title: This Year's Model

text: Radar released the first single, "(I Don't Want to Go to) Chelsea", backed by "You Belong to Me", on 3March 1978 in the UK, which received acclaim and reached number 16 on the UK Singles Chart. A performance in Toronto on 6March was heavily bootlegged, and was eventually issued as "Live at the El Mocambo" in 1993 with the "2½ Years" box set, and as a standalone release in 2009. "This Year's Model" was released in the UK on 17March with the catalogue number RAD 3. Costello and the Attractions undertook a 28-date UK tour between March to April. The dates were plagued with problems, including Bruce Thomas cutting his hand smashing a glass bottle, requiring Lowe to substitute for him; Thomas wore bandages for the filming of promotional clips for "(I Don't Want to Go to) Chelsea" and "Pump It Up". Costello grew more exhausted from constant touring but continued writing new material. By the tour's end, "This Year's Model" had reached number four on the UK Albums Chart.


title: This Year's Model

text: Another US tour commenced just three days after the previous tour's end. With Bruce Thomas still unavailable, Costello brought back Clover guitarist John Ciambotti, who only had one day of rehearsal. Throughout the tour, Costello and the band continued the wild behaviour they had become known for—both on and off stage—and experienced an increase in drug use, lack of sleep and growing exhaustion. Songs that would appear on Costello's next album, 1979's "Armed Forces", began appearing in the set-lists. "This Year's Model" was issued in the US in May1978; Columbia substituted "(I Don't Want to Go to) Chelsea" and "Night Rally" with "Radio Radio" on the notion that the lyrics on both tracks were "too English". It reached to number 30 on "Billboard" Top LPs & Tape chart.


title: This Year's Model

text: The tour lasted until June1978, after which the band again toured Europe. "Pump It Up", backed by "Big Tears", was released as the second single in June, which peaked at number 24 in the UK, earning Costello another appearance on BBC's "Top of the Pops". In July, Costello recorded "Stranger in the House" with country artist George Jones, which appeared on the latter's "My Very Special Guests" album in 1979, before commencing the recording sessions for "Armed Forces". "This Year's Girl", backed by "Big Tears", was issued as a US single. After appearing on the American LP, "Radio Radio" was released as a stand-alone single in the UK on 24October 1978, backed by "Tiny Steps".


title: This Year's Model

text: "This Year's Model" was well received on release. Many critics deemed it superior to "My Aim Is True", praised the Attractions as a better band than Clover, and highlighted the strong songwriting and performances. "Melody Maker" Allan Jones announced it as a masterpiece and called the album "an achievement so comprehensive, so inspired, that it exhausts superlatives". He wrote that "the penetration of the language matches the vaulting hysteria of the performance" and concluded that the record "promotes its author to the foremost ranks of contemporary rock writers", such as Bruce Springsteen. "Cash Box" remarked that "This Year's Model" allowed Costello to surpass early comparisons of Springsteen and Graham Parker to establish his own identity. In "RAM" magazine, O'Grady dubbed "This Year's Model" "the best collection of...fashion-conscious songs since Ray Davies [of the Kinks] started his 'Dedicated Follower of Fashion' period." Tom Zito of "The Washington Post" had a hard time recalling an artist whose sophomore record surpassed their "already impressive" debut.


title: This Year's Model

text: Several reviewers placed Costello as one of the best British New Wave artists. In "Circus" magazine, Fred Schruers lauded his lyrics, musicianship and angry persona, and cited "This Year's Model" as having fulfilled "every new wave expectation". Robert Christgau of "The Village Voice" also saw Costello's emotional delivery as full of anger and grimace, which he found "more attractive musically and verbally than all his melodic and lyrical tricks". In the midst of the punk movement, Christgau acknowledged the genre's influence on the album and artist. "Creem" Alan Madeleine found the artist proves himself "stylistically mindful": he is "distinct enough from any other extant act to be noted, yet cautious of excess experimentation in this establishmental sophomore phase." "Record Mirror" Tim Lott considered the songs "less vicious" than its predecessors, but said the artist remains an "Aladdin's cave of anti-matter". He called Costello's voice "insubstantial but wiry", the music "clever in its very lack of detail", and compared the organ-heavy sound with Blondie: a Sixties sound "trapped for ten years on atmospherics". Naming "This Year's Model" the winner of May 1978's "disc derby" in the "Los Angeles Times", Robert Hilburn wrote that Costello's vocals "bristle with conviction and bite that we rarely find in rock in the '70s". Other critics highlighted Lowe's production.


title: This Year's Model

text: Some critics were less enthusiastic. Savage felt Costello was "less than likable" and the Attractions "spare yet full", but ultimately considered the album "an excellent, soon-to-be-popular" record. In "Rolling Stone", Rachlis believed the album was more "musically and thematically" cohesive than "My Aim Is True", but not "diminish[ing] the prodigal brilliance" of its predecessor. Conversely, Joel Selvin of the "San Francisco Chronicle" found "no new surprises" on "Model", but felt the songs improved on the style exhibited on "Aim", concluding that it "should satisfy his growing legion of fans, as well as gain new converts". In "The New York Times", John Rockwell described "This Year's Model" as a "fine" record that maintains all of the artist's previous angry energy, yet "filling out the arrangements with a richness of texture (organ especially) that is very appealing". Pareles was critical of the overtly misogynistic themes.


title: This Year's Model

text: "This Year's Model" was voted the best album of 1978 by both "Melody Maker" and "The Village Voice". It was highly placed in other year-end lists by "Rolling Stone", "NME" (3), "Record Mirror" (5) and "Sounds" (8).


title: This Year's Model

text: "This Year's Model" continues to receive critical acclaim. Journalists praise the Attractions' music, describing them as one of the best backing bands in rock music. Gouldstone wrote that with Costello on guitar, they became a band who are "capable of making even mediocre music listenable and of giving Costello's greatest songs an enthralling sense of intensity and immediacy." Erlewine described them as giving the album a "reckless, careening feel", further commending the sound, concluding that "Costello and the Attractions never rocked this hard, or this vengefully, ever again." Writing for "Pitchfork" in 2002, Matt LeMay said they were the reason the album was superior to "My Aim Is True", and that "it's not only a more complex and dynamic album, but also one that steers well clear of the retro guitar twang that marred the less interesting bits of his debut." Declaring "This Year's Model" not only Costello's best, but one of the best albums ever made, he stated that it balanced the "raw energy" of its predecessor with the "more elegant pop songwriting" of his later works." Writing for "Blender" magazine, Douglas Wolk considered the Attractions "perfect creative foils" for Costello, particularly signalling out Nieve's playing throughout the record.


title: This Year's Model

text: Critics consider "This Year's Model" one of Costello's best, and "angriest", works. "Spin" Al Shipley argued that Costello was never able surpass the record's "inventive punch", while Michael Gallucci of "Ultimate Classic Rock" deemed it the work that "bridged his brief past with his wide-open future". Troper deemed it Costello's "most consistent" release and finest with the Attractions, finding it the artist's "most live-sounding, most punk, and most honest record of his dauntingly expansive career". "PopMatters" writers Jason Mendelsohn and Eric Klinger hailed the album as "simple, refreshing, and surprisingly modern" and "an object lesson that the New Wave could compete on the old school's field", respectively. "Consequence of Sound" Ryan Bray named it the first of Costello and the Attractions' eight-year run he nicknamed "murderer's row". Reviewing in 2008, "Rolling Stone" Rob Sheffield named "This Year's Model" as an album everyone should own, saying the songs "remain brutally funny, sung with moments of unexpected tenderness". Regarding Costello's musicianship, "Uncut" Paul Moody argued that after he "dispensed with his musical safety net entirely" from "My Aim Is True", "This Year's Model" began "his insatiable urge to 'bite the hand that feeds me'." The album was not without its detractors. "Mojo" magazine's Jim Irvin was more mixed on the material and arrangements, overall finding the album "unfeasibly invigorating" following its "mild-mannered" predecessor, but liked Lowe's production.


title: This Year's Model

text: Some reviewers mention the album's influence on punk and its evolution into new wave. In 2002, "Uncut" magazine's Chris Roberts called Costello the "bitter bard of the punk era", writing that with "This Year's Model", he "articulat[ed] a generation's ire every bit as caustically as the [Sex] Pistols' gigantic guitars". Bray cited it as the album that proved pop and punk could co-exist. Writing for "Record Collector" in 2008, Terry Staunton cited it as "the post-punk distillation of the times", especially in London, and ten years later, Nick Hasted named it the "template" for the transition from punk to new wave. Regarding the album's position in the new wave genre, punknews.org's Julie River described "This Year's Model" as one of the first and strongest new wave albums, ultimately standing as one of Costello's finest albums. "Paste" magazine's Andy Whitman went further, describing the album as "the moment when New Wave found its frontman". Both River and Whitman agreed the album has aged well.


title: This Year's Model

text: Thomson described the songs as "tight and instantly memorable", and mentioned Costello's improved songwriting and the Attractions' performances. Hinton considers it "light years ahead" of its predecessor, creating a "paranoid universe, where everyone is being watched." St. Michael similarly writes that the record "provokes and invokes" the listener as much as it entertains. In "The Words & Music of Elvis Costello", Perone calls "This Year's Model" one of the "strongest sophomore efforts of any singer-songwriter", arguing that it affirmed the seeds that outlined on "My Aim Is True" that predicted the artist's future projects. The author also comments that it debuted one of the strongest four-piece rock bands of the era.


title: This Year's Model

text: "This Year's Model" often appears on lists of the greatest albums of all time. In 2000 "Q" placed it at number 82 on its list of the "100 Greatest British Albums Ever". In 1987, "Rolling Stone" placed the album at number 11 on its list of the best of the past 20 years, and said that Costello charted "the modern romantic terrain with keen cynicism, caustic wit and furious energy." The same magazine ranked the album number 98 in its list of the 500 Greatest Albums of All Time in 2003, maintaining the rating in a 2012 revised list, and dropping to number 121 in a 2020 revised list. In lists compiling the 100 greatest albums of all time, "Mojo", "NME" and "Spin" ranked "This Year's Model" at numbers 69, 40 and 8 in 1995, 1985 and 1989, respectively. "NME" listed it at number 256 in their 2013 list of the 500 Greatest Albums of All Time. In a 2018 issue selecting 70 landmark albums of the past 70 years, "Record Collector" chose "This Year's Model" as their pick for 1978. In 2004, "Pitchfork" Sam Ubl ranked it the 52nd best album of the 1970s, calling it "one of [Costello's] most deceptive rock records", and in 2012, "Paste" placed it at number 35 in a similar list. "Ultimate Classic Rock" also included it in their list of the 100 best rock albums from the decade. "Paste" magazine also ranked it the 19th greatest new wave album in 2016.


title: This Year's Model

text: The album was included in the 2018 edition of Robert Dimery's book "1001 Albums You Must Hear Before You Die". Based on the album's appearances in professional rankings and listings, the aggregate website Acclaimed Music lists "This Year's Model" as the most acclaimed album of 1978, the 28th most acclaimed album of the 1970s and the 92nd most acclaimed album in history.


title: This Year's Model

text: "This Year's Model" was first released on CD through Columbia and Demon Records in January1986. Its first extended reissue came in October1993 through Demon in the UK and Rykodisc in the US, which added the bonus tracks "Radio Radio", "Crawling to the U.S.A.", "Running Out of Angels", "Greenshirt" and "Big Boys". The 2002 CD reissue by Rhino Entertainment added more tracks on top of the 1993 additions; with this release, "Radio Radio" was sequenced as the album closer after "Night Rally". Troper argues that the addition changes the record's tone immensely, stating that as "Radio Radio" is more upbeat, it brings the album to a proper conclusion compared to the disturbing imagery and abrupt ending of "Night Rally".


title: This Year's Model

text: In 2008, it was reissued again by Universal/Hip-O Records as a deluxe edition, featuring most of the same tracks as the Rhino reissue, with the addition of a 13-track live bonus disc taken from a show at the Warner Theater in Washington, D.C. on 28February 1978. For its 2021 remaster by UM, "Big Tears" was added before "Radio Radio" on the standard album, bringing the total track count to 14.


title: This Year's Model

text: In 2018, Costello collaborated with singer Natalie Bergman for a new version of "This Year's Girl" for the second season of the American television series "The Deuce". For this version, Costello and his frequent collaborator, producer Sebastian Krys, added new vocals from Bergman alongside Costello's originals. The project led Costello to conceive a reimagining of "This Year's Model" entirely in Spanish. The project, titled "Spanish Model", features 16 songs from the "This Year's Model" period sung by an array of Latin artists, including Juanes, Jorge Drexler, Luis Fonsi, Francisca Valenzuela, Fuego, Draco Rosa and Fito Páez, replacing Costello's original vocals but retaining the Attractions' original backing instrumentation.


title: This Year's Model

text: In a 2021 interview with "Mojo", Costello said that he had three requirements for the project: he wanted a lesser-known line-up, each singer would translate his or her own song and the Attractions' original backing tracks would be used. He was insistent on the quality of the band's performances: "Take my voice out of it and the playing from Pete, Bruce and Steve is sensational." As a non-Spanish speaker, Costello and Krys worked with songwriters Elsten Torres, Ximena Muñoz, Luis Mitre and Andie Sandoval to translate the lyrics. Costello told "Rolling Stone":


title: This Year's Model

text: The lyrics themselves are not literal translations. The first track completed was Cami's reinterpretation of "This Year's Girl" titled "La Chica de Hoy", which literally means "the girl of today". Costello explained that it has the same ideas as the original track, but Cami introduced reflections from her own career. "Radio Radio" was given "the most radical change" due to the track's now-outdated themes. "Night Rally" and "Chelsea" were also given changes to instead reflect the rise of Spanish fascism and the updated location of Miami, respectively. Krys originally intended to mimic Lowe and Béchirian's original mix, but decided it worked better when he mixed the backing tracks around the new vocals.


title: This Year's Model

text: Many of the Latin performers connected with the music on the original album. La Marisoul, a huge fan of Costello's, felt honoured to sing "Little Triggers", now titled "Detonantes". The artist approached the track by saying "Okay, I'm gonna live in these lyrics". For "Radio Radio", Fito Páez amended it to the current era where he presented himself "like this old dinosaur who goes back to his little radio to listen to Elvis Costello". Juanes, who recalled watching the music video for "Pump It Up" on MTV, offered a Spanish take on the lyric's events for his version of the song. Francisca Valenzuela, who sang "Hand In Hand" with Luis Humberto Navejas, cited "This Year's Model" and "Imperial Bedroom" (1982) as her favourite records by Costello and was delighted when she was approached for the project, stating: "I think it reflects something we're all interested in, which is the multiculturalism and syncretism of music." Draco Rosa was thrilled at the opportunity to provide a new and natural take on "The Beat", titled "Yo Te Vi".


title: This Year's Model

text: Preceded by the release of Juanes's "Pump It Up" on 15July 2021, "Spanish Model" was issued on 10September through record label UM and was packaged with the 2021 remaster of the original album. Costello said in a statement: "Part of the fun of this project is its unexpected nature. Although, I think people in my audience that have been paying attention are pretty much used to surprises by now." Speaking to "Mojo", he stated that the Attractions, Lowe and Béchirian all responded positively to "Spanish Model".


title: This Year's Model

text: "Spanish Model" earned Costello and the Attractions their first top-ten entry on a "Billboard" Latin chart, reaching number six on Latin Pop Albums. It also charted at number 50 on the Top Album Sales, number 32 on the Top Current Album Sales and number 38 on the "Billboard" Top Latin Albums. The album debuted to 2,000 album-equivalent units in the US the week of 16 September 2021.


title: This Year's Model

text: "Spanish Model" has been favorably reviewed by music critics. Erlewine commended the new vocals, stating that the Latin singers retain the "barbed humour" and "spiky politics" of the original album. He believes the new songs improved the project overall and expand the "musical and emotional palette", creating an album that was "not as a curiosity but rather a small wonder, revealing new dimensions of the original recording while opening up these songs for new audiences". "Mojo" John Aizlewood found the project unnecessary but refreshing.


title: This Year's Model

text: In "PopMatters", Marty Lipp cited the project as a complete display of the Attractions' strength as a band and recognised how many of the Latin singers on the project were female, which represented a "striking reversal" of the "she done me wrong" mentality that pervaded a majority of Costello's early work. He felt that the absence of Costello's "brilliantly cynical wordplay" did the album more harm than good, particularly on "Pump It Up", but considered the project "still as exciting and fun as ever" and commended Costello for continuing to surprise his fans. Matthew Berlyant in "Under the Radar" magazine called the project unique and praised Costello for taking a major left turn almost 45 years into his career. He highlighted the rearranged track listing and additions to the original record as making the project stand on its own, concluding that Costello succeeded in both bringing attention to the original album and the Spanish-speaking artists that enveloped "Spanish Model".


title: Meng Wanzhou

text: Meng Wanzhou (; born 13 February 1972), also known as Cathy Meng and Sabrina Meng, also informally known in China as the "Princess of Huawei", is a Chinese business executive. She is the deputy chair of the board and chief financial officer (CFO) of Huawei which was founded by her father Ren Zhengfei.


title: Meng Wanzhou

text: On 1 December 2018, Meng was arrested at Vancouver International Airport. On 28 January 2019, the U.S. Department of Justice unsealed an indictment that charged her under bank and wire fraud, as well as conspiracies to commit such, in relationship to financial transactions conducted by Skycom, which had functioned as Huawei's Iran-based subsidiary, in violation of U.S. sanctions. On 24 September 2021, the Department of Justice announced it had reached a deal with Meng to resolve the case through a deferred prosecution agreement. As part of the deal, Meng agreed to a "statement of facts" that she had made untrue statements about Huawei's relationship with Skycom and that Skycom conducted transactions through HSBC that cleared through the U.S., at least some of which supported Huawei's work in Iran in violation of U.S. law; however, she did not have to pay a fine or plead guilty to her key charges. The Department of Justice said it would move to dismiss all charges against Meng when the deferral period ends on 21 December 2022, on the condition that Meng is not charged with any other crime before then. Meng left Canada for China on 24 September 2021. On 1 December 2022, the prosecution asked a judge to dismiss bank fraud and other charges against her.


title: Meng Wanzhou

text: Meng Wanzhou was born 13 February 1972 in Chengdu, Sichuan, China. She is the daughter of Ren Zhengfei and his first wife, Meng Jun. She adopted her mother's surname when she was 16.


title: Meng Wanzhou

text: After graduating from college in 1992, she worked for China Construction Bank for a year before joining Huawei, a startup founded by her father, as a secretary. She attended graduate school in 1997 and earned a master's degree in accounting from the Huazhong University of Science and Technology. She moved to Vancouver, Canada, and obtained permanent residency in 2001, but her Confirmation of Permanent Residence expired in 2009. Meng also has had Hong Kong permanent residence since at least 2011.


title: Meng Wanzhou

text: In an interview with the Chinese newspaper "21st Century Business Herald", she said her career took off after she returned to Huawei in 1998 to work in the finance department. She held positions including head of international accounting, chief financial officer (CFO) of Huawei Hong Kong, and director of the Accounting Management Department.


title: Meng Wanzhou

text: When Huawei first published the names of its top executives in 2011, Meng was already listed as its CFO. In March 2018, she was appointed as one of the four vice chairpersons of the board, fueling speculation that she was being groomed to eventually succeed her father. However, Ren has denied such claims, telling "Sina Tech" that "none of my family members possess [suitable] qualities" and "will never be included in the sequence of successors."


title: Meng Wanzhou

text: As of December 2018, Meng is the deputy chairwoman and CFO of Huawei, China's largest privately held company, with 180,000 employees. In 2017, "Forbes" ranked Meng 8th in its list of Outstanding Businesswomen of China, while Huawei chairwoman Sun Yafang (who stepped down in March 2018) was ranked 2nd.


title: Meng Wanzhou

text: On 25 October 2021, video clips showing Meng being welcomed back by Huawei employees at the Shenzhen headquarters circulated prompting confirmation that Meng had resumed work after completing a compulsory 21-day COVID-19 quarantine. She also celebrated her father's 77th birthday on the same day.


title: Meng Wanzhou

text: On 1 December 2018, Meng was detained upon arrival at Vancouver International Airport by Canada Border Services Agency officers for questioning, which lasted three hours. The Royal Canadian Mounted Police subsequently arrested her on a provisional U.S. extradition request for fraud and conspiracy to commit fraud in order to circumvent U.S. sanctions against Iran.


title: Meng Wanzhou

text: On 28 January 2019, the U.S. Department of Justice formally announced financial fraud charges against Meng. The first stage of the extradition hearing for Meng began Monday 20 January 2020 and concluded on 27 May 2020 when a BC Court ordered the extradition to proceed. On 13 February 2020, Meng was personally indicted by the U.S. Department of Justice on charges of trade secrets theft.


title: Meng Wanzhou

text: During the extradition courtroom proceedings, Meng's lawyers made several allegations against the prosecution, including allegations of unlawful detention of Meng, unlawful search and seizure, extradition law violations, misrepresentation, international law violation, and fabricated testimonies by the CBSA. each of which were responded to by the prosecution. In August 2021, the extradition judge questioned the regularity of the case and expressed great difficulty in understanding how the Record of Case (ROC) presented by the US supported their allegation of criminality.


title: Meng Wanzhou

text: On 18 September 2021, "The Globe and Mail", citing Canadian sources, reported that the U.S. Department of Justice had a talk with Huawei and the lawyers representing Meng and had offered to end the extradition request and criminal proceedings if Meng pleaded "guilty" to the charges and paid a large fine.


title: Meng Wanzhou

text: On 24 September 2021, the Department of Justice announced it had reached a deal with Meng to resolve their case against her by deferring their criminal charges and withdrawing their extradition request after she entered into a deferred prosecution agreement with them. As part of the deal, Meng agreed to a statement of facts, admitting she had made untrue statements about Huawei concealing its link to Skycom and operating it in violation of US sanctions against Iran, but was allowed to formally deny her key charges and did not have to pay a fine. The Department of Justice said it would move to dismiss all the charges against Meng when the deferral period ends on 21 December 2022, on the condition that Meng is not charged with a crime before then. Meng left Vancouver on the same day aboard a Chinese government-arranged Air China charter flight bound for Shenzhen, Guangdong, China after spending more than 1000 days under house arrest in the city as part of her bail condition. She arrived and was greeted to a hero's welcome at the Shenzhen Bao'an International Airport on 25 September 2021.


title: Meng Wanzhou

text: On 1 December 2022, the prosecution asked a judge to dismiss bank fraud and other charges against her.


title: Meng Wanzhou

text: Meng's mother is Ren Zhengfei's first wife, Meng Jun, who is the daughter of Meng Dongbo, a former deputy secretary of East China Military and Administrative Committees and deputy governor of Sichuan Province. She has a younger brother Ren Ping (formerly Meng Ping), who also works for Huawei. After divorcing Meng Jun, Ren Zhengfei married Yao Ling, with whom he had another daughter, Annabel Yao, who is 25 years younger than Meng. Annabel Yao made a high-profile debut at Le Bal des Débutantes in Paris in November 2018.


title: Meng Wanzhou

text: In 2007, Meng married businessman Liu Xiaozong (), who formerly worked for Huawei for ten years and the couple have a daughter. Meng also has three sons from a previous marriage.


title: Meng Wanzhou

text: Meng and her husband own two multimillion-dollar residences in Vancouver, British Columbia. From 2001 to 2009, Meng was a permanent resident of Canada.


title: Meng Wanzhou

text: According to media reports, Meng has high blood pressure, sleep apnea and hyperthyroidism. It was reported that in May 2018, she had an operation to remove her thyroid gland.


title: Steve Cherundolo

text: Steven Emil Cherundolo (born February 19, 1979) is an American soccer coach and former player who serves as head coach of Major League Soccer side Los Angeles FC. A right-back, he was the captain of Hannover 96 of the German Bundesliga, where he spent his entire club career. He represented the United States at the 2006, 2010, and 2014 FIFA World Cups.


title: Steve Cherundolo

text: Born in Rockford, Illinois, Cherundolo grew up in San Diego, California, and attended Mt. Carmel High School in Rancho Peñasquitos. As a youth, he played for the La Jolla Nomads club team, which won the California state championship six times with him.


title: Steve Cherundolo

text: Before joining Hannover, Cherundolo enrolled at the University of Portland and played for the Pilots soccer team from 1997 to 1998. In his freshman season, he was the West Coast Conference Freshman of the Year.


title: Steve Cherundolo

text: Cherundolo joined Hannover 96, then playing in the 2. Bundesliga, for the end of the 1998–1999 season and quickly received first-team action, playing in four games his first year. Coming into the 1999–2000 season, Cherundolo established himself at the right back position, starting consistently before suffering a knee injury that kept him out until the end of the season and ended his chances of playing for the U.S. Olympic team. He continued to establish his place in the team during the 2000–2001 season, earning playing time in 18 games, including 10 starts. In the 2001–02 season, he started 30 of 34 games for the team as he helped the team gain promotion to the Bundesliga. Cherundolo maintained his position in the 2002–03 season, starting 33 games for the team, while collecting three assists. In the 2003–04 season, he continued his consistent play, appearing in 33 games for the club. Premier League side Bolton Wanderers agreed to a deal with Hannover for Cherundolo in 2005, but he declined, opting to remain in Germany. He signed another contract extension with Hannover in the summer of 2007.


title: Steve Cherundolo

text: Cherundolo established himself as a leader at Hannover and was appointed team captain shortly before the start of the 2010–11 season. He set the team record for Bundesliga appearances in the second to last game of the 2012–13 season. As of 2013, Cherundolo was the longest serving player in the Bundesliga. On March 19, 2014, Cherundolo announced his retirement from soccer citing failure to recover from a long term knee injury as the main reason he left the game.


title: Steve Cherundolo

text: Cherundolo parlayed his success in the Bundesliga into a role with the United States national team. Cherundolo made his debut against Jamaica on September 8, 1999. Although he was on the roster for the 2002 FIFA World Cup (a late injury replacement for Chris Armas), Cherundolo himself was injured in training shortly before the event began and was unable to play. In the 2005 CONCACAF Gold Cup, Cherundolo sustained a knee injury from a tackle that prematurely ended his participation in the tournament. On March 22, 2006, Cherundolo played in a friendly match with the national team against Germany, whose roster included some teammates from Hannover 96. He scored his first international goal in the 4–1 loss.


title: Steve Cherundolo

text: On May 2, 2006, Cherundolo was named to the U.S. roster for the FIFA World Cup in Germany. On June 12, 2006, for the first time, aged 26, Cherundolo made his debut in a FIFA World Cup match against the Czech Republic, playing in the first half for the U.S., who started the tournament with a 3–0 loss. Five days later, in the second match against Italy (who later won the tournament), Cherundolo played the full 90 minutes, helping the team to a 1–1 draw at Fritz-Walter-Stadion in Kaiserslautern. After a loss against Ghana in the final match in the group, the U.S. was eliminated from the tournament, finishing the group in last place with just one point.


title: Steve Cherundolo

text: Cherundolo missed the 2007 CONCACAF Gold Cup due to an injury. He also missed out on the 2009 FIFA Confederations Cup due to another injury, but returned to captain the U.S. during the 2009 CONCACAF Gold Cup.


title: Steve Cherundolo

text: Cherundolo was one of seven defenders named to the U.S. squad for the 2010 FIFA World Cup in South Africa. He was given the number 6. In the first match of Group C against England, Cherundolo was in the starting lineup and played the full 90 minutes in a 1–1 draw at Royal Bafokeng Stadium. On June 18, he retained his position for the second match, playing in the entire game against Slovenia, which finished in a 2–2 draw, with the U.S. coming back from 2–0 down. In the 48th minute of the match, Cherundolo assisted Landon Donovan who beat Slovenian goalkeeper Samir Handanović with a powerful shot. In the final match of the group, Cherundolo again started at right back as the U.S. beat Algeria with a last-minute winner, scored by Donovan, to finish the group in first place with five points. U.S. would lose in the Round of 16 against Ghana, 2–1 after extra time. Cherundolo was an ever-present figure in this competition for the United States, playing the entire 390 minutes.


title: Steve Cherundolo

text: Following his retirement announcement, Cherundolo remained with Hannover 96 as an assistant coach for Hannover's amateur team. On April 20, 2015, he was officially promoted to assistant coach of Hannover 96's first team. After the end of the 2014–15 season, Cherundolo became the head coach of Hannover's U–17 academy team.


title: Steve Cherundolo

text: In January 2018, Cherundolo moved to VfB Stuttgart and became assistant of the new head coach Tayfun Korkut. In November 2018, Cherundolo was named to the coaching staff of the United States national team by interim coach Dave Sarachan.


title: Steve Cherundolo

text: In an August 2020 interview with the Narrowing the Angle soccer podcast, Cherundolo said he "would love to coach" the US national team and also expressed interest in coaching in Major League Soccer. On August 20, 2020, it was announced that Cherundolo had joined the Germany national youth football team as an assistant coach for their U-15 team.


title: Steve Cherundolo

text: Cherundolo was announced as head coach of Los Angeles FC in Major League Soccer on January 3, 2022. On October 2, 2022 Cherundolo broke the record for most wins as a first-year head coach in Major League Soccer history with 21 wins after Los Angeles FC defeated the Portland Timbers 2–1. The record was previously held by former Los Angeles FC coach Bob Bradley in 1998 with 20 wins, when Bradley was the head coach of the Chicago Fire. The match also clinched the Supporters' Shield for LAFC, the second in team history, and made Cherundolo the third coach to lead a team to the Shield in his first season in MLS. LAFC would go on to win their first MLS Cup title against the Philadelphia Union in MLS Cup 2022.


title: Steve Cherundolo

text: Cherundolo speaks English and German fluently, having spent his entire professional career in Germany. A popular figure with Hannover fans, he is known as "Dolo" and affectionately nicknamed the "Mayor of Hannover". Cherundolo married Mandy Rosier on New Year's Eve 2009 at the local St. Joseph Catholic parish church. After his retirement from soccer, he has resided with his family in Großburgwedel, near Hannover. In 2021, Cherundolo was elected to the National Soccer Hall of Fame as a player inductee.


title: Putler

text: Putler (), often extended to Vladolf Putler (), is a derogatory neologism and portmanteau formed by merging the names of Vladimir Putin and Adolf Hitler. Often used in the slogan "Putler Kaput!" (; , literally, "Putler [is] broken!") by people opposed to Putin, the term has a negative connotation.


title: Putler

text: According to Russian linguist , the word 'Putler' was coined in Russia. According to French historian Marlène Laruelle, the word was coined by the Ukrainian press.


title: Putler

text: The word "Putler" became common among the opposition in Russia and Ukraine. The use of the German-sounding slogan "Putler Kaputt" by Russians represents a change of language as a special play position, thus creating the effect that these words are being used by a foreign observer, while still using words that are understandable for Russians.


title: Putler

text: The slogan attracted fame—and legal problems in Russia in 2009. A participant at a rally organized by the Communist Party of the Russian Federation on 31 January 2009 in Vladivostok carried a placard reading "Putler kaput!" The rally was directed against new customs duties on the import of used cars. The Vladivostok issued a warning to the regional committee of the party regarding this placard. The regional committee reacted by publishing the following text on its website:


title: Putler

text: In April 2009, the slogan was officially banned. According to the Primorsky Laboratory of Forensic Expertise of the Ministry of Justice of the Russian Federation, the slogan has "a pronounced emotional assessment of the personality or activities of Putin V.V. as a representative of state power and is offensive in nature."


title: Putler

text: The slogan "Putler Kaput" was also used during protests at opposition rallies in Moscow in connection with the 4 December 2011 State Duma elections and the 2012 presidential elections.


title: Putler

text: The popularity of this pejorative increased in 2014. It was nominated for the "Word of the Year 2014" competition after the annexation of Crimea by Russia, which some politicians, publicists and journalists compared with the Anschluss of Austria in 1938, after which Nazi Germany unleashed the Second World War. "The Washington Post" cited a number of such statements and published photographs of Ukrainian protesters holding posters with the text "Putler — hands off Ukraine" and "Putler Kaput!" and caricatured drawings connecting the recognizable facial features of Vladimir Putin and Adolf Hitler. Several Russian linguists regarded this publication as deliberately shaping a negative image of Putin among readers.


title: Putler

text: According to journalist Rodger Jones, the "Putler" reference was "prominent" during the protests in 2014 in front of the Russian embassy in Washington.


title: Putler

text: In July 2014, after the appearance of photos from the FIFA World Cup, where Vladimir Putin and German сhancellor Angela Merkel were sitting next to each other, watching its final match, comments appeared on this photo on social networks, which read ""Thank you, Mrs. Putler"" (). According to "The Guardian", the authors of these comments are Ukrainians who are dissatisfied with the position taken by the сhancellor regarding the Russo-Ukrainian War.


title: Putler

text: The word "Putler" has frequently been used in academic and journalistic works when comparing insulting language used against Russians and Ukrainians. The word is generally used in combination with negative verbs, such as "attack" and "shits".


title: Putler

text: References to "Putler" have been a common sight at international demonstrations against the actions of Russia's invasion of Ukraine in 2022.


title: Food truck

text: A food truck is a large motorized vehicle (such as a van) or trailer, equipped to cook, prepare, serve, and/or sell food. Some, including ice cream trucks, sell frozen or prepackaged food; others have on-board kitchens and prepare food from scratch, or they heat up food that was prepared in a brick and mortar commercial kitchen. Sandwiches, hamburgers, french fries, and other regional fast food fare is common. By the early 2010s, amid the pop-up restaurant phenomenon, food trucks offering gourmet cuisine and a variety of specialties and ethnic menus became particularly popular. Food trucks may also sell cold beverages such as soda pop and water. Food trucks, along with food booths and food carts, are major components of the street food industry that serves an estimated 2.5 billion people every day.


title: Food truck

text: In the United States, the Texas chuckwagon is a precursor to the American food truck. In the later 1800s, herding cattle from the Southwest to markets in the North and East kept cowhands on the trail for months at a time. In 1866, the "father of the Texas Panhandle", Charles Goodnight, a Texas cattle rancher, fitted a sturdy old United States Army wagon with interior shelving and drawers, and stocked it with kitchenware, food and medical supplies. Food consisted of dried beans, coffee, cornmeal, greasy cloth-wrapped bacon, salt pork, beef, usually dried or salted, and other easy to preserve food stuffs. The wagon was also stocked with a water barrel and a sling to kindle wood to heat and cook food.


title: Food truck

text: Another early relative of the modern food truck is the lunch wagon, as conceived by food vendor Walter Scott in 1872. Scott cut windows in a small covered wagon, parked it in front of a newspaper office in Providence, Rhode Island, and sold sandwiches, pies and coffee to pressmen and journalists. By the 1880s, former lunch-counter boy, Thomas H. Buckley, was manufacturing lunch wagons in Worcester, Massachusetts. He introduced various models, like the Owl and the White House Cafe, with features that included sinks, refrigerators and cooking stoves, also colored windows and other ornamentation.


title: Food truck

text: Later versions of the food truck were mobile canteens, which were created in the late 1950s. These mobile canteens were authorized by the U.S. Army and operated on stateside army bases.


title: Food truck

text: Mobile food trucks, nicknamed "roach coaches" or "gut trucks", have been around for years, serving construction sites, factories, and other blue-collar locations. In big cities of the U.S. the food truck traditionally provided a means for the on-the-go person to grab a quick bite at a low cost. Food trucks are not only sought out for their affordability but as well for their nostalgia; and their popularity continues to rise.


title: Food truck

text: During the 2010s the economic changes caused by the Great Recession, technological factors, and street food being "hip" or "chic" have combined to increase the number of food trucks in the United States. The construction business was drying up, leading to a surplus of food trucks, and chefs from high-end restaurants were being laid off. For experienced cooks suddenly without work, the food truck seemed a clear choice, and a smaller financial investment than a brick-and-mortar restaurant.


title: Food truck

text: Once more commonplace in American coastal big cities like New York City and Los Angeles, gourmet food trucks are now to be found as well in the suburbs, and in small towns across the country. Food trucks are also being hired for special events, like weddings, movie shoots, and corporate gatherings, and also to carry advertising promoting companies and brands.


title: Food truck

text: In 2011, "USA Today" noted that food trucks selling pricier food were gaining popularity across the United States, contrary to a common perception that food trucks are typically run-down and found at construction sites. In 2009, "New York" magazine noted that the food truck had "largely transcended its roach-coach classification and is now a respectable venue for aspiring chefs to launch careers." These gourmet trucks' menus run the gamut of ethnic and fusion cuisine. Often focusing on limited but creative dishes at reasonable prices, they offer customers a chance to experience food they otherwise may not. Finding a niche seems to be a path to success for most trucks. While one truck may specialize in outlandish burgers, another may serve only lobster rolls.


title: Food truck

text: Gourmet food trucks can also offer a unique dining experience. With the rise of millennial diners, experiential dining has become more mainstream, driving restaurant and food truck owners to create a unique experience for their customers. As food trucks are mobile, this provides an advantage to gourmet trucks to take their experience anywhere they may please.


title: Food truck

text: Tracking food trucks has been made easy with social media like Facebook and Twitter, where a favorite gourmet truck can be located at any moment, with updates on specials, new menu items and location changes.


title: Food truck

text: Food truck rallies and food truck parks are also growing in popularity in the US. At rallies, people can find their favorite trucks all in one place and as well provide a means for a variety of diverse cultures to come together and find a common ground over a love for food. On August 31, 2013, Tampa hosted the world's largest food truck rally, with 99 trucks attending. The Tampa Rally broke its own record by bringing together 121 food trucks in 2014. Chicago Food Truck Festival hosts over 40 trucks each year with 60,000 guests participating over two days in Chicago. And food truck parks, offering permanent locations, are found in urban and suburban areas across the US.


title: Food truck

text: The popularity of food trucks lead to the creation of associations that protect and support their business rights, such as the Philadelphia Mobile Food Association.


title: Food truck

text: Food trucks are subject to the same range of concerns as other foodservice businesses. They generally require a fixed address to accept delivery of supplies. A commercial kitchen may be needed for food prep. There are a variety of permits to obtain, and a health code to observe. Labor and fuel costs are a significant part of the overhead.


title: Food truck

text: Legal definitions and requirements for food trucks vary widely by country and locality. For example, in Toronto, some of the requirements include business and liability insurance, a Commercial Vehicle Operator's Registration for the truck, permits for each municipality being operated in (downtown, various suburbs), a food handler certificate, appropriate driver's licenses for drivers, assistant's licenses for assistants, and a health inspection.


title: Food truck

text: As the rising number and popularity of food trucks push them into the food mainstream, region by region, problems with local legislators and police reacting to new situations, and pushback from brick-and-mortar restaurants fearing competition, are amongst issues having to be worked through, creating significant business uncertainty. Chicago long held the distinction of being the only city in the United States that did not allow food trucks to cook on board, which required trucks to prepare food in a commercial kitchen, then wrap and label the food and load it into a food warmer. In 2012, under pressure from food truck owners and supporters, including the University of Chicago Law School, regulations were changed to allow on-board cooking, however, controversially, food trucks are required to park 200 feet away from any restaurant, which virtually eliminates busy downtown locations (an example of pushback, restaurant owners lobbying city government).


title: Food truck

text: In the US, specialized food truck outfitters offer comprehensive start-up services that can include concept development, training, and business support, in addition to outfitted trucks. Often, however, it makes more sense for a new operator to lease a truck. In the US, food trucks are a $1.2 billion industry. By 2017, the US food truck industry had surpassed $2.7 billion.


title: Food truck

text: Expansion from a single truck to fleets and retail outlets has proven possible. Los Angeles-based gourmet ice cream maker Coolhaus grew from a single truck in 2009 to 11 trucks and carts, two storefronts, and over 2,500 retail partner stores by September 2014.


title: Food truck

text: The libertarian "Reason" magazine states that in US, cities, food trucks are subject to protectionist regulations designed to prevent them from competing with brick and mortar restaurants. For example, in Chicago, a regulation prevents food trucks "...from selling food within 200 feet of brick-and-mortar restaurants and, hence, prohibit them from operating throughout the city's downtown area", which critics have called an "anti-competitive" rule for food truck operators.


title: Food truck

text: In 1936 the Food Code spread its regulatory umbrella to include food trucks as a result of their introduction to society.


title: Food truck

text: Food trucks have unique health risks compared to regular land-based restaurants when it comes to food safety and the prevention of foodborne illness. Most food trucks do not have access to adequate clean and hot water necessary to wash hands or to rinse off vegetables, as required by most health codes or regulations.


title: Food truck

text: In June 2017, "The Boston Globe" reviewed the 2016 city health records and found that food trucks had been cited for violations 200 times, with half of the violations being minor in nature and the other half being serious violations. When compared to fixed location restaurants, the city closed nine of the 96 licensed food trucks in 2016 and closed only two out of 100 restaurants. A majority of the serious violations were related to the lack of water and hand washing. An earlier study showed that Boston food trucks, on average, received 2.68 violations per inspection between 2011 and July 2013, while restaurants received 4.56 citations for violations per inspection. For "critical foodborne violations"—defined by the city as activities that contribute to foodborne illness, such as improper labeling of ingredients—food trucks and restaurants were roughly equivalent, with 0.87 violations per inspection for food trucks, and 0.84 for restaurants..


title: Food truck

text: Food trucks are available across Australia, and are covered as a popular trend in the media. An Australian national online directory, "Where The Truck", lists some 500 food trucks. The current number is around 5000 food trucks


title: Food truck

text: In Japan, there are bento (box lunch), ramen, fried chicken, fried bread, pizza, crepes, and ice cream "kitchen cars" (キッチンカー).


title: Food truck

text: The national government legalized food trucks in South Korea in September 2014 and numbers have continued to climb steadily since then. Many young people are trying to create food trucks, and a wider range of products is becoming available. However, it is not possible to operate food trucks everywhere. In the case of Korea, there is only a limited number of places designated by each local government.


title: Food truck

text: Chip trucks have long been a staple of the Belgian countryside. The Belgian Food Truck Association is lobbying to legalize food trucks on the street. Brussels was the first European city to propose locations for food trucks at football matches. Belgium also holds the Brussels Food Truck Festival, the largest of its kind in Europe, every year in May.


title: Food truck

text: In Brazil, food trucks started with trucks that served food during carnival time and at the end of soccer games, sporting events and concerts. However, when trucks began to serve gourmet food (with higher prices), food trucks were no longer associated with popular food, and it became trendy to eat street food from food trucks. Nowadays they are all over Brazil, workplaces, schools, colleges, office buildings, industrial parks, workshops: that is, any place where there is potential demand for regular meals or snacks.


title: Food truck

text: In Canada, food trucks, also commonly known as "cantines" (French for cafeteria) in Quebec, are present across the country, serving a wide variety of cuisines, including anything from grilled cheese sandwiches to Mexican.


title: Food truck

text: Pizza trucks have been common in Provence since the 1960s or earlier, and food trucks are common at outdoor markets, but American-style trucks selling restaurant-quality food first appeared in Paris in 2012. Their owners needed to obtain permission from four separate government agencies, including the Prefecture of Police, but the trucks' offerings—including tacos and hamburgers—have reportedly been very popular.


title: Food truck

text: Compared to other countries, food trucks in Ireland are a relatively new addition to the Irish food industry. All food trucks in Ireland must be registered with the Health Service Executive (HSE) and are inspected by Environmental Health Officers (EHO).


title: Food truck

text: Although street food in Mexico is unregulated, food trucks are becoming increasingly popular as of 2013 and owners have created an association to pursue the professionalization and expansion of this commercial sector. In addition to the food trucks catering on the streets, there are regular bazaars organized to introduce their products to the consumers.


title: Food truck

text: In response to this popularity the Local Authorities have issued a series of special regulations to incorporate them to legal schemes that would help to order this commerce form. as new food truck business model emerged, some local bodybuilders begin to make food trucks from new vehicles from major car-makers.


title: Food truck

text: With the advent of motorised transport during World War II, food trucks came into common use. Mobile canteens were used in almost all theatres of war to boost morale and provide food as a result of the successful tea lady experiment.


title: Food truck

text: Food trucks today are sometimes known as snack vans or burger vans, and can be found on nearly all major trunk roads at the side of the road or in areas that have a large pedestrian population, such as at village fetes or town centers. These vans can specialise in myriad different food types, such as donuts, hamburgers, chili and chips, as well as ethnic food. Some people prefer to stop at snack vans when travelling, due to the low price, rather than stop at a motorway service station where prices can be extremely high.


title: Food truck

text: With the British street food industry growing 20% year-on-year, the increase in popularity of having a mobile food van at events has been substantial.


title: 1995 NBA playoffs

text: The 1995 NBA playoffs was the postseason tournament of the National Basketball Association's 1994–95 season. The tournament concluded with the Western Conference champion Houston Rockets defeating the Eastern Conference champion Orlando Magic 4 games to 0 in the NBA Finals. Hakeem Olajuwon was named NBA Finals MVP for the second straight time.


title: 1995 NBA playoffs

text: Houston became the eighth team to win back-to-back titles (after the Minneapolis Lakers of 1949 and 1950, and again 1952–54, and the Celtics dynasty of 1959–66 and again in 1968–69, as the LA Lakers of 1987 and 1988, Pistons of 1989 and 1990 and Bulls of 1991, 1992 and 1993). It would go on to happen five more times, with the Bulls winning 3 more from 1996 to 1998, the Lakers from 2000–2002 and 2009–2010, the Miami Heat from 2012–13, and the Golden State Warriors from 2017–18. The Rockets championships were also part of a run that saw 4 teams win consecutive titles (The Lakers 1987–88, Pistons 1989–90, Bulls 1991–93 and 1996–98, Rockets 1994–95). That streak was stopped by a Spurs franchise, who like the Celtics of the 1980s, didn't win back-to-back titles, but did win numerous championships and is considered a dynasty.


title: 1995 NBA playoffs

text: The sixth-seeded Rockets (47–35) took out 4 impressive opponents on their way to the title, defeating the 3rd-seeded Utah Jazz (60–22), 2nd-seeded Phoenix Suns (59–23), top-seeded San Antonio Spurs (62–20) and Eastern Conference champion Orlando Magic (57–25) in the NBA Finals. In the first round against the Utah Jazz, the Houston Rockets came back from a 1-2 series deficit, winning Game 5 in Utah. In the second round against the Suns, the Rockets came back from a 2–0 and 3–1 series deficit without home-court advantage, winning Games 5 and 7 in Phoenix. Rockets center Hakeem Olajuwon dominated league MVP David Robinson and Shaquille O'Neal in consecutive series to win the title. The Rockets 47 wins were the fewest by an NBA champion since the Washington Bullets tallied 44 in 1978.


title: 1995 NBA playoffs

text: The 1995 Playoffs featured the first 3 playoff series victories in Magic history, as they beat the Boston Celtics, Chicago Bulls, and Indiana Pacers to win their first Eastern Conference title.


title: 1995 NBA playoffs

text: It also featured the return of Michael Jordan to the playoffs after a year and a half absence, returning in March, and the only time the Bulls didn't win a title with him on the roster since they started their string of titles in 1991.


title: 1995 NBA playoffs

text: Game 4 of the Celtics-Magic series was the last game played at Boston Garden. Boston returned to the playoffs in 2002, this time in the new FleetCenter (now TD Garden).


title: 1995 NBA playoffs

text: Game 3 of the Blazers-Suns series was the last game played at the then-Memorial Coliseum (renamed the Veterans Memorial Coliseum as of 2012). The Blazers continued their playoff streak at Rose Garden (now Moda Center) for the next 7 years.


title: 1995 NBA playoffs

text: Game 3 of the Spurs-Nuggets series was the final playoff game at McNichols Sports Arena; the Nuggets missed the playoffs in each of the arena's final four years. Denver returned to the playoffs in 2004, this time in the new Pepsi Center.


title: 1995 NBA playoffs

text: The Pacers made the Eastern Conference Finals for the second straight year (and finally defeated the New York Knicks on their way to doing so), but found the Magic too powerful to overcome. Coincidentally, they met all 3 playoff opponents (Orlando, Atlanta, and New York) they had in 1994, just in a different order.


title: 1995 NBA playoffs

text: Since the NBA playoffs expanded to 16 teams in 1984, the Jazz became the second team (along with the 1994 Sonics) to win at least 60 regular season games and lose in the first round, when they lost to the eventual NBA champion Rockets.


title: 1995 NBA playoffs

text: This was the third playoff meeting between these two teams, with each team winning one series apiece.


title: 1995 NBA playoffs

text: This was the second playoff meeting between these two teams, with the Knicks winning the first meeting.


title: 1995 NBA playoffs

text: This was the fourth playoff meeting between these two teams, with the Spurs winning two of the first three meetings.


title: 1995 NBA playoffs

text: This was the fifth playoff meeting between these two teams, with each team winning two series apiece.


title: 1995 NBA playoffs

text: This was the sixth playoff meeting between these two teams, with the Lakers winning three of the first five meetings.


title: 1995 NBA playoffs

text: This was the third playoff meeting between these two teams, with the Knicks winning the first two meetings.


title: 1995 NBA playoffs

text: This was the fifth playoff meeting between these two teams, with the Lakers winning the first four meetings.


title: 1995 NBA playoffs

text: This was the second playoff meeting between these two teams, with the Rockets winning the first meeting.


title: 1995 NBA playoffs

text: This was the second playoff meeting between these two teams, with the Pacers winning the first meeting.


title: 1995 NBA playoffs

text: This was the third playoff meeting between these two teams, with the Rockets winning the first two meetings.


title: One-hot

text: In digital circuits and machine learning, a one-hot is a group of bits among which the legal combinations of values are only those with a single high (1) bit and all the others low (0). A similar implementation in which all bits are '1' except one '0' is sometimes called one-cold. In statistics, dummy variables represent a similar technique for representing categorical data.


title: One-hot

text: One-hot encoding is often used for indicating the state of a state machine. When using binary, a decoder is needed to determine the state. A one-hot state machine, however, does not need a decoder as the state machine is in the "n"th state if, and only if, the "n"th bit is high.


title: One-hot

text: A ring counter with 15 sequentially ordered states is an example of a state machine. A 'one-hot' implementation would have 15 flip flops chained in series with the Q output of each flip flop connected to the D input of the next and the D input of the first flip flop connected to the Q output of the 15th flip flop. The first flip flop in the chain represents the first state, the second represents the second state, and so on to the 15th flip flop, which represents the last state. Upon reset of the state machine all of the flip flops are reset to '0' except the first in the chain, which is set to '1'. The next clock edge arriving at the flip flops advances the one 'hot' bit to the second flip flop. The 'hot' bit advances in this way until the 15th state, after which the state machine returns to the first state.


title: One-hot

text: In natural language processing, a one-hot vector is a 1 × "N" matrix (vector) used to distinguish each word in a vocabulary from every other word in the vocabulary. The vector consists of 0s in all cells with the exception of a single 1 in a cell used uniquely to identify the word. One-hot encoding ensures that machine learning does not assume that higher numbers are more important. For example, the value '8' is bigger than the value '1', but that does not make '8' more important than '1'. The same is true for words: the value 'laughter' is not more important than 'laugh'.


title: One-hot

text: In machine learning, one-hot encoding is a frequently used method to deal with categorical data. Because many machine learning models need their input variables to be numeric, categorical variables need to be transformed in the pre-processing part.


title: One-hot

text: Categorical data can be either nominal or ordinal. Ordinal data has a ranked order for its values and can therefore be converted to numerical data through ordinal encoding. An example of ordinal data would be the ratings on a test ranging from A to F, which could be ranked using numbers from 6 to 1. Since there is no quantitative relationship between nominal variables' individual values, using ordinal encoding can potentially create a fictional ordinal relationship in the data. Therefore, one-hot encoding is often applied to nominal variables, in order to improve the performance of the algorithm.


title: One-hot

text: For each unique value in the original categorical column, a new column is created in this method. These dummy variables are then filled up with zeros and ones (1 meaning TRUE, 0 meaning FALSE).


title: One-hot

text: Because this process creates multiple new variables, it is prone to creating a 'big p' problem (too many predictors) if there are many unique values in the original column. Another downside of one-hot encoding is that it causes multicollinearity between the individual variables, which potentially reduces the model's accuracy.


title: One-hot

text: Also, if the categorical variable is an output variable, you may want to convert the values back into a categorical form in order to present them in your application.


title: One-hot

text: In practical usage, this transformation is often directly performed by a function that takes categorical data as an input and outputs the corresponding dummy variables. An example would be the dummyVars function of the Caret library in R.


title: Peter Carl Fabergé

text: Peter Carl Fabergé, also known as Karl Gustavovich Fabergé (, "Karl Gustavovich Faberzhe"; 30 May 1846 – 24 September 1920), was a Russian jeweller best known for the famous Fabergé eggs made in the style of genuine Easter eggs, but using precious metals and gemstones rather than more mundane materials. He was one of the sons of the founder of the famous jewelry legacy House of Fabergé.


title: Peter Carl Fabergé

text: Faberge was born in Saint Petersburg, Russia, to the Baltic German jeweller Gustav Fabergé and his German wife Charlotte Jungstedt, the daughter of Katarina Augusta Hertig and Karl Jungstedt. Gustav Fabergé's paternal ancestors were Huguenots, originally from La Bouteille, Picardy, who fled from France after the revocation of the Edict of Nantes, first to Germany near Berlin, then in 1800 to the Pernau (today Pärnu) Baltic province of Livonia, then part of Russia, now Estonia.


title: Peter Carl Fabergé

text: Until he was 14 years old he went to the German St Anne School in Saint Petersburg, Russia. In 1860 his father retired from his jewelry business and moved with his family to Germany. He left the House of Fabergé in Saint Petersburg in the hands of his business partner. Carl Fabergé undertook a course at the Dresden Arts and Crafts School. In 1862 Agathon Fabergé, the Fabergés' second son, was born in Dresden, Germany, where he went to school as well.


title: Peter Carl Fabergé

text: In 1864, Peter Carl Fabergé embarked upon a Grand Tour of Europe. He received tuition from respected goldsmiths in Germany, France and England, attended a course at Schloss's Commercial College in Paris, and viewed the objects in the galleries of Europe's leading museums.


title: Peter Carl Fabergé

text: His travel and study continued until 1872, when at the age of 26 he returned to St. Petersburg and married Augusta Julia Jacobs. 1874 saw the arrival of his first child, Eugene Fabergé and two years later, Agathon Fabergé was born; Alexander Fabergé and Nicholas Fabergé followed in 1877 and 1884 respectively. For the following 10 years, his father's trusted workmaster Hiskias Pendin acted as his mentor and tutor. The company was also involved with cataloguing, repairing, and restoring objects in the Hermitage during the 1870s. In 1881 the business moved to larger street-level premises at 16/18 Bolshaya Morskaya.


title: Peter Carl Fabergé

text: Upon the death of Hiskias Pendin in 1882, Carl Fabergé took sole responsibility for running the company. Carl was awarded the title Master Goldsmith, which permitted him to use his own hallmark in addition to that of the firm. In 1885 his brother Agathon Fabergé joined the firm and became Carl Faberge's main assistant in the designing of jewelry.


title: Peter Carl Fabergé

text: Carl and Agathon Fabergé Sr. were a sensation at the Pan-Russian Exhibition held in Moscow in 1882. Carl was awarded a gold medal and the St. Stanislav Medal. One of the Fabergé pieces displayed was a replica of a 4th-century BC gold bangle from the Scythian Treasure in the Hermitage. The Tsar, Alexander III, "Emperor and Autocrat of all the Russians", declared that he could not distinguish the Fabergé's work from the original and ordered that objects by the House of Fabergé should be displayed in the Hermitage as examples of superb contemporary Russian craftsmanship. The House of Fabergé with its range of jewels was now within the focus of Russia's Imperial Court.


title: Peter Carl Fabergé

text: When Peter Carl took over the House, there was a move from producing jewellery in the then-fashionable French 18th century style to becoming artist-jewellers.


title: Peter Carl Fabergé

text: Fabergé's production of the very first so-called Fabergé egg, the Hen Egg, given as a gift from the Tsar to his wife Maria Fyodorovna on Orthodox Easter (24 March) of 1885 so delighted her that on 1 May the Emperor assigned Fabergé the title "Goldsmith by special appointment to the Imperial Crown" of that year. This meant that Fabergé now had full personal access to the important Hermitage Collection, where he was able to study and find inspiration for developing his unique personal style. Influenced by the jewelled bouquets created by the eighteenth century goldsmiths Jean-Jacques Duval and Jérémie Pauzié, Fabergé re-worked their ideas combining them with his accurate observations and his fascination for Japanese art. This resulted in a revival of the lost art of enameling and a focus on the setting of every single gemstone in a piece to its best visual advantage. Indeed, it was not unusual for Agathon to make ten or more wax models so that all possibilities could be exhausted before deciding on a final design. Shortly after Agathon joined the firm, the House introduced "objects deluxe": gold bejewelled items embellished with enamel ranging from electric bell pushes to cigarette cases and including "objects de fantaisie".


title: Peter Carl Fabergé

text: In light of the Empress' response to receiving one of Fabergé's eggs on Easter, the Tsar soon commissioned the company to make an Easter egg as a gift for her every year thereafter. The Tsar placed an order for another egg the following year. Beginning in 1887, the Tsar apparently gave Carl Fabergé complete freedom with regard to egg designs, which then became more and more elaborate. According to Fabergé Family tradition, not even the Tsar knew what form they would take— the only stipulation was that each one should be unique and each should contain a surprise. Upon the death of Alexander III, his son, the next Tsar, Nicholas II, followed this tradition and expanded it by requesting that there be two eggs each year, one for his mother (who was eventually given a total of 30 such eggs) and one for his wife, Alexandra (who received another 20). These Easter gift eggs are today distinguished from the other jeweled eggs Fabergé ended up producing by their designation as "Imperial Easter eggs" or "Tsar Imperial Easter eggs". The tradition continued until the October Revolution when the entire Romanov dynasty was executed and the eggs and many other treasures were confiscated by the interim government. The two final eggs were never delivered nor paid for.


title: Peter Carl Fabergé

text: Although today the House of Fabergé is famed for its Imperial Easter eggs, it made many more objects ranging from silver tableware to fine jewelry which were also of exceptional quality and beauty, and until its departure from Russia during the revolution, Fabergé's company became the largest jewelry business in the country. In addition to its Saint Petersburg headquarters, it had branches in Moscow, Odessa, Kiev and London. It produced some 150,000 to 200,000 objects from 1882 until 1917.


title: Peter Carl Fabergé

text: In 1900, Fabergé's work represented Russia at the 1900 World's Fair in Paris. As Carl Fabergé was a member of the jury, the House of Fabergé exhibited "hors concours" (without competing). Nevertheless, the House was awarded a gold medal and the city's jewelers recognized Carl Fabergé as a maître. Additionally, France recognized Carl Fabergé with one of the most prestigious of French awards, appointing him a knight of the Legion of Honour. Two of Carl's sons and his head workmaster were also honored. Commercially, the exposition was a great success and the firm acquired a great many orders and clients.


title: Peter Carl Fabergé

text: The following year upon the outbreak of the October Revolution, the business was taken over by a 'Committee of the Employees of the Company K Fabergé'. In 1918 The House of Fabergé was seized by the Bolsheviks. In early October the stock was confiscated. The House of Fabergé was no more.


title: Peter Carl Fabergé

text: After the nationalisation of the business, Carl Fabergé left St. Petersburg on the last diplomatic train for Riga. In mid-November, the Revolution having reached Latvia, he fled to Germany and first settled in Bad Homburg and then in Wiesbaden. Eugène, the Fabergés' eldest, travelled with his mother in darkness by sleigh and on foot through snow-covered woods and reached Finland in December 1918. During June 1920, Eugène reached Wiesbaden and accompanied his father to Switzerland where other members of the family had taken refuge at the Bellevue Hotel in Pully, near Lausanne.


title: Peter Carl Fabergé

text: Peter Carl Fabergé never recovered from the shock of the Russian Revolution. He died in Switzerland on September 24, 1920. His family believed he died of a broken heart. His wife, Augusta, died in 1925. The two were reunited in 1929 when Eugène Fabergé took his father's ashes from Lausanne and buried them in his mother's grave at the Cimetière du Grand Jas in Cannes, France.


title: Peter Carl Fabergé

text: Fabergé had five sons, four of whom lived to adulthood: Eugène (1874–1960), Agathon (1876–1951), Alexander (1877–1952), Nikolai (1881-1883), and Nicholas (1884–1939). Descendants of Peter Carl Fabergé live in mainland Europe, Scandinavia and South America.


title: Peter Carl Fabergé

text: Henry Bainbridge, a manager of the London branch of the House of Fabergé, recorded recollections of his meetings with his employer in both his autobiography and the book he wrote about Fabergé. The autobiography also given an insight into the man from the recollections of François Birbaum, Fabergé's senior master craftsman from 1893 until the House's demise.


title: Stadtholder

text: In the Low Countries, stadtholder ( ) was an office of steward, designated a medieval official and then a national leader. The "stadtholder" was the replacement of the duke or count of a province during the Burgundian and Habsburg period (1384 – 1581/1795).


title: Stadtholder

text: The title was used for the official tasked with maintaining peace and provincial order in the early Dutch Republic and, at times, became "de facto" head of state of the Dutch Republic during the 16th to 18th centuries, which was an effectively hereditary role. For the last half century of its existence, it became an officially hereditary role under Prince William IV of Orange. His son, Prince William V, was the last "stadtholder" of the republic, whose own son, William I of the Netherlands, became the first sovereign king of the United Kingdom of the Netherlands.


title: Stadtholder

text: The title "stadtholder" is roughly comparable to the historical titles of Lord Protector in England, Statthalter in the Holy Roman Empire and Governor-general of Norway.


title: Stadtholder

text: "Stadtholder" means "steward". Its component parts literally translate as "place holder," or as a direct cognate, "stead holder" (in modern Dutch "stad" means "city", but the older meaning of "stad" – also "stede" – was "place", and it is a cognate of English "stead", as "in stead of"), it was a term for a "steward" or "lieutenant". However, this is not the word for the military rank of lieutenant, which is in Dutch.


title: Stadtholder

text: "Stadtholder"s in the Middle Ages were appointed by feudal lords to represent them in their absence. If a lord had several dominions (or, being a vassal, fiefs), some of these could be ruled by a permanent "stadtholder", to whom was delegated the full authority of the lord. A "stadtholder" was thus more powerful than a governor, who had only limited authority, but the stadtholder was not a vassal himself, having no title to the land. The local rulers of the independent provinces of the Low Countries (which included the present-day Netherlands, Belgium and Luxembourg) made extensive use of "stadtholder"s, e.g. the Duke of Guelders appointed a "stadtholder" to represent him in Groningen.


title: Stadtholder

text: In the 15th century the Dukes of Burgundy acquired most of the Low Countries, and these Burgundian Netherlands mostly each had their own "stadtholder".


title: Stadtholder

text: In the 16th century, the Habsburg Holy Roman Emperor Charles V, also King of Spain, who had inherited the Burgundian Netherlands, completed this process by becoming the sole feudal overlord: Lord of the Netherlands. Only the Prince-Bishopric of Liège and two smaller territories (the Imperial Abbey of Stavelot-Malmedy and the Duchy of Bouillon) remained outside his domains. "Stadtholder"s continued to be appointed to represent Charles and King Philip II, his son and successor in Spain and the Low Countries (the electoral Imperial title would be held by heirs of Charles in the separate Austrian branch of Habsburgs). Due to the centralist and absolutist policies of Philip, the actual power of the "stadtholder"s strongly diminished.


title: Stadtholder

text: When, in 1581, during the Dutch Revolt, most of the Dutch provinces declared their independence with the Act of Abjuration, the representative function of the "stadtholder" became obsolete in the rebellious northern Netherlands – the feudal lord himself having been abolished – but the office nevertheless continued in these provinces who now united themselves into the Republic of the Seven United Netherlands. The United Provinces were struggling to adapt existing feudal concepts and institutions to the new situation and tended to be conservative in this matter, as they had after all rebelled against the king to defend their ancient rights. The "stadtholder" no longer represented the lord but became the highest executive official, appointed by the states of each province. Although each province could assign its own "stadtholder", most "stadtholder"s held appointments from several provinces at the same time. The highest executive power was normally exerted by the sovereign states of each province, but the stadtholder had some prerogatives, like appointing lower officials and sometimes having the ancient right to affirm the appointment (by co-option) of the members of regent councils or choose "burgomasters" from a shortlist of candidates. As these councils themselves appointed most members of the states, the "stadtholder" could very indirectly influence the general policy. In Zeeland the Princes of Orange, who after the Dutch Revolt most often held the office of "stadtholder" there, held the dignity of "First Noble", and were as such a member of the states of that province, because they held the title of Marquis of Veere and Flushing as one of their patrimonial titles.


title: Stadtholder

text: On the Republic's central 'confederal' level, the "stadtholder" of the provinces of Holland and Zealand was normally also appointed Captain-General of the confederate army and Admiral-General of the confederate fleet, though no "stadtholder" ever actually commanded a fleet in battle. In the army, he could appoint officers by himself; in the navy only affirm appointments of the five admiralty councils. Legal powers of the stadtholder were thus rather limited, and by law he was a mere official. His real powers, however, were sometimes greater, especially given the martial law atmosphere of the 'permanent' Eighty Years War. Maurice of Orange after 1618 ruled as a military dictator, and William II of Orange attempted the same.


title: Stadtholder

text: The leader of the Dutch Revolt was William the Silent (William I of Orange); he had been appointed "stadtholder" in 1572 by the first province to rebel, Holland. His personal influence and reputation was subsequently associated with the office and transferred to members of his house. After his assassination, however, there was a short-lived move to install Robert Dudley, 1st Earl of Leicester as 'lieutenant general' before Maurice in 1590 became stadtholder of five provinces, a position he would hold until his death.


title: Stadtholder

text: Tensions nonetheless persisted between Orangists and republicans in the United Provinces, sometimes exploding into direct conflict. Maurice in 1618 and William III of Orange from 1672 replaced entire city councils with their partisans to increase their power: the so-called "Changings of the Legislative" ("Wetsverzettingen"). By intimidation, the "stadtholder"s tried to extend their right of affirmation, while they also attempted to add the remaining stadholderships like Friesland and Groningen to their other holdings. In reaction, the regents in Holland, Zeeland, Utrecht, Guelders, and Overijssel, after the death of William II in 1650, appointed no "stadtholder", and banned his son William from the Stadtholdership by an Act of Seclusion, something overcome by popular feeling during the catastrophic events of 1672, the Dutch Year of Disaster ("Rampjaar"), when the future William III of England was swept to power. After the death of William III in 1702 they again abstained from appointing a stadtholder. These periods are known as the First Stadtholderless Period and the Second Stadtholderless Period.


title: Stadtholder

text: After the French invasion of 1747, the regents were forced by a popular movement to accept William IV, Prince of Orange, stadtholder of Friesland and Groningen, as stadtholder in the other provinces. On 22 November 1747, the office of "stadtholder" was made hereditary ("erfstadhouder"). As William (for the first time in the history of the Republic) was "stadtholder" in all provinces, his function accordingly was restyled .


title: Stadtholder

text: After William IV's death in 1751, his infant son was duly appointed "stadtholder" under the regency of his mother. The misgovernment of this regency caused much resentment, which issued in 1780 in the Patriot movement, seeking to permanently limit the powers of the Stadholderate. The Patriots first took over many city councils, then the States of the province of Holland, and ultimately raised civil militias to defend their position against Orangist partisans, bringing the country to the brink of civil war. Through Prussian military intervention in 1787, Prince William V of Orange was able to suppress this opposition, and many leaders of the Patriot movement went into exile in France. The stadtholderate was strengthened with the Act of Guarantee (1788).


title: Stadtholder

text: The exiles returned with French armies in the winter of 1795 and overcame the frozen Dutch Water Line. William V of Orange-Nassau fled to England, and the office of stadtholder was abolished in 1795, when the French revolutionary forces installed the Batavian Republic. Similarly, while from 1572 in the Southern Netherlands the Habsburg lords continued to appoint provincial stadtholders for the region, this ceased when it was annexed by France in 1794. In 1806, Napoleon established the Kingdom of Holland, putting his younger brother Louis on the throne. He abdicated his throne in favour of Louis II. He ruled for nine days, until his uncle Napoleon took charge himself until the empire fell in 1813.


title: Stadtholder

text: Soon after the French army retreated, William Frederick, the son of the last stadtholder William V, was invited by the Triumvirate of 1813 to become the first 'Sovereign Prince' in 1813. William was living in exile in London during the French occupation. On 13 November 1813 he returned to the Netherlands accepting the invitation. On 16 March 1815 he assumed the title of king of the United Kingdom of the Netherlands.


title: Stadtholder

text: The stadtholderate was taken as a political model by the Founding Fathers of the United States with regard to the executive powers – Oliver Ellsworth for example arguing that without its influence in the United Provinces, "their machine of government would no more move than a ship without wind".


title: Remi Kabaka Jr.

text: Remi Kabaka Jr. (born 11 April 1970) is a British record producer, art director, percussionist and voice actor best known as the drummer and producer for British virtual band Gorillaz. He became a music producer for the band in 2015 after several years of providing the voice of Russel Hobbs and was listed as an A&R producer alongside Damon Albarn and Jamie Hewlett in the 2019 documentary "Gorillaz: Reject False Icons". In 2007, Kabaka created the audiovisual collective Gorillaz Sound System.


title: Remi Kabaka Jr.

text: Along with his work with Gorillaz, Kabaka has collaborated further with the band's frontman Damon Albarn and artist Jamie Hewlett on other projects including DRC, Africa Express and Bobby Womack's album "The Bravest Man in the Universe".


title: Remi Kabaka Jr.

text: Kabaka is also a manager of Steve Lazarides's London art gallery, which regularly exhibits work by the artist Banksy.


title: Cut the Crap

text: Cut the Crap is the sixth and final studio album by English punk band the Clash, released on 4 November 1985 by CBS Records. It was recorded in early 1985 at Weryton Studios, Munich, following a turbulent period: co-founder, lead guitarist and co-principal songwriter Mick Jones and drummer Topper Headon had been dismissed by lead vocalist Joe Strummer and bassist Paul Simonon. Jones and Headon were replaced by three unknowns: guitarists Vince White and Nick Sheppard and drummer Pete Howard. During the tense recording sessions, Clash manager Bernie Rhodes and Strummer fought each other for control over the band's songwriting and musical direction.


title: Cut the Crap

text: Strummer and Rhodes co-wrote most of the songs. During production, Rhodes took charge of the arrangements, track sequencing and the final mix. His production choices, which rely heavily on Strummer's preference for synthetic drum sounds and Rhodes' own inclusion of sampling, were widely derided. One writer described the album's sound as brash and seemingly "designed to sound hip and modern—'80s style!". Rhodes chose the album title, taken from a line in the 1981 post-apocalyptic film "Mad Max 2". On release, "Cut the Crap" was maligned in the UK music press as "one of the most disastrous [albums] ever released by a major artist". Strummer disowned the album and dissolved the Clash within weeks of its release.


title: Cut the Crap

text: The recording process and tension between Rhodes and Strummer left other band members disillusioned. White's and Sheppard's contributions are almost entirely absent in the final mix, and Howard was replaced by an electronic drum machine. Epic Records hoped the album would advance the Clash's success in the United States, and planned an expensive video for a lead single.


title: Cut the Crap

text: The album was poorly received upon release, and is still generally regarded as the band's worst album; Strummer performed only one song from the album live during his solo career, and the album has been excluded altogether from most of the Clash's compilations and box sets. Some critics and writers have praised Strummer's songwriting and vocal performance, especially on the tracks "This Is England", "Dirty Punk" and "Three Card Trick".


title: Cut the Crap

text: The Clash's internal difficulties during 1983 led to two of its core members being fired: guitarist Mick Jones was seen as adopting rock star posturing that lead vocalist Joe Strummer considered anathema to what the band stood for, and drummer Topper Headon had developed a heroin addiction which left him unreliable. After the band undertook rehearsals in London during June 1983, interpersonal tensions reemerged. The two principal songwriters no longer trusted each other, due to Jones's frequent absence from rehearsals and use of synthesizers. Both Jones and bassist Paul Simonon have said that they refused to sign the contract negotiated by manager Bernie Rhodes, who had earlier been fired due to personal differences with Jones.


title: Cut the Crap

text: The relationship between Strummer and Jones had broken down by this point. Not long into rehearsals, Strummer and Simonon had fired Jones. A week before the official announcement of the dismissal, Strummer, Simonon and Rhodes began to look for replacements and met Pete Howard. The band placed anonymous advertisements for replacement guitarists in the magazine "Melody Maker". After auditioning over 100 candidates, they eventually hired unknown musicians Nick Sheppard and Greg White. White took the pseudonym Vince after Simonon complained that he would prefer to quit than play in a band with someone named Greg. Both were given a weekly wage of £100 rather than recording contracts.


title: Cut the Crap

text: Strummer had been the band's principal lyricist, while Jones had written their music. After Jones was fired, the band assumed that anyone could write a punk song. This proved to be a mistake and, unknown to members of the Clash, Rhodes had already conceived his own solution to Jones's departure—he would take control of the music.


title: Cut the Crap

text: Strummer intended the second Clash line-up to encapsulate a back-to-basics approach to punk. The new musicians largely avoided the reggae-influenced style of their two previous studio albums, "Sandinista!" (1980) and "Combat Rock" (1982). Strummer began to refer to the line-up as "the Clash, Round Two", a phrase adopted by the press as "the Clash Mark II". They booked a short tour of the US West Coast, debuting new songs, which prompted Jones to boast to concert promoter Bill Graham that he was planning his own tour with Headon as "the Real Clash". Jones's lawyers had frozen the band's earnings from both the US Festival and sales of "Combat Rock" (1982). In response, Strummer wrote the song "We Are the Clash", which, along with "Three Card Trick", "Sex Mad Roar" and "This Is England", was debuted during live appearances in January 1984. In all, the Clash Mark II had written around 20 new songs before entering the studio to record what became the band's final studio album.


title: Cut the Crap

text: The album was recorded between January and February 1985, on a 24-track mixing desk in Weryton Studios, Unterföhring, outside Munich, Germany, with some parts recorded in London. Epic Records chose the German studio because the band's finances were dependent on ongoing legal cases, including moves by Jones to prevent them recording under the name "the Clash". Rhodes hired engineer Micheal Fayne on the basis of affordability, and his prior experience with programmed drum machines, which Strummer wanted to use on the album because, according to Rhodes, "Joe wanted to compete with Mick's drum machine thing". Rhodes also employed engineers Ulrich A. Rudolf, Simon Sullivan and Kevin Whyte, who are credited on the sleeve.


title: Cut the Crap

text: Strummer and Rhodes disagreed on the direction of the recordings almost from the outset. Rhodes, credited on the sleeve under the pseudonym "Jose Unidos", had no previous experience with either songwriting or record production. While Strummer had been pleased with his demo versions, he fought against his manager over the album's production. Rhodes believed he had discovered a new genre, seeking to mix electro, hip hop and cut-up technique. He replaced live musicians with synthetic sounds and layered the tracks with audio from TV programs.


title: Cut the Crap

text: Fayne described Rhodes's treatment of Howard as "damaging". Rhodes would begin recording sessions by asking the drummer to play what he wanted, but would inevitably respond to Howard's parts by saying "no, not that", or "no, not that either". In one incident, Rhodes appeared in the recording room and began to "smash the drum kit up", at which point Howard stood up and left. Fayne said, "Bernie didn't want any connection with the past... He wanted to take it forward, to control it, to mastermind the whole thing, and what they were doing was a bit too reminiscent of what it was". Disillusioned and lacking reinforcement or direction from Strummer, Howard seriously considered leaving the band at several points.


title: Cut the Crap

text: Most of the Clash and the production team liked the football-style chants used in some of the choruses. They were in part inspired by the communal sing-alongs the Clash performed during their busking tour the previous year, and thus evoked memories of a less tense period in their career. The massed vocals were provided by several dozen of their friends and families, and several of the inner team remembered those sessions as the only enjoyable period during the album's recording. The only other aspect that the musicians agreed on was the quality and commercial potential of "This Is England", a song into which Rhodes allowed the musicians significant creative input.


title: Cut the Crap

text: Rhodes suddenly ended the recordings and took the master tapes from the studio, after which he added further synthesizer parts. Although Jones's use of synthesizers and samplers was one of the main reasons behind his dismissal, those instruments brought him critical and public acclaim with his next band Big Audio Dynamite. When asked at the time for his opinion on the debut BAD album, Strummer described it as one of the "worst pieces of shit I have ever heard." In 1986, Strummer said that he had liked a few of the tunes but "really I hated it... I didn't hear [the album as a whole] until it was in the shops." Strummer ultimately lost control of "Cut the Crap" to Rhodes, and became so disillusioned that at one point he asked Jones to rejoin the band, but was refused.


title: Cut the Crap

text: Simonon does not appear on any of the final recordings; the basslines were performed by Norman Watt-Roy, former member of Ian Dury and the Blockheads, who was not credited on the sleeve. Howard's exclusion from the album has been lamented by many critics. Knowles described him as an "astonishingly powerful and prodigious" drummer, and said that replacing him with electronic percussion was "like replacing a Maserati with a Matchbox". Regretting the decision, Strummer later vowed to never use a drum machine again.


title: Cut the Crap

text: The consensus among critics is that the album's production choices distract from otherwise strong songwriting by Strummer and Rhodes. Strummer's vocals are placed low in the mix, sometimes buried underneath electronic drums, synthetic keyboards and studio effects. The sound has often been described as muddy and cluttered due to multi-layered guitar tracks and backing vocals. Many of the guitar overdubs have been considered unnecessary, given that Sheppard and White were both using Gibson Les Pauls and as such their sounds were tonally similar, and there was not significant variation in either their chord progressions or riffs. Rhodes's may have felt the need to fill each channel on the 24-track mixing desk. Author Gary Jucha summed up the album as having been produced by a manager whose musical ambitions were overstretched by a lack of experience.


title: Cut the Crap

text: The over-laid vocals in the choruses, which give the football chant feel, were harshly viewed by critics at the time, both because the effect seemed like low-brow rabble-rousing, and they compared unfavorably with Jones's earlier backing vocals. The drums are largely untreated with sound effects which left them sounding dull. Knowles suggested that adding reverb would have helped to create a more organic "roomy" sound, so the songs wouldn't feel "so canned and phony". Against this, the live instrumentation is tight and cohesive. Each of the new recruits was a skilled musician, and they had just come off a tour during which Rhodes had instructed them not to vary song structures or guitar leads between performances.


title: Cut the Crap

text: "Dictator", one of the earliest songs the new line-up played during their European tour, has been described as "the poorest possible choice for the opening track". Music critic Lennox Samuels wrote in 1985 that the song is "a messy mix of horns and a Pink Floyd-like voice-over". The album cut omits the live version's bridge, changes the drum pattern, and replaces most of the guitar parts with atonal synth lines. The music journalist Martin Popoff described the lyrics' depiction of a Central American authoritarian as "surprisingly flat and dead". The critic Mark Andersen described it as "one of the less successful of the new tunes".


title: Cut the Crap

text: The guitar-based "Dirty Punk" is built from a basic three-chord structure reminiscent of the band's self-titled debut studio album. White believed it should have been the lead single and could have been a hit. Although generally well received, critics dismissed its synthetic drum sound as at odds with its back-to-basics sound. The track was written just after the 1984 tour, when Strummer was attending to his terminally ill mother, so it is assumed that most of the lyrics were composed by Rhodes. They are written from the point of view of a young punk who feels overshadowed by an older brother, but the story is told in such simple terms that it has been characterised as having "Neanderthal lyrics that read as if a parody of a punk rock song". The relative simplicity of the lyrics were criticised by "Vulture", who described them as akin to "Mick Jagger's '80s output, bland cliché for bland cliché."


title: Cut the Crap

text: The rallying cry lyrics for "We Are the Clash" are sometimes seen as a defiant response to Jones's lawsuit. The album version differs substantially from both earlier live recordings and a 1983 demo. It is more polished, the lyrics have been changed in parts, the tempo has been slowed down, the bridge changed to an intro and the call-and-response chorus removed. The song has received mixed reviews. It was criticised for its confused politics and thin sound, the guitar solo and back-in-the-mix vocal chants in particular lacking low-end frequencies. "Vulture" placed it last in its 2017 ranking of all 139 songs by the Clash from worst to best. "Rolling Stone" took issue with the song's title, calling it "an outright lie" in light of the album's exclusion of both Jones and Headon. Music critic Tony Fletcher responded to the chant of "We Are the Clash" with the words "No you're not... you're a pale imitation of Sham 69 at the disco". Clash biographer Chris Knowles disliked Rhodes's production but admired Strummer's songwriting, and considers the album version as a lost opportunity given that the song had been a "killer" live favourite.


title: Cut the Crap

text: "Are You Red..Y" had originally been titled "Are You Ready for War". "Cool Under Heat" is a reggae-ballad whose production choices have been criticised as cluttered and confused, several writers noting that its strong lyrics and tune are buried underneath a jumble of extraneous instruments and studio effects. The guitar sound is especially flat and restrained by overly compressed production. Popoff found the album version inferior to the Clash's live versions that were reminiscent of the Pogues, which the band had played on an early-1985 busking tour.


title: Cut the Crap

text: The opening line of "Movers and Shakers"—"The boy stood in the burning slum"—was described by writer Sean Egan as "a piece of unconscious self-parody that is quite probably the worst line ever to appear on a Clash record". Fletcher called the lyric "excruciating" given that Strummer was then a successful rock star, but resigned himself with the observation "fortunately for [him] not enough people were listening to be truly offended." Apart from the lyrics, the song's drum programming has often been criticised as clunky, although the vocal melody has been praised.