title: Film editing

text: On its most fundamental level, film editing is the art, technique and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of a film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa, Bahram Beyzai, Steven Soderbergh, and the Coen brothers.


title: Film editing

text: With the advent of digital editing in non-linear editing systems, film editors and their assistants have become responsible for many areas of filmmaking that used to be the responsibility of others. For instance, in past years, picture editors dealt only with just that—picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for the editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture.


title: Film editing

text: Early films were short films that were one long, static, and locked-down shot. Motion in the shot was all that was necessary to amuse an audience, so the first films simply showed activity such as traffic moving along a city street. There was no story and no editing. Each film ran as long as there was film in the camera.


title: Film editing

text: The use of film editing to establish continuity, involving action moving from one sequence into another, is attributed to British film pioneer Robert W. Paul's "Come Along, Do!", made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an art exhibition having lunch and then follow other people inside through the door. The second shot shows what they do inside. Paul's 'Cinematograph Camera No. 1' of 1896 was the first camera to feature reverse-cranking, which allowed the same film footage to be exposed several times and thereby to create super-positions and multiple exposures. One of the first films to use this technique, Georges Méliès's "The Four Troublesome Heads" from 1898, was produced with Paul's camera.


title: Film editing

text: The further development of action continuity in multi-shot films continued in 1899-1900 at the Brighton School in England, where it was definitively established by George Albert Smith and James Williamson. In that year, Smith made "As Seen Through a Telescope", in which the main shot shows street scene with a young man tying the shoelace and then caressing the foot of his girlfriend, while an old man observes this through a telescope. There is then a cut to close shot of the hands on the girl's foot shown inside a black circular mask, and then a cut back to the continuation of the original scene.


title: Film editing

text: Even more remarkable was James Williamson's "Attack on a China Mission Station", made around the same time in 1900. The first shot shows the gate to the mission station from the outside being attacked and broken open by Chinese Boxer rebels, then there is a cut to the garden of the mission station where a pitched battle ensues. An armed party of British sailors arrived to defeat the Boxers and rescue the missionary's family. The film used the first "reverse angle" cut in film history.


title: Film editing

text: James Williamson concentrated on making films taking action from one place shown in one shot to the next shown in another shot in films like "Stop Thief!" and "Fire!", made in 1901, and many others. He also experimented with the close-up, and made perhaps the most extreme one of all in "The Big Swallow", when his character approaches the camera and appears to swallow it. These two filmmakers of the Brighton School also pioneered the editing of the film; they tinted their work with color and used trick photography to enhance the narrative. By 1900, their films were extended scenes of up to 5 minutes long.


title: Film editing

text: Other filmmakers then took up all these ideas including the American Edwin S. Porter, who started making films for the Edison Company in 1901. Porter worked on a number of minor films before making "Life of an American Fireman" in 1903. The film was the first American film with a plot, featuring action, and even a closeup of a hand pulling a fire alarm. The film comprised a continuous narrative over seven scenes, rendered in a total of nine shots. He put a dissolve between every shot, just as Georges Méliès was already doing, and he frequently had the same action repeated across the dissolves. His film, "The Great Train Robbery" (1903), had a running time of twelve minutes, with twenty separate shots and ten different indoor and outdoor locations. He used cross-cutting editing method to show simultaneous action in different places.


title: Film editing

text: These early film directors discovered important aspects of motion picture language: that the screen image does not need to show a complete person from head to toe and that splicing together two shots creates in the viewer's mind a contextual relationship. These were the key discoveries that made all non-live or non live-on-videotape narrative motion pictures and television possible—that shots (in this case, whole scenes since each shot is a complete scene) can be photographed at widely different locations over a period of time (hours, days or even months) and combined into a narrative whole. That is, "The Great Train Robbery" contains scenes shot on sets of a telegraph station, a railroad car interior, and a dance hall, with outdoor scenes at a railroad water tower, on the train itself, at a point along the track, and in the woods. But when the robbers leave the telegraph station interior (set) and emerge at the water tower, the audience believes they went immediately from one to the other. Or that when they climb on the train in one shot and enter the baggage car (a set) in the next, the audience believes they are on the same train.


title: Film editing

text: Sometime around 1918, Russian director Lev Kuleshov did an experiment that proves this point. (See Kuleshov Experiment) He took an old film clip of a headshot of a noted Russian actor and intercut the shot with a shot of a bowl of soup, then with a child playing with a teddy bear, then with a shot an elderly woman in a casket. When he showed the film to people they praised the actor's acting—the hunger in his face when he saw the soup, the delight in the child, and the grief when looking at the dead woman. Of course, the shot of the actor was years before the other shots and he never "saw" any of the items. The simple act of juxtaposing the shots in a sequence made the relationship.


title: Film editing

text: Before the widespread use of digital non-linear editing systems, the initial editing of all films was done with a positive copy of the film negative called a film workprint (cutting copy in UK) by physically cutting and splicing together pieces of film. Strips of footage would be hand cut and attached together with tape and then later in time, glue. Editors were very precise; if they made a wrong cut or needed a fresh positive print, it cost the production money and time for the lab to reprint the footage. Additionally, each reprint put the negative at risk of damage. With the invention of a splicer and threading the machine with a viewer such as a Moviola, or "flatbed" machine such as a K.-E.-M. or Steenbeck, the editing process sped up a little bit and cuts came out cleaner and more precise. The Moviola editing practice is non-linear, allowing the editor to make choices faster, a great advantage to editing episodic films for television which have very short timelines to complete the work. All film studios and production companies who produced films for television provided this tool for their editors. Flatbed editing machines were used for playback and refinement of cuts, particularly in feature films and films made for television because they were less noisy and cleaner to work with.


title: Film editing

text: They were used extensively for documentary and drama production within the BBC's Film Department. Operated by a team of two, an editor and assistant editor, this tactile process required significant skill but allowed for editors to work extremely efficiently.


title: Film editing

text: Today, most films are edited digitally (on systems such as Media Composer, Final Cut Pro X or Premiere Pro) and bypass the film positive workprint altogether. In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original. With digital editing, editors can experiment just as much as before except with the footage completely transferred to a computer hard drive.


title: Film editing

text: When the film workprint had been cut to a satisfactory state, it was then used to make an edit decision list (EDL). The negative cutter referred to this list while processing the negative, splitting the shots into rolls, which were then contact printed to produce the final film print or answer print. Today, production companies have the option of bypassing negative cutting altogether. With the advent of digital intermediate ("DI"), the physical negative does not necessarily need to be physically cut and hot spliced together; rather the negative is optically scanned into the computer(s) and a cut list is confirmed by a DI editor.


title: Film editing

text: In the early years of film, editing was considered a technical job; editors were expected to "cut out the bad bits" and string the film together. Indeed, when the Motion Picture Editors Guild was formed, they chose to be "below the line", that is, not a creative guild, but a technical one. Women were not usually able to break into the "creative" positions; directors, cinematographers, producers, and executives were almost always men. Editing afforded creative women a place to assert their mark on the filmmaking process. The history of film has included many women editors such as Dede Allen, Anne Bauchens, Margaret Booth, Barbara McLean, Anne V. Coates, Adrienne Fazan, Verna Fields, Blanche Sewell and Eda Warren.


title: Film editing

text: Post-production editing may be summarized by three distinct phases commonly referred to as the editor's cut, the director's cut, and the final cut.


title: Film editing

text: There are several editing stages and the editor's cut is the first. An editor's cut (sometimes referred to as the "Assembly edit" or "Rough cut") is normally the first pass of what the final film will be when it reaches picture lock. The film editor usually starts working while principal photography starts. Sometimes, prior to cutting, the editor and director will have seen and discussed "dailies" (raw footage shot each day) as shooting progresses. As production schedules have shortened over the years, this co-viewing happens less often. Screening dailies give the editor a general idea of the director's intentions. Because it is the first pass, the editor's cut might be longer than the final film. The editor continues to refine the cut while shooting continues, and often the entire editing process goes on for many months and sometimes more than a year, depending on the film.


title: Film editing

text: When shooting is finished, the director can then turn his or her full attention to collaborating with the editor and further refining the cut of the film. This is the time that is set aside where the film editor's first cut is molded to fit the director's vision. In the United States, under the rules of the Directors Guild of America, directors receive a minimum of ten weeks after completion of principal photography to prepare their first cut. While collaborating on what is referred to as the "director's cut", the director and the editor go over the entire movie in great detail; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes, missing shots or even missing segments which might require that new scenes be filmed. Because of this time working closely and collaborating – a period that is normally far longer and more intricately detailed than the entire preceding film production – many directors and editors form a unique artistic bond.


title: Film editing

text: Often after the director has had their chance to oversee a cut, the subsequent cuts are supervised by one or more producers, who represent the production company or movie studio. There have been several conflicts in the past between the director and the studio, sometimes leading to the use of the "Alan Smithee" credit signifying when a director no longer wants to be associated with the final release.


title: Film editing

text: In motion picture terminology, a montage (from the French for "putting together" or "assembly") is a film editing technique.


title: Film editing

text: Although film director D. W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing — mastering cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well. Griffith's work in the teens was highly regarded by Lev Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing.


title: Film editing

text: Kuleshov was among the first to theorize about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema — that which could be duplicated in no other medium — is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot-by-shot) the building (film) is erected. His often-cited Kuleshov Experiment established that montage can lead the viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context. Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks. But Eisenstein did not always do his own editing, and some of his most important films were edited by Esfir Tobak.


title: Film editing

text: A montage sequence consists of a series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being conveyed. One famous example of montage was seen in the 1968 film "", depicting the start of man's first development from apes to humans. Another example that is employed in many films is the sports montage. The sports montage shows the star athlete training over a period of time, each shot having more improvement than the last. Classic examples include Rocky and the Karate Kid.


title: Film editing

text: The word's association with Sergei Eisenstein is often condensed—too simply—into the idea of "juxtaposition" or into two words: "collision montage," whereby two adjacent shots that oppose each other on formal parameters or on the content of their images are cut against each other to create a new meaning not contained in the respective shots: Shot a + Shot b = New Meaning c.


title: Film editing

text: The association of collision montage with Eisenstein is not surprising. He consistently maintained that the mind functions dialectically, in the Hegelian sense, that the contradiction between opposing ideas (thesis versus antithesis) is resolved by a higher truth, synthesis. He argued that conflict was the basis of "all" art, and never failed to see montage in other cultures. For example, he saw montage as a guiding principle in the construction of "Japanese hieroglyphics in which two independent ideographic characters ('shots') are juxtaposed and "explode" into a concept. Thus:


title: Film editing

text: He also found montage in Japanese haiku, where short sense perceptions are juxtaposed and synthesized into a new meaning, as in this example:


title: Film editing

text: As Dudley Andrew notes, "The collision of attractions from line to line produces the unified psychological effect which is the hallmark of haiku and montage."


title: Film editing

text: Continuity is a term for the consistency of on-screen elements over the course of a scene or film, such as whether an actor's costume remains the same from one scene to the next, or whether a glass of milk held by a character is full or empty throughout the scene. Because films are typically shot out of sequence, the script supervisor will keep a record of continuity and provide that to the film editor for reference. The editor may try to maintain continuity of elements, or may intentionally create a discontinuous sequence for stylistic or narrative effect.


title: Film editing

text: The technique of continuity editing, part of the classical Hollywood style, was developed by early European and American directors, in particular, D.W. Griffith in his films such as "The Birth of a Nation" and "Intolerance". The classical style embraces temporal and spatial continuity as a way of advancing the narrative, using such techniques as the 180 degree rule, Establishing shot, and Shot reverse shot. Often, continuity editing means finding a balance between literal continuity and perceived continuity. For instance, editors may condense action across cuts in a non-distracting way. A character walking from one place to another may "skip" a section of floor from one side of a cut to the other, but the cut is constructed to appear continuous so as not to distract the viewer.


title: Film editing

text: Early Russian filmmakers such as Lev Kuleshov (already mentioned) further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed a system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage.


title: Film editing

text: Alternatives to traditional editing were also explored by early surrealist and Dada filmmakers such as Luis Buñuel (director of the 1929 "Un Chien Andalou") and René Clair (director of 1924's "Entr'acte" which starred famous Dada artists Marcel Duchamp and Man Ray).


title: Film editing

text: The French New Wave filmmakers such as Jean-Luc Godard and François Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed the limits of editing technique during the late 1950s and throughout the 1960s. French New Wave films and the non-narrative films of the 1960s used a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. Like its Dada and surrealist predecessors, French New Wave editing often drew attention to itself by its lack of continuity, its demystifying self-reflexive nature (reminding the audience that they were watching a film), and by the overt use of jump cuts or the insertion of material not often related to any narrative. Three of the most influential editors of French New Wave films were the women who (in combination) edited 15 of Godard's films: Francoise Collin, Agnes Guillemot, and Cecile Decugis, and another notable editor is Marie-Josèphe Yoyotte, the first black woman editor in French cinema and editor of "The 400 Blows".


title: Film editing

text: Since the late 20th century Post-classical editing has seen faster editing styles with nonlinear, discontinuous action.


title: Film editing

text: Vsevolod Pudovkin noted that the editing process is the one phase of production that is truly unique to motion pictures. Every other aspect of filmmaking originated in a different medium than film (photography, art direction, writing, sound recording), but editing is the one process that is unique to film. Filmmaker Stanley Kubrick was quoted as saying: "I love editing. I think I like it more than any other phase of filmmaking. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing a film to edit."


title: Film editing

text: According to writer-director Preston Sturges: [T]here is a law of natural cutting and that this replicates what an audience in a legitimate theater does for itself. The more nearly the film cutter approaches this law of natural interest, the more invisible will be his cutting. If the camera moves from one person to another at the exact moment that one in the legitimate theatre would have turned his head, one will not be conscious of a cut. If the camera misses by a quarter of a second, one will get a jolt. There is one other requirement: the two shots must be approximate of the same tone value. If one cuts from black to white, it is jarring. At any given moment, the camera must point at the exact spot the audience wishes to look at. To find that spot is absurdly easy: one has only to remember where one was looking at the time the scene was made.


title: Film editing

text: Assistant editors aid the editor and director in collecting and organizing all the elements needed to edit the film. The Motion Picture Editors Guild defines an assistant editor as "a person who is assigned to assist an Editor. His or her duties shall be such as are assigned and performed under the immediate direction, supervision, and responsibility of the editor." When editing is finished, they oversee the various lists and instructions necessary to put the film into its final form. Editors of large budget features will usually have a team of assistants working for them. The first assistant editor is in charge of this team and may do a small bit of picture editing as well, if necessary. Often assistant editors will perform temporary sound, music, and visual effects work. The other assistants will have set tasks, usually helping each other when necessary to complete the many time-sensitive tasks at hand. In addition, an apprentice editor may be on hand to help the assistants. An apprentice is usually someone who is learning the ropes of assisting.


title: Film editing

text: Television shows typically have one assistant per editor. This assistant is responsible for every task required to bring the show to the final form. Lower budget features and documentaries will also commonly have only one assistant.


title: Film editing

text: The organizational aspects job could best be compared to database management. When a film is shot, every piece of picture or sound is coded with numbers and timecode. It is the assistant's job to keep track of these numbers in a database, which, in non-linear editing, is linked to the computer program. The editor and director cut the film using digital copies of the original film and sound, commonly referred to as an "offline" edit. When the cut is finished, it is the assistant's job to bring the film or television show "online". They create lists and instructions that tell the picture and sound finishers how to put the edit back together with the high-quality original elements. Assistant editing can be seen as a career path to eventually becoming an editor. Many assistants, however, do not choose to pursue advancement to the editor, and are very happy at the assistant level, working long and rewarding careers on many films and television shows.


title: New Canaan, Connecticut

text: New Canaan () is a town in Fairfield County, Connecticut, United States. The population was 20,622 according to the 2020 census.


title: New Canaan, Connecticut

text: About an hour from Manhattan by train, the town is considered part of Connecticut's Gold Coast. The town is bounded on the south by Darien, on west by Stamford, on the east by Wilton, on the southeast by Norwalk, and on the north by Lewisboro and Pound Ridge in Westchester County, New York.


title: New Canaan, Connecticut

text: New Canaan is known for its architecture and public parks such as Waveny Park, and a town center with boutiques. Residents sing carols on God's Acre every Christmas Eve, a town tradition since 1916.


title: New Canaan, Connecticut

text: Additionally, New Canaan is one of the wealthiest towns in the country, appearing in multiple rankings of the nation’s richest zip codes. It is also known for its public school system, which in 2018 was ranked as the top public school system in Connecticut, and in 2008 the third-best in the country.


title: New Canaan, Connecticut

text: In 1731, Connecticut's colonial legislature established Canaan Parish as a religious entity in northwestern Norwalk and northeastern Stamford. The right to form a Congregational church was granted to the few families scattered through the area. As inhabitants of Norwalk or Stamford, Canaan Parish settlers still had to vote, pay some taxes—no income tax, and many other modern taxes did not yet exist—serve on juries, and file deeds in their home towns. Because Canaan Parish was not planned as a town when it was first settled in 1731, when New Canaan was incorporated in 1801, it found itself without a central common, a main street, or a town hall.


title: New Canaan, Connecticut

text: Until the Revolutionary War, New Canaan was primarily an agricultural community; after the war, its major industry was shoemaking. As New Canaan's shoe business gathered momentum early in the 19th century, instead of a central village, regional settlements of clustered houses, mill, and school developed into distinct district centers. Some of the districts were centered on Ponus Ridge, West Road, Oenoke Ridge, Smith Ridge, Talmadge Hill, and Silvermine, a pattern that the village gradually outgrew.


title: New Canaan, Connecticut

text: With the 1868 advent of the railroad to New Canaan, many of New York City's wealthy residents discovered the pastoral beauty of the area and built summer homes. Eventually, many of the summer visitors settled year-round, commuting to their jobs in New York City.


title: New Canaan, Connecticut

text: Lewis Lapham, a founder of Texaco and great-grandfather of long-time "Harper's Magazine" editor Lewis H. Lapham, spent summers with his family at their estate that is now Waveny Park next to Talmadge Hill and the Merritt Parkway.


title: New Canaan, Connecticut

text: In the 1890s, editor Will Kirk of the "Messenger" wrote an editorial in response to area editors who chided him, saying New Canaan was the "next station to hell." An alleged remark by a parched Civil War veteran marching in the Decoration Day Parade on an unusually hot day prompted the exchange. The remark was found untrue and Kirk, after enduring the comments of others, wrote about a "dream" of approaching the Pearly Gates in the company of his fellow editors. All others were turned away, but he, Will Kirk, was welcomed, because he, in fact, was from the "Next Station to Heaven." Since then, the name has been controversial, with residents affectionately using the latter, and local critics of New Canaan still using the original nickname.


title: New Canaan, Connecticut

text: New Canaan was an important center of the modern design movement from the late 1940s through roughly the 1960s, when about 80 modern homes were built in town. About 20 have been torn down since then.


title: New Canaan, Connecticut

text: "During the late 1940s and 1950s, a group of students and teachers from the Harvard Graduate School of Design migrated to New Canaan ... and rocked the world of architectural design", according to an article in PureContemporary.com, an online architecture design magazine. "Philip Johnson, Marcel Breuer, Landis Gores, John M. Johansen and Eliot Noyesknown as the Harvard Fivebegan creating homes in a style that emerged as the complete antithesis of the traditional build. Using new materials and open floor plans, best captured by Johnson's Glass House, these treasures are being squandered as buyers are knocking down these architectural icons and replacing them with cookie-cutter new builds."


title: New Canaan, Connecticut

text: "Other architects, well-known (Frank Lloyd Wright, for example) and not so well known, also contributed significant modern houses that elicited strong reactions from nearly everyone who saw them and are still astonishing today ... New Canaan came to be the focus of the modern movement's experimentation in materials, construction methods, space, and form", according to an online description of "The Harvard Five in New Canaan: Mid-Century Modern Houses," by William D. Earls.


title: New Canaan, Connecticut

text: Some other New Canaan architects designing modern homes were Victor Christ-Janer, John Black Lee, Allan Gelbin, and Hugh Smallen.


title: New Canaan, Connecticut

text: The film "The Ice Storm" (1997) shows many of New Canaan's modern houses, both inside and out. The film (and Rick Moody's novel of the same name, upon which it's based) takes place in New Canaan; a mostly glass house situated on Laurel Road is prominently featured.


title: New Canaan, Connecticut

text: According to the United States Census Bureau, the town has a total area of , of which are land and 0.3 square mile (0.78 km), or 1.56%, is covered by water. New Canaan is the only municipality on the Connecticut Panhandle that does not border the coast. Such proximity to New York City proved worthy of its own connection to the New Haven Railroad, being the only town to do so. New Canaan station and Talmadge Hill station are both on the New Canaan Branch of the New Haven Line, and transfer is possible in Stamford south to Manhattan. Many New Canaan residents commute to New York regularly, with travel time to Grand Central Terminal around 65 minutes. New Canaan is also heavily served by the historic Merritt Parkway, as the third municipality when driving through Connecticut from New York City.


title: New Canaan, Connecticut

text: The downtown area consists of many restaurants, a library, the Victorian train station, antique shops, a book store, a saddlery boutique, and various fine clothing and interior decorating shops. In addition to the many local boutiques and businesses, many national chain stores can be found in the downtown area, including Ralph Lauren and Ralph Lauren Children, Ann Taylor, J. McLaughlin, Papyrus, Vineyard Vines, Le Pain Quotidien, and Starbucks, among others. Furthermore, there are several churches in the town (Catholic and various Protestant denominations), as well as the historic Roger Sherman Inn, established in 1740. Most major banks and many wealth management firms have a presence in New Canaan, including JPMorgan Chase, Merrill Lynch, Wells Fargo, UBS, Citibank, and Bank of America. Several hedge funds are also based in New Canaan.


title: New Canaan, Connecticut

text: The town includes the following sections: New Canaan Town Center, Talmadge Hill, Ponus Ridge, West, Oenoke Ridge, Smith Ridge, and part of Silvermine (which extends into Norwalk and Wilton).


title: New Canaan, Connecticut

text: The New Canaan Volunteer Ambulance Corps is a free, all-volunteer ambulance corps with three ambulances and two paramedic fly-cars. Founded in 1975, the unit is located at 182 South Avenue and offers regular EMT courses. EMTs are all volunteers, while paramedic services are contracted to Norwalk Hospital. The New Canaan Emergency Medical Services Unit and the Norwalk Hospital Unit were featured on" Rescue 911", as they saved the life of a fire captain who was suffering a heart attack.


title: New Canaan, Connecticut

text: The New Canaan Fire Department employs the professional firefighters of the New Canaan Fire Department and the volunteers of the New Canaan Fire Company, No. 1. Founded in 1881, the New Canaan Fire Department is a combination professional/volunteer fire department that operates out of a fire station located near the center of town, with a fire apparatus fleet of engines and other vehicles. The New Canaan Fire Department responded to 886 calls for service in 2009. The New Canaan Fire Department was featured on "Rescue 911" when they saved a fire captain who was suffering a heart attack.


title: New Canaan, Connecticut

text: The New Canaan Police (NCPD) are headquartered at 174 South Avenue. The Department has forty-five sworn officers, five full-time civilians and two school crossing guards. The primary mission of the NCPD and its officers is the protection of all persons and properties within its jurisdiction. The NCPD responded to 16,741 calls during 2012.


title: New Canaan, Connecticut

text: New Canaan was one of five towns in Connecticut that backed former Governor John Kasich of Ohio over Donald J. Trump in the 2016 Republican presidential primary. Kasich received 1,362 votes (47.84%) ahead of Trump, who garnered 1,168 votes (41.03%). U.S. Senator Ted Cruz of Texas finished third with 262 votes (9.20%).


title: New Canaan, Connecticut

text: As of the census of 2000, 19,395 people, 6,822 households, and 5,280 families were residing in the town. The population density was . The 7,141 housing units averaged 322.7 per square mile (124.6/km). The racial makeup of the town was 95.27% White, 1.04% African American, 0.04% Native American, 2.29% Asian, 0.39% from other races, and 0.98% from two or more races. Hispanics or Latinos of any race were 1.74% of the population.


title: New Canaan, Connecticut

text: Of the 6,822 households, 41.7% had children under the age of 18 living with them, 69.2% were married couples living together, 6.6% had a female householder with no husband present, and 22.6% were not families. About 19.4% of all households were made up of individuals, and 9.3% had someone living alone who was 65 years of age or older. The average household size was 2.83, and the average family size was 3.26.


title: New Canaan, Connecticut

text: In the town, the population was distributed as 31.2% under the age of 18, 3.3% from 18 to 24, 25.4% from 25 to 44, 26.6% from 45 to 64, and 13.5% who were 65 years of age or older. The median age was 40 years. For every 100 females, there were 91.2 males. For every 100 females age 18 and over, there were 85.7 males.


title: New Canaan, Connecticut

text: Per the 2000 Census, the median income for a household in the town was $141,788, and for a family was $175,331. Males had a median income of $100,000 versus $53,924 for females. The per capita income for the town was $82,049. About 1.4% of families and 2.5% of the population were below the poverty line, including 2.2% of those under age 18 and 2.2% of those age 65 or over.


title: New Canaan, Connecticut

text: The New Canaan Public Schools system is considered to be one of the best in Connecticut. It has also gained national recognition for its high performance; for example, a recent edition of "Forbes" rated New Canaan as the third-ranked school district in the United States "for home value" for communities with a median home price of $800,000 or greater. In 2019, New Canaan High School was ranked the sixth-best public high school in Connecticut behind Darien and Weston, and one of the top in the nation.


title: New Canaan, Connecticut

text: In 2009, the district was the highest-performing school district in the state based on the frequency of top-tier performances on the Connecticut Mastery Tests (CMTs), which are administered to all third- through eighth-graders, and the Connecticut Academic Performance Tests (CAPTs), which are given to 10th-graders. In 2008, the median SAT score (verbal, math and writing) for district students was 1804, the highest in Connecticut.


title: New Canaan, Connecticut

text: In its November 2009 edition, "Connecticut" magazine rated New Canaan's school system first among 29 towns with a population of 15,000–25,000. That category included Darien, Wilton, Ridgefield, Avon, Simsbury, Farmington, Southbury, Guilford, and other high-performing districts. The ranking was based on 2007–2009 CMTs, results from the 2007–2009 CAPTs, local SAT scores for 2006–2008, and the percentage of 2007 high school graduates who enrolled in college.


title: New Canaan, Connecticut

text: Twenty-two students in the New Canaan High School class of 2009 were National Merit Commended Scholars. In addition, four students were National Merit Scholars, four were National Merit Semifinalists, and one was an Hispanic National Recognition Scholar.


title: New Canaan, Connecticut

text: Of the New Canaan High School graduates who enrolled in college in the fall of 2009, 30% did so at a college designated "Most Competitive" by "Barron's" magazine, 24% enrolled at an institution considered "Highly Competitive", and 26% entered a college deemed to be "Very Competitive".


title: New Canaan, Connecticut

text: The New Canaan High School Library was the recipient of the 2010 National School Library Program of the Year Award, given by the American Library Association. In addition to the award, the high school also received a $10,000 prize donated by Follet Library Resources.


title: New Canaan, Connecticut

text: The New Canaan school system is also notable for its achievements in extracurricular activities. In 2010, the New Canaan High School won the FCIAC Cup, given to the most successful athletic program among the 19 high schools competing in the Fairfield County Interscholastic Athletic Conference. The New Canaan High School drama program won seven awards at the 2010 Connecticut High School Musical Theatre Awards.


title: New Canaan, Connecticut

text: New Canaan is one of the few school systems in Connecticut to offer foreign-language instruction to students before middle school, as a Spanish program exists for all grades to expose students to a foreign language earlier in their lives. Grades 6–12 have language offerings including French, Latin, Mandarin Chinese, and Spanish.


title: New Canaan, Connecticut

text: In June 2012, 24/7 Wall St. ranked New Canaan as the eighth-wealthiest school district in the United States.


title: New Canaan, Connecticut

text: New Canaan Nature Center Fall Fair: The fair offers activities for all ages from hay mazes to Old Faithful Antique Fire Truck rides to apple sling shots.


title: New Canaan, Connecticut

text: All Hallows Eve (Halloween) Parade: No matter your costume, children of all ages and their dogs can receive a goody bag and march in the Parade led by Old Faithful Antique Fire Truck which is sponsored by the New Canaan Chamber of Commerce.


title: New Canaan, Connecticut

text: Holiday Stroll: Hosted by The Chamber of Commerce, downtown New Canaan celebrates with Christmas carolers, the lighting of the trees along Elm Street, the arrival of Santa Claus, and extended store hours.


title: New Canaan, Connecticut

text: Christmas Carolling on God's Acre: since 1919 New Canaan residents have been gathering on God's Acre every Christmas Eve to sing Christmas carols with the New Canaan Town Band. The New Canaan town band was founded in 1831 and is the second oldest town band in the United States.


title: New Canaan, Connecticut

text: Easter Egg Hunt: At the Annual Town Easter Egg Hunt, sponsored by the Young Women's League of New Canaan, children are able to collect candy-filled Easter eggs, get their faces painted, take pictures with the Easter bunny, and many other festive activities.


title: New Canaan, Connecticut

text: Family Fourth Fireworks: Town residents gather at Waveny Town Park for picnicking, live music, bounce houses, and fireworks.


title: New Canaan, Connecticut

text: New Canaan is served by a town newspaper, "New Canaan Advertiser", a Hearst owned publication. Two daily newspapers also serve the surrounding area: "Connecticut Post" and "Greenwich Time". Moreover, Newcanaanite and the New Canaan Patch produce online news for residents.


title: Ethir Neechal (2013 film)

text: Ethir Neechal () is a 2013 Indian Tamil-language coming-of-age comedy drama film written and directed by R. S. Durai Senthilkumar in his directorial debut. The film stars Sivakarthikeyan, Priya Anand and Nandita Swetha. Produced by Dhanush under his studio Wunderbar Films, it was distributed by S. Madhan under the banner Vendhar Movies. Principal photography commenced on 23 July 2012, and was ended on 22 February 2013. The music for the film is composed by Anirudh Ravichander, with cinematography performed by Velraj and editing by Kishore Te. The film was released on 1 May 2013 to generally positive reviews and became a blockbuster.


title: Ethir Neechal (2013 film)

text: In 1985, a woman named Sivagami has complications while giving birth. Sivagami's husband prays to his native deity that if she delivers his baby successfully, he would name the baby with the name of the deity. The baby is born without any problems and as per the wish, they name the baby Kunjithapadham. As a boy, Kunjithapadham faces many problems and embarrassments due to his name, as his peer mates call him "Kunju" or "Kunji" (the private part of the male body). He decides to change his name, but his mother falls ill, and he prays to God that he would never change his name.


title: Ethir Neechal (2013 film)

text: Years later, Sivagami dies. Kunjithapadam's friend Peter advises him to change his name in order to have a change in his life. After meeting an astrologer Gunasekara Raja, he renames himself "Harish". Luck starts to him from that day onwards. He falls in love with Geetha, a teacher, and succeeds in winning her heart. He later gets a job, and life goes smoothly for him. One day, his lottery ticket hits victory, and he must cash it in for a TV as a prize. However, the lottery has registered his name as "Kunjithapadham". He gets the TV, but Geetha finds out his true name and berates him for lying to her about his name. She tells him that he needs to succeed at something in life in order to win her heart.


title: Ethir Neechal (2013 film)

text: Harish decides to participate in the Chennai Marathon. He meets with a trainer, J. Prakash alias JP, who takes him to his former student Valli, who had quit athletics. She agrees to train Harish. Later, he sees her crying in the terrace with a photo of her deceased father. Harish asks her to tell her past. Valli was a naturally talented athlete from her young days. Her father supported her talent and spoke with many men to get her past many tournaments. She got into a state level tournament where she beat the rookie of the corrupt coach Raja Singh. Infuriated, Raja Singh accused Valli of failing a gender verification test. The board punished Valli and stopped her from participating. Heartbroken, Valli's father died of a heart attack. JP then met with an accident.


title: Ethir Neechal (2013 film)

text: Hearing this flashback, Harish is moved and decides to win the marathon. Geetha also urges him to win it for the sake of Valli. During the marathon, Harish faces stiff competition from another one of Raja Singh's rookies, but he eventually wins the race and publicly reveals Valli's innocence. Raja Singh is arrested, and Valli resumes athletics. Harish later opens and runs a training academy under his original name. A man named Dinakaran, acting on Harish's advice, proposes his love to Valli, and she accepts.


title: Ethir Neechal (2013 film)

text: Dhanush signed up actor Sivakarthikeyan in his maiden production venture, directed by newcomer R. S. Durai Senthilkumar, a former assistant of Vetrimaaran. Priya Anand was signed up as heroine. She revealed, that "Ethir Neechal" is a city-based story without cheap comedy, vulgar dialogues or inappropriate scenes. The film's title was derived from the 1968 film of the same name. It was reported that Dhansika of "Aravaan" fame was cast as the second heroine. Soon after Dhansika left the project, Vasundhara Das was chosen to reprise the role. However Nandita Swetha of "Attakathi" fame was signed in, rehearsing the role of an athlete. Anirudh Ravichander was hired as the music director, after his debut film "3". The film's technical crew included Velraj as the cinematographer, Kishore Te as the editor, G. Durairaj handling the art direction, Anu Parthasarathy as the costume designer, Stunt Silva choreographing the action sequences and Baba Bhaskar as dance choreographer.


title: Ethir Neechal (2013 film)

text: The film's photo shoot involving Siva Karthikeyan and Priya Anand happened at the Set Fire Studios, Chennai on 7 June 2012. The principal photography for the film was commenced on 23 July 2012, with the first shot took by Balu Mahendra. Dhanush and Nayanthara will be seen in a special appearance, dancing together in the Kuthu folk dance number "Sathiyama Nee Enakku" (Local Boys), with Nayanthara designing costumes for herself. The song was shot in Nagercoil at a Punjabi dhabha restaurant. The film's shooting wrapped up on 22 February 2013, with the post production activities, being commenced after the shoot which was completed on 24 April 2013.


title: Ethir Neechal (2013 film)

text: The soundtrack features six songs that belonged to varied genres; Vaali, Dhanush and R. S. Durai Senthilkumar penned lyrics for two songs each. For the title track "Ethir Neechal" composer Anirudh hired Punjabi rapper Yo Yo Honey Singh, and Adhi from the duo Hiphop Tamizha, to croon the rap versions of the song. The album's final mixing took place in Mumbai.


title: Ethir Neechal (2013 film)

text: It was announced that Sony Music had brought the marketing rights for the film's soundtrack album. The soundtrack was initially slated to be released on 20 December 2012. However it was not confirmed from official sources. The making of the album was launched by the film's crew members, prior to the audio launch.


title: Ethir Neechal (2013 film)

text: Initially, it was speculated that Sun Pictures had acquired the distribution rights of the film. However, it was proved untrue. The distribution rights of the film were secured by Vendhar Movies. The satellite rights of the film were purchased by STAR Vijay. "Ethir Neechal" was initially scheduled to release on April, later being pushed to 1 May 2013. The theatrical trailer of the film was released on 13 April 2013. The film was given a U certificate by the Censor Board with no cuts.


title: Ethir Neechal (2013 film)

text: "Ethir Neechal" was released in 300 screens across Tamil Nadu on 1 May 2013, clashing with "Soodhu Kavvum" and "Moondru Per Moondru Kaadhal". Apart from the Tamil Nadu release, the film was simultaneously released in the US, by Gramaphone LLC, which acquired the distribution rights. The film's success was celebrated at the Victoria Hall in Geneva, Switzerland, along with audio functions of three other films distribuited by Vendhar Movies.


title: Ethir Neechal (2013 film)

text: "The Times of India" gave 3 out of 5 stars stating "The first half of Ethir Neechal follows the current Tamil cinema formula of ‘laughs first, plot next’." Behindwoods gave 3 out of 5 stars stating it as "A wholesome package which has something in it for everyone." Baradwaj Rangan for "The Hindu" wrote "Sivakarthikeyan looks like he’s getting there — he’s not yet a star, at least in the leading-man sense,[sic] he gets a feature-length platform to display his comic chops". "The New Indian Express" stated "Ethir Neechal is a mild passable entertainer". News18 stated "The film starts off like every other romantic-comedy with adequate amount of comedy and drama, but there's hardly anything spectacular to rave about, including the story." S. Saraswathi of Rediff gave 3.5 out of 5 stating ""Ethir Neechal" is a simple city-based romantic comedy that is guaranteed to provide some wholesome family entertainment." Indiaglitz gave 3.5 out of 5 stating "A romcom and a sports film , put together makes you smile and inspire."


title: Ethir Neechal (2013 film)

text: The film opened 80 – 90% occupancy on first day collected . The film collected in UK and in United States in first weekend. The film collected in United States in first day, in three days including Thursday previews, around on 5 April and total collection of . It collected around in Chennai and in full run worldwide and became "blockbuster" at global box office.


title: Reichskriegsflagge

text: The term Reichskriegsflagge (, ) refers to several war flags and war ensigns used by the German armed forces in history. A total of eight different designs were used in 1848–1849 and between 1867–1871 and 1945.


title: Reichskriegsflagge

text: After Prussia defeated Austria in 1866, the North German Confederation was founded by Prussia in order to replace the former German Confederation in which Austria had been the dominant power. The new Confederation eventually became the German Empire after the Franco-Prussian War, hence the Imperial German flags date back to the North German Confederation.


title: Reichskriegsflagge

text: Because Prussia had emerged as the leading German state and the black-red-golden colour scheme was, at that time, associated with pan-Germanism (a Germany including Austria) and the revolution of 1848, the Prussian King and President of the North German Confederation, Wilhelm I, insisted on using new flags inspired by Prussia and without the traditional German colours. Therefore, the North German and eventually Imperial German flags prominently featured the Prussian colours (black and white) as well as symbols like the Prussian eagle and the Iron Cross. And while seafaring was the traditional domain of the Hanse in Germany, virtually all of the 19th century German coastline (including the North Sea coast) and naval power belonged to Prussia after the decisive victory in 1866.


title: Reichskriegsflagge

text: Prince Adalbert of Prussia, the commander-in-chief of the North German Navy, was commissioned with the task of designing the new war ensign. Around 1850, he already had designed a number of potential war ensigns for a hypothetical German nation-state under Prussian rule, which never were adopted as the project was not realised at that time. He used his old ideas to design the new North German war ensign with heavy involvement of the Prussian King, leading to numerous changes, like the inclusion of the Iron Cross in its original shape.


title: Reichskriegsflagge

text: The flag that was finally adopted became the war ensign of the German Empire after its founding, similar to the North German merchant ensign.


title: Reichskriegsflagge

text: The first German imperial war flag was introduced by imperial law on 12 November 1848. The Regent signed it that day, although the National Assembly had already voted for it on 31 July. The law described the commercial and war flag of the emerging new German federal state. The 'German colours'black, red and goldwere so popular from their beginnings on a Thuringian principality's state flag in 1778 that it did not seem necessary to mention them in the constitution of 1849. The flag was used for the Imperial Fleet. The short battle near Heligoland on 4 June 1849 was the first and only maritime battle in which these colours were involved.


title: Reichskriegsflagge

text: The Federal Diet had already adopted the German colours on 9 March 1848, but the Diet and also the Central Powers forgot to announce the new flag to the foreign powers. By May 1850, the flag was recognized by the US, the Netherlands, Belgium, Sardinia, the Ottoman Empire, Portugal, the Kingdom of the Two Sicilies, Spain, Greece and (conditionally) France. The reestablished German Confederation took over the fleet, but sold it in 1852 and did not make use of the German colours again until the 1860s.


title: Reichskriegsflagge

text: The German war flag, which was slightly changed twice during the Wilhelmine Period (see gallery below), was in common use in World War I. It continued to have Prussia's national colours of black and white, the eagle of Prussia, the Nordic cross, with the German imperial black-white red tricolour in the upper canton with an Iron Cross. In 1919, the flags of Imperial Germany were scrapped and replaced by those of the Weimar Republic: a black-red-gold tricolour.


title: Reichskriegsflagge

text: German nationalists, such as the Freikorps (see Marinebrigade Ehrhardt), used the old flag in protest against the Weimar Republic during the 1920s and 1930s. This included the 1920 attempt to overthrow the Weimar government, known as the Kapp Putsch. The Nazi Party of Adolf Hitler had a party flag based on the old colours.


title: Reichskriegsflagge

text: Designed personally by the new dictator Adolf Hitler, this flag served the Heer and the Luftwaffe as their War Flag, and the Kriegsmarine as its War Ensign (the National Flag serving as Jack). This flag was hoisted daily in barracks operated by units of the "Wehrmacht" combined German military forces, and it had to be flown from a pole positioned near the barracks entrance, or failing this, near the guard room or staff building. New recruits in the latter part of World War II were sworn in on this flag (one recruit holding the flag and taking the oath on behalf of the entire recruit class with the recruits looking on as witnesses – before, this was done on the regimental colours).


title: Reichskriegsflagge

text: The flag had to be formally hoisted every morning and lowered every evening. These hoisting and lowering ceremonies took the form of either an ordinary or a ceremonial flag parade. At the ordinary raising, the party consisted of the Orderly Officer of the Day, the guard, and one musician. At the ceremonial raising, one officer, one platoon of soldiers with rifles, the guard, the regimental band, and the corps of drums were all present.


title: Reichskriegsflagge

text: The proportions of the flag are 3:5. Fusing elements of the Nazi German Flag (swastika and red background) with that of the old Imperial Reich War Flag (four arms emanating from off-centre circle and Iron Cross in the canton), these flags were uniformly produced as a printed design on bunting.


title: Reichskriegsflagge

text: Raised for the first time at the Bendlerstraße Building (Wehrmacht Headquarters) in Berlin on 7 November 1935, it was taken down for the last time by British occupation forces after the arrest of the Dönitz Government at the Naval Academy Mürwik in Flensburg-Mürwik, Germany, on 23 May 1945.


title: Reichskriegsflagge

text: In his book, "Inside the Third Reich", Albert Speer states that "in only two other designs did he (Adolf Hitler) execute the same care as he did his Obersalzberg house: that of the Reich War Flag and ."


title: Reichskriegsflagge

text: Outside of educational, artistic or scientific contexts, selling and showing symbols of Nazi Germany, including the "Reichskriegsfahne", is illegal in Germany according to "Strafgesetzbuch" section 86a. This covers the version used after 1935 with the swastika. The punishment can be up to three years in prison.


title: Reichskriegsflagge

text: However, the black-white-red tricolour flag used between 1871 and 1918–19 can be shown. Its use is considered to be a "breach of the public order" in seven states, and flags could be confiscated. In the other nine states, any provocative misuse of the flag can be prosecuted as an ("act contrary to order", an administrative offence that can be handled without a court process and that carries only a fine that is not legally considered a punishment).


title: Reichskriegsflagge

text: From September 2020, the public display of all versions of the war flags of the North German Confederation and of all periods of the German Reich became prohibited in the state of Bremen and violators can be fined up to €1,000; the black, white and red tricolour of the German Reich can be confiscated as well if there is a concrete provocation effect.


title: Reichskriegsflagge

text: In June 2021 the Innenministerkonferenz (the Federal Interior Minister and the state interior ministers) published a decree extending the Bremen style prohibitions of 2020 to all of Germany. The prohibition includes various Imperial War Flags (), but also the simple black-white-red Imperial flag of 1871-1918 and 1933-1935 when used in a provocative context.


title: Reichskriegsflagge

text: This last round of prohibition decrees (since September 2020) was triggered by an event on 29 August 2020 when a right-wing demonstration escalated into an attempted storming of the Reichstag building. The majority of the flags shown were variations of the Imperial black-white-red. Thomas Strobl, head of the "Innenministerkonferenz", was quoted as saying that these flags are the modern ersatz go-to for what would else be swastika flags and should be understood as such.


title: Reichskriegsflagge

text: In the United States, conversely, American-founded white supremacist groups like the Ku Klux Klan have used the "Reichskriegsfahne" side-by-side with the Confederate "battle flag" at their gatherings at times. As the public display of Nazi flags within the United States is protected by the First Amendment to the United States Constitution which guarantees the right to freedom of speech, sights like the Nazi and Confederate "rebel flag" together at white supremacist events are also legally protected free speech in the United States.


title: Submechanophobia

text: Submechanophobia (; and and "φόβος (phóbos)" 'fear') is a fear of submerged human-made objects, either partially or entirely underwater. These objects could be shipwrecks, statues, animatronics as seen in theme parks, or old buildings, but also more mundane items such as buoys and miscellaneous debris.


title: Submechanophobia

text: While a fear of water (aquaphobia) or a fear of sharks (galeophobia) are irrational fears (hence, "phobia") that can be linked to understandable reasons, submechanophobia can be triggered by harmless objects which cannot reasonably cause harm to the sufferer. Many submechanophobics do not attribute the development of their phobia to any specific experience or traumatic memory—in fact, most claim that their symptoms arose after a lifetime of contact with their triggers. There are several proposed causes of submechanophobia, though none are proven. Submechanophobia could be caused by a fear of the unknown, and the common terror of not knowing what lies beneath the waterline. Objects could be visually distorted by water and its movement, which could make them seem alive, and thus, possibly harmful. However, submechanophobia, by definition, only concerns artificial, human-made creations—not living creatures. A suggested explanation is that the human mind instinctively detects a foreign object in an otherwise natural environment, and this triggers a fight-or-flight response, as humans respond negatively to that which is outside of the norm.


title: Submechanophobia

text: To qualify for a diagnosis of a specific phobia such as submechanophobia, subjects must display several symptoms and fulfill a list of requirements.


title: Submechanophobia

text: Treatment of a fear of artificial submerged objects generally involves identifying and eliminating the underlying fears. A patient can undergo therapy should they believe that their condition is out of control, and interfering with their everyday life. Treatment plans may include cognitive behavioral therapy, virtual reality therapy, exposure therapy, or a combination of these. A sufferer's needs will be unique to themselves, as well as to the nature of their affliction.


title: 2007 AFC Asian Cup

text: The 2007 AFC Asian Cup was the 14th edition of the men's AFC Asian Cup, a quadrennial international football tournament organised by the Asian Football Confederation (AFC). The finals were held from 7 to 29 July 2007. For the first time in its history, the competition was co-hosted by four countries in Southeast Asia: Indonesia, Malaysia, Thailand and Vietnam; it was the first time in football history more than two countries joined host of a major continental competition and the only one to had ever taken place until the UEFA Euro 2020.


title: 2007 AFC Asian Cup

text: Iraq won the continental title for the first time after defeating three-time champion Saudi Arabia 1–0 in the final. As the winner, Iraq represented the AFC in the 2009 FIFA Confederations Cup.


title: 2007 AFC Asian Cup

text: Before 2007 and every four years, Asia often held its continental tournament from 1956 until China in 2004. With the Summer Olympic Games and the European Football Championship also held in the same year as the Asian Cup, the AFC changed their tradition. From 2007, AFC decided to hold its continental tournament a year earlier, and every four years henceforth from that date.


title: 2007 AFC Asian Cup

text: An estimated worldwide television audience of 650 million people tuned in to watch the 2007 AFC Asian Cup.


title: 2007 AFC Asian Cup

text: Australia participated for the first time since moving to the AFC from the OFC. Australia also happened to be the tournament's first nation aside from the co-hosts to qualify for the 2007 Asian Cup.


title: 2007 AFC Asian Cup

text: Initially, three Southeast Asian countries, Thailand, Indonesia and Malaysia, represented each other bids hoping to win the rights to host the tournament. The then-AFC President Mohammed Bin Hammam proposed and presented a move to have four host nations for the 2007 Asian Cup to these Southeast Asian states. This led to a scramble to have the fourth host country, which Vietnam was later chosen to co-host alongside the three others.


title: 2007 AFC Asian Cup

text: However, Bin Hammam later regretted this decision and called it his "mistake", citing the financial and logistic difficulties in organising an event across four countries. He said that "It is proving very difficult for [the executive committee as they] have to have four organising committees, four media centres and there are also financial considerations." He also revealed that "[he would] definitely [not do] it [again]", if he had the choice.


title: 2007 AFC Asian Cup

text: In June 2005, the AFC warned Thailand that it needed to improve its facilities before 2007, otherwise it would be dropped, possibly being replaced with Singapore. On 12 August of the same year, the AFC confirmed that Thailand would be a co-host of the 2007 Asian Cup. However, in October 2006, Thailand was again warned to improve its facilities in 90 days.


title: 2007 AFC Asian Cup

text: The qualification ran from 22 February 2006 to 15 November 2006. For the first time, the defending champions (in this tournament, Japan) did not get an automatic qualification. Indonesia, Malaysia, Thailand, and Vietnam automatically qualified as co-hosts. Twenty-four teams were split into six groups of four to compete for the 12 remaining spots in the final tournament.


title: 2007 AFC Asian Cup

text: For the first time, the seeds are based on the October 2006 FIFA World Rankings instead of the basis of the performance from the previous AFC Asian Cup competition. This was to ensure that the same number of strong teams do not meet in the early stage.


title: 2007 AFC Asian Cup

text: The four seeded teams were announced on 19 December 2006. The seeds comprised Pot 4 in the draw. Pot 1 consists of the teams from all co-hosts.


title: 2007 AFC Asian Cup

text: 16 referees and 24 assistant referees were officially cleared following a fitness test on 2 July in Kuala Lumpur, Malaysia. One referee and two assistant referees were also named from the CAF.


title: 2007 AFC Asian Cup

text: The Asian Cup saw many upsets in the early stages of the tournament, with tournament favourites Australia and South Korea performing poorly in the group stage.


title: 2007 AFC Asian Cup

text: In Group A, Oman held the Socceroos to a surprising draw. The Omanis took the lead and would have won, if not for an injury time goal from Tim Cahill. Next, joint hosts and the lowest-ranked team in the competition, Vietnam, shocked the UAE with a 2–0 victory. In the same group, Qatar held Japan to a shock 1–1 draw. The result caused Japan's coach Ivica Osim to fly into a rage in which he branded his players as 'amateurs' and reduced his interpreter to tears. In Group D, Indonesia continued the undefeated streak of the hosts by defeating Bahrain 2–1. Malaysia ended up as the only host country to lose their opening match after a crushing 5-1 defeat to China. Thailand recorded just their 2nd win in the Asian Cup finals (their other was in 1972 against Cambodia), and its first ever win in regulation, when they beat Oman 2–0 on 12 July. Meanwhile, Australia was upset by a 3–1 defeat to Iraq the following day, leaving them floundering in the tournament despite high expectations in third place. However, Australia's 4–0 demolition of Thailand at the last match day saw them into the quarter-finals, as Oman was unable to overcome Iraq in a goalless draw.


title: 2007 AFC Asian Cup

text: Vietnam continued to stun all predictions when they drew 1-1 with 2006 ASIAD champions Qatar, while Japan finally got their first win when they thrashed the UAE 3–1. Although Vietnam lost 1–4 to Japan, the UAE's 2–1 comeback win over Qatar witnessed Vietnam's first time ever to qualify into the next round and became the only host to progress through despite being in the group of three different champions. On the other hand, while Malaysia continued its poor form with 0–5 and 0–2 losses to Uzbekistan and Iran, thus going out of the tournament without a point. China's shocking elimination occurred when they were hammered 0–3 by the Uzbeks, despite having drawn 2–2 with Iran and was expected to qualify from group stage with an easy win.


title: 2007 AFC Asian Cup

text: Bahrain shocked the whole tournament by defeating South Korea 2–1 in Group D, leaving the Koreans in the verge of elimination when Indonesia was beaten 1–2 by Saudi Arabia. However, South Korea finally progressed with a 1–0 win over hosts Indonesia and with Saudi Arabia destroying Bahrain 4–0, it was enough to seal them in.


title: 2007 AFC Asian Cup

text: In the quarter-finals, Iraq defeated Vietnam 2–0, while South Korea needed a penalty shootout to eliminate Iran 4–2. Japan also needed a penalty shootout to defeat Australia 4–3 (this was the first time Australia's goalkeeper Mark Schwarzer had ever come out on the losing end of a penalty shoot-out), and Saudi Arabia won over Uzbekistan 2–1. Iraq upset the Koreans in the semi-finals by winning 4–3 on penalties, resulting in thousands of Iraqis celebrating in the streets of Baghdad. Over 50 Iraqis were killed by terrorist bombs targeting these crowds. In the other semi-finals, Saudi Arabia eliminated defending champions Japan after a 3–2 win to make an all-Arab affair for the final match.


title: 2007 AFC Asian Cup

text: Iraq went on to defeat the Saudis 1–0, taking the Asian Cup title. Iraqi forward and captain Younis Mahmoud was given the title of Most Valuable Player. South Korea took third place, narrowly beating Japan 6–5 on penalties. It was the third consecutive match in the tournament that South Korea drew 0–0 before a penalty shootout. Iraq, Saudi Arabia and South Korea, as the top three teams in the tournament, all received automatic berths to the 2011 Asian Cup along with the next hosts Qatar.


title: 2007 AFC Asian Cup

text: With four goals, Younis Mahmoud, Naohiro Takahara and Yasser Al-Qahtani are the top scorers in the tournament. In total, 84 goals were scored by 57 different players, with two of them credited as own goals.


title: 2007 AFC Asian Cup

text: The Official Match Ball for the 2007 AFC Asian Cup was launched by Nike on 15 May 2007, making it the first time ever that a ball had been launched specifically for any football competition in Asia. The Nike Mercurial Veloci AC features four blue stripes with gold trim with each host city's name inscribed, as well as the AFC Asian Cup logo.


title: 2007 AFC Asian Cup

text: The AFC selected "I Believe", a 2004 single by Thai singer Tata Young as the tournament's official song.


title: The Game Awards 2015

text: The Game Awards 2015 was an award show that honored the best video games of 2015. It was produced and hosted by Geoff Keighley at the Microsoft Theater in Los Angeles on December 3, 2015. "" won the show's Game of the Year award. The event featured live performances from Chvrches, Ben Harper, Stephanie Joosten and Deadmau5.


title: The Game Awards 2015

text: The ceremony featured several game premieres, including Telltale Games's "" and "", Double Fine Productions's "Psychonauts 2" and Harmonix's "Rock Band VR". There were also new trailers for upcoming games, including Ubisoft's "Far Cry Primal", Naughty Dog's "", Remedy Entertainment's "Quantum Break" and Cloud Imperium Games's "Star Citizen". Ports and remasters were also announced including an Xbox One port for Psyonix's "Rocket League" and a remastered version of Chair Entertainment's "Shadow Complex".


title: The Game Awards 2015

text: The nominees for The Game Awards 2015 were announced on November 13, 2015. Candidate games must have a commercial release date on or before November 24, 2015, in order to be eligible.


title: The Game Awards 2015

text: The winners were announced during the awards ceremony on December 3, 2015. Winners are shown first in bold, and indicated with a double-dagger (‡).


title: Mitsubishi Corporation

text: The company traces its roots to the Mitsubishi conglomerate founded by Yataro Iwasaki. Iwasaki was originally employed by the Tosa clan of modern-day Kōchi Prefecture, who posted him to Nagasaki in the 1860s. During this time, Iwasaki became close to Sakamoto Ryōma, a major figure in the Meiji Restoration that ended the Tokugawa shogunate and restored the primacy of the emperor of Japan in 1867. Iwasaki was placed in charge of the Tosa clan's trading operation, Tsukumo Shokai, based in Osaka. This company changed its name in the following years to Mitsukawa Shokai and then to Mitsubishi Shokai. Around 1871, the company was renamed Mitsubishi Steamship Company and began a mail service between Yokohama and Shanghai with government sponsorship.


title: Mitsubishi Corporation

text: Under Iwasaki's leadership in the late 1800s, Mitsubishi diversified its business into insurance (Tokio Marine Insurance Company and Meiji Life Insurance Company), mining (Takashima Coal Mine) and shipbuilding. Following his death in 1885, his successor Yanosuke Iwasaki merged the shipping operation with a rival enterprise to form the Nippon Yusen Kaisha (NYK) and refocused Mitsubishi's business on coal and copper mining. In 1918, the group's international trading business was spun off to form Mitsubishi Shoji Kaisha. Mitsubishi Goshi Kaisha served as the parent company of the group through World War II, during which group company Mitsubishi Heavy Industries (launched in 1934) produced ships, aircraft and heavy machinery for the war effort.


title: Mitsubishi Corporation

text: After the war, the administration of Douglas MacArthur called for the dissolution of the ""zaibatsu"" corporations that dominated the Japanese economy. Mitsubishi was the only major zaibatsu to initially refuse this request, at the orders of the president Koyata Iwasaki, who shortly thereafter fell seriously ill. Mitsubishi eventually dissolved in 1947, and under restrictive rules imposed by the occupation authorities, the employees of the Mitsubishi Shoji trading arm rebranded into 100 separate companies. Beginning in 1950, the restrictions on re-consolidation of the "zaibatsu" were eased, and by 1952 most of the former Mitsubishi Shoji had coalesced into three companies.


title: Mitsubishi Corporation

text: The current Mitsubishi Corporation was founded by the merger of these three companies to form Mitsubishi Shoji Kaisha, Ltd. in 1954; Mitsubishi listed on the Tokyo Stock Exchange and Osaka Stock Exchange in the same year. It changed its name to "Mitsubishi Corporation" in 1971. Concurrently with its relaunch, Mitsubishi opened fourteen liaison offices outside Japan, as well as a US subsidiary called Mitsubishi International Corporation with offices in New York and San Francisco. By 1960, Mitsubishi had fifty-one overseas offices. Mitsubishi's first large-scale investment outside Japan was a liquefied natural gas project in Brunei, committed to in 1968.


title: Mitsubishi Corporation

text: Along with Mitsubishi Bank, Mitsubishi Corporation played a central role in international trading for other constituents of the former Mitsubishi "zaibatsu" during the postwar era, such as Mitsubishi Heavy Industries and the Mitsubishi Motor Company, forming a major "keiretsu" business group centered around the Second Friday Conference ("Kinyo-kai") of company managers.


title: Mitsubishi Corporation

text: Mitsubishi was the largest Japanese general trading company from the late 1960s until the mid-1980s; after falling to fifth place in 1986, it embarked on a series of large overseas acquisitions together with other companies in the Mitsubishi group. By 2015 Mitsubishi was again the top-ranked general trading company by net earnings. However, Mitsubishi saw its first postwar net loss in the fiscal year ended March 2016, amid a slowdown in the Chinese economy and a slump in the commodity markets, causing Mitsubishi to lose its #1 position to Itochu.


title: Mitsubishi Corporation

text: Berkshire Hathaway acquired over 5% of the stock in the company, along with four other Japanese trading houses, over the 12-month period ending in August 2020.


title: Mitsubishi Corporation

text: Of these segments, energy is the largest by far, accounting for almost half of the company's consolidated net income in the first half of the fiscal year 2015.


title: Mitsubishi Corporation

text: In 2008 Mitsubishi Corporation was crowned In-House of the Year - Trading Company In-House Team of the Year at the "2008 ALB Japan Law Awards".


title: Mitsubishi Corporation

text: In March 1998 the Mitsubishi Corporation received the quarterly Greenwash Award. It was awarded to Mitsubishi Corporation for successful efforts at portraying its business operations as environmentally friendly. It was argued that through the use of public relations the corporation demonstrated to the world that Exportadora de Sal S.A., their subsidiaries facility off the coast of Mexico, was environmentally benign. The facility is a salt evaporation factory and is in a lagoon that also holds a gray whale calving ground.


title: Mitsubishi Corporation

text: Mitsubishi was also the subject of a boycott by the Rainforest Action Network for its role in the destruction of rainforests through its forestry activities. In November, 2019, Mitsubishi Corporation stated that it will buy Eneco, a company that focuses on renewable energy, in a deal valuing the Dutch energy firm at $4.52 billion.


title: Opa (Greek expression)

text: Opa () is a common North African, Mediterranean, Eastern European, and Middle Eastern emotional expression. It is frequently used during celebrations such as weddings or traditional dancing. In Greek culture, the expression sometimes accompanies the act of plate smashing. It can also be used to express enthusiasm, shock or surprise, or just after having made a mistake.


title: Opa (Greek expression)

text: Opa is also used in many Balkan countries such as Italy, Bulgaria, Romania, Albania, Serbia, Croatia, Bosnia and Herzegovina and North Macedonia as an expression of shock and surprise, or in their traditional folk dances. In Jewish culture, it is used for mazel tov. Arabs, Israelis, and Turks sometimes pronounce it as "obah" (in Arabic, due to the absence of the letter 'p'), and especially use the expression when picking up or playing with children.


title: Opa (Greek expression)

text: Opa also appears in both Brazil and Portugal. A less common variation is "epa". Besides being used as an emotional expression, opa (or epa) can also be used as a way of getting someone's attention (similar to "Hey!" in English). In Romanian (hopa) and Russian culture (опа) it is used during the short phase of concentration on an action (similar to "come on" in English), the expectation of successful process during the action and the subsequent completion of it, for example, when throwing a basketball into the basket, getting off the bike or picking up a child. The use of this expression is popular in most Eastern European countries.


title: Profile (2018 film)

text: Profile is a 2018 screenlife thriller film directed by Timur Bekmambetov, from a screenplay by Bekmambetov, Britt Poulton, and Olga Kharina, based upon the non-fiction book "In The Skin of a Jihadist" by Anna Erelle. It stars Valene Kane, Shazad Latif, Christine Adams, Amir Rahimzadeh and Morgan Watkins.


title: Profile (2018 film)

text: The film had its world premiere at the 68th Berlin International Film Festival on February 17, 2018, in the Panorama section. It was released in the United States on May 14, 2021, by Focus Features, and received mixed reviews from critics.


title: Profile (2018 film)

text: In order to investigate the recruitment of a young European women by ISIS, journalist Amy Whittaker creates a new Facebook profile under the alias of Melody Nelson. She creates a persona online of a woman who has recently converted to Islam.


title: Profile (2018 film)

text: Soon Amy is contacted by Bilel, an ISIS fighter from Syria. They begin to talk to each other regularly and after some time she begins to develop real romantic feelings for him.


title: Profile (2018 film)

text: The film is based on French journalist Anna Erelle's book "In the Skin of a Jihadist" about her investigation into the recruitment of young women by ISIS.


title: Profile (2018 film)

text: The film had its world premiere at the Berlin International Film Festival on February 17, 2018. It also screened at South by Southwest on March 11, 2018. In March 2021, Focus Features acquired distribution rights to the film, and set it for a May 14, 2021, release.


title: Profile (2018 film)

text: In the United States, "Profile" was released alongside "Spiral", "Those Who Wish Me Dead", and "Finding You", and grossed $260,000 from 2,033 theaters on its first day of release. It went on to debut to $730,290, finishing ninth at the box office.


title: Profile (2018 film)

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of 61% based on 94 reviews, and an average rating of 6/10. The site's critics consensus reads: ""Profile"s unique narrative gimmick is enough to carry the film partway, but it's ultimately overwhelmed by an increasingly ludicrous plot." On Metacritic, the film has a weighted average score of 54 out of 100, based on 22 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, while PostTrak reported 65% of audience members gave it a positive score, with 37% saying they would definitely recommend it.


title: Endtroducing.....

text: Endtroducing... is the debut studio album by American music producer DJ Shadow, released on September 16, 1996, by Mo' Wax. It is an instrumental hip hop work composed almost entirely of samples from vinyl records. DJ Shadow produced "Endtroducing" over two years, using an Akai MPC60 sampler and little other equipment. He edited and layered samples to create new tracks of varying moods and tempos.


title: Endtroducing.....

text: In the United Kingdom, where DJ Shadow had already established himself as a rising act, "Endtroducing" received praise from music journalists at the time of its release, and reached the top 20 of the UK Albums Chart. It was certified gold by the British Phonographic Industry. Mo' Wax issued four singles from the album, including the chart hits "Midnight in a Perfect World" and "Stem". It took considerably longer for "Endtroducing" to find success in the United States. After promoting the album and returning to his hometown of Davis, California, DJ Shadow devoted his time to creating new music. During this period, interest in "Endtroducing" began to build among the American music press, and it peaked at number 37 on the US "Billboard" Heatseekers Albums chart.


title: Endtroducing.....

text: "Endtroducing" was ranked highly on various lists of the best albums of 1996, and has been acclaimed by critics as one of the greatest albums of the 1990s. It is considered a landmark recording in instrumental hip hop, with DJ Shadow's sampling techniques and arrangements leaving a lasting influence. In 2020, "Rolling Stone" magazine ranked "Endtroducing" 329th on its list of the 500 greatest albums of all time.


title: Endtroducing.....

text: As a high school student, DJ Shadow experimented with creating music from samples using a four-track recorder, inspired by sample-based music such as "It Takes a Nation of Millions to Hold Us Back" (1988) by the hip hop group Public Enemy. He began his music career in 1989 as a disc jockey for the University of California, Davis campus radio station KDVS. His KDVS work impressed A&R representative Dave "Funken" Klein, who signed him to the Hollywood Basic label to produce music and remixes. DJ Shadow's output for Hollywood Basic, including the 1993 single "Entropy" and his work with the SoleSides crew, brought him to the attention of English musician James Lavelle, who signed DJ Shadow to his Mo' Wax label.


title: Endtroducing.....

text: DJ Shadow's first two singles for Mo' Wax, "In/Flux" (1993) and "Lost and Found (S.F.L.)" (1994), utilized samples from "used-bin" vinyl records, blending elements of hip hop, funk, soul, jazz, rock, and ambient music. The singles were acclaimed by the British music press, and soon DJ Shadow and other Mo' Wax artists came to be viewed as leading practitioners of a nascent genre that the press termed "trip hop" – a name coined by "Mixmag" journalist Andy Pemberton in June 1994 to describe "In/Flux" and similar tracks being played in London clubs. In the summer of 1994, DJ Shadow started producing his first album. He completed around half of the record, but Mo' Wax opted to instead issue the finished music as a single – "What Does Your Soul Look Like" – the following year. As a result, DJ Shadow began work on his debut album anew. He was intent on capturing the same feel of his three Mo' Wax singles, and chose the title "Endtroducing..." for the album as "it signified the fourth and final chapter in a series of pieces that I was doing for Mo' Wax with a certain sound, a certain tone, a certain atmosphere."


title: Endtroducing.....

text: DJ Shadow began production on "Endtroducing" in 1994 in his California apartment, before moving to the Glue Factory, the San Francisco home studio of his colleague Dan the Automator. Shadow strove to create an entirely sample-based album. His setup was minimal, with only three main pieces of equipment: an Akai MPC60 sampler, a Technics SL-1200 turntable and an Alesis ADAT tape recorder. He used the MPC60 for almost all composition. DJ Shadow bought it in 1992 at the suggestion of DJ Stretch Armstrong, who recommended it as a more advanced alternative to the "industry standard" sampler at the time, the E-mu SP-1200; according to DJ Shadow, the SP-1200 "had been around for like four years, the sound was well established, and it had some real audio limitations in terms of the bit rate and stuff".


title: Endtroducing.....

text: DJ Shadow sampled vinyl albums and singles accumulated from his trips to Rare Records, a record shop in his native Sacramento, where he spent several hours each day searching for music. His routine is depicted in the 2001 documentary film "Scratch". The "Endtroducing" album cover is a photograph taken at Rare Records by B Plus, showing producer Chief Xcel and rapper Lyrics Born (the latter wearing a wig), who like DJ Shadow were members of the SoleSides collective. ABB Records founder Beni B (wearing a baseball cap) is also seen in the full version of the photograph, which appears in the album's liner notes.


title: Endtroducing.....

text: "Endtroducing" samples music of various genres, including jazz, funk, and psychedelia, as well as films and interviews. DJ Shadow programmed, chopped, and layered samples to create tracks. He opted to sample more obscure selections, making it a rule to avoid sampling popular material. Though he also used samples of prominent artists such as Björk and Metallica, DJ Shadow said that "if I use something obvious, it's usually only to break my own rules." Minor vocal contributions were provided by Lyrics Born and another SoleSides member, rapper Gift of Gab, as well as DJ Shadow's then-girlfriend Lisa Haugen. He finished recording "Endtroducing" in early 1996.


title: Endtroducing.....

text: DJ Shadow describes his albums as "really varied", and said of "Endtroducing": "I feel like 'Organ Donor' sounds nothing like 'The Number Song' which sounds nothing like 'Midnight' and on and on." He said he was often depressed during the production of the album and that his "feelings of self-doubt and self-esteem come through in the music."


title: Endtroducing.....

text: "Endtroducing" is opened by "Best Foot Forward", a sound collage of record scratches and hip hop vocal samples. "Building Steam with a Grain of Salt" is built around a looped piano line sampled from Jeremy Storch's "I Feel a New Shadow", with various other musical elements entering throughout the track, including samples of an interview with drummer George Marsh, a women's choir, bass fills, electronically altered drum kicks, and funk guitar. "The Number Song" uses multiple drum breaks and vocal samples of count-offs. "Changeling" deviates from the previous uptempo tracks, incorporating new-age sounds and gradually building toward a "sublimely spacey" coda. It segues into the first of three "transmission" interludes placed throughout the album, each featuring a sample from the 1987 John Carpenter film "Prince of Darkness". "What Does Your Soul Look Like (Part 4)" layers wordless chants over a looped bass groove, creating what "Paste"s Mark Richardson describes as an "uneasy" techno soundscape. Track six is an untitled interlude featuring a man reciting a monologue about a woman and her sisters over a funk backing.


title: Endtroducing.....

text: The two-part "Stem/Long Stem" begins the second half of "Endtroducing". John Bush of AllMusic called the track a "suite of often melancholy music, a piece that consistently refuses to be pigeonholed into any musical style." The first half, "Stem", sets strings against a recurring sequence of erratic drum beats, before giving way to the more ethereal "Long Stem", followed by "Transmission 2". "Mutual Slump" features "dreamy" female spoken vocals and prominent samples of Björk's "Possibly Maybe". The sparse "Organ Donor" juxtaposes an organ solo and a drum break. "Why Hip Hop Sucks in '96" is a brief interlude featuring a repeating G-funk-esque beat, over which a voice shouts "It's the money". DJ Shadow composed the track to express his dissatisfaction with the state of commercial hip hop music in the mid-1990s.


title: Endtroducing.....

text: "Midnight in a Perfect World" mixes a soulful vocal line with a slow drum beat. It samples the bassline from Pekka Pohjola's "The Madness Subsides", as well as elements of David Axelrod's piano composition "The Human Abstract". "Napalm Brain/Scatter Brain" progresses slowly, starting with a bassline and a drum loop, then gradually increasing in tempo as additional instrumentation enters the mix. The track eventually reaches its climax and deconstructs itself, leaving a single string sample playing by its conclusion. "Endtroducing" ends "on an up note" with "What Does Your Soul Look Like (Part 1 – Blue Sky Revisit)", which is anchored by warm saxophone and keyboard hooks. A third and final "transmission" closes the album with the spoken words "It is happening again", sampled from the David Lynch television series "Twin Peaks".


title: Endtroducing.....

text: "Endtroducing" was released by Mo' Wax on September 16, 1996, in the United Kingdom. In the United States, it was issued by Mo' Wax and FFRR Records on November 19, 1996. DJ Shadow promoted the album through various interviews and press appearances. The record spent three weeks on the UK Albums Chart, peaking at number 17, and was certified gold by the British Phonographic Industry in 1998. It also charted at number 75 in the Netherlands. "Midnight in a Perfect World" was previously issued as the album's first single on September 2, 1996, and it was later released to American college and modern rock radio stations in January 1997. It peaked at number 54 on the UK Singles Chart, while its music video, directed by B Plus, received much airplay on MTV's electronic music program "Amp". "Stem" was released as the album's second single on October 28, 1996, reaching number 74 in the UK and number 14 in Ireland. "What Does Your Soul Look Like (Part 1)" followed on January 12, 1998, charting at number 54 in the UK. A fourth and final single – a double A-side release featuring producer Cut Chemist's remix of "The Number Song" and DJ Shadow's remix of the synth-pop band Depeche Mode's "Painkiller" – was issued on February 23, 1998.


title: Endtroducing.....

text: Describing the time spent promoting "Endtroducing" as "some weird rollercoaster ride", DJ Shadow was dismayed by the lack of reaction upon returning to his hometown of Davis, compared to the attention he had received within the British music scene. He felt he had been manipulated by the press and his record label and "went from being angry to being depressed" over the perceived lack of control he had over his life. DJ Shadow found himself compelled to produce new tracks such as "High Noon" as outlets for expressing his turbulent feelings at the time. Following this period, interest in his work grew in the US; newspapers ran stories on "Endtroducing" and DJ Shadow received several phone calls a day, enough to convince him to hire a manager. "Endtroducing" eventually entered the "Billboard" Heatseekers Albums chart and peaked at number 37 on the listing in April 1997.


title: Endtroducing.....

text: "Endtroducing" received critical acclaim. "Alternative Press" praised the album as "an undeniable hip-hop masterpiece" showing "DJ Shadow remembers that sampling is an art form", while "Q" described it as "a cinematically broad spectrum so deftly layered that the sampling-is-stealing argument falls flat". David Bennun from "The Guardian" said the record was "not only one of the most daring and original albums of recent times, but also one of the loveliest", and in a separate review for "Melody Maker", he wrote: "I am, I confess, totally confounded by it. I hear a lot of good records, but very few impossible ones... You need this record. You are incomplete without it." Robert Christgau commented in "Playboy" that "Endtroducing" consists of "not so much songs as compositions", and also claimed that while listeners unfamiliar with the album's style of music would not find its tracks as powerful, "they are so rich and eclectic, and spun out with such a sense of flow, that this album establishes the kind of convincing aural reality other British techno experimenters only fantasize about." Author and rock critic Greil Marcus penned a glowing review of the album in "Artforum", where he called it "absolutely modern – which is to say ambient-dreamy and techno-abstract" and "quite brilliant throughout".


title: Endtroducing.....

text: "Entertainment Weekly" critic Jon Wiederhorn likened "Endtroducing" to "a surreal film soundtrack on which jazz, classical, and jungle fragments are artfully blended with turntable tricks and dialogue snippets" and said that it "takes hip-hop into the next dimension." Tony Green of "JazzTimes" commended DJ Shadow's "unerring ear for motif and texture", and Simon Williams of "NME" called him "both slyly knowing and brilliantly naive, fusing the dramatic and the deranged to his own sweet end." "Spin"s Sia Michel said that the album "practically folds you into its symphonic fantasia, the coming-of-age story of a 24-year-old bunk-bed dreamer." "Rolling Stone" journalist Jason Fine found that while "Endtroducing" occasionally lapses into less interesting "moody atmospherics", "even in the record's mellowest moments, Shadow's allegiance to the hard beats of hip-hop saves him".


title: Endtroducing.....

text: "Endtroducing" appeared in numerous publications' lists of the best albums of 1996. The album topped year-end lists by "Muzik" and "OOR", and placed second in "Melody Maker"s. It was voted fourth place in "The Village Voice"s Pazz & Jop critics' poll for 1996. Robert Christgau, the poll's creator, named "Endtroducing" the best album of the year. The album also ranked in the top ten of year-end lists by "The Face", the "Los Angeles Times", "Mojo", "NME", and "Vox".


title: Endtroducing.....

text: "Endtroducing" frequently appears in critics' lists of the greatest albums. Publications such as "Pitchfork", "Q", "Rolling Stone", "Slant Magazine", and "Spin" have placed it on their lists of best albums of the 1990s. Robert Christgau named it among his 10 favorite albums from the decade. NPR listed "Endtroducing" as one of the 300 most important American records of the 20th century, and "Time" selected the record as one of the "All-"Time" 100 Albums" in 2006. It was also included in the book "1001 Albums You Must Hear Before You Die". In 2020, "Rolling Stone" ranked "Endtroducing" number 329 on its list of the 500 greatest albums of all time.


title: Endtroducing.....

text: "Guinness World Records" cited "Endtroducing" as the first album created entirely from samples. AllMusic editor Stephen Thomas Erlewine called it "not only a major breakthrough for hip-hop and electronica, but for pop music." It was a driving force in the development of instrumental hip hop music, inspiring numerous DJs and producers to create sample-based works. Tim Stelloh of "PopMatters" cited it as the "benchmark" for the genre. Will Hermes called "Endtroducing" "trip-hop's crowning achievement" in "Spin", and Jeff Weiss of the "Los Angeles Times" wrote that it defined American trip hop. Music journalist Trey Zenker described it as a "plunderphonics masterpiece" in an essay for Tidal, while Turk Dietrich of the American experimental music duo Belong said that it was a nearly unrivaled masterwork of sampledelia. "Endtroducing" inspired the British rock band Radiohead to edit and loop drums on their 1997 album "OK Computer". Several artists sampled on "Endtroducing", including David Axelrod and British rock band Nirvana, praised the album. DJ Shadow expressed surprise at the album's stature: "After the record, I'd always bump into these world-class producers who'd say, 'Yeah, "Endtroducing" – what a great piece of production.' I just did it on one sampler in a tiny little studio."


title: Endtroducing.....

text: Andy Battaglia of "The A.V. Club" suggested that the influence of "Endtroducing" may have had a negative effect on the album itself, saying that it "has been partially diluted by the symphonic beat-collage culture it helped spawn." The acclaim set high expectations for future releases by DJ Shadow, and he expressed his dissatisfaction with being expected to "repeat "Endtroducing" over and over again". Nonetheless, DJ Shadow clarified that he views the album in a positive light: "People always seem to suggest that there's this pressure, and that "Endtroducing" is some kind of albatross, and I've just honestly never felt that way. I think that I have a healthy enough respect for the lineage of the music and how rare it is that you can connect with an audience. If that will always be 'the record' then so be it, that's cool." By April 26, 2005, "Endtroducing" had sold more than 290,000 copies in the US alone.


title: Endtroducing.....

text: A deluxe edition of "Endtroducing" was released on June 6, 2005. It includes a second disc, "Excessive Ephemera", comprising alternate takes, demos, B-sides, remixes, and a live track, as well as new sleeve photographs and notes about the making of the album. A second deluxe edition commemorating the album's 20th anniversary, the "Endtrospective" edition, was released on October 28, 2016, featuring "Excessive Ephemera", the remix album "Endtroducing... Re-Emagined", and additional sleeve photographs and notes. A 25th-anniversary reissue was released on September 24, 2021. The reissue was remastered at half speed at Abbey Road Studios from DJ Shadow's original DAT recording.


title: Marcus Welby, M.D.

text: Marcus Welby, M.D. is an American medical drama television series that aired on ABC from September 23, 1969, to July 29, 1976. It starred Robert Young as the title character, a family practitioner with a kind bedside manner, who made house calls and was on a first-name basis with many of his patients; James Brolin as his partner Steven Kiley, a younger doctor; and Elena Verdugo as Consuelo Lopez, Welby and Kiley's dedicated and loving nurse and office manager.


title: Marcus Welby, M.D.

text: "Marcus Welby, M.D." was produced by David Victor and David J. O'Connell through Universal Television, which was then an MCA company. The pilot, titled "A Matter of Humanities", had aired as an "ABC Movie of the Week" on March 26, 1969.


title: Marcus Welby, M.D.

text: As with most medical dramas of the day, the plots often concerned a professional conflict between well-meaning physicians. Here, Welby's unorthodox way of treating patients was pitted against the more straight-laced methods of Kiley (Brolin). The catch with this particular program was that the roles were reversed in that Kiley was much younger than Welby. The opening credits of each episode reminded viewers of the generation gap between the two doctors, Welby driving his sedan and Kiley riding a motorcycle. Welby had served in the US Navy as a doctor during the war, and was a widower.