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[ "Roberto Mangabeira Unger", "Academic career", "What was Unger's career?", "The beginning of Unger's academic career began with the books Knowledge and Politics and Law in Modern Society,", "Did he author those books?", "published in 1975 and 1976 respectively.", "What else did he do in his career ?", "Unger worked on his magnum opus, Politics:" ]

[ "Albert Daniel McGregor (July 14, 1870 – 1948) was a politician in Manitoba, Canada. He served in the Legislative Assembly of Manitoba from 1922 to 1927.\n\nMcGregor ran for the House of Commons of Canada in the 1917 federal election as a candidate of the opposition Laurier Liberals. He lost to government candidate Fred Langdon Davis by 3,056 votes.\n\nHe was elected for the constituency of Gladstone in the 1922 provincial election, as a candidate of the United Farmers of Manitoba (UFM). The UFM won the election, and formed government as Progressive Party of Manitoba. For the next five years, McGregor served as a backbench supporter of John Bracken's ministry. He did not run for re-election in 1927.\n\nReferences \n\n \n\nProgressive Party of Manitoba MLAs\n1870 births\n1948 deaths\nCandidates in the 1917 Canadian federal election\nManitoba candidates for Member of Parliament\nLiberal Party of Canada candidates for the Canadian House of Commons", "Ernest Harold Pickering (1881 – 31 January 1957) was a British Liberal Member of Parliament for the Leicester West constituency. He was also Professor of English Literature at Tokyo University.\n\nBackground\nHe was born in Leicester.\n\nProfessional career\nPickering was a Unitarian Minister. He was author of A Brief Survey of English Literature. He was Professor of English at Yamagata, Koto Gakko, Japan. He was Professor of English Literature at Tokyo University.\n\nPolitical career\nHe was Liberal candidate for the Leicester West division at the 1931 General Election. Following the formation of the National Government, the Conservatives and Liberals agreed not to oppose each other in Leicester and as part of that arrangement, Pickering was given a free run against his Labour opponent. He managed to gain the seat. In parliament, Pickering took the official Liberal whip and sat on the government benches until the Liberal Party moved into opposition in 1933. He did not defend his seat at the 1935 General Election. He did not contest the 1945 General Election. He was Liberal candidate for the Newark division of Nottinghamshire at the 1950 General Election. He did not stand for parliament again.\n\nElectoral record\n\nReferences\n\nExternal links \n\n1881 births\n1957 deaths\nLiberal Party (UK) MPs for English constituencies\nUK MPs 1931–1935" ]

[ "Roberto Mangabeira Unger", "Academic career", "What was Unger's career?", "The beginning of Unger's academic career began with the books Knowledge and Politics and Law in Modern Society,", "Did he author those books?", "published in 1975 and 1976 respectively.", "What else did he do in his career ?", "Unger worked on his magnum opus, Politics:", "Did he run for government?", "I don't know." ]

[ "Unger is an unincorporated community in southern Morgan County in the U.S. state of West Virginia. Unger is distinguished amongst other towns in Morgan County for retaining an operating post office since one was established there in 1853. From 1857 to 1935, it was known as Unger's Store until March 31, 1950 (see image) its name was then shortened to Unger on April 1, 1950 (see image).\n\n \n\nUnger is located at the crossroads of Winchester Grade Road (West Virginia Secondary Route 13) and Unger's Store Road (West Virginia Secondary Route 11).\n\nAs of 2008 or earlier, the post office at Unger has been closed (the Berkeley Springs post office serves Unger). Unger does, however, boast The Farnham Colossi at Unger:\nhttp://www.roadsideamerica.com/tip/3699 and the former Unger's Store still sells produce on the porch in season. On the ground, the road is marked Unger's Store Road eastbound, (Big Oak Tree Road westbound) intersecting with Timber Ridge Road at a large oak tree. However, GPS systems and internet mapping sites often call what is locally known and posted as Unger's Store Road \"Blue Rock\" or \"Blue Roack\" road. There are no signs on the ground with these designations.\n\nReferences \n\nRuane, Michael E.; June 26, 2006 Suburbia Catches Up With Unger, W.Va.. Washington Post.\n\nUnincorporated communities in Morgan County, West Virginia\nUnincorporated communities in West Virginia", "Politics: A Work in Constructive Social Theory is a 1987 book by Brazilian philosopher and politician Roberto Mangabeira Unger. In the book, Unger sets out a theory of society as artifact, attempting to complete what he describes as an unfinished revolution, begun by classic social theories such as Marxism, against the naturalistic premise in the understanding of human life and society. Politics was published in three volumes: False Necessity: Anti-Necessitarian Social Theory in the Service of Radical Democracy, the longest volume, is an explanatory and programmatic argument of how society might be transformed to be more in keeping with the context-smashing potential of the human imagination; Social Theory: Its Situation and Its Task, is a \"critical introduction\" that delves into issues of social science underpinning Unger's project; and Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military Success, is a collection of three historical essays illuminating the theoretical points Unger advanced in the first two volumes. In 1997, an abridged, one-volume edition of Politics was issued as Politics, The Central Texts, edited by Zhiyuan Cui.\n\nVolume 1: False Necessity: Anti-Necessitarian Social Theory in the Service of Radical Democracy\n\nIn False Necessity, Unger presents both an explanatory theory of society and a program for the reform of society as a radical democracy that respects the ability of human beings continually to outreach, subvert, and remake their contexts. Unger proposes an \"empowered democracy\" that is structured so that it is maximally open to revision, a form of organization Unger calls \"structure-revising structure.\" As Unger explains, \"[a]s an explanatory theory of society, False Necessity seeks to free social explanation from dependence upon the denial of our freedom to resist and to remake our forms of social life. It carries to extremes the thesis that everything in society is politics, mere politics....\" Unger argues that \"the best hope for the advancement of the radical cause—the cause that leftists share with liberals—lies in a series of revolutionary reforms in the organization of governments and economies and in the character of our personal relations.\"\n\nThe explanatory theory in False Necessity focuses on cycles of reform and retrenchment in the West after World War II—particularly the repetitive nature of ordinary social conflict—in which there seem to be few options for major social change. Radical reform movements seem inevitably to fail even when they manage to achieve control of the government, due to a combination of business disinvestment and the bickering and jockeying for advantage among different groups of workers. Unger advances a hypothesis and analysis of a formative contexts that explains these stubborn cycles of reform and retrenchment. Formative contexts include the institutional arrangements and imaginative presuppositions that shape people’s routines, and give certain groups mastery over the wealth, power, and knowledge in society. Unger lays a groundwork for the programmatic argument by analyzing certain possibilities in the state and in the microstructure of society—the extension of rights to guarantee the inviolability of the individual against government oppression and to meet basic material needs; the patron-client relationship as an example of a replacement of the impersonal by the personal; and a flexible variant of rationalized collective labor as a mode of work organization that breaks down the barrier between task-definers and task-executors in the workplace. Unger employs the concept of negative capability to describe the quality of freedom that emerges from liberating ourselves from rigid roles and hierarchies that compose part of society's formative contexts, and notes that one limitation on remaking contexts is the difficulty of combining institutions embodying different levels of negative cability into a single context. Unger concludes the explanatory section by setting forth an institutional genealogy of contemporary formative contexts and a theory of context making, both of which offer insight that can be used in remaking society.\n\nIn the programmatic section of False Necessity, Unger seeks to merge the modernist visionary's criticism of personal relations with the leftist's critique of collective institutions, in a program for empowered democracy. Despite the natural affinity between modernism and leftism, according to Unger, these two movements have been separated for too long, to the detriment of transformative politics. Unger justifies empowered democracy as the system that will embody the \"superliberalism\" that Unger sees as the surest way to bring about human empowerment, in a state that is not hostage to faction and where society is an artifact of will, not a product of institutional fetishism adhering to past compromises and outmoded institutions. Unger describes the \"transformative movement\" in its quest for empowered democracy, and sketches the principles that would inform the empowered democracy as he envisions it: institutions that are less plagued by deadlock, that decentralize the exercise of power, that represent overlapping functions, and are designed to lead to swift resolution of impasse. The institutions that embody these principles include a rotating capital fund giving broad access to society's investment capital to teams of workers, a series of innovative rights (such as market rights, immunity rights, destabilization rights, and solidarity rights) that guarantee the individual's dignity, security, and right to participate fully in the economy and government of society and would be enforced by government departments charged with intervening to destabilize unjust accumulations of wealth and power.\n\nUnger completes the programmatic argument by describing a \"cultural-revolutionary counterpart to the institutional program,\" arguing that such a cultural revolution is necessary since politics always comes down to the relations of individuals to each other. Finally, Unger describes the \"spirit\" of the constitution of empowered democracy as embodied in three principles: as a superstructure that has a structure-destroying effect; as a form of empowerment that allows us to loosen the bonds of our contexts over our activities and undermines any belief in a canonical list of forms of association between people; and as a kind of society that fulfills \"the desire to do justice to the human heart, to free it from indignity and satisfy its hidden and insulted longing for greatness in a fashion it need not be fearful or ashamed of.\"\n\nVolume 2: Social Theory: Its Situation and Its Task\n\nIn Social Theory: Its Situation and Its Task, subtitled \"A Critical Introduction to Politics,\" Unger lays out the theoretical background of Politics with a critical assessment of the situation of social thought, specifically by examining and describing the history and failures of classical social theory which Unger seeks to remedy in Politics. Unger describes the trajectory of social theory in the twentieth century as one in which the projects of liberalism and socialism went part of the way toward liberating people from false necessity, but he contends that \"no one has ever taken the idea of society as artifact to the hilt.\" Unger describes the situation in the late twentieth century, the time during which he was writing Politics, as \"a circumstance of theoretical exhaustion and political retrenchment,\" which he seeks to redefine as \"a gathering of forces for a new and more powerful assault upon superstition and despotism.\"\n\nThe theoretical framework that Unger offers, as a substitute for classical social theory, is one that rejects naturalistic and historicist assumptions that view us as \"helpless puppets of the social worlds we build and inhabit or of the lawlike forces that have supposedly brought these worlds into being.\" Unger maintains that his programmatic arguments\n\nreinterpret and generalize the liberal and leftist endeavor by freeing it from unjustifiably restrictive assumptions about the practical institutional forms that representative democracies, market economies, and the social control of economic accumulation can and should assume.\n\nUnger notes that \"Politics sets out to execute a program for which no ready-made mode of discourse exists,\" and that thus it \"raids many disciplines\" and develops a \"language for a vision\" as it moves forward.\n\nIn discussing the predicament of social theory and offering his corrections to its failings, Unger suggests that the difficulties of social theory can be traced to the difficulty of accounting for the context-breaking nature of human life. Unger contends that it is necessary to disengage social theory from a style of explanation that treats human thought and action as though they are bound by a describable structure or society as though it is governed by a set of lawlike evolution. Unger does not claim that his proposals constitute the only way to end the tyranny of false necessity. Rather, Unger says, he is offering one possible way, and that the project of reforming society is one that we must undertake step-by-step:\n\nSocial Theory: Its Situation and Its Task merely suggests a route that Politics actually clears and follows. The modest beginning serves as a reminder that we do not need a developed social theory to begin criticizing and correcting liberal, leftist, and modernist ideas. Instead, our attempts to combine, step by step, revised ideals and changed understandings can themselves help build such a theory.Unger offers several \"points of departure\" that, he contends, lead to the same point: the point at which we recognize the necessity of creating a social theory that accounts for human context-transcending ability and thus seeks a way to create social structures that enable their own revision. Of these available points of departure, Unger devotes the most attention to the situation of contemporary social thought: namely, the shortcomings of positivist social science (represented by mainstream economics) and the deep-structure social theory (represented by Marxism), each of which fail, in different ways, to account properly for the true nature of formative contexts and thus offer unsatisfactory solutions to the dilemmas of human life and social organization.\n\nReminding the reader that \"[t]his book works toward a social theory that pushes to extremes the idea that everything in society is frozen or fluid politics,\" Unger explains the philosophical and scientific setting for his antinaturalistic, politicized social theory. He marshals examples from philosophy to support his argument, looking closely at the concepts of necessity and contingency to show that there is no aspect of our knowledge that is immune to empirical revision, and that we can always find \"more to be true than we can yet prove, verify, or even make sense of.\" Unger also points to an embarrassment of historical explanation, namely the constraint that historical particularity imposes upon general explanations. This philosophical discussion supports Unger's argument against social theories that would hold that we are puppets of our circumstances or that our thoughts or actions are ever finally constrained by our contexts.\n\nVolume 3: Plasticity Into Power: Comparative-Historical Studies on the Institutional Conditions of Economic and Military SuccessPlasticity Into Power consists of three convergent essays that help to illustrate, through the marshaling of historical examples, the anti-necessitarian social theory that Unger advanced in False Necessity and Social Theory. Unger explains that his approach in Plasticity Into Power \"shows that we do not need to predefine possible trajectories of large-scale, discontinuous structural change in order to understand what happens in history ... It enlarges our sense of the real and the possible. It places explanatory ambition on the side of an acceptance of contingency and an openness to novelty.\"\n\nIn the first essay, \"The Periodic Breakdown of Governments and Economies in Agrarian-Bureaucratic Societies: Its Causes, Antidotes, and Lessons,\" Unger examines the reversion crises experienced by agrarian-bureaucratic empires, in which periods of commercial vitality were followed by decommercialization, breakdown of government, and reversion to a non-monetary economy. Unger contends that these reversion cycles resulted from a situation in which governments were unwilling to side decisively with the peasantry against the oligarchy. Unger discusses the solutions to reversion crises in Western Europe, Japan, China, and Russia, concluding that the Western European and Japanese paths out of the reversion cycle were highly successful, though achieved through a period of unchecked conflict in which the peasantry never met the combined force of the government and the oligarchy. Unlike the accidental trajectory of Europe and Japan's escape from reversion, China achieved escape from reversion through statecraft, by the adaptation of institutions, practices and attitudes of China's nomadic conquerors to meet the challenge of freeing central government from control or immobilization by landowning elites. Russia's path out of reversion was a deeply flawed one, achieved only in a way that robbed it of potential for economic revolution. From his analyses of these varied paths out of the reversion cycle, Unger concludes that societywide social hierarchies create steep hurdles to dealing with society's practical problems, and also create obstacles to social experiments that would lead to breakthroughs in a society's productive powers.\n\nIn the second essay, \"Wealth and Force: An Antinecessitarian Analysis of the Protection Problem,\" Unger looks at the problem nations face in turning their wealth into a military force:\nThere has never been a single, riskless method for turning the wealth of a country, a faction, or a family into military force. On the contrary, the efforts to secure wealth against violence (or the threat of violence), and to get violence for wealth and wealth for violence, present hard problems.Unger looks at two prevailing approaches to the protection problem throughout history: the quasi-autarkic empire, in which most trade takes place within the boundaries of a territory ruled by a single government, and the overlord-peddler partnership, in which trade and production are carried out in territories that a number of authorities rule and tax. Unger points to the flaws of each of these approaches to the protection problem, and contends that neither approach was successful in Europe, where a third approach was developed, one that capitalized on the mutual reinforcement of force and wealth. Increases in the productivity of labor and in the deadliness of weaponry gave European countries a decisive edge over others, and circumstances aligned so that society's elites were able to unify against the working classes below them. Furthermore, the intense geopolitical rivalry among European states created an urgency for reforms that would help the state enlist force in support of wealth without crushing the productive sector of society under the costs of such defense. Unger emphasizes that the successful European solutions were \"inseparable from the accumulations of these circumstances—technological, social, and geopolitical. To aim beyond the imperial-autarkic or the overlord-enterprise schemes ... other societies would have had to formulate different responses, suited to their own conditions.\"\n\nIn the final essay, \"Plasticity Into Power: Social Conditions of Military Success,\" Unger focuses on the social conditions that give rise to breakthroughs in military capacity. Viewing \"destruction as a mirror of production,\" Unger maintains that there is less theoretical prejudice in the field of military history than in the field of economics. He contends that the study of military history provides an illuminating perspective on themes of plasticity and institutional indeterminacy that he has explored throughout Politics. His focus in this essay is on the institutions and conditions that have favored or disfavored advances in military capability. Unger looks at the examples of Mamluk armies in their 16th century war against the Ottomans, and the Norman crusaders who were defeated at the hands of the Seljuqs in the last years of the eleventh century A.D. For the Mamluks (who rejected the adoption of firearms) and the Normans (who were unwilling to change their operational style of warfare in the face of the superior mobility of the Seljuqs), failure to transform led to their doom. Unger then considers examples from preindustrial European history and later Asian history to emphasize the importance of mastering \"an art of institutional dismemberment and recombination,\" an art that helps societies negotiate the linkage, on the one hand, of practical capabilities with immediate organizational setting of those capabilities, and on the other hand, the link between a way of organizing work to a more comprehensive set of arrangements in government and the economy. Unger concludes by suggesting that \nThe military examples suggest that the repeated practice of institutional dissociation and recombination is not a random walk. It has—or at least, it has often had—a direction. Practiced long and often enough, it moves societies toward greater plasticity.... [M]ovement toward this ideal has generally brought success to the individuals, groups, and countries that have achieved it.\nUnger concludes by acknowledging that there is a final ambiguity to be discerned in the relationship between the imperatives of plasticity and institutional sequence. Does plasticity converge toward particular ways of organizing work and the activities of production and destruction, or is there an indefinitely large ways of organizing them? \"We do not know the answers to these questions,\" Unger writes, and goes on to say that \"[w]e can turn [plasticity] into a foothold for our attempts to make our social contexts nourish our context-revising powers and respect our context-transcending vocation.\"\n\nReception\n\nNorthwestern University Law Review Symposium on Unger's PoliticsPolitics was the subject of a 1987 symposium in the Northwestern University Law Review, which was later published in book form as Critique and Construction: A Symposium on Roberto Unger's Politics.\n\nRichard Rorty praised Politics highly, writing that Unger \"does not give the last word to the time he lives in. He also lives in an imaginary, lightly sketched, future. This is the sort of world romantics should live in; their living there is the reason why they and their confused, utopian, unscientific, petty bourgeois followers can, occasionally, make the actual future better for the rest of us.\" Rorty went on to say, \"Unger's book offers a wild surmise, a set of concrete suggestions for risky social experiments, and a polemic against those who think the world has grown too old to be saved by such risk-taking.\" \n\nJonathan Turley, writing in the Northwestern Symposium, praised Politics, observing that \"like the great majority of Unger's work, [it] penetrates its subject matter at the deepest level, analyzing the very language and foundation of social theory.... Unger's comprehensive theories and writings have implications for virtually all disciplines and professions.\"\n\nLegal scholar Milner Ball described Politics as \"a Theory of Everything. There is sweep and brilliance to Politics. It is illuminating as well as affecting.\" However, Ball went on to express reservations about Politics, contending that it undercuts the very response it seeks to elicit.... The writing grows remote and abstract, with everything done by the author in cold terms. Nothing is left for the reader but to observe and try to take it in.... Unger recruits us for a grand journey of the mind into hope and action, but as the theory lifts and spirals toward heaven, we are left behind to marvel and applaud at a distance, for this can only be a solo voyage.\n\nWilliam A. Galston wrote of Politics: \"I have never before encountered prose crafted so relentlessly in the prophetic mode, so incessantly proferring universal truths.\" But Galston argued that a flaw in Politics is that \"Unger implicitly claims for himself an exemption from contextuality: whatever may be true for others, his own prophetic powers have achieved the status of absolute understanding.\"\n\nCass R. Sunstein conceded that Unger's proposals in Politicsare designed to generate a more vigorous public life and overcome the entrenched quality of the existing distribution of power and the existing set of preferences. The basic approach, however, lacks clear foundations. \"Context smashing\" and \"self-assertion\" are not intrinsic goods; their desirability depends on a substantive conception distinguishing between contexts that promote autonomy, welfare, or virtue and those that do not. Moreover, Unger's system underestimates the dangers of putting everything \"up for grabs,\" the risks of factionalism, the possibilities of deliberative democracy, and the facilitative functions of constitutionalism. A system in which fundamental issues are constantly open to \"fighting\" and \"conflict\" is likely to be undermined by powerful, well-organized private groups and by self-interested representatives.\n\nOther reviews and considerations\n\nWilliam E. Connolly offered a highly laudatory review in the New York Times, writing: Politics soars into the rarefied stratosphere of social theory, striving to realize the highest aspirations of modernity itself. Mr. Unger is thus best understood in relation to contemporaries who reach for similar heights, such as the European thinkers Hans Blumenberg, Jurgen Habermas and Michel Foucault.... [T]he unusual combination of theoretical acuity and detail in these volumes is a brilliant contribution to social thought. Each time Mr. Unger offers a new proposal, settled assumptions and priorities are questioned with new intensity. The rapid accumulation of such proposals exposes the finely spun threads binding the prosaic world of political reform to the rarefied heights of theoretical imagination. Finally, the relentless specification of a vision that most moderns share inchoately exposes precisely what people must do (and believe) to pursue freedom through mastery. This freedom may not be able to bear its own reflection after looking into the mirror Mr. Unger holds up to it.\n\nA chapter of Perry Anderson's book A Zone of Engagement was devoted to Unger's Politics''. The chapter was called \"Roberto Unger and the Politics of Empowerment.\" Anderson wrote, \"For sheer imaginative attack, Unger's program for social reconstruction has no contemporary counterpart. It certainly honors its promise to advance beyond—far beyond—the ambitions of social democracy.\"\n\nSee also\n Political theory\n Social theory\n\nReferences\n\nSources\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n\n1987 non-fiction books\nSocial theories\nBooks by Roberto Mangabeira Unger\nCritical legal studies" ]

[ "JLS", "Television appearances" ]

[ "Walter Kinsella (born August 16, 1900, in New York City, died May 11, 1975, in Englewood, New Jersey) was an American theater, television and radio actor.\n\nIn his youth, Kinsella was active as a middle-distance runner in track events, winning more than 120 prizes in competition sponsored by the Amateur Athletic Union.\n\nIn the 1920s, he was featured in advertisements for Arrow collars.\n\nKinsella's first Broadway stage appearance was in 1924, in What Price Glory? His other Broadway credits included Blessed Event, Arrest That Woman, and Juno.\n\nKinsella's roles on radio programs included:\n\nHe also was a regular cast member of The Johnny Morgan Show and That's My Pop.\n\nKinsella's most noted television role was that of Happy McMann in NBC's detective drama Martin Kane, Private Eye. He also was the announcer for the Kane program. He made a guest appearance on Perry Mason in 1961 as defendant Carter Gilman in \"The Case of the Duplicate Daughter.\"\n\nKinsella was married and had a son and a daughter.\n\nReferences\n\nExternal links\n \n \n Photos of Walter Kinsella\n\n20th-century American male actors\nAmerican male stage actors\nAmerican male radio actors\nAmerican male television actors\n1900 births\n1975 deaths\nMale actors from New York City", "Undertow is the second album by Drenge released on 6 April 2015. Their first release since expanding to a three-piece with the addition of bassist Rob Graham, who played on three tracks, the album was produced by Ross Orton and recorded at McCall Sound Studios in late 2014.\n\nThe album was announced on 27 January 2015 and the band performed a track from it on The Late Show with David Letterman the same day, their first appearance on American television.\n\nThe album's release was followed by a UK tour in April 2015.\n\nThe first single to be taken from the album, \"We Can Do What We Want\", was released in January 2015.\n\nAccolades\n\nTrack listing\n\nPersonnel\nDrenge\nEoin Loveless – lead vocals, guitar\nRory Loveless – drums\nRob Graham – bass guitar\n\nCharts\n\nReferences\n\n2015 albums\nDrenge (band) albums\nInfectious Music albums" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast." ]

[ "Best Christmas Ever is a seasonal program block on AMC, an American cable and satellite network. The block, launched in 2018, airs Christmas-themed television specials and feature films from late November until the day after Christmas.\n\nIts primary direct competition is the more established 25 Days of Christmas on Freeform, on which much of the same programming had previously aired prior to 2018. The two blocks continue to share rights to three films, with each network getting a window to air each film: the 1994 remake of Miracle on 34th Street, Mrs. Doubtfire and Love the Coopers. In contrast to 25 Days of Christmas, Best Christmas Ever airs no original programming, relying entirely on reruns.\n\nHistory\nAMC had typically aired a rotating lineup of five to six Christmas movies during the holiday season. In 2018, the channel introduced a more extensive holiday lineup branded as Best Christmas Ever, running from November 26 to December 25, featuring a mix of popular Christmas and family films, along with other acquired specials. The schedule included notable acquisitions from Warner Bros., including Elf, National Lampoon's Christmas Vacation, The Polar Express, and 12 Rankin/Bass specials. The films had been recent mainstays of the 25 Days of Christmas schedule, with Elf in particular having received extensive airplay and high viewership during the event. Other programs included specials from DreamWorks Animation. As expected, AMC saw ratings gains over the holiday season; primetime viewership for the first two weeks of the event was up 40% year-over-year, airings of Elf and Christmas Vacation both peaked at 1.5 million viewers, and average viewership of feature films on Freeform fell by 36% year-over-year in the same period.\n\nIn 2019, Freeform responded to the loss of most of the Rankin/Bass library by acquiring cable rights to the two remaining specials from that company that had never been aired on cable: Rudolph the Red-Nosed Reindeer and Frosty the Snowman, sharing the rights with those two specials' longtime free-to-air rightsholder, CBS.\n\nIn 2020, AMC expanded the \"Best Christmas Ever\" brand to its streaming service AMC+, which carries more adult-oriented content from AMC and partner networks We TV, Sundance TV, IFC and BBC America.\n\nFor 2021, AMC added hosting segments from Beverly D'Angelo, the co-star of National Lampoon's Christmas Vacation, and themed days throughout the block, some of which will include out-of-season films: movie marathons devoted to John Candy and Bill Murray, marathons devoted to holiday mischief (\"Naughty List Marathon\") and slapstick (\"Holiday Hijinks\"), and a Wonka Weekend featuring a rotation of both film adaptations of the book Charlie and the Chocolate Factory.\n\nProgramming\nAs of 2021:\n\nSpecials\nDonkey's Caroling Christmas-tacular\nThe First Christmas: The Story of the First Christmas Snow\nFrosty's Winter Wonderland\nGrandma Got Run Over by a Reindeer\nHow Murray Saved Christmas\nJack Frost (1979)\nThe Leprechaun's Christmas Gold\nThe Life and Adventures of Santa Claus (1985)\nThe Little Drummer Boy Book II\nThe Madagascar Penguins in a Christmas Caper\nMerry Madagascar\nMichael Bublé's Christmas in Hollywood\nNestor, the Long-Eared Christmas Donkey\nPinocchio's Christmas\nRudolph's Shiny New Year\n'Twas the Night Before Christmas (1974)\nThe Year Without a Santa Claus\n\nSeries\nThe Great Christmas Light Fight (shared with CMT and Buzzr)\n\nFilms\n12 Dogs of Christmas: Great Puppy Rescue\nAll I Want for Christmas\nAll I Want for Christmas Is You\nAnnie\nBeauty and the Beast (shared with Freeform)\nBeethoven's Christmas Adventure\nBuster & Chauncey's Silent Night\nCharlie and the Chocolate Factory\nChristmas in Connecticut (both the 1945 and 1992 versions)\nThe Christmas Shoes\nA Christmas Story 2\nA Dennis the Menace Christmas\nDr. Seuss: How the Grinch Stole Christmas (2000 film)\nElf\nElla Enchanted\nErnest Saves Christmas\nThe Family Stone\nFour Christmases (shared with TBS as of 2021)\nFred Claus (shared with TBS as of 2021)\nFree Birds\nGhostbusters\nGhostbusters II\nThe Great Outdoors\nGremlins\nHappy Feet\nA Holiday to Remember\nJack Frost (1998 film)\nJimmy Neutron: Boy Genius (2001 film)\nJoyful Noise\nThe Legend of Frosty the Snowman\nLove Actually (shared with Freeform)\nLove the Coopers (shared with Freeform)\nA Miracle on Christmas Lake\nMiracles from Heaven\nNanny McPhee\nNanny McPhee Returns\nNational Lampoon's Christmas Vacation (shared with TBS as of 2021)\nThe Nativity Story\nPlanes, Trains & Automobiles\nThe Polar Express\nRichie Rich\nRudolph and Frosty's Christmas in July\nSamantha: An American Girl Holiday\nScoot & Kassie's Christmas Adventure\nScrooge\nScrooged\nSnow Day\nThe Sons of Mistletoe\nSummer Rental\nTo Grandmother's House We Go\nVegas Vacation\nWhite Christmas\nWilly Wonka & the Chocolate Factory\nWish for Christmas\nZookeeper\n\nReferences\n\nExternal links\nBest Christmas Ever 2019 list\n\nAMC (TV channel) original programming\nChristmas television specials\nAnnual television shows\nTelevision programming blocks in the United States\nRecurring events established in 2018\n2018 American television series debuts\nAMC Networks", "Nya tider () is a Swedish soap opera which was broadcast on TV4. It began after Skilda världar became a one-episode-a-week show. The show premiered in 1999 and got good ratings the first season, but they soon dropped. Broadcast was moved to just being an episode a week on Sundays, but this did not increase viewership; Nya tider never enjoyed the same viewership as Skilda världar. It was cancelled in 2006.\n\nThe show's cast included Ingrid Janbell and Rebecca Ferguson.\n\nIn 2000 TV4 ran the reality show Jakten på Billie Jo to pick an actress to play the new villain, Billie Jo. American Alexandra Sapot won the role.\n\nReferences\n\n1990s Swedish television series\n1999 Swedish television series debuts\n2000s Swedish television series\n2006 Swedish television series endings\nSwedish television soap operas\nSwedish-language television shows\nTV4 (Sweden) original programming" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009." ]

[ "[#] (read as \"hash\") is the second extended play by South Korean girl group Loona. It was released on February 5, 2020, by Blockberry Creative and distributed by Kakao M.\n\nBackground \nOn March 31, 2019, a teaser titled \"#\" was released on the group's official YouTube channel. The clip looks back to Loona's previous releases and teaser films and ends with the word \"burn\". It also features imagery of butterflies, as well as the symbols \"++\" and \"xx\". On May 31, a second teaser was released titled \"La Maison Loona\", with the phrase \"delayed but someday\" showed at the end. On December 13, a teaser titled \"#1\" was released. On December 31, an image teaser was released.\n\nOn January 8, 2020, it was announced that member HaSeul would halt activities with the group due to health concerns. On January 10, a second teaser was released titled \"#2\", setting the release date to February 5. On January 13, individual teasers started to being released, starting with member Olivia Hye and ending with a group photo on January 19. On the same day, the track list was released, revealing the proper lead single as \"So What\". On January 22, a third teaser was released titled \"#3\". On February 5, 2020, member Yves confirmed in the album's press showcase that SM Entertainment founder Lee Soo-man was involved in the production of this album, doing so after he watched the group's cover video for NCT 127's \"Cherry Bomb\".\n\nThe description of the \"So What\" music video announced that the album's limited editions included a CD-only song, \"Day & Night\".\n\nSingles \n\"365\" was released as a lead single on December 13, 2019.\n\n\"So What\" was released as the 2nd single and title track in conjunction with the EP on February 5, 2020.\n\nCommercial performance\nThe EP debuted at number 2 on South Korea's Gaon Album Chart and sold 79,797 copies in the month of February, becoming the group's best selling work at the time, while \"So What\" was the group's highest-charting song on one of Gaon's singles charts, reaching number 68 on the Download Chart. The EP also charted at number 28 on the UK Digital Albums Chart, surpassing their previous EP which charted at number 48.\n \n[#] debuted at No. 4 on Billboard's World Albums chart, tying their highest position on the tally to date with their previous two EPs, while earning 3,000 units in the week ending February 6, which marks their best sales week in America.\n\nOn March 12, 2020, Loona received their first music show win on Mnet's M Countdown with \"So What\".\n\nTrack listing\n\nCharts\n\nCertification and sales\n\n}}\n\nRelease history\n\nSee also\nList of 2020 albums\n\nReferences \n\n2020 EPs\nLoona (group) EPs\nKakao M EPs\nAlbums produced by Lee Soo-man", "The Pakistan Mas-Wrestling Federation (PMWF) is a national sports organization body of Mas-Wrestling which was formed in 2014. It has head quarter in Multan, Pakistan and it is affiliated with International Mas-Wrestling Federation.\n\nFormation \nPakistan Mas-Wrestling Federation (PMWF) was formed in 2014 in Multan with the aim of promoting Mas-wrestling in Pakistan. PMWF was affiliated with International MAS-Wrestling Federation.\n\nAnnual National Championship \nPakistan Mas-Wrestling Federation (PMWF) has been holding its national Mas-Wrestling championship annually since 2016 and it is open to all the nationals of Pakistan.\n\n1st Annual Championship 2016 \n1st Annual Mas-Wrestling Championship in Pakistan was held in Multan on 17 December 2016. It was titled Open MAS-WRESTLING CHAMPIONSHIP.\n\n2nd Annual Championship 2018 \n2nd Annual Mas-Wrestling Championship in Pakistan was held in Lahore on 23 December 2018. It was titled 2nd Kyrgyz Ambassador National Mass-Wrestling.\n\n3rd Annual Championship 2019 \n3nd Annual Mas-Wrestling Championship in Pakistan was held in Gujranwala on 7–8 December 2019. It was titled 3nd Kyrgyz Ambassador National Mass-Wrestling\n\nInternational Participation \nPakistan Mas-Wrestling Federation has arranged for Pakistani Athletes participation in international events held in Brazil, USA and 32nd World Arnold Classic. Pakistani Athletes have won medals in international competitions in Brazil and USA\n\nReferences \n\nSports governing bodies\nSports governing bodies in Pakistan" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010" ]

[ "coComment was an online service that let users keep track of their comments on any website. The service was based in Geneva, Switzerland, and founded in February 2006 by Swisscom. After a user installed the coComment bookmarklet or web browser plug-in, they could use it to track their comments and any replies to their comments on any webpage that they visit. The service had over 1.3 million users as of July 1, 2008.\ncoComment was switched off in March 2012.\n\nReferences\n\nExternal links\n Official website (archive)\n\nInternet forums\nInternet properties established in 2006\nCompanies based in Geneva\nInternet properties disestablished in 2012\nSwiss companies disestablished in 2012\nSwiss companies established in 2006", "The comments section is a feature on most online blogs, news websites, and other websites in which the publishers invite the audience to comment on the published content. This is a continuation of the older practice of publishing letters to the editor. Despite this, comments sections can be used for more discussion between readers.\n\nHistory \n\nVarious methods have been used for written commentary on published works. In Germany during the 1500s it was common practice for academics to post copies of their ideas on public places, such as church doors (see for example Luther's Ninety-five Theses). Newspapers and magazines later came to publish letters to the editor. With the advent of computers, the bulletin board system allowed publication of information, and users to comment on or discuss posts.\n\nThe first online website to offer a comments section was Open Diary, which added reader comments shortly after its launch in October 1998. Readers of blog posts on the site were able to post public or private comments to the authors directly on the page. The history of comment sections on news articles started in 1998 with The Rocky Mountain News, as they were one of the first newspapers to add online comments on the same page.\n\nWhile today comments sections are common, newspapers were hesitant to add them at first. In the late 2000s, comments sections were rapidly added to news sites, between 2007 and 2008 there was a 42% growth in the number of top circulating news sites with comments sections. In 2008, 75% of the top 100 most circulated newspapers had comments sections. In 2010, The American Journalism Review stated that news sites should not have anonymous comments sections. Following that statement Reuters, ESPN, The Huffington Post, Popular Science, Sporting News, and USA Today either made comments gated or removed them.\n\nClosing of comments sections \nVice Media closed its comment section in 2016. On closing, they noted \"we had to ban countless commenters over the years for threatening our writers and subjects, doxxing private citizens, and engaging in hate speech against pretty much every group imaginable.\"\nNPR closed its comment section in 2016. One of the stated reasons for this was that \"commenters were behaving inappropriately and harassing other commenters\".\nIMDb closed its comment section (the discussion boards, not the user reviews section) in 2017. On closing, one journalist noted that the comments section on that website was \"notoriously known for hosting some of the most pointless and hateful commentary around\".\n\nYouTube \nIn February 2019, YouTube began deleting and demonetizing channels and videos based on their comments section. This came after Youtuber \"MattsWhatItIs\" made a video exposing a ring of videos exploiting minors. He explained that videos featuring minors would have comments sections made up mostly of people making explicit and suggestive comments about those featured in the video and, in some cases, sharing links to child pornography. After advertisers began pulling ads off of the site, Youtube began deleting and demonetizing videos deemed \"violating terms and services\".\n\nTypes \nThere are two types of comment sections, gated and non-gated. Gated comments sections require users to give the website some information before they can post a comment. Many news websites such as The New York Times and most social media websites are gated, as users have to log in and post under a username that identifies them. Comments sections can also be accessed in different ways, either directly attached to an article or video, or through a separate web page. Websites such as The New York Times found that user participation increased when the comments section was located directly below.\n\nNon-gated comment sections don’t require users to provide information before posting. This lack of an entry barrier can allow more people to post and potentially lead to a discussion with more viewpoints covered. This anonymity, however, is believed by some to lead to uncivil behavior and a higher likelihood of seeing or experiencing verbal aggression in the comments. In response to this, both the Illinois and New York State senates have considered bills to limit non-gated comment sections. The Illinois bill would have incentivized websites to gate their comments requiring users to provide their real name, a home address and a confirmed IP address. The New York Bill would have made websites remove anonymous commenting.\n\nBehavior and moderation \nComments section across the internet have gained a reputation for being rude, argumentative, and being generally described as \"toxic\". Toxic comments refer to rude, disrespectful, or unreasonable comments that are likely to make one leave a discussion. Comments sections have been known for frequent arguing and disagreements. The reason for this may be due to the fact that those with strongly-held beliefs are more likely to comment and reply to others when the comments section is widely opposed to them. Likewise, users tend to stay silent when their views are widely supported. Furthermore, thanks to the internet's principle element being the ability to stay anonymous, many people realise they can be more aggressive to others without fear of real-world accountability. In addition to this, people are more likely to comment on news articles when they are more personally affected. Participation in comments is usually low in frequency, as most will only comment on articles twice, and are more likely to comment on issues that have a determinable end.\n\nIf a comment section is moderated, it is typically done in any one of the three ways: post-moderation, pre-moderation, or through a flagging system. Comments that are post-moderated are checked after they've been posted. Pre-moderated comments are checked before they are made publicly visible. Comments that are moderated with a flagging system can be marked, or \"flagged\", by other users for official website moderators to look at. In some cases, both the publishers and users can offer varying degrees of moderation in comments sections through voting systems and reporting options.\n\nIn February 2017, Google-founded technology incubator Jigsaw unveiled a tool based on artificial intelligence, called Perspective API, to identify toxic comments in online forums.\n\nIn September 2017, Disqus, a company that provides comment-hosting services, analysed over 92 million comments written by 2 million people over 16 months, on about 7,000 forums that used its service, and concluded that 25% of all commenters made at least one toxic comment. The study was carried out using Google's Perspective API. In the United States, the time of the day at which maximum proportion of comments were toxic was 3 am. However, Engadget denounced the underlying API, bringing attention to its discriminatory classifications phrases like \"I am a gay black woman\" were scored as 87% toxic. It described the algorithm as \"sexist, racist and ableist\".\n\nComments sections have often been known for containing highly sexist and misogynistic statements. In a study involving feminist articles on several news websites, it was found that many were not supportive or contributing to the feminist subject. Many comments were found to be intentionally combative and considered some form of Internet trolling.\n\nGood moderation of news websites is expensive. However, most news sites do moderate. Studies of newspaper website and blog comments have shown incivility to be present in as many as 25% of comments. Most publishers and writers have been found to tolerate and accept incivility in the comments section. This is due to the fact that incivility is subjective, and to remove those comments can lead to accusations of bias and unfair censorship.\n\nSee also\nBlog comment hosting service\nReading the Comments\n\nReferences\n\nUser-generated content\nCriticism\nWeb 2.0 neologisms" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010", "Were there any comments about their appearances?", "Due to many cinemas selling out" ]

[ "ABC Cinemas (Associated British Cinemas) was a cinema chain in the United Kingdom. Originally a wholly owned subsidiary of Associated British Picture Corporation (ABPC), it operated between the 1930s and the 1980s. The brand name was reused in the 1990s until 2000.\n\nHistory\n\nEarly years\nABC Cinemas was established in 1927 by solicitor John Maxwell by merging three smaller Scottish cinema circuits. It became a wholly owned cinema subsidiary of British International Pictures when it was merged with the production arm of British National Pictures Studios, which had been formed by Maxwell in 1926.\n\nDuring the 1930s, it grew rapidly by acquisitions and an ambitious building programme under the direction of chief architect W. R. Glen, who had been appointed in about 1929 and maintained a distinct house style. Existing cinemas which could not be re-modelled were usually operated as separate circuits. In 1937, the parent company, BIP was renamed Associated British Picture Corporation (ABPC). ABC also ran cinemas under the Ritz brand such as the Ritz Cinema, Muswell Hill.\n\nAfter his death in 1940, his widow Catherine sold a large number of shares to Warner Brothers, who eventually became the largest shareholders and able to exercise control, though ABPC was separately quoted on the London Stock Exchange.\n\nBy 1945 it operated over 400 cinemas (usually called the Savoy or Regal) and was second only to Rank's Odeon and Gaumont chains. By the close of the 1950s ABC had started rebranding most cinemas as ABC and dropped names like Regal. UK exhibition was characterised by alignments between distributors and exhibitors. ABC had access to Warner Brothers, MGM and its own ABPC productions, whereas rival Rank had 20th Century Fox, Paramount, Walt Disney, Columbia, Universal, United Artists and its own productions. Rival ABC, Odeon and Gaumont cinemas in a town showed their own releases and barred each other from showing the same film.\n\nTelevision led to a sharp decline in cinema audiences after 1952 though with the coming of commercial television from 1955 ABPC had expanded into the new medium with the creation of ABC Television Limited, which gained the Independent Television contracts for the North of England and Midlands at the weekend. ABC-TV lost its franchises in 1968, and was merged with Rediffusion to become Thames Television.\n\nAs a result of the decline many suburban ABC theatres closed. Most of those remaining began, from the late 1950s to lose their individual names and were simply branded \"ABC\". In 1959 Rank abandoned the separate Odeon and Gaumont release and put the best cinemas from each circuit onto a new Rank release. The remaining cinemas were given a new \"national\" release but this was unattractive to distributors and in 1961 Paramount switched to ABC after refusing a \"national\" release for the Dean Martin comedy All in a Night's Work. The \"national\" release soon ended entirely and there were in future just ABC and Odeon release patterns. In 1967, Seven Arts, the new owners of Warner, decided to dispose of its holdings in ABPC and subsequently EMI launched a successful take-over bid for the company. Associated British Picture Corporation was later to be renamed Thorn-EMI Screen Entertainment Ltd, although the cinema chain retained its name. In 1986, this was later divested by EMI to the Australian businessman Alan Bond who sold the chain a few days later to the Golan & Globus \"Cannon Cinemas\" Group for a reported £50 million profit in seven days. EMI retained ABPC's lucrative television interests. Eventually, the advent of largely American-owned multiplexes led to the end of barring and the old distributor alignments, which had in any case been rendered largely irrelevant by cinema closures often leaving only one cinema in a town, which had access to all films but usually had to give precedence to its traditional alignment (so an Odeon might have a poor \"Rank\" release in its biggest screen and a big \"ABC\" release in a small cinema and vice versa).\n\nABC Minors\nIn the 1940s, ABC set up the first major Saturday cinema club for children, \"The ABC Minors\". At the beginning of each Saturday morning session, the \"ABC Minors Song\" would be played to the tune of 'Blaze Away' by Abe Holzmann (1874–1939), whilst the lyrics were presented on the screen with a bouncing red ball above the words to help the audience keep the place.\n\nThe challenge of the multiplex\n\nIn the early 1990s, on the verge of bankruptcy, Cannon was taken over by Pathé Communications, a holding company which subsequently bought MGM. The new company began opening its own multiplexes as MGM Cinemas. The existing few Cannon multiplexes were also renamed as MGM Cinemas\n\nMGM continued to operate multiplex and non-multiplex cinemas, but under its two different brand identities, with the multiplexes being known as MGM Cinemas and the smaller non-multiplexes remaining as Cannon. MGM opened new multiplexes in towns and markets already served by their Cannon cinemas, and then closed the Cannon cinemas \"due to the competition from the new multiplex\" – examples of this happened in Northampton and Swindon.\n\nMGM Cinemas subsequently changed hands many times, first becoming Virgin Cinemas. Virgin Cinemas was founded in 1995 when Richard Branson's Virgin Group acquired MGM Cinemas, Virgin Group bought the cinemas for £195m, and subsequently sold 90 of the chain's remaining non-multiplex cinemas to Cinven for £70m to concentrate on multiplexes.\n\nVirgin then divested itself of the cinema business to French-owned UGC. Subsequently, UGC divested its UK operations to rival operator Cineworld.\n\nWhile this was happening, the divested smaller ABC cinemas gained a stablemate under Cinven; in 2000 Cinven bought over the one time rival chain of Odeon Cinemas for £280 million from Rank Group plc and most remaining ABC Cinemas were rebranded as Odeon or were closed as the chain was now being run by the former Rank/Odeon executives. An exception was the venue at Westover Road, Bournemouth venue which retained the ABC brand until its closure in early 2017. The Odeon on the same road closed later that year. In 2004, the Odeon chain was sold to Terra Firma Capital Partners who had recently purchased UCI cinemas and over the next six years all the Rank people were replaced with UCI management, replicating what Odeon did to ABC in 2001/2002.\n\nOn Glasgow's Sauchiehall Street the O2 ABC Glasgow became a music venue until its permanent closure after it was severely damaged by a fire in 2018. Furthermore, Skegness and Minehead Butlins holiday camps have an on-site ABC cinema.\n\nReferences\n\nExternal links\n \n\nFormer cinema chains in the United Kingdom\nButlins\nEntertainment companies established in 1927\nEntertainment companies disestablished in 2000\n1927 establishments in England\n2000 disestablishments in England\nThe Cannon Group, Inc.", "Greater Union Organisation Pty Ltd, trading as Event Cinemas, Greater Union, GU Film House, Moonlight Cinema and Birch Carroll & Coyle (BCC Cinemas), is the largest movie exhibitor in Australia and New Zealand, with over 140 cinema complexes currently operating worldwide.\n\nThe Greater Union Organisation is a subsidiary of the ASX-listed Event Hospitality and Entertainment, a corporation that owns and operates brands in the entertainment, hospitality and leisure sectors, mainly within Australasia.\n\nHistory\n\nThe Event Cinemas cinema chain has had a great impact on the Australian culture and film industry and has a history of mergers and acquisitions and liquidations that span over a century.\n\nFrom 1906 to 1911, during the silent era, Australia was the most prolific producer of feature films in the world, a period which included the creation of the first feature-length film The Kelly Gang. This creative and fertile period in Australian film history was largely created by competition between West's Pictures, Spencer's Pictures and Amalgamated Pictures. On 4 May 1912 the three joined to form The General Film Company of Australasia. On 4 January 1913 it then merged with The Greater J.D. Williams Amusement Co and restructured to become The Combine, a famous partnership between exhibition wing Union Theatres and the production and distribution wing Australasian Films.\n\nThe Combine monopoly was highly influential on the early twentieth-century Australian film industry. However, it came under heavy criticism for its low interest in producing Australian films, its preference for imported cinema, and its reluctance to exhibit Australian films by other producers. Film icon and director Raymond Longford, whose independent production company had come under attack by the group, said in 1927 that \"had it not been for the activities of that firm in its endeavour to crush it in its infancy, the local picture would now be 10 years at least advanced to the height now attained by the Americans.\" Historians have traced the sharp decline of the Australian film industry in 1913 to the repercussions of these series of takeovers and mergers. James Sabine has said that \"the stranglehold of The Combine forced a decline in local production and contributed to many Australian production companies closing their doors.\"\n\nThe Combine continued to grow into the 1920s during the genesis of the Hollywood era with its focus on exhibiting American films. The Great Depression saw Union Theatres being liquidated in 1931 and its assets purchased by newly formed Greater Union Theatres. This new company split from Australasian Films, established the Hollywood-model subsidiary Cinesound Productions, expanded into radio and newspaper, and kept its major focus on building and managing cinemas. Due to The Depression, Greater Union Theatres merged into the General Film Corporation with Hoyts, a competitor who had secured Fox Film as a shareholder. In 1937 Norman Rydge became managing director and removed the company from the previous merger. In 1945 in the last year of World War II there was a box office boom and the British Rank Organisation purchased a half share in Greater Union Theatres. During this time Greater Union acquired the rights of ownership of many theatres across the country including what became the Phoenician Club in Broadway, Sydney in 1943, originally owned by McIntyre's Broadway Theatres and established as a cinema in 1911.\n\nIn 1958 the four holding companies in the Greater Union Theatres group were merged into the Rydge family Amalgamated Holdings Limited (AHL), and in 1965 Greater Union Theatres was renamed the Greater Union Organisation (GUO). In 1980 billionaire Alan Rydge was appointed Chairman of AHL to become the youngest chairman of an Australian public company. In 1984 AHL regained control over the now-defunct Rank Organisation's half share, meaning that it once again became fully Australian owned. In 1987 GUO merged with Village Roadshow to form the distribution company Roadshow Film Distributors. In 1991 GUO acquired Birch, Carroll & Coyle. In 2003 AHL and Village Roadshow combined to form Australian Theatres.\n\nSince 2009 a number of cinemas have been renamed from Greater Union Cinemas to Event Cinemas. On 22 December 2015 AHL was renamed Event Hospitality and Entertainment. \n\nIn 2019, Birch Carroll & Coyle was inducted into the Queensland Business Leaders Hall of Fame in recognition of being Australia's leading provincial film distributor and its industry leadership throughout Queensland for 80 years.\n\nLocations\n\nAustralia\nEvent Cinemas have over sixty cinema venues around Australia, many of which are located in large shopping centres. The cinema complexes comprise multiple screens. The below locations do not include sites that operate under the joint venture between Village Roadshow and Event Hospitality & Entertainment known as Australian Theatres.\n\nAustralian Capital Territory\n Manuka\n\nNew South Wales\n\n Beverly Hills - trading as GU Filmhouse\n Blacktown - trading as Skyline Drive-In\n Bondi Junction\n Burwood\n Campbelltown \n Castle Hill\n Coffs Harbour - trading as BCC Cinemas\n Cronulla - trading as GU Filmhouse\n Glendale\n Hornsby \n Hurstville\n Kotara\n \n Lismore\n Liverpool\n Macquarie \n Miranda\n Parramatta\n Shellharbour - trading as Greater Union \n Sydney CBD - colloquially known as George St\n Top Ryde City \n Tuggerah\n Wollongong - trading as Greater Union \n\nNorthern Territory\n Casuarina - trading as BCC Cinemas\n Palmerston\n\nQueensland\n\n Brisbane City\n Broadbeach - colloquially known as Pacific Fair \n Browns Plains\n Cairns Central\n Cairns Earlville - trading as BCC Cinemas\n Cairns Smithfield\n Capalaba - trading as BCC Cinemas\n Carindale\n Chermside\n Coolangatta - trading as BCC Cinemas\n Coomera\n Indooroopilly\n Kawana \n Loganholme\n Mackay City - trading as BCC Cinemas\n Mackay Mount Pleasant - trading as BCC Cinemas\n Maroochydore - trading as BCC Cinemas\n Mt Gravatt - colloquially known as Garden City\n\n Morayfield - trading as BCC Cinemas\n Noosa - trading as BCC Cinemas\n North Lakes\n Robina\n Rockhampton North - trading as BCC Cinemas\n Southport - colloquially known as Australia Fair\n Springfield \n Strathpine - trading as BCC Cinemas\n Toombul - trading as BCC Cinemas\n Toowoomba - trading as BCC Cinemas Grand Central\n Toowoomba - trading as BCC Cinemas Toowoomba Strand \n Townsville - trading as Event Cinemas Townsville Central\n Townsville - trading as Event Cinemas Townsville City\n\nSouth Australia\n Adelaide - trading as GU Filmhouse – Closed 2020\n Arndale - trading as Greater Union – Closure announced August 2020\n Glenelg - trading as GU Filmhouse \n Marion\n\nWestern Australia\n Innaloo\n Morley - trading as Greater Union\n Whitford\n\nWith cinema admissions in decline, Event Cinemas has continued to experience growth by raising the price of admissions and offering \"premium experiences\" such as \"Gold Class\" which offers more luxury seating and food, \"Vmax\" which offers a larger screen, and alternate content including Bollywood films, football, gaming, film festivals, opera and stand-up comedy events.\n\nFiji\nWithin Fiji, Damodar Event Cinemas is a joint venture between Village Cinemas, and the Fijian-based Damodar Brothers, who operate the existing two-cinema chain under licence since 2010. \nThe brand has since changed its name to \"Damodar Cinemas\".\n\n Damodar City - trading as Damodar Event Cinemas\n\nNew Zealand\nEvent Cinemas operates cinemas in New Zealand's major urban centres, including the Embassy Theatre in Wellington. Hollywood blockbusters are regularly shown alongside arthouse features and film festivals such as the New Zealand International Film Festival.\n\n Albany \n Auckland - colloquially known as Queen St\n Blenheim\n Broadway \n Chartwell\n Coastlands\n Dunedin - trading as Rialto Cinemas \n Havelock North\n Henderson - colloquially known as Westcity\n Manukau\n Mt Maunganui\n Newmarket - trading as Rialto Cinemas\n New Plymouth\n Palmerston North\n Sandringham - colloquially known as St Lukes\n Tauranga\n Tauranga Crossing\n Te Awa Kairangi - demolished as result of 2016 earthquake\n Wellington - trading as The Embassy\n Westgate\n Whangarei\n\nExperiences\n\nGold Class\nGold Class cinemas, a luxury cinema format, is provided at a number of Event/BCC/Greater Union Cinemas locations in Australia, New Zealand & Fiji. Gold Class Cinemas include butlered refreshments, à la carte menu offerings and reclining seats in a cinema with a small number of seats. Village Cinemas first originated the concept of Gold Class, and has since popularised with the integration into the Event Group.\n\nAll Gold Class Cinemas are operated in separate areas within regular cinema complexes. Event/BCC/Greater Union Gold Class branded cinemas are located at:\n\nIn Australia:\n\n Bondi Junction \n Campbelltown\n Carindale\n Castle Hill\n Chermside\n Coomera\n Mt Gravatt\n Indooroopilly\n Innaloo\n Kawana\n Kotara\n Loganholme\n\n Macquarie\n Marion\n Miranda\n North Lakes\n Pacific Fair\n Parramatta \n Robina \n Southport - colloquially known as Australia Fair\n Springfield\n Sydney CBD - colloquially known as George St\n Whitford\n\nIn Fiji:\n\n Damodar Event Cinemas\n\nIn New Zealand:\n\n Albany \n Auckland - colloquially known as Queen St\n\nV-Max\nV-Max cinemas feature enhanced film display, picture quality, and immersive surround sound. The screens at V-Max used to be a minimum width of 25 meters or greater, however, that was lowered to 20 metres in 2010. V-Max cinemas are placed in large auditoriums which feature larger seats, stadium seating and wider arm-rests. Some locations also feature Dolby Atmos. The V-Max format is also provided at many Event Cinemas sites in Australia and New Zealand.\n\nV-Max Cinemas are usually separate from the normal cinema complexes, like the Gold Class. There are certain locations that has Dolby Atmos surround sound included in their V-Max cinemas (brackets indicating). V-Max Cinema locations include:\n\nIn Australia: \n\n Adelaide (Dolby Atmos) \n Bondi Junction \n Brisbane City Myer Centre \n Browns Plains \n Burwood \n Cairns Central \n Cairns Smithfield (Dolby Atmos) \n Campbelltown \n Carindale \n Castle Hill \n Chermside \n Coomera (Dolby Atmos) \n Garden City Mt Gravatt \n George Street (Sydney CBD) (Dolby Atmos) \n Glendale \n Hornsby \n Hurstville (Dolby Atmos) \n Indooroopilly \n\n Innaloo \n Kawana (Dolby Atmos) \n Kotara (Dolby Atmos) \n Liverpool \n Loganholme \n Marion \n Miranda (Dolby Atmos) \n North Lakes (Dolby Atmos) \n Pacific Fair (Dolby Atmos) \n Palmerston (Dolby Atmos) \n Parramatta \n Robina \n Springfield (Dolby Atmos) \n Top Ryde City \n Townsville City \n Tuggerah \n Whitford (Dolby Atmos) \n\nIn New Zealand:\n\n Westfield St Lukes\n Westfield Manukau\n Westfield Albany\n Westfield Newmarket (Dolby Atmos)\n Tauranga Crossing (Dolby Atmos)\n\nIMAX with Laser\nIMAX with Laser uses precision lasers a sharper brighter images. This technology is currently exclusive to Event Cinemas Auckland (Queen St).\n\nDigital 3D\nGUO converted most of their Australian auditoriums and flagship cinemas to digital projectors. The installation of these projectors means that most auditoriums are now RealD Cinema 3D capable.\n\n4DX\nIn late 2018, the first 4DX screen owned by the Event Group was opened in George Street (Sydney CBD). 4DX stimulates all five senses, featuring moving seats and special effects including wind, fog, water and scents that synchronise with the action on screen.\n\nBoutique\nEVENT Boutique cinemas feature recliners with footrest, and in-cinema food-and-drink service. Guests have access to the Boutique Cinema 30 minutes prior to their session. Boutique is currently available at Event Cinemas George St (Sydney CBD).\n\nMoonlight Cinema\n\nMoonlight Cinema is an outdoor seasonal exhibitor that operates in most Australian metropolitan areas. Moonlight was acquired by EVENT in 2010 from Prime Media Group for $1.75million. The division continues to grow and has signed 3 new venue contracts since its acquisition, and currently operates in:\n\nNew South Wales\n Centennial Parklands, Sydney.\n Western Sydney Parklands, Sydney.\n\nQueensland\n Roma Street Parkland, Brisbane.\n\nSouth Australia\n Botanic Park, Adelaide.\n\nVictoria\n Royal Botanic Gardens, Melbourne.\n\nWestern Australia\n Kings Park, Perth.\n\nIn addition, each venue offers 'Gold Grass' a luxurious outdoor-cinema experience, similar to the offerings of Event Cinemas' 'Gold Class'.\n\nCinebuzz Rewards\nAll cinema brands trading under EVENT, including Greater Union and BCC cinemas, share the benefits of the Cinebuzz Rewards Program. Free for members, the program grants access to advance screenings, ticket discounts, and one free movie ticket for every six movies viewed at EVENT. The program is aimed at encouraging brand loyalty and recognising VIP Customers and currently has over 3 million members in Australia.\n\nControversy \nThe exhibition and production company that became Event Cinemas has been widely criticised as the cause of the downfall of early Australian film, which was argued to be the best in the world at the time.\n\nIn 2005, Event Cinemas banned people from bringing their own food and drink into the cinema. After negative public reaction and a threat of investigation by NSW Fair Trading, the company was forced to revoke the rule. People complained that Event Cinema's food was more than double the price of that in supermarkets and had less variety.\n\nIn 2012, Australian journalist Tim Burrowes attended a screening of Skyfall at an Event Cinema. There were various technical difficulties which resulted in the audience being asked to leave and a manager threatening Burrowes for filming the crowd's reactions.\n\nIn the lead up to the 2016 Australian Federal Election, Chairman Alan Rydge was reported to have donated to Prime Minister Malcolm Turnbull's controversial political fund the Wentworth Forum.\n\nThere have been numerous incidents of faulty popcorn machines causing fires to break out in Event Cinema complexes, including Top Ryde in 2011, Adelaide and Rockhampton in September 2015, Perth in December 2015, and Sydney in August 2016.\n\nSee also\nAustralian Theatres\nEvent Hospitality and Entertainment\nHoyts\nThe Movie Masters Cinema Group\nVillage Cinemas\nWallis Cinemas\nWarner Village Cinemas\nCinema of Australia\n\nReferences\n\nExternal links\nEvent Cinemas Australia Official Site\nEvent Cinemas New Zealand Official Site\nEvent Hospitality & Entertainment Limited Official Site\nEvent Cinemas Australia Facebook\nEvent Cinemas Australia Twitter\n\nCinema chains in Australia\nCinemas in New Zealand\nEntertainment companies established in 1913\n1913 establishments in Australia" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010", "Were there any comments about their appearances?", "Due to many cinemas selling out", "What happened as a result of many cinemas selling out?", "Due to many cinemas selling out tickets for the initial weekend, additional screenings were made in cinemas for the following weekend" ]

[ "The discography of American rock band Phantom Planet consists of five studio albums, three extended plays (EPs), one remix album, eleven singles, six music videos, and two live DVD.\nPhantom Planet is an alternative rock band from Southern California. The band consists of vocalist-rhythm guitarist Alex Greenwald, lead guitarist Darren Robinson, bassist Sam Farrar and drummer Jeff Conrad. The band is best known for its track \"California\", which became the theme song for the Fox TV series, The O.C.. \nOn November 25, 2008, the band announced in a blog entry on their website that they are going on \"hiatus, and will not be playing any more live shows or making any new records, indefinitely.\"\nThey played their last show on December 12, 2008, in Los Angeles. Alex mentioned numerous times during their last show that the band was, in fact, going on a hiatus, not breaking up.\n\nAlbums\n\nStudio albums\n\nLive albums\n\nCompilation albums\n\nRemix albums\n\nExtended plays\n\nSingles\n\nAs lead artist\n\nAs featured artist\n\nMusic videos\n\nDVDs\n\nReferences \n\nRock music group discographies\nDiscographies of American artists", "This is a discography for the English alternative rock singer Morrissey. Since the Smiths disbanded in 1987 he has released 13 studio albums, two live albums, 15 compilation albums, two extended plays (EPs), 59 singles and seven video albums on HMV, Sire Records, Parlophone, Polydor, RCA Victor, Island, Mercury, Sanctuary Records, EMI, Reprise Records, Rhino, Decca Records, Harvest Records, Capitol Music Group and BMG.\n\nAlbums\n\nStudio albums\n\nLive albums\n\nCompilations\n\nA Chart position for the 2004 re-entry; the 1997 chart position was number 26.\n\nOther album appearances\n\nExtended plays\n\nSingles\n\nA All the songs were included in Bona Drag.\nB Double A-side.\nC \"Glamorous Glue\" was originally from the 1992 album Your Arsenal. It was not released as a single in 1992 (in any format, in any country), but made it to number 13 on the US Modern Rock charts as an album track that year. The UK chart position is for the 2011 UK single release, done to promote the Very Best of Morrissey compilation.\nD \"Satellite of Love\" did not chart on the Billboard Hot 100, but peaked at number 1 on the Hot Singles Sales chart.\nE \"That's Entertainment\" was originally released as the b-side of the single \"Sing Your Life\" in 1991. This version uses different instrumentation but retains the original vocal (with some new vocals added) as the b-side version.\n\nVideos\n\nMusic videos\n\nReferences\n\nAlternative rock discographies\nDiscographies of British artists\nDiscography" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010", "Were there any comments about their appearances?", "Due to many cinemas selling out", "What happened as a result of many cinemas selling out?", "Due to many cinemas selling out tickets for the initial weekend, additional screenings were made in cinemas for the following weekend", "Did they promote any particular albums or singles on tv?", "A DVD of the film was released on 5 December 2011. JLS also created a one-off Christmas special TV programme called A Very JLS Christmas," ]

[ "This is a list of UK television series and specials starring the singer Cliff Richard broadcast on BBC Television.\n\nBBC TV series and specials\n\nThe Cliff Richard Show\n\nIt's Cliff Richard: Series 1 \nProduced by Michael Hurll. Broadcast Saturdays on BBC1 at 6:15pm. Regular series guests: Una Stubbs and Hank B. Marvin with The Breakaways (vocal backing) and Norrie Paramour and his orchestra (musical backing).\n\nSing a New Song \nOne Series. Produced by Raymond Short. Broadcast Sundays on BBC1 at 6:00pm. Series guests: The Settlers.\n\nSpecials\n\nIt's Cliff Richard: Series 2 \nProduced by Michael Hurll. Broadcast Saturdays on BBC1 at 6:15pm (except where noted). Series guests: The Breakaways (vocal backing) and Norrie Parmour & His Orchestra (musical backing)\n\nBank holiday special\n\nIt's Cliff Richard: Series 3\nProduced by Michael Hurll. Broadcast Saturdays on BBC1 at 6:15pm (except where noted). Series guests: The Pamela Devis Dancers, The Flirtations and Norrie Paramour & His Orchestra.\n\nFor eight weeks, Cliff Richard was the resident guest on the BBC1 TV series Cilla from January 13 - March 3, 1973, starring in A Song for Europe 1973.\n\nIt's Cliff Richard: Series 4 \nProduced by Brian Whitehouse. Executive Producer: Michael Hurll. Broadcast Saturdays on BBC1. Series guests: Segment choreographed by Nigel Lythgoe, The Nolan Sisters and Alyn Ainsworth's orchestra.\n\nIt's Cliff and Friends: Series 1 \nProduced by Phil Bishop. Executive Producer: Michael Hurll. Broadcast Saturdays on BBC1. Musical director: Ronnie Hazlehurst.\n\nTelevised concerts\n\nCliff! \nOne series. Produced by Norman Stone. Broadcast Mondays on BBC2 at 8:10pm.\n\nTelevised concert\n\nChristmas specials\n\nBirthday concert\n\nReferences\n\nCliff Richard\nBritish variety television shows", "The Carpenters: A Christmas Portrait is a Christmas television special featuring The Carpenters that aired on ABC on December 19, 1978. It was the second Christmas TV special that the pop duo made and was taped in October 1978.\n\nThe special stars Richard and Karen Carpenter, with special guests Gene Kelly, Kristy and Jimmy McNichol, Georgia Engel, and Peter Pit.\nThe special is named after the Carpenters recently released Christmas album Christmas Portrait in October 1978.\n\nMusic\n \"Christmas Waltz\" (performed by Karen Carpenter)\n Opening Title Song (\"We've Only Just Begun\" instrumental)\n \"Santa Claus Is Coming to Town\" (performed by Karen Carpenter)\n \"Jingle Bells\" (performed by Karen Carpenter)\n \"Brothers and Sisters\" (performed by Carpenters with Kristy and Jimmy McNichol)\n \"Merry Christmas Darling\" (performed by Karen Carpenter)\n \"Christmas in Killarney\" (performed by Gene Kelly)\n \"Selections from The Nutcracker\" (instrumental, performed by Richard Carpenter)\n \"Toyland\" (performed by Richard Carpenter)\n \"Christmas Angels\" (performed by Karen Carpenter, Georgia Engel, and Kristy McNichol)\n \"O Come All Ye Faithful\" (performed by Gene Kelly, Karen Carpenter, Richard Carpenter)\n \"Silent Night\" (performed by Karen Carpenter and Georgia Engel)\n \"Fum, Fum, Fum\" (performed by Kristy and Jimmy McNichol)\n \"Ave Maria\" (performed by Karen Carpenter)\n Closing Music (\"We've Only Just Begun\" instrumental)\n\nSynopsis\nThe synopsis of the special revolves around Karen and Richard throwing their annual Christmas party (just like the previous Christmas). They have invited all their special guests and the guests take turns giving their gifts to one another by song. Agnes and Harold Carpenter (Richard and Karen's parents) have cameos in this special. The last four songs just talk about the history of Christmas music and show a variety of selections from different cultures and languages.\n\nExternal links\nVideo\n\nThe Carpenters\n1978 television specials\n1970s American television specials\nChristmas television specials\nAmerican Broadcasting Company television specials\nAmerican Christmas television specials" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010", "Were there any comments about their appearances?", "Due to many cinemas selling out", "What happened as a result of many cinemas selling out?", "Due to many cinemas selling out tickets for the initial weekend, additional screenings were made in cinemas for the following weekend", "Did they promote any particular albums or singles on tv?", "A DVD of the film was released on 5 December 2011. JLS also created a one-off Christmas special TV programme called A Very JLS Christmas,", "Did they have any guests on their specials?", "special TV programme called A Very JLS Christmas, in which various celebrities appeared such as Alesha Dixon." ]

[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010", "Were there any comments about their appearances?", "Due to many cinemas selling out", "What happened as a result of many cinemas selling out?", "Due to many cinemas selling out tickets for the initial weekend, additional screenings were made in cinemas for the following weekend", "Did they promote any particular albums or singles on tv?", "A DVD of the film was released on 5 December 2011. JLS also created a one-off Christmas special TV programme called A Very JLS Christmas,", "Did they have any guests on their specials?", "special TV programme called A Very JLS Christmas, in which various celebrities appeared such as Alesha Dixon.", "Are there any other interesting aspects about this article?", "On 28 June 2013, JLS appeared on The Million Pound Drop, playing for charity." ]

[ "\"Million Pound Girl (Badder Than Bad)\" is a single by British Ghanaian singer-rapper Fuse ODG. The song was released in the United Kingdom as a digital download on 29 December 2013. The song debuted at number 5 on the UK Singles Chart, peaking to number 5. It debuted at number 22 on the Scottish Singles Chart, peaking to number 11 and number 65 on the Irish Singles Chart.\n\nMusic video\nA music video to accompany the release of \"Million Pound Girl (Badder Than Bad)\" was first released onto YouTube on 17 October 2013 at a total length of four minutes and thirty seconds.\n\nTrack listing\n\nChart performance\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\n2013 singles\n2013 songs\nFuse ODG songs", "The Million Dollar Drop is a game show which airs on Nine Network in Australia and is based on the UK series The Million Pound Drop Live. However, unlike the original UK version, it is not broadcast live, and there are several changes to the format. The show premiered on 21 March 2011 and is hosted by Eddie McGuire.\n\nGame format\nA team of two people with a pre-existing relationship is presented with in $20 notes, banded in bundles of $20,000 (50 bundles = $1,000,000). The team must risk the entire amount on each of eight multiple-choice questions.\n\nFor each question, the contestants choose one of two categories, then indicate which answer(s) they wish to risk their money on by moving the bundles of cash onto a row of trap doors, termed \"drops,\" each of which corresponds to one answer. However, they must always keep at least one drop \"clear\" with no money on it. In addition, seven of the eight questions have a time limit; any money that is not placed on an answer when time runs out will be lost.\n\nOnce the money is in place, the trap doors for the incorrect answers are opened, and the cash on them falls out of sight and is lost. The contestants then continue the game using the cash they had placed on the correct answer. They get to keep whatever money is left after the eighth question; if they lose everything before reaching this point, the game ends immediately and they leave with nothing.\n\nInternational versions\n\nSee also\n The Million Pound Drop Live\n Million Dollar Money Drop\n\nReferences\n\nNine Network original programming\n2011 Australian television series debuts\n2011 Australian television series endings\n2010s Australian game shows\nEnglish-language television shows" ]

[ "JLS", "Television appearances", "What was their first television appearance?", "As well as appearing on numerous TV programmes for promotion of their albums/singles, JLS have had two special TV shows of their own broadcast.", "Did the specials have good viewership?", "JLS have had two special TV shows of their own broadcast. The first was an hour-long documentary for ITV2, titled JLS Revealed, which first aired on 7 November 2009.", "What was the 2nd titled?", "The second show was an hour-long entertainment show for ITV titled This Is JLS, which first aired on 11 December 2010", "Were there any comments about their appearances?", "Due to many cinemas selling out", "What happened as a result of many cinemas selling out?", "Due to many cinemas selling out tickets for the initial weekend, additional screenings were made in cinemas for the following weekend", "Did they promote any particular albums or singles on tv?", "A DVD of the film was released on 5 December 2011. JLS also created a one-off Christmas special TV programme called A Very JLS Christmas,", "Did they have any guests on their specials?", "special TV programme called A Very JLS Christmas, in which various celebrities appeared such as Alesha Dixon.", "Are there any other interesting aspects about this article?", "On 28 June 2013, JLS appeared on The Million Pound Drop, playing for charity.", "Did they win on Million Pound?", "I don't know." ]

[ "\"If You Can Do Anything Else\" is a song written by Billy Livsey and Don Schlitz, and recorded by American country music artist George Strait. It was released in February 2001 as the third and final single from his self-titled album. The song reached number 5 on the U.S. Billboard Hot Country Singles & Tracks chart in July 2001. It also peaked at number 51 on the U.S. Billboard Hot 100.\n\nContent\nThe song is about man who is giving his woman the option to leave him. He gives her many different options for all the things she can do. At the end he gives her the option to stay with him if she really can’t find anything else to do. He says he will be alright if she leaves, but really it seems he wants her to stay.\n\nChart performance\n\"If You Can Do Anything Else\" debuted at number 60 on the U.S. Billboard Hot Country Singles & Tracks for the week of March 3, 2001.\n\nYear-end charts\n\nReferences\n\n2001 singles\n2000 songs\nGeorge Strait songs\nSongs written by Billy Livsey\nSongs written by Don Schlitz\nSong recordings produced by Tony Brown (record producer)\nMCA Nashville Records singles", "Lorraine Crosby (born 27 November 1960) is an English singer and songwriter. She was the female vocalist on Meat Loaf's 1993 hit single \"I'd Do Anything for Love (But I Won't Do That)\". Her debut album, Mrs Loud was released in 2008.\n\nEarly life\nCrosby was born in Walker, Newcastle upon Tyne. Her father died in a road accident when his car collided with a bus when she was two years old, leaving her mother to raise Lorraine, her two sisters, and one brother. She attended Walker Comprehensive school. She sang in school and church choirs and played the violin in the orchestra, but did not start singing professionally until she was 20.\n\nWork with Meat Loaf and Jim Steinman\nInspired by Tina Turner, Crosby searched the noticeboard for bands wanting singers at the guitar shop Rock City in Newcastle. After joining several bands she set up a five-piece cabaret band which toured extensively, playing to British and American servicemen throughout the early 1980s.\n\nBack in Newcastle, she met Stuart Emerson, who was looking for a singer for his band. They began writing together, and also became a couple. In the early 1990s, Crosby sent songwriter and producer Jim Steinman some demos of songs she had written with Emerson. Steinman asked to meet them so they decided to move to New York. They then followed Steinman after he moved to Los Angeles. Steinman became their manager and secured them a contract with Meat Loaf's recording label MCA. While visiting the label's recording studios on Sunset Boulevard, Crosby was asked to provide guide vocals for Meat Loaf, who was recording the song \"I'd Do Anything for Love (But I Won't Do That)\". Cher, Melissa Etheridge and Bonnie Tyler were considered for the role. The song was a commercial success, becoming number one in 28 countries. However, as Crosby had recorded her part as guide vocals, she did not receive any payment for the recording but she receives royalties from PRS, and so the credit \"Mrs. Loud\" was used on the album. Also, Crosby did not appear in the Michael Bay-directed music video, where model Dana Patrick mimed her vocals. Meat Loaf promoted the single with American vocalist Patti Russo performing the live female vocals of this song at his promotional appearances and concerts. Crosby also sang additional and backing vocals on the songs \"Life Is a Lemon and I Want My Money Back\", \"Objects in the Rear View Mirror May Appear Closer Than They Are\", and \"Everything Louder Than Everything Else\" from the album Bat Out of Hell II: Back into Hell. On these three selections, she was credited under her real name rather than the alias of Mrs. Loud.\n\nSolo work\nCrosby regularly performed at holiday camps and social clubs in England until April 2005 when she took a break from live work.\n\nIn 2005, she sang a duet with Bonnie Tyler for the track \"I'll Stand by You\" from the album Wings. The song was written and composed by Stuart Emerson about Crosby's and Tyler's relationship. Also in 2005, Crosby appeared as a contestant on ITV's The X Factor. She performed \"You've Got a Friend\" and progressed to the second round after impressing judges Louis Walsh and Sharon Osbourne but Simon Cowell expressed doubt saying she \"lacked star quality.\"\n\nCrosby returned to live performances in April 2007. In November 2007, she appeared on the BBC Three television show Most Annoying Pop Songs We Hate to Love discussing the Meat Loaf track \"I'd Do Anything for Love (But I Won't Do That)\" which featured at No. 76.\n\nIn November 2008, Crosby appeared at Newcastle City Hall with special guest Bonnie Tyler to launch her self-produced album entitled Mrs Loud. The concert was later repeated in March 2011. In April 2009, she was also featured on The Justin Lee Collins Show and performed a duet with Justin, singing the Meat Loaf song \"Dead Ringer for Love\". She also performed \"I'd Do Anything for Love\" with Tim Healy for Sunday for Sammy in 2012.\n\nCrosby performs in cabaret shows with her band along with her partner Stuart Emerson.\n\nCrosby appeared in the first round of BBC's second series of The Voice on 6 April 2013. She failed to progress when she was rejected by all four coaches.\n\nOther work\nIn the mid-1990s, Crosby appeared as an extra in several television series episodes.\n\nIn 2019, she joined Steve Steinman Productions in the show Steve Steinman's Anything for Love which toured the UK during 2019 and 2020, performing hits such as \"Good Girls Go to Heaven\", \"Holding Out for a Hero\" and dueting with Steinman on \"What About Love\" and \"I'd Do Anything for Love\", amongst others.\n\nIn 2020, she released a duet with Bonnie Tyler, \"Through Thick and Thin (I'll Stand by You)\" as a charity single in aid of the charity Teenage Cancer Trust.\n\nDiscography\nCrosby has provided backing vocals on Bonnie Tyler's albums Free Spirit (1995) and Wings (2005).\n\nStudio albums\n Mrs Loud (2008)\n\nSingles\n \"I'd Do Anything for Love (But I Won't Do That)\" (with Meat Loaf) (1993)\n \"Through Thick and Thin (I'll Stand by You)\" (with Bonnie Tyler) (2020)\n\nOther recordings\n \"I'll Stand by You\" (with Bonnie Tyler) (2005)\n \"Double Take\" (with Frankie Miller) (2018)\n\nReferences\n\nExternal links\n\n \n\n1960 births\nLiving people\nPeople from Newcastle upon Tyne (district)\nThe Voice UK contestants\n21st-century English women singers" ]

[ "Romani people", "Diaspora" ]

[ "A ministry of the diaspora or ministry of expatriates is any governmental agency which is charged with interacting with the nation's emigrants and expatriates in other states.\n\nIn countries such as Israel and Syria, the diaspora portfolio is combined with some other portfolio, such as Foreign Affairs or Information, in order to imbue the office with a secondary, diaspora-specific diplomatic role.\n\nList\n Armenia - Ministry of Diaspora\n Azerbaijan - State Committee on Work with Diaspora\n Bangladesh - Ministry of Expatriates\n Canada - Foreign Affairs and International Trade Canada\n Georgia - State Ministry on Diaspora Affairs\n India - Ministry of Overseas Indian Affairs\n Ireland - Minister for Diaspora Affairs\n Israel - Information and Diaspora Ministry\n Mexico - Institute for Mexicans Abroad\n Romania - Ministry for the Romanians abroad \n Serbia - Ministry of Religion and Diaspora\n Syria - Minister of Foreign Affairs and Expatriates\n Taiwan - Overseas Community Affairs Council\n Greece - Deputy Minister for Diaspora Greeks", "The Scandinavian diaspora may refer to\n\nOld diaspora\n\nViking and Old Norse\nScandinavian explorations, conquests, emigrations, and pioneering settlements during the Viking expansion Scrutinising the Viking Age through the lens of settlement offers a distinct perspective, highlighting their cultural profile distinct from their predatory reputation.\n\nModern diaspora\nThe term \"Scandinavian diaspora\" is also used to describe more recent emigrations and emigrants originating in one or more of the countries of Scandinavia.\n\nSwedish diaspora\n\nSwedish diaspora communities include:\n Swedish Americans\n Swedish Argentines\n Swedish Australians\n Swedish Canadians\n Swedish Costa Ricans\n Ural Swedes (Russia)\n Gammalsvenskby (Ukraine)\n\nFinnish diaspora\n\nPeople emigrated to the United States, Canada, Ghana, Australia, New Zealand, South Africa, Senegal, Sierra Leone, Italy, Ireland, United Kingdom, Sweden, Brazil and Argentina. They have also started Utopian communities in places including Australia, Brazil, Paraguay, France, Cuba, and Sierra Leone.\n\nFinnish diaspora communities include:\n Finnish Americans\n Finnish Argentine\n Finnish Australians\n Finnish Canadians\n Forest Finns (Norway & Sweden)\n Kven people (Norway)\n Ingrian Finns (Russia)\n Sweden Finns\n Tornedalians (Sweden)\n Finns in Switzerland\n\nDanish diaspora\n\nDanish diaspora communities include:\n Danish Americans \nGreenlandic Americans\nFaroese Americans\n Danish Argentine\n Danish Australians\n Danish Canadians\n Danish minority of Southern Schleswig (Germany)\n Danish people in Greenland\n Danish New Zealanders\n\nIcelandic diaspora\n\nIcelandic diaspora communities include:\n Icelandic Americans\n Icelandic Australians\n Icelandic Canadians\n\nNorwegian diaspora\n\nNorwegian diaspora communities include:\n Norwegian Americans\n Norwegian Australians\n Norwegian Canadians\n Norwegians in Finland\n Norwegian New Zealanders \n Kola Norwegians (Russia)\n Norwegian South Africans\n Norwegian diaspora in Sweden\n\nThe first modern Norwegian settlement in the United States was Norwegian Ridge, in what is now Spring Grove, Minnesota.\n\nSee also\n Scandinavian Americans\n Scandinavian Australians\n Scandinavian migration to Britain\n Scandinavian Brazilians\n Scandinavian Canadians\n Early Scandinavian Dublin\n Scandinavian Mexicans\n Scandinavian New Zealanders\n Scandinavian Venezuelan\n\nReferences\n\nEuropean diasporas" ]

[ "Romani people", "Diaspora", "What is Diaspora?", "I don't know." ]

[ "Zott (; singular Zottī) is the Arabic term for gypsies, Romani people and Dom people. The Zott were musicians who migrated in great numbers from northern India to the Middle East about 1000 years ago. Their name was later applied to any itinerant entertainer of Indian origin, and came to be the common name of the Dom people in the Middle East, as English gypsy or tinker with contemptuous connotations. The Al-Qamus Al-Muhit glosses the term as equivalent to Nawar (singular Nawarī).\n\nSee also\nJats\nJat of Afghanistan\nNawar\nRomani\n\nReferences\nM. J. de Goeie, A Contribution to the History of the Gypsies, Amsterdam (1875, 2007 reprint)\n \n \n\nDom in Asia\nDom people\nIndian diaspora\nNawar people\nNomadic groups in Eurasia\nPakistani diaspora\nRomani in Iran", "The Romani are an ethnic group that live in the Netherlands; part of the broader Romani diaspora. Though they represent a small portion of the national population, the plight of those in the Roma community has received ongoing national attention.\n\nHistory\n\nAt the outbreak of World War II it is estimated that a number of Roma families lived in the Netherlands, forming community with a larger group of Sinti travelers and approximately 11,000 native Dutch caravan-dwellers. In 1944, toward the end of the war, Nazis in occupied Netherlands arrested 578 caravan dwellers and identified 245 as Sinti. All 245 were sent to the Auschwitz concentration camp and only 30 survived. \n\nIn 2021, King Willem-Alexander unveiled a memorial to Roma, Sinti, and Jewish victims of the Holocaust in the Netherlands.\n\nSee also\nRomani diaspora\n\nReferences\n\nRomani in the Netherlands\nDutch Romani people" ]

[ "Romani people", "Diaspora", "What is Diaspora?", "I don't know.", "How does diaspora relate to the Romani people?", "Iberian Cale or Calo, who reached Anatolia and the Balkans about the early 12th century, from a migration out of northwestern India beginning about 600 years earlier." ]

[ "Thomas Henry Briggs (27 November 1923 – 10 February 1984) was an English professional footballer who played as a striker. He was born in Chesterfield, Derbyshire, and died in Grimsby, Lincolnshire. He still holds a record for scoring seven goals in a single match for Blackburn Rovers against Bristol Rovers.\n\nTommy started his career at Grimsby Town in 1947. In 1950 he signed for Coventry City but did not settle. He moved on to Birmingham City but did not settle there either, eventually arriving at Blackburn Rovers. He played 194 games and scored 140 goals for Rovers before returning to Grimsby in 1958. He finished his career at Glentoran as player/manager.\n\nHe played and scored for the England B-team against Switzerland B in 1950.\n\nHonours\n\nGlentoran\nGold Cup Winners: 1960\n\nReferences\n\n1923 births\n1984 deaths\nSportspeople from Chesterfield, Derbyshire\nAssociation football forwards\nEnglish footballers\nEngland B international footballers\nPlymouth Argyle F.C. players\nGrimsby Town F.C. players\nCoventry City F.C. players\nBirmingham City F.C. players\nBlackburn Rovers F.C. players\nGlentoran F.C. players\nEnglish football managers\nGlentoran F.C. managers", "Thomas Greenhow Williams \"Tex\" Settle (November 4, 1895 – April 28, 1980) was an officer of the United States Navy who on November 20, 1933, together with Army major Chester L. Fordney, set a world altitude record in the Century of Progress stratospheric balloon. An experienced balloonist, long-time flight instructor, and officer on the airships and , Settle won the Litchfield Trophy in 1929 and 1931, the International Gordon Bennett Race in 1932, the Harmon Aeronaut Trophy for 1933, and the Harmon National Trophy for 1932 and 1933. He also set numerous distance and endurance records.\n\nIn 1934 Settle transferred to sailing duties, initially as captain of the China-based . In 1944–1945 he commanded the heavy cruiser , earning the Navy Cross for his action in the Battle of Surigao Strait. After World War II Vice Admiral Settle held Navy appointments in the continental United States and overseas, and was charged with tasks ranging from distributing international aid to Greece and Turkey to conducting nuclear tests in the Aleutian islands.\n\nEarly career\nSettle graduated from the United States Naval Academy in 1918, second in his class, and began his naval career as an ensign on the destroyers , and . During his time as a naval officer in the Black Sea at the time of the Russian civil war Settle helped the Russian composer Sergei Bortkiewicz (1877-1952) in Yalta and Constantinople in 1920. As a gratitude for his help Bortkiewicz dedicated his piano cycle Der kleine Wanderer opus 21 to Settle. The nickname \"Tex\" dates back to his Academy years. After these assignment he attended the Cruft High Tension Laboratory of Harvard University, graduating as a communications engineer in the summer of 1924.\n\nSettle married Fay Brackett, an employee of Cruft Laboratory, in June 1924, and in July assumed his next Navy assignment, that of communications officer on , a rigid, 207-meter airship based at Lakehurst Naval Air Station. When the newly built arrived at Lakehurst later in October 1924, Settle was appointed its communications officer as well; dual appointments were possible because helium supplies allowed flying only one airship at a time.\n\nAirship pilot\n\nOn the day when Shenandoah crashed, Settle was training alone in a captive kite balloon. After the crash he volunteered for airship pilot training and received his Naval Aviator's (Airship) wings No. 3350 on January 19, 1927. Settle also wanted to train as an airplane pilot, but Admiral Moffett declined his requests. Soon he flew a small balloon for 21 hours over —a flight that could make a world distance record had it been equipped with a barograph.\n\nOn August 25, 1927, when captain Charles E. Rosendahl was on the ground, Settle happened be the senior officer on board Los Angeles when the airship, tied to a mooring mast, literally \"stood on its nose\". At 13:29 a sudden cold weather front hit Los Angeles; the resulting increase in the buoyancy of the airship, warmed by sunlight, pushed it upward. The tail freely went up while the nose remained tied to the tower. Settle requested Rosendahl's permission to disengage from the tower, but the captain \"saw no need for it\". Winds threw the tail further upward; Settle sent the men into the tail, but Los Angeles kept rising until reaching a nearly vertical (88 degrees) nose-down position. The airship slowly rotated back; Settle called his men back and released aft balance, saving Los Angeles from a tail-first impact. Los Angeles survived the accident and served until 1932, performing 331 flights without major accidents or fatalities.\n\nTest pilot\nLater Settle piloted different types of airships stationed at Lakehurst. In January 1928 Settle nearly drowned at sea when his J-3 non-rigid airship carrying trainee pilots lost power and was swept into the Atlantic; the crew managed to restart the engines and reach Lakehurst. As a flight instructor, Settle—although an aviator himself—was known for merciless airborne training drills and advocated abolition of flight pay incentives, convinced that they attracted \"deadwood\" into naval aviation. In October 1928 Settle crossed the Atlantic on board Graf Zeppelin together with two other Navy observers. Inspired by the reliability of German airships, he publicly denounced United States dependence on German Maybach engines.\n\nSettle spent the first half of 1929 in the Akron, Ohio hangars of Goodyear-Zeppelin, supervising construction of the future and , threatened by saboteurs. In 1930 he tested captive sailplanes carried by Los Angeles, where he remained the second in command. In 1931 Settle became the first pilot of K-1, the first U. S. Navy non-rigid airship with an internally suspended control car, and the first using propane as engine fuel. K-1 remained the sole specimen of its type; the Navy considered it too large for its tasks.\n\nBalloon races\n\nSettle entered his first balloon race together with George N. Stevens on May 30, 1927. They had to ground their balloon due to heavy rain after only in flight, losing the race. This incident motivated Settle to seek all possible cooperation from Navy meteorologists in the future. Settle became the definitive Navy competitor in national and, when qualified, international gas balloon races:\n\n In May 1928 Settle withdrew early from the National Race in Pittsburgh, where lightning strikes downed three balloons, killing two pilots and injuring four.\n In May 1929 Settle and ensign Wilfred Bushnell competed at the National Race, winning the Litchfield Trophy with a flight which set a world record in three balloon categories and qualified them for the International Balloon Race.\n In July 1931 Settle and Bushnell (now lieutenant) won their second Litchfield Trophy.\n In September 1932 Settle and Bushnell won the International Gordon Bennett Race with a record flight from Basel to Vilnius. The flight earned Settle his first national Harmon Trophy.\n In September 1933 Settle and lieutenant Kendall made a flight, setting a world endurance record but only coming second in the International Gordon Bennett Race, losing in distance to the Polish team of Franciszek Hynek and Zbigniew Burzyński.\n\nCentury of Progress\n\nIn 1932 the board of the Century of Progress trade show, to be held in Chicago in summer 1933, invited renowned Swiss balloonist Auguste Piccard to perform a high-altitude flight at the fairgrounds. Auguste declined, recommending his twin brother Jean instead. Jean took the lead, but did not have a U. S. flight license, so the Piccards invited Settle to fly the balloon. Named for the show, Century of Progress was built in America with a gondola donated by Dow Chemical, a gas bag from Goodyear-Zeppelin, hydrogen donated by Union Carbide, and scientific instruments supplied by Arthur Compton and Robert Millikan .\n\nThe first flight from Soldier Field, with Settle alone on board, attracted thousands of spectators and ended in a flop. Moments after liftoff, an open gas release valve forced Century to fall in a nearby railroad yard.\n\nFor the next flight the Marine Corps recommended their representative, Major Chester L. Fordney, to join Settle as instrument operator (the experiments were vital to justify financing of the flight). Fordney himself \"was crazy for tying up with an adventurer like Settle\". On November 20 they lifted off from the Goodyear-Zeppelin facilities in Akron, Ohio, watched by only a few hundred spectators. Nevertheless, the flight received national publicity as radio transmissions from the stratosphere were broadcast on radio networks. Century floated at peak altitude for two hours, and landed softly in Bridgeton, New Jersey marshes in the confluence of Delaware and Cohansey rivers, incidentally, a few miles from Jean Piccard's home. It was already dark, so Settle and Fordney spent the night in the chilling cold of the gondola. They dumped radio batteries during descent, so in the morning Fordney waded five miles through the swamp in search for help. The balloon's barograph, examined by the National Bureau of Standards, confirmed the world altitude record of 18,665 meters (61,237 feet). The flight earned Settle the Harmon Trophy and the FAI Henri de la Vaulx medal. Earlier in 1933 the USSR-1 had flown to 62,230 feet, but it was not recognized by the FAI, so Settle and Fordney became the official record holder until the flight of Explorer II in 1935.\n\nThe Piccards retained Century of Progress; while piloting the airship in October 1934, Jeannette Piccard became the first woman to reach the stratosphere.\n\nUSS Palos\nShortly before the record ascent, Settle applied for a transfer to sea duty. In the second half of 1934 Settle arrived in China, tasked with sailing up the Yangtze River from Wusong to Chongqing. Palos, a gunboat stationed around Shanghai since 1914, had recently been refitted and over time became twice as heavy against her original displacement (340 vs. 180 tons), making her hardly capable of the upstream journey. In 1929 alone, of 67 Yangtze steamers three were totally destroyed by the rapids with 47 casualties; a thousand junk sailors perished every year.\n\nThe boat left Wusong on October 1, passing Hankou (the last \"western\" city on the route) on October 11. At Yichang Settle disembarked, leaving the boat and its crew to prepare for forcing the rapids, and himself took a reconnaissance trip to Chongqing on a British steamer. He returned just as the water level fell below optimum, and immediately ordered departure. Balancing engine thrust, steering, and pulling the boat by cables, and struggling to avoid downstream-bound junks, Settle managed to get Palos through the rocky rapids. On November 12, 1934, Palos reached Chongqing where it was eventually decommissioned in 1937; the hulk was still afloat in 1939.\n\nAfter the Palos journey Settle remained on the Yangtze, now in command of another old gunboat, . In 1939–1941 Settle attended the Naval War College.\n\nUSS Portland\n\nOn March 2, 1944, Settle arrived by airplane at his new command, , then stationed at Eniwetok. Prior to this appointment, Settle had been in charge of all of U.S. Navy blimps. According to Portland'''s historian W. T. Generous, the crew—aware of Settle's pre-war fame—recognized him as an \"All-Navy\" carrier of old school naval tradition and etiquette. Settle \"walked with an air of superb self-confidence\", making a \"terrific impression on the crew\", and maintained his reputation until leaving Portland. He notably reduced internal paperwork and external communications, producing very brief dispatches.\n\nAfter supporting landings in Hollandia, Portland returned to California for dry dock repairs and sailed back to the war zone, via Pearl Harbor, in August, carrying Seabees, infantrymen and reporters (including Joe Rosenthal and John Brennan). In September Portland arrived at Peleliu, supporting landing at Peleliu with gunfire.\n\nOn the night of October 24, 1944, Portland took its place in Admiral Jesse B. Oldendorf's order of battle at the northern exit of Surigao Strait, as an inferior Japanese detachment of two battleships and a heavy cruiser approached through the strait from the south. Shortly before 04:00 Portland gunners opened fire on the approaching Mogami; by 05:40 the battle was over and Oldendorf recalled the pursuing cruisers. Portland became the only heavy cruiser to engage enemy battleships at night twice.The first encounter with battleships occurred in 1942 in the Naval Battle of Guadalcanal - Generous, p. 175 In December 1944, Portland provided gunfire support to ground troops in the battle of Mindoro and then sailed to Palau, where Admiral Oldendorf presented Settle with a Navy Cross for his action at Surigao Strait.\n\nOn the opening day of the invasion of Lingayen Gulf, January 9, 1945, when Rear Admiral Theodore E. Chandler was killed on January 7, 1945 from extensive lung burns from the kamikaze attack on January 6, 1945 commanding aboard , Settle assumed command of Chandler's Cruiser Division Two. Settle's radical shiphandling skills saved Portland from direct kamikaze hits; ship's officers attributed their captain's luck to his former aviator experience. Settle used to break formation under threat from the air, and at least once his maneuvering earned him a reprimand from a commanding admiral; in another episode, it nearly led to the destruction of a landing craft full of troops.\n\nIn February 1945 Portland together with and HMAS Shropshire supported ground and airborne forces in the recapture of Corregidor and in March sailed to assist capture of Okinawa. On March 21, his first day of the Okinawa campaign, Settle managed to evade eleven torpedo attacks from a submarine but failed in ramming the sub. He left command of Portland in July, one month before the end of the war, when the cruiser was still at Okinawa.\n\nPost-war career\nIn 1946 Settle returned to China, on the Yangtze River where he replaced Vice Admiral Bertram J. Rodgers as the commander of the Seventh Amphibious Force. Later, Settle moved to Turkey assisting in the implementation of U.S. aid to Greece and Turkey under the Truman Doctrine. He had a long-held ambition to become the ambassador to the Soviet Union that never materialized. After his return to the United States Settle served with the 8th Naval District in New Orleans, Louisiana, with the Pacific Fleet in San Diego, California, and in Norway.\n\nIn 1950 Rear Admiral Settle was appointed commander of Joint Task Force 131, responsible for carrying out underground nuclear tests on the Aleutian island Amchitka, codenamed Operation Windstorm. Three 20-kiloton blasts were scheduled for August 30, September 22 and October 2, 1951. In March 1951 news of an upcoming test leaked to the press; Settle proposed a rescheduling of the operation that, in his opinion, would be safer and simpler if performed at established test sites in Nevada and California. As the military and politicians discussed probable alternatives, Settle spoke out in favor of discarding the Aleutian program and disbanding Task Force 131. The project was eventually closed in summer of 1951.\n\nSettle later served with the temporary rank of Vice admiral as Commander, Amphibious Force, Pacific Fleet from 1954 to 1956 and then reverted to Rear admiral and retired one year later.\n\nAwards\n\nBooks by Settle\n The Last Cruise of Palos (1964), in: , originally published in Shipmates, vol. 24 no. 4, April 1964\n\nNotes and references\n\nReferences\n \n \n \n \n \n \n \n \n \n \n \n \n\nExternal links\n\n \"Why Explore The Stratosphere?\" Popular Mechanics'', October 1933\n\n1895 births\n1980 deaths\nPeople from Washington, D.C.\nUnited States Naval Academy alumni\nNaval War College alumni\nHarvard School of Engineering and Applied Sciences alumni\nUnited States Naval Aviators\nAmerican balloonists\nUnited States Navy admirals\nUnited States Navy World War II admirals\nRecipients of the Navy Cross (United States)\nRecipients of the Legion of Merit\nFlight altitude record holders\nFlight endurance record holders\nBalloon flight record holders\nAmerican aviation record holders" ]

[ "Romani people", "Diaspora", "What is Diaspora?", "I don't know.", "How does diaspora relate to the Romani people?", "Iberian Cale or Calo, who reached Anatolia and the Balkans about the early 12th century, from a migration out of northwestern India beginning about 600 years earlier.", "Where did they eventually settle?", "They settled in present-day Turkey, Greece, Serbia, Romania, Moldova, Bulgaria, Macedonia, Hungary and Slovakia, by order of volume, and Spain." ]

[ "Floating population is a terminology used to describe a group of people who reside in a given population for a certain amount of time and for various reasons, but are not generally considered part of the official census count.\n\nA population is usually broken down into two categories—the residents, who permanently stay in an area for a considerable amount of time and are part of the official population count, and the floating types, who are in the area but do not live there permanently and are not considered part of the official census count. \n\nThe residing population of a city can be sub-classified into two groups, one who permanently resides in a city for a considerably long duration of time like ten to fifteen years, and the others are those, like hostel students and transferable government servants, who might live for two to three years in a given area, as per their requirements, but are replaced by an equal number of new population for the same purpose after their departure. Thus, at any given time the number of people under this category remains more or less the same. The floating population, on the other hand, of a city consists of two types. The first category is those who visit a place regularly but do not stay in that area permanently or long enough to be considered official, like any person working in a city for a short time job. The second type consists of visitors or guests who might live for a small span of time, but their time of stay and their next visit are not predictable, like tourists and seasonal visitors.\n\nReferences\n\nPopulation statistics\nPopulation ecology", "A motorhome stopover (, , ) is a place designated for the purpose of overnight stopping for recreational vehicles or motorhomes. Motorhome stopovers are usually operated by local authorities. These vehicles can stay overnight or longer depending on terms and conditions specified on a sign by each locality. Parking is in accordance with local building codes and road traffic law.\n\nThere are three main purposes of these stopping places: providing a place for a short-term overnight stay without paperwork involved or restrictions of checking-in and checking-out time constraints imposed by formal campsites, allowing for travellers who prefer to move frequently from one place to the next during a short period of vacation and allowing parking places that are generally within walking distance to tourist sights.\n\nThese stopovers differ from campsites in that they are usually intended for a very short-term usage—usually one or two days—thus they provide very limited space for parking and limited facilities or at times no service at all. Some stopovers may provides services like campsites but these places generally will not provide much space around the vehicles as most campsites do. In most cases these places are usually located at the center of or at the edge of a town or a village and are convenient for visiting such places and generally do not have a management facility like a campsite. In addition, the majority of these place are free of charge, in particular those that belong to smaller localities. Where fees are applied, they are usually very nominal. Motorhome stopovers are a very popular mean of travelling in Germany, France and Italy but are gradually gaining more popularity in Spain and some other countries in Europe.\n \nA formal motorhome stopover in Europe is usually indicated by a sign post. Locations of these stopovers vary depending on the locality. Some stopovers are part of a town's public parking, a part of the town sports facility, or next to a church—some with designated parking bays and some without. Others are specifically created for such purposes.\n\nCountries like Germany permit the staying in a vehicle as long as the driver can resume driving when necessary. This rule applies to motorhome parking in public places as well. Therefore \"camping-like behavior\" such as setting out an awning or picnic table and chairs is not usually permitted in these motorhome stopovers.\n\nServices\nBasic services may include:\n Drinking water\n Disposal facility for emptying chemical toilets\n Electrical hook up\nA campsite-like motorhome stopover may provide more services than those indicated above.\n\nSee also\n Motorhome\n\nReferences\n\nExternal links\n Motorhome stopover sites on OpenStreetMap\n Easiest RV to Drive\n\nCampsites\nRecreational vehicles" ]

[ "Destiny's Child", "Disbandment and aftermath" ]

[ "This is a chronological list of officially released and leaked songs by the American R&B-Pop group Destiny's Child.\n\nReleased songs\n\nUnreleased songs\n\nNote: \n\n- the songs listed that have not yet been leaked from Survivor have been acquired from ASCAP's Repertory\n\n- those listed that have not yet been leaked from Destiny's Child (produced by Tim & Bob) have been taken directly from Tim & Bob's catalogue.\n\n- \"Go Deep\" is a registered recorded song at the US Copyright Office.\n\nSee also \n Destiny's Child discography\n Beyoncé Knowles discography\n Kelly Rowland discography\n Michelle Williams discography\n LeToya Luckett discography\n\nNotes\n\nReferences\n\nExternal links \n Destiny's Child — official website.\n\nDestiny's Child\nDestiny's Child", "Love Destiny may refer to:\n\n \"Love Destiny\" (song), a 2001 song by Yui Horie\n \"Love (Destiny)\", a 1999 song by J-pop singer Ayumi Hamasaki\n Love: Destiny, a 2001 EP by the group Destiny's Child\n Mathew Knowles & Music World Present Vol.1: Love Destiny, a 2008 compilation album by Destiny's Child\n Love Destiny (TV series), a 2018 Thai TV series\n\nSee also\nLove and Destiny (Chinese: 宸汐缘; pinyin: Chen Xi Yuan), a 2019 Chinese television series" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;" ]

[ "Sugarland is the fourth studio album by English band Kissing the Pink, released in 1993 by SPV GmbH, and was their first album in seven years following 1986's Certain Things Are Likely. The album was a blend of psychedelic music and dance-pop, and it features a remix of their song \"Big Man Restless\" which was originally released on their debut album, Naked, 10 years prior.\n\nThe album features the return of founding member George Stewart as a songwriter, who had left the band after their 1984 album What Noise, but it is not as clear as to whether or not he played on the album as only backing vocalist Rochelle Shepherd is credited in a performing role.\n\nThe album was reissued a year later on Custer's Last Stand Records, with a different track listing, album artwork, and a new track \"We Are Immortal\", with the omission of the track \"Big Man Restless (Remix)\".\n\nIt would be their last physically-released album, and last studio album overall for 22 years until 2015's Digital People.\n\nWhen asked why the album was recorded in Texas, and how the band felt about it, George Stewart said:\n\nTrack listing\n\nPersonnel\nCredits are adapted from the Sugarland liner notes.\nRochelle Shepherd – backing vocals\nKissing the Pink – producer\nJury-Bailey – cover design\n\nReferences\n\nExternal links\n\n1993 albums\nKissing the Pink albums", "I Divide are a British rock band from Exeter. They released their debut album titled Last One Standing on 14 April 2014\n\nHistory\n\n2011-14: Early years and What's Worth More\nThe band was formed in 2011 in Exeter, England with original members; Kristen Hughes, Dave Mooney, Tom Kavanagh, Henry Selley and Josh Wreford.\n\nThey released their first mini album, titled 'What's Worth More', the same year in October independently. After the release, the band entered the Red Bull 'Bedroom Jam' tenement in early 2014, and in April, the band won the tournament, making them the 12th band to do so. Later that year, the band was announced as a support act for Funeral for a Friend's UK tour during January and February 2013. The band signed to 'Destroy Everything Records' in March 2013 when the label itself was announced.\n\n2014-present: Last One Standing\nThe band announced their debut album in February 2014, where they revealed the album's title, 'Last One Standing', its artwork, its track listing and its release date, being 14 April the same year. In March and early April, the band supported post-hardcore band Yashin on their UK tour.\n\nBefore 'Last One Standing' was released, it was made available for streaming online one week prior. When the album was finally released, it entered the UK's top 40 Rock and Metal albums chart at 34. After the album's release, the band toured with British rock band Blitz Kids as a support act in support of the release.\n\nMembers\nKristen Hughes – bass\nDave Mooney – drums\nTom Kavanagh – lead vocals\nHenry Selley – guitar\nJosh Wreford – guitar, backing vocals\n\nDiscography\n\nAlbums\n\nStudio albums\n\nMini albums\n\nSingles\n\nMusic videos\n\nReferences\n\nMusical groups established in 2011\nBritish post-hardcore musical groups\n2011 establishments in England" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"" ]

[ "Francis George Farewell (1784–1829) was the founder of the Port Natal Colony in South Africa.\n\nEarly life \n\nFarewell was born at Holbrook House near Wincanton in the Blackmore Vale in 1784. His father was the Reverend Samuel Farewell, who died when Francis was young. Francis and the rest of the Farewell family then moved from Holbrook to Tiverton, Devon. There he became a scholar at Blundell's School until the age of 13, when he left to become a midshipman in the Royal Navy. He first served aboard HMS Amphion, and when that vessel was decommissioned in 1811, Farewell was first transferred to HMS Thisbe and then to HMS Bacchante. Farewell fought against the French in the Napoleonic Wars, including the Battle of Lissa, and he was wounded in several engagements. He ended his service with the rank of lieutenant.\n\nCape Colony and Natal \n\nAfter the war, Farewell entered the merchant marine, commanding merchant vessels on the South American and Indian trade routes. In 1820, Farewell arrived in Cape Town in the Cape Colony as the managing owner of the merchant vessel Frances Charlotte. In 1822, he married Elizabeth Caterina Schmidt, the step-daughter of a Cape Town merchant.\n\nIn 1823, Farewell was a partner in The Farewell Trading company, which aimed to establish an ivory trade in Natal. In June 1823, Farewell sailed aboard the brig Salisbury as part of the company's first expedition to Natal. Farewell almost drowned in the surf when a landing attempt was made at St. Lucia, but was rescued by a native interpreter. After five weeks at St. Lucia, the expedition headed to Algoa Bay to replenish supplies before heading on to Port Natal, where it was determined a settlement could be established. Farewell returned to Port Natal in 1824 with a small group of thirty settlers—twenty Boers and ten Englishmen. Farewell also had employed three Khoikhoi servants, and he owned one of the settlement's two support ships, the sloop Julia.\n\nIn late 1824, Farewell asked for Shaka's permission to establish a trading post in Natal. Shaka agreed, and Farewell established Port Natal as a place for ships travelling to India to stop at, and also for Farewell to trade with the Zulus for ivory.\n\nDeath \n\nIn 1829 Farewell set out for Natal from Port Elizabeth, heading overland with a wagon train loaded with two and a half tons of beads for trade with the Zulus, who were now led by King Dingane, Shaka's half-brother and a conspirator in Shaka's assassination the year before. Farewell was accompanied by Thackwray, a trader, and Walker, a naturalist. When Farewell's wagon train reached the vicinity of the kraal of Qwabe chief Nqetho, he halted the wagon train and set off to visit the chief accompanied by Thackwray, Walker, and eight Zulu and Khoikhoi servants, leaving fellow Port Natal settler John Cane in charge of the wagons.\n\nAfter being received with what Donald R. Morris described as \"apparent kindness\" by Nqetho, Farewell, Thackwray, and Walker set up camp outside the kraal while their servants slept in huts located in the kraal. Before they retired for the night, the servants informed Farewell that Nqetho was not to be trusted, and that the atmosphere inside the kraal was tense, but Farewell ignored them. During the night, Lynx, one of Farewell's servants, slipped out of the kraal to warn Farewell that Nqetho was plotting the deaths of Farewell and his party. Nqetho had recently quarreled with Dingane and considered him an enemy, and was not sympathetic towards Farewell due to his trading with Dingane. He also assumed one of Farewell's Zulu servants, who was the son of a Zulu chief, was a spy. Instead of heeding Lynx's warning, Farewell called Lynx a coward and went back to sleep.\n\nJust before dawn, Qwabe warriors approached Farewell's tent, cut its ropes, and stabbed Farewell and his comrades through the canvas, killing all three of them. Lynx, who had armed himself with a musket and was keeping watch, kicked his companions awake upon hearing the assault on Farewell's tent and led them from the kraal. Only Lynx and two others survived to reach the wagon train, but Lynx killed three of their pursuers, despite being wounded several times himself.\n\nLynx informed Cane of Farewell's fate, and Cane promptly led the rest of the servants into the bush to elude the Qwabe warriors who soon reached the train and ransacked the wagons, killing all the horses and oxen and taking all of the beads. Cane returned to Grahamstown to reequip, bringing Farewell's ill-fated overland journey to a close.\n\nLegacy\n\nFarewell Square in Durban is named in his honor.\n\nReferences\n\nCitations\n\nSources\n\nFurther reading\n\n1784 births\n1829 deaths\nBritish emigrants to South Africa\nHistory of KwaZulu-Natal\nPeople educated at Blundell's School\nSettlers of South Africa", "The Farewell Tour is the third live music video title by singer-actress Cher. Released by Warner Music Video in 2003, it contained a live date from Living Proof: The Farewell Tour, filmed at American Airlines Arena in Miami on November 8, 2002. It was originally aired on April 8, 2003 as a television special on American network NBC attracting near 17 million viewers. Cher was awarded with an Emmy for Outstanding Variety, Music or Comedy Special. The same performance is also available on CD format as Live! The Farewell Tour. The video was a big success in many countries and has received several certification awards: 3× Platinum in the US, 8× Platinum in Australia and Platinum in the UK, among others respectively.\n\nFormats\nCD — CD case edition packed with the live CD.\nDVD — DVD Digipack and Amaray Case in some countries packed with the DVD.\n\nTrack listing\n\nProduction credits\nDirector: David Mallet\nProducers: Dione Orrom and Paul Morphos\nExecutive Producers: Cher, Roger Davies and Lindsay Scott\nExecutive Producer for Serpent Film: Rocky Oldham\nTour Directed: Doriana Sanchez\nChoreography: Doriana Sanchez and Bubba Carr\n\nCertifications and sales\n\n!scope=\"row\"|New Zealand Music Videos (RMNZ)\n|align=\"left\"|Platinum\n|align=\"left\"|5,000\n|-\n!scope=\"row\"|Portugal (AFP)\n|align=\"left\"|Silver\n|align=\"left\"|2,000\n|-\n!scope=\"row\"|Swedish DVD (Sverigetopplistan)\n|align=\"left\"|Gold\n|align=\"left\"|10,000\n|-\n\nSee also\n Live! The Farewell Tour\n Living Proof: The Farewell Tour\n\nExternal links\n\nRovi review\n\nReferences\n\nCher video albums\n2003 video albums\n2003 live albums\nLive video albums\nFilms directed by David Mallet (director)\nNBC television specials\n2003 television specials\n2000s American television specials" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later." ]

[ "The Universe Is Undefeated Tour is a 2018 concert tour by American girl group Danity Kane. The tour is their first in four years following their second disbandment in 2014.\n\nBackground\nIn 2014, one year after announcing a reunion, Danity Kane announced their second disbandment following a dispute between members Aubrey O'Day and Dawn Richard. Following this, Richard continued to focus on her solo career, while O'Day and member Shannon Bex formed the electronic duo Dumblonde. On August 14, 2018, four years after their second disbandment, Danity Kane announced that they would be touring together. The show would consist of music by the group along with Richard's solo music and Dumblonde's music. As of October 2018, 22 dates have been announced, though other cities and venues will be announced during the tour.\n\nSetlist\n\n \"Renegades\"\n \"Love Under Lights\"\n \"Eyes On Horizon\"\n \"Remember Me\"\n \"Lemonade\"\n \"Northern Lights\"\n \"Jealousy\"\n \"Waves\"\n \"I Hate That You Love Me\"\n \"Faith\"\n \"Rhythm Of Love\"\n \"Tell Me\" / \"Right Now\" / \"Come Over\"\n \"Sucka for Love\"\n \"White Lightning\"\n \"Tender Green Life\"\n \"Dreamsicle\"\n \"You Got Me\"\n \"Coming Home\" / \"Hello Good Morning\" / \"James Dean\" / \"I Do It 4 U\"\n \"Want It\"\n \"Heartbreaker\"\n \"Good Luck To The Next One or Love Blind\"\n \"White Hot Lies\"\n \"Sleep On It\"\n \"All In A Days Work\"\n \"Pretty Boy\"\n \"Show Stopper\"\n \"Damaged\"\n\nTour dates\n\nReferences\n\n2018 concert tours\n2019 concert tours", "VooDoo Blue was a rock/alternative band from Baltimore, Maryland, that featured Dan Book on vocals and guitar, Clunky on bass and vocals, Justin Posner on the drums, and originally, Mike Abrian on lead vocals. The band was formed in the late 1990s. Since the debut of their 2006 album Smile 'n' Nod, VooDoo Blue has released under the independent record label DCide.\n\nDiscography \n Watch the World Fall Down (2001)\n The Summer Sessions (2002)\n Use As Directed (2003) \n Loā (2004)\n Smile 'n' Nod (2007)\n\nHiatus/Disbandment \nOn January 19, 2007, on their MySpace blog, the three members of VooDoo Blue collectively posted a memo that informed fans that they were officially on hiatus. The post also hinted at, but did not confirm, the band's possible future disbandment. In summer 2007, it was announced their final show would take place on August 25, 2007, at Recher Theatre in Towson, Maryland. The band re-united for one show in October 2009.\n\nReferences\n\nExternal links\n Official website\n\nMusical groups disestablished in 2007\nAlternative rock groups from Maryland" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success." ]

[ "Dorothy Knowles (28 March 1906 – 10 November 2010) was a British academic, known to her friends as Diana. She was noted for her research into French drama. She taught at Liverpool University from 1934 to 1967. She was also an accomplished fencer. Knowles is known to historians of British cinema for her 1934 book The Censor, the Drama and the Film, in which she criticised the British Board of Film Censors for what she regarded as unaccountable political censorship. In 1989 she published a study of the work of the playwright Armand Gatti.\n\nBiography\nKnowles was born in Johannesburg. Her father was a mining engineer, and, after his death in 1911, the family moved to England, specifically Leeds, in order to deal with the family's finances. Although the family intended to move back to South Africa, the outbreak of World War I meant they could not do so. As a child, Knowles danced alongside Marie Lloyd and Lupino Lane. She was also a fencer, and, in 1936, was the founder of the Liverpool University Fencing Club. Knowles continued fencing well into her 70s.\n\nAcademic career\nKnowles was an expert on French theater, and perhaps her most important work was French Drama of Inter-War Years 1918-39. Both she and her husband were intermittent lecturers at both Leningrad and Moscow universities. Knowles retired from her position at Liverpool University in 1984 and began spending more time in France. There, she discovered playwright Armand Gatti, and was working on a translation of his work when she died.\n\nReferences\n\nExternal links\n Obituary in The Independent, 10 December 2012\n Obituary in The Guardian, 13 December 2010.\n\n1906 births\n2010 deaths\nAcademics of the University of Liverpool\nBritish Board of Film Classification\nEnglish centenarians\nEnglish women writers\nWomen centenarians", "Michael John Knowles (; born March 18, 1990) is an American conservative political commentator, author and media host.\n\nEarly life and education\nBorn in Bedford Hills, New York, Knowles began training as an actor with the Stella Adler Studio of Acting, as part of its Advanced Teen Conservatory. He graduated with a B.A. in history and Italian from Yale University, where he produced the first English rendering of Niccolò Machiavelli's play Andria in 2012. Knowles is of Italian descent. He was raised in the Catholic faith by his family, but fell away during his adolescence; at Yale he experienced a reconversion to the Church, spurred at first by ontological arguments.\n\nCareer\n\nActing \nBefore graduating from Yale University, Knowles participated in two Web series, Never Do Business with Friends and Survive. Upon graduation, Knowles trained with Wynn Handman at his acting studio in New York City and appeared in various Web series, films, and television shows.\n\nAfter moving to Los Angeles, he acted in the television pilot in of I’m Back and in the television movies Life Coach and Blend In. He also starred as Alejandro in the comedy feature film Hóllyweird.\n\nKnowles also is the voice actor in the fictional podcast and audiobook \"Another Kingdom\", directed and produced by colleague Andrew Klavan.\n\nPolitical commentary\nIn 2016, Knowles was invited to join The Daily Wire, beginning as regular guest and cultural correspondent for The Andrew Klavan Show podcast. He had worked with Andrew Klavan's son, Spencer Klavan, on theater productions while they were undergraduates at Yale.\n\nIn 2018, Knowles reiterated his opposition to same-sex marriage and opposed attempts by some in the conservative movement to recognize such unions.\n\nIn April 2019, Knowles gave a speech at the University of Missouri–Kansas City titled \"Men Are Not Women\" on gender identity during his YAF national college speaking tour. Student protesters disrupted his talk, deeming it transphobic. One protester assaulted him and sprayed him with an unknown mixture, later determined to be lavender oil and other non-toxic household liquids. The protester was charged with assault and other violations.\n\nIn September 2019, Knowles called teenage climate activist Greta Thunberg \"a mentally ill Swedish child\" on the Fox News program The Story. Fellow segment guest and Democratic Party activist Christopher Hahn replied, \"You're a grown man and you're attacking a child. Shame on you.\" Knowles responded, \"I'm not. I'm attacking the Left for exploiting a mentally ill child.\" Hahn returned, \"Relax skinny boy, I got this.\" Knowles promptly added, \"She is mentally ill. She has autism. She has obsessive–compulsive disorder. She has selective mutism. She had depression.\" The network apologized for Knowles's statement by saying his comment \"was disgraceful—we apologize to Greta Thunberg and to our viewers.\" Knowles did not apologize and Fox said it had \"no plans\" to have him on again in the future, but the channel welcomed him back shortly thereafter for a segment with host Tucker Carlson. Knowles later said, \"Obviously there is nothing shameful about living with autism or any other psychiatric condition. What is shameful is exploiting children for political purposes.\"\n\nIn September 2019, Knowles's lecture at USC was met with a partial student walkout.\n\nIn January 2020, while the first impeachment proceedings of President Donald Trump were underway, Knowles and U.S. Senator Ted Cruz launched the podcast Verdict with Ted Cruz. On January 27, Cruz announced on Twitter that Verdict had secured the top spot on the podcast charts for that week. After the impeachment trial ended with Trump's acquittal, Cruz and Knowles began to interview Washington politicians such as U.S. Senators John Barrasso, Mike Lee, and Tim Scott, Trump administration officials including then-U.S. Attorney General William Barr, Education Secretary Betsy DeVos, and White House Chief of Staff Mark Meadows. They also interviewed actors Jon Voight and Isaiah Washington.\n\nOn January 20, 2020, PragerU's website published the inaugural episode of The Book Club, a video series that features in each episode a book review or discussion with a guest. Knowles has been serving as the host for the series.\n\nOn November 13, 2020, Knowles was scheduled as the guest host of The Rush Limbaugh Show. After this opportunity, The Daily Wire in collaboration with Westwood One announced that Knowles would be hosting his own daily radio show on WHLD.\n\nPublications\nIn 2017, Knowles released an empty book called Reasons to Vote for Democrats: A Comprehensive Guide. The book, which contained 266 empty pages and an extensive bibliography, became the top-selling book on Amazon. Shortly after Knowles lauded President Trump on Fox & Friends, Trump called Knowles's book \"a great book for your reading enjoyment.\" That year, Knowles began his role as host of The Daily Wires third podcast, The Michael Knowles Show.\n\nKnowles's second book, Speechless: Controlling Words, Controlling Minds, became a number one bestseller for hardcover nonfiction according to Publishers Weekly, and a number two bestseller for nonfiction on Audible.\n\nKnowles wrote the introduction to the 70th anniversary edition of God and Man at Yale by William F. Buckley Jr.\n\nPersonal life\nKnowles is a practicing Catholic. He married in 2018 and has a child.\n\nBibliography\n Reasons to Vote for Democrats: A Comprehensive Guide (2017), Threshold Editions \n Speechless: Controlling Words, Controlling Minds (2021), Regnery Publishing\n\nReferences\n\nExternal links\n\n \n \n\n1990 births\n21st-century American male actors\nAmerican columnists\nAmerican gun rights activists\nAmerican male non-fiction writers\nAmerican media critics\nAmerican writers of Italian descent\nAmerican political commentators\nAmerican political writers\nAmerican Roman Catholics\nAmerican anti-abortion activists\nAnti-same-sex-marriage activists\nLiving people\nThe Daily Wire people\nYale University alumni\nConservatism in the United States\nAmerican nationalists" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\"." ]

[ "Solo Star is the debut studio album by American singer Solange, released by Columbia Records and Music World on December 26, 2002 in Japan and January 21, 2003 in the United States. It debuted and peaked at number forty-nine on the U.S. Billboard 200 and number twenty-three on the Top R&B/Hip-Hop Albums in early February 2003. The album produced two singles: \"Feelin' You\" (featuring N.O.R.E.) and \"Crush\" (later renamed to \"Don't Fight the Feeling\"). \"Feelin' You\" reached no. 73 on the Billboard Hot R&B/Hip Hop Songs chart.\n\nCritical reception\n\nWilliam Ruhlmann of AllMusic gave the album three out of five stars saying: \"Executive producer [Mathew] Knowles has surrounded Solange with a bevy of trendy writer/producers, including The Underdogs, Platinum Status, Timbaland, The Neptunes and Rockwilder, along with such guest stars as B2K and Lil' Romeo. The result is a state-of-the-art contemporary R&B album full of big beats, catchy choruses, and gimmicky production effects. But the nominal star of the show is lost somewhere in the mix. It doesn't help that the 16-year-old has a thin, undeveloped voice that is easily overwhelmed. Slant Magazine gave two out of five stars, saying: \"The largely synthetic-sounding Solo Star follows the growing industry standard in which the focus is on production rather songwriting\", also adding that Solange's voice is uncannily similar to Beyoncé's.\n\nRelease and promotion\nThe album was released in December 2002 in Japan, while it was released in United States following month. It under-performed in the United States, selling 112,000 copies according to Nielsen SoundScan, and dropped off the chart five weeks after its debut. The only two singles released from the album, the N.O.R.E.-featured \"Feelin' You (Part II)\" and the Neptunes-produced \"Crush\" (also known as \"Don't Fight the Feeling\"), failed to chart on the Billboard Hot 100. The album is no longer in print and the online music website iTunes does not sell the album. A re-recording of \"Crush\", with vastly different instrumental and harmonies and featuring Papa Reu, was included on the movie soundtrack for The Fighting Temptations which stars Solange's sister Beyoncé. This re-recording was renamed \"Don't Fight the Feeling\" to match the movie poster's tagline. The album was promoted with the Solo Star Tour in 2003.\n\nTrack listing \n\nNote: tracks 17, 18 and 19 are four seconds of silence each with these bonus tracks following:\n\nSample credits\n\"True Love\" contains replayed elements from \"So Amazing\" by Luther Vandross\n\"Thinkin' About You\" contains replayed elements from \"Scooby Doo Where Are You\" by Joseph Barbera, William Hanna, and Hoyt Curtin\n\n2006 re-release\nSolo Star was re-released in November 2006 with a different artwork and track listing. The reissue album contained twelve tracks: seven tracks from 2002 standard release, four remixes and previously unreleased track titled \"Bring It on Home\". There is a newly recorded version of \"Feelin' You\" which features American rapper Slim Thug. Both singles from the album were remixed. \"Crush\" was remixed by Vibelicious. Also, a duet with Beyoncé featuring Da Brat titled \"Naïve\" was remixed by Maurice Joshua.\n\nPersonnel\nSolange Knowles – composer, primary artist, producer, vocal producer\n\nKetrina Askew – composer\nB2K – featured artist, guest artist, primary artist\nRich Balmer – engineer\nJoseph Barbera – composer\nBeyoncé Knowles – producer\nBruce Buechner – engineer\nWilliam Burke – programming\nSkip Burrow – engineer\nKandi Burruss – producer\nKim Burse – A&R\nScott Gusty Christensen – engineer\nCedric Courtois – producer\nJohn Czornyj – mixing\nMyke Diesel – engineer, mixing, producer\nJimmy Douglass – mixing\nErica Dymakkus – backing vocals \nDamon Elliott – drum programming, engineer, keyboards, percussion, producer\nBrian Garten – engineer\nSerban Ghenea – mixing\nDabling Harward – recording\nA. Jackson – composer\nAlonzo Jackson – producer\nTroy Johnson – composer, engineer, producer\nJerome Jones – composer\nTalib Kareem – producer\nMathew Knowles – executive producer\nEmily Lazar – mastering\nMurphy Lee – featured artist, primary artist\nLil' Romeo – guest artist, primary artist\nTony Maserati – mixing\nMaster P – composer\nMichael McClain – producer\nRamon Morales – engineer\nN.O.R.E. – composer, guest artist, primary artist\nHuy Nguyen – A&R assistance, artist coordination\nTony Oliver – composer\nKevin Parker – mixing\nMark Penn – producer\nDave Pensado – mixing\nLinda Perry – producer\nPlatinum Status – producer\nRockwilder – composer, producer\nDexter Simmons – mixing\nSlim Thug – primary artist\nChris Stokes – producer\nTimbaland – mixing, producer\nLuther Vandross – composer\n\nCharts\n\nRelease history\n\nReferences\n\n2002 debut albums\nColumbia Records albums\nSolange Knowles albums\nAlbums produced by Timbaland\nAlbums produced by the Neptunes\nAlbums produced by Linda Perry\nAlbums produced by Jermaine Dupri\nAlbums produced by Rockwilder", "Davy Knowles (born 30 April 1987) is a Manx blues guitarist and singer. Knowles currently tours as a solo artist, but is formerly of the blues-rock band Back Door Slam, as well as working under the name Davy Knowles and Back Door Slam for a short period of time. With Back Door Slam, he played lead guitar and sang on their debut album, Roll Away. After a split-up with bassist Adam Jones and drummer Ross Doyle, Knowles released the first and only album under the name Davy Knowles and Back Door Slam, Coming Up for Air, on 19 May 2009. Knowles drew his musical influences from blues musicians that he grew up listening to such as Dire Straits, Peter Green, and Eric Clapton's Cream. Due to his home country's proximity to Ireland, Knowles has stated that his music also is influenced by the Celtic genre, which is noted to be present in the song \"Roll Away\". In April 2009, Knowles toured with British guitarist Jeff Beck on his American tour, where he was the opening act. He toured with Joe Satriani and Chickenfoot in the United States through December 2009. Davy Knowles toured with The Rhythm Devils in 2010.\n\nKnowles released his first solo album, The Outsider, in 2014. He released his second solo album, Three Miles From Avalon, in 2016, while his third, What Happens Next, is currently scheduled for October 22, 2021. He is currently based out of Chicago, Illinois and continues to tour in the United States regularly.\n\nEarly life\nKnowles was born in Port St Mary, Isle of Man. At age 11, Knowles first became interested in music when he heard Dire Straits's \"Sultans of Swing\" during a car ride with his father. Promptly, he took his father's guitar and learned how to play the song by ear. As Knowles grew older, he was influenced by other artists like Dire Straits that he found in his father's music collection such as Rory Gallagher, Eric Clapton, and Robert Johnson.\n\nAs a child, Knowles briefly took guitar lessons, but did not prefer the traditional way of learning how to play. After he stopped taking lessons he taught himself. Knowles attended Castle Rushen High School in Castletown, Isle of Man, where he met future bandmates Brian Garvey, Ross Doyle, Adam Jones, and Jamie Armstrong.\n\nMusical career\n\nBack Door Slam\nBack Door Slam is the name of the blues rock band started by Davy Knowles on the Isle of Man in 2003/4. The band got its name from a Robert Cray song of the same name. Originally a four piece, with Castle Rushen High School friends Jamie Armstrong (bass guitar), Ross Doyle (drums) and Brian Garvey (rhythm guitar), the band was torn apart in 2004 when Brian was killed in a car accident along with their close friend Richie Brookes.\n\nDeciding to carry on in Brian's memory, Davy, Jamie and Ross reformed the band, with Davy writing the emotional tribute to his friend & former bandmate, 'Stay', which was later to appear on a rare EP and on their debut album Roll Away. The band originally played only local shows around their hometown area of Port St. Mary. Shortly after, Armstrong quit the band to attend college in England, so Knowles brought in bassist and high school friend Adam Jones to replace him. In 2006, the band began to write their first record, with Knowles writing every song on the album with the exception of their cover of Blind Joe Reynolds' \"Outside Woman Blues\". On 26 June 2007, Knowles and Back Door Slam released their debut album, Roll Away. Knowles played lead guitar (both electric and acoustic) and sang the lead throughout the whole album.\n\nIn 2008, after their first album released and was at number 7 on the Blues Billboard Chart, Knowles and Back Door Slam gained exposure at the South by Southwest Festival, Coachella, and Lollapalooza. At the Bonnaroo Music Festival in Manchester, Tennessee, Knowles and the band shot their first concert DVD, Back Door Slam: Live from Bonnaroo.\n\nEarly in 2009, Knowles unexpectedly released a statement from the band, stating that they had split up, and each of the band's members were going to begin to pursue their own separate careers in music. \"After much thought and soul searching, we have reached the painful decision that we should part ways at this time,\" said Knowles in a statement on the band's website. \"The decision was the hardest of our lives, but it's one we believe had to be made for each of us to move forward creatively and musically,\" he added.\n\nSolo career\nAfter the breakup with Back Door Slam, Knowles quickly began his solo career under the name \"Davy Knowles and Back Door Slam\". His new backing band contained Fritz Lewak at drums, Kevin McCormick at bass, and Benmont Tench of the Heartbreakers at keyboards. Knowles said in an interview that he had gotten much stronger and comfortable with singing and songwriting during the time that he began to write his first solo album. On 16 June 2009, Knowles released his first solo album, entitled Coming Up For Air. This new album became quite popular among blues listeners, as it rose to number 2 on the Billboard Blues Albums Charts on two separate occasions, on 11–25 July 2009.\n\nAfter the release of his new album, Knowles went on tour, playing at several notable summer music festivals including the Mile High Festival, Rothbury Festival, Lollapalooza, and Summerfest, where he opened for Buddy Guy. In December 2009 Davy Knowles performed the song Come Home, live at BETA Records TV Studios in Hollywood, California. The acoustic song segment is taken from Season 3 of the BETA Records Music TV Series, directed by Eric MacIver and produced by Chris Honetschlaege. (Link to video) He is now on the road as Davy Knowles and Back Door Slam, with PK (bass), Steven Barci (drums) and Ty Bailie (keys). They opened for Chickenfoot in August/Sept 2009. In June 2009, Chickenfoot guitarist Joe Satriani described Davy as his \"new favourite modern-day bluesman\" in a Playlist article in the Sunday Times. He was on tour with The Rhythm Devils.\n\nKnowles continued to tour in support of the new album before turning his attention to documenting his musical influences in the documentary Island Bound, which was released as part of the Isle of Man Film Festival in 2014.\n\nKnowles also released his second solo album, The Outsider in 2014. The album featured two singles and lyric videos that Knowles released to his YouTube channel. One was the title track and the other was a cover of the gospel song Ain't No Grave. The album also features a cover of the Woody Guthrie song Pastures of Plenty.\n\nWhile touring in support of The Outsider in 2015 and early 2016, Knowles wrote and recorded his third solo album, Three Miles From Avalon. The album featured seven original songs as well as a reworking of the Willie Dixon song \"What in the World\". The album was released in October 2016, and reached number 5 in the Billboard Blues Albums Chart in its first week of release.\n\nIn 2017, Davy joined Band Of Friends, celebrating the music Rory Gallagher, with original Gallagher bandmates Gerry McAvoy (bass) and Ted McKenna (drums). He toured with the group throughout 2017 and 2018.\n\nOn February 19, 2020, it was announced that Knowles had signed to Dutch-based record label Provogue Records. His latest studio album, entitled What Happens Next, was announced alongside the lead single \"Light Of The Moon\" on July 29, 2021, with the full record released on October 22. The single \"Roll Me\" was chosen by Spotify as one of the best blues songs of the year.\n\nInfluences\n\nAccording to Knowles, the first band that influenced him was Dire Straits, whose song \"Sultans of Swing\" inspired him to begin playing the guitar after hearing it played in his father's car stereo. Because he was brought up in the Isle of Man, Knowles has publicly stated that, he draws a great deal of influence from the Celtic genre of music, particularly from the Irish guitarist Rory Gallagher. \"Rory Gallagher understood Celtic influences, being an Irishman, and I saw that where I was growing up, too. We were only 50 or 60 miles off the coast of Ireland. So I had this big Celtic influence growing up. And when I heard him incorporating that into his music, that's when I really got into it,\" said Knowles in an interview with the Seattle P.I.\n\nEquipment\nKnowles uses a number of different guitars while on stage. His primary electric guitar until mid-2009 was the 1962 Fender Stratocaster Reissue, which he uses with Fender's SCN Samarium Cobalt Noiseless Stratocaster pickups. Knowles's other electric guitars are the Stevie Ray Vaughan Model Fender Stratocaster and Rio Grande brand pickups. Knowles uses the reissued Fender Mustang, which is only currently available in Japan. Knowles has one acoustic guitar that is used when he performs, a Gibson J-45 Acoustic. Along with these guitars, Knowles also uses Dean Markley guitar strings, ranging from 0.10 to 0.52 gauge. In mid-2009, Knowles began primarily using Paul Reed Smith guitars and Budda Amps while onstage. Knowles now uses PRS guitars, particularly the PRS 305.\n\nKnowles has two amplifiers for use with his guitars. The first is the Vox AC30 Heritage Collection Amp, and the other is the 1965 Fender Twin Reverb. For his effects, Knowles uses the Dunlop Cry Baby for his Wah pedal, and the Fulltone Distortion Pro for his distortion and a Behringer kazoo. Davy Knowles now uses the Freekish Blues Freek Out! (a Highly Modified Joyo Voodoo Octave) for fuzz. In addition to this, Knowles occasionally plays a 1944 Martin brand mandolin and a Dallas Arbiter electric trampoline in some of his songs.\n\nDiscography\nWith Back Door Slam\n Back Door Slam Live 2006 - DVD (2006)\n Roll Away (2007)\n Back Door Slam - EP (2008)\n Back Door Slam: Live from Bonnaroo (2008)\n\nAs Davy Knowles and Back Door Slam\n Coming Up For Air (2009)\n Davy Knowles & Back Door Slam Live 2009 - DVD (2009)\n Live from Melbourne (2011)\n\nAs Davy Knowles\n The Outsider (2014)\n Three Miles From Avalon (2016)\n 1932 - EP (2017)\n What Happens Next (2021)\n\nReferences\n\n1987 births\nLiving people\nBritish blues singers\nManx musicians\nEnglish blues guitarists\nEnglish male guitarists\n21st-century Manx musicians\n21st-century British guitarists\n21st-century British male musicians" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\".", "Did Knowles release any solo albums?", "\"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album." ]

[ "Vijay is an Indian actor who works in Tamil cinema. He made his cinematic debut in 1984 with Vetri, directed by his father, S. A. Chandrasekhar. After appearing in Chandrasekhar's films as an uncredited child artist, Vijay made his debut as a lead actor with Naalaiya Theerpu (1992). He followed it with a supporting role opposite Vijayakanth in Sendhoorapandi (1993). Vijay went on to play lead roles in his father's directorial ventures such as Rasigan (1994) and Deva (1995). Most of them were unsuccessful critically but successful commercially.\n\nVijay's first breakthrough was in 1996 with Vikraman's romance film, Poove Unakkaga. His subsequent films, Vasanth's Nerrukku Ner (1997) and Fazil's Kadhalukku Mariyadhai (1997), were critically and commercially successful. His performance in the latter won him the Tamil Nadu State Film Award for Best Actor. Thulladha Manamum Thullum (1999), where he played a passionate singer who becomes responsible for the loss of his lover's eyesight and later helps her, gained him the reputation of a romantic hero.\n\nVijay began the new millennium with critically and commercially successful films such as Kushi and Priyamaanavale. The following year, he appeared in three films: Friends, Badri and Shahjahan. All three were box office successes; barring successful ventures Thamizhan, Youth and Bagavathi (all three released in 2002), his subsequent films Vaseegara and Pudhiya Geethai were released. While Vaseegara was a moderate success and received praise for his comic-timing, Puthiya Geethai underperformed at the box office. The success of his masala film Thirumalai (2003), where he was paired opposite Jyothika, changed his on-screen persona to that of an action hero. He appeared next as a kabaddi player opposite Trisha in Dharani's Ghilli (2004), which went on to become the most commercially successful Tamil film of the year. It was also the first Tamil film to earn 500 million (Indian rupees). His performance as a caring brother in the masala film Thirupaachi (2005) earned him a special prize at the Tamil Nadu State Film Awards. He continued to achieve commercial success with Sivakasi (2005) and Pokkiri (2007). The latter garnered him a Filmfare Award nomination for Best Actor. Barring Vettaikaaran'''s box office success, all of his subsequent releases from Azhagiya Tamil Magan (2007), where he played dual roles for the first time in his career, to Villu (2009) were average successes; his 50th film, Sura (2010), managed to recover only its production cost.\n\nIn 2011 Vijay's career prospects improved after he was praised for his role as a bodyguard in Kaavalan. Velayudham in which, he appeared as a masked superhero was commercially successful worldwide. The following year he appeared in two films: as a college student in Nanban and an army officer in Thuppakki. His performances in both films received positive critical feedback, with the latter earning him a Best Actor nomination at the 60th Filmfare Awards South. He followed that with A. L. Vijay's Thalaivaa (2013) and the multi-starrer Jilla (2014). The latter featured him along with Mohanlal. Both films were successful. He teamed up with Murugadoss again for the action film Kaththi (2014). The film, which had Vijay playing dual roles as a thief and an idealist, became one of the highest-grossing Tamil films of that year; his performances earned him critics praise. In his next film, Chimbu Deven's fantasy Puli (2015), he featured again in dual roles; it was a overseas success. The following year, he played a police officer in Atlee's Theri. The film had one of the biggest openings in Tamil cinema, grossing 1.5 billion1.56 billion worldwide, and is among the highest-grossing Tamil films of all time. Vijay's performance won him South Indian International Movie Awards. He played triple roles for the first time in Mersal (2017), his second collaboration with Atlee. In addition to garnering a UK Award for Best Actor, the film outperformed Theri and collected 2.5 billion. Vijay earned critical acclaim for Sarkar (2018). He later starred in Bigil and Master, both were commercially successful but received mediocre critics reviews.\n\nFilmsAll films are in Tamil, unless otherwise noted.''\n\nAs an actor\n\nSee also \nList of awards and nominations received by Vijay\nList of songs recorded by Vijay\n\nNotes\n\nReferences\n\nFurther reading\n\nExternal links \n \n\nIndian filmographies\nMale actor filmographies\nFilmography", "Uyira Maanama () is a 1968 Indian Tamil-language film written and directed by K. S. Gopalakrishnan. The film stars Jaishankar, Vijaya Nirmala, R. Muthuraman and Krishna Kumari. It was released on 21 October 1968 (Diwali day), and was commercially successful.\n\nPlot\n\nCast \n Jaishankar as Kannan\n Vijaya Nirmala\n R. Muthuraman\nM. N. Nambiar\nNagesh\n S Varalakshmi as Kannan's sister-in-law. \n T. K. Bhagavathi as Lawyer Santhanam & elder brother of Kannan \n Saroja Devi\n Krishna Kumari as a Russian woman\nRadhabhai\n\nProduction \nUyira Maanama was written and directed by K. S. Gopalakrishnan, and produced by K. S. Sabarinathan under Amarjothi Movies. One of the shooting locations was Yercaud. The final cut of the film was .\n\nSoundtrack \nThe soundtrack was composed by M. S. Viswanathan and the lyrics were written by Kannadasan.\n\nRelease and reception \nUyira Manama was released on 21 October 1968 (Diwali day), and was commercially successful.\n\nReferences\n\nExternal links \n \n\n1960s Tamil-language films\nIndian films\nIndian drama films\nFilms scored by M. S. Viswanathan\n1968 drama films\n1968 films" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\".", "Did Knowles release any solo albums?", "\"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album.", "Were they successful commercially?", "On March 28, 2006, Destiny's Child was inducted into the Hollywood Walk of Fame, the 2,035th recipient of the coveted recognition." ]

[ "Davy Knowles (born 30 April 1987) is a Manx blues guitarist and singer. Knowles currently tours as a solo artist, but is formerly of the blues-rock band Back Door Slam, as well as working under the name Davy Knowles and Back Door Slam for a short period of time. With Back Door Slam, he played lead guitar and sang on their debut album, Roll Away. After a split-up with bassist Adam Jones and drummer Ross Doyle, Knowles released the first and only album under the name Davy Knowles and Back Door Slam, Coming Up for Air, on 19 May 2009. Knowles drew his musical influences from blues musicians that he grew up listening to such as Dire Straits, Peter Green, and Eric Clapton's Cream. Due to his home country's proximity to Ireland, Knowles has stated that his music also is influenced by the Celtic genre, which is noted to be present in the song \"Roll Away\". In April 2009, Knowles toured with British guitarist Jeff Beck on his American tour, where he was the opening act. He toured with Joe Satriani and Chickenfoot in the United States through December 2009. Davy Knowles toured with The Rhythm Devils in 2010.\n\nKnowles released his first solo album, The Outsider, in 2014. He released his second solo album, Three Miles From Avalon, in 2016, while his third, What Happens Next, is currently scheduled for October 22, 2021. He is currently based out of Chicago, Illinois and continues to tour in the United States regularly.\n\nEarly life\nKnowles was born in Port St Mary, Isle of Man. At age 11, Knowles first became interested in music when he heard Dire Straits's \"Sultans of Swing\" during a car ride with his father. Promptly, he took his father's guitar and learned how to play the song by ear. As Knowles grew older, he was influenced by other artists like Dire Straits that he found in his father's music collection such as Rory Gallagher, Eric Clapton, and Robert Johnson.\n\nAs a child, Knowles briefly took guitar lessons, but did not prefer the traditional way of learning how to play. After he stopped taking lessons he taught himself. Knowles attended Castle Rushen High School in Castletown, Isle of Man, where he met future bandmates Brian Garvey, Ross Doyle, Adam Jones, and Jamie Armstrong.\n\nMusical career\n\nBack Door Slam\nBack Door Slam is the name of the blues rock band started by Davy Knowles on the Isle of Man in 2003/4. The band got its name from a Robert Cray song of the same name. Originally a four piece, with Castle Rushen High School friends Jamie Armstrong (bass guitar), Ross Doyle (drums) and Brian Garvey (rhythm guitar), the band was torn apart in 2004 when Brian was killed in a car accident along with their close friend Richie Brookes.\n\nDeciding to carry on in Brian's memory, Davy, Jamie and Ross reformed the band, with Davy writing the emotional tribute to his friend & former bandmate, 'Stay', which was later to appear on a rare EP and on their debut album Roll Away. The band originally played only local shows around their hometown area of Port St. Mary. Shortly after, Armstrong quit the band to attend college in England, so Knowles brought in bassist and high school friend Adam Jones to replace him. In 2006, the band began to write their first record, with Knowles writing every song on the album with the exception of their cover of Blind Joe Reynolds' \"Outside Woman Blues\". On 26 June 2007, Knowles and Back Door Slam released their debut album, Roll Away. Knowles played lead guitar (both electric and acoustic) and sang the lead throughout the whole album.\n\nIn 2008, after their first album released and was at number 7 on the Blues Billboard Chart, Knowles and Back Door Slam gained exposure at the South by Southwest Festival, Coachella, and Lollapalooza. At the Bonnaroo Music Festival in Manchester, Tennessee, Knowles and the band shot their first concert DVD, Back Door Slam: Live from Bonnaroo.\n\nEarly in 2009, Knowles unexpectedly released a statement from the band, stating that they had split up, and each of the band's members were going to begin to pursue their own separate careers in music. \"After much thought and soul searching, we have reached the painful decision that we should part ways at this time,\" said Knowles in a statement on the band's website. \"The decision was the hardest of our lives, but it's one we believe had to be made for each of us to move forward creatively and musically,\" he added.\n\nSolo career\nAfter the breakup with Back Door Slam, Knowles quickly began his solo career under the name \"Davy Knowles and Back Door Slam\". His new backing band contained Fritz Lewak at drums, Kevin McCormick at bass, and Benmont Tench of the Heartbreakers at keyboards. Knowles said in an interview that he had gotten much stronger and comfortable with singing and songwriting during the time that he began to write his first solo album. On 16 June 2009, Knowles released his first solo album, entitled Coming Up For Air. This new album became quite popular among blues listeners, as it rose to number 2 on the Billboard Blues Albums Charts on two separate occasions, on 11–25 July 2009.\n\nAfter the release of his new album, Knowles went on tour, playing at several notable summer music festivals including the Mile High Festival, Rothbury Festival, Lollapalooza, and Summerfest, where he opened for Buddy Guy. In December 2009 Davy Knowles performed the song Come Home, live at BETA Records TV Studios in Hollywood, California. The acoustic song segment is taken from Season 3 of the BETA Records Music TV Series, directed by Eric MacIver and produced by Chris Honetschlaege. (Link to video) He is now on the road as Davy Knowles and Back Door Slam, with PK (bass), Steven Barci (drums) and Ty Bailie (keys). They opened for Chickenfoot in August/Sept 2009. In June 2009, Chickenfoot guitarist Joe Satriani described Davy as his \"new favourite modern-day bluesman\" in a Playlist article in the Sunday Times. He was on tour with The Rhythm Devils.\n\nKnowles continued to tour in support of the new album before turning his attention to documenting his musical influences in the documentary Island Bound, which was released as part of the Isle of Man Film Festival in 2014.\n\nKnowles also released his second solo album, The Outsider in 2014. The album featured two singles and lyric videos that Knowles released to his YouTube channel. One was the title track and the other was a cover of the gospel song Ain't No Grave. The album also features a cover of the Woody Guthrie song Pastures of Plenty.\n\nWhile touring in support of The Outsider in 2015 and early 2016, Knowles wrote and recorded his third solo album, Three Miles From Avalon. The album featured seven original songs as well as a reworking of the Willie Dixon song \"What in the World\". The album was released in October 2016, and reached number 5 in the Billboard Blues Albums Chart in its first week of release.\n\nIn 2017, Davy joined Band Of Friends, celebrating the music Rory Gallagher, with original Gallagher bandmates Gerry McAvoy (bass) and Ted McKenna (drums). He toured with the group throughout 2017 and 2018.\n\nOn February 19, 2020, it was announced that Knowles had signed to Dutch-based record label Provogue Records. His latest studio album, entitled What Happens Next, was announced alongside the lead single \"Light Of The Moon\" on July 29, 2021, with the full record released on October 22. The single \"Roll Me\" was chosen by Spotify as one of the best blues songs of the year.\n\nInfluences\n\nAccording to Knowles, the first band that influenced him was Dire Straits, whose song \"Sultans of Swing\" inspired him to begin playing the guitar after hearing it played in his father's car stereo. Because he was brought up in the Isle of Man, Knowles has publicly stated that, he draws a great deal of influence from the Celtic genre of music, particularly from the Irish guitarist Rory Gallagher. \"Rory Gallagher understood Celtic influences, being an Irishman, and I saw that where I was growing up, too. We were only 50 or 60 miles off the coast of Ireland. So I had this big Celtic influence growing up. And when I heard him incorporating that into his music, that's when I really got into it,\" said Knowles in an interview with the Seattle P.I.\n\nEquipment\nKnowles uses a number of different guitars while on stage. His primary electric guitar until mid-2009 was the 1962 Fender Stratocaster Reissue, which he uses with Fender's SCN Samarium Cobalt Noiseless Stratocaster pickups. Knowles's other electric guitars are the Stevie Ray Vaughan Model Fender Stratocaster and Rio Grande brand pickups. Knowles uses the reissued Fender Mustang, which is only currently available in Japan. Knowles has one acoustic guitar that is used when he performs, a Gibson J-45 Acoustic. Along with these guitars, Knowles also uses Dean Markley guitar strings, ranging from 0.10 to 0.52 gauge. In mid-2009, Knowles began primarily using Paul Reed Smith guitars and Budda Amps while onstage. Knowles now uses PRS guitars, particularly the PRS 305.\n\nKnowles has two amplifiers for use with his guitars. The first is the Vox AC30 Heritage Collection Amp, and the other is the 1965 Fender Twin Reverb. For his effects, Knowles uses the Dunlop Cry Baby for his Wah pedal, and the Fulltone Distortion Pro for his distortion and a Behringer kazoo. Davy Knowles now uses the Freekish Blues Freek Out! (a Highly Modified Joyo Voodoo Octave) for fuzz. In addition to this, Knowles occasionally plays a 1944 Martin brand mandolin and a Dallas Arbiter electric trampoline in some of his songs.\n\nDiscography\nWith Back Door Slam\n Back Door Slam Live 2006 - DVD (2006)\n Roll Away (2007)\n Back Door Slam - EP (2008)\n Back Door Slam: Live from Bonnaroo (2008)\n\nAs Davy Knowles and Back Door Slam\n Coming Up For Air (2009)\n Davy Knowles & Back Door Slam Live 2009 - DVD (2009)\n Live from Melbourne (2011)\n\nAs Davy Knowles\n The Outsider (2014)\n Three Miles From Avalon (2016)\n 1932 - EP (2017)\n What Happens Next (2021)\n\nReferences\n\n1987 births\nLiving people\nBritish blues singers\nManx musicians\nEnglish blues guitarists\nEnglish male guitarists\n21st-century Manx musicians\n21st-century British guitarists\n21st-century British male musicians", "Solo Star is the debut studio album by American singer Solange, released by Columbia Records and Music World on December 26, 2002 in Japan and January 21, 2003 in the United States. It debuted and peaked at number forty-nine on the U.S. Billboard 200 and number twenty-three on the Top R&B/Hip-Hop Albums in early February 2003. The album produced two singles: \"Feelin' You\" (featuring N.O.R.E.) and \"Crush\" (later renamed to \"Don't Fight the Feeling\"). \"Feelin' You\" reached no. 73 on the Billboard Hot R&B/Hip Hop Songs chart.\n\nCritical reception\n\nWilliam Ruhlmann of AllMusic gave the album three out of five stars saying: \"Executive producer [Mathew] Knowles has surrounded Solange with a bevy of trendy writer/producers, including The Underdogs, Platinum Status, Timbaland, The Neptunes and Rockwilder, along with such guest stars as B2K and Lil' Romeo. The result is a state-of-the-art contemporary R&B album full of big beats, catchy choruses, and gimmicky production effects. But the nominal star of the show is lost somewhere in the mix. It doesn't help that the 16-year-old has a thin, undeveloped voice that is easily overwhelmed. Slant Magazine gave two out of five stars, saying: \"The largely synthetic-sounding Solo Star follows the growing industry standard in which the focus is on production rather songwriting\", also adding that Solange's voice is uncannily similar to Beyoncé's.\n\nRelease and promotion\nThe album was released in December 2002 in Japan, while it was released in United States following month. It under-performed in the United States, selling 112,000 copies according to Nielsen SoundScan, and dropped off the chart five weeks after its debut. The only two singles released from the album, the N.O.R.E.-featured \"Feelin' You (Part II)\" and the Neptunes-produced \"Crush\" (also known as \"Don't Fight the Feeling\"), failed to chart on the Billboard Hot 100. The album is no longer in print and the online music website iTunes does not sell the album. A re-recording of \"Crush\", with vastly different instrumental and harmonies and featuring Papa Reu, was included on the movie soundtrack for The Fighting Temptations which stars Solange's sister Beyoncé. This re-recording was renamed \"Don't Fight the Feeling\" to match the movie poster's tagline. The album was promoted with the Solo Star Tour in 2003.\n\nTrack listing \n\nNote: tracks 17, 18 and 19 are four seconds of silence each with these bonus tracks following:\n\nSample credits\n\"True Love\" contains replayed elements from \"So Amazing\" by Luther Vandross\n\"Thinkin' About You\" contains replayed elements from \"Scooby Doo Where Are You\" by Joseph Barbera, William Hanna, and Hoyt Curtin\n\n2006 re-release\nSolo Star was re-released in November 2006 with a different artwork and track listing. The reissue album contained twelve tracks: seven tracks from 2002 standard release, four remixes and previously unreleased track titled \"Bring It on Home\". There is a newly recorded version of \"Feelin' You\" which features American rapper Slim Thug. Both singles from the album were remixed. \"Crush\" was remixed by Vibelicious. Also, a duet with Beyoncé featuring Da Brat titled \"Naïve\" was remixed by Maurice Joshua.\n\nPersonnel\nSolange Knowles – composer, primary artist, producer, vocal producer\n\nKetrina Askew – composer\nB2K – featured artist, guest artist, primary artist\nRich Balmer – engineer\nJoseph Barbera – composer\nBeyoncé Knowles – producer\nBruce Buechner – engineer\nWilliam Burke – programming\nSkip Burrow – engineer\nKandi Burruss – producer\nKim Burse – A&R\nScott Gusty Christensen – engineer\nCedric Courtois – producer\nJohn Czornyj – mixing\nMyke Diesel – engineer, mixing, producer\nJimmy Douglass – mixing\nErica Dymakkus – backing vocals \nDamon Elliott – drum programming, engineer, keyboards, percussion, producer\nBrian Garten – engineer\nSerban Ghenea – mixing\nDabling Harward – recording\nA. Jackson – composer\nAlonzo Jackson – producer\nTroy Johnson – composer, engineer, producer\nJerome Jones – composer\nTalib Kareem – producer\nMathew Knowles – executive producer\nEmily Lazar – mastering\nMurphy Lee – featured artist, primary artist\nLil' Romeo – guest artist, primary artist\nTony Maserati – mixing\nMaster P – composer\nMichael McClain – producer\nRamon Morales – engineer\nN.O.R.E. – composer, guest artist, primary artist\nHuy Nguyen – A&R assistance, artist coordination\nTony Oliver – composer\nKevin Parker – mixing\nMark Penn – producer\nDave Pensado – mixing\nLinda Perry – producer\nPlatinum Status – producer\nRockwilder – composer, producer\nDexter Simmons – mixing\nSlim Thug – primary artist\nChris Stokes – producer\nTimbaland – mixing, producer\nLuther Vandross – composer\n\nCharts\n\nRelease history\n\nReferences\n\n2002 debut albums\nColumbia Records albums\nSolange Knowles albums\nAlbums produced by Timbaland\nAlbums produced by the Neptunes\nAlbums produced by Linda Perry\nAlbums produced by Jermaine Dupri\nAlbums produced by Rockwilder" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\".", "Did Knowles release any solo albums?", "\"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album.", "Were they successful commercially?", "On March 28, 2006, Destiny's Child was inducted into the Hollywood Walk of Fame, the 2,035th recipient of the coveted recognition.", "Were Knowles solo albums successful?", "I don't know." ]

[ "Playlist: The Very Best of Destiny's Child is the third compilation album by American R&B girl group Destiny's Child. It was released on October 9, 2012 through Columbia Records matching with the fifteenth anniversary of Destiny's Child's formation. The compilation contained fourteen songs from the group's repertoire consisting of four studio albums.\n\nUpon its release, the received positive reviews from critics who praised its track list featuring the band's most popular songs; however some of them noted the lack of new material as a downside. It peaked at numbers 77 and 17 on the Billboard 200 and the magazine's Top R&B/Hip-Hop Albums chart respectively, becoming the highest ranking release of the playlist album series through Legacy Recordings.\n\nBackground and release \nOn July 7, 2012, Mathew Knowles, the music manager of the group, revealed that Destiny's Child would reunite after a seven-year-long hiatus saying, \"We still have our joint venture with Sony, and in November, we're putting out two Destiny's Child catalog records with new material\". During the interview, he also mentioned plans for a possible tour. Later it was confirmed through a press release by Music World Entertainment, Columbia Records and Legacy Recordings on September 19, 2012 that the album would be a greatest hits compilation album titled Playlist: The Very Best of Destiny's Child and it would be released on October 9, 2012 to mark the group's fifteenth anniversary since its formation.\n\nThe album contains fourteen songs from Destiny's Child's four studio albums: Destiny's Child (1998), The Writing's on the Wall (1999), Survivor (2001) and Destiny Fulfilled (2004). Group members Beyoncé, Kelly Rowland and Michelle Williams served as the producers for Playlist: The Very Best of Destiny's Child along with Mathew Knowles.\n\nCritical reception \n\nStephen Thomas Erlewine of the website AllMusic praised Playlist: The Very Best of Destiny's Child along with their other greatest hits compilation #1's for being \"excellent overviews of the biggest and best female R&B group of their time\". He further noted similarities in their content as they shared twelve same songs on their respective track listings. James Robertson of Daily Mirror magazine described the album as \"amazing\" and added that \"unlike other albums that recycle good songs to ship some of their rubbish new material it's actually awesome\". Consequence of Sound writer Jeremy D. Larson described the compilation as \"hit-heavy\". Chris Martins of Spin felt that the album \"sans any big surprises\" due to lack of newly recorded material by the group. Gerrick D. Kennedy writing for the Los Angeles Times felt that \"sadly, [the album] won't feature any goodies that a fan of the sassy pop-R&B group didn't already own\" further noting that it covered \"largely the same ground\" as #1's.\n\nCommercial performance \nOn the Billboard 200 albums chart in the United States, Playlist: The Very Best of Destiny's Child debuted and peaked at number 77 on the chart issue dated December 8, 2012. The album also spent an additional week on the chart. The album performed better on the Top R&B/Hip-Hop Albums where it peaked at number 17 and charted for a total of nine weeks. In November 2012, Billboard magazine revealed that Playlist – The Very Best of Destiny's Child was the highest ranking album in Legacy Recording's Playlist series. Following Destiny's Child reunion performance at the Super Bowl XLVII halftime show on February 3, 2013, the compilation climbed to number 66 on the iTunes Albums chart.\n\nTrack listing\n\nCredits and personnel \nCredits for Playlist: The Very Best of Destiny's Child are adapted from the album's liner notes and the website AllMusic.\n\n9th Wonder – producer\nJovonn Alexander – producer\nTim Anderson – project director\nVic Anesini – mastering\nS. Barnes – composer\nAngela Beyince – composer\nK. Briggs – composer\nKevin \"She'kspere\" Briggs – composer, producer, vocal producer\nRob Carter – art direction, design\nLaShawn Daniels – composer, vocal producer\nAnthony Dent – composer, producer\nDestiny's Child – primary artist\nPatrick Douthit – composer\nJerry \"Te Bass\" Duplesis – producer\nChad \"Dr. Cuess\" Elliott – composer, producer\nFabrizio Ferri – photography\nRob Fusari – composer, producer\nCalvin Gaines – composer\nSean Garrett – composer, vocal producer\nBarry Gibb – composer\nRobin Gibb – composer\nChe Greene – producer\nClifford Harris – composer\nRich Harrison – composer, producer\nV. Herbert – composer\nWyclef Jean – featured artist, producer\nFred \"Uncle Freddie\" Jerkins III – composer\nRodney \"Darkchild\" Jerkins – composer, producer\nMaura K. Johnston – liner notes\nS. Jolley – composer\nKandi – composer, vocal producer\nBeyoncé Knowles – compilation producer, composer, producer, vocal producer\nMathew Knowles – compilation producer, composer\nLil Wayne – featured artist\nLeToya Luckett – composer\nFalonte Moore – composer, producer\nThe Neptunes – producer\nStevie Nicks – composer\nJ.C. Olivier – composer\nPoke & Tone – producer\nPras – Featured Artist, producer\nByron Rittenhouse – vocals\nLaTavia Roberson – composer\nE. Robinson – composer\nCory Rooney – composer, producer\nKelly Rowland – compilation producer, composer\nRod Spicer – photography\nT.I. – featured artist\nHenry Towns – A&R\nMichelle Williams – compilation producer, composer\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nSee also \nPlaylist (album series)\nDestiny's Child discography\n\nReferences\n\nExternal links \n \n\n2012 greatest hits albums\nDestiny's Child albums\nDestiny's Child", "Destiny's Child was an American girl group whose final and best-known line-up comprised Beyoncé Knowles, Kelly Rowland, and Michelle Williams. The group began their musical career as Girl's Tyme, formed in 1990 in Houston, Texas. After years of limited success, the quartet comprising Knowles, Rowland, LaTavia Roberson, and LeToya Luckett were signed in 1997 to Columbia Records as Destiny's Child. The group was launched into mainstream recognition following the release of the song \"No, No, No\" and their best-selling second album, The Writing's on the Wall (1999), which contained the number-one singles \"Bills, Bills, Bills\" and \"Say My Name\". Despite critical and commercial success, the group was plagued by internal conflict and legal turmoil, as Roberson and Luckett attempted to split from the group's manager Mathew Knowles, citing favoritism of Knowles and Rowland.\n\nIn early 2000, both Roberson and Luckett were replaced with Williams and Farrah Franklin; however, Franklin quit after five months, leaving the group as a trio. Their third album, Survivor (2001), whose themes the public interpreted as a channel to the group's experience, produced the worldwide hits \"Independent Women\", \"Survivor\" and \"Bootylicious\". In 2001, they announced a hiatus to pursue solo careers. The trio reunited two years later for the release of their fifth and final studio album, Destiny Fulfilled (2004), which spawned the international hits \"Lose My Breath\" and \"Soldier\". Since the group's official disbandment in 2006, Knowles, Rowland, and Williams have reunited several times, including at the 2013 Super Bowl halftime show and 2018 Coachella festival.\n\nDestiny's Child has sold more than sixty million records worldwide to date. Billboard ranks the group as one of the greatest musical trios of all time, the ninth most successful artist/band of the 2000s, placed the group 68th in its All-Time Hot 100 Artists list in 2008 and in December 2016, the magazine ranked them as the 90th most successful dance club artist of all time. The group was nominated for 14 Grammy Awards, winning twice for Best R&B Performance by a Duo or Group with Vocals and once for Best R&B Song.\n\nHistory\n\n1990–1997: Early beginnings and Girl's Tyme\nIn 1990, Beyoncé Knowles met rapper LaTavia Roberson while auditioning for a girl group. Based in Houston, Texas, they were joined to a group that performed rapping and dancing. Kelly Rowland, who relocated to Knowles' house because of family issues, joined them in 1992. Originally named Girl's Tyme, they were eventually cut down to six members including Támar Davis and sisters Nikki and Nina Taylor. With Knowles and Rowland, Girl's Tyme attracted nationwide attention: west-coast R&B producer Arne Frager flew to Houston to see them. He brought them to his studio, The Plant Recording Studios, in Northern California, with focus on Knowles' vocals because Frager thought she had personality and the ability to sing. With efforts to sign Girl's Tyme to a major record deal, Frager's strategy was to debut the group in Star Search, the biggest talent show on national TV at the time. However, they lost the competition because, according to Knowles, their choice of song was wrong; they were actually rapping instead of singing.\n\nBecause of the group's defeat, Knowles' father, Mathew, voluntarily dedicated his time to manage them. He decided to cut the original lineup to four, with the removal of Davis and the Taylor sisters and the inclusion of LeToya Luckett in 1993. Aside from spending time at their church in Houston, Girl's Tyme practiced in their backyards and at the Headliners Salon, owned by Knowles' mother, Tina. The group would test routines in the salon, when it was on Montrose Boulevard in Houston, and sometimes would collect tips from the customers. Their try-out would be critiqued by the people inside. During their school days, Girl's Tyme performed at local gigs. When summer came, Mathew Knowles established a \"boot camp\" to train them in dance and vocal lessons. After rigorous training, they began performing as opening acts for established R&B groups of that time such as SWV, Dru Hill and Immature. Tina Knowles designed the group's stage attire.\n\nOver the course of the early years in their career, Girl's Tyme changed their name to Something Fresh, Cliché, The Dolls, and to Destiny. The group signed with Elektra Records with the name Destiny, but were dropped several months later before they could release an album. The pursuit of a record deal affected the Knowles family: in 1995, Mathew Knowles resigned from his job as a medical-equipment salesman, a move that reduced Knowles' family's income by half, and her parents briefly separated due to the pressure. In 1996, they changed their name to Destiny's Child. Group members have claimed that the name was taken from a passage in the Bible: \"We got the word destiny out of the Bible, but we couldn't trademark the name, so we added child, which is like a rebirth of destiny,\" said Knowles. The word Destiny was stated to have been chosen from the Book of Isaiah, by Tina Knowles.\n\nMathew Knowles helped in negotiating a record deal with Columbia Records, which signed the group that same year. Prior to signing with Columbia, the group had recorded several tracks in Oakland, California produced by D'wayne Wiggins of Tony! Toni! Toné!. Upon the label's recognition that Destiny's Child had a \"unique quality\", the track \"Killing Time\" was included in the soundtrack to the 1997 film Men in Black.\n\n1997–2000: Breakthrough and lineup changes\n\nDestiny's Child first charted in November 1997 with \"No, No, No\", the lead single from their self-titled debut album, which was released in the United States on February 17, 1998, featuring productions by Tim & Bob, Rob Fusari, Jermaine Dupri, Wyclef Jean, Dwayne Wiggins and Corey Rooney. Destiny's Child peaked at number sixty-seven on the Billboard 200 and number fourteen on the Billboard Top R&B/Hip-Hop Albums. It managed to sell over one million copies in the United States, earning a platinum certification by the Recording Industry Association of America (RIAA). The remix version to \"No, No, No\", reached number one on the Billboard Hot R&B/Hip-Hop Singles & Tracks and number three on the Billboard Hot 100. Its follow-up single, \"With Me Part 1\" failed to reproduce the success of \"No, No, No\". Meanwhile, the group featured on a song from the soundtrack album of the romantic drama Why Do Fools Fall in Love and \"Get on the Bus\" had a limited release in Europe and other markets. In 1998, Destiny's Child garnered three Soul Train Lady of Soul awards including Best New Artist for \"No, No, No\". Knowles considered their debut successful but not huge, claiming as a neo soul record it was too mature for the group at the time.\n\nAfter the success of their debut album, Destiny's Child re-entered the studio quickly, bringing in a new lineup of producers, including Kevin \"She'kspere\" Briggs and Rodney Jerkins. Coming up with The Writing's on the Wall, they released it on July 27, 1999, and it eventually became their breakthrough album. The Writing's on the Wall peaked at number five on the Billboard 200 and number two on R&B chart in early 2000. \"Bills, Bills, Bills\" was released in 1999 as the album's lead single and reached the top spot of the Billboard Hot 100, becoming their first US number-one single. The Writing's on the Wall has been credited as Destiny's Child's breakthrough album, spurring their career and introducing them to a wider audience.\n\nOn December 14, 1999, Luckett and Roberson attempted to split with their manager, claiming that he kept a disproportionate share of the group's profits and unfairly favored Knowles and Rowland. While they never intended to leave the group, when the video for \"Say My Name\", the third single from The Writing's on the Wall, surfaced in February 2000, Roberson and Luckett found out that two new members were joining Knowles and Rowland. Prior to the video premiere, Knowles announced on TRL that original members Luckett and Roberson had left the group. They were replaced by Michelle Williams, a former backup singer to Monica, and Farrah Franklin, an aspiring singer-actress. Shortly after her stint with Monica, Williams was introduced to Destiny's Child by a choreographer friend, and was flown to Houston where she stayed with the Knowles family.\n\nOn March 21, 2000, Roberson and Luckett filed a lawsuit against Mathew Knowles and their former bandmates for breach of partnership and fiduciary duties. Following the suit, both sides were disparaging towards each other in the media. Five months after joining, Franklin left the group. The remaining members claimed that this was due to missed promotional appearances and concerts. According to Williams, Franklin could not handle stress. Franklin, however, disclosed that she left because of the negativity surrounding the strife and her inability to assert any control in the decision-making. Her departure was seen as less controversial. Williams, on the other hand, disclosed that her inclusion in the group resulted in her \"battling insecurity\": \"I was comparing myself to the other members, and the pressure was on me.\"\n\nTowards the end of 2000, Roberson and Luckett dropped the portion of their lawsuit aimed at Rowland and Knowles in exchange for a settlement, though they continued the action against their manager. As part of the agreement, both sides were prohibited from speaking about each other publicly. Roberson and Luckett formed another girl group named Anjel but also left it due to issues with the record company. Although band members were affected by the turmoil, the publicity made Destiny's Child's success even bigger and they became a pop culture phenomenon. \"Say My Name\" topped the Billboard Hot 100 for three consecutive weeks, while the fourth single, \"Jumpin', Jumpin'\", also became a top-ten hit. The Writing's on the Wall eventually sold over eight million copies in the United States, gaining eight-time platinum certification by the RIAA. The album sold more than 11 million copies worldwide and was one of the top-selling albums of 2000. During this time, Destiny's Child began performing as an opening act at the concerts of pop singers Britney Spears and Christina Aguilera.\n\nWith Williams in the new lineup, Destiny's Child released a theme song for the soundtrack to the 2000 film Charlie's Angels. Released as a single in October 2000, \"Independent Women Part 1\" spent eleven consecutive weeks atop the Billboard Hot 100 from November 2000 to January 2001, the longest-running number-one single of Destiny's Child's career and of that year in the United States. The successful release of the single boosted the sales of the soundtrack album to Charlie's Angels to 1.5 million by 2001. In 2000, Destiny's Child won Soul Train's Sammy Davis Jr. Entertainer of the Year award.\n\n2000–2003: Survivor, subsequent releases, hiatus and side projects\nAt the 2001 Billboard Music Awards, Destiny's Child won several accolades, including Artist of the Year and Duo/Group of the Year, and again won Artist of the Year among five awards they snagged in 2001. In September 2000, the group took home two at the sixth annual Soul Train Lady of Soul Awards, including R&B/Soul Album of the Year, Group for The Writing's on the Wall. Destiny's Child recorded their third album, Survivor, from mid-2000 until early 2001. In the production process, Knowles assumed more control in co-producing and co-writing almost the entire album. Survivor hit record stores in the spring of 2001 and entered the Billboard 200 at number one, selling over 663,000 copies in its first week sales. The first three singles, \"Independent Women Part I\", \"Survivor\" and \"Bootylicious\" reached the top three in the United States and were also successful in other countries; the first two were consecutive number-one singles in the United Kingdom. The album was certified four-time platinum in the United States and double platinum in Australia. It sold 6 million copies as of July 27, 2001.\n\nIn the wake of the September 11 attacks, Destiny's Child canceled a European tour and performed in a concert benefit for the survivors. In October 2001, the group released a holiday album, 8 Days of Christmas, which contained updated versions of several Christmas songs. The album managed to reach number thirty-four on the Billboard 200. In February 2001, Destiny's Child won two Grammy awards for \"Say My Name\": Best R&B Vocal Performance by a Duo or Group and Best R&B Song. They also earned an American Music Award for Favorite Soul/R&B Band/Duo. Also in 2001, Destiny's Child sang backup vocals for Solange Knowles, who was the lead, on the theme song to the animated Disney Channel series The Proud Family. In March 2002, a remix compilation titled This Is the Remix was released to win fans over before a new studio album would be released. The remix album reached number 29 in the United States. The lead single \"Survivor\" was by some interpreted as a response to the strife between the band members, although Knowles claimed it was not directed at anybody. Seeing it as a breach of the agreement that barred each party from public disparagement, Roberson and Luckett once again filed a lawsuit against Destiny's Child and Sony Music, shortly following the release of This Is the Remix. In June 2002, remaining cases were settled in court.\n\nIn late 2000, Destiny's Child announced their plan to embark on individual side projects, including releases of solo albums, an idea by their manager. In 2002, Williams released her solo album, Heart to Yours, a contemporary gospel collection. The album reached number one on the Billboard Top Gospel Albums chart. In the same date Heart to Yours hit stores, Destiny's Child released their official autobiography, Soul Survivors. Rowland collaborated with hip hop artist Nelly on \"Dilemma\", which became a worldwide hit and earned Rowland a Grammy; she became the first member of Destiny's Child to have achieved a US number-one single. In the same year, Knowles co-starred with Mike Myers in the box-office hit Austin Powers in Goldmember. She recorded her first solo single, \"Work It Out\", for the film's soundtrack. To capitalize on the success of \"Dilemma\", Rowland's solo debut album Simply Deep was brought forward from its early 2003 release to September 2002. Rowland's career took off internationally when Simply Deep hit number one on the UK Albums Chart. In the same year, she made her feature film debut in the horror film Freddy vs. Jason. Meanwhile, Knowles made her second film, The Fighting Temptations, and appeared as featured vocalist on her then-boyfriend Jay-Z's single \"'03 Bonnie & Clyde\", which paved the way for the release of her debut solo album.\n\nAs an upshot from the success of \"Dilemma\", Knowles' debut album, Dangerously in Love, was postponed many times until June 2003. Knowles was considered the most successful among the three solo releases. Dangerously in Love debuted at number one on the Billboard 200, selling 317,000 copies. It yielded the number-one hits \"Crazy in Love\", and \"Baby Boy\"; and the top-five singles \"Me, Myself and I\" and \"Naughty Girl\". The album was certified 4x platinum by the Recording Industry Association of America (RIAA). It remains as Knowles' best-selling album to date, with sales of 5 million copies in the United States, as of June 2016. Worldwide, the album has sold more than eleven million copies. Knowles' solo debut was well received by critics, earning five Grammy awards in one night for Dangerously in Love, tying the likes of Norah Jones, Lauryn Hill, and Alicia Keys for most Grammys received in one night by a female artist. In November 2003, Williams appeared as Aida on Broadway. In January 2004, she released her second gospel album, Do You Know.\n\nD'wayne Wiggins, who had produced their first recordings as Destiny's Child, filed suit in 2002 against his former counsel (Bloom, Hergott, Diemer & Cook LLP) seeking $15 million in damages for lessening his contractual agreement with the group without his consent, effectively nullifying his original contract that offered Sony Music/Columbia Destiny's Child's exclusive recording services for an initial seven years, in exchange for \"certain royalties\", instead of royalties only from the first three albums. The case was settled for an undisclosed amount. In June 2003, Mathew Knowles announced that Destiny's Child would expand back to a quartet, revealing Knowles' younger sister, Solange, as the latest addition to the group. Destiny's Child had previously recorded songs with Solange and shared the stage when she temporarily replaced Rowland after she broke her toes while performing. Their manager, however, said the idea was used to test reactions from the public. In August 2003, Knowles herself confirmed that her sister would not be joining in the group, and instead promoted Solange's debut album, Solo Star, released in January 2003.\n\n2003–2006: Destiny Fulfilled and #1's\nThree years after the hiatus, members of Destiny's Child reunited to record their fourth and final studio album, Destiny Fulfilled. The album introduces the trio to a harder, \"urban\" sound, and songs featured are conceptually interrelated. Destiny Fulfilled saw equality in the trio: each member contributed to writing on the majority songs, as well as becoming executive producers aside from their manager. Released on November 15, 2004, Destiny Fulfilled failed to top Survivor; the album reached number two the following week, selling 497,000 copies in its first week, compared to 663,000 for the previous album. Certified three-time platinum in the United States, it was still one of the best-selling albums of 2005, selling over eight million copies worldwide; it pushed the group back into the position of the best-selling female group and American group of the year. Four singles were released from the album: the lead \"Lose My Breath\", \"Soldier\", \"Cater 2 U\" and \"Girl\"; the first two reached number three in the United States. \"Soldier\" \"Cater 2 U\" were certified platinum by the RIAA in 2006.\n\nTo promote the album, Destiny's Child embarked on their worldwide concert tour, Destiny Fulfilled... and Lovin' It Tour. On June 11, 2005, while at the Palau Sant Jordi in Barcelona, Spain, the group announced to the audience of 16,000 people that they planned to officially break up once the tour concluded. Knowles stated that the album's title Destiny Fulfilled was not a coincidence and reflected the fact that the breakup was already being planned when the album was being recorded. While making the album, they planned to part ways after their fourteen-year career as a group to facilitate their continued pursuit in individual aspirations. Knowles stated that their destinies were already fulfilled. The group sent a letter to MTV about the decision, saying:\n\nWe have been working together as Destiny's Child since we were 9 and touring together since we were 14. After a lot of discussions and some deep soul searching, we realized that our current tour has given us the opportunity to leave Destiny's Child on a high note, united in our friendship and filled with overwhelming gratitude for our music, our fans, and each other. After all these wonderful years working together, we realized that now is the time to pursue our personal goals and solo efforts in earnest...No matter what happens, we will always love each other as friends and sisters and will always support each other as artists. We want to thank all of our fans for their incredible love and support and hope to see you all again as we continue fulfilling our destinies. —Destiny's Child, MTV\n\nDestiny's Child released their greatest hits album, #1's, on October 25, 2005. The compilation includes their number-one hits including \"Independent Woman Part 1\", \"Say My Name\" and \"Bootylicious\". Three new tracks were recorded for the compilation including \"Stand Up for Love\", which was recorded for the theme song to the World Children's Day, and \"Check on It\", a song Knowles recorded for The Pink Panthers soundtrack. Record producer David Foster, his daughter Amy Foster-Gillies and Knowles wrote \"Stand Up for Love\" as the anthem to the World Children's Day, an annual worldwide event to raise awareness and funds for children causes. Over the past three years, more than $50 million have been raised to benefit Ronald McDonald House Charities and other children's organizations. Destiny's Child lent their voices and support as global ambassadors for the 2005 program. #1's was also released as a DualDisc, featuring the same track listing, seven videos of selected songs and a trailer of the concert DVD Destiny's Child: Live in Atlanta. The DVD was filmed during the Atlanta visit of the Destiny Fulfilled ... And Lovin' It tour, and was released on March 28, 2006. It has been certified platinum by the RIAA, denoting shipments of over one million units. Notwithstanding the album title, only five of the album's 16 tracks had reached #1 on either the Billboard Hot 100 or the Hot R&B/Hip-Hop Songs chart; writer Keith Caulfield of Billboard magazine suggested that the title was \"a marketing angle\". Despite this, journalist Chris Harris of MTV said that the album \"lives up to its name\".\n\nDisbandment and aftermath\nDestiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006, in Houston, Texas; however, Knowles commented, \"It's the last album, but it's not the last show.\" Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later. On March 28, 2006, Destiny's Child was inducted into the Hollywood Walk of Fame, the 2,035th recipient of the coveted recognition. At the 2006 BET Awards, Destiny's Child won Best Group, a category they also earned in 2005 and 2001.\n\nAfter their formal disbandment, all members resumed their solo careers and have each experienced different levels of success. Since then, Knowles, Rowland, and Williams have continued to collaborate on each other's solo projects through song features, music video appearances, and live performances. Both Rowland and Williams, along with Knowles' sister Solange, appeared in Knowles' music video for her single \"Get Me Bodied\" (2007). On June 26, 2007, the group made a mini-reunion at the 2007 BET Awards, where Knowles performed \"Get Me Bodied\" with Williams and Solange as her back-up dancers. After her performance, Knowles introduced Rowland who performed her single \"Like This\" (2007) with Eve. On the September 2, 2007 Los Angeles stop of The Beyoncé Experience tour, Knowles sang a snippet of \"Survivor\" with Rowland and Williams, and the latter two rendered a \"Happy Birthday\" song to Knowles. The performance was featured in Knowles' tour DVD, The Beyoncé Experience Live. In 2008, Knowles recorded a cover of Billy Joel's \"Honesty\" for Destiny's Child's compilation album Mathew Knowles & Music World Present Vol.1: Love Destiny, which was released only in Japan to celebrate the group's tenth anniversary.\n\nRowland made a cameo appearance in Knowles' music video for her single \"Party\" (2011), and the group's third compilation album, Playlist: The Very Best of Destiny's Child, was released in 2012 to mark the fifteenth anniversary since their formation. The fourth compilation album, Love Songs, was released on January 29, 2013, and included the newly recorded song \"Nuclear\", produced by Pharrell Williams. \"Nuclear\" marked the first original music from Destiny's Child in eight years. The following month, Rowland and Williams appeared as special guests for Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\". A video album titled Destiny's Child Video Anthology was released in May 2013 and featured sixteen of the group's music videos. Knowles and Williams were then featured on Rowland's song \"You Changed\" from her fourth solo album Talk a Good Game (2013). Later that year, Rowland and Williams made cameo appearances in the music videos for Knowles' songs \"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album. Williams released the single \"Say Yes\" in June 2014, featuring Knowles and Rowland. They performed \"Say Yes\" together during the 2015 Stellar Awards, and the live version of the song was mastered for iTunes in April 2015. On November 7, 2016, the group reunited in a video to try the Mannequin Challenge, which was posted on Rowland's official Instagram account. The group reunited for Beyoncé's headline performance at Coachella in April 2018 which was released as the Homecoming documentary and homonymous live album.\n\nArtistry\n\nMusical style and themes\nDestiny's Child recorded R&B songs with styles that encompass urban, contemporary, and dance-pop. In the group's original lineup, Knowles was the lead vocalist, Rowland was the second lead vocalist, Luckett was on soprano, and Roberson was on alto. Knowles remained as the lead vocalist in the group's final lineup as a trio, however, Rowland and Williams also took turns in singing lead for the majority of their songs. Destiny's Child cited R&B singer Janet Jackson as one of their influences. Ann Powers of The New York Times described Destiny's Child music as \"fresh and emotional ... these ladies have the best mixes, the savviest samples and especially the most happening beats.\" In the same publication, Jon Pareles noted that the sound that defines Destiny's Child, aside from Knowles' voice, \"is the way its melodies jump in and out of double-time. Above brittle, syncopated rhythm tracks, quickly articulated verses alternate with smoother choruses.\" The group usually harmonize their vocals in their songs, especially on the ballads. In most instances of their songs, each member sings one verse and chimes in at the chorus. In their third album Survivor (2001), each member sings lead in the majority of the songs. Knowles said, \"... everybody is a part of the music ... Everybody is singing lead on every song, and it's so great—because now Destiny's Child is at the point vocally and mentally that it should be at.\" Knowles, however, completely led songs like \"Brown Eyes\" and \"Dangerously in Love 2\". The group explored themes of sisterhood and female empowerment in songs such as \"Independent Women\" and \"Survivor\", but have also been criticized for the anti-feminist message of songs such as \"Cater 2 U\" and \"Nasty Girl\".\n\nSurvivor contains themes interpreted by the public as a reference to the group's internal conflict. The title track, \"Survivor\", which set the theme used throughout the album, features the lyrics \"I'm not gonna blast you on the radio ... I'm not gonna lie on you or your family ... I'm not gonna hate you in the magazine\" caused Roberson and Luckett to file a lawsuit against the group; the lyrics were perceived to be a violation over their agreement following a settlement in court. In an interview, Knowles commented: \"The lyrics to the single 'Survivor' are Destiny's Child's story because we've been through a lot, ... We went through our drama with the members ... Any complications we've had in our 10-year period of time have made us closer and tighter and better.\" In another song called \"Fancy\", which contains the lyrics \"You always tried to compete with me, girl ... find your own identity\", was interpreted by critic David Browne, in his review of the album for Entertainment Weekly magazine, as a response to the lawsuit. Stephen Thomas Erlewine of AllMusic summarized Survivor as \"a determined, bullheaded record, intent on proving Destiny's Child has artistic merit largely because the group survived internal strife. ... It's a record that tries to be a bold statement of purpose, but winds up feeling forced and artificial.\" Despite the album's receiving critical praise, Knowles' close involvement has occasionally generated criticism. Knowles wrote and co-produced the bulk of Survivor. Browne suggested that her help made Survivor a \"premature, but inevitable, growing pains album\". In the majority of the songs on their final studio album Destiny Fulfilled (2004), the verses are divided into three sections, with Knowles singing first, followed by Rowland, then Williams; the three harmonize together during the choruses.\n\nPublic image\n\nDestiny's Child were compared to The Supremes, a 1960s American female singing group, with Knowles being compared to Supremes frontwoman Diana Ross; Knowles, however, has dismissed the notion. Coincidentally, Knowles starred in the film adaptation of the 1981 Broadway musical Dreamgirls as Deena Jones, the frontwoman of the Dreams, a female singing group based on the Supremes. With Knowles' wide role assumed in the production of Survivor, Gil Kaufman of MTV noted that \"it became clear that Beyoncé was emerging as DC's unequivocal musical leader and public face\". Her dominance to the creative input in the album made the album \"very much her work\". For Lola Ogunnaike of The New York Times, \"It's been a long-held belief in the music industry that Destiny's Child was little more than a launching pad for Beyoncé Knowles' inevitable solo career.\"\n\nIn the wake of Knowles' debut solo album Dangerously in Love (2003), rumors spread about a possible split of Destiny's Child after each member had experienced solo success and had ongoing projects. Comparisons were drawn to Justin Timberlake, who did not return to band NSYNC after his breakthrough debut solo album, Justified. Rowland responded to such rumors, announcing they were back in the studio together. The group claimed that the reunion was destined to happen and that their affinity to each other kept them cohesive. Margeaux Watson, arts editor at Suede magazine, suggested that Knowles \"does not want to appear disloyal to her former partners,\" and called her decision to return to the group \"a charitable one\". Knowles' mother, Tina, wrote a 2002-published book, titled Destiny's Style: Bootylicious Fashion, Beauty and Lifestyle Secrets From Destiny's Child, an account of how fashion influenced Destiny's Child's success.\n\nLegacy\n\nDestiny's Child have been referred to as R&B icons, and have sold more than 60 million records worldwide. Following the disbandment of Destiny's Child, MTV's James Montgomery noted that \"they have left a fairly sizable legacy behind\" as \"one of the best-selling female pop vocal groups in history.\" Billboard observed that Destiny's Child were \"defined by a combination of feisty female empowerment anthems, killer dance moves and an enviable fashion sense,\" while Essence noted that they \"set trends with their harmonious music and cutting-edge style.\" In 2015, Daisy Jones of Dazed Digital published an article on how the group made a significant impact in R&B music, writing \"Without a hint of rose tint, Destiny's Child legitimately transformed the sound of R&B forever... their distinct influence can be found peppered all over today's pop landscape, from Tinashe to Ariana Grande.\" Nicole Marrow of The Cut magazine believed that R&B music in the 1990s and early 2000s \"was virtually redefined by the success of powerhouse performers like TLC and Destiny's Child, who preached a powerful litany of embracing womanhood and celebrating individuality.\" Hugh McIntyre of Forbes wrote that before The Pussycat Dolls and Danity Kane burst onto the music scene in the mid-2000s, Destiny's Child were \"the reigning queens\" of the girl group genre.\n\nWriting for Pitchfork, Katherine St. Asaph noticed how Destiny's Child defined the revival of girl groups similar to The Supremes in the early-to-mid-'90s, saying:\nThere is no better microcosm of what happened to Top 40 music between 1993 and 1999 than this. Bands like the “Star Search” winner were buried in a landfill of post-grunge, while R&B groups built out from soul and quiet storm to create a sound innovative enough to earn the “futuristic” label almost everything got in that pre-Y2K time. This bore itself out in the revival in the early-to-mid-’90s of excellent girl groups vaguely in the Supremes mold—TLC, En Vogue, SWV—but it would be Destiny’s Child who would become their true successors.\n \nDestiny's Child's final lineup as a trio has been widely noted as the group's most recognizable and successful lineup. Billboard recognized them as one of the greatest musical trios of all time; they were also ranked as the third most successful girl group of all time on the Billboard charts, behind TLC and The Supremes. The group's single \"Independent Women\" (2000) ranked second on Billboards list of the \"Top 40 Biggest Girl Group Songs of All Time on the Billboard Hot 100 Chart\". \"Independent Women\" was also acknowledged by the Guinness World Records as the longest-running number-one song on the Hot 100 by a girl group. The term \"Bootylicious\" (a combination of the words booty and delicious) became popularized by Destiny's Child's single of the same and was later added to the Oxford English Dictionary in 2006. The term was also used to describe Beyoncé during the 2000s decade due to her curvaceous figure. VH1 included \"Bootylicious\" on their \"100 Greatest Songs of the '00s\" list in 2011, and Destiny's Child on their \"100 Greatest Women in Music\" list the following year. Additionally, \"Independent Women\" was ranked as one of NMEs \"100 Best Songs of the 00s\". Destiny's Child was honored at the 2005 World Music Awards with the World's Best Selling Female Group of All Time Award, which included a 17-minute tribute performance by Patti LaBelle, Usher, Babyface, Rihanna, Amerie and Teairra Mari. In 2006, the group was awarded a star on the Hollywood Walk of Fame.\n\nDestiny's Child has been credited as a musical influence or inspiration by several artists including Rihanna, Meghan Trainor, Fifth Harmony, Little Mix, Girls Aloud, Haim, Jess Glynne, Katy B, and RichGirl. Ciara was inspired to pursue a career in music after seeing Destiny's Child perform on television. Ariana Grande cited Destiny's Child as one of her vocal inspirations, saying that listening to the group's music is how she discovered her range and \"learned about harmonies and runs and ad-libs.\" Meghan Trainor stated that her single \"No\" (2016) was inspired by the late 1990s and early 2000s sounds of Destiny's Child, NSYNC, and Britney Spears. Fifth Harmony cited Destiny's Child as their biggest inspiration, and even paid tribute to the group by performing a medley of \"Say My Name\", \"Independent Women\", \"Bootylicious\" and \"Survivor\" on the television show Greatest Hits. Fifth Harmony also incorporated elements of the intro from \"Bootylicious\" for the intro to their own song \"Brave, Honest, Beautiful\" (2015).\n\nDiscography\n\n Destiny's Child (1998)\n The Writing's on the Wall (1999)\n Survivor (2001)\n 8 Days of Christmas (2001)\n Destiny Fulfilled (2004)\n\nMembers\n\nTours\nHeadlining\n1999 European Tour (1999)\n2002 World Tour (2002)\nDestiny Fulfilled World Tour (2005)\n\nCo-headlining\nTotal Request Live Tour (with 3LW, Dream, Jessica Simpson, City High, Eve and Nelly with the St. Lunatics) (2001)\n\nOpening act\nSWV World Tour (opened for SWV) (1996)\nEvolution Tour (opened for Boyz II Men) (1998)\nFanMail Tour (opened for TLC) (1999)\nIntroducing IMx Tour (opened for IMx) (2000)\nChristina Aguilera in Concert (opened for Christina Aguilera) (2000)\n(You Drive Me) Crazy Tour (opened for Britney Spears) (2000)\n\nAwards and nominations\n\nDestiny's Child has won three Grammy Awards from fourteen nominations. The group has also won five American Music Awards, two BET Awards, a BRIT Award, a Guinness World Record, and two MTV Video Music Awards.\n\nSee also\n List of best-selling girl groups\n\nReferences\n\nExternal links\n\n \n \n \n \n\n \nAfrican-American girl groups\nAmerican girl groups\nAmerican pop girl groups\nAmerican contemporary R&B musical groups\nBrit Award winners\nFeminist musicians\nGold Star Records artists\nGrammy Award winners\nMusical groups disestablished in 2006\nMusical groups established in 1997\nMusical groups from Houston\nAmerican musical trios\nTeen pop groups\nVocal trios\nWorld Music Awards winners\nVocal quartets\nVitamin Records artists" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\".", "Did Knowles release any solo albums?", "\"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album.", "Were they successful commercially?", "On March 28, 2006, Destiny's Child was inducted into the Hollywood Walk of Fame, the 2,035th recipient of the coveted recognition.", "Were Knowles solo albums successful?", "I don't know.", "Did any of the other two members do anything after Destiny's Child?", "Since then, Knowles, Rowland and Williams have continued to collaborate on each other's solo projects through song features, music video appearances, and live performances." ]

[ "Afro-Syrians are Syrian people of Black African heritage. They almost entirely live in Southwestern Daraa and the bordering Golan Heights with only a handful living in other parts of Syria and other parts of the world. Outside of Daraa, their existence is nearly unknown.\n\nHistory\nThere are many different origins of Afro-Syrians, the most common ones are the Arab slave trade, African Muslims settling in Syria during the Islamic Golden Age, African refugees that received Syrian citizenship, Syrian refugees in Africa who mixed with the local Africans, Syrian refugees in Brazil who mixed with Afro-Brazilians, and Interracial marriages between Syrians and black people. Sudanare listed as the most common place of ancestry for Afro-Syrians, with Sudan and Syria having connections since the spread of Islam and the rapidly-growing number of Syrian refugees in Sudan and Sudanese refugees in Syria. Most Afro-Syrians fell under ISIS rule during the Syrian Civil War. A community of Shia Afro-Syrians exists in Damascus. A lot of Afro-Palestinians also reside in refugee camps in Syria.\n\nSocial condition\nThe existence of Afro-Syrians is very little known in Daraa, and basically unknown in other parts of Syria. Afro-Syrians are highly concentrated in southwestern Daraa. They are the smallest Afro-Arab group. On top of war and occupation, Afro-Syrians experience severe racism and discrimination, including not being given any representation at all. Their population is unknown an never been recorded.\n\nNotable Afro-Syrians\n TSM Myth\n\nSee also\n Syria\n Syrians\n Arabs\n Afro-Arabs\n Afro-Palestinians\n Afro-Jordanians\n Afro-Saudis\n Afro-Iraqis\n\nReferences\n\nAfro-Arab peoples\nEthnic groups in Syria\nAfrican diaspora in the Middle East\nAfrican diaspora in Asia", "The Army Office () in Cologne was one of the two command pillars of the German Army, alongside the Army Forces Command (Heeresführungskommando, HFüKdo), until both were merged to create the current Army Command (Kommand Heer, KdoHeer). This disbandment and merging was done according to the new direction of the Bundeswehr, and the 2011 Basing Concept (Stationierungskonzept 2011).\n\nAt the time of its merger, the Army Office was made up 1,100 soldiers and civil servants who were responsible for the conceptual development of the Army, as well as its training and equipment. In addition the Army Office was responsible for the organisational structure of the Army, for issues to do with in-service systems, and for managing logistic support to the Army. Reporting to the Army Office were the Training Schools and Training Centres. The Army Office was subordinate to the General Staff.\n\nAfter the disbandment of the Army Office and its merger with the Army Forces Command, its premises and large parts of its personnel have been transferred to the new Army Concepts and Capabilities Development Centre (Amt für Heeresentwicklung, AHEntwg), which also inherited the Army Office's Motto.\n\nDepartment heads\n\nReferences\n\nExternal links \n Inventories of the Federal Archives\n Article on the disbandment of the Army Office\n\nGerman Army (1956–present)\nCommands (military formations) of Germany\nBundeswehr\nRodenkirchen\nMilitary units and formations established in 1956\nMilitary units and formations disestablished in 2013" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\".", "Did Knowles release any solo albums?", "\"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album.", "Were they successful commercially?", "On March 28, 2006, Destiny's Child was inducted into the Hollywood Walk of Fame, the 2,035th recipient of the coveted recognition.", "Were Knowles solo albums successful?", "I don't know.", "Did any of the other two members do anything after Destiny's Child?", "Since then, Knowles, Rowland and Williams have continued to collaborate on each other's solo projects through song features, music video appearances, and live performances.", "Are there any other notable parts of their disbandment/aftermath?", "On November 7, 2016, the group reunited in a video to try the Mannequin Challenge, which was posted on Rowland's official Instagram account." ]

[ "Illuminated mannequins are a home decor piece that were popular in the 1970s and 1980s in the United States. Although niche items of decor, their less known style was a symbol in 70s fashion and home furnishing.\n\nAn illuminated mannequin is a full or part body mannequin which illuminates from inside as an alternative to floor lamps.\n\nThe illuminated mannequin was originally manufactured and released by Adel Rootstein as a decorative counterpart to her widely successful Twiggy Mannequin. Rootstein became well-known thanks to the success of the Twiggy mannequin, and the illuminated mannequin followed as a lesser known counterpart in its wake.\n\nAdel Rootstein has gifted her home décor mannequins to musicians and actors which she is inspired by, as mentioned briefly in an interview with Stevie Nicks in 1983.\n\nThere have been various celebrity photographs taken in which the illuminated mannequins can be seen in the celebrities homes, most notably Stevie Nicks of Fleetwood Mac and Michael Jackson.\n\nThe illuminated mannequin is quoted as an early inspiration to Ralph Pucci of the Pucci Mannequins. Pucci's mannequin display ‘THE ART OF THE MANNEQUIN’ at the Museum of Arts and Design (MAD) had an illuminated mannequin form amongst the many models in his display. From March 31 to August 30, 2015, thirty of Pucci's most memorable mannequins were on display for museum goers. Finding the exhibition, “extremely gratifying,” Pucci was thrilled that the visual industry is getting a shining moment in a museum whose mission is to “document contemporary and historic innovation in craft, art, and design.”\n\nReferences\n\nFurnishings\nDummies and mannequins", "A mannequin is a life-sized model of the human figure, used especially in advertising and sales.\n\nMannequin may also refer to:\n\nFilm\nMannequin (1926 film), an American silent film starring Alice Joyce and Dolores Costello\nMannequin (1933 film), a British drama film directed by George A. Cooper\nMannequin (1937 film), a drama starring Joan Crawford and Spencer Tracy\nMannequin (1987 film), a comedy starring Andrew McCarthy and Kim Cattrall\n Mannequin Two: On the Move (1991 film), sequel to the 1987 film, starring Kristy Swanson\n\nMusic\n\"Mannequin\", a DVD single by Cradle of Filth\n\"Mannequin\", a song by Britney Spears from Circus\n\"Mannequin\", a song by Culture Club from Waking Up with the House on Fire\n\"Mannequin\", a song by Katy Perry from One of the Boys\n\"Mannequin\", a song by The Kids from \"Fame\"\n\"Mannequin\", a song by Wild Strawberries on the album Bet You Think I'm Lonely\n\"Mannequin\", a song by Wire from Pink Flag\n\"Mannequin\", a song by The Kovenant from Animatronic\n\"Mannequin\", a song by Pop Smoke featuring Lil Tjay from Meet the Woo 2\n\nOther uses\nMannequin, a novel by J. Robert Janes\n\nSee also\nManikin (disambiguation)\nManakin, a family of bird species" ]

[ "Destiny's Child", "Disbandment and aftermath", "When did Destiny's Child disband?", "Destiny's Child reunited for a farewell performance at the 2006 NBA All-Star Game on February 19, 2006 in Houston, Texas;", "When was their last album?", "Knowles commented, \"It's the last album, but it's not the last show.\"", "How was the farewell performance received?", "Their final televised performance was at the Fashion Rocks benefit concert in New York a few days later.", "What did the members do after disbandment?", "After their formal disbandment, all members resumed their solo careers and have each experienced different levels of success.", "What did Knowles do after?", "Knowles' Super Bowl XLVII halftime show, where they performed \"Bootylicious\", \"Independent Women\" and Knowles' own song \"Single Ladies (Put a Ring on It)\".", "Did Knowles release any solo albums?", "\"Superpower\" and \"Grown Woman\", which were both included on her self-titled fifth solo visual album.", "Were they successful commercially?", "On March 28, 2006, Destiny's Child was inducted into the Hollywood Walk of Fame, the 2,035th recipient of the coveted recognition.", "Were Knowles solo albums successful?", "I don't know.", "Did any of the other two members do anything after Destiny's Child?", "Since then, Knowles, Rowland and Williams have continued to collaborate on each other's solo projects through song features, music video appearances, and live performances.", "Are there any other notable parts of their disbandment/aftermath?", "On November 7, 2016, the group reunited in a video to try the Mannequin Challenge, which was posted on Rowland's official Instagram account.", "What is the Mannequin Challenge?", "I don't know." ]

[ "The following are the defunct titles in the Music Video Awards Category given by the Mnet Asian Music Awards.\n\nMost Popular Music Video\nThe \"Most Popular Music Video\" category was a former daesang (or grand prize) award together with the \"Music Video of the Year\" from 1999 to 2005. Since then, the former was discontinued while the latter was demoted and renamed to \"Best Music Video\".\n\nMusic Video Acting\n\nMusic Video Director\n\nSee also\n Mnet Asian Music Award for Best Music Video\n\nNotes\n Each year is linked to the article about the Mnet Asian Music Awards held that year.\n\nReferences\n\nExternal links\n Mnet Asian Music Awards official website\n\nMnet Asian Music Awards", "The Greening of Planet Earth is a half-hour-long video produced by the coal industry, which argues that rising CO2 levels will be beneficial to agriculture, and that policies intending to reduce CO2 levels are therefore misguided. The video argues that rising CO2 levels both directly stimulate plant growth and, as a result of their warming properties, cause winter temperatures to rise, thereby indirectly stimulating plant growth. It was produced in 1991 and released the following year. A sequel, entitled, The Greening of Planet Earth Continues, was released in 1998. The video was narrated by Sherwood Idso. After the video was made, it was distributed to thousands of journalists by a coal industry group. The video became very popular viewing in the George H. W. Bush White House and elsewhere in Washington, where it was promoted before the 1992 Earth Summit, and, according to some reports, became especially popular with then-chief of staff John H. Sununu.\n\nFunding\nFunding for the video was provided by the Western Fuels Association, which paid $250,000 to produce it. It was produced by the Greening Earth Society, which was created by the Western Fuels Association and with which the Association shared a business address.\n\nSee also\nCO2 fertilization effect\nGreenwashing\n\nReferences\n\n1992 films\n1992 in the environment\nDocumentary films about global warming\nEnvironmentally skeptical films\nClimate change denial" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York" ]

[ "Evacuation Day may refer to:\n Evacuation Day (Massachusetts), the anniversary of departure of British army on March 17, 1776, celebrated in Greater Boston since 1901\n Evacuation Day (New York), the anniversary of departure of British army on November 25, 1783, celebrated annually until World War I\n Evacuation Day (Syria), the anniversary of departure of French army on April 17, 1946\n Evacuation Day (Tunisia), the anniversary of departure of French army on October 15, 1963", "Evacuation Day on November 25 marks the day in 1783 when the British Army departed from New York City on Manhattan Island, after the end of the American Revolutionary War. In their wake, General George Washington triumphantly led the Continental Army from his headquarters north of the city across the Harlem River, and south through Manhattan to the Battery at its southern tip.\n\nHistory\n\nBackground\n\nFollowing the significant losses at the Battle of Long Island on August 27, 1776, General George Washington and the Continental Army retreated across the East River by benefit of both a retreat and holding action by well-trained Maryland Line troops at Gowanus Creek and Canal and a night fog which obscured the barges and boats evacuating troops to Manhattan Island. On September 15, 1776, the British flag replaced the American atop Fort George, where it was to remain until Evacuation Day.\n\nWashington's Continentals subsequently withdrew north and west out of the town and following the Battle of Harlem Heights and later action at the river forts of Fort Washington and Fort Lee on the northwest corner of the island along the Hudson River on November 16, 1776, evacuated Manhattan Island. They headed north for Westchester County, fought a delaying action at White Plains, and retreated across New Jersey in the New York and New Jersey campaign.\n\nFor the remainder of the American Revolutionary War, much of what is now Greater New York was under British control. New York City (occupying then only the southern tip of Manhattan, up to what is today Chambers Street), became, under Admiral of the Fleet Richard Howe, Lord Howe and his brother Sir William Howe, General of the British Army, the British political and military center of operations in British North America. David Mathews was Mayor of New York during the occupation. Many of the civilians who continued to reside in town were Loyalists.\n\nOn September 21, 1776, the city suffered a devastating fire of an uncertain origin after the evacuation of Washington's Continental Army at the beginning of the occupation. With hundreds of houses destroyed, many residents had to live in makeshift housing built from old ships. In addition, over 10,000 Patriot soldiers and sailors died on prison ships in New York waters (Wallabout Bay) during the occupation—more Patriots died on these ships than died in every single battle of the war, combined. These men are memorialized, and many of their remains are interred, at the Prison Ship Martyrs' Monument in Fort Greene Park, Brooklyn.\n\nBritish evacuation\nIn mid-August 1783, Sir Guy Carleton, the last British Army and Royal Navy commander in the former British America, received orders from his superiors in London for the evacuation of New York. He informed the President of the Confederation Congress that he was proceeding with the subsequent withdrawal of refugees, liberated slaves, and military personnel as fast as possible, but that it was not possible to give an exact date because the number of refugees entering the city recently had increased dramatically (more than 29,000 Loyalist refugees were eventually evacuated from the city). The British also evacuated over 3,000 Black Loyalists, former slaves they had liberated from the Americans, to Nova Scotia, East Florida, the Caribbean, and London, and refused to return them to their American slaveholders and overseers as the provisions of the Treaty of Paris had required them to do. The Black Brigade were among the last to depart.\n\nCarleton gave a final evacuation date of 12:00 noon on November 25, 1783. An anecdote by New York physician Alexander Anderson told of a scuffle between a British officer and the proprietress of a boarding house, as she defiantly raised her own American flag before noon. Following the departure of the British, the city was secured by American troops under the command of General Henry Knox.\n\nLegendary flag-raising\n\nEntry to the city under General George Washington was delayed until a still-flying British Union Flag could be removed. The flag had been nailed to a flagpole at Fort George on the Battery at the southern tip of Manhattan. The pole was greased as a final act of defiance. After a number of men attempted to tear down the British colors, wooden cleats were cut and nailed to the pole and, with the help of a ladder, an army veteran, John Van Arsdale, was able to ascend the pole, remove the flag, and replace it with the Stars and Stripes before the British fleet had completely sailed out of sight. The same day, a liberty pole with a flag was erected at New Utrecht Reformed Church; its successor still stands there. Another liberty pole was raised in Jamaica, Queens, in a celebration that December.\n\nWashington's entry \nFinally, seven years after the retreat from Manhattan on November 16, 1776, General George Washington and Governor of New York George Clinton reclaimed Fort Washington on the northwest corner of Manhattan Island and then led the Continental Army in a triumphal procession march down the road through the center of the island onto Broadway in the Town to the Battery. The evening of Evacuation Day, Clinton hosted a public dinner at Fraunces Tavern, which Washington attended. It concluded with thirteen toasts, according to a contemporary account in Rivington's Gazette, the company drinking to:\n\n The United States of America.\nHis most Christian Majesty.\nThe United Netherlands.\nThe king of Sweden.\nThe Continental Army.\nThe Fleets and Armies of France, which have served in America.\nThe Memory of those Heroes who have fallen for our Freedom.\n May our Country be grateful to her military children.\nMay Justice support what Courage has gained.\nThe Vindicators of the Rights of Mankind in every Quarter of the Globe.\nMay America be an Asylum to the persecuted of the Earth.\nMay a close Union of the States guard the Temple they have erected to Liberty.\n May the Remembrance of THIS DAY be a Lesson to Princes.\n\nThe morning after, Washington had a public breakfast meeting with Hercules Mulligan, which helped dispel suspicions about the tailor and spy.\n\nGallery\n\nAftermath\n\nA week later, on December 3, the British detachment under Captain James Duncan, under orders of Rear Admiral Robert Digby, evacuated Governors Island, the last of part of the-then City of New York to be occupied, and afterward Major-General Guy Carleton departed Staten Island on December 5.\n\nIt is claimed a British gunner fired the last shot of the Revolution either on Evacuation Day or when the last British ships left a week later, loosing a cannon at jeering crowds gathered on the shore of Staten Island as his ship passed through the Narrows at the mouth of New York Harbor, though the shot fell well short of the shore. This has been described by historians as an urban legend.\n\nOn December 4, at Fraunces Tavern, at Pearl and Broad Streets, General Washington formally said farewell to his officers with a short statement, taking each one of his officers and official family by the hand. Later, Washington headed south, being cheered and fêted on his way at many stops in New Jersey and Pennsylvania. By December 23, he arrived in Annapolis, Maryland, where the Confederation Congress was then meeting at the Maryland State House to consider the terms of the Treaty of Paris. At their session in the Old Senate Chamber, he made a short statement and offered his sword and the papers of his commission to the President and the delegates, thereby resigning as commander-in-chief. He then retired to his plantation home, Mount Vernon, in Virginia.\n\nCommemoration\n\nEarly popularity\n\nPublic celebrations were first held on the fourth anniversary in 1787, with the city's garrison performing a dress review and feu de joie, and in the context of a Federalist push for constitutional ratification following the Philadelphia Convention. On Evacuation Day 1790, the Veteran Corps of Artillery of the State of New York was founded, and it played a significant role in later commemorations.\n\nThe British Fort George at Bowling Green was also demolished in 1790, and in that year the \"Battery Flagstaff\" was built adjacent on newly reclaimed land at the Battery. It was privately managed by William and then Lois Keefe. Referred to colloquially as \"the churn\", as it resembled to some a gigantic butter churn, Washington Irving described a September 1804 visit to the commemorative flagpole in his A History of New York as \"The standard of our city, reserved, like a choice handkerchief, for days of gala, hung motionless on the flag-staff, which forms the handle to a gigantic churn\". In 1809, a new flagstaff further east on the Battery was erected with a decorative gazebo, and was operated as a concession until it was demolished about 1825. The military band led by Patrick Moffat of George Izard's Second Regiment of Artillery sometimes held evening concerts. The Battery Flagstaff commemorated Evacuation Day, and was the site of the city's annual flag-raising celebration for over a century. A flag-raising was held twice a year, on Evacuation Day and on the Fourth of July, and after 1853 flag-raisings on these days were also held at The Blockhouse further north. John Van Arsdale is said to have been a regular flag-raiser at the early commemorations.\n\nThe Scudder's American Museum / Barnum's American Museum held what it claimed was the original 1783 Evacuation Day flag until the museum's burning in 1865, and flew it on Evacuation Day and the Fourth of July.\n\nOn Evacuation Day 1811, the newly completed Castle Clinton was dedicated with the firing of its first gun salute.\n\nOn Evacuation Day 1830 (or rather, on November 26 due to inclement weather), thirty thousand New Yorkers gathered on a march to Washington Square Park in celebration of that year's July Revolution in France.\n\nFor over a century the event was commemorated annually with patriotic and political connotations, as well as embracing a general holiday atmosphere. Sometimes featured were greasy pole climbing contests for boys to recreate the taking the down the Union Jack. Evacuation Day also became a time for theatrical spectacle, with for example an 1832 Bowery Theatre double bill of Junius Brutus Booth and Thomas D. Rice. David Van Arsdale is said to have raised the flag after his father's death in 1836. There was also a traditional parade from near the current Cooper Union down the Bowery to the Battery.\n\nMid-19th century and decline\n\nThe importance of the commemoration was waning in 1844, with the approach of the Mexican–American War of 1846–1848.\n\nHowever, the dedication of the monument to William J. Worth, the Mexican–American War general, at Madison Square was purposely held on Evacuation Day 1857.\n\nIn August 1863, the Battery Flagstaff was destroyed by a lightning strike; it was subsequently replaced.\n\nBefore it was a national holiday, Thanksgiving was proclaimed at various dates by state governors – as early as 1847, New York held Thanksgiving on the same date as Evacuation Day, a convergence happily noted by Walt Whitman, writing in the Brooklyn Eagle. The observance of the date was also diminished by the Thanksgiving Day Proclamation by 16th President Abraham Lincoln on October 3, 1863, that called on Americans \"in every part of the United States, and also those who are at sea and those who are sojourning in foreign lands, to set apart and observe the last Thursday of November next as a day of thanksgiving.\" That year, Thursday fell on November 26. In later years, Thanksgiving was celebrated on or near the 25th, making Evacuation Day redundant.\n\nOn Evacuation Day 1864, the Booth brothers held a performance of Julius Caesar at the Winter Garden Theatre to raise funds for the Shakespeare statue later placed in Central Park. That same day, Confederate saboteurs attempted to burn down the city, lighting an adjoining building on fire and for a time disturbing the performance.\n\nOn Evacuation Day 1876, the statue of Daniel Webster in Central Park was dedicated.\n\nA traditional children's rhyme of the era was:<blockquote>It's Evacuation Day, when the British ran away,Please, dear Master, give us holiday!</blockquote>\n\nOver time, the celebration and its anti-British sentiments became associated with the local Irish American community. This community's embrace also may have inspired Evacuation Day in Boston, which began to be celebrated there in 1901, and taking advantage of the anniversary of the lifting of the Siege of Boston in 1776, which was by coincidence on Saint Patrick's Day.\n\nCentennial and 20th century fading\n\nAs part of Evacuation Day celebrations in 1883 (on November 26), the George Washington statue was unveiled in front of what is now Federal Hall National Memorial.\n\nIn the 1890s, the anniversary was celebrated in New York at Battery Park with the raising of the Stars and Stripes by Christopher R. Forbes, the great grandson of John Van Arsdale, with the assistance of a Civil War veterans' association from Manhattan—the Anderson Zouaves. John Lafayette Riker, the original commander of the Anderson Zouaves, was also a grandson of John Van Arsdale. Riker's older brother was the New York genealogist James Riker, who authored Evacuation Day, 1783 for the spectacular 100th anniversary celebrations of 1883, which were ranked as “one of the great civic events of the nineteenth century in New York City.” David Van Arsdale had died in November 1883 just before the centennial, having helped revive the event the year previous, and he was succeeded by his grandson.\n\nOn Evacuation Day 1893, the Nathan Hale statue in City Hall Park was unveiled.\n\nIn 1895, Asa Bird Gardiner disputed the rights to organize the flag-raising, claiming that his organization, the General Society of the War of 1812, were the true heirs of the Veteran Corps of Artillery.\n\nIn 1900, Christopher R. Forbes was denied the honor of raising the flag at the Battery on Independence Day and on Evacuation Day and it appears that neither he nor any Veterans' organization associated with the Van Arsdale-Riker family or the Anderson Zouaves took part in the ceremony after this time. In 1901, Forbes raised the flag at the dedication of Bennett Park.\n\nIn the early 20th century, the 161-foot flagpole used was the mast of the 1901 America's Cup defender Constitution designed by Herreshoff, replacing a wooden pole struck by lightning in 1909. The event was officially celebrated for the last time on November 25, 1916 with a march down Broadway for a flag raising ceremony by sixty members of the Old Guard. Future commemorations were forestalled by the American entry into World War I and the alliance with Britain. The position of the flagstaff at this time was described as near Battery Park's sculptures of John Ericsson and Giovanni da Verrazzano. The commemorative flagpole was still listed as an attraction on a map of Battery Park in the WPA New York City Guide of 1939.\n\nOn Evacuation Day 1922, the main monument at Battle Pass in Brooklyn's Prospect Park was dedicated.\n\nThe flagpole was removed during the 1940-1952 construction of Brooklyn–Battery Tunnel and the relandscaping of the park. In 1955, the 102-foot Marine Flagstaff was erected in the approximate area of the one formerly commemorating Evacuation Day. Later, City Council President Paul O'Dwyer expressed interest in a restored flagpole for the 1976 United States Bicentennial. A bicentennial of Evacuation Day in 1983 featured the labor leader Harry Van Arsdale Jr. A commemorative plaque marking Evacuation Day was put on a flagpole at Bowling Green in 1996.\n\nThe Sons of the Revolution fraternal organization continues to hold an annual 'Evacuation Day Dinner' at Fraunces Tavern, and giving the thirteen toasts from 1783.\n\n21st century and renewed efforts\nThough little celebrated in the previous century, the 225th anniversary of Evacuation Day was commemorated on November 25, 2008, with searchlight displays in New Jersey and New York at key high points.RevolutionaryNJ.org The searchlights are modern commemorations of the bonfires that served as a beacon signal system at many of these same locations during the revolution. The seven New Jersey Revolutionary War sites are Beacon Hill in Summit, South Mountain Reservation in South Orange, Fort Nonsense in Morristown, Washington Rock in Green Brook, the Navesink Twin Lights, Princeton, and Ramapo Mountain State Forest near Oakland. The five New York locations which contributed to the celebration are; Bear Mountain State Park, Storm King State Park, Scenic Hudson's Spy Rock (Snake Hill) in New Windsor, Washington's Headquarters State Historic Site in Newburgh, Scenic Hudson's Mount Beacon.\n\nThe renaming of a portion of Bowling Green, a street in Lower Manhattan to Evacuation Day Plaza was proposed by Arthur R. Piccolo, the chairman of the Bowling Green Association, and James S. Kaplan of the Lower Manhattan Historical Society. The proposal was initially turned down by the New York City Council in 2016 because the council's rules for street renaming specify that a renamed street must commemorate a person, an organization, or a cultural work. However, with the support of Councilwoman Margaret Chin, and after supporters of the renaming pointed to streets and plazas named after \"Do the Right Thing Way\", \"Diversity Plaza\", \"Hip Hop Boulevard\", and \"Ragamuffin Way\", the council reversed its decision and approved the renaming of the street on February 5, 2016.\n\nReferences\nNotes\n\nBibliography\nHood, Clifton. An Unusable Past: Urban Elites, New York City’s Evacuation Day, and the Transformations of Memory Culture'', Journal of Social History, Summer 2004.\n\nExternal links\n\nThe Founding Fathers of American Intelligence\n\nHappy Evacuation Day – Sarah Vowell on The Daily Show, November 17, 2011\n\n1783 in New York (state)\nHolidays related to the American Revolution\nNew York (state) culture\nNew York (state) in the American Revolution\nNovember observances\nObservances in New York City\nBowling Green (New York City)\nThe Battery (Manhattan)" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies" ]

[ "Events from the year 1783 in Canada.\n\nIncumbents\n\nEvents\n American independence is formally recognized at the Treaty of Paris.\n Treaty of Paris gives Americans fishing rights off Newfoundland.\n The success of the rebellious 13 American colonies leaves the British with the poorest remnants of their New World empire and the determination to prevent a second revolution. However, they have to accommodate the roughly 50,000 refugees from the American Revolution who settle in Nova Scotia and the upper St. Lawrence. These United Empire Loyalists soon begin to agitate for the political and property rights they had previously enjoyed in the thirteen colonies.\n British North America consists of the colonies and territories of the British Empire in continental North America after the end of the American Revolutionary War and the recognition of American independence.\n More than 5,000 Black People leave the United States to live in the Maritimes, Quebec and Ontario. Having sided with the British during the American War of Independence, they come to Canada as United Empire Loyalists, some as free men and some as slaves. Although promised land by the British, they receive only varying amounts of poor-quality land, and, in fact, some receive none at all.\n In Annapolis Royal, Nova Scotia, Rose Fortune becomes Canada's first policewoman.\n The border between Canada and the U.S. is accepted from the Atlantic Ocean to Lake of the Woods.\n In the area around the mouth of the Saint John River, those who fled the thirteen American colonies by 1783 are called United Empire Loyalists. Those who arrived after 1783 were called Late Loyalists.\n Pennsylvania Germans begin moving into southwestern Ontario.\n The North West Company is formed.\n January 20 – Preliminaries of peace are signed between Great Britain and the United States.\n Vermont delays entering the Union, because Congress is partial to New York, and because of the General Government's indebtedness, for which Vermont is not bound.\n\nBirths\nApril 26 – Peter Boyle de Blaquière, political figure and first chancellor of the University of Toronto (d.1860)\n\nDeath\nPaul Jackson\n\nHistorical documents\nListing African Americans taken to Nova Scotia, \"Book of Negroes\" includes Deborah, age 20, formerly enslaved by George Washington\n\nWashington is surprised Blacks have been part of British evacuation, and wants to prevent future loss \"of any Negroes or other Property\"\n\nPeace best policy in U.S. west because even totally expelling Indigenous people would be military and economic advantage to Canada\n\nSee also\n1782 in Canada\n\nReferences \n\n \nCanada\n83", "Patriots, also known as Revolutionaries, Continentals, Rebels, or American Whigs, were the colonists of the Thirteen Colonies who rejected British rule during the American Revolution, and declared the United States of America an independent nation in July 1776. Their decision was based on the political philosophy of republicanism—as expressed by such spokesmen as Thomas Jefferson, John Adams, and Thomas Paine. They were opposed by the Loyalists, who supported continued British rule.\n\nPatriots represented the spectrum of social, economic, and ethnic backgrounds. They included lawyers such as John Adams, students such as Alexander Hamilton, planters such as Thomas Jefferson and George Mason, merchants such as Alexander McDougall and John Hancock, and farmers such as Daniel Shays and Joseph Plumb Martin. They also included slaves and freemen such as Crispus Attucks, the first casualty of the American Revolution; James Armistead Lafayette, who served as a double agent for the Continental Army; and Jack Sisson, leader of the first successful black operation mission in American history under the command of Colonel William Barton, resulting in the capture of British General Richard Prescott.\n\nTerminology\n\n\"Whigs\" or \"Patriots\"\nThe critics of British policy towards the colonies called themselves \"Whigs\" after 1768, identifying with members of the British Whig party who favored similar colonial policies. Samuel Johnson writes that at the time, the word \"patriot\" had a negative connotation and was used as a negative epithet for \"a factious disturber of the government\".\n\n\"Tories\" or \"Royalists\"\nPrior to the Revolution, colonists who supported British authority called themselves Tories or royalists, identifying with the political philosophy of traditionalist conservatism dominant in Great Britain. During the Revolution, these persons became known primarily as Loyalists. Afterward, some 15% of Loyalists emigrated north to the remaining British territories in Canada. There they called themselves the United Empire Loyalists. 85% of the Loyalists decided to stay in the new United States and were granted American citizenship.\n\nInfluence\nMany Patriots were active before 1775 in groups such as the Sons of Liberty, and the most prominent leaders are referred to today by Americans as the Founding Fathers. They represented a cross-section of the population of the Thirteen Colonies and came from many different backgrounds. According to Robert Calhoon, between 40 and 45 percent of the white population in the Thirteen Colonies supported the Patriots' cause, between 15 and 20 percent supported the Loyalists, and the remainder were neutral or kept a low profile. The great majority of the Loyalists remained in America, while the minority went to Canada, Britain, Florida, or the West Indies.\n\nMotivations\n\nPatriot and Loyalist differences\nHistorians have explored the motivations that pulled men to one side or the other. Yale historian Leonard Woods Labaree used the published and unpublished writings and letters of leading men on each side, searching for how personality shaped their choice. He finds eight characteristics that differentiated the two groups. Loyalists were older, better established, and more likely to resist innovation than the Patriots. Loyalists felt that the Crown was the legitimate government and resistance to it was morally wrong, while the Patriots felt that morality was on their side because the British government had violated the constitutional rights of Englishmen. Men who were alienated by physical attacks on Royal officials took the Loyalist position, while those who were offended by heavy-handed British response to actions such as the Boston Tea Party became Patriots. Merchants in the port cities with long-standing financial attachments to Britain were likely to remain loyal to the system, while few Patriots were so deeply enmeshed in the system. Some Loyalists, according to Labaree, were \"procrastinators\" who believed that independence was bound to come some day, but wanted to \"postpone the moment\", while the Patriots wanted to \"seize the moment\". Loyalists were cautious and afraid of anarchy or tyranny that might come from mob rule; Patriots made a systematic effort to take a stand against the British government. Finally, Labaree argues that Loyalists were pessimists who lacked the Patriots' confidence that independence lay ahead.\n\nPatriots and taxes\n\nThe Patriots rejected taxes imposed by legislatures in which the taxpayer was not represented. \"No taxation without representation\" was their slogan, referring to the lack of representation in the British Parliament. The British countered that there was \"virtual representation\" in the sense that all members of Parliament represented the interests of all the citizens of the British Empire. Some Patriots declared that they were loyal to the king, but they insisted that they should be free to run their own affairs. In fact, they had been running their own affairs since the period of \"salutary neglect\" before the French and Indian War. Some radical Patriots tarred and feathered tax collectors and customs officers, making those positions dangerous; according to Benjamin Irvin, the practice was especially prevalent in Boston where many Patriots lived.\n\nList of prominent Patriots\n\nSee also \n Loyalist (American Revolution)\n\nReferences\n\nBibliography\nEllis, Joseph J. . Founding Brothers: The Revolutionary Generation (2002), Pulitzer Prize\nKann, Mark E.; The Gendering of American Politics: Founding Mothers, Founding Fathers, and Political Patriarchy, (1999) online version\nMiddlekauff, Robert; The Glorious Cause: The American Revolution, 1763-1789 (2005) online version\nMiller, John C. Origins of the American Revolution. (1943) online version\nMiller, John C. Triumph of Freedom, 1775-1783, (1948) online version\nPrevidi, Robert; \"Vindicating the Founders: Race, Sex, Class, and Justice in the Origins of America,\" Presidential Studies Quarterly, Vol. 29, 1999\nRakove, Jack. Revolutionaries: A New History of the Invention of America (2010) excerpt and text search\nRaphael, Ray. A People's History of the American Revolution: How Common People Shaped the Fight for Independence (2002)\nRoberts, Cokie. Founding Mothers: The Women Who Raised Our Nation (2005)\n\n1768 establishments in the Thirteen Colonies\n1787 disestablishments in the United States\nPatriots in the American Revolution\nPeople of the American Revolution\nNative Americans in the American Revolution\nTarring and feathering in the United States\n18th-century rebels" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies", "what happened when the Loyalists left the Thirteen Colonies?", "Carleton refused to deliver over the human property to the Americans at the time of the British evacuation." ]

[ "Mario Luis Small is a sociologist and Quetelet Professor of Social Science at Columbia University. Small's research interests include urban poverty, inequality, personal networks, and qualitative and mixed methods. Small was previously a faculty member at Harvard University, University of Chicago, and Princeton University.\n\nBiography \nSmall was born in Cerro Viento, Panama. He earned a B.A. In 1996 from Carleton College and an M.A. and Ph.D from Harvard University. Small has received many awards for his writings. He is the only person to win the C. Wright Mills Best book Award twice for Villa Victoria: The Transformation of Social Capital in a Boston Barrio in 2005 and Unanticipated Gains: Origins of Network Inequality in Everyday Life in 2010.\n\nBooks \nSmall, Mario L. 2017. Someone To Talk To. New York: Oxford University Press.\n\nSmall, Mario L. 2009. Unanticipated Gains: Origins of Network Inequality in Everyday Life, New York: Oxford University Press\n\nSmall, Mario L. 2004. Villa Victoria: The Transformation of Social Capital in a Boston Barrio, Chicago: University of Chicago Press\n\nContributions to sociology \nSmall has published books and numerous articles on urban poverty, personal networks, and the relationship between qualitative and quantitative social science methods.\n\nHe has shown that poor neighborhoods in commonly-studied cities such as Chicago are not representative of ghettos everywhere, that how people understand and make sense of their neighborhood shapes how it affects them, and that local organizations in poor neighborhoods often broker connections to both people and organizations. Small has also demonstrated that people’s social capital—including how many people they know and how much they trust others—depends on the organizations in which they are embedded.\n\nHis work on methods has shown that many practices used to make qualitative research more scientific are ineffective.\n\nSmall has investigated why ghettos differ from city to city and how people decide whom to turn to when seeking support.\n\nIn his 2017 book Someone To Talk To Small explores whom Americans confide in. Existing theories and common sense suggest that people confide in their intimates, yet Small finds evidence that Americans often turn to people who are not close to them when discussing difficult topics. For example, many people respond to the US General Social Survey (GSS) question 'what are the people with whom you discussed matters important to you?’ by naming their close friends and family. Yet Small suggests these people are not necessarily the ones with whom respondents actually discuss matters important to them. Rather, people often confide in those with whom they have \"weak ties,\" as the need for understanding or empathy trumps their fear of misplaced trust. For example, people may find themselves confiding in acquaintances and even strangers unexpectedly, without having reflected on the consequences.\n\nReferences \n\nYear of birth missing (living people)\nLiving people\nPanamanian sociologists\nHarvard University faculty\nHarvard University alumni\nCarleton College alumni\nPrinceton University faculty\nUniversity of Chicago faculty", "The pursuit of the perpetrators of the Mountain Meadows massacre, which atrocity occurred September 11, 1857, had to await the conclusion of the American Civil War to begin in earnest.\n\nBrigham Young's involvement\n\nEvidence as to whether or not Brigham Young ordered the attack on the migrant column is conflicted. Historians still debate the autonomy and precise roles of local Cedar City LDS church officials in ordering the massacre and Young's concealing of evidence in its aftermath. Young's use of inflammatory and violent language in response to the Federal expedition added to the tense atmosphere at the time of the attack. After the massacre, Young stated in public forums that God had taken vengeance on the Baker–Fancher party. It is unclear whether Young held this view because he believed this specific group posed an actual threat to colonists or were directly responsible for past crimes against Mormons. According to historian MacKinnon, \"After the war, Buchanan implied that face-to-face communications with Brigham Young might have averted the Utah War, and Young argued that a north-south telegraph line in Utah could have prevented the Mountain Meadows Massacre.\"\n\nYoung's belated message to Isaac C. Haight, acting commander of the Iron Brigade\nOn September 8, 1857, Capt. Stewart Van Vliet of the U.S. Army Quartermaster Corps arrived in Salt Lake City. Van Vliet's mission was to inform Young that the United States troops then approaching Utah did not intend to attack the Mormons, but intended to establish an army base near Salt Lake, and to request Young's cooperation in procuring supplies for the army. Young informed Van Vliet that he was skeptical that the army's intentions were peaceful, and that the Mormons intended to resist occupation.\n\nOn September 10, 1857, James Holt \nHaslam arrived in Salt Lake City, after experiencing long delays during his nearly 300 mile journey, to deliver a message from the acting commander of the Iron Brigade, Isaac C. Haight to the Mormon leader Brigham Young. The letter has yet to be found.\n\nPresident Young's message of reply to Haight, dated September 10, read: \"In regard to emigration trains passing through our settlements, we must not interfere with them until they are first notified to keep away. You must not meddle with them. The Indians we expect will do as they please but you should try and preserve good feelings with them. There are no other trains going south that I know of[.] [I]f those who are there will leave let them go in peace.\"\n\nYet, by the time the express rider delivered Young's letter to Haight, ordering that the emigrants not be harmed, the murders at Mountain Meadows had already taken place. According to trial testimony given later by express rider Haslam, when Haight read Young's words, he sobbed like a child and could manage only the words, \"Too late, too late.\"\n\nHistorians debate the letter's contents. Brooks believes it shows Young \"did not order the massacre, and would have prevented it if he could.\" Bagley argues that the letter covertly gave other instructions.\n\nPart played by Paiutes\nA few days after the massacre, September 29, 1857, John D. Lee briefed Brigham Young on the massacre. According to Lee, more than one hundred and fifty \"mob members\" of Missouri and Illinois, with many cattle and horses, damned the Saints leaders, and poisoned not only a beef given to the Native Americans, but also a spring which killed both Saints and Native Americans. The Native Americans became enraged and after a long siege killed everyone and stripped the corpses of clothing. The Mormons spared eight to ten children. A second group, with a large cattle herd, would have suffered the same fate had not the Saints intervened and saved them. Wilford Woodruff recorded Lee's account as a \"tale of blood.\"\n\nIn fact, seventeen children had survived. The names and ages are recorded in the Carleton report, available online. The Mormons sold the children among each other, as they did the material goods they stole from the emigrants. Carleton reported that immediately after the massacre John D. Lee, Haight, and Philip Smith [Klingonsmith] went to Salt Lake City to ask Brigham Young what should be done with the property. They offered Young the money they had taken from their victims, but he would have nothing to do with it. Brigham gave Lee instructions to divide the cattle and cows among the poor, and left it to him to distribute it as he chose. John D. Lee ended up owning a fancy carriage that had been part of the column; the wagons, rifles and other valuables ended up with the Mormons, which the Paiute pointed out was proof that they had not perpetrated the massacre. Other emigrant property was auctioned in Cedar City, in the tithing office of the church, where the Mormons termed it, facetiously, in Carleton's view, \"property taken at the siege of Sebastapol.\"\n\nOn September 30, 1857, Mormon Indian Agent George W. Armstrong sent a letter to Young from Provo with information of the massacre. In his account, the emigrants gave the Native Americans poisoned beef. After many Native Americans died, they \"appeased their savage vengeance\" by killing fifty-seven men and nine women. There was no mention of survivors.\n\nDecades later, Young's son, 13 years old in 1857, said he was in the office during that meeting and that he remembered Lee blaming the massacre on the Native Americans. Some time after Lee's meeting with Young, Jacob Hamblin said he reported to Young and George A. Smith what he said Lee had related to Hamblin on his journey to Salt Lake. Brigham Young was mistaken when he later testified, under oath, that the meeting took place \"some two of three months after the massacre\". When Lee attempted to relate the details of the massacre, however, Young later testified he cut Lee off, stopping him from reciting further details.\n\nRumors of the massacre began to reach California in early October. John Aiken, a \"gentile\" who traveled with the mail carrier John Hurt through the killing field, reported to the Los Angeles Star that the unburied putrefied corpses of the women and children were more generally eaten than the men.\n\nConfirmation of the massacre was received from the Mormon J. Ward Christian. Christian claimed that the emigrants had cheated the Native Americans who sold them wheat at Corn Creek, put strychnine in water holes and poisoned a dead ox. According to Christian, the party consisted of 130 to 135. All were killed by Native Americans with the exception of fifteen infant children, that have since been purchased with much difficulty by the Mormon interpreters.\n\nAnd when Brigham Young sent his report to the Commissioner of Indian Affairs in 1858, he said the massacre was the work of Native Americans.\n\nPaiute leaders maintain that Mormon accounts of Paiute initiation of the siege are untrue. Stoffle and Evans assert that Paiutes had no history of attacking wagon trains and no Native Americans were charged, prosecuted, or punished by federal officials as a result of the Mountain Meadows massacre. Tribal oral history accounts taken in 1980s and 1990s relate stories of Paiutes witnessing the attack from a distance rather than participating. There are some stories, which relate some Paiute were present, but did not initiate or participate in the killings. A corroborating oral history of Sybil Mariah Frink tells of witnessing the planning of the massacre at her home in Harmony. She contends she followed fourteen Mormons who had disguised themselves as Native Americans to the scene of the massacre. She makes no mention of any Native Americans participating in the attack. Authors Tom and Holt summarize the state of proof regarding the massacre:\nThe fact that so much evidence, including relevant pages from the journals of many settlers, has been lost or destroyed, testifies to many Native Americans and their sympathizers that much of the official history cannot be considered to be complete or truthful. However, there is certainly some evidence that Native Americans with base camps on the Muddy and Santa Clara Rivers were at least involved in the initial siege of the wagon train.\"\n\nWhile Native American Paiutes were present, certainly during the initial attack and siege, historical reports of their numbers and the details of their participation are contradictory. However, Mormon witnesses of the event are unreliable, as Carleton demonstrates, and were attempting to shift the blame onto the Native Americans.\n\nEyewitness accounts from Mormons that implicate the Paiutes (at first entirely so and then only in part) are set against Paiute accounts that absolve them from participation in the actual massacre. Historian Bagley believes \"the problem with trying to tell the story of Mountain Meadows—the sources are all fouled up. You've either got to rely on the testimony of the murderers or of the surviving children. And so what we know about the actual massacre is—could be challenged on almost any point. _ \" However, as Carleton mentions in his 1857 report, even Hamblin, the Indian agent who blamed the Paiutes for the massacre, admitted to him that in 1856 the Paiute tribe had only three guns, suggesting that it was incredible for them to have acquired sufficient guns to inflict the number of gunshot wounds evident among the victims, most of whom were killed by gunfire, not, as Mormon witnesses claimed, largely by being hit in the head with stones.\n\nOrchestration by militia\nAlthough militia members put responsibility on the Natives, many non-Mormons began to suspect Mormon involvement and called for a federal investigation. Territorial U.S. Indian Agent Garland Hurt, in the days following the massacre, sent a translator to investigate, who returned on September 23 with the report that Paiutes attacked the emigrants and after being repulsed three time the Mormons tricked the wagon train members into surrender and killed them all. On the September 27, Hurt, the last federal Agent in Utah Territory, escaped more than seventy five Mormons dragoons for the safety of the American Army with the help of members of the Ute tribe of Native Americans.\n\nOn Lee's journey to Salt Lake City to report the massacre, he passed Jacob Hamblin going the opposite direction, and according to Hamblin, Lee admitted killing emigrants, including adolescent children, and stated that he acted under orders from officials in Cedar City. Lee later denied making these admissions or breaking his oath of secrecy.\n\nYoung first heard about the massacre from second-hand reports, After Lee reached Salt Lake City, Lee met with Young on September 29, 1857, according to Lee, he told Young about Mormon involvement. Young, however, later testified that he cut Lee off when he started to describe the massacre, because he could not bear to hear the details. Lee, however, said he told Young of involvement by Mormons. Nevertheless, according to Jacob Hamblin, Hamblin heard a detailed description of the massacre and Mormon involvement from Lee and reported it to Young and George A. Smith soon after the massacre. Hamblin said he was told to keep quiet, but that \"as soon as we can get a court of justice, we will ferret this thing out\".\n\nWith regard to the new policy to unbridle Natives to steal cattle, roughly at the same time of the massacre Indian agent Hurt received word that militia leadership at Ogden had arranged for the Snake tribe to run off over 400 cattle that were being driven toward California.\n\nFederal investigations in 1859\n\nThe Utah War interrupted further federal investigation and the LDS Church conducted no investigation of its own. Then in 1859, two years after the massacre, investigations were made by Hurt's superior, Jacob Forney, and also by U.S. Army Brevet Major James Henry Carleton. In Carleton's investigation, at Mountain Meadows he found women's hair tangled in sage brush and the bones of children still in their mothers' arms. Carleton later said it was \"a sight which can never be forgotten.\" After gathering up the skulls and bones of those who had died, Carleton's troops buried them and erected a rock cairn.\n\nCarleton's report of May 1859 included verbatim statements from Jacob Hamblin and a young Snake man, aged 17 or 18, who lived with the Hamblins and went by the name of Albert Hamblin. Both attempted to blame the local Paiute Indians, but Carleton analyzed the contradictions between the evidence he encountered and their statements to suggest that their accounts were false in several respects. Carleton tricked Albert Hamblin into revealing the identities of some of the Mormons present, by telling him that Jacob Hamblin had already informed Carleton that John D. Lee and other Mormons had been present. Albert then admitted that, apart from Lee, also present were the Mormons Prime Coleman, Amos Thornton, Richard Robinson, and \"Brother\" Dickinson from Pinto Creek. Speaking to Paiute Indian chiefs, Carleton was told by Chief \"Jackson\", head of the Santa Clara band, that a letter from Brigham Young had ordered the emigrants to be killed, and that 60 Mormons, painted and disguised as Indians, led by Bishop John D. Lee and Isaac C. Haight, had fulfilled this order. Another Paiute chief, Touche, then living on the Virgin River, told Carleton that a letter from Brigham Young to the same effect was brought down to his band by a young man named [Oliver B.] Huntington, an Indian interpreter living in Salt Lake City at the time of Carleton's report.\n\nBy August 1859, Jacob Forney, Superintendent of Indian Affairs for Utah had retrieved the children from the Mormon families housing them and gathered them in preparation of transporting them to their relatives in Arkansas. He placed the children in the care of families in Santa Clara prior to transportation. Forney and Capt. Reuben Campbell (US Army) related that Lee sold the children to Mormon families in Cedar City, Harmony, and Painter Creek. Sarah Francis Baker, who was three years old at the time of the massacre, later said, \"They sold us from one family to another.\" As early as May 1859, Forney reported that none of the children had ever lived with the Native Americans, but had been transported by white men from the scene of the massacre to the house of Jacob Hamblin. In July 1859 he wrote of his refusal to pay claims by families who alleged they purchased the children from the Native Americans, stating he knew it was not true. Forney had seen to the gathering up the surviving children from local families after which they were united with extended family members in Arkansas and other states. Families received compensation for the children's care, including Jacob Hamblin; some protested that the amounts were insufficient—although Carleton's report criticized the conditions under which some of the children lived.\n\nForney concluded that the Paiutes did not act alone and the massacre would not have occurred without the white settlers, while Carleton's report to the U.S. Congress called the mass killings a \"heinous crime\", blaming both local and senior church leaders for the massacre.\n\nA federal judge brought into the territory after the Utah War, Judge John Cradlebaugh, in March 1859 convened a grand jury in Provo, Utah concerning the massacre, but the jury declined any indictments.\n\n1870s prosecutions of John D. Lee\n\nFurther investigations, cut short by the American Civil War in 1861, again proceeded in 1871 when prosecutors obtained the affidavit of militia member Phillip Klingensmith. Klingensmith had been a bishop and blacksmith from Cedar City; by the 1870s, however, he had left the church and moved to Nevada.\n\nDuring the 1870s Lee, Dame, Philip Klingensmith and two others (Ellott Willden and George Adair, Jr.) were indicted and arrested while warrants were obtained to pursue the arrests of four others (Haight, Higbee, William C. Stewart and Samuel Jukes) who had successfully gone into hiding. Klingensmith escaped prosecution by agreeing to testify. Brigham Young removed some participants including Haight and Lee from the LDS church in 1870. The U.S. posted bounties of $500 each for the capture of Haight, Higbee and Stewart while prosecutors chose not to pursue their cases against Dame, Willden and Adair.\n\nLee's first trial began on July 23, 1875 in Beaver, Utah before a jury of eight Mormons and four non-Mormons. The prosecution called five eye-witnesses: Philip Klingensmith, Joel White, Samuel Pollock, William Young, and James Pierce. Due to an illness, George A. Smith was not called as a witness, but provided deposition testimony denying any involvement in the massacre, as did Brigham Young, who said he could not travel because he was an invalid. The defense called Silas S. Smith, Jesse N. Smith, Elisha Hoops, and Philo T. Farnsworth, who were part of George A. Smith's party on August 25, 1857 when he camped near the Baker-Fancher party in Corn Creek. Each of them testified that they either saw, or suspected, that the Baker-Fancher party poisoned a spring and a dead ox, later eaten by Native Americans. The trial ended in a hung jury on August 5, 1875.\n\nLee's second trial began September 13, 1876, before an all-Mormon jury. The prosecution called Daniel Wells, Laban Morrill, Joel White, Samuel Knight, Samuel McMurdy, Nephi Johnson, and Jacob Hamblin. Lee also stipulated, against advice of counsel, that the prosecution be allowed to re-use the depositions of Young and Smith from the previous trial. Lee called no witnesses in his defense. This time, Lee was convicted.\n\nAt his sentencing, as required by Utah Territory statute, he was given the option of being hung, shot, or beheaded, and he chose to be shot. In 1877, before being executed by firing squad at Mountain Meadows (a fate Young believed just, but not a sufficient blood atonement, given the enormity of the crime, to get him into the celestial kingdom). Lee himself professed that he was a scapegoat for others involved.\n\nNotes\n\nReferences\n\n.\n.\n.\n.\n.\n.\n.\n. Washington Post review and Letter to the editor in response to the review.\n.\n.\n.\n.\n.\n.\n; also included in Brooks (1991) Appendix XI.\n.\n.\n.\n. \n; also The Mormons (Documentary).\n.\n.\n\nFurther reading\n\n.\n\nExternal links \n The Massacre Trials - UMKC's School of Law\n Jacob Forney and the Massacre\nReferences/MASSACRE PERPETRATORS.pdf \"Massacre Perpetrators at Mountain Meadows Massacre: September 7–11, 1857\" – Mountain Meadows Monument Foundation website\nUnited States Office of Indian Affairs Papers Relating to Charges Against Jacob Forney. Yale Collection of Western Americana, Beinecke Rare Book and Manuscript Library.\n\nMountain Meadows Massacre" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies", "what happened when the Loyalists left the Thirteen Colonies?", "Carleton refused to deliver over the human property to the Americans at the time of the British evacuation.", "How did the Americans respond to Carleton's refusal?", "He added that the only mode was to pay for the Negroes, in which case justice was done to all, the former slaves and the owners." ]

[ "Eric Wade Cammack (born August 14, 1975) is a former relief pitcher in Major League Baseball who played briefly for the New York Mets during the season. Listed at , 180 lb., Cammack batted and threw right-handed. A native of Nederland, Texas, he was selected by the Mets in the 1997 draft out of the Lamar University Cardinals.\n\nIn eight relief appearances, Cammack posted a 6.30 earned run average and did not have a decision or saves, giving up seven runs on seven hits and 10 walks while striking out nine in 10.0 innings of work.\n\nCammack also pitched from 1997 through 2004 in the Mets, Astros and Athletics minor league systems. In 134 games, he collected a 24–15 record with a 3.17 ERA and 68 saves in innings.\n\nAs a hitter, Cammack hit a triple in his first and only at bat, joining Charlie Lindstrom (1958), Eduardo Rodríguez (1973), and Scott Munninghoff (1980) as the only players to accomplish this feat in major league history.\n\nSee also\n2000 New York Mets season\n\nExternal links\n\nEric Cammack at Ultimate Mets Database\nEric Cammack at Pura Pelota (Venezuelan Professional Baseball League)\n\n1975 births\nLiving people\nBaseball players from Texas\nBinghamton Mets players\nCapital City Bombers players\nLamar Cardinals baseball players\nMajor League Baseball pitchers\nNavegantes del Magallanes players\nAmerican expatriate baseball players in Venezuela\nNew Orleans Zephyrs players\nNorfolk Tides players\nNew York Mets players\nPeople from Nederland, Texas\nPittsfield Mets players\nRound Rock Express players\nSacramento River Cats players\nSt. Lucie Mets players", "Jose ben Joezer (also spelt Yose ben Yoezer) was a rabbi of the early Maccabean period, possibly a disciple of Antigonus of Soko and member of the ascetic group known as the Hasidæans, though neither is certain. He belonged to a priestly family.\n\nBiography\nWith him and Jose ben Johanan of Jerusalem, his colleague, begins the period known in Jewish history as that of the zugot (duumvirate), which ended with Hillel and Shammai. According to an old tradition, the member of the \"zugot\" mentioned first occupied the office of Nasi (president) of the Sanhedrin, while the one mentioned second served in the capacity of vice-president. \n\nJose belonged to the party of the Ḥasidim, and was a decided adversary of Hellenism. To prevent Jews from settling beyond Judea he declared all pagan countries \"unclean\". He declared also glass utensils \"unclean\", probably because they were manufactured in pagan countries. In other respects, however, he was very liberal, and received the surname \"Sharaya\" (\"one who permits\") for having rendered three liberal decisions on certain ritual questions. The first halakic controversy known in the Talmud was that between Jose ben Joezer and his colleague Jose ben Johanan. It arose over the question whether the laying of hands on the heads of the sacrifices is permitted on feast-days.\n\nJose ben Joezer was distinguished for his piety, and is called \"the most pious in the priesthood\" (\"hasid shebikechunnah\"). He professed great veneration for scholars, one of his sayings being: \"Let thy house be a meeting-place for the wise; powder thyself in the dust of their feet, and drink their words with eagerness\"\n\nDeath\nJose was probably among the sixty pious men who, at the instigation of the high priest Alcimus, the son of his sister, were crucified by the Syrian general Bacchides. The Midrash reports the following dialogue between Alcimus and Jose ben Joezer while the latter was on the way to execution:\n\nAlcimus: \"See the profit and honors that have fallen to my lot in consequence of what I have done, whilst thou, for thy obstinacy, hast the misfortune to die as a criminal.\" \n\nYose, quietly: \"if such is the lot of those who anger God, what shall be the lot of those who accomplish His will?\" \n\nAlcimus: \"Is there any one who accomplished His will more than thou?\" \n\nYose: \"If this is the end of those who accomplish His will, what awaits those who anger Him?\" \n\nOn this Alcimus was seized with remorse and committed suicide: \"He went and subjected himself to all four modes of execution inflicted by the Beth Din: stoning, burning, beheading, and strangulation. What did he do [to accomplish this]? He took a beam and stuck it in the ground, attached a rope to it, set up logs [in front of it], and built a stone wall around it. He then made a bonfire [with the logs] and stuck a sword in the middle. He then hanged himself with the rope, and while he was strangling the rope burnt through and snapped, he fell on the sword, while the wall [of stones] fell upon him and he burned [in the fire].\"Jose ben Joezer left a son, whom he had disinherited for bad conduct.\n\nReferences\n\nMishnah rabbis\nPirkei Avot rabbis\nZugot\n2nd-century BCE rabbis\nSanhedrin" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies", "what happened when the Loyalists left the Thirteen Colonies?", "Carleton refused to deliver over the human property to the Americans at the time of the British evacuation.", "How did the Americans respond to Carleton's refusal?", "He added that the only mode was to pay for the Negroes, in which case justice was done to all, the former slaves and the owners.", "What did he accomplish while in New York?", "Carleton asked to be relieved of his command." ]

[ "Thomas Ekines was an English projector and captain in the Royal Navy who combined the two roles by submitting proposals to the British government for military action in the Americas.\n\nEkines first project was proposed to William of Orange on 16 January during England's Glorious Revolution in which William became the King of England and drew England into the Nine Years' War against France. He proposed that he be assigned the temporary command of a Dutch ship with the goal of capturing the French ship St. John of Rochelle which was lying off the Isles of Scilly with a reputed value £20,000. In the end he proceeded to capture the French vessel but was obliged to release it whilst gaining no reward and leaving him in debt. Ekines then took charge of a frigate as part of the Post Office Packet Service new station at Falmouth, carrying mail to Corunna, Spain. However he was obliged to give up the post due to illness. Ekines went on to take command of HMS Woolwich and in this capacity seized a Dutch ship in Plymouth. He claimed the ship was trading with enemies of Queen Anne, Britain being involved in the War of the Spanish Succession. Whilst his right to seize the ship was upheld, his seizure for personal gain of much of the cargo was condemned and blocked his progression in the Navy.\n\nIn 1705 Ekines joined the Earl of Peterborough's expedition to Spain and served for nine months as an unpaid volunteer. Early on in the campaign he proposed that he lead an expedition of five ships and 1,000 soldiers across the Atlantic to seize Buenos Aires. However this project foundered after Peterbrough took Barcelona. Then in 1707 he offered his services to the Board of Trade and Plantations to take command of a ship to attack pirates at Martinique and Guadeloupe. The response was that the Board did not appoint individual officers.\n\nEkines next project was an expedition to confront the Spanish in South America. Sidney Godolphin, Lord High Treasurer and Earl of Sunderland, Secretary of State for the Southern Department (whose responsibilities included the American colonies) expressed interest in this project, but wanted to have the project administered and financed by a consortium of merchants. Ekines rejected this, as he was concerned he would no longer be in charge of the expedition. In fact whilst there was the potential for plunder, as the war aims of the British was to secure the Spanish thrown for Archduke Charles, there was little prospect of long-term territorial gains for Britain.\n\nReferences\n\nRoyal Navy officers", "Nikolai Karl Gregor Freiherr von Krüdener (; 10 March 1811 – 17 February 1891) was a Baltic German infantry general. He graduated from the Nikolayevsk Engineering Academy in 1828 and upon graduation was appointed officer. In 1833 he entered the Imperial Military Academy and after graduation was general staff of the army where he was in charge of various administrative duties. In 1848 he took command of the regiment Prince Eugene of Württemberg. In 1858 he was commander of the Keksgolm grenadier regiment. Promoted major general in 1859, he took command of the Volyn Imperial Russian Guard Regiment.\n\nHe was in command of the 9th Army corps during the Russo-Turkish War of 1877–1878 and conquered the city of Nikopol on June 4, 1877, for which he was awarded the Order of Saint George, 3rd class. Thereafter he was in command of the Russian forces during the first battle of Plevna on July 8–18, 1877 where he was defeated. He then participated in the siege of Plevna.\n\nAfter the war he was in charge of the military forces in Warsaw. He died in 1891.\n\nReferences\n\n1811 births\n1891 deaths\nRussian military leaders\nWars involving the Ottoman Empire\nRecipients of the Order of St. George of the Third Degree" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies", "what happened when the Loyalists left the Thirteen Colonies?", "Carleton refused to deliver over the human property to the Americans at the time of the British evacuation.", "How did the Americans respond to Carleton's refusal?", "He added that the only mode was to pay for the Negroes, in which case justice was done to all, the former slaves and the owners.", "What did he accomplish while in New York?", "Carleton asked to be relieved of his command.", "What did he do after he was no longer in charge of his command?", "Carleton did his best to have them resettled outside the United States." ]

[ "The Resettlement Department () was a department of the Government of Hong Kong, which was responsible for constructing resettlement estates for the homeless refugees. It was established in 1954. In 1973, the Resettlement Department and the Building Section of the Urban Services Department were merged to form the Housing Department, which acts as the Housing Authority's executive body.\n\nHistory\nIn December 1953, a major fire destroyed the slum area in Shek Kip Mei and more than 50,000 refugees from Mainland China were made homeless. After the disaster, then Governor Sir Alexander Grantham ordered Ronald Holmes to establish the Resettlement Department and appointed him as the Deputy Colonial Secretary and the first Commissioner of Resettlement. The Resettlement Department was formed from sections of the Public Works Department, the Social Welfare Department, and the Urban Services Department. The development of public housing marked a radical shift from the laissez-faire philosophy of the Government.\n\nIn order to resettle the homeless refugees in a short period of time, Holmes took the lead to construct a number of resettlement estates on the burnt ground in Shek Kip Mei and in its neighboring area. Some of the notable examples included Shek Kip Mei Estate and Tai Hang Tung Estate. After the creation of the Resettlement Department, constructing public housing estate for resettling the poor people became one of the primary policy goals set by the government in postwar Hong Kong. In October 1955, when he succeeded the retired Harold Giles Richards as the Director of Urban Services, Ronald Holmes stepped down from the Resettlement Department and was succeeded by Arthur Walton as Commissioner of Resettlement.\n\nThe Resettlement Department built a total of 25 housing estates between 1954 and 1973. The ten-year public housing programme proposed by Governor Sir Murray MacLehose led to the need for a \"corporatized housing authority.\" The establishment of the Housing Department inherited and expanded the projects and plans of the Resettlement Department.\n\nSee also\n Public housing in Hong Kong\n Public factory estates in Hong Kong\n\nReferences\n\nHong Kong government departments and agencies", "Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies", "what happened when the Loyalists left the Thirteen Colonies?", "Carleton refused to deliver over the human property to the Americans at the time of the British evacuation.", "How did the Americans respond to Carleton's refusal?", "He added that the only mode was to pay for the Negroes, in which case justice was done to all, the former slaves and the owners.", "What did he accomplish while in New York?", "Carleton asked to be relieved of his command.", "What did he do after he was no longer in charge of his command?", "Carleton did his best to have them resettled outside the United States.", "What happened after the resettlement?", "Carleton returned to England." ]

[ "The Carleton Baronetcy, of Holcombe in the County of Oxford, was a title in the Baronetage of England. It was created on 28 May 1627 for John Carleton, subsequently Member of Parliament for Cambridgeshire. The title became extinct on the early death of his son, the second Baronet, in 1650.\n\nDudley Carleton, 1st Viscount Dorchester, was the uncle of the first Baronet.\n\nCarleton baronets, of Holcombe (1627)\nSir John Carleton, 1st Baronet (died 1637)\nSir George Carleton, 2nd Baronet (–1650)\n\nReferences\n\nExtinct baronetcies in the Baronetage of England", "Hugh Francis Carleton (3 July 1810 – 14 July 1890) was New Zealand's first member of parliament.\n\nEarly life\nCarleton was born in 1810. He was the son of Francis Carleton (1780–1870) and Charlotte Margaretta Molyneux-Montgomerie (d. 1874). Hugh Carleton, 1st Viscount Carleton was the brother of his grandfather, John Carleton. His family was living in Clare, County Tipperary and then Greenfield, County Cork, Ireland. He was educated at Eton College and Trinity College, Cambridge. He studied law in London, then art in Italy.\n\nCareer as a journalist in New Zealand\nHe settled in the Bay of Islands in 1842. On 30 November 1859, he married Lydia Jane Williams, youngest daughter of the missionary Henry Williams and Marianne Williams; they had no children.\n\nHe became a journalist in Auckland and edited the New Zealander then established the Anglo-Maori Warder, which followed an editorial policy in opposition to Governor George Grey. In 1856 he became the editor of the Southern Cross.\n\nCareer as a member of parliament\n\nHe was a member of New Zealand's first, second, third, and fourth Parliaments, representing the electorate from 1853 to 1870, when he was defeated. Due to the system of staggering used in the first general election, Carleton was actually the first MP ever elected in New Zealand (though he was elected unopposed), hence he liked to be called the Father of the House.\n\nCarleton was the second Chairman of Committees, succeeding Frederick Merriman on 17 April 1856, i.e. just after the opening of the first session of the 2nd Parliament. He remained Chairman of Committees until he left Parliament in 1870.\n\nHe had a strong interest in parliamentary procedure, and unsuccessfully lobbied for the position of Speaker. He is known for his unsuccessful campaign against the availability of alcoholic beverages at Bellamy's, the parliamentary restaurant. He was also a critic of the idea that all voting districts should contain the same number of voters, saying that this system gave \"a preponderating control\" of the political world to one specific class. He was described as \"scholarly\" by his allies and \"pedantic\" by his critics.\n\nEngland\nCarleton returned to England and spent the last ten years of his life there. He died at Lewisham, Surrey, England, on 14 July 1890.\n\nHis wife Lydia died in Napier, New Zealand on 28 November 1891.\n\nPublications\n (1874) - The life of Henry Williams, Archdeacon of Waimate. Auckland NZ. Online available from Early New Zealand Books (ENZB).\n\nNotes\n\nReferences\n\n1810 births\n1890 deaths\nMembers of the New Zealand House of Representatives\nUnsuccessful candidates in the 1871 New Zealand general election\nNew Zealand MPs for North Island electorates\nPeople educated at Eton College\nAlumni of Trinity College, Cambridge\nIrish emigrants to New Zealand (before 1923)\nNew Zealand editors\nNew Zealand journalists\n19th-century New Zealand politicians" ]

[ "Guy Carleton, 1st Baron Dorchester", "Evacuation of New York", "How did the Evacuation of New York begin?", "Loyalists began an exodus from the Thirteen Colonies", "what happened when the Loyalists left the Thirteen Colonies?", "Carleton refused to deliver over the human property to the Americans at the time of the British evacuation.", "How did the Americans respond to Carleton's refusal?", "He added that the only mode was to pay for the Negroes, in which case justice was done to all, the former slaves and the owners.", "What did he accomplish while in New York?", "Carleton asked to be relieved of his command.", "What did he do after he was no longer in charge of his command?", "Carleton did his best to have them resettled outside the United States.", "What happened after the resettlement?", "Carleton returned to England.", "What was Carleton's life like in England?", "I don't know." ]

[ "To All My Friends On Shore is a 1972 television film drama starring Bill Cosby, and co-starring Gloria Foster. Cosby not only starred in the film, but produced it and worked on the film's music.\n\nPlot\nBlue (Cosby) works as a skycap for an airport. At the same time he works a second job as a junk scavenger. His wife Serena (Foster) works as a maid and is going to school trying to become a nurse. Blue is busy working trying to save money to buy his family a house so they can leave the projects. His young son, Vandy (Hines), resents him because he won't let him have any fun like his friends. It is eventually discovered that Vandy has sickle cell anemia. It is then that Blue realizes what he should spend his time on - being with his family.\n\nCast\nBill Cosby....Blue\nGloria Foster....Serena Blue\nDennis Hines....Evander \"Vandy\" Blue Jr.\n\nProduction\nThis was one of a string of film/TV productions Bill Cosby did in the 1970s. After he did The Bill Cosby Show (1969-1971), Cosby did other works. He did this film plus Man and Boy and Hickey & Boggs, the latter of which paired him with his I Spy co star Robert Culp. In addition he produced the Saturday morning series Fat Albert and the Cosby Kids which ran on CBS until the 1980s. Although Cosby did drama, he stayed with it in brief and concentrated on comedy; during this time, he worked with Gloria Foster, who appeared in other Cosby shows and films. As the 1970s closed, Cosby stayed with Fat Albert and worked on variety shows for Prime Time that ultimately bombed and were cancelled, including Cos.\n\nReferences\n\nExternal links\n\nTo All My Friends on Shore at URBTPlus\n\nAmerican drama films\n1970s drama films\nAmerican television films\nAmerican films", "The name Blanca has been used for eleven tropical cyclones in the Eastern Pacific Ocean.\n\n Hurricane Blanca (1966), never affected land, travelled 4,300 miles during its lifetime.\n Tropical Storm Blanca (1970), did not make landfall.\n Tropical Storm Blanca (1974), did not make landfall.\n Tropical Storm Blanca (1979), did not make landfall.\n Hurricane Blanca (1985), did not affect any land.\n Tropical Storm Blanca (1991), did not cause any casualties or damages.\n Tropical Storm Blanca (1997), did not cause any major damage or casualties.\n Tropical Storm Blanca (2003), did not have any effects on land.\n Tropical Storm Blanca (2009), did not make landfall, but contributed to flooding in Mexico.\n Hurricane Blanca (2015), Category 4 hurricane, made landfall in the Baja California Peninsula as a tropical storm.\n Tropical Storm Blanca (2021), did not affect any land.\n\nPacific hurricane disambiguation pages" ]

[ "Lionel Conacher", "Football" ]

[ "Jerome Field Magee (April 11, 1928 – January 2, 2019) was an American newspaper columnist. \n\nMagee was a sports writer in San Diego for 52 years, retiring from the San Diego Union-Tribune in 2008. He began his career more than five decades earlier at the then-San Diego Union and also wrote for Pro Football Weekly.\n\nBiography\nMagee, who was born in Chicago, Illinois, was raised in Nebraska. He graduated in 1950 from the University of Nebraska. He served in the Army in Korea.\n\nCareer\nHis first job newspaper job was as a copyboy at the Omaha World-Herald, where one of his tasks was to mix flour and water into the paste used by copy readers. He joined the San Diego Union-Tribune in 1956.\n \nMagee was called \"an American Football League apologist\" by his contemporaries who covered NFL football, adopting it himself and regularly quoting it. He took on what he has called the \"NFL apologists,\" including William Wallace, sports columnist with The New York Times, and Jerry Green of the Detroit Free Press, in Magee's attempt to puncture what he called \"NFL myths.\"\n\nMagee brought attention to the AFL's style of football, including writing about Will McDonough and his service on the American Football League Hall of Fame board of selectors. Magee wrote frequently about interviews he had with American Football League superfan, archivist and historian Ange Coniglio.\n\nUpon Magee's retirement in September 2008, the Union-Tribune published a tribute article about Magee that was written by people he covered and worked with, including former San Diego Chargers running back Hank Bauer.\n\nRecognition\nOctober 29, 2008 was proclaimed \"Jerry Magee Day\" by the San Diego City Council in recognition of his more than 50 years as \"one of \nthe region's top sports writers.\"\n\nIn 1987, Magee was given the Dick McCann Memorial Award from the Professional Football Writers of America organization, which is handed out to reporters who have made \"a long and distinguished contribution\" to pro football through coverage.\n\nReferences\n\nExternal links\nSan Diego Union-Tribune Staff articles by Jerry Magee\n\nSportswriters from Illinois\nWriters from Chicago\nMilitary personnel from Illinois\nUniversity of Nebraska alumni\nAmerican Football League contributors\nDick McCann Memorial Award recipients\n1928 births\n2019 deaths", "William Arthur Belk (born February 19, 1946 in Lancaster, South Carolina) is a former American football defensive lineman in the National Football League. He was drafted by the San Francisco 49ers in the 6th round of the 1968 NFL Draft. He played college football at Maryland Eastern Shore. He played for the Toronto Argonauts in the Canadian Football League in 1975 and 1976. He played a total of 9 years of professional football.\n\nBelk was inducted into the University of Maryland Eastern-Shore Hall of Fame in 1984. His collegiate career spanned from 1964 to 1968. In college, Belk was a two-way starter at\noffensive and defensive end. He received All-Conference honors in 1966 and 1967, and was co-captain of the team his senior year. While in college, Belk was a student athlete, making the honor roll and dean’s list. He graduated in 1968, earning a bachelor's degree in Business Education.\n\nIn the NFL, Belk proved to be a versatile, reliable, and very intelligent football player, starting at both defensive end and tackle. One of his coaches, Dick Nolan, made this testimony in reference to Belk, “What I like about Bill is that he’s very smart. He knows exactly what he’s doing out there and can adjust to any situation.\"\n\n1946 births\nLiving people\nAmerican football defensive ends\nAmerican football defensive tackles\nMaryland Eastern Shore Hawks football players\nSan Francisco 49ers players" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know." ]

[ "is a former Japanese football player.\n\nPlaying career\nChiba was born in Miyagi Prefecture on May 22, 1968. After graduating from Sendai University, he joined the Honda Football Club in 1991. However he did not play in any matches. He moved to the Kashima Antlers in 1992. Although he played 5 matches in the 1992 J.League Cup, he did not play in any matches after Masaaki Furukawa joined in 1993. He moved to the newly formed J1 League club, Kashiwa Reysol, in 1995. However he did not play in many matches and he moved to the Japan Football League club Brummell Sendai in 1996. He retired at the end of the 1997 season.\n\nClub statistics\n\nReferences\n\nExternal links\n\nawx.jp\n\n1968 births\nLiving people\nSendai University alumni\nAssociation football people from Miyagi Prefecture\nJapanese footballers\nJapan Soccer League players\nJ1 League players\nJapan Football League (1992–1998) players\nHonda FC players\nKashima Antlers players\nKashiwa Reysol players\nVegalta Sendai players\nAssociation football goalkeepers", "is a former Japanese football player.\n\nPlaying career\nEndo was born in Chiba Prefecture on March 31, 1980. After graduating from high school, he joined the Japan Football League club Tokyo Gas (later FC Tokyo) in 1998. The club was promoted to the J2 League in 1999 and the J1 League in 2000. However, he did not play in many matches, and fewer than the goalkeeper Yoichi Doi until 2006. In 2007, he moved to the J2 club Montedio Yamagata. The club was promoted to J1 in 2009. However he did not play much. In 2010, he moved to the Japan Football League club Sony Sendai. Although he played several matches in 2010, he did not play at all in 2011 and retired at the end of the 2011 season.\n\nClub statistics\n\nReferences\n\nExternal links\n\n1980 births\nLiving people\nAssociation football people from Chiba Prefecture\nJapanese footballers\nJ1 League players\nJ2 League players\nJapan Football League (1992–1998) players\nJapan Football League players\nFC Tokyo players\nMontedio Yamagata players\nSony Sendai FC players\nAssociation football goalkeepers" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played," ]

[ "John Stirk (born 5 September 1955) is an English former footballer. His primary position was as a right back. During his career he played for Ipswich Town, Watford, Chesterfield and North Shields. He also made two appearances for England at youth level.\n\nCareer \n\nBorn in Consett, Stirk played youth football for local non-league team Consett A.F.C. He joined Ipswich Town on schoolboy terms in 1971, and after making two appearances for the England youth team, turned professional in 1973. During his time at Ipswich he was largely a reserve. He made his first-team debut on 5 November 1977, in a Football League First Division match against Manchester City at Portman Road. His manager at the time was Bobby Robson, who later went on to manage the England national football team. Ipswich won the FA Cup in 1978, in what proved to be Stirk's final season at the club. However, Stirk himself did not play in the final, nor did he play in any of the rounds en route to the final.\n\nAnother future England manager, Watford's Graham Taylor, signed Stirk for a transfer fee of £30,000 at the end of the 1977–78 season. Stirk went on to play every Watford league game in the 1978–79 season, as Watford gained promotion to the Second Division. However, Stirk did not play for Watford in the Second Division. Two months before the end of the 1979–80 season, Stirk was sold to Third Division side Chesterfield, at a profit to Watford of £10,000. After making 56 league appearances over two and a half seasons, Stirk left Chesterfield in 1983 moving on to Blyth Spartans then Tow Law Town, and finished his career at non-league North Shields.\n\nReferences \n\n1955 births\nLiving people\nConsett A.F.C. players\nIpswich Town F.C. players\nWatford F.C. players\nChesterfield F.C. players\nEnglish Football League players\nNorth Shields F.C. players\nSportspeople from Consett\nAssociation football fullbacks\nEnglish footballers", "is a former Japanese football player. He played for Japan national team.\n\nClub career\nYamaguchi was born in Oita Prefecture on August 1, 1959. After graduating from high school, he joined Mitsubishi Motors in 1978. However he did not play in the game, as he was the team's reserve goalkeeper behind Japan national team player Mitsuhisa Taguchi. He retired in 1984. Eventually he could not play in the game.\n\nNational team career\nIn August 1979, Yamaguchi was selected Japan U-20 national team for 1979 World Youth Championship. However, he did not compete, as he was the team's reserve goalkeeper behind Yasuhito Suzuki. In February 1981, although he did not play at his club, he was selected Japan national team because Japan's manager Saburo Kawabuchi actively appointed young players. On February 19, Yamaguchi debuted for Japan national team against Singapore.\n\nClub statistics\n\nNational team statistics\n\nReferences\n\nExternal links\n \n \n Japan National Football Team Database\n\n1959 births\nLiving people\nAssociation football people from Ōita Prefecture\nJapanese footballers\nJapan international footballers\nJapan Soccer League players\nUrawa Red Diamonds players\nAssociation football goalkeepers" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals" ]

[ "The Gilleys Shield is a trophy symbolising the Open Women's Championship of the Softball Australia organisation (formerly known as the Australian Softball Federation). The competition's full name is the Mack Gilley Shield.\n\nHistory \nIn 1947, Queensland, New South Wales and Victoria participated in the first interstate softball competition in the country. The competition was eventually called the Mack Gilley Shield. For the 2009–2010 season the Shield will for the first time admit the New Zealand White Sox team to the competition.\n\nWinners \nBetween 1947 and 1968, New South Wales did not win a single Mack Gilley Shield. They finally won in 1969, repeating their first-place finish again in 1973, 1981 when they shared the title with Victoria, 1986, 1988, 1989, 1990, 1991 and 1993. Between the start of the competition and 1995, New South Wales won a total of nine Gilley Shields. This total ranked them third amongst all states.\n\nQueensland won the Mack Gilley Shield in 1963, 1966 and 1968. They won again in 1975, 1983, 1984, 1987, 1992 and 1994. In 2012, Queensland finished third in the Gilley Shield. Between the start of the competition and 1995, Queensland won a total of ten Gilley Shields. This total ranked them second amongst all states.\n\nVictoria won the Mack Gilley Shield in 1947, 1949, 1950, and 1951. They won it again in 1954, 1957 and 1958. They did not win in 1959 but won again in 1960, 1961 and 1962. Queensland won in 1963, but Victoria won again in 1964 and 1965 and 1967. Victoria went on to win again in 1970, 1971, 1972, 1974, 1976, 1977, and shared the title with New South Wales in 1981. They won again in 1982, and 1985. Between the start of the competition and 1995, Victoria won a total of twenty-two Gilley Shields if the 1981 tie with New South Wales is counted. This was twelve more than any other state.\n\nBetween 1947 and 1994, Tasmania did not win a single Mack Gilley Shield.\n\nSouth Australia won the Mack Gilley Shield in 1956. Between 1957 and 1994, they did not win another championship.\n\nWestern Australia won the Mack Gilley Shield in 1952 and 1953. They did not win in 1954 but won it again in 1955. They missed out in winning from 1956 to 1958, before winning again in 1959. They did not win another championship between 1960 and 1994.\n\nBetween 1947 and 1968, the Australian Capital Territory did not win the Mack Gilley Shield. They finally broke their losing streak by winning in 1978, 1979 and 1980. They did not win again between 1981 and 1994.\n\nBetween 1947 and 1968, the Northern Territory did not win the Mack Gilley Shield. They did not win between 1969 and 1994.\n\nHosting \nNew South Wales hosted the Mack Gilley Shield in Sydney in 1950, 1955, 1961, and 1968. Queensland hosted the Mack Gilley Shield in Brisbane in 1947, 1953, 1959 and 1966. Victoria hosted the Mack Gilley Shield in Melbourne in 1949, 1954, 1960 and 1967. Tasmania hosted the Mack Gilley Shield in Hobart in 1958, 1964 and 1985. South Australia hosted the Mack Gilley Shield in Adelaide in 1951, 1956, and 1962. Western Australia hosted the Mack Gilley Shield in Perth in 1952, 1957, and 1963. The Australian Capital Territory hosted the Mack Gilley Shield in Canberra in 1965. Between 1947 and 1968, the Northern Territory did not host the Mack Gilley Shield.\n\nGilleys Shield Awards \nThere are several awards connected with the Shield including the Midge Nelson Medal for the competition's most valuable player, the Lorraine Woolley Medal for pitching and the Sybil turner Medal for the best batting. In 1985, the Nelson Medal was won by K. Dienelt of the Northern Territory and the Woolley Medal was won by L. Evans of Victoria. In 1986, the Nelson Medal was won by H. Strauss of Queensland and the Woolley Medal was won by C. Bruce of New South Wales. In 1987, the Nelson Medal was won by K. Dienelt of the Northern Territory and the Woolley Medal was won by C. Cunderson of Queensland. 1988 was the first year all three medals were awarded. They were won respectively by L. Ward of New South Wales, M. Roche of New South Wales and V. Grant of Western Australia. In 1989, they respectively went to L. Loughman of Victoria, M. Rouche of New South Wales and L. Martin of South Australia. In 1990, they went to K, McCracken of Victoria, M. Rouche of New South Wales, and G. Ledingham of New South Wales.\n\nAWARD NAMES\nMidge Nelson Medal – Most Valuable Player\nRosemary Adey Medal – Rookie of the Year\nLorraine Woolley Medal – Best Pitcher\nSybil Turner Medal – Best Batter\n\nPrevious Individual Award Winners \n2003\nMost Valuable Player – Tanya Harding (QLD)\nRookie of the Year – Melanie Dunne (QLD)\nBest Pitcher – Kelly Hardie (QLD)\nBest Batter – Kerrie Sheehan (NSW)\n2004\nMost Valuable Player – Tanya Harding (QLD\nRookie of the Year – Kylie Cronk (QLD)\nBest Pitcher – Brooke Wilkins (QLD)\nBest Batter – Natalie Titcume (VIC)\n2005\nMost Valuable Player – Natalie Titcume (VIC)\nRookie of the Year – Krystle Rivers (WA)\nBest Pitcher – Jocelyn McCallum (QLD)\nBest Batter – Amanda Doman (QLD)\n2006\nMost Valuable Player – Amanda Doman (QLD)\nRookie of the Year – Nicole Smith (ACT)\nBest Pitcher – Kelly Hardie (QLD)\nBest Batter – Stacey Porter (NSW)\n\nSee also \nSoftball Australia\nASF National Championships\n\nReferences \n\nSoftball competitions in Australia", "The African National Congress was a political party in Trinidad and Tobago. The party first contested national elections in 1961, when it received just 0.5% of the vote and failed to win a seat. They did not put forward any candidates for the 1966 elections, but returned for the 1971 elections, in which they received 2.4% of the vote, but again failed to win a seat as the People's National Movement won all 36. The party did not contest any further elections.\n\nReferences\n\nDefunct political parties in Trinidad and Tobago" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year." ]

[ "Christopher Carrick (8 October 1882 – June 1927) was an English footballer who played for Middlesbrough, West Ham United, Tottenham Hotspur, Reading, Bradford Park Avenue and Glentoran as an outside-left. He was described as \"a sturdy little winger, quick off the mark with the rare gift of taking chances\".\n\nBorn in Stockton, Carrick played for Middlesbrough, scoring six goals in 26 Football League matches over three seasons. He was signed by West Ham United manager Syd King for the 1904–05 season, part of an influx of new players that also included Boro teammate Frank Piercy. He made his debut on 8 October 1904 in a 2–0 home win against Swindon Town. On 28 January 1905 he scored his first goals for West Ham with a hat-trick in a 6–2 home win against Luton Town. He played only 18 games, scoring six goals, before he came to the attention of Tottenham Hotspur, moving to them in the summer of 1905. Signed to replace John Kirwan who had moved to Chelsea, Carrick did not play regularly for Tottenham until the middle of the 1905–06 season. In March 1906 Tottenham travelled to play away games at Bristol Rovers and at Plymouth Argyle. On returning to London Carrick and a teammate were suspended by Tottenham for \"ignoring training rules\". He did not play for them again and was transferred to Reading before moving to Bradford Park Avenue for the 1907–08 season. In 1908 he moved to Ireland to play for Glentoran. \nHe died in Middlesbrough in June 1927, aged 44, following a long illness.\n\nReferences\n\n1882 births\n1927 deaths\nDate of death missing\nSportspeople from Stockton-on-Tees\nFootballers from County Durham\nEnglish footballers\nAssociation football outside forwards\nMiddlesbrough F.C. players\nWest Ham United F.C. players\nTottenham Hotspur F.C. players\nReading F.C. players\nBradford (Park Avenue) A.F.C. players\nGlentoran F.C. players\nEnglish Football League players\nSouthern Football League players\nLeague of Ireland players", "Tom Amberry (November 13, 1922 – March 18, 2017) was an American podiatrist who is best known for holding the Guinness world record for most consecutive free throws made, having made 2,750 of them in a row in a span of 12 hours over the course of November 15, 1993 at the age of 71. Amberry held the record for two and a half years before it was surpassed in April 1996 by Ted St. Martin. After setting his record, he worked with several teams, including the Chicago Bulls to help the players with their free throw shooting.\n\nAfter graduating college he decided to forgo a two-year contract to play with the then-Minneapolis Lakers, choosing to attend podiatry school instead. His medical office was located on Atlantic Avenue in Long Beach, California.\n\nReferences\n\nExternal links\nArticle about Amberry\nAmberry's page at basketball's best\nAmberry's official website\nFeldman, Jay (1994). Routine Perfection: How did Tom Amberry set the world free throw record? Focus, focus, focus Sports Illustrated. Retrieved 22 April 2013\n\n1922 births\n2017 deaths\nChicago Bulls coaches\nPeople from Grand Forks, North Dakota\nAmerican podiatrists" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year.", "how long did he play for them", "He played four seasons with the team between 1912 and 1915," ]

[ "\"Llangollen Market\" is a song from early 19th century Wales. It is known to have been performed at an eisteddfod at Llangollen in 1858.\n\nThe text of the song survives in a manuscript held by the National Museum of Wales, which came into the possession of singer Mary Davies, a co-founder of the Welsh Folk-Song Society.\n\nThe song tells the tale of a young man from the Llangollen area going off to war and leaving behind his broken-hearted girlfriend. Originally written in English, the song has been translated into Welsh and recorded by several artists such as Siân James, Siobhan Owen, Calennig and Siwsann George.\n\nLyrics\nIt’s far beyond the mountains that look so distant here,\nTo fight his country’s battles, last Mayday went my dear;\nAh, well shall I remember with bitter sighs the day,\nWhy, Owen, did you leave me? At home why did I stay?\n\nAh, cruel was my father that did my flight restrain,\nAnd I was cruel-hearted that did at home remain,\nWith you, my love, contented, I’d journey far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nWhile thinking of my Owen, my eyes with tears do fill,\nAnd then my mother chides me because my wheel stands still,\nBut how can I think of spinning when my Owen’s far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nTo market at Llangollen each morning do I go,\nBut how to strike a bargain no longer do I know;\nMy father chides at evening, my mother all the day;\nWhy, Owen, did you leave me, at home why did I stay?\n\nOh, would it please kind heaven to shield my love from harm,\nTo clasp him to my bosom would every care disarm,\nBut alas, I fear, 'tis distant - that happy, happy day;\nWhy, Owen, did you leave me, at home why did stay?\n\nReferences\n\nWelsh folk songs", "Leih Sebtaha (Why Did You Leave Her') is the fifteenth full-length Arabic studio album from Egyptian pop singer Angham, launched in Egypt in 2001.\n\nTrack listing\n\n Sidi Wisalak (Your Charm) (Lyrics by: Ezzat elGendy | Music composed by: Sheriff Tagg | Music arrangements by: Tarek Akef)\n Leih Sebtaha (Why Did You Leave Her) (Lyrics by: Baha' elDeen Mohammad | Music composed by: Sheriff Tagg | Music arrangements by: Tarek Madkour)\n Rahet Layali (Nights Have Gone) (Lyrics by: Mohammad elRifai | Music composed by: Sheriff Tagg | Music arrangements by: Yahya elMougi)\n Magabsh Serty (Did He Mention Me) (Lyrics by: Ayman Bahgat Amar | Music composed by: Riyad elHamshari | Music arrangements by: Tarek Akef)\n Leih Sebtaha (instrumental) (Why Did You Leave Her) Lyrics by: Baha' elDeen Mohammad | Music composed by: Sheriff Tagg | Music arrangements by: Tarek Madkour)\n Tedhak Alaya (You Laugh At Me) (Lyrics by: Saoud elSharabtli | Music composed by: elFaissal | Music arrangements by: Mahmoud Sadek)\n Noujoum elLeil (Stars Of the Night) (Lyrics by: Wael Helal | Music composed by: Ameer Abdel Majeed | Music arrangements by: Ashraf Mahrous)\n Habbeitak Leih (Why Did I Even Love You) (Lyrics by: Nader Abdallah | Music composed by: Sheriff Tagg | Music arrangements by: Ashraf Mahrous)\n Hayran (Confused) (Lyrics by: Naser Rashwan | Music composed by: Ameer Abdel Majeed | Music arrangements by: Hisham Niyaz)\n Ana Indak (I'm At Your Place)''''' (Lyrics by: Bahaa elDeen Mohammad | Music composed by: Sheriff Tagg | Music arrangements by: Tarek Madkour)\n\nReferences\n\nAngham albums\nArabic-language albums\n2001 albums\nAlam elPhan Records albums" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year.", "how long did he play for them", "He played four seasons with the team between 1912 and 1915,", "why did he leave?", "I don't know." ]

[ "Kurudumale is a village in the Mulbagal taluk, Kolar district of Karnataka state, India. It is located about 10 km from the mulubagal town, northerly. The giant, thirteen and a half foot sculpture of kurudumale Ganesha and the Someshwara temple of lord Shiva attract thousands of visitors from the surrounding states. This place was believed to be the place where Devas would descend from the heavens for recreation on earth.\n\nThere is another temple dedicated to Shiva called the Someshwara temple which is also situated in Kurudumale. The interesting thing about this temple is that it is built of a rock without any foundations. Another interesting thing is the architectural style of the temple; this temple is considered to be older than the Ganesha temple and was built during the Cholas period. Half of the temple has different style of carving, believed to have been done by artist Jakanachari and the other half is believed to have been carved by his son Dankanachari. The part of the temple supposedly built by Dankana's has statues and carvings which are more intricate and sophisticated.\n\nGallery\n\nHindu temples in Kolar district\nVillages in Kolar district", "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year.", "how long did he play for them", "He played four seasons with the team between 1912 and 1915,", "why did he leave?", "I don't know.", "is there any significant thing that is interesting in the article?", "Named captain in 1922, Conacher led the Argonauts to another undefeated season in IRFU play," ]

[ "Jonathan Zamora (born October 31, 1996) is a professional Canadian football offensive lineman for the Toronto Argonauts of the Canadian Football League (CFL).\n\nUniversity career\nZamora played U Sports football for the St. Francis Xavier X-Men from 2016 to 2019 where he played in 31 games over four seasons. In 2018, he was named a U Sports Second Team All-Canadian and was also a Loney Bowl champion.\n\nProfessional career\n\nCalgary Stampeders\nZamora was drafted in the third round, 26th overall, in the 2020 CFL Draft by the Calgary Stampeders, but did not play in 2020 due to the cancellation of the 2020 CFL season. He then signed with the team on January 21, 2021. Zamora spent the 2021 season with the Stampeders on the practice roster and did not dress in a regular season game for the team.\n\nToronto Argonauts\nOn November 3, 2021, it was announced that the Toronto Argonauts had claimed Zamora from the Stampeders' practice roster. As per CFL rules, he was required to play in the Argonauts' game in the following week, where he made his professional debut on November 12, 2021, against the Hamilton Tiger-Cats. He then made his first career start on November 16, 2021, against the Edmonton Elks, at centre. Zamora made his playoff debut in the East Final two weeks later, but the Argonauts lost to the Tiger-Cats.\n\nPersonal life\nZamora is fluent in Spanish.\n\nReferences\n\nExternal links\nToronto Argonauts bio \n\n1996 births\nLiving people\nCalgary Stampeders players\nCanadian football offensive linemen\nSportspeople from Toronto\nPlayers of Canadian football from Ontario\nSt. Francis Xavier X-Men football players\nToronto Argonauts players", "Jake Reinhart (born November 25, 1989) is a Canadian football long snapper for the Toronto Argonauts of the Canadian Football League (CFL).\n\nUniversity career\nReinhart played CIS football as a linebacker and long snapper for the Guelph Gryphons from 2008 to 2012. He was named a CIS Academic All-Canadian in 2012.\n\nProfessional career\nAfter going undrafted in the 2012 CFL Draft, Reinhart returned to play for the Guelph Gryphons in 2012. After completing his CIS eligibility, he was then signed as an undrafted free agent by the Toronto Argonauts on June 4, 2013. However, he was released after the team's first pre-season game on June 16, 2013.\n\nFollowing the departure of the Argonauts' incumbent long snapper, Chad Rempel, Reinhart was re-signed by the team on April 15, 2014. He earned the long snapper job following training camp and played in his first professional game on June 26, 2014 against the Winnipeg Blue Bombers. He played in all 18 regular season games that year and recorded seven special teams tackles. \n\nIn 2015, he again dressed in all 18 regular season games and had six special teams tackles. Reinhart also played in his first post-season game which was a loss to the Hamilton Tiger-Cats in the East Semi-Final.\n\nIn the 2017 season, Reinhart played in all 18 regular season games and both post-season games. He played in the first Grey Cup game of his career which ended in an Argonaut victory over the Calgary Stampeders in the 105th Grey Cup.\n\nThe Argonauts home pre-season game in 2018 was played at Alumni Stadium in Guelph, marking Reinhart's first return to play at his university's stadium. He finished the regular season with a career-high 11 special teams tackles in 18 regular season games. Reinhart was injured in the 2019 season opener and missed the first six games of his career. Prior to that, he had a 94 consecutive games played streak, including the post-season.\n\nOn February 28, 2020, Reinhart signed a contract extension with the Argonauts through to the 2022 season. However, he did not play in 2020 due to the cancellation of the 2020 CFL season. As of the 2021 season, he was the longest serving member of the Argonauts. On October 6, 2021, Reinhart suffered a severe elbow injury in a game against the Ottawa Redblacks that required emergency surgery in Guelph. It was expected that Reinhart would miss the remainder of the season due to the injury.\n\nPersonal life\nReinhart was born in Guelph, Ontario to parents Ellen and John Reinhart. His younger brother, Will, played football with him in high school, and his youngest brother, Job, also played long snapper at Guelph and was drafted by the Calgary Stampeders in 2019 CFL Draft.\n\nReferences\n\nExternal links\nToronto Argonauts bio\n\nLiving people\n1989 births\nCanadian football long snappers\nGuelph Gryphons football players\nPlayers of Canadian football from Ontario\nSportspeople from Guelph\nToronto Argonauts players" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year.", "how long did he play for them", "He played four seasons with the team between 1912 and 1915,", "why did he leave?", "I don't know.", "is there any significant thing that is interesting in the article?", "Named captain in 1922, Conacher led the Argonauts to another undefeated season in IRFU play,", "How long did he play for the Argonauts?", "His play impressed the Argonauts, who signed him for the 1921 season." ]

[ "In mathematics, more specifically ring theory, an ideal I of a ring R is said to be a nilpotent ideal if there exists a natural number k such that Ik = 0. By Ik, it is meant the additive subgroup generated by the set of all products of k elements in I. Therefore, I is nilpotent if and only if there is a natural number k such that the product of any k elements of I is 0.\n\nThe notion of a nilpotent ideal is much stronger than that of a nil ideal in many classes of rings. There are, however, instances when the two notions coincide—this is exemplified by Levitzky's theorem. The notion of a nilpotent ideal, although interesting in the case of commutative rings, is most interesting in the case of noncommutative rings.\n\nRelation to nil ideals\nThe notion of a nil ideal has a deep connection with that of a nilpotent ideal, and in some classes of rings, the two notions coincide. If an ideal is nilpotent, it is of course nil, but a nil ideal need not be nilpotent for more than one reason. The first is that there need not be a global upper bound on the exponent required to annihilate various elements of the nil ideal, and secondly, each element being nilpotent does not force products of distinct elements to vanish.\n\nIn a right Artinian ring, any nil ideal is nilpotent. This is proven by observing that any nil ideal is contained in the Jacobson radical of the ring, and since the Jacobson radical is a nilpotent ideal (due to the Artinian hypothesis), the result follows. In fact, this can be generalized to right Noetherian rings; this result is known as Levitzky's theorem.\n\nSee also\nKöthe conjecture\nNilpotent element\nNil ideal\nNilradical\nJacobson radical\n\nNotes\n\nReferences\n \n \n\nIdeals (ring theory)", "In group theory, an isotypical, primary or factor representation of a group G is a unitary representation such that any two subrepresentations have equivalent sub-subrepresentations. This is related to the notion of a primary or factor representation of a C*-algebra, or to the factor for a von Neumann algebra: the representation of G is isotypical iff is a factor.\n\nThis term more generally used in the context of semisimple modules.\n\nProperty \nOne of the interesting property of this notion lies in the fact that two isotypical representations are either quasi-equivalent or disjoint (in analogy with the fact that irreducible representations are either unitarily equivalent or disjoint).\n\nThis can be understood through the correspondence between factor representations and minimal central projection (in a von Neumann algebra),. Two minimal central projections are then either equal or orthogonal.\n\nExample \nLet G be a compact group. A corollary of the Peter–Weyl theorem has that any unitary representation on a separable Hilbert space is a possibly infinite direct sum of finite dimensional irreducible representations. An isotypical representation is any direct sum of equivalent irreducible representations that appear (typically multiple times) in .\n\nReferences\n\nMackey\n\"C* algebras\", Jacques Dixmier, Chapter 5\n\"Lie Groups\", Claudio Procesi, def. p. 156.\n \"Group and symmetries\", Yvette Kosmann-Schwarzbach\n\nUnitary representation theory\nModule theory" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year.", "how long did he play for them", "He played four seasons with the team between 1912 and 1915,", "why did he leave?", "I don't know.", "is there any significant thing that is interesting in the article?", "Named captain in 1922, Conacher led the Argonauts to another undefeated season in IRFU play,", "How long did he play for the Argonauts?", "His play impressed the Argonauts, who signed him for the 1921 season.", "is there any other interesting fact?", "He won the Ontario championship as a junior with the Toronto Central YMCA in 1918," ]

[ "Christopher Carrick (8 October 1882 – June 1927) was an English footballer who played for Middlesbrough, West Ham United, Tottenham Hotspur, Reading, Bradford Park Avenue and Glentoran as an outside-left. He was described as \"a sturdy little winger, quick off the mark with the rare gift of taking chances\".\n\nBorn in Stockton, Carrick played for Middlesbrough, scoring six goals in 26 Football League matches over three seasons. He was signed by West Ham United manager Syd King for the 1904–05 season, part of an influx of new players that also included Boro teammate Frank Piercy. He made his debut on 8 October 1904 in a 2–0 home win against Swindon Town. On 28 January 1905 he scored his first goals for West Ham with a hat-trick in a 6–2 home win against Luton Town. He played only 18 games, scoring six goals, before he came to the attention of Tottenham Hotspur, moving to them in the summer of 1905. Signed to replace John Kirwan who had moved to Chelsea, Carrick did not play regularly for Tottenham until the middle of the 1905–06 season. In March 1906 Tottenham travelled to play away games at Bristol Rovers and at Plymouth Argyle. On returning to London Carrick and a teammate were suspended by Tottenham for \"ignoring training rules\". He did not play for them again and was transferred to Reading before moving to Bradford Park Avenue for the 1907–08 season. In 1908 he moved to Ireland to play for Glentoran. \nHe died in Middlesbrough in June 1927, aged 44, following a long illness.\n\nReferences\n\n1882 births\n1927 deaths\nDate of death missing\nSportspeople from Stockton-on-Tees\nFootballers from County Durham\nEnglish footballers\nAssociation football outside forwards\nMiddlesbrough F.C. players\nWest Ham United F.C. players\nTottenham Hotspur F.C. players\nReading F.C. players\nBradford (Park Avenue) A.F.C. players\nGlentoran F.C. players\nEnglish Football League players\nSouthern Football League players\nLeague of Ireland players", "Terry Luther Long (July 21, 1959 – June 7, 2005) was an American college and professional football player who was an offensive lineman in the National Football League (NFL) for eight seasons during the 1980s and early 1990s. He played college football for East Carolina University, and thereafter he played professionally for the Pittsburgh Steelers of the NFL.\n\nEarly years\nLong was born in Columbia, South Carolina, to Levane Pickney and Robert Luther Long. He attended Eau Claire High School of which he graduated from in 1977. One of his early jobs at the age of 14, he worked as a brick layer. After high school, Terry enlisted in the U.S. Army, and played football while stationed at Fort Bragg. Long was recruited from the military to play football for Columbia Junior College. While there, he studied for his degree in Business Administration. He'd later transfer to East Carolina, play football for that program, while still pursuing his degree. He was a four year starter for the Pirates, and earned his degree.\n\nCollege career\nLong attended East Carolina University, where he played for the East Carolina Pirates football team from 1980 to 1983. He was recognized as a consensus first-team All-American in 1983. While at college, Long was a four year starter.\n\nProfessional career\nThe Pittsburgh Steelers selected Long in the fourth round (111th pick overall) of the 1984 NFL Draft, and he played for the Steelers from to . During his eight NFL seasons, he played in 105 games, and started 89 of them. Long recorded three fumble recoveries and even returned a kick off during a game in 1984. As a rookie in 1984, Long started seven games, as the Steelers finished 9-7, winning the AFC Central, despite an unstable quarterback situation, with former first round selection Mark Malone and former Dolphins starter David Woodley splitting the starting duties. The next season the Steelers dipped to 7-9, and the quarterback situation did not improve, as both Malone and Woodley struggled, leading to second year pro Scott Campbell getting two starts at quarterback. That year Long played in 15 games and started 14 of them. In 1986, Long started all 16 games, but the Steelers were not winners on the field, falling to a record of 6-10. Malone continued to struggled and so did rookie Bubby Brister. Despite the ineffective quarterback play, Long had one of his best seasons. Long did not cross the picket line in 1987 when the players went on strike. In 1989, he only started in nine games, though he'd start in all 16 the following season. In 1991, his final season, he only started three games and dressed for eight.\n\nLegal troubles\nIn the days leading up to his death, Long was facing a plethora of legal issues. Long had been indicted in March 2005 for arson and fraud charges from a fire that destroyed his chicken processing business. The fire occurred the same day he filed for chapter 11 bankruptcy protection in 2003. Though investigators quickly figured out the fire was set intentionally, it took further investigation to learn of the financial reasons behind the fire. In addition to the charges stemming from the fire, Long also faced charges regarding loans he'd received from the state that were supposed to be used to purchase processing equipment for his company. On top of the charges he was facing, his home was also in foreclosure proceedings. Long had already had troubles with the law after the July 1991 incident that occurred after Steelers coach Chuck Noll informed Long that he was being suspended by the NFL for failing a test for steroids; during the conversation, Long brandished a gun.\n\nDeath\nLong passed away on June 7, 2005. It was determined that he had drunk a full gallon of antifreeze, which was ruled a suicide. An autopsy revealed that Long was diagnosed with CTE, a condition caused by his football career. His brain was examined by neuropathologist Bennet Omalu. He had previously attempted suicide in 1991, after testing positive for the NFL's steroid test.\n\nLong was buried at the Swansea Methodist Church Cemetery in Swansea, South Carolina. One week before he died, Long approached the minister of his church, and asked if he could speak to the church goers about his legal issues that were about to make headlines. However, Long took his own life later that week.\n\nReferences\n\n1959 births\n2005 deaths\nAll-American college football players\nAmerican football offensive guards\nAmerican football offensive tackles\nAmerican football players with chronic traumatic encephalopathy\nEast Carolina Pirates football players\nPittsburgh Steelers players\nPlayers of American football from Columbia, South Carolina\nSuicides by poison\nSuicides in Pennsylvania\n2005 suicides" ]

[ "Lionel Conacher", "Football", "what was it about football?", "I don't know.", "did he play football?", "Rugby football was the first sport Conacher played,", "what team did he play for?", "Capitals", "did they win?", "won the city championship each year.", "how long did he play for them", "He played four seasons with the team between 1912 and 1915,", "why did he leave?", "I don't know.", "is there any significant thing that is interesting in the article?", "Named captain in 1922, Conacher led the Argonauts to another undefeated season in IRFU play,", "How long did he play for the Argonauts?", "His play impressed the Argonauts, who signed him for the 1921 season.", "is there any other interesting fact?", "He won the Ontario championship as a junior with the Toronto Central YMCA in 1918,", "did he play for them long?", "Conacher moved to the senior level in 1920" ]

[ "Fredrick Else (31 March 193320 July 2015) was an English footballer, who played as a goalkeeper. Else gained over 600 professional appearances in his career playing for three clubs, Preston North End, Blackburn Rovers and Barrow.\n\nClub career\nElse was born in Golborne near Wigan on 31 March 1933. Whilst on national service in the north-east he played for amateur club Axwell Park Colliery Welfare in the Derwent Valley League. He attracted the attention of Football League teams and signed as a junior for Preston North End in 1951, and as a professional in 1953. He made his debut for Preston against Manchester City in 1954, but was restricted to 14 appearances over his first three seasons. He eventually became first choice, displacing George Thompson, and played 238 times for North End. During this time Preston's most successful season came in 1957–58, when the club finished as runners up in Division One.\n\nThe 1960–61 season ended in relegation for Preston and Else was sold to neighbours Blackburn Rovers for £20,000. Else became a first choice for Blackburn straight away and played 221 times for the club. A collarbone injury in 1964–65 resulted in a period out of the game, though Else returned to regain the goalkeeper's jersey at Blackburn. Nonetheless the team were relegated the following season and Else was released. During the summer of 1966 Else signed with Barrow of the Fourth Division. Else became part of Barrow's most successful team, with the side winning promotion to the Third Division in his first season there. Else was Barrow's first choice keeper for the entire period that they were in the third division, and played 148 league matches for the club. He retired from football after Barrow's relegation in 1970 following a leg infection. His final season included a brief stint as caretaker manager at Barrow.\n\nHonours\n Football League Division One Runner-up 1957–1958\n Football League Division Four Promotion 1966–1967\n\nInternational career\nElse has been described by fans of the clubs that he played for as one of the best English goalkeepers never to win a full international cap. He did, however, make one appearance for the England B team in 1957 against Scotland B, as well as participating in a Football Association touring side of 1961.\n\nPersonal life and death\nElse met his wife Marjorie in 1949 in Douglas on the Isle of Man. They married when Else was 22 and Marjorie 20, on 29 October 1955, a Saturday morning. The wedding was held in Marjorie's home town of Blackpool and the date was chosen so that the couple could marry in the morning and Else could then travel either to Deepdale, to play for Preston North End's reserve team, or to Bloomfield Road where Preston's first team was due to be playing Blackpool F.C. In the event Else was selected for the reserves and the couple had to travel by bus to Preston.\n\nAfter retiring from football, Else remained in Barrow-in-Furness, becoming a geography and maths teacher at a local secondary school. He retired from teaching in 1999 and moved to Cyprus, though still attended some Barrow matches. Else died in Barrow-in-Furness on 20 July 2015, aged 82.\n\nReferences\n\n2015 deaths\n1933 births\nBarrow A.F.C. managers\nBarrow A.F.C. players\nBlackburn Rovers F.C. players\nPreston North End F.C. players\nPeople from Golborne\nEnglish footballers\nAssociation football goalkeepers\nSchoolteachers from Cumbria\nEnglish Football League players\nEngland B international footballers\nEnglish football managers", "\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer" ]

[ "Irving Thalberg", "Early years" ]

[ "Zaré Thalberg, born Ethel Western, (16 April 1858 – 17 March 1915) was a British operatic singer and actress who was thought at one time to have been born in Greece.\n\nLife\nThalberg was born in Derbyshire in 1858. Her name was Ethel Western and she took the name of Thalberg after taking singing lessons from the pianist Sigismond Thalberg. She debuted at the Royal Opera House in London as Zerlina in Mozart's Don Giovanni after training in Paris and Milan.\n\nIn 1879 her voice gave way and she was obliged to give up her career at Covent Garden. However, she joined Edwin Booth as an actress in the United States and did not return to England until the 1890s. She acted under the name of Ethel Western.\n\nHer photo was found in the pocket of Henry Irving after she died. For many years the picture was misidentified as Nelly Moore, who had died in 1869. Much later the picture was identified as Thalberg. The Irving Society offer no rationale as to why he should have been carrying her photo as there is no evidence that they did (or did not) know each other.\n\nThere are photos of her in the National Portrait Gallery, London, appearing in Lucretia Borgia in the 1890s.\n\nReferences\n\nExternal links\n\n1858 births\n1915 deaths\nPeople from Derbyshire\nEnglish operatic sopranos\nEnglish actresses", "Sigismond Thalberg (8 January 1812 – 27 April 1871) was an Austrian composer and one of the most distinguished virtuoso pianists of the 19th century.\n\nFamily\nHe was born in Pâquis near Geneva, Switzerland, on 8 January 1812. According to his own account, he was the illegitimate son of Moritz, Prince of Dietrichstein and Baroness Maria Julia Wetzlar von Plankenstern (an ennobled Jewish Viennese family). However, according to his birth certificate, he was the son of Joseph Thalberg and Fortunée Stein who were both from Frankfurt-am-Main.\n\nEarly life\nLittle is known about Thalberg's childhood and early youth. It is possible that his mother had brought him to Vienna at the age of 10 (the same year in which the 10-year-old Franz Liszt arrived there with his parents). According to Thalberg's own account, he attended the first performance of Beethoven's 9th Symphony on 7 May 1824 in the Kärntnerthortheater.\n\nThere is no evidence as to Thalberg's early teachers. Baroness von Wetzlar, his mother, who according to Wurzbach was occupied with his education during his childhood and early youth, was a brilliant amateur pianist. It may be therefore that she gave him his first instruction at the piano.\n\nIn spring 1826 Thalberg studied with Ignaz Moscheles in London. Moscheles, according to a letter to Felix Mendelssohn of 14 August 1836, had the impression that Thalberg had already reached a level at which no further help would be needed in order to become a great artist. Thalberg's first public performance in London was on 17 May 1826. In Vienna on 6 April 1827 he played the first movement, and on 6 May 1827 the Adagio and the Rondo of Hummel's concerto in B Minor. After this, Thalberg performed regularly in Vienna. His repertoire was mainly classical, including concertos by Hummel and Beethoven. He also performed chamber music. In the year 1828 his Op. 1, a fantasy on melodies from Carl Maria von Weber's Euryanthe, was published.\n\nIn 1830 Thalberg met Mendelssohn and Frédéric Chopin in Vienna. Their letters show their opinion that Thalberg's main strength was his astonishing technical skills. Further information can be found in the diary of the 10-year old Clara Wieck. She had heard Thalberg on 14 May 1830 at a concert which he gave in the theatre of Leipzig. He had played his own Piano Concerto op.5 and a fantasy of his own. Two days before, Clara had played the first solo of the 2nd Concerto of John Field to him, and, together with him, the first movement of a four handed Sonata of Hummel. Her diary, edited by her father Friedrich Wieck, notes Thalberg as \"very accomplished\". His playing was clear and precise, also very strong and expressive.\n\nIn the early 1830s Thalberg studied counterpoint under Simon Sechter. As a result, passages of canon and fugue can be found in some of Thalberg's fantasies of this time. An example is his Fantasy, Op. 12, on melodies from Bellini's opera Norma, which contains a march-theme and variations (one of them a canon), and a fugue on a lyrical theme. The fantasy was published in 1834 and became very popular; but on publication, it was criticised by some, for example by Robert Schumann.\n\nThalberg successfully changed his composing style, reducing the counterpoint. Several works in his new style, among them the Deux Airs russes variés Op.17, were even enthusiastically praised by Schumann.\n\nEarly virtuoso career\n\nIn November 1835 Thalberg arrived in Paris. He performed on 16 November 1835 at a private concert of the Austrian ambassador Count Rudolph Apponyi. On 24 January 1836 he took part in a concert of the \"Society of the Paris Conservatoire concerts\", playing his \"Grande fantaisie\" op.22. Thalberg was praised by many of the most prominent artists, among them Rossini and Meyerbeer.\n\nChopin didn't share his fellow artists' enthusiasm. After hearing Thalberg play, in Vienna, Chopin wrote: \"He plays splendidly, but he's not my man. He's younger than I and pleases the ladies - makes potpourris on La Muette - produces his piano and forte with the pedal, not the hand - takes tenths as I do octaves and wears diamond shirt studs\".\n\nHis début at the Conservatoire concert was in the Revue et Gazette musicale of 31 January 1836, enthusiastically reviewed by Hector Berlioz. The Ménestrel of 13 March 1836 wrote:\n\nOn 16 April 1836 Thalberg gave his first solo concert in Paris, and the success was again sensational. According to Rudolph Apponyi's diary, Thalberg made a profit of 10,000 Francs, a sum which no virtuoso had gained before from a single concert.\n\nLiszt had heard of Thalberg's successes during the winter 1835–36 in Geneva, in spring 1836 in Lyon, and in Paris. In his letter to Marie d'Agoult of 29 April 1836, he compared himself to the exiled Napoleon. In a review of 8 January 1837, in the Revue et Gazette musicale, Liszt controversially denigrated Thalberg's compositions.\n\nAfter Thalberg returned to Paris in the beginning of February 1837, a rivalry developed between him and Liszt. On 4 February Thalberg heard Liszt play in concert for the first time in his life. Thalberg was stupefied. While Liszt then gave over a dozen concerts, Thalberg gave only one concert on 12 March 1837 in the Paris Conservatoire, and a further concert on 2 April 1837. In addition, on 31 March 1837, both Liszt and Thalberg played at a benefit concert to raise money for Italian refugees.\n\nIn May 1837 Thalberg gave a concert in London, following which The Athenaeum gave an enthusiastic review. Such enthusiasm followed Thalberg throughout the following years. His fantasy op.33 on melodies from Rossini's opera Moïse became one of the most famous concert pieces of the 19th century, and was still praised by Berlioz in his Memoirs (1869). The fantasy was published at end of March 1839 and in May 1839 studied by Clara Wieck who was delighted by it. In 1848 the fantasy was played by Liszt's daughter Blandine.\n\nEuropean tours\n\nFirst steps\nAfter Thalberg's stay in London in May 1837, he made a first, short tour, giving concerts in several towns in Great Britain, but he became ill and soon returned to Vienna. In spring 1838 he gave concerts in Paris again. A note in the Revue et Gazette musicale of 4 March 1838, shows that Thalberg's fame had in the meanwhile grown. He was now called \"the most famous of our composers\". Thalberg left Paris on 18 April 1838, travelling to Vienna, the very day that Liszt gave there a charity concert for the benefit of the victims of a flood in Hungary. Thalberg invited Liszt for dinner, and the two great pianists dined together on the 28th with Prince Moritz Dietrichstein, who told Liszt, that he was delighted to have \"Castor and Pollux\" together in his home. During the evening, Thalberg remarked to Liszt with admirable candour : \" In comparison with you, I have never enjoyed more than a succes d'estime in Vienna\". They dined again the next day, after Liszt's concert on 29 April 1838. Liszt and Thalberg were both dinner guests of Metternich During Liszt's stay in Vienna Thalberg did not perform at all.\n\nIn October 1838 Thalberg became acquainted with Robert Schumann. According to Schumann's diary, Thalberg played from memory etudes by Chopin, Joseph Christoph Kessler and Ferdinand Hiller. He also played with great skill and inspiration works by Beethoven, Schubert and Dussek, as well as Schumann's Kreisleriana, Op. 16 at sight. On 27 November 1838 Thalberg took part in a charity concert, playing his new fantasy, Op. 40, on melodies from Rossini's opera La Donna del Lago (\"The Lady of the Lake\" after Walter Scott). At one of his own \"Farewell concerts\" on 1 December 1838, he played three of his Etudes, Op. 26, his fantasy, Op. 33 on \"Moïse\" and his Souvenir de Beethoven, Op. 39, a fantasy on melodies from Ludwig van Beethoven's symphonies. As a result, in the Neue Zeitschrift für Musik of 8 March 1839, an enthusiastic review by Schumann of the second book of Thalberg's Etudes, Op. 26 appeared, concluding \"He is a God when sitting at the piano.\"\n\nFirst extended tour\nAfter Thalberg's \"Farewell concert\" in Vienna, he began his first extended European tour. On 19 and 21 December 1838 he gave two concerts in Dresden, and he performed twice at the Court. Receiving honours from the King of Saxony, he told him \"Wait until you have heard Liszt!\" In Leipzig he gave a concert on 28 December 1838, attended by Mendelssohn who on the following day, in a letter to his sister Fanny, gave an enthusiastic account. Mendelssohn became a friend and admirer of Thalberg.\n\nAfter a second concert in Leipzig on 30 December 1838, Thalberg travelled to Berlin, to give a series of concerts there. Via Danzig, Mitau and other places he performed at St. Petersburg, receiving excellent reviews. From St. Petersburg he went on a steamboat to London where he gave further concerts. He then journeyed to Brussels, to meet his friend the violinist Charles de Bériot. There he gave several private performances.\n\nAfter Brussels, Thalberg arrived in the Rhineland, where he gave a series of concerts with Bériot. He returned to London at the beginning of February 1840, and then travelled from London to Paris together with Baroness Wetzlar, his mother, awaiting the arrival of Liszt.\n\nInterlude\nThalberg had already announced in December 1838, during his stay in Leipzig, that he would take time off at the end of his tour, and did not perform at any concert during his stay in spring 1840 in Paris.\n\nAt this time Mendelssohn, after meeting Liszt, compared him to Thalberg in a letter to his mother:\n\nThalberg, with his composure, and within his more restricted sphere, is more nearly perfect as a real virtuoso; and after all this is the standard by which Liszt must also be judged, for his compositions are inferior to his playing, and, in fact, are calculated solely for virtuosi.\n\nAfter the end of the Parisian concert season, Thalberg travelled as tourist in the Rhineland. In the beginning of June 1840 he attended a music festival directed by Louis Spohr in Aachen. He got an invitation from the Russian Tsarina and performed at a court-concert in Ems, but this was his only concert during his stay in the Rhineland. According to a note in the Revue et Gazette musicale of 2 August 1840, p. 410, Thalberg's friend, the violinist Charles Auguste de Bériot, would get married two days later in Elsene (Ixelles). His bride was a young lady Maria Huber, born in Vienna, from Germany. She was an orphan and had been adopted by Prince von Dietrichstein, Thalberg's father. It may therefore be presumed that Thalberg wanted to take part in the wedding celebration. During previous visits to the Rhineland he wanted only to relax. He also taught Bériot's son, the pianist Charles-Wilfrid de Bériot.\n\nIn the Revue et Gazette musicale of 9 May 1841, an essay by Fétis appeared, 'Etudes d'exécution transcendente', in which Liszt was praised for a new composing style which had been stimulated by Thalberg's challenge. In letters to Fétis of 17 May 1841, and to Simon Löwy of 20 May 1841, Liszt agreed with this analysis.\n\n1840–1848\n\nThalberg performed in Brussels in fall 1840. He then travelled to Frankfurt-am-Main where he stayed until January 1841. It had been announced that Thalberg would give concerts in Paris again in spring 1841, but he changed his plans. In Frankfurt he only took part in a charity concert on 15 January 1841, playing his fantasies on La Donna del Lago and Les Huguenots. He was busily composing new works; his Second Don Giovanni Fantasy op.42 and the fantasy op.51 on Rossini's Semiramide date from this time.\n\nIn the second half of January 1841, Thalberg travelled from Frankfurt to Weimar, where he performed three times at the Grand Duke's court and also in the Theatre. He then went to Leipzig, where he visited Mendelssohn and Schumann. On 8 February 1841 he gave a solo concert in Leipzig, enthusiastically reviewed by Schumann, playing his 'Second Don Giovanni Fantasy' op.42, his 'Andante final de Lucia di Lammermoor ', op.44, his 'Thême et Etude' op.45 and his Caprice op.46 on melodies from Bellini's La Sonnambula.\n\nClara Schumann noted in her diary:\n\nMendelssohn's student Horsley wrote of the meeting of his teacher and Thalberg:\n\nAfter his stay in Leipzig, Thalberg gave concerts in Breslau and Warsaw. He then travelled to Vienna and gave two successful concerts there. In a review in the Leipziger Allgemeine musikalische Zeitung, Thalberg was described as Liszt's only rival.\n\nIn winter 1841–1842, Thalberg gave concerts in Italy, while Liszt, from end of December 1841 until beginning of March 1842, gave a series of concerts in Berlin. Thalberg matched Liszt's successes in Berlin. He then returned via Marseilles, Toulon and Dijon, arriving on 11 April 1842, in Paris. On the next day he gave his first, and on 21 April his second concert. According to an account by Berlioz, Thalberg made a profit of 12,000 Francs from his first, and of 13,000 Francs from his second concert. The concerts were reviewed in the Revue et Gazette musicale by Henri Blanchard who two years before, in his review of Liszt's concert on 20 April 1840, had nominated Thalberg as Cesar, Octavian or Napoleon of the piano. In spring 1842, Blanchard reached for new superlatives even surpassing his former ones. In his review of Thalberg's second concert he wrote, Thalberg would in 100 years have been canonized, and by all coming pianists be invoked with name of Holy Thalberg. According to the account by Berlioz, at the end of Thalberg's second concert a golden crown was thrown to the stage.\n\nIn addition to his own concerts, Thalberg took part in a concert of Emile Prudent. He then travelled via Brussels to London. Later in 1842 Thalberg was decorated with the Cross of the French Legion of Honour.\nHe travelled to Vienna where he stayed until fall 1842. In the second half of November until 12 December 1842, he made a further tour in Great Britain, and in January 1843 he returned to Paris. At end of March 1843 he performed at a private concert of Pierre Erard, but this was his only concert appearance during that season.\n\nIn March 1843 Heinrich Heine wrote about Thalberg:\n\nIn winter 1843–44 Thalberg gave concerts in Italy again. At end of March 1844 he returned to Paris, where at the same time also Liszt was expected. Liszt arrived on April 8 and gave on 16 April a first concert, at which he played his Norma-fantasy, published shortly before. When composing his fantasy, Liszt had put many Thalberg-effects to it. In his later years, he told August Göllerich, one of his pupils:\n\nShortly after Liszt's concert on 11 May 1844, Thalberg left Paris. He travelled to London and gave a concert there on 28 May 1844. At a further concert in London he played a concerto for three pianos by J. S. Bach together with Moscheles and Mendelssohn. He also took part in a concert of Jules Benedict. In August 1844 he returned to Paris where he stayed until 1845. During the winter 1844–45 he gave a piano course for selected students at the Paris Conservatoire. On April 2, 1845, he gave a concert in Paris, playing his fantasies op.63 on Rossini's Barber of Seville, op.67 on Donizetti's Don Pasquale and op.52 on Auber's La Muette de Portici, as well as his 'Marche funèbre variée' op.59 and the 'Barcarolle' op.60.\n\nIn spring 1848, in Vienna, Liszt met Thalberg once more. On 3 May 1848 Thalberg gave a benefit concert which Liszt attended. According to an account by his pupil Nepomuk Dunkl, Liszt was sitting on the stage, carefully listening and loudly applauding. It was 11 years since he had first heard his rival's playing.\n\nConcerts in America \nOn 22 July 1843 Thalberg married Francesca (\"Cecchina\"), the eldest daughter of Luigi Lablache, first bass at the Théâtre des Italiens in Paris. Thalberg went with his wife to Italy where they stayed for the winter 1843–44.\n\nIn 1855, after Thalberg's operas Florinda and Cristina di Svezia had failed, he realized his ambition to give concerts in America. From July to December 1855 he performed with overwhelming success in Rio de Janeiro and Buenos Aires. He returned to Europe, but after a stay of several months in Paris went on the steamboat Africa to North America, where he arrived on 3 October 1856, in New York. After Thalberg's debut there on 10 November 1856, a performance marathon ensued, during which he spent eight months giving concerts 5 or 6 days a week. Occasionally he gave two or even three concerts a day. On Sundays, concerts were generally only allowed if they presented \"sacred music\", but several times Thalberg performed anyhow, playing pieces like his Moïse-fantasy, based on a prayer from Rossini's opera, or his Huguenots-fantasy with the chorale \"Ein feste Burg ist unser Gott\" as main subject. His Andante op. 32 and the Marche funèbre varié op. 59 were also allowed.\n\nThalberg's first American season ended with a concert on 29 July 1857 in Saratoga Springs, NY. On 15 September 1857 he gave another concert in New York, starting his second season. With very few intermissions he was busy until his last concert on 12 June 1858, in Peoria, IL. By then he had visited nearly 80 cities and given more than 320 regular concerts in the United States and 20 concerts in Canada. In addition, he gave at least twenty free concerts for many thousands of schoolchildren. Thalberg also gave a series of solo matinees in New York and Boston at which he played own works as well as chamber music. From 1857, the violinist Henri Vieuxtemps toured with Thalberg. They played works by Beethoven, and Duos composed by Thalberg.\n\nThalberg's financial success on these tours was immense. He got an average of about $500 per concert and probably made more than $150,000 during his two seasons, the equivalent today of about $3 million. A large part of his appeal on these tours was his unpretentious and unassuming personality; he did not resort to advertising gimmicks or cheap crowd-pleasing tricks, instead offering superbly polished renditions of his own compositions, which had already been well known in America. On rising from the piano, he was always the same quiet, respectable, self-possessed, middle-aged gentleman that he was at the dinner table of his hotel. He played works by Beethoven, among them the sonatas op. 27 no. 2 (\"Moonlight\") and op.26 (\"Funeral March\") as well as the first movements of the Third and Fifth Piano Concertos. His cadenza to Beethoven's third concerto was admired. He also played works by Bach, Chopin, Hummel, Mendelssohn and several other composers. The New-York Musical Review and Gazette of July 24, 1858, wrote:\n\nThalberg ... quite unexpectedly closed what has been a most brilliant career - completely successful, musically, giving to the talented and genial artist abundance of both fame and money. There is probably not another virtuoso, whether with instrument or voice (Liszt alone excepted), who could have excited a moiety of the enthusiasm, or gathered a fragment of the dollars, which Thalberg has excited and gathered.\n\nThe \"unexpected close\" referred to the announcement in June 1858 in Chicago that Thalberg would make only one of three scheduled appearances before immediately returning to Europe. In fact, Thalberg did not even perform at that concert, but very hastily left. His wife had arrived from Europe, following reports that Thalberg had an extra-marital liaison. This caused further confusion when the opera singer Zare Thalberg debuted at Covent Garden in 1875. She had been one of his students but she was misidentified as his daughter.\n\nLater years \nThe true reason that Francesca Thalberg had left for America in June 1858 and shortly afterwards, together with her husband, very hastily returned to Europe is unknown. The death of Thalberg's father in law, Lablache, on 23 January 1858, could be one reason. A further possibility is that there may have been consideration of legitimizing Thalberg to enable him to succeed his natural father, Prince Franz Joseph von Dietrichstein.\n\nThere are unsubstantiated reports that, after his return to Europe, Thalberg settled in Posillipo near Naples in a villa, which had belonged to Lablache. It instead true that he dwelled at viale Calascione n. 5 in the Pizzofalcone section of the city of Naples, not far from the elite military school La Nunziatella. Thalberg's residence at Via Calascione 5 is confirmed by the plaque on the building and a monument to Thalberg in the courtyard. \n\nFor the following four years Thalberg lived in silence there. In spring 1862 he gave concerts in Paris and London once again and was as successful as ever. After a last tour in Brazil in 1863 he put an end to his career. He suggested taking a position as piano professor at the conservatory in Naples, but it was defeated since an Italian nationality would be necessary. One year later he got an offer from the same conservatory which he refused. Vitale's claim that he published instructive editions of J. S. Bach's \"Well Tempered Clavier\" and Muzio Clementi's \"Gradus ad Parnassum\" has been recently disputed by Chiara Bertoglio. When he died on 27 April 1871 he left behind a collection of many hundreds of autographs by famous composers, among them Bach, Handel, Mozart, Haydn, Beethoven, Schubert and others, even Liszt. The collection was sold after Thalberg's death.\nHe is buried at Nuovo Cemetery in Napoli (Naples) Italy in the Doganella section of Naples\n\nComposer \n\nThalberg was one of the most famous and most successful piano composers of the 19th century. In the 1830s and the 1840s, his style was a major force in European piano-playing. He was greatly in fashion and was imitated by others. In 1852, Wilhelm von Lenz wrote:\n\n'The piano playing of the present day, to tell the truth, consists only of Thalberg simple, Thalberg amended, and Thalberg exaggerated; scratch what is written for the piano, and you will find Thalberg.'\n\nTen years later, in 1862, a London correspondent of the Revue et gazette musicale wrote:\n\n'Nobody in fact has been so much imitated; his manner has been parodied, exaggerated, twisted, tortured, and it may have happened more than once to all of us to curse this Thalbergian school'.\n\nIn the late 19th century, Thalberg's fame had come to depend on his association with a single piano technique, the 'three-hand effect'. Carl Friedrich Weitzmann, in his Geschichte des Klavierspiels (1879), wrote about this.\n\n'His bravura pieces, fantasies on melodies from Rossini's Mosè and La donna del lago, on motifs from Bellini's Norma and on Russian folk-songs, became extraordinarily popular through his own, brilliant execution; however, they treat their subjects always in one and the same way, [namely] ... to let the tones of a melody be played in the medium octave of the keyboard now by the thumb of the right, now of the left hand, while the rest of the fingers are executing arpeggios filling the whole range of the keyboard'.\n\nThe following example from the Mosè fantasy, apparently written after 1836, is typical of Thalberg's style of playing.\n\nThalberg by the late 19th century was often only characterised as \"Old Arpeggio\"; his musical innovations were unrecognised or had been forgotten. Others were tempted by the successes of Thalberg's works to inundate the musical world with imitations ad nauseam.\n\nDiscography \n Grand Concerto pour le piano avec Accompagnement de l’Orchestre, f-minor, op. 5. (Francesco Nicolosi, Razumowsky Symphony Orchestra, A. Mogrelia, NAXOS 8.553701)\n 12 Etudes op. 26, Fantasie op. 33, Fantasie op. 40 (Stefan Irmer, MDG 2009)\n Fantasies on Operas by Bellini opp. 12, 10, 49, 9 (Francesco Nicolosi, NAXOS 8.555498)\n Fantasies on Operas by Verdi, Rossini and Bellini opp. 3, 70, 77, 78, 81, 82 (Francesco Nicolosi, MARCO POLO 8.223367)\n Fantasies on Operas by Donizetti opp. 68, 67, 50, 44, 66 (Francesco Nicolosi, Marco Polo 8.223365)\n Fantasies on Operas by Rossini opp. 51, 40, 63, 33 (Francesco Nicolosi, NAXOS 8.555501)\n Soirees de Pausilippe opp. 75 (Francesco Nicolosi, MARCO POLO 8.223807)\n Lacrimosa, Fantasie on Don Giovanni (Cyprien Katsaris, Klavier, SONY SK 52551)\n Apotheose & Fantasies on French Operas (Mark Viner, Piano Classics, PCL10178)\n Opera Fantasies (Mark Viner, Piano Classics, PCL0092)\n\nReferences\n\nSources \nArticle \"Thalberg\" in The New Musical Grove.\nArticle \"Thalberg\" in: Die Musik in Geschichte und Gegenwart.\nArticle \"Thalberg\" in: Fétis, Francois Joseph: Biographie universelle des musiciens.\nArticles \"Dietrichstein\" and \"Thalberg\" in: Wurzbach, Constant v.: Biographisches Lexikon des Kaiserthums Österreich, Vols. III and VIII, Wien 1858 and 1882.\n; Recueillie, révisée, annotée et traduite par Bronislas Éduard Sydow en collaboration avec Suzanne et Denise Chainaye, Paris 1953–1960.\nApponyi, Rodolphe: Vingt-cinq ans a Paris (1826–1850), Journal du Comte Rodolphe Apponyi, Attaché de l'ambassade d'Autriche a Paris, Publié par Ernest Daudet, * (1826–1830), Cinquième édition; ** (1831–1834); *** (1835–1843), Paris 1913–1914.\nBelance-Zank, Isabelle: The \"Three-Hand\" Texture: Origins and Use, in: Journal of the American Liszt-Society 38, 1995, p. 99–121.\nBertoglio, Chiara: Instructive Editions and Piano Performance Practice: A Case Study. Saarbrücken: Lambert Academic Publishing. \nBülow, Hans v.: Briefe, ed. Marie von Bülow, II. Band, zweite Auflage, Leipzig 1899.\nd'Agoult, Marie (Daniel Stern): Mémoires, Souvenirs et Journaux I/II, Présentation et Notes de Charles F. Dupêchez, Mercure de France 1990.\nDunkl, Johann Nepomuk: Aus den Erinnerungen eines Musikers, Wien 1876.\nGöllerich, August: Franz Liszt, Berlin 1908.\nGooley, Dana: The Virtuoso Liszt, Cambridge University Press 2004.\nHanslick, Eduard: Geschichte des Concertwesens in Wien, Wien 1869.\nHominick, Ian Glenn.: Sigismund Thalberg (1812–1871), Forgotten Piano Virtuoso, His Career and Musical Contributions, Ohio State Univ. 1991, DMA Diss.\nHorsley, Charles Edward: Reminiscences of Mendelssohn, in: Dwight's Journal of Music XXXII (1871/72), No. 19-21.\nJoubert, Solange: , Paris 1947.\nKohlenegg, L. R. v. (Poly Henrion): \"Unter berühmten Menschen, Eine Mutter im Kampf und drei Genies im Bette,\" in: Ueber Land und Meer, 25 (1871), p. 18f.\nLegány, Desö: Franz Liszt, Unbekannte Presse und Briefe aus Wien, 1822–1886, Wien Graz 1984.\nLegouvé, Ernest: Liszt et Thalberg, une lettre de Liszt, in: Le Ménestrel of May 11, 1890, p. 145ff.\nLiszt, Franz: Briefe, Vol. VIII, ed. La Mara, Leipzig 1905.\nLiszt, Franz: Briefwechsel mit seiner Mutter, ed. Klara Hamburger, Eisenstadt 2000.\nLiszt, Franz: Sämtliche Schriften, ed. Detlef Altenburg, Vol. 1: Frühe Schriften, ed. Rainer Kleinertz, commented with collaboration of Serge Gut, Wiesbaden 2000.\nLiszt, Franz, and d'Agoult, Marie: , ed. Daniel Ollivier, Vol. 1: 1833–1840, Paris 1933, Vol. II: 1840–1864, Paris 1934.\nLott, R. Allen: From Paris to Peoria, How European Piano Virtuosos brought Classical Music to the American Heartland, Oxford 2003.\nMendelssohn, Fanny and Felix: Briefwechsel 1821 bis 1846, ed. Eva Weisweiler, Berlin 1997.\nMendelssohn Bartholdy, Felix: Briefe, ed. Rudolf Elvers, Frankfurt 1984.\nMendelssohn Bartholdy, Felix: Briefe an Ignaz und Charlotte Moscheles, ed. Felix Moscheles, Leipzig 1888.\nMühsam, Gerd: Sigismund Thalberg als Klavierkomponist, Wien 1937, Phil. Diss.\nOllivier, Daniel: Autour de Mme d'Agoult et de Liszt, Paris 1941.\nProtzies, Günther: Studien zur Biographie Franz Liszts und zu ausgewählten seiner Klavierwerke in der Zeit der Jahre 1828–1846, Bochum 2004, Phil. Diss.\nSchumann, Clara und Robert: Briefwechsel, Kritische Gesamtausgabe, ed. Eva Weissweiler, Vol. I, 1832–1838, Vol. II, 1839, Basel Frankfurt a. M. 1984, 1987.\nSchumann, Robert: Tagebücher, Vol. I, ed. Georg Eismann, Vol. II ed. Gerd Nauhaus, Leipzig 1971, 1987.\nSuttoni, Charles: Piano and Opera: A Study of the Piano Fantasias Written on Opera Themes in the Romantic Era, New York 1973.\nThayer, Alexander Wheelock: Ludwig van Beethovens Leben, auf Grund der hinterlassenen Vorarbeiten und Materialien weitergeführt von Hermann Deiters, edited by Hugo Riemann, Fünfter Band, Leipzig 1908.\nVier, Jaques: L'artiste - le clerc: Documents inédits, Paris 1950.\nVitale, Vincenzo: \"Sigismondo Thalberg in Posillipo,\" in: Nouve rivista musicale italiana 6, 1972, p. 503–511.\nWalker, Alan: Franz Liszt, Volume 1, The Virtuoso Years 1811–1847, Revised Edition, New York 1987.\nWieck, Clara: Jugendtagebücher 1827–1840, ed. Gerd Nauhaus and Nancy B. Reich, Wiesbaden etc. Breitkopf & Härtel.\n\nExternal links \n\n Sigismund Thalberg International Study Centre\n Biography\n \n www.kreusch-sheet-music.net — Free Scores by Sigismond Thalberg\n \n \n First part of a recording of Thalberg's marche funebre\n Second part of a recording of Thalberg's marche funebre\n\n1812 births\n1871 deaths\n19th-century Austrian people\n19th-century classical composers\n19th-century classical pianists\n19th-century male musicians\nAustrian classical pianists\nAustrian male classical composers\nAustrian opera composers\nAustrian people of Hungarian descent\nAustrian Romantic composers\nChamber virtuosi of the Emperor of Austria\nComposers for piano\nHonorary Members of the Royal Philharmonic Society\nMale classical pianists\nMale opera composers\nPeople from Geneva\nPupils of Carl Czerny" ]

[ "Irving Thalberg", "Early years", "Where was Thalberg born?", "Thalberg was born in Brooklyn," ]

[ "Since the first human spaceflight by the Soviet Union, citizens of 42 countries have flown in space. For each nationality, the launch date of the first mission is listed. The list is based on the nationality of the person at the time of the launch. Only 3 of the 42 \"first flyers\" have been women (Helen Sharman for the United Kingdom in 1991, Anousheh Ansari for Iran in 2006, and Yi So-yeon for South Korea in 2008). Only three nations (Soviet Union/Russia, U.S., China) have launched their own crewed spacecraft, with the Soviets/Russians and the American programs providing rides to other nations' astronauts. Twenty-seven \"first flights\" occurred on Soviet or Russian flights while the United States carried fourteen.\n\nTimeline\nNote: All dates given are UTC. Countries indicated in bold have achieved independent human spaceflight capability.\n\nNotes\n\nOther claims\nThe above list uses the nationality at the time of launch. Lists with differing criteria might include the following people:\n Pavel Popovich, first launched 12 August 1962, was the first Ukrainian-born man in space. At the time, Ukraine was a part of the Union of Soviet Socialist Republics.\n Michael Collins, first launched 18 July 1966 was born in Italy to American parents and was an American citizen when he went into space.\n William Anders, American citizen, first launched 21 December 1968, was the first Hong Kong-born man in space.\n Vladimir Shatalov, first launched 14 January 1969, was the first Kazakh-born man in space. At the time, Kazakhstan was a part of the Union of Soviet Socialist Republics.\n Bill Pogue, first launched 16 November 1973, as an inductee to the 5 Civilized Tribes Hall of Fame can lay claim to being the first Native American in space. See John Herrington below regarding technicality of tribal registration.\n Pyotr Klimuk, first launched 18 December 1973, was the first Belorussian-born man in space. At the time, Belarus was a part of the Union of Soviet Socialist Republics.\n Vladimir Dzhanibekov, first launched 16 March 1978, was the first Uzbek-born man in space. At the time, Uzbekistan was a part of the Union of Soviet Socialist Republics.\n Paul D. Scully-Power, first launched 5 October 1984, was born in Australia, but was an American citizen when he went into space; Australian law at the time forbade dual-citizenship.\n Taylor Gun-Jin Wang, first launched 29 April 1985, was born in China to Chinese parents, but was an American citizen when he went into space.\n Lodewijk van den Berg, launched 29 April 1985, was born in the Netherlands, but was an American citizen when he went into space.\n Patrick Baudry, first launched 17 June 1985, was born in French Cameroun (now part of Cameroon), but was a French citizen when he went into space.\n Shannon Lucid, first launched 17 June 1985, was born in China to American parents of European descent, and was an American citizen when she went into space.\n Franklin Chang-Diaz, first launched 12 January 1986, was born in Costa Rica, but was an American citizen when he went into space\n Musa Manarov, first launched 21 December 1987, was the first Azerbaijan-born man in space. At the time, Azerbaijan was a part of the Union of Soviet Socialist Republics.\n Anatoly Solovyev, first launched 7 June 1988, was the first Latvian-born man in space. At the time, Latvia was a part of the Union of Soviet Socialist Republics.\n Sergei Konstantinovich Krikalev and Aleksandr Aleksandrovich Volkov became Russian rather than Soviet citizens while still in orbit aboard Mir, making them the first purely Russian citizens in space.\n James H. Newman, American citizen, first launched 12 September 1993, was born in the portion of the United Nations Trust Territory of the Pacific Islands that is now the Federated States of Micronesia.\n Talgat Musabayev, first launched 1 July 1994, was born in the Kazakh SSR and is known in Kazakhstan as the \"first cosmonaut of independent Kazakhstan\", but was a Russian citizen when he went into space.\n Frederick W. Leslie, American citizen, launched 20 October 1995, was born in Panama Canal Zone (now Panama).\n Andy Thomas, first launched 19 May 1996, was born in Australia but like Paul D. Scully-Power was an American citizen when he went to space; Australian law at the time forbade dual-citizenship.\n Carlos I. Noriega, first launched 15 May 1997, was born in Peru, but was an American citizen when he went into space.\n Bjarni Tryggvason, launched 7 August 1997, was born in Iceland, but was a Canadian citizen when he went into space.\n Salizhan Sharipov, first launched 22 January 1998, was born in Kyrgyzstan (then the Kirghiz SSR), but was a Russian citizen when he went into space. Sharipov is of Uzbek ancestry.\n Philippe Perrin, first launched 5 June 2002, was born in Morocco, but was a French citizen when he went into space.\n John Herrington, an American citizen first launched 24 November 2002, is the first tribal registered Native American in space (Chickasaw). See also Bill Pogue above.\n Fyodor Yurchikhin, first launched 7 October 2002, was born in Georgia (then the Georgian SSR). He was a Russian citizen at the time he went into space and is of Pontian Greek descent.\n Joseph M. Acaba, first launched 15 March 2009, was born in the U.S. state of California to American parents of Puerto Rican descent.\n\nGallery\n\nReferences\n\nExternal links\nCurrent Space Demographics, compiled by William Harwood, CBS News Space Consultant, and Rob Navias, NASA.\n\nLists of firsts in space\nSpaceflight timelines", "This is a list of notable books by young authors and of books written by notable writers in their early years. These books were written, or substantially completed, before the author's twentieth birthday. \n\nAlexandra Adornetto (born 18 April 1994) wrote her debut novel, The Shadow Thief, when she was 13. It was published in 2007. Other books written by her as a teenager are: The Lampo Circus (2008), Von Gobstopper's Arcade (2009), Halo (2010) and Hades (2011).\nMargery Allingham (1904–1966) had her first novel, Blackkerchief Dick, about smugglers in 17th century Essex, published in 1923, when she was 19.\nJorge Amado (1912–2001) had his debut novel, The Country of Carnival, published in 1931, when he was 18.\nPrateek Arora wrote his debut novel Village 1104 at the age of 16. It was published in 2010.\nDaisy Ashford (1881–1972) wrote The Young Visiters while aged nine. This novella was first published in 1919, preserving her juvenile punctuation and spelling. An earlier work, The Life of Father McSwiney, was dictated to her father when she was four. It was published almost a century later in 1983.\nAmelia Atwater-Rhodes (born 1984) had her first novel, In the Forests of the Night, published in 1999. Subsequent novels include Demon in My View (2000), Shattered Mirror (2001), Midnight Predator (2002), Hawksong (2003) and Snakecharm (2004).\nJane Austen (1775–1817) wrote Lady Susan, a short epistolary novel, between 1793 and 1795 when she was aged 18-20.\nRuskin Bond (born 1934) wrote his semi-autobiographical novel The Room on the Roof when he was 17. It was published in 1955.\nMarjorie Bowen (1885–1952) wrote the historical novel The Viper of Milan when she was 16. Published in 1906 after several rejections, it became a bestseller.\nOliver Madox Brown (1855–1874) finished his novel Gabriel Denver in early 1872, when he was 17. It was published the following year.\nPamela Brown (1924–1989) finished her children's novel about an amateur theatre company, The Swish of the Curtain (1941), when she was 16 and later wrote other books about the stage.\nCeleste and Carmel Buckingham wrote The Lost Princess when they were 11 and 9.\nFlavia Bujor (born 8 August 1988) wrote The Prophecy of the Stones (2002) when she was 13.\nLord Byron (1788–1824) published two volumes of poetry in his teens, Fugitive Pieces and Hours of Idleness.\nTaylor Caldwell's The Romance of Atlantis was written when she was 12.\n (1956–1976), Le Don de Vorace, was published in 1974.\nHilda Conkling (1910–1986) had her poems published in Poems by a Little Girl (1920), Shoes of the Wind (1922) and Silverhorn (1924).\nAbraham Cowley (1618–1667), Tragicall History of Piramus and Thisbe (1628), Poetical Blossoms (published 1633).\nMaureen Daly (1921–2006) completed Seventeenth Summer before she was 20. It was published in 1942.\nJuliette Davies (born 2000) wrote the first book in the JJ Halo series when she was eight years old. The series was published the following year.\nSamuel R. Delany (born 1 April 1942) published his The Jewels of Aptor in 1962.\nPatricia Finney's A Shadow of Gulls was published in 1977 when she was 18. Its sequel, The Crow Goddess, was published in 1978.\nBarbara Newhall Follett (1914–1939) wrote her first novel The House Without Windows at the age of eight. The manuscript was destroyed in a house fire and she later retyped her manuscript at the age of 12. The novel was published by Knopf publishing house in January 1927.\nFord Madox Ford (né Hueffer) (1873–1939) published in 1892 two children's stories, The Brown Owl and The Feather, and a novel, The Shifting of the Fire.\nAnne Frank (1929–1945) wrote her diary for two-and-a-half years starting on her 13th birthday. It was published posthumously as Het Achterhuis in 1947 and then in English translation in 1952 as Anne Frank: The Diary of a Young Girl. An unabridged translation followed in 1996.\nMiles Franklin wrote My Brilliant Career (1901) when she was a teenager.\nAlec Greven's How to Talk to Girls was published in 2008 when he was nine years old. Subsequently he has published How to Talk to Moms, How to Talk to Dads and How to Talk to Santa.\nFaïza Guène (born 1985) had Kiffe kiffe demain published in 2004, when she was 19. It has since been translated into 22 languages, including English (as Kiffe Kiffe Tomorrow).\nSonya Hartnett (born 1968) was thirteen years old when she wrote her first novel, Trouble All the Way, which was published in Australia in 1984.\nAlex and Brett Harris wrote the best-selling book Do Hard Things (2008), a non-fiction book challenging teenagers to \"rebel against low expectations\", at age 19. Two years later came a follow-up book called Start Here (2010).\nGeorgette Heyer (1902–1974) wrote The Black Moth when she was 17 and received a publishing contract when she was 18. It was published just after she turned 19.\nSusan Hill (born 1942), The Enclosure, published in 1961.\nS. E. Hinton (born 1948), The Outsiders, first published in 1967.\nPalle Huld (1912–2010) wrote A Boy Scout Around the World (Jorden Rundt i 44 dage) when he was 15, following a sponsored journey around the world.\nGeorge Vernon Hudson (1867–1946) completed An Elementary Manual of New Zealand Entomology at the end of 1886, when he was 19, but not published until 1892.\nKatharine Hull (1921–1977) and Pamela Whitlock (1920–1982) wrote the children's outdoor adventure novel The Far-Distant Oxus in 1937. It was followed in 1938 by Escape to Persia and in 1939 by Oxus in Summer.\nLeigh Hunt (1784–1859) published Juvenilia; or, a Collection of Poems Written between the ages of Twelve and Sixteen by J. H. L. Hunt, Late of the Grammar School of Christ's Hospital in March 1801.\nKody Keplinger (born 1991) wrote her debut novel The DUFF when she was 17.\nGordon Korman (born 1963), This Can't Be Happening at Macdonald Hall (1978), three sequels, and I Want to Go Home (1981).\nMatthew Gregory Lewis (1775–1818) wrote the Gothic novel The Monk, now regarded as a classic of the genre, before he was twenty. It was published in 1796.\nNina Lugovskaya (1918–1993), a painter, theater director and Gulag survivor, kept a diary in 1932–37, which shows strong social sensitivities. It was found in the Russian State Archives and published 2003. It appeared in English in the same year.\nJoyce Maynard (born 1953) completed Looking Back while she was 19. It was first published in 1973.\nMargaret Mitchell (1900–1949) wrote her novella Lost Laysen at the age of fifteen and gave the two notebooks containing the manuscript to her boyfriend, Henry Love Angel. The novel was published posthumously in 1996.\nBen Okri, the Nigerian poet and novelist, (born 1959) wrote his first book Flowers and Shadows while he was 19.\nAlice Oseman(born 1994) wrote the novel Solitaire when she was 17 and it was published in 2014.\nHelen Oyeyemi (born 1984) completed The Icarus Girl while still 18. First published in 2005.\nChristopher Paolini (born 1983) had Eragon, the first novel of the Inheritance Cycle, first published 2002.\nEmily Pepys (1833–1877), daughter of a bishop, wrote a vivid private journal over six months of 1844–45, aged ten. It was discovered much later and published in 1984.\nAnya Reiss (born 1991) wrote her play Spur of the Moment when she was 17. It was both performed and published in 2010, when she was 18.\nArthur Rimbaud (1854–1891) wrote almost all his prose and poetry while still a teenager, for example Le Soleil était encore chaud (1866), Le Bateau ivre (1871) and Une Saison en Enfer (1873).\nJohn Thomas Romney Robinson (1792–1882) saw his juvenile poems published in 1806, when he was 13.\nFrançoise Sagan (1935–2004) had Bonjour tristesse published in 1954, when she was 18.\nMary Shelley (1797–1851) completed Frankenstein; or, The Modern Prometheus during May 1817, when she was 19. It was first published in the following year.\nMattie Stepanek (1990–2004), an American poet, published seven best-selling books of poetry.\nJohn Steptoe (1950–1989), author and illustrator, began his picture book Stevie at 16. It was published in 1969 in Life.\nAnna Stothard (born 1983) saw her Isabel and Rocco published when she was 19.\nDorothy Straight (born 1958) in 1962 wrote How the World Began, which was published by Pantheon Books in 1964. She holds the Guinness world record for the youngest female published author.\nJalaluddin Al-Suyuti (c. 1445–1505) wrote his first book, Sharh Al-Isti'aadha wal-Basmalah, at the age of 17.\nF. J. Thwaites (1908–1979) wrote his bestselling novel The Broken Melody when he was 19.\nJohn Kennedy Toole (1937–1969) wrote The Neon Bible in 1954 when he was 16. It was not published until 1989.\nAlec Waugh (1898–1981) wrote his novel about school life, The Loom of Youth, after leaving school. It was published in 1917.\nCatherine Webb (born 1986) had five young adult books published before she was 20: Mirror Dreams (2002), Mirror Wakes (2003), Waywalkers (2003), Timekeepers (2004) and The Extraordinary and Unusual Adventures of Horatio Lyle (February 2006).\nNancy Yi Fan (born 1993) published her debut Swordbird when she was 12. Other books she published as a teenager include Sword Quest (2008) and Sword Mountain (2012).\nKat Zhang (born 1991) was 20 when she sold, in a three-book deal, her entire Hybrid Chronicles trilogy. The first book, What's Left of Me, was published 2012.\n\nSee also \nLists of books\n\nReferences \n\nBooks Written By Children and Teenagers\nbooks\nChildren And Teenagers, Written By\nChi" ]

[ "Irving Thalberg", "Early years", "Where was Thalberg born?", "Thalberg was born in Brooklyn,", "When was he born?", "I don't know." ]

[ "The Extraordinary Tale of Nicholas Pierce is a 2011 adventure novel written by Alexander DeLuca. It follows the journey of a university teacher Nicholas Pierce, who suffers from obsessive compulsive disorder as he searches for his biological parents, traveling across states in the United States of America. He travels with a friend, who is an eccentric barista in a cafe in upstate New York, named Sergei Tarasov.\n\nPlot\nNicholas Pierce suffers from OCD. He is also missing the memory of the first five years of his life. Raised by adoptive parents, one day he receives a mysterious box from an \"Uncle Nathan\". Curious, he sets off on a journey to find his biological parents with a Russian friend, Sergei Tarasov. On the trip, they meet several people, face money problems and different challenges. They also pick up a hitchhiker, Jessica, who later turns out to be a criminal.\n\nFinally, Nicholas finds his grandparents, who direct him to his biological parents. When he meets them, he finds out that his vaguely registered biological 'parents' were actually neighbors of his real parents who had died in an accident. The mysterious box that he had received is destroyed. He finds out that it contained photographs from his early life.\n\n2011 American novels\nNovels about obsessive–compulsive disorder", "Bomba and the Jungle Girl is a 1952 adventure film directed by Ford Beebe and starring Johnny Sheffield. It is the eighth film (of 12) in the Bomba, the Jungle Boy film series.\n\nPlot\nBomba decides to find out who his parents were. He starts with Cody Casson's diary and follows the trail to a native village. An ancient blind woman tells him his parents, along the village's true ruler, were murdered by the current chieftain and his daughter. With the aid of an inspector and his daughter, Bomba battles the usurpers in the cave where his parents were buried.\n\nCast\nJohnny Sheffield\nKaren Sharpe\nWalter Sande\nSuzette Harbin\nMartin Wilkins\nMorris Buchanan\nLeonard Mudie\nDon Blackman.\n\nReferences\n\nExternal links\n\n1952 films\nAmerican films\nAmerican adventure films\nFilms directed by Ford Beebe\nFilms produced by Walter Mirisch\nMonogram Pictures films\n1952 adventure films\nAmerican black-and-white films" ]

[ "Irving Thalberg", "Early years", "Where was Thalberg born?", "Thalberg was born in Brooklyn,", "When was he born?", "I don't know.", "Who were his parents?", "William and Henrietta (Haymann)." ]

[ "An only child is a person who does not have any siblings, neither biological nor adopted.\n\nOnly Child may also refer to:\n\n Only Child (novel), a novel by Jack Ketchum\n Only Child, a 2020 album by Sasha Sloan", "John August Kusche (1869 – 1934) was a renowned botanist and entomologist, and he discovered many new species of moths and butterflies. The plant of the aster family, Erigeron kuschei is named in his honor.\n\nNotable discoveries \n\nIn 1928, Kusche donated to the Bishop Museum 164 species of Lepidoptera he collected on Kauai between 1919 and 1920. Of those, 55 species had not previously been recorded on Kauai and 6 were new to science, namely Agrotis stenospila, Euxoa charmocrita, Plusia violacea, Nesamiptis senicula, Nesamiptis proterortha and Scotorythra crocorrhoa.\n\nThe Essig Museum of Entomology lists 26 species collected by Kusche from California, Baja California, Arizona, Alaska and on the Solomon Islands.\n\nEarly life \nHis father's name was Johann Karl Wilhelm Kusche, he remarried in 1883 to Johanna Susanna Niesar. He had three siblings from his father (Herman, Ernst and Pauline) and four half siblings from her second marriage (Bertha, Wilhelm, Heinrich and Reinhold. There were two other children from this marriage, which died young and whom were not recorded). His family were farmers, while he lived with them, in Kreuzburg, Germany.\n\nHis siblings quickly accustomed themselves to their new mother, however August, the eldest, did not get on easily with her. He attended a gardening school there in Kreuzburg. He left at a relatively young age after unintentionally setting a forest fire. \"One day on a walk through Kreuzburg forest, he unintentionally caused a huge forest fire. Fearing jail, he fled from home and somehow made it to America.\"\n\nHe wrote letters back to his family, urging them to come to America. His father eventually did, sometime shortly after February 1893. His father started a homestead in Brownsville, Texas. Yellow fever broke out and his father caught it. He managed to survive, while many did not, leaving him a sick old man in his mid-fifties. He wrote to August, who was then living it Prescott, Arizona, asking for money. August wrote back, saying \"Dear father, if you are out of money, see to it that you go back to Germany as soon as possible. Without any money here, you are lost,\" \n\nAugust didn't have any money either, and had been hoping to borrow money from his father. If he had wanted to visit him, then he would have had to make the trip on foot.\n\nWhen August arrived in America, he got a job as a gardener on a Pennsylvania farm. He had an affair with a Swiss woman, which resulted in a child. August denied being the child's father, but married her anyway. He went west, on horseback, and had his horse stolen by Native Americans. He ended up in San Francisco. His family joined him there. By this time he had three sons and a daughter.\n\nAfter his children grew up, he began traveling and collecting moths and butterflies.\n\nLater life \nHe traveled to the South Seas where he collected moths and butterflies. There he caught a terrible fever that very nearly killed him. He was picked up by a government ship in New Guinea, and was unconscious until he awoke in a San Francisco hospital. After that time he had hearing loss and lost all of his teeth. His doctor told him not to take any more trips to Alaska, and this apparently helped his condition.\n\nIn 1924 he lived in San Diego. He had taken a trip to Alaska just before this date. He worked as a gardener in California for nine years (1915–1924) where he died of stomach cancer.\n\nReferences \n\n19th-century German botanists\n1869 births\n1934 deaths\n20th-century American botanists\nGerman emigrants to the United States" ]

[ "Irving Thalberg", "Early years", "Where was Thalberg born?", "Thalberg was born in Brooklyn,", "When was he born?", "I don't know.", "Who were his parents?", "William and Henrietta (Haymann).", "Did he have any siblings?", "I don't know." ]

[ "Ben Ivery Wilson (born March 9, 1939) is a former professional American football fullback in the National Football League.\n\nHigh school\nWilson attended Aldine Carver High School where he played football and was also the state champ in the shot put. While at Carver, he was a Jones scholar who was offered an academic scholarship to attend the University of Cincinnati, but he wanted to play football. Although he was an exceptional football player, he did not receive a scholarship offer from any white college in Texas because of segregation.\n\nCollege career\nThe superintendent of Wilson's high school had contacts at USC and Wilson received a scholarship to attend USC. While at USC, Wilson became the starting fullback and team captain of USC's 1962 national championship team.\n\nProfessional career\nWilson played running back for five seasons in the NFL. He was traded from the Los Angeles Rams to the Green Bay Packers prior to the 1967 season. Wilson started at fullback in Super Bowl II for Green Bay and led both teams in rushing with 62 yards in 17 carries. Late in the game he lost a contact lens on the sidelines after being tackled, and missed the rest of the game.\n\nReferences\n\nExternal links\n NFL.com player page\n\n1939 births\nLiving people\nAmerican football running backs\nGreen Bay Packers players\nLos Angeles Rams players\nUSC Trojans football players\nPlayers of American football from Houston", "Indiana has some of the most segregated schools in the United States. Despite laws demanding school integration since 1949, a 2017 study by the UCLA Civil Rights Project and Indiana University found that Indiana still has significant segregation in its classrooms.\n\nThe average black student in Indiana is likely to attend a school where 68% of the students are non-white. The average white student is likely to attend a school where 81% of the students are white.\n\nHistory\nIndiana became a state in 1816. In 1843 the Legislature stated that the public schools were only for white children between the ages of 5 and 21, and as a result, Quakers and communities of free Black people founded schools like Union Literary Institute for Black students to attend. In 1869, the legislature authorized separate but equal public schools for black children. In 1877, the legislature revised the law to allow black attendance at a white school if a black school was not nearby. Home rule for municipalities meant that application was uneven. Plessy v. Ferguson (1896) legitimized separate but equal as policy. During the 1920's, Indiana became a major base for the Ku Klux Klan further pushing Black residents away from school districts that had a majority white population. Prominent examples of segregated high schools in Indiana in the early 20th Century were Crispus Attucks High School in Indianapolis (opened in 1927) and Theodore Roosevelt High School in Gary (accredited in 1930). In 1946, the Gary School Board issued a non-discriminatory policy. Because neighborhoods had different demographic characteristics, the schools there remained effectively segregated. In 1949, the state adopted language that was unambiguously in favor of integration. It was the last of the northern (non-Confederate) states to do so.\n\nAfter Brown v. Board of Education, the state still needed a legal push. Bell v. School City of Gary (1963) was the first. Three years later came Copeland v. South Bend Community School Corporation (1967). Three years after that came Banks v. Muncie Community Schools (1970). National policy came the next year in Swann v. Charlotte-Mecklenburg Board of Education (1971), which relied on the Civil Rights Act of 1964.\n\nIn the 1970s, the federal answer was court-ordered busing. In Indianapolis, busing began in 1981. The bussing requirements in Indiana however were uneven, they did not require white children to be bussed out Black schools making Black children and parents face most of the consequences of the bussing program. Busing in Indianapolis ended in 2016.\n\nDemographics\nHoosiers describe themselves as being more white than much of the rest of the country. In the 2010 Census, 84.4% reported being white, compared with 73.8 for the nation as a whole.\n\nIndiana had never been a big slave state. The 1840 Census reported three slaves and 11,262 “free colored” persons out of a population of 685,866. By 1850, no slaves were reported. That is not to say that the state was welcoming to blacks. The 1851 state constitution said, \"No Negro or mulatto shall come into or settle in the State, after the adoption of this Constitution.” In the early 20th century, mechanization of agriculture in the South stimulated immigration of blacks to large cities like Indianapolis. Migration accelerated in World War II, slowing only in the 1970s. Simultaneously, whites began to move out of the downtown areas to suburbs. \n\nLatinos were a small portion of Indiana's population prior to 1970. In any case the Census did not reliably track Latinos before the 1970 Census. The 2000 Census described 3.5% of Indiana's population as Latino. In the next decade, the state's Latino population grew at twice the national rate. In 2010, the state was 6.0% Latino. They have settled more-or-less evenly distributed across the state.\n\nSchool demographics\nThe demographics of schools in Indiana reflect the composition of the communities in which they are located. The average white student in Indiana is likely to attend a school where 81% of the students are white. The average black student is likely to attend a school where 68% of the students are non-white.\n\nStudies\nSince 1996, the relative segregation of classrooms across the United States has been studied by the Civil Rights Project at Harvard until 2007 and subsequently at the Graduate School of Education and Information Studies at UCLA. In 2017, the Project cooperated to with Indiana University to study the conditions in the state.\n\nA 2012 UCLA study showed that Indiana had the sixth most segregated classrooms in America.\n\nSchool vouchers\nIndiana has one of the largest school voucher programs in the United States. Critics contend that vouchers contribute to school segregation. Analysis of two recent studies on vouchers garner mixed support for contributing to segregation; however, both contend that black recipients who had been in a majority-black public school used school vouchers to attend a majority-black private school.\n\nReferences \n\nEducation in Indiana\nAfrican-American history of Indiana\nSchool segregation in the United States" ]

[ "Irving Thalberg", "Early years", "Where was Thalberg born?", "Thalberg was born in Brooklyn,", "When was he born?", "I don't know.", "Who were his parents?", "William and Henrietta (Haymann).", "Did he have any siblings?", "I don't know.", "Where did he attend school?", "During his high school years in Brooklyn," ]

[ "\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer", "Palanasaspis chekhivensis is an extinct species of pteraspidid heterostracan agnathan which existed during the Pragian epoch of the early Devonian period in what is now Podolia, Ukraine. It is known primarily from a wide rostral plate, which is referenced in the generic name, a compound word combining the Latin words pala, \"shovel,\" and nasus, \"nose,\" with the Greek suffix aspis, \"a small shield.\" Although the rostral plate clearly marks the creature as a pteraspidoid heterostracan, that literally nothing else of its anatomy is known forces researchers to leave it as incertae sedis.\n\nReferences\n\nPteraspidiformes genera\nDevonian jawless fish\nEarly Devonian fish\nEarly Devonian fish of Europe\nHeterostraci enigmatic taxa\nEarly Devonian first appearances\nEarly Devonian genus extinctions\nPragian life" ]

[ "Irving Thalberg", "Early years", "Where was Thalberg born?", "Thalberg was born in Brooklyn,", "When was he born?", "I don't know.", "Who were his parents?", "William and Henrietta (Haymann).", "Did he have any siblings?", "I don't know.", "Where did he attend school?", "During his high school years in Brooklyn,", "What else is significant during his early years?", "Shortly after birth, he was diagnosed with \"blue baby syndrome,\" caused by a congenital disease that limited the oxygen supply to his heart." ]

[ "Dean Wright (born May 15, 1962) is a film director and visual effects supervisor, best known for his work on The Lord of the Rings film trilogy and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.\n\nBiography\nMichigan-born Wright enrolled at the University of Arizona film school to pursue a career as a filmmaker. Relocating to Los Angeles in 1989, he landed work with one of the industry's most prominent directors, James Cameron, on the groundbreaking project Terminator 2: Judgment Day. The film's success propelled Wright into larger production rolls in a variety of capacities alongside acclaimed filmmakers. \n\nHe became the VFX production manager for Cameron's own visual effect's house, Digital Domain. Collaborating with effects supervisor Rob Legato, Wright worked on Titanic. The film garnered eleven Academy Awards, including the Oscar for Best Visual Effects. Wright was promoted to visual effects producer and helped land Digital Domain's next landmark project, What Dreams May Come, which also earned the Academy Award for Best Visual Effects. \n\nAfter producing the VFX for several other projects, he joined Dream Quest Images. During his tenure he was responsible for the production of all VFX at the facility, overseeing more than thirty feature films, theme park attractions and animation projects, including Reign of Fire, 102 Dalmatians, Mission to Mars, Inspector Gadget, Oscar-nominated Mighty Joe Young, Unbreakable, The Sixth Sense and Bicentennial Man.\n\nIn 2002, Wright became visual effects producer for the final two chapters in The Lord of the Rings film trilogy. In undertaking this challenge, he teamed with Oscar-winning VFX supervisor Jim Rygiel. In 2003 The Lord of the Rings: The Two Towers was recognized with eight Visual Effects Society awards, as well as both the BAFTA and the Academy Award for Visual Effects. The Lord of the Rings: The Return of the King won in all of the eleven Oscar categories in which it was nominated, including Best Picture, Director, and Visual Effects. Wright picked up the top Visual Effects Society award for his work on the project.\n\nWright was the visual effects supervisor for Andrew Adamson's The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, and was nominated for an Academy Award, BAFTA Award and VES Award for Best Visual Effects for 2005. He was also the Visual Effects Supervisor for the Narnia follow up, Prince Caspian. In 2008, Wright began preparing for his directorial debut on the big budget VFX bible epic, Kingdom Come, but when the film's start of production was delayed, Wright was hired to rewrite and direct what was to become the largest ever Mexican produced feature film, Cristiada, starring Andy Garcia, Peter O'Toole and Eva Longoria. Cristiada was released in 2012.\n\nSelect filmography\n Cristiada (2012) .... Director, Writer\n The Chronicles of Narnia: Prince Caspian (2008) .... Visual Effects Supervisor\n The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) .... Visual Effects Supervisor\n The Lord of the Rings: The Return of the King (2003) .... Visual Effects Producer\n The Lord of the Rings: The Two Towers (2002) .... Visual Effects Producer\n Reign of Fire (2002) .... Visual Effects Executive Producer\n Unbreakable (2000) .... Visual Effects Executive Producer\n Gone in 60 Seconds (2000) .... Visual Effects Executive Producer\n Bicentennial Man (1999) .... Visual Effects Executive Producer\n What Dreams May Come (1998) .... Visual Effects Producer\n Titanic (1997) .... Visual Effects Production Manager\n\nExternal links\n \n\nLiving people\nUniversity of Arizona alumni\n1962 births\nAmerican film directors\nVisual effects supervisors\nPeople from Michigan", "White hat bias (WHB) is a phrase coined by public health researchers David Allison and Mark Cope (2010) to describe a purported \"bias leading to the distortion of information in the service of what may be perceived to be righteous ends\", which consist of both cherry picking the evidence and publication bias. Allison and Cope explained the motivation behind this bias in terms of \"righteous zeal, indignation toward certain aspects of industry\", and other factors.\n\nThe term white hat refers idiomatically to an ethically good person, in this case one who has a righteous goal.\n\nOverview\nThis initial paper contrasted the treatment of research on the effects of nutritively-sweetened beverages and breastfeeding on obesity. They contrasted evidence which implicated these behaviors as risk and protective factors (respectively), comparing the treatment given to evidence for each conclusion. Their analyses confirmed that papers reporting null effects of soft drinks or breast-feeding on obesity were cited significantly less often than expected, and, when cited, were interpreted in ways that mislead readers about the underlying finding. Positive papers were cited more frequently than expected. For instance, of 207 citations of two papers finding no effects of sugared soft drink consumption on obesity, the majority of citations (84 and 66%) were misleadingly positive.\n\nA meta-analysis had been reported showing that industry-funded studies reported smaller effects than did non-industry-funded studies, the implication being that industry funding leads researchers to bias their results in favor of the funder's presumed commercial interest. Allison and Cope's reanalysis of these data indicated that it was poor studies that found larger effects, and that the industry-funded studies were larger and better run: a finding consistent with a white hat bias, and suggesting that the true effect of sugar-sweetened beverages is smaller than most studies report.\n\nAllison and Cope suggest that science might be protected better from these effects by authors and journals practicing higher standards of probity and humility in citing the literature. Young, Ioannidis and Al-Ubaydli (2008) discuss related concepts, framing scientific information and journals in the context of an economic good, with the goal being to transfer knowledge from scientists to its consumers, suggesting that acknowledging the full spectrum of effects on publication and treating addressing the effects as a moral imperative may aid this goal.\n\nControversy\nHaving shown that industry studies were well run but that publication and citation bias existed against negative findings, and as predicted from a WHB effect, Allison—being funded himself by the food and beverage industry—became the subject of a media report by ABC condemning the influence of industry on diet science.\n\nSee also \n\n Academic bias\n Replication crisis\n Cherry picking\n Funding bias\n Publication bias\n Woozle effect\n\nReferences\n\nFurther reading\n\nPublic health research\nBias" ]

[ "Once (film)", "Critical response" ]

[ "LisaProject was the first GUI-based project management software. Developed for the Apple Lisa computer, LisaProject was conceived and implemented by Debra Willrett of SoloSoft and developed for Apple's Lisa computer.\n\nIn 1981, Willrett realized that project management was a universal problem and that a GUI-based application would be a useful tool. She proposed what became LisaProject to Trip Hawkins at Apple. At the time, Apple was developing the Apple Lisa computer which had limited software.\n\nLisaProject was the first project management system to simplify the project management process by allowing the user to interactively draw their project on the computer in the form of a PERT chart. Constraints could be entered for each task, and the relationships between tasks would show which ones had to be completed before a task could begin. Given the task constraints and relationships, a \"critical path\", schedule and budget could be calculated dynamically using heuristic methods. Once this was complete, the schedule data could be viewed as a Gantt chart.\n\nAlthough the Lisa ultimately failed in the marketplace, its largest Lisa customer was NASA, which had used LisaProject for project management. In response to the demand for LisaProject from NASA and other customers, a new version called MacProject was made available with the first Macintosh release in 1984.\n\nReferences\n\nClassic Mac OS-only software made by Apple Inc.\nProject management software\n1981 software", "From Bauhaus to Our House is a 1981 narrative of Modern architecture, written by Tom Wolfe.\n\nBackground \nIn 1975 Wolfe made his first foray into art criticism with The Painted Word, in which he argued that art theory had become too pervasive because the art world was controlled by a small elitist network of wealthy collectors, dealers and critics. Art critics were, in turn, highly critical of Wolfe's book, arguing that he was a philistine who knew nothing of what he wrote.\n\nAfter The Painted Word, Wolfe published a collection of his essays, Mauve Gloves & Madmen, Clutter & Vine (1976), and his history of the earliest years of the space program, The Right Stuff (1979). Undeterred by the hostile critical response to The Painted Word, and perhaps even encouraged by the stir the book made, Wolfe set about writing a critique of modern architecture. From Bauhaus to Our House was published in full in two issues of Harper's Magazine, then issued in book form by Wolfe's long-time publisher Farrar, Straus & Giroux in 1981.\n\nThemes \n\nWolfe bluntly lays out his thesis in the introduction to From Bauhaus to Our House with a riff on the patriotic song \"America the Beautiful\"\nO beautiful, for spacious skies, for amber waves of grain, has there ever been another place on earth where so many people of wealth and power have paid for and put up with so much architecture they detested as within thy blessed borders today?\n\nWolfe criticizes the tendencies of modern architecture to avoid any external ornamentation. Wolfe praised architects like Louis Sullivan who, from the late 19th century to his death in 1924, built a number of ornate buildings. Wolfe turned his criticism on the International Style and Modern Architecture exemplified by architects such as Ludwig Mies van der Rohe, Le Corbusier and Walter Gropius (the founder of the Bauhaus school in Germany, whose ideas influenced Modern Architecture, and from which the title of the book derives). Wolfe believed that the buildings of the International Style and Modern Architecture could barely be appreciated by those who had to work in them.\n\nWolfe's critique, however, was not purely aesthetic. As in The Painted Word Wolfe was critical of what he saw as too much adherence to theory. Wolfe characterized the architecture as based on a political philosophy that was inapplicable to America, arguing, for example, that it was silly to model American schools on \"worker's flats\" for the proletariat. The architecture world—like an art world dominated by critics, and a literature world dominated by creative writing programs—was producing buildings that nobody liked. Many architects, in Wolfe's opinion, had no particular goal but to be the most avant-garde.\n\nCritical response \nAs Wolfe's arguments mirrored those he made in The Painted Word so was mirrored the critical response. The response to Wolfe's book from the architecture world was highly negative. Critics argued that, once again, Wolfe was writing on a topic he knew nothing about and had little insight to contribute to the conversation. Time critic Robert Hughes wrote that Wolfe had added nothing to the discussion of modern architecture except \"a kind of supercilious rancor and a free-floating hostility toward the intelligentsia\". The architectural and urban critic Michael Sorkin noted, \"What Tom Wolfe doesn't know about modern architecture could fill a book. And so indeed it has, albeit a slim one.\"\n\nHilton Kramer writing in the Saturday Review found Wolfe's writing hyperbolic and refuted some of Wolfe's points. Wolfe had claimed, for example, that a Modern Architecture exhibition at the Museum of Modern Art had played a large role in subverting native culture; Kramer rebutted that the museum had displayed the art of Charles Burchfield and Edward Hopper before Picasso and Matisse and that the exhibition occurred in 1932 while the architecture itself remained uncommon for another 20 years.\n\nSome critics conceded that Wolfe was right that many people did not appreciate the buildings. Blake Morrison, writing in the Times Literary Supplement observed that perhaps some people felt such hostility to architecture because it is \"a gallery we can't walk out of, a book we can't close, and art we can't even turn our backs on because it is there facing us on the other side of the street\".\n\nOthers noted that, regardless of whether Wolfe was right or wrong, architecture was already moving away from Modern architecture to Postmodern architecture. Many of the complaints that Wolfe lodged against Modern architecture, particularly the austere boxiness of the buildings, were no longer a facet of postmodern architecture.\n\nCritics observed that the book was well written. Paul Goldberger, the architecture critic for The New York Times wrote, \"Mr. Wolfe's agility continues to dazzle, more than fourteen years after his essays first began to appear in print. But dazzle is not history, or architectural criticism, or even social criticism, and it is certainly not an inquiry into the nature of the relationship between architecture and society.\"\n\nReferences \n\nGeneral\n \n \nSpecific\n\nExternal links \n From Bauhaus to Our House excerpt in Harper's Magazine.\n From Bauhaus to Our House at tomwolfe.com.\n\n1975 books\nBooks by Tom Wolfe\nFarrar, Straus and Giroux books\nArchitecture books" ]

[ "Once (film)", "Critical response", "What was the critical response to once?", "extremely positive reviews from critics." ]

[ "Le Cousin is a 1997 French film directed by Alain Corneau.\n\nPlot \nThe film deals with the relationship of the police and an informant in the drug scene.\n\nAwards and nominations\nLe Cousin was nominated for 5 César Awards but did not win in any category.\n\nReferences\n\nExternal links\n\n1997 films\n1997 crime films\nFilms about drugs\nFilms directed by Alain Corneau\nFrench crime films\nFrench films\nFrench-language films", "The 23rd Fangoria Chainsaw Awards is an award ceremony presented for horror films that were released in 2020. The nominees were announced on January 20, 2021. The film The Invisible Man won five of its five nominations, including Best Wide Release, as well as the write-in poll of Best Kill. Color Out Of Space and Possessor each took two awards. His House did not win any of its seven nominations. The ceremony was exclusively livestreamed for the first time on the SHUDDER horror streaming service.\n\nWinners and nominees\n\nReferences\n\nFangoria Chainsaw Awards" ]

[ "Once (film)", "Critical response", "What was the critical response to once?", "extremely positive reviews from critics.", "did it win any awards?", "The film appeared on many North American critics' top ten lists of the best films of 2007:" ]

[ "The following is a list of awards and nominations received by American actor Lucas Hedges. He is known for his roles in the films Moonrise Kingdom (2012), Kill the Messenger (2014), and Manchester by the Sea (2016), which earned him many awards and nominations, including an Academy Award for Best Supporting Actor and a Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Supporting Role.\n\nMajor Industry Awards\n\nAcademy Awards\n\nBritish Academy of Film and Television Arts Awards\n\nGolden Globe Awards\n\nScreen Actors Guild Awards\n\nOther Industry Awards\n\nAlliance of Women Film Journalists Awards\n\nAustralian Academy of Cinema and Television Arts Awards\n\nChicago Film Critics Association Awards\n\nCritics' Choice Movie Awards\n\nDallas–Fort Worth Film Critics Association Awards\n\nDetroit Film Critics Society Awards\n\nFlorida Film Critics Circle Awards\n\nGeorgia Film Critics Association Awards\n\nGotham Awards\n\nHouston Film Critics Society Awards\n\nIndependent Spirit Awards\n\nLucille Lortel Awards\n\nNational Board of Review Awards\n\nOnline Film Critics Society Awards\n\nSan Diego Film Critics Society Awards\n\nSatellite Awards\n\nSeattle Film Critics Society Awards\n\nSt. Louis Gateway Film Critics Association Awards\n\nTheatre World Awards\n\nVancouver Film Critics Circle Awards\n\nWashington D.C. Area Film Critics Association Awards\n\nWomen Film Critics Circle Awards\n\nNotes\n\nReferences\n\nExternal links\n \n\nHedges, Lucas", "Bill Murray is an American actor and comedian known for his collaborations with Harold Ramis, Sofia Coppola, Wes Anderson, and Jim Jarmusch. \n\nHis roles with Harold Ramis include Caddyshack (1980), Stripes (1981), Ghostbusters (1984), Ghostbusters II (1989), and Groundhog Day (1993). For his collaboration with Sofia Coppola in Lost in Translation (2003) he received an Academy Award, British Academy Film Award, Golden Globe Award, and Screen Actors Guild Award nomination. He is also known for his performances in various films of Wes Anderson including Rushmore (1998) for which he received a Golden Globe Award nomination and a Independent Spirit Award.\n\nMajor Awards\n\nAcademy Awards\n\nBritish Academy Film Awards\n\nGolden Globe Awards\n\nIndependent Spirit Awards\n\nPrimetime Emmy Award\n\nScreen Actors Guild Awards\n\nCritics Awards\n\nAlliance of Women Film Journalists EDA Awards\n\nBoston Society of Film Critics Awards\n\nChicago Film Critics Association Awards\n\nColumbus Film Critics Association Awards\n\nCritics' Choice Movie Awards\n\nCritics' Choice Television Awards\n\nDallas-Fort Worth Film Critics Association Awards\n\nDenver Film Critics Society Awards\n\nDetroit Film Critics Society Awards\n\nFlorida Film Critics Circle Awards\n\nGreater Western New York Film Critics Association Awards\n\nHouston Film Critics Society Awards\n\nIowa Film Critics Association Awards\n\nIrish Film and Television Awards\n\nLos Angeles Film Critics Association Awards\n\nLondon Film Critics Circle Awards\n\nMusic City Film Critics Association Awards\n\nNational Society of Film Critics Awards\n\nNew York Film Critics Circle Awards\n\nNew York Film Critics Online Awards\n\nNorth Carolina Film Critics Association Awards\n\nNorth Texas Film Critics Association Awards\n\nOnline Film and Television Association Film Awards\n\nOnline Film and Television Association Television Awards\n\nOnline Film Critics Society Awards\n\nPhoenix Film Critics Society Awards\n\nSan Diego Film Critics Society Awards\n\nSan Francisco Film Critics Circle Awards\n\nSeattle Film Critics Awards\n\nSeattle Film Critics Society Awards\n\nSoutheastern Film Critics Association Awards\n\nSt. Louis Film Critics Association Awards\n\nVancouver Film Critics Circle Awards\n\nWashington D.C. Area Film Critics Association Awards\n\nMiscellaneous Awards\n\nAmerican Comedy Awards\n\nBlockbuster Entertainment Awards\n\nGenie Awards\n\nGotham Independent Film Awards\n\nInternational Cinephile Society Awards\n\nMTV Movie Awards\n\nPeople's Choice Awards\n\nSatellite Awards\n\nSaturn Awards\n\nScream Awards\n\nReferences \n\nMurray, Bill" ]

[ "Once (film)", "Critical response", "What was the critical response to once?", "extremely positive reviews from critics.", "did it win any awards?", "The film appeared on many North American critics' top ten lists of the best films of 2007:", "including which critics?", "RTE's Caroline Hennessy" ]

[ "McKenzie Corner is a rural community in New Brunswick, Canada. There are two churches in the settlement: McKenzie Corner Baptist Church, which features a cemetery, and St. John's United Church.\n\nThe businessman and politician James Kidd Flemming lived in McKenzie Corner, where he died in 1927.\n\nHistory \nThe settlement was once known as McKenzie's Corner and was named after William McKenzie, who settled in 1822. In 1866, McKenzie Corner was a farming settlement with around 140 families present. In 1871, it was a station on the New Brunswick and Canada Railway. In 1898, the population had increased to 150, and there was a post office, a cheese factory and two churches.\n\nThe settlement Springbrook, in Hastings County, was once also known under the similar name McKenzie's Corners.\n\nSee also\nList of communities in New Brunswick\n\nReferences\n \n\nCommunities in Carleton County, New Brunswick", "Bratz fashion dolls were introduced by MGA Entertainment in 2001 with four characters, Yasmin, Cloe, Sasha, and Jade. These are the main Bratz characters and have been produced in the majority of Bratz collections. In 2015, Raya, was introduced as the fifth main character, but was removed from the main Bratz lineup after 2016. In the 20 years since the debut of Bratz, 140 characters have been produced as dolls. All character information is sourced from the non-profit fansite LookinBratz.com.\n\nBratz\n\nMain characters \n Cloe – \"Hi! My name is Cloe and I rock! My fashion passion is exotic animal prints and sparkly fabrics! My friends call me Angel because that’s what I am!\" Her mother is Polita, her older sister is Sonya, and her younger siblings are Colin and Isa. In the Bratz live-action film, her mother's name is Katie. Her boyfriend is Cameron. She is one of the original four Bratz characters introduced in 2001. She has been voiced by Nikki Kaffee for Bratz: Starrin' & Stylin', Olivia Hack and Britt McKillip for the Bratz TV series and various films, and by Melissa Goodwin Shepherd for the Bratz: CIY Shoppe web series. Hack reprised the role in 2021 for the Talking Bratz web series. She was also portrayed by Skyler Shaye in the live-action film. Her birthday is May 23rd.\n Jade – \"Hey! My name is Jade! My fashion passion is clothes that are xtreme and far out! My friends call me Kool Kat because I love cats! And because I’m cool!!!\" She is one of the original four Bratz characters introduced in 2001. She has been voiced by Jillian Thompson for Bratz: Starrin' & Stylin', Soleil Moon Frye and Britt Irvin for the Bratz TV series and various films, Fryda Wolff for the Bratz: CIY Shoppe web series, and Ratana Vox for the Talking Bratz web series. She was also portrayed by Janel Parrish in the Bratz live-action film. Her birthday is November 4th.\n Sasha – \"Hi! My name is Sasha! My fashion passion is urban street wear like beanies and jean skirts! My friends call me Bunny Boo because I love the hip-hop thang!\" Her younger sister is Zama. She is one of the original four Bratz characters introduced in 2001. She has been voiced by India Thomas for Bratz: Starrin' & Stylin', Tia Mowry and Dorla Bell for the Bratz TV series and various films, Shondalia White for the Bratz: CIY Shoppe web series, and Julyza Commodore for the Talking Bratz web series. She was also portrayed by Logan Browning in the Bratz live-action film. Her birthday is August 17th.\n Yasmin – \"Hey! My name is Yasmin! My fashion passion is Bohemian-clothes in earth-tone colors and awesome textures! My friends call me Pretty Princess because I rule!\" Her mother is Portia. She is one of the original four Bratz characters introduced in 2001. She has been voiced by Janice Kawaye for Bratz: Starrin' & Stylin', Dionne Quan and Maryke Hendrikse in the Bratz TV series and various films, Heidi Gardner for the Bratz: CIY Shoppe web series, and Valeria Rodriguez for the Talking Bratz web series. She was also portrayed by Nathalia Ramos in the Bratz live-action film. Her birthday is July 24th.\n\nSecondary characters \n Raya – Her nickname is Sun Rayz. She was introduced in the Hello My Name Is... collection in 2015 as the fifth main Bratz character. She was produced various times throughout 2015 and 2016 until the brand went on another hiatus. She was voiced by Melanie Minichino for the Bratz: CIY Shoppe web series.\n Meygan – \"Hey! My name is Meygan! My friends call me Funky Fashion Monkey because even when I just hang, I still look good!\" She was introduced in the Xpress It! collection in 2002 as the fifth Bratz character. She has been produced for numerous collections including all spin-off doll lines. Notably, she was one of the few characters to be produced after the 2015 reboot. She was voiced by Jianna Ballard for the Bratz Kidz: Sleep-Over Adventure movie. She was also featured in the Bratz Rock Angelz, Bratz Fashion Boutique, and Bratz Total Fashion Makeover video games.\n Dana – \"Hey! My name is Dana! My friends call me Sugar Shoes because when I step out, I do it sweet!\" She is the sister of Tiana and Maribel. She was introduced with the Stylin' Salon 'N' Spa playset in 2002 as the sixth Bratz character, and has since been produced in numerous collections. She appeared in Bratz: Starrin' & Stylin' and Bratz Kidz: Sleep-Over Adventure. She was also featured in the Bratz Fashion Boutique and Bratz Total Fashion Makeover video games.\n Fianna – \"Hi! My name is Fianna! My friends call me Fragrance because I’m as sweet as I smell!\" She was introduced with the second edition Stylin' Salon 'N' Spa playset in 2003 and has since been produced in numerous collections. She was featured in the episode of the Bratz TV series titled \"Trading Faces\" in 2005. She was featured in the Bratz Rock Angelz, Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, and Bratz Fashion Boutique video games. Her birthday is June 12th. \n Nevra – \"Hi! My name is Nevra! My friends call me Queen B because I’m sweet like honey and in charge!\" Her girlfriend is Roxxi. She was introduced in the Formal Funk collection in 2003, and was produced several times throughout the following couple of years. She appeared in Bratz: Starrin' & Stylin'. She was also featured in the Bratz Fashion Boutique and Bratz Total Fashion Makeover video games.\n Phoebe – \"Hi! My name is Phoebe! My twin calls me Sugar because I’m as sweet as sweet can be!\" She is twin sisters with Roxxi. She was introduced in the Twiins collection in 2004 alongside her sister, and has since been produced in numerous collections. She appears in the Bratz Rock Angelz, Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, and Bratz Action Heroez video games. Her birthday is March 21st.\n Roxxi – \"Hi! My name is Roxxi! My twin calls me Spice because I like to spice it up!\" She is twin sisters with Roxxi. Her girlfriend is Nevra. She was introduced in the Twiins collection in 2004 alongside her sister, and has since been produced in numerous collections. She appears in the Bratz: Rock Angelz movie and in the Bratz TV series. She was voiced by Jessica DiCicco. She was also featured in the Bratz Rock Angelz, Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, Bratz Fashion Boutique, Bratz Action Heroez, and Bratz Total Fashion Makeover video games. Her birthday is March 21st.\n Felicia – \"Hi, I’m Felicia! I love the glam life, but I love the great outdoors too.\" Her nickname is Glam Gecko. She was introduced in 2005 for the Campfire/Winter Adventure collection. She was also produced for Sweet Dreamz Pajama Party in 2006, the third edition Big Babyz collection in 2007, and the seventh edition Holiday collection in 2021. She is the host of the 2021 web series Talking Bratz. She is voiced by Jaimi Gray. Her birthday is September 8th.\n Katia – \"Hi, I’m Katia! I think that the real world is super interesting - I’d rather watch a documentary than a film and I love to read newspapers so I know what’s going on!\" Her nickname is Flirty Turtle. She was first introduced as the Holiday doll in 2005, and has been produced numerous times since. Most notably, she was the main character in both Bratz: Genie Magic and its sequel Bratz: Desert Jewelz. She was voiced by Tara Strong in both films. She was also featured in the Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, and Bratz Fashion Boutique video games. Her birthday is July 19th.\n Kumi – \"Hi, I’m Kumi! I love exploring and I wanna see the world!\" Her nickname is Lucky Bug. She was first introduced in the Tokyo a Go-Go Collector's Edition collection in 2004, and was produced several times throughout the following couple of years. Notably, she was one of the few characters to be produced after the 2015 reboot, specifically for the second edition Study Abroad collection in 2016. She was featured in the Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, and Bratz Total Fashion Makeover video games.\n Vinessa – \"Hey there, I’m Vinessa! My friends call me Social Butterfly ‘cause I’m always out and about with my besties!\" She was introduced in the Ice Champions/On Ice collection in 2006, and was produced for several collections over the following few years. She was also produced for the Babyz, Kidz, Itsy Bitsy, and Lil' Angelz doll lines. She re-appeared in the second edition Trend It! collection in 2012. She was featured in the Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, and Bratz Fashion Boutique, and Bratz Total Fashion Makeover video games. Her birthday is October 28th.\n Sharidan – Her nickname is Sparklin' Sheep. She was introduced in the Forever Diamondz collection in 2006, and was later produced in several collections including the Babyz, Lil' Bratz, and Lil' Angelz doll lines. She was voiced by Jessica DiCicco in the Bratz: Forever Diamondz movie. She was also featured in the Bratz Forever Diamondz video game. Her birthday is February 2nd.\n Breeana – She is the younger sister of Cymbeline and the daughter of Dee. She was introduced in the Fashion Pixiez line in 2007, and appeared in the movie of the same name as a main character. She was also produced as a Funky Fashion Makeover head for the Magic Hair Collection the same year and made various appearances in the Lil' Angelz doll line.\n\nMinor characters \n Adri – \"Hi, I'm Adri. My friends call me Bookworm ‘cuz I love to read!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the one and only episode of Bratz Rock and in the Bratz Fashion Boutique video game.\n Adrienne – \"Hey! My name is Adrienne! My sisters call me Glam Lamb!\" She is sisters with Brigitte and Janelle. She was produced for the second edition of the Triiiplets collection in 2007, and the Winter Collection Triiiplets in 2008.\n Ailani – \"Hey! My name is Ailani, but my friends call me Cherrie!\" She was introduced in the fifth edition of the Lil' Bratz line in 2004 alongside Nazalia, Talia, and Zada, and was a core character of the line until 2006.\n Aira – She is sisters with Kesara and Sivan. She was produced once for the Babyz Triiipletz collection in 2007 with her sisters.\n Alicia – She was produced once for the Babyz Sitter collection in 2006 with her \"babysitter\" Lana.\n Amelie – She was produced once for the first edition Behind the Scenes Fashion collection in 2006.\n Anyssa – She was produced once for the Couture Collection in 2008 alongside Daphne as one of the only two porcelain dolls to date.\n Ariane – She was produced once for the second edition Behind the Scenes Fashion collection in 2007.\n Ashby – \"Hi, I'm Ashby. My friends call me Miss Fit ‘cuz I'm a total sports star!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the one and only episode of Bratz Rock and in the Bratz Fashion Boutique video game.\n Ashley – She was produced several times for the Lil' Angelz doll line.\n Aubrey – \"Hi. My name is Aubrey. My friends call me Quiz Wiz because I have all the answers!\" She was produced once for the fourth edition Passion 4 Fashion collection in 2008. She appeared in the online game Bratz Passion 4 Mixin′ and in the Bratz Fashion Boutique video game.\n Avery – She is sisters with Erin and Rory. She was produced once with her sisters for the third edition Babyz Triiiplets collection in 2007.\n Brielle – She was produced once for the Masquerade by Bratz collection in 2011.\n Brigitte – \"Hey! I'm Brigitte! But my sisters call me Pretty Poodle!\" She is sisters with Janelle and Adrienne. She was produced for the second edition of the Triiiplets collection in 2007, and the Winter Collection Triiiplets in 2008.\n Brigitte – \"My friends call me City Songbird ‘cuz I've got a voice that can stop traffic!\" She was produced once for the second edition Style It! collection in 2011.\n Carlyn – She was produced several times for the Lil' Angelz doll line.\n Carrie – \"Hi, I'm Carrie. My friends call me Coconut ‘cuz I'm tough but sweet!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the Bratz Fashion Boutique video game.\n Charli – She was introduced in 2007 in the Pampered Pupz collection, and was also produced several times for the Lil' Angelz doll line.\n Ciara – \"Hi! My name is Ciara! My twin calls me Spunky ‘cuz I’m always causing trouble!\" She is the twin sister of Diona. She was produced once in 2006 for the Wicked Twiins collection with her sister.\n Ciara – \"My friends call me Snaps ‘cuz I'm smart as a whip!\" She was produced once in 2011 second edition Xpress It! collection.\n Daphne – She was produced once for the Couture Collection in 2008 alongside Anyssa as one of the only two porcelain dolls to date.\n Daphne – \"My friends call me Miss Bliss ‘cuz I’ve got a rosy outlook!\" She was produced once in 2011 second edition Xpress It! collection. She was featured in the Bratz Fashion Boutique video game.\n Dee – She is the mother of Breeana and Cymbeline, and the wife of Melvino. She was produced once for the Fashion Pixiez collection in 2007, and was featured in the movie of the same name.\n Destiny – \"Hi. My name is Destiny. My friends call me Dynamite because of my sizzling sports skills!\" She was produced once for the fourth edition Passion 4 Fashion collection in 2008. She was featured in the Bratz Fashion Boutique video game.\n Diona- \"Hi! My name is Diona! My twin calls me Sparkly ‘cuz I’m in love with my own reflection!\" She is the twin sister of Ciara. She was produced once in 2006 for the Wicked Twiins collection with her sister.\n Dresden – \"Hi! My name is Dresden. My friends call me Miss Priss because I’m always perfectly primped!\" She was produced once for the fifth edition Passion 4 Fashion collection in 2009. She was featured in the Bratz Fashion Boutique video game.\n Emanuelle – She was produced once for the Designed by You collection in 2007. She was named after a contest winner for the Designed by You contest who designed her doll.\n Emy – She was produced once for the first edition Behind the Scenes Fashion collection in 2006.\n Erin – She is sisters with Avery and Rory. She was produced once with her sisters for the third edition Babyz Triiiplets collection in 2007.\n Etienne – She was produced once for the second edition Behind the Scenes Fashion collection in 2007.\n Finora – She was produced once for the Masquerade by Bratz collection in 2011.\n Geneva – She was produced once for the Masquerade by Bratz collection in 2011.\n Isa – She is the younger sister of Cloe, Sonya, and twin sister of Colin. She is also the youngest daughter of Polita. She was produced once as a miniature Lil' Angelz for the World Familiez Babysitter collection in 2009.\n Janelle – \"Hello! My name is Janelle! My sisters call me Chillin’ Cheetah!\" She is sisters with Adrienne and Brigitte. She was produced for the second edition of the Triiiplets collection in 2007, and the Winter Collection Triiiplets in 2008.\n Jaylene – \"My friends call me Epic Cutie ‘cuz I love a good book!\" She was produced once for the second edition Style It! collection in 2011. She was featured in the Bratz Fashion Boutique video game, though her name was misspelled as \"Jaylen\".\n Jeanne B – She was produced once for the Passion For Fashion Careers In Style collection in 2008. She was designed and named after Canadian fashion editor Jeanne Beker, and the doll comes with a book titled Passion For Fashion Careers In Style, written by Beker herself.\n Joelle – \"Hi. I’m Joelle. My friends call me Sunshine ‘cuz I’m super bright!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the Bratz Fashion Boutique video game.\n Keelin – \"My friends call me Bee Bop ‘cuz I’m a dancin’ machine!\" She is twin sisters with Sorrel. She was produced once for the sixth edition Twiins collection in 2011 alongside her sister.\n Kesara – She is sisters with Aira and Sivan. She was produced once for the Babyz Triiipletz collection in 2007 with her sisters.\n Kiana – Her nickname is Outlaw Diva. She was produced once for the Wild Wild West collection in 2005. She was featured in the Bratz Fashion Boutique video game.\n Kiani – \"Hi! My name is Kiani! My big sister calls me Prankster Parrot!\" Her older sister is Lilani. She was introduced in the Sisterz collection in 2006 alongside her sister. She was also produced as a Babyz for the Kidz Sisterz collection that same year, and later on, various times as a Lil' Angelz.\n Kina – \"Hi. My name is Kina. My friends call me Twizt because I’m full of surprises!\" She was produced once for the fourth edition Passion 4 Fashion collection in 2008.\n Kirana – She was produced once for the Masquerade by Bratz collection in 2011.\n Krysta – \"Hi! My name is Krysta! My twin calls me Shine ‘cuz my natural style shines through!\" She is twin sisters with Lela. She was first introduced in the fourth edition Twiins collection in 2006 alongside her sister, and was later produced several times as a Babyz and Lil' Angelz.\n Lana – She was produced once for the Babyz Sitter collection in 2006 as the \"babysitter\" of Alicia.\n Leah – Her nickname is Dainty Doe/Dainty Deer. She was first introduced in the Spring Break collection in 2006, and was produced several times throughout the following few years. She was also produced in the Big Babyz, Itys Bitsy, and Lil' Angelz doll lines. Her birthday is February 16th.\n Lela – \"Hi! My name is Lela! My twin calls me Fine ‘cuz I sport the latest fashions!\" She is twin sisters with Krysta. She was first introduced in the fourth edition Twiins collection in 2006 alongside her sister, and was also produced for the Costume Party collection the same year. She was also produced for the Babyz, Itys Bitsy, and Lil' Angelz doll lines.\n Leora – \"Hi, I’m Leora. My friends call me Sizzles ‘cuz my style is super hot!\" She was produced once for the 10th Anniversary collection in 2010.\n Lian – She was produced once for the Masquerade by Bratz collection in 2011.\n Lilani – \"Hi! My name is Lilani! My sister calls me Sweet Swan!\" Her younger sister is Kiani. She was introduced in the Sisterz collection in 2006 alongside her sister, and was also produced as a Kidz for the Kidz Sisterz collection the same year. She was also produced as a Kidz twice in 2007 for the Kidz Fashion Pixiez and School collections.\n Lilee – She was introduced in the third edition Sweet Heart collection in 2006, and was also produced for the fourth edition Sweet Heart collection the following year. She was produced again as a Babyz in 2007 for the Storyboook Collection, and several times for the Lil' Angelz doll line.\n Liliana – \"Hi, I’m Liliana. My friends call me Dazzle ‘cuz I’m a total charmer!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the Bratz Fashion Boutique video game.\n Lina – She was produced once for the Fashion Pixiez collection in 2007, and was featured in the movie of the same name as the main antagonist.\n Lydia – \"Hi, I’m Lydia. My friends call me Night Owl ‘cuz I never sleep!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the Bratz Fashion Boutique video game.\n Maci – \"My friends call me Doodles ‘cuz I love to draw!\" She was produced once for the third edition Style It! collection in 2011.\n Maribel – \"Hi, I’m Maribel! I love hot salsa music—but when I hit the ice, I’m totally chill!\" Her nickname is Party Penguin. She is sisters with Dana and Tiana She was introduced in the Ice Champions/On Ice collection in 2006. The following year she was produced for the Magic Make-Up collection and with her sisters for the second edition Triiiplets collection. She was also produced several times for the Lil' Angelz doll line.\n Marielle – She was produced once for the second edition Behind the Scenes Fashion collection in 2007.\n May Lin – She was produced once for the Tokyo a Go-Go Collector's Edition collection in 2004.\n Myra – \"My friends call me Style Scout ‘cuz I’m one well-dressed nature girl!\" She was produced once for the second edition Style It! collection in 2011. She was featured in the Bratz Fashion Boutique video game.\n Nadine – \"My friends call me Miss Sterious ‘cuz I’m full of secrets!\" She was produced once for the third edition Style It! collection in 2011.\n Nazalia – \"Hi! My name is Nazalia, but my friends call me Butterfly!\" She was introduced in the fifth edition of the Lil' Bratz line in 2004 alongside Ailani, Nazalia, and Zada, and was a core character of the line until 2006.\n Nevaeh – \"Hi! My name is Nevaeh! My twin calls me Tough Cookie because I’ve got great taste mixed with attitude!\" She is twin sisters with Peyton. She was produced once for the World Twiins collection in 2008 alongside her sister.\n Nikki – She was produced once for the Designed by You collection in 2007. She was named after a contest winner for the Designed by You contest who designed her doll.\n Nita – \"Hi, I’m Nita! My twin knows I’m totally tough!\" She is twin sisters with Nora. She was only produced in 2006 for the Babyz The Movie Twiins and Big Babyz The Movie Talking Twiins collections alongside her sister. They were featured in Bratz Babyz: The Movie as main characters and in the Bratz Babyz video game.\n Noemie – She was produced once for the first edition Behind the Scenes Fashion collection in 2006.\n Nola – \"Hi! My name is Nola! I’m also called Creator ‘cuz I’m all about art!\" She was introduced in the second edition Babyz Holiday collection in 2006, and was produced again the following year for the Babyz 2-in-1 collection.\n Nona – \"Hi! My name is Nona! My twin calls me Star because I’m always the center of a crowd!\" She is twin sisters with Tess. She was introduced in the second edition Twiins collection in 2005 alongside her sister. She was produced the following year as a Babyz with her sister for the second edition Babyz Twiins collection, and was later produced several times for the Lil' Angelz doll line.\n Nora – \"Hi, I’m Nora! My twin thinks I’m a little shy!\" She is twin sisters with Nita. She was first produced in 2006 for the Babyz The Movie Twiins and Big Babyz The Movie Talking Twiins collections alongside her sister. She was produced again for the Flower Girlz collection in 2007. She was featured in Bratz Babyz: The Movie as a main character and in the Bratz Babyz video game.\n Odelia – She was produced once for the Masquerade by Bratz collection in 2011.\n Oriana – \"Hi! My name is Oriana! My sisters call me Punk Skunk!\" She is sisters with Siernna and Valentina. She was introduced in the third edition Twiins collection in 2005 alongside Valentina, though they were later re-released the same year for the Triiiplets collection to include Siernna. They were produced again for the Babyz Triiiplets collection in 2006.\n Peyton – \"Hi! My name is Peyton! My twin calls me Sweetie Cake because I’m sugary sweet!\" She is twin sisters with Peyton. She was produced once for the World Twiins collection in 2008 alongside her sister.\n Polita – She is the mother of Cloe, Sonya, Colin, and Isa. She was produced once for the World Familiez collection in 2008.\n Portia – She is the mother of Yasmin. She was produced once for the World Familiez collection in 2008.\n Raya – She was introduced in the Magic Hair collection in 2007, and produced various times for the Lil' Angelz doll line.\n Rina – She was produced once for the Design Your Own/second edition Head Gamez! collection in 2006.\n Rina – \"My friends call me Tickets ‘cuz I love rock concerts!\" She was produced once for the second edition Xpress It! collection in 2011.\n Rinnie – She was produced twice for the Lil' Bratz Rock Starz and Lil' Bratz Beach Bash collections in 2005.\n Rory – She is sisters with Avery and Erin. She was produced once with her sisters for the third edition Babyz Triiiplets collection in 2007.\n Rylan – \"My friends call me Space Case ‘cuz I’m all about sci-fi!\" She was produced once for the third edition Style It! collection in 2011.\n Sabina – \"Hi! My name is Sabina. My friends call me Rock Chick ‘cuz I’m a rockin’ rebel!\" She was produced once for the fifth edition Passion 4 Fashion collection in 2009.\n Sana – She was produced once for the Lil' Angelz Surprise Litter collection in 2010.\n Shadi – \"Hi, I’m Shadi. My friends call me Trailblazer ‘cuz I’m all about adventure!\" She was introduced in the 10th Anniversary collection in 2010, and was produced once more for the second edition Trend It! collection in 2012. She was featured in the Bratz Fashion Boutique video game.\n Shania – \"My friends call me A-Game ‘cuz I’m at the top of my class!\" She was produced once for the third edition Style It! collection in 2012.\n Shira – \"Hi, I’m Shira. My friends call me Drama Mama ‘cuz I’m all about attention!\" She was introduced in the 10th Anniversary collection in 2010, and was produced once more for the Action Heroez collection in 2013. She was featured in the Bratz Action Heroez video game.\n Siernna – \"Hi! My name is Siernna My sisters call me Kool-ala!\" She is sisters with Oriana and Valentina. She was introduced in the Triiiplets collection in 2005, and was produced with her sisters again for the Babyz Triiiplets collection in 2006. She was also produced several times for the Lil' Angelz doll line. She was featured in the Bratz Forever Diamondz, Bratz The Movie, and Bratz Girlz Really Rock video games.\n Sivan – She is sisters with Aira and Kesara. She was produced once for the Babyz Triiipletz collection in 2007 with her sisters.\n Sonya – She is the older sister of Cloe, Colin, and Isa, and the daughter of Polita. She was produced once for the World Familiez collection in 2008.\n Sorrel – \"My friends call me Urban Cutie ‘cuz I’ve got big city style!\" She is twin sisters with Keelin. She was produced once for the sixth edition Twiins collection in 2011 alongside her sister.\n Sorya – She was introduced in the Rodeo collection in 2006 and was produced for the third edition Babyz collection the same year. She was also produced several times for the Itsy Bitsy and Lil' Angelz doll lines.\n Tali – She was introduced in the Babyz Mermaidz collection in 2007 and was later produced several times for the Lil' Angelz doll line.\n Talia – \"Hi! My name is Talia, but my friends call me Superstar!\" She was introduced in the fifth edition of the Lil' Bratz line in 2004 alongside Ailani, Nazalia, and Zada, and was a core character of the line until 2006.\n Tess – \"Hi! My name is Tess! My twin calls me Solo because I always do my own thing!\" She is twin sisters with Nona. She was introduced in the second edition Twiins collection in 2005 alongside her sister. She was produced the following year as a Babyz with her sister for the second edition Babyz Twiins collection, and was later produced several times for the Lil' Angelz doll line.\n Tessa – \"My friends call me Pretty Prankster ‘cuz I’m always making ‘em laugh!\" She was produced once for the second edition Style It! collection in 2011.\n Tiana – \"Hi! My name is Tiana! My friends call me Elegant Elephant!\" She is sisters with Dana and Maribel. She was introduced in the Tokyo a Go-Go collection in 2004 and was also produced for the Tokyo a Go-Go Collector's Edition collection the same year. She was later produced for the Welcome to Fabulous collection in 2005, and the third edition Triiiplets collection in 2008 with her sisters. She was produced for the third edition Babyz collection in 2006 and several times for the Lil' Angelz doll line. \n Trinity – She was introduced in the second edition Holiday collection in 2006 and was later produced several times for the Lil' Angelz doll line.\n Tyla – \"Hi, I'm Tyla. My friends call me Stage Star ‘cuz I'm a star performer!\" She was produced once for the 10th Anniversary collection in 2010. She was featured in the Bratz Fashion Boutique video game.\n Valentina – \"Hi! My name is Valentina! My sisters call me Pretty Pup!\" She is sisters with Oriana and Siernna. She was introduced in the third edition Twiins collection in 2005 alongside Oriana, though they were later re-released the same year for the Triiiplets collection to include Siernna. They were produced again for the Babyz Triiiplets collection in 2006.\n Vee Filez – She was produced once for the VFiles collection in 2015. She was created in collaboration with the fashion brand VFiles, and was exclusively released on the VFiles website with only 290 dolls produced.\n Yamit – She was produced once for the Babyz The Movie Lil' Dancers collection in 2006.\n Zada – \"Hey, My name is Zada, but my friends call me Sweet Heart!\" She was introduced in the fifth edition of the Lil' Bratz line in 2004 alongside Ailani, Nazalia, and Talia, and was a core character of the line until 2006.\n Zama – Her older sister is Sasha. She was produced once as a Babyz for the Kidz Sisterz collection in 2006 alongside her sister.\n\nBratz Boyz\n\nSupporting characters \n Cameron – \"W’sup?! My name is Cameron! The Bratz call me The Blaze because I’m hot!\" His girlfriend is Cloe. He was introduced in the first edition Boyz collection alongside Dylan as the first Bratz Boyz. He was produced in numerous collections including the Lil' Boyz, Babyz, and Kidz doll lines. Notably, he is the only Boyz to be produced for the 2015 reboot and the Collectors collection in 2018. He has been voiced by Yuri Lowenthal, Charlie Schlatter, and Ian James Corlett for the Bratz TV series and various films. He was portrayed by Stephen Sean Ford in the Bratz live-action film. He was also featured in the Bratz Rock Angelz, Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, Bratz Fashion Boutique, and Bratz Total Fashion Makeover video games.\n Dylan – \"Hey! My name is Dylan! The Bratz call me The Fox because I’m slick!\" He was introduced in the first edition Boyz collection alongside Cameron as the first Bratz Boyz. He was produced in numerous collections including the Lil' Boyz and Kidz doll lines. He has been voiced by Ogie Banks and Adrian Holmes for the Bratz TV series and various films. Banks reprised the role in 2021 for the Talking Bratz web series. He was portrayed by Ian Nelson in the Bratz live-action film. He was also featured in the Bratz Rock Angelz, Bratz Forever Diamondz, Bratz The Movie, and Bratz Girlz Really Rock video games.\n Eitan – \"W’sup! My name is Eitan! The Bratz call me The Dragon because I’m a nonstop hotshot!\" He was introduced in the second edition Boyz collection alongside Koby as the second set of Boyz to be released. He was produced in numerous collections including the Lil' Boyz, Babyz, and Kidz doll lines. He has been voiced by Josh Keaton and Trevor Devall for the Bratz TV series and various films. He appears in the Bratz Rock Angelz, Bratz Forever Diamondz, Bratz The Movie, Bratz Girlz Really Rock, and Bratz Total Fashion Makeover video games.\n Koby – \"Hey! My name is Koby! The Bratz call me The Panther because I’m always on the prowl!\" He was introduced in the second edition Boyz collection alongside Eitan as the second set of Boyz to be released. He was produced in numerous collections including the Lil' Boyz and Kidz doll lines. He was featured in the appears in Bratz: Starrin' & Stylin', as well as the Bratz Rock Angelz, Bratz Forever Diamondz, and Bratz Total Fashion Makeover video games.\n Cade – \"Hey! My name is Cade! The Bratz call me The Viper because I’m sly!\" He was introduced in the Motorcycle Style collection in 2003, and was produced for numerous collections including the Babyz and Kidz doll lines. He was featured in the Bratz: Starrin' & Stylin' movie, and in the Bratz Forever Diamondz video game.\n Bryce – He was introduced in the Secret Date/Blind Date collection in 2004. He was produced again in 2007 for the Hot Summer Dayz collection and The Movie collection. He was voiced by Adam Wylie for the Bratz: Genie Magic movie. He was also featured in the Bratz Forever Diamondz video game.\n\nMinor characters \n Alek – He is twin brothers with Zack. He was produced once for the Boyz Twiins collection in 2006 alongside his brother.\n Braden – He was produced once for the World First Date collection in 2009.\n Brogan – He was produced once for the Masquerade by Bratz collection in 2011.\n Colin – \"Hi! My name is Colin, but my friends call me Thunderbolt!\" He was introduced in the second edition Lil' Boyz collection in 2004, and was produced several times the same year.\n Colin – Hee is the younger brother of Cloe, Sonya, and twin brother of Isa. He is also the son of Polita. He was produced once as a miniature Lil' Angelz for the World Familiez Babysitter collection in 2009.\n Deavon – \"Hey! My name is Deavon, but my friends call me Dynamite!\" He was introduced in the second edition Lil' Boyz collection in 2004, and was produced several times the same year.\n Gable – He was produced once for the Masquerade by Bratz collection in 2011.\n Harvey – He was produced once for the Babyz The Movie collection in 2006, and was featured in the movie of the same name. \n Iden – He was produced once for the Prince collection in 2006.\n Kobe – He was introduced in the Surfer Cool collection in 2008, and was produced again for the Wild Life collection in 2009.\n Lakin – \"Hey! My name is Lakin, but my friends call me Atomic!\" He was introduced in the second edition Lil' Boyz collection in 2004, and was produced several times the same year.\n Mikko – \"Hey! My name is Mikko, but my friends call me The Shark!\" He was introduced in the second edition Lil' Boyz collection in 2004, and was produced several times the same year.\n Penn – He was produced once for the Masquerade by Bratz collection in 2011.\n Thad – \"My name is Thad, but they call me Shark!\" He was produced once for the On The Mic collection in 2011.\n Wayne – He was produced once for the Rodeo collection in 2006.\n Zack – He is twin brothers with Alek. He was produced once for the Boyz Twiins collection in 2006 alongside his brother.\n\nReferences\n\nExternal links \n bratz.com\n\nBratz\nLists of toy characters" ]

[ "Dan Brown", "Copyright infringement cases" ]

[ "Operation Safehaven was a fifteen-month investigation conducted by the United States Immigration and Customs Enforcement (\"ICE\") in conjunction with the U.S. Attorney's Office for the District of Connecticut and the Department of Justice against those affiliated with the warez scene.\n\nIn April 2003, over twenty search warrants were simultaneously executed, resulting in the seizure of dozens of computers and file servers, including what the United States government reported as \"the largest warez site ever seized in the United States to date.\"\n\nCases\nU.S. v. Myers et al. (D. Conn.)\n\nTravis Myers, 29, of Yakima, Washington; Terry Katz, 26, of Yorktown Heights, New York; Walter Kapechuk, 55, of Schenectady, New York; and Warren Willsey, 53, of East Berne, New York, all waived indictment and pleaded guilty to charges of Conspiracy to Commit Criminal Copyright Infringement on October 2, 2003. These were the first convictions stemming from the operation. Myers admitted to being a courier and a member of several leading warez groups, including \"DrinkOrDie.\" Katz admitted to being a site operator. Kapechuk admitted to running a site at SUNY Albany. Willsey admitted to assisting Kapechuk. All but Willsey faced maximum sentences of five years. Willsey faced a maximum sentence of one year.\n\nU.S. v. Singh (D. Conn.)\n\nManpreet Singh, 22, of Middleburg Heights, Ohio, pleaded guilty to the charge of conspiracy to commit criminal copyright infringement on February 20, 2004. He admitted to being a courier for the groups \"We Love Warez\" (\"WLW\") and \"pHASE.\" The maximum sentence is five years in prison. He was scheduled to be sentenced in May, 2004.\n\nU.S. v. Perello (E.D. Tex.)\n\nPleaded guilty to a single count of conspiracy to commit criminal copyright infringement on November 21, 2005.\n\nU.S. v. Pine (D. Conn.)\n\nPleaded guilty to a single count of conspiracy to commit criminal copyright infringement on November 22, 2005.\n\nU.S. v. Brink (D. Me.)\n\nKurt M. Brink, 25, of Portland, Maine, pleaded guilty on September 8, 2005 to conspiring to commit criminal copyright infringement. Sentenced to three years of probation, ordered to perform 300 hours of community service, and to pay a fine in the amount of $6,000 on December 12, 2005.\n\nU.S. v. Carter (N.D. Cal.)\n\nPleaded guilty to a single count of conspiracy to commit criminal copyright infringement on December 12, 2005.\n\nU.S. v. Szoke (D. Conn.)\n\nCarole Szoke, 62, of Nazareth, Pennsylvania, pleaded guilty on September 27, 2005. Sentenced to three years of probation, ordered to perform 312 hours of community service, and to pay a fine in the amount of $2,000 on December 22, 2005.\n\nReferences\n\n Operation Safehaven, DOJ Operation Safe Haven page\n Federal Investigation Leads to Prosecution of Internet Software Pirates, press release by the US Department of Justice on Myers, Katz, Kapechuk, and Willsey pleas (October 2, 2003)\n Operation Safehaven: Ohio Man Pleads Guilty to Copyright Infringement, press release by the US Department of Justice on Singh plea (February 20, 2004)\n Federal Software Piracy Investigation Leads To Prosecution Of Portland Man, press release by the US Department of Justice on Brink plea (September 8, 2005)\n Operation Safehaven: Pennsylvania Woman Pleads Guilty to Federal Software Piracy Charges, press release by the US Department of Justice on Szoke plea (September 27, 2005)\n\nCopyright enforcement\nU.S. Immigration and Customs Enforcement", "\n\nRabid Neurosis (RNS) was an MP3 warez release organization which was founded in 1996, following in the footsteps of Compress 'Da Audio (CDA), the first MP3 piracy group. In 1999, the group claimed to have released over 6,000 titles a year. RNS occasionally used the tagline \"Rabid Neurosis - Spread The Epidemic.\" RNS were best known for releasing highly anticipated albums by hip hop, pop, rock and dance artists weeks and sometimes months before their official release date. RNS is known to have greatly contributed to the mp3 scene.\n\nTheir last release was Fall Out Boy's Infinity on High on January 19, 2007.\n\nOn September 9, 2009, four members of the defunct group were indicted by the United States Department of Justice for conspiracy to commit copyright infringement. They included Adil R. Cassim (who used the handle 'Kali' and later 'Blazini'), Matthew D. Chow ('rl'), Bennie L. Glover ('adeg') and Edward L. Mohan II ('MistaEd'). Adil Cassim took over leadership of the group in 2000 after the departure of the former leader 'Al_Capone', and had previously been a member of other mp3 warez groups HNA and RPB before they merged with RNS.\n\nOn March 19, 2010, Matthew Chow, identified as a member of the group, was found not guilty of conspiracy to commit criminal infringement. Federal authorities charged Chow with a single count of conspiracy to commit copyright infringement, which carries a maximum sentence of five years in prison and a $250,000 fine. Of the five other members of RNS, Adil Cassim of California was also found not guilty. Four other RNS members pleaded guilty to copyright infringement.\n\nSee also\n How Music Got Free\n Warez scene\n Warez group\n Topsite (warez)\n Standard (warez)\n\nReferences\n\nFurther reading\n\nExternal links\n \nWarez groups" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels," ]

[ "Day of the Cheetah is a 1989 technothriller novel written by former US Air Force officer Dale Brown. It is part of Brown's Patrick McLanahan series of novels. A number of key characters were killed in Day of the Cheetah, only to reappear in later books, as when DotC was first written, Brown did not intend to write any further books in the series. Some parts of the plot were passively referenced in Brown's 1991 novel Sky Masters, which is set two years before most of the events in Cheetah.\n\nPremise\nSet in the then-future of 1996, Day of the Cheetah details the story of US Air Force pilot Kenneth Francis James, who is actually a Soviet KGB deep-cover agent assigned to the US High-Technology Aerospace Weapons Center (HAWC) at Groom Lake. His job at the secret base involves testing the highly advanced XF-34 Dreamstar, which is equipped with a thought-control interface.\n\nJames hijacks the fighter, causing Patrick McLanahan and the rest of the HAWC crew to try to recover or destroy the plane before it reaches the USSR. The Cheetah mentioned in the novel is the XF-15F Cheetah, which is an experimental service version of the real-life F-15 S/MTD, often used as the Dreamstar's chase plane. The Dreamstar is recovered after a number of aerial dogfights over Arizona, the Caribbean, and Costa Rica, but the fallout generated by the incident forces the closure of HAWC.\n\nReception\nReviewer Newgate Callendar in the New York Times said the novel \"puts us in the cockpit\" and \"gives us quite a ride.\" He praised the flying sequences, but said otherwise it was a \"standard Big Book with a very large cast of stereotypes.\" Day of the Cheetah was Brown's first best seller as a hardcover edition, following two previous paperback bestsellers. It reached number five on the New York Times paperback fiction best seller list in June 1990.\n\nReferences\n\nExternal links\nDay of the Cheetah section at Megafortress.com)\n\n1989 American novels\nNovels by Dale Brown\nTechno-thriller novels\nAmerican thriller novels\nFiction set in 1996\nAviation novels\nNovels set in the future", "Betsey Brown is an African-American literature novel by Ntozake Shange, published in 1985.\n\nPlot\nBetsey Brown is the story of an adolescent African-American girl growing up in 1959 St. Louis, Missouri, who is part of the first generation of students to be integrated in the public school system. She navigates common adolescent issues such as family dynamics, first love, and identity questions.\n\nMajor themes\nThematic concerns of the novel include African-American family life, coming of age, feminism, and racial freedom. One critic described the narrative structure of the novel as paralleling \"the personal story of Betsey’s attaining self-confidence with the social achievements of the Civil Rights Movement.\" This structure allows Shange to address feminist issues in addition to racial issues.\n\nDevelopment history\nIn order to write the novel, Shange drew on her own experiences growing up in St. Louis, but the resulting novel is not entirely autobiographical. Nevertheless, like Betsey Brown, Shange really did know such African-American celebrities as Chuck Berry and W. E. B. Du Bois.\n\nPublication history\nBetsey Brown was published in 1985 by St. Martin's Press.\n\nExplanation of the novel's title\nSet in the aftermath of Brown v. Board of Educationm —the landmark case in which the US Supreme Court ruled that laws establishing separate public schools for black and white students were unconstitutional—the novel is eponymous.\n\nLiterary significance and reception\nThough perhaps the least known of Shange's work, the novel has been called \"a little gem.\"\n\nAdaptations\nShange adapted the novel into a musical play, which has been performed in various cities.\n\nReferences\n\nExternal links\n Video of Ntozake Shange discussing growing up in St. Louis.\nNtozake Shange Papers, 1966-2016; Barnard Archives and Special Collections, Barnard Library, Barnard College.\n\nAfrican-American novels\n1985 American novels\nFiction set in 1959\nNovels set in St. Louis\nLiterature by African-American women\nNovels by Ntozake Shange\nAmerican young adult novels\nAmerican novels adapted into plays" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels,", "Did brown write novels?", "his 2003 novel The Da Vinci Code." ]

[ "If They Give You Lined Paper, Write Sideways is a book by Daniel Quinn, author of Ishmael. It is presented as a dialog between Quinn and a reader of his books, and is intended to answer the question, \"How do you do what you do?\"\n\nThe title is quite similar to a quotation attributed to Juan Ramón Jiménez (24 December 1881 – 29 May 1958): \"If they give you ruled paper, write the other way.\"\n\nNovels by Daniel Quinn\n2007 American novels\nSelf-reflexive novels", "The Katy series is a set of novels by Sarah Chauncey Woolsey, writing under the pen-name of Susan Coolidge. The first in the series, What Katy Did, was published in 1872 and followed the next year by What Katy Did at School. What Katy Did Next was released in 1886. Two further novels, Clover (1888) and In the High Valley (1890), focused upon other members of the eponymous character's family. The series was popular with readers in the late 19th century.\n\nThe series was later adapted into a TV series entitled Katy in 1962, and two films, one also called Katy in 1972 and What Katy Did in 1999.\n\nNovels\n What Katy Did\n What Katy Did at School\n What Katy Did Next\n Clover\n In the High Valley\n\nAdaptions\n Katy (TV series, 1962)\n Katy (film, 1972)\n What Katy Did (film, 1999)\n\nLiterary Criticism\nCritics are divided about how much the series played into period gender norms and often compare the series to Little Women. Foster and Simmons argue for its subversion of gender in their book What Katy Read: Feminist Re-Readings of ‘Classic’ Stories for Girls by suggesting the series “deconstructs family hierarchies”.\n\nInfluence\nThe series is unusual for its time by having an entry which focuses not on the family life at home but at school in What Katy Did at School.\n\nIn a 1995 survey, What Katy Did was voted as one of the top 10 books for 12-year-old girls.\n\nSee also\n\nSarah Chauncey Woolsey\n\nReferences\n\nExternal links\nSeries details at Fantastic Fiction\n\nKaty series\n1870s novels\nNovel series\nSeries of children's books\nNovels by Susan Coolidge\n1880s novels\n1890s novels\n1962 American television series debuts\n1972 films\n1999 films" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels,", "Did brown write novels?", "his 2003 novel The Da Vinci Code.", "What other novels did he write?", "Angels & Demons (2011-12)." ]

[ "Protection of Classics is a provision of intellectual property law that is included in the Copyright Acts of Scandinavian countries. According to this stipulation, it is forbidden to treat a work of art in a manner which violates cultural interests after the death of the author. This concerns also cases in which the copyright is no longer in force or has never existed, that is, material in the public domain.\n\nThe Copyright Acts of the Nordic countries resemble each other because important legislation used to be drafted jointly in these countries and that applied also to the copyright act preparation during the 1930s–1950s.\n\nIn most Nordic countries, there have been cases in which the prohibition has been imposed. Several cases exist in Norway, two in Denmark, and one in Finland. For instance in Denmark, it was ruled that also the Gospels are protected by this paragraph of the Copyright Act. In Finland, several translated children's books (including Alice's Adventures in Wonderland) were banned in May 1962 because of the poor quality and clandestine abridgement of the translations. After appeals, the Supreme Court of Finland upheld the prohibition issued by the Finnish Ministry of Education.\n\nSee also\n\nReferences\n\nCopyright law in Europe\nNordic law\nCopyright infringement of fictional characters\nPersonality rights\nUnofficial adaptations", "United Dictionary Co. v. G. & C. Merriam Co., 208 U.S. 260 (1907), was a United States Supreme Court case in which the Court held the copyright statute does not require notice of the American copyright on books published abroad and sold only for use there.\n\nReferences\n\nExternal links\n \n\n1907 in United States case law\nUnited States copyright case law\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Fuller Court" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels,", "Did brown write novels?", "his 2003 novel The Da Vinci Code.", "What other novels did he write?", "Angels & Demons (2011-12).", "Were there other copyright cases?", "Brown has been sued twice in U.S. Federal courts by the author Jack Dunn who claims Brown copied a huge part of his book The Vatican Boys" ]

[ "In United States law, a lis pendens (Latin for \"suit pending\" ) is a written notice that a lawsuit has been filed concerning real estate, involving either the title to the property or a claimed ownership interest in it. The notice is usually filed in the county land records office. Recording a lis pendens against a piece of property alerts a potential purchaser or lender that the property’s title is in question, which makes the property less attractive to a buyer or lender. Once the notice is filed, the legal title of anyone who purchases the land or property described in the notice is subject to the outcome of the lawsuit.\n\nGenesis and usages \nLis pendens may refer to any pending lawsuit or to a specific situation with a public notice of litigation that has been recorded in the same location where the title of real property has been recorded. This notice secures a plaintiff's claim on the property so that a sale, mortgage, or encumbrance of the property will not diminish the plaintiff's rights to the property, should the plaintiff prevail in its case. In some jurisdictions, when the notice is properly recorded, lis pendens is considered constructive notice to other litigants or other unrecorded or subordinate lienholders.\n\nThe recording office will record a lis pendens upon request of anyone who claims to be entitled to do so (such as because the person has filed a lawsuit). If someone else with an interest in the property (such as the owner) believes the lis pendens is not proper, he can then file suit to have it expunged.\n\nSome states' lis pendens statutes require the filer of the notice, in the event of a challenge to the notice, to establish that it has probable cause or a reasonable likelihood of success on the merits of its case in the underlying lawsuit. Other states do not have such a requirement.\n\nHistory \nUnder the common law, the mere existence of a lawsuit potentially affecting the title to real property had the legal effect of putting the entire world on constructive notice of the suit; anyone acquiring an interest in real property which was the subject of a pending suit took that interest subject to the litigants' rights as they might be eventually determined, no matter how much later. In effect, nothing relating to the ownership of the subject matter of the suit could be definitively changed while the suit was pending. Without publication of the existence of a lawsuit, innocent buyers might discover the existence of a lawsuit too late.\n\nThe harsh effect of this rule, and its effect on innocent purchasers, led many jurisdictions to enact lis pendens statutes requiring a written notice, usually recorded in the land records where the real estate is located, for the notice provisions of the rule to be effective. Typically, a separate recorded instrument is required by statute if the lawsuit in question affects title to real property. If the statutory requirements are met, the world is put on \"constructive notice\" of the existence of the suit, and any person acquiring an interest later does so subject to the outcome of the suit.\n\nEffect \nLis pendens is taken as constructive notice of the pending lawsuit, and it serves to place a cloud on the title of the property in question until the suit is resolved and the notice released or the lis pendens is expunged. Careful buyers will be unwilling to purchase land subject to a lis pendens or will only purchase the land at a discount, prudent lenders will not lend money against the security of the land, and title insurance companies will not insure the title to such land: title is taken subject to the outcome of the lawsuit. Because so much real property is purchased with borrowed money, this usually keeps the owner from selling the property. It also may keep the owner from borrowing money secured by the property (such as to pay the costs of defending the suit).\n\nIt is important to note that the presence of a lis pendens does not prevent or necessarily invalidate a transfer of the property, although it makes such a transfer subject to the outcome of the litigation. Thus, the owner is not prevented from selling the land for (non-borrowed) cash, pledging it as security for a speculative loan, or giving it away, all subject to the outcome of the lawsuit. However, once the lis pendens is recorded, the recipient (a \"purchaser\" or \"grantee pendente lite\") would be deemed to have notice of the litigation and might lose their title to the property if the plaintiff's suit prevails.\n\nWhile it is generally thought of in connection with real property (land, buildings, and the like), the doctrine of lis pendens also applies to personal property. Frequently, lis pendens statutes only apply to real property, so the common-law doctrine probably still applies to personal property.\n\nSee also\n\n Lis alibi pendens\n\nReferences \n\nLatin legal terminology\nReal property law", "The outcome bias is an error made in evaluating the quality of a decision when the outcome of that decision is already known. Specifically, the outcome effect occurs when the same \"behavior produce[s] more ethical condemnation when it happen[s] to produce bad rather than good outcome, even if the outcome is determined by chance.\"\n\nWhile similar to the hindsight bias, the two phenomena are markedly different. Hindsight bias focuses on memory distortion to favor the actor, while the outcome bias focuses exclusively on weighting the past outcome heavier than other pieces of information in deciding if a past decision was correct.\n\nOverview\nOne will often judge a past decision by its ultimate outcome instead of based on the quality of the decision at the time it was made, given what was known at that time. This is an error because no decision-maker ever knows whether or not a calculated risk will turn out for the best. The actual outcome of the decision will often be determined by chance, with some risks working out and others not. Individuals whose judgments are influenced by outcome bias are seemingly holding decision-makers responsible for events beyond their control.\n\nBaron and Hershey (1988) presented subjects with hypothetical situations in order to test this.\nOne such example involved a surgeon deciding whether or not to do a risky surgery on a patient. The surgery had a known probability of success. Subjects were presented with either a good or bad outcome (in this case living or dying), and asked to rate the quality of the surgeon's pre-operation decision. Those presented with bad outcomes rated the decision worse than those who had good outcomes. \"The ends justify the means\" is an often used aphorism to express the Outcome effect when the outcome is desirable.\n\nThe reason why an individual makes this mistake is that he or she will incorporate currently available information when evaluating a past decision. To avoid the influence of outcome bias, one should evaluate a decision by ignoring information collected after the fact and focusing on what the right answer is, or was at the time the decision was made.\n\nOutside of psychological experiments, the outcome bias has been found to be substantially present in real world situations. A study looking at the evaluation of football players' performance by coaches and journalists found that players' performance is judged to be substantially better—over a whole match—if the player had a lucky goal rather than an unlucky miss (after a player's shot hit one of the goal posts).\n\nSee also\n Deontology vs. teleology and consequentialism (ethical theories)\n Group attribution error\n Historian's fallacy\n List of cognitive biases\n\nReferences\n\nCognitive biases" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels,", "Did brown write novels?", "his 2003 novel The Da Vinci Code.", "What other novels did he write?", "Angels & Demons (2011-12).", "Were there other copyright cases?", "Brown has been sued twice in U.S. Federal courts by the author Jack Dunn who claims Brown copied a huge part of his book The Vatican Boys", "What was the outcome of that lawsuit?", "). Both lawsuits were not allowed to go to a jury trial." ]

[ "A party is a individual or group of individuals that compose a single entity which can be identified as one for the purposes of the law. Parties include: plaintiff (person filing suit), defendant (person sued or charged with a crime), petitioner (files a petition asking for a court ruling), respondent (usually in opposition to a petition or an appeal), cross-complainant (a defendant who sues someone else in the same lawsuit), or cross-defendant (a person sued by a cross-complainant). A person who only appears in the case as a witness is not considered a party.\n\nCourts use various terms to identify the role of a particular party in civil litigation, usually identifying the party that brings a lawsuit as the plaintiff, or, in older American cases, the party of the first part; and the party against whom the case was brought as the defendant, or, in older American cases, the party of the second part. In a criminal case in Nigeria and some other countries the parties are called prosecutor and defendant\n\nSee also \n Erga omnes\n Ex parte proceeding\n Inter partes proceeding\n Intervention (law)\n\nReferences\n\nLegal terminology\nLaw", "Nolé Marin (born October 22, 1969) is the former owner/director of AIM Model Management in New York City until the agency was closed in 2016 after declaring bankruptcy due to his booking agent and several of his models' accusations of wage theft.\n\nHe was a judge on the reality shows America’s Next Top Model and True Beauty. True Beauty was named 'The Worst Show in TV Broadcast history''' by Jezebel (website) and was subsequently cancelled after two seasons.\n\n Legal issues \nNicholas Hamman-Howe sued Marin in 2010 for allegedly \"attempting to exchange career help for sex\".\n\nIn 2016, Marin's booking agent Darrin Judkins'' sued him for failing to pay him wages owed over several months. Later in 2016, several of his models including Louisa Warwick, Devon White, Laura O'Neall, Lana Khanashevich, John Paul Pfeiffer and Patrick Kinnane sued him for failing to pay them for more than $500,000 owed from jobs. \n\nIn 2017, Marin declared bankruptcy after failing to pay any of the money owed to his employee and models at his agency. He declared bankruptcy claiming $105,903 in liabilities and only $621 in assets.\n\nReferences \n\n1969 births\nLiving people\nFashion stylists" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels,", "Did brown write novels?", "his 2003 novel The Da Vinci Code.", "What other novels did he write?", "Angels & Demons (2011-12).", "Were there other copyright cases?", "Brown has been sued twice in U.S. Federal courts by the author Jack Dunn who claims Brown copied a huge part of his book The Vatican Boys", "What was the outcome of that lawsuit?", "). Both lawsuits were not allowed to go to a jury trial.", "Who else sued him?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism," ]

[ "Anyone Else may refer to:\n \"Anyone Else\" (Collin Raye song), 1999\n \"Anyone Else\" (Matt Cardle song), 2012", "Thompson v. City of Louisville, 362 U.S. 199 (1960), was a decision of the United States Supreme Court in which the Court unanimously held that it is a violation of due process to convict a person of an offense when there is no evidence of his guilt. It is one of the rare instances of the Supreme Court's granting certiorari to review a decision of a court so insignificant (the Police Court of Louisville, Kentucky) that state law does not provide any mechanism for appeals from its judgments.\n\nThe case is sometimes referred to as the \"Shuffling Sam\" case, because the petitioner Sam Thompson was known locally as \"Shuffling Sam.\" The Court noted, \"There is no evidence that anyone else in the cafe objected to petitioner's shuffling his feet in rhythm with the music of the jukebox.\"\n\nAssociate Justice Hugo Black delivered the opinion of the court. The case was briefed and argued for Thompson by several notable former Supreme Court law clerks.\n\nBackground\n\nArrest and proceedings in lower court\n\nAs stated in the opinion of the Supreme Court, Sam Thompson went into the Liberty End Café in Louisville on a Saturday evening. Two policemen came into the café and observed Sam \"out there on the floor dancing by himself.\" The officers accosted Thompson and asked him what he was doing, \"and he said he was waiting on a bus.\" The officers then arrested him for loitering, and took him outside. Thompson remonstrated – he \"was very argumentative – he argued with us back and forth, and so then we placed a disorderly conduct charge on him.\" That was the entire record that the prosecution put on at the trial, except for a record showing a total of 54 previous arrests.\n\nThe Louisville city ordinance under which petitioner was convicted of loitering reads as follows:\n\n\"It shall be unlawful for any person . . . , without visible means of support, or who cannot give a satisfactory account of himself, . . . to sleep, lie, loaf, or trespass in or about any premises, building, or other structure in the City of Louisville, without first having obtained the consent of the owner or controller of said premises, structure, or building; . . .\"\n\nThompson's counsel unsuccessfully sought dismissal of the charges on the ground that a judgment of conviction on this record would deprive Thompson of property and liberty without due process of law under the Fourteenth Amendment, in that there was no evidence to support findings of guilt.\n\nThompson then put in evidence that he was waiting for a bus to his home that was due in an hour or less, that he was a regular customer at the café, and that he was not unwelcome in the café. There was no evidence that \"anyone else in the café objected to [Sam's] shuffling his feet in rhythm with the music of the jukebox, or that his conduct was boisterous or offensive to anyone present.\"\n\nThe Police Court found Thompson guilty of both charges and fined him $10 on each charge.\n\nProcedural issues concerning appellate review\nPolice court fines of less than $20 on a single charge are not appealable or otherwise reviewable in any other Kentucky court. Thompson's counsel therefore asked the police court to stay the judgments so that he might have an opportunity to apply for certiorari to the U.S. Supreme Court to review the due process contentions he raised. The police court suspended judgment for 24 hours, during which time a longer stay from the Kentucky Circuit Court was sought. That court, after examining the police court's judgment and transcript, granted a stay, concluding that \"there appears to be merit\" in the contention that \"there is no evidence upon which conviction and sentence by the Police Court could be based.\"\n\nThe city then sought to appeal, and the Kentucky Court of Appeals held that the Circuit Court lacked the power to grant the stay that it had granted, but the Court of Appeals sua sponte granted its own stay, because Thompson \"appears to have a real question as to whether he has been denied due process under the Fourteenth Amendment of the Federal Constitution, yet this substantive right cannot be tested unless we grant him a stay of execution because his fines are not appealable and will be satisfied by being served in jail before he can prepare and file his petition for certiorari. Appellee's substantive right of due process is of no avail to him unless this court grants him the ancillary right whereby he may test same in the Supreme Court.\" The U.S. Supreme Court then granted certiorari.\n\nOpinion of the Court\n\nThe Supreme Court reviewed the evidentiary record and found \"no evidence whatever in the record to support these convictions.\" It then held that it is \"a violation of due process to convict and punish a man without evidence of his guilt.\" The Supreme Court did not state whether the state's action violated procedural or substantive due process, but it is generally considered that the Court found a violation of substantive due process.\n\nSubsequent developments\nA commentator criticized the Court's opinion as \"mak[ing] a deep incursion upon basic principles of federalism\" by re-characterizing evidence of conduct that the Court deemed protected activity as \"no evidence\" of crime.\n\nAccording to Court Listener, this case has been cited approximately 16,000 times as of July 2015.\n\nReferences\n\nExternal links\n \n\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Warren Court\nUnited States criminal due process case law\n1960 in United States case law\nHistory of Louisville, Kentucky" ]

[ "Dan Brown", "Copyright infringement cases", "Did Brown commit copyright infringement?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism, on the basis of claimed similarity between The Da Vinci Code and his novels,", "Did brown write novels?", "his 2003 novel The Da Vinci Code.", "What other novels did he write?", "Angels & Demons (2011-12).", "Were there other copyright cases?", "Brown has been sued twice in U.S. Federal courts by the author Jack Dunn who claims Brown copied a huge part of his book The Vatican Boys", "What was the outcome of that lawsuit?", "). Both lawsuits were not allowed to go to a jury trial.", "Who else sued him?", "In August 2005 author Lewis Perdue unsuccessfully sued Brown for plagiarism,", "Did anyone else take him to court?", "In April 2006 Brown's publisher, Random House, won a copyright infringement case brought by authors Michael Baigent and Richard Leigh," ]

[ "Contributory copyright infringement is a way of imposing secondary liability for infringement of a copyright. It is a means by which a person may be held liable for copyright infringement even though he or she did not directly engage in the infringing activity. In the United States, the Copyright Act does not itself impose liability for contributory infringement expressly. It is one of the two forms of secondary liability apart from vicarious liability. Contributory infringement is understood to be a form of infringement in which a person is not directly violating a copyright but, induces or authorises another person to directly infringe the copyright.\n\nThis doctrine is a development of general tort law and is an extension of the principle in tort law that in addition to the tortfeasor, anyone who contributed to the tort should also be held liable.\n\nRequirements \nThe requirements for fulfilling the threshold of contributory infringement and imposing liability for copyright infringement on a party are-\n The defendant having knowledge of a direct infringement; and\n The defendant materially contributing to that infringement.\nContributory infringement leads to imposition of liability in two situations. First situation is when the defendant, through his conduct, assists in the infringement, and the second situation is when the means for facilitating the infringement such as machinery is provided by the defendant.\n\nKnowledge \nThe knowledge requirement for contributory infringement is an objective assessment and stands fulfilled if the defendant has actual or constructive knowledge of an infringement, i.e., if he or she has reason to believe that an infringement is taking place. But, constructive knowledge need not be imputed to the defendant if the product was capable of significant noninfringing uses.\n\nMaterial contribution \nMaterial contribution is the second requirement of contributory infringement. For instance, merely providing facilities or the site for an infringement might amount to material contribution. But, some courts put emphasis on the contribution to be 'substantial' and therefore, would hold that providing equipment and facilities for infringement is not in itself determinative of material contribution.\n\nDifference from vicarious liability \nVicarious liability is another form of secondary liability for copyright infringement through which a person who himself has not directly infringed a copyright can, nevertheless, be held liable. The requirements for attracting vicarious liability under copyright law are-\n The defendant had the right to control the infringing activity; and\n The defendant derives a financial or commercial benefit from the infringement\nUnlike contributory infringement, vicarious liability can be imposed even in the absence of any intent or knowledge on part of the defendant. In the Napster case, the Court of Appeals for the Ninth Circuit observed:\n\n\"In the context of copyright law, vicarious liability extends beyond an employer/employee relationship to cases in which a defendant \"has the right and ability to supervise the infringing activity and also has a direct financial interest in such activities.\"\n\nIn the United States \nIn the United States of America, the doctrine of contributory infringement is based on the 1911 case of Kalem v Harper Brothers. The ingredients of contributory infringement were laid down in the Second Circuit Court of Appeals decision in Gershwin Publishing Corp v Columbia Artists Management Inc. in which the court said that contributory infringement is said to happen when someone, with knowledge of the infringing activity, induces, causes, or materially contributes to the infringing conduct of another.\nThis doctrine was developed in the context of the 1909 Copyright Act which did not have any reference to contributory infringement. But, the 1976 Act recognised the exclusive right of a copyright owner 'to do and to authorize' the rights attached to a copyright enumerated in the Act. The words 'to authorize' were meant to bring contributory infringements within the purview of the Act. But, still, the Act did not specify the requirements of such forms of infringement and left its application to the discretion of courts.\n\nSony Betamax case \nThe case of Sony Corp v Universal City Studios Inc, commonly known as the Betamax case, gave the United States Supreme Court its first opportunity to comprehensively look into and interpret the rules regarding secondary liability and contributory infringement in context of the 1976 Copyright statute. The primary issue in this case was whether a VCR manufacturing company could be held liable for copyright infringements done by its customers. \nThe court held that secondary liability for copyright infringements was not a foreign concept to US Copyright law and it was well enshrined in the copyright law of the United States. In the court's own words\n\nBut, in this case, the Court held that Sony did not have actual knowledge of the infringing activities of its customers. At the most it could be argued that Sony had constructive knowledge of the fact that \"its customers may use that equipment to make unauthorised copies of copyrighted material.\" The court then relied on the \"staple article of commerce\" doctrine of patent law and applied it to copyrights. The 'staple article of commerce' defence is available under Patent law in the United States and it lays down that when an infringing article is capable of 'substantial non infringing uses', it would become a 'staple article of commerce' and therefore, not attract any liability for infringement.\n\nBased on this reasoning, it was held\n\nSince the Betamax was capable of \"significant noninfringing uses\", Sony was not held liable for contributory infringement.\n\nContributory infringement in P2P services \nContributory infringement has been the central issue in the cases involving 'peer to peer' services such as Napster, Aimster, Grokster and Morpheus. The courts have applied the Sony Betamax ratio differently in all these cases. For instance, Napster was held liable for contributory infringement. But, a similar service like Grokster was not held liable for contributory infringement as in this case, a district court, grounding its reasoning on the Sony Betamax decision, held that secondary liability could not be applied to peer to peer services.\n\nA&M Records v Napster \nNapster was the first peer to peer service to be subject to copyright infringement litigation. In the Napster case, the issue was regarding the infringement of copyrights through the 'Music Share' software of Napster. Whenever this software was used on a computer system, it would collect information about the MP3 files stored on the computer and send it to Napster servers. Based on this information, the Napster created a centralized index of files available for download on the Napster network. When someone wanted to download that file, the Music Share software would use the Napster index to locate the user who already had that file on their system and then connect the two users directly to facilitate the download of the MP3 file, without routing the file through Napster's servers.\n\nThe Ninth Circuit Court of Appeals found Napster liable for both \"contributory infringement\" and \"vicarious infringement\". Regarding the issue of contributory infringement, the court held that Napster had \"actual knowledge\" of infringing activity, and providing its software and services to the infringers meant that it had \"materially contributed\" to the infringement. It was held that the defense in Sony was of \"limited assistance to Napster\". The test whether a technology is capable of substantial non infringing uses was relevant only for imputing knowledge of infringement to the technology provider. But, in Napster's case, it was found that Napster had \"actual, specific knowledge of direct infringement\", and therefore, the Sony test would not be applicable.\n\nIn Re Aimster \nIn In re Aimster, the Seventh Circuit was called upon to decide the liability of peer to peer sharing of music files through the Instant Messaging services provided by Aimster. Aimster had argued that the transmission of files between its users was encrypted and because of that, Aimster could not possibly know the nature of files being transmitted using its services. But, the Seventh circuit Court of Appeals affirmed the decision of the district court which had issued a preliminary injunction against Aimster. \nIt was found that Aimster had knowledge of the infringing activity. Its tutorial showed examples of copyrighted music files being shared. Also, the 'Club Aimster' service provided a list of 40 most popular songs made available on the service. It was also held that the encrypted nature of the transmission was not a valid defence as it was merely a means to avoid liability by purposefully remaining ignorant. It was held that 'wilful blindness is knowledge, in copyright law..\"\nThe Sony defence raised by Aimster was also rejected because of the inability of Aimster to bring on record any evidence to show that its service could be used for non infringing uses. Lastly, Aimster could also not get benefit of DMCA 'safe harbor' provisions because it had not done anything to comply with the requirements of Section 512. Instead, it encouraged infringement.\n\nMGM Studios v Grokster \nThe District Court for the Central District of California, in MGM Studios v Grokster, held that the peer to peer services Morpheus and Grokster were not liable for copyright infringements carried out by their users. Unlike Napster, these services did not maintain a centralised index. Instead, they created ad hoc indices known as supernodes on the users computers. Sometimes, the software operated without creating any index at all. Thus, it was held that Grokster and Morpheus had no way of controlling the behaviour of their users once their software had been sold, just like Sony did with Betamax. \nIt was found that the defendants did have knowledge of infringement because of the legal notices sent to them. But, it was also held that to attract liability under contributory infringement, there should be knowledge of a specific infringement at the precise moment when it would be possible for the defendant to limit such infringement. Also, it was found that there was no material contribution. For this, the court relied on Sony and compared the technology to that of a VCR or a photocopier to hold that the technology was capable of both infringing as well as non infringing uses.\nGrokster differs from Sony, as it looks at the intent of the defendant rather than just the design of the system. As per Grokster, a plaintiff must show that the defendant actually induced the infringement. The test was reformulated as \"one who distributes a device with the object of promoting its use to infringe copyright, as shown by clear expression or other affirmative steps taken to foster infringement, is liable for the resulting acts of infringement by third parties.\"\n\nDigital Millennium Copyright Act \nThe Digital Millennium Copyright Act's Title II, known as the Online Copyright Infringement Liability Limitation Act, provides a safe harbor for online service providers and internet service providers against secondary liability for copyright infringements provided that certain requirements are met. Most importantly, the service provider must expeditiously take down or limit access to infringing material on its network if it receives a notification of an infringement.\n\nCommunications Decency Act\nimmunity under the communications Decency Act does not apply to copyright infringement as a cause of action.\n\nInducing Infringements of Copyright Bill \nThe Inducing Infringement of Copyrights Act, or the INDUCE Act, was a 2004 proposal in the United States Senate which meant to insert a new subsection '(g)' to the existing Section 501 of the Copyright Act which defines 'infringement'. The proposed amendment would provide that whoever intentionally induces a violation of subsection (a) would be liable as an infringer. The term 'intentionally induces' has been defined in the bill as-\n\"intentionally aids, abets, induces, or procures, and intent may be shown by acts from which a reasonable person would find intent to induce infringement based upon all relevant information about such acts then reasonably available to the actor, including whether the activity relies on infringement for its commercial viability\".\n\nIn the European Union \n\nIn the European Union, the European Court of Justice has issued several rulings on related matters, mainly based on the InfoSoc Directive and E-Commerce Directive and focused on what constitutes an act of \"communication to the public\" or of \"making available\".\n\nIn India \nSection 51 of the Copyright Act, 1957 deals with copyright infringement in India. Section 51(a)(i) provides for when an infringement of copyright is deemed to have taken place. It states that when somebody does anything, the exclusive right to which is conferred on a copyright owner, without first securing a license to do so from the copyright owner or in contravention of a license, the copyright shall be deemed to have been infringed.\nThe basis for contributory infringement under Indian copyright law can be found in Section 51(a)(ii) which states that when someone 'permits for profit any place to be used for the communication of the work to the public where such communication constitutes an infringement of the copyright in the work, unless he was not aware and had no reasonable ground for believing that such communication to the public would be an infringement of copyright', then also, the copyright shall be deemed to have been infringed. \nSecondary infringement itself can be subdivided into two categories- activities that assist primary infringements, and activities that accentuate the effects of the primary infringement. Section 51(a)(ii) deals with cases in which somebody assist the primary infringement. Section 51(a)(ii) itself gives the defense which can be taken by a defendant to avoid liability under this provision, i.e., the defendant was not aware or had no reasonable ground for believing that the communication to the public would be an infringement of the copyright.\nSection 51(b) deals with situations in which the effects of an already existing primary infringement are accentuated by the actions of the defendant. Section 51(b) provides that a copyright infringement will also be deemed to have taken place if a person sells, distributes, imports or exhibits in public by way of trade an infringing copy of a copyright-protected work.\nTherefore, Section 51(a)(ii) and Section 51(b) are the statutory basis for secondary liability in India including contributory infringement.\n\nInformation Technology Act, 2000 \nThe Information Technology Act, 2000 (\"IT Act\") contains specific provisions dealing with liabilities of Internet Service Providers. These provisions provide for 'safe harbors' for Internet Service Providers. Section 2(w) of the IT Act defines an 'intermediary' as 'intermediary with respect to any particular electronic message means any person who on behalf of another person receives, stores or transmits that message or provides any service with respect to that message'. Due to this wide definition, almost every entity, including ISPs, search engines and online service providers can get the benefit of the safe harbor provisions in the IT Act.\nSection 79 of the IT Act provides that an intermediary shall not be liable for any third-party information, data, or communication link made available or hosted by the intermediary. But, an intermediary will get the benefit of the safe harbor provisions only if it satisfies certain conditions. The intermediaries function should be limited to providing access to a communication system, the intermediary should not initiate the transmission, select the receiver or modify the transmission and should observe the guidelines formulated by the Central Government in this regard.\nThe 'IT (Intermediary guidelines) Rules 2011' have been formulated to specify the conditions that an intermediary must satisfy to get the protection of safe harbor provisions. As per these guidelines, the intermediary must observe due diligence measures specified under Rule 3 of the guidelines. For instance, the intermediary should take down any infringing material on its network within thirty-six hours of the infringement being brought to its notice.\n\nMy Space Inc. vs Super Cassettes Industries Ltd. \nIn December, 2016, the Delhi High Court reversed the judgment passed by a single judge bench earlier to hold that unless 'actual knowledge' was proved, an intermediary could not be held liable for contributory copyright infringement.\nIn 2008, T-Series (Super Cassettes) had instituted a copyright infringement suit against MySpace for hosting infringing material in which Super Cassettes was the copyright owner, without first obtaining a license. The infringing material primarily consisted of sound recordings. It was alleged that MySpace was commercially exploiting the works of T Series by including advertisements with the works made available by it. The Single Judge had held that MySpace was guilty of copyright infringement under Section 51 of the Copyright Act and the benefit of safe harbor provisions under Section 79 of the IT Act were not available to it in light of Section 81 of the IT Act.\nThe judgment of the single judge was reversed on the following grounds-\n No Actual Knowledge\nLiability under Section 51(a)(ii) can be avoided by the defendant if he or she is able to show that he or she did not have any knowledge of the infringing act or that he or she did not have any reason to believe that the communication would amount to an infringement. Super Cassettes had argued that 'place' under Section 51(a)(ii) includes a virtual space similar to the one provided by MySpace. It was argued that MySpace had knowledge of the infringement based on the fact that it had incorporated safeguard tools to weed out infringing material and that it invited users to upload and share content. Therefore, it was argued that there was implied knowledge. The Court held that to qualify as knowledge there should be awareness in the form of \"actual knowledge\" as opposed to just general awareness. Without specific knowledge of infringements, the intermediary could not be said to have reason to believe that it was carrying infringing material. Therefore, there was a duty on the plaintiff to first identify specific infringing material before knowledge could be imputed to the defendant.\n Safe Harbor under Section 79 of IT Act\nSection 79 of the IT Act provides safe harbor to intermediaries provided certain conditions are met by them. But, Section 81 of the IT Act also states that nothing in the IT Act shall restrict the rights of any person under the Copyright Act, 1957. The single judge had interpreted Section 81 to mean that safe harbor under IT Act is not applicable in cases of Copyright Infringement.\nThe Court reversed this and held that Section 79 starts with a non obstante clause and precludes the application of any other law including Copyright law. Thus, any restriction on safe harbor provisions such as Section 81 can be read-only within the limits of Section 79. Also, the IT Act and the Copyright Act should be construed harmoniously given their complementary nature.\nFurther, MySpace's role was limited to providing access to a communication system. It only modified the format and not the content and even this was an automated process. Therefore, there was no material contribution also. To amount to an infringement under Section 51 of the Copyright Act, the authorization to do something which was part of an owner's exclusive rights requires more than merely providing the means or place for communication. To be held liable for being an infringer on the grounds of authorization, it was necessary to show active participation or inducement.\nTherefore, Section 79 is available in cases of copyright infringement also provided the conditions under the Act and Intermediary Guidelines, 2011 are fulfilled. Since MySpace had fulfilled these requirements, it was given the protection of Section 79 of IT Act.\n\nSee also \n Copyright law of India\n Copyright law of the United States of America\n Secondary Liability\n Copyright Act, 1976\n Digital Millennium Copyright Act\n Information technology Act, 2000\n\nReferences\n\nInfringement\nOrganized crime\nOrganized crime activity", "Perfect 10, Inc. v. Visa Int'l Serv. Ass'n is a court case in which the pornography magazine Perfect 10 filed a complaint against Visa and MasterCard for copyright infringement and trademark infringement.\n\nBackground \n\nPerfect 10 is a pornography magazine publisher that also markets online subscriptions to www.perfect10.com. Both its magazine and its website feature copyrighted images of nude models. Perfect 10 holds federal copyrights to the photographs published in its magazine and website. Perfect 10 also holds federal trademark rights to the use of the term, \"PERFECT 10,\" which prohibits other websites or agencies from using the term.\n\nTimeline of the trial\n\nLawsuits filed against financial institutions \n\nPerfect 10 claimed that many websites have stolen its copyrighted images, misrepresented themselves as if they were affiliated with Perfect 10, and offered the stolen images for sale on the internet. Perfect 10 alleges that the stolen-content websites are engaged in direct copyright infringement.\n\nHowever, Perfect 10 did not directly sue the stolen-content websites. Instead, Perfect 10 sued the financial institutions which process credit card payments to these websites. This is similar to a past lawsuit Perfect 10, Inc. v. Google Inc. in which Google was sued for its search engine popping up results with the stolen-content websites.\n\nIn this case, Perfect 10 sued Visa International, MasterCard International, and several affiliated banks and data processing services, alleging secondary liability under federal copyright and trademark law, secondary liability under California statutory and common law, and violations of California laws proscribing unfair competition and false advertising.\n\nInitial dismissal by US District Court \nInitially, the United States District Court for the Northern District of California dismissed the case. Perfect 10 appealed to the United States Court of Appeals for the Ninth Circuit.\n\nPerfect 10's Appeal: Secondary Liability for Copyright Infringement \n\nPerfect 10 appealed the district court's decision, maintaining that Defendants were guilty of contributory copyright infringement and vicarious copyright infringement. Direct infringement under the Copyright Act, 17 U.S.C. § 101 would apply only to the stolen-content websites. In helping these websites process payments, however, the defendants were allegedly contributing to infringement.\n\nContributory copyright infringement \n\nSince contributory copyright infringement is a secondary liability and distinguishable from direct infringement, Visa could be indicted as a contributory infringer if it had knowledge of the infringing activity of the stolen-content websites, and if it induced or materially contributed to the infringement. The court found the defendants not liable for contributory copyright infringement, because payment processing services do not constitute material contribution to the direct infringement. This is the finding of the majority, although there is much dissent as to what constitutes material contribution.\n\nMaterial contribution \n\nPerfect 10 argued that Defendants had chosen to continue to process credit card payments to the infringing websites, despite having knowledge of ongoing infringement. Perfect 10 argued that the defendants induce, enable, and contribute to the infringing activity of stolen-content websites by persisting in providing payment services and facilities. Perfect 10 drew analogies from prior cases: Fonovisa, A&M Records, Inc. v. Napster, Inc. and MGM v. Grokster. In Fonovisa, the defendant-appellee was accused of providing the \"site and facilities\" for infringement in the form of a swap meet that allowed infringing activity to take place on a large scale and for infringement to be profitable. The Fonovisa court held that the infringers and the swap meet providers were in a mutual enterprise of infringement, and the swap meet providers encouraged infringement, which altogether constituted material contribution and inducement. Perfect 10 argued that Visa was the cyberspace equivalent of such an illicit marketplace, and that without the material contribution of Visa's payment process system, infringement could not have happened on a large scale.\n\nThe court decided that infringement rests on reproduction, alteration, display, and distribution of Perfect 10's images over the Internet. It argued that Visa and its payment processing services were not designed to reproduce or alter copyrighted images. Even if users could not pay for images with credit cards, infringement could still continue on a large scale because other viable funding mechanisms were available.\n\nInducement \n\nIn MGM v. Grokster, the court found that \"one who distributes a device with the object of promoting its use to infringe copyright, as shown by clear expression or other affirmative steps taken to foster infringement, is liable for the resulting acts of infringement by third parties.\" Perfect 10 argued that the defendants induce customers to use their credit cards to purchase goods and services from infringing websites, and are therefore guilty of inducement of infringement.\n\nThe court made the distinction that the software system in A&M Records, Inc. v. Napster, Inc. and MGM Studios, Inc. v. Grokster, Ltd. were engineered and promoted explicitly for the purpose of facilitating infringement of copyrighted music, thereby reducing legitimate sales of such music. In contrast, the defendant's system did not facilitate access to infringing websites. Again, the defendants did not use its payment process system to copy, alter, distribute, or display infringing material. Consumers did not use Visa to locate, view, or download the infringing images. Thus, the court held that infringing websites simply use the defendants' system to process payments.\n\nIn addition, the court ruled that there was no evidence to suggest that the defendants engineered its payment processing system with the intent of promoting its use for infringement because its device was designed to process payment of any type of sales transacted on cyberspace.\n\nThe court also held that no facts suggested that the defendants promoted their payment system as a means to infringe, so inducement could not be established.\n\nVicarious copyright infringement \n\nVicarious copyright infringement is established if Defendants have both the right and ability to supervise the infringing conduct and a direct financial interest in the infringing activity. In this case, Perfect 10 alleged that the defendants had an indirect right and ability to control the content of the infringing websites by refusing to process credit card payments to the websites.\n\nThe court ruled that the defendants could block access to their payment system, but they could not block access to the Internet, and therefore could not block access to the infringing websites nor to the search engines that enabled their discovery. In other words, since the defendants could not directly supervise infringing conduct, they did not have the right and ability to control content, and vicarious infringement could not be established.\n\nSecondary liability for trademark infringement \n\nThere are two kinds of secondary liability for trademark infringement: Contributory trademark infringement and vicarious trademark infringement. While trademark infringement is different from copyright infringement, Perfect 10's arguments in support of trademark infringement were essentially identical to those alleged in Perfect 10's copyright claims, so the court ruled they were not liable for trademark infringement.\n\nContributory trademark infringement \n\nTo be liable for contributory trademark infringement, the defendants would have had to have intentionally induced the primary infringer to infringe, or continued to supply an infringing product to an infringer with knowledge that the infringer is mislabeling the particular product supplied.\" Inwood Labs., Inc. v. Ives Labs., Inc., 456 U.S. 844, 855 (1982).\n\nPerfect 10 alleged that the defendants played a critical role within the stolen-content websites' cycle of business that allowed the direct infringers to be profitable. They also claimed that the websites were using the PERFECT 10 mark in a manner likely to cause the public to believe that these stolen-content websites were authorized by Perfect 10. Perfect 10 continued by saying that Visa can choose to stop processing payments to these websites, which might have the practical effect of stopping or reducing the infringing activity.\n\nThe defendant's payment processing system was not an infringing product in itself, nor was it designed to intentionally induce trademark infringement, so contributory trademark infringement was not established.\n\nVicarious trademark infringement \n\nVicarious liability for trademark infringement requires \"a finding that the defendant and the infringer have an apparent or actual partnership, have authority to bind one another in transactions with third parties or exercise joint ownership or control over the infringing product.\" Hard Rock Café Licensing Corp. v. Concession Servs., Inc., 955 F.2d 1143, 1150.\n\nThe court found that defendants only processed payments to these websites and collected their usual processing fees, which did not constitute joint ownership. It is the websites’ contracts with the consumers that bind the websites to provide the infringing images, not the websites’ relationship with Defendants.\n\nSee also \n Secondary liability\n List of leading legal cases in copyright law\n MGM v. Grokster\n Perfect 10 v. Google\n A&M Records, Inc. v. Napster, Inc.\n\nExternal links \n Text of the court ruling\n Jane Ginsburg, An introduction of secondary liability for copyright infringement by Professor Jane Ginsburg (March, 2006)\n Jane Coleman, Secondary Trademark Infringement: A Short Treatise on Contributory and Vicarious Infringement in Trademark (Revised, Sept. 2010).\n\nUnited States copyright case law\nUnited States Internet case law\n2007 in United States case law\nPerfect 10 (magazine) litigation" ]

[ "Bruce Lee", "Leaving Hong Kong" ]

[ "Francis Parry F.R.G.S. was a British businessman in China and member of the Legislative Council of Hong Kong.\n\nParry was a member of the Birley & Co. He was elected as Trustees for the Year 1865–66, 1866–67, 1867–68 by the Seatholders of the St. John's Cathedral, Hong Kong. He was appointed member of the Legislative Council vice Hugh Bold Gibb's absence on leave in July 1867.\n\nHe married to Jane, widow of Rev. James Gwynne, Rector of Cork, and daughter of the late Charles Osburn, Fareham, Hampshire.\n\nReferences\n\nBritish businesspeople\nBritish expatriates in Hong Kong\nFellows of the Royal Geographical Society\nHong Kong businesspeople\nMembers of the Legislative Council of Hong Kong\nYear of birth missing\nYear of death missing", "Fernando Recio Comí (; born 17 December 1982), is a professional footballer who plays mainly as a central defender for Hong Kong Premier League club Lee Man.\n\nBorn in Spain, he spent most of his professional career with Kitchee in Hong Kong after signing in 2010, eventually going on to represent the Hong Kong national team.\n\nClub career\n\nBorn in Barcelona, Catalonia, Recio only played amateur football in his country, representing UE Rapitenca, CF Amposta and CD Tortosa. In June 2010 he was signed by Kitchee SC in Hong Kong, reuniting with former teammate – at the first two clubs – Ubay Luzardo (also a stopper). The club's manager, compatriot Josep Gombau, had tried to acquire the player in the previous transfer window, but failed.\n\nOn 17 October 2013, general manager Ken Ng announced that Recio had renewed his contract until 2016. On 29 May of the following year he won the Hong Kong Player of the Year Award for 2013–14 season, receiving a HK$35,000 prize.\n\nFollowing Kitchee's victory in the 2018–19 Hong Kong FA Cup, it was announced that Recio would leave the club. On 19 July 2019, the 36-year-old signed for Lee Man FC of the same country and league.\n\nInternational career\nRecio received his Hong Kong passport in October 2017, at the age of 34, alongside compatriots Dani Cancela and Jordi Tarrés. He made his debut for the national team on 5 October, in a 4–0 friendly win over Laos.\n\nCareer statistics\n\nClub\n\nInternational\n\nHonours\n\nClub\nKitchee\nHong Kong Premier League: 2014–15, 2016–17, 2017–18\nHong Kong First Division: 2010–11, 2011–12, 2013–14\nHong Kong Senior Shield: 2016–17, 2018–19\nHong Kong FA Cup: 2011–12, 2012–13, 2014–15, 2016–17, 2017–18, 2018–19\nHong Kong Sapling Cup: 2017–18\nHong Kong League Cup: 2011–12, 2014–15, 2015–16\n\nIndividual\nHong Kong Footballer of the Year: 2014\n\nReferences\n\nExternal links\n\n1982 births\nLiving people\nSpanish emigrants to Hong Kong\nFootballers from Barcelona\nSpanish footballers\nHong Kong footballers\nNaturalized footballers of Hong Kong\nAssociation football defenders\nAssociation football midfielders\nAssociation football utility players\nTercera División players\nDivisiones Regionales de Fútbol players\nHong Kong First Division League players\nHong Kong Premier League players\nKitchee SC players\nHong Kong Rangers FC players\nLee Man FC players\nHong Kong international footballers\nFootballers at the 2018 Asian Games\nAsian Games competitors for Hong Kong\nSpanish expatriate footballers\nExpatriate footballers in Hong Kong\nSpanish expatriate sportspeople in Hong Kong" ]

[ "Bruce Lee", "Leaving Hong Kong", "What year did he leave Hong Kong?", "Lee's father decided his son should leave Hong Kong to pursue a safer and healthier life in the United States." ]

[ "Jimmy Young (November 14, 1948 – February 20, 2005) was an American heavyweight professional boxer. Young was known for his awkward, defensive style and counterpunching. He had his greatest success during the mid-1970s, most notably earning a victory over George Foreman in 1977 and losing a unanimous decision against Muhammad Ali in 1976. Young fought many significant fighters of his era, including twice outpointing Ron Lyle and losing only by a split decision to then-number one contender Ken Norton in a title eliminator in late 1977. A fellow boxer, Bobby Watts, was his cousin.\n\nProfessional career\n\nEarly fights\nAn inexperienced Young was matched against contender Earnie Shavers in what was only his 11th professional fight. Shavers, who at that time had a 42–2 record dealt Young his first knockout loss. Young had tried trading blows and was caught early on by one of the division's hardest punchers who was well known for his overwhelming early attacks.\n\nAfter this defeat Young went undefeated for the next three years, including a win over contender Ron Lyle and a controversial draw in a re-match with Earnie Shavers with many observers scoring the bout for Young. The improved outcome for Young was largely due to improvements made to his defense since his last fight with the devastating hitter. Despite Young's inability to earn a victory over Shavers, it was still enough to earn him a title fight with the Heavyweight Champion of the World, Muhammad Ali.\n\nThe Young–Ali fight\nYoung achieved widespread public recognition when he fought Muhammad Ali at the Capital Center in Landover, Maryland on April 30, 1976 for the world heavyweight title, although boxing circles had already noted his ability. Ali weighed in at 230 pounds, the highest for any of his fights up to that point (he would weigh 236.25 pounds in his fight against Trevor Berbick), and was consequently slow and immobile throughout the bout. Seven years younger and 21 pounds lighter, Young adopted a strategy of fighting aggressively from a distance, landing numerous light blows while dodging and parrying Ali's counterpunches, and using his body blows, which had little power behind them but were effective at scoring points. At close quarters, Young would turn passive. In addition to retreating whenever possible, Young often kept his head ducked very low in order to deter Ali from landing blows at his head and risk censure from the referee for \"rabbit punching\". On several occasions when Ali was inside and Young had his back to the ropes, Young intentionally put his head or upper body out of the ring beyond the ropes to compel the referee to step in and separate the fighters. As a novel boxing tactic this divided opinion between its being a way of neutralizing Ali's game, to its being seen as an unsportsmanlike way of causing tactical stoppages every time Ali possessed an advantage. At one point during the bout the referee did initiate a count due to Young's being outside the ropes. The fight went the full 15 rounds resulting in a controversial one-sided unanimous decision in favor of Ali. Referee Tom Kelly scored it 72–65; judges Larry Barrett and Terry Moore had it 70–68 and 71–64, respectively.\n\nKen Norton, (a rival of Ali) who was commentating at ringside, had the fight even on his own scorecard. Former Ring editor Lester Bromberg called the decision a \"travesty\". New York Daily News reporter Dick Young said: \"[Ali won] by the grace of three hero-worshipping fight officials. I believe many people, the voting officials among them, refuse to believe what they see when one of their super-heroes doesn't function as expected.\" After the match's televised broadcast, many viewers called to the network to complain about the decision, and Ali's career trainer Angelo Dundee went on record as saying this was Ali's \"worst fight\". After the match there were calls on Ali to retire from the sport from quarters of the sport's media.\n\nRematch with Lyle and then George Foreman\nYoung defeated Lyle in a November 1976 rematch by using clever defense and a fast offensive style. He was able to dominate the older fighter, with one judge's scorecard having Young winning 11 of 12 rounds.\n\nIn March 1977, Young then fought George Foreman in San Juan, Puerto Rico. Foreman was on a five bout win streak since losing the title to Muhammad Ali in \"The Rumble in the Jungle\", earning victories over top contenders Ron Lyle and Joe Frazier.\n\nThe Young–Foreman fight was somewhat steady until the sixth round. The early rounds were punctuated by complaints from Young and his corner about the use of elbows by Foreman, who was punished by the referee with a point deduction. For the first half of the fight, Young used his somewhat unorthodox boxing skills and good defense to keep out of harm's way, while using his punching speed to counter. In the sixth round he became somewhat more aggressive himself and landed a number of clean punches on Foreman. Eleven seconds into the seventh round, Foreman caught Young with a left-handed body punch, and immediately followed with a powerful swinging left hand to the head. Young reeled and turned away and seemed about to go down, while Foreman tried to pursue his advantage, but somehow Young survived to the end of the round. In his after-match comments on TV, he described it as \"desperation\". After the near knockdown Young rallied, and landed a number of good punches of his own. As the fight progressed Foreman's eyes became puffy and his punches lost their menace. For the rest of the contest, Foreman continued to move forward, trying to cut off the ring and looking for the big knock out, while taking punches from the elusive Young. In the final round Young managed a knockdown over Foreman, and earned a unanimous win by 12-round decision. The Ring named the Young–Foreman bout its 1977 \"Fight of the Year\". Young joined Ali as one of only two men to beat Foreman before his first retirement in 1977.\n\nThe Young–Norton eliminator fight\nNow the number two contender, Young's next fight was a mandatory world title eliminator against Ken Norton, the number 1 contender. Young had won five straight since his loss to Ali.\n\nYoung lost the Norton match that occurred on November 1977 at Caesar's Palace in Las Vegas, Nevada, in a controversial split decision. Many observers watching in attendance felt Young should have been declared the winner. While Young boxed cleverly, drawing Norton onto sneak right hand punches, Norton himself pressed forward dangerously, always his best style. The two had sparred when Norton trained for his second Ali match. Norton had found shots thrown first to the head rarely landed so he used a heavy two-handed attack pounding away to the ribs, then lobbing powerful head shots. The fight was set at 15 rounds. Although this was unusual for a non-title match, the format was adopted due to the bout's importance as an eliminator. Due to the importance of the fight, which was later retro-designated as a WBC title match, a large crowd gathered to watch the bout including then world champion Muhammad Ali. Although the winner of the fight was supposed to go on to fight for the heavyweight championship, Leon Spinks, who had won the championship from Muhammad Ali in an upset win on February 15, 1978, chose a rematch against Ali instead of fighting Norton for the WBC title. As a result, Norton was awarded the WBC championship belt\n\nLater career\nDemoralised at having lost another close decision, Young went into a gradual downward spiral. In June 1978 poor conditioning, an increasing problem, led to Young being outpointed by prospect Ossie Ocasio. While better in a direct rematch, in January 1979, Ocasio again earned the win and went on to fight the world champion Larry Holmes.\n\nYoung won a short three-round brutal battle with unranked Wendell Bailey, showing flashes of old form. But in other matches of note Young fared poorly. He was stopped due to cuts by new heavyweight contender Gerry Cooney after four rounds in a fight where he was dominated. He also lost on points to another rising prospect and future heavyweight champion Michael Dokes. In the 1979 match with Dokes Young was out of shape due to lack of training and weighed 229 lbs., nearly the heaviest he had weighed throughout his career and around 15 lbs. heavier than his ideal fighting weight.\nHowever Young was able to slim down for his fight against British champion John L. Gardner, occurring in December 1979. Young outpointed Gardner, knocking him down in the 10th round. The triumph over Gardner as well as wins against Marvin Stinson and Jeff Sims were probably his last notable wins.\n\nStarting in 1981 Young appeared to be making a comeback, winning five in a row, including a TKO over previously unbeaten Gordon Racette. In 1982 however, Young's comeback was cut short when he was defeated on points by future champion Greg Page. He became a \"trial horse\" for emerging contenders, dropping decisions to more future champions in Tony Tucker and Tony Tubbs. He continued fighting with mixed results until 1988, when he retired at the age of 39.\n\nLater life\nAfter his boxing career, Young had financial, drug, and legal problems. During a court hearing on a drug possession charge, his Philadelphia public defender argued that Young had symptoms of chronic traumatic brain injury due to his time in the ring. At a boxing celebrity event, The Ring noted that Young apparently needed to be helped about by his family. He was reported as being afflicted with dementia pugilistica in his last years.\n\nDeath\nYoung died at Hahnemann University Hospital, Philadelphia, at the age of 56 from a heart attack on February 20, 2005. He was interred at Mount Peace Cemetery in Philadelphia.\n\nPublications\n Jimmy Young, Heavyweight Challenger (1979), a biography by E. Dolan and R. Lyttle\n\nProfessional boxing record\n\n{|class=\"wikitable\" style=\"text-align:center; font-size:95%\"\n|-\n!\n!Result\n!Record\n!Opponent\n!Type\n!Round, time\n!Date\n!Location\n!Notes\n|-\n|57\n|Win\n|35–19–2\n|align=left| Carl Porter\n|TKO\n|2 (6)\n|Sep 22, 1990\n|align=left| \n|\n|-\n|56\n|Win\n|34–19–2\n|align=left| Frank Lux\n|TKO\n|10 (10)\n|Aug 13, 1988\n|align=left| \n|\n|-\n|55\n|Loss\n|33–19–2\n|align=left| Tim Anderson\n|SD\n|10\n|Jun 4, 1988\n|align=left| \n|\n|-\n|54\n|Win\n|33–18–2\n|align=left| Rick Kellar\n|UD\n|10\n|Apr 9, 1988\n|align=left| \n|\n|-\n|53\n|style=\"background:#ddd;\"|NC\n|32–18–2\n|align=left| Mike Jameson\n|NC\n|2 (10)\n|Aug 9, 1987\n|align=left| \n|align=left|\n|-\n|52\n|Loss\n|32–18–2\n|align=left| Eddie Richardson\n|SD\n|10\n|Jan 7, 1987\n|align=left| \n|\n|-\n|51\n|Loss\n|32–17–2\n|align=left| Chuck Gardner\n|PTS\n|8\n|Oct 15, 1986\n|align=left| \n|\n|-\n|50\n|Win\n|32–16–2\n|align=left| Rocky Sekorski\n|MD\n|10\n|Mar 12, 1986\n|align=left| \n|\n|-\n|49\n|Win\n|31–16–2\n|align=left| Rocky Sekorski\n|UD\n|10\n|Jan 20, 1986\n|align=left| \n|\n|-\n|48\n|Loss\n|30–16–2\n|align=left| Tony Fulilangi\n|PTS\n|10\n|Nov 1, 1985\n|align=left| \n|\n|-\n|47\n|Loss\n|30–15–2\n|align=left| Tony Tucker\n|UD\n|10\n|Sep 22, 1984\n|align=left| \n|\n|-\n|46\n|Loss\n|30–14–2\n|align=left| Tony Tubbs\n|UD\n|10\n|Apr 10, 1983\n|align=left| \n|\n|-\n|45\n|Loss\n|30–13–2\n|align=left| Philipp Brown\n|PTS\n|10\n|Aug 29, 1982\n|align=left| \n|\n|-\n|44\n|Loss\n|30–12–2\n|align=left| Pat Cuillo\n|PTS\n|10\n|Jul 13, 1982\n|align=left| \n|\n|-\n|43\n|Loss\n|30–11–2\n|align=left| Greg Page\n|UD\n|12\n|May 2, 1982\n|align=left| \n|align=left|\n|-\n|42\n|Win\n|30–10–2\n|align=left| Tommy Thomas\n|UD\n|10\n|Nov 6, 1981\n|align=left| \n|\n|-\n|41\n|Win\n|29–10–2\n|align=left| Tom Fischer\n|PTS\n|10\n|Sep 26, 1981\n|align=left| \n|\n|-\n|40\n|Win\n|28–10–2\n|align=left| Jeff Sims\n|SD\n|10\n|Jul 10, 1981\n|align=left| \n|\n|-\n|39\n|Win\n|27–10–2\n|align=left| Marvin Stinson\n|UD\n|10\n|Jun 30, 1981\n|align=left| \n|\n|-\n|38\n|Win\n|26–10–2\n|align=left| Gordon Racette\n|TKO\n|10 (10)\n|Apr 10, 1981\n|align=left| \n|\n|-\n|37\n|Loss\n|25–10–2\n|align=left| Gerry Cooney\n|RTD\n|4 (10)\n|May 25, 1980\n|align=left| \n|\n|-\n|36\n|Win\n|25-9-2\n|align=left| Don Halpin\n|TKO\n|2 (10)\n|Mar 8, 1980\n|align=left| \n|\n|-\n|35\n|Win\n|24–9–2\n|align=left| John L.Gardner\n|PTS\n|10\n|Dec 4, 1979\n|align=left| \n|\n|-\n|34\n|Loss\n|23–9–2\n|align=left| Michael Dokes\n|UD\n|10\n|Sep 28, 1979\n|align=left| \n|\n|-\n|33\n|Win\n|23–8–2\n|align=left| Wendell Bailey\n|TKO\n|3 (10)\n|Jun 22, 1979\n|align=left| \n|\n|-\n|32\n|Loss\n|22–8–2\n|align=left| Ossie Ocasio\n|UD\n|10\n|Jan 27, 1979\n|align=left| \n|\n|-\n|31\n|Loss\n|22–7–2\n|align=left| Ossie Ocasio\n|SD\n|10\n|Jun 9, 1978\n|align=left| \n|\n|-\n|30\n|Loss\n|22–6–2\n|align=left| Ken Norton\n|SD\n|15\n|Nov 5, 1977\n|align=left| \n|\n|-\n|29\n|Win\n|22–5–2\n|align=left| Jody Ballard\n|UD\n|10\n|Sep 14, 1977\n|align=left| \n|\n|-\n|28\n|Win\n|21–5–2\n|align=left| George Foreman\n|UD\n|12\n|Mar 17, 1977\n|align=left| \n|\n|-\n|27\n|Win\n|20–5–2\n|align=left| Ron Lyle\n|UD\n|12\n|Nov 16, 1976\n|align=left| \n|\n|-\n|26\n|Win\n|19–5–2\n|align=left| Mike Boswell\n|TKO\n|4 (10)\n|Sep 12, 1976\n|align=left| \n|\n|-\n|25\n|Win\n|18–5–2\n|align=left| Lou Rogan\n|TKO\n|2 (10)\n|Sep 2, 1976\n|align=left| \n|\n|-\n|24\n|Loss\n|17–5–2\n|align=left| Muhammad Ali\n|UD\n|15\n|Apr 30, 1976\n|align=left| \n|align=left|\n|-\n|23\n|Win\n|17–4–2\n|align=left| Jose Roman\n|PTS\n|10\n|Feb 20, 1976\n|align=left| \n|\n|-\n|22\n|Win\n|16–4–2\n|align=left| Memphis Al Jones\n|TKO\n|2 (10)\n|Nov 12, 1975\n|align=left| \n|\n|-\n|21\n|Win\n|15–4–2\n|align=left| Bobby Lloyd\n|KO\n|5 (10)\n|Aug 26, 1975\n|align=left| \n|\n|-\n|20\n|Win\n|14–4–2\n|align=left| Ron Lyle\n|UD\n|10\n|Feb 12, 1975\n|align=left| \n|\n|-\n|19\n|style=\"background:#abcdef;\"|Draw\n|13–4–2\n|align=left| Earnie Shavers\n|PTS\n|10\n|Nov 26, 1974\n|align=left| \n|\n|-\n|18\n|Win\n|13–4–1\n|align=left| Jose Luis Garcia\n|PTS\n|10\n|Jul 6, 1974\n|align=left| \n|\n|-\n|17\n|Win\n|12–4–1\n|align=left| Les Stevens\n|PTS\n|10\n|Jan 22, 1974\n|align=left| \n|\n|-\n|16\n|Win\n|11–4–1\n|align=left| John Jordan\n|UD\n|6\n|Mar 4, 1974\n|align=left| \n|\n|-\n|15\n|Win\n|10–4–1\n|align=left| Richard Dunn\n|TKO\n|8 (10)\n|Feb 18, 1974\n|align=left| \n|\n|-\n|14\n|style=\"background:#abcdef;\"|Draw\n|9–4–1\n|align=left| Billy Aird\n|PTS\n|8\n|Oct 23, 1973\n|align=left| \n|\n|-\n|13\n|Win\n|9–4\n|align=left| Mike Boswell\n|PTS\n|6\n|Aug 14, 1973\n|align=left| \n|\n|-\n|12\n|Win\n|8–4\n|align=left| Obie English\n|PTS\n|6\n|Apr 23, 1973\n|align=left| \n|\n|-\n|11\n|Loss\n|7–4\n|align=left| Earnie Shavers\n|TKO\n|3 (10)\n|Feb 19, 1973\n|align=left| \n|\n|-\n|10\n|Loss\n|7–3\n|align=left| Randy Neumann\n|PTS\n|10\n|Mar 10, 1972\n|align=left| \n|\n|-\n|9\n|Win\n|7–2\n|align=left| Jasper Evans\n|PTS\n|6\n|Feb 12, 1972\n|align=left| \n|\n|-\n|8\n|Win\n|6–2\n|align=left| Lou Hicks\n|PTS\n|8\n|Oct 26, 1971\n|align=left| \n|\n|-\n|7\n|Win\n|5–2\n|align=left|Andy Geiger\n|KO\n|1 (6)\n|Sep 27, 1971\n|align=left| \n|\n|-\n|6\n|Loss\n|4–2\n|align=left| Roy Williams\n|PTS\n|4\n|Feb 22, 1971\n|align=left| \n|\n|-\n|5\n|Win\n|4–1\n|align=left| Howard Darlington\n|PTS\n|6\n|Nov 24, 1970\n|align=left| \n|\n|-\n|4\n|Win\n|3–1\n|align=left| Jimmy Gilmore\n|PTS\n|4\n|Jun 22, 1970\n|align=left| \n|\n|-\n|3\n|Loss\n|2–1\n|align=left| Clay Hodges\n|UD\n|6\n|Apr 3, 1970\n|align=left| \n|\n|-\n|2\n|Win\n|2–0\n|align=left| Johnny Gause\n|PTS\n|6\n|Dec 9, 1969\n|align=left| \n|\n|-\n|1\n|Win\n|1–0\n|align=left| Jim Jones\n|TKO\n|1 (4)\n|Oct 28, 1969\n|align=left| \n|\n|-\n\nReferences\n\nExternal links\n \n\n1948 births\n2005 deaths\nBoxers from Philadelphia\nAmerican male boxers\nBurials at Mount Peace Cemetery\nHeavyweight boxers\nSportspeople with chronic traumatic encephalopathy", "Thaddeus Charles Young Sr. (born June 21, 1988) is an American professional basketball player for the Toronto Raptors of the National Basketball Association (NBA). He played college basketball for Georgia Tech, before being drafted 12th overall in the 2007 NBA draft by the Philadelphia 76ers.\n\nEarly life\nYoung was born to Lula Hall and Felton Young in New Orleans, Louisiana. His family moved to Memphis, Tennessee when Young was in fourth grade. His father played basketball for Jacksonville University from 1976 to 1978, and was selected by the Buffalo Braves in the 8th round of the 1978 NBA draft.\n\nHigh school career\nYoung began playing varsity basketball in the eighth grade, and while attending Mitchell High School, he rose to the top of the high school player rungs. His athletic honors included being named to the all-state team three times, being named the TSSAA Class AA \"Mr. Basketball\" in 2005, being named the 2006 Tennessee Gatorade Player of the Year and being named to the McDonald's High School All-American Team. In 2006, he led Mitchell's basketball team to the TSSAA Class AA finals against Liberty Technology Magnet High School. As a senior, he averaged 26.9 points, 13.8 rebounds, 4.1 assists, 4.3 steals and 3.6 blocks per game. He was an excellent overall athlete at Mitchell who also excelled in cross country in his junior year. Young was an exceptional student at Mitchell who graduated with a 4.3 GPA. Coming out of high school Young was one of the most prized recruits of the 2006 freshman class.\n\nCollege career\nYoung was the youngest member of Georgia Tech's 2006 freshman class. Young finished his freshman season with averages of 14.4 points, 4.9 rebounds, and 2.2 assists. He shot a solid 47.8% from the field and an above average 41.9% from the three-point line.\n\nProfessional career\n\nPhiladelphia 76ers (2007–2014)\n\nOn June 28, 2007, Young was drafted by the Philadelphia 76ers with the 12th overall pick in the 2007 NBA draft.\n\nIn his NBA debut on November 7, 2007, Young made his first NBA field goal at the Wachovia Center in Philadelphia in a 94–63 76ers' win over the Charlotte Bobcats. Young finished the night with 6 points and 3 rebounds.\n\nUntil general manager Ed Stefanski was hired, Young did not play very often. After the trade of Kyle Korver, Young played more minutes and alternated with Reggie Evans in the starting lineup. Young averaged 8.2 points, 4.2 rebounds, and 21 minutes per game during 2007–08. His season high in points was 22 against the Milwaukee Bucks on March 9, 2008. He played a total of 74 games, starting 22.\n\nOn February 5, 2009, Young was selected to play in the 2009 Rookie Challenge as a member of the Sophomore team.\n\nIn game 3 of the 76ers' 2009 opening round playoff series against the Orlando Magic, Young made a game-winning shot with 2 seconds remaining to give Philadelphia a 2 games to 1 lead.\n\nOn March 7, 2010, Young recorded a career high 32 points in a 114–101 win over the Toronto Raptors.\n\nOn February 21, 2014, Young set a career high with 29 field goal attempts, going on to record 30 points, 13 rebounds, 6 assists and 7 steals in a 112–124 loss to the Dallas Mavericks.\n\nYoung finished the 2013–14 NBA season with career highs in points, steals, assists, three-pointers made, and games started. He also finished the season third in the league in steals.\n\nMinnesota Timberwolves (2014–2015)\nOn August 23, 2014, a three-team trade was completed involving the 76ers, the Minnesota Timberwolves, and the Cleveland Cavaliers. As part of the deal, Young was traded to the Wolves, along with Andrew Wiggins and Anthony Bennett, both then of the Cavaliers. The Cavaliers received Kevin Love from Minnesota, whereas the 76ers received Luc Mbah a Moute and Alexey Shved from Minnesota and a 2015 first round draft pick from Cleveland.\n\nBrooklyn Nets (2015–2016)\nOn February 19, 2015, Young was traded to the Brooklyn Nets in exchange for Kevin Garnett. On June 22, 2015, Young opted out of his contract with the Nets to become a free agent. On July 9, 2015, he re-signed with the Nets. On February 3, 2016, he recorded 16 points and 14 rebounds against the Indiana Pacers, setting a new single-season career high with his 22nd double-double.\n\nIndiana Pacers (2016–2019)\nOn July 7, 2016, Young was traded to the Indiana Pacers in exchange for the draft rights to Caris LeVert. On November 23, 2016, he scored a season-high 24 points against the Atlanta Hawks. On December 10, 2016, he scored 24 points and hit a career-high six 3-pointers in a 118–111 win over the Portland Trail Blazers.\n\nOn November 1, 2017, Young scored a season-high 26 points against the Cleveland Cavaliers.\n\nOn December 17, 2018, Young was named Eastern Conference Player of the Week for Week 9 of the 2018–19 season, marking his second career Eastern Conference Player of the Week award and his first honor since January 2014 when he was a member of the Philadelphia 76ers.\n\nOn January 17, 2019, Young scored a season-high 27 points in a 120–96 loss to the Philadelphia 76ers.\n\nChicago Bulls (2019–2021)\nOn July 6, 2019, Young signed with the Chicago Bulls as a free agent. Following a mediocre first season where Young struggled from the field, the veteran played better and more effectively during his second season with the Chicago Bulls, with strong inside play combined with good shooting from the field, good defense and strong all around abilities. Partly, the power forward was even a starter for the Bulls.\n\nSan Antonio Spurs (2021–2022) \nOn August 11, 2021, Young, Al-Farouq Aminu, and several draft picks were traded to the San Antonio Spurs in exchange for DeMar DeRozan.\n\nToronto Raptors (2022–present) \nOn 10 February 2022, Young, Drew Eubanks, and a 2022 second round selection were traded to the Toronto Raptors in exchange for Goran Dragić and a 2022 first-round draft selection.\n\nCareer statistics\n\nNBA\n\nRegular season\n\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 74 || 22 || 21.0 || .539 || .316 || .738 || 4.2 || .8 || 1.0 || .1 || 8.2\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 75 || 71 || 34.4 || .495 || .341 || .735 || 5.0 || 1.1 || 1.3 || .3 || 15.3\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 67 || 45 || 32.0 || .470 || .348 || .691 || 5.2 || 1.4 || 1.2 || .2 || 13.8\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 82 || 1 || 26.1 || .541 || .273 || .707 || 5.3 || 1.0 || 1.1 || .3 || 12.7\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 63 || 1 || 27.9 || .507 || .250 || .771 || 5.2 || 1.2 || 1.0 || .7 || 12.8\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 76 || 76 || 34.6 || .531 || .125 || .574 || 7.5 || 1.6 || 1.8 || .7 || 14.8\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Philadelphia\n| 79 || 78 || 34.4 || .454 || .308 || .712 || 6.0 || 2.3 || 2.1 || .5 || 17.9\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Minnesota\n| 48 || 48 || 33.4 || .451 || .292 || .682 || 5.1 || 2.8 || 1.8 || .4 || 14.3\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Brooklyn\n| 28 || 20 || 29.6 || .495 || .380 || .606 || 5.9 || 1.4 || 1.4 || .3 || 13.8\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Brooklyn\n| 73 || 73 || 33.0 || .514 || .233 || .644 || 9.0 || 1.8 || 1.5 || .5 || 15.1\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Indiana\n| 74 || 74 || 30.2 || .527 || .381 || .523 || 6.1 || 1.6 || 1.5 || .4 || 11.0\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Indiana\n| 81 || 81 || 32.2 || .487 || .320 || .598 || 6.3 || 1.9 || 1.7 || .4 || 11.8\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Indiana\n| 81 || 81 || 30.7 || .527 || .349 || .644 || 6.5 || 2.5 || 1.5 || .4 || 12.6\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Chicago\n| 64 || 16 || 24.9 || .448 || .356 || .583 || 4.9 || 1.8 || 1.4 || .4 || 10.3\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| Chicago\n| 68 || 23 || 24.3 || .559 || .267 || .628 || 6.2 || 4.3 || 1.1 || .6 || 12.1\n|-\n| style=\"text-align:left;\"| \n| style=\"text-align:left;\"| San Antonio\n| 26 || 1 || 14.2 || .578 || .000 || .455 || 3.6 || 2.3 || .9 || .3 || 6.1\n|- class=\"sortbottom\"\n| style=\"text-align:center;\" colspan=\"2\"| Career\n| 1059 || 711 || 29.6 || .502 || .330 || .665 || 5.9 || 1.8 || 1.4 || .4 || 12.9\n\nPlayoffs\n\n|-\n| style=\"text-align:left;\"| 2008\n| style=\"text-align:left;\"| Philadelphia\n| 6 || 6 || 26.7 || .480 || .200 || .857 || 4.5 || .7 || 1.2 || .0 || 10.2\n|-\n| style=\"text-align:left;\"| 2009\n| style=\"text-align:left;\"| Philadelphia\n| 6 || 6 || 38.2 || .449 || .417 || .833 || 4.5 || 1.3 || 1.0 || .2 || 12.0\n|-\n| style=\"text-align:left;\"| 2011\n| style=\"text-align:left;\"| Philadelphia\n| 5 || 0 || 25.4 || .417 || .000 || .583 || 5.8 || .8 || .8 || .2 || 11.4\n|-\n| style=\"text-align:left;\"| 2012\n| style=\"text-align:left;\"| Philadelphia\n| 13 || 0 || 21.3 || .429 || – || .710 || 5.2 || 1.2 || .5 || .5 || 7.7\n|-\n| style=\"text-align:left;\"| 2015\n| style=\"text-align:left;\"| Brooklyn\n| 6 || 6 || 31.7 || .439 || .000 || .417 || 7.2 || 2.7 || .8 || .2 || 10.5\n|-\n| style=\"text-align:left;\"| 2017\n| style=\"text-align:left;\"| Indiana\n| 4 || 4 || 35.0 || .538 || .250 || .500 || 9.0 || 2.5 || 2.0 || .3 || 12.0\n|-\n| style=\"text-align:left;\"| 2018\n| style=\"text-align:left;\"| Indiana\n| 7 || 7 || 33.9 || .600 || .286 || .385 || 7.7 || 1.4 || 1.7 || .9 || 11.3\n|-\n| style=\"text-align:left;\"| 2019\n| style=\"text-align:left;\"| Indiana\n| 4 || 4 || 32.5 || .429 || .250 || .571 || 7.0 || 3.8 || 2.8 || .8 || 10.5\n|- class=\"sortbottom\"\n| style=\"text-align:center;\" colspan=\"2\"| Career\n| 51 || 33 || 29.2 || .467 || .268 || .619 || 6.1 || 1.6 || 1.2 || .4 || 10.2\n\nCollege\n\n|-\n| style=\"text-align:left;\"| 2006–07\n| style=\"text-align:left;\"| Georgia Tech\n| 31 || 31 || 29.6 || .478 || .419 || .749 || 4.9 || 2.0 || 1.3 || .4 || 14.4\n\nPersonal life\nYoung and his wife, Shekinah Beckett, have a son named Thaddeus, Jr.\n\nIn May 2011, Young started a foundation called Young for Youth to help at-risk youth and young families.\n\nYoung's mother, Lula Hall, died on November 13, 2014, after an 18-month battle with breast cancer; she was 57 years old.\n\nSee also\n\n List of National Basketball Association career steals leaders\n 2006 high school boys basketball All-Americans\n 2006–07 Georgia Tech Yellow Jackets men's basketball team\n\nReferences\n\nExternal links\n\n1988 births\nLiving people\n20th-century African-American people\n21st-century African-American sportspeople\nAfrican-American basketball players\nAmerican men's basketball players\nBasketball players from New Orleans\nBasketball players from Memphis, Tennessee\nBrooklyn Nets players\nChicago Bulls players\nGeorgia Tech Yellow Jackets men's basketball players\nIndiana Pacers players\nMcDonald's High School All-Americans\nMinnesota Timberwolves players\nParade High School All-Americans (boys' basketball)\nPhiladelphia 76ers draft picks\nPhiladelphia 76ers players\nPower forwards (basketball)\nSan Antonio Spurs players\nToronto Raptors players" ]

[ "Bruce Lee", "Leaving Hong Kong", "What year did he leave Hong Kong?", "Lee's father decided his son should leave Hong Kong to pursue a safer and healthier life in the United States.", "Was he young when he left?", "In April 1959, Lee's parents decided to send him to the United States to stay with his older sister," ]

[ "How Does It Feel may refer to:\n\nMusic\n\nAlbums\n How Does It Feel, a 1999 album by Nancy Sinatra\n How Does It Feel (MS MR album), a 2015 album by MS MR\n\nSongs\n \"How Does It Feel\" (Anita Baker song)\n \"How Does It Feel\" (Slade song)\n \"How Does It Feel (to be the mother of 1000 dead)?\", a controversial song by Crass\n \"How Does It Feel\", a song by Avril Lavigne from Under My Skin\n \"How Does It Feel\", a song by Candlebox from Into the Sun\n \"How Does It Feel\", a song by Keri Hilson from In a Perfect World...\n \"How Does It Feel\", a song by London Grammar from Californian Soil\n \"How Does It Feel\", a song by Men Without Hats from No Hats Beyond This Point\n \"How Does It Feel\", a song by M-22\n \"How Does It Feel?\", a song by Pharrell Williams from In My Mind\n \"How Does It Feel?\", a song by The Ronettes from Presenting the Fabulous Ronettes Featuring Veronica\n \"How Does It Feel\", a song by Toto from Isolation\n \"How Does It Feel\", a song by Westlife from Unbreakable – The Greatest Hits Vol. 1\n \"Untitled (How Does It Feel)\", a song by D'Angelo from Voodoo\n \"Like a Rolling Stone\", song by Bob Dylan from Highway 61 Revisited, best known for the line \"How does it feel?\"\n \"Blue Monday\" (New Order song), a song whose first line is \"How does it feel\"", "How I Feel may refer to:\n\n How I Feel (album), a 1998 album by Terri Clark\n \"How I Feel\" (Flo Rida song), 2013\n \"How I Feel\" (Martina McBride song), 2007\n \"How I Feel\", a song by Kelly Clarkson from My December" ]

[ "Bruce Lee", "Leaving Hong Kong", "What year did he leave Hong Kong?", "Lee's father decided his son should leave Hong Kong to pursue a safer and healthier life in the United States.", "Was he young when he left?", "In April 1959, Lee's parents decided to send him to the United States to stay with his older sister,", "How did he feel about leaving?", "I don't know." ]

[ "Follow Me! is a series of television programmes produced by Bayerischer Rundfunk and the BBC in the late 1970s to provide a crash course in the English language. It became popular in many overseas countries as a first introduction to English; in 1983, one hundred million people watched the show in China alone, featuring Kathy Flower.\n\nThe British actor Francis Matthews hosted and narrated the series.\n\nThe course consists of sixty lessons. Each lesson lasts from 12 to 15 minutes and covers a specific lexis. The lessons follow a consistent group of actors, with the relationships between their characters developing during the course.\n\nFollow Me! actors\n Francis Matthews\n Raymond Mason\n David Savile\n Ian Bamforth\n Keith Alexander\n Diane Mercer\n Jane Argyle\n Diana King\n Veronica Leigh\n Elaine Wells\n Danielle Cohn\n Lashawnda Bell\n\nEpisodes \n \"What's your name\"\n \"How are you\"\n \"Can you help me\"\n \"Left, right, straight ahead\"\n \"Where are they\"\n \"What's the time\"\n \"What's this What's that\"\n \"I like it very much\"\n \"Have you got any wine\"\n \"What are they doing\"\n \"Can I have your name, please\"\n \"What does she look like\"\n \"No smoking\"\n \"It's on the first floor\"\n \"Where's he gone\"\n \"Going away\"\n \"Buying things\"\n \"Why do you like it\"\n \"What do you need\"\n \"I sometimes work late\"\n \"Welcome to Britain\"\n \"Who's that\"\n \"What would you like to do\"\n \"How can I get there?\"\n \"Where is it\"\n \"What's the date\"\n \"Whose is it\"\n \"I enjoy it\"\n \"How many and how much\"\n \"What have you done\"\n \"Haven't we met before\"\n \"What did you say\"\n \"Please stop\"\n \"How can I get to Brightly\"\n \"Where can I get it\"\n \"There's a concert on Wednesday\"\n \"What's it like\"\n \"What do you think of him\"\n \"I need someone\"\n \"What were you doing\"\n \"What do you do\"\n \"What do you know about him\"\n \"You shouldn't do that\"\n \"I hope you enjoy your holiday\"\n \"Where can I see a football match\"\n \"When will it be ready\"\n \"Where did you go\"\n \"I think it's awful\"\n \"A room with a view\"\n \"You'll be ill\"\n \"I don't believe in strikes\"\n \"They look tired\"\n \"Would you like to\"\n \"Holiday plans\"\n \"The second shelf on the left\"\n \"When you are ready\"\n \"Tell them about Britain\"\n \"I liked everything\"\n \"Classical or modern\"\n \"Finale\"\n\nReferences \n\n BBC article about the series in China\n\nExternal links \n Follow Me – Beginner level \n Follow Me – Elementary level\n Follow Me – Intermediate level\n Follow Me – Advanced level\n\nAdult education television series\nEnglish-language education television programming", "\"What Did I Do to You?\" is a song recorded by British singer Lisa Stansfield for her 1989 album, Affection. It was written by Stansfield, Ian Devaney and Andy Morris, and produced by Devaney and Morris. The song was released as the fourth European single on 30 April 1990. It included three previously unreleased songs written by Stansfield, Devaney and Morris: \"My Apple Heart,\" \"Lay Me Down\" and \"Something's Happenin'.\" \"What Did I Do to You?\" was remixed by Mark Saunders and by the Grammy Award-winning American house music DJ and producer, David Morales. The single became a top forty hit in the European countries reaching number eighteen in Finland, number twenty in Ireland and number twenty-five in the United Kingdom. \"What Did I Do to You?\" was also released in Japan.\n\nIn 2014, the remixes of \"What Did I Do to You?\" were included on the deluxe 2CD + DVD re-release of Affection and on People Hold On ... The Remix Anthology. They were also featured on The Collection 1989–2003 box set (2014), including previously unreleased Red Zone Mix by David Morales.\n\nCritical reception\nThe song received positive reviews from music critics. Matthew Hocter from Albumism viewed it as a \"upbeat offering\". David Giles from Music Week said it is \"beautifully performed\" by Stansfield. A reviewer from Reading Eagle wrote that \"What Did I Do to You?\" \"would be right at home on the \"Saturday Night Fever\" soundtrack.\"\n\nMusic video\nA music video was produced to promote the single, directed by Philip Richardson, who had previously directed the videos for \"All Around the World\" and \"Live Together\". It features Stansfield with her kiss curls, dressed in a white outfit and performing with her band on a stage in front of a jumping audience. The video was later published on Stansfield's official YouTube channel in November 2009. It has amassed more than 1,6 million views as of October 2021.\n\nTrack listings\n\n European/UK 7\" single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"Something's Happenin'\" – 3:59\n\n European/UK/Japanese CD single\n\"What Did I Do to You?\" (Mark Saunders Remix Edit) – 4:20\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n UK 10\" single\n\"What Did I Do to You?\" (Mark Saunders Remix) – 5:52\n\"My Apple Heart\" – 5:19\n\"Lay Me Down\" – 4:17\n\"Something's Happenin'\" – 3:59\n\n European/UK 12\" single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"My Apple Heart\" – 4:22\n\"Lay Me Down\" – 3:19\n\"Something's Happenin'\" – 3:15\n\n UK 12\" promotional single\n\"What Did I Do to You?\" (Morales Mix) – 7:59\n\"What Did I Do to You?\" (Anti Poll Tax Dub) – 6:31\n\n Other remixes\n\"What Did I Do to You?\" (Red Zone Mix) – 7:45\n\nCharts\n\nReferences\n\nLisa Stansfield songs\n1990 singles\nSongs written by Lisa Stansfield\n1989 songs\nArista Records singles\nSongs written by Ian Devaney\nSongs written by Andy Morris (musician)" ]

[ "Bruce Lee", "Leaving Hong Kong", "What year did he leave Hong Kong?", "Lee's father decided his son should leave Hong Kong to pursue a safer and healthier life in the United States.", "Was he young when he left?", "In April 1959, Lee's parents decided to send him to the United States to stay with his older sister,", "How did he feel about leaving?", "I don't know.", "What did he do after he left?", "I don't know." ]

[ "a TEN Talk (originally 10Talk) is a short presentation on a topic of the speaker's choosing given at a BarCamp type conference. It derives from a TED Talk and originated at the 2012 RefreshCache v4 developer conference (now defunct) in Gilbert, Arizona during the open floor demo time with a description of \"Fast paced 10 minute presentations by the you and the other leaders among us.\" Since the term was still somewhat new at the time, a \"What is a Ten-Talk?\" page was created on the RefreshCache site with the following abbreviated description so potential Ten-Talk presenters would know exactly what was expected of them:\n \n A Ten-Talk is a fast-paced, ten minute POLISHED presentation on an interesting topic that you think will appeal to the Church IT / Web Developer audiences.\n \n Here are some examples of Ten-Talk topics:\n (1) Have you implemented something at your church that has been a radical success or epic failure? We can learn from either of these!\n (2) Do you have an inspirational message that can lead others to action? Even better if you can share how this message inspired you to action and then show us what you did.\n (3) Have you spent time researching and understanding something in the world of ministry software or Church IT? Maybe you are an expert in [redacted]. Present this to the Church IT Network /RefreshCache community and share what you know. Your research may help another church find the solution to a problem they are facing, or save them the trouble of doing all the research you just did by realizing it won't work for them.\n\nIt was later adopted at the national Church IT Round Table conference held in February 2013 in Phoenix, Arizona when the two events began to intermingle and used again in 2014 at the Peoria, Illinois event where it was re-described as \"10Talks (or TEN-Talks) are 10 minute, fast paced talks on a topic. These are perfect sessions for raising awareness about a topic, tool, or idea that you think your peers should know.\"\n\nIts use outside of CITRT conferences is thought to begin with the WLAN professionals summit in February 2014.\n\nReferences\n\nPresentation", "Modron is an adventure for fantasy role-playing games published by Judges Guild in 1978.\n\nPlot summary\nModron is a scenario describing the village of Modron and a nearby underwater adventure, each with a large map. It includes both village and underwater encounters.\n\nModron is a water goddess whose city was somehow preserved in a battle between her worshippers and the worshippers of her rival god, Proteus. Proteus' people's homes were destroyed, but a new city was built on top of the ruins. Explorers in the city can find a myriad of wealth and adventures. Several characters are sketchily described for the players, if they choose to use them.\n\nPublication history\nModron was written by Bob Bledsaw and Gary Adams, and was published by Judges Guild in 1978 as a 16-page digest-sized book with a blue cover and two large maps. Judges Guild published a second edition in 1980.\n\nA listing of cumulative sales from 1981 shows that Modron sold over 15,000 units.\n\nReception\nElisabeth Barrington reviewed Modron in The Space Gamer No. 30. Barrington commented that \"The graphics on the maps are excellent. The ideas presented in the background are interesting and novel, to some extent. Clarity is the key word in this module. Whatever is described is organized and easy to read.\" However, she added \"BUT there is not much described. In each room or place the characters go, the DM must quickly invent a few things to flesh out the descriptions given in the booklet. There are people in the places, and a couple of items, and that is all that is given. No room descriptions, no special traps or interesting things that happen unless you make them up as you go along; just a person or monster and some items. There are some bad typos in the booklet, making things a little hard to figure out at times, but the great organization of the book makes up for that one little problem.\" Barrington concludes her review by saying, \"If you are the type of DM who wants the bare minimum provided for your campaign, this is for you. But you might find that [the price] is a little high to pay for descriptions of people. It is fun to play, and there are some new things to find, but I do not think it is worth the price.\"\n\nWilliam Fawcett reviewed Modron in The Dragon #44. Fawcett commented that \"This set is inexpensive and has some good expansions of ideas mentioned, but not detailed, in earlier Guild products. Modron could be easily included in a campaign that included nothing else from the Guild.\"\n\nReviews\n Different Worlds #8 (Jun 1980)\n\nReferences\n\nJudges Guild fantasy role-playing game adventures" ]

[ "Bruce Lee", "Leaving Hong Kong", "What year did he leave Hong Kong?", "Lee's father decided his son should leave Hong Kong to pursue a safer and healthier life in the United States.", "Was he young when he left?", "In April 1959, Lee's parents decided to send him to the United States to stay with his older sister,", "How did he feel about leaving?", "I don't know.", "What did he do after he left?", "I don't know.", "What else did you find interesting in this section?", "Lee's street fights became more frequent and included beating the son of a feared triad family." ]

[ "Why We Fight may refer to:\n\n Why We Fight, a series of World War II documentary films \n Why We Fight (2005 film), a documentary on the U.S. military–industrial complex\n Why We Fight (album), a 2002 album by Gatsbys American Dream\n \"Why We Fight\" (Angel), a 2004 episode of the television series Angel\n \"Why We Fight\" (Band of Brothers), an episode of the miniseries Band of Brothers\n \"Why We Fight\" (Jericho), a 2007 episode of the television series Jericho\n \"Why We Fight\" (The Expanse), a 2022 episode of the television series The Expanse\n \"Why We Fight\" (Revolution), a 2014 episode of the television series Revolution", "\"Llangollen Market\" is a song from early 19th century Wales. It is known to have been performed at an eisteddfod at Llangollen in 1858.\n\nThe text of the song survives in a manuscript held by the National Museum of Wales, which came into the possession of singer Mary Davies, a co-founder of the Welsh Folk-Song Society.\n\nThe song tells the tale of a young man from the Llangollen area going off to war and leaving behind his broken-hearted girlfriend. Originally written in English, the song has been translated into Welsh and recorded by several artists such as Siân James, Siobhan Owen, Calennig and Siwsann George.\n\nLyrics\nIt’s far beyond the mountains that look so distant here,\nTo fight his country’s battles, last Mayday went my dear;\nAh, well shall I remember with bitter sighs the day,\nWhy, Owen, did you leave me? At home why did I stay?\n\nAh, cruel was my father that did my flight restrain,\nAnd I was cruel-hearted that did at home remain,\nWith you, my love, contented, I’d journey far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nWhile thinking of my Owen, my eyes with tears do fill,\nAnd then my mother chides me because my wheel stands still,\nBut how can I think of spinning when my Owen’s far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nTo market at Llangollen each morning do I go,\nBut how to strike a bargain no longer do I know;\nMy father chides at evening, my mother all the day;\nWhy, Owen, did you leave me, at home why did I stay?\n\nOh, would it please kind heaven to shield my love from harm,\nTo clasp him to my bosom would every care disarm,\nBut alas, I fear, 'tis distant - that happy, happy day;\nWhy, Owen, did you leave me, at home why did stay?\n\nReferences\n\nWelsh folk songs" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)" ]

[ "\"Hail to the King\" is a song by American heavy metal band Avenged Sevenfold and the lead single from their sixth studio album of the same name, released on July 15, 2013. The song was premiered live on July 17, 2013, at the Ford Festival Park in Oshkosh, Wisconsin.\n\nRelease\nThe song was released on July 15, 2013, as the lead single for their sixth studio album, Hail to the King. On July 31, 2013, a limited edition CD version of the single was released, with a live version of \"Nightmare\" performed at The Palace of Auburn Hills attached. The song appears in the video game Rock Band 4 and as one of the official theme songs for WrestleMania 32.\n\nMusic video\nThe official music video premiered on the Metal Hammer website on August 16, 2013. The video depicts the band playing together, as well as shots of the king referenced in the song. The video is in black and white and is the first to feature drummer Arin Ilejay, as well as being the first Avenged Sevenfold video to feature a drummer since the video for \"Dear God\", which was the last to feature drummer The Rev.\n\nAccolades\n\nLoudwire Music Awards\n\n|-\n| 2013 || Hail to the King || Best Rock Song || \n\nRevolver Golden Gods Awards\n\n|-\n| 2014 || Hail to the King || Song of the Year ||\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nPersonnel\nM. Shadows – lead vocals\nZacky Vengeance – rhythm guitar, backing vocals\nSynyster Gates – lead guitar, backing vocals\nJohnny Christ – bass guitar\nArin Ilejay – drums\n\nReferences\n\nExternal links\n\nAvenged Sevenfold songs\n2013 songs\n2013 singles\nWarner Records singles\nSong recordings produced by Mike Elizondo", "Owen Moncrieffe (born 5 August 1976) known professionally as Fantan Mojah is a Jamaican reggae singer.\n\nBiography\nFantan Mojah was born in White Hill, St Elizabeth Parish, Jamaica. To gain experience, he took a job working with a traveling soundsystem, and performed songs during soundchecks. He adopted the name Mad Killer, in an homage to one of his favorite artists, Bounty Killer. After being exposed to the Rastafarian movement his music began to take on a more positive tone, and he was encouraged by Capleton to take the name Fantan Mojah.\n\nLyrical Themes\nFantan Mojah is notable for being one of the new wave of contemporary reggae singers who prefer to include positive themes in their lyrics. Like some popular new reggae singers, he is a Bobo Ashanti. His faith is reflected in his lyrics, where some recurring themes are - praise for Jah and messages of Rastafari, positive portrayal of women, and condemnation of ill morals. This is a contrast to many popular dancehall artists, who encourage \"slackness\" in their lyrics, with boasts of sexual prowess and derogatory messages to women.\n\nHail the King and success\nAfter performing at many popular Jamaican festivals, Fantan Mojah recorded several songs on popular riddims, and was signed by Downsound Productions. In 2005, Fantan’s debut album “Hail the King” was released. It featured popular singles like “Hail the King”, “Nuh Build Great Man” featuring Jah Cure and “Corruption”. Those were some of the most talked about records of 2005. He was dubbed the breakout artist of 2005. The album excelled in Europe, this opened the door to 3 consecutive European tours in 2006 and continued success worldwide.\n\nDiscography \nHail the King - 2005\nStronger - 2008\nRebel I Am - 2012\n\"Rasta got soul 2016\"\n\nNotes \n\nJamaican reggae musicians\nJamaican Rastafarians\nLiving people\nPeople from Saint Elizabeth Parish\n1975 births\nGreensleeves Records artists" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013." ]

[ "\"Hail to the King\" is a song by American heavy metal band Avenged Sevenfold and the lead single from their sixth studio album of the same name, released on July 15, 2013. The song was premiered live on July 17, 2013, at the Ford Festival Park in Oshkosh, Wisconsin.\n\nRelease\nThe song was released on July 15, 2013, as the lead single for their sixth studio album, Hail to the King. On July 31, 2013, a limited edition CD version of the single was released, with a live version of \"Nightmare\" performed at The Palace of Auburn Hills attached. The song appears in the video game Rock Band 4 and as one of the official theme songs for WrestleMania 32.\n\nMusic video\nThe official music video premiered on the Metal Hammer website on August 16, 2013. The video depicts the band playing together, as well as shots of the king referenced in the song. The video is in black and white and is the first to feature drummer Arin Ilejay, as well as being the first Avenged Sevenfold video to feature a drummer since the video for \"Dear God\", which was the last to feature drummer The Rev.\n\nAccolades\n\nLoudwire Music Awards\n\n|-\n| 2013 || Hail to the King || Best Rock Song || \n\nRevolver Golden Gods Awards\n\n|-\n| 2014 || Hail to the King || Song of the Year ||\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nPersonnel\nM. Shadows – lead vocals\nZacky Vengeance – rhythm guitar, backing vocals\nSynyster Gates – lead guitar, backing vocals\nJohnny Christ – bass guitar\nArin Ilejay – drums\n\nReferences\n\nExternal links\n\nAvenged Sevenfold songs\n2013 songs\n2013 singles\nWarner Records singles\nSong recordings produced by Mike Elizondo", "Hail to the King is the sixth studio album by American heavy metal band Avenged Sevenfold, released on August 27, 2013, through Warner Bros. Records. The album was produced by Mike Elizondo. Hail to the King is the only Avenged Sevenfold album to feature drummer Arin Ilejay, prior to his departure in July 2015. It is also the first Avenged Sevenfold album without musical contributions from Ilejay's late predecessor, Jimmy \"The Rev\" Sullivan; the bonus track, \"St. James\", was written in his memory.\n\nThe album was a commercial and critical success, reaching number 1 on the Billboard 200. This marks Avenged Sevenfold's second album to top the Billboard chart (the first being Nightmare), as well as their first to reach number 1 in the UK, topping the UK Albums Chart. It also topped the Canadian, Brazilian, Finnish and Irish album charts. Also, the album spawned two number 1 singles on Billboard's Mainstream Rock, Hail to the King, and Shepherd of Fire. The former spent 11 weeks on the top of the chart. On April 15, 2021 the album was certified Platinum by the RIAA for sales of over 1,000,000 copies.\n\nBackground\nOn November 15, 2012, vocalist M. Shadows said that the band has been working on a new album since the recording of \"Carry On\" in August 2012. In December, the band said that it plans to begin recording material for their next album in January 2013, with release planned for later in the year. In January 2013 the band started recording their new album. The band started streaming snippets of their new album in May 2013 on their new radio app. It was on the app that Arin Ilejay was confirmed as an official band member and replacement of deceased drummer and founding member The Rev. In an interview with Metal Hammer about the new album, M. Shadows said that the album would sound more blues rock-influenced and more like classic rock and classic metal in the vein of Black Sabbath and Led Zeppelin.\n\nThe band released four teasers on YouTube showing the band going through the recording process as well as providing snippets of songs off the album. On June 26, 2013, the band revealed the title, cover art and release date of album. In July, the band revealed the complete track list of the album.\n\nOn August 8, 2013, \"Shepherd of Fire\" was revealed to be the theme song of the Call of Duty: Black Ops II Zombies map \"Origins\", included in its final downloadable content pack titled Apocalypse.\n\nMusical style\nSynyster Gates stated of the album: \"I think our songwriting has improved by leaps and bounds. Sonically, this record is our biggest record by far. When you turn this thing on, it blasts your head off.\" M. Shadows stated about the album's music: \"On this record, we want a very bare bones, riff-oriented approach. Because it's really easy for us to say 'That melody would sound great here, throw this background vocal here, here's this harmony.' We had to restrain ourselves from doing that just to keep it more badass and just more straightforward rock.\"\n\nZacky Vengeance stated: \"We styled everything back and went to the core of heavy metal instead of trying to overcomplicate it. We wrote and wrote, and felt we really achieved what we were going for ... we're really proud of what we've come up with.\" Johnny Christ stated about the album's musical style in an interview with Bravewords: \"It's definitely us. It's just the next progression. It's probably the heaviest record that we've put out - in its own right. It's been a great response for the single (Hail to the King) so far, which I feel is a good way to see what the rest of the record is going to sound like. There will be some surprises in there for fans, but overall, I'm just excited.\" He also said the album is more groove metal-oriented. The album also shows a thrash metal sound, with fast to mid-paced tempos, heavily distorted guitars and war, religious intolerance or corruption themed lyrics.\n\nRelease and promotion\nOn July 15, 2013 the album was made available for pre-order and the title track, \"Hail to the King\", was released.\n\nThe same day, the band revealed a Limited Edition of Hail to the King for pre-order available on their website, much as they did with their previous album, Nightmare. The limited edition set included:\n\n Limited Edition \"Treasure Box\": Antique gold colored embossed foil paper wrapped box featuring exclusive Hail to the King artwork\n Deluxe Hail To The King album on CD: Housed in a digi-pak with a card including a download to an extra bonus track\n Exclusive Canvas Print: 11.75″ × 11.75″ Canvas print of the Album Cover artwork, printed and rolled up to fit inside the treasure box\n Photo Book: 11.5″ × 7.125″ 20-page + cover perfect-bound soft-cover book featuring a sampling of photos of the band throughout the years\n Death Bat Challenge Coin: 2″ silver colored metal coin with a design stamped on front & back\n Death Bat Skeleton Key: 4.5″ silver colored metal skeleton key\n Digital Content: Instant download Hail to the King Single. Download of Hail to the King album on street date\n Pre-Sale access to the upcoming Avenged Sevenfold US Tour\n\nOn August 19, 2013, the album was made available for streaming on iTunes.\n\nCritical reception\n\nHail to the King received positive reviews upon release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream music critics, the album received an average score of 70, based on 9 reviews, which indicates \"generally favorable\" reviews. At AnyDecentMusic?, that collates critical reviews from more than 50 media sources, the album scored 6.7 points out of 10, based on eight reviews.\n\nIn a summary of his review, Chris Epting of Loudwire called the album \"a modern metal classic that reflects the past while very much embracing the present\". Artistdirect's Rick Florino stated, \"Hail to the King doesn't just raise the bar for the band, but it raises the bar for everyone else to follow and compete with.\" In a very positive review, Dom Lawson of The Guardian judged, \"Stripped down to a core of thudding Sabbath-like grooves and brash, spiky vocal refrains, Avenged now sound every bit as vital and imperious as the bands they aspire to emulate.\" \"Hail to the King represents a clean sweep, a divergence into classic metal and their best chance of hitting the heights they've always longed for\", according to Q. \"The next giant crossover metal band has arrived\", reviewer Tom Bryant concluded, giving the album a 4 stars out of 5 rating.\n\nNot all critics were as enthusiastic. In a mixed review, Jason Lymangrover of AllMusic remarked: \"Unfortunately, once they tried to take inspiration from other bands, they mimicked them so well that they lost their sense of identity in the process\". He also accused \"This Means War\" of ripping off Metallica's song \"Sad but True\". In a more negative review, Bradley Zorgdrager of Exclaim! said: \"After it concludes, Hail to the King makes it challenging for listeners to recall any specific moment, which defeats the purpose of a pop (metal) album\". The album also has been compared to bands like Iron Maiden, Metallica, and Pantera.\n\nIn a blog post, Machine Head frontman Robb Flynn was also very critical of the album, denouncing it as a mere \"cover album\" and making several jokes about the similarities a selection of songs share with those by Metallica, Megadeth, and Guns N' Roses. Flynn later revealed he was joking and was actually \"happy\" for their success, saying \"It's time to poke a little fun at A7X.\" M. Shadows responded to the criticism saying that he \"read it as a joke\", but noted that \"if it is a joke, it was kind of overboard\".\n\nAccolades\n\nLoudwire Music Awards\n\n|-\n| 2013 || Hail to the King || Rock Album of the Year || \n|-\n| 2013 || Hail to the King || Best Rock Song || \n\nRevolver Golden Gods Awards\n\n|-\n| 2014 || Hail to the King || Album of the Year || \n|-\n| 2014 || Hail to the King || Song of the Year || \n|-\n| 2014 || M. Shadows || Best Vocalist || \n|-\n| 2014 || Synyster Gates & Zacky Vengeance || Best Guitarists || \n|-\n| 2014 || Arin Ilejay || Best Drummer || \n|-\n| 2014 || Johnny Christ || Best Bassist ||\n\nCommercial performance\nHail to the King debuted at number one on the UK Albums Chart on September 1, 2013. It also debuted at number two on the Official Finnish Albums Chart and at number five in Germany.\n\nThe album sold 159,000 copies in the United States in its first week of release to debut at number one on the Billboard 200 chart.\n\nTrack listing\nAll songs written and composed by M. Shadows, Zacky Vengeance, Synyster Gates, and Johnny Christ.\n\nPersonnel\nAvenged Sevenfold\n M. Shadows – lead vocals\n Zacky Vengeance – rhythm guitar, backing vocals\n Synyster Gates – lead guitar, backing vocals, additional vocals on \"Planets\", co-lead vocals on \"Doing Time\"\n Johnny Christ – bass guitar, backing vocals\n Arin Ilejay – drums, percussion\n\nSession musicians\n\n Storm Lee Gardner – vocals on \"Requiem\"\n Ran Jackson – vocals on \"Requiem\"\n Jessi Collins – vocals on \"Requiem\"\n Sharlotte Gibson – vocals on \"Requiem\"\n Rick D. Waserman – voice-over on \"Requiem\"\n Brent Arrowood – sound effects on \"Shepherd of Fire\" \n Brian Haner Sr – outro guitar solo on \"Coming Home\"\n David Campbell – orchestral arrangement & conductor\n Suzie Katayama - cello on \"Shepherd of Fire\", \"Requiem\", \"Crimson Day\", \"Planets\" and \"Acid Rain\"\n Dane Little, John E. Acosta – cello on \"Requiem\", \"Crimson Day\" and \"Acid Rain\"\n Charlie Bisharat, John Wittenberg, Josefina Vergara, Michelle Richards, Natalie Leggett, Sara Parkins, Songa Lee, Tereza Stanislav – violin on \"Requiem\", \"Crimson Day\" and \"Acid Rain\"\n Ed Meares - upright bass on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n John Fumo, Rick Baptist – trumpet on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Jeff Babko – piano on \"Acid Rain\"\n Alan Kaplan – trombone on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Steven Holtman, Andrew Martin, Jaime Ochoa - bass trombone on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Douglas Tornquist – tuba on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Joe Meyer, John Reynolds – horn on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n\nProduction\n Mike Elizondo – production, keyboards on \"Crimson Day\", \"Heretic\" and \"Coming Home\", sound effects on \"Shepherd of Fire\" and \"Acid Rain\"\n Allen Wolfe – A&R\n Joanna Terrasi – A&R\n Brent Arrowood – assistant engineer\n Chris Sporleder – assistant engineer\n D.A. Frizell – illustrations, treatment\n Adam Hawkins – engineer\n Paul Suarez – pro-tools\n Cam Rackman – paintings, portraits\n Andy Wallace – mixer\n Bob Ludwig – mastering engineer\n\nCharts and certifications\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n2013 albums\nAvenged Sevenfold albums\nWarner Records albums\nAlbums produced by Mike Elizondo\nAlbums recorded at Capitol Studios" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish," ]

[ "Hail to the King may refer to:\n A catchphrase from Army of Darkness, 1992\n Hail to the King (Avenged Sevenfold album), 2013\n \"Hail to the King\" (song), 2013\n Hail to the King Tour\n Hail to the King (Hillsong London album), 2008", "\"Hail to the Orange\" (along with \"Illinois Loyalty\") is the alma mater of the University of Illinois at Urbana–Champaign. Its alternate version, \"Hail to the Purple,\" is an official song of the fraternity Sigma Alpha Epsilon. The song was written in 1910 by two students: Harold Vater Hill, credited with the music, and Howard Ruggles Green, credited with the lyrics.\n\nHistory\nIn the summer of 1910, Hill and Green composed and entered \"Hail to the Orange\" and several other songs into a contest for a student-composed opera. The opera was never finished, so the two attempted to sell the musical numbers to a publisher. They managed to sell \"Oskee Wow-Wow\" to Charley Graham, the manager of the U. of I. Supply Store (also known as the Co-Op) for $100; however, Graham refused to accept \"Hail to the Orange\" even as a gift to be printed on the cover of \"Oskee Wow-Wow,\" citing the song's lack of \"punch.\" Hill and Green rewrote the song and gave it to the national secretary of their fraternity, Sigma Alpha Epsilon, who copyrighted it in 1915 and published it in the fraternity songbook. \"Hail to the Purple\" has been an essential song for the fraternity's chapters ever since.\n\nThe original version, \"Hail to the Orange,\" was first sung by a fraternity quartet at the 1911 Post-Exam Jubilee. It grew in favor through continued presentations at various glee contests. The song quickly became an essential symbol of school spirit, being published in several official university songbooks and sung at hundreds of university events. Green returned to Champaign for the 1922 homecoming and to his surprise, \"Hail to the Orange\" had been enjoying brisk sales and neither he nor Hill were being credited as its authors. While he eventually managed to assign credit to himself and Hill as the songwriters, Green did not receive royalties from its sales until the U. of I. Supply Store's copyright expired—twenty-eight years after he and Hill had written the song.\n\nIn the 1950s, the status of \"Hail to the Orange\" as a school song became a point of controversy. Students debated whether the football stadium should stand up during performances of the song, yet opposing students argued that they should only stand when \"Illinois Loyalty\" is played, which they claimed was the official alma mater song. Supporting students claimed that \"Hail to Orange\" had been universally recognized by students, faculty, and alumni. So, in November 1958, the Men's Independent Association and the Interfraternity Council urged university president David Dodds Henry to replace \"Illinois Loyalty\" with \"Hail to the Orange\" as the official alma mater song. It was discovered from this letter that \"Illinois Loyalty\" was never officially recognized by the university, but rather \"For Good Old Illinois,\" by Vernon Thompson Stevens was recognized in 1916. President Henry believed that legislation of the issue could only occur when all interested groups have engaged in widespread discussion and come to an agreement. In February 1959, he asked the Alumni Board of the Alumni Association and the university's Student Senate to begin the discussion. By March, President Henry announced that the university would not be making any decisions regarding official school songs. \"Illinois Loyalty\" and \"Hail to the Orange\" would remain in competition with \"For Good Old Illinois\" for the title of \"official alma mater song.\"\n\nLyrics\n\nThe lyrics as written by Green for \"Hail to the Orange\" are:\n\nThe lyrics as written by Green for \"Hail to the Purple\" are:\n\nMedia\nThe Marching Illini first played \"Hail to the Orange\" in 1922 and has since integrated the song into their standard repertoire. It is performed as part of \"Three in One\" at the end of each halftime performance. It is also sung a cappella in 4-part harmony before the band is dismissed at the end of the post-game concert following each home game.\n\nIn 1938, Hill's sister, Frances Hill Arms, presented Sigma Alpha Epsilon, Illinois Beta chapter with a bronze tablet honoring his musical contributions to the fraternity and the university. In August 1964, Green was awarded the Merit Key Award and a Citation from Sigma Alpha Epsilon for his co-authorship of \"Violets\" and \"Hail to the Purple,\" two of the fraternity's most popular songs. In October 1966, Green was presented with another award, this time from the University of Illinois Alumni Association for his co-authorship of \"Hail to the Orange.\"\n\n\"Hail to the Orange\" is played (typically at the beginning) of every Altgeld Chimes concert since the 1960s.\n\nSee also\n \"Illinois Loyalty\"\n \"Oskee Wow-Wow\"\n Sigma Alpha Epsilon\n List of University of Illinois songs\n\nReferences\n\nExternal links\n Recording of \"Hail to the Purple\" on Sigma Alpha Epsilon's website\n YouTube video of \"Hail to the Orange\" sung by the Marching Illini\n YouTube video of \"Hail to the Orange\" played on the Altgeld Chimes\n\n1910 songs\nAmerican college songs\nAlma mater songs" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish,", "How many copies did Hail to the King sell?", "I don't know." ]

[ "\"Hail to the King\" is a song by American heavy metal band Avenged Sevenfold and the lead single from their sixth studio album of the same name, released on July 15, 2013. The song was premiered live on July 17, 2013, at the Ford Festival Park in Oshkosh, Wisconsin.\n\nRelease\nThe song was released on July 15, 2013, as the lead single for their sixth studio album, Hail to the King. On July 31, 2013, a limited edition CD version of the single was released, with a live version of \"Nightmare\" performed at The Palace of Auburn Hills attached. The song appears in the video game Rock Band 4 and as one of the official theme songs for WrestleMania 32.\n\nMusic video\nThe official music video premiered on the Metal Hammer website on August 16, 2013. The video depicts the band playing together, as well as shots of the king referenced in the song. The video is in black and white and is the first to feature drummer Arin Ilejay, as well as being the first Avenged Sevenfold video to feature a drummer since the video for \"Dear God\", which was the last to feature drummer The Rev.\n\nAccolades\n\nLoudwire Music Awards\n\n|-\n| 2013 || Hail to the King || Best Rock Song || \n\nRevolver Golden Gods Awards\n\n|-\n| 2014 || Hail to the King || Song of the Year ||\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nPersonnel\nM. Shadows – lead vocals\nZacky Vengeance – rhythm guitar, backing vocals\nSynyster Gates – lead guitar, backing vocals\nJohnny Christ – bass guitar\nArin Ilejay – drums\n\nReferences\n\nExternal links\n\nAvenged Sevenfold songs\n2013 songs\n2013 singles\nWarner Records singles\nSong recordings produced by Mike Elizondo", "Hell on Wheels is the ninth album by heavy metal band Manowar and is also the band's first live album.\n\nTrack listing\n\nDisc 1\n\n \"Manowar\" (Battle Hymns)\n \"Kings of Metal\" (Kings of Metal)\n \"Kill With Power\" (Hail to England)\n \"Sign of the Hammer\" (Sign of the Hammer)\n \"My Spirit Lives On\" (Louder Than Hell)\n \"Piano Interlude\"\n \"Courage\" (Louder Than Hell)\n \"Spirit Horse of the Cherokee\" (The Triumph of Steel)\n \"Blood of My Enemies\" (Hail to England)\n \"Hail and Kill\" (Kings of Metal)\n \"Warriors of the World\"\n\nDisc 2\n \"Wheels of Fire\" (Kings of Metal)\n \"Metal Warriors\" (The Triumph of Steel)\n \"Army of the Immortals\" (Hail to England)\n \"Black Arrows\" (Hail to England)\n \"Fighting the World\" (Fighting the World)\n \"Thor (The Powerhead)\" (Sign of the Hammer)\n \"King\" (Louder Than Hell)\n \"The Gods Made Heavy Metal\" (Louder Than Hell)\n \"Black Wind, Fire and Steel\" (Fighting the World)\n \"Return of the Warlord\" (Louder Than Hell)\n \"Carry On\" (Fighting the World)\n \"Battle Hymn\" (Battle Hymns)\n\nReferences \n\nManowar albums\n1997 live albums" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish,", "How many copies did Hail to the King sell?", "I don't know.", "Did the band do any live shows to promote Hail to the King?", "The band headlined Monster Energy's Welcome to Rockville two-day music festival in Jacksonville, FL, April 26-27, 2014," ]

[ "Rockville may refer to:\n\nPlaces\n\nAustralia \nRockville, Queensland, a suburb in the city of Toowoomba\n\nCanada \nRockville, Nova Scotia\n Rockville, Ontario, a community in Northeastern Ontario\n\nIceland \nRockville Air Station (Iceland), a former United States Air Force General Surveillance Radar station that operated from 1952 to 1992\n\nIreland \nRockville, formerly a landed estate in County Roscommon, near the Shannon; home of one branch of the Lloyd family and focus of the Rockville Navigation\n\nNew Zealand \n Rockville, New Zealand, a rural community near Collingwood, New Zealand. Historically a dairy farming community. Its local dairy factory is now the site of the Rockville Museum.\n\nSouth Africa \nRockville, Soweto, Gauteng\n\nUnited States \nRockville, Alabama\nRockville, California\nRockville, Connecticut\nRockville, Georgia\nRockville, Indiana, home of the Rockville Air Force Station, a former United States Air Force General Surveillance Radar station that operated from 1951 to 1966\nRockville, Iowa\nRockville, Maryland\nRockville (WMATA station), a subway station\nRockville Park Historic District\nRockville Pike (Maryland Route 355), a road in Montgomery County, Maryland\nRockville, Minnesota\nRockville, Missouri\nRockville, Nebraska\nRockville, Orange County, New York\nRockville Centre, New York, referred to as \"Rockville\"\nRockville, Ohio\nRockville, Pennsylvania\nRockville, Rhode Island\nRockville, South Carolina\nRockville, Utah\nRockville, Virginia\nRockville, West Virginia\nRockville, Wisconsin (disambiguation), multiple places\nWelcome to Rockville, a rock festival in Florida\n\nEntertainment \n\"(Don't Go Back To) Rockville\", commonly referred to as \"Rockville\", a song by rock group R.E.M. from their 1984 album Reckoning\nRockville (TV series), a South African television show\n\nSee also\n Rockville High School (disambiguation)\n Rockville Station (disambiguation)\n Rockville Township (disambiguation)", "Welcome To The Gun Show is a New Zealand music programme which first went to air on New Zealand's Alt TV, Sky Digital 65. The show is produced by former Lynfield College student Johnathon Leyland.\n\nFormat\nThe show is designed to support and showcase up and coming young bands. The format of the show consists of performances by bands in their rehearsal venues, and a live in-studio interview. The Gun Show crew includes hosts Johnathon Leyland, Dane Smith from former band Nihilism, Florence and Lawrence from Lynfield College, and young Ella and Ruby Zimmermann. The show has recently branched out into areas that include more than just music, for instance, the show has a number of editors and photography students working behind the scenes.\n\nThe Welcome To The Gun Show website states that their philosophy is:\n\nFeatured bands\nBands that have featured on Welcome To The Gun Show include Force Fed Trauma, White Birds And Lemons, Pink Fluffy Islands, Where's Gary's Duvet? and The Bengal Lights. Some bands featured on the show, such as False Start have since gone on to release albums, and several bands have played at Auckland's Big Day Out festival.\n\nExternal links\nOfficial Website\nOfficial Youtube Channel\nWelcome To The Gun Show on Facebook\n\nNew Zealand music television series\nALT TV original programming" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish,", "How many copies did Hail to the King sell?", "I don't know.", "Did the band do any live shows to promote Hail to the King?", "The band headlined Monster Energy's Welcome to Rockville two-day music festival in Jacksonville, FL, April 26-27, 2014,", "What other bands played at Welcome to Rockville?", "more than 25 rock acts, such as Motorhead, Rob Zombie, Chevelle, Korn, Staind, Alter Bridge, The Cult, Five Finger Death Punch, Volbeat," ]

[ "Hail and Farewell (a translation of ave atque vale, last words of the poem Catullus 101) is a traditional military event whereby those coming to and departing from an organization are celebrated. This may coincide with a change in command, be scheduled on an annual basis, or be prompted by any momentous organizational change. It is a time to honor those who have departed the unit and thank them for their service. At the same time it is a welcome to those who are joining and introduces them to the special history and traditions of their new organization. This celebration builds organizational camaraderie and esprit de corps. It supports a sense of continuity through change.\n\nUnited States\nFor the United States Army, a Hail and Farewell is most often celebrated at a formal dining in when there is a change in command. This provides the unit with a formal setting in which to welcome the new commander and honor the old commander. Some units may elect a less formal Dining Out in which family members and other non-military guests are encouraged to take place in the unit change. There are no official requirements outlined by the United States Army to have a Hail and Farewell celebration. It is up to each unit to carry out this tradition as they see fit.\n\nThe United States Navy, on the other hand, has specified that by custom the ship's officers must give a formal dinner when their new captain arrives. There may also be a formal dinner for the departing captain and these may be combined into one formal Hail and Farewell dinner.\n\nAfter visiting Arlington National Cemetery I was moved to write down the sense of honor and respect I had for those there. I hope this poem brings comfort and understanding to all those who hear it.\n\nThe Final Hail and Farewell\n\nMSgt (Ret) William “Bill” Cordes\n\nAttention to orders \nI thought I heard someone say\n\nTo welcome this veteran \nWho has joined us today\n\nRow upon row \nof stones stand tall\n\nMarking earlier members\nWho had answered the call\n\nOn farms and in cities \nThey grew up fit\n\nThey had a job to do\nAnd they did it\n\nThe silence was broken \nAs the procession went by\n\nStopping in place \nWhere the hero will lie\n\nThe flag was folded \nAnd I felt a great pride \n\nBelieving those here\nWelcomed another to their side\n\nUnknowns will thank you\nAnd I pray you were blessed \n\nNow join fellow warriors\nWho gave us their best\n\nAnd oh the stories \nThey will tell\n\nThere at your final \nHail and Farewell\n\nNotes\n\nReferences \nThe Naval Officer's Guide, 11th Edition (U.S. Naval Institute, 1998), p.102\nDalessandro, Col. Robert J. Army Officer's Guide, Stackpole Books, Harrisburg, PA.\n(covers customs of the United States Army)\nSwartz, Oretha. Service Etiquette, Naval Institute Press, Annapolis, MD.\n(covers customs of the United States Military)\nHome Book of Quotations, 8th ed (NY: Dodd, Mead, 1956; RefColl), p. 165, attributes the following line to the Odes of Gaius Valerius Catullus (ca 84-ca 54 BC):\n\nMilitary traditions\nEtiquette", "Hail to the King is the sixth studio album by American heavy metal band Avenged Sevenfold, released on August 27, 2013, through Warner Bros. Records. The album was produced by Mike Elizondo. Hail to the King is the only Avenged Sevenfold album to feature drummer Arin Ilejay, prior to his departure in July 2015. It is also the first Avenged Sevenfold album without musical contributions from Ilejay's late predecessor, Jimmy \"The Rev\" Sullivan; the bonus track, \"St. James\", was written in his memory.\n\nThe album was a commercial and critical success, reaching number 1 on the Billboard 200. This marks Avenged Sevenfold's second album to top the Billboard chart (the first being Nightmare), as well as their first to reach number 1 in the UK, topping the UK Albums Chart. It also topped the Canadian, Brazilian, Finnish and Irish album charts. Also, the album spawned two number 1 singles on Billboard's Mainstream Rock, Hail to the King, and Shepherd of Fire. The former spent 11 weeks on the top of the chart. On April 15, 2021 the album was certified Platinum by the RIAA for sales of over 1,000,000 copies.\n\nBackground\nOn November 15, 2012, vocalist M. Shadows said that the band has been working on a new album since the recording of \"Carry On\" in August 2012. In December, the band said that it plans to begin recording material for their next album in January 2013, with release planned for later in the year. In January 2013 the band started recording their new album. The band started streaming snippets of their new album in May 2013 on their new radio app. It was on the app that Arin Ilejay was confirmed as an official band member and replacement of deceased drummer and founding member The Rev. In an interview with Metal Hammer about the new album, M. Shadows said that the album would sound more blues rock-influenced and more like classic rock and classic metal in the vein of Black Sabbath and Led Zeppelin.\n\nThe band released four teasers on YouTube showing the band going through the recording process as well as providing snippets of songs off the album. On June 26, 2013, the band revealed the title, cover art and release date of album. In July, the band revealed the complete track list of the album.\n\nOn August 8, 2013, \"Shepherd of Fire\" was revealed to be the theme song of the Call of Duty: Black Ops II Zombies map \"Origins\", included in its final downloadable content pack titled Apocalypse.\n\nMusical style\nSynyster Gates stated of the album: \"I think our songwriting has improved by leaps and bounds. Sonically, this record is our biggest record by far. When you turn this thing on, it blasts your head off.\" M. Shadows stated about the album's music: \"On this record, we want a very bare bones, riff-oriented approach. Because it's really easy for us to say 'That melody would sound great here, throw this background vocal here, here's this harmony.' We had to restrain ourselves from doing that just to keep it more badass and just more straightforward rock.\"\n\nZacky Vengeance stated: \"We styled everything back and went to the core of heavy metal instead of trying to overcomplicate it. We wrote and wrote, and felt we really achieved what we were going for ... we're really proud of what we've come up with.\" Johnny Christ stated about the album's musical style in an interview with Bravewords: \"It's definitely us. It's just the next progression. It's probably the heaviest record that we've put out - in its own right. It's been a great response for the single (Hail to the King) so far, which I feel is a good way to see what the rest of the record is going to sound like. There will be some surprises in there for fans, but overall, I'm just excited.\" He also said the album is more groove metal-oriented. The album also shows a thrash metal sound, with fast to mid-paced tempos, heavily distorted guitars and war, religious intolerance or corruption themed lyrics.\n\nRelease and promotion\nOn July 15, 2013 the album was made available for pre-order and the title track, \"Hail to the King\", was released.\n\nThe same day, the band revealed a Limited Edition of Hail to the King for pre-order available on their website, much as they did with their previous album, Nightmare. The limited edition set included:\n\n Limited Edition \"Treasure Box\": Antique gold colored embossed foil paper wrapped box featuring exclusive Hail to the King artwork\n Deluxe Hail To The King album on CD: Housed in a digi-pak with a card including a download to an extra bonus track\n Exclusive Canvas Print: 11.75″ × 11.75″ Canvas print of the Album Cover artwork, printed and rolled up to fit inside the treasure box\n Photo Book: 11.5″ × 7.125″ 20-page + cover perfect-bound soft-cover book featuring a sampling of photos of the band throughout the years\n Death Bat Challenge Coin: 2″ silver colored metal coin with a design stamped on front & back\n Death Bat Skeleton Key: 4.5″ silver colored metal skeleton key\n Digital Content: Instant download Hail to the King Single. Download of Hail to the King album on street date\n Pre-Sale access to the upcoming Avenged Sevenfold US Tour\n\nOn August 19, 2013, the album was made available for streaming on iTunes.\n\nCritical reception\n\nHail to the King received positive reviews upon release. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream music critics, the album received an average score of 70, based on 9 reviews, which indicates \"generally favorable\" reviews. At AnyDecentMusic?, that collates critical reviews from more than 50 media sources, the album scored 6.7 points out of 10, based on eight reviews.\n\nIn a summary of his review, Chris Epting of Loudwire called the album \"a modern metal classic that reflects the past while very much embracing the present\". Artistdirect's Rick Florino stated, \"Hail to the King doesn't just raise the bar for the band, but it raises the bar for everyone else to follow and compete with.\" In a very positive review, Dom Lawson of The Guardian judged, \"Stripped down to a core of thudding Sabbath-like grooves and brash, spiky vocal refrains, Avenged now sound every bit as vital and imperious as the bands they aspire to emulate.\" \"Hail to the King represents a clean sweep, a divergence into classic metal and their best chance of hitting the heights they've always longed for\", according to Q. \"The next giant crossover metal band has arrived\", reviewer Tom Bryant concluded, giving the album a 4 stars out of 5 rating.\n\nNot all critics were as enthusiastic. In a mixed review, Jason Lymangrover of AllMusic remarked: \"Unfortunately, once they tried to take inspiration from other bands, they mimicked them so well that they lost their sense of identity in the process\". He also accused \"This Means War\" of ripping off Metallica's song \"Sad but True\". In a more negative review, Bradley Zorgdrager of Exclaim! said: \"After it concludes, Hail to the King makes it challenging for listeners to recall any specific moment, which defeats the purpose of a pop (metal) album\". The album also has been compared to bands like Iron Maiden, Metallica, and Pantera.\n\nIn a blog post, Machine Head frontman Robb Flynn was also very critical of the album, denouncing it as a mere \"cover album\" and making several jokes about the similarities a selection of songs share with those by Metallica, Megadeth, and Guns N' Roses. Flynn later revealed he was joking and was actually \"happy\" for their success, saying \"It's time to poke a little fun at A7X.\" M. Shadows responded to the criticism saying that he \"read it as a joke\", but noted that \"if it is a joke, it was kind of overboard\".\n\nAccolades\n\nLoudwire Music Awards\n\n|-\n| 2013 || Hail to the King || Rock Album of the Year || \n|-\n| 2013 || Hail to the King || Best Rock Song || \n\nRevolver Golden Gods Awards\n\n|-\n| 2014 || Hail to the King || Album of the Year || \n|-\n| 2014 || Hail to the King || Song of the Year || \n|-\n| 2014 || M. Shadows || Best Vocalist || \n|-\n| 2014 || Synyster Gates & Zacky Vengeance || Best Guitarists || \n|-\n| 2014 || Arin Ilejay || Best Drummer || \n|-\n| 2014 || Johnny Christ || Best Bassist ||\n\nCommercial performance\nHail to the King debuted at number one on the UK Albums Chart on September 1, 2013. It also debuted at number two on the Official Finnish Albums Chart and at number five in Germany.\n\nThe album sold 159,000 copies in the United States in its first week of release to debut at number one on the Billboard 200 chart.\n\nTrack listing\nAll songs written and composed by M. Shadows, Zacky Vengeance, Synyster Gates, and Johnny Christ.\n\nPersonnel\nAvenged Sevenfold\n M. Shadows – lead vocals\n Zacky Vengeance – rhythm guitar, backing vocals\n Synyster Gates – lead guitar, backing vocals, additional vocals on \"Planets\", co-lead vocals on \"Doing Time\"\n Johnny Christ – bass guitar, backing vocals\n Arin Ilejay – drums, percussion\n\nSession musicians\n\n Storm Lee Gardner – vocals on \"Requiem\"\n Ran Jackson – vocals on \"Requiem\"\n Jessi Collins – vocals on \"Requiem\"\n Sharlotte Gibson – vocals on \"Requiem\"\n Rick D. Waserman – voice-over on \"Requiem\"\n Brent Arrowood – sound effects on \"Shepherd of Fire\" \n Brian Haner Sr – outro guitar solo on \"Coming Home\"\n David Campbell – orchestral arrangement & conductor\n Suzie Katayama - cello on \"Shepherd of Fire\", \"Requiem\", \"Crimson Day\", \"Planets\" and \"Acid Rain\"\n Dane Little, John E. Acosta – cello on \"Requiem\", \"Crimson Day\" and \"Acid Rain\"\n Charlie Bisharat, John Wittenberg, Josefina Vergara, Michelle Richards, Natalie Leggett, Sara Parkins, Songa Lee, Tereza Stanislav – violin on \"Requiem\", \"Crimson Day\" and \"Acid Rain\"\n Ed Meares - upright bass on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n John Fumo, Rick Baptist – trumpet on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Jeff Babko – piano on \"Acid Rain\"\n Alan Kaplan – trombone on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Steven Holtman, Andrew Martin, Jaime Ochoa - bass trombone on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Douglas Tornquist – tuba on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n Joe Meyer, John Reynolds – horn on \"Shepherd of Fire\", \"Requiem\" and \"Planets\"\n\nProduction\n Mike Elizondo – production, keyboards on \"Crimson Day\", \"Heretic\" and \"Coming Home\", sound effects on \"Shepherd of Fire\" and \"Acid Rain\"\n Allen Wolfe – A&R\n Joanna Terrasi – A&R\n Brent Arrowood – assistant engineer\n Chris Sporleder – assistant engineer\n D.A. Frizell – illustrations, treatment\n Adam Hawkins – engineer\n Paul Suarez – pro-tools\n Cam Rackman – paintings, portraits\n Andy Wallace – mixer\n Bob Ludwig – mastering engineer\n\nCharts and certifications\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nReferences\n\n2013 albums\nAvenged Sevenfold albums\nWarner Records albums\nAlbums produced by Mike Elizondo\nAlbums recorded at Capitol Studios" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish,", "How many copies did Hail to the King sell?", "I don't know.", "Did the band do any live shows to promote Hail to the King?", "The band headlined Monster Energy's Welcome to Rockville two-day music festival in Jacksonville, FL, April 26-27, 2014,", "What other bands played at Welcome to Rockville?", "more than 25 rock acts, such as Motorhead, Rob Zombie, Chevelle, Korn, Staind, Alter Bridge, The Cult, Five Finger Death Punch, Volbeat,", "Besides Welcome to Rockville, did they do any more shows for Hail to the King?", "The band also headlined the Mayhem Festival 2014 with Korn, Asking Alexandria, and Trivium." ]

[ "\"Unholy Confessions\" is a song by Avenged Sevenfold, released as the single from their second album, Waking the Fallen.\nIt was the first single by the band to receive mainstream exposure and was heavily rotated on MTV2's Headbangers Ball. The song is about two people, who are a couple, who find out they are both cheating on each other.\n\nBackground\nThe song made its live debut on February 25, 2003, and has remained a permanent staple of the band's live set (though there have been a few occasions where it was omitted). As of June 2018, it has been performed live a total of 804 times, and is Avenged Sevenfold's most played song live, ahead of the runner-up \"Bat Country\", which has been played a total of 730 times. It is also the only song from Waking the Fallen to have remained a staple of their live set. This song was one of Avenged Sevenfold's last songs in which lead singer Matt Shadows used a raspy, screaming voice, and since their follow-up album, has switched to gritty, scream-absent vocals.\n\nMusic videos\nThe band, along with director Thomas Mignone, filmed the song's concept video in December 2003, featuring the band performing the single at an abandoned warehouse. After a few months, they posted on the website's blog about their discomfort with the video, and the decision to re-shoot the video. The concept video eventually got released on YouTube, along with the 2014 re-release of Waking the Fallen.\n\nIn February 2004, the band shared the plan to film the new video, this time being a live performance, recruiting as many fans with Avenged Sevenfold tattoos and a few protagonists to film at their homes getting ready for the show, whether by promoting, driving to the concert, among other things. The performance was shot on March 6, 2004, at the Henry Fonda Theatre.\n\nTrack listing\n12\" single\n\nDVDr\n\nPromo single\n\nPersonnel\nM. Shadows - lead vocals\nZacky Vengeance - rhythm guitar\nThe Rev - drums\nSynyster Gates - lead guitar\nJohnny Christ - bass\n\nCertifications\n\nReferences\n\n2003 songs\nAvenged Sevenfold songs\nSongs about infidelity", "Daylight Storms is an album by the English group Air Formation. It was released on the label Club AC30 on February 12, 2007.\n\nTrack listing\n \"Cold Morning\" – 5:18\n \"Tidal\" – 4:15\n \"Daylight Storms\" – 4:52\n \"I Can't Remember Waking Up\" – 3:54\n \"Into View\" – 4:31\n \"Formation 1\" – 4:41\n \"You Have to Go Somewhere\" – 6:29\n \"Adrift\" – 3:18\n \"The Dark Has Fallen\" – 5:43\n \"Before We Forget\" – 7:34\n\nReferences\n\n2007 albums\nAir Formation albums" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish,", "How many copies did Hail to the King sell?", "I don't know.", "Did the band do any live shows to promote Hail to the King?", "The band headlined Monster Energy's Welcome to Rockville two-day music festival in Jacksonville, FL, April 26-27, 2014,", "What other bands played at Welcome to Rockville?", "more than 25 rock acts, such as Motorhead, Rob Zombie, Chevelle, Korn, Staind, Alter Bridge, The Cult, Five Finger Death Punch, Volbeat,", "Besides Welcome to Rockville, did they do any more shows for Hail to the King?", "The band also headlined the Mayhem Festival 2014 with Korn, Asking Alexandria, and Trivium.", "When was Waking the Fallen: Resurrected released?", "Waking the Fallen: Resurrected was released August 25, 2014." ]

[ "Waking the Fallen is the second studio album by American heavy metal band Avenged Sevenfold, released on August 26, 2003, through Hopeless Records. It is the band's first full-length album with new lead guitarist Synyster Gates and bassist Johnny Christ.\n\nThe album was released as a double 12-inch gray marble vinyl in 2008 in the US. It was certified gold on July 15, 2009, even though it only sold 3,000 copies on its first week of release. As of August 2014, the album has sold over 693,000 copies in the United States. As of March 17, 2021, the album has been certified Platinum. The song \"Eternal Rest\" appears on Kerrang!s \"666 Songs You Must Own\" and was featured on the soundtrack to the movie Saw IV (2007).\n\nMusical style\nThis is the first release by the band to feature lead guitarist Synyster Gates, the record also features some guitar solos. The record is notable among fans due to M. Shadows' slightly higher pitch in his voice and high notes he sings on songs like \"I Won't See You Tonight\" (both parts). The album also leans more towards heavy metal rather than punk rock, with comparisons to melodic death metal, thrash metal and power metal.\n\nReception and legacy\n\nWaking the Fallen was highly acclaimed. Robert L. Doerschuk from AllMusic wrote \"And whether attacking a riff in unison or in harmonized parts, the double-threat guitars of Synyster Gates and Zacky Vengeance do their duty like search-and-destroy commandos -- in and out fast, leaving devastation in their wake. Especially noteworthy -- and note-heavy -- is the guitar solo that blazes through the last moments of \"Second Heartbeat\" and the head-spinning single-stroke virtuosity of the Reverand throughout the album.\"\n\nIt received a positive profile in Billboard, with the magazine comparing Avenged Sevenfold to bands like NOFX, Iron Maiden, and Metallica. In other profiles, the album also received comparisons to the Misfits and further comparisons to Iron Maiden. \"Chapter Four\" was featured in video games such as NASCAR Thunder 2004, Madden NFL 04, and NHL 04, which helped the band get recognized and sign a contract with Warner Bros. Records. Overall reviews on Ultimate Guitar were very positive and along with 2016's The Stage has the highest overall rating of any Avenged Sevenfold studio albums on Ultimate Guitar.\n\nMetal Hammer magazine put Waking the Fallen on No. 6 spot of their 100 Greatest Albums of the 21st Century list in 2016.\n\nVideography\nA live performance video was shot at Warped Tour 2003 for the first single from Waking the Fallen, \"Second Heartbeat\". A video was made for the second single \"Unholy Confessions\" on March 6, 2004, using live footage set to the studio track. It featured the fans before and during an Avenged Sevenfold show at the Henry Fonda Theater. According to vocalist M. Shadows, it was requested by their new label, Warner Bros. Records, in order to publicize the band before their 2005 album City of Evil.\n\nThis video was the second attempt at a video for the track. The previous attempt was a concept video, filmed three months before. The band was not happy with the final product, however, and opted to re-shoot the video, this time as a live performance. The new video went into rotation on MTV2's Headbangers Ball.\n\nAnniversary\nIn March 2014, vocalist M. Shadows revealed in an interview with Loudwire that the band had plans in the works to put something out for the overdue 10th anniversary of Waking the Fallen:\n\nWaking the Fallen: Resurrected was released August 25, 2014.\n\nTrack listing \nAll songs credited to Avenged Sevenfold.\n\n\"Desecrate Through Reverence\" is mistakenly written as \"Desecrate Through Reverance\" in the reissue's booklet.\nA slightly longer version of the live versions of \"Eternal Rest\" was released on the Hopelessly Devoted To You Vol. 5 sampler in 2004. The Resurrected version is mistakenly said to be from Pomona.\nThe alternate version of \"Second Heartbeat\", which is the same as the demo version, can also be found on Hopelessly Devoted To You Vol. 4, released in 2002.\n\nPersonnel\nCredits are adapted from the album's liner notes.\n\nAvenged Sevenfold\n\n M. Shadows – lead vocals\n Zacky Vengeance – guitars, backing vocals\n The Rev – drums, percussion, backing vocals\n Synyster Gates – guitars, piano, backing vocals\n Johnny Christ – bass guitar, backing vocals\n\nProduction\n Andrew Murdock – producer, mixing engineer\n Fred Archambault – co-producer\n Ai Fujisaki – assistant engineer\n Tom Baker – mastering engineer\n Mike Fasano, Bruce Jacoby, Al Pahanish – drum tech\n Stephen Ferrara – guitar tech\n Scott Gilman – orchestral arrangements and performance\n\nCharts\n\nCertifications\n\nReferences\n\nAvenged Sevenfold albums\n2003 albums\nHopeless Records albums", "Writing to Remember is the first compilation album by Canadian Singer/Songwriter Matt Brouwer. The album was released on November 25, 2014 and features a collection of the 14 best loved songs from Brouwer's previous 4 studio albums. All the songs have been remastered and some re-mixed as well. The album includes one brand new single which appears as the first track on the project called, \"Waking Up\". Brouwer and Co. opted to include original college recordings of his songs, \"Breathe\" and \"Lead\" instead of the more polished versions that appear on his debut album, Imagerical. The exclusive single, \"Waking Up, from the album was nominated for song of the year by the GMA Canada Covenant awards.\n\nTrack listing\n\nReferences\n\n2014 albums\nMatt Brouwer albums" ]

[ "Avenged Sevenfold", "Hail to the King and Waking the Fallen: Resurrected (2012-14)", "When was Hail to the King released?", "The album, entitled Hail to the King, was released on August 27, 2013.", "How did Hail to the King do on the charts?", "Hail to the King charted as No. 1 on the US Billboard 200, the UK albums chart, as well as the Finnish,", "How many copies did Hail to the King sell?", "I don't know.", "Did the band do any live shows to promote Hail to the King?", "The band headlined Monster Energy's Welcome to Rockville two-day music festival in Jacksonville, FL, April 26-27, 2014,", "What other bands played at Welcome to Rockville?", "more than 25 rock acts, such as Motorhead, Rob Zombie, Chevelle, Korn, Staind, Alter Bridge, The Cult, Five Finger Death Punch, Volbeat,", "Besides Welcome to Rockville, did they do any more shows for Hail to the King?", "The band also headlined the Mayhem Festival 2014 with Korn, Asking Alexandria, and Trivium.", "When was Waking the Fallen: Resurrected released?", "Waking the Fallen: Resurrected was released August 25, 2014.", "Was Waking the Fallen: Resurrected a remake of a previous album?", "Waking the Fallen." ]

[ "Waking the Fallen is the second studio album by American heavy metal band Avenged Sevenfold, released on August 26, 2003, through Hopeless Records. It is the band's first full-length album with new lead guitarist Synyster Gates and bassist Johnny Christ.\n\nThe album was released as a double 12-inch gray marble vinyl in 2008 in the US. It was certified gold on July 15, 2009, even though it only sold 3,000 copies on its first week of release. As of August 2014, the album has sold over 693,000 copies in the United States. As of March 17, 2021, the album has been certified Platinum. The song \"Eternal Rest\" appears on Kerrang!s \"666 Songs You Must Own\" and was featured on the soundtrack to the movie Saw IV (2007).\n\nMusical style\nThis is the first release by the band to feature lead guitarist Synyster Gates, the record also features some guitar solos. The record is notable among fans due to M. Shadows' slightly higher pitch in his voice and high notes he sings on songs like \"I Won't See You Tonight\" (both parts). The album also leans more towards heavy metal rather than punk rock, with comparisons to melodic death metal, thrash metal and power metal.\n\nReception and legacy\n\nWaking the Fallen was highly acclaimed. Robert L. Doerschuk from AllMusic wrote \"And whether attacking a riff in unison or in harmonized parts, the double-threat guitars of Synyster Gates and Zacky Vengeance do their duty like search-and-destroy commandos -- in and out fast, leaving devastation in their wake. Especially noteworthy -- and note-heavy -- is the guitar solo that blazes through the last moments of \"Second Heartbeat\" and the head-spinning single-stroke virtuosity of the Reverand throughout the album.\"\n\nIt received a positive profile in Billboard, with the magazine comparing Avenged Sevenfold to bands like NOFX, Iron Maiden, and Metallica. In other profiles, the album also received comparisons to the Misfits and further comparisons to Iron Maiden. \"Chapter Four\" was featured in video games such as NASCAR Thunder 2004, Madden NFL 04, and NHL 04, which helped the band get recognized and sign a contract with Warner Bros. Records. Overall reviews on Ultimate Guitar were very positive and along with 2016's The Stage has the highest overall rating of any Avenged Sevenfold studio albums on Ultimate Guitar.\n\nMetal Hammer magazine put Waking the Fallen on No. 6 spot of their 100 Greatest Albums of the 21st Century list in 2016.\n\nVideography\nA live performance video was shot at Warped Tour 2003 for the first single from Waking the Fallen, \"Second Heartbeat\". A video was made for the second single \"Unholy Confessions\" on March 6, 2004, using live footage set to the studio track. It featured the fans before and during an Avenged Sevenfold show at the Henry Fonda Theater. According to vocalist M. Shadows, it was requested by their new label, Warner Bros. Records, in order to publicize the band before their 2005 album City of Evil.\n\nThis video was the second attempt at a video for the track. The previous attempt was a concept video, filmed three months before. The band was not happy with the final product, however, and opted to re-shoot the video, this time as a live performance. The new video went into rotation on MTV2's Headbangers Ball.\n\nAnniversary\nIn March 2014, vocalist M. Shadows revealed in an interview with Loudwire that the band had plans in the works to put something out for the overdue 10th anniversary of Waking the Fallen:\n\nWaking the Fallen: Resurrected was released August 25, 2014.\n\nTrack listing \nAll songs credited to Avenged Sevenfold.\n\n\"Desecrate Through Reverence\" is mistakenly written as \"Desecrate Through Reverance\" in the reissue's booklet.\nA slightly longer version of the live versions of \"Eternal Rest\" was released on the Hopelessly Devoted To You Vol. 5 sampler in 2004. The Resurrected version is mistakenly said to be from Pomona.\nThe alternate version of \"Second Heartbeat\", which is the same as the demo version, can also be found on Hopelessly Devoted To You Vol. 4, released in 2002.\n\nPersonnel\nCredits are adapted from the album's liner notes.\n\nAvenged Sevenfold\n\n M. Shadows – lead vocals\n Zacky Vengeance – guitars, backing vocals\n The Rev – drums, percussion, backing vocals\n Synyster Gates – guitars, piano, backing vocals\n Johnny Christ – bass guitar, backing vocals\n\nProduction\n Andrew Murdock – producer, mixing engineer\n Fred Archambault – co-producer\n Ai Fujisaki – assistant engineer\n Tom Baker – mastering engineer\n Mike Fasano, Bruce Jacoby, Al Pahanish – drum tech\n Stephen Ferrara – guitar tech\n Scott Gilman – orchestral arrangements and performance\n\nCharts\n\nCertifications\n\nReferences\n\nAvenged Sevenfold albums\n2003 albums\nHopeless Records albums", "Horrors of Hell is a compilation album by the American death metal band Vital Remains, consisting of early demo recordings. It was released in 2006 by Century Media. All tracks are remastered, and the album is limited to 5000 copies.\n\nTrack listing\n\"Of Pure Unholyness\" – 6:16\n\"Frozen Terror\" – 5:32\n\"Human Sacrifice\" – 4:56\n\"Resurrected\" – 6:33\n\"Fallen Angels\" – 4:05\n\"Excruciating Pain\" – 3:41\n\"Nocturnal Blasphemy\" – 5:09\n\"Vital Remains\" – 5:08\n\"Smoldering Burial\" – 2:59\n\"Morbid Death\" – 2:38\n\"Reduced To Ashes\" – 2:50\n\"More Brains\" – 2:58\n\"Slaughter Shack\" – 4:37\n\n Tracks 1-2 from the \"Black Mass\" 7\" (1991)\n Tracks 3-7 from the Excruciating Pain demo (1990)\n Tracks 8-13 from the Reduced to Ashes demo (1989)\n\nPersonnel\nTony Lazaro - guitar\nJeff Gruslin - vocals (8-13)\nPaul Flynn - lead guitar\nTom Supkow - bass (8-13)\nChris Dupont - drums (8-13)\nJoe Lewis: Bass, vocals (1-7)\n\nVital Remains albums\n2006 compilation albums\nDemo albums\nCentury Media Records compilation albums" ]

[ "Sandara Park", "Early life and career" ]

[ "María José Maza (born October 9, 1990 in Guayaquil) is a model and beauty pageant contestant.\n\nBiography\n\nEarly life\nShe was born in Guayaquil, María José speaks Spanish and English, and she is graduated Engineering in Sales Administration at Universidad Católica de Santiago de Guayaquil.\n\nPageantry\n\nMiss Ecuador 2011 \nMaza competed in Miss Ecuador 2011 where she was a favorite but at the end of final night she was unplaced.\n\nMiss Bikini International 2011 \nAs Miss Ecuador 2011's contestant she was designed by Miss Ecuador Organization the represent to the country at Miss Bikini International 2011 where she was on top 12 in Qingdao, China. 94 countries participated.\n\nMiss Panamerican 2013 \nShe was the Ecuadorian represent to Miss Panamerican International 2013 in Los Angeles, California, USA, and she won the second crown to Ecuador.\n\nMiss Caraibes Hibiscus 2013 \nIn 2013 she was designed to represent Ecuador in Miss Caraibes Habicus 2013 in Saint Maarten where she placed as 2nd Runner-up.\n\nMiss Earth Ecuador 2014 \nShe was designated on August, 2014 by José Hidalgo, the director of Miss Earth Ecuador, as the national representative to compete in Miss Earth 2014.\n\nReferences\n\nExternal links\nOfficial Miss Ecuador website\n\n1990 births\nLiving people\nEcuadorian beauty pageant winners\nEcuadorian people of Spanish descent\nMiss Earth 2014 contestants\nEcuadorian female models\n21st-century Ecuadorian women", "Lidia Lwow-Eberle nom de guerre \"Ewa\" (14 November 1920 – 5 January 2021) was a Russian born Polish nationalist and paramedic. She was arrested by the communist authorities and she was imprisoned \"for life\". She later married and became an archaeologist.\n\nLife\nLwow-Eberle was born in the Russian town of Plyos in 1920. Her parents were Barbara (born Tuganove) and Leon Lvov. In 1921 her family moved to Poland where her father taught in a secondary school. In time her father became an agronomist. After 1930 her family moved again where her father worked near Vilnius. She graduated in 1939 when she got to know Janina Wasałojć and Zygmunt Szendzielarz.\n\nBy 1943 she was part of a unit commanded by Antoni Burzynski where she was known as \"Ewa\". The unit was captured and some of the force were killed. Although she was born a Russian, this was not important at the time. The important point was that she was working to create a Polish state.\n\nDuring the war she served as a paramedic in one unit who were captured and then she joined her friend Janina Wasałojć as a nurse in the Home Army 5th Wilno Brigade which was commanded by another acquaintance Major Zygmunt Szendzielarz. She rose to be a second lieutenant after fighting the Germans near Worziany in 1944 and then three days later a Soviet partisan group. She was wounded in the battle with the Germans. In February 1945, Major Szendzielarz's wife died and after that time he became her partner. \n\nThey were both arrested by the communist authorities. They were arrested on 30 June 1948. She was in Osielec when she was arrested and the others arrested included and his wife , Captain Henryk Borowski and Lt. Col. Antoni Olechnowicz. She was sentenced to life imprisonment in 1950 and Major Szendzielarz was sentenced to death. He was killed on 9 February 1951 in Mokotów Prison. \n\nShe and Wanda Czarnecka-Minkiewicz were released in 1956 and she set out on a new career as an archaeologist. She married a historian Jan Eberle in 1961 and she graduated in archaeoloogy in 1962. She worked at the Museum of Warsaw taking credit for setting up the Museum of the Guild of Leather-based Crafts.\n\nIn 2013 it was announced that the authorities had discovered unmarked graves in \"Meadows in Powązki\" in Warsaw. Amongst them was her post war partner who was identified using DNA comparisons with his close relatives.\n\nLwow-Eberle died in Warsaw aged 100 years old on 5 January 2021. Her military funeral was in Warsaw on 22 January at the Powązki Military Cemetery.\n\nReferences\n\n1920 births\n2021 deaths\nPeople from Privolzhsky District, Ivanovo Oblast\nPolish archaeologists\nPolish centenarians\nHome Army members\nPolish women in World War II resistance\nBurials at Powązki Military Cemetery" ]

[ "Sandara Park", "Early life and career", "Where was she born?", "Busan, South Korea." ]

[ "Happy Days: My Mother, My Father, My Sister & Me is an autobiography by American journalist, Shana Alexander, published by Doubleday in 1995.\n\nSubject of the book\nAlthough the book deals frankly with her often difficult relationship with her parents, Tin Pan Alley composer Milton Ager and his wife, columnist Cecelia Ager, in interviews author Alexander maintained she wanted to avoid writing a lurid, tell-all Mommie Dearest-type of celebrity confessional but rather “to tell this difficult story and to make a memorial to them. They were a remarkable couple, spanning a rich history of show business. And by the end they really did become my best friends.” \n\n“When you write about your parents you have to find a balance and be truthful without sacrificing any dignity,” she said. “I feel I described my parents in a careful refinement of words.” \n\nAlthough used to writing about difficult subjects and complicated, tough people (her previous books had included Anyone's Daughter, about Patty Hearst; Very Much a Lady about Jean Harris, the headmistress convicted of murdering Scarsdale diet author Dr. Herman Tarnower; and The Pizza Connection about Mafia drug dealing), in interviews, Alexander maintained that the look at herself and her own family, especially the complex, sometimes baffling relationship between her parents and her relationship with them was a daunting task. Alexander researched the book for five years and found difficult the fact that her parents, the primary subjects, refused to reveal key facts. \"We were an allegedly open family, but our parents never told us anything,\" Ms. Alexander said. \"I had to do a lot of detective work to uncover the truth about my parents' lives. I knew almost nothing about them as people.\"\n\nIn the book, Alexander reveals a perplexing contrast between her parents public and private lives. On the surface, her parents lead glamorous lives and were the toast of the town. Her father Milton was a noted and highly successful composer whose songs included \"Happy Days Are Here Again\", \"Ain't She Sweet\", and \"I'm Nobody’s Baby\"; her mother Cecelia wrote columns in Variety, was a Hollywood screenwriter, and Manhattan movie critic. Friends like George and Ira Gershwin, the Marx Brothers, Sophie Tucker, and Dorothy Parker were some of the frequent visitors to their homes in New York and Hollywood. Yet, in their private lives, the couple, who often lived in hotels, were temperamentally opposites, slept in separate rooms, and essentially led separate lives. Alexander describes her mother as cold and unattached and writes of her inability to express love to either her daughters or her husband. However, the marriage lasted 57 years.\n\nThe book’s title, \"Happy Days\", taken from one of her father’s most famous songs, \"Happy Days Are Here Again\" is ironic “because my childhood was anything but,” Alexander said.\n\nCritical reception\nThe book was praised for its craftsmanship and its intriguing subject matter, particularly around the unanswered questions concerning Alexander’s parents’ lives and as a “moving autobiography of a life damaged by the chilly Cecilia’s inability to love her and her sister Laurel, and her beloved father’s inability to help.” While noting the glittery atmosphere created by appearances of the many celebrities who were the Ager’s friends, Publishers Weekly summed up the book’s main achievement: “But ultimately what will stay with readers the most is Alexander's moving account of her parents, her relationships with them, and their relationship with each other.”\n\nReferences\n\nAmerican autobiographies\n1995 non-fiction books\nDoubleday (publisher) books", "Forgotten Country is a 2012 novel by the American writer Catherine Chung and is published by Riverhead Books. She was recognized by Granta magazine as one of its \"New Voices\" of 2010.\n\nPlot\nThe Story is about Janie and her sister Hannah, and their parents, who moved with their parents to the United States from South Korea when the girls were young. Their father felt he needed to flee to escape political persecution under an oppressive government. His older sister Komo had already moved to the US, where her two sons were born. The father and Komo are close, as they were orphaned when young and she took care of them, even when they lived with an uncle's family.\n\nJanie remembered her maternal grandmother telling her that the family \"lost\" its daughters; that it had lost a daughter in each generation since the Japanese occupation. Janie's mother's older sister was kidnapped from a college dorm by North Korean soldiers who were taking girls, and never returned.\n\nAs a teenager, Hannah became rebellious, then left home and cut ties with her parents. Janie needs to find her, as their father is dying of cancer. The girls grew up in the United States, having to adapt to English names given to them in school, English, and changes in culture. Janie has to find her sister before it is too late; her parents have returned to South Korea for recommended treatment for her father, whose cancer has metastasized.\n\nCharacters\nJanie/Jeehyun/Narrator \nHannah/Haejin/ Narrator Sister\ntheir parents\ntheir maternal grandmother\nKomo, their father's older sister\nGabe, Komo's son, born in the US\nKeith, Komo's son, born in the US\n\nReception\nReviews were highly favorable.\n\nReferences\n\nExternal links\nForgotten Country, Goodreads\n\nKorean-American novels\n2012 American novels\nNovels set in Korea\nRiverhead Books books\n2012 debut novels" ]

[ "Sandara Park", "Early life and career", "Where was she born?", "Busan, South Korea.", "Who were her parents?", "She is the daughter of Ik-Su Park, a trading businessman, and" ]

[ "The Valley of Amazement is a novel by Amy Tan. Like many of her works, it deals with mother-daughter relationship and is partly set in historical China. An excerpt from the novel was published independently as Rules for Virgins.\n\nPlot summary\nIn the first part of the story, Violet tells the story of growing up in Hidden Jade Path, a courtesan house in Shanghai that is run by her mother, an American woman named Lulu Minturn. Violet grows up unaware of who her father is and unsure of her mother's feelings for her.\n\nWhen the Qing dynasty falls in 1912, mother and daughter are separated and the young girl is sold to a rivaling courtesan house, where she is educated by an older girl, Magic Gourd, formerly of her mother's house. The two form a lifelong relationship through Violet's marriages to former clients. Her first marriage results in a child, Flora, who is taken from Violet as a result of an unlawful marriage.\n\nThe second part of the story is told by the mother, who thinks the daughter is dead. She recalls her upbringing by remote parents in the US, her runaway with an unknown Chinese painter, and her struggle to be accepted as the mother of their two children.\n\nViolet is eventually reunited with her mother, and eventually also her daughter Flora.\n\nReferences\n\nExternal links \n The Valley of Amazement at goodreads.com\n\nNovels by Amy Tan\nNovels set in Shanghai\nNovels set in the Qing dynasty\nNovels set in San Francisco\nFeminist novels\n2013 American novels", "Breath, Eyes, Memory is Edwidge Danticat's acclaimed 1994 novel, and was chosen as an Oprah Book Club Selection in May 1998. The novel deals with questions of racial, linguistic and gender identity in interconnected ways.\n\nPlot introduction\nBreath, Eyes, Memory was Danticat's first novel, published when she was only twenty-five years old. As she has recounted in interviews, the book began as an essay of her childhood in Haiti and her move as a young girl to New York City.\n\nThe novel is written in a first person narrative. The narrator, Sophie Caco, relates her direct experiences and impressions from age 12 until she is in her twenties. Sophie is the product of a violent rape and is raised by her loving aunt in a village near Port-au-Prince for 12 years. At this point, Sophie is unexpectedly summoned by her mother, who lives in Brooklyn having gained asylum and immigrated to the United States. Living with her mother in New York, Sophie discovers the trauma her mother endures inclusive of violent nightmares reminiscent of her experience prior to fleeing Haiti.\n\nThe major conflict of the novel is the main character's battle with her inner self. Because she is a child of rape (her mother had been raped at the young age of 16 by an unknown man), she is a reminder to her mother of the wounds that had been inflicted on her. Her mother as a result of the rape remained this wounded but very resilient woman. Her mother came to resent her own self and body and constantly has nightmares about the rape. This, along with the fact that Sophie's mother practiced the act of testing (which is when she basically checks on her daughter to make sure that her daughter is still a virgin), causes Sophie to grow into the same type of woman as her mother. She grows into a woman who fights a battle with herself as a woman, wife, mother, as well as daughter. She is also in turn fighting the weight of her inheritance, as well as her mother's past experiences.\n\nThe rising action of the story is when Sophie leaves Haiti at age twelve to join her mother in the United States in New York. Sophie, despite her mother's warnings to focus on school and no men, falls in love with Joseph, a musician who lives next door to them. Sophie is caught one night by her mother when she returns home late. Her mother in turn begins testing her constantly to make sure she is still a virgin. Depression causes Sophie to act irrationally. One night she decides to penetrate herself with her mother's spice pestle so she can fail the test. When she fails her mother's test, she is thrown out of the house. She then elopes with Joseph and they marry.\n\nThe climax of the story comes after she marries Joseph. Sophie begins to feel frustrated and confused, both by anxieties and responsibilities. To get away from it all, she flees to Haiti along with her infant daughter, without a word to her husband, Joseph, who is away touring.\n\nThe falling action is when her mother, Martine, also comes to Haiti. Sophie hadn't spoken to her mother since her mother had thrown her out the house when she had failed the virginity test. That was about two years earlier. It is during that trip to Haiti that both mother and daughter reconcile. They return to New York and all seems well, until Sophie's mother becomes pregnant by her fiancé, Marc, and in turn commits suicide.\n\nTesting\n\n\"Testing\" has been a Haitian tradition for centuries. During earlier times, Haitians associated the idea of virtue with a woman's virginity. A young woman growing up in a Haitian household is encouraged to value her virtue and virginity. The novel describes how family values and virtue of women are very important to the Haitian culture. The main character, Sophie, is shattered throughout the novel, due to the traumatic experience of her mother's continuous tests. Her mother would often test her vagina to make sure she was still a virgin. These tests leave a dynamic scar on Sophie even after she marries Joseph. She has low self-esteem as a result of these tests. The tests also lead to a deterioration in the relationship between mother and daughter. When she marries Joseph, she is unable to have sex with him because she has a phobia of sex. The only way she is ever able to make love to him is through “doubling”: She must pretend she isn't really there because the very act of sex so repels her.\n\nReferences\n SparkNotes Editors. \"SparkNotes on Breath, Eyes, memory.: SparkNotes LLC.n.d..http://www.sparknotes.com/lit/breatheyes (accessed April 1, 2010)\n Danticat, Edwidge. ''Breath, Eyes, memory. New York: Vintage Books, 1998. 2nd Vintage Contemporaries Edition.\n\n1994 American novels\nNovels by Edwidge Danticat\nAmerican bildungsromans\nNovels about rape\nNovels set in Haiti\nNovels set in New York City\n1994 debut novels" ]

[ "Sandara Park", "Early life and career", "Where was she born?", "Busan, South Korea.", "Who were her parents?", "She is the daughter of Ik-Su Park, a trading businessman, and", "who is her mother?", "and Kyung Ran-Kim." ]

[ "Elisabeth Augusta of Schleswig-Holstein (28 December 1623 – 9 August 1677) was the daughter of king Christian IV of Denmark and Kirsten Munk. She shared the title Countess of Schleswig-Holstein with her mother and siblings.\n\nBiography\nAs her siblings, she was raised by her grandmother Ellen Marsvin and the royal governess Karen Sehested, but spent 1628-29 at the Swedish court. She was married to Hans Lindenov (d. 1659) in 1639, and became the mother of Sophie Amalie Lindenov. She was described as a vulgar, constantly indebted gambler. She did not side with her sister Leonora Christina Ulfeldt during the conflict between Leonora and the king and was not close to her siblings. She was granted a royal pension in 1664, and was also granted many gifts by king Christian V, but continued to be haunted by debts during her life.\n\nAncestry\n\nReferences \n Dansk biografisk Lexikon / IV. Bind. Clemens - Eynden(in Danish)\n\n1623 births\n1677 deaths\n17th-century Danish nobility\n17th-century Danish women\nLindenov family\nChildren of Christian IV of Denmark", "Katy (2015) is a children's book by author Jacqueline Wilson. It is a modern-day retelling of What Katy Did. The author loved the book What Katy Did, so when she got older and became a mother, she used to read the book to her daughter, but she noticed the moral was not appropriate for today's generation. So she rewrote the whole book, in a modern way.\n\nPlot \nKaty has five younger siblings. She is brilliant with them but she's also a daredevil. She's a fan of skateboarding and adventures. She loves the feeling of soaring upwards and has happy memories of her deceased mum pushing her on a swing. But after a tragic accident her spirit sinks to the lowest point. Katy wonders if she'll ever be able to feel like flying again.\n\nKaty and her siblings often sneak next door to their neighbours back garden, calling it a secret garden. She is grounded by her Step-Mum, Izzy after sneaking out so she takes a rope to the secret garden and builds a swing. She falls out of the tree, breaking her spine and leaving her paralysed from waist down.\n\nDuring her hospital stay, she meets edgy older boy Dexter and the two form a friendship quickly. She also formed a better relationship with her stepmother and stepsister.\n\nAfter Katy leaves hospital, she starts to attend secondary school where her friends have already started. She struggles as she is in a wheelchair, but eventually learns that her disability doesn't define her.\n\nThe book ends with Katy receiving presents from people around her at Christmas, including a new wheelchair.\n\nAdaptation \n\nIn June 2017, CBBC announced they have commissioned a three-part series based on the novel.\n\nThe three-part TV series \"Katy\" began on 14 March 2018.\n\nReferences \n\n2015 British novels\nNovels by Jacqueline Wilson\nBritish children's novels\n2015 children's books" ]

[ "Sandara Park", "Early life and career", "Where was she born?", "Busan, South Korea.", "Who were her parents?", "She is the daughter of Ik-Su Park, a trading businessman, and", "who is her mother?", "and Kyung Ran-Kim.", "did she have siblings?", "She is also the sister of Thunder, a former member of K-pop boy group MBLAQ, and" ]

[ "A savior baby or savior sibling is a child who is conceived in order to provide an organ or cell transplant to a sibling that is affected with a fatal disease, such as cancer or Fanconi anemia, that can best be treated by hematopoietic stem cell transplantation. \n\nThe savior sibling is conceived through in vitro fertilization. Fertilized zygotes are tested for genetic compatibility (human leukocyte antigen (HLA) typing), using preimplantation genetic diagnosis (PGD), and only zygotes that are compatible with the existing child are implanted. Zygotes are also tested to make sure they are free of the original genetic disease. The procedure is controversial.\n\nIndications\nA savior sibling may be the solution for any disease treated by hematopoietic stem cell transplantation. It is effective against genetically detectable (mostly monogenic) diseases, e.g. Fanconi anemia, Diamond–Blackfan anemia and β-thalassemia, in the ailing sibling, since the savior sibling can be selected to not have inherited the disease. The procedure may also be used in children with leukemia, and in such cases HLA match is the only requirement, and not exclusion of any other obvious genetic disorder.\n\nProcedure\n\nMultiple embryos are created and preimplantation genetic diagnosis is used to detect and select ones that are free of a genetic disorder and that are also a HLA match for an existing sibling who requires a transplant. Upon birth, umbilical cord blood is taken and used for hematopoietic stem cell transplantation.\n\nLaws\n In the United Kingdom, the Human Fertilisation and Embryology Authority (HFEA) has ruled that it is lawful to use modern reproductive techniques to create a savior sibling.\nIn Victoria, Australia, use of PGD for HLA typing is reviewed by the Infertility Treatment Authority on a case-by-case basis.\n\nEthical considerations\nArguments for or against the use of PGD/HLA tissue typing are based on several key issues including the commodification and welfare of the donor child.\n\nThe main ethical argument against is the possible exploitation of the child, e.g. potential adverse psychological effects on a child born not for itself but to save another, and the possible future emotional reaction of the savior sibling upon discovering that they were born solely to save the life of the recipient, rather than being 'wanted' for reasons other than transplantation.\n\nA survey of 4,000 Americans showed that 61% approved of PGD use for savior siblings.\n\nHistory\nYury Verlinsky and collaborators described the first case in 2001.\n\nPopular culture\nThe novel My Sister's Keeper, later adapted into a film, is about a child who was born as a savior sibling to her sister Kate who is affected by acute promyelocytic leukemia.\n\nIn the British soap opera Emmerdale, Debbie Dingle gave birth to her son Jack, who would serve as a savior sibling to his older sister Sarah, who was suffering from Fanconi anemia.\n\nOn the popular American show CSI: Crime Scene Investigation, the episode \"Harvest\" deals with the reported abduction and later murder of a thirteen-year-old girl named Alycia who was later revealed to be a savior sibling for her brother Daniel. \n\nIn the American show Heroes, one of the protagonists, Mohinder Suresh, is revealed to have been conceived to cure his sister Shanti of a deadly disease known as the Shanti Virus, although he was ultimately born too late to save her life. His antibodies act as a cure for other patients with the disease throughout the show as well.\n\nOn Star Trek: Enterprise, the episode \"Similitude\" sees a clone created of Trip Tucker for the purpose of organ harvesting. \"Sim\" is born through the highly controversial use of an alien lifeform.\n\nThe novel Never Let Me Go, later adapted into a film, is centred around a dystopian future society where human clones are created and allowed to live to their teenage years before being used for organ harvesting. The film The Island has a similar premise.\n\nIn the Grey's Anatomy episode \"I Bet It Stung,\" the character Donna is a savior sibling to her older sister Reese.\n\nIn the 9-1-1 episode \"Buck Begins\", it is revealed that Evan \"Buck\" Buckley was conceived as a savior sibling for his older brother Daniel.\n\nIn the Korean Drama ‘The Penthouse’, the character Anna is adopted by a Korean-American family to be a saviour sibling to their son, Logan Lee, who was suffering from bone marrow cancer at the time.\n\nReferences\n\nExternal links\n \"Made to Order Savior\" New York Times Magazine\n £Select a Baby’s Health, Not Eye Color\" Los Angeles Times Op-ed\n\nEthically disputed medical practices\nMedical genetics\nSibling", "Sibling abuse includes the physical, psychological, or sexual abuse of one sibling by another, more often younger sibling by older sibling. Sibling abuse is the most common of family violence in the US but the least reported.\n\nAbuse occurs when one sibling consistently intimidates, terrorizes, or controls another.\n\nSibling abuse has been found to most commonly occur in dysfunctional families where abuse from parents is present.In the US, 40% of children have engaged in physical aggression towards a sibling and as many as 85% of children have engaged in verbal assault towards their sibling.\n\nTypes and prevalence\n\nAccording to many authorities and researchers, sibling abuse is one of the most common forms of abuse, however, its occurrence is largely overlooked by society at large and by investigators into interpersonal violence:\n\nPhysical abuse\nSibling physical abuse is far more common than peer bullying and other forms of family abuse, such as spousal or child abuse. Sibling physical abuse is defined as a sibling is deliberately causing violence to the other siblings. Sibling physical abuse can be inflicting shoving, hitting, slapping, kicking, biting, pinching, scratching, and hair-pulling It is very difficult to calculate prevalence rates for different reasons that lie within the family or in cultural norms and beliefs. Within the family, adults have difficulty recognizing abuse because sibling competition and conflict are very common. Sibling abuse is heavily underreported due to the lack of resources and studies provided to families, child protective services, and mandatory reporters. Correct reporting of sibling abuse faces multiple challenges starting with the fact that it is under-reported for the reasons stated above, professional child care providers having considerably different definitions of the term, and the lack of a system to track the wide information. Sibling physical abuse persists from childhood through adulthood, with prevalence rates varying across studies and its intensity and frequency declining as the victim and or perpetrator grow up.\n\nHotaling, Straus, and Lincoln found that sibling aggression was somewhat common even in families that could not be classified as pervasively abusive, with 37% of 498 children committing at least one act of serious abuse during the previous year; in abusive families, 100% of children committed at least one act of serious abuse. Irfan and Cowburn report that in Pakistani immigrant families in the UK, \"Among perpetrators of abuse, 35% (highest proportion) of physical abuse was perpetrated by siblings, 33% by mothers and 19% by fathers.\"\n\nSeveral studies show that sisters are more likely to be victimized by brothers than vice versa. Both brothers and sisters can be perpetrators where this type of abuse is largely ignored due to culture and traditional gender roles. Similarly, Tyree and Malone report that women's violence as adults is more strongly correlated with aggression towards siblings during childhood. . Age is also a contributing factor to sibling abuse where older siblings are more likely to abuse the younger.\n\nPsychological abuse \nPsychological abuse with siblings is even harder to identify. Psychological abuse in siblings can be identified on the both the constant and intensity of harmful interaction.These harmful interactions can include ridicule to express contempt, as well as degradation towards the others self-esteem. Adults, be it the parents or professional care providers, have difficulty differentiating between psychological aggression and abuse because it is difficult to identify when the balance of power is not evenly distributed, hence, the consequences of the aggression are not only injury but also control or domination of one sibling over the other. Although it has been found to be the most prevalent type of abuse in sibling conflict, prevalence rates are difficult to calculate because of the difficulty in differentiating aggression from abuse. Whipple and Finton report that \"Psychological maltreatment between siblings is one of the most common yet often under-recognized forms of child abuse. Bagley and Ramsey, Mullen, Martin, Anderson, Romans and Herbison, Kurtz, Gaudin, Wodarski, and Howing, and Beitchman et al., are some of the researchers that have found different negative psychological, academic, and social consequences to be related to sibling aggression and abuse but causal inference requires more study. Caffaro, J. and Conn-Caffaro, A. report, based on their research, that adult sibling abuse survivors have much higher rates of emotional cutoff (34%) with brothers and sisters than what is evident in the general population (<6%).\n\nSexual abuse\nSexual sibling abuse is defined as sexual behavior that is not age appropriate, not transitory, and not motivated by developmental age-appropriate curiosity.To differentiate sexual abuse from sexual curiosity or playing innocent games there needs to be coercion and domination over one sibling. Prevalence rates are also difficult to calculate for several reasons: victims do not realize that they are suffering abuse until they reach maturity and have a better understanding of the role they played during the encounters, they are afraid of reporting, and there is no consensus on a definition of sibling sexual abuse. Coercion and force is apart of sexual sibling abuse. The average age of the offender is fifteen where the average age of the victim is nine. \n\nTheir is a large lack of reporting in sibling sexual as parents either do not recognize it as being sexual abuse or try to cover the sexual abuse. An increase risk of sibling sexual abuse can be in heightened sexual climate in family or a riggedly sexually repressed family environments. Sexual abuse in siblings have found long-term affects on the victims. Many victims have been diagnosed with a variety of psychology problems.[02]. Victims have been recorded to correlate pain and fear with sex leading to long term issues with intimacy.\n\nRudd and Herzberger report that brothers who committed incest were more likely to use force than fathers who commit incest (64% vs. 53%). Similarly, Cyr and colleagues found that about 70% of sibling incest involved sexual penetration, substantially higher than other forms of incest. Bass and colleagues write that \"sibling incest occurs at a frequency that rivals and may even exceed other forms of incest,\" yet only 11% of studies into child sex abuse examined sibling perpetrators. Rayment and Owen report that \"[in comparison of] the offending patterns of sibling offenders with other teenage sex offenders ... Sibling abusers admitted to more sexual offenses, had a longer offending history and a majority engaged in more intrusive sexual behaviour than other adolescent sex offenders. The sibling perpetrator has more access to the victim and exists within a structure of silence and guilt.\" A survey of eight hundred college students reported by David Finkelhor in the Journal of Marriage and Family Counseling found that fifteen percent of females and ten percent of males had been sexually abused by an older sibling.\n\nRelational abuse \nRelational abuse includes gossiping, humiliating in front of others, preventing socialization with desired groups. It is challenging to identify and calculate prevalence rates because it is normally done indirectly so the perpetrator is unknown to the victim. Additionally, an apparently good sibling relationship, with no physical or emotional direct aggression, may hide this type of abuse. Likewise, physical and emotional abuse are more notorious in bad sibling relationships.\n\nIdentification\n\n\"As a rule, parents and society expect fights and aggression among siblings. Because of this, parents often don't see sibling abuse as a problem until serious harm occurs.\"\n\nSibling rivalry, competition, and disagreements are considered normal components of childhood and adolescence. To identify physical, psychological, and relational sibling abuse, practitioners and parents need to observe behavior and ask questions about the sibling's relationships that will help them understand if there are characteristics that differentiate aggression from abuse. Sexual sibling abuse requires additional considerations. Victims may initially deny the existence of any type of abuse but this may be because they haven't realized it yet. Different questions about the prevalence of types of aggression, frequency, the intention of harm, the magnitude of the aggression, and unidirectional dominance help assess the existence of abuse. Regarding sexual abuse, individuals are less likely to openly talk about it, unlike other forms of abuse such as physical or psychological. For this reason, in addition to asking direct questions about sibling sexual abuse, practitioners and parents must look out for behaviors that may indicate the presence of sexual abuse. Another challenge comes when differentiating between sexual abuse and adequate sexual behavior. The biggest difference relies on that incest happens with the consensus of both siblings while sexual abuse does not. A victim may not be aware that he/she did not consent because of innocence or lack of understanding of what was happening. The latter generally happens to children who are too young to understand sexual implications and boundaries.\n\nWeihe suggests that four criteria should be used to determine if questionable behavior is rivalry or abusive. First, one must determine if the questionable behavior is age-appropriate, since children use different conflict-resolution tactics during various developmental stages. Second, one must determine if the behavior is an isolated incident or part of an enduring pattern: abuse is, by definition, a long-term pattern rather than occasional disagreements. Third, one must determine if there is an \"aspect of victimization\" to the behavior: rivalry tends to be incident-specific, reciprocal, and obvious to others, while abuse is characterized by secrecy and an imbalance of power. Fourth, one must determine the goal of the questionable behavior: the goal of abuse tends to be embarrassment or domination of the victim.\n\nRisk factors\nThere are several important risk factors associated with sibling abuse. They can be categorized into family system, parenting behavior, individual, and other risk factors.\n\nFamily system \nThis category of risk factors associated with sibling abuse looks at the family system as a whole. It includes negative and conflictual parent-child relationships, parent hostility toward a child, spousal abuse, partner conflict, marital conflict, mother's marital dissatisfaction and negative emotional expressiveness, maternal self-criticism, financial stress, low family cohesion, family disorganization, and household chaos, husband's losses of temper, low maternal education, and family triangulation.\n\nParenting behavior \nThis category of risk factors associated with sibling abuse examines the parenting behavior of adult caregivers. It includes parental differential treatment of children, fathers favoring later-born sisters, active and direct judgmental comparison, parents labeling their children \"bad-good\" and \"easy-difficult\", low parental involvement, particularly by fathers, ineffective parenting, inconsistent discipline, coercive parenting, maternal coercive, rejecting, and over-controlling behaviors, parental abuse of children, parent's use of violence to resolve parent-child conflict, parental neglect and approval of aggression, corporal punishment, not providing supervision, not intervening in sibling conflict, not acknowledging child-voiced claims of maltreatment, not reinforcing pro-social behaviors, and restricting children's efforts to diversify interests and specialization.\n\nIndividual \nThis category of risk factors associated with sibling abuse considers individual traits of the offender child and the victim child. For offender children, known individual risk factors include lack of empathy for victims, aggressive temperament, lower or higher self-esteem than peers, unmet personal needs for physical contact in emotion-deprived environments, experience of victimization, including by siblings, sibling caretaking of younger brothers and sisters, and boredom. For victim children, a known risk factor is psychological distress such as anger, depression, and anxiety from violence victimization by siblings (linked to re-victimization).\n\nOther risk factors \nSeveral other risk factors are associated with sibling abuse. One is birth order and age spacing. Martin and Ross found that first-born children were more likely to be sibling abuse offenders. Imitating an older sibling's aggressive behavior, being given the task of sibling caretaking, and close age spacing were also found to be closely associated with sibling abuse.\n\nAnother risk factor is gender. The presence of a male child within the sibling group and older brother-younger sister pairs are associated with the occurrence of sibling abuse and being female is associated with the experience of victimization by a sibling.\n\nSociocultural background also factors into sibling abuse. Some known sociocultural background risk factors include cultural practices such as primogeniture and patriarchy, disability of a sibling, family economic pressure, excessive sibling caregiving, and ethnic/cultural background in which sibling aggression is widely condoned.\n\nParental alcoholism, parental support of child aggression, and social glorification of violence in the media have also been associated with sibling abuse.\n\nPotential effects \n\nThe effects of sibling abuse closely parallel those of other forms of child abuse.\n\nPotential effects of sibling abuse include difficulty separating pleasure from pain and fear from desire in a sexual relationship, depression, eating disorders, substance abuse, low self-esteem, and suicide, re-victimization in adulthood, prostitution in later life, difficulty in developing and sustaining intimate relationships, trouble negotiating boundaries, sexual issues, and interdependency in relationships, shame, fear, humiliation, anger, and guilt, severe psychiatric disorders such as dissociative coping and complex post traumatic stress disorder, wide variety of health and mental health issues, significant problems with affect regulation, impulse control, somatization, sense of self, cognitive distortions, and problems with socialization, and higher risk of pregnancy than father-daughter incest.\n\nPotential effects of sibling violence include severe symptoms of trauma, anxiety, and depression, including sleeplessness, suicidal ideation, and fear of the dark, loneliness and psychological difficulties, and aggression and delinquency.\n\nPrevention \nJonathan Caspi identified several prevention methods for children and families, educators and practitioners, researchers, and the culture at large in Sibling Aggression: Assessment and Treatment (2012). For children and families, pro-social skill development to increase social-emotional competencies with siblings and parental training can be used to prevent sibling abuse. For educators and practitioners, addressing sibling relationships in the curriculum can help prevent sibling abuse. For researchers, giving attention to sibling relationships and developing prevention programs in collaboration with practitioners are potential prevention methods for sibling abuse. For the culture at large, Caspi proposes not accepting sibling aggression as normal, public awareness and educational campaigns, and making sibling aggression visible.\n\nTreatment \nJohn V. Caffaro outlines clinical best practices for treatment of sibling abuse in Sibling Abuse Trauma: Assessment and Intervention Strategies for Children, Families, and Adults (2014). They include “extra precautions to ensure the victim's safety, such as locks on doors, increased adult supervision, and cooperation of parents, extended family members, and the community”, “individual treatment for the victim and the offender, often with different clinicians possessing expertise in child abuse trauma”, and “no conjoint sibling or family meetings with the offender until he or she has accepted full responsibility for the abuse and until the therapist is satisfied that the family can and will protect the victim from further abuse”.\n\nMedia portrayals \nAn important plot point within the traditional fairy tale of Cinderella is the eponymous main character's cruel treatment at the hands of her stepsisters (with their mother's implicit approval).\n\nThe 1991 made-for-TV movie My Son, Johnny is a rare fictionalized portrayal of sibling abuse. The film stars Corin Nemec as a teenager victimized by his older brother, played by Rick Schroder. The film was inspired by the real-life case of Philadelphia fifteen-year-old Michael Lombardo, tried and acquitted for the 1985 killing of his nineteen-year-old brother, Francis \"Frankie\" Lombardo, who had battered and abused him for years. Not depicted in the film, Michael Lombardo committed suicide in 1989 by drug overdose, following a bank robbery in Lansford, PA.\n\nBritish soap opera, Brookside, ran a controversial storyline in 1996, featuring incest between siblings Nat and Georgia Simpson that resulted in a pregnancy, which was followed by an abortion. The sympathetic portrayal of the situation attracted criticism from journalist Peter Hitchens in his book The Abolition of Britain.\n\nCanadian animated series Total Drama Pahkitew Island, the second half of the fifth season of Total Drama, brings in Amy and Samey, the show's first twin sibling pair. Amy is the mean twin, while Samey (who prefers to be \"Sammy\") is the nice twin who has to deal with Amy's abuse towards her. Amy even attempts to kill Samey, but she survives by having a parachute. Later, a contestant bonds with Samey and gives her the courage to stand up to Amy and get her eliminated.\n\nNotable examples \nCheyenne Brando, the daughter of the legendary actor Marlon Brando, confessed that her brother Christian seemed to be in love with her and that he was jealous of her boyfriend Dag Drollet; that is why Christian killed him in 1990, according to Cheyenne. Christian stated during his trial that Cheyenne told him that Dag was abusive to her, that he wanted to protect her, and that he never meant to kill Dag; it was a terrible accident. Christian was sentenced to ten years in jail in 1991 and Cheyenne committed suicide in 1995. Cheyenne was abusive toward her two sisters, Maimiti and Raiatua, as well as with Marlon Brando, and Tarita, her parents, particularly her mother. Tarita Teriipaia wrote a book in 2005, which revealed Cheyenne terrorized her own family when she began to suffer from schizophrenia.\n\nThe French serial killer Guy Georges physically abused his adoptive elder sisters when he was 14, nearly killing them.\n\nIn 2013, the Australian actor Hugh Jackman opened up about the physical and verbal abuse by his older brother. He said the abuse helped his acting in Wolverine and that when his brother apologized, Jackman felt released.\n\nSee also \nChild-on-child sexual abuse\nChild sexual abuse \nSiblicide\nSibling relationship\n\nReferences\n\nFurther reading\n Wiehe, Vernon R. What Parents Need to Know About Sibling Abuse: Breaking the Cycle of Violence (2002)\n Caffaro., J. & Conn-Caffaro, A. (1998). Sibling Abuse Trauma, NY: Routledge. \n \nCaffaro, J. (2013). Sibling abuse trauma. 2nd Edition. NY: Routledge.\nCaspi, J. (2012). Sibling Aggression: Assessment and Treatment. NY: Springer Publishing\n\nChild abuse\nDomestic violence\nAbuse\nIncestual abuse\nSibling rivalry" ]

[ "Sandara Park", "Early life and career", "Where was she born?", "Busan, South Korea.", "Who were her parents?", "She is the daughter of Ik-Su Park, a trading businessman, and", "who is her mother?", "and Kyung Ran-Kim.", "did she have siblings?", "She is also the sister of Thunder, a former member of K-pop boy group MBLAQ, and", "who is her other sibling?", "has a younger sister named Durami." ]

[ "Annemie Anne Francine Coenen (born 14 July 1978 in Herk-de-Stad) is a Belgian singer and songwriter who was in the duo AnnaGrace (formerly known as Ian Van Dahl).\n\nLife\nCoenen sang in school musical comedies and choral in Antwerp. She joined a dance band at the age of 17. She hoped to become a fashion designer, and aimed to enter a fashion school at Antwerp. To this end, she worked a variety of odd jobs around Antwerp. One of her friends invited her to Ibiza where she found the dance scene.\n\nWhen she did return to Belgium, Coenen recorded a demo which she said was mainly \"just for fun.\" However, the demo came to the attention of Stefan Wuyts, representing the A&R label, who was looking for a mime artist for a song called \"Castles in the Sky\" which was meant to be part of a new Belgian project called Ian Van Dahl. Since her joining the group in 2001, it has sold four million CDs and singles worldwide. She was the main vocalist on the albums Ace and Lost and Found.\n\nIn June 2008, Coenen and Luts teamed together to create their own trance music project called AnnaGrace. \n\nSince March 2014, Coenen has had her own fashion line named Gracenatic.\n\nDiscography\n\nAlbums\n Ace\n Lost and Found\n (AnnaGrace) Ready to Dare\n\nSingles\n Ian Van Dahl:\n 2000 \"Castles in the Sky\"\n 2001 \"Secret Love\"\n 2001 \"Will I?\"\n 2002 \"Reason\"\n 2002 \"Try\"\n 2003 \"I Can't Let You Go\"\n 2004 \"Where Are You Now?\"\n 2004 \"Believe\"\n 2004 \"Inspiration\"\n 2005 \"Movin' On\"\n 2006 \"Just a Girl\"\n AnnaGrace:\n 2008 \"You Make Me Feel\"\n 2009 \"Let the Feelings Go\"\n 2009 \"Love Keeps Calling\"\n 2010 \"Celebration\"\n 2011 \"Don't Let Go\"\n 2012 \"Ready to Fall in Love\"\n 2012 \"Alive\"\n 2013 \"Girls Like Dancing\"\n\nReferences\n\nExternal links \n Official Annagrace site\n Official Gracenatic site\n\n1978 births\nLiving people\nBelgian songwriters\nEnglish-language singers from Belgium\nTrance singers\n21st-century Belgian women singers", "Feng Yun (Chinese: 丰云; Pinyin: Fēng Yún; born October 2, 1966) is a professional Go player. She is the second woman after Rui Naiwei to ever attain the level of 9-dan professional.\n\nBiography\nFeng Yun was born in Chong Qing, China. She started learning Go in Henan province when she was nine years old. She began her professional career in 1979 at the age of 12. In 1982 she was selected for the Chinese National Go Team where she trained for 18 years. In 1997, Feng Yun reached the top rank of professional Go players and ascended to 9-dan professional. She was the second woman in the world ever (after Rui Naiwei) to reach 9 dan. She has lived in New Jersey, U.S. with her family since 2000. The Feng Yun Go School, with four locations in New Jersey, has produced many strong players. Her book, The Best Play, analyzes two amateur games played on the internet.\n\nProfessional accomplishments\nFeng Yun was a finalist in the first four Bohae Cups, winning on the second occasion (1995), but lost to Rui Naiwei on the other three occasions, finishing 2nd in 1994, 1996 and 1997. \n1979 Promoted a professional Go player of the Henan Provincial Team \n1982 Promoted to 4 dan professional\n1983 Promoted to 5 dan professional, won her first title: National Women's Championship \n1987 Promoted to 6 dan professional \n1990 Finished second in National Individual Go Tournament (China)\n1991 Finished second in National Individual Go Tournament (China)\n1992 Promoted to 7 dan professional \n1995 Promoted to 8 dan professional \n1997 Advanced to 9 dan professional, one of the only three women 9p in the world \n1998 Won Kuerle Cup champion\n2002 Founded first 9-dan school in North America, was the challenger in the 2002 North American Masters Tournament\n2004 Won Ing Pro Tournament held at the 20th AGA Go Congress in Rochester, New York\n2008 Won Ing Pro Tournament held at the 24th AGA Go Congress in Portland, Oregon\n\nExternal links\nFeng Yun Go School Official Site\nGoBase.org Information on Feng Yun + her replayable games\n\n1966 births\nLiving people\nChinese Go players\nFemale Go players\nSportspeople from Liaoning\nAmerican Go players\nAmerican sportspeople of Chinese descent" ]

[ "Sandara Park", "Early life and career", "Where was she born?", "Busan, South Korea.", "Who were her parents?", "She is the daughter of Ik-Su Park, a trading businessman, and", "who is her mother?", "and Kyung Ran-Kim.", "did she have siblings?", "She is also the sister of Thunder, a former member of K-pop boy group MBLAQ, and", "who is her other sibling?", "has a younger sister named Durami.", "Where did she go to school?", "I don't know." ]

[ "Brendha Prata Haddad (April 12, 1986 in Rio Branco, Acre) is a Brazilian actress.\n\nAt 3 years, she was paraded in the capital of Acre. At 12, she won the Miss Brazil Child, Paraná. Although now want to pursue an acting career at an early age, his father, a doctor Eduardo Haddad, caused her to postpone the start of his career. In 2006, now studying at the Faculty of Law, Brendha did the tests in his hometown for the miniseries Amazônia, de Galvez a Chico Mendes, shown in 2007. And that's when she got her first role, Ritinha.\n\nCareer\n\nTelevision\n\nFilms\n\nReferences\n\nExternal links \n\n1986 births\nLiving people\nPeople from Rio Branco\nBrazilian telenovela actresses\nBrazilian stage actresses", "Exogenous (April 12, 1998 - November 2, 2001) was an American Thoroughbred racehorse and the winner of the 2001 Beldame Stakes.\n\nCareer\nBred and raced by Vernon Heath's Centaur Farms, Inc., Exogenous' made her racing debut on July 15, 2000 at Belmont Park where she came in fourth place. She did not win her first race until her fifth start on November 18, 2000. She then won two races at Belmont Park in early summer 2001, before she started competing in stakes and graded races.\n\nExogenous ran third in the June 30, 2001, Mother Goose Stakes and then placed second in both the 2001 Coaching Club American Oaks and the 2001 Alabama Stakes. The last two races of her career were both wins, coming in the September 8, 2001, Gazelle Handicap and then the Beldame Stakes.\n\nScheduled to compete in the October 27, 2001 Breeders' Cup Distaff at Belmont Park, Exogenous suffered a skull fracture after she flipped onto her back while leaving the paddock before the start of the race. Initially it was thought she would heal and likely race again but her condition worsened during the week. When she could no longer stand up, the decision was made to humanely euthanize her.\n\nPedigree\n\nReferences\n\n1998 racehorse births\n2001 racehorse deaths\nAmerican racehorses\nRacehorses bred in Kentucky\nRacehorses trained in the United States" ]

[ "Christina Aguilera", "2002-2003: Stripped" ]

[ "William Bruce Ellis Ranken (1881–1941) was an Edwardian aesthete. Ranken's first exhibition in 1904 at the Carfax Gallery in London was well-received by artists and art critics.\n\nGallery\n\nReferences\n\nPaintings by artist", "Stripped is the fourth studio album by American singer Christina Aguilera. It was released on October 22, 2002, by RCA Records. Looking to transition from the teen pop styles of her self-titled debut album (1999), Aguilera took creative control over her next album project, both musically and lyrically. She also changed her public image and established her alter ego Xtina. Musically, its music incorporates pop and R&B with influences from many different genres, including soul, rock, hip hop, and Latin music. Lyrically, most of the songs from the album discuss the theme of self-respect, while a few other songs talk about sex and feminism. As an executive producer, Aguilera enlisted numerous new collaborators for the album.\n\nUpon its release, Stripped received generally mixed reviews from music critics; many criticized its lack of musical focus, while some of them called it \"almost\" an album for grown-ups, with comparisons made to Mariah Carey and Janet Jackson. Commercially, Stripped debuted at number two on the US Billboard 200, with first-week sales of 330,000 copies. It was certified quadruple platinum by the Recording Industry Association of America (RIAA) for shipping over four million copies in the United States. The album also charted within the top five of charts in Canada, the Netherlands, Ireland, New Zealand and the United Kingdom. It was Aguilera's best-performing album in the United Kingdom, becoming the 29th and 40th best-selling album of the decade and millennium there, respectively, with two million copies sold. Despite its initial critical reception, Stripped received multiple Grammy Award nominations, including one win, and has since gone on to be called one of the most influential albums of all time, inspiring a generation of artists. It has sold over 10 million copies worldwide, making it one of the best-selling albums of the 21st century.\n\nFive singles were released from the album. The lead single \"Dirrty\" was met with criticism and controversy due to its sexual music video but was an international hit on the charts. The follow-up \"Beautiful\" was praised by critics and garnered chart success worldwide. The last three singles–\"Fighter\", \"Can't Hold Us Down\" and \"The Voice Within\"–became top-ten hits in various countries. Aguilera performed several songs from Stripped live during a number of shows, notably during the 2002 MTV Europe Music Awards, the American Music Awards of 2003 (January), and the 2003 MTV Video Music Awards. Two concert tours were held in 2003 to promote the album, the Justified and Stripped Tour (co-headlined with Justin Timberlake) and The Stripped Tour.\n\nBackground and development\n\nFollowing the release of her self-titled debut album in 1999, Aguilera had achieved major success with four worldwide hits, including \"Genie in a Bottle\" and \"What a Girl Wants\". Following that, she continued to garner major success with \"Lady Marmalade\" (2001) – a cover of Labelle's song of the same title – which features Lil' Kim, Pink and Mýa. Despite the international success, Aguilera was unsatisfied with the music and image that her former manager Steve Kurtz, had created for her, having been marketed as a bubblegum pop singer because of the genre's financial lure. She mentioned plans for her next album to have more musical and lyrical depth.\n\nBy late 2000, Aguilera decided not to continue the contact with Kurtz. After terminating Kurtz's services, Irving Azoff was hired as her new manager. Following the managerial shakeup, Aguilera decided to create her new style of music on the following album. She also used her new alter ego Xtina. She also changed her public appearance and persona, with her hair dyed black and nude photographs on magazine covers. Aguilera further commented about the event with USA Today: \"When you're part of a pop phenomenon, you have so many opinions shoved down your throat. People try to tell you what you should do, how you should act, what you should wear, who you should be with. At the time things started happening for me, it was popular to be the squeaky-clean, cookie-cutter pop singer. But that role didn't speak to me, because it's so boring and superficial\".\n\nRecording and production\nIn late 2001, Aguilera started recording material for her fourth studio album. The recording sessions took place in studios around California and New York City, including Electric Lady Studios and The Hit Factory in New York City, The Enterprise Studios in Burbank, and Conway Recording Studios, Record Plant and NRG Recording Studios in Los Angeles. According to Aguilera, the recording sessions were much longer than she thought they would be. She further explained that many issues arose during that time, including her first break-up with her first boyfriend Jorge Santos. Aguilera also believed that the lyrics of Stripped were so personal, and her vocals \"represent a rawer, more bare-bones approach as well, with less of the ostentatious riffing that has miffed critics in the past\". She stated, \"I did the vocal gymnastics thing because it was fun. That's why I like blues, too, because you can experiment more with that side of your voice. But I thought the lyrics on this record are so personal, deep and good that I wanted to make them stand out more than what I could do with my voice technically\".\n\nOn Stripped, Aguilera enlisted a wide range of songwriters and producers, including Alicia Keys, Scott Storch, and Linda Perry. Perry was one of the biggest influences to Aguilera during the making of the album. The singer stated, \"She taught me that imperfections are good and should be kept because it comes from the heart. It makes things more believable and it's brave to share them with the world.\" Keys was featured on the track \"Impossible\", which was recorded at Electric Lady Studios in New York City. Another notable producer is Storch; he wrote and produced a total of seven songs from Stripped, including two singles. He stated that during the making of Stripped, Aguilera was one of his friends that he cared most. However, Storch did not produce her fifth studio album Back to Basics (2006), which started a feud between the two artists, which was stated by Aguilera in one of the track from Back to Basics, \"F.U.S.S. (Interlude)\".\n\nMusic and lyrics\nMusically, Stripped is a pop and R&B record which incorporates elements of many different genres, including soul, hip hop, heavy metal, rock, rock and roll, gospel, and Latin. The album broke her teen pop root from her self-titled debut studio album (1999). According to Aguilera, she wanted to be \"real\" in her next records because she was \"overworked\" at the time she was \"a part of the big craze pop phenomenon\". Multiple critics criticized its musical style, calling it a lack of musical concentration. On Stripped, Aguilera became the writer of most of the songs. She also revealed that Perry's songwriting on Pink's second studio album Missundaztood (2001) inspired Aguilera a lot. She further commented: \"I wasn't a big fan of the Dallas Austin songs, but I really, really loved the Linda Perry song\".\n\nThe album's opening track \"Stripped Intro\" describes her musical changes as she sings: \"Sorry that I speak my mind / Sorry don't do what I'm told\". The follow-up \"Can't Hold Us Down\" featuring Lil' Kim is an R&B and hip hop song which incorporates elements from dancehall toward its end. Lyrically, it talks about the theme of feminism, and was suggested that it is toward rapper Eminem and Fred Durst. The third track \"Walk Away\" is a piano ballad where she uses a \"clever\" metaphor to talk about an abusive relationship. It is followed by the fourth track and third single from Stripped, \"Fighter\", which incorporates strong elements from heavy metal and arena rock. It talks about a woman wants to thank a man who has done something wrong to her, and was inspired by Aguilera's unhappy childhood. It is followed-up by the interlude \"Primer Amor Interlude\", the Latin pop and flamenco track \"Infatuation\", and the interlude \"Loves Embrace Interlude\", respectively.\n\n\"Loving Me 4 Me\" is a \"sultry\" classic R&B and neo soul ballad. The follow-ups \"Impossible\" and \"Underappreciated\" explore jazz and funk. The first of these, featuring Keys, incorporates a piano theme, while the second talks about the pain of a break-up. The piano ballad \"Beautiful\", which talks about the theme of self-respect, was deemed as the album's highlight by many critics, who praised its overall production. The next track \"Make Over\" is a salsa and dance-rock song that features a garage-rock beat. It was sued in the United Kingdom for illegally sampling the Sugababes' song \"Overload\" (2000), The Guardian also noted similarities between the two songs. Later, the American Society of Composers, Authors and Publishers (ASCAP) added the songwriting credits of Sugababes to the song. \"Cruz\" is a rock ballad that is musically similar to works of Michael Bolton. \"Soar\" is one of two tracks written for Stripped by Rob Hoffman and Heather Holley centered around themes of self-empowerment. The second track \"I Will Be\" is the B-side to \"Dirrty\" in the U.K. The two next tracks, \"Get Mine, Get Yours\", a pop song with rock and soul influences, and \"Dirrty\", a dance-pop/urban anthem that talks about the theme of sexual intercourse, and have been described as \"majestically filthy\". The latter is the remake of Redman's \"Let's Get Dirty (I Can't Get in da Club)\" (2001), and also features the rapper. The follow-up is the interlude \"Stripped Pt. 2\". The empowering ballad \"The Voice Within\" talks about trusting oneself. \"I'm OK\" is a ballad which incorporates strings and discusses Aguilera's abusive childhood with her father, and the final song from the album \"Keep on Singin' My Song\" incorporates elements from drum and bass with a gospel choir.\n\nRelease and promotion\n\nStripped was first released internationally on October 22, 2002 and in the United States a week later by RCA Records. Promotion for Stripped started on October 28, when Aguilera appeared at a Chicago radio station B96's Halloween Bash and performed four songs from the album–\"Dirrty\", \"Get Mine, Get Yours\", \"Beautiful\" and \"Impossible\". The same day, Aguilera performed \"Beautiful\" on the Late Show with David Letterman, wearing a black gown, a black fedora, and black heels. She also performed \"Dirrty\" and \"Beautiful\" on Top of the Pops; the show aired in October. On November 1, Aguilera appeared on Today and performed \"Beautiful\" and \"Impossible\". On November 4, Aguilera was invited as a guest on The Daily Show to promote Stripped. At the 2002 MTV Europe Music Awards on November 14, Aguilera performed \"Dirrty\" with rapper Redman, recreating the stage as a boxing ring while entering the stage riding a motorcycle and wearing chaps during the performance, as seen in the music video for the song. On December 15, she performed \"Dirrty\" at the 2002 VH1 Awards. On January 13, 2003, Aguilera performed \"Beautiful\" and \"Impossible\" at the American Music Awards of 2003 (January). Aguilera gave a performance of \"Beautiful\" on Saturday Night Live on March 15, where she also sang \"Fighter\". At the 2003 MTV Video Music Awards on August 23, Aguilera performed with Madonna, Britney Spears and Missy Elliott a medley of Madonna's songs \"Like a Virgin\" and \"Hollywood\", and Elliott's \"Work It\". Towards the end of \"Hollywood\", Madonna kissed both Aguilera and Spears during the performance, making huge tabloid stories and fuss from the public, and marking it as one of the most iconic performances from the MTV Video Music Awards history. Later that night, she also performed \"Dirrty\" and \"Fighter\" with Redman and guitarist Dave Navarro. On January 16, 2004, she performed \"Walk Away\" on the Late Show with David Letterman. On February 8, Aguilera performed \"Beautiful\" at the 46th Annual Grammy Awards, where she also won a Grammy Award for Best Female Pop Vocal Performance for the song.\n\nAguilera also supported Stripped by embarking on two separate tours. In summer 2003, Justin Timberlake and Aguilera embarked on the Justified and Stripped Tour, which took place in North America. Talking about the tour, Timberlake said \"[Aguilera]'s got one of the most amazing voices I've ever heard. That homegirl can sing ... this is why I am standing here\". Several tour dates were cancelled and rescheduled due to the collapse of lighting systems. An extended play entitled Justin & Christina was released exclusively at Target in July 2003 to promote the tour. The EP contains four remixes of Aguilera and Timberlake's songs from their respective albums, and two new tracks. In late 2003, Aguilera embarked on The Stripped Tour, the former's extension without Timberlake's acts. The tour took place in Europe, Japan and Australia. The former grossed a total of US$30,261,670, becoming the 16th highest-grossing tour of 2003. In May 2004, Aguilera was expected to return to North America during the second leg of The Stripped Tour. However, the 29 tour dates were cancelled last-minute due to the singer's vocal strain. On January 13, an accompanying live video album of the tour, titled Stripped Live in the U.K., was released worldwide. On December 8, a compilation album including both Stripped and Stripped Live in the U.K. was released in the United Kingdom.\n\nSingles \n\"Dirrty\" was serviced as the lead single from the album on September 14, 2002. Perry and Aguilera's management wanted to release \"Beautiful\" as the lead single. However, Aguilera wanted to release a seriously \"down and dirty\" song to announce her comeback, so RCA Records decided to release it as the first single. Upon its release, the song received mixed to negative reviews from critics; some of whom criticized its sound and negatively compared it to Britney Spears' song \"I'm a Slave 4 U\" (2001), while the others chose it as a standout track from Stripped. Its accompanying music video, directed by David LaChapelle, was criticized due to its sexual content, and sparked protests in Thailand. However, it was an international hit, achieving certifications in Australia, New Zealand, Switzerland, and the United Kingdom.\n\nThe album's second single \"Beautiful\" was written solely by Perry. Rush-released following the commercial underperformance and controversy surrounding previous single \"Dirrty\", \"Beautiful\" received universal acclaim from music critics. Commercially, the single gained impact on charts worldwide, peaking within the top five in many countries, as well as achieving certifications in the United States, Australia, New Zealand and the United Kingdom. Its music video, directed by Jonas Åkerlund, garnered critical acclaim from media outlets by touching on anorexia nervosa, homosexuality, bullying, self-esteem, and transgender issues. The video was honored at the 14th GLAAD Media Awards (2003) due to its positive portrayal of the LGBT community. \"Beautiful\" was listed as one of the greatest songs throughout the 2000s decade by Rolling Stone and VH1.\n\n\"Fighter\" was released as the third single from Stripped on March 13, 2003. The single was well received by most critics, as well as achieving chart success in several countries and gold certifications in the United States and Australia. Its accompanying music video, directed by Floria Sigismondi, was inspired by the director's dark theatrics and moths.\n\nThe album's fourth single \"Can't Hold Us Down\", featuring Lil' Kim, was released on July 8, 2003. It garnered mixed reviews from music critics, and gained moderate success commercially, receiving a gold certification in Australia. Its accompanying music video was directed by LaChapelle.\n\n\"The Voice Within\" was released on October 27, 2003 as the fifth and final single. Critics complimented the simple piano ballad, which talks about the theme of self-respect. Its accompanying music video was directed by LaChapelle.\n\n\"Infatuation\" was released as a promotional single in Spain on September 22, 2003. \"Walk Away\" peaked at number 35 in Denmark on March 14, 2008, despite never being released as a single.\n\nCritical reception\n\nStripped received generally mixed reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 55, based on 14 reviews. Billboard was positive toward the album, writing that the album is \"a must-heard recording rich with pleasantly surprising depth\". In a mixed review, E! Online wrote, \"If she had just shown up and sang her ass off, Stripped would've been a better show\". Josh Kun from Spin commented, \"As an artistic statement, Stripped is all over the place–it's a move toward hip-hop, it's a move toward rock, it's ghetto, it's Disney\". Jancee Dunn of Rolling Stone provided a three-out-of-five-stars rating for the album, calling it \"almost\" an album for grown-ups, yet criticized its lack of musical concentration. Blender wrote a mixed review, yet commenting that it is better than Britney Spears' works. Writing for BBC Music, Jacqueline Hodges said that the album \"is as full-on bold and over the top as most of Christina's outfits ... much of this seems to be an exercise in stretching the vocal chords [sic] to weak backing tracks\". Jim Wirth for NME commented that Stripped is a \"Mariah Carey album\" comparing it to Carey's 1999 Rainbow. Sal Cinquemani from Slant Magazine commented that the album is \"so overproduced and overwrought that it could easily pass for a Janet album\".\n\nIn a negative review, The Village Voice criticized the album as a \"nü-Mariah on mood stabilizers, extended with pseudo-pastiches of semi-popular songs\". Todd Burns for Stylus Magazine was also negative toward the album, giving it an \"F\" score and wrote: \"in between ten to twelve mediocre/good songs, we have eight to ten songs that would be better served as B-sides\". Q provided a two-out-of-five-stars rating and commented that \"Sadly, bra-burning rhetoric and gospel warbling make poor substitutes for addictive songs\". AllMusic's editor Stephen Thomas Erlewine also wrote a negative review, commenting that the album is \"the sound of an artist who was given too much freedom too early and has no idea what to do with it\". Writing for The New York Times, Jon Pareles also provided a negative review, commenting that Stripped \"is a blast of excess that risks alienating Ms. Aguilera's old fans without luring new ones, and it's bursting with misguided energy\".\n\nAccolades \n\n|-\n! scope=\"row\"| 2003\n| Grammy Award\n| Best Pop Collaboration with Vocals\n| \"Dirrty\"\n| \n| style=\"text-align:center;\"| \n|-\n! scope=\"row\"| 2003\n| GLAAD Media Award\n| Special Recognition\n| \"Beautiful\"\n| \n| style=\"text-align:center;\"| \n|-\n! scope=\"row\"| 2003\n| Teen Choice Award\n| Choice Music – Album\n| Stripped\n| \n| style=\"text-align:center;\"| \n|-\n! scope=\"row\" rowspan=\"4\"| 2003\n| rowspan=\"4\"| MTV Video Music Award\n| Best Female Video\n| rowspan=\"6\"| \"Dirrty\"\n| \n| rowspan=\"4\" style=\"text-align:center;\"| \n|-\n| Best Pop Video\n| \n|-\n| Best Dance Video\n| \n|-\n| Best Choreography\n| \n|-\n! scope=\"row\" rowspan=\"2\"| 2003\n| MOBO Award\n| Video of the Year\n| \n| style=\"text-align:center;\"| \n|-\n| Q Award\n| Song of the Year\n| \n| style=\"text-align:center;\"| \n|-\n! scope=\"row\" rowspan=\"2\" | 2003\n| rowspan=\"2\"| MTV Europe Music Award\n| Best Album\n| Stripped\n| \n| rowspan=\"2\" style=\"text-align:center;\"| \n|-\n| Best Song\n| \"Beautiful\"\n| \n|-\n! scope=\"row\" rowspan=\"4\" | 2004\n| rowspan=\"4\"| Grammy Award\n| Best Pop Vocal Album\n| Stripped\n| \n| rowspan=\"4\" style=\"text-align:center;\"| \n|-\n| Song of the Year\n| rowspan=\"2\" | \"Beautiful\"\n| \n|-\n| Best Female Pop Vocal Performance\n| \n|-\n| Best Pop Collaboration with Vocals\n| \"Can't Hold Us Down\"\n| \n|-\n! scope=\"row\"| 2004\n| MTV Asia Award\n| Favorite Video\n| \"Beautiful\"\n| \n| style=\"text-align:center;\"| \n|-\n! scope=\"row\"| 2004\n| Brit Award\n| Best International Album\n| rowspan=\"2\"| Stripped\n| \n| style=\"text-align:center;\"| \n|-\n! scope=\"row\" rowspan=\"2\" | 2004\n| rowspan=\"2\"| Juno Award\n| International Album of the Year\n| \n| rowspan=\"2\" style=\"text-align:center;\"| \n|-\n| Video of the Year\n| \"Fighter\"\n| \n|-\n! scope=\"row\" rowspan=\"3\"| 2004\n| rowspan=\"3\"| MTV Video Music Award\n| Best Female Video\n| rowspan=\"3\"| \"The Voice Within\"\n| \n| rowspan=\"3\" style=\"text-align:center;\"| \n|-\n| Best Cinematography\n| \n|-\n| Viewer's Choice\n| \n|}\n\nCommercial performance\nAccording to Nielsen SoundScan, Stripped debuted at number two on the US Billboard 200 with first-week sales of 330,000 copies, only behind Eminem's 8 Mile: Music from and Inspired by the Motion Picture, which debuted at number one with first-week sales of 702,000 copies. The album stayed on the chart until 2004, and was certified quadruple platinum by the Recording Industry Association of America (RIAA). By December 2009, Nielsen SoundScan reported that Stripped had sold 4,234,000 copies in the country, becoming her second highest-selling album in the United States, only behind her self-titled debut studio album (1999), which had sold 8,207,000 copies. As of 2018, the album has sold over 4,423,000 copies in the country alone. In Canada, Stripped debuted at number three on the Canadian Albums Chart with first-week sales of 14,000 copies, and was eventually certified triple platinum by Music Canada.\n\nElsewhere, Stripped was a sleeper hit, debuting low in many countries and eventually turning into a commercial success. In the United Kingdom, the album debuted at number 19 on the UK Albums Chart, peaking at number two. It became Aguilera's best-performing album in the country, spending 102 weeks within the top 100 of the chart, and was certified sextuple platinum by the British Phonographic Industry (BPI). The album became the 29th best-selling album there throughout the 2000s decade in the United Kingdom, also becoming the second highest-selling album by an American female artist in the country during the decade, only behind Norah Jones' Come Away with Me (2002). As of 2006, the album had sold 1,850,852 copies in the United Kingdom, and was ranked at number 73 on the list of 100 best-selling albums in the United Kingdom during the same time. As of April 2021, Stripped has sold a total of 2,050,000 copies in the United Kingdom. In March 2015, the Official Charts Company (OCC) revealed that Stripped had become the 40th best-selling album of the millennium in the country.\n\nThroughout Europe, Stripped also peaked within the top ten in several countries, including Denmark, Germany, Ireland, the Netherlands, Norway, Scotland, and Switzerland. It was one of the best-selling albums in Poland in the first half of 2003. Stripped was certified triple platinum in Europe by the International Federation of the Phonographic Industry (IFPI) for shipping over three millions copies in the continent and was the best-selling pop album by a female artist of 2003.\nIn Oceania, Stripped debuted at number thirty-three on the Australian ARIA Albums chart on November 10, 2002 before fall down of the chart the following week. It re-entered on January 19, 2003 at number forty-one due to the promotion and success of the album's second single \"Beautiful\", and reached the top ten of the chart eight week later, it reached number seven which became its peak position in October 2003 and spent a total of 67 weeks in the chart. The success of the album was aimed by its five singles that reached the Australian ARIA Singles chart's top ten, as \"Beautiful\" reached number-one, and became her second number-one single there, \"Dirrty\" peaked at number four, while \"Fighter\" and \"Can't Hols Us Down\" both reached number 5, and \"The Voice Within\" reached number eight.In New Zealand, Stripped entered the albums chart at number 48 on February 23, 2003 but exited the chart the following week before to its re-entry at number 26 on March 16, 2003 due the success of \"Beautiful\", and reached number five which became its peak position four week later. It spent 46 weeks in the chart and became Aguilera's longest-charting album there. It was certified quadruple platinum by the Australian Recording Industry Association (ARIA) for shipments of 280,000 copies in the country, and was certified double platinum by the Recorded Music NZ (RMNZ), shipping over 30,000 copies in the country. Stripped has since sold over 10 million copies worldwide.\n\nLegacy and influence \n\nFollowing its release and five successful singles, Stripped became one of Aguilera's strongest albums on charts. In the United States, the album became the tenth best-selling album of 2003, and Aguilera was ranked as the fifth most successful pop artist of the year. She also became the most successful pop female act throughout the year, with six chart entries. Likewise, Aguilera was the fourth most successful female musical act on the US Billboard 200, and the thirteenth overall. Due to the successful single releases, the magazine ranked Aguilera as the second best-selling female singles artist on the US Billboard Hot 100, only behind Beyoncé, and the top female Mainstream Top 40 artist. In 2017, Billboard named Stripped as one of the most important albums of the 2000s, noting the cultural and sonic influence the album had on an array of artists including Rihanna, Demi Lovato, Miley Cyrus and Ariana Grande. They added that,Ultimately, Christina defining herself as Stripped was not an ode to her sexually empowered image, but representative of her peeling back layers and getting to the music and emotions that make up the vocal powerhouse as a human, including all her darkness, fears and insecurities.\n\nSelena Gomez cited Stripped as an inspiration for her second studio album Revival (2015), saying: \"That's one of my favorite albums and that was kind of what I started off Revival as, some sort of story. I mean, that album for her was incredible — 'Beautiful', 'Can't Hold Us Down', all of that — that's the stuff that I love\". She added: \"That was an album, that was complete on my record. I have 'Rise', 'Survivors', 'Revival', 'Kill Em With Kindness'. My stuff is full on, it's an album, it's a piece, it's something that I'm proud of.\" In an interview with People, Demi Lovato said that their album Tell Me You Love Me (2017) was inspired by Stripped. They stated that they \"grew up listening to Christina Aguilera \" and explained that they were \"inspired by the black and white artwork\". Sabrina Carpenter has also stated that after she heard the album, she \"knew that [she] wanted to sing\" and she began to see \"songs as a part of what [she] could do to showcase and develop [her] own voice\". The album was included in the book 1001 Albums You Must Hear Before You Die. Justin Myers of the Official Charts Company called the album \"a phenomenon\".\n\nDespite the heavy criticism received upon release, Stripped has gone on to earn widespread acclaim, years after its release. The album's fifteenth anniversary in 2017 saw many critics reevaluate the album in their articles, praising the album's longevity, musicality, cohesion, and its lasting impact and influence in contemporary music. Vice writer Sophie Wilkinson stated in a retrospective review, \"Say what you like about the flailing \"Dirrty\" dance routines it spawned, but Christina Aguilera's sophomore album Stripped still has merits beyond the cliché of a former teen star removing her saccharine casing to reveal her womanhood\". She added that the album relayed feministic messages and that \"15 years on, the album still gives any woman the confidence to speak up and be heard, to take charge of her sexuality and ownership of her body, or even just sing along loud enough to amplify its messages\". \n\nIn a Billboard article, Jeff Benjamin praised the album's ability to shift between genres and the personal content featured. He went on to say that Aguilera was continuing the legacy that \"Aguilera helped build after the likes of Donna Summer, Madonna and Cher\". Benjamin also praised Aguilera for her feminist sentiment on the album's second track and fourth single \"Can't Hold Us Down\", while maintaining an openly sexual image, noting that it was not expected of feminists to be sexual at the time of the album's release. Idolator praised Stripped for remaining a \"cohesive and forward-thinking collection of songs\" 15 years after its release and noted its impact in contemporary music, while also stating that Stripped became \"the blueprint for divas making the transition from teen idol to adult pop star\". That same year, The Fader named it one of the greatest, most \"crucial\" albums recorded by women.\n\nLater that year, HuffPost noted that with Stripped, Aguilera led the charge at the beginning of the 21st century in influencing and introducing the next generation feminist rhetoric into pop culture. In 2018, the enduring impact of Stripped was noted by the Los Angeles Times and several other pop media outlets including Fuse, Genius and Vinyl with consensus; \"Stripped proves as the blueprint for honest and raw female pop\". Crack writer Emma Garland called the album a \"re-introduction to Christina Aguilera on her own terms\". She added that the album \"is best measured by its cultural impact on those it was always intended for – a mass audience of young people who [...] had spent much of the late 90's and early 00's being patronised by an industry that served them dynamic but spiritually void bubblegum pop washed down with empowerment slogans from the Spice Girls\".\n\nTrack listing\n\nNotes\n signifies a vocal producer\n\nSample credits\n \"Make Over\" interpolates \"Overload\", as performed by the Sugababes. Later pressings of the album contain songwriting credits for Keisha Buchanan, Mutya Buena, Siobhán Donaghy, Felix Howard, Cameron McVey, Paul Simm and Jonathan Lipsey; these credits were absent on initial pressings of the album.\n \"I'm OK\" contains an audio sample performed by Ellen Muth and David Strathairn from Dolores Claiborne, a film based on the novel of the same name by Stephen King.\n\nPersonnel\nCredits adapted from the liner notes of Stripped.\n\nProduction\n\nChristina Aguilera – executive producer, vocal producer, writer, composer\nE. Dawk – vocal producer, co-writer\nRon Fair – executive producer, A&R\nScott Storch – producer, writer, composer\nLinda Perry – producer, writer, composer, engineer\nRob Hoffman – producer, writer, composer\nHeather Holley – producer, writer, composer\nSteve Morales – producer, writer, composer\nAlicia Keys – producer, writer, composer\nGlen Ballard – producer, writer, composer\nRockwilder – producer\nJasper Cameron – writer, composer\nBalewa Muhammad – writer, composer\nR. Noble – writer, composer\nDavid Siegel – writer, composer\nD. Stinson – writer, composer\n Matt Morris – writer\nTony Black – recording\nOscar Ramirez – recording\nWassim Zreik – recording\nShane Stoner – recording\nDavid Guerrero – engineer, assistant mix engineer\nDylan Dresdow – engineer, mix engineer\nAndrew Chavez – assistant engineer, assistant mix engineer\nDavy Vain – assistant engineer, Pro Tools engineer\nBrian Douglas – assistant engineer\nAlex Gibson – assistant engineer\nJay Goin – assistant engineer\nMark Kizula – assistant engineer\nAaron Leply – assistant engineer\nJohn Morichal – assistant engineer\nRafael Serrano – assistant engineer\nKevin Szymanski – assistant engineer\nScott Whitting – assistant engineer\nTony Maserati – mixing\nPeter Mokran – mixing\nDave Pensado – mixing\nRich Balmer – assistant mix engineer\nTony Flores – assistant mix engineer\nAnthony Kilhoffer – assistant mix engineer\nJamie Sickora – assistant mix engineer\nEthan Willoughby – assistant mix engineer\nJolie Levine-Aller – production coordinator\nStephanie Kubiak – production assistant\nJoann Tominaga – music contractor\nBrian Gardner – mastering\nJeri Heiden – art direction & design\nGlen Nakasako – art direction & design\nMiranda Penn Turin – photography\n\nMusicians\n\nChristina Aguilera – lead vocals, background vocals, vocals producer & arranger\nLil' Kim – featuring vocals, flow\nRedman – featuring vocals, flow\nAlicia Keys – additional vocals, backing vocals, piano, other instruments\nE. Dawk – vocals producer & arranger, choir vocals arrangement\nBalewa Muhammad – vocals producer and arranger\nMaxi Anderson – background vocals, choir vocals arrangement\nAlexandra Brown – background vocals\nCrystal Drummer – background vocals\nCharlean Hines – background vocals\nErica King – background vocals\nNolie Robinson – background vocals\nAlfie Sillas – background vocals\nToya Smith – background vocals\nMaxine Waters-Willard – background vocals\nLinda Perry – bass, guitar, piano, strings arrangement & conduction, music programming\nAlex Al – bass\nUriah Duffy – bass\nMike Elizondo – bass\nRufus Jackson – bass\nTarus Mateen – bass\nSteve Morales – drum programming, arranger\nMatt Chamberlain – drums\nBrian Frasier-Moore – drums\nKameron Houff – drums\nPaul John – drums\nBrian McLeod – drums\nMike Stinson – drums\nAhmir Thompson – drums\nDarryl Dixon – horns\nGary Grant – horns\nJerry Hey – horns\nDaniel Higgins – horns\nFred Maxwell – horns\nBill Reichenbach – horns\nDavid Watson – horns\nRob Hoffman – guitar, programming, orchestral percussion, rhodes\nGlen Ballard – guitar, arranger, keyboardist\nAaron Fishbein – guitar, electric guitar\nJohn Goux – guitar\nMichael Landau – guitar\nDave Navarro – guitar\nArthur White – guitar\nDwayne Wiggins – guitar\nRamon Stagnaro – acoustic guitar\nDamon Fox – keyboards\nRandy Kerber – keyboards\nDavid Siegel – keyboards\nGreg Phillinganes – piano\nRichard Dodd – cello\nLily Haydn – viola, violin\nShanti Randall – viola\nEric Gorfain – violin\nLarry Gold – strings arrangement & conduction\nRon Fair – strings arrangement\nBill Ross – orchestra arrangement\nAnson Dawkins – choir vocals arrangement\nEric Dawkins – choir vocals arrangement\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nDecade-end charts\n\nCertifications and sales\n\nRelease history\n\nSee also \n List of best-selling albums by women\n List of best-selling albums of the 2000s (decade) in the United Kingdom\n List of best-selling albums of the 2000s (century) in the United Kingdom\n\nNotes\n\nReferences\n\nBibliography\n\nExternal links\n Stripped at Discogs (list of releases)\n\n2002 albums\nAlbums produced by Glen Ballard\nAlbums produced by Linda Perry\nAlbums produced by Rockwilder\nAlbums produced by Scott Storch\nAlbums produced by Alicia Keys\nAlbums recorded at Electric Lady Studios\nChristina Aguilera albums\nRCA Records albums" ]

[ "Christina Aguilera", "2002-2003: Stripped", "Was Stripped well-received by critics?", "It was released in October 2002 to mixed critical reviews;" ]

[ "My So-Called Life is the second and final album by the Chicago-based nu metal music group From Zero. The album was released on May 6, 2003 via Arista Records. Due to a lack of promotion by Arista Records, poor reviews, and general changes in mainstream music tastes, the album did not sell many copies. The album features a cover of Phil Collins' \"I Don't Care Anymore\".\n\nTrack listing\n\nPersonnel\nJett – vocals, bass\nPete Capizzi – guitar, backing vocals\nJoe Pettinato – guitar\nKid – drums\n\nReferences\n\n2003 albums\nFrom Zero albums\nArista Records albums", "is the third studio album and debut major Japanese release by South Korean girl group Kara. It was released on November 24, 2010 in four editions: CD+DVD, CD+Photobook (28-pages), CD-Only First Press coming with Korean versions of the songs \"Sweet Days\", \"Love Is\", and \"Binks\" and a CD-Only Normal Press coming with no bonus tracks. The album has topped the Oricon Weekly Album Charts several times and was eventually certified as Double Platinum by the RIAJ.\n\nComposition \nThe album contains two original Japanese songs. There are five songs that were included on the group's fourth Korean mini-album Jumping (2010) including \"Sweet Days\" which was titled \"With\" on the mini-album and the second single Jumping. There are two songs which was previously released in Korean on their third mini-album Lupin (2010) and these are \"Lupin\" and \"Umbrella\". The debut single, Mister was previously released in Korean on their second studio album Revolution (2009).\n\nChart performance \n\nGirl's Talk had sold over 107,000 copies which placed on number 2 at the Oricon Weekly Album charts, behind Hikaru Utada's Utada Hikaru Single Collection Vol. 2, which sold over 231,000 copies in the same week. This is the first time in 6 years and 9 months for a foreign Asian girl group to sell over 100,000 copies on its first week in Japan since Twelve Girls Band did back in March 2004 with the release of their album Kikō: Shining Energy. The album's first week sales doubles that of Kara Best 2007–2010 first week sales (51,000 copies) which was released back in September.\n\nThe album spent 14 weeks in the Top 10 spot of the Oricon Weekly Album charts. It was eventually certified Platinum by the RIAJ. On February 12, 2011, the album eventually peaked at number one after spending over 12 weeks in the charts, making it their first number-one album. The album managed to sell over 300,000 copies making them the first foreign female group to sell over 300,000 copies since Destiny's Child's #1's (2005). On November 18, 2011, it was announced that the album had already sold over 500,000 copies.\n\nTrack listings\n\nCharts\n\nOricon\n\nSingles and other songs charted\n\nCertifications\n\nSources \n\n2010 albums\nDance-pop albums by South Korean artists\nKara (South Korean band) albums\nUniversal Records albums\nJapanese-language albums" ]

[ "Christina Aguilera", "2002-2003: Stripped", "Was Stripped well-received by critics?", "It was released in October 2002 to mixed critical reviews;", "How many copies did it sell?", "Stripped has sold over 12 million copies" ]

[ "The I Am a Lot Like You! Tour was an international concert tour by American singer St. Vincent, which supported her fifth studio album Masseduction (2017). The tour started on April 5, 2018, in Mexico City, Mexico and concluded on April 7, 2019, in Bogotá, Colombia.\n\nBackground \nThe I Am a Lot A Like You Tour was a follow-up of the previous Fear the Future Tour, promoting the Masseduction album across the world, but a departure from the one-woman show presented in the last run, since this time there was a live backing band accompanying Clark.\n\nThe tour comprised mostly summer festivals, but also included some solo concerts and three rescheduled dates from the previous tour.\n\nSet list \nThis set list is from the April 5, 2019 concert at Lollapalooza in São Paulo, Brazil. It is not intended to represent all concerts for the tour.\n\n \"Sugarboy\"\n \"Los Ageless\"\n \"Pills\"\n \"Savior\"\n \"Masseduction\"\n \"Marrow\"\n \"Cheerleader\"\n \"Digital Witness\"\n \"Rattlesnake\"\n \"Birth in Reverse\"\n \"Fast Slow Disco\"\n \"Fear the Future\"\n \"New York\"\n\nTour dates\n\nNotes\n\nReferences \n\n2018 concert tours\n2019 concert tours\nSt. Vincent (musician) concert tours", "The Panama Open was a golf tournament played from 1938 to 1982, during which time it was won by some of the biggest names in professional golf, including Sam Snead and Arnold Palmer. It was an event on the PGA-sponsored Caribbean Tour between 1958 and 1974. Following the demise of the Caribbean Tour the tournament was not played for several years, until there was a brief revival between 1979 and 1982.\n\nThe Panama Open was revived in 1996, when it was an unofficial event on the Canadian Tour; it became an official tournament in 2001 and 2002. In 2003, it was an event on the Tour de las Américas, and the following year, it was co-sanctioned by the European Challenge Tour (2005 season).\n\nWinners\n\nSee also\nPanama Championship\n\nReferences\n\nExternal links\nCoverage on the European Tour's official site\n\nGolf tournaments in Panama\nFormer Challenge Tour events\nFormer Tour de las Américas events\nRecurring sporting events established in 1938\nRecurring sporting events disestablished in 2004\n1938 establishments in Panama" ]

[ "Christina Aguilera", "2002-2003: Stripped", "Was Stripped well-received by critics?", "It was released in October 2002 to mixed critical reviews;", "How many copies did it sell?", "Stripped has sold over 12 million copies", "Was there an accompanying tour?", "She co-headlined the Justified and Stripped Tour alongside Justin Timberlake from" ]

[ "\"Love Thru the Computer\" is a song by American rapper Gucci Mane, featuring vocals from Canadian singer Justin Bieber. It was released as the lead single from the former's thirteenth studio album, Delusions of Grandeur, on May 31, 2019. The song was written by Radric Davis, Justin Bieber, Anthony White, Larry Troutman, and Shirley Murdock while production was handled by J. White Did It. However, \"Love Thru the Computer\" did not chart on any major music charts.\n\nBackground\n\"Love Thru the Computer\" is a song in which Gucci Mane and Justin Bieber discuss the feeling of meeting their significant others online rather than in-person.\n\nInterpolation\nIt interpolates the 1980s hit \"Computer Love\" by the funk band Zapp with a few lines from the song as the background of the song along with the beat. Mane raps the first and third verses, while Bieber sings the chorus and the second verse.\n\nPersonnel\nCredits adapted from Tidal.\n\n Radric Davis – vocals, songwriting\n Justin Bieber – vocals, songwriting\n Anthony White – production, recording, vocal production, programming, songwriting\n Larry Troutman – songwriting\n Shirley Murdock – songwriting\n\nRelease history\n\nReferences\n\nExternal links\n\n2019 songs\n2019 singles\nGucci Mane songs\nJustin Bieber songs\nSongs written by Gucci Mane\nSongs written by Justin Bieber\nSong recordings produced by J. White Did It\nSongs written by J. White Did It\nSongs written by Larry Troutman\nSongs written by Shirley Murdock", "\"PYD\" (\"Put You Down\") is a single by Canadian singer Justin Bieber, featuring vocals from American singer R. Kelly. It was released on November 18, 2013. The song is the seventh in Bieber's series Music Mondays, the first six being \"Heartbreaker\" (October 7, 2013), \"All That Matters\" (October 14), \"Hold Tight\" (October 21), \"Recovery\" (October 28), \"Bad Day\" (November 4), and \"All Bad\" (November 11). Bieber released a new single every week for 10 weeks from October 7 to December 9, 2013.\n\nBackground\n“I just did a song [with him]. [Bieber] just called me to do a song and it’s hot. He wanted to go and do some R&B stuff so we got together and did that\", R. Kelly told Vibe on November 12, 2013, at a private listening session of Black Panties.\n\nTrack listing\n\nCharts\n\nReferences\n\n2013 singles\nJustin Bieber songs\nR. Kelly songs\n2013 songs\nSongs written by R. Kelly\nSongs written by Justin Bieber\nSong recordings produced by the Audibles\nIsland Records singles\nSongs written by James Giannos\nSongs written by Dominic Jordan\nSongs written by Sasha Sirota\nSongs written by Mally Mall\nSongs about sexuality" ]

[ "Christina Aguilera", "2002-2003: Stripped", "Was Stripped well-received by critics?", "It was released in October 2002 to mixed critical reviews;", "How many copies did it sell?", "Stripped has sold over 12 million copies", "Was there an accompanying tour?", "She co-headlined the Justified and Stripped Tour alongside Justin Timberlake from", "Did she and Justin record and/or perform any songs together?", "I don't know." ]

[ "The year 2011 is the 19th year in the history of Pancrase, a mixed martial arts promotion based in Japan. In 2011 Pancrase held 15 events beginning with Pancrase: Gate 7th Chance.\n\nTitle fights\n\nEvents list\n\nPancrase: Gate 7th Chance\n\nPancrase: Gate 7th Chance was an event held on January 30, 2011, at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 1\n\nPancrase: Impressive Tour 1 was an event held on February 6, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 2\n\nPancrase: Impressive Tour 2 was an event held on March 13, 2011, at The Azalea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Impressive Tour 3\n\nPancrase: Impressive Tour 3 was an event held on April 3, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 4\n\nPancrase: Impressive Tour 4 was an event held on May 3, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 5\n\nPancrase: Impressive Tour 5 was an event held on June 5, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Gate 8th Chance\n\nPancrase: Gate 8th Chance was an event held on July 10, 2011, at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 6\n\nPancrase: Impressive Tour 6 was an event held on July 23, 2011, at The Shinjuku Face in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 7\n\nPancrase: Impressive Tour 7 was an event held on July 31, 2011, at The Azalea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Impressive Tour 8\n\nPancrase: Impressive Tour 8 was an event held on August 7, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 9\n\nPancrase: Impressive Tour 9 was an event held on September 4, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 10\n\nPancrase: Impressive Tour 10 was an event held on October 2, 2011, at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 11\n\nPancrase: Impressive Tour 11 was an event held on November 12, 2011, at Shinjuku Face in Tokyo, Japan.\n\nResults\n\nPancrase: Impressive Tour 12\n\nPancrase: Impressive Tour 12 was an event held on November 27, 2011, at Azalea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Impressive Tour 13\n\nPancrase: Impressive Tour 13 was an event held on December 3, 2011, at Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nSee also \n List of Pancrase champions\n List of Pancrase events\n\nReferences\n\nPancrase events\n2011 in mixed martial arts", "The year 2010 is the 18th year in the history of Pancrase, a mixed martial arts promotion based in Japan. In 2010 Pancrase held 16 events beginning with Pancrase: Gate 4th Chance.\n\nTitle fights\n\nEvents list\n\nPancrase: Gate 4th Chance\n\nPancrase: Gate 4th Chance was an event held on January 10, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 1\n\nPancrase: Passion Tour 1 was an event held on February 7, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 2\n\nPancrase: Passion Tour 2 was an event held on March 22, 2010 at The Azelea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nPancrase: Passion Tour 3\n\nPancrase: Passion Tour 3 was an event held on April 4, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 4\n\nPancrase: Passion Tour 4 was an event held on April 29, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Gate 5th Chance\n\nPancrase: Gate 5th Chance was an event held on May 16, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 5\n\nPancrase: Passion Tour 5 was an event held on June 5, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 6\n\nPancrase: Passion Tour 6 was an event held on July 4, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 7\n\nPancrase: Passion Tour 7 was an event held on August 8, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 8\n\nPancrase: Passion Tour 8 was an event held on September 5, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: 2010 Pro-Am Open Catch Wrestling Tournament\n\nPancrase: 2010 Pro-Am Open Catch Wrestling Tournament was an event held on September 19, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Gate 6th Chance\n\nPancrase: Gate 6th Chance was an event held on September 19, 2010 at The Gold's Gym South Tokyo Annex in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 9\n\nPancrase: Passion Tour 9 was an event held on October 3, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 10\n\nPancrase: Passion Tour 10 was an event held on November 3, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 11\n\nPancrase: Passion Tour 11 was an event held on December 5, 2010 at The Differ Ariake Arena in Tokyo, Japan.\n\nResults\n\nPancrase: Passion Tour 12\n\nPancrase: Passion Tour 12 was an event held on December 19, 2010 at Azelea Taisho Hall in Osaka, Osaka, Japan.\n\nResults\n\nSee also \n Pancrase\n List of Pancrase champions\n List of Pancrase events\n\nReferences\n\nPancrase events\n2010 in mixed martial arts" ]

[ "Christina Aguilera", "2002-2003: Stripped", "Was Stripped well-received by critics?", "It was released in October 2002 to mixed critical reviews;", "How many copies did it sell?", "Stripped has sold over 12 million copies", "Was there an accompanying tour?", "She co-headlined the Justified and Stripped Tour alongside Justin Timberlake from", "Did she and Justin record and/or perform any songs together?", "I don't know.", "Was it an international tour?", "I don't know." ]

[ "Hyman Howard Taubman (July 4, 1907 – January 8, 1996) was an American music critic, theater critic, and author.\n\nBiography\nBorn in Manhattan, Taubman attended DeWitt Clinton High School and then won a four-year scholarship to Cornell University, from which he graduated, as a Phi Beta Kappa member, in 1929.\n\nHe then returned to New York and began working for The New York Times. He joined the Music Department there in 1930. In 1935, he was named Music Editor. For about a year, from 1944 to 1945, Taubman served in the Army and worked in Italy as a writer for Stars and Stripes.\n\nIn 1955, he became the chief music critic at the Times, replacing Olin Downes upon Downes’ death. Also in the 1950s, Taubman acted as the ghostwriter for opera singer Marian Anderson's autobiography My Lord, What a Morning.\n\nIn 1960, he took the post of Chief Drama Critic for the Times after Brooks Atkinson retired from that position. Taubman remained in that role until 1965.\n\nIn 1961, Taubman, along with six other theater critics, was the victim of a famous hoax when Broadway producer David Merrick placed a newspaper ad for his show Subways Are for Sleeping. The ad quoted Howard Taubman, Walter Kerr, and other prominent New York critics singing praises for Merrick's commercially faltering musical. The individuals quoted, however, were not the renowned theater critics themselves, but like-named New Yorkers hired by Merrick to provide positive quotes. (The trick kept the show going.)\n\nFrom 1966 until he retired in 1972, Taubman was a critic-at-large for the Times writing about cultural events from around the globe. After retiring from the Times, Taubman worked as a consultant to Exxon Corporation for the PBS series Great Performances.\n\nTaubman was the author of several books, primarily related to music. He was the recipient of honorary degrees from the Philadelphia Academy of Music, Oberlin College and Temple University.\n\nTaubman was twice married and the father of two sons, William and Philip. Taubman died in Sarasota, Florida at the age of 88.\n\nWorks\n\n The Pleasure of Their Company (Amadeus Press, 1994)\n The Making of the American Theatre (Coward McCann, 1965)\n How to Bring up your Child to Enjoy Music (1958)\n How to Build a Record Library (1953)\n The Maestro: The Life of Arturo Toscanini (Simon and Schuster, 1951)\n Music on My Beat: An Intimate Volume of Shop Talk (1943)\n Music as a Profession (C. Scribner's Sons, 1939)\n Opera: Front and Back (C. Scribner's Sons, 1938)\n\nQuotes\n\"It is the destiny of the theater nearly everywhere and in every period to struggle even when it is flourishing.\" ~Howard Taubman, 1964\n\nReferences\n\nSources\n\"Howard Taubman, 88, a Times Music Critic\", The New York Times, January 9, 1996\nBaker's Biographical Dictionary of Musicians, Centennial Edition. Nicolas Slonimsky, Editor. Schirmer, 2001\n\n1907 births\n1996 deaths\nAmerican music critics\nAmerican theater critics\nCornell University alumni\nDeWitt Clinton High School alumni\nOpera critics\nPeople from Manhattan\nCritics employed by The New York Times\n20th-century American non-fiction writers", "The Stripped Mixes (released on CD for a limited time as The Motown 50 Mixes), is a collection of American recording artist and former Jackson 5 member Michael Jackson's classic songs. The songs featured on the album are mainly from Jackson's career as a member of the Jackson 5 from the late 1960s to the 1970s; songs credited to Jackson as a solo artist are from his albums during his Motown-era. Other songs included on the album are \"stripped\" mixes of Jackson material, meaning the songs are of a quieter tone and most of the drums have been removed.\n\nFollowing a surge in Jackson's popularity after his death in June 2009, it was confirmed on July 7, that The Stripped Mixes would be released. The album was made available as a digital download on July 7, 2009, and as a CD on July 28. A remixed song, entitled \"I'll Be There (Minus Mix)\", was released on iTunes to promote the album on June 9, 2009, prior to Jackson's death. The Stripped Mixes was the second Jackson compilation album to be posthumously released, the first being The Collection; which was released over two weeks prior. The Stripped Mixes received mixed reviews from music critics. The album was a moderate commercial success worldwide and had a better chart performance internationally than in the United States.\n\nConcept \nDue to the high popularity of a State Farm Insurance commercial featuring an acoustic version of the hit \"I'll Be There\", Motown released \"I'll Be There (Minus Mix)\" via iTunes on June 9, 2009, as a prelude to The Stripped Mixes. \"I'll Be There (Minus Mix)\" did not chart on any music charts. Shortly after Jackson's death in June 2009, his music experienced a surge in popularity, leading to re-issues of his music. Less than an hour after the memorial service for Jackson at the Staples Center on July 7, 2009, Universal Music Group announced The Stripped Mixes, a collection of Jackson's classic songs, would be released. The album features \"stripped\" mixes of Jackson's classic Motown-era songs as well as songs recorded while he was a member of The Jackson 5 from the 1960s to the 1980s. The songs that are \"stripped\" on the album have backing instruments and some studio engineering removed to make the songs have a more acoustic sound. The Stripped Mixes was made available as a digital download on July 7, and as a compact disc on July 28, 2009.\n\nReception\n\nCommercial performance \nThe Stripped Mixes charted at a peak position of #95 on the Billboard 200 in its debut week with sales of less than five thousand units. It charted at #43 on the R&B Albums Chart in 2009, and moved up to #21 in 2010. Internationally, The Stripped Mixes was more successful commercially. The album charted within the top fifty in Belgium Flanders and Belgium Wallonia, peaking at #43 and #47 for five and seven weeks, respectively. The Stripped Mixes also charted at #75 in Mexico for one week before dropping out of the top 100.\n\nCritical analysis \n\nThe Stripped Mixes received mixed reviews from contemporary music critics. Writer Stephen Thomas Erlewine of AllMusic gave The Stripped Mixes two out of five stars, stating that he felt that \"the logic of what is left behind doesn't quite make sense\", pointing out that \"I Want You Back\" and \"ABC\" have no drums and \"feel a little tipsy and top-heavy\"; \"Ben\" and \"With a Child's Heart\" have echoes of strings in the background, making it hard to identify the songs as being \"stripped\". He added that since the genius lies in the arrangements, \"having so much of the arrangement absent\" means that the music \"just sounds awkward and incomplete, as if it was waiting for the final round of mixing and overdubs.\" Erlewine's overall opinion on the album was \"if the purpose of this disc is to draw attention to Michael's vocals, The Stripped Mixes does its job, but just because his voice is pushed front and center does not mean that this is the best place to appreciate his genius.\"\n\nA writer for PR Newswire praised the album, describing it as \"showcasing\" Jackson's vocal talent and viewed The Stripped Mixes as shining a \"bright, fresh light\" on Jackson's early career as both a solo artist and with his brothers in The Jackson 5. Natalie Salvo of TheDwarf.com.au commented that the mix of \"Ain't No Sunshine\" made the album \"personally\" worth buying. She added that \"the music does what it's supposed to do\", which was \"evoking the right mood but not being overly showy.\" Despite the praise, she did state that the album could be clinically looked at as an \"element of bad taste\" from a \"greedy record company\" and noted that it was \"difficult\" to \"stop yourself being overcome with cynicism towards this album\". Jeff Dorgay of Tone Publications described all of the album's tracks as being \"quite strong\" and added that \"regardless of your interest in Michael Jackson\" The Stripped Mixes is a disc \"you should have in your collection\" because it offers a \"rare look\" at \"classic\" material by Jackson when he was just beginning his career.\n\nTrack listing\n\nCharts\n\nPersonnel \nCredits adapted from AllMusic.\n\nJoão Daltro de Almeida – photo research\nDavid Blumberg\t– arranger\nLawrence D. Brown – producer\nRodger Carter – studio assistant\nNeil Citron – engineer, mixing\nThe Corporation – arranger, producer\nHal Davis – producer\nJill Ettinger – product manager\nBerry Gordy Jr. – arranger, producer, executive producer\nGeorge Gordy – producer\nWillie Hutch – vocal arrangement\nEddy Manson – arranger\nMonique McGuffin – production coordination\nAlphonso Mizell – arranger, producer\nFonce Mizell – arranger, producer\n\nJeff Moskow – producer, A&R\nRyan Null – photo coordination\nGene Page – arranger\nFreddie Perren – arranger, producer\nDeke Richards – arranger, producer\nRyan Rogers – design\nTom Rowland – producer, engineer, mixing, A&R\nGlen Sanatar – studio assistant\nDoug Schwartz – mastering\nAndrew Skurow – tape research\nBobby Taylor – producer\nDavid Van De Pitte – arranger\nHarry Weinger – A&R\nBob West – arranger\n\nReferences\n\nExternal links\nMichael Jackson: The Stripped Mixes at iTunes\n\n2009 remix albums\n2009 compilation albums\nMichael Jackson compilation albums\nMotown remix albums\nMotown compilation albums\nRemix albums published posthumously\nCompilation albums published posthumously" ]

[ "Christina Aguilera", "2002-2003: Stripped", "Was Stripped well-received by critics?", "It was released in October 2002 to mixed critical reviews;", "How many copies did it sell?", "Stripped has sold over 12 million copies", "Was there an accompanying tour?", "She co-headlined the Justified and Stripped Tour alongside Justin Timberlake from", "Did she and Justin record and/or perform any songs together?", "I don't know.", "Was it an international tour?", "I don't know.", "Are there any notable quotes from critics about Stripped?", "Jancee Dunn from the Rolling Stone praised Aguilera's vocals yet panned the album for its lack of musical concentration." ]

[ "The Ombatse group is a militia group in Nasarawa Egon, a Local Government Area of Nasarawa State, northern Nigeria.\nIn May 2013, the group was reported to have killed 74 police officers and 10 State Security Service officers. The deadly attack was led by the leader of the group, Baba Alakyo, the chief priest of Alakyo Village of Nasarawa Egon.\n\nControversies\nThere are controversies on whether there is a link between the militia group and the Boko Haram Islamic insurgents in northeastern Nigeria but there seems to be no clear evidence of any relationship between the groups.\nOn November 17, 2014, it was reported that the leader of the militia group, Baba Alakyo was killed by unknown gunmen suspected to be Fulani herdsmen, a claim that was refuted by the legal adviser to the Ombatse group, Zachary Zamani Alumaga.\n\nReferences\n\nMilitant Sufi organisations", "Gnesio-Lutherans (from Greek γνήσιος [gnesios]: genuine, authentic) is a modern name for a theological party in the Lutheran churches, in opposition to the Philippists after the death of Martin Luther and before the Formula of Concord. In their own day they were called Flacians by their opponents and simply Lutherans by themselves. Later Flacian became to mean an adherent of Matthias Flacius' view of original sin, rejected by the Formula of Concord. In a broader meaning, the term Gnesio-Lutheran is associated mostly with the defence of the doctrine of Real Presence.\n\nLocations \n\nThe centres of Gnesio-Lutherans were Magdeburg and the University of Jena.\n\nNotable proponents \n\nOther Gnesio-Lutherans were Caspar Aquila, Joachim Westphal, Johann Wigand, Matthäus Judex, Joachim Mörlin, Tilemann Heshusius, Johann Timann, Simon Musaeus, Erasmus Sarcerius, and Aegidius Hunnius.\n\nControversies \n\nAfter the death of Luther, many theological controversies arose among the Lutherans, mostly due to teaching of Philip Melanchthon. Gnesio-Lutherans were profiled by defending Martin Luther's doctrine, in the beginning led by Matthias Flacius. The Gnesio-Lutherans exercised strict doctrinal discipline, but they also opposed with equal determination what they considered to be the errors of their fellow-combatants like von Amsdorf (Amsdorfians), Flacius (Flacians), Andreas Poach, and others.\n\nGnesio-Lutherans were involved in:\n\n the Adiaphoristic controversy,\n the Majoristic controversy (Nicolaus von Amsdorf, Nicolaus Gallus),\n the second Antinomian controversy (Andreas Poach, Anton Otto),\n the Synergistic controversy (Matthias Flacius, Nicolaus Gallus),\n the Osiandrian controversy, and \n the Crypto-Calvinistic controversy.\n\nThe Crypto-Calvinistic controversy was the largest of the controversies of the second generation of the Lutheran Reformation. Since it was far more fundamental to the Lutheran Church, Lutherans outside of the Flacian party took the Gnesio-Lutheran position against Philippism and Crypto-Calvinism. In the middle between the Philippists and the Gnesio-Lutherans, the \"Centrist party\" included Johannes Brenz, Jakob Andreae, Martin Chemnitz, Nikolaus Selnecker, David Chytraeus, Andreas Musculus, and others. Unlike the Gnesio-Lutherans, the members of the \"centre party\" were opposed to any unnecessary controversies involving no doctrinal differences, and careful not to fall into any extreme position themselves. The Gnesio-Lutheran Joachim Westphal was first to write to defend the Real Presence against the Calvinists, and Melanchthon stigmatized his and other Gnesio-Lutherans' doctrine as \"bread worship\".\n\nNotes\n\nReferences \n\n \n \n \n \n \n\nLutheran Eucharistic theology\nReformation in Germany" ]

[ "Matthew Fontaine Maury", "Later life" ]

[ "John Walker Maury (1809–1855) was an American municipal politician from the Democratic Party. He served as the fifteenth mayor of the City of Washington for a single two-year term, from 1852 to 1854.\n\nEarly life\nJohn Walker Maury was born in Caroline County, Virginia in 1809 to a prominent Virginia family. His great-grandfather, Reverend James Maury, had founded the Maury Classical School for Boys at which Thomas Jefferson was his student for two years. His grandfather, Walker Maury, was headmaster of a school in Williamsburg; his great-uncle, \"Consul\" James Maury, was the United States' first consul to Liverpool, England, appointed by George Washington; and his second cousin, Matthew Fontaine Maury, was a famous and accomplished oceanographer.\n\nHe moved at 17 to the City of Washington (as Washington, D.C. was then called), where he established a law practice. He married five years later, in 1831, to Isabel Foyles, eventually producing 15 children.\n\nPolitical career\nAt the age of 26, John Walker Maury was elected to the Common Council of Washington City, serving for five years until declining to run again in 1840. However, one year afterward he was elected to the Board of Aldermen. After eleven years as an alderman, Maury was elected as Mayor in 1852.\n\nSixty years after the death of his father, William Arden Maury eulogized Maury by associating him with three main efforts. First, he claims that Maury and the philanthropist William Wilson Corcoran convinced Congress to appropriate funds for the Government Hospital for the Insane, now known as St. Elizabeths. Second, he notes that Maury was mayor when Congress funded a study under the supervision of Montgomery C. Meigs to improve the public water supply by means of the Washington Aqueduct. Third, he recounts that Maury provided payments to sculptor Clark Mills to complete the statue of Andrew Jackson on horseback that stands in Lafayette Square, across the street from the White House. Mills later repaid Maury from a commission for an equestrian statue of George Washington.\n\nDespite these contributions, Maury merits only a passing and dismissive mention in Constance McLaughlin Green's Pulitzer Prize-winning work, Washington, Village and Capital, 1800-1878, in which she writes that \"the gentle John Maury was beloved as a man but was a singularly inept politician.” In 1854, at the peak of the Know-Nothing movement in American politics, Maury was unseated by Know-Nothing candidate John T. Towers. Maury died one year later, shortly before his 46th birthday.\n\nLike some other early mayors of the City of Washington, such Robert Brent and Benjamin G. Orr, Maury was involved in slavery. In the United States Census of 1840, Maury's household included five enslaved people including a boy and a girl under 10 years old. In 1850, Maury reported an enslaved 23-year-old female. In 1862, Maury's widow Isabel filed a petition under the District of Columbia Compensated Emancipation Act seeking compensation for a family of six enslaved people who were emancipated under the Act. According to her petition, the family had been willed to her by her late husband. The enslaved were Eliza Dyson and her five children, ages 4 to 15.\n\nAt the time of his death in 1855, Maury was president of the National Bank of the Metropolis, a position he had assumed after the death of John P. Van Ness in 1846. Maury was interred at Congressional Cemetery. His son William Arden Maury would recall that \"There was, perhaps, never a greater outpouring of the people from President Pierce and the venerable Senator Benton down to the humblest citizen than was seen at his funeral.\"\n\nMaury Elementary, one of the District of Columbia Public Schools, was named in honor of John Walker Maury upon its construction in 1886.\n\nReferences\n\nMayors of Washington, D.C.\n1809 births\n1855 deaths\nBurials at the Congressional Cemetery\nPeople from Caroline County, Virginia\nMaury family of Virginia\nAmerican slave owners", "Pierre Maury (1282 or 1283 – after 1324) was a shepherd in the Comté de Foix. His life is known through his deposition, and the depositions of his friends and associates, to Bishop Jacques Fournier who was hunting for Cathar heretics. He plays a prominent role in Emmanuel Le Roy Ladurie's study Montaillou, village occitan de 1294 à 1324 and in some ways is that book's protagonist.\n\nEarly life\nMaury was born in the small town of Montaillou one of eight known children of Raymond Maury, a weaver. While most in the town of Montaillou did some weaving, Raymond Maury was the only one to sell his wool rather than use it in the home, and was only two artisans in the town at the time, the other being Arnaud Vital, a cobbler. Needing humidity for the weaving, his house had a special cave-like area where he worked. Raymond Maury's weaving could not sustain the family and like most villagers he kept some sheep. Pierre Maury became a shepherd caring for the sheep of a number of the villagers. During his youth he was converted from Catholicism to Albigensianism by his brother Guillaume, and neighbour Guillaume Belot.\n\nCathar links \nAt age 18 Maury left home for the Val d'Arques where he worked as a shepherd for his cousin Raymond Maulen. While living with and working for his cousin, Maury fell in love with Bernadette d'Esquinath, a girl from the village. This passionate relationship persisted for two years, but his fellow Cathars disapproved as she was a Catholic. Pierre abandoned Bernadette when he was hired as a shepherd by Raymond Pierre, and became involved with his employer's daughter, another Bernadette. The Pierres were dedicated Cathars and since Raymond was without sons, he hoped to make Maury his heir. Pierre became closely involved in the Cathar community, helping guide Perfects from village to village. Through this duty he developed a much envied collection: pieces of bread, each blessed by a different Cathar parfait.\n\nIn 1305 however, Jacques Authié, a local Cathar leader was captured, and the villagers of Arques, fearing punishment, abandoned the open practice of Albigensianism and traveled en masse to Avignon to seek absolution from the Pope. Maury refused to renounce his Albigensianism and did not participate. He stayed in the village to look after the flocks of those who were away. When the now Catholic villagers returned, Maury went home to Montaillou. Since the villagers had revealed all to the authorities, Maury was now a known but unabsolved heretic; and he became a fugitive from the Inquisition.\n\nHe spent Christmas of 1305 with his family in Montaillou before going into the employ of Barthélemy Borrel who sent him to Catalonia to look after sheep he owned there. Living amongst the nomadic groups of shepherds Maury no longer had many dealings with Cathars and was unknown to the local Inquisition. After two years of working for Borrel, Maury visited the fair in Laroques d'Olmes. There he stayed with his 18-year-old sister, Guillemette, and brother-in-law Bertrand Piquier. That night Piquier severely beat his wife. While a husband's power was considered absolute, Maury was greatly concerned about this brutality to his sister. A few days later he returned to the town and stole away with his sister, entrusting her to a pair of parfaits.\n\nFor his absenteeism during this incident Borrel fired Maury, but he soon found another job working as a shepherd for Guillaume André. He spent three years working for André, travelling through Catalonia and Foix with the flocks of sheep and other shepherds. At some point in this period he was accused of fraternizing with a known heretic, but escaped the charge by pretending to having been miles away from the incident, a story backed up by his friends. He also successfully avoided the round-up of the heretics of Montaillou in 1308, being warned by Bernard Fort, who supplied flour to the shepherds. In 1309 Maury left the employ of André and worked for Pierre Constant of Rasiguières for a year before joining with his brother Arnaud in working for Raymond Boursier. In 1311 Pierre and Arnaud left this group, Arnaud going home to Montaillou and Pierre to Catalonia where he joined a team of shepherds working for Barthélemy Companho.\n\nBélibaste affair\nIn Catalonia he came in contact with the small group of Cathar exiles led by the parfait Guillaume Bélibaste. Over the next several years Maury traveled through Catalonia and the eastern Pyrenees. As a skilled shepherd his services were in demand and he could find work throughout the region. Maury became comparatively wealthy for a peasant due to his skill, hard work, and ability to find the best paying employers. Despite his many travels he frequently met up with Bélibaste, who pressured the nomadic shepherd to settle down. At one point, Belibaste prevailed on him to marry Raymonde Piquier, a blacksmith's daughter, who was Belibaste's lover and pregnant with his child. Pierre agreed and the pair were married. But the marriage lasted only a few days. Bélibaste then told Maury to have it annulled. Months later Raymonde gave birth to a child. Most of Maury's friends were convinced that the parfait had used Pierre to cover the breaking of his own vow of chastity. Maury however, continued to trust the parfait.\n\nCapture\nBélibaste's Cathar community was demolished when the Inquisition sent Arnaud Sicre to infiltrate and inform on the group. Soon afterwards, Bélibaste, then Maury, were captured. In 1324 Maury was imprisoned and there is no record of him past this date.\n\nReferences\nLe Roy Ladurie, Emmanuel. Montaillou: The Promised Land of Error. translated by Barbara Bray. New York: G. Braziller, c1978.\n\n13th-century French people\n14th-century French people\nCatharism\nPeople from Montaillou\nShepherds\nYear of birth uncertain\nYear of death unknown" ]

[ "Matthew Fontaine Maury", "Later life", "What did Maury do later in his life?", "Maury accepted a teaching position at the Virginia Military Institute, holding the chair of physics." ]

[ "The Old Barracks is a historic building on the campus of the Virginia Military Institute in Lexington, Virginia. Built in 1848 and repeatedly enlarged and redesigned by a succession of architects, it includes at its core the oldest surviving building of the campus. The building was declared a National Historic Landmark in 1965 for its architecture and its association with nation's oldest state-supported military academy.\n\nDescription and history\nThe campus of the Virginia Military Institute (VMI) is located on the north side of the city of Lexington. At its center is a large parade ground, around which a significant number of the institute's buildings are arrayed. The Old Barracks are located along the northeastern edge of the ground, forming a long arcing facade. There are three sections, each of which presents a bank of windows, with a projecting central entry. The projecting sections have polygonal towers with crenellated tops at the corners, with similar lower towers at the eastern end of the structure and at the junctions between the sections. The tower at the western end of the structure is square with angled corners, and matches in height the entrance towers.\n\nVMI was founded in 1839, and is the first and best-known of the nation's state-funded military academies. Most of the institute's early buildings were demolished during the American Civil War, with only a portion of the barracks building surviving. This portion was designed by architect Alexander Jackson Davis and built in 1848, and was a fine piece of early Gothic Revival architecture that influenced the other buildings present on the campus. In the 1890s the building was redesigned by Isaac Eugene Alexander Rose, and in 1916 it was enlarged to design work by Benjamin Grosvenor Goodhue, which created the first complete quadrangle. In 1948 the building was further extended by the addition of a new wing, designed by Carneal and Johnson.\n\nSee also\nList of National Historic Landmarks in Virginia\nNational Register of Historic Places listings in Lexington, Virginia\n\nReferences\n\nExternal links\n\nVirginia Military Institute, Barracks, Virginia Military Institute Parade Grounds, Lexington, VA: 3 photos, 23 data pages and supplemental material, at Historic American Buildings Survey\n\nHistoric American Buildings Survey in Virginia\nUniversity and college buildings on the National Register of Historic Places in Virginia\nNational Historic Landmarks in Virginia\nBuildings and structures in Lexington, Virginia\nVirginia Military Institute campus\nResidential buildings completed in 1848\nGothic Revival architecture in Virginia\nNational Register of Historic Places in Lexington, Virginia\nIndividually listed contributing properties to historic districts on the National Register in Virginia\nAlexander Jackson Davis buildings", "Peter S. Carmichael (born February 13, 1966) is an American historian at Gettysburg College who serves as Robert C. Fluhrer Professor of Civil War Studies and Director of the Civil War Institute at Gettysburg College. His research and teaching is focused on the American Civil War, the American South, and public history.\n\nEarly life and education\nCarmichael was born February 13, 1966. He received his B.A. from Indiana University–Purdue University Indianapolis in 1988 and completed his graduate work under Gary Gallagher at The Pennsylvania State University, where he received his PhD in 1996.\n\nCareer\nCarmichael began his academic career at Western Carolina University in 1997. He was the first Scholar-in-Residence at Gettysburg National Military Park in 1999. He went on to teach at the University of North Carolina, Greensboro and West Virginia University before coming to Gettysburg College as Robert C. Fluhrer Professor of Civil War Studies and Director of the Civil War Institute at Gettysburg College in 2010.\n\nSince taking charge of the Civil War Institute, Carmichael has sought to create more intimate environments during the Institute's annual summer conference, attended by over 200 people each year, to allow scholars to work with the public in smaller settings.\n\nCarmichael also serves on the Board of Directors and the Historians' Council of the Gettysburg Foundation, the non-profit partner of Gettysburg National Military Park. He was recently reappointed as a Distinguished Lecturer for the Organization of American Historians for 2017-2018.\n\nHe is co-editor of the Civil War America series from the University of North Carolina Press.\n\nBibliography\nThe Purcell, Crenshaw & Letcher Artillery. Lynchburg: H. E. Howard, Inc., 1991.\nLee's Young Artillerist: William R.J. Pegram. Charlottesville: University of Virginia Press, 1995.\nAudacity Personified: The Generalship of Robert E. Lee (editor). Baton Rouge: Louisiana State University Press, 2004.\nThe Last Generation: Young Virginians in Peace, War, and Reunion. Chapel Hill: University of North Carolina Press, 2009.\nThe War for the Common Soldier: How Men Thought, Fought, and Survived in Civil War Armies. Chapel Hill: The University of North Carolina Press, 2018.\n\nReferences\n\nExternal links\nCarmichael at the Civil War Institute\n\nGettysburg College faculty\nIndiana University–Purdue University Indianapolis alumni\nPennsylvania State University alumni\n21st-century American historians\n21st-century American male writers\n1966 births\nLiving people\n20th-century American historians\n20th-century American male writers\nHistorians of the American Civil War\nAmerican male non-fiction writers" ]

[ "Matthew Fontaine Maury", "Later life", "What did Maury do later in his life?", "Maury accepted a teaching position at the Virginia Military Institute, holding the chair of physics.", "How long did he teach at the Virginia Military Institute?", "when he collapsed giving a speech. He went home after he recovered and told Ann Hull Herndon-Maury, his wife, \"I have come home to die.\"" ]

[ "Hagen Friedrich Liebing (18 February 1961 – 25 September 2016), nicknamed \"The Incredible Hagen\", was a German musician and journalist, best known as the bassist for the influential punk band Die Ärzte. \n\nIn 1986, drummer Bela B invited him to join Die Ärzte. The two knew each other from early Berlin punk days. The band disbanded in 1988. Liebing tried his hand at journalism shortly thereafter. He wrote several articles for Der Tagesspiegel, and was the senior music editor of Tip Berlin since the mid-1990s. \n\nWhen Die Ärzte reunited in 1993, Liebing did not join them. However, he did join them on stage as a special guest in 2002. In 2003, he published his memoirs The Incredible Hagen – My Years with Die Ärzte. From 2003 to 2010, he headed the Press and Public Relations at the football club Tennis Borussia Berlin. \n\nLiebing died in Berlin on 25 September 2016, after a battle with a brain tumor.\n\nReferences\n\n1961 births\n2016 deaths\nMusicians from Berlin\nGerman male musicians\nGerman journalists\nDeaths from cancer in Germany\nDeaths from brain tumor", "Johann Karl Wezel (October 31, 1747 in Sondershausen, Germany – January 28, 1819 in Sondershausen), also Johann Carl Wezel, was a German poet, novelist and philosopher of the Enlightenment.\n\nLife\nBorn the son of domestic servants, Wezel studied Theology, Law, Philosophy and Philology at the University of Leipzig. Early philosophical influences include John Locke and Julien Offray de La Mettrie. After positions as tutor at the courts of Bautzen and Berlin, Wezel lived as a freelance writer. A short stay in Vienna did not result in him getting employed by the local national theater. He thus moved back to Leipzig and, in 1793, to Sondershausen, which he did not leave again until his death in 1819.\n\nAlthough his works were extremely successful when they were published, Wezel was almost forgotten when he died. His rediscovery in the second half of the 20th century is mainly due to German author Arno Schmidt who published a radio essay about him in 1959.\n\nWorks\n Filibert und Theodosia (1772)\n Lebensgeschichte Tobias Knauts, des Weisen, sonst der Stammler genannt: aus Familiennachrichten gesammelt (1773–1776)\n Der Graf von Wickham (1774)\n Epistel an die deutschen Dichter (1775)\n Belphegor oder die wahrscheinlichste Geschichte unter der Sonne (1776)\n Herrmann und Ulrike (1780)\n Appellation der Vokalen an das Publikum (1778)\n Die wilde Betty (1779)\n Zelmor und Ermide (1779)\n Tagebuch eines neuen Ehmanns (1779)\n Robinson Krusoe. Neu bearbeitet (1779)\n Ueber Sprache, Wißenschaften und Geschmack der Teutschen (1781)\n Meine Auferstehung (1782)\n Wilhelmine Arend oder die Gefahren der Empfindsamkeit (1782)\n Kakerlak, oder Geschichte eines Rosenkreuzers aus dem vorigen Jahrhunderte (1784)\n Versuch über die Kenntniß des Menschen (1784–1785)\n\nReferences\n\nExternal links\n \n \n\n1747 births\n1819 deaths\nPeople from Sondershausen\n\nGerman male writershuort escrouesr" ]

[ "Matthew Fontaine Maury", "Later life", "What did Maury do later in his life?", "Maury accepted a teaching position at the Virginia Military Institute, holding the chair of physics.", "How long did he teach at the Virginia Military Institute?", "when he collapsed giving a speech. He went home after he recovered and told Ann Hull Herndon-Maury, his wife, \"I have come home to die.\"", "Did he die?", "I have come home to die.\"" ]

[ "Chalchiuhcozcatzin was a Queen of Azcapotzalco as a wife of the famous king Tezozomoc. She was his main wife.\n\nHis other wife was the Queen Tzihuacxochitzin I.\n\nChalchiuhcozcatzin was the mother of king Tayatzin, who ruled for very short time, because his throne was usurped by his half-brother Maxtla.\n\nReferences\n\nNahua nobility\nQueens consort\nIndigenous Mexican women", "Shamsiddin Mohammed Shohin () was a Tajik poet born around 1865-1866 in Bukhara, where he lived all his live. His father was a poor Mullah in Bukhara.\n\nFamily \nIn 1887, Shohin married the daughter of Abdulqodir Parbonachi (Абдулқодири Парвоначӣ), who was the governor of Shuroobod at the time. His wife died 10 months after. His poem \"Lily and Majnun\" is in remembrance of his wife.\n\nToponyms \nThe Shuroobod District, where his wife's father was governor, was renamed in his honour.\n\n1865 births\nPeople from Bukhara\nTajikistani poets\nTajikistani male writers\nYear of death missing" ]

[ "Matthew Fontaine Maury", "Later life", "What did Maury do later in his life?", "Maury accepted a teaching position at the Virginia Military Institute, holding the chair of physics.", "How long did he teach at the Virginia Military Institute?", "when he collapsed giving a speech. He went home after he recovered and told Ann Hull Herndon-Maury, his wife, \"I have come home to die.\"", "Did he die?", "I have come home to die.\"", "Who was his wife?", "Ann Hull Herndon-Maury," ]

[ "John H. Bailey (September 22, 1864 – August 27, 1940) was a senator and a representative from the state of Texas.\n\nLife\nJohn H. Bailey was born on September 22, 1864 to Luther Rice Bailey (May 3, 1837- April 28, 1918) and Mary Ellen Crank (1842-1920), one of their nine children. He never married and did not have any children.\n\nPolitics\nHe first was a Texas representative from the 24th-26th sessions (about 6 years). And then served as a Texas Senator from the 34th-39th sessions (15 years 5 months).\n\nReferences\n\n1864 births\n1940 deaths\nTexas state senators\nMembers of the Texas House of Representatives", "Else Hansen (Cathrine Marie Mahs Hansen) also called de Hansen (1720 – 4 September 1784), was the royal mistress of king Frederick V of Denmark. She is his most famous mistress and known in history as Madam Hansen, and was, alongside Charlotte Amalie Winge, one of only two women known to have been long term lovers of the king.\n\nLife\n\nThe background of Else Hansen does not appear to be known. Tradition claims her to be the sister of Frederick's chamber servant Henrik Vilhelm Tillisch, who in 1743 reportedly smuggled in his sister to the king at night, but modern research does not support them to be the same person.\n\nRoyal mistress\nIt is not known exactly when and how Hansen became the lover of the king. Frederick V was known for his debauched life style. According to Dorothea Biehl, the king was known to participate in orgies or 'Bacchus parties', in which he drank alcohol with his male friends while watching female prostitutes stripped naked and danced, after which the king would sometime beat them with his stick and whip them after having been intoxicated by alcohol. These women where economically compensated, but none of them seem to have had any status of a long term mistress, nor did any of the noblewomen and maids-of-honors, which according to rumors where offered to the king by their families in hope of advantages but simply married of as soon as they became pregnant without any potential relationship having been anything but a secret. The relationship between the king and Else Hansen was therefore uncommon.\n\nElse Hansen gave birth to five children with the king between 1746 and 1751, which is why the affair is presumed to have started in 1746 at the latest and ended in 1751 at the earliest. At least her three younger children where all born at the manor Ulriksholm on Funen, a manor owned by Ulrik Frederik von Heinen, brother-in-law of the de facto ruler of Denmark, the kings favorite Adam Gottlob Moltke, who likely arranged the matter. The manor was named after the royal Ulrik Christian Gyldenlove, illegitimate son of a previous king. The king's children with Hansen where baptized in the local parish church near the manor, where they were officially listed as the legitimate children of the wife of a non existent man called \"Frederick Hansen, ship writer from Gothenburg to China\". The frequent trips to Ulriksholm by Hansen as soon as her pregnancies with the king became evident was publicly noted. Neither Else Hansen nor any other of the king's mistresses where ever any official mistress introduced at the royal court, nor did they have any influence upon state affairs whatever, as politics where entrusted by the king to his favorite Moltke.\n\nIn 1752, the relationship between the king and Hansen may have ended – in any case, it was not mentioned more or resulted in any more children. She settled in the property Kejrup near Ulriksholm with her children, officially with the status of \"widow of the late sea captain de Hansen\".\n\nLater life\nAfter the death of Frederick in 1766, she acquired the estate Klarskov on Funen. She sold Klarskov and moved to Odense in 1768. In 1771, however, she bought Klarskov a second time and continued to live there until her death.\n\nHer children were not officially recognized, but unofficially they were taken care of by the royal court: her daughters were given a dowry and married to royal officials and the sons careers where protected, and her grandchildren where also provided with an allowance from the royal house.\n\nAfter Hansen, the king did not have any long term mistress until Charlotte Amalie Winge (1762–66).\n\nLegacy\nAt Frederiksborgmuseet, there are three paintings of Hansen by Jens Thrane the younger from 1764. Hansen is known by Dorothea Biehl's depiction of the decadent court life of Frederick V.\n\nIssue \nHer children were officially listed with the father \"Frederick Hansen, sea captain\".\nFrederikke Margarethe de Hansen (1747–1802)\nFrederikke Catherine de Hansen (1748–1822)\nAnna Marie de Hansen (1749–1812)\nSophie Charlotte de Hansen (1750–1779)\nUlrik Frederik de Hansen (1751–1752)\n\nSources\n Charlotte Dorothea Biehl, Interiører fra Frederik V's Hof, udgivet af Louis Bobé.\n Aage Christens, Slægten de Hansen, 1968.\n\nReferences\n\n1720 births\n1784 deaths\nMistresses of Danish royalty\n18th-century Danish people\n18th-century Danish women landowners\n18th-century Danish landowners" ]