Salix mucronata es una especie de sauce perteneciente a la familia de las salicáceas. Es nativa de Sudáfrica, donde crece  a lo largo de las riberas de los ríos  y se utiliza para una amplia gama de medicinas tradicionales

Descripción
Es un  árbol de hoja perenne que alcanza un tamaño de hasta 15 m de altura con una corona abierta y ramas ligeramente caídas. Los árboles más viejos tienen fisuras, la corteza es de color marrón, mientras que los árboles más jóvenes tienen la corteza lisa y de color verde-rojo. Las hojas son simples, alternas y se estrechan en ambos extremos. Son de color verde brillante por el haz, y de color verde oscuro por el envés. Los márgenes de las hojas son dentados. Las flores aparecen en espigas cortas con amento masculinos y femeninos en árboles separados. Las espigas masculinas son densas, de color amarillento y puede tener de hasta 50 mm de longitud. La femenina de color verdoso los picos son más cortos y gruesos. El fruto es una cápsula pequeña, que se divide para liberar las semillas cubiertas de pelusa blanca.

Usos
El árbol produce un buen forraje, y es el anfitrión de las larvas de la naranja común y la mariposa negra.

Las hojas son consumidas por el ganado y los seres humanos han desarrollado diversos usos medicinales de los árboles: Las raíces se utilizan en medicamentos que ayudan a curar los dolores de estómago, fiebre y dolores de cabeza. La aspirina, por ejemplo, es un derivado de una especie de sauce. Los usos tradicionales incluyen, la aplicación de polvo de corteza en las quemaduras, y preparar té de las hojas para tratar el reumatismo. El té también actúa como un laxante suave.

Las ramas jóvenes de árboles se utilizan para hacer cestas y la madera se talla para hacer artículos del hogar, así como objetos de decoración.

Taxonomía
Salix mucronata fue descrita por Carl Peter Thunberg y publicado en Prodr. Pl. Cap. 6
EtimologíaSalix: nombre genérico latino para el sauce, sus ramas y madera.mucronata: epíteto latino que significa "mucronada".
Variedades
 Salix mucronata hirsuta
 Salix mucronata mucronata
 Salix mucronata woodii
 Salix mucronata capensis''
Sinonimia

Referencias

Enlaces externos

mucronata
Árboles de África tropical austral
Árboles de África continental
Plantas medicinales
Plantas descritas por Thunberg

Salix mucronata


Colubrina es un género de árboles de la familia  Rhamnaceae. Es nativo de las regiones templadas y cálidas tropicales de África, el continente americano, el sur de Asia, el norte de Australia y las islas del Océano Índico.

Descripción
Las especies son arbustos y pequeños árboles que crecen 1-10 metros (3.3 a 33 pies) de altura, con hojas ovadas simples. Las flores son pequeñas, blanco verdoso o amarillento, el fruto es una cápsula que contiene tres semillas.
El género es al menos en parte un taxón "cajón de sastre", y la revisión probablemente resultará en el cambio de nombre de un número de especies de géneros diferentes.

Taxonomía
Colubrina fue descrito por Louis Claude Richard ex Adolphe Theodore Brongniart y publicado en Memoire sur la Famille des Rhamnees 61–62, pl. 4, f. 3, en el año 1826. La especie tipo es: Colubrina ferruginosa (Fenzl) Reissek ex Benth.

Especies

 Colubrina arborescens (Mill.) Sarg.  Florida,  México, Centroamérica)
 Colubrina articulata (Capuron) Figueiredo
 Colubrina asiatica (L.) Brongn. (Pacífico)
 Colubrina californica I.M.Johnst.
 Colubrina cubensis (Jacq.) Brongn. (Cuba) - bijaguara de Cuba
 Colubrina decipiens (Baill.) Capuron
 Colubrina elliptica (Sw.) Brizicky & W.L.Stern (México, Caribe, Centroamérica, Venezuela) - jajabico de Cuba, palo amargo de Cuba, yayabico de Cuba
 Colubrina ferruginosa Brongn.
 Colubrina glandulosa Perkins
 Colubrina greggii S.Watson
 Colubrina humbertii (H.Perrier) Capuron
 Colubrina nicholsonii Van Wyk & Schrire
 Colubrina oppositifolia Brongn. ex H.Mann – Kauila (Hawái)
 Colubrina pedunculata Baker f. (Christmas Island)
 Colubrina pubescens Kurz
 Colubrina stricta Engelm. ex M.C. Johnst.
 Colubrina texensis (Torr. & A.Gray) A.Gray
 Colubrina verrucosa (Urb.) M.C.Johnst.

Referencias

Rhamnaceae

Colubrina


Charles Bertin (* 5. Oktober 1919 in Mons, Hennegau; † 21. Oktober 2002 in Sint-Genesius-Rode, Flämisch-Brabant) war ein belgischer Jurist, Gewerkschaftsfunktionär und Schriftsteller, der sich in seinem Wirken mit zahlreichen Facetten literarischen Schaffens wie Poesie, Drama, Journalismus und Literaturkritik befasste und sich immer wieder mit der Thematik der Einsamkeit in verschiedenen Lebenssituationen auseinandersetzte.

Leben

Studium und berufliche Tätigkeiten
Bertin, ein Neffe des Politikers und Schriftstellers Charles  Plisnier, absolvierte nach dem Schulbesuch ein Studium der Rechts- und Politikwissenschaften an der Université libre de Bruxelles (ULB) und verfasste während des Studiums 1939 Artikel für die Zeitschrift La Faluche, das Organ des Zirkels wallonischer Studenten an der ULB, dem er als Mitglied angehörte. Nachdem er 1941 sein Studium als Doktor der Rechte abgeschlossen hatte, war er von 1942 bis 1947 als Rechtsanwalt in Mons tätig.

Anschließend war er zwischen 1947 und 1949 als stellvertretender Kabinettschef des Ministers für Arbeit und Soziales tätig, ehe er danach Rechtsberater des Fédération générale du travail de Belgique (FGTB) war, des Dachverbands der Gewerkschaften Belgiens. Im Anschluss war er von 1952 bis zu seinem Eintritt in den Ruhestand 1984 Generalsekretär der Gewerkschaft der Metallarbeiter.

Zu Beginn der 1950er ließ er sich in Sint-Genesius-Rode nieder, einer Stadt in Flämisch-Brabant, die im flämisch-wallonischen Konflikt eine besondere Rolle spielt, da sie die einzige der sechs Fazilitätengemeinden in der Umgebung Brüssels ist, die sowohl an die Region Brüssel-Hauptstadt als auch an die Wallonische Region grenzt. Dort trat er insbesondere für die kulturellen Rechte der frankophonen Einwohner ein.

Im Juni 1976 gehörte Bertin mit 141 anderen Persönlichkeiten wie Fernand Dehousse, Francis Delpérée, Joseph Hanse, Maurice Leroy, Jean Rey und Marcel Thiry zu den Unterzeichnern eines offenen Briefes an König Baudouin. Darin forderten die Unterzeichner einen wahren, lebendigen Föderalismus, der sich auf die Anerkennung der Menschenrechte und die Gleichheit der Bürger stützte und die politische Gleichheit der Gemeinden und Regionen forderte.

Schriftstellerisches Wirken
Literarisch trat er bereits während seiner Tätigkeit als Rechtsanwalt in Erscheinung und veröffentlichte 1946 mit Trois poèmes einen ersten Gedichtband, dem bereits 1947 mit Psaumes sans la grâce ein zweiter Band folgte. Für das Bühnenwerk Don Juan (1947) wurde er 1947 darüber hinaus mit dem Prix Triennal d'Art dramatique ausgezeichnet.

1949 veröffentlichte er mit Chant noir einen dritten Gedichtband, dem 1952 Christophe Colomb folgte, das 1954 vom Théâtre National de Belgique als Radiohörspiel aufgenommen sowie 1961 mit dem Prix Italia ausgezeichnet wurde, und in dem Bertin anhand der Hauptperson Christoph Kolumbus die Einsamkeit von Macht und Abenteuer darstellt.

Im Roman Journal d'un crime (1961), der 1965 in einer deutschsprachigen Übersetzung von Gerhard Vorkamp unter dem Titel Tagebuch eines Verbrechens erschien, beschrieb er die Einsamkeit einer nicht freiwilligen, sondern beängstigenden inneren Verantwortung. 1963 verfasste er mit dem Theaterstück L'oiseau vert eine Adaption von Carlo Gozzis philosophischer Märchenfabel L'augellin belverde aus dem Jahr 1765.

Der Roman Le bel âge (1964), der mit dem Prix Victor Rossel (1964) sowie dem Prix triennal du roman (1966) gewürdigt wurde, behandelt die Feindschaft der Bewohner einer Provinzstadt gegenüber der Hauptperson. In dem Theaterstück Le Roi Bonheur (1966) verspottete er die Welt der Erwachsenen durch die Hauptperson, einer Art lächerlichem Caligula.

In Je reviendrai à Badenburg (1970) befasste er sich mit der Einsamkeit des Todes und stellt darin einen Mann dar, der auf der Suche nach sich selbst versagt und weiter das Leben eines Libertin führt. Die metaphorische Darstellung der Zivilisation war Thema in Les jardins du désert (1981), in dem die Handlung auf einer einsamen Insel im 21. Jahrhundert spielt, deren Bewohner die Überlebenden einer Katastrophe sind, die von einem aufgeklärten Despoten angeführt werden.

Weitere spätere Romane waren Les jardins du désert (1981), Voyage d'hiver (1989) und La petite dame en son jardin de Bruges (1995), die allerdings nicht an die früheren Erfolge anknüpfen konnten. Zuletzt veröffentlichte er mit Jadis, si je me souviens bien im Jahr 2000 seinen letzten Roman.

Bertin, der Mitglied der Ständigen Kommission von Radio-télévision belge de la Communauté française (RTBF) und Präsident des belgischen Komitees der Schriftstellergesellschaft war, war seit 1967 Mitglied der Académie royale de langue et de littérature françaises de Belgique.

Veröffentlichungen

 Don Juan, 1947
 Journal d'un crime, 1961; deutsch: Tagebuch eines Verbrechens, München 1965
 Le bel âge, 1964
 Christophe Colomb, 1966
 Le Roi Bonheur, 1966
 Je reviendrai à Badenburg, 1970
 Les jardins du désert, 1981
 Le voyage d'hiver, 1989
 La petite dame en son jardin de Bruges, 1996
 Charles Plisnier, 1996
 Marcel Thiry, 1997
 Jadis, si je me souviens bien, 2000

Weblinks
 Veröffentlichungen in Open Library
 Biografie in Cent Wallons du siècle, Institut Jules Destrée, Charleroi, 1995

Autor
Lyrik
Roman, Epik
Rechtsanwalt (Belgien)
Gewerkschafter (Belgien)
Mitglied der Académie royale de langue et de littérature françaises de Belgique
Dichterjurist
Belgier
Geboren 1919
Gestorben 2002
Mann

Charles Bertin


VGM (Video Game Music) is an audio file format for multiple video game platforms, such as Master System, Game Gear, Mega Drive/Genesis, MSX, Neo Geo, IBM compatibles (Adlib/SoundBlaster), and has expanded to a variety of arcade system boards since its release.

The standard filename extension is .vgm, but files can also be Gzip compressed into .vgz files. Technically .vgz files should be named .vgm.gz, but because some operating systems' file managers cannot handle file name suffixes that themselves contain a period (e.g. Microsoft Windows), .vgz is instead used in order to launch a VGM player and not a file archiver program such as WinZip or WinRAR.

The VGM format is different from formats like NSF or SID, which contain the game's music code. Instead, the instructions sent to the sound chip are logged.

References

External links
VGM Rips specification page – Technical specifications
VGMRips – VGM archive of several systems
SMS Power! – VGM archive for the Sega Master System, Mark III, Game Gear, SG-1000, SC-3000, SF-7000, and OMV

Audio file formats
Video game music file formats

VGM (file format)


L'édition 2022 du tournoi de tennis de Saint-Malo se déroule du 2 au 8 mai sur terre battue en extérieur. Elle est rattachée à la catégorie WTA 125.

Beatriz Haddad Maia remporte le tournoi en simple. En finale, elle bat Anna Blinkova, décrochant à cette occasion son premier titre dans cette catégorie.

L'épreuve de double voit quant à elle s'imposer Eri Hozumi et Makoto Ninomiya.

Faits marquants

Forfaits
  Anna Bondár, remplacée par  Tamara Korpatsch
  Lucia Bronzetti, remplacée par  Océane Dodin
  Caroline Garcia, remplacée par  Mai Hontama
  Varvara Gracheva, remplacée par  Fiona Ferro
  Kaja Juvan, remplacée par  Heather Watson
  Kaia Kanepi, remplacée par  Rebecca Marino
  Marta Kostyuk, remplacée par  Kamilla Rakhimova
  Greet Minnen, remplacée par  Maddison Inglis
  Alison Van Uytvanck, remplacée par  Bernarda Pera
  Zheng Qinwen, remplacée par  Diane Parry

Contexte
Après l'invasion de l'Ukraine par la Russie fin février, les instances dirigeantes internationales du tennis autorisent les joueuses de Russie et de Biélorussie à participer aux tournois, mais pas sous le drapeau de leur pays, jusqu'à nouvel ordre.

Lauréates
En simple, la Brésilienne Beatriz Haddad Maia remporte le premier titre de sa carrière en catégorie WTA 125 en battant en finale la Russe Anna Blinkova.

En double, la paire japonaise Eri Hozumi / Makoto Ninomiya remporte le titre.

Primes et points

Source:

Résultats en simple

Parcours

Tableau

Résultats en double

Parcours

Tableau

Notes et références

Notes

Références

Voir aussi

Articles connexes
 Tournoi de tennis de Saint-Malo
 Saison 2022 de la WTA

Liens externes

Navigation

WTA 2022
Saint-Malo
Tennis en France en 2022
Sport en France en mai 2022

Tournoi de tennis de Saint-Malo (WTA 2022)


BenQ, Tayvan merkezli bilişim, iletişim ve elektronik eşya üreticisidir. Şirketin merkezi Tayvan'da Taoyuan şehrindedir. Yönetim kurulu başkanı K.Y. Lee'dir.

İlk olarak 1984'te Continental Systems adıyla kurulmuş, daha sonra adını Acer CM (CM, Communications and Multimedia kısaltılmışı) olarak değiştirmiştir. En son olarak, şirket 5 Aralık 2001 yılında BenQ ismini almıştır.

BenQ çeşitli teknoloji ürünleri üretmektedir. Bunlar arasında, TFT LCD monitörler, LCD TVler, scanner ve yazıcılar, dijital kameralar, projektörler, dizüstü bilgisayarlar, ve cep telefonları bulunmaktadır.

1999 yılında Acer Display ve Upac Optoelectronics'in birleşmesi ile AUO (AU Optronics) adlı dünyanın 3. büyük LCD panel üreticisini kurmuştur. Bu grup şirketi 2006 yılında da çeşitli komponent üreticilerinin hisselerini ve Quanta Display Industries (QDI) şirketini satın almıştır.

1 Ekim 2005 tarihinde, BenQ Almanya'nın Siemens AG şirketinin cep telefonu kısmını Siemens Mobileni alarak cep telefonu pazarında en büyük altıncı şirket haline gelmiştir. Bu satış şirket bünyesinde BenQ Mobile,adıyla tamamen kablosuz iletişime yönelik yeni bir grubun oluşturulmasıyla sonuçlanmıştır. Bu grubun cep telefonları BenQ-Siemens adıyla pazarlanmaktadır.

Tayvan, Çin, Malezya, Meksika, Brezilya'da üretim tesisleri bulunmaktadır.

2004 yılından bu yana Türkiye'de faaliyet göstermektedir.

Dış bağlantılar
 BenQ Türkiye

BenQ küresel siteleri
 BenQ Turkiye
 BenQ Küresel
 BenQ Mobile
 BenQ-Siemens

BenQ grup siteleri
 AU Optronics
 Daxon Technology
 Darfon Electronics
 Airoha Technology
 Cando Corp.

BenQ  sosyal medya hesapları
 BenQ Turkiye Twitter
 BenQ Facebook Sayfasi

Tayvan merkezli elektronik şirketleri
1984'te kurulan şirketler
Tüketici elektroniği markaları
Görüntü teknolojisi şirketleri
Cep telefonu üreticileri
Tayvan Borsası'ndaki şirketler
Taipei merkezli şirketler

BenQ


Mit brennender Sorge (njemački: S gorućom brigom) je enciklika koju je papa Pio XI. potpisao 14. ožujka 1937. te objavio 21. ožujka 1937. godine. Podnaslov enciklike je "O Crkvi u Njemačkom Reichu".

Sadržaj
U njoj se osuđuje povrjede slobode Katoličke Crkve i kršenja konkordata između Svete Stolice i Njemačke iz 1933. godine, ali je pretežni dio usmjeren na pitanja vjerskog nauka i morala, te se osuđuju "panteistička konfuzija", "neopoganstvo", "mit o rasi i krvi" i idolatriju Države koju su širili nacisti.

Za sastavljanje enciklike bio je odgovoran državni tajnik Svete Stolice Eugenio Paccelli, koji je kasnije postao papa Pio XII. "Mit brennender Sorge" sadržava više dijelova koji su plod njegovih intervencija.

Enciklika je - odstupajući od običaja da se enciklike pišu na latinskom jeziku i tek potom prevode na narodne jezike  - napisana na njemačkom jeziku. Papinski nuncij Cesare Orsenigo encikliku je dao potajice od njemačkih vlasti umnožiti u 300.000 primjeraka i raspačati u Njemačkoj; kasnije se po župama tekst skrivao da ga nacisti ne bi uništili, ponekada i u svetohraništima crkava. S propovjedaonica u Njemačkoj je pročitan za Cvjetnicu 1937. godine.

Reakcije njemačke nacionalsocijalističke vlasti
Nacisti su reagirali bijesno, uhićivali su i zatvarali. U zatvoru su završile mnogi katolici koji su sudjelovali u tiskanju i raspačavanju. Zaplijenjeno je i 12 tiskarskih strojeva na kojima je ona tiskana. Cijeli niz samostana i škola kao i brojni bogoslovni fakulteti i visoke škole morale su biti zatvorene. Već travnja iste godine došla je nova Hitlerova i Goebbelsova zapovijed za novim valom mjera protiv svećenika i redovnika. Namjera je bila isključiti Crkvu od odgoja mladeži te potkopati povjerenje u Crkvu. Zatim su školske godine 1937./38. raspuštene privatne katoličke škole ili ih je preuzela država. Vjerska nastava nije više bila moguća u osnovnim i strukovnim školama. Gušenjem i onemogućavanjem katoličkog odgoja, te zapravo svakog drugog ne-nacističkog odgojnog rada u Njemačkoj pod nacističkom vlašću stvorili su se preduvjeti za indoktrinaciju mržnjom, te onemogućilo osvješćivanje mržnjom zatrovane mladeži.

Nacisti su uklanjanjem autoriteta Katoličke Crkve u odgoju mladih i stvaranjem monopola nacističkih organizacija poput Hitlerjugenda stvorili preduvjete za moralno trovanje mladeži i stvaranju vojske mladih ljudi odanih rasizmu i ostalim nacističkim konceptima, s kakvima će se čitav svijet uskoro suočiti u II. svjetskom ratu.

Povezani članci
 Non abbiamo bisogno
 Nacionalsocijalizam

Izvori

Vanjske poveznice
 Potpuni tekst enciklike Mit brennenden sorge sa službenih stranice Svete Stolice (eng.)
 Potpuni tekst enciklike Mit brennenden sorge sa službenih stranice Svete Stolice (njemački)
 Ivan Fuček: Etička kritika totalitarizma u papinskim dokumentima (izlaganje sa znanstvenog skupa, 1996. god.)
 Nikola Stanković, Pojmovnik antitotalitarnih enciklika iz 1937., Obnovljeni život 1-2/1996.

Enciklike Pija XI.
Povijest Njemačke

Mit brennender Sorge


Myre er en fiskeriby og administrationsby i Øksnes kommune i Nordland fylke i Norge. Myre ligger på nordvestsiden af øen Langøya, øst for Prestfjorden i øgruppen Vesterålen.

Myre havde 2.086 indbyggere pr. 1. januar 2018 og et areal på 1,69 km².

Referencer

Øksnes
Byer i Nordland fylke

Myre (Øksnes)


Un proiect de lege este o propunere legislativă aflată în evaluarea legislativului. Un proiect de lege nu devine lege până când nu este adoptat de legislativ și, în majoritatea cazurilor, aprobat de executiv. Odată ce un proiect de lege a fost adoptat în drept, acesta este numit un act legislativ sau un statut. Proiectele de lege sunt introduse în legislatură și sunt supuse discuției, dezbaterilor iar ulterior votate.

Note

Legături externe
 ORGANIZAREA SI FUNCTIONAREA CAMEREI DEPUTATILOR, Camera Deputaților
 Cum se fac legile in Romania - care sunt pasii si procedura de adoptare a unei legi, 23 aprilie 2013, Metropotam.ro

Legislație

Proiect de lege


Fumiyuki Kanda (født 28. september 1977) er en tidligere japansk fodboldspiller.

Han har spillet for flere forskellige klubber i sin karriere, herunder Ventforet Kofu.

Eksterne henvisninger

Fodboldspillere fra Japan

Fumiyuki Kanda


Quickfit is a brand of laboratory glassware, produced under the Pyrex trademark and distributed through various fronts in differing countries; e.g. Corning in North America. The glassware is well known worldwide for its build quality and it appears in numerous laboratories. A large percentage of the glassware makes use of ground glass joints.

The Quickfit brand is blown in Stone, Staffordshire, in the United Kingdom and marketed through DWK in the United Kingdom. 'Quickfit' has become a genericized trademark for all ground glass. Whilst the ownership and name of Quickfit has changed numerous times, all genuine Quickfit glass is stamped with a Q, displaying the brand name, the word Pyrex and the part code.

Timeline
1923, James A. Jobling licensed to produce Pyrex branded glassware

1962, Quartz and Quickfit glassware goes into production at Stone

1970, Quickfit becomes a part of Jobling Lab Division

1973, Quickfit joins the Corning company

1982, Corning Laboratory Division becomes J.Bibby Science Products

1986, J Bibby Scientific Products becomes Bibby Sterilin

2005, Bibby Sterilin becomes Barloworld Scientific

2008, SciLabware is introduced

2011, Scilabware becomes part of the Duran Group

2015, Duran Group acquires & integrates WHEATON Industries Inc

2016, UK entities of WHEATON & SciLabware consolidate into new SciLabware

2017, Launch of DWK Life Sciences, SciLabware launches new branding

2020, SciLabware Ltd becomes DWK Life Sciences Limited

References

Laboratory glassware

Quickfit apparatus


ييالوس (Γιαλός) هي مدينة في خانيا في جزيرة كريت في اليونان. يبلغ عدد سكانها حوالي 893 نسمة.

مراجع

مدن اليونان

ييالوس (هانيا)


Elseid Gëzim Hysaj (n. 2 februarie 1994) este un fotbalist profesionist albanez care joacă pe postul de fundaș dreapta pentru club italian Napoli și pentru echipa națională a Albaniei.

Hysaj s-a născut în Albania și și-a început cariera la echipa de tineret a KF Shkodra, dar s-a mutat alături împreună cu tatăl său în Italia la vârsta de 14 ani, ajungând la echipa de tineret a celor de la Empoli în 2009, debutând la echipa mare în 2011 în Cupa Italiei. El și-a făcut debutul în campionat în următorul sezon în Serie B, și a devenit rapid titular sub îndrumarea antrenorul Maurizio Sarri. A jucat în 34 de meciuri și a promovat în Serie A. La sfârșitul sezonului Sarri a plecat la Napoli, transferându-l pe Hysaj pentru 6 milioane €, făcându-l al doilea cel mai scump fotbalist albanez după Lorik Cana, care deține în prezent recordul de 6,75 milioane € după transferul de la Galatasaray la Lazio, în iulie 2011.

Carieră internațională

Albania U17
Hysaj a jucat trei meciuri pentru echipa națională a Albaniei sub 17 ani, pe data de 25 septembrie 2010: cu Norvegia U-17 a pierdut cu 2-0, Republica Irlanda U-17 la 27 septembrie 2010, de asemenea, meci pierdut cu 2-0, și împotriva Maltei U-17 - 30 septembrie 2010, meci încheiat la egalitate, scor 1-1.

Într-un interviu pentru presa albaneză, Hysaj a declarat că a fost invitat de către Federația Italiană de Fotbal să joace pentru reprezentativa italiană, dar el a refuzat ca el a vrut pentru să reprezinte Albania la nivel internațional.

Albania
Antrenorul Gianni De Biasi l-a convocat pe Hysaj pentru meciul amical cu Georgia de pe 6 februarie 2013.

În acest joc, la vârsta de 18 ani, și-a făcut debutul, devenind al treilea cel mai tânăr jucător după Blendi Nallbani și Iljaz Çeço care joacă pentru echipa națională a Albaniei.

Meciuri la națională

Palmares

Club
 Empoli
 Serie B Vice-campion: 2013-2014
 Napoli
 Serie A Vice-campion: 2015-2016

References

Legături externe

Nașteri în 1994
Fotbaliști internaționali albanezi
Fotbaliști albanezi
Oameni în viață
Fotbaliști ai SSC Napoli

Elseid Hysaj


Nobuyuki Oishi (født 12. september 1939) er en japansk fodboldspiller.

Japans fodboldlandshold

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|1964||1||0
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Eksterne henvisninger

Japan National Football Team Database

Fodboldspillere fra Japan

Nobuyuki Oishi


SJ Berwin LLP war eine englische Wirtschaftskanzlei mit weltweit über 160 Partnern. Sie beschäftigt mehr als 350 Anwälte und
Steuerberater.

Geschichte

Die Kanzlei wurde 1982 von Stanley J. Berwin mit fünf Partnern mit Sitz in London, Großbritannien gegründet. SJ Berwin LLP (nicht zu verwechseln mit der Kanzlei Berwin Leighton Paisner) entwickelte sich zu einer internationalen "Law Firm"  und gehörte zum sogenannten Silver Circle der 25 führender britischer Anwaltskanzleien. 1990 wurde eine Niederlassung in Brüssel, 1999 eine in Madrid, 2000 in Paris und München und 2009 in Hongkong, sowie weitere in Dubai, Luxemburg und Shanghai gegründet. 2002 erreichte die Firma erstmals einen Umsatz von 100 Millionen Pfund, 2006 beschäftigte sie über 1.000 Angestellte.

SJ Berwin wurde zum 1. November 2013 ein Teil der asiatisch-pazifischen Kanzlei King & Wood Mallesons mit Hauptsitz in Hongkong und damit das vierte Mitglied der "Schweizer Vereinsstruktur" von King & Wood Mallesons. Ab diesem Zeitpunkt änderte SJ Berwin den Kanzleinamen in "King & Wood  Mallesons LLP".

Weblinks
 Homepage der Kanzlei
 Kanzleiprofil bei Platow Online
 SJ Berwin in: Legal Week vom 21. August 2009

Anwaltskanzlei
Dienstleistungsunternehmen (London)
Gegründet 1982
Beratungsunternehmen (Vereinigtes Königreich)

SJ Berwin


Ahmed Midhat (; 1844, Tophane, İstanbul - 28 Aralık 1912, İstanbul), Türk yazar, gazeteci ve yayıncı. Tanzimat dönemi yazarlarındandır. Türk edebiyatının gerçek anlamda ilk popüler yazarıdır. 1870'te Devir (Çağ) adıyla bir gazete çıkardı ancak ilk sayıda kapandı. Çok kısa zaman sonra Bedir adıyla çıktı. 1878'de çıkarmaya başladığı ve yayın hayatını 1921'e kadar sürdürmüş olan Tercüman-ı Hakikat gazetesi Osmanlı basın tarihinin en uzun ömürlü ve etkili yayınlarından biri olmuştur. Kabri Fatih Camii içinde II. Mehmed'in türbesinin de bulunduğu ayrı kısımdadır.

Millî Eğitim Bakanlığının 100 büyük Türk edebiyatçısı listesinde yer almaktadır.

Yaşamı
1844 yılında İstanbul'un Tophane semtinde dünyaya geldi. Babası Bezci Süleyman Ağa, annesi bekâr çamaşırı diken Nefise Hanım idi. Annesinin ilk evliliğinden olma Hafız İbrahim adlı bir ağabeyi ve Halime, Şerife, İsmet adlı kardeşleri vardır.

6-7 yaşlarında iken babasını kaybetti ve ailesi büyük geçim zorluğuna düştü. Ailesi ile beraber ağabeyi Hafız Ağa'nın kaza müdürü olarak görev yaptığı Vidin'e gitti ve bir mahalle mektebinde öğrenim görmeye başladı. Ertesi yıl İstanbul'a dönerek öğrenimine Tophane Sıbyan Mektebinde devam etti. 1857-1861 yıllarında Mısır Çarşısı'nda bir aktar dükkânında çırak olarak çalıştı.

1861'de ağabeyinin yeniden Vidin kasabasına atanmasıyla Vidin'e, Midhat Paşa'nın ağabeyini yanına aldırması üzerine Niş kasabasına gitti ve 1864 yılında üç yıllık Niş Rüştiyesini bitirdi.

Memuriyet yaşamı
Midhat Paşa'nın Tuna Valisi olarak atanıp ağabeyini vilayet merkezi Rusçuk'a getirtmesinden sonra kendisi de Rusçuk'ta bir devlet dairesine memur olarak atandı. Memuriyetini sürdürürken bir yandan da Arapça, Farsça ve Fransızcasını ilerlettiği için kendisini takdir eden Midhat Paşa ona kendi ismini verdi. Böylece asıl adı olan "Ahmet"in yanına "Midhat" da eklenerek bu şekilde anılmaya başladı. Bu dönemde memuriyet görevlerine ilave olarak Teşkilat Kanunu gereği çıkartılan Tuna gazetesinin yazı işlerinde yardımcılık yapmaktaydı.

1866'da ağabeyinin yanında tercümanlık göreviyle gittiği Sofya'da ailesinin isteği üzerine evlendirildi. Kısa süre sonra Rusçuk'a dönerek çeşitli işlerde çalıştı. 1868'de Tuna gazetesinde yazar olarak göreve başladı; gazetenin başyazarı oldu. Bu dönemde tanıştığı Muhacirin Komisyonu (Göçmen Komisyonu) başkanlığını yapmakta olan Şakir Bey'in evinde uzun süre konuk olan Ahmed Midhat, onun zengin kitaplığından yararlandı, Şakir Bey'in Romanyalı bir müzisyen olan eşi sayesinde ilk defa Batı sanatı ile tanıştı.

Bağdat yılları
Şura-yı Devlet Reisi olan Mithat Paşa 1869 yılında Bağdat Valiliği'ne tayin olduğunda Şakir Paşa'yı da merkez mutasarrıfı olarak Bağdat'ta görevlendirmesi üzerine Ahmed Midhat, onunla yarabala Bağdat'a gitmek istedi. Bu isteğini kabul eden Midhat Paşa kendisini bir matbaa kurmakla görevlendirdi ve çıkartılacak olan "Zevra" adlı gazetenin başına geçirdi.

Bağdat yolculuğu sırasında ressam Osman Hamdi Bey ile tanışmıştı. Osman Hamdi ile dostluğu sayesinde Batı kültürünü tanımaya başladı. Bağdat'ta bulunduğu sırada Muhammed Zuhavi ve yarı derviş bir kişi olan Şirazlı Muhammed Bakır Can Muattar ile tanışıklığı onun kültürünü genişletti, öğrenme hırsını kamçıladı.

Bağdat'ta hem gazete yönetmenliği yaptı hem de sanat okulu öğrencileri için fen bilgileri kitabı hazırladı. Kitabı, Maarif Nezaretinin yarışmasında ödül kazanıp ders kitabı olarak okutuldu. Devrin Maarif Nazırı Saffet Paşa ile yazışmaları onda İstanbul'a dönme isteği doğurdu.

Yayıncılık ve yazarlık
Basra mutasarrıfı (valisi) olan ağabeyi Hafız İbrahim'in ölümü üzerine 1871 yılında görevinden istifa eden Ahmed Midhat, İstanbul'a dönüp ailesinin geçim yükünü üstlendi. "Ceride-i Askeriye" ve "Basiret" gazetelerinde çalıştığı gibi matbaahanesini de kurup eserlerini bastı. İlk önce kendi evinin altında kurduğu matbaayı kısa süre sonra Eminönü'nde kiraladığı bir odaya taşıdı. Edebiyatımızın ilk hikâye koleksiyonu olan "Letaif-i Rivayat" adlı eseri kaleme aldı. "Letâif-i Rivayat" ve "Kıssadan Hisse" isimli eserlerini kaleme aldı, bu eserlerin satışıyla geçimini temine çalıştı. İlk sayıda kapatılan "Devir" ve 13. sayıda kapatılan "Bedir" gazetelerinin ardından "Dağarcık" adlı dergiyi çıkardı.

Bu dönemde Genç Osmanlılar ile ilişki kuran Ahmed Midhat, Ebüzziya Tevfik aracılığıyla Namık Kemal ile tanıştı. Kendi bastığı eserlerinin yanı sıra gazetelerde de yazıları yayımlandı. Namık Kemal'in yayınlamaya başladığı "İbret" gazetesinin sürekli yazarları arasına girdi. 1873 yılında kendine ait Dağarcık mecmuasında yazdığı yazılar ve Yeni Osmanlılar'la yakınlığı nedeni ile tepki çekti. Özellikle mecmuanın 4. sayısında yayınladığı "Duvardan Bir Seda" adlı makalesi nedeniyle dinsizlikle suçlandı. Namık Kemal'in Vatan Yahut Silistre oyununun yarattığı hava içinde Gedikpaşa Tiyatrosu'nda iken 6 Nisan 1873'te Ebüzziya Tevfik ile birlikte Rodos'a sürüldü.

Rodos sürgünü
38 ay süren sürgün sırasında çok sayıda eser yayınladı, Rodoslu çocuklara ders verdi, "Medreseyi Süleymaniye" adlı bir ilkokul açtı. En üretken dönemlerinden birini yaşayan yazar, "Hasan Mellah", "Hüseyin Fellah" ve "Dünyaya Yeniden Geliş ya da İstanbul'da Neler Olmuş" gibi önemli eserlerini burada yazdı. İstanbul'da çıkan "Kırkambar" dergisine yazılar gönderdi. Abdülaziz'in vefat etmesi ve V. Murat'ın başa geçmesiyle çıkan genel af sonucu İstanbul'a geri dönmesine izin verildi.

Sürgün sonrası
İstanbul'a döndükten sonra gazetecilik, yayıncılık ve romancılığa ağırlık verdi. İstanbul'a dönüşünden 15 gün sonra "İttihad" adlı gazeteyi çıkardı. Vakit gazetesinde yazar (1877), Takvim-i Vakayi'de müdür oldu (1878). Bu dönemde yazdığı ve sürgüne kadarki hayatı ile sürgün yıllarını anlattığı "Menfa" adlı eserinde Yeni Osmanlılar'ı eleştirdi; "Üss-i İnkılab" adlı eserinde de II. Abdülhamid'in siyasetini överek yeni padişahın gözüne girdi.

Tercüman-ı Hakikat dönemi
27 Haziran 1878'de Osmanlı sarayının desteği ile Tercüman-ı Hakikat gazetesini yayımlamaya başladı. Gazete, Osmanlı basın tarihinin en uzun ömürlü ve etkili yayınlarından birisi oldu. Başlangıçta gazetenin tüm yazılarını kendisi yazıyordu. Zamanla gazetenin yazarları arasına giren Ahmet Cevdet, Hüseyin Rahmi, Ahmet Rasim gibi isimler, bu gazetenin sütunlarında meşhur oldular. 1879'da Matbaayı Amire'ye müdür olarak tayin edildi.

Şair Fitnat Hanım ile aşkı
Rodos sürgününden döndükten sonra Kabataş'ta yeni bir eve taşınan Ahmed Midhat Efendi, burada şair Fitnat Hanım ile komşu olmuştu. Annesi Nefise Hanım'ın kardeşinin kızı olan Fitnat Hanım ile aralarında doğan aşk, mektuplarla sürdürüldü. Mektuplaşmaları 1944 yılında kitaplaştı.

Beykoz'a yerleşmesi
1880 yılında Beykoz'da bir çiftlik satın aldı. Ona ait araziden kaynayan suya "Sırmakeş" adını verdi ve şişeleyerek içme suyu satışı başlattı. Beykoz kıyısında bir yalı satın alarak sanat ve edebiyat çevrelerinden pek çok kişiyi bu yalıda ağırladı.

1884'te büyük kızı Mediha'yı Muallim Naci ile evlendirdi. Damadı Muallim Naci, 1883'te Tercüman-ı Hakikat'in edebiyat sayfasının yönetimini üstlendi. Ne var ki Ahmed Midhat eski edebiyat alışkanlıklarını savunan damadı ile görüş ayrılığına düştüğü için 2 yıl sonra onu gazeteden kovdu.

1888'de "Gümüş İmtiyaz Madalyası", 1889'da "Bâlâ Rütbesi" ve ikinci dereceden "Mecidî" aldı. 1888'de Türkiye temsilcisi olarak Stockholm'daki VIII. Müsteşrikler Kongresi'ne (Doğu Bilimleri Kongresi) katıldı. Dönünce gözlemlerinden yola çıkarak "Avrupa'da Bir Cevelan" kitabını yayımladı.

1895 ilâ 1908 arasında Karantina Nazırlığı yaptı.
1908'e kadar Tercüman-ı Hakikat'te roman, hikâye ve makaleler yazmayı sürdürdü.

Emekliliği

Yazar, II. Meşrutiyet döneminde yaş haddi nedeniyle emekliye ayrıldı. Yazıları eskisi gibi rağbet görmediği için yazı hayatından da çekildi; Bakanlar Kurulunun özel kararıyla Darülfünun'da genel tarih, felsefe tarihi; Darülmuallimat'ta tarih ve eğitimbilim dersleri; Medreset-ül-Vaizin'de dinler tarihi dersleri verdi; ayrıca Darüşşafaka'da gönüllü olarak öğretmenlik yaptı. 28 Aralık 1912 tarihinde Darüşşafaka'da nöbetçi olduğu bir sırada kalp durmasından hayatını kaybetti. Fatih Camii haziresine defnedildi.

Eserleri hakkında
Ölümüne dek iki yüzden fazla eser yayımlayan Ahmed Midhat, Türk edebiyatının gerçek anlamda ilk popüler yazarıdır. En büyük arzusu kitap okuyan bir toplum yaratmak idi. Çoğunluğa hitap etmek, dertlerine tercüman olmak kaygısıyla çok sayıda eser verdi "kırk beygir gücünde yazı makinesi" olarak tanındı.

Eserlerinde Avrupa'nın bilim, sanayi ve çalışkanlığını överken Osmanlı toplumunun ahlaki değerlerinin korunması gerektiğini vurguladı. Genç yazarlara destek verdi, dilde sadeleşmeyi savundu, devlete ve dine itaatsizliği, tembelliği, müsrifliği, özentiliği eleştirdi. Ürünlerini daha çok öykü ve roman türünde vermiştir. Romancılığı ve öykücülüğü, halk öykücülüğünden Batı tarzı öykü ve romancılığına geçiş olarak kabul edilebilir. Ayrıca tiyatro alanında da çalışmalar yapmış, "Açıkbaş, Ahz-i Sar, Ziba" adlı kitaplarıyla dram ve operet türlerinde ürünler vermiştir.

Fransızcadan yaptığı roman çevirileri, Batı yazınının ilk çeviri örneklerini oluşturur. Romanları, Namık Kemal, Şemseddin Sami ve Samipaşazade Sezai ile birlikte onu ilk Türk romancılar kuşağının bir üyesi yaptı.

Gazeteciliğin dışında tarih, coğrafya ve felsefeye ilgi duymuş; çoğunlukla Batı kaynaklarından yararlanarak kaleme aldığı bu eserleri hem kitap oylumunda, hem de fasikül olarak çıkarmıştır.

Eserleri

Romanları
 Yeniçeriler (1872)
 Hasan Mellâh Yahut Sır İçinde Esrar (1874)
 Dünyaya İkinci Geliş Yahut İstanbul'da Neler Olmuş (1875)
 Hüseyin Fellâh (1875)
 Felâtun Bey ile Râkım Efendi (1875)
 Karı-Koca Masalı (1875)
 Paris'te Bir Türk (1876)
 Çengi (1877, oyun)
 Süleyman Musûlî (1877)
 Yeryüzünde Bir Melek (1879)
 Henüz On Yedi Yaşında (1881)
 Karnaval (1881)
 Amiral Bing (1881)
 Vah! (1882)
 Acâib-i Âlem (1882)
 Dürdâne Hanım (1882)
 Esrâr-ı Cinâyât (1884)
 Cellâd (1884)
 Volter Yirmi Yaşında (1884)
 Hayret (1885)
 Cinli Han (1885)
 Çingene (1886)
 Demir Bey Yahut İnkişâf-ı Esrâr (1887)
 Fennî Bir Roman Yahut Amerika Doktorları (1888)
 Haydut Montari (1888)
 Arnavutlar Solyotlar (1888)
 Gürcü Kızı Yahut İntikam (1888)
 Nedâmet mi? Heyhât (1889)
 Rikalda Yahut Amerika'da Vahşet Âlemi (1889)
 Aleksandr Stradella (1889)
 Şeytankaya Tılsımı (1889)
 Müşâhedât (1890)
 Ahmed Metin ve Şîrzât (1891)
 Bir Acîbe-i Saydiyye (1894)
 Taaffüf (1895)
 Gönüllü (1896)
 Eski Mektûblar (1897)
 Mesâil-i Muğlaka (1898)
 Altın Âşıkları (1899)
 Hikmet-i Peder (1900)
 Jön Türkler (1910)

Öyküleri (hikayeler)
 Kıssadan Hisse (1870)
 Letâif-i rivayat

 Suni'fi Zann(1870)
 Gençlik (1870)
 Esâret (1870)
 Teehhül (1870)
 Felsefe-i Zenân (1870)
 Gönül (1870)
 Mihnetkeşân (1870)
 Firkat (1870)
 Ölüm Allâhın Emri (1873)
 Bir Gerçek Hikâye (1876)
 Bir Fitnekâr (1876)
 Nasîb (1877)
 Çifte İntikam (1887)
 Para (1887)
 Kısmetinde Olanın Kaşığında Çıkar (1887)
 Diplomalı Kız (1890)
 Dolabdan Temâşâ (1890)
 İki Hud'akâr (1893)
 Emânetçi Sıdkı (1893)
 Cankurtaranlar (1893)
 Ana-Kız (1893)

 Durûb-u Emsâl-i Osmâniyye Hikamiyyatının Ahkâmını Tasvir (1872)
 Hayâl-Hakîkat (1891)

Gezi
 Avrupada Bir Cevelan (1889)
 Seyyadane Bir Cevelan (1891)

Tiyatroları
 çengi
 açıkbaş
 eyvah

Diğer eserleri
 Üss-i İnkılâb ve Zübdetül Hakâyık (3 cilt, 1877-78)
 Hilâl-i Ahmer Cemiyet-i İnsaniyesinin Tarihi
 Müdâfa'a (3 cilt, 1883-85)
 İstibşâr (1892)
 Beşâir
 Nizâ'-ı İlm-ü Din (4 cilt)
 Şopenhavr'ın Hikmet-i Cedidesi
 Volter
 Beşir Fuad
 Menfa (öz yaşam öyküsü)
 Çerkez Özdenler (oyun)

Kaynakça

1844 doğumlular
Beyoğlu doğumlular
İstanbul doğumlu yazarlar
19. yüzyıl Osmanlı yazarları
20. yüzyıl Osmanlı yazarları
Osmanlı Çerkesleri
Osmanlı gazetecileri
Osmanlı yayımcıları
1912 yılında ölenler
İstanbul'da kalp krizinden ölenler
Fatih Camii Haziresi'ne defnedilenler

Ahmed Midhat


Norman Gene "Norm" Macdonald (Québec, 17. listopada 1959.) bio je kanadski komičar, pisac i glumac.

Na početku karijere sudjelovao je u pisanju scenarija za humoristične serije kao što su Roseanne i The Dennis Miller Show. Godine 1993. postao je jedan od scenarista za emisiju Saturday Night Live i njezin redoviti član – pojavio se u pet sezona, a tijekom tri i pol sezone bio je voditelj dijela emisije pod imenom Weekend Update. U to je vrijeme gostovao i u emisijama kao što su The Drew Carey Show i NewsRadio. Nakon što je izbačen iz SNL-ove postave, napisao je scenarij za film Dirty Work i glumio u glavnoj ulozi, a od 1999. do 2001. glumio je u vlastitoj humorističnoj seriji The Norm Show.

Izvori

Kanadski filmski glumci
Kanadski televizijski glumci

Norm Macdonald


Freightliner Group is a rail freight and logistics company headquartered in the United Kingdom. It is presently a majority owned subsidiary of the American holding company Genesee & Wyoming.

It was originally created after the Transport Act 1968 as Freightliner Ltd, a British government-owned company . From its onset, Freightliner was focused on the haulage of international traffic, thus came to centre its activities around Britain's sea ports, often building new multimodal freight depots adjacent to such locations to better capture this business. During the late 1970s, it was reorganised under British Rail, and became a part of its Railfreight Distribution subsidiary during the late 1980s. Work to expand the loading gauge on routes such as the East Coast Main Line were undertaken, allowing trains hauling larger containers to be routes, were conducted around this time. Numerous domestic depots previously operated by Freightliner were closed during the 1990s in preparation for the Privatisation of British Rail that same decade.

As a consequence of the privatisation initiative, the business unit was reorganised as Freightliner Limited; on 25 May 1996, it was privatised and bought out through a management buyout, supported by 3i and Electra Private Equity, in exchange for £5.39million. Freightliner quickly set about modernising and expanding its locomotive fleet, ordering both Class 57 (rebuilt Class 47) and new-build Class 66 locomotives to fulfil this role. During 1999, it established the Heavy Haul business; five years later, the Logico service was also launched. By 2014, Freightliner Limited had become the largest intermodal freight transport operator in the United Kingdom, as well as the second largest freight operating company in the country by revenue, behind DB Cargo UK. It had also expanded its operations into various other countries, including Australia, the Netherlands and Poland. In 2008, Freightliner Group was purchased by Railinvest Holding Company, a subsidiary of Arcapita Bank of Bahrain. In 2015, Freightliner was acquired by the American company Genesee & Wyoming.

History

British Rail
The idea of shipping freight in set-sized containers went back to the 1930s in the UK with the adoption of the Conflat system. But it was Dr Richard Beeching who, in his report Reshaping Britain's Railways, advanced the concept of containerised freight in the UK.

Beeching proposed 55 depots placed strategically across the UK, serviced by fixed-consist permanently-coupled air-braked trains, with an average journey between depots of  and a shortest distance of . British Railways progressed with the concept, envisaging  length wagons - later increased to  - carrying  standard sized international shipping containers in lengths of , later adapted to . These BR UK-adopted standards were formed on the basis of analysis of then current international intermodal practise, and latter adopted as the base of the internationally agreed ISO 668). Containers would be loaded at the dedicated inland terminals, using gantry cranes for transshipment between road and rail.

During January 1964, the prototype flat wagon was produced by Shildon railway works; later that same year, 100 production wagons were turned out from Ashford railway works. The first revenue-earning train ran between York Way/Maiden Lane in North London and Gushetfaulds in Glasgow on 15 November 1965. Soon adopting the Freightliner name, the first single-shipper train was operated on 20 August 1968, hauling specially-designed  containers carrying parts for Ford Escort cars that were destined for assembly in plants on the European mainland.

Freightliner Ltd (1968)

Beeching's original concept envisioned Freightliner servicing a domestic freight market, which by 1968 had resulted in British Railways developing 17 purpose-built depots. However, Freightliner's most profitable routes were those servicing Britain's major ports, specifically traffic to/from Europe and Ireland, as well as import/export traffic to the rest of the world. This pattern of profitability was recognised in the Transport Act 1968, whereby Freightliner became a separate listed commercial company wholly owned by the UK Government, but which leased its UK domestic rail transport from British Railways.

By the end of the 1960s, Freightliner operated 28 terminals and 56 routes, however, the company's shift in focus from the original domestic freight market to the international market serviced via ports continued for the next 30years, with many of the original domestic depots which did not service port traffic either never opening or eventually closing (i.e.: Kings Cross, Sheffield, Swansea, Swindon), whilst investment in seaport depots - specifically Southampton, Harwich, and the Port of Felixstowe where Beeching's plan had never envisaged a depot - continued at an increasing pace. Part of the consolidation of rail depots was enabled by a greater focus on Freighliner's own HGV network of dedicated lorries, which expanded the servicing footprint of each rail depot, and hence allowed increased efficiency through creating longer and better utilised train routes.

Dudley Freightliner Terminal,  from Birmingham, on the site of the old railway station was opened in October 1967. This initially proved to be one of the most profitable such terminals in the country, while the Birmingham terminal was ultimately one of the least financially viable. In 1981, due to a lack of international traffic, Freightliner was planning to close Dudley and transfer its function to Birmingham. Given a reprieve in 1983, it finally closed during 1986.

Increasing Irish traffic resulted in a depot being opened at the Port of Holyhead, as well as Freightliner having dedicated operations in both Belfast and Dublin. This also resulted in UK Government granting Freightliner funds to create a dedicated multimodal terminal at the Port of Liverpool to replace its previously lost rail freight traffic, and then further investment in second multimodal terminals at both Felixstowe and the Port of Tilbury.

Return to British Railways
The Transport Act 1978 brought Freightliner back inside the control of British Railways, mostly driven by the investment required to
ease the rail network's loading gauge restrictions that hampered the transport of shipping containers  and  in height.

Freightliner immediately made a major pitch to the BR Board to allow 8 ft 6 in contains to be carried on the East Coast Main Line (ECML), which involved lowering the track in , as well as in Peascliffe and Penmanshiel tunnels (in Lincolnshire and the Scottish Borders, respectively). The alterations were successfully completed at Stoke and Peascliffe, but Penmanshiel Tunnel collapsed in March 1979 while work was underway, killing two workers and severing the ECML between Edinburgh and Berwick. The extent of the collapse meant that reconstruction was considered to be too dangerous and expensive, so the tunnel was bypassed by a new section of line constructed in an open cutting slightly to the west of the original alignment that opened five months later in late August. Freightliner later withdraw its services on that stretch of the ECML.

During the 1980s, Freighliner became part of BR's 1980s non-bulk Railfreight Distribution (RfD) division, which brought about its first ever allocation of locomotives. After experimenting with other rail operators solutions to coping with the new larger containers, in 1990 BR agreed the order of 700 flat-wagons from SNCF supplier Arbel Fauvet Rail, which could immediately accommodate 8 ft 6inch height containers at 75 mph speeds. This was further supplemented in 1991 with leased flat-wagons from Tiphook. Further experimentation with SNCF-leased Multifret flat-wagons  which could accommodate 9 ft containers at speeds of up to   led to an order of 45 BR-specified "Lowliner" wagons with a deck height of only , which allowed the transport of  containers on routes approved for 8 ft 6 in containers using the existing wagon fleet.

Although designed to accommodate 9 ft containers over the entire BR network, the slow delivery of Lowliners meant that the entire allocation was utilised instead to carry 8 ft 6 in containers on trains to and from London Thamesport, circumventing the restricted clearances on the former South Eastern and Chatham Railway. The withdrawal of Sealink's dedicated freight service from Holyhead also brought about the end of Freightliner's dedicated service to Northern Ireland via North Wales.

Privatisation - Freightliner (1995) Ltd

As part of the Privatisation of British Rail, the loss-making RfD division came under increasing pressure, leading to the immediate closure of the Speedlink division. Freightliner closed the residual domestic-serving depots, including London's Willesden and Stratford, Bristol (closed in 1992, later reopened in 2014) Glasgow Gushetfaulds, and consolidation of Manchester's traffic on the newly opened Euroterminal (later switched back to the previously closed Trafford Park).

The Freightliner business unit had its assets transferred into a new company, Freightliner (1995) Limited, in preparation for sale. Rejected as not sufficiently profitable by the Wisconsin Central-owned English Welsh & Scottish Railway, on 25 May 1996, Freightliner was purchased by a management buyout backed by 3i and Electra Private Equity for a sum of £5.39M. As part of the sale agreement, the UK Government awarded the company a track-access grant of £75M up until the year 2000.

Freightliner's immediate need was for improved reliability from its locomotive fleet. During 1997, the company commissioned Brush Traction to rebuild of six of its Class 47 locomotives to create the Class 57, which was fitted with reconditioned General Motors power units and reworked ex-Class 56 alternator groups. The first of these was released in July 1998, and coincided with the unveiling of the new British Racing Green Freightliner livery. After an evaluation period, Freightliner was sufficiently impressed to order a further six in June 1999, with plans for an eventual fleet of 25. However, in actuality, no additional Class 57 locomotives were delivered to Freightliner, largely due to the company opting to place orders for new-built Class 66s, all being leased from Porterbrook.

During 1999, Freightliner established its Heavy Haul business. In March 2004, Freightliner launched Logico, providing short-term or one-off spaces on intermodal trains, it is typically active at major British freight hubs such as the South Wales International Terminal and the Port of Felixstowe. By 2014, Freightliner was actively trying to increase such trains in response to requests for higher service frequencies from ports.

During 2007, Freightliner commenced operations in Poland; its primary activity in the Polish market has been the haulage of aggregates and coal traffic.

Post-privatisation

On 13 June 2008, Freightliner Group was purchased by Railinvest Holding Company Limited, a subsidiary of Arcapita Bank of Bahrain.

On 30 June 2009, Freightliner commenced operations in Australia, having secured an initial contract with Namoi Cotton Co-operative to haul containerised processed cotton traffic in New South Wales. Over the following six years, it would become an accredited rail service provider in Western Australia, Southern Australia and Queensland, as well as expanding into hauling coal and other agricultural traffic for various customers in New South Wales.

In February 2015, the sale of Freightliner from Arcapita Bank to American company Genesee & Wyoming was arranged. Under the deal, Genesee & Wyoming purchased a 95% shareholding which increased to 100% in 2020. At the time of the acquisition, Freightliner's portfolio comprised approximately 250 standard gauge locomotives along with 5,500 wagons, and had a headcount in excess of 2,500 employees worldwide.

On 12 November 2015, British Rail Class 47 No. 47830 (D1645), which is operated by Freightliner, was named Beeching's Legacy to mark 50 years since the first container train ran under British Rail.

In April 2018, Freightliner unveiled its new brand identity during an event at the NEC Birmingham, bringing the brand inline with parent company Genesee & Wyoming.

On 1 July 2019, it was announced that Freightliner's parent company Genesee & Wyoming is to be bought for US$8.4billion by a consortium including Brookfield Infrastructure, GIC and Brookfield's institutional partners.

Subsidiaries
Freightliner Group has the following subsidiaries:
 Freightliner Ltd
 Freightliner Heavy Haul
 Freightliner Maintenance (has maintenance facilities in the United Kingdom at Crewe Basford Hall and Leeds Midland Road)
 Freightliner Poland and Germany
 European Rail Shuttle B.V.
 Freightliner Middle East

Operations

United Kingdom

When Freightliner was privatised in 1996, it only operated Intermodal container services. These ran from ports including Felixstowe, Southampton and Tilbury to terminals such as Birmingham, Trafford Park in Manchester, Stourton (Leeds), Coatbridge (Central Scotland), Ashton Gate (Bristol), and Wentlooge (Newport, South Wales). The network has been expanded with additional destinations added. Freightliner also operate an extensive road distribution network with 300 road vehicles. Freightliner also provides drivers for Scottish TransPennine Express services.

In 1999, Freightliner set up Heavy Haul initially operating railway infrastructure trains for Network Rail moving ballast, rails etc. before moving into other bulk loads including aggregates, cement, coal, petroleum, scrap metal and waste. Initially run as a division of Freightliner Limited, in 2001 operations were transferred to a new subsidiary, Freightliner Heavy Haul Limited. Reportedly, Heavy Haul operations were hit particularly hard during the Great Recession that started in 2008, but, the firm was actively acquiring additional wagons and staff in order to accommodate new growth on top of the recovery of demand from many of its established customers by 2015. Furthermore, due to a lack of available slots on most mainlines, there was an increased emphasis on running longer trains rather than routing additional ones.

During April 2006, Freightliner Maintenance Limited was established as a separate entity dedicated to the repair and maintenance of traction and rolling stock. It acquired a maintenance depot and took on 13 staff in Leeds from a former supplier that same year, and was promptly made responsible for the maintenance of Freightliner's 75 Heavy Haul locomotives. Within its first three years, the division had extended its scope into wagon maintenance, and was reportedly consistently achieving a 95% availability rate on the company's 657 coal wagons; it also had engineering teams and mobile workshops stationed in Birmingham, London, Bristol, York, Scotland and Crewe that undertook scheduled maintenance along with unexpected call-outs. The subsidiary competitively tenders for maintenance work, without any preference from the rest of the company. By 2011, Freightliner Maintenance was servicing all 111 of the company's UK-based Class 66 locomotives, and had branched into both track maintenance and rail freight development activities as well.

In October 2021, the company switched most of its electric operations to diesel trains due to the increased cost of electricity. One month later, Freightliner announced positive results from an alternative fuel trial it was conducted for its diesel-powered fleet, allegedly halving the carbon emissions incurred.

Poland

During 2006, Freightliner expanded its operations into Poland. A subsidiary company, Freightliner PL Sp. z o.o., was established to bid for contracts hauling coal traffic. The first contract was for coal transport from Lubelski Węgiel Bogdanka SA near Bogdanka (Bogdanka-Lublin coal mine) to Kozienice Power Station. The service began in September 2007. Most of Freightliner PL's services operate on the Gdańsk to Warsaw corridor and in southern Poland. In February 2015, Freightliner PL signed a €17.5M contract to lease five Newag Gliwice  electric six-axle E6DCF Dragon locomotives from ING Lease. With each equipped with a  diesel engine for last-mile operation, they are scheduled to be delivered from May to July 2016. Furthermore, Freightliner opted to export 13 of its Class 66 locomotives from the UK to Poland for operations there.

Australia
Freightliner began exploring opportunities in the Australian rail market with Freightliner Australia established by April 2007. By June 2008 Freightliner Australia had been accredited as a rail operator in the state of New South Wales and by September 2009 also had accreditation in Queensland and Western Australia. In June 2009, Freightliner Australia commenced operating containerised cotton services from Wee Waa to Port Botany. In September 2009 Freightliner Australia signed a 10-year deal with Xstrata to haul export coal from the Hunter Valley to Newcastle, commencing in September 2010. Under the deal, Xstrata owned the rolling stock with Freightliner Australia providing the engineering, logistics, maintenance and operational support. In May 2012 Freightliner Australia commenced operating a Warren to Port Botany service.

In December 2016, Glencore, who had purchased Xsrata, sold its Hunter Valley coal haulage business to Genesee & Wyoming Australia that was also owned by Freightliner's parent company Genesee & Wyoming. Freightliner's Australian business was merged into Genesee & Wyoming Australia and the brand retired.

Netherlands

In 2013, Freightliner bought Netherlands-based intermodal container operator European Rail Shuttle B.V. from Maersk Line. This subsidiary, has focused on the cross-border intermodal traffic that runs between the northern European ports of Rotterdam, Bremerhaven and Hamburg to various cities across Germany, Poland, Italy and elsewhere in continental Europe.

Fleet

United Kingdom
Freightliner inherited a fleet of ageing Class 47 diesel locomotives and Class 86 and Class 90 electric locomotives from British Rail.

In 1997, Freightliner placed an order for six Class 57 locomotives. These were rebuilt by Brush Traction at Loughborough from Class 47s and fitted with a refurbished EMD engine and a reconditioned alternator, improving reliability and performance. The first was delivered in July 1998. After an evaluation period Freightliner was sufficiently impressed to order a further six in June 1999.

During the late 1990s and early 2000s, Freightliner placed multiple orders for new-build Class 66s, cumulating in 111 locomotives being delivered to the company. In order to better haul heavier trains, Freightliner directed that several of its Class 66s be regeared, which resulted in a reduced maximum speed in exchange for a higher tractive effort. Once in service, the type proved to be quite reliable, with Freightliner reportedly recording a regular availability rate of 98% along with an average of 70,000 miles between failures, more than double that of the Class 57 fleet. By 2004, the company's Class 66s had replaced all of the Class 47s, as well as the Class 57s after another two years. Freightliner also leased some Class 66s that had been formerly operated by Direct Rail Services.

During November 2007, Freightliner announced an order for 30 Class 70s under a project called Project Genesis. The first two were delivered in November 2009. These have released a number of Class 66s with five going to Colas Rail, 13 to Freightliner Poland and four to GB Railfreight.

Freightliner also use their single Class 47 (47830) on driver route learning.

Poland
Freightliner PL ordered seven EMD Class 66s as well as 432 Greenbrier Eamnoss type coal hopper wagons. These have been supplemented by an EMD Class 66 formerly used by Häfen und Güterverkehr Köln and 12 Class 66s transferred from Freightliner's UK operations. A 13th was sent from the UK in October 2012. These units underwent various modifications to allow them to operate on the Polish network.

Australia
Freightliner Australia commenced operations using hired in GL class locomotives from Chicago Freight Car Leasing Australia (CFCLA). After a longer-term lease was agreed, two were repainted into Freightliner livery in September 2010. The Warren service that commenced in May 2012 also used locomotives hired from CFCLA. Two CF class locomotives were repainted in Freightliner livery. The Xstrata coal contract was operated by XRN class locomotives that were owned by the customer. Wagon types are PHEH and PHYH for the coal traffic and CQBY, CQFY and CQYY on the grain traffic.

In January 2015 two G class locomotives were purchased.

Fleet detail

United Kingdom

Poland

Australia

Netherlands

See also
 Intermodal railfreight in Great Britain

Gallery

References

Further reading

External links

 Freightliner
 Freightliner PL (in Polish)

Genesee & Wyoming
Freight railway companies of Australia
Railway companies established in 1995
Railway companies of Poland
Rail freight companies in the United Kingdom
Transport companies based in London

Freightliner Group


Smiley Smile is the 12th studio album by American rock band the Beach Boys, released on September 18, 1967. Conceived as a simpler and more relaxed version of their unfinished Smile album, Smiley Smile is distinguished for its homespun arrangements, "stoned" aesthetic, and lo-fi production. Critics and fans generally received the album and its lead single, "Heroes and Villains", with confusion and disappointment. The album reached number 9 on UK record charts, but sold poorly in the US, peaking at number 41—the band's lowest chart placement to that point.

Following principal songwriter Brian Wilson's declaration that most of the original Smile tapes would be abandoned, the majority of the recording sessions lasted for six weeks at his makeshift home studio using radio broadcasting equipment, a detuned piano, electronic bass, melodica, found objects for percussion, and a Baldwin theater organ. The unconventional recording process juxtaposed an experimental party-like atmosphere with short pieces of music edited together in a disjointed manner, combining the engineering methods of "Good Vibrations" (1966) with the loose feeling of Beach Boys' Party! (1965).

From late 1966 to mid-1967, Smile had been repeatedly delayed while the Beach Boys were subject to a considerable level of media hype that proclaimed Wilson as a "genius". After settling payment disputes with Capitol Records, Smiley Smile was distributed in collaboration with Brother Records, the band's new self-owned record company. The album's production was unusually credited to "the Beach Boys", marking the point where Wilson began ceding his leadership of the group. Smile was left unfinished as the band immediately moved onto the recording of the albums Lei'd in Hawaii (unreleased) and Wild Honey (December 1967).

Smiley Smile has since become a critical and cult favorite, garnering repute as a chill-out album, and influencing the development of lo-fi, ambient music, and bedroom pop. It is often cited for having positive effects on listeners experiencing an LSD comedown, and it was used by at least one drug clinic to help relieve users from bad trips. In 1974, it was ranked number 64 in NMEs list of the greatest albums of all time. Some session highlights from the album are featured on the compilations The Smile Sessions (2011) and 1967 – Sunshine Tomorrow (2017).

Background

Original Smile sessions (1966–1967)

The Beach Boys' album Pet Sounds, issued on May 16, 1966, was massively influential upon its release, containing lush and sophisticated orchestral arrangements that raised the band's prestige to the top level of rock innovators. Early reviews for the album in the US ranged from negative to tentatively positive, but the reception from music journalists in the UK was very favorable. The group had recently employed the Beatles' former press officer Derek Taylor as their publicist. Bothered by the popular view of the Beach Boys as outdated surfers, leader and songwriter Brian Wilson requested that Taylor establish a new image for the band as fashionable counterculture icons, and so a media campaign with the tagline "Brian Wilson is a genius" was initiated and promulgated by Taylor.

In October 1966, the group followed up Pet Sounds with "Good Vibrations", a laboriously produced single that achieved major international success. By then, an album titled Smile had been conceived as an extension of that song's recording approach, with Wilson composing music in collaboration with lyricist Van Dyke Parks. Wilson envisioned Smile as an outlet for all of his intellectual occupations, such as his fascination with spirituality and its relationship to humor and laughter. He told Melody Maker: "Our new album will be better than Pet Sounds. It will be as much an improvement over Sounds as that was over [our 1965 album] Summer Days." By the end of the year, NME conducted an annual reader's poll that placed the Beach Boys as the world's top vocal group, ahead of the Beatles and the Rolling Stones.

Litigation and collapse (February–June 1967)

Business partner David Anderle attempted to form Brother Records, an independent label, with the intention of giving "entirely new concepts to the recording industry, and to give the Beach Boys total creative and promotional control over their product." A February 1967 lawsuit seeking $255,000 (equivalent to $ in ) was launched against Capitol Records over neglected royalty payments. Within the lawsuit, there was also an attempt to terminate the band's contract with Capitol before its November 1969 expiration. In April 1967, Wilson and his wife put their Beverly Hills home up for sale and took residence at a newly purchased mansion in Bel Air. Wilson also set to work on constructing a personal home studio.

Parks permanently withdrew from the project in April, with Anderle following suit weeks later. Between mid-April and early May, Wilson took a four-week break from studio recording. On April 26, Carl Wilson was arrested for refusing his draft into the US Army and later released on bail. On April 28, in an effort to promote the group's upcoming UK tour, EMI issued the single "Then I Kissed Her" to the chagrin of the band, who did not approve the release. On May 6, a week after stating that Smile was to be released "any moment", Taylor announced in Disc & Music Echo that the album had been "scrapped" by Wilson. However, Taylor's assertion of the album's cancellation at that point was likely to be spurious. The Beach Boys were still under pressure and a contractual obligation to deliver an album to Capitol. For most of May, the touring group embarked on a run of shows in Europe while Brian resumed scheduling recording sessions at professional studios, some of which were cancelled on short notice.

Throughout 1967, Wilson's public image was reduced to that of an "eccentric" figure as a multitude of revolutionary rock albums were released to an anxious and maturing youth market. For a time, the Beach Boys had been the Beatles' chief rivals, and Wilson was concerned that if Smile followed in the wake of another critically successful release by the Beatles, then his album would be received with unjust comparisons. His race was effectively lost when the Beatles released Sgt. Pepper's Lonely Hearts Club Band (May 1967). By June, Wilson declared to his bandmates that most of the material recorded for Smile would be abandoned. In an interview conducted in January 1968, he intimated that he had run out of ideas "in a conventional sense" and had been "about ready to die" before Smiley Smile. He said: "I decided not to try any more, and not try and do such great things."

Style and content

Modular approach and recording atmosphere

Since the recording of "Good Vibrations" in 1966, Wilson had established a new method of operation. Instead of working on whole songs with clear large-scale syntactical structures, Wilson limited himself to recording short interchangeable fragments (or "modules"). Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time. Smiley Smile continued this approach. The album also continued Brian's exploration of "party tracks"—a form of music which includes the sounds of people shouting and making noises, as if at a party. Brian had enacted this approach with Beach Boys' Party! in 1965, thereby mixing that record's style with the modular composition method he devised for "Good Vibrations".

Most of Smiley Smile was recorded at Brian's improvised home studio from June 3 to July 14, 1967. The core instrumentation consisted of organ, honky-tonk piano, and electronic bass played by the Beach Boys themselves, rather than the session musicians employed in much of their previous work. Brian became obsessed with a three-tiered Baldwin organ during the album's recording, resulting in a more minimalist approach to the new arrangements. The organ gave the album its central timbre.  Most of the piano was played by Brian, and most of the bass was played by Carl.

It was the first album for which production was credited to the entire group, instead of Brian alone. Dennis Wilson explained: "He wanted it that way. He said 'It's produced by the Beach Boys. When asked if Brian was "still the producer of Smiley Smile", Carl answered, "Most definitely." He described Smiley Smile as an improvised, low-effort affair that was "more like a 'jam' album."  Brian acknowledged: "We had done about six months work on another thing, but we jumped and ended up doing the entire thing here at the house with an entirely different mood and approach than what we originally started out with." When questioned on why the band took the approach they did, he stated, "We just had a particular atmosphere that we were working in that inspired the particular kind of things that were on the album." He said that he did not "have any paranoia feelings" recording the album: "[W]e had so much fun. The Smiley Smile era was so great, it was unbelievable. Personally, spiritually, everything, it was great."

In his book about psychedelic music, author Jim DeRogatis referred to Smiley Smile as a work of the "ultimate psychedelic rock library". Conversely, Stylus Magazines Edwin Faust wrote in 2003 that the album "embraces the listener with a drugged out sincerity; a feat never accomplished by the more pretentious and heavy-handed psychedelia of that era. It is for this reason Smiley Smile flows so well with the more experimental pop of today". According to music theorist Daniel Harrison, Smiley Smile is not a work of rock music as the term was understood in 1967, and that portions of the album "can be thought of as a kind of protominimal rock music". He continues:

Academic Larry Starr said that the album's "unexpected juxtapositions of textures and formal elements" give the effect of an "inadequately edited home movie rather than that of well-articulated musical conceptions". Similarly, music journalist Richard Williams wrote, "It contains fragments – mostly vocal, with minimal instrumental accompaniment – which have all the epigrammatic, enigmatic power of Japanese haiku. 'Wonderful' and 'Little Pad' contain passages written in the conditional tense (i.e. the songs move easily between reality and fantasy), a technique evolved by Godard in the cinema and which only Wilson, as far as I know, has picked up in pop [as of 1971]."

Music journalist Domenic Priore notes that when the Beach Boys were taken out of professional studios, "the discipline of the clock, rates and overtime disappeared". In 1976, Mike Love, recalling how "She's Goin' Bald" was a song about fellatio, commented: "We were stoned out of our heads. We were laughing our asses off when we recorded that stuff." Dennis remembered the album as "the most fun thing we ever did." Bruce Johnston did not participate in most of these sessions. He later called the work "very spacy" and "weird", but "so subtle and so damn innovative."

Differences from Smile

Carl Wilson famously compared Smiley Smile to "a bunt instead of a grand slam". From the vast sum of material Brian had recorded for Smile, only portions of the backing track for "Heroes and Villains" (recorded October 1966) and the coda for "Vegetables" (recorded April 1967) were used for Smiley Smile. Comparing Brian's original Smile mixes with the Smiley Smile version of "Heroes and Villains", Al Jardine called it "a pale facsimile ... Brian re-invented the song for this record ... He purposefully under-produced the song." "Good Vibrations", which was recorded sporadically from February to September 1966, appears with no differences from the original single. Brian reportedly objected to the placement of "Good Vibrations" on Smiley Smile, but for the first time, he was outvoted by his bandmates, who insisted on its inclusion.

"Wind Chimes", "Wonderful", and most parts of "Vegetables" were completely rerecorded with scaled-down arrangements. "Vegetables" was reworked as a kind of campfire song,  "Wonderful" traded its harpsichord and trumpet for a haphazardly-played organ, high-pitched backing vocals, and a doo-wop sing-along section. The marimbas in "Wind Chimes" were replaced by organ and dissonant noise. Other tracks only extracted minor elements, such as a melody line, from other Smile pieces. "She's Goin' Bald" borrows the verse melody from a Smile fragment known as "He Gives Speeches", "With Me Tonight" is a variation on  "Vegetables", and "Fall Breaks and Back to Winter (W. Woodpecker Symphony)" lifts a recurring melodic hook from "Fire".

Despite the band's claim that Smile had been shelved for being "too weird", there was no attempt to make the musical content on Smiley Smile appear any less bizarre for their standard audience. David Anderle thought that Brian's intention was "to salvage as much of Smile as he could and at the same time immediately go into his [long-discussed] humor album." According to a contemporary Hullabaloo article, "The title, suggested by [Wilson's cousin] Barry Turnbull, reflects the album's happy concept, it is taken from the Indian aphorism, 'The smile that you send out returns to you.'" The cover artwork featured a new illustration of Frank Holmes' Smile Shoppe, this time located in the middle of an overgrown jungle.

Smiley Smile was produced without any direct involvement from Van Dyke Parks. The only songs that appeared to have no connection to the original Smile album were "Little Pad" and "Gettin' Hungry". In addition, while the Beatles' Paul McCartney was present at an April 1967 session for "Vegetables", the recording where he allegedly provides celery biting sounds was not used on Smiley Smile.

Technical aspects
Smiley Smile was recorded with an eight-track tape machine, with all the different musical sections spread out across numerous reels of tape. In other words, intros, verses, choruses, and endings were each allocated their own reel. The Beach Boys recorded using what was predominantly radio broadcasting equipment, which lacked many of the technical elements and effects found in an established studio. The studio set up at Brian's house was, in its mid-1967 incarnation for Smiley Smile, in its infancy. Due to the sporadic nature at which Brian decided to produce the record at his home, there was little time to fully outfit the Bel Air residence as a properly-equipped recording studio.

Tracks were typically constructed around a performance of Wilson playing piano that was usually mixed out of the final recording. This process was equivalent to the use of click tracks a decade before they were common.  Some recording accidents were used to their advantage, such as in "With Me Tonight", which contains an informal link between the verse and chorus by way of a voice saying "good", as in "good take", spoken by the band's friend Arny Geller from the control room.  Tape manipulation was another prominent feature, with varispeed being applied to a few vocals. On "She's Goin' Bald", a new device called the Eltro Information Rate Changer was used to raise the pitch of the group's vocals without affecting the tempo.

The home set-up was moved between different areas as the sessions progressed. This led to unconventional ways of achieving particular sounds at the home, such as a replacement for what would be achieved by an echo chamber. The album's engineer Jim Lockert recalled how "Brian's swimming pool had a leak in it and was empty, so we put a microphone in the bottom of this damn near Olympic-size pool and the guys laid down inside the pool and sang so the sound would go down the wall of the concrete pool into the microphone – and that was part of the vocals on one of those songs." Some vocals were also tracked in the shower. Lockert spoke about the album's final mixing session at Wally Heider's Studio 3 in Hollywood:

Release

The Beach Boys were initially involved in the conception of the Monterey Pop Festival, which was held in June 1967. At the last minute, the band announced that they could not appear at the festival for reasons pertaining to Carl's military draft and their commitments to finish "Heroes and Villains" for Capitol. Derek Taylor, who had terminated his employment with the group to focus on the festival's organization, remembered that dropping out of the program "undoubtedly set the band in a very bad light. They were certainly heavily criticized at the time for it. It seemed rather like an admission of defeat."  Biographer David Leaf explained: "Monterey was a gathering place for the 'far out' sounds of the 'new' rock ... and it is thought that this non-appearance was what really turned the 'underground' tide against them." Detractors referred to the band as the "Bleach Boys" and "the California Hypes" as the media focus shifted from Los Angeles to the happenings in San Francisco.

The Capitol lawsuit was eventually settled out of court, with the Beach Boys receiving the royalties owed in exchange for Brother Records to distribute through Capitol Records, along with a guarantee that the band produce at least one million dollars profit. An official announcement of the resolution was made on July 18. Capitol A&R director Karl Engemann began circulating a memo, dated July 25, in which Smiley Smile was referred to as a stopgap for Smile. The memo also discussed conversations between him and Wilson pertaining to the release of a 10-track Smile album, which would not have included the songs "Heroes and Villains" or "Vegetables". In July, two singles were issued on the Brother imprint: "Heroes and Villains" and "Gettin' Hungry". The former peaked at number 12 on the Billboard Hot 100. The latter was not credited to the Beach Boys, but instead to Brian Wilson and Mike Love.

Smile was never delivered; instead, the group played two shows at an auditorium in Honolulu, which were filmed and recorded with the intention of releasing a live album, Lei'd in Hawaii. On stage, the band performed "Heroes and Villains" and "Gettin' Hungry", and rearranged their past hits in the style of Smiley Smile. Priore writes that the engagement was effectively the band's "attempt to make up" for cancelling their gig at Monterey. Bruce Johnston, who was absent for most of the Smiley Smile recording sessions, did not accompany the group, although Brian did.   In early August, Johnston told the British press that he had heard Smiley Smile, and when asked about Smile, said that the album would be released "within the next two months."

On September 18, 1967, Smiley Smile  was released in the US. The LP peaked at number 41 on the Billboard charts, making it their worst-selling album to that date. It spent most of its 21-week chart time bubbling under 100 and 197. When released in the UK in November, it performed better, reaching number 9 of the UK Albums Chart. During their annual Thanksgiving tour of the US, the band did not perform any of the tracks on Smiley Smile except "Good Vibrations". In a December interview, Mike Love acknowledged that Smiley Smile had "baffled and mystified" the public and that the band "had this feeling that we were going too far, losing touch I guess." He promised that their next album would bring the group "back more into reality".

Initial reviews

In the description of journalist Nick Kent, Smiley Smile "appeared like the single most underwhelming musical statement of the sixties". It was a "major disappointment" for fans, many of whom had expected a work similar to Pet Sounds and the Beatles' Sgt. Pepper.  According to writer Scott Schinder, the LP was released to "general incomprehension. While Smile may have divided the Beach Boys' fans had it been released, Smiley Smile merely baffled them."  Anderle said that whatever new fans the group had brought with Pet Sounds were "immediately lost with the release of 'Heroes of Villains,' then with the album [Smiley Smile]."  Biographer Keith Badman writes that the music press responded by "effectively blacklisting the band, refusing to review their latest records, or reviewing them long after they have been released."

"Undoubtedly the worst album ever released by The Beach Boys", Melody Maker wrote. "Prestige has been seriously damaged." A review in Hit Parader praised the album for "probably [having] more a cappella harmony than on any album since the fall of the singing-group era in the late 1950s", but that they "still like Pet Sounds better". NME wrote of the album: "By the standards which this group has set itself, it's more than a grade disappointing." Hi Fidelity said: "... they are making the psychedelic route ... perhaps in the unforgettable city of Fresno. Until they reach the San Francisco Bay Bridge or return to the shores of Malibu ... their work can only receive partial approval."

More favorably, Record Mirrors Wesley Laine predicted that Smiley Smile would "probably go to the top of the LP charts". He felt that it contained better songs "on the whole" than Pet Sounds, as well as "extremely clever and insiduous ... production and arrangements [that] fall into the current psychedelic bag without being blatantly acidy." The Milwaukee Sentinel praised the LP as "probably the most valuable contribution to rock since the Beatles Revolver" and for being unlike anything the Beatles had done. Cheetah gave the album a rave review, observing that "the mood is rather childlike (not childish)—the kind of innocence that shows on the album cover, with its Rousseau-like animals and forest, and the smoke from the cabin chimney spelling out the title. ... The expression that emerges from this music is very strange: it's a very personal mood." New York Times journalist Richard Goldstein rued that "the album is a memorable, if disjointed experience, and a truly religious one as well. One must decide for oneself what the sermon is worth listening for." In his May 1968 column in Esquire, Robert Christgau praised the minimalism of Smiley Smile, characterizing the record as "slight" and calling the deliberately uncommercial sound of the album "unique and almost perfect".

Controversy involving whether the band was to be taken as a serious rock group followed them into the next year. On December 14, 1967, Rolling Stone editor and co-founder Jann Wenner printed an influential article that denounced Wilson's "genius" label, which he called a "promotional shuck", and the Beach Boys themselves, which he called "one prominent example of a group that has gotten hung up on trying to catch The Beatles". He wrote that "for some reason, [Smiley Smile] just doesn't make it ... [the songs] just don't move you. Other than displaying Brian Wilson's virtuosity for production, they are pointless." In February 1968, a Rolling Stone reviewer referred to the album as a "disaster" and an "abortive attempt to match the talents of Lennon and McCartney."

Legacy

Aftermath and archival releases

Smiley Smile became the first in a three-part series of lo-fi Beach Boys albums (preceding Wild Honey and Friends) and the first in a seven-year string of under-performing Beach Boys albums (ending with the 1974 compilation Endless Summer). The Smile era is generally viewed as the ending of the Beach Boys' most artistically creative period, and the point after which Brian began relinquishing his hold as the group's creative leader. Much of the group's subsequent recordings from 1967 to 1970 followed similar experimental traditions as Smiley Smile – namely, through sparse instrumentation, a more relaxed ensemble, and a seeming inattention to production quality. Carl took Brian's place as the most musically dominant member, and Brian would not be credited as producer for another Beach Boys album until 1976's 15 Big Ones.

Commenting on the album in retrospect, Bruce Johnston said it was "a thousand times better than the [original Smile] ... It's just the most underrated album in the whole catalog for me." Dennis Wilson said, "It was not as ambitious as Pet Sounds was. But ... I listened to it in a jungle in Africa and it sounded great." Conversely, Al Jardine felt that "there are some pretty cool songs on that album but I didn't like rehashing some of the Smile songs. That didn't work for me." Mike Love wrote, "Some of the songs we recorded could barely be called songs. They were chants, spacey fragments, weird sound effects. Every group produces at least one bad album ... I don't think Brian wanted to be associated with it either."

Smile material continued to trickle out in later releases, often as filler songs to offset Brian's unwillingness to contribute. "Cool, Cool Water", an outtake from Smiley Smile and Wild Honey sessions, was partially rerecorded and issued as the closing track for Sunflower (1970). When The Smile Sessions box set was released in 2011, co-producer Mark Linett acknowledged that "there's things that some people think – should Smiley Smile sessions be there – [with tracks such as] 'Can't Wait Too Long', we get into a very fuzzy area". In 2017, additional session highlights from the album were released on the rarities compilation 1967 – Sunshine Tomorrow. The compilation was followed several months later with two more digital-exclusive releases: 1967 – Sunshine Tomorrow 2: The Studio Sessions and 1967 – Live Sunshine.

Reappraisal

Smiley Smile has since become a cult and critical favorite in the Beach Boys' catalog. In biographer Peter Ames Carlin's estimation, "the album's reputation improved with hindsight", particularly after the release of "stripped-down warts-and-all albums" by other artists, including Bob Dylan (John Wesley Harding, 1967) and the Beatles (The White Album, 1968). Writing in 1971, Melody Makers Richard Williams referred to Smiley Smile as "The Great Undiscovered Pop Album", one that had been "either ignored or dismissed by the reviewers." Its prevailing negative response mellowed after the record was reissued in 1974 – the same year that NME writers ranked it as the 62nd greatest album of all time. According to Matjas-Mecca, following the mid-1970s, the album "began to acquire a fan base that heard magic in Brian's lo-fi production [and] is now considered an important work in Brian's catalog. In a world that embraces lo-fi art, the album is considered a masterpiece."

Reviewing the album for AllMusic, Richie Unterberger called it a "rather nifty, if rather slight, effort that's plenty weird". Spencer Owen of  Pitchfork deemed it "a near-masterpiece. Without any awareness of Smiles existence, this album could have been a contemporary classic ... and although the album isn't anywhere close to the sonic revolution that Sgt. Pepper had already brought, Wilson's innovative production and arrangements still bring out the best in every single track." Blenders Douglas Wolk called it "the Boys' psychedelic album — joltingly spare, druggy and funny, with the most gorgeous harmonies of their career." Harrison compared Wilson's work favorably to that of classical composers such as Schoenberg.

Less favorably, Kent maintained that the album "undersold the worth" of Smile with "dumb pot-head skits, so-called healing chants and even some weird 'loony tunes' items straight out of a cut-rate Walt Disney soundtrack". The Guardians Geoffrey Cannon viewed Parks' lyrics as "pretentious", believing that Parks "messed Brian up" during Smiley Smile. Pastes Bryan Rolli ranked it at number 2 in a list of the "10 Most Disappointing Follow-Up Albums", calling it a "disjointed collection of minimalist recordings and a capella bits that are not so much songs as fragments of a shattered psyche". In the 2004 edition of The Rolling Stone Album Guide, the reviewer described Smiley Smile as "inconsistent" and said that, given the context of its release in September 1967, "the album was like a strange throwback – it highlighted how out of touch these suburban California surfers had become with the psychedelic times." In his 2007 book The Act You've Known for All These Years: The Life, and Afterlife, of Sgt. Pepper, Clinton Heylin writes that the album "sounded like a [throwaway] contractual obligation" and, together with its commercial failure, confirmed "one of the most spectacular falls from grace of any sixties band".

In the 2000s, Smiley Smile began to be included in lists of "must-hear" albums compiled by various publications. In 2000, it was ranked number 415 in Colin Larkin's book of the All Time Top 1000 Albums. In a 2007 issue of Rolling Stone, Robert Christgau and David Fricke named it one of the 40 essential albums of 1967; Christgau declared: "Towering it's not; some kind of hit it is."  In 2017, it was ranked number 118 on Pitchforks list of greatest albums of the 1960s, where it was described as having "developed a small cult of its own, attracting those drawn to its stripped-down, highly spontaneous, and deeply stoned vibe."

Influence and medicinal use

In 2000, Smiley Smile was one of 100 albums featured in the book The Ambient Century as a chapter in the development of ambient music.  Pitchfork contributor Mark Richardson wrote that the record "basically invented the kind of lo-fi bedroom pop that would later propel Sebadoh, Animal Collective, and other characters." Dedicated tribute albums include Smiling Pets (1998) and Portland Sings The Beach Boys "Smiley Smile" (2013).

Pete Townshend of the Who is a known admirer of the record, as is Robbie Robertson of the Band. XTC's Andy Partridge considered it one of "the most influential records for me" and it was a direct inspiration for his song "Season Cycle" (Skylarking, 1986). In an interview with Time, Steven Tyler of Aerosmith stated that his "island" music picks include Smiley Smile, "Just for the melodic fuck all." Keiichi Suzuki and Hirokazu Tanaka, who composed music for the Japanese role-playing video game series EarthBound, cited Smiley Smile among influences on the games' soundtracks. In 2017, the New York Observers Ron Hart wrote that Smiley Smile sonically foreshadowed the work of Harry Nilsson, Elvis Costello, Stereolab, the High Llamas, the Olivia Tremor Control, and Father John Misty. Comedian Trevor Moore stated that the theme song for his troupe's television show, The Whitest Kids U' Know, was based on "Little Pad", which itself had been used as the opening theme for their live shows.

In later years, Smiley Smile became celebrated as one of the finest chill-out albums, and one that is suited for listening during an LSD comedown. At least one drug treatment center played the LP for patients to help relieve their use of drugs. Carl Wilson told the NME in 1970: "In Fort Worth, Texas, there is a drug clinic which takes people off the streets and helps them get over bad LSD trips. They don't use any traditional medical treatment whatsoever. All they do is play the patient our Smiley Smile album and apparently this acts as a soothing remedy which relaxes them and helps them to recover completely from their trip."

Track listing

Lead vocals per 1990 CD liner notes by David Leaf. On its original release, Van Dyke Parks was not credited for "Wonderful".

Personnel
Per David Leaf, as well as from band sessionographer Craig Slowinski, including full credits for "Good Vibrations" and "Heroes and Villains" and partial credits for "Vegetables."  The credits for "Good Vibrations" are adapted from Slowinski's liner notes from The Smile Sessions box set, as well as the website Bellagio 10452, maintained by music historian Andrew G. Doe.The Beach BoysAl Jardine - lead vocals, harmony and backing vocals, water bottle sound effects
Mike Love - lead vocals, harmony and backing vocals
Brian Wilson - lead vocals, harmony and backing vocals, tack piano, Baldwin organ, harpsichord, electric harpsichord, tambourine, electric bass
Carl Wilson - lead vocals, harmony and backing vocals, guitar, shaker
Dennis Wilson - harmony and backing vocals, Hammond organ
Bruce Johnston - backing vocals on "Good Vibrations"
Additional musicians and production staff

 Billy Hinsche - harmony and backing vocals on "Heroes and Villains"
 Van Dyke Parks – tack piano
 Hal Blaine – drums, timpani, shaker
 Jimmy Bond – upright bass
 Frank Capp – bongos with sticks
 Gary Coleman – sleigh bells
 Steve Douglas – tenor flute
 Jesse Ehrlich – cello
 Gene Estes – slide whistle
 Jim Gordon – drums
 Bill Green – contra-clarinet, bass saxophone
 Jim Horn – piccolo
 George Hyde – French horn
 Larry Knechtel – Hammond organ
 Plas Johnson – piccolo, flutes
 Al De Lory – tack piano
 Mike Melvoin – upright piano
 Jay Migliori  – flutes
 Tommy Morgan – bass harmonica, overdubbed jaw harp, harmonica
 Bill Pitman – Danelectro bass
 Ray Pohlman – Fender bass
 Don Randi – electric harpsichord
 Lyle Ritz – upright bass, Fender bass
 Paul Tanner – Electro-Theremin
 Terry (surname unknown, possibly Terry Melcher) – tambourine
 Arthur Wright – Fender bass
 unknown (possibly Hal Blaine) – tambourineTechnical staff Chuck Britz – engineer
 Cal Harris – engineer
 Jim Lockert – engineer
The Beach Boys – producers
Brian Wilson - producer ("Good Vibrations")

Charts

Notes

ReferencesCitations'''

Bibliography

External links

 1967 Smiley Smile'' sessionography
 "Epiphany at Zuma Beach or Brian Wilson Hallucinates Me" (2002) – David Dalton's retrospective account of a meeting with Brian Wilson in July 1967

1967 albums
Albums produced by the Beach Boys
Albums recorded at Gold Star Studios
Albums recorded at United Western Recorders
Albums recorded at Wally Heider Studios
Brother Records albums
Capitol Records albums
Lo-fi music albums
Minimal music albums
Psychedelic rock albums by American artists
The Beach Boys albums
Albums recorded in a home studio
Albums recorded at Sunset Sound Recorders

Smiley Smile


Le siège de Lamia se déroule durant la guerre lamiaque (qui tire son nom de cette cité de Phthiotide) en 323-322 av. J.-C. et oppose une coalition grecque, dirigée par Athènes, aux forces macédoniennes d'Antipater, le régent de Macédoine. Les Macédoniens finissent par l'emporter après l'arrivée de renforts conduits par Léonnatos. Le commandant athénien, Léosthène, trouve la mort durant le siège.

Contexte historique

Après la mort d'Alexandre le Grand en juin 323 av. J.-C., une coalition de Grecs, dirigée par les Athéniens, entend se libérer de la domination macédonienne. Athènes déclenche la guerre lamiaque fin 323 av. J.-C. et reçoit des contingents venus d'Étolie, de Locride, de Phocide et même d'Épire. Le commandement est confié à Léosthène, un proche de Démosthène. Léosthène remporte quelques succès initiaux contre Antipater, le régent de Macédoine, lequel dispose d'effectifs inférieurs. Vaincu en Béotie, Antipater abandonne ensuite les Thermopyles et s'enferme dans Lamia, en Phthiotide, en attendant le secours de Cratère.

Déroulement
Léosthène s'approche de Lamia à la tête de son armée et fortifie un camp, creusant un fossé profond et construisant une palissade. Léosthène cherche à rassembler ses forces et à défier directement les Macédoniens au combat. Mais ceux-ci refusent le combat, incitant Léosthène à lancer des attaques quotidiennes contre les murs. Les Macédoniens parviennent à se défendre des attaques des Grecs grâce à l'abondance de missiles et à la protection des murs. Comme Léosthène ne parvient pas à prendre d'assaut la ville, il décide de couper tous les approvisionnements vers la ville, estimant que la faim inciterait les Macédoniens à se rendre. Il fait également construire un mur et creuser un profond fossé afin de couper toutes les voies d'évacuation pour les Macédoniens.

Antipater refuse de se rendre sans condition et tente de gagner du temps car le contingent de vétérans (dont les argyraspides) commandés par Cratère est encore en Cilicie, tandis que Lysimaque, le gouverneur de Thrace, est aux prises avec des révoltes. Léonnatos, l'ambitieux satrape de Phrygie hellespontique vient alors au secours d'Antipater avec des renforts amenés d'Asie en détournant les troupes destinées à conquérir la Cappadoce au profit d'Eumène de Cardia.

Entre-temps, Les Étoliens retournent chez eux en raison d'affaires nationales avec l'accord de Léosthène. Épuisés par la faim, les Macédoniens lancent une attaque contre les hommes creusant le fossé ; dans la lutte Léosthène est frappé à la tête par une pierre de fronde tirée depuis les remparts ; il s'évanouit et est ramené au camp où il meurt trois jours plus tard. Son successeur, Antiphile, est contraint de lever le siège pour se porter à la rencontre de l'armée de Léonnatos venue d'Asie.

Conséquences
Durant la bataille qui s'ensuit entre Grecs et Macédoniens au printemps 322 av. J.-C., Léonnatos, trahi par les cavaliers thessaliens, est vaincu et tué mais son armée n'est pas complètement détruite. Antipater réussit à sortir de Lamia et à faire la jonction avec elle avant de se retirer en Macédoine, pour y attendre les renforts amenés par Cratère. Finalement les Grecs sont vaincus à la bataille de Crannon en août 322, ce qui marque la fin de la guerre lamiaque.

Notes et références

Sources antiques
 , , 1-25.

Bibliographie
 .
 .

Articles connexes
 Antipater
 Guerre lamiaque
 Léosthène

Royaume de Macédoine
Bataille impliquant la Grèce antique
Bataille impliquant Athènes
Bataille du IVe siècle av. J.-C.
322 av. J.-C.
Siège du IVe siècle av. J.-C.

Siège de Lamia


Katarina Ammitzbøll (nascida a 15 de julho de 1969 em Charlottenlund) é uma política dinamarquesa que é membro do Folketing pelo Partido Popular Conservador. Ela foi eleita para o parlamento nas eleições legislativas dinamarquesas de 2019.

Carreira política
Ammitzbøll concorreu pela primeira vez ao parlamento nas eleições legislativas dinamarquesas de 2015, obtendo 1.149 votos. Com efeito, ela tornou-se membro suplente do Folketing no período 2015-2019, embora não tenha sido chamada durante o mandato. Mais tarde, foi eleita para o conselho municipal do município de Gentofte nas eleições municipais de 2017. Ela concorreu ao parlamento novamente nas eleições de 2019, obtendo 2.261, o suficiente para lhe garantir uma cadeira no Folketing.

Nascidos em 1969
Pessoas vivas
Políticos da Dinamarca

Katarina Ammitzbøll


فيركنيي كيغي  هي مدينة في جمهورية باشكورتوستان في روسيا. ويبلغ عدد سكانها حوالي 6784 نسمة.

مراجع

حكومة أوفا
مدن باشكورتوستان

فيرخنيي كيغي


49500 Ishitoshi este un asteroid din centura principală de asteroizi.

Descriere
49500 Ishitoshi este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Ōizumi de Takao Kobayashi. Asteroidul prezintă o orbită caracterizată de o semiaxă mare de 3,12 ua, o excentricitate de 0,30 și o înclinație de 14,2° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 49001-50000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1999
Centura de asteroizi

49500 Ishitoshi


معركة جليانة وقعت هذه المعركة بمنطقة جليانة بمدينة بنغازي في 20 أكتوبر 1911 وتعتبر هي المعركة الأولى في بنغازي ضد الغزو الإيطالي.

وقد اشتركت في معركة جليانة حوالي واحد وثلاثين قطعة حربية من الأسطول البحري الإيطالي كان من أهمها كل من القطع الحربية التالية:

-السفينة الحربية فيتوريو عمانويل بقيادة اكتون.
-السفينة الحربية روما بقيادة لوفاتيللي.
-السفينة الحربية ريجينا هيلينا بقيادة كابيتشي.
-السفينة الحربية نابولي بقيادة فيلوبوني.
-السفينة الحربية آمالفي بقيادة روبيرتي.

قتل في هذه المعركة حوالي 500 ليبيّ.علي رأسهم الشهيد الشيخ محمد صالح بوفرعه السعيطي  بعد انتهاء المعركة أقام الطليان نصب لامرأة تمسك بدرع من النحاس تخليدًا لقتلاهم. ثم إزالة النصب بعد الاستقلال وإنشاء نصب يخلد شهداء المعركة من الليبين.

جليانة
ج

معركة جليانة