title: Ambati Rayudu

text: Rayudu continued to be a part of India's ODI squads as a reserve batsman in the home series against Australia in October 2013, against West Indies in November 2013, as well as on tours to South Africa in December 2013 and New Zealand in January 2014, making only two appearances in the playing eleven across the four series. He played in all matches of 2014 Asia Cup and scored 58 against Pakistan. He struggled during the three-match ODI tour of Bangladesh, making two single-digit scores.


title: Ambati Rayudu

text: Rayudu was picked in the ODI and T20I squads for the tour of England in July 2014. He played in the third ODI at Nottingham where he picked his maiden ODI wicket, that of England captain Alastair Cook, and top-scored with 64 not out to help India register a six-wicket win. He followed it with a 53 in the fifth ODI at Leeds. He averaged 28.50 in the home ODI series against West Indies in October 2014. Rayudu scored his maiden ODI century in the following series against Sri Lanka, hitting an unbeaten 121 in the second ODI at Ahmedabad and guiding India to the target of 275. During the match, he shared 100-plus partnerships with both Shikhar Dhawan and Kohli and won his first man of the match award for the knock. In the fifth ODI at Ranchi, he made 59 to set up another successful run-chase and a 5–0 whitewash of Sri Lanka.


title: Ambati Rayudu

text: Rayudu averaged 19.33 in the tri-series against Australia and England and was selected in India's 15-member squad for the 2015 Cricket World Cup which reached the semifinal, but did not appear in any of the matches in the tournament. He played two ODIs on the Bangladesh tour in June 2015 and averaged 22. In the subsequent tour of Zimbabwe, Rayudu scored an unbeaten 124 in the first ODI at Harare and won the man of the match award. He scored 41 in the next match before suffering an injury that ruled him out of the tour. India went on to sweep the series 3–0 and Rayudu was adjudged man of the series.


title: Ambati Rayudu

text: Rayudu has been involved in confrontations with players and umpires throughout his career. In 2005, while playing for Andhra in the Ranji Trophy, he was involved in a scuffle with Hyderabad player Arjun Yadav, in which he was attacked by Yadav with a stump. During the 2012 IPL, Rayudu was fined 100% of his match fee for using obscene and abusive language against opposition player Harshal Patel after a match. In 2014, he was seen hurling expletives at the umpire after his dismissal during a match of India A's tour of Australia. During a 2016 IPL match, he was involved in an on-field spat with Mumbai Indians teammate Harbhajan Singh. In 2018, the BCCI banned Rayudu for two matches after his heated confrontation with the umpires during a Syed Mushtaq Ali Trophy match against Karnataka.


title: Ambati Rayudu

text: In September 2017, a video surfaced on social media showing Rayudu getting into a heated argument, manhandling and punching a senior citizen.


title: Ambati Rayudu

text: In April 2019, Rayudu tweeted "Just Ordered a new set of 3d glasses to watch the world cup" after the selectors dropped him from the World Cup squad in favour of Vijay Shankar, whom the chairman of selection committee had called a "three dimensional" cricketer.


title: Johannes von Trapp

text: Johannes von Trapp (born 17 January 1939) is an Austrian American singer and former member of the Trapp Family Singers, whose lives were the inspiration for the musical and movie "The Sound of Music". He is the tenth and youngest child. As of November 2022, Johannes is the last surviving sibling of the von Trapp family.


title: Johannes von Trapp

text: He was eight years old when his father Georg von Trapp died in 1947. His siblings are Rosmarie (1929-2022) and Eleonore (1931-2021). He graduated from prep school at the Canterbury School in Connecticut in 1956. Later that year, he, along with several other members of the extended family, went to New Guinea to do missionary work. He later joined the Vermont Army National Guard as a Second Lieutenant. He attended training as a medical officer at Fort Sam Houston, Texas in 1967.


title: Johannes von Trapp

text: By 1969, he had graduated from Dartmouth College. He attended the Yale University's School of Forestry for his Master's degree. He returned to Stowe, Vermont, to help with the family inn's finances, and then became the manager of the resort. In 1977, he moved to British Columbia and later to a ranch in Montana. He eventually returned to manage the family business in Vermont.


title: Johannes von Trapp

text: In 1969 von Trapp married Lynne Peterson. They have two children. Johannes visited the Trapp Villa in Salzburg Aigen on 28 July 2008, with his half-sister Maria Franziska, and Erika, the widow of his half-brother Werner.


title: Mel-frequency cepstrum

text: In sound processing, the mel-frequency cepstrum (MFC) is a representation of the short-term power spectrum of a sound, based on a linear cosine transform of a log power spectrum on a nonlinear mel scale of frequency.


title: Mel-frequency cepstrum

text: Mel-frequency cepstral coefficients (MFCCs) are coefficients that collectively make up an MFC. They are derived from a type of cepstral representation of the audio clip (a nonlinear "spectrum-of-a-spectrum"). The difference between the cepstrum and the mel-frequency cepstrum is that in the MFC, the frequency bands are equally spaced on the mel scale, which approximates the human auditory system's response more closely than the linearly-spaced frequency bands used in the normal spectrum. This frequency warping can allow for better representation of sound, for example, in audio compression that might potentially reduce the transmission bandwidth and the storage requirements of audio signals.


title: Mel-frequency cepstrum

text: There can be variations on this process, for example: differences in the shape or spacing of the windows used to map the scale, or addition of dynamics features such as "delta" and "delta-delta" (first- and second-order frame-to-frame difference) coefficients.


title: Mel-frequency cepstrum

text: The European Telecommunications Standards Institute in the early 2000s defined a standardised MFCC algorithm to be used in mobile phones.


title: Mel-frequency cepstrum

text: Since, Mel-frequency bands are distributed evenly in MFCC and they are much similar to the voice system of a human, thus, MFCC can efficiently be used to characterize speakers, for instance, it can be used to recognize the speaker's cell phone model details and further the details of the speaker.


title: Mel-frequency cepstrum

text: Talking about speech recognition to identify mobile phones, the production of electronic components in a phone have tolerances because different electronic circuit realizations do not have exact same transfer functions. The dissimilarities in the transfer function from one realization to another becomes more prominent if the task performing circuits are from different manufacturers. Hence, each cell phone introduces a convolutional distortion on input speech that leaves its unique impact on the recordings from the cell phone. Therefore,a particular phone can be identified from the recorded speech by multiplying original frequency spectrum with further multiplication of transfer function specific to each phone followed by signal processing techniques. Thus, by using MFCC one can characterize cell phone recordings to identify the brand and model of the phone.


title: Mel-frequency cepstrum

text: Impulse response- "h(n)", recorded speech signal "y(n)" as output of filter in response to input "x(n)."


title: Mel-frequency cepstrum

text: As speech is not stationary signal, it is divided into overlapped frames within which the signal is assumed to be stationary. So, the formula_2 short-term segment (frame) of recorded input speech is:


title: Mel-frequency cepstrum

text: Hence, as specified the footprint of mobile phone of the recorded speech is the convolution distortion that helps to identify the recording phone.


title: Mel-frequency cepstrum

text: The embedded identity of the cell phone requires a conversion to a better identifiable form, hence, taking short-time Fourier transform:


title: Mel-frequency cepstrum

text: formula_5 can be considered as a concatenated transfer function that produced input speech, and the recorded speech formula_6 can be perceived as original speech from cell phone.


title: Mel-frequency cepstrum

text: So, equivalent transfer function of vocal tract and cell phone recorder is considered as original source of recorded speech. Therefore,


title: Mel-frequency cepstrum

text: where "Xew(f)" is the excitation function, formula_8 is the vocal tract transfer function for speech in the formula_2 frame and formula_10 is the equivalent transfer function that characterizes the cell phone.


title: Mel-frequency cepstrum

text: This approach can be useful for speaker recognition as the device identification and the speaker identification are very much connected.


title: Mel-frequency cepstrum

text: Providing importance to the envelope of the spectrum which multiplied by filter bank (suitable cepstrum with mel-scale filter bank), after smoothing filter bank with transfer function U(f), the log operation on output energies are:


title: Mel-frequency cepstrum

text: where, cy(j), ce(j), cw(j) are the recorded speech cepstrum and weighted equivalent impulse response of cell phone recorder that characterizes the cell phone, respectively, while j is the number of filters in the filter bank.


title: Mel-frequency cepstrum

text: More precisely, the device specific information is in the recorded speech which is converted to additive form suitable for identification.


title: Mel-frequency cepstrum

text: Hence, Mel-scale is a commonly used frequency scale that is linear till 1000 Hz and logarithmic above it.


title: Mel-frequency cepstrum

text: where "c" = "c(i) = ith" MFCC coefficient, "N" is the number of triangular filters in the filter bank, "Sn" is the log energy output of nth filter coefficient and L is the number of MFCC coefficients that we want to calculate.


title: Mel-frequency cepstrum

text: MFCCs are commonly used as features in speech recognition systems, such as the systems which can automatically recognize numbers spoken into a telephone.


title: Mel-frequency cepstrum

text: MFCCs are also increasingly finding uses in music information retrieval applications such as genre classification, audio similarity measures, etc.


title: Mel-frequency cepstrum

text: MFCC values are not very robust in the presence of additive noise, and so it is common to normalise their values in speech recognition systems to lessen the influence of noise. Some researchers propose modifications to the basic MFCC algorithm to improve robustness, such as by raising the log-mel-amplitudes to a suitable power (around 2 or 3) before taking the discrete cosine transform (DCT), which reduces the influence of low-energy components.


title: Mel-frequency cepstrum

text: Paul Mermelstein is typically credited with the development of the MFC. Mermelstein credits Bridle and Brown for the idea:


title: Mel-frequency cepstrum

text: Bridle and Brown used a set of 19 weighted spectrum-shape coefficients given by the cosine transform of the outputs of a set of nonuniformly spaced bandpass filters. The filter spacing is chosen to be logarithmic above 1 kHz and the filter bandwidths are increased there as well. We will, therefore, call these the mel-based cepstral parameters.


title: Mel-frequency cepstrum

text: Many authors, including Davis and Mermelstein, have commented that the spectral basis functions of the cosine transform in the MFC are very similar to the principal components of the log spectra, which were applied to speech representation and recognition much earlier by Pols and his colleagues.


title: Scarborough Shoal

text: Scarborough Shoal, also known as Bajo de Masinloc (in Spanish), Panatag Shoal (), Huangyan Island (Mandarin ), and Democracy Reef, are two rocks in a shoal located between Luzon and Macclesfield Bank within the Philippine EEZ in the South China Sea. It is away from the nearest landmass of Luzon, the largest island of the Philippines.


title: Scarborough Shoal

text: It is a disputed territory claimed by the Republic of the Philippines through the 1734 Velarde map, while the People's Republic of China and the Republic of China (Taiwan) claim it through the disputed nine-dash line (originally an eleven-dash line which included waters in the Gulf of Tonkin). The shoal's status is often discussed in conjunction with other territorial disputes in the South China Sea such as those involving the Spratly Islands, and the 2012 Scarborough Shoal standoff. It was administered by the Philippines as part of its Zambales province, until 2012, when a standoff was initiated by China through the use of warships against fishing boats, resulting in its effective capture.


title: Scarborough Shoal

text: In 2013, the Philippines solely filed an international case against China in the arbitration court in The Hague, Netherlands. In 2016, the court declared that China's so-called nine-dash line claim in the entire South China Sea was invalid, while upholding the sovereign rights of the Philippines in the area. China rejected the UN-backed international court's decision, sending more warships in Scarborough Shoal and the Spratly Islands, while a multitude of nations backed the Tribunal's ruling including the claimants to the area such as Malaysia, the Philippines, and Vietnam.


title: Scarborough Shoal

text: The shoal was named by Captain Philip D'Auvergne, whose East India Company East Indiaman "Scarborough" grounded on one of the rocks on 12 September 1784, before sailing on to China,<ref name="Joseph Huddart 1801 https://books.google.com/books?id=FbwBAAAAYAAJ&pg=PA454 454"></ref> although it already had a Spanish name recorded in the 1734 Velarde map of Spanish Philippines.


title: Scarborough Shoal

text: Scarborough Shoal forms a triangle-shaped chain of reefs and rocks with a perimeter of . It covers an area of , including an inner lagoon. The shoal's highest point, "South Rock", is above sea-level at high tide. Located north of "South Rock" is a channel, approximately wide and deep, leading into the lagoon. Several other coral rocks encircle the lagoon, forming a large atoll.


title: Scarborough Shoal

text: The shoal is about west of Subic Bay. To the east of the shoal is the deep Manila Trench. The nearest point of land is in Palauig, Zambales on Luzon island in the Philippines, due east.


title: Scarborough Shoal

text: Scarborough Shoal is named after a British merchant ship, the 'Scarborough' which was wrecked on the feature on 12 September 1748. A number of countries have made historic claims of the use of Scarborough Shoal. China has stated that a 1279 Yuan dynasty map and subsequent surveys by the royal astronomer Guo Shoujing carried out during Kublai Khan's reign established that Scarborough Shoal were used since the thirteenth century by Chinese fishermen. No such 1279 map has been released by China to the public. In an article from 18 February 1980, the Beijing Review stated that Guo Shoujing built an observatory in the Paracel Islands, not Scarborough Shoal. Given that Guo's observatories were huge constructions, it is unlikely that either story is true.


title: Scarborough Shoal

text: During the Spanish period of the Philippines, a 1734 map was made, which named Scarborough Shoals as "Panacot", a feature under complete sovereignty of Spanish Philippines. The shoal's current name was chosen by Captain Philip D'Auvergne, whose East India Company East Indiaman "Scarborough" briefly grounded on one of the rocks on 12 September 1784, before sailing on to China. As early as 1937 to 1938, the Commonwealth of the Philippines laid claim to Scarborough Shoal. The Philippine government conducted an oceanographic survey in 1957, and in 1965, the Philippine flag was raised in the area.


title: Scarborough Shoal

text: When China built their facilities on Mischief Reef within the Philippine EEZ in 1995, then National Security Advisor Jose T. Almonte pushed for the establishment of a lighthouse on Scarborough Shoal to bolster the Philippine claim. The parts of the lighthouse had been fabricated on the mainland Philippines but, according to Almontre, the project was scuttled for internal political reasons and to avoid antagonizing the Chinese.


title: Scarborough Shoal

text: The 2012 Scarborough Shoal standoff between China and the Philippines led to a situation where access to the shoal was restricted by the People's Republic of China. The expected intervention of the United States to protect its ally through an existing mutual defence treaty did not commence after the United States indirectly stated that it does not recognise any nation's sovereignty over Scarborough Shoal, leading to strained ties between the Philippines and the United States. In January 2013, the Philippines formally initiated arbitration proceedings against China's claim on the territories within the "nine-dash line" that includes Spratly Islands and Scarborough Shoal, which it said is "unlawful" under the United Nations Convention on the Law of the Sea (UNCLOS). An arbitration tribunal was constituted under Annex VII of UNCLOS and it was decided in July 2013 that the Permanent Court of Arbitration (PCA) would function as registry and provide administrative duties in the proceedings.


title: Scarborough Shoal

text: On 12 July 2016, the arbitrators of the tribunal of PCA ruled in favor of the Philippines on most of her submissions.. They concluded in the decision that there was no evidence that China had historically exercised exclusive control over the waters or resources, hence there was "no legal basis for China to claim historic rights" over the nine-dash line. Accordingly, the PCA tribunal decision is ruled as final and non-appealable by either country. The tribunal also criticised China's land reclamation projects and its construction of artificial islands in the Spratly Islands, saying that it had caused "severe harm to the coral reef environment". It also characterised Taiping Island and other features of the Spratly Islands as "rocks" under UNCLOS, and therefore are not entitled to a 200 nautical mile exclusive economic zone. China however rejected the ruling, calling it "ill-founded". In 2019, Taiwan also rejected the ruling.


title: Scarborough Shoal

text: In late 2016, following meetings between the Philippine president Duterte and his PRC counterparts, the PRC "verbally" allowed Filipino fishermen to access the shoals for fishing, sparking criticism as "allowing" would mean China is implying that it owns the territory. In January 2018, it was revealed that for every 3,000 pesos' worth of fish catch by Filipino fisherfolk, China took them in exchange for "two bottles of mineral water" worth 20 pesos. On 14 June 2018, China's destruction of Scarborough Shoal's reefs surged to an extent which they became visible via satellites, as confirmed by the University of the Philippines Diliman.


title: Scarborough Shoal

text: A March 2016 article by the CSIS Asia Maritime transparency Initiative said that satellite imagery had shown no signs of any land reclamation, dredging or construction activities in Scarborough shoal and the only vessels present were a Chinese civilian ship anchored within the mouth of the lagoon, which has been typical for several years, and two Filipino trimaran-type fishing ships outside the shoal. However, according to the then U.S. chief of naval operations Admiral John Richardson that did not mean that Chinese ships had not performed surveys in preparation for reclamation.


title: Scarborough Shoal

text: In September 2016 during the ASEAN summit, the Philippine government produced photos that it said showed fresh PRC construction activity at the shoal. A US administration official questioned the Philippines' claim, saying the United States had not detected any unusual activity at Scarborough Shoal.


title: Scarborough Shoal

text: Also in September 2016, the New York Times reported that PRC activities at the Shoal continued in the form of naval patrols and hydrographic surveys.


title: Scarborough Shoal

text: In March 2017 the mayor of Sansha City said China was to begin preparatory work for an environmental monitoring station on Scarborough Shoal.


title: Scarborough Shoal

text: PRC activities in and around the Scarborough Shoal have drawn criticism from US officials. In March 2017 U.S. Senators Marco Rubio and Ben Cardin introduced the South China Sea and East China Sea Sanctions Act which would impose sanctions for Chinese entities and people helping to build South and East China Sea projects.


title: Scarborough Shoal

text: In June 2019 the Philippine Coast Guard spotted a Chinese People's Liberation Army Navy warship, alongside two China Coast Guard vessels, and two Chinese maritime militia vessels near the shoal.


title: Scarborough Shoal

text: In September 2019, Antonio Carpio, a former Chief Justice of the Supreme Court of the Philippines, said that China would try to reclaim the Scarborough shoal within Filipino President Rodrigo Duterte's term before it signs the Asean-China Code of Conduct because Duterte had said that Beijing could not be stopped from building because it was too powerful.


title: Scarborough Shoal

text: Academic Jay Batongbacal said that the visiting forces agreement between the Philippines and the United States deterred the transformation of Scarborough Shoal by the PRC into an artificial island, saying, "Scarborough Shoal is the only piece left in the puzzle that they're trying to build. They can now completely exclude other countries from the South China Sea militarily if they're able to put into place all of these military bases."


title: Scarborough Shoal

text: The People's Republic of China and Taiwan (Republic of China) claim that Chinese people discovered the shoal centuries ago and that there is a long history of Chinese fishing activity in the area. The shoal lies within the nine-dash line drawn by China on maps marking its claim to islands and relevant waters consistent with United Nations Convention on the Law of the Sea (UNCLOS) within the South China Sea. An article published in May 2012 in the "PLA Daily" states that Chinese astronomer Guo Shoujing went to the island in 1279, under the Yuan dynasty, as part of an empire-wide survey called "Measurement of the Four Seas" (四海測驗). No such 13th century map has been made public by China and no evidence on the existence of the map is known. In 1979 historical geographer Han Zhenhua (韩振华) was among the first scholars to claim that the point called "Nanhai" (literally, "South Sea") in that astronomical survey referred to Scarborough Shoal. In 1980 during a conflict with Vietnam for sovereignty over the Paracel Islands (Xisha Islands), however, the Chinese government issued an official document claiming that "Nanhai" in the 1279 survey was located in the Paracels. Historical geographer Niu Zhongxun defended this view in several articles. In 1990, a historian called Zeng Zhaoxuan (曾昭璇) argued instead that the Nanhai measuring point was located in Central Vietnam. Historian of astronomy Chen Meidong (陈美东) and historian of Chinese science Nathan Sivin have since agreed with Zeng's position in their respective books about Guo Shoujing. a 2019 article in the publication "Maritime Issues" suggested that a common fishing ground for China, Vietnam and the Philippines as the best option to avoid deterioration of the conflict.


title: Scarborough Shoal

text: In 1935, China, as the Republic of China (ROC), regarded the shoal as part of the Zhongsha Islands. That position has since been maintained by both the ROC, which now governs Taiwan, and the People's Republic of China (PRC). In 1947 the shoal was given the name "Minzhu Jiao" (). In 1983 the People's Republic of China renamed it "Huangyan Island" with "Minzhu Jiao" reserved as a second name. In 1956 Beijing protested Philippine remarks that the South China Sea islands in close proximity to Philippine territory should belong to the Philippines. China's "Declaration on the territorial Sea", promulgated in 1958, says in part,


title: Scarborough Shoal

text: China reaffirmed its claim of sovereignty over the Zhongsha Islands in its 1992 Law on the territorial Sea and the Contiguous Zone. China claims all the islands, reefs, and shoals within a U-shaped line in the South China Sea drawn in 1947 as its territory. Scarborough shoal lies within this area.


title: Scarborough Shoal

text: China further asserted its claim shortly after the departure of the US Navy force from Subic, Zambales, Philippines. In the late 1970s, many scientific expedition activities organised by State Bureau of Surveying, National Earthquake Bureau and National Bureau of Oceanography were held in the shoal and around this area. In 1980, a stone marker reading "South China Sea Scientific Expedition" was installed on the South Rock, but was removed by the Philippines in 1997.


title: Scarborough Shoal

text: The Philippines state that its assertion of sovereignty over the shoal is based on the juridical criteria established by public international law on the lawful methods for the acquisition of sovereignty. Among the criteria (effective occupation, cession, prescription, conquest, and accretion), the Philippine Department of Foreign Affairs (DFA) has asserted that the country exercised both effective occupation and effective jurisdiction over the shoal, which it terms "Bajo de Masinloc", since its independence. Thus, it claims to have erected flags in some islands and a lighthouse which it reported to the International Maritime Organization. It also asserts that the Philippine and US Naval Forces have used it as impact range and that its Department of Environment and Natural Resources has conducted scientific, topographic and marine studies in the shoal, while Filipino fishermen regularly use it as fishing ground and have always considered it their own.


title: Scarborough Shoal

text: The DFA also claims that the name Bajo de Masinloc (translated as "Masinloc shoal") itself identifies the shoal as a particular political subdivision of the Philippine Province of Zambales, known as Masinloc. As basis, the Philippines cites the Island of Palmas Case, where the sovereignty of the island was adjudged by the international court in favour of the Netherlands because of its effective jurisdiction and control over the island despite the historic claim of Spain. Thus, the Philippines argues that the historic claim of China over the Scarborough Shoal still needs to be substantiated by a historic title, since a claim by itself is not among the internationally recognised legal basis for acquiring sovereignty over territory.


title: Scarborough Shoal

text: It also asserts that there is no indication that the international community has acquiesced to China's historical claim, and that the activity of fishing of private Chinese individuals, claimed to be a traditional exercise among these waters, does not constitute a sovereign act of the Chinese state.


title: Scarborough Shoal

text: The Philippine government argues that since the legal basis of its claim is based on the international law on acquisition of sovereignty, the exclusive economic zone claim on the waters around Scarborough is different from the sovereignty exercised by the Philippines in the shoal.


title: Scarborough Shoal

text: The Philippine government has proposed taking the dispute to the International Tribunal for the Law of the Sea (ITLOS) as provided in Part XV of the United Nations Convention on the Law of the Sea, but the Chinese government has rejected this, insisting on bilateral discussions.


title: Scarborough Shoal

text: The Philippines also claims that as early as the Spanish colonisation of the Philippines, Filipino fishermen were already using the area as a traditional fishing ground and shelter during bad weather.


title: Scarborough Shoal

text: Several official Philippine maps published by Spain and United States in 18th and 20th centuries show Scarborough Shoal as Philippine territory. The 18th-century map ""Carta hydrographica y chorographica de las Islas Filipinas"" (1734) shows the Scarborough Shoal then was named as Panacot Shoal. The map also shows the shape of the shoal as consistent with the current maps available as today. In 1792, another map drawn by the Malaspina expedition and published in 1808 in Madrid, Spain also showed Bajo de Masinloc as part of Philippine territory. The map showed the route of the Malaspina expedition to and around the shoal. It was reproduced in the "Atlas of the 1939 Philippine Census", which was published in Manila a year later and predates the controversial 1947 Chinese South China Sea Claim Map that shows no Chinese name on it. Another topographic map drawn in 1820 shows the shoal, named there as ""Bajo Scarburo"", as a constituent part of Sambalez (Zambales province). During the 1900s, "Mapa General", "Islas Filipinas", "Observatorio de Manila", and US Coast and Geodetic Survey Map include the Scarborough Shoal named as ""Baju De Masinloc"". A map published in 1978 by the Philippine National Mapping and Resource Information Authority, however, did not indicate Scarborough Shoal as part of the Philippines. Scholar Li Xiao Cong stated in his published paper that Panacot Shoal is not Scarborough Shoal, in the 1778 map "A chart of the China Sea and Philippine Islands with the Archipelagos of Felicia and Soloo", Scarborough shoal and 3 other shoals Galit, Panacot and Lumbay were all shown independently. Li also pointed out that the three shoals were also shown on Chinese maps which were published in 1717.


title: Scarborough Shoal

text: In 1957, the Philippine government conducted an oceanographic survey of the area and together with the US Navy force based in then U.S. Naval Base Subic Bay in Zambales, used the area as an impact range for defence purposes. An 8.3-meter high flag pole flying a Philippine flag was raised in 1965. An iron tower that was to serve as a small lighthouse was also built and operated the same year. In 1992, the Philippine Navy rehabilitated the lighthouse and reported it to the International Maritime Organization for publication in the List of Lights. , the military-maintained lighthouse is non-operational.


title: Scarborough Shoal

text: Historically, the Philippine boundary has been defined by its 3 treaties, Treaty of Paris (1898), Treaty of Washington (1900) and "Convention regarding the boundary between the Philippine Archipelago and the State of North Borneo". Many analysts consider that the 1900 Treaty of Washington concerned only the islands of Sibutu and Cagayan de Sulu., but a point of view argued that Scarborough Shoal has been transferred to the United States based on the Treaty of Washington (1900), ignoring the fact that the cession documents from the United States to the Philippines did not have any reference to the Scarborough Shoal.


title: Scarborough Shoal

text: The DFA asserts that the basis of Philippine sovereignty and jurisdiction over the rock features of Bajo de Masinloc are not premised on the cession by Spain of the Philippine archipelago to the United States under the Treaty of Paris, and argues that the matter that the rock features of Bajo de Masinloc are not included or within the limits of the Treaty of Paris as alleged by China is therefore immaterial and of no consequence.


title: Scarborough Shoal

text: Presidential Decree No. 1596 issued on11June 1978 asserted that islands designated as the Kalayaan Island Group and comprising most of the Spratly Islands are subject to the sovereignty of the Philippines, and by virtue of the Presidential Decree No. 1599 issued on 11 June 1978 claimed an Exclusive Economic Zone up to from the baselines from which their territorial sea is measured.


title: Scarborough Shoal

text: The Philippines' bilateral dispute with China over the shoal began on 30April 1997 when Filipino naval ships prevented Chinese boats from approaching the shoal. On 5 June of that year, Domingo Siazon, who was then the Philippine Secretary of Foreign Affairs, testified in front of the Committee on Foreign Relations of the United States Senate that the Shoal was "a new issue on overlapping claims between the Philippines and China".


title: Scarborough Shoal

text: In 2009, the "Philippine Baselines Law of 2009" (RA 9522), principally authored by Antonio Trillanes and sponsored by Senator Miriam Defensor Santiago, was enacted into law. The new law classified the Kalayaan Island Group and the Scarborough Shoal as a "regime of islands under the Republic of the Philippines".


title: Scarborough Shoal

text: In January 2013, the Philippines formally initiated arbitration proceedings against the PRC claim on the territories within the "nine-dash line" that include Scarborough Shoal, which the Philippines claimed is unlawful under the UNCLOS convention. An arbitration tribunal was constituted under Annex VII of UNCLOS. It was decided in July 2013 that the Permanent Court of Arbitration (PCA) would function as registry and provide administrative duties in the proceedings.


title: Scarborough Shoal

text: On 12 July 2016, the PCA tribunal ruled in favor of the Philippines on most of her submissions. In its decision, it concluded that there is no evidence that China had historically exercised exclusive control over the waters or resources, hence there was "no legal basis for China to claim historic rights" over the area within the nine-dash line. The tribunal also judged that the PRC had caused "severe harm to the coral reef environment", and that it had violated the Philippines' sovereign rights in its Exclusive Economic Zone by interfering with Philippine fishing and petroleum exploration by, for example, restricting the traditional fishing rights of Filipino fishermen at Scarborough Shoal. The PRC rejected the ruling, calling it "ill-founded"". Chinese Communist Party general secretary Xi Jinping insisted that "China's territorial sovereignty and marine rights in the South China Sea will not be affected by the so-called Philippines South China Sea ruling in any way". Xi added that nevertheless, the PRC would still be "committed to resolving disputes" with its neighbours. Afterwards, China sent more warships to the Scarborough Shoal. Numerous countries called on the international community to support the Tribunal ruling and positively acknowledge it. Among them were Australia, Belgium, Bosnia and Herzegovina, Bulgaria, Canada, Croatia, Cyprus, Czechia, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, India, Ireland, Italy, Japan, Latvia, Lithuania, Luxembourg, Malta, Myanmar, the Netherlands, New Zealand, Poland, Portugal, Romania, Singapore, Slovakia, Slovenia, South Korea, Spain, Sweden, the United Kingdom, and the United States, as well as claimants to the area such as Malaysia, the Philippines, and Vietnam.


title: Sailing the Seas of Cheese

text: Sailing the Seas of Cheese is the second studio album and major-label debut by the American rock band Primus, released on May 14, 1991. It spawned three singles: "Jerry Was a Race Car Driver", "Tommy the Cat", and "Those Damned Blue-Collar Tweekers". "Jerry Was a Race Car Driver" appeared in the video games "ATV Offroad Fury", "Tony Hawk's Pro Skater", "Rock Band 3", "The Bigs", and as downloadable content for "Rocksmith 2014", while "American Life" appears in "Tony Hawk's Project 8".


title: Sailing the Seas of Cheese

text: The album was performed live in its entirety in 2003 and 2004 on their Tour De Fromage, on December 30, 2010 and once more during a two night show at Royal Albert Hall in April 2012.


title: Sailing the Seas of Cheese

text: Reviewing the album for AllMusic, Steve Huey contends that ""Sailing the Seas of Cheese" completely redefined the possibilities of the electric bass in rock music for those who'd never heard the group before." He describes the album as "mostly riff-driven, fleshing out their heavy metal roots with prog rock tricks from Rush and Frank Zappa, as well as the novelty side of Zappa's sense of humor." He notes that "the willful goofiness may alienate some listeners, but... it never detracts from the band's frequently stunning musicianship" and concludes that this album is "the tightest, most song-oriented representation of their jaw-dropping, one-of-a-kind style." Simon Reynolds reviews the album for "Entertainment Weekly" by describing Primus as "too self-consciously goofy for their own good, but their rubber-boned thrash-funk can be cartoonish fun."


title: Sailing the Seas of Cheese

text: In a 2015 Noisey interview, Les Claypool ranked "Sailing the Seas of Cheese" as his second favorite Primus album behind "Frizzle Fry", believing the work to be "probably [Primus'] most respected album". In addition, Claypool also outlined the experience of releasing the record on a major label, and the consequent inspiration for the album's title, when he remarked:


title: Sailing the Seas of Cheese

text: But ["Sailing the Seas of Cheese"] was also that record like 'Here we are, about to release something on a major label,' and we're right alongside the other bands that were popular at the time, which were these hairball bands—the Poisons, and the Guns N' Roses, and these different things that we just did not fit in with. That was the impetus of the title, because we just knew all of a sudden we were going to be thrust into this world where we weren't sure anyone thought we belonged.


title: Sailing the Seas of Cheese

text: "Sailing the Seas of Cheese" reached Gold status in March 1993. It was certified platinum in December 2001.


title: Sailing the Seas of Cheese

text: A deluxe edition of the album was released on May 21, 2013. It is available in two six-panel Digipak configurations, each featuring the album’s new stereo mix on CD and the new 5.1 surround mix on Blu-ray or DVD, plus three exclusive, previously unreleased bonus tracks, and liner notes by music journalist Greg Prato.” Claypool stated, “Musically, it holds up incredibly well. Sonically, it holds up fairly well. There’s some old-style reverbs that are a little bit syrupy. With modern technology, we can fix some of that stuff. But we don’t want to mess with it too much, because it is what it is. We want to fatten it up a little bit.”


title: B. Unnikrishnan

text: Unnikrishnan Bhaskaran Pillai (born 14 August 1970) is an Indian film director, screenwriter, distributor and exhibitor who works in the Malayalam film industry.


title: B. Unnikrishnan

text: He began his film career in 1999 by writing the screenplay of "Jalamarmaram" directed by T. K. Rajeev Kumar, which won the Kerala State Film Award for Best Screenplay that year. The film dealt with the politics of water and environmentalism. In 2000, his screenplay "Cover Story" directed by G. S. Vijayan was released.It was a box office failure. He was the screenwriter of the thriller "Black and White", a television serial telecast in Asianet in 2004, which won two Kerala State Television Awards. The serial was directed by Viji Thampi. in 2004, he wrote and directed a telefilm titled Antharangal, which won the Kerala state television award for the best telefilm. In 2005, he wrote, produced and directed a telefilm, "Annum Mazhayayirunnu" which was aired by Amrita TV. "The Hindu" wrote "The suspense that is maintained throughout the short movie, despite it being set in a domestic, sylvan setting, goes to the credit of the carefully crafted script". The telefilm won six Kerala State Television Awards, including Best Telefilm and Best screenplay for Unnikrishnan.


title: B. Unnikrishnan

text: He scripted Shaji Kailas-directorial action film "Shivam" in 2002 and the thriller film "The Tiger" in 2005, the latter starring Suresh Gopi was successful. He made his feature film directorial debut in 2006 with the action film "Smart City". His second directorial "Madampi" starring Mohanlal was a blockbuster . Unlike his previous films, "Madampi" was a family drama that told the story of a money lender in a village. In 2009, he scripted and directed the action police story "I. G. – Inspector General" starring Suresh Gopi. The film talked issues like terrorism and communal politics. In the same year, he wrote and directed the segment "Aviramam" in the anthology film "Kerala Cafe". In 2010, he scripted and directed the political satire "Pramani" starring Mammootty as a corrupt panchayat president, which was a box office failure.


title: B. Unnikrishnan

text: His directorial crime thriller "Grandmaster" released in 2012 was written by himself starring Mohanlal as a loner cop who is challenged to investigate a crime. Not only that it was a financial success, but it showed Mohanlal in a totally different look and style. "Grandmaster" was the first Malayalam film produced by UTV and it is also the first Malayalam film to be released in Netflix, apart from its theatrical release. It was followed by "I Love Me", a romantic thriller written by Sethu, that revolves around a group of youngsters. In 2015, he written and directed the heist film "Mr. Fraud" starring Mohanlal, which was a commercial failure Unnikrishnan forayed into the production/distribution sector with his company RD Illuminations, which released "Yodhavu" in 2016, the Malayalam dubbed version of the Telugu film "Sarrainodu". Followed by "Dhruvaraja Jagannadh" and "Fidaa" and Bhaagamathie in 2017. He joined again with Mohanlal in 2017 for the crime thriller "Villain". It is also the first Indian film to be completely shot in 8K resolution. After this film, he coproduced and his company distributed the film "Swathandriam Ardharathriyil" in 2018, produced by B. C. Joshy, Lijo Jose Pellissery, and Chemban Vinod Jose and it was a great success at the Boxoffice. In 2019, he wrote and directed the first Malayalam film produced by Viacom18 Motion Pictures titled Kodathi Samaksham Balan Vakeel. He started filming his fifth film with Mohanlal on 23d November 2020. The film is titled Aaraattu ( Full Title: Neyaattinkara Gopante Aaraattu).


title: B. Unnikrishnan

text: He is the general secretary of Film Employees Federation of Kerala (FEFKA) since 2008, he was re-elected to the position three times2010, 2013 and 2017. In 2014, he was elected as the general secretary of All India Film Employees Confederation (AIFEC). He is a member in the advisory committee of Cine Workers' Welfare Board and director of Saamskaarika Kshemanidhi in Kerala. In 2016, he opened the multi-cuisine restaurant named Grandmaster's Kitchen in Palayam, Thiruvananthapuram, the restaurant was named after his film "Grandmaster". He owns the film distribution company RD Illuminations, that debuted in 2016 by releasing "Yodhavu" in Kerala. He was the Managing Director of the film post-production studio Vismayas Max and also the multiplex Aries Plex SL Cinemas, a Double-4K 64-channel Dolby Atmos theatre in Thiruvananthapuram. It is the first theatre with Double-4K facility in South India.


title: Honor Kneafsey

text: Honor Kneafsey is a British actress, best known for her voice role as Robyn Goodfellowe in "Wolfwalkers".


title: Honor Kneafsey

text: Kneafsey started her career as a child actress, such as her role as June, the youngest child of historical figure George Mottershead, in the BBC1 drama "Our Zoo" (2014), or the young character Christine who works in, and later burns down, the eponymous "The Bookshop" (2017). She has made numerous television, film and West End stage appearances.


title: New Journalism

text: New Journalism is a style of news writing and journalism, developed in the 1960s and 1970s, that uses literary techniques unconventional at the time. It is characterized by a subjective perspective, a literary style reminiscent of long-form non-fiction. Using extensive imagery, reporters interpolate subjective language within facts whilst immersing themselves in the stories as they reported and wrote them. In traditional journalism, however, the journalist is "invisible"; facts are reported objectively.


title: New Journalism

text: The term was codified with its current meaning by Tom Wolfe in a 1973 collection of journalism articles he published as "The New Journalism", which included works by himself, Truman Capote, Hunter S. Thompson, Norman Mailer, Joan Didion, Terry Southern, Robert Christgau, Gay Talese and others.


title: New Journalism

text: Articles in the New Journalism style tended not to be found in newspapers, but in magazines such as "The Atlantic Monthly", "Harper's", "CoEvolution Quarterly", "Esquire", "New York", "The New Yorker", "Rolling Stone", and for a short while in the early 1970s, "Scanlan's Monthly".


title: New Journalism

text: Contemporary journalists and writers questioned the "currency" of New Journalism and its qualification as a distinct genre. The subjective nature of New Journalism received extensive exploration: one critic suggested the genre's practitioners functioned more as sociologists and psychoanalysts than as journalists. Criticism has been leveled at numerous individual writers in the genre, as well.


title: New Journalism

text: Various people and tendencies throughout the history of American journalism have been labeled "new journalism". Robert E. Park, for instance, in his "Natural History of the Newspaper", referred to the advent of the penny press in the 1830s as "new journalism". Likewise, the appearance of the yellow press—papers such as Joseph Pulitzer's "New York World" in the 1880s—led journalists and historians to proclaim that a "New Journalism" had been created. Ault and Emery, for instance, said "[i]ndustrialization and urbanization changed the face of America during the latter half of the Nineteenth century, and its newspapers entered an era known as that of the 'New Journalism. John Hohenberg, in "The Professional Journalist" (1960), called the interpretive reporting which developed after World War II a "new journalism which not only seeks to explain as well as to inform; it even dares to teach, to measure, to evaluate."


title: New Journalism

text: During the 1960s and 1970s, the term enjoyed widespread popularity, often with meanings bearing manifestly little or no connection with one another. Although James E. Murphy noted that "...most uses of the term seem to refer to something no more specific than vague new directions in journalism", Curtis D. MacDougal devoted the preface of the sixth edition of his "Interpretative Reporting" to New Journalism and cataloged many of the contemporary definitions: "Activist, advocacy, participatory, tell-it-as-you-see-it, sensitivity, investigative, saturation, humanistic, reformist and a few more."


title: New Journalism

text: "The Magic Writing Machine—Student Probes of the New Journalism", a collection edited and introduced by Everette E. Dennis, came up with six categories, labelled new nonfiction (reportage), alternative journalism ("modern muckraking"), advocacy journalism, underground journalism and precision journalism. Michael Johnson's "The New Journalism" addresses itself to three phenomena: the underground press, the artists of nonfiction, and changes in the established media.


title: New Journalism

text: Matthew Arnold is credited with coining the term "New Journalism" in 1887, which went on to define an entire genre of newspaper history, particularly Lord Northcliffe's turn-of-the-century press empire. However, at the time, the target of Arnold's irritation was not Northcliffe, but the sensational journalism of Pall Mall Gazette editor W.T. Stead. He strongly disapproved of the muck-raking Stead, and declared that, under this editor, "the P.M.G., whatever may be its merits, is fast ceasing to be literature." Stead himself called his brand of journalism 'Government by Journalism'


title: New Journalism

text: How and when the term New Journalism began to refer to a genre is not clear. Tom Wolfe, a practitioner and principal advocate of the form, wrote in at least two articles in 1972 that he had no idea of where it began. Trying to shed light on the matter, literary critic Seymour Krim offered his explanation in 1973.


title: New Journalism

text: I'm certain that [Pete] Hamill first used the expression. In about April of 1965 he called me at "Nugget" Magazine, where I was editorial director, and told me he wanted to write an article about new New Journalism. It was to be about the exciting things being done in the old reporting genre by Talese, Wolfe and Jimmy Breslin. He never wrote the piece, so far as I know, but I began using the expression in conversation and writing. It was picked up and stuck.


title: New Journalism

text: But wherever and whenever the term arose, there is evidence of some literary experimentation in the early 1960s, as when Norman Mailer broke away from fiction to write "Superman Comes to the Supermarket". A report of John F. Kennedy's nomination that year, the piece established a precedent which Mailer would later build on in his 1968 convention coverage ("Miami and the Siege of Chicago") and in other nonfiction as well.


title: New Journalism

text: Wolfe wrote that his first acquaintance with a new style of reporting came in a 1962 "Esquire" article about Joe Louis by Gay Talese. "'Joe Louis at Fifty' wasn't like a magazine article at all. It was like a short story. It began with a scene, an intimate confrontation between Louis and his third wife..." Wolfe said Talese was the first to apply fiction techniques to reporting. "Esquire" claimed credit as the seedbed for these new techniques. "Esquire" editor Harold Hayes later wrote that "in the Sixties, events seemed to move too swiftly to allow the osmotic process of art to keep abreast, and when we found a good novelist we immediately sought to seduce him with the sweet mysteries of current events." Soon others, notably "New York", followed "Esquire"s lead, and the style eventually infected other magazines and then books.


title: New Journalism

text: Much of the criticism favorable to this New Journalism came from the writers themselves. Talese and Wolfe, in a panel discussion cited earlier, asserted that, although what they wrote may look like fiction, it was indeed reporting: "Fact reporting, leg work," Talese called it.


title: New Journalism

text: Wolfe, in "Esquire" for December, 1972, hailed the replacement of the novel by the New Journalism as literature's "main event" and detailed the points of similarity and contrast between the New Journalism and the novel. The four techniques of realism that he and the other New Journalists employed, he wrote, had been the sole province of novelists and other "literati". They are scene-by-scene construction, full record of dialogue, third-person point of view and the manifold incidental details to round out character (i.e., descriptive incidentals). The result:


title: New Journalism

text: ... is a form that is not merely like a "novel". It consumes devices that happen to have originated with the novel and mixes them with every other device known to prose. And all the while, quite beyond matters of technique, it enjoys an advantage so obvious, so built-in, one almost forgets what power it has: the simple fact that the reader knows "all this actually happened". The disclaimers have been erased. The screen is gone. The writer is one step closer to the absolute involvement of the reader that Henry James and James Joyce dreamed of but never achieved.


title: New Journalism

text: The essential difference between the new nonfiction and conventional reporting is, he said, that the basic unit of reporting was no longer the datum or piece of information but the scene. Scene is what underlies "the sophisticated strategies of prose."


title: New Journalism

text: The first of the new breed of nonfiction writers to receive wide notoriety was Truman Capote, whose 1965 best-seller, "In Cold Blood", was a detailed narrative of the murder of a Kansas farm family. Capote culled material from some 6,000 pages of notes. The book brought its author instant celebrity. Capote announced that he had created a new art form which he labelled the "nonfiction novel."


title: New Journalism

text: I've always had the theory that reportage is the great unexplored art form... I've had this theory that a factual piece of work could explore whole new dimensions in writing that would have a double effect fiction does not have—the very fact of its being true, every word of it's true, would add a double contribution of strength and impact


title: New Journalism

text: Capote continued to stress that he was a literary artist, not a journalist, but critics hailed the book as a classic example of New Journalism.


title: New Journalism

text: Wolfe's "The Kandy-Kolored Tangerine-Flake Streamline Baby", whose introduction and title story, according to James E. Murphy, "emerged as a manifesto of sorts for the nonfiction genre," was published the same year. In his introduction, Wolfe wrote that he encountered trouble fashioning an "Esquire" article out of material on a custom car extravaganza in Los Angeles, in 1963. Finding he could not do justice to the subject in magazine article format, he wrote a letter to his editor, Byron Dobell, which grew into a 49-page report detailing the custom car world, complete with scene construction, dialogue and flamboyant description. "Esquire" ran the letter, striking out "Dear Byron." and it became Wolfe's maiden effort as a New Journalist.


title: New Journalism

text: In an article entitled "The Personal Voice and the Impersonal Eye", Dan Wakefield acclaimed the nonfiction of Capote and Wolfe as elevating reporting to the level of literature, terming that work and some of Norman Mailer's nonfiction a journalistic breakthrough: reporting "charged with the energy of art". A review by Jack Newfield of Dick Schaap's "Turned On" saw the book as a good example of budding tradition in American journalism which rejected many of the constraints of conventional reporting:


title: New Journalism

text: This new genre defines itself by claiming many of the techniques that were once the unchallenged terrain of the novelist: tension, symbol, cadence, irony, prosody, imagination.


title: New Journalism

text: A 1968 review of Wolfe's "The Pump House Gang" and "The Electric Kool-Aid Acid Test" said Wolfe and Mailer were applying "the imaginative resources of fiction" to the world around them and termed such creative journalism "hystory" to connote their involvement in what they reported. Talese in 1970, in his Author's Note to "Fame and Obscurity", a collection of his pieces from the 1960s, wrote:


title: New Journalism

text: The new journalism, though often reading like fiction, is not fiction. It is, or should be, as reliable as the most reliable reportage although it seeks a larger truth than is possible through the mere compilation of verifiable facts, the use of direct quotations, and adherence to the rigid organizational style of the older form.


title: New Journalism

text: Seymour Krim's "Shake It for the World, Smartass", which appeared in 1970, contained "An Open Letter to Norman Mailer" which defined New Journalism as "a free nonfictional prose that uses every resource of the best fiction." In "The Newspaper As Literature/Literature As Leadership", he called journalism "the "de facto" literature" of the majority, a synthesis of journalism and literature that the book's postscript called "journalit." In 1972, in "An Enemy of the Novel", Krim identified his own fictional roots and declared that the needs of the time compelled him to move beyond fiction to a more "direct" communication to which he promised to bring all of fiction's resources.


title: New Journalism

text: David McHam, in an article titled "The Authentic New Journalists", distinguished the nonfiction reportage of Capote, Wolfe and others from other, more generic interpretations of New Journalism. Also in 1971, William L. Rivers disparaged the former and embraced the latter, concluding, "In some hands, they add a flavor and a humanity to journalistic writing that push it into the realm of art." Charles Brown in 1972 reviewed much that had been written as New Journalism and about New Journalism by Capote, Wolfe, Mailer and others and labelled the genre "New Art Journalism", which allowed him to test it both as art and as journalism. He concluded that the new literary form was useful only in the hands of literary artists of great talent.


title: New Journalism

text: In the first of two pieces by Wolfe in "New York" detailing the growth of the new nonfiction and its techniques, Wolfe returned to the fortuitous circumstances surrounding the construction of "Kandy-Kolored" and added:


title: New Journalism

text: Its virtue was precisely in showing me the possibility of there being something "new" in journalism. What interested me was not simply the discovery that it was possible to write accurate nonfiction with techniques usually associated with novels and short stories. It was that—plus. It was the discovery that it was possible in nonfiction, in journalism, to use any literary device, from the traditional dialogisms of the essay to stream-of-consciousness...


title: New Journalism

text: In the eighties, the use of New Journalism saw a decline, several of the old trailblazers still used fiction techniques in their nonfiction books. However, younger writers in "Esquire" and "Rolling Stone", where the style had flourished in the two earlier decades, shifted away from the New Journalism. Fiction techniques had not been abandoned by these writers, but they were used sparingly and less flamboyantly.


title: New Journalism

text: "Whatever happened to the New Journalism?" wondered Thomas Powers in a 1975 issue of "Commonweal". In 1981, Joe Nocera published a postmortem in "Washington Monthly" blaming its demise on the journalistic liberties taken by Hunter S. Thompson. Regardless of the culprit, less than a decade after Wolfe's 1973 New Journalism anthology, the consensus was that New Journalism was dead.


title: New Journalism

text: As a literary genre, New Journalism has certain technical characteristics. It is an artistic, creative, literary reporting form with three basic traits: dramatic literary techniques; intensive reporting; and reporting of generally acknowledged subjectivity.


title: New Journalism

text: Pervading many of the specific interpretations of New Journalism is a posture of subjectivity. Subjectivism is thus a common element among many (though not all) of its definitions. In contrast to a conventional journalistic striving for an objectivity, subjective journalism allows for the writer's opinion, ideas or involvement to creep into the story.


title: New Journalism

text: Much of the critical literature concerns itself with a strain of subjectivism which may be called activism in news reporting. In 1970, Gerald Grant wrote disparagingly in "Columbia Journalism Review" of a "New Journalism of passion and advocacy" and in the "Saturday Review" Hohenberg discussed "The Journalist As Missionary" For Masterson in 1971, "The New Journalism" provided a forum for discussion of journalistic and social activism. In another 1971 article under the same title, Ridgeway called the counterculture magazines such as "The New Republic" and "Ramparts" and the American underground press New Journalism.


title: New Journalism

text: Another version of subjectivism in reporting is what is sometimes called participatory reporting. Robert Stein, in "Media Power", defines New Journalism as "A form of participatory reporting that evolved in parallel with participatory politics..."


title: New Journalism

text: The above interpretations of New Journalism view it as an attitude toward the practice of journalism. But a significant portion of the critical literature deals with form and technique. Critical comment dealing with New Journalism as a literary-journalistic genre (a distinct type of category of literary work grouped according to similar and technical characteristics) treats it as the "new nonfiction". Its traits are extracted from the criticism written by those who claim to practice it and by others. Admittedly it is hard to isolate from a number of the more generic meanings.


title: New Journalism

text: The new nonfiction were sometimes taken for advocacy of subjective journalism. A 1972 article by Dennis Chase defines New Journalism as a subjective journalism emphasizing "truth" over "facts" but uses major nonfiction stylists as its example.


title: New Journalism

text: Although much of the critical literature discussed the use of literary or fictional techniques as the basis for a New Journalism, critics also referred to the form as stemming from intensive reporting. Stein, for instance, found the key to New Journalism not its fictionlike form but the "saturation reporting" which precedes it, the result of the writer's immersion in his subject. Consequently, Stein concluded, the writer is as much part of his story as is the subject and he thus linked saturation reporting with subjectivity. For him, New Journalism is inconsistent with objectivity or accuracy.


title: New Journalism

text: I am the first to agree that the New Journalism should be as accurate as traditional journalism. In fact my claims for the New Journalism, and my demands upon it, go far beyond that. I contend that it has already proven itself "more" accurate than traditional journalism—which unfortunately is saying but so much...


title: New Journalism

text: Wolfe coined "saturation reporting" in his "Bulletin of the American Society of Newspaper Editors" article. After citing the opening paragraphs of Talese's Joe Louis piece, he confessed believing that Talese had "piped" or faked the story, only later to be convinced, after learning that Talese so deeply delved into the subject, that he could report entire scenes and dialogues.


title: New Journalism

text: The basic units of reporting are no longer who-what-when-where-how and why but whole scenes and stretches of dialogue. The New Journalism involves a depth of reporting and an attention to the most minute facts and details that most newspapermen, even the most experienced, have never dreamed of.


title: New Journalism

text: In his "Birth of the New Journalism" in "New York", Wolfe returned to the subject, which he here described as a depth of information never before demanded in newspaper work. The New Journalist, he said, must stay with his subject for days and weeks at a stretch. In Wolfe's "Esquire" piece, saturation became the "Locker Room Genre" of intensive digging into the lives and personalities of one's subject, in contrast to the aloof and genteel tradition of the essayists and "The Literary Gentlemen in the Grandstand."


title: New Journalism

text: For Talese, intensive reportage took the form of interior monologue to discover from his subjects what they were thinking, not, he said in a panel discussion reported in "Writer's Digest", merely reporting what people did and said.


title: New Journalism

text: Despite these elements, New Journalism is not fiction. It maintains elements of reporting including strict adherence to factual accuracy and the writer being the primary source. To get "inside the head" of a character, the journalist asks the subject what they were thinking or how they felt.


title: New Journalism

text: There is little consensus on which writers can be definitively categorized as New Journalists. In "The New Journalism: A Critical Perspective", Murphy writes that New Journalism "involves a more or less well defined group of writers," who are "stylistically unique" but share "common formal elements." Among the most prominent New Journalists, Murphy lists: Jimmy Breslin, Truman Capote, Joan Didion, David Halberstam, Pete Hamill, Larry L. King, Norman Mailer, Joe McGinniss, Rex Reed, Mike Royko, John Sack, Dick Schaap, Terry Southern, Gail Sheehy, Gay Talese, Hunter S. Thompson, Dan Wakefield and Tom Wolfe. In "The New Journalism", the editors E.W Johnson and Tom Wolfe, include George Plimpton for "Paper Lion", "Life" writer James Mills and Robert Christgau, et cetera, in the corps. Christgau, however, stated in a 2001 interview that he does not see himself as a New Journalist.


title: New Journalism

text: The editors Clay Felker, Normand Poirier and Harold Hayes also contributed to the rise of New Journalism.


title: New Journalism

text: While many praised the New Journalist's style of writing, Wolfe et al., also received severe criticism from contemporary journalists and writers. Essentially two different charges were leveled against New Journalism: criticism against it as a "distinct genre" and criticism against it as a "new" form.


title: New Journalism

text: Robert Stein believed that "In the New Journalism the eye of the beholder is all—or almost all," and in 1971 Philip M. Howard, wrote that the new nonfiction writers rejected objectivity in favor of a more personal, subjective reportage. This parallels much of what Wakefield said in his 1966 "Atlantic" article.


title: New Journalism

text: The important and interesting and hopeful trend to me in the new journalism is its personal nature—not in the sense of personal attacks, but in the presence of the reporter himself and the significance of his own involvement. This is sometimes felt to be egotistical, and the frank identification of the author, especially as the "I" instead of merely the impersonal "eye" is often frowned upon and taken as proof of "subjectivity", which is the opposite of the usual journalistic pretense.


title: New Journalism

text: And in spite of the fact that Capote believed in the objective accuracy of "In Cold Blood" and strove to keep himself totally out of the narrative, one reviewer found in the book the "tendency among writers to resort to subjective sociology, on the other hand, or to super-creative reportage, on the other." Charles Self termed this characteristic of New Journalism as "admitted" subjectivity, whether first-person or third-person, and acknowledged the subjectivity inherent in his account.


title: New Journalism

text: Lester Markel polemically criticized New Journalism in the "Bulletin of the American Society of Newspaper Editors", he rejected the claim to greater in-depth reporting and labelled the writers "factual fictionists" and "deep-see reporters." He feared they were performing as sociologists and psychoanalysts rather than as journalists. The lack of source footnotes and bibliographies in most works of New Journalism is often cited by critics as showing a lack of intellectual rigor, verifiability, and even author laziness and sloppiness.


title: New Journalism

text: More reasoned, though still essentially negative, Arlen in his 1972 "Notes on the New Journalism", put the New Journalism into a larger socio-historical perspective by tracing the techniques from earlier writers and from the constraints and opportunities of the current age. But much of the more routine New Journalism "consists in exercises by writer ... in gripping and controlling and confronting a subject within the journalist's own temperament. Presumably," he wrote, "this is the 'novelistic technique.'" However, he conceded that the best of this work had "considerably expanded the possibilities of journalism."


title: New Journalism

text: Much negative criticism of New Journalism were directed at individual writers. For example, Cynthia Ozick asserted in "The New Republic", that Capote in "In Cold Blood" was doing little more than trying to devise a form: "One more esthetic manipulation." Sheed offered, in "A Fun-House Mirror", a witty refutation of Wolfe's claim that he takes on the expression and the guise of whomever he is writing about. "The Truman Capotes may hold up a tolerably clear glass to nature," he wrote, "but Wolfe holds up a fun-house mirror, and I for one don't give a hoot whether he calls the reflection fact or fiction."


title: New Journalism

text: Among the hostile critics of the New Journalism were Dwight Macdonald, whose most vocal criticism comprised a chapter in what became known as "the "New Yorker" affair" of 1965. Wolfe had written a two-part semi-fictional parody in "New York" of "The New Yorker" and its editor, William Shawn. Reaction, notably from "New Yorker" writers, was loud and prolonged, but the most significant reaction came from Macdonald, who counterattacked in two articles in "The New York Review of Books". In the first, Macdonald termed Wolfe's approach "parajournalism" and applied it to all similar styles. "Parajournalism," Macdonald wrote,


title: New Journalism

text: ... seems to be journalism—"the collection and dissemination of current news"—but the appearance is deceptive. It is a bastard form, having it both ways, exploiting the factual authority of journalism and the atmospheric license of fiction.


title: New Journalism

text: The "New Yorker" parody, he added, "... revealed the ugly side of Parajournalism when it tries to be serious."


title: New Journalism

text: In his second article, MacDonald addressed himself to the accuracy of Wolfe's report. He charged that Wolfe "takes a middle course, shifting gears between fact and fantasy, spoof and reportage, until nobody knows which end is, at the moment, up". "New Yorker" writers Renata Adler and Gerald Jonas joined the fray in the Winter 1966 issue of "Columbia Journalism Review".


title: New Journalism

text: Wolfe himself returned to the affair a full seven years later, devoting the second of his two February "New York" articles (1972) to his detractors but not to dispute their attack on his factual accuracy. He argued that most of the contentions arose because for traditional "literati" nonfiction should not succeed—which his nonfiction obviously had.


title: New Journalism

text: In "The New Journalism: A Critical Perspective", Murphy writes, "Partly because Wolfe took liberties with the facts in his "New Yorker" parody, New Journalism began to get a reputation for juggling the facts in the search for truth, fictionalizing some details to get a larger 'reality.'" Widely criticized was the technique of the composite character, the most notorious example of which was "Redpants," a presumed prostitute whom Gail Sheehy wrote about in "New York" in a series on that city's sexual subculture. When it later became known that the character was distilled from a number of prostitutes, there was an outcry against Sheehy's method and, by extension, to the credibility of all of New Journalism. In the "Wall Street Journal", one critic wrote:


title: New Journalism

text: It's all part of the New Journalism, or the Now Journalism, and it's practiced widely these days. Some editors and reporters vigorously defend it. Others just as vigorously attack it. No one has polled the reader, but whether he approves or disapproves, it's getting harder and harder for him to know what he can believe.


title: New Journalism

text: "Newsweek" reported that critics felt Sheehy's energies were better suited to fiction than fact. John Tebbel, in an article in "Saturday Review", although treating New Journalism in its more generic sense as new a trend, chided it for the fictional technique of narrative leads which the new nonfiction writers had introduced into journalism and deplored its use in newspapers.


title: New Journalism

text: Newfield, in 1972, changed his attitude following his earlier, 1967, review of Wolfe. "New Journalism does not exist", the later article titled "Is there a 'new journalism'?" says. "It is a false category. There is only good writing and bad writing, smart ideas and dumb ideas, hard work and laziness." While the practice of journalism had improved during the past fifteen years, he argued, it was because of an influx of good writers notable for unique styles, not because they belonged to any school or movement.


title: New Journalism

text: Jimmy Breslin, who is often labelled a New Journalist, took the same view: "Believe me, there is no new journalism. It is a gimmick to say there is ... Story telling is older than the alphabet and that is what it is all about."


title: New Journalism

text: The article Wolfe referred to was actually titled "Joe Louis—the King as a Middle-Aged Man", "Esquire", June, 1962.


title: Timi Yuro

text: Rosemary Victoria Yuro (August 4, 1940 – March 30, 2004), known professionally as Timi Yuro, was an American singer-songwriter. Sometimes called "the little girl with the big voice," she is considered to be one of the first blue-eyed soul stylists of the rock era. According to one critic, "her deep, strident, almost masculine voice, staggered delivery and the occasional sob created a compelling musical presence." Yuro possessed a contralto vocal range.


title: Timi Yuro

text: Rosemary Yuro was born in Chicago, Illinois, United States, in 1940, into an Italian-American family whose original name may have been Aurro. By the time of her birth, however, the family used the spelling Yuro. In 1952, young Rosemary moved with her family to Los Angeles, where she sang in her parents' Italian restaurant and, despite their opposition, in local nightclubs before catching the eye and ear of talent scout Sonny Knight. Signed to Liberty Records in 1959, she had a U.S. "Billboard" No. 4 single in 1961 with "Hurt", an R&B ballad that had been an early success for Roy Hamilton. Yuro's recording was produced by Clyde Otis, who had previously worked with Brook Benton and Dinah Washington. Later that year she recorded as a duo with Johnnie Ray. She charted some further minor hits including "Smile" (No. 42), opened for Frank Sinatra on his 1962 tour of Australia, and received a 1962 Grammy nomination for Best New Artist of 1961 (losing to Peter Nero).


title: Timi Yuro

text: In 1962, Bob Johnston and Otis produced Yuro's single "What's a Matter Baby (Is It Hurting You?)", which went to No. 12 on the "Billboard" pop chart. On both "Hurt" and "What's a Matter Baby", Yuro showed an emotional but elegant vocal style that owed a debt to Washington and other black jazz singers. Many listeners in the early 1960s thought Yuro was black. Her single "The Love of a Boy" reached No. 44 in 1962. It was arranged and co-written by Burt Bacharach, but Yuro refused to record his suggested follow-up, "What the World Needs Now Is Love".


title: Timi Yuro

text: In the following year, Liberty released "Make the World Go Away", an album of country and blues standards. The singer at her vocal peak, this recording includes the hit title song (later a bigger hit for Eddy Arnold, with whom the song is usually associated), a version of Willie Nelson's "Permanently Lonely", and two different blues takes of "I'm Movin' On". Yuro was also known for soulful reworkings of popular American standards, such as "Let Me Call You Sweetheart", "Smile", and "I Apologize". She toured Europe in 1963, and appeared on the British TV show "Ready Steady Go!". However, in the U.S. her image became established as a cabaret performer, rather than as a soul singer.


title: Timi Yuro

text: By 1964, Yuro had moved to Mercury Records, but her first record for the label, "You Can Have Him", arranged by Jack Nitzsche, only just scraped into the chart and was her last hit. Nevertheless, her album "The Amazing Timi Yuro", produced by Quincy Jones, was an artistic success. Subsequent records were unsuccessful, although a B-side, "Can't Stop Running Away", was later popular on the UK's Northern soul circuit. In the 1960s, Yuro made two TV appearances on "The Ed Sullivan Show" and was a guest on "American Bandstand", "Where the Action Is", and "The Lloyd Thaxton Show". In 1967, she appeared in a black-and-white film in the Philippines as a guest star alongside Filipino comedians Dolphy and Panchito in a comedy titled "Buhay Marino" (""Life of a Sailor""), a film released by Wag-Wag Productions, Inc. Prior to that, Yuro also appeared as a guest on the "Student Canteen" TV program hosted by Leila Benitez of CBN (now ABS-CBN) in Aduana, Manila, and afterwards, did a singing concert at the Araneta Coliseum (now Smart Araneta Coliseum). At that time, the singer was very popular in the Philippines. She re-signed for Liberty Records in 1968, and recorded in London.


title: Timi Yuro

text: By the late 1960s, Yuro had performed in venues from London to Las Vegas. She appeared at the Kray twins' clubs in London as she was a favorite of Reggie Kray. In 1965 and 1968, she sang at the Sanremo Music Festival, Italy's most popular music contest. However, her career lost its early momentum and she quit the music business altogether after her marriage in 1969.


title: Timi Yuro

text: In 1981, Yuro attempted a comeback in the Netherlands, performing as a guest of honor on Dutch national television. She re-recorded a version of "Hurt" that reached No. 5 on the Dutch pop charts. She also signed to the Dutch record label Dureco to record a new album, "All Alone Am I"; it went to No. 1 on the Dutch album charts and was eventually certified as a gold record. With these successes, Yuro moved to the Netherlands and continued with a string of hit singles and albums. After her record sales began to decline there in the mid-1980s, Yuro returned to the United States. Her last recording was the vinyl album "Today", which was released in 1982 by Ariola and produced by her old friend and collaborator Willie Nelson. In 1990, the disc was reissued as a CD, remastered and remixed by Yuro herself on her own label Timi and titled "Timi Yuro Sings Willie Nelson".


title: Timi Yuro

text: She was diagnosed with throat cancer in the 1990s, and died at the age of 63 in 2004 in Las Vegas, Nevada.


title: Timi Yuro

text: Yuro's work is admired in the United States as well as the United Kingdom and the Netherlands. According to the obituary in the "Las Vegas Sun", her hometown paper, Yuro's most famous fan was probably Elvis Presley, who commanded his own table at the casino where Yuro headlined in the late 1960s. (Presley had a top 10 country hit and top 30 pop hit with his 1976 version of "Hurt".) In April 2004, Morrissey announced Yuro's death on his official website, describing her as his "favorite singer". (Morrissey also recorded a version of Yuro's "Interlude" with Siouxsie Sioux in 1994.) P. J. Proby knew Yuro from their time in Hollywood, and often mentions it during his performances of "Hurt".


title: Timi Yuro

text: Elkie Brooks recorded a version of Yuro's classic "What's a Matter Baby" on her 1988 album "Bookbinder's Kid". Yuro was so impressed with the version, she contacted Brooks while she was on a UK tour, and the two kept in contact.


title: Timi Yuro

text: Yuro found success on the dance floors of northern England in the 1970s and 1980s when Northern soul DJs championed her up-tempo tracks of "It'll Never Be Over for Me" and "What's a Matter Baby". The former has remained an important Northern soul track; the latter was covered by The Small Faces as the B-side of their debut single in 1965 and re-released on Kent Records in the 1980s.


title: Timi Yuro

text: Yuro's 1962 recording of "Satan Never Sleeps" is the theme song that plays over the opening credits of the 1962 film of the same name. It also plays over the closing credits of Penny Lane's 2019 documentary film "Hail Satan?".


title: Darijo Srna

text: Darijo Srna (; born 1 May 1982) is a Croatian former professional footballer and current director of football of Ukrainian Premier League club Shakhtar Donetsk. During most of his career he played as a right wing-back.


title: Darijo Srna

text: He began his career at Hajduk Split, before moving to Shakhtar in 2003. He has won numerous trophies during his time at Shakhtar, including a UEFA Cup title in 2009, seven Ukrainian Premier League titles, five Ukrainian Cup titles and five Ukrainian Super Cup titles. He left Shakhtar in 2018 and signed one-year contract with Cagliari and then returned to Shakhtar to work as an assistant manager.


title: Darijo Srna

text: Srna made his international debut for Croatia in November 2002 and is the second most capped player in the history of the Croatia national team with 134 caps, having represented his country at the 2006 and 2014 FIFA World Cups, as well as at UEFA Euro 2004, 2008, 2012 and 2016. In 2009, then manager Slaven Bilić made him the captain of the national team, a position he would hold until his retirement from international football in 2016; the captaincy then passed to Luka Modrić.


title: Darijo Srna

text: He is the most capped player in the history of Shakhtar with 536 appearances. He was popularly dubbed the "Icon of Shakhtar". Srna's consistent quality and playing style earned comparisons to Cafu.


title: Darijo Srna

text: Srna's talent was seen by many scouts in Croatia while he was young. He was later signed by Hajduk Split as his talent became desirable for the Croatian giants. At Hajduk, he won the 1999–2000 and 2002–03 Croatian Cup, as well as the 2000–01 Prva HNL. The club played in the first round of 1999–2000 UEFA Cup, 2001–02 UEFA Cup, 2002–03 UEFA Cup, as well as the second round of the 2000–01 UEFA Champions League and the third round of the 2001–02 UEFA Champions League. He made 84 appearances for the club, including 64 league appearances, and scored eight goals, four of which came in the league, before moving to Ukrainian club Shakhtar Donetsk.


title: Darijo Srna

text: In 2003, Srna was sold, along with Hajduk goalkeeper Stipe Pletikosa, to Shakhtar Donetsk. He is a common member and the captain in his club side, for whom he has made a large impact in the league. In his first season with the club, he made 29 appearances, including 19 in the league, scoring three goals, all of which came in the Ukrainian Cup. He helped the club to win the Ukrainian Cup, his first honour with the club, and to a second-place finish in the Premier League.


title: Darijo Srna

text: In his second season, Shakhtar won the Super Cup and the Premier League. He made 42 appearances for the club, 22 of which came in the league, and netted two goals, once in the league and once in the cup. Srna made his debut in main stage of UEFA Champions League on 14 September 2004 against Milan. His third season saw Shakhtar retain the Premier League title. He made 21 league appearances, scoring twice. After the 2006 FIFA World Cup, Benfica were reported to be after the player's signature but nothing materialized, with what many considered a fallen or rejected sale. Since then, he had been linked with a number of other clubs, including Lazio, but a move never materialized.


title: Darijo Srna

text: The following season, Shakhtar were trumped to the Premier League title by Dynamo Kyiv as they failed to achieve any silverware. Darijo made 35 appearances for the club, 20 in the league, and scored four times, three of which came in the league. In the 2007–08 season, Shakhtar picked up the Premier League trophy and were victorious in the Ukrainian Cup Final. He made 41 appearances, 28 of which came in the league.


title: Darijo Srna

text: The 2008–09 season saw Shakhtar win the Super Cup and the UEFA Cup. On 15 July 2008, Shakhtar emerged victorious in the Super Cup Final against Dynamo Kyiv. At the end of extra time, the teams were level at 1–1. In the ensuing penalty shoot-out, Shakhtar converted all five of its penalties to win 5–3. Srna, who captained the side, scored one of the penalties. On 3 August, he scored the first goal in a 3–0 victory over Illichivets Mariupol. On 13 August, he scored the first goal in a 2–0 victory over Dinamo Zagreb in the Champions League. On 18 October he scored a goal in Shakhtar's 4–2 win against Kryvbas. On 2 March, he scored the winning goal in Shakhtar's 2–1 league victory over Illichivets. On 22 March, he scored the only goal in a league win over Vorskla. In the semi-final of the UEFA Cup, Shakhtar faced Dynamo Kyiv in an all-Ukrainian tie. After a 1–1 away draw in the first leg, Shakhtar won 2–1 at the Donbass Arena for a 3–2 aggregate win to progress to the final. Darijo played the full 90 minutes of both legs. On 20 May 2009, he captained Shakhtar in the 2–1 victory over Werder Bremen in the UEFA Cup Final. Srna provided the assist for Jádson's winning goal seven minutes into extra time. He also picked up a yellow card. This was the last UEFA Cup before its rebranding as the UEFA Europa League. Shakhtar finished the Premier League season in second position, 15 points behind champions Dynamo Kyiv. Darijo made 46 appearances and scored 5 goals, with 25 appearances and 4 goals in the league.


title: Darijo Srna

text: In the 2009–10 season, Shakhtar regained the Premier League title. On 28 August, he played in Shakhtar's 1–0 extra time loss to Barcelona in the 2009 UEFA Super Cup, picking up a yellow card on 65 minutes. He scored the third goal in a 4–1 away victory over Club Brugge in the Europa League. He scored a goal and picked up a yellow card in a 2–0 Ukrainian Cup victory over Dynamo Kyiv on 28 October. He netted his first league goal of the season in a 2–1 victory against Zorya Luhansk on 20 March. On 3 April, he scored the only goal in a league victory over Obolon. Srna played 39 matches, 26 in the league, and scored four goals, two of which came in the league.


title: Darijo Srna

text: The 2010–11 season was extremely successful for Shakhtar as they won the treble (Premier League, Ukrainian Cup and the Super Cup). He played in Shakhtar's 7–1 Super Cup victory over Tavriya Simferopol on 4 July. On 15 September, he netted the only goal, and picked up a yellow card, in a 1–0 Champions League win over Partizan. In the following match, against Tavriya, after going 1–0 down, Srna scored the equaliser in a 4–1 victory. On 30 October, he was sent off in added time against Dnipro Dnipropetrovsk as Shakhtar won 1–0. On 1 April, he scored the first goal in a 3–1 victory over Illichivets Mariupol. On 7 May, against Metalurh Donetsk, he scored the second goal in a 2–0 win. On 25 May, he played in the 2–0 Ukrainian Cup Final victory over Dynamo Kyiv, picking up a yellow card. Srna was named in the UEFA Champions League Team of the Year according to player rater (statistics) in the 2010–11 season where Shakhtar lost in the quarter-final to Barcelona. Srna created five assists in five games. He made 39 appearances, 27 of which were in the league, scoring four goals, three of which came in the league.


title: Darijo Srna

text: Shakhtar won the Premier League and the Ukrainian Cup in the 2011–12 season, Darijo's sixth league title with the club. He scored a goal in first half injury time in a 2–0 away win over Metalurh Donetsk. On 2 December, he scored the first goal in a 5–0 league victory over Arsenal Kyiv at the Donbass Arena. On 16 April, in the 27th gameweek of the season, Srna netted the final goal in a 5–1 victory over Zorya Luhansk. On 6 May, he played in the Ukrainian Cup Final against Metalurh Donetsk in which Shakhtar emerged victorious after an extra time winner from Oleksandr Kucher made it 2–1. This marked Srna's fourth Ukrainian Cup success with Shakhtar. He picked up a yellow card in the final match of the season, a 3–0 victory over Oleksandriya. Shakhtar won the league by four points over Dynamo Kyiv; Srna scored 3 goals in 25 league matches and made a total of 34 appearances in the season.


title: Darijo Srna

text: Darijo began the 2012–13 season with an assist for Luiz Adriano in the sixth-minute of Shakhtar's 2–0 Super Cup victory over Metalurh Donetsk. He assisted Ilsinho for the second goal in a 3–1 Premier League win against Hoverla Uzhhorod. He assisted Fernandinho for a 93rd-minute winner against Kryvbas Kryvyi Rih. and added another for Marko Dević in a 4–0 victory against Volyn Lutsk. On 19 August, Srna assisted Willian for the third goal in a 5–1 win against Chornomorets Odesa In the next match, he provided Luiz Adriano with an assist in a 3–0 win over Karpaty Lviv. On 2 September, he assisted Oleksandr Kucher's second goal in a 3–1 victory against Dynamo Kyiv. On 23 September, Srna scored a free-kick in a 4–1 victory over Dynamo Kyiv in the last 32 of the Ukrainian Cup. On 28 September, he scored the winning goal in a 2–1 victory against Dnipro Dnipropetrovsk. He picked up the Man of the Match award for his contribution to win over Dnipro. On 19 October, he assisted Ilsinho for a goal in a 2–1 victory against Illichivets.


title: Darijo Srna

text: On 13 February 2013, Srna netted with an expertly-struck free-kick in the 31st minute in the first leg of the Champions League Round of 16 tie with Borussia Dortmund, which ended in a 2–2 draw. At the end of the 2012–13 season in Ukraine, he finished with the most assists, with 12.


title: Darijo Srna

text: In mid-season, Srna helped Shakhtar win the 2014 United Supercup, a tournament between the top-two placed clubs from Russia and Ukraine, becoming the assists leader and joint top scorer of the tournament. By the end of the season, the club won the Ukraine Premier League and the 2014 Ukrainian Super Cup.


title: Darijo Srna

text: In the first game of the season, Srna set a new record of games played for Shakhtar in the Premier League.


title: Darijo Srna

text: In the 2015–16 season, Srna played 41 games and scored six goals. Shakhtar announced that their captain had extended his contract for the 2016–17 season, a day after the club celebrated their 80th anniversary.


title: Darijo Srna

text: He was suspended from 22 September 2017 until 22 August 2018 for failed doping test for dehydroepiandrosterone.


title: Darijo Srna

text: On 22 June 2018 Srna, signed one-year deal with Italian side Cagliari Calcio with an option to extend it for another year. In June 2019, the contract ended and Srna left the club.


title: Darijo Srna

text: In July 2019, Srna returned to Shakhtar Shakhtar Donetsk as an assistant manager on a one-year contract until 2020. He then moved on to the Director of football role.


title: Darijo Srna

text: Srna made his full international debut for the Croatia national team in a friendly match against Romania in November 2002. He went on to score his first international goal on his competitive debut for Croatia in their UEFA Euro 2004 qualifier against Belgium in March 2003, netting the opening goal in Croatia's 4–0 win. He made a total of six appearances in Croatia's qualifying campaign for Euro 2004, including both play-off matches against Slovenia.


title: Darijo Srna

text: At the Euro 2004 finals, he appeared as a substitute in Croatia's group matches against Switzerland and England, before they were knocked out of the tournament in the first round.


title: Darijo Srna

text: After Euro 2004, Srna went on to become one of the key players in Croatia's 2006 FIFA World Cup qualifying campaign, scoring five goals in nine appearances during the campaign and being the team's top goalscorer in the competition. During the 2006 World Cup qualifying, he scored both goals in Croatia's two 1–0 wins over Sweden, including a long-range free kick in the away fixture in Gothenburg. He also netted both goals in Croatia's 2–2 home draw against Bulgaria, as well as one goal in their 3–1 away win at Iceland.


title: Darijo Srna

text: Srna then starred in all three games of Croatia's 2006 World Cup campaign. He was highly praised and remembered for his spectacular 30-yard free kick which put Croatia ahead against Australia in the infamous "Graham Poll three-yellow card" blunder match that ended 2–2. However, in previous group match against Japan he missed a penalty in a 0–0 draw and Croatia finished third in the group stage with only 2 points.


title: Darijo Srna

text: In September 2006, Srna was temporarily dropped from the Croatian squad for a Euro 2008 qualifying match with Russia because of a late night partying spree in a local disco, along with teammates Boško Balaban and Ivica Olić.


title: Darijo Srna

text: Srna was considered the hero of the match, when he came on as a substitute against Macedonia in a Euro 2008 qualifying match and scored shortly after from a free-kick, which was shot into the right corner of the goal. In the 88th minute, he provided a cross which found teammate Eduardo, and allowed him to score and snatch a late win for Croatia. He also scored Croatia's equaliser in their hard-fought away victory against Israel, which eventually ended 4–3 in Croatia's favour. Srna went on to miss a penalty against Estonia, however his overall contribution to teamwork attack compensated for this mistake, which Croatia quickly capitalised on to win 2–0.


title: Darijo Srna

text: Since helping his country qualify for Euro 2008 with a strong qualifying campaign, Srna was unsurprisingly named in their 23-man squad for the current tournament. On 12 June, Srna scored the opening goal in the 24th minute of Croatia's 2–1 victory over Germany in their second game of Group B. He was the only player to score for Croatia in their unsuccessful penalty shootout in the quarter-finals against Turkey. At the conclusion of the match, Srna was seen struggling to hold back an emotional breakdown because of Croatia's strong efforts but eventual defeat.


title: Darijo Srna

text: Srna started in all three games of the 2012 tournament as the captain, where Croatia finished third behind Spain and Italy, failing to qualify to the next stage. Italy and Spain went on to become the finalists of the tournament.


title: Darijo Srna

text: On 6 February 2013, Srna won his 100th cap in a friendly match against South Korea at Craven Cottage, London, thereby equalling Dario Šimić as Croatia's most capped player. In that match, Srna also scored his 20th international goal.


title: Darijo Srna

text: Croatia qualified for the 2014 World Cup, where Srna served as team captain for his second official international tournament, after Euro 2012. Croatia finished third in the group behind Brazil and Mexico and therefore failed to qualify for the next stage.


title: Darijo Srna

text: At Euro 2016 in France, Srna, once again as team captain, played in Croatia's first group stage match against Turkey. Shortly after the match, however, he returned to Croatia upon the news of his father's death during the match. He returned to France to finish the tournament afterwards, to abide by his father's dying wish. Croatia reached the knock-out phase of the tournament, but lost 1–0 to Portugal through an extra-time Ricardo Quaresma goal.


title: Darijo Srna

text: Srna amassed 134 caps and 22 goals for Croatia, which made him the country's most capped player at the time of his retirement. He held this record for over eight years, until it was overtaken by Luka Modrić in 2021.


title: Darijo Srna

text: Srna was born in Metković to Bosniak father Uzeir and Croat mother Milka. His father, a World War II orphan and a former footballer for FK Sarajevo, supported his fledgling football career despite discrimination during the Yugoslav Wars and widespread corruption among football coaches. Before leaving Croatia to join for Shakhtar Donetsk, he gave his parents a brand new Mercedes. He has a tattoo of a deer playing football on his leg, as "Srna" in Croatian means "deer". Srna has also helped Bosnian club Borac Šamac, where his father played as goalkeeper and was also a coach.


title: Darijo Srna

text: Srna has a half-brother, Renato, a coach at Neretva, from their father's first marriage. His other brother Igor has Down syndrome. As a result, Srna dedicates all his goals to him, and even revealed a shirt under his jersey saying ""Igor, svi smo uz tebe"" ("Igor, we are all here for you") after scoring a goal against North Macedonia in international play. He also has a tattoo reading "Igor" along his heart.


title: Darijo Srna

text: While at Shakhtar, Srna frequently bought match tickets for orphans and often financed their travel to the stadium at his own expense. In late 2014, he purchased 20 tonnes of tangerines from farms near Metković and had them donated to over 23,000 primary school children in the Donbass region during the ongoing war there.


title: Darijo Srna

text: Srna married long-time girlfriend Mirela Forić, whom he met through mutual friend and footballer Boško Balaban. Their daughter Kasja was born in July 2010 and their son Karlo was born in June 2015.


title: Roskilde Festival

text: The Roskilde Festival is a Danish music festival held annually south of Roskilde. It is one of the largest music festivals in Europe and the largest in the Nordic countries. It was created in 1971 by two high school students and a promoter. In 1972, the festival was taken over by the Roskilde Foundation, which has since run the festival as a non-profit organization for development and support of music, culture and humanism. In 2014, the Roskilde Foundation provided festival participants with the opportunity to nominate and vote upon which organizations should receive funds raised by the festival.


title: Roskilde Festival

text: The Roskilde Festival was Denmark's first music-oriented festival created for hippies, and today covers more of the mainstream youth from Scandinavia and the rest of Europe. Most festival visitors are Danes, but there are also many visitors from elsewhere, especially the other Scandinavian countries and Germany.


title: Roskilde Festival

text: The first Roskilde Festival was held on 28 and 29 August 1971, originally named the Sound Festival. It was created by the two high schoolers Mogens Sandfær and Jesper Switzer Møller and promoter Carl Fischer, and inspired by festivals and youth gatherings like Newport, Isle of Wight and Woodstock. It was characterized mainly by poor management but also great enthusiasm. The festival's inaugural year saw roughly 20 bands ranging from folk, jazz, rock and pop genres all playing on a single stage, which lasted for two days with some 10,000–13,000 visitors. Because of a lack of time and funds, the two high schoolers withdrew and the next year's festival, under the name Fantasy Festival, was arranged by the non-profit Roskilde Foundation and the American folk singer Tony Busch. The foundation had been involved in Roskilde's city festival since 1932 and had the necessary contacts. Unlike the first year, the 1972 festival produced a surplus and the foundation was able to donate 50,000 dkk (equalling 330,000 dkk in 2020) to local projects for children and youths. Many volunteers had been involved in the 1972 festival and this, along with being non-profit, would become a hallmark of the future festivals. Since 1973, the Roskilde Foundation (today known as the Roskilde Festival Group) alone has been responsible for arranging the festival.


title: Roskilde Festival

text: In 1978, festival organizers acquired the "Canopy Scene", an orange musical stage previously used by The Rolling Stones on a European tour. Since its beginning, the Canopy Scene and its characteristic arches have become a well-known symbol and logo representing the festival.