text:
Trotskyist Fraction – Fourth International

The Trotskyist Fraction – Fourth International is a political international of Trotskyist political organizations that claim to adhere to the political legacy of the Fourth International. It was founded in 1989 by former members of the International Workers League (IWL-FI) who were expelled from the IWL-FI in 1988. It regarded itself initially as an "external fraction" who had been wrongly expelled.

Its militants in Argentina founded the Socialist Workers' Party (PTS) in 1988, which from 1988 to 1990, had three splits: first when a number of militants returned to the Argentinian Movement for Socialism (MAS) party, then when another group of militants sympathized with the British Workers Revolutionary Party (Worker Press) and the third when supporters of León Pérez (former member of the International Secretariat of the IWL-FI) decided to follow a mass party perspective (as opposed to a vanguard party).

These splits forced the PTS to make a balance and self-criticism. This resulted in a further development. The PTS questioned the "update" of the Transitional Program that Nahuel Moreno, the leader of the IWL-FI, had made (his so-called theory of "Democratic Revolution"). The PTS regarded Moreno's update as an "anti-Trotskyist revision" of Leon Trotsky's Theory of Permanent Revolution. This led to a break with Moreno's and IWL-FI's political tradition and ideology (termed Morenoism).

In 1998 it emerged as the Trotskyist Fraction - International Strategy, founded by the PTS of Argentina, the LTS of Mexico, the LOR of Bolivia and with the endorsements of the Estratégia Revolucionaria (Revolutionary Strategy) group of Brazil and the Clase contra Clase (Class against Class) group of Chile as well as some militant sympathizers in Europe. In 2004, in its second international conference, the TF decided to change the name "International Strategy" to "Fourth International". Following the economic crisis and demonstrations in several countries, the TF-FI has grown in Latin America and Europe and now promotes the formation of a new grouping: An International Movement for a Socialist Revolution - Fourth International, which had its manifesto updated in 2017 and 2018 due to new developments in the international arena.

National sections
Former sections:

 * 🇫🇷 France Groupe Communiste Revolutionaire Internationaliste (Revolutionary Internationalist Communist Group) (CRI) - They were admitted in 2008 as sympathiser section, but after the creation of the New Anticapitalist Party they decided to dissolve within the CLAIRE Tendency (acronym for "Tendency for Communism and self-organized, internationalist and revolutionary struggle").
 * 🇨🇷 Costa Rica Socialist Revolution League (Liga de la Revolución Socialista) (LRS) - Admitted in 2008 as full section, but they dissolved in 2014.


text:
Folimage

Folimage is a French animation studio, based in Bourg-lès-Valence, Drôme, France. It was founded in 1981 by Jacques-Rémy Girerd. The studio produces animation films for cinema and TV (short films, TV specials and series, feature films). In 1999, the company founded an animation school, La Poudrière, also in Valence. In 2009, Folimage and La Poudrière moved to La Cartoucherie, a former munitions factory in Bourg-lès-Valence.

Short length

 * L'Eléphant et la baleine (The Elephant and the Whale, 1986), directed by Jacques-Rémy Girerd
 * Le Petit cirque de toutes les couleurs (The Little Circus and Other Tales, 1986), directed by Jacques-Rémy Girerd
 * Sculpture, sculptures (1988), directed by Jean-Loup Felicioli
 * Amerlock (1988), directed by Jacques-Rémy Girerd
 * Nos adieux au music-hall (Farewell Musical, 1989), directed by Laurent Pouvaret
 * Le Wall (The Wall, 1992), directed by Jean-Loup Felicioli
 * Histoire extraordinaire de Mme Veuve Kecskemet (Extraordinary story of Madame Veuve Kecskemet, 1994), directed by Bela Weisz
 * Une Bonne journée (A Pleasant Day, 1994), directed by Matthias Bruhn
 * Le Moine et le poisson (The Monk and the Fish, 1994), directed by Michaël Dudok de Wit.
 * L'Abri (The Shelter, 1995), directed by Arnaud Pendrié
 * Paroles en L'air (Winged Words, 1995), directed by Sylvain Vincendeau
 * Le Grande Migration (The Great Migration, 1995), directed by Youri Tcherenkov
 * Na kraju zemli (Au bout du monde in French, At the Ends of the Earth, 1999), directed by Konstantin Bronzit
 * Histoire Tragique avec fin heureuse (Tragic Story with Happy Ending, 2005) directed by Regina Pessoa
 * Les Conquérants (The Conquerors, 2011) directed by Tibor Bánóczki and Sarolta Szabó aka Domestic Infelicity

Medium length (TV Specials, 26')

 * L'Enfant au grelot (Charlie's Christmas, 1998) directed by Jacques-Rémy Girerd.
 * Patate et le jardin potager (Spud and the vegetable garden, 2000) directed by Damien Louche-Pelissier and Benoit Chieux
 * L'Hiver de Léon (Leon in Wintertime, 2008) directed by Pierre-Luc Granjon and Pascal Le Nôtre
 * Le Printemps de Mélie (Molly in Springtime, 2009) directed by Pierre-Luc Granjon

TV series

 * Ariol: 78 episodes, directed by Emilie Sengelin and Amandine Fredon. Broadcasting on TF1 (French channel) in 2009/2010.
 * Hilltop Hospital: 5 seasons of 10 episodes, directed by Pascal Le Nôtre
 * My Little Planet: 2 seasons of 13 épisodes, directed by Jacques-Rémy Girerd
 * Tidbits for Toddlers: 40 episodes, directed by Jacques-Rémy Girerd
 * The Joy of Life: 20 episodes, directed by Jacques-Rémy Girerd
 * My Donkey: 30 traditional French folksongs, directed by Pascal Le Nôtre
 * Michel

Full-length Feature

 * Raining Cats and Frogs (La Prophétie des grenouilles, 2003) directed by Jacques-Rémy Girerd.
 * Mia and the Migoo (Mia et le Migou, 2008) directed by Jacques-Rémy Girerd. The film won in 2009 the European Film Award for Best European animated feature film (European Film Academy)
 * A Cat in Paris (Une vie de chat, 2010) directed by Alain Gagnol and Jean-Loup Felicioli. Release date in French theaters : 2010 December, 15th. International distribution : Films Distribution, Paris . The film received in 2012 a nomination for Academy Award for Best Animated Feature Film.
 * Aunt Hilda! (Tante Hilda!, 2014) directed by Jacques-Rémy Girerd.
 * Phantom Boy (2015) directed by Alain Gagnol and Jean-Loup Felicioli. Release date in French theaters : 2015 October, 14th.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Folimage


text:
Ettore Sottsass

Ettore Sottsass (Innsbruck, Austria 14 September 1917 – Milan, Italy 31 December 2007) was a 20th-century Italian architect, noted for also designing furniture, jewellery, glass, lighting, home and office wares, as well as numerous buildings and interiors — often defined by bold colours.

Early life
Sottsass was born in Innsbruck, Austria, and grew up in Turin, where his father, also named Ettore Sottsass, was an architect. The elder Sottsass belonged to the modernist architecture group Movimento Italiano per l'Architectura Razionale (MIAR), which was led by Giuseppe Pagano.

The younger Sottsass was educated at the Politecnico di Torino in Turin and graduated in 1939 with a degree in architecture.

After the invasion of Italy by the Anglo-Americans, Sottsass enlisted in the Monterosa Division, a division of the Repubblica Sociale Italiana led by Benito Mussolini and his Republican Fascist Party, to fight in the mountains alongside Hitler's army (Sottsass tells his adventures as a Lieutenant of the Monterosa Division in his autobiography "Scritto di Notte" published by Adelphi).

After his time in the military, Sottsass opened his own architecture and design firm in Milan, Italy. Here he started designing furniture and experimented with different color, patterns and shapes. His work was often associated with pop culture with his brightly colored whimsical objects. His pieces were often made out of glass and ceramic.

Early career
After returning home, Ettore Sottsass worked as an architect with his father, often on new modernist versions of buildings that were destroyed during the war. In 1947, living in Milan, he set up his own architectural and industrial design studio, where he began to create work in a variety of different media: ceramic, painting, sculpture, furniture, photography, jewelry, architecture and interior design.

In 1949 Sottsass married Fernanda Pivano, a writer, journalist, translator and critic. From 1954 to 1957 he was a member of the International Movement for an Imaginist Bauhaus, resigning due to the movement's perceived aggression and its lack of professionalism. In 1956, Sottsass traveled to New York City and began working in the office of George Nelson. He and Pivano traveled widely while working for Nelson, and returned to Italy after a few months.

Also in 1956, Sottsass was commissioned by the American entrepreneur Irving Richards on an exhibition of his ceramics.

Back in Italy in 1957, Sottsass joined Poltronova, a semi-industrial producer of contemporary furniture, as an artistic consultant. Much of the furniture he worked on there influenced the design he would create later with Memphis Milano.

In 1956, Sottsass was hired by Adriano Olivetti as a design consultant for Olivetti, to design electronic devices and develop the first Italian mainframe computer, the Elea 9003 for which he was awarded the Compasso d'Oro in 1959. He also designed office equipment, typewriters, and furniture. There Sottsass made his name as a designer who, through colour, form and styling, managed to bring office equipment into the realm of popular culture. His first typewriters, the Tekne 3 and the Praxis 48, were characterized by their sobriety and their angularity. With Perry A. King, Sottsass created the Valentine typewriter in 1969 — considered today a milestone in 20th century design and featured in the Museum of Modern Art, Cooper Hewitt, Smithsonian Design Museum, London's Design Museum as well as the Victoria and Albert Museum.

While continuing to design for Olivetti in the 1960s, Sottsass developed a range of objects which were expressions of his personal experiences traveling in the United States and India. These objects included large altar-like ceramic sculptures and his "Superboxes", radical sculptural gestures presented within a context of consumer product, as conceptual statements. Covered in bold and colorful, simulated custom laminates, they were precursors to Memphis, a movement which came more than a decade later. Around this time, Sottsass said: "I didn't want to do any more consumerist products, because it was clear that the consumerist attitude was quite dangerous." As a result, his work from the late 1960s to the 1970s was defined by experimental collaborations with younger designers such as Superstudio and Archizoom Associati, and association with the Radical movement, culminating in the foundation of Memphis at the turn of the decade.

In the early 1970s he designed the modular office equipment collection Synthesis 45.

Sottsass and Fernanda Pivano divorced in 1970, and in 1976 Sottsass married Barbara Radice, an art critic and journalist.

When Roberto Olivetti succeeded as head of the company, he named Sottsass artistic director and gave him a high salary, but Sottsass refused. Instead he created the Studio Olivetti independent of Olivetti and became instantly the most creative international centre of design associating research with creation and industrial strategy. His concern that his creativity would have been stifled by corporate work is documented in his 1973 essay "When I was a Very Small Boy".

In 1968, the Royal College of Art in London granted Sottsass an honorary doctorate.

Memphis Group
With the rise of new groups (Global tools, Archizoom, Superstudio, UFO, Zzigurat, 9999...) the handmade style appeared suddenly as the new game for experimentation, a lot of these new groups playing in this new/old path to renew creation. In October 1980, Sottsass was confronted with two proposals, one from Renzo Brugola, a dear old friend and carpenter, telling him his will "to make something together like in the good old times," and the other one from Mario and Brunella Godani, owners of the Design Gallery Milano, who asked him to create "new furniture" for their gallery.

Ettore Sottsass founded the Memphis Group in Milan on 11 December 1980, after the Bob Dylan song "Stuck Inside of Mobile with the Memphis Blues Again" played during the group's inaugural meeting. The group was active from 1981 to 1988. The Memphis group was created in a reaction against the status quo. Sottsass centered the group's thinking around "radical, funny, and outrageous"—essentially, disregarding what was considered in "good taste" at that time. Art deco, the color palette of Pop Art and Kitsch theme from the 1950's inspired their work. Colorful laminate and terrazzo were commonly found in their work and incorporated in floors, tables and lamps.

Sottsass also designed his own print. This was a squiggles print also known as Bacterio print. For the print, Sottsass used inspiration from the surface texture and form of a Buddhist temple in Madurai, India, he then abstracted this detail into the squiggles he named Bacterio. This pattern was then used on their furniture designs in as veneers and textiles.

The Memphis Group was a postmodern, collaborative, architecture and design group founded by Sottsass in Milan Italy. The group focused heavily on furniture design with an emphasis on unconventional types. The designers became well known for their bright and bold pieces with clashing colors. At the time, furniture was solely meant to be functional. However, the Memphis Group sought to prove otherwise with their highly decorative pieces. They poked fun at everyday pieces and turned them into works of art. Many criticized and said it was just a trend that wouldn't last. Their unconventional ideas were controversial but have now become widely recognized and appreciated. The work continues to be influential throughout the world and can be seen in the Art Institute of Chicago, the Design Museum in London, The Museum of Modern Art in New York and many others.

Sottsass Associati
As the Memphis movement in the 1980s attracted attention worldwide for its energy and flamboyance, Ettore Sottsass began assembling a major design consultancy, which he named Sottsass Associati. Sottsass Associati was established in 1980 and gave the possibility to build architecture on a substantial scale as well as to design for large international industries. Besides Ettore Sottsass, the other founding members were Aldo Cibic, Marco Marabelli, Matteo Thun and Marco Zanini. Later, Johanna Grawunder, Marco Susani, James Irvine, and Mike Ryan would also join the firm. In 1985, Sottsass left the Memphis Group to focus on the Associati.

Sottsass Associati, primarily an architectural practice, also designed elaborate stores and showrooms for Esprit, identities for Alessi, exhibitions, interiors, consumer electronics in Japan, and furniture of all kinds. The studio was based on the cultural guidance of Ettore Sottsass and the work conducted by its many young associates, who quite often left to open their own studios. Sottsass Associati is now based in London and Milan and continue to sustain the work, philosophy, and culture of the studio.

The studio works with former members of Memphis as well as with the architect Johanna Grawunder. It works for major companies like Apple, Philips, Siemens, Zanotta, Fiat, Alessi, and also realises the interior design of all the retail shops of Esprit (Esprit Holdings).

Notable achievements in design

 * Valentine typewriter, Olivetti, 1969
 * Superbox cabinet, Poltronova, 1966
 * Ultrafragola mirror, Poltronova, 1970
 * Tahiti lamp, Memphis, 1981
 * Murmansk fruit bowl, Memphis, 1982
 * Carlton bookcase, Memphis, 1981
 * Malabar bookcase, Memphis, 1981
 * Casablanca cabinet, Memphis, 1981
 * Enorme phone, 1986
 * Miss don't you like caviar chair, 1987
 * Apollodoro Gallery, clock on display, seventh event The Hour of Architects, with Michael Graves, Hans Hollei, Arata Isozaki, Paolo Portoghesi, paintings by Paolo Salvati, Rome, 1987
 * Memories of China collection, the Gallery Mourmans, 1996
 * Mandarin chair, Knoll, 1986
 * Glass works for Venini
 * Glass works for the CIRVA
 * Nuovo Milano – cutlery set designed with assistance of Alberto Gozzi in 1987 for Alessi. Won XVIth Compasso d'Oro award in 1991.
 * Twergi collection, Alessi, 1989 and it sold for 60.000.000

Notable achievements in architecture

 * Fiorucci store, 1980
 * Esprit showroom, Düsseldorf, 1985
 * Esprit showroom, Zurich, 1985
 * Esprit showroom, Hamburg, 1985
 * Building, Marina di Massa, 1985
 * Alessi showroom, Milan, 1985
 * Wolf house, Ridgway (Colorado), 1985 with Johanna Grawunder
 * Zibibbo bar, Fukuoka, 1989
 * Olabuenaga house, Maui, 1989 with Johanna Grawunder
 * Cei house, Empoli, 1989
 * Bischofberger house, Zurich, 1989 with Johanna Grawunder
 * Museum of Contemporary Art, Ravenne, 1992
 * Ghella house, Roma, 1993
 * Green house, London, 1993
 * Motoryacht Amazon Express, 1994
 * Golf and club resort, Zhaoqing, 1994
 * Malpensa Airport, Milan, 1994
 * Nanon house, Lanaken, 1995
 * Van Impe house, Sint-Lievens-Houtem, 1996 with Johanna Grawunder
 * Alitalia waiting room, 1997
 * Bird House, Lanaken, 1998 with Johanna Grawunder
 * Kelley Residence, Woodside, 2000
 * Roppongi Island, Tokyo, 2004
 * Sport house, Nanjing, 2004
 * Entry Gates of the W. Keith and Janet Kellogg Gallery at the campus of Cal Poly Pomona, 1995

Other works
As an industrial designer, his clients included Fiorucci, Esprit, the Italian furniture company Poltronova, Knoll International, Serafino Zani, Alessi, Brondi, and Brionvega. As an architect, he designed the Mayer-Schwarz Gallery on Rodeo Drive in Beverly Hills, California, with its dramatic doorway made of irregular folds and jagged angles, and the home of David M. Kelley, designer of Apple's first computer mouse, in Woodside, California. The interiors of the Malpensa Airport, in Milan, were designed by Sottsass in the late 1990s, but he did not architect the building. In the mid-1990s, he designed the sculpture garden and entry gates of the W. Keith and Janet Kellogg Gallery at the campus of Cal Poly Pomona. He collaborated with well-known figures in the architecture and design field, including Aldo Cibic, James Irvine, Matteo Thun. Sottsass created a vast body of work: furniture, jewelry, ceramics, glass, silver work, lighting, office machine design and buildings. He inspired generations of architects and designers. In 2006 the Los Angeles County Museum of Art held the first major museum survey exhibition of his work in the United States. A retrospective exhibition, Ettore Sottsass: Work in Progress, was held at the Design Museum in London in 2007. In 2009, the Marres Centre for Contemporary Culture in Maastricht presented a re-construction of a Sottsass' exhibition  'Miljö för en ny planet' (Landscape for a new planet), which took place in the Nationalmuseum in Stockholm in 1969. In 2017, on the occasion of Sottsass' 100th birthday, the Met Breuer museum in New York City presented the retrospective Ettore Sottsass: Design Radical.

One of his works—Telefono Enorme, designed with David M. Kelley for Brondi—is part of the MOMA Collection, as well as many drawings. Design objects and drawings by Sottsass are also in the permanent collections of the Metropolitan Museum of Art, the Design Museum in London, the Vitra Design Museum, the Brooklyn Museum, the Cooper Hewitt, Smithsonian Design Museum, the Stedelijk Museum, Los Angeles County Museum of Art, Musée National d'Art Moderne in Paris, Philadelphia Museum of Art, and the Museum of Fine Arts, Houston.

In 1999, he was awarded the Sir Misha Black award and was added to the College of Medallists.

In 2023, his work was included in the exhibition Mirror Mirror: Reflections on Design at Chatsworth at Chatsworth House.

Publications

 * Guia Sambonet, Ettore Sottsass: Movili e Qualche Arredamento (Furniture and A Few Interiors), Arnoldo Mondadori Editore, 1985
 * Hans Höger, Ettore Sottsass Jun.: Designer, Artist, Architect, Wasmuth, Tübingen/Berlin, 1993
 * Barbara Radice, Ettore Sottsass: A Critical Biography, Thames & Hudson, 1993
 * Francois Barre, Andrea Branzi, etc., Ettore Sottsass, Centre G. Pompidou, Paris, 1994
 * Fulvio Ferrari, Ettore Sottsass: tutta la ceramica, Allemandi, Turin, 1996
 * Bruno Bischofberger, Ettore Sottsass: Ceramics, Chronicle Books, 1996
 * M. Carboni (edited by), Ettore Sottsass e Associati, Rizzoli, Milan, 1999
 * M. Carboni (edited by), Ettore Sottsass: Esercizi di Viaggio, Aragno, Turin, 2001
 * M. Carboni e B. Radice (edited by), Ettore Sottsass: Scritti, Neri Pozza Editore, Milan, 2002
 * M. Carboni e B. Radice (edited by), Metafore, Skirà Editore, Milan, 2002
 * M. Carboni (edited by), Sottsass: fotografie, Electa, Naples, 2004
 * M. Carboni (edited by), Sottsass 700 disegni, Skirà Editore, Milan, 2005
 * M. Carboni (edited by), Sottsass '60/'70, Editions HYX, Orléans, France, 2006
 * Ronald T. Labaco and Dennis P. Doordan, Ettore Sottsass: Architect and Designer, Los Angeles County Museum of Art/Merrell, London/New York, 2006
 * Sally Schöne, Ettore Sottsass: auch der Turm von Babel war aus gabrannter Erde (and tower of Babel was also made of terracotta), Wienand, 2011
 * Philippe Thomé, Ettore Sottsass, Phaidon, New York, 2014 ISBN 978-0714865843
 * Barbara Radice, Ettore Sottsass: There is a Planet, catalogue for exhibition at Triennale Design Museum, Electa, 2016
 * Francesca Zanella, Ettore Sottsass: Catalogo ragionato dell'archivio 1922–1978 CSAC/Università di Parma, Silvana, Milan, 2017
 * Fulvio Ferrari, Sottsass: 1000 Ceramics, AdArte s.r.l., 2017
 * Luca Massimo Barbero, Pasquale Gagliardi, Marino Barovier, etc., Ettore Sottsass: The Glass, Skira/Rizzoli, Milan, 2017
 * Gean Moreno, Ettore Sottsass and the Social Factory, Institute of Contemporary Art, Miami, 2020 ISBN 9783791358826

title: Ettore Sottsass


text:
Emil Knoevenagel

Heinrich Emil Albert Knoevenagel (18 June 1865 – 11 August 1921) was the German chemist who established the Knoevenagel condensation reaction. The Knoevenagel condensation reaction of benzaldehydes with nitroalkanes is a classic general method for the preparation of nitroalkenes, which are very valuable synthetic intermediates.

Works

 * Praktikum des anorganischen Chemikers : Einführung in die anorganische Chemie auf experimenteller Grundlage . Veit, Leipzig 2nd ed. 1909 Digital edition by the University and State Library Düsseldorf
 * Praktikum des anorganischen Chemikers : Einführung in die anorganische Chemie auf experimenteller Grundlage . Veit, Leipzig 2nd ed. 1909 Digital edition by the University and State Library Düsseldorf

title: Emil Knoevenagel


text:
Abdurahman Khadr

Abdurahman Ahmed Said Khadr (عبد الرحمن أحمد سعيد خضر, ʿAbd ar-Raḥman Ḫaḍr; born 1982) is a Canadian citizen who was held as an enemy combatant in extrajudicial detention in the United States Guantanamo Bay detainment camps, in Cuba, after being detained in 2002 in Afghanistan under suspicion of connections to Al-Qaeda. He later claimed to have been an informant for the CIA. The agency declined to comment on this when asked for confirmation by the United States' PBS news program Frontline. He was released in the fall of 2003 and ultimately returned to Canada.

He is the third child and second son of Ahmed Khadr, an Egyptian immigrant who was known for ties to al-Qaeda, and his wife Maha el-Samnah, who is Palestinian. His younger brother Omar Khadr was captured by United States forces separately at the age of 15 in Afghanistan in 2002 during a firefight; he was held in Guantanamo for several years but transferred in September 2012 to Canadian custody.

Early life and education
Abdurahman Khadr was born in Manama, Bahrain in 1982, the son of Ahmed Khadr and Maha el-Samnah. Egyptian and Palestinian immigrants to Canada who had become naturalized citizens there, and met and married. His father went to graduate school in Ottawa, and then started working in Bahrain. Ahmed Khadr visited Pakistan after the Soviet invasion of Afghanistan in the early 1980s, and brought his family to Pakistan in 1985. There he worked for charities assisting Afghan refugees.

In his youth, Abdurahman Khadr was known as the "problem child" in the family, frequently running away and getting in trouble, refusing to follow rules, drinking alcohol and smoking cigarettes. He had an older sister and brother, three younger brothers and a younger sister.

In 1994, at the age of 12, Khadr was sent to Khalden training camp along with his older brother Abdullah, where he was given the alias Osama. The two brothers fought constantly at the camp, and one day their argument became so heated that they pointed guns at each other, screaming with fury. A trainer stepped between them. In 1997, a dispute between the brothers was mediated by the older Abu Laith al-Libi, who earned their confidence and respect telling them about the city of Dubai and imported Ferraris; he was later described as "really cool" by Abdurahman.

While the family was briefly living in Nazim Jihad with Osama bin Laden's family in 1998, Abdurahman became close friends with Abdulrahman bin Laden, who was near his age and the only child in the group to have his own horse, a fine Arabian. Abdurahman successfully persuaded his father to buy him a horse, too. Once, when the two horses fought, the young bin Laden pointed a gun at Khadr, yelling at him to stop the fight before his prized Arabian was killed.

When the family was leaving the compound, Abdurahman and his brother Abdullah fought over seating in the car. Their mother ended up asking bin Laden if he could take care of the troublesome Abdurahman since "she could not control him. He grudgingly agreed to look after the youth until his father returned. But, the next day bin Laden told Abdurahman that it would not work, and he asked Saif al-Adel to take the 16-year-old to the bus station so he could catch up with his family en route back to Peshawar."

The following year, at age 13, Abdurahman was sent to Jihad Wel al-Farouq for seven days; US officials have said the training camp was run by al-Qaeda personnel to train their militants. On August 20, 1998, the Al Farouq training camp was bombed by American cruise missiles and Amr Hamed, a friend of Khadr's, was killed. Khadr later said that as a youth, he had hated the Americans for killing his friend.

Arrest and release
In November 2001, at the age of 19, Khadr was captured by the Northern Alliance in Kabul, where he was wandering around. An elderly man later claimed that Khadr had installed an anti-aircraft gun on the roof of a house. He was transferred to United States authorities on suspicion of having killed an American medic, but was released. He later claimed to have been captured several other times, and released each time.

At this point, accounts differ. Khadr claims he lived for nine months in a CIA safe house near the American Embassy in Kabul, and worked abroad as an informant. But other sources say he was taken to Guantanamo Bay on March 21, 2003 and held as an enemy combatant.

The New York Times later reported that the CIA offered Khadr a contract in March 2003 and asked him to work as an infiltrator for American intelligence in Guantanamo, to be paid $5,000 and a monthly stipend of $3000. While in Cuba, Khadr worked to obtain information from his fellow inmates before spending five additional months at the Camp X-Ray prison, where he claims to have been given training as an undercover CIA operative.

The Department of Defense published height and weight records for all but ten of the captives held in Guantanamo.

The United States later said that Khadr had been removed from the camp in July 2003. However, The Washington Post reported that an October 9, 2003, memo summarized a meeting between General Geoffrey Miller and his staff and Vincent Cassard of the ICRC; it acknowledged that camp authorities were not permitting the ICRC to have access to Khadr and three other detainees, due to "military necessity".

Khadr says he was later given a bogus passport and boarded a Gulfstream jet assigned to CIA Director George Tenet. He said that after a stop-over in Portugal, he landed in Bosnia where he was asked to conduct a spy operation at mosques in Sarajevo. Khadr states that he tried to approach Canadian embassies in various nations and was rebuffed at all of them. He phoned his grandmother Fatmah el-Samnah while in Sarajevo and asked her to go to the Canadian media and tell them that he had been stranded and refused entry back into Canada. He was finally granted admission to the Canadian embassy in Bosnia and was flown back to Canada on November 30, 2003.

On December 4, 2003, Khadr held a press conference with his attorney Rocco Galati. He discussed his role in the War on Terror, but omitted later claimed cooperation with the CIA. The following month, he denied reports by the Toronto Star that he had been released in exchange for giving the Americans information on the location of his father, who was killed by Pakistani soldiers in Waziristan two weeks before Abdurahman's release.

Interviews
In March 2004, Khadr gave a series of three interviews to PBS, which became the basis of a documentary entitled Son of al Qaeda. (He had largely passed a polygraph test.) He claimed to have grown up in "an al-Qaeda family", and said that he resented his father's associating with militants.

Khadr has offered a number of conflicting accounts of his life. For example, he has claimed that he was as young as 9 when he began attending Afghan training camps, and that he remained in them until as late as 2003, years after he had not only been kicked out of the camps, but was detained by the United States. He has repeatedly made comments suggesting that everything up until his most recent story was a lie.

Passport issue
In July 2004, Khadr was denied a Canadian passport by Governor General Adrienne Clarkson, on the explicit advice of Foreign Affairs Minister Bill Graham, by invoking the royal prerogative. Graham claimed the decision was "in the interest of the national security of Canada and the protection of Canadian troops in Afghanistan." National security was not listed as a ground of refusal in the Canadian Passport Order at the time. It was, however, added as a ground shortly thereafter, on September 22, 2004. Under the terms of the amendment, the Minister was empowered to revoke or refuse to renew or issue a passport on national security grounds.

Khadr sought judicial review of the Minister's decision. On June 8, 2006, the Federal Court ruled that the Minister did not have the power to deny Khadr's passport in the absence of specific authority set out in the Canadian Passport Order, but stated in obiter dicta that if the Order were to be amended (as it had been after the fact), Khadr would likely not be able to challenge the revocation. On August 30, 2006, the Minister of Foreign Affairs, then Peter MacKay, with the support of Prime Minister Stephen Harper, again denied Khadr's application, this time on the basis of the now-amended Canadian Passport Order.

Various claims

 * Although Mahmoud Jaballah has said that he never met Ahmed Khadr while in Peshawar, Abdurahman Khadr has said that he had seen Jaballah around the city.
 * When the CIA asked Khadr for the names of Canadians who had attended Khalden, he listed Amer el-Maati, Ahmad el-Maati, Amr Hamed and another Canadian he knew only as Idriss, who was arrested for conspiring to attack an embassy in Azerbaijan. He later claimed that Amer el-Maati had given his Canadian passport to Idriss.
 * He has said that his family ran a guesthouse for Canadians wanting to train with al-Qaeda.

Movie deal
On January 9, 2005, Variety reported plans to make a movie based on Khadr's life.

title: Abdurahman Khadr


text:
1992 Irish general election

The 1992 Irish general election to the 27th Dáil was held on Wednesday, 25 November, almost three weeks after the dissolution of the 26th Dáil on 5 November by President Mary Robinson, on the request of Taoiseach Albert Reynolds following a defeat of the government in a motion of confidence. The general election took place in 41 Dáil constituencies throughout Ireland for 166 seats in Dáil Éireann, the house of representatives of the Oireachtas, under a revision in the Electoral (Amendment) Act 1990. Three referendums on abortion were held on the same date.

The 27th Dáil met at Leinster House on 14 December 1992 to nominate the Taoiseach for appointment by the president and to approve the appointment of a new government of Ireland. No government was formed on that date, but on 12 January 1993, Reynolds was re-appointed Taoiseach, forming the 23rd government of Ireland, a coalition government of Fianna Fáil and the Labour Party.

Campaign
The general election of 1992 was precipitated by the collapse of the Fianna Fáil–Progressive Democrats coalition government. Allegations of dishonesty at the Beef Tribunal forced Desmond O'Malley and his party to part ways with Albert Reynolds's Fianna Fáil. Both Albert Reynolds and John Bruton of Fine Gael were fighting their first general election as leader of their respective parties. For Reynolds it would be his only election as leader. The campaign went very poorly for Fianna Fáil with Reynolds's support dropping by 20%.

On the left, the Labour Party had increased their support in the local elections the previous year and many were predicting major gains for the party in the Dáil. The Workers' Party had split at a special convention that year over a motion to re-constitute the party, similar to the move made the same year by the Italian Communist Party, and sever all links with the Official IRA. Six out of their seven TDs and a majority of their councillors left the party when the motion failed to be passed and formed Democratic Left in early 1992.

Many political pundits had predicted that Fianna Fáil would not be re-elected and that a "Rainbow Coalition" involving Fine Gael, the Labour Party and possibly Democratic Left would be formed. John Bruton, the leader of Fine Gael, had problems of his own. Opinion polls showed that if a "Rainbow Coalition" came to power, Dick Spring of the Labour Party was seen as a better potential Taoiseach than Bruton. The possibility of a rotating Taoiseach was also hinted at in the media.

The big winner of the campaign was Dick Spring and the Labour Party. They distanced themselves completely from Fine Gael and fought an independent line. During the campaign Spring made very little comment about what the party would do after the election, however, he did say that if the Labour Party was part of a coalition he would have to be granted a turn as Taoiseach.

The election also saw Moosajee Bhamjee (Labour Party) become the first Muslim Teachta Dála (TD).

Results

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In 1989 the Democratic Socialist Party won 0.6% of the vote and 1 seat; the party merged with the Labour Party in 1990. Independents include Independent Fianna Fáil (5,248 votes, 1 seat).

Government formation
Fianna Fáil had its worst performance since 1927, winning less than 40% of the vote. Fine Gael, in spite of predictions of success, lost 10 seats. The Labour Party recorded its best ever result, an event dubbed the "Spring Tide" and more than doubled its number of seats. Talks between Fine Gael and Labour on establishing a minority government floundered after several weeks, partly over the issue of the "revolving Taoiseach". Spring had to enter into coalition with Fianna Fáil, or force another election. The coalition deal proved very unpopular with many of Labour's supporters, because Dick Spring had campaigned heavily against Fianna Fáil and particularly Albert Reynolds. As a result of the coalition, Albert Reynolds was elected Taoiseach with over 100 votes, the biggest majority by any Taoiseach until 2011.

Following a number of scandals in 1994, particularly over the beef industry, the Labour Party left the coalition and, after negotiations, formed the Rainbow Coalition with Fine Gael and Democratic Left on 15 December 1994, as three by-election gains had by then made a Fine Gael-Labour-Democratic Left majority government possible. This was the first and to date, the only, time a new government with new coalition parties took office within a Dáil term.

Dáil membership changes
The following changes took place as a result of the election:
 * 11 outgoing TDs retired
 * 155 TDs stood for re-election
 * 126 of those were re-elected
 * 30 failed to be re-elected
 * 41 successor TDs were elected
 * 33 were elected for the first time
 * 8 had previously been TDs
 * There were 10 successor female TDs, increasing the total number by 7 to 20
 * There were changes in 29 of the 41 constituencies contested

Outgoing TDs are listed in the constituency they contested in the election. For some, such as John Stafford, this differs from the constituency they represented in the outgoing Dáil. Where more than one change took place in a constituency the concept of successor is an approximation for presentation only.

Seanad election
The Dáil election was followed in early 1993 by the election to the 20th Seanad.

title: 1992 Irish general election


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Jimmy Key

James Edward Key (born April 22, 1961) is an American former left-handed starting pitcher in Major League Baseball who played for the Toronto Blue Jays (1984–1992), New York Yankees (1993–1996), and Baltimore Orioles (1997–1998). His best personal years were in 1987, when he posted a 17–8 record with a league-leading 2.76 ERA, and in 1993, when he went 18–6 with a 3.00 ERA and 173 strikeouts. With the Blue Jays, he won the 1992 World Series and with the Yankees, he won the 1996 World Series, both over the Atlanta Braves.

Amateur career
Key attended S. R. Butler High School in Huntsville, Alabama. For the school's baseball team, he compiled a 10–0 win–loss record with nine shutouts and a 0.30 earned run average (ERA) in his senior year. Key also batted .410 with 11 home runs and 35 runs batted in in his high school career.

Key attended Clemson University, where he played college baseball for the Clemson Tigers baseball team in the Atlantic Coast Conference (ACC). At Clemson, Key posted a 9–3 record and 2.79 ERA on the mound, and batted .300 with 21 doubles. Key is the only Clemson player to be a member of the first-team All-ACC in two positions (pitcher and DH) in 1982. He pitched the opening game of the 1980 College World Series.

Toronto Blue Jays
The Toronto Blue Jays selected Key in the third round of the 1982 MLB draft. He worked his way up the Blue Jays' minor league system during 1982 and 1983, putting up respectable numbers with the Florence Blue Jays (South Atlantic League), the Medicine Hat Blue Jays (Pioneer League), the Knoxville Blue Jays (Southern League), and the Syracuse Chiefs (International League) before heading to Toronto.

Key made his Major League debut on April 6, 1984, and was utilized in relief situations through his inaugural year, notching 10 saves and a 4.65 ERA. He wore number 27 in his first season and 22 for the duration of his Blue Jays career.

Key moved into the starting rotation in 1985 and quickly became a cornerstone in the rotation, leading the Blue Jays to their first postseason appearance that year. In 1987, Key led the major leagues with a 2.76 earned run average and finished second behind Roger Clemens in voting for the American League Cy Young Award.

In Game 4 of the 1992 World Series, Key made his final start for the Blue Jays, surrendering one run over $7 2/3$ innings to earn a 2-1 win and put the Jays up 3 games to 1. He left the game to a tremendous ovation. Key would appear once more in the series, as a reliever in the 10th and 11th innings of the 6th and deciding game, earning another winning decision in the series.

New York Yankees
As a free agent, Key signed a four-year contract worth $17 million with the New York Yankees on December 10, 1992. He posted a 49–23 record in 94 games over three seasons with the Yankees. He had his career high of 173 strikeouts in the first year with the Yankees in 1993, and he led the majors with 17 wins in the strike-shortened season of 1994.

He spent time with the Gulf Coast Yankees (1–0 and 0.00 ERA) and Tampa (0–0 and 2.77 ERA) of the Florida State League during rehab assignments during his last season with New York in 1996. In his final start as a Yankee, he outdueled Greg Maddux of the Atlanta Braves in the deciding game of the 1996 World Series.

Baltimore Orioles
Key signed as a free agent with the Baltimore Orioles on December 10, 1996, and posted a 22–13 record in 59 appearances over two seasons. A free agent in his final season, Key retired from the game after the 1998 season largely due to injuries. He made US$7.73 million with the Orioles over 2 seasons. He wore the number 21 with the Orioles (22 having been retired by Baltimore in honor of hall-of-famer Jim Palmer). He was assigned to Fredrick of the Carolina League in 1998 (1–0 3.00 ERA) during his final rehab stint. Key was granted free agency for the last time on October 27, 1998, by Orioles GM Pat Gillick, the same GM who granted him the same conditions in Toronto in 1992.

Strengths and weaknesses
Key was one of the premiere control pitchers in the game with a good strikeout-to-walk ratio over most of his career. His fastball was not particularly speedy, but was often effective as he could spot it on both corners of the plate—although when his pitch went high, opponents fared well. He also possessed a fine backdoor slider. He had a very good pickoff move to first base, which he notably demonstrated in Game 4 of the 1992 World Series by picking off Otis Nixon, one of the game's premiere base stealers at the time. (During his windup his right knee was bent so that his right foot did not cross the rubber and he could throw to first base without incurring a balk).

Key tended to give up more than his share of home runs even while holding his opponents' on-base percentage to a low level. He was injury-prone with significant down time in 1988, 1989, 1990, 1995, 1996 and 1998. Contrary to some reports, Key never underwent Tommy John surgery. Instead, noted surgeon James Andrews removed bone chips, costing Key several months in the middle of the 1988 season.

Post-career
Following his retirement from baseball, Key became an amateur golfer. Now living in Palm Beach Gardens, he has become prominent in the local golfing community.

title: Jimmy Key


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Talk:Waterloo (1970 film)

Political significance?
Wasn't it significant that western powers and the soviets collaborated at a relatively tense time during the Cold War for this film?--Exander 05:51, 19 December 2006 (UTC)
 * I've always wondered about this. Why on earth did the USSR agree to help make a film about how a British aristocrat defeated Napoleon?  Maybe it was a cultural element of détente?  --Corinthian (talk) 21:38, 8 November 2009 (UTC)
 * Or maybe it was because they decided that it was history and that truthfully, then and today it has, Waterloo has no current political meaning. Just a thought... —Preceding unsigned comment added by 80.229.224.133 (talk) 22:09, 15 March 2010 (UTC)
 * It wasn't a collaboration between "Western Powers" and the Soviets, but between a private Italian producer and a Soviet state-owned film company, done at a time of relative ease in the Cold War (the Cuban missile crisis in 1962 was the peak in the Cold War - after that, things had become gradually more relaxed), when the Russians were looking for a functional relationship with the West.Thomas Blomberg (talk) 06:04, 28 December 2011 (UTC)

Film duration
Is marked incorrectly in the info box. I have seen this film, perhaps 15 years ago on old fashioned VHS video or similar, and it was about 3 hours (a little longer). This should be said in the article? Sianska79 (talk) 21:45, 23 February 2013 (UTC)
 * I am afraid that you may have this film confused with another one. I saw this in the theater on its original release and on VHS and DVD. Its run time was just over two hours in all formats. The only VHS still available is this one whose runtime is listed at 123 minutes. Be aware that the memory plays tricks (for years I thought that Richard Harris had played Finn Malgrem in The Red Tent (film) but when it was finally released on DVD it turned out that it was a Russian actor who I had not heard of) and 15 years is a long time. Having said that there is an outside chance that there is some version that was released in Europe of a slightly longer length - but I doubt it reached 180 minutes - you might do an internet search to see if you can find anything. MarnetteD | Talk 23:20, 23 February 2013 (UTC)
 * I have also seen a version of this film nearly 3 hours long. — Preceding unsigned comment added by 2.14.58.62 (talk) 21:13, 11 March 2013 (UTC)
 * When and where. Please provide some evidence beyond just your memory. The only way that can have happened is if you saw it on TV with commercials. MarnetteD | Talk 22:21, 11 March 2013 (UTC)
 * I saw it way back in the 1970s at the cinema and it was DEFINITELY around 3 hours long. It isnt my memory playing tricks, I know it was 3 hours because we had to leave to catch the late bus and we missed the end of the film. My Dad was well annoyed. (Had the film been the usual 1.5 or 2 hours we wouldnt have had to miss the end. We went to the cinema most weeks and never normally had to leave early!) 213.114.44.178 (talk) 23:45, 7 March 2015 (UTC)

 * I saw this film in 1970. It was 3.5 hours long or just under. There was an interlude due to the length of the film. All films of 3 hours in my local cinema had such an interlude even where the director had not put one in. They just paused the film and brought up the lights for people to go and get ice cream. So those who say "It is just not so".. wrong.. it was so. When first shown in the West it was over 3 hours long. 2A01:CB05:45D:5B00:B9D7:46B:DA0D:FA46 (talk) 20:28, 22 July 2017 (UTC)

 * Sorry people, Mandela Effect. There are plenty of historical sources that indicate the running of the time of this film. You may have seen another Napoleonic film (possibly a cutdown version of the Soviet adaptation of War and Peace or a re-release of the Hollywood version from the 50s, or Kubrick's Barry Lyndon) but no version of this film ever approached three hours. I have access to an archive of sight and sound/the monthly film bulletin, and it lists the running time as 134 minutes when released in the UK.  DVD and VHS releases in the UK and Europe are shorter largely because the frame rate is faster at 25 frames a second, so you lose about 4% of the running time, but nothing is cut, the film is just running faster.  Duckwalk71 (talk) 20:50, 20 September 2019 (UTC)

 * Indeed. Comparing historical records (even diary entries from years ago) of film releases against one's own recollection of the date is an excellent commentary on the unreliability of human memory.Paulturtle (talk) 15:48, 26 January 2021 (UTC)

Military personnel a bit over-dressed?
It appears that while great attention was paid to detail in uniforms, the movie has a great many men wearing dress uniforms as they go into battle. I've seen one unconfirmed assertion that some French troops had essentially no uniforms at all. This was presumable due to the fact that Napoleon had to very rapidly increase the size of the French Army in a short period of time, making it impossible to have them all properly uniformed. RogerInPDX (talk) 12:00, 29 May 2014 (UTC)
 * They DID go to battle in their dress uniforms.. the night before the battle had been a ball. And many of the officers had had to go straight from the ball to the fight. 213.114.44.178 (talk) 23:48, 7 March 2015 (UTC)

Napoleon's hissy fit
I visited the Waterloo battlefield two years ago. The film shows Napoleon storming off in a huff in the mid-afternoon to lament how his genius is deserting him etc etc, leaving Ney to launch his ill-judged cavalry charges against the British squares. IIRC our guide mentioned that in reality Napoleon was supervising the defence against the arriving Prussians at Plancenoit at the time. I defer to any Napoleonic specialist who is able to shed more light on this.Paulturtle (talk) 23:31, 13 March 2015 (UTC)

For dramatic purposes, the film foreshadows Bonaparte's death from stomach cancer by suggesting he was taken ill during the battle, which he wasn't. In his absence, Ney launches the great, futile cavalry attack. In reality, Ney did this because he was running out of infantry and because he'd observed Wellington's stretcher parties taking wounded to the rear and mistook it for a retreat that cavalry could exploit. Bonaparte wasn't ill, he was distracted by the arrival of the Prussians at Plancenoit, but, although that was significant, because the Prussians were threatening to cut in behind the French, it was a quite boring to-and-fro battle that Wellington couldn't see and knew nothing about -- so, again for dramatic purposes, the film misses that out and just shows the moment when the Prussian I Corps very belatedly went into action on Wellington's flank, which was the deciding psychological shock. Khamba Tendal (talk) 18:35, 26 July 2015 (UTC)

Yes, I'd misremembered the film. He is shown being taken ill ("of course, Napoleon was a sick man by the time of Waterloo" I remember by late father and uncle saying sagely to one another back in the 1970s after seeing the film). In reality he was supervising the French defence at Plancenoit.Paulturtle (talk) 00:38, 6 May 2019 (UTC)

Ponsonby
I've changed the article's claim that General Sir William Ponsonby, commander of the Union Brigade of heavy cavalry, as played by Michael Wilding in the film, is 'wounded' by 'Napoleon's Polish lancers'. He is clearly and correctly shown as being killed, and the lancers were French. I also removed the remark, 'He was robbed a number of times that night, but was rescued the following day and survived his injuries.' Someone was thinking of the wrong Ponsonby, Sir William's cousin Colonel (later General Sir) Frederick Ponsonby, commander of the 12th Light Dragoons, who was indeed wounded when the light cavalry launched to cover the heavies' retreat, and was then ridden over, robbed and eventually used as a rifle rest by a French tirailleur of the Garde who thought he was dead, till a British soldier found him and stood guard over him all night, and he did survive -- but that's not in the film. See Elizabeth Longford, Wellington: The Years of the Sword, Weidenfeld & Nicolson 1969, pbk Panther 1971, pp.559, 582. Khamba Tendal (talk) 18:35, 26 July 2015 (UTC)
 * There is an article on both men William Ponsonby (British Army officer) (1772–1815), and Frederick Cavendish Ponsonby(1783–1837). -- PBS (talk) 18:15, 24 August 2017 (UTC)

De Lancey's Advice
When N. starts the battle with the diversion at Hougoumont,  De Lancey  advices Wellington to send the 95th Regiment to counter the move. W. refuses because he realises the bait.

But the advice itself is wrong: The 95th was a light regiment, armed with Baker rifles, used for stand-off combat. It was not meant to go into close-combat against massive line-infantry units. A normale line-infantery unit, which had a light coy. would be have been the correct suggestion.

--109.90.240.119 (talk) 23:58, 20 September 2019 (UTC)

Deletion of an edit
Wikiwarrior Marnette D has just taken it on herself to delete an edit I made in the 'Historical Inaccuracies' section, regarding the film's most notorious historical inaccuracy -- the helicopter shot shows a British square breaking under Ney's cavalry attack, a thing that never happened, to the despair of the French -- because it's 'unsourced'. The entire section is pretty much unsourced, of course, and if you gave me long enough I'd hunt out the sources, but Wikiwarriors do like to jump on things, don't they? The film-makers were clearly aware of the issue because the script specifically identifies Donal Donnelly's character, the only British (or in this case Irish) ranker played by a featured actor, as a member of the Inniskillings, the regiment famous for sustaining the highest casualties at Waterloo and never breaking square. Marnette D's behaviour basically sums up why everybody hates Wikipedia and decent people seldom bother to contribute to it. So suit yourself, Marnette D, I don't bloody give one. Khamba Tendal (talk) 20:16, 10 March 2020 (UTC)
 * Alot of angst and fury when you could simply supply a reference at any time and add the section back in. Either you can and this is much ado about nothing or you can't and its a moot point. Either way, taking this to Talk isn't going to accomplish much.Ckruschke (talk) 15:44, 11 March 2020 (UTC)Ckruschke

Historical Inaccuracies: Massacre of the Old Guard by cannon
Some clarification is needed for the Inaccuracies section. The Old Guard's formation disintegrated like the rest of the French forces. The article as stated there was a controversy over the surrender of the guard over the years but that's beyond the scope of this article. The massacre as depicted did not occur. — Preceding unsigned comment added by 76.66.181.108 (talk) 00:07, 3 July 2020 (UTC)

title: Talk:Waterloo (1970 film)