorry" during the season nine finale of "The Voice" on 15 December 2015. Bieber performed the song live at the 2016 Brit Awards in London on February 24, 2016.

Plagiarism allegation.

In May 2016, "Billboard" reported that Bieber and Skrillex were being sued by indie artist White Hinterland, who claims the duo used her vocal loop from her 2014 song "Ring the Bell" without permission. Eight seconds of the "Ring the Bell" riff is allegedly used six times in "Sorry." Co-writers are also included in the suit. Producer Skrillex responded to the claim by uploading a video of himself manipulating the vocals of co-writer Julia Michaels. The lawsuit was later dropped.

"Sorry" is a song recorded by Canadian singer Justin Bieber for his fourth studio album, "Purpose" (2015). Written by Bieber, Julia Michaels, Justin Tranter, Skrillex, and BloodPop; the song was produced by the latter two. It was released on October 22, 2015, as the second single from the album. A dancehall-pop, tropical house and moombahton song, "Sorry" contains in its instrumentation "brassy horn bleats", warm island rhythms and a dembow riddim beat. Lyrically, "Sorry" is a plea for a chance to apologize to a lover, with Bieber asking forgiveness and a second chance to redeem himself. Bieber has since said that the lover was Selena Gomez.

Sorry ist ein Lied des kanadischen Singer-Songwriter Justin Bieber aus seinem vierten Studioalbum "Purpose". Er schrieb das Stück mit Julia Michaels, Sonny Moore, Michael Tucker und Justin Tranter.


Publishing history.

The first weekly number of "The Girl's Own Paper" appeared on 3 January 1880. As with its male counterpart "The Boy's Own Paper", the magazine was published by the Religious Tract Society (which subsequently became Lutterworth Press). In October 1929, the title became "The Girl's Own Paper and Woman's Magazine" but in 1930 the "Woman's Magazine" became a separate publication. In December 1947 the name was changed to "The Girl's Own Paper and Heiress". By 1951 it was called "Heiress incorporating the Girl's Own Paper". In 1956 "Heiress" closed down, and the name "Girl's Own Paper" ceased to exist. Facsimile reprints of volume 1 to 4 were published by Eureka Press, Japan, in 2006. Several editions are available online from Project Gutenberg.

Contents.

The story paper provided a mix of stories and educational and improving articles, with 'Answers to Correspondents' and occasional coloured plates, poetry and music. The paper funded and serialised the exploits of the explorer Kate Marsden in the 1890s when she was lauded by the Royal Geographical Society.  From 1908, the weekly magazines were dropped and the paper included more information on serious careers for girls and advice on style and dress. Long serials became less common, being replaced by shorter stories. From the 1930s, a greater proportion of its material was directed at younger readers. There were school stories, stories of kidnapped princesses and articles about film stars, although the contents became more serious during World War II.  Volumes 39 and 40 of 1917–18 were entitled "The Girls Own Paper" and "Woman's Magazine"; presumably the two publications were merged for economy purposes as a result of World War I.

Famous contributors.

Many contributors are unknown outside the "G.O.P." pages, but they include Noel Streatfeild, Eleanor Hoyt Brainerd, Rosa Nouchette Carey, Sarah Doudney (1841–1926), Angela Brazil, Lucy Maud Montgomery, Richmal Crompton, Fanny Fern, and Baroness Orczy.  Between 1940 and 1947 Captain W. E. Johns contributed sixty stories featuring the female pilot Worrals.

Role in popular culture.

In her history of the "G.O.P.", E Honor Ward writes: "The G.O.P. was an important and positive influence on generations of girls and women, and a vital outlet for women's writing and ideas, for more than three-quarters of a century".

The Girl's Own Paper (G.O.P.) was a British story paper catering to girls and young women, published from 1880 until 1956.

The Girl’s Own Paper war eine britische Wochenzeitschrift für Mädchen und junge Frauen. Sie erschien von 1880 bis 1956 in London.


Data sources.

There are a number of different sources of data on income which results in different estimates of income due to different sample sizes, population types (e.g. whether the population sample includes the self-employed, pensioners, individuals not liable to tax), definitions of income (e.g. gross earnings vs original income vs gross income vs net income vs post tax income).  The Survey of Personal Incomes (SPI) is a dataset from HM Revenue and Customs (HMRC) based on individuals who could be liable to tax. HMRC does not hold information on individuals whose income is below the personal allowance (£8,105 in 2012/13). Furthermore, SPI does not include income from non taxable benefits such as housing benefits or job seekers allowance.  The Annual Survey of Hours and Earnings (ASHE) is a dataset from an annual survey of approximately 50,000 businesses by the Office for National Statistics (ONS) and covers annual earnings, public and private sector pay differential and the gender pay gap. ASHE does not cover individuals who are self-employed.  The Households Below Average Income (HBAI) dataset is based on the Family Resources Survey (FRS) from the Department for Work and Pensions (DWP). It includes information on equalised household disposable income and can be used to represent the distribution of household income and income inequality (Gini coefficient).  Other data sources include Average Weekly Earnings, Labour Force Survey, Index of Labour Cost per Hour, Unit Labour Costs, Effects of Taxes and Benefits on Household Income / Living Costs and Food Survey, European Union Statistics on Income and Living Conditions, Pensioners Income Series, Wealth and Assets Survey, National Accounts Estimates of Gross Disposable Household Income, and Small Area Income Estimates.

Taxable income.

The most recent SPI report (2012/13) gave annual median income as £21,000 before tax and £18,700 after tax. The 2013/14 HBAI report gave median household income (2 adults) as £23,556. The provisional results from the April 2014 ASHE report gives median gross annual earnings of £22,044 for all employees and £27,195 for full-time employees.  According to the OECD the average household net-adjusted disposable income per capita is $27,029 a year (in USD, ranked 14/36 OECD countries), the average household net financial wealth per capita is estimated at $60,778 (in USD, ranked 8/36), and the average net-adjusted disposable income of the top 20% of the population is an estimated $57,010 a year, whereas the bottom 20% live on an estimated $10,195 a year giving a ratio of 5.6 (in USD, ranked 25/36).  The 2013/14 HBAI reported that 15% of people had a relative low income (below 60% of median threshold) before housing costs.  Data from HMRC 2012-13; incomes are before tax for individuals. The personal allowance or income tax threshold was £8,105 (people with incomes below this level did not pay income tax).

Income by location.

Income can vary considerably by location. For example, the locations (local administrative unit) with the highest incomes were the City of London, Kensington and Chelsea, and Westminster with median annual incomes of £58,300, £37,800 and £35,200 respectively. The locations with the lowest incomes were Hyndburn, Torbay, and West Somerset with median annual incomes of £17,000, £16,900 and £16,000 respectively.  A 2017 report from Trust for London found that London has a poverty rate of 27%, compared to 21% in the rest of England.

Income by age and gender.

Data from the "Survey of Personal Incomes 2012/13".

Income by occupation.

The tables below shows the ten highest and ten lowest paid occupations in the UK respectively, as at April 2014.

Post-tax household income.

Data from the "Households Below Average Income" (HBAI) report from the Department of Work and Pensions 2013/14:  Data from HMRC – Percentile points of the income distribution as estimated from the "Survey of Personal Incomes", note this only includes individuals who pay some income tax:

Wealth.

The net worth information is based on data from HMRC for 2004-2005 and includes marketable assets including house equity, cash, shares, bonds and investment trusts. These values do not include personal possessions.

High income.

The Institute for Fiscal Studies issued a report on the UK's highest earners in January 2008. There are 42 million adults in the UK of whom 29 million are income tax payers. (The remainder are pensioners, students, homemakers, the unemployed, those earning under the personal allowance, and other unwaged.) A summary of key findings is shown in the table below:  The top 0.1% are 90% male and 50% of these people are in the 45 to 54 year age group. 31% of these people live in London and 21% in South East England. 33% of these people are company directors (as reported to HMRC). 30% work in finance and 38% in general business (includes law). The very richest rely on earnings (salary and bonuses) for 58% of income. Income from self-employment (such as partnerships in law or accountancy firms) accounts for 23% of income and about 18% from investment income (interest and share dividends).

Sources of income.

The "Family Resources Survey" is a document produced by the Department for Work and Pensions. This details income amongst a representative sample of the British population. This report tabulates sources of income as a percentage of total income.  Other social security benefits include: Housing Benefit, Income Support and Jobseeker's Allowance

Median household disposable income in the UK was £29,400 in the financial year ending (FYE) 2019, up 1.4% (£400) compared with FYE 2018, after accounting for inflation.

Die Einkommensverteilung im Vereinigten Königreich betrachtet die Verteilung der Einkommen im Vereinigten Königreich. Die personelle Einkommensverteilung betrachtet, wie das Einkommen einer Volkswirtschaft auf einzelne Personen oder Gruppen (z. B. Privathaushalte) verteilt ist. Zur Untersuchung der Entwicklung der Einkommensverteilung wird häufig das verfügbare Äquivalenzeinkommen herangezogen. Das Vereinigte Königreich wies laut Eurostat im Jahr 2017 einen Gini-Koeffizienten von 0,33 auf und zählte damit zu den Ländern mit vergleichsweise hoher Ungleichheit in der Europäischen Union.