Norman Anthony Francis St John-Stevas, Baron St John of Fawsley, PC, FRSL (* 18. Mai 1929 in Kensington, London; † 2. März 2012 in London) war ein britischer Politiker (Conservative Party), Autor, Jurist und Barrister. Von 1979 bis 1981 war er Leader of the House of Commons in der Regierung von Premierministerin Margaret Thatcher. Er war Abgeordneter für den Wahlkreis Chelmsford von 1964 bis 1987 und wurde 1987 Life Peer.
Sein Nachname setzt sich zusammen aus den Nachnamen seines Vaters (Stevas) und seiner Mutter (St John-O'Connor).

Leben und Karriere
Er wurde als einziger Sohn eines Ingenieurs und Direktors und dessen Frau Kitty St John O'Connor geboren. Seine Geburtsurkunde nennt als seinen Namen Norman Panayea St John. St John-Stevas besuchte zwei Independent Schools, die St Joseph's Salesian School in Burwash, East Sussex und im Anschluss das Ratcliffe College in Leicester.

Als Schüler bzw. Student war er bei den Young Conservatives aktiv, der damaligen Jugendorganisation der Conservative Party. An der Cambridge University studierte er am Fitzwilliam College Jura. Er graduierte mit der Note First Class Honours
und gewann den Whitlock Prize. 1950 war er Präsident der Cambridge Union Society.

St John-Stevas studierte auch an der Oxford University, wo er 1951 Michael Heseltine kennenlernte 1952 erhielt er das Blackstone and Harmsworth-Stipendium. Am Christ Church schloss er mit einem Bachelor of Civil Law (BCL) ab und war Sekretär der Oxford Union. Von der University of London erlangte er einen PhD und von der Yale University einen Doctor of Juridicial Science (JSD).

Er studierte kurzzeitig auch für das Priesteramt der katholischen Kirche am Päpstlichen Englischen Kolleg in Rom, wurde aber nicht geweiht.

1952 wurde er von der Anwaltskammer Middle Temple als Anwalt zugelassen. Allerdings praktizierte er niemals als Anwalt.

St John-Stevas war Dozent (Lecturer) an der University of Southampton (1952 bis 1953) und am King's College London von 1953 bis 1956. Er wechselte dann an die Oxford University, um Tutor für Jurisprudenz am Christ Church College (1953 bis 1955) und am Merton College (1955 bis 1957) zu werden. 1959 wurde er für die Zeitung The Economist tätig und war dort Rechts- und politischer Korrespondent. In den USA war er als Dozent tätig und war 1969 Gastprofessor an der University of California. Er war von 1954 von 1959 als Rechtsberater beim Ausschuss zur Zensur von Büchern von A. P. Herbert tätig.

Mitgliedschaft im House of Commons
Er trat zunächst 1951 als Kandidat im Wahlkreis Dagenham an, wurde dann bei der Unterhauswahl 1964 für den Wahlkreis Chelmsford in Essex ins Unterhaus gewählt. Er hatte diesen Sitz bis zur Unterhauswahl 1987 inne, zu der er nicht wieder antrat.

St John-Stevas lehnte 1968 als überzeugter Katholik die Divorce Reform Bill von Leo Abse, sowieso 1967 die Abortion Bill von David Steel ab. Auch unterstützte er bereits frühzeitig die Entschärfung der Gesetze zur Strafbarkeit von Homosexualität. Er setzte sich für Grammar Schools und Beibehaltung akademischer Standards ein.

In der späteren Phase der Regierung von Edward Heath war St John-Stevas Parlamentarischer Unterstaatssekretär (Parliamentary Under Secretary of State) beim Ministerium für Bildung und Wissenschaft (Department of Education and Science), wo zu dieser Zeit Margaret Thatcher Ministerin war und von 1973 bis 1974 Kunstminister (Minister for the Arts).

Nach der Niederlage der Regierung Heath war St John-Stevas von 1974 bis 1979 Mitglied des Schattenkabinetts, Schattensprecher für Bildung von 1975 bis 1978 und Shadow Leader of the House of Commons von 1978 bis 1979.

Als die Conservative Party nach der Unterhauswahl 1979 an die Macht zurückkehrte, wurde St John-Stevas von 1979 bis 1981 erneut Kunstminister, sowie zeitgleich Leader of the House of Commons und Chancellor of the Duchy of Lancaster. Auch wurde er 1979 Mitglied des Privy Council. In seiner Rolle als Leader of the House wird St John-Stevas weitgehend die Gründung des Systems der Sonderausschüsse (select committees) zugeschrieben. Diese Ausschüsse ermöglichen es Hinterbänklern, Minister zu kontrollieren und einen erheblichen Einfluss im Parlament auszuüben.

In seiner Funktion als Kunstminister verteidigte er sein knappes Budget gegen Eingriffe des Finanzministeriums. Er brachte 1980 den National Heritage Act ein, welcher einen Stiftungsfonds zur Erhaltung der nationalen Kunstwerke vorsah. St John-Stevas unterstützte außerdem die Förderung von Unternehmen.

Anfang 1981 war St John-Stevas der erste der Tory-Wets, die das Kabinett von Premierministerin Margaret Thatcher verließen.
Diese hatte er zuvor TINA genannt, als Kürzel für deren There Is No Alternative-Rhetorik. Sein Rücktritt sorgte für Überraschung; er war allerdings zuvor bereits aufgefordert worden, das Kabinett zu verlassen, sollte aber weiter als Minister ohne Kabinettsrang für den Bereich Kunst zuständig sein.

Er war langjähriges Mitglied der Bow Group.

Als Hinterbänkler war er Thatcher gegenüber loyal. Allerdings stand er weiterhin ihrer Wirtschaftspolitik kritisch gegenüber. Er orientierte sich als One-Nation-Konservativer eher an Benjamin Disraeli als an Milton Friedman.

Mitgliedschaft im House of Lords
St John-Stevas wurde am 19. Oktober 1987 zum Life Peer als Baron St John of Fawsley of Preston Capes in the County of Northamptonshire ernannt. Seine Antrittsrede im House of Lords hielt er (wahrscheinlich) am 2. Dezember 1987.

Ende der 1980er Jahre meldete er sich zu den anglo-irischen Beziehungen,  zu Architektur und dem Victoria and Albert Museum zu Wort. In den 1990er Jahren sprach er zur Lage der Menschenrechte in Rumänien, zur UNESCO, mehrfach zu Südafrika und Hongkong. St John-Stevas sprach in den 2000er Jahren über Simbabwe, die Menschenrechte in China, die Monarchie und zum Tod von Margaret, Countess of Snowdon.

Er wurde als Verteidiger des Oberhauses bekannt und setzte sich gegen solche Strömungen ein, die Hereditary Peerages abschaffen wollen, wie zum Beispiel Tony Benn. St John-Stevas schlug sogar vor, es sollten mehr derartige Titel geschaffen werden.

Im Zeitraum ab 2001 war St John-Stevas regelmäßig an Sitzungstagen anwesend. Zuletzt meldete er sich am 21. Oktober 2011 zu Wort. An einer Abstimmung nahm er zuletzt am 12. Dezember 2011 teil.

Spätere Karriere
Er war von 1985 bis 1999 Vorsitzender (Chairman) der Royal Fine Art Commission. Seine Amtszeit wurde von Kontroversen überschattet. Es gab die Hoffnung, dass seine Ernennung die Kommission beleben und populärer machen würde. Stattdessen wurde die Kommission Vertreter seiner eigenen Ansichten und Vorlieben (vor allem beim jährlichen Building of the Year Award). St John-Stevas dekorierte sein Büro mit Gemälden aus nationalen Sammlungen; Dokumente wurden in roten Boxen präsentiert und er wurde von einem Chauffeur und früheren Staatsbediensteten bedient. Dies wurde in einem Bericht der Regierung von Sir Geoffrey Chipperfield kritisiert. Sein persönliches Verhalten führte zu Streitigkeiten im Zusammenhang mit dem London Eye.

Seine Amtszeit als Master des Emmanuel College der Cambridge University von 1991 bis 1996 wurde ebenfalls kontrovers diskutiert. Er baute ein neues Konferenzzentrum (das Queen's Building); die Kosten betrugen £8 Millionen und wurden durch St John-Stevas Betreiben, den Steinbruch in Ketton in Rutland wiederzueröffnen, um Kalksteine derselben Quelle zu verwenden, aus denen die Wren Chapel des College gebaut wurde, in die Höhe getrieben. Er behielt seine Verbindung mit dem College bei und nutzte dieses mehrfach für Veranstaltungen des Royal Fine Art Commission Trust. In seiner Amtszeit war er häufig nicht in London anwesend, was für Irritationen sorgte. Wider Erwarten wurde er 1995 für eine dritte Amtszeit ernannt.

Zu Kritik in der Öffentlichkeit führte eine Spende von Mohamed Al-Fayed über £250,000 für das Emmanuel College und dessen Master's Lodge. Er erhielt dafür im Gegenzug eine lebenslange Ehrenmitgliedschaft und im College wurde ein Harrods Room zu seinen Ehren benannt. Ihm wurde auch vorgeworfen, zu viel Zeit mit einer kleinen Gruppe junger Männer zu verbringen, die hauptsächlich Public Schools besucht hatten; diese würden angeblich favorisiert werden durch gesellschaftliche Einführung bei Mitgliedern der königlichen Familie und das Bekanntmachen mit Verantwortlichen in der Industrie.

Weitere Ämter
1983 wurde er Vizepräsident (Vice-President) des Theatres Advisory Council.

St John-Stevas war Mitglied des Treuhandrates (Trustee) des Royal Philharmonic Orchestra. Er war seit 2010 Berater für Kunst, kulturelle und Verfassungsfragen bei British Sky Broadcasting für den Vorsitzenden (Chairman) James Murdoch und den Chief Executive Jeremy Darroch. Seit 1991 war er dort Non-Executive Director. Bei der Jury für den Booker Prize war er Vorsitzender (Chairman).

Außerdem war er Autor und Herausgeber mehrerer Bücher. Er war Herausgeber der Gesammelten Werke des viktorianischen Verfassungstheoretikers Walter Bagehot. St John-Stevas galt als Experte für Verfassungsrecht und Verfassungsgeschichte.

Ehrungen
Er wurde bereits in den 1950er Jahren mit mehreren Auszeichnungen geehrt. 1953 wurde er mit dem Blackstone Prize ausgezeichnet, 1957 erhielt er den Yorke Prize der Cambridge University, wurde 1958 Fellow der Yale Law School und wurde mit dem Fulbright Award ausgezeichnet.

1963 wurde er Ritter des "Hospitalischer Orden des Heiligen Lazarus von Jerusalem" (KSLJ). Er wurde 1965 mit dem Verdienstorden der Italienischen Republik ausgezeichnet. St John-Stevas wurde 1966 Fellow der Royal Society of Literature. 1980 wurde er Offizier des Order of Saint John.

Persönliches
St John-Stevas war ein prominenter Katholik. Er war Schirmherr (Patron) der Society of King Charles the Martyr und Grand Bailiff for England and Wales of the Military and Hospitaller des Lazarus-Ordens. Er war bekannt für seine vielen persönlichen Vorlieben, darunter dass er seine Hand wie ein Papst verhüllte, beim Sprechen ins Lateinische verfiel und bewusst moderne Wörter falsch aussprach. Er galt als loyaler Monarchist und stand im engen Kontakt mit der königlichen Familie. Daher war er mehrfach als Kommentator im Fernsehen zu sehen. Kurz nach seiner Aufnahme ins House of Lords erschienen Fotos von ihm im Hello! magazine, auf denen er in lila Hausschuhen zu sehen war, beim Faulenzen im Schlafzimmer seines Pfarrhauses in Northampton; im Hintergrund sah man ein signiertes Foto von Margaret, Countess of Snowdon. Alle persönlichen Notizen waren in lila Tinte geschrieben und nach seiner Aufnahme dort benutzte er nur noch offizielles Briefpapier des Oberhauses. Er lebte in Westminister.

St John-Stevas war nie verheiratet. Die meisten, die ihn kannten, gingen davon aus, er sei homosexuell. Er galt als reich und war Besitzer einer Sammlung von päpstlichen Erinnerungsstücken. Diese waren in seinem Haus im Stadtviertel Knightsbridge, London untergebracht, gemeinsam mit Kleidungsstücken von Königin Viktoria. Außerdem war er Besitzer eines weißen Rolls-Royce und eines weißen Jaguars.

Tod
St John-Stevas starb am 2. März 2012 im Alter von 82 Jahren in seinem Haus in London nach kurzer Krankheit.

Veröffentlichungen

Autor
 Walter Bagehot A study of his life & thought together with a selection from his political writings, Eyre & Spottiswoode, 1959, ISBN unbekannt
 Life, Death And The Law, Eyre & Spottiswoode, 1961, ISBN unbekannt
 The Right to Life, Hodder & Stoughton, 1963, ISBN unbekannt
 Law and Morals, Hawthorn Books, 1964, ISBN unbekannt
 Bagehot's Historical Essays, New York University Press, 1966, ISBN unbekannt
 Agonising Choice: Birth Control, Religion and Law, TBS The Book Service Ltd, 1971, ISBN 978-0-413-27960-6
 Pope John-Paul II: His Travels and Mission, Faber & Faber, 1982, ISBN 978-0-571-11908-0
 The Two Cities, Farrar Straus & Giroux, 1984, ISBN unbekannt
 Before the Sunset Fades: An Autobiography, HarperCollins, 2007, ISBN 978-0007102198

Herausgeber
 The Collected Works of Walter Bagehot. The Literary Essays Volume One, The Economist, 1965, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Literary Essay Volume Two, The Economist, 1965, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Historical Essays Volume Three, The Economist, 1968, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Historical Essays Volume Four, The Economist, 1968, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Historical Essays Volume Five, The Economist, 1974, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Six, The Economist, 1974, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Seven, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Eight, The Economist, 1974, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Nine, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Ten, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Eleven, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Twelve, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Thirteen, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Fourteen, The Economist, ?, ISBN unbekannt
 The Collected Works of Walter Bagehot. The Political Essays Volume Fifteen, The Economist, 1986, ISBN unbekannt

Weblinks

 Lord St John of Fawsley bei theyworkforyou
 Lord St John of Fawsley bei The Public Whip
 Lord St John of Fawsley Nachruf in: The Daily Telegraph; 5. März 2012
 Lord St John of Fawsley obituary Nachruf in: The Guardian; 5. März 2012
 Lord St-John of Fawsley: Flamboyant politician who fell foul of Margaret Thatcher Nachruf in: The Independent; 6. März 2012
 Obituary: Norman St John-Stevas, Cabinet minister under two Tory prime ministers and a stout defender of the Lords Nachruf in: The Scotsman; 6. März 2012

Einzelnachweise

Chancellor of the Duchy of Lancaster
Minister (Vereinigtes Königreich)
Life Peer
Mitglied des House of Lords
Abgeordneter des House of Commons (Vereinigtes Königreich)
Mitglied des Privy Council (Vereinigtes Königreich)
Träger des Verdienstordens der Italienischen Republik (Großoffizier)
Conservative-Party-Mitglied
Politiker (20. Jahrhundert)
Politiker (21. Jahrhundert)
Träger des Order of Saint John
Brite
Geboren 1929
Gestorben 2012
Mann

Norman St John-Stevas, Baron St John of Fawsley


Justin Cartwright (20 mai 1943 – 3 décembre 2018) était un romancier britannique originaire d'Afrique du Sud.

Biographie
Cartwright est né au Cap, en Afrique du Sud, mais a grandi à Johannesburg où son père était rédacteur en chef du Rand Daily Mail. Il a fait ses études en Afrique du Sud, aux États-Unis et au Trinity College d'Oxford. Cartwright a travaillé dans la publicité et a réalisé des documentaires, des films et des publicités télévisées. Il organisait des émissions électorales, d'abord pour le Parti libéral, puis pour le SDP-Alliance libérale lors des élections générales britanniques de 1979, 1983 et 1987. Pour son travail sur les émissions électorales, Cartwright a été nommé MBE.

In Every Face I Meet fut sélectionné pour le Booker Prize et le Whitbread Novel Award en 1995, et a remporté le Commonwealth Writers Prize ; Leading the Cheers a remporté le Whitbread Novel Award en 1998 ; White Lightning a été présélectionné pour le Whitbread Novel Award en 2002. Masai Dreaming a remporté les South African M-Net Literary Awards. The Promise of Happiness a été choisi comme l'un des titres du Richard and Judy's Book Club pour 2005 et a remporté le Prix Hawthornden 2005 et le Sunday Times Fiction Prize d'Afrique du Sud.

Cartwright vivait à Londres avec sa femme, Penny, et ses deux fils.

Bibliographie

Romans
 Deep Six (1972)
 Fighting Men (1977)
 Horse of Darius (1980)
 Freedom for the Wolves (1983)
 Interior (1988)
 Look at it This Way (1990)
 Masai Dreaming (1993)
 In Every Face I Meet (1995)
 Leading the cheers (1998)
 Half in Love (2001)
 White Lightning (2002)
 The Promise of Happiness (2005)
 The Song Before it is Sung (2007)
 To Heaven by Water Bloomsbury (2009)
 Other People's Money Bloomsbury (2011)
 Lion Heart (2013)
 Up Against the Night (2015, Bloomsbury)

Essais
 Not Yet Home (1997)
 This Secret Garden (2008)
 Oxford Revisited (2008)

Films
 Rosie Dixon – Night Nurse (1978)
 Look at It This Way (1992) TV mini-series
 Q.E.D. (comme producteur) (1 épisode, 1983)

Notes et références

Liens externes

Naissance en mai 1943
Écrivain sud-africain
Décès en décembre 2018
Naissance au Cap
Décès à Londres
Décès à 75 ans

Justin Cartwright


"Perfect Illusion" este un cântec al interpretei americane Lady Gaga, lansat spre descărcare digitală la 9 septembrie 2016 sub egida casei de discuri Interscope Records drept primul disc single extras de pe cel de-al cincilea ei album de studio, Joanne (2016). Piesa a fost compusă și produsă de Gaga, Kevin Parker, Mark Ronson and BloodPop. "Perfect Illusion" este o melodie dance-rock care, din punct de vedere al versurilor, vorbește despre "suișurile și coborâșurile" dintr-o relație, prezentând totodată un comentariu legat de rețele de socializare. Artista a compus versurile utilizând o mașină de scris Underwood; după numeroase modificări și rearanjări, textierii au obținut varianta finală. Speculațiile precum că acest cântec se referă la fostul partener a lui Gaga, Taylor Kinney, au fost respinse de cântăreață.

Lansarea single-ului a fost precedată de diverse postări și colaje pe conturile de pe rețele sociale ale interpretei. Criticii de specialitate au oferit recenzii mixte spre pozitive cântecului, majoritatea menționând asemănări cu piesele artistului american Bruce Springsteen. Din punct de vedere comercial, "Perfect Illusion" a ocupat locul cincisprezece în ierarhia Billboard Hot 100 din Statele Unite, clasându-se totodată și în alte topuri secundare. Piesa a ajuns pe locul unu în Franța, în timp ce în Cehia, Italia, Scoția, Slovacia și Ungaria, single-ul a devenit un șlagăr de top 10.

Videoclipul melodiei "Perfect Illusion" a fost regizat de Ruth Hogben și Andrea Gelardin și a avut premiera în timpul celui de-al doilea sezon al serialului Scream Queens de pe canalul Fox. Clipul o prezintă pe artistă cântând și dansând într-un deșert, în timpul unui rave. Producătorii și textierii piesei apar, de asemenea, în videoclip. Acesta a fost lăudat de unii critici de specialitate, însă alții i-au oferit recenzii negative datorită simplității sale. Gaga a interpretat "Perfect Illusion" în turneele Dive Bar Tour și Joanne World Tour, precum și în timpul unor emisiuni televizate și apariții în mass-media.

Informații generale
În urma lansării celui de-al treilea ei album de studio, Artpop (2013), Gaga și-a schimbat echipa de management și s-a alăturat Artist Nation—o divizie de impresariat a companiei Live Nation Entertainment—alături de noul ei impresar, Bobby Campbell. De asemenea, cântăreața a trecut printr-o perioadă de revizuire a imaginii publice, adoptând un stil mai discret în mass-media și punând accent pe abilitățile vocale. Printre numeroase eforturi muzicale s-a numărat și Cheek to Cheek (2014), un album jazz colaborativ înregistrat alături de cântărețul Tony Bennett. Materialul a câștigat premiul Grammy pentru cel mai bun album vocal pop tradițional. În luna ianuarie a anului 2016, Gaga a confirmat faptul că își va lansa cel de-al cincilea album de studio la sfârșitul anului, declarând că încă lucrează la diferite aspecte—precum înfățișările pe care le va portretiza.

Pe parcursul anilor 2015 și 2016, cântăreața a dezvăluit treptat procesul creativ al albumului prin intermediul unor postări pe rețelele de socializare. S-a raportat, de asemenea, faptul că artista lucrează alături de numeroși producători, precum RedOne, Giorgio Moroder, Mark Ronson, sau Nile Rodgers. Ronson a confirmat că a lucrat alături de Gaga, afirmând: "Piesele la care am contribuit sunt printre preferatele mele din întreaga mea carieră. [Perfect Illusion] este incredibil – îl iubesc. Abia aștept să îl ascultați, pentru că muzica vorbește de la sine – și câțiva din muzicieni mei preferați din toate timpurile au lucrat la acest cântec". Suplimentar, producătorul a insinuat implicarea lui Kevin Parker, solistul formației australiene de muzică rock psihedelic Tame Impala, în producția piesei "Perfect Illusion"; BBC Music a confirmat ulterior aceste zvonuri ca fiind adevărate. În timpul unui interviu pentru website-ul de modă Buro247, Ronson a declarat că "Perfect Illusion" este unul din cântecele lui preferate la care a contribuit, felicitând atât textierii, cât și muzicienii ce au fost implicați.

Compunere și înregistrare

Gaga a compus și produs melodia alături de Parker și Ronson, BloodPop fiind cooptat și el în echipa de producție. "Perfect Illusion" a fost dezvoltat dintr-o versiune nefinalizată a unui cântec "Illusion" pe care Parker l-a compus, prezentându-l ulterior lui Ronson și Gaga. La finalul lunii mai a anului 2016, Ronson l-a recrutat pe BloodPop pentru a lucra alături de el, declarându-se încântat de albumul la care producătorul lucra în perioada respectivă. Cei doi s-au întâlnit în Malibu și au completat "Perfect Illusion" în primele zile ale ședințelor de înregistrare. Potrivit lui BloodPop, nu a existat nici o conversație în legătură cu sunetul piesei, adăugând: "parcă toți am vorbit în aceeași limbă". Aranjamentul melodiei a fost realizat de Ronson, cântând la sintetizatoare și chitară împreună cu Parker. Josh Homme a cântat la chitară, BloodPop a fost responsabil cu dezvoltarea ritmului și aranjarea sintetizatoarelor, iar Parker a cântat la tobe. Producția realizată de Ronson și BloodPop a fost completată prin utilizarea software-ului Ableton.

În timpul ședințelor de înregistrare, Gaga a condus direcția artistică a producției, bazându-se pe influențele și preferințele ei, compunând linia melodică la pian și chitară. Ronson a explicat că artista a fost profund implicată în detaliile tehnice ale muzicii, în timpul înregistrărilor. În ceea ce privește contribuțiile cântăreței, acesta a mărturisit: "[Gaga] iubește să stea la pian și să dea ordine bateristului, și are o voce incredibilă". Ronson a mai dezvăluit faptul că au început să lucreze mai întâi la linia melodică, ocupându-se ulterior de aspecte ale compoziției. În timpul unui interviu acordat publicației Rolling Stone, BloodPop a spus că Gaga a fost întotdeauna omniprezentă în timpul ședințelor de înregistrare, iar finalizarea piesei a fost la decizia ei.

Artista a compus versurile piesei "Perfect Illusion" utilizând o mașină de scris Underwood. Acestea au fost dezvoltate în timpul ședințelor, iar potrivit lui BloodPop, "Aproape în fiecare zi, un alt vers era modificat, și întreaga compoziție devenea din ce în ce mai bună". Într-un interviu pentru postul BBC Radio 1, Gaga a afirmat că a "jonglat înainte și înapoi cu versurile", explicând: "Am demontat absolut totul. Am schimbat linia melodică, și am tot mutat-o. Eu stăteam la pian, Kevin cânta la chitară, iar Mark era la bas". Ședințele de înregistrare au avut loc în mai multe studiouri din Statele Unite, pentru a se adapta în funcție de programul fiecărui contribuitor. În Malibu, "Perfect Illusion" a fost înregistrat la studiourile Shangri-La, un loc pe care BloodPop l-a preferat deoarece era amplasat în afara influenței vieții urbane. Ședințele au avut loc timp de câteva zile la reședința lui Gaga, iar vocea acesteia a fost înregistrată la studiourile Electric Lady din New York City.

Structura muzicală și versurile
Din punct de vedere muzical, "Perfect Illusion" este un cântec dance-rock compus în jurul unor secvențe de acorduri. Potrivit reporterului Mark Savage de la BBC Music, această compoziție "are ca rezultat un sentiment convingător de urgență". Vocea solistei este nemodificată și netratată, evitându-se folosirea Auto-Tune-ului. Compoziția piesei constă în "versuri vibrante" și o secvență breakdown bazată pe voce și chitară. În jurul minutului doi, se remarcă o schimbare de tonalitate înainte de refrenul final. Lewis Corner de la website-ul Digital Spy a considerat că piesa face aluzie la albumele anterioare ale lui Gaga. Redactorul a numit "Perfect Illusion" un "cântec pop simplu" cu o compoziție asemănătoare cu primele single-uri ale lui Gaga, "Just Dance" și "Poker Face" (ambele lansate în anul 2008). Mixajul dintre chitară, sintetizatoare "bombănitoare" și un beat "puternic" i-a adus aminte lui Corner de single-ul "Marry the Night" de pe cel de al doilea album de studio al lui Gaga, Born This Way (2011). De asemenea, s-au făcut aluzii către melodiile de pe albumul Artpop, datorită manierei neconvenționale de a conecta strofele cu refrenul. Publicațiile Glamour și Rolling Stone au relatat faptul că unii ascultători au găsit similarități între "Perfect Illusion" și cântecul Madonnei, "Papa Don't Preach" (1986); în urma acestor comparații, Ronson a declarat mai târziu: "Evident, a fost un fel de accident".

BloodPop a afirmat într-un interviu acordat revistei Rolling Stone faptul că "Perfect Illusion" este "un cântec rock mare ce te face să vrei să dansezi". Potrivit producătorului, în timpul ședințelor de înregistrare nu au existat discuții în ceea ce privește sunetul propriu-zis, artiștii dorindu-și să creeze o melodie diferită față de single-urile difuzate la radio. BloodPop a detaliat faptul că piesa este compusă într-un stil tradițional și conține influențe din muzica soul, însă nu la modul literar. "Perfect Illusion" este compus în tonalitatea Fa♯ minor și are un tempo de 125 de bătăi pe minut. Cântecul urmărește o progresie de acorduri simplă de Fa♯minor–Mi/Sol♯–Re major7–Do♯minor7, iar vocea lui Gaga variază de la nota Fa♯3 la nota Re♯5.

Din punct de vedere al versurilor, "Perfect Illusion" cercetează "suișurile și coborâșurile" întâlnite într-o relație care s-a stricat, fiind astfel o "iluzie perfectă". Într-un interviu pentru postul de radio iHeartMedia, Gaga a descris versurile drept "legate de un ecstasy modern [...] Am găsit modul nostru dulce, simplu și mânios de a spune asta. Simt o adrenalină cu adevărat nebună de fiecare dată când ascult [această piesă]". Cântăreața a clarificat mai târziu faptul că versurile sunt, de asemenea, un comentariu legat de rețelele de socializare și probleme cu care oamenii se confruntă în încercarea de a înfățișa o reprezentare perfectă. Publicațiile mass-media au speculat că versurile ar face aluzie la despărțirea dintre Gaga și fostul ei partener, actorul Taylor Kinney, ce a avut loc în luna iulie a anului 2016. Samantha Schnurr de la postul de televiziune E! a descifrat versurile melodiei, afirmând că repetiția frazei "perfect illusion" face referire la relația solistei. Ca răspuns la aceste zvonuri, Gaga a declarat în timpul unui interviu pentru postul de radio SiriusXM faptul că piesa nu este despre Kinney și nici nu reprezintă o "răzbunare". "Îl iubesc pe Taylor atât, atât de mult, iar acest cântec nu este o lovitură împotriva lui [...] Este o piesă despre noi toți. Nu aș folosi niciodată un single de-al meu sau publicul pentru a răni pe cineva, în special o persoană pe care o iubesc atât de mult", a adăugat solista.

Lansare și copertă

În luna mai 2016, website-ul Idolator a raportat faptul că Gaga se află într-un studio de înregistrări alături de BloodPop și Parker. Ulterior, Ronson a încărcat o fotografie de grup pe contul lui Instagram, alături de descrierea "illusion". În urma apariției de la iHeartMedia, Gaga a dezvăluit numele single-ului, adăugând o serie de douăsprezece fotografii pe contul ei de Instagram. Împreună, imaginile crează un mozaic ce menționează titlul cântecului. Potrivit lui Sasha Atkinson de la revista Bustle, paleta de culori luminoase a anunțului este un pop art asemănător cu lucrările lui Andy Warhol, și face referire la albumul Artpop.

Posturile de radio WKKF din New York și KIIS 106.5 din Sydney, Australia au anunțat că single-ul "Perfect Illusion" va avea premiera la radio la 9 septembrie 2016. Data premierei a fost dezvăluită din greșeală prin intermediul codului sursă al website-ul oficial al cântăreței, acesta listând, de asemenea, adresa URL a patru secvențe din melodie. Ca urmare a acestui incident, Gaga a confirmat data lansării prin intermediul conturilor ei de pe rețelele de socializare. Artista a dezvăluit totodată coperta single-ului printr-un colaj de imagini, alături de câteva versuri din cântec. Fotografia o prezintă pe Gaga care pare că sare de pe marginea unei stânci și cântând la un microfon. O altă fotografie a fost postată mai târziu, fiind o captură de ecran din videoclipul muzical al cântecului. Imaginea o înfățișează pe solistă stând pe umerii unei persoane și învârtind microfonul de fir în aer ca un lasou deasupra unei mulțimi. Potrivit revistei V, coperta a fost realizată de Ruth Hogben și Andrea Gelardin. Într-un articol publicat de revista Paper, Carey O'Donnell a spus că fotografia pentru copertă este "emblematică", asociind-o pe Gaga cu cantautoarea canadiană Alice Glass și complimentând înfățișarea metal și punk. De asemenea, Sophie Atkinson de la revista Bustle a complimentat imaginea, fiind de părere că este neobișnuit de "simplă pentru [Gaga]". Aceasta a descris coperta drept "incredibil de personală", declarându-se încântată de faptul că este diferită în comparație cu "tradiționale portrete și cadre frumoase".

Un fragment video de 16 secunde a fost încărcat pe contul de Twitter a lui Gaga, cântăreața fiind prezentată într-un deșert, în timp lumini de la stroboscoape strălucesc în jurul ei. Interpreta a apărut la emisiunea Breakfast Show a postului de radio BBC Radio 1 pe 9 septembrie 2016, alături de gazda Nick Grimshaw, pentru premiera radio a single-ului "Perfect Illusion". Gaga a descris lansarea ca fiind "copleșitoare" și asemănătoare cu o "renaștere", adăugând că a "lucrat în studio timp de luni de zile, și acum [cântecul] este în sfârșit în lume [...] Se simte ca prima oară. Este ceva legat de această piesa care mă face să mă simt ca un artist nou". Gaga a cântat, de asemenea, câteva versuri ale melodiei.

Recepția criticilor
În urma lansării sale, "Perfect Illusion" a primit recenzii mixte din partea criticilor de specialitate. Alice Vincent de la ziarul The Daily Telegraph i-a acordat piesei patru din cinci stele, spunând: "mă încântă să afirm că acest cântec este o revenire la perioada «Just Dance» a lui Gaga: [«Perfect Illusion»] este un simplu cântec pop, infecțios de captivant și atrăgător, care umple ringul de dans și ar putea face un stadion întreg să aclame și cânte". Redactorul a complimentat și "timbrul bogat" al vocii lui Gaga, precum și emoția ei. În opinia lui Jess Denham de la ziarul The Independent, "Perfect Illusion" are un sunet asemănător cu muzica rock decât piesele "Just Dance" sau "Poker Face"; redactorul a complimentat, de asemenea, vocea lui Gaga, comparând versurile melodiei cu lucrările cântărețului Bruce Springsteen și adăugând că single-ul sună "foarte atrăgător, ca și cum ar veni să asigure pe toată lumea că este un șlagăr de club". Robbie Daw de la website-ul Idolator a descris-o pe solistă drept "o zeiță a muzicii rock" și a opinat că sunetul "întunecat și dezordonat" al piesei se aseamănă mai mult cu melodiile albumului Born This Way decât cu cele de pe Artpop. Daw și-a încheiat recenzia spunând că "Perfect Illusion" este o abatere notabilă de la piesele dance-pop de la începutul carierei lui Gaga.

Un editor de la publicația The New Zealand Herald a descris cântecul drept "o piesă pop-rock furtunoasă, cu mult mai puțină strălucire electro-pop cu care ne-am obișnuit încă de la cântecele ei mai vechi. Cred că The Killers au întâlnit-o pe Kylie". Lewis Corner de la website-ul Digital Spy a oferit o recenzie amănunțită cântecului, descriind sunetul și imaginile asociate ca fiind "dezbrăcate". Criticul a observat, de asemenea, influențe ale lui Springsteen în compoziție, adăugând faptul că "refrenul disco-rock explodează în adevăratul sens al cuvântului după secunda 30 [...] Are o linie melodică decentă și o construcție galopantă, demnă de atmosfera crescândă de pe un stadion, iar influențe lui Bruce Springsteen răsună de-a lungul piesei". Jake Viswanath de la revista V i-a oferit o recenzie pozitivă cântecului, numindu-l o "adevărată revenire în formă". El a considerat că piesa demonstrează versatilitatea lui Gaga, și îi scoate în evidență vocea.

Într-o recenzie pentru publicația The Verge, Kaitlyn Tiffany a comparat "Perfect Illusion" cu "Bad Romance", însă cu "o injecție suplimentară cu adrenalină a unui mare cântec rock de stadion, și niște sintetizatoare strălucitoare și vag înfricoșătoare". Într-o recenzie pozitivă, revista Billboard a aclamat "Perfect Illusion", numindu-l "o revenire vrednică în industria muzicală din partea lui Gaga". Rhian Daly de la revista NME a lăudat vocea cântăreței, spunând că "influențele disco înfloritoare și puterea veritabilă fac din [Perfect Illusion] o revenire formidabilă [pentru Gaga]". Mikael Wood de la ziarul Los Angeles Times a numit melodia "un hit disco-rock agitat cu un ritm robot-Motown ucigător și o schimbare de registru făcută în așa fel încât să declanșeze bateri de pumni pavloviene.", în timp ce Kevin Fallon de la website-ul The Daily Beast a fost foarte impresionat de schimbarea de tonalitate făcută de cântăreață, complimentând vocea ei și descriind-o ca "explozivă și ascuțită, tulburând astfel tradiția". Hugh McIntyre de la publicația Forbes a afirmat că "piesa reușește în același să o orienteze pe Gaga către o nouă direcție, dar și să mențină câteva dintre calitățile care au făcut-o atât de populară". Într-o recenzie pentru revista The Atlantic, Spencer Kornhaber a observat faptul că artista "bâlbâie asemenea lui Bruce Springsteen" în timpul versurilor din melodie, însă este lipsită de ironie.

Alți critici și-au exprimat opiniile negative cu privire la piesă. Richard S. He de la ziarul The Guardian nu a auzit "nici un fel de rectificare asupra vocii", criticând această decizie prin afirmația: "Gaga își dorește să auzim fiecare notă de muzică blues și fiecare răgușeală din vocea ei. Din nefericire, tot ceea ce veți auzi sunt doar răgușelile". Revista Spin a descris piesa drept "o ratare", în timp ce ziarul USA Today l-a a asemănat cu cântecele anterioare ale cântăreței, spunând: "Deși nu este perfect, bănuim că este energic și destul de distractiv. Dar pur și simplu nu este inovator". Jillian Mapes de la site-ul Pitchfork a considerat că "Perfect Illusion" nu s-a ridicat la așteptările considerabile, criticând producția și interpretarea vocală a cântăreței. Într-un clasament al single-urilor lui Gaga de la cel mai rău la cel mai bun, revista Billboard a clasat piesa pe penultimul loc, înaintea lui "Applause" (2013). În lista celor mai bune piese ale anului 2016, publicația Rolling Stone a plasat cântecul pe locul 28, afirmând: "Gaga își prezintă latura ei de hipioată neo-folk Lilith, în compania rădăcinilor ei disco într-o confesiune produsă de Mark Ronson".

Performanța în clasamente
În Statele Unite, "Perfect Illusion" a debutat pe locul 15 în clasamentul Billboard Hot 100, devenind cea de-a 23-a piesă din cariera ei care să ajungă în acest top. De asemenea, single-ul a debutat pe locul doi în ierarhia Digital Songs, înregistrând vânzări de 100.000 de exemplare digitale. În topul Streaming Songs, cântecul a ocupat locul 25 datorită a 8,3 milioane de difuzări în prima săptămână de difuzare în Statele Unite. Single-ul a acumulat o audiență de 22 de milioane de ascultători radio, însă nu au fost suficiente pentru ca piesa să se claseze în topul Radio Songs. "Perfect Illusion" a debutat pe locurile 31 și 32 în clasamentele Mainstream Top 40 și, respectiv, Adult Pop Songs, după ce a fost difuzat în fiecare oră la posturile de radio deținute de iHeartMedia. Ulterior, piesa a ajuns pe locul 17 în topul Adult Pop Songs, și pe locul 22 în topul Mainstream Top 40. Piesa a ajuns și în ierarhia Dance Club Songs, însă a stagnat pe locul 13, devenind astfel al treilea cel mai slab clasat single al artistei în topul respectiv. Cântecul a acumulat 29,3 milioane de difuzări streaming în Statele Unite. În Canada, "Perfect Illusion" a debutat pe locul 17 în clasamentul Canadian Hot 100, și a primit un disc de aur din partea Music Canada (MC) pentru depășirea pragului de peste 40.000 de unități vândute.

Piesa a debutat pe locul 14 în Australia și a acumulat un total de trei săptămâni de prezență în clasament. În Noua Zeelandă, piesa a debutat pe locul 31 și a părăsit ierarhia după o singură săptămână de prezență în top. "Perfect Illusion" a debutat pe locul 12 în ierarhia UK Singles Chart la 23 septembrie 2016. Potrivit datelor furnizate de publicația Music Week, single-ul a înregistrat vânzări de 30.830 de unități echivalente, reușind astfel să debuteze pe locul patru în clasamentul UK Singles Downloads Chart, și pe locul 28 în topul Official Audio Streaming Chart. Cântecul a fost prezent în top 100 pentru doar șase săptămâni, întâmpinând un declin rapid.  În Franța, melodia a debutat pe prima poziție a French Singles Chart. În alte regiuni, "Perfect Illusion" a obținut poziții de top cinci în Finlanda și Grecia, clasându-se pe prima poziție a ierarhiei celor mai bine vândute single-uri în mediul digital. Piesa a ajuns în top 10 în Cehia, Ungaria, Slovacia și Scoția și a ocupat, de asemenea, locul patru în clasamentul European Digital Songs compilat de revista Billboard. În Italia, cântecul a ajuns pe locul cinci în ierarhia Italian Singles Chart și a fost premiat cu discul de aur de către Federazione Industria Musicale Italiana (FIMI) pentru cele peste 25.000 de unități vândute.

Videoclipul muzical
Videoclipul cântecului "Perfect Illusion" a fost regizat de Ruth Hogben și Andrea Gelardin, cei care au realizat și coperta single-ului. Potrivit ziarului Page Six, clipul a fost filmat într-un deșert din afara orașului Los Angeles pe o perioadă de două zile. Creatorul de modă Brandon Maxwell a asigurat ținuta solistei utilizată în videoclip. Hogben și Gelardin au mai fost asociați în trecut cu artista, lucrând la diferite proiecte. Din punct de vedere stilistic, colaborarea pentru albumul Joanne a fost o experiență diferită pentru producători. Cei doi au fost prezenți în studioul de înregistrări alături de Gaga și Ronson în timpul elaborării câtorva piese, iar întregul proces creativ i-a ajutat să înțeleagă obiectivul principal al solistei. Întrucât "Perfect Illusion" este un cântec "energic", Hogben și Gelardin și-au dorit ca videoclipul să reflecte acest lucru. Inițial, artista și-a imaginat clipul drept o interpretare, acesta fiind punctul de plecare al regizorilor. Cei doi și-au dorit ca Gaga să cânte între oameni decât pe o scenă obișnuită, rugându-i pe Ronson, Parker și BloodPop să aibă o apariții scurte în videoclip. În cadrul unui interviu acordat revistei V, regizorii au explicat ideea din spatele creației:
"Ne-am dorit un videoclip care să o prezinte fără vreun truc sau artificiu, într-un mod în care videoclipurile anterioare nu au fost făcute. Simplitatea este ideea principală a acestui conceput. Spre exemplu, ne place cum își ține microfonul portabil în timpul spectacolului. Coperta single-ului a fost realizată în aceeași zi. Nu ne-am dorit o fotografie sau un "cadru fashion". Am vrut să arătăm energie și mișcare, și să fie legat de interpretarea ei. Gaga a condus mașina Bronco de una singură, iar aranjamentul pentru spectacol și energia ei pură și tenace a venit din modul în care ea a condus totul pe platourile de filmare. Pentru noi, în calitate de regizori, a de-a dreptul fost înfiorător și entuziasmant în același timp—energia și emoția ei au fost pur autentice".
Premiera mondială a videoclipului a avut loc la 20 septembrie 2016, în timpul premierei celui de al doilea sezon al serialului Scream Queens de pe canalul FOX. Gaga a distribuit, de asemenea, o previzualizare a videoclipului, fragmentul prezentând-o în timp ce își leagănă un microfon în jurul capului, aclamată de o mulțime extaziată. Videoclipul începe cu o scenă în care interpreta conduce un jeep prin deșert, și se încheie cu cadre în care aceasta cântă într-o mulțime, acompaniată de producători. Videoclipul se încheie cu Gaga rostogolindu-se prin deșert, singură. Jack White de la Official Charts Company a observat că montajul videoclipului a constat în "scene rapide și grăbite" intercalate. În anul 2017, procesul filmării clipului a fost inclus în documentarul Gaga: Five Foot Two.

Interpretări live și utilizări în mass-media

"Perfect Illusion" a fost interpretat pentru prima oară live în clubul Moth din Londra, la 10 septembrie 2016. Gaga a purtat un top decupat și o pereche de pantaloni scurți argintii, alături de un microfon pe care și-l rotea deasupra capului în timp ce dansa. Daniel Kreps de la publicația Rolling Stone a considerat că artista a cântat "energeticul single dance-rock alături de o interpretare uimitoare ce reflectă coperta single-ului". Gaga a interpretat, de asemenea, o secvență din "Bad Romance" în același loc, după "Perfect Illusion". Single-ul a fost inclusă în lista cântecelor pentru turneul Dive Bar Tour, fiind piesa de încheiere a două dintre cele trei spectacole ale turneului de concerte.

În timpul campaniei de promovare a albumului Joanne în Japonia, Gaga a interpretat o versiune de pian pentru "Perfect Illusion" la emisiunea matinală Sukkiri și, de asemenea, la emisiunea  SMAP×SMAP, acompaniată de o trupă de băieți. Spectacolele au fost difuzate pe 1 noiembrie 2016 și, respectiv, 12 decembrie 2016. La secțiunea Carpool Karaoke a emisiunii The Late Late Show with James Corden, "Perfect Illusion" a fost prima piesă interpretată de artistă în vehicul. De asemenea, melodia a fost inclusă în lista cântecelor pentru turneul Joanne World Tour. Solista a purtat un costum mulat din piele realizat de Alexander Wang și brodat cu franjuri lungi și negre, din piele. Piesa a fost difuzată în timpul unui promo pentru serialul de televiziune American Horror Story: Roanoke, vorbind despre anonimatul sezonului și faptul că tema acestuia a rămas un mister până la premier.

Acreditări și personal
Persoanele care au lucrat la acest cântec sunt preluate de pe broșura albumului Joanne.

Management
 Înregistrat la Studiourile Shangri-La (Malibu, California), Studiourile Pink Duck (Burbank, California și [Studiourile [Electric Lady]] (New York City, New York)
 Mixat la Studiourile MixStar (Virginia Beach, Virginia)
 Masterizat la Sterling Sound (New York City, New York)
 Kiff's Bonza Songs/Sony/ATV Music Publishing Australia pentru Australia/New Zealand and Kiff's Bonza Songs/BMG Rights Management (UK) Limitat pentru ROW ex-ANZ, Sony/ATV Songs LLC, House of Gaga Publishing (BMI), Imagem CV/Songsde de la Zelig (BMI) (Songs of Zelig administered worldwide by Imagem CV), OWSLA Music Publishing, LLC/Check Your Pulse, LLC (ASCAP)
 Kevin Parker apare de la Modular Recordings Pty Ltd.

Personal

Lady Gaga – textier, voce, producător
Mark Ronson – textier, chitară, sintetizator, producător
Kevin Parker – textier, producător, tobă, chitară, sintetizator, bas
BloodPop – textier, producător, chitară, sintetizator, ritm pentru GenPop Corp.
Josh Homme – chitară
Joshua Blair – înregistrare
David "Squirrel" Covell – asistent înregistrare
Justin Smith – asistent înregistrare
Barry McCready – asistent înregistrare
Serban Ghenea – mixaj
John Hanes – inginer mixaj
Tom Coyne – masterizare
Randy Merrill – masterizare

Prezența în clasamentele muzicale

Săptămânale

De final de an

Vânzări și certificări

Note
 reprezintă "disc de aur";
 reprezintă "disc de platină".

Datele lansărilor

Note

Lady Gaga
Discuri single de Lady Gaga
Cântece din 2016
Discuri single din 2016
Cântece de Lady Gaga

Perfect Illusion


Du  au 10 décembre 2017, l'équipe de Belgique de hockey sur gazon participe à la finale de la Ligue mondiale 2016-2017.

Résumé de la saison

Le , le sélectionneur national, Shane McLeod a communiqué, ce matin, la liste de 18 joueurs qui prendront part à la finale de la World League qui se déroulera, à Bhubaneswar, du  au . Une sélection dans laquelle on note les retours de John-John Dohmen et de Dorian Thiéry, dans le milieu du terrain, et l'intégration du jeune gantois Antoine Kina. Par rapport au groupe qui avait participé à l'Euro, à Amsterdam, en août dernier, quatre joueurs ne seront pas présents en Inde. Il s'agit de Felix Denayer, qui avait annoncé qu'il ne participerait pas au tournoi pour des raisons professionnelles, d'Alexander Hendrickx, d'Augustin Meurmans et de Loic van Doren.

Le , Nicolas de Kerpel remplace Simon Gougnard, se plaignant d'une douleur à la cuisse.

Le , la Belgique a parfaitement négocié sa première rencontre de la finale de la World League, à Bhubaneswar. Dans un Kalinga Stadium plutôt clairsemé, les joueurs de Shane McLeod ont proposé une prestation solide et constante face aux champions olympiques en titre. Cette revanche des Jeux de Rio a donc tourné à l'avantage des Red Lions qui n'ont jamais réellement été mis en difficulté avant les cinq dernières minutes de la partie (2-3).

Le , après la belle victoire face à l'Argentine, samedi, les Red Lions souhaitaient confirmer leur bonne forme actuelle en remportant un nouveau succès face à l'Espagne, qui avait créé la surprise lors de son match inaugural en battant les Pays-Bas. Et face à la neuvième nation mondiale, les protégés de Shane McLeod n'ont jamais réellement été mis en difficultés face à leur adversaire du jour. Ils se sont imposés 5-0 et occupent, à présent, seuls, la tête de la poule A avant d'aborder leur dernière rencontre de groupe, mardi, face aux voisins néerlandais.

Le , après avoir franchi sans encombre les deux premières rencontres de poule, les joueurs de Shane McLeod souhaitaient conclure avec panache la phase de groupe et atteindre les quarts de finale avec un sans-faute et neuf points au compteur. Et face aux Néerlandais, les Lions, même s'ils ont été mis sous pression durant les premières minutes, et un petit peu en fin de rencontre, ont proposé une nouvelle prestation sans faille et très concluante face à un adversaire qui n'a jamais trouvé la clé pour venir inquiéter Vincent Vanasch. La Belgique s'impose donc 3-0 après une nouvelle démonstration de maîtrise et d'efficacité et demeure la seule équipe à compter le maximum de points à l'issue de cette phase de groupe.

Le , la Belgique trébuche face à l'Inde aux shoots-outs (3-2) après le partage (3-3) en quats de finale de la finale de la compétition. Ils retrouveront l'Espagne en match pour la cinquième place, éliminée par l'Australie (4-1).

Le , après la terrible déception du quart de finale perdu aux Shoot-Out face à l'Inde, la Belgique a conclu sa World League, à Bhubaneswar, en proposant une dernière prestation plutôt appliquée face à l'Espagne (1-0).

Le , Victor Wegnez, meilleur jeune joueur et Loïck Luypaert, meilleur buteur sont récompensés.

Effectif
L'effectif suivant de la Belgique.

Entraîneur :  Shane Mcleod

Les matchs

Les joueurs

Un « X » indique un joueur commence le match sur le terrain.

Références

2017
Sport en Belgique en 2017

Équipe de Belgique de hockey sur gazon en finale de la Ligue mondiale 2016-2017


Johan 3. af Nassau-Weilburg (født 27. juni 1441, død 15. juli 1480) var en greve, der var medregent af
Nassau-Weilburg 1470 – 1480.

Han var søn af regerende greve Philip 2. af Nassau-Weilburg og Margarethe af Loon-Heinsberg.

Johan 3. var gift med Elisabeth den smukke af Hessen (1453–1489) (datter af landgreve Ludvig 1. af Hessen (1402–1458)).

Johan og Elisabeth fik to børn:
 Ludvig 1., medregent af Nassau-Weilburg fra 1490 og regerende greve i 1492–1523.
 Elisabeth.

Grever af Nassau
Walramiske linje af Huset Nassau

Johan 3. af Nassau-Weilburg


Doug Swingley (born May 14, 1953) is an American dog musher and dog sled racer who lives in Lincoln, Montana, and is a four-time winner of the Iditarod Trail Sled Dog Race across Alaska. His first Iditarod was in 1992. His first victory came in 1995 and he followed it by winning in 1999, 2000, and 2001. He competed in every Iditarod from 1992 to 2002, and during his rookie outing he won the Dorothy G. Page Halfway award, for being the first musher to reach the halfway point of the race. He is the only winner from the lower 48 states and second in number of wins.  Prior to his Iditarod wins, he also won the Montana Race to the Sky in 1991.

Swingley pulled out of the 2004 Iditarod because of frostbite in his corneas (eyes). Since the injury, his night vision has diminished, so he prefers to race during the day. He placed 14th in the 2005 race. He entered the 2006 race.  The only five-time winner is Rick Swenson. Doug took control of the race early and led the race coming into the Takotna checkpoint 436 miles in where he elected to take his mandatory 24-hour layover. During the layover he was passed by Jeff King, but those two would challenge each other for the lead until the race reached the Bering Sea coast where Jeff King finally pulled away as Doug's team was having difficulty negotiating occasional stretches of bare ice. Doug finished the race in second place behind King, but vowed to return in 2007 with a very strong team. Swingley was born and raised in Great Falls. In 2002, he married Melanie Shirilla under the "burled arch", the traditional finish line of the Iditarod in Nome.

References

American dog mushers
Sportspeople from Montana
1953 births
Living people
People from Lewis and Clark County, Montana
Iditarod champions

Doug Swingley


ශ්‍රී ලංකාවේ ඇති දේශීය අමුද්‍රව්‍ය යොදා නව ආහාර වර්ග නිර්මාණය කරන්නෙකි.

යොදාගන්නා අමුද්‍රව්‍ය
 ඕලු හාල්
 කුරහං
 කරවිල
 අළු කෙහෙල්
 සුදු ළුණු
 ඉඟුරු
 කොස් ඇට

ආහාර වර්ග
 කේක්
 විස්කෝතු
 පාං
 පිට්ටු
 නූඩ්ල්ස්
 පාන වර්ග

ලද සම්මාන
 ශිල්ප ජාතික සම්මාන 2008
 ජනාධිපති සම්මාන 2010
 සහසක් නිමැවුම් සම්මාන 2012

අජිත් දසනායක


Das Haus des Karnevals ist ein historisches Gebäude in der Düsseldorfer Altstadt auf der Zollstraße 9, das seit dem 15. Januar 2005 ein Museum zum Thema des Düsseldorfer Karnevals beherbergt. Das Haus dient zudem dem Comitee Düsseldorfer Carneval als Geschäftsstelle und bietet auf drei Etagen Ausstellungen zum Brauchtum, wo Uniformen, Orden, Bücher und Urkunden sowie Fotos von über 60 Jahren Düsseldorfer Karneval gezeigt werden. In dem Gebäude, nicht weit vom Marktplatz am Rathaus, befindet sich außerdem ein Medienarchiv in Zusammenarbeit mit dem Westdeutschen Rundfunk mit Filmaufnahmen der Rosenmontagszüge.

Das Museum ist jeden Freitag von 9 bis 12 Uhr oder nach Absprache für Besucher geöffnet.

Gebäude
Eine Bebauung an dieser Stelle ist urkundlich bereits 1632 gesichert. Das heutige dreigeschossige und verputzte Gebäude stammt vermutlich jedoch erst aus dem 18. Jahrhundert. Der Eingang des Hauses befindet sich in der mittleren der in fünf Achsen gegliederten Fassade. Die Faschen der Fassadenöffnungen sind in Naturstein ausgearbeitet. Das Erdgeschoss und das oberste Geschoss sind durch ein Gesims abgesetzt. Oberhalb des letzten, d. h. zweiten Obergeschosses bildet ein sich über den drei Mittelachsen erhebender und mit Okulus und Girlanden versehener Dreiecksgiebel den Abschluss des Gebäudes. Die hölzerne Treppenanlage aus dem Barock ist noch original vorhanden. 1862 wurden die Fensterbrüstungen tiefergelegt. Das Gebäude wurde am 15. März 1985 als eines der letzten Gebäude in der Altstadt in die Denkmalliste der Landeshauptstadt Düsseldorf aufgenommen. 1998 wurde das Gebäude auf Erbpachtbasis dem Comitee Düsseldorfer Carneval überlassen und für rund 1,5 Mio. DM renoviert und umgebaut.

Seit 2008 steht hinter dem Haus des Karnevals in Düsseldorf das Hoppeditz-Denkmal, das Bert Gerresheim im Auftrag des Fördervereins Düsseldorfer Karneval geschaffen hat.

Literatur
 Jörg Heimeshoff: Denkmalgeschützte Häuser in Düsseldorf. Nobel, Essen 2001, ISBN 3-922785-68-9. S. 252f.
 Alfons Houben: 3 x Düsseldorf Helau. Die Geschichte des Düsseldorfer Karnevals. Lippert, Meerbusch 1999, ISBN 3-00-005210-0. S. 178f.

Weblinks

 Haus des Karnevals, Website des Fördervereins Düsseldorfer Karneval, 22. Februar 2012.

Einzelnachweise

Museum
Museum (Karneval)
Karneval
Haus des Karnevals
Haus des Karnevals
Erbaut im 18. Jahrhundert

Haus des Karnevals


Samuel Joel "Zero" Mostel (February 28, 1915 – September 8, 1977) was an American actor, comedian, and singer. He is best known for his portrayal of comic characters such as Tevye on stage in Fiddler on the Roof, Pseudolus on stage and on screen in A Funny Thing Happened on the Way to the Forum, and Max Bialystock in the original film version of Mel Brooks' The Producers (1967). Mostel was a student of Don Richardson, and he used an acting technique based on muscle memory. He was blacklisted during the 1950s; his testimony before the House Un-American Activities Committee was well publicized. Mostel later starred in the Hollywood Blacklist drama film The Front (1976) alongside Woody Allen, for which Mostel was nominated for the British Academy Film Award for Best Supporting Actor.

Mostel was an Obie Award and three-time Tony Award winner. He is also a member of the American Theater Hall of Fame, inducted posthumously in 1979.

Early life
Mostel was born in Brooklyn, to Israel Mostel, who was of Eastern European Jewish origin, and Cina "Celia" Druchs, a Polish Jew who was raised in Vienna. The two immigrated to the United States separately – Israel in 1898 and Cina in 1908 – where they met and married. Israel already had four children with his first wife; he had four more children with Cina. Samuel, later known as Zero, was Israel's seventh child.

According to his brother, Bill Mostel, their mother coined the nickname "Zero", noting that if he continued to do poorly at school, he would amount to a zero.

Initially living in the Brownsville section of Brooklyn, the family moved to Moodus, Connecticut, where they bought a farm. The family's income in those days came from a winery and a slaughterhouse. The farm failed, and the family moved back to New York, where his father obtained work as a wine chemist. Mostel was described by his family as outgoing and lively, and with a developed sense of humor. He showed an intelligence and perception that convinced his father he had the makings of a rabbi, but Mostel preferred painting and drawing, a passion he was to retain for life. According to Roger Butterfield, his mother sent him to the Metropolitan Museum of Art to copy paintings while dressed in a velvet suit. Mostel had a favorite painting, John White Alexander's Study in Black and Green, which he copied every day, to the delight of the gallery crowds. One afternoon, while a crowd was watching over his velvet-clad shoulder, he solemnly copied the whole painting upside down, delighting his audience.

In addition to English, Mostel spoke Yiddish, Italian, and German.

He attended Public School 188, where he was an A student. He also received professional training as a painter through The Educational Alliance. He completed his high school education at Seward Park High School, where his yearbook noted: "A future Rembrandt... or perhaps a comedian?".

Mostel attended the City College of New York, a public college that allowed many poor students to pursue higher education. He later claimed that he was on the swimming team and the Reserve Officers Training Corps, though the claim is dubious. As only beginner classes were available in art, Mostel took them repeatedly to be able to paint and receive professional feedback. During that time he worked odd jobs. He graduated in 1935 with a bachelor's degree. He then continued studying towards a master's degree at New York University before leaving after a year to find work. He then joined the Public Works of Art Project (PWAP), which paid him a stipend to teach art.

In 1939 he married Clara Sverd, and the couple moved to an apartment in Brooklyn. The marriage did not last, however, since Clara could not accept the many hours Mostel spent in his studio with his fellow artists, and he did not seem to be able to provide for her at the level to which she had been accustomed. They separated in 1941 and divorced in 1944, Clara only agreeing to the divorce in return for a percentage of Mostel's earnings for the rest of his life. The arrangement lasted until the mid-1950s.

Career

Early comic routines

Part of Mostel's duty with the Public Works of Art Project (PWAP) was to give gallery talks at New York's museums. Leading groups of students through the many paintings, Mostel could not suppress his comedic nature, and his lectures were noted less for their artistic content than for his sense of humor. As his reputation grew, he was invited to entertain at parties and other social occasions, earning three to five dollars per performance. Labor union social clubs followed, where Mostel mixed his comic routine with social commentary. These performances played a large role in his eventual blacklisting in the next decade.

In 1941, the Café Society, a downtown Manhattan nightclub, approached Mostel with an offer to become a professional comedian and play a regular spot. Mostel accepted, and in the next few months he became the Café Society's main attraction. It was here that he adopted the stage name Zero (Zee to his friends), created by press agent Ivan Black at the behest of Barney Josephson, the proprietor, who felt that "Sam Mostel" was not appropriate for a comic.

Thus, at the age of 27, Mostel dropped every other job and occupation to start his show business career.

Rise
Mostel's rise professionally was rapid. In 1942, his salary at the Café Society went up from $40 a week to $450; he appeared on radio shows, opened in two Broadway shows (Keep Them Laughing, Top-Notchers), played at the Paramount Theatre, appeared in an MGM movie (Du Barry Was a Lady), and booked into La Martinique at $4,000 a week. He also made cameo appearances at the Yiddish theatre, which influenced his performance style. In 1943 Life magazine described him as "just about the funniest American now living".

In March 1943, Mostel was drafted by the US Army. Although Mostel gave varying accounts of his Army service, records show he was honorably discharged in August 1943 because of an unspecified physical disability. He subsequently entertained servicemen through the USO until 1945.

Mostel married Kathryn (Kate) Cecilia Harkin, an actress and dancer, on July 2, 1944, after two years of courtship. The pair met at Radio City Music Hall where she was a Rockette. The marriage caused problems in his relationship with his Orthodox Jewish parents:  his new wife was not Jewish. His mother never met Kate or her grandsons. The marriage had problems at times, again mostly due to Mostel's spending most of his time in his art studio. Their relationship was described by friends of the family as complicated, with many fights but having mutual adoration. The couple stayed together until Mostel's death and had two children: film actor Josh Mostel in 1946 and Tobias in 1948.

After Mostel's discharge from the Army, his career resumed. He appeared in a series of plays, musicals, operas, and movies. In 1946 he even made an attempt at serious operatic acting in The Beggar's Opera, but received lukewarm reviews.  He also sang the title role in a short film of Puccini's comic opera Gianni Schicchi. Critics saw him as a versatile performer.

Mostel made notable appearances on New York City television in the late 1940s. He had his own show in 1948 called Off The Record on WABD with comedian partner Joey Faye. Simultaneously, Mostel had a live TV show on WPIX, Channel Zero. He also appeared in the May 11, 1949 Toast of the Town broadcast hosted by Ed Sullivan.

Blacklist years and HUAC testimony
Mostel had been a leftist since college and his nightclub routine included political jabs at right-wingers. His MGM contract was terminated, and his role in Du Barry Was a Lady was truncated, because studio executives were upset that he participated in protests against another MGM film, Tennessee Johnson, which protesters believed had downplayed the racism of former US President Andrew Johnson. According to biographer Arthur Sainer, "MGM blacklisted Zero Mostel way before the days of the blacklist".

During his Army service he was under investigation for alleged Communist Party membership. The Military Intelligence Division of the U.S. War Department said it was "reliably reported" that he was a Communist Party member. The Post Intelligence Officer at the Army's Camp Croft, where Mostel served, believed that Mostel was "definitely a Communist." As a result of that, his application to be an entertainment director with the US Army Special Services unit was denied. Mostel had lobbied hard to transfer to Special Services, at one point traveling to Washington to request a transfer.

It was not until 1950 that Mostel again acted in movies, for a role in the Oscar-winning film Panic in the Streets, at the request of its director, Elia Kazan. Kazan describes his attitude and feelings during that period, where
Each director has a favorite in his cast, . . . my favorite this time was Zero Mostel—but not to bully. I thought him an extraordinary artist and a delightful companion, one of the funniest and most original men I'd ever met. . . I constantly sought his company. . . He was one of the three people whom I rescued from the "industry's" blacklist. . . For a long time, Zero had not been able to get work in films, but I got him in my film."

Mostel played supporting roles in five movies for Twentieth Century Fox in 1950, all in films released in 1951. Fox then abruptly cancelled his contract. Mostel learned this after he was loaned out to Columbia for a film role but not permitted on the set. The studio may have received word that he was about to be named as a Communist in Congressional testimony.

On January 29, 1952, Martin Berkeley identified Mostel to the House Un-American Activities Committee (HUAC) as having been a member of the Communist Party. After the testimony he was effectively blacklisted. He was subpoenaed to appear before HUAC on August 14, 1955. Mostel declined to name names and jousted with the members of Congress, invoked the Fifth Amendment, while standing up for his right to the privacy of his personal political beliefs.

His testimony won him admiration in the blacklisted community, and in addition to not naming names he also confronted the committee on ideological matters, something that was rarely done. Among other things, he referred to Twentieth Century Fox as "18th Century Fox" (due to its collaboration with the committee), and manipulated the committee members to make them appear foolish. Mostel later commented: "What did they think I was going to do – sell acting secrets to the Russians?"

The admiration he received for his testimony did nothing to take him off the blacklist, however, and the family had to struggle throughout the 1950s with little income. Mostel used this time to work in his studio. Later he said that he cherished those years for the time it had afforded him to do what he loved most. Mostel's appearance before the HUAC (as well as others) was incorporated into Eric Bentley's 1972 play Are You Now or Have You Ever Been...? During this period he also appeared in many regional productions of shows like Peter Pan (as Captain Hook) and Kismet (as the Wazir), with his name seen prominently in the advertising.

Ulysses in Nighttown and career revival
In 1957, Toby Cole, a New York theatrical agent who strongly opposed the blacklist, contacted Mostel and asked to represent him. Mostel agreed, and the partnership led to the revival of Mostel's career and made him a household name. Mostel accepted the role of Leopold Bloom in Ulysses in Nighttown, a play based on the novel Ulysses, which he had greatly admired in his youth. It was an Off-Off-Broadway play produced in a small Houston Street theater, but the reviews Mostel received were overwhelmingly favorable. Most notably, Newsweeks Jack Kroll compared him to Laurence Olivier, writing, "Something unbelievable happened. A fat comedian named Zero Mostel gave a performance that was even more astonishing than Olivier's".  Mostel received the Obie award for best Off Broadway performance of the 1958–59 season.

After the success of Ulysses, Mostel received many offers to appear in classic roles, especially abroad; however, he declined the offers because of artistic differences with the directors and the low salaries associated with the roles. By this time the effects of the blacklist were lessening, and in 1959 and 1961 he appeared in two episodes of TV's The Play of the Week.

1960s and height of career

On January 13, 1960, while exiting a taxi on his way back from rehearsals for the play The Good Soup, Mostel was hit by a number 18 (now the M86) 86th Street crosstown bus, and his leg was crushed. The doctors wanted to amputate the leg, which would have effectively ended his stage career. Mostel refused, accepting the risk of gangrene, and remained hospitalized for four months. The injury took a huge toll; for the rest of his life, the massively-scarred leg gave him pain and required frequent rests and baths. He sought compensation for the injury by retaining the famous Harry Lipsig (the 5'3" self-described "King of Torts") as his attorney. The case was settled for an undisclosed sum. From this time forward, whenever he attended the Metropolitan Opera, Mostel carried a cane to go along with the cape that he also favored.

Later that year Mostel took on the role of Estragon in a TV adaptation of Waiting for Godot. In 1961, he played Jean in Rhinoceros to very favorable reviews. The New Republic's Robert Brustein said that he had "a great dancer's control of movement, a great actor's control of voice, a great mime's control of facial expressions." His transition onstage from man to rhinoceros became a thing of legend; he won his first Tony Award for Best Actor, even though he was not in the lead role.

In 1962 Mostel began work on the role of Pseudolus in the Broadway musical A Funny Thing Happened on the Way to the Forum, which was to be one of his best-remembered roles. The role of Pseudolus was originally offered to Phil Silvers, who declined it, saying he did not want to do this "old shtick". Mostel did not originally want to do the role either, which he thought below his capabilities, but was convinced by his wife and agent. The reviews were excellent, and, after a few slow weeks after which the play was partially rewritten with a new opening song, "Comedy Tonight", which became the play's most popular piece, the show became a great commercial success, running 964 performances and conferring star status on Mostel (he also won a Tony Award for Best Actor in a Musical for this role). A film version was produced in 1966, also starring Mostel – and Silvers.

On September 22, 1964, Mostel opened as Tevye in the original Broadway production of Fiddler on the Roof. Because of Mostel's respect for the works of Sholem Aleichem he insisted that more of the author's mood and style be incorporated into the musical, and he made major contributions to its shape. He also created the cantorial sounds made famous in the song "If I Were a Rich Man". The New York Times wrote "Zero Mostel's Tevye is so penetrating and heartwarming that you all but forget that it is a performance." In later years, the actors who followed Mostel in the role of Tevye invariably followed his staging. The show received rave reviews and was a great commercial success, running 3,242 performances, a record at the time. Mostel received a Tony Award for it and was invited to a reception in the White House, officially ending his status as a political pariah.

Mostel in 1967 appeared as Potemkin in Great Catherine, and the next year he took the role of Max Bialystock in The Producers. Mostel refused to accept the role of Max at first, but director Mel Brooks persuaded him to show the script to his wife, who then talked Mostel into doing it. His performance originally received mixed reviews, and the film overall was not a great success at the time of its release. The comedy, however, has since achieved classic status in the decades after its premiere. Reflecting on that rising popularity, Roger Ebert, longtime critic for the Chicago Sun-Times, wrote in 2000, "This is one of the funniest movies ever made", adding that Mostel's performance "is a masterpiece of low comedy."

He lived in a large rented apartment in The Belnord on the Upper West Side of Manhattan and built a summer house on Monhegan Island in Maine.

Last years

In his last decade, Mostel's star dimmed as he appeared in movies that were received with indifference by both critics and the general audience.  These titles include The Great Bank Robbery and Once Upon a Scoundrel. In the 1970s, he often played supporting rather than lead roles.

His more notable films in these years include the movie version of Rhinoceros (appearing with his Producers costar Gene Wilder), The Hot Rock and The Front (where he played Hecky Brown, a blacklisted performer whose story bears a similarity to Mostel's own, and for which he was nominated for a BAFTA Award for Best Supporting Actor). Screenwriter Walter Bernstein loosely based the character of Hecky Brown on television actor Philip Loeb, who was a friend of Mostel. On Broadway, he starred in revivals of Ulysses in Nighttown (receiving a Tony nomination for Best Actor) and Fiddler on the Roof. He also made memorable appearances in children's shows such as Sesame Street, The Electric Company (for which he performed the Spellbinder in the Letterman cartoons), and gave voice to the boisterous seagull Kehaar in the animated film Watership Down. He also appeared as a guest star during Season 2 of The Muppet Show, taped during mid-1977 and broadcast after his death.

Death
In the last four months of his life, Mostel took on a nutritionally unsound diet (later described by his friends as a starvation diet) that reduced his weight from  to . During rehearsals for Arnold Wesker's new play The Merchant (in which Mostel played a reimagined version of Shakespeare's Shylock) in Philadelphia, he collapsed in his dressing room and was taken to Thomas Jefferson University Hospital. He was diagnosed with a respiratory disorder, and it was believed he was in no danger and would be released soon. However, on September 8, 1977, Mostel complained of dizziness and lost consciousness. The attending physicians were unable to revive him, and he was pronounced dead that evening. It is believed that he suffered an aortic aneurysm.

Wesker wrote a book chronicling the out-of-town tribulations that beset the play and culminated in Zero's death called The Birth of Shylock and the Death of Zero Mostel.

In accordance with his final requests, his family did not stage any funeral or other memorial service. Mostel was cremated following his death; the location of his ashes is not publicly known.

Professional relationships
Mostel often collided with directors and other performers in the course of his professional career. He was described as irreverent, believing himself to be a comic genius (many critics agreed with him) and showed little patience for incompetence. He often improvised, which was received well by audiences but which often left other performers (who were not prepared for his ad-libbed lines) confused and speechless during live performances. He often dominated the stage whether or not his role called for it. Norman Jewison stated this as a reason for preferring Chaim Topol for the role of Tevye in the movie version of Fiddler on the Roof. Mostel took exception to these criticisms:

Other producers, such as Jerome Robbins and Hal Prince, preferred to hire Mostel on short contracts, knowing that he would become less faithful to the script as time went on. His exuberant personality, though largely responsible for his success, had also intimidated others in his profession and prevented him from receiving some important roles.

In his autobiography Kiss Me Like a Stranger, actor Gene Wilder describes being initially terrified of Mostel. However, just after being introduced, Mostel got up, walked over to Wilder, hugged him, and planted a big kiss on his lips. Wilder claims to be grateful to Mostel for teaching him such a valuable lesson, and for picking Wilder up every day so that they could ride to work together. He also tells the story of a dinner celebrating the release of The Producers. Mostel switched Wilder's place card with Dick Shawn's, allowing Wilder to sit at the main table. Mostel and Wilder later worked together in Rhinoceros and the Letterman cartoons for the children's show The Electric Company. The two remained close friends until Mostel's death.

Mostel was the subject of the 2006 retrospective play Zero Hour, written and performed by actor/playwright Jim Brochu. The play recounts events from Mostel's life and career, including his HUAC testimony, his professional relationships, and his theatrical work.

Acting credits

Filmography
{|class="wikitable sortable"
|-
! Year
! Title
! Role
! class="unsortable" |Notes
|-
|1943 || Du Barry Was a Lady || Rami, the Swami/Taliostra ||
|-
|1950 || Panic in the Streets || Raymond Fitch ||
|-
|1951 || The Enforcer || Big Babe Lazick ||
|-
|1951 || Sirocco || Balukjiaan ||
|-
|1951 || Mr. Belvedere Rings the Bell || Emmett ||
|-
|1951 || The Guy Who Came Back || Boots Mullins ||
|-
|1951 || The Model and the Marriage Broker || George Wixted ||
|-
|1966 || A Funny Thing Happened on the Way to the Forum || Pseudolus ||
|-
|1967 || Children of the Exodus || Narrator || short film
|-
|1967 ||  Monsieur Lecoq || Max Lecoq
|-
|1967 || The Producers || Max Bialystock ||
|-
|1968 || Great Catherine || Potemkin ||
|-
|1969 || The Great Bank Robbery || Rev. Pious Blue ||
|-
|1970 || The Angel Levine || Morris Mishkin ||
|-
|1972 || The Hot Rock || Abe Greenberg ||
|-
|1973 || Marco || Kublai Khan ||
|-
|1974 || Rhinoceros || John ||
|-
|1974 || Once Upon a Scoundrel || Carlos del Refugio ||
|-
|1975 || Fore Play || President/Don Pasquale ||
|-
|1975 || Journey into Fear || Kopelkin ||
|-
|1976 || Mastermind || Inspector Hoku Ichihara ||
|-
|1976 || The Front || Hecky Brown ||
|-
|1976 || Hollywood on Trial || Himself || Documentary
|-
|1978 || Watership Down || Kehaar (voice) || Final film role;  released posthumously
|-
|1979 || Best Boy || Himself || Documentary
|}

 Television

 Stage

 Bibliography
 Zero Mostel Reads A Book Photographs by Robert Frank (New York Times, 1963)
 Zero Mostel's Book of Villains [with Israel Shenker, photographs by Alex Gotfryd] (Doubleday, 1976)

 Awards and nominations

 References

 Sources
 Zero Mostel: a Biography (1989), Jared Brown, Atheneum, NY ()
 Isenberg, Barbara (2014). Tradition!: The Highly Improbable, Ultimately Triumphant Broadway-to-Hollywood Story of Fiddler on the Roof, the World's Most Beloved Musical''. New York: St. Martin's Press. .

External links

 Zero Mostel at the University of Wisconsin's Actors Studio audio collection
 Zero Mostel at the TCM Movie Database

 Playbill article including a Mostel Who's Who entry
 Mostel Testimony to the House Un-American Activities Committee

1915 births
1977 deaths
20th-century American comedians
20th-century American Jews
20th-century American male actors
20th-century American male singers
20th-century American singers
Actors Studio alumni
American male comedians
American male film actors
American male musical theatre actors
American male voice actors
American people of Austrian-Jewish descent
American people of Polish-Jewish descent
Art Students League of New York alumni
City College of New York alumni
Comedians from New York City
Deaths from aortic aneurysm
Hollywood blacklist
Jewish American comedians
Jewish American male actors
Jewish American male comedians
Male actors from New York City
Musicians from Brooklyn
New York University alumni
People from Brownsville, Brooklyn
Actors from the Upper West Side
Seward Park High School alumni
Tony Award winners
United States Army personnel of World War II
United States Army soldiers

Zero Mostel


Dromochorus es un género de coleópteros adéfagos de la familia Carabidae.

Especies
Contiene las siguientes especies:

 Dromochorus belfragei Salle, 1877
 Dromochorus pilatei Guerin-Meneville, 1845
 Dromochorus pruininus Casey, 1897
 Dromochorus velutinigrens Johnson, 1992

Referencias

Enlaces externos
 ION
 Nomenclator Zoologicus

Cicindelina

Dromochorus


Devoluția este delegarea statutorie a puterilor de guvernare de la nivelul administrației centrale a unui stat suveran la un nivel inferior, cum ar fi cel regional sau local. Este o formă de descentralizare administrativă. Teritoriile devoluate au puterea de a iniția măsuri legislative relevante pentru zona respectivă.

Devoluția diferă de federalism prin faptul că puterile delegate ale autorității subnaționale pot fi temporare și pot fi reversibile, rămânând în cele din urmă la guvernul central. Astfel, statul rămâne de jure unitar. Legislația care creează parlamente sau adunări descentralizate poate fi abrogată sau modificată de către guvernul central în același mod ca orice statut. În sistemele federale, prin contrast, administrația subunităților este garantată în constituție, deci puterile subunităților nu pot fi retrase unilateral de către guvernul central (adică fără acordul subunităților care sunt acordate prin procesul constituțional amendament). Subunitățile au, prin urmare, un grad mai scăzut de protecție în cadrul devoluției decât în cadrul federalismului.

Note

Administrație

Devoluție


Werner Arndt (* 6. Dezember 1884 in Berlin; † 30. Mai 1939) war ein deutscher Jurist und Tischtennisfunktionär. Er war von 1929 bis 1935 der zweite Präsident des Deutschen Tischtennisbundes DTTB.

Leben
Er war der Sohn des Schriftgießereibesitzers Carl Arndt.

Werner Arndt promovierte und arbeitete dann als Justizrat, Kammergerichtsrat (1927) und Landgerichtsdirektor (ab 1928) im Preußischen Justizministerium in Berlin. 1929 leitete er den Stinnes-Prozess, in dem Hugo Hermann Stinnes angeklagt war.

Im Frühjahr 1929 wurde er Präsident des Deutschen Tischtennisbundes DTTB als Nachfolger des ersten DTTB-Präsidenten Georg Lehmann, der als Nichtarier von diesem Posten zurücktreten musste. Zudem war er von Januar bis März 1935 Erster Vorsitzender des Berliner Tischtennisverbandes. Ende 1935 gab Arndt diese Ämter wegen beruflicher Überlastung auf. Ihm folgte Heinrich Ehrenbrecht.

In Arndts Amtszeit erreichte die deutsche Nationalmannschaft allmählich europäisches Niveau.

Bis zu seinem Tod lebte Werner Arndt in Berlin-Wilmersdorf.

Er war Mitglied des Nationalsozialistischen Rechtswahrerbund.

Literatur
 Dr. H. Ehrenbrecht: Dr. W.Arndt, Bundesleiter des D.T.T.B., 50 Jahre alt!, Zeitschrift Tisch-Tennis, 1934/16, Seite 126
  Manfred Schäfer: Ein Spiel fürs Leben. 75 Jahre DTTB. (1925–2000). Herausgegeben vom Deutschen Tischtennis-Bund DTTB, Frankfurt am Main 2000, ISBN 3-00-005890-7, Seite 205; Porträt
 Paul Steffenhagen: Dr. Werner Arndt, unser früherer Bundesführer †, Nachruf in Zeitschrift Tisch-Tennis, 1939/10, Titelseite

Einzelnachweise

Präsident (DTTB)
Jurist
Deutscher
Geboren 1884
Gestorben 1939
Mann

Werner Arndt (Tischtennisfunktionär)


BBC Radio Lincolnshire is the BBC's local radio station serving the county of Lincolnshire.

It broadcasts on FM, DAB, digital TV and via BBC Sounds from studios near Newport Arch in Lincoln.

According to RAJAR, the station has a weekly audience of 63,000 listeners and a 4.1% share as of June 2023.

History

Launched on 11 November 1980 at 7 am with a commissioned peal of bells from Lincoln Cathedral. The first words spoken on BBC Radio Lincolnshire came from Nick Brunger: "And it's a warm welcome for the first time to the programmes of BBC Radio Lincolnshire."

In 1988, the station commissioned UK jingle producer Alfasound to compose a jingle package based on the traditional English folk song The Lincolnshire Poacher, continuing on this theme until 2006.

Until the end of the 1980s, BBC Radio Lincolnshire did not broadcast during the evening and simulcast BBC Radio 2 from around 7 pm on weekdays and 5 pm at the weekend. However, the end of the 1980s saw BBC Local Radio beginning weeknight programmes with stations broadcasting a mostly regional rather than local with the same programme networked on all the stations in that area. BBC Radio Lincolnshire broadcast its own programmes until 9 pm before joining with the other East Midlands stations to air a late show which broadcast from 9 pm until midnight. However evening programming at the weekend didn't begin until many years later and the station still handed over to BBC Radio 5 Live mid-evening at the weekend until well into the 2000s.

In 2006, BBC Radio Lincolnshire conducted a six-month trial of XDA pocket-PCs for the BBC, using Technica Del Arte's Luci mobile (on the hoof) interviewing application.

The station used to have a BBC Bus, until cutbacks in early 2008 forced budget priorities to be streamlined.

On 15 January 2018, BBC Radio Lincolnshire stopped broadcasting on medium wave.

Management
Under its first manager, Roy Corlett, the station achieved record audience figures as its programming of news, music and chat became very popular. Corlett left to found BBC Radio Devon and was replaced briefly by Laurie Bloomfield, who also left to launch a new BBC local station, BBC Radio Shropshire.

After Bloomfield's brief stay, the station was managed for 14 years by David Wilkinson, one of the founding team, and a local radio pioneer from his days at BBC Radio Nottingham in 1968. Upon Wilkinson's retirement in 1999, the station was taken over by BBC Radio Leicester managing editor, Charlie Partridge. In 2004, the station recorded record audience figures – according to RAJAR, listeners were tuned into BBC Radio Lincolnshire for longer ("hours") than any other radio station in the country.

Lincolnshire flag
In October 2005, it presided over the creation of a new flag for Lincolnshire.

Name change
The station changed its name from BBC Radio Lincolnshire to BBC Lincolnshire on 30 November 2009. The name reverted to BBC Radio Lincolnshire in May 2012.

Technical
The main signal on 94.9 FM comes from the Belmont transmitting station near Donington on Bain in the north of the county, which, until the height reduction carried out in September / October 2009, was the tallest mast in Europe.

Radio Lincolnshire covers most, but not all of, Lincolnshire on FM as the signal does not fully cover the southern edge of the county, including Bourne, Holbeach, Stamford, Market Deeping and Spalding although the low-powered Grantham transmitter, from just south of the town, does go some way to providing FM coverage across southern Lincolnshire. Also, areas in Northern Lincolnshire, including Barton upon Humber and Immingham, cannot receive the station. Instead, North Lincolnshire is served by BBC Radio Humberside. DAB provides wider, but not complete, coverage but BBC Radio Lincolnshire is available across all of the county via Freeview TV as below.

Until early 1992, Radio Lincolnshire was the only local radio station in Lincolnshire. This changed when Lincs FM began broadcasting.

Monks' Dyke Technology College in Louth is used for the East Lindsey reports. District outposts are important due to the time taken on Lincolnshire's ill-equipped roads.

The station broadcasts on DAB from the Belmont transmitter. For Lincolnshire, a DAB multiplex could have only been realistically established by financial investment from the Lincs FM Group, and other transmitter positions could theoretically be used. The DAB licence, was advertised in October 2007, which will not cover Stamford or South Holland, but will cover North Lincolnshire (Scunthorpe) and North East Lincolnshire (Grimsby). On 24 January 2008, the company MuxCo Lincolnshire was the only company to bid for the Lincolnshire DAB licence. It is 51% owned by the Lincs FM Group, and will have transmitters at Belmont, High Hunsley (in East Yorkshire), Grantham and Lincoln County Hospital. They were awarded the DAB licence on 19 February 2008. Transmissions were expected to begin by July 2009, but funding for the project delayed the roll-out and the multiplex went on air in September 2015.

The station also broadcasts on Freeview TV channel 722 in the BBC East Yorkshire and Lincolnshire and BBC East Midlands regions and streams online via BBC Sounds.

Programming
Local programming is produced and broadcast from the BBC's Lincoln studios from 6 am to 10 pm on Mondays to Saturdays and from 6 am to 6 pm on Sundays.

Off-peak programming, including the late show from 10 pm to 1 am originates from BBC Radio Leeds (weekdays), BBC Radio WM (Saturdays), BBC Radio York (Sunday evenings) and BBC Radio Norfolk (Sunday nights).

During the station's downtime, BBC Radio Lincolnshire simulcasts overnight programming from BBC Radio 5 Live and BBC Radio London.

Specialist programming

The station's sports strand, Hope and Glory, broadcasts full commentary on all Lincoln City football matches with additional commentary of Boston United and Gainsborough Trinity matches online.

Radio Lincolnshire also has a dedicated farming programme on Sundays at 7 am, which the station has broadcast since it began broadcasting.

Former programming
A weekly news bulletin in Portuguese was broadcast for migrant workers until July 2008. It was read by Rui Silva, who worked for Boston Borough Council.

Events
Since the early 1980s, a race had been held at the Market Rasen Racecourse, the BBC Radio Lincolnshire Novice's Hurdle. In recent years, this has become the Mike Molloy Memorial Handicap Chase, named after a former sports presenter who died of Myeloma.

In 1983, it formed a charity trust, thought to be the first in the UK for a radio station. This became known as Going for Gold. Originally GOLD stood for Give Our Lincolnshire Defibrillators. Since then, money has been raised for a number of other local causes.

It holds an annual folk song competition called "Song For Lincolnshire".

Notable former staff

 Boothby Graffoe, comedian who presented a two-hour programme on Friday evenings on the station, and briefly on Radio Nottingham, in the late 1980s.
 John Inverdale, presenter of national sports programmes on BBC Television and BBC Radio 5 Live, started his radio career as a morning presenter from 1982 until 1985, having worked for two years at the Lincolnshire Echo. He has claimed it is the most enjoyable job he has ever had, despite the early mornings.
 Dave Bussey who replaced Inverdale as morning presenter, who, in the 1980s, also presented weekend shows for BBC Radio 2.
 Sky News weather forecaster Jo Wheeler worked for a number of years as a Saturday afternoon programme presenter at BBC Radio Lincolnshire.
 BBC Director of Sport, Roger Mosey, began his career at the station.
 Sky News's Washington correspondent Emma Hurd, who also presented on East Midlands Today.
 BBC News Washington correspondent, and former Newsround presenter, Matthew Price, was a reporter with BBC Radio Lincolnshire in the mid-1990s.

References

External links
 BBC Radio Lincolnshire
  History of local radio in Lincolnshire
 MDS975's Transmitter Map
 Belmont transmitter
 Grantham transmitter

Audio clips
 Former 1980s jingle package by Alfasound based on "The Lincolnshire Poacher"

News items
 Station launches Sunday programme for Portuguese migrant workers

Lincolnshire
Radio stations in Lincolnshire
Radio stations established in 1980
1980 establishments in England
Lincoln, England

BBC Radio Lincolnshire


Lindfield is a suburb on the Upper North Shore of Sydney in the state of New South Wales, Australia. It is 13 kilometres north-west of the Sydney Central Business District and is in the local government area of Ku-ring-gai Council.  East Lindfield is a separate suburb to the east, sharing the postcode of 2070.

This suburb of 5.17 square kilometres contains residential housing of California bungalow and federation style, in double brick and tile construction. Australian native bushland in Garigal National Park and Lane Cove National Park borders the suburb.

History
Lindfield was originally the home of the Kuringgai indigenous people.

Europeans first became active in the area in around 1810, when the colonial government set up a timber gathering camp staffed by convicts. By the 1840s, fruit growing and farming became the suburb's primary industries. Settlement began to increase in the latter half of the nineteenth century. The Lindfield railway station opened in 1890, and Lindfield Post Office opened on 5 January 1895. Land values increased in the area around the railway and more professionals moved into the area.

The name "Lindfield" means a clearing in the lime forest, and derives from the name given by an early landowner, Francis List, to a cottage he built in the area in 1884. List likely named his cottage after Lindfield, Sussex, England. When a railway line came through the area in 1890s, the name of the property was used to identify the station and neighbourhood.

During the years after World War II the suburb experienced significant growth.

Heritage listings
Lindfield has a number of heritage-listed sites, including:
 33 Tryon Road: Tryon Road Uniting Church

Infrastructure and development

Lindfield railway station is on the North Shore & Western Line of the Sydney Trains network and is about 30 minutes by train from the Sydney central business district. The Pacific Highway is the main arterial road through Lindfield. Lindfield has a small commercial area on both sides of Lindfield railway station on the Pacific Highway and Lindfield Avenue. The former Commonwealth Bank is an art deco style building on the Pacific Highway.

Lindfield Library is a branch of the Ku-ring-gai Municipal Library Network. There are two community halls: East Lindfield Community Hall at Crana Avenue and West Lindfield Community Hall at Moore Avenue. There are two tennis courts at Lindfield Community Centre (behind the library) and a further two courts at Lindfield Park in Tryon Road.

Places of worship

Lindfield has five places of worship: St Albans Anglican Church, Holy Family Catholic Church, Lindfield Uniting Church (with church buildings on Tryon Road and the Pacific Highway) and the North Shore Synagogue.

Schools

Schools in the suburb comprise: Lindfield Public School, Lindfield East Public School, Newington College Preparatory School, Holy Family Catholic Primary School, and Masada College (K-6).
Killara High School is also close by, in Killara.

The University of Technology Sydney, Kuring-gai Campus, (formerly The William Balmain Teachers College and then The Kuring-gai College Of Advanced Education,) operated at a campus on Eton Road from 1971 to 2015. It offered courses in business, nursing and midwifery, education and travel. The site was then closed in 2015 while an extensive interior fitout was undertaken. It was reopened ahead of the 2019 school year as The Lindfield Learning Village, an unconventional K-12 public school.

Commercial

Commercial developments in Lindfield are situated along the Pacific Highway, Lindfield Shopping Village and nearby Tryon Road.

Lindfield Arcade was demolished in 2016 in order to facilitate the construction of residential apartments.

Residential

Residents

Demographics
At the 2016 census, Lindfield recorded a population of 9,791.  Of these:
 Age distribution  Lindfield residents' median age was 39 years, higher than the national median of 38. Children aged under 15 years made up 20.3% of the population (national average is 18.7%) and people aged 65 years and over made up 16.0% of the population (national average is 15.8%).
 Ethnic diversity  56.6% of people were born in Australia. The most common countries of birth were China 7.8%, England 4.5%, Hong Kong 3.9%, South Korea 2.5% and India 1.7%.  64.2% of people only spoke English at home. Other languages spoken at home included Mandarin 9.7%, Cantonese 7.9%, Korean 2.9% and Japanese 1.3%.
 Income  The median weekly household income was $2,513, higher than the national median of $1,438.
 Housing   Stand-alone houses accounted 59.7% of occupied private dwellings, while 37.4% were flats, units or apartments. The average household size was 2.8 people.
 Religion  The most common responses for religion in Lindfield  were No Religion 32.8%, Catholic 20.6% and Anglican 16.8%.

Notable residents
 Gordon Bray, a sports commentator
 Iva Davies, a singer from the band Flowers/Icehouse, lived in Lindfield during the 1970s to early-1980s whilst he was part of the ABC Sinfonia (orchestra) and started the band there. The song "Icehouse" was written about the house Iva lived in at 18 Tryon Road and also a dishevelled old house across the street, which Davies later learned was a half-way house for psychiatric and drug rehab patients.
 Nick Farr-Jones, captain of the Wallabies (Australian rugby union team)
 Peter Garrett, former Midnight Oil singer and later Australian Labor Party (ALP) politician, lived in Lindfield during his teenage years.
 Billy Hughes, 7th Prime Minister of Australia, lived in Nelson Rd, Lindfield, from 1924 until his death in 1952
 Stirling Mortlock, captain of the Wallabies (Australian rugby union team)
 Greg Rowell, Australian cricketer, born in Lindfield.
 Clive Shakespeare, a former Sherbet guitarist, operated the Silverwood recording studio in Hobart Avenue.
 Karl Stefanovic, co-host of the Today show and 60 Minutes presenter lives in Lindfield.

See also
 Seven Little Australians Park named after a book by Ethel Turner.

References

External links

  [CC-By-SA]
 Ku-ring-gai council planning: Lindfield

Suburbs of Sydney
1815 establishments in Australia
Populated places established in 1815
Lane Cove River

Lindfield, New South Wales


demo (glazba), neslužbena glazbena snimka
demo (računarstvo)
Demo 2000 - demoalbum norveškog avangardnog metal sastava Virus.

Demo


La bataille de la rivière Rapido est un affrontement s'étant déroulé du 20 au 22 janvier 1944 résultant d'une des nombreuses tentatives des Alliés pour franchir la ligne Gustave lors de la campagne d'Italie pendant la Seconde Guerre mondiale. Malgré son nom, la bataille s'est déroulée sur la rivière Gari.

Le lieutenant général Mark Clark, commandant de la 5 armée des États-Unis, dans une tentative de percement des défenses allemandes de la ligne d'hiver, tente de traverser la rivière Gari, au sud du Mont Cassin, avec deux régiments (les 141 et 143 régiments d'infanterie) de la 36 division d'infanterie américaine, commandés par le major général Fred Walker. Après avoir traversé la rivière dans des bateaux, les Américains sont coupés des renforts et du soutien et soumis à des tirs nourris et à des contre-attaques d'éléments de la 15 division allemande de Panzergrenadier stationnés sur la rive ouest de la rivière. Les Américains subissent des pertes très élevées et après deux jours de combats, les survivants doivent se replier de l'autre côté de la rivière.

Notes et références

Voir aussi

Articles connexes
 Bataille de Monte Cassino
 Bataille d'Anzio
 Fred L. Walker
 Mark Wayne Clark

Bibliographie

Liens externes
 Winter Line Stories Original stories from the front lines of the Italian Campaign by US Army Liaison Officer Major Ralph R. Hotchkiss

Campagne d'Italie (1943-1945)
Bataille de Monte Cassino
Janvier 1944
rivière Rapido
rivière Rapido
1944 en Italie
Bataille de 1944

Bataille de la rivière Rapido