title: Pattern recognition (psychology)

text: Pattern recognition of music can build and strengthen other skills, such as musical synchrony and attentional performance and musical notation and brain engagement. Even a few years of musical training enhances memory and attention levels. Scientists at University of Newcastle conducted a study on patients with severe acquired brain injuries (ABIs) and healthy participants, using popular music to examine music-evoked autobiographical memories (MEAMs). The participants were asked to record their familiarity with the songs, whether they liked them and what memories they evoked. The results showed that the ABI patients had the highest MEAMs, and all the participants had MEAMs of a person, people or life period that were generally positive. The participants completed the task by utilizing pattern recognition skills. Memory evocation caused the songs to sound more familiar and well-liked. This research can be beneficial to rehabilitating patients of autobiographical amnesia who do not have fundamental deficiency in autobiographical recall memory and intact pitch perception.


title: Pattern recognition (psychology)

text: In a study at University of California, Davis mapped the brain of participants while they listened to music. The results showed links between brain regions to autobiographical memories and emotions activated by familiar music. This study can explain the strong response of patients with Alzheimer’s disease to music. This research can help such patients with pattern recognition-enhancing tasks.


title: Pattern recognition (psychology)

text: The human tendency to see patterns that do not actually exist is called apophenia. Examples include the Man in the Moon, faces or figures in shadows, in clouds, and in patterns with no deliberate design, such as the swirls on a baked confection, and the perception of causal relationships between events which are, in fact, unrelated. Apophenia figures prominently in conspiracy theories, gambling, misinterpretation of statistics and scientific data, and some kinds of religious and paranormal experiences. Misperception of patterns in random data is called pareidolia. Recent researches in neurosciences and cognitive sciences suggest to understand 'false pattern recognition', in the paradigm of predictive coding.


title: Orfeo ed Euridice

text: The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's "The Magic Flute", Beethoven's "Fidelio", and Wagner's "Das Rheingold".


title: Orfeo ed Euridice

text: Though originally set to an Italian libretto, "Orfeo ed Euridice" owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title "Orphée et Eurydice", and several alterations were made in vocal casting and orchestration to suit French tastes.


title: Orfeo ed Euridice

text: Francesco Algarotti's "Essay on the Opera" (1755) was a major influence in the development of Gluck's reformist ideology. Algarotti proposed a heavily simplified model of "opera seria", with the drama pre-eminent, instead of the music or ballet or staging. The drama itself should "delight the eyes and ears, to rouse up and to affect the hearts of an audience, without the risk of sinning against reason or common sense". Algarotti's ideas influenced both Gluck and his librettist, Calzabigi. Calzabigi was himself a prominent advocate of reform, and he stated: "If Mr Gluck was the creator of dramatic music, he did not create it from nothing. I provided him with the material or the chaos, if you like. We therefore share the honour of that creation."


title: Orfeo ed Euridice

text: Other influences included the composer Niccolò Jommelli and his "maître de ballet" at Stuttgart, Jean-Georges Noverre. Noverre's "Lettres sur la danse" (1760) called for dramatic effect over acrobatic ostentation; Noverre was himself influenced by the operas of Rameau and the acting style of David Garrick. The considerable quantity of ballet in "Orfeo ed Euridice" is thought to be due to his influence. Jommelli himself was noted for his blending of all aspects of the production: ballet, staging, and audience.


title: Orfeo ed Euridice

text: "The first lines of arias, choruses, etc., are given in Italian (1762 version) and French (1774 version)."


title: Orfeo ed Euridice

text: A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name (Chorus and Orfeo: "Ah, se intorno"/"Ah! Dans ce bois"). Orfeo sends the others away and sings of his grief in the aria "Chiamo il mio ben"/"Objet de mon amour", the three verses of which are preceded by expressive recitatives. This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria. Amore (Cupid) appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth (1774 only: aria by Amour, "Si les doux accords"). As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria "Gli sguardi trattieni"/"Soumis au silence". Orfeo resolves to take on the quest. In the 1774 version only he delivers an ariette ("L'espoir renaît dans mon âme") in the older, showier, Italian style, originally composed for an occasional entertainment, "Il Parnaso confuso" (1765), and subsequently re-used in another one, "Le feste d'Apollo" (1769).


title: Orfeo ed Euridice

text: In a rocky landscape, the Furies refuse to admit Orfeo to the Underworld, and sing of Cerberus, its canine guardian ("Chi mai dell’Erebo"/"Quel est l'audacieux"). When Orfeo, accompanied by his lyre (represented in the opera by a harp), begs for pity in the aria "Deh placatevi con me"/"Laissez-vous toucher", he is at first interrupted by cries of "No!"/"Non!" from the Furies, but they are eventually softened by the sweetness of his singing in the arias "Mille pene"/"Ah! La flamme" and "Men tiranne"/"La tendresse", and let him in ("Ah, quale incognito affetto"/"Quels chants doux"). In the 1774 version, the scene ends with the "Dance of the Furies" (No. 28).


title: Orfeo ed Euridice

text: The second scene opens in Elysium. The brief ballet of 1762 became the four-movement "Dance of the Blessed Spirits" (with a prominent part for solo flute) in 1774. This is followed (1774 only) by a solo which celebrates happiness in eternal bliss ("Cet asile"), sung by either an unnamed Spirit or Euridice, and repeated by the chorus. Orfeo arrives and marvels at the purity of the air in an arioso ("Che puro ciel"/"Quel nouveau ciel"). But he finds no solace in the beauty of the surroundings, for Euridice is not yet with him. He implores the spirits to bring her to him, which they do (Chorus: "Torna, o bella"/"Près du tendre objet").


title: Orfeo ed Euridice

text: On the way out of Hades, Euridice is delighted to be returning to earth, but Orfeo, remembering the condition related by Amore in act 1, lets go of her hand and refusing to look at her, does not explain anything to her. She does not understand his action and reproaches him, but he must suffer in silence (Duet: "Vieni, appaga il tuo consorte"/"Viens, suis un époux"). Euridice takes this to be a sign that he no longer loves her, and refuses to continue, concluding that death would be preferable. She sings of her grief at Orfeo's supposed infidelity in the aria "Che fiero momento"/"Fortune ennemie" (in 1774, there is a brief duet before the reprise). Unable to take any more, Orfeo turns and looks at Euridice; again, she dies. Orfeo sings of his grief in the famous aria "Che farò senza Euridice?"/"J’ai perdu mon Eurydice" ("What shall I do without Euridice?"/"I have lost my Euridice") Orfeo decides he will kill himself to join Euridice in Hades, but Amore returns to stop him (1774 only: Trio: "Tendre Amour"). In reward for Orfeo's continued love, Amore returns Euridice to life, and she and Orfeo are reunited. After a four-movement ballet, all sing in praise of Amore ("Trionfi Amore"). In the 1774 version, the chorus ("L’Amour triomphe") precedes the ballet, to which Gluck had added three extra movements.


title: Orfeo ed Euridice

text: The opera was first performed in Vienna at the Burgtheater on 5 October 1762, for the name day celebrations of the Emperor Francis I. The production was supervised by the reformist theatre administrator, Count Giacomo Durazzo. Choreography was by Gasparo Angiolini, and set designs were by Giovanni Maria Quaglio the Elder, both leading members of their fields. The first Orfeo was the famous castrato Gaetano Guadagni. "Orfeo" was revived in Vienna during the following year, but then not performed until 1769. For the performances that took place in London in 1770, Guadagni sang the role of Orpheus, but little of the music bore any relation to Gluck's original, with J. C. Bach – "the English Bach" – providing most of the new music. Haydn conducted a performance of the Italian version at Eszterháza in 1776.


title: Orfeo ed Euridice

text: During the early 19th century, Adolphe Nourrit became particularly well known for his performances of Orpheus at the Paris Opera. In 1854 Franz Liszt conducted the work at Weimar, composing a symphonic poem of his own to replace Gluck's original overture. Typically during the 19th century and for most of the 20th century, the role of "Orfeo" was sung by a female contralto, and noted interpreters of the role from this time include Dame Clara Butt and Kathleen Ferrier, and the mezzo-sopranos Rita Gorr, Marilyn Horne, Dame Janet Baker, Susanne Marsee, and Risë Stevens (at the Metropolitan Opera). Among conductors, Arturo Toscanini was a notable proponent of the opera. His November 1952 radio broadcast of act 2 was eventually released on LP and CD.


title: Orfeo ed Euridice

text: In 2017 the Lyric Opera of Chicago presented a new production by choreographer John Neumeier which fuses the musical and ballet elements of the opera and features the Joffrey Ballet. The production uses the 1774 "Paris version" (albeit with a rearranged finale), with the part of Orfeo being sung by a tenor. The main characters are presented in a modern setting with Orfeo as a choreographer, Euridice as his principal dancer, and Amour as his assistant. The same production was staged by the Los Angeles Opera in 2018 and by the Staatsoper Hamburg and the Festspielhaus Baden-Baden in 2019.


title: Orfeo ed Euridice

text: In 1769 for "Le feste d'Apollo" at Parma which was conducted by the composer, Gluck transposed part of the role of Orfeo up for the soprano castrato Giuseppe Millico, maintaining a libretto in Italian. After not having been performed for a very long time, this version was finally given its first modern revival on 13 November 2014 at the "" in Herne, with a countertenor in the title role.


title: Orfeo ed Euridice

text: Gluck revised the score again for a production by the Paris Opera premiering on 2 August 1774 at the second Salle du Palais-Royal. Renamed "Orphée et Eurydice", this version had a French libretto by Pierre-Louis Moline, which expanded as well as translated Calzabigi's original. Gluck composed additional music and made other adjustments such as shifting Orpheus down to a high tenor, or "haute-contre", from castrato, to suit the convention in French opera for heroic characters (the French almost never used castratos). The opera now had more ballet sequences, conforming to Paris taste, including the long "Dance of the Furies" originally written for Gluck's ballet "Don Juan" and the "Dance of the Blessed Spirits" for flute and strings. (By 1825 operatic castrati themselves had virtually vanished, and performances of the original version for castrato became increasingly rare. The modern practice of approximating castrati by using countertenors as replacements dates back only to 1950.)


title: Orfeo ed Euridice

text: From 1784 to 1859 the Parisian "" (concert pitch) rose steadily from 820 to 896 cycles per second, thus Gluck's French version for "haute-contre" became increasingly impractical. When Adolphe Nourrit sang the role at the Opéra in 1824 his music was altered. Giacomo Meyerbeer suggested to the French mezzo-soprano Pauline Viardot that she should perform the role of Orfeo. The composer Hector Berlioz was a close friend of Viardot and the leading expert in France on the music of Gluck. He knew the score of "the largely forgotten Italian original as thoroughly as he knew the French", and agreed to prepare a version of the opera – in four acts – with Viardot's voice in mind: thus, he did not simply "return to the original contralto version, but rearranged and retransposed the Paris version into keys more suitable for a mezzo". In his adaptation, Berlioz used the key scheme of the 1762 Vienna score while incorporating much of the additional music of the 1774 Paris score. He returned to the Italian version only when he considered it to be superior either in terms of music or in terms of the drama. He also restored some of the more subtle orchestration from the Italian version and resisted proposals by Viardot and the theatre's director Léon Carvalho to modernize the orchestration. In the end Camille Saint-Saëns, who was acting as Berlioz's assistant on the project, did some of the minor rewriting which Berlioz had declined to do.


title: Orfeo ed Euridice

text: The Berlioz version was first presented at the Théâtre Lyrique on 18 November 1859 with Viardot as Orphée, Marie Sasse as Eurydice, Marie Ernestine Marimon as L'Amour, Mlle Moreau as L'Ombre, and Adolphe Deloffre as the conductor. The sets were designed by Charles-Antoine Cambon and Joseph Thierry, and the choreography was by Lucien Petipa. (The seventeen-year-old Jules Massenet was the orchestra's timpanist. During the rehearsals Berlioz had complimented the young player on the accuracy of his tuning.) The production was a popular and critical success, filling the house every night, and was given a total of 138 times by the company.


title: Orfeo ed Euridice

text: By 1860 most theaters in Paris had lowered concert pitch to "diapason normal". This was not as low as in Gluck's time: "a Commission had lately recommended that the pitch in France should be lowered from an A of 896 to 870 vibrations." Still this was apparently enough that later in the 19th century the role of Orpheus came to be sung almost as frequently by a tenor as by a contralto.


title: Orfeo ed Euridice

text: Berlioz's version is one of many which combine the Italian and French scores, although it is the most influential and well regarded. Since about 1870 three-act adaptations of the Berlioz score, translating it back into Italian and restoring much of the music from the 1774 French version which Berlioz had left out, were common. An 1889 edition for contralto, published by Ricordi, became the most popular. On occasion the role of Orfeo has even been transposed down an octave for a baritone to sing. Dietrich Fischer-Dieskau and Hermann Prey are two notable baritones who have performed the role in Germany. Fischer-Dieskau recorded the opera several times; his recordings are still available commercially.


title: Orfeo ed Euridice

text: The opera was the first by Gluck showing signs of his ambition to reform "opera seria". Self-contained arias and choruses make way for shorter pieces strung together to make larger structural units. Da capo arias are notable by their absence; Gluck instead uses strophic form, notably in act one's "Chiamo il mio ben così", where each verse is interposed with dramatic recitative, – that is, "stromentato", where the voice is accompanied by part or all of the orchestra – and rondo form, such as in act three's famous "Che farò senza Euridice?". Also absent is traditional "secco" recitative, where the voice is accompanied only by the basso continuo. On the whole, old Italian operatic conventions are disregarded in favour of giving the action dramatic impetus. The complexity of the storyline is greatly reduced by eliminating subplots. Gluck was influenced by the example of French "tragédies en musique", particularly those of Rameau. Like them, the opera contains a large number of expressive dances, extensive use of the chorus and accompanied recitative. The "coup de théâtre" of opening the drama with a chorus mourning one of the main characters is very similar to that used in Rameau's "Castor et Pollux" (1737). Other elements do not follow Gluck's subsequent reforms; for instance, the brisk, cheerful overture does not reflect the action to come. The role of Orfeo calls for an especially gifted actor, so that the strophic "Chiamo il mio ben così" does not become dull, and so that tragic import can be given both to this aria and to "Che farò senza Euridice?", both of which are based on harmonies that are not obviously mournful in nature. The first Orfeo, Gaetano Guadagni, was reputedly a fine actor who had certainly taken lessons while in London from the renowned Shakespearian actor David Garrick. Guadagni was apparently also able to project a moving and emotive tone without raising his voice. Indeed, Gluck faced criticism of "Che farò senza Euridice?" on the grounds that it was emotionally uninvolved; he responded by pointing out the absolute necessity of fine execution of the aria: "make the slightest change, either in the movement or in the turn of expression, and it will become a saltarello for marionettes".


title: Orfeo ed Euridice

text: Gluck's reforms, which began with "Orfeo ed Euridice", have had significant influence throughout operatic history. Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber, with Wagner's "Gesamtkunstwerk" vision especially influenced by that of Gluck. Old-style "opera seria" and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and "Orfeo" in particular. In "Orfeo ed Euridice" the orchestra is far more predominant than in earlier opera, most notably in Orfeo's "arioso" "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn. There is also accompaniment from the strings (playing in triplets) and the continuo in the most complex orchestration that Gluck ever wrote.


title: Orfeo ed Euridice

text: Gluck made a number of changes to the orchestration of "Orfeo" when adapting it from the original Italian version to the French version of 1774. Cornetts and "chalumeaux" are replaced by more common and modern oboes and clarinets, while the part played by trombones considerably decreases, possibly due to a lack of technical ability on the part of the French trombonists. Cornetts were instruments that were typically used for church music, and "chalumeaux" were predominant only in chamber music: both cornetts and "chalumeaux" were unpopular in France in 1774. In many ways the change from "chalumeau" to oboe corresponds to that from castrato to high tenor. Neither castrato nor "chalumeau" were to survive.


title: Orfeo ed Euridice

text: In both the Italian and French version Orfeo's lyre is represented by the harp, and it was this use of the instrument in 1774 that it is usually thought introduced the harp to French orchestras. Each verse of the strophic "Chiamo il mio ben cosi" is accompanied by different solo instruments. In Vienna these were flute, horns, and English horns, but in 1774 Gluck was required to change this orchestration to that of a single horn and two clarinets, again replacing uncommon instruments with those in far more widespread usage. During the aria "Chiamo il mio ben cosi" and the interspersing recitatives Gluck added another offstage orchestra consisting of strings and "chalumeaux", in order to provide an echo effect.


title: Orfeo ed Euridice

text: For the original 1762 Italian version, "Orfeo ed Euridice, azione teatrale" in three acts, the libretto was published by van Ghelen (Vienna, 1762) and the full score by Duchesne (Paris, 1764). Many 18th-century manuscript copies of the full score may be found in libraries, including the Gesellschaft der Musikfreunde in Vienna, the Österreichische Nationalbibliothek in Vienna, the Bibliothèque Nationale (BNF) in Paris, the Bibliothèque-Musée de l'Opéra in Paris, and the British Library in London. A critical edition, edited by Anna Amalie Abert and Ludwig Finscher, was published in 1963 as part of Bärenreiter's "" ("Complete Works").


title: Orfeo ed Euridice

text: For the 1774 French version, "Orphée et Eurydice, tragédie opéra" in three acts, the libretto was published by Delormel (Paris, 1774) and the full score by Lemarchand (Paris, 1774). A critical edition, edited by musicologist Ludwig Finscher, was published in 1967 as part of Bärenreiter's "Sämtliche Werke". Substantial fragments of autograph scores are in the Bibliothèque Nationale in Paris and the Bibliothèque-Musée de l'Opéra in Paris.


title: Orfeo ed Euridice

text: There have been numerous recordings of the different versions, especially of the Berlioz adaptation featuring a female Orfeo. The British contralto Kathleen Ferrier and American mezzo-soprano Marilyn Horne were especially notable interpreters. In recent years, recordings and stage productions of the Vienna version of the opera have featured countertenors in the role of Orpheus. Countertenors Derek Lee Ragin, Jochen Kowalski, René Jacobs, James Bowman, and Michael Chance have recorded "Orfeo ed Euridice". The role of Orfeo has also been performed and recorded by tenors and even baritones such as Dietrich Fischer-Dieskau, who has made three recordings of the role. Until recent times, most recordings of all versions were cut or altered in some way.


title: Orfeo ed Euridice

text: Recordings of the French version for tenor are still relatively rare due to a lack of genuine "haute-contres": there is one from the mid-1950s starring Léopold Simoneau opposite his wife Pierrette Alarie, and Nicolai Gedda also recorded the role in 1955. (Simoneau's version has been available on CD, although not at present, but Gedda's recording had its premiere CD release in 2009.) In 2002 haute-contre Jean-Paul Fouchécourt added his version, while Marc Minkowski brought out a period instrument performance with Richard Croft in the title role in 2004. In April 2010, a concert performance recorded in Madrid two years earlier by "tenore di grazia" Juan Diego Flórez, was finally released. There is also a DVD of the 1993 Australian Opera production, directed by Stefanos Lazaridis, with Australian "haute-contre" David Hobson as Orphée.


title: Orfeo ed Euridice

text: In 2018 Erato released a recording using the score as performed in Italian at the Teatro San Carlo in Naples in 1774. The theatre had adapted the score to include additions by Johann Christian Bach and variations for soprano coloratura. In this recording Philippe Jaroussky sings Orfeo and Amanda Forsythe is Euridice.


title: Diamond Rio

text: Diamond Rio is an American country music band. The band was founded in 1982 as an attraction for the Opryland USA theme park in Nashville, Tennessee, and was originally known as the Grizzly River Boys, then the Tennessee River Boys. It was founded by Matt Davenport, Danny Gregg, and Ty Herndon, the last of whom became a solo artist in the mid-1990s. After undergoing several membership changes in its initial years, the band has consisted of the same six members since 1989: Marty Roe (lead vocals, rhythm guitar), Gene Johnson (mandolin, guitar, fiddle, tenor vocals), Jimmy Olander (lead guitar, banjo), Brian Prout (drums), Dan Truman (keyboards), and Dana Williams (bass guitar, baritone vocals).


title: Diamond Rio

text: After assuming the name Diamond Rio, the band was signed to Arista Nashville and debuted in 1991 with the single "Meet in the Middle", which made them the first band ever to send a debut single to No. 1 on the "Billboard" Hot Country Songs charts. The band charted 32 more singles between then and 2006, including four more that reached No. 1: "How Your Love Makes Me Feel" (1997), "One More Day" (2001), "Beautiful Mess" (2002), and "I Believe" (2003).


title: Diamond Rio

text: Diamond Rio has recorded nine studio albums, four Greatest Hits compilations, and an album of Christmas music. Three of the band's albums have achieved RIAA platinum certification in the United States. In addition, Diamond Rio has received four Group of the Year awards from the Country Music Association, two Top Vocal Group awards from the Academy of Country Music, and one Grammy Award. The band is known for its vocal harmonies, varied instrumentation, and near-exclusive use of only its own band members on recordings instead of session musicians. Their sound was originally defined by mainstream country, bluegrass, and rock influences, but later albums drew more influence from Christian country music and country pop.


title: Diamond Rio

text: In 1982, Matt Davenport and Danny Gregg founded a band at Opryland USA, a former country music-based amusement park in Nashville, Tennessee. The band was first named the Grizzly River Boys, after a new river rafting ride at the park, but quickly changed names to the Tennessee River Boys due to its members disliking the original name. Originally intended to promote the park through a one-time television special, the band proved popular enough that it became one of many regular performers there. Davenport, Gregg, and Ty Herndon alternated as lead vocalists, with Davenport also playing bass guitar and Gregg on rhythm guitar; completing the lineup were Larry Beard (lead guitar, fiddle, banjo), Mel Deal (steel guitar), Al DeLeonibus (piano), and Ed Mummert (drums). The group "swapped lead voices, told jokes, and balanced old-school country concert shtick with a contemporary sound". Herndon left the group in 1983 to compete on the talent show "Star Search", and became a solo artist for Epic Records between 1995 and the early 2000s. Herndon was temporarily replaced by Anthony Crawford and then Virgil True before his role was taken over by Marty Roe, who had originally toured nationally with the Christian band Windsong, and worked in the park by doing impersonations of Larry Gatlin. Following Herndon's departure, DeLonibus and Mummert quit as well, with Dan Truman (who had previously played in Brigham Young University's Young Ambassadors) and Jimmy "J. J." Whiteside taking their places. Beard quit shortly afterward and ultimately became a session musician, and former Mel McDaniel sideman Jimmy Olander took his place. The band, through the assistance of Bill Anderson's drummer Len "Snuffy" Miller, submitted demos to various Nashville record labels with no success.


title: Diamond Rio

text: By 1985, the Tennessee River Boys had quit working at Opryland. According to Roe, while the band enjoyed playing at the park, they also felt that their status as a theme park attraction discredited them as "real musicians" to those in the Nashville community. For the next few years, they played at small venues, such as high school auditoriums, and usually worked no more than four concerts a month. They also competed on "Star Search", but were eliminated in the first round. Frustrated by the sporadic touring schedules, Whiteside quit the group and was replaced by Brian Prout, who previously performed in Hot Walker Band and Heartbreak Mountain. Around 1986, Deal and Gregg both left the group, the latter due to health complications from a serious illness he had developed as a teenager. They initially chose to operate as a quintet, with Davenport as the sole lead vocalist and Roe and Prout singing harmony; when this arrangement proved unsuccessful, they found mandolinist Gene Johnson, a former member of the bluegrass group Eddie Adcock's IInd Generation, which Olander was a fan of as a child. Johnson debuted at a concert in Clewiston, Florida, in May 1987. Also at this point, the band members supplemented their incomes with outside jobs: Johnson continued to work in carpentry, Olander and Roe mowed lawns, and Prout drove tour buses.


title: Diamond Rio

text: In 1988, the band caught the attention of Keith Stegall, a singer-songwriter who would later become known primarily for his work as Alan Jackson's record producer. Stegall produced demos for the Tennessee River Boys, but noted that Davenport could not record the lead vocal and bass parts at the same time, as they would be difficult to separate in the control room. As a result, Stegall had Roe sing a "scratch" vocal track live with the other musicians, which would then be replaced by Davenport's voice in post-production. Upon hearing Roe sing the "scratch" track, Stegall successfully convinced the other members that Roe should be the lead vocalist instead. Due to his discomfort outside the lead role and his wife's dissatisfaction with his career, Davenport quit in late 1988, becoming the last founding member to leave. The group quickly had to find a replacement, as they were scheduled to appear on the talk show "Nashville Now" on January 23, 1989. Alan LeBeouf, who had just left Baillie & the Boys, expressed interest in replacing Davenport but ultimately declined due to other commitments. They finally chose Dana Williams, a nephew of the bluegrass group Osborne Brothers and former sideman for Jimmy C. Newman, who had been a fan of the Tennessee River Boys since Herndon was a member.


title: Diamond Rio

text: Williams officially joined before the "Nashville Now" appearance, but the band still did not have a record deal at this point. They continued to record demos in Prout's garage with assistance from Monty Powell, who had previously hired Roe and Olander for recording jingles, but wanted to produce commercial music. Powell was a friend of audio engineer Mike Clute, who would later become one of the band's producers, and songwriters Tim DuBois and Van Stephenson. DuBois was talking with record executive Clive Davis about creating a country music branch of Arista Records called Arista Nashville; Stephenson would later sign to the label in 1993 as a member of Blackhawk. Initially, DuBois was hesitant about signing the Tennessee River Boys, as he felt that there were too many popular bands in country music, and he was about to sign both Asleep at the Wheel and Exile. He expressed interest in signing Roe as a solo artist, but at Powell's insistence, he agreed to see the band open for George Jones at a May 1989 concert, and officially signed them to Arista Nashville in 1990. The band members also decided to choose a new name, as they thought that Tennessee River Boys sounded more suitable for a bluegrass or gospel group than a country one. Among the names they had chosen were Kilroy and T-Town Mavericks, the latter of which was rejected by Arista executives. Prout suggested Diamond Rio, after the truck manufacturing company Diamond Reo Trucks. The name had been previously rejected by another country band, Shenandoah, whose lead singer Marty Raybon (also a former member of Heartbreak Mountain) gave Prout permission to use the name even though Shenandoah "conducted business" under that name.


title: Diamond Rio

text: Shortly after the band received its record deal, the band underwent a series of misfortunes when Olander, Johnson, and Williams came down with health problems. On August 9, 1990, Johnson was injured in a carpentry accident in Arkansas a day before his 41st birthday, severely cutting his left thumb. Robert Bolin substituted for Johnson during the band's tour in Brazil with Kevin Welch and Jann Browne. On September 6, four weeks after Johnson's accident, Williams was water skiing with his family in Cookeville, Tennessee, as his boat came forward at high speed when his wife was picking him up. The propeller slashed Williams' legs, and he was rushed to a hospital for his injuries. Brian Helgos and Paul Gregg (Danny Gregg's brother, and a member of Restless Heart) substituted for Williams. Meanwhile, Olander discovered that he had a lemon-sized tumor that was pressing against his esophagus. The tumor was never successfully diagnosed, although it ultimately vanished.


title: Diamond Rio

text: After Olander, Williams, and Johnson had recovered, the six musicians set to work on their debut album. In doing so, Johnson soon discovered that the injuries to his hands had altered his dexterity on the mandolin, and threatened to walk away after Powell offhandedly remarked that he would have Roe dub in his own tenor harmonies instead of having Johnson sing them. The band also had commitments to finish as the Tennessee River Boys, to the point that they occasionally had to promote themselves under both names in the same day.


title: Diamond Rio

text: Arista Nashville released Diamond Rio's debut single, "Meet in the Middle", on February 6, 1991. As the lead single to their self-titled debut album, "Meet in the Middle" went on to spend two weeks at No. 1 on the "Billboard" Hot Country Songs charts, making Diamond Rio the first country music group ever to send its debut single to the top of that chart. Following its release, the band performed its first official concert as Diamond Rio on May 4, 1991. They shared the bill with Wild Rose, whose membership included Prout's then-wife, Nancy Given Prout. Released three weeks later with DuBois and Powell as producers, "Diamond Rio" was met with positive critical reception from critics such as Allmusic, "Chicago Tribune", and "Entertainment Weekly", which praised the band's vocal harmonies, instrumentation, and song choices.


title: Diamond Rio

text: Four more singles were released from "Diamond Rio", all reaching top 10 on the "Billboard" country singles charts: "Mirror, Mirror", "Mama Don't Forget to Pray for Me", "Norma Jean Riley" (which was previously the B-side of "Mama Don't Forget to Pray for Me"), and "Nowhere Bound", the latter two of which were co-written by Powell. Roe and Prout had found both "Mama Don't Forget to Pray for Me" and "Mirror, Mirror" by attending shows at the Bluebird Cafe in Nashville, a popular spot for performances by aspiring songwriters. Truman and an employee of Arista had found "Norma Jean Riley", which was originally titled "Pretty Little Lady" until DuBois remarked that the lady in the song should have a name: "It could be 'Norma Jean Riley', anything!" Johnson spoke positively about "Mama Don't Forget to Pray for Me", which was written and originally recorded by Larry Cordle, and the impact that it had on fans. He recalled a letter sent to him by a female fan who had run away from home and chose to return after hearing that song, and said that "We already didn't wanna do the drinkin' songs and stuff ... if you're gonna touch someone, touch them with something that's positive."


title: Diamond Rio

text: "Diamond Rio" was later certified platinum by the Recording Industry Association of America (RIAA) for shipping one million copies in the United States. In addition, the band won the Academy of Country Music's Top Vocal Group for 1992, an award they would receive again in 1993, 1994, and 1997. They were also nominated for Top New Vocal Duet or Group by the same association in 1992. A cut from the album, the instrumental "Poultry Promenade", gave the band its first Grammy Award nomination.


title: Diamond Rio

text: "Close to the Edge", the group's second album, was released in 1992. Certified gold by the RIAA for U.S. shipments of 500,000 copies, the album produced the Top 5 country hits "In a Week or Two" and "Oh Me, Oh My, Sweet Baby", the latter of which was originally recorded by George Strait on his 1989 album "Beyond the Blue Neon". The next singles, "This Romeo Ain't Got Julie Yet" and "Sawmill Road", both failed to reach top 10. Roe considered "Close to the Edge" a weaker album than their debut because the band only had one month to pick the songs for it; in a 1994 interview with "New Country" magazine, he stated: "There aren't ten great songs out there for everybody, certainly not that you could find in a 30-day period of time." Olander was also critical of the novelty factor of "This Romeo Ain't Got Julie Yet", which he co-wrote, saying that it was "by far not my favorite Diamond Rio recording – but that's at the time when I'm thinkin', 'Oh, this is easy, let's write this. It's kinda cute.'" Brian Mansfield of Allmusic was also critical of the song, but described the rest of the album with favor, saying that its "strongest material emphasizes the virtues of God, family and honest living – traditional stuff, no doubt influenced by the members' bluegrass background", while Jack Hurst of the "Chicago Tribune" thought that "In a Week or Two" and "Sawmill Road", "which is about the diverse trails some rural schoolmates follow in adulthood", were the strongest tracks.


title: Diamond Rio

text: In 1994, the band released its third album, "Love a Little Stronger". The album was recorded on a more relaxed schedule than the previous album; as a result, they did not have a single on the charts for three months after "Sawmill Road" fell off the charts. For this album, Clute joined DuBois and Powell as co-producer, a role that he has held on all of the band's subsequent releases. The title track (co-written by Billy Crittenden, later a member of the vocal group 4 Runner), reached a peak of No. 2 on the "Billboard" country singles charts, and No. 1 on the country singles chart published by "Radio & Records". It was followed by the No. 9 hit "Night Is Fallin' in My Heart", originally recorded by J. P. Pennington in 1991. Next were the Top 20 hits "Bubba Hyde" and "Finish What We Started". Because the band had taken a longer period of time to choose songs for "Love a Little Stronger", they considered it a superior album to its predecessor; Mansfield shared a similar opinion in his review of the album, stating that "Spurred by the relatively lackluster performance of "Close to the Edge" ... Diamond Rio explored the musical possibilities of its talents rather than digging for easy commercial success." Bob Cannon of "New Country" was more mixed, saying that "the production on "Love a Little Stronger" is so sparkling clean it could've been recorded in an operating room." This album also earned the band its second platinum certification.


title: Diamond Rio

text: "IV", Diamond Rio's fourth album, was released in 1996. It was the "first country release recorded entirely on a digital console"; specifically, a Fairlight console which recorded the album directly to a hard drive. Produced by DuBois, Clute, and the band itself, it was also their first album not to have Powell as a co-producer. According to DuBois, Powell left this role on good terms, as he "saw a need to go in a certain direction, and the guys saw a need to go in a different direction." Roe thought that the album benefited from a new label policy that allowed label personnel to respond more quickly to pitches from songwriters. He recalled to "Billboard" that the label's head of artists and repertoire (A&R) recommended the lead single "Walkin' Away" while co-writer Craig Wiseman (who co-wrote "Bubba Hyde") was still recording its demo, and the band was able to record the song in the same day that the demo was completed. "Walkin' Away" peaked at No. 2 on the country charts in early 1996. Three more singles were released from the album: the top 10 hits "That's What I Get for Lovin' You" and "Holdin'" (also written by Wiseman), with the top 20 "It's All in Your Head", co-written by Van Stephenson, in between. The music video for "It's All in Your Head" featured Martin Sheen and Ramon Estevez, the former playing the part of a snake handling preacher.


title: Diamond Rio

text: A year after "IV", Diamond Rio released its first "Greatest Hits" package, which included eleven of the singles from their first four albums, plus the album cut "She Misses Him on Sunday the Most" from "IV" and two new songs: "How Your Love Makes Me Feel" and "Imagine That". "How Your Love Makes Me Feel" became the band's second No 1 on Hot Country Songs, as well as their longest-lasting at three weeks, making it the biggest chart hit for any country group that year. "Imagine That", co-written by Bryan White, reached Top 5 by early 1998. "Greatest Hits" became the band's third platinum album.


title: Diamond Rio

text: Diamond Rio was inducted into the Grand Ole Opry in April 1998, becoming the first band in fourteen years to be inducted. Later in the year, the band released its fifth studio album, "Unbelievable". Contributing songwriters to the album included Paul Williams, former NRBQ member Al Anderson, Robert John "Mutt" Lange, and Huey Lewis. The lead single was the ballad "You're Gone", which reached top 5 on the country charts. After it was the title track, which peaked at No. 2 on the country charts and became the band's first entry on the Billboard Hot 100, where it reached No. 36. The third and final single was "I Know How the River Feels", originally recorded on Herndon's 1996 album "Living in a Moment" and later released as a single by McAlyster in 2000. Diamond Rio's rendition peaked at 33 on the country charts, their lowest chart peak at the time.


title: Diamond Rio

text: In 1998, Prout began dating Mary Bono, the widow of singer and politician Sonny Bono. The two became engaged but later ended their relationship in 2001. On December 28 of the same year, Prout married singer-songwriter Stephanie Bentley, best known for co-writing Faith Hill's 1999 single "Breathe".


title: Diamond Rio

text: Diamond Rio released its twenty-third official chart single, "Stuff", in May 2000. The song was originally intended to be the title track to their sixth studio album, which would have been released on August 22 of the same year, but according to Truman, "Certain radio stations, for some reason, didn't want to play 'Stuff'." As a result, "Stuff" was withdrawn after peaking at number 36 on the country charts, and the album was delayed until February 2001. Following this song's failure, the band released "One More Day" later in 2000. The song was written by Steven Dale Jones and Bobby Tomberlin, the same two writers who wrote "She Misses Him on Sunday the Most". "One More Day" went on to spend two non-consecutive weeks at No. 1 on the country charts, with the album, by this point re-titled "One More Day", having its release date moved up to February 6, 2001. The song also peaked at No. 29 on the Billboard Hot 100, in addition to reaching top 10 on the Adult Contemporary charts (the band's first appearance on that chart). Regarding the song's popularity among fans who have used the song to cope with personal losses, Prout said, "Actually, 'One More Day' was recorded as a love song. Then one of Oklahoma State's basketball team's plane went down, then in early 2001 we lost Dale <nowiki>[Earnhardt]</nowiki> in Daytona, and then of course, 9/11 came after that. And every event of that year, the song took on a different meaning to different people ... We hear quite often in e-mails and people talking to us in shows. If you're asking how it makes us feel? Pretty darn special ... to know that you had that impact on someone's life and helped in a tough time of healing and hope."


title: Diamond Rio

text: The third and fourth singles from "One More Day" were less successful: "Sweet Summer" made Top 20, while "That's Just That" failed to make Top 40. The album featured a guest vocal from Chely Wright on "I'm Trying", making for the band's first ever duet with another artist on one of their own albums. It also included a cover of "Hearts Against the Wind", originally recorded by J. D. Souther and Linda Ronstadt for the "Urban Cowboy" soundtrack. Chris Neal of "Country Weekly" thought that the album showed a greater musical variety than its predecessors, specifically noting the "spoken-word verses" of "Here I Go Fallin'", the "Hearts Against the Wind" cover, and the Wright duet as standout tracks. Rick Cohoon of Allmusic cited the album's singles and the Wright duet as the album's best tracks, adding that "If any flaw can be found here it would be the band's choice not to experiment with new sound, but then again, why tamper with a good thing?"


title: Diamond Rio

text: Starting in 2001, the other members had noticed that Roe was having difficulty maintaining proper pitch in concert. Although they did not want to confront him about it for fear of "bruis[ing] his ego", they eventually convinced Roe of his problems by listening to concert recordings together. Roe also consulted unsuccessfully with vocal coaches and throat doctors at the Vanderbilt University Medical Center. The band attempted to cover up Roe's problems by removing certain songs from concert set lists, lowering the key on others, having Truman sometimes take the lead vocal, and using pitch correction software, but even these did not fully correct the issues. Finally, they consulted vocal coach Diane Sheets, a friend of Johnson's son-in-law. She determined that Roe was over-compensating for a small degree of hearing loss typical of musicians who have performed live for long periods of time, thus tightening muscles in his throat and diaphragm and causing him to lose pitch. Although Roe was initially "cynical" toward Sheets's coaching, she was ultimately successful in restoring his voice.


title: Diamond Rio

text: In 2002, Diamond Rio released its seventh studio album, "Completely". The band originally conceived it as a double album, featuring traditional country on one disc and more pop-oriented country on the other, but according to Prout, this concept did not fully materialize because "country music has blinders on as far as what's acceptable – and what isn't", although Olander and Williams noted that the idea allowed them "more leeway in choosing songs". In addition to earning a gold certification, it produced two consecutive No. 1 singles in "Beautiful Mess" and "I Believe", the latter being the band's last single to top Hot Country Songs. Third single "Wrinkles" made Top 20, while the last single, "We All Fall Down" (also written by Steven Dale Jones), failed to reach top 40. Two of the album's tracks were previously recorded by other artists: "Make Sure You've Got It All", written by Bill Anderson and Steve Wariner, was originally recorded on Collin Raye's 1998 album "The Walls Came Down", and "If You'd Like Some Lovin'" by its co-writer, David Ball, on his 1996 album "Starlite Lounge".


title: Diamond Rio

text: Rick Cohoon of Allmusic praised the album for its musical variety, saying, "With artists as well anchored in the business as Diamond Rio, the musical quality is a given. The real challenge is outdoing yourself and coming up with fresh concepts. The selections on this album seem to be the fruition of that search for musical renewal". He cited "Beautiful Mess" and "I Believe" as standout tracks. Ray Waddell of "Billboard" also thought that the singles were among the best tracks on the album, while highlighting the instrumental track "Rural Philharmonic" (which Olander had originally intended to record for a solo album) as an example of the band's strong musicianship. Chrissie Dickinson of the "Chicago Tribune" was less favorable, commending the "masterful musicianship" and Roe's "light vocal timbre", while criticizing the song selections as "mostly a paint-by-numbers trip around the musical block, from the predictable power balladry of 'I Believe' to the saccharine sentiments of 'We All Fall Down.'"


title: Diamond Rio

text: A seventh album, tentatively titled "Can't You Tell", was recorded in 2003, but it was cancelled after its first two singles – the title track and "One Believer" – both failed to make Top 40 upon their releases in late 2004 and early 2005 respectively. Diamond Rio's second Greatest Hits package, "Greatest Hits II", was released in 2006. Like their first Greatest Hits album, this compilation included several new songs as well as the band's greatest hits; one of these new songs, "God Only Cries", was released as a single, peaking at No. 30. Shortly after the album's release, Diamond Rio parted ways with Arista Nashville.


title: Diamond Rio

text: On August 31, 2007, Diamond Rio signed with Word Records, a Christian music label based in Nashville. Their first album for Word was a Christmas album entitled "", which they recorded in Olander's basement studio. Roe said in an interview with CMT that "we just didn't try to copy anybody else. We tried to make up our own arrangements." The group released its first contemporary Christian album, "The Reason", on September 22, 2009. It earned the band three Dove Award nominations: Song of the Year for "God Is There", Country Song of the Year for the title track, and Country Album of the Year.


title: Diamond Rio

text: In 2014, Olander told "The Arizona Republic" that the group was no longer signed to Word Records and planned to release new material independently. "I will say that I was proud of the material, but maybe it's not the best version of Diamond Rio," Olander told the publication. "We were kind of in a no-man's land. We didn't fit in with country radio and we didn't fit with Christian radio. It was something that wasn't fully realized." The band began releasing records independently, starting with a live album in 2014 and following in 2015 with the studio album "I Made It".


title: Diamond Rio

text: Diamond Rio has been featured on several projects featuring multiple country artists, including three tribute albums released between 1993 and 1994. The first was a cover of the Eagles' 1975 hit "Lyin' Eyes" for "", an album released in late 1993 via Giant Records which featured various country musicians covering that band's songs. Diamond Rio had originally wanted to record the song for "Love a Little Stronger", but DuBois rejected the idea because he felt that they were not yet well-established enough to record a cover song on one of their own albums. The second was "", to which they contributed a cover of Keith Whitley's 1986 hit "Ten Feet Away", and the third was a cover of Merle Haggard's "Workin' Man Blues" for a tribute album entitled "". This rendition, which featured guest appearances from Lee Roy Parnell and Steve Wariner (both of whom were also signed to Arista Nashville at the time), was credited to "Jed Zeppelin". The song peaked at No. 48 on the "Billboard" country charts from unsolicited airplay, and was made into a music video. In 1996, the band covered "Beauty and the Beast" for the multi-artist compilation "The Best of Country Sing the Best of Disney" and contributed the original song "Christmas Spirit" (which Powell and Roe co-wrote) to "Star of Wonder: Country Christmas Collection", a Christmas album featuring various artists on Arista Nashville's roster. A year later, Diamond Rio contributed a recording of the gospel standard "Walkin' in Jerusalem" to a compilation entitled "Peace in the Valley: A Country Music Journey Through Gospel Music". Diamond Rio and Collin Raye also sang backing vocals on Kenny Rogers' 2000 single "He Will, She Knows". In 2002, the band was featured on country parodist Cledus T. Judd's "Man of Constant Borrow", a parody of "Man of Constant Sorrow" on his album "Cledus Envy". Jerrod Niemann's late-2017 album "This Ride" features Diamond Rio on the song "I Ain't All There".


title: Diamond Rio

text: Some of the individual members have also contributed to songs by other artists. Roe sang duet vocals with then-labelmate Pam Tillis on "Love Is Only Human", a cut from her 1992 album "Homeward Looking Angel". Olander was featured along with bluegrass musicians Carl Jackson and Mark O'Connor on the track "Hap Towne Breakdowne" from Steve Wariner's 1996 instrumental album "No More Mr. Nice Guy". He also co-wrote Kenny Chesney's 2001 single "I Lost It", Marshall Dyllon's 2001 single "You", and the track "The Night Before (Life Goes On)" from Carrie Underwood's 2005 debut album "Some Hearts". Truman co-wrote Shane Minor's 1999 single "Ordinary Love"; Minor would later co-write the band's hit "Beautiful Mess". In 2003, Truman and songwriter Jason Deere co-founded the Nashville Tribute Band, which has recorded three albums for missionaries of the Church of Jesus Christ of Latter-day Saints, of which Truman is a member. Roe, Johnson, and Williams sang backing vocals on Josh Turner's 2006 single "Me and God" (from the album "Your Man"), which also featured a guest vocal from bluegrass musician Ralph Stanley.


title: Diamond Rio

text: In the country music industry particularly, record producers hire mostly session musicians to record tracks for an album for both solo artists and bands, as opposed to rock bands who record their own instrumental and vocal tracks on their albums. Diamond Rio has been one of few self-contained country bands to have followed the practice of each member playing their own instruments and singing their own vocals on all their albums themselves, without any additional input from outside musicians. The sole exception has been the inclusion of string sections on some of their later work, starting with "I Know How the River Feels" and continuing through certain tracks on "One More Day" and "Completely".


title: Diamond Rio

text: Their early music blended neotraditionalist country with occasional traces of country rock, primarily in the song's prominent rhythm sections. A bluegrass influence has also been shown, primarily in the three-part harmonies among Roe (lead), Williams (baritone), and Johnson (tenor). Bluegrass influences are also shown in the band's prominent use of the mandolin, as well as in the instrumentals featured on many of their earlier albums. The band's later material has tended towards pop-oriented ballads, such as "I Believe" and "One More Day" – songs which received critical acclaim for their often religious-themed messages, but were considered departures from the more traditional material of their first four albums.


title: Diamond Rio

text: Another trademark of Diamond Rio's sound is the custom-built B-Bender guitar played by Olander. He refers to this instrument as the "Taxicaster" because of its yellow body and black-and-white checkered pickguard, which give it the coloration of a taxicab.


title: Diamond Rio

text: Diamond Rio received the Academy of Country Music's award for Top Vocal Group in 1991 and 1992. In 1992, 1993, 1994, and 1997, they also received the Country Music Association's award for Vocal Group of the Year (an award for which they received fifteen total nominations, more than any other country music group). In addition, Diamond Rio has received thirteen Grammy Award nominations. In 2010 they received three nominations for the GMA Dove Awards, and on April 22 won the award for Country Album of the Year. In 2011, they received their first Grammy Award in the Grammy Award for Best Southern, Country or Bluegrass Gospel Album category for "The Reason".


title: Geodis Park

text: Geodis Park, formerly known as Nashville SC Stadium and Nashville Fairgrounds Stadium, is a 30,000-seat soccer-specific stadium at the historic Nashville Fairgrounds in Nashville, Tennessee. It is the home of Major League Soccer club Nashville SC. The stadium opened on May 1, 2022, with Nashville SC hosting the Philadelphia Union in the stadium's inaugural match.


title: Geodis Park

text: In December 2016, the construction was expected to cost $275 million. Billionaire businessman John Ingram was expected to pay "$25 million up front and $9 million a year over 30 years to help retire Metro's annual $13 million debt for the $225 bond issuance." Additionally, the Nashville Fairgrounds would be renovated for an additional $40 million.


title: Geodis Park

text: As part of the public-private partnership, Mayor Megan Barry vowed to give "10 acres of city-owned fairgrounds land for a mix-use development next to the stadium" to the developers, including Ingram.


title: Geodis Park

text: The Metropolitan Council of Nashville and Davidson County approved $25 million in 2018, and an additional $5 million was approved directly by Mayor David Briley's office "from a 2017 contingency fund" without the council's approval in February 2019, for a total of $37.6 million.


title: Geodis Park

text: The stadium is part of a re-development project at the fairgrounds site that also includes a relocated Expo event space, new mixed-use retail and residential buildings and an upgraded Nashville Fairgrounds Speedway capable of hosting NASCAR Cup Series events.


title: Geodis Park

text: By February 2019, its construction had been delayed and its budget had increased. The original builder, Ely Concrete, abandoned the project and they were replaced by TRC Construction Services. By August 2019, the construction was expected to cost "between $325 million and $345 million", or "between $50 million and $70 million more than initial estimates," to be covered by billionaire Ingram and other investors, not taxpayers.


title: Geodis Park

text: As of July 2019, an exposition center was under construction for the State Fair. By August 23, the fair was expected to be held on September 6–15 "in the old fairgrounds space."


title: Geodis Park

text: A resolution to stop the demolition of buildings and make way for the stadium was introduced by council member Steve Glover on August 2, but it was voted down on August 21.


title: Geodis Park

text: Nashville SC was originally supposed to start playing in the stadium in 2020, but by 2019 it had been delayed to 2022.


title: Geodis Park

text: On February 13, 2020, the agreements of the stadium deal were amended in order to allow for construction to begin on the site. This amended deal, an agreement reached by Nashville mayor John Cooper and the club's lead owner, John R. Ingram, stated that the team would fund 100 percent of the stadium's construction costs on the Fairgrounds site. This would be accomplished through lease payments on the stadium, cash investments, and revenue collected from the attendees of events at the stadium. In addition to the aforementioned agreement from the team, Nashville SC also committed to paying for the infrastructure in the immediate area around the stadium, estimated to cost $19 million. The team will pay $35 million in lease payments. Altogether, the team agreed to a total of $54 million in additional payments.


title: Geodis Park

text: In addition to the aforementioned monetary agreements of the deal, the team and the city came to an agreement on the parcel of land titled 8C which is about 2.4 acres in size and located between the stadium and the Fairgrounds Speedway. This parcel of land is what prohibited a deal from being reached prior to February 13, 2020. Mayor Cooper wanted the team to give up this piece of land and in a response to a letter from John Ingram, Cooper described parcel 8C saying, "The public space that links two 30,000-seat stadiums has the potential to become one of the most important in Nashville. Careful design and execution is essential to make the site work for two large public venues - supporting circulation, security, staging and access." Ultimately, the deal reached between the city and the team on February 13 stated that the piece of land would be made into a mixed-use open plaza that will allow space for future Fairgrounds and Speedway activities and uses.


title: Geodis Park

text: On March 16, 2020, demolition on the fairgrounds site began. On April 9, 2020, Ian Ayre published an open letter to fans stating that the demolition on the site is “progressing steadily and in a timely fashion." Ayre also stated that team had completed construction documents and that the expected completion date for the stadium is mid-May 2022.


title: Geodis Park

text: On March 10, 2022, a long-term sponsorship deal with Geodis, whose North American headquarters are based in nearby Brentwood, was announced, renaming the stadium to Geodis Park.


title: Geodis Park

text: In November 2017, Metro Nashville was sued by a group called Save Our Fairgrounds on the basis that the construction could disrupt the Tennessee State Fair, the Nashville Flea Market, and Fairgrounds Speedway racing activities. The lawsuit was dismissed by Chancellor Ellen Hobbs Lyle in December 2017. The dismissal was overturned by the Tennessee Court of Appeals in July 2019 to address the "duties of the Fair Board and their ability to collect taxes on fairground activities."


title: Geodis Park

text: In January 2019, a second lawsuit was filed by Tennessee State Fair Association (TSFA), chaired by Republican Congressman John Rose, against the Metropolitan Government of Nashville and Davidson County. According to "The Tennessean", the suit contended that the construction of the stadium failed to "leave sufficient space and structures for the state fair, which is a protected use in the Metro Charter." The suit was dismissed by the same judge, Ellen Hobbs Lyle, a few days later. The TSFA planned to take the case to the Tennessee Supreme Court, but on February 19, 2019 they decided to settle out of court and hope for a meeting with the Metropolitan Council.


title: Geodis Park

text: The stadium was designed by Populous, a firm in Kansas City that had also designed venues for other MLS clubs. The facility seats 30,000 people, making it the largest soccer-specific stadium in the United States or Canada. It includes six lounges, two dozen box suites, and a dedicated entry gate for the supporters group will be located on the north side.


title: Smriti

text: Smriti (, IAST: ""), literally "that which is remembered" are a body of Hindu texts usually attributed to an author, traditionally written down, in contrast to Śrutis (the Vedic literature) considered authorless, that were transmitted verbally across the generations and fixed. "Smriti" is a derivative secondary work and is considered less authoritative than "Sruti" in Hinduism, except in the Mimamsa school of Hindu philosophy. The authority of "smriti" accepted by orthodox schools, is derived from that of "shruti", on which it is based.


title: Smriti

text: The Smrti literature is a corpus of diverse varied texts. This corpus includes, but is not limited to the six Vedāngas (the auxiliary sciences in the Vedas), the epics (the Mahābhārata and Rāmāyana), the Dharmasūtras and Dharmaśāstras (or Smritiśāstras), the Arthasaśāstras, the Purānas, the Kāvya or poetical literature, extensive "Bhasyas" (reviews and commentaries on "Shrutis" and non-Shruti texts), and numerous "Nibandhas" (digests) covering politics, ethics ("Nitisastras"), culture, arts and society.


title: Smriti

text: Each Smriti text exists in many versions, with many different readings. Smritis were considered fluid and freely rewritten by anyone in ancient and medieval Hindu tradition.


title: Smriti

text: "Smrti" is a Sanskrit word, from the root Smara (स्मर), which means "remembrance, reminiscence, thinking of or upon, calling to mind", or simply "memory". The word is found in ancient Vedic literature, such as in section 7.13 of the Chandogya Upanishad. In later and modern scholarly usage, the term refers to tradition, memory, as well as a vast post-Vedic canon of "tradition that is remembered". David Brick states that the original meaning of smriti was simply tradition, and not texts.


title: Smriti

text: "Smriti" is also a symbolic synonym for number 18, from the 18 scholars who are credited in Indian tradition for writing dharma-related smriti texts (most have been lost). These 18 smritis are namely,


title: Smriti

text: Yājñavalkya gives the list of total 20 by adding two more Smritis, namely, Yājñavalkyasmriti and Manusmriti. Parāśara whose name appears in this list, enumerates also twenty authors, but instead of Samvartta, Bṛhaspati, and Vyāsa, he gives the names of Kaśyapa, Bhṛgu and Prachetas.


title: Smriti

text: In linguistic traditions, "Smrti" is the name of a type of verse meter. In Hindu mythology, "Smriti" is the name of the daughter of "Dharma" and "Medha".


title: Smriti

text: "Smrtis" represent the remembered, written tradition in Hinduism. The Smrti literature is a vast corpus of derivative work. All "Smriti" texts are regarded to ultimately be rooted in or inspired by "Shruti".


title: Smriti

text: The "Smrti" texts structurally branched, over time, from so-called the "limbs of the Vedas", or auxiliary sciences for perfecting grammar and pronunciation (part of Vedāngas). For example, the attempt to perfect the art of rituals led to the science of "Kalpa", which branched into three Kalpa-sūtras: Srauta-sūtras, Grhya-sūtras, and Dharma-sūtras (estimated to have been composed between 600-200 BCE). The Srauta-sutras became texts describing the perfect performance of public ceremonies (solemn community yajnas), the Grhya-sutras described perfect performance of home ceremonies and domestic rites of passage, and Dharma-sutras described jurisprudence, rights and duties of individuals in four Ashrama stages of life, and social ethics. The Dharma-sūtras themselves became the foundations for a large canon of texts, and branched off as numerous Dharma-sastra texts.


title: Smriti

text: Jan Gonda states that the initial stages of Smriti texts structurally developed in the form of a new prose genre named Sūtras, that is "aphorism, highly compact precise expression that captured the essence of a fact, principle, instruction or idea". This brevity in expression, states Gonda, was likely necessitated by the fact that writing technology had not developed yet or was not in vogue, in order to store a growing mass of knowledge, and all sorts of knowledge was transferred from one generation to the next through the process of memorization, verbal recitation and listening in the 1st millennium BCE. Compressed content allowed more essential, densely structured knowledge to be memorized and verbally transferred to the next generation in ancient India.


title: Smriti

text: "Smrtis" contribute to exposition of the Hindu Dharma but are considered less authoritative than "Śrutis" (the Vedic corpus that includes early Upanishads).


title: Smriti

text: The root texts of ancient Hindu jurisprudence and law are the "Dharma-sūtras". These express that Shruti, Smriti and Acara are sources of jurisprudence and law. The precedence of these sources is declared in the opening verses of each of the known, surviving Dharma-sūtras. For example,


title: Smriti

text: The "Smritis", such as Manusmriti, Naradasmriti, Yajnavalkya Smrti and Parashara Smriti, expanded this definition, as follows,


title: Smriti

text: The Yajnavalkya Smriti includes four Vedas, six Vedangas, Purana, Nyaya, Mimamsa and other sastras, in addition to the ethical conduct of the wise, as sources of knowledge and through which sacred law can be known. It explains the scope of the Dharma as follows,


title: Smriti

text: Levinson states that the role of "Shruti" and "Smriti" in Hindu law is as a source of guidance, and its tradition cultivates the principle that "the facts and circumstances of any particular case determine what is good or bad". The later Hindu texts include fourfold sources of "Dharma", states Levinson, which include "Atmanastushti" (satisfaction of one's conscience), "Sadacara" (local norms of virtuous individuals), "Smriti" and "Sruti".


title: Smriti

text: Medhatithi's philosophical analysis of and commentary on criminal, civil and family law in Dharmasastras, particularly of Manusmriti, using Nyaya and Mimamsa theories, is the oldest and the most widely studied tertiary "Smriti".


title: Falkland Islands pound

text: The pound is the currency of the Falkland Islands, a British Overseas Territory in the South Atlantic Ocean. The symbol is the pound sign, £. The ISO 4217 currency code is "FKP".


title: Falkland Islands pound

text: The Falkland Islands pound has always been pegged to sterling at par and banknotes of both currencies are used interchangeably on the islands (although only notes issued by banks in the United Kingdom are generally accepted in Britain itself).


title: Falkland Islands pound

text: The pound was introduced following the reassertion of sovereignty in the Falklands Islands by the British in 1833. Initially, sterling coin circulated, in units of a "pound" subdivided into 20 "shillings", each of 12 "pence". Specific issues of banknotes have been made for the Falkland Islands since 1899, authorised by the Falkland Islands Currency Notes Order 1899. In 1971, the pound was decimalised and subdivided into 100 pence. Coins have been minted specifically for the Falklands since 1974.


title: Falkland Islands pound

text: For a more general history of currency in the South Atlantic region, see British currency in the South Atlantic and the Antarctic.


title: Falkland Islands pound

text: In Falkland Islands law, the Currency Ordinance 1987 states that the Falkland Islands pound is the currency of the Falkland Islands, and that it has parity with the pound sterling.


title: Falkland Islands pound

text: References to 'pounds' in the Falklands Islands (such as in contracts and debts) refer to the Falkland Islands pound.


title: Falkland Islands pound

text: Falkland Island pounds can be exchanged for sterling on demand, but the Currency Commissioners are entitled to charge a percentage fee for doing so.


title: Falkland Islands pound

text: In 1974, , 1, 2, 5 and 10 pence coins were introduced. 50 pence coins were introduced in 1980, followed by 20 pence in 1982, £1 in 1987 and a circulating £2 in 2004. The halfpenny coin was last issued in 1983 and was demonetised shortly after. Smaller versions of the 5p, 10p and 50p, corresponding to the current UK issues, were issued in 1998, replacing the larger versions (which for the 5p was eight years after its introduction in the UK). The introduction of the circulation £2 coin in 2004 was six years after the same coin was issued in the UK. In 2020, the Falklands Islands issued a new 12-sided bi-metallic £1 coin, matching both the composition and size of its UK counterpart, while also announcing the withdrawal of the round £1 coin in January 2023, with the assistance of the Royal Mint. All the coins have the same composition and size as the corresponding British coins.


title: Falkland Islands pound

text: Between 1899 and 1901, the government introduced notes for 5/- and 10/-, £1 and £5. 5/- notes were issued until 1916. Following decimalisation in 1971, the 10/- note of the preceding issue became the new 50-pence note, though it retained its old design. £10 notes were introduced in 1975, followed by £20 in 1984 and £50 in 1990. Banknotes in circulation are:


title: Falkland Islands pound

text: Falkland Islands' banknotes feature the same images, differing only in their respective denominations and corresponding colours. On the front side, all notes depict a portrait of Queen Elizabeth II, the Falklands' coat of arms, a small map of the islands, and images of two of the islands' main animals: penguins and sea lions. On the back, notes feature pictures of Christ Church Cathedral in Stanley and Government House, the official residence of the governor of the Falkland Islands.


title: Falkland Islands pound

text: Banknotes are printed by De la Rue plc on behalf of the Falkland Island Commissioners of Currency. In 2010 an order was placed for the printing of 200,000 £10 banknotes and for 200,000 £20 banknotes which would represent a supply of banknotes that would last for 15 to 20 years.


title: COVID-19 lockdown in the United Kingdom

text: COVID-19 lockdowns in the United Kingdom refer to a series of stay-at-home orders introduced by the British and devolved governments in response to the COVID-19 pandemic.


title: COVID-19 lockdown in the United Kingdom

text: On 23 March 2020, British Prime Minister Boris Johnson announced the government would introduce a nationwide lockdown to curb a widening outbreak of COVID-19, closing many sectors and ordering the public to stay at home. This was incrementally lifted, starting from several weeks later. Similar restrictions would be introduced in late 2020 and early 2021 as infections rose. Restrictions diverged to apply to piecemeal geographic areas, and then to larger-scale restrictions that differed between the four countries of the United Kingdom. Health in the UK is devolved to each of the four nations, meaning such restrictions are decided by each government separately and the central UK government acting on behalf of England only.


title: COVID-19 lockdown in the United Kingdom

text: The initial announcement was made by Boris Johnson, with agreement from the other three heads of government. At 8:30 p.m. on 23 March 2020, Boris Johnson announced a stay-at-home order effective immediately, though only legally effective from 1:00 p.m. on 26 March 2020, through The Health Protection (Coronavirus, Restrictions) (England) Regulations 2020.


title: COVID-19 lockdown in the United Kingdom

text: The slogan "Stay Home, Protect the NHS, Save Lives" was used in England. All non-essential shops and services were ordered to close, throughout the UK and police were granted powers to issue fines, send people home, especially persons suspected of being infected, and to break up gatherings of more than two people. The British population was instructed to stay home, except for exercise once a day (such as running, walking or cycling), shopping for essential items, any medical need, providing care to a vulnerable person, or travelling to work where the work in question was vital and could not be done from home.


title: COVID-19 lockdown in the United Kingdom

text: Johnson stated that the stay-at-home order would be reviewed every three weeks. Working with general practitioners, the four NHS bodies strongly advised (though did not mandate) that those at the highest risk of severe complications from COVID-19 follow special shielding measures. These included not leaving their home at all, even for essential reasons, and keeping two meters apart from other household members.


title: COVID-19 lockdown in the United Kingdom

text: On 11 May, following the initial lockdown announcement, the UK-wide rules fractured and separate rules were announced at various times by the four governments of the United Kingdom.


title: COVID-19 lockdown in the United Kingdom

text: On 26 March the Health Protection (Coronavirus, Restrictions) (Wales) Regulations 2020 were approved by the Senedd, giving the Welsh Government emergency powers to deal with various aspects of managing the pandemic. These new powers include the authority to:


title: COVID-19 lockdown in the United Kingdom

text: On 26 March, Snowdon and other Welsh mountains were closed to the public, after a larger number of tourists had gathered on the mountains in the preceding days, causing traffic mayhem.


title: COVID-19 lockdown in the United Kingdom

text: Natural Resources Wales later announced that all sites and paths liable to have large amounts of people visiting, or pose a high risk, would be closed.


title: COVID-19 lockdown in the United Kingdom

text: By 27 March, North Wales Police were patrolling the border between Wales and England because visitors were ignoring the stay-at-home instructions and travelling into Wales. In many cases the police were stopping cars entering from England; such border control had not happened between Wales and England since the 16th century.


title: COVID-19 lockdown in the United Kingdom

text: On 8 May, First Minister Mark Drakeford announced that the COVID-19 lockdown in Wales would be extended for a further three weeks. He also announced "modest" changes to the measures already in force: some garden centres would be allowed to re-open, and people could now exercise outdoors more than once per day provided that they "stay local".


title: COVID-19 lockdown in the United Kingdom

text: On 3 June, Welsh Government briefings began (later referred to as 'press conferences') in a series that was set up by Welsh Government as a way of dispersing new information to the people of Wales regarding the COVID-19 pandemic in Wales. These were placed on a CC-BY-SA open licence.


title: COVID-19 lockdown in the United Kingdom

text: Restrictions were further eased by an announcement on 31 July, confirming that pubs and restaurants would be able to open indoor areas on 3 August. Up to thirty people would be able to meet outdoors and children under 11 would no longer have to keep a 2-metre (6') distance from anyone. Indoor bowling alleys, auction houses and bingo halls were allowed to reopen, while swimming pools, gyms, leisure centres and indoor play areas would be allowed to reopen from 10 August, all with social distancing.


title: COVID-19 lockdown in the United Kingdom

text: Towards the end of August, concerns grew about a potential second spike in infections, after passengers arriving at Cardiff Airport from overseas tested positive for the virus. The flight operator, TUI Group, was criticised for failing to enforce mask-wearing during the flight. Health Minister Vaughan Gething later revealed that 30 cases had been linked to four flights into the UK from the island of Zante, and the Welsh and Scottish governments lobbied the UK government to have the island included in the list of quarantine destinations for the UK as a whole.


title: COVID-19 lockdown in the United Kingdom

text: On 19 October, the Welsh Government announced that a second national lockdown, described as a "fire-break", would be imposed from 23 October until 9 November, coinciding with school half-term holidays which would be extended by a week in colleges and for school students in year 9 (13 to 14 years old) and above, in the hope of bringing down the number of coronavirus cases. The First Minister announced that all pubs, restaurants, and non-essential shops would be closed during that period.


title: COVID-19 lockdown in the United Kingdom

text: After the firebreak, rules were standardised across Wales with localised restrictions abolished. From 9 November, pubs, restaurants and cafes reopened with groups of up to four people (children under eleven not counting in the total) from different households allowed to meet up in them; the 10pm curfew for alcohol sales remained in place. Non essential shops also reopened. Two households could form a bubble (interact when they wished) whilst any number of children under eleven and up to 15 or 30 individuals over that age could take part in indoor and outdoor organised events respectively. Travel restrictions within Wales were lifted though non essential visits to other parts of the UK or abroad remained banned.


title: COVID-19 lockdown in the United Kingdom

text: Announced on 16 December, the Welsh Government planned to go into a full lockdown immediately after the 5-day Christmas period (23–27 December) on 28 December. However, on 19 December 2020, it was announced that Wales would go into a full lockdown (or "tier 4" restrictions) immediately at midnight on 20 December. The circumstance for the latest lockdown was reviewed every three weeks, but no end date was announced.


title: COVID-19 lockdown in the United Kingdom

text: This followed the emergence of a novel variant of COVID-19 in the United Kingdom. Original joint plans of relaxed restrictions from 23 to 28 December were in place for the entire United Kingdom, but this was amended so that the sole relaxed period would consist of Christmas Day, in which only two households will be allowed to meet. Before and after Christmas Day, meeting with people from different households, was not be allowed to take place indoors. Those that do meet with other households outdoors must stay at least 2 meters apart from each other and wear PPE.


title: COVID-19 lockdown in the United Kingdom

text: "Stay Alert, Control the Virus, Save Lives" slogan rejected and "Stay home, Protect the NHS, Save Lives" was used.


title: COVID-19 lockdown in the United Kingdom

text: On 15 April, Arlene Foster, the First Minister of Northern Ireland, extended the period of lockdown in Northern Ireland to 9 May, as 121 new cases and 6 new deaths were confirmed.


title: COVID-19 lockdown in the United Kingdom

text: On 7 May, the Northern Ireland Executive met to discuss a roadmap to ending lockdown restrictions, with an announcement due during the week beginning 11 May.


title: COVID-19 lockdown in the United Kingdom

text: On 18 May, the Northern Ireland Executive activated some aspects of step one with garden and recycling centres allowed to open. However, on the same day, it was announced that further measures of step one would be activated on Tuesday 19 May such as groups of up to six people who do not share a household being able to meet outside and private church services being allowed.


title: COVID-19 lockdown in the United Kingdom

text: On 15 June, the Executive announced more lockdown easing this time focusing on the hospitality industry with hotels, restaurants and bars that sell food or have a large beer garden being allowed to open from 3 July 2020.


title: COVID-19 lockdown in the United Kingdom

text: On 25 June it was announced that Northern Ireland would be reducing its 2-metre social distancing rule to 1 metre. At the end of June, there were a total of 5,760 confirmed cases of COVID-19 in Northern Ireland, with 551 deaths.


title: COVID-19 lockdown in the United Kingdom

text: July saw a further relaxation of COVID-19 rules with betting shops, private clubs, restaurants, museums, and tourist sites opening on 3 July with salon and close contact services on 6 July. 10 July saw indoor gyms, outdoor playgrounds, weddings and baptisms, bingo and cinemas and competitive sports behind closed doors allowed. Libraries and indoor leisure centres followed. On 10 July the wearing of face coverings became compulsory on public transport in Northern Ireland, exceptions will be for those with a medical condition, children under the age of 13, and on school transport.


title: COVID-19 lockdown in the United Kingdom

text: On 5 August it was announced that all pupils will return to school five days a week as normal at the start of term time in September. Education Minister Peter Weir announced that years 1 to 10 will return to class in protected bubbles, with minimised movements between classes for years 11 to 14.


title: COVID-19 lockdown in the United Kingdom

text: On 20 August the Executive announced that some restrictions were to be reintroduced following rising cases in recent days. Restrictions announced included reducing indoor gatherings from 10 to six people and outdoor meetings from 30 to 15.


title: COVID-19 lockdown in the United Kingdom

text: On 10 September the Northern Ireland Executive imposed new restrictions on visiting homes for Ballymena, and parts of Glenavy, Lisburn and Crumlin, following a rise in COVID-19 cases in those areas. From the following week, people living in those areas are limited to social gatherings of six and are encouraged not to travel outside the areas. The Executive also announced further easing of restrictions nationally in Northern Ireland such as the reopening of wet bars on 21 September.


title: COVID-19 lockdown in the United Kingdom

text: On 14 October the Northern Ireland Executive announced a new 'circuit breaker' lockdown effective from Friday 16 October for four weeks. On Friday 16 October, Northern Ireland commenced a partial lockdown.


title: COVID-19 lockdown in the United Kingdom

text: On 3 December, the Executive agreed to ease restrictions on 11 December. Non-essential retail, close contract business, churches and gyms can reopen with social distancing and some limitations being observed. Parts of the hospitality industry can reopen such as cafes, restaurants and bars that serve food can open but must be closed by 23:00, wet pubs must remain shut.


title: COVID-19 lockdown in the United Kingdom

text: On 17 December, the Northern Ireland executive announced Northern Ireland would go into a lockdown from 26 December. This involved the closure of all non-essential retail, hospitality. The Christmas bubble system remained in place. Due to the spread of a new variant of COVID-19 throughout Northern Ireland, the Executive hardened restrictions further on 5 January 2021. From Friday 8 January a stay-at-home order became law meaning people can only leave home for medical or food needs, exercise, and work that cannot be done from home. Further restrictions were also announced for schools with pupils from nursery, primary and post-primary schools carrying out remote learning until after the mid-term break in the middle of February 2021.


title: COVID-19 lockdown in the United Kingdom

text: On 6 April the Coronavirus (Scotland) Act 2020, which was introduced as an Emergency Bill in the Scottish Parliament on 31 March 2020, gained Royal Assent, becoming law.


title: COVID-19 lockdown in the United Kingdom

text: On 16 April, after reviewing the lockdown with all nations in the UK, the decision was made to extend it for another 3 weeks until 7 May. First Minister Nicola Sturgeon in her daily briefing said, ". . . I want to stress that the news is positive . . . Early indications are that the lockdown restrictions have resulted in a slowing down in the rate of community transmission of the virus."


title: COVID-19 lockdown in the United Kingdom

text: On 8 May First Minister Nicola Sturgeon reported that there was some recognition that each of the four nations of the UK might move at different speeds with regard to loosening the lockdown and that she would not be pressured into lifting restrictions prematurely.


title: COVID-19 lockdown in the United Kingdom

text: On 11 May, in a national address to Scotland on the beginning of the seventh week of lockdown, Nicola Sturgeon asked the nation "to stick with lockdown for a bit longer - so that we can consolidate our progress, not jeopardise it[...] I won't risk unnecessary deaths by acting rashly or prematurely."


title: COVID-19 lockdown in the United Kingdom

text: On 21 May First Minister Nicola Sturgeon outlined a four-phase "route map" for easing lockdown restrictions in Scotland. The route map allowed people to meet up outside with people from one other household in the first phase. The lockdown would be eased from 28 May subject to the number of new cases of COVID-19 continuing to fall. Schools in Scotland would reopen on 11 August, when students would receive a "blended model" of part-time study at school combined with some learning at home.


title: COVID-19 lockdown in the United Kingdom

text: On 28 May the First Minister Nicola Sturgeon announced an easing of the lockdown in Scotland. From the following day, people were able to meet friends and family outside in groups of no more than eight but keeping two metres apart.


title: COVID-19 lockdown in the United Kingdom

text: On 19 June, lockdown restrictions were eased to allow the meeting outdoors of up to 8 people from two other households whilst maintaining social distancing. Single people or singles with children could meet with another household indoors without social distancing. Face coverings were made mandatory on public transport. Exercise was permitted within 5 miles of home.


title: COVID-19 lockdown in the United Kingdom

text: On 29 June, further easing of lockdown with indoor workplaces allowed to open, street access retail and outdoor markets opening, outdoor sports playgrounds, zoos and parks open, outdoor marriages allowed and people can move house - all with social distancing.


title: COVID-19 lockdown in the United Kingdom

text: On 3 July the 5 mile travel ban was lifted and self contained holiday accommodation allowed to re-open for business. Visits to care homes by one "key visitor" were permitted but meetings had to be outdoors and a 2m distance maintained. Young people under 12 were not required to social distance and 12-17 year olds may meet in groups of up to 8 people provided social distancing was maintained. Beer gardens and outdoor cafes were able to open from 6 July. It was made compulsory to wear face coverings in shops from 10 July.


title: COVID-19 lockdown in the United Kingdom

text: On 10 July the Air Bridge system began. Self isolation was not required for people returning from any of 57 countries. This list was similar to, but less than the list of Air Bridges from England and Wales. Up to 15 people from five different households were allowed to meet outdoors whilst maintaining 2m social distancing. Up to 8 people from three households were allowed to meet indoors and people from outside the household could stay overnight.


title: COVID-19 lockdown in the United Kingdom

text: On 11 August pupils returned to schools. They did not need to socially distance but teachers had to wear masks if they were in close proximity with others and socially distance from other teachers. By 31 August, pupils at high schools were obliged to wear face masks in corridors, canteens and other communal areas.


title: COVID-19 lockdown in the United Kingdom

text: On 22 September First Minister Nicola Sturgeon announced nationwide restrictions that came into effect on Friday 25 September. These restrictions affected pub closing times and meetings within households.


title: COVID-19 lockdown in the United Kingdom

text: On 2 November a new, 5 level, or "tier" system was introduced into Scotland - bringing new, targeted restrictions to different regions of the country.


title: COVID-19 lockdown in the United Kingdom

text: The early 2020 lockdown left a significant impact on the economy, resulting in shrinking it by a fifth, i.e. 20%. The "circuit-breaker" lockdown, which is expected to be relatively less intense could hit the economy by 5% or more. As per Capital Economics, the estimated time required for the economy to get back to the pre-pandemic levels is a year to 2023.


title: COVID-19 lockdown in the United Kingdom

text: The slogan changed to "Stay Alert, Control the Virus, Save Lives" and those who could not work from home, including specifically construction and manufacturing workers, were encouraged to return to work albeit avoiding the use of public transport. Additionally, the once-a-day limit on exercise was lifted. The COVID-19 threat level system was introduced, and the "Stay Home" phase was announced to be equivalent to Level 4 (where 1 meant "COVID-19 is not known to be present in the UK", and 5 meant "The circulation of COVID-19 is high and rising exponentially and there is a material risk of healthcare being overwhelmed").


title: COVID-19 lockdown in the United Kingdom

text: On 13 May 2020, those in England were allowed to meet one other person not from their household outside whilst maintaining a 2-metre social distance, and from 28 May groups of up to six from different households were allowed to meet outside, keeping a safe distance.


title: COVID-19 lockdown in the United Kingdom

text: From 1 June 2020, English primary schools were encouraged to re-open to Reception, Year 1 and Year 6, and extremely vulnerable people shielding at home were advised it was safe to go outside for once-daily, socially-distanced exercise, for the first time in approximately two months.


title: COVID-19 lockdown in the United Kingdom

text: From 15 June 2020, non-essential retail reopened, and English secondary schools were asked to prepare to provide Year 10 and Year 12 students with some face-to-face meetings to support their home learning for essential upcoming exams the next year. It also became mandatory to wear face coverings in healthcare settings and on public transport.


title: COVID-19 lockdown in the United Kingdom

text: On 24 June, the Government issued long-awaited guidance documents to pubs, bars, restaurants, hotels and other licensed premises, detailing how licensed premises could open safely whilst minimising the risk of spreading COVID-19 (applicable to England only).


title: COVID-19 lockdown in the United Kingdom

text: From Saturday 4 July 2020, most other businesses were allowed to reopen, except for those considered to pose the highest risk such as indoor gyms, and social gathering rules were relaxed further. Most notably, the two-metre rule was relaxed to one metre apart, where other mitigations such as face coverings were being used. The only legal measure that remained, except for face coverings on public transport and in healthcare, was an upper legal limit of 30 on gatherings (except in 'local lockdown' areas, see below), but people were advised to limit gatherings to either two households in any indoor or outdoor, public or private setting, or to a maximum of six, outdoors only, when people gathering were from more than two households.


title: COVID-19 lockdown in the United Kingdom

text: By Saturday 15 August 2020, most other businesses, including indoor theatres, casinos and bowling alleys, had been allowed to reopen. Nightclubs and sexual entertainment venues, however, remained closed.


title: COVID-19 lockdown in the United Kingdom

text: Schools reopened full-time from September 2020, and from Wednesday 9 September, the slogan changed once more, to "Hands, Face, Space" reminding the public to wash or sanitize hands often, wear a face covering in enclosed spaces, and keep a space of one metre or more from others, as well as letting fresh air in at public spaces


title: COVID-19 lockdown in the United Kingdom

text: Starting on 17 October 2020, the UK government announced that London, among other areas, would move to Tier 2 restrictions, following a spike in cases, banning people from mixing indoors privately.


title: COVID-19 lockdown in the United Kingdom

text: 7 days after the lockdown in Wales, on Saturday 31 October 2020, it was announced that a partial lockdown would commence in England from 5 November 2020, to last for 4 weeks up to and including 2 December.


title: COVID-19 lockdown in the United Kingdom

text: Through the month of November, mass asymptomatic testing brought the case rate in Liverpool down enough for it to move down from Tier 3 into Tier 2.


title: COVID-19 lockdown in the United Kingdom

text: After that, a new tiered approach was put into place, to be reviewed on 16 December (with any changes coming into force three days later). For 5 days over the Christmas period (23–27 December), these restrictions are to be relaxed, allowing for three households to meet and form a protective "bubble" during this time period. However this was not the case for residents in and around London as a stricter "Tier 4" was introduced to combat rising cases.


title: COVID-19 lockdown in the United Kingdom

text: On Monday 4 January 2021, all four Chief Medical Officers and the NHS England Medical Director recommended that the COVID Alert Level should be increased, from level 4 to level 5, indicating that there was a material risk of healthcare services becoming overwhelmed. Later that day, Boris Johnson announced a national lockdown in England, effectively putting all of England into "Tier 4", which took legal effect at 00:01 on 5 January 2021.


title: COVID-19 lockdown in the United Kingdom

text: On Monday 22 February 2021, the UK Government published its 4-step plan to ease lockdown restrictions in England. The first step of the plan, which, amongst other easements, provides for school re-openings, took effect on Monday 8 March. The second step, which involved outdoor activities and trials of indoor activities, took effect on Monday 12 April. The third step, which allowed for limited indoor mixing and the reopening of indoor hospitality venues, took effect on Monday 17 May.


title: Charlotte Ayanna

text: Charlotte Ayanna (born Charlotte Lopez; September 25, 1976) is a Puerto Rican-American actress and former Miss Teen USA.


title: Charlotte Ayanna

text: Ayanna was born in San Juan, Puerto Rico, but moved to Vermont at an early age. She had a troubled childhood, spending sixteen years in foster homes after her mother, Emma, was judged to be mentally unfit to look after her children. In 1994, at age 17, she was adopted into a foster home. She has since become a spokeswoman for foster children.


title: Charlotte Ayanna

text: Her first national exposure was in 1993, when she became Miss Teen USA. Charlotte co-authored a book titled "Lost in the System", published in 1996, detailing her childhood and subsequent rise to Miss Teen USA. She later changed her last name to "Ayanna", meaning "blessed" in Cherokee.


title: Charlotte Ayanna

text: Following her pageant victory, she made guest appearances on television shows including "Weird Science" and "Entourage". She also appeared in the music video for fellow Puerto Rican Ricky Martín's hit "She's All I Ever Had". She also starred opposite Martin Freeman in the Parisian band, Ilya's music video, Bellissima.


title: Charlotte Ayanna

text: Her film roles include "Jawbreaker" (1999), "" (1999), "Dancing at the Blue Iguana" (2000), "Kate & Leopold" (2001), "Training Day" (as Ethan Hawke's wife), and "Love the Hard Way" (2003) with Adrien Brody. She also starred with Sean Patrick Flanery as the sexy vampiress in the horror-made-for-DVD movie "The Insatiable" (2007).


title: Charlotte Ayanna

text: In 2002 she won the Best Actress award at the Valenciennes International Festival of Action and Adventure Films for "Love the Hard Way" (2001) tied with Kajol for Kabhi Khushi Kabhie Gham... (2001).


title: Jungle Carbine

text: The Rifle No. 5 Mk I, was a derivative of the British Lee–Enfield No. 4 Mk I, Following experience of jungle fighting in the Pacific War, the British came to "the conclusion that a rifle shorter and lighter than the standard issue, bolt action .303 cal No. 4 rifle was required." However its operational use was in post-war colonial campaigns such as the Malayan emergency, where it gained its common nickname of the "Jungle Carbine."


title: Jungle Carbine

text: Experience of jungle fighting in 1943 identified that mobility was critical and to that end the weight of equipment carried by the individual soldier needed to be reduced. The requirement for a rifle was a "light handy weapon with good accuracy to 400 yards []"


title: Jungle Carbine

text: The rifle was officially introduced into service in September 1944 with 20,000 produced; by end of 1944 50,000 had been accepted for service.