title: Dan Mullen

text: In 2014, Mullen led the Bulldogs to one of the greatest seasons in school history. He claimed his first Top 10 win at Mississippi State, as the Bulldogs knocked off #8 LSU, 34–29, at Death Valley, allowing them to enter the polls at #12. He followed that up by beating #6 Texas A&M, 48–31, in Starkville, vaulting them to third in the nation. A week later, they beat #2 Auburn, 38–23, which propelled them to the top spot in both major polls (as well as the inaugural College Football Playoff Top 25) —the highest ranking in Mississippi State's history, and the highest that any FBS team in Mississippi had been ranked at that late date in almost half a century. Losses to Alabama and Mississippi ended any hope of a national championship. The Bulldogs finished 10–2 – only the third 10-win season in school history. This netted them an appearance in the Orange Bowl, where they lost to Georgia Tech, 49–34, the third major bowl appearance in school history, after the 1937 Orange Bowl and the 1941 Orange Bowl.


title: Dan Mullen

text: On December 26, 2016, Mullen made SEC history when he became the first football coach in conference history to win a bowl game and still finish with a losing record on the season; Mississippi State finished the season with a 6–7 mark.


title: Dan Mullen

text: On February 27, 2017, Mississippi State Athletic Director John Cohen announced a four-year extension for Mullen through February 2021.


title: Dan Mullen

text: Primarily on the strength of his sterling 2014 season, Mullen was already the third-winningest coach in Mississippi State history, behind only Jackie Sherrill and Allyn McKeen. On October 14, the Bulldogs defeated Kentucky 45–7, giving Mullen his 66th win with the Bulldogs and vaulting him past McKeen to become the second-winningest coach in school history.


title: Dan Mullen

text: On November 26, 2017, Mullen signed a six-year, $36.6 million contract to become the new head coach of the Florida Gators football team. "ESPN" ranked Mullen's first recruiting class at Florida at 13, an increase of six from the previous season. After a 4–7 campaign the previous year under coach Jim McElwain, Mullen's first Gator squad went 10–3 and finished ranked No. 7 in the AP Poll after a 41–15 victory over then-No. 8 Michigan in the Peach Bowl. He led the Gators to an 11–2 record the following year including a 36–28 win over Virginia in the Orange Bowl.


title: Dan Mullen

text: In his third season at Florida, Mullen's Gators began the season 8-1 and were ranked as high as #4 as quarterback Kyle Trask put up record-breaking numbers, including a nation-high 4,125 passing yards and 43 passing touchdowns, the latter of which set a school single-season record. However, they lost their last three games while giving up 144 points, including a 55-20 loss to Oklahoma in Florida's first ever trip to the Cotton Bowl Classic. Though the offense performed well, Mullen drew increasing criticism for his seeming disinterest in the bowl game, his struggle to recruit elite players to Florida, and the Gators' pourous defense, which gave up more points per game than any Florida squad in over a century. Though many fans and observers called for Mullen to fire defensive coordinator Todd Grantham and shake up his defensive staff, he decided to keep Grantham and limited staff changes to two defensive assistant coaches.


title: Dan Mullen

text: The Gators were 3–1 and ranked No. 10 at the end of September during the 2021 season, but a series of upset losses saw Florida's record slip below .500. After blowout losses to arch-rival Georgia and 18.5-point underdog South Carolina in October, Mullen fired defensive coordinator Todd Grantham. After an overtime loss to underdog Missouri, Mullen was fired as the head coach of the Florida Gators on November 21, with the Gators' record at 5–6.


title: Dan Mullen

text: On May 14, 2022, Mullen began volunteering as a "contributing resource" for the Lake Oconee Academy Titans by AD Chris Ingle. Rumors flared days before this was released that he would be the offensive coordinator; however, GHSA By-Law #2.51 states "An athletic coach must be a professional teacher meeting the teaching requirements and be employed by only one board of education or similar governing authority." Mullen had no intention of teaching, thus the given title "contributing resource".


title: Dan Mullen

text: In 2022, Mullen became a TV broadcaster, working as a studio analyst covering college football for ABC and ESPN.


title: Dan Mullen

text: Mullen married his wife, Megan, in 2005. Together, they have two children. Mullen also has a son from a previous relationship.


title: Left-wing populism

text: Left-wing populism, also called social populism, is a political ideology that combines left-wing politics with populist rhetoric and themes. Its rhetoric often consists of anti-elitism, opposition to the Establishment, and speaking for the "common people". Recurring themes for left-wing populists include economic democracy, social justice, and scepticism of globalization. Socialist theory plays a lesser role than in traditional left-wing ideologies.


title: Left-wing populism

text: Criticism of capitalism and globalization is linked to antimilitarism, which has increased in left populist movements due to unpopular United States military operations, especially those in the Middle East. It is considered that the populist left does not exclude others horizontally and relies on egalitarian ideals. Some scholars also speak of nationalist left-wing populist movements, a feature exhibited by the Sandinista Revolution in Nicaragua or the Bolivarian Revolution in Venezuela. Unlike exclusionary or right-wing populism, left-wing populist parties tend to claim to be supportive of minority rights, as well as to an idea of nationality that is not delimited by cultural or ethnic particularisms.


title: Left-wing populism

text: With the rise of Syriza and Podemos during the European debt crisis, there has been increased debate on new left-wing populism in Europe. Traditionally, left-wing populism has been associated with the socialist movement; since the 2010s, there has been a movement close to left-wing populism in the left-liberal camp, some of which are considered social democratic positions. Bernie Sanders and Alexandria Ocasio-Cortez, self-described democratic socialists, are examples of modern left-wing populist politicians.


title: Left-wing populism

text: Cristina Fernández de Kirchner (the President of Argentina from 2007 to 2015) and her husband Néstor Kirchner were said to practice Kirchnerism, a variant of Peronism that was often mentioned alongside other Pink tide governments in Latin America. During Cristina Fernández de Kirchner's time in office, she spoke against certain free trade agreements, such as the proposed Free Trade Area of the Americas. Her administration was characterized by tax increases, especially on agricultural exports during the late 2000s commodities boom, Argentina's main export, in order to fund social programs such as the PROGRESAR university scholarships, the universal allocation per child subsidy (commonly referred to as AUH in Argentina, "Asignación Universal por Hijo"), a means-tested benefit to families with children who qualified for the subsidy, and progressive social reforms such as the recognition of same-sex marriage.


title: Left-wing populism

text: The leadership of Siles Zuazo practised left-wing populism as well as that of former socialist President Evo Morales.


title: Left-wing populism

text: Lulism is a pragmatic centre-left ideology to the extent that it is called "socialist neoliberalism", but it appeals to a progressive, common-class image and also has populist elements in terms of popular mobilization.


title: Left-wing populism

text: Rafael Correa, the former President of Ecuador, has stressed the importance of a "populist discourse" and has integrated technocrats to work within this context for the common Ecuadorians. Correa has blamed foreign non-governmental organizations for exploiting the indigenous people in the conflict between the indigenous peoples and the government.


title: Left-wing populism

text: Huey Long, the Great Depression-era Governor-turned-Senator of Louisiana, was one of the first modern American left-wing populists in the United States, advocating for wealth redistribution under his Share Our Wealth plan, which had its roots in the classical left-wing populist movement of Jacksonian democracy, which is related to the radical movement.


title: Left-wing populism

text: Meanwhile, Bernie Sanders and Alexandria Ocasio-Cortez, self-described democratic socialists, are examples of modern left-wing populist politicians. Ocasio-Cortez's Democratic primary victory over the establishment Democratic Caucus Chair Joe Crowley, a 10-term incumbent, was widely seen as the biggest upset victory in the 2018 midterm election primaries. The Nation magazine described Ocasio-Cortez as a "new rock star" who was "storming the country on behalf of insurgent populists." Elizabeth Warren is also mentioned as a representative left-wing or liberal populist, and she is sometimes evaluated as a social democrat.


title: Left-wing populism

text: The presidency of Hugo Chávez resembled a combination of folk wisdom and charismatic leadership with doctrinaire socialism.


title: Left-wing populism

text: Yesh Atid is a radical centrist or liberal party. In Israeli politics, "liberal" is not particularly a concept that is distinguished by left or right, but Yesh Atid is evaluated that it has a left-wing populist element in part. They criticize elitism that causes political corruption and demand a position on material redistribution. However, Yesh Atid has an element of economic liberalism simultaneously.


title: Left-wing populism

text: Reiwa Shinsengumi, led by Tarō Yamamoto, is a representative Japanese left-wing populist movement. While he and his party use anti-established rhetoric, they are sometimes called "liberal populist". According to experts, Yamamoto uses a simple message to spotlight single individuals left behind, including people struggling with poverty or non-permanent employment, who used to devote themselves to radical conservatism.


title: Left-wing populism

text: South Korea's leftist political party, the Progressive Party, advocates direct democracy, anti-neoliberalism and anti-imperialism. They support a liberal-nationalist foreign policy hostile to Japan.


title: Left-wing populism

text: Lee Jae-myung, one of DPK's major politicians, has been mentioned as a "populist" in some media outlets. Lee Jae-myung pledged to implement the world's first universal basic income system if elected in the 2022 South Korean presidential election but said he would not pay for it if the people opposed it. South Korea's right-wing politician Hong Joon-pyo saw Lee Jae-myung in September 2021 and accused him of being "Chávez of Gyeonggi Province". However, there is controversy in South Korea as to whether Lee Jae-myung can be viewed as a "left-wing populist" in the context of the United States or Europe. He once said he was "conservative" and suggested policies far from general left-wing populism in the United States and Europe, partially insisting on economic liberal policies such as deregulating companies on some issues. In addition, he showed a somewhat conservative tendency on some social agendas. In addition, Kim Hyun-jong, the head of the International Trade Special Division at the Lee Jae-myung Camp, met with Henry Kissinger, and Henry Kissinger gave Lee Jae-myung a handwritten autograph called "Good wishes". In addition, Lee Jae-myung's political orientation was somewhat ambiguous, so conservative journalist Dong-A Ilbo denied that he was a left-wing politician, while South Korea's far-left organization Workers' Solidarity evaluated him as a social democratic. (However, another South Korean left-wing "undongkwon" group denied that Lee Jae-myung is not a social democratic.)


title: Left-wing populism

text: The Party of Democratic Socialism was explicitly studied under left-wing populism, especially by German academics. The party was formed after the reunification of Germany, and it was similar to right-wing populists in that it relied on anti-elitism and media attention provided by charismatic leadership. The party competed for the same voter base with the right-wing populists to some extent, although it relied on a more serious platform in Eastern Germany. This was limited by anti-immigration sentiments preferred by some voters, although the lines were, for example, crossed by Oskar Lafontaine, who used a term previously associated with the Nazi Party, "Fremdarbeiter" ("foreign workers"), in his election campaign in 2005. The PDS merged into the Left Party in 2007. The Left Party is also viewed as a left-wing populist party, but it is not the basis of the party as a whole.


title: Left-wing populism

text: Syriza, which became the largest party since January 2015 elections, has been described as a left-wing populist party after its platform incorporated most demands of the popular movements in Greece during the government-debt crisis. Populist traits in Syriza's platform include the growing importance of "the People" in their rhetoric and "us/the people against them/the establishment" antagonism in campaigning. On immigration and LGBT rights, Syriza is inclusionary. Syriza itself does not accept the label "populist".


title: Left-wing populism

text: The Italian Five Star Movement (M5S), which became the largest party in the 2018 general election, has often been described as a big tent populist party, but sometimes also as a left-wing populist movement; the "five stars", which are a reference to five critical issues for the party, are public water, sustainable transport, sustainable development, right to Internet access, and environmentalism, typical proposals of left-wing populist parties. However, despite its background in left-wing politics, the M5S has often expressed right-wing views on immigration.


title: Left-wing populism

text: In September 2019, the M5S formed a government with the centre-left Democratic Party (PD) and the left-wing Free and Equal (LeU), with Giuseppe Conte at its head. The government has been sometimes referred to as a left-wing populist cabinet.


title: Left-wing populism

text: The Socialist Party has run a left-wing populist platform after dropping its communist course in 1991. Although some have pointed out that the party has become less populist over the years, it still includes anti-elitism in its recent election manifestos. It opposes what it sees as the European superstate.


title: Left-wing populism

text: The left-wing populist party Podemos achieved 8% of the national vote in the 2014 European Parliament election. Due to avoiding nativist language typical of right-wing populists, Podemos can attract left-wing voters disappointed with the political establishment without taking sides in the regional political struggle. In the 2015 election for the national parliament, Podemos reached 20.65% of the vote and became the third largest party in the parliament after the conservative People's Party with 28.71% and the Spanish Socialist Workers' Party with 22.02%. In the new parliament, Podemos holds 69 out of 350 seats, which has resulted in the end of the traditional two-party system in Spain. In a November 2018 interview with "Jacobin", Íñigo Errejón argues that Podemos requires a new "national-popular" strategy to win more elections.


title: Cosmos: A Personal Voyage

text: Cosmos: A Personal Voyage is a thirteen-part, 1980 television series written by Carl Sagan, Ann Druyan, and Steven Soter, with Sagan as presenter. It was executive-produced by Adrian Malone, produced by David Kennard, Geoffrey Haines-Stiles, and Gregory Andorfer, and directed by the producers, David Oyster, Richard Wells, Tom Weidlinger, and others. It covers a wide range of scientific subjects, including the origin of life and a perspective of our place in the universe. Owing to its bestselling companion book and soundtrack album using the title, Cosmos, the series is widely known by this title, with the subtitle omitted from home video packaging. The subtitle began to be used more frequently in the 2010s to differentiate it from the sequel series that followed.


title: Cosmos: A Personal Voyage

text: The series was first broadcast by the Public Broadcasting Service in 1980, and was the most widely watched series in the history of American public television until "The Civil War" (1990). As of 2009, it was still the most widely watched PBS series in the world. It won two Emmys and a Peabody Award, and has since been broadcast in more than 60 countries and seen by over 500 million people. A book was also published to accompany the series.


title: Cosmos: A Personal Voyage

text: "Cosmos: A Personal Voyage" has been considered highly significant since its broadcast; David Itzkoff of "The New York Times" described it as "a watershed moment for science-themed television programming".


title: Cosmos: A Personal Voyage

text: "Cosmos" was produced in 1978 and 1979 by Los Angeles PBS member station KCET on a roughly $6.3 million budget, with over $2 million additionally allocated to promotion. The program's format is similar to earlier BBC documentaries such as Kenneth Clark's "Civilisation", Jacob Bronowski's "The Ascent of Man", and David Attenborough's "Life on Earth". However, unlike those series, which were shot entirely on film, "Cosmos" used videotape for interior scenes and special effects, with film being used for exteriors and location shooting (this film-video hybrid format was common in British scripted television at the time, but less so in documentary productions). The BBC—a co-producer of "Cosmos"—later screened the series, but the episodes were cut to fit 50-minute slots.


title: Cosmos: A Personal Voyage

text: The series is notable for its groundbreaking use of special effects, which allow Sagan to seemingly walk through environments that are actually models rather than full-sized sets. The soundtrack includes pieces of music provided by Greek composer Vangelis, such as "Alpha", "Pulstar", and "Heaven and Hell Part 1" (the last movement serves as the signature theme music for the show, and is directly referenced by the title of the fourth episode). Throughout the 13 hours of the series, many tracks from several 1970s albums are used, such as "Albedo 0.39", "Meddle", "Spiral", "Ignacio", "Beaubourg", and "China". The worldwide success of the documentary series put Vangelis' music in the homes of many, and brought it to the attention of a global audience.


title: Cosmos: A Personal Voyage

text: Turner Home Entertainment purchased "Cosmos" from series producer KCET in 1989. In making the move to commercial television, the hour-long episodes were edited to shorter lengths, and Sagan shot new epilogues for several episodes, in which he discussed new discoveries—and alternative viewpoints—that had arisen since the original broadcast. A 14th episode, consisting of an interview between Sagan and Ted Turner, was also produced. This new version of the series was eventually released as a VHS box set. This same re-edited version was also released on 12" LaserDisc. Two episodes were released per disc, one episode on each side. The LaserDiscs for the various episodes were sold separately, not in a boxed set (as was done for VHS).


title: Cosmos: A Personal Voyage

text: "Cosmos" was unavailable for many years after its initial release because of copyright issues with the soundtrack music, but when it was released in 2000 on worldwide NTSC DVD, subtitles in seven languages and remastered 5.1 sound were included, as well as an alternative music and sound effects track. In 2005, The Science Channel rebroadcast the series for its 25th anniversary, with updated computer graphics and film footage, digital sound, and information about relevant scientific discoveries in the intervening 25 years. Despite being shown again on the Science Channel, the total amount of time for the original 13 episodes (780 minutes) was reduced 25% to 585 minutes (45 minutes per episode) in order to make room for commercials.


title: Cosmos: A Personal Voyage

text: In a 2009 UK release, Fremantle Media Enterprises digitally restored and remastered the original series as a five-disc DVD set which included bonus science updates.


title: Cosmos: A Personal Voyage

text: Some versions of the series, including the first North American home video release (though not the DVD release), included a specially-made fourteenth episode, which consisted of an hour-long interview between Sagan and Ted Turner, in which the two discussed the series and new discoveries made in the years since its first broadcast.


title: Cosmos: A Personal Voyage

text: The 1986 special edition of "Cosmos" features new computer animated sequences and filmed segments with Sagan, as well as new narration. It includes content from Sagan's book "Comet" and discussion of his theory of nuclear winter; this material was not used in subsequent television or home video releases. The special edition premiered as one marathon program on the TBS network, and was later broadcast in Japan, Germany, Australia, Singapore, and Argentina. It is much shorter than the original version, at four and a half hours, divided into six 45-minute episodes:


title: Cosmos: A Personal Voyage

text: The 1986 version of "Cosmos" contains a mix of music used in the original version, with a unique soundtrack composed by Vangelis specifically for the special edition. The score is often referred to as "Comet", as "Comet 16" is used during the opening and closing credits of each episode. Of the 21 cues, "Comet 16" is the only one that has been officially released, although some of the new music appears in the 2000 remastered DVD release.


title: Cosmos: A Personal Voyage

text: In 1981, a soundtrack LP was released by RCA Records shortly after the series' airing, which included the signature theme "Movement 3" (from "Symphony to the Powers B" from the album "Heaven and Hell") by Greek synthesist and composer Vangelis (catalog No. ABL 1–4003 and TMS-50061; both also released on cassette tape).


title: Cosmos: A Personal Voyage

text: In 1994, RCA Records reissued the original soundtrack compilation on compact disc and, in 2002, reissued it on its Collectables label (RCA 07863 54003-2 USA; Collectables COL-CD-6293 USA). In 2002, a special two-disc "collector's edition" of music from the series was released to coincide with the DVD reissue, containing complete versions of many of the songs from the series only available as snippets on previous releases.


title: Cosmos: A Personal Voyage

text: The main theme, titled Heaven and Hell, Part 1, but edited from Heaven and Hell Part 1 3rd Movement, was released in the UK as an edited 7" single by BBC Records (Cat No: BBC1). The 7" single did not have the quiet keyboard intro to be found on the full Vangelis LP version originally released in 1975. The B-side of the 7" single was an edited version of Alpha, taken from the Vangelis LP Albedo 0.39.


title: Cosmos: A Personal Voyage

text: On August 5, 2011, plans were announced for a sequel to the series, bringing up-to-date special effects and scientific discoveries to the themes and messages of the original series. The new 13-part series, referred to as "", was originally announced to premiere in the 2012–13 United States network television schedule, but a Twitter update from Neil deGrasse Tyson in June 2012 indicated an early 2014 release. Episodes began airing March 9, 2014 on the Fox Network and the next day on National Geographic Channel. The new series was hosted by astrophysicist Neil deGrasse Tyson and produced by the two surviving original creators, Ann Druyan and Steven Soter, with Seth MacFarlane. Another sequel series from the same team (with Tyson again hosting), "", premiered on March 9, 2020, on National Geographic.


title: Daniel Pemberton

text: Daniel Pemberton (born 3 November 1977) is an Academy Award-nominated and Emmy-winning English composer and songwriter.


title: Daniel Pemberton

text: In 1994, at the age of 16, Pemberton recorded his debut album, "Bedroom", on a multitrack cassette recorder, which caught the attention of ambient musician Pete Namlook and was released on the latter’s Fax label as part of its sub-label series.


title: Daniel Pemberton

text: This album impressed TV director Paul Wilmshurst who asked 17-year-old Pemberton to score a TV documentary he was working on. Following this he became a very in-demand composer for British television eventually graduating into feature film with his debut score to "The Awakening" from director Nick Murphy.


title: Daniel Pemberton

text: In 2013, Pemberton completed his breakthrough score of director Ridley Scott's film "The Counselor". The score was recorded at Abbey Road Studios in London.


title: Daniel Pemberton

text: Since then he has worked on countless award winning films and songs with an array of highly notable film directors and artists, including Danny Boyle, Aaron Sorkin, Ridley Scott, David O. Russell, Darren Aronofsky, Guy Ritchie, Mick Jagger, Drake and Iggy Pop.


title: Daniel Pemberton

text: In 2021, he was named "Film Composer Of The Year" by the World Soundtrack Awards and International Film Music Critics Association.


title: Daniel Pemberton

text: Pemberton was originally named the "Discovery of the Year" in 2014 at the World Soundtrack Awards and nominated as "Film Composer of the Year" in 2016, 2019, 2021 and 2022.


title: Daniel Pemberton

text: Pemberton has been nominated for an Academy Award, won an Emmy Award and been nominated four times for a Golden Globe award and three times for a BAFTA Award. In 2021 he was nominated for the Academy Award For Best Original Song and Golden Globe Award for Best Original Song for the song "Hear My Voice" from the film "The Trial of the Chicago 7" which was performed and co-written with Celeste. Pemberton and Celeste performed the song during the 2021 Oscars Ceremony from the roof of the newly opened Academy Museum in Hollywood. A new arrangement of the song was also used as a central part of the Opening Ceremony of the 2022 Commonwealth Games featuring a 1000 piece choir and guitar solos from Black Sabbath founder Tommy Iommi.


title: Daniel Pemberton

text: In 2016 his score for "Steve Jobs" was nominated for the Golden Globe Award for Best Original Score. In 2017 he was nominated for the Golden Globe Award for Best Original Song for the song "Gold" from the film of the same name which he co-wrote with Iggy Pop, Danger Mouse and the director Stephen Gaghan. In 2019 his score for "Motherless Brooklyn" was nominated for the Golden Globe Award for Best Original Score. He won an Emmy for his work on the acclaimed Paralympic documentary "Rising Phoenix" creating a score and song working alongside numerous musicians and artists with disabilities.


title: Daniel Pemberton

text: Pemberton's other notable works include the Oscar-winning animated film "", directed by Bob Persichetti, Peter Ramsey and Rodney Rothman; Danny Boyle's "Steve Jobs" and "Yesterday"; Ridley Scott's "All The Money In The World" and "The Counselor"; Aaron Sorkin's "Being The Ricardos", "Molly's Game" and "The Trial Of The Chicago 7"; "Oceans 8";"The Rescue" for which he won a Critics Choice Award for Best Score; Guy Ritchie's "The Man From U.N.C.L.E." and ""; The Palme d'Or nominated French film "Mal De Pierres" starring Marion Cotillard and directed by Nicole Garcia; Animated Dreamworks feature


title: Daniel Pemberton

text: Earlier work includes "The Awakening" starring Rebecca Hall and Dominic West and directed by Nick Murphy; "Cuban Fury" a British comedy from the producers of Shaun of the Dead starring Nick Frost; the live action short "Ghost Recon: Alpha" directed by Oscar-winners Francois Alaux and Herve De Crecy and edited by Oscar-winner Pietro Scalia; "Blood" starring Paul Bettany and Mark Strong, directed by Nick Murphy and produced by Sam Mendes; Film4 feature "In Fear" starring Alice Englert, directed by Jeremy Lovering and "Complicit" starring David Oyelowo and directed by Niall MacCormick. Pemberton also scored director Gareth Edwards' breakthrough sci-fi short film "Factory Farmed".


title: Daniel Pemberton

text: He has also composed title tunes and incidental music for several award-winning television series including "The Game", "Prey", "Ambassadors", "Peep Show", "Desperate Romantics", "Space Dive", "Occupation", "Prisoners' Wives", "Black Mirror", "My Mad Fat Diary", "Suburban Shootout", "Hell's Kitchen", "Great British Menu", "Hiroshima", "Bad Lads' Army", "That'll Teach 'Em", "", "The Yellow House", "Monster Moves", "Dirk Gently", "Napoleon" and the first series of the 2010 revival of "Upstairs Downstairs". He also has composed music for video games such as "LittleBigPlanet", "Kinect Adventures", "LittleBigPlanet 2", "The Movies" and "Trackmania Turbo". Using the alias The Daniel Pemberton TV Orchestra, some of his television themes were released on the album "TVPOPMUZIK" in 2007, while his video game work—primarily that from "LittleBigPlanet"—was released on the album "LittleBIGMusic".


title: Daniel Pemberton

text: For the 2020 Paralympics documentary film "Rising Phoenix" as well as working with disabled musicians on the score Pemberton also collaborated with disabled rappers Toni Hickman, Georgetragic and Keith Jones to create the end credits song "Rising Phoenix". which was also used in the closing ceremonies of both the 2020 Olympic and Paralympic Games.


title: Daniel Pemberton

text: Pemberton has also co-written songs such as "Jokes On You", the title track performed by Charlotte Lawrence from the film "Birds Of Prey And The Emancipation Of One Harley Quinn"; "Good Tonight" performed by Antony Ramos and "Brand New Day" performed by The Heavy from the animated Dreamworks feature film "The Bad Guys" and the title theme "Come With Me" performed by Yola from the second Netflix series of "Green Eggs And Ham". He co-wrote and produced the end titles song "Time" from the movie "Amsterdam" with Drake and performed by Giveon.


title: Daniel Pemberton

text: In 2022 he co-wrote and produced the title song "Strange Game" with Mick Jagger for the Apple TV series "Slow Horses".


title: Shampoo (film)

text: Shampoo is a 1975 American comedy film directed by Hal Ashby, and starring Warren Beatty, Julie Christie, Goldie Hawn, Lee Grant, Jack Warden, Tony Bill, and Carrie Fisher in her film debut. Co-written by Beatty and Robert Towne, the film follows a promiscuous Los Angeles hairdresser on Election Day 1968, as he juggles his relationships with several women. The film is a satire focusing on the theme of sexual politics and late-1960s sexual and social mores.


title: Shampoo (film)

text: On the eve of the 1968 United States presidential election, successful Beverly Hills hairdresser George Roundy meets with Felicia, one of his several clients/sexual partners, at his apartment. During sex, he receives a phone call from Jill, his naive, younger, up-and-coming actress girlfriend, who is suffering a panic attack, paranoid that an intruder is in her home. George rushes from his house to calm Jill, which frustrates Felicia.


title: Shampoo (film)

text: George's occupation and charisma have provided him the perfect platform from which to meet and have sex with beautiful women, including his current girlfriend. Despite this, 34-year-old George is dissatisfied with his professional life; he is the creative star of the salon in which he works, but has to play second fiddle to Norman, the "nickel-and-diming" mediocre hairdresser who owns the business.


title: Shampoo (film)

text: George dreams of setting up his own salon business, but cannot convince any bank to lend him the capital he needs. He seeks out Felicia and her unsuspecting husband Lester to bankroll him. George's meeting with Lester supplies a second secret for him to keep from his would-be benefactor; Lester's current mistress, Jackie, is George's former girlfriend, perhaps the most serious relationship he has ever had. Jackie is also best friends with Jill, making the situation even more complicated.


title: Shampoo (film)

text: Jackie arranges for George to style her hair, which he fashions nearly identically to Felicia's. Sexual tension arises between the two, and George attempts to kiss Jackie. At first, Jackie rebuffs George, but then kisses him back. They are about to have sex in the bathroom when they hear Lester announce his arrival. As Lester comes into the room, they pretend for his benefit that George is finishing styling Jackie's hair.


title: Shampoo (film)

text: Lester, who assumes George is gay because of his profession, asks George to escort Jackie to a Republican Party election-night soiree. Upon arriving, George finds himself in the same room as a number of present and former sexual partners, including Jill (who came with Johnny Pope, a film director considering her for a role in his next film) and Felicia. Jackie becomes upset, drinks too much, and behaves outrageously, so Lester asks George to take her home, but she refuses to go.


title: Shampoo (film)

text: All the principals except Felicia adjourn to a posh counterculture party at a Beverly Hills mansion, where guests indulge in alcohol, other drugs, and sexual pursuits. Lester, followed moments later by Jill and Johnny, happen upon a couple having vigorous sex in the dark on the kitchen floor. Lester comments admiringly on this tryst to Jill and Johnny, who look on through the window in stunned silence. Suddenly, the refrigerator door George had failed to properly close comes open, illuminating Jackie and him. Lester, shocked, abruptly leaves. An enraged Jill throws a chair, breaking the window, and swears at George. Jackie flees as George tries to placate Jill with an obvious lie, but Jill, unmollified, runs off to spend the night with Johnny.


title: Shampoo (film)

text: The following morning Jill confronts George at her home with one of Felicia's earrings, which she found in his bed. When she asks about his dalliances, George admits he sought a career in the beauty industry as a means to pursue beautiful women, and that his promiscuity, while making him feel like he will live forever, may mean he does not love her. Upon returning to his home, George is met by Lester and some intimidating men. George and Lester soon find mutual understanding. Lester calls Jackie a whore and mentions he is fed up with her. Lester promises George a business deal and he and the men leave.


title: Shampoo (film)

text: George subsequently goes to Jackie's house, but she worriedly flees in her car, claiming she does not want Lester to find them together. George pursues her on his motorcycle, and the two arrive on a hilltop overlook above her house. George proposes to Jackie, but she tells him it is too late; she has arranged to go to Acapulco with Lester, who has said he will divorce Felicia and marry her. Jackie leaves George alone on the overlook, from where he sadly watches her depart with Lester.


title: Shampoo (film)

text: Film scholar Emanuel Levy describes "Shampoo" as a critique of suburbia, comparing its self-contained Beverly Hills setting to the small towns depicted in films such as "Jaws" and "The Stepford Wives" (both also released in 1975). He elaborates on the film's political themes:


title: Shampoo (film)

text: The soundtrack includes songs from its setting of the late 1960s. Included in the party sequence are the Beatles ("Sgt. Pepper's Lonely Hearts Club Band" and "Lucy in the Sky with Diamonds"), Buffalo Springfield ("Mr. Soul"), Jefferson Airplane ("Plastic Fantastic Lover" and "Good Shepherd"), and Jimi Hendrix ("Manic Depression"). Also included on the soundtrack album is "Wouldn't It Be Nice" by the Beach Boys, which plays over the opening and closing credits of the film.


title: Shampoo (film)

text: Upon its release, the film generally received positive reviews from critics who lauded its talented cast and sharp, satirical writing. Praise was not universal; some critics, including Roger Ebert, pronounced it a disappointment.


title: Shampoo (film)

text: Commercially, "Shampoo" was a great success. Produced on a budget of $4 million, the film grossed $49,407,734 domestically and $60 million at the worldwide box office. It earned an estimated $23.9 million in North American rentals, making it the third-highest-grossing film of 1975, beaten only by "Jaws" and "One Flew Over the Cuckoo's Nest".


title: Shampoo (film)

text: From reviews compiled retrospectively, review aggregation website Rotten Tomatoes gives the film a score of 65% based on 37 reviews, with an average score of 6.6/10. The site's consensus reads: ""Shampoo" trains a darkly comic lens on post-Nixon America, aiming at—and often hitting—an array of timely targets". The film is recognized by American Film Institute in these lists:


title: Shampoo (film)

text: Sony Pictures Home Entertainment released "Shampoo" on DVD in January 2003. On October 16, 2018, The Criterion Collection re-released the film on Blu-ray and DVD in a special edition, featuring a new 4K scan of the original film elements.


title: Shampoo (film)

text: "Shampoo" also served as the inspiration for the 1976 exploitation film "Black Shampoo", directed by Greydon Clark, which is an example of the common blaxploitation filmmaking technique of intentionally piggybacking on the titles of hit films starring predominantly white casts to provide predominantly African American "alternatives" to the earlier films; Clark explained in an interview that his reason for making a blaxploitation film about a black male hairdresser's sexual trysts patterned after Ashby's film was that Clark did not want to make a film about a pimp, private detective or drug dealer, who were often the protagonists of blaxploitation films.


title: The House on Mango Street

text: The House on Mango Street is a 1984 novel by Mexican-American author Sandra Cisneros. Structured as a series of vignettes, it tells the story of Esperanza Cordero, a 12-year-old Chicana girl growing up in the Hispanic quarter of Chicago. Based in part on Cisneros's own experience, the novel follows Esperanza over the span of one year in her life, as she enters adolescence and begins to face the realities of life as a young woman in a poor and patriarchal community. Elements of the Mexican-American culture and themes of social class, race, sexuality, identity, and gender are interwoven throughout the novel.


title: The House on Mango Street

text: "The House on Mango Street" is considered a modern classic of Chicano literature and has been the subject of numerous academic publications in Chicano Studies and feminist theory. The book has sold more than 6 million copies, has been translated into over 20 languages and is required reading in many schools and universities across the United States.


title: The House on Mango Street

text: It was on "The New York Times" Best Seller list and is the recipient of several major literary awards, including the American Book Award from the Before Columbus Foundation. It was adapted into a stage play by Tanya Saracho, which was staged in Chicago in 2009.


title: The House on Mango Street

text: Because the novel deals with sensitive subject matters, such as domestic violence, puberty, sexual harassment, and racism, it has faced challenges and threats of censorship. In spite of this, it remains an influential coming-of-age novel and is a staple piece of literature for many young adults.


title: The House on Mango Street

text: Cisneros has discussed the relationship between her own personal experiences and Esperanza's life as depicted in "The House on Mango Street". Like her protagonist, Esperanza, Cisneros is Mexican-American and was born and raised in a Hispanic neighborhood in Chicago. Yet there are differences; for instance, where Esperanza has two brothers and a sister, Cisneros was "the only daughter in a family of seven children". Earlier, Cisneros suggested that as the only girl in a family of boys, she often felt isolated. Cisneros attributes "her impulse to create stories" to "the loneliness of those formative years".


title: The House on Mango Street

text: While completing an MFA in creative writing at the Iowa Writers Workshop, Cisneros first discovered a sense of her own ethnic "otherness", and at this time she felt marginalized "as a person of color, as a woman, as a person from working-class background". In an interview, Cisneros stated that during her graduate studies, when she began writing "The House on Mango Street", she found the academic atmosphere highly discouraging. She remembered finding her classmates' backgrounds very different than her own and realized she had little in common with them: "I was so angry, so intimidated by my classmates that I wanted to quit. But ... I found a way to write … in reaction to being there I started to have some Mango Street almost as a way of claiming this is who I am. It became my flag". Cisneros created Esperanza from these personal feelings of displacement.


title: The House on Mango Street

text: "The House on Mango Street" covers the formative years of Esperanza Cordero, a young Chicana girl living in an impoverished Chicago neighborhood with her parents and three siblings. The book opens with Esperanza, the narrator, explaining how her family first arrived on Mango Street. Before the family settled in their new home, a small and run-down building with crumbling red bricks, they moved frequently. The family has been wandering from place to place, always dreaming of the promised land of a house of their own. When they finally arrive at the house on Mango Street, which is, at last, their own house, it is not the promised land of their dreams. The parents overcome their dejection by saying that this is not the end of their moving, that it is only a temporary stop before going on to the promised house. While the house on Mango Street was a significant improvement from her family's previous dwellings, Esperanza expresses disdain towards her new home because it is not a "real" house, like the ones she has seen on TV. Esperanza constantly daydreams of a white, wooden house, with a big yard and many trees. She finds her life on Mango Street suffocating and frequently expresses her desire to escape. She begins to write poetry to express these feelings. Esperanza begins the novel with detailed descriptions of the minute behaviors and characteristics of her family members and unusual neighbors. Her descriptions provide a picture of the neighborhood and offer examples of the many influential people surrounding her. She describes time spent with her younger sister, Nenny, such as when they paraded around the neighborhood in high heels one day with their friends Rachel and Lucy. She also befriends two older girls in the neighborhood: Alicia, a promising young college student with a dead mother, and Marin, who spends her days babysitting her younger cousins. Esperanza highlights significant or telling moments both in her life and in the lives of those in her community. She mostly focuses on moments that show the difficulties that they experience, such as when Louie's cousin was arrested for stealing a car or when Esperanza's Aunt Lupe dies.


title: The House on Mango Street

text: As the vignettes progress, the novel depicts Esperanza's budding maturity and developing her own perspective of the world around her. As Esperanza eventually enters puberty, she develops sexually, physically, and emotionally. With these changes, Esperanza begins to notice and enjoy male attention. She quickly befriends Sally, an attractive girl who wears heavy makeup and dresses provocatively. Sally's father, a deeply religious and physically abusive man, prevents her from leaving their home. Sally's and Esperanza's friendship is compromised when Sally ditches Esperanza for a boy at a carnival and Esperanza is raped by a group of men. Esperanza recounts other instances of assault she experiences, like when an older man forcibly kissed her on the lips at her first job. Esperanza's traumatic experiences and observations of the women in her neighborhood, many of whom are constantly controlled by the men in their lives, only further cement her desire to escape Mango Street. It is only when Esperanza meets Rachel and Lucy's aunts, the Three Sisters, and they tell her fortune, that she realizes that her experiences on Mango Street have shaped her identity and that it will always be with her, even if she leaves. As the novel ends, Esperanza vows that after she leaves, she will return to help the people she has left behind.


title: The House on Mango Street

text: The novel is composed of forty-four interconnected vignettes, of varying lengths, ranging from one or two paragraphs to several pages. The protagonist, Esperanza, narrates these vignettes in first-person present tense.


title: The House on Mango Street

text: In the afterword for the 25th-anniversary publication of "The House on Mango Street", Cisneros commented on the style she developed for writing it: "She experiments, creating a text that is as succinct and flexible as poetry, snapping sentences into fragments so that the reader pauses, making each sentence serve her and not the other way round, abandoning quotation marks to streamline the typography and make the page as simple and readable as possible." Cisneros wanted the text to be easily read by people like those she remembered from her youth, particularly people who spent all day working with little time to devote to reading. In her words: "I wanted something that was accessible to ... someone who comes home with their feet hurting like my father."


title: The House on Mango Street

text: In 2009, Cisneros wrote a new introduction to the novel. Here she includes a few remarks on the process of writing the book. She had first come up with a title "The House on Mango Street"; under it she included several stories, poems, vignettes, that she had already written or was in the process of writing. She adds that she does not consider the book a novel but as a "jar of buttons," a group of mismatched stories. These stories were written over different periods of time, the first three were written in Iowa as a side project, for at the time Cisneros was studying for a MFA. When orchestrating this book, Cisneros wanted it to be "a book that can be opened at any page and will still make sense to the reader who doesn't know what came before or comes after." She says the people she wrote about were real, amalgamations of persons she met over the years. She tailored together events of the past and the present so that the story being told could have a beginning a middle and an end, and that all the emotions felt are hers.


title: The House on Mango Street

text: Esperanza Cordero – "The House on Mango Street" is written through the eyes of Esperanza Cordero, who is an adolescent girl living in a working-class Latino neighbourhood in Chicago. Esperanza is intrigued by the idea of being a Mexican American woman in Chicago, which reflects the author herself just 15 years prior to publishing this book. We follow this young woman coming into her sexual maturity and observe her undying struggle to make new possibilities for herself. The reader also encounters Esperanza living between two cultures, the Mexican one which she encounters through her parents and the American culture in which she finds herself living. Throughout the book, we see Esperanza reject her Chicana community as a means to forge and establish her own identity.


title: The House on Mango Street

text: As her name suggests, Esperanza is a "figure of hope, a 'fierce woman' on a complex pursuit for personal and community transformation.". Esperanza uses her house in Chicago, to question her society and the cultural customs that weigh on her due to her identity as a young Chicana woman. She observes the women of her community to find a role model of her own, and she looks at both their negative and positive aspects and uses what she has learnt from her observations to form an identity for herself.


title: The House on Mango Street

text: Magdalena "Nenny" Cordero – She is Esperanza's youngest sister, the protagonist mentions that they are both very different from one another. She is described as having slippery hair.


title: The House on Mango Street

text: Rachel and Lucy Guerrero – They are sisters, around the same age as Esperanza and Nenny, from Texas but now living on Mango street. They buy an old bike together and share it between them. They are described as having “fat popsicle lips” like the rest of their family. They all share a moment in the book where they are trying out high heels together. Until a man tries to convince Rachel to give him a kiss, that is when they give up “being beautiful.”


title: The House on Mango Street

text: Sally – She is one of Esperanza's closest friends and mentioned in several of the vignettes in the novel. There is one full vignette dedicated to this character. The author describes her as “the girl with eyes like Egypt and nylons the color of smoke.” This is the first phrase in the chapter, and it seems to embody the type of dreams Sally holds for herself. The protagonist is attracted to Sally's way of being and considers her to be a true friend, she likes being around her.


title: The House on Mango Street

text: Sally seems to represent the vicious cycle of domestic violence and repression felt by women on Mango street. She is utterly desperate to find a man to marry her, to escape the beatings and maltreatment she gets from her father at home. This ‘vicious cycle’ is seen when Esperanza goes and tells Sally's mother that her daughter is in a garden with three boys and the mother completely disregards this, her mother doesn't seem surprised or worried. Her mother cares for her cuts and bruises allowing for the violence to perpetuate, both mother and daughter give excuses to the father. The bare fact that Sally marries at such a young age to a man that ends up treating her just like her father, shows how this cycle is so ingrained in the way of life of many women, and passed from generation to generation. The author pities this character, not blaming her for what happened to her, Sally was very young and immature to fully understand her surroundings, to find a way out.


title: The House on Mango Street

text: Marin – She is a cousin of the Louie's family, neighbors of Esperanza's family, she has come to stay from Puerto Rico. She is older than Esperanza, she wears dark nylons and a lot of makeup. She has a boyfriend back in Puerto Rico, and shows off her mementos from him to the younger girls saying how he promised they would get married soon. Esperanza looks up to her, as a figure of wisdom, of knowing many things. Marin imparted a lot of advice to the younger girls. She wore shorter skirts and had pretty eyes, received a lot of attention, yet the protagonist will always remember her as someone who was always waiting for something to change, something that never came. This character represents many of the young women in the neighborhood.


title: The House on Mango Street

text: Esperanza's Mother – Esperanza's mother. One of the first descriptions is that she has hair like little rosettes, like little candy circles all curly from the pins she uses for her hair. Her mother's smell made her feel safe, her mother is her pillar, wanting the best for Esperanza. The vignette “A Smart Cookie” is dedicated to her mother. Her mother can speak two languages, can sing opera, reads, writes, she is handy around the house, she could’ve been anything she wanted, yet she regrets not having gone anywhere and dropped out of school. Her mother expressed disgusted that she dropped out of school for now having nice clothes. Several times throughout the book she encourages Esperanza to keep studying. Esperanza's mother is described as obedient with an undemanding nature.


title: The House on Mango Street

text: Alicia – Alicia is a young woman who lives in Esperanza's neighbourhood. She attends university and has a father who is thought to molest her and leave her to do all the chores. Alicia is also faced with many challenges, as women attending college at that time, especially lower-income Latina girls, was very uncommon, and the community judged her for that. Nonetheless, Alicia is thought to be a role model for Esperanza. Alicia's attendance at university allows her to escape their community and see the outside world. Returning to the neighbourhood from school, Alicia seems to have developed a disrespect for the cultural community of Mango Street and Esperanza notices that she is "stuck-up". Throughout the novel, Esperanza wishes to learn from Alicia. Ultimately, Alicia wants to be a true American and for the community to solely be part of her past.


title: The House on Mango Street

text: Alicia is an inspiration to Esperanza and listens to Esperanza's sadness when she has no one else to talk to. Esperanza learns a lot from Alicia and her lifestyle, realizing that Alicia does not "want to spend her whole life in a factory or behind a rolling pin" and instead pursues university and studies hard. Alicia plays a big role in understanding Esperanza's identity and its relationship to Mango Street. She confirms the intimacy between the two by stating "Like it or not you [Esperanza] are Mango Street."


title: The House on Mango Street

text: Aunt Lupe – Aunt Lupe is primarily present in the vignette "Born Bad," in which Esperanza scolds herself for mimicking her dying aunt. Aunt Lupe is thought to "represent the passivity that women are so revered for in Mexican culture, that passivity which makes women accepting of whatever it is their patriarchal society chooses for them." Aunt Lupe married, had kids and was a dutiful house wife. However, she suffered crippling illness that left her bedridden. Esperanza describes how her aunt went blind and her "bones gone limp as worms" She is thought to be representative of la Virgen de Guadalupe, as her proper name is Guadalupe. Aunt Lupe also encourages Esperanza to pursue writing, as she tells Esperanza that "writing would keep her free." Aunt Lupe eventually dies from her illness.


title: The House on Mango Street

text: Critics have noted that Esperanza's desire to break free from her neighborhood is not limited to a desire to escape poverty but also to escape strict gender roles she finds oppressive within her culture. Esperanza's discovery of her own feminist values, which contradict the domestic roles prescribed for Chicana women, are a crucial part of her character development throughout the novel. In keeping with this idea, Cisneros dedicates the novel "a las mujeres," or, "to the women."


title: The House on Mango Street

text: Esperanza struggles against the traditional gender roles within her own culture and the limitations that her culture imposes upon women. Scholar Jean Wyatt writes, quoting Gloria Anzaldúa, that "Mexican social myths of gender crystallize with special force in three icons: 'Guadalupe, the virgin mother who has not abandoned us, la Chingada (Malinche), the raped mother whom we have abandoned, and La Llorona, the mother who seeks her lost children.' According to the evidence of Chicana feminist writers, these 'three Our Mothers haunt the sexual and maternal identities of contemporary Mexican and Chicana women.'"


title: The House on Mango Street

text: Every female character within the novel is trapped by an abusive partner, teenage motherhood, or poverty, except Esperanza. Esperanza finds a way out of patriarchal oppression. The lesson Cisneros wishes to express is that there is always a way out for women who are trapped in one way or another. Critic María Elena de Valdés argues that gender plays a large part in the suppression of women; it forces them to diminish themselves to the service of others, particularly in domestic life. Through her writing, de Valdés says, Esperanza creates herself as a subject of her own story and distances herself from these gendered expectations.


title: The House on Mango Street

text: In an article focused on the role of high heels in the text, Lilijana Burcar argues that Cisneros offers a "critical dissection" of the role that such attributes of femininity play in constructing young women's self-image. It is argued that high heels do not only constrain women's feet but also constrain their role in society. Esperanza and her friends are given high heels to wear as part of an unofficial rite of initiation into their community, and society. We see this in the vignette entitled "The Family of Little Feet," which tells of a mother who introduces her daughters to high heels, leaving the girls with an initial glee, as if they were Cinderella. Yet this is also described as a horrifying experience for one of the girls, for she feels like she is no longer herself, that her foot is no longer her foot, as the shoe almost dissociates the woman from her body. And yet, as Burcar observes, "presented with a lesson on what it means to be a grown-up woman in American contemporary patriarchal society, the girls decide to cast away their high-heeled shoes."


title: The House on Mango Street

text: Burcar expresses Esperanza Cordero's life as one of being the “antidote” to the predestined lives lived by the other female characters. Women that have dreams but due to their circumstances and the vicious cycle of domestication forces of a patriarchal society they are confined to the same destiny of the women that came before them. A destiny that is centered in being a full-time wife, mother, in the home. Esperanza, as a character, is formed outside of those gender norms, she is presented as the only one that rebels. Choosing to set this mainly in the years of prepubescence is important for those are the years where young women are taught to become socially acceptable, they are introduced to high heels, specific forms of behaviors, etc., and like this, at a very young age, they are molded into something that fits with the rules of the community where they are to become completely dependent on a man. This is the case for Esperanza's mother, who is uncommonly knowledgeable for the demographics of women on Mango Street, yet doesn't know how to use the subway. Here, Burcar notes that "the traditional female bildungsroman has played a direct role in endorsing and upholding the cult of domesticity for women and the image of a woman as the angel in the house.” The author goes on to argue that capitalism plays a direct role in the perpetuation of the roles of women in society, as it is founded on the domestication of women where men can work and fulfill the role of “breadwinner.”


title: The House on Mango Street

text: There is economic dependency on women remaining in the home, and with these foundations that Esperanza begins with her "own quiet war. [. . .] [where she] leaves the table like a man, without putting back the chair or picking up the plate" versus being the servant, the woman, who puts back the chair and picks up the plate. Burcar argues that the novel ends on a note where it blames a patriarchal system for the entrapment of Mexican-American women in the home. For Esperanza, joining mainstream America (having a "house of [her] own") will allow her freedom as a woman. However, Burcar contends that this emancipation comes at the expense of the sacrifice of other women, women that came before her, particularly her mother.


title: The House on Mango Street

text: Episodes of patriarchal and sexual violence are prevalent in demonstrating women's issues in the Chicano community in "The House on Mango Street". McCracken argues that "we see a woman whose husband locks her in the house, a daughter brutally beaten by her father, and Esperanza's own sexual initiation through rape." As McCracken notes, many of the men portrayed in the stories "control or appropriate female sexuality by adopting one or another form of violence as if it were their innate right." The many stories of Esperanza's friend Sally is an example of this patriarchal violence, as mentioned by McCracken. Sally is forced into a life of hiding in her house and her father beats her. She later on escapes her father's violence through marriage where she is dependent and controlled by another man. As McCracken analyzes, "her father's attempts to control her sexuality cause Sally to exchange one repressive patriarchal prison for another." "The House on Mango Street" offers a glimpse of Esperanza's violent sexual initiation and also portrays the oppression and domestic abuse faced by other Chicana women. Together with Esperanza's experience of sexual abuse the "other instances of male violence in the collection-Rafaela's imprisonment, Sally's beatings, and the details of Minerva's life another young married woman whose husband beats her and throws a rock through the window-these episodes form a continuum in which sex, patriarchal power, and violence are linked."


title: The House on Mango Street

text: The theme of adolescence is dominant throughout the book. The actual timeline of the story is never specified, however, it appears to chronicle a couple of crucial years of Esperanza Cordero's life in her Chicano neighbourhood. We see her transition from a naive child into a young adolescent woman who acquires a graphic understanding of the "sexual inequality, violence, and socioeconomic disparities." Esperanza is often torn between her identity as a child and her emergence into womanhood and sexuality, especially when she witnesses her friend, Sally, enter into the Monkey Garden to kiss boys. At this moment, she looked at her "feet in their white socks and ugly round shoes. They seemed far away. They didn't seem to be my feet anymore. And the garden that had been such a good place to play didn't seem mine either."


title: The House on Mango Street

text: With coming of age, the young women in the novel begin to explore their boundaries and indulge in risky behaviours. When Esperanza, Nenny, Lucy, and Rachel are given high-heeled shoes, they experiment with walking like a woman. They often observe older women with a mix of wonder and fear for their futures. The attention men give them is unwanted by Esperanza, but her friends feel a bit more conflicted because attention from the opposite sex is representative of their self-worth. Esperanza is different than her friends; she wants to break free and live life by her own rules.


title: The House on Mango Street

text: María Elena de Valdés argues that Esperanza's "search for self-esteem and her true identity is the subtle, yet powerful, narrative thread that unites the text." The aesthetic struggle that occurs in this piece takes place in Mango Street. This location, this world, becomes involved in the inner turmoil felt by the character. The main character uses this world as a mirror to look deeply into herself as, in de Valdés's words, she "comes to embody the primal needs of all human beings: freedom and belonging." Here the character is seen trying to unite herself with the notions she has of the world around her, Mango Street.


title: The House on Mango Street

text: The relationship the protagonist has with the house itself is a pillar in this process of self-discovery, the house is in itself a living being as well, as mentioned by de Valdés. Her neighborhood engenders the battles of fear and hostility, of dualistic forces, of the notion of "I" versus "them". The character is impressed upon by these forces and they guide her growth as a person.


title: The House on Mango Street

text: The House itself plays a very important part, especially in how the narrator reacts to it. She is fully aware that she does not belong there, everything about it is described in negative terms delineating everything that it isn't versus what it is. It's by knowing where she doesn't fit that she knows to where she might fit. It is similar to the concept of light and dark. We know that darkness is the absence of light, in this case her identity exists outside of this house on mango street.


title: The House on Mango Street

text: Esperanza Cordero is an impoverished child and wishes to find a sense of belonging outside of her own neighbourhood as she feels "this isn't my house I say and shake my head as if shaking could undo the year I've lived here. I don't belong. I don't ever want to come from here." Esperanza attempts to find such belonging in the outside world as she perceives this as a safe place that would accept her. She eminants this desire to belong through little things, such as favouring English over the Spanish typically used in her community or actively desiring the purchase of a house outside of Mango Street. In other words, Esperanza's sense of belonging is absolutely dependent on separating herself from her Spanish native tongue, community and ultimately away from Mango Street.


title: The House on Mango Street

text: Marin is another character who is thought to lack belonging. Marin "is waiting for a car to stop, a start to fall, someone to change her life" and although she is supposed to leave Mango Street, the possibility is unlikely as she lacks the money and independence to leave. Esperanza sees Marin as an individual who is only capable of longing, but not able to really belong as her dreams and desires are romanticized and unrealistic.


title: The House on Mango Street

text: pages where Esperanza quotes other characters" but "English is the primary language in Cisneros's novel." This is a sign, Betz continues, that her identity is "torn" between "her English tongue [. . .] and her Spanish roots." Betz argues that "Both author and character claim themselves as English in order to flourish as writers and independent women."


title: The House on Mango Street

text: Furthermore, it is thought that the language barriers present in "The House on Mango Street" is a symbol of the boundary between one's self and the freedom and opportunities that are present in the rest of America. In addition, there is a certain value that is attributed to bilingualism in this book, while Spanish speakers are scoffed at and pitied.


title: The House on Mango Street

text: "The House on Mango Street" is an example of Chicano literature and explores the complexities of its culture. Through Esperanza Cordero, the heroine of this novel, Sandra Cisneros demonstrates that the "patriarchal Chicana Chicago community that raised her will not permit her development as a female writer". Through this book, she addresses the oppression that many women feel when growing up in Chicano communities, such as Mango Street.


title: The House on Mango Street

text: On January 22, 2020, Deadline Hollywood reported that "The House on Mango Street" would be adapted into a television series by Gaumont Film Company, who previously produced the largely Spanish language series "Narcos".


title: The House on Mango Street

text: "The House on Mango Street", Cisneros' second major publication, was released to critical acclaim, particularly earning praise from the Hispanic community for its realistic portrayals of the Hispanic experience in the United States. Bebe Moore Campbell of "The New York Times Book Review" wrote: "Cisneros draws on her rich [Latino] heritage . . . and seduces with precise, spare prose, creat[ing] unforgettable characters we want to lift off the page. She is not only a gifted writer, but an absolutely essential one." The book won Cisneros the American Book Award from the Before Columbus Foundation (1985) and is now required reading in many school curriculums across the United States.


title: The House on Mango Street

text: Despite its high praise in the realm of Latino literature, "The House on Mango Street" has also received criticism for its sensitive subject matter and has been banned from several school curriculums. The American Library Association has listed the book as a "Frequently Challenged Book with Diverse Content". For example, in 2012 the St. Helens school board in Oregon removed the book from its middle-school curriculum, expressing "concerns for the social issues presented." In response, Katie Van Winkle, a former student at St. Helens, launched a letter-writing campaign on Facebook. Her efforts to "save Mango Street" were successful and the St. Helens school board voted to keep "The House on Mango Street" in its curriculum.


title: The House on Mango Street

text: "The House on Mango Street" was also one of the 80-plus books that were part of the Tucson Unified School District's K-12 Mexican-American studies curriculum before the program was dismantled under Arizona House Bill 2281. This law "forbids classes to advocate the overthrow of the United States, promote racial resentment, or emphasize students' ethnicity rather than their individuality." When the Mexican-American Studies program was ended, all the books that were associated with it, including "The House on Mango Street", were removed from the school's curriculum.


title: The House on Mango Street

text: In response, teachers, authors, and activists formed a caravan in the spring of 2012. The caravan, called the Librotraficante Project, originated at the Alamo and ended in Tucson. Its participants organized workshops and distributed books that had been removed from the curriculum. Cisneros herself traveled with the caravan, reading "The House on Mango Street" and running workshops about Chicano literature. She brought numerous copies of the book with her, distributed them, and discussed thematic implications of her novel as well as talked about the book's autobiographical elements.


title: The House on Mango Street

text: "The House on Mango Street" has sold well over 6 million copies and has been translated into over 20 languages. For its 25th anniversary in 2008, "Mango Street" was reissued in a special Anniversary edition.


title: The House on Mango Street

text: An Introduction was included in the novel in 2009, it can be found in the 25th anniversary edition of the book .


title: Outlaw

text: An outlaw, in its original and legal meaning, is a person declared as outside the protection of the law. In pre-modern societies, all legal protection was withdrawn from the criminal, so that anyone was legally empowered to persecute or kill them. Outlawry was thus one of the harshest penalties in the legal system. In early Germanic law, the death penalty is conspicuously absent, and outlawing is the most extreme punishment, presumably amounting to a death sentence in practice. The concept is known from Roman law, as the status of "homo sacer", and persisted throughout the Middle Ages.


title: Outlaw

text: A secondary meaning of outlaw is a person who systematically avoids capture by evasion and violence to deter capture. These meanings are related and overlapping but not necessarily identical. A fugitive who is declared outside protection of law in one jurisdiction but who receives asylum and lives openly and obedient to local laws in another jurisdiction is an outlaw in the first meaning but not the second (example - William Bankes, detailed below). A fugitive who remains formally entitled to a form of trial if captured alive but avoids capture because of high risk of conviction and severe punishment if tried is an outlaw in the second sense but not first (example - Rozsa Sandor, tried and sentenced merely to a term of imprisonment when captured.).


title: Outlaw

text: In the common law of England, a "writ of outlawry" made the pronouncement "Caput lupinum" ("Let his be a wolf's head"), equating that person with a wolf in the eyes of the law. Not only was the subject deprived of all legal rights, being outside the "law", but others could kill him on sight as if he were a wolf or other wild animal. Women were declared "waived" rather than outlawed but it was effectively the same punishment.


title: Outlaw

text: Among other forms of exile, Roman law included the penalty of "interdicere aquae et ignis" ("to forbid water and fire"). Such people penalized were required to leave Roman territory and forfeit their property. If they returned, they were effectively outlaws; providing them the use of fire or water was illegal, and they could be killed at will without legal penalty.


title: Outlaw

text: "Interdicere aquae et ignis" was traditionally imposed by the tribune of the plebs, and is attested to have been in use during the First Punic War of the third century BC by Cato the Elder. It was later also applied by many other officials, such as the Senate, magistrates, and Julius Caesar as a general and provincial governor during the Gallic Wars. It fell out of use during the early Empire.


title: Outlaw

text: In English common law, an outlaw was a party who had defied the laws of the realm, by such acts as ignoring a summons to court, or fleeing instead of appearing to plead when charged with a crime. The earliest reference to outlawry in English legal texts appears in the 8th century.


title: Outlaw

text: The term "outlawry " refers to the formal procedure of declaring someone an outlaw, i.e. putting him outside the sphere of legal protection. In the common law of England, a judgment of (criminal) outlawry was one of the harshest penalties in the legal system, since the outlaw could not use the legal system for protection, e.g. from mob justice. To be declared an outlaw was to suffer a form of civil or social death. The outlaw was debarred from all civilized society. No one was allowed to give him food, shelter, or any other sort of support—to do so was to commit the crime of aiding and abetting, and to be in danger of the ban oneself. A more recent concept of "wanted dead or alive" is similar, but implies that a trial is desired (namely if the wanted person is returned alive), whereas outlawry precludes a trial.


title: Outlaw

text: An outlaw might be killed with impunity, and it was not only lawful but meritorious to kill a thief fleeing from justice—to do so was not murder. A man who slew a thief was expected to declare the fact without delay, otherwise the dead man's kindred might clear his name by their oath and require the slayer to pay weregild as for a true man.


title: Outlaw

text: By the rules of common law, a criminal outlaw did not need to be guilty of the crime for which he was an outlaw. If a man was accused of treason or felony but failed to appear in court to defend himself, he was deemed to be convicted of the said offence. If he was accused of a misdemeanour, then he was guilty of a serious contempt of court which was itself a capital crime.


title: Outlaw

text: In the context of criminal law, outlawry faded out, not so much by legal changes as by the greater population density of the country, which made it harder for wanted fugitives to evade capture; and by the adoption of international extradition pacts. It was obsolete by the time the offence was abolished in 1938. Outlawry was, however, a living practice as of 1855: in 1841, William John Bankes, who had previously been an MP for several different constituencies between 1810 and 1835, was outlawed by due process of law for absenting himself from trial for homosexuality and died in 1855 in Venice as an outlaw.


title: Outlaw

text: There was also a doctrine of civil outlawry. Civil outlawry did not carry the sentence of capital punishment. It was however imposed on defendants who fled or evaded justice when sued for civil actions like debts or torts. The punishments for civil outlawry were nevertheless harsh, including confiscation of chattels (movable property) left behind by the outlaw.


title: Outlaw

text: In the civil context, outlawry became obsolescent in civil procedure by reforms that no longer required summoned defendants to appear and plead. Still, the possibility of being declared an outlaw for derelictions of civil duty continued to exist in English law until 1879 and, in Scots law until the late 1940s. Since then, failure to find the defendant and serve process is usually interpreted in favour of the plaintiff, and harsh penalties for mere nonappearance (merely presumed flight to escape justice) no longer apply.


title: Outlaw

text: Outlawry also existed in other ancient legal codes, such as the ancient Norse and Icelandic legal code.


title: Outlaw

text: In early modern times, the term Vogelfrei and its cognates came to be used in Germany, the Low Countries and Scandinavia, referring to a person stripped of his civil rights being "free" for the taking like a bird.


title: Outlaw

text: In Germany and Slavic countries in 15th–19th centuries groups of outlaws composed from former prisoners, soldiers etc. became an important social phenomenon. They lived off robbery and their activity was often supported by local inhabitants from lower classes. The best known are Juraj Jánošík and Jakub Surovec in Slovakia, Oleksa Dovbush in Ukraine, Rózsa Sándor in Hungary, Schinderhannes and Hans Kohlhase in Germany.


title: Outlaw

text: The concept of outlawry was reintroduced to British law by several Australian colonial governments in the late 19th century to deal with the menace of bushranging. The Felons Apprehension Act (1865 No 2a) of New South Wales provided that a judge could, upon proof of sufficiently notorious conduct, issue a special bench warrant requiring a person to submit themselves to police custody before a given date, or be declared an outlaw. An outlawed person could be apprehended "alive or dead" by any of the Queen's subjects, "whether a constable or not", and without "being accountable for using of any deadly weapon in aid of such apprehension." Similar provisions were passed in Victoria and Queensland. Although the provisions of the New South Wales Felons Apprehension Act were not exercised after the end of the bushranging era, they remained on the statute book until 1976.


title: Outlaw

text: There have been several instances in military and/or political conflicts throughout history whereby one side declares the other as being "illegal", notorious cases being the use of proscription in the civil wars of the Roman Republic. In later times there was the notable case of Napoleon Bonaparte whom the Congress of Vienna, on 13 March 1815, .


title: Outlaw

text: In modern times, the government of the First Spanish Republic, unable to reduce the Cantonal rebellion centered in Cartagena, Spain, declared the Cartagena fleet to be "piratic", which allowed any nation to prey on it. Taking the opposite road, some outlaws became political leaders, such as Ethiopia's Kassa Hailu who became Emperor Tewodros II of Ethiopia.


title: Outlaw

text: Though the judgment of outlawry is now obsolete (even though it inspired the "pro forma" Outlawries Bill which is still to this day introduced in the British House of Commons during the State Opening of Parliament), romanticised outlaws became stock characters in several fictional settings. This was particularly so in the United States, where outlaws were popular subjects of newspaper coverage and stories in the 19th century, and 20th century fiction and Western movies. Thus, "outlaw" is still commonly used to mean those violating the law or, by extension, those living that lifestyle, whether actual criminals evading the law or those merely opposed to "law-and-order" notions of conformity and authority (such as the "outlaw country" music movement in the 1970s).


title: Honey locust

text: The honey locust ("Gleditsia triacanthos"), also known as the thorny locust or thorny honeylocust, is a deciduous tree in the family Fabaceae, native to central North America where it is mostly found in the moist soil of river valleys. Honey locust is highly adaptable to different environments, has been introduced worldwide, and can be an aggressive, invasive species outside of its native range.


title: Honey locust

text: The honey locust, "Gleditsia triacanthos", can reach a height of . They exhibit fast growth, but live a medium life span of about 120 years. The leaves are pinnately compound on older trees but bipinnately compound on vigorous young trees. The leaflets are (smaller on bipinnate leaves) and bright green. They turn yellow in the autumn. Honey locusts leaf out relatively late in spring, but generally slightly earlier than the black locust ("Robinia pseudoacacia"). The strongly scented, cream-colored flowers appear in late spring, in clusters emerging from the base of the leaf axils. The trees are polygamodioecious: most are strictly dioecious with male and female flowers on separate trees though some have bisexual flowers with a few male or female flowers on the same tree.


title: Honey locust

text: The fruit of the honey locust is a flat legume (pod) that matures in early autumn. The pods are generally between . The seeds are dispersed by grazing herbivores such as cattle and horses, which eat the pod pulp and excrete the seeds in droppings; the animal's digestive system assists in breaking down the hard seed coat, making germination easier. In addition, the seeds are released in the host's manure, providing fertilizer for them. Honey locust seed pods ripen in late spring and germinate rapidly when temperatures are warm enough.


title: Honey locust

text: Honey locusts commonly have thorns long growing out of the branches, some reaching lengths over ; these may be single, or branched into several points, and commonly form dense clusters. The thorns are fairly soft and green when young, harden and turn red as they age, then fade to ash grey and turn brittle when mature. These thorns are thought to have evolved to protect the trees from browsing Pleistocene megafauna, which may also have been involved in seed dispersal, but the size and spacing of them is less useful in defending against smaller extant herbivores such as deer. Thornless forms ("Gleditsia triacanthos" var. "inermis") are occasionally found growing wild and are available as nursery plants. Hybridization of honey locust with water locust ("G. aquatica") has been reported.


title: Honey locust

text: Its cultivars are popular ornamental plants, especially in the northern plains of North America where few other trees can survive and prosper. It tolerates urban conditions, compacted soil, road salt, alkaline soil, heat, and drought. The popularity is in part due to the fact that it transplants so easily. The fast growth rate and tolerance of poor site conditions make it valued in areas where shade is wanted quickly, such as new parks or housing developments, and in disturbed and reclaimed environments, such as mine tailings. Cultivars with narrow upright growth habit, such as "Northern Sentinel," are especially prized as street trees. It is resistant to spongy moths but is defoliated by another pest, the mimosa webworm. Spider mites, cankers, and galls are a problem with some trees. Many cultivated varieties do not have thorns.


title: Honey locust

text: The species is a major invasive environmental and economic weed in agricultural regions of Australia. The plant forms thickets and destroys the pasture required for livestock to survive. The thickets choke waterways and prevent both domestic and native animals from drinking and also harbour vermin. The spines cause damage to both people and domestic and native wildlife and puncture vehicle tires. In much of the Midwest of the United States the honey locust is also considered a weed tree and a pest that establishes itself in farm fields. In other regions of the world, ranchers and farmers who employ monocropping deem honey locust a nuisance weed; its fast growth allows it to out-compete grasses and other crops.


title: Honey locust

text: The pulp on the inside of the pods is edible (unlike the black locust, which is toxic) and consumed by wildlife and livestock.


title: Honey locust

text: Despite its name, the honey locust is not a significant honey plant. The name derives from the sweet taste of the legume pulp, which was used for food and traditional medicine by Native American people, and can also be used to make tea. The long pods, which eventually dry and ripen to brown or maroon, are surrounded in a tough, leathery skin that adheres strongly to the pulp within. The pulp—bright green in unripe pods—is strongly sweet, crisp and succulent in ripe pods. Dark brown tannin-rich beans are found in slots within the pulp. Likewise, its edible seed has nutritional potential, and the flour made from its cotyledons constitutes a food source with various potential uses for pastry and bakery, among other gastronomic uses.


title: Honey locust

text: Honey locusts produce a high quality, durable wood that polishes well, but the tree does not grow in sufficient numbers to support a bulk industry. However, a niche market exists for honey locust furniture. It is also used for posts and rails because of the dense, rot-resistant nature of the wood. In the past, the hard thorns of the younger trees were used as nails and the wood itself was used to fashion treenails for shipbuilding.


title: Honey locust

text: The ability of "Gleditsia" to fix nitrogen is disputed. Many scientific sources state that "Gleditsia" does not fix nitrogen. Some support this statement with the fact that "Gleditsia" does not form root nodules with symbiotic bacteria, the assumption being that without nodulation, no nitrogen fixation can occur. In contrast, many popular sources, permaculture publications in particular, claim that "Gleditsia" does fix nitrogen but by some other mechanism.


title: Honey locust

text: There are anatomical, ecological, and taxonomic indications of nitrogen fixation in non-nodulating legumes. Both nodulating and non-nodulating species have been observed to grow well in nitrogen-poor soil with non-nodulating legumes even dominating some sites. The litter and seeds of non-nodulating species contain levels of nitrogen higher than non-legumes and sometimes even higher than nodulating legumes growing on the same site. How this happens is not yet well understood but there have been some observations of nitrogenase activity in non-nodulating leguminous plants, including honey locust. Electron microscopy indicates the presence of clusters around the inner cortex of roots, just outside the xylem, that resemble colonies of rhizobial bacterioids. These may well constitute the evolutionary precursors in legumes for nitrogen fixation through nodulation. It is not known whether the non-nodulating nitrogen fixation, if it exists, benefits neighboring plants as is said to be the case with nodulating legumes.


title: Honey locust

text: In research using databases, more than 60 phytochemicals were identified from honey locust, including polyphenols, triterpenes, sterols, and saponins, with in vitro studies assessing for possible biological activity.


title: Coal Chamber

text: Coal Chamber is an American nu metal band formed by Dez Fafara and Meegs Rascón in Los Angeles, California in 1993. Prior to Coal Chamber, the two had also created the band She's in Pain, in 1992. The original lineup also consisted of bassist Rayna Foss and drummer Jon Tor. Mike Cox replaced Tor on drums shortly afterwards, and thus the Coal Chamber lineup was complete. After signing to Roadrunner Records, they released their debut album, "Coal Chamber", in 1997.


title: Coal Chamber

text: "Chamber Music" followed two years later and featured the band's only charting single in the US, "Shock the Monkey". Their third album, "Dark Days", was released in the spring of 2002. Nadja Peulen temporarily replaced Foss on bass for touring commitments, before joining on a permanent basis in 2002. Coal Chamber disbanded in 2003, after ten years together, and then reunited in 2011, with the lineup of Fefara, Cox, and Rascón, along with Chela Rhea Harper on bass. Peulen rejoined the band on bass in 2016, and Coal Chamber released their fourth album, "Rivals", in 2015, before disbanding again in 2016. They then reunited a second time in 2022.


title: Coal Chamber

text: In late 1994, Dino Cazares of Fear Factory championed a demo tape by Coal Chamber, causing a huge local stir with gigs at The Roxy Theatre and Whisky a Go Go, eventually leading Roadrunner Records to offer the band a contract.


title: Coal Chamber

text: Fafara dropped out quite suddenly due to disagreements with his wife about the band. In the spring of 1995, he reunited with Coal Chamber, which ended his marriage but revitalized the band. With a renewed sense of energy, Coal Chamber was able to regain their deal with Roadrunner by the end of 1995.


title: Coal Chamber

text: In 1996, Coal Chamber played at the first Ozzfest, acquired Mike "Bug" Cox, and recorded their first album, "Coal Chamber", which was released on February 11, 1997. The record produced one single and a video, "Loco", directed by Nathan "Karma" Cox. The video was included as an extra after the ending credits of Dee Snider's film "Strangeland". The band also recorded an exclusive song for the soundtrack, titled "Not Living".


title: Coal Chamber

text: In 1997, the band toured Europe with Machine Head, Napalm Death, and Skinlab, including a show at the Dynamo Festival in the Netherlands. Coal Chamber also supported Pantera on tour from September through December 1997, along with Anthrax. Also, in 1997 and 1998, the band opened for Megadeth during the "Cryptic Writings" tour. Their bassist Rayna Foss left after "Coal Chamber" was released, and was replaced by Nadja Peulen.


title: Coal Chamber

text: "Chamber Music" was released in 1999. With the commercial success Coal Chamber received with the album, the band toured on headlining and festival tours. The band managed to catch the attention of Ozzy Osbourne's wife Sharon Osbourne, who became their manager.


title: Coal Chamber

text: That year, Coal Chamber took part in Insane Clown Posse's Amazing Jeckel Brothers Tour, along with musicians Biohazard, Krayzie Bone, Twiztid, and Mindless Self Indulgence. While Biohazard, Mindless Self Indulgence, Krayzie Bone, and Twiztid were well received by audiences, Coal Chamber was not. Insane Clown Posse fans were not purchasing tickets, as they did not like the band. For the three shows that Coal Chamber played, there were multiple ticket refunds. ICP member Violent J and his brother, Rob, made the decision to eliminate Coal Chamber from the tour; after doing so, there were no ticket refunds for the remaining tour dates. Insane Clown Posse claimed that Coal Chamber had been removed from the tour because of equipment problems, but later revealed the true reason for their actions on "The Howard Stern Show" on August 19, 1999. On air, Osbourne, who also appeared as a guest, informed Bruce and Utsler that Coal Chamber filed a lawsuit for breach of contract.


title: Coal Chamber

text: Coal Chamber later parted ways over personal and creative differences, a theme which continued within the band, causing them to take a break from touring and resulting in their non-participation in the Tattoo the Earth tour in 2000.


title: Coal Chamber

text: The band followed up with their third album, "Dark Days", in early 2002, to mixed reviews. Bass guitarist Rayna Foss had left the band to raise her daughter shortly after the album was recorded; she was replaced by Nadja Peulen, who had taken Foss's place during her pregnancy between the first two albums. Foss fell out with frontman Dez Fafara, saying that she and her husband had "found Christ" and would be leaving Coal Chamber for good.


title: Coal Chamber

text: In May 2002, it was announced that Coal Chamber had broken up after an on-stage altercation between Fafara and Rascón during a show in Lubbock, Texas. They had been fighting verbally before the show and continued to fight on-stage, with Rascón hitting Fafara in the head with the headstock of his guitar. Fafara announced "This is the last Coal Chamber show ever!", and stormed offstage. The band attempted to continue the show with Rascón singing vocals, but soon stopped the show altogether. Cox demolished his drumkit before storming offstage. The band managed to patch things up long enough for an appearance on "Last Call with Carson Daly" and a summer tour with American Head Charge, Lollipop Lust Kill, and Medication. These were the last shows they played.


title: Coal Chamber

text: In October 2002, Cox was fired after several personal disputes with both Fafara and Rascón. The official release on the Coal Chamber website stated that the band was looking for a new drummer, although all band activities had come to a halt.


title: Coal Chamber

text: In late summer 2003, a compilation album titled "Giving the Devil His Due" was released, which included several demo tracks submitted by the band prior to their signing with Roadrunner Records in 1997, along with several alternative studio recordings and remixes of various tracks from their previous albums. Coal Chamber officially called it a day in 2003; Fafara continued with his new band DevilDriver (formerly known as Deathride).


title: Coal Chamber

text: In August 2004, Roadrunner Records released "The Best of Coal Chamber". In June 2005, Fafara stated that Coal Chamber's break was permanent and they would not be reforming. He also described a reformation as "like repeating the 4th grade again".


title: Coal Chamber

text: Fafara continued as vocalist of the metal band DevilDriver, recording seven albums: "DevilDriver", "The Fury of Our Maker's Hand", "The Last Kind Words", "Pray for Villains", "Beast", "Winter Kills", and "Trust No One". He is the only member of Coal Chamber to release an album after the disbandment. Bass guitarist Nadja Puelen created the t-shirt company CruelTees. After taking two years off to recover from a car accident, drummer Mikey "Bug" Cox joined forces with his longtime friend and Orgy member Jay Gordon—and the producer of Coal Chamber's first album - to form Machine Gun Orchestra. Guitarist Meegs Rascón formed the rock band Glass Piñata, previously known as Piñata. The group released a few demos on their website, and faced several line-up changes before eventually disbanding. Following Glass Piñata, Rascón joined the Orange County rock/electro band NEO GEO in mid-2009, although he later left the band in 2010.


title: Coal Chamber

text: Fafara and Rascón settled their differences on October 24, 2008, with Rascón joining DevilDriver on stage at the Glasshouse in Pomona, California, to play "Loco".


title: Coal Chamber

text: In September 2009, it was announced that Peulen and Cox had joined forces to form an unnamed band. They were seeking a vocalist and guitarist to complete the lineup.


title: Coal Chamber

text: In September 2011, Fafara, Cox, and Rascón officially reformed the band with bass guitarist Chela Rhea Harper, to play the Soundwave festival in Australia. In October 2012, Fafara stated that the band were "taking it slow", partly due to his commitments with DevilDriver, but he also revealed that they had begun writing new material. The band later performed at Download 2013 and toured with Sevendust, Lacuna Coil, and Stolen Babies, with performances at Rock Am Ring, Graspop Metal Meeting in Dessel, and Nova Rock festival.


title: Coal Chamber

text: Nadja Peulen officially reunited with the band in October 2013, and they signed to Napalm Records the following year, as they continued to work on a new album. This was completed in December 2014. In February 2015, Coal Chamber revealed that the album's title was "Rivals". They premiered the song "I.O.U. Nothing" online in March, and released a lyric video for "Suffer in Silence", which features Al Jourgensen, the following month. The album was released on May 19, 2015, and was their first studio album in 13 years, as well as their first to be released by Napalm Records.


title: Coal Chamber

text: In May 2016, Fafara confirmed during an interview with "Blunt" magazine that Coal Chamber was on indefinite hiatus, stating that due to the current success of his other band DevilDriver, Coal Chamber "has no place in my life whatsoever at this point." In June 2017, Fafara explained that he would start performing Coal Chamber songs with DevilDriver, coming to the realization that Coal Chamber would probably never tour or make music ever again. He then went on to say that the band is "done forever". In July 2018, Fafara officially announced that Coal Chamber was not coming back.


title: Coal Chamber

text: In 2020, Fafara spoke about the band's status during an interview with Metal Hammer. When asked about a possible reunion, Fafara stated: "I'm not gonna say no, because we've all spoken", adding, "The main thing for me is that the relationship is all good after numerous fallouts in the beginning and after some stuff went horribly wrong when we got back together to release [2015 comeback album] "Rivals". The vibe in that camp is very cool at the moment, and we all have each other's backs. I wouldn't put it past us, but right now I'm definitely concentrating on Devildriver".


title: Coal Chamber

text: Coal Chamber announced their second reunion in November 2022, as well as their scheduled appearance at the 2023 Sick New World Festival in Las Vegas, Nevada. Fefara, Rascón, Cox, and Peulen had all posted messages individually as well.


title: Coal Chamber

text: Coal Chamber have been categorized as nu metal, alternative metal, gothic metal, rap metal, and hard rock. Their self-titled album falls into the first category. Elements of hip hop and heavy metal are featured throughout the album. Coal Chamber's second album, "Chamber Music", is also mainly nu metal, with elements of other genres such as gothic rock, industrial, and electronic music. Their final has groove metal influences and moves away from their gothic older sound.


title: Coal Chamber

text: The band's influences include Bad Brains, Metallica, Duran Duran, Fear Factory, The Cure, Bauhaus, Machine Head, and Jane's Addiction.


title: Coal Chamber

text: Coal Chamber is considered to be one of the bands that defined the nu metal sound. "Alternative Press" wrote, "Nü metal would never have left the starting gates if it weren't for the achievements of Coal Chamber. Established in 1993, the L.A. outfit expertly weaved frantic hip-hop-infused vocal rhythms between chugging guitars like they always belonged together. Dez Fafara's predecessor to DevilDriver established the no-nonsense side of nü metal that bridged the gap between straight-up heavy metal and goring industrial set to an infectious tempo. "Loco" and "Fiend" paved the way for the darker side of nü metal to step into the limelight beyond the lifespan of Coal Chamber themselves."