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Richard Anconina

Richard Anconina is a French actor. He won the César Award for Best Supporting Actor in 1989 was named César for Best Actor. 1977: Comment se faire réformer directed by Philippe Clair 1978: Les Réformés se portent bien directed by Philippe Clair 1979: Démons de midi directed by Christian Paureilhe 1980: Le Bar du téléphone directed by Claude BarroisBoum-Boum 1980: À vingt minutes par le R. E. R. 1980: Inspecteur la Bavure directed by Claude Zidi – Philou 1981: L'Arme au bleu 1981: Asphalte directed by Denis Amar – un pilleur 1981: La Provinciale directed by Claude Goretta 1981: Le Petit Pommier directed by Liliane de Kermadec 1981: Une robe noire pour un tueur directed by José Giovanni – un jeune drogué 1981: Le Choix des armes directed by Alain Corneau – Dany 1982: Emmenez-moi au théâtre: L'étrangleur s'excite 1983: Le Battant directed by Alain DelonSamatan 1983: Cap Canaille directed by Juliet Berto – Mayolles 1983: Le Jeune Marié directed by Bernard Stora – Baptiste 1983: Une pierre dans la bouche directed by Jean-Louis Leconte – Marc 1983: Tchao Pantin directed by Claude Berri – Bensoussan 1984: L'Intrus directed by Irène Jouannet – Gilles 1984: Paroles et Musique directed by Elie Chouraqui – Michel 1985: Partir, revenir directed by Claude Lelouch – Vincent Rivière 1985: Police directed by Maurice Pialat – Lambert 1986: Zone rouge directed by Robert Enrico – Jeff Montelier 1986: Le Môme directed by Alain Corneau – Willie 1987: Lévy et Goliath directed by Gérard Oury – Moïse Levy 1988: What if Gargiulo Finds Out?

Directed by Elvio Porta – Ferdinando 1988: Envoyez les violons directed by Roger Andrieux – Frédéric Segal 1988: Itinéraire d'un enfant gâté directed by Claude Lelouch – Albert Duvivier 1990: Miss Missouri directed by Elie Chouraqui – Nathan Leven 1990: Le Petit Criminel directed by Jacques Doillon – le flic 1991: A quoi tu penses-tu? Directed by Didier Kaminka – Pierre 1992: La Place du père 1994: Fall from Grace 1994: Coma – Julien 1996: Hercule et Sherlock directed by Jeannot Szwarc – Bruno 1997: La Vérité si je mens! Directed by Thomas Gilou – Eddie Vuibert 1997: Les Héritiers 2000: Six-Pack directed by Alain Berbérian – Nathan 2001: La Vérité si je mens! 2 directed by Thomas Gilou – Eddie Vuibert 2002: Gangsters directed by Olivier Marchal – Franck Chaïevski 2004: Alive directed by Frédéric BertheAlex Meyer 2007: Dans les cordes directed by Magaly Richard-Serrano – Joseph 2010: Camping 2 directed by Fabien Onteniente – Jean-Pierre Savelli 2012: La vérité si je mens! 3 directed by Thomas Gilou – Eddie Vuibert 2012: Stars des années 80 directed by Frédéric Forestier – Vincent 2016: The law of Christophe, TV Movie directed by Jacques Malaterre – Christophe Vitari Richard Anconina on IMDb

Serbo-Croatian phonology

Serbo-Croatian is a South Slavic language with four national standards. The Eastern Herzegovinian Neo-Shtokavian dialect forms the basis for Bosnian, Croatian and Serbian. Standard Serbo-Croatian has 35 phonemes including vowel length: 25 consonants and 10 vowels, a pitch accent, whereas Montenegrin has two more consonants; the consonant system of Serbo-Croatian has 25 phonemes. One peculiarity is a presence of both post-alveolar and palatal affricates, but a lack of corresponding palatal fricatives. Unlike most other Slavic languages such as Russian, there is no palatalized versus non-palatalized contrast for most consonants. / m / is labiodental before / f, ʋ /, whereas / n / is velar before / k, ɡ /, as in stanka. / t, d, s, z, t͡s / are dental, whereas / l, r / are alveolar. /n, l/ become laminal denti-alveolar, before dental consonants. /ʎ/ is palato-alveolar. /v/ is a phonetic fricative, although it has less frication than /f/. However, it does not interact with unvoiced consonants in clusters as a fricative would, so is considered to be phonologically a sonorant.

/t͡s, f, x/ are voiced before voiced consonants. Glottal stop may be inserted between vowels across word boundary, as in i onda. Croatian has more allophones: /ʂ, ʐ/ are retracted to before /t͡ɕ, d͡ʑ/. /x/ is retracted to when it is initial in a consonant cluster, as in hmelj. /ʋ/ is labiovelar before /u/, as in vuk./r/ can be syllabic, short or long, carry rising or falling tone, e.g. kȓv, sȑce, sŕna, mȉlosr̄đe. It is realized by inserting a preceding or succeeding non-phonemic vocalic glide./l/ is velarized or "dark". Diachronically, it was vocalized into /o/ in coda positions, as in past participle *radil > radio. In some dialects, notably Torlakian and Kajkavian that process did not take place, /l/ can be syllabic as well. However, in the standard language, vocalic /l/ appears only in loanwords, as in the name for the Czech river Vltava for instance, or debakl, bicikl. Other sonorants are syllabic, such as /ʎ̩/ in the surname Štarklj and /n̩/ in njutn; the retroflex consonants / ʂ, ʐ, tʂ, dʐ / are, in more detailed phonetic studies.

In most spoken Croatian idioms, as well as in some Bosnian, they are postalveolar instead, there could be a complete or partial merger between /tʂ, dʐ/ and palatal affricates /tɕ, dʑ/. Alveolo-palatal fricatives are marginal phonemes realized as consonant clusters. However, the emerging Montenegrin standard has proposed two additional letters, Latin ⟨Ś⟩, ⟨Ź⟩ and Cyrillic ⟨С́⟩, ⟨З́⟩, for the phonemic sequences /sj, zj/, which may be realized phonetically as. Voicing contrasts are neutralized in consonant clusters, so that all obstruents are either voiced or voiceless depending on the voicing of the final consonant, though this process of voicing assimilation may be blocked by syllable boundaries; the Serbo-Croatian vowel system is symmetrically composed of five vowel qualities /a, e, i, o, u/. Although the difference between long and short vowels is phonemic, it is not represented in standard orthography, as it is in Czech or Slovak orthography, except in dictionaries. Unstressed vowels are shorter than the stressed ones by 30% and 50%.

The long Ijekavian reflex of Proto-Slavic jat is of disputed status. The prescriptive grammar Barić et al. published by the foremost Croatian normative body—the Institute of Croatian Language and Linguistics, describes it as a diphthong, but this norm has been criticized by phoneticians as having no foundation in the spoken language, the alleged diphthong being called a "phantom phoneme". Thus the reflex of long jat, spelled as a trigraph ⟨ije⟩ in standard Croatian and Ijekavian Serbian, represents the sequence /jeː/. Stressed vowels carry one of the two basic tones and falling. New Shtokavian dialects allow two tones on stressed syllables and have distinctive vowel length and so distinguish four combinations, called pitch accent: short falling, short rising, long falling, long rising. Most speakers from Serbia and Croatia do not distinguish between short rising and short falling tones, they pronounce most unstressed long vowels as short, with some exceptions, such as genitive plural endings.

The accent is free because it can be on any syllable except the last one. This is relevant for Serbia. For example highly educated speakers in Zagreb will have no tones, can have stress on any syllable. Accent alternations are frequent in inflectional paradigms, in both quality and placement in the word (the so-called "mobile paradigms", which were present in Proto-Indo-European itself

Toca (album)

Toca is the debut album of German trance group Fragma. It was released on 22 January 2001, through EMI Europe; the album included the group's initial three singles released in the years prior and spawned a fourth some five months after its release. The initial single, "Toca Me", was a success in the UK, where it charted at number 11, saw mild success in Ireland and the Netherlands; the album's second single, "Toca's Miracle", was the group's biggest hit to date, being their only number 1 hit, having topped the UK charts. It was a top 10 hit in Australia, Denmark and Norway. "Everytime You Need Me" and "You Are Alive", the third and fourth singles from the album were successes in the UK, reaching positions 3 and 4 on the charts. The album contained the videos for the first three singles. "Toca's Miracle" "Everytime You Need Me" "Reach Out" "You Are Alive" "Move On" "Do You Really Want to Feel It" "Magic" "Everybody Knows" "Take My Hand" "Outlast" "Toca Me" "Toca Me" "Toca's Miracle" "Everytime You Need Me"

Publixtheatre Caravan

The Publixtheatre Caravan is the English name for a travelling project of the Volxtheater Favoriten, a Vienna-based international theatrical troupe, creating site-specific theatrical interventions in public space as well as stage-based performances since 1994. It is a political and artistic project, part of the No Border Network and the Platform for a World Without Racism, it creates critical performance theatre that targets racism, migration control, biometric data collection, other forms of social control. Since May 2001, the Publixtheatre Caravan has been creating international travelling informational and artistic campaigns, to squat reality by directly interposing theater and artistic installations into everyday life; the Volxtheater Favoriten is based out of the Ernst Kirchweger Haus, the former headquarters of the Austrian Communist Party in Vienna, a legalised squat that hosts migrants and refugees, community activities, political groups. The Volxtheater has no permanent cast. There are no directors.

The first production was a version of Bertolt Brecht's "The Threepenny Opera", followed by the Greek play "Penthesilea", "We can't pay? We won't pay" (June-November 1996, "Chor der Werkstätigen und Nichtwerkstätigen", "EKHberet" "Theatercollagen", "Der Auftrag" and "Schluss mit Lustig". "Schluss mit Lustig" was developed in reaction to the rise to power of Austria's extreme right-wing Freedom Party, premiered in the Vienna Schauspielhaus. Since November 2002, the Caravan has been producing full-length video and musical performance play based on the book, "Bukaka Spat Here," by Alexander Brener and Barbara Schurz. In addition to full-length plays, the Volxtheater sees itself as an actionist group provoking political responsibility and moral courage by artistically intervening - spontaneously or planned - in public space, via street theatre and "guerrilla fun". A few of the street theatre actions of the Volxtheater include: crossing the Danube channel, army parade, matamorphile hexaphonium, demonstration against the government's cuts on social payment, street theatre during trials against people who signed an appeal to refuse to obey orders in the army Krems: performance of the play "We can't pay?

We won't pay!" on the street, "Auf zur großen Grenzschutzaktion". "Spendenaufruf für die europäische Sicherheit" on the army parade. In summer 2000 the idea emerged to form a caravan to advance the political actionism of the Publix Theatre; as a part of the "cultural caravan through Carinthia and Styria", that held cultural events in villages and small towns in Carinthia and Styria and international resistance days in Klagenfurt, the caravan moved through Austria. The aim was to combine theatrical actions and information campaigns to enact change; the caravan left monuments with the inscription "no border no nation - for an open carinthia, for an open Europe" in its wake. The Publixtheatre caravans of 2001, 2002 and 2003 took this idea to an international level. Creating public theatrical interventions while dressed as UNO soldiers, border guards, biometric researchers, the Publixtheatre has always provoked confusion as to whether they represent fiction or reality. After its participation in protests during the G8 summit in Genoa, 2001, the caravan was arrested in Italy.

The 25 activists and hitchhikers who were arrested there were kept in the custody of local police and spent the next 3–4 weeks in the Voghera and Alessandria prisons in Italy before being deported and banned from re-entry. They were accused of being members of a "criminal organisation" that Italian authorities gave the name of the "black bloc" whose imputed goal was said to be "devastation and looting", they were charged with property destruction and criminal association. The police evidence against them included their possession of black clothing, knives used to create a mobile street kitchen, as well as juggling clubs and other props. References: Brian Holmes, “Liar's Poker: Representation of Politics/Politics of Representation,” springerin 1/03.

1964 in professional wrestling

1964 in professional wrestling describes the year's events in the world of professional wrestling. March – Dick the Bruiser and Wilbur Snyder opened the World Wrestling Association professional wrestling promotion based out of Indianapolis, Indiana. Debut date uncertain: Alberto Muñoz André the Giant Jimmy Valiant Johnny Rodz Joyce Grable Paul Jones Thunderbolt Patterson October 31 – The Great Kabuki November – Kendo Nagasaki Date of birth uncertain: JT Southern January 6: Jacqueline Konnan January 13 – Zuleyma January 19 – Sonny Blaze February 3 – Pantera February 7 – Ron Hutchison February 9 – Madusa February 14 – Ken Shamrock February 16 – Shunji Takano March 2 – Mike Von Erich March 16 – Henry O. Godwinn March 22 – El Felino April 4 – John Zandig April 10 – EZ Ryder April 11 – Takahiro Takigawa May 6 – Brian Knobbs May 13 – Glacier May 17 – Woman May 31 – Randy Mulkey June 18 – Big Vito June 23 – Mosco de la Merced July 2 – Charles Robinson July 5 – Jerry Sags July 13 – Konan Big August 1 – Prince Iaukea August 10 – Savio Vega August 20 – Tori August 23 – TARU September 2 – Skayde September 8 – Raven October 6 – Dixie Carter October 9 – Rockin' Robin October 11 – Sam Houston October 26 – Nicole Bass October 31 – The Boogeyman November 13 – Mike Samples November 30 – Jushin Thunder Liger November 21 – Shane Douglas December 7 – Curtis Hughes December 8 – Chigusa Nagayo December 12 – Sabu December 18 – Stone Cold Steve Austin December 20 – Mark Coleman May 9 – Erik Malmberg September 11 – Karol Kalmikoff