title: Diesel (brand)

text: In the early 2000s, Rosso pushed Diesel to start reinvesting part of the company's marketing budgets into the creative community, by financially supporting young, creative talent. This led to Diesel initiating projects like Diesel:U:Music Radio, Diesel New Art and Diesel Wall and become a founding partner of ITS (International Talent Support).[62] Furthermore, the company also helped launch Pocko's affordable art books in 1999, and for a number of years sponsored projects like Online Flash Film Fest and Semi-Permanent.


title: Diesel (brand)

text: In 2001, Diesel:U:Music Radio was founded with a vision to support unsigned bands and as a reaction to an overly commercialized music industry. Consisting of an independent jury with artists and producers such as Ian McCulloch, Mark Ronson, and Ronnie Wood, the jury annually reviewed thousands of demos from around the world and selected winning, unsigned bands. By partnering with record labels like Warner Music or media publishers like "Vice", the winning artists were offered records deals and media publicity. In 2006, the project was broadcast live on Channel 4 in Great Britain and featured legendary avant-garde rock band Roxy Music. In 2009, the project included a global tour and radio station. The tour featured live performances by artists like Kanye West and The Roots, who supported the competition's winning younger bands, The Terror Pigeon Dance Revolt! and HEARTSREVOLUTION. Produced in London, the Diesel:U:Music radio station was hailed by The Guardian and The Daily Telegraph for its unique quality programming, and had shows hosted by everyone from Grandmaster Flash to Franz Ferdinand. In an interview with "Dazed & Confused", Rosso explained the purpose of the project, stating that "It's about giving people the tools and seeing them succeed and excel in their creativity". Through its 10-year history, the Diesel:U:Music winners included Diplo, Mylo, DJ Yoda and The Cool Kids.


title: Diesel (brand)

text: In 2002 Rosso and Diesel became founding partners of ITS (International Talent Support), a competition for young designers. While Rosso has often been a member of the jury, Diesel and the OTB, its parent company, sponsored the competition financially. In 2005, the founder of "i-D Magazine", Terry Jones, credited ITS for "dedicating so much passion and commitment to the selection of designers, like no other organization".


title: Diesel (brand)

text: In 2003 and 2004, Diesel began supporting local, young artists through the Diesel New Art and Diesel Wall competitions. Diesel New Art was open to graduating artists working across various media, and would award-winning artists with solo exhibitions, shows at international art fairs, or promotion through internationally published catalogues. For Diesel Wall Diesel purchased large, unused facades in major cities and transformed them into popular exhibition spaces. Winning artworks were selected by an independent jury, and displayed on the walls for a longer period of time throughout the year. During the years a few of the jury members have included curator Hans Ulrich Obrist, film director Bigas Luna, art director and graphic designer Peter Saville, artist Patrick Tuttofuoco, art director Jérôme Sans and editors Helena Kontova and Stefano Boeri.


title: Diesel (brand)

text: Founded in 1989, ANDAM (National Association for the Development of the Fashion Arts) seeks, in the words of Pierre Bergé, "to identify emerging talents in contemporary fashion design and offer them the means to exist, to produce a runway show during Paris Fashion Week, and to establish and develop their label in France, thus perpetuating the dynamism of the Parisian fashion scene." Thanks to its sponsors (Fondation Pierre Bergé, Galeries Lafayette, Google, Hermés, Kering, Lacoste, Longchamp, LMVH, OBO, OTB, Premiere Classe, Saint Laurent, Swarowski, Tomorrow), as well as of two public institutions, the DEFI and the French Ministry of Culture and Communication, ANDAM is the largest international fashion prize, a driving force in the development of new fashion designers in France. Renzo Rosso, was the mentor of the 2013 and 2019 ANDAM finalists. In addition to the financial endowment of the prize, the winners benefited from the strategic, creative and commercial coaching of a worldwide fashion industry entrepreneur, helping the winners develop their label and build an international reputation.


title: Valentine tank

text: The Tank, Infantry, Mk III, Valentine was an infantry tank produced in the United Kingdom during World War II. More than 8,000 of the type were produced in eleven marks, plus various specialised variants, accounting for approximately a quarter of wartime British tank production. The many variants included riveted and welded construction, petrol and diesel engines and a progressive increase in armament. It was supplied in large numbers to the USSR and built under licence in Canada. It was used extensively by the British in the North African campaign. Developed by Vickers, it proved to be both strong and reliable.


title: Valentine tank

text: There are several proposed explanations for the name "Valentine". According to the most popular one, the design was presented to the War Office on St Valentine's Day, 14 February 1940, although some sources say that the design was submitted on Valentine's Day 1938 or 10 February 1938. White notes that "incidentally" Valentine was the middle name of Sir John Carden, the man who was responsible for many tank designs including that of the Valentine's predecessors, the A10 and A11. Another version says that Valentine is an acronym for Vickers-Armstrongs Limited Elswick & (Newcastle-upon) Tyne. The "most prosaic" explanation according to David Fletcher is that it was just an in-house codeword of Vickers with no other significance.


title: Valentine tank

text: The Valentine started as a proposal based on Vickers' experience with the A9 and A10 specification cruiser tanks and the A11 (Infantry Tank Mk I). As a private design by Vickers-Armstrongs, it did not receive a General Staff "A" designation; it was submitted to the War Office on 10 February 1938. The development team tried to match the lower weight of a cruiser tank, allowing the suspension and transmission parts of the A10 heavy cruiser to be used, with the greater armour of an infantry tank, working to a specification for a armour basis (the same as the A.11).


title: Valentine tank

text: The tank was to carry a 2-pounder gun in a two-man turret (the A.11 was armed only with a heavy machine gun), a lower silhouette and be as light as possible, resulting in a very compact vehicle with a cramped interior. Compared to the earlier Infantry Tank Mk II "Matilda", the Valentine had somewhat weaker armour and almost the same top speed. By using components already proven on the A9 and A10, the new design was easier to produce and much less expensive.


title: Valentine tank

text: The War Office was initially deterred by the size of the turret, since they considered a turret crew of three necessary, to free the vehicle commander from direct involvement in operating the gun. Concerned by the situation in Europe, it finally approved the design in April 1939 and placed the first order in July for deliveries in May 1940. At the start of the war, Vickers were instructed to give priority to the production of tanks. The vehicle reached trials in May 1940, which coincided with the loss of much of the army's equipment in France, during Operation Dynamo, the evacuation from Dunkirk. The trials were successful and the vehicle was rushed into production as "Tank, Infantry, Mark III"; no pilot models were required as much of the mechanics had been proven on the A10, and 109 had been built by the end of September. During late 1940 and early 1941, Valentines were used in the cruiser tank role in British-based armoured divisions, and they were supplied to tank brigades of the Eighth Army in North Africa from June 1941.


title: Valentine tank

text: Metropolitan-Cammell Carriage & Wagon—an associate company of Vickers—and Birmingham Railway Carriage & Wagon Company (BRCW) were contracted to produce the Valentine. Metropolitan and the BRCW had built small numbers of the A10, their production runs were just finishing and they delivered their first Valentines in mid-1940. Metropolitan used two sites, with Wednesbury joined by their Midland site in production of the Valentine. Vickers output started at ten per month rising to 45 per month in a year and peaking at 20 per week in 1943, before production was slowed and then production of the Valentine and derivatives stopped in 1945. Vickers-Armstrong produced 2,515 vehicles and Metropolitan 2,135; total UK production was 6,855 tanks, with 2,394 exported from Britain to the Soviet Union under lend-lease.


title: Valentine tank

text: To develop its own tank forces, Canada had established tank production facilities. An order was placed in 1940 with Canadian Pacific and after modifications to the Valentine design to use local standards and materials, the production prototype was finished in 1941. Canadian production was mainly at CPR Angus Shops in Montreal and 1,420 were produced in Canada, of which 1,388 were sent to the Soviet-Union. They formed the main Commonwealth export to the Soviet Union under lend-lease. The remaining 32 were retained for training. The use of local GMC Detroit Diesel engines in Canadian production was a success and the engine was adopted for British production. British and Canadian production totalled 8,275, making the Valentine the most produced British tank design of the war.


title: Valentine tank

text: The Valentine was of conventional layout, divided internally into three compartments; from front to back the driver's position, the fighting compartment with the turret and then the engine and transmission driving the tracks through rear sprockets. The driver's area contained only the driver and the driving controls. The driver sat on hull centre line, entering through either of two angled hatches over the seat, though there was an emergency exit hatch beneath his seat. The driver had a direct vision port—cut in what was one of the hull cross members—in front of him and two periscopes in the roof over his head. Driving was by clutch and brake steering through levers, whose control rods ran the length of the hull to the transmission at the rear.


title: Valentine tank

text: Behind the driver was a bulkhead that formed another hull cross-member and separated him from the fighting compartment. The first tanks had a two-man turret, the gunner on the left of the gun and the commander acting also as the loader on the right. When three-man turrets were introduced, the commander sat to the rear of the turret. The turret was made up of a cast front and a cast rear riveted to the side plates which were of rolled steel. All tanks carried the radio in the turret rear. Early tanks used the Wireless set No. 11 with a Tannoy for the crew; later tanks had Wireless Set No. 19, which included crew communications with long and short range networks.


title: Valentine tank

text: Turret rotation was by electric motor controlled by the gunner, with a hand-wheel for manual backup. The restrictions that the two-man turret placed on the commander, made more so if they were a troop commander and responsible for directing the actions of two other tanks besides their own, were addressed by enlarging the turret for the Mark III so that a loader for the main armament could be carried. The turret ring diameter was not changed, so the extra space was found by moving the gun mounting forward in an extended front plate and increasing the bulge in the rear of the turret. This increased weight by half a ton on the two-man turret.


title: Valentine tank

text: A bulkhead separated the fighting compartment from the engine compartment. The engine, clutch and gearbox were bolted together to form a single unit. The first Valentines used a petrol engine and the diesel engine which distinguished the Mark II—at the time Tank Infantry Mark III*— from the Mark I, was based on the AEC Comet, a commercial road vehicle engine. The Mark IV used a GMC Detroit Diesel; these were the majority of those used in the desert campaigns. The gearbox was a 5-speed, 1-reverse Meadows connected to the multiplate steering clutches which then fed epicyclic reduction gearboxes on the sides of the tanks. The brakes themselves were on the outside of the drive sprockets. The suspension was made up of two units on either side; each unit made up of a single diameter wheel and two wheels. Improved tracks were added to later marks.


title: Valentine tank

text: The Valentine was extensively used in the North African Campaign, earning a reputation as a reliable and well-protected vehicle. The first Valentines went into action in December 1941 with the 8th Royal Tank Regiment in Operation Crusader. The tank first served in Operation Crusader in the North African desert, when it began to replace the Matilda Tank. Due to a lack of cruisers, it was issued to armoured regiments in the UK from mid-1941. The Valentine was better armed and faster than the Cruiser Mk II. During the pursuit from El Alamein in late 1942, some tanks had driven more than by the time the Eighth Army reached Tunisia.


title: Valentine tank

text: The Valentine shared the common weakness of the British tanks of the period in that its 2-pounder gun lacked high-explosive (anti-personnel) ammunition and soon became outdated as an anti-tank weapon. Introduction of the 6-pounder in British service was delayed until the loss of equipment in France had been made good, so the 2-pounder was retained longer.


title: Valentine tank

text: The small size of the turret and of the turret ring meant that producing mountings for larger guns proved a difficult task. Although versions with the 6-pounder and then with the Ordnance QF 75 mm gun were developed, by the time they were available in significant numbers, better tanks had reached the battlefield. Another weakness was the small crew compartment and the two-man turret. A larger turret, with a loader position added, was used in some of the 2-pounder versions but the position had to be removed again in variants with larger guns. Its relatively low height was an advantage in a battlefield with little cover, allowing it to take up a "good hull-down position in any convenient fold in the ground".


title: Valentine tank

text: Six Valentines of 'B' Special Service Squadron of the Royal Armoured Corps took part in the 1942 Battle of Madagascar with six Tetrarchs of 'C' Special Service Squadron.


title: Valentine tank

text: By 1944, the Valentine had been almost replaced in front-line units of the European theatre by the Churchill tank (the Infantry Tank Mark IV) and the US-made M4 Sherman tank. A few were used for special purposes or as command vehicles for units equipped with the Archer self-propelled gun. The Royal Artillery used the Valentine XI (with 75 mm gun) as an OP command tank until the end of the war.


title: Valentine tank

text: In the Pacific War, 25 Valentine Mk III and nine Valentine Mk IIICS tanks were employed by the 3rd New Zealand Division in the south-west Pacific campaign. Trials in New Zealand had found that the locally developed 2 pounder HE shell lacked power, especially compared to the 18-pounder shell of the 3-inch howitzer, so 18 Valentine Mk III were converted to Valentine Mk IIICS standard by having their main armament replaced by the QF 3-inch howitzer taken from Matilda Mk IVCS tanks, surplus to New Zealand requirements. Other modifications to the nine Valentine Mk IIICS tanks deploying to the Pacific included Infantry telephones (a means for infantry to talk to the tank commander). The converted tanks carried 21 HE and 14 smoke shells. The other nine 3-inch armed tanks and 16 normal Valentines (with 2-pounder guns) remained in New Zealand for training. The Valentine was retired from New Zealand service in 1960.


title: Valentine tank

text: Valentines, of most all Marks except the Mark I, were sent to the USSR from 1941. The creation of Valentines tanks destined for use by the Soviet Union was a part of a campaign known as Aid to Russia Fund, headed by Clementine Churchill and heavily supported by the Communist Party of Great Britain. In Soviet service, the Valentine was used from the Battle of Moscow until the end of the war, mainly in the second line. Although criticised for its low speed and the 2-pounder gun, the Valentine was liked due to its small size, reliability and good armour protection. Initially the tracks gave some problems in winter; from freezing down to minus 20, snow packed into the tracks, though at below minus 20 it was not a problem. The problem was later solved.


title: Valentine tank

text: Soviet Supreme Command asked for its production until the end of the war. In August 1945, as part of the Soviet invasion of Manchuria, the 267th Tank Regiment (40 Valentine III and IX) of the 59th Cavalry Division Red Army, together with the 65th T-34-85 43rd Tank Brigade, passed from Eastern Gobi across the mountains Greater Khingan to Kalgan in China.


title: Valentine tank

text: The last use of a Valentine in combat is thought to have occurred during the Cyprus crisis of 1963–64. A turretless Valentine from a quarry was used by Greek militia, fitted with an improvised armoured casemate from which a gunner could fire a Bren gun. The vehicle is owned by the Cypriot National Guard, who intend to place it in a proposed new military museum.


title: Valentine tank

text: Around forty Valentine tanks and vehicles based on the Valentine chassis survive. Tanks in running condition are at the Bovington Tank Museum (Mark IX) and in private hands in New Zealand and the United Kingdom. The Bovington collection has a Mark II and a Valentine Scissors Bridgelayer. Other examples are displayed at the Imperial War Museum Duxford in the UK; the Royal Military Museum in Brussels, Belgium; the Musée des Blindés, Saumur, France and the Kubinka Tank Museum, Russia; the South African National Museum of Military History. In the United States, the Military Vehicle Technology Foundation and the Virginia Museum of Military Vehicles own Valentines.


title: Valentine tank

text: A number of Valentine hulls are in private ownership in Australia, including one in the Australian Armour and Artillery Museum. These were sent there after the war for use as agricultural vehicles.


title: Valentine tank

text: Two Canadian-built Valentines survive. Valentine Tank Mk VIIA, no. 838, built May 1943, was a Lend-Lease tank shipped to the Soviet Union. It fell through the ice of a boggy river near Telepyne, Ukraine (Russian: Telepino), during a Soviet counter-offensive on 25 January 1944. In 1990 a 74-year-old villager helped locate the tank and it was recovered and offered as a Glasnost-era gift to Canada. It was presented to the Canadian War Museum by independent Ukraine in 1992 and stands on display in the LeBreton Gallery. A Valentine built by Canadian Pacific resides at the Base Borden Military Museum in Barrie, Ontario.


title: Valentine tank

text: A notable survivor is the only intact DD Valentine. This has been restored to running condition and is in the United Kingdom, privately owned by John Pearson. A number of DD Valentines that sank during training lie off the British coast; several have been located and are regularly visited by recreational divers. Two Valentines lie in the Moray Firth in Scotland and two lie out of Poole Bay in Dorset. These tanks lie apart in of water. A further tank is known to lie in around of water in Bracklesham Bay, south of Chichester in West Sussex; the hull and turret are clearly recognisable as it sits on a gravel mound.


title: Valentine tank

text: In October 2012, a Valentine Mk IX tank that fell through ice while crossing a river in western Poland during the Soviet Army's march to Berlin was recovered. This, the only surviving Valentine Mk IX to have actually seen combat, is reportedly well preserved and could possibly be restored to operational condition.


title: Mike Ilitch

text: Michael Ilitch Sr. (July 20, 1929 – February 10, 2017) was an American entrepreneur, founder and owner of the international fast food franchise Little Caesars Pizza. He owned the Detroit Red Wings of the National Hockey League and Detroit Tigers of Major League Baseball.


title: Mike Ilitch

text: Ilitch was at the center of Detroit's downtown redevelopment efforts; he purchased and renovated the Fox Theatre and relocated his business headquarters (Ilitch Holdings) there. He also owned Olympia Entertainment. A first generation American of Macedonian descent, he was married to Marian Bayoff Ilitch.


title: Mike Ilitch

text: Ilitch was born in Detroit in 1929 to Macedonian immigrants Sotir and Sultana Ilitch. His father was a tool-and-die maker.


title: Mike Ilitch

text: A graduate of Cooley High School in Detroit, Michigan, Ilitch served in the U.S. Marine Corps for four years.


title: Mike Ilitch

text: After his return home to Detroit, the Detroit Tigers offered him $3,000 if he would sign to play baseball, and Ilitch had a four-year minor league career from 1952 to 1955. Ilitch played mostly second base for the Tigers', New York Yankees', and Washington Senators' organizations in the Pennsylvania–Ontario–New York League, Cotton States League, and Florida International League. He was forced out of his playing career due to a knee injury.


title: Mike Ilitch

text: After leaving baseball, Ilitch started a pizza business in 1959. With the help of his wife, Marian, the Ilitches opened Little Caesars Pizza Treat in Garden City, Michigan. , the family's entities remain privately held. In 1999, the Ilitches established Ilitch Holdings, Inc. to provide their various enterprises with professional and technical services, and held the titles of chairman and vice chairwoman, respectively. The combined total revenues for these enterprises in 2007 reportedly exceeded $1.8 billion. Ilitch had fallen off "Forbes" magazine's annual list of the "400 Richest Americans", but in 2006 he returned to the list at No. 242. As of December 2016, he was No. 86 on the Forbes 400 and had an estimated net worth of $6.1 billion.


title: Mike Ilitch

text: In 2000, Ilitch and his wife appointed two of their children as co-presidents of Ilitch Holdings, Inc.: Christopher Ilitch and daughter Denise Ilitch, an attorney. Christopher Ilitch was named to the new post of CEO and president. Denise Ilitch later left the company "to pursue other opportunities".


title: Mike Ilitch

text: In an era of experimentation in sports leagues, the Detroit Wheels were a football team that played in the World Football League for the 1974 season. Ilitch was part of a 33-person ownership group (including Motown singer Marvin Gaye) that funded the ill-fated WFL team which would not even last the inaugural season in the start-up league.


title: Mike Ilitch

text: The Detroit Caesars were a professional softball team that began play in the American Professional Slow Pitch Softball League (APSPL) in 1977. The team disbanded after the 1979 season. Prior to formalized professional play, a major sponsor of amateur softball in the Detroit area was Little Caesars, who sponsored the 1970 American Softball Association national championship team. With the formation of a professional league, Ilitch formed a team in his first solo step into professional sports ownership.


title: Mike Ilitch

text: The Caesars played at Memorial Field in East Detroit and featured former Detroit Tiger stars Jim Northrup, Mickey Stanley, Jim Price and Norm Cash, along with established softball players such as Mike Nye, Ronnie Ford, Mike Gouin, Bert Smith, and Tex Collins. The team was led by manager Gary Vitto, earning the team two championships before disbanding after the 1979 season. Vitto would go on to serve as General Manager of the Detroit Drive of the Arena Football League and then served in the front office of the Detroit Tigers, both owned by Ilitch.


title: Mike Ilitch

text: In 1982, Ilitch bought the Detroit Red Wings from Bruce Norris (whose family had owned the team for 50 years) for US$8 million, and turned the team into a perennial contender for the Stanley Cup. After years of drafting top picks and grooming their young players, and with proper management and leadership, the Red Wings became an elite NHL team. They made the Stanley Cup finals three times between the 1994–1995 and 1997–1998 seasons, winning the Cup in 1997 (fifteen years after Ilitch purchased the Red Wings) and again in 1998. The Red Wings added two more championships in 2002 and 2008. Prior to the 2004–05 NHL lockout, "Forbes" magazine ranked the Red Wings as the fifth-most valuable franchise in the NHL, despite a $16 million operating loss.


title: Mike Ilitch

text: For the 2007–2008 hockey season, the team won the President's Trophy for the best record in the NHL for the sixth time—the most of any NHL team since the President's Trophy was introduced in 1985–1986. The Red Wings made the playoffs for 25 consecutive seasons through 2015–2016. The 25 consecutive playoff berths were the longest active streak of post-season appearances in all of the North American professional sports, before ending in the 2016–2017 season. It is tied for third all-time in NHL history after 29 consecutive appearances by the Boston Bruins from 1967–1968 to 1995–1996, 28 consecutive trips by the Chicago Blackhawks from 1969–1970 through 1996–1997, and is tied with the 25 consecutive appearances by the St. Louis Blues from 1979–1980 to 2003–2004.


title: Mike Ilitch

text: Ilitch purchased the Detroit Tigers in 1992 from fellow pizza magnate Tom Monaghan, the founder of Domino's Pizza. Under his ownership, the Tigers logged losing records in twelve out of thirteen seasons before their turnaround in 2006.


title: Mike Ilitch

text: After acquiring the team, Ilitch expressed interest in moving the struggling team to a new ballpark. In 2000, his expectations were realized when the team moved from Tiger Stadium into the newly built Comerica Park. He financed approximately 60% of the $350 million facility; the taxpayers of the greater Detroit-Wayne County and federal grants covered the balance. Various Ilitch Holdings, Inc. enterprises manage and operate Comerica Park and its concessions.


title: Mike Ilitch

text: When the Tigers won the AL Wild Card under manager Jim Leyland and general manager Dave Dombrowski in 2006, they made the playoffs for the first time since 1987. They also reached the World Series for the first time since 1984, but the Tigers eventually lost in five games to the St. Louis Cardinals in the Series. After Dombrowski was brought in, Ilitch steadily agreed to bring in marquee free agents and finance a larger payroll, with the Tigers beginning the 2008 season as one of the highest-salaried teams in baseball.


title: Mike Ilitch

text: On September 16, 2011, the Tigers won the Central division title—their first division crown since Ilitch's purchase. On January 24, 2012, Ilitch signed Prince Fielder to a nine-year, $214 million contract, the fourth-largest contract in baseball history. The 2012 Tigers went all the way to the World Series, but were swept by the San Francisco Giants. Prior to the 2013 season, Ilitch agreed to sign starting pitcher Justin Verlander to a seven-year, $180 million contract extension, at the time the highest single offer ever tendered to a major league pitcher. The Tigers won four consecutive AL Central Division titles between 2011 and 2014, but Ilitch's quest for a World Series title was not achieved before his death in 2017.


title: Mike Ilitch

text: Ilitch was one of the early team owners in the Arena Football League, starting up the Detroit Drive in 1988. The Drive was one of the most successful teams in the early days of the AFL, both on and off the field. They generally had strong attendance (although much of that was due to discounted or giveaway tickets), and the Drive was in the ArenaBowl in every year of their six-year existence, going 4–2 in the title games.


title: Mike Ilitch

text: After Ilitch bought the Tigers in 1992 though, he decided he didn't want to own another franchise that would take away fans from the Tigers, so he sold the team and they moved to Worcester, Massachusetts.


title: Mike Ilitch

text: Ilitch was inducted into the Hockey Hall of Fame in 2003 as well as the United States Hockey Hall of Fame in 2004.


title: Mike Ilitch

text: One of Ilitch's first philanthropic efforts was the Little Caesars Love Kitchen, established in 1985. The traveling restaurant was formed to feed the hungry and assist with food provisions during natural disasters. The program has been recognized by former Presidents Bill Clinton, George H. W. Bush and Ronald Reagan, and has served more than 2 million individuals in the United States and Canada.


title: Mike Ilitch

text: In 2006, inspired by a veteran returning to civilian life after losing both of his legs in the war, Ilitch founded the Little Caesars Veterans Program to provide honorably discharged veterans with a business opportunity when they transition from service or seek a career change. Ilitch received the Secretary's Award from the U.S. Department of Veterans Affairs for this program in 2007; it is the highest honor given to a civilian by the department.


title: Mike Ilitch

text: The Little Caesars Amateur Hockey Program, established by Ilitch in 1968, helped thousands of children. Additionally, Ilitch Charities for Children was founded in 2000 as a non-profit foundation dedicated to improving the lives of children in the areas of health, education, and recreation.


title: Mike Ilitch

text: In 2008, the charity was renamed Ilitch Charities and its focus was broadened. The new charity invests in the community's future by supporting innovative, collaborative and measurable programs that promote economic development and spur job growth, as a means to address social issues such as poverty, unemployment, homelessness, and hunger.


title: Mike Ilitch

text: As a result of his philanthropy, the School of Business for Wayne State University in Detroit is named the "Mike Ilitch School of Business".


title: Mike Ilitch

text: According to OpenSecrets, reports required by the Federal Election Commission from 2002 to 2005 indicate Ilitch Holdings, Inc. members and business partners have contributed more than $500,000 to political campaigns and PACs.


title: Mike Ilitch

text: After civil rights icon Rosa Parks was attacked in her Detroit apartment in 1994, Ilitch quietly paid years of Parks's rent to enable her to live in a safer part of Detroit.


title: Mike Ilitch

text: Ilitch was married to Marian Ilitch (née Bayoff, born 1933), who would go on to become one of the world's wealthiest women. Like Ilitch, his wife was born in Michigan to immigrants from Macedonia. Together, they had seven children: Denise Ilitch Lites (born 1955), an attorney; Ron Ilitch (1957 – 2018), who died of a fentanyl overdose at the age of 61; Michael Ilitch, Jr., a film producer whose credits include "Lost in Space" (1998) and "The Angriest Man in Brooklyn" (2014); Christopher Ilitch (born 1965), the current CEO of Ilitch Holdings; Lisa Ilitch Murray, who served as the executive vice president of the Detroit Red Wings; Atanas Ilitch, an actor and singer whose most notable credit was that of the Driller Killer in "Slumber Party Massacre II" (1987); and Carole Ilitch Trepeck, also an attorney.


title: Mike Ilitch

text: The family was presented the key to the City of Detroit by Mayor Kwame Kilpatrick in February 2008, and were the fifth recipients of this award.


title: Mike Ilitch

text: Ilitch died on February 10, 2017, at the age of 87 in Detroit, Michigan. The Red Wings wore a patch on their right shoulders in his memory, which featured his nickname "Mr. I" in a rectangle, for the remainder of the season; in addition, the nickname was featured on the ice at Joe Louis Arena, being painted on the center section of the rink, facing the Red Wings' bench.


title: Mike Ilitch

text: The Detroit Tigers also wore a black patch with his nickname "Mr. I' in a circle on the right sleeve of their home and away jerseys. In the aftermath of this death, his son, Christopher, took control of Ilitch Holdings and its properties.


title: Game Over (2019 film)

text: Game Over is a 2019 Indian psychological thriller film directed by Ashwin Saravanan. Produced by YNOT Studios and Reliance Entertainment, the film stars Taapsee Pannu as a woman with PTSD who is defending her home from mysterious intruders. The film was shot simultaneously in Tamil and Telugu. The film was also dubbed in Hindi and was presented by Anurag Kashyap. The dialogues were written by Ashwin Saravanan and Kaavya Ramkumar in Tamil and Venkat Kacharla in Telugu. The music is composed by Ron Ethan Yohann.


title: Game Over (2019 film)

text: Principal photography commenced on 10 October 2018. The film was released on 14 June 2019 to mostly positive reviews.


title: Game Over (2019 film)

text: "Game Over" starts with a serial killer (whose face is not revealed) stalking a girl with cancer from outside her house and later at midnight killing her by wrapping her head in plastic and tying her hands behind her. After that he takes her to an abandoned field where he beheads her and sets her body on fire.


title: Game Over (2019 film)

text: Later, the film focuses on Swapna (Taapsee Pannu) who is a single young woman and also a talented game designer. She has a fear of the darkness, and also has post-traumatic stress more so known as 'anniversary reaction', a condition, which triggers unsettling feelings around the anniversary of a traumatic event. For Swapna, it is the horrific memory of her rape that took place on last New Year's Eve.


title: Game Over (2019 film)

text: It is her second time that she suffers from the uncontrollable feeling whenever she enters darkness; the first time was one year ago, the following days after she was raped. Her symptom starts when she feels pain at her wrist, where there is a tattoo she got one year ago. As she got the tattoo too long ago, it was explained technically impossible by a doctor that the pain was caused by it, but only she knows there is a connection between the tattoo and her miserable memory. Her family have a traditional mindset that think decent girls should not have tattoos or go out in the night; to which she did not listen, and was later raped. Instead of encouraging her afterward, her parents kept blaming the tragedy on her, for having a tattoo and going out in the night.


title: Game Over (2019 film)

text: Because of this, she leaves her parents, never contacted them since, and leads a secluded life with Kalamma (Vinodhini Vaidyanathan), a housemaid who stays with her. Her only solace is her love for gaming. Swapna later learns that her tattoo ink was mixed with a stranger's ash, because of a mistake by the tattoo artist. She begins to have some bizarre dreams and finds that the girl Amutha (Sanchana Natarajan), a cancer survivor, was an unfortunate victim of a serial killer. Amutha's mother tells Swapna that her daughter will always be with her and want her to fight.


title: Game Over (2019 film)

text: The same serial killer that killed many young women in the city, including Amutha, finally targets Swapna, who is now temporarily a wheelchair user due to an attempted suicide. The killer kills Mr Anwar, the security of her house, and Kalamma, and finally Swapna. But before Swapna is killed, she is surprised to find that she has three of the same tattoo pattern on her wrist, where she had only one.


title: Game Over (2019 film)

text: Swapna wakes up from the "nightmare", but finds now only two tattoo patterns are left on her wrist. She now realizes that she was not killed in a dream, but it is Amutha's spirit, who wants Swapna to fight, that gave her three lives, just like video games she is often playing. And now Swapna has lost one life, with two remaining.


title: Game Over (2019 film)

text: To avoid the same mistake that got them all killed in her first life, Swapna, who is now using her second life, call the police and stay in the house with Kalamma to wait for the police. Police arrive in time and shoot the killer before the latter kills Swapna and after, however, kills Kalamma. She seems to be saved and is taken by the police to the station. But on their way, their vehicle is exploded by a bomb set by the killers. It is now revealed that there was not only one killer that was trying to kill her, but three.


title: Game Over (2019 film)

text: Swapna now is using her third, also the last life to fight against the killers. Encouraged by Amutha's spirit, Swapna conquers her fear for darkness. She does not turn on the light to draw the killers' attention. Swapna and Kalamma manages to kill the first killer by setting him on fire. The second killer almost kills them both but is also taken down by them. The third killer beats Kalamma to unconsciousness and confronts Swapna, who manages to stab him to death with a piece of broken mirror.


title: Game Over (2019 film)

text: The film marks the return of actress Taapsee to Tamil cinema after a hiatus of four years. The first look poster of the film was unveiled on 10 October 2018, which displayed Taapsee sitting in a wheelchair with legs in plaster casts. The shooting of the film commenced on the very next day on 11 October 2018. Pannu went under intense training playing a person who uses a wheelchair. The shooting of the film was wrapped up on 14 December 2018.


title: Game Over (2019 film)

text: The official film score is composed by Ron Ethan Yohann who had worked with Ashwin Saravanan in "Maya" and Iravaakaalam. The music rights were secured by the production company's subsidiary music label YNOT Music, with Divo as their digital partner. The official soundtrack album was released by Santhosh Narayanan on 24 August 2019. The album features 28 songs which lasts for 67 minutes.


title: Game Over (2019 film)

text: The official teaser of the movie was released on 15 May 2019. The trailer of the film was released by Dhanush, Rana Daggubati and Taapsee Pannu in Tamil, Telugu and Hindi on 30 May 2019. The film was released in all three versions on 14 June 2019.


title: Game Over (2019 film)

text: , the film holds approval rating on review aggregator website Rotten Tomatoes, based on reviews with an average rating of .


title: Game Over (2019 film)

text: Nandini Ramnath of "Scroll.in" praises Pannu and Vaidyanathan for their 'doughty performance' and opines that the writers have delivered a taut and highly watchable thriller. Summing up she says, "[The film] is a taut thriller about demons within and without". Anna M. M. Vetticad of "Firstpost" gave three and half stars out of five and feels that the film is an inventive, intelligent and terrifying film that doesn't take the viewer lightly. Praising the performance of Taapsee Pannu and direction of Ashwin Saravanan, Anna says, ""Game Over" is as crisp and to-the-point as a thriller can get." Priyanka Sinha Jha of News18 rates it with three and half stars out of five, stating the film with its paranormal-meets-noir is a good example where Indian concepts are combined with western. She concludes, that the Hindi version of the film is worth a watch for entertainment and its new-age cinematic virtues. Writing for "NDTV" Saibal Chatterjee terming screenplay "smart and minimalist", praises the director for his deft handling of the execution and Pannu for her characterisation of the role. He concludes the review as, "While she [Pannu] may be the primary reason why you must go out and watch this film, it certainly isn't devoid of other intrinsic merits in terms of substance and execution." He rates it with three stars out of five. Raja Sen writing a mixed review for "Hindustan Times" rated the film with two and half stars out of five and finds, 'Pannu strong in a hysterically distraught role' and Vinodhini Vaidyanathan 'wonderfully warm'. He thinks that the film, inspired from "Black Mirror" has a solid concept. But, he says, "[it] devolves into a witless muddle in the final act." Baradwaj Rangan of Film Companion South wrote "In short, Game Over is a tight genre-hopping thriller that keeps you guessing about the genre it can be slotted into...The small miracle of the film is that it manages to pack all of this—and a lot more—into 100-something minutes".


title: Game Over (2019 film)

text: Negative reviews such as those by Rajeev Masand writing for "News18", praise Pannu for her performance but states that, "barring its leading lady's impressive performance, it's simply hit and miss." He rates the film with two and half stars out of five. Shubhra Gupta writing for "The Indian Express" gives one and half star out of five and finds "writing flabby" and "key sequences repetitive". She says, "There are a couple of genuinely scary moments, but the rest of it is too stretched: even the 102 minute run time feels too long, with not enough thrills or chills."


title: My Immortal

text: "My Immortal" is a song by American rock band Evanescence from their debut studio album, "Fallen" (2003). It was released by Wind-up Records on December 8, 2003, as the third single from the album. An alternative version appears on the band's fourth studio album "Synthesis" (2017). The song was written by guitarist Ben Moody and singer and pianist Amy Lee when they were 16 and 15, respectively. Various versions of "My Immortal" were recorded, with the earliest in 1997. The version recorded for Evanescence's demo CD "Origin" (2000) was used on "Fallen" by the label against Lee's wishes, featuring Lee's demo vocals, a MIDI keyboard, and strings added during the production of the album. The song was re-recorded for its single release, dubbed the "band version", featuring a full band's performance on the bridge and final chorus along with a new string arrangement by David Campbell.


title: My Immortal

text: "My Immortal" is a piano power ballad, with fictional lyrics about a lingering spirit that haunts someone. The song received generally positive reviews. In 2005, it received a nomination for Best Pop Performance by a Duo or Group with Vocals at the 47th Grammy Awards. The song was also commercially successful, peaking within the top ten in over 10 countries. It charted at number seven on the US "Billboard" Hot 100 and topped the charts in Canada, Greece and Portugal, as well as on the "Billboard" Adult Pop Songs chart. The single was certified gold in the United States and platinum in Australia. An accompanying music video directed by David Mould was filmed in black-and-white in Gothic Quarter, Barcelona. The video was nominated for the MTV Video Music Award for Best Rock Video.


title: My Immortal

text: The earliest known demo of "My Immortal" was recorded in 1997, which solely featured Lee's vocals and piano and slightly different lyrics. The song was intended to be included on the band's self-titled EP but was cut before it was released. In 2000, the song was re-recorded for the band's demo album, "Origin", which contains a rearranged piano melody and lyrics, including the bridge added by Lee. A version of the song is also featured on the band's 2003 EP, "Mystary".


title: My Immortal

text: The bandmembers had recorded a demo of "My Immortal" at the radio station where Lee's father worked after it was empty late at night; this recording, comprising a MIDI keyboard and Lee's demo vocal performance as a teen, is the version used on "Fallen" per the label's demand, to Lee's displeasure. Lee stated: Lee later said she also dislikes it because she "sounds like a little kid" and the album version does not use David Campbell's orchestration. Moody is credited on the album with producing the song, while on the single's CD Dave Fortman and Moody are credited with production on both the album version and band version of the song. The added strings on the album version were arranged by Graeme Revell for the "Daredevil" soundtrack.


title: My Immortal

text: When "My Immortal" became a single, Lee and Moody chose the recording they had made for "Fallen" that the label had originally rejected. This single recording is the "band version", featuring a full band performance after the bridge and during the final chorus of the song, as well as Campbell's orchestration. It is the version used on the song's music video and for radio. The later pressings of "Fallen" contain the single version (or "band version") of "My Immortal" as a hidden track.


title: My Immortal

text: "My Immortal"'s words were originally written by Moody from fiction and the song's composition was made by Moody and Lee. Moody and Lee wrote the song when they were 16 and 15, respectively, and the bridge was later added by Lee. The fictional lyrics of the song refer to a spirit that haunts the memory of a grieving loved one, according to MTV. Lee considers it "Ben [Moody]'s song". She said he writes from the point of view of a "storyteller", while she writes from her own feelings and experiences.


title: My Immortal

text: "My Immortal" is a piano power ballad. John Bean of "The Providence Journal" called it a "gothic ballad". Michael Clark of the "Houston Chronicle" viewed it as "goth-meets-pop", and MTV described it as a "delicate, heartfelt ballad". A writer for IGN said "My Immortal" is thematically a song of pain and despair". Lee's vocals are accompanied by a simple piano and some "symphonic dressings". According to the sheet music published by Alfred Music Publishing on the website Musicnotes.com, the song is set in common time and performed in slow and free tempo of 80 beats per minute. Lee's vocal range for the song runs from the low musical note of A to the high note of C.


title: My Immortal

text: "My Immortal" received generally positive reviews. Kirk Miller of "Rolling Stone" said that the song "lets Lee wail about her personal demons over simple piano and some symphonic dressings". Richard Harrington of "The Washington Post" called it a "majestic" song. Blair R. Fischer from MTV News described "My Immortal" as a "delicate, heartfelt ballad". Reviewing a live show, IGNs Ed Thompson regarded it "one of the first and best songs Evanescence ever wrote". Blair R. Fischer of "Chicago Tribune" said that Lee sounds "simply heavenly on the aberrant, elegant strings-soaked ballad". Jordan Reimer of "The Daily Princetonian" found a "haunting beauty" in the song. Writing for "The Guardian", Tom Reynolds deemed "My Immortal" a "whimpering post-breakup tune" and "overwrought", listing it as one of his top 25 "miserable" tracks.


title: My Immortal

text: In 2005, the song received a Grammy Award nomination for Best Pop Performance by a Duo or Group with Vocals. "My Immortal" has been considered by some media outlets as one of Evanescence's best songs, with "Loudwire" and "Kerrang" ranking it in the top five of their lists of best Evanescence songs.


title: My Immortal

text: The song peaked within the top 20 of more than 10 countries. On the chart issue dated April 10, 2004, "My Immortal" peaked at number seven on the "Billboard" Hot 100, and peaked at number two on the Pop Songs chart on March 27, 2004. It reached number 19 on the Adult Contemporary chart as well. On February 17, 2009, "My Immortal" was certified Gold by the Recording Industry Association of America (RIAA) for selling more than 500,000 copies in the United States. The song managed to top the charts of Canada, Greece and "Billboard"s Adult Pop Songs in the United States. Its single release also helped "Fallen" move from number nine to number three on the "Billboard" 200 chart, selling another 69,000 copies. On the "Billboard" Radio Songs chart, the song peaked at number seven on April 10, 2004. Nielsen Broadcast Data Systems placed the song at number six on the list of most played radio songs in 2004 with 317,577 spins.


title: My Immortal

text: On the Australian Singles Chart, "My Immortal" debuted at number four on January 25, 2004, which became its peak position. For three more weeks, it stayed at that position. The next eight weeks, it remained in the top ten of the chart, and it was last seen at number 44 for the week of June 13, 2004. The single was certified platinum by the Australian Recording Industry Association (ARIA) for shipment of 70,000 copies in that country. On New Zealand's RIANZ chart, the song debuted at number 49 on December 19, 2003. On January 25, it jumped 27 positions from number 34 to number 7. It fell to number eight the next week, then rose up to number two on February 8, blocked from the top position by Baby Bash's "Suga Suga". The next week, it fell to number nine, then spent three more non-consecutive weeks in the top ten. May 10 was its last week inside the top 50, appearing at number 32.


title: My Immortal

text: On December 14, 2003, "My Immortal" debuted at number seven on the UK Singles Chart which later also became its peak position. On February 15, 2004 the song dropped out of the top 100. It later re-entered at number 84 on July 13, 2008. After spending several weeks on different positions on the UK Rock Chart, on August 21, 2011, it peaked at number one. The next week, "My Immortal" moved to number two after being replaced by the band's single "What You Want" (2011); a week later it returned to number one on the chart. The song re-entered the UK Singles Chart at number 81 on August 21, 2011 and at number 89 on October 16, 2011. The song also charted on Ireland's IRMA chart, peaking at number 20 and staying in the chart for six weeks.


title: My Immortal

text: A music video directed by David Mould was filmed entirely in black-and-white in Plaça de Sant Felip Neri, Gothic Quarter, Barcelona. Lee said they filmed it in an "old area of town", with some of footage from a "scenic point, and there was a rooftop where you could see Barcelona below."


title: My Immortal

text: Lee said the video "is all about separation" and she wanted it "to depict real human sadness." The video was filmed two weeks before Moody's departure from the band. Lee admitted that the video's visuals were conspicuous in retrospect but the similarities between that and Moody's departure was coincidental.


title: My Immortal

text: According to Jon Wiederhorn from MTV News, the shots of the video are "evocative and artistic, resembling a cross between a foreign film and a Chanel advertisement." Joe D'Angelo of MTV News said that Lee's disconnection in the video shows a "distressed and emotionally wrought heroine." Rob Sheffield of "Rolling Stone" praised the video saying that Lee looked like a "teen-misery titan" and that she "tiptoed through a marble castle of pain". The music video received an MTV Video Music Award nomination for Best Rock Video at the 2004 MTV Video Music Awards.


title: My Immortal

text: Evanescence performed the song on the "Late Show with David Letterman" in March 2004, and at the 2004 "Billboard" Music Awards in December 2004. A live performance of the song from their Le Zénith, Paris show is featured on their concert CD/DVD, "Anywhere but Home" (2004). Evanescence performed the song on their 2011 Rock in Rio festival show on October 2, 2011.


title: My Immortal

text: "My Immortal" was featured on "" of the film "Daredevil" (2003) along with "Bring Me to Life". The song has been used in several television episodes. It is featured in the "Smallville" season three episode "Memoria". Lucy Walsh, a contestant of the show "Rock the Cradle", covered the song during the fifth episode, "Judge's Picks". Dancer Hampton Williams performed to this song during his audition for the season 9 premiere of "So You Think You Can Dance", and in season 11 the song accompanied a performance by the top seven women, choreographed by Mandy Moore and broadcast on July 30, 2014.


title: My Immortal

text: An arrangement of the song inspired by Gregorian chant was covered by the group Gregorian on their 2004 album, "The Dark Side". In 2012, Colombian singer Davis Bravo released a version translated in Spanish with Salsa arrangements called "Mi Eterno". In 2013, violinist Lindsey Stirling recorded an instrumental version of "My Immortal" for the Target edition of her self-titled debut studio album. The following year, Andrea Begley covered "My Immortal" for her debut studio album, "The Message". Teenage classical vocalist Jackie Evancho covered "My Immortal" in 2014 on her fifth full-length album, "Awakening", as a bonus track for the Japanese album version.


title: Kingdom of Alba

text: The Kingdom of Alba (; ) was the Kingdom of Scotland between the deaths of Donald II in 900 and of Alexander III in 1286. The latter's death led indirectly to an invasion of Scotland by Edward I of England in 1296 and the First War of Scottish Independence.


title: Kingdom of Alba

text: Alba included Dalriada, but not large parts of the present day Scottish Lowlands, which were then divided between Strathclyde and Northumbria as far north as the Firth of Forth. Fortriu, a Pictish kingdom in the north, was added to Alba in the tenth century.


title: Kingdom of Alba

text: Until the early 13th century, Moray was not considered part of Alba, which was seen as extending only between the Firth of Forth and the River Spey.


title: Kingdom of Alba

text: The name of Alba is one of convenience, as throughout this period both the ruling and lower classes of the Kingdom were predominantly Pictish-Gaels, later Pictish-Gaels and Scoto-Normans. This differs markedly from the period of the House of Stuart, beginning in 1371, in which the ruling classes of the kingdom mostly spoke Middle English, which later evolved into and came to be called Lowland Scots. There is no precise Gaelic equivalent for the English term "Kingdom of Alba", as the Gaelic term "Rìoghachd na h-Alba" means 'Kingdom of Scotland'. English-speaking scholars adapted the Gaelic name for Scotland to apply to a particular political period in Scottish history during the High Middle Ages.


title: Kingdom of Alba

text: Little is known about the structure of the Scottish royal court in the period before the coming of the Normans to Scotland, before the reign of David I. A little more is known about the court of the later 12th and 13th centuries. In the words of Geoffrey Barrow, this court "was emphatically feudal, Frankish, non-Celtic in character". Some of the offices were Gaelic in origin, such as the "Hostarius" (later Usher or "Doorward"), the man in charge of the royal bodyguard, and the "rannaire", the Gaelic-speaking member of the court whose job was to divide the food.


title: Kingdom of Alba

text: In the 13th century, all the other offices tended to be hereditary, with the exception of the Chancellor. The royal household of course came with numerous other offices. The most important was probably the aforementioned "hostarius", but there were others such as the royal hunters, the royal foresters and the cooks ("dispensa" or "spence").


title: Kingdom of Alba

text: King Donald II was the first man to have been called "rí Alban" (i.e. "King of Alba"), when he died at Dunnottar in 900. This meant king of Caledonia or Scotland. All his predecessors bore the style of either "King of the Picts" or "King of Fortriu". Such an apparent innovation in the Gaelic chronicles is occasionally taken to spell the birth of Scotland, but there is nothing special about his reign that might confirm this. Donald had the nickname "dásachtach". This simply meant a madman, or in early Irish law, a man not in control of his functions and hence without legal culpability. The reason was possibly the restlessness of his reign, continually spent fighting battles against Vikings. It is possible he gained his unpopularity by violating the rights of the church or through high taxes, but it is not known for certain. However, his extremely negative nickname makes him an unlikely founder of Scotland.


title: Kingdom of Alba

text: Donald's successor Constantine II (Causantín mac Aeda) is more often regarded as a key figure in the formation of Alba. Constantine reigned for nearly half a century, fighting many battles. When he lost at Brunanburh, he was clearly discredited and retired as a Culdee monk at St. Andrews. Despite this, the Prophecy of Berchán is full of praise for him, and in this respect is in line with the views of other sources. Constantine is credited in later tradition as the man who, with Bishop Ceallach of St. Andrews, brought the Catholic Church in Scotland into conformity with that of the larger Gaelic world, although it is not known exactly what this means. There had been Gaelic bishops in St. Andrews for two centuries, and Gaelic churchmen were amongst the oldest features of Caledonian Christianity. The reform may have been organizational, or some sort of purge of certain unknown and perhaps disliked legacies of Pictish ecclesiastical tradition. However, other than these factors, it is difficult to appreciate fully the importance of Constantine's reign.


title: Kingdom of Alba

text: The period between the accession of Malcolm I (Maol Caluim Mac Domhnuill) and Malcolm II (Maol Caluim Mac Cionaodha) is marked by good relations with the Wessex rulers of England, intense internal dynastic disunity and, despite this, relatively successful expansionary policies. Some time after an English invasion of "cumbra land" (Old English for either Strathclyde or Cumbria or both) by King Edmund of England in 945, the English king handed the province over to king Malcolm I on condition of a permanent alliance. Some time in the reign of King Indulf (Idulb mac Causantín) (954–62), the Scots captured the fortress called "oppidum Eden", i.e. almost certainly Edinburgh. It was the first Scottish foothold in Lothian. The Scots had probably had some authority in Strathclyde since the later part of the 9th century, but the kingdom kept its own rulers, and it is not clear that the Scots were always strong enough to enforce their authority. In fact, one of Indulf's successors, Cuilén (Cuilén mac Ilduilbh), died at the hands of the men of Strathclyde, perhaps while trying to enforce his authority. King Kenneth II (Cionaodh Mac Maol Chaluim) (971–95) began his reign by invading "Britannia" (possibly Strathclyde), perhaps as an early assertion of his authority, and perhaps also as a traditional Gaelic "crechríghe" (lit. "royal prey"), the rite by which a king secured the success of his reign with an inauguration raid in the territory of a historical enemy.


title: Kingdom of Alba

text: The reign of Malcolm I (942/3–954) also marks the first known tensions between the Scottish kingdom and Moray, the old heartland of the Scoto-Pictish kingdom of Fortriu. The "Chronicle of the Kings of Alba" reported that King Malcolm "went into Moray and slew Ceallach." The same source tells us that King Malcolm was killed by the Moravians. This is the first definite sign of tension between the "Cenél nGabráin" and "Cenél Loairn", two kin-groups claiming descent from different ancestors of Erc. During the reign of Macbeth (Mac Beathadh Mac Findláich), and his successor Lulach (Lulach Mac Gille Comhgháin), the Moray-based "Cenél Loairn" ruled all Scotland.


title: Kingdom of Alba

text: The reign of Malcolm II saw the final incorporation of these territories. The critical year perhaps was 1018, when King Malcolm II defeated the Northumbrians at the Battle of Carham. In the same year, King Owain Foel died, leaving his kingdom to his overlord Malcolm. A meeting with King Canute of Denmark and England, probably about 1031, seems to have further secured these conquests, although the exact nature of Scottish rule over the Lothian and Scottish Borders area was not fully realised until the conquest and annexation of that province during the Wars of Independence.


title: Kingdom of Alba

text: The period between the accession of King Duncan I (Donnchadh Mac Críonáin) (1034) and the death of Alexander I (1124) was the last before the coming of the Normans to Scotland. In some respects, the reign of King Malcolm III (Maol Caluim Mac Donnchaidh) prefigured the changes which took place in the reigns of the French-speaking kings David I and William I, although native reaction to the manner of Duncan II's (Donnchad mac Máel Coluim) accession perhaps put these changes back somewhat.


title: Kingdom of Alba

text: King Duncan I's reign was a military failure. He was defeated by the native English at Durham in 1040, and was subsequently toppled. Duncan had only been related to previous rulers through his mother Bethoc, daughter of Malcolm II, who had married Crínán, the lay abbot of Dunkeld (and probably Mormaer of Atholl too). At a location called "Bothganowan" (or "Bothgowan", "Bothgofnane", "Bothgofuane", meaning "Blacksmith's Hut" in old Gaelic, today "Pitgaveny" near Elgin), the Mormaer of Moray, Macbeth defeated and killed Duncan, and took the kingship for himself. After Macbeth's successor Lulach, another Moravian, all kings of Scotland were Duncan's descendants. For this reason, Duncan's reign is often remembered positively, while Macbeth is villanised. Eventually, William Shakespeare gave fame to this medieval equivalent of propaganda by further immortalising both men in his play Macbeth. Macbeth's reign however was successful enough that he had the security to go on pilgrimage to Rome.


title: Kingdom of Alba

text: It was Malcolm III who acquired the nickname (as did his successors) "Canmore" ("Ceann Mór", "Great Chief"), and not his father Duncan, who did more to create the successful dynasty which ruled Scotland for the following two centuries. Part of the success was the huge number of children he had. Through two marriages, firstly to the Norwegian Ingibiorg Finnsdottir, and secondly to the English princess Margaret of Wessex, Malcolm had perhaps a dozen children. Malcolm and, if we believe later hagiography, his wife, introduced the first Benedictine monks to Scotland. However, despite having a royal Anglo-Saxon wife, Malcolm spent more of his reign conducting slave raids against the English, adding to the woes of that people in the aftermath of the Norman Conquest of England and the Harrying of the North, as Marianus Scotus tells us:


title: Kingdom of Alba

text: Malcolm died in one of these raids, in 1093. In the aftermath of his death, the Norman rulers of England began their interference in the Scottish kingdom. This interference was prompted by Malcolm's raids and attempts to forge claims for his successors to the English kingship. He had married the sister of the native English claimant to the English throne, Edgar Ætheling, and had given most of his children by this marriage Anglo-Saxon royal names. Moreover, he had given support to many native English nobles, including Edgar himself, and had been supporting native English insurrections against their Norman rulers. In 1080, King William the Conqueror sent his son on an invasion of Scotland. The invasion got as far as Falkirk, on the boundary between Scotland-proper and Lothian, and Malcolm submitted to the authority of the king, giving his oldest son Duncan as a hostage. This submission perhaps gives the reason why Malcolm did not give his last two sons, Alexander and David, Anglo-Saxon royal names.


title: Kingdom of Alba

text: Malcolm's natural successor was his brother, Donalbane (Domhnall Bán Mac Donnchaidh), as Malcolm's sons were young. However, the Norman state to the south sent Malcolm's son Duncan to take the kingship. In the ensuing conflict, the "Anglo-Saxon Chronicle" tells us that:


title: Kingdom of Alba

text: Duncan was killed the same year, 1094, and Donalbane resumed sole kingship. However, the Norman state sent another of Malcolm's sons, Edgar to take the kingship. Anglo-Norman policy worked, because thereafter all kings of Scotland succeeded, not without opposition of course, under a system very closely corresponding with the primogeniture that operated in the French-speaking world. The reigns of both Edgar and his brother and successor Alexander are comparatively obscure. The former's most notable act was to send a camel (or perhaps an elephant) to his fellow Gael Muircheartach Ua Briain, High King of Ireland. When Edgar died, Alexander took the kingship, while his youngest brother David became Prince of "Cumbria" and ruler of Lothian.


title: Kingdom of Alba

text: The period between the accession of David I and the death of Alexander III was marked by dependence upon, and relatively good relations with, the Kings of the English. It was also a period of historical expansion for the Scottish kingdom, and witnessed the successful imposition of royal authority across most of the modern country. The period was one of a great deal of historical change, and much of the modern historiographical literature is devoted to this change (especially G.W.S. Barrow), part of a more general phenomenon which has been called the "Europeanisation of Europe". More recent works though, while acknowledging that a great deal of change did take place, emphasise that this period was in fact also one of great continuity (e.g. Cynthia Neville, Richard Oram, Dauvit Broun, and others). Indeed, the period is subject to many misconceptions. For instance, English did not spread all over the Lowlands (see language section), and neither did English names; and, moreover even by 1300, most native lordships remained in native Gaelic hands, with only a minority passing to men of French or Anglo-French origin; furthermore, the Normanisation and imposition of royal authority in Scotland was not a peaceful process, but in fact cumulatively more violent than the Norman Conquest of England; additionally, the Scottish kings were not independent monarchs, but vassals to the King of the English, although not "legally" for Scotland north of the Forth.


title: Kingdom of Alba

text: The important changes which did occur include the extensive establishment of burghs (see section), in many respects Scotland's first urban institutions; the feudalisation, or more accurately, the Francization of aristocratic martial, social and inheritance customs; the de-Scotticisation of ecclesiastical institutions; the imposition of royal authority over most of modern Scotland; and the drastic drift at the top level from traditional Gaelic culture, so that after David I, the Kingship of the Scots resembled more closely the kingship of the French and English, than it did the lordship of any large-scale Gaelic kingdom in Ireland.


title: Kingdom of Alba

text: After David I, and especially in the reign of William I, Scotland's kings became ambivalent about, if not hostile towards, the culture of most of their subjects. As Walter of Coventry tells us:


title: Kingdom of Alba

text: The ambivalence of the kings was matched to a certain extent by their subjects. In the aftermath of William's capture at Alnwick in 1174, the Scots turned on their king's English-speaking and French-speaking subjects. William of Newburgh related the events:


title: Kingdom of Alba

text: Opposition to the Scottish kings in this period was indeed hard. The first instance is perhaps the revolt of Óengus of Moray, the Mormaer of Moray, the crushing of which led to the colonisation of Moray by foreign burgesses, and Franco-Flemish and Anglo-French aristocrats. Rebellions continued throughout the 12th century and into the 13th. Important resistors to the expansionary Scottish kings were Somhairle Mac Gille Brighdhe, Fergus of Galloway, Gille Brigte of Galloway and Harald Maddadsson, along with two kin-groups known today as the MacHeths and the Meic Uilleim. The latter claimed descent from king Donnchadh II, through his son William, and rebelled for no less a reason than the Scottish throne itself. The threat was so grave that, after the defeat of the MacWilliams in 1230, the Scottish crown ordered the public execution of the baby girl who happened to be the last MacWilliam. This was how the Lanercost Chronicle relates the fate of this last MacWilliam:


title: Kingdom of Alba

text: Many of these resistors collaborated, and drew support not just in the peripheral Gaelic regions of Galloway, Moray, Ross and Argyll, but also from eastern "Scotland-proper", Ireland and Mann. By the end of the 12th century, the Scottish kings had acquired the authority and ability to draw in native Gaelic lords outside their previous zone of control to do their work, the most famous examples being Lochlann, Lord of Galloway and Fearchar Mac an t-Sagairt.


title: Kingdom of Alba

text: Such accommodation assisted expansion to the Scandinavian-ruled lands of the west. Uilleam, the native Mormaer of Ross, was a pivotal figure in the expansion of the Scottish kingdom into the Hebrides, as was Ailéan mac Ruaidhrí, the key pro-Scottish Hebridean chief, who married his daughter to Uilleam, the Mormaer of Mar. The Scottish king was able to draw on the support of Alan, Lord of Galloway, the master of the Irish Sea region, and was able to make use of the Galwegian ruler's enormous fleet of ships. The Mormaers of Lennox forged links with the Argyll chieftains, bringing a kin-group such as the Campbells into the Scottish fold. Cumulatively, by the reign of Alexander III, the Scots were in a strong position to annexe the remainder of the western seaboard, which they did in 1266, with the Treaty of Perth. Orkney too was coming into the Scottish fold. In the 12th century, Mormaer Matad's son Harald was established on the Orkney Earldom. Thereafter, the Orkney earl (also Mormaer of Caithness) was just as much a Scottish vassal as a Norwegian one. Descendants of the Gaelic Mormaers of Angus ruled Orkney for much of the 13th century. In the early 14th century, another Scottish Gaelic noble, Maol Íosa V of Strathearn became Earl of Orkney, although formal Scottish sovereignty over the Northern Isles did not come for more than another century.


title: Kingdom of Alba

text: The conquest of the west, the creation of the Mormaerdom of Carrick in 1186 and the absorption of the Lordship of Galloway after the Galwegian revolt of 1135 meant that the number and proportion of Gaelic speakers under the rule of the Scottish king actually increased, and perhaps even doubled, in the so-called Norman period. It was the Gaels and Gaelicised warriors of the new west, and the power they offered, that enabled King Robert I (himself a Gaelicised Scoto-Norman of Carrick) to emerge victorious during the Wars of Independence, which followed soon after the death of Alexander III.


title: Slam dunk

text: A slam dunk, also simply known as dunk, is a type of basketball shot that is performed when a player jumps in the air, controls the ball above the horizontal plane of the rim, and scores by shoving the ball directly through the basket with one or both hands. It is a type of field goal that is worth two points. Such a shot was known as a "dunk shot" until the term "slam dunk" was coined by former Los Angeles Lakers announcer Chick Hearn.


title: Slam dunk

text: The slam dunk is usually the highest percentage shot and a crowd-pleaser. Thus, the maneuver is often taken from the basketball game and showcased in slam dunk contests such as the NBA Slam Dunk Contest held during the annual NBA All-Star Weekend. The first incarnation of the NBA Slam Dunk Contest was held during the half-time of the 1976 American Basketball Association All-Star Game.


title: Slam dunk

text: Dunking was banned in the NCAA and high school sports from 1967 to 1976. Many people have attributed the ban to the dominance of the college phenomenon Lew Alcindor (now known as Kareem Abdul-Jabbar); the no-dunking rule is sometimes referred to as the "Lew Alcindor rule." Others have attributed the ban to racial motivations, as at the time most of the prominent dunkers in college basketball were African-American, and the ban took place less than a year after a Texas Western team with an all-black starting lineup beat an all-white Kentucky team to win the national championship. Under head coach Guy Lewis, Houston (with Elvin Hayes) made considerable use of the on their way to the Final Four


title: Slam dunk

text: Joe Fortenberry, playing for the McPherson Globe Refiners, dunked the ball in 1936 in Madison Square Garden. The feat was immortalized by Arthur Daley, Pulitzer Prize winning sports writer for The New York Times in an article in March 1936. He wrote that Joe Fortenberry and his teammate, Willard Schmidt, instead of shooting up for a layup, leaped up and "pitch[ed] the ball downward into the hoop, much like a cafeteria customer dunking a roll in coffee".


title: Slam dunk

text: During the 1940s and 1950s, 7-foot center and Olympic gold medalist Bob Kurland was dunking regularly during games. Yet defenders viewed the execution of a slam dunk as a personal affront that deserved retribution; thus defenders often intimidated offensive players and thwarted the move. Satch Sanders, a career Boston Celtic from 1960 to 1973, said: "...in the old days, [defenders] would run under you when you were in the air... ...trying to take people out of games so they couldn't play. It was an unwritten rule..." Still, by the late 1950s and early 1960s players such as Bill Russell and Wilt Chamberlain had incorporated the move into their offensive arsenal. At this time, dunking was a practice most commonly used by the tallest and biggest men (usually standing close to the hoop) to show their reach and strength. Then through the 1970s, players like David Thompson, Julius Erving and Darryl Dawkins popularized the move with more athletically executed dunks (with high-flying jumps and turns). This transformed dunking into the standard fare it is today.


title: Slam dunk

text: Dunk types reflect the various motions performed on the way to the basket. They start with the basic one- or two-hand forward-facing dunk and go on through various levels of athleticism and intricacy. Discrete dunk types can be modified by appending other moves; for example, a player who passes the ball off the backboard, catches it in the air, and executes a "double-pump dunk" would be said to have completed a "self-pass off the backboard, double pump".


title: Slam dunk

text: At the onset of the jump, the ball is controlled by either one or both hands and once in the air is typically brought to chest level. The player will then quickly thrust the ball downwards and fully extend their arms, bringing the ball below the waist. Finally the ball is brought above the head and dunked with one or both hands; and the double clutch appears as one fluid motion. As a demonstration of athletic prowess, the ball may be held in the below-the-waist position for milliseconds longer, thus showcasing the player's hang time (jumping ability).


title: Slam dunk

text: Whether the result of a 180° spin or body angle at takeoff, the double clutch is generally performed with the player's back toward the rim. While this orientation is rather conducive to the double clutch motion, Spud Webb was known to perform this dunk while facing the basket. Additionally, Kenny "Sky" Walker, Tracy McGrady—in the 1989 and 2000 NBA Contests, respectively—and others, have performed 360° variation of the double clutch (McGrady completed a lob self-pass before the dunk). Circa 2007, independent slam dunker T-Dub performed the double clutch with a 540° spin which he concluded by hanging on the rim.


title: Slam dunk

text: A Tomahawk dunk can be performed with one or two hands, and when two hands are used, it is called a backscratcher. Initially referred to as a gorilla dunk, that term is uncommon now. During the jump, the ball is raised above, and often behind the player's head for a wind-up before slamming the ball down into the net at the apex of the jump. Due to the undemanding body mechanics involved in execution, the tomahawk is employed by players of all sizes and jumping abilities. Because of the ball-security provided by the use of both hands, the two-handed tomahawk is a staple of game situations—frequently employed in alley-oops and in offense-rebound put-back dunks.


title: Slam dunk

text: In one common variation, a 360° spin may be completed prior to or simultaneously with the tomahawk. Circa 2009, independent slam dunker Troy McCray pioneered an especially complex variant of the dunk: once the tomahawk motion is complete, instead of slamming the ball in the rim, a windmill dunk (see below) is then performed.


title: Slam dunk

text: The two-hand backscratcher finish can exert tremendous force on the basket. In 1979, Darryl Dawkins twice shattered NBA backboards with tomahawk dunks leading to a quickly-enacted rule making it an offence to break the backboard. Technology has evolved to adapt to the increased strength and weight of players to withstand the force of such dunks, such as the breakaway rim (introduced to the NBA in 1981) changes to the material used for the backboards, and strengthening of the goal standards themselves.


title: Slam dunk

text: Before takeoff, or at the onset of the jump, the ball is brought to the abdomen and then the windmill motion is started by moving the ball below the waist according to the length of the player's fully extended arm. Then following the rotation of the outstretch arm, the ball is moved in a circular motion, typically moving from the front towards the back, and then slammed through the rim. Although, due to momentum, many players are unable to palm the ball through the entire windmill motion, the dunk is often completed with one-hand as centripetal force allows the player to guide the ball with only their dunking hand. In some instances sticky resins or powders may be applied to the palm, these are thought to improve grip and prevent loss of possession. Amongst players, subtle variations in the direction of the windmill depend on bodily orientation at takeoff and also jumping style (one-foot or two-feet) in relation to dominant hand.


title: Slam dunk

text: There are a number of variations on the windmill, the most common being the aforementioned one- or two-hand variants. In these cases, the windmill motion may be performed with the previously discussed one-arm technique and finished with one- or two-hands, or the player may control the ball with two hands, with both arms performing the windmill motion, finishing with one or both hands. Additionally, the ball may be "cuffed" between the hand and the forearm—generally with the dominant hand. The cuff technique provides better ball security, allowing for a faster windmill motion and increased force exerted on the basket at finish, with either one or both hands. Using the cuffing method, players are also afforded the opportunity of performing the windmill motion towards the front, a technique exploited by French athlete Kadour Ziani when he pioneered his trademark double-windmill.


title: Slam dunk

text: Occasionally in the game setting, the windmill is performed via alley-oop but is rarely seen in offense-rebound putback dunks due to the airtime required. Dominique Wilkins popularized powerful windmills—in games as well as in contests—including two-handed, self-pass, 360°, rim-hang, and combined variants thereof.


title: Slam dunk

text: For one-footed jumpers, the ball is generally transferred to the non-dominant hand just before or upon take-off; for two-footers, this transfer is often delayed for milliseconds as both hands control the ball to prevent dropping it. Once airborne, the dunker generally transfers the ball from non-dominant to dominant hand beneath a raised leg. Finally, the ball is brought upwards by the dominant hand and slammed through the rim.


title: Slam dunk

text: The between-the-legs dunk was popularized by Isaiah Rider in the 1994 NBA slam dunk contest, so much so that the dunk is often colloquially referred to as a "Rider dunk" — notwithstanding Orlando Woolridge's own such dunk in the NBA contest a decade earlier. Since then, the under-the-leg has been attempted in the NBA contest by a number of participants, and has been a staple of other contests as well. Its difficulty — due to the required hand-eye coordination, flexibility, and hang-time — keeps it generally reserved for exhibitions and contests, not competitive games. Ricky Davis has managed to complete the dunk in an NBA game, but both he and Josh Smith have botched at least one in-game attempt as well.


title: Slam dunk

text: Because of the possible combinations of starting and finishing hands, and raised-legs, there are many variations on the basic under-the-legs dunk—more so than any other. For example, in a 1997 French Dunk contest, Dali Taamallah leapt with his right leg while controlling the ball with his left hand, and once airborne he transferred the ball from his left hand, underneath his right leg to his right hand before completing the dunk. NBA star Jason Richardson has also pioneered several notable variations of the between-the-legs including a lob-pass to himself and a pass off of the backboard to himself. Independent athlete Shane 'Slam' Wise introduced a cuffed-cradle of the ball prior to initiating the under the leg transfer and finishing with two-hands. While a number of players have finished the dunk using one- or two-hands with their backs to the rim, perhaps the most renowned variant of the dunk is the combination with a 360°, or simply stated: a 360-between-the-legs. Due to the athleticism and hang-time required, the dunk is a crowd favorite and is heralded by players as the preeminent of all dunks.


title: Slam dunk

text: The player approaches the basket and leaps as they would for a generic dunk. Instead of simply dunking the ball with one or two hands, the player allows their forearm(s) to pass through the basket, hooking their elbow pit on the rim before hanging for a short period of time. Although the dunk was introduced by Vince Carter in the 2000 NBA Slam Dunk contest, Kobe Bryant was filmed performing the dunk two years earlier in 1998 at an exhibition in the Philippines as well as Roy Hinson who performed the dunk during warm-ups for the 1986 NBA Slam Dunk contest. Colloquially, the dunk has a variety of names including 'honey dip', 'cookie jar', and 'elbow hook'.


title: Slam dunk

text: In the 2011 NBA contest, Los Angeles Clippers power-forward Blake Griffin completed a self-pass off of the backboard prior to elbow-hanging on the rim. A number of other variants of the elbow hang have been executed, including a lob self-pass, hanging by the arm pit, a windmill, and over a person. Most notable are two variations which as of July 2012, have yet to be duplicated. In 2008, Canadian athlete Justin Darlington introduced an iteration aptly entitled a 'double-elbow hang', in which the player inserts both forearms through the rim and subsequently hangs on both elbows pits. Circa 2009, French athlete Guy Dupuy demonstrated the ability to perform a between-the-legs elbow hang; however, Guy opted not to hang on the rim by his elbow, likely because the downward moment could have resulted in injury.


title: Slam dunk

text: Discussed in this module are activities which when applied, modify a given dunk type. Modifier-activities occur prior to leaping or while airborne. Modifiers performed prior to leaping pertain to the manner of approach (e.g., locomotion or standstill), angle of approach (e.g., from the baseline), distance of leap from the basket, the addition of a pass (e.g., alley-oop), or some combination thereof. Modifiers performed while airborne pertain to bodily rotation (e.g., 360°), obstruction of own vision (e.g., arm-over-the-eyes), other bodily movements superfluous of dunk type (e.g., voluntary kicking of the legs), or some combination thereof. Dunk types can also be modified with obstructions (e.g., leaping over a car or person) which influence activities both prior to leaping and while airborne.


title: Slam dunk

text: Modifiers are inherent to in-game dunking and conduce toward successful dunking as a means to score points. Modifiers are important in the grading of slam dunk contests because dunk types are made more difficult when modified (i.e., successfully executed modified-dunks ostensibly yield high scores in contests).


title: Slam dunk

text: For taxonomic purposes it is an important distinction, but the modifiers discussed below are often considered dunk types in common parlance. This misconception is perhaps attributable to the modifier being the most salient component of the dunk from the perspective of the observer. However, each dunk modifier requires a dunk type to be a successful dunk—albeit the most-basic dunk type.


title: Slam dunk

text: An alley-oop dunk, as it is colloquially known, is performed when a pass is caught in the air and then dunked. The application of an alley-oop to a slam dunk occurs in both games and contests. In games, when only fractions of a second remain on the game or shot clock, an alley-oop may be attempted on in-bound pass because neither clock resumes counting down until an in-bounds player touches the ball. The images to the right depict an interval spanning 1/5 of a second.


title: Slam dunk

text: The baseline dunk is an approach-modifier of any dunk type in which the player approaches the basket along the court-boundary (baseline) which runs parallel with the backboard. In the game setting, the dunk often comes as the result of a pass, creating an assist opportunity for a teammate. In the contest, the baseline approach may be used as a means of convenience, facilitating a particular dunk type (e.g., passes bounced off the side of the backboard or its padding) or to increase the difficulty of a dunk type in hopes of meriting higher scores.


title: Slam dunk

text: This is a dunk where the player takes off from a distance which is significantly further away from the basket than is considered typical. The free-throw line is most commonly constituted as the take-off point, an effect likely attributed to the easily observable span between the line and the basket in the view of the TV audience. In order to achieve the hang-time and altitude necessary, players will generally leap from one foot to maximize the momentum generated from the half-court running start often required to complete the dunk. A cornerstone of dunk contests, dunks from a distance are also performed in games, most often on the fast break.


title: Slam dunk

text: In the 1950s, Jim Pollard and Wilt Chamberlain had both dunked from the free throw line—15 feet from the basket. Chamberlain was able to dunk from the free-throw line without a running start, beginning his forward movement from within the top half of the free-throw circle. This was the catalyst for the 1956 NCAA rule change which requires that a shooter maintain both feet behind the line during a free-throw attempt.


title: Slam dunk

text: In the 1976 ABA Slam Dunk Contest, Julius Erving dunked after leaping from the free-throw line, with his heel on the line, and has since been credited with introducing the free-throw line dunk to the general public.


title: Slam dunk

text: In the 1988 NBA Slam Dunk Contest, Michael Jordan dunked from the free-throw line, in the same manner as Julius Erving, but parted his legs making his dunk more memorable than Erving's.


title: Slam dunk

text: In the 1990 NBA Slam Dunk Contest, Scottie Pippen dunked from the free throw line. This was in the first round and Pippen received a score of 47 out of 50 for his dunk. Pippen, however, didn't proceed to the next round and the contest was won by Dominique Wilkins.


title: Slam dunk

text: In the 1996 NBA Slam Dunk Contest, winner Brent Barry dunked from the free-throw line. Barry received 49 (out of 50) for the dunk.


title: Slam dunk

text: In the 2011 NBA Sprite Slam Dunk Contest, Serge Ibaka dunked from behind the free-throw line, getting a score of 45 for the dunk, and finishing 4th.


title: Slam dunk

text: In the 2016 NBL Pre-Season Challenge Slam Dunk Contest in Australia's National Basketball League, Adelaide 36ers 18 year old American import player Terrance Ferguson dunked from just in front of the free-throw-line.


title: Slam dunk

text: In the 2016 NBA Slam Dunk Contest, Zach LaVine dunked from the free throw line on three occasions: One Hand, Windmill, and Between the Legs. All of the Dunks received a score of 50 for the dunk and won the Dunk contest.


title: Slam dunk

text: Other instances of dunks from a distance abound. James White in the 2006 NCAA Slam Dunk Contest successfully performed tomahawk and windmill variations of the foul-line dunk. Though he was unable to complete a between-the-legs from the foul line at that contest, he has been known to execute it on other occasions.


title: Slam dunk

text: In the 2008 NBA Slam Dunk Contest, Jamario Moon leaped from the foul-line then, using his non-dominant hand, caught and dunked a bounce-pass from teammate Jason Kapono.


title: Slam dunk

text: Independent 6'2" North American athlete Eric Bishop introduced a dunk entitled the 'Paint Job'. The title is in reference to the key on a basketball court, often known as 'paint' in common parlance. Approaching along the baseline with a running dribble, Bishop jumped with one-foot at the border of the key, dunked with one-hand while gliding over the key and landed just beyond the border on the side opposite his take-off—a 16-foot flight.


title: Slam dunk

text: A study was carried out in 2015 to show the effectiveness of different shot types, including slam dunks. The study was carried out across five different levels of basketball (NBA, EuroBasket, the Slovenian 1st Division, and two minor leagues). Overall the study showed that slam dunks were a very effective way of scoring in the game of basketball, particularly in the NBA, which had the highest dunk percentage in the study.


title: Slam dunk

text: Wilt Chamberlain was known to have dunked on an experimental 12-foot basket set up by Phog Allen at the University of Kansas in the 1950s.


title: Slam dunk

text: Michael Wilson, a former Harlem Globetrotter and University of Memphis basketball player, matched this feat on 1 April 2000 and got into the Guinness World Records, albeit with an alley-oop.


title: Slam dunk

text: Vince Carter dunked while leaping over 7-foot-2 (2.18 m) French center Frédéric Weis in the 2000 Summer Olympics. The French media dubbed it ""le dunk de la mort"" — "the dunk of death".


title: Slam dunk

text: At least one player has performed a 720 degree dunk (that is, two full turns in the air): Taurian Fontenette also known as "Air Up There" during a Streetball game.


title: Slam dunk

text: Several notable and remarkable dunks have been performed by participants in the annual NBA Slam Dunk Contest.


title: Slam dunk

text: Michael Jordan popularized a dunk referred to by some fans as the "Leaner". This dunk was so called because Jordan's body was not perpendicular to the ground while performing the dunk. TNT viewers rated it "the best dunk of all time" over Vince Carter's between-the-legs slam.


title: Slam dunk

text: In the 2000 NBA Slam Dunk Contest Carter used an elbow hang along with his reverse 360 windmill dunk and between-the-legs dunk. When performed, much of the audience was speechless, including the judges, because none had seen these types of dunks before (Carter's first round 360 windmill dunk is reminiscent of Kenny Walker's 360 windmill dunk in 1989 except that Carter spins clockwise, whereas Walker spins counter-clockwise).


title: Slam dunk

text: In the 2008 Sprite Rising Star's Slam Dunk Contest Dwight Howard performed the "Superman" dunk. He donned a Superman outfit as Orlando Magic guard Jameer Nelson tied a cape around his shoulders. Nelson alley-ooped the basketball as Howard jumped from within the key side of the free throw circle line, caught the ball, and threw it through the rim. This dunk is somewhat controversial, as his hand was not over as well as on a vertical plane to the rim. Some insist that it should in fact be considered a dunk because the ball was thrust downward into the basket, meeting the basic definition of the dunk.


title: Slam dunk

text: During the 2009 NBA dunk contest, Howard had a separate goal brought onto the court, and the rim was noticeably significantly higher than a standard goal. Howard, after going into a 1950s-era telephone booth and again fashioning the Superman attire, caught a pass from Nelson and easily completed a two-handed dunk on the higher goal. While this was not performed for record-setting purposes, the dunk received a perfect score and a warm response from the crowd, in part because of its theatrics. Also in this contest, 5'9" guard Nate Robinson wore a green New York Knicks jersey and green sneakers to represent Kryptonite, playing on Howard's Superman theme. He used a green "Kryptonite" ball, and jumped over the 6'11" Howard prior to dunking. This dunk and the theatrics could have won the competition for Robinson, who was voted the winner by the NBA fans. Robinson then thanked Howard for graciously allowing him to dunk over him, asking the crowd to also give Howard a round of applause.


title: Slam dunk

text: JaVale McGee currently holds the world record for Most Basketball Dunks in a Single Jump: three. While competing in the 2011 NBA Sprite Slam Dunk Contest, McGee jumped with two balls in his possession and dunked each prior to receiving and slamming an alley-oop pass from then teammate John Wall.


title: Slam dunk

text: In the past, it has been possible for players to dunk a basketball and pull the rim down so hard that the glass backboard shatters, either around the rim itself or, at times, shattering the entire backboard, or the entire goal standard fails. Reinforced backboards, breakaway rims, and in later years a design where the goal is mounted on the support arm of the stanchion, and on the glass, have minimized this at the college level and made it extinct at professional levels. The invention by Arthur Ehrat to create the breakaway rim with a spring on it led to the return of the dunk in college basketball.


title: Slam dunk

text: All-star power forward Gus Johnson of the Baltimore Bullets was the first of the famous backboard breakers in the NBA, shattering three during his career in the 1960s and early 1970s. Luke Jackson also shattered a backboard in 1968:


title: Slam dunk

text: Darryl Dawkins of the Philadelphia 76ers was notorious for two glass-shattering dunks in 1979 resulting in the league threatening to fine him and eventually installing breakaway rims. Twice in his rookie season () during games, center Shaquille O'Neal dunked so hard that he broke the hydraulic support of one goal standard (against the Phoenix Suns) and broke the welds holding up another goal standard, causing the basket to break off and fall to the floor (against the New Jersey Nets), although in neither case did the glass break. This resulted in reinforced backboard supports as well. During that same season, New Jersey's Chris Morris shattered a backboard in a game against the Chicago Bulls (the most recent shattered-backboard incident in the NBA to date). The NBA has made shattering the backboard a technical foul, although it will not count towards a player's count of seven that can draw a suspension, or two towards ejection from a game, and it counts towards a player's count of six personal fouls. This has assisted in deterring this action, as it can cost the team points.


title: Slam dunk

text: In the ABA, Charlie Hentz broke two backboards in the same game on 6 November 1970 resulting in the game being called. In the NCAA, Jerome Lane shattered a backboard while playing for Pitt in a 1988 regular-season game against Providence, and Darvin Ham did the same while playing for Texas Tech in a tournament game against North Carolina in 1996.


title: Slam dunk

text: The Premier Basketball League has had two slam-dunks that have resulted in broken backboards. Both came consecutively in the 2008 and 2009 PBL Finals, and both were achieved by Sammy Monroe of the Rochester Razorsharks.


title: Slam dunk

text: Dunking is much less common in women's basketball than in men's play. Dunking is slightly more common during practice sessions, but many coaches advise against it in competitive play because of the risks of injury or failing to score.


title: Slam dunk

text: In 1978, Cardte Hicks became the first woman to dunk in a professional game during a men's professional game in the Netherlands.


title: Slam dunk

text: In 1984, Georgeann Wells, a 6'7" (201 cm) junior playing for West Virginia University, became the first woman to score a slam dunk in women's collegiate play, in a game against the University of Charleston on 21 December.


title: Slam dunk

text: As of 2018, 21 dunks have been scored by 7 different WNBA players. 7 of them were scored in All-Star games, while the remaining 14 took place during the regular season or playoffs. The first and second were scored by Lisa Leslie of the Los Angeles Sparks, on 30 July 2002 (against the Miami Sol), and 9 July 2005. Other WNBA dunks have been scored by Michelle Snow, Candace Parker (twice), Sylvia Fowles, Brittney Griner, Glory Johnson, Jonquel Jones, Elena Delle Donne, Awak Kuier and Liz Cambage.


title: Slam dunk

text: The record for the most WNBA dunks belongs to Brittney Griner. As a high school senior, she dunked 52 times in 32 games and set a single-game record of seven dunks. As a standout at Baylor University, Griner became the seventh player to dunk during a women's college basketball game and the second woman to dunk twice in a single college game. In her WNBA debut on 27 May 2013, Griner dunked twice. As of 2018, she has 13 WNBA dunks, including the first in a playoff game (25 August 2014).


title: Slam dunk

text: At the 2012 London Olympics, Liz Cambage of the Australian Opals became the first woman to dunk in the Olympics, scoring against Russia.


title: Slam dunk

text: In 2004, as a high school senior, Candace Parker was invited to participate in the McDonald's All-American Game and accompanying festivities where she competed in and won the slam dunk contest. In subsequent years other women have entered the contest; though Kelley Cain, Krystal Thomas, and Maya Moore were denied entry into the same contest in 2007. Brittney Griner intended to participate in the 2009 McDonald's Dunk Contest but was unable to attend the event due to the attendance policy of her high school. Breanna Stewart, at 6'3" (191 cm), Alexis Prince (6'2"; 188 cm), and Brittney Sykes (5'9"; 175 cm) competed in the 2012 contest; Prince and Sykes failed to complete their dunks, while Stewart landed two in the first round but missed her second two attempts in the final round.


title: Slam dunk

text: One of many sports idioms, the phrase "slam dunk" is often used outside of basketball to refer colloquially to something that has a certain outcome or guaranteed success (a "sure thing").