Matchups.

Game 1.

The first World Series game in the state of Florida, Game 1 featured a youngster and a veteran facing each other on the mound. Fresh off his NLCS MVP performance, Liván Hernández took the hill for the Marlins and quickly gave up a run in the first thanks to a double by leadoff man Bip Roberts and an RBI single by David Justice. Indian starter Orel Hershiser got by the first two innings unscathed. However, after the Marlins tied the game in the third on Edgar Renteria's RBI groundout with two on, they scored four runs in the fourth. Moisés Alou's three-run home run off the left field foul pole put the Marlins up 4–1 and Charles Johnson followed with a home run to make it 5–1. After Manny Ramírez's home run in the fifth cut the lead to 5–2, Hershiser allowed a one-out walk and single in the bottom of the inning before Jeff Conine's RBI single made it 6–2 Marlins. Jeff Juden relieved Hershiser and after a force-out at second, threw a ball four wild pitch that let Bobby Bonilla score from third. Jim Thome's home run cut the lead to 7–3 in the sixth, then the Indians got another run in the eighth off of Jay Powell when Marquis Grissom walked with two outs and scored on Brian Giles's double, but Florida closer Robb Nen came in the ninth and got out of a jam by striking out Sandy Alomar Jr. and Thome with two men aboard.

Game 2.

Game 2 matched up Florida ace Kevin Brown against Chad Ogea, who had lost two games in the ALCS. Both teams scored in the first, thanks to RBI singles by David Justice for the Indians after Omar Vizquel doubled with one out and Jeff Conine for the Marlins with two on. Ogea barely escaped further damage when Moisés Alou got under a hanging curveball, but merely flied out to the warning track, missing his second three-run homer in as many nights by inches. After that, Ogea settled in and did not allow any more runs in 6 2/3 innings. Brown pitched well until the fifth when the Indians took the lead by stringing together three singles by Matt Williams, Sandy Alomar Jr., and Marquis Grissom. Later in the inning, with runners on second and third, Bip Roberts drove in a pair of runs with a single up the middle giving the Tribe a 4–1 lead. The three-run lead ballooned to five when Alomar hit a laser into the left field stands for a two-run home run in the sixth. The Indians' 6–1 win tied the series heading to Cleveland.

Game 3.

Game 3 was a wild affair that ended with the Marlins grabbing a 2–1 series lead. Charles Nagy of the Indians faced Al Leiter of the Marlins. Both pitchers fared poorly, with Leiter giving up seven runs (four earned) in 4 2/3 innings and Nagy gave up five in six innings. In the top of the first, Gary Sheffield started the scoring with a home run to left. In the bottom half, the Indians retaliated with two runs thanks to two broken bat RBI singles by Matt Williams and Sandy Alomar Jr.. Nagy's bases loaded walk to Sheffield tied the game in the third, before Florida took a 3–2 lead in the fourth on Darren Daulton's home run. However, the Indians got a gift in the bottom of the fourth, when they drew four free passes, then a throwing error by third baseman Bobby Bonilla on Manny Ramírez's single allowed two more runs to score. The Tribe went up 7–3 on Jim Thome's two-run home run to right in the fifth inning, which also knocked Leiter out of the game. His home run was nullified in the sixth by Jim Eisenreich's two-run home run that cut the lead to 7–5. In the seventh, Craig Counsell hit a leadoff single off of Brian Anderson and moved to second on a groundout, then Édgar Rentería's single and Gary Sheffield's double off of Mike Jackson (who was charged with a blown save) each drove in a run, making the score 7–7. In the ninth, Bonilla drew a leadoff walk off of reliever Eric Plunk and scored on Daulton's single aided by an error that let Daulton go to third. After a strikeout to Alou (his third of the night) and intentional walk to pinch-hitter Cliff Floyd, an error by first baseman Thome on Plunk's pickoff attempt allowed Daulton to score. After Charles Johnson singled, Alvin Morman relieved Plunk and an error by second baseman Tony Fernández on Counsell's ground ball allowed Floyd to score. After Morman retired Devon White, a walk to Rentería loaded the bases before José Mesa relieved Morman and allowed two-run singles to Sheffield and Bonilla aided by a wild pitch that gave the Marlins at 14–7 lead. In the bottom of the inning, the Indians loaded the bases on a walk and two singles with one out off of Robb Nen before Tony Fernández's sacrifice fly and Marquis Grissom's single scored a run each, then Bip Roberts' two-run double cut the lead to 14–11, but Omar Vizquel grounded out to end the game. Dennis Cook got the win in relief by tossing a scoreless eighth and Plunk got the loss. This was the highest scoring game for twenty years till the fifth game of the 2017 World Series between the Houston Astros and the Los Angeles Dodgers. Marlins batter Gary Sheffield had five RBIs in the game to lead all batters.

Game 4.

This back-and-forth World Series continued that way in Game 4. Both teams were greeted by snow during batting practice and freezing temperatures throughout this contest. The official gametime temperature of 38 °F (3.3 °C) remains the coldest recorded in World Series history. As the game progressed, media outlets reported wind chill readings as low as 18 °F (−7.8 °C). Two rookies opposed each other on the mound, Jaret Wright for the Indians and Tony Saunders for the Marlins. In the bottom of the first, Omar Vizquel singled with one out before Manny Ramírez's two-run home run put the Indians up 2–0. Matt Williams then singled with two outs and scored on Sandy Alomar's double. In the third, Ramírez drew a leadoff walk, moved to second on an error and scored on David Justice's single. After another walk, Alomar's single scored Justice. After a third walk loaded the bases, Antonio Alfonseca relived Saunders and allowed an RBI single to Tony Fernández. The Marlins got on the board in the fourth on Jim Eisenreich's RBI single with two on, then Moisés Alou's two-run home run after a walk in the sixth cut the Indians' lead to 6–3, but that was as close as the Marlins got. In the bottom of the inning, Alomar's bases-loaded groundout off of Ed Vosberg made it 7–3 Indians. Next inning, Fernández hit a leadoff single, moved to second on a ground out and scored on Brian Giles's single. In the eighth, Williams' two-run home run after a walk capped the game's scoring at 10–3 as the Indians tied the series at two games apiece. Wright allowed three runs in six sharp innings and Brian Anderson wrapped up Wright's win with a three-inning save.

Game 5.

Game 5 was a rematch of Game 1's starting pitchers Liván Hernández and Orel Hershiser. The Marlins struck first when Darren Daulton hit a ground-rule double and scored on Charles Johnson's single. After a walk to Craig Counsell, Devon White's RBI double made it 2–0 Marlins. The Indians cut it to 2–1 in the bottom of the inning when Jim Thome tripled and scored on Sandy Alomar's single. Next inning, Alomar launched a towering three-run home run after two walks to Thome and Matt Williams to put the Indians up 4–2. In the sixth, Moisés Alou hit his second three-run home run off Hershiser in as many games and his third home run of the Series to put the Marlins up 5–4. Eric Plunk then walked Craig Counsell with the bases loaded to force in Jeff Conine, with the run charged to Hershiser. The Marlins added to their lead in the seventh when Alou hit a leadoff single off of Jeff Juden, stole second, moved to third on a groundout, and scored on Johnson's single. Next inning, Alou's single scored pinch-runner Alex Arias (running for Bonilla) with two on off of José Mesa extended the lead to 8–4. Livan pitched terrifically in the middle innings, not allowing any runs until the ninth. An error and single put two on with no outs for the Indians. Robb Nen in relief allowed a two-run single to David Justice (both of the runs charged to Hernández), then a two-out RBI single to Thome before Alomar flew out to right to end the game and give the Marlins a 3–2 series lead heading back to Florida.

Game 6.

Game 6's attendance of 67,498 was the highest single-game attendance for the World Series since Game 5 of the 1959 World Series, when 92,706 people filled the football-oriented Los Angeles Memorial Coliseum. The Series returned to the warmer climate of Miami for Game 6. Kevin Brown opposed Chad Ogea again and again Brown inexplicably struggled while Ogea flourished. Chad himself drove in the first two runs with a bases-loaded single in the second, and Manny Ramírez hit a sacrifice fly in the third (after Omar Vizquel hit a leadoff double and stole third) and the fifth (after a leadoff double and subsequent single). Darren Daulton's sacrifice fly with two on in the fifth that scored Moisés Alou from third gave the Marlins their only run of the game. With the Tribe leading 4–1 in the sixth, Ogea ran into serious trouble. The Marlins put runners on second and third with two out as reliever Mike Jackson replaced Ogea. Marlins catcher Charles Johnson stepped to the plate and proceeded to hit a sharp grounder that was headed for left field and looked like a base hit. Indians shortstop Omar Vizquel, who won the Gold Glove that year, dove for the ball, grabbed it, sprung to his feet, and hurled a perfect strike to first base just before Johnson arrived. The play ended the threat and broke the Marlins' spirits. In the ninth, closer José Mesa wrapped up the win despite allowing a triple to Devon White to tie the Series at 3–3.

Game 7.

For the first time in six years, a seventh game would decide the World Series.  Indians manager Mike Hargrove, celebrating his forty-eighth birthday this night, made a significant strategic play prior to the start of the game. The Indians' rotation for the series consisted of Orel Hershiser, the starter and loser of Games 1 and 5; Chad Ogea, the winning pitcher in Games 2 and 6; staff ace Charles Nagy, who received a no-decision in the wild Game 3; and rookie Jaret Wright, who had won Game 4. Hershiser and Ogea were unable to start due to not enough rest, and based on Wright's performance, Hargrove skipped over Nagy and gave the start to the rookie on three days' rest. Marlins manager Jim Leyland, opting to keep his rotation as it was, sent veteran starter Al Leiter out for Game 7.  The Marlins managed one hit in the 1st inning, a double off the bat of Édgar Rentería. That was the only hit Wright gave up through six innings, and the Indians staked him to a 2–0 lead in the third. With nobody out, Jim Thome walked and Marquis Grissom singled him to second. Pitcher Jaret Wright sacrificed both men into scoring position. After Leiter retired Omar Vizquel for the second out, Tony Fernández singled to drive both runners in for the only runs of the game to that point.  Leiter was removed after six innings and only surrendering the two runs. Leading off the bottom of the seventh for the Marlins, Bobby Bonilla hit Wright's first pitch over the right-center field wall for a home run to cut the lead to 2–1. After striking out Charles Johnson and walking Craig Counsell, Wright was removed from the game in favor of Paul Assenmacher who was scheduled to pitch to Cliff Floyd. Marlins manager Jim Leyland elected to send Kurt Abbott to the plate after the pitching change; and Assenmacher retired him on a fly ball, then got Devon White swinging to end the inning.  In the top of the ninth inning, Cleveland again threatened. After Antonio Alfonseca walked Matt Williams to lead off the inning and Sandy Alomar Jr. reached on a fielder's choice to take Williams off the bases, Félix Heredia gave up a single to Thome which advanced Alomar to third. He was then pulled in favor of closer Robb Nen, inducing a groundball from Grissom to Rentería at shortstop, who elected to throw Alomar out at home, thanks in part to a great pick and tag by Johnson. He then got Brian Giles to fly out to end the inning.  The Indians sent closer José Mesa to the mound to try to win the series in the bottom of the ninth inning. Moisés Alou led off with a single, and Bonilla struck out swinging on a 3–2 pitch that would have been ball four. Six strikes away from losing the World Series, Johnson lined a 1–2 fastball into right field, moving Alou to third. With runners on 1st and 3rd and one out, Craig Counsell fought off a low, inside fastball from Mesa, lining it into deep right field. Manny Ramírez caught the ball on the warning track for the second out, but Alou easily scored from third on the sacrifice fly to tie the game. Although Mesa retired Jim Eisenreich to send the game to extra innings, his blown save would open him to criticism for years to come.  Nen struck out the side in the top of the 10th. In the bottom of the frame, Mesa was lifted after giving up back-to-back one-out singles and replaced by Game 3 starter Nagy, who got Alou to fly out to end the threat. After walking Williams, leading off the top of the 11th inning, Jay Powell retired Cleveland in order thanks to an alert fielder's choice on a sacrifice bunt by Alomar, which Powell fielded and threw out the lead runner at 2nd, followed by a Jim Thome inning-ending double play. Nagy took to the mound to face Florida in the bottom half of the 11th. Bonilla led off with a single to center. Gregg Zaun nearly caused a double play by popping his bunt attempt directly to Nagy. However, Bonilla was able to get back to first safely. Counsell followed with a ground ball that should have produced an inning-ending double play. Instead, the ball was misplayed by Fernández, slipping under his glove and into right field, and Bonilla advanced to third on the error. After Nagy loaded the bases with an intentional walk to Eisenreich, he got White to ground into a fielder's choice to Fernández, who elected to not go for the double play but instead quickly threw Bonilla out at the plate for the second out.  With the bases loaded and 2 outs in the bottom of the 11th inning, Rentería stepped to the plate and lined Nagy's 0-1 slider up the middle, beyond Nagy's reach and between middle infielders Fernández and Gold Glove shortstop Vizquel. An exuberant Counsell scored from third, and jumped on home plate, his fists in the air in celebration—as the series-winning run. Rentería, in jubilation, removed his helmet with tears in his eyes before touching first base, having hit a World Series winning walk-off single.  After Game 7, the trophy presentation, usually taking place in the winning team's locker room regardless of venue, took place on the field for the first time ever before the crowd of 67,204. It was presided over by then-Chairman of the Executive Committee Bud Selig, who first did the honors in 1995 and would officially become Commissioner of Baseball in 1998. This is now a standard procedure whenever the champions are the home team of the deciding game (the only exception being 1999 when the New York Yankees chose to celebrate in their locker room).  It was the first time since that the two teams alternated wins throughout the World Series.

Composite box.

1997 World Series (4–3): Florida Marlins (N.L.) beat Cleveland Indians (A.L.)

Aftermath.

Liván Hernández was named the Most Valuable Player of the 1997 World Series. Chad Ogea became the first pitcher since Mickey Lolich in 1968 to have at least two hits and two RBIs in a World Series. The Marlins won despite not having Alex Fernandez, their number-two starter, who did not pitch due to a rotator cuff injury.  Soon after Game 7 was complete, rumors on the internet started to spread that the 1989 (four years before the Florida Marlins made their debut) film "Back to the Future Part II" accurately predicted their 1997 World Series victory. In reality, the movie stated that, in 2015, a Miami team with an alligator mascot would lose to the Chicago Cubs in the World Series. Ironically, the actual Cubs' 2015 season also ended on October 21, and in a four-game sweep, but this time, they lost to the New York Mets in that year's NLCS. However, a year later the Cubs did win the Series, also against the Indians.  On October 31, 1997, most of the fan favorites of the 1997 Marlins were traded, including Moisés Alou, who was traded to the Houston Astros, and Al Leiter to the New York Mets, in a fire sale so infamous that it has come to synonymize the term in the baseball world. The Marlins also lost Jeff Conine to the Royals and Darren Daulton when he retired. World Series MVP hurler Liván Hernández, however, stayed with the team for two more years. The Marlins had a record of 54–108 in 1998, the worst performance ever by a defending World Series champion. As a result, these Marlins are mockingly referred to as the first "Rent-A-Team" to win the World Series. Midway through the 1998 season, the Marlins would trade Jim Eisenreich, Bobby Bonilla, Gary Sheffield, and Charles Johnson to the Dodgers for Todd Zeile and Mike Piazza. Piazza would be traded shortly after to the Mets in return for prospects, one of which was Preston Wilson.  Jim Leyland, responding to reports that he would retire if the Marlins won the World Series, told NBC during the celebration, "My wife doesn't like me that much. I can't retire." However, he quit in the wake of their pitiful performance in 1998. He managed the Colorado Rockies in 1999, then scouted for several years before joining the Detroit Tigers as manager in 2006 and taking them to the World Series and losing in five games.  Marlins owner H. Wayne Huizenga, who dodged questions about selling the team during the on-field celebration, ultimately sold the team to John W. Henry after the 1998 season. Henry in turn sold it to former Montreal Expos owner Jeffrey Loria in 2001 as part of a deal to purchase the Boston Red Sox.  Loria would return the team to a World Series victory in 2003. That season started with only one of the 1997 World Series players left on the roster: pitcher Rick Helling. Helling was traded mid-season to the Texas Rangers. However, the team traded with the Baltimore Orioles for Jeff Conine. Conine would be the only 1997 Marlin to participate in the 2003 World Series victory.  Huizenga continued to be the team's landlord at what is now Hard Rock Stadium until 2008, when he sold it with the Miami Dolphins to Stephen M. Ross.  The failure of José Mesa to save Game 7 ultimately ignited a heated feud with teammate Omar Vizquel. In Vizquel's autobiography, the veteran shortstop called Mesa a "choker." The two men ended their longtime friendship. Mesa later vowed to "...hit him every time" he faced him, and also stated that he wanted to kill Vizquel. Though Mesa did not actually bean Vizquel every time he subsequently faced him, he did hit him with pitches at least twice.  Game 7 also caused a scheduled Chicago Bears–Miami Dolphins game to be postponed to Monday night. It was seen on ABC in the Chicago and Miami markets, and was intended to air on Fox. The rest of the nation received the scheduled Green Bay Packers–New England Patriots game, the only time a rematch of a previous season's Super Bowl aired on ABC. It was also the first time in ten years, since the Denver Broncos at the Minnesota Vikings, that a football game was moved to Monday Night because of the World Series.  Also, largely as a result of over 67,000 attending every World Series game played in Pro Player Stadium in Miami, the 1997 World Series became just the second to draw a total attendance of over 400,000 for the entire series. The only other World Series to draw more than 400,000 in attendance was the 1959 World Series, which had three of its six games played at the Los Angeles Coliseum, which drew over 92,000 for each game played at the Coliseum in that World Series. The total attendance of 403,627 is the second-largest in World Series history, only to the attendance of 420,784 in 1959.  Miami and Cleveland have celebrated championships in the 19 years since: in addition to the Marlins' second World Series championship in 2003, the Miami Heat won NBA championships in 2006, 2012 and 2013, while the Cleveland Cavaliers won the 2016 NBA Finals just eight days after the NHL's Columbus Blue Jackets' affiliate, the Lake Erie Monsters (now the Cleveland Monsters), won the AHL's Calder Cup ending a 52-year championship drought for their city. With the exception of 2006, Akron, Ohio native LeBron James played on each of the aforementioned NBA championship teams. As previously mentioned, the Indians also made it to the World Series in 2016, but in losing to the Chicago Cubs in seven games, they replaced the Cubs (who until then had not won the Series since 1908) as the team with the longest championship drought, having last won in 1948.

Radio and television coverage.

This marked the first time since that NBC televised a World Series in its entirety. In, NBC televised Games 2, 3, and 6, while rival ABC televised Games 1, 4, and 5, having split that series since ABC was promised the strike-cancelled 1994 World Series. Both networks had announced prior to the 1995 season, that they were bailing out what was initially a six-year-long revenue sharing joint venture with Major League Baseball called "The Baseball Network". Starting with the 1996 World Series, Fox and NBC would alternate World Series broadcast rights for the next five seasons, with NBC broadcasting in odd-numbered years and Fox in even-numbered years. This arrangement ended in, when Fox became the exclusive U.S. television network for the World Series (a status it retains through at least 2028).  NBC's West Coast president Don Ohlmeyer disturbed Major League Baseball when he publicly wished the World Series to end in a four-game sweep so that it wouldn't derail NBC's fall entertainment schedule. (Game 5 fell on a Thursday, which had long been the highest rated night on NBC's schedule, if not on all of television.)  Midway through Game 2, "surprise guest" Joe DiMaggio joined NBC's Bob Costas, Joe Morgan and Bob Uecker in the television booth. DiMaggio joked that Morgan was a "Hall of Famer" and Costas a "future Hall of Famer", but he didn't know what to think of when it came to Uecker. Ironically enough, the Baseball Hall of Fame would present Uecker with its Ford C. Frick Award several years later.  Also working for NBC's coverage were Jim Gray, who served as field reporter, and Ray Knight, Ron MacLean and Ahmad Rashad, who alternated as dugout reporters. Meanwhile, Hannah Storm and Keith Olbermann served as pre-game hosts. Storm along with Jim Gray and Ahmad Rashad covered the celebration on the field following Game 7. Also following Game 7, MacLean interviewed Mike Hargrove and, along with Olbermann, Indians players from their locker room. MacLean was available for Games 3,4, 5 and 7 due to his Hockey Night in Canada commitments for CBC in Canada.  This was the last World Series broadcast on CBS Radio, which had covered the World Series consecutively since. ESPN Radio would take over the national radio contract for Major League Baseball the following year. Vin Scully and Jeff Torborg were CBS Radio's announcers for the Series (the latter had once managed the Indians and would later manage the Marlins). This was Scully's eleventh and final World Series call for CBS Radio, and seventh consecutive since he rejoined the network following NBC's 1989 loss of baseball. It was also Scully's 25th and final World Series broadcast overall, including fourteen others he called for NBC and the Los Angeles Dodgers. Torborg would continue to call games for Fox television until the end of the 2000 season, working alongside John Rooney and Chip Caray, when he elected to return to managing and was hired by the Montreal Expos.  Game 7 was the final Major League Baseball game called by longtime Indians radio announcer Herb Score, as he retired at season's end. Score's broadcast partner, Tom Hamilton, would take over as lead announcer and he remains in that position as of the 2017 season. It also marked the final game carried by Indians flagship station WKNR (1220); the broadcast rights would be moved to WTAM for the 1998 season.

The 1997 World Series was the championship series of Major League Baseball's (MLB) 1997 season. The 93rd edition of the World Series, it was a best-of-seven playoff between the American League (AL) champion Cleveland Indians and the National League (NL) champion Florida Marlins. The Marlins, who were underdogs, defeated the Indians, four games to three, to win their first World Series championship. Game 7 was decided in extra innings on a walk-off single hit by Édgar Rentería. The series began on October 18 and ended on October 26 (after midnight October 27). Marlins pitcher Liván Hernández was named the World Series Most Valuable Player.

La Série mondiale 1997 était la finale des Ligues majeures de baseball. Elle a débuté le et opposait les champions de la Ligue nationale, les Marlins de la Floride, aux champions de la Ligue américaine, les Indians de Cleveland.


History.

Fort White was constructed as a military fort during the Second Seminole War in 1836 to protect the Cow Creek settlement. Supplies were brought in by steamboat on the Santa Fe River and distributed to other area forts. Due to sickness, flooding along the river and rumors of the railroad coming to the area, the settlement was moved east to its present location.  The town was incorporated in 1884 still named after the military fort Fort White and grew steadily following the arrival of the railroad in 1888. Phosphate mining, turpentine and agriculture (cotton and oranges) were the foundation of the economy, and the population grew to nearly 2,000. The boom turned to bust as severe freezes in the winters of 1896 and 1897 destroyed the local citrus industry. By 1910, the largest phosphate deposits were depleted and mining ceased. The boll weevil ended cotton farming before World War I, and the population shrank to a few hundred people, primarily farmers, ranchers and foresters. The town's population in 1979 was 365.

Geography.

Fort White is located in southern Columbia County at (29.923001, -82.714299), at the intersection of U.S. Route 27 and Florida State Road 47. SR 47 leads north to Lake City, the Columbia County seat, and south to Trenton. US 27 leads southeast to Alachua and Interstate 75, and west to Branford.  According to the United States Census Bureau, Fort White has a total area of, all land. Most of the land surrounding the town is family farms and/or forests.

Demographics.

As of the census of 2010, there were 567 people, 151 households, and 104 families residing in the town. The population density was 176.8 people per square mile (68.4/km2). There were 184 housing units at an average density of 79.5 per square mile (30.8/km2). The racial makeup of the town was 50.61% White, 46.70% African American, 0.24% Native American, 0.49% Asian, 0.24% Pacific Islander, and 1.71% from two or more races. Hispanic or Latino of any race were 3.42% of the population.  There were 151 households out of which 33.8% had children under the age of 18 living with them, 43.7% were married couples living together, 19.2% had a female householder with no husband present, and 31.1% were non-families. 28.5% of all households were made up of individuals and 9.9% had someone living alone who was 65 years of age or older. The average household size was 2.71 and the average family size was 3.35.  In the town, the population was spread out with 28.6% under the age of 18, 8.1% from 18 to 24, 24.9% from 25 to 44, 22.5% from 45 to 64, and 15.9% who were 65 years of age or older. The median age was 37 years. For every 100 females, there were 76.3 males. For every 100 females age 18 and over, there were 82.5 males.  The median income for a household in the town was $26,250, and the median income for a family was $28,000. Males had a median income of $26,477 versus $26,667 for females. The per capita income for the town was $10,578. About 24.1% of families and 26.8% of the population were below the poverty line, including 23.0% of those under age 18 and 42.0% of those age 65 or over.

Schools.

The original Fort White High School was constructed during 1915, and an auditorium was added in 1936. Separate elementary school classrooms were completed in 1938.  The last high school class to graduate was in 1969, about the same time desegregation and integration forced the closing of the black schools in the area. At that time, there weren't enough children to justify a high school in Fort White; students in grades 9-12 were bused to Columbia High School in Lake City for over 30 years. After Ichetucknee Springs State Park opened in 1971, the population in the south end of the county steadily grew to the point where the need for a local facility was substantiated. A $25 million high school was completed in December 2000 for grades 6-12, having opened in August 2000 in temporary buildings because of construction delays. The school had been scheduled for completion in August 2000. Fort White High School graduated the first class in a generation in 2001. A new Fort White Middle School for grade 6 was completed prior to the 2008-2009 school year. The rest of the middle school (for grades 7 and 8) has recently been finished and is in use, though the middle and high school are still joined.

Government services.

The town elects a mayor and four town council members who meet once each month. Water is provided through the city, but all residents utilize a septic tank system for sewerage. Law enforcement is provided by the Columbia County Sheriff's Office who utilize a sub-station within the city limits. Fire protection is provided by the Columbia County Fire Department. Garbage collection is subcontracted to a private company. The Fort White Branch of the Columbia County Public Library system, which was previously located next to town hall, is across from Fort White High School. The county health clinic has a satellite office in Fort White which is open one day each week, but the nearest hospital facility is in Lake City.  The Fort White Sports Complex was constructed in 2005 on abutting the high school. Facilities include six baseball fields, two basketball courts and two tennis courts. A community center was built on the site in 2008. A senior citizen meal program operates at the center on weekdays.

The Ichetucknee River.

The locals have always known of and enjoyed the crystal clear Ichetucknee River and Springs, located northwest of the town. However, before 1970, the existence and location of this natural wonder were something of a secret. The road to the spring was not paved, nor was it marked, because the spring was on private property. In 1970, the state of Florida purchased the Ichetucknee spring and river property from the Loncala Phosphate Corporation. Columbia County built a paved road, number 238, providing easier access to the springs. In 1972, the head spring of the river was declared a National Natural Landmark by the U.S. Department of the Interior. The main tributary from Ichetucknee Springs became one of the most popular tubing destinations in the world, attracting up to 5,000 visitors each day during the summer. Others came to the river to swim, picnic, snorkel, scuba dive, and explore the nearby forests.

Fort White is a town in Columbia County, Florida, United States, named after a military fort built in the 1830s. It is the closest town to Ichetucknee Springs State Park. Fort White High School and the Fort White Public School Historic District are located within the town's borders. The original school building was constructed in 1915.

Fort White est une localité du comté de Columbia en Floride, qui doit son nom à un fort construit à cet emplacement dans les années 1830.


History.

The project originated with the creation of the "Underworld" movie soundtrack in 2003. Danny Lohner, rock musician and producer previously involved with A Perfect Circle and Nine Inch Nails, was tasked with creating a soundtrack for "Underworld" film. Lohner recruited a large number of artists he had worked with in the past, and had them collaborate with one another, which created a number of atypical arrangements of artists on various tracks, such as Maynard James Keenan and David Bowie singing together on the track "Bring Me the Disco King". Among these variations, a group formed that was dubbed "The Damning Well", which consisted of Lohner on bass, Wes Borland of Limp Bizkit on guitar, Richard Patrick of Filter on vocals, and Josh Freese of A Perfect Circle.  The group only formally released one track, titled "Awakening," on the "Underworld" soundtrack. After the completion of the soundtrack, rumors arose that an entire album's worth of material was apparently recorded with producer Terry Date, and that Amy Lee of Evanescence also contributed vocals to the track "Power", but her record label would not allow those to be released".  In 2008, Patrick cleared up misconceptions about the band, stating: "Most of [The Damning Well material] turned into Black Light Burns. There was a song called “Power” I wrote with Amy Lee, I wrote all the lyrics and everything and then Amy Lee came in and sang on it. Her manager was such a, just so hard to deal with which is like that with a lot of the things she gets involved with you know, they were just so hardcore that we were like forget it. There were only two songs recorded under the Damning Well, it wasn’t a whole record. But I have the Amy Lee song I did with her, she just came in and sang my lyrics and sang with me, it was cool sounding though, I was really proud of it. It’s now on the Black Light Burns record. So yeah, we did one song for the "Underworld" soundtrack and it just kind of petered out after that. I wrote another song for something else and that was really about it." In 2010, Patrick said that while he hadn't talked to the members in years, he'd still consider doing an album with The Damning Well. However, by 2013, he stated "that project is done for sure".

Legacy.

Borland, Freese, and Lohner started another band, Black Light Burns, in 2005, upon Borland temporarily leaving Limp Bizkit. It is often considered to be a spiritual successor to The Damning Well and contains bits and pieces of their work. The track "Power" was reworked into the track "Coward", and used in Black Light Burns as the fourth track of their debut album, "Cruel Melody", without vocals from Patrick or Lee. Patrick claims to have a version with his and Lee's original vocals, but has not ever released said material. Additionally, some work is thought to have been carried on into Filter's 2008 release "Anthems for the Damned," especially the song "In Dreams", which was written and composed by Patrick and Borland, and features drums by Freese. Borland said that Patrick co-wrote the chorus to the Black Light Burns song "Lie", possibly hinting that at least the chorus was Damning Well material at one point.

The Damning Well was a rock supergroup comprising Wes Borland of Limp Bizkit on guitar, Danny Lohner formerly of Nine Inch Nails on bass, Richard Patrick of Filter on vocals, and Josh Freese of A Perfect Circle, on drums. While rumors spread that an entire album had been recorded, Patrick has said on numerous occasions that this is false. Only two songs were recorded: "Awakening", which was released on "Underworld" movie soundtrack in 2003, and "Power", an unreleased track featuring Amy Lee of Evanescence on guest vocals.

The Damning Well était un supergroupe de rock regroupant Wes Borland (de Limp Bizkit) à la guitare électrique, Danny Lohner (de Nine Inch Nails) à la basse, Richard Patrick (de Filter et de Army of Anyone) au chant ainsi que Josh Freese (A Perfect Circle, Suicidal Tendencies, The Vandals, Guns N' Roses) à la batterie. Le groupe n'a sorti qu'une seule chanson, "Awakening" pour le compte de la bande originale du film "Underworld" en 2003, quand bien même de quoi faire un album entier aurait été enregistré avec le producteur Terry Date.


Background and production.

In 2005, American record producer Rodney "Darkchild" Jerkins and producer Jon Jon Traxx "came up with the concept of doing an old-school track, a throwback with real bass and horns", to which the song's title is partly attributed. Traxx with Jerkins, first recorded the bass sections, onto which the percussion, horns and vocals were layered. Production took place in Jerkins' New Jersey-based studio, and Sony Music Studios in New York City.  Jerkins recorded a demo version of the song with vocals by American songwriter Makeba Riddick, who is credited as co-writer. They presented the demo to Beyoncé, who later approved of it. "Déjà Vu" also has lyrical contributions from songwriters Delisha Thomas and Keli Nicole Price, and Beyoncé's husband (then-boyfriend) Jay-Z. He became involved at a late stage, when Beyoncé saw him trying to sing along to a recorded version of the track, and asked him to contribute. Jay-Z recorded rap verses for the song and hence appears as a featured guest.  Concerning the production of "Déjà Vu", Beyoncé told MTV News": When I recorded 'Deja Vu'... I knew that even before I started working on my album, I wanted to add live instruments to all of my songs. It's such a balance [of music on the song] [...] It's still young, still new and fresh, but it has the old soul groove. The energy is incredible. It's the summer anthem, I pray. I feel it. Rodney Jerkins is incredible, Jay of course is on it, he blessed the song, I'm happy with it.

Music and lyrics.

"Déjà Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyoncé's vocals range from the note of D to F. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyoncé's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Déjà Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980).  The title refers to the "déjà vu" phenomenon. The lyrics to "Déjà Vu" follow the verse–pre-chorus–chorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having déjà vu?" As the song opens, Beyoncé introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.  After that Beyoncé mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyoncé starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing", in the words of Jon Jon Webb, the bass player on the track. The melody returns to the main groove during the repeated hook. This pattern repeats and leads to the second rap verse. The third pre-chorus "comes from Jerkins' idea to have the part changes on top, with Webb's main groove on the bottom". It is followed by the main pre-chorus, then the hook is repeated four times. After that, the singing stops and the instruments fill in the space of the pre-chorus. The hi-hat and Roland TR-808 also stop; the song ends with the plucked bass and blasts of horns from the very first line of the chorus.

Release and reception.

"Déjà Vu" was leaked to the internet on June 13, 2006. On June 24, 2006, it was released to radio stations in the United States, four weeks after Beyoncé informed Columbia, her record label, that "B'Day" was completed. Over one month later, it was released to physical formats; the track was released as a CD single on July 31, 2006 in the United States. An enhanced CD was released on September 12, containing five tracks and an additional "Déjà Vu" multimedia track. In the United Kingdom, the digital download became available on August 15, 2006. A CD maxi and a 12" single were released on August 21, 2006. Beyoncé's manager approached English production team Freemasons to remix "Déjà Vu" after hearing a remix they made for a song by singer Heather Headley. A club-oriented version was produced and appeared on a "Green Light" Freemasons EP, released on July 31, 2007. A maxi single, featuring the album version of the track and Freemasons club mix, was released on August 5, 2006 in European countries. The UK hits compilation album Now That's What I Call Music! 65, released in 2006, features an alternative version of the single, omitting Jay-Z's parts and running to 3 minutes and 25 seconds.

Critical reception.

"Déjà Vu" debuted to mixed and positive reviews among critics. Mike Joseph of the international webzine PopMatters<nowiki>'</nowiki> believed that it was "fantastic to hear Beyoncé singing her lungs out over a full-bodied groove featuring live instruments". Spence D. of IGN Music, a multimedia news and reviews website, complimented Jerkins' bass-laden groove, writing that it brought the track to perfection. Describing "Déjà Vu" as a magnificent song, Caroline Sullivan of "The Guardian" complimented Beyoncé and Jay-Z collaboration calling it "feverish as pre-watershed pop gets". She added that even though when Jay-Z is not physically present, he manages to bring out something formidable in Beyoncé that evokes "the young, feral Tina Turner". Bernard Zuel "The Sydney Morning Herald" praised the assertiveness with which Beyoncé delivers her lines and considered buying "Déjà Vu" as worthwhile.  Several other music critics have compared "Déjà Vu" to Beyoncé's 2003 single, "Crazy in Love", the lead single of her debut album. According to Gail Mitchell of "Billboard" magazine, the song is viewed by many as a sequel to "Crazy in Love". Jason King of the "Vibe" magazine deemed the song as "cloned from the DNA of the raucous 'Crazy in Love'" while Thomas Inskeep of "Stylus" Magazine referred to it as "'Crazy in Love' lite". Some reviewers, however, were negative to the parallels drawn between the two songs. Andy Kellman of AllMusic, an online music database, wrote that "['Déjà Vu'] "had the audacity to not be as monstrous as 'Crazy in Love'", referring to the commercial success the latter experienced in 2003. The internet-based publication "Pitchfork"'s writer Ryan Dombal claimed that "this time [Beyoncé] out-bolds the beat".  Sasha Frere-Jones of "The New Yorker" deemed the lyrics as a "perplexing view of memory", while Chris Richards of "The Washington Post" characterized Beyoncé as a "love-dazed girlfriend" in the song. Jody Rosen of the "Entertainment Weekly" referred to "Déjà Vu" as an "oddly flat" choice as a lead single. Jaime Gill of Yahoo! Music regarded "Déjà Vu" as a good choice for a single but concluded that it does lack "the kind of killer chorus" to suggest that Beyoncé would take one further step "to outright global domination". On the other hand, Jon Pareles of "The New York Times" wrote that Jay-Z shows up "as calmly boastful as ever" in the song but he only makes Beyoncé's "sound more insecure". Kelefa Sanneh of the same publication noted that "the refrain doesn't give Beyoncé a chance really to show off" and further described the song as a "fair-to-middling single from a singer who is the opposite of desperate".

Accolades.

"Déjà Vu" was nominated for Best Rap/Sung Collaboration and Best R&B Song while the Freemasons club remix version was nominated for Best Remixed Recording, Non-Classical at the 2007 Grammy Awards. It was also nominated for Best Collaboration alongside Beyoncé's other song "Upgrade U" featuring Jay-Z, at the Black Entertainment Television (BET) Awards. "Déjà Vu" won Best Song at the 2006 MOBO Awards in the UK. The following year, it also received two nominations for the Best R&B/Urban Dance Track and Best Pop Dance Track at the 22nd Annual International Dance Music Awards in 2007. The writers of "Rap-Up" magazine put the song at number ten on their list of the ten best singles of 2006. In 2013, John Boone and Jennifer Cady of E! Online placed the song at number six on their list of ten best Beyoncé's songs. In a 2013 list of Jay-Z's 20 Biggest "Billboard" Hits, "Déjà Vu" was ranked at number 19.

Chart performance.

"Déjà Vu" debuted on the US "Billboard" Hot 100 chart at number 44, less than a month before its physical release. After the release of the digital and physical components, the song sold 75,000 downloads in its first week. It eventually peaked at number four on the Hot 100 chart. The track's Freemasons/M. Joshua remix topped the US Hot Dance Club Play chart, while the album version peaked at number 18 on the same component chart. "Déjà Vu" also reached the top spot of the Hot Dance Singles Sales and Hot R&B/Hip-Hop Songs charts, number nine on the Rhythmic Top 40 chart, and number 14 on the Top 40 Mainstream chart.  "Déjà Vu" reached the top 10 in eight European countries. Having sold 29,365 units on its first week, the single made its debut at number one on the UK Singles Chart, becoming Beyoncé's second solo number-one single in the UK. The single reached the top five in Hungary, Ireland, Italy, Norway, and Switzerland and entered the top 10 in Belgium, Finland, and Germany. In Oceania, "Déjà Vu" peaked on the Australian Singles Chart at number 12, and on the New Zealand Singles Chart at number 15. "Déjà Vu" emerged as the 98th best-selling single in Australia in 2006.

Music video.

Background and synopsis.

The music video for "Déjà Vu" was filmed by British director Sophie Muller in New Orleans, Louisiana on June 21, 2006, with parts of the video shot at the Maple Leaf Bar and the Oak Alley Plantation in Carrollton, Louisiana and Vacherie, Louisiana respectively. The footage features couture-inspired outfits, vigorous footwork and sexually-themed routines. The video simultaneously premiered on July 12, 2006 on MTV's show "TRL", and Overdrive, MTV's online video channel. It reached the top spot on the "TRL", Yahoo!, and MTV countdowns. The "Deja Vu" video topped the UK TV airplay chart in late July 2006. The video begins with showing Beyoncé against a green wall and Jay-Z sitting on a chair inside a dark room. Beyoncé and Jay-Z then start to simultaneously play imaginary instruments, mimicking the song's tune. Scenes of Beyoncé are then shown in several different rooms wearing different outfits. As the chorus begins, she is shown running around and dancing out in a large sugarcane field. At the end of the chorus, she dances in a red dress in front of a pond and in a large red dress out in front of a mansion. When Jay-Z's verse begins, the two are shown alone inside a room, Beyoncé is now barefoot and bare-legged, she dances seductively around Jay-Z, and leads to the controversial oral sex scene. Beyoncé is then shown wearing a green skirt and bedazzled bra while dancing around in sand. As the song progresses, she is shown dancing alone in a dark forest wearing a sparkling black dress as fireflies circle around her head. The song ends with Beyoncé leaning back in a pose as fireflies race away.

Reception.

Reactions to the video were mixed. Sal Cinquemani of Slant Magazine commented it is "more thematic and thought provoking than the videos for 'Baby Boy' and 'Naughty Girl'", Beyoncé's songs from her debut album, "Dangerously in Love". Allhiphop's Eb Haynes described the video "visually fresh" and "couture motivated". A news article published by "Hindustan Times" reported that a particular scene in the video is suggestive of oral sex. Natalie Y. Moore of "In These Times" magazine echoed the latter's commentary, writing that the video showcases Beyoncé "strutting her sexuality", and that in Jay-Z's scenes it "looks as if any minute now she'll give him fellatio". The video later appeared on a list of Yahoo! Music News' Worst Videos of All Time, which pointed to the negative fan reaction and stated, "It's probably the least horrific video listed... but as far as Beyoncé videos go, it is a stinker."  According to an MTV News staff report, as of July 2006, more than two thousand people had signed an online petition addressed to Beyoncé's record label, Columbia, demanding a reshoot for the video. By the end of August 2006, 5000 additional fans had signed it. The petition requested the clip to be taped again because it was considered to be "an underwhelming representation of the talent and quality of previous music-video projects of Ms. Beyoncé". Included in the laundry list of offenses were "a lack of theme, dizzying editing, over-the-top wardrobe choices, and unacceptable interactions" between Beyoncé and her now-husband, Jay-Z. Beyoncé's dance moves were also called into question by the petition, qualifying them as "erratic, confusing and alarming at times". Additionally, fans complained about the sexual theme depicted in the video, describing that some scenes as "unacceptable interactions [between Beyoncé and Jay-Z]" while also complaining of a "non-existent sexual chemistry" between the two. The music video was awarded Best Video at the 2006 MOBO Awards. It also received two nominations for Sexiest Video and Best Hook-Up at the 2007 MTV Australia Video Music Awards.

Live performances.

"Déjà Vu" was performed by Beyoncé at the 2006 BET Awards on June 27 at the Shrine Auditorium. The show was opened with a performance of the song and Jay-Z joined Beyoncé onstage during the second half of the song. William Keck of "USA Today" commented that Beyoncé "sizzled in a revealing silver ensemble" as she performed the song. She also performed "Déjà Vu" at the Fashion Rocks on September 8, 2006. According to Farrah Weinstein of MTV News, Beyoncé's performance of the song was billed as a tribute to Josephine Baker, and both her stage set and outfit were in homage to the singer and dancer. The set was designed like an old cabaret club, complete with male dancers bearing saxophones, and both Beyoncé and her female dancers wore Baker's trademark mini-hula skirt embellished with fake bananas. She performed the song on the American morning news and talk show, "Good Morning America" during an episode which aired on September 8, 2006. Beyoncé also performed the song at "The Ellen DeGeneres Show" on September 9, 2006, and at "The Tyra Banks Show" on September 15, 2006. At the 2006 World Music Awards on November 15, 2006, Beyoncé opened the show with a performance of "Déjà Vu".  In addition to her live performances of "Déjà Vu" in awards ceremonies and televised shows, the song was included on the set list for her tours The Beyoncé Experience and I Am... World Tour. During Beyoncé's performance of "Déjà Vu" at a concert in Toronto on August 25, 2007, she had a wardrobe malfunction as her dress flew over her head and was speculated to reveal her breast. However, a spokesperson for the singer denied speculations saying, "She's wearing a flesh-tone bra! Do you really think Beyoncé would go onstage like that?". The video which was uploaded to YouTube went viral. Ann Powers of "Los Angeles Times" discussed about the malfunction, saying: "As a pop queen, Beyoncé is almost too perfect... [a] 'wardrobe malfunction' in Toronto garnered far more attention than was warranted partly because these mistakes contradicted her fiercely athletic style." During the I Am... World Tour, Beyoncé did not perform the whole song; she sang several of the opening lines of "Déjà Vu" after her entrance on stage. During the revue I Am... Yours which was a part of the tour, Beyoncé performed a jazz medley of "Déjà Vu", "It Don't Mean a Thing (If It Ain't Got That Swing)" and "Bootylicious" and continued with a full version of the first song. Concert performances of "Déjà Vu" were included on her live albums "The Beyoncé Experience Live" (2007), "" (2009) and "I Am... World Tour" (2010). Beyoncé performed Déjà Vu during her 2018 Coachella Performances on April 14 and April 21, 2018 with a guest appearance by Jay Z, along with a live orchrestra. It had been more than 8 years since she last performed the song.

Cover versions.

On January 31, 2009 Jade Ewen performed the song during the "" show. During the finale of the tenth season of "American Idol" on May 25, 2011, the lady contestants joined together onstage to perform "Déjà Vu" along with a medley of Beyoncé's other hit singles.

Credits and personnel.

Adapted from "B'Day's" liner notes.

"Déjà Vu" is a song recorded by American singer Beyoncé, featuring vocals by rapper Jay-Z. It was produced by Rodney "Darkchild" Jerkins and Beyoncé for her second solo album, "B'Day" (2006). "Déjà Vu" is an R&B song, which incorporates elements of the 1970s funk and soul music. Its music is largely based on live instrumentation, including bass guitar, hi-hat, horns, except Roland TR-808 drum machine, which is a non-live instrument. The song's title and lyrics refer to a woman being constantly reminded of a past lover.

Déjà Vu est le américain de l'album "B'Day" de la chanteuse de R'n'B Beyoncé et le mondial. Le titre contient une participation du rappeur Jay-Z.


Stadium.

The stadium was initially scheduled to open in 2006 with a capacity of approximately 55,000 seats. This was designed by Manchester-based architects AFL. A subsequent redesign of this stadium brought the capacity to 60,000, and planning permission was granted for this in 2003. Construction on this never progressed past the ground works due to a lack of funds.  Under the ownership of Tom Hicks and George Gillette, Dallas-based architects HKS were asked to present a plan for a 60,000 seater stadium that could be easily expandable to over 73,000 in the future. They came up with a futuristic design with an 18,500 seater single tier kop. The design was estimated to cost £400m, and the club were granted planning permission for this stadium. Work never started on this as the owners Hicks and Gillette couldn't raise the funds.  In January 2008, AFL presented Liverpool FC with another redesign of their 60,000 capacity stadium. This was dubbed "New Generation Anfield" and would seat 73,000 with 18,500 in a single tiered kop, similar to the HKS capacity. The stadium would also include two Wembley-style arches. It would cost £290m to build. Planning permission has not been sought for this project however.  In January 2012, the Telegraph reported that the new club owners Fenway Sports Group had decided to ditch the HKS design on the bases of cost and practicality and focus on working with AFL's "First Generation Anfield" plans. They would modernise the now decade-old design, and include a single tiered kop. It was thought that at least £150m in sponsorship money would have had to have been raised before construction could begin. The current owners announced the expansion of Liverpool's current stadium. Work began on the project in 2015.

History.

Liverpool F.C. were approached by Liverpool City Council to become a tenant on the flagship King's Dock project. The club however rejected the offer because the site would only be suitable for a 50,000 capacity stadium. At the same time, Merseyside rivals Everton F.C. informally inquired about building on North West section of Stanley Park, Liverpool but were deterred when told that a Victorian covenant was in place. Liverpool's then CEO, Rick Parry threatened to move Liverpool into a neighbouring borough on Merseyside because the only other site he considered viable was to become a residential estate in Garston. The City Council then offered Everton F.C. the opportunity to become tenants of King's Dock. Everton agreed to this as they would only need to raise £30million for a 55,000 capacity stadium and the rest would be paid for with public money by the Council.  Sensing an opportunity, former chief executive Rick Parry told Liverpool City Council that Liverpool F.C. wanted to build on the South East area of Stanley Park and that they were considering leaving the city boundaries and taking millions of pounds of income that would usually be paid to the council with them. The City Council reluctantly agreed to Parry's demands and Parry told the press that the solution was "under our noses all along". At the time, Everton chairman, Bill Kenwright chose not to contest the reasoning because they were being given financial support from the public sector. Plans to build on Stanley Park were resisted by local residents and Friends of Stanley Park who did not want to lose parkland for a football stadium.  The stadium designed by AFL was given planning permission in February 2003. Construction was expected to be finished in 2006.

Hicks & Gillett Era.

In February 2007 the club was bought by American owners Tom Hicks and George Gillett Jr. The new owners stated that a new stadium was a priority and that work would begin soon. However the pair failed to secure funding for the stadium, and the AFL plans were replaced by newer and more expensive HKS ones. The HKS stadium was given final planning permission on 19 June 2008 and minor site preparation began on 24 June 2008.  On 15 May, Carlsberg stated their interest in a sponsorship deal of the stadium name, proposing Carlsberg Anfield. No official deal was signed however, and thus no major financial backing was secured.  Former Liverpool Chief Executive Rick Parry announced on 5 October 2008 that although the stadium would still be built, work would be delayed until economic conditions improve.

Fenway Sports Group Era.

By mid-2010 the club were in serious financial trouble with huge debts. This prompted the takeover of the club by a consortium led by John W Henry in October 2010. The group known as New England Sports Ventures (now Fenway Sports Group) announced that the club wanted to expand stadium capacity, and that they would reexamine all options, including redeveloping Anfield.[{cn}} FSG permanently ditched the more expensive HKS stadium designs in favour of a revised AFL design that would conform with the original planning permission.  In October 2012, BBC Sport reported that the owners of Liverpool FC had decided to redevelop their current home at Anfield stadium, rather than building a new stadium in Stanley Park. As part of the redevelopment the capacity of Anfield was to increase from 45,276 to approximately 60,000 and would cost in the region of £150m.

Groundshare with Everton FC.

It was reported that, should funding prove sufficiently difficult to acquire, there was a possibility that the stadium would be co-financed by Everton FC, who were also looking into the possibility of a new stadium in Kirkby, although this had been strenuously denied by Liverpool's former co-owner Tom Hicks. Due to the government's rejection of Everton FC's stadium project and financial problems at Everton FC, there had been speculation in the media as to a joint stadium project. Such a project received support from the leader of Liverpool city council and the chief of Liverpool's bid to host matches as part of the failed English 2018 World Cup bid. Despite media rumours, Liverpool FC always maintained that a ground sharing situation was never on the agenda. This idea was quashed once Liverpool F.C. completed their new Main Stand, removing the need for a potential new stadium.

Access.

Anfield Railway Station.

In February 2008, it was revealed that Liverpool FC were looking to build a new rail station. Three locations have been looked at; Utting Avenue, Stanley Park Avenue and Pinehurst Avenue.

Stanley Park was a proposed football stadium in Stanley Park, Liverpool that if built, would have become home to Liverpool Football Club, replacing their current stadium Anfield. The stadium had a planned capacity of 60,000 (potentially expandable to 73,000) all-seated.

Stanley Park Stadium est le nom d'un projet avorté de stade de football d'environ places, destiné à remplacer le stade d'Anfield du Liverpool FC, près du en Angleterre.


History.

Situated on the historic Mormon Trail and near the Oregon and California trails along the banks of the North Platte River, Torrington was founded in 1900 by W.G. Curtis (1857–1913), and named by him for his home town of Torrington, Connecticut. Originally a watering and coaling station for the CB&Q Railroad, which began passenger service in 1900, the growing city soon became the main source of civilization for nearby farmers and ranchers. In 1905, the first bridge was constructed over the North Platte River, which it had previously been necessary to ford.  A post office called Torrington was established in 1889 on W. G. Curtis' farm three miles west of where the town of Torrington would be in 1900, with W. G. Curtis serving as Postmaster and later as mayor. By 1908 the town was incorporated as a town in Laramie County. It had a bank, three general stores, a pharmacy with a soda fountain, a land office, and two hotels (for one of which the building, although modified, still exists at 1841 Main Street.) It soon became a central place of trade for Goshen County, and for surrounding areas in eastern Wyoming and western Nebraska.  Situated on the North Platte River in eastern Wyoming near the Nebraska border, the town site survey began on April 1900, by Ashland B. Smith of the Lincoln Land Company of Nebraska. The survey and plating was completed and recorded in public records in Cheyenne on June 22, 1900, individual plots of the land were sold to residents for one dollar each by Charles Henry Morrill, President of the Lincoln Land Company. More The Torrington Telegram" (which was still published in 2015) was established in 1911. The 1900 United States Census lists only 71 inhabitants in the Torrington Precinct and does not list it as a town. All were stock growers, ranch laborers, cowboys or at school. Only one was listed as a Hardware clerk  Also in 1911, Goshen County was officially organized. The County was created from what had previously been a portion of the northern end of Laramie County. The towns of Torrington and nearby Lingle—some 10 miles away—both competed for designation as the county seat. Torrington ultimately prevailed, and was selected, after Torrington residents were able to raise sufficient funds for a construction of a courthouse. The cornerstone for the courthouse was set in 1913, during a ceremony where a band played, conducted by Hi Yoder—from whose family the nearby town of Yoder, Wyoming, takes its name.  Also by that time, early motor cars started showing up in town, the Goshen County Fair Association had been established, and in 1915 Torrington had a population of 443. In 1919, the Trail Hotel building, which still exists at 2001 Main Street, was constructed. In 1925, the Union Pacific Railroad based in Omaha constructed a spur line from Cheyenne to South Torrington, to serve the proposed Holly Sugar Corporation plant which began operations in 1926.  The large, 24-hour Holly Sugar factory, which processes sugar beets, was still operating in 2015 as a major employer for the Torrington area, and the preserved historic Union Pacific Depot building now houses the Goshen County Homesteaders Museum.  The Torrington Livestock Commission, established in 1934, still held twice-weekly livestock auctions in 2015. It is the largest livestock auction operation and barn in Wyoming, and ranks as the third to fifth largest livestock auction in the United States. Drawing cattle from a nine-state region (Nebraska, Colorado, Arizona, Nevada, Utah, Idaho, South Dakota, Montana and the bulk of Wyoming) the Torrington livestock auction barn attracts buyers from all over the nation. And,, Goshen County ranked number one in Wyoming for its cattle inventory.  Today, when traveling between Torrington and Guernsey, Wyoming, motorists will be following the path of the historic Oregon and Mormon Trail as they make their way along the banks of the North Platte River past the site of the 1854 Grattan Massacre near Lingle, and past the historic western 19th-Century U.S. Army Cavalry outpost, Fort Laramie National Historic Site.

Geography.

Torrington is located at (42.066542, −104.182471). According to the United States Census Bureau, the city has a total area of, all land. Its elevation is 4104 feet, 1251 meters.

Climate.

Torrington, situated on the North Platte River, has a semi-arid climate (Köppen climate classification ""BSk"").

Demographics.

2010 census.

As of the census of 2010, there were 6,501 people, 2,527 households, and 1,506 families living in the city. The population density was. There were 2,717 housing units at an average density of. The racial makeup of the city was 93.2% White, 1.0% African American, 0.9% Native American, 0.5% Asian, 0.2% Pacific Islander, 3.0% from other races, and 1.3% from two or more races. Hispanic or Latino of any race were 11.3% of the population.  There were 2,527 households of which 26.0% had children under the age of 18 living with them, 44.8% were married couples living together, 10.2% had a female householder with no husband present, 4.6% had a male householder with no wife present, and 40.4% were non-families. 34.5% of all households were made up of individuals and 16.1% had someone living alone who was 65 years of age or older. The average household size was 2.21 and the average family size was 2.83.  The median age in the city was 41.4 years. 19.8% of residents were under the age of 18; 11.1% were between the ages of 18 and 24; 23.2% were from 25 to 44; 26.8% were from 45 to 64; and 19.3% were 65 years of age or older. The gender makeup of the city was 52.5% male and 47.5% female.

2000 census.

At the census of 2000, there were 5,776 people, 2,436 households, and 1,522 families living in the city. The population density was 1,617.4 people per square mile (624.7/km2). There were 2,644 housing units at an average density of 740.4 per square mile (286.0/km2). The racial makeup of the city was 93.49% White, 0.31% African American, 0.90% Native American, 0.29% Asian, 0.10% Pacific Islander, 3.65% from other races, and 1.25% from two or more races. Hispanic or Latino of any race were 9.47% of the population.  There were 2,436 households out of which 26.7% had children under the age of 18 living with them, 49.9% were married couples living together, 9.9% had a female householder with no husband present, and 37.5% were non-families. 32.3% of all households were made up of individuals and 17.3% had someone living alone who was 65 years of age or older. The average household size was 2.26 and the average family size was 2.86.  The age distribution was: 23.3% under the age of 18, 9.6% from 18 to 24, 23.1% from 25 to 44, 22.9% from 45 to 64, and 21.0% who were 65 years of age or older. The median age was 41 years. For every 100 females, there were 93.0 males. For every 100 females age 18 and over, there were 87.1 males.  The median income for a household in the city was $30,136, and the median income for a family was $40,750. Males had a median income of $31,058 versus $20,101 for females. The "per capita" income for the city was $16,026. About 9.3% of families and 13.3% of the population were below the poverty line, including 16.0% of those under age 18 and 11.3% of those age 65 or over.

Government.

The United States Postal Service operates the Torrington Post Office.  The Wyoming Medium Correctional Institution (WMCI) is located in Torrington. WMCI, a facility of the Wyoming Department of Corrections, serves as an intake center for male inmates not sentenced to death. It was opened on January 6, 2010, and the first 75 inmates to be housed there arrived on January 13, 2010. By 2015, it housed over 300 inmates.

Education.

Public education in Torrington is provided by Goshen County School District#1. Zoned campuses include Lincoln Elementary School (grades K-2), Trail Elementary School (grades 3–5), Torrington Middle School (grades 6–8), and Torrington High School (grades 9–12).  Other towns and communities included in the consolidated Goshen County School District include Lingle, LaGrange, Huntley, and Yoder, among others.  Eastern Wyoming College, located in Torrington, is a two-year community college serving the area, with outreach centers serving Platte, Niobrara, Converse, Weston and Crook counties.  Torrington has a public library, the Goshen County Library.

Infrastructure.

Airport.

Torrington Municipal Airport is a city-owned, public-use airport located two nautical miles (4 km) east of the central business district of Torrington.

Torrington is a city in, and the county seat of, Goshen County, Wyoming United States. The population was 6,501 at the 2010 census.

La ville de Torrington est le siège du comté de Goshen, dans l’État du Wyoming, aux États-Unis. Sa population s’élevait à lors du recensement, estimée à.


Classification.

First described by American mycologist Charles Thom in 1906, "P. roqueforti" was initially a heterogeneous species of blue-green, sporulating fungi. They were grouped into different species based on phenotypic differences, but later combined into one species by Kenneth B. Raper and Thom (1949). The "P. roqueforti" group got a reclassification in 1996 due to molecular analysis of ribosomal DNA sequences. Formerly divided into two varieties ― cheese-making ("P. roqueforti" var. "roqueforti") and patulin-making ("P. roqueforti" var. "carneum") ― "P. roqueforti" was reclassified into three species: "P. roqueforti", "P. carneum", and "P. paneum". The complete genome sequence of "P. roqueforti" was published in 2014.

Description.

As this fungus does not form visible fruiting bodies, descriptions are based on macromorphological characteristics of fungal colonies growing on various standard agar media, and on microscopic characteristics. When grown on Czapek yeast autolysate agar or yeast-extract sucrose (YES) agar, "P. roqueforti" colonies are typically 40 mm in diameter, olive brown to dull green (dark green to black on the reverse side of the agar plate), with a velutinous texture. Grown on malt extract agar, colonies are 50 mm in diameter, dull green in color (beige to greyish green on the reverse side), with arachnoid (with many spider-web-like fibers) colony margins. Another characteristic morphological feature of this species is its production of asexual spores in phialides with a distinctive brush-shaped configuration.  Evidence for a sexual stage in "P. roqueforti" has been found, based in part on the presence of functional mating-type genes and most of the important genes known to be involved in meiosis. In 2014, researchers reported inducing the growth of sexual structures in "P. roqueforti", including ascogonia, cleistothecia, and ascospores. Genetic analysis and comparison of many different strains isolated from various environments around the world indicate that it is a genetically diverse species.  "P. roqueforti" is known to be one of the most common spoilage molds of silage. It is also one of several different moulds that can spoil bread.

Uses.

The chief industrial use of this species is the production of blue cheeses, such as its namesake Roquefort, Bleu de Bresse, Bleu du Vercors-Sassenage, Brebiblu, Cabrales, Cambozola (Blue Brie), Cashel Blue, Danish blue, Polish Rokpol made from cow's milk, Fourme d'Ambert, Fourme de Montbrison, Lanark Blue, Shropshire Blue, and Stilton, and some varieties of Bleu d'Auvergne and Gorgonzola. (Other blue cheeses, including Bleu de Gex and Rochebaron, use "Penicillium glaucum".)  Strains of the microorganism are also used to produce compounds that can be employed as antibiotics, flavours, and fragrances, uses not regulated under the U.S. Toxic Substances Control Act. Its texture is chitinous.

Secondary metabolites.

Considerable evidence indicates that most strains are capable of producing harmful secondary metabolites (alkaloids and other mycotoxins) under certain growth conditions. Aristolochene is a sesquiterpenoid compound produced by "P. roqueforti", and is likely a precursor to the toxin known as PR toxin, made in large amounts by the fungus. PR-toxin has been implicated in incidents of mycotoxicoses resulting from eating contaminated grains. However, PR toxin is not stable in cheese and breaks down to the less toxic PR imine.  Secondary metabolites of "P. roqueforti", named andrastins A-D, are found in blue cheese. The andrastins inhibit proteins involved in the efflux of anticancer drugs from multidrug-resistant cancer cells.  "P. roqueforti" also produces the neurotoxin roquefortine C. However, the levels of roquefortine c in cheese made from it is usually too low to produce toxic effects. The organism can also be used for the production of proteases and specialty chemicals, such as methyl ketones, including 2-heptanone.

Penicillium roqueforti is a common saprotrophic fungus in the genus "Penicillium". Widespread in nature, it can be isolated from soil, decaying organic matter, and plants.

Penicillium roqueforti est une espèce de champignons ascomycètes saprophytes, très répandue dans la nature. Son principal usage fermier, artisanal ou industriel est la transformation laitière attachée aux fromages à pâte persillée comme le roquefort, la fourme d'Ambert, la fourme de Montbrison, le bleu d'Auvergne, le bleu des Causses, le bleu du Vercors-Sassenage, le bleu d'Élisabeth, le Blue Stilton


Life.

David Foster Wallace was born in Ithaca, New York, to Sally Jean Wallace () and James Donald Wallace, and was raised in Champaign-Urbana, Illinois along with his younger sister, Amy Wallace-Havens. From fourth grade, Wallace lived with his family in Urbana, where he attended Yankee Ridge Elementary School and Urbana High School. His father was a philosophy professor at the University of Illinois at Urbana–Champaign. His mother was an English professor at Parkland College, a community college in Champaign, which recognized her work with a "Professor of the Year" award in 1996.  As an adolescent, Wallace was a regionally ranked junior tennis player, an experience he wrote about in the essay "Derivative Sport in Tornado Alley", originally published in "Harper's Magazine" as "Tennis, Trigonometry, Tornadoes". Although his parents were atheists, Wallace twice attempted to join the Roman Catholic Church, but "flunk[ed] the period of inquiry"; he later attended a Mennonite church.  Wallace attended Amherst College, his father's alma mater, where he majored in English and philosophy and graduated "summa cum laude" in 1985. Among other extracurricular activities, he participated in glee club; his sister recalls that he "had a lovely singing voice". In studying philosophy, Wallace pursued modal logic and mathematics, and presented a senior thesis in philosophy and modal logic that was awarded the Gail Kennedy Memorial Prize and posthumously published as "Fate, Time, and Language: An Essay on Free Will" (2011).  By the time he graduated, with his honors thesis in English becoming the manuscript of his first novel, "The Broom of the System" (1987), Wallace had committed to being a writer. He told David Lipsky: "Writing ["The Broom of the System"], I felt like I was using ninety-seven percent of me, whereas philosophy was using fifty percent." Wallace completed a Master of Fine Arts degree in creative writing at the University of Arizona in 1987. He then moved to Massachusetts to attend graduate school in philosophy at Harvard University, but soon left the program.  In the early 1990s, Wallace was in a relationship with writer Mary Karr, who had split with her husband. Karr later described Wallace as obsessive about her and the relationship as volatile, with Wallace once throwing a coffee table at her and once forcing her out of a car, leaving her to walk home. She has complained that Wallace's biographer D. T. Max underreported Wallace's abuse. Of Max's account of their relationship, she tweeted, "that's about 2% of what happened. tried to buy a gun. kicked me. climbed up the side of my house at night. followed my son age 5 home from school. had to change my number twice, and he still got it. months and months it went on." Several scholars and writers noted that Max’s biography did, in fact, cover the abuse and did not ignore the allegations Karr later reiterated on Twitter.  In 2002, Wallace met the painter Karen L. Green, whom he married on December 27, 2004.  Wallace struggled with depression, alcoholism, drug addiction, and suicidal tendencies, with recurrent psychiatric hospitalizations. In 1989, he spent four weeks at McLean Hospital—a psychiatric institute in Belmont, Massachusetts, affiliated with the Harvard Medical School—where he successfully completed a drug and alcohol detox program. He later said his time there changed his life.  Dogs were important to Wallace, and he spoke of opening a shelter for stray canines. According to his friend Jonathan Franzen, he "had a predilection for dogs who'd been abused, and [were] unlikely to find other owners who were going to be patient enough for them."

Work.

Career.

"The Broom of the System" (1987) garnered national attention and critical praise. In "The New York Times", Caryn James called it a "manic, human, flawed extravaganza... emerging straight from the excessive tradition of Stanley Elkin's "The Franchiser", Thomas Pynchon's "V.", [and] John Irving's "World According to Garp"".  In 1991, Wallace began teaching literature as an adjunct professor at Emerson College in Boston. The next year, at the suggestion of colleague and supporter Steven Moore, Wallace obtained a position in the English department at Illinois State University. He had begun work on his second novel, "Infinite Jest", in 1991, and submitted a draft to his editor in December 1993. After the publication of excerpts throughout 1995, the book was published in 1996.  In 1997, Wallace received a MacArthur Fellowship, as well as the Aga Khan Prize for Fiction, awarded by editors of "The Paris Review" for one of the stories in "Brief Interviews" which had appeared in the magazine.  In 2002, Wallace moved to Claremont, California, to become the first Roy E. Disney Professor of Creative Writing and Professor of English at Pomona College. He taught one or two undergraduate courses per semester and focused on writing.  Wallace delivered the commencement address to the 2005 graduating class at Kenyon College. The speech was published as a book, "This Is Water", in 2009. In May 2013 parts of the speech were used in a popular online video, also titled "This Is Water".  Bonnie Nadell was Wallace's literary agent during his entire career. Michael Pietsch was his editor on "Infinite Jest".  In March 2009, Little, Brown and Company announced that it would publish the manuscript of an unfinished novel, "The Pale King", that Wallace had been working on before his death. Pietsch pieced the novel together from pages and notes Wallace left behind. Several excerpts were published in "The New Yorker" and other magazines. "The Pale King" was published on April 15, 2011, and received generally positive reviews. Michiko Kakutani of the "New York Times" wrote that "The Pale King" "showcases [Wallace's] embrace of discontinuity; his fascination with both the meta and the microscopic, postmodern pyrotechnics and old-fashioned storytelling; and his ongoing interest in contemporary America’s obsession with self-gratification and entertainment." It was also nominated for the Pulitzer Prize.  Throughout his career, Wallace published short fiction in periodicals such as "The New Yorker", "GQ", "Harper's Magazine", "Playboy", "The Paris Review", "Mid-American Review", "Conjunctions", "Esquire", "Open City", "Puerto del Sol", and "Timothy McSweeney's Quarterly Concern".

Themes and styles.

Wallace wanted to progress beyond the irony and metafiction associated with postmodernism; in the essay "E Unibus Pluram: Television and U.S. Fiction" (1993), he proposed that television has an ironic influence on fiction, and urged literary authors to eschew TV's shallow rebelliousness: "I want to convince you that irony, poker-faced silence, and fear of ridicule are distinctive of those features of contemporary U.S. culture (of which cutting-edge fiction is a part) that enjoy any significant relation to the television whose weird, pretty hand has my generation by the throat. I'm going to argue that irony and ridicule are entertaining and effective, and that, at the same time, they are agents of a great despair and stasis in U.S. culture, and that, for aspiring fictionists, they pose terrifically vexing problems." Wallace used many forms of irony but tended to focus on individual persons' continued longing for earnest, unself-conscious experience and communication in a media-saturated society.  Wallace's fiction combines narrative modes and authorial voices that incorporate jargon and invented vocabulary, such as self-generated abbreviations and acronyms, long, multi-clause sentences, and an extensive use of explanatory endnotes and footnotes, as in "Infinite Jest" and the story "Octet" (collected in "Brief Interviews with Hideous Men") and most of his non-fiction after 1996. In a 1997 interview on "Charlie Rose", Wallace said that the notes were to disrupt the linear narrative, to reflect his perception of reality without jumbling the narrative structure, and that he could have jumbled the sentences "but then no one would read it".  Max has described Wallace's work as an "unusual mixture of the cerebral and the hot-blooded", often featuring multiple protagonists and spanning different locations in a single work. His writing comments on the fragmentation of thought, the relationship between happiness and boredom, and the psychological tension between the beauty and hideousness of the human body. According to Wallace, "fiction's about what it is to be a fucking human being", and he said he wanted to write "morally passionate, passionately moral fiction" that could help the reader "become less alone inside". In his Kenyon College commencement address, Wallace described the human condition as daily crises and chronic disillusionment and warned against succumbing to solipsism, invoking the existential values of compassion and mindfulness:

Nonfiction.

Wallace covered Senator John McCain's 2000 presidential campaign and the September 11 attacks for "Rolling Stone"; cruise ships (in what became the title essay of his first nonfiction book), state fairs, and tornadoes for "Harper's Magazine"; the US Open tournament for "Tennis" magazine; the director David Lynch and the pornography industry for "Premiere" magazine; the tennis player Michael Joyce for "Esquire"; the movie-special-effects industry for "Waterstone's" magazine; conservative talk radio host John Ziegler for "The Atlantic"; and a Maine lobster festival for "Gourmet" magazine. He also reviewed books in several genres for the "Los Angeles Times", "The Washington Post", "The New York Times", and "The Philadelphia Inquirer". In the November 2007 issue of "The Atlantic", which commemorated the magazine's 150th anniversary, Wallace was among the authors, artists, politicians and others who wrote short pieces on "the future of the American idea".  These and other essays appear in three collections, "A Supposedly Fun Thing I'll Never Do Again, Consider the Lobster," and the posthumous "Both Flesh and Not," the last of which contains some of Wallace's earliest work, including his first published essay, "Fictional Futures and the Conspicuously Young".  Some writers have found parts of Wallace's nonfiction implausible. Franzen has said that he believes Wallace made up dialogue and incidents: "those things didn't actually happen". John Cook has remarked that "Wallace encounters pitch-perfect characters who speak comedically crystalline lines and place him in hilariously absurd situations...I used both stories "[in teaching journalism]" as examples of the inescapable temptation to shave, embellish, and invent narratives".

Legacy.

In March 2010 it was announced that Wallace's personal papers and archives—drafts of books, stories, essays, poems, letters, and research, including the handwritten notes for "Infinite Jest"—had been purchased by the University of Texas at Austin. They now reside at that university's Harry Ransom Center.  The first annual David Foster Wallace Conference was hosted by the Illinois State University Department of English in May 2014; the second was held in May 2015.  Since 2011 Loyola University New Orleans has offered English seminar courses on Wallace. Similar courses are also taught at Harvard University.  In January 2017 the International David Foster Wallace Society and the "Journal of David Foster Wallace Studies" were launched.

Adaptations.

Film and television.

A feature-length film adaptation of "Brief Interviews with Hideous Men", directed by John Krasinski with an ensemble cast, was released in 2009 and premiered at the Sundance Film Festival.  The 19th episode of the 23rd season of "The Simpsons", "A Totally Fun Thing That Bart Will Never Do Again" (2012), is loosely based on Wallace's essay "Shipping Out" from his 1997 collection of essays A "Supposedly Fun Thing I'll Never Do Again". The Simpson family takes a cruise, and Wallace appears in the background of a scene, wearing a tuxedo T-shirt while eating in the ship's dining room; Wallace recounted having worn such a T-shirt "at formal suppers".  The 2015 film "The End of the Tour" is based on conversations David Lipsky had with Wallace, transcribed in "Although of Course You End Up Becoming Yourself" (2010). Jason Segel played Wallace, and Jesse Eisenberg Lipsky. The film won an Audience Award for Best Narrative Feature at the Sarasota Film Festival, and Segel was nominated for the Independent Spirit Award for Best Male Lead.  "Partridge", a Season 5 episode of NBC's "Parks and Recreation", repeatedly references "Infinite Jest", of which the show's co-creator, Michael Schur, is a noted fan. Schur also directed the music video for The Decemberists' "Calamity Song", which depicts the Eschaton game from "Infinite Jest."

Stage and music.

Twelve of the interviews from "Brief Interviews with Hideous Men" were adapted into a stage play in 2000, the first theatrical adaptation of Wallace's work. The play, "Hideous Men", adapted and directed by Dylan McCullough, premiered at the New York International Fringe Festival in August 2000.  "Brief Interviews" was also adapted by director Marc Caellas as a play, "Brief Interviews with Hideous Writers", which premiered at Fundación Tomás Eloy Martinez in Buenos Aires on November 4, 2011.  The short story "Tri-Stan: I Sold Sissee Nar to Ecko" from "Brief Interviews with Hideous Men" was adapted by composer Eric Moe into a 50-minute operatic piece, to be performed with accompanying video projections. The piece was described as having "subversively inscribed classical music into pop culture".  "Infinite Jest" was performed once as a stage play by Germany's experimental theater Hebbel am Ufer. The play was staged in various locations throughout Berlin, and the action took place over a 24-hour period.  "Good Old Neon", from "", was adapted and performed by Ian Forester at the 2011 Hollywood Fringe Festival, produced by the Los Angeles independent theater company Needtheater.  The song "Surrounded by Heads and Bodies", from the album "A Brief Inquiry into Online Relationships" by The 1975, borrows its title from the opening line of "Infinite Jest". Matty Healy, The 1975's lead singer, said in an interview with Pitchfork that he was inspired by the novel after reading it during a stint in rehab:

Death.

Wallace's father said that David had suffered from major depressive disorder for more than 20 years and that antidepressant medication had allowed him to be productive. Wallace experienced severe side effects from the medication and in June 2007 stopped taking phenelzine, his primary antidepressant drug, on his doctor's advice. His depression recurred, and he tried other treatments, including electroconvulsive therapy. Eventually he went back on phenelzine but found it ineffective. On September 12, 2008, at age 46, Wallace wrote a two-page suicide note, arranged part of the manuscript for "The Pale King", and hanged himself from a rafter of his house.  Memorial gatherings were held at Pomona College, Amherst College, the University of Arizona, Illinois State University, and on October 23, 2008, at New York University (NYU). The eulogists at NYU included his sister, Amy Wallace-Havens; his literary agent, Bonnie Nadell; Gerry Howard, editor of his first two books; Colin Harrison, an editor at "Harper's Magazine"; Michael Pietsch, editor of "Infinite Jest" and later works; Deborah Treisman, fiction editor at "The New Yorker" magazine; and the writers Don DeLillo, Zadie Smith, George Saunders, Mark Costello, Donald Antrim, and Jonathan Franzen.

David Foster Wallace (February 21, 1962 – September 12, 2008) was an American author of novels, short stories and essays, as well as a university professor of English and creative writing. Wallace is widely known for his 1996 novel "Infinite Jest", which "Time" magazine cited as one of the 100 best English-language novels from 1923 to 2005. His posthumous novel, "The Pale King" (2011), was a finalist for the Pulitzer Prize for Fiction in 2012.

David Foster Wallace, né le à Ithaca (New York) et mort le à Claremont (Californie), est un écrivain américain. Il est principalement reconnu pour son roman (1996). Il a également été professeur au Pomona College à Claremont, en Californie, de 2002 à 2008.


Biography.

He was born into a modest family of small farmers in Lachaussée-du-Bois-d'Écu. His first art lessons were at the "Imperial School of Design" (a government-sponsored craft school). Later, he studied at the École des Beaux-arts in the workshop of Léon Cogniet. He won the Prix de Rome in 1864, aged only twenty-three.  After returning from Rome in 1869, he was appointed a Professor of drawing at the Gobelins Manufactory, a position he occupied for fifty years. From 1873 to 1877, he was the Inspector of art works. He exhibited in the Salon every year until his death in 1926 in Paris. After the founding of the Third Republic, he was involved in the decoration of several public buildings, including murals for Saint-Augustin Church (which had been started during the Second Empire), ceiling and staircase decorations for the Town Hall in the 3rd arrondissement and ornaments in the Bon Marché (now gone).  At the request of Prince Von Donnersmarck and his wife (known as "La Païva"), Maillart decorated the ceiling of in Upper Silesia. The building was burned by the Red Army in 1945 and the ruins were demolished in 1961. A series of murals he created for the City Hall in Beauvais also fared poorly; being destroyed by German bombs in 1940.  In addition to his painting, he was also a prolific author, writing a work on Byzantine art and a general history of the fine arts, in two volumes (among others). He became a knight in the Légion d’honneur in 1885. His grave in the Cimetière du Montparnasse is adorned with a bust sculpted by Henri-Léon Gréber.

Diogène Ulysse Napoléon Maillart (28 October 1840 – 3 August 1926) was a French painter, illustrator, designer, teacher and art critic.

Diogène Ulysse Napoléon Maillart, né le à Lachaussée-du-Bois-d'Écu (Oise) et mort le à Paris, est un peintre français. Il est le grand-père du peintre Jean-Denis Maillart.