Biography.

Fritz Kahn was born in Halle an der Saale, Germany, the son of Arthur Kahn, a physician and author, and Hedwig Kahn, "née" Schmuhl. His father emigrated to the USA shortly after his birth, settling in Hoboken, New Jersey. Around 1893, after establishing his practise, he sent for his wife and son, and Fritz Kahn started school there. The family later moved to Manhattan, but in 1895 his mother returned to Germany with her three children. They spent time in Hamburg and again in Halle before moving to Bonn with Arthur Kahn after his return from the US, then finally in 1905 moved to Berlin, where Kahn took his Abitur at the "Sophiengymnasium"; he also served as an instructor in classes for workers.  Kahn studied medicine at the University of Berlin beginning in 1907, passing the state examination to become an M.D. in 1912/13. His studies focused on microbiology, but he also studied a variety of scientific and philosophical subjects, worked at an institute of meteorology, and wrote articles for the popular science magazine "Kosmos". Around 1930 he went on geological expeditions to Palestine and the Polar circle. In 1932, after suffering from pneumonia for a month, he traveled to the Sahara to study the desert. In 1933, antisemitic propaganda caused him to close his medical practice and his books were publicly burned. He immigrated to Palestine with his family, settling first in Haifa, then in Jerusalem. He wrote newspaper articles on contemporary issues and in 1934 exhibited in Jerusalem on "The Hygiene of the School Child".  He divorced his wife and in 1937 married Erna Schnabel, cousin of pianist Artur Schnabel and a singer and music teacher, after which he moved to Paris. After the outbreak of World War II, he fled to Bordeaux. In 1940 he was interned by the French as an enemy alien. His wife secured his release and the couple fled to Spain and Portugal. He was one of the Jewish refugees assisted by the US agent Varian Fry; in early 1941, with the help of Albert Einstein, they were able to emigrate to the USA, where they settled in Manhattan.  After the war, Kahn spent several long periods in Europe between 1948 and 1950, among other places in Ascona, but when it seemed unlikely he would soon be able to return there permanently, he once more settled in New York. He had a house in Atlantic Beach, Long Island and a studio in Manhattan. After his wife left him, he lived with Ellen Fussing, a Danish-American colleague, with whom he finally returned to Europe. Until 1960 they lived primarily in Switzerland, among other places in Lugano. In 1960, on vacation in Agadir, he survived a serious earthquake unharmed—in a sarcophagus. He was evacuated to Denmark with Fussing, settled in North Zealand, and in 1962 opened a studio in Copenhagen.Kahn traveled to Ascona in fall 1967 for health reasons; on 14 January 1968, he died in a clinic in Locarno.

Medical career.

From 1914 to 1922 he worked as a surgeon, gynecologist, and obstetrical aide at a clinic.  In World War I he served as a medic, among other postings in Alsace, the Vosges, and Northern Italy. In 1918 he was invalided out on grounds of undernourishment and overwork and was cared for by an Italian farming family. After the war ended, he went to Algeria to recuperate.  After returning to Berlin and resuming practice as a physician, he married Irma Glogau in 1920. Around 1921 he traveled to Palestine, where he bought land on Mount Carmel and in Jerusalem. In 1922, he opened a private practise as a gynecologist.  In 1926 he advised on Jewish health for the "GeSoLei" exhibition on health, social welfare, and exercise in Düsseldorf and was one of the organizers of the Berlin exhibition on nutrition.

Literary career.

In late 1938, shortly after Kristallnacht, Kahn's books were placed on the list of "damaging and undesirable writing" and in addition his book on sexuality, "Unser Geschlechtsleben", was banned by the police and all available copies destroyed. His illustrations were used in works by, a Nazi-endorsed medical writer. Through the use of often startling metaphors, both verbal and visual, Kahn succeeded in making complex principles of nature and technology comprehensible to a person of average education. For example, he compared the ear to an automobile. Some of his images foretell the future: for example the "physician of the future" "remotely monitoring his patient's health from his desktop with the aid of various applets". Many are simply "arresting because [they are] drastically extreme visualizations": for example, "In 70 Jahren isst der Mensch 1400-mal sein Gewicht" (In 70 years a person will eat 1,400 times his weight) - which includes 40,000 cigars. Some of his drawings are inaccurate; when a friend pointed out one error, he responded: "Na ja, falsch ist es schon, aber verständlich!" ("Yup, it's wrong, but it's understandable!") His series "Das Leben des Menschen" (Human Life) was a best-seller. He continued to publish in exile and was included in "Who's Who" in the USA in the mid-1950s, but in Germany he was largely forgotten after the banning of his books.  Kahn described the human body as "the most competent machine in the world", and his work reflects the technical and cultural state of development of Germany during the Weimar Republic. He himself did not draw well; the illustrations were made by others on his instructions. In Berlin, New York, and Copenhagen, he established studios for this purpose. His analogies between humans and machines have been interpreted by some artists, including Herbert Bayer and Eduardo Paolozzi. His graphics have also inspired some modern work, such as a trailer for the 2007 Sundance Film Festival and the ad for the music program "Vamos Falar de Música" on MTV Brasil. In 2009 the designer Henning Lederer animated Kahn's "Der Mensch als Industriepalast" (Man as Industrial Palace) as part of a final student project, attracting online attention. As pioneering work in infographics, Kahn's illustrations were returned to public attention in 2009 by Uta and's monograph "Fritz Kahn – Man Machine / Maschine Mensch", and the first exhibition of his work was held in 2010 at the at the Charité.  Notes and drafts for Kahn's unfinished book "The Natural History of Palestine" are preserved in the Arthur and Fritz Kahn Collection at the Leo Baeck Institute, Center for Jewish History in New York.

Fritz Kahn (29 September 1888 – 14 January 1968) was a German Jewish physician who published popular science books and is known for his illustrations, which pioneered infographics.

Fritz Kahn (* 29. September 1888 in Halle (Saale); † 14. Januar 1968 in Locarno, Schweiz) war ein deutscher Arzt und Autor populärwissenschaftlicher Bücher.


History.

That the Duchy of Bernstadt at first belonged to the Silesian Duchy of Oels which had since 1329 been a fief of the Bohemian Crown. Upon the death of Duke Konrad III the Old in 1412, it was split off for his first-born son Conrad IV the Elder, who at first also ruled over the other Oels territories as a regent for his minor brothers until they formally divided their heritage in 1416. The next year, Konrad IV succeeded Wenceslaus II of Liegnitz as Prince-Bishop of Breslau. When he died in 1447, Bernstadt fell back to his younger brother Duke Konrad VII the White of Oels.  After the Oels branch of the Piast dynasty died out in 1492, the duchy was seized as a reverted fief by King Vladislaus II of Bohemia. In 1495, he gave the duchies of Bernstadt and Oels to Duke Henry the Elder of Münsterberg, a son of the late Bohemian king George of Poděbrady (d. 1471). Due to lack of money, his heir Duke Charles of Münsterberg and Oels leased Bernstadt in 1511 for four years to the City Council of Breslau (Wrocław), afterwards he chose it as his residence.  After Charles' death in 1536, his sons at first ruled jointly until in 1542 they divided their heritage: Duke Henry II received the Duchy of Bernstadt, while his younger brother John ruled the Duchy of Oels. Henry II was a supporter of the Protestant Reformation, which he introduced in Bernstadt. He had Bernstadt Castle restored during his reign, and expanded the south wing. His son Henry III, Duke of Bernstadt from 1565 sold Bernstadt along with the castle and some villages in 1574 to the "von Schindel" family.  Henry III's younger brother Duke Charles II of Münsterberg-Oels, who was Governor of Silesia at the time, bought it back in 1604. He was succeeded as Duke of Bernstadt by his son Henry Wenceslaus. When Henry Wenceslaus died in 1637, the duchy was inherited by his younger brother Duke Charles Frederick I of Münsterberg-Oels. The male line of the House of Poděbrady became extinct when Charles Frederick I died in 1647. The duchies of Bernstadt and Oels again reverted to the Bohemian Crown.  Because Charles Frederick's only daughter, Elizabeth Maria was married with Silvius I Nimrod, cousin of Duke Eberhard III of Württemberg, Emperor Ferdinand III granted Bernstadt and Oels to the Swabian House of Württemberg. Silvius, a devoted Lutheran, made great efforts to redevelop his estates, that had been devastated during the Thirty Years' War. The poet Angelus Silesius worked as his physician until 1652. When Silvius died in 1664, his duchies at first were ruled by his widow as regent for her minor sons, who in 1672 divided the inheritance. The Duchy of Bernstadt fell to Christian Ulrich I, who rebuilt the city after a fire in 1659 and added a third floor to the castle. Upon the death of his elder brother Duke Silvius II Frederick in 1697, he took over the Duchy of Oels. His nephew Charles was the last Duke of Bernstadt. He died childless in 1745 and the Duchy fell back to Duke Charles Christian Erdmann of Württemberg-Oels, who finally re-united the duchies of Bernstadt and Oels under his rule.  In 1742, during the First Silesian War, the Duchy of Bernstadt, like most of Silesia, had been conquered by Prussia.  "Line extinct, duchy seized by Bohemia." "Duchy sold in 1574 re-acquired by the Podiebrad family in 1604".

Dukes.

The House of Schindel.

"In 1604 the Duchy was sold back to the  "Bernstadt and Oels extinct, again seized by Bohemia." "Bernstadt line extinct, fell back to Oels."

The Duchy of Bernstadt (,, ) was a Silesian duchy centred on the city of Bernstadt (present-day Bierutów) in Lower Silesia (now in Poland) and formed by separation from the Duchy of Oels (Oleśnica). It was first ruled by the Silesian Piasts dynasty, until its extinction in 1492. In 1495 it and the Duchy of Oels passed to the Dukes of Münsterberg, who came from the House of Poděbrady. In 1647 the Duchy of Bernstadt passed by marriage to the Dukes of Württemberg.

Das Herzogtum Bernstadt (tschechisch "Bernštatské knížectví ") entstand durch Ausgliederung aus dem Herzogtum Oels. Es wurde zunächst von den Schlesischen Piasten regiert. Nach dem Erlöschen dieses Familienzweigs 1492 gelangte es 1495 gemeinsam mit dem Herzogtum Oels an die Herzöge von Münsterberg, die dem böhmischen Adelsgeschlecht Podiebrad entstammten. Durch Heirat fiel es 1647 an die Herzöge von Württemberg. Residenzort war die gleichnamige Stadt Bernstadt (heute Bierutów in der Woiwodschaft Niederschlesien in Polen).


Early years.

Carte was born at his parents' house in Greek Street, Soho, in the West End of London on 3 May 1844; he was the eldest of six children. His father, Richard Carte, was a flautist, and his mother was the former Eliza Jones (1814–1885); they had eloped, to the disappointment of her father, Thomas Jones, a clergyman. Carte was of Welsh and probably Norman ancestry; D'Oyly is a Norman French name which the biographer Arthur Jacobs emphasises was in this case "a forename (not part of a double surname)". To supplement his income as a performer, Carte's father joined the firm of Rudall, Rose & Co., musical instrument makers and music publishers, in 1850. After he became a partner in the business, it changed its name to

Career.

Theatrical beginnings.

Between 1868 and 1877, Carte wrote and published the music for several of his own songs and instrumental works, as well as three short comic operas: "Doctor Ambrosias – His Secret" (1868), "Marie" (1871), and "Happy Hampstead" (1876). On tour in 1871 he conducted "Cox and Box" by Arthur Sullivan and F. C. Burnand, in tandem with English adaptations of two one-act pieces by Offenbach, "The Rose of Auvergne" and "Breaking the Spell", in which Carte's client Selina Dolaro starred. Carte's musical talent would be helpful later in his career, as he was able to

Founding his opera company.

In 1874, Carte leased the Opera Comique, a theatre off the Strand, where he presented Charles Lecocq's new opéra bouffe "Giroflé-Girofla", given in French by the company who had premiered the work three months earlier in Brussels. It did poor box-office business, and had to be closed after two weeks. He followed it with a modest success, "The Broken Branch", an English adaptation of Gaston Serpette's "La branche cassée". Carte announced his ambitions on the front of the programme for the latter: "It is my desire to establish in London a permanent abode for light Opera." "The Observer" commented, "Mr D'Oyly Carte is not only a skilful manager, but a trained musician, and he appears to have grasped the fact that the public are beginning to become weary of what is known as a genuine opéra bouffe, and are ready to welcome a musical entertainment of a higher order, such as a musician might produce with satisfaction".  Carte later said it was "the scheme of my life" to found a school of high-quality, family-friendly English comic opera, in contrast to

Early opera successes; property interests.

"H.M.S. Pinafore" was so successful that Carte soon sent two companies out to tour the provinces. The opera ran for 571 performances in London, the second-longest run in musical theatre history up to that time. Over 150 unauthorised productions sprang up in America alone, but because American law then offered no copyright protection to foreigners, Carte, Gilbert and Sullivan were not able to demand royalties from, or to control the artistic content of, these productions. Sullivan commented that in the US there was a belief "that a free and independent American citizen ought not to be robbed of his right of robbing someone else".  To try to counter this copyright piracy and make some money from the popularity of their opera in America, Carte travelled to New York with the authors and the company to

Peak years for the opera company.

During the years when the Gilbert and Sullivan operas were being written Carte also produced operas and plays by other writing teams, as well as other works to fill the Savoy Theatre in between new operas. Many of these were companion pieces to the Gilbert and Sullivan operas. Others were new full-length pieces either for the Savoy or for Carte's touring companies, which played the Gilbert and Sullivan operas and the new works extensively. Carte and Lenoir also continued to run his management agency. As an example of their level of activity, an 1881 souvenir programme commemorating the 250th performance of "Patience" in London and its 100th performance in New York records that, in addition to these two productions of "Patience", Carte was simultaneously managing many other projects. These included two companies touring with "Patience", two touring with other Gilbert and Sullivan operas, one touring with the operetta "Olivette" (co-produced with Charles Wyndham), one with "Claude Duval" in America, a production of "Youth" running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of "Patience", "Pirates", "Claude Duval" and "Billee Taylor" in association with J. C.

Later years.

On 22 April 1890, during the run of "The Gondoliers", Gilbert discovered that maintenance expenses for the theatre, including a new £500 carpet for the front lobby of the theatre, were being charged to the partnership instead of borne by Carte. Gilbert angrily confronted Carte, but Carte refused to reconsider the accounts. Even though the amount of the charge was not great, Gilbert felt that it was a moral issue involving Carte's integrity, and he could not look past it. Gilbert stormed out and wrote to Sullivan that "I left him with the remark that it was a mistake to kick down the ladder by which he had risen". Helen Carte wrote that Gilbert had addressed Carte "in a way that I should not have thought you would have used to an offending menial." Matters deteriorated further, and Gilbert brought a lawsuit. Sullivan sided with Carte, who was building the Royal English Opera House, the inaugural production of which was to be Sullivan's forthcoming grand opera. Gilbert won the dispute and felt vindicated, but his actions

Personal life.

Carte was married twice. His first wife was Blanche Julia Prowse (1853–1885), the daughter of William Prowse, a piano manufacturer, music publisher and booking agent. As a teenager, she had participated in amateur theatricals with Carte. They married in 1870 and had two sons, Lucas (1872–1907) and Rupert. Blanche died of pneumonia in 1885, and in 1888, Carte married his assistant, Helen Lenoir. Their wedding took place in the Savoy Chapel, with Arthur Sullivan as the best man. Rupert received training in an accounting firm and then became his father's assistant in 1894. Lucas, who was not involved in the family businesses, became a barrister. He was appointed Private Secretary to Lord Chief Justice Charles Russell in 1899 in connection with the

Death and legacy.

Carte died at his London home from dropsy and heart disease in 1901, just short of his 57th birthday. He is buried in the churchyard of St. Andrew's church in Fairlight, East Sussex, near his parents' graves. A memorial service was held at the Chapel Royal of the Savoy, where a memorial stained glass window was later dedicated to him. He left an estate valued at £250,000.  Carte was instrumental in bringing the British theatre from its low status in the mid-Victorian age to a position of respectable eminence, with knighthoods for actors, such as Henry Irving, and for dramatists, including Gilbert. Bernard Shaw wrote of Carte's theatrical legacy, "Mr D'Oyly Carte founded a new school of English comic opera; raised operatic inscenation to the rank of a fine art; and finally built a new English Opera House and made a magnificent effort to do for English grand opera what he had done for comic opera." In Carte's obituary, "The Times" noted, "By his refined taste he raised the reputation of the "mise en scène" of the Savoy operas to a very high pitch. He set a high standard". Beyond this, however, Carte's influence, through the production of the Savoy operas, heavily influenced the course of the development of modern musical theatre.  Carte was also a prime mover in making hotels respectable and respected: in the words of the "Oxford Dictionary of National Biography": "Led by the prince of Wales [the Savoy] became the meeting place for London high society and the "nouveaux riches" of the British empire... [The] food and the ambience lured people from the clubs to dine in public and give great parties there. It allowed ladies, hitherto fearful of dining in public, to be seen in full regalia in the Savoy dining and supper rooms." Carte left the theatre, opera company, hotels and his other business interests to Helen. Her London and touring companies continued to present the Savoy Operas in Britain and overseas. In 1901 she leased the Savoy Theatre to William Greet, overseeing his management of a revival of "Iolanthe" and several new comic operas. Rupert became chairman of the Savoy Hotel by 1903, which Helen continued to own. In late 1906, Helen staged a Gilbert and Sullivan repertory season at the Savoy Theatre. The season, and the following one, which were both directed by Gilbert, earned excellent reviews and sold well, revitalising the company. After the second repertory season concluded in 1909 the company did not perform in London again until 1919, only touring throughout Britain during that time.  At her death in 1913, Helen passed the family businesses to Carte's son, Rupert. He maintained the hotel business, disposing of the Grand Hotel in Rome, but expanding the group in London. The Savoy Group remained under the control of the Carte family and its associates until 1994. Carte's hotels have remained among the most prestigious in London, with the "London Evening Standard" calling the Savoy "London's most famous hotel" in 2009. Rupert D'Oyly Carte refreshed the opera company's productions and added London seasons, beginning in 1919, as well as provincial and foreign tours. In 1948 Rupert died, leaving a strong company to his daughter Bridget D'Oyly Carte. However, the rising costs of mounting professional light opera without any government support eventually became too much for the company. Bridget was forced to close the company in 1982. Nevertheless, the Gilbert and Sullivan operas continue to be produced frequently today throughout the English-speaking world and beyond, and Carte's vision of wholesome light operas that celebrate Great Britain endures.

Richard D'Oyly Carte (; 3 May 1844 – 3 April 1901) was an English talent agent, theatrical impresario, composer and hotelier during the latter half of the Victorian era. He built two of London's theatres and a hotel empire, while also establishing an opera company that ran continuously for over a hundred years and a management agency representing some of the most important artists of the day.

Richard D’Oyly Carte (* 3. Mai 1844 in London; † 3. April 1901 ebenda) war ein englischer Theateragent, Impresario, Komponist und Hotelbesitzer. Carte erbaute das Savoy Theatre und das Palace Theatre sowie das Savoy Hotel. Seine Operngesellschaft, die D’Oyly Carte Opera Company, blieb hundert Jahre lang ohne Unterbrechung bestehen. Sein Sohn Rupert D’Oyly Carte führte nach ihm die Unternehmungen.


Early life and career.

Schectman was born on May 30, 1919, in Brooklyn, New York City. His parents were Jewish immigrants from Russia. He had three siblings. He played basketball and baseball while attending Samuel J. Tilden High School in Brooklyn, New York, and played under coach Clair Bee at Long Island University. He was a member of the team in 1939, when they won the National Invitation Tournament and National Championship. He was named to the Converse All-American first team in 1941.

Professional career.

Philadelphia Sphas (1941–1946).

After obtaining his degree from LIU, Schectman played for Eddie Gottlieb's Philadelphia Sphas in the American Basketball League. The Sphas joined the ABL in 1933 and won the league championship in 1942–43. He was second in the league in scoring with 199 points (10.5 average) in 1943–44. He played with the Sphas until 1946, when he joined the New York Knicks of the Basketball Association of America.

New York Knicks (1946–1947).

On November 1, 1946, in the first ever game of the Basketball Association of America (BAA), Schectman made the first basket when the Knicks played the Toronto Huskies at Toronto's Maple Leaf Gardens. The Knicks won the game 68–66. In 1949, the league expanded and became the National Basketball Association (NBA); thus, Schectman's basket is considered the first in NBA history. Schectman played 54 games for the Knicks in his one season with the team. He suffered a serious internal injury in a game in Chicago in March,1947 In that one season, Schectman averaged 8.1 points per game, ranking 39th in the league. This helped him have the highest win share for his team. Schectman ended his BAA career with 435 points.

Paterson Crescents (1947–1948).

Schectman joined the Paterson Crescents of the ABL. The team won the league championship in 1947–48, and Schectman was named to the All-ABL first team.

Later life and death.

He was made a member of the National Jewish Sports Hall of Fame in 1998 and the Long Island University Athletic Hall of Fame in 2001. He was also inducted into the New York City Basketball Hall of Fame. Schectman appeared in the 2008 documentary film "The First Basket".  On April 27, 2013, Schectman gave his very last autograph to young NBA fans who came to visit him in his home for the elderly in New City, New York. At the time of the visit Schechtman was watching the triple overtime game 4 of the first round NBA playoff series between the Chicago Bulls and New Jersey Nets.  On July 30, 2013, Schectman died at age 94 in Delray Beach, Florida. He was survived by his sons Stewart and Peter, his sister and two grandchildren.

Oscar Benjamin "Ossie" Schectman (May 30, 1919 – July 30, 2013) was an American professional basketball player. He is credited with having scored the first basket in the Basketball Association of America (BAA), which would later become the National Basketball Association (NBA).

Oscar Benjamin „Ossie“ Schectman (* 30. Mai 1919 in New York City; † 30. Juli 2013 in Delray Beach, Florida) war ein US-amerikanischer Basketballspieler der New York Knicks in der BAA und der NBA und der Philadelphia Sphas und der Paterson Crescents der ABL.


Background.

The eighth season was expected to be the last for "Scrubs", but in May 2009, ABC announced that the series had been renewed for an additional 13 episodes. John C. McGinley and Donald Faison signed one-year deals and were the only cast members to stay on as regulars. Zach Braff appeared in six episodes to assist in transitioning the show, while Sarah Chalke signed on to guest star in four episodes throughout the season. Ken Jenkins appeared in nine episodes, and Neil Flynn, who was also busy with his new show "The Middle", appeared in a single scene in the season's first episode. Judy Reyes was the only original cast member to not return, after declining to appear in a recurring guest role as she only wanted to return full-time. Eliza Coupe, who portrayed Denise Mahoney beginning in season eight, became a series regular, along with new cast members Kerry Bishé, Michael Mosley and Dave Franco.  Lawrence considered the eighth season to be the end of the show "Scrubs", going so far as to ask ABC if he could change the name to "Scrubs Med". ABC declined, but Lawrence still advised fans to treat it as a new show, even putting a caption under the "Created By" on the X-ray in the opening sequence saying [Med School].

Production.

Show creator Bill Lawrence wanted to change the name of the show to "Scrubs Med", but ABC did not allow this. The setting shifted from the original hospital building to a new Sacred Heart medical school and university campus, with shooting locations moving to Culver Studios. Executive producers Neil Goldman and Garrett Donovan, and Bill Callahan departed from the series and were replaced by Jonathan Groff, Zach Braff, and Josh Bycel, who also served as the co-showrunner, alongside creator/executive producer Bill Lawrence who was doing double duty at the time with both "Scrubs" and his new show "Cougar Town".  Every writer from previous seasons departed from the show with the exception of Lawrence and Andy Schwartz. Sean Russell returned to write a freelance episode, just as he had done previously in season 6.

Directors.

"Includes directors who directed 2 or more episodes, or directors who are part of the cast and crew"

Episodes.

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The ninth and final season of the American comedy television series "Scrubs" (also known as "Scrubs: Med School") premiered on ABC on December 1, 2009, and concluded on March 17, 2010, and consists of 13 episodes. This season marked a major change in the series; it takes place at a different location and only three of the seven main characters from the first eight seasons remained as regular main characters. The rest of the cast is made up of new recruits, including Lucy, played by Kerry Bishé, who is also the show's new narrator. Former star Zach Braff returned for six episodes of the season.

Scrubs – Med School bezeichnet die neunte Staffel der US-amerikanischen Krankenhaus-Dramedy-Serie "Scrubs – Die Anfänger". Sie stammt aus dem Jahr 2009. Im Vergleich zu den vorherigen Staffeln gibt es starke Veränderungen bei der Besetzung und den Kulissen. Sie handelt von jungen Medizinstudenten und deren Dozenten an der fiktiven "Winston University". Der Spin-off-Titel wurde jedoch nur in Österreich verwendet, in Deutschland verwendete ProSieben aus Vermarktungsgründen auch für die neunte Staffel den Titel "Scrubs – Die Anfänger".


Early life.

Skaggs was born in Cincinnati, Ohio, but grew up in the New Jersey suburbs of New York City. He attended Wesleyan University, and after earning his degree in Philosophy in 1964, went on to Yale University, from which he received his Bachelor of Laws in 1967. Following graduation, Skaggs spent three years on active duty in the United States Marine Corps, including service in Vietnam with the 1st Marine Division and assignments on Okinawa and at Marine Corps Headquarters in Washington, DC. Upon discharge from active duty in 1971, he remained in the Marine Reserves until 1978, attaining the rank of Major. Skaggs practiced law briefly in New York City and, after military service, in Boulder, CO.

Career.

Skaggs first became involved in politics as a Democratic Party volunteer and officer in 1971. In 1974, he was hired as an aide to United States Representative Timothy Wirth of Colorado, a position he held until 1977. He ran successfully for a seat in the Colorado House of Representatives in 1980, and he served three terms—two as Minority Leader—before running for Congress. Skaggs was a six-term member of the United States House of Representatives and was a delegate to the Democratic National Convention in 1984, 1988, 1992 and 1996.  While in the House, he served initially on the Science, Space & Technology Committee and the Public Works & Transportation Committee, before winning a seat on the Appropriations Committee in 1991. He also served six years (1993–99) on the House Permanent Select Committee on Intelligence. During his tenure in office, Skaggs became a voice for civility in politics. He and Representative Ray LaHood were founding co-chairs of the House Bi-Partisan Retreat, first held in 1997 and designed to encourage civility and comity in the House; the retreats continued through 2003. He was also co-founder of the Constitutional Forum (with Representative Jim Leach), a series of seminars with distinguished guest lecturers who led member discussions of constitutional issues. During the 104th Congress, Skaggs was Chairman of the Democratic Study Group, the principal policy and reform organization of House Democrats.  Skaggs had a strong environmental record while in Congress. During his tenure in office, he sponsored 42 bills, three of which were successfully enacted, including the Colorado Wilderness Act of 1993, legislation that designated certain lands in the State of Colorado as components of the National Wilderness Preservation System. Skaggs also co-sponsored the Energy Act of 1992 that, among other things, amended utility laws to increase clean energy use and improve overall energy efficiency in the United States and mandated installation of low flush toilets in all new homes. Additionally, Skaggs was a co-sponsor of the Americans with Disabilities Act of 1990, outlawing discrimination based on disability.  Notwithstanding his efforts to uphold civility and restore bipartisan comity to the House, Skaggs was often criticized for being partisan and voting along party lines. Though he was well known for his liberal voting record, he was a strong opponent both of the presidential line-item veto, once suing to block it, and President Clinton's use of military force without congressional approval. In 1992, Skaggs found himself at the center of controversy, coming under fire for his overdrafts from the so-called House bank.

After Congress.

After retiring in 1999, Skaggs served as an adjunct professor at the University of Colorado and as executive director of the Center for Democracy & Citizenship at the Council for Excellence in Government for several years before moving back to Colorado to serve as executive director of the state Department of Higher Education from 2007 until resigning in 2009. His resignation raised eyebrows at the time, as no specific resignation reason was given; Skaggs merely cited a dispute with Gov. Bill Ritter. Immediately following his resignation, Skaggs was appointed the first chair of the board of the new Office of Congressional Ethics (OCE) in 2008. After control of the House changed to the Republicans in 2010, former Florida Representative and CIA Director Porter Goss became OCE board chair, with Skaggs as co-chair.  Additionally, Skaggs was a member of the U. S. Public Interest Declassification Board from 2005 to 2016. Skaggs also served as co-chair of the Constitution Project's bipartisan War Powers Committee. He serves on the boards of trustees of the National Endowment for Democracy, as Vice-Chair, [url=http://www.ned.org] and the American University of Iraq – Sulaimani [url=http://auis.edu.krd/]. He received the 2017 Distinguished Service Award from the U.S. Association of Former Members of Congress.  The National Oceanic & Atmospheric Administration's David E. Skaggs Research Center in Boulder, Colorado, for which he secured funding, is named in his honor. He now is affiliated with the Denver office of the law firm Dentons US LLP where he serves as a senior strategic advisor and independent consultant.  Skaggs and his wife have 3 grandchildren, Liam, Maddie, and Will, who enjoy regular visits to the Skaggs farm outside Niwot, Colorado.

External links.

Retrieved on 2009-02-11

David Evans Skaggs (born February 22, 1943) is an American lawyer, politician and educator from Colorado. He is a former Democratic Congressman who served from 1987 to 1999.

David Evans Skaggs (* 22. Februar 1943 in Cincinnati, Ohio) ist ein US-amerikanischer Politiker. Zwischen 1987 und 1999 vertrat er den zweiten Wahlbezirk des Bundesstaates Colorado im US-Repräsentantenhaus.


Early life.

Chūya Nakahara was born in Yamaguchi, where his father, Kensuke Kashimura, was a highly decorated army doctor. Kensuke married Fuku Nakahara and was adopted by the Nakahara family shortly after the birth of their son, officially changing their last name to Nakahara. In Nakahara's earliest years, his father was sent to Hiroshima and Kanazawa where the family followed, only returning to Yamaguchi in 1914. In 1917, Kensuke established his own clinic in the location where nowadays stands the Nakahara Chūya Memorial Hall.  Since his parents had not been blessed with children for six years after their marriage, and because they had no children in the Nakahara family's hometown, they were delighted with the birth of their first son and celebrated it for three days.

Education and literary beginnings.

As the eldest son of a prominent doctor, Nakahara was expected to become one himself. Due to the high expectations of his father, Nakahara was given a very strict education, which also prevented him from enjoying an ordinary childhood. Worried about the public morals of the town, Kensuke forbid his son from playing outside with children from a different class to their own. Another example of these restrictions is that, unlike his younger brothers, he was not allowed to bathe in the river for fear that he would drown. As he grew up, severe punishments were inflicted upon him; a common one was being made to stand upright facing the wall. Any sudden move would cause to receive a burn in the heel with a cigarette ember. However, the biggest punishment was being confined to sleep in the barn, which Chūya received dozens of times compared to his brothers. This was intended to prepare him to follow Kensuke's footsteps and to become the head of the family.  As a primary schooler, Nakahara had excellent grades and was called a prodigy child. It was the death of his younger brother Tsugurō in 1915, when he was 8-years-old, what awakened him to literature. Grief-driven, he turned to composing poetry. He submitted his first three verses to a women's magazine and local newspaper in 1920, when he was still in elementary school. In the same year, he passed the entrance examination to Yamaguchi Junior High School with brilliant results. It was from this point onwards when he started to rebel against his father's strictness. He no longer studied and his grades began to drop as he became increasingly absorbed by literature. Kensuke was extremely afraid of the influence of literature on his son. Once, having found a literary book Nakahara had hidden, he severely scolded him and, once again, confined him in the barn. It was around this time when Nakahara also began to drink and smoke, making his grades go even lower.  In 1923, he failed his third-year examination. It is said that Nakahara invited a friend to his study room, broke the answer sheet and chanted "hurrah". The failure seems to have been deliberate. For as long as he did not fail, he was bound to remain under his strict parents' surveillance. On the other hand, Kensuke received the news with utter shock at what meant to him a deep humiliation. He resorted once more to striking his son and keeping him in the barn in the cold night of March. Regardless of this, Nakahara insisted on not going back to this school. This culminated in his father's defeat, which ultimately lead to an apology for his “educational policy”. In the light of these events, he was transferred to the Ritsumeikan Middle School in Kyoto, where Nakahara begin to live alone but still, and until the end of his days, at the expense of his family.  In Kyoto he found many of the influences that would ultimately shape him as a poet. He read Shinkichi Takahashi's Dadaist poetry, which shocked him into starting to write again. This artistic movement became a part of his poetic and life styles and later earned him the nickname “Dada-san”. In winter he met the actress Yasuko Hasegawa, three years his senior, and in April 1924 they began living together. It is also in this very year when Chūya became friends with fellow poet Tominaga Tarō. After completing Junior High School, Chūya and Yasuko decided to follow Tominaga to Tokyo, on the basis of attending university there. As he was unable to take the exam due to lack of documents or being late, he was sent out by his family on the condition that he would go to a preparatory school instead.  After dropping the preparatory course in 1926, of which his parents were not informed, he started studying French at the Athénée Français.

Literary career.

His verse has been considered somewhat obscure, confessional and giving a general impression of pain and melancholy, emotions which were a constant throughout the poet's life.<br> Initially, Nakahara favored poetry in the Japanese traditional tanka format, but he was later (in his teens) attracted to the modern free verse styles advocated by Dadaist poet Takahashi Shinkichi and by Tominaga Tarō. After he moved to Tokyo, he met Kawakami Tetsutaro and Shōhei Ōoka, with whom he began publishing a poetry journal, Hakuchigun (Group of Idiots). He was befriended by the influential literary critic Kobayashi Hideo, who introduced him to the French symbolist poets Arthur Rimbaud and Paul Verlaine, whose poems he translated into Japanese. The influence of Rimbaud went beyond just his poetry, and Nakahara came to be known for his "bohemian" lifestyle.  Nakahara adapted the traditional counts of five and seven used in Japanese haiku and tanka, but frequently tripped these counts with variations, in order to obtain a rhythmical, musical effect. Several of his poems were used as lyrics in songs, so this musical effect may have been carefully calculated from the start. Chūya's works were rejected by many publishers, and he found acceptance primarily with the smaller literary magazines, including Yamamayu, which he launched together with Hideo Kobayashi, (although on occasion Shiki and Bungakukai would condescend to publish one of his works). He remained close friends with Kobayashi all of his life, despite the fact that in November 1925 Yasuko Hasegawa left Nakahara and began living with Kobayashi Hideo instead. This event took place right after the loss of his friend Tominaga. In December 1927, he met composer Saburō Moroi, who later adapted a number of his verses to music, such as “Morning Song” and “The Hour of Death”. In April 1931, Chūya was admitted to the Tokyo Foreign Language College in Kanda to study the French language, where he remained until March 1933.  Nakahara married Takako Ueno (a distant relative) in December 1933, and his first son, Fumiya, was born in October 1934. However, the death of his son in November 1936, due to tuberculosis, sent him into a nervous breakdown. Nakahara never fully recovered from this, despite the birth of his second son in December. Many of his later poems seem like remembrances and attempts to mitigate this enormous pain.  Nakahara was hospitalized in Chiba sanatorium in January 1937. In February, he was released and moved back to Kamakura, as he could not stand to continue living in the house which contained the memories of Fumiya. He left a number of his works with Kobayashi, and was making plans to return to his home town of Yamaguchi when he died in October 1937, at the age of 30, of tubercular meningitis. Shortly after, his second son died of the same illness. His grave is at his hometown of Yamaguchi. This is the very family grave which appears in his uncollected poem “Cicadas”.

Legacy.

Only one of his poetry anthologies, "Yagi no Uta" ("Goat Songs", 1934) was published while he was alive (in a self-financed edition of two hundred copies). He had edited a second collection, "Arishi Hi no Uta" ("Songs of Bygone Days") just before his death. During his lifetime, Nakahara was not counted among the mainstream of poets. However, the emotional and lyrical nature of his verses have a wide and increasing following even to this day, especially among young people. Nakahara is now a subject of classroom study in Japanese schools, and his portrait in a hat with a vacant stare is well known. Kobayashi Hideo, to whom Nakahara entrusted the manuscript for "Arishi Hi no Uta" on his deathbed, was responsible for the posthumous promotion of his works. So was Ooka Shohei for collecting and editing "The Complete Works of Nakahara Chūya", a collection containing the poet's uncollected poems, his journals, and many letters.

, born, (29 April 1907 – 22 October 1937) was a Japanese poet active during the early Shōwa period. Originally shaped by Dada and other forms of European (mainly French) experimental poetry, he was one of the leading renovators of Japanese poetry. Although he died at the young age of 30, he wrote more than 350 poems throughout his life. Some of them are included in his collections "Yagi no Uta" ("Goat Songs", 1934) and the posthumously published "Arishi Hi no Uta" ("Songs of Bygone Days", 1938). Many called him the "Japanese Rimbaud" for his affinities with the French poet whose poems he translated in 1934.

Nakahara Chūya (jap. ; * 29. April 1907 in der Präfektur Yamaguchi; † 22. Oktober 1937 in Tokio) war ein japanischer Lyriker.


Background.

Choral singing became increasingly popular in 19th-century Wales, principally owing to the rise of the eisteddfod as a symbol of its culture. The first Welsh National Opera Company was formed in 1890. A local newspaper commented that it was remarkable that "a race of people to whom vocal music is a ruling passion should not generations ago have established a permanent national opera". The company gave performances of operas by the Welsh composer Joseph Parry in Cardiff and on tour in Wales. The company, predominantly amateur with some professional guest singers from the London stage, gave numerous performances of Parry's "Blodwen" and "Arienwen", composed in 1878 and 1890 respectively. An American tour was planned, but the company folded, and Parry's final opera, "The Maid of Cefn Ydfa", was given at Cardiff by the Moody-Manners Opera Company in 1902.  A Cardiff Grand Opera Society ran from 1924 to 1934. It presented week-long annual seasons of popular operas including "Faust", "Carmen" and "Il trovatore", and like its predecessor was mainly an amateur body, with professional guest principals. Apart from the productions of these two enterprises, opera in Wales in the late 19th and early 20th centuries was generally presented by visiting companies from England.  In the 1930s Idloes Owen, a singing teacher and conductor, ran an amateur choir, the Lyrian Singers, based in Cardiff. In November 1941, together with John Morgan – a former Carl Rosa baritone – and Morgan's fiancée Helena Hughes Brown, Owen agreed to found the Lyrian Grand Opera Company, with Brown as secretary and Owen as conductor and general manager. They publicised their plan and held a general meeting of potential supporters in December 1943; at that meeting the name of the proposed organisation was changed to "Welsh National Opera Company". By January 1944 plans were far enough advanced for the company's first rehearsals to be held. Owen recruited a local businessman, W. H. (Bill) Smith (1894–1968), who agreed to serve as business manager. At first doubtful of the company's prospects, Smith became its dominant influence, leading fund-raiser, and chairman for twenty years from 1948.

Early years.

The new company made its debut at the Prince of Wales Theatre, Cardiff on 15 April 1946 with a double bill of "Cavalleria Rusticana" and "Pagliacci". The orchestra was professional, mostly drawn from members of the BBC Welsh Orchestra; all the singers were amateurs, except for Tudor Davies, a tenor well known at Covent Garden and Sadler's Wells, who sang Canio in "Pagliacci". During the week-long season the new company also staged "Faust", with Davies in the title role. Although nearing the end of his career he was a considerable box-office draw, and the company played to full houses. Nevertheless, the expense of a professional orchestra and the hire of costumes and scenery outweighed the box-office receipts, and the season made a small loss. Finance remained a recurring problem over the succeeding decades. Although Owen was the conductor for the performances of "Cavalliera Rusticana", and remained as musical director of the company until 1952, his health was fragile and he conducted none of the company's other productions. His colleague, the chorus master, Ivor John, was in charge of the first season's "Pagliacci" and "Faust".  In 1948 the organisation was registered as a limited company, and the Cardiff season was extended from one week to two. The following year the company gave its first performances in Swansea. The chorus featured 120 performers by this time.  The company's first few seasons attracted little attention from the British musical establishment, but by the early 1950s London papers began to take notice. "Picture Post" hailed the WNO's chorus as the finest in Britain. "The Times" also praised the chorus: "It has body, lightness, rhythmic precision, and, most welcome of all, unflagging and spontaneous freshness." By this time the company had expanded its repertoire to take in "Carmen", "La traviata", "Madame Butterfly", "The Tales of Hoffmann", "The Bartered Bride" and "Die Fledermaus". "The Times" commented that Smith, Owen and their colleagues were "making history for Wales. The shackles of puritanism, which had kept this country from an art-form perfectly suited to its national talents and predilections (for histrionics and dressing-up are as natural to the Welsh as singing) had been broken for ever".

Consolidating: 1950s and 60s.

In 1952 the company moved its Cardiff venue to the Sophia Gardens Pavilion (built for the Festival of Britain), with the Bournemouth Municipal Orchestra as the company's orchestra, replacing the previous ad hoc ensemble. The Pavilion was acoustically mediocre and lacked an orchestra pit; two years later the company moved again, to the New Theatre where it played Cardiff seasons across the next fifty years. The 1952 season attracted particular interest because it included what was then a rarity: Verdi's "Nabucco". The company built a reputation for staging seldom-seen Verdi works, including "The Sicilian Vespers" staged in the same year, "I Lombardi" in 1956, and "The Battle of Legnano", under the shortened title "The Battle", in 1960. The 1952 "Nabucco" was the WNO's first production for which costumes and scenery were specially designed (by Patrick Robertson) rather than hired.  In 1953 the company staged its first work by a Welsh composer: "Menna" by Arwel Hughes. The composer conducted, and the leads were sung by two professional guest stars, Richard Lewis and Elsie Morison. The same year marked WNO's first appearances outside Wales, playing a week at Bournemouth in April, and a week at Manchester in October, when "The Manchester Guardian" found the soloists first-rate but the chorus disappointing, in both "Nabucco" and "Il trovatore". A reviewer in "The Musical Times" commented on potential difficulties in assembling the wholly amateur chorus for performances beyond daily travelling range of their day jobs. By the time of the company's first London season – a week at Sadler's Wells in 1955 – the chorus was judged to be "lively and exciting" ("The Musical Times"), "vibrant" and "moving" ("The Times") and "joyous" ("The Manchester Guardian").The second season at Sadler's Wells in the summer of 1956, included productions of Nabucco, I Lombardi and Lohengrin, achieving rave reviews. Kenneth Loveland of the South Wales Argus wrote a glowing piece under his byline 'Stroller' "Tonight, amongst working-class streets of the Angel, Islington, I was privileged to witness a body of men and women doing more for Wales than all your sounding harps...or tub thumping politicians". By the mid-1950s professional singers were cast in leading roles in most productions; they included Walter Midgley in "Tosca" and "La bohème" (1955), Raimund Herincx in "Mefistofele" (1957), Heather Harper in "La traviata" (1957), and Joan Hammond in "Madame Butterfly" (1958). A possibility of strengthening the professional element of the company was mooted in 1958, when a merger was proposed with the Carl Rosa Company, which was in financial difficulties. The proposal was not followed through and WNO continued independently while the Carl Rosa folded.  During the 1960s the company continued to widen its range. Its first Wagner production, "Lohengrin", and its first Mozart, "The Marriage of Figaro", were both performed in 1962, conducted by Charles Groves. Another Welsh opera, Hughes's "Serch yw'r Doctor" ("Love, the Doctor") was staged in 1960. The popular Italian repertoire remained the core of the annual seasons, mostly directed by the head of production, John Moody. Leading roles were taken by rising stars such as John Shirley-Quirk, Gwyneth Jones, Thomas Allen, Josephine Barstow and Margaret Price, the last of whom made her operatic debut with the company in 1962. Established singers guesting with the company included Geraint Evans who played the title role in "Don Pasquale" in 1966, and Ian Wallace in the same part the following year. Evans was also seen as Leporello in "Don Giovanni" in 1966 and as Falstaff in 1969.  The gradual switch from amateur to professional continued in 1968, when for the first time the chorus was supplemented by a smaller, professional group of singers; the mix of amateur and professional choristers continued over the next five years. At the end of the 1960s the main WNO company, now a year-round operation, consisted of 8 salaried principal singers, 57 guest soloists and a chorus of 90 amateurs and 32 professionals. As well as the Bournemouth players, the company engaged the Royal Liverpool Philharmonic, City of Birmingham Symphony and Ulster orchestras for different venues. In the last season of the decade 32 performances were given in Cardiff and 61 elsewhere in the UK. In addition to the main company, WNO maintained two smaller groups: one, with orchestra, toured Welsh towns, the other, consisting of 12 singers with piano, toured 79, mostly small, towns in Wales and England. WNO instituted its own training scheme for young singers during the decade.

Fully professional: 1970s.

In 1970 WNO stopped using the Bournemouth and other orchestras and established its own, known at first as the Welsh Philharmonia. Three years later the last amateur element of the company was removed when the chorus became fully professional. A further broadening of the repertoire took place in the 1970s: in 1971 WNO staged the first performances in Britain of Berg's "Lulu", directed by Michael Geliot, who had succeeded Moody in 1969. In the view of Malcolm Boyd in "The New Grove Dictionary of Opera", Geliot, "unpredictable and often controversial", largely shaped the company's style in the 1970s. In collaboration with the company's musical director James Lockhart, Geliot is credited by "The Times" with introducing new young singers and "directing a host of groundbreaking productions" before leaving in 1978. The critic Rodney Milnes wrote in 1975 about WNO's productions:  In 1973 Geliot's WNO staging of Britten's "Billy Budd" with Allen in the title role was presented on a Swiss tour, and two years later it was given in Barcelona. The company returned to London with its participation in the Amoco Festival of Opera at the Dominion Theatre in 1979, presenting "The Makropoulos Case", "The Magic Flute", "Ernani", "Madame Butterfly", and "Tristan and Isolde" to capacity audiences. The company's traditional preference for the Italian repertoire was partly redressed during the decade: productions include WNO's first staging of a Richard Strauss opera, "Elektra", in 1978. A new Welsh work, Alun Hoddinott's "The Beach of Falesá", was presented in 1974. In 1975, in co-production with Scottish Opera, WNO began a cycle of Janáček operas, directed by David Pountney. Beginning with "Jenůfa", the cycle continued with "The Makropoulos Case" (1978), "The Cunning Little Vixen" (1980), "Kátya Kabanová" (1982) and "From the House of the Dead" (1982).  Among the guest artists who appeared with the company in the 1970s were the baritone Tito Gobbi, as Falstaff (1972), the sopranos Elisabeth Söderström as Emilia in "The Makropoulos Case" (1978) and Anne Evans as Senta in "The Flying Dutchman" (1972), and the conductors James Levine ("Aida", 1970) and Reginald Goodall ("Tristan and Isolde", 1979).  In the late 1970s WNO combined with the Cardiff-based Welsh Drama Company, becoming the Welsh National Opera and Drama Company. The work of the drama company came under continued criticism, the Welsh Arts Council cut its grant, and the partnership ended in 1979 with the formal closure of the Welsh Drama Company.

1980s.

During the 1980s WNO continued to expand in scope. Handel ("Rodelinda", 1981) and Martinů ("The Greek Passion", 1981) were added to the company's repertoire, and in 1983 "Das Rheingold" was staged in the WNO's first "Ring" cycle, followed by the other three operas of the cycle over the next two years. "Das Rheingold", "Siegfried" and "Götterdämmerung" were conducted by the company's musical director, Richard Armstrong; "Die Walküre" (1984) was conducted by Goodall; it was seen as a coup for the company to secure his services – he was described by "The Guardian" as the greatest living Wagnerian conductor – but the casting of the whole cycle was criticised for some serious weaknesses among the principal singers, and reviewers were generally unimpressed by Göran Järvefelt's production.  The chief executive, Brian McMaster, did not appoint a replacement to Geliot as principal director during the 1980s, preferring to engage guest producers. Boyd mentions Andrei Șerban's "Eugene Onegin" (1980) among the successes and Lucian Pintilie's "Carmen" (1983) and Ruth Berghaus's "Don Giovanni" (1984) as productions that received more mixed responses. Sir Charles Mackerras, the conductor for "Don Giovanni", was open in his contempt for Berghaus's production. Harry Kupfer's "Fidelio" (1981) was condemned by "The Daily Telegraph" as "a piece of Marxist polemic" making "political sport" of Beethoven's work. McMaster was thought by some too inclined to favour radical eastern European directors: Jonathan Miller, a leading English director, commented that he did not intend to take Bulgarian nationality, although it was "a must before Brian pays any attention". Armstrong stepped down in 1986 after thirteen years as musical director; he was succeeded by Mackerras, whose association with the company dated back more than thirty years. Among the features of his six-year tenure was an increasing use of surtitles for performances not given in English. In the company's early days, all operas had been sung in English, but as more international stars began to appear as guest principals the language policy had to be reconsidered: few of the leading names in world opera were interested in relearning their roles in English. WNO steered a middle course between the practices of the two main London companies; after the 1960s The Royal Opera had generally given operas in the original language, and English National Opera was committed to opera in English. WNO's practice varied, after its early years. Examples from the 1980s include Wagner's "Tristan und Isolde" sung in German, and the "Ring" in English; and Verdi's "The Force of Destiny" given in English and "Otello" in Italian. Mackerras was a strong advocate of performance in the original language, with surtitles: "I can't imagine a greater advance for opera.... What a gift! It's like Siegfried understanding the woodbird."

1990s.

McMaster resigned in 1991, having led the company to international status, with performances at La Scala, Milan; the Metropolitan Opera, New York; and in Tokyo. One of the last legacies of his tenure was the 1992 production of Debussy's "Pelléas et Mélisande", directed by Peter Stein and conducted by Pierre Boulez. "The New York Times" called WNO "one of the finest operatic ensembles in Europe" and noted that the first night of the Debussy work, in Cardiff, "attracted 80 critics from all over the United Kingdom and the Continent... the most prestigious, intensely awaited event of the British operatic season." The production was given at the Théâtre du Châtelet, Paris, a few weeks afterwards.  McMaster was followed as chief executive by Matthew Epstein, whose three years in charge (1991–94) were described in a 2006 study by Paul Atkinson as "a less happy and less successful period". Epstein was replaced by Anthony Freud, under whom, according to Atkinson, productions became "consistently strong, musically well prepared, intelligently staged and well cast." Mackerras was succeeded in 1992 by Carlo Rizzi, who was music director at the time of WNO's golden jubilee in 1996. When the occasion was marked with a new production of the ""Cav and Pag"" double bill that had launched the company in 1946, the BBC commented that WNO was "one of the most respected opera companies in the world". In "The Observer", Michael Ratcliffe called the company "the most popular, populist and consistently successful arts organisation ever to come out of Wales... with the loyalty and affection of audiences in Cardiff and across England... 'The people's opera' is not a myth. It happened here." The jubilee celebrations were overshadowed by the collapse of a plan for a purpose-built home for the company, the Cardiff Bay Opera House.  During the 1990s WNO made its Proms debut, with a complete performance of Mozart's "Idomeneo", conducted by Mackerras in 1991. The company played three short seasons at the Royal Opera House, Covent Garden in the mid-1990s, featuring "Tristan und Isolde" and "La favorita" in 1993, "The Yeomen of the Guard" in 1995, and "The Rake's Progress" and the jubilee double bill of "Cavalleria Rusticana" and "Pagliacci" in 1996.

21st century.

The company entered the new millennium in a state of some turmoil. A financial crisis had led to redundancies in the orchestra and the curtailment of the touring schedule; the conservative works chosen for 2001–02 were condemned by the press as "the dullest programme in recent memory"; and Rizzi was about to be replaced by a young and untried successor, Tugan Sokhiev. Rizzi had gained great respect and affection during his nine-year term as musical director; his successor's reign was brief and unhappy. Having taken up post in 2003, Sohkiev resigned precipitately the following year. Rizzi agreed to reorganise his schedule, and, to public and critical acclaim, returned to the musical directorship in time to prepare the company for its long-awaited move into a permanent base in Cardiff. After the collapse of the Cardiff Bay Opera House scheme, a new project, the Wales Millennium Centre, met with more success. The necessary consents and funding were obtained, and work began in 2002 on a new multipurpose arts centre on the Cardiff Bay site. The centre included a 1,900-seat theatre, which, among other uses, became WNO's home base from 2004, with its own rehearsal space and offices in the complex.  In the first decade of the 21st century WNO gave more than 120 performances a year, with a repertoire, generally, of eight full-scale operas. Its regular audience figures totalled over 150,000 annually, in ten principal venues, three of them in Wales and seven in England. During this period the company was criticised for being insufficiently Welsh. A local politician, Adam Price, said that WNO ought to have a Welsh musical director; Alun Hoddinott said in 2004, "WNO has put on perhaps four or five Welsh operas over 20 years.... They just seem to have an anti-Welsh music bias. I am sad that they do not do something for Welsh composers, especially young ones." A more positive view of WNO came from Scotland, where the two main newspapers, "The Scotsman" and "The Herald", greeted a visit from the company in 2005 with enthusiastic praise, contrasting the flourishing of opera in Wales with its neglect by politicians in Scotland and the consequent decline of Scottish Opera. In 2010 WNO commissioned "Gair ar Gnawd" ("Word on Flesh"), by Pwyll ap Siôn and Menna Elfyn, with words in Welsh, described as "a contemporary story about Wales today... inspired by the translation of the Bible". From 2006 to 2011 the chief executive (titled "artistic director") was John Fisher. His term overlapped with that of Lothar Koenigs who was musical director from 2009 to 2016. A highlight of this period was the 2010 production of "Die Meistersinger", produced by Richard Jones, starring Bryn Terfel as Hans Sachs. The production won superlatives from reviewers.  In 2011 David Pountney was appointed to succeed Fisher as chief executive. He had worked with the company since the 1970s, most recently on a 2006 "The Flying Dutchman" with Terfel which was set in space. In 2013 he programmed a trilogy of operas set in Tudor England: Donizetti's "Anna Bolena", "Maria Stuarda" and "Roberto Devereux", with another trilogy the following year, on the theme of fallen women – Puccini's "Manon Lescaut", Henze's "Boulevard Solitude" and Verdi's "La traviata". For 2016 Pountney scheduled another trilogy, this time on the theme of Figaro, consisting of Mozart's "The Marriage of Figaro" and Rossini's "The Barber of Seville" and a new work, "Figaro Gets a Divorce" with music by Elena Langer and libretto by Pountney.  In September 2015 WNO announced the appointment of Tomáš Hanus as its next music director, taking office for the 2016–17 season. At the same time Carlo Rizzi was named the company's conductor laureate, with immediate effect.

Recordings.

Although the chorus and orchestra of Welsh National Opera have appeared on many commercial recordings, often featuring regular WNO soloists, there have been few sets, either audio or video, of the company's own productions. Among those are "Tristan und Isolde" conducted by Goodall (1981), "Pelléas et Mélisande" conducted by Boulez (1992), "The Yeomen of the Guard", conducted by Mackerras (1995), "The Doctor of Myddfai" conducted by Armstrong (1998), and "Ariodante" conducted by Ivor Bolton, directed by David Alden (1999). The BBC made a studio video recording of a WNO cast in "Katya Kabanova", conducted by Armstrong in 1982.  The WNO chorus and orchestra have been engaged for studio opera recordings unconnected with the company's productions, including "Hamlet" (1983), "Norma" (1984), "Anna Bolena" (1987), "Ernani" (1987) and "Adriana Lecouvreur" (1988) conducted by Richard Bonynge, "Faust" (1993) and "Katya Kabanova" (1994) conducted by Rizzi; and "Gloriana" (1993), "Eugene Onegin" (1994) and "Jenůfa" (2004) conducted by Mackerras. For the WNO jubilee in 1996, Decca drew on some of its studio recordings for a celebratory CD set with contributions from many soloists who had appeared onstage with the company and some who had not, the latter including Joan Sutherland, Luciano Pavarotti, Montserrat Caballe and Thomas Hampson. The orchestra of WNO has made studio recordings of non-operatic music by Elgar, Delius, Coleridge-Taylor and George Lloyd, and several sets of traditional Welsh songs and crossover music.

Welsh National Opera (WNO) () is an opera company based in Cardiff, Wales; it gave its first performances in 1946. It began as a mainly amateur body and transformed into an all-professional ensemble by 1973. In its early days the company gave a single week's annual season in Cardiff, gradually extending its schedule to become an all-year-round operation, with its own salaried chorus and orchestra. It has been described by "The New York Times" as "one of the finest operatic ensembles in Europe".

Die Welsh National Opera (WNO) (walis.: "Opera Cenedlaethol Cymru") ist eine Operngesellschaft, die 1946 in Cardiff, Wales gegründet wurde. Sie setzt sich aus einem Orchester (The Orchestra of Welsh National Opera) und einem professionellen Chor (The Chorus of Welsh National Opera) zusammen.


Subspecies.

Four or five subspecies are recognized, which vary in the colour shade of the neck collar and breast:

Description.

The average white-fronted plover weighs approximately 45-50 g, and the two sexes differ slightly in plumage coloration. Adult male plovers show a white forecrown and supercilium, with a dark band crossing the mid crown, with the rest of the crown a sandy grey colour. The face is mainly white, with a blackish brown stripe running from behind the eye to the ear coverts. The mantle, back, and rump is light greyish brown, with pale brown to grey fringing feathers. The upper covert and central feathers of the tail are black, and the lateral feathers are white. Primaries and secondaries are dark brown with white shafts, bases, and inner webs. White-fronted plovers also have a pale dusky-brown lateral patch on the upper breast, and white underparts, occasionally with a washed chestnut lower breast and upper belly. The eyes are brown, the bill is black, and the legs are pale grey, green-grey, or pale green/olive. Adult females have a similar appearance to adult males, however the black crown band is less defined and not as thick, and may even be absent in some cases. Juveniles have similar markings to adult females, but always lack the crown band altogether, and there is no black colouration on the head- lores are brown. The lateral breast patch is very variable between individuals of this species.

Calls.

The voice of a white-fronted plover is often a gentle piping ‘wit’, ‘woo-et’, ‘twirit’, and ‘tirit-tirit’, as well as ‘pi-peep’. When a plover is defending a territory, a harsh ‘chiza-chiza’ can be heard, followed by a ‘purrr’ or ‘squeak’. When the incomplete egg set is visited, a ‘croo’ sound is called, and during incubation a short ‘clirrup’ sound or ‘clup’ is made when alarmed. Other alarm calls consist of ‘kittup’ and ‘chirrrt’. Adult courtship is a sharp ‘krewwwwww’, and freshly hatched chicks often call a ‘tsick’, to get the attention of their parent.

Distribution, movement and habitat.

Distribution.

The white-fronted plover is endemic to sub-saharan Africa, and occurs at varying densities from Senegambia and Somalia to South Africa. The species is present along the entire South African coast and is also found inland, near large lakes and rivers. It also inhabits Madagascar. In Madagascar, breeding populations are resident on all coasts, and also inland. A genetic study reported genetic differentiation between Madagascar and the mainland population.

Movement.

The white-fronted plover has both resident and partially migratory populations, with some birds undertaking local seasonal movements. The coastal populations are largely sedentary, but occasionally move to more sheltered shores from exposed areas during harsh winters. Flooding of the lakes or the shores that they inhabit might urge inland populations to migrate. Birds mostly leave from December to May, moving from their inland habitats to the East coast of South Africa.

Habitat.

The species predominantly inhabits sandy shores, coastal dunes, estuaries, river and lake shores, intertidal mudflats or rocky coasts. It prefers to nests away from the water on open shorelines or on exposed sand among dry kelp wrack. It also nests on sandy shores, near both alkaline and fresh water inland rivers and lakes.

Feeding.

The white-fronted plover forages during both day and night, using the typical plover run-stop-search technique. This consists of running around, stopping suddenly to peck at an item and then running again. Prey can be pecked from the surface of water, or caught with shallow jabs, inserting less than half of the bill into the substratum. Another method used to forage is foot-trembling, which involves vibrating the toes on substratum to disturb small insects or force invertebrates to the surface. This has not been reported in the Madagascan populations. Other feeding techniques include flying up to catch insects, and feeding on insects that wash up on shore after getting caught in water. The main prey of the white-fronted plover are sand flies, grasshoppers, termites, mosquito pupae, fairy shrimp, gastropods, bivalves, isopods, crabs, and other small crustaceans and worms.  Plovers mainly forage in the upper half of the intertidal zone on sandy beaches, along high water lines and flooded depressions of dunes in summer. In winter, they forage lower on the shore. They often follow the waves in and out, foraging on the freshly wetted ground. They prefer foraging during low tide, but also in kelp wrack at high tide. In the middle of the day, they often stop foraging to preen. Some individuals defend their feeding territories year round, while others forage in non-territorial flocks, sometimes in mixed-species flocks with sanderlings ("Calidris alba") and curlew sandpipers ("Calidris ferruginea").

Behaviour.

Breeding.

The white-fronted plover is a monogamous solitary breeder with a life expectancy of approximately 11 years. It is usually found in pairs or in small flocks, but can also appear in larger flocks during the breeding season. For example, a flock of 375 individuals was observed in Namibia. Mates generally stay faithful to each other for a long period of time, however 'divorce' has been recorded in some cases. Plovers that have lost mates have been observed to acquire new mates, without losing their territory. This monogamy may be due to a reduced availability of alternative breeding options or possibly high costs of divorce.  Courtship displays include male plovers performing an upright posture accompanied by high stepping movements, while females lower their head. A few shallow nest scapes may be created in the breeding territory before choosing the final nest site. The white-fronted plover is very defensive of its territory. If an intruder invades the territory, the bird puffs out its plumage and chases away the intruder while uttering buzzing calls.

Territories.

Breeding pairs may have one breeding territory close to the high water mark that they are able to feed in, or have two territories that are defended, one for feeding and one for nesting. Nesting territories have an average size of 1.6 ha, and nests can be as close as 16.2 m to each other. The size and boundaries of these territories do not appear to differ much between years of breeding, and site fidelity was recorded as 97.3% for pairs that stayed together between years. Territories are defended against neighbouring birds of the same species, and can also be defended against other species that are in the vicinity, such as sanderlings and Kittlitz's plover ("Charadrius pecuarius"). Defensive behaviour often consists of low-level aerial attack, running at the intruder with lowered head, or aggressive forward-hunched postures. Non-territorial birds also exist, and as long as they keep to 'ordinary' behaviour pattens (feeding at a specific point and then flying away to a roosting site), the territorial birds appear to tolerate them.

Nesting.

The typical white-fronted plover nest consists of a small shallow scrape in sand, gravel, or shingle, depending on the environment, and is sometimes lined with shell fragments, pebbles, seaweed or twigs. However scrapes are most commonly unlined. Nests are generally more than 70 m above the high water mark. They are often built among beach debris or near dune vegetation. Scrapes are created by the bird pushing its breast into the ground, slowly rotating whilst kicking backwards. Pairs may create more than one crape before choosing one to nest in, as scrape building often overlaps with courtship. 1-3 eggs are laid, with mean clutch size varying for different populations. In South Africa, mean clutch size is 2.05; in Zimbabwe, Zambia, and Malawi, it is 2.53 eggs. Egg laying dates vary between populations, which nest all year round on the coast but only from December to January in inland Namibia. Eggs are laid at 2-7 day intervals and are pale cream coloured, pointed ovals marked with fine blackish brown points and lines. The average dimensions of a white-fronted plover egg are 32.1 x 22.8 mm. Before the clutch is complete, the pair often visit the nest together, and occasionally straddle the egg, however no incubation is undertaken before the final egg is laid. During this joint behaviour, ‘croo’ calls are made.

Incubation.

Incubation is assumed to start at clutch completion (however this is not confirmed). The incubation period lasts for approximately 27–29 days, but can last up to 33 days. Both sexes incubate the nest during the day, and partly or fully cover the eggs with sand during the day in response to an approaching threat. Egg covering was not found to occur during normal breaks in incubation of the nest but only in response to a threat, and rarely at night. It is therefore hypothesised that egg covering is not related to temperature and insulation of eggs, but rather to predation avoidance. It is thought that the male undertakes the majority of incubation during the night. If a clutch is lost, it is highly likely that a pair will re-lay eggs.

Parental Care.

The fledging period of chicks is approximately 35–38 days, and the proportion of hatched chicks that actually fledge is estimated to be 28%. If a predator or threat is near, adults with chicks or eggs near hatching date will perform distraction displays such as ‘rodent running’ and ‘injury feigning’. ‘Rodent running’ consists of the adult running fast, with a low head and a low spread tail, similar to a fleeing rodent. Injury feigning consists of the individual running or cowering on the ground whilst flapping one or both wings, with a partly spread tail. Chicks feed for themselves immediately after hatching, however parents can lead chicks to foraging areas up to 2.2 km from the nest.  The annual adult survival rate for white-fronted plovers is 89-92%. This species is considerably longer lived than their northern relatives.

Conservation.

The white-fronted plover is classified as Least Concern by the IUCN due to its extremely large range, large population size, and while total population is decreasing, it appears not to do so at a threatening rate. The Madagascar population is estimated at 5,000–15,000 individuals (coastal surveys from Analalava to Tolagnaro yielded a total count of 1,457 individuals at 119 different locations), the global population at 73,500–103,500. Low nesting success may be partially compensated by multiple clutching and repeat nesting after egg loss, but overall there are too few data to reliably estimates population trends.

Threats.

The main threat to the white-fronted plover is habitat loss due to wetland degradation or destruction. In Zimbabwe and southern Mozambique, an extensive recession of the species’ inland range has taken place due to changes to river morphologies resulting from dam constructions. Key wetland sites in southern Africa, such as Walvis Bay in Namibia, have been subject to degradation because of the reclamation of wetlands for the development of suburbs, ports and roads. In Ghana, coastal erosion as well as proposed development involving drainage and land reclamation constitute a big threat for wetlands used as breeding habitat.  Major causes of nest loss in some regions are flooding due to spring tides and disturbance from tourists or off-road vehicles that drive through the breeding sites.

The white-fronted plover or white-fronted sandplover ("Charadrius marginatus") is a small (45-50 g) shorebird of the family Charadriidae that inhabits sandy beaches, dunes, mudflats and the shores of rivers and lakes in sub-saharan Africa and Madagascar. It nests in small shallow scrapes in the ground and lays clutches of 1-3 eggs. The species is monogamous and long-lived, with a life expectancy of approximately 11 years. The vast majority of pairs that mate together stay together during the following years of breeding and retain the same territory. The white-fronted plover has a similar appearance to the Kentish plover, with a white fore crown and dark bands connecting the eyes to the bill.

Der Weißstirn-Regenpfeifer ("Charadrius marginatus") ist eine kleine Vogelart aus der Familie der Regenpfeifer. Sein Vorkommen erstreckt sich über Afrika, südlich der Sahara und Madagaskar.


Films.

Filmmaker Timo Rose is best known for his "Mutation" trilogy, which involves a toxic chemical created by Nazis and rediscovered in modern times. The second and third chapters in this film trilogy were re-edited in 2006 into an FX-heavy "special edition" entitled "Mutation: Annihilation".  A large majority of his earlier FX work was done by German director/effects technician and close friend Olaf Ittenbach, although Rose currently does most of his own under his "Rosecalypse SFX" banner.  Substantially younger than many of his contemporaries, Rose bases much of his filmmaking on the brutality of early Andreas Schnaas and Olaf Ittenbach features. In the decade since he began creating films, he has directed more features than any other filmmakers in the German movie scene.

German/English-language films.

Since his 2004 film "Lord of the Undead", starring Debbie Rochon, Rose has made it a point to film at least a portion of each of his films in English. Many of his more recent films, such as "Barricade", "Fearmakers", and "Beast", have been shot primarily in English, with minimal German interspersed throughout.

Inspiration.

Rose's films are heavily influenced by modern, hyperkinetic action movies and video games. Some films even go so far as recreating scenes and character profiles from popular horror-themed video games (such as "Goldman" in the "Mutation" films, who is directly lifted from the Sega shooter "House of the Dead 2"). His penchant for practical gore effects are extremely reminiscent of the early works of German contemporaries Andreas Schnaas and Olaf Ittenbach.

Music.

Timo Rose has released several rap CDs under the stage name King Hannibal and takes part in numerous live performances throughout Germany. His albums, which mix traditional rap with metal have all been successful in Germany's upstart hip-hop industry. His latest music project, King and Prinzessa, was with Magdalena Kalley, his then-girlfriend who had also appeared in several of his films.

Timo Rose (born February 22, 1977 in Rellingen, West Germany) is a German horror and science fiction filmmaker, rapper, and founder of the production company Sword of Independence Filmworks (later Germaica/Rosecalypse Films and Records).

Timo Rose (* 22. Februar 1977 in Rellingen) ist ein deutscher Regisseur, Schauspieler, Kameramann, Filmeditor und Produzent, der überwiegend im Genre des Horrorfilms tätig ist. Er hat bisher bei über 20 Filmen Regie geführt, drei in Kooperation mit Regisseur Andreas Schnaas, schreibt Filmmusiken und ist für die Spezialeffekte in seinen Filmen zuständig.


History.

The competition was the brainchild of Venezuelan baseball entrepreneur Pablo Morales and Oscar Prieto Ortiz, his business partner since 1936, who devised the idea after seeing the success of the now extinct in 1946, which featured the clubs Brooklyn Bushwicks from the United States, Cervecería Caracas from Venezuela, Sultanes de Monterrey from Mexico, and an All-Star team composed of Cuban players.  Inspired by the Serie Interamericana and his experience as a former president of the International Baseball Federation, Morales joined Prieto and presented the idea to baseball representatives of Cuba, Panama and Puerto Rico during a meeting held in Havana on August 21, 1948. The representatives then agreed to stage a four-country, round-robin tournament 12-game to be known as the "Serie del Caribe", to be launched in Cuba from February 20–25 of 1949.  The Series ran annually from 1949 through 1960, with Cuba winning seven times. However, the event was cancelled after Fidel Castro dissolved all professional baseball in Cuba in 1961. It was not until 1970 that the Caribbean Series was revived. Moreover, the 1981 Caribbean Series was not held due to a Venezuelan League player's strike.  The tournament featured the champions of the Dominican Republic, Mexico, Puerto Rico, and Venezuela for over 40 years. Cuba returned in 2014. Panama returned to host the 2019 edition. Colombia was added for the 2020 edition, replacing Cuba who could not participate due to visa issues.

Championship games.

Starting with the 2013 Caribbean Series, a championship game was introduced where the two teams with the best win-loss record from the round-robin first stage would meet to determine the champion. In 2013 the first round consisted of 12 games and each team faced the other teams twice, one as home club and the other as an away team; from 2014 on, with the return of Cuban teams to the tournament, the first stage was changed to a round robin of 10 games where each team faced the other teams once.

The Caribbean Series ("Spanish": "Serie del Caribe"), also called Caribbean World Series, is the highest tournament for professional baseball teams in Latin America. The tournament location is rotated annually among the countries and is normally played in February after all of the leagues have ended their national tournaments.

Die Serie del Caribe (span. für "Karibik-Meisterschaft"; engl. "Caribbean Series") ist ein jährlich ausgetragenes Baseballturnier unter Vereinsmannschaften aus dem Karibikraum. Das Gastgeberland und damit der Austragungsort wechselt jährlich zwischen den teilnehmenden Clubs aus Mexiko, der Dominikanischen Republik, Puerto Rico und Venezuela. Teilnehmer sind die jeweiligen Meister der Liga Mexicana del Pacífico (LMP, Mexiko), der Liga Dominicana de Béisbol Invernal (LIDOM, Dominikanische Republik), der Puerto Rico Baseball League (PRBL, Puerto Rico) und der Liga Venezolana de Béisbol Profesional (LVBP, Venezuela).


Early life.

Davis was born in New Salem, Pennsylvania. His father was killed in an accident shortly after his birth, and his mother, Avis Marie Davis Fleming, could not raise him alone. At 14 months, he was cared for by his maternal grandparents, Willie and Elizabeth Davis, in Uniontown, Pennsylvania. At age 12, he went to live with his mother and stepfather in Elmira, New York, where he excelled in baseball, basketball, and football in grade school. He attended Elmira Free Academy, where he earned two All-American honors. At the end of his senior season he was recruited by numerous colleges, and chose to attend Syracuse University after being persuaded by Jim Brown, a Syracuse alumnus.

College career.

Davis played football for coach Ben Schwartzwalder at Syracuse University from 1959 to 1961, and went on to national fame in each of those three seasons, twice winning first-team All-American honors. As a sophomore, Davis led the 1959 Syracuse team to a national championship, capping an 11–0 season with a 23–14 win over the Texas Longhorns in the 1960 Cotton Bowl Classic, where Davis was named Most Valuable Player. That same season, Elmira "Star-Gazette" sports writer Al Mallette coined the nickname for Davis, the "Elmira Express". In his junior year, 1960, he set a record of 7.8 yards per carry and was the third leading rusher in the country with 877 yards, having rushed for 100 yards in six of nine games. The 1960 Syracuse Orangemen finished with a record of 7–2 and did not play in a post-season bowl game. In Ernie's senior year, the 1961 Orangemen finished with a record of 8–3, closing the season with a 15–14 victory over the Miami Hurricanes in the Liberty Bowl, played at Philadelphia's Franklin Field. College football used limited substitution rules at the time and players played both offense and defense.  Davis found discrimination prevalent in the American South during his Cotton Bowl visit to host city Dallas, Texas. Author Jocelyn Selim writes that at the banquet following the 1960 game, Davis was told he could only accept his award and then would be required to leave the segregated facility. Davis and his black teammates were allowed to finish their meals at the banquet. When dessert was brought, a gentleman quietly approached them and told them they would have to leave when the doors were opened to the public for a dance. The three got up to leave and when the teammates found out, they wanted to leave too, but were told that it would only cause a bigger problem, so they stayed.  A different account of the banquet is given by John Brown. He was Davis' teammate at Syracuse and on the Cleveland Browns, his roommate and a close friend. According to an article in the "Houston Chronicle", all the players from the game attended the banquet. Brown recalls that the teams sat on opposite sides of the room. After everyone ate and the trophies were handed out, the three black Syracuse players, including Brown and Davis were asked to leave and were taken to another party in Dallas by local NAACP representatives. One Syracuse player, Gerhard Schwedes, recommended that the whole Syracuse team leave the banquet to show solidarity with their black teammates, but the suggestion was overruled by Syracuse officials. When the "Chronicle" asked Brown whether the film "The Express" is a truthful portrayal of his friend, Brown said "... in short, no."  Davis became the first black athlete to be awarded the Heisman Trophy (the highest individual honor in collegiate football) and he also won the Walter Camp Memorial Trophy following his 1961 senior-year season at Syracuse University. President John F. Kennedy had followed Davis' career and requested to meet him while he was in New York to receive the trophy. Later in 1963, when Elmira chose February 3 to celebrate Davis' achievements, Kennedy sent a telegram, reading:  During his time at Syracuse, Davis wore the same number, 44, as had legendary Orangeman Jim Brown, helping to establish a tradition at the school that was acknowledged on November 12, 2005, when the school retired the number in an on-field ceremony. After winning the Heisman Trophy, Ernie Davis talked Floyd Little into doing an about face and playing football for Syracuse instead of Notre Dame. Davis also played basketball at Syracuse for one season 1960-1961. Syracuse University, as a way to honor all of the athletes that have worn the number 44, was granted permission by the United States Postal Service to change its ZIP code to 13244.  While attending Syracuse, Davis was a member of the Sigma Alpha Mu fraternity, a nationally recognized Jewish fraternity. Davis was the first African-American to become part of the organization not only at the Syracuse chapter, but for the national fraternity as a whole.  Davis was posthumously inducted into the College Football Hall of Fame in 1979.  Davis was a member of The Pigskin Club of Washington, D.C. National Intercollegiate All-American Football Players Honor.

Professional football career.

Davis was the number-one pick in the 1962 NFL Draft on December 4, 1961. Selected by the Washington Redskins, he was traded to the Cleveland Browns. He was also drafted two days earlier by the Buffalo Bills of the American Football League.  Redskins founder and owner George Preston Marshall was an avowed racist who kept the Redskins entirely white long after the other teams had integrated. He openly admitted that his unwillingness to sign a black player was an effort to appeal to his mostly Southern fan base (they had been the southernmost team in the league for a quarter century). The signing only came when Interior Secretary Stewart Udall issued an ultimatum to Marshall: sign a black player by the start of the 1962 season, or he would revoke the Redskins' 30-year lease on D.C. Stadium (now Robert F. Kennedy Memorial Stadium). The stadium was a city-owned facility, and the Washington city government has long been legally reckoned as a branch of the federal government (given that the Constitution gives Congress ultimate authority over the capital). Marshall could not bring himself to draft a black player, so he left the decision to general manager and head coach Bill McPeak, who picked Davis. Davis refused to play for the Redskins and demanded a trade. A deal with Cleveland was engineered by Browns coach Paul Brown without the knowledge of the owner Art Modell. This had been standard operating procedure with the Browns from their inception in 1946; Brown served as his own general manager, and had enjoyed a free hand in football matters. The Redskins traded the rights to Davis to the Cleveland Browns for Bobby Mitchell and first-round draft pick Leroy Jackson. Davis chose to go to the Cleveland Browns where his classmate John Brown would be his roommate and Jim Brown, whom he admired, was already playing.  Davis signed a three-year, $200,000 contract with the Browns in late December 1961 in San Francisco while preparing for the East-West Shrine Game. Originally reported at $80,000, the contract, according to Davis's attorney, Tony DeFilippo, consisted of $80,000 for playing football, including a $15,000 signing bonus; $60,000 for ancillary rights, such as image marketing; and $60,000 for off-season employment. It was the most lucrative contract for an NFL rookie up to that time.  The Browns' dream of pairing Davis with Jim Brown took a tragic turn when Davis was diagnosed with leukemia. The rift between Coach Brown and Modell worsened when Modell brought in doctors who said Davis was well enough to play and Brown still refused to allow it. Although Davis's leukemia was in remission at the time, Brown felt letting him play would hurt team morale. This contributed to Modell's decision to replace Brown before the 1963 season.  Davis was allowed to practice on the field without physical contact and helped Brown draw up game plans but he never played a meaningful down. His only appearance at Cleveland Stadium came at a pre-season game on August 18, in which he ran onto the field as a spotlight followed him. Following his death, the Browns retired his number 45 jersey.

Death.

While preparing to play in the College All-Star Game against the Green Bay Packers in Chicago in the summer of 1962, Davis awoke with a swollen neck and was hospitalized, with mumps or mononucleosis initially suspected. He was diagnosed with acute monocytic leukemia and began receiving medical treatment. Davis went to Johns Hopkins in Baltimore when he was dying, three months after being diagnosed and through chemical treatments experienced a four to five month remission. The disease was incurable and Davis died at age 23 at Cleveland Lakeside Hospital on May 18, 1963.  Both houses of the United States Congress eulogized Davis, and a wake was held at The Neighborhood House in Elmira, New York, where more than 10,000 mourners paid their respects. During the funeral, a message was received from President Kennedy, and was read aloud to all of the people attending the service. Davis is buried at Woodlawn Cemetery in Elmira. His commemorative statue now stands in front of the school named in his honor, Ernie Davis Academy. Another statue of Davis stands on the campus of Syracuse University, near the steps of Hendricks Chapel and the Quad where pre-game pep rallies are held. He was elected to the College Football Hall of Fame in the fall of 1979, coinciding with the premiere of "The Express" and the beginning of construction of Ernie Davis Hall, a Syracuse dormitory.

"The Express".

A motion picture biography, "", directed by Gary Fleder and based on the non-fiction book "The Elmira Express: the Story of Ernie Davis" by Robert C. Gallagher, began production in April 2007 and was released on October 10, 2008. Rob Brown plays Davis, with Dennis Quaid portraying Davis' Syracuse University coach, Ben Schwartzwalder.  In 2011, rival schools Southside High School (Elmira, New York) and Elmira Free Academy combined their athletic teams, which together were renamed the Elmira Express, named after Ernie Davis.

Ernest Davis (December 14, 1939 – May 18, 1963) was an American football player, a halfback who won the Heisman Trophy in 1961 and was its first African-American recipient.

Ernest „Ernie“ Davis (* 14. Dezember 1939 in New Salem-Buffington, Pennsylvania; † 18. Mai 1963 in Cleveland, Ohio) war ein US-amerikanischer American-Football-Spieler auf der Position des Runningbacks. Davis, der den Spitznamen "Elmira Express" trug, war der erste Afroamerikaner, der die Heisman Trophy gewann.


Description.

Fernandina's flicker is a medium-sized woodpecker, ranging in length from 14–15 inches (33–35 cm). Overall, it is mostly yellowish-tan, covered with varying amounts of black barring; its underwings are yellow. The male has a black moustachial stripe, which the female lacks.

Distribution and habitat.

Fernandina's flicker is endemic to Cuba. Though it was apparently never common, it was formerly found across the island. Now, however, it is restricted to isolated locations in nine of the country's 15 provinces: Camagüey, Cienfuegos, Granma, Holguín, Las Tunas, Matanzas, Pinar del Río, Santiago de Cuba, and Villa Clara. The largest population is found in Zapata Swamp, where some 120 pairs are estimated to live, though this number may have dropped following recent hurricanes.  The flicker's natural habitats include dry forests, dry savanna, swamps, and pastures.

Behavior.

Though not a particularly social bird, Fernandina's flicker will sometimes form loose colonies of up to 15 pairs. It regularly fights with other woodpeckers.

Feeding.

Like its congeners, Fernandina's flicker often forages—primarily for ants, but also for other insects, worms, grubs and seeds—on the ground. It uses its strong bill to probe the ground and flick aside leaf litter.

Breeding.

Fernandina's flicker breeds between March and June; during courtship, pairs regularly engage in high-flying chases. Like all woodpeckers, it is a cavity nester. Recent fieldwork has shown that it prefers to use nest holes started by West Indian woodpeckers; the flicker usurps the original owners, finishes off the excavation work, and moves in. The female lays a clutch of three to five white eggs, which are incubated for a period of about 18 days. The young fledge after 22 days.

Voice.

Though it is regularly silent, the flicker's calls include a repeated "wicka" (the onomatopoeic sound which gives the genus its common name), and a loud series of "pic" notes.

Conservation.

With an estimated population of only 600–800 birds, Fernandina's flicker is one of the most endangered woodpeckers in the world. Overall, that population is declining, principally because of habitat loss. Farming, logging, hurricane damage and the caged bird trade—trappers bring down whole palm trees in order to capture nestling Cuban amazons ("Amazona leucocephala leucocephala")—are combining to squeeze the remaining birds into smaller and smaller isolated tracts. In addition, West Indian woodpeckers have been observed killing the chicks of Fernandina's flickers.

Fernandina's flicker ("Colaptes fernandinae") is a species of bird in the woodpecker family. Endemic to Cuba, its small population of 600–800 birds makes it one of the most endangered species of woodpecker in the world. Fernandina's flicker is threatened by habitat loss.

Der Kubaspecht ("Colaptes fernandinae") ist eine Art der Gattung Goldspechte ("Colaptes") innerhalb der Unterfamilie der Echten Spechte ("Picinae"). Der etwa grauspechtgroße Vogel ist ein Endemit der Großen Antilleninsel Kuba, wo er in zunehmend fragmentierteren Gebieten und in abnehmender Zahl vor allem in Palmensavannen und Schwemmland vorkommt. Wie die meisten Vertreter dieser Gattung sucht der Kubaspecht seine Insektennahrung vornehmlich auf dem Boden. Die monotypische Art wird von der IUCN als gefährdet ("vulnerable") eingestuft.