Deep Throat is the pseudonym given to the secret informant who provided information in 1972 to Bob Woodward, who shared it with Carl Bernstein. Woodward and Bernstein were reporters for The Washington Post, and Deep Throat provided key details about the involvement of U.S. president Richard Nixon's administration in what came to be known as the Watergate scandal. In 2005, 31 years after Nixon's resignation and 11 years after Nixon's death, a family attorney stated that former Federal Bureau of Investigation (FBI) Associate Director Mark Felt was Deep Throat. By then, Felt was suffering from dementia and had previously denied being Deep Throat, but Woodward and Bernstein then confirmed the attorney's claim.

Background
Deep Throat was first introduced to the public in the February 1974 book All the President's Men by The Washington Post reporters Bob Woodward and Carl Bernstein. According to the authors, Deep Throat was a key source of information behind a series of articles that introduced the misdeeds of the Nixon administration to the general public. The scandal eventually led to the resignation of President Nixon, as well as to prison terms for White House Chief of Staff H. R. Haldeman, G. Gordon Liddy, Egil Krogh, White House Counsel Charles Colson, former United States Attorney General John N. Mitchell, former White House Counsel John Dean, and presidential adviser John Ehrlichman. The film based on the book was released two years later; nominated for eight Academy Awards, it won four.

Howard Simons was the managing editor of the Post during Watergate. He dubbed the secret informant "Deep Throat", alluding to both the deep background status of his information and the widely publicized 1972 pornographic film Deep Throat. For more than 30 years, Deep Throat's identity was one of the biggest mysteries of American politics and journalism and the source of much public curiosity and speculation. Woodward and Bernstein insisted that they would not reveal his identity until he died or consented to reveal it. J. Anthony Lukas speculated that Deep Throat was W. Mark Felt in his book Nightmare: The Underside of the Nixon Years (1976), based on three New York Times Sunday Magazine articles, but he was widely criticized. According to an article in Slate on April 28, 2003, Woodward had denied that Deep Throat was part of the "intelligence community" in a 1989 Playboy interview with Lukas.

On May 31, 2005, Vanity Fair revealed that Felt was Deep Throat in an article on its website by John D. O'Connor, an attorney acting on Felt's behalf. Felt reportedly said, "I'm the guy they used to call Deep Throat." After the Vanity Fair story broke, Woodward, Bernstein, and Benjamin C. Bradlee, the Posts executive editor during Watergate, confirmed Felt's identity as Deep Throat. L. Patrick Gray, former acting Director of the FBI and Felt's overseer, disputed Felt's claim in his book In Nixon's Web, co-written with his son Ed. Gray and others have argued that Deep Throat was a compilation of sources characterized as one person to improve sales of the book and movie. Woodward and Bernstein, however, defended Felt's claims and detailed their relationship with him in Woodward's book The Secret Man: The Story of Watergate's Deep Throat.

Role in the Watergate scandal

On June 17, 1972, police arrested five men inside the offices of the Democratic National Committee in the Watergate Complex in Washington, D.C. In their possession were $2,300 (equivalent to $ today), plastic gloves to hide fingerprints, burglary tools, a walkie-talkie and radio scanner capable of listening to police frequencies, cameras with 40 rolls of film, tear gas guns, multiple electronic devices which they intended to plant in the Democratic Committee offices, and notebooks containing the telephone number of White House official E. Howard Hunt. One of the men was James W. McCord Jr.; a former Central Intelligence Agency employee and a security man for Nixon's Committee for the Re-Election of the President, later notoriously mocked with the acronym "CREEP".

Washington Post reporters Carl Bernstein and Bob Woodward pursued the story for two years. The scandal eventually implicated many members of Nixon's White House, culminating in Nixon becoming the first United States president to resign. Woodward and Bernstein wrote in All the President's Men that key information in their investigation had come from an anonymous informant whom they dubbed "Deep Throat".

Methods of communication
Woodward, in All the President's Men, first mentions "Deep Throat" on page 71. Earlier in the book, he reports calling "an old friend and sometimes source who worked for the federal government and did not like to be called at his office". Later, he describes him as "a source in the Executive Branch who had access to information at CRP as well as at the White House". The book also calls him "an incurable gossip" and states "in a unique position to observe the Executive Branch", and as a man "whose fight had been worn out in too many battles".

Woodward claimed that he would signal to "Deep Throat" that he desired a meeting by moving a flowerpot with a red flag on the balcony of his apartment. When "Deep Throat" wanted a meeting, he would make special marks on page 20 of Woodward's copy of The New York Times; he would circle the page number and draw clock hands to indicate the hour. They often met "on the bottom level of an underground garage just over the Key Bridge in Rosslyn", at 2:00 a.m. The garage is located at 1401 Wilson Boulevard and has a historical marker that was erected in 2011. In 2014, the garage was scheduled to be demolished, though the county decided to save the historical marker, and the landowner promised to design a memorial commemorating the Watergate scandal. , the garage had not been demolished.

Many were skeptical of these cloak and dagger methods. Adrian Havill investigated these claims for his 1993 biography of Woodward and Bernstein and found them to be factually impossible. He noted that Woodward's apartment 617 at 1718 P Street, Northwest, in Washington faced an interior courtyard and was not visible from the street. Havill said that anyone regularly checking the balcony, as "Deep Throat" was said to have done daily, would have been spotted. Havill also said that copies of The New York Times were not delivered to individual apartments but delivered in an unaddressed stack to the building's reception desk. There would have been no way to know which copy was intended for Woodward. Woodward, however, has stated that in the early 1970s the interior courtyard was an alleyway and had not yet been bricked off and that his balcony was visible from street level to passing pedestrians. It was also visible, Woodward conjectured, to anyone from the FBI in surveillance of nearby embassies. Also revealed was the fact that Woodward's copy of The New York Times had his apartment number indicated on it. Former neighbor Herman Knippenberg stated that Woodward would sometimes come to his door looking for his marked copy of the Times, claiming, "I like to have it in mint condition and I like to have my own copy."

Further, while Woodward stressed these precautions in his book, he also admits to having called "Deep Throat" on the telephone at his home. Felt's wife recalls answering Woodward's telephone calls for Felt.

Controversy over motives
In public statements following the disclosure of his identity, Felt's family called him an "American hero", stating that he leaked information about the Watergate scandal to The Washington Post for moral and patriotic reasons. Other commentators, however, have speculated that Felt may have had more personal reasons for leaking information to Woodward.

In his book The Secret Man, Woodward describes Felt as a loyalist to and admirer of J. Edgar Hoover. After Hoover's death, Felt became angry and disgusted when L. Patrick Gray, a career naval officer and lawyer from the Civil Division of the Department of Justice, had no law enforcement experience and was appointed as Director of the FBI over Felt, a 30-year veteran of the FBI. Felt was particularly unhappy with Gray's management style at the FBI, which was markedly different from Hoover's. Felt aided Woodward and Bernstein because he knew Woodward personally, having met him years before when Woodward was in the navy. Over the course of their acquaintance, Woodward would often call Felt for advice. Instead of seeking out prosecutors at the Justice Department, or the House Judiciary Committee charged with investigating presidential wrongdoing, Felt was methodically solicited by Woodward to guide their investigation while keeping his own identity and involvement safely concealed.

Some conservatives who worked for Nixon, such as Pat Buchanan and G. Gordon Liddy, castigated Felt and asserted their belief that Nixon was unfairly hounded from office, often claiming it a "witch hunt".

Speculation concerning Mark Felt

Speculation within the White House
Although Deep Throat's identity was unconfirmed for over 30 years, there were suspicions that Felt was indeed the reporters' mysterious source long before the public acknowledgment in 2005. In 2012's Leak: Why Mark Felt Became Deep Throat, Max Holland reports that Felt leaked information to The Washington Post and Time. While the Post reporters did not reveal their source, Time correspondent Sandy Smith told Times lawyer, Roswell Gilpatric, a partner of Cravath, Swaine & Moore. Gilpatric then passed the information to Henry E. Peterson, the Assistant Attorney General in the Department of Criminal Justice. In turn, Peterson revealed the information to White House Counsel John W. Dean, who finally reported it to President Richard Nixon.

Nixon did not publicly acknowledge learning Deep Throat's identity. Nixon claimed that if he had done so, Felt would have publicly revealed information that would damage the FBI, as well as other powerful people and institutions. In the "smoking gun" tape, Nixon's chief of staff, H. R. Haldeman, stated that Felt "knows everything there is to know in the FBI." Haldeman implied that Nixon's motives for not outing Felt were not entirely altruistic, especially because Nixon himself may have been damaged by Felt's revelations.

Speculation in the press and the public
It had previously been revealed publicly that Deep Throat was definitely a man. Using this and other widespread clues, real or perceived, some members of the press and the public came to suspect Felt of being Deep Throat. For instance, George V. Higgins wrote in 1975: "Mark Felt knows more reporters than most reporters do, and there are some who think he had a Washington Post alias borrowed from a dirty movie." However, Woodward and Bernstein were tight-lipped concerning their informant's identity. Before Felt was revealed to be Deep Throat, only Woodward, Bernstein, Elsa Walsh and Ben Bradlee knew of his identity. Writer Nora Ephron became obsessed with figuring out the secret of Deep Throat's identity and eventually correctly concluded that he was Mark Felt.

In 1999, a 19-year-old college student, Chase Culeman-Beckman, claimed that Bernstein's son, Jacob, told him Mark Felt was Deep Throat. According to Culeman-Beckman, Jacob Bernstein had said that he was, "100 percent sure that Deep Throat was Mark Felt. He's someone in the FBI." Jacob reportedly made this claim approximately 11 years prior, when he and Culeman-Beckman were classmates. Ephron explained that Jacob overheard her "speculations"; Carl Bernstein himself also immediately stepped forward to reject the claim, as he and Woodward did for many others. James Mann, who had worked at the Post at the time of Watergate scandal and was close to the investigation, brought a great deal of evidence together in a 1992 article in The Atlantic Monthly. Mann recalled that before the Watergate scandal, Woodward had made references to a high-placed source he had in the FBI. Mann argued that the information that Deep Throat gave Woodward could only have come from FBI files. Felt was also embittered at having been passed over for director of the FBI and believed that the FBI, in general, was hostile to the Nixon administration. In previous unrelated articles, Woodward made clear he had a highly placed source at the FBI, and there is some evidence he was friends with Felt.

Woodward kept in close touch with Felt over the years, even showing up unexpectedly at the house where he was staying with his daughter, Joan, in Santa Rosa, California in 1999 after Felt's dementia began. Some suspected at that time that Woodward might have asked Felt to reveal his identity, though Felt, when asked directly by others, had consistently denied being Deep Throat. In 2002, Timothy Noah called Felt "the best guess going about the identity of Deep Throat". In 1976, Assistant Attorney General John Stanley Pottinger had convened a grand jury to investigate a series of potentially illegal break-ins Felt authorized against various dissident groups. Felt was testifying before the jury when a juror asked him, out of the blue, "Were you Deep Throat?" Pottinger reports that Felt, "went white with fear". Pottinger explained to Felt that he was under oath and would have to answer truthfully. However, since Pottinger felt the question was outside the purview of the investigation, he offered to withdraw it if Felt wished.

According to author Ronald Kessler's book The Bureau: The Secret History of the FBI, Felt's daughter Joan, who was caring for her father, told Kessler in an interview for his book in August 2001 that back in the summer of 1999, Woodward showed up unexpectedly at their Santa Rosa home and took Felt to lunch. Joan told Kessler that she recalled her father greeting Woodward like an old friend. Their meeting appeared to be more of a celebration than an interview. "Woodward just showed up at the door and said he was in the area," Joan Felt was quoted as saying in Kessler's book, which was published in 2002. "He came in a white limousine, which parked at a schoolyard about ten blocks away. He walked to the house. He asked if it was okay to have a martini with my father at lunch, and I said it would be fine."

Kessler said in his book that while Felt denied to him that he was Deep Throat, the measures Woodward took to conceal his meeting with Felt lent "credence" to the notion that Felt was Deep Throat. Woodward confirmed that Felt was Deep Throat in 2005. "There are plenty of people claiming they knew Deep Throat was actually former FBI man Mark Felt ..." the New York Post reported. "On May 3, 2002, PAGE SIX reported that Ronald Kessler, author of The Bureau: The Secret History of the FBI, says that all the evidence points to former top FBI official W. Mark Felt."

In February 2005, Nixon's former White House Counsel, news columnist John Dean, reported that Woodward had recently informed Bradlee that "Deep Throat" was ailing and Bradlee had written Deep Throat's obituary. Both Woodward and the then-current editor of The Washington Post, Leonard Downie, denied these claims. Felt was a suspect for Deep Throat, especially after the mysterious meeting that occurred between Woodward and Felt in the summer of 1999. But others had received more attention over the years, such as Pat Buchanan, Henry Kissinger, then-Associate Justice William Rehnquist, General Alexander Haig, and, before "Deep Throat" was confirmed a man, Diane Sawyer.

Felt's confirmation of his identity
On May 31, 2005, Vanity Fair reported that Felt, then aged 91, claimed to be the man once known as "Deep Throat". Later that day, Woodward, Bernstein, and Bradlee released a statement through The Washington Post confirming that the story was true. On June 2, 2005, The Washington Post ran a lengthy front-page column by Woodward in which he detailed his friendship with Felt in the years before Watergate. Woodward wrote that he first met Felt by chance in 1970 when Woodward was a Navy lieutenant in his mid-20s. Woodward was dispatched to deliver a package to the White House's West Wing. Felt arrived soon after for a separate appointment and sat next to Woodward in the waiting room. Woodward struck up a conversation and eventually learned of Felt's position in the upper echelon of the FBI. Woodward, who was about to exit the Navy at the time and was unsure about his future direction in life, became determined to use Felt as a mentor and career advisor. Therefore, he asked for Felt's phone number and kept in touch with him.

After deciding to try a career as a reporter, Woodward eventually joined The Washington Post in August 1971. Felt, who had long had a dim view of the Nixon administration, began passing pieces of information to Woodward, although he insisted that Woodward keep the FBI and Justice Department out of anything he wrote based on the information. The first time Woodward used information from Felt in a Washington Post story was in mid-May 1972, a month before the Watergate burglary, when Woodward was reporting on Arthur Bremer, who had attempted to assassinate presidential candidate George C. Wallace. Nixon had put Felt in charge of investigating the would-be assassin. A month later, just days after the Watergate break-in, Woodward called Felt at his office, which marked the first time Woodward spoke with Felt about Watergate.

Commenting on Felt's motivations for serving as Deep Throat, Woodward wrote, "Felt believed he was protecting the bureau by finding a way, clandestine as it was, to push some of the information from the FBI interviews and files out to the public, to help build public and political pressure to make Nixon and his people answerable. He had nothing but contempt for the Nixon White House and their efforts to manipulate the Bureau for political reasons."

Composite character theory
Prior to Felt's revelation and Woodward's confirmation, part of the reason historians and other scholars had so much difficulty in identifying the real Deep Throat is that no single person seemed to truly fit the character described in All the President's Men. This had caused some scholars and commentators to come to the conclusion that Deep Throat could not possibly be a single person, and must be a composite of several sources. Woodward and Bernstein consistently denied the theory.

From a literary business perspective, this theory was further supported by David Obst, the agent who originally marketed the draft for All the President's Men, who stated that the initial typescript of the book contained absolutely no reference to Deep Throat. Obst believed that Deep Throat was invented by Woodward and Bernstein for dramatic purposes. It also led to speculation that the authors played at condensing history in the same way Hollywood scriptwriters do.

Ed Gray, the son of L. Patrick Gray III, stated in In Nixon's Web: A Year in the Crosshairs of Watergate that his examination of Woodward's interview notes pertaining to Deep Throat at the Harry Ransom Center at the University of Texas at Austin provided "convincing evidence that 'Deep Throat' was indeed a fabrication". According to Gray, the file contained notes regarding four interviews that were attributed to either Felt, "X", or "my friend", and a fifth interview dated March 24, 1973, that was unattributed. He said he discovered that he had already seen the paper in 2006 after Woodward released interview files with people who were not Deep Throat. Gray wrote that he contacted Stephen Mielke, the archivist who oversees the Woodward-Bernstein collection at the University of Texas, who said that a carbon copy of the paper contained a note in Woodward's handwriting attributing the interview to Donald Santarelli, an official with the Department of Justice during the Watergate era. Gray wrote that he contacted Santarelli who confirmed that the March 24 meeting was with him. Other interview notes attributed to "X" were interpreted by Gray as containing content that could not have been known by Felt.

Regarding Gray's allegations, Woodward wrote that the March 24 notes were obviously not from an interview with Felt because Felt is referred to by name twice in quotes from the source and that he never stated or wrote that he met with Deep Throat on that date. According to Woodward, Mielke said the page was likely misfiled under Felt due to a lack of source.

Other suspected candidates

Fred Fielding
Another leading candidate was White House Associate Counsel Fred F. Fielding. In April 2003 Fielding was presented as a potential candidate as a result of a detailed review of source material by William Gaines and his journalism students, as part of a class at the University of Illinois journalism school. Fielding was the assistant to John Dean and as such had access to the files relating to the affair. Gaines believed that statements by Woodward ruled out Deep Throat's being in the FBI and that Deep Throat often had information before the FBI did. H. R. Haldeman himself suspected Fielding as being Deep Throat.

Dean had been one of the most dedicated hunters of Deep Throat. Both he and Leonard Garment dismissed Fielding as a possibility, reporting that he had been cleared by Woodward in 1980 when Fielding was applying for an important position in the Reagan administration. However, this assertion, which comes from Fielding, has not been corroborated.

One reason that many experts believed that Deep Throat was Fielding and not Felt was due to Woodward's apparent denial in an interview that "Deep Throat" worked in the intelligence community:

 LUKAS: Do you resent the implication by some critics that your sources on Watergateamong them the fabled Deep Throatmay have been people in the intelligence community?

 WOODWARD: I resent it because it's untrue.

Other credible candidates
Any candidate who died before the Felt admission ceased to fit Woodward's criteria at that time since Woodward had stated that he was free to reveal Deep Throat's identity once the person had died.
 John Ehrlichman: Nixon advisor. Died in 1999.
 Ron Ziegler: press secretary. Died in 2003.
 William E. Colby: head of the CIA. Died in 1996.
 Charles W. Bates: FBI executive whom Mann mentioned but considered less likely than Felt.
 William C. Sullivan: former head of the FBI intelligence operations, fired by J. Edgar Hoover in 1971. Died in 1977.
 L. Patrick Gray: acting FBI director who lived only four blocks away from Woodward, accused by a CBS documentary. Died in 2005.
 Robert Kunkel: FBI Washington Bureau Chief whom Mann considered less likely than Felt, as he moved to St. Louis partway through the investigation.
 Cord Meyer: CIA agent suggested in Mark Riebling's Wedge: The Secret War between the FBI and CIA. However, Woodward stated that "Deep Throat" was not part of the intelligence community. Died in 2001.
 Raymond Price: Nixon speechwriter.
 Secret Service technicians: Richard Cohen argued it was whoever in the Secret Service maintained Nixon's secret taping devices.
 Richard Ober, the chief of the CIA's domestic spying program called Operation CHAOS.

Less credible candidates
 William Rehnquist: He had a position in the Department of Justice early in the Nixon administration, working for Attorney General John N. Mitchell. More than five months before the Watergate break-in, he was appointed as the Associate Justice of the Supreme Court and it would have been almost impossible for him to have had access to much of the information attributed to "Deep Throat". In February 2005, Dean reported that "Deep Throat" was ailing, and Rehnquist, now the Chief Justice, was known to be suffering from cancer, which caused his death later that year. The report caused a resurgence of speculation that Rehnquist was "Deep Throat". However, Woodward later stated that the notion that "Deep Throat" was ailing had been a misunderstanding.
 Henry Kissinger: Nixon's National Security Advisor and Secretary of State, was out of the country on some of the dates Woodward reported to have met with "Deep Throat".
 George H. W. Bush: In 1972, Bush was the United States Ambassador to the United Nations. He was nominated in February 2005 by Adrian Havillauthor of a 1993 biography of Woodward and Bernstein, Deep Truth () – following the unveiling of Woodward's notes at the University of Texas. Havill had argued in his biography that "Deep Throat" was a composite figure, but stated in a letter to Poynter Online that based on more recent events and research, he now believed "Deep Throat" was George H. W. Bush.
 General Alexander Haig: Authors Len Colodny and Robert Gettlin speculated in their 1991 book Silent Coup: The Removal of a President that Haig may have been "Deep Throat". Died in 2010.
 Diane Sawyer: She was hired by White House press secretary Ron Ziegler to serve in the Nixon administration. On his deathbed, Nixon supporter Baruch Korff wrongly claimed that Sawyer was Deep Throat.
 Ben Stein: A Nixon speechwriter and the son of Nixon economic advisor Herbert Stein; later an actor, political commentator, and game show host.
 Gerald Ford: Suggestion that Ford may have been Deep Throat as he was next in line for the presidency, although in 1972 he was still the House Minority Leader and yet to become vice president.
 Pat Buchanan: Served as special assistant to the president, was nominated as a potential candidate by Dean in his June 2002 book Unmasking Deep Throat. Buchanan repeatedly denied the claim, stating in a Time magazine article on the 30th anniversary of the Watergate break-in that "The last time I cooperated with The Washington Post...was in 1952, when I was a paperboy delivering the damn thing in Northwest Washington." Buchanan was very interested in the mystery, however, and had a number of theories. He was most sympathetic to the idea of a composite Deep Throat.
 Richard Nixon himself: There was some suggestion that Nixon had used back-channels to communicate with Woodward in a bizarre attempt to showcase his persecution by the media which backfired horrifically. This theory was largely discredited.
 J. Fred Buzhardt: White House counsel to President Nixon.
 G. Gordon Liddy: Member of the White House Plumbers. Largely dismissed.

In popular culture
 Hal Holbrook portrayed Deep Throat in the film adaptation of All the President's Men (1976), in which he uttered the catchphrase, "Follow the money" (which was not referred to in the book).
 In the video game Metal Gear Solid (1998) the character Grey Fox uses the codename "Deepthroat" in reference to Watergate to provide advice to the main character Solid Snake.
 In the comedy film Dick (1999), Deep Throat is revealed as being two teenage Washingtonian girls who worked as Nixon's dog walkers.
 In the spy thriller film Mark Felt: The Man Who Brought Down the White House (2017), Liam Neeson portrays Mark Felt.
 In the coming-of-age supernatural comedy horror television series Wednesday (2022), Episode 6, Jenna Ortega portrays the character Wednesday Addams and makes the remark "Seems like our wannabe Deep Throat is already here."
 In the comedy film Dazed and Confused, Mike and Tony are jokingly referred to as "Woodward and Bernstein", prompting Mike to retort "I guess that makes you Deep Throat".
In The X-Files, Fox Mulder uses some of the same techniques as Woodward to communicate with a government informant nicknamed "Deep Throat".  It is left unclear if this character is supposed to be the same as the Watergate informant.

References

External links
 Ann Coulter (June 8, 2005), "Woodward does Washington".
 "In the Prelude to Publication, Intrigue Worthy of Deep Throat", a June 2, 2005 article from The New York Times
 Special Reports page on Deep Throat from The Washington Post
 Former FBI agent says 3 FBI officials helped W. Mark Felt leak information about Watergate probe to the press, a June 5, 2005 article from the Albany Times-Union

American whistleblowers
Sources (journalism)
Watergate scandal
Secrecy

Deep Throat (Watergate)


La drève des Brûlés (en néerlandais : Verbrandendreef) est une drève sans issue bruxelloise de la commune de Woluwe-Saint-Pierre, accès par un rond-point face à la rue au Bois sur une longueur totale de . Un chemin piétonnier permet de traverser l'avenue de Tervueren et atteindre la Forêt de Soignes. Le chemin passe en forêt depuis la voie carrossable sur une distance de .

Historique et description

Situation et accès

Inventaire régional des biens remarquables

Voir aussi
 Liste des rues de Woluwe-Saint-Pierre

Liens externes
 Commune de Woluwe-Saint-Pierre

Notes et références

 La Chanson des rues de Woluwe-Saint-Pierre de Jean Francis. Louis Musin Éditeur – Bruxelles 1975

Drève à Woluwe-Saint-Pierre

Drève des Brûlés


John Baptist Kaggwa (Bulenga, distrito de Wakiso, Kampala, Buganda, Uganda, 23 de março de 1943 - Mulago, Kampala, Buganda, Uganda, 20 de janeiro de 2021) foi um ministro de Uganda e bispo católico romano de Masaka.

John Baptist Kaggwa frequentou a Escola Primária Lubaga Boys de 1952 a 1957 e depois o Seminário Menor de Kisubi. Depois, Kaggwa estudou filosofia e teologia católica no seminário de Katigondo e, a partir de 1965, na Pontifícia Universidade Urbaniana de Roma. Foi ordenado diácono em maio de 1970 e recebeu o Sacramento da Ordem em 12 de dezembro de 1971 em Roma.

Depois de receber seu doutorado na Pontifícia Universidade Urbaniana, Kaggwa foi vice-reitor do Pontificio Collegio Missionario Internazionale San Paolo em Roma por cinco anos. Ele então voltou para sua terra natal e tornou-se Regens do seminário de St. Mbaaga em Ggaba.

Em 19 de dezembro de 1994, o Papa João Paulo II o nomeou Bispo Coadjutor de Masaka. O Bispo de Masaka, Adrian Kivumbi Ddungu, o consagrou em 24 de junho de 1995; Os co-consagradores foram o Arcebispo de Kampala, Cardeal Emmanuel Wamala, e o Bispo de Fort Portal, Paul Lokiru Kalanda.

Em 10 de janeiro de 1998, John Baptist Kaggwa tornou-se bispo de Masaka, sucedendo Adrian Kivumbi Ddungu, que renunciou por motivos de idade.

Em 16 de abril de 2019, o Papa Francisco aceitou a renúncia de John Baptist Kaggwa por motivos de idade.

John Baptist Kaggwa morreu após duas semanas de cuidados intensivos no Mulago National Specialized Hospital em Mulago aos 77 anos de idade após contrair SARS-CoV-2.

Ver também

Bispos católicos de Uganda

John Baptist Kaggwa


Matrix, Türkçeye "Matris" veya "Matriks" biçiminde geçmiş İngilizce kökenli bir sözcüktür. Şu anlamlara gelebilir:

 Matrix (film), bilimkurgu sinema filmi.
 Matris (matematik), matematikte çok boyutlu dizi.
 Hücrelerarası madde, mitokondrinin içinde bulunan sıvı.
 Matrix - iletişim protokolü.

Matrix


8535 Pellesvanslös este un asteroid din centura principală de asteroizi.

Descriere
8535 Pellesvanslös este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Observatorul La Silla de Claes-Ingvar Lagerkvist. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 3,15 ua, o excentricitate de 0,16 și o înclinație de 0,6° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 8001-9000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1993
Centura de asteroizi

8535 Pellesvanslös


Kolon veya sütun, taşıyıcı sistemde düşey yapı elemanlarına verilen isimdir. Yapıda dış ve iç etkilerden oluşan kuvvetleri (moment, kesme kuvveti vb.) temellere, dolayısı ile zemine aktarırlar. Boyutlandırılmaları gelen kuvvetlere göre yapılan hesaplamaların dışında; yönetmeliklerde malzeme cinsine göre belirtilen minimum boyutlardan küçük olamaz. Taş veya tuğla örülerek yapılan taşıyıcı ayaklara ise paye denmektedir.

Yapı tarihinin en başından beri yapıları ayakta tutmak için kullanılagelmiştir. İlk zamanlarda taş, ağaç gibi doğal malzemeler kolon yapımında kullanılmışsa da modern teknolojinin gelişmesi ile birlikte bir tür yapay bağlayıcı olan çimento ve iskeleti oluşturan çelikten imal edilmiş betonarme veya yalnızca çelikten kolonlar kullanılmaya başlanmıştır.

Kolonlar yapı sistemlerinde, genellikle kirişlerden gelen yükleri temele, dolayısı ile zemine aktarırlar. Kolonlarda oluşabilecek bir hasar, yapının göçmesine varabilecek kadar ağır hasarlara neden olabilmektedir.

Kolon tanımı genellikle yapısal elemanın, geometrik yerleşimiyle ilgili bir özelliğini çağrıştırsa da, betonarme davranışı açısından irdelendiğinde diğer tür elemanlardan (kiriş, döşeme, perde vb.) farklı bir mekanik davranışı ortaya koyar. Betonarme Yapıların Tasarım ve Kuralları (TS500-2000) isimli Türk Standardı'nda belirtildiği üzere (Bölüm 7.3) hesap eksenel basınç değeri  değerini aşmayan elemanlar eğilme elemanı olarak tasarlanırlar. Kirişler ve de döşemeler çoğunlukla bu tanıma uyarlar. Bu şartın dışındaki elemanlar ise, eksenel kuvvet seviyesinde bir üst sınır olmakla birlikte, eksenel kuvvet ve eğilmenin birlikte etkimesi durumuna göre tasarlanırlar (TS500-2000 Bölüm 7.4 ve Deprem Yönetmeliği ilgili bölümü). Kolonlar ise çoğunlukla bu davranış tanımına girerler. Ancak eğer bir yatay elemanın (kiriş) eksenel yük seviyesi yanal yüklerden dolayı bu tanıma giriyorsa kolon gibi tasarlanması gerekliliği vardır.

Tarihçe
Mimari anlamda kolonların ilk kullanıldığı yapılar eski Mısır'da MÖ 2600 yıllarında taş kalıplarla yapılan Imotep tapınağında görülmüştür.

Mimari anlamda kolonların kullanıldığı diğer bir uygarlık ise Perslerdir. Perslere ait Apadana Tapınağı'nda 70 x 70 metre ebatlarında olan yapıda birçok kolon kullanılmıştır. Bu kolonların büyük bir kısmı hala ayakta durmaktadır.

Ayrıca kolonlar değişik medeniyetlerce yapısal eleman dışında; vergi taşları ve Sadaka taşı olarak da kullanılmıştır.

Eski zamanlarda kolon üretimi

Kolonlar birçok ebatlarda tasarlanabilir. Bazıları kesme taşların üst üste dizilmesi ile imal edilmişlerdir. Bazıları da bütün olarak, taşların yonutulması ile imal edilmişlerdir.

Eski dönemlerde, yekpare kolonların ağırlıkları yüksek olduğu için taşınmaları ve yerleştirilmeleri zor olmuştur. Diğer kolonlar; kesme taşların üst üste konulması ya da taşların harçlarla birleştirilmesi şeklinde imal edilmiştir.Ayrıca genellikle bu tip kolonlarda; oluşacak gerilmeleri karşılamak için farklı taşlar ya da metal parçaları da kullanılmıştır. Genellikle kolonlar mukavemeti düşük betonlardan, tuğlalardan ya da taş parçalarından imal edilmişlerdir.

Ayrıca bakınız

 Atlant

Dış bağlantılar
 Betonarme Kolon Tasarımı ile İlgili Makaleler

Mimari öğeler

Kolon


Vera Cruz es un municipio brasileño del estado de Bahía. Se localiza a una latitud 12º 57' 32" sur y a una longitud 38º 36' 16" Oeste, estando a una altitud de 13 metros. La población estimada en 2005 fue de 34 520 habitantes.
Posee un área de 211 km².

Referencias

Enlaces externos

Localidades de Bahía

Vera Cruz (Bahía)


"Justify My Love" is a song by American singer Madonna from her first greatest hits album, The Immaculate Collection (1990). The song was written by Lenny Kravitz and Ingrid Chavez, with additional lyrics by Madonna; Kravitz also handled the production alongside André Betts. It was released as the lead single from the album on November 6, 1990, by Sire and Warner Bros. Records. Chavez was not credited on the song, which led to a lawsuit against Kravitz, eventually reaching an out-of-court settlement. Musically considered as a hip hop, dance, trip-hop, and experimental pop track, it features spoken word vocals by Madonna as she releases her inner freak, touching on sexual fantasies and implying the position of a woman as the one sexually in control.

The song's commercial release was accompanied by different remixes; "The Beast Within" remix was condemned as anti-semitic by some Jewish organizations. "Justify My Love" received generally positive reviews by music critics, who appreciated Madonna and Kravitz's collaboration as well as its sensual nature, and was retrospectively noted as one of Madonna's best singles. The song was a commercial success, becoming Madonna's ninth number-one single on the US Billboard Hot 100, and also peaked at number one in Canada; it also reached the top 10 on several countries including Australia, Germany, Sweden and the United Kingdom.

The accompanying music video, directed by Jean-Baptiste Mondino, is a tribute to the film Bay of Angels (1963). It features Madonna's then-boyfriend Tony Ward and portrays the singer as a woman walking in a hotel hallway, looking distressed and tired from work, until being seduced into having sex with a mysterious man and woman. The video contained imagery of sadomasochism, voyeurism and bisexuality, and was subsequently banned from MTV and other networks internationally due to its sexually explicit nature. The clip was later released as a video single and became the first-ever short-form video to be certified multiplatinum in the US by the Recording Industry Association of America (RIAA).

"Justify My Love" and "The Beast Within" remix have been included on four of Madonna's concert tours, the last being 2023–2024's Celebration Tour. It was covered and sampled a number of times by artists such as Vita, Ashanti, and Jay-Z. The music video was parodied on an episode of Saturday Night Live and was also seen by critics as feminist, as well as considered one of the sexiest videos of all time by some publications.

Background and release
By the end of 1990, Madonna was ready to release her first greatest hits collection, titled The Immaculate Collection, after becoming the biggest female singles artist in history, with the most number-one and top-ten hit songs by a woman in both the United States and the United Kingdom. According to J. Randy Taraborrelli, author of Madonna: An Intimate Biography, the release was "much more than a mere collection of Madonna's biggest-selling and most popular songs". The singer regarded it as a "proud landmark" of her career, which had progressed upwards since she broke out in the music scene in 1983. Following the completion of 1990's Blond Ambition World Tour, Madonna began rushing the project, aiming to release it in time for the year's Christmas season. On October 13, 1990, Billboard magazine confirmed that Madonna had been working on new material for the album with Shep Pettibone and Lenny Kravitz. The collection had 15 of Madonna's previously released singles, and two new songs, "Justify My Love" and "Rescue Me", were included in order to generate the public's interest.

"Justify My Love" was released as the lead single from The Immaculate Collection on November 6, 1990. It was issued on the UK on December 1, and in Japan on December 10. The artwork for the single, photographed by Patrick Demarchelier and directed by Jeri Heiden, features a picture of Madonna aggressively leaning forward, wearing a sleeveless waistcoast with her hair scrunched up under a black cap, an aggressive expression on her face, and a cigarette hanging out of her lips. Carol Clerk, author of Madonnastyle, opined that "it was a particularly masculine pose; Madonna, at times, could look as butch as the next man". The picture had previously appeared on the cover of a Interview magazine issue which featured an interview with Madonna, and later was removed from the French version of the single. Afterwards, the song was included on Madonna's third greatest hits album Celebration (2009), and as a remixed form on Finally Enough Love: 50 Number Ones (2022).

Development

"Justify My Love" was written by singer and songwriter Ingrid Chavez as a love letter dedicated to Kravitz, who was having an affair with her at the time. He invited her over to a studio where he was producing tracks with André Betts, and then recorded the letter in one take. Kravitz took a master copy of the song to Virgin Records, as their relationship ended some time later. Months later, he told Chavez that Madonna would release "Justify My Love" and asked her to sign a document saying that she would receive 12.5% publishing royalties, but no credit. She eventually signed the paper and was then invited to meet Madonna in the studio while they mixed the track, and was impressed by how she copied her vocals exactly from the demo version; Chavez thought that "maybe she just felt like she didn't another woman to take credit for the creative style of the vocal".

Upon the song's release, Chavez filed a lawsuit against them, claiming the only words Kravitz wrote were "justify my love", while Madonna changed one line. It was also reported that she only received a US$500 advance after Kravitz pressured her to sign an agreement surrendering credit and three-quarters of royalties. He admitted that Chavez had written part of the lyrics, but both had agreed not to credit her for personal and professional reasons, and accused her of trying to "make like she did the whole thing" upon the single's success. She responded by stating that the reason was because he was afraid his wife would think they were having an affair. They eventually reached an out-of-court settlement whereby she received 12.5% percent of royalties and her name on the next pressings. However, her name does not appear on any compilations containing the song. Betts also sued Kravitz, claiming he was promised co-producer credit and half of any producer's royalties, but received an associate producer's credit and was not paid for his work.

Kravitz recalled that he had been working on demos, and the demo version of "Justify My Love" came up. At first, he thought it was "super-sexy and hard at the same time. I just felt it. I just knew that there was something very special about the track and the minimum quality, because it was so minimal. Just a gut thing". However, he "knew it wasn't for me", but thought it would be perfect for Madonna, and phoned her saying he had a number-one song for her. The same day, they met in New York City, where Kravitz played the demo for her. After listening to the song multiple times, Madonna agreed on recording, and both started working on it the next day. Kravitz described the recording session as "just the two of us and my engineers, and it happened in one day. It was very quick", adding it was fun and "all very authentic".

Composition
"Justify My Love" was written by Kravitz and Chavez, with additional lyrics by Madonna; he also produced the song alongside André Betts. It was recorded by Henry Hirsch, David Domanich, Andy Cardenas, and Josh Cuervokas at Waterfront Studios in London, and Unique Recording Studios in New York City. Ted Jensen mastered the song at Sterling Sound Studios, while it was mixed by Shep Pettibone and Goh Hotoda at Guerilla Studios in London. The mixing was done in QSound, which at that time was a new audio filter to create a three-dimensional sound effect. This was employed on all of Madonna's past hits present on The Immaculate Collection.

"Justify My Love" is set in common time with a moderate tempo of 132 beats per minute. Composed in the key of B minor, Madonna's vocal range spans from A4 to D5. It follows the chord progression of E5–F5–E5–F5 during the opening melody. Musically, it is a hip hop, dance, trip-hop, and experimental pop song, which features spoken word vocals by Madonna and Kravitz's "moans" on background vocals. It contains a drum sample of Public Enemy's "Security of the First World" (1988) used initially without consent, and the group threatened to take legal action against both singers; however, music industry members believed the drum beat was sampled from James Brown's single "Funky Drummer" (1970), but these claims were denied by the group's producer, Hank Shocklee. A spokeswoman for Madonna said she never had heard their song and "didn't write the music" for "Justify My Love", while Kravitz dismissed the claims by saying, "It's just one of those beats you find on the floor somewhere."

Lyrically, "Justify My Love" was described as a "spoken-word ode to releasing your inner freak". Madonna starts singing the lines "I wanna kiss you in Paris, I wanna hold your hand in Rome, I wanna run naked in a rainstorm, make love in a train... cross country". The chorus changes its atmosphere, as the singer's breathing vocals initially punctuate the "wanting, needing, waiting" line, which prefaces the double-tracked "for you to justify my love", with the words "my love" being repeated in the background. The second verse begins with her uttering "OK", suggesting a move in direction, reflected by the line "I wanna know you... no, not like that". On the next verse, Madonna utters the lines "Talk to me, tell me your dreams / Am I in them? Tell me your fears / Are you scared? Tell me your stories", implying the position of a woman sexually in control, which is reinforced by the line "Poor is the man whose pleasures depend upon the permission of another", with its underlying connotations of domination through the lyrics "Love me, that's right, love me / I wanna be your baby". Scholar Sheila Whiteley noted in her book Women and Popular Music: Sexuality, Identity, and Subjectivity that the song's lyrics "imply an overall focus on sexual fantasy" with "implicit S&M of pleasuring allied to permission", suggesting that certain pleasures need to be justified.

Taraborrelli described the composition as "rather simple – a funky, drum pattern under a droning, aural synthesizer pad, with Madonna speaking sexy verses over the music, Kravitz casually moaning a melody in the background". In a similar vein, Rikky Rooksby wrote on his book Madonna: The Complete Guide to Her Music that the elements on the song were "simple enough: a drum loop that repeats for the duration of the song, a bass part, and a descending four chord sequence moving from F♯ minor to B minor", whose melody "doesn't exactly go anywhere, but it creates a hypnotic atmosfere which supports the imagery of the lyric". Santiago Fouz-Hernández and Freya Jarman-Ivens, in their book Madonna's Drowned Worlds, stated that it was "far from an ordinary pop song", featuring "a very simple tonal structure and the same bassline", with the same chords repeated over and over. They also noted its "little melodic interest", with Madonna speaking more than she sang through her "distant, remote, 'elsewhere'" androgynous vocals. Tom Breiham from Stereogum later classified "Justify My Love" as "an early example of trip-hop", and pointed out that Madonna deserves credit for "anticipating whole new trends before they even happened."

"The Beast Within"
"Justify My Love" received a remix titled "The Beast Within", and was included on some versions of the single. Musically influenced by Eastern music, the remix featured only the chorus and certain lines of the original song, as most of the verses were replaced by passages from the Book of Revelation from the Bible. At the time, Madonna told The Village Voice that "the beast within" was Saddam Hussein and that the mix was inspired by "the impending war in the Middle East". About a third of the way into the six-minute song, Madonna reads the line "I know your tribulation and your poverty and the slander of those who say that they are Jews, but they are not. They are a Synagogue of Satan", which was deemed anti-semitic by some Jewish organizations. According to Rabbi Abraham Cooper, associate dean of the Simon Wiesenthal Center in Los Angeles, "When we saw those lyrics the alarm bell went off", as "the impact of having America's leading cultural icon say those lyrics can give a powerful tool to bigots". He also commented, "Anti-Semitism is a real problem in America today and an entertainer as big of a blockbuster as Madonna should show some responsibility to such social issues." Cooper sent a letter to the singer's management, and initially asked for the line to be removed from the song. Madonna was reportedly shocked by the controversy, calling the accusations "ridiculous" and stating: "People can say I am an exhibitionist, but no one can ever accuse me of being a racist". She then elaborated that it was "a commentary on evil in general": "The song is, after all, about love." The rabbi replied that she responded quickly to the issue, and was relieved that she did so.

Critical response

Upon release, "Justify My Love" was met with generally positive responses from music critics. Larry Flick of Billboard magazine gave a positive review, calling it a "brilliantly conceived jam", which would be "devoured by club DJs" and "may test the devotion of top 40 radio programmers". Another review from the same magazine stated that the song was a "steamy" collaboration between Madonna and Kravitz, and it had "the juice to become the '90s equivalent of Donna Summer's 'Love To Love You Baby'", and noted that it "strays miles away from the chirpy pop of her past." Chuck Campbell from the Knoxville News-Sentinel said it was "so seductive it makes George Michael's 'I Want Your Sex' and Donna Summer's 'I Feel Love' sound like nursery rhymes". Music & Media staff commented that the "unlikely" collaboration of Madonna and Kravitz was a "marriage made in heaven", as well as "atmospheric, yet brutal in an unconventional manner". On her biography of the singer, author Lucy O'Brien stated that the track "opened up a new creative avenue for Madonna, as she moved into more 'adult' territory". Similarly, Rooksby wrote that "Justify My Love" was a pivotal record for the singer, pointing her musical direction into the 1990s decade, giving her old disco sound "the kiss of death". Selects Andrew Harrison considered the song "breathy, pulsing and overpoweringly sexy", which, along with "Rescue Me", played on Madonna's "ambiguous vulnerability, the disqueting mix of sexual predation and submission that gives Madonna's records an edge where Paula Abdul's just have a verse and chorus". Taraborrelli commented that the track "oozed pungent sex, it was just that passionate", while J.D. Considine of The Baltimore Sun noted its "simmering passion".

In an album guide for Rolling Stone, "Justify My Love" was described along with "Rescue Me" as "worthy sensual newies" on The Immaculate Collection. Matthew Rettenmund, author of Encyclopedia Madonnica, opined that the track "foreshadowed Madonna's long-term commitment to explicitly politi-sexual art in the wake of an already suggestive career", and that "it sounded like nothing else on the airwaves at the time". He also opined that along with "Rescue Me", it was disappointing that the tracks were "originated on a best-of" album. Danny Eccleston from Q opined that "Justify My Love" had a "hard-faced sexiness", while Music Week staff called it a "mumbling sexy judderer". For Tony Power of Blender, the song was "preposterously sexy", and he picked it as one of the standout tracks on The Immaculate Collection. Fouz-Hernández and Jarman-Ivens wrote that Madonna's style of singing on the track seemed controlled and distant, and added that "the background moaning, which is intended to remind the listener of copulation, is a key memorable feature". Writing for Entertainment Weekly, Jim Farber described the song as "some vague, tuneless phrases chanted in Madonna's most breathless voice over a minimal house groove-serves mainly to justify the visuals"; while reviewing The Immaculate Collection, David Browne from the same magazine called it "instantly notorious" but noted that along with "Rescue Me", it did not "[break] new ground for her". In 1992, "Justify My Love" won a ASCAP Pop Music Award for "Most Performed Song".

Retrospective reviews have been positive. While analyzing The Immaculate Collection, Drew Mackie of People consisidered the song a "sexy, daring track that's not quite like anything Madonna had released before". Katharine Birbalsingh from The Daily Telegraph opined that it was an "insistent, sexy trance track". PopCrushs Alexandra Capotorto commented that "Justify My Love" was "perfectly constructed lovemaking music", which "might be oozing sex". James Rose of Daily Review noted that with the song Madonna began "a phase of her career that oscillates between cynical self-exploitation and courageous self-expression. Raunchy videos, explicitly themed lyrics and boudoir beats became de rigueur for the lady now arguably bearing the biggest name in popular music." In a review for Celebration, Eric Henderson of Slant Magazine called the track "aromatic" and "considered by most fans to be among the singer's best work". According to The A.V. Clubs Eric Diaz, it remained "one of Madonna's sexiest bangers, setting the stage not only for her still-underrated Erotica era but her tireless capacity to transform and provoke". Justin Myers from Official Charts Company considered the track "filthy for the time but pretty tame now".  Additionally, "Justify My Love" was classified her 12th best on Madonna's top 20 singles of all-time list by Q magazine, as well as placed at number 842 in the list of the "1001 Best Songs Ever" by the same publication.

Chart performance

In the US, "Justify My Love" debuted at number 46 on the Billboard Hot 100 singles chart, on the issue dated November 17, 1990. Eight weeks later, the song reached number one, becoming Madonna's ninth number-one single on the chart, staying in the summit for two weeks. It also topped Billboards Dance Club Songs, and peaked at number 42 on the Hot R&B/Hip-Hop Songs component charts. On February 22, 1991, the song was certified platinum by the Recording Industry Association of America (RIAA) for shipments of over a million units in the US. In 1991, "Justify My Love" ranked at number 21 on the year-end Billboard Hot 100 chart. In Canada, the song debuted at number 12 on the RPM Singles Chart and reached the top on the week dated February 2, 1991. The track eventually received a gold certification by Music Canada (MC) for shipments of 50,000 copies in the region.

In Australia, "Justify My Love" debuted at number 14 on the ARIA Charts on December 2, 1990. The next weeks, it peaked at number four, staying in the position for two weeks. The single was present for a total of 12 weeks on the chart, and was certified gold by the Australian Recording Industry Association (ARIA) for shipments of 35,000 copies of the single. In New Zealand, the song had a similar run as to Australia, debuting at number 22 on the RIANZ Singles Chart, and peaking at number five for two consecutive weeks.

In the UK, the track debuted at number nine on the week ending on December 8, 1990, and reached number two a week later. It was also certified silver by the British Phonographic Industry (BPI) on December 1, 1990, for shipments of over 200,000 copies in the UK. As of August 2017, the song had sold 275,500 copies in the region and was Madonna's 23rd best selling single there. The song also achieved success in other parts of Europe. In Austria, "Justify My Love" debuted at number 21 on the week of January 13, 1991, before peaking at number nine within a month. On December 17, 1990, the song debuted at number 50 in Germany, eventually peaking at number 10 for two weeks. The song debuted at number 16 in Sweden, later reaching number eight. In Switzerland, it experienced more success, debuting at number 12 on January 13, 1991, and peaking at number three for two weeks. The song's commercial performance in the European countries helped it attain a peak of number three on the European Hot 100 Singles chart, on the issue dated January 12, 1991.

Music video

Development

The music video for "Justify My Love" was filmed within three days in November 1990 at the Royal Monceau Hotel in Paris, France. It was directed by Jean-Baptiste Mondino, who had previously directed the video for Madonna's "Open Your Heart" (1987). The clip was produced by Philippe Dupuis-Mendel under Bandits, in a co-production with Propaganda Films, with editing by Oliver Gajan and principal photography by Pascal Lebegue. The video features Madonna's then-boyfriend Tony Ward, fellow models Amanda Cazalet and Wallis Franken Montana, as well as Jose Gutierez Xtravaganza, who was a dancer on the Blond Ambition World Tour which occurred earlier that year. It is a tribute to the film Bay of Angels (1963). Mondino described the concept of the music video:
I've worked with Madonna a few times now, and there's more to her than people think. She's a great actress. So I wanted to do something less glamorous, less slick, more real. I wanted to put the paparazzi out of work. How can a picture of Madonna and Tony together be surprising when you've already seen them together half-naked in a video? [..] It was very cheap, very easy. It's very real — that's what's so shocking about it. And maybe her kissing a woman... but that's part of our society. And with AIDS, shouldn't we celebrate kissing as a beautiful thing?
Mondino did an experience for the video, locking the entire crew into a hotel for three days and two nights, setting no rules, and nobody was allowed to go out. The whole top floor with 15 rooms was rented, and also served as makeup and wardrobe rooms; they had no deadline, as opposed to a regular video. He explained that he did not have any concept, except for the idea that Madonna arrived in the hotel tired and broken, and left full of energy. The director recalled that by the end of it, he was unable to differentiate the real from the performed as they were not following a script. He described the shooting as "very quiet, it was very gentle, we were all very sweet to each other", and said "we were talking, chatting, laughing, playing the music, shooting and when people were tired they went to bed". Mondino commented that the last day when he was supposed to go home, he felt strange, and wondered if he had to go back home of not, as he thought it was a dream rather than a video shooting. In 2013, during a Q&A session with Reddit users, Madonna revealed it was her favorite music video to make.

Synopsis

The video was filmed in grainy black and white. It opens with a dancer in a black bodysuit dancing to the camera, cutting to Madonna walking down a hotel hallway, looking tired. She is dressed in an overcoat, carrying a suitcase, with her hand on her forehead. The ajar doors in the hallway also reveal glimpses of a topless androgynous figure, as well as a shirtless man who appears to be receiving oral sex. As Madonna starts lip synching the song, she drops the suitcase and kneels down against the wall, while caressing her neck. She opens her coat, which reveals she is wearing lace underwear, garter belt, and stockings. An out-of-focus male figure, played by Ward, emerges, and slowly walks towards her. As Madonna stands, she pulls Ward towards her and they kiss.

More images from the doors are also shown, displaying a man in black leather clothes lacing a woman into a corset, as well as a woman wearing a corset who turns to camera thrusting her breasts forward. The video moves into a scene where Madonna is seen in a bedroom, slowly removing her clothes and displaying herself on a white bed as Ward observes her. He comes close to her, undressing himself and preparing to mount her, and she pushes him away. A cut occurs, and Madonna is seen laying down with an androgynous woman, wearing male clothes and make up applied on her eyes. They engage in a kiss as Ward observes as a voyeur. Two transgender women are then seen caressing each other's faces, while observing themselves in a mirror. The video returns to the bedroom scene, where Ward is on top of Madonna and appears to be penetrating her.

A dominatrix enters the bedroom in a cop hat and leather gloves, as well as suspenders covering her nipples. She then grabs Ward by the hair, who is tied up on a chair, wearing a latticed leather harness and leather chaps. Madonna and Ward are back in bed, caressing each other; he is then seen rubbing his face on Madonna's body until it reaches her feet. Women in drag draw thin mustaches on each other and look into the camera, as Madonna laughs in the background, putting her hand onto her mouth. A man holds a woman's face as she makes a fearful look to the camera. Two men are seen sitting on a couch caressing each other, while a crossdresser is laying down on their laps. Madonna leaves the hotel hurriedly, holding her suitcase, with Ward reaching out for her to return. She throws her head back as she laughs, with mouth open wide, then bites one of her fingers in disbelief. The video fades to black, and the words "poor is the man whose pleasures depend on the permission of another" appear on the screen.

Release and banning
The video was set to premiere on MTV's "Madonnathon" weekend event, of which it was going to be the main attraction. However, the network suddenly announced that it could not be broadcast; on November 29, 1990, MTV's correspondent Kurt Loder explained the reasons: "When MTV programming executives got their first look at the video's steamy bed scenes, gay and lesbian snuggling, S&M and briefly bared female breasts, they decided they couldn't air it." The channel's executives also said in a statement, "We love Madonna; we've had and will continue to have a terrific relationship with her. We respect her work as an artist and think she makes great videos. In its current form, this one is just not for us". It was rejected by its standards committee, which previews all new videos, and requests artists to edit or trim objectionable scenes. According to MTV's vice-president Abbey Konowitch, the network frequently had concerns about the content of the singer's videos, stating, "You take the black lingerie, sex scenes and flesh out of 'Justify My Love,' and you've got 10 seconds of ill-focused dancing." The channel had previously threatened to ban Madonna's music videos from airing — such as "Express Yourself", "Oh Father" (1989), and "Vogue" (1990) — but ultimately broadcast all videos unedited. When "Justify My Love" was submitted, Madonna thought she was "once again going to be able to bend the rules a little bit" after "Vogue" was broadcast; however, MTV simply refused to air it, refusing to even edit the video. The singer stated that "we didn't even really get a chance to try to make it viewable. They rejected it completely." The channel responded by saying, "This decision went all the way to the top. There is no way we could even edit this. I can't believe Madonna ever thought we would air it". This sparked suggestions by music industry insiders that the video was designed to be banned, as part of a marketing strategy.

The video was premiered in its entirety on The Jukebox Network, an interactive cable network, on November 29, 1990; it was later aired on ABC's Nightline, on December 3. The channel's lawyers analyzed the video before it was shown, and agreed to its broadcast "because of the news value of the video, the late air time, and the focus of the discussion". Madonna was also interviewed by the show's host Forrest Sawyer about the video's sexual content and censorship. She defended the video as a "celebration of sex" and wondered, "Why is it that people are willing to go and watch a movie about someone getting blown to bits for no reason at all, and nobody wants to see two girls kissing and two men snuggling?" The singer also expressed during the interview that she did not understand why MTV banned the video yet allowed videos that contained violence and degradation to women to continue receiving regular airplay, saying, "I draw the line at violence and humiliation and degradation." Her appearance on Nightline became the show's highest-rated episode for the entire year. Other shows which showed parts of the video also garnered record-breaking ratings, such as Saturday Night Live (SNL) and CNN's Showbiz Today.

The music video was also banned from regular rotation on MuchMusic and Musique Plus in Canada. John Martin, program director for the former, said it was inappropriate to air, while the latter's program director Pierre Marchand called the video a "soft-porn short movie with a message about freedom of choice", and stated that viewers needed to understand before accepting it. The banning led MuchMusic to air a special titled A Question of Taste, where the video was aired in its entirety, accompanied by panel discussions on its artistic and cultural context. In the UK, the video premiered on Channel 4's The Word, and later the Independent Broadcasting Authority determined its airing only after the 9pm watershed. Although many complaints were received, the clip was played without restriction on the Australian Broadcasting Corporation's music video show Rage, as the channel is not bound to follow classification guidelines due to being a public broadcaster. In 2002, the video was aired in its entirety on MTV2 as part of a special countdown showing the most controversial videos ever to air on MTV.

Upon the video's banning, Madonna decided make it available commercially as a video single, marking the first time an artist had released a single in this format in the United States; it was described as an unprecedented move in the video industry. When asked whether she stood to make money selling the video than airing it on MTV, she answered, "Yeah, so lucky me." The video single was released on December 7, 1990, in the US, with the retail price of $9.98. The European version also contained Madonna's performance of "Vogue" at the 1990 MTV Video Music Awards. The release peaked at number two on Billboards Top Music Videos for two weeks, and spent 39 weeks on the chart overall. It has been certified four times platinum by the Recording Industry Association of America (RIAA), for shipments of 200,000 units in the US, and went on to sell over a million copies worldwide, becoming the best selling video single of all time. In the United Kingdom, the video was given an 18 certificate by the British Board of Film Classification (BBFC), meaning no one under that age could legally buy or see the release. It was reported that in Saudi Arabia it was sold at a high price as illegal market porn. The music video was included on the greatest hits package Celebration: The Video Collection (2009); the version included was censored with black bars in a scene that contains female nudity.

Reception and analysis

Caryn James from Tampa Bay Times considered Madonna's music videos for "Express Yourself" and "Papa Don't Preach" (1986) more controversial, but deemed "Justify My Love" as her most pretentious, stating: "The feminist message of Justify My Love is that Madonna can control a career as shrewdly as any man." Camille Paglia, writing for The New York Times, called Madonna "a true feminist" and deemed the video "truly avant-garde, at a time when that word has lost its meaning in the flabby art world". Nevertheless, she stated that MTV was right to ban it, as "parents cannot possibly control television, with its titanic omnipresence" and that "it does not belong on a mainstream music channel watched around the clock by children". On the other hand, Liz Smith, writing for the Sarasota Herald-Tribune, was critical of the decision, and hoped that since "MTV has gone so moral on the public, that they'll also begin to take close looks at other material submitted to them by all those macho metal and rap groups, with their own S&M overtones, their incipient violence and degradation-of-women themes". She also noted that who admired the singer would applaud her refusal to censor her art, and who never liked her would dislike her more than ever. Richard Goldstein from The Village Voice opined that "by suppressing erotic dissent, MTV does its best to see that this powerful medium will not communicate the 'wrong' idea about sex. That may pacify the puritans, but it also makes it easier to deny women and gays their full humanity—easier for the metal masses to justify their hate", concluding that "'Justify My Love' makes it harder to hurt people". Johns Hopkins University professor of popular culture Mark Crispin Miller observed that it was "perfectly all right for MTV to broadcast sadomasochism couplings and events as long as the images don't violate a certain heterosexual norm". Considine agreed, stating that there was "very little" in the clip that had not been seen on MTV, pointing out music videos by R.E.M., Boy George and Aerosmith as examples.

Benjamin Svetkey from Entertainment Weekly pointed out that "MTV has banned videos before, but this time the network was saying no to the world's most powerful recording artist. Madonna's sex-charged career has been carved out of controversy, and now, for the first time, the hippest cultural outlet on television was telling her to cool it." Sharing a similar opinion, Lisa Henderson, writing in the book The Madonna Connection: Representational Politics, Subcultural Identities, And Cultural Theory, stated that for critics and fans, "it was an odd scenario—MTV rejecting its premier pop star, whose stylistic developments had arguably marked (and marketed) the evolution of music television itself". Considine wrote in the book The Madonna Companion: Two Decades of Commentary that the banning "immediately mushroomed into a censorship scandal", as "Madonna insisted that she hadn't caused the commotion intentionally", but "her critics accused her of planning the whole thing. Nobody doubted her intelligence then—they merely held it against her." In Justify My Love: Sex, Subversion, and Music Video, Ryann Donnelly wrote that "while the banning of Madonna's Justify My Love video for its explicit sexual content has become somewhat legendary — a sufficient promotional tool in itself — few artists could have sacrificed the support of MTV in a similar way to that of Madonna, before YouTube". Commenting on the video's release as a video single, Landon Palmer stated in Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom that "the release of 'Justify My Love' exclusively on VHS had the effect of creating a new moving image platform – the 'video single' – for Madonna's cultural production, extending the narrowcast relationship between artist and audience popularized by MTV".

The video's bisexual and sadomasochist themes also were noted. In another article, Paglia recalled that "in a number of videos, Madonna has played with bisexual innuendos", and "Justify My Love" was a culmination of that; she considered Madonna as a pioneer for "restoring lesbian eroticism to the continuum of heterosexual response" in the clip, showing "bisexuality and all experimentation as a liberation from false, narrow categories". Lucy O'Brien, in her book She Bop II: The Definitive History of Women in Rock, Pop and Soul, wrote that "conveying the full power of sexual ambiguity", Madonna showed in the video "how gender roles could be swapped, blurred and played with to create a multitude of different identities". According to Janelle L. Wilson and Gerald E. Markle, the eroticism shown in the video was "by traditional standards, non-normative. The effeminate dancer, the homosexual behavior and the action and appearance of the masculine woman in the video also represent behavior outside the accepted norms." For Cathy Schwichtenberg, Madonna's "languid French kiss with l'autre femme" in the video was a representation of "a deconstruction of lines and boundaries that fragment male/female gender polarities and pluralize sexual practices. This is a postmodern, unbounded feminism, that unifies coalitionally rather than foundationally." According to Tim Dean in the book Beyond Sexuality, the music video was "replete with stylized gestures of representing the whole catalogue of perverse activity: lesbianism, fetishism, voyeurism, transvestism, troilism, and the ritual accoutrements of sadomasochism".

Reflecting on the video for "Justify My Love" in a retrospective review, Tom Breiham from Stereogum pointed out that the video became "one more time that Madonna made the entire media industrial complex serve her interests". Daniel Browne, writing for The Gay UK website, cited five reasons for calling the video a "masterpiece", such as sex, gender bending, and gay and lesbian romping, describing it as "five minutes of artistic brilliance. I cannot think of a video before or since that covers such a topic in a positive and empowering way. The act of sex in its various forms, cross-dressing and fluid sexuality tend to kept behind closed doors." In a similar vein, Dig!s Mark Elliott went on to say that "the gender fluidity and nudity featured in the new video were provocative enough in a more sheltered era, but the fact it was being issued by such a major star was extraordinary", citing George Michael's "I Want Your Sex" (1987) as an example of a video that had explored similar thematic territory, but was altogether more conventional in its approach. Samantha Grossman from Time observed that "if YouTube had existed when 'Justify My Love' was released in 1990, the extremely NSFW music video would have gone viral in minutes, if not seconds". In 2015, Christopher Rosa of VH1 showed the music video to five people around the age of twenty, later interviewing them on their thoughts after watching it. All five of them agreed that it was "certainly envelope-pushing", but also pointed out that "it's nothing 2015 artists haven't done (or even surpassed)", with the author citing the film Fifty Shades of Grey and Nicki Minaj's music video for "Anaconda" (2014) as examples. Additionally, it was later added to sexiest music videos of all time lists by VH1, Rolling Stone, and Marie Claire.

Live performances
Madonna performed "Justify My Love" for the first time on the Girlie Show tour in 1993 during the concert's encore. For the performance, the singer and her dancers wore period costumes, mocking specifically Victorian fashion, while she held a lorgnette. The New York Daily News Jim Farber commented that Madonna and the dancers "cavorted elegantly" throughout the number, reversing expectations that the performance would be raunchy. Richard Corliss from Time magazine complimented the performance, opining that the singer saved "her best anachronistic joke for last", noting its "stately cadence" and comparing the costumes to those of My Fair Lady. "The Beast Within" remix was also used on the tour as an interlude with two male dancers performing an apocalyptic dance, miming couplings and brawls while Madonna, from off-stage, recited the lyrics. Jon Pareles from The New York Times considered the performance an "ambiguous sequence, mourning the sexual freedom of the pre-AIDS 1970's, then hinting at biblical retribution". These two performances on the November 19, 1993 show at Sydney Cricket Ground was recorded and released on VHS and LaserDisc on April 26, 1994, as The Girlie Show: Live Down Under.

"The Beast Within" remix was again used as the video introduction to the 2004 Re-Invention World Tour, including imagery of Madonna from her exhibition X-STaTIC Pro=CeSS in collaboration with Steven Klein, prior to her appearing on stage. Chart Attack magazine staff noted its "quasi-religious mumbo-jumbo" paired with "some genuinely arty images of the singer" on the screens, while Sal Cinquemani from Slant Magazine found the introduction "macabre". It was subsequently included on the 2006 documentary and live album I'm Going to Tell You a Secret. "Justify My Love" was later used as a video interlude during The MDNA Tour in 2012. The performance featured dancers wearing white pierrot masks, who "impressed with their fully synchronized dance moves", according to Danilo Saraiva from Quem magazine. The video, directed by Tom Munro, featured a lingerie-clad Madonna. The number was included in the live album MDNA World Tour, released on September 6, 2013. Elements of the song were also used during the "S.E.X." interlude on the Rebel Heart Tour in 2015–16, as dancers writhed on "gravity-defying" beds. The performance of the song at the March 19–20, 2016 shows in Sydney's Allphones Arena was recorded and released in Madonna's fifth live album, Rebel Heart Tour.

Madonna performed "Justify My Love" on the 2023–24 Celebration Tour for the first time since the 1993 Girlie Show, with Busby Berkeley-esque choreography. Additionally, "The Beast Within" remix was also included as a video interlude later in the concert, with BBC News' Mark Savage classifying it as one of the show's unsuccessful moments.

Usage in media, covers and samples

On May 11, 1991, Madonna made a guest appearance on SNL on the recurring sketch Wayne's World; it spoofed the song's music video as well as her documentary Madonna: Truth or Dare. The spoof consisted of Wayne (Mike Myers) and Garth (Dana Carvey) encountering a seductive Madonna lying on a bed in a hotel room during a fantasy dream sequence, filmed in black and white. After some back-and-forth banter, Wayne and Madonna play truth or dare. Wayne begins by saying "truth". Madonna then asks "Have you ever made love with two women at the same time?" He answers "Uh... yes!" to which Madonna says, "Okay, I believe you... Not!" Wayne then dares Madonna to make out with him. As they kiss, the music for "Justify My Love" begins playing. The scene ends as two dominatrixes appear in the room, accompanied by a Prince lookalike.

In 1999, a cover of the song, done by Front Line Assembly with vocals by Kristy Thirsk, was included on the compilation album Virgin Voices: A Tribute To Madonna, Vol. 1. The next year, it received cover versions included on the tribute albums Truly Blue: Tribute to Madonna and A Tribute to Madonna: Tranceformed. "Justify My Love" was also covered by rapper Vita, featuring singer Ashanti, for The Fast and the Furious soundtrack in 2001, while the same year another cover version by Starsound Orchestra was included on the tribute album Plays the Hits Made Famous by Madonna. In 2012, Brazilian singer Gretchen recorded a cover with a music video using footage of her own acting career. In 2020, Chavez released her own version of "Justify My Love" on streaming platforms. Two years later, she released a limited edition cassette with eight remixes.

German band Enigma sampled one of the remixes of the song for their "Orthodox Remix" of the 1991 single, "Mea Culpa (Part II)". In 1994, Eurodance act Maxx sampled its beat in the song "Suddenly", included on their debut studio album To the Maxximum. German electronic duo Jam & Spoon sampled a part of the song's remixes for a remix of "Kaleidoscope Skies" (1997), featuring Plavka. Rapper Mase used a sample from "Justify My Love" on his song "Stay Out of My Way", included on his second studio album, Double Up (1999). In 2003, rapper Jay-Z also sampled the song on "Justify My Thug", on his eighth studio album, The Black Album, described as a "hip hop re-working" of the original song. Portions of "Justify My Love" were used by Insane Clown Posse in their 2004 single "Bowling Balls".

Credits and personnel
Credits adapted from The Immaculate Collection liner notes.

Management
 Recorded at Waterfront Studios and Unique Recording Studios, London, United Kingdom and New York City, New York
 Mastered at Sterling Sound Studios, New York City, New York
 Mixed at Guerilla Studios, London, United Kingdom
 Freddy DeMann Management, The DeMann Entertainment Co. Ltd.
 Miss Bessie Music, Webo Girl Publishing, Inc., Warner Bros. Music Corp, Bleu Disc Music Co. Inc (ASCAP)

Personnel

 Madonna – vocals, writer,  background vocals
 Lenny Kravitz – writer, producer, background vocals
 André Betts – associate producer
 Henry Hirsch – recording
 David Domanich – recording
 Andy Cardenas – recording
 Josh Cuervokas – recording
 Shep Pettibone – audio mixing
 Goh Hotoda – audio mixing
 Patrick Demarchelier – photographer
 Jeri Heiden – art director

Track listing and formats

US and UK cassette and 7-inch single; Japanese mini CD single
 "Justify My Love" (album version) – 4:58
 "Express Yourself" (Shep's 'Spressin' Himself Re-Remix) – 4:02

US Digipak CD maxi-single
 "Justify My Love" (Q-Sound Mix) – 4:54
 "Justify My Love" (Orbit 12-inch mix) – 7:16
 "Justify My Love" (hip hop mix) – 6:30
 "Express Yourself" (1990) (Shep's 'Spressin' Himself Re-Remix) – 9:30
 "Justify My Love" (The Beast Within Mix) – 6:10

Canadian and Australian 12-inch single
 "Justify My Love" (Orbit 12-inch mix) – 7:16
 "Justify My Love" (hip hop mix) – 6:30
 "Justify My Love" (The Beast Within Mix) – 6:10
 "Express Yourself" (1990) (Shep's 'Spressin' Himself Re-Remix) – 9:30

European 12-inch and CD maxi-single
 "Justify My Love" (hip hop mix) – 6:30
 "Justify My Love" (Q-Sound Mix) – 4:54
 "Justify My Love" (The Beast Within Mix) – 6:10

UK and European CD single; UK limited-edition 12-inch picture disc
 "Justify My Love" (William Orbit Remix) – 7:07
 "Justify My Love" (album version) – 4:58
 "Express Yourself" (Shep's 'Spressin' Himself Re-Remix) – 4:02

Digital single (2020)
 "Justify My Love" (Q-Sound Mix) – 4:54
 "Justify My Love" (Orbit 12-inch mix) – 7:16
 "Justify My Love" (hip hop mix) – 6:30
 "Express Yourself" (1990) (Shep's 'Spressin' Himself Re-Remix) – 9:30
 "Justify My Love" (The Beast Within Mix) – 6:10
 "Justify My Love" (Orbit edit) – 4:33

Charts

Weekly charts

Year-end charts

Certifications and sales

!scope="col" colspan="3"|Physical
|-

!scope="col" colspan="3"|Video single
|-

See also
Pazz & Jop
List of Cash Box Top 100 number-one singles of 1990
List of Cash Box Top 100 number-one singles of 1991

References

Book sources

Madonna songs
Madonna video albums
1990 singles
1990 songs
1990 video albums
Billboard Hot 100 number-one singles
Cashbox number-one singles
Censorship in the arts
Obscenity controversies in music
Songs written by Lenny Kravitz
Songs written by Madonna
Song recordings produced by Lenny Kravitz
Song recordings produced by André Betts
RPM Top Singles number-one singles
Music video compilation albums
Music videos directed by Jean-Baptiste Mondino
Number-one singles in Finland
Sire Records singles
Warner Records singles
Black-and-white music videos
Music video controversies
Songs based on poems
Religious controversies in music
Trip hop songs
Experimental pop songs
American hip hop songs

Justify My Love


بلدية أرانيويل ، هي إحدى بلديات مقاطعة كاستيلون التي تقع في منطقة بلنسية، في شرق إسبانيا.

يبلغ عدد سكانها 188 نسمة وفقاً لإحصائية سنة (2006).

مراجع

أماكن مأهولة في كاستيون
بلديات كاستيلون

أرانيويل


Luigi Musso (Rim, Italija, 28. srpnja, 1924. – Reims, Francuska, 6. srpnja 1958.) je bivši talijanski vozač automobilističkih utrka.

Rezultati u Formuli 1

Izvori

Vanjske poveznice
Musso na racing-reference.info

Talijanski vozači Formule 1

Luigi Musso


Die Irish Open 2010 im Badminton fanden vom 9. Dezember bis zum 12. Dezember in Dublin, Irland, statt. Das Preisgeld betrug 15.000 US-Dollar. Das Turnier hatte damit ein BWF-Level von 4A.

Finalresultate

Weblinks
 http://badminton.de/10-11-BE-Circuit.1887.0.html

2010
Badminton 2010
Badmintonwettbewerb in Dublin
BE Circuit 2010/11

Irish Open 2010


Jean Chacornac () a fost un astronom francez și descoperitor al unei comete și a mai multor asteroizi.

Lucrând în Marsilia și Paris, a descoperit șase asteroizi din centura de asteroizi (vezi tabelul), iar în anul 1852 cometa parabolică C/1852 K1 (Chacornac). Această cometă este considerată a fi sursa actuală de meteorizi Eta Eridanids. De asemenea, el a descoperit în mod independent 20 Massalia, descoperire care este totuși atribuită astronomului italian Annibale de Gasparis.

Jean Chacornac a fost premiat cu Premiul Lalande în anii 1855, 1856 și 1863. Asteroidul 1622 Chacornac și craterul lunar Chacornac sunt numiți în onoarea sa.

Note

Legături externe
 J. Chacornac @ Astrophysics Data System

Nașteri în 1823
Nașteri pe 21 iunie
Decese în 1873
Decese pe 23 septembrie
Astronomi francezi
Astronomi din secolul al XIX-lea
Laureați ai Premiului Lalande
Descoperitori de comete
Descoperitori de asteroizi

Jean Chacornac


Aceasta este o listă de disidenți români:

 Gabriel Andreescu
 Toma Arnăuțoiu
 Mihai Atanasie, ofițer al Securității, a dezertat în Franța în anul 1969

 Liviu Cornel Babeș
 Vasile Bătrânac
 Ana Blandiana
 Mihai Horia Botez
 Gheorghe Briceag
 Petre Mihai Băcanu

 Liviu Cangeopol
 Lena Constante
 Doina Cornea
 Mugur Călinescu

 Mircea Daneliuc
 Dan Deșliu
 Ion Diaconescu
 Mircea Dinescu
 Constantin Dumitrăchescu, locotenent colonel de Securitate, dezertat în 1972 în Israel

 Iulius Filip
 Radu Filipescu
 Helmuth Frauendorfer
 Victor Frunză

 Mandache D. Gheorghe, fost căpitan de Securitate și lucrător operativ în cadrul Direcției Germania
 Gheorghe Ghimpu
 Paul Goma

 Marin Iancu, fost ofițer de Miliție și Securitate
 Iacob Gh. Ioan, ofițer de Securitate, a lucrat sub acoperire ca diplomat la ambasadă, iar mai târziu ca funcționar internațional în cadrul UNESCO, dezertat în 1969
 Ion Ioanid
 Dumitru Iuga

 Ioan Marcu (disident), locotenent colonel de Securitate, dezertat în 1976
 Dumitru Mazilu
 Teohar Mihadaș
 Ion Moraru (scriitor)
 Márton Moyses
 Aurel Dragoș Munteanu
 Neculai Constantin Munteanu
 Gheorghe Muruziuc

 Radu Negrescu-Suțu

 Leonard Oprea

 Ion Mihai Pacepa
 Vasile Paraschiv

 Constantin Răuță
 Elisabeta Rizea
 Romulus Rusan

 Alexandru Șoltoianu
 Șerban Stănciulescu

 Dimitrie-Doru Todericiu
 László Tőkés
 Dorin Tudoran
 Liviu Turcu

 Dumitru Țepeneag
 Virgil Tipănuș, căpitan de securitate, dezertat în timp ce se afla în misiune în cadrul Agenției Economice la Oslo, Norvegia

 Gheorghe Ursu
 Alexandru Usatiuc-Bulgăr

 Constantin Vișoianu
 Ion Vulpe, căpitan de securitate - împreună cu familia, a dezertat în 1971 în timp ce lucra ca secretar II economic la Agenția Economică a României din Londra

 Richard Wurmbrand

Note

Legături externe
 Dezbatere - Spionii romani care au sabotat comunismul , 4 martie 2005, Razvan Belciuganu, Jurnalul Național
 Dezbatere - Defectorii romani, eroi sau tradatori?, 2 martie 2005, Marina Constantinoiu, Razvan Belciuganu, Jurnalul Național
 Calvarul familiilor spionilor dezertori, 6 martie 2005, Razvan Belciuganu, Jurnalul Național
 Afară din partid și pedeapsa maximă prevăzută de lege, 21 iulie 2009, Jurnalul Național
 Spioni de export urmariti de glont prin Occident, 16 august 2004, Razvan Belciuganu, Jurnalul Național
 Viata pe furis, 7 martie 2005, Razvan Belciuganu, Jurnalul Național
 Dezbatere - Biografiile secrete ale ofiterilor defectori, 3 martie 2005, Razvan Belciuganu, Jurnalul Național
 Mari disidenți din București: Ana Blandiana a fost interzisă de comuniști, Petre Mihai Băcanu a fost arestat pentru publicarea unui ziar clandestin, 5 aprilie 2013, Ionut Ungureanu, Adevărul

Listă de disidenți români


الدَلَّة  هي الوعاء المستخدم في تحضير وتقديم القهوة العربية وقد ارتبطت الدَّلة بالفلكلور العربي عموماً وبجزيرة العرب على وجه الخصوص. حيث بدأت صناعة الدلّّة في العراق والشام ثم انتقلت إلى إلى باقي بلدان العرب. تصنع الدلّه عادة من النحاس والخارصين والمعادن الجيدة حيث تدوم صالحة للاستخدام وتتوارثها الأجيال عند قبائل العرب وأهل البادية لمكانتها ورمزيتها.

الأصول
عُرفت صناعة الدلال التقليدية والسيوف والخناجر عند العرب منذ عصور ما قبل الإسلام، ويكاد يكون حاتم الطائي هو من أدخل الدلة إلى أرض الجزيرة العربية بعد أن شاهدها في قصور الغساسنة، وهم سلالة عربية أسست مملكة في الشام، وهم من قبائل اليمن التي نزحت بعد انهيار سد مأرب، في فترة ما قبل الإسلام ثم انتقلت إلى قبيلة قريش في الطائف.

الدلال القديمة
صنعت الدلة قديمًا من النحاس، وقد كان هناك نوعان من النحاس (الأحمر والأصفر)، وقد كان النحاس الأحمر هو النحاس الأفضل، كما كانت اللمعة القوية هي ما يدل على جودة نوع النحاس المستخدم في صناعة الدلة.

وقد كانت أهم أنواع الدلال قديمًا:
 الدلة الحساوية.
 الدلة القرشية.
 الدلة الحجازية.
 الدلة الحايلية.
 الدلة البغدادية.
 الدلة الحمصية.
 دلة العساف.
 الدلة العمانية.

كما عرفت دلة رسلان، ودلة إبراهيم وهو أحد أبناء رسلان، وهي دلال لا زالت تباع في المزادات العالمية بآلاف الدولارات.

دلة رسلان
دلة صفراء نحاسية صنعت يدويًا في بلاد الشام. ترجع تسميتها نسبة إلى صانعها وهو «رسلان». إذ كان يحفر اسمه عليها بعد الإنتهاء من صنعها. تعُد دلة رسلان الأشهر والأغلى ثمنًا من بين الدِلال، نظرًا لجمال شكلها وإتقان صنعها وجودة عملها للقهوة العربية.

انظر أيضًا
 إبريق
 ركوة

المراجع

أدوات طبخ
إعداد القهوة
تراث شعبي عربي
حاويات طبخ
مطبخ الشرق الأوسط
مطبخ سعودي
مطبخ عربي

دلة


Binatlı Yılmaz Spor Kulübü Kuzey Kıbrıs Türk Cumhuriyeti, Güzelyurt'ta bulunan spor kulübüdür. Limasol'a bağlı Polemitya (1974'e kadar Binatlı) köyünde kurulmuştur ve 1974 Kıbrıs Barış harekâtı sonrası KKTC sınırları içerisindeki Güzelyurt'a taşınmıştır.

Başarılar

2002-2003 KKTC Süper Lig Şampiyonu
2004-2005 KKTC Fedasyon kupası Şampiyonu

Kuzey Kıbrıs Türk Cumhuriyeti'ndeki futbol kulüpleri
Güzelyurt

Binatlı Yılmaz SK


خوتاوى رع وجاف أحد ملوك الأسرة الثالثة عشر ويعتقد انه حكم في العام 1632 ق.م تقريبا.

عثر للملك وجاف على عدد من الآثار منها لوحة من الحجر الجيري الأبيض عثر عليها في الفنتين وتوجد بالمتحف المصري كما عثب له على قطعة من لوحة في خبيئة الكرنك وقطعة من تمثال في الكرنك وتمثال آخر في سمنة.

جاء ذكره في قائمة قاعة الأجداد المنسوبة للملك تحتمس الثالث، وأيضا في قائمة الملوك ببردية تورين كأول ملوك الأسرة الثالثة عشر ولكن العديد من الأبحاث منها بحث عالم المصريات كيم رايهورت ترى أن كاتب البردية ألتبس عليه أسم خوتاوى مع الاسم سخم رع خوتاوى الذي يعتقد أنه أسم أول ملوك الأسرة الثالثة عشر، ويعتقد كيم أنه ابن الملك أمنمحات الرابع ولكن لا يوجد ما يثبت صحة هذا الأفتراض، فكان نتيجة ذلك أن وضع أسم الملك وجاف والذي يعتقد انه من منتصف هذه الأسرة في بداية القائمة ليكون هو أول ملوك هذه الأسرة.

المراجع

فراعنة الأسرة المصرية الثالثة عشر

وجاف


Samur (azerski: Samurçay, lezginski: Самурвацl, ruski: Самур, rutulski: Самыр) je rijeka u Ruskom Dagestanu i Azerbajdžanu koja u donjem toku čini granicu između Rusije i Azerbajdžana, prije nego što se ulijeva u Kaspijsko jezero. Dužina rijeke iznosi 216 km, a površina porječja 7,330 km².

Riječni izvor je ledenjačkog podrijetla. Izvire na visini od 3648 m, na sjeveroistočnoj padini planine Guton. U svojem toku pravi duboku i usku dolinu između grebena Kjabjak i Samurskog grebena, u srednjim toku prolazi kroz proširenu dolinu, a prije ušća u Kaspijsko jezero stvara deltu.

Vode rijeke odlikuje visoka zamućenost (više od 3.000 g/m³) u prosjeku 1.950 g/m³. Najviša razina dostiže od kraja ožujka do kolovoza, kada su moguće velike poplave. Prosječni protok vode na 20 km od ušća je 75 m³/s.

Vode rijeke odvode se Samur-apšeronskim i Samur-derbentskim kanalom.

Pritoke
Lijeve pritoke rijeke su: Djuljtičaj, Kara-Samur, Šinazčaj, Tuhičaj, a desne Ahtičaj, Generčaj, Usuhčaj, Tairdžal. Također ima i umjetnu pritoku Gjuljgeričaj.

Izvori
 Самур, Velika sovjetska enciklopedija, pristupljeno 20. rujna 2019.

Vanjske poveznice

Rijeke u europskom dijelu Rusije
Rijeke u europskom dijelu Azerbajdžana
Kaspijski slijev (Europa)

Dagestan

Samur (rijeka)