title: Club Atlético Vélez Sarsfield

text: During the 2009–10 season Vélez Sarsfield contributed with 8 players to the different South American national teams: 6 for Argentina (Emiliano Papa, Nicolás Otamendi –who went on to play the 2010 FIFA World Cup–, Sebastián Domínguez, Jonathan Cristaldo, Gastón Díaz and Franco Razzotti), one for Chile (Waldo Ponce) and one for Uruguay (Hernán Rodrigo López).


title: Club Atlético Vélez Sarsfield

text: On 1 January 2010 the club's fans celebrated Vélez' 100th anniversary by marching from Floresta to the José Amalfitani Stadium in Liniers. A group of more than 50,000 people took part of the celebration.


title: Club Atlético Vélez Sarsfield

text: During 2010, the team's best tournament was in the Apertura, in which they were runners-up. Vélez made a 43-points campaign, 3 more than in their latest Clausura championship, but finished 2 points behind Estudiantes de La Plata. In that tournament, the Uruguayan forward Santiago Silva was the joint-top scorer, while goalkeeper Marcelo Barovero won the Ubaldo Fillol Award, conceding only 6 goals.


title: Club Atlético Vélez Sarsfield

text: On the first semester of 2011, Vélez contested both the national championship and the Copa Libertadores. In the latter, after qualifying second in their group, they defeated LDU Quito in the round of 16 and Libertad in the quarter-finals with overall scores of 5–0 and 7–2 respectively. Vélez reached the semi-finals for the first time since 1994, however, they were eliminated by Peñarol on away goals rule, after losing 0–1 in Montevideo and winning 2–1 in Buenos Aires. In this second match, Vélez' forward Santiago Silva missed a penalty with the game 2–1.


title: Club Atlético Vélez Sarsfield

text: Despite being eliminated from the Copa Libertadores, Vélez had managed to maintain themselves as serious contesters of the 2011 Clausura. On the penultimate fixture, Vélez defeated Huracán 2–0 and, after Lanús' defeat to Argentinos Juniors 4 hours later, won the national championship. During the whole season the team kept a regular starting lineup with Marcelo Barovero; Fabián Cubero, Sebastián Domínguez, Fernando Ortiz, Emiliano Papa; Augusto Fernández, Leandro Somoza / Franco Razzotti, Víctor Zapata; Maximiliano Moralez; Juan Manuel Martínez and Santiago Silva. Ricky Álvarez, Guillermo Franco, David Ramírez, Iván Bella, Jonathan Cristaldo, Fernando Tobio, Héctor Canteros and Agustín Vuletich also played regularly. Goalkeeper Barovero retained his Ubaldo Fillol Award during the tournament


title: Club Atlético Vélez Sarsfield

text: Despite losing three of its key offensive players for the second half of the year (Maximiliano Moralez, Ricky Álvarez and Santiago Silva, who were purchased by Atalanta, Inter Milan and Fiorentina respectively), the team finished up 2011 with another semi-finalist finish in an international competition, this time losing to LDU Quito in the Copa Sudamericana, as well as a joint runner-up position in the 2011 Apertura (behind undefeated Boca Juniors).


title: Club Atlético Vélez Sarsfield

text: With Gareca's contract renewal, Vélez prepared 2012 to once again challenge the Copa Libertadores. The club retained its key players and brought three footballers for its attack: Federico Insúa, Lucas Pratto and Iván Obolo. However, Vélez faced defending champions Santos in the quarter-finals and were eliminated in the penalty shootout. Nonetheless, a third-place finish in the 2012 Clausura secured them a spot in the next season's Copa Libertadores.


title: Club Atlético Vélez Sarsfield

text: The 2012–13 Argentine Primera División season appeared to be a transition championship for the team, after losing many of its key players in the last transfer window (Juan Manuel Martínez, Augusto Fernández, Marcelo Barovero and Víctor Zapata), replacing them mainly with players from its youth divisions. Uruguayan goalkeeper Sebastián Sosa and youngsters Facundo Ferreyra and Jonathan Copete were the only signings. Despite these changes, Vélez went on to win the 2012 Inicial and Ferreyra was joint top-scorer of the league. The championship-winning regular starters were Sebastián Sosa (although Germán Montoya was the starter during the first half of the tournament); Fabián Cubero, Fernando Tobio, Sebastián Domínguez, Emiliano Papa; Iván Bella, Francisco Cerro, Ariel Cabral; Federico Insúa; Lucas Pratto and Facundo Ferreyra. Other important first team players were Gino Peruzzi, Juan Ignacio Sills, Lucas Romero, Jonathan Copete, Agustín Allione, Brian Ferreira and Ezequiel Rescaldani.


title: Club Atlético Vélez Sarsfield

text: With the Copa Libertadores as the main objective, Vélez signed Argentine international Fernando Gago on loan for the start of 2013. However, and despite finishing first in the group, the team was eliminated by Newell's Old Boys in the round of 16, on aways goals rule. Vélez could take revenge however by defeating Newell's (2013 Final champions) by 1–0 in the 2012–13 Superfinal, earning the 10th league championship for the club. The starting eleven for the Superfinal were Sosa; Cubero, Tobio, Domínguez, Papa; Bella, Franco Razzotti, Gago; Insúa; Pratto (who scored the winning goal) and Ferreyra. Peruzzi, Cerro and Romero entered in the second half.


title: Club Atlético Vélez Sarsfield

text: After the end of the season, Ricardo Gareca left the managerial position after four years, in which he won four titles. His replacement was his assistant José Oscar Flores, former club forward and part of the 1990s multi-champions. Flores started his spell as Vélez manager winning the 2013 Supercopa Argentina against Arsenal de Sarandí (champions of the 2012–13 Copa Argentina). In June 2015, the club announced a financial loss of ARS 198,3 million.


title: Club Atlético Vélez Sarsfield

text: Vélez Sarsfield direct rival is Ferro Carril Oeste, based in the neighbourhood of Caballito. The matches played between them are known as the "Clásico del Oeste" (in English: "Western Derby"). They have not faced each other since 2000 (because to relegation of Ferro Carril Oeste, that has not yet returned to first division), when Vélez Sarsfield beat Ferro Carril Oeste away 1–0.


title: Club Atlético Vélez Sarsfield

text: The José Amalfitani Stadium (named after José Amalfitani, club's president for 30 years) holds 49,540 people, although it does not provide seating for all of them. It is also frequently used for concerts and Argentina national rugby union team test matches. The stadium, nicknamed "el Fortín" (in English: "the Small Fort"), was built between 1941 and 1943, later rebuild in cement between 1947 and 1951, and again remodeled in preparation for the 1978 FIFA World Cup.


title: Club Atlético Vélez Sarsfield

text: The stadium is located on 9200 Juan B. Justo avenue, in the Liniers neighborhood of Buenos Aires, a short walk from the Liniers railway station.


title: Club Atlético Vélez Sarsfield

text: The following players have been top scorers in an official international competition playing for the club.


title: Club Atlético Vélez Sarsfield

text: The following players represented their national team in a FIFA World Cup while playing for the club. The player in bold was part of a squad that also won that edition of the World Cup.


title: Club Atlético Vélez Sarsfield

text: The following players were formed in the club's youth divisions and participated in a FIFA World Cup, regardless if they did so while playing for the club.


title: Club Atlético Vélez Sarsfield

text: Vélez Sarsfield has both men's and women's basketball teams. The men's team currently plays at the Liga Nacional B (3rd level). On the other hand, the women's team is the most successful in Argentina, having won the Liga Nacional de Básquet Femenino (Argentine first division) 6 times, including the 2010 season. Vélez's starting five during the 2010 championship (Sandra Pavón, Marina Cava, Paula Gatti, Paula Reggiardo, and Florencia Fernández) were selected to represent Argentina at the 2010 FIBA World Championship for Women.


title: 69 (number)

text: Because 69 has an odd number of 1s in its binary representation, it is sometimes called an "odious number."


title: 69 (number)

text: 69 is the only natural number whose square () and cube () use every decimal digit from 0–9 exactly once.


title: 69 (number)

text: 69 is equal to 105 octal, while 105 is equal to 69 hexadecimal. This same property can be applied to all numbers from 64 to 69.


title: 69 (number)

text: On many handheld scientific and graphing calculators, the highest factorial that can be calculated, due to memory limitations, is 69! or about 1.711224524.


title: Louie (American TV series)

text: Louie is an American comedy-drama television series that premiered on FX on June 29, 2010. It is written, directed, created, edited, and produced by comedian Louis C.K., who also stars in the show as a fictionalized version of himself, a comedian and newly divorced father raising his two daughters in New York City. The show has a loose format atypical for television comedy series, consisting of largely unconnected storylines and segments (described by FX president John Landgraf as "extended vignettes") that revolve around Louie's life, punctuated by live stand-up performances. The show's comedy consisted of such styles as surrealism, satire, absurdism, and gallows humor.


title: Louie (American TV series)

text: The show has been met with critical acclaim and was included in various critics' TV show top-ten lists when it premiered in 2010. C.K. has received several Primetime Emmy Award nominations for his acting, writing, and directing and has won for Outstanding Writing for a Comedy Series at the 64th and 66th Primetime Emmy Awards. It was included in the 101 Best Written TV Series list created by the Writers Guild of America.


title: Louie (American TV series)

text: During an "extended hiatus" for the show starting in 2015, FX ended their business partnership with Louis C.K.'s production company, Pig Newton, in November 2017, after he confirmed that a series of against him were true. In 2018, Landgraf discussed the possibility of "Louie" returning.


title: Louie (American TV series)

text: "Louie" is loosely based on comedian Louis C.K.'s life, showing segments of him doing his stand-up routine onstage, and depicting his life offstage as a divorced father of two girls. Each episode features either two stories (which may or may not connect thematically) or a longer full-episode story (often consisting of numerous connected shorter pieces). The stories of all episodes revolve around Louie.


title: Louie (American TV series)

text: The pieces are interspersed with short clips of Louie's stand-up, usually performed in New York comedy clubs, mainly the Comedy Cellar and Carolines in Manhattan. The stand-up in the show consists of original material recorded for the series, and is usually shot from the stage rather than from the more traditional audience perspective. Sometimes these comedy segments are integrated into the stories themselves, whereas other times they simply serve to bookend them with a loosely connected topic. In the first season, blunt, socially awkward conversations between Louie and his therapist are also shown occasionally. Beginning in the third season, some episodes do not feature any stand-up performances or the opening credit sequence.


title: Louie (American TV series)

text: Episodes in the series have standalone plots, although some recurring roles (e.g. Louie's playdate friend Pamela, portrayed by Pamela Adlon, who was C.K.'s co-star in "Lucky Louie") occasionally provide story arc continuity between episodes. Continuity is not enforced; for example, Louie's mother has been portrayed in two very different ways. As C.K. explained, "Every episode has its own goal, and if it messes up the goal of another episode, ... I just don't care." Some stories also take place outside of the show's main time frame. For two examples, the episode "God" depicts Louie's childhood, and the episode "Oh Louie" shows the comedian 9 years earlier in his career. Beginning in the third season, "Louie" has moved toward story continuity within the season, and it includes multi-episode story arcs.


title: Louie (American TV series)

text: The pilot episode includes segments depicting a school field trip and an embarrassing first date, with subsequent episodes covering a diverse range of material, including divorce, sex, sexual orientation, depression, and Catholic guilt.


title: Louie (American TV series)

text: C.K. serves as the show's lead and plays the only character who appears in every episode. "Louie" lacks a regular fixed cast, and instead features many guest appearances by stand-up comedians and actors. As a stand-up comedian in New York City, Louie's social circle on the show consists mainly of other comedians, and many notable comedians (such as Nick DiPaolo, Todd Barry, Jim Norton, Sarah Silverman, Chris Rock, and Jerry Seinfeld) have had recurring roles as fictionalized versions of themselves.


title: Louie (American TV series)

text: Most episodes tend to focus on Louie's interactions with new characters. However, the show features a number of recurring characters, including Louie's two daughters, Lilly (Hadley Delany) and Jane (Ursula Parker); his brother Bobby (Robert Kelly); his teenage-looking agent Doug (Edward Gelbinovich); Pamela (Pamela Adlon), his best friend and love interest; Dr. Ben (Ricky Gervais), Louie's juvenile and arrogant doctor; Louie's therapist (David Patrick Kelly); and his ex-wife, Janet (Susan Kelechi Watson).


title: Louie (American TV series)

text: Since "Louie" lacks continuity between episodes, supporting actors occasionally reappear in multiple roles, as is the case with William Stephenson, who appears as a bus driver in the pilot and as himself in "Oh Louie/Tickets"; Amy Landecker, who appears as Louie's date in "Bully" and as a young Louie's mother in "God" and "In the Woods"; and F. Murray Abraham, who plays a swinger in "New Jersey/Airport", Louie's uncle Excelsior in "Dad", and Louie's father in "In the Woods". Furthermore, Louie's mother and sisters have each been portrayed by multiple actresses, although his children have been consistently portrayed by Delany and Parker since the middle of the first season. His ex-wife is portrayed by Brooke Bloom in a flashback scene of "Elevator Part 4".


title: Louie (American TV series)

text: In addition to these guest stars, several notable comedians have appeared in smaller roles, including Chris Gethard, Todd Glass, Ted Alexandro, Amir Blumenfeld, Eddie Brill, Joe DeRosa, Vernon Chatman, Artie Lange, Godfrey, Chelsea Peretti, JB Smoove, Dave Attell, Michael Cera, John Lithgow, Big Jay Oakerson, and Steven Wright. Opie & Anthony and Amy Schumer have had voice-only guest appearances.


title: Louie (American TV series)

text: Rather than accepting a bigger-budget production deal with a larger network, C.K. accepted the modest offer of $200,000 (covering his own fee as well as production costs) to do a pilot with FX, since FX allowed him full creative control. The show is shot on a Red camera setup, and C.K. edits many of the episodes on his personal MacBook Pro. In addition to starring, C.K. serves as the show's sole writer and director, an unusual combination in American TV production. Referring to John Landgraf, who convinced C.K. to accept a deal with FX, C.K. said:


title: Louie (American TV series)

text: Louis C.K. directed, cast, and edited the first episode of the show with a budget of $250,000, provided by FX. In the second season, the budget was increased to $300,000 per episode.


title: Louie (American TV series)

text: Production began in November 2009. C.K. said of his show, "It's very vignette-y. It's very vérité. All those French words. I use 'em all." C.K.'s "Lucky Louie" co-star Pamela Adlon serves as consulting producer of the series.


title: Louie (American TV series)

text: For the third season, C.K. announced that he would be handing off some editing duties to longtime Woody Allen collaborator Susan E. Morse.


title: Louie (American TV series)

text: In a 2013 interview with "The New York Times", C.K. mentioned various influences for the show, which include Allen, Larry David, Jerry Seinfeld, Garry Shandling and John Waters.


title: Louie (American TV series)

text: "Louie" has received acclaim from critics. The stand-up segments received strong praise, as did the show's perceived "indie film" style, with some likening the show to the work of Woody Allen. Criticisms largely centered on the pacing and low-key delivery of the show's jokes, which often include long setups compared to the rapid-fire punchlines of a traditional sitcom.


title: Louie (American TV series)

text: Of the "top TV" lists tracked by Metacritic, "Louie" appeared on nine of 28 in 2010 and 22 of 39 in 2011, the latter of which includes three lists where the show was ranked 1st. On Metacritic, the first season scored 69 out of 100, based on 20 reviews. The second season scored 90 out of 100 on Metacritic, indicating "universal acclaim", based on 7 reviews. The third season received critical acclaim, scoring 94 out of 100 on Metacritic, based on 16 reviews. The fourth season also received critical acclaim, scoring 93 out of 100 on Metacritic, based on 30 reviews. The fifth season received acclaim as well, scoring 91 out of 100 on Metacritic, based on 20 reviews.


title: Louie (American TV series)

text: Television critics Alan Sepinwall and Matt Zoller Seitz ranked "Louie" as the 18th best American television show of all time in their book titled "TV (The Book)", stating that unlike other sitcoms which kept their tone and format the same throughout their respective runs, the series "morphed from week to week, episode to episode, sometimes minute to minute. In doing so, it translated the thought-processes of stand-up comedy into cinematic terms, and in a way that was new to commercial television."


title: Louie (American TV series)

text: 20th Century Fox Home Entertainment released Season 1 on DVD and Blu-ray Disc in Region 1 on June 21, 2011. Season 2 was released on DVD and Blu-ray Disc in Region 1 on June 19, 2012. Seasons 3, 4, and 5 were exclusively released on DVD via Amazon.com's manufacture on demand program.


title: The Well-Tempered Clavier

text: The Well-Tempered Clavier, BWV 846–893, consists of two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time, "clavier", meaning keyboard, referred to a variety of instruments, most typically the harpsichord or clavichord, but not excluding the organ.


title: The Well-Tempered Clavier

text: The modern German spelling for the collection is (WTK; ). Bach gave the title to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later, Bach compiled a second book of the same kind (24 pairs of preludes and fugues), which became known as "The Well-Tempered Clavier", Part Two (in German: "Zweyter Theil", modern spelling: "Zweiter Teil").


title: The Well-Tempered Clavier

text: Modern editions usually refer to both parts as "The Well-Tempered Clavier, Book I" (WTC I) and "The Well-Tempered Clavier, Book II" (WTC II), respectively. The collection is generally regarded as one of the most important works in the history of classical music.


title: The Well-Tempered Clavier

text: Each set contains twenty-four pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in C major, the fourth in C minor, and so on. The rising chromatic pattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen, the second followed 20 years later in 1742 while he was in Leipzig.


title: The Well-Tempered Clavier

text: Bach recycled some of the preludes and fugues from earlier sources: the 1720 "Klavierbüchlein für Wilhelm Friedemann Bach", for instance, contains versions of eleven of the preludes of the first book of the "Well-Tempered Clavier". The C major prelude and fugue in book one was originally in C major – Bach added a key signature of seven sharps and adjusted some accidentals to convert it to the required key.


title: The Well-Tempered Clavier

text: In Bach's own time just one similar collection was published, by Johann Christian Schickhardt (1681–1762), whose Op. 30 "L'alphabet de la musique", contained 24 sonatas in all keys for flute or violin and basso continuo, and included a transposition scheme for alto recorder.


title: The Well-Tempered Clavier

text: Although the "Well-Tempered Clavier" was the first collection of fully worked keyboard pieces in all 24 keys, similar ideas had occurred earlier. Before the advent of modern tonality in the late 17th century, numerous composers produced collections of pieces in all seven modes: Johann Pachelbel's magnificat fugues (composed 1695–1706), Georg Muffat's "Apparatus Musico-organisticus" of 1690 and Johann Speth's "Ars magna" of 1693 for example. Furthermore, some two hundred years before Bach's time, equal temperament was realized on plucked string instruments, such as the lute and the theorbo, resulting in several collections of pieces in all keys (although the music was not yet tonal in the modern sense of the word):


title: The Well-Tempered Clavier

text: One of the earliest keyboard composers to realize a collection of organ pieces in successive keys was (1656–1740), who compiled one such cycle of preludes in 1682. His contemporary Johann Heinrich Kittel (1652–1682) also composed a cycle of 12 organ preludes in successive keys.


title: The Well-Tempered Clavier

text: J.C.F. Fischer's "Ariadne musica neo-organoedum" (published in 1702 and reissued 1715) is a set of 20 prelude-fugue pairs in ten major and nine minor keys and the Phrygian mode, plus five chorale-based ricercars. Bach knew the collection and borrowed some of the themes from Fischer for the "Well-Tempered Clavier". Other contemporary works include the treatise "Exemplarische Organisten-Probe" (1719) by Johann Mattheson (1681–1764), which included 48 figured bass exercises in all keys, "Partien auf das Clavier" (1718) by Christoph Graupner (1683–1760) with eight suites in successive keys, and Friedrich Suppig's "Fantasia" from "Labyrinthus Musicus" (1722), a long and formulaic sectional composition ranging through all 24 keys which was intended for an enharmonic keyboard with 31 notes per octave and pure major thirds. Finally, a lost collection by Johann Pachelbel (1653–1706), "Fugen und Praeambuln über die gewöhnlichsten Tonos figuratos" (announced 1704), may have included prelude-fugue pairs in all keys or modes.


title: The Well-Tempered Clavier

text: It was long believed that Bach had taken the title "The Well-Tempered Clavier" from a similarly named set of 24 Preludes and Fugues in all the keys, for which a manuscript dated 1689 was found in the library of the Brussels Conservatoire. It was later shown that this was the work of a composer who was not even born in 1689: Bernhard Christian Weber (1 December 17125 February 1758). It was in fact written in 1745–50, and in imitation of Bach's example.


title: The Well-Tempered Clavier

text: Bach's title suggests that he had written for a (12-note) well-tempered tuning system in which all keys sounded in tune (also known as "circular temperament"). One of the opposing systems in Bach's day was meantone temperament in which keys with many accidentals sound out of tune. (See also musical tuning.) Bach would have been familiar with different tuning systems, and in particular as an organist would have played instruments tuned to a meantone system.


title: The Well-Tempered Clavier

text: It is sometimes assumed that by "well-tempered" Bach intended equal temperament, the standard modern keyboard tuning which became popular after Bach's death, but modern scholars suggest instead a form of well temperament. There is debate whether Bach meant a range of similar temperaments, perhaps even altered slightly in practice from piece to piece, or a single specific "well-tempered" solution for all purposes.


title: The Well-Tempered Clavier

text: During much of the 20th century it was assumed that Bach wanted equal temperament, which had been described by theorists and musicians for at least a century before Bach's birth. Internal evidence for this may be seen in the fact that in Book 1 Bach paired the E minor prelude (6 flats) with its enharmonic key of D minor (6 sharps) for the fugue. This represents an equation of the most tonally remote enharmonic keys where the flat and sharp arms of the circle of fifths cross each other opposite to C major. Any performance of this pair would have required both of these enharmonic keys to sound identically tuned, thus implying equal temperament in the one pair, as the entire work implies as a whole. However, research has continued into various unequal systems contemporary with Bach's career. Accounts of Bach's own tuning practice are few and inexact. The three most cited sources are Forkel, Bach's first biographer; Friedrich Wilhelm Marpurg, who received information from Bach's sons and pupils; and Johann Kirnberger, one of those pupils.


title: The Well-Tempered Clavier

text: Forkel reports that Bach tuned his own harpsichords and clavichords and found other people's tunings unsatisfactory; his own allowed him to play in all keys and to modulate into distant keys almost without the listeners noticing it. Marpurg and Kirnberger, in the course of a heated debate, appear to agree that Bach required all the major thirds to be sharper than pure—which is in any case virtually a prerequisite for any temperament to be good in all keys.


title: The Well-Tempered Clavier

text: Johann Georg Neidhardt, writing in 1724 and 1732, described a range of unequal and near-equal temperaments (as well as equal temperament itself), which can be successfully used to perform some of Bach's music, and were later praised by some of Bach's pupils and associates. J.S. Bach's son Carl Philipp Emanuel Bach himself published a rather vague tuning method which was close to but still not equal temperament: having only "most of" the fifths tempered, without saying which ones nor by how much.


title: The Well-Tempered Clavier

text: Since 1950 there have been many other proposals and many performances of the work in different and unequal tunings, some derived from historical sources, some by modern authors. Whatever their provenances, these schemes all promote the existence of subtly different musical characters in different keys, due to the sizes of their intervals. However, they disagree as to which key receives which character:


title: The Well-Tempered Clavier

text: More recently there has been a series of proposals of temperaments derived from the handwritten pattern of loops on Bach's 1722 title page. These loops (though truncated by a later clipping of the page) can be seen at the top of the title page image at the beginning of the article.


title: The Well-Tempered Clavier

text: Nevertheless, some musicologists say it is insufficiently proven that Bach's looped drawing signifies anything reliable about a tuning method. Bach may have tuned differently per occasion, or per composition, throughout his career.


title: The Well-Tempered Clavier

text: Each Prelude is followed by a Fugue in the same key. In each book the first Prelude and Fugue is in C major, followed by a Prelude and Fugue in its parallel minor key (C minor). Then all keys, each major key followed by its parallel minor key, are followed through, each time moving up a half tone: C → C → D → E → E → F → F → ... ending with ... → B → B.


title: The Well-Tempered Clavier

text: The first book of the "Well-Tempered Clavier" was composed in the early 1720s, with Bach's autograph dated 1722. Apart from the early versions of several preludes included in W. F. Bach's "Klavierbüchlein" (1720) there is an almost complete collection of "Prelude and Fughetta" versions predating the 1722 autograph, known from a later copy by an unidentified scribe.


title: The Well-Tempered Clavier

text: An early version of the prelude, BWV 846a, is found in "Klavierbüchlein für Wilhelm Friedemann Bach" (No. 14: "Praeludium 1"). The prelude is a seemingly simple progression of arpeggiated chords, one of the connotations of 'préluder' as the French lutenists used it: to test the tuning. Bach used both G and A into the harmonic meandering.


title: The Well-Tempered Clavier

text: Prelude and Fugue in C-sharp major, BWV 848. Prelude also in WFB "Klavierbüchlein", No. 21: Praeludium [8].


title: The Well-Tempered Clavier

text: Prelude and Fugue in C-sharp minor, BWV 849. Prelude also in WFB "Klavierbüchlein", No. 22: Praeludium [9].


title: The Well-Tempered Clavier

text: . Prelude also in WFB "Klavierbüchlein", No. 23: Praeludium [10]. The fugue was transposed from D minor to D minor.


title: The Well-Tempered Clavier

text: Prelude and Fugue in E minor, BWV 855. Early version BWV 855a of the Prelude in "Klavierbüchlein für Wilhelm Friedemann Bach" (No. 18: "Praeludium 5").


title: The Well-Tempered Clavier

text: The two major primary sources for this collection of Preludes and Fugues are the "London Original" (LO) manuscript, dated between 1739 and 1742, with scribes including Bach, his wife Anna Magdalena and his oldest son Wilhelm Friedeman, which is the basis for Version A of "WTC II", and for Version B, that is the version published by the 19th-century Bach-Gesellschaft, a 1744 copy primarily written by Johann Christoph Altnickol (Bach's son-in-law), with some corrections by Bach, and later also by Altnickol and others.


title: The Well-Tempered Clavier

text: Musically, the structural regularities of the "Well-Tempered Clavier" encompass an extraordinarily wide range of styles, more so than most pieces in the literature. The preludes are formally free, although many of them exhibit typical Baroque melodic forms, often coupled to an extended free coda (e.g. Book I preludes in C minor, D major, and B major). The preludes are also notable for their odd or irregular numbers of measures, in terms of both the phrases and the total number of measures in a given prelude.


title: The Well-Tempered Clavier

text: Each fugue is marked with the number of voices, from two to five. Most are three- and four-voiced fugues, but two are five-voiced (the fugues in C minor and B minor from Book I) and one is two-voiced (the fugue in E minor from Book I). The fugues employ a full range of contrapuntal devices (fugal exposition, thematic inversion, stretto, etc.), but are generally more compact than Bach's fugues for organ.


title: The Well-Tempered Clavier

text: Several attempts have been made to analyse the motivic connections between each prelude and fugue – most notably Wilhelm Werker and Johann Nepomuk David. The most direct motivic reference appears in the B major set from Book 1, in which the fugue subject uses the first four notes of the prelude, in the same metric position but at half speed.


title: The Well-Tempered Clavier

text: Both books of the "Well-Tempered Clavier" were widely circulated in manuscript, but printed copies were not made until 1801, by three publishers almost simultaneously in Bonn, Leipzig and Zurich. Bach's style went out of favour in the time around his death, and most music in the early Classical period had neither contrapuntal complexity nor a great variety of keys. But, with the maturing of the Classical style in the 1770s, the "Well-Tempered Clavier" began to influence the course of musical history, with Haydn and Mozart studying the work closely.


title: The Well-Tempered Clavier

text: Fantasy No. 1 with Fugue, K. 394 is one of Mozart's own compositions showing the influence the "Well-Tempered Clavier" had on him. Beethoven played the entire "Well-Tempered Clavier" by the time he was eleven, and produced an arrangement of BWV 867, for string quintet.


title: The Well-Tempered Clavier

text: Hans von Bülow called "The Well-Tempered Clavier" the "Old Testament" of music (the Beethoven Sonatas were the "New Testament"). In the liner notes to the "Clair de Lune" compilation of piano encores issued by CBS Masterworks, Philippe Entremont relates an anecdote in which von Bülow, having a distaste for the endless clamor for encores, was facing a thunderously applauding house and raised his hand, saying "Ladies and Gentlemen! If you do not stop this immediately I shall play you Bach's 48 preludes and fugues from beginning to end!" The audience laughed but also stopped applauding as they knew von Bülow was able to perform the work from memory.


title: The Well-Tempered Clavier

text: Bach's example inspired numerous composers of the 19th century; for instance, in 1835 Chopin started composing his 24 Preludes, Op. 28, inspired by the "Well-Tempered Clavier". In the 20th century Dmitri Shostakovich wrote his 24 Preludes and Fugues, an even closer reference to Bach's model. Mario Castelnuovo-Tedesco wrote "Les Guitares bien tempérées" ("The Well-Tempered Guitars"), a set of 24 preludes and fugues for two guitars, in all 24 major and minor keys, inspired in both title and structure by Bach's work.


title: The Well-Tempered Clavier

text: The best-known piece from either book is the first prelude of Book I. Anna Magdalena Bach copied a short version of this prelude in her 1725 "Notebook" (No. 29). The accessibility of this prelude, the "easy" key of C major, and its use of arpeggiated chords, have made it one of the most commonly studied pieces for piano students. This prelude also served as the basis for the "Ave Maria" of Charles Gounod.


title: The Well-Tempered Clavier

text: Alexander Siloti transcribed a piano arrangement of the early version of Prelude and Fugue in E minor (BWV 855a), transposed into a Prelude in B minor.


title: The Well-Tempered Clavier

text: The first complete recording of the "Well-Tempered Clavier" was made on the piano by Edwin Fischer for EMI between 1933 and 1936. The second was made by Wanda Landowska on harpsichord for RCA Victor in 1949 (Book 1) and 1952 (Book 2). Helmut Walcha, better known as an organist, recorded both books between 1959 and 1961 on a harpsichord. Daniel Chorzempa made the first recording using multiple instruments (harpsichord, clavichord, organ, and fortepiano) for Philips in 1982. As of 2013, over 150 recordings have been documented.


title: The Well-Tempered Clavier

text: Harpsichord performances of various parts of Book I by Martha Goldstein are in the public domain. Such harpsichord performances may, for instance, be tuned in equal temperament, or in Werckmeister temperament. In addition to Martha Goldstein, Raymond Smullyan is another well-known artist for whom several performances from Book I are in the public domain.


title: The Well-Tempered Clavier

text: In March 2015, the pianist Kimiko Douglass-Ishizaka released a new and complete recording of Book 1 into the public domain. Her performances are available below, beginning with the Prelude No. 1 in C Major (BWV 846):


title: Pelican Bay State Prison

text: Pelican Bay State Prison (PBSP) is a supermax prison facility in Crescent City, California. The prison takes its name from a shallow bay on the Pacific coast, about to the west.


title: Pelican Bay State Prison

text: The prison is located in a detached section of Crescent City, several miles north of the main urban area and just south of the Oregon border.


title: Pelican Bay State Prison

text: Pelican Bay State Prison opened in 1989. It covers , and grounds and operations are physically divided.


title: Pelican Bay State Prison

text: An X-shaped cluster of buildings comprise a quarter of the prison's facilities, and are known as the Security Housing Unit, or SHU. This facility contains 1,056 solitary confinement cells, organized into 132 eight-cell pods. Each cell is and contains concrete ledge with a foam pad to be used as a bed, a steel combination sink and toilet, and two concrete cubes that serve as a desk and chair. Armed guards monitor six pods of 48 cells at once from central control booths, through perforated steel doors that make it easy for guards to see in but difficult for prisoners to see out. Cell doors are controlled remotely, and prisoners can be allowed out to shower or to exercise in each pod's solitary exercise yard.


title: Pelican Bay State Prison

text: Half of the prison holds Level IV (maximum security) inmates in a general population environment with two-man cells. The remaining prison houses Level II inmates in an open-cell, dormitory-style facility for 500 individuals, and Level I (minimum security) prisoners in a facility for 400 individuals located outside of the main perimeter of the prison.


title: Pelican Bay State Prison

text: , 1,852 people were incarcerated at Pelican Bay State Prison. 1,112 (60%) of those inmates were Level IV (maximum security) prisoners, 290 of whom were located in the Security Housing Unit.


title: Pelican Bay State Prison

text: After Pelican Bay State Prison opened in 1989, guards eager to assert their dominance over the inmates established a culture of violence. Inmates in the Security Housing Unit were beaten, tied and left naked, or subjected to staged "gladiator fights" by guards who would intentionally release two prisoners from enemy gangs and then shoot at the prisoners after they began fighting. Vaughn Dortch, who was serving a ten-year sentence for grand theft and whose mental illness had worsened since being moved to the SHU, was taken in April 1992 to be bathed by guards after smearing himself with feces. The five or six guards subjected Dortch to a bath in scalding water while he was handcuffed, leaving him with second- and third-degree burns. Prisoners were also regularly housed two to a cell in the SHU due to overcrowding, with 364 prisoners double-bunked in 1990 and approximately 1,000 double-bunked by 1995, leading to serious injuries from cell fights.


title: Pelican Bay State Prison

text: Media attention, including a September 1993 "60 Minutes" report about the brutality against Dortch, and lawsuits ultimately led to changes at Pelican Bay State Prison. Federal District Court Judge Thelton Henderson ruled in the 1995 "Madrid v. Gomez" decision that the facility was not being ruled in a constitutional way, and ordered oversight by prisoners' rights lawyers and other experts. Henderson's ruling specifically demanded changes to the use of excessive force by guards, inadequate medical and mental healthcare, and the practice of housing mentally ill prisoners in the SHU.


title: Pelican Bay State Prison

text: Prisoners at PBSP, particularly those in isolation for several years, have organized or joined in hunger strikes in protest of conditions at the prison and the practice of subjecting prisoners to long periods of isolation.


title: Pelican Bay State Prison

text: In 2002, a reported 60 SHU inmates began a hunger strike.The prisoners called attention to the effects of isolation in the secure housing unit.


title: Pelican Bay State Prison

text: On July 1, 2011, approximately prisoners at Pelican Bay State Prison joined a total of more than 6,000 prisoners elsewhere in California prisons to stage a hunger strike in protest against overly restrictive conditions and extended periods of isolation. They demanded warm clothes and a handball for use during their one hour a day in the outdoor exercise yard, the ability to make one phone call per week, adequate food, and the possibility of reconsideration of their long periods of isolation after several years. The original strike lasted for over two weeks, and was repeated again in October of the same year.


title: Pelican Bay State Prison

text: On July 8, 2013, inmates resumed the July 2011 hunger strike, alleging a failure to uphold promises on the part of the California Department of Corrections and Rehabilitation (CDCR), with upwards of 29,000 prisoners across California joining in the hunger strike. Strikers demanded reform of "cruel" policies used to identify and subsequently isolate or punish alleged gang members, including lengthy solitary confinement and the quality of living improvements. The strike lasted for two months, and dozens of prisoners were hospitalized.


title: Pelican Bay State Prison

text: The strike brought the first widespread media attention to the Security Housing Units in California, the scale at which prisoners were being kept in such conditions, and the fact that there were prisoners who had been kept in solitary confinement at Pelican Bay for twenty years.


title: Pelican Bay State Prison

text: On the seventh week of the strike, Judge Thelton Henderson signed an order to permit the "re-feeding" of prisoners who were participating, though it was not clear precisely what was permitted by the order. However, this was made unnecessary shortly after when Senator Loni Hancock and Assemblymember Tom Ammiano promised to investigate the state's policies around solitary confinement and consider legislation. Following this promise, the prisoners agreed to end the strike.


title: Pelican Bay State Prison

text: In May 2012, California's prison system faced a lawsuit from the Center for Constitutional Rights, Legal Services for inmates with Children, and other California attorneys on behalf of ten men incarcerated in the SHU. The plaintiffs were all housed in the SHU for 11 to 22 years, some having been transferred directly from other SHUs. The suit claims that the inmates "have been incarcerated California’s Pelican Bay State Prison's Security Housing Unit ("SHU") for an unconscionably long period of time without meaningful review of their placement", that "California's uniquely harsh regime of prolonged solitary confinement at Pelican Bay is inhumane and debilitating", and that "[t]he solitary confinement regime at Pelican Bay violates the United States Constitution's requirement of due process and prohibition of cruel and unusual punishment".


title: Pelican Bay State Prison

text: In August 2015, as a result of the aforementioned class-action lawsuit, California agreed to end its unlimited isolation policy. Inmates are no longer isolated as a preventive measure; only those who commit new crimes while incarcerated are eligible for up to five years of isolation. Since the lawsuit's settlement, hundreds of inmates who had served years in Pelican Bay's SHU have been transferred to other prisons and are now doing their time in general population settings. The result has been the virtual depopulation of the entire SHU program, and it is anticipated by some experts the SHU program may soon be disbanded entirely.


title: Pelican Bay State Prison

text: In the fictional series "Life", Detective Charlie Crews spends twelve years in Pelican Bay for a triple homicide he did not commit, part of it spent in the SHU, as the background of the series' plot. In the TV series "The Shield", the main character Vic Mackey regularly threatens recalcitrant suspects with only the name of the prison.


title: Pelican Bay State Prison

text: Alonzo Harris (Denzel Washington) threatens gang members with a sentence in Pelican Bay and the SHU program in the movie "Training Day" (2001).


title: Pelican Bay State Prison

text: Waingro (Kevin Gage) explains to a bartender he was in the SHU at Pelican Bay, B-wing, to get work in the movie "Heat" (1995).


title: Hervé Renard

text: Hervé Jean-Marie Roger Renard (born 30 September 1968) is a French professional football coach and former player who is the manager of the Saudi Arabia national team.


title: Hervé Renard

text: Renard has previously been the manager of Zambia national team, with whom he won the 2012 Africa Cup of Nations; he also won the competition in 2015 with the Ivory Coast, becoming the first coach to win two Africa Cup of Nations with different teams.


title: Hervé Renard

text: Born in Aix-les-Bains, Renard played as a defender for French sides AS Cannes, Stade de Vallauris and SC Draguignan in a playing career which lasted from 1983 to 1998. After retiring as a professional player he worked as a cleaner, working there in the morning and training with Draguignan in the evening, eventually starting his own cleaning company.


title: Hervé Renard

text: Renard began his coaching career with SC Draguignan in 1999, leaving in 2001. He was Assistant at Chinese side Shanghai Cosco with head coach Claude Le Roy from 2002 to 2003, and managed English side Cambridge United in 2004, having first joined the club with Le Roy to serve as a coach.


title: Hervé Renard

text: He became manager of Vietnamese club Song Da Nam Dinh in 2004, leaving them after several months. He became manager of AS Cherbourg in 2005, leaving them in 2007. He next became Assistant to Claude Le Roy for the Ghana national side.


title: Hervé Renard

text: In May 2008, he was appointed manager of the Zambia national team. At the 2010 Africa Cup of Nations, he led Zambia to the quarter final stage of the tournament for the first time in 14 years. Renard left his duties as Zambia manager in April 2010 with only two months remaining on his contract. Two days later he agreed to become manager of Angola. He resigned from his position as Angola manager in October 2010, and was replaced by Zeca Amaral.


title: Hervé Renard

text: On 21 January 2011, Renard reached an agreement with Algerian club USM Alger to become the head coach of the club.


title: Hervé Renard

text: On 22 October 2011, it was announced that Renard had returned for a second stint as coach of Zambia on a one-year contract. He led the team to their first victory in the African Cup Of Nations in 2012. The win was dedicated to the 18 players who perished in April 1993, after a plane carrying the squad crashed just miles from the site of the 2012 final in Gabon.


title: Hervé Renard

text: In May 2012, Chishimba Kambwili, the Zambian sports minister, announced he expected Renard to sign a new contract by the end of the month.


title: Hervé Renard

text: After Zambia were eliminated from the group stages of the 2013 African Cup of Nations, Renard said that it was his fault. He later criticised CAF for not allowing Zambia, as the 2012 winners of the AFCON, the chance to compete at the 2013 Confederations Cup.


title: Hervé Renard

text: Renard was released from his contract by the Football Association of Zambia in October 2013, in preparation for a role with French club FC Sochaux.


title: Hervé Renard

text: On 7 October 2013 it was announced that Renard was appointed as the new manager of French Ligue 1 side Sochaux. In April 2014 he was linked with the Morocco national team job.


title: Hervé Renard

text: The club was involved in a relegation fight in May 2014, and after being relegated, he left the club later that month. In July 2014 he was announced to be on the shortlist for the Ivory Coast job.


title: Hervé Renard

text: Renard was appointed as manager of the Ivory Coast national team in July 2014. He was manager at the 2015 Africa Cup of Nations, and praised the organization of the tournament. He won the competition, becoming the first coach to win two Africa Cup of Nations with different countries.


title: Hervé Renard

text: Renard became manager of French club Lille in May 2015. On 11 November 2015, he was sacked after getting only 13 points in 13 league games.


title: Hervé Renard

text: In February 2016, Renard was linked with the vacant Morocco national team job. Later that month he was appointed as the new Morocco manager. In October 2016 he was linked with the vacant Algeria national team job.


title: Hervé Renard

text: In November 2017, he qualified Morocco to the 2018 FIFA World Cup in Russia, their first since 1998. Later that month, he signed a new contract, until 2022. In July 2019 the Moroccan team was eliminated from the 2019 Africa Cup of Nations, with Renard taking responsibility for the "shock exit". He resigned a few days later, on 15 July 2019.


title: Hervé Renard

text: Later in July 2019 he became manager of Saudi Arabia, the first Frenchman to do so. On 10 September 2019, he managed his first official match against Yemen in the 2022 FIFA World Cup qualification. In March 2022, Renard led Saudi Arabia to qualification for the 2022 FIFA World Cup, and in the process became the foreign-born manager with the most wins (18) in the nation's history. In their opening game of the World Cup, he led Saudi Arabia to a 2–1 win over Argentina, one of the pre-tournament favourites, in what was considered one of the biggest shock results in World Cup history. However, Saudi Arabia lost the other two matches against Poland and Mexico, to be eliminated from the group stage.


title: Colo-Colo

text: Club Social y Deportivo Colo-Colo () is a Chilean professional football club based in Macul, Santiago. Founded in 1925 by David Arellano they play in the Chilean Primera División, from which they have never been relegated. The team has played its home games at Estadio Monumental David Arellano since 1989. Colo-Colo is regarded as the most successful club of Chilean football.


title: Colo-Colo

text: Colo-Colo has won more Primera División de Chile (32) than any other Chilean club and a record thirteen Copa Chile titles. It was the first Chilean team to win a continental tournament conquering the 1991 Copa Libertadores Next year, the club went on to win two international titles that were 1992 Recopa Sudamericana and 1992 Copa Interamericana,


title: Colo-Colo

text: The club's most successful player is Luis Mena with eleven titles, the historic top scorer is Esteban Paredes with 216 goals, and the player with most appearances is the former goalkeeper Misael Escuti with 417 games.


title: Colo-Colo

text: Colo-Colo is the team with most supporters in Chile, and holds a long-standing rivalry with Universidad de Chile. The club also holds a traditional rivalry in matches against Cobreloa and Universidad Católica. The IFFHS ranked the team in 14th place in 2007. In 2009, that same institution named the team as the 20th century's top club of its country, and also within the top twenty clubs in South American football history.


title: Colo-Colo

text: The team was founded in early 1925 by Magallanes' footballer David Arellano, who led a group of young players leaving that club after institutional problems. Finally, on 19 April, Arellano and the other youths officially established the institutions after meetings and negotiations, where Luis Contreras chose the name Colo-Colo for the club, which refers to the eponymous Mapuche cacique Colo Colo.


title: Colo-Colo

text: The team began to play friendly games, but in 1926, Colo-Colo took part in the Metropolitan League of Honour, where they were proclaimed champions (unbeaten) and earned the nickname of "invincible". The following year, Colo-Colo became the first Chilean football team to participate in a tour across Europe. However, on 2 May, during an exhibition match against Real Unión Deportiva at Valladolid, the team founder and captain David Arellano was critically injured after suffering a collision with an opposing player, which caused him peritonitis. The inflammation led him to his death the next day. Despite the great impact caused by Arellano's death, the club won the Central League of football tournament – then renamed Asociación de Football de Santiago – in the 1928, 1929 and 1930 seasons.


title: Colo-Colo

text: In the 1931–32 season, Colo-Colo suffered its first institutional crisis due to financial problems, which led to a salary reduction for first team footballers and board members, with their consequent resistance. That season the team played another tournament final against Audax Italiano. However, due to a platform collapse at Estadio Italiano and the subsequent fracas between the fans, it was decided that the game would be suspended. In that moment, Colo-Colo were winning 2–1. That day's tragedy resulted in 130 injuries and three deaths. The match was cancelled and the champion position for that year remained vacant. Other authors however declared that both Audax Italiano and Colo-Colo were declared champions.


title: Colo-Colo

text: In 1933, Colo-Colo alongside six clubs from Santiago decided to create the Chilean professional football league. On 23 July, the team won the Campeonato de Apertura (Copa Chile precursor), after defeating 2–1 to Unión Española. However, in the first Primera División official tournament, Colo-Colo finished first alongside Magallanes, which forced the "Cacique" to play a tie-breaker match. That match was lost 2–1 by Colo-Colo. In 1937 the team was undefeated, and reached its first league title. Two seasons later, in 1939, Colo-Colo won the league title for a second time, now under the guidance of the Hungarian coach Francisco Platko, and with Alfonso Domínguez as goalscorer with 20 goals in 24 matches. After another title in 1941 with Platko as coach, the club went on to win the titles of 1944 and 1947. The following year Colo-Colo organized the South American Club Championship – Copa Libertadores background – in Santiago, which brought together the 1947 continent's champions. In 1945, the club had the worst season in its history, finishing penultimate in eleventh place only ahead of weak Badminton.


title: Colo-Colo

text: In the early 1950s, club's president Antonio Labán hired Newcastle United striker George Robledo, paying £25,000 for its signing. Robledo's performances led the team to the titles of 1953 and 1956. During that age, the club acquired a terrain at Macul, where began the construction of Estadio Monumental. Besides the acquisition, the directive invested in a headquarters located at Santiago Centro (located at Cienfuegos 41) in 1953. The next decade Colo-Colo win the titles of 1960 and 1963. The 1963 team broke two top-tier records: Luis Hernán Álvarez scored 37 goals in a single season (the highest number of goals scored by a Colo-Colo footballer during a season) and the netting of the highest number of goals scored by a club in a season (130). The team won its tenth honour in 1970.


title: Colo-Colo

text: In 1972, now under the orders of coach Luis Álamos and with figures like Carlos Caszely and Francisco Valdés, the club won another championship. It also obtained the country's attendance record of 45,929 people for a single season. That team was the basis of the so-called "Colo-Colo 73", the first Chilean team to reach a Copa Libertadores final, where it lost against Independiente of Argentina. After Colo-Colo's brilliant campaign, the club went into a competitiveness and institutional crisis not being able to win another league title until 1979. That team featured the talented Brazilian midfielder Severino Vasconcelos alongside a returning Caszely. Nevertheless, in 1975, the construction of Estadio Monumental was finished and the stadium was inaugurated in a league match against Deportes Aviación, but due to problems with the infrastructure and other basic services the stadium was indefinitely closed.


title: Colo-Colo

text: In the 1980s, the club obtained the league titles of 1981 and 1983 with coach Pedro García, and the 1986 and 1989 honours under Arturo Salah. The 1987 Alianza Lima air disaster claimed the lives of sixteen players and Colo-Colo was the first to help the Peruvian team, loaning them 4 players. Nonetheless, the team won four Copa Chile titles in that decade. During that period, the greatest disappointment was at the continental tournament level with the team only exceeding the first stage in the 1988 Copa Libertadores. On 30 September 1989, the Estadio Monumental was re-inaugurated in an exhibition match against Peñarol, which Colo-Colo won 2–1 with goals by Marcelo Barticciotto and Leonel Herrera, the son of a 1970s legendary former defender of the same name.


title: Colo-Colo

text: The 1990s was the most successful decade in the club's history for the national and international honours achieved. Croatian Mirko Jozić arrived as coach, leading the team towards its first "Bicampeonato" for winning two national titles in a row. On 5 June 1991, after beating Olimpia 3–0 at Monumental with two goals by Luis Pérez and one by Leonel Herrera, Colo-Colo became the first Chilean team to win a Copa Libertadores. That same season, the "Albos" lost the Intercontinental Cup final against Yugoslavian club Red Star Belgrade, after being defeated 3–0 in Tokyo. At the local level, the club won the 1991 league, its third-consecutive title thus achieving its first "Tricampeonato". The following season, the club won the Recopa Sudamericana, after beating Brazil's Cruzeiro in a penalty shootout, and also obtained the Copa Interamericana, after winning 3–1 against Puebla in Mexico. The last title won by Jozić in Colo-Colo was the 1993 league title, thus closing a successful spell in South America.


title: Colo-Colo

text: After Jozić's departure came a brief drought in national titles, but the team managed to get an unforgettable 3–0 win over arch rivals Universidad de Chile in 1995. The team was champion of the 1994 Copa Chile and reached the 1994 Copa Libertadores quarterfinals. The following season saw the arrival of Paraguayan coach Gustavo Benítez, who obtained the 1996, 1997-C and 1998 league titles. The team advanced to the semifinals of the Supercopa Libertadores in 1996, and of the Copa Libertadores in 1997, being eliminated both times by Cruzeiro. In 1999, Colo-Colo relived something like 1994, finishing fourth in the Chilean league and having three coaches during that single season: Brazilian Nelsinho Baptista, the caretaker manager Carlos Durán and then Fernando Morena of Uruguay, who remained until 2001.


title: Colo-Colo

text: In 1999, after Benítez's departure, the club entered a serious financial crisis. On 23 January 2002, after years of economic mismanagement under the leadership of Peter Dragicevic as president, the club was declared bankrupt. Justice named Juan Carlos Saffie as syndic responsible for the institution allowing it not to lose its legal status. Despite the bankruptcy, under Jaime Pizarro as coach – key player in the obtaining of the 1991 Copa Libertadores – Los Albos won the Torneo de Clausura, with an almost completely juvenile squad. Three years later, in 2005, the joint-stock company Blanco y Negro took over the administration, concessioning all club assets for thirty years in exchange for paying all debts through an opening process at the Santiago Stock Exchange. In the first half of 2006, the judiciary court declared the bankruptcy over.


title: Colo-Colo

text: With the Argentine Claudio Borghi as coach since 2006, and with players like Matías Fernández and Humberto Suazo, Colo-Colo obtained a "Bicampeonato" winning the Apertura and Clausura tournaments. The squad reached another international final, the Copa Sudamericana, losing 2–1 to Mexico's side Pachuca. That season, "El Cacique" was recognized by the IFFHS as the world's club of the month. The following season Colo-Colo won two more consecutive tournaments, winning a "Tetracampeonato" for winning four back-to-back championships, being the first Chilean team to achieve that.


title: Colo-Colo

text: After Borghi's departure, the club obtained its 28th title after defeating Palestino in the 2008 Torneo de Clausura finals under the coaching of Marcelo Barticciotto, and with Lucas Barrios as principal scorer, who equaled Luis Hernán Álvarez's record of highest number of goals scored by a Colo-Colo footballer during a single season with 37 goals. The following season, the club became the first professional team to play on Easter Island. After a poor Torneo de Apertura 2009 – not reaching the play-offs for the first time – Los Albos started the Clausura very close to relegation positions. However, the team reached the tournament's finals against Universidad Católica, beating them 4–2 in Santa Laura, with players like Esteban Paredes, Macnelly Torres and Ezequiel Miralles, coached by Hugo Tocalli. Colo-Colo's last championship was in 2014 after winning the Torneo de Clausura. It was the team's 30th Chilean League title.


title: Colo-Colo

text: The club's badge represents Mapuche chieftain Colo Colo, an important Wall Mapu member who fought in the Arauco War against the Spanish empire (1536–1818). On 19 April 1925, when the club was established, Luis Contreras – one of the players that founded the club – defined the team's badge, in representation of the chief and the country's indigenous people.


title: Colo-Colo

text: Throughout its history, Colo-Colo's uniform has been a white shirt and black shorts. The uniform was originally designed by Juan Quiñones following the recommendations of David Arellano.


title: Colo-Colo

text: In 1927, after Arellano's death while playing against Real Unión Deportiva (currently Real Valladolid), it was decided then that the badge will wear a black horizontal band over it forever, to represent the institution's eternal mourning.


title: Colo-Colo

text: The team's away kits have varied through its history, from green between 1927 and the mid-1970s and to red from 1975 to 1988.


title: Colo-Colo

text: Colo-Colo initially played on a field called Estadio El Llano but in January 1928 moved to the Campos de Sports de Ñuñoa. The team later moved to Estadio Nacional where it played from 1939 to the late 1980s. In 1946 the club bought a stadium from Carabineros de Chile – then called "Fortín Mapocho" – which was closed according security reasons. It was intended to build a 30,000-seat stadium at the site. However, a municipal ordinance prohibited construction in the area. For that reason, Colo-Colo sold the stadium in order to raise funds for the future Estadio Monumental.


title: Colo-Colo

text: In 1956, club's president Antonio Labán acquired a 28 ha terrain at Macul, close to the intersection between Vicuña Mackenna and Departamental. The new stadium was originally planned with a capacity of 120,000. Due to the work's high cost and lack of a government subsidy the project was halted. In 1960, after Chile's successful proposition to hold the World Cup, several congressmen proposed to build a 52,000-seat stadium at Colo-Colo's site. However, the 9.5 Valdivia earthquake and a willingness from congress stopped the initiative.


title: Colo-Colo

text: Colo-Colo's brilliant campaigns in 1972 and 1973 allowed the stadium construction to resume. It was inaugurated in a league match 1975 which Colo-Colo win 1–0 over Deportes Aviación with Juan Carlos Orellana, who become the first player to score a goal in Monumental's history. However, the stadium was closed due to lack of basic services and infrastructure. It was not reopened until 1989 thanks to Hugo Rubio's transfer to Bologna which allowed the club to receive US$1 million to repair the problems mentioned. The stadium was called "Monumental David Arellano" in honour of its founder and its definitive inauguration was in a match against Uruguay's Peñarol which Colo-Colo won 2–1.


title: Colo-Colo

text: Since its definitive opening, the stadium has seen the 1991 Copa Libertadores and 1992 Copa Interamericana titles as well as several league honors.


title: Colo-Colo

text: Monumental's public record attendance was in 1992 for a derby match with Universidad de Chile which registered an attendance of 70,000 fans approximately. That record was closely followed in August 1993 during a 2–0 exhibition match win over Real Madrid with a 67,543 attendance. Several remodeling works and stricter security brought down the total capacity to 47,347.


title: Colo-Colo

text: The Chilean national team usually use the stadium for its games since 1997. The stadium was also used during the 2015 Copa América.


title: Colo-Colo

text: Colo-Colo is the club with the largest following in Chile, with approximately 42% of the total Chilean football fans according to research published in August 2012 by Spanish newspaper agency Marca. The study showed a 4% growth in comparison to 2006 research by Fundación Futuro that ranked the club in first place with the 38% of the preferences, leaving its rival Universidad de Chile in second place.


title: Colo-Colo

text: Since the early 1960s, the club has had organized fan groups, which evolved in the mid-1980s into the so-called "Garra Blanca". They attended Colo-Colo's games and generally rioted, especially in derbies, turning Estadio Monumental surroundings into battlefields against the military police. In 2000, the group was declared as Barra brava.


title: Tab (drink)

text: Tab (stylized as TaB) was a diet cola soft drink created and produced by The Coca-Cola Company, introduced in 1963 and discontinued in 2020. Coca-Cola's first diet drink, Tab was popular throughout the 1960s and 1970s. Several variations were made, including a number of fruit-flavored, root beer, and ginger ale versions. Caffeine-free and clear variations were released in the late 1980s and early 1990s.


title: Tab (drink)

text: Following studies in the early 1970s that linked saccharin, Tab's main sweetener, with bladder cancer in rats, the United States Congress mandated warning labels on products containing the sweetener. The label requirement was later repealed when no plausibility was found for saccharin causing cancer in humans.


title: Tab (drink)

text: Tab's popularity declined after the Coca-Cola company's introduction of Diet Coke in 1982, though it remained the best-selling diet soda of that year. Coca-Cola continued to produce Tab in the United States, though in considerably smaller quantities than its more popular mainstay beverages, such as Coca-Cola and Diet Coke. According to the company, three million cases of Tab were made in 2011, and the beverage retained a cult following. In 2006, a Tab-branded energy drink was released, though it used a different formula from the standard cola. Coca-Cola discontinued Tab at the end of 2020.


title: Tab (drink)

text: Tab was created in 1963 by Coca-Cola after the successful sales and marketing of Diet Rite cola, owned by The Royal Crown Company. Previously, Diet Rite had been the only sugarless soda on the market. Tab was marketed to consumers who wanted to "keep tabs" on their weight.


title: Tab (drink)

text: Coca-Cola's marketing research department used its IBM 1401 computer to generate a list of over 185,000 four-letter words with one vowel, adding names suggested by the company's own staff; the list was stripped of any words deemed unpronounceable or too similar to existing trademarks. Of a final list of about twenty names, "Tabb" was chosen, influenced by the possible play on words, and shortened to "Tab" during development. Packaging designer Robert Sidney Dickens gave the name the capitalization pattern ("TaB") used in the logo as well as creating a new bottle design for the soft drink.


title: Tab (drink)

text: For a time in the 1970s, Coca-Cola introduced six variety flavors of Tab (all of which were also sugar-free): Root Beer, Lemon-Lime, Ginger Ale, Black Cherry, Strawberry, and Orange. A caffeine-free version of the original Tab flavor was introduced in 1983, alongside caffeine-free versions of Coca-Cola and Diet Coke. Tab Clear, a caramel color-free version of Tab, was released in the United States in 1992, and subsequently in the United Kingdom and Japan. Tab Clear was discontinued in 1994.


title: Tab (drink)

text: In 2006, Coca-Cola introduced Tab Energy. Though it shares the Tab branding, its formula is entirely different from that of the standard cola: it is sweetened with sucralose and has a sour, tart flavor.


title: Tab (drink)

text: Tab was reformulated several times. It was initially sweetened with a mixture of cyclamate and saccharin. After the Food and Drug Administration (FDA) issued a ban on cyclamate in 1969, sodium saccharin was used as the beverage's primary sweetener.


title: Tab (drink)

text: Studies on laboratory rats during the early 1970s linked high volumes of cyclamate and saccharin with the development of bladder cancer. As a result, the United States Congress mandated that further studies of saccharin be performed and required that all food containing saccharin bear a label warning that the sweetener had been shown to cause cancer in laboratory animals. Despite this, Tab remained commercially successful and was the best-selling diet soda in 1982. In May 1984, Coca-Cola introduced Nutrasweet into the Tab formula, which alienated a significant portion of its market, and resulted in numerous consumer complaints regarding a perceived change in flavor.


title: Tab (drink)

text: In the absence of further evidence that saccharin caused cancer in humans, the substance was delisted in 2000 from the U.S. National Toxicology Program’s "Report on Carcinogens"; this led to the repealing of the warning label requirements for products containing saccharin. In December 2010, the United States Environmental Protection Agency removed saccharin from its list of hazardous substances.


title: Tab (drink)

text: Tab's popularity began to decline in 1982 with the introduction of Diet Coke, although Tab retained something of a cult following in the United States, where customers purchased about 3 million cases in 2008. In 2011, the Coca-Cola Company reported that it produced approximately 3 million cases of Tab that year (in contrast to 885 million cases of Diet Coke). John Sicher, editor of "Beverage Digest", commented in 2013:


title: Tab (drink)

text: The product is also available in the United States Virgin Islands, the Southern African Customs Union, Norway (under the name Tab X-Tra), Canada, and Spain.


title: Tab (drink)

text: Tab was available in Australia in the 1960s to 1980s. It was also sold in the United Kingdom from the late 1970s to the mid-1990s.


title: Tab (drink)

text: As part of their efforts to scale back on under-performing brands during the COVID-19 pandemic, in October 2020 Coca-Cola announced that it was discontinuing Tab.


title: Tab (drink)

text: As of June 2021, Tab was still available at Coca-Cola stores in Atlanta, Orlando, and Las Vegas and select Georgia locations.


title: Tab (drink)

text: In early 2021, a group of Tab soda fans created the Save Tab Soda Committee. By July 2022, the Committee's petition had more than 5,000 names, and an active billboard campaign targeting Coca-Cola executives in Atlanta was underway.


title: Rocksteady

text: Rocksteady is a music genre that originated in Jamaica around 1966. A successor of ska and a precursor to reggae, rocksteady was the dominant style of music in Jamaica for nearly two years, performed by many of the artists who helped establish reggae, including harmony groups such as the Techniques, the Paragons, the Heptones and the Gaylads; soulful singers such as Alton Ellis, Delroy Wilson, Bob Andy, Ken Boothe and Phyllis Dillon; musicians such as Jackie Mittoo, Lynn Taitt and Tommy McCook. The term "rocksteady" comes from a popular (slower) dance style mentioned in the Alton Ellis song "Rocksteady", that matched the new sound. Some rocksteady songs became hits outside Jamaica, as with ska, helping to secure the international base reggae music has today.


title: Rocksteady

text: The Jamaican musicians and producers who developed the rocksteady sound and ska were well-versed in jazz and influenced by other genres, most notably rhythm and blues, and by Caribbean music plus African music.


title: Rocksteady

text: The perceived tempo became slower with the development of rocksteady than it had been in ska. The guitar and piano players began to experiment with occasional accents around the basic offbeat pattern.


title: Rocksteady

text: The slowing that occurred with rocksteady allowed bass players to explore more fat, dark, loose, slow tones than ska bass. The slower tempo and smaller band-sizes in turn led to a much larger focus on the bass line in general, which eventually became one of the recognizable characteristics of Jamaican music. In rocksteady, the lead guitar often doubles the bass line, in the muted picking style created by Lynn Taitt (as on "Run for Cover" by Lee "Scratch" Perry).


title: Rocksteady

text: Due in part to the heavy borrowing from US soul songs, many rocksteady songs are love songs; e.g. "Sharing You" by Prince Buster, which is a cover of a soul singer Mitty Collier's original, and "Queen Majesty" by the Techniques, which is a cover of "Minstrel and Queen" by the Impressions.


title: Rocksteady

text: There are rocksteady songs about religion and the Rastafari movement, though not to the same extent as in reggae. Rocksteady coincided with the rise of rude boys and some rocksteady songs reflect this (usually negatively) such as "Rude Boy Gone A Jail" by the Clarendonians and, most famously, "Judge Dread" by Prince Buster.


title: Rocksteady

text: Alton Ellis was anti-rudie, and Alton Ellis and the Flames' "Cry Tough", released before the term rocksteady was in vogue, urged Jamaicans in the ghettos to stay tough through the hard times.


title: Rocksteady

text: As a popular musical style, rocksteady was short-lived; its heyday only lasted about two years, from around summer 1966 until spring 1968.


title: Rocksteady

text: Also, in the middle to later part of the decade, as ska began to fade in popularity and the optimism that accompanied Independence in 1962 dwindled, young people from the Jamaican countryside were flooding into the urban ghettos of Kingston—in neighborhoods such as Riverton City, Greenwich Town and Trenchtown. Many of them became delinquents who exuded a certain coolness and style. These unruly youths became known as rude boys.


title: Rocksteady

text: Alton Ellis is sometimes said to be the father of rocksteady for his hit "Rocksteady", but other candidates for the first rocksteady single include "Take It Easy" by Hopeton Lewis, "Tougher Than Tough" by Derrick Morgan and "Hold Them" by Roy Shirley.


title: Rocksteady

text: In a Jamaican radio interview, pianist Gladstone Anderson said that bandleader Lynn Taitt made a suggestion to slow the music down whilst recording "Take It Easy". Taitt backed this up in a 2002 interview, stating: "I told 'Gladdy to slow the tempo and that's how Take It Easy and rocksteady came about. Rocksteady is really slow ska."


title: Rocksteady

text: The record producer Duke Reid released Alton Ellis' "Girl I've Got a Date" on his Treasure Isle label, as well as recordings by the Techniques, the Silvertones, the Jamaicans and the Paragons. Reid's work with these groups helped establish the vocal sound of rocksteady. Some would consider the rocksteady years to be Treasure Isle's best. Rocksteady's dominance meant that all record labels of the time released music in the genre; Studio One, Bunny Lee and Prince Buster were predominant, with Reid.


title: Rocksteady

text: Notable solo artists include Delroy Wilson, Ken Boothe and Phyllis Dillon (known as the "Queen of Rocksteady"). Other musicians who were crucial in creating rocksteady included keyboard player Jackie Mittoo, drummers Joe Isaacs and Winston Grennan, bassist Jackie Jackson and saxophonist Tommy McCook. When ska band the Skatalites disbanded (64/65—accounts vary) McCook went to work at the Treasure Isle label and Jackie Mittoo went to the Studio One label—these two artists/arrangers became instrumental in the way these two labels became dominant and helped to form the sound of Rocksteady.


title: Rocksteady

text: Despite its short lifespan, rocksteady's influence is great. Many reggae artists began in rocksteady (and/or ska)—most commonly reggae singers grew out of rocksteady groups, e.g., Junior Byles came from the Versatiles, John Holt was in the Paragons, both Pat Kelly and Slim Smith sang with the Techniques (Pat Kelly sings lead on "You Don't Care") and Ronnie Davis was in the Tennors while Winston Jarrett was in the Righteous Flames. The Wailing Wailers were similarly a vocal harmony trio (modelled on the Impressions) who came from ska, through rocksteady and became a reggae band with just the one main vocalist.


title: Rocksteady

text: Derrick Harriott reflectively noted, "Ask any Jamaican musician and they'll tell you the rocksteady days were the best days of Jamaican music."


title: Rocksteady

text: Several factors contributed to the evolution of rocksteady into reggae in the late 1960s. The emigration to Canada of key musical arrangers Jackie Mittoo and Lynn Taitt—and the upgrading of Jamaican studio technology—had a marked effect on the sound and style of the recordings. Bass patterns became more complex and increasingly dominated the arrangements, and the piano gave way to the electric organ. Other developments included horns fading farther into the background; the introduction of a scratchier, more percussive rhythm guitar; the addition of African-style hand drumming, and a more precise, intricate and aggressive drumming style.


title: Rocksteady

text: Also around this time (1969–70) the use of a vocal-free or lead instrument-free dub or B-side "version" became popular in Jamaica; at the beginning this involved the use of rocksteady tracks, most notably with U-Roy deejaying over Treasure Isle rhythms (made by a young Osbourne Ruddock, later known as King Tubby, beginning with "Wake the Town"). Indeed, this collaboration provided rocksteady with an afterlife as U-Roy rocksteady-based songs rode high in the charts (1970–71), even as reggae began to establish itself as the new sound.


title: Rocksteady

text: By the late 1960s, the Rastafari movement became more popular in Jamaica and rocksteady became less popular. Many reggae songs became focused less on romance and more on black consciousness, politics and protest. The release of the 1972 film "The Harder They Come" and the rise of Jamaican superstar Bob Marley brought reggae to an international level that rocksteady never reached.


title: Rocksteady

text: Although rocksteady was a short-lived phase of Jamaican popular music, its influence on what came after: reggae, dub and dancehall is significant. Many bass lines originally created for rocksteady songs continue to be used in contemporary Jamaican music. Such as the rhythm from "Never Let Go" by Slim Smith (sometimes known as the 'answer rhythm') and "Real Rock" both from the Studio One label; "My Conversation" also sung by Slim Smith, produced by Bunny Lee; "Queen Majesty" sung by the Techniques and "Lonely Street" by the Conquerors, both for Treasure Isle label.


title: Jann Wenner

text: Jann Simon Wenner ( ; born January 7, 1946) is an American magazine magnate who is a co-founder of the popular culture magazine "Rolling Stone", and former owner of "Men's Journal" magazine. He participated in the Free Speech Movement while attending the University of California, Berkeley. Wenner, with his mentor Ralph J. Gleason, co-founded "Rolling Stone" in 1967.


title: Jann Wenner

text: Later in his career, Wenner co-founded the Rock and Roll Hall of Fame and founded other publications. As a publisher and media figure, he has faced controversy regarding Hall of Fame eligibility favoritism, the breakdown of his relationship with gonzo journalist Hunter S. Thompson, and criticism that his magazine's reviews were biased.


title: Jann Wenner

text: Wenner was born in New York City, the son of Sim and Edward Wenner. He grew up in a secular Jewish family.


title: Jann Wenner

text: His parents divorced in 1958, and he and his sisters, Kate and Merlyn, were sent to boarding schools. He completed his secondary education at the Chadwick School in 1963 and went on to attend the University of California, Berkeley. Before dropping out of Berkeley in 1966, Wenner was active in the Free Speech Movement and produced the column "Something's Happening" in the student-run newspaper, "The Daily Californian".


title: Jann Wenner

text: With the help of his mentor, "San Francisco Chronicle" jazz critic Ralph J. Gleason, Wenner landed a job at "Ramparts", a high-circulation muckraker, where Gleason was a contributing editor and Wenner worked on the magazine's spinoff newspaper.


title: Jann Wenner

text: In 1967, Wenner and Gleason founded "Rolling Stone" magazine in San Francisco. To get the magazine started, Wenner borrowed $7,500 from family members and from the family of his soon-to-be wife, Jane Schindelheim.


title: Jann Wenner

text: Throughout the 1970s and 1980s, Wenner played an integral role in popularizing writers such as Hunter S. Thompson, Ben Fong-Torres, Paul Nelson, Greil Marcus, Dave Marsh, Grover Lewis, Timothy Crouse, Timothy Ferris, Joe Klein, Cameron Crowe, Joe Eszterhas and P.J. O'Rourke. He also discovered photographer Annie Leibovitz when she was a 21-year-old San Francisco Art Institute student. Many of Wenner's proteges, such as Crowe, credit him with giving them their biggest breaks. Tom Wolfe recognized Wenner's influence in ensuring that his first novel, "The Bonfire of the Vanities", was completed, stating "I was absolutely frozen with fright about getting it done and I decided to serialize it and the only editor crazy enough to do that was Jann."


title: Jann Wenner

text: The magazine's circulation dipped briefly in the late 1970s and early 1980s as Rolling Stone responded slowly in covering the emergence of punk rock and again in the 1990s, when it lost ground to "Spin" and "Blender" in coverage of hip hop. Wenner hired former "FHM" editor Ed Needham, who was then replaced by Will Dana, to turn his flagship magazine around, and by 2006, "Rolling Stone"s circulation was at an all-time high of 1.5 million copies sold every fortnight. In May 2006, "Rolling Stone" published its 1000th edition with a holographic, 3-D cover modeled on The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" album cover.


title: Jann Wenner

text: Wenner has been involved in the conducting and writing of many of the magazine's "Rolling Stone" Interviews. His interview subjects have included: Bill Clinton, Al Gore, John Kerry, and Barack Obama for the magazine during their election campaigns and in November 2005 had an interview with U2 rockstar Bono, which focused on music and politics. Wenner's interview with Bono received a National Magazine Award nomination.


title: Jann Wenner

text: "Rolling Stone" and Wenner are chronicled in three books, "Gone Crazy and Back Again" by Robert Sam Anson, "Rolling Stone: The Uncensored History," and "Sticky Fingers:The Life and Times of Jann Wenner and Rolling Stone Magazine" by Joe Hagan. Former "Rolling Stone" journalist David Weir is working on a biography, as is poet and Beat historian Lewis MacAdams. Robin Green's memoir "The Only Girl" covers the time she worked at "Rolling Stone".


title: Jann Wenner

text: Wenner founded the magazine "Outside" in 1977; wherein William Randolph Hearst III and Jack Ford both worked for the magazine before Wenner sold it a year later. He also briefly managed the magazine "Look" and, in 1993, started the magazine "Family Life". In 1985, he bought a share in "Us Weekly", followed by a joint purchase of the magazine with The Walt Disney Company the following year. The magazine made the transition from a monthly to a weekly in 2000. In August 2006, Wenner bought out Disney's share to consolidate 100% ownership.


title: Jann Wenner

text: From 2004 to 2006, Wenner contributed approximately $63,000 to Democratic candidates and liberal organizations.


title: Jann Wenner

text: In September 2016, "Advertising Age" reported that Wenner was in the process of selling a 49% stake in "Rolling Stone" to a company from Singapore called BandLab Technologies. The new investor would have no direct involvement in the editorial content of the magazine. In October 2016, Wenner started publishing Glixel, a video games-based website.


title: Jann Wenner

text: In September 2017, Wenner Media announced that the remaining 51% of "Rolling Stone" was up for sale. That share was bought by Penske Media Corporation, who later acquired the remaining stake from BandLab.


title: Jann Wenner

text: Wenner, who was made a member of the Rock and Roll Hall of Fame Foundation in 1983, has endured controversy during his career as it relates to his involvement in the organization. Fans and supporters of several artists have placed a large amount of blame on Wenner for keeping them out of the Hall of Fame. They claim Wenner has lobbied to keep them from consideration and nomination to the Hall based on personal bias and a dislike for their music. One hit wonders have been elected to the Hall of Fame while bands with multiple decades of chart success (Styx, Foreigner, Boston, REO Speedwagon, etc.) remain excluded.


title: Jann Wenner

text: In June 2007, Monkees bassist Peter Tork alleged to the "New York Post" that Wenner is excluding the group:


title: Jann Wenner

text: Hunter S. Thompson was to provide "Rolling Stone" coverage for the 1976 presidential campaign that would appear in a book published by the magazine. Reportedly, as Thompson was waiting for a $75,000 advance check to arrive, he learned that Wenner canceled the endeavor without telling him.


title: Jann Wenner

text: Wenner then asked Thompson to travel to Vietnam to report on what appeared to be the closing of the Vietnam War. Thompson accepted and arrived with the country in chaos, just as the United States was preparing to evacuate and other journalists were scrambling to find transportation out of the region. While there, Thompson learned that Wenner had canceled this excursion as well, and Thompson found himself in Vietnam without health insurance or additional financial support. Thompson's story about the fall of Saigon would not be published in "Rolling Stone" until ten years later.


title: Jann Wenner

text: These two incidents severely strained the relationship between the author and the magazine, and Thompson contributed far less to the publication in later years.


title: Jann Wenner

text: Wenner fired rock critic Jim DeRogatis in 1996 after DeRogatis published a negative review for an album by the then-popular band Hootie and the Blowfish. Wenner pulled DeRogatis' review from the magazine. Asked by the "New York Observer" if Wenner was a fan of Hootie and the Blowfish, DeRogatis responded that Wenner "is a fan of any band that sells eight million records." Wenner fired DeRogatis the next day.


title: Jann Wenner

text: In June 2017, Wenner cut ties with Joe Hagan, the biographer he had commissioned to write his biography, "Sticky Fingers", calling the book Hagan produced "deeply flawed and tawdry, rather than substantial". Hagan had been working closely with Wenner on the book since 2013, and "Sticky Fingers" was released in October 2017.


title: Jann Wenner

text: In the summer of 1967, after "Rolling Stone" started, Wenner and Jane Schindelheim were married in a small Jewish ceremony. Wenner and his wife separated in 1995, though Jane Wenner still remains a vice president of Wenner Media. She and Wenner have three sons, Alexander Jann, Theodore "Theo" Simon, and Edward Augustus, known as Gus, head of Wenner Media's digital operations.


title: Jann Wenner

text: Since 1995, Wenner's domestic partner has been Matt Nye, a fashion designer. Together, Wenner and Nye have three children born via surrogate mothers, Noah and twins Jude and India Rose.


title: IWI Negev

text: The IWI Negev (also known as the Negev NG-5) is a 5.56×45mm NATO light machine gun developed by Israel Weapon Industries (IWI), formerly Israel Military Industries Ltd. (IMI).


title: IWI Negev

text: In 2012, IWI introduced the Negev NG-7 7.62×51mm NATO general-purpose machine gun and is used by the Israel Defense Forces (mainly in the infantry, combat engineer and special forces units). The NG stands for Next Generation.


title: IWI Negev

text: The Negev is a gas-operated selective fire light machine gun that uses propellant gases from the barrel to cycle a short-stroke gas piston operating system under the barrel and a rotary bolt locking mechanism. The bolt itself features 4 radial locking lugs that engage the barrel extension and its rotation is controlled by a pin on the bolt body, which rides inside a camming guide machined into the bolt carrier. The bolt contains a spring-powered casing extractor unit, while a lever ejector is housed inside the receiver (it is rotated by the recoiling bolt carrier).


title: IWI Negev

text: The design was meant to be reliable, especially in adverse conditions. In 1997, it was officially adopted by the Israeli Defense Forces (IDF).


title: IWI Negev

text: The Negev is striker-fired, where the bolt carrier assembly acts as the striker, and fires from an open bolt position. A lever-type fire control selector switch is provided ("A" – for fully automatic fire and "R" – for semi-automatic fire), installed on the left side of the pistol grip, which doubles as a manual safety against accidental firing. The safe "S" position disables the sear mechanism (which makes it impossible to cock the bolt carrier), by lifting the lever responsible for holding the bolt carrier in the forward position and disconnects the trigger mechanism from the sear. The weapon can be secured safe regardless of the position of the bolt carrier group. The cocking handle is equipped with a ratcheting mechanism that immobilizes the partially cocked bolt carrier.


title: IWI Negev

text: The Negev has a quick-change chrome-lined barrel that is manufactured using a cold hammer forging process. The barrel is fitted with a slotted flash suppressor and a fixed carry handle, which is used to transport the weapon and change-out an overheated barrel. The barrel can be changed only after lifting open the feed tray cover.


title: IWI Negev

text: During the weapon's initial development a barrel with a 1 in 305 mm (1:12 in) rifling twist rate was also planned, adapted for the lightweight M193 cartridge. Additionally, a multifunction muzzle device was designed, used to launch rifle grenades.


title: IWI Negev

text: The Negev's iron sights (closed-type) consist of a front post (adjustable for both windage and elevation) and a rear aperture sight with an elevation adjustment drum, with 300 to 1,000 m range settings in 100 m increments. The sight line radius is . For night-time operation the weapon is equipped with gaseous tritium-illuminated vials (supplied by Betalight): one installed in the front sight post, and two—on a notch sight under the standard aperture sight arm (before use, the rear sight leaf is pivoted forward to expose the night notch sight). A rail is integrated into the receiver top cover that allows optical day and night-time sights to be mounted to the weapon. The barrel can also be optionally fitted with mounting hardware that would allow the Negev to mount a laser pointer or reflex sight.


title: IWI Negev

text: The machine gun has a metal side-folding (right side) stock and a removable bipod, installed to the forward end of the handguard and folded under the handguard when stowed. The receiver also has slots and hooks used to secure the weapon to vehicle mounting hardware.


title: IWI Negev

text: The Negev uses the 5.56×45mm NATO intermediate cartridge and is optimized for the SS109 bullet. Field maintenance involves stripping the weapon down to six main groups: the barrel, stock, bolt carrier, bolt, bipod and return mechanism. All parts, including the quick-change barrels are fully interchangeable. The Negev NG-7 uses the 7.62×51mm NATO full-power battle rifle cartridge.


title: IWI Negev

text: The Negev feeds from an M27 disintegrating, open-link ammunition belt, carried in a 150-round fabric container that clips into the magazine well, or alternatively from a 35-round box magazine from the Galil assault rifle, or a 30-round STANAG magazine from the M16 rifle (with the use of an adapter). 200-round ammunition belt containers are also available. Belted ammunition is introduced into the feed tray port from the left side, while the magazine is inserted vertically into the magazine well at the base of the receiver.


title: IWI Negev

text: The feed system, which loosely copies the vz. 52 and the PK, uses a lever mounted on the left wall of the receiver and driven by a cam in the recoiling bolt carrier to turn a small feed pawl. The belt is pushed by the pawl only during the rearward movement of the bolt carrier.


title: Forensic Files

text: Forensic Files, originally known as Medical Detectives, is an American documentary television program that reveals how forensic science is used to solve violent crimes, mysterious accidents, and outbreaks of illness. The show was originally broadcast on TLC, narrated by Peter Thomas, and produced by Medstar Television, distributed by FilmRise, in association with truTV Original Productions. It broadcast 406 episodes from its debut on TLC in 1996 until its final episode in 2011. Reruns shown on HLN were initially retitled "Mystery Detectives" before settling on the main title of the show in 2014.


title: Forensic Files

text: A version of the program was broadcast on Five in the United Kingdom, under the name "Murder Detectives". Most of the 400 episodes are also available on the "Medical Detectives - Full Episodes" channel that is managed by distributor FilmRise.


title: Forensic Files

text: On October 1, 2019, HLN announced it had greenlit a revival of the show, titled "Forensic Files II", which began airing on February 23, 2020. Due to long-time narrator Peter Thomas' death, the show is narrated by Bill Camp.


title: Forensic Files

text: The show helped pioneer documentary-style crime-science shows. Its website says it profiles "puzzling, often baffling cases whose riddles are ultimately solved by forensic detection." The cases and people are real. Scientists and forensic experts in many fields are interviewed.


title: Forensic Files

text: Not every case is a crime. In some cases, the investigation reveals that the suspects are innocent, and that a death was an accident or suicide. Several episodes profile people who have been jailed for or convicted of a crime and ultimately exonerated by forensic evidence. Other episodes focus on accidents where consulted experts relied on forensic evidence to explain why the incident occurred, such as the 1987 King's Cross fire and the 1993 Big Bayou Canot train wreck. Many of the accident investigation episodes were originally broadcast as a separate CourtTV program, "Extreme Evidence", but are now rerun under the "Forensic Files" name and included in the "Mystery Detectives" rebranding.


title: Forensic Files

text: Although "Medical Detectives" also showed episodes about how outbreaks of mysterious illnesses were tracked (such as Hantavirus and Legionellosis), most of them have been dropped in favor of episodes about criminal cases (and occasionally civil cases).


title: Forensic Files

text: Not every episode of "Forensic Files" was narrated by Peter Thomas, a well-known voice-over talent. Four special hour-long episodes ("Payback", "Eight Men Out", "See No Evil", and "The Buddhist Monk Murders") were narrated by Peter Dean due to a scheduling conflict. These episodes were originally broadcast on TLC in 2001 and all except for one ("Eight Men Out") aired for the first time on the HLN Network in 2016.


title: Forensic Files

text: Each episode had a new 'cast', including interviews with witnesses, investigators, and forensic scientists. Many of the world's most well-known forensic analysts have appeared on the show (often in more than one episode), including Henry Lee, Cyril Wecht, William M. Bass, Alec Jeffreys, Skip Palenik, and Richard Souviron.


title: Forensic Files

text: For the dramatic recreations, "lookalike" actors and models resembling the main figures in the story were found through a casting company in Allentown, Pennsylvania, or through "open" casting calls in New York and other cities.


title: Forensic Files

text: Forensic Files II is different in one respect: it does not show the faces of the people who are re-creating the situation. "We don’t use dialogue in our recreations and [unlike the original series] we don’t shoot faces, like lookalikes or actors," Executive Producer Duffy said.


title: Forensic Files

text: The program began on the TLC Network in April 1996 as "Medical Detectives". Old episodes of "Medical Detectives" now air on TruTV under the "Forensic Files" label. Overseas, the show airs under these two titles, and others, on various channels in over 100 countries. It is distributed by CABLEready.


title: Forensic Files

text: For the first four seasons under the "Medical Detectives" name, the format of the show was generally the same as it would be in later seasons under its "Forensic Files" name, but there were slight differences. During the opening credits and after the title display of the show, the titles of the episodes appeared and they were each displayed distinctively. For example, "The Disappearance of Helle Crafts" depicted a jigsaw puzzle coming together that displayed a picture of Helle Crafts and this picture lead into the episode (under the "Forensic Files" name, this picture was replaced with another), and "Raw Terror" depicted the words in big red letters against a black screen. The titles were sometimes featured in a visual representation to accommodate the subject at hand. For example, "The Southside Strangler" depicted black and white buildings coming down the screen; the buildings were displayed there in order to represent the "southside" of wherever the crime happened in and Season 2's "The Common Thread" displayed the title through a use of small "thread" strands that dangled in full-view and formed the title. The re-enactment scenes for the first couple of seasons were displayed in black and white and an eerie music score with a tunnel-like echo voice was used in order to provide a more terrifying feel to the show.