Rock and Republic Blog

Police declined to give more details Monday, citing an ongoing investigation.

The paintings “Still Life With a Fruit Basket and Clarinet,” “Woman with Picture Cards,” “Still Life with a Fruit Bowl” and “Blind Man” were stolen Nov. 18 from the Peruc Chateau, which hosts a permanent exhibition of Filla’s work.

Filla painted the pieces after the World War II when he spent several years at the place. He died in 1953.

PRAGUE Czech police say they have found four valuable paintings by Czech cubist artist Emil Filla that were stolen last month from a northwestern gallery, and six suspects have been arrested in the case.

The owners estimate their value at tens of millions of koruna (several million dollars).

KENNESAW, Ga. Even though Jennifer Hudson has dropped more than 80 pounds, the singer and actress said she would have no problem gaining weight for Hollywood if the proper movie role comes her way.

“When I do films, it has to be led by something through me like my passion for it,” Hudson said before a book signing in suburban Atlanta on Wednesday. “I just don’t want to hop into anything. So if I commit myself to something, then it’ll be worth it no matter what character it is.”

Last week, Hudson released her book, “I Got This: How I Changed My Ways and Lost What Weighed Me Down.” The book touches on how she dealt with her weight issues throughout her career before she lost the extra pounds.

In it, Hudson who is both a Grammy and Oscar winner also talked about how she turned down the lead role in the 2009 film “Precious.” The role ended up going to Gabourey Sidibe, who was nominated for an Oscar for playing an obese 16-year-old girl who had an abusive mother, an incestuous father and faced extreme poverty.

“I felt it was too graphic for me at the time,” she said Wednesday. “It’s something I didn’t want to do at the time, but I would gain weight in a heartbeat. I have no issues with that at all.”

Hudson is a spokeswoman for Weight Watchers and wants to remain physically fit along with her fiance David Otunga, who has recently been wrestling for the World Wrestling Entertainment. They both want to set an early example of staying in shape for their 2-year-old son.

“We really didn’t realize how important health was until we were adults,” she said. “We wanted to make sure we set an example for our son. He’s health conscious, and I am health conscious.”

Hudson, who first earned fame as an “American Idol” finalist, won a Grammy for her self-titled album and a supporting actress Oscar for her role in “Dreamgirls.”

___

Online:

http://www.jenniferhudson.com

___

Follow Jonathan Landrum Jr. on Twitter at http://www.twitter.com/mrlandrum31

LOS ANGELES (Reuters)- “American Idol” producers and judges said on Sunday they were unconcerned about competition from new reality singing shows “The Voice” and “The X Factor,” as they prepared to go into their 11th season, while host Ryan Seacrest’s future with the show was left unanswered.

“Idol” executive producer Ken Warwick called the show the “gold standard” in the latest crop of reality singing talent shows on television and that it was still the path to stardom for singers.

“Leona Lewis (winner of UK’s ‘X Factor’) was a one and a half hit star for ten minutes, but there’s no Kelly Clarksons, Carrie Underwoods, Jennifer Hudsons – they are real stars and none of these other shows are producing these,” said Warwick at the Television Critics Association panel in Los Angeles on Sunday.

“Idol” is still America’s most watched show despite predictions by “X Factor” creator Simon Cowell the US version would topple it from its perch. “X Factor” audiences have been about half those of “Idol.”

Aerosmith rocker Steven Tyler and pop star Jennifer Lopez were brought in to replace Cowell as a judge on “Idol” last year while Cowell went on to helm the U.S. version of “The X Factor,” taking fellow judge Paula Abdul to the judging panel with him.

“Simon and Paula are dear friends of ours and they started this whole “Idol” tradition with us. I think “Idol” is still the best TV show of its kind anywhere, we’re the original, we invented this game that everyone’s now copying,Inflatable Bouncers,” said judge Randy Jackson.

Host Ryan Seacrest, whose contract with “Idol” is up for renewal amid reports in the media that his other contract with NBC Universal may see him replacing Matt Lauer on the “Today” show, emphasized intentions to stay with “Idol.”

“I love this show, I’ve been a part of it for so many years, I can’t imagine life without American Idol,” said Seacrest, adding that he didn’t see himself hosting any other talent show for now, but refused to comment further.

“He’s an enormous part of the show, our expectation is that he is going to be on the show for as long as we can get him to be on it,” said Mike Darnell, president of alternative entertainment at Fox.

For the judges, the benefits of being involved with “Idol” has paid off in their personal careers.

Rocker Steven Tyler said that while his fellow Aerosmith bandmates weren’t as accepting of his new gig at first, the show spurned sales of Aerosmith records up by 260 percent. Tyler is also working on a new album with the band.

Fellow judge Jennifer Lopez also saw a boost in her music career last year after making a comeback with a new album, and was expecting to keep up the pace in the new season of “Idol.”

As the show enters its 11th season, the producers said changes to the show will affect the middle portion of the contest, where those contestants will have to take a performance challenge involving a song from the 1950s, among other changes.

“American Idol” will return on Fox on January 18 with a two-night premiere.

ATLANTA It was the year of the test cheating scandal.

From Atlanta to Philadelphia and Washington to Los Angeles,wholesale Burberry Cheap, officials have accused hundreds of educators of changing answers on tests or giving answers to students. Just last week, Georgia investigators revealed that dozens of educators in Dougherty County either cheated or failed to prevent cheating on 2009 standardized tests.

In July, those same investigators accused nearly 180 educators in almost half of Atlanta’s 100 schools of cheating dating back to 2001 which experts have called the largest cheating scandal in U.S. history.

Experts say some educators have bowed to the mounting pressure under the federal No Child Left Behind law as schools’ benchmarks increase each year. Teachers in Atlanta reported that administrators created a culture of fear and intimidation.

___

Follow Dorie Turner at http://www.twitter.com/dorieturner.

FORT BRAGG, N.C. The raid to grab Osama bin Laden inside Pakistan took just under 40 minutes roughly 10 to get to bin Laden.

Special operators spent much of the rest of the time gathering evidence: computer files, written notes and thumb drives that pointed to new al-Qaida plots and previously secret operatives around the globe.

That science is what special operators of all types are learning at Fort Bragg’s Special Warfare Center, with real-life scenarios meant to shock and teach.

In one exercise, a Hollywood-style explosion leaves the remains of a fake suicide bomber scattered around a checkpoint.

The students must look past the grisly mess for the evidence that could lead to those who built the bomb.

Forging lessons painfully learned in the decade since the Sept. 11, 2001, attacks, the formal curriculum is intended to help elite military units track militants across international boundaries and work alongside sometimes competing U.S. agencies.

The coursework is similar to the CIA’s legendary spycraft training center called The Farm, and is at the brainchild of Green Beret Maj. Gen. Bennet Sacolick, a veteran of elite special operations units and a long stint on loan to the CIA.

Among the students at the CIA-approved Fort Bragg course are Army Green Berets, Navy SEALs and Marine Corps special operators. As in the Navy SEAL raid that killed bin Laden, everything from computers to fingerprints can be retrieved from a raid site and quickly analyzed. In some cases the analysis is so fast it can lead to several new targets in a single night.

The school is also an illustration of how special operations and intelligence forces have reached a less-contentious coexistence after early clashes in which CIA officers accused the military operators of ineptly trying to run their own spy rings overseas without State Department or CIA knowledge.

“As my guys go to Afghanistan and interface with CIA base and station chiefs, they can do it with more credibility than in the past,” Sacolick told The Associated Press in a rare interview.

While many in the public may not be aware that the military is allowed to gather information, and even run its own spy networks, special operations forces have been authorized to do just that since the disastrous Desert One raid meant to rescue the U.S. hostages held in Iran in 1979.

The raid went awry because of a helicopter crash, not an intelligence foul-up. But before the raid, military planners had been frustrated that CIA employees working inside the country were unable to provide the tactical intelligence needed to insert a covert force even basic information like which way the streets ran outside the U.S. Embassy in Tehran, where the hostages were held.

That’s why almost a third of every class at the CIA’s Farm has been military, a former senior intelligence official said.

The Fort Bragg school means special operators now can get much of that CIA-style training at their home facility.

Sacolick said he was shocked at how piecemeal intelligence gathering and sharing was up until a couple of years ago. Special operations units would know their area but had no established way to pass it on,Replica Bape jeans, he said, or any means for reaching out to the CIA to fill in information gaps.

“The CIA will satisfy any information requirement we have,” the agency veteran said.

“All we have to do is ask the right person. So that’s what we are creating” among the special operations teams training at Fort Bragg, Sacolick said, pointing out troops who “have the vocabulary, have the contacts, know the questions to ask and who to ask.”

The CIA also helped Sacolick design the course to teach special operators the spy-related tradecraft they need for the counterterror fight outside known war zones, such as in Somalia or Southeast Asia. They learn skills like how to evade surveillance by terrorists or a target country’s intelligence service.

The elite teams’ piecemeal training in those areas, often done previously by contractors rather than at the agency’s Farm, was part of what caused the near-revolt of CIA station chiefs just after Sept. 11, when the Pentagon sent scores of such troops overseas. With their short haircuts, obvious military bearing and uneven training in tradecraft, they caused more than a few uncomfortable incidents for U.S. ambassadors and CIA chiefs, who sometimes were not even told they were there.

That led to congressional alarm and a clash between the Pentagon, the spies and the diplomats over who should be able to operate where.

The White House eventually created an information exchange to allow elite military troops to gather intelligence, while keeping State and the CIA in the loop.

To make sure spy did not stumble over spy, the Pentagon’s top intelligence official, Stephen Cambone, and the CIA’s then-top clandestine representative, Jose Rodriguez, created a mechanism that exists to this day to let each network know who was working for whom.

The next step was to find common ground among those competing tribes of intelligence and military operators a step embraced by now-retired Gen. Stanley McChrystal. Then heading the military’s Joint Special Operations Command, McChrystal embraced the “hostage swap” of JSOC troops and CIA officers, deploying them to each other’s command centers and forcing collaboration through proximity.

But he upgraded the practice, sending his best people, instead of following the unwritten custom of sending one’s least-valuable employee to get them out of the home office.

McChrystal used to lecture his people, Sacolick among them, to forge their own networks of one-on-one relationships in other agencies to counter the enemy network.

That’s how Sacolick ended up at the CIA, and why he patterned his school on lessons the agency helped teach him.

The idea is to pass on the skills learned in the war zones of Iraq and Afghanistan, where special operators have had more intelligence backup and logistical support from the regular military than they will in the remote places where they usually operate, Sacolick said.

“I need to prepare a 12-man team to go anywhere on this planet,” he said. “They need to be every bit as good as they are in Afghanistan, in the middle of Africa somewhere” or wherever the next conflict takes them.

PARIS Richard Avedon’s famous “Dovima with the Elephants” set an elephantine record when it fetched €841,wholesale Ed hardy jeans,000 ($1,148,910) at Christie’s Paris on Saturday. A bidding war in the auction room gave way to a telephone duel between two bidders, with a representative for fashion house Dior winning the prized photograph. This sale more than doubles Avedon’s previous auction record of $457,000 for “Marilyn Monroe, May 6, 1957, New York City,” set in 2008.

The 65-lot sale totaled €5.5 million ($7.5 million) and featured many rare and stunning photos by the artist. Every lot found a purchaser, with many rocketing beyond their estimated prices. Most buyers were European or American, with a mix of dealers and private collectors taking part. A significant portion of the proceeds will go to fund the late photographer’s philanthropic foundation.

In the iconic record-setting image, Dovima — a model and frequent collaborator of Avedon’s — wears a Dior dress designed by Yves Saint-Laurent, a fact that drove the fashion house to acquire it at any cost. Christie’s photography head Matthieu Humery told ARTINFO France, “I think it is the most expensive photo ever sold in Europe,” adding that, “it’s good that this work won’t leave France. In a way, it’s a national treasure.” After being seen in the Avedon retrospective at the Metropolitan Museum of Art in 1978, the large 1955 print hung in the photographer’s studio until his death.

Among other highlights of the sale, “The Beatles Portfolio” — a series of psychedelic Beatles portraits that once held the record price for a photo series — sold for €455,000 ($609,500), handily surpassing its high estimate of €350,000 ($478,000). After a bidding war propelled a photo of Suzy Parker and Robin Tattersall roller-skating on the Place de la Concorde far beyond its high estimate of €35,000 to €217,000 ($297,000), the room burst into applause.

The portrait “Picasso, April 1958″ also started with a €35,000 high estimate and reached €97,000 ($133,000). From a high estimate of €10,000, Avedon’s self-portrait reached a price of €103,000 ($141,000). The last lot of the evening, it was also the only one to have been bid on via the Internet.

The catalog cover shows a 1957 portrait of Marilyn Monroe that fetched €169,000 ($231,500). Though the star wears a gorgeously revealing sequined dress, her face looks vacant and lonely and her arms hang at her sides. In Avedon’s fascinating reflections on the photo session from the catalog notes, he described Marilyn Monroe as “a genius invention that she created like an author creates a character.” In the studio, she danced and performed for hours, and then, Avedon recalled, “she sat in the corner like a child with everything gone. But I wouldn’t photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying no.”

NEW YORK (Reuters) Hugh Jackman, who has recently been smashing records on Broadway with his one-man show, will return as escape artist Harry Houdini in the musical “Houdini,” producers said on Wednesday.

The 43-year-old actor, who began his career on stage before landing Hollywood roles in movies such as the “X-Men” series, will star in the musical expected to debut in the 2013-14 season that will be written by Oscar-winning writer Aaron Sorkin.

Jackman said in a statement: “I have been deeply fascinated by the life of Harry Houdini since I was young, and in many ways I’ve been preparing for this role my whole life. I am thrilled to be collaborating with this collection of artists who are all at the top of their game.”

The musical, which producers said is a contemporary look at the life and death of the Hungarian-born American musician and stunt performer, will be composed by “Wicked” musician Stephen Schwartz and directed by Jack O’Brien.

Sorkin, who will make his Broadway writing debut, said the musical “tells the story of an epic battle that took place between the world’s greatest illusionist and a trio of women, known as ‘Spiritualists’.”

Jackman’s latest Broadway show, “Hugh Jackman, Back on Broadway,” grossed more than $14.6 million for its ten-week run that ended earlier this week. He has long been dubbed one of the most bankable Broadway stars.

The Australian-born actor began his career on stage in Melbourne, Australia, before earning international acclaim in the lead role of “Oklahoma!” in London and later as singer Peter Allen in the hit musical,wholesale Ed hardy sunglasses, “The Boy from Oz” and hosting multiple Tony Awards.

(Reporting by Christine Kearney, editing by Jill Serjeant)

(Reuters) The U.S. Department of Defense said on Tuesday that there was a rise in reports of sexual assault at the nation’s military academies in the most recent school year and announced new policies to help victims.

The “Annual Report on Sexual Harassment and Violence at Military Service Academies” found that during the 2010-11 year there were 65 reports of sexual assaults involving cadets and midshipmen, up from 41 in the prior year.

To help address the jump, the academies are implementing two new policies.

Service members who have been victims of sexual assault will now be able to request an expedited transfer from their units. The military will now also retain records of sexual assaults longer — in some cases as long as 50 years.

“We know that the military academies are similar to college campuses around the country in that sexual harassment and assault are challenges that all faculty, staff and students need to work to prevent,” said Major General Mary Kay Hertog, director of the Sexual Assault Prevention and Response Office.

“However, when it does occur, we owe it to those who have been victimized, and to every cadet and midshipman, to do everything possible to provide needed support and to hold those who commit sexual assault appropriately accountable.”

As part of the review process, Department of Defense officials visited the U.S. Military Academy,Cheap Ed hardy t-shirts, Naval Academy and Air Force Academy and reviewed academy policies and procedures. They also held focus groups.

Officials found most academy programs fulfilled or in some cases surpassed existing policies and directives, but Hertog said they have also identified areas for improvement.

(Reporting by Karin Matz; Editing by James B. Kelleher and Jerry Norton)

If Pompeii hadn’t been excavated, if the towns and villages on the Western Front hadn’t been rebuilt after World War I, and if the site of the World Trade Center had been left as it was after 9/11, they might partially resemble the ruins Anselm Kiefer constructed in the South of France. Moving from Germany in 1993, Kiefer took over the 35 hectares of the industrial wasteland La Ribaute, near Barjac, and turned the atelier into a sprawling Gesamtkunstwerk, or “total work of art,” consisting of 47 buildings, an amphitheater, bridges, caves, an underground labyrinth that invoke the guts of the Pyramids or the gas chambers of the Nazi concentration camps. In the concrete rooms, he installed artworks — twisted strips of metallic film, a dormitory cast in lead, a child’s garment decorated with shards of glass, and other totems of catastrophe.

Kiefer has since moved on to another studio in Paris, taking “110 trucks” of the art with him, but La Ribaute remains. He and his small team of workmen were filmed in their labors by the British director Sophie Fiennes, whose mesmerizing Cinema Scope documentary “Over Your Cities Grass Will Grow” appeared at the Cannes Film Festival last year. Playing at Film Forum in New York from August 10-23, it doubles as a post-biblical, post-apocalyptic prophesy about the eventual fate of the earth and a self-reflexive meditation on the artistic process. Reflecting Kiefer’s canvases, it is etched in the colors of lead, earth, ash, charcoals, blacks, and discolored whites.

Occasionally, a splash of blue — that of industrial drums — obtrudes, or the muted golds and greens of the surrounding foliage. Kiefer comments in the film that he’s pleased vegetation is reclaiming La Ribaute, but this scarcely admits a return to the Arcadian, as did an unrelated exhibition bearing the same name as the film that ran at London’s Hidde Van Seggelen Gallery this spring, featuring work by Piranesi, Friedrich, Brouwn, Janssens, Almarcegui, and others. In contrast, Kiefer’s studio is a theme park dedicated to the notions of destruction, decay, annulment, and eventual absence.

“Over Your Cities” begins wordlessly as the disembodied camera glides up, down, along, and around the eerie subterranean passageways — made of corrugated iron and cement, some interspersed with stalagmite-like columns — to the sound of Jörg Widmann and György Ligeti’s spectral music. Shards of pottery and glass, broken slabs of concrete and rocks proliferate. After nearly 20 minutes of immersion in this dead zone, Kiefer and his workmen appear — pumping water, making a plaster-like substance, smelting ore. Among the artworks they make in the film are an installation suspending miniature lead battleships (a tribute to Céline’s novel “Journey to the End of the Night”) and a painting of the Ardèche forest, the boles stripped bare and stained with ground cement. The latter work is reminiscent of Kiefer’s great “Varus” (1976), which deals with the birth and growth of German national consciousness via its inscription of the victory over the Romans in the Battle of the Teutoburg Forest in 9 AD — Germany, year zero. Anselm’s Teutonic forests, influenced by Altdorfer and Friedrich, augur the Nazi horror.

At the center of the film, there’s a statically shot interview, conducted in La Ribaute’s library, between Kiefer and a German journalist who prompts the artist to ruminate on his ideas. Though we learn little about the historical or nostalgic influences on the Gesamtkunstwerk, Kiefer does refer to “The Odyssey,” the Kabbala (in reference to broken vessels), and Heidegger’s belief that boredom is useful in bringing about consciousness of one’s existence. Kiefer strongly believes in the importance of emptiness as a precondition for creating. “I fundamentally believe that through my work I can fill an empty room created in my childhood,” he says. “The space has not been filled yet things fall into it and take effect.”

Through his work, Kiefer has been a provocative and consistent critic of the Third Reich, and there are enough installations and imagery at La Ribaute to have prompted a detailed discussion of Nazi atrocities and the devastation of war — fabricated dragons’ teeth adorn some of the artworks, the teetering concrete towers suggest Dresden and Berlin after the Allied bombing (as well as Ground Zero). When Kiefer and the workmen drop sheets of plate glass on the floor of an installation room, or strew glass around a warehouse, it’s impossible not to think of Kristallnacht. Kiefer has a crane mount one of his massive trademark lead books onto a huge canvas; other books are burned — connoting the Nazi repression and the death of knowledge.

Regrettably, Kiefer doesn’t engage with this. Instead, he speaks about man’s origins as a sea creature who longs to go “back to our happy, unconscious being as a single cell in the ocean,” and about scientific theories such as the Big Bang describing “our lack of knowledge. They describe our ignorance…. All the scientific and technological progress only tells me how incomplete I am and that I know nothing…. How inhuman I am, and how inhuman humans are.” Well, not entirely. Shortly after he delivers this humbling peroration, two small boys, the artist’s sons, enter the frame, playfully scooting behind their father.

After the interview, Fiennes returns to the construction outside at La Ribaute. Kiefer and one of his workers pour molten metal, like so much lava, down a small hill of earth. A huge mechanical drill bores holes in the earth that they fill with cement and plant with metal rods — one thinks of what might have lain under the Nazi Party rally grounds designed by Albert Speer — and erect one of many skeletal towers made from concrete modules. In one shot,Replica Juicy Couture swimwear, a cement staircase rises for a few steps and then, having broken, stops abruptly. Whither did it lead?

Kiefer says the towers were influenced by the Jewish folkloric figure of Adam’s demonic first wife, Lilith, who was expelled by him from Paradise and dwelled in abandoned ruins, threatening that “over your cities grass will grow.” “I think that’s fantastic,” he remarks, sweeping the devastated past historical into the ghost towns of the future.

Watch clips from “Over Your Cities Grass Will Grow” below:

ONE: Raising the Painting

TWO: The Towers
 

THREE: Melting Lead  

LOS ANGELES (Reuters) Writing a song for a Disney animated film puts a songwriter into a long and legendary line that has produced 30 nominations and 10 wins going back to “When You Wish Upon a Star” in 1940.

And writing a song for a “Winnie the Pooh” movie is just as daunting a task, because it requires a songwriter to follow in the footsteps of Richard and Robert Sherman, who penned the well-known “Pooh” theme song and also wrote “Chim Chim Cher-ee,” “Supercalifragilisticexpialidocious,” “It’s a Small World” and “I Wan’na Be Like You,” among many others.

“The tradition of music in Disney animated films is pretty spectacular. But I tried not to think about it, because I might be overwhelmed if I did,” said actress and singer-songwriter Zooey Deschanel, who couldn’t exactly ignore that history when she was drafted to contribute to this year’s Disney version of the A.A. Milne stories.

Her initial task, after all, was to record a new version of the Sherman brothers’ theme song. When that went well, she was asked to write and record an end-credits song, which turned out to be “So Long,” one of the film’s two Oscar entries. And after that, she was asked to contribute vocals to other songs in the film … all while finishing a tour with her band, She and Him, and getting ready to begin filming her new TV series, “The New Girl.”

“It kind of happened in little bits and pieces over the course of the year,” Deschanel told TheWrap.

“That’s the thing with music for me. Songwriting was always something that I did in my private time as a release,Cheap Ralph Lauren Kids, very much on my own. It didn’t come out into the world until later in my life. But now, as my schedule has gotten so weird and so busy, I feel like I need to keep going back to it.”

Deschanel first got involved with “Winnie the Pooh” when music supervisor Tom McDougall showed her a 10-minute segment that had been cut to a She and Him song, and asked if she’d record the title song. She enlisted bandmate Matt Ward (who goes by M. Ward) to produce, and settled on an approach to a song whose original version was recorded by a large chorus of anonymous singers.

“I think there was something that Matt and I saw in that song that we could pull out, that wasn’t really focused on in the original recording,” she said. “That was the warmth and the intimacy of the song.

We wanted it to feel very warm and sweet. I felt like it should welcome people into the story.”

Her Oscar entry “So Long,” though, ushers viewers out of the story through its placement in the final credits. “They showed me a rough cut of the movie, so I knew what was leading up to that song,” she said. “I knew that I wanted to write a love song, but about friendship love.”

Her models, she said, came from albums she loved both as a kid and as an adult: Harry Nilsson’s “The Point,” Carole King’s “Really Rosie” and the compilation “Free to Be … You and Me.”

“I listened to all of those again,” she said. “They all had classic chord progressions and catchy melodies with good lyrical hooks and very strong choruses. I wanted a song that was upbeat and made you feel happy walking out of the theater, and also one that kids would enjoy.”

The discipline, she added, was dramatically different from writing for her own band, in which she’s free to tackle any subject and take any approach.

“There’s something overwhelming about being able to write about anything, which I can do in She and Him,” she said. “This was like cracking a code. I had to think, ‘How do I accomplish all these things for the movie, how do I tell the story without getting too literal or writing something totally off-topic?’

“But once I did crack the code, it was inspiring. And the movie people pretty much let me do my thing. They were extremely cool about letting me have my creative moment with the song.”

So far, she adds, there’s just one additional thing she’d like out of the experience — and it’s not an Oscar nomination, but a face-to-face with her predecessors in the “Winnie the Pooh” songwriting gig.

“I haven’t met the Sherman brothers yet,” she says. “I would love to, I’m such a fan.”