Career.

Born in Harlow, England, Murphy began playing snooker at the age of eight after his parents bought him a snooker table for Christmas. He made his first century break at the age of 10 and practised at the Rushden Snooker Centre, where players such as Stephen Hendry, Mark Williams, and Ken Doherty have also played. At the age of 13, he secured a five-year £5,000-a-year sponsorship deal with the Doc Martens shoe company and stated his ambitions of winning the World Championship and becoming world number one. He turned professional in 1998 at the age of 15.  Murphy was coached by Steve Prest until the 2006/2007 season. Willie Thorne, and when he was 15, he was given the latter's old cue by his father.

Early career.

Murphy began his career on the UK Tour in 1998 (renamed the Challenge Tour in 2000), at the time the second-level professional tour. He was runner-up in the fourth event on the UK tour for the 1997/1998 season and, for the 2000/2001 season, won the third and fourth events on the Challenge Tour, topping the Order of Merit rankings.  In 2000, he received the World Snooker Newcomer of the Year award and one of six Young Player of Distinction of the Year awards from the World Professional Billiards and Snooker Association. In 2000, he won the English Open Championship.  Murphy won his first professional tournament at the 2000 Benson & Hedges Championship, defeating Mark Davis 6–1 in the semi-final, and Stuart Bingham 9–7 in the final, recovering from 2–5 down. Although he was not yet on the first-level main tour, this victory brought qualification for the Masters—a prestigious non-ranking invitation tournament with places for members of the top 16, the winner of the qualifying tournament, and a limited number of wildcards. In the 2001 tournament, he showed promise in his first televised match, defeating world number 15, Marco Fu, and building a 4–1 lead over seven-time world champion Hendry, before losing the match. He made his first maximum break in the 2001 Benson & Hedges Championship.

Early ranking results.

Murphy first reached the final stages of a ranking event at the 2002 World Championship, hosted at the Crucible Theatre, where he lost 4–10 to Hendry in the first round. In the 2002–03 season, he reached the final stages of the Scottish Open, where he was defeated 3–5 by Drew Henry in the first round, and the World Championship, where he lost 9–10 against Doherty on the final black in the first round.  For the 2003–04 season, Murphy was ranked number 64 and qualified for the final stages of three ranking tournaments. In the LG Cup, Murphy defeated Steve Davis 5–4 in the second round, before losing 2–5 to John Higgins in third round. After the victory over Davis, Murphy said "This is one of the greatest days in my snooker career." In the British Open, he defeated Dave Harold 5–1 in the first round, before losing to Paul Hunter 2–5 in the second round.  In the Players Championship—the new name of the Scottish Open—he lost 3–5 to eventual champion Jimmy White in the second round. He failed to reach the World Championship, losing a qualifying match 7–10 against Stuart Pettman, in which Pettman was docked a frame for arriving late.  For the 2004–05 season, Murphy was ranked number 48<ref name="04/05"></ref> and reached the final stages of four ranking events, including the World Championship victory. In the Grand Prix—the new name of the LG Cup—he lost 2–5 to Stephen Maguire in the first round. This was followed by his first ranking semi-final, at the British Open, where he was whitewashed 0–6 by Higgins. In the Malta Cup, he lost 2–5 to Matthew Stevens in the first round.

2005 World Championship.

Murphy won two qualifying matches to qualify for the 2005 World Championship. He defeated former world champions Higgins 13–8, Davis 13–4, and Peter Ebdon 17–12 to reach the final to face Matthew Stevens, the world number six. He trailed Stevens 6–10 at the end of the first day (the World Championship final is played over two days), but made a comeback to bring the score to 16–16. He then made two frame-winning breaks to lift the title. His 11 century breaks were the most in that year's tournament.  Murphy's victory was considered a major surprise. His pre-tournament odds were 150–1, and before his win he was considered an underachiever. He became only the third qualifier to win the World Championship (or to reach the final) after Alex Higgins in 1972 and Terry Griffiths in 1979. At the age of 22, Murphy was the second youngest player to win the World Championship, following Hendry who first lifted the title when he was 21. No previous world champion had played as many matches (seven) to lift the title, and he was the lowest ranked player, at number 48, to win the tournament. No player had won the World Championship as his first ranking event win since Joe Johnson in 1986. His run in the tournament earned him the nickname "Magician" and the tournament doubled his previous career prize money, with which he purchased a Mercedes-Benz and a house. After his win, in July 2005, he married his fiancée Clare.

2005/2006.

For the new season, he improved his ranking to number 21, which would not usually guarantee qualification for ranking events. However, as world champion he qualified automatically for every tournament in the season as the number two seed (and number one seed for the 2006 World Championship). He was invited to play in the Premier League Snooker, a non-ranking tournament with a 25-a-second shot clock, but he went out in the round-robin stage.  In the inaugural, non-ranking Northern Ireland Trophy, he reached the quarter-finals before he was defeated 4–5 by Neil Robertson. In the first three ranking events of the season—the Grand Prix, the UK Championship, and the Malta Cup—he reached the last 16, losing final-frame matches to Bingham, Robertson, and Graeme Dott, respectively. After his loss to Bingham, he complained about having to play his match on an outside table, given his world champion status. In the revival of Pot Black, a single-frame knockout tournament not staged since 1991, Murphy was defeated in the final by Stevens. Murphy was awarded Sportsman of the Year at the BBC East Midlands Sports Awards in December 2005.  In the Masters, Murphy lost 4–6 to Higgins in the quarter-finals, but reached his second ranking final in the Welsh Open, losing 4–9 to Stephen Lee. In the World Championship, he reached the quarter-finals, but fell victim to the so-called "Crucible curse" – no first-time champion has successfully defended the title at the Crucible Theatre— when he was defeated 7–13 by Ebdon.

2006/2007.

For the next season, Murphy moved to number five in the world rankings, entering the elite top 16 for the first time, and thereby automatically qualifying for the final stages of ranking tournaments and receiving an automatic invitation to the Masters.  In the Northern Ireland Trophy (a ranking event in this season), he lost 4–5 to Lee in the quarter-finals, and in the UK Championship, he lost 3–9 to Alan McManus in the second round. A 3–6 defeat by Stephen Hendry in the quarter-finals of the Masters was followed by his second ranking title, when he defeated Ryan Day 9–4 in the final of the Malta Cup. After the victory, he said it was a relief to get rid of the one-hit wonder label. In his next match, a victory over Jamie Cope in the Welsh Open, he scored centuries in four consecutive frames, becoming only the second player to do this (after Higgins in the 2005 Grand Prix final) and the only person to do so in a best-of-nine match. He went on to lose 3–5 to Maguire in the quarter-finals. In the World Championship, Murphy defeated Stevens 13–12 in the quarter-finals—recovering from 5–11 down and knocking the latter out of the top 16—before losing 16–17 against Mark Selby in the semi-finals.

2007/2008.

For the 2007–08 season, he was ranked number three, his highest ever ranking, and reached at least the semi-finals of five ranking events, without winning any.  In the inaugural Shanghai Masters, he was defeated 2–5 by Ian McCulloch in the first round. He reached the final of the Pot Black, where he was defeated by Doherty. In the Grand Prix, he reached the semi-finals, where he lost 5–6 against Ronnie O'Sullivan, despite leading 5–2. Further semi-finals followed at the Northern Ireland Trophy and the UK Championship, where he was defeated on both occasions by Maguire, 5–6 and 5–9, respectively, making it three consecutive semi-final losses. Before the UK Championship, he was provisionally ranked number one. He successfully defended his Malta Cup title (that year the tournament was not a ranking event) with a 9–3 victory over Doherty in the final. In the China Open, he defeated Selby 6–3 in the semi-final—his sixth semi-final in the past seven ranking events—but lost 9–10 to Maguire in the final. Before the World Championship, he was again provisional number one.  In the World Championship, as one of the favourites, he reached the second round, before losing 4–13 to Ali Carter. After his loss, Murphy criticised the state of the tables.

2008/2009.

Murphy maintained his number three ranking for the 2008–09 season. He won the non-ranking Paul Hunter Classic, defeating Selby 4–0 in the final, but lost in the first round of the first four ranking tournaments, including a 4–5 defeat by world number 47 Mike Dunn in the Bahrain Championship. In October, Murphy and his wife separated, after three years of marriage.  Despite the four consecutive first-round losses—which had been attributed to the split from his wife—Murphy claimed his third ranking title at the UK Championship, defeating Fu 10–9 in a low-quality final, in which he fluked a pink in the deciding frame that was effectively match ball. The victory meant he joined Davis, Alex Higgins, Griffiths, John Parrott, Hendry, O'Sullivan, Williams, John Higgins and Ebdon as the tenth player to have won both the World title and the UK title.  In the World Championship, there were concerns that Murphy's estranged wife would serve him divorce papers during play of his first-round match against Andrew Higginson. He defeated Higginson 10–8 without incident, although his wife's parents were present in the arena and were asked to leave. He went on to defeat Fu 13–3, Hendry 13–11, and Robertson 17–14 to earn a place in his second world final, with two-time world champion Higgins as the opponent. In the final, he trailed 5–11 after the first day, and was beaten 9–18 by Higgins. On the first day of the final, a newspaper published a "kiss and tell" story involving Murphy.

2009/2010.

Murphy maintained his number three ranking for a third year in the 2009–10 season. He successfully defended his Paul Hunter Classic title, defeating White 4–0 in the final. He won the Premier League Snooker with a 7–3 win against O'Sullivan in the final, ending the latter's run of five consecutive wins in the tournament.  He reached the semi-finals of the first ranking tournament, the Shanghai Masters, before losing 5–6 against Liang Wenbo. This would be his only run to the semi-finals or better in a ranking tournament that season. In the UK Championship, as the defending champion, he lost 5–9 to eventual winner Ding Junhui in the second round. After the match, Murphy complained about Ding leaving the arena too often after frames, saying "I can't believe anyone needs to go to the toilet after every single frame." He reached the quarter-finals of the Masters, where he lost 4–6 against Williams. In the Welsh Open and the China Open, he lost his first-round matches to Stevens and Nigel Bond, respectively. In the World Championship, he defeated Gerard Greene and Ding, but lost 12–13 against Carter in the quarter-finals, despite leading 8–4. This was the first season in which he did not reach a final or better of a ranking tournament since the 2003/2004 season.

2010/2011.

After three seasons ranked number three, he dropped to number seven for the 2010–11 season. He won the Wuxi Classic, a non-ranking tournament held in China, defeating Ding 9–8, having recovered from 2–8 down. Murphy reached the semi-finals of the Paul Hunter Classic, now part of the Players Tour Championship minor-ranking series, but lost 2–4 against eventual winner Judd Trump. Murphy won the Brugge Open, the second European event of the Players Tour Championship, with defeating Matthew Couch 4–2 in the final. He reached the final of the Ruhr Championship, but lost 2–4 against John Higgins. Murphy finished 1st on the Players Tour Championship Order of Merit, couldn't defend his Premier League Snooker title, as he lost 1–7 against Ronnie O'Sullivan in the final. He then reached the semi-finals of the 2010 UK Championship, where he lost to eventual runner-up Mark Williams 8–9.  Murphy lost in the first round of the Masters 3–6 against Jamie Cope, in the second round of the German Masters 2–5 against Joe Swail and in the first round of the Welsh Open 0–4 against Matthew Stevens. Murphy then won the finals of the Players Tour Championship with a 4–0 victory over Martin Gould, winning his fourth ranking title. The next week Murphy also reached the final of the Championship League, but lost 1–3 against Matthew Stevens. Murphy reached the semi-final of the China Open, where he lost 1–6 against Judd Trump. Murphy's last tournament of the season was the World Championship, where he lost in the second round 10–13 against Ronnie O'Sullivan.

2011/2012.

Murphy began the 2011–12 season ranked number seven. He could not defend his Wuxi Classic title, as he lost 3–6 against Ali Carter. Murphy reached the semi-finals of the Australian Goldfields Open, but lost 2–6 against eventual champion Stuart Bingham. At the Shanghai Masters Murphy reached the quarter-finals, but lost 4–5 against Mark Selby. Murphy's next tournament was the Brazil Masters, where he defeated Graeme Dott 5–0 in the final. Murphy also participated at the Premier League and ended the league stage with two wins and four losses. As a result, he did not advance to the play-off. Murphy then reached the quarter-finals of the UK Championship, but lost 3–6 against Ricky Walden. He also participated at the Players Tour Championship, where his best results came at the Warsaw Classic and the Kay Suzanne Memorial Trophy, where he reached the quarter-finals, but lost 3–4 against Neil Robertson and 2–4 against Matthew Stevens respectively. He finished number 37 on the Order of Merit, and could not qualify to the Finals to defend his title.  Murphy reached his first Masters final, but lost 6–10 against Neil Robertson. Murphy then reached the semi-finals of the next two ranking tournaments, but lost 0–6 against Stephen Maguire at the German Masters, 2–6 against Ding Junhui at the Welsh Open. He then lost in the quarter-finals of the World Open 0–5 against Mark Selby. Murphy ended the season with two first round losses. He lost 2–5 against wild-card Lu Ning at the China Open and 8–10 against Jamie Jones at the World Snooker Championship.

2012/2013.

Murphy began the 2012–13 season ranked number six. The first tournament for Murphy was the Wuxi Classic, where he lost in the first round 1–5 against Ken Doherty. Murphy's next tournament was the Six-red World Championship, where he finished first in Group E with four wins out of five matches and advanced to the knock-out stage. There he defeated James Wattana, Barry Hawkins, Dominic Dale and Judd Trump to reach the final, but lost 4–8 against Mark Davis. He then reached the quarter-finals of the Australian Goldfields Open, but lost 4–5 against Peter Ebdon. Murphy went one better in the next two ranking tournaments, as he reached the semi-finals of the Shanghai Masters and the International Championship, but lost 3–6 against John Higgins and 5–9 against Neil Robertson respectively. Murphy than reached the final of the 2012 UK Championship courtesy of two tight victories. The first against teenager Luca Brecel in the quarter-finals, after Brecel twice had the chance to pot the final pink and black to win the match, then against Ali Carter in which Murphy recovered from 4–8 down and 0–32 in points behind in the deciding frame to win 9–8. He was ultimately defeated by good friend Mark Selby 6–10 in the final. He also participated at the Players Tour Championship, with his best result coming at the third English event, where he reached the semi-finals, but lost 0–4 against Marco Fu. He finished number 29 on the Order of Merit, and couldn't qualify to the Finals.  Murphy began the year by reaching the semi-finals at the Masters, but lost 2–6 against Neil Robertson. He then reached the quarter-final of the German Masters, but lost 4–5 against Robertson. In the first round of the 2013 World Snooker Championship, Murphy defeated Martin Gould 10–5 to advance to the second round, where he faced Graeme Dott, winning 13–11. In the quarter-final, he faced Judd Trump in a tense match that went to a deciding frame, after Trump won five consecutive frames from 7–12 down to level at 12–12. Trump ultimately prevailed in a nervy last frame to go through to the semi-final.

2013/2014.

Murphy's 2013–14 season began with a shock 1–5 defeat by Alex Davies in the qualifying round of the 2013 Wuxi Classic. The tournament was the first to use a new format that required top-16 players to compete in qualifiers.  Between August 2013 and January 2014, Murphy lost 3 stones (42 pounds or 19 kg) in weight, due to a new diet and fitness regime. He stated that one of his health and fitness goals was to improve his stamina and concentration at the table.  In group two of the 2014 Championship League, he made his second official maximum break in his round-robin match against Mark Davis.  In the first round of the Masters, Murphy came back from 2–4 behind to defeat Ding Junhui 6–4. He produced another comeback in the quarter-finals, where he trailed Marco Fu 1–4 before winning five frames in a row to clinch a 6–4 victory. He faced defending champion Mark Selby in the semi-finals, but lost 1–6.  In February 2014, while playing Jamie Jones in the last 16 of the minor-ranking Gdynia Open, Murphy made his second 147 break of the season and the third of his professional career. He went on to win the tournament, defeating Fergal O'Brien 4–1 in the final to capture his first title in 29 months. The following month, he defeated Selby 10–6 in the final of the World Open, winning the fifth ranking title of his career and his first ranking title in three years.  At the World Championship, Murphy defeated Jamie Cope 10–9 and Marco Fu 13–8 to reach the quarter-finals, where he faced defending champion Ronnie O'Sullivan. Murphy was defeated 3–13 with a session to spare.

2014/2015.

In October 2014, he won the Bulgarian Open defeating Martin Gould 4–2 in the final. Two weeks later he reached the final of the General Cup but lost 6–7 against Ali Carter. In November, he won the Ruhr Open beating Robert Milkins 4–0 in the final. In the second frame of the final he achieved the fourth maximum break of his career after missing out on the maximum on two previous occasions during that day, in matches against Joe Swail where Murphy made a break of 129 before missing the blue ball and in a match against Mark Williams with the break ending on the green ball and thus 122. In 2014, Shaun Murphy became the first player to make three maximums in a calendar year.  In January 2015, at the Masters, Murphy beat Mark Selby, Stephen Maguire and Mark Allen en route to the final against Neil Robertson. Murphy won the match 10–2, completing his career Triple Crown.  In the World Championship, Murphy, seeded eighth, beat Robin Hull 10–3, Joe Perry 13–5, Anthony McGill 13–8 and Barry Hawkins 17–9 to reach his third World Championship final, meeting tenth seed Stuart Bingham. In the final, despite leading 3–0 and 8–5, Murphy fell behind 11–14 in the third session. Despite fighting back to level the score at 15–15, Murphy lost the next three frames and the final 15–18.

Rivalry.

Murphy has clashed with Stephen Maguire, another of the 2000 Young Players of Distinction, on several occasions. At the start of their 2004 Grand Prix match, there was an incident that resulted in Maguire being docked the opening frame. After they had shaken hands at the outset of the first frame, Maguire asked referee Johan Oomen for permission to leave the arena and retrieve his chalk, which he had forgotten. While Maguire was away, the referee and Murphy spoke before tournament director Mike Ganley arrived on the scene and docked Maguire a frame for technically not being ready to start at the scheduled time, which angered and surprised Maguire. Murphy refutes that the docking of the frame was down to him speaking to the referee. Maguire won the match 5–2 and later commented: "Rules are rules but I've never heard of anything like that happening before".  Further incidents came in subsequent years. During the 2006 World Championship, Maguire said "I don't want to be a fat world champion", a reference to Murphy. After beating Murphy in the 2007 Welsh Open, Maguire said of the chalk incident, "That put the icing on the cake, but we've always had a rivalry. I dislike him and I think he dislikes me. I try hard to beat everyone, but it would have hurt more if I'd lost to him." Murphy currently leads the head-to-head 14–11.  Murphy has been outspoken about several other of his rivals, criticising them for having too many toilet breaks and complaining about table conditions among other things. Murphy also makes collective criticisms of his fellow professionals for not attending events and has branded other players' concerns over prize money as a joke.

Playing style.

Murphy is noted for his straight cue action—which Steve Davis once called "the best cue action I've ever seen"—his long potting, and his breakbuilding. Phil Yates wrote in 2008 in "The Times" that Murphy has improved his tactical game since his World Championship victory. He has compiled more than 400 century breaks and has made five maximum breaks. His career earnings amount to more than £3 million.

Personal life.

Murphy was born in Harlow and grew up in Irthlingborough. He was home-schooled from age 13 after being bullied at school, and his parents split up when he was 14. He lived with his father Tony, a former professional golfer, and did not see his mother again until he was 19. During the 2007 World Championship, it was reported that he had developed a rift with his father, who was a member of the World Snooker board. He said that they had not spoken in over a year, but that he would willingly speak to his father again if the other called him.  Murphy moved to Rotherham during the 2004 season to be with his fiancée, Clare, whom he married in July 2005. Murphy's wife filed for divorce in 2009 on the grounds of infidelity after "The People" newspaper published an exposé revealing he had spent the night with an escort girl he had met at a religious youth group. Murphy's then manager, Brandon Parker, issued a statement confirming that Murphy had slept with the woman but denied he had been unfaithful, stating that Murphy did not have sex with her. He also dated Claire Chorlton, who was first introduced to the viewing public backstage during the final of the 2012 UK Championship. Murphy became engaged to his girlfriend Elaine, after proposing marriage at a restaurant in her native Ireland during Christmas 2014. The couple married in June 2016, and have since had a son. The family moved to Dublin, Ireland in 2018.  Murphy became a Christian at the age of 15, after meeting a religious family on holiday. Murphy is well known for his charitable nature, having spent some of the summer of 2006 doing aid work in Zimbabwe with his then wife, Clare. He also donated one-tenth of his 2005 World Championship winnings to the church, and at the 2012 World Snooker Championship Murphy donated £100 to the Royal Manchester Children's Hospital Charity for every century he made.

Shaun Peter Murphy (born 10 August 1982) is an English professional snooker player, who won the 2005 World Championship. Nicknamed "The Magician", Murphy is noted for his straight cue action and his long potting.

Shaun Murphy est un joueur de snooker britannique né le à Harlow, en Angleterre. En 2005, il est sacré champion du monde à l'âge de 22 ans. Alors issu des qualifications, il élimine successivement Chris Small, John Higgins, Steve Davis, Peter Ebdon et Matthew Stevens. Cette performance lui permet de se faire remarquer et par la suite, ses pairs commencent à le surnommer le « magicien » pour son « "cue action" » et pour son efficacité sur les empochages longs.


Allocation de Solidarité aux Personnes Agées

Eligibility.

To qualify for ASPA, the recipient must live in France or French territory, and meet age and financial need criteria.

Lawful residence in France.

A French citizen must have their main residence on French territory. The allowance is suspended if the recipient moves to another country. A foreign national must also meet at least one of these conditions:

Minimum age.

The recipient must be at least 65 years old, except in two special cases for which the criterion is reduced to the minimum legal age of retirement [5] :

Financial need.

Assets taken into account include all earnings and property, pensions and disability and the (AAH). Family benefits, the allocation of social housing, and military pensions are not taken into account [6]. The annual income limit is adjusted on 1 April each year. [8].  In 2014, the annual income limit is €9503.89 for a single person, and €14755.32 for a couple.

Value.

The ASPA provides an income up to the annual income limit (currently €9,503.89 for a single person, and €14,755.32 for a couple), taking into account the above assets. ASPA will be upgraded in 2014 as part of French pension reforms. The single person's annual income limit is expected to be increased to €9,600 in October 2014.  The ASPA is transferable and seizable in settlement of debts.

Recovery.

ASPA is conceived of as an advance from the State rather than a grant, and payments can be reclaimed by the State after the person's death if their estate is worth more than €39,000. Reclaimed payments will not reduce the value of the estate to less than this amount. To prevent the recipient artificially reducing the value of their estate by making gifts or taking out life insurance, for example, these payments are included in the calculation of net assets.

The Allocation de solidarité aux personnes âgées (solidarity allowance for the elderly) (ASPA) is a French state pension for elderly people, whether former employees or not, on low incomes. It replaced the multiple components of the minimum pension ("") from 1 January 2006. Existing recipients of the minimum pension are not automatically transferred to the ASPA, but may do so on request.

L'allocation de solidarité aux personnes âgées (ASPA) est une allocation française versée aux personnes âgées, anciens salariés ou non, ayant de faibles revenus. Elle remplace les multiples composantes du minimum vieillesse depuis le. Le basculement du minimum vieillesse vers l'ASPA n'est pas automatique, c'est au bénéficiaire d'en faire la demande. Ce n'est pas vraiment une allocation au sens strict du terme, puisqu'elle comporte des contreparties (cf plus bas : Recouvrement).


History.

Zion Wildlife Gardens.

Craig Busch established Zion Wildlife Gardens in 2002 from bare land situated on Gray Road, Kamo, Whangarei. Busch had previously had the zoo based at Kerikeri.  During 2006 Zion Wildlife Gardens became financially troubled. Busch accepted a bail out package from his mother Patricia Busch, and in accordance with an agreement dated 13 July 2006, he resigned as director and appointed Mrs Busch, as sole director.  Busch continued working at Zion until his dismissal on 3 November 2008.  During November 2008, media reports revealed an investigation into the welfare of the cats at the zoo had been conducted by Ministry of Agriculture and Forestry. Concerns included animals being kept in unsanitary conditions, damaged enclosures and the surgical declawing of 21 lions and 9 tigers.  In February 2009, the Ministry of Primary Industries (formerly MAF) released the results of its investigation into the surgical declawing of 21 lions and 9 tigers at the facility between the years 2000 to May 2008. The contents of the report revealed vets had been initially approached by Mr Busch to have the procedures done. Busch had requested the procedures were to be kept in confidence. The findings in the report found any question of prosecutions under the Animal Welfare Act 1999 were problematic due to Ministry of Primary Industries veterinarians being aware, but not questioning the procedures at the time.  On 27 May 2009 a zookeeper, South African National Dalu Mncube, was mauled to death by a white tiger while cleaning an enclosure. The tiger was shot dead in order to reach Mncube. The same tiger, a male named Abu, had bitten another handler earlier the same year, who was rescued by Mncube. The park closed and re-opened after less than one month, following changes to the big cat enclosures to improve safety for handlers and the public.  During June 2013 Zion Wildlife Gardens operator Patricia Busch lost her assets. The finance company that held the security over the property took possession, after Mrs Busch was unable to continue the mortgage payments.  In December 2013, the Coroner's report on the inquest into the death of senior cat handler Dalu Mncube cleared the management and staff of any wrongdoing in relation to the incident. Shortland recommended regulatory reform and new legislation for health and safety in zoos and animal parks.

Receivership.

David Bridgman and Colin McCloy of Price Waterhouse Coopers Limited were appointed receivers of the company that operated Zion Wildlife Gardens, Zion Wildlife Gardens Limited (In Receivership & In Liquidation), on 26 July 2011. Subsequent to this, the official assignee was appointed liquidator of the company on 22 August 2011, after the Inland Revenue made a successful application to the High Court to have Zion Wildlife Gardens Ltd placed into liquidation.  On 31 January 2012 the receivers announced the sale of Zion Wildlife Gardens Ltd. to Zion Wildlife Kingdom Ltd. The receivers had been on site that morning to advise those at the park of the sale. Details of the sale were considered to be commercially sensitive and as a result, the receivers did not comment further on the sale and purchase agreement or the new owners.

Kingdom of Zion.

On 31 January 2012, the park with land and assets, was sold to Zion Wildlife Kingdom Ltd, owned by Tauranga-based accountant Ian Stevenson and Cambridge based businesswoman Tracey McVerry and Nicholas Mes. On 5 April 2012 the facility was reopened as Kingdom of Zion. The day-to-day management of the facility was through Earth Crest Limited which had as its sole shareholder Suzanne Eisenhut.  On May 10, 2012, Zion Wildlife Kingdom co-director and shareholder, Tauranga based chartered accountant Ian Stevenson, was censured by the New Zealand Institute of Chartered Accountants, and was ordered to pay the $42,889 cost of his prosecution. Stevenson pleaded guilty to three charges arising from a client complaint; dealing with client monies through his practice account rather than a trust account, withdrawing fees without authority and preparing accounts without due care and diligence.  In April 2013, Tauranga based business consultant Sam Bailey failed when he applied the High Court in Tauranga to have the park's operating company Earth Crest Limited, placed into liquidation.. Associate High Court Judge Jeremy Doogue reserved his decision into the application made by Bailey to liquidate Earth Crest Ltd (trading as Kingdom of Zion Ltd) after the hearing in May 2013.  In October 2013, the Employment Relations Authority gave former worker Neville Bradford leave to pursue an unjustified dismissal claim against Kingdom of Zion's operating company Earth Crest Limited. Bradford had been dismissed in July 2012, after working at Kingdom of Zion as a groundsman since the end of January 2012.  In November 2013, Zion Wildlife Kingdom Ltd co-director and shareholder Ian Stevenson, was struck off by the New Zealand Institute of Chartered Accountants. Stevenson was charged with conduct unbecoming of an accountant and negligence and/or incompetence in a professional capacity. He was also charged with breaching the NZICA's rule 21.4(b) and breaching the institute's code of ethics.  On January 31, 2014 the shareholding and directorship of Zion Wildlife Kingdom Ltd, was transferred to Bolton Equities Ltd an Auckland-based investment company.  During May 2014, the Employment Relations Authority ruled Earth Crest Ltd, the company operating the business Kingdom of Zion, was required to pay former employee Neville Bradford the sum of $11,000. The amount related to unpaid wages owed to Bradford by his employer. The Authority also found Bradford had not been unjustifiably dismissed by Earth Crest Limited.  In July 2014, the Ministry of Primary Industries ordered the zoo to close to the public until the enclosures were upgraded to meet containment requirements.  During early August, the business operated by Earth Crest Limited was purchased by Bolton Equities. The company planned to upgrade the zoo facility for a future major tourist attraction with the name changed to Kamo Wildlife Sanctuary.

Kamo Wildlife Sanctuary.

Kamo Wildlife Sanctuary was established in 2014 by Bolton Equities after the Ministry of Primary Industries closed its predecessor Kingdom of Zion citing compliance issues. In 2015 it was reported the zoo was still closed as Kamo Wildlife Sanctuary management worked its way through a list of remedial work required.

Kamo Wildlife Sanctuary is a privately owned zoo located near Kamo, Whangarei, New Zealand. The facility houses a collection of four species of large cats and was formerly used as a location for the filming of the television series "The Lion Man".

Le Zion Wildlife Gardens est un sanctuaire zoologique de Nouvelle-Zélande destiné à la conservation des races de félins en voie de disparition.


Description.

The 83 × 67 cm (33 × 26 in) painting shows a half-length portrait of the painter Édouard Manet. In this self-portrait as painter he depicted himself as a stylish Boulevardier in front of a dark background. The depicted wears a black top hat and a brown jacket, under which is a white shirt, of which only the collar can be seen. The neckline of the suit jacket covers a black silk tie which is affixed by a tie pin. In the right, only vaguely depicted hand he holds a long wooden brush with red paint on the tip; the left hand holds a painting palette with about three more brushes. No further accessories are shown. The figure is lit from the left by which the shadows beneath the left arm and the right half of the face are created. His pose is slightly turned to the right, so that the right half of the body is darker than the forward, left half. The painter's gaze is directed forwards at the viewer.  Because Manet was almost certainly not left-handed, the painting is a mirror image.

Origin and meaning.

As has been established by X-ray analysis, Manet painted his "Self-Portrait with Palette" over a portrait in profile of his wife Suzanne Manet. In this picture she was depicted in a pose similar to that in the painting "Madame Manet at the Piano" (1868, Musée d'Orsay).  The dating of the painting goes back to Manet's friend Théodore Duret, who asked Léon Leenhof, the son of Manet's wife, about it after the painter's death. Moreover, Manet had used the same suit jacket that he wore in "Self-Portrait with Palette" in the painting "At "Père Lathuille"" (also from 1879), for the depiction of the son of the restaurant's owner.  "Las Meninas", in which Diego Velázquez depicted himself in a similar pose with brush and palette, is considered an important precedent for the "Self-Portrait with Palette". There the painter stands almost in the background of his studio, while his models, the five-year-old Margarita Teresa of Spain and her servants, occupy the foreground. From here Manet appropriated the pose of the painter and his equipment, but as opposed to Velázquez, he makes himself the thematic center of the image. At the same time, however, he is working on a painting, but leaves its subject matter, as well as his surroundings, to the imagination of the viewer. Manet himself between 1865 and 1870 portrayed Velázquez in a studio scene in which the Spanish painter is posed similarly to his self-portrait.  As a practical matter painters did not and do not wear formal dress while working, as it could far too easily be ruined by oil paint. Manet's depiction of himself as a painter in stylish city-going clothes has various precedents. Already Velázquez had shown himself in costly garb that would be appropriate for a courtier. In 1870 Manet had sat for the painter Henri Fantin-Latour in the painting "Un atelier aux Batignolles" while similarly well-dressed. His wearing of a hat indoors also has a direct precedent. Renoir had depicted Monet in 1875, with suit, hat and all. Just as Velázquez had used his clothes to underscore his proximity to the Spanish court, Manet's clothing shows his role as a stylish and successful Parisian artist, "who not only in his artistic posture, but also in his appearance is quintessentially the "painter of modern life", of Baudelaire's description."  The unfinished right hand with the paintbrush is conspicuous in the painting. Victor Stoichiţă perceives this as Manet's intention and interprets it thusly: "because it is an act of painting that is depicted here, it turns painting around itself like a whirlwind" Françoise Cachin explains it as a way of concentrating the light and the attention of the viewer upon the more important aspects of the painting. Manet's wife Suzanne, however, described this painting and the "Self-Portrait with Cap" (1878–79) as sketches.

Position in the Oeuvre.

The "Self-Portrait with Palette" is the only self-portrait by Manet in which he depicted himself as an artist. He depicted himself in several other paintings, but almost always as one of many figures in a large composition. These works include "Fishing" (1860/61), "Music in the Tuileries" (1862), and "The Ball of the Opera" (1873).  The full-length "Self-Portrait with Cap" (1878–79) is the only other pure self-portrait by Manet. The chronological proximity of the two paintings implies a direct connection between them; accordingly, they have been considered as two stages of a work in progress. In the first painting, "Self-Portrait with Palette", the act of painting itself is depicted by the blurred gestures of the painter. In the latter work, the painter is shown with the clear detachment of a viewer, rather than a creator. To Éric Darragon it appears that the painter has "stepped back, to evaluate his painting."  After Manet's death the two pictures hung on either side of the 1877 painting "Jean-Baptiste Faure in the Role of Hamlet". From this arrangement Stoichiţă concludes that the choice of this Spanish influenced painting was meant to evoke a renewed parallel to Velázquez. Another message derived from the juxtaposition is that the self-portraits could almost be read as "Manet in the Role of Manet". Juliet Wilson-Bareau, however, points out that Manet probably did not intend the pictures to be so displayed, as it was Léon Leenhoff who had the pictures framed and hung them on either side of the Faure portrait.

Reception.

The painting was often considered to be of lesser artistic value than Manet's other works. In 1926 the critic Étienne Moreau-Nélaton wrote: "This work, like the other efforts of the artist, are spoiled by a certain coldness. The artist's hand moves with too much fire, painting so freely here, that it is impossible for the painter to seriously focus upon himself as an object." On the other hand, Theodore Reff in 1982 emphasized the meaning of Manet's decision to approach self-portraiture, which he had never before attempted, at the high point of his career. The chosen clothes, in both case stylish suits, give the impression that Manet considered himself not only a successful artist but a successful figure in society: the paintings are a record of this success.  Wilson-Bareau proposes an alternate explanation for the origin of the self-portraits. When the art historian and Manet biographer Adolphe Tabarant asked Manet's stepson Léon Leenhoff about the point in time at which Manet had been stricken with Syphilis, Leenhoff gave 1879 as an answer, which would explain why Manet, who had never before in his life painted a self-portrait, had painted two within that year. It would seem that with the reality of death right before his eyes, he felt a need to come to terms with himself.  The nephew of the artist, Edouard Vibert (1867–1899) finished shortly before his death a series of copies of various Manet paintings for Madame Manet as mementos of the paintings that had had to be sold after the death of the artist. Around the turn of the 20th century a copy of the "Self-Portrait with Palette" was attested that was ascribed to Vibert.

Provenance.

The "Self-Portrait with Palette" was not sold during Manet's lifetime and after his death was held by his widow. Nor were either of the self-portraits sold in the 1884 estate sale. Manet's widow does not appear to have wanted to sell them until 1897, as Antonin Proust in a letter from May 10 of that year stated that neither Jean-Baptiste Faure nor Auguste Pellerin were interested in the paintings.  On 2 February 1899, Suzanne Manet bequeathed the pictures to her sister Martina Leenhoff, probably with the intention of aiding her during financial difficulties. That year, Madame Manet and Proust renewed their efforts to sell the paintings. This time the art dealers Hermann Paechter and Ambroise Vollard expressed interest. Later that year Paechter obtained the paintings at the price of 6,000 Francs for the "Self-Portrait with Cap" and only 1,000 for "Self-Portrait with Palette". In Théodore Duret's 1902 exhibit catalog the picture is listed as the property of Pellerin.  Shortly after, the "Self-Portrait with Cap" went to the collection of Max Linde in Lübeck. In addition to being an art collector Linde was also an ophthalmologist, with Edvard Munch among his patients. Eventually the Norwegian artist was inspired by the Manet to paint various other full length portraits, including a 1909 portrait of his psychiatrist Daniel Jacobson, which came close to the Manet in style and feeling.  In May 1910, the "Self-Portrait with Palette" appeared in an exhibit at the gallery of Georges Petit in Paris, where it was labeled as on loan from the widow of the Marquis Etienne de Ganay. Just a month later it was shown in an exhibit by the gallery owners Paul Durand-Ruel, Bernheim-Jeune and Paul Cassirer together with all other Manet paintings that had previously been owned by Pellerin. Pellerin had sold his collection to the dealers, with the exception of the "Self-Portrait with Palette", which he had sold to Madame de Ganay immediately beforehand. Ganay owned the painting through the 1920s; by 1931 it was in the collection of the Berlin bank president Jakob Goldschmidt. Goldschmidt immigrated to New York City in 1936, taking his collection with him, and died there in 1955. In 1958 the painting was bought by J. Summers for 65,000.  Later the collector couple John and Frances L. Loeb from New York acquired the painting for $176,800. At the auction of the Loeb collection on 12 May 1997 the painting was sold for $18.7 million to an anonymous bidder. At that time it was the second highest price ever paid for a work by Manet. Shortly thereafter the new owner was revealed to be the Casino developer Steve Wynn, as he displayed the picture in his hotel in the Hotel Bellagio and Wynn Las Vegas. In March 2005, it was privately sold to Steven A. Cohen. The price is estimated to have been between $35 million to $40 million.  On 7 May 2010, it was announced that Cohen had decided to auction the painting at Sotheby's on 22 June 2010. The price was expected to be between $30.1 and $45.2 million. These expectations were not met, however, and the painting sold for £22,441,250 ($29.48 million) to the New York collector Franck Giraud. The price was nevertheless a record for a Manet painting.

Self-Portrait with Palette (French: Autoportrait à la palette) is an 1878–79 oil-on-canvas painting by the French artist Édouard Manet. This late impressionistic work is one of his two self-portraits. Velasquez's self-portrait in "Las Meninas" was a particular inspiration for Manet's painting which despite its allusion to the previous artist's work is very modern in its focus upon the personality of the artist and loose paint handling.

L’Autoportrait à la palette a été peint en 1879 par Édouard Manet. Il s'agit d'une huile sur toile de de hauteur et de de largeur. Elle appartient au genre de l'expressionnisme. Elle est proche de l'autoportrait de Velasquez dans "Les Ménines". Cette œuvre a été créée pendant la « période rose ». Cette œuvre est exposée au « Philadelphia Museum » of Art.


Publication history.

"The Wire" is a monthly magazine that specialises in a diverse spectrum of avant-garde and experimental music. A 1999 subscription flyer for the magazine advertised its subject matter as "non-mainstream" music. In the late 1980s and early 1990s "The Wire" transitioned from exclusive coverage of jazz to coverage of contemporary music in general, maintaining its prioritisation of the avant-garde. Since its founding in 1982, its monthly circulation has reportedly ranged from about 7,000 to about 20,000.  Within the American and British music journalism markets, "The Wire" was among a generation of music magazines launched in the 1980s. That decade also saw the debuts of "The Face" (1980), "Kerrang!" (1981), "Maximumrocknroll" (1982), "Mixmag" (1983), "Alternative Press" (1985), "Spin" (1985), "Q" (1986), "Hip Hop Connection" (1988) and "The Source" (1988), among others. According to writer Simon Warner, "The Wire" took on a level of "influence disproportionate to its niche readership" compared to other music magazines born in the 1980s, because "not only listeners but music makers and producers were drawn to its columns."  Most of these magazines, "The Wire" included, differentiated themselves by targeting a narrow segment of readers based on demographics and taste. This was commonly done, for example, by devoting coverage to specific musical subcultures as "Kerrang!" did with heavy metal or "The Source" with hip hop. Another industry trend was polarization between two styles of writing: popular criticism for mass-market consumers versus intellectual criticism for underground music connoisseurs. "The Wire" was certainly positioned on the "highbrow" end of the industry—even if, as editor Tony Herrington said, the magazine preferred "intelligence to intellectualism". Its embrace of high-minded, literate criticism aligned it with publications like "New Statesman", a politics and culture magazine that started to publish pieces by rock journalists, and "Melody Maker", which had hired a group of academically oriented new writers like Simon Reynolds who were influenced by post-structuralism. "The Wire" contrasted most sharply in approach with "Q", which emphasised celebrity personalities and the classic-rock canon.  "The Wire" was among the major British music magazines of the 1990s, a decade that represented an overall peak for the print magazine industry before the next two decades brought the rise of digital journalism and a general decline in print readership. However, "The Wire" has held a steady circulation and remained in print even as other magazines that once sported much larger circulations have folded or become online-only titles. "NME" once sold 300,000 weekly copies at its peak in the 1970s, but by 2016 it only sold 20,000—the same number "The Wire" sold at that time—and in March 2018 "NME" ended its print edition altogether. "The Wire" was considered one of the most significant independently owned publications covering the musical underground in the 2000s, alongside "Fact", "Rock-A-Rolla", "Dusted" and innumerable blogs.

1982: Founding as a jazz magazine.

"The Wire" debuted as a quarterly jazz magazine in the summer of 1982. The magazine was co-founded by jazz promoter Anthony Wood and journalist Chrissie Murray. Lacking office space, Wood and Murray prepared the first issues of the magazine an Italian restaurant on St Martin's Lane. The staff sold copies of the first issue to concert-goers at a jazz festival in Knebworth and at the Camden Jazz Festival.  At that time, Germany was considered the cultural centre of jazz in Europe—especially European free jazz. There was greater cultural appreciation for jazz in Germany than in Britain and a greater volume of dedicated press coverage, even though the British jazz scene was actually larger than the continental scene. In an introductory essay explaining the magazine's editorial policy and scope, Wood said "The Wire" intended to target the demographic of listeners under the age of 25, who he felt were poorly served by the state of jazz writing in Britain. The only other British jazz magazine in print at the time was "Jazz Journal", which Wood criticised for its conservative approach: "the reverend gentlemen at "Jazz Journal" continue, at best, to admit only grudgingly that jazz has got beyond 1948; at worst, deny its current development." In addition, Wood noted, the British weekly magazine "Melody Maker" had by 1982 virtually abandoned jazz coverage.  "The Wire" would emphasise boundary-pushing musicians; at the outset, Wood declared that free jazz and free improvisation would "be given a loud enough voice to be heard above the dissenters who are still questioning the music's validity." The magazine was named after "The Wire", a composition by American jazz saxophonist Steve Lacy, whose "musical farsightedness" the magazine hoped to emulate. Twenty years later, Lacy's composition was used as the opening track of the box set "The Wire 20 Years 1982–2002".

1983–84: Acquisition by the Namara Group.

In 1984, Wood sold "The Wire" to Naim Attallah and it became part of the Namara Group. Attallah's other properties included "The Oldie", "Literary Review" and Quartet Books. Wood announced the new owner, along with a switch from quarterly to monthly publishing, in the October 1984 issue.  Reflecting on the early years as part of the Namara Group, Tony Herrington said:  Attallah's "laissez-faire" attitude and the magazine's editorial freedom contrasted with the state of other UK music magazines in the 1980s. Competition among weeklies like "NME", "Melody Maker" and "Sounds" heightened in the 1980s, and these publications began to prioritise circulation, advertising and commercial appeal, which resulted in editorial constraint. "The Wire" did not impose significant editorial demands or stylistic revisions on its writers and, as such, it became an attractive publication for freelancers who had started their careers at UK weeklies during the post-punk era.

1985–1992: Expanding beyond jazz.

Former "NME" staffer Richard Cook took over as editor in July 1985; by September, Wood's name was gone altogether from the masthead. Around this time there was a resurgence of interest in jazz among white British "hipsters"—a trend that lasted until the 1987 "Black Monday" market crash. As editor, Cook refurbished "The Wire" so it would seem stylish and appealing to the new wave of British jazz hipsters, but he increasingly steered the magazine toward a pluralistic, multi-genre approach. "The Wire" also began to develop a house style that tended toward the philosophical and cerebral, printing "articles peppered with references to Gilles Deleuze and Félix Guattari, or Jacques Attali's monograph."  Under Cook's editorial oversight, "The Wire" significantly broadened its coverage of music in genres other than jazz. He hired a new graphic design team and promoted longtime contributor Mark Sinker to assistant editor. The formerly jazz-focused magazine's covers in this period featured decidedly non-jazz artists like Michael Jackson, Prince, Philip Glass, John Lee Hooker and Van Morrison; meanwhile, articles published inside the magazine profiled a broad range of musicians, including Elvis Costello, Stravinsky, Mozart, Frank Zappa, Prokofiev, Bob Marley and Haydn.  Cook told "Jazz Forum" in 1991 that "The Wire" was "going into overdrive" with ambitions to expand its domestic and international sales. Estimating the magazine's monthly circulation at 15,000–20,000 copies, Cook said he hoped to reach 25,000. But his efforts to expand the magazine's circulation had mixed results. Chris Parker, the magazine's publisher between 1984 and 1989, said the changes did not make an "appreciable" increase in sales; in Parker's view, "for every would-be hip young thing we recruited to the readership, we lost a diehard jazz fan who just wished to know if Howard Riley or Stan Tracey had made another album and what it was like."  Regardless of Cook's impact on sales figures, several of his contemporaries acknowledged that he had made "The Wire" a more accessible publication. Scottish writer Brian Morton said "[u]nder Cook's editorship, "The Wire" evolved from a small, coterie magazine into a more broadly based music journal that covered mainstream jazz as well as the avant-garde, but one that also began moving into other areas of music: pop, soul, reggae, classical." John Fordham, the jazz critic for "The Guardian", credited Cook with "transforming ["The Wire"s] content and design and opening out a specialised, sometimes uninviting publication" to a broader audience. British-Ghanaian writer Kodwo Eshun pointed to "Black Science Fiction", a essay by Sinker from the February 1992 issue, as a major influence on Afrofuturism, a term that was coined the following year.

1992–1994: Mark Sinker's editorship.

In June 1992, Cook left "The Wire" for a position at PolyGram UK and was succeeded by Sinker. Cook's departure coincided with the magazine's 100th issue, an unannounced move that caught Sinker by surprise. Though he only served as editor for 18 months, Sinker took a bold editorial approach. During his brief tenure, few covers featured portraits of musicians, and instead often featured abstract photos of isolated objects, like a sofa or a toy robot. Sinker devoted issues to broad themes such as "Music and Censorship", "Music in the Realm of Bodily Desire" and "Music and the American Dream", and for these issues he commissioned multiple argumentative essays on those topics. In retrospect, he characterised his attitude as editor thusly:  Sinker's vision—later characterised as "a thorny, quizzical, fanzine cum proto-Weblog"—clashed with then-publisher Adele Yaron's ideal of "a sleek and stylish urban music 'n' lifestyle monthly". Yaron sacked Sinker when a potential buyer requested his removal as part of, in Sinker's words, the "bride price" for the deal.  While Sinker's stint as editor was brief and controversial, music writers have praised his editorial decisions in retrospect and highlighted his influence on the magazine's future directions. The French writer-musician Rubin Steiner considered the August 1993 issue with Björk on the cover to be a definitive turning point, signalling the start of constant changes in coverage that would follow, after which "The Wire" could no longer be considered a jazz magazine. "The Guardian" columnist Maggoty Lamb said Sinker's tenure was "visionary" and had laid the "foundation" for the magazine to become a "thriving institutional presence". At "Pitchfork", Tom Ewing argued that the argumentative articles Sinker commissioned "weren't simply trying to shock or drive readers off—they achieved both—but were trying to build, as... Sinker put it, [a place] where people could 'have fun starting arguments,' ones that could co-exist within a comfort zone."

1994–1999: "Adventures in Modern Music".

After Sinker was sacked, Tony Herrington took over as editor starting with the March 1994 issue. Herrington had contributed to the magazine as a freelancer since the 1980s, but he had minimal experience as an editor and had only become a permanent staffer the year prior. Yaron left shortly afterward, and so Herrington assumed the position of publisher as well. By January 1995 the magazine adopted the new subtitle "Adventures in Modern Music", which it used continuously until 2012.  Two months after Herrington became editor, the magazine published an influential piece by Simon Reynolds in which he defined the parameters of the genre "post-rock". The genre and its associated artists became a focus for the magazine in the mid to late 1990s, along with electronica and nascent subgenres like illbient and glitch. Throughout the decade, Reynolds also contributed a series of essays on post-rave trends in UK dance music, covering jungle, drum 'n' bass, hardstep, neurofunk and 2-step garage. These essays culminated in his theorizing of the "hardcore continuum": a diverse, ever-evolving tradition of electronic dance music that had diverged from American-born house and techno to become a distinctly British style.  The magazine launched its website,, in October 1997. By 1999, the magazine reportedly reached a monthly circulation of about 20,000 copies.

2000–present: Staff buyout and independent ownership.

Rob Young became editor in March 2000. Later that year, the magazine's staff bought it from the Namara Group. When Herrington learned Naim Attallah was preparing for retirement and wanted to sell the magazine, he offered to buy it himself; Attallah replied "I know how much I pay you and you can't afford it." Herrington consulted with his fellow staffers, secured a loan and negotiated with Attallah for about six months. The six permanent members of the staff—Herrington, Young, Chris Bohn, Ben House, Anne Hilde Neset and Andy Tait—purchased the company on 21 December 2000 and announced the sale in the February 2001 issue. The magazine has been independently published since then.  In 2002 the magazine commemorated its 20th anniversary with a special issue, the publication of the book "Undercurrents: The Hidden Wiring of Modern Music" and a 3-CD box set, "The Wire 20 Years 1982–2002".  In the 2000s, "The Wire" devoted significant attention on the emerging genre of dubstep. Several noteworthy musical genres were coined or first defined in the pages of "The Wire" in that decade, including microhouse, by Philip Sherburne, in 2001; New Weird America, by David Keenan, in 2003; and hypnagogic pop, also by Keenan, in 2009.  In 2007, "The Wire" reportedly sold about 17,500 copies per issue. A press release from the same year gave the magazine's monthly circulation as 20,000 copies, with 9,000 subscribers. In 2013, the magazine made available its entire archive—amounting to 25,000 pages at that time—to subscribers, via the site Exact Editions.

Content.

A series of new music compilation CDs called "The Wire Tapper" has been given away with the magazine since 1998. The magazine has used the strapline "Adventures in Modern Music" since 1994; on 14 December 2011 "The Wire's" staff announced that the magazine's old strapline "Adventures In Modern Music" had been replaced by "Adventures In Sound And Music". In addition to the "Wire Tapper" CDs, subscribers receive label, country and festival samplers.  Apart from the numerous album reviews every month, the magazine has features such as "The Invisible Jukebox", an interview conducted by way of unknown tracks being played to an artist, and "The Primer", an in-depth article on a genre or act. It also features the avant music scene of a particular city every issue. In addition to its musical focus, the magazine likes to investigate cover art and mixed media artistic works.  Since January 2003 "The Wire" has been presenting a weekly radio programme on the London community radio station Resonance FM, which uses the magazine's strapline as its title and is hosted in turns by members of "The Wire".  "The Wire" celebrated its 400th issue in June 2017.

Design and photography.

"The Wire" does not employ staff photographers. Instead, the magazine commissions all of its photography from freelancers or relies on musicians and labels to provide their own publicity photos. In recent years, the magazine has published work by photographers like Nigel Shafran, Todd Hido, Tom Hunter, Pieter Hugo, Alec Soth, Clare Shilland, Leon Chew, Jake Walters, Juan Diego Valera, Michael Schmelling, Mark Peckmezian, and Takashi Homma.  "The Wire"s first art director was Terry Coleman. Paul Elliman took over art direction in January 1986; by July, he debuted a serif-typeface logo that the magazine would continue to use, with variations, until 2001. Lucy Ward succeeded Elliman as art director in July 1988 and introduced a broader array of fonts. Under both Elliman and Ward, the minimalist aesthetic of "The Wire" favoured simple typography, black-and-white photography and ample white space.  Elliman and Ward's late-1980s work for "The Wire" has been praised by their contemporaries in the graphic design field. Robert Newman—a former design director at magazines like "Entertainment Weekly", "New York" and "The Village Voice"—said "The Wire"s minimal design contrasted with colourful late-80s trends in both British and American magazine design. Newman said he was inspired by Elliman's designs and borrowed stylistic elements for his "The Village Voice" layouts. In Newman's opinion, Elliman and Ward produced "some of the most beautiful and remarkable magazine covers of that (or any) era, timeless designs that still look strikingly contemporary today." John L. Walters, an editor and owner of the quarterly design magazine "Eye" said their designs did not look "home made or like academic papers (or both)", as other specialist magazines of the time tended to look, and said the magazine "took musicians seriously, and its design made them look good without trying—be they stars, greying veterans or young turks." John O'Reilly cited Elliman's work for "The Wire" among the "most exciting and apparently vibrant work of the 1980s" and said it shared a "kind of melancholia" with Neville Brody's work from the period and Vaughan Oliver's designs for the record label 4AD.  A major redesign was completed in 2001 by Non-Format, a design team composed of Kjell Ekhorn and Jon Forss, who were working out of an office next to "The Wire". Ekhorn and Forss were the magazine's art directors between 2001 and 2005. Herrington, who was familiar with their previous work designing music packaging, approached the team to redesign the magazine. In addition to designing the magazine's current logo, they designed each issue of the magazine until 2005. While they retained the magazine's overall clean, Modernist aesthetic, they incorporated highly intricate, unpredictable details into the designs of features. At first, Ekhorn and Forss created custom layouts and typographies in nearly every issue, rather than relying on standardised templates for features; however, this became too much work, and they eventually settled on using a single style across several months at a time. Their typographic work often added elaborate variations to base fonts, which included winding, branching curlicues and interwoven illustrative elements; Karen Sottosanti described their typical design work as "type made of stars or flowers that exploded into negative space [and] type that merged with images of tree branches or birds.".  David Jury praised Non-Format's designs, writing that the magazine "retained an identity all its own through its creative use of experimental headline fonts, white space and excellent photography." Noteworthy examples of Non-Format's cover art include the July 2004 issue, which portrayed the composer Alvin Lucier using brainwaves he had recorded with electrodes at a concert, and the December 2004 issue "In Praise of the Riff", which placed repetitive black lines across the cover and pushed the logo to the bottom right, halfway off the page. In 2011 "Complex" named Non-Format's March 2005 cover with MF Doom among the 50 greatest hip-hop magazine covers.

"The Wire" Rewind.

Every January since 1986, "The Wire" has published a year-in-review issue with a critics' poll. The staff collates ballots submitted by its contributors into a list of the year's best releases. Originally, the poll only selected the best jazz LP of the year. In 1992, the main poll grew to include albums in any musical genre, and in 2011 it began accepting releases in any format or medium, not just "albums". In addition to the main all-genre list there are typically shorter lists of the best releases within selected genres as well. These year-in-review issues have been called Rewind since 1997.  Like the magazine itself, "The Wire"s critics' polls have garnered a reputation for their unconventional, eclectic selections. "Guardian" columnist Maggoty Lamb commented in 2007 that "The Wire" has "the annual best-of list most likely to single out an ensemble called Kiss the Anus of the Black Cat as having made 'one of the most interesting records of the year'." When the magazine named James Ferraro's vaporwave album "Far Side Virtual" its 2011 Release of the Year, Eric Grandy remarked in "Seattle Weekly" that it was "[n]o surprise that willfully obscurantist British rag "the Wire"s Best of 2011 list is topped by James Ferraro's winking Windows '97 soft-rock hellscape... and further ranges from the Beach Boys' "Smile Sessions" to Laurel Halo and Hype Williams."

Reception.

Over the years, "The Wire" has received both praise and derision. Positive commentary about the magazine has often referred to its diverse range of coverage and unique status as a longstanding publication devoted to music outside the mainstream. In 2005 the writer Bill Martin called it an "invaluable resource" and said "there is no other English-language magazine today of comparable scope." On the occasion of the magazine's 400th issue in 2017, Josh Baines of "Noisey" praised the magazine for "examining—in the kind of detail that puts most other publications to shame—sound and music from every conceivable angle" and "treating boundary-pushing music with diligence, care, and above all else, enthusiasm". The same year, designer Adrian Shaughnessy said that he regarded "The Wire" and the British film magazine "Sight & Sound" as the only two magazines that "remain unmissable"; he said both publications had "serious writing at their core", which "is never softened to make it 'accessible' to a wider audience," and he said both were still "stonking good reads that have introduced me to hours of pleasure that I might otherwise have missed."  Unfavourable assessments of the magazine have often derided its avant-garde sensibility as pretentious, self-important and inaccessible. Gail Brennan at "The Sydney Morning Herald" opined in 1993 that "The Wire" "covers a surprising range of music while bringing a narrow and contrived 'punk' attitude to bear. Let's be blunt. It is a pretentious magazine." In 1999, "The Wire" was mocked in "The Rock Critical List", an anonymous zine distributed to newspapers and magazines that ridiculed a number of music journalists, critics and editors. The writer of "The Rock Critical List" had this to say about "The Wire":  Others within the avant-garde music scene have also criticised "The Wire". For example Ben Watson, who has contributed to "The Wire" himself, critiqued the magazine's editorial approach to covering noise music. In Watson's view, the magazine has had a tendency to treat noise musicians' work as "so worthy, alternative and dis-corporate" that virtually all of it must be inherently meritorious. This tendency results in an institutional reluctance to distinguish between good noise music and mere noise, along with an excess of positive, yet shallow, reviews. Rather than delving deeper into the genre's radical political dimensions, Watson argued, "The Wire" has instead curated its noise coverage based on superficial trends of underground fashionability; he suggested that the writing may sometimes provide "a clue as to how some new crew of hopeless hairy Stateside noisemaker muffins have been selected: 'Thurston says they're okay...'." The magazine's writing on noise came to rely on a style of "descriptive objectivity" that studiously avoids any actual evaluation of quality; as Watson wrote,  Watson also recalled bristling at Herrington's suggestion to "think niche" when writing for the magazine, which he took as a anti-universalist and commercially motivated attitude.  In a 2007 interview, Herrington addressed the magazine's reputation for pondering music that he joked might "sound like a steamroller running over a broken fax machine", saying: "Most people would take the mickey out of some bloke making music by bowing away at the femur of a mountain goat, but we'll give them the benefit of the doubt."

Books.

There are multiple books based on material first published in "The Wire". "Invisible Jukebox"(1998), published by Quartet Books, collected entries from the recurring feature of the same name. For these features, an interviewer plays several pieces of music for a musician without identifying them, usually selecting tracks that the musician would be expected to know. The musician is challenged to guess the artist and title, as well as to comment on the music. "Undercurrents: The Hidden Wiring of Modern Music"(2002) was published by Continuum as part of the magazine's 20th anniversary; it collected a mix of new and previously published essays about important but overlooked developments in the history of modern music. "The Wire Primers"(2009), out on Verso, collected 19 essays that give introductions to various genres and artists. "Savage Pencil Presents Trip or Squeek's Big Amplifier"(2012) collected Savage Pencil cartoons from the preceding twelve years. Most recently, "Epiphanies: Life-changing Encounters With Music"(2015) anthologized essays from a recurring guest column about musical experiences that made a profound impact on the writer.

The Wire (or simply Wire) is a British music magazine publishing out of London, which has been issued monthly in print since 1982. Its website launched in 1997, and an online archive of its entire back catalog became available to subscribers in 2013. Since 1985, the magazine's annual year-in-review issue, Rewind, has named an album or release of the year based on critics' ballots.

The Wire ou plus simplement Wire, sous-titré "The Wire Adventures In Modern Music", est un magazine britannique consacré à la musique d'avant-garde, fondé en 1982 par le promoteur de jazz Anthony Wood et le journaliste Chrissie Murray. C'est dans ce magazine que le groupe de designers Non-format fait ses premiers pas dans le design de magazine.


Nomenclature.

"υ Scorpii" (Latinised to "Upsilon Scorpii") is the star's Bayer designation.  It bore the traditional name "Lesath" (alternatively spelled "Leschath", "Lesuth"), from the Arabic "las'a" "pass (or bite) of a poisonous animal"; but this is a miscorrection by Scaliger (a European astronomer who knew Arabic) for earlier "Alascha", which came from Arabic "al laţkha" "the foggy patch", referring to the nearby open cluster M7. In 2016, the International Astronomical Union organized a Working Group on Star Names (WGSN) to catalogue and standardize proper names for stars. The WGSN approved the name "Lesath" for this star on 21 August 2016 and it is now so included in the List of IAU-approved Star Names.  Together with Lambda Scorpii (Shaula), Lesath is listed in the Babylonian compendium MUL.APIN as Sharur u Shargaz, meaning "Sharur and Shargaz". In Coptic, they were called "Minamref" The indigenous Boorong people of northwestern Victoria named it as "Karik Karik" (together with Lambda Scorpii), "the Falcons"  In Chinese, (), meaning "Tail", refers to an asterism consisting of Upsilon, Mu, Epsilon, Zeta, Zeta, Eta, Theta, Iota, Iota, Kappa, and Lambda Scorpii. Consequently, the Chinese name for Upsilon Scorpii itself is (), "the Ninth Star of Tail".

Namesake.

USS Lesuth (AK-125) was a United States Navy Crater class cargo ship named after the star.

Properties.

This star has apparent magnitude +2.7 and belongs to spectral class B2 IV, with the luminosity class of 'IV' indicating it is a subgiant star. The star's luminosity is 12,300 times that of the Sun, while its surface temperature is 22,831 kelvins. The star has a radius of 6.1 times solar and 11 times the mass of the Sun.

Upsilon Scorpii (υ Scorpii, abbreviated Upsilon Sco, υ Sco), formally named Lesath, is a star located in the "stinger" of the southern zodiac constellation of Scorpius, the scorpion. Based on parallax measurements obtained during the Hipparcos mission, it is approximately 580 light-years from the Sun. On the night sky it lies near the 1.6 magnitude star Lambda Scorpii, and the two form an optical pair that is sometimes called the "Cat's Eyes".

Upsilon Scorpii (υ Sco / υ Scorpii) est une étoile de la constellation du Scorpion. Elle porte également le nom traditionnel Lesath (orthographié également Leschath ou Lesuth), de l'arabe "las'a" = "morsure d'un animal venimeux" ; il s'agit d'une correction erronée de Scaliger (un astronome européen qui connaissait l'arabe) du nom plus ancien "Alascha", qui venait de l'arabe "al laţkha" = "la tache brumeuse", en référence à l'amas ouvert proche M7.


Ancient Rome.

According to tradition, Servius Tullius, sixth king of Rome, first divided the city into "regiones", numbering four. During administrative reorganization after the Roman Republic collapsed, the first emperor Augustus created the 14 "regiones" of Rome that were to remain in effect throughout the Imperial era, as attested by the 4th-century "Cataloghi regionari", that name them and provide data for each. All but "Transtiberim" (the modern Trastevere) were on the left bank of the river Tiber. The regions were:

Middle Ages.

After the fall of the Western Roman Empire and the decline of Rome, the population decreased and the division into "regiones" was lost. During the 12th century a division in 12 parts started being used, though not officially, but simply by the common use of the people. Even if the areas were different from the ancient ones, they still used the same name: "regio" in Latin and "rione" in the vulgar language.  The limits of the rioni became more definitive and official in the 13th century: their number increased to 13 and it remained the same until the 16th century. In this period, anyway, the limits were quite uncertain. The "rione" was not a political entity, but only an administrative one. The chief of a "rione" was the "Caporione".

Modern ages.

During the Renaissance there was a deep reorganization and expansion of the city, so it became necessary to delimit the rioni exactly.  In 1586 Sixtus V added to the 13 rioni another one: Borgo, which before had been administered separately from the city. This situation, thanks to the low population increase, did not change until the 19th century.  In 1744 Pope Benedict XIV, because of frequent misunderstanding, decided to replan the administrative division of Rome, giving the responsibility of it to Count Bernardini. The marble plates defining the borders of each rione, many of which still exist, were installed in that year on the facades of houses lying at each rione's border.  In 1798, during the Roman Republic, there was a rationalization of the administrative division of the city creating 12 rioni (with the modern rione in parentheses):  Soon after this, during the domination of Napoleon, Rome was split up in 8 parts, now called "Giustizie" (meaning "justices" in Italian):  So the smaller rioni were united to the large ones. At this time the French affixed in each street a plate with its name and the areas it belonged to.

Today.

After Napoleon lost his power there were no significant changes in the organization of the city until Rome became the capital of the newborn Italy. The needs of the new capital caused a great urbanization and an increase of the population, both within the Aurelian walls and outside them. In 1874 the rioni became 15, with the addition of Esquilino, created by taking a portion from Monti. At the beginning of the 20th century some rioni started being split up and the first parts outside the Aurelian walls started being considered part of the city.  In 1921 the number of the rioni increased to 22. Prati was the last rione to be established and the only one outside the walls of Urbanus VIII.  The latest reform, which is still mostly valid, was made in 1972: Rome was divided in 20 "circoscrizioni" (later renamed "municipi", one of which became later the independent municipality of Fiumicino) and 20 rioni (which together form the "Centro Storico") constituted the first one, Municipio I. The two remaining, "Borgo" and "Prati", belonged to Municipio XVII until 2013. Since then they belong with the rest of the rioni as part of Municipio I.  The complete list of the modern rioni, in order of number, is the following:

A rione of Rome (, pl. "rioni") is a traditional administrative division of the city of Rome. "Rione" is an Italian term used since the 14th century to name a district of a town. The term was born in Rome, originating from the administrative divisions of the city. The word comes from the Latin word "regio" (pl. "regiones", meaning region); during the Middle Ages the Latin word became "rejones", from which "rione" comes. Currently, all the rioni are located in Municipio I of Rome.

Le terme (prononcer ; au pluriel ), dérivé du mot latin ("région"), est utilisé depuis le Moyen Âge pour nommer les quartiers du centre historique de Rome, selon une subdivision plusieurs fois modifiée au cours des siècles. Dans certains cas le terme est employé pour désigner des quartiers d'autres villes italiennes (par exemple le Rione Sanità de Naples).


Rise to power.

Godwin's father was probably Wulfnoth Cild, who was a thegn of Sussex. His origin is unknown but 'Cild' normally refers to a man of rank. In 1009 Wulfnoth was accused of unknown crimes at a muster of Æthelred the Unready's fleet and fled with twenty ships; the ships sent to pursue him were destroyed in a storm. Godwin was probably an adherent of Æthelred's eldest son, Æthelstan, who left him an estate when he died in 1014. This estate in Compton, Sussex, had once belonged to Godwin's father. Although he is now always thought of as connected with Wessex, Godwin had probably been raised in Sussex, not Wessex and was probably a native of Sussex.  After Cnut seized the throne in 1016, Godwin's rise was rapid. By 1018 he was an earl, probably of eastern Wessex, and then by around 1020 of all Wessex. Between 1019 and 1023 he accompanied Cnut on an expedition to Denmark, where he distinguished himself, and shortly afterwards married Gytha, the sister of the Danish earl, Ulf, who was married to Cnut's sister, Estrid.

Height of power: support of Harold.

On 12 November 1035, Cnut died. His kingdoms were divided among three rival rulers. Harold Harefoot, Cnut's illegitimate son with Ælfgifu of Northampton, seized the throne of England. Harthacnut, Cnut's legitimate son with Emma of Normandy, reigned in Denmark. Norway rebelled under Magnus the Noble. In 1035, the throne of England was reportedly claimed by Alfred Ætheling, younger son of Emma of Normandy and Æthelred the Unready, and half-brother of Harthacnut. Godwin is reported to have either captured Alfred himself or to have deceived him by pretending to be his ally and then surrendering him to the forces of Harold Harefoot. Either way Alfred was blinded and soon died at Ely. According to the contemporary Abingdon manuscript of the "Anglo-Saxon Chronicle", Godwin had Alfred's retainers executed, blinded, maimed, and scalped: "no more horrible deed was done in this country since the Danes came and made peace here".  In 1040, Harold Harefoot died and Godwin supported the accession of his half-brother Harthacnut to the throne of England. When Harthacnut himself died in 1042 Godwin supported the claim of Æthelred's last surviving son Edward the Confessor to the throne. Edward had spent most of the previous thirty years in Normandy. His reign restored the native royal house of Wessex to the throne of England.

Later conflicts, decline, and death.

Despite his alleged responsibility for the death of Edward's brother Alfred, Godwin secured the marriage of his daughter Edith (Eadgyth) to Edward in 1045. As Edward drew advisors, nobles and priests from his former place of refuge in a bid to develop his own power base, Godwin soon became the leader of opposition to growing Norman influence. After a violent clash between the people of Dover and the visiting Eustace II, Count of Boulogne, Edward's father-in-law, Godwin was ordered to punish the people of Dover (as he and Leofric, Earl of Mercia had done in Worcester, in Leofric's own earldom). This time, however, Godwin refused, choosing to champion his own countrymen against a (visiting) foreign ruler and his own king. Edward saw this as a test of power, and managed to enlist the support of Siward, Earl of Northumbria and Earl Leofric. Godwin and his sons were exiled from the kingdom in September 1051. Godwin, along with his wife Gytha and sons Sweyn, Tostig and Gyrth sought refuge in Flanders, while his sons Leofwine and Harold fled to Dublin, where they gained the shelter and help of Diarmait mac Máel na mBó, King of Leinster. They all returned to England the following year with armed forces, gaining the support of the navy, burghers, and peasants, so compelling Edward to restore his earldom. This however set a precedent to be followed by a rival earl some years later, and then by Godwin's own son, Tostig, in 1066.  On 15 April 1053 Godwin died suddenly, after collapsing during a royal banquet at Winchester. According to one colourful account by the 12th-century writer Aelred of Rievaulx, Godwin tried to disclaim responsibility for Alfred Ætheling's death with the words "May this crust which I hold in my hand pass through my throat and leave me unharmed to show that I was guiltless of treason towards you, and that I was innocent of your brother's death!". He swallowed the crust, but it stuck in his throat and killed him. However, this appears to be no more than Norman propaganda, contemporary accounts indicating that he just had a sudden illness, possibly a stroke. According to the Abingdon version of the "Anglo-Saxon Chronicle", under the year 1053: "On Easter Monday, as he was sitting with the king at a meal he suddenly sank towards the footstool bereft of speech, and deprived of all his strength. Then he was carried to the king's private room and they thought it was about to pass off. But it was not so. On the contrary, he continued like this without speech or strength right on to the Thursday, and then departed this life."  His son Harold succeeded him as Earl of Wessex, an area then covering roughly the southernmost third of England. With the death of Earl Siward (1055) and later Earl Ælfgar (1062), the children of Godwin were poised to assume sole control. Tostig was helped into the earldom of Northumbria, thus controlling the north. The Mercian earl was sidelined, especially after Harold and Tostig broke the Welsh-Mercian alliance in 1063. Harold later succeeded Edward the Confessor and became King of England in his own right in 1066. At this point, both Harold's remaining brothers in England were earls in their own right, Harold was himself king and in control of Wessex, and he had married the sister of Earl Edwin of Mercia and Morcar, Earl of Northumbria (who had replaced Tostig). Godwin's family looked set to inaugurate a new royal dynasty, but instead Harold was overthrown and killed in the Norman Conquest.

Legacy.

It is sometimes claimed that the Goodwin Sands off the coast of Deal in Kent owe their name to Earl Godwin; that they were once an island owned by him, but that the sea washed the island away in 1097. However, no such island is mentioned in Domesday Book, which was compiled in 1085-86, nor is there any geological evidence for its existence, and "Goodwin" has been alternatively explained as an ironic name for a dangerous shoal, deriving from the Old English for "good friend".  Godwin has been portrayed by Torin Thatcher in the film "Lady Godiva of Coventry" (1955), by Norman Rodway in the BBC TV series "Churchill's People" (1974–75), and by Bill Wallis in an episode of the British educational TV series "Historyonics" entitled "1066" (2004). Godwin is also the lead character of Justin Hill's novel, "Shieldwall" (2011).

Godwin of Wessex (; died 15 April 1053) became one of the most powerful earls in England under the Danish king Cnut the Great (King of England from 1016 to 1035) and his successors. Cnut made Godwin the first Earl of Wessex (). Godwin was the father of King Harold Godwinson () and of Edith of Wessex, who married in 1045 King Edward the Confessor ().

Godwin de Wessex, également "Godwine", "Goodwin", "Godwyn" ou "Goodwyn" (mort le à Winchester) est un noble anglo-saxon. Il devient le deuxième personnage le plus puissant du royaume d'Angleterre après le roi sous le règne d'Édouard le Confesseur.