Great Yarmouth called Yarmouth, is a seaside town in Norfolk, straddling the mouth of the River Yare, some 20 miles east of Norwich. A population of 38,693 in the 2011 Census made it Norfolk's third most populous place, its fishing industry for herring, fell steeply after the mid-20th century and has all but vanished. North Sea oil from the 1960s brought an oil-rig supply industry that now services offshore natural gas rigs. More offshore wind power and other renewable energy have created further support services. Yarmouth has been a seaside resort since 1760 and a gateway from the Norfolk Broads to the North Sea; as a tourist centre, it was boosted when a railway opened in 1844 gave visitors easier, cheaper access and triggered an influx of settlers. Wellington Pier opened in 1854 and Britannia Pier in 1858. Through the 20th century, Yarmouth was a booming resort, with a promenade, trams, fish-and-chip shops and theatres, as well as the Pleasure Beach, the Sea Life Centre, the Hippodrome Circus and the Time and Tide Museum, a surviving Victorian seaside Winter Garden in cast iron and glass.
The town itself is on a 3.1-mile spit of land between the North River Yare. It features historic rows of a main tourist sector on the seafront, it is linked to Gorleston and Southtown by Haven Bridge and to the A47 and A149 by Breydon Bridge. The urban area covers 8.3 sq mi and according to the Office for National Statistics in 2002 had a population of 47,288. It is the main town in the Borough of Great Yarmouth; the ONS identifies a Great Yarmouth urban area with a population of 68,317, including the sub-areas of Caister-on-Sea and Great Yarmouth. The wider Great Yarmouth borough had a population of around 92,500, which increased to 97,277 at the 2011 census. Ethnically, Great Yarmouth was 92.8 per cent White British, with the next biggest ethnic demographic being Other White at 3.5 per cent – Eastern Europeans in the main. Great Yarmouth lies near the site of the Roman fort camp of Gariannonum at the mouth of the River Yare, its situation having attracted fishermen from the Cinque Ports, a permanent settlement was made, the town numbered 70 burgesses before the Norman Conquest.
Henry I placed it under the rule of a reeve. In 1101 the Church of St Nicholas was founded by Herbert de Losinga, the first Bishop of Norwich, consecrated in 1119; this was to be the first of several priories founded in what was a wealthy trading centre of considerable importance. In 1208, King John granted a charter to Great Yarmouth; the charter gave his burgesses of Yarmouth general liberties according to the customs of Oxford, a gild merchant and weekly hustings, amplified by several charters asserting the rights of the borough against Little Yarmouth and Gorleston. The town is bound to send to the sheriffs of Norwich every year one hundred herrings, baked in twenty four pasties, which the sheriffs are to deliver to the lord of the manor of East Carlton, to convey them to the King. A hospital was founded in Great Yarmouth in the reign of Edward I by Thomas Fastolfe, father of Thomas Fastolf, Bishop of St David's. In 1551, a grammar school founded and the great hall of the old hospital was appropriated for its use.
The school was closed from 1757 to 1860, but re-established by charity trustees and settled in new buildings in 1872. In 1552 Edward VI granted a charter of admiralty jurisdiction confirmed and extended by James I. In 1668 Charles II incorporated Little Yarmouth into the borough by a charter with one brief exception remaining in force until 1703, when Queen Anne replaced the two bailiffs by a mayor. In 1673, during the Third Anglo-Dutch War, the Zealand Expedition was assembled in the town. In 1702 the Fishermen's Hospital was founded. In the early 18th century, Yarmouth, as a thriving herring port, was vividly and admiringly described several times in Daniel Defoe's travel journals, in part as follows: Yarmouth is an antient town, much older than Norwich, it is plac'd on a peninsula between the sea. The ships ride here so close, as it were, keeping up one another, with their head-fasts on shore, that for half a mile together, they go cross the stream with their bolsprits over the land, their bowes, or heads, touching the wharf.
In this pleasant and agreeable range of houses are some magnificent buildings, among the rest, the custom-house and town-hall, some merchants houses, which look like little palaces, rather than the dwelling-houses of private men. The greatest defect of this beautiful town, seems to be, that tho' it is rich and encreasing in wealth and trade, in people, there is not room to enlarge the town by building. In 1797, during the French Revol
Anton Vassil is a screenwriter/film director who worked on various feature films, music videos and documentaries. With a master's degree from Loyola Marymount University film school, Vassil directed his first feature Marching Out of Time and went on to direct a series of films and documentaries including Guderian, La Dictature de la Pensée Unique and Les Oiseaux. In 2008, he developed a European thriller. In 2015 he directs Laurent et Safi, a French musical feature, released theatrically in France and Africa in 2017. In 2018 he directs'Le Gendarme de Abobo' scheduled for a 2019 theatrical release. Born in 1966 in Düsseldorf, Vassil is a French citizen who spent 15 years in America and Canada. Vassil attended Institut Monana in Switzerland; as a director fluent in French and German, he is associated with international projects requiring multilingual skills and international co-productions. In 2015, he directs Laurent et Safi starring Michel Gohou, Teeyah, Tatiana Rojo, Xavier Jozelon, Fantani Touré, Nico Rogner and Innocent Versace.
In 2018 he directs Le Gendarme de Abobo starring Michel Michel Gohou, Le Magnific, Ray Reboul, Bienvenue Obro. Anton Vassil on IMDb Anton Vassil's Biography B-MOL PRODUCTIONS
Alec Empire is a German experimental electronic musician, best known as a founding member of the band Atari Teenage Riot, as well as a prolific and distinguished solo artist, producer and DJ. He has released many albums, EPs and singles, some under aliases, remixed over seventy tracks for various artists including Björk, he was the driving force behind the creation of the digital hardcore genre, founded the record labels Digital Hardcore Recordings and Eat Your Heart Out Records. Wilke's father was a working-class socialist, himself the son of a radical activist who perished in the Nazi concentration camps of the Second World War, his maternal grandfather, Karl Steinhof, was a self-made millionaire who patented the first domestic hand-knitting appliance during the economic boom in Germany in the 1950s. Wilke grew up during the Cold War near the Berlin Wall, which he passed every day on his way to school; the frequent sight of patrol guards with guns influenced his outlook on life from an early age.
He describes Berlin at the time as: "Probably the most left radical place in Germany in the 70s, terrorists, a lot of demonstrations, the first address to hear the latest American music, because of the radio shows the US soldiers brought to Berlin." At the age of ten, Wilke's love of rap led to a vogueing career on the streets of Berlin. Disillusioned by that genre becoming commercial, he left it behind in favour of a different form of musical expression, he had played guitar since the age of eight which coupled with his politically charged upbringing led him to punk music. By sixteen, Wilke came to believe that the punk movement was "dead". After leaving Die Kinder, he began listening to classical music and experimenting with electronic instruments, he became fascinated by the rave scene, following German reunification, frequented underground raves in East Berlin, believing his native West Berlin scene to be too commercialised. Known earlier in his career as LX Empire he produced a great deal of what he refers to as "faceless DJ music".
In 1991, while DJing on a beach in France with his friend Hanin Elias, he caught the attention of Ian Pooley, which led to the release of a number of 12" records on the Force Inc. label. Although Empire was a prolific producer and DJ at this time, made a comfortable enough living, he saw the rave scene as decadent and selfish; this angered him, as he and his friends lived in a city embroiled in politics, the demise of communist-led governments had given rise to increased conservatism in Germany, whilst few people cared. The German neo-Nazi movement had invaded the scene, declaring trance techno "true German music". Empire retaliated by utilising samples of 1960s and 1970s funk – a predominantly black style of music – in his solo work. In order to further spread the message, he gathered like-minded individuals Hanin Elias and Carl Crack to form a band. In 1992, the trio became known as Atari Teenage Riot. Atari Teenage Riot's sound was characterised by the use of breakbeats, heavy guitar riffs, the shouting of politically driven lyrics and slogans by the band members.
Empire provided much of the musical direction, with the input of Japanese-American noise musician Nic Endo, the ATR sound took on a more chaotic, arrhythmic nature marked by rough sequencing, improvised mixing and extended "noise-fests". In his words, this complex style was intended to "destroy" the "simulated harmony" of the mainstream electronic music, that, besides their protest lyrics, "riot sound produce riots". Empire, straight edge stated that it was a reaction to both the fashion-victimized and drug-fueled nihilism of the rave scene of the 1990s, once saying that "You can't read or do anything else while listening to our music."ATR signed a record deal with Phonogram, a major UK label, in 1993. The two parted ways after only a couple of single releases, due to the band's refusal to play by the label's rules. In 1994, using the non-refundable cash advance from the deal, Empire started an independent record label that allowed its artists the freedom of expression Phonogram were unlikely to give.
He named it Digital Hardcore Recordings. That year, DHR released EPs by EC8OR, Sonic Subjunkies, Empire himself. While working with ATR, Empire continued with his solo output, he recorded for Force Inc. including the Detroit techno-inspired Jaguar. He recorded several albums for Force Inc.'s experimental sub-label Mille Plateaux, including Generation Star Wars and Low on Ice, which he recorded on his laptop during a three-day tour of Iceland with ATR. In 1995, ATR released their first proper album, Delete Yourself!, on DHR, and, in 1996, Empire released his first solo album for DHR, The Destroyer. In that year and Mike D signed a deal to release a number of DHR's recordings on the Beastie Boys' Grand Royal record label in the United States; the label invited DHR artists to tour the US leading to recognition by MTV and alternative radio stations. ATR spent the next few years touring the world with artists such as Jon Spencer Blues Explosion, Rage Against the Machine, the Wu-Tang Clan and Ministry, as well as headlining such memorable shows as the Digital Hardcore festival at CBGB's in New Yor