title: Deregulation

text: New Labour privatized only a few services, such as Qinetiq. But a great deal of infrastructure and maintenance work previously carried out by government departments was contracted out (outsourced) to private enterprise under the public–private partnership, with competitive bidding for contracts within a regulatory framework. This included large projects such as building new hospitals for the NHS, building new state schools, and maintaining the London Underground. These were never privatized by public offer, but instead by tendering commercial interests.


title: Deregulation

text: New Zealand Governments adopted policies of extensive deregulation from 1984 to 1995. Originally initiated by the Fourth Labour Government of New Zealand, the policies of deregulation were later continued by the Fourth National Government of New Zealand. The policies had the goal of liberalizing the economy and were notable for their very comprehensive coverage and innovations. Specific policies included: floating the exchange rate; establishing an independent reserve bank; performance contracts for senior civil servants; public sector finance reform based on accrual accounting; tax neutrality; subsidy-free agriculture; and industry-neutral competition regulation. Economic growth was resumed in 1991. New Zealand was changed from a somewhat closed and centrally controlled economy to one of the most open economies in the OECD. As a result, New Zealand, went from having a reputation as an almost socialist country to being considered one of the most business-friendly countries of the world, next to Singapore. However, critics charge that the deregulation has brought little benefit to some sections of society, and has caused much of New Zealand's economy (including almost all of the banks) to become foreign-owned.


title: Deregulation

text: Russia went through wide-ranging deregulation (and concomitant privatization) efforts in the late 1990s under Boris Yeltsin, now partially reversed under Vladimir Putin. The main thrust of deregulation has been the electricity sector (see RAO UES), with railroads and communal utilities tied in second place. Deregulation of the natural gas sector (Gazprom) is one of the more frequent demands placed upon Russia by the United States and European Union.


title: Deregulation

text: One problem that encouraged deregulation was the way in which regulated industries often come to control the government regulatory agencies in a process known as regulatory capture. Industries then uses regulation to serve their own interests, at the expense of the consumer. A similar pattern has been seen with the deregulation process itself, often effectively controlled by regulated industries through lobbying. Such political forces, however, exist in many other forms for other lobby groups.


title: Deregulation

text: Examples of deregulated industries in the United States are banking, telecommunications, airlines, and natural resources.


title: Deregulation

text: During the Progressive Era (1890s–1920), Presidents Theodore Roosevelt, William Howard Taft, and Woodrow Wilson instituted regulation on parts of the American economy, most notably big business and industry. Some prominent reforms were trust-busting (the destruction and banning of monopolies), the creation of laws protecting the American consumer, the creation of a federal income tax (by the Sixteenth Amendment; the income tax used a progressive tax structure with especially high taxes on the wealthy), the establishment of the Federal Reserve, the institution of shorter working hours, higher wages, better living conditions, better rights and privileges to trade unions, protection of the rights of strikers, banning of unfair labor practices, and the delivery of more social services to the working classes and social safety nets to many unemployed workers, thus helping to create a welfare state.


title: Deregulation

text: During the Presidencies of Warren Harding (1921–23) and Calvin Coolidge (1923–29), the federal government generally pursued laissez-faire economic policies. After the onset of the Great Depression, President Franklin D. Roosevelt implemented many economic regulations, including the National Industrial Recovery Act (which was struck down by the Supreme Court), regulation of trucking, airlines and communications, the Securities Exchange Act of 1934, and the Glass–Steagall Act of 1933. These regulations stayed largely in place until Richard Nixon's Administration. In supporting his competition-limiting regulatory initiatives President Roosevelt blamed the excesses of big business for causing an economic bubble. However, historians lack consensus in describing the causal relationship between various events and the role of government economic policy in causing or ameliorating the Depression.


title: Deregulation

text: Deregulation gained momentum in the 1970s, influenced by research by the Chicago school of economics and the theories of George Stigler, Alfred E. Kahn, and others. The new ideas were widely embraced by both liberals and conservatives. Two leading think tanks in Washington, the Brookings Institution and the American Enterprise Institute, were active in holding seminars and publishing studies advocating deregulatory initiatives throughout the 1970s and 1980s. Cornell economist Alfred E. Kahn played a central role in both theorizing and participating in the Carter Administration's efforts to deregulate transportation.


title: Deregulation

text: The first comprehensive proposal to deregulate a major industry, transportation, originated in the Richard Nixon Administration and was forwarded to Congress in late 1971. This proposal was initiated and developed by an interagency group that included the Council of Economic Advisors (represented by Hendrik Houthakker and Thomas Gale Moore), White House Office of Consumer Affairs (represented by Jack Pearce), Department of Justice, Department of Transportation, Department of Labor, and other agencies.


title: Deregulation

text: The proposal addressed both rail and truck transportation, but not air carriage. (92d Congress, Senate Bill 2842) The developers of this legislation in this Administration sought to cultivate support from commercial buyers of transportation services, consumer organizations, economists, and environmental organization leaders. This 'civil society' coalition became a template for coalitions influential in efforts to deregulate trucking and air transport later in the decade.


title: Deregulation

text: After Nixon left office, the Gerald Ford presidency, with the allied interests, secured passage of the first significant change in regulatory policy in a pro-competitive direction, in the Railroad Revitalization and Regulatory Reform Act of 1976.


title: Deregulation

text: President Jimmy Carter – aided by economic adviser Alfred E. Kahn – devoted substantial effort to transportation deregulation, and worked with Congressional and civil society leaders to pass the Airline Deregulation Act on October 24, 1978 – the first federal government regulatory regime, since the 1930s, to be completely dismantled.


title: Deregulation

text: Carter also worked with Congress to produce the Staggers Rail Act (signed October 14, 1980), and the Motor Carrier Act of 1980 (signed July 1, 1980).


title: Deregulation

text: These were the major deregulation acts in transportation that set the general conceptual and legislative framework, which replaced the regulatory systems put in place between the 1880s and the 1930s. The dominant common theme of these Acts was to lessen barriers to entry in transport markets and promote more independent, competitive pricing among transport service providers, substituting the freed-up competitive market forces for detailed regulatory control of entry, exit, and price making in transport markets. Thus deregulation arose, though regulations to promote competition were put in place.


title: Deregulation

text: U.S. President Ronald Reagan campaigned on the promise of rolling back environmental regulations. His devotion to the economic beliefs of Milton Friedman led him to promote the deregulation of finance, agriculture, and transportation. A series of substantial enactments were needed to work out the process of encouraging competition in transportation. Interstate buses were addressed in 1982, in the Bus Regulatory Reform Act of 1982. Freight forwarders (freight aggregators) got more freedoms in the Surface Freight Forwarder Deregulation Act of 1986. As many states continued to regulate the operations of motor carriers within their own state, the intrastate aspect of the trucking and bus industries was addressed in the Federal Aviation Administration Authorization Act of 1994, which provided that "a State, political subdivision of a State, or political authority of two or more States may not enact or enforce a law, regulation, or other provision having the force and effect of law related to a price, route, or service of any motor carrier." (c)(1) (Supp. V 1999).


title: Deregulation

text: Ocean transportation was the last to be addressed. This was done in two acts, the Ocean Shipping Act of 1984 and the Ocean Shipping Reform Act of 1998. These acts were less thoroughgoing than the legislation dealing with U.S. domestic transportation, in that they left in place the "conference" system in international ocean liner shipping, which historically embodied cartel mechanisms. However, these acts permitted independent rate-making by conference participants, and the 1998 Act permitted secret contract rates, which tend to undercut collective carrier pricing. According to the United States Federal Maritime Commission, in an assessment in 2001, this appears to have opened up substantial competitive activity in ocean shipping, with beneficial economic results.


title: Deregulation

text: The Emergency Petroleum Allocation Act was a regulating law, consisting of a mix of regulations and deregulation, which passed in response to OPEC price hikes and domestic price controls which affected the 1973 oil crisis in the United States. After adoption of this federal legislation, numerous state legislation known as Natural Gas Choice programs have sprung up in several states, as well as the District of Columbia. Natural Gas Choice programs allow residential and small volume natural gas users to compare purchases from natural gas suppliers with traditional utility companies. There are currently hundreds of federally unregulated natural gas suppliers operating in the US. Regulation characteristics of Natural Gas Choice programs vary between the laws of the currently adoptive 21 states (as of 2008).


title: Deregulation

text: Deregulation was put into effect in the communications industry by the government at the start of the Multi-Channel Transition era. This deregulation put into place a division of labor between the studios and the networks. Communications in the United States (and internationally) are areas in which both technology and regulatory policy have been in flux. The rapid development of computer and communications technology – particularly the Internet – have increased the size and variety of communications offerings. Wireless, traditional landline telephone, and cable companies increasingly invade each other's traditional markets and compete across a broad spectrum of activities. The Federal Communications Commission and Congress appear to be attempting to facilitate this evolution. In mainstream economic thinking, development of this competition would militate against detailed regulatory control of prices and service offerings, and hence favor deregulation of prices and entry into markets. On the other hand, there exists substantial concern about concentration of media ownership resulting from relaxation of historic controls on media ownership designed to safeguard diversity of viewpoint and open discussion in the society, and about what some perceive as high prices in cable company offerings at this point.


title: Deregulation

text: The financial sector in the U.S. has been considerably deregulated in recent decades, which has allowed for greater financial risktaking. The financial sector used its considerable political sway in Congress and in the political establishment and influenced the ideology of political institutions to press for more and more deregulation. Among the most important of the regulatory changes was the Depository Institutions Deregulation and Monetary Control Act of 1980, which repealed the parts of the Glass–Steagall Act regarding interest rate regulation via retail banking. The Financial Services Modernization Act of 1999 repealed part of the Glass–Steagall Act of 1933, removing barriers in the market that prohibited any one institution from acting as any combination of an investment bank, a commercial bank, and an insurance company.


title: Deregulation

text: Such deregulation of the financial sector in the United States fostered greater risktaking by finance sector firms through the creation of innovative financial instruments and practices, including securitization of loan obligations of various sorts and credit default swaps. This caused a series of financial crises, including the savings and loan crisis, the Long-Term Capital Management (LTCM) crisis, each of which necessitated major bailouts, and the derivatives scandals of 1994. These warning signs were ignored as financial deregulating continued, even in view of the inadequacy of industry self-regulation as shown by the financial collapses and bailout. The 1998 bailout of LTCM sent the signal to large "too-big-to-fail" financial firms that they would not have to suffer the consequences of the great risks they take. Thus, the greater risktaking allowed by deregulation and encouraged by the bailout paved the way for the financial crisis of 2007–08.


title: Deregulation

text: The deregulation movement of the late 20th century had substantial economic effects and engendered substantial controversy. The movement was based on intellectual perspectives which prescribed substantial scope for market forces, and opposing perspectives have been in play in national and international discourse.


title: Deregulation

text: The movement toward greater reliance on market forces has been closely related to the growth of economic and institutional globalization between about 1950 and 2010.


title: Deregulation

text: Many economists have concluded that a trend towards deregulation will increase economic welfare long-term and a sustainable free market system. Regarding the electricity market, contemporary academic Adam Thierer, "The first step toward creating a free market in electricity is to repeal the federal statutes and regulations that hinder electricity competition and consumer choice." This viewpoint stretches back centuries. Classical economist Adam Smith argued the benefits of deregulation in his 1776 work, "The Wealth of Nations":[Without trade restrictions] the obvious and simple system of natural liberty establishes itself of its own accord. Every man...is left perfectly free to pursue his own interest in his own way... The sovereign is completely discharged from a duty [for which] no human wisdom or knowledge could ever be sufficient; the duty of superintending the industry of private people, and of directing it towards the employments most suitable to the interest of the society.Scholars who theorize that deregulation is beneficial to society often cite what is known as the Iron Law of Regulation, which states that all regulation eventually leads to a net loss in social welfare.


title: Deregulation

text: Critics of economic liberalization and deregulation cite the benefits of regulation, and believe that certain regulations do not distort markets and allow companies to continue to be competitive, or according to some, grow in competition. Much as the state plays an important role through issues such as property rights, appropriate regulation is argued by some to be "crucial to realise the benefits of service liberalisation".


title: Deregulation

text: Sharon Beder, a writer with PR Watch, wrote "Electricity deregulation was supposed to bring cheaper electricity prices and more choice of suppliers to householders. Instead it has brought wildly volatile wholesale prices and undermined the reliability of the electricity supply."


title: Deregulation

text: William K. Black claims that inappropriate deregulation helped create a criminogenic environment in the savings and loan industry, which attracted opportunistic control frauds like Charles Keating, whose massive political campaign contributions were used successfully to further remove regulatory oversight. The combination substantially delayed effective governmental action, thereby substantially increasing the losses when the fraudulent Ponzi schemes finally collapsed and were exposed. After the collapse, regulators in the Office of the Comptroller of the Currency (OCC) and the Office of Thrift Supervision (OTS) were finally allowed to file thousands of criminal complaints that led to over a thousand felony convictions of key Savings and Loan insiders. By contrast, between 2007 and 2010, the OCC and OTS combined made zero criminal referrals; Black concluded that elite financial fraud has effectively been decriminalized.


title: Deregulation

text: Economist Jayati Ghosh is of the opinion that deregulation is responsible for increasing price volatility on the commodity market. This particularly affects people and economies in developing countries. More and more homogenization of financial institution which may also be a result of deregulation turns out to be a major concern for small-scale producers in those countries.


title: Bilal Erdoğan

text: Necmettin Bilal Erdoğan (born 23 April 1981) is a Turkish businessman, the second child of Recep Tayyip Erdoğan, the President of Turkey.


title: Bilal Erdoğan

text: Necmettin Bilal was born on 23 April 1981, the second child of Recep Tayyip Erdoğan and Emine Erdoğan. He has three siblings: Ahmet Burak, Sümeyye Erdoğan and Esra Erdoğan. After finishing secondary school at Kartal Anadolu İmam Hatip Lisesi in 1999, Erdoğan moved to the United States, and graduated from Indiana University Bloomington with a bachelor's degree in political science and economics. He then earned a master's degree from the John F. Kennedy School of Government at Harvard University in 2004.


title: Bilal Erdoğan

text: After graduation, he served at the World Bank as an intern for a while. He returned to Turkey in 2006 and started his business life. Erdoğan is one of the three equal shareholders of BMZ Group Denizcilik ve İnşaat Sanayi Anonym Şirketi, a marine transportation corporation. He is also on the governing board of the Turkish Youth Foundation () which is exempt of paying taxes by decree of the Turkish president, Bilals father.


title: Bilal Erdoğan

text: Erdoğan married Reyyan Uzuner in 2003. The couple have two sons, Ömer Tayyip and Ali Tahir, and a daughter, Fatıma Serra.


title: Bilal Erdoğan

text: In October 2015, "Today's Zaman" reported that Erdoğan and his family had moved to Bologna, Italy, after his father's AK Party lost its parliamentary majority in June. It is stated that he will finish his PhD at The Johns Hopkins University SAIS Bologna Center there, but that all he has to do is complete his thesis, which does not require his permanent presence in Bologna, but does enable him to obtain a two-year residence permit.


title: Bilal Erdoğan

text: In February 2016 the prosecuting attorney of Bologna started a lawsuit for money laundering against him.


title: Bilal Erdoğan

text: Erdoğan came under accusations of corruption during the 2013 corruption scandal in Turkey that extended to other top members of TÜRGEV, for which he gave testimony.


title: 2021–22 Wolverhampton Wanderers F.C. season

text: The 2021–22 season was the 144th in the history of Wolverhampton Wanderers and the 4th consecutive in the Premier League. The club also competed in the FA Cup and the EFL Cup.


text: This is the first season under former Benfica manager Bruno Lage, who was appointed on 9 June 2021 following the departure of Nuno Espírito Santo by mutual consent at the end of the previous season.


text: The culb's pre-season schedule included friendlies against Crewe Alexandra, Real Betis, Stoke City, Coventry City and Celta Vigo, in addition to two friendlies behind closed doors against Forest Green Rovers and Al Shabab. On July 12, Wanderers confirmed a sixth pre-season match, against Las Palmas.


text: The provisional fixture list was released on 16 June 2021, but was subject to change in the event of matches being selected for television coverage or police concerns.


text: As a Premier League team, Wolves entered the competition at the third round stage, and were drawn at home to Sheffield United.


text: As a Premier League team not involved in European competition, Wolves entered the competition at the second round stage in August 2021 and were drawn away to Nottingham Forest and in the third round against Tottenham Hotspur at home.


text: Wolves were one of the sixteen teams from outside the bottom two divisions of the Football League to be invited to field their academy team in the competition due to it holding Category 1 academy status. They were drawn into Group C in the Northern section. Note: In group stage matches which were level at the end of 90 minutes, a penalty shoot-out was held, with the winner earning a bonus point.


title: Arkansas Razorbacks men's basketball

text: The Arkansas Razorbacks men's basketball team represents the University of Arkansas in Fayetteville, Arkansas in NCAA Division I men's basketball competition. The team competes in the Southeastern Conference.


title: Arkansas Razorbacks men's basketball

text: Arkansas plays its home games in Bud Walton Arena on the University of Arkansas campus. The Razorbacks are a top-twenty-five program all-time by winning percentage (.642), top-twenty program by NCAA tournament games played, top-twenty program by NCAA Tournament games won, top-fifteen program by Final Four appearances, and despite playing significantly fewer seasons than most programs in major conferences, top-thirty by all-time wins. Under the coaching leadership of Nolan Richardson, the Hogs won the national championship in 1994, defeating Duke, and appeared in the championship game the following year, finishing as runner-up. The Razorbacks have made six NCAA Final Four appearances (1941, 1945, 1978, 1990, 1994, and 1995).


title: Arkansas Razorbacks men's basketball

text: Arkansas had a relatively late start in basketball; it did not field its first team until 1923. Francis Schmidt coached the Razorbacks from the 1923–24 season until the 1928–29 season, while also coaching the football and baseball teams.


title: Arkansas Razorbacks men's basketball

text: Schmidt oversaw the construction of the gymnasium that was home to the Razorbacks from the inaugural season through the 1936–37 season. The project was headed by Schmidt and Jay Fulbright (father of future United States Senator from Arkansas, J. William Fulbright). Schmidt and Fulbright organized a group of businessmen that facilitated the transfer of a former car showroom to the university to serve as the gym for the Razorbacks. The wooden gym, made out of surplus World War I material and officially named Schmidt Gymnasium, became known as "Schmidt's barn," in reference to its makeshift nature and lack of accommodations.


title: Arkansas Razorbacks men's basketball

text: After a difficult first year that resulted in a 17-11 overall record and a 3-9 conference record, Schmidt quickly led the Hogs to success and a dominating run in the Southwest Conference during his tenure. Building off the program's first season, the 1924-25 team finished third in the conference, quickly turning their record around to 9–3 in conference play. This second season laid the groundwork for tremendous success with Schmidt, as the Razorbacks won the conference championship outright in just the third year of the program's existence with a record of 23-2 (11-1). The 1925–26 season kicked off a string of four straight Southwest Conference championships under Schmidt, and five straight overall. Schmidt also coached the Hogs to the first of three perfect SWC seasons in program history in 1927–28, with a conference record of 12-0 and a 15.25-point average margin of victory in conference play. The 1927–28 season also marked the beginning of a school record 31-game winning streak that ran until the last few games of the next season. Schmidt's last four teams at Arkansas went a combined 75-6 (42-4).


title: Arkansas Razorbacks men's basketball

text: The last couple years of Schmidt's dominant SWC run were marked by serious star power, with future Razorback basketball coaches Eugene Lambert, Sr. and Glen Rose earning First-Team Helms Athletic Foundation All-American recognition during Schmidt's last two seasons (1928–29 and 1927–28, respectively), along with Tom Pickel earning First-Team honors from College Humor Magazine in Schmidt's final season as coach. Schmidt's Razorbacks had four of the five All-SWC selections in 1928 (Rose, Pickel, Lambert, and Wear Schoonover). During Schmidt's time at Arkansas, the Razorbacks finished first in the SWC four out of six years, and compiled an overall record of 113-22 (.837), the highest winning percentage of any Arkansas coach ever. Schmidt left Arkansas to take the football and basketball jobs at TCU, where he was coach until 1934.


title: Arkansas Razorbacks men's basketball

text: In the 1929–30 season, Charles Bassett took over as head coach, leaving the head coaching job at Texas A&M that he held for two years without finding much success, going a paltry 16-18 (5-15) in his two years as head coach in College Station, including a last-place finish in conference play for the 1927-28 Southwest Conference season. Arkansas's success under Bassett was limited to his first season as coach, when the Hogs won the Southwest Conference Championship with multi-sport star and current College Football Hall of Fame member Wear Schoonover garnering Second-Team All-American recognition from College Humor and earning First-Team All-SWC honors for the third straight season. The Razorbacks did not finish above third place in the Southwest Conference standings for the rest of Bassett's tenure. Aside from the SWC Championship in 1930, the other major bright spot in Bassett's tenure came on January 8, 1931, when the Razorbacks defeated rival Texas, 29–21, the day UT dedicated its new gym. Bassett's last season was the 1932–33 season, when the Razorbacks went 14-7 overall with a 6-6 conference record, the first time since the inaugural 1923–24 season that the Hogs did not finish the year with a winning record in conference play. After four seasons, Bassett's overall record was 62-29 (.681).


title: Arkansas Razorbacks men's basketball

text: Glen Rose took over in the 1933–34 season and returned the program to a competitive position within the SWC. Named a Helms Athletic Foundation First-Team All-American as a Hog in 1928, Rose was the first former player to coach the Razorbacks. Rebuilding the program after the decline under Bassett, Rose's first season as coach produced a .500 conference record (6-6) and a tie for third place in the final SWC standings. The Hogs finished with a winning conference record and no lower than second place in the conference standings for the rest of Rose's first stint with Arkansas, save for one season.


title: Arkansas Razorbacks men's basketball

text: The 1935–36 season ended with the Hogs competing for the right to represent the United States in the 1936 Olympic Games in Berlin for the first year of basketball being an official medal sport. The Razorbacks swept the other NCAA teams they played in the NCAA Olympic Playoffs, but lost in the first round of the U.S. Olympic Trials to the Universal Pictures Amateur Athletic Union team that went on to win the gold medal.


title: Arkansas Razorbacks men's basketball

text: The following season, 1936-37 featured the last game in Schmidt Gymnasium, or "Schmidt's barn." Construction of the new building, (originally known as the Field House) that came to be known as the Men's Gymnasium was under way in 1936, and was completed in the fall semester of 1937, with a capacity of 2,500. The new home for the Razorbacks was dedicated on February 4, 1938 in a 53–26 win over TCU. The Men's Gymnasium served as home for the basketball team until Barnhill Arena was completed in 1954 and the Razorbacks began playing games there in the 1955–56 season.


title: Arkansas Razorbacks men's basketball

text: The Razorbacks won the Southwest Conference outright three times and tied for first two more times during this nine-year run. In the 1940–41 season, Rose led Arkansas to its second perfect conference record ever (12-0) en route the NCAA final Four in the Razorbacks' first NCAA Tournament appearance. The 1940–41 season is also notable for the outstanding play of John "Johnny" Adams, a Helms First-Team All-American who is credited as being one of the players responsible for the proliferation of the jump shot in basketball. Adams set the single-game SWC scoring record that season with 36 points against TCU in Fort Worth on February 21, 1941. Rose finished this nine-year run with a record of 154-47 (.766). Rose went on to coach the football team for the 1944 and 1945 seasons, without much success. Rose returned to coach the basketball team a decade after he left.


title: Arkansas Razorbacks men's basketball

text: Former Razorback and All-American Eugene Lambert took the coaching job starting in the 1942–43 season. Lambert found moderate success in his first season as head coach, posting a winning record and overseeing a first in program history by coaching the first freshman to play for the Razorback varsity squad, Paul Coleman. After winning a share of the Southwest Conference Championship for the 1943–44 season, Lambert and Arkansas were selected for the NCAA tournament for the second time in program history. However, the team was forced to withdraw after tragedy struck when a car accident injured two of their starters, Ben Jones and Deno Nichols, and killed Eugene Norris, a physical education teacher that accompanied the players on their trip. The next year the Hogs earned another tournament berth and advanced to the Final Four, losing to eventual champions Oklahoma A&M. The Razorbacks did not make the tournament again until the 1948–49 season, when the Hogs shared the SWC crown with Baylor and Rice. The Hogs lost in the first round of the regional, but won the third place game. The 1948–49 season was Lambert's last season coaching the Hogs. During Lambert's seven seasons, Arkansas won a share the Southwest Conference Championship twice, with three second-place finishes and never fell lower than third in the conference. Lambert's final record was 113-60 (.653).


title: Arkansas Razorbacks men's basketball

text: Presley Askew took over for the 1949–50 season and coached through the 1951–52 season. Arkansas tied for first place in the Southwest Conference in Askew's first season, but bottomed out in his third and final season, posting the program's first losing record of 10-14 (4-8). The Razorbacks did not make the NCAA Tournament during Askew's tenure. Askew's overall record was 35-37 (.486), the first basketball coach to finish his career at Arkansas with a losing record, despite having a winning conference record of 19–17. Askew's three-season tenure is the shortest in Razorback basketball history.


title: Arkansas Razorbacks men's basketball

text: Glen Rose returned for the 1952–53 season; his second stint with the Hogs lasted until 1966. Rose did not reach the heights of his previous run, with the only real success being in the 1957–58 season, when Arkansas tied for first place in the Southwest Conference with SMU and made the NCAA tournament, losing to an Oklahoma State team whose starting point guard, Eddie Sutton, eventually became head coach of the Razorbacks. Rose's teams in his second spell as head coach posted a winning conference record only five times, to go along with six losing records overall.


title: Arkansas Razorbacks men's basketball

text: For the second time in his career as head coach, Rose oversaw a transition from one home court to another. Eighteen years after the transition from "Schmidt's barn" to the Men's Gymnasium, the Razorbacks began playing their home games in Barnhill Arena (then known as Razorback Fieldhouse) in the 1955–56 season. With a capacity of 3,500 at the time of the first game, the transition to Razorback Fieldhouse represented more investment and interest in the program, even if the results of Rose's second run with the Hogs were lackluster. Razorback Fieldhouse's capacity was 5,000 once it was fully completed, and remained at that number until 1977. Razorback Fieldhouse would also be the site of the first televised home game for the Hogs, with Rose coaching the Hogs to a 61–57 victory over Texas Tech on January 3, 1959.


title: Arkansas Razorbacks men's basketball

text: Rose finished his second run with the Hogs (fourteen seasons) with a record of 171-154 (.526). Rose's overall record for his time at Arkansas (twenty-three seasons) was 325-201 (.618). Rose's twenty-three seasons as head coach remain the longest tenure of any Razorback basketball coach, and his fourteen continuous seasons as coach from 1952 to 1966 is second only to Nolan Richardson for longest continuous tenure as Razorback basketball coach.


title: Arkansas Razorbacks men's basketball

text: After Glen Rose's teams continually failed to be competitive in the SWC during his second stint as coach, he retired following the 1965–66 season. The next eight years proved to be much worse than the lows experienced under Rose's leadership.


title: Arkansas Razorbacks men's basketball

text: Duddy Waller became head coach for the 1966–67 season, but only lasted until the 1970–71 season. All of Waller's teams posted losing records, including two of the three worst winning percentages for a season in school history and the second most losses in a season in school history. Waller's record during his four seasons was 31–64, which is the worst overall winning percentage (.326) of any Arkansas basketball coach ever.


title: Arkansas Razorbacks men's basketball

text: Waller was replaced by Lanny Van Eman, who coached the Hogs from the 1970–71 season through the 1973–74 season. Van Eman started his career as head coach of the Razorbacks with the worst season in school history, a 5-21 (1-13) campaign that still holds the record for most losses in a season, lowest winning percentage for a season, most SWC losses in a season, and fewest conference wins in a season. Despite such an awful first season, Van Eman did manage to lead Arkansas to its first winning conference record in a decade, when the Hogs finished with a 9–5 record in the SWC for the 1972–73 season and tied for second place in the conference. Van Eman finished his career at Arkansas with a 39–65 record (.375).


title: Arkansas Razorbacks men's basketball

text: Despite the major shortcomings of Waller and Van Eman's teams on the court, of note is the fact that these coaches oversaw the gradual integration of African-American players into the basketball program under their leadership. Thomas A. Johnson was the first African-American to play for the Razorbacks on the 1967 team headed by Waller. Following in the footsteps of Johnson were the first African-American stars of Razorback basketball, guard Martin Terry and center Dean Tolson. Playing under Van Eman, Terry and Tolson put up huge numbers and set school records that still stand today, while also collecting All-SWC and All-American recognition. Terry owns the Arkansas records for highest season and career scoring averages, was a two-time First-Team All-SWC selection in 1972 and 1973, and picked up an All-American Honorable Mention nod from Helms in 1973, the same season he was named Southwest Conference Player of the Year. He was taken in the third round of the 1973 NBA draft, the second-highest pick in Arkansas history at the time. Tolson is the school record holder for single-game field goals made and attempted, as well as career rebounding average. Tolson would follow Terry and get drafted in the fifth round of the 1974 NBA draft.


title: Arkansas Razorbacks men's basketball

text: Arkansas failed to finish above second place in the Southwest Conference during these eight seasons, posting a winning record only once, and did not receive any invitations to the NCAA Tournament. The combined overall record of these two coaches was 70-129 (.352) and 39-73 (.348) in conference play.


title: Arkansas Razorbacks men's basketball

text: After coaching at Creighton for five mostly unremarkable seasons that culminated in an NCAA tournament bid and a first round victory, Eddie Sutton found himself on Frank Broyles's radar, as the longtime head football coach and new athletic director wanted to invest in the basketball program to get it out of the depths of the Waller and Van Eman years.


title: Arkansas Razorbacks men's basketball

text: Broyles hired Sutton starting with the 1974–75 season, and the hire proved to be a turning point in the program's history. Sutton's first campaign with the Hogs turned out to be a mildly successful one that put fans on notice, with an 11-3 conference record that was good for second place in the SWC, as high as the program had finished in conference play in seventeen years. Sutton's second team did not perform as strongly in conference play, but improved its overall record. The excitement behind Razorback basketball was palpable as renovations began on what was then officially Barnhill Arena after it was renamed in 1973 for former athletic director and head football coach, John Barnhill. Sutton's second team also had the core players that would elevate the Razorbacks to a national power under his leadership, the famed in-state players known as the "Triplets," Ron Brewer, Marvin Delph, and Sidney Moncrief (who later became the first player in program history to have his number retired).


title: Arkansas Razorbacks men's basketball

text: The 1976-77 Razorbacks were the team that established Arkansas as a basketball power in the modern era. Beginning play in a renovated Barnhill Arena with an expanded capacity of 6,200, the Hogs won the SWC with a perfect 16-0 conference record, going 26-1 overall in the regular season and spent more weeks in the AP Poll that season than every season prior, combined, with a peak ranking of #6. The Hogs earned their first tournament invitation in nearly two decades, but fell in the first round, while still finishing ranked in the AP Poll for the first time in school history. The Hogs would follow the 1976–77 season with Sutton's most successful season at Arkansas and one of the best seasons in school history. Barnhill Arena was expanded further prior to the 1977–78 season, this time to a capacity of 9,000. The Hogs started the season ranked #7 by the AP Poll, and lived up to the high expectations of their recent success by winning their first fourteen games and never falling out of the top ten of the AP Poll the whole season. Arkansas ascended to the top spot in the AP Poll for the first time in program history on February 13, 1978. The Hogs received an at-large bid to the tournament after winning a share of the SWC Championship and beat AP #2 UCLA in the Sweet Sixteen before falling to eventual champion, Kentucky, in the Final Four in St. Louis. The fifth-ranked Hogs won the third place game against AP #6 Notre Dame, 71–69.


title: Arkansas Razorbacks men's basketball

text: Sutton's 1978-79 team still managed a great campaign, despite the loss of two of the "Triplets," All-American Brewer and Delph. Repeating with a share of the Southwest Conference crown, the Hogs won the SWC tournament to clinch the bid to the tournament. The Razorbacks advanced to the Elite Eight, where they lost a close game marred by a controversial last-minute missed tripping call to Larry Bird and undefeated Indiana State, 73–71.


title: Arkansas Razorbacks men's basketball

text: While Sutton's other teams would not be as high achieving as the 1977–78 and 1978-79 squads, he would still coach the Razorbacks to successful seasons, never finishing lower than second in the Southwest Conference standings after his second season, while also producing highlights ranging from U.S. Reed's game-winning, last-second half court shot against defending champions Louisville in the second round of the 1981 NCAA tournament, ending back-to-back national runner-up Houston's thirty-nine game SWC winning streak, having a player drafted in the first round of the NBA draft three straight years from 1983 to 1985 (Darrell Walker, Alvin Robertson, and Joe Kleine), and the Razorbacks' first win over an AP #1 team against Michael Jordan and North Carolina in Pine Bluff, Arkansas on February 12, 1984.


title: Arkansas Razorbacks men's basketball

text: Sutton's eleven seasons remain the third longest tenure in Razorback basketball history. During these eleven seasons, Arkansas won or shared the Southwest Conference Championship four times. The Hogs finished ranked seven times, including four top-ten finishes and two top-five finishes. The Razorbacks were invited to the NCAA Tournament during each of the last nine seasons of Sutton's tenure. Sutton finished with a 260-75 (.776) overall record at Arkansas, including nine NCAA Tournament appearances, four Sweet Sixteen appearances, two Elite Eight appearances, and one Final Four berth.


title: Arkansas Razorbacks men's basketball

text: Tulsa coach and former Texas Western player Nolan Richardson replaced Sutton beginning with the 1985–86 season. After two years without a winning conference record, Arkansas finished tied for second in the Southwest Conference standings in Richardson's third season. The Razorbacks won the SWC regular season and tournament titles each of its last three seasons in the SWC (1989, 1990, and 1991). Arkansas joined the Southeastern Conference for the 1991–92 season and won the regular season conference championship in 1992 and 1994, also winning the SEC Western Division title in 1992, 1993, 1994, and 1995. The Razorbacks also won the 2000 SEC tournament. Arkansas made the NCAA Tournament thirteen times during Richardson's seventeen seasons, and made the Final Four during the 1990, 1994 and 1995 seasons. They won their first national championship in 1994 by beating Duke in the title game. The next season, they returned to the championship game and finished as runner-up, losing to UCLA. Richardson was fired in 2002 after making controversial public statements against the university and then-athletic director Frank Broyles. Assistant coach Mike Anderson coached the rest of the season, going 1-1. Richardson holds the school record for most wins by a head coach, with an overall record of 389-169 (.697). Coach Richardson led Arkansas to four NCAA Tournament Elite Eight appearances (1990, 1991, 1994 and 1995) and six NCAA Tournament Sweet Sixteen appearances (1990, 1991, 1993, 1994, 1995 and 1996). Between the 1989–90 and 1995–96 seasons, Arkansas won more games than any other school in the nation.


title: Arkansas Razorbacks men's basketball

text: Stan Heath coached the Hogs beginning with the 2002–03 season and remained in Fayetteville through the 2006–07 season. During Heath's five seasons, the Razorbacks did not enjoy the success that they achieved under Richardson. They never finished higher than third place in the Western Division of the Southeastern Conference. They were invited to the NCAA Tournament in Heath's final two seasons, although they were eliminated in the Round of 64 each trip. Heath's final record was 82-71 (.536).


title: Arkansas Razorbacks men's basketball

text: Dana Altman was hired as the head coach of the Arkansas Razorbacks on April 2, 2007. However, Altman had a change of heart, resigning the next day to return to Creighton, where he had coached since 1994.


title: Arkansas Razorbacks men's basketball

text: John Pelphrey was hired as the head coach of the Arkansas Razorbacks on Monday, April 9, 2007. Pelphrey was hired after Dana Altman accepted the job and resigned within a day. Arkansas went 23–12 in Pelphrey's first season, defeating Indiana by 14 points in the first round of the NCAA Tournament before being put away by overall #1 seed North Carolina in the second round. The Razorbacks had an SEC regular season record of 9–7. In Pelphrey's second year, the Razorbacks struggled in conference play after starting the season 12–1 in non-conference games with two notable wins over the nationally ranked Oklahoma Sooners (#4) and the Texas Longhorns (#7). Conference wins were few and far between giving the Razorbacks a final conference record of 2-14. On March 13, 2011 John Pelphrey was dismissed as the head coach of the Razorbacks after an 18–13 season in which the Hogs missed postseason play for the third consecutive season, despite an impressive incoming recruiting class. Pelphrey finished his career at Arkansas with a record of 69-59 (.539).


title: Arkansas Razorbacks men's basketball

text: On March 23, 2011, Mike Anderson signed a 7-year contract with Arkansas. Anderson previously coached the UAB Blazers and Missouri Tigers, and had already been an assistant coach at Arkansas under coach Nolan Richardson for 17 years. On March 26, 2011, Anderson was introduced in front of 5,000 fans in Bud Walton Arena. Anderson made three NCAA tournaments in his eight seasons, including a 27-win season in 2014-15 that resulted in a 5 seed in the tournament, the program's highest since 1999. The Razorbacks made another tournament two years later but lost to top-seeded North Carolina, the eventual national champion, in the second round. The following year saw them make the tournament for the final time in Anderson's tenure at Arkansas, but a loss to Butler ended the Hogs' season in the first round. Following an up-and-down 2018-19 campaign that culminated in an NIT berth, new athletic director Hunter Yurachek relieved Anderson of his duties on March 26 a little over a week after Arkansas lost to Indiana in the second round of the NIT. Anderson finished his career at Arkansas with a record of 170-103 (.623), including his 1-1 record as interim coach in 2002.


title: Arkansas Razorbacks men's basketball

text: On April 7, 2019, Yurachek announced the hiring of Eric Musselman, then the four-year head coach at Nevada, who had previous experience as head coach in the NBA with the Golden State Warriors (where he was runner up for the NBA Coach of the Year Award) and the Sacramento Kings, as well as college assistant coaching stops at Arizona State and LSU. Musselman's first Arkansas team finished the season with a record of 20–12, with Musselman becoming only the second coach in school history to finish his first season with at least 20 wins and the first since John Pelphrey in 2007-08. Musselman was also only the second head coach at Arkansas to finish his debut season with a winning percentage above 61% since Gene Lambert during the 1942-43 season. After Arkansas beat Vanderbilt in the first round of the 2020 SEC men's basketball tournament, the SEC Tournament, as well as the entire NCAA tournament, was cancelled due to the COVID-19 pandemic, making this the final Southeastern Conference men's basketball game of the 2019–2020 season. Arkansas junior guard Mason Jones was named the SEC Co-Player of the Year by the AP.


title: Arkansas Razorbacks men's basketball

text: In only his second year, Musselman led the Razorbacks to the Elite Eight of the NCAA tournament, losing to eventual champion Baylor. This was Arkansas's deepest postseason run since their 1995 title game appearance. The team finished the 2021 season with a record of 25-7 (.781), and a conference record of 13-4 (.765). Freshman guard Moses Moody was named the SEC Freshman of the Year, and became the first "one-and-done" player in program history when he was drafted in the first round (14th overall) of the 2021 NBA draft by the Golden State Warriors. Arkansas advanced further in the NCAA Tournament than any other Southeastern Conference team, and finished with an overall ranking of #6 in the USA Today Coaches Poll. In his third year, Musselman led the Razorbacks to the Elite Eight again, losing to the Duke Blue Devils. Arkansas finished the 2022 season with a record of 28-9 (.757), and a conference record of 13-5 (.722). Again, Arkansas advanced further in the NCAA tournament than any other Southeastern Conference team, and finished with a ranking of #8 in the Coaches Poll, the highest in the SEC. Arkansas also won the early season Hall of Fame Classic tournament championship.


title: Arkansas Razorbacks men's basketball

text: The Razorbacks have appeared in the NCAA tournament 34 times. Their combined record is 48–34. They were National Champions in 1994.


title: Arkansas Razorbacks men's basketball

text: The Razorbacks have appeared in the National Invitation Tournament (NIT) four times. Their combined record is 6–5.


title: Arkansas Razorbacks men's basketball

text: The University of Arkansas athletic department has seen fit to retire only two jersey numbers in honor of former outstanding players:


title: Arkansas Razorbacks men's basketball

text: Moncrief (6'4" 190 lbs.) led the Razorbacks to the 1978 Final Four and is, so far, Arkansas' only Consensus 1st team All-American player (1979). Moncrief also led the Hogs to three straight Southwest Conference regular season titles from 1977 to 1979, as well as the 1977 and 1979 SWC Tournament championships. He was a three-time All-SWC performer, and was also the SWC Player of the Year in 1979. Moncrief finished his career as the school's all-time leading scorer, until his record was broken in 1992.


title: Arkansas Razorbacks men's basketball

text: Williamson (6'7" 245 lbs.) led Arkansas to the 1994 National Championship and a runner-up finish in the 1995 Final Four. Corliss also lead Arkansas to three straight SEC West Division championships from 1993 to 1995, plus the 1994 SEC regular season title. Williamson was a two-time All-SEC performer, was the 1994 and 1995 SEC Player of the Year, and was named Consensus 2nd team All-American in both seasons.


title: Barefoot Contessa

text: Barefoot Contessa is an American cooking show that premiered November 30, 2002, on Food Network, and is currently the oldest show on the network's daytime schedule. Hosted by celebrity chef Ina Garten, each episode features Garten assembling dishes of varying complexity. Though her specialty is French cuisine, she occasionally prepares American, Asian, British or Italian foods. Her show also gives tips on decorating and entertaining.


title: Barefoot Contessa

text: The show's title, which comes from the Italian word for countess, was originally used by Garten in her best-selling cookbook, "The Barefoot Contessa Cookbook" (1999). The cookbook was in turn named after Garten's specialty food store, which she bought already named in 1978. The store, which is no longer in operation, opened in 1975 and was named after the 1954 film of the same name. Garten sold the store to the employees prior to its closure.


title: Barefoot Contessa

text: Garten's show features the preparation of a simple multi-course meal, usually for her close friends, colleagues or husband, Jeffrey. Her recipes often include fresh herbs, which she 'hand-harvests' from her backyard garden. Table settings include both simple and comfort dishes, and are often accompanied by her 'own' flowers or those brought in by Michael Grim, a friend and local florist who is frequently on the show.


title: Barefoot Contessa

text: Garten deconstructs simple French recipes like boeuf bourguignon or Baba au Rhum cake. She focuses on preparing foods efficiently, allowing more time to eat and spend with guests.


title: Barefoot Contessa

text: The show is mainly recorded in Garten's home in East Hampton, New York and features fast-moving camera shots and closeups (e.g., fully ripened fruits, eggs falling from the shells, or bubbling pots of homemade stock).


title: Barefoot Contessa

text: "Barefoot Contessa" airs in Australia on Food Network (Australia) and the Lifestyle Food Channel on the Foxtel platform, in the UK on the Food Network UK, in Poland on the channel Kuchnia.tv, and in the Middle East on the Fatafeat Channel.


title: Barefoot Contessa

text: The show was nominated for a Daytime Emmy Award in 2005 in the category Best Service Show; in the year 2009, it was once again nominated for a Daytime Emmy Award in the categories of Outstanding Culinary Program and Best Culinary Host; Garten won her first Emmy in the latter category.


title: Kick scooter

text: A kick scooter (also referred to as a push-scooter or scooter) is a human-powered street vehicle with a handlebar, deck, and wheels propelled by a rider pushing off the ground with their leg. Today the most common scooters are made of aluminum, titanium, and steel. Some kick scooters made for younger children have 3 to 4 wheels (but most common ones have 2 wheels) and are made of plastic and do not fold. High-performance kickbikes are also made.


title: Kick scooter

text: Motorized scooters, historically powered by internal combustion engines, and more recently electric motors, are self-propelled kick scooters capable of speeds sometimes exceeding .


title: Kick scooter

text: Kick scooters have been handmade in industrial urban areas in Europe and the United States since the 1920s or earlier, often as play items made for children to roam the streets. One common home-made version is made by attaching roller skate wheelsets to a board with some kind of handle, usually an old box. To turn, riders can lean or use a second board connected by a crude pivot. The construction was all wood, with 3–4 inch (75–100 mm) wheels containing steel ball bearings. An additional advantage of this construction was a loud noise, like from a "real" vehicle. An alternative construction consists of one steel clamp on a roller skate divided into front and rear parts and attached to a wood beam.


title: Kick scooter

text: The German "Bundesarchiv" for "roller" details that both homemade and manufactured children's scooters were used and even raced in Paris, Berlin and Leipzig in 1930, 1948 and 1951. They are similar to later designs.


title: Kick scooter

text: The short movie "A Trip Through the Streets of Amsterdam" from 1922 shows several children on scooters.


title: Kick scooter

text: In 1974, the Honda company made the Kick 'n Go(), a scooter driven by a pedal on a lever. While it seemed to be as much effort to "kick" as a regular scooter, the novelty of it caught on and it became popular nevertheless. And the use of kick scooters for commuting can also solve many problems.


title: Kick scooter

text: Before bicycles became popular among children, steel scooters with two small bicycle wheels were more common. Around 1987, many BMX manufacturers produced BMX-like scooters, such as Scoot. Those manufacturers discontinued their scooters, but some scooter manufacturers were established in later years and remain in business. These scooters are still used in dense urban areas for utility purposes, since they are faster than a folding scooter and more convenient than a utility bicycle. Some are made for off-road use and are described as mountain scooters. In addition to commuting, sports competition, and off-road use, large wheel scooters are a favorite for dog scootering, an activity in which single or team dogs, such as huskies, pull a scooter and its rider in the same way that a sled is pulled across snow. Some Amish are not allowed to ride bicycles, so they ride scooters instead. Today, variations on the kicksled with scooter design features are also available, such as the Kickspark.


title: Kick scooter

text: The development of the kickbike in Finland in 1994 changed the way scooters are viewed. The Kickbike has a large standard size bicycle front wheel and a much smaller rear wheel, which allows for a much faster ride. The Footbike Eurocup has been held since 2001.


title: Kick scooter

text: In 1990, a foldable aluminium scooter with inline skates wheels was created by Wim Ouboter of Micro Mobility Systems in Switzerland. The scooter was sold as "Micro Skate Scooter," "Razor," and "JDBUG/JDRAZOR MS-130A". The Razor was introduced to Japan in 1999, with many early adopters being young Japanese who used it for portable transport. It later became a worldwide fad and these small scooters also became popular toys for children. TurboAnt's folding scooters are known for their detachable battery designs. Its electric scooters have a range between 18 to 30 miles.


title: Kick scooter

text: Kick scooters used for extreme sport stunts and tricks and made to withstand stresses and frustrations, are called pro scooters. Numerous brands specialize in stunt scooters and accessories including lightweight and high strength parts, helmets, pads, ramps, grind wax, griptape and clothing.


title: Kick scooter

text: In 1999, Micro Mobility Systems and K2 Sports produced a reverse-three-wheeled scooter called "Kickboard". Micro also produced the Kickboard-like children's scooters "Mini Micro" and "Maxi Micro". The reverse design inherently provides greater stability than the standard: a standing person will tend to stand at the front of a scooter rather than at the back. However, the steering geometry is inherently weak and requires design adaptation to improve its response. An example is the Mini Micro, which uses a spring-loaded system to translate lateral force on the handbars (child leaning) into turning motion on the wheels, referred by its makers as "lean and steer".


title: Kick scooter

text: Around 2000, a Swiss company produced a four-wheeled scooter called "Wetzer Stickboard". The Wetzer Stickboard was a narrow skateboard with a foldable pole on the nose.


title: Kick scooter

text: In 2006, a company called Nextsport started producing a line of four-wheeled scooters, known as Fuzions. The scooters are typically bigger and heavier than Razor and Micro models. The early Fuzion models come with large, wide wheels, and an oversized deck for carving stability. Later scooters, such as the Fuzion NX, included smaller, harder wheels, and 360 degree handlebar spinning capabilities, unlike its predecessors.


title: Kick scooter

text: Electric models surpassed gas-powered scooters about 2000. They are often manufactured for fleet rentals, such as Lime e-scooters. Kick scooter has also made a certain contribution to environmental protection. Because they do not emit greenhouse gases, reduce traffic congestion and reduce the need for public transportation. These electric kick scooters have huge potential to be one of the most environmentally friendly means of transportation.


title: Kara Walker

text: Kara Elizabeth Walker (born November 26, 1969) is an American contemporary painter, silhouettist, print-maker, installation artist, filmmaker, and professor who explores race, gender, sexuality, violence, and identity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes. Walker was awarded a MacArthur fellowship in 1997, at the age of 28, becoming one of the youngest ever recipients of the award. She has been the Tepper Chair in Visual Arts at the Mason Gross School of the Arts, Rutgers University since 2015.


title: Kara Walker

text: Walker was born in 1969 in Stockton, California. Her father, Larry Walker, was a painter and professor. Her mother Gwendolyn was an administrative assistant. A 2007 review in the New York Times described her early life as calm, noting that "nothing about [Walker's] very early life would seem to have predestined her for this task. Born in 1969, she grew up in an integrated California suburb, part of a generation for whom the uplift and fervor of the civil rights movement and the want-it-now anger of Black Power were yesterday's news."


title: Kara Walker

text: When Walker was 13, her father accepted a position at Georgia State University. They settled in the city of Stone Mountain. The move was a culture shock for the young artist. In sharp contrast with the multi-cultural environment of coastal California, Stone Mountain still held Ku Klux Klan rallies. At her new high school, Walker recalls, "I was called a 'nigger,' told I looked like a monkey, accused (I didn't know it was an accusation) of being a 'Yankee.'"


title: Kara Walker

text: Walker received her BFA from the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994. Walker found herself uncomfortable and afraid to address race within her art during her early college years, worrying it would be received as "typical" or "obvious"; however, she began introducing race into her art while attending Rhode Island School of Design for her Master's.


title: Kara Walker

text: Walker recalls reflecting on her father's influence: "One of my earliest memories involves sitting on my dad's lap in his studio in the garage of our house and watching him draw. I remember thinking: 'I want to do that, too,' and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad."


title: Kara Walker

text: Walker is best known for her panoramic friezes of cut-paper silhouettes, usually black figures against a white wall, which address the history of American slavery and racism through violent and unsettling imagery. She has also produced works in gouache, watercolor, video animation, shadow puppets, "magic-lantern" projections, as well as large-scale sculptural installations like her ambitious public exhibition with Creative Time called "A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant" (2014). The black and white silhouettes confront the realities of history while also using the stereotypes from the era of slavery to relate to persistent modern-day concerns. Her exploration of American racism can be applied to other countries and cultures regarding relations between race and gender, and reminds us of the power of art to defy conventions.


title: Kara Walker

text: She first came to the art world's attention in 1994 with her mural "Gone, An Historical Romance of a Civil War as It Occurred Between the Dusky Thighs of One Young Negress and Her Heart." This cut-paper silhouette mural, presenting an Antebellum south filled with sex and slavery, was an instant hit. At the age of 28, she became the second youngest recipient of the John D. and Catherine T. MacArthur Foundation's "genius" grant, second only to renowned Mayanist David Stuart. In 2007, the Walker Art Center exhibition "Kara Walker: My Complement, My Oppressor, My Enemy, My Love" was the artist's first full-scale US museum survey.


title: Kara Walker

text: Her influences include Andy Warhol, whose art Walker says she admired as a child, Adrian Piper, and Robert Colescott.


title: Kara Walker

text: Walker's silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African-American women in particular. Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South. The silhouette was typically a genteel tradition in American art history; it was often used for family portraits and book illustrations. Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality.


title: Kara Walker

text: Walker incorporates ominous, sharp fragments of the South's landscape, such as Spanish moss trees and a giant moon obscured by dramatic clouds. These images surround the viewer and create a circular, claustrophobic space. This circular format paid homage to another art form, the 360-degree historical painting known as the cyclorama.


title: Kara Walker

text: Some of her images are grotesque; for example, in "The Battle of Atlanta," a white man, presumably a Southern soldier, is raping a black girl while her brother watches in shock; a white child is about to insert his sword into a nearly-lynched black woman's vagina; and a male black slave rains tears all over an adolescent white boy. The use of physical stereotypes such as flatter profiles, bigger lips, straighter nose, and longer hair helps the viewer immediately distinguish the black subjects from the white subjects. Walker depicts the inequalities and mistreatment of African Americans by their white counterparts. Viewers at the Studio Museum in Harlem looked sickly, shocked, and appalled upon seeing her exhibition. Thelma Golden, the museum's chief curator, said that "throughout her career, Walker has challenged and changed the way we look at and understand American history. Her work is provocative, emotionally wrenching, yet overwhelmingly beautiful and intellectually compelling." Walker has said that her work addresses the way Americans look at racism with a "soft focus," avoiding "the confluence of disgust and desire and voluptuousness that are all wrapped up in [...] racism."


title: Kara Walker

text: In an interview with New York's Museum of Modern Art, Walker stated: "I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things– genre paintings, historical paintings– the sort of derivatives we get in contemporary society."


title: Kara Walker

text: In her piece created in 2000, "Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)", the silhouetted characters are against a background of colored light projections. This gives the piece a transparent quality, evocative of the production cels from the animated films of the 1930s. It also references the plantation story " Gone With the Wind" and the Technicolor film based on it. Also, the light projectors were set up so that the shadows of the viewers were cast on the wall, making them characters and encouraging them to assess the work's tough themes. In 2005, she created the exhibit "8 Possible Beginnings" or: "The Creation of African-America, a Moving Picture," which introduced moving images and sound. This helped further immerse the viewers into her dark worlds. In this exhibit, the silhouettes are used as shadow puppets. Additionally, she uses the voice of herself and her daughter to suggest how the heritage of early American slavery has affected her image as an artist and woman of color.


title: Kara Walker

text: In response to Hurricane Katrina, Walker created "After the Deluge" since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of "black corporeality." She likened these casualties to enslaved Africans piled onto ships for the Middle Passage, the Atlantic crossing to America.


title: Kara Walker

text: Walker took part in the 2009 inaugural exhibition at Scaramouche Gallery in New York City with a group exhibit called "The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You." Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, "Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker," opened at Sikkema Jenkins on the same day.


title: Kara Walker

text: Walker created "Katastwóf Karavan" for the 2018 art festival "Prospect.4: The Lotus in Spite of the Swamp" in New Orleans. This sculpture was an old-timey wagon, with Walker's signature silhouettes portraying slaveholders and enslaved people making up the sides and a custom-built steam-powered calliope playing songs off "black protest and celebration."


title: Kara Walker

text: Although Walker is known for her serious exhibitions with an overall deep meaning behind her work, she admits relying on "humor and viewer interaction." Walker has stated, "I didn't want a completely passive viewer" and "I wanted to make work where the viewer wouldn't walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful."


title: Kara Walker

text: In 2002, Walker created a site-specific installation, "An Abbreviated Emancipation (from a larger work: The Emancipation Approximation)," which was commissioned by The University of Michigan Museum of Art, Ann Arbor. The work represented motifs and themes of race relations and their roots in the system of slavery before the Civil War.


title: Kara Walker

text: In 2005, The New School unveiled Walker's first public art installation, a site-specific mural titled "Event Horizon," and placed along a grand stairway leading from the main lobby to a major public program space.


title: Kara Walker

text: In May 2014, Walker debuted her first sculpture, a monumental piece and public artwork entitled "A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant." The massive work was installed in the derelict Domino Sugar Refinery in Brooklyn and commissioned by Creative Time. The installation consisted of a female sphinx figure, measuring approximately 75 feet long by 35 feet high, preceded by an arrangement of fifteen life-size young male figures, dubbed attendants. The sphinx, which bore the head and features of the Mammy archetype, was made by covering a core of machine-cut blocks of polystyrene with 80 tons of white sugar donated by Domino Foods. The fifteen male attendants were modeled after racist figurines that Walker purchased online. Five were made from solid sugar, and the other ten were resin sculptures coated in molasses. The fifteen attendants stood 60 inches tall and weighed 300-500 pounds each. The factory and the artwork were demolished after the exhibition closed in July 2014, as had been previously planned.


title: Kara Walker

text: Walker has hinted that the whiteness of the sugar references its "aesthetic, clean, and pure quality." The slave trade is highlighted in the sculpture as well. Remarking on the overwhelmingly white audience at the exhibition in tandem with the political and historical content of the installation, art critic Jamilah King argued that "the exhibit itself is a striking and incredibly well-executed commentary on the historical relationship between race and capital, namely the money made off the backs of black slaves on sugar plantations throughout the Western Hemisphere. So the presence of so many white people -- and my presence as a black woman who's a descendant of slaves -- seemed to also be part of the show." The work attracted over 130,000 visitors in its eight-weekend run. In his commentary on the sculpture, art historian Richard J. Powell wrote, "No matter how noble or celebratory in tone Walker's title for this work seemed, in this post-modern moment of moral skepticism and collective distrust, a work of art in a public arena—especially a visually perplexing nude—would be subjected to not just serious criticism, but Internet trolling and mockery."


title: Kara Walker

text: In 2016, Walker revealed "Slaughter of the Innocents (They Might be Guilty of Something)." In the painting, Walker depicts an African American woman slicing a baby with a small scythe. The influence for this detail was that of Margaret Garner, an enslaved person who killed her daughter to prevent her child from returning to slavery.


title: Kara Walker

text: In 2019, Walker created "Fons Americanus," the fifth annual Hyundai Commission at Tate Modern 's Turbine Hall. The fountain, measuring up to , contains allegorical motifs referencing the histories of Africa, America, and Europe, particularly pertaining to the Atlantic slave trade. In her review of Walker's "Fons Americanus" for Artnet News, Naomi Rea noted that "the piece is so loaded with art-historical and cultural references that you could teach an entire college history course without leaving Turbine Hall." She also observed that – owing to the fountain's running water – the great work of art could be both seen and heard in the Turbine Hall. The artwork is, at the same time, a sort of public monument inspired in part by the Victoria Memorial in front of Buckingham Palace. In 2019, acclaimed writer Zadie Smith observed something about public monuments that Walker interrogates in "Fons Americanus": "Monuments are complacent; they put a seal upon the past, they release us from dread. For Walker, dread is an engine: it prompts us to remember and rightly fear the ruins we shouldn't want to return to and don't wish to re-create—if we're wise."


title: Kara Walker

text: For the season 1998/1999 in the Vienna State Opera, Walker designed a large-scale picture (176 m) as part of the exhibition series "Safety Curtain," conceived by museum in progress. In 2009, Walker curated volume 11 of Merge Records', "Score!". Invited by fellow artist Mark Bradford in 2010 to develop a set of free lesson plans for K-12 teachers at the J. Paul Getty Museum, Walker offered a lesson that had students collaborating on a story by exchanging text messages.


title: Kara Walker

text: In 2013, Walker produced 16 lithographs for a limited edition, fine art printing of the libretto "Porgy & Bess", by DuBose Heyward and Ira Gershwin, published by the Arion Press.


title: Kara Walker

text: The Detroit Institute of Art removed her "The Means to an End: A Shadow Drama in Five Acts" (1995) from a 1999 exhibition "Where the Girls Are: Prints by Women from the DIA's Collection" when African-American artists and collectors protested its presence. The five-panel silhouette of an antebellum plantation scene was in the permanent collection and was to be re-exhibited at some point according to a DIA spokesperson.


title: Kara Walker

text: A Walker piece entitled "The moral arc of history ideally bends towards justice but just as soon as not curves back around toward barbarism, sadism, and unrestrained chaos" caused controversy among employees at Newark Public Library who questioned its appropriateness for the reading room where it was hung. The artwork included depictions of the Ku Klux Klan accompanied by a burning cross, a naked black woman fellating a white man, and Barack Obama. The piece was covered but not removed in December 2012. After discussion among employees and trustees the work was again uncovered. In March 2013 Walker visited the New Jersey Newark Public Library to discuss the work and the controversy. Walker discussed the content of the work, including racism, identity, and her use of "heroic" figures such as Obama. Walker asked, "[d]o these archetypes collapse history? They're supposed to expand the conversation, but they often collapse it." Walker described the overwhelming subject matter of her works as a "too-muchness".


title: Kara Walker

text: In the 1999 PBS documentary "I'll Make Me a World," African-American artist Betye Saar criticized Walker's work for its "revolting and negative" depiction of black stereotypes and enslaved people. Saar accused the art of pandering to the enjoyment of "the white art establishment." In 1997 Saar emailed 200 fellow artists and politicians to voice her concerns about Walker's use of racist and sexist imagery and its positive reception in the art world. This attention to Walker's practice led to a 1998 symposium at Harvard University, "Change a Joke and Slip the Yoke: A Harvard University Conference on Racist Imagery", which discussed her work.


title: Kara Walker

text: Walker's first museum survey, in 2007, was organized by Philippe Vergne for the Walker Art Center in Minneapolis and traveled to the Whitney Museum in New York, the Hammer Museum in Los Angeles, and the ARC/Musee d'Art Moderne de la ville de Paris.


title: Kara Walker

text: Among the public collections holding work by Walker are the Minneapolis Institute of Art and the Weisman Art Museum (Minneapolis, Minnesota); the Tate Collection, London; the Museum of Contemporary Art, Los Angeles, the Madison Museum of Contemporary Art (Madison, WI), the Menil Collection, Houston; and the Muscarelle Museum of Art, Williamsburg, Virginia. Early large-scale cut-paper works have been collected by, among others, Jeffrey Deitch and Dakis Joannou.


title: Kara Walker

text: In 1997, Walker, who was 28 at the time, was one of the youngest people to receive a MacArthur fellowship. There was a lot of criticism because of her fame at such a young age and the fact that her art was most popular within the white community. In 2007, Walker was listed among "Time" magazine's 100 Most Influential People in The World, Artists and Entertainers, in a citation written by fellow artist Barbara Kruger. In 2012, she was elected to the American Academy of Arts and Letters. She was elected to the American Philosophical Society in 2018.


title: Kara Walker

text: Walker has received the Deutsche Bank Prize and the Larry Aldrich Award. She was the United States representative for the 25th International São Paulo Biennial in Brazil (2002). She is the 2005 Larry Aldrich Award recipient. In 2016 completed a residency at the American Academy in Rome.


title: Kara Walker

text: Walker has been featured on PBS. Her work appears on the cover of musician Arto Lindsay 's recording, "Salt" (2004). In addition, she co-wrote the song "Suicide Demo for Kara Walker" on the Destroyer album "Kaputt."


title: Kara Walker

text: In 2017, a large scale mural portrait of Kara Walker done by artist Chuck Close was installed in a New York City subway station (Q line, 86th Street), part of a MTA public arts program.


title: Kara Walker

text: Early in her career, Walker lived in Providence, Rhode Island with her husband, German-born jewelry professor Klaus Bürgel, whom she married in 1996. In 1997, she gave birth to a daughter. The couple separated, and their divorce was finalized in 2010. As of 2017, Walker is in a relationship with photographer and filmmaker Ari Marcopoulos.


title: Kara Walker

text: Walker moved to Fort Greene, Brooklyn in 2003 and has been a professor of visual arts in the MFA program at Columbia University since then. She maintained a studio in the Garment District, Manhattan from 2010 until 2017. In May 2017, she moved her art practice to a studio in Industry City. She also owns a country home in rural Massachusetts.


title: Kara Walker

text: In addition to her own practice, Walker served on the board of directors of the Foundation for Contemporary Arts (FCA) between 2011 and 2016.


title: United Microelectronics Corporation

text: United Microelectronics Corporation (UMC; ) is a Taiwanese company based in Hsinchu, Taiwan. It was founded as Taiwan's first semiconductor company in 1980 as a spin-off of the government-sponsored Industrial Technology Research Institute (ITRI).


title: United Microelectronics Corporation

text: UMC is best known for its semiconductor foundry business, manufacturing integrated circuits wafers for fabless semiconductor companies. In this role, UMC is ranked behind competitors TSMC. It has four 300 mm fabs, one in Taiwan, one in Singapore, one in China, and one in Japan.


title: United Microelectronics Corporation

text: UMC is listed on the Taiwan Stock Exchange as 2303. UMC has 12 manufacturing facilities worldwide, employing approximately 19,500 people.


title: United Microelectronics Corporation

text: The United States Department of Justice indicted UMC and Chinese firm Fujian Jinhua in 2018, alleging that they conspired to steal intellectual property from U.S. company Micron. In October 2020, UMC and the U.S. Department of Justice reached a plea agreement, with UMC pleading guilty to one count of receiving and possessing a stolen trade secret and agreeing to pay a fine of $60 million. UMC’s plea and Plea Agreement resolved the 2018 trade secrets case brought against UMC by the U.S. Department of Justice. As part of the Plea Agreement, DOJ agreed to dismiss the original indictment against UMC, including allegations of conspiracy to commit economic espionage and conspiracy to steal multiple trade secrets from Micron Technology, Inc. (“Micron”), patent-related allegations, and alleged damages and penalties of $400 million USD to $8.75 billion. The one trade secret at issue in the guilty plea and Plea Agreement related to older technology that had been in mass production worldwide for several years. DOJ also dismissed a related civil case against UMC. Aside from the fine amount, UMC has no further financial obligations to DOJ. The Plea Agreement also provides that UMC will cooperate with DOJ and will be subject to a three-year term of non-supervised probation.


title: The Coral

text: The Coral are an English rock band, formed in 1996 in Hoylake on the Wirral Peninsula, Merseyside. The band emerged during the early 2000s. Their 2002 debut album "The Coral", from which came the single "Dreaming of You", was nominated for the Mercury Music Prize and listed as the fourth best album of the year by "NME". Their second album, "Magic and Medicine" (2003), produced four UK Top 20 singles, including "Pass It On". In 2008, after guitarist Bill Ryder-Jones left the band, they continued as a five-piece.


title: The Coral

text: In 1996, school-friends Ian Skelly and Paul Duffy began jamming together in the basement of Flat Foot Sams pub in Hoylake. Over the following months they were joined by Bill Ryder-Jones on lead guitar, Ian's older brother James Skelly on vocals and main songwriting duties, and then Lee Southall on rhythm guitar. The band were known briefly as Hive before choosing the name "The Coral", and the line-up was completed with the addition of Nick Power, who joined as keyboard player in 1998. All six original members were attending Hilbre High School when the band formed. Power attended Calday Grange Grammar


title: The Coral

text: According to Deltasonic head Alan Wills, he first encountered the band from a gig poster they had made of their 'granddads head exploding', and decided to go and see them live. At that point the band had not released any records. When Wills discovered the band he had already started to think about starting a label but had yet to do so, and the Coral gave Wills the impetus to start Deltasonic. Wills told HitQuarters that: "It was always the aim to release them through Deltasonic, and it was always their aim to be on Deltasonic ... Most people wouldn’t have understood the Coral at that point." Wills also assumed responsibility for managing the band, albeit reluctantly as he was unable to find anyone else to take on the role.


title: The Coral

text: Hailed as the first English band of the "guitar group revival", the band's first release was the single "Shadows Fall" (2001), which was followed by two EPs "The Oldest Path EP" (2001) and "Skeleton Key EP" (2002). Their eponymous debut album "The Coral", released in 2002, reached number five on the UK Albums Chart and was nominated for the Mercury Prize the day after its release. A successful UK tour and festival slots followed along with the singles "Goodbye" reaching number twenty-one in the UK Singles Chart and "Dreaming of You" reaching number thirteen. The single "Dreaming of You" was included in the United States sitcom "Scrubs" episode My Monster for broadcasting and DVD, but eventually taken out again for streaming. The Coral also performed "Dreaming of You" live on Late Night with Conan O'Brien.


title: The Coral

text: After a hectic year they recorded "Magic and Medicine" in 2003, which reached number one on the UK Albums Chart and garnered critical praise. The album was largely made up of dreamlike acoustic ballads rather than the aggressive psychedelia of their debut. They followed the release with UK, European, American and Japanese tours and a one-off festival Midsummer Nights Scream, held in a big top on the New Brighton promenade. The support for this event included a line up of up-and-coming bands, such as The Libertines, The Zutons and The Thrills. Singles from the album, "Don't Think You're the First", "Pass It On", "Secret Kiss" and "Bill McCai" reached number 10, 5, 25, and 23 respectively on the UK Singles Chart.


title: The Coral

text: Next, the Coral quickly recorded the mini-album "Nightfreak and the Sons of Becker". Released in early 2004 with little promotion and no accompanying singles, it was also included as a bonus disc with US versions of "Magic and Medicine". "Nightfreak and the Sons of Becker" marked another change in direction for the band, showcasing a darker, funkier and more lo-fi sound.


title: The Coral

text: In 2004 they began recording "The Invisible Invasion", with Portishead's Adrian Utley and Geoff Barrow as producers. On its 2005 release, The Invisible Invasion entered the UK Album Chart at number 3. A second CD containing live versions of songs from this and previous albums was included with early copies. The Coral followed this with UK, European, American and Japanese tours, also releasing "In the Morning" which reached number six and "Something Inside of Me" which reached number forty-one on the UK Singles Chart.


title: The Coral

text: In June 2005 guitarist Bill Ryder-Jones took a break from the band and it was announced that he would not tour again, but might continue to help with future recordings. He was replaced by David McDonnell (later of The Sand Band) for The Invisible Invasion tour. In late 2005 the band had written an album without Bill entitled "The Curse of Love", at the beginning of 2006, however, Ryder-Jones was persuaded to rejoin as a full-time band member and the band shelved those songs in order to begin work on another album, "Roots & Echoes".


title: The Coral

text: The Coral toured with Arctic Monkeys during their 2007 summer festival gigs, releasing the single "Who's Gonna Find Me" on 30 July 2007 followed by the album "Roots & Echoes" on 6 August 2007. The band enlisted the help of Matt Potter for percussion and jazz flute on the album. In contrast to their frenetic early material, this album was a much more laid-back affair, and displayed a new-found maturity to the band's songwriting. Tracks such as "Rebecca You" and "Music at Night" were embellished with string arrangements written by Ryder-Jones. They opened the BBC Electric Proms on 24 October 2007 with "Who's Gonna Find Me" and were joined on stage by celebrity friend Noel Gallagher, who played lead guitar on their track "In the Rain".


title: The Coral

text: In January 2008 Ryder-Jones left the Coral, apparently due to experiencing panic attacks before playing live, and finding that his desire to be part of a commercially successful band had disappeared. He has since received great acclaim with an orchestral solo album. In a March 2010 interview, Bill Ryder-Jones said of James Skelly's songwriting: "James was such a brilliant songwriter, still is."


title: The Coral

text: Drawing a line under the first chapter of their career, the Coral released a three-LP and two-CD compilation album "Singles Collection" on 15 September 2008, featuring all but two of their singles to date. A new single, "Being Somebody Else" was released on 8 September 2008. The album also contained a second CD entitled "Mysteries & Rarities" which contained 19 previously unreleased songs, demos, outtakes and live recordings of earlier songs.


title: The Coral

text: The Coral released their sixth album "Butterfly House" on 12 July 2010. The album was produced by John Leckie, of The Stone Roses and Radiohead fame, and was recorded at RAK studios in London as well as Rockfield in South Wales.


title: The Coral

text: Four singles were released from the album, "1000 Years", "More than a Lover","Walking in the Winter" and "Two Faces". The new songs had been crafted over a two-year span during which the band fine-honed and road-tested the material. The deluxe version of this album came with a bonus CD of five additional songs. Critical reception was largely positive. Record Collector Magazine was notably praiseworthy: "Butterfly House… continues to set the benchmark high. A thing of true wonderment, it’s shimmering, beatific multi-coloured coats of guitars and vocal harmonies – think The Everly Brothers, Byrds, Crosby, Stills & Nash – dress songs that primarily concern themselves with the demystification process… this is a genuine contender for 2010 album of the year."


title: The Coral

text: Six months after the release of "Butterfly House", the Coral released "Butterfly House Acoustic", a limited edition acoustic re-recording of the entire album which they completed in a single day, after positive reviews of their acoustic live performances.


title: The Coral

text: In February 2011, Butterfly House was named UK Album of the Year 2010 at the Music Producers Guild Awards. Robert Plant a fellow MPG nominee for his album with The Band of Joy, carefully scheduled his rehearsal on BBC2's Later With Jools in order to make it to the Coral's performance at the Royal Albert Hall on 15 November 2010.


title: The Coral

text: In a March 2012 interview, bassist Paul Duffy reported that a new album was in progress at Peter Gabriel's Real World Studios in Bristol, stating that the sound was a lot heavier: "It’s very layered, it's like you have one thing and you just keep adding things on top, and it just sounds big cause we've gone in as a six piece." In spring 2012 the band announced an indefinite hiatus in order to concentrate on individual projects. Their half-finished seventh album was shelved.


title: The Coral

text: On 24 August 2014, Geoff Barrow announced when standing in for Stuart Maconie on the BBC Radio 6 Music Freak Zone show that the Coral were to release "The Curse of Love" in September 2014. The album was recorded around the time of "The Invisible Invasion", an album produced by the Portishead and Beak man, but was only recently mastered for release on James Skelly's Skeleton Key label. "Wrapped in Blue" is the first cut from the album, which Barrow played on the show.


title: The Coral

text: On 23 November 2015, the band announced their 2016 return after five-year hiatus. The new studio album, "Distance Inbetween" was released on 4 March 2016, accompanied by UK and European tours in Spring 2016. Guitarist Paul Molloy joined the band during the recording of the album, replacing Lee Southall who had chosen to take a break from the band in order to focus on his personal life and solo project. In late 2016, the band was joined by Jack Prince as tour percussionist.


title: The Coral

text: In April 2018, the band announced their ninth studio album, "Move through the Dawn", which was then released on 10 August 2018. It was recorded at Liverpool's Parr Street Studios and was produced by the band and Rich Turvey.


title: The Coral

text: On 28 January 2021, The Coral debuted a new single, "Faceless Angel", from their fairground-inspired double album "Coral Island," which was released on 30 April.


title: The Coral

text: Despite the "guitar group revival" tag, they had little in common with their peers. Their music was a hybrid of psychedelia, dub reggae, Merseybeat and country, and their lyrics betrayed an obsession with the sea.


title: The Coral

text: The band's music is a mixture of 1960s-style psychedelia and folk-rock with old-fashioned country and modern indie rock influences.


title: The Coral

text: Drummer Ian Skelly released a solo album, "Cut from a Star", on 10 December 2012. He subsequently toured with a 7-piece backing band, The Serpent Power, which included Coral members James Skelly, Paul Duffy and Nick Power. In July 2013 the album was re-released as a deluxe edition double-CD. Following this Ian began working with Paul Molloy under the name Serpent Power, recording an eponymous album released on Skeleton Key Records in May 2015.


title: The Coral

text: Lead singer James Skelly released an album entitled "Love Undercover" on 3 June 2013 with The Intenders, a band comprising Coral members Ian Skelly, Paul Duffy and Nick Power, as well as members of The Sundowners and Tramp Attack. Tracks such as "Do It Again" unveiled a less abstract dimension to the artist's songwriting style and highlighted the earthy power of Skelly's distinctive vocals. The band toured the UK in June 2013.


title: The Coral

text: Guitarist Lee Southall recorded an album with the singer Molly Jones titled "Goodbye to the River" that was due for release in 2013 under the name Northern Sky, but the album remains unreleased. In response to fans noting his absence after the Coral announced their new album and tour in November 2015, Southall clarified that he was not involved in the album and tour because he was busy working on a solo project, stating that "it's where my focus has to be right now." Ian Skelly noted that Southall's recent fatherhood also influenced his decision to take a break from the band, and that he wanted to return once he was done with his solo record.


title: The Coral

text: Bassist Paul Duffy is working on a project in collaboration with Eva Petersen, to soundtrack the animation "Lunar Lament of a Haunted Heart" by John Davide. He has also provided the soundtrack for a short film by Jade Mortimer, titled "Risen".


title: The Coral

text: Keyboard player Nick Power has published "Small Town Chase", a book of lyrics and poetry. He has also written and performed with The Lost Brothers on the 2014 album 'New Songs of Dawn and Dust'. Power contributed two songs, one of which was 'Hotel Loneliness'. Power's second collection 'Holy Nowhere' was released on 5 December 2015.


title: The Coral

text: Skeleton Key Records was founded as a Liverpool-based independent record label in 2013 by James, Ian and Neville Skelly. The label evolved out of Neville's earlier label Watertown Records, on which he had released his own material. James Skelly & the Intenders' "Love Undercover" (2013) was the first album released by the label, followed by the two-CD deluxe edition of Ian Skelly's "Cut from a Star". Artists signed to the label include James Skelly & the Intenders, Ian Skelly, Neville Skelly, Serpent Power, The Sundowners, Cut Glass Kings, Marvin Powell, She Drew the Gun and the Mysterines.


title: Kebaya

text: A kebaya is an upper garment traditionally worn by women in Southeast Asia, notably in Brunei, Indonesia, Malaysia, Singapore and Southern Thailand. Outside of Southeast Asia, it is worn by Javanese, Malays and Portuguese Eurasians in Australian Cocos Islands and Christmas Island, coastal India and Sri Lanka, Macau as well as South Africa.


title: Kebaya

text: Kebaya is an upper garment opened at the front traditionally made from lightweight fabrics such as brocade, cotton, gauze, lace, or voile, sometimes adorned with embroidery. The front is secured with either buttons, pins, or brooches. The lower garment for the outfit is known as sarong, "kemben" or "kain", a long piece of cloth wrapped and tucked around the waist or under the armpits, either made out of batik, ikat, "songket" or "tenun".


title: Kebaya

text: Kebaya is officially recognised as the national costume of Indonesia, and its fashion icon, although it is more popularly worn by Javanese, Sundanese and Balinese people. In Malaysia, Singapore and Brunei, it is recognised as one of its ethnic costumes especially among Malay and Peranakan communities, the complete outfit is known in these region as "sarong kebaya". The style of sarong kebaya vary from place to place throughout the region.


title: Kebaya

text: Kebaya has become a Southeast Asian fashion icon, with many Southeast Asian flag carrier airlines including Singapore Airlines, Malaysia Airlines, Royal Brunei Airlines and Garuda Indonesia adopting the traditional clothing as the uniforms for their female flight attendants.


title: Kebaya

text: The link between "kebaya" with ""qaba"" "a vesture", an Arabic term was first established in the Hobson-Jobson dictionary in 1886. The term was used since the seventh century and was ultimately originated from a Persian word meaning "robe of honour". Portuguese records published in the 16th and 17th century also noted variations of the term "cabaya" as a Muslim long robe. The term was then introduced to the Malay world and Java through Portuguese intermediary during the 16th century.


title: Kebaya

text: According to the Kamus Dewan, a kebaya is defined as a women's long-sleeved dress opened at the front, secured with buttons, pins, or brooches while the Kamus Besar Bahasa Indonesia described it as a women's long-sleeved upper garment worn with a long piece of cloth. Although the etymology of kebaya has its origin as a dress worn by both men and women, the modern definition of kebaya in both languages have been narrowed to only refer to the women's dress.


title: Kebaya

text: There are extensive possibilities of the origin of kebaya with most indicating its roots in the Middle East. The connection between kebaya with Arabic "qaba", "a long loose jacket" was first established by orientalist Henry Yule and Arthur Burnell in 1886. The Arabic clothing was known since the seventh century, with historical records even mentioned that the Islamic Prophet Muhammad received gifts of "aqbiya" (plural of "qaba") on several occasions. Scholars attributed that Persian is the ultimate origin of "qaba". With the spread of Islam, the term and clothing was not only known in Arabic but also in Persian, Turkish and Urdu. Due to its resemblance, many sources stated that kebaya has its origin from Muslim clothing, namely "qaba", "habaya", "al akibiya al turkiyya" and "djubba". The claim that kebaya may has its origin from the Arab World is highly possible as Islam was firmly established in the Malay world in the 15th century when women began to cover up in reactions to the Islamic dress code. Before Islam, local women dressed with fewer layers because of the hot and humid climate and the pre-Islamic religion of the Malays did not impose such restrictions.