Ernesto Caballero de las Heras (Madrid, España, 1958) es un dramaturgo, director de escena, profesor y gestor de compañía teatral español. Heredero directo de la primera generación de autores y directores de la Transición española, su trayectoria profesional se caracteriza por sumar a su principal faceta, la de director y escritor, un profundo dominio de todos los oficios que constituyen el hecho teatral. Merecedor de varios premios y elogiado por la crítica, tanto profesional como del público, fue elegido director del Centro Dramático Nacional (teatro nacional de España) en octubre de 2011. Mantuvo el cargo hasta el 31 de diciembre de 2019.

Trayectoria profesional
Cursó estudios de Letras en la Universidad Complutense de Madrid. En 1983, se graduó en Interpretación en la Real Escuela Superior de Arte Dramático (RESAD) donde se inició en la dirección de la mano de José Estruch, a su vez discípulo de Margarita Xirgu en Uruguay. Al salir de la RESAD, fundó con un grupo de compañeros de promoción la compañía independiente «Producciones Marginales», caracterizada por su compromiso con la dramaturgia contemporánea y un funcionamiento interno en el que lo colectivo prevalece sobre jerarquizadas estructuras piramidales. Fue uno de los miembros fundadores de la revista Teatra, y fue profesor titular de interpretación en la RESAD desde 1991. En 1998, fue director asociado del teatro de La Abadía, Madrid.

Ha escrito cerca de cincuenta obras de teatro, casi todas estrenadas, entre las que destacan Squash, Auto, Santiago (de Cuba) y cierra España, Un busto al cuerpo, Sentido del deber, Te quiero... muñeca, Pepe el romano y En la roca.

En su trabajo como director hay que subrayar la extensa lista de títulos de autores españoles actuales que ha puesto en escena: textos de Alfonso Plou, Paloma Pedrero, Dulce Chacón, Carmen Rico Godoy, Alfonso Zurro, Juan Mayorga, Ignacio del Moral y José Ramón Fernández han sido llevados a escena de su mano. Pertenece a una promoción de autores cultivadores del metateatro, como Paloma Pedrero (1957), Ignacio del Moral (1957), Jorge Márquez (1958) y María Manuela Reina (1958).

Otros montajes destacados en su labor como director de escena han sido:
 Eco y Narciso, de Calderón de la Barca
 Brecht cumple cien años, sobre textos de Bertolt Brecht
 Las amistades peligrosas, de Christopher Hampton
 El señor Ibrahim y las flores del Corán, de Éric-Emmanuel Schmitt para el Centro Dramático Nacional
 He visto dos veces el cometa Halley, espectáculo homenaje a la figura del poeta Rafael Alberti
 Sainetes, de Ramón de la Cruz y La comedia nueva, de Leandro Fernández de Moratín para la Compañía Nacional de Teatro Clásico
 Las visitas deberían estar prohibidas por el Código Penal, sobre textos de Miguel Mihura, para el Centro Dramático Nacional
 Presas, de Ignacio del Moral y Verónica Fernández
 En esta vida todo es verdad y todo mentira, de Calderón de la Barca, con la Compañía Nacional de Teatro Clásico.
 La colmena científica o El café de Negrín, de José Ramón Fernández, montaje coproducido por la Residencia de Estudiantes y el Centro Dramático Nacional, y con el que se inauguró en 2011 el nuevo teatro Juan del Encina en Salamanca.

Como director de la compañía Teatro El Cruce, en los últimos años ha puesto en escena y llevado de gira por todo el territorio nacional los espectáculos Auto, de su autoría; La tortuga de Darwin, de Juan Mayorga; La fiesta de los jueces, basada en El cántaro roto de Heinrich von Kleist y Santo, que se estrenó en el Teatro Español de Madrid y en el que compartió el trabajo de dramaturgia con Ignacio del Moral e Ignacio García May.

El trabajo de Ernesto Caballero como director responde a muchas de las claves que aparecen también en su producción dramática: la misma insistencia en la temática social y la misma búsqueda de los límites entre el escenario y la realidad.

En octubre de 2011, el Consejo Artístico del Teatro del Ministerio de Cultura de España lo eligió por unanimidad director del Centro Dramático Nacional, entre catorce candidatos. Se incorporó al cargo el 1 de enero de 2012 por un periodo de cinco años. Mantuvo el cargo hasta 2019

Director del Centro Dramático Nacional
En los ocho años que dirigió el CDN, lanzó diversas iniciativas. En 2013, creó el festival inclusivo «Una mirada diferente», un festival internacional que ofrece espectáculos realizados por compañías teatrales profesionales que incorporan artistas con discapacidad. En paralelo al festival, cada temporada se desarrollan talleres y trabajos de investigación dirigidos a profesionales del mundo del teatro con discapacidad. La dirección artística del festival corre a cargo de Inés Enciso y Miguel Cuerdo.

En 2016 fue uno de los primeros directores de teatro que firmó la «Carta de Igualdad MH en las Artes Escénicas» promovida por la asociación Clásicas y Modernas. A fin de tender hacia la igualdad de género entre los profesionales y artistas que intervienen en las temporadas del CDN, se comprometió a que al menos el 40% de su programación fuera para las mujeres.

En 2017, con motivo del 150 aniversario del nacimiento de María Guerrero, impulsó la colocación de una placa conmemorativa en la fachada del teatro que lleva su nombre, sede del CDN, así como la celebración de una serie de actos en su honor.

Montajes teatrales
Desde que asumió la dirección del Centro Dramático Nacional, Ernesto Caballero ha dirigido los siguientes montajes, todos representados en cualquiera de sus dos sedes, el Teatro María Guerrero o el Teatro Valle-Inclán.
 Doña Perfecta (2012, reposición en 2013), adaptación teatral de Ernesto Caballero de la novela de Pérez Galdós
 Montenegro (2013), adaptación teatral de Ernesto Caballero de las tres obras que componen las Comedias bárbaras de Ramón María del Valle-Inclán
 Rinoceronte (2014), de Eugène Ionesco
 El laberinto mágico (2015, reposición en 2016), adaptación teatral de José Ramón Fernández de las 6 novelas que componen El laberinto mágico de Max Aub
 Oraciones a María Guerrero. Confedrama (2015), escrito y dirigido por Ernesto Caballero, se estrenó primero en la Biblioteca Nacional
 Vida de Galileo (2016), de Bertolt Brecht
 Jardiel, un escritor de ida y vuelta, (2016-2017) una obra inspirada en Un marido de ida y vuelta de Jardiel Poncela
 Inconsolable (2017), de Javier Gomá
 La autora de las meninas (2017), escrita y dirigida por Ernesto Caballero, y protagonizada por Carmen Machi
 El jardín de los cerezos (2019), de Chéjov
 Madre Coraje y sus hijos (2019), de Bertolt Brecht

Para San Sebastián capital europea de la Cultura 2016, y dentro de los actos conmemorativos del V centenario de la muerte de Cervantes, Ernesto Caballero creó y dirigió Tratos, una adaptación contemporánea de El trato de Argel de Miguel de Cervantes.

Su monólogo Reina Juana, estrenado en el Teatro de La Abadía en abril de 2016 por la actriz Concha Velasco con dirección escénica de Gerardo Vera, siguió de gira por España a lo largo del año hasta febrero de 2017.

De 2020 en adelante
Nada más dejar la dirección del Centro Dramático Nacional, creó en enero de 2020 el Proyecto Astrea con la colaboración de la Fundación Juan March. Este proyecto se centra en la investigación y puesta en escena de las comedias mitológicas de Calderón de la Barca.

En octubre del mismo año estrenó en el Teatro Galileo de Madrid Teatro Urgente: En el lugar del otro, un espectáculo de cuatro obras cortas escritas por él y por Javier Gomá que unen teatro y filosofía.

Tras la pandemia de 2019-2021, Caballero estrenó en el Teatro Reina Victoria de Madrid una versión del Tartufo de Molière protagonizada por Pepe Viyuela.

Premios y reconocimientos
 1992: Premio José Luis Alonso de la Asociación de Directores de España (ADE), por su montaje de la obra Eco y Narciso
 1994: Premio de la Crítica Teatral de Madrid por sus obras Auto y Rezagados
 2006: Premio Max a la mejor adaptación teatral por su adaptación de El señor Ibrahim y las flores del Corán
 2006: Premio ADE de dirección por su montaje de Sainetes

 2015: Premio al Mejor Espectáculo en la gala anual de The Central Academy of Drama (ACAD), Pekín, China, por El laberinto mágico
 2017: Premio Valle-Inclán de Teatro por su dirección de El laberinto mágico
 2019: Caballero de la Orden de las Artes y las Letras por el ministerio de Cultura de Francia.

Notas y referencias

Enlaces externos
 Mihura Delikatessen, crítica de Marcos Ordoñez sobre el espectáculo Las visitas deberían estar prohibidas por el Código Penal.
 Los siglos XIX y XX desfilan por 'La tortuga de Darwin'. Ernesto Caballero y Jan Mayorga.
 Entrevistas en torno al montaje de Presas, en el Centro Dramático Nacional.
 Entrevista a Ernesto Caballero en torno a su obra, «La autora de Las Meninas», y al teatro. Instituto Cervantes, 2018
 Ernesto Caballero, director del Centro Dramático Nacional, dialoga con José Romera Castillo. UNED, 2018
 lista de reproducción de los vídeos de divulgación de la serie «Nuestro teatro», presentados por Ernesto Caballero

Directores de teatro de España
Dramaturgos de la Comunidad de Madrid
Dramaturgos de España del siglo XX
Dramaturgos de España del siglo XXI
Escritores en español del siglo XX
Escritores en español del siglo XXI
Nacidos en Madrid

Ernesto Caballero de las Heras


The 20th Armored Division was an armored division of the United States Army that fought in World War II. It was activated on 15 March 1943 at Camp Campbell in Kentucky.

The division had no official name although it did associate itself with the nickname "Armoraiders" while in training at Camp Campbell.  After certification as a liberating division by the US Army Center of Military History on 28 October 1988, and the awarding of a Liberation Certificate by the United States Holocaust Memorial Council, veterans of the division adopted the name Liberators."

 Composition
The division comprised the following units:

 Headquarters Company
 Combat Command A
 Combat Command B
 Reserve Command
 9th Tank Battalion
 20th Tank Battalion
 27th Tank Battalion
 8th Armored Infantry Battalion
 65th Armored Infantry Battalion
 70th Armored Infantry Battalion
 33rd Cavalry Reconnaissance Squadron (Mechanized)
 220th Armored Engineer Battalion
 160th Armored Signal Company
 20th Armored Division Artillery
 412th Armored Field Artillery Battalion
 413th Armored Field Artillery Battalion
 414th Armored Field Artillery Battalion
 20th Armored Division Trains
 138th Armored Ordnance Maintenance Battalion
 220th Armored Medical Battalion
 Military Police Platoon
 Band

History

The 20th Armored Division departed Boston on 6 February and arrived at Le Havre, France, 19 February 1945. On arrival it was sent to Buchy for a month's assembly, preparation, and additional training. It then moved through Belgium to Langendernbach, Germany, 10 April. After considering breaking up the new division to provide replacements for the veteran armored divisions under his 12th U.S. Army Group, General Omar N. Bradley, sent the unit to Marktbreit, where the Division was attached to the III Corps; 20 April. Three days later, it was detached and reassigned to the XV Corps, Seventh Army, at Würzburg, Germany.

The condition of the Division when it arrived overseas was affected by a recent change in its primary mission.  Until October 1944, the 20th Armored Division's mission was to train soldiers and qualify them for overseas shipment as combat replacements for armored units.  To perform this mission, the Division included in its strength an unusually large number of intelligent and highly trained men, including students from several of the Army's advanced college training programs.

Combat chronicle
The actual arrival of the 20th Armored Division into combat occurred 4–9 April 1945.  The division's armored field artillery battalions (the 412th, 413th, and 414th), with elements of the 33rd Cavalry Reconnaissance Squadron, moved up to the west bank of the Rhine River to support the 101st Airborne Division near Delhoven, Germany, and the 82nd Airborne Division across the river from Hitdorf, Germany. It was the 412th that supported the 82nd in their attack on Hitdorf that resulted in the awarding of a Distinguished Unit Citation.

Overlooking the above, incomplete official records minimize the Division's perceived combat activity, i.e., citing: Elements of the division first saw action as Task Force Campbell when a false surrender by the enemy resulted in fighting in the town of Dorf, 25 April.

At that time, the Division assembled near Deiningen and reconnoitered for routes to the Danube River.
The 20th Armored Division's 27th Tank Battalion (a component of Combat Command R) was attached to the veteran 42nd Infantry Division on 23 April 1945 and led the attack to capture the town of Donauwörth on the 25th to secure the crossing of the Danube. The river was crossed on 28 April, the 20th meeting sporadic resistance.  The success of the operation prompted Lt. Col. Donald E. Downard, commanding officer of the 2nd Battalion, 222nd Infantry (42nd Infantry Division) who had witnessed more than 25 months of combat, to state: "I have never seen a more aggressive armored unit." Subsequently, elements of the 20th seized the bridge over the Paar River at Schrobenhausen, and secured crossings over the Ilm River.

Elements of the 20th Armored Division, along with those of the U.S. Seventh Army's 45th (Thunderbird) and 42nd (Rainbow) Infantry Divisions, participated in the liberation of Dachau concentration camp on 29 April 1945. While anecdotal reports indicate varied 20th AD troops took part in the unfolding process of discovery and liberation of the camp, ultimately it was the above attachment of elements of the 27th Tank Battalion to those of the 42nd Infantry Division on which the 20th Armored would be jointly recognized by the US Army Center for Military History (CMH) and the United States Holocaust Memorial Museum (USHMM) as an official Liberating unit.  The Division and its flag were subsequently added to USHMM displays and were cited online there and elsewhere.

Meanwhile, in support of units of the 45th Infantry Division (primarily belonging to the 180th and 157th Infantry Regiments), elements of the 20th Armored Division's Combat Command B (including certain forces of the 20th Tank Battalion, 65th Armored Infantry Battalion, and 413th Armored Field Artillery Battalion), operating together as Task Force 20, were awarded a Distinguished Unit Citation for their collective action in the Central European (Southern Germany) Campaign.  The Recommendation for Unit Citation, dated 3 October 1945, states:These units, which constituted Task Force 20, are cited for outstanding performance of duty in action during the period 28–30 April 1945, in the vicinity of Neuherberg, Germany.  With soldierly courage and irrepressible determination members of Task Force 20 pushed an armored spearhead 45 miles beyond the Danube River to the outskirts of Munich, destroying a supply train, capturing almost 800 prisoners, and securing four bridges over the Amper River intact.  Continuing the attack on 29–30 April against an enemy entrenched in elaborately prepared dugouts and behind the thick walls of the SS Training Center and an Anti-tank School which were defended by small arms, machine guns, hundreds of panzerfausts and twelve 88 mm guns, our troops killed 700 SS Troops, who fought stubbornly and fanatically.  This victory destroyed the defenses of Munich, Germany, removing resistance to the entry of troops into the City.The 27th Tank Battalion remained attached to the 42nd Infantry Division during its attack on Munich, 29–30 April. Despite its recent efficacy in the combat zone, the rest of the 20th was ordered off the roads leading into Munich on 28 April, allowing the veteran 42nd (Rainbow) and 45th (Thunderbird) Infantry Divisions to capture Munich proper.

In pursuit of retreating German troops and prevention of a feared German National Redoubt in the Austrian Alps, elements of the 20th Armored (primarily of Combat Command A) crossed the Inn River at Wasserburg on 3 May, entered Traunstein on 4 May, and had entered Salzburg when it received word that hostilities would cease in Europe.

Following V-E Day, the Division performed Occupation duties, returning to the U.S. in August 1945, slated for participation in the then-planned invasion of Japan.  The Division reported to Camp Cooke, CA, for amphibious assault training, but after the atomic bombs were dropped and Japan surrendered, the unit was inactivated on 2 April 1946 at Camp Hood in Texas.

Officially, the Division is erroneously credited with only eight days in combat (overlooking the previously described Rhine action)Peanuts'' creator, Charles Schulz, rose to the rank of Staff Sergeant (and Light Machine Gun Squad Leader) while a member of the Division's 8th Armored Infantry Battalion. While Schulz's unit was nearby, it did not actually enter Dachau.
Richard Nixon's future Vice President, Spiro Agnew, attained the rank of 1st Lieutenant while with the 20th Armored Division's 480th Armored Infantry Regiment (prior to reorganization to light armored division TO&E).

Casualties
Total battle casualties: 186
Killed in action: 46
Wounded in action: 134
Missing in action: 1
Prisoners of war: 5

Notes

References

20th Armored Division, U.S.
Armored Division, U.S. 20th
Military units and formations established in 1943
Military units and formations disestablished in 1946

20th Armored Division (United States)


Pau Riba i Romeva, né à Palma de Majorque le  et mort à Tiana le , est un artiste iconoclaste et un écrivain polyvalent espagnol, surtout connu pour sa carrière musicale en tant qu'auteur-compositeur-interprète en catalan.

Sa carrière, qui commence au milieu des années 1960 et se positionne dans la contre-culture, reçoit un accueil critique mitigé et un impact limité sur le grand public, malgré son cachet unique et intransmissible d'« artiste total ». Son œuvre la plus remarquable est le double album Dioptria, qui a été choisi comme le meilleur album catalan du  par le magazine Enderrock.

Vie privée
Pau Riba eut des enfants de quatre femmes différentes  et vivait à Tiana dans le Maresme au moment de sa mort.

Notes et références

Voir aussi

Liens externes

Chanteur espagnol
Chanteur catalan
Chanson catalane
Personnalité catalane
Naissance en août 1948
Naissance à Palma
Décès en mars 2022
Décès à 73 ans
Décès dans la province de Barcelone

Pau Riba


"Telegram Sam" é uma canção da banda britânica de rock T. Rex, escrita por Marc Bolan e lançada como single em janeiro de 1972 pela gravadora Reprise no Reino Unido e pela gravadora EMI nos Estados Unidos. Aparece no álbum do mesmo ano, The Slider.

Foi o terceiro single número um no Reino Unido, permanecendo no topo das paradas por duas semanas antes de ser derrubada do topo por "Son of My Father" de Chicory Tip. O single foi gravado no estúdio Rosenberg em Copenhague, em novembro de 1971.

Lançamento
"Telegram Sam" foi o primeiro single a ser lançado pelo selo T. Rex Wax Co. de Bolan, e foi lançado em 21 de janeiro de 1972. O lado B apresentava duas canções no Reino Unido, "Cadilac" e "Baby Strange".

Recepção
"Telegram Sam" não foi tão bem sucedida quanto "Get It On" no resto do mundo, e só atingiu seu pico no número 67 da Billboard Hot 100. Eventualmente, este foi o último single da banda nas paradas dos Estados Unidos.

Versões
Em 1980, foi regravada pela banda de rock gótico Bauhaus e alcançou o número 12 na Nova Zelândia. Também foi regravada pela banda croata de punk rock Psihomodo Pop.

Ficha técnica
T. Rex
 Marc Bolan – vocais, guitarra
 Steve Currie – baixo
 Mickey Finn – congas
 Bill Legend – bateria
Músicos adicionais

 Howard Kaylan – vocais de apoio
 Mark Volman – vocais de apoio
 Tony Visconti – vocais de apoio

Paradas

Ligações externas

Referências

Singles de 1972
Canções de 1972
Canções de T. Rex

Telegram Sam


Auto klub Dubrovnik Racing, hrvatski automobilistički klub iz Dubrovnika. AK Dubrovnik Racing organizira međunarodnu brdsku utrku Nagrada Dubrovnika – Memorijal Željko Đuratović. Uspješni vozači iz ovog kluba su Dubravko Čikor, Niko Pulić, Đivo Franić, Ante Alduk, Tamas Tomcsanyi, Istvan Kavecz, Tonći Stahor, Željko Franić, Stanko Manenica, Hrvoje Čikor, Laszlo Szasz, Maro Franić i dr.

Klub se do Domovinskog rata zvao Auto moto klub Proleter, pa poslije Auto klub Čikor Pulić, Auto klub Dubrovnik koji je poslije učestalo uz ime imao sponzorovo ime i na kraju se prozvao Auto klub Dubrovnik racing.
Koncem sezone 2016. AK Dubrovnik racing bio je devet puta klupski prvak Hrvatske na brdskim stazama, a sedam puta klupski prvak Hrvatske na kružnim utrkama. Članovi su osvojili još više naslova, a pobjede na utrkama po klasama su mnogobrojne. Vozači Dubrovnik racinga osvojili su nekoliko Zlatnih kaciga i klub je osvojio nekoliko Zlatnih plaketa.

Izvori

Vanjske poveznice
Službene stranice
Facebook AK Dubrovnik Racing
Racing.hr

Hrvatski automobilistički klubovi
Dubrovnik Racing

AK Dubrovnik Racing


Frösach, auch Frößach,  ist eine Streusiedlung in der Gemeinde Prägraten am Großvenediger. Frösach wird zur Fraktion Bichl gezählt und wurde 1991 von vier Personen bewohnt.

Geographie
Frösach liegt rechtsseitig des Zopsenbaches in einer Höhe von rund 1470 Metern westlich von Bichl und nordöstlich von Hinterbichl. Die Streusiedlung besteht aus den Höfen Oberfrößler und Unterfrößler, wobei die einander gegenüberliegenden Höfe durch eine Straße mit Bichl verbunden sind.

Geschichte
Frösach wird erst spät in den Ortsverzeichnissen der Statistik Austria ausgewiesen. 1951 wohnten in der Streusiedlung, die zu dieser
Zeit noch zur Fraktion Sankt Andrä gezählt wurde, acht Menschen in zwei Häusern. 1961 sind für Frösach, das nun bereits zu Bichl gezählt wurde 15 Menschen in zwei Häusern ausgewiesen, im Jahr 1971 wies der Ort ebenfalls 15 Einwohner auf. Bis 1991 sank die Einwohnerzahl auf vier Personen, wobei für dieses Jahr drei Gebäude verzeichnet sind, von denen zwei mit Wohnungen ausgestattet waren.

Einzelnachweise

Geographie (Prägraten am Großvenediger)
Ort im Bezirk Lienz

Frösach


Martin Hansen (n. 15 de junio de 1990) es un futbolista profesional danés que juega como portero para el Odense BK.

Carrera
Hansen pasó en su etapa juvneil por el Brøndby danés, desde donde llegó al Liverpool en 2006, firmando un contrato a préstammo de un mes con el Bradford City el 27 de julio de 2011. Hizo su debut en mayores el 6 de agosto de 2011 en la derrota frente al Aldershot. Se anunció el 21 de agosto que Hansen regresaba al Liverpool luego del trato de un mes, luego que ambos equipos fallasen un acuerdo para una extensión.

Hansen también ha sido parte de las selecciones juveniles de Dinamarca.

Trayectoria

Palmarés

Títulos nacionales

Referencias

Futbolistas de Dinamarca
Futbolistas del Liverpool Football Club en los años 2010
Futbolistas del Bradford City Association Football Club
Futbolistas del Viborg FF
Futbolistas del FC Nordsjælland en los años 2010
Futbolistas del ADO La Haya
Futbolistas del FC Ingolstadt 04 en los años 2010
Futbolistas del Sport Club Heerenveen
Futbolistas del Fútbol Club Basilea
Futbolistas del Strømsgodset IF
Futbolistas del Hannover 96 en los años 2020
Futbolistas del Odense BK
Futbolistas de la selección de fútbol sub-16 de Dinamarca
Futbolistas de la selección de fútbol sub-17 de Dinamarca
Futbolistas de la selección de fútbol sub-18 de Dinamarca
Futbolistas de la selección de fútbol sub-19 de Dinamarca
Futbolistas de la selección de fútbol sub-21 de Dinamarca
Futbolistas FA Premier League
Guardametas de fútbol de Dinamarca

Martin Hansen


La'eeb (لعيب, lit. "jogador super habilidoso") é o mascote oficial da Copa do Mundo FIFA de 2022, realizada no Catar. Foi revelado oficialmente no dia 1 de abril de 2022.

Descrição
La'eeb (لعيب), que significa "jogador super habilidoso", é um simpático ghutra antropomórfico. Um ghutra é um lenço de cabeça masculino, tradicional da cultura árabe.

Criação e divulgação
É possível que a inspiração do personagem tenha vindo do próprio Emir do Catar, o xeque Tamim bin Hamad al-Thani. A cor branca foi escolhida por representar a "pureza".

La'eeb foi revelado em uma animação exibida pelo Comitê Organizador Local antes do sorteio dos grupos da Copa do Mundo FIFA de 2022, realizado em Doha, Catar, no dia 1 de abril daquele ano. A animação apresenta um "metaverso" com outros mascotes da Copa, inclusive o mascote da Copa do Mundo FIFA de 2014 no Brasil, Fuleco. Tamim bin Hamad al-Thani subiu ao palco para ser recebido pelo presidente da Fifa, Gianni Infantino, usando um ghutra. Em suas redes sociais, a FIFA publicou: "O mascote oficial da Copa do Mundo de 2022 está cheio de energia e vai trazer a alegria do futebol para todos. La'eeb acredita que 'Agora é Tudo' e encoraja todos a acreditarem em si mesmos". O diretor geral de marketing e comunicação do comitê organizador local, Khalid Ali Al Mawlawi, disse: "Estamos encantados em revelar La'eeb como o primeiro mascote oficial da Copa do Mundo no Oriente Médio e do mundo árabe".

Recepção
Logo após sua divulgação, La'eeb se tornou um meme da Internet e foi comparado a Gasparzinho, além de associado à figura do "fantasma da série B" ou "fantasma do 7x1". O termo "fantasma" chegou às primeiras posições dos Trending Topics do Twitter. Após o início da Copa do Mundo, mais memes surgiram sobre La'eeb, que recebeu nomes como "tapioca homofóbica".

Ver também
 Lista de mascotes de competições da FIFA

Copa do Mundo FIFA de 2022
Mascotes da Copa do Mundo FIFA

La'eeb


The Museum of Contemporary Art, Los Angeles (MOCA) is a contemporary art museum with two locations in greater Los Angeles, California. The main branch is located on Grand Avenue in Downtown Los Angeles, near the Walt Disney Concert Hall. MOCA's original space, initially intended as a temporary exhibit space while the main facility was built, is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles. Between 2000 and 2019, it operated a satellite facility at the Pacific Design Center facility in West Hollywood.

The museum's exhibits consist primarily of American and European contemporary art created after 1940. Since the museum's inception, MOCA's programming has been defined by its multi-disciplinary approach to contemporary art.

Founding
In a 1979 political fundraising event at the Beverly Hills Hotel, Los Angeles Mayor Tom Bradley, Councilman Joel Wachs, and local philanthropist Marcia Simon Weisman happened to be seated at the same table. Throughout the evening, Weisman passionately discussed the city's need for a contemporary art museum. Weisman's brother, Norton Simon, had stepped in to bail out the financially ailing Pasadena Art Museum in 1975, but was unable to retain its focus on modern art. In the following weeks, the Mayor's Museum Advisory Committee was organized. The committee, led by William A. Norris, set about creating a museum from scratch, including locating funds, trustees, directors, curators, a gallery, and most importantly an art collection. That same year, Weisman and five other key local collectors signed an agreement whereby they would pledge chunks of their private collections, worth up to $6 million, "to create a museum of standing and repute."

The following year, the fledgling Museum of Contemporary Art was operating out of an office on Boyd Street. The city's most prominent philanthropists and collectors had been assembled into a board of trustees in 1980, and set a goal of raising $10 million in their first year; an artists advisory council was involved early on. A working staff was brought together; Richard Koshalek was appointed chief curator; relationships were made with artists and galleries; and negotiations were begun to secure artwork and an exhibition space. Following Weisman's initiative, $1-million contributions from Eli Broad, Max Palevsky, and Atlantic Richfield Co. helped securing the construction of the new museum; Broad became MOCA's founding chairman; Palevsky chaired the architectural search committee.  Many of MOCA's initial donors were young and supporting the arts for the first time; a substantial number joined up at the $10,000 "founder" minimum.

Collection
Making up well over 90% of the museum's works, gifts from several major private collectors form the cornerstones of MOCA's permanent collection of nearly 6,000 works. Much of it has come from board members who donated or bequeathed key works or entire collections, or sold art to the museum at highly favorable terms.

Within months of its fall 1983 opening, MOCA was able to turn itself into an instant player in the international art world by striking a deal with one of its board members, Giuseppe Panza, who agreed to sell a group of works for $11 million and stagger the payments over five years, interest-free. The 1984 purchase of parts of the Panza Collection encompasses 80 seminal works of abstract expressionism and pop art by Jean Fautrier, Franz Kline, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Mark Rothko, and Antoni Tàpies. In 1985, the museum accepted Michael Heizer's earthwork Double Negative in Nevada desert, donated by Virginia Dwan. A 1986 bequest by television executive Barry Lowen included 67 works of minimalist, post-minimalist and neo-expressionist painting, sculpture, photography and drawing by artists such as Dan Flavin, Ellsworth Kelly, Agnes Martin, Elizabeth Murray, Julian Schnabel, Joel Shapiro, Frank Stella, and Cy Twombly. In 1989, pieces by the Rita and Taft Schreiber collection were donated to the museum, encompassing 18 paintings, sculptures, and drawings by Jackson Pollock, Piet Mondrian, and Arshile Gorky, among others. Hollywood agent Phil Gersh and his wife Beatrice, both founding members, gave 13 important pieces from their collection to the museum the same year, including Pollock's early drip painting Number 3, 1948 and David Smith's 8-foot-tall stainless steel sculpture Cubi III (1961) — as well as works by artists such as Ed Ruscha, Cindy Sherman, and Susan Rothenberg. Finally, the museum's co-founder Marcia Simon Weisman bequeathed 83 works on paper from artists including Willem de Kooning, Barnett Newman, Jasper Johns and California-based painters Richard Diebenkorn and Sam Francis. In 1991, Hollywood screenwriter Scott Spiegel donated works by Jean-Michel Basquiat, Mark Innerst, Robert Longo, Susan Rothenberg, David Salle, among others. In 2003, the museum received the promise of a gift of 33 pieces from advertising executive Clifford Einstein, chair of MOCA's board of trustees, and his wife, Madeline; the proposed donation included works by Kiki Smith, Nam June Paik, Mark Grotjahn, Sigmar Polke, Mike Kelley, and Lari Pittman. In 2004 the museum received the largest group of artworks donated by a private collector in its 25-year history when E. Blake Byrne, a MOCA trustee and retired television executive, gave 123 paintings, sculptures, drawings, videos and photographs by 78 artists. Over the years, major donations of art collections have come from the Lannan Foundation and through funding from the Ralph M. Parsons Foundation.

In 2000, MOCA received gifts from artists themselves, including major pieces by sculptor and performance artist Paul McCarthy, video artist Doug Aitken and photographer Andreas Gursky. Los Angeles-based artist Ed Moses made a major gift of his work to the museum in 1995, surveying nearly 40 years of his artistic development.

Included within today's permanent collection are works by further influential artists such as Greg Colson, Kim Dingle, Sam Durant, David Hockney, Kenneth Price, John McLaughlin, Robert Motherwell, Raymond Pettibon, James Hayward, and George Segal. As the Los Angeles Times declared, "There isn't a city in America—not New York, not Chicago, not Houston, not San Francisco—where a more impressive museum collection of contemporary art can be seen."

Exhibitions
Ever since it opened with an extensive exhibition called The First Show: Painting and Sculpture From Eight Collections, 1940-80, MOCA has been known for thematic-survey exhibitions about postwar art such as A Forest of Signs: Art in the Crisis of Representation (1989), A Minimal Future? Art as Object, 1958-1968 (1994), Reconsidering the Object of Art: 1965-1975 (1995), Hall of Mirrors: Art and Film since 1945 (1996), Out of Actions: Between Performance and the Object, 1949-1979 (1998), WACK! Art and the Feminist Revolution (2007), Art in the Streets (2011), Under the Big Black Sun: California Art 1974–1981 (2011), and Ends of the Earth: Land Art to 1974 (2012). The museum also organized the first major museum retrospectives of the work of Allen Ruppersberg (1985), John Baldessari (1990), Ad Reinhardt (1991), Jeff Wall (1997), Barbara Kruger (1999), and Takashi Murakami (2007). In addition there were also monographic shows like an ambitious installation by Robert Gober in 1997, or a revelatory survey of Sigmar Polke's photographic work in 1995. Since many of those shows traveled to New York and other cities in the U.S., like the show of Robert Rauschenberg combines that opened in Los Angeles in 2006, MOCA became known as "one of the greatest feeder museums in the country". In 2010, the museum canceled a planned retrospective of influential yet under-recognized artist Jack Goldstein to commission artist and director Julian Schnabel to curate a survey of works by actor, writer and artist Dennis Hopper, and in 2012, actor James Franco curated a tribute exhibition to James Dean, two projects that have been widely criticized for their emphasis on pop and celebrity culture. Of all solo shows on view over the period between January 2008 and December 2012, only about 28% were devoted to female artists.

Besides artists' retrospectives and art historical investigations, under chief curator Paul Schimmel, MOCA has mounted various multiartist theme shows on provocative or challenging topics. Helter Skelter: L.A. Art in the 1990s, a 1992 exhibition focused on the dark side of contemporary life as portrayed by artists like Mike Kelley, Paul McCarthy and Chris Burden, involving themes such as alienation, dispossession, and violence. Out of Actions: Between Performance and the Object, 1949-1979, a landmark historical survey presented in 1998, tracked the work of about 150 artists and collectives for whom public performances, in its links to painting, sculpture, dance and theater, and the creative process were far more important than well-crafted objects. Public Offerings, in 2001, explored the phenomenon of youthful creative energy in an overheated art world where stars are created before they leave art school. In ECSTASY: In and About Altered States (2005), some of the artists' works represented altered states of mind that they have experienced under the influence of drugs or hypnosis. WACK! Art and the Feminist Revolution, held in 2007, was the first major retrospective of art and the feminist revolution. MOCA hosts the LA Freewaves biennial festival, which exhibits a wide range of new media.

Locations

MOCA Grand Avenue

The MOCA Downtown Los Angeles location is home to almost 5,000 artworks created since 1940, including masterpieces by classic contemporary artists, and inspiring new works by emerging and mid-career artists from Southern California and around the world. The MOCA is the only museum in Los Angeles devoted exclusively to contemporary art.

In 1986, the celebrated Japanese architect Arata Isozaki, who had never worked on a project in the United States before, completed the downtown location's sandstone building to international critical and public acclaim, marking a dramatic achievement in the contemporary art world and heralding a new cultural era in Los Angeles. Its chief exhibition spaces are under the courtyard level, lit from above by groups of pyramidal skylights.

The construction and $23 million cost of the MOCA Grand Avenue building was part of a city-brokered deal with the developer of the $1 billion California Plaza redevelopment project on Bunker Hill, Bunker Hill Associates, who received the use of an , publicly owned parcel of land. On the grounds that the law said that 1.5% of the construction costs of new buildings had to be spent on fine-arts embellishments, MOCA's board of trustees had struck a deal with the Community Redevelopment Agency to have the project developer build a 100,000-square-foot museum, designed by an architect of the trustees' choice, at no cost to the museum. In return for the free building, the agency required the trustees to raise $10 million for an operations endowment. Original plans had been for the building to open in time for the 1984 Summer Olympics. However, the project broke ground in 1983 and completed the museum, Omni Hotel and the first of two skyscrapers (One California Plaza) by 1986. The second skyscraper (Two California Plaza) was completed in 1992. Nancy Rubins'  monumental stainless-steel sculpture "Mark Thompson's Airplane Parts" (2001), purchased by MOCA in honor of founding member Beatrice Gersh in 2002, was installed at the museum's plaza.

The Grand Avenue location is used to display pieces from MOCA's substantial permanent collection, especially artists who did much of their work between 1940 and 1980. There is also an extensive set of rooms used to display temporary exhibits, usually a major retrospective of an important artist, or works connected by a theme.

The Geffen Contemporary at MOCA
While the Grand Avenue facility was being planned and under construction, MOCA opened an interim exhibition space called the "Temporary Contemporary" in the fall of 1983. The new space was located at the edge of a warehouse district in which many Los Angeles artists worked at the time. On November 17, 1983, the museum inaugurated the building with a Shinto purification ceremony, a ritual often held at groundbreakings in Little Tokyo, as a symbol of mutual recognition between the Japanese community and the museum. The first public program was a commissioned collaboration, "Available Light" by Lucinda Childs, Frank O. Gehry, and John Adams followed in November 1983 by the inaugural exhibition, "The First Show: Painting and Sculpture from 1940–1980" curated by Julia Brown. The building had been originally constructed in the 1940s as a hardware store for local patrons and subsequently used as a city warehouse and police car garage, the "TC", as it became informally known, is leased from the city for five years for $1 a year.

Southern California architect Frank Gehry led the renovation of the Albert C. Martin, Sr.-designed 1947 Union Hardware buildings. Gehry left the exteriors intact, except for new entrance doors, and built a canopy of chain-link fencing and steel trusses over the closed-off street, to form a partially shaded plaza. There are two large, open gallery spaces, illuminated by industrial wire-glass skylights and a row of clerestory windows along the south wall. The intricate structural network of steel beams and supports has been left exposed, serving as support for the many movable display walls and lending a sculptural effect. A steel crane rail, left over from the building's hardware days, remained in place. The loading docks now serve as the lobby.

The Temporary Contemporary immediately captivated critics and museum patrons alike with its accessibility, informality and lack of pretension. Writing in The New York Times, John Russell referred to it as "a prince among spaces", and William Wilson of the Los Angeles Times wrote that it "instantly had the hospitable aura of a people's museum." In the view of many, these two appraisals have been borne out in the ensuing years. The New York Times later wrote that "[m]ore than any event in recent decades, the Temporary (now known as the Geffen Contemporary) changed the cultural face of Los Angeles".

Due to the popularity of the Temporary Contemporary and extraordinary suitability of the building for exhibiting contemporary art, the museum's board requested that the City of Los Angeles extend MOCA's lease on the facility for 50 years, until 2038. That request was granted in early 1986, and in 1996 the city extended the lease even further. Also in 1996, MOCA received a $5-million gift from The David Geffen Foundation in support of the museum's endowment drive, and in recognition of this extraordinary gift, the Temporary Contemporary was renamed The Geffen Contemporary at MOCA.

In 2019, MOCA received another $5-million gift from Wonmi and Kihong Kwon to transform the Geffen Contemporary with a cross-disciplinary series that will emphasize varied forms of performance but will also include experiential installations, concerts, screenings, readings, conventions and other events. It also will host artist residencies and rehearsals.

The 55,000-square-foot facility gives enormous latitude to artists and encourages experimentation. It is the largest of the MOCA locations and is ideally suited to large-scale sculptural works and conceptual, multi-media or electronic installations. It is typically used to display more recent works, often by lesser-known artists, and works which require a large amount of space. Some of these works are designed specifically for the Geffen Contemporary's space. In 2018, MOCA unveiled a Barbara Kruger mural, Untitled (Questions), on the Geffen exterior facing Temple Street and sponsored by Wonmi and Kihong Kwon.

In 2021, MOCA received one of the inaugural grants from the Frankenthaler Climate Initiative to support its solar energy project at the Geffen Contemporary.

MOCA at The Pacific Design Center

From 2000 until 2019, MOCA maintained a  exhibition space at the Pacific Design Center in West Hollywood to present new work by emerging and established artists as well as ancillary programs based upon its major exhibitions and renowned permanent collection. A focus was on design and architecture. The museum exhibited work by Takashi Murakami, Sterling Ruby, Catherine Opie and William Kentridge there, as well as by designers Rick Owens and Rodarte. MOCA also utilized the 384-seat PDC auditorium for a range of public programs.

Programs

Sunday Studio
On the first Sunday of each month from 1pm to 3:30pm, Sunday Studio workshops typically begin with an interactive, discussion-based "spotlight" tour, highlighting selected works from a current exhibition. Next, participants work collaboratively to create art in response to the work they've seen.

Designed and taught by artists, these  process-oriented workshops extend the gallery experience and frequently include special activities such as musical performance, movement, and other multidisciplinary approaches to works on view. The program is offered in English and Spanish.

Big Family Day is an annual spring culminating event for all of MOCA's school and community partnership programs. Featuring student docents, entertainment, music, artmaking and a student art exhibition, this event usually attracts over 1,000 participants, including MOCA members, their families, and the community at large.

Sunday Studio events are held at Grand Avenue unless otherwise stated in the bimonthly calendar or on the website.

Teens of Contemporary Art (TOCA)

Teens of Contemporary Art is an open gathering of high school students interested in learning more about contemporary art with their peers. The group meets each month for exhibition explorations, art workshops, discussions about contemporary art, and events planning. An advisory council of teens identifies the topics and issues addressed at the monthly sessions. All TOCA participants get free admission to the museum.

TOCA events are the second Sunday of every month.

MOCA Apprenticeship Program (MAP)

Each year the MOCA Apprenticeship Program (MAP) creates a supportive artistic community for a small, diverse group of high school students. During this nine-month internship program, apprentices meet weekly with MOCA staff and guest artists, undertake individual and self-directed projects throughout the museum and discover more about contemporary art, MOCA, and their own professional future. Apprentices are considered staff and are paid an hourly wage. MAP participation is available by application only. Applications are available and due in the spring of each year.

Engagement Party
Engagement Party (2008-2012) was a free public program that presented new work by emerging Southern California–based artists working collectively and collaboratively. The program offered artist collectives three-month residencies during which they presented public programs at MOCA Grand Avenue and the Geffen Contemporary at MOCA on the first Thursday of each month from 7 to 10pm. Collectives employed many different mediums, disciplines, and strategies during their residency, resulting in programs that included performances, workshops, screenings, lectures, and many other activities emerging from the group's particular focus.

Participating Artists: Finishing School, Knifeandfork (Brian House and Sue Huang), OJO, Slanguage, My Barbarian, Lucky Dragons, Ryan Heffington + the East Siders, and The League of Imaginary Scientists,  Neighborhood Public Radio, The Los Angeles Urban Rangers, Liz Glynn, and CamLab.

Women in the Arts
The Women in the Arts event, established in 1994 by the MOCA fundraising arm the MOCA Projects Council, is a benefit for MOCA's educational programs and generally draws more than 600 people from the fields of art, fashion, philanthropy, film and other areas of entertainment. The Award to Distinguished Women in the Arts recognizes women providing leadership and innovation in visual arts, dance, music and literature. Artist Jenny Holzer is one of the main females that has shown her work through textile and expressing her believes in the feminist art movement. Holzer art has changed over the years from making street posters, painted signs, paintings, photographs, to creating T-shirts for Willi Smith, and establishing a trend of LED signs. Holzers has been involved in many events and foundations such as, Dia Art Foundation,  Time's Up movement, Social Strategies , Institute of Contemporary Arts, and many more.  Holzer designed the bronze plaque, which features one
of the artist's truisms: "It is in your self-interest to find a way to be very tender." Past recipients include collector Beatrice Gersh (1994), editor Tina Brown (1997), choreographer Twyla Tharp (1999), actress and director Anjelica Huston (2001), and artists Barbara Kruger (2001), Yoko Ono (2003), Jenny Holzer (2010), Annie Leibovitz (2012) and Marylin Minter (2015).

Management

Director
In November 2021, Johanna Burton joined MOCA as the executive director, with Klaus Biesenbach shifting to the role of artistic director. Burton is formerly the director of the Wexner Center for the Arts in Columbus, Ohio. Prior to Johanna's arrival, Klaus Bisenbach departed MOCA to serve as director of the Neue Nationalgalerie in Berlin, Germany.

In July 2018, MoMA PS1 curator Klaus Biesenbach, was named as the new director of MOCA, following the abrupt resignation of Philippe Vergne. Vergne, formerly the director of the Dia Art Foundation in New York, began his tenure as MOCA's director in January 2014, and ended it amid a series of controversies, including the firing of chief curator Helen Molesworth.

Before Vergne, Maria Seferian served as interim director from September 2013 to March 2014, while the institution underwent the search for its next director. She has been counsel to the museum since 2008. The New York art dealer and curator Jeffrey Deitch served as director of MOCA from June 1, 2010 through September 1, 2013. On July 24, 2013 he told the board of his decision to leave. Deitch experienced a measure of controversy for his clash with Paul Schimmel, the museum's then-chief curator. The board's firing of Schimmel on June 28, 2012 was met with criticism from the community.

Between 1999 and 2008, Jeremy Strick led the institution. Before that, Richard Koshalek served as director, deputy director and chief curator from 1980 to 1999. Pontus Hultén was founding director between 1980 and 1982.

Board of trustees
As of August 2016, MOCA's board is headed by Guess jeans co-founder Maurice Marciano and Lilly Tartikoff Karatz. Vice chairs are Eugenio Lopez, Lillian P. Lovelace and Maria Seferian; chair emeriti are Clifford J. Einstein and David G. Johnson; president emeriti are Dallas Price-Van Breda and Jeffrey Soros. Board members are Wallis Annenberg, Gabriel Brener, Steven A. Cohen, Charles L. Conlan II, Kathi B. Cypres, Laurent Degryse, Ariel Emanuel, Susan Gersh, Aileen Getty, Nancy Jane F. Goldston, Laurence Graff, Bruce Karatz, Wonmi Kwon, Daniel S. Loeb, Mary Klaus Martin, Jamie McCourt, Edward J. Minskoff, Steven T. Mnuchin, Peter Morton, Heather Podesta, Carolyn Clark Powers, Steven F. Roth, Carla Sands, Chara Schreyer, Adam Sender, Sutton Stracke, Cathy Vedovi, Christopher Walker, Orna Amir Wolens. Artists sitting on MOCA's board include John Baldessari, Barbara Kruger, Catherine Opie, Mark Grotjahn, Mark Bradford and Lari Pittman. Life trustees include MOCA's founding chairman Eli Broad as well as Betye Monell Burton, Blake Byrne, Lenore S. Greenberg, Audrey Irmas, Frederick M. Nicholas and Thomas E. Unterman. The current Los Angeles mayor (Eric Garcetti) and LA City Council president (Herb J. Wesson Jr.), chief financial officer (Michael Harrison) and museum director (Philippe Vergne) are ex-officio members.

The current mayor and president of the city council have votes; their presence on the board is a condition for MOCA's long-term $1 a year lease on the Geffen Contemporary building. In accordance with a policy enacted in 1993, trustees serve three-year, renewable terms and rotate off after six years; they are generally invited to return after one year.

Despite this addition of wealthy art collectors to the board, contributions and grants to the museum have fallen recently, and Broad missed two quarters of payments of the money he promised MOCA. All of the artist members of the board—John Baldessari, Barbara Kruger, Catherine Opie and Ed Ruscha—resigned later that year, in response to developments at the museum under the leadership of Jeffrey Deitch, including the termination of senior curator Paul Schimmel.

In 2014, Baldessari, Kruger and Opie resumed their positions on the MOCA board. Also, fellow artists Mark Grotjahn and Mark Bradford were elected to MOCA's board over the course of 2014; Lari Pittman was added in August 2016.

Funding
Unlike the Los Angeles County Museum of Art, which is partly controlled by the county, MOCA receives minimal government funding and does not have a steady source of funds. Its annual budget has grown to exceed $20 million, but it relies on donors to pay about 80% of its expenses. MOCA's budget for the fiscal year 2011 was $14.3 million, the museum's lowest spending since the 1990s. In 2011, the museum reported net assets (basically, a total of all the resources it has on its books, except the value of the art) of $38 million.

In December 2008, during the world financial meltdown, newspapers reported that the museum's endowment, which partly depended on stock investments, had dropped and that museum had fiscal problems  Partly in violation of state law, the museum lost $44 million of their $50 million endowment over nine years, Deficits mounted at the rate of $2.8 million a year on average from mid-2000 to mid-2008. Amid speculation that the museum may close its doors, deaccession artworks, and/or merge with another institution, a grassroots, artist-led organization called MOCA Mobilization petitioned for MOCA to remain independent and keep its collection intact.

The Attorney General's office, to whom Eli Broad had been a campaign contributor, investigated MOCA. Ultimately, although the investigation was closed with no disciplinary action (Board members were asked to take a voluntary training in their fiduciary duties), just the report of the investigation in the Los Angeles Times had an enormous impact – donors fled and the trustees, in the maelstrom, accepted Broad's terms for control of the institution in exchange for his promise to donate money. Broad, MOCA's founding chairman from 1979 to 1984 and life trustee of the museum, offered $30 million in a staggered donation, $15 million as matching donations. An agreement with Broad was tentatively reached on December 18, but another possibility—a merger with the Los Angeles County Museum of Art—had not been ruled out. On December 23, the museum announced that it had accepted Broad's offer and would be making a number of significant changes to its leadership. Director Jeremy Strick resigned, and a new position of chief executive officer was created for Charles E. Young, former chancellor of the University of California, Los Angeles. Broad required compliance with strict financial terms, but did not demand Strick's resignation or Young's appointment as a condition. Hired for a limited term, Young oversaw layoffs and cutbacks in the exhibition schedule that reduced MOCA's budget from more than $24 million to less than the $16 million in 2011. In a departure from past practice, when MOCA would schedule shows before funding had been secured, it has adopted a policy of committing to exhibitions only after at least 80% of its projected budget has been lined up.

The departure of respected curator Paul Schimmel on June 28, 2012 led to an exodus of trustees, committee members and a bombardment of criticism in the community. And because Broad himself has defaulted on his promised payments to MOCA that expire in 2013 the viability of the institution has come into question under Broad's leadership. As of late 2012, the Museum of Contemporary Art and the private University of Southern California are in talks about a possible partnership.

In a first for MOCA, a two-day Sotheby's auction of donated works by artists in May 2015 raised $22.5 million for the museum endowment; the sale included works by Mark Grotjahn, Takashi Murakami and Ed Ruscha.

Attendance
MOCA exhibitions draw roughly 60% of their visitors from the L.A. area; their attendance totaled 236,104 in 2010, up by 89,000 over the previous year.

See also
Effects of the financial crisis of 2007–2009 on museums
 Joel Wachs, Los Angeles City Council member honored with Joel Wachs Square near the museum

References

External links

MOCA Geffen Official Website
Image of worker polishing the main entrance sign to MOCA, Los Angeles, 1986. Los Angeles Times Photographic Archive (Collection 1429). UCLA Library Special Collections, Charles E. Young Research Library, University of California, Los Angeles.

Art museums and galleries in Los Angeles
Contemporary art galleries in the United States
Modern art museums in the United States
Buildings and structures in Downtown Los Angeles
Museum of Contemporary Art, Los Angeles
Art museums established in 1983
Bunker Hill, Los Angeles
Downtown Los Angeles
Little Tokyo, Los Angeles
Arata Isozaki buildings
Postmodern architecture in California

Museum of Contemporary Art, Los Angeles


August Friedrich Schmidt (* 13. Juli 1884 in Königsaue; † 3. August 1939 in Hamburg) war ein deutscher Politiker (KPD), der Opfer des NS-Regimes wurde.

Leben

Schmidt war nach dem Ende seiner Volksschulzeit als Landarbeiter tätig. Ab 1906 lebte er in Hamburg und war auf einer Werft im Hamburger Hafen und danach am Staatskai beschäftigt. Schmidt trat 1907 in die SPD ein und engagierte sich gewerkschaftlich im Verband der Hafenarbeiter. Gegen Ende des Ersten Weltkrieges trat er in die USPD ein und wurde für die Partei als Bezirksführer tätig. Ende 1920 wechselte er von der Hamburger USPD zur KPD und wurde 1924 auch Mitglied der Roten Hilfe. Für die KPD zog er 1927 in die Hamburgische Bürgerschaft ein, der er bis 1931 angehörte. In dieser Funktion gehörte er dem Hafenerweiterungsausschuss sowie dem Beschwerdeausschuss für das Wohnungsamt an. In Hamburg war er Mitbegründer der Revolutionären Gewerkschafts-Opposition. Im Zuge der Streiks des Einheitsverbands der Seeleute, Hafenarbeiter und Binnenschiffer Deutschlands 1928/29 war Schmidt in führender Funktion an den Arbeitsniederlegungen beteiligt.

Nach der Machtergreifung der Nationalsozialisten 1933 arbeitete er weiter für die nun illegale KPD als Leiter der Stadtteilgruppe Winterhude. Am 17. September 1935 wurde Schmidt verhaftet und in Untersuchungshaft genommen und erhielt 1936 eine zweijährige Haftstrafe. Nach der Haftentlassung 1937 starb Schmidt am 3. August 1939 an den Haftfolgen.

In Hamburg wurden am 8. Juni 2012 vor dem Rathaus Stolpersteine für die ermordeten Mitglieder der Hamburgischen Bürgerschaft verlegt, darunter auch für August Schmidt.

Literatur
 Ursel Hochmuth, Gertrud Meyer: Streiflichter aus dem Hamburger Widerstand. 1933–1945, Zweite Auflage, Frankfurt a. M. 1980, ISBN 3-87682-036-7, S. 253.

Weblinks
 Christine Meier: August Schmidt * 1884 auf https://www.stolpersteine-hamburg.de

Einzelnachweise

Mitglied der Hamburgischen Bürgerschaft
Politiker (20. Jahrhundert)
RGO-Funktionär
Person (Widerstand gegen den Nationalsozialismus)
Person, für die in Hamburg-Altstadt ein Stolperstein verlegt wurde
NS-Opfer
Mitglied der Roten Hilfe
KPD-Mitglied
USPD-Mitglied
SPD-Mitglied
Deutscher
Geboren 1884
Gestorben 1939
Mann

August Schmidt (Politiker)


Cristina Llanos (d. 3 Aralık 1975), İspanyol şarkıcı, besteci ve gitaristtir. Kardeşi Amparo ile birlikte İspanyol müzik grubu Dover'in üyesi ve lideridir.

Londra'da altı ay kaldıktan sonra liseden ayrılan Llanos (okunuşu "Yanos" ya da "Janos") Majadahonda'da annesinin butiğinde çalışmaya başladı. Kardeşi Amparo Llanos'tan gitar çalmayı öğrendi. Onun sayesinde dinlemeye başladığı The Beatles, REM ve Nirvana gibi gruplar müzik kariyerini etkilemiştir.

İspanyol kadın şarkıcılar
İspanyol gitaristler
1975 doğumlular
Yaşayan insanlar

Cristina Llanos


Sütçü İmam (asıl adı İmam Ali, süt satarak geçimini sağladığı için "Sütçü" lakabı verilmiştir) (d. 1871, Kahramanmaraş - ö. 25 Kasım 1922), Maraş kurtuluş mücadelesini başlatan Türk direnişçi. Maraş'ta Fransız-Ermeni askerlerine karşı ilk kurşunu atmıştır.

Hareketin başlaması
31 Ekim 1919 günü hamamdan çıkan 3 Türk kadına Fransız Ermeni lejyonerleri "Burası artık Türk memleketi değildir. Fransız müstemlekesinde peçe ile gezilmez!" diyerek kadınların peçelerini zorla açmak istemişlerdir. Olaya ilk müdahale eden Çakmakçı Sait; "Gâvur oğulları! Dokunmayın bacılarıma!" diyerek Ermeni lejyonerlerinin üzerine yürür. Üzerinde silahı olmayan Çakmakçı Sait, silahlarıyla karşılık veren işgalciler tarafından yaralanır ve daha sonra ölür. Bu olaya şahit olan Sütçü İmam silahıyla ateş açar ve bir Ermeni lejyon askerini öldürür, bir diğerini de yaralar.
1 Kasım 1919 tarihinde, ölen Ermeni için büyük bir cenaze töreni düzenlenir. Ermeniler ve Fransız askerleri Sütçü İmam'ı aramaya başlayınca Sütçü İmam bir atla Ağabeyli köyüne gider. Ermenilerin ve Fransızların bütün çabalarına rağmen Sütçü İmam bulunamaz. 31 Ekim 1919'da Kahramanmaraş'ta düşmana ilk kurşunu atan Sütçü İmam, Kahramanmaraş'taki kurtuluş hareketini başlatmıştır.

Sütçü İmam, Bertiz bölgesinde Yüzbaşı Muharrem Beyazıt komutasındaki birliğin hazırlıklarına katılır. Olaydan sonra Sütçü İmam ev ev aranır. Ancak hiç kimse nerede olduğu bilgisini vermez. Hatta dayısının oğlu olan Kireççioğlu Kadir'e yerini öğrenmek için işkence yapılır, burnu ve kulakları kesilerek öldürülür. Bir tabutun içine koyularak, vatandaşa gözdağı olsun diye hükûmet meydanında vatandaşlara teşhir edilir.

Ölümü
Maraş'ın kurtuluşundan sonra belediyede odacılık görevi, ardından da bir kalede topçuluk görevi verilir. Kahramanmaraş'ın kurtuluşda yaşanan Bayrak Olayı yıl dönümü kutlamaları sırasında kimi söyleme göre kalabalıkla kaleye çıkarken kimine göre de 101 pare top atışı yapılırken top aracı çok ısındığı için 21. ya da 22. top atışı sırasında ateş alır ve toptan bir parça alnına saplanır. Hemen hastaneye kaldırılan Sütçü İmam 2 gün yaşadıktan sonra ölür.

Ayrıca bakınız
 Maraş Savunması

Kaynakça

1871 doğumlular
1922 yılında ölenler
Kahramanmaraş doğumlular
Müslüman din adamları
20. yüzyılda Osmanlılar
Kurtuluş Savaşı'na katılan siviller
Kurtuluş Savaşı'nda ölenler
Kahramanmaraş'ta defnedilenler

Sütçü İmam


Echipa feminină de handbal a Belarusului este echipa națională care reprezintă Belarusul în competițiile interțări oficiale sau amicale de handbal feminin. Ea este guvernată de Federația Belarusă de Handbal (Белорусская федерация гандбола).

Rezultate

Rezultate la Campionatele Mondiale

Rezultate la Campionatele Europene

Echipa
Lotul lărgit al Belarusului cuprinde 26 de handbaliste. Ultima componență cunoscută a lotului restrâns este cea a echipei care a luat parte la barajele de calificare pentru Campionatul Mondial din 2019:

Antrenor principal:  Tomaž Čater
Antrenor secund:  Aleksandr Sîtko

Banca tehnică
Conform paginii web oficiale a Federației Belaruse de Handbal:

Conducerea administrativă
Conform paginii web oficiale a Federației Belaruse de Handbal:

Note

Legături externe
 Federația Belarusă de Handbal
 Echipa Belarusului pe pagina web oficială a EHF
 Echipa Belarusului pe pagina web oficială a IHF

Belarus

Echipa națională de handbal feminin a Belarusului


Jaten Dimsdale  (Conyers, 25 de setembro de 1992) conhecido por seu nome artístico Teddy Swims, é um cantor e compositor estadunidense, conhecido por misturar gêneros como R&B,  soul, country e pop. Originalmente atraiu fãs por meio de suas apresentações cover na plataforma de vídeos YouTube, que acumulou no ano de 2022, 400 milhões de visualizações. Sua popularidade levou-o a assinar um contrato com a Warner e em maio de 2021, Swims lançou seu álbum de estreia, o extended play (EP) Unlearning, seguido pelo lançamento de Tough Love e Sleep is Exhausting, ambos de 2022.

Biografia e carreira

Primeiros anos
Swims passou sua infância em Conyers, Geórgia, Estados Unidos. Seu pai o apresentou ao gênero soul desde cedo por meio de artistas como Marvin Gaye, Stevie Wonder e Al Green.  A família de Swims era entusiasta do Futebol americano, e ele jogava há dez anos o esporte, quando um de seus professores sugeriu que se matriculasse em uma aula de teatro musical em seu segundo ano do ensino médio. Swims descobriu sua paixão pela atuação por meio de sua experiência no teatro no ensino médio, onde atuou em vários musicais e peças de Shakespeare. Ele começou a tocar instrumentos, incluindo piano e ukulele, e assistia a vídeos de cantores no YouTube para ajudar a desenvolver sua técnica vocal.

2019: Covers e primeiros lançamentos
Swims começou sua carreira musical em uma variedade de bandas, incluindo a de rock alternativo WildHeart e a de pós-hardcore Eris, bem como bandas cover de soul e hair metal. No início de 2019, seu amigo, Addy Maxwell, o convidou para fazer rap sobre algumas batidas que ele havia feito, o que rendeu à dupla uma vaga para ser o ato de abertura de uma turnê doméstica de Tyler Carter. Nessa turnê, Swims começou a apresentar-se sob o nome de Teddy Swims - referindo-se a um apelido de sua infância referente ao seu tamanho, e um acrônimo na linguagem da internet para "alguém que às vezes não sou eu", referindo-se à ideia de integrar diferentes partes de sua personalidade.

Em junho de 2019, Swims postou sua primeira performance cover no YouTube, "Rock With You" de Michael Jackson, e continuou postando covers adicionais de artistas de diversos gêneros, incluindo Lewis Capaldi, Chris Stapleton, Amy Winehouse e H.E.R.. Os seus vídeos rapidamente acumularam milhões de visualizações e, depois de lançar um single intitulado "Night Off" em julho do mesmo ano de forma independente, ele assinou um contrato com a Warner Records em dezembro.

2020–2021: Unlearning
Em janeiro de 2020, Swims lançou "Picky" seu single de estreia por uma grande gravadora e embarcou em sua primeira turnê no mesmo mês. Ele lançou vários covers nos meses seguintes, incluindo "What's Going On", do qual ele doou os royalties para o Fundo educacional e de Defesa jurídica da NAACP. Em agosto de 2020, lançou o single  "Broke" e uma versão adicional com Thomas Rhett em outubro do mesmo ano.

Em fevereiro de 2021, Swims lançou seu single "My Bad", que apresentou no programa The Kelly Clarkson Show, e foi nomeado como um "Artista que você precisa conhecer" pela revista Rolling Stone. Em março de 2021, ele lançou o single "Till I Change Your Mind", seguido por "Bed On Fire", que apresentou no programa The Late Show with Stephen Colbert, sendo mais tarde relançada como uma colaboração com Ingrid Andress. Em maio de 2021, Swims lançou seu primeiro EP de sete faixas, Unlearning, seguido por uma turnê como ato de aberturas da Zac Brown Band.

Discografia

Extended plays (EPs)

Singles

Como artista principal

Como artista participante

Ligações externas
Sítio oficial

Nascidos em 1992
Compositores dos Estados Unidos
Músicos dos Estados Unidos

Teddy Swims


RTL Plug (bis 27. März 2023: Plug RTL) ist ein französischsprachiger Fernsehsender. Er sendet im belgischen Kabelnetz und wird in Luxemburg über DVB-T verbreitet. Der Privatsender nahm am 13. Februar 2004 den Sendebetrieb auf und ist nach RTL TVI und Club RTL der dritte Ableger der RTL Group in Belgien. Das Fernsehprogramm von RTL Plug besteht hauptsächlich aus Serien und Reality-Shows.

Die heutigen Eigentümer sind zu 66 Prozent die DPG Media und zu 50 Prozent Groupe Rossel. Bis 31 marz 2022 war RTL Group die eigentumer.

Bis zum 7. September 2008 hieß der Sender Plug TV. Im Zuge eines Redesigns wurde Plug RTL am 28. März 2023 in RTL Plug umbenannt.

Sendelogos

Weblinks
 Homepage von RTL Plug

Einzelnachweise

Fernsehsender (Belgien)
RTL Group
Französischsprachiger Fernsehsender
Sendestart 2004

RTL Plug


La batalla de El Mansurá entre el 8 y 11 de febrero de 1250 durante la Séptima Cruzada entre los sitiadores cruzados que mandaba Luis IX de Francia y los asediados ayubíes encabezados por el emir Fakhr-ad-Din Yussuf. El combate acabó con la victoria de los ayubies.

Referencias

Bibliografía
 Setton, Kenneth (editor). A History of the Crusades (II) The Later Crusades 1189-1311. 1969.
 Al-Maqrizi, Al Selouk Leme'refatt Dewall al-Melouk, Dar al-kotob, 1997. En inglés: Bohn, Henry G., The Road to Knowledge of the Return of Kings, Chronicles of the Crusades, AMS Press, 1969.

El Mansura
El Mansura
El Mansura
El Mansura
Séptima cruzada
Egipto en el siglo XIII
Conflictos en 1250
El Mansura

Batalla de El Mansurá


Benoît Costil (født 3. juli 1987 i Caen), er en fransk fodboldspiller, der spiller som målmand for Bordeaux.

Costil debuterede for det franske landshold den 15. november 2016 i en kamp mod Elfenbenskysten (0–0).

Referencer

Eksterne henvisninger

 Fransk profil  på FFF

Fodboldspillere fra Frankrig
Deltagere ved det europæiske mesterskab i fodbold 2016
Fodboldspillere fra Girondins Bordeaux
Målmænd (fodbold)

Benoît Costil


පේදුරු තුඩුව මැතිවරණ කොට්ඨාශය  අගෝස්තු 1947 සහ පෙබරවාරි 1989 අතරතුර  ශ්‍රී ලංකාවෙහි  මැතිවරණ කොට්ඨාශ අතුරින් එකක් විය. මෙම මැතිවරණ කොට්ඨාශය නම් ලද්දේ  උතුරු පළාතේ  යාපනය දිස්ත්‍රික්කයේ,  පේදුරු තුඩුව නගරය අනුව යමිනි.  මාර්තු 1960 දී කොට්ඨාශයෙහි බස්නාහිර කොටස කඩා වෙන් කිරීමෙන් උඩුප්පිඩි මැතිවරණ කොට්ඨාශය තනන ලදි. ශ්‍රී ලංකාවේ 1978 ආණ්ඩුක්‍රම ව්‍යවස්ථාව විසින්   පාර්ලිමේන්තු මන්ත්‍රීවරුන් තෝරා පත්කර ගැනුම සඳහා සමානුපාතික නියෝජන මැතිවරණ ක්‍රමය හඳුන්වාදෙන ලදි . එවිට පැවැති බොහෝ දුරට  ඒක-මන්ත්‍රී මැතිවරණ කොට්ඨාශ වූ කොට්ඨාශ 160 වෙනුවට බහු-මන්ත්‍රී මැතිවරණ කොට්ඨාශ 22 ක් ඇති කරන ලදි. සමානුපාතික නියෝජනය යටතේ  පැවැත්වුණු පළමු මැතිවරණය වන 1989 මහා මැතිවරණයේදී  පේදුරු තුඩුව මැතිවරණ කොට්ඨාශය වෙනුවට  යාපනය බහු-මන්ත්‍රී මැතිවරණ කොට්ඨාශය  ආදේශ කරනු ලදුවත් බහු-මන්ත්‍රී මැතිවරණ කොට්ඨාශය තුල ඡන්ද කොට්ඨාශයක් ලෙස පේදුරු තුඩුව දිගටම පවතියි.

ආශ්‍රිත

ශ්‍රී ලංකාවේ පැරණි මැතිවරණ කොට්ඨාශ
 යාපනය දිස්ත්‍රික්කය

පේදුරු තුඩුව මැතිවරණ කොට්ඨාශය


Premier Parks, LLC (anciennement Rapids Holdings, LLC et Premier Attractions Management, LLC) est une société à responsabilité limitée basée aux États-Unis. L'entreprise possède et exploite plusieurs parcs d'attractions et parcs aquatiques à travers le pays et un au Canada.

Historique
Kieran Burke et Gary Story ont précédemment occupé les postes de directeur général et de directeur de l'exploitation chez Six Flags pendant plus de 10 ans. En novembre 2009, ils achètent Nashville Shores, composé d'une marina, d'un parc de camping-cars et d'un parc aquatique. Ils réaménagent ce parc pour la saison 2010. Début 2011, ils annoncent l'achat du parc aquatique Ocean Breeze en Virginie avec l'intention de le rénover pour la saison 2011.

En 2011, la nouvelle société Premier Attractions Management commence à exploiter trois propriétés appartenant à CNL Lifestyle Properties : Frontier City, SplashTown Houston et White Water Bay. CNL Lifestyle Properties résilie ses contrats de location avec PARC Management pour huit parcs à la fin de 2010. Burke et Story ont depuis acquis le contrôle opérationnel de parcs supplémentaires appartenant à CNL Lifestyle Properties. En 2013, la société change son nom en Premier Parks, LLC en prenant l'ancienne dénomination sociale de la société qui avait acquis et pris le nom de Six Flags.

Fin 2016, CNL Lifestyle Properties vend son portefeuille d'attractions à EPR Properties. Lors de cette transaction, EPR transfère la gestion de ces parcs à Premier Parks, LLC, y compris ceux précédemment exploités par différents groupes.

En mai 2017, les opérations de Waterworld California ont été transférées à Six Flags Entertainment Corporation, qui possédait auparavant le parc et possédait également Six Flags Discovery Kingdom à proximité. En mai 2018, Six Flags annonce qu'il a conclu un accord d'achat avec Premier Parks pour acquérir les droits de location pour exploiter 5 parcs supplémentaires : Darien Lake, Frontier City, Wet'n'Wild Phoenix, Wet'n'Wild SplashTown et White Water Bay.

Propriétés

Pleine propriété

 Island H2O Water Park (depuis 2019)
 Nashville Shores (depuis 2009)
 Ocean Breeze Waterpark (depuis 2011)
 Wet'n'Wild Toronto (depuis 2016)

Opéré pour EPR Properties

 City Museum (depuis 2019)
 Hawaiian Falls Garland (depuis 2021)
 Hawaiian Falls The Colony (depuis 2021)
 Magic Springs (depuis 2017)
 Pacific Park (depuis 2018)
 Rapids Water Park (depuis 2012)
 Wet'n'Wild Hawaii (depuis 2014)
 Wild Waves Theme Park (depuis 2017)

Opéré pour Kroenke Entertainment

 Elitch Gardens (depuis 2013)

Anciennes propriétés

Pleine propriété

 Clementon Park (2011-2021); Vendu aux enchères le  à Indiana Beach Holdings, LLC (maintenant connu sous le nom d'IB Parks & Entertainment).

Opéré pour EPR Properties

 Darien Lake (2015-2018) ; Opérations reprises par Six Flags
 Frontier City (2011-2018) ; Opérations reprises par Six Flags
 Waterworld California (2007-2017); Opérations reprises par Six Flags
 Wet'n'Wild Palm Springs (2014-2018) Vendu à Pono Acquisition Partners I, LLC et fermé jusqu'à la saison 2020.
 Wet'n'Wild Phoenix (2014-2018); Opérations reprises par Six Flags
 Wet'n'Wild SplashTown (2011-2018); Opérations reprises par Six Flags
 White Water Bay (Oklahoma) (2011-2018); Opérations reprises par Six Flags

Références

Lien externe

Entreprise de gestion de parc de loisirs

Entreprise fondée en 2009
Entreprise du divertissement ayant son siège aux États-Unis
Entreprise ayant son siège dans l'Oklahoma

Premier Parks, LLC


Das Gefecht im Wald von Caures fand am 21. und 22. Februar 1916 südlich des Dorfes Flabas im Département Meuse nördlich von Verdun statt. Es war einer der drei Angriffe, mit denen die Deutsche Armee die Schlacht um Verdun einleitete. Im Verlauf der Gefechtshandlungen mussten die französischen Linien hinter Beaumont zurückgenommen werden.

Verlauf
Am 21. Februar 1916 um 8.12 Uhr morgens wurde der Wald von Caures vom 56e bataillon de chasseurs à pied (56e BCP) und vom 59e bataillon de chasseurs à pied (59e BCP) (Jägerbataillon zu Fuß) verteidigt – zusammen 1.200 Mann unter dem Kommando von Lieutenant-colonel Émile Driant. Sie gehörten zu den Reserveverbänden und waren erst am 4. August 1914 in Lille aufgestellt worden.

Das deutsche XVIII. Armee-Korps eröffnete den Angriff gegen den Caures-Wald mit der 21. Division unter General Ernst von Oven mit vier Infanterieregimentern Füsilier-Regiment "von Gersdorff" (Kurhessisches) Nr. 80, 81, 87 und 115, zusammen zwölf Infanteriebataillone. Unterstützt wurden sie hierbei von sieben Batterien der eigenen 21. Feldartillerie-Brigade sowie durch vierzig Batterien schwerer Artillerie und 50 Minenwerfern. Sie beschossen ein Gelände von nicht mehr als 800 mal 1300 Meter – etwa ein Quadratkilometer – mit etwa 80.000 Artilleriegranaten.

Der gesamte Abschnitt des XVIII. Armee-Korps zwischen Flabas und Ville hatte eine Länge von nur drei Kilometern und zählte nach dem Eingreifen der 25. Division etwa 30.000 Mann. Gegen 16 Uhr hörte der Artilleriebeschuss auf. Etwa 70 Prozent der französischen Chasseurs waren verwundet oder tot. Gleichwohl führten sie sogar nachts noch Gegenangriffe in einer für sie aussichtslosen Schlacht. Etwa 500 französischen Überlebende kamen aus ihren gut befestigten Unterständen und machte sich bereit weiterzukämpfen. Damals hieß die französische Militärdoktrin Offensive à outrance (Offensive bis zum Äußersten).

Am 22. Februar gelang der deutschen Übermacht endlich die Eroberung des Caures-Waldes, der entscheidende Erfolg gelang dem Leibgarde-Infanterie-Regiment (1. Großherzoglich Hessisches) Nr. 115, das links vom 87sten durch die dünnen französischen Linien durchstieß. Gegen die deutsche Übermacht, die auch Flammenwerfer einsetzte, hatten sie keine Chance. Befehlshaber Oberstleutnant Driant verbrannte seine Unterlagen, damit sie den Deutschen nicht in die Hände fielen. Er befahl den Rückzug zum Dorf Beaumont, kämpfte aber selbst mit 80 Soldaten weiter. Driant wurde dabei an der Schläfe getroffen und starb wie die meisten seiner Jäger, von denen nur 110 bis 160 überlebten. Der deutschen 25. Division gelang folgend erst am 24. Februar die Einnahme der südlich des Caures-Waldes gelegenen Dörfer Beaumont und Wavrille.

Die Deutschen bestatteten Driant mit allen Ehren in der Nähe des Schlachtfeldes und leiteten der Witwe über die Schweiz seine Habseligkeiten zu. Die französische Presse feierte seinen Tod als nationales Opfer und der Gedenkgottesdienst unter Leitung des Kardinals Léon-Adolphe Amette wurde in Notre Dame abgehalten. Im Oktober 1922 wurde Driants Leiche exhumiert und in ein Mausoleum überführt, das jedes Jahr am 21. Februar Schauplatz einer Gedenkfeier für Driant und seine Jäger ist.

Literatur
 Christophe Gué: Verdun In: François Lagrange (Hrsg.): Inventaire de la Grande Guerre. Universalis 2005, ISBN 2-85229-411-7.
 Jean-Jacques Becker: Dictionnaire de la Grande Guerre. André Versaille éditeur. Bruxelles 2008. ISBN 2-87495-014-9.
 Yvick Herniou & Éric Labayle: Répertoire des corps de troupe de l'armée française pendant la grande guerre. Band 2, Chasseurs à pied, alpins et cyclistes, Unités d'active de réserve et de territoriale. Éditions Claude Bonnaud, 2007, ISBN 978-2-9519001-2-7.

Weblinks
 Chronik des 56e bataillon de chasseurs à pied (abgerufen am 11. März 2012)
 Chronik des 59e bataillon de chasseurs à pied (abgerufen am 11. März 2012)
 verdunbilder.de
 gallica.bnf.fr
 Bois des Caures – Caures-Wald – 1914-1918 – Morthomme

Einzelnachweise

Wald Von Caures
Caures
Geschichte (Lothringen)
Département Meuse
Verdun
Konflikt 1916

Gefecht im Wald von Caures


Ester Alexandra Crețu, kendt professionelt som Ester Peony (tidligere kun Ester), er en rumænsk-canadisk sanger og sangskriver, Hun skal repræsentere Rumænien i Eurovision Song Contest 2019 med sangen "On a Sunday", efter at have vundet udvælgelsesshow Selecția Națională 2019.

Referencer

Eksterne henvisninger

Sangere fra Canada
Sangere fra Rumænien
Rumæniens Eurovision Song Contest-deltagere
Deltagere ved Eurovision Song Contest 2019

Ester Peony


Azerbajdžansko vrijeme (AZT) vremenska je zona koja se koristi u Azerbajdžanu. Jednaka je vremenskoj zoni UTC+4. Vrijeme u Azerbajdžanu regulira Državni komitet za standardizaciju, meteorologiju i patente Azerbajdžana.

Do 2015. godine u Azerbajdžanu se provodilo ljetno računanje vremena (AZST). AZST je odgovarao vremenskoj zoni UTC+5. Prema odluci Kabineta ministara Azerbajdžanske Republike od 17. veljače 1997. godine "O prelasku teritorija Azerbajdžana na ljetno i zimsko vrijeme", u Azerbajdžanu se svake posljednje nedjelje u ožujku sat pomicao za jedan sat unaprijed, a svake posljednje nedjelje u listopadu za sat unazad.

U Azerbajdžanu je od 27. ožujka 2016. godine odlukom Kabineta ministara Azerbajdžanske Republike ukinuto ljetno računanje vremena.

Vremenske razlike susjednih država
 ,  (uključujući i nepriznati Gorski Karabah),  (Samara & Udmurtija) – ista vremenska razlika tijekom cijele godine
  – -1 sat tijekom cijele godine
  – -30 minuta ljeti, +30 minuta zimi

Izvori

Vanjske poveznice
  Time and Date: AZT – Azerbaijan Time

Vremenske zone
Zemljopis Azerbajdžana

Azerbajdžansko vrijeme


Kocaköy, Diyarbakır ilinin bir ilçesidir.

Tarihçe
İlçenin adı, 1869 ve 1915 yılı kayıtlarında Karas ya da Karaz olarak geçmektedir. 22 Temmuz 1975'te belediye statüsü alarak beldeye dönüştü. Kocaköy, 20.05.1990 tarih ve 20523 sayılı resmi gazetede yayımlanan kanun ile ilçe statüsüne kavuştu.

İlçe sınırlarında tarihi kalıntılar mevcuttur. Kocaköy batısında Diyarê Mâlan mevkiinde 7000 yıllık harabelere ve kalıntılara rastlamak mümkündür. Yine doğusunda ve batısında Karaz mağaraları mevcuttur. Ambar vadisinde kaya mezarlarına rastlanabilir. Ambar köyünde Asur, Hitit ve Urartu döneminden kalma höyükler ve yine Gırê Haci mevkiinde, Harem mahallesi ile Çaytepe ve Suçıktı köylerinde höyükler mevcuttur. Tepecik Bozbağlar köyleri arasında kalan Zıbedi mevkiinde 33 adet sahabe mezarı bulunmaktadır. Çevre köylerden çok sayıda mağara bulunmaktadır.

Coğrafya
Diyarbakır şehrinin 70 km kuzeyinde yer alır. Ambar Çayı'nın suladığı topraklarında tarım, elverişsiz bölgelerde ise hayvancılık yapılır. İlçe halkının başlıca geçim kaynakları ilçenin nar bahçelerinde yetişen narları temel geçim kaynaklarındandır. Bahçe ziraatı, tütün ve pamuk tarımı ile küçük baş hayvancılıktır.

Nüfus

Kaynakça

Dış bağlantılar
 YerelNET

Kocaköy


Krivnjak je nenaseljeni otočić uz zapadnu obalu otoka Molata. Od obale Molata je udaljen oko 120 metara.

Površina otoka je 1669 m2, a visina oko 1 metra.

Izvori

Sjevernodalmatinski otoci

Krivnjak


El Abietano es un hidrocarburo diterpénico el cual es la base estructural de una gran variedad de productos naturales tales como el ácido abiético, el ácido carnósico, y el ferruginol.

Biosíntesis
El esqueleto de abietano se biosintetiza a partir del diterpeno pirofosfato de copalilo A (el cual proviene del pirofosfato de geranilgeranilo, V. Ruta del mevalonato). Por un mecanismo de adición y eliminación del pirofosfato se forma el catión sandaracopimarenilo B. Éste sufre eliminación de un hidrógeno para formar el sandaracopimareno C. El metilo de la posición 13 migra para formar el sustituyente isopropilo característico del esqueleto de abietano, formándose así el catión abietanonio D. La eliminación da como producto un abietano precursor de muchos otros compuestos, el (-)-abietadieno (E).
Todo este proceso es catalizado por la enzima abietadieno sintasa (EC 184.108.40.206).

Compuestos con esqueleto de abietano

 Tanshinonas
 Ácido abiético
 Netidioles A y B

 8,13-Abietadien-18-al
 5α-7,13-Abietadieno, Aislado de Cedrus, Abies y Pinus. La forma ent-5α se ha aislado de Solidago missouriensis y Helichrysum chionosphaerum.
 8,13-Abietadieno (Palustradieno, [CAS 41577-36-0] Aislado de Juniperus sabina)
 9(11),12-Abietadieno, CAS 225098-94-2, aislado Vitex rotundifolia.
 8,12-Abietadieno-11,14-diona (12-Desoxiroileanona [CAS 503064-44-6] aislada de Salvia cilicica.)
 8,13-Abietadieno-11,12-diona [CAS 86510-12-5] aislada de Salvia napifolia.
 Acetato de 6-oxo-1,11,16-trihidroxi-7,15(17)-abietadien-3-ilo (ent-Abienervonina A [CAS 1134495-71-8], aislado de Isodon nervosus).
 Acetato de 1,6,11,16-tetrahidroxi-7,15(17)-Abietadien-3-ilo (Adenantina L [CAS 454703-19-6], aislada de Isodon adenantha).
 (ent-3β,13α,14α)-7,15(17)-Abietadieno-3,14,16,19-tetrol (Rubescensina I [CAS 760948-08-1], aislado de Isodon rubescens)
 14-Metoxi-7,15(17)-abietadieno-3,16,19-triol (Parvifolina M [CAS 913262-44-9] aislada de Isodon parvifolius)
 3,14,16-Trihidroxi-7,15(17)-abietadien-18-al (Enanderianina P [CAS 748783-54-2], aislada de Isodon enanderianus)
 7,7-Dimetoxi-8,12-abietadieno-6,11,14-triona [CAS 244279-41-2] aislado de Salvia nutans.
 (ent-3β,13βH)-7,15(17)-Abietadieno-3,16,18-triol (Laxiflorina O [CAS 607388-36-3] aislado de Isodon eriocalyx var. laxiflora; el 3-O-β-D-glucopiranosil-(ent-3β,13βH)-7,15(17)-abietadieno-16,18-diol o Xerofinoidido C [CAS 1114568-02-3], fue aislado de Isodon xerophilus)
 	 8,12-Abietadieno-3,11,14-triona
 	 Ácido 7,13-abietadien-18-oico
 	 Ácido 7,13-abietadien-19-oico
 	 Ácido 8,12-abietadien-18-oico
 Ácido 8,13-abietadien-18-oico (Ácido palústrico [CAS 1945-53-5], aislado de Pinus palustris, Pinus sylvestris, Pinus pallasiana, Pinus pityusa y Pinus caribaea.)
 8,13-Abietadien-19-al (Palustral [CAS 13508-03-7] aislado de Pinus koraiensis)
 8,13-Abietadien-18-ol (Palustrol [CAS 21414-53-9] aislado de Pinus koraiensis y Abies semenovii)
 	 Ácido 8,13-abietadien-19-oico
 	 Ácido 8(14),12-abietadien-18-oico
 	 Ácido 8(14),13(15)-abietadien-18-oico
 	 6,8(14)-Abietadien-18-ol
 	 7,13-Abietadien-11-ol
 	 7,13-Abietadien-12-ol
 7,13-Abietadien-18-ol (Abietinol [CAS 666-84-2], aislado de Pinus sylvestris, Abies sibirica y Araucaria excelsia; Tigliato de abietinilo, aislado de Solidago rugosa)
 7,13-Abietadien-18-al (Abietinal, CAS 6704-50-3, aislado de Araucaria cooki, Araucaria angustifolia, Pinus sylvestris, Pinus sibirica, Abies sibirica)
 	 7,13-Abietadien-19-ol
 	 7,13-Abietadien-2-ol
 	 7,13-Abietadien-3-ol
 	 7,13-Abietadien-5-ol
 	 8,15(17)-Abietadien-16-ol
 	 8,15-Abietadien-19-ol
 	 8(14),13(15)-Abietadien-16,12-ólido
 	 7,13-Abietadien-3-ona
 	 Ácido 16,8-abietanolid-19-oico
 	 1,5,7,9,13-Abietapentaeno-11,12-diona
 	 8,11,13,15-Abietatetraeno
 	 6,8,11,13-Abietatetraeno-11,12-diol
	 6,8,11,13-Abietatetraeno-12,16-diol
 	 6,8,11,13-Abietatetraeno-12,19-diol
 	 6,8,11,13-Abietatetraeno-15,19-diol
 	 6,8,11,13-Abietatetraeno-2α,12-diol
 	 6,8,11,13-Abietatetraeno-3,12-diol
 	 6,8,11,13-Abietatetraeno-7,12-diol
 	 6,8,11,13-Abietatetraeno-11,12,14-triol
 	 6,8,11,13-Abietatetraeno-6,12,14-triol
 	 Ácido 5,8,11,13-abietatetraen-18-oico
 	 Ácido 8,11,13,15-abietatetraen-18-oico
 	 Ácido 8,11,13,15-abietatetraen-19-oico
 	 5,8,11,13-Abietatetraen-11-ol
 	 5,8,11,13-Abietatetraen-12-ol
 	 6,8,11,13-Abietatetraen-12-ol
 	 8,11,13,15-Abietatetraen-11-ol
 	 8,11,13-Abietatrien-19-al
 	 8,13,15-Abietatrien-19-al
 	 8,11,13-Abietatrien-6,14-diol
 	 8,11,13-Abietatrieno
 	 ar-Abietatrieno
 	 Ácido 8,11,13-abietatrieno-18,20-dioico
 	 8,11,13-Abietatrieno-11,12-diol
 	 8,11,13-Abietatrieno-11,14-diol
 	 8,11,13-Abietatrieno-1,18-diol
 	 8,11,13-Abietatrieno-12,14-diol
 	 8,11,13-Abietatrieno-12,15-diol
 	 8,11,13-Abietatrieno-12,16-diol
 	 8,11,13-Abietatrieno-12,18-diol
 	 8,11,13-Abietatrieno-12,19-diol
 	 8,11,13-Abietatrieno-12,20-diol
 	 8,11,13-Abietatrieno-14,18-diol
 	 8,11,13-Abietatrieno-15,18-diol
 	 8,11,13-Abietatrieno-15,19-diol
 	 8,11,13-Abietatrieno-2,12-diol
 	 8,11,13-Abietatrieno-2,19-diol
 	 8,11,13-Abietatrieno-3,12-diol
 	 8,11,13-Abietatrieno-3,14-diol
 	 8,11,13-Abietatrieno-3,19-diol
 	 8,11,13-Abietatrieno-3,7-diol
 	 8,11,13-Abietatrieno-6,12-diol
 	 8,11,13-Abietatrieno-7,12-diol
 	 8,11,13-Abietatrieno-7,15-diol
 	 8,11,13-Abietatrieno-7,18-diol
 	 8,11,13-Abietatrieno-7,19-diol
 	 6,8,12-Abietatrieno-11,14-diona
 	 8,11,13-Abietatrieno-3,7-diona
 	 6,8(14),15(17)-Abietatrieno-1,3,11,16-tetrol
 	 8,11,13-Abietatrieno-11,12,16,19-tetrol
 	 8,11,13-Abietatrieno-11,12,16,20-tetrol
 	 8,11,13-Abietatrieno-3,11,12,16-tetrol
 	 8,11,13-Abietatrieno-3,11,14,19-tetrol
 	 8,11,13-Abietatrieno-6,7,11,12-tetrol
 	 8,11,13-Abietatrieno-6,7,12,18-tetrol
 	 6,8(14),15-Abietatrieno-3,11,17-triol
 	 8,11,13-Abietatrieno-11,12,19-triol
 8,11,13-Abietatrieno-11,12,20-triol, aislado de Salvia mellifera
 Ácido 11,12-dihidroxi-8,11,13-abietatrien-20-oico (Ácido carnósico [CAS ], aislado de Salvia officinalis, Salvia canariensis, Salvia apiana y Salvia rosmarinus. El ácido 12-hidroxi-11-metoxi-8,11,13-abietatrien-20-oico ha sido aislado de raíces de plantas del género Citrus infectadas con el nemátodo Tylenchulus semipenetrans. El ácido 12-metoxicarnósico [CAS 62201-71-2] fue aislado de Salvia rosmarinus. El 12-metoxi-8,11,13-abietatrien-20,11-ólido fue aislado de Salvia officinalis.
 	 8,11,13-Abietatrieno-2,11,12-triol
 	 8,11,13-Abietatrieno-2,12,18-triol
 	 8,11,13-Abietatrieno-3,12,14-triol
 	 8,11,13-Abietatrieno-3,14,19-triol
 	 8,11,13-Abietatrieno-5,11,12-triol
 	 8,11,13-Abietatrieno-6,11,12-triol
 	 8,11,13-Abietatrieno-6,7,12-triol
 	 8,11,13-Abietatrieno-7,11,12-triol
 	 8,11,13-Abietatrieno-7,15,18-triol
 	 8,11,13-Abietatrieno-7,15,19-triol
 	 Ácido 7,13,15-abietatrien-18-oico
 	 Ácido 8,11,13-abietatrien-18-oico
 	 Ácido 8,11,13-abietatrien-19-oico
 	 Ácido 8,13,15-abietatrien-19-oico
 	 5α-8,11,13-Abietatrien-12-ol (Ferruginol, [CAS 514-62-5] ampliamente distribuido entre las plantas; se le ha encontrado sobre todo en Podocarpus ferrugineus, Juniperus excelsa, Salvia mellifera, Taiwania cryptomerioides, Salvia hypargeia, Salvia lanigera, Salvia viridis, Cryptomeria japonica, Chamaecyparis pisifera, Salvia miltiorrhiza, Podocarpus totara, Dacrydium spp., Cupressus spp., Salvia syriaca e Inula royleana). El 14-Hidroxiferruginol [CAS 140670-86-6] fue aislado de Salvia montbretii. El 15-hidroxiferruginol [CAS 76235-93-3] es un constituyente de Chamaecyparis pisifera. El 16-hidroxiferruginol [CAS 96687-74-0] fue encontrado en laThujopsis dolabrata. El 1,3-dioxoferruginil metil éter [CAS 18326-18-6] fue aislado de Cupressus sempervirens)
 6,8,11,13-Abietatetraen-12-ol (Δ6-Deshidroferruginol [CAS 34539-84-9] aislado de Juniperus communis, Podocarpus dacrydioides y Salvia apiana. El 12-metoxi-6,8,11,13-abietatetraeno [CAS 70614-86-7] se aisló de Cryptomeria japonica.
 	 8,11,13-Abietatrien-14-ol
 	 8,11,13-Abietatrien-15-ol
 	 8,11,13-Abietatrien-18-ol
 	 8,11,13-Abietatrien-19-ol
 	 8,11,13-Abietatrien-2-ol
 	 8,11,13-Abietatrien-3-ol
 	 8,11,13-Abietatrien-6-ol
 	 8,11,13-Abietatrien-7-ol
 	 8(14),11,13(15)-Abietatrien-16,12-ólido
 	 7,9(11),12-Abietatrien-14-ona
 	 8,11,13-Abietatrien-3-ona
 	 8,11,13-Abietatrien-7-ona
 	 12,16-Epoxi-8,11,13-abietatrieno
 	 (13β,14α)-7-Abieteno-14,18-diol (Netidiol B [CAS 50837-91-7], 14-acetilnetidiol B [CAS 202477-87-0], 18-acetilnetidiol [CAS 202480-94-2] y 18-(Etil malonoil)-14-acetilnetidiol B [CAS 202477-88-1] aislados de Nepeta teydea)
 	 8-Abieteno-14,18-diol
 	 8(14)-Abieteno-2,13-diol
 	 8(14)-Abieteno-3,13-diol
 	 8(14)-Abieteno-7,13-diol
 	 8(14)-Abieteno-7,18-diol
 	 8-Abieteno-7,13-diol
 	 7-Abieteno-3,15,16,17,18-pentol
 	 8(14)-Abieteno-7,12,13,15,18-pentol
 	 8(14)-Abieteno-7,12,13,18-tetrol
 	 8(14)-Abieteno-7,13,15,18-tetrol
 	 8(14)-Abieteno-6,7,13-triol
 	 8(14)-Abieteno-7,13,18-triol
 	 Ácido 8-abieten-18-oico
 	 Ácido 9,13-endoperoxi-8(14)-abieten-18-oico
 	 Ácido 15(17)-Abieten-16,8-ólid-18-oico
 	 15(17)-Abieten-16,8-ólid-19-oico
 	 5-Abieten-7-ona
 3,14,16-Trihidroxi-7,15(17)-abietadien-18-al
 	 12,16,17-Trihidroxi-8,12-abietadieno-11,14-diona
 	 6,7,12-Trihidroxi-8,12-abietadiene-11,14-diona
 	 7,12,16-Trihidroxi-8,12-abietadiene-11,14-diona
 	 1,8,14-Trihidroxi-2,13(15)-abietadien-16,12-ólido
 	 7,11,12-Trihidroxi-8(14),13(15)-abietadien-16,12-ólido
 	 8,14,17-Trihidroxi-11,13(15)-abietadien-16,12-ólido

Los abietanos incluyen además a los furanoabietanos, secoabietanos y secofriedoabietanos, ''nor''- y homoabietanes, abeoabietanos (como las egiptinonas) y dímeros del abietano.

Véase también
 Labdano
 Ginkgólido
 Egiptinona

Referencias

Terpenos
Diterpenos
Abietanos

Abietano


Zeileissen ist der Familienname folgender Personen:

 Karl Zeileissen (1895–1955), österreichischer und deutscher Diplomat und Konsul im Auswärtigen Dienst
 Rudolf Zeileissen (1897–1970), österreichischer Maler

Zeileissen