title: Jack Angel

text: Angel was born on October 24, 1930 in Modesto, California, the second child of John Angel, a Greek immigrant, and Lucille (née Parsons). He graduated from San Francisco State University in 1957, and at the same time, he was hired as a disc jockey for a California radio station and decided to focus on a career in radio programs. A decade later, he had become one of the most popular radio personalities with his radio programs being heard on stations KMPC and KFI, Los Angeles. In the early years of his career, he also landed roles in stage productions at The Actor's Ring and the Portland Civic Theater. It was during his broadcasting career that he began experimenting with voiceovers he would produce for clients; while at KMPC, Angel's demo ended up in the hands of Gary Owens, who already had made his own inroads as an animation voiceover actor and forwarded Angel's demo tape to his agent. After almost 20 years in radio, Angel shifted to voice acting on a full-time basis.


title: Jack Angel

text: Angel's first jobs in the voice-over industry came in the mid-1970s, voice acting on the series "Super Friends", in which he played Hawkman, The Flash and Samurai, including "The All-New Super Friends Hour", "Challenge of the Super Friends", "Super Friends", "The Legendary Super Powers Show" and "". During that time, he made guest appearances in "Scooby-Doo and Scrappy-Doo" and "The Smurfs".


title: Jack Angel

text: In the second season of the "Transformers" series (1985), Angel was the voice of Astrotrain, Smokescreen, Ramjet, and Omega Supreme, and he reprised the roles of Ramjet and Astrotrain in "" (1986). In the third and fourth seasons of "The Transformers" (1986-1987), Angel voiced Ultra Magnus (who had been played by Robert Stack in "The Transformers: The Movie") and in the fourth season he voiced Cyclonus following the death of Roger C. Carmel.


title: Jack Angel

text: He also lent his voice to the character Dr. Zachary Darret in the 1984 CBS animated series "Pole Position", and also voiced Wet Suit on Sunbow's "" and several characters on "Dino-Riders".


title: Jack Angel

text: In 1995, he was the voice of Nikki in the animated film "Balto". He played the SWATbots on "Sonic the Hedgehog", The Liquidator on "Darkwing Duck", and Nick Fury on "Spider-Man: The Animated series".


title: Jack Angel

text: In 2001, Angel was the voice of "Teddy" in the movie "A.I. Artificial Intelligence". He provided voices for animated films such as "A Bug's Life", "Monsters, Inc.", "", "Cars", "Horton Hears a Who", "The Prince of Egypt", "The Iron Giant", and "Aladdin".


title: Jack Angel

text: Angel has also ventured into video games, narrating the cult hit "Killer7" as well as playing Wonkers the Watilla in "", The Mayor in "Ratchet & Clank", and "Ammand the Corsair" in the video game version of "".


title: Jack Angel

text: In 2002, shortly after the death of Gene Moss, Jack Angel voiced Smokey the Bear in a few public service announcements and radio spots until 2012. In 2007, he voiced an alien called Technorg on "Ben 10". He also voiced Papa Smurf in the 2011 special, "" and the 2013 special, "".


title: Jack Angel

text: He provided "additional voices" in "Toy Story" and "Toy Story 2", and the voice of Chunk in "Toy Story 3".


title: Jack Angel

text: He also provided additional voices for "Scooby-Doo and Scrappy-Doo", "The Dukes", "Snorks", "Dino-Riders", "The Smurfs", "The Rescuers Down Under", "The Little Mermaid", "", "Land of Enchantment", "", "Aladdin", "Hercules", "Quest for Camelot", "Tarzan", "The Iron Giant", "Monsters, Inc.", "The Lorax", "Monsters University" and "Despicable Me 2".


title: Jack Angel

text: His uncredited voice roles include Rock in the 2014 American biblical epic film "Noah" and an Egyptian in the 1998 animated film "The Prince of Egypt".


title: Jack Angel

text: Angel was married twice. He and his first wife, Barbara Angel, divorced in 1980. Together they had three children. He married talent agent/owner Arlene Thornton in 1984. They lived in Studio City and Malibu, California.


title: Jazz Chisholm Jr.

text: Jasrado Prince Hermis Arrington "Jazz" Chisholm Jr. (born February 1, 1998) is a Bahamian professional baseball second baseman for the Miami Marlins of Major League Baseball (MLB).


title: Jazz Chisholm Jr.

text: Chisholm was drawn to baseball by his grandmother, Patricia Coakley, who played shortstop for the Bahamian national softball team; she taught him to hit at two years old. Chisholm moved to the United States at 12 years old to attend high school at Life Prep Academy in Wichita, Kansas. He played basketball and football in addition to baseball at Life Prep. After high school, he returned to the Bahamas to train at a sports academy.


title: Jazz Chisholm Jr.

text: Chisholm signed with the Arizona Diamondbacks as an international free agent in July 2015 for $200,000. He made his professional debut in 2016 with the Missoula Osprey and spent the season there, batting .281 with nine home runs and 37 RBIs along with 13 stolen bases in 62 games. Chisholm played for the Great Britain national team during the 2017 World Baseball Classic Qualifiers. Chisholm spent 2017 with the Kane County Cougars, but was limited due to injury. In 29 games for Kane County he posted a .248 average with a home run and 12 RBIs. He began 2018 with Kane County and was promoted to the Visalia Rawhide in July. In 112 games between both teams, he batted .272 with 25 home runs and 70 RBIs. Chisholm began 2019 with the Jackson Generals.


title: Jazz Chisholm Jr.

text: On July 31, 2019, the Diamondbacks traded Chisholm to the Marlins for Zac Gallen. He was assigned to the Jacksonville Jumbo Shrimp, with whom he finished the year. Over 112 games between Jackson and Jacksonville, Chisholm slashed .220/.321/.441 with 21 home runs, 54 RBIs, and 16 stolen bases.


title: Jazz Chisholm Jr.

text: Chisholm was promoted to the major leagues for the first time on September 1, 2020, and made his defensive debut that night against the Toronto Blue Jays. Chisholm's first at-bat was in the following game against Toronto on September 2, 2020. On September 6, Chisholm recorded his first career hit at the major league level, while facing the Tampa Bay Rays. Three days later, Chisholm hit his first career major league home run against the Atlanta Braves.


title: Jazz Chisholm Jr.

text: In 2021, Chisholm made the Marlins out of spring training as the team's starting second baseman. In 2021, he hit .248/.303/.425 with 18 home runs, 53 RBIs and 23 stolen bases. He had the fastest sprint speed of all major league second basemen, at 29.1 feet/second.


title: Jazz Chisholm Jr.

text: By mid-season 2022, Chisholm was hitting for a .254 batting average, alongside 14 home runs, 45 runs batted in, 39 runs scored, 12 stolen bases, and an on base plus slugging percentage of .860. He was the National League leader at his position in OPS, home runs and RBI, as well as slugging percentage (.535) and triples (4). Chisholm made the All Star Game for the first time in his career, being named the starting second baseman for the National League. He became the first Bahamian-born player to make the All-Star Game roster. He did not play in the game, as he was placed on the injured list on June 29, due to what was then diagnosed as right lower back strain. On July 22, the Marlins stated that Chisholm had a stress reaction in his lower back, and would miss at least six weeks of the season. On September 10, it was confirmed that Chisholm would be out for the rest of the season. In 60 games that season, he hit .254/.325/.535 with 14 home runs, 10 doubles, 4 triples, 45 RBI and 12 stolen bases.


title: Jazz Chisholm Jr.

text: As a Bahamian, Chisholm is eligible to represent both the Bahamas and Great Britain in international competition, considering the Bahamas status as a former British colony and member of the British Commonwealth. He represented the Great Britain national baseball team in the 2017 World Baseball Classic qualification. He did not join the team in the qualifiers for the 2023 edition in Regensburg, Germany, due to taking place during the 2022 MLB season. However, upon Great Britain's qualification on Sept. 20, he announced that he would again play for Great Britain in the 2023 World Baseball Classic.


title: King Dedede

text: King Dedede is the archrival and ally of Kirby, described as his "arch frenemy". Dedede often battled against Kirby and filled the role of an antagonist in the past, but notably grew out of this behavior in later installments of the series, started to willingly work with Kirby to fight greater threats together (such as in "Kirby 64: The Crystal Shards, Kirby: Triple Deluxe") and work towards keeping Dream Land safe as king. In a majority of his antagonistic roles after "Kirby's Dream Land", he is either controlled against his will (such as in "Kirby's Dream Land 2," "3, Kirby Star Allies") or revealed to have unexpectedly heroic motives, such as breaking the Star Rod in order to keep the people of Dream Land protected (such as in "Kirby's Adventure").


title: King Dedede

text: King Dedede is a rotund, blue penguin bird who dresses in a red, regal coat with white fur trim and his personal emblem, a stylized version of his hand striking the V sign, embossed on the back. He also wears yellow mitten-like gloves, a red tuque with a white fur pom-pom and gold crown-like brim, a red and yellow zigzag-patterned sash, and a buff-colored sleeveless undershirt. Dedede's giant wooden mallet is his signature weapon, depicted in some games as having special features built into it, such as a powerful jet engine, precision bearings and, in "", a chargeable laser cannon used for shooting at targets from afar.


title: King Dedede

text: Like Kirby, King Dedede can inhale objects and spit them out with tremendous force, and he can breathe in huge amounts of air at once to hover and/or fly. Unlike Kirby, though, he is unable to capture abilities from inhaled enemies. King Dedede's antagonism and role played varies between games, ranging from selfishness to friendly competition to teamwork. However, in "Kirby: Right Back at Ya!", King Dedede makes multiple attempts to terrorize his townsfolk. For example, in the very first episode, he buys a octopus monster that eats many of Mayor Blustergas's sheep but then denies it.


title: King Dedede

text: King Dedede is introduced to the series as the main antagonist of the game "Kirby's Dream Land" (1992), in which he steals Dream Land's food supply, prompting Kirby to travel to his castle and confront him. In "Kirby's Adventure" (1993) and its remake "" (2002), King Dedede breaks the Star Rod, the source of all dreams, into seven pieces, preventing the inhabitants of Dream Land from having dreams. Kirby defeats King Dedede, but unbeknownst to Kirby, he is only the penultimate boss and broke the Star Rod to keep the villainous Nightmare sealed in the Fountain of Dreams. Dedede then briefly assists Kirby in defeating Nightmare and stopping his plot against Dream Land. In "Kirby's Dream Land 2" (1995), King Dedede appears as the penultimate boss, and fights while possessed by a spirit-like entity known as Dark Matter, the game's true final boss. In "Kirby Super Star" (1996), Dedede reprises his role from "Kirby's Dream Land" in the "Spring Breeze" game, appears in the "Gourmet Race" and "Samurai Kirby" minigames, and is fought alongside the rest of the game's bosses in the "Arena". Dedede is again possessed by Dark Matter in "Kirby's Dream Land 3" (1997), fighting against Kirby as the last boss before the secret Hyper Zone.


title: King Dedede

text: King Dedede plays the role of a protagonist in "" (2000), helping Kirby in certain areas after Kirby once again saves him from possession by Dark Matter, who shattered the titular Crystal. Additionally, King Dedede is a playable character in the game's three minigames. Images of the game's beta show that Dedede was originally a playable character from the game's beginning. In "Kirby Tilt 'n' Tumble" (2000), Dedede steals all of the stars from the sky for himself and Kirby needs to fight him to get them back. After his absence from "Kirby & the Amazing Mirror" (2004), King Dedede appears as the first boss in "" (2006) and is identical to his appearance in previous games, except his new ability to summon Parasol Waddle Dees. In "Kirby Super Star Ultra" (2008), King Dedede returns in his own game mode, "Revenge of The King", which is a spin-off of the Revenge of Meta Knight subgame. Whenever faced off, he dons a new title, Masked Dedede, as he dons a silver mask with 4 horns, and a new hammer that features the ability to shoot missiles and able to spin frantically with the hammer.


title: King Dedede

text: King Dedede appears in "Kirby's Return to Dream Land" (2011) and its 2023 remake as one of the four playable protagonists, alongside Kirby, Meta Knight, and (Bandana) Waddle Dee, and as a playable character in multi-player mode. In "" (2014), King Dedede is captured by Taranza, and Kirby gives chase to rescue him until the end of the game, in which Taranza uses his powers to turn him into a puppet-controlled Masked Dedede. Triple Deluxe also features a rhythm-based platforming mode, "Dedede's Drum Dash", in which Dedede is the main character. When the Story Mode is completed, the "Dededetour" mode is unlocked, allowing players to play through the game as King Dedede. "Dedede's Drum Dash Deluxe", an enhanced, standalone version of "Dedede's Drum Dash" released on the Nintendo eShop, marks the debut of King Dedede starring in his own game. He appears in the beginning and ending scenes of "". Dedede returns as both a boss and playable character in "Kirby Star Allies". He returns again as an antagonist in "Kirby and the Forgotten Land" (2022), having been possessed by the Beast Pack.


title: King Dedede

text: King Dedede also appears in several spin-off games in the series. He appears as the final boss in "Kirby's Pinball Land" (1993). In "Kirby's Avalanche" (1995), Dedede appears as the final opponent. He appears as the single boss in "Kirby's Dream Course" (1994), along with a robotic version of himself. In "Kirby's Block Ball" (1995), he is a hidden final boss. In "Kirby's Star Stacker" (1997), Dedede appears to antagonize Kirby during the "Round Clear" sub-game, in which Kirby has to completely deplete his hit points in order to move on to the next stage. Additionally, there was a version of the game released only in Japan in 1998 which featured him as the final boss in a short story mode. He is an unlockable character in "Kirby Air Ride" (2003) and "Kirby Canvas Curse" (2005). King Dedede is a boss in "Kirby's Epic Yarn" (2010) and "Kirby Mass Attack" (2011). Although he is absent from the main story, King Dedede appears in "Kirby and the Rainbow Curse" (2015) as a collectible figurine. The game is also compatible with the King Dedede amiibo, which Kirby can use for a temporary increase in health. In "Kirby's Blowout Blast" (2017), although no story is present, he appears as the final boss. Masked Dedede appears as the secret final boss, after completing the game with all Gold trophies.


title: King Dedede

text: King Dedede has made several appearances outside of the "Kirby" video game series. He is featured in every "Kirby" manga adaptation; the first one was written by Yoshiko Sakuma, and published by Shogakukan originally in 1992, and the most recently is a 2012 Yuki Kawakami manga by Shogakukan, "Hoshi no Kirby: Pack to Daibaku Show".


title: King Dedede

text: Dedede is a main character in "", in which he is the ruler of Dream Land who tries to defeat Kirby at any cost, usually by ordering monsters from Nightmare Enterprises (NME).


title: King Dedede

text: Dedede has also been featured in the "Super Smash Bros." video game series. While originally planned for inclusion in both the first installment of the series and its sequel, he did not appear as a playable character until "Super Smash Bros. Brawl" (2008). He returned as a playable character in "Super Smash Bros. for Nintendo 3DS" and "Wii U" and again in "Super Smash Bros. Ultimate". Unlike most heavyweight fighters in the series, his hovering jumps give him great vertical distance in the air.


title: King Dedede

text: Since his first appearance in "Kirby's Dream Land", King Dedede has received generally positive reception. GamesRadar included Dedede on their list of "9 video game 'bad guys' who aren't really bad at all", noting that in "", "he actually only committed the 'crime' because he knew that a nightmare had infested the fountain and wanted to stop it from infiltrating the dreams of the country's citizens through the power of the rod." Although Dedede "has historically been the pink puffball's major nemesis", "Complex" stated his popularity was eventually surpassed by Meta Knight.


title: King Dedede

text: In 2007, IGN correctly speculated that King Dedede could appear in a subsequent "Super Smash Bros." game, since he "is the classic recurring villain of the "Kirby" franchise", and his creator, Masahiro Sakurai, is also the game director. UGO Networks remarked that he is "cool" because "he's a hammer-wielding, glove-wearing evil penguin." They also listed the fight against King Dedede in "Kirby's Dream Land" as the seventh hardest boss battle in video games in their "Top 50". King Dedede has been cited by Yahoo! Voices as one of the top five characters in "Super Smash Bros. Brawl". Jeremy Parish of Polygon ranked 73 fighters from "Super Smash Bros. Ultimate" "from garbage to glorious", listing King Dedede as 50th. Gavin Jasper of "Den of Geek" ranked King Dedede as ninth on his list of "Super Smash Bros. Ultimate" characters, stating "Nothing but respect for MY king. In this battle of heroes and villains from so many worlds, there's this guy. This wild card. This corrupt king who is too much of a doofus to be considered evil. This loveable giant who will happily hug you one moment and smash you with a giant mallet the next."


title: Gloves Off

text: "Gloves Off" is the fourth episode of the second season of the AMC television series "Better Call Saul", the spinoff series of "Breaking Bad". The episode aired on March 7, 2016, on AMC in the United States. Outside of the United States, the episode premiered on Netflix in several countries.


title: Gloves Off

text: Mike Ehrmantraut returns home and tosses a stack of hundred-dollar bills onto his kitchen table, pulls a bag of frozen vegetables from his freezer and presses it to his face. As he slowly sinks into his living room chair, his face is revealed to be badly bruised and beaten.


title: Gloves Off

text: The Davis & Main partners criticize Jimmy for airing his TV ad without their consent. Clifford Main decides to give him a second chance, though he will be under more scrutiny in the future. Jimmy McGill leaves Kim Wexler an urgent voicemail but Howard Hamlin and Chuck McGill are already grilling her about not warning them before Jimmy's ad aired. She takes responsibility for not letting them know in advance, claiming that she did not think it was necessary. Howard reprimands her and she promises it will not happen again.


title: Gloves Off

text: Jimmy prepares to enter Chuck's house but realizes he forgot to remove his electronics, so he grudgingly turns back to Chuck's mailbox and empties his pockets. When Chuck does not answer his knock, Jimmy uses his key to enter. He finds Chuck shivering on the couch, still dressed to leave for work but covered by a space blanket. Chuck refuses to go to the hospital, so Jimmy wraps him in a second space blanket, then sits with him all night. The next morning, Jimmy condemns Chuck for allowing Howard to reprimand Kim. Chuck tells Jimmy he causes harm to everyone around him, but cannot admit his own mistakes. Jimmy offers to quit practicing law if Chuck will help Kim, but Chuck refuses.


title: Gloves Off

text: Nacho Varga and Mike monitor a restaurant and Nacho says he fears retaliation from Tuco Salamanca if Tuco discovers his secret drug dealing. Nacho tells Mike he and Tuco meet there to settle accounts with their street dealers, so Nacho thinks it is an ideal place to kill Tuco. Mike refuses, saying it would attract retaliation by the Salamancas. Instead, Mike calls the police to the restaurant, then fakes a minor accident between his car and Tuco's in the parking lot. When Tuco comes out to check on his car, Mike goads Tuco into striking him repeatedly just as police arrive. Because Tuco was carrying a gun, he is arrested for assault with a deadly weapon. Nacho later pays Mike but Mike declines to give a reason for going to such trouble to avoid killing Tuco.


title: Gloves Off

text: The episode received acclaim from critics. Based on reviews from 15 critics, it has an approval rating of 100%, with an average score of 8.76 out of 10 on the review aggregation website Rotten Tomatoes. The site's critical consensus reads: "'Gloves Off' finds Better Call Saul coming further into its own with an enthralling episode that highlights Jonathan Banks' contributions."


title: Gloves Off

text: Terri Schwartz of IGN gave the episode a 9.2 rating, writing: ""Better Call Saul" highlights the need for a better way."


title: Same Time, Next Year (film)

text: Same Time, Next Year is a 1978 American romantic comedy-drama film directed by Robert Mulligan. The screenplay by Bernard Slade is based on his 1975 play of the same title. The film stars Alan Alda and Ellen Burstyn (the latter reprising her Broadway role).


title: Same Time, Next Year (film)

text: In 1951, at an inn on the Mendocino County coast, Doris (Ellen Burstyn), a 24-year-old housewife from Oakland, meets George (Alan Alda), a 27-year-old accountant from New Jersey at dinner. They have a sexual tryst, and despite the fact that both are happily married with six children between them, begin to meet every year at the same hotel for one night together.


title: Same Time, Next Year (film)

text: The film jumps forward five years at a time, episodically chronicling their time together, the changes each goes through, their respective marriages, and their deepening connection. In 1966, for example, George, now middle-aged and dressed in a suit, is shocked when Doris arrives in denim and wearing her hair to her waist, having enrolled in UC Berkeley and become ardently leftwing. George, meanwhile, reveals his newfound conservatism as a result of his son's having been killed in Vietnam the previous year.


title: Same Time, Next Year (film)

text: At their meeting in 1977, George tells Doris that his wife, Helen, died unexpectedly earlier in the year, and that Helen revealed to a friend that she had known of the affair for ten years, but never told George she knew. Now a widower, George proposes to Doris, who refuses to accept because of her loyalty to, and respect for, her husband. Dejected, George leaves, but quickly returns, and they promise to continue the affair as long as they are able.


title: Same Time, Next Year (film)

text: The film is structured as six episodes, each occurring approximately five years apart. Between the scenes are shown a series of photos that depict cultural and political events that had ensued in the years between each segment, such as Harry S. Truman, Nikita Khrushchev, Lucille Ball, Elvis Presley, and John F. Kennedy. The episodes are period-specific, often making references to what was actually happening during the time portrayed. For example, in the segment set in 1966, Doris is caught up in the protest movement at Berkeley, while George takes a Librium and reveals that he had voted for Barry Goldwater, and later that his son had been killed in Vietnam.


title: Same Time, Next Year (film)

text: Exteriors for the film were shot at the Heritage House Inn, a well-known resort and bed & breakfast in Little River, California, south of Mendocino, California. The shell of the cottage was built on a temporary foundation overlooking the Pacific Ocean, but the interior was filmed on the Universal Studios sound stage in Los Angeles. After filming was completed, Universal paid for the shell to be relocated to a permanent foundation and the interior was outfitted with the studio furnishings. The cottage became a popular romantic getaway, so popular that the Heritage House eventually partitioned the cottage in half and added a second bathroom to the opposite end. One half of the cottage was called "Same Time" and the other half called "Next Year". The Heritage House closed due to foreclosure in December 2008. The cottage still stands, updated and remodeled, and the Heritage House reopened in the summer of 2013.


title: Same Time, Next Year (film)

text: Paul McCartney had composed a title song for the film, which he recorded with Wings, that was not used. He later released it as the B-side of a single in 1990. The theme song ultimately used was "The Last Time I Felt Like This," written by Marvin Hamlisch and Alan and Marilyn Bergman (eventually nominated for the Academy Award for Best Original Song) and performed by Johnny Mathis and Jane Olivor.


title: Same Time, Next Year (film)

text: While Bernard Slade's acclaimed stage play earned a storm of praise, the film received mixed reviews. Janet Maslin of the "New York Times" wrote, "Mr. Slade's screenplay isn't often funny, and it's full of momentous events that can't be laughed away... As directed by Robert Mulligan... "Same Time, Next Year" is both less and more than it could have been. By moving the action outdoors once in a while, or into the inn's restaurant, Mr. Mulligan loses the element of claustrophobia that might have taken an audience's mind off the screenplay's troubles. But he substitutes the serenity of a California coastal setting, and gives the film a visual glamour that is mercifully distracting. Mr. Mulligan seems to have been more interested in sprucing up the material than in preserving its absolute integrity, and under the circumstances, his approach makes sense... Mr. Alda isn't terribly playful, and he reads every line as if it were part of a joke, which only accentuates the flatness of the script. Miss Burstyn, on the other hand... brings so much sweetness to Doris's various incarnations that the character very nearly comes to life." On Rotten Tomatoes, the film has an aggregate score of 40% based on 2 positive and 3 negative critic reviews.


title: Same Time, Next Year (film)

text: "Variety" called the film "a textbook example of how to successfully transport a stage play to the big screen" and added, "The production of Bernard Slade's play, sensitively directed by Robert Mulligan, is everything you'd want from this kind of film. And it features two first class performances by Ellen Burstyn and Alan Alda."


title: Mercedes-Benz M275 engine

text: The Mercedes-Benz M275 (and similar M285) engine is a twin-turbocharged and intercooled, all-aluminium, 60° V12 automobile piston engine family used in the 2000s to the 2010s. It is loosely based on the M137 naturally aspirated V12 sold between 1998 and 2002, and retains its SOHC, 3 valves per cylinder, twin-spark ignition layout, but differs with the addition of structural reinforcements to the engine block for improved rigidity which in turn yields greater reliability. Several variations of the M275 V12 Bi-turbo engine have powered many top-of-the-range Mercedes-Benz and Maybach models since 2003.


title: Mercedes-Benz M275 engine

text: Bore and stroke is giving a displacement of . Power output ranges from to at 5000 rpm and to of torque at 1800–3500 rpm.


title: Mercedes-Benz M275 engine

text: The M275 AMG is a version, with boost pressure reaching at maximum, and uses air-to-liquid intercoolers. Bore and stroke are increased to . Output is or later at 4800–5100 rpm with of torque at 2000–4000 rpm. It uses an ECI ignition system for the two spark plugs per cylinder, which helps with combustion and to support Ionic current measurement function sequence. The top of the range variant fitted in the SL 65 AMG Black Series, which is equipped with 12% larger turbochargers, generates at 4800–5400 rpm and of torque at 2200–4200 rpm. However, due to the torque abundance to power the rear wheels, the SL65 Black is still limited to .


title: Mercedes-Benz M275 engine

text: The M285 and his AMG version of this engine built in Stuttgart, Germany specifically for Maybach badged products. Bore and stroke is . Output is from at 5250 rpm with of torque at 2300-3000 rpm to 463 kW (630 PS; 621 hp) at 5250 rpm with 1000 N·m (764 lb·ft). The cylinders are lined with silicon/aluminium, and uses fracture-split forged steel connecting rods.


title: Mercedes-Benz M275 engine

text: Spanish supercar manufacturer Tramontana uses a 5.5-liter, twin-turbocharged M285 AMG engine in its cars.  On the top model Tramontana XTR, it produces 653 kW (888 PS; 881 hp) and 1,100 N·m (809 lb·ft).  In 2015, the public will be presented a deforced model Tramontana S with a capacity of 580 hp.


title: Mercedes-Benz M275 engine

text: The M158 is a version based on the M275. The engine uses smaller twin scroll type turbos (for reduced turbo-lag), a bespoke Bosch ECU, a modified intercooler configuration, and dry sump lubrication. It produces at 5800 rpm and of torque at 2250-4500 rpm. AMG builds this engine specifically for Pagani Automobili for use in the Huayra supercar. Later in BC model, M158 makes and . The Imola variant of the Huayra uses a version of the M158 producing and . The engine is mated to a new 7-speed electrohydraulic automated manual gearbox designed and built by XTrac.


title: Mercedes-Benz M275 engine

text: In 2012, Mercedes-Benz delivered all the rights of V12 engine development to AMG for future V12-model vehicles. Starting the 2014 model year, M279 has been extensively redesigned and updated their top-of-the-range V12 engine to better conform to increasing emission standards in Europe and the United States. Despite the basic design being more than 16 years old (M137), the new engine has enough modifications and sporting character that the engineers felt it warranted a new engine designation. According to Mercedes-Benz, the most important features of the new engine are:


title: Mercedes-Benz M275 engine

text: - Increased displacement to - New forged pistons and forged crankshaft in high-grade quenched, tempered steel- New Engine Control Unit- New Ignition system- New Camshafts- Hollow-stem sodium outlet valves- Low-temperature cooling-water circulation system with separate expansion reservoir.


title: Mercedes-Benz M275 engine

text: With these modifications and the addition of Mercedes-Benz's 7G-Tronic transmission on the V12 models, it is estimated that fuel economy will rise about 21% on the European cycle for the large-bodied Mercedes vehicles. Power is now at and torque figures stay the same as the predecessor at .


title: Mercedes-Benz M275 engine

text: The M279 AMG is based on the new and comprehensively revised M279 engine series, specially tuned for AMG 65 and Maybach 650 models. In addition to that engine's updates from the previous M275, M279 utilizes new turbochargers with an increased spiral cross-section, new exhaust manifolds, new wastegate ducts, and new cylinder heads with optimized flow characteristics to increase the engine output to and still of torque. The multi-spark ignition with twelve double ignition coils and a new higher performing engine management system not only results in smoother running, but also enables even more effective combustion. The effects of this is a reduction of exhaust emissions, which is also due in large extent to the optimized catalytic converter system. The newly developed AMG sports exhaust system, which has a pipe layout with enhanced flow characteristics and only equipped in the AMG models, is lighter as a result of a reduction in the wall thickness. For the first time in a Mercedes-Benz passenger vehicle, the V12 is mated to a 4MATIC all-wheel-drive system in the 2021 Maybach S 680.


title: Citrus limetta

text: Citrus limetta, alternatively considered to be a cultivar of "Citrus limon", "C. limon" 'Limetta', is a species of "citrus", commonly known as mousami, musami, sweet lime, sweet lemon, and sweet limetta, it is a member of the sweet lemons. It is small and round like a common lime in shape. It is a cross between the citron ("Citrus medica") and a bitter orange ("Citrus" × "aurantium").


title: Citrus limetta

text: It is a different fruit from the Palestinian sweet lime and from familiar sour limes such as the Key lime and the Persian lime. However, genomic analysis revealed it to be highly similar to the Rhobs el Arsa, and the two likely represent progeny of distinct crosses of the same citrus parents.


title: Citrus limetta

text: The South Asian cultivars originated in Mozambique and were brought to South Asia by the Portuguese. The common name musambi and its variants trace their origin to Mozambique.


title: Citrus limetta

text: "C. limetta" is a small tree up to in height, with irregular branches and relatively smooth, brownish-grey bark. It has numerous thorns, long. The petioles are narrowly but distinctly winged, and are long. Leaves are compound, with acuminate leaflets long and wide. Flowers are white, wide. Fruits are oval and green, ripening to yellow, with greenish pulp. The pith is white and about thick. Despite the name "sweet lime", the fruit is more similar to a greenish orange in appearance.


title: Citrus limetta

text: "C. limetta" grows in tropical and subtropical climates. It begins bearing fruit at 5 to 7 years old, with peak production at 10 to 20 years. It is propagated by seed.


title: Citrus limetta

text: As the name "sweet lime" suggests, the flavour is sweet and mild, but retains the essence of lime. The lime's taste changes rapidly in contact with air, and will turn bitter in few minutes, but if drunk soon after being juiced, the taste is sweet. The flavour is a bit flatter than most citrus due to its lack of acidity. It can be compared to limeade and pomelo.


title: Citrus limetta

text: Sweet lime is served as juice and is good as a mixer for vodka or rum. It is the most common available citrus juice in the Indian subcontinent. The juice is commonly sold at mobile road stalls.


title: Citrus limetta

text: Like most citrus, the fruit is rich in vitamin C, providing 50 mg per 100 g serving and antioxidants. In Iran it is popular as a house remedy to treat influenza and the common cold.


title: Citrus limetta

text: Like most "citrus", sweet limes will not ripen off the tree, and must be picked when fully ripe. This is indicated by its tennis ball size and lustrous greenish yellow sheen. Gently scratch the surface of a sweet lime: If its oils give way in the fingernails, it is ripe. The juiciest fruits feel heavy for their size.


title: Citrus limetta

text: Underripe fruit feels light for its size, and is hard with tart flesh. Overripe fruit is dull and shrunken, with dry, spongy skin. Avoid fruit with brownish-yellow discoloration.


title: Citrus limetta

text: Sweet limes keep fresh for up to two weeks at room temperature, and four to eight weeks refrigerated. Frozen juice will keep for up to six months. It is possible to freeze slices of the fruit, though the limonin content may cause the pulp to taste bitter over time. This can be avoided by submerging the slices in sweet syrup within an airtight glass jar.


title: IMRAD

text: In scientific writing, IMRAD or IMRaD () (Introduction, Methods, Results, and Discussion) is a common organizational structure (a document format). IMRaD is the most prominent norm for the structure of a scientific journal article of the original research type.


title: IMRAD

text: The plot and the flow of the story of the IMRaD style of writing are explained by a 'wine glass model' or hourglass model.


title: IMRAD

text: Writing, compliant with IMRaD format (IMRaD writing) typically first presents "(a) the subject that positions the study from the wide perspective", "(b) outline of the study", develops through "(c) study method", and "(d) the results", and concludes with "(e) outline and conclusion of the fruit of each topics", and "(f) the meaning of the study from the wide and general point of view". Here, (a) and (b) are mentioned in the section of the "Introduction", (c) and (d) are mentioned in the section of the "Method" and "Result" respectively, and (e) and (f) are mentioned in the section of the "Discussion" or "Conclusion".


title: IMRAD

text: In this sense, to explain how to line up the information in IMRaD writing, the 'wine glass model' (see the pattern diagram shown in Fig.1) will be helpful (see pp 2–3 of the Hilary Glasman-deal ). As mentioned in abovementioned textbook, the scheme of 'wine glass model' has two characteristics. The first one is "top-bottom symmetric shape", and the second one is "changing width" i.e. "the top is wide and it narrows towards the middle, and then widens again as it goes down toward the bottom".


title: IMRAD

text: The First one, "top-bottom symmetric shape", represents the symmetry of the story development. Note the shape of the top trapezoid (representing the structure of Introduction) and the shape of the trapezoid at the bottom are reversed. This is expressing that the same subject introduced in Introduction will be taken up again in suitable formation for the section of Discussion/Conclusion in these section in the reversed order. (See the relationship between abovementioned (a), (b) and (e), (f).)


title: IMRAD

text: The Second one, "the change of the width" of the schema shown in Fig.1, represents the change of generality of the view point. As along the flow of the story development, when the viewpoints are more general, the width of the diagram is expressed wider, and when they are more specialized and focused, the width is expressed narrower.


title: IMRAD

text: The IMRAD format has been adopted by a steadily increasing number of academic journals since the first half of the 20th century. The IMRAD structure has come to dominate academic writing in the sciences, most notably in empirical biomedicine. The structure of most public health journal articles reflects this trend. Although the IMRAD structure originates in the empirical sciences, it now also regularly appears in academic journals across a wide range of disciplines. Many scientific journals now not only prefer this structure but also use the IMRAD acronym as an instructional device in the instructions to their authors, recommending the use of the four terms as main headings. For example, it is explicitly recommended in the "Uniform Requirements for Manuscripts Submitted to Biomedical Journals" issued by the International Committee of Medical Journal Editors (previously called the "Vancouver guidelines"):


title: IMRAD

text: The text of observational and experimental articles is usually (but not necessarily) divided into the following sections: Introduction, Methods, Results, and Discussion. This so-called "IMRAD" structure is not an arbitrary publication format but rather a direct reflection of the process of scientific discovery. Long articles may need subheadings within some sections (especially Results and Discussion) to clarify their content. Other types of articles, such as case reports, reviews, and editorials, probably need to be formatted differently.


title: IMRAD

text: The IMRAD structure is also recommended for empirical studies in the 6th edition of the publication manual of the American Psychological Association (APA style). The APA publication manual is widely used by journals in the social, educational and behavioral sciences.


title: IMRAD

text: The IMRAD structure has proved successful because it facilitates literature review, allowing readers to navigate articles more quickly to locate material relevant to their purpose. But the neat order of IMRAD rarely corresponds to the actual sequence of events or ideas of the research presented; the IMRAD structure effectively supports a reordering that eliminates unnecessary detail, and allows the reader to assess a well-ordered and noise-free presentation of the relevant and significant information. It allows the most relevant information to be presented clearly and logically to the readership, by summarizing the research process in an ideal sequence and without unnecessary detail.


title: IMRAD

text: The idealised sequence of the IMRAD structure has on occasion been criticised for being too rigid and simplistic. In a radio talk in 1964 the Nobel laureate Peter Medawar criticised this text structure for not giving a realistic representation of the thought processes of the writing scientist: "… the scientific paper may be a fraud because it misrepresents the processes of thought that accompanied or gave rise to the work that is described in the paper". Medawar's criticism was discussed at the XIXth General Assembly of the World Medical Association in 1965. While respondents may argue that it is too much to ask from such a simple instructional device to carry the burden of representing the entire process of scientific discovery, Medawar's caveat expressed his belief that many students and faculty throughout academia treat the structure as a simple panacea. Medawar and others have given testimony both to the importance and to the limitations of the device.


title: IMRAD

text: In addition to the scientific article itself a brief abstract is usually required for publication. The abstract should, however, be composed to function as an autonomous text, even if some authors and readers may think of it as an almost integral part of the article. The increasing importance of well-formed autonomous abstracts may well be a consequence of the increasing use of searchable digital abstract archives, where a well-formed abstract will dramatically increase the probability for an article to be found by its optimal readership. Consequently, there is a strong recent trend toward developing formal requirements for abstracts, most often structured on the IMRAD pattern, and often with strict additional specifications of topical content items that should be considered for inclusion in the abstract. Such abstracts are often referred to as "structured abstracts". The growing importance of abstracts in the era of computerized literature search and information overload has led some users to modify the IMRAD acronym to AIMRAD, in order to give due emphasis to the abstract.


title: IMRAD

text: Usually, the IMRAD article sections use the IMRAD words as headings. A few variations can occur, as follows:


title: IMRAD

text: In the late 20th century and early 21st, the scientific communities found that the communicative value of journal articles was still much less than it could be if best practices were developed, promoted, and enforced. Thus reporting guidelines (guidelines for how best to report information) arose. The general theme has been to create templates and checklists with the message to the user being, "your article is not complete until you have done all of these things." In the 1970s, the ICMJE (International Committee of Medical Journal Editors) released the Uniform Requirements for Manuscripts Submitted to Biomedical Journals (Uniform Requirements or URM). Other such standards, mostly developed in the 1990s through 2010s, are listed below. The academic medicine community is working hard on trying to raise compliance with good reporting standards, but there is still much to be done; for example, a 2016 review of instructions for authors in 27 emergency medicine journals found insufficient mention of reporting standards, and a 2018 study found that even when journals' instructions for authors mention reporting standards, there is a difference between a mention or badge and enforcing the requirements that the mention or badge represents.


title: IMRAD

text: The advent of a need for best practices in data sharing has expanded the scope of these efforts beyond merely the pages of the journal article itself. In fact, from the most rigorous versions of the evidence-based perspective, the distance to go is still quite formidable. FORCE11 is an international coalition that has been developing standards for how to share research data sets properly and most effectively.


title: IMRAD

text: Most researchers cannot be familiar with all of the many reporting standards that now exist, but it is enough to know which ones must be followed in one's own work, and to know where to look for details when needed. Several organizations provide help with this task of checking one's own compliance with the latest standards:


title: IMRAD

text: Relatedly, SHERPA provides compliance-checking tools, and AllTrials provides a rallying point, for efforts to enforce openness and completeness of clinical trial reporting. These efforts stand against publication bias and against excessive corporate influence on scientific integrity.


title: Animal (2014 film)

text: Animal is a 2014 American horror thriller film directed by Brett Simmons and starring Elizabeth Gillies, Keke Palmer, Jeremy Sumpter, Eve, and Joey Lauren Adams. The film follows a group of friends that find themselves terrorized by a bloodthirsty beast.


title: Animal (2014 film)

text: The film opens with two married couples - Carl and Vicky, and Douglas and Barbara - being chased through the woods by a mysterious beast. Barbara is killed.


title: Animal (2014 film)

text: Sometime later, five college students - Alissa, her boyfriend Matt, her half-brother Jeff, Jeff's girlfriend Mandy, and their friend Sean - arrive in the forest to hike. Jeff gets the others to try to find a waterfall he, Alissa, and their father used to go to as kids, but they end up taking so long that it is dark by the time they start walking back to the car. Along the way, they discover the remains of Barbara's body and encounter the same monster that killed her. It chases them through the forest. They see a cabin in the distance. When they try to get to the cabin, it kills Jeff.


title: Animal (2014 film)

text: When they arrive at the cabin, the group desperately bangs on the doors and screams for whomever is inside to help them. As the monster approaches, the people in the cabin finally open the door for them. Mandy gets attacked as she enters the cabin, but the group manages to pull her in and board up the door. In the cabin, they find Carl, Vicky, and Douglas, who have sealed the windows and walls with boards to protect themselves against the creature. While Carl and Vicky are hopeful that they will be rescued soon, Douglas is bitterly cynical. The creature almost breaks into the house, but they hold it off. Matt volunteers to take a walkie-talkie and make a run for the car while Carl and Sean keep watch for the creature. However, his screams are heard on the walkie-talkie. Douglas attempts to board up the entrance, leaving Sean and Carl to die outside, but the girls help them get in through the back. The group ties Douglas to the stairs, no longer trusting him.


title: Animal (2014 film)

text: Mandy reveals to Alissa that she is pregnant while Sean confesses to Mandy that he and Jeff were having an affair. The group discovers Matt, barely alive, in the cellar, along with the animal. They get Matt upstairs but Carl is killed. Douglas proposes that the group let the animal eat Matt as a bait so they can escape. The group refuses and decides to trap the animal inside the house and burn it down. However, when they untie Douglas to help, he beats Matt to death, calling the others weak. The animal breaks in and kills Douglas. As it eats his body, the others spread kerosene throughout the house. Alissa lures the animal into the trap. She sets the fire and burns the monster to death.


title: Animal (2014 film)

text: However, a second animal suddenly appears in the cellar and kills Sean and Vicky. Mandy and Alissa flee into the woods. Alissa is killed but Mandy is able to reach the car. The second animal attacks her and Mandy manages to kill it by running its head over with the car. She escapes and drives away, sobbing.


title: Animal (2014 film)

text: The final scene shows a third animal sniffing at the second animal's corpse, where it grunts aggressively, suggesting a call to the pack.


title: Animal (2014 film)

text: The film was shot in Manchester, Connecticut. Actress Keke Palmer said she enjoyed making the movie. However, she said filming the outdoor locations in the woods "was not fun. The outdoors s---? Oh, no, no, no, no. The outdoors in the weeds, in the bushes, in the middle of Connecticut? Oh, "hell" no. I would have loved another destination, but hey."


title: Animal (2014 film)

text: "Shock Till You Drop" and "Bloody Disgusting" both panned the film, and "Shock Till You Drop" stated that the movie was "a waste of a good, old-fashioned creature." "We Got This Covered" gave "Animal" a slightly more positive rating and commented that ""Animal" has enough carnage to appease more forgiving horror fans, but despite a quick pace and brutal kills, it's repetition that truly kills this beast."


title: Do What U Want

text: "Do What U Want" is a song by American singer Lady Gaga, featuring guest vocals from R. Kelly. The song was released on October 21, 2013, as the second single from Gaga's third studio album "Artpop" (2013). The singers wrote the song with DJ White Shadow, Martin Bresso, and William Grigahcine. DJ White Shadow first presented Gaga with the song's initial concept two years prior to its release. Production on "Do What U Want" was completed in 2013, with Kelly's vocals added soon after. Its sudden popularity upon premiering led to the song becoming the album's second single.


title: Do What U Want

text: It is a synth-pop, electropop and R&B song featuring 1980s-style synthesizers and an electronic instrumental track. The song's lyrics discuss the media's appetite for publishing opinion and critique, with Gaga telling detractors that her thoughts, dreams, and feelings are her own, no matter what one does with her body. Critics praised the song's simplicity and production. The single cover for "Do What U Want", a close-up of Gaga's buttocks in a floral thong, was photographed by Terry Richardson who had also directed the song's music video. The clip was planned to be released through BitTorrent in December 2013 but was cancelled for unknown reasons.


title: Do What U Want

text: "Do What U Want" reached number one in Hungary while peaking within the top 10 in Austria, Canada, Denmark, France, Ireland, Italy, Lebanon, Norway, Scotland, South Korea, Spain and the United Kingdom as well as the top 20 in Belgium, the Czech Republic, Germany, New Zealand, Sweden, Switzerland, and the United States. Live performances of the song were televised on the 2013 American Music Awards, "", "Saturday Night Live", America's "The Voice", and Britain's "The X Factor". Several remixes of the song were released, including ones with vocals from Christina Aguilera and Rick Ross.


title: Do What U Want

text: On January 10, 2019, Gaga decided to have the single removed from music streaming services after the airing of a television documentary, "Surviving R. Kelly", exposed new allegations of sexual misconduct and assault by Kelly, who had previously been charged regarding similar accusations in 2002 but was acquitted in 2008. The song was removed from new vinyl and CD pressings of the album in November 2019.


title: Do What U Want

text: "Do What U Want" was co-written by Lady Gaga, Paul Blair, R. Kelly, Martin Bresso and William Grigahcine. It was produced by Blair and Gaga and features vocals by Kelly. Gaga had been living in Chicago and completing the songs for "Artpop", which was being influenced by the R&B and hip hop music predominant there. One day, the singer came to know about an article discussing her weight and she was angered with such news. She decided that it was through her music that she could take a stance against "shallow journalism". After the release of the first single from the album, titled "Applause", the singer was also determined to create something different and unfamiliar to her past hit singles, and "Do What U Want" stemmed from these thoughts.


title: Do What U Want

text: Blair recalled how in 2011 his friend Martin was playing him a particular beat from his own remix project. Blair liked the music and presented it to Gaga who had begun writing the song's lyrics while on the Born This Way Ball tour. Blair described its beat as "some space age George Jetson R&B sound". After the lyrics were completed in September 2013, Blair suggested bringing Kelly on board as a collaborator. Kelly was in the process of completing his album, "Black Panties", and agreed to participate following a telephone conversation with Gaga. Kelly told "Billboard" that working with the singer was "natural jelling". Gaga told MTV News about the song:


title: Do What U Want

text: I've been living in Chicago and spending a lot of time there, and that's where R. Kelly hails from. I was working on "Artpop" and I wrote ['Do What U Want'] on tour. It was about my obsession with the way people view me. I have always been an R. Kelly fan and actually it is like an epic pastime in the Haus of Gaga that we just get fucked up and play R. Kelly. This is a real R&B song and I [said 'I] have to call the king of R&B and I need his blessing.' It was a mutual love.


title: Do What U Want

text: "Do What U Want" is a mid-tempo synth-pop, electropop and R&B track, drawing influence from 1980s-inspired throbbing synths and an electronic beat. Eric R. Danton of "Rolling Stone" described it as a "muscular club beat". James Montgomery from MTV News said that a "lurching, lascivious beat" was the main backbone of the song, interspersed with Gaga's loud-voiced vocals, a "corky" chorus and Kelly's "cool, coital" singing. The song's chorus is built around arpeggios. "Complex" described its "Do what you want, what you want with my body" hook as "catchy and somewhat raunchy". The song's lyrics represent Gaga telling off detractors that her thoughts, dreams, and feelings are her own, no matter what one says about her. Jim Farber of "New York Daily News" suggested "Do What U Want" to be a response to "everyone who ever made a tart comment about her — which, by now, involves half the planet". Gaga and Kelly alternate singing the lines "Do what u want/ What u want with my body/ Do what u want/ What u want with my body/ Write what you want, say what you want about me/ If you want you know that I'm not sorry".


title: Do What U Want

text: According to the sheet music published at Musicnotes.com, "Do What U Want" is set in the time signature of common time, with a moderate tempo of 96 beats per minute. It is composed in the key of A major with Gaga's vocals spanning the tonal nodes of E to F. The song follows a basic sequence of D–E–Fm–E–D–E as its chord progression. "Do What U Want" was recorded at Record Plant Studios in Hollywood, California and at PatchWerk Recording Studios, in Atlanta, Georgia. Gaga's vocals were recorded by Dave Russell and Bill Malina, while Kelly's by Abel Garibaldi and Ian Moonness. Russell held primary mixing of the track at Record Plant, with additional support from Benjamin Rice, Ghazi Hourani, Zane Shoemake, and Dino "SpeedoVee" Zisis. The song's instrumentals include guitars by Tim Stewart, programming by Rick Pearl, and audio mastering done by Gene Grimaldi at Oasis Mastering Studios in Burbank, California.


title: Do What U Want

text: On September 3, 2013, Gaga asked her fans through Twitter to help her choose the second single: options given were "Manicure", "Sexxx Dreams", "Aura" and "Swine". On September 20, 2013, Gaga announced that "Venus" had been chosen as the second single, and that it would be released before the album. A snippet of "Do What U Want" debuted in a US commercial for Best Buy/Beats on October 17, 2013. It was also used in promotion for British mobile company, O2, as part of their "Be More Dog" campaign. Because of how popular "Do What U Want" quickly became upon its premiere when topping various iTunes charts, Gaga and her label decided to release that as the second official single from "Artpop", instead of "Venus". "Do What U Want" officially impacted Italian radio stations on October 25, 2013, and five days later in the UK. The song impacted mainstream and rhythmic contemporary radio stations in the United States on November 5, 2013. Lipshutz compared the song's last-minute release to that of "Judas" from "Born This Way" in April 2011. After quick commercial success, the label soon decided to rush a single release.


title: Do What U Want

text: The first promotional artwork features Gaga naked with moss covering her genitals. The single's official cover art was released on October 21, showing Gaga's backside, wearing a floral thong. The cover art was shot by photographer Terry Richardson. In an interview with German television station ProSieben, Gaga explained that the explicit imagery for the cover art was due to the constant criticism and discussion surrounding her, adding that "When I look at how society has changed, I feel like this is a good time to show you my ass, because it's all I choose to give you."


title: Do What U Want

text: According to Digital Spy's Catherine Earp, the shoot resembles a polaroid. Leigh Silver from "Complex" magazine compared it to Andy Warhol's polaroid series, where the artist shot pictures of blonds and their rear. Hilary Hughes from "Esquire" called the cover art "awful" but felt that the image paved way for much imagination in lieu of the suggestive theme of the song. The night before the song's release, Gaga tweeted lyrics of "Do What U Want" in reference to critics and rumors that had surfaced throughout her career, including those claiming the singer to be a hermaphrodite, gaining weight in 2012, and her drug addiction. She also addressed media fabrications on her alleged negative relationships with Madonna and Katy Perry. Alex Camp from "Slant Magazine" felt Gaga's stunt cheapened the song's intent, pointing out how it highlighted the singer's preoccupation with social media and her public image.


title: Do What U Want

text: Upon release, "Do What U Want" received generally positive response from reviewers. Lars Brandle of "Billboard", "Slant Magazine" contributor Alexa Camp, and Kevin Fallon from "The Daily Beast" compared Gaga's vocals to those of Aguilera. Camp describes the track as "a measured electro banger that smartly doubles as a love song." Brandle complimented the song as "radio-friendly" and concluded that "Gaga is in good form." Lipshutz, also from "Billboard", the same publication wrote that the song and its lyrics were a "thrilling listen, intoxicatingly defiant". Fallon was highly enthusiastic toward the song, calling it "pure pop heaven" and giving his praise to its "chorus that will make it a radio hit... and driving, danceable beat throughout." Carl Williot of "Idolator" website summarized the song as "a pretty flawless piece of R&B." Dharmic X from "Complex" praised "Do What U Want" as "catchy". Latifah Muhammad from Black Entertainment Television felt that "Between the two, Kelly seems the furthest of his sonic comfort zone but nestles into a groove over the dance beat" and described the track as "musical genius".


title: Do What U Want

text: Jim Farber of "New York Daily News" gave the song four out of five stars, saying that the "music provides its own quirk. To match the R&B-style beat — and the guest appearance by R. Kelly — Gaga finds a new soul edge to her voice. She belts, scoring a hit in every sense." "Slate" magazine's Aisha Harris felt that Gaga and Kelly's efforts worked "surprisingly well". Nidhi Tewari of "International Business Times" said that Gaga sounded her "rebellious best" on the upbeat song. Lewis Corner from Digital Spy gave the song four out of five stars, stating that its "ear-snagging melody revives some of her earlier pop perfection." Hilary Hughes from "Esquire" felt that Kelly's guest appearance on the song, improved its quality much more than the preceding single "Applause". Hughes added that Gaga's Whitney Houston-esque vocals are elevated further by Kelly's "standard, soaring tenor". "Do What U Want" was listed as one of the 100 Best Songs Of 2013 by "Rolling Stone", ranked at number 17.


title: Do What U Want

text: A mixed review came from Kyle Anderson from "Entertainment Weekly", who felt that Gaga and Kelly's vocals track did not "come together" since Gaga's singing style interfered with the composition of the song as well as Kelly's R&B vocals. Anderson also felt that the lyrics sung by Kelly were rehash and subpar. He concluded saying that the song is "an intriguing mind-meld nonetheless". Marc Hogan from "Spin" magazine said that the song was "as usual" about fame but felt that the cover art complemented the theme the song portrayed. In 2015, Daisy Jones of "Dazed" said "Do What U Want" was one of the most controversial songs ever because of its theme and Kelly's involvement. Jones said the song provoked controversy "for all the wrong reasons."


title: Do What U Want

text: In the United States, Nielsen SoundScan reported that "Do What U Want" entered the Hot Digital Songs chart at number three with 156,000 digital downloads in its first week, becoming Gaga's 14th top ten on that chart. Consequently, it debuted at number 13 on the "Billboard" Hot 100. The song is Kelly's 52nd Hot 100 entry and highest rank since "I'm a Flirt" peaked at number 12 in 2007. The song fell to number 58 the following week. In its third week, "Do What U Want" climbed to number 48 on the chart, aided by its move upwards on the Radio Songs chart, from number 64 to 51, with an audience impression of 23 million, up by about 22% from the second week. Following the release of "Artpop", the song returned to the top twenty of Hot 100, moving into number 18. The song has sold 1.3 million copies in the US as of February 2018, and was certified platinum by the Recording Industry Association of America (RIAA). On the Pop Songs chart, "Do What U Want" debuted at number 39 for the issue of November 11, 2013, and moved up to number 29 the next week with a spin increase of 991 on the US radio stations. Next week, the song acquired a further 1,096 spins and moved to number 23 on the chart. It has reached a peak of number seven on Pop Songs, with 9,237 spins. The song also peaked at number eight on the Rhythmic chart with 2,662 spins. "Do What U Want" became the second single by Gaga—the first being her debut single "Just Dance"—not to reach the top of the Hot Dance Club Songs chart, where it stalled inside the top-ten at number seven.


title: Do What U Want

text: In Australia, "Do What U Want" entered the Australian Singles Chart at number 21; also debuting on the New Zealand Singles Chart at number twelve. The song entered the Irish Singles Chart at number nine and the Netherlands' Mega Single Top 100 at number 27. It also entered the Finnish Download Chart at number two. In South Korea, the song sold 10,576 digital downloads, reaching number eight in the Gaon Digital Chart. It fell to number 13 the next week, selling a further 7,184 copies. Following the album release, the song sold 20,309 copies and reached a new peak of number two. "Do What U Want" reached the top of the charts in Greece, and also reached the top-ten in Finland, France, Italy, and Spain. The song debuted at number 50 on the Japan Hot 100, and rose to a peak of number 26 after two weeks. "Do What U Want" also debuted at number seven on the Canadian Hot 100 and in its eleventh week on the chart, the song reached a new peak of number three. It was certified gold by Music Canada, for selling over 40,000 digital downloads.


title: Do What U Want

text: In the United Kingdom, "Do What U Want" was deemed ineligible to enter the UK Singles Chart. The Official Charts Company released a statement explaining that the song would be allowed to chart only after the associated album's pre-order offer ended. The rules of the Official Chart Company "allow one 'instant grat' promotion per album, i.e a single track download given away as an album pre-order incentive. 'Do What U Want' is the second track [following 'Applause'] to be delivered to fans who pre-order "Artpop"". Thus the song was not eligible to enter the chart until the promotion finished and the album was released. According to Alan Jones from "Music Week", in the week following its release the single sold 22,915 copies in the UK. After the release of "Artpop", "Do What U Want" debuted at number nine on the UK charts with sales of 29,657 copies becoming her 11th top-ten single there. It also entered the Scottish Singles Chart at the same position. "Do What U Want" has sold 383,000 copies in the United Kingdom as of April 2021, and was certified gold by the British Phonographic Industry (BPI) for 400,000 copies of streaming equivalent units. It has been streamed 8.5 million times, becoming Gaga's highest streamed song in the country.


title: Do What U Want

text: Gaga performed the song live along with "Venus" on the tenth series of "The X Factor" (UK) on October 27, 2013, at Fountain Studios in Wembley. Jason Lipshutz from "Billboard" denoted it as "intoxicatingly weird". ITV, which aired the performance, and Ofcom, the British media regulator, received around 260 complaints regarding the performance, due to Gaga's costume and the suggestive lyrics of the track, which was broadcast before the 9pm watershed. A spokesperson from the channel released a statement that they did not believe the performance to be inappropriate. During her ArtRave party for the release of "Artpop", Gaga performed eight songs from the album, closing the set with "Do What U Want". The performance ended with the singer mirroring the pose of the album cover art—a Jeff Koons sculpture—on the stage, by sitting down and spreading her legs apart, while cupping her breasts. On November 16, 2013, Gaga performed "Do What U Want" at episode 751 of the 39th season of comedy show "Saturday Night Live". Kelly appeared as the guest vocalist, doing the similar routine with Gaga, and picking her up from the stage on his shoulder. There was also sex simulations, dry humping and they ended the performance in an embrace. According to Zach Johnson from E!, the performance drew mixed reaction from the media.


title: Do What U Want

text: Gaga had revealed during ArtRave that she and Kelly would perform "Do What U Want" at the American Music Awards of 2013 on November 24. During the performance, Gaga enacted the role of a secretary for the President of the United States, which was played by Kelly, pantomiming fellatio that invoked the Clinton–Lewinsky scandal. The stage was set up to be reminiscent of the Oval Office. Gaga belted out the final chorus of the song alone, as the backdrops displayed a video of the singer playing a piano as a child. The epilogue featured self-depreciating newspaper headlines in the backdrops, proclaiming "Lady Gaga is Over" and "Lady Gaga is Fat". Jason Lipshutz of "Billboard" called it "the most elaborate performance" of the ceremony and found parallels with Kelly's own rap opera "Trapped in the Closet" in its storytelling.


title: Do What U Want

text: At the British chat show, "", Gaga performed another acoustic version of the track. Wearing a Kansai Yamamoto bodice with an iPad attached to it, Gaga belted out the song while playing the piano. Another performance took place at the 2013 Jingle Bell Ball on December 8, 2013, where she sang "Do What U Want" along with other songs from her discography. It was first announced that Gaga would perform on the fifth-season finale of "The Voice" on December 12, 2013, with the assumption that R. Kelly would accompany her during a performance of "Do What U Want". However, a television commercial aired on December 17, the evening of the finale, teased that "Christina [Aguilera] joins Lady Gaga for one epic performance"; they sang "Do What U Want" as the final performance of the evening. Both appeared in "matching clothes" with few differences, Gaga wore a "jumpsuit all sharp, off-kilter angles", while Aguilera was dressed in a "slinky-sexy gown emphasizing her smooth curves". A writer from Rap-Up praised it as an "over-the-top" performance. "Los Angeles Times" writer Amy Reiter commended the pair's vocal ability as "triumphant". On the 2014 tour, the song was performed after "Paparazzi". Gaga perched atop a silver chair shaped like a hand, and sang the song. Kelly's verses were removed from the live rendition. Eric Leijon from "The Gazette" praised the song saying that it had "earned [its] place alongside crowd pleasers 'Paparazzi' and 'Bad Romance'" from Gaga's catalogue of hits.


title: Do What U Want

text: Gaga confirmed Richardson as the director during her ArtRave party. Richardson had previously shot the "Cake Like Lady Gaga" snippet video, featuring the singer playing with cake. He had been wanting to do music videos for some time, and started his work in the medium with the video for Miley Cyrus' single "Wrecking Ball" and Beyoncé's "XO". After her provocative performance of the song on "Saturday Night Live", many interviewers had questioned Gaga regarding her chemistry with Kelly, leading the singer to tweet the following message: "Many interviewers quelped today about my 'SHOCKING' performance w/ R Kelly on SNL I'm beginning to think y'all aren't ready for the video."


title: Do What U Want

text: On November 26, 2013, Interscope announced that the video would be released through file sharing service BitTorrent and Vice, sometime in December 2013. This is BitTorrent's second initiative, following a similar release for singer Madonna and her "secretprojectrevolution" video. The bundle would consist of the music video, pictures, a separate clip in 4K resolution documenting the making of the release, and interviews with Gaga and director Richardson. Interscope described the bundle as a means of "explor[ing] the link between open expression and open technology; providing an inside look at the creative process, with original film, music, archival content and behind-the-scenes footage direct from artists."


title: Do What U Want

text: On December 4, 2013, Gaga tweeted that she was intent on making the video "perfect" since it was unlike her previous endeavors, adding that it was "very personal". Two days later, Richardson posted a black-and-white photo from the set of the video, which showed Gaga being held by Kelly; with her legs wrapped around his waist. She wore nothing but a black bikini, while Kelly gestured his middle finger towards the camera in a leather pant/kilt dress. One week later, a colored behind-the-scenes photo was released, showing the singers in the same garments as the previous image, while Kelly stood with his legs spread apart as Gaga crawled in between them.


title: Do What U Want

text: However, the bundle as well as the video was not released in December; Gaga later released a statement in her social networking website Little Monsters that the video was delayed since the singer was given just one week to plan and complete it, like the video for "Applause". She added that it was unlike her since she preferred planning her videos over a period of time to honor her creativity. The clip remained unreleased and on June 19, 2014, celebrity news website TMZ published footage from the video showing sexually suggestive scenes. In one of them, Kelly, playing a doctor, reaches under a sheet covering a naked Gaga, causing her to moan. In another scene, Richardson appeared to be photographing Gaga as she writhes on newspapers, which was compared to Jelena Karleuša's 2013 artwork for "Baš je dobro biti ja". "Pitchfork" described the video as "Kelly hosting a softcore orgy with Gaga's anesthetized body". According to the TMZ report, the video was cancelled possibly due to weariness and fear of backlash for Kelly's past trial on child pornography, as well as sexual harassment claims by several models who had previously worked with Richardson. According to "Page Six"s unnamed source, "[She] had a video directed by an alleged sexual predator, starring another sexual predator [...] With the theme, 'I'm going to do whatever I want with your body'? It was literally an ad for rape." Daisy Jones of "Dazed" said it was for the better that the video wasn't released. She opined the song's lyrics, Kelly's and Richardson's involvement, and the music video's concept were "bad ideas all around."


title: Do What U Want

text: The DJWS Remix of "Do What U Want" featuring R. Kelly and rapper Rick Ross was released on December 20, 2013. Ross told in an interview with MTV that he was not prepared for collaborating with Gaga. The remix starts with Kelly's vocals with a new introduction, followed by Ross rapping on a verse, adding new lines like "Photos of the Bawse just to post 'em on a blog/Get alotta views cause they know we be the top/Jean Basquiats in the hall, she my work of art so I pin her to the wall." During Gaga's vocals, the "groove" of the song is updated which was described by Fuse as "nostalgic, banging, sex-freaky and new all at the same time. It's a 2013 ode to another era of synth R&B." Molly Wardlow from the channel was however dismissive of Ross' verse, calling it unnecessary. "Spin" magazine's Chris Martin noted that Ross' contribution to "Do What U Want" sounded "awkward" and found similarity with Jay-Z's rap verse in singer Beyoncé's song, "Drunk in Love". Mike Wass from "Idolator" commented that the remix felt unnecessary, following controversy in the media surrounding Ross' lyrics in the song "U.O.E.N.O." about date rape, and recapitulation of Kelly's child-sex abuse case.


title: Do What U Want

text: An alternate studio version of "Do What U Want" featuring Christina Aguilera was released on January 1, 2014; it marked Gaga and Aguilera's first collaboration. The song was released in the United States, Canada and Mexico on January 1, 2014, and then released a day later worldwide. Days before, on December 24, 2013, Aguilera tweeted that she was "working on something special" and attached an image of her singing in a recording studio. The session took place in the living room of singer Carly Simon's home at Martha's Vineyard, with assistance from Oak Bluffs-based producer Jimmy Parr. The following week, it was announced that a revised studio version of "Do What U Want" would be released, where the original vocals by Kelly are substituted for a verse performed by Aguilera.


title: Do What U Want

text: The final version was digitally released shortly after midnight on January 1, 2014. On February 11, 2014, Gaga uploaded four other remixes of the version with Aguilera, all commissioned by Interscope and mixed by Steven Redant. The Aguilera remix received generally favorable reviews from music critics; Melissa Locker from "Time" magazine felt that the re-recorded version of the track "will allow more sales of the track without the moral dilemma that comes with supporting Kelly", who had previously been charged and acquitted for child pornography in the 2000s, and also complimented Gaga as a "savvy marketer" for releasing "two versions of a hit song with two different megastars".


title: Do What U Want

text: Gaga initially defended her collaboration with Kelly, saying that they both have had "sometimes [...] very untrue things written about" them.


title: Do What U Want

text: However, on January 10, 2019, Gaga spoke out after the release of the Lifetime series, "Surviving R. Kelly", which documented the sexual abuse allegations against Kelly. The singer confessed her regret about working with Kelly, explaining that her thinking was "explicitly twisted" and that she had "poor judgment" at that time. Gaga vowed to support women who had been through abuse and by the next day had the track removed from iTunes and all streaming services. Keith Caulfield from "Billboard" reported that even the remixes featuring Kelly were not playable on Spotify and other platforms, only the version featuring Aguilera was present. He theorized that since changes to digital music services take time, Gaga's management were working and removing the song from every medium gradually. Following Gaga's statement and just hours before the song's removal, sales of "Do What U Want" rose by 13,720% in the US to 2,000 music downloads, according to Nielsen SoundScan.


title: Brian Snitker

text: Brian Gerald Snitker (born October 17, 1955) is an American professional baseball coach and former player who is the manager of the Atlanta Braves of Major League Baseball (MLB). Snitker has been in the Braves organization in different roles since playing in their minor league organization from 1977 to 1980. He became their manager in 2016. In 2021, Snitker led the Braves to a World Series championship.


title: Brian Snitker

text: Snitker was born in Decatur, Illinois to Richard F. Snitker and Catherine (Collins) Snitker. He grew up in Macon, Illinois, where he attended Macon High School, and played as a right fielder for the 1971 baseball team. The team's surprising run to the state championship tournament was documented in Chris Ballard's 2012 book "One Shot at Forever: A Small Town, an Unlikely Coach, and a Magical Baseball Season".


title: Brian Snitker

text: As a youth, Snitker also played American Legion Baseball, an experience that he said in a 2018 interview, "Gave me the platform to be seen because there are always scouts at American Legion games. It had a big part on my development as a player and helping me get a jump on a professional career."


title: Brian Snitker

text: Snitker played two seasons of junior college ball for Lincoln College in 1975. He served as catcher for the Lynx baseball team where he was second team All-State. He finished his college career with two seasons at the University of New Orleans.


title: Brian Snitker

text: Following his injury-shortened junior season at the University of New Orleans, Snitker was drafted in the 25th round of the MLB draft by the Chicago Cubs. He opted to return to UNO for his senior season, and then signed a free-agent contract with the Braves organization in 1977. Snitker bounced around the minors, playing mostly catcher and some first base in the minor leagues, registering a slash line of .254/.316/.390 with 23 home runs in 780 at bats.


title: Brian Snitker

text: The Braves released Snitker in 1980, but he remained with the Braves as a roving instructor and was hired as a minor league manager for the Anderson Braves in 1982, where he led the team to its only winning season of its five-year stint in Anderson, before moving to the Durham Bulls the following season. He also managed the Macon Braves, Myrtle Beach Pelicans, Greenville Braves, Mississippi Braves and Richmond Braves, all in the Braves farm system. He was also the Atlanta Braves' bullpen coach in 1985 and 1988–1990. A few of his honors during his fifteen-year run as a minor league manager are winning two championships with the Myrtle Beach Pelicans in 1999 and 2000, and in those same years he won the Carolina League Manager of the Year.


title: Brian Snitker

text: From 2007 to 2013, Snitker served as the Braves' third-base coach. He was named to that position on October 3, 2006, replacing Fredi González, who left to join the Florida Marlins as manager. When González was named Braves manager for the 2011 season after Bobby Cox's retirement, Snitker was kept on as third base coach.


title: Brian Snitker

text: On May 17, 2016, Snitker was named Atlanta's interim manager, replacing Fredi González, who was fired. On October 11, 2016, the Braves named Snitker their full-time manager for the 2017 season. The team announced on October 5, 2017, that Snitker would return as manager for the 2018 season. On October 15, 2018, the Braves gave Snitker a two-year contract extension with a club option for 2021. On November 13, 2018, Snitker was awarded the National League Manager of the Year Award for the 2018 season. Snitker shared that year's "Sporting News" National League Manager of the Year Award with Craig Counsell.


title: Brian Snitker

text: In 2019, Snitker led the Braves to their second consecutive division title. Snitker and Counsell were named finalists for the National League Manager of the Year Award in 2019, losing to Mike Shildt. On October 23, 2019, Snitker won his second "Sporting News" National League Manager of the Year Award. In February 2020, Snitker agreed to another contract extension with the Braves, through the 2021 season. On September 22, 2020, he led them to a third straight NL East Division title as the Braves defeated the Marlins, 11–1. Snitker led the Braves to a 2–0 series sweep over the Cincinnati Reds in the National League Wild Card Series, which was their first postseason series victory since 2001. Although they reached the NLCS for the first time in 19 years, the Braves lost to the Los Angeles Dodgers in seven games despite holding a 3–1 lead in the series. The 2020 Braves managed to pitch four shutouts within the first five games of a postseason, joining the 1905 New York Giants as the only teams in Major League Baseball history to accomplish the feat.


title: Brian Snitker

text: On February 26, 2021, Snitker signed another extension to remain with the Braves through the 2023 season with a club option for 2024. In 2021, Snitker and the Braves went 88–73 during the regular season, defeated the Milwaukee Brewers in the National League Division Series, beat the Los Angeles Dodgers in the National League Championship Series, and won the World Series against the Houston Astros. He came in fourth in the voting for National League Manager of the Year, as the award was won by San Francisco Giants manager Gabe Kapler.


title: Brian Snitker

text: Snitker and his wife, Veronica (Ronnie), have two children. Snitker's father Richard died in 1993, and his mother Catherine died in March 2019.


title: Brian Snitker

text: In the 2011 Major League Baseball draft, Snitker's son Troy was drafted by the Braves in the 19th round and traded to the Pittsburgh Pirates in March 2013. After retiring as a player, Troy joined the Houston Astros organization as a coach. The Atlanta Braves faced the Houston Astros in the 2021 World Series, making the series a family affair for the Snitkers. Snitker and Troy, for the Braves and Astros, respectively, presented the lineup cards before Game Three of the World Series.


title: Smoky quartz

text: Smoky quartz is a brownish grey, translucent variety of quartz that ranges in clarity from almost complete transparency to an almost-opaque brownish-gray or black crystals. The smoky color results from free silicon formed from the silicon dioxide by natural irradiation.


title: Smoky quartz

text: Morion is a very dark brown to black opaque variety. Morion is the German, Danish, Spanish and Polish synonym for smoky quartz. The name is from a misreading of "mormorion" in Pliny the Elder.


title: Smoky quartz

text: Cairngorm is a variety of smoky quartz found in the Cairngorm Mountains of Scotland. It usually has a smoky yellow-brown colour, though some specimens are greyish-brown. It is used in Scottish jewellery and as a decoration on kilt pins and the handles of (anglicised: "sgian-dubhs" or "skean dhu"). The largest known cairngorm crystal is a specimen kept at Braemar Castle.


title: Smoky quartz

text: Smoky quartz is common and was not historically important, but in recent times it has become a popular gemstone, especially for jewelry.


title: Economics of fascism

text: Historians and other scholars disagree on the question of whether a specifically fascist type of economic policy can be said to exist. David Baker argues that there is an identifiable economic system in fascism that is distinct from those advocated by other ideologies, comprising essential characteristics that fascist nations shared. Payne, Paxton, Sternhell "et al." argue that while fascist economies share some similarities, there is no distinctive form of fascist economic organization. Gerald Feldman and Timothy Mason argue that fascism is distinguished by an absence of coherent economic ideology and an absence of serious economic thinking. They state that the decisions taken by fascist leaders cannot be explained within a logical economic framework.


title: Economics of fascism

text: Fascist movements tended to not have any fixed economic principles other than a general desire that the economy should help build a strong nation. As such, scholars argue that fascists had no economic ideology, but they did follow popular opinion, the interests of their donors and the necessities of World War II. In general, fascist governments exercised control over private property but they did not nationalize it. Scholars also noted that big business developed an increasingly close partnership with the Italian Fascist and German fascist governments. Business leaders supported the government's political and military goals. In exchange, the government pursued economic policies that maximized the profits of its business allies.


title: Economics of fascism

text: Fascism had a complex relationship with capitalism, both supporting and opposing different aspects of it at different times and in different countries. In general, fascists held an instrumental view of capitalism, regarding it as a tool that may be useful or not, depending on circumstances. Fascists aimed to promote what they considered the national interests of their countries; they supported the right to own private property and the profit motive because they believed that they were beneficial to the economic development of a nation, but they commonly sought to eliminate the autonomy of large-scale capitalism from the state. However, while other Western capitalist countries strove for increased state ownership of industry during the same period, Nazi Germany transferred public ownership into the private sector and handed over some public services to private organizations, mostly affiliated with the Nazi Party. According to historian Richard Overy, the Nazi war economy was a mixed economy that combined free markets with central planning and described the economy as being somewhere in between the command economy of the Soviet Union and the capitalist system of the United States. Others have described Nazi Germany as being corporatist, authoritarian capitalist, or totalitarian capitalist. Fascist Italy has been described as corporatist.


title: Economics of fascism

text: The first fascist movements arose in the last years of World War I. They were a form of radical nationalism carrying a promise of national rebirth; they blamed liberalism, socialism, and materialism for the decadence they perceived in society and culture, and they expressed an appreciation for violence and the role of leadership and willpower in shaping society.


title: Economics of fascism

text: One significant fascist economic belief was that prosperity would naturally follow once the nation has achieved a cultural and spiritual re-awakening. Different members of a fascist party would often make completely opposite statements about the economic policies they supported. Once in power, fascists usually adopted whatever economic program they believed to be most suitable for their political goals. Long-lasting fascist regimes (such as that of Benito Mussolini in Italy) made drastic changes to their economic policy from time to time.


title: Economics of fascism

text: Fascism rose to power by taking advantage of the political and economic climate of the 1920s and 1930s, particularly the deep polarization of some European societies (such as the Kingdom of Italy and Weimar Germany), which were democracies with elected parliaments dominated by supporters of "laissez-faire" capitalism and Marxist socialism, whose intense opposition to each other made it difficult for stable governments to be formed. Fascists used this situation as an argument against democracy, which they viewed as ineffective and weak. Fascist regimes generally came into existence in times of crisis, when economic elites, landowners and business owners feared that a revolution or uprising was imminent. Fascists allied themselves with the economic elites, promising to protect their social status and to suppress any potential socialist revolution. In exchange, the elites were asked to subordinate their interests to a broader nationalist project, thus fascist economic policies generally protect inequality and privilege while also featuring an important role for state intervention in the economy.


title: Economics of fascism

text: Fascist rhetoric often opposed both international socialism and free-market capitalism, arguing that their views represented a third position. They claimed to provide a realistic economic alternative that was neither "laissez-faire" capitalism nor communism. They favored corporatism and class collaboration, believing that the existence of inequality and social hierarchy was beneficial (contrary to the views of socialists), while also arguing that the state had a role in mediating relations between classes (contrary to the views of liberal capitalists). An important aspect of fascist economies was economic dirigism, meaning an economy where the government often subsidizes favorable companies and exerts strong directive influence over investment, as opposed to having a merely regulatory role. In general, fascist economies were based on private property and private initiative, but these were contingent upon service to the state.


title: Economics of fascism

text: Fascist governments encouraged the pursuit of private profit and offered many benefits to large businesses, but they demanded in return that all economic activity should serve the national interest. Historian Gaetano Salvemini argued in 1936 that fascism makes taxpayers responsible to private enterprise because "the State pays for the blunders of private enterprise. [...] Profit is private and individual. Loss is public and social". Stanley Payne argues that fascist movements defended the principle of private property because they held it to be "inherent to the freedom and spontaneity of the individual personality", but that they also aimed to eliminate the autonomy or in some cases the existence of large-scale capitalism. Jurgen Kuczynski characterizes a fascist economy as a type of "monopoly capitalism", which preserves the "fundamental traits of capitalist production", such as the fact that production is carried out for the market by privately owned firms which employ workers for a certain wage. He argues that fascism is "nothing but a particular form of government within capitalist society", which instead does feature a major role for the state as was also the case in some early capitalist societies of previous centuries.


title: Economics of fascism

text: Fascism operated from a social Darwinist view of human relations that idolizes the seemingly strongest individuals and represses the weaker individuals. In terms of economic practice, this meant promoting the interests of successful businessmen while destroying trade unions and other organizations of the proletarian. Fascist governments declared the trade union movement illegal and replaced it with labor organizations under the direct control of the government, which ensured that workers could not undertake any effective economic action. Membership in these labor organizations was compulsory, their leaders were appointed by the ruling party rather than elected by the members and they were presented as a new type of unions which would serve to harmonize the interests of workers and businesses. However, in practice they primarily served the interests of major business owners, who were able to lobby the ruling party to appoint the leaders they desired. In order to maintain and increase the profits of industry, fascist states eliminated the possibility of mass protest and then cut wages either directly or indirectly. Strikes were strictly banned and prison sentences could be given to employees who stopped working as a group.


title: Economics of fascism

text: Fascist governments in both Italy and Germany privatized state-owned enterprises at certain times. These privatizations were carried out in the early stages of both regimes (1922–1925 for Italy and 1934–1937 for Germany) and represented a reversal of the policies of the democratic governments which had preceded them. The democratic governments had brought a number of industries under state ownership and the fascists decided to return them to private ownership. In doing so, they went against the mainstream economic trends of their time, when most Western governments were increasing state ownership. Fascist privatization policies were driven by a desire to secure the support of wealthy industrialists as well as by the need to increase government revenues in order to balance budgets. Significantly, fascist governments were among the first to undertake large-scale privatizations in modern times.


title: Economics of fascism

text: In most cases, fascists discouraged or banned foreign trade, supporting protectionism. Fascists believed that too much international trade would make the national economy dependent on international capital and therefore vulnerable to international economic sanctions. Economic self-sufficiency, known as autarky, was a major goal of most fascist governments. Furthermore, fascism was highly militaristic and as such fascists often significantly increased military spending. Recruitment into the military was one of the main policies used by fascist governments to reduce unemployment.


title: Economics of fascism

text: Fascism had complicated relations with capitalism, which changed over time and differed between fascist states. Fascists have commonly sought to eliminate the autonomy of large-scale capitalism and relegate it to the state. However, fascism does support private property rights and the existence of a market economy and very wealthy individuals. Thus, fascist ideology included both pro-capitalist and anti-capitalist elements. As Sternhell et al. argue: The Fascist revolution sought to change the nature of the relationship between the individual and the collective without destroying the impetus of economic activity –– the profit motive, or its foundation –– private property, or its necessary framework –– the market economy. This was one aspect of the novelty of fascism; the Fascist revolution was supported by an economy determined by the law of markets.In practice, the economic policies of fascist governments were largely based on pragmatic goals rather than ideological principles, and they were mainly concerned with building a strong national economy, promoting autarky, and being able to support a major war effort.


title: Economics of fascism

text: The National Fascist Party of Benito Mussolini came to power in Italy in 1922 at the end of a period of social unrest. Working class activism was at a high point, militant trade unions were organizing increasingly frequent strikes to demand workers' rights and the Italian Socialist Party was making significant electoral gains. This caused widespread fear among Italian business circles and part of the middle class, who believed that a communist revolution was imminent. With the traditional right-wing parties appearing incapable of dealing with the situation, King Victor Emmanuel III turned to the young Fascist movement, which he considered to hold a hardline right-wing orientation by violently suppressing strikes and appointed Benito Mussolini prime minister. Soon after his rise to power, Mussolini defined his economic stance by saying: "The [Fascist] government will accord full freedom to private enterprise and will abandon all intervention in private economy".


title: Economics of fascism

text: Specifically, during the first four years of the new regime under a multiparty coalition government (1922–1925) the Fascists had a generally "laissez-faire" economic policy under the Finance Minister Alberto De Stefani, a former stalwart leader in the Center Party. Free competition was encouraged and De Stefani initially also reduced taxes, regulations and trade restrictions on the whole. De Stefani reduced government expenditure and balanced the budget. Some previous legislation introduced by the Socialists, such as the inheritance tax, was repealed. During this period, prosperity increased and by mid-1920s industrial production had passed its wartime peak, but this was accompanied with inflation. Overall, this was a period when Fascist economic policy mostly followed classical liberal lines, with the added features of attempting to stimulate domestic production (rather than foreign trade) and balancing the budget.


title: Economics of fascism

text: This was also a period when the Italian Fascist government undertook a large-scale privatization policy, which was among the first such policies in the modern world. Fascist Italy was the only country that sold state-owned enterprises and assets to private firms in the 1920s; the next country to adopt this approach was Nazi Germany in the 1930s. The Italian privatizations included the sale of most state-owned telephone networks and services as well as the former state monopoly on match sale. The state monopoly on life insurance was eliminated, the metal machinery firm Ansaldo was returned to private ownership (after having been nationalized by the previous government) and private firms were awarded concessions to set up tolls on motorways.


title: Economics of fascism

text: Nevertheless, "once Mussolini acquired a firmer hold of power [...] "laissez-faire" was progressively abandoned in favour of government intervention, free trade was replaced by protection[ism] and economic objectives were increasingly couched in exhortations and military terminology". De Stefani was forced to resign in 1925 because his policy of free trade was opposed by many Italian business leaders, who favored protectionism and subsidies to insulate domestic business from international competition. In 1926, Mussolini gave an impassioned speech demanding monetary policies to halt inflation and stabilize the Italian currency (the lira). He also took the final step of officially banning any kind of strike action. From 1927 to 1929, under the leadership of the new Finance Minister Alberto Beneduce, the Italian economy experienced a period of deflation, driven by the government's monetary policies.