title: Type-Moon

text: Type-Moon (stylized as TYPE-MOON) is a Japanese game company, best known for their visual novels, co-founded by author Kinoko Nasu and illustrator Takashi Takeuchi. It is also known under the name for its publishing and corporate operations, as it is the company official name, while Type-Moon is a brand name as a homage to the original doujin group. After creating the popular visual novel "Tsukihime" as a doujin soft circle, Type-Moon has since incorporated and produced the even more popular visual novel "Fate/stay night", which became its most well-known title. The latter has also been adapted into anime and manga series that have amassed a global fanbase.


title: Type-Moon

text: Type-Moon was founded by artist Takashi Takeuchi and writer Kinoko Nasu, whose first project was the novel "Kara no Kyoukai", which was originally released in October 1998 and reprinted in 2004. The company name Type-Moon comes from one of Nasu's older works, , written for the angel-themed doujin anthology "Angel Voice" in May 1999. On December 28, 2000, Type-Moon released the adult Windows visual novel "Tsukihime", which sold extremely well and amassed a large fanbase because of its comprehensive and expansive storyline and writer Kinoko Nasu's unique style of storytelling. The game led to the creation of numerous top-selling merchandise, memorabilia, and a fanbase numbering millions worldwide. "Tsukihime" was adapted soon after in 2003 into an anime series, "Lunar Legend Tsukihime", which was produced by J.C.Staff and licensed by Geneon in North America, and a manga series based upon "Lunar Legend Tsukihime" that has been published between October 2003 and September 2010.


title: Type-Moon

text: Soon after, on January 21, 2001, Type-Moon released a bonus disk to "Tsukihime", "Plus-Disk", which featured four short stories and various multimedia. In August 2001, Type-Moon released a fan disk to "Tsukihime", "Kagetsu Tohya", and soon, in April 2003, released "Tsuki-Bako", a specially packaged three-disk set that included "Tsukihime", "Plus-Disk", and "Kagetsu Tohya", as well as a remixed soundtrack for both games and more multimedia.


title: Type-Moon

text: On December 30, 2002, Type-Moon, in association with French-Bread (known as Watanabe Seisakujo before 2003), released their first fighting game, "Melty Blood", a PC-based doujin game based on the "Tsukihime" universe, which was very popular and was followed soon after by an expansion, "Melty Blood Re-ACT", released on May 20, 2004, to which a patch update, "Melty Blood Re-ACT Final Tuned", was released as a free download over the Internet. "Melty Blood" is widely considered among the best doujin 2D fighting games ever made and has been released as an arcade port, "Melty Blood: Act Cadenza", on March 25, 2005, and was released on the PS2 platform on August 10, 2006.


title: Type-Moon

text: Type-Moon soon transitioned from a doujin soft organization to a commercial organization. On 30 January 2004, they released the first commercial release, a PC-based adult visual novel game, "Fate/stay night", which broke all records on its opening day and became immensely popular. It was later adapted into an anime series that aired 24 episodes in Japan starting 6 January 2006; a second anime series that premiered on October 4, 2014; and a manga series that ran in publication between 26 December 2005 and 26 October 2012, in Monthly Shounen Ace. A sequel to "Fate/stay night", "Fate/hollow ataraxia", was released on 28 October 2005. "Fate/stay night" was also released on the PS2 platform on April 19, 2007. A prequel, "Fate/Zero", was released as a light novel written by Gen Urobuchi (from nitro+) under Kinoko Nasu's supervision, featuring art by Takashi Takeuchi, in 2006–2007, followed by an animated adaptation by ufotable in 2011–2012.


title: Type-Moon

text: In August 2019, Type-Moon announced that they established a new company called Type-Moon Studio BB, a video game development studio with former Square Enix and Atlus employee Kazuya Nino, who was a director for the series "Trauma Center", "Etrian Odyssey" and "Dragon Quest Builders" as the head of the studio. According to Nino, the company plans to develop medium to large-scale 3D games in cooperation with external developers and small-scale 2D games developed in-house.


title: Wichita Lineman

text: "Wichita Lineman" is a song written by the American songwriter Jimmy Webb in 1968. It was first recorded by the American country music artist Glen Campbell with backing from members of The Wrecking Crew and was widely covered by other artists.


title: Wichita Lineman

text: Campbell's version, which appeared on his 1968 album of the same name, reached number 3 on the US pop chart, remaining in the Top 100 for 15 weeks. In addition, the song topped the American country music chart for two weeks and the adult contemporary chart for six weeks. It was certified gold by the RIAA in January 1969. The song reached number 7 in the United Kingdom. In Canada, the single topped both the "RPM" national and country singles charts. the song had also sold 357,000 downloads in the digital era in the United States.


title: Wichita Lineman

text: In 2021, "Rolling Stone" magazine's list of the "500 Greatest Songs of All Time" ranked "Wichita Lineman" at number 206. It has been referred to as "the first existential country song". British music journalist Stuart Maconie called it "the greatest pop song ever composed"; and the BBC referred to it as "one of those rare songs that seems somehow to exist in a world of its own – not just timeless but ultimately outside of modern music". "Wichita Lineman" was featured in series 12 of BBC Radio 4's "Soul Music", a documentary series featuring stories behind pieces of music with a powerful emotional impact. In 2017, "Paste" ranked the song number two on their list of the 12 greatest Glen Campbell songs, and "Billboard" ranked the song number three on their list of the 10 greatest Glen Campbell songs.


title: Wichita Lineman

text: The single was inducted into the Grammy Hall of Fame in 2000. In 2019, the song was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".


title: Wichita Lineman

text: Jimmy Webb stated in an interview for the BBC Radio 4 "Mastertapes" programme that the song was written in response to a phone call from Campbell for a "place" or "geographical" song to follow up "By the Time I Get to Phoenix". Webb's inspiration for the lyric came while driving through Washita County in rural southwestern Oklahoma. At that time, many telephone companies were county-owned utilities, and their linemen were county employees.


title: Wichita Lineman

text: Heading westward on a straight road into the setting sun, Webb drove past a seemingly endless line of telephone poles, each looking exactly the same as the last. Then he noticed, in the distance, the silhouette of a solitary lineman atop a pole. He described it as "the picture of loneliness". Webb then "put himself atop that pole and put that phone in his hand" as he considered what the lineman was saying into the receiver.


title: Wichita Lineman

text: It was a splendidly vivid, cinematic image that I lifted out of my deep memory while I was writing this song. I thought, I wonder if I can write something about that? A blue collar, everyman guy we all see everywhere – working on the railroad or working on the telephone wires or digging holes in the street. I just tried to take an ordinary guy and open him up and say, 'Look there's this great soul, and there's this great aching, and this great loneliness inside this person and we're all like that. We all have this capacity for these huge feelings'.


title: Wichita Lineman

text: Webb delivered a demo that he regarded and labelled as an incomplete version of the song, warning the producer and arranger Al De Lory that he had not completed a third verse or a middle eight. "When I heard it I cried," Campbell said, "... because I was homesick." De Lory similarly found inspiration in the opening line. His uncle had been a lineman in Kern County, California: "I could visualise my uncle up a pole in the middle of nowhere. I loved the song right away."


title: Wichita Lineman

text: Webb's concerns about his song's shortcomings were addressed in the recording studio by adding a tremolo-infused Dano bass melodic interlude performed by Campbell, who had made his reputation in the music industry as a session guitarist with the group of uncredited Los Angeles backing musicians known today as "The Wrecking Crew", many of whom played on the recording. One of them, bassist Carol Kaye, contributed the descending six-note intro. A second six-note bass lick improvised by Kaye was copied for strings by De Lory and inserted between the two rhyming couplets of each verse.


title: Wichita Lineman

text: All the orchestral arrangements are by De Lory, who evokes the phrase "singing in the wire" using high-pitched, ethereal violins to emulate the sonic vibrations commonly induced by wind blowing across small wires and conductors, making them whistle or whine like an aeolian harp. Similarly, he employs a repeating, monotonic 'Morse code' keyboard/flute motif to mimic the electronic sounds a lineman might hear through a telephone earpiece attached to a long stretch of 'raw' telephone or telegraph line; that is, without typical line equalization and filtering ("I can hear you through the whine").


title: Wichita Lineman

text: Webb was surprised to hear that Campbell had recorded the song: "A couple of weeks later I ran into [Campbell] somewhere, and I said, 'I guess you guys didn't like the song'. 'Oh, we cut that,' he said. 'It wasn't done! I was just humming the last bit!'. 'Well, it's done now!'" After listening to the test acetates of the studio recording that Campbell had with him, Webb contributed the overdub of evocative, reverberating electronic notes and open chords heard in the intro and fadeout, respectively, of the finished track, played on his Gulbransen electric organ.


title: Wichita Lineman

text: The song contains two verses, each divided into two parts. The first part is in the key of F major, while the second is written in D major. D represents the relative minor position to F, so a D minor (as opposed to major) section would be expected. The fact that it is nevertheless set in D major is argued to contribute to the unique and appealing character of the song.


title: Wichita Lineman

text: The lyrics follow the key dichotomy, with the first part of each verse (F major) handling issues related to a lineman's job (e.g. "searchin' in the sun for another overload", "if it snows, that stretch down south won't ever stand the strain"), whereas the second part (D major) dwells on the lineman's romantic thoughts. Set off against the F major of the first part, the D major of the second part sounds distinctively mellow, which is consistent with its content.


title: Wichita Lineman

text: Webb's melancholic, jazz-tinged chord progressions, laced with minor sevenths and suspended fourths, reinforce the song's indeterminate nature by modulating from F major to D major and back without ever fully resolving:


title: Wichita Lineman

text: The song never does get ‘home’ again to the tonic – not in either verse, nor in the fadeout. This gorgeous musical setting suggests subliminally what the lyric suggests poetically: the lonely journeyman who remains suspended atop that telephone pole against that desolate prairie landscape, yearning for home.


title: Wichita Lineman

text: Many adult "middle of the road" (MOR) artists recorded the song, including Tom Jones, Johnny Mathis, Robert Goulet, Andy Williams, Bobby Goldsboro and Engelbert Humperdinck, most of them shortly after the original version was a hit. There were also many instrumental versions, including one by José Feliciano. In 2001 the instrumental band Friends of Dean Martinez included a cover version on their studio album of the same name, featuring lap steel guitarist Bill Elm. Guitarist Johnny A included an instrumental version on his 1999 release "Sometime Tuesday Morning". The song has also been covered by artists such as Ray Charles, The Dells, Billy Joel, Freedy Johnston, O.C. Smith, Willie Hutch, The Meters, These Animal Men, Maria McKee, Reg Presley of The Troggs, Sergio Mendes & Brasil '66, Kool & The Gang, Shawn Lee, Smokey Robinson and the Miracles, James Taylor, R.E.M., The Clouds, Earl Van Dyke, Zucchero Fornaciari, King Harvest, Johnny Cash, Dwight Yoakam, Wayne Newton, Tony Joe White, Stoney LaRue, B.E.F., Urge Overkill, Black Pumas, Colin Hay and The Nottingham Youth Jazz Orchestra (Combo).


title: Wichita Lineman

text: Jazz pianist Alan Pasqua developed an arrangement of the song for jazz trio that appears on his album "My New Old Friend" and Peter Erskine's album "The Interlochen Concert". Jazz pianist John Harkins played an up-tempo rendition of the song on his 2015 album "Cognition." Jazz pianist Laurence Hobgood recorded a version of the song combining a contemporary jazz trio with a string quartet.


title: Wichita Lineman

text: A soul-jazz version was also performed by Young-Holt Unlimited. A stripped-down version of the song also appears on Villagers' 2016 album "Where Have You Been All My Life" with a simple piano accompaniment.


title: Wichita Lineman

text: Other covers of the song include that of Wade Hayes, who released a version in August 1997 that peaked at number 55 on the US country music charts. It was to have been included on an album entitled "Tore Up from the Floor Up", but due to its poor chart performance, the album was delayed. That album was finally released in 1998 as "When the Wrong One Loves You Right", with the "Wichita Lineman" cover excluded.


title: Wichita Lineman

text: Guns N' Roses covered the song live during their "Not in This Life Time" world tour. The first live performance of the song was on August 30, 2017, in Edmonton, Alberta, Canada. "Rolling Stone" magazine described it as "their most unexpected cover of the tour".


title: Wichita Lineman

text: After Campbell's death, Webb sang the song with Little Big Town as a tribute during the 51st Annual Country Music Association Awards on November 8, 2017.


title: Wichita Lineman

text: Former Men at Work frontman Colin Hay recorded and released a version of this song on his 2021 cover album "I Just Don't Know What To Do With Myself".


title: Wichita Lineman

text: Lyrics that are loose translations of, or inspired by, Webb's song have been written in at least two other languages: German and Finnish.


title: Wichita Lineman

text: A German language version written by Thomas Fritsch, "Der Draht in der Sonne" (English "The Wire In the Sun"), has also been covered by Katja Ebstein.


title: Wichita Lineman

text: Finnish singer Topi Sorsakoski recorded a Finnish version of the song on his album "Yksinäisyys osa 2" in 1995.


title: Wichita Lineman

text: The song was used in the opening and closing scenes of the "Ozark" season 2 episode, "Badger", to emphasize the setting and tone of the beginning and end of Darlene and Jacob Snell's romance.


title: Wichita Lineman

text: Ron Swanson (Nick Offerman) can be heard briefly singing the song in the season four episode of "Parks and Recreation", "The Debate".


title: Wichita Lineman

text: Homer Simpson sings the song while mimicking hold music in "The Simpsons" 15th-season episode "Co-Dependents' Day".


title: Wichita Lineman

text: The KLF referenced the song in the title "Wichita Lineman Was a Song I Once Heard", on their 1990 ambient house concept album "Chill Out".


title: Wichita Lineman

text: The Decemberists paid homage to the song on their album "Picaresque" in the song "The Engine Driver".


title: Wichita Lineman

text: In the "Newsradio" Season 2 episode "In Through the Out Door", Matthew (Andy Dick) bets Joe (Joe Rogan) that the next song on the radio will be a good one. When they flip the radio on, "Wichita Lineman" is playing. Matthew admits to losing the bet, while from the next room Dave (Dave Foley) wistfully remarks that he loves this song.


title: Wichita Lineman

text: The track's fadeout was voiced over for many years by longtime English DJ Steve Wright to close his BBC Radio shows.


title: Neil Buchanan

text: Neil Buchanan (born 11 October 1956) is an English artist, photographer, and musician, best known for his work on British children's television. During his tenure as a children's television presenter, he hosted the CITV programme "Art Attack", a television program that he co-created, during its original run from 1990 to 2007, as well as "Finders Keepers" and "It's a Mystery", while he also produced and starred in CITV's "ZZZap!".


title: Neil Buchanan

text: Buchanan was born in 1956 in Aintree, which was then in the county of Lancashire. He attended Barlows Lane primary school and Liverpool Institute High School, now the Paul McCartney-sponsored Liverpool Institute of Performing Arts.


title: Neil Buchanan

text: Buchanan was in a heavy metal band called Marseille which formed in 1976: they were part of the new wave of British heavy metal scene, releasing four albums and six singles, touring America and performing with Judas Priest, Nazareth and Whitesnake. The band reformed in 2009 with a performance at The Cavern Club, Liverpool.


title: Neil Buchanan

text: Buchanan made his television debut on a Saturday morning show called "No. 73", later renamed "7T3". He had attended the original audition, having met the "No. 73" producers when his band Marseille appeared on Southern Television's "Saturday Banana". He did not become a regular until the third series of "No. 73" shown in 1983. After production ceased on 7T3 in 1988, he went on to present "Motormouth", another Saturday morning children's program made by TVS alongside Gaby Roslin. Buchanan stayed with "Motormouth" until the show's cancellation in 1992.


title: Neil Buchanan

text: He was the creator and presenter of the CITV show "Art Attack" from its inception in 1990 until the show ended in 2007. The show won two BAFTA awards.


title: Neil Buchanan

text: In March 2000, Britt Allcroft (subsequently Gullane Entertainment) purchased the rights to the series from Buchanan in a £14 million transaction.


title: Neil Buchanan

text: In 1991, he hosted the British version of "Finders Keepers", a room-raiding game show for TVS, then Scottish Television when TVS lost their license to broadcast. He co-hosted the show with Diane Youdale, the former "Gladiators" star, in its final series in 1996. He also presented "Animal Crazy" with co-host Jenny Powell for two series between 1994 and 1995 which was produced by the Media Merchants for Granada Television, and "It's a Mystery" alongside Sophie Aldred, from 1996 to 1999.


title: Neil Buchanan

text: From 1995 to 1997, Buchanan presented the awards show "The CITV Awards", which gave viewers a chance to vote on who they think should win a CITV award.


title: Neil Buchanan

text: Buchanan briefly appeared as a guest on "Celebrity Juice" on 8 November 2012 during series 8 episode 11, in which he discussed ending "Art Attack" and his current activities, playing with his band.


title: Neil Buchanan

text: In 2017, Nigel Roberts, vocalist for Marseille, announced that Buchanan had stepped away from the band owing to his consultancy work for children's television.


title: Neil Buchanan

text: In September 2020, due to rumours spreading online, Buchanan released a statement denying suggestions that he was the English-based street artist Banksy.


title: Visceral Games

text: Visceral Games (formerly EA Redwood Shores) was an American video game developer studio owned by Electronic Arts. The studio is known for the "Dead Space" series.


title: Visceral Games

text: In 1998, Electronic Arts (EA) moved from San Mateo, California to a new corporate headquarters building that they had constructed in Redwood Shores, California. In this move, they founded a studio at this location, named EA Redwood Shores, which operated under the general "EA Games" division.


title: Visceral Games

text: EA Redwood Shores's initial title was "", released in 1998. Subsequent games through 2008 were generally licensed tie-ins with movies and other properties. According to designers Ben Wanat and Wright Bagwell, EA had not been keen on producing original intellectual property (IP) during this time, but the studio was pursuing an idea of making a second sequel to "System Shock" and Vice President and General Manager Glen Schofield had been trying to coax EA's executives to let them pursue this. While they had some gameplay and ideas set for this game, the title changed upon the release of Capcom's "Resident Evil 4" in 2005, which received high critical praise and commercial success. According to Wanat and Bagwell, not only did "Resident Evil 4" alter their ideas for the "System Shock" game, but it also helped Schofield to convince EA's management to let them pursue a new title. The game became known as "Dead Space".


title: Visceral Games

text: "Dead Space" was a critical success, leading the studio to be rebranded to Visceral Games in 2009. Along with this, the studio was moved out from EA Games and became its own division under EA, being the first "genre" studio within the company, with the focus of developing third-person action games in the same vein as "Dead Space". Alongside the rebranding, two sister studios, Visceral Montreal in Montreal, Quebec alongside EA Montreal, and Visceral Melbourne in Melbourne, Australia were established.


title: Visceral Games

text: Alongside its work for "Dante's Inferno", inspired by the "Divine Comedy", Visceral had announced plans in 2009 for a title called "The Ripper", which was inspired by Jack the Ripper. "The Ripper" was confirmed to have been cancelled, potentially as early as 2009, but industry rumors suggested that a spin-out of that title "Blood Dust" had been at work at the Visceral Melbourne studio before the project was cancelled. The Visceral Melbourne studio was closed down on September 19, 2011.


title: Visceral Games

text: On its release in 2010, "Dante's Inferno" received mixed reviews, and the studio subsequently returned to "Dead Space" with its sequel "Dead Space 2", released in 2011. The sequel has similar critical success, but in 2017, it was revealed that the game was considered a financial disappointment with EA; following the studio's closure, former level design Zach Wilson estimated that with development costs around $47M and an equivalent marketing budget, EA did not recoup enough costs on 4 million in sales.


title: Visceral Games

text: Visceral continued working on the next title, "Dead Space 3", which they wanted to make in the same vein as the first title, but according to Wanat, there was concern from EA about this approach, and among other large changes, had the team introduce co-operative play into the game. Wanat described that there was pressure to make the game play faster and appeal to a broader audience, an approach that was at odds with the roots of the series in the horror genre. Though the game still had generally positives on its release in 2013, it sold far less than "Dead Space 2". EA's VP Patrick Söderlund said in a July 2013 interview, following "Dead Space 3"s that while they still valued the franchise, Visceral was not working on a fourth title, and instead had been assigned to two new projects.


title: Visceral Games

text: Visceral had also been developing "" with the Visceral Montreal studio. Upon its completion, EA let go of the whole of Visceral Montreal on February 21, 2013. One of the two projects that Visceral started working on in 2013 was "Battlefield Hardline", a "Cops and Robbers" variation on the previous "Battlefield" games. A smaller team then started working on a project called "Jamaica", a pirate-themed game.


title: Visceral Games

text: In early 2013, Disney had acquired Lucasfilm and shut down its game development studio LucasArts. EA quickly made a deal to help develop lucrative "Star Wars" games through three of its studios, including Visceral. Furthermore, Ubisoft had announced "", which also was based on a pirate theme. EA cancelled the "Jamaica" project in favor of a "Star Wars" game. The studio opted to pitch a third-person action game that maintained the spirit of "Jamaica", having players play as "space scoundrels" in an open-world-style "Star Wars" universe, and code-named this project as "Yuma". Amy Hennig, the writer for the first three "Uncharted" games from Naughty Dog, was brought into EA for Visceral as creative lead and to help write the story for "Yuma". The concept was later changed, making it about a large-scale heist and renaming it "Ragtag".


title: Visceral Games

text: EA made the decision to close down Visceral on October 17, 2017. EA reassigned the "Star Wars" game to its EA Worldwide Studios, led by EA Vancouver, and said they will revamp the gameplay. The closure of Visceral was seen as a sign of the waning interest in publishers in making games that are strictly single player, as many of Visceral's games had been. In light of these concerns, EA's CEO Andrew Wilson stated that the reason for Visceral's closure wasn't a single-player versus multiplayer game issue, but instead one based on listening to player feedback and following marketplace trends. The company felt that the current design of "Ragtag" wasn't fitting these changes and that the closure of Visceral and reassignment to another studio was because "we needed to pivot the design".


title: Ben Mee

text: Benjamin Thomas Mee (born 21 September 1989) is an English professional footballer who plays as a defender for Premier League club Brentford.


title: Ben Mee

text: Starting his career with Manchester City, Mee only played one League Cup match before being loaned out to Leicester City and Burnley, joining the latter on a permanent basis in January 2012. He has made over 300 appearances for them since then. He has also featured for the England youth teams from under-19 to under-21 level.


title: Ben Mee

text: Mee was born in Sale, Greater Manchester. He came through Manchester City's academy and signed his first professional contract with the club in September 2007. He captained the City team that won the 2007–08 FA Youth Cup. In February 2009, he signed a new two-year contract that would keep him at City until June 2011.


title: Ben Mee

text: Mee was given his first real test of first-team experience when he was taken on City's US tour in the summer of 2010, with club manager Roberto Mancini expressing that he wanted to blood his youth players and have a chance to see what they could do at a higher level than reserve fixtures. Mee made up two appearances, against the Portland Timbers and New York Red Bulls.


title: Ben Mee

text: After being given number 41 shirt, Mee followed up his tour appearances with a starting line-up appearance in the League Cup against West Bromwich Albion on 22 September 2010 in a 2–1 away loss. Alongside Mee making his debut, Javan Vidal and John Guidetti were given their first competitive appearances for the club in a match where three of the four players in the defensive line were young Elite Development Squad players and a full six of the starting line-up were aged 21 or younger and had come through the club's academy system.


title: Ben Mee

text: On 1 January 2011, Mee joined Championship club Leicester City side on loan for the rest of the 2010–11 season. After signing for the club, Mee would join his Manchester City's teammate Greg Cunningham at Leicester City. After two weeks yet playing them, Mee finally made his debut for Leicester City in a 4–2 win over Millwall. On 12 March 2011, Mee provided his first professional assist for Miguel Vítor to score his first goal in the match against Scunthorpe United which he scored twice later in the match which Leicester City won 3–0. On 25 April 2011, Mee provided his second assist for Jeffrey Bruma to score against Watford in a 4–2 win. After the end of 2010–11 season, Mee returned to Manchester City after six months at Leicester.


title: Ben Mee

text: On 14 July 2011, Mee joined Burnley on a season-long loan. He said that his good performance at Burnley could earn him a chance back at parent club Manchester City next year. On 6 August, he made his league debut in a 2–2 draw against Watford and played the full 90 minutes. On 29 November, he earned his first clean sheet for Burnley in a 4–0 win over Ipswich Town.


title: Ben Mee

text: On 10 January 2012, Burnley boss Eddie Howe expressed interest in signing Mee on a permanent basis with Manchester City sanctioning a sale just days after signing former Manchester City teammate Kieran Trippier who was also on loan at the club. Mee joined on a permanent three-and-a-half-year deal on 17 January for an undisclosed fee. His season ended after suffering a slight back fracture which he sustained during a 5–1 win over Portsmouth. In combination of his loan spell and permanent spell at Burnley, Mee finished his season with 31 appearances.


title: Ben Mee

text: In the 2012–13 season, Mee started his season when he appeared sporadic at the start until he scored his first goal for the club, in a 2–2 draw against Millwall on 28 September 2012. However soon after, he suffered a knee injury during the Lancashire derby, which kept him out for several weeks. He made his return from injury, on 11 March 2013, as Burnley and Hull City drew 1–1. In the next match six days later, Mee was sent-off after a second bookable offence when Burnley and Blackburn drew 1–1. Soon after that, he continued to be sidelined with injuries, including missing out for the rest of the season.


title: Ben Mee

text: In the 2013–14 season, Mee sustained a knee injury in a pre-season friendly and made a return, though he missed the first four matches, due to being on the bench. From late December to January, Mee had been absent twice in weeks. Despite the absence, Mee played a vital role as a left-back position, where he helped the club get promoted to Premier League and made 38 appearances.


title: Ben Mee

text: In the 2014–15 season, Mee signed a three-year contract that would keep him until 2017. He made his first Premier League start of the season in the opening match as a left-back, as Burnley lost 3–1 to Chelsea. He went on to score the late equaliser for Burnley in the reverse fixture at Stamford Bridge against Chelsea to keep the final score 1–1, his goal being the second goal of the season Chelsea conceded from a corner kick.


title: Ben Mee

text: In June 2020, Mee earned praise for his response to a banner stating "White Lives Matter" that was flown overhead during a league match against Manchester City, condemning the action and speaking of his desire for equality in football and society. On 29 July 2020, Burnley triggered an option in Mee's contract to extend his stay at Turf Moor until 2022.


title: Ben Mee

text: Mee, along with Paul Jenkins and Connor King, was appointed an assistant to Mike Jackson on 15 April 2022 after Sean Dyche was dismissed as manager. Burnley announced on June 10 that Mee would leave the club at the end of June when his contract expired.


title: Ben Mee

text: Mee signed for Premier League club Brentford on 22 July 2022 on a two-year contract. On his home debut, Mee scored his first Brentford goal in a 4–0 win over Manchester United on 13 August, helping the Bees secure their first league victory over United since 1937.


title: Ben Mee

text: At the international level, Mee has represented England at under-21 level, making his debut as a substitute in a friendly against Germany.


title: Asystole

text: Asystole (New Latin, from Greek privative a "not, without" + "systolē" "contraction") is the absence of ventricular contractions in the context of a lethal heart arrhythmia (in contrast to an induced asystole on a cooled patient on a heart-lung machine and general anesthesia during surgery necessitating stopping the heart). Asystole is the most serious form of cardiac arrest and is usually irreversible. Also referred to as cardiac flatline, asystole is the state of total cessation of electrical activity from the heart, which means no tissue contraction from the heart muscle and therefore no blood flow to the rest of the body.


title: Asystole

text: Asystole should not be confused with very brief pauses in the heart's electrical activity—even those that produce a temporary flatline—that can occur in certain less severe abnormal rhythms. Asystole is different from very fine occurrences of ventricular fibrillation, though both have a poor prognosis, and untreated fine VF will lead to asystole. Faulty wiring, disconnection of electrodes and leads, and power disruptions should be ruled out.


title: Asystole

text: Asystolic patients (as opposed to those with a "shockable rhythm" such as coarse or fine ventricular fibrillation, or unstable ventricular tachycardia that is not producing a pulse, which can potentially be treated with defibrillation) usually present with a very poor prognosis. Asystole is found initially in only about 28% of cardiac arrest cases in hospitalized patients, but only 15% of these survive, even with the benefit of an intensive care unit, with the rate being lower (6%) for those already prescribed drugs for high blood pressure.


title: Asystole

text: Asystole is treated by cardiopulmonary resuscitation (CPR) combined with an intravenous vasopressor such as epinephrine (a.k.a. adrenaline). Sometimes an underlying reversible cause can be detected and treated (the so-called "Hs and Ts", an example of which is hypokalaemia). Several interventions previously recommended—such as defibrillation (known to be ineffective on asystole, but previously performed in case the rhythm was actually very fine ventricular fibrillation) and intravenous atropine—are no longer part of the routine protocols recommended by most major international bodies. 1 mg epinephrine by IV every 3–5 minutes is given for asystole.


title: Asystole

text: Survival rates in a cardiac arrest patient with asystole are much lower than a patient with a rhythm amenable to defibrillation; asystole is itself not a "shockable" rhythm. Even in those cases where an individual suffers a cardiac arrest with asystole and it is converted to a less severe shockable rhythm (ventricular fibrillation, or ventricular tachycardia), this does not necessarily improve the person's chances of survival to discharge from the hospital, though if the case was witnessed by a civilian, or better, a paramedic, who gave good CPR and cardiac drugs, this is an important confounding factor to be considered in certain select cases. Out-of-hospital survival rates (even with emergency intervention) are less than 2 percent.


title: Asystole

text: Possible underlying causes, which may be treatable and reversible in certain cases, include the Hs and Ts.


title: Asystole

text: While the heart is asystolic, there is no blood flow to the brain unless CPR or internal cardiac massage (when the chest is opened and the heart is manually compressed) is performed, and even then it is a small amount. After many emergency treatments have been applied but the heart is still unresponsive, it is time to consider pronouncing the patient dead. Even in the rare case that a rhythm reappears, if asystole has persisted for fifteen minutes or more, the brain will have been deprived of oxygen long enough to cause severe hypoxic brain damage, resulting in brain death or persistent vegetative state.


title: Leigh Lawson

text: Lawson was born in Atherstone, Warwickshire. He initially studied at Mountview Academy of Theatre Arts before training further at the Royal Academy of Dramatic Art, Lawson has acted in film and television since the early 1970s, and has directed plays in the West End and on Broadway. He has worked with the National Theatre, Royal Shakespeare Company (RSC) and with film directors such as Roman Polanski and Franco Zeffirelli. He has been quoted as saying that the only time in his career when he didn't feel he should be somewhere else doing something else was when he was with the RSC. Lawson's portrayals in films include Bernardo in "Brother Sun, Sister Moon" (1972) and Alec d'Urberville in "Tess" (1979). He played the leading role as Alan Lomax in the television drama series "Travelling Man" (1984–85), and guest starred in television series such as "The Duchess of Duke Street" (1976), "Disraeli" (1978), "Feuer und Schwert - Die Legende von Tristan und Isolde" (1982), "The Ray Bradbury Theatre" (1988) and "Silent Witness" (2005–2007). He also guested, with his wife Twiggy, playing themselves in an episode of the comedy series, "Absolutely Fabulous" (2001).


title: Leigh Lawson

text: In 1999 Lawson co-wrote and directed the musical "If Love Were All", which tells of the friendship between Gertrude Lawrence and Noël Coward. "The Dream: An Actor's Story", a theatrical memoir about the day-to-day life of a working actor, was published in September 2009. ()


title: Leigh Lawson

text: In 1976, Lawson and his first wife, Mondy, were divorced. He met the actress Hayley Mills in 1975, when they performed in London's West End in "A Touch of Spring"; the following year, they had a son, Jason. Lawson also served as a stepfather to Crispian Mills, Mills's son with director Roy Boulting. During that time, he appeared with Mills's father, John Mills, in the film "The Devil's Advocate" (1977). Lawson and Mills ended their relationship in the mid-1980s.


title: Leigh Lawson

text: Lawson met the model Twiggy in 1984. In 1988, they both worked in the film "Madame Sousatzka" and were married on 23 September that year, in Tony Walton's back yard in Sag Harbor, Long Island. The couple reside in West London and also own a home in Southwold, Suffolk.


title: Leigh Lawson

text: He adopted Twiggy's daughter, Carly, who took his surname. Lawson has played a large part in the lives of his children and of his nephew, Saul Dismont, who is the son of Lawson's sister and Bermuda politician Russell Dismont.


title: Liar paradox

text: In philosophy and logic, the classical liar paradox or liar's paradox or antinomy of the liar is the statement of a liar that they are lying: for instance, declaring that "I am lying". If the liar is indeed lying, then the liar is telling the truth, which means the liar just lied. In "this sentence is a lie" the paradox is strengthened in order to make it amenable to more rigorous logical analysis. It is still generally called the "liar paradox" although abstraction is made precisely from the liar making the statement. Trying to assign to this statement, the strengthened liar, a classical binary truth value leads to a contradiction.


title: Liar paradox

text: If "this sentence is false" is true, then it is false, but the sentence states that it is false, and if it is false, then it must be true, and so on.


title: Liar paradox

text: The Epimenides paradox (circa 600 BC) has been suggested as an example of the liar paradox, but they are not logically equivalent. The semi-mythical seer Epimenides, a Cretan, reportedly stated that "All Cretans are liars." However, Epimenides' statement that all Cretans are liars can be resolved as false, given that he knows of at least one other Cretan who does not lie (alternatively, it can be taken as merely a statement that all Cretans tell lies, not that they tell "only" lies).


title: Liar paradox

text: The paradox's name translates as "pseudómenos lógos" (ψευδόμενος λόγος) in Ancient Greek. One version of the liar paradox is attributed to the Greek philosopher Eubulides of Miletus, who lived in the 4th century BC. Eubulides reportedly asked, "A man says that he is lying. Is what he says true or false?"


title: Liar paradox

text: The Indian grammarian-philosopher Bhartrhari (late fifth century AD) was well aware of a liar paradox which he formulated as "everything I am saying is false" (sarvam mithyā bravīmi). He analyzes this statement together with the paradox of "unsignifiability" and explores the boundary between statements that are unproblematic in daily life and paradoxes.


title: Liar paradox

text: There was discussion of the liar paradox in early Islamic tradition for at least five centuries, starting from late 9th century, and apparently without being influenced by any other tradition. Naṣīr al-Dīn al-Ṭūsī could have been the first logician to identify the liar paradox as self-referential.


title: Liar paradox

text: The problem of the liar paradox is that it seems to show that common beliefs about truth and falsity actually lead to a contradiction. Sentences can be constructed that cannot consistently be assigned a truth value even though they are completely in accord with grammar and semantic rules.


title: Liar paradox

text: If (A) is true, then "This statement is false" is true. Therefore, (A) must be false. The hypothesis that (A) is true leads to the conclusion that (A) is false, a contradiction.


title: Liar paradox

text: If (A) is false, then "This statement is false" is false. Therefore, (A) must be true. The hypothesis that (A) is false leads to the conclusion that (A) is true, another contradiction. Either way, (A) is both true and false, which is a paradox.


title: Liar paradox

text: However, that the liar sentence can be shown to be true if it is false and false if it is true has led some to conclude that it is "neither true nor false". This response to the paradox is, in effect, the rejection of the claim that every statement has to be either true or false, also known as the principle of bivalence, a concept related to the law of the excluded middle.


title: Liar paradox

text: The proposal that the statement is neither true nor false has given rise to the following, strengthened version of the paradox:


title: Liar paradox

text: If (B) is neither true nor false, then it must be not true. Since this is what (B) itself states, it means that (B) must be true. Since initially (B) was not true and is now true, another paradox arises.


title: Liar paradox

text: Another reaction to the paradox of (A) is to posit, as Graham Priest has, that the statement is both true and false. Nevertheless, even Priest's analysis is susceptible to the following version of the liar:


title: Liar paradox

text: If (C) is both true and false, then (C) is only false. But then, it is not true. Since initially (C) was true and is now not true, it is a paradox. However, it has been argued that by adopting a two-valued relational semantics (as opposed to functional semantics), the dialetheic approach can overcome this version of the Liar.


title: Liar paradox

text: There are also multi-sentence versions of the liar paradox. The following is the two-sentence version:


title: Liar paradox

text: Assume (D1) is true. Then (D2) is true. This would mean that (D1) is false. Therefore, (D1) is both true and false.


title: Liar paradox

text: Assume (D1) is false. Then (D2) is false. This would mean that (D1) is true. Thus (D1) is both true and false. Either way, (D1) is both true and false – the same paradox as (A) above.


title: Liar paradox

text: The multi-sentence version of the liar paradox generalizes to any circular sequence of such statements (wherein the last statement asserts the truth/falsity of the first statement), provided there are an odd number of statements asserting the falsity of their successor; the following is a three-sentence version, with each statement asserting the falsity of its successor:


title: Liar paradox

text: Assume (E1) is true. Then (E2) is false, which means (E3) is true, and hence (E1) is false, leading to a contradiction.


title: Liar paradox

text: Assume (E1) is false. Then (E2) is true, which means (E3) is false, and hence (E1) is true. Either way, (E1) is both true and false – the same paradox as with (A) and (D1).


title: Liar paradox

text: There are many other variants, and many complements, possible. In normal sentence construction, the simplest version of the complement is the sentence:


title: Liar paradox

text: If F is assumed to bear a truth value, then it presents the problem of determining the object of that value. But, a simpler version is possible, by assuming that the single word 'true' bears a truth value. The analogue to the paradox is to assume that the single word 'false' likewise bears a truth value, namely that it is false. This reveals that the paradox can be reduced to the mental act of assuming that the very idea of fallacy bears a truth value, namely that the very idea of fallacy is false: an act of misrepresentation. So, the symmetrical version of the paradox would be:


title: Liar paradox

text: In fuzzy logic, the truth value of a statement can be any real number between 0 and 1 both inclusive, as opposed to boolean logic, where the truth values may only be the integer values 0 or 1. In this system, the statement "This statement is false" is no longer paradoxical as it can be assigned a truth value of 0.5, making it precisely half true and half false. A simplified explanation is shown below.


title: Liar paradox

text: by generalizing the NOT operator to the equivalent Zadeh operator from fuzzy logic, the statement becomes


title: Liar paradox

text: Alfred Tarski diagnosed the paradox as arising only in languages that are "semantically closed", by which he meant a language in which it is possible for one sentence to predicate truth (or falsehood) of another sentence in the same language (or even of itself). To avoid self-contradiction, it is necessary when discussing truth values to envision levels of languages, each of which can predicate truth (or falsehood) only of languages at a lower level. So, when one sentence refers to the truth-value of another, it is semantically higher. The sentence referred to is part of the "object language", while the referring sentence is considered to be a part of a "meta-language" with respect to the object language. It is legitimate for sentences in "languages" higher on the semantic hierarchy to refer to sentences lower in the "language" hierarchy, but not the other way around. This prevents a system from becoming self-referential.


title: Liar paradox

text: However, this system is incomplete. One would like to be able to make statements such as "For every statement in level "α" of the hierarchy, there is a statement at level "α"+1 which asserts that the first statement is false." This is a true, meaningful statement about the hierarchy that Tarski defines, but it refers to statements at every level of the hierarchy, so it must be above every level of the hierarchy, and is therefore not possible within the hierarchy (although bounded versions of the sentence are possible). Saul Kripke is credited with identifying this incompleteness in Tarski's hierarchy in his highly cited paper "Outline of a theory of truth," and it is recognized as a general problem in hierarchical languages.


title: Liar paradox

text: Arthur Prior asserts that there is nothing paradoxical about the liar paradox. His claim (which he attributes to Charles Sanders Peirce and John Buridan) is that every statement includes an implicit assertion of its own truth. Thus, for example, the statement "It is true that two plus two equals four" contains no more information than the statement "two plus two equals four", because the phrase "it is true that..." is always implicitly there. And in the self-referential spirit of the Liar Paradox, the phrase "it is true that..." is equivalent to "this whole statement is true and ...".


title: Liar paradox

text: The latter is a simple contradiction of the form "A and not A", and hence is false. There is therefore no paradox because the claim that this two-conjunct Liar is false does not lead to a contradiction. Eugene Mills presents a similar answer.


title: Liar paradox

text: Saul Kripke argued that whether a sentence is paradoxical or not can depend upon contingent facts. If the only thing Smith says about Jones is


title: Liar paradox

text: If Smith really is a big spender but is "not" soft on crime, then both Smith's remark about Jones and Jones's last remark about Smith are paradoxical.


title: Liar paradox

text: Kripke proposes a solution in the following manner. If a statement's truth value is ultimately tied up in some evaluable fact about the world, that statement is "grounded". If not, that statement is "ungrounded". Ungrounded statements do not have a truth value. Liar statements and liar-like statements are ungrounded, and therefore have no truth value.


title: Liar paradox

text: Jon Barwise and John Etchemendy propose that the liar sentence (which they interpret as synonymous with the Strengthened Liar) is ambiguous. They base this conclusion on a distinction they make between a "denial" and a "negation". If the liar means, "It is not the case that this statement is true", then it is denying itself. If it means, "This statement is not true", then it is negating itself. They go on to argue, based on situation semantics, that the "denial liar" can be true without contradiction while the "negation liar" can be false without contradiction. Their 1987 book makes heavy use of non-well-founded set theory.


title: Liar paradox

text: Graham Priest and other logicians, including J. C. Beall and Bradley Armour-Garb, have proposed that the liar sentence should be considered to be both true and false, a point of view known as dialetheism. Dialetheism is the view that there are true contradictions. Dialetheism raises its own problems. Chief among these is that since dialetheism recognizes the liar paradox, an intrinsic contradiction, as being true, it must discard the long-recognized principle of explosion, which asserts that any proposition can be deduced from a contradiction, unless the dialetheist is willing to accept trivialism – the view that "all" propositions are true. Since trivialism is an intuitively false view, dialetheists nearly always reject the explosion principle. Logics that reject it are called "paraconsistent".


title: Liar paradox

text: Andrew Irvine has argued in favour of a non-cognitivist solution to the paradox, suggesting that some apparently well-formed sentences will turn out to be neither true nor false and that "formal criteria alone will inevitably prove insufficient" for resolving the paradox.


title: Liar paradox

text: The Indian grammarian-philosopher Bhartrhari (late fifth century AD) dealt with paradoxes such as the liar in a section of one of the chapters of his magnum opus the Vākyapadīya. Bhartrhari's solution fits into his general approach to language, thought and reality, which has been characterized by some as "relativistic", "non-committal" or "perspectivistic". With regard to the liar paradox ("sarvam mithyā bravīmi" "everything I am saying is false") Bhartrhari identifies a hidden parameter that can change unproblematic situations in daily communication into a stubborn paradox. Bhartrhari's solution can be understood in terms of the solution proposed in 1992 by Julian Roberts: "Paradoxes consume themselves. But we can keep apart the warring sides of the contradiction by the simple expedient of temporal contextualisation: what is 'true' with respect to one point in time need not be so in another ... The overall force of the 'Austinian' argument is not merely that 'things change', but that rationality is essentially temporal in that we need time in order to reconcile and manage what would otherwise be mutually destructive states." According to Robert's suggestion, it is the factor "time" which allows us to reconcile the separated "parts of the world" that play a crucial role in the solution of Barwise and Etchemendy. The capacity of time to prevent a direct confrontation of the two "parts of the world" is here external to the "liar". In the light of Bhartrhari's analysis, however, the extension in time that separates two perspectives on the world or two "parts of the world" – the part before and the part after the function accomplishes its task – is inherent in any "function": also the function to signify which underlies each statement, including the "liar". The unsolvable paradox – a situation in which we have either contradiction ("virodha") or infinite regress ("anavasthā") – arises, in case of the liar and other paradoxes such as the unsignifiability paradox (Bhartrhari's paradox), when abstraction is made from this function ("vyāpāra") and its extension in time, by accepting a simultaneous, opposite function ("apara vyāpāra") undoing the previous one.


title: Liar paradox

text: For a better understanding of the liar paradox, it is useful to write it down in a more formal way. If "this statement is false" is denoted by A and its truth value is being sought, it is necessary to find a condition that restricts the choice of possible truth values of A. Because A is self-referential it is possible to give the condition by an equation.


title: Liar paradox

text: If some statement, B, is assumed to be false, one writes, "B = false". The statement (C) that the statement B is false would be written as "C = 'B = false. Now, the liar paradox can be expressed as the statement A, that A is false:


title: Liar paradox

text: This is an equation from which the truth value of A = "this statement is false" could hopefully be obtained. In the boolean domain "A = false" is equivalent to "not A" and therefore the equation is not solvable. This is the motivation for reinterpretation of A. The simplest logical approach to make the equation solvable is the dialetheistic approach, in which case the solution is A being both "true" and "false". Other resolutions mostly include some modifications of the equation; Arthur Prior claims that the equation should be "A = 'A = false and A = true and therefore A is false. In computational verb logic, the liar paradox is extended to statements like, "I hear what he says; he says what I don't hear", where verb logic must be used to resolve the paradox.


title: Liar paradox

text: Gödel's incompleteness theorems are two fundamental theorems of mathematical logic which state inherent limitations of sufficiently powerful axiomatic systems for mathematics. The theorems were proven by Kurt Gödel in 1931, and are important in the philosophy of mathematics. Roughly speaking, in proving the first incompleteness theorem, Gödel used a modified version of the liar paradox, replacing "this sentence is false" with "this sentence is not provable", called the "Gödel sentence G". His proof showed that for any sufficiently powerful theory T, G is true, but not provable in T. The analysis of the truth and provability of G is a formalized version of the analysis of the truth of the liar sentence.


title: Liar paradox

text: To prove the first incompleteness theorem, Gödel represented statements by numbers. Then the theory at hand, which is assumed to prove certain facts about numbers, also proves facts about its own statements. Questions about the provability of statements are represented as questions about the properties of numbers, which would be decidable by the theory if it were complete. In these terms, the Gödel sentence states that no natural number exists with a certain, strange property. A number with this property would encode a proof of the inconsistency of the theory. If there were such a number then the theory would be inconsistent, contrary to the consistency hypothesis. So, under the assumption that the theory is consistent, there is no such number.


title: Liar paradox

text: It is not possible to replace "not provable" with "false" in a Gödel sentence because the predicate "Q is the Gödel number of a false formula" cannot be represented as a formula of arithmetic. This result, known as Tarski's undefinability theorem, was discovered independently by Gödel (when he was working on the proof of the incompleteness theorem) and by Alfred Tarski.


title: Liar paradox

text: George Boolos has since sketched an alternative proof of the first incompleteness theorem that uses Berry's paradox rather than the liar paradox to construct a true but unprovable formula.


title: Liar paradox

text: The liar paradox is occasionally used in fiction to shut down artificial intelligences, who are presented as being unable to process the sentence. In "" episode "I, Mudd", the liar paradox is used by Captain Kirk and Harry Mudd to confuse and ultimately disable an android holding them captive. In the 1973 "Doctor Who" serial "The Green Death", the Doctor temporarily stumps the insane computer BOSS by asking it "If I were to tell you that the next thing I say would be true, but that the last thing I said was a lie, would you believe me?" BOSS tries to figure it out but cannot and eventually decides the question is irrelevant and summons security.


title: Liar paradox

text: In the 2011 video game "Portal 2", artificial intelligence GLaDOS attempts to use the "this sentence is false" paradox to kill another artificial intelligence, Wheatley. However, lacking the intelligence to realize the statement is a paradox, he simply responds, "Um, true. I'll go with true. There, that was easy." and is unaffected. Humorously, all other AIs present barring GLaDOS, all of which are significantly less sentient and lucid than both her and Wheatley, are still killed from hearing the paradox. However, GLaDOS later notes that she almost killed herself from her own attempt to kill Wheatley.


title: Liar paradox

text: The Devo song, "Enough Said", includes the lyrics "The next thing I say to you will be true / The last thing I said was false."


title: Liar paradox

text: In the seventh episode of "" titled "Access Denied" the main character Jesse and his friends are captured by a supercomputer named PAMA. After PAMA controls two of Jesse's friends, Jesse learns that PAMA stalls when processing and uses a paradox to confuse him and escape with his last friend. One of the paradoxes the player can make him say is the liar paradox.


title: Liar paradox

text: In Douglas Adams "The Hitchhiker's Guide to the Galaxy", chapter 21 he describes a solitary old man inhabiting a small asteroid in the spatial coordinates where it should have been a whole planet dedicated to Biro life forms. This old man repeatedly claimed that nothing was true, though he was later discovered to be lying.


title: Liar paradox

text: Rollins Band's 1994 song "Liar" alluded to the paradox when the narrator ends the song by stating "I'll lie again and again and I'll keep lying, I promise".


title: Liar paradox

text: Robert Earl Keen's song "The Road Goes On and On" alludes to the paradox. The song is widely believed to be written as part of Keen's feud with Toby Keith, who is presumably the "liar" Keen refers to.


title: Roberto Alomar

text: is a Puerto Rican former Major League Baseball player for the San Diego Padres, Toronto Blue Jays, Baltimore Orioles, Cleveland Indians, New York Mets, Chicago White Sox, and Arizona Diamondbacks (1988–2004). He is regarded as one of the greatest second basemen and all-around players. During his career, the 12-time All-Star won more Gold Glove Awards (10) than any other second baseman in baseball history, in addition to winning four Silver Slugger Awards for his hitting. Among second basemen, he ranks third in games played (2,320), fifth in stolen bases (474), sixth in plate appearances (10,400), seventh in doubles (504) and assists (6,524), and eighth in hits (2,724), runs (1,508), at bats (9,073), and double plays turned (1,407). In 2011, Alomar was inducted into the National Baseball Hall of Fame, becoming the first Hall of Fame member to be depicted as a Blue Jays player on his plaque.


title: Roberto Alomar

text: The son of MLB second baseman Sandy Alomar Sr., Alomar followed in his father's footsteps, signing with the Padres as an amateur free agent in 1985. He made his major league debut with the team three years later, establishing himself as an exceptional base-stealing, hitting, and fielding threat before becoming an All-Star in 1990. He was traded to the Blue Jays the following off-season, leading the team to three consecutive American League Championship Series (ALCS) appearances and being named the 1992 ALCS Most Valuable Player (MVP), culminating in back-to-back World Series championships in 1992 and 1993. Alomar signed with the Orioles after the 1995 season, led the team to two ALCS appearances, and won the 1998 All-Star Game MVP Award in his final year with the team. He then joined the Indians for three seasons and had the most productive years of his career in 1999 and 2001, again leading his team to the playoffs and becoming an AL MVP Award finalist both years. Alomar spent the final years of his career with the Mets, White Sox, and Diamondbacks before retiring at spring training in 2005.


title: Roberto Alomar

text: A switch hitter, Alomar finished his career with a .300 batting average. Shortly after his 2011 Hall of Fame induction, the Blue Jays retired his number 12.


title: Roberto Alomar

text: In 2020, Alomar became the owner of RA12, an expansion team in the Liga de Béisbol Profesional Roberto Clemente. He also became a member of the LBPRC Board of Directors.


title: Roberto Alomar

text: In 2021, Alomar was banned from baseball by MLB following an independent investigation into allegations of sexual misconduct, dating back to 2014. In April 2021, the Blue Jays also announced that Alomar would be removed from the Level of Excellence and his retired number banner would be taken down at Rogers Centre.


title: Roberto Alomar

text: Alomar was born in Ponce, Puerto Rico and raised in Salinas, Puerto Rico. The son of Santos "Sandy" Alomar Sr. and María Velázquez, Alomar grew up in a baseball family. He and his older brother Sandy Jr. were raised mostly by their mother, due to their father's career as a major league second baseman. When school in Puerto Rico was out for the summer, they joined their father, who let his sons hang around the clubhouse, shag fly balls, and absorb the game—especially from his New York Yankees teammates, such as Thurman Munson and Graig Nettles. Growing up, Alomar idolized his father and José Cruz, both of whom were All-Star players.


title: Roberto Alomar

text: In 1985, Alomar signed with the San Diego Padres at age 17, and joined the team's Class-A affiliate, the Charleston Rainbows. The following year, playing for the Reno Padres, he won the California League batting title with a .346 average.


title: Roberto Alomar

text: Alomar made his major league debut on April 22, 1988, against the Houston Astros, recording a hit in his first at bat, off of Nolan Ryan. With the Padres, he established himself as a solid hitter and baserunner, and defensively, he displayed excellent lateral range and a powerful arm, often making spectacular plays on ground balls hit deep in the hole between first and second base, and on balls hit up the middle, well behind second base. He became an All-Star for the first time in 1990, as a reserve player for the National League.


title: Roberto Alomar

text: On December 5, 1990, Alomar and Joe Carter were traded to the Toronto Blue Jays in exchange for Fred McGriff and Tony Fernández. It was in Toronto that he developed into a premier offensive second baseman, combining a .300-plus batting average with power and high end speed on the bases. In 1991, he capitalized on his speed with 11 triples and 53 stolen bases, leading the team to its first of three consecutive playoff appearances. The following year, he scored 105 runs, drew 87 walks, and had a .405 on-base percentage. In 1993, Alomar had his best season with the Blue Jays, producing 17 home runs (HR), 93 runs batted in (RBI), and 55 stolen bases, while batting .326, third in the American League behind teammates John Olerud and Paul Molitor. He was a central figure in Toronto's World Series championships in 1992 and 1993; in Game 6 of the 1992 World Series, he scored the series-winning run on Dave Winfield's two-run double in the 11th inning. Alomar's game-tying, ninth-inning home run against Oakland relief ace Dennis Eckersley, in Game 4 of the 1992 American League Championship Series (ALCS), is considered by many as the most important hit in the club's history, as the team's three previous trips to the ALCS had ended in disappointment; he was named the Most Valuable Player (MVP) of the series. In 1995, he played 104 consecutive games without committing an error, setting an AL record for second basemen. In each of his five seasons with the Blue Jays, Alomar was named to the All-Star team and won the Gold Glove Award.


title: Roberto Alomar

text: On December 21, 1995, Alomar signed with the Baltimore Orioles at a time when Toronto was looking to rebuild, while Baltimore was improving into a pennant-contending team. In Baltimore, he paired with Hall of Famer Cal Ripken Jr. to form a formidable double-play combination. Alomar appeared in the playoffs in 1996 and 1997 for the Orioles, hitting a series-winning home run in Game 4 of the 1996 American League Division Series (ALDS), although the Orioles were defeated in the ALCS both years. In 1998, he was named the Major League Baseball (MLB) All-Star Game MVP.


title: Roberto Alomar

text: On September 27, 1996, during a game against the Blue Jays, Alomar got into a heated argument over a called third strike with umpire John Hirschbeck and spat in his face. He defended himself by saying Hirschbeck had uttered a racial slur and that Hirschbeck had been bitter since one son had died of ALD and another had been recently diagnosed as well. Upon hearing of Alomar's comments, Hirschbeck had to be physically restrained from confronting Alomar in the players' locker room.


title: Roberto Alomar

text: Alomar was suspended for the first five regular-season games in 1997 and donated $50,000 to ALD research. Alomar and Hirschbeck settled their differences publicly and made apologies to each other on April 22, 1997, standing at home plate and shaking hands in front of the crowd before an Orioles game.


title: Roberto Alomar

text: On November 24, 1998, Alomar signed a four-year contract with the Cleveland Indians, joining his All-Star brother, Sandy Jr. It was in Cleveland that Alomar had two of his finest seasons. In 1999, he hit .323 and set career highs with 24 home runs, 120 RBI, 138 runs, 99 walks, a .422 on-base percentage and a .533 slugging percentage. In 2001, he batted .336/.415/.541, with 20 home runs, 100 RBI, and 30 steals. Cleveland made the playoffs in 1999, losing in the ALDS to the Boston Red Sox; in 2001, they again made the playoffs, but lost to the Seattle Mariners in the ALDS. Alomar finished third in AL MVP voting in 1999 and fourth in 2001.


title: Roberto Alomar

text: On the field, Alomar teamed with shortstop Omar Vizquel to form another decorated middle infield combination. The Vizquel-Alomar duo won three consecutive Gold Gloves together, becoming one of just eight shortstop-second baseman duos to have accomplished this feat in the same year.


title: Roberto Alomar

text: Alomar was traded to the New York Mets before the 2002 season, for pitcher Billy Traber and outfielders Matt Lawton and Alex Escobar.


title: Roberto Alomar

text: In 2002, Alomar hit only .266/.331/.376 with 53 RBI and 73 runs scored, while falling apart defensively at second base. The Mets were puzzled by Alomar's mediocre play, which some attributed to his lack of comfort with being under the greater scrutiny of the New York fans and media. However, not even a midseason trade back to the American League to the Chicago White Sox in 2003 could revive Alomar from his funk. There was more misery ahead with the Arizona Diamondbacks in 2004, including a two-month disabled stint with a broken right hand. On August 5, Alomar returned to the White Sox, and hit just .263/.321/.392 in 56 games.


title: Roberto Alomar

text: Alomar agreed to a one-year contract with the Tampa Bay Devil Rays for the 2005 season. However, on March 19, 2005, after a spring training plagued by back and vision trouble, he announced his retirement.


title: Roberto Alomar

text: "Time" called Alomar "the best second baseman of t[his] generation" and he is regarded as one of the greatest second basemen and all-around players of all time. Known for his acrobatic and flamboyant style of defense, Alomar won 10 Gold Glove Awards, establishing a major league record for second basemen. He ranks in the top 10 of several all-time categories for second basemen, including games played, stolen bases, plate appearances, doubles, assists, hits, runs, at bats, and double plays turned. In a 17-year career, he was a .300/.371/.443 hitter with 210 home runs and 1,134 RBI; his .307 career batting average as a member of the Blue Jays is a franchise record. He was the Blue Jays Player of the Year in 1991, 1992, and 1995, as well as the Cleveland Indians Man of the Year in 1999 and 2001. A clutch hitter, Alomar had a .313 postseason average, including a .347 average in two World Series appearances. His game-tying home run in Game 4 of the 1992 ALCS is often considered the most important hit in Blue Jays history, as it changed the fortunes of the franchise.


title: Roberto Alomar

text: Alomar was known for having a "sixth sense" or "sixth tool"—awareness—which distinguished him from other players. His former manager Davey Johnson said of him, "He reminds me of some of the great players that I've played with, who seem like they write their own script  ... Frank Robinson's one, Henry Aaron was the other." He became only the third Puerto Rican to be elected to the Baseball Hall of Fame, after Roberto Clemente and Orlando Cepeda, and has since been joined by Iván Rodríguez and Edgar Martínez.


title: Roberto Alomar

text: On April 4, 2008, Alomar was inducted into the Blue Jays Level of Excellence at Rogers Centre, prior to the team's home opener.


title: Roberto Alomar

text: In 2010, Alomar's first year of Hall of Fame eligibility, he missed induction by eight votes. His 73.7% of the vote was the highest percentage of votes in any player's first year on the ballot without being elected. Some baseball writers expressed shock that he failed to get in on the first ballot, but many attributed the near-miss to sportswriters holding a grudge over the 1996 spitting incident with John Hirschbeck, including Alomar's brother Sandy Jr. and Hirschbeck himself. He was elected to the Hall of Fame in his second year of eligibility, with 90% of the vote (523 of 581 ballots cast). On July 24, 2011, Alomar was inducted into the Hall of Fame, becoming the first inductee to be depicted as a Blue Jays player on his plaque.


title: Roberto Alomar

text: The 2011 Caribbean Series was dedicated to him, which was followed by his induction into the Caribbean Baseball Hall of Fame.


title: Roberto Alomar

text: On March 31, 2011, Alomar was named as a special assistant to the Blue Jays organization. The following year, he began hosting the annual Tournament 12 (T12) showcase at Rogers Centre for Canadian baseball prospects; major leaguers Josh Naylor, Mike Soroka, and Abraham Toro are alumni of the tournament.


title: Roberto Alomar

text: On July 31, 2011, the Blue Jays retired Alomar's number 12 at Rogers Centre. He was the first Blue Jay to be so honored.


title: Roberto Alomar

text: Alomar guest-starred on an episode of Canadian sitcom "Mr. D" in an episode when students ran an "Alomar for President" campaign during the Student Council Elections.


title: Roberto Alomar

text: In 2017, Baseball Commissioner Rob Manfred named Alomar a special consultant, tasked with helping grow baseball in Puerto Rico.


title: Roberto Alomar

text: In July 2020, it was announced that Alomar was launching an expansion team in the Liga de Béisbol Profesional Roberto Clemente. The team, based in San Juan and named RA12 (after his initials and uniform number), began competing during the 2020-21 season.


title: Roberto Alomar

text: On April 30, 2021, Alomar was fired from both the Blue Jays and MLB amid reports that MLB was investigating claims that a female Blue Jays staffer claimed that Alomar had sexually harassed her in 2014. According to The Sports Network, the staffer was preparing to sue Alomar, the Blue Jays, and MLB. Later on April 30, Manfred announced that following an investigation into those allegations that had taken several months, Alomar had been placed on MLB's ineligible list and banned from baseball. At the same time, the Blue Jays severed all ties with Alomar, removing his name from the "Level of Excellence" at the Rogers Centre and taking down his Hall of Fame banner. However, he will remain enshrined in the Hall of Fame. Through her lawyer, the Blue Jays employee announced she was dropping her suit.


title: Roberto Alomar

text: Alomar married Puerto Rican model Maripily Rivera on June 1, 2009. The next year, Rivera alleged that she had been victim of domestic violence on three occasions, including her life being threatened with a knife by Alomar, and she wanted to end the marriage. Alomar alleged that Rivera had threatened to divorce him unless he gave her half ownership of his Tampa residence. The divorce was finalized on July 12, 2011 with a private settlement.


title: Roberto Alomar

text: Alomar was sued by at least four women, including his ex-wife, for allegedly exposing them to HIV. He was in a relationship with professional tennis player Meghann Shaughnessy from 2004 to 2006, who claimed Alomar exposed her to HIV. The lawyer of Alomar's ex-wife stated Alomar paid $4 million in settlements to Shaughnessy and Ilya Dall, another ex-girlfriend.


title: Roberto Alomar

text: On December 12, 2012, Alomar married Toronto native Kim Perks at the Art Gallery of Ontario. Their first daughter was born in 2014. The Alomars reside in Toronto.


title: Thomas Tull

text: Thomas Tull (born June 9, 1970) is an American billionaire businessman, entrepreneur, and film producer. He is the former chairman and chief executive officer (CEO) of Legendary Entertainment. Tull is the founder of Tulco LLC, an investment holding company that uses artificial intelligence and other technologies to guide investing.


title: Thomas Tull

text: Tull grew up in Endwell, New York, the son of a dental hygienist single mother. As a youth, Tull was an athlete, playing baseball and football. Tull graduated from Hamilton College in 1992.


title: Thomas Tull

text: After college, Tull abandoned plans to become a lawyer and instead went into business, starting a chain of laundromats. Among his innovations were different prices according to demand at different times of day. Tull next went into the field of financing, buying and selling several tax and accounting offices. He later became chief of operations of Tax Services of America. His business was buying units from franchisees of Jackson Hewitt Tax Services rolling up and consolidating operations. People who had established franchised locations often preferred being salaried managers. In 2001, Tull left Interactive Technology Funds to join the Convex Group, an Atlanta-based investment group. His firm invested in entertainment, where Tull began to learn the entertainment business. After discussing the potential of private equity with a film executive in 2003, Tull quit Convex, raising $600 million in equity to finance the production of movies under the Legendary Pictures banner.


title: Thomas Tull

text: Tull founded Legendary Entertainment in 2005, becoming the CEO and chairman. The company entered into a partnership in 2005 with Warner Bros. to jointly finance and produce films. In 2009, Tull became the majority shareholder of Legendary, in a buyout of the original investors. The Warner deal was followed by a similar deal with Universal Studios in 2013. He also helped produce the film "Blackhat". Legendary was one of the first film production companies to use technology and data analytics to improve the way movies are marketed. Shortly after starting Legendary, Tull built a new analytics division within the company, which uses data to improve marketing decisions, in addition to other key decisions.


title: Thomas Tull

text: In January 2016, Legendary was acquired by the Wanda Cultural Industry Group for $3.5 billion, with Tull retaining a 20% stake. One year later, in January 2017, Tull left the company.


title: Thomas Tull

text: Tull describes himself as a "fanboy" of comics, and several of the films produced by Legendary were personal favorites of Tull, including "Watchmen, 300", and "Dark Knight". "Watchmen" had been in "development hell" for years when Tull arranged to pick up the rights. "300" had been turned down by other studios. Tull also describes himself as a "gamer", and co-founded the short-lived Brash Entertainment to work on film-to-video game conversions. Other major films include "Inception", "The Hangover" and its sequels, "Man of Steel", and others.


title: Thomas Tull

text: In 2017, Tull founded Tulco, LLC, a Pittsburgh-based privately held holding company. Tulco invests in companies in large industries and helps its portfolio companies apply technology such as artificial intelligence, machine learning and predictive data analytics. Among Tulco’s investments are FIGS, a healthcare apparel company, and Acrisure, an insurance broker that acquired Tulco’s AI insurance business in July 2020 for $400 million.


title: Thomas Tull

text: Tull has also invested in a variety of other AI and data science-driven companies including Luvos, Genies, Oculus, and Zoox.


title: Thomas Tull

text: Tull has donated US$1 million to Priorities USA Action, a Super PAC supporting Democratic presidential candidate Hillary Clinton. Tull has also supported Republican causes, such as the Senate Leadership Fund, a super PAC for Senate Republicans. He founded the Tull Family Foundation, which has supported a number of causes in the youth, health, and education spaces including the National Little League, a donation of $4.2 million worth of personal protective equipment (PPE) during the COVID-19 pandemic, a donation to the Children's Hospital of Pittsburgh Foundation towards pediatric research and art therapy programs, and a grant to the University of Pittsburgh towards brain cancer research.


title: Thomas Tull

text: He is a member of MIT School of Engineering Dean’s Advisory Council, the board of trustees of Carnegie Mellon University, Yellowstone Forever, and the Baseball Hall of Fame Board of Directors. Tull was appointed a visiting scholar of innovation at the MIT School of Engineering beginning April 1, 2022.


title: Thomas Tull

text: He resides in Pittsburgh, Pennsylvania with his wife and their children. They previously lived in Thousand Oaks, California. In January 2018, the 33-plus-acre Thousand Oaks compound was listed for $85 million.


title: Thomas Tull

text: Tull has been a fan of the Pittsburgh Steelers since age four and in 2009 became a part-owner of the team. He is a founder and member of the American rock and southern soul band Ghost Hounds, in which he plays guitar.


title: XM250

text: The XM250 is the US military designation for the SIG-LMG a 6.8×51mm, gas-operated, belt-fed, light machine gun designed by SIG Sauer for the U.S. Army's Next Generation Squad Weapon Program in 2022 to replace the M249 light machine gun. The XM250 features a free-floating reinforced M-LOK handguard for direct accessory attachment onto the "negative space" (hollow slot) mounting points.


title: XM250

text: In January 2019, the United States military began the Next Generation Squad Weapon Program to find replacements for the M4 carbine and M249 light machine gun. In September 2019, SIG Sauer submitted their designs. The XM250 and XM5 were designed to fire the 6.8×51mm SIG Fury cartridge in response to concerns that improvements in body armor would diminish the effectiveness of common battlefield rounds such as the 5.56×45mm NATO (used in the M4 and M249) and 7.62×51mm NATO.


title: XM250

text: On 19 April 2022, the United States Army awarded a 10-year contract to Sig Sauer to produce the XM250 automatic rifle, along with the XM5 rifle, to replace the M249 and M4, respectively; the names were chosen as the next numbers sequentially to the weapons they will replace. The first batch of 25 XM5s and 15 XM250s are planned to be delivered in late 2023. In total, the Army plans to procure a total of 107,000 rifles and 13,000 automatic rifles for close combat forces. The contract has the capacity to build additional weapons should the U.S. Marine Corps and U.S. Special Operations Command choose to be included.


title: XM250

text: The XM250 weighs , or with a suppressor, and has a basic combat load of 400 rounds in four 100-round pouches weighing . Compared to the M249 weighing unsuppressed with a basic combat load of 600 rounds in three 200-round pouches weighing , the XM250 weighs about less and a gunner carries roughly a heavier load with 200 fewer rounds. The barrel on the XM250 is not considered to be a quick-change barrel and the stock is collapsible but non-folding.


title: XM250

text: The XM250, XM5, the Vortex Optics XM157 Fire Control Optic platform agnostic unit, and the 6.8×51mm ammunition are expected to be delivered to the first U.S. Army unit for operational testing by October 2023. Operational testing does not guarantee actual widespread future issue.


title: Nanette Fabray

text: Nanette Fabray (born Ruby Bernadette Nanette Theresa Fabares; October 27, 1920 – February 22, 2018) was an American actress, singer, and dancer. She began her career performing in vaudeville as a child and became a musical-theatre actress during the 1940s and 1950s, acclaimed for her role in "High Button Shoes" (1947) and winning a Tony Award in 1949 for her performance in "Love Life". In the mid-1950s, she served as Sid Caesar's comedic partner on "Caesar's Hour", for which she won three Emmy Awards, as well as appearing with Fred Astaire in the film musical "The Band Wagon". From 1979 to 1984, she played Katherine Romano, the mother of lead character Ann Romano, on the TV series "One Day at a Time". She also appeared as the mother of Christine Armstrong (played by her niece Shelley Fabares) in the television series "Coach."


title: Nanette Fabray

text: Fabray overcame a significant hearing impairment and was a long-time advocate for the rights of the deaf and hard-of-hearing. Her honors for representing disabled people included the President's Distinguished Service Award and the Eleanor Roosevelt Humanitarian Award.


title: Nanette Fabray

text: Fabray was born Ruby Bernadette Nanette Theresa Fabares on October 27, 1920, in San Diego, to Lily Agnes (McGovern), a housewife, and Raoul Bernard Fabares, a train conductor.


title: Nanette Fabray

text: She used one of her middle names, Nanette, as her first name in honor of a beloved aunt from San Diego, whose name was also Nanette. Throughout life, she often went by the nickname Nan, and to a lesser extent, by close friends or relatives, sometimes Nanny-goat. Her family resided in Los Angeles, and Fabray's mother was instrumental in getting her daughter involved in show business as a child. At a young age, she studied tap dance with, among others, Bill "Bojangles" Robinson. She made her professional stage debut as "Miss New Years Eve 1923" at the Million Dollar Theater at the age of three. She spent much of her childhood appearing in vaudeville productions as a dancer and singer under the name "Baby Nan." She appeared with stars such as Ben Turpin.


title: Nanette Fabray

text: Raised by what would now likely be known as a "stage mother", Fabray herself was not much interested in show business until later on, and never believed in pushing children into performing at a young age, instead wishing for them to be able to live out their childhoods as opposed to having to deal with adult concerns at a young age. Her early dance training, however, did lead her always to consider herself a tap dancer first and foremost. Contrary to popular misinformation from an undying rumor, she was never a regular or recurring guest of the Our Gang series; she did, however, appear as an extra one single time, a guest among many other children in a party scene.


title: Nanette Fabray

text: Fabray's parents divorced when she was nine, but they continued living together for financial reasons. During the Great Depression, her mother turned their home into a boarding house, which Fabray and her siblings helped run, Nanette's main job being ironing clothes. In her early teenage years, Fabray attended the Max Reinhardt School of the Theatre on a scholarship. She then attended Hollywood High School, participating in the drama program with a favorite teacher, where she graduated in 1939. She beat out classmate Alexis Smith for the lead in the school play her senior year. Fabray entered Los Angeles Junior College in the fall of 1939, but did not do well and withdrew a few months later.


title: Nanette Fabray

text: She had always had difficulty in school due to an undiagnosed hearing impairment, which made learning difficult. She eventually was diagnosed with a conductive hearing loss (due to congenital, progressive otosclerosis) in her twenties after an acting teacher encouraged her to get her hearing tested. Fabray said of the experience, "It was a revelation to me. All these years I had thought I was stupid, but in reality, I just had a hearing problem." Fabray gave many interviews over the years and much of the information known about her was revealed in these conversations.


title: Nanette Fabray

text: In 2004, she was interviewed for posterity in the oral history Archives of American Television as an Emmy TV legend.


title: Nanette Fabray

text: At the age of 19, Fabray made her feature film debut as one of Bette Davis's ladies-in-waiting in "The Private Lives of Elizabeth and Essex" (1939). She appeared in two additional movies that year for Warner Bros., "The Monroe Doctrine" (short) and "A Child Is Born", but was not signed to a long-term studio contract. She next appeared in the stage production "Meet the People" in Los Angeles in 1940, which then toured the United States in 1940–1941. In the show, she sang the opera aria "Caro nome" from Giuseppe Verdi's "Rigoletto" while tap dancing. During the show's New York run, Fabray was invited to perform the "Caro nome" number for a benefit at Madison Square Garden with Eleanor Roosevelt as the main speaker. Ed Sullivan was the master of ceremonies for the event and the famed host, reading a cue card, mispronounced her name as "Nanette Fa-bare-ass." After this embarrassing "faux pas", the actress immediately legally changed the spelling of her name from Fabares to as close as possible a match to the proper pronunciation: Fabray.


title: Nanette Fabray

text: Artur Rodziński, conductor of the New York Philharmonic, saw Fabray's performance in "Meet the People" and offered to sponsor operatic vocal training for her at the Juilliard School. She studied opera at Juilliard with Lucia Dunham during the latter half of 1941 while performing in her first Broadway musical, Cole Porter's "Let's Face It!", with Danny Kaye and Eve Arden. She decided that studying during the day and performing at night was too much for her and took away from her active social nightlife which she so enjoyed, and that she preferred performing in musical theatre over opera; thus she withdrew from the school after about five months. She became a successful musical-theatre actress in New York during the 1940s and early 1950s, starring in such productions as "By Jupiter" (1942), "My Dear Public" (1943), "Jackpot" (1944), "Bloomer Girl" (1946), "High Button Shoes" (1947), "Arms and the Girl" (1950), and "Make a Wish" (1951). In 1949, she won the Tony Award for Best Actress in a Musical for her portrayal of Susan Cooper in the Kurt Weill/Alan Jay Lerner musical "Love Life". She received a Tony nomination for her role as Nell Henderson in "Mr. President" in 1963, after an 11-year absence from the New York stage. Fabray continued to tour in musicals for many years, appearing in such shows as "Wonderful Town" and "No, No, Nanette".


title: Nanette Fabray

text: In the mid-1940s, Fabray worked regularly for NBC on a variety of programs in the Los Angeles area. In the late 1940s and early 1950s, she made her first high-profile national television appearances performing on a number of variety programs such as "The Ed Sullivan Show", "Texaco Star Theatre", and "The Arthur Murray Party".


title: Nanette Fabray

text: She also appeared on "Your Show of Shows" as a guest star opposite Sid Caesar. She appeared as a regular on "Caesar's Hour" from 1954 to 1956, winning three Emmys. Fabray left the show after a misunderstanding when her business manager, unbeknownst to her, made unreasonable demands for her third-season contract. Fabray and Caesar did not reconcile until years later.


title: Nanette Fabray

text: In 1961, Fabray starred in 26 episodes of "Westinghouse Playhouse", a half-hour sitcom series that also was known as "The Nanette Fabray Show" or "Yes, Yes Nanette". The character was mainly loosely based on herself and her own life as a newly married couple with her husband and her new stepchildren.


title: Nanette Fabray

text: Fabray appeared as the mother of the main character on several television series such as "One Day at a Time", "The Mary Tyler Moore Show", and "Coach", where she played mother to real-life niece Shelley Fabares. Like her aunt, Shelley Fabares also appeared on "One Day at a Time."


title: Nanette Fabray

text: Fabray made 13 guest appearances on "The Carol Burnett Show". She performed on multiple episodes of "The Dean Martin Show", "The Hollywood Palace", "Perry Como's Kraft Music Hall", and "The Andy Williams Show". She was a panelist on 230 episodes of the long-running game show "The Hollywood Squares", as well as a mystery guest on "What's My Line?" and later a panelist on "Match Game" in 1973. Other recurring game show appearances by Fabray included participation in Password, I've Got a Secret, He Said, She Said, and Celebrity Bowling. She also appeared on the game shows Stump the Stars, Let's Make a Deal, All Star Secrets, and a television series families "All Star special" of Family Feud with fellow One Day at a Time cast members.


title: Nanette Fabray

text: She appeared in guest-starring roles on "Burke's Law", "Love, American Style", "Maude", "The Love Boat", and "Murder, She Wrote". On the PBS program "Pioneers of Television: Sitcoms", Mary Tyler Moore credited Fabray with inspiring her trademark comedic crying technique. In 1986, Fabray was cast in the TBS sitcom project "Here to Stay", which also starred Robert Mandan and Heather O'Rourke. Although a pilot episode was shot, it was not picked up as a series.


title: Nanette Fabray

text: In 1953, Fabray played her best-known screen role as a Betty Comden-like playwright in the Metro-Goldwyn-Mayer musical "The Band Wagon" with Fred Astaire and Jack Buchanan. The film in one scene featured Fabray, Astaire, and Buchanan performing the classic comedic musical number "Triplets", which was also included in "That's Entertainment, Part II". Fabray's additional film credits include "The Happy Ending" (1969), "Harper Valley PTA" (1978), and "Amy" (1981).


title: Nanette Fabray

text: Fabray's final work was in 2007, when she appeared in "The Damsel Dialogues", an original revue by composer Dick DeBenedictis, with direction/choreography by Miriam Nelson. The show, which was performed at the Whitefire Theatre in Sherman Oaks, California, focused on women's issues with life, love, loss, and the workplace.


title: Nanette Fabray

text: Fabray's first husband, David Tebet, was in television marketing and talent, and later became a vice president of NBC. According to Fabray, their marriage ended in divorce partially because of her depression, anxiety, and insecurities surrounding her worsening hearing loss. Her second husband was screenwriter Ranald MacDougall, whose writing credits include "Mildred Pierce" and "Cleopatra" and who, in the early 1970s, served as president of the Writers Guild of America. The couple was married from 1957 until his death in 1973. They had one son together: Jamie MacDougall.


title: Nanette Fabray

text: She was a resident of Pacific Palisades, California, and was the aunt of singer/actress Shelley Fabares. Her niece's 1984 wedding to "M*A*S*H" actor Mike Farrell was held at her home. Longtime neighbors, Fabray was associated with Ronald Reagan's campaign for the governorship of California in 1966.


title: Nanette Fabray

text: She was hospitalized for almost two weeks after being knocked unconscious by a falling pipe backstage during a live broadcast of "Caesar's Hour" in 1955. The audience in the studio heard her screams and Sid Caesar had at first been told she had been killed in the freak accident. Fabray suffered a serious concussion along with associated temporary vision impairment and photosensitivity/photophobia. Later, she realized she had only avoided being directly impaled because of the position she happened to have been in at the time (bending over as opposed to standing up straight). In 1978, during the filming of "Harper Valley PTA", Fabray suffered a second major concussion when she was knocked over, hitting her neck on the sidewalk and the back of her head on a rock. The accident was caused when a live elephant appearing in the film stampeded when spooked by a drunken civilian bystander, who had bypassed the blocked-off street on the set. Fabray developed associated memory loss and visual issues such as nystagmus, but still had to finish her scenes (namely a car chase) in the movie, for which filming had not yet finished. She had to be closely directed and coached, fed line-by-line, as she could not remember any of her lines or cues due to the concussion. She also had to be filmed only from specific angles to mask the obvious abnormal eye movements the concussion had temporarily caused.


title: Nanette Fabray

text: A longtime champion of hearing awareness and support of the deaf, she sat on boards and spoke at many related functions. A forward-thinking proponent of total communication and teaching the deaf language and communication in any way possible, including American Sign Language and not just the oralism method of the time, Fabray was one of, if not the first, to use sign language on [live] television, something which she continued to showcase on many programs on which she made appearances, including the "Carol Burnett Show, Match Game '73", and "I've Got a Secret". She even contributed the story line to an entire 1982 episode of "One Day at a Time", which focused on hearing loss awareness and acceptance, treatment options, and sign language. Fabray appeared in a 1986 infomercial for hearing device and deafness support products for House Ear Institute. In 2001, she wrote to advice columnist Dear Abby to decry the loud background music played on television programs. A founding member of the National Captioning Institute, she also was one of the first big names to bring awareness to the need for media closed-captioning.


title: Nanette Fabray

text: Likewise, after the passing of her second husband, Randy MacDougall, Fabray also started to learn about the tribulations associated with spousal death and began to bring awareness to the need for changes in the law for widows and widowers. She focused her later years on campaigning for widows' rights, particularly pertaining to women's inheritance laws, taxes, and asset protection.


title: Nanette Fabray

text: Fabray died on February 22, 2018, at the Canterbury Nursing home in California at the age of 97 from natural causes.


title: Nanette Fabray

text: A Tony and three-time Primetime Emmy award winner, Fabray has a star on the Hollywood Walk of Fame. In 1986, she received a Life Achievement award from the Screen Actors Guild.


title: Nanette Fabray

text: She won a Golden Apple award from the Hollywood Women's Press Club in 1960 along with Janet Leigh for being a Most Cooperative actress.


title: Nanette Fabray

text: She was awarded the President's Distinguished Service Award and the Eleanor Roosevelt Humanitarian Award for her long efforts on behalf of the deaf and hard-of-hearing.


title: Chevrolet Chevette

text: The Chevrolet Chevette is a front-engine, rear-drive subcompact manufactured and marketed by Chevrolet for model years 1976–1987 as a three-door or five-door hatchback. Introduced in September 1975, the Chevette superseded the Vega as Chevrolet's entry-level subcompact, and sold 2.8 million units over 12 years. The Chevette was the best-selling small car in the U.S. for model years 1979 and 1980.


title: Chevrolet Chevette

text: The Chevette employed General Motors' global T platform. Worldwide, GM manufactured and marketed more than 7 million T-cars – rebadged variants using the T platform – including the Pontiac Acadian in Canada, Pontiac T1000/1000 in the United States (1981–1987), K-180 in Argentina, Vauxhall Chevette, Opel Kadett, Isuzu Gemini, Holden Gemini, and as a coupe utility (pickup), the Chevy 500. A T-car variant remained in production in South America through 1998.


title: Chevrolet Chevette

text: Introduced on a full-color nationwide campaign in 140–150 of the country's largest daily papers, the "New York Times" said the "little American car holds its own with the foreigners." Looking back on the Chevette in 2011, the same publication called the Chevette "haphazardly made, sparsely trimmed and underpowered." Consumer Guide described the Chevette as “unimaginative to an extreme.”


title: Chevrolet Chevette

text: Under the direction of chief engineer John Mowrey, Chevrolet began developing the Chevette on December 24, 1973. It was a response to the federal CAFE standards and the 1973 oil crisis. The Chevette was prompted by GM's Energy Task Force, which arose out of the crisis and the resultant shift in consumer demand to smaller, foreign vehicles boasting greater fuel efficiency.


title: Chevrolet Chevette

text: The Chevette used as its basis GM's World Car, "Project 909" – what would become the T-car program, so named because the vehicles shared GM's T platform. With the well-known problems of its predecessor, the Vega, which included production issues, reliability problems, and a serious propensity for corrosion, the team reworked the international platform such that the Chevette shared not a single body panel with another T-car and reworked the underbody extensively to enhance corrosion protection. The Chevette's 1.4-liter base iron-block engine weighed 59 lb less than the Vega's much-heralded aluminum-block engine.