History.

Silicon Valley Bank (SVB) was founded in 1982 by Bill Biggerstaff and Robert Medearis over a poker game. Its first office opened in 1983 on North First Street in San Jose. The Palo Alto office opened in 1985. The bank’s main strategy was collecting deposits from businesses financed through venture capital. It then expanded into banking and financing venture capitalists themselves, and added services aimed at allowing the bank to keep clients as they matured from their startup phase. In 1986, SVB merged with National InterCity Bancorp and opened an office in Santa Clara. In 1988, the bank completed its IPO, raising $6 million. In 1990, the bank opened its first office on the East Coast, near Boston. The following year, the bank went international with the launch of the companies Pacific Rim and Trade Finance.  By the mid-1990s, the bank had provided early venture capital to Cisco Systems and Bay Networks.  In 1992, the bank was hit by the real estate burst (50% of the bank's assets) and recorded a $2.2 million yearly loss. In 1993, the bank's founding CEO, Roger V. Smith, was replaced by John C. Dean; Smith became Vice Chairman of the bank. Smith left in 1994 to launch the Smith Venture Group. In 1994, the bank launched its Premium Wine Practice activities. In 1995, the bank moved its headquarters from San Jose to Santa Clara. In 1997, SVB opned a branch in Atlanta. In 1999, the company was reincorporated in Delaware. Form March 1999 to March 2000, SVB's stock value soared from $20 to $70.  In 2000, SVB opened a branch in Florida. In 2001, SVB Securities acquired the Palo Alto investment banking firm Alliant Partners for $100 million. Following the crash of the dot-com bubble, the bank's stock dropped 50%. In 2002, the bank began expanding its private banking business, which up to that point had been done primarily as a favor to wealthy venture capitalists and entrepreneurs.  In 2004, the bank opened international subsidiaries in Bangalore, India, and London. In 2005 it opened offices in Beijing and Israel. In 2006, the bank began operations in the UK and opened its first branch there in 2012. In 2006, the bank also ceased its investment banking activities, launched after the 2001 dotcom crash.  In December 2008, SVB Financial received a $235 million investment from the U.S. Treasury through the Troubled Asset Relief Program. The U.S. Treasury received $10 million in dividends from Silicon Valley bank and, in December 2009, the bank repurchased the outstanding stock and warrants held by the government, funding this through a stock sale of $300 million.  In April 2011, Ken Wilcox, who had been CEO since 2000, left the CEO position, while remaining Chairman of the Board; he was replaced by Greg Becker.  In November 2012, the bank announced a 50-50 joint venture with Shanghai Pudong Development Bank (SPDB) to provide capital to start-up technology entrepreneurs. In July 2015, the joint venture was granted approval by the China Bank Regulatory Commission (CBRC) to operate in renminbi (RMB), the official currency of the People’s Republic of China. This license allows the joint venture to provide banking products and services to its clients in local Chinese currency. According to the bank itself, in 2015 SVB was catering banking and financial services to 65% of all startups.  In March 2017, Michael R. Descheneaux was named president of the company.

Operations.

The company focuses on lending to technology companies, providing multiple services to venture capital, revenue-based financing and private equity firms that invest in technology and biotechnology, and also on private banking services for high-net-worth individuals, in its home market in Silicon Valley. In addition to taking deposits and making loans, the bank operates venture capital and private equity divisions that sometimes invest in the firm's commercial banking clients.  The bank is the largest bank in Silicon Valley in terms of deposits, with a 25.9% market share as of June 30, 2016.  The bank operates from 29 offices in the United States and has banking operations in:  In addition, SVB Global Services India LLP is a non-banking subsidiary of SVB Financial Group in Bangalore, India providing IT and back office support.

Silicon Valley Bank, a subsidiary of SVB Financial Group, is a U.S.-based high-tech commercial bank. The bank has helped fund more than 30,000 start-ups. SVB is on the list of largest banks in the United States.

Silicon Valley Bank (kurz auch SVB) ist eine US-amerikanische Bank im Silicon Valley, die High-Tech-Unternehmen und Start ups fördert. Sie ist eine Tochtergesellschaft der SVB Financial Group. Die Bank hat mehr als 30 Tausend Start ups finanziell unterstützt. Die SVB ist auf der Liste der größten Banken in den Vereinigten Staaten und ist die größte Bank in Silicon Valley mit einem Marktanteil von 25,9 %. (Stand: 30. Juni 2016) Die Bank besitzt 29 Büros in den Vereinigten Staaten und operiert in Hongkong, China, Indien, Israel und Großbritannien.


Uniforms.

In American high school and college basketball, officials wear black-and-white-striped shirts with black side panels, black pants, and black shoes. Some state high school associations allow officials to wear grey shirts with black pin-stripes instead of black-and-white-striped shirts.  NBA officials wear light grey shirts with black slacks and black shoes. The NBA shirt is light grey with thin white stripes, black sleeves, a black stripe on either side, a red and blue collar, the official's number in the center at the top on the back, and the NBA logo above the left breast and the Nike Swoosh on the right. NBA Summer League officials wear the same light grey shirt but with a black collar. The WNBA referee shirt is almost identical to the NBA referee shirt except that its collar is orange and the WNBA logo takes the place of the NBA logo.  FIBA officials wear a grey (torso) and black (sleeves) shirt, black trousers, black socks, and black shoes. Officials in competitions organized by Euroleague Basketball – the Euroleague and Eurocup – wear an orange shirt. Officials in the Israel Basketball Association wear the Euroleague's orange shirt but sometimes wear royal blue shirts for contests between two Israeli teams. NBL officials wear green shirts with black shoulders and stripes on the sides with black pants. The NBL logo is atop the breast and a sponsor's name is on the back. Shirts are V-neck, without a collar, and pants lack belts.  All officials wear a whistle that is used to stop play as a result of a foul or a violation on the court. Hand signals are used to indicate the nature of the infraction or to administer the game.  In higher levels of college and professional basketball, officials wear a timing device on the belt-line called PTS (Precision Timing System). The device is used by on-court officials to start and stop the game clock in a timely manner, rather than waiting for the scoreboard operator (timekeeper) to do so.

Positions and responsibilities.

The officials must ensure that the game runs smoothly, and this encompasses a variety of different responsibilities, from calling the game to player and spectator management. They also carry a duty of care to the players they officiate and to ensure that the court and all equipment used is in a safe and usable condition. Should there be an issue that inhibits the safe playing of the game, then it is the job of the officials to rectify the problem. Quite often, the job of an official surpasses that of the game at hand, as they must overcome unforeseen situations that may or may not have an influence on the game.  There are two standard methods for officiating a basketball game, either "two-person" or "three-person" mechanics depending on how many officials are available to work the game.  In "two-person" mechanics, each official works either the lead or the trail position. The lead position is normally along the baseline of the court, with the trail position having its starting point at the free throw line extended on the left side of the court facing the basket. Officials change position often during the game to cover the area in the best possible way. As the game transitions from one end of the court to the other, the lead becomes the trail and vice versa. Between the two positions, each is responsible for a specific part of the court as well as two each of the side, base or back court lines. Officials change position after certain calls (mostly when the lead official calls a defensive foul). This allows officials to alternate between positions to increase the speed of play; one official will approach the bench whilst another, usually the closest to the bench at that time, will move to occupy his position. This also prevents one official from always working one particular team's basket throughout the course of the game.  In "three-person" mechanics, the court is further divided among three officials, with the lead (baseline) official determining the position of the other two officials. Normally, the lead official will move to the side of the court in which the ball is located (strong side), particularly if there is a "post-up" player in that position. The official that is on the same sideline as the lead official then takes up a position approximately level with the top of the three-point line and becomes the "trail" official, while the third official will stand across the court near the free throw line in what is called the center position. This creates a triangle coverage of the court. Often, the lead will switch sides of the baseline during a play, requiring the trail to move down to be level with the free-throw line and become the new center, while the center will move up and become the trail. As the ball moves to the other end of the court in transition, the lead will become the trail, the trail will become the lead, and the center official will remain in the center (unless the new "lead" moves across the baseline to cover the strong side, in which case the center official and trail would then switch positions.)

Difficulty.

Basketball is regarded by many fans as among the most difficult sports to officiate. Usually basketball officials have only split seconds to determine if an infraction has occurred, due to the speed of play of the game and the officials' proximity to the action. Especially difficult are the "charge/block" call, shooting foul/block attempt and couple others which varies from official to official, as to which player is responsible for contact. Officials often rely on instant replay to review plays. Only recently would a coach be allowed to contest a call by the official, or one missed by them, but is only valid for a specific window.  Despite the misconception that basketball is a non-contact sport, officials often let a large amount of marginal or incidental contact pass uncalled. An official must always be aware of not just what is happening around the ball, but the roughness of play going on around the whole court, adding to the job of the official.  Further complicating the job of an official is the proximity to the crowds. Unlike football or baseball, the crowd is nearly always located within a few feet of the official, as are coaches and other players on the bench. To combat this, officials are able to remove a fan from the arena with an ejection.

Duties.

The duties of the basketball referee is exactly this - to ensure the game is played safely and fairly. The referee enforces the rules of the game and in a game will make hundreds of decisions – determining when a violation or foul occurs and then stopping the game to issue the correct penalty.

Violations.

When a violation occurs, game action is immediately stopped. These include traveling, illegal dribbles, out-of-bounds, and other violations. The official is required to blow the whistle and immediately stop play and award the ball over to the opposing team which allows for fair play in the game. Along with those, you can have contact fouls in game that if called will result in the opponent getting two shots from the free throw line.

In basketball, an official (usually called a referee) enforces the rules and maintains order in the game. The title of official also applies to the scorers and timekeepers, as well as other personnel that have an active task in maintaining the game. Basketball is regarded as among the most difficult sports to officiate due to the speed of play, complexity of rules, the case-specific interpretations of rules, and the instantaneous decision required.

Ein Basketballschiedsrichter ist eine Person, die beim Basketball die Einhaltung der Regeln und die Ordnung des Spiels überwacht. Während im englischen Sprachraum meist eine Unterscheidung zwischen dem "referee" als Chef eines Schiedsrichtergespanns und dem (bzw. den) "umpire" als „untergeordnetem“ Schiedsrichter stattfindet, ist diese Unterscheidung im deutschsprachigen Raum nicht gebräuchlich. Den Schiedsrichtern zur Seite stehen hierbei die Kampfrichter, die vor allem für das Stoppen der Zeit und das Anschreiben des Punktestands zuständig sind. Basketball gilt als eine der schwierigsten Sportarten für Schiedsrichter, da es eine vergleichsweise hohe Spielgeschwindigkeit besitzt und eine Vielzahl (oft sehr fallspezifischer) Regeln angewandt werden muss.


Championship play-offs.

The points obtained during the regular season were halved (and rounded up) before the start of the playoff. As a result, the teams started with the following points before the playoff: Club Brugge 34 points, Anderlecht 28, Charleroi 26, Gent 25, Genk 22 and Standard Liège 22. The points of Club Brugge, Anderlecht and Charleroi were rounded up, therefore in case of any ties on points at the end of the playoffs, the half point will be deducted for these teams.

Europa League play-offs.

Group A of the play-offs will consist of the teams finishing in positions 7, 9, 12 and 14 during the regular season and the first and third placed team in the qualifying positions in the 2017–18 Belgian First Division B. The teams finishing in positions 8, 10, 11, 13 and 15 will join the second placed qualifier from the 2017–18 Belgian First Division B in group B.

Group A.

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Group B.

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Semi-final.

The winners of both play-off groups competed in one match to play the fourth-placed or fifth-placed team of the championship play-offs for a spot in the final. Zulte Waregem received home advantage as they finished higher in the regular season. Despite going down twice with 10 men, Zulte Waregem won, which meant they advanced to the final to play for a spot in the second qualifying round of the 2018–19 UEFA Europa League.

Final.

The winners of the Europa League play-off semi-final and the fifth-placed team of the championship play-offs played one match to determine the Europa League play-off winners. The winners qualified for the second qualifying round of the 2018–19 UEFA Europa League.

The 2017–18 Belgian First Division A was the 115th season of top-tier football in Belgium. The season began on 28 July 2017 and concluded on 20 May 2018. The fixtures were announced in early June 2017. Anderlecht were the defending champions but had to settle for third place with Club Brugge taking their 15th title.

Die Division 1A 2017/18 war die 115. Spielzeit der höchsten belgischen Spielklasse im Männerfußball. Sie wurde am 28. Juli 2017 mit dem Spiel zwischen dem Aufsteiger Royal Antwerpen und dem amtierenden Meister RSC Anderlecht (0:0) eröffnet und endete am 27. Mai 2018 mit dem Abschluss der Play-offs.


Background and release.

Kollegah and Farid Bang first worked together on "Jung, brutal, gutaussehend" (2009). Their second collaborative album "Jung, brutal, gutaussehend 2" (2013) became an immediate success and debuted on number one of the German, Austrian and Swiss Albumcharts. The album became their first to be gold-certified by the BVMI. Both ventured back to solo releases between 2014 and 2018 and each released three studio albums. "JBG 3" was first confirmed by Farid Bang on the single "Blut" of his seventh album "Blut" (2016). In August 2016, Farid Bang announced on Facebook that the album would be released in 2017. In September 2017 they confirmed that the album would be released on 1 December. The album's production began in December 2016 and was completed on 19 October 2017. "JBG 3" was released by Alpha Music Empire, Banger Musik and distributed by BMG, Kollegah's and Farid Bang's respective record labels. On 7 September 2017, the limited box-set was made available to pre-order on Amazon and other retailers for €49,99. Internationally the album was released on 1 December 2017, on all major streaming platforms and physically in German-speaking Europe. Kollegah and Farid Bang promoted "Jung Brutal Gutaussehend 3" with a 15-date tour through Germany, Austria and Switzerland, which began on 5 January and concluded on 24 January 2018.

Composition.

"JBG 3" is a gangsta rap, hip-hop album; it opens with "Sturmmaske auf (Intro)", which is a battle rap song. The second track "Ave Maria" an "aggressive" song, in which Kollegah and Farid Bang diss rappers from ersguterjunge. Kollegah and Farid Bang use in "Gamechanger", "fast-pace double-time" and diss the KMN-Gang. It is followed by "Rap wieder Rap", produced by Gee Futuristic and a fan favourite, whose lyrics talk about bringing rap music back to the roots.

Commercial performance.

Germany.

The record was certified gold by the Bundesverband Musikindustrie (BVMI) eight days before its initial release, becoming the fastest album to be certified in Germany. The album debuted on number one of the German album charts on 8 December 2017, becoming Kollegahs fifth and Farid Bangs fourth consecutive album to reach the pole position. The album also achieved the biggest first week sales in hip-hop in two years. All seventeen tracks of the album reached the top fifty of the singlecharts, with eight reaching the top twenty and three the Top 10. The record stayed in the top ten for five weeks and left the charts after thirty-three non-consecutive weeks on 17 August 2018. "JBG 3" was certified platinum by the BVMI in April 2018, becoming Kollegahs second and Farid Bangs first platinum record. The album debuted at number one on the Top-20 Hiphop charts and stayed on top for three weeks. It spent nineteen weeks in the Top-5 and left the charts after thirty-six consecutive weeks.

Austria and Switzerland.

"JBG 3" received similar success in Austria and Switzerland, where it also debuted on the pole positions. All of the album tracks entered the charts in Austria and two in Switzerland. The album was certified gold by IFPI Austria on 12 December 2017 for shipments of 7,500 copies.

Singles.

To support "Jung, brutal, gutaussehend 3", five singles were released. The first of which, "Sturmmaske auf (Intro)" was released on September 28, 2017, and became an immediate success for them. The single became their first song to debuted on number one of the German single charts, six in Austria and 15 in Switzeland. Both "Gamechanger" and "Ave Maria" reached the Top 10 in Germany, Top 20 in Austria and Top 25 in Switzerland. On December 22, 2017, "Die JBG3 Weihnachtsgeschichte", was released, but couldn't enter the charts. "One Night Stand", released on December 29, 2017 peaked at number 51 on the German single chart.

Critical reception.

Music critics.

Music critics gave moderate to negative reviews of "Jung Brutal Gutaussehend 3" upon its release. Max Brandl from "laut.de" gave the album three out of five stars. He criticized the songs "Frontload", "Massephase" and "Warlordz" for their "bumpy Kindergarten production". He also said that "JBG 3" is "olympic powerlifting with insults". "Rappers.in" gave the album 2.5 stars and said that the album "sounded like trash", with "superficial disses". "Noiseys", Juri Sternburg accuses them of "bad racism" under the cover of "artistic freedom". He also said that "JBG 3 is shallow and silly". Tristan Heming described the lyrics of the album as disgusting: "Rape, rascism, hitler and stalin name-dropping and holocaust references. All of this is actually so disgusting in its mass that one could puke."

Echo controversy.

As the Echo Music Prize is determined by the previous year's sales, "Jung Brutal Gutaussehend 3" was nominated in the categories best hip hop/urban album and album of the year. German tabloid paper "Bild" accused Farid Bang and Kollegah of antisemtic lyrics on their song "0815", which was included on the bonus EP "§185". They referred to their muscles being more defined than those of Auschwitz inmates.  Campino, singer of the German rock band Die Toten Hosen, was the first to criticize the committee's decision during the ceremony. His remarks received a standing ovation from the audience. Several artists later returned their Echo awards in protest, such as Marius Müller-Westernhagen, who returned all of his seven Echo awards received over the years. Other artists returning their awards were German conductors Christian Thielemann and Enoch zu Guttenberg, Russian-German pianist Igor Levit, record producer Klaus Voormann and the Notos Quartett.  However, criticism did not only come from artists and the German press. Several businesses joined in, with Tom Enders, CEO of Airbus, being one of the most recent high-profile commentators, saying that this would hurt "Germany's international reputation". He also asked if "antisemitism [was] becoming acceptable in Germany" again. As a consequence the Echo award was discontinued after the controversy.  Kollegah and Farid Bang were sued for Volksverhetzung (incitement to hatred) on 24 April 2018. On June 16, 2018 the investigation was suspended by the state's attorney in Düsseldorf. Kollegah apologized for the lyrics, following a visit to Auschwitz II–Birkenau in June 2018. In an interview with German newspaper "Stern", Kollegah said "when you see for yourself how people were systematically killed, you'll never forget that. You become more careful and respectful." The continued with, "the Holocaust doesn't fit into hip hop."

Indexing.

The record was put on the index by the Federal Department for Media Harmful to Young Persons in Germany. The songs "Gamechanger", "Wenn der Gegner am Boden" on "JBG 3" and "0815" and "Ghettosuperstars 2" on the "§185" EP became part of the decisive dicission. The songs have a "discriminatory effect against woman". "JBG" and "JBG 2" have been indexed in 2012 and 2014.

Personnel.

Credits for "Jung Brutal Gutaussehend 3" adapted from the booklet. Technical  Design

Jung Brutal Gutaussehend 3 (also stylized as Jung, brutal, gutaussehend 3) (; abbreviated as JBG 3) is the third collaborative studio album by German rappers Kollegah and Farid Bang, released on 1 December 2017, by Alpha Music Empire, Banger Musik and BMG. Before the album, Kollegah and Farid Bang collaborated on "Jung, brutal, gutaussehend" in 2009 and "Jung, brutal, gutaussehend 2" in 2013.

Jung, brutal, gutaussehend 3, auch bekannt als JBG3, ist das dritte Kollaboalbum der beiden Deutschrapper Kollegah und Farid Bang. Es erschien am 1. Dezember 2017 über die Labels Banger Musik und Alpha Music Empire. Das Album schaffte es durch Vorbestellungen bereits acht Tage vor der Veröffentlichung in Deutschland Goldstatus zu erreichen. Das Album stieß teilweise auf starke Kritik, wobei den Künstlern vor allem frauenfeindliche und antisemitische Texte vorgeworfen wurden. Nachdem Kollegah und Farid Bang im April 2018 aufgrund von guten Verkaufszahlen einen Echo für ihr Werk erhielten, wurde der Veranstalter der Preisverleihung, die Deutsche Phono-Akademie, stark kritisiert, was letztendlich zur Abschaffung des Preises führte.


Geology.

Inishglora is geologically similar to the neighbouring Inishkea Islands, and is composed of gneiss and schist, similar to the rest of Erris. The island is mainly covered with machair and white sand. The Inishkeas and Inishglora differ markedly geologically from Duvillaun which lies a short distance to their south. From the mainland, the first two islands shine white and green in the sunlight while Duvillaun (and its satellite islands) lives up to its name and appears a much duller colour with dark cliffs because it has the same geology as Achill, many miles to its south.

History.

Inishglora is probably the best known of the islands off Erris as it is considered to be the holiest of all the islands. It lies north of the islands of Duvillaun and the two islands of the Inishkeas. There are several archaeological remains on the island. The ruins of Saint Brendan's Church indicate that the original building was similar in style of Gallarus Oratory in County Kerry. There are the remains of two other churches also - Teampall na bhFear (Men's Church) and Teampall na mBan (Women's Church). The women's church may have been an early nunnery. Both are now ruins but date back just a few centuries and are more modern than Saint Brendan's Church. There are the remains of three beehive huts, the largest of which is known as Saint Brendan's cell. There are many superstitions about the religious relics on Inishglora. There is a well, known as Saint Brendan's Well. The superstition says that if a woman were to take water from it, the water would turn to blood and become full of worms. However, these rumours may have been invented to ensure that nuns and monks would not use the well as an illicit meeting place. Inishglora also has several early cross slabs and pillars.

Legend and writings.

Legend relates that the Children of Lir flew to Inishglora at the end of their 900-year banishment to remote spots across Ireland. The children had been turned into swans by their jealous stepmother because their father loved them too much, in her eyes. On Inishglora, they were baptised by Saint Brendan the Navigator, and regained their former human shapes but, because they were now 900 years of age, they immediately crumbled into dust. They were then reputedly buried on the island.  Geraldus Cambrensis writing in 1186AD in Topographia Hibernica said of Inishglora:-  The Book of Ballymote notes that bodies on Inishglora do not corrupt, and this poem by Roderic O'Flaherty Ruaidhrí Ó Flaithbheartaigh used Ogygia as a synonym for Ireland in 'Ogygia: Seu Rerum Hibernicarum Chronologia' ("Ogygia: A Chronological Account of Irish Events"), 1685 seems to be of the same opinion.  There are no 'uncorrupted' bodies on Inishglora now however, and many bones have been found buried around the island. It is a local belief that after the religious communities left the island, things returned to normal.  Giraldus Cambrensis also wrote of Inishglora Island:

Inishglora () is an island off the coast of the Mullet Peninsula in Erris, County Mayo in Ireland. It has some small neighbouring islands, known as Inishkeeragh. The island has been uninhabited since the early 20th century, but there are several ecclesiastical ruins on the island.

Inishglora () ist eine unbewohnte Insel vor der Küste der Mullet-Halbinsel im County Mayo in Irland. Auf der Insel gibt es mehrere Kirchenruinen. Inishglora ist die bekannteste unter den Inseln der Barony Erris, da sie als die heiligste gilt.


Nomenclature.

As of 2020, the combination of Starship spacecraft and Super Heavy booster is called the "Starship system" by SpaceX in their payload users guide or sometimes, as on the SpaceX website, the term "Starship" is used as a collective term for both the Starship spacecraft and the Super Heavy booster. However, the name of Starship has changed many times.  At least as early as 2005, SpaceX used the codename, "BFR", for a conceptual heavy-lift vehicle, "far larger than the Falcon family of vehicles," with a goal of to orbit. Beginning in mid-2013, SpaceX referred to both the mission architecture and the vehicle as the Mars Colonial Transporter. By the time a large 12-meter diameter design concept was unveiled in September 2016, SpaceX had begun referring to the overall system as the Interplanetary Transport System.  With the announcement of a new 9-meter design in September 2017, SpaceX resumed referring to the vehicle as "BFR". Musk said in the announcement, "we are searching for the right name, but the code name, at least, is BFR." SpaceX President Gwynne Shotwell subsequently stated that BFR stands for, "Big Falcon Rocket". However, Elon Musk had explained in the past that although BFR is the official name, he drew inspiration from the BFG weapon in the "Doom" video games. The BFR had also occasionally been referred to informally by the media and internally at SpaceX as "Big Fucking Rocket". At the time, the second stage/spacecraft was referred to as "BFS". The booster first stage was also at times referred to as the "BFB". In November 2018, the spaceship was renamed Starship, and the first stage booster was named Super Heavy.  Notably, in the fashion of SpaceX, even that term "Super Heavy" had been previously used by SpaceX in a different context. In February 2018, at about the time of the first Falcon Heavy launch, Musk had "suggested the possibility of a Falcon Super Heavy—a Falcon Heavy with extra boosters. 'We could really dial it up to as much performance as anyone could ever want. If we wanted to we could actually add two more side boosters and make it Falcon Super Heavy.'"

History.

The launch vehicle was initially mentioned in public discussions by SpaceX CEO Elon Musk in 2012 as part of a description of the company's overall Mars system architecture, then known as "Mars Colonial Transporter" (MCT). By August 2014, media sources speculated that the initial flight test of the Raptor-driven super-heavy launch vehicle could occur as early as 2020, in order to fully test the engines under orbital spaceflight conditions; however, any colonization effort was then reported to continue to be "deep into the future".  In mid-September 2016, Musk noted that the Mars Colonial Transporter name would not continue, as the system would be able to "go well beyond Mars", and that a new name would be needed. The name selected was "Interplanetary Transport System" (ITS), although in an AMA on Reddit on October 23, 2016, Musk stated, "I think we need a new name. ITS just isn't working. I'm using BFR and BFS for the rocket and spaceship, which is fine internally, but...", without stating what the new name might be. In September 2017, at the 68th annual meeting of the International Astronautical Congress, SpaceX unveiled an updated vehicle design. Musk said, "we are searching for the right name, but the code name, at least, is BFR."  In a September 2018 announcement of a planned 2023 lunar circumnavigation mission, a private spaceflight called "#dearMoon project", Musk showed another redesigned concept for the second stage and spaceship with three rear fins and two front canard fins added for atmospheric entry, replacing the previous delta wing and split flaps shown a year earlier. The design was to use seven identically-sized Raptor engines in the second stage; the same engine model as would be used on the first stage. The second stage design had two small actuating canard fins near the nose of the ship, and three large fins at the base, two of which would actuate, with all three serving as landing legs. Additionally, SpaceX also stated in the second half of the month that they were "no longer planning to upgrade Falcon 9 second stage for reusability." The two major parts of the launch vehicle were given descriptive names in November: "Starship" for the upper stage and "Super Heavy" for the booster stage, which Musk pointed out was "needed to escape Earth’s deep gravity well (not needed for other planets or moons)."  In January 2019, Elon Musk announced that the Starship would no longer be constructed out of carbon fiber, and that stainless steel would be used instead to build the Starship. Musk cited several reasons including cost, strength, and ease of production to justify making the switch.  In May 2019, the Starship design changed back to just six Raptor engines, with three optimized for sea-level and three optimized for vacuum. By late May 2019, the first prototype, "Starhopper", was preparing for untethered flight tests in South Texas, while two orbital prototypes were under construction, one in South Texas begun in March and one on the Florida space coast begun before May. The build of the first Super Heavy booster stage was projected to be able to start by September. At the time, neither of the two orbital prototypes yet had aerodynamic control surfaces nor landing legs added to the under construction tank structures, and Musk indicated that the design for both would be changing once again. On 21 September 2019, the externally-visible "moving fins" began to be added to the Mk1 prototype, giving a view into the promised mid-2019 redesign of the aerodynamic control surfaces for the test vehicles.  In June 2019, SpaceX publicly announced discussions had begun with three telecommunications companies for using Starship, rather than Falcon 9, for launching commercial satellites for paying customers in 2021. No specific companies or launch contracts were announced at that time.  In July 2019, the "Starhopper" made its initial flight test, a "hop" of around altitude, and a second and final "hop" in August, reaching an altitude of around and landing around from the launchpad.  SpaceX completed most of the Boca Chica prototype, the Starship Mk1, in time for Musk's next public update in September 2019. Watching the construction in progress before the event, observers online circulated photos and speculated about the most visible change, a move to two tail fins from the earlier three. During the event, Musk added that landing would now be accomplished on six dedicated landing legs, following a re-entry protected by glass heat tiles. Updated specifications were provided: when optimized, Starship was expected to mass at empty and be able to initially transport a payload of with an objective of growing that to over time. Musk suggested that an orbital flight might be achieved by the fourth or fifth test prototype in 2020, using a Super Heavy booster in a two-stage-to-orbit launch vehicle configuration, and emphasis was placed on possible future lunar missions.  In September 2019, Elon Musk unveiled Starship Mk1. At the time, construction of Mk3 was expected to start in about a month.  In 2019, the cost per launch for Starship was estimated by SpaceX to be as low as once the company achieves a robust operational cadence and achieves the technological advance of full and rapid reusability. Full reusability of the second stage of Starship is a fundamental design goal for the entire Starship development program, but success is uncertain. Elon Musk has said in 2020 that, with a high flight rate, they could potentially go even lower, with a fully-burdened marginal cost on the order of of payload launched to low-Earth orbit.  In November 2019, the Mk1 test article in Texas came apart in a tank pressure test, and SpaceX stated they would cease to build the Mk2 prototype under construction in Florida and move on to work on the Mk3 article. A few weeks later, the work on the vehicles in Florida slowed down substantially, with some assemblies that had been built in Florida for those vehicles being transported to the Texas Starship assembly location, and a reported 80 percent reduction in the workforce at the Florida assembly location as SpaceX pauses activities there. Apparently, at the same time the Mk4 vehicle under construction in Florida was cancelled.  The Mk3 article was renamed Starship SN1 by SpaceX, to signify the major evolution in building techniques: the rings were now taller and each was made of one single sheet of steel, drastically reducing the welding lines (thus failure points). Also the worksite was expanded with more tents, structures and upgraded machinery to give the workers a much better controlled environment, allowing for better precision work and, more importantly, better quality welds. Smaller articles were made and tested to destruction to validate the new bulkheads design. This was a significant change of pace for SpaceX's approach.  In February 2020, SN1 too was destroyed when undergoing pressurization. The company then focused on resolving the problem that led to SN1's failure by assembling a stripped down version of their next planned prototype, SN2. This time the test was successful and SpaceX began work on SN3. However, in April 2020 SN3 was also destroyed during testing due to a test configuration error. At that time, construction of SN4 was underway.  On April 26, 2020, Starship SN4 became the first full-scale prototype to pass a cryogenic proof test, in which the ship’s liquid oxygen and methane was replaced with similarly frigid but non-explosive liquid nitrogen. SN4 was only pressurized to 4.9 bar (~70 psi), which is more than enough to perform a small flight test. On May 5, 2020, SN4 completed a Raptor static fire with one mounted Raptor engine and became the first full Starship tank to pass a Raptor static fire. SN4 would complete a total of 4 short static fires (2 to 5 seconds long) before being destroyed in a massive explosion occurring at the end of a test fire on May 29.  While the Starship program had a small development team for several years, and a larger development and build team since late 2018, Musk declared in June 2020 that Starship is the top SpaceX priority, except for anything related to reduction of Crew Dragon return risk for the NASA Demo-2 flight to the ISS.

Description.

Super Heavy.

Super Heavy, the booster stage "needed to escape Earth’s deep gravity well", is expected to be long and in diameter with a gross liftoff mass of. It is to be constructed of stainless steel tanks and structure, holding subcooled liquid methane and liquid oxygen (/LOX) propellants, powered by 24 to 37 Raptor rocket engines that will provide total liftoff thrust. The specification propellant capacity of Super Heavy was shown as in May 2020, three percent more than estimated in September 2019.  The initial prototype Super Heavy will be full size. It is expected however, to initially fly with less than the full complement of 31 engines, perhaps approximately 20.  In September 2019, several Super Heavy external design changes were announced. The booster stage is now intended to have six fins that serve exclusively as fairings to cover the six landing legs, and four diamond-shaped welded steel grid fins to provide aerodynamic control on descent.

Landing.

In September 2016, Elon Musk described the possibility of landing the ITS booster on the launch pad. He redescribed this in September 2017 with the Big Falcon Booster (BFB). According to the SpaceX animation of the launch of Starship, the Super Heavy booster is not expected to land on the launch pad at all. In 2019, Musk announced that it will initially have landing legs to support the early VTVL development testing of Super Heavy.

Starship upper stage.

, the Starship upper stage is expected to be a,, fully reusable spacecraft with a dry mass of or less, powered by six methane/oxygen-propellant Raptor engines. Total Starship thrust will be approximately.  Unusual for previous launch vehicle and spacecraft designs, Starship is intended to function both as a second stage to reach orbital velocity on launches from Earth, and also be used in outer space as an on-orbit long-duration spacecraft. Starship is being designed so as to be capable of reentering Earth's atmosphere from orbital velocities and landing vertically, with a design goal of rapid reusability.  Starship will use three sea-level optimized Raptor engines and three vacuum-optimized Raptor engines. These sea-level engines are identical to the engines on the Super Heavy booster. Transport use in space is expected to utilize a vacuum-optimized Raptor engine variant to optimize specific impulse (I) to approximately.  Starship is planned to eventually be built in at least these operational variants:  Characteristics of Starship are to include:  According to Musk, when Starship is used for BEO launches to Mars, the functioning of the overall expedition system will necessarily include propellant production on the Mars surface. He says that this is necessary for the return trip and to reuse the spaceship to keep costs as low as possible. He also says that lunar destinations (circumlunar flybys, orbits and landings) will be possible without lunar-propellant depots, so long as the spaceship is refueled in a high-elliptical orbit before the lunar transit begins. Some lunar flybys will be possible without orbital refueling as evidenced by the mission profile of the "#dearMoon project".  The SpaceX approach is to tackle the hardest problems first, and Musk sees the hardest problem for getting to sustainable human civilization on Mars to be building a fully-reusable orbital Starship, so that is the major focus of SpaceX resources as of 2020. For example, it is planned for the spacecraft to eventually incorporate life support systems, but, Musk stated that it is yet to be developed, as the first flights will be uncrewed.

Starship Human Landing System.

A modified version known as the Starship Human Landing System (Starship HLS) was selected by NASA for potential use for long-duration crewed lunar landings as part of NASA's Artemis program. The Starship HLS variant is being designed to stay on and around the Moon and as such both the heat shield and air-brakes—integral parts of the main Starship design—are not included in the Starship HLS design. The variant will use high-thrust methox RCS thrusters located mid-body on Starship HLS during the final "tens of meters" of the terminal lunar descent and landing, and will also include a smaller crew area and a much larger cargo bay, be powered by a solar array located on its nose below the docking port. SpaceX intends to use the same high-thrust RCS thrusters for liftoff from the lunar surface. If built, the HLS variant would be launched to lunar orbit via the Super Heavy booster and would use orbital refueling to reload propellants into Starship HLS for the lunar transit and lunar landing operations. In the mission concept, a NASA Orion spacecraft would carry a NASA crew to the lander where they would depart and descend to the surface in Starship HLS. After Lunar surface operations, it would ascend using the same Starship HLS vehicle and return the crew to the Orion. Although not confirmed yet, the vehicle in theory could be refueled in orbit to carry more crews and cargo to the surface.  SpaceX is one of three organizations who are developing their lunar lander designs for the Artemis program over a 10-month period in 202021. If SpaceX completes the milestone-based requirements of the design contract, then NASA will pay SpaceX in design development funding. The other teams selected are the 'National Team'—led by Blue Origin but including Lockheed Martin, Northrop Grumman, and Draper—with in design funding and Dynetics—with SNC and other unspecified companies—with in NASA funding. At the end of the ten month program, NASA will evaluate which contractors will be offered contracts for initial demonstration missions and select firms for development and maturation of lunar lander systems.

Prototypes.

Two ("Starhopper", Mk1) test articles were being built by March 2019, and three ("Starhopper", Mk1, Mk2) by May. The low-altitude, low-velocity "Starhopper" was used for initial integrated testing of the Raptor rocket engine with a flight-capable propellant structure, and was slated to also test the newly designed autogenous pressurization system that is replacing traditional helium tank pressurization as well as initial launch and landing algorithms for the much larger rocket. SpaceX originally developed their reusable booster technology for the 3-meter-diameter Falcon 9 from 2012 to 2018. The "Starhopper" prototype was also the platform for the first flight tests of the full-flow staged combustion methalox Raptor engine, where the hopper vehicle was flight tested with a single engine in July/August 2019, but could be fitted with up to three engines to facilitate engine-out tolerance testing.  The high-altitude, high-velocity 'Starship orbital prototypes' (everything after "Starhopper") are planned to be used to develop and flight test thermal protection systems and hypersonic reentry control surfaces. Each orbital prototype is expected to be outfitted with more than three Raptor engines.

"Starhopper".

The construction of the initial test article—the "Starship Hopper" or Starhopper—was begun in early December 2018 and the external frame and skin was complete by 10 January 2019. Constructed outside in the open on a SpaceX property just from Boca Chica Beach in South Texas, the external body of the rocket rapidly came together in less than six weeks from half inch (12.5mm) steel. Originally thought by onlookers at the SpaceX South Texas Launch Site to be the initial construction of a large water tower, the stainless steel vehicle was built by welders and construction workers in more of a shipyard form of construction than traditional aerospace manufacturing. The full "Starhopper" vehicle is in diameter and was originally tall in January 2019. Subsequent wind damage to the nose cone of the vehicle resulted in a SpaceX decision to scrap the nose section, and fly the low-velocity hopper tests with no nose cone, resulting in a much shorter test vehicle.  From mid-January to early-March, a major focus of the manufacture of the test article was to complete the pressure vessel construction for the liquid methane and liquid oxygen tanks, including plumbing up the system, and moving the lower tank section of the vehicle to the launch pad on 8 March. Integrated system testing of the "Starhopper"—with the newly-built ground support equipment (GSE) at the SpaceX South Texas facilities—began in March 2019. "These tests involved fueling Starhopper with LOX and liquid methane and testing the pressurization systems, observed via icing of propellant lines leading to the vehicle and the venting of cryogenic boil off at the launch/test site. During a period of over a week, StarHopper underwent almost daily tanking tests, wet dress rehearsals and a few pre-burner tests."  Following initial integrated system testing of the "Starhopper" test vehicle with Raptor engine serial number 2 (Raptor SN2) in early April, the engine was removed for post-test analysis and several additions were made to the "Starhopper". Attitude control system thrusters were added to the vehicle, along with shock absorbers for the non-retractable landing legs, and quick-disconnect connections for umbilicals. Raptor SN4 was installed in early June for fit checks, but the first test flight that is not tethered was expected to fly with Raptor SN5, until it suffered damage during testing at SpaceX Rocket Development and Test Facility, in McGregor, Texas. Subsequently, Raptor S/N 6 was the engine used by "Starhopper" for its untethered flights.

High-altitude prototypes.

By December 2018, initial construction of two high-altitude prototype ships had begun, referred to as Mk1 at Boca Chica, Texas, and Mk2 at the space coast of Florida in Cocoa. Planned for high-altitude and high-velocity testing, the prototypes were described to be taller than the "Starhopper", have thicker skins, and a smoothly curving nose section. Both prototypes measured in diameter by approximately in height.  On 20 November 2019, the Starship Mk1 was partially destroyed during max pressure tank testing, when the forward LOX tank ruptured along a weld line of the craft's steel structure, propelling the bulkhead several meters upwards. The upper bulkhead went airborne and landed some distance away from the craft. No injuries were reported. In a statement concerning the test anomaly, SpaceX said they will retire the Mk1 and Mk2 prototypes after the incident, and focus on Mk3 and Mk4 designs, which are closer to the flight specifications.  Construction had begun on the Mk4 Starship in Florida by mid-October 2019, but work then ceased in Florida (with apparent cancellation of Mk4) and focused on the Texas site. The prototype in Texas (Mk3) was renamed to SN1. It was destroyed during a pressure test on 28 February 2020. After this incident, SpaceX announced they would focus on the next prototype, the Starship SN2. SN2 successfully went through a pressure and cryo test, but was not used for a static fire or hop. Instead, SpaceX moved on to SN3, the next prototype. SN3's cryo test then failed, the result being the LOX (Liquid Oxygen) Tank collapsing due to underpressurisation. On 26 April 2020, SN4 successfully completed a cryogenic pressure test. On 29 May 2020, SN4 exploded after engine testing.

Testing.

The "Starhopper" was used to flight test a number of subsystems of the Starship and to begin to expand the flight envelope as the Starship design is iterated. Initial tests began in March 2019. All test flights of the "Starhopper" were at low altitude. On 3 April 2019, SpaceX conducted a successful static fire test in Texas of its "Starhopper" vehicle, which ignited the engine while the vehicle remained tethered to the ground.  The first static fire test of the "Starhopper", with a single Raptor engine attached, occurred on 3 April 2019. The firing was a few seconds in duration, and was classed as successful by SpaceX. A second tethered test followed just two days later, on 5 April.  By May 2019, SpaceX was planning to conduct flight tests both in South Texas and on the Florida space coast. The FAA issued a one-year experimental permit in June 2019 to fly "Starhopper" at Boca Chica, including pre-flight and post-flight ground operations.  On 16 July 2019, the "Starhopper" caught fire. The damage to "Starhopper" was unknown at the time.  The maiden flight test of the "Starhopper" test vehicle, and also the maiden flight test of any full-flow staged combustion rocket engine ever, was on 25 July 2019, and attained a height of. This was not a full-duration burn but a 22-second test, and it accidentally set fire to nearby vegetation. SpaceX is developing their next-generation rocket to be reusable from the beginning, just like an aircraft, and thus needs to start with narrow flight test objectives, while still aiming to land the rocket successfully to be used subsequently in further tests to expand the flight envelope. The second and final untethered test flight of the "Starhopper" test article was carried out on 27 August 2019, to a VTVL altitude of.

Intended uses.

Starship is intended to become the primary SpaceX orbital vehicle, as SpaceX has announced it intends to eventually replace its existing Falcon 9 launch vehicle and Dragon 2 fleet with Starship, which is expected to take cargo to orbit at far lower cost than any other existing launch vehicle, whether from SpaceX or other launch service provider. In November 2019 Elon Musk estimated that fuel will cost $900,000 per launch and total launch costs could drop as low as $2 million.  Starship is an architecture designed to do many diverse spaceflight missions, principally due to the very low marginal cost per mission that the fully-reusable spaceflight vehicles bring to spaceflight technology that were absent in the first six decades after humans put technology into space. Specifically, Starship is designed to be utilized for:  In 2017, SpaceX mentioned the theoretical ability of using a boosted Starship to carry passengers on suborbital flights between two points on Earth in under one hour, providing commercial long-haul transport on Earth, competing with long-range aircraft. SpaceX however announced no concrete plans to pursue the two stage "Earth-to-Earth" use case. Over two years later, in May 2019, Musk floated the idea of using single-stage Starship to travel up to on Earth-to-Earth flights at speeds approaching with an acceptable payload saying it "dramatically improves cost, complexity & ease of operations." In June 2020, Musk estimated that Earth-to-Earth test flights could begin in "2 or 3 years", i.e. 2022 or 2023, and that planning was underway for "floating superheavy-class spaceports for Mars, Moon & hypersonic travel around Earth."

Funding.

SpaceX has been developing the Starship with private funding, including the Raptor rocket engine used on both stages of the vehicle, since 2012. In 2020, SpaceX have contracted with NASA to do limited early design work for 10 months on a human lunar lander variant Starship—Starship HLS—that may potentially be used to land astronauts on the lunar surface as part of the NASA Artemis program after 2024.  The development work on the new two-stage launch vehicle design is privately funded by SpaceX. The entire project is possible only as a result of SpaceX's multi-faceted approach focusing on the reduction of launch costs.  The full build-out of the Mars colonization plans was envisioned by Musk in 2016 to be funded by both private and public funds. The speed of commercially available Mars transport for both cargo and humans will be driven, in large part, by market demand as well as constrained by the technology development and development funding.  Elon Musk said that there is no expectation of receiving NASA contracts for any of the ITS system work SpaceX was doing. He also indicated that such contracts, if received, would be good.  In 2017 the company settled on a 9 meter diameter design and commenced procuring equipment for vehicle manufacturing operations. In late 2018, they switched the design from carbon composite materials for the main structures to stainless steel, further lowering build costs. By late 2019, SpaceX projected that, with company private investment funding, including contractual funds from Yusaku Maezawa who had recently contracted for a private lunar mission in 2023, they have sufficient funds to advance the Earth-orbit and lunar-orbit extent of flight operations, although they may raise additional funds in order "to go to the Moon or landing on Mars."  In April 2020, NASA announced they would pay SpaceX for design and initial development over a 10-month design period for a variation of the Starship second-stage vehicle and spaceship—a "Starship Human Landing System," or Starship HLS—as a Lunar human landing system for the NASA Artemis Program; NASA is paying and to other contractors developing similar lunar landing designs.

Criticism.

The Starship launch vehicle has been mostly criticized for not addressing the protection from ionizing radiation in more detail; Musk has stated that he thinks the transit time will be too insignificant to lead to an increased risk of cancer, and that "it's not too big of a deal".

The SpaceX Starship is a fully reusable super heavy-lift launch vehicle under development by SpaceX since 2012, as a self-funded private spaceflight project.

Starship und Super Heavy sind die obere und untere Raketenstufe eines vormals "BFR" genannten Raketenprojekts des US-amerikanischen Raumfahrtunternehmens SpaceX. Ziel des Projekts ist die Entwicklung einer vollständig wiederverwendbaren Rakete für über 100 Tonnen Nutzlast, die langfristig alle anderen SpaceX-Flugkörper ersetzt: die Raketen Falcon 9 und Falcon Heavy sowie das bemannbare Raumschiff Dragon 2. Außerdem sollen Starship und Super Heavy unbemannte wie bemannte interplanetare Missionen ermöglichen, insbesondere zur Mond- und Marsoberfläche.


Demographics.

According to Ottoman statistics, the village had 449 inhabitants in 1895. The village had 1,015 inhabitants in 1993, all ethnically Greeks. The village today has a permanent population of roughly 500 inhabitants, notably due to migration to Greece or other countries. Despite this, the population doubles in Easter, Summer and Christmas, as most people return to their village to celebrate or have holidays with their families.

Location.

The village Jorgucat is one of the main settlements in the southern part of Dropull valley. It's located between the villages of Zervat to the south and Grapsh to the north. Jorgucat is situated at a cross-road which joins Ioannina, Gjirokastër and Sarandë.

Name.

The village received its name Jorgucat (Georgoutsates) as the result of the conversion of a surname to a toponym. In particurlar the name Georgoutsates applies to the descendants of a certain Georgoutsos.

History.

According to a local tradition Jorgucat was once called Gonates, a village mentioned in the "Chronicle of Gjirokastër" during the reign of Byzantine Emperor Alexios Komnenos (11th century). However, this theory remains disputed. Other accounts claim that the foundation of the settlement dates back to the first years of Ottoman rule (15th century). The village under its current name is recorded in an Ottoman document of 1520. That year it consisted of 62 households.  Jorgucat suffered dramatic population decline from the 17th to the first half of the 19th century.

Monastery of Prophet Elias.

The Monastery of the Prophet Elias next to the village is situated on a natural elevation in the mountain range of Mali i Gjerë named Hilomodhi, on the Marantoraq peak. According to a local tradition the monastery was founded in the 12th century, supposedly built by giants. Documentary and architectural evidence, however, supports that the year of its foundation was 1545. The monastery was repaired and enlarged several times between the 17th and 19th centuries. In the 20th century it was closed down by the authorities of the Albanian state.

Jorgucat (; romanized: "Georgoutsáti/Georgoutsátes") is a village in Gjirokastër County, southern Albania. At the 2015 local government reform it became part of the municipality of Dropull. It is inhabited solely by Greeks.

Jorgucat (; ), oder auch Jergucat (alb. auch "Jergucati") genannt, ist ein Dorf und Hauptort der Gemeinde Dropull im Qark Gjirokastra im Süden Albaniens nahe der Grenze zu Griechenland. Wie die gesamte Gemeinde ist auch Jorgucat offiziell zweisprachig und führt neben der Amtssprache Albanisch auch die lokale Amtssprache Griechisch. Jorgucat liegt in der historisch-geographischen Region von Dropull am Rand des Flusstals des Drino am Nordosthang des Mali i Gjerë auf rund Ein kleiner Bach durchfließt das Dorf.


Biography.

Pratt was born in Toronto, Ontario on March 18, 1921, the only daughter of Viola Whitney, an editor of the magazine "World Friends", and poet E. J. Pratt.  Pratt contracted polio at the age of 4 and later developed osteomyelitis, an inflammatory disease of the bone. This affected her for most of her life.  She received degrees in English and Philosophy from Victoria College, University of Toronto, with a gold medal. She then studied international relations at Columbia University, and art at the Boston Museum of Fine Art among other schools. She went on to become an editor for Macmillan Canada, the University of Toronto Press, and Harvard University Press, and senior editor at McClelland & Stewart from 1956-1965. She retired due to her health issues in 1964, although continued to freelance for various publishing houses. She continued her art studies in Toronto and Massachusetts. She published "Silent Ancestors" in 1971. This genealogical essay is a tribute to the descendants of the Pratt family, originally from Yorkshire, who settled in Newfoundland.  Pratt's art consisted largely of woodcuts, and there were exhibitions of her graphic art across North America and in Europe. Her interest in Japanese graphics stimulated an interest in haiku. Her work in this style was widely published, often with her own illustrations. Her work was also inspired by her father's poetry, and she use excerpts from his poems in many of her Christmas cards. She also explored the themes and imagery of E. J. Pratt's work in various works.

Mildred Claire Pratt (18 March 1921 – 5 April 1995) was a Canadian artist, poet and editor who published as Claire Pratt.

Mildred Claire Pratt (* 18. März 1921 in Toronto; † 5. April 1995 ebenda) war eine kanadische Grafikerin, Lyrikerin und Herausgeberin.


Background.

For several decades the Catholic Church has increased the use of the vernacular in place of Latin in its liturgies. The Sacred Congregation of Rites, predecessor of the CDW, granted permission for the use of local languages in several countries with expanding missionary activity, including Mandarin Chinese in Mass except for the Canon in 1949 and Hindi in India in 1950. For rituals other than Mass, it gave permission for the use of a French translation in 1948 and a German one in 1951.  The Second Vatican Council's "Sacrosanctum Concilium", issued by Pope Paul VI on 4 December 1963, discussed the use of the vernacular in the context of the need to enhance lay participation in liturgies. It suggested an increased use of the "mother tongue" of the congregation and instructed local groups of bishops to consider the role of the vernacular. It "opened up the "possibility" of linguistic change but did not make it mandatory".  As local groups of bishops and Vatican authorities disputed the quality and nature of translations, the CDW's instruction "Liturgiam Authenticam", issued on 28 March 2001 with the approval of Pope John Paul II, ruled that texts "insofar as possible, must be translated integrally and in the most exact manner, without omissions or additions in terms of their content, and without paraphrases or glosses. Any adaptation to the characteristics or the nature of the various vernacular languages is to be sober and discreet." One side in the ongoing debate promoted the philosophy of translation called dynamic equivalence, roughly "sense-for-sense" translation, rather than the more literal word-for-word translation that John Paul said was required.  In the 21st century, Catholic bishops in Germany decided not to work with a commission Pope Benedict XVI erected to guide their translation efforts and then found their own translations rejected by the CDW. French, Italian and Spanish translations were rejected as well. The CDW also dictated much of the work and staffing of the multi-national board, the International Commission on English in the Liturgy (ICEL), created to produce English translations, which have met with criticism. The bishops of Japan contested the Vatican's right to judge the quality of a translation into Japanese, questioning both the quality of the review and the subsidiary position in which the CDW's review placed them.  In December 2016, Pope Francis formed a commission to review the implementation of "Liturgiam Authenticam". Headed by Archbishop Arthur Roche, Secretary of the CDW, its membership included bishops from all continents. On 24 August 2017, addressing a conference of Italian liturgists, Francis spoke of the liturgical development since the Second Vatican Council and said: "after this long journey, we can affirm with certainty and magisterial authority that the liturgical reform is irreversible".

Text.

Francis said he had received the commission's report and considered its recommendations. He outlined the mission of the translation effort:  While acknowledging the role Latin continues to play in Catholic liturgy, he expressed confidence that translations could achieve a similar status, that over time "vernacular languages themselves... would be able to become liturgical languages, standing out in a not dissimilar way to liturgical Latin for their elegance of style and the profundity of their concepts..."  Where the Council fathers spoke of the participation of the laity, Francis wrote of "their right to a conscious and active participation in liturgical celebration".  He recognized the role of the CDW and said that to promote "vigilant and creative collaboration full of reciprocal trust" between the CDW and conferences of bishops he thought "some principles handed on since the time of the [Second Vatican] Council should be more clearly reaffirmed and put into practice".  Archbishop Roche explained that "The object of the changes is to define better the roles of the Apostolic See and the Conferences of Bishops in respect to their proper competencies which are different yet remain complementary."  "Magnum principium" modified two clauses in canon 838 of the Code of Canon Law. Before its modifications the passage at issue read:  The revised text read:(highlighting in original) The role of the CDW is to review translations rather than authorize them. A note accompanying the release of "Magnum principium" authored by Archbishop Roche, explained that the CDW was tasked with confirming a translation, that the process "leaves responsibility for the translation, presumed to be faithful, to... the bishops' conference", and "presupposes a positive evaluation of the faithfulness and congruence of the produced texts with respect to the Latin text". The CDW's role is to ratify the bishop's approval, not to review the translation itself. The CDW still has a role in reviewing "adaptations", that is, additions to liturgical texts, rather than translations per se. The term "adaptations", as used by liturgists, refers to modifications introduced into a liturgy to incorporate or reflect local culture, which can include practices, movement, costume, and music as well as text. The more common term for this undertaking is "inculturation".

Reactions.

In "The Tablet", Christopher Lamb wrote that "This throws open the possibility that the 2011 English Roman Missal–which became mired in disagreement with claims that the Vatican had overly controlled the process–could be changed. The onus will now be on local bishops to take the initiative." In "America", liturgist John F. Baldovin wrote: "those conferences which have been experiencing tension with the Vatican over revised translations, like the French-speaking and German-speaking, now have much more breathing room in deciding what is best for translating liturgical texts".  Cardinal Blaise Cupich thought Francis was "reconnecting the church with the Second Vatican Council" by "giving in this document an authoritative interpretation of the council as it relates to the responsibilities of bishops for the liturgical life of the church". Veteran Vatican journalist John Travis wrote that "Magnus principium" "underscored just how irrelevant the major Roman Curia departments have become under Pope Francis", since this involved an extra-curial commission and showed little evidence of input from the CDW. He anticipated "a new round of criticism by conservative Catholics who fear that Francis is slowly undoing the legacy of his two predecessors".  Cardinal Reinhard Marx of Munich-Freising said that German bishops felt "great relief" and the Episcopal Conference of Germany thanked Francis for underlining the "genuine doctrinal authority” of episcopal conferences.

Pope Francis issued the document Magnum principium ("The Great Principle") dated 3 September 2017 on his own authority. It modified the 1983 Code of Canon Law to shift responsibility and authority for translations of liturgical texts into modern languages to national and regional conferences of bishops and restrict the role of the Congregation for Divine Worship and the Discipline of the Sacraments (CDW). It was made public on 9 September and its effective date is 1 October.

Magnum principium (: "das große Prinzip", "der wichtige Grundsatz") ist ein Apostolisches Schreiben, mit dem Papst Franziskus in Form eines Motu proprio das Kirchenrecht bezüglich der Übersetzung liturgischer Texte aus dem Lateinischen neu regelt. Konkret handelt es sich um die Novellierung des can. 838 des Codex des Kanonischen Rechts. Das Schreiben wurde am 9. September 2017 veröffentlicht und trat am 1. Oktober 2017 in Kraft. Die bestehenden Rechtstexte wurden dementsprechend angepasst, vor allem die Übersetzerinstruktion "Liturgiam authenticam" von 2001.


Personal life.

Carey currently lives in Phoenix, Arizona with her parents and three siblings. Carey began taking gymnastics classes in 2001. She attended Mountain Ridge High School in Glendale, Arizona, graduating in 2018. She is coached by her father, Brian Carey.

Career.

Level 10.

In 2016, Carey competed at the Junior Olympics Nationals where she successfully completed a tucked Kasamatsu full on vault, after which it was named "The Carey" in the J.O. code of points.

Senior elite.

2017.

Carey began 2017 as a Level 10 gymnast, which is below elite level in USA Gymnastics. In mid 2017, she was invited to The Ranch by national team coordinator Valeri Liukin, where she qualified for elite status.  Carey made her elite debut at the American Classic at Karolyi Ranch on July 7, 2017. She only competed on vault, floor, and balance beam but placed first on each of those events. Later that month, she competed at the 2017 U.S. Classic and once again only competed on vault, floor, and balance beam. She placed first on vault, where she competed an Amanar and a double-twisting Tsukahara, first on floor, including both a full-twisting double layout (Chusovitina) and double-twisting double tuck (Silivas) in her routine, and fourth on balance beam. In August, Carey participated in the 2017 U.S. National Gymnastics Championships where she won gold on vault and silver on floor exercise, behind Ragan Smith. She was named to the national team for the first time.  In September, Carey was selected to represent the United States at the 2017 Artistic Gymnastics World Championships in Montreal alongside Ragan Smith, Morgan Hurd, and Ashton Locklear. On the first day of competition, Carey competed only on floor and vault. With clean performances on both, she qualified in third place for the floor exercise final (14.100), behind Smith and Mai Murakami of Japan, and second in the vault final, behind reigning world champion Maria Paseka of Russia.  During event finals, Carey won the silver medal on both vault and floor exercise, once again finishing behind Paseka and Murakami respectively.

2018.

Carey competed at the American Classic in early July in Salt Lake City, Utah. She competed her first elite uneven bars routine in addition to her routine on balance beam and placed 10th on each apparatus. On July 28, Carey made her elite all-around debut at the 2018 U.S. Classic. She placed first on vault, where she debuted a Lopez as her new second vault, and second on floor behind Simone Biles, where she debuted a Moors (double-twisting double layout) as her opening pass. However, she only placed 10th all-around due to a fall on uneven bars and a major error on her beam dismount.  In August Carey competed at the National Championships where she placed sixth in the all-around, earning an automatic national team spot. She also finished third on vault behind Biles and Jordan Chiles, second on floor exercise behind Biles, 15th on uneven bars, and 9th on balance beam. On August 20 Carey was named to the team to compete at the Pan American Championships alongside Grace McCallum, Trinity Thomas, Kara Eaker, and Shilese Jones. There she won gold in the team finals and on vault and floor exercise.  In October, the nominative team roster for the 2018 World Championships in Doha, Qatar was posted. Carey was noticeably absent despite her strong performances at the previous two competitions. USAG later revealed that Carey had declined her invitation to the Worlds qualification camp and was going to pursue qualifying for the 2020 Olympics "as an individual through the apparatus World Cup series, which precludes her competing on the 2018 World Team". As the American team later won the gold medal at the championships and thus qualified to the Olympics, she would have been ineligible to qualify a nominative spot on the World Cup series had she competed in Doha.  In November, USAG announced that Carey would be competing at the Cottbus World Cup. She qualified second to the vault final behind Rebeca Andrade of Brazil and first to the floor exercise final. During event finals Carey won silver on vault, once again behind Andrade, and fifth on floor exercise after stepping out of bounds three times.

2019.

In February, USA Gymnastics announced that Carey would compete at the Baku and Doha World Cups in March. In Baku, Carey qualified in first place to the vault final after upgrading her López (start value 5.2) to a Cheng (start value 6.0) and qualified second to the floor exercise final behind Lara Mori of Italy after going out of bounds and performing a watered down routine. She received the AGF Trophy for having the highest combined execution score in the qualification round. Carey won the gold medal in the vault final and was the only gymnast to earn execution scores above nine on both of her vaults. The following day, she competed in the floor exercise final with higher difficulty and won the gold medal ahead of Mori and three-time Olympian Vanessa Ferrari. At the Doha World Cup, Carey qualified to the vault final in second place behind Maria Paseka and first to the floor exercise final, 0.8 points ahead of second place Marine Boyer of France and Kim Bui of Germany. In the vault final, Carey won the gold medal, defeating Paseka by 0.117 points. Once again she was the only competitor to earn an execution score above 9 on both of her vaults. In the floor exercise final, Carey once again won the gold medal ahead of Mori and Ferrari, defeating them by more than one point.  At the 2019 GK US Classic in July, Carey placed tenth in the all-around. She won the gold medal on vault ahead of Aleah Finnegan and Shilese Jones and she tied with Grace McCallum for the silver medal on floor exercise behind Simone Biles. She placed fifteenth on uneven bars and tied for seventeenth on balance beam with Alexis Jeffrey.  At the 2019 U.S. National Championships Carey competed on all four events and ended the first day of competition in third in the all-around behind Biles and Sunisa Lee. On the second day of competition she fell off the uneven bars and finished seventh in the all-around but won silver on vault and floor exercise, finishing behind Biles on both. As a result she was added to the national team for the third time.  In September Carey competed at the US World Championships trials where she placed fifth in the all-around behind Simone Biles, Sunisa Lee, Kara Eaker, and MyKayla Skinner. The following day she was named to the team to compete at the 2019 World Championships in Stuttgart alongside Biles, Lee, Eaker, Skinner, and Grace McCallum.  During qualifications she helped the USA qualify to the team final in first place over five points ahead of second place China. Individually she qualified to the vault final in first place ahead of Biles and recorded the second highest floor exercise score, behind Biles and tied with Lee. However, due to Lee receiving a higher execution score, Carey did not qualify to the floor exercise final due to the rule limiting individual finals to two competitors per country. In the team final, Carey competed on vault and floor exercise, receiving the second highest scores of the day on each, behind Biles, and helping the USA win the gold medal ahead of Russia and Italy. During the vault final Carey performed a Cheng and an Amanar, taking a step out of bounds on the latter, earning an average score of 14.883 and winning the silver medal behind Biles and ahead of Ellie Downie of Great Britain.  In November Carey traveled to Zürich, Switzerland to compete at the Swiss Cup, a unique team competition that featured one female gymnast and one male gymnast from the same country going head-to-head with other teams. She was partnered with Allan Bower. Together they finished in first place, beating the Ukrainian team of Diana Varinska and Oleg Verniaiev.

2020.

In late January Carey was listed on a nominative roster that was released for the Melbourne World Cup, scheduled to take place on February 20. She qualified in first place to both the vault and floor exercise event finals, 0.833 points ahead of Shoko Miyata and 0.633 points ahead of Vanessa Ferrari respectively. During the vault final she competed the Cheng and double twisting Yurchenko and won gold ahead of Coline Devillard of France. The following day she won gold on floor exercise as well, once again finishing ahead of Ferrari.

Collegiate.

Carey verbally committed to compete in NCAA gymnastics at Oregon State University, starting in the 2018-19 school year. She officially signed with the Oregon State Beavers on November 9, 2017. She deferred enrollment until after the 2020 Olympics, starting in the 2020–21 school year.

Selected Competitive Skills.

Carey is the sole gymnast to have competed at least three H-level skills in the 2017-2020 Code of Points in the same routine, having first accomplished this feat at the 2018 National Championships.

Jade Ashtyn Carey (born May 27, 2000) is an American artistic gymnast. She is best known for her powerful and high-difficulty exercises on vault and floor exercise. On vault, she is the 2017 and 2019 World silver medalist, the 2018 Pan American champion, and the 2017 United States national champion. On floor exercise, she is the 2017 World silver medalist and the 2018 Pan American champion. She was a member of the teams that won gold at the 2019 World Championships and the 2018 Pan American Championships and is a three-time member of the United States women's national gymnastics team (2017–Present).

Jade Ashton Carey (* 27. Mai 2000 in Phoenix, Arizona) ist eine US-amerikanische Kunstturnerin. Bei den Turn-Weltmeisterschaften 2017 gewann sie zwei Silbermedaillen am Sprung und im Bodenturnen.


Music.

The series is particularly notable for its employment of pop music in the course of the narrative - although the originals are played, they are sung along with and accompanied by slightly surreal dance routines acted out by the characters. This latter device is strongly reminiscent of the style of television playwright Dennis Potter, who used it in several of his famous productions such as "Pennies from Heaven" and "The Singing Detective".  A soundtrack was also released to accompany the series, in which a six-page booklet explained why each song used was included in the series.

Reception.

Critical reception to the series was mixed. Viewing figures averaged between four and five million per episode. In 2005, the series was nominated in the Best Drama Serial category at the British Academy Television Awards, eventually losing out to Channel 4's "Sex Traffic". It did, however, win the "Best Miniseries" and Grand Prize accolades at Canada's Banff Television Festival.  In December 2005, it was announced that it had been nominated, under its American title, "Viva Blackpool", in the Golden Globe Award for Best Miniseries or Television Film category at the 2006 Golden Globe Awards.

Distribution.

The series was sold to several countries, broadcasting on Television New Zealand's TV One, BBC America in the United States, BBC Canada and TVOntario in Canada, ABC in Australia, Canvas in Belgium, YLE in Finland and VPRO in the Netherlands. The series was also on DVD in the UK, Australia and the Netherlands.  In October 2007, American network CBS aired a series based on the same premise called "Viva Laughlin", adapted by Bob Lowry and the creator of Blackpool, Peter Bowker, coproduced by BBC Worldwide, CBS Paramount Network Television, Sony Pictures Television, and Seed Productions; however, the series was cancelled after two episodes due to low ratings.

Blackpool is a British television musical drama serial, produced in-house by the BBC, that first broadcast on BBC One on 11 November 2004. Starring David Morrissey, Sarah Parish and David Tennant, the serial was written by Peter Bowker, who had previously written for BBC One's modern adaptation of "The Canterbury Tales" and BBC Two's "Flesh and Blood", and directed by Coky Giedroyc and Julie Anne Robinson. The series was filmed on location in Brentford and Blackpool itself, and broadcast across six weeks at 9:00 pm on Thursdays, until 16 December 2004.

Blackpool ist ein britisches Jukebox-Musical-Comedy-Drama der BBC. Der promovierte Literat Peter Bowker ("Desperate Romantics") konzipierte und schrieb die sechsteilige Miniserie. Die Hauptrollen übernahmen David Morrissey, David Tennant und Sarah Parish.


Creation and organisation.

The Serbian Solidarity Fund, managed by Ljubiša Savić, began preparing for the defense of Serb territory in Majevica amid inter-ethnic tensions between Serbs and Bosniaks in 1991 and 1992. Around 1,000 members readily available for military action were stationed and monitored the situation in preparation to defend the Serb population in Bijeljina and Semberija, should they face armed aggression. During the night of March the 31st, 1992, barricades were laid by pro-SDA forces in an attempt to take over command and authoritative control of Bijeljina.  Serb forces quickly rallied themselves and with the aid of Željko Ražnatović removed the barriers. The pro-SDA forces then called for talks with SDS officials and leadership of Bijeljina. After these events, the 1,000 members of the Serbian Solidarity Fund and Ljubiša Savić created the unit with the name Serbian National Guard of the SAO of Semberija and Majevica, outside of the Motel Obrijež near Bijeljina.  Despite being officially known as a Light Infantry Brigade due to terminology derived from the Yugoslav National Army (JNA), a notable aspect of the guard was its extensive use of various improvised armoured vehicles ("Referred to as the 'Iron Battalion"'). The creation of the vehicles was overseen by guard member Captain Mišel Ostojić. The unit also had a small aviation detachment, utilising the Antonov AN-2(s) and Utva-75 for observation purposes.

Wartime.

The unit participated in many operations, namely the 'Corridor of Life' (Operation Corridor) and the liberation of Tinja and Smoluća. Other engagements included Zvornik, Brčko, Majevica, Posavina, Bratunac, Ozren, Sarajevo, Kupres and Bihać. The unit was famous, receiving volunteers from neighbouring Bosnia and Herzegovina and Montenegro. In total, the unit suffered 106 dead and around 750 wounded fighters, with the loss of commander Branko Pantelić, who was killed while fighting in Majevica, 1992. In 1993, Turbo-folk singer released an album entitled 'Panteri', commemorating their achievements, tracks included 'Panteri', 'Mauzer', 'Panteru za sjećanje'.

The Garda Panteri (Specijalna Brigada Garda Panteri) (Serbian: Специјална бригада Гарда Пантери) was an elite unit used by the Army of Republika Srpska during the Bosnian War. It was founded on 2 May 1992 under the initial name of the Serbian National Guard of the Serbian Autonomous Region (SAO) of Semberija and Majevica ("Српска национална гарда САО Семберија и Мајевица, Srpska Nacionalna Garda SAO Semberija i Majevica"), adopting the name "Garda Panteri" in honour of previous fallen commander Branko Pantelić 'Panter', by Ljubiša Savić 'Mauzer' and members of the Serbian Solidarity Fund. It fought in Bosnia and Herzegovina (1992–1996) during the Yugoslav Wars.

Die Specijalne brigade Garde „Panteri“ (), kurz Garda Panteri, war eine paramilitärische serbische Freischar während des Bosnienkrieges. Die Einheit kämpfte an der Seite der jugoslawischen Volksarmee und war anfangs Teil der berüchtigten Serbischen Freiwilligengarde des Željko Ražnatović („Arkans Tigern“), an deren Seite sie später kämpfte. Später wurde sie als Spezialeinheit in die bosnisch-serbischen Streitkräfte eingegliedert. Die militärische Ausbildung der Einheit wurde von den „Roten Barretten“ übernommen.


History.

The annual budget of £15 million was funded by the Foreign and Commonwealth Office, but as with the BBC World Service which is also funded by the FCO, the BBC remains editorially independent, though some Iranian media have accused the British Government of using the service as a propaganda tool. The Iranian government issued a statement denouncing the new service as'suspicious and illegal', and 'working against the interests of the Islamic Republic'. On 1 April 2014, all World Service funding transfers to the Licence Fee model, which is paid for by all UK residents who watch television as it is broadcast.  As of November 2017, BBC Persian has an audience of 13 million Iranians.

Controversies.

In June 2009, BBC Persian's Hot Bird satellite broadcasts along with those of BBC Arabic Television, other BBC services, and those of other broadcasters were experiencing interference due to a jamming signal originating from within Iran. In response, BBC Persian started transmission on other satellites and increased their broadcast hours in order to combat the interference  The channel has been accused by Iranian state television of encouraging "illegal" rallies and manipulating the Iranian people against the Islamic Republic, a claim which the BBC denies.  The jamming resumed on 20 December 2009 soon after BBC Persian began extended coverage of the protests resulting from the death of leading reformist cleric Grand Ayatollah Hoseyn Ali Montazeri, and on 28 December 2009, BBC Persian ceased its transmission from the Hot Bird 6 satellite., however transmissions continued from the Telstar 12, Eutelsat W2M and Atlantic Bird 4A satellites.  BBC Persian returned to a different frequency on Hot Bird 6 on 26 May 2010, after a period of test transmissions. After a new jamming in February 2011 on Hotbird, BBC Persian showed for some months only a test card along with the audio of their service. Since February 2012 BBC Persian has resumed broadcasting on Hotbird again.  Due to the ban on foreign reporters in Iran, the news service currently relies on a significant amount of user-generated content, often taken with mobile phones.  In 2017 Iranian authorities seized the Iranian assets of 152 contributors to BBC Persian, while in 2016 they detained former BBC World Service Trust employee Nazanin Zaghari-Ratcliffe.  The Iranian government has "targeted" the members and family members of BBC Persian through threats, intimidation, and arrests. In 2018 the BBC made a request to the UN Human Rights Council to "stop Iran from harassing its Persian service staff in London and their families in Iran."

Awards.

It appears that Iranian presidential election, 2009 and what followed greatly elevated BBC Persian TV's stature and importance. It became the channel that extensively covered the events for the Iranians inside Iran. Outside of Iran, the channel was therefore recognised accordingly.  On 4 November 2009, BBC Persian TV was honoured for the "Clearest coverage of a single news event – television" by the Association for International Broadcasting at its annual global media excellence awards at a gala event in London, England. The award was for "the elections that shook Iran". It was a half-hour narration of the unrest that developed in the streets of Iran immediately after the disputed June presidential elections.  On 20 November 2009, BBC Persian TV was honoured at the 12th annual Hot Bird TV Awards in Venice, Italy. It was named best news channel for its portrayal of unbiased news in a complex and fast-moving environment.

Schedule.

The channel broadcasts live from studio 44D, a green screen studio in BBC Broadcasting House, London, for nine hours every day (13:30-22:30 GMT, 17:00-02:00 Tehran time). Studio 54D, BBC Persian's home since its launch, is currently being refurbished to enable HD programming and automation of studio equipment.  Repeats of news and entertainment programmes, plus visualised radio bulletins, fill the remaining 15 hours.  Programmes cover a variety of genres including current affairs, documentaries, light entertainment, culture, science, business and the arts. Entertainment programmes such as "BBC Sound", "Sherlock", "Glastonbury Festival" and "Top Gear" are broadcast with Persian dubbing.  Jamaluddin (Jamal) started working for the BBC in 2001 as a journalist when he joined the BBC's Central Asia magazine in Iran and Afghanistan. Before joining the BBC, Jamal was the editor of a weekly publication for Afghan refugees living in Mashhad, the province capital of Iran's Khorasan province where he also managed a UNHCR project to train young Afghan journalists. Jamal comes from Afghanistan although he grew up and studied in Iran. Jamal is the lead presenter of the flagship 60 Minutes programme.  Rana presents both news bulletins and the 60 Minutes programme. She also regularly contributes to UN discussions around the treatment of BBC Persian members of staff.  Najieh Ghulami was born in Afghanistan to a Tajik Herati mother and a Hazara kubuli father. She was three years old when her family moved to Iran in the wake of the Soviet invasion of Afghanistan. Najieh began her broadcasting career in 2001 as a reporter for the BBC Persian service in Mashhad: the capital of Khorasan province in northeast Iran. She was the first Persian-speaking journalist to be accredited by the Iranian government to work for the BBC in Iran.  Farnaz Ghazizadeh has worked for some of Iran's most respected newspapers, including "Neshat", "Yas-e Nou" and the weekly "Zan" (Woman). She began her broadcast career in 2000 as the presenter of a daily science programme for Iranian television. In December 2003 Farnaz emigrated to the Netherlands with her family, where she joined several other Iranian journalists to start the news website Roozonline. She joined BBC Persian in 2005 as a radio correspondent. She now presents Page 2, a twice-weekly politics discussion programme.  Majid Afshar has worked for English language news network Press TV for 8 years before joining the BBC in 2014.  Started presenting in 2018  Previously a correspondent for the channel, Naji now presents news bulletins.  A reporter who covers conflict and political news from Turkey to Iraq especially the ISIS atrocities in Sinjar and other locations.  Behrang covers technology and UK political stories for the Channel.  Former Turkey correspondent  Sports correspondent  Washington correspondent, former Istanbul correspondent  United States/UN correspondent  Fardad Farahzad is a former news presenter and reporter with the BBC Persian TV. He has anchored and covered many major Iranian and international stories for the network, including Iran's Nuclear Program, Arab Spring, 2012 US Presidential Election, Brussels bombings and 2016 Nice attack.  Soltanpour (in Persian نادر سلطانپور) is an Iranian-Canadian journalist and a former television news presenter with the BBC World-Persian service.

Presenters and Correspondents.

Previous Presenters.

Soltanpour studied finance in Montreal, Canada and for 10 years worked in banks and investment firms in Toronto, Canada. In 1997, while still working in finance, Soltanpour began his journalism career as a producer and presenter of a weekly radio programme called Persian Voice (in Persian رادیو صدای پارسی) for the Iranian and Afghan communities in Toronto, Canada. In 2000, Nader left finance and turned Persian Voice into Canada's first nightly Persian language radio programme. In 2005, he joined the Canadian Broadcasting Corporation as a copy writer and producer for The World Report, Canada's most-listened-to morning news programme. Nader joined BBC Persian television in July 2008.

BBC Persian Television () is the BBC's Persian language news channel that was launched on 14 January 2009. The service is broadcast by satellite and is also available online. It is aimed at the 120 million Persian-speakers in Iran, Afghanistan, Tajikistan, and Uzbekistan.

BBC Fārsī, auch BBC Persian Television (Persisch: تلویزیون فارسی بیبیسی), ist der persische Nachrichtensender der BBC. Er wurde am 14. Januar 2009 ins Leben gerufen. Der Sender wird per Rundfunksatellit übertragen und ist auch online verfügbar. Er richtet sich an die 100 Millionen Persischsprechenden im Iran, in Afghanistan, Usbekistan und Tadschikistan. BBC Persian gehört, zusammen mit Manoto, zu den meistgesehenen Fernsehkanälen des persischsprachigen Sprachraums.


History.

The Playbill, as it was called until 1957, was billed as "The Magazine of the Theatre" and was published by an entity known as the New York Theatre Program Corporation.

Format.

Each issue features articles focusing on actors, new plays, musicals, and special attractions. This "wraparound" section is the same for all "Playbill"s at all venues each month. Within this wraparound, the "Playbill" contains listings, photos, and biographies of the cast; biographies of authors, composers, and production staff; a list of scenes, as songs and their performers (for musicals); and a brief description of the setting for the particular show. It also lists the number of intermissions and "At This Theatre", a column with historical information on the theatre housing the production. The "Playbill" distributed on opening night of a Broadway show is stamped with a seal on the cover and the date appears on the title page within the magazine.  In lieu of the cast and show information, the subscription edition of "Playbill" contains listings of Broadway and Off-Broadway productions and news from London productions and North American touring companies.  The "Playbill" banner is yellow with black writing. Each June since 2014, the yellow banner has been replaced with a rainbow banner for LGBT Pride Month.  The Playbill banner has changed the yellow to another color on rare occasions in its history:

Other media.

"Playbill" launched Playbill Online in January 1994. The free website offers news about the theatre industry, focusing on New York shows but including regional theatre, touring, and international stage happenings. It is read by show fans and theatre practitioners, and is updated regularly. It also offers discounts on tickets and dining for its members.  In 2000, "Playbill" added www.playbillstore.com, an online shopping store offering official "Playbill" merchandise and merchandise from most current Broadway and touring productions.  In 2006, "Playbill" released its first records on Playbill Records, an imprint of SonyBMG. Releases included Brian Stokes Mitchell's eponymous solo album and two compilations of show tunes entitled "Scene Stealers, The Men" and "Scene Stealers, The Women."  "Playbill Radio", a 24-hour Broadway-themed internet radio station featuring news, podcasts, and a musical library of over 20,000 titles, premiered in 2007.  In 2011, "Playbill" launched Playbill Vault, a comprehensive online database of Broadway history. Playbill Vault provides records of Broadway productions from 1930 to the present. Information on the website includes original and current casts, actor head shots, production credits, Playbill cover images, scanned Playbill Who's Who pages, production photos, and videos.  In 2012, "Playbill" launched Playbill Memory Bank, a website that allowed theater-goers to track their memories of their theater attendances by entering dates they attended a show, along with information like ticket scans. The site provided information about cast members, including which performer had each particular role, for roles that may have had several replacements over the life of the show. Playbill Memory Bank shut down December 31, 2016.  "Playbill" launched its first app, called Playbill Passport, on January 4, 2016.

Competition with "Stagebill".

For decades, "Playbill" concentrated on Broadway and Off-Broadway theaters, while "Stagebill" focused on concerts, opera, and dance in venues such as Lincoln Center and Carnegie Hall. However, by the late 1990s, "Playbill" was highly profitable; "Stagebill" was not, losing millions of dollars annually by 1998. To increase revenue, "Stagebill" entered "Playbill"s turf. The truce was first breached in 1995, when The Public Theater quietly defected to "Stagebill," and more noisily in 1997, when Disney contracted "Stagebill" for its musical "The Lion King" at its newly reopened New Amsterdam Theatre. The main point of contention in the latter case was control over advertising content: "Playbill" is distributed free to theaters, relying on advertising revenue that is completely under its authority, whereas, per company policy, Disney required a program without cigarette or liquor ads.  In response to "Stagebill's" upstart incursion, "Playbill" began to produce "Showbill", a sister publication that conformed to Disney's advertising requirements for all publications distributed in its properties. Now with an alternative, Disney switched from "Stagebill" to "Showbill" for "The Lion King" late in its run at the New Amsterdam. (When the musical moved to the Minskoff Theatre, which Disney does not own, it was obligated to use "Playbill", as are Disney productions at other theaters.) The Ford Center for the Performing Arts also commissioned "Showbill" for its inaugural production of "Ragtime", presumably to exclude other automakers' ads. In a different circumstance, the producers of the Broadway revival of "Cabaret" wished to maintain the atmosphere of a sleazy nightclub at its Studio 54 venue, and insisted on handing out "Playbill"s "after" the performance (instead of before). "Playbill," sensing missed exposure for its advertisers, offered the show's producers "Showbill" instead.  Additionally, "Playbill" responded further by producing publications for classic arts venues, aggressively courting many venues that were once "Stagebill" clients. In the spring of 2002, "Playbill" signed a contract with Carnegie Hall; this milestone was bookended by the earlier acquisition of the valuable Metropolitan Opera program and the ensuing contract with the New York Philharmonic—both tenants of "Stagebill's" erstwhile stronghold Lincoln Center. With the acquisition of the programs for performing arts venues, "Playbill" broke from its typical format and began publishing completely customized programs in the vein of "Stagebill." This, coupled with continuing fiscal troubles, signaled the end of "Stagebill" as a publishing entity; later that year, "Stagebill" became insolvent after five years of head-to-head competition with "Playbill," which acquired the "Stagebill" trademark.

Playbill is a monthly U.S. magazine for theatregoers. Although there is a subscription issue available for home delivery, most copies of "Playbill" are printed for particular productions and distributed at the door as the show's program.

Playbill ist ein monatlich erscheinendes US-amerikanisches Magazin für Theaterbesucher und -fachleute. Zwar kann die Zeitschrift abonniert werden und wird in diesem Fall dem Kunden nach Hause geliefert, der größte Teil der Ausgaben wird jedoch vor Ort in den Theatern des Landes verkauft. Ein Großteil der gedruckten Ausgaben unterscheidet sich daher von Theater zu Theater, denn das "Playbill Magazine" dient in diesem Fall auch als Programmheft für die jeweilige Aufführung und wird am Eingang an die Zuschauer ausgehändigt.