Union Sportive de la Médina d'Alger (); known as USM Alger or simply USMA for short, is a football club based in the inner suburbs of Algiers. The club was founded in 1937 and its colours are red and black. Their home stadium, Omar Hamadi Stadium, has a capacity of 17,500 spectators. The club is currently playing in the Algerian Ligue Professionnelle 1.

The club has one of Algeria's most prominent football charts, as it won the Algerian Ligue Professionnelle 1 8 times, the Algerian Cup 8 times and the Algerian Super Cup 2 times. Internationally, USM Alger won the CAF Confederation Cup once in 2023, the CAF Super Cup in 2023 and the UAFA Club Championship once in 2013. The IFFHS ranks USMA in the 18th place of the best African teams of the decade between 2001–2010. USMA reached the final of the 2015 CAF Champions League but they lost to TP Mazembe.

With the past of the Union Sportive Musulmane d'Alger (former name of the USMA), winner of the first 1962–63 Algerian Championnat National, USMA is the postwar reference Algerian War). In one year, the club Algérois won the titles of Algeria championship and subsequently finalist of the Algerian Cup 1969. The club is going through a difficult period. The club is financially supported, as the USMA was bought in 2010. This privatization is accompanied by positive sporting results: solidly anchored in Ligue 1 since with the arrival of the Algerian investor Ali Haddad follows the title of champion of Algeria Of the Ligue 1 in 2014, the club regularly qualifies for the current African cups CAF Champions League or CAF Confederation Cup And realized 3 titles in 2 years championship-Algerian cup and Super Cup during the season 2013–2014.

History

Early years
In July 1935, Omar Aichoun and Mustapha Kaoui, both merchants of jute bags, decided to create an exclusively Muslim sports association in which no European would appear. At the time, the National Movement, led by Étoile Nord-Africaine of Emir Khalid ibn Hashim, grandson of Emir Abdelkader, ran out of steam while the creation of the PPA (Parti Politique Algérien), spiritual father, was organized. of the FLN, Aichoun and Kaoui, join the popular effervescence. They frequent the activists of the National Movement, many in the district of the Casbah and hear about the need to create sports clubs, the ideal framework to bring together Algerian youth. The increasingly seasoned national movement is pushing for the creation of sports associations.

During the year 1935, the two men will multiply contacts, helped by Arezki Meddad, father of the future chahida Ourida Meddad. Their choice falls on Ali Lahmar, said Ali Zaid, future chahid of the liberation war and Sid Ahmed Kemmat. These men formed the first office of USMA, an office chaired by Ali Zaid, the honorary presidency going to Omar Aichoun and Arezki Meddad. In addition to their nationalist and sporting activities, Omar Aichoun and Mustapha Kaoui also frequent the Nadi Ettaraki (Circle of progress), an association created under the so-called 1901 law. Its head office is at « 9, place du Gouvernement » (Today). Place des Martyrs), in Algiers, The circle of progress is managed by the Islamic Reform Movement (El Islah), led by Sheikh Tayeb El Okbi, whose son Djamel will later be USM Alger goalkeeper. Fearing that the practice of sport is incompatible with the precepts of Islam, those concerned seek advice from the Sheikh, who encourages them and offers his blessing to USMA. For the administrative procedures and in order to obtain the agreement of the colonial authorities, they request the statutes from the Secretary General of the MC Alger, who willingly gives him a copy.

The USMA option having been successful, the PPA renewed the operation and thus Union Sportive Musulmane, Espérance Sportives Musulmane, Jeunesse Sportive Musulmane, Widad and Croissant club were born. They were everywhere these clubs which were schools of Nationalism and Patriotism. Union Sportive Musulmane Algéroise was therefore born, and was ready to participate in 1938 in the 3rd division championship. At that time many players had expressed the wish to come to this club, unfortunately the regulations (license B) prohibited them. In addition, all participating clubs had to have a stadium for the competition. A criterion for which the federation of the time was uncompromising. This is what Mr. Kemmat did in the face of these two problems: "USM Alger at the time required a contract with a stadium for a minimum period of five years. This is to ensure the running of the competitions. I had contacted the leaders of the O club. Pointe Pescade (current Raïs Hamidou) and we had come to an understanding by paying him five thousand francs annually. For the money, no need to tell you where it came from ", he adds with a sigh which speaks volumes about the state of mind that reigned at that time.

Then came World War II during which the competition system in the League Algiers was changed to three groups and for three seasons, Abderrahman Ibrir former center-half of , became a goalkeeper with USMA and even had his first selection of Algiers under USMA colors, USM Alger contracted with a significant number of players and they are Zitouni Hassen, Zouaoui Rabah, Mahmoudi Smain, Naceri M'hamed and Houari GS Orleans city (now Chlef) Berkani Olympique de Tizi Ouzou. In the 1939–40 season USM Alger played for the first time in the first division and because of the outbreak of the World War II the championship was divided into three groups where USM Alger signed in the group A the team was bad where they won only two games against the same team US Alger and he was defeated in 9 games where he could not face the big teams then like RU Alger and AS Saint Eugène in the end, finished second to last either in Coupe de la Ligue and Coupe de la Solidarité the journey ended in the first round against US Blida and Stade Algérois respectively. The resumption of official competitions occur in 1942. For the 1942–43 season, USMA returns to the third division according to the regulations in force. Mr El-Hadj Ahmed Kemmat intervenes:

After independence

League beginning with the first post-independence the USM Alger administration to bring the former Nice and Monaco player Abdelaziz Ben Tifour to be a coach and a player at the same time the team took place in Group 5 and took first place with 51 points and strongest offensive line in each league with 75 goal after the piece and in Algiers League in a group with MC Alger, AS Orléansville, NA Hussein Dey and  took first place also with 12 points from 12 to advance to the semi-finals and play against Hamra Annaba previously USM Annaba and won by corners 7–6 qualify for the final of the first tournament in the history of Algeria, and find MC Alger again The Red and Black, led by player-coach Bentifour easily outweigh the score of 3–0 in a match played at the Stade d'El Annasser. Hence the club to Soustara had the honor and privilege of being the first club to win the championship title in the era of independent Algeria. either in Algerian Cup USMA maximum in the semi-final against ES Setif and defeated score 2–4, in the next season USMA finished third, one point behind champion for Algérois group NA Hussein Dey either in the Cup and the team arrived in the semi-final against the same team ES Setif, in the 1964–65 season the team fell to the second division and finished in last place with 54 points either in the Cup stopped the march in the second round against NA Hussein Dey lead to 2–3.

In their first season in the Division Honneur team finished second behind champion MC Alger difference of 7 points to ascend together to Nationale II 1966–1967 in the next season the team failed to return to the first division and finished fifth, in either competition Cup team reached the semi-finals and was defeated again against ES Setif 1–3 aggregate This is the third time excludes USMA at the hands of ES Setif in the semi-finals, in the 1967–68 season after the USM Alger attempts to climb continued but failed again and finished fifth with 45 points, 4 points for second promoted JS Djijel, and finally in the 1968–69 season the USMA was able to return to Nationale I after four seasons in the lower grades and occupied second place behind champion JS Kabylie and celebrations continued arrival of the team, for the first time Reached the cup final However, were defeated against the champion CR Belcourt by score 3–5 after replay the match.

After seven finals, the team was able to achieve first Cup title 1980–81 season against ASM Oran score 2–1 coached by Ali Benfadah in the opening of the Stade 24 Fevrier 1956, becoming the first team to win the cup title from the second division, the following season the team to the second division returned the opening of the season was to Match Super Cup against the champions last season RC Kouba in the first version in the 20 August 1955 Stadium ended with the victory of RC Kouba by score 1–2, The team finished the season in ninth place with 59 points and in monitoring the first post in a continental competition of the African Cup Winners Cup USMA reached the quarter-finals and the maximum in front of the club Accra Hearts of Oak of Ghana 2–3 aggregate.

Saïd Allik Era (1994–2010)
In 1994 Saïd Allik became chairman of the board of directors of USM Alger and promised to return the team to Division 1, On May 26, 1995, USM Alger won away from home against MC Ouargla and achieved an promotion challenge back to the Division 1 after five full seasons under the leadership of Younis Ifticen, Allik announce that USM Alger has returned to its normal place and will not fall again to the second division, In 1995–96 season Ifticen left USM Alger despite achieving the underlined goal to be replaced by Ahmed Aït El Hocine, In Algiers Derby who played in Omar Hamadi Stadium and after USM Alger scored a goal, the assistant referee was injured by smoke gases, to stop and be repeated behind closed doors in the same stadium. After that it was decided that the Algiers Derby would not be played in the future in this stadium with the presence of the fans. After a great struggle with MC Oran for the title and in the last round USM Alger won the title after its victory against CS Constantine at Stade Mohamed Hamlaoui, with a difference of only two points.

in 2002–03 It was the best season in the history of USM Alger and participated in five competitions, The opening season was in the Arab Unified Club Championship, and was eliminated in the group stage, In the Cup Winners' Cup, the red and black reached the semi-finals, and was eliminated against Wydad Casablanca and fails to achieve the first continental title despite the second leg that took place in Algeria Where did USM Alger need to win to qualify for the final. In the Division 1, the journey towards achieving the title was not easy, and the struggle was great with USM Blida, NA Hussein Dey and JS Kabylie, and USM Alger waited until the 28 round to celebrate the title after winning against ASM Oran. To complete the joy in the Algerian Cup by winning the title after the victory against CR Belouizdad after Moncef Ouichaoui scored the golden goal to achieve the double for the first time in its history under the leadership of Azzedine Aït Djoudi. also achieved Ouichaoui top scorer in the league for the first time a player from USM Alger with 18 goals including two hat-tricks.

Haddad ownership (2010–20)

It was decided by the Ligue de Football Professionnel and the Algerian Football Federation to professionalize the Algerian football championship, starting from the 2010–11 season Thus all the Algerian football clubs which until then enjoyed the status of semi-professional club, will acquire the professional appointment this season. the president of the Algerian Football Federation, Mohamed Raouraoua, has been speaking since his inauguration as the federation's president in Professionalism, promising a new way of management based on rigor and seriousness, especially since football has bottomed out in recent seasons, due to the catastrophic management of the clubs which could not go And were lagging behind clubs in neighboring countries that have made extraordinary progress, becoming full-fledged professional clubs, which will enable them to increase their African continent, On August 4, 2010, USM Alger went public in conjunction with the professionalization of the domestic league. Algerian businessman Ali Haddad became the majority share owner after investing 700 million Algeria dinars to buy an 83% ownership in the club to become the first professional club in Algeria. On October 27, 2010, Haddad replaced Saïd Allik as president of the club. Allik had been the club's president for the past 18 years.

On June 2, 2019, it is official, the Haddad family is selling its shares in SSPA USMA which it holds 92%, It was the club's communication officer, Amine Tirmane, who announced it on the Echourouk TV. the reasons that made them make this decision is the imprisonment of club owner Ali Haddad and also freeze all financial accounts of the club. On June 10, 2019, Several sports figures and former leaders linked to the USM Alger have set up a rescue committee to provide solutions to the many problems facing the club of Algiers. On September 4, 2019, The players of USM Alger decided to go on strike to protest difficult financial situation They stressed that this decision has nothing to do with the administration, the fans or the club itself. It is a protest movement against the state of the USM Alger and the delay in resolving the crisis, As a reminder, the USM Alger players have not received their salaries for 6 months, while the new ones have not received any salary since joining the club.

Groupe SERPORT New Owner (2020–)
After it was expected that the general assembly of shareholders will be on March 12, 2020, it was submitted to March 2, especially after the imprisonment of the former club president, Rabouh Haddad. The meeting witnessed the attendance of ETRHB Haddad representative and the absence of the amateur club president Saïd Allik, and after two and a half hours, it was announced that Groupe SERPORT had bought the shares of ETRHB Haddad which amounted to 94.34%. in a press conference Halim Hammoudi, Secretary General of SERPORT announced that Aïn Benian project and the club headquarters will be launched soon. He also said that the goal is to achieve continental titles, not only local ones. Previously Achur Djelloul general manager of SERPORT, said they would invest between 1,2 and 1,3 billion dinar per year, while the training center project will cost 1,4 billion dinar. On May 13, 2020, Achour Djelloul announced that he signed with Antar Yahia to be the new Sporting director for three years and Abdelghani Haddi as a new general manager. Yahia said that he had offers from France, but he preferred the Reds and Blacks project, especially the ideas he wanted to implement are the same as Achour Djelloul. société sportive par actions (SSPA) and club sportif amateur (CSA) signed a partnership agreement on January 31, 2021, this agreement that allows the two parties to comply with Algerian legislative texts, and the amateur club will receive 30 million dinars annually in exchange for carrying the logo and name of the club. four rounds before the end of the season SERPORT decided to dismiss Antar Yahia from his position, Yahia said that all powers were removed and they agreed with a new sports director a while ago. Achour Djelloul spoke on Channel 3 and made revelations about it, that was is first and foremost the relationship between an employer and an employee. Add to that Yahia was punished twice by the Disciplinary Committee, and for this we preferred to separate ourselves from this employee. and On September 1, 2021, USM Alger signed with the former player Hocine Achiou to be the new sporting director. On June 3, 2023, USM Alger under the leadership of Abdelhak Benchikha, became the first Algerian winners of the CAF Confederation Cup and the first international title in its history, despite losing 1–0 at home against Young Africans in the second leg of the final. After the end of the game announced Zemmamouche his retirement leaving USM Alger after 18 years of his career, being the most caped player in club's history with 405 matches.

Colours and badge
The original colors were USMA red and Maroon, colors hoisted to the club 1937, year of creation, 1945. The origin of these colors is unknown.

In May 1945, following Setif massacre, Guelma and Kherrata, the club decided to replace garnet by the black in homage to 45,000 protesters Alegrian killed by the bloody repression of the French Armed Forces. Black represents mourning and red blood of the victims.

45,000 Algerian demonstrators came out to celebrate the end of hostilities in World War II that day, recalling the colonial forces their patriotic claims. But the bloody repression of the French army found no other way to meet their legitimate demands that cause genocide. To show their patriotic commitment and sympathy, the leaders of the USMA decided to change their colours. The black is synonymous with grief and they have changed Maroon to red which represents  the blood of martyrs who fell that day.

Shirt sponsor & kit manufacturer

Sonelgaz is the main sponsor USM Algiers since the sports reform of 1977, the company logo is displayed on the front of team jersey as part of the sponsorship.
And until 2011, this logo was even on the emblem of the USMA.
The telecommunications company Djezzy sponsors the club since 2005. On April 2, 2017, The contract was renewed for two seasons between the two sides for 100 million dinars annually. On 21 April 2019 After 14 years of funding for the team, the partnership between Djezzy and USM Alger has been formally terminated, Djezzy demanded that the management of USM Alger withdraw the logo of the mobile phone operator from the shirt of the club and the perimeter of the stadium, in confirmation of its withdrawal from funding the team. Ownership of the majority shareholder of the club, Ali Haddad, the construction company ETRHB, it is also sponsors since 2010.Other sponsors have sponsored the club in the past, such as: Canon Dekorex, Armedic ARTC Insurance, Sonatrach and Renault Trucks.

The German company Adidas, was the equipment manufacturer of the club from July 2012 to December 2016  when the USMA announced a partnership with the Spanish brand Joma. The agreement, which has lasted for three and a half years, took effect from January 2017. On April 21, 2019, USM Alger opens, its first official store, USMA Store, in El Biar, this while waiting for the opening of a megastore to Bab Ezzouar, In addition to the range supplied by Joma, the USMA's boutique offers a wide range of by-products such as scarves, mugs and t-shirts in the colors of the club, The price range is quite affordable for such products, so USMA Joma official jerseys are sold at 4,600 DA (+/- €25 ) while T-shirts sell for 1,600 DA. On September 8, 2020, USM Alger announced that they had signed a three-year contract with the Italian brand Kappa, It is the first Algerian club to contract with the original brand company. On April 1, 2021, USM Alger gets a makeover, the official website of the Italian equipment manufacturer "Kappa" has unveiled the new jerseys that the Usmists will wear this year 2021, This new Kappa jersey is dressed in a dominant white and black, and uses the graphics of the Casbah of Algiers with shades of gray on the front of the jersey. For reasons of comfort and aesthetics, a semi-open round neck is present, just like the iconic Banda Kappa on the shoulders, Its breathable polyester fabric allows it to effectively wick away perspiration. And keep the athlete dry as long as possible. Thanks to KOMBAT PRO technology, the jersey allows unrivaled freedom of movement and comfort, "described the" Kappa "equipment supplier for the away jersey.

Historical kits

Kit suppliers and shirt sponsors

Grounds

The club play matches at the 17,500-capacity Stade Omar Hamadi, which was built in 1935, and Stade 5 Juillet 1962 for derbies algérois, and international games deemed too important to be held at Stade Omar Hamadi.

The team is currently the owner of Stade Omar Hamadi several years ago to hold rent by the municipality Bologhine considered the official pitch for the team since independence, but in the many times he had to play on the courts again, notably Stade 5 Juillet 1962, Stadium 20 August 1955 in Algiers and Stade Mabrouki Salem in Rouïba. In Algerian Cup team competition played seventeen final and are Stade 5 Juillet 1962 in twelve Match the first in 1972 and the last in 2013 and Stadium 20 August 1955 three first finals in 1969 and last in 1971. The stadiums Stade 24 Fevrier 1956 and Stade Mustapha Tchaker visits one in 1981 and 2003 respectively.

In 2015 the team arrived for the first time to a final one international competitions and was Stade Omar Hamadi scene of her in the presence of 20,000 supporter but there was a lot of talk about the lack of a final played on Stade 5 Juillet 1962, which a capacity 64,000 spectators but the team administration of his refusal to play there because of the decision to team TP Mazembe play at home Stadium, who's quite similar to the USM Alger stadium and the same grassy ground artificially, which did not like the majority of Supporters. In July 2016 closed the Omar Hamadi Stadium in order to change the ground renovated and its field artificial turf of the last generation and re-opened after a month. On May 6, 2022, Achour Djelloul stated for National Radio that they officially requested to take advantage of Baraki Stadium and that Groupe SERPORT is ready to carry out the remaining works in order to receive it as soon as possible, because Omar Hamadi Stadium has become a danger to the supporters.

Training facility

In July 2011, the club began the construction of a training centre in Aïn Bénian, in Banlieue West of Algiers. This centre will extend over 4 hectares and will include a field in grass natural and another Artificial turf. To complete the construction of the structure, the Architect in charge of the project will be based on the plans of the Ciutat Esportiva Joan Gamper, famous training centre Barcelona. On March 15, 2021, the construction works of USM Alger's training center were officially launched, central technical director and production Rachid Douh stated that the plot contains 30,000 square meters, and will house the club's headquarters two playgrounds inside the hall two changing rooms and two playgrounds with artificial grass. The works will be carried out by EPE Batimetal.

Supporters

Everyone knows the Algerian fans by their numbers and the way they support them and their loyalty to their teams, but when talking about supporters of USM Alger or as they are call them Almsamaah and this name was called to the bands singing women celebrate weddings and sing
This name did not call them in a vacuum and grew to the quality of their songs and their horror, which prompted all the supporters of other Algerian clubs and even the supporters of some of the Arab nomads to quote their songs and replay
The supporters of the Union were not distinguished from the rest of the other clubs' supporters, but in spite of that, they were known for their high sports spirit in accepting the loss and the style of their unique civilizational support, which made them outperform all the supporters of the other clubs

Most of the Union's supporters are based in the capital, but this has not prevented the supporters of the team in all parts of Algeria and even in some neighboring countries and the district of Soutara is the main stronghold and the main base for the supporters of the Union.
From the top of the Sustara through the neighborhoods of Bab El-Oued, Bologhine and Saint-Eugène, and without forgetting the revival of the capital of the Eastern and Western, the phenomenon of Musamiya has become the hearts of the fans of the team. Even in the Kabylie region, we find many supporters of the team.

The team, founded in 1937, has 3 generations of supporters and still has the hearts and minds of many young people
Everyone knows the USM Alger crowned the first tournament in the history of independent Algeria and the biggest trophy in Algeria
But everyone also knows him by his extraordinary and amazing fans, The popularity of the fans was not only because of their wealth, but because of their quality and the quality of their method of advocacy they call themselves Melanesians or Rossoneri and they are already creative in the same way that the supporters of Milan

USM Alger is known for having the best supporters in Algeria, they are particularly known for their songs, their Sportsmanship, as well as their animations in the stands.
The 26 November 2011 to Stade 5 Juillet 1962, on the occasion of an Algiers derby against the MC Alger, the Usmistes supporters became the first supporters in Algeria to make a tifo large-scale. This tifo sported the inscription UNITED by the colors of the club red and black.

At the level of celebrities many popular singers chaâbi encourage USMAlger, most notably El Hadj M'Hamed El Anka The Grand Master of Andalusian classical music and Algerian chaâbi music was one of the biggest fans of the club, also helping the club through his revenues from concerts. Singers chaâbi, El Hachemi Guerouabi, was a famous supporter of the USM Alger and used to come many times to the stadium to watch his favorite team. also dedicated one of his songs to USMA. There are many popular chaâbi singers who support the club, such as Abdelkader Chaou and Mourad Djaafri who presented many songs for USMA. At the level of politicians, the most prominent fan was the first President of Algeria, Ahmed Ben Bella, who was a former player during the French colonialism. Where was a player in Olympique de Marseille, Ben Bella attended the first championship final in Algeria and the winner was USM Alger where handed him the championship cup, after the coup against him and placed him under house arrest by Houari Boumediene. Ben Bella was always asking about USM Alger, Ben Bella was the honorary president of the club until his death in 2012.

Ouled EL Bahdja

Is the best encourage football clubs in Algeria Group was founded in the nineties and the only one in that period, which was recorded with a sporty character songs, as they always give great pictures in the stands on the way the supporters of Milan because of the similarity of the colors red panels and black made the group Ouled EL Bahdja make a big gap in all stadiums inside and outside the home have made many tifo in the Ligue Professionnelle 1 or in continental competitions as for Music of Ouled EL Bahdja Every masses in Algeria frequency with the change of name of the club only because of her fame that went beyond the border in Tunisia and Morocco this famous their songs.

Accidents
On July 5, 1997, in the middle of the black decade, three USMA supporters who were celebrating the Algerian Cup won by their team are murdered in a false dam at Frais Vallon.

On 21 September 2013 Died, two supporters of USM Alger attended the events of the match against MC Alger, after the collapse of part of the "Stade 5 Juillet 1962", The incident and the death of supporters Azeeb Sufyan and Saif al-Din Darhoum, and injuring several hundred others in Algiers spoiled the joy of winning the Darby supporters of the Union, The drama occurred ten minutes after the end of the match. Part of the 13th of the Stade 5 Juillet 1962 collapsed. After this incident there was a plan to destroy the whole stadium, but they retreated and decided to remove only the upper terraces and renovate them completely, the local authorities decided to close the stadium, where an investigation was opened into the incident he was also sacked director of the compound Youcef Kara after that, the funeral was attended by officials of the USM Alger led by Rabouh Haddad, who conveyed condolences to the family of the deceased and their condolences.

On September 9, 2018, And in a match between USM Alger and Al-Quwa Al-Jawiya in the Arab Club Champions Cup at Omar Hamadi Stadium and in the 70th minute withdrawal of Al-Quwa Al-Jawiya's players in protest at offensive chants from spectators. after mentioning the name of the former president Saddam Hussein and anti-Shia slogans angering Baghdad, The Iraqi ministry of foreign affairs summoned Algeria's ambassador in Baghdad over "sectarian chants" made by Algerian fans Ahmed Mahjoub, Iraq's foreign affairs spokesperson, said Baghdad had expressed "the government and the people of Iraq's indignation... at the glorification of the horrible face of Saddam Hussein's deadly dictatorial regime", which was toppled in 2003 during the United States' invasion of Iraq. later, general manager Abdelhakim Serrar said that the concerns of fans if bothered the Iraqi team, I offer my apologies. The goalkeeper and captain Mohamed Lamine Zemmamouche also apologized to the Iraqi delegation for the conduct of the supporters.

Rivalries

MC Alger

The biggest rivalry is considered to be with the Mouloudia Algiers, both from the city of Algier. This rivalry has seen the two clubs contest the local dominance during the Algiers derby. This rivalry also dates back to the 1950s and resulted from a non-sports disputes during the Algerian War. In 1956, the National Liberation Front (FLN) ordered the cessation of all sports, and called to boycott competition by clubs that are related to or called "Muslim".
"Mouloudia" unlike USM Alger and other Muslim clubs, refused to follow the instructions of the FLN and continued its sporting activities including football. This refusal generated several incidents to disrupt the meetings of MC Algiers, and thus, during halftime of the game between Mouloudia and AS Saint-Eugénoise at the municipal stadium of St. Eugene, violent clashes took place and forced the referee to stop the match. Following these incidents, Mohamed Tiar, then president of MCA, resigned to cease all sportive activities of the club  and took the side of the FLN and other Muslim Algerian clubs.

CR Belouizdad

The first meeting between the USM Alger and CR Belouizdad is a local derby in Algiers, Algeria and a fierce rivalry. The derby does not have a common name. From the first meetings in the 1960s, a sport rivalry settled between the two clubs. It slowly fades in the next two decades before being revived in the late 1990s and early twenty-first century.

JS Kabylie

The clasico kabylo-algérois is the name given to matches between USM Alger and JS Kabylie football clubs from  Tizi Ouzou and Algiers, Algeria they are considered one of the most famous clubs in Algeria and their matches are given great attention by the Algerian media, The period between 1996 and 2010 is the most exciting between the two teams because of the great conflict between the heads of the two teams Saïd Allik and Mohand Chérif Hannachi, It is said that the reason for the enmity between the two when Said Alik bringing the star of JS Kabylie and national team at the time Mahieddine Meftah the two teams were both champions and runners-up in the same season five times, including three consecutive times between 2003–04 and 2005–06.

African rivalry
Rivalry between USM Alger and North Africa team considered as exciting, especially with Morocco and Tunisia, where he met USMA with Wydad Casablanca eight times, the first in the quarter-finals in the 1999 CAF Cup and win over Wydad 2–2 on aggregate, then in 2002 African Cup Winners' Cup in the semi-finals, Wydad winning 2–2 on aggregate again, 15 years later and in the same role but in the CAF Champions League and once again defeated by a total of 3–1. as for Esperance two teams met four times in all of the group stage in 2003 and 2004 three times won by Esperance and a single win for USMA was 3–0, there is a strong relationship of friendship between the two clubs Esperance and USMA at the level of administration and supporter.

Honours

USM Alger have won the Algerian national championship 8 times, with three Algerian Ligue 1 titles they are second only to JS Kabylie total of Fourteen (The first championship won by USM Alger was in 1963, before the professional era of Algerian football). USMA also have the record in Algerian Cup titles (with 8) Jointly with ES Sétif. USMA have achieved one Championship and Cup "Doubles" (in 2003).

Domestic

Confederation

Regional

Doubles and Trebles
Doubles
National 1 and Algerian Cup (1): 2002–03
Algerian Cup and UAFA Club Cup (1):  2012–13
CAF Confedration Cup and CAF Super Cup (1):2023

Performance in CAF competitions

USM Alger whose team has regularly taken part in Confederation of African Football (CAF) competitions. Qualification for Algerian clubs is determined by a team's performance in its domestic league and cup competitions, USM Alger have regularly qualified for the primary African competition, the African Cup, by winning the Ligue Professionnelle 1. USM Alger have also achieved African qualification via the Algerian Cup and have played in both the former African Cup Winners' Cup and the CAF Cup.

The first match was against CARA Brazzaville and ended in victory for USM Alger 2–0 As for the biggest win result was in 2004 against ASFA Yennenga 8–1, and biggest loss first defeat in 1998 against Primeiro de Agosto club, and the second in 2013 against US Bitam 3–0.

First participation in International competition were in the African Cup Winners' Cup in 1982 and the maximum in the quarter-finals against Ghanaian club Hearts of Oak, in the 1989 version of the same competition and the club withdrew from the same role after the loss in the first leg against Malagasy club BFV at Stade Omar Hammadi, after that to miss the club's continental competitions for eight years until 1997 in the CAF Champions League for the first time, and almost USM Alger advance to the final match and goal difference in favor of Raja Casablanca.

Then he became the team participated in a systematic manner in various competitions such as African Cup Winners' Cup, CAF Cup, CAF Confederation Cup and the CAF Champions League until 2007 except in 2001 where the team disqualified in 2000 of the African Cup Winners Cup to be punished not to participate in any African competition for a whole year because of the participation an ineligible goalkeeper Burkinabé Siaka Coulibaly against JS du Ténéré from Niger in the second leg, In 2003 the team to reach the semi-finals of the African Champions League at the hands of ousts champion Enyimba, and after an absence of eight years from the African Champions League USM Alger managed to reach the final in 2015 for the first time in its history, but was defeated against TP Mazembe 4–1 on aggregate.

In 2017  USM Alger reach the semi-final in the CAF Champions League and lost to Wydad Casablanca         3-1 on aggregate.

In  2018  USM Alger lost to Al Masry in the quarter final of CAF Confederation Cup  0-1 on aggregate .

2019 CAF Champions League USM Alger could not qualify from the group stage .

In 2023 USM Alger returned to The CAF Confederation Cup and they beat the moroccan TeamASFAR Rabat  in the quarter final 4-3 on aggregate and then went on to the semi-final against ASEC Mimosa and beat them 2-0 on aggregate , in the end they were crowned as Champions They won the championship well-deservedly and won the first continental title in their history against The tanzanian team Young Africans in the Final .

in 2023 USM Alger  went on to win its second continental title in its history , this time it was The CAF Super Cup and they won it for the first time ever against Al Ahly , The Algerian team surprised and overthrew the Egyptian giant .

USM Alger is now one of the most successful teams in Africa  .

Players

Algerian teams are limited to three foreign players. The squad list includes only the principal nationality of each player;

Current squad

Reserve Squad

Personnel

Current technical staff

Management

Notable players
Had senior international cap(s) for their respective countries.
Players whose name is listed in bold represented their countries while playing for USM Alger.

 Ayoub Abdellaoui 13
 Merouane Abdouni
 Hocine Achiou 8
 Tarek Hadj Adlane
 Rachid Aftouche
 Mouldi Aïssaoui
 Saïd Allik
 Djamel Amani
 Amar Ammour
 Salim Aribi 8
 Ali Attoui
 Youcef Belaïli
 Boubekeur Belbekri 1
 Farid Belmellat
 Raouf Benguit 13
 Fawzi Benkhalidi
 Mohammed Benkhemassa 13
 Mokhtar Benmoussa
 Yacine Bentalaa
 Abdelaziz Bentifour
 Hamid Bernaoui
 Omar Betrouni
 Mohamed Boualem
 Brahim Boudebouda
 Isâad Bourahli
 Salim Boutamine
 Mehdi Cerbah
 Farouk Chafaï
 Noureddine Daham
 Oussama Darfalou 13
 Rabah Deghmani
 Abderrahmane Derouaz 2 3
 Farid Djahnine
 Billel Dziri 4 7
 Djamel El Okbi
 Bouazza Feham
 Zinedine Ferhat
 Karim Ghazi
 Tarek Ghoul 5
 Nacer Guedioura
 Abderrahmane Meziane 13
 Abderrahmane Meziani
 Moulay Haddou
 Fayçal Hamdani 5
 Mohamed Hamdoud
 Djamel Keddou
 Nacereddine Khoualed 10
 Hamza Koudri
 Abdelkader Laïfaoui
 Khaled Lemmouchia
 Mahieddine Meftah 5 6 7
 Djamel Menad
 Hocine Metref
 Hichem Mezaïr 8
 Amokrane Oualiken
 Moncef Ouichaoui
 Azzedine Rahim 4
 Krimo Rebih
 Smaïl Slimani 2
 Saad Tedjar 11
 Hamza Yacef
 Mounir Zeghdoud 5 6 7
 Lamine Zemmamouche 12
 Djamel Zidane
 Mohamed Rabie Meftah 14
 Mohamed Benyahia 14
 Daniel Moncharé
 Freddy Zemmour
 Mamadou Diallo 9
 Mintou Doucoure
 Carolus Andriamatsinoro
 Abdoulaye Maïga 15
 Michael Eneramo
 Nacer Zekri 4
 Muaid Ellafi

Notes

Note 1: played at the 1968 African Cup of Nations.
Note 2: played at the 1980 African Cup of Nations.
Note 3: played at the 1980 Summer Olympics.
Note 4: played at the 1996 African Cup of Nations.
Note 5: played at the 1998 African Cup of Nations.
Note 6: played at the 2000 African Cup of Nations.
Note 7: played at the 2002 African Cup of Nations.
Note 8: played at the 2004 African Cup of Nations.
Note 9: played at the 2004 Summer Olympics.
Note 10: played at the 2011 African Nations.
Note 11: played at the 2013 African Cup of Nations.
Note 12: played at the 2014 FIFA World Cup.
Note 13: played at the 2016 Summer Olympics.
Note 14: played at the 2017 Africa Cup of Nations.
Note 15: played at the 2012 Africa Cup of Nations.

Records and statistics

Mohamed Lamine Zemmamouche currently holds the team record for total number of games played with 400 matches until the end of the 2020–21 season, including 294 matches in the league. Nacereddine Khoualed has the second most appearances for the club with 286 matches. Karim Ghazi is the third most capped player with 241 matches. In the continental level, Hocine Achiou is the most capped player; involved in 38 matches, including 29 matches in the CAF Champions League. Malagasy Carolus Andriamatsinoro is the most capped foreign player with 132 matches in five seasons, also there is the French player Freddy Zemmour, who played with USMA six seasons immediately after the independence of Algeria and in unofficial statistics it is said that he played more than 200 matches with the team but can not be sure of that, Mahieddine Meftah is USM Alger's most capped international player. as for the scorers and beginning of the 1995–96 season Billel Dziri is the best scorer with 74 goals in all competitions and at the same time the best scorer in the League with 51 goals and in the continental competition with 16 goals, as for Tarek Hadj Adlane is the best scorer in the Algerian Cup with 11 goals also Moncef Ouichaoui is the only player of USM Alger in the history who won the league's top scorer in the 2002–03 season with 18 goals and at the continental level, Malian Mamadou Diallo won the top scorer of the CAF Champions League in 2004 with 10 goals.

USM Alger is the most team to reach the Algerian Cup final with 17 times, including five consecutive ones. The first cup achieved by the team was after seven finals in 1981 against ASM Oran, at that time the team was in the second division to become the first Algerian team to achieve the Algerian Cup at this level. The club is one of only four clubs to have won the Algerian Cup twice in succession, in 2003 and 2004. USMA share with ES Setif, MC Alger and CR Belouizdad the record of Algerian Cup titles with eight.  USM Alger's biggest winning scoreline in a competitive match is 13–0, achieved against SO Berrouaghia in the Critériums d'Honneur in 1962 and League's biggest win was 11–0 against ASM Oran in the 1975–76 season. League's biggest loss was  1–7  against JS Kabylie in 1989 in Tizi Ouzou. USM Alger is the second most successful team in the Domestic League with (8) Titles. USM Alger have achieved "Doubles" once (in 2003). Every starting player in USM Alger's 48 games of the 2012–13 season was a full international – a new club record. USM Alger were also the second Algerian club to reach the final of the CAF Champions League, in 2015, losing 4–1 on aggregate to TP Mazembe. Noureddine Saâdi holds the record for most games managed with 133, winning two titles. Rolland Courbis is the first foreign coach to achieve a title with the team when he won the Algerian Cup in 2013. The 700,000 Euro  transfer of Mamadou Diallo to Nantes in 2004 is the team's highest fee received for a player. The 400,000 Euros transfer of Kaddour Beldjilali from Étoile du Sahel in 2014 is the team's highest fee paid for a player.

Statistics

Recent seasons

The season-by-season performance of the club over the last ten years

In Africa
:

Non-CAF competitions
:

References

Notes

External links

Association football clubs established in 1937
Football clubs in Algeria
Football clubs in Algiers
Algerian Ligue Professionnelle 1 clubs
1937 establishments in Algeria
Sports clubs and teams in Algeria

USM Alger


The Law Enforcement Torch Run (LETR) is a campaign to benefit the Special Olympics. It began in 1981 in Wichita, Kansas, and is the largest grass-roots fundraising movement for the Special Olympics.

LETR is run by police officers, sheriff's deputies, correction officers, support staff, police volunteers and other law enforcement professionals from around the world.
Close to 97,000 police professionals in over 45 countries participate in this worldwide effort to raise money and awareness for Special Olympics.
Participants in the LETR help spread the word about the benefits of Special Olympics and how the program helps define the brave participants of these programs as athletes, and not define them by their disabilities. Since its inception in 1981, LETR has raised $619,187,626.

Similar in many ways to the Olympic Torch Relay, the Law Enforcement Torch Run consists of scheduled relay events, usually held in conjunction and coordination with Special Olympics functions (like the Special Olympics Summer and Winter Games). While carrying the flame, officers and athletes are referred to as "Guardians of the Flame".
In the broader sense, the LETR is used to define all of the special events, and fundraising activities that law enforcement conducts to contribute to this campaign. This includes (but is not limited to), tip-a-cop events, car washes, Polar Plunges, roof sits, motorcycle runs, online fundraising, T-shirt and hat sales, media events, and more.

Every two years, the Special Olympics World Games are held.  This brings about a special torch run called the Final Leg Run, during which, law enforcement, together with Special Olympic athletes, run the Flame of Hope throughout the host country for the games, spreading awareness for Special Olympics. This culminates with the lighting of the cauldron for the Flame of Hope at the opening ceremonies for the Special Olympics World Games.

Every year, members of the LETR converge at the International LETR conference to exchange ideas, and network about Special Olympics awareness and fundraising techniques.

Gallery

See also
 Special Olympics World Games
 Flame of Hope
 Olympic Games
 Special Olympics LETR Parent Website
 2007 World Games Official Website
 Special Olympics Washington
 Special Olympics Missouri Torch Run Information Page
 Special Olympics Montana Torch Run

References

Special Olympics
Torch relays

Law Enforcement Torch Run


Profane use is a term used in the Roman Catholic Church to refer to closed parish churches that will no longer be used as churches.  This is often done in preparation to sell the former church building to another party.  In this context, Profane does not refer to swearing, but rather to the older definition of those things that take place outside the temple.

With church buildings that are to be sold, first the sacred items (such as consecrated hosts) will be removed from the church.  The Diocesan Bishop (or Archbishop) will issue a decree stating that the church building has been relegated to profane use.  This has the effect of deconsecrating the church building.  Once this decree has been made the building is no longer an official church building.  The diocese will sell the building for any use as long as it is not sordid.

See also
Deconsecration

References

Catholic theology and doctrine
Former churches

Profane use


Broadacre City was a proposed development by Frank Lloyd Wright that would have given families one acre (0.40 hectare) each. It would have been an agrarian eutopia, part of the garden-city movement around four square miles or ten square kilometers in total size. The housing stock of Broadacre City would consist almost entirely of single family farmhouses. There would be a few office buildings and a train station, but it would primarily be a farming community. Almost all transportation would be done via private automobile, the city would be coal powered, and pedestrians would not be accommodated.

Cities
Arcology
Proposed buildings

Broadacre City


Richard Thomas (27 December 1779 – 21 February 1858) was an English civil engineer.

He produced a survey of the navigation of the River Severn, he also created a geological map of the mining district of Cornwall in 1819 which went through several editions.

In 1815, Thomas produced the first "Falmouth Guide" containing "a concise account of the history, trade, port and public establishments of Falmouth; directions to the public offices, lodging-houses, inns, taverns, etc."

Between 1850 and 1852, he wrote 35 letters to the West Briton newspaper, in which he discussed no fewer than 490 barrows, 180 various earthworks and archaeological remains in Cornwall.

Barrows destroyed since he had seen them included 7 barrows on St Breock Downs, the diameter of some being 55 feet, the others smaller.

Although he died in the Isles of Scilly, his funeral took place at Budock, Falmouth.

References

 Falmouth Packet Archives
 Cornwall by Philip Payton, page 23,

1779 births
1858 deaths
Engineers from Cornwall
People from Falmouth, Cornwall

Richard Thomas (civil engineer)


"Feeling Good" (also known as "Feelin' Good") is a song written by English composers Anthony Newley and Leslie Bricusse for the musical The Roar of the Greasepaint – The Smell of the Crowd. It was first performed on stage in 1964 by Cy Grant on the UK tour.

Nina Simone recorded "Feeling Good" for her 1965 album I Put a Spell on You. The song has also been covered by Sammy Davis Jr., Traffic, Michael Bublé, John Coltrane, Brian Stokes Mitchell, George Michael, Victory, Eels, Joe Bonamassa, Eden, Muse, Black Cat Bones, Bassnectar, Sophie B. Hawkins, Leslie West, Avicii, Chlöe, Palaver Strings & Kebra-Seyoun Charles, and Lauryn Hill, among others. It was also performed by John Legend as part of the Celebrating America performance marking the inauguration of Joe Biden and Kamala Harris on January 20, 2021.

Early performances and recordings
Although Bricusse and Newley shared songwriting credits, the words of the song are usually attributed to Bricusse, with the music by Newley. The song was first performed in public by Guyanese-British singer and actor Cy Grant on the opening night of The Roar of the Greasepaint – The Smell of the Crowd at the Theatre Royal in Nottingham on 3 August 1964. The show, directed by Newley, toured British provincial theatres, and was then taken to the US by theatre producer David Merrick.  It opened on 16 May 1965 at the Shubert Theatre in New York City, where the role of "the Negro", who sings "Feeling Good", was taken by Gilbert Price.

In the show, Price's character is asked to compete against the show's hero "Cocky"; but, as "Cocky" and his master "Sir" argue over the rules of the game, "the Negro" reaches the centre of the stage and "wins", singing the song at his moment of triumph. It was described as a "booming song of emancipation", and a Billboard review said it was "the kind of robust number that should have strong appeal". The original cast recording of the show, featuring Price's version of the song, was released by RCA Victor in early 1965, before the show reached New York.

A version by Cy Grant with pianist Bill Le Sage – much jazzier than the original stage version – appeared on their 1965 album . Anthony Newley's own recording appeared on his 1965 album "Who Can I Turn To" and other songs from "The Roar of the Greasepaint". One of the earliest recorded versions was a jazz treatment by saxophonist John Coltrane, which appeared on his album The John Coltrane Quartet Plays.... Recorded on 18 February 1965, it also features Art Davis, Elvin Jones and McCoy Tyner. Versions were also released in 1965 by Nina Simone, Jean DuShon, Julie London, Chris Connor, Billy Eckstine, Andy & The Bey Sisters and Sammy Davis Jr.
Ed Ames recorded a version in 1966 on his album "It's a Man's World".

The band Traffic has a live version titled "Feelin' Good" on Disc 2 of the album LAST EXIT. Recorded at the Fillmore in San Francisco on March 14, 1968, it is almost 11 minutes long. The LP album was released in Feb. 1969.

Chart versions

Nina Simone

Nina Simone's version, arranged and produced by Hal Mooney, was recorded in New York in January 1965 and appeared on her album I Put a Spell on You. It was not released as a single at the time. In 1994, Simone's recording was used in a British TV commercial for Volkswagen, and became popular. Released as a single, it reached No. 40 on the UK Singles Chart in July 1994.

Simone's version was remixed by Joe Claussell in 2002 for the first volume of the Verve Remixed series.

The vocal track by Nina Simone and the music of "Feeling Good" have been sampled in numerous songs. In 1997, it was sampled in "Feeling Good" by Huff & Herb. Other uses include "How I Feel" by Wax Tailor, from the 2005 album Tales of the Forgotten Melodies; "New Day" from the debut collaborative studio album Watch the Throne by American rappers Jay-Z and Kanye West in 2011; "How I Feel" by Flo Rida, from the 2013 album The Perfect 10; and, also in 2013, in the beginning of Bassnectar's Immersive Music Mixtape Side One.

The track "About You" on Mary J. Blige's 2005 album The Breakthrough features an unusual take on the song. The bulk of the recording consists of new lyrics, composed by Mary J. Blige, will.i.am and Keith Harris; however, the chorus samples several lines from "Feeling Good" as performed by Nina Simone. Simone's original vocals are distorted so much that her voice is almost unrecognisable; for this reason, Simone receives a credit as a featured artist, and Newley and Bricusse receive credit as co-writers. "About You" is produced by will.i.am. The original instrumental track to Nina Simone's "Feeling Good" was also used in the Swedish musician Avicii's song of the same name, used by Volvo.

Simone's recording was used in the film Point of No Return and appears on soundtracks for the movies Repo Men (2010), Last Holiday (2006), Professor Marston and the Wonder Women (2017),
Cruella (2021), the TV soundtrack Six Feet Under, Vol. 2: Everything Ends and the 2009 video game The Saboteur. The Bassnectar/Simone cover was used in "Chapter 6", a first-season episode of the television series Legion and in the television show Scandal.

In 2022, American Songwriter ranked "Feeling Good" number one on their list of the 10 greatest Nina Simone songs, and in 2023, The Guardian ranked the song number four on their list of the 20 greatest Nina Simone songs.

An official music video for Simone's version was released on YouTube 56 years after the release of her recording in June 2021.

Certifications

Muse

The English rock band Muse recorded a version for their 2001 album Origin of Symmetry. It was released as a single also featuring the song "Hyper Music".

In a poll by Total Guitar about best cover songs, Muse's version came fifth. In September 2010, NME readers voted it the greatest cover song of all time, over "Twist and Shout" by the Beatles and "Hurt" by Johnny Cash. A BBC poll in 2014 placed it ninth.

Muse's version reached No. 137 on the singles chart in France, and No. 24 on the singles chart in the UK.

Michael Bublé

"Feeling Good" was covered by Canadian singer Michael Bublé as the lead single from his album It's Time. The single was released on 4 April 2005. The song was the opening track on his live album Caught in the Act and has appeared in television advertisements, ESPN's 2005 World Series of Poker tournament, and the 2010 NBA draft broadcast.

Chart performance
The single peaked at No. 162 in the United Kingdom, No. 70 in Australia, No. 36 in Germany, No. 66 in Austria, and No. 14 in Poland. The song has become one of his most popular singles and became a hit in May 2010, when it reached No. 69 on the UK Singles Chart after it was featured in British advertisements.

Sales and certifications

Music video
A music video was released to accompany the single.  It features Buble in a nuclear power plant, reminiscent of James Bond and other 1960s secret agent movies.

The Pussycat Dolls

American girl group the Pussycat Dolls recorded "Feeling Good" for their debut studio album, PCD (2005). The song was sung entirely by the Dolls' lead singer, Nicole Scherzinger.

Reception
The Pussycat Dolls' version of "Feelin' Good" received mixed reviews from critics. Nick Butler of Sputnikmusic wrote that the song's inclusion on the album serves as "a pretty pointless vocal workout for Nicole". John Murphy from musicOMH gave a negative review, writing: "All the emotion and melodrama of the original is ripped out of the heart of the song and we're left with a pointless, faux-jazz version. They may as well have strutted over to [Nina] Simone's grave and performed a stiletto clad dance upon it." Sal Cinquemani of Slant Magazine commented that the "rendition of 'Feelin' Good' [...] is misguided at best". In contrast, Spence D. of IGN praised the song for returning to the "retro vibe with wondrous results". On the Billboard Smooth Jazz Songs chart, the song peaked at number 23, becoming The Pussycat Dolls' only song to appear on that chart.

Live performances
The song is included on their 2006 Live from London as the fourth track of the DVD. The song is performed solely by Scherzinger. The song was also included on their first headlining tour, PCD World Tour. While delivering an a cappella version of the song, Scherzinger wore a "virginal hoodie-cum-headscarf", reported Helen Pidd of The Guardian.

George Michael

George Michael performed "Feeling Good" during his 2011–12 Symphonica Tour and included it on the Symphonica album (2014). The music video was released on 6 May 2014, and "Feeling Good" was sent to radio on 11 August 2014. The release of "Feeling Good" coincided with the issue of Symphonica on the vinyl format. It became his final single before his death in 2016.

The studio version of "Feeling Good" was recorded by Michael in 2008 (with actress Loretta Devine featured prominently on backing vocals) and included on the US edition of his Twenty Five compilation. He also performed it during the 2008 legs of his 25 Live tour and the 2010 George Michael Live in Australia concerts.

Release history

References

External links
 Lyrics of this song

1964 songs
Songs written by Anthony Newley
Songs written by Leslie Bricusse
Songs from musicals
Nina Simone songs
George Michael songs
Eels (band) songs
Frank Sinatra songs
Michael Bublé songs
Philips Records singles
Mushroom Records singles
143 Records singles
Reprise Records singles
A&M Records singles
Song recordings produced by George Michael

Feeling Good


The Northern Local Supervoid is a region of space devoid of rich clusters of galaxies, known as a void. It is the closest supervoid and is located between the Virgo (Local), Coma and Hercules superclusters. On the sky, it is located between Boötes, Virgo, and Serpens Caput constellations. It contains a few small galaxies (primarily spirals) and galaxy clusters, but is mostly empty. The faint galaxies within this void divide the region into smaller voids, which are 3–10 times smaller than the supervoid. The center is located  away at approximately (, ) and it is  in diameter across its narrowest width.

See also
 KBC Void

References

Voids (astronomy)

Northern Local Supervoid


Zhao Leji (; born 8 March 1957) is a Chinese politician, who is the current chairman of the Standing Committee of the National People's Congress and the third-ranking member of the Politburo Standing Committee of the Chinese Communist Party.

In his earlier political career, he served as the Communist Party Secretary of Qinghai, the party secretary of Shaanxi, and the head of the Organization Department of the CCP. He entered the CCP Politburo in 2012 and was promoted to the Politburo Standing Committee five years later. Between 2017 and 2022, he was the secretary of the Central Commission for Discipline Inspection, the party's top anti-corruption body.

Early life
Zhao Leji was born in Xining, Qinghai province on 8 March 1957. His parents were from Xi'an, Shaanxi province. The family moved to Qinghai as part of the aid the frontiers programs of the Mao years. In 1974, during the later years of the Cultural Revolution, Zhao went to the countryside as a sent-down youth to perform manual labour at an agricultural commune in Guide County, Qinghai. After working there for about a year, Zhao returned to the city to become a communications assistant at the Commerce Department of the Qinghai provincial government.

Zhao joined the Chinese Communist Party (CCP) in 1975 and entered Peking University in 1977 as a Worker-Peasant-Soldier student; he received an undergraduate degree of philosophy there in January 1980. He then spent three years teaching at the Qinghai School of Commerce, holding various positions such as instructor, secretary of the Communist Youth League (CYL) wing of the provincial department of commerce, as well as the deputy head of the dean's office. In 1983, he returned to the Qinghai Commerce Department as the deputy Party secretary of the Political Department, as well as the secretary of the Department's CYL Committee, working there until 1984.

Between 1984 and 1986, he worked as the general manager and Party secretary of the Electronic and Chemical Corporation of Qinghai. In April 1986, he became deputy head and deputy Party secretary of the provincial Commerce Department, being promoted to its head and Party secretary in 1991, working there until 1994.

Local careers

Qinghai
In 1993, Zhao was appointed as an assistant governor of Qinghai, entering the provincial government and becoming part of the inner circle of then Qinghai party secretary Yin Kesheng. He was then elevated to vice governor of Qinghai in 1994, and then was appointed as Party secretary of his hometown Xining in 1997. He acceded to the post of governor in 1999 at age 42, becoming the youngest provincial governor in the country at the time. He was additionally was appointed as a member of the CCP Central Committee after the 16th CCP National Congress in 2002.

Having 'jumped' several levels in a short period of time, Zhao's upward trajectory began to slow by the turn of the century. Zhao became Party secretary of Qinghai in 2003 after having spent nearly five years in the Governor's office. Part of his inability to move to a more economically prosperous and more politically visible province was attributed to his Shaanxi background. He spoke in Shaanxi dialect even at government meetings.

Zhao's tenure in Qinghai was marked by rapid economic growth, and a tripling of the province's GDP from the time he took office as Governor to when he left as party secretary in 2007. It was said that Zhao took a relatively soft approach on ethnic minority issues and took on environmentally conscious investment projects. His achievements in Qinghai were lauded by the party's central leadership.

Shaanxi
In 2007, Zhao was transferred to become party secretary in his parents' home province of Shaanxi, having taken on the top jobs in both his 'native' province and the province of his birth, breaking an unspoken rule in the Communist Party that party secretaries should never hail from the province they are native to. This was seen as an indication of the trust shown to Zhao by the central leadership. In 2008, Shaanxi's GDP growth figures hit 15%, becoming one of only two provincial-level divisions to set sights on GDP growth rates of over 13%. In Shaanxi, Zhao oversaw the expansion and development of the GuanZhong-TianShui (关中-天水) economic belt.

Central leadership
After the 18th CCP National Congress in November 2012, he was appointed as a member of the Politburo and head of the Organization Department of the CCP.

Politburo Standing Committee
Zhao was chosen to be the 6th-ranking member of the Politburo Standing Committee, China's top decision-making body, at the 1st Plenary Session of the 19th Central Committee of the CCP on 25 October 2017. In the same Session, he succeeded Wang Qishan to become the Secretary of the Central Commission for Discipline Inspection, the party's highest internal-control institution that has been noted for executing CCP general secretary Xi Jinping's anti-corruption campaign. According to The Wall Street Journal, Zhao "has been taking a largely hands-off approach during his time in office and barely involved in making decisions on investigations".

Following the first plenary session of the 20th CCP Central Committee, Zhao was reappointed to the Politburo Standing Committee, becoming its 3rd-ranked member, and was succeeded by Li Xi as the CCDI secretary. On 10 March 2023, he was appointed as the chairman of the Standing Committee of the National People's Congress, succeeding Li Zhanshu.

References

External links
Profile

1957 births
Living people
Chinese Communist Party politicians from Qinghai
Chairmen of the Standing Committee of the National People's Congress
Chairperson and vice chairpersons of the Standing Committee of the 14th National People's Congress
Delegates to the 17th National Congress of the Chinese Communist Party
Delegates to the 18th National Congress of the Chinese Communist Party
Delegates to the 19th National Congress of the Chinese Communist Party
Delegates to the 20th National Congress of the Chinese Communist Party
Delegates to the 10th National People's Congress
Delegates to the 11th National People's Congress
Delegates to the 12th National People's Congress
Delegates to the 13th National People's Congress
Delegates to the 14th National People's Congress
Governors of Qinghai
Members of the 16th Central Committee of the Chinese Communist Party
Members of the 17th Central Committee of the Chinese Communist Party
Members of the 18th Politburo of the Chinese Communist Party
Members of the 19th Politburo Standing Committee of the Chinese Communist Party
Members of the 20th Politburo Standing Committee of the Chinese Communist Party
Members of the Secretariat of the Chinese Communist Party
People from Xining
People's Republic of China politicians from Qinghai
Political office-holders in Shaanxi
Secretaries of the Central Commission for Discipline Inspection

Zhao Leji


A film score  is original music written specifically to accompany a film. The score comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers under the guidance of or in collaboration with the film's director or producer and are then most often performed by an ensemble of musicians – usually including an orchestra (most likely a symphony orchestra) or band, instrumental soloists, and choir or vocalists – known as playback singers – and recorded by a sound engineer. The term is less frequently applied to music written for media such as live theatre, television and radio programs, and video games, and said music is typically referred to as either the soundtrack or incidental music.

Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. While the majority of scores are orchestral works rooted in Western classical music, many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.

Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of acoustic instruments, and many scores are created and performed wholly by the composers themselves, by using music composition software, synthesizers, samplers, and MIDI controllers.

Songs such as pop songs and rock songs are usually not considered part of the film's score, although songs do also form part of the film's soundtrack. Although some songs, especially in musicals, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs that are dropped into a specific scene in a film for emphasis or as diegetic music (e.g., a song playing on a character's car radio), are not considered part of the score, although the score's composer will occasionally write an original pop song based on their themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion.

Terminology
A film score may also be called a background score, background music, film soundtrack, film music, screen composition, screen music, or incidental music.

Process of creation

Spotting
The composer usually enters the creative process towards the end of filming at around the same time as the film is being edited, although on some occasions the composer is on hand during the entire film shoot, especially when actors are required to perform with or be aware of original diegetic music. The composer is shown an unpolished "rough cut" of the film before the editing is completed and talks to the director or producer about what sort of music is required for the film in terms of style and tone. The director and composer will watch the entire film, taking note of which scenes require original music. During this process, composers will take precise timing notes so that they know how long each cue needs to last, where it begins, where it ends, and of particular moments during a scene with which the music may need to coincide in a specific way. This process is known as "spotting".

Occasionally, a filmmaker will actually edit their film to fit the flow of music, rather than have the composer edit their score to the final cut. Director Godfrey Reggio edited his films Koyaanisqatsi and Powaqqatsi based on composer Philip Glass's music. Similarly, the relationship between director Sergio Leone and composer Ennio Morricone was such that the finale of The Good, the Bad and the Ugly and the films Once Upon a Time in the West and Once Upon a Time in America were edited to Morricone's score as the composer had prepared it months before the film's production ended.

In another example, the finale of Steven Spielberg's E.T. the Extra-Terrestrial was edited to match the music of his long-time collaborator John Williams: as recounted in a companion documentary on the DVD, Spielberg gave Williams complete freedom with the music and asked him to record the cue without pictures; Spielberg then re-edited the scene later to match the music.

In some circumstances, a composer will be asked to write music based on their impressions of the script or storyboards without seeing the film itself and has more freedom to create music without the need to adhere to specific cue lengths or mirror the emotional arc of a particular scene.  This approach is usually taken by a director who does not wish to have the music comment specifically on a particular scene or nuance of a film and which can instead be inserted into the film at any point the director wishes during the post-production process. Composer Hans Zimmer was asked to write music in this way in 2010 for director Christopher Nolan's film Inception; composer Gustavo Santaolalla did the same thing when he wrote his Oscar-winning score for Brokeback Mountain.

Syncing
When writing music for film, one goal is to sync dramatic events happening on screen with musical events in the score. There are many different methods for syncing music to picture. These include using sequencing software to calculate timings, using mathematic formulas and free timing with reference timings. Composers work using SMPTE timecode for syncing purposes.

When syncing music to picture, generally a leeway of 3–4 frames late or early allows the composer to be extremely accurate. Using a technique called Free Timing, a conductor will use either (a) a stopwatch or studio size stop clock, or (b) watch the film on a screen or video monitor while conducting the musicians to predetermined timings. These are represented visually by vertical lines (streamers) and bursts of light called punches. These are put on the film by the Music Editor at points specified by the composer. In both instances, the timings on the clock or lines scribed on the film have corresponding timings which are also at specific points (beats) in the composer/conductor score.

Written click track
A written click track is a method of writing bars of music in consistent time values (e.g. 4 beats in :02⅔ seconds) to establish a constant tempo in lieu of a metronome value (e.g. 88 Bpm). A composer would use a written click if he or she planned to conduct live performers. When using other methods such as a metronome, the conductor has a perfectly spaced audible click playing. This can yield stiff and lifeless performances in slower more expressive cues. A standard BPM value can be converted to a written click where X represents the number of beats per bar and W represents time in seconds by using the following equation:

Written clicks are expressed using 1/3 second increments, so the next step is to round the decimal to either 0, 1/3, or 2/3 of a second. The following is an example for 88 BPM:

2.72 rounds to 2.66, so the written click is 4 beats in :02⅔ seconds.

Once the composer has identified the location in the film with which to sync musically, he or she must determine the musical beat this event occurs on. To find this, conductors use the following equation, where bpm is beats per minute, sp is the sync point in real-time (i.e. 33.7 seconds), and B is the beat number in 1/3 increments (i.e. 49⅔).

Writing
Once the spotting session has been completed and the precise timings of each cue determined, the composer will then work on writing the score. The methods of writing the score vary from composer to composer; some composers prefer to work with a traditional pencil and paper, writing notes by hand on a staff and performing works-in-progress for the director on a piano, while other composers write on computers using sophisticated music composition software such as Digital Performer, Logic Pro, Finale, Cubase, or Pro Tools. Working with software allows composers to create MIDI-based demos of cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording.

The length of time a composer has to write the score varies from project to project; depending on the post-production schedule, a composer may have as little as two weeks or as much as three months to write the score. In normal circumstances, the actual writing process usually lasts around six weeks from beginning to end.

The actual musical content of a film score is wholly dependent on the type of film being scored and the emotions the director wishes the music to convey. A film score can encompass literally thousands of different combinations of instruments, ranging from full symphony orchestral ensembles to single solo instruments to rock bands to jazz combos, along with a multitude of ethnic and world music influences, soloists, vocalists, choirs and electronic textures. The style of the music being written also varies massively from project to project and can be influenced by the time period in which the film is set, the geographic location of the film's action, and even the musical tastes of the characters. As part of their preparations for writing the score the composer will often research different musical techniques and genres as appropriate for that specific project; as such, it is not uncommon for established film composers to be proficient at writing music in dozens of different styles.

Orchestration
Once the music has been written, it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform.

Some composers like Ennio Morricone orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate. Other composers are less detailed, and will often ask orchestrators to "fill in the blanks", providing their own creative input into the makeup of the ensemble, ensuring that each instrument is capable of performing the music as written, and even allowing them to introduce performance techniques and flourishes to enhance the score. In many cases, time constraints determined by the film's post-production schedule dictate whether composers orchestrate their own scores, as it is often impossible for the composer to complete all the required tasks within the time frame allowed.

Over the years several orchestrators have become linked to the work of one particular composer, often to the point where one will not work without the other.

Once the orchestration process has been completed, the sheet music is physically printed onto paper by one or more music copyists and is ready for performance.

Recording
When the music has been composed and orchestrated, the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album). However, some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians. Other performing ensembles that are often employed include the London Symphony Orchestra (performing film music since 1935) the City of Prague Philharmonic Orchestra (an orchestra dedicated mostly to recording), the BBC Philharmonic, and the Northwest Sinfonia.

The orchestra performs in front of a large screen depicting the film, The conductor and musicians habitually wear headphones that sound a series of clicks called a "click-track" that changes with meter and tempo, assisting to synchronize the music with the film.

More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes.

Elements of a film score
Most films have between 45 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout.

Temp tracks
In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track. On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick's 2001: A Space Odyssey, where Kubrick opted for existing recordings of classical works, including pieces by composer György Ligeti rather than the score by Alex North,  although Kubrick had also hired Frank Cordell to do a score. Other examples include Torn Curtain (Bernard Herrmann), Troy (Gabriel Yared), Pirates of the Caribbean: The Curse of the Black Pearl (Alan Silvestri), Peter Jackson's King Kong (Howard Shore), and The Bourne Identity (Carter Burwell).

Structure
Films often have different themes for important characters, events, ideas or objects, an idea often associated with Wagner's use of leitmotif. These may be played in different variations depending on the situation they represent, scattered amongst incidental music. The themes for specific characters or locations are known as a motif where the rest of the track is usually centered around the particular motif and the track develops in line with the motif.

This common technique may often pass unnoticed by casual moviegoers, but has become well known among genre enthusiasts. One prominent example is John Williams' score for the Star Wars saga, and the numerous themes in  Star Wars music associated with individual characters such as Darth Vader, Luke Skywalker, and Princess Leia. Similarly, the music of the Lord of the Rings film series featured recurring themes for many main characters and places. Another notable example is Jerry Goldsmith's Klingon theme from Star Trek: The Motion Picture (1979), which later composers in the Star Trek film series quoted in their Klingon motifs, and which was included on numerous occasions as a theme for Worf, the franchise's most prominent Klingon character. Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up, for which he received the Academy Award for Best Score. His orchestral soundtrack for the television series Lost also depended heavily on character and situation-specific themes.

Source music
"Source music" (or a "source cue") comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music, as it emanates from the "diegesis" or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's The Deer Hunter. Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever. Dogme 95 is a filmmaking movement, started in Denmark in 1995, with a manifesto that prohibits any use of non-diegetic music in its films.

Artistic merit

Music criticism
The artistic merits of film music are frequently debated. Some critics value it highly, pointing to music such as that written by Erich Wolfgang Korngold, Aaron Copland, Bernard Herrmann, and others. Some consider film music to be a defining genre of classical music in the late 20th century, if only because it is the brand of classical music heard more often than any other. In some cases, film themes have become accepted into the canon of classical music. These are mostly works from already noted composers who have done scores; for instance, Sergei Prokofiev's score to Alexander Nevsky, or Vaughan Williams' score to Scott of the Antarctic. Others see the great bulk of film music as meritless. They consider that much film music is derivative, borrowing heavily from previous works. Composers of film scores typically can produce about three or four per year. The most popular works by composers such as John Williams are still far from entering the accepted classical canon, although there is a growing appreciation for the broader contribution of composers such as Williams among some classical composers and critics; for example, the Norwegian contemporary classical composer Marcus Paus has said that he considers Williams to be "one of the great composers of any century" who has "found a very satisfying way of embodying dissonance and avant-garde techniques within a larger tonal framework" and who "might also have come the closest of any composer to realizing the old Schoenbergian [sic] utopia that children of the future would be whistling 12-tone rows." Even so, considering they are often the most popular modern compositions of classical music known to the general public, major orchestras sometimes perform concerts of such music, as do pops orchestras.

Preservation efforts
In 1983, a non-profit organization, the Society for the Preservation of Film Music, was formed to preserve the "byproducts" of creating a film score, including the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by movie studios. The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.

History
The origins of film music are disputed. According to Kurt London, film music "began not as a result of any artistic urge, but from a dire need of something which would drown the noise made by the projector. For in those times there was as yet no sound-absorbent walls between the projection machine and the auditorium. This painful noise disturbed visual enjoyment to no small extent. Instinctively cinema proprietors had recourse to music, and it was the right way, using an agreeable sound to neutralize one less agreeable." On the contrary, film historian James Wierzbicki asserts that early film showings (such as the Lumière brothers' first film screening) would have been social events to the capacity that they had no need to mask the sounds of a projector mechanism. As these early films began to move out of exhibition spaces and into vaudeville theaters, the role of film began to shift as well. Given that vaudeville theaters typically employed musicians, it is likely that this is the point when it became commonplace for film to be accompanied by music. Audiences at the time would have come to expect music in the vaudeville space, and as such live musical accompaniment to films grew out naturally.

Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. A pianist was present to perform at the Lumière brothers' first film screening in 1895. In 1914, The Oz Film Manufacturing Company sent full-length scores by Louis F. Gottschalk for their films. Other examples of this include Victor Herbert's score in 1915 to The Fall of a Nation (a sequel to The Birth of a Nation) and Camille Saint-Saëns' music for The Assassination of the Duke of Guise in 1908. It was preceded by Nathaniel D. Mann's score for The Fairylogue and Radio-Plays by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows. Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of photoplay music, which had different subsections broken down by 'mood' and genre: dark, sad, suspense, action, chase, etc.

German cinema, which was highly influential in the era of silent movies, provided some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz, who also wrote piano-versions of his music, for playing in smaller cinemas. Friedrich W. Murnau's movies Nosferatu (1922 – music by Hans Erdmann) and Faust – Eine deutsche Volkssage (1926 – music by Werner Richard Heymann) also had original scores written for them. Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, which were artistically included into the score by the composer. Much of this influence can be traced further back to German Romantic forms of music. Richard Wagner's ideas on Gesamtkunstwerk and leitmotif in his operas were later picked up on by prominent film composer Max Steiner. Steiner and his contemporary Erich Korngold both immigrated from Vienna, bringing with them musical structures and ideologies of the late Romantic period.

In France, before the advent of talkies, Erik Satie composed what many consider the first "frame by frame" synchronous film score for director René Clair's avant-garde short Entr'acte (1924). Anticipating "spotting" techniques and the inconsistencies of projection speeds in screenings of silent films, Satie took precise timings for each sequence and created a flexible, aleatoric score of brief, evocative motifs which could be repeated and varied in tempo as required. American composers Virgil Thomson and Aaron Copland cited Satie's music for Entr'acte as a major influence on their own forays into film scoring.

When sound came to movies, director Fritz Lang barely used music in his movies anymore. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt, Lang's movie M – Eine Stadt sucht einen Mörder was lacking musical accompaniment completely and  only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in M.

Early attempts at the synchronization of sound and image were failures, in large part due to mechanical and technological limitations. Phonographs, the only medium available for recorded sound in the early twentieth century, were difficult if not impossible to synchronize with the rotation of film projectors. In the cases where an attempt was made, sound was further limited by an inability to properly amplify it. However, in the 1920s improvements in radio technology allowed for the amplification of sound, and the invention of sound on film allowed for the synchronization thereof. A landmark event in music synchronization with the action in film was achieved in the score composed by Max Steiner for David O. Selznick's 1933 King Kong. A fine example of this is when the aborigine chief slowly approaches the unwanted visitors to Skull Island who are filming the natives' sacred rites. As he strides closer and closer, each footfall is reinforced by a background chord.

Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," the 1950s saw the rise of the modernist film score.  Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz.  Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms."  A year later, Leonard Rosenman, inspired by Arnold Schoenberg, experimented with atonality in his scores for East of Eden (1955) and Rebel Without a Cause (1955).  In his ten-year collaboration with Alfred Hitchcock, Bernard Herrmann experimented with ideas in Vertigo (1958) and Psycho (1960).  The use of non-diegetic jazz was another modernist innovation, such as jazz star Duke Ellington's score for Otto Preminger's Anatomy of a Murder (1959).

Composers

Academy Award nominees and winners

Box office champions
The following list includes all composers who have scored one of the 100 highest-grossing films of all time but have never been nominated for a major award (Oscar, Golden Globe etc.).

 William Alwyn – Swiss Family Robinson (1960)
 Joseph DeBeasi – American Sniper (2014)
 David Buttolph – House of Wax (1953)
 Brad Fiedel – Terminator 2: Judgment Day (1991)
 Alexander Janko – My Big Fat Greek Wedding (2002)
 Bill Justis – Smokey and the Bandit (1977)
 Harald Kloser – The Day After Tomorrow (2004), 2012 (2009)
 Heitor Pereira – Despicable Me (2010), The Smurfs (2011), Despicable Me 2 (2013)
 Trevor Rabin – Armageddon (1998), National Treasure: Book of Secrets (2007)
 Thomas Wanker – 2012 (2009)
 Pharrell Williams – Despicable Me (2010), Despicable Me 2 (2013)
 Chris Wilson – My Big Fat Greek Wedding (2002)

Relation with directors

Sometimes, a composer may unite with a director by composing the score for many films of a same director. John Williams' professional relationship with Steven Spielberg and George Lucas is one of the most prominent in film history, with Williams scoring all but five of Spielberg's films, and all the installments of both of Lucas' blockbuster franchises (Star Wars and Indiana Jones); Williams won all five of his Oscars in his collaborations with the two. Additionally, Danny Elfman did the score for all the movies directed by Tim Burton, with the exception of Ed Wood (score by Howard Shore) and Sweeney Todd: The Demon Barber of Fleet Street (score by Stephen Sondheim). Other documented instance of director-composer relationships includes: Bernard Herrmann with Alfred Hitchcock; Jerry Goldsmith with Joe Dante and Franklin Schaffner; Ennio Morricone with Sergio Leone, Mauro Bolognini, and Giuseppe Tornatore; Henry Mancini with Blake Edwards; Georges Delerue with François Truffaut; Alan Silvestri with Robert Zemeckis; Angelo Badalamenti with David Lynch; James Newton Howard with M. Night Shyamalan; Éric Serra with Luc Besson; Patrick Doyle with Kenneth Branagh; Dave Grusin with Sydney Pollack; Howard Shore with David Cronenberg, Peter Jackson, and Martin Scorsese; Carter Burwell with Joel & Ethan Coen; Bill Conti with John G. Avildsen; Lalo Schifrin with Don Siegel, Stuart Rosenberg, and Brett Ratner; Hans Zimmer with Ridley Scott and Christopher Nolan; Harry Gregson-Williams with Tony Scott and Andrew Adamson; Clint Mansell with Darren Aronofsky; Dario Marianelli with Joe Wright; Trent Reznor and Atticus Ross with David Fincher; Steve Jablonsky with Michael Bay, Mychael Danna with Ang Lee and Atom Egoyan, Terence Blanchard with Spike Lee, Randy Newman with John Lasseter; Thomas Newman with Sam Mendes; David Newman with Danny Devito, Brian Levant, and Stephen Herek; John Debney with Jon Favreau and Garry Marshall; Gabriel Yared with Anthony Minghella; Joe Kraemer with Christopher McQuarrie; Michael Giacchino with J. J. Abrams and Brad Bird; James Horner with James Cameron and Ron Howard; John Barry with Bryan Forbes, Anthony Harvey, Terence Young, and Guy Hamilton; Elmer Bernstein with John Landis, John Sturges, and Robert Mulligan; Maurice Jarre with David Lean, Peter Weir, and Georges Franju; Philip Glass with Godfrey Reggio; Cliff Martinez and David Holmes with Steven Soderbergh; Akira Ifukube with Ishirō Honda; A. R. Rahman with Mani Ratnam; George Fenton with Richard Attenborough, Nicholas Hynter, Ken Loach, and Stephen Frears; Klaus Badelt and Ernst Reijseger with Werner Herzog; Randy Edelman with Ivan Reitman and Rob Cohen; Marc Shaiman with Rob Reiner; Elliot Goldenthal with Julie Taymor and Neil Jordan; Rachel Portman with Beeban Kidron, Lasse Hallström, and Jonathan Demme; Christophe Beck with Shawn Levy; Arthur B. Rubinstein and David Shire with John Badham; John Powell with Doug Liman and Paul Greengrass; Trevor Rabin with Renny Harlin and Jon Turteltaub; Harald Kloser with Roland Emmerich; David Arnold with Michael Apted and John Singleton; Michael Kamen with Richard Donner, John McTiernan, and Terry Gilliam; Jorge Arriagada with Raúl Ruiz; Zbigniew Preisner with Krzysztof Kieślowski; Mark Isham with Alan Rudolph and Robert Redford; Basil Poledouris with John Millius; Joseph Trapanese with Joseph Kosinski; Jonny Greenwood  and Jon Brion with Paul Thomas Anderson; Brian Tyler with Justin Lin and Sylvester Stallone; John Ottman with Bryan Singer; Marco Beltrami with Wes Craven and Guillermo del Toro; Tyler Bates with James Gunn, Zack Snyder, and Rob Zombie; Pino Donaggio with Brian De Palma; and Alexandre Desplat with Wes Anderson, Roman Polanski, and George Clooney.

Production music

Many companies provide music to various film, TV and commercial projects for a fee. Sometimes called library music, the music is owned by production music libraries and licensed to customers for use in film, television, radio and other media. Examples of firms include Warner Chappell Production Music, Jingle Punks, Associated Production Music, FirstCom Music, VideoHelper and Extreme Music. Unlike popular and classical music publishers, who typically own less than 50 percent of the copyright in a composition, music production libraries own all of the copyrights of their music, meaning that it can be licensed without seeking the composer's permission, as is necessary in licensing music from normal publishers. This is because virtually all music created for music libraries is done on a work for hire basis. Production music is therefore a very convenient medium for media producers – they can be assured that they will be able to license any piece of music in the library at a reasonable rate.

Production music libraries will typically offer a broad range of musical styles and genres, enabling producers and editors to find much of what they need in the same library. Music libraries vary in size from a few hundred tracks up to many thousands. The first production music library was set up by De Wolfe Music in 1927 with the advent of sound in film, the company originally scored music for use in silent film. Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s. APM, the largest US library, has over 250,000 tracks.

See also

 Show tune
 AFI's 100 Years of Film Scores
 Fictional music
 List of film score composers
 List of film director and composer collaborations
 Score, a 2016 documentary film about film scores
 Film Score Monthly

References

Further reading

 Andersen, Martin Stig. "Electroacoustic Sound and Audiovisual Structure in Film". eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l'œuvre électroacoustique (August 2010). Montréal: CEC.
 Dorschel, Andreas (ed.). Tonspuren. Musik im Film: Fallstudien 1994–2001. Universal Edition, Vienna 2005 (Studien zur Wertungsforschung 46). . Scrutinizes film score practice at the turn from the 20th to 21st century. In German.
 Elal, Sammy and Kristian Dupont (eds.). "The Essentials of Scoring Film". Minimum Noise. Copenhagen, Denmark.
 Harris, Steve. Film, Television, and Stage Music on Phonograph Records: A Discography. Jefferson, N.C.: McFarland & Co., 1988. .
 MacDonald, Laurence E. (1998) The Invisible Art of Film Music: A Comprehensive History. Scarecrow Press. .
 Holly Rogers and Jeremy Barham, The Music and Sound of Experimental Film. Oxford: Oxford University Press, 2017.
 Slowik, Michael. After the Silents: Hollywood Film Music in the Early Sound Era, 1926–1934. New York: Columbia University Press, 2014.
 Spande, Robert. "The Three Regimes – A Theory of Film Music" Minneapolis, 1996.
 Stoppe, Sebastian, ed. Film in concert: film scores and their relation to classical concert music. Glückstadt: Verlag Werner Hülsbusch, 2014. . doi:10.25969/mediarep/16802.
 Stubblevine, Donald J. Cinema Sheet Music: A Comprehensive Listing of Published Film Music, from Squaw Man (1914) to Batman (1989). Jefferson, N.C.: McFarland & Co., 1991. .
 Various contributors [wiki]. "Films with Significant Electroacoustic Content". eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006). Montréal: CEC.

External links
 Film music organizations
 Film Music Society
 International Film Music Critics Association

 Journals (online and print)
 Film Music Magazine
 Film Music Review
 The Journal of Film Music
  UnderScores : le magazine de la musique de film

 Education
 International School for Film Score Composition and Production

 Language

Film score


Édouard Louis Trouessart (25 August 1842 – 30 June 1927) was a French zoologist born in Angers.

He studied military medicine in Strasbourg, but was forced to leave school due to serious health problems. In 1864 he started work as préparateur de physique at the Faculty of Poitiers, and in the process, dedicated his time and energies to natural history. He also resumed his studies in medicine, earning a medical doctorate in 1870. During the Franco-Prussian War, he served in the French army. Later, he was employed at the hospital in Villevêque.

From 1882 to 1884, he was director at the Museum of Angers, and in the meantime taught classes in natural history at the high school in Angers. In 1885 he relocated to Paris, where he worked with Alphonse Milne-Edwards (1835-1900). After the death of Emile Oustalet (1844-1905), he attained the chair of zoology (mammals and birds), a position he maintained until 1926.

Selected writings
  Les microbes, les ferments et les moisissures. Avec 107 figures dans le texte (1886); later translated into English as "Microbes, ferments and moulds. With one hundred and seven illustrations". (New York : D. Appleton and co., 1886).
 Au bord de la mer: géologie, faune et flore des côtes de France de Dunkerque à Biarritz (1893) - The seaside: geology, fauna and flora on the coasts of France at Dunkerque and Biarritz.
 "Catalogus mammalium tam quam viventium fossilium" (1899).
 Faune des Mammifères d'Europe (1910) – Mammalian fauna of Europe.
 La distribution géographique des animaux (1922) - Geographical distribution of animals.

References
 Online Books (published works)
 France savante (biographical information)
 Parts of this article are based on a translation of an equivalent article at the French Wikipedia.

1842 births
1927 deaths
French zoologists
People from Angers
University of Poitiers alumni
National Museum of Natural History (France) people

Édouard Louis Trouessart