title: Maunder Minimum

text: During the Maunder Minimum aurorae had been observed seemingly normally, with a regular decadal-scale cycle. This is somewhat surprising because the later, and less deep, Dalton sunspot minimum is clearly seen in auroral occurrence frequency, at least at lower geomagnetic latitudes. Because geomagnetic latitude is an important factor in auroral occurrence, (lower-latitude aurorae requiring higher levels of solar-terrestrial activity) it becomes important to allow for population migration and other factors that may have influenced the number of reliable auroral observers at a given magnetic latitude for the earlier dates. Decadal-scale cycles during the Maunder Minimum can also be seen in the abundances of the beryllium-10 cosmogenic isotope (which unlike carbon-14 can be studied with annual resolution) but these appear to be in antiphase with any remnant sunspot activity. An explanation in terms of solar cycles in loss of solar magnetic flux was proposed in 2012.


title: Maunder Minimum

text: The fundamental papers on the Maunder Minimum have been published in "Case studies on the Spörer, Maunder and Dalton Minima".


title: Ed Woodward

text: Edward Gareth Woodward (born 9 November 1971) is an English accountant and investment banker who was the executive vice-chairman and effectively the chief executive of Manchester United from 2012 to 2022. Richard Arnold succeeded him in his role.


title: Ed Woodward

text: Woodward attended Brentwood School in Brentwood, Essex from 1983 to 1989. He went on to study physics at the University of Bristol graduating in 1993. He later qualified as a chartered accountant in 1996.


title: Ed Woodward

text: Woodward began working for PricewaterhouseCoopers in the accounting and tax advisory department in 1993, before joining J.P. Morgan & Co. as an investment banker in the mergers and acquisitions department in 1999.


title: Ed Woodward

text: In 2005, Woodward advised Malcolm Glazer and the Glazer family during its successful takeover of Manchester United. The Glazer family then recruited Woodward to join the club in a "financial planning" role.


title: Ed Woodward

text: In 2007, Woodward was given charge of the commercial and media operations of Manchester United. It was in this role that Woodward is credited for United's success in tying up lucrative sponsorship deals with companies around the world. In 2005, the club's commercial revenue was £48.7 million. In 2012, it stood at £117.6 million.


title: Ed Woodward

text: Woodward was appointed to the board of directors and named executive vice-chairman of Manchester United in 2012. After the retirement of CEO David Gill the following year, Woodward was promoted to the top operational role at Old Trafford in a restructuring of the club's boardroom. Woodward was succeeded by Richard Arnold as the club's commercial management director.


title: Ed Woodward

text: In August 2016, Woodward secured the transfer of Paul Pogba for a record breaking fee of €105 million, making him the world's most expensive footballer at the time.


title: Ed Woodward

text: On 20 April 2021, Woodward announced he would resign as executive vice-chairman of Manchester United at the end of the year, following unprecedented criticism of Manchester United's failed attempt at forming and joining a European Super League. Woodward was reported to have been heavily involved in plans for the Super League "from day one". By the end of that season, he had also overseen Manchester United's worst trophy drought since the mid-1980s, a period of four years without a single piece of silverware. In an announcement on Manchester United’s website, it was confirmed that Woodward would leave his position on 1st February 2022.


title: Ed Woodward

text: Woodward has received consistent criticism for his performance as Manchester United's chief executive.


title: Ed Woodward

text: Woodward's first transfer window in 2013, in which Manchester United completed the signing of Belgian midfielder Marouane Fellaini from Everton but failed to acquire other transfer targets, was described as being "disastrous" by "The Daily Telegraph". After the window closed, some fans demanded the sacking of Woodward.


title: Ed Woodward

text: In July 2014, the newly appointed Manchester United coach, Louis van Gaal complained that Manchester United's excessive commercial activities could hamper the team's success and hoped there could be some balance to that.


title: Ed Woodward

text: After the 2018 summer transfer window, it was speculated in the media that Woodward had vetoed the transfer targets given to him by then manager José Mourinho at the end of the 2017–18 season. This created tension in the club, with Mourinho and the United fans alike criticising Woodward for the lack of improvement in the squad.


title: Ed Woodward

text: In January 2020, Woodward's Cheshire home was attacked by a group of disgruntled Manchester United supporters chanting that he was "going to die". This followed similar chanting at Old Trafford during recent Manchester United home games, at which supporters have called for Woodward and the club's owners, the Glazer family, to leave.


title: Ed Woodward

text: Woodward supported non-league Chelmsford City in his youth. His father was a fan of both Derby County and Manchester United, and was present for the latter's victory in the 1968 European Cup Final at the old Wembley Stadium.


title: Problem Children Are Coming from Another World, Aren't They?

text: , also known as , is a Japanese light novel series written by Tarō Tatsunoko and illustrated by Yū Amano. An anime adaptation by Diomedéa aired from January 11, 2013, to March 15, 2013. Part 1 of the series ended on April 1, 2015, with twelve volumes total with Part 2 beginning on June 1, 2015, under the new title and a new illustrator, momoco.


text: Three children, Sakamaki Izayoi, Kudō Asuka, and Kasukabe Yō, live dull lives because they possess unmatched psychic powers. One day, they receive an envelope that transports them to Little Garden, a place of supernatural powers called "Gifts." There, the residents use Gifts to play high-stakes games known as Gift Games so as to earn wealth and prestige for their communities. So, the three children join the fallen "No Name" community and resolve to help it regain its prosperity. As they learn more about Little Garden, they decide to overthrow the tyrannical Demon Lords.


text: Mondaiji-tach ga isekai kara kuru sou desu yo? is a seinen manga series that began serialization in "Comp Ace" with Nanamomo Rio as the illustrator. Covering volumes 1 and 2 of the light novel and ran alongside the anime, though outlasting it as the eighteen chapters were released once a month. The manga is more faithful to the light novel and has scenes the anime does not.


text: Mondaiji-tachi ga isekai kara kuru sou desu yo? Z is a shonen spin off manga written and illustrated by Anri Sakano. It ran in Age Premium during the run of the anime and after it. Volumes 1 and 2 take place after the events of volume 2 of the light novel, and by extension the anime, while volume 3 takes place after volume 5.


text: An anime television adaptation produced by Diomedéa aired on Tokyo MX from January 11, 2013, to March 15, 2013, and later on other stations. The series was simulcast by Crunchyroll and Anime on Demand. The opening theme is "Black † White" by Iori Nomizu whilst the ending theme is "To Be Continued?" by Kaori Sadohara. In 2015, it aired on Anime Network On Demand on DIRECTV with English subtitles.


title: Kim Matula

text: Kimberly Marie Matula (born August 23, 1988) is an American actress. She is known for playing Hope Logan on the CBS daytime soap opera "The Bold and the Beautiful" from 2010 to 2016, and for playing Ronnie on the 2018 Fox comedy series "LA to Vegas".


title: Kim Matula

text: Matula was born in Fort Worth, Texas to David and Karin Matula. She is of Norwegian, Czech, English, Sudeten German and French-Canadian ancestry. Matula has always dreamed of acting and created videos of her acting. She studied film at the University of Texas at Arlington, but dropped out because her acting career was taking off. In 2008, Matula appeared in the Lifetime movie "Queen Sized", and in next year moved to Los Angeles, then in 2010, she landed the role of Hope Logan in the CBS daytime soap opera "The Bold and the Beautiful".


title: Kim Matula

text: In 2014, Matula was nominated for a Daytime Emmy Award for Outstanding Younger Actress in a Drama Series. In her two final years on the soap, Matula's character had major storylines. In November 2014, it was announced that Matula had not renewed her contract and would be departing the series for a career in primetime television and film.


title: Kim Matula

text: In 2016, Matula joined the cast of the second season of the critically acclaimed Lifetime dark comedy-drama series, "Unreal".


title: Crystal Clarke

text: Crystal Clarke (born ) is an American actress. She is best known for her roles as Tina Argyll in the BBC and Amazon Prime miniseries "Ordeal by Innocence" (2018) and Georgiana Lambe in the ITV and PBS adaptation of the Jane Austen novel "Sanditon" (2019–).


title: Crystal Clarke

text: Clarke was born and raised in Essex County, New Jersey, to Caribbean parents; her mother is from Trinidad and her father was from Guyana. She has one older brother. Clarke attended Newark Arts High School, graduating in 2011. She also spent part of her childhood in Tennessee. Clarke made the decision to leave the United States to pursue acting because she felt her race and class put her at a disadvantage. Clarke moved to Glasgow to attend the Royal Conservatoire and graduated in 2014.


title: Crystal Clarke

text: Clarke made her West End theatre debut as Hester Worsley in Dominic Dromgoole's revival of "A Woman of No Importance". She had small roles in the "" and "Last Jedi" installments of "Star Wars". She, Lupita Nyong'o and Maisie Richardson-Sellers were the first three black actresses to appear in a "Star Wars" film in the former. She also appeared in the 2019 "Black Mirror" episode "Smithereens" and the Channel 5 film "Agatha and the Curse of Ishtar".


title: Crystal Clarke

text: Clarke played Tina Argyll in the 2018 mini-series adaptation of Agatha Christie's "Ordeal by Innocence". In 2019, she began starring as Miss Georgiana Lambe in the ITV and "Masterpiece" adaptation of Jane Austen's novel "Sanditon". Lambe is the only black character written by Austen. In 2022, she played Magali in "The King's Daughter". She has an upcoming role in Sam Mendes' "Empire of Light".


title: Baseball (TV series)

text: Baseball is a 1994 American television documentary miniseries created by Ken Burns about the game of baseball. First broadcast on PBS, this was Burns' ninth documentary and won the 1995 Primetime Emmy Award for Outstanding Informational Series. It was funded in part by the National Endowment for the Humanities.


title: Baseball (TV series)

text: "Baseball", like Burns' previous documentaries such as "The Civil War", uses archived pictures and film footage mixed with interviews for visual presentation. Actors provide voice over reciting written work (letters, speeches, etc.) over pictures and video. Episodes are interspersed with the music of the times taken from previous Burns series, original played music, or recordings ranging from Louis Armstrong to Elvis Presley. John Chancellor, former anchor of the "NBC Nightly News" from 1970 to 1982, narrated the series.


title: Baseball (TV series)

text: The documentary is divided into nine parts, each referred to as an "inning", following the division of a baseball game. Each "inning" reviews an era, mentioning notable moments in the world and in America itself, and begins with a brief prologue that acts as an insight to the game during that era. The prologue ends with the playing of "The Star-Spangled Banner" just as a real baseball game would begin, being performed usually by a brass band, with a couple of exceptions: The 1920s, where the rendition is played by a piano of the era, and the 1960s, where the rendition is the version played by Jimi Hendrix at Woodstock. In some "inning" episodes, a period version of the baseball anthem "Take Me Out to the Ball Game" is used. Roughly halfway through each "inning", a title card appears, reading "Bottom of" the inning, dividing the episode in two parts in a manner also recalling the game; in the seventh "inning", the "Bottom" is immediately preceded by the "seventh-inning stretch". Within these halves of the episode, there are smaller segments also highlighted with a simple title card that often highlight various important parts of baseball's history. These often include player highlights, important or eventful games, or the creation of various brands that are now well known throughout baseball such as Louisville Slugger.


title: Baseball (TV series)

text: Major themes explored throughout the documentary include race, business, labor relations, and baseball's relationship with society. The series had an audience of 45 million viewers, making it the most watched program in Public Television history.


title: Baseball (TV series)

text: The following is a non-exhaustive list of people not involved in baseball who were interviewed in the documentary:


title: Baseball (TV series)

text: The following is a non-exhaustive list of people who were more involved in the game of baseball, and were interviewed in the documentary:


title: Baseball (TV series)

text: Critics and audiences praised the series but criticized its length and detail. At 18.5 hours, the runtime of the series is one of Burns' longest.


title: Baseball (TV series)

text: The first episode more than doubled PBS's average primetime ratings with a Nielsen rating of 5.1 and an audience share of 7% but did not do as well as "Civil War" 9 rating and 13% share.


title: Baseball (TV series)

text: The documentary is made available to local PBS stations to air as part of their programming. Usually these can be found on weekends or during pledge drives.


title: Baseball (TV series)

text: In 2009, the series aired on MLB Network Sunday nights at 8 PM ET/5 PM PT. These airings include commercial breaks which stretch the run time of each episode from around 1 hour to 2 or even 3 depending on how many breaks MLB Network adds to the episode. As the series was intended to air commercial-free on public television the breaks are often abrupt. The first episode to air on the network also had utterances of the word "nigger" (as read from first person accounts or quotes from the time) bleeped out, despite the language of the episode being heard uncensored on over-the-air PBS stations for years. Later episodes dropped this censoring but added a disclaimer at the beginning of the program warning that it contained offensive language.


title: Baseball (TV series)

text: At a preview screening of his 2007 documentary "The War", Ken Burns spoke of the possibility of coming up to date in the history of baseball with a "Tenth Inning" episode of his "Baseball" documentary. This was officially confirmed by Burns in an MLB Network interview, and later to the NBC LA web site during the winter Television Critics Association media tour January 8. It aired in Fall 2010 and covered the period from 1992 through the 2009 season.


title: Baseball (TV series)

text: During in-game coverage of a Texas Rangers game during July 2009, Burns was interviewed, and said "The Tenth Inning" would air "about a year from now" on PBS. He also stated that it would be two two-hour programs. One would be the "top of the 10th", and the other would be the "bottom of the 10th". He also said that "the good Lord willing", there would be an 11th Inning and a 12th Inning in the future. His aim was to air the 11th Inning in 2020 opening with Armando Galarraga. Burns also said that "Baseball" is the only one of his documentaries to which he was ever interested in doing a "sequel" (of sorts).


title: Baseball (TV series)

text: "The Tenth Inning" premiered on PBS on September 28, 2010, narrated by Keith David. The Inning was broken into two halves airing on September 28 and 29, 2010. The documentary discussed the major stories of the last fifteen years in baseball. It focuses heavily on examining the Steroid era and the many players who got caught up in it, but also discusses other major issues in baseball, such as how baseball rebounded from the 1994 strike largely thanks to the selflessness of Cal Ripken Jr. and other players, the return to prominence of the Yankees, the influence of international players (specifically Dominican and Japanese players) on the game, and the drama of the 2003 and 2004 American League Championship Series, which helped baseball, even in the midst of America's greatest economic crisis since the Great Depression, become as popular as it has ever been.


title: Baseball (TV series)

text: As a postscript, Marcos Breton, the "Sacramento Bee" writer who was interviewed extensively during the film, finally realized his boyhood dream of watching the Giants win their first World Championship in San Francisco shortly after the film premiered on PBS.


title: Baseball (TV series)

text: On October 17, 2000, PBS DVD Gold released the entire series on a ten-disc DVD set. The series was re-issued on September 28, 2004, with each inning on a separate disc, plus "Extra Innings," a tenth disc consisting of unaired material including the making of "Baseball" and other features. A revised DVD set, now including "The Tenth Inning", was released on October 5, 2010, as was a standalone Blu-ray disc containing only "The Tenth Inning." The original 9-episode series streams on PBS.org in HD (1080p), however, "The Tenth Episode" requires a PBS membership to view. PBS released a restored version of the series on Blu-ray Disc on June 8, 2021—an 11-disc set that includes "The Tenth Inning" two-part episode. All parts of the series are also now available through other streaming platforms besides PBS, including Amazon Prime Video.


title: Economy of the Socialist Federal Republic of Yugoslavia

text: Despite common origins, the economy of the Socialist Federal Republic of Yugoslavia (SFRY) was significantly different from the economies of the Soviet Union and other Eastern European socialist states, especially after the Yugoslav-Soviet break-up in 1948. The occupation and liberation struggle in World War II left Yugoslavia's infrastructure devastated. Even the most developed parts of the country were largely rural, and the little industry of the country was largely damaged or destroyed.


text: The first postwar years saw implementation of Soviet-style five-year plans and reconstruction through massive voluntary work. The countryside was electrified, and heavy industry was developed. The economy was organized as a mixture of a planned socialist economy and a market socialist economy: factories were nationalized, and workers were entitled to a certain share of their profits. Privately owned craft shops could employ up to 4 people per owner. The land was partially nationalized and redistributed, and partially collectivized. Farmer households could own up to of land per person and the excess farmland was owned by co-ops, agricultural companies, or local communities. These could sell and buy land, as well as give it to people in perpetual lease.


text: The exact nature and extent of market socialism in Yugoslavia is debated by economists. The market mechanism was limited mostly to consumer goods, while capital, labor, materials and intermediate goods were allocated by different means. The Yugoslav model didn't have much in common with the classic model of market socialism imagined by Oskar R. Lange. John Roemer, an advocate of market socialism, had a very negative view of the Yugoslav experiment, claiming that Yugoslav companies weren't run on true market principles of competition and profit, and that they instead relied on soft budget constraints and were subjected to political control, which created a deeply inefficient system that ultimately collapsed. While admitting that it is somewhat problematic to use the term "market" in the context of socialist countries such as Yugoslavia or Hungary (after the introduction of New Economic Mechanism), János Kornai believed that the term "market socialism" is still appropriate because such countries at least partially experimented with markets under socialism which would otherwise remain only an abstract idea.


text: Youth work actions were organized voluntary labor activities of young people in the Socialist Federal Republic of Yugoslavia. The actions were used to build public infrastructure such as roads, railways, and public buildings, as well as industrial infrastructure. The youth work actions were organized on the local, republic, and federal levels by the Young Communist League of Yugoslavia, and participants were organized into youth work brigades, generally named after their town or a local national hero. Important projects built by youth work brigades include the Brčko–Banovići railway, the Šamac–Sarajevo railway, parts of New Belgrade, and parts of the Highway of Brotherhood and Unity, which stretches from northern Slovenia to southern Macedonia.


text: In the 1950s, socialist self-management was introduced, which reduced the state management of enterprises. Managers of socially owned companies were supervised by workers' councils, which were all made up of employees, with one vote each. The workers' councils also appointed the management, often by secret ballot. The Communist Party (later on the League of Communists) was organized in all companies and most influential employees were likely to be members of the party, so the managers were often, but not always, appointed only with the consent of workers who happened to be members of the party. There were occasional tensions between market-oriented managers and worker representatives. However, the GDP is not technically applicable or designed to measure planned economies; in 1950, Yugoslavia's GDP ranked twenty-second in Europe.


text: Unemployment was a chronic problem for Yugoslavia. The unemployment rates were among the highest in Europe during its existence, while the education level of the work force increased steadily. The unemployment rate reached 7% in the early 1960s and continued to grow, doubling by the mid 1970s. There were extreme regional differences in unemployment, with the Slovenian rate never exceeding 5%, while Macedonia and Kosovo constantly had rates over 20%. There was also a notable element of gender discrimination in the unemployment rate. When forced to cut workforce, enterprises usually fired women first, expecting that women can be supported by their male family members. Some enterprises also requested that candidates for a job needed to have their military service completed, which excluded women. Female participation rates were lower than in other socialist countries and closer to traditionalist societies of Southern Europe.


text: Due to Yugoslavia's neutrality, and its leading role in the Non-Aligned Movement, Yugoslavia traded with both Western and Eastern markets. Starting in the early 1950s, it also received billions of dollars of Western foreign aid, mostly from the United States. The trade with Non-Aligned countries amounted to only 15% of total trade in 1965. Despite several trade agreements, it never managed to become significant because of its geographic distance and the fact that both sides were exporters of commodities and simple products, interested mostly in imports of Western technological goods. In 1964, when Yugoslavia was granted special associate status with Comecon, its trade with Eastern markets was less than 25% of total trade, and OECD was the main trading partner with around 60%. Yugoslavia had a very poor foreign trade record with trade account deficits in almost every year of its existence.


text: Yugoslav companies carried out construction of numerous major infrastructural and industrial projects in Africa, Europe and Asia. Many of these projects were carried out by Energoprojekt, a Yugoslav engineering and construction firm founded in 1951 to rebuild the country's war devastated infrastructure. By the early 1980s, Energoprojekt was the world's 16th largest engineering and construction company, employing 7,000 people. The company carried out large construction projects in Libya, Kuwait, Zambia and Guinea, and by the late 1960s, the company was competing in European markets in West Germany, Czechoslovakia, and the German Democratic Republic. Many infrastructure projects in Africa and Asia were political deals, done for prestige reasons and included elements of foreign aid rather than being the result of economic calculation and competition.


text: The official workweek was 48 hours until 1963, when it was reduced to 42 hours. It was further reduced to 40 hours (plus one hour overtime allowed) in 1965 and to 36 (plus one) in 1970.


text: In 1965, a new dinar was introduced. The previous dinar, traded at a rate of 700 to the U.S. dollar, was replaced with a new dinar traded at 12.5 to the U.S. dollar.


text: In 1967, legislation enabled foreign private investors to become partners with Yugoslav enterprises in joint ventures with up to 49% of capital, despite the fact that such arrangement would be classified as exploitation in Marxist theory. German companies were especially interested in such arrangements and they represented about a quarter of foreign investments. However, many foreign companies were disappointed by the poor efficiency and organization of Yugoslav enterprises; in one case, Japanese representatives concluded that they would consider investment only if half of the workers were fired.


text: The departure of Yugoslavs seeking work began in the 1950s, when individuals began crossing the border illegally. In the mid-1960s, Yugoslavia lifted emigration restrictions, and the number of emigrants, including educated and highly skilled individuals, increased rapidly, especially to West Germany. By the early 1970s, 20 percent of the country's labor force, or 1.1 million workers, were employed abroad. The emigration was mainly caused by forced deagrarianization, deruralization, and overpopulating of larger towns. The emigration contributed to keeping the unemployment in check and also acted as a source of capital and foreign currency. The system was institutionalized into the economy. From 1961 to 1971, the number of guest workers from Yugoslavia in West Germany increased from 16,000 to 410,000.


text: In the 1970s, the economy was reorganised according to Edvard Kardelj's theory of associated labour, in which the right to decision making and a share in profits of socially owned companies is based on the investment of labour. All industrial companies were transformed into "organisations of associated labour". The smallest, "basic organisations of associated labour", was roughly corresponded to a small company or a department in a large company. These were organised into "enterprises", also known as "labour organisations", which in turn associated with "composite organisations of associated labour", which could be large companies or even whole industry branches in a certain area. Basic organisations of associated labour sometimes were composed of even smaller "labour units", but they had no financial freedom. Also, "composite organisations of associated labour" were sometimes members of "business communities", representing whole industry branches. Most executive decision making was based in enterprises, so that these continued to compete to an extent even when they were part of a same composite organisation. The appointment of managers and strategic policy of composite organisations were, depending on their size and importance, in practice often subject to political and personal influence-peddling.


text: In order to give all employees the same access to decision making, the "basic organisations of associated labour" were also introduced into public services, including health and education. The basic organisations were usually made up of dozens of people and had their own workers councils, whose assent was needed for strategic decisions and appointment of managers in enterprises or public institutions.


text: The workers were organized into trade unions which spanned across the country. Strikes could be called by any worker, or any group of workers and they were common in certain periods. Strikes for clear genuine grievances with no political motivation usually resulted in prompt replacement of the management and increase in pay or benefits. Strikes with real or implied political motivation were often dealt with in the same manner (individuals were prosecuted or persecuted separately), but occasionally also met stubborn refusal to deal or in some cases brutal force. Strikes occurred in all times of political upheaval or economic hardships, but they became increasingly common in the 1980s, when consecutive governments tried to salvage the slumping economy with a programme of austerity under the auspices of the International Monetary Fund.


text: From 1970 onwards, despite 29% of its population working in agriculture, Yugoslavia was a net importer of farm products.


text: During the 1960s and 1970s the country's social security expenditures increased 600%, as coverage of the population was extended and benefits were enlarged. The government introduced extensive subsidies for public health care, temporary disability and illness, old age pensions and assistance to mothers. There were, in particular, a great number of social security benefits intended to take the pressure of child raising off women, making it easier for them to focus on studying and gaining employment. Women received 90 days of paid maternity leave after having a baby, a range of other subsidies to help pay for food, clothing and other necessities. There were also subsidised public childcare services that low-income families could use for free.


text: Tito's 1974 Constitution devolved more power to the individual nation-states within SFRY. But it failed to improve the situation. Edvard Kardelj also implemented reforms to centralize the Yugoslavian economy with an increase of state interventions, following the decentralized planning models of Poland and Hungary. Still, it did not succeed and instead distorted the market mechanism of the country and further deteriorated the Yugoslavian economy.


text: The oil crisis of the 1970s magnified the economic problems, the foreign debt grew at an annual rate of 20%, and by the early 1980s it reached more than US$20 billion. Governments of Milka Planinc and Branko Mikulić renegotiated the foreign debt at the price of introducing the policy of "stabilisation" which in practice consisted of severe austerity measures — the so-called shock treatment. During the 1980s, Yugoslav population endured the introduction of fuel limitations (40 litres per car per month), limitation of car usage to every other day, based on the last digit on the licence plate, severe limitations on import of goods and paying of a deposit upon leaving the country (mostly to go shopping), to be returned in a year (with rising inflation, this effectively amounted to a fee on travel). There were shortages of coffee, chocolate and washing powder. During several dry summers, the government, unable to borrow to import electricity, was forced to introduce power cuts. On May 12, 1982, the board of the International Monetary Fund approved enhanced surveillance of Yugoslavia, to include Paris Club creditors.


text: In the 1980s the Yugoslav economy entered a period of continuous crisis. Between 1979 and 1985 the Yugoslav dinar plunged from 15 to 1,370 to the U.S. dollar, half of the income from exports was used to service the debt, while real net personal income declined by 19.5%. Unemployment rose to 1.3 million job-seekers, and internal debt was estimated at $40 billion.


text: Yugoslavia took on a number of International Monetary Fund (IMF) loans and subsequently fell into heavy debt. By 1981, it had incurred $18.9 billion in foreign debt. In fact Yugoslavia's debt was just 20.11% of GDP in 1971, which is, when compared with UK (67.95%), USA (46.64%), Germany (17.87%), Italy (41.46%), a comparatively low rate. However, Yugoslavia's main concern was unemployment. In 1980 the unemployment rate was at 13.8%, not counting around 1 million workers employed abroad. Deteriorating living conditions during the 1980s caused the Yugoslavian unemployment rate to reach 17 percent, while another 20 percent were underemployed. 60% of the unemployed were under the age of 25.


text: By 1988 emigrant remittances to Yugoslavia totaled over $4.5 billion (USD), and by 1989 remittances were $6.2 billion (USD), which amounted to over 19% of the world's total. A large portion of those remittances came from Yugoslav professional and skilled workers employed by Yugoslav engineering and construction firms with contracts abroad, including large infrastructure projects in the Middle East, Africa and Europe. In the early 1980s, Yugoslav firm Energoprojekt was building dams, roads and apartment houses in Iraq, Libya and Kuwait. But during the recession of the early 1980s many oil exporting countries reduced construction projects as oil prices fell. Increased competition from countries like South Korea offering less expensive labor, also contributed to a decline in Yugoslavia's booming engineering and construction export trade.


text: In 1988 Yugoslavia owed US$21 billion to Western countries, which was to increase substantially annually had the country not defaulted.


text: The collapse of the Yugoslav economy was partially caused by its non-aligned stance that had resulted in access to loans from both superpower blocs on different terms. This contact with the United States and the West opened up Yugoslav markets sooner than in the rest of Central and Eastern Europe. In 1989, before the fall of the Berlin Wall, Yugoslav federal Prime Minister Ante Marković went to Washington to meet with President George H. W. Bush, to negotiate a new financial aid package. In return for assistance, Yugoslavia agreed to even more sweeping economic reforms, which included a new devalued currency, another wage freeze, sharp cuts in government spending, and the elimination of socially owned, worker-managed companies. The Belgrade nomenclature, with the assistance of western advisers, had laid the groundwork for Marković's mission by implementing beforehand many of the required reforms, including a major liberalization of foreign investment legislation.


text: The country's state owned banks obligated to adjust their interest rates to the inflation, but this could not be applied to loan contracts made earlier which stipulated fixed interest rates. During this time, foreign currencies became widely circulated and accepted by businesses along with cheques; especially the German mark.


text: The first hyperinflation stabilization program was adopted under the name Economic Reform Program, passed in late 1989, when, for the most part, due to total price liberalization, Yugoslavia was hit by hyperinflation. The monthly price level increased from month to month, and in December 1989, the inflation percentage was 45%. There was a constant rally in prices, wages and exchange rates. In such a situation in December 1989, the Economic Reform Program and measures for its implementation were adopted.


text: The basic measures envisaged by this program were restrictive monetary policy and real positive interest rates, independence of the National Bank of Yugoslavia, denomination of the dinar by "deleting" four zeros, proclaiming the convertibility of the dinar and fixing the dinar exchange rate against the German mark at a ratio of 7:1, freezing of nominal wages for a period of 4 months, freezing of the prices of some inputs (energy products and infrastructure) for a period of 4 months, further foreign trade and fiscal account liberalization, rehabilitation of banks and companies through a special fund that would be formed with foreign financial support, negotiations with the Paris Club of Creditors about debt restructuring, and the International Monetary Fund and the World Bank for a loan to help stabilize the economy.


text: In the short term, or at the beginning of the application, the program showed some good results: there was a significant slowdown in price and salary growth, foreign exchange reserves -- whose level was significant even before the beginning of the application of the Program -- started to grow, there was marked positive progress in reducing the foreign trade and budget deficits, etc. However, from the very beginning, there was a decline in industrial production and employment, and somewhat later, the initial positive results also started lacking (as a result of the rebound in prices and wages and the appearance of the "black" exchange rate, the foreign exchange reserves began to decrease rapidly, negative tendencies appeared in the foreign trade and budget sphere, etc.) and it soon became clear that Ante Marković's Program would fail.


text: The fate of this stabilization program was largely tied to stopping price growth. It was considered that only the prices of the main inputs were to be frozen, and in the conditions of restrictive monetary policy and liberalized imports there would be no growth in other freely formed prices, and even companies were expected to reduce prices in order to provide liquid assets. However, expectations did not materialize, and the prices recorded significant growth (the truth is noticeably smaller than before the program was adopted), which led to a rise in wages that (at the very beginning of the implementation of the Program) grew faster than price growth. In circumstances where this happens, one of the key elements of the Program persists – a fixed exchange rate. All this led to a weakening of the competitiveness of the domestic economy, as exports become economically unfeasible, and imports were very lucrative. Bearing in mind that there had been a liberalization of imports, the domestic market was overwhelmed with imported products, which were absorbed by increasing domestic demand, almost exclusively for consumer goods fueled by rapid wage growth. Imports of goods became cheaper than domestic ones, so there was a decline in production because Yugoslav products were not competitive at all, not only in exports but also in the domestic market. After only a year and a half of implementation, industrial production was reduced by 25% and unemployment increased by 18%. This further led to strong recession movements in the economy, deterioration of the foreign trade balance and (after initial increase) a rapid reduction in foreign currency reserves, which prevents further "defending" of the foreign exchange rate.


text: New legislation was gradually introduced to remedy the situation, but the government mostly tried to fight the crisis by issuing more currency, which only fuelled the inflation further. Power-mongering in big industrial companies led to several large bankruptcies (mostly of large factories), which only increased the public perception that the economy is in a deep crisis. After several failed attempts to fight the inflation with various schemes, and due to mass strikes caused by austerity wage freezes, the government of Branko Mikulić was replaced by a new government in March 1989, headed by Ante Marković, a pragmatic reformist. He spent a year introducing new business legislation, which quietly dropped most of the associated labour theory and introduced private ownership of businesses. The institutional changes culminated in eighteen new laws that declared an end to the self-management system and associated labor. They in turn allowed public companies to become privatised.


text: By the end of 1989 inflation reached 1,000%. On New Year's Eve 1989, Ante Marković introduced his program of economic reforms. Ten thousand Dinars became one "New Dinar", pegged to the German Mark at the rate of 7 New Dinars for one Mark. The sudden end of inflation brought some relief to the banking system. Ownership and exchange of foreign currency was deregulated which, combined with a realistic exchange rate, attracted foreign currency to the banks. However, by the late 1980s, it was becoming increasingly clear that the federal government was effectively losing the power to implement its programme.


text: In 1990 Marković introduced a privatization program, with newly passed federal laws on privatization allowing company management boards to initiate privatization, mainly through internal share-holding schemes, initially not tradable in the stock exchange. This meant that the law put an emphasis on "insider" privatization to company workers and managers, to whom the shares could be offered at a discount. Yugoslav authorities used the term "property transformation" when referring to the process of transforming public ownership into private hands. By April 1990, the monthly inflation rate dropped to zero, exports and imports increased, while foreign currency reserves increased by US$3 billion. However, industrial production fell by 8.7% and high taxes made it difficult for many enterprises to pay even the frozen wages.


text: In July 1990, Marković formed his own Union of Reform Forces political party. By the 2nd half of 1990 inflation restarted. In September and October, the monthly inflation rate reached 8%. Inflation once more climbed to unmanageable levels reaching an annual level of 120%. Marković's reforms and austerity programs met resistance from the federal authorities of the individual republics. His program of 1989 to curb inflation was rejected by Serbia and Vojvodina. SR Serbia introduced customs duties on imports from Croatia and Slovenia and took $1.5 billion from the central bank to fund wage rises, pensions, bonuses to government employees and subsidize enterprises that faced losses. The federal government raised the exchange rate for the German Mark first to 9 and then to 13 dinars. In 1990 the annual rate of GDP growth had declined to -11.6%.


text: Budget: revenues $6.4 billion; expenditures $6.4 billion, including capital expenditures of $NA (1990)


text: Exports: $13.1 billion (f.o.b., 1988); commodities—raw materials and semimanufactures 50%, consumer goods 31%, capital goods and equipment 19%; partners—EC 30%, CEMA 45%, less developed countries 14%, US 5%, other 6%


text: Imports: $13.8 billion (c.i.f., 1988); commodities—raw materials and semimanufactures 79%, capital goods and equipment 15%, consumer goods 6%; partners—EC 30%, CEMA 45%, less developed countries 14%, US 5%, other 6%


text: "For later developments, see: Economy of Bosnia and Herzegovina, Economy of Croatia, Economy of Kosovo, Economy of the Republic of Macedonia, Economy of Montenegro, Economy of Serbia, Economy of Slovenia."


text: The Yugoslav wars, consequent loss of market, as well as mismanagement and/or non-transparent privatization brought further economic trouble for all former republics of Yugoslavia in the 1990s. Only Slovenia's economy grew steadily after the initial shock and slump. Croatia's secession resulted in direct damages worth $43 billion (USD). Croatia reached its 1990 GDP in 2003, a few years after Slovenia, the most advanced of all Yugoslav economies by far.


title: Symphony No. 5 (Shostakovich)

text: The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a "triumphal success" that appealed to both the public and official critics, receiving an ovation that lasted well over half an hour.


title: Symphony No. 5 (Shostakovich)

text: The first movement, in D minor, is in sonata form. The exposition opens with a "strenuous" string figure in canon of rising and falling minor sixths that quickly narrow to minor thirds.


title: Symphony No. 5 (Shostakovich)

text: The opening's dotted rhythm persists as a lyrical first theme is played by the first violins. This theme presents itself as a descending five-tone motif in bars 6-7, but Shostakovich had already used it in the second movement of his fourth symphony (bars 318-321), which was recognized there as a quotation from Gustav Mahler's song "Des Antonius von Padua Fischpredigt", from "Des Knaben Wunderhorn"; specifically, the line "He goes to the rivers and preaches to the fishes". In its original appearance, this Mahler quotation is juxtaposed with musical notation in the shape of a nose (on page 122 of the Sikorski score), the notes in the "nose" being a quotation from "The Internationale", which was also previously hidden in bars 25-30 of the first movement of the 4th symphony, with the effect of depicting the futility of the socialist "sermon".


title: Symphony No. 5 (Shostakovich)

text: For the appearance of this quotation in the fifth symphony, the five-tone Mahler motif occurs in a total of 15 variants in the first and third movements, and bears witness to the Shostakovich's secret triumph in being able to describe the party doctrine that had silenced his earlier work as a completely useless sermon. This provocative insight is therefore part of Shostakovich's "creative response of a Soviet artist to justified criticism". However, since the fourth symphony had been withdrawn before the premiere in 1936 and could only be presented to the public 25 years later, the extramusical context was lost when the 5th symphony was premiered in Leningrad. Only later has this connection between the fourth and fifth symphonies, which undermines the demands of "socialist realism", been uncovered.


title: Symphony No. 5 (Shostakovich)

text: The first theme is repeated several times in combination with the opening motif, and greatly varied with new demarcations and penetrations. There is a great deal of variation and linking of all elements, giving the impression of a single continuous process.


title: Symphony No. 5 (Shostakovich)

text: The secondary theme (mm. 50-120) offers the greatest possible contrast to the main theme. The tempo is more fluid, and the sustained tones of the secondary theme are linked by wide intervals: octaves, fourths, sevenths instead of the dominant seconds found in the first theme. Simplicity prevails over complexity, as the far-reaching lyrical melody is accompanied by chords in a continuous, slightly lively rhythm.


title: Symphony No. 5 (Shostakovich)

text: An accompanying figure takes the lead at the beginning of the powerful development. Only now does the tempo of this movement reach Allegro. Themes from the exposition appear in augmentation and diminution in contrapuntal conflicts with themselves. The thematic material is transformed into a grotesquely distorted quick march in a wide development with military drums and trumpets. After several false starts, from m. 157 the second theme intervenes in the action.


title: Symphony No. 5 (Shostakovich)

text: In the recapitulation, which is heavily reduced compared to the exposition, themes heard earlier on are brought back again either identically or somewhat varied. Near the end of the movement, the second subject is heard again in the form of a canon played by flute and horn, then the same material is played by the violin and piccolo. The movement ends with the celesta playing a rising figure, and slowly fading away.


title: Symphony No. 5 (Shostakovich)

text: In general, the inner drama of the first movement can be described as an interplay between lamentation and mourning, contrasting with a "departure for battle" which reaches its climax with the entry of the recapitulation. In the end, the outcome of this conflict proves to be ambiguous, and the looming threats have not yet been resolved.


title: Symphony No. 5 (Shostakovich)

text: The second movement is in a ternary scherzo form, or minuet and trio form, in A minor, but it more closely resembles a ländler than either a minuet or a scherzo.


title: Symphony No. 5 (Shostakovich)

text: The first section and its reprise consist of a rather loose and varied sequence of ländler melodies. The movement opens with a heavy, loud introduction in the cellos and basses, followed by a softer solo on the E clarinet and the french horn, later oboes, and finally strings. At the end of this development, the ländler becomes grotesque and bloated.


title: Symphony No. 5 (Shostakovich)

text: The trio has a peculiar harmony. Degrees I and VII alternate in the basic position, so that parallel fifths constantly arise. The effect does not sound like folk music, but rather like "run-down" music.


title: Symphony No. 5 (Shostakovich)

text: In the recapitulation, some of the material heard earlier is repeated piano and staccato, not loudly and sustained as at the start.


title: Symphony No. 5 (Shostakovich)

text: The movement closes in A minor with four canonically enriched fortissimo bars. Overall, the scherzo lacks innocence and humor; closer listening assures that the peace is not to be trusted, considering the numerous unusual modulations and occasional discords.


title: Symphony No. 5 (Shostakovich)

text: Shostakovich begins this movement with F minor violins in three sections, rather than the more usual two. The opening theme is played by the third violins. Second and first violins are slowly added and continue the melody. After the assertive trumpets of the first movement and the raucous horns of the second, this movement uses no brass at all, so there is a limited palette of sounds. This section yields to a pair of flutes in widely-separated counterpoint, the second of which makes reference to the first subject of the first movement. The solo is then passed on to the oboe with string accompaniment. The third movement ends like the first, with a celesta solo that slowly fades away. The strings are divided throughout the entire movement (3 groups of violins, violas in 2, cellos in 2; basses in 2).


title: Symphony No. 5 (Shostakovich)

text: This movement is a culmination of resignation, mourning and lamentation, which in the center of the movement increases to a passionate accusation with clarinet, xylophone and piano. Otherwise the movement is more chamber music-like and carried by the string orchestra. The tonality is floating and often not definable, free-floating and independent linearity of the individual voices prevails. After the conflicts that characterize the first two movements, a gentle peace is established here – or is it just a pretense?


title: Symphony No. 5 (Shostakovich)

text: The D minor finale, also in ternary form, differs greatly from its predecessors, mostly with regard to melodic structure and motives. Various themes from earlier in the work are expanded until we get to a new theme played on the trumpet. This new theme is passed on to the strings and eventually the piece becomes quieter. The central section is much quieter and more tranquil, and is ultimately replaced by a march, where the melodies from earlier are played like a funeral dirge, accompanied by timpani. The music builds as the new accompaniment passes from timpani to woodwinds and then to strings, finally reaching a point where the piece changes from a minor key into a major key.


title: Symphony No. 5 (Shostakovich)

text: The work is scored for two flutes and piccolo, two oboes, two clarinets and E clarinet, two bassoons and contrabassoon, four horns, three B trumpets, three trombones, tuba, timpani, snare drum, triangle, cymbals, bass drum, tam-tam, glockenspiel, xylophone, two harps (one part), piano, celesta and strings.


title: Symphony No. 5 (Shostakovich)

text: The Symphony quotes Shostakovich's song "Vozrozhdenije" (Op. 46 No. 1, composed in 1936–37), most notably in the last movement; the song is a setting of a poem by Alexander Pushkin (find text and a translation here) that deals with the matter of rebirth. This song is by some considered to be a vital clue to the interpretation and understanding of the whole symphony. In addition, commentators have noted that Shostakovich incorporated a motif from the "Habanera" from Bizet's "Carmen" into the first movement, a reference to Shostakovich's earlier infatuation with Elena Konstantinovskaya, who refused his offer of marriage; she subsequently moved to Spain and married the photographer and film director Roman Karmen.


title: Symphony No. 5 (Shostakovich)

text: With the Fifth Symphony, Shostakovich gained an unprecedented triumph, with the music appealing equally—and remarkably—to both the public and official critics, though the overwhelming public response to the work initially aroused suspicions among certain officials. The then-head of the Leningrad Philharmonic, Mikhail Chulaki, recalls that certain authorities bristled at Mravinsky's gesture of lifting the score above his head to the cheering audience, and a subsequent performance was attended by two plainly hostile officials, V. N. Surin and Boris M. Yarustovsky, who tried to claim in the face of the vociferous ovation given the symphony that the audience was made up of "hand-picked" Shostakovich supporters. Yet the authorities in due course claimed that they found everything they had demanded of Shostakovich restored in the symphony. Meanwhile, the public heard it as an expression of the suffering to which it had been subjected by Stalin. The same work was essentially received two different ways.


title: Symphony No. 5 (Shostakovich)

text: An article reportedly written by the composer appeared in the Moscow newspaper "Vechernyaya Moskva" on January 25, 1938, a few days before the Moscow premiere of the Fifth Symphony. There, he reportedly states that the work "is a Soviet artist's creative response to justified criticism". Whether Shostakovich or someone more closely connected with the Party actually wrote the article is open to question, but the phrase "justified criticism"—a reference to the denunciation of the composer in 1936—is especially telling. Official critics treated the work as a turnaround in its composer's career, a personal "perestroyka" or "restructuring" by the composer, with the Party engineering Shostakovich's rehabilitation as carefully as it had his fall a couple of years earlier. Like the "Pravda" attack at that time on the opera "Lady Macbeth of the Mtsensk District", the political basis for extolling the Fifth Symphony was to show how the Party could make artists bow to its demands.


title: Symphony No. 5 (Shostakovich)

text: The official tone toward the Fifth Symphony was further set by a review by Alexei Tolstoy, who likened the symphony to the literary model of the Soviet Bildungsroman describing "the formation of a personality"—in other words, of a Soviet personality. In the first movement, the composer-hero suffers a psychological crisis giving rise to a burst of energy. The second movement provides respite. In the third movement, the personality begins to form: "Here the personality submerges itself in the great epoch that surrounds it, and begins to resonate with the epoch." With the finale, Tolstoy wrote, came victory, "an enormous optimistic lift". As for the ecstatic reaction of the audience to the work, Tolstoy claimed it showed Shostakovich's "perestroyka" to be sincere. "Our audience is organically incapable of accepting decadent, gloomy, pessimistic art. Our audience responds enthusiastically to all that is bright, clear, joyous, optimistic, life-affirming."


title: Symphony No. 5 (Shostakovich)

text: Not everyone agreed with Tolstoy, even after another article reportedly by the composer echoed Tolstoy's views. Asafiev, for one, wrote, "This unsettled, sensitive, evocative music which inspires such gigantic conflict comes across as a true account of the problems facing modern man—not one individual or several, but mankind." The composer himself seemed to second this view long after the fact, in a conversation with author Chinghiz Aitmatov in the late 1960s. "There are far more openings for new Shakespeares in today's world," he said, "for never before in its development has mankind achieved such unanimity of spirit: so when another such artist appears, he will be able to express the whole world in himself, like a musician."


title: Symphony No. 5 (Shostakovich)

text: During the first performance of the symphony, people were reported to have wept during the "Largo" movement. The music, steeped in an atmosphere of mourning, contained echoes of the , the Russian Orthodox requiem. It also recalled a genre of Russian symphonic works written in memory of the dead, including pieces by Glazunov, Steinberg, Rimsky-Korsakov and Stravinsky.


title: Symphony No. 5 (Shostakovich)

text: After the symphony had been performed in Moscow, Heinrich Neuhaus called the work "deep, meaningful, gripping music, classical in the integrity of its conception, perfect in form and the mastery of orchestral writing—music striking for its novelty and originality, but at the same time somehow hauntingly familiar, so truly and sincerely does it recount human feelings".


title: Symphony No. 5 (Shostakovich)

text: Shostakovich returned to the traditional four-movement form and a normal-sized orchestra. More tellingly, he organized each movement along clear lines, having concluded that a symphony cannot be a viable work without firm architecture. The harmonic idiom in the Fifth is less astringent, more tonal than previously, and the thematic material is more accessible. It has been said that, in the Fifth Symphony, the best qualities of Shostakovich's music, such as meditation, humor and grandeur, blend in perfect balance and self-fulfillment.


title: Symphony No. 5 (Shostakovich)

text: The final movement is declared in "Testimony" to be a "parody" of shrillness, representing "forced rejoicing". In the words attributed to the composer in "Testimony" (a work which, although attributed to Shostakovich himself, is shown to have serious flaws in its credibility):


title: Symphony No. 5 (Shostakovich)

text: The rejoicing is forced, created under threat, as in "Boris Godunov". It's as if someone were beating you with a stick and saying, "Your business is rejoicing, your business is rejoicing", and you rise, shaky, and go marching off, muttering, "Our business is rejoicing, our business is rejoicing."


title: Symphony No. 5 (Shostakovich)

text: While most performances and recordings of the symphony have ended with a gradual acceleration of the coda, especially Leonard Bernstein's October 1959 Columbia Records recording with the New York Philharmonic (following a performance in Moscow in the presence of the composer), more recent renditions have reflected a different interpretation (though not clearly provable) of Shostakovich's intention. Shostakovich's friend and colleague Mstislav Rostropovich conducted the closing minutes in a much slower, subdued manner, never accelerating; he did this in a performance in Russia with the National Symphony Orchestra and in their commercial Teldec recording. He told CBS that Shostakovich had written a "hidden message" in the symphony, which is allegedly supported by the composer's words in "Testimony".


title: Jaguar warrior

text: Jaguar warriors or jaguar knights, "ocēlōtl" (singular) or "ocēlōmeh" (plural) were members of the Aztec military elite. They were a type of Aztec warrior called a "cuāuhocēlōtl" . The word "cuāuhocēlōtl" derives from the eagle warrior "cuāuhtli" and the Jaguar Warrior "ocēlōtl". They were an elite military unit similar to the eagle warriors.


title: Jaguar warrior

text: The jaguar motif was used due to the belief the jaguar represented Tezcatlipoca. Aztecs also wore this dress at war because they believed the animal's strengths would be given to them during battles. Jaguar warriors were used at the battlefront in military campaigns. They were also used to capture prisoners for sacrifice to the Aztec gods. Many statues and images (in pre-Columbian and post-Columbian codices) of these warriors have survived. They fought with a wooden club studded with obsidian volcanic glass blades, called a macuahuitl. They also used spears and atlatls.


title: Jaguar warrior

text: To become a jaguar warrior, a member of the Aztec army had to capture a total of four enemies from battles. This was said to honor their gods in a way far greater than killing enemy soldiers in the battlefield. For a warrior to kill an enemy was considered clumsy.


title: Jaguar warrior

text: The formal education of the Aztecs was to train and teach young boys how to function in their society as warriors. The Aztecs had no standing army, so every boy not of noble birth was trained to become a warrior. All boys who were between the ages of ten and twenty years old would attend one of the two schools. These two schools were the Telpochcalli (the neighborhood school for commoners) and the Calmecac, the exclusive school for nobles. At the Telpochcalli students would learn the art of warfare, and would become warriors. At the Calmecac students would be trained to become military leaders, priests, government officials, etc.


title: Jaguar warrior

text: At the age of 15, sons of commoners would be sent to a Telpochcalli within their neighborhood. Here, boys would be trained in the art of warfare and accustomed to military life. The instructors at these schools were veteran warriors who had experience in warfare and leadership. The schools focused on bravery and included a great deal of physical effort and intense pain to increase the strength and stamina of the students. Manual labor included transporting goods such as branches for firewood. The longer the student had attended the school, the more branches he would be expected to carry. This test of carrying firewood would be used to determine if the boy would do well in warfare.


title: Jaguar warrior

text: Other manual labor tasks carried out from the Telpochcalli would be community projects. These projects would mainly consist of cleaning areas, building walls, digging canals, and farming. From these projects, students would work hard to complete tasks, and gain the physical experience needed to engage in warfare. The students of this school would also be used to transport shields, food, military supplies, weapons, armor, and wood to warriors on the battlefield. The reason for forcing the students to be near the battlefield was to make them fearless of warfare. Students were under heavy surveillance at all times. If a student was caught leaving training his punishment would be severe. Often, he would be beaten and his hair removed. Removing a student's hair would remove any sign of that boy's being a warrior. Drinking pulque was prohibited; if caught, the student could be beaten to death. Relationships outside of the school were also prohibited; if a student was caught sleeping with a woman, he would be beaten to death, or severely punished.


title: Jaguar warrior

text: Following the warrior's path was one of the few ways to change one's social status in Aztec culture. Eagle and Jaguar warriors were full-time warriors who worked for the city-state to protect merchants and the city itself. They were expected to be leaders and commanders both on and off the battlefield and acted as sort of a police force for the city. Men who reached this rank were considered as nobles and elites of society and were granted many of the same privileges as a noble. They were allowed to drink "pulque", have concubines, and dine at the royal palace. Jaguar warriors also participated in gladiatorial sacrifices.


title: Walls (Louis Tomlinson album)

text: Walls is the debut studio album by English singer and songwriter Louis Tomlinson, released on 31 January 2020 through Syco Music and Arista Records. It has spawned five singles: "Two of Us", "Kill My Mind", "We Made It", "Don't Let It Break Your Heart" and "Walls". The album was met with mixed reviews, but was moderately successful commercially. It sold 35,000 copies upon its release. The album debuted at number one in Argentina, Portugal, Mexico and Scotland. It reached the top ten in Australia, Austria, Belgium, Canada, Poland, Spain, and the UK, and also debuted and peaked at number nine on the US "Billboard 200" chart.


title: Walls (Louis Tomlinson album)

text: In making the album, Tomlinson stated he had spent "so long on this album" as he "couldn't help but crave a 'hit' single" after a career of "straight down the middle pop". While he started his solo career with the electro-influenced singles "Just Hold On" and "Back to You", after the deaths of both his mother and sister and reflecting on what he wanted, Tomlinson decided that "maybe I should start with what I love and work from there". After finally finding his sound, he managed to come up with an honest album of his thoughts and feelings and release it.


title: Walls (Louis Tomlinson album)

text: In an interview with "Billboard", Tomlinson said that the album is him "just wearing [his] heart on his sleeve, and being honest, reflecting on a breakup", and that "once fans have heard the album, they will see a slightly different side" of him.


title: Walls (Louis Tomlinson album)

text: Tomlinson announced the album in a video posted to social media, saying he was "really relieved to finally be here" and thanking fans for their patience.


title: Walls (Louis Tomlinson album)

text: In an interview with "Far Out Magazine" Tomlinson stated that his album was influenced by such indie rock and britpop bands as Oasis and Arctic Monkeys that he grew up listening to. Lyrically Tomlinson took his inspiration from acts like Alex Turner, Amy Winehouse, Mike Skinner and Sam Fender. The themes of the album range from relationships and family to the folly of Tomlinson's youth and days of self-doubt, go back to his 1D days, recall relationship ups and downs and relate the life lessons learnt on the way to his present life.


title: Walls (Louis Tomlinson album)

text: The album opens with an indie pop, Britpop track "Kill My Mind", a song written as a "statement of intent. 'This is where I want to be, this is the space I want to move into.'" Guitar-based "Don't Let It Break Your Heart" is "a touching anthem about moving forward in the face of hardship" with "a surging, singalong chorus about losing someone, or perhaps the break-up of a relationship". "Two of Us" is a balladic ode to Tomlinson's late mother Johannah Deakin and the impact her death had on him. "Britpop-tinged" "We Made It" with a strummed acoustic guitar intro describes Tomlinson' pre-fame days, hanging out with his on-and-off girlfriend during his time in One Direction and their teen dreams for the future, while the chorus of the song references Tomlinson's fans and his struggle to find his place in the early days of One Direction. Acoustic guitar driven ballad "Too Young" as well as Oasis-inspired title track "Walls" are written about Tomlinson's temporary breakup with his girlfriend "that ultimately made the pair's relationship stronger." Tomlinson described "Too Young" as the song "about meeting 'the one' aged 18 and, like a lot of blokes that age, not being equipped for it. I found it hard to look that far ahead. I had to make a few mistakes and go down the wrong path to realise what I had and what I thought I’d lost." Tomlinson called "Walls" "more specific" and a song "about coming home having been on tour, soon after we'd split. I found some of my girlfriend’s clothes in the cupboard and it hit me what I’d done." He said that he loves "the indie sound of the song and its circular nature – it opens and closes with the same lyric."


title: Walls (Louis Tomlinson album)

text: An indie-pop "Habit" is "a message to fans" and "a reflection on fame" steeped in "gorgeous electric guitar", "crashing drums and sweeping strings." Tomlinson said that "music is the habit that I keep coming back to" and called the song "a thank you to fans and a reminder to [himself] to be grateful for being given this position." "Always You" is the oldest song on the album, teased by Tomlinson in early 2017 with cryptic posts on Twitter and Instagram In August 2017 Tomlinson posted the first 13 seconds of the track that contained the lyrics "I went to Amsterdam without you, and all I could do was think about you" on his Instagram story. Tomlinson said it was "kind of about my story of traveling the world and just being a f*****g idiot and going, 'Of course it was always you'." On an dramatic indie pop ballad "Fearless", which opens and closes with children's voices, Tomlinson looks back at the peers he grew up with and ponders what ageing means. "Perfect Now", "written quite deliberately as an attempt to write a fan favourite song" and "lyrically an extension of 'What Makes You Beautiful', One Direction's first single", features briskly-plucked acoustic guitar and violins. On "Defenceless" Tomlinson shows his honesty and vulnerability, "feeling great, youthful and amazing one day" and "a little bit down in the dumps the next day." The album closes with an indie guitar-driven Oasis-inspired "Only the Brave". Tomlinson described the track as the one "that may have been written for Liam Gallagher", and that despite it being the shortest track on the album (1.44 minutes), it "gets its message across so clearly."


title: Walls (Louis Tomlinson album)

text: "Walls" was met with mixed reviews. At Metacritic, which assigns a normalised rating out of 100 to reviews from professional critics, the album has an average score of 53 out of 100, based on six reviews, indicating "mixed or average reviews". Aggregator AnyDecentMusic? gave it 5.4 out of 10, based on their assessment of the critical consensus.


title: Walls (Louis Tomlinson album)

text: Rob Sheffield of "Rolling Stone" called Tomlinson's album '"excellent" and "worth the wait" and praised him for "putting a lot of heart and soul into it". He particularly singled out "Two of Us", calling it "emotionally bold" and saying that "these days people aren’t necessarily used to hearing male songwriters open their hearts like that"; and "Kill My Mind" - "the sound of a pop artist hitting a new creative breakthrough." Neil Yeung of AllMusic was similarly positive, calling the album's tracks a "pleasantly surprising [and] straightforward collection of indie and Britpop-influenced singalongs from a maturing family man", "wholesome and sweet as any of 1D's hit singles" and praised Tomlinson's "genuinely heartwarming and enjoyable authenticity". He ended his review by saying that Tomlinson's album "winds up being the most mature and natural of the ex-1D bunch". Mike Nied of "Idolator" called the album "a strong debut", "a compelling collection that boldly defies current trends and simultaneously proves [Tomlinson] has more to say now than ever before" and "a serious win that will keep us coming back for more". Jeffrey Davies of "Spectrum Culture" called "Walls" "an introspective look at growing up and finding yourself—and your voice" and praised Tomlinson for "addressing some more mature subjects on Walls, such as anxiety, mortality, and self-integrity, which also sets the album apart from the solo work of other ex-1D members". "The Aquarian Weekly" called "Walls" "a personal, cleverly crafted approach to a bubblegum pop meets alternative rock debut album" and named it one of their 25 best albums of 2020, praising Tomlinson’s "expert storytelling abilities", "technical skills" and "instrument expertise".


title: Walls (Louis Tomlinson album)

text: Ella Kemp of "NME" described the album as "Oasis-inspired", "largely conservative" and "primarily guitar-led", particularly praising its opening track "Kill My Mind" (which she called "the album's best track") and "Walls". She ended the review by saying that Tomlinson's "perhaps taking the time to find himself properly before launching into a boisterous future". In her review for "Entertainment.ie", Lauren Murphy specifically praised "Kill My Mind," "Too Young," "Habit," "Fearless," and "Perfect Now," but ended her review by stating that Tomlinson's debut solo album "embraces his love of indie music but doesn't quite go far enough" and takes "zero risks in a musical sense" though it has "some really tender moments that undoubtedly show his flair for lyric-writing." Nicholas Hautman of "Us Weekly" felt the record "fully embraces the Britpop genre" and called him "arguably the strongest songwriter" when compared to other One Direction members. He specifically complimented "We Made It" and "Only the Brave" as standout tracks while looking down on "Walls", which he called "bland for a title track", and "Always You", which he felt "tries a little too hard to replicate 1D’s famously euphoric choruses". Writing for the "South China Morning Post", Chris Gillett felt the album was "a mixed bag" and that "he's still trying to find his own identity" but that he "shows signs of promise".


title: Walls (Louis Tomlinson album)

text: Some reviews were less positive. Alexandra Pollard of "The Independent" called the album "deeply unremarkable" while adding that "listening to it is like wading through a quagmire of banality". Mark Kennedy, writing for "Associated Press", wrote that the album was "a total snoozer" while calling it "unoffensive and uneventful". Brenna Echrlich of "Rolling Stone" felt that the album was too nostalgic of Tomlinson's days in One Direction and that it "doesn’t quite assert enough musical independence" while hoping that in the future "he has the guts to let go and realize that those salad days are getting a bit wilted". Rachel McGrath of "Evening Standard" echoed Echrlich's thoughts, writing that "while Tomlinson attempts to embrace a slightly edgier sound, he often falls back on what worked for 1D" and that he "hasn’t quite shaken off his boyband past". Lior Phillips of "Variety" felt like Tomlinson didn't "try to recapture that group's past [One Direction] glories but tries recapturing Oasis's and Britpop's instead, keeping his real identity a blur" and that "it’s not yet clear exactly who Tomlinson is without them". Chris DeVille of "Stereogum" felt that the album "stops short of a full-blown Britpop revival" and called the album "extremely mid" and "basic". He ended his review by wondering "what an interesting record he could make if he let himself do so rather than remaining in the safety of One Direction’s shadow." Ashley Bardhan of "Pitchfork" gave a negative review, calling it "maddeningly uninteresting" and filled with "dead-eyed vocal delivery and lazy drumming, strumming, and writing," adding that she felt it was difficult to tell "whether Tomlinson is even trying to make music different from his time in One Direction," ending her review by saying "you can take the boy out of the boyband, but not the boyband out of the boy."


title: Walls (Louis Tomlinson album)

text: "Walls" debuted at number nine on the US "Billboard" 200 with 39,000 album-equivalent units, making it the first new album for Arista Records in almost nine years to hit the top 10 on the chart. At release, the album sold 35,000 units. In the UK, the album sold 49,027 units.


title: Walls (Louis Tomlinson album)

text: The full track list for the album was revealed on 11 January 2020 through a mural painting on 83, Hanbury Street, London.


title: 4x4 (2019 film)

text: 4x4 is an Argentine-Spanish crime thriller film based on actual events by Mariano Cohn from a screenplay he co-wrote with Gastón Duprat. Produced by the latter, the film stars Peter Lanzani as Ciro, a criminal who breaks into a 4x4 SUV, owned by an obstetrician medic Enrique Ferrari (Dady Brieva), in order to steal the car stereo. The car has a security mechanism that cuts the power, trapping Ciro in the process.


title: 4x4 (2019 film)

text: Ciro (Peter Lanzani) is walking in a neighborhood in Buenos Aires when he sees an SUV model car that catches his interest. He breaks into it, begins taking anything including the stereo, and defiles the car by peeing and passing gas. When he tries to get out, however, he cannot open the doors. He frantically tries to get out, ripping the door panels off but cuts his arm when reaching for the lock mechanism, the floor having reinforced steel, and when he tries his gun to shoot at the front windshield the bullet bounces off and the ricochet hits him in the thigh. He tries calling for help but his cellphone dies.


title: 4x4 (2019 film)

text: Ciro uses his shirt as a tourniquet to stop the bleeding, things get worse when he suffers from the heat being trapped forcing him to finish off the last of his Pepsi bottle. He sees a woman fixing her makeup using the car door window but when Ciro screams for help she does not hear him. Nighttime comes and Ciro is plagued by thirst, trying to lick the door windows for the water covering it.


title: 4x4 (2019 film)

text: Morning comes and Ciro reinstalls the stereo to play music, helping to keep his sanity. The stereo stops playing, a number calls the car with the caller ID saying ‘ME’. It is the owner of the car, Enrique, (Dady Brieva) a doctor specializing in obstetrics. He tells Ciro that the security system he built into the car, which he calls 4x4, has cut the electric power within the car at the moment Ciro broke in, the car is completely bulletproof, soundproofed and polarized; so no one will hear or see him crying for help, the only thing not secured is the gas tank but Enrique teases it's been rigged with an explosive so if Ciro disobeys he’ll blow Ciro up.


title: 4x4 (2019 film)

text: Enrique asks Ciro questions and talks about his personal life to him. He reveals that he is a widower, has a daughter and grandchild, and is suffering from terminal cancer with only a few months left to live. Ciro doesn't care about Enrique and demands to be set free, while threatening to kill Enrique and his family if he doesn't. Enrique hangs up and turns on the A/C to its strongest level, freezing Ciro to point of his lips turning blue from near hypothermia. Ciro also has to deal with his leg becoming infected from the gunshot wound and has no water or food.


title: 4x4 (2019 film)

text: Ciro continues to try and escape but the reinforced doors are too strong for him to penetrate with a tire iron. Ciro finds hope when a thief tries to break into the car, but his hopes are broken when the neighbors see what happens, assaults the thief, and calls the police to arrest him.


title: 4x4 (2019 film)

text: Enrique calls again to talk more about himself and turns off the A/C. Ciro becomes more frustrated as he wants water, but Enrique seems to enjoy messing with Ciro with his conversations. Eventually, he becomes weaker and delirious, he talks about how the world is run by the rich, and the poor trampled by them. Saying he won't obey their rules which is why he steals like his father and grandfather before him and won't obey the rules even if a gun was pointed at his head. Later his skin starts turning yellow, dehydrated, and starving takes its toll as well. Enrique calls and after Ciro answers a question with an answer he likes he tells him there is a washer hose hidden in the back with water to drink. Ciro finds it and fills his empty bottle, but instead of rationing the water, his dehydration causes him to gorge on it completely.


title: 4x4 (2019 film)

text: Days pass and Ciro’s sanity begins to drain. He tries to distract himself by drawing on the car interior, eating paper from the car’s manual, and urinating in a bottle to drink his urine to stay hydrated. After another call from Enrique asking for Ciro’s information, he tells Ciro that there is a chocolate bar hidden in the brake panel in the car for complying with his demands.


title: 4x4 (2019 film)

text: Enrique calls the next day, he says he has visited Ciro’s home seeing his wife Irina and his son Lionel. Enrique lied about Ciro’s whereabouts, claiming he works for the lottery and Ciro won $100,000 which Enrique gives to Irina to help move out of their apartment and buy a house. Ciro is in tears that Enrique had gone to his family asking what he did to Enrique to deserve his predicament. Enrique starts teasing Ciro that he has Ciro’s criminal record recounting his crimes from shooting brothers whose car shop Ciro robbed, beating a bus driver to death for stopping Ciro from robbing his passengers, finally that he stole a woman's car and purse alongside a friend and had accidentally run into an innocent bystander. Ciro denies responsibility for his actions claiming it was their fault for either pulling a knife on him or stopping him from stealing. Enrique says Ciro doesn't deserve his family for his crimes and hangs up.


title: 4x4 (2019 film)

text: Ciro makes a call to his wife and son after having charged his phone battery in the sunlight for days. He apologies for messing up again before the phone dies. At night after hitting the start button many times the car finally starts up, he drives in reverse and finally escapes. Suffering from his injuries he limps to a gas station where he takes bottles of water and a hamburger to eat. When the cashier alerts the security guard that Ciro hasn't paid for his food Ciro shoots him dead for disturbing him eating.


title: 4x4 (2019 film)

text: Ciro awakes realizing it was all a dream and soon he sees Enrique standing in front of him having made one last call. Enrique tries to take Ciro away to punish him more but Ciro manages to escape – only to be subdued once more in his weakened state. A police officer intervenes and the situation escalates to a public standoff with Enrique holding Ciro hostage. The police call in retired negotiator Julio Amadeo to talk to Enrique, but Enrique gets half the community on his side when he talks about how no one cares for people like him or the neighborhood when things go bad and Enrique is forced to handle things himself when the government won't step in.


title: 4x4 (2019 film)

text: With half the neighborhood siding for Enrique to kill Ciro and the other to let Ciro free, Julio finally convinces Enrique to surrender and release Ciro. Enrique gets into his car and detonates the explosive device, killing himself and possible bystanders in the crossfire. Ciro looks on sad-faced in the back of a police car finally having been freed from captivity but now has been arrested for his mistake. The media talks about Enrique and the event that transpired, having christened him the ‘Samurai Doctor’ for his strong convictions in seeing himself in the right, everyone talks about the changes that would have to make for the community to prevent further ordeal and get support from the government. Ciro is mentioned, he has received medical treatment and awaits trial for what took place.


title: 4x4 (2019 film)

text: The development of the film began when Cohn was watching TV and found a news about a thief that got trapped in a car he tried to steal in Brazil, and later in Córdoba, Argentina to Roberto Desumvila. The producer and the director looked forward to spark debate about insecurity and its victims and criminals. Cohn and Lanzani deliberately aimed to avoid depicting Ciro as a stereotypical "pibe chorro". As per usual in their filmography, Duprat and Cohn read the script with people they knew were alien to the film industry for output.


title: 4x4 (2019 film)

text: The film was shot in 22 days in a single set at Pol-ka's Estudios Baires. While both Brandoni and Lanzani agreed with the vision the director had, Brieva thought more of the film as the depiction of the alienation both seniors and the lower class citizens suffer in the system and society. The film features a self-reference in the background, in the form of a film poster for a hypothetical "The Man Next Door 2: The Neighbour is Back". It was meant to be a simple joke, but when Cohn called Daniel Aráoz to tell him about it, Aráoz asked why not doing it for real and so the screenwriting for the sequel began. Peter Lanzani used Colin Farrell and Ryan Reynolds' performances in "Phone Booth" and "Buried" as acting reference. In the film, Ciro wears a pink Boca Juniors jersey. Cohn chose this particular jersey for several reasons: to create color contrast with the car's upholstery; because it is Boca's most controversial jersey; and to spark controversy. The film was dedicated to Alejandro Cohn, Mariano's brother who died in 2015.


title: 4x4 (2019 film)

text: The movie premiered on 4 April 2019 on 285 screens under distribution of Buena Vista International. The film did not get a theatrical release on Spain, and it was released on instead.


title: 4x4 (2019 film)

text: "4x4" sold 10,605 tickets on its opening day in Argentina, ranking fourth. During its opening weekend "4x4" ranked 4th at the Argentine box office, selling 83,242 tickets, the best opening weekend for an Argentine film in the year. On its second weekend ranked 3rd, selling 56,909 tickets. On its third weekend ranked 5th, selling 50,932 tickets. On its fourth weekend ranked 4th, selling 21,535 tickets. On its fifth weekend ranked 6th, selling 12,290 tickets. On its sixth weekend ranked 10th, selling 5,327 tickets.


title: 4x4 (2019 film)

text: On Argentine review aggregator Todas Las Críticas, 46 of the 63 reviews of "4x4" are positive, with an average rating of 58/100.


title: 4x4 (2019 film)

text: The film inspired a Brazilian remake and, according to Duprat, there are plans for an American remake produced by David Lancaster.


title: Arizona House of Representatives

text: The Arizona State House of Representatives is the lower house of the Arizona Legislature, the state legislature of the U.S. state of Arizona. The upper house is the Senate. The House convenes in the legislative chambers at the Arizona State Capitol in Phoenix. Its members are elected to two-year terms, with a term limit of four consecutive terms (eight years). Each of the state's 30 legislative districts elects two state house representatives and one state senator, with each district having a population of at least 203,000.


title: Arizona House of Representatives

text: The last election occurred on November 8, 2022, with the Republican Party currently holding a narrow majority in the House.


title: Arizona House of Representatives

text: The Speaker is elected by the majority party caucus along with the Majority Leader, the Assistant Majority Leader, and the Majority Whip. The House as a whole shall pass a House resolution confirming the Speaker and the Chief Clerk of the House. In addition to presiding over the body, the Speaker is also the chief leadership position, and controls the flow of legislation and committee assignments. Outside of legislative authority, the Speaker is given the power to employ, terminate and alter the compensation of all House employees. The Speaker has full final authority of all expenses charged to the House of Representatives, further, the Speaker the individual responsible for approving House expense accounts. The minority party selects a Minority Leader, an Assistant Minority Leader and a Minority Whip in a closed caucus.


title: At Home (store)

text: At Home (stylized in lowercase) is a chain of home décor stores based in Plano, Texas and currently operates 250 stores in 40 states. The average store is 110,000 square feet. Each store offers up to 50,000 home products that range from furniture, mirrors, rugs, art and housewares to tabletop, patio and seasonal décor.


title: At Home (store)

text: Lewis L. (Lee) Bird III serves as Chairman of the Board and Chief Executive Officer for At Home. Bird joined the company in December 2012. Prior to this, Bird served as President of Nike Affiliates for Nike Inc., Chief Operating Officer of Gap, and Chief Financial Officer of Old Navy.


title: At Home (store)

text: Founded in 1979 with one store in Schertz, Texas, the brand was created as Garden Ridge Pottery and was later renamed simply Garden Ridge.


title: At Home (store)

text: Investment firm Three Cities Research became the largest shareholder of Garden Ridge in 1999. Garden Ridge filed for Chapter 11 bankruptcy protection in 2004. After the reorganization, the corporation emerged from Chapter 11 in 2005.


title: At Home (store)

text: In 2014, the company converted all stores to the At Home brand and floorplan, painting everything grey (from Garden Ridge's characteristic orange).


title: At Home (store)

text: At Home underwent a rebranding project that included the previously stated name change and a store redesign. The rebranding project changed the use of orange color for advertising to a soft grey and blue. A house symbol stands in for the “o” in At Home, so there's no confusion about what's sold inside, CEO Lee Bird said. This investment cost around $20 million.


title: Prince Félix of Luxembourg

text: Prince Félix of Luxembourg (Félix Léopold Marie Guillaume; born 3 June 1984) is the second son of Henri, Grand Duke of Luxembourg, and Maria Teresa, Grand Duchess of Luxembourg. He is currently third in the line of succession.


title: Prince Félix of Luxembourg

text: Prince Félix was born on 3 June 1984 at the Grand Duchess Charlotte Maternity Hospital in Luxembourg. He is the second of the five children of Grand Duke Henri and Grand Duchess Maria Teresa, the others being: Hereditary Grand Duke Guillaume, Prince Louis, Princess Alexandra and Prince Sébastien. His godparents are Prince Jean and Catalina Mestre. He was named after his great-grandfather, Prince Felix of Bourbon-Parma.


title: Prince Félix of Luxembourg

text: Prince Félix attended Lorentzweiler for his primary school and the Notre Dame Sainte-Sophie of Luxembourg, then the "American School of Luxembourg" for secondary schooling.


title: Prince Félix of Luxembourg

text: He attended the International School of Luxembourg and in 1998 he joined the Swiss boarding school Collège Alpin International Beau Soleil in Villars-sur-Ollon, Switzerland. After completing high school with honours, he joined the Royal Military Academy Sandhurst in Britain; however, due to a serious knee injury, he had to leave the programme early. Between 2003 and 2004, Prince Félix took interest in different fields of study such as political science, psychology and communication, leading him to attend schools in England and Belgium. He has also completed courses at various companies in order to obtain additional professional experience.


title: Prince Félix of Luxembourg

text: In 2005, Prince Félix joined the Marketing and Public Relations department of Grand Chelem Management SA, a Swiss company specializing in the organisation of sporting and cultural events. He continues to work as an independent consultant for the company. The prince takes a particular interest in ethics in biotechnology. In June 2009, the Grand Ducal Court announced later that October, Prince Félix would begin a bachelor's degree in bioethics at the Pontifical Athenaeum Regina Apostolorum in Rome, Italy.


title: Prince Félix of Luxembourg

text: In 2003, he accepted the patronage of the sports association paratrooper "Cercle Para Luxembourg" (FAL). A fan of basketball, he was appointed honorary president of the "Federation Luxembourg Basketball" in 2005.


title: Prince Félix of Luxembourg

text: Since 2016, Prince Félix chairs the "Lorgues Terre de Vins" association, whose goal is to make their community an unmissable destination in Provence.


title: Prince Félix of Luxembourg

text: On 13 December 2012, the Grand Ducal household confirmed Prince Félix's engagement to Claire Lademacher. The civil wedding took place on 17 September 2013 in Königstein im Taunus, followed by a religious ceremony on 21 September in the Basilica of Sainte Marie-Madeleine in Saint-Maximin-la-Sainte-Baume, France. Since the wedding, the couple have been living in the south of France at the "Château Les Crostes", a winery in Lorgues that has been owned by the Lademacher family for many years.


title: Prince Félix of Luxembourg

text: Prince Félix and Princess Claire's daughter, Princess Amalia Gabriela Maria Theresa, was born on 15 June 2014 at the Maternité Grande-Duchesse Charlotte Hospital in Luxembourg. A son, Prince Liam Henri Hartmut, was born at Private Clinic in Geneva on 28 November 2016.


title: Cameron Smith (rugby league, born 1983)

text: Cameron Wayne Smith (born 18 June 1983) is an Australian former professional rugby league footballer who played as a , spending his entire career with the Melbourne Storm in the National Rugby League (NRL).


title: Cameron Smith (rugby league, born 1983)

text: An n international and Queensland State of Origin representative, Smith is regarded by some as one of the greatest players of all time. During his nineteen year career, Smith won the Dally M Medal as the NRL's player of the year in 2006 and 2017, the Golden Boot Award as the international player of the year in 2007 and 2017, and the NRL's Dally M Hooker of the Year on nine occasions. He was the captain of the Storm for fifteen years, during which time they won the 2012, 2017, and 2020 NRL Premierships, and also Australia and Queensland from 2012 until his retirement from representative matches in 2018.


title: Cameron Smith (rugby league, born 1983)

text: Considered a future Immortal, Smith is currently the NRL's games record holder, with 430 matches played; he is the only player to have played over 400 matches. He is also the highest all-time points scorer in NRL history, having surpassed Hazem El Masri's 2,418 points on 12 April 2019. Smith also holds the NRL records for most goals kicked (1295), most tackles made (16917), most grand final points scored (44) and most wins (310).


title: Cameron Smith (rugby league, born 1983)

text: Smith was appointed a Member of the Order of Australia (AM) in the 2019 Queen's Birthday Honours for his service to rugby league. He retired from professional rugby league in 2021.


title: Cameron Smith (rugby league, born 1983)

text: Smith was born on 18 June 1983 in Logan, Queensland, Australia. He attended Marsden State High School.


title: Cameron Smith (rugby league, born 1983)

text: Smith played at for the Logan Brothers in Logan City. After scoring 188 points for the Norths Devils in the Queensland Cup he moved up to the NRL with the Melbourne Storm club.


title: Cameron Smith (rugby league, born 1983)

text: Smith's first two games for Melbourne were during the 2002 NRL season, both played at half-back (No.7). Returning to the Queensland Cup, he won the Norths Devils player of the year award in 2002. The following year he played as the Storm's hooker. In 2003 the Queensland rugby league team were without a specialist hooker. After experimenting with different players in the position for the first two matches of the 2003 State of Origin series and losing both, Smith was named at hooker (No.9) for the third match. For the next six years, no other player wore the number 9 for the Maroons until this run of 19 consecutive Origins was cut due to injury. He was named the Melbourne Storm's rookie of the year in 2003.


title: Cameron Smith (rugby league, born 1983)

text: In 2005, Smith was named the Melbourne Storm's player of the year. The following year he first represented Australia and won the Dally M Medal. Also in Round 3 of 2006 Smith captained the club for the first time and in what became a very successful year for him as later that year he led the Storm to the 2006 NRL Grand Final. During the Grand Final, while the game was still in the balance, he was forced from the field with injury, which the Storm's loss has been largely attributed to.


title: Cameron Smith (rugby league, born 1983)

text: Smith was selected to play for the Australian national team at hooker the 2007 ANZAC Test match victory against New Zealand. For the 2007 State of Origin series, Smith took out both the Wally Lewis Medal for player of the series and Ron Mcauliffe Medal for Queensland player of the series. He was also named the Melbourne Storm player of the year. Smith captained the Melbourne Storm in their 34–8 victory over the Manly-Warringah Sea Eagles in the 2007 NRL Grand Final.


title: Cameron Smith (rugby league, born 1983)

text: Smith became regular captain of the Melbourne Storm in 2008. Smith captained the Maroons for the entire 2008 State of Origin series due to the absence of regular captain Darren Lockyer. The Maroons won the series, despite losing the first match 18–10. In August 2008, Smith was named in the preliminary 46-man Kangaroos squad for the 2008 Rugby League World Cup, and in October 2008 he was selected in the final 24-man Australia squad. Cameron was suspended for two weeks in the 2008 finals series after a grapple tackle on Brisbane's Sam Thaiday. The suspension would have only been one week had he not have carried over points from a previous grapple tackle in round 1 of the year's competition. This meant he was suspended for Melbourne's 2008 grand final. Melbourne Storm CEO Brian Waldron and coach Craig Bellamy claimed the judiciary had made their minds up before Cameron's case was heard. The judiciary panel members then threatened to sue the club if the comments were not retracted. Cameron signed a four-year extension to his contract in December 2008, resulting in him being a contracted player through to the end of at least the 2012 season. His contract is rumoured to be partly funded by third party sponsors who do not contribute to the standard salary cap. He became the Melbourne Storm's most experienced playing player due to the retirement of Matt Geyer at the end of 2008. He became the last current Storm player in the squad who played under Mark Murray as well as the only one to have played in a season when the Storm did not make the finals due to their performance (the Storm finished 10th in 2002, the year Smith made his debut).


title: Cameron Smith (rugby league, born 1983)

text: In April 2009, he was named in the preliminary 25 man squad to represent Queensland in the opening State of Origin match for 2009. He was selected for Australia in the one-off test match against New Zealand on 8 May 2009. In the preliminary final in which Melbourne defeated the Brisbane Broncos 40–10, he became Storm's highest ever point scorer, beating Matt Orford's record of 877. Smith led the Storm in their 2009 NRL Grand Final victory over the Parramatta Eels. At the end of the season, he joined the Kangaroos on their campaign to win the 2009 Four Nations tournament in England. He scored the try that saved Australia from losing in the opening match and also scored in the Kangaroos' victory against England in the final.


title: Cameron Smith (rugby league, born 1983)

text: Many of Smith's club achievements between the years of 2006 and 2010 were later placed under an asterisk after the Melbourne Storm were stripped of all honours achieved in those years due to the discovery of the Melbourne Storm salary cap breach.