title: Soundtrack

text: Contributing to the vagueness of the term are projects such as "The Sound of Music Live!" which was filmed live on the set for an NBC holiday season special first broadcast in 2013. The "album" released three days before the broadcast contained studio pre-recordings of all the songs used in the special, performed by the original cast therefrom, but because only the orchestral portion of the material from the album is the same as that used in the special, (i.e. the vocals were sung live over a prerecorded track), this creates a similar technicality because although the "instrumental music bed" from the CD will lock to picture, the vocal performances will not, although it IS possible to create a complete soundtrack recording by lifting the vocal performances from the DVD, erasing the alternate vocal masters from the CD and combining the two.


title: Soundtrack

text: Among MGM's most notable soundtrack albums were those of the films "Good News", "Easter Parade", "Annie Get Your Gun", "Singin' in the Rain", "Show Boat", "The Band Wagon", "Seven Brides for Seven Brothers", and "Gigi".


title: Soundtrack

text: Film score albums did not really become popular until the LP era, although a few were issued in 78-rpm albums. Alex North’s score for the 1951 film version of "A Streetcar Named Desire" was released on a 10-inch LP by Capitol Records and sold so well that the label later rereleased it on one side of a 12-inch LP with some of Max Steiner's film music on the reverse.


title: Soundtrack

text: Steiner's score for "Gone with the Wind" has been recorded many times, but when the film was reissued in 1967, MGM Records finally released an album of the famous score recorded directly from the soundtrack. Like the 1967 rerelease of the film, this version of the score was artificially "enhanced for stereo". In recent years, Rhino Records has released a 2-CD set of the complete "Gone With the Wind" score, restored to its original mono sound.


title: Soundtrack

text: One of the biggest-selling film scores of all time was John Williams' music from the movie "Star Wars". Many film score albums go out-of-print after the films finish their theatrical runs and some have become extremely rare collectors’ items.


title: Soundtrack

text: In a few rare instances an entire film dialogue track was issued on records. The 1968 Franco Zeffirelli film of "Romeo and Juliet" was issued as a 4-LP set, as a single LP with musical and dialogue excerpts, and as an album containing only the film's musical score. The ground-breaking film "Who's Afraid of Virginia Woolf?" was issued by Warner Bros Records as a 2-LP set containing virtually all the dialogue from the film. RCA Victor also issued a double-album set what was virtually all the dialogue from the film soundtrack of "A Man for All Seasons", Decca Records issued a double-album for "Man of La Mancha" and Disney Music Group (formerly Buena Vista Records) issued a similar double-album for its soundtrack for "The Hobbit".


title: Soundtrack

text: When a blockbuster film is released, or during and after a television series airs, an album in the form of a soundtrack is typically released alongside that.


title: Soundtrack

text: A soundtrack typically contains instrumentation or alternatively a film score. But it can also feature songs that were sung or performed by characters in a scene (or a cover version of a song in the media, rerecorded by a popular artist), songs that were used as intentional or unintentional background music in important scenes, songs that were heard in the closing credits, or songs for no apparent reason related to the media other than for promotion, that were included in a soundtrack.


title: Soundtrack

text: Soundtracks are usually released on major record labels (just as if they were released by a musical artist), and the songs and the soundtrack itself can also be on music charts, and win musical awards.


title: Soundtrack

text: By convention, a "soundtrack" record can contain all kinds of music including music "inspired by" but not actually appearing in the movie; the "score" contains only music by the original film's composers.


title: Soundtrack

text: Contemporaneously, a soundtrack can go against normality, (most typically used in popular culture franchises) and contains recently released and/or exclusive never before released original pop music selections, (some of which become high charting records on their own, which due to being released on another franchises title, peaked because of that) and is simply used for promotional purposes for well known artists, or new or unknown artists. These soundtracks contain music not at all heard in the film/television series, and any artistic or lyrical connection is purely coincidental.


title: Soundtrack

text: However depending on the genre of the media the soundtrack of popular songs would have a set pattern; a lighthearted romance might feature easy listening love songs, whilst a more dark thriller would compose of hard rock or urban music.


title: Soundtrack

text: In 1908, Camille Saint-Saëns composed the first music specifically for use in a motion picture (L'assasinat du duc de Guise), and releasing recordings of songs used in films became prevalent in the 1930s. Henry Mancini, who won an Emmy Award and two Grammys for his soundtrack to "Peter Gunn", was the first composer to have a widespread hit with a song from a soundtrack.


title: Soundtrack

text: Before the 1970s, soundtracks (with a few exceptions), accompanied towards musicals, and was an album that featured vocal and instrumental, (and instrumental versions of vocal songs) musical selections performed by cast members. Or cover versions of songs sung by another artist.


title: Soundtrack

text: After the 1970s, soundtracks started to include more diversity, and music consumers would anticipate a motion picture or television soundtrack. Majority of top charting songs were those featured or released on a film or television soundtrack album.


title: Soundtrack

text: In recent years the term "soundtrack" sort of subsided. It now mostly commonly refers to instrumental background music used in that media. Popular songs featured in a film or television series are instead highlighted and referenced in the credits, not as part of a "soundtrack".


title: Soundtrack

text: In the late 1980s, cognitive psychology and psychology of music started an investigation on the impact that the soundtrack exerts on the interpretation of audiovisual stimuli. Canadian psychologist Annabel J. Cohen is one of the first scholars who systematically studied the relationship between music and moving image within the interpretation process of brief animated videos. Her studies converged in the "Congruence-Association Model of music and multimedia". More recent empirical studies proved that the film music goes far beyond the role of an emotionalizing accessory in film contexts; contrarily, it can radically alter the empathy experienced by the viewers toward the characters on screen, attributed emotions (e.g., whether a character is happy or sad), evaluation of the scenic environments, plot anticipations, and moral judgement of the characters. Furthermore, eyetracking and pupillometry studies found that film music is able to influence gaze direction and pupil dilation depending on its emotional valence and semantic information conveyed. Recently, new experiments showed that film music can alter time perception while watching movies; in particular, soundtracks deemed as activating and arousing lead to time overestimation as opposed to more relaxing or sad music. Lastly, soundtracks have been proved to shape the memory of the scene that the viewers form, to the point of biasing their recall coherently with the music's semantic contents.


title: Soundtrack

text: Soundtrack may also refer to music used in video games. While sound effects were nearly universally used for action happening in the game, music to accompany the gameplay was a later development. Rob Hubbard and Martin Galway were early composers of music specifically for video games for the 1980s Commodore 64 computer. Koji Kondo was an early and important composer for Nintendo games. As the technology improved, polyphonic and often orchestral soundtracks replaced simple monophonic melodies starting in the late 1980s and the soundtracks to popular games such as the "Dragon Quest" and "Final Fantasy" series began to be released separately. In addition to compositions written specifically for video games, the advent of CD technology allowed developers to incorporate licensed songs into their soundtrack (the "Grand Theft Auto" series is a good example of this). Furthermore, when Microsoft released the Xbox in 2001, it featured an option allowing users to customize the soundtrack for certain games by ripping a CD to the hard-drive.


title: Soundtrack

text: As in "Sound of Music Live!" the music or dialogue in question was prepared specifically for use in or at an event such as that described above.


title: Soundtrack

text: In the case of theme parks, actors may be ensconced in large costumes where their faces may be obscured. They mime along to a prerecorded music, effects and narration track that may sound as if it was lifted from a movie, or may sound as if it had been overly dramatized for effect.


title: Soundtrack

text: In the case of cruise ships, the small stage spaces do not allow for full orchestration, so that possibly the larger instruments may be pre-recorded onto a backing track and the remaining instruments may play live, or the reverse may occur in such instances as "" or "Sinatra: His Voice. His World. His Way" both of which use isolated vocal and video performances accompanied by a live band.


title: Soundtrack

text: In the case of event soundtracks, large public gatherings such as "Hands Across America", The "Live Aid" Concert, the 200th Anniversary Celebration of the U.S. Constitution in Philadelphia, "" or the various "Greenpeace" events (i.e. "The First International Greenpeace Record Project", "Rainbow Warriors" and "Alternative NRG") all had special music, effects and dialogue written especially for the event which later went on sale to the record and later video-buying public.


title: Soundtrack

text: ‘Kaladin’, a book soundtrack to popular fantasy novelist Brandon Sanderson's book, ‘The Way of Kings’, was written by The Black Piper. The Black Piper, hailing from Provo, Utah, is a combined group of composers who share a love for fantasy literature. ‘Kaladin’ was funded through Kickstarter and raised over $112,000. It was released December 2017.


title: Soundtrack

text: A New York Times Bestselling series, ""Green Rider"" by Kristen Britain, celebrated its 25th anniversary with the release of a book soundtrack by the same name. It was recorded in Utah, featuring artist Jenny Oaks Baker and William Arnold and was released in 2018.


title: Soundtrack

text: A soundtrack for J. R. R. Tolkien's "The Hobbit" and "The Lord of the Rings" was composed by Craig Russell for the San Luis Obispo Youth Symphony. Commissioned in 1995, it was finally put on disk in 2000 by the San Luis Obispo Symphony.


title: Soundtrack

text: For the 1996 "Star Wars" novel "" (written by author Steve Perry), Lucasfilm chose Joel McNeely to write a score. This was an eccentric, experimental project, in contrast to all other soundtracks, as the composer was allowed to convey general moods and themes, rather than having to write music to flow for specific scenes. A project called "Sine Fiction" has made some soundtracks to novels by science fiction writers like Isaac Asimov and Arthur C. Clarke, and has thus far released 19 soundtracks to science-fiction novels or short stories. All of them are available for free download.


title: Soundtrack

text: Author L. Ron Hubbard composed and recorded a soundtrack album to his novel "Battlefield Earth" entitled "Space Jazz". He marketed the concept album as "the only original sound track ever produced for a book before it becomes a movie". There are two other soundtracks to Hubbard novels, being "Mission Earth" by Edgar Winter and "To the Stars" by Chick Corea.


title: Soundtrack

text: The 1985 novel "Always Coming Home" by Ursula K. Le Guin originally came in a box set with an audiocassette entitled "Music and Poetry of the Kesh", featuring three performances of poetry, and ten musical compositions by Todd Barton.


title: Soundtrack

text: In comics, Daniel Clowes' graphic novel "Like a Velvet Glove Cast in Iron" had an official soundtrack album. The original black-and-white Nexus #3 from Capitol comics included the "Flexi-Nexi" which was a soundtrack flexi-disc for the issue. "Trosper" by Jim Woodring included a soundtrack album composed and performed by Bill Frisell, and the Absolute Edition of "" is planned to include an original vinyl record. "The Crow" released a soundtrack album called "Fear and Bullets" to coincide with the limited edition hardcover copy of the graphic novel. The comic book "Hellblazer" released an annual with a song called "Venus of the Hardsell", which was then recorded and a music video to accompany with.


title: Soundtrack

text: The Brazilian graphic novel "Achados e Perdidos" (""Lost and Found""), by Eduardo Damasceno and Luís Felipe Garrocho, had an original soundtrack composed by musician Bruno Ito. The book was self-published in 2011 after a crowdfunding campaign and was accompanied by a CD with eight songs (one for each chapter of the story). In 2012, this graphic novel won the Troféu HQ Mix (Brazilian most important comic book award) in the category "Special Homage".


title: Soundtrack

text: As Internet access became more widespread, a similar practice developed of accompanying a printed work with a downloadable theme song, rather than a complete and physically published album. The theme songs for "Nextwave", "Runaways", "Achewood", and "Dinosaur Comics" are examples of this.


title: Soundtrack

text: In Japan, such examples of music inspired by a work and not intended to soundtrack a radio play or motion picture adaptation of it are known as an "image album" or "image song", though this definition also includes such things as film score demos inspired by concept art and songs inspired by a TV series that are not featured in them. Many audiobooks have some form of musical accompaniment, but these are generally not extensive enough to be released as a separate soundtrack.


title: High jump

text: The high jump is a track and field event in which competitors must jump unaided over a horizontal bar placed at measured heights without dislodging it. In its modern, most-practiced format, a bar is placed between two standards with a crash mat for landing. Since ancient times, competitors have introduced increasingly effective techniques to arrive at the current form, and the current universally preferred method is the Fosbury Flop, in which athletes run towards the bar and leap head first with their back to the bar.


title: High jump

text: The discipline is, alongside the pole vault, one of two vertical clearance events in the Olympic athletics program. It is contested at the World Championships in Athletics and the World Athletics Indoor Championships, and is a common occurrence at track and field meets. The high jump was among the first events deemed acceptable for women, having been held at the 1928 Olympic Games.


title: High jump

text: Javier Sotomayor (Cuba) is the current men's record holder with a jump of set in 1993 – the longest-standing record in the history of the men's high jump. Stefka Kostadinova (Bulgaria) has held the women's world record of since 1987, also the longest-held record in the event.


title: High jump

text: The rules set for the high jump by World Athletics (previously named the IAAF) are Technical Rules TR26 and TR27 (previously Rules 181 and 182). Jumpers must take off from one foot. A jump is considered a failure if the jumper dislodges the bar, touches the ground, or breaks the plane of the near edge of the bar before clearance.


title: High jump

text: Competitors may begin jumping at any height announced by the chief judge, or may pass at their own discretion. Most competitions state that three consecutive missed jumps, at any height or combination of heights, will eliminate the jumper from contention. The victory goes to the jumper who clears the greatest height during the final.


title: High jump

text: If two or more jumpers tie for any place, the tie-breakers are: 1) the fewest misses at the height at which the tie occurred; and 2) the fewest misses throughout the competition. If the event remains tied for first place (or a limited-advancement position to a subsequent meet), the jumpers have a jump-off, beginning at the next height above their highest success. Jumpers have one attempt at each height. If only one succeeds, he or she wins; if more than one does, these try with the bar raised; if none does, all try with the bar lowered. This process was followed at the 2015 World Championship men's event.


title: High jump

text: In the example jump-off above, the final cleared height is 1.88m, at which A B C and D each have one failure. D has two failures at lower heights compared to one each for the other three, who proceed to a jump-off at the next height above the final cleared height. C is eliminated in the second round of the jump-off 1.89m, then B wins in the third round.


title: High jump

text: A 2009 rule-change makes the jump-off optional, so that first place can be shared by agreement among tied athletes. This rule led to shared gold in the 2020 Olympic men's event held in 2021.


title: High jump

text: The first recorded high jump event took place in Scotland in the 19th century. Early jumpers used either an elaborate straight-on approach or a "scissors" technique. In later years, the bar was approached diagonally, and the jumper threw first the inside leg and then the other over the bar in a scissoring motion.


title: High jump

text: Around the turn of the 20th century, techniques began to change, beginning with the Irish-American Michael Sweeney's "Eastern cut-off" as a variation of the scissors technique. By taking off as in the scissors method, extending his spine and flattening out over the bar, Sweeney raised the world record to in 1895. Even in 1948, John Winter of Australia won the gold medal of the 1948 London Olympics with this style. Besides, one of the most successful female high jumper, Iolanda Balaș of Romania, used this style to dominate women's high jump for about 10 years until her retirement at 1967.


title: High jump

text: Another American, George Horine, developed an even more efficient technique, the "Western roll". In this style, the bar again is approached on a diagonal, but the inner leg is used for the take-off, while the outer leg is thrust up to lead the body sideways over the bar. Horine increased the world standard to in 1912. His technique was predominant through the 1936 Berlin Olympics, in which the event was won by Cornelius Johnson at .


title: High jump

text: American and Soviet jumpers were the most successful for the next four decades, and they pioneered the straddle technique. Straddle jumpers took off as in the Western roll but rotated their torso, belly-down, around the bar, obtaining the most efficient and highest clearance up to that time. Straddle jumper Charles Dumas was the first to clear 7ft (2.13m), in 1956. American John Thomas pushed the world mark to in 1960. Valeriy Brumel of the Soviet Union took over the event for the next four years, radically speeding up his approach run. He took the record up to and won the gold medal of the 1964 Tokyo Olympics, before a motorcycle accident ended his career in 1965.


title: High jump

text: American coaches, including two-time NCAA champion Frank Costello of the University of Maryland, flocked to Russia to learn from Brumel and his coaches like Vladimir Dyachkov. However, it would be a solitary innovator at Oregon State University, Dick Fosbury, who would bring the high jump into the next century.


title: High jump

text: Taking advantage of the raised, softer, artificially-cushioned landing areas that were in use by then, Fosbury added a new twist to the outmoded Eastern cut-off. He directed himself over the bar head and shoulders first, going over on his back and landing in a fashion that would likely have resulted in serious injury in the old ground-level landing pits, which were usually filled with sawdust or sand mixtures.


title: High jump

text: Since Fosbury used his new style, called the Fosbury Flop, to win the gold medal of the 1968 Mexico Olympics, it has spread quickly, and soon "floppers" were dominating international high jump competitions. The first flopper setting a world record was the American Dwight Stones, who cleared in 1973. In the female side, the 16-year-old flopper Ulrike Meyfarth from West Germany won the gold medal of the 1972 Munich Olympics at , which tied the women's world record at that time (held by the Austrian straddler Ilona Gusenbauer a year before). However, it was not until 1978 when a flopper, Sara Simeoni of Italy, broke the women's world record.


title: High jump

text: Successful high jumpers following Fosbury's lead also included the rival of Dwight Stones, -tall Franklin Jacobs of Paterson, New Jersey, who cleared , over his head (a feat equalled 27 years later by Stefan Holm of Sweden); Chinese record-setters Ni-chi Chin and Zhu Jianhua; Germans Gerd Wessig and Dietmar Mögenburg; Swedish Olympic medalist and former world record holder Patrik Sjöberg; female jumpers Ulrike Meyfarth of West Germany and Sara Simeoni of Italy.


title: High jump

text: In spite of this, the straddle technique did not disappear at once. In 1977, the 18-year-old Soviet straddler Vladimir Yashchenko set a new world record . In 1978, he raised the record to , and indoor, just before a knee injury ended his career effectively when he was only 20 years old. In the female side, the straddler Rosemarie Ackermann of East Germany, who was the first female jumper ever to clear , raised the world record from to during 1974 to 1977. In fact, from 2 June 1977 to 3 August 1978, almost 10 years after Fosbury's success, the men's and women's world records were still held by straddle jumpers Yashchenko and Ackermann respectively. However, they were the last world record holders using the straddle technique. Ackermann also won the gold medal of the 1976 Montreal Olympics, which was the last time for a straddle jumper (male or female) to win an Olympic medal.


title: High jump

text: In 1980, the Polish flopper, 1976 Olympic gold medalist Jacek Wszoła, broke Yashchenko's world record at . Two years before, the female Italian flopper Sara Simeoni, the long-term rival of Ackermann, broke Ackermann's world record at and became the first female flopper to break the women's world record. She also won the gold medal of the 1980 Moscow Olympics, where Ackermann placed fourth. Since then, the flop style has been completely dominant. All other techniques were almost extinct in serious high jump competitions after late 1980s.


title: High jump

text: Technique and form have evolved greatly over the history of high jump. The Fosbury Flop is currently considered the most efficient way for competitors to propel themselves over the bar.


title: High jump

text: For a Fosbury Flop, depending on the athlete's jump foot, they start on the right or left of the high jump mat, placing their jump foot farthest away from the mat. They take an eight- to ten-step approach, with the first three to five steps being in a straight line and the last five being on a curve. Athletes generally mark their approach in order to find as much consistency as possible.


title: High jump

text: The approach run can be more important than the takeoff. If a high jumper runs with bad timing or without enough aggression, clearing the bar becomes more of a challenge. The approach requires a certain shape or curve, the right amount of speed, and the correct number of strides. The approach angle is also critical for optimal height.


title: High jump

text: The straight run builds the momentum and sets the tone for a jump. The athlete starts by pushing off their takeoff foot with slow, powerful steps, then begins to accelerate. They should be running upright by the end of the straight portion.


title: High jump

text: The athlete's takeoff foot will be landing on the first step of the curve, and they will continue to accelerate, focusing their body towards the opposite back corner of the high jump mat. While staying erect and leaning away from the mat, the athlete takes their final two steps flat-footed, rolling from the heel to the toe.


title: High jump

text: Most great straddle jumpers run at angles of about 30 to 40 degrees. The length of the run is determined by the speed of the approach. A slower run requires about eight strides, but a faster high jumper might need about 13 strides. Greater speed allows a greater part of the body's forward momentum to be converted upward.


title: High jump

text: The J approach favored by Fosbury floppers allows for speed, the ability to turn in the air (centripetal force), and a good takeoff position, which helps turn horizontal momentum into vertical momentum. The approach should be a hard, controlled stride so that the athlete does not fall from running at an angle. Athletes should lean into the curve from their ankles, not their hips. This allows their hips to rotate during takeoff, which in turn allows their center of gravity to pass under the bar.


title: High jump

text: The takeoff can be double-arm or single-arm. In both cases, the plant foot should be the foot farthest from the bar, angled towards the opposite back corner of the mat, as they drive up the knee on their non-takeoff leg. This is accompanied by a one- or two-arm swing while driving the knee.


title: High jump

text: Unlike the straddle technique, where the takeoff foot is "planted" in the same spot regardless of the height of the bar, flop-style jumpers must adjust their approach run as the bar is raised so that their takeoff spot is slightly farther out from the bar. Jumpers attempting to reach record heights commonly fail when most of their energy is directed into the vertical effort and they knock the bar off the standards with the backs of their legs as they stall.


title: High jump

text: An effective approach shape can be derived from physics. For example, the rate of backward spin required as the jumper crosses the bar in order to facilitate shoulder clearance on the way up and foot clearance on the way down can be determined by computer simulation. This rotation rate can be back-calculated to determine the required angle of lean away from the bar at the moment of planting, based on how long the jumper is on the takeoff foot. This information, together with the jumper's speed, can be used to calculate the radius of the curved part of the approach. One can also work in the opposite direction by assuming a certain approach radius and determining the resulting backward rotation.


title: High jump

text: Drills can be practiced to solidify the approach. One drill is to run in a straight line and then run two to three circles spiraling into one another. Another is to run or skip a circle of any size two to three times in a row. It is important to leap upwards without first leaning into the bar, allowing the momentum of the J approach to carry the body across the bar.


title: High jump

text: The knee on the athlete's non-takeoff leg naturally turns their body, placing them in the air with their back to the bar. The athlete then drives their shoulders towards the back of their feet, arching their body over the bar. They can look over their shoulder to judge when to kick both feet over their head, causing their body to clear the bar and land on the mat.


title: High jump

text: Athletes who have won multiple titles at the two most important competitions, the Olympic Games and the World Championships:


title: High jump

text: Kostadinova and Sotomayor are the only high jumpers to have been Olympic Champion, World Champion and broken the world record.


title: Austin FC

text: Austin FC is an American professional soccer club based in Austin, Texas. The club competes in Major League Soccer (MLS) as a member of the Western Conference. Founded in 2018, the club began play in the 2021 season. Their home stadium is Q2 Stadium in north Austin. They are the first major professional sports league team to play in Texas' capital, which prior to 2021 was the largest city in the United States without such a team.


title: Austin FC

text: Austin FC is the first top-division major professional sports team in the Austin area, a market that had been previously overlooked by the major professional sports leagues due in part to the state capital's traditional support for the Texas Longhorns collegiate teams. The city's previous experience with professional soccer includes the Austin Aztex FC, which moved to Orlando in 2008 and eventually became MLS side Orlando City SC; the 2011 reincarnation of the Austin Aztex, which went on indefinite hiatus following the 2015 Memorial Day floods washing out their venue at House Park; and Austin Bold FC, which played in the second-division USL Championship at Circuit of the Americas from 2019 to 2021.


title: Austin FC

text: In October 2017, Columbus Crew SC operator Precourt Sports Ventures announced their intention to move the group's MLS franchise rights to Austin for the 2019 MLS season.


title: Austin FC

text: After several sessions, the Austin City Council, by a 7–4 vote during a special session on August 15, 2018, granted the City Manager the authority to negotiate and execute a lease for a stadium with Precourt Sports Ventures.


title: Austin FC

text: On August 22, 2018, the group unveiled the name and badge for the club at the North Door on Austin's east side. The crest was designed by local Austin brand studio The Butler Bros, who explained the badge as including the signature color "Bright Verde" to "project the vibrancy and creative energy of Austin", intertwined oaks that "stand for the bond between Club and City", and the four roots uniting all compass directions of Austin, North, East, South, and West.


title: Austin FC

text: In October 2018, an Ohio-based group which includes Jimmy and Dee Haslam, owners of the National Football League's Cleveland Browns, and Columbus-based physician and businessman Pete Edwards, announced their intentions to acquire Columbus Crew to keep the team from moving. MLS officials stated that if the transfer of the Crew's operating rights were successful, Austin FC would be an expansion team operated by Precourt to begin play by 2021.


title: Austin FC

text: On December 19, 2018, Precourt Sports Ventures and the City of Austin reached a financing agreement for a new soccer-specific stadium to be constructed at McKalla Place, which was projected to open by early 2021. Nine days after finalizing the stadium deal, Precourt Sports Ventures reached an agreement in principle to transfer the operating rights of the Columbus Crew SC to the Haslam and Edwards families in January 2019.


title: Austin FC

text: On January 15, 2019, Austin FC was officially announced as an MLS club with a 2021 start date. In July 2019, the ownership group was renamed to Two Oak Ventures and later expanded to include local celebrities and businesspeople.


title: Austin FC

text: Josh Wolff was named the club's first head coach on July 23, 2019, and Claudio Reyna was announced as their sporting director on November 21.


title: Austin FC

text: Austin FC played their first MLS match against Los Angeles FC (LAFC) at Banc of California Stadium on April 17, 2021, losing 0–2. The club secured its first victory the following week against the Colorado Rapids, winning 3–1. Diego Fagúndez scored the club's first goal and the following two were scored by the club's first Designated Player, Cecilio Dominguez. Their home opener was held on June 19, 2021, against the San Jose Earthquakes, a match which ended in a scoreless draw. The team secured its first ever home victory on July 1, 2021, defeating the Portland Timbers 4–1. Jon Gallagher scored the team's first home goal and the first MLS goal at Q2.


title: Austin FC

text: Austin FC signed Sebastián Driussi, on July 29, 2021, from Zenit St. Petersburg for a $7 million transfer fee He became the first player to score 10, 20, and 30 career goals for the club on April 16, August 6, and October 23, 2022, respectively, and was named the club's first All-Star that season.


title: Austin FC

text: In 2022, Austin FC started the season with an MLS record 10 goals in their first two matches. They lost 2–1 in their first ever cup match in the third round of the 2022 U.S. Open Cup against San Antonio FC on April 20; Fagundez scored the club's first ever Open Cup goal. On July 16, they won the Division 1 Copa Tejas, the first trophy in franchise history. Austin FC clinched their first ever playoff berth on September 14 in a 3-0 home win against Real Salt Lake where Moussa Djitte scored the first ever hat trick in club history.


title: Austin FC

text: In August 2022, Austin FC announced the creation of a reserve side that would play in MLS Next Pro beginning the following year.


title: Austin FC

text: Austin won their first MLS playoff game at home over Real Salt Lake on October 16, 2022, prevailing 3–1 in a penalty shootout after a 2–2 score following extra time. Austin advanced to the Western Conference Final in Los Angeles at Banc of California Stadium, which they lost to LAFC 3-0.


title: Austin FC

text: Based on their 2022 finish, Austin FC qualified for the 2023 CONCACAF Champions League, their first continental competition. Their first match will be in the Round of 16 against Violette AC in Port-au-Prince, Haiti. Austin FC will also compete in their first regional competition at the 2023 Leagues Cup.


title: Austin FC

text: Austin FC are the operators of a newly built stadium at McKalla Place. The stadium is near The Domain, a large shopping center complex. The stadium, built on public land and owned by the City of Austin, was privately financed by Two Oak Ventures. The lease was signed on December 19, 2018. The stadium seats 20,738 fielded its first Austin FC game on June 19, 2021.


title: Austin FC

text: The club announced plans for a $45 million, privately funded training facility, the St. David's Performance Center, on November 13, 2019. The performance center, located in the Parmer Pond development in northeast Austin, will have four full-size soccer fields, one with a 1,000 capacity seating section, in addition to a 30,000 square foot indoor facility.


title: Austin FC

text: Austin FC has several supporters' groups, including Austin Anthem, Los Verdes, the La Murga de Austin band, Fighting Leslies DC, the student-oriented Burnt Orange Brigade, and a group from New Braunfels, Oak Army New Braunfels.


title: Austin FC

text: The club colors are bright green (stylized by the club as ""verde"," the Spanish word for the color) and black. The team's color scheme has been frequently highlighted in team promotions and at Q2 Stadium, with green lights flashing after each Austin goal.


title: Austin FC

text: For the 2021 and 2022 seasons, Nexstar Media Group serves as the team's broadcast partner. The majority of games appear on KNVA, with select matches also appearing on KXAN and KBVO. Adrian Healey serves as the play-by-play announcer, while Michael Lahoud joins in as a color analyst.


title: Austin FC

text: In April 2021, Austin FC reached a deal with Univision as its Spanish broadcast partner. KAKW and KTFO will broadcast each regionally televised match in Spanish, while KLQB serves as Austin FC's flagship Spanish radio station.


title: Austin FC

text: Austin FC is owned by Two Oak Ventures, formerly known as Precourt Sports Ventures, which is led by CEO Anthony Precourt. Other investing partners in Two Oak Ventures include actor Matthew McConaughey, local entrepreneur Eduardo Margain, former Dell executive Marius Haas, and energy entrepreneur Bryan Sheffield.


title: The Colour and the Shape

text: The Colour and the Shape is the second studio album by American rock band Foo Fighters, released on May 20, 1997, through Roswell and Capitol Records. It marked the official debut of the Foo Fighters as a band, as their eponymous 1995 debut album was primarily recorded by frontman Dave Grohl and producer Barrett Jones as a demo. After the debut became an international success, Grohl recruited guitarist Pat Smear, bassist Nate Mendel, and drummer William Goldsmith to form the band's full lineup. The group convened in the fall of 1996 for pre-production on a second album, and brought in Gil Norton as producer to establish a pop sensibility for the tracks. The band strived to create a full-fledged rock record, contrary to music press predictions that it would be another grunge offshoot.


title: The Colour and the Shape

text: Primarily inspired by Grohl's divorce from photographer Jennifer Youngblood in 1996, "The Colour and the Shape" is more lyrically introspective and musically developed than the Foo Fighters' debut. The album's track listing was designed to resemble a therapy session, splitting the album between uptempo tracks and ballads to reflect conflicting emotions. Early sessions at the Bear Creek Studio in Washington went poorly and the band discarded most of those recordings. The band regrouped without Goldsmith in early 1997 to record at Hollywood's Grandmaster Recordings studio, with Grohl sitting in on drums instead. Goldsmith was offended and disgruntled that most of his material had been re-recorded, and he left the band shortly thereafter.


title: The Colour and the Shape

text: The singles "Monkey Wrench", "Everlong", and "My Hero" peaked within the top ten of US rock radio charts, and the album charted at number ten on the "Billboard" 200. The album was also a commercial success on an international level, peaking at number three in the United Kingdom. Critics deemed the album a significant American rock release of its era, and in retrospective assessments it continues to be viewed as a seminal modern rock album. It was nominated for a Grammy Award in 1998 for Best Rock Album. "The Colour and the Shape" remains the Foo Fighters' biggest seller in the U.S., having sold more than two million copies according to Nielsen SoundScan. The album was remastered and reissued in 2007 with several bonus tracks for its tenth anniversary.


title: The Colour and the Shape

text: "The Colour and the Shape" was Foo Fighters' last album to be released and marketed by Capitol Records. After the band, along with their label Roswell Records, signed to RCA Records, its distribution, along with their eponymous debut album, has switched to RCA.


title: The Colour and the Shape

text: The album was the debut of Foo Fighters as a full band. On the first album under the Foo Fighters name, frontman Dave Grohl had performed and recorded all of the parts by himself, with the exception of one guitar part played by Greg Dulli. The band's original lineup assembled for their exhaustive touring schedule throughout 1995 and 1996, during which the band became an international sensation on the strength of singles "This Is a Call", "I'll Stick Around", and "Big Me". Although the music press generally speculated the band's sophomore record would showcase grunge-inspired garage rock, the band's intention was to make a more straightforward rock record. The deal the band struck with Capitol Records afforded them a large degree of creative control over the band's true "debut." The songs on the record were composed during soundchecks during their extensive touring over the previous eighteen months. Mendel said "the germ of every song is Dave's," with the frontman providing a riff and a basic song structure. The band would then jam and each member would contribute to some aspect of the song.


title: The Colour and the Shape

text: Grohl recruited producer Gil Norton to provide additional pop polish to the material. He especially wanted to hear guitar overdubs and harmonies with significant clarity. Grohl said he admired Norton for his earlier work with the Pixies and his ability to "distill a coherent pop song out of all [the Pixies'] multi-layered weirdness." Norton was highly demanding of the band's performance, prompting bassist Nate Mendel to practice and improve his musical skill. Grohl said "it was frustrating and it was hard and it was long, but at the end of the day you listened back to what you'd done and you understood why you had to do it one million times."


title: The Colour and the Shape

text: "The Colour and the Shape" was recorded over the period of two months, primarily at Grandmaster Recorders in Hollywood from January to February 1997. The band spent two weeks in pre-production the previous autumn, rehearsing the tracks and changing arrangements. Norton had his greatest impact during pre-production, during which he spent days with Grohl in his hotel room "stripping the songs back to their absolute basics." His role in production taught the band the importance of self-editing and gave them confidence to see "the larger picture in a song." Afterward, the band set off for Bear Creek Studio in Woodinville, Washington, where the first recording sessions for "The Colour and the Shape" began on November 18, 1996. Mendel described Bear Creek as "a converted barn with a salmon stream running through it". The studio was located on a farm and, for the duration of these sessions, the band lived in a cabin adjacent to the studio.


title: The Colour and the Shape

text: Grohl, who described the sessions at Bear Creek as a "bad experience," decided to scrap nearly all of the recorded tracks. The band took a break for the holidays, during which Grohl returned to Virginia and wrote several new songs. He recorded two of these songs by himself at WGNS Studios in Washington, D.C.: "Walking After You" and an acoustic version of "Everlong".


title: The Colour and the Shape

text: In February 1997, the band—minus drummer William Goldsmith—relocated to Hollywood's Grandmaster Recorders, which Mendel said was "a small studio that sometimes moonlighted as a porn set, and looked the part." For a period of four weeks, the band re-recorded most of the album with Grohl playing the drum tracks. Grohl's drumming started with only "Monkey Wrench", as Grohl and Norton felt the drums on that song needed more work, but by the end of the sessions recordings of Goldsmith's drumming remained on only two tracks, "Doll" and "Up in Arms". According to Grohl, Goldsmith's drumming had good moments, but his performances mostly did not fit what Grohl had conceived for the drum track, so the frontman decided to redo them himself. Goldsmith even asked if he should go to Los Angeles, but Grohl declined and said he was only performing overdubs. Eventually, Mendel told Goldsmith the situation. Grohl said that he still wanted Goldsmith as a member of the band, despite replacing his tracks, but the disgruntled drummer decided to leave the Foo Fighters instead. Speaking in 2011 about the tension that surrounded the Goldsmith's departure, Grohl said, "There were a lot of reasons it didn't work out […] but there was also a part of me that was like, you know, I don't know if I'm finished playing the drums yet. […] I wish that I would have handled things differently."


title: The Colour and the Shape

text: After the move to Los Angeles, the album's budget ballooned and deadlines became a more pressing concern. Studio time was expensive and the group was pressured by Capitol to deliver the record in a timely fashion. However, the pressure never adversely affected the band members, whose main priorities were to make "music for its own sake […] and let the commercial concerns take care of themselves."


title: The Colour and the Shape

text: The album's title came from the band's tour manager of the time, who would often spend afternoons rummaging thrift stores and purchasing strange memorabilia; on one occasion, he purchased a bowling pin with red and white stripes, remarking to the band he rather liked "the colour and the shape" of the object. The group found the phrase arbitrary and hilarious and decided to use it as the title rather than trying to choose a title based on the music's themes or moods. They chose the British spelling of ""colour"" with a "u" as a tribute to Norton, who is British. A title track was written and recorded for "The Colour and the Shape" during the Bear Creek sessions, but like most of the other songs attempted there, it did not reach the album's final track list. Noted as "rawer, noisier and thrashier" than the rest of the songs on the album by "Louder Sound"s Paul Brannigan, it later became a b-side to the album's eventual lead single, "Monkey Wrench". After settling on a track sequence, Grohl was struck by the impression that the album's flow from start to finish resembled a therapy session, moving from fear and anxiety at the start to self-assurance and resolve by the end. He even considered placing a therapist's couch on the album cover.


title: The Colour and the Shape

text: Professional reviewers have characterized the musical genre of "The Colour and the Shape" as alternative rock, grunge, post-grunge, punk rock, and hard rock. Writing in "Melody Maker", Victoria Segal said the album was more cohesive than the debut and was unified by a theme of "battered romanticism". More specifically, many of the lyrics address the dissolution of Grohl's marriage to Jennifer Youngblood during the winter of 1996, which Grohl said had been "the winter of my discontent." The album's track sequence reflects this sentiment, chronicling his change from chaos to newfound happiness. Grohl admitted the lyrics of the previous album had been "obscure" and "nonsense," but Norton challenged Grohl to write lyrics that were more meaningful and comprehensible. Grohl delved deeper into his feelings with the lyrics and said "there was a new freedom: 'Wow, I can actually write about things I feel strongly about and things that mean something to me and things I wouldn't normally say in everyday conversation.'" The frontman stated that the experience was "kind of liberating," comparing the album to going to a weekly visit to the therapist "and then the rest of the week feel pretty good about everything." Grohl also found new strength in his singing, overcoming insecurities he had about his singing voice on the debut. Three types of songs permeate the record: ballads, up-tempo tracks and combinations of the two. Grohl felt they were representative of the specific emotions he would feel after the divorce.


title: The Colour and the Shape

text: The album's opener, "Doll", involves the fear of entering into situations unprepared. Regarding "Monkey Wrench", Grohl stated that it was "a song about realizing that you are the source of all of the problems in a relationship and you love the other person so much, you want to free them of the problem, which is actually yourself. It was a riff that turned into another riff that turned into another riff and ended up being a nice little power punk song." In another interview, Grohl stated his pride in the song: "With Monkey Wrench I remember I had the main riff, but I didn't have the little jangly riff that goes over the top of it and I thought it needed something. So I came up with the jangly riff and thought 'Oh my God this is never gonna fly! Everyone's gonna hate it'. But I was really excited the first time I heard it on the radio—it was in the middle of a load of mid-'90s grunge shit and I thought it was so killer." The song was released as the first single from the album in 1997.


title: The Colour and the Shape

text: The lyrics to "Hey, Johnny Park!" song follow a series of different themes ("about 15 different things", according to Grohl). Johnny Park is the name of one of Grohl's childhood friends; he noted, "we were like brothers from the age of 5 to 12" and that he named the song after Park in hopes that he might restore contact with him. "My Poor Brain" experiments with different dynamics, both musically and lyrically in nature. Grohl likened the disparity in sounds to changes from Jackson Five to Black Sabbath. Grohl described the concept of "Wind Up" as about successful musicians who constantly complain about their lives to the press. He elaborated, "It drives me insane when I hear musicians that don't understand how fortunate they are that they don't have to go and pump gas for twelve hours a day. They can sit on their couch and smoke pot, and complain to their friends that they hate it when someone comes up and says that he likes their band... there are two sides: there's the reluctant rock-star, and then there is the prying journalist that almost lives for the reluctant rock-star, it's just talking "about the hand you've been dealt." Every time I hear about "the hand you've been dealt," it drives me fucking nuts, spare me your confessions... I've had so many fucking bullshit jobs for the half of my life—you know, working in furniture warehouses and planting trees, painting houses—and it's a lot more fun to play music."


title: The Colour and the Shape

text: Grohl described "Up in Arms" as "A typical love song. It's almost like a Knack song, just a simple pop song." Also in the song, Dave changed the last line which is meant to sing "always coming back I cannot forget you girl" to "always coming back I cannot forget you "Gil"" in reference to their producer Gil Norton. "My Hero" criticizes idolatry and instead extolls friends who are ordinary heroes, which has been considered a statement on fame and partially inspired by former bandmate Kurt Cobain. In Grohl's own words, the song is, "(his) way of saying that when I was young, I didn't have big rock heroes, I didn't want to grow up and be some big sporting hero. My heroes were ordinary people and the people that I have a lot of respect for are just solid everyday people—people you can rely on." This was the third single to be released from the album. "See You" was a song that, according to Grohl, only he liked out of the rest of the band. When Grohl entered the studio, he changed Goldsmith's original drum part to resemble Queen's "Crazy Little Thing Called Love" so the rest of the group would be satisfied with putting it on the record.


title: The Colour and the Shape

text: "Enough Space" is about "Arizona Dream", one of Grohl's favorite films. He also said the song emerged from his desire to create a song that would be a good opener on their set lists, with a tempo that mimicked the jumping and bouncing of European crowds in the beginning of sets. The lyrics of "February Stars" are said to be about "hanging on by the tips of your fingers and hoping you don't slip and fall." This song dates back to at least January 1994, when an early take of the song with alternate lyrics, titled "Dave/Acoustic + Voc" was recorded by Grohl and Krist Novoselic on Harmonium during Nirvana's last recording session. "Everlong" was written when the band took a break from recording after the initial sessions. Grohl reworked "Everlong" by himself at his home in Virginia. It is considered to be one of the best songs by the band and is highly acclaimed. In 2000, David Letterman revealed that it is his favorite song.


title: The Colour and the Shape

text: "Walking After You" was written and recorded by Grohl on his own in a studio in Washington. This version appears on the album. The band would later re-record the song with all the members for , and this version was released as a single. Grohl stated that "Walking After You" was "an emotional, sappy song about getting dumped." On the record's closing track, "New Way Home," Grohl longs for his hometown and recalls the drive there on Highway 99. Through this journey, "I realise that it’s OK, I can make my way through all of this, and I’m not that freaked out at the end."


title: The Colour and the Shape

text: "The Colour and the Shape" was released on May 20, 1997, preceded the month before by lead single "Monkey Wrench". The promotional campaign emphasized the band's group identity as well as each band member's individual personality. This strategy contrasted with the marketing approach for the prior album, which had centered Grohl at a time before Mendel and Smear felt comfortable being marketed as personalities. Each member gave interviews with press discussing their interests, with guitarist Pat Smear talking to guitar and fashion magazines. Just as recording was finished and Taylor Hawkins was hired as the new drummer (he was the former touring drummer for Alanis Morissette's "Jagged Little Pill" in 1995), Smear expressed his own plans to leave the band, claiming he was exhausted and not motivated to go through with another extended tour. This information was not yet highly publicized, and spokespeople for the band denied that the rumors of Smear's impending departure were true. The promotional tour started in May 1997. Smear departed during a September 4 concert at Radio City Music Hall, right before that year's 1997 MTV Video Music Awards, giving his instrument for the new guitarist, Franz Stahl, to finish the set.


title: The Colour and the Shape

text: "Everlong" was released as the album's second single in August 1997. It was the most commercially successful single from the record, being certified double platinum in the United States and being one of only three Foo Fighters songs to reach that status. Smear remained with the group until September 4, the night of the 1997 MTV Video Music Awards. After playing "Monkey Wrench" during the "pregame show" to the event, Smear announced that it was the final song he would play with the band, introducing Franz Stahl as the band's new guitarist before the band began playing "Everlong" later that evening. "My Hero" was released as the third and final single from the album in 1998. All three singles peaked inside the top ten of the Alternative Songs and Mainstream Rock charts.


title: The Colour and the Shape

text: To commemorate "The Colour and the Shape"s tenth anniversary, it was reissued on July 10, 2007, with six additional tracks: the B-sides "Dear Lover" and "The Colour and the Shape", plus covers of Killing Joke's "Requiem", Gary Numan's "Down in the Park", Gerry Rafferty's "Baker Street" and Vanity 6's "Drive Me Wild".


title: The Colour and the Shape

text: Critical response to the record was generally positive. Victoria Segal at the UK-based "Melody Maker" viewed "The Colour and the Shape" as a significant American rock release, writing that it was "a great rock album at a time when great rock albums are viewed with increasing suspicion." Segal's review described the album as leagues ahead of other post-grunge acts: "The first album might have been a collection of loveable songs, but lacked the sheer visceral attack that thrills this time round," Segal wrote, calling it "[a]n attack that would have[…] almost any other US rock band biting their nails in anguish and embarrassment." Writing in "The Guardian", Adam Sweeting found that the "glorious" album saw the band tempering their grunge sound with a more developed flair for pop songwriting.


title: The Colour and the Shape

text: Christina Kelly of "Rolling Stone" was largely positive, although she singled out Norton's production as distracting: ""Colour" has a big, radio-ready, modern-rock sound. Some might even call the album overproduced: On the ballads, the vocals are overprocessed and fake sounding." "Entertainment Weekly" praised the band's growth, but criticized the sound, which journalist David Browne described as "like much current alt-rock: been there, grunged that." In contrast, Stephen Thomas Erlewine of AllMusic described that production as revolutionary: "everything here wound up defining the sound of post-grunge modern rock, and it remains as perhaps the best example of its kind." In his review for "The Village Voice", Robert Christgau said the music was routine but elevated by Grohl's "marital breakup content/concept," which allowed him to "fully inhabit the music that meant so much to him and millions of other Kurt Cobain fans." Ryan Schreiber of "Pitchfork" was less favorable, rating the album 3.4 out of 10 and calling the music "sorely dated."


title: The Colour and the Shape

text: Reviewing the tenth anniversary re-release, "Pitchfork" was mildly more favorable. Scoring the release a 5.8 out of 10, Stuart Berman stated, ""The Colour and the Shape" presented a true picture of the kind of group Grohl wanted to be in, had he not been sidetracked by the job of drumming for the biggest American rock band of the early 1990s [...] that band would turn out to be much more formulaically mall-punk than the Foos' torn 'n' frayed debut suggested." "PopMatters" Mike Schiller reviewed the re-release with the opposite opinion, citing the self titled record's single "I'll Stick Around" as an example of "Grohl's strikingly non-aggressive (read: bland) vocal style" from the 1995 album; he then described "Monkey Wrench" as proof that Grohl "knew how to rock out" by comparison.


title: The Colour and the Shape

text: "The Colour and the Shape" peaked at number 10 on the "Billboard" 200, up from a peak of 23 for the 1995 self-titled debut. It also managed to reach the top ten in Australia, Canada, Greece, Ireland, New Zealand, Sweden, and the United Kingdom. The album has also been certified Platinum in the United States, Australia, Canada, and the United Kingdom.


title: Peaches (musician)

text: Merrill Nisker (born 11 November 1966), better known by her stage name Peaches, is a Canadian electroclash musician and producer.


title: Peaches (musician)

text: Born in Ontario, Peaches began her musical career in the 1990s as part of a folk trio, Mermaid Cafe. In 1995, she established a rock band, the Shit. That year she also released her first solo album, "Fancypants Hoodlum". After moving to Berlin, Germany, she was signed to the Kitty-Yo label and released her second album, "The Teaches of Peaches" (2000). Touring as the opening act for bands like Marilyn Manson and Queens of the Stone Age, she subsequently released her third album, "Fatherfucker" (2003).


title: Peaches (musician)

text: Peaches' songs have been featured in movies such as "Mean Girls", "Waiting...", "Jackass Number Two", "My Little Eye", "Drive Angry," and "Lost in Translation". Her music has also been featured on television shows such as "Orphan Black", "Lost Girl", "The L Word", "South Park", "Skam", "The Handmaid's Tale", "30 Rock", "True Blood", "Fresh Meat," "Full Frontal with Samantha Bee", "The Boys", "Sex Education", and "Letterkenny", and has been used for the promotion of "Dirt". Peaches has performed guest vocals on several songs, including "Oh My God" from Pink's album "Try This", "We Don't Play Guitars" from Chicks on Speed's album "99 Cents", "My Girls" from Christina Aguilera's 2010 album "Bionic" (produced by — and co-written with — Le Tigre), and "Scare Me" from Major Lazer's 2013 album "Free the Universe" (also featuring Timberlee).


title: Peaches (musician)

text: Merrill Nisker was born in 1966 in Toronto, Ontario. Her family was culturally Jewish, though not religious. Her maternal grandparents immigrated to Canada from Ustrzyki Dolne in Poland; her paternal grandparents were from Galicia in what is now Ukraine.


title: Peaches (musician)

text: Nisker attended a private Jewish school. Nisker was a class clown, who "wasn't particularly smart. I was interested in creative performance stuff, but that turned out to be difficult for me because it was all so structured," she told Kitty Empire of "The Observer".


title: Peaches (musician)

text: In an interview in "URB" magazine, she recounted how growing up she experienced antisemitism; on her walks home from school, students from a nearby Catholic school would throw stones at her and call her a "dirty Jew".


title: Peaches (musician)

text: As a teenager, Nisker appeared in two plays alongside future Barenaked Ladies singer Steven Page, including a musical, "My Brother's Keeper". She shared this story with Damian Abraham on his "Turned Out a Punk" podcast.


title: Peaches (musician)

text: During the early 1990s, Nisker was part of folk trio Mermaid Cafe. The name was taken from the Joni Mitchell song "Carey". She later released her first solo album, "Fancypants Hoodlum", under the name Merrill Nisker in 1995, and subsequently developed the style and persona known as Peaches. In 1995, she started the Shit, a noisy four-piece combo with Chilly Gonzales (a.k.a. Jason Beck), bassist Sticky (later of Weeping Tile and Music Maul), and Dominique Salole (a.k.a. Mocky). Their absurd, highly sexual rock music was a harbinger for what Nisker would become, as it was during this time that she adopted the Peaches name. The Peaches moniker was taken from the Nina Simone song "Four Women" where Simone screams at the end, "My name is Peaches!" In Toronto, before rising to fame, she lived above Come As You Are with fellow recording artist Feist. Feist worked the back of the stage at Peaches' shows, using a sock puppet and calling herself "Bitch Lap Lap". The two toured together in England from 2000–2001, staying with Justine Frischmann of Elastica and M.I.A. M.I.A. went on to video-document Peaches' 2000 US tour and made clothes for the musician, while Peaches inspired M.I.A. to use the Roland MC-505 in her own compositions.


title: Peaches (musician)

text: After creating a six-track EP, "Lovertits", Peaches moved to Berlin, Germany. While visiting her old friend Jason Beck, who was enjoying modest European success as Chilly Gonzales in his new home base of Berlin, Peaches landed a one-night gig. On the merits of that show alone, Berlin's Kitty-Yo label signed her on the spot. The label offered her the chance to record a new album, "The Teaches of Peaches", back home in Toronto, and the already-completed "Lovertits" EP was released in the summer of 2000. The full-length album "The Teaches of Peaches", was released that fall. The album contains her signature song "Fuck the Pain Away".


title: Peaches (musician)

text: Peaches appeared on the British TV show "Top of the Pops", but her performance was deemed too racy to be aired.


title: Peaches (musician)

text: Nisker signed a European contract with Sony following the release of "The Teaches of Peaches". She later made a big-budget video for the song "Set It Off", in which she sat in a locker room as her pubic and armpit hair grew to Rapunzel length. Sony subsequently dropped her. "Now they want their money back," Peaches said.


title: Peaches (musician)

text: In 2001, Nisker's 34AA bust was one of the first female busts cast by famous 1960s groupie Cynthia Plaster Caster, who was better known for making molds of male rockers' genitalia.


title: Peaches (musician)

text: In 2002, Peaches appeared in "Hideous Man", a short film directed by John Malkovich. The short was created as a showcase for clothing designed by Bella Freud, and featured the poetry of Gary Sinise.


title: Peaches (musician)

text: In 2003, Peaches released her second album "Fatherfucker" on XL/Kitty-Yo after years of touring and opening for artists like Marilyn Manson and Queens of the Stone Age. She once again wrote and programmed all of the album's music herself. The single "Kick It", which features Iggy Pop, was described by Peaches to "Rolling Stone" as "more about rock 'n' roll than sex."


title: Peaches (musician)

text: For her album "Fatherfucker", Peaches was nominated in the "Outstanding Music Artist" category for the 15th GLAAD Media Awards along with Rufus Wainwright, Meshell Ndegeocello, Junior Senior, and Bitch and Animal, but lost to Wainwright.


title: Peaches (musician)

text: In 2007 Peaches posed as a model for an advertisement by the Vestal Watches company. The advertisement was shown in "The Fader" magazine.


title: Peaches (musician)

text: Peaches was nominated for her album "Impeach My Bush" in the category "Outstanding Music Artist" at the 18th GLAAD Media Awards along with the Ditty Bops, Owen Pallett, Pet Shop Boys, and the Scissor Sisters, but lost to the Scissor Sisters.


title: Peaches (musician)

text: Peaches' song "Boys Wanna Be Her" is featured in an online teaser for the live-action feature film "Bad Kids Go to Hell" (2012), based on the best-selling graphic novel of the same name. It also serves as the theme music for the late-night television series "Full Frontal with Samantha Bee". It was also featured in an episode of "Orphan Black".


title: Peaches (musician)

text: Peaches' fourth album "I Feel Cream", was released on 4 May 2009, in Europe, and 5 May in North America. The first single from the album is a double A-side of "Talk to Me" and "More". Peaches enlisted some of her contemporaries to co-produce a number of tracks including Simian Mobile Disco, Soulwax, Digitalism and Shapemod. Long time friend and collaborator Gonzales co-wrote some of the songs on "I Feel Cream" and Shunda K (the voice of Yo Majesty) featured on the track "Billionaire".


title: Peaches (musician)

text: Peaches has been noted for her stage costumes and flamboyant sense of style. Her looks are often both nostalgic and futuristic; aggressive and glamorous; and push the limits of gender identity. Peaches and her band Sweet Machine wear costumes from a variety of designers but most notably she works closely with stylist/designer Vaughan Alexander, celebrity hairstylist Charlie Le Mindu, and young American fashion designer, John Renaud.


title: Peaches (musician)

text: In 2010, Peaches and backing band Sweet Machine once again toured Australia performing at the sold out Big Day Out festivals and at a series of sideshows. Peaches was supported on this tour by Shunda K who performed her collaboration "Billionaire" at BDO festivals and at the sideshows, and was also the opening act at the sideshows along with Evil Beaver in Melbourne.


title: Peaches (musician)

text: On 14 March 2010, Peaches won the 'Electronic Artist of the Year' award at the 10th Annual Independent Music Awards held in Toronto, Canada.


title: Peaches (musician)

text: In March 2010, the copyright owners of the musical "Jesus Christ Superstar" denied Peaches permission to perform her one-woman version that she was planning to stage in Berlin. After receiving the attention of several media outlets, Peaches successfully negotiated with those rights-holders, and the musical was performed on 25–27 March at Berlin's HAU1. Gonzales accompanied Peaches on piano. Travis Jeppesen stated in his review for Artforum, "Not only did Peaches set it off, she managed to surprise us all by showing off an expansive vocal range, a musician's natural sensitivity to the dynamics of Andrew Lloyd Webber's score, and an emotive prowess that is rarely if ever displayed in her own, less holy, music."


title: Peaches (musician)

text: Peaches appeared in a film called "Ivory Tower", which also includes spots from Feist, Chilly Gonzales, Tiga and Gonzales' mother. Peaches stars as Marsha, a performance artist engaged to a man named Thaddeus (Tiga). Things get complicated when her ex, Hershall (Gonzales) comes back into her life. The movie is set in Toronto and was shot over 13 days in late winter and early spring 2010. It was co-written by Gonzales and Céline Sciamma (who directed/wrote "Water Lilies" and Portrait of a Lady on Fire) was directed by Adam Traynor and produced by Nicolas Kazarnia. "Ivory Tower" was given a limited theatrical release in August 2010.


title: Peaches (musician)

text: In May 2010, Christina Aguilera announced that Peaches was among the collaborators on her fourth studio album "Bionic". Peaches is featured on a track called "My Girls". The song was co-written and produced by Le Tigre.


title: Peaches (musician)

text: On 30 August 2010, Peaches released a new single titled "Jonny". The single is part of a tribute series to Alan Vega from the band Suicide. Other musicians who have released tribute singles as part of the series include The Horrors, Primal Scream, Klaxons and Bruce Springsteen.


title: Peaches (musician)

text: Peaches also appears as a guest musician on R.E.M.'s 2011 release "Collapse into Now", contributing vocals to the song "Alligator_Aviator_Autopilot_Antimatter".


title: Peaches (musician)

text: It was announced in 2012 that a semi-biographical musical/concert film would be premièred at the Toronto Film Festival, utilising 22 songs from Peaches' back catalog and backed by her band the Sweet Machine.


title: Peaches (musician)

text: On 2 October 2012, Peaches released her new single "Burst!" as a digital single backed with several remixes.


title: Peaches (musician)

text: Photographer Holger Talinski collaborated with Peaches on a book of photographs, "What Else Is in the Teaches of Peaches", released on 2 June 2015. The book, published by Akashic Books, also includes text written by Peaches, R.E.M. lead singer Michael Stipe, artist and singer Yoko Ono and actor Elliot Page.


title: Peaches (musician)

text: Peaches' sixth studio album, "Rub", was released 25 September 2015. It was produced by Vice Cooler with Peaches in her Los Angeles garage. In June 2015 it was announced to contain guest vocal appearances by Kim Gordon, Feist, and Simonne Jones.


title: Peaches (musician)

text: An unused track from the "Rub" sessions titled "Bodyline" was released by Adult Swim on 20 July 2015. The Vice Cooler-produced track features Nick Zinner on guitar and was described as "a heavy, chugging guitar line over which Peaches half raps, half sings a high-octane space jam." In May 2016, Peaches appeared in a fourth-season episode of the Canadian TV series "Orphan Black" as herself, performing "Bodyline" in a club. She performed "Boys Wanna Be Her" at the Not the White House Correspondents' Dinner on 29 April 2017. In February 2019, Peaches made her debut with the Staatstheater Stuttgart, performing as Anna in Kurt Weill's Die sieben Todsünden.


title: Peaches (musician)

text: Peaches will go on tour in 2022 to mark the 20th anniversary of "The Teaches of Peaches". She is also working on her seventh studio album. Peaches' song "Boys Wanna Be Her" is featured in the 2022 film "The 355" starring Jessica Chastain and Diane Kruger.


title: Peaches (musician)

text: Peaches opened her first institutional solo art exhibition "Whose Jizz Is This?" at the Kunstverein in Hamburg on 9 August 2019 (through 20 October 2019) Taking a bold and unexpected approach to the topics of sex, feminism, queerness, gender, and new millennium politics, Peaches calls her WJIT presentation "a deconstructed musical in 14 scenes." At the heart of this presentation are the "Fleshies," who have renamed themselves as such to rewrite their narrative, break away from humans and human interactions, do away with words like "sex toys" and "masturbators" in a quest to find sexual equality amongst themselves.


title: Peaches (musician)

text: Gender identity is one theme of Peaches' music, often playing with traditional notions of gender roles representation. Her lyrics and live shows consciously blur the distinction between male and female; for example, she appears on the cover of her album "Fatherfucker" with a full beard. When asked if she had chosen the title for shock value, she commented:


title: Peaches (musician)

text: She disputes accusations of "penis envy", preferring the term "hermaphrodite envy", since "there is so much male and female in us all."


title: Peaches (musician)

text: Age has been another theme of Peaches' music in recent years. The lyrics from several songs from her 2009 album "I Feel Cream" tackle the issue of age, including "Trick or Treat" ("you lick my crow's feet"), "Show Stopper" ("Never mind my age, it's like we're breaking out of a cage") and "Mommy Complex". Peaches has criticized ageism directed against her, telling the "New York Daily News" that "I'm going to make aging cool".


title: Peaches (musician)

text: Peaches lists John Waters, Cindy Sherman, Paul McCarthy and the films "Tron", "Grease", "Liquid Sky" and "Phantom of the Paradise" as inspiration for the visuals in her live shows.


title: Prashant Kishor

text: Prashant Kishor, colloquially known as PK, is an Indian political strategist and tactician. A public health expert by training, who worked with the United Nations for eight years before venturing into Indian politics and working as a political strategist.


title: Prashant Kishor

text: Kishor has worked as a political strategist for BJP to gain his knowledge then he worked for the BJP, JD(U), INC, AAP, YSRCP, DMK and TMC. His first major political campaign was in 2011 to help Narendra Modi, then Chief Minister of Gujarat get re-elected to the CM Office for a third time in the Gujarat Assembly Elections 2012. However, he came to wider public attention when Citizens for Accountable Governance (CAG), an election-campaign group he conceptualised, helped the Narendra Modi-led Bharatiya Janata Party (BJP) win an absolute majority in the 2014 Lok Sabha election.


title: Prashant Kishor

text: Kishor is from the Konar village, Sasaram of Rohtas district but shifted to Buxar in Bihar. From there, Kishor completed his secondary education. He is married to Jahnavi Das, a physician hailing from Guwahati, Assam, with whom he has a son.


title: Prashant Kishor

text: Reportedly working "pro" bono, and without holding any office in the BJP or Gujarat Government, Kishor was employed as a political strategist for BJP's pre-election campaign. He was employed as the political strategist of Janata Dal (United) political party on 16 September 2018.


title: Prashant Kishor

text: In 2013, Kishor created Citizens for Accountable Governance (CAG), a media and publicity company in preparation for the May 2014 general election of India. Kishor was credited with formulating an innovative marketing & advertising campaign for Narendra Modi— the Chai pe Charcha discussions, 3D rallies, Run for Unity, Manthan and several social media programmes.


title: Prashant Kishor

text: In 2015, Kishor and other CAG members regrouped as I-PAC to work with Nitish Kumar, in a bid to win a third term as Chief Minister in the 2015 Bihar Legislative Assembly election. The claims were that Kishor dramatically influenced the strategy, resources and alliances for the campaign. Upon winning the Bihar elections, Chief Minister Nitish Kumar named Kishor as his advisor for planning and programme implementation, with a brief look for ways to implement the seven-point agenda that was promised during Kumar's election campaign. In 2020, Kishor was involved with the 2020 Bihar Legislative Assembly election as well.


title: Prashant Kishor

text: In 2016 the Indian National Congress employed Kishor for the 2017 Uttar Pradesh Legislative Assembly election. However, these elections were a failure for Congress and Kishor as BJP won more than 300+ seats and Congress could only manage 7 seats. This was also the first time Kishor failed to help a party win the elections.


title: Prashant Kishor

text: Kishor has successfully worked with several other political parties in India as well including Amarinder Singh for the 2017 Punjab Legislative Assembly election, Y. S. Jagan Mohan Reddy for the 2019 Andhra Pradesh Legislative Assembly election, Arvind Kejriwal for the 2020 Delhi Legislative Assembly election, Mamata Banerjee for the 2021 West Bengal Legislative Assembly election, and M. K. Stalin for the 2021 Tamil Nadu Legislative Assembly election as well.


title: Prashant Kishor

text: After the win of the AITC in the 2021 West Bengal Legislative Assembly election and DMK in the 2021 Tamil Nadu Legislative Assembly election, Kishor declared that he was quitting as an election strategist. In an interview with NDTV on 2 May 2021, Kishor told anchor Sreenivasan Jain on live TV, "I do not want to continue what I am doing. I have done enough. Time for me to take a break and do something else in life. I want to quit this space." A year later on 2 May 2022, Kishor hinted toward the formation of a political outfit of his own with a tweet that said that it was time to go to the "Real Masters, The People" and on the path of "Jan Suraaj-Peoples Good Governance." After his retirement from being a political strategist, Kishor has also mulled launching a political party from his home state, Bihar. Kishor later on announced a 3,000 km Padyatra which would take place across Bihar, and would involve Kishor meeting with people from all across the state. The "Padyatra" would take place under his Jan Suraaj campaign which could potentially lead to a formation of a political party in Bihar.


title: New jack swing

text: New jack swing, new jack, or swingbeat is a fusion genre of the rhythms and production techniques of hip hop and dance-pop, and the urban contemporary sound of R&B. Spearheaded by producers Teddy Riley and Bernard Belle, new jack swing was most popular from the late-1980s to early-1990s. Its influence, along with hip hop, seeped into pop culture.


title: New jack swing

text: Merriam-Webster's online dictionary defines new jack swing as "pop music usually performed by black musicians that combines elements of jazz, funk, rap, and rhythm and blues." New jack swing took up the trend of using sampled beats and tunes, and created beats using electronic drum machines such as the then-new SP-1200 sampler and the Roland TR-808 to lay an "insistent beat under light melody lines and clearly enunciated vocals." The Roland TR-808 was sampled to create distinctive, syncopated, swung rhythms, with its snare sound being especially prominent. Two examples would be "Groove Me" by Guy which samples "Funky President (People It's Bad)", "My Thang", and "The Champ" as well as its own swing drums, and "Right or Wrong" by Mind which fuses sharp drum reverb effects and a hidden looped sample of the Funky Drummer. Key producers included Teddy Riley, Timmy Gatling, Alton "Wokie" Stewart, DJ Eddie F, DeVante Swing, Kyle West, Bernard Belle, William "Zan" Aquart, and Jimmy Jam and Terry Lewis.


title: New jack swing

text: Kyle West remembered 1985 as the year he listened to new jack swing with Teddy Riley. Riley as well as drummer Lenny White credit the start of new jack swing to English singer-songwriter and producer Junior Giscombe and his 1985 single "Oh Louise". Some music critics said Full Force's "Alice, I Want You Just for Me" (1985) was the first new jack swing song, and Jimmy Jam and Terry Lewis called Full Force and said Alice was their favorite song, and their favorite group was Full Force. After that, Jam & Lewis produced Janet Jackson's digital R&B album, "Control" (1986). Musicologist Richard J. Ripani PhD, author of "The New Blue Music: Changes in Rhythm & Blues, 1950–1999" (2006), observed that the album was one of the first successful records to influence the rise of new jack swing by creating a fusion of R&B, rap, funk, disco and synthesized percussion. The new jack swing sound is particularly evident in the second single, "Nasty". The success of "Control", according to Ripani, bridged the gap between R&B and rap music. He asserts that "since Jackson's album was released in 1986 and was hugely successful, it is not unreasonable to assume that it had at least some impact on the new jack swing creations of Teddy Riley." Mantronix's early records in the mid-1980s also had new jack elements.


title: New jack swing

text: The term "new jack swing" was coined in an October 18, 1987, "Village Voice" profile of Teddy Riley by Barry Michael Cooper. "New Jack" was a slang term (meaning ~'Johnny-come-lately') used in a song by Grandmaster Caz of the Cold Crush Brothers, and "swing" was intended by Cooper to draw an "analogy between the music played at the speakeasies of F. Scott Fitzgerald's time to the crackhouses of Teddy Riley's time."


title: New jack swing

text: The term "new jack swing" describes the sound produced and engineered by R&B/hip hop artist and producer Teddy Riley. Riley is an American R&B and hip hop singer-songwriter, musician and record producer. He led the band Guy in the late 1980s and Blackstreet in the 1990s. Riley said, "I define the term [new jack swing] as a new kid on the block who's swinging it." The defining feature of Riley's music was the introduction of swingbeats, "a rhythmic pattern using offbeat accented 16th note triplets." In an interview with Revolt TV in 2017, Andre Harrell called Riley the inventor of the sound, hailing him "the king of New Jack Swing, because he invented it."


title: New jack swing

text: Music website VH1.com notes that while in the 2000s "hip-hop and R&B are kissing cousins", in the early 1980s, "the two genres were seldom mentioned in the same breath." However, in the late 1980s, "during the era of high-top fades, and parachute pants, producer Teddy Riley and label boss Andre Harrell successfully fused and marketed the two sounds in a sexy, exclamatory music that critics termed new jack swing. It sparked a revolution." Riley stated that before new jack swing, "Rappers and singers didn't want anything to do with one another", because "Singers were soft, rappers were street." Riley's new style blended "sweet melody and big beats." The sensibilities of Riley's fusion of the styles would forever change pop music/hip-hop music pairing and was further popularized with Bad Boy's dominance of the late '90s through much of the same techniques. Riley, a 19-year-old man from Harlem, quickly became an A-list producer and commanded big fees to add his sound to major artist projects.


title: New jack swing

text: The 1989 film "Ghostbusters II" helped spread new jack swing with its theme song, "On Our Own" by Bobby Brown (written by L.A. Reid, Babyface and Daryl Simmons), who was along with Riley nicknamed "The King of New Jack Swing". NBC sitcom "The Fresh Prince of Bel-Air" also boosted the spread of this culture, as the star of the show, Will Smith, was known initially for his hip-hop duo with DJ Jazzy Jeff. During the first episode of the series, Will Smith dances to the Soul II Soul new jack swing single "Back to Life (However Do You Want Me)". In other episodes, he sings "Teddy's Jam" and "Rump Shaker". "A Different World", "Waynehead" and "In Living Color" are other television programs of the era which exhibit influences from the new jack swing style. "Video Soul", "Soul Train", "Showtime at the Apollo" as well as the late night talk show "The Arsenio Hall Show" also helped to promote these acts.


title: New jack swing

text: "House Party" with Kid 'n Play, "Boyz n the Hood", "Juice", "New Jack City", "Boomerang", "Above the Rim", "Poetic Justice", used New Jack Swing songs in their soundtracks. Dance-oriented artists such as Michael Jackson, the Good Girls, Jane Child, Tammy Lucus, Abstrac, Nayobe, Paula Abdul and Bell Biv DeVoe also have new jack swing elements in their late 1980s and early 1990s output.


title: New jack swing

text: To date the most successful new jack swing album is "Dangerous", released in 1991 by Michael Jackson, produced by Jackson and Riley, which has sold over 30 million copies worldwide.


title: New jack swing

text: Many songs with elements of new jack swing ranked in the top 10 of the US R&B and US "Hot 100" charts "Billboard" throughout the late 1980s and early 1990s. It is given the years of 1986 through 1992 as the height of its popularity with it reaching its peak in 1989.


title: New jack swing

text: In 1987, Keith Sweat's first new jack swing song "I Want Her" was number 5 on the US charts. It is considered the first official New Jack Swing hit. A few months later, Bobby Brown’s “My Prerogative” would take the genre even further.


title: New jack swing

text: The musician and record producer Teddy Riley's group Guy, a group which was one of the early pioneers of hip-hop and R&B had a hit with the song "Groove Me", which went to number 4 in the US R&B charts, and the 1988 song "Teddy's Jam", which ranked number 5 in the US R&B charts. Single "My Fantasy" was from the OST "Do the Right Thing". "New Jack City" was on the soundtrack for the film of the same title. Johnny Kemp's "Just Got Paid" also cracked the top 10 on the "Billboard" Hot 100 in 1988 and went to number 1 on the Hot Dance Music/Club Play. The musician and Al B. Sure! had success with "Nite and Day" and other two singles went to the Top 5 of the R&B chart in 1988.


title: New jack swing

text: In 1988, Bobby Brown began his string of Top 10 "Billboard" hits from his second album, "Don't Be Cruel", which ranked number 1 in the US. In that same year, Paula Abdul had the US number 1 hit "Straight Up". Tony! Toni! Toné! had three songs in the top ten of the Hot R&B/Hip-Hop Singles & Tracks, including "Little Walter" which hit number 1. New Edition after being in a transition due to the departure of Bobby Brown recruited Johnny Gill as his placement, leading to the release of the Jimmy Jam and Terry Lewis produced album "Heart Break", which spun off five hit singles "If It Isn't Love", "You're Not My Kind of Girl", "Can You Stand the Rain", "Crucial", and "N.E. Heartbreak".


title: New jack swing

text: In 1988, Wreckx-n-Effect, a Teddy Riley-produced group which garnered press attention regarding their use of bikini-clad women in their videos, released "New Jack Swing", helping to popularize the new name for the emerging style. That same year, Fenderella garnered a hit with "Mr. DJ", a song with featured Doug E. Fresh, who was known as the "human beatbox" for his realistic imitations of drum machines and other hip-hop sounds.


title: New jack swing

text: Jimmy Jam and Terry Lewis produced seven top 5 singles off Janet Jackson's 1989 "Rhythm Nation 1814" album, which merged the Minneapolis sound with new jack swing. The album included a number of successful tracks, such as the number one "Billboard" Hot 100 hits "Miss You Much". Karyn White, also produced by the Flyte Time team also had hits in the late 1980s and early '90s. Sheena Easton also had a few hits from her 1991 album "What Comes Naturally" produced by hitmaker Vassel Benford. Other notable new jack swing artists between 1988 and 1993 included Big Daddy Kane's "I Get The Job Done" and Kool Moe Dee's "I Go To Work", Heavy D. & the Boyz, Teddy Riley and Tammy Lucus, Deja, Abstrac, Nayobe, The Good Girls, Starpoint, Father MC, the Winans, Omar Chandler, James Ingram, Jane Child, Boy George, Kashif, Johnny Gill, Cristopher Williams and Ready for the World. Producer Babyface had a hit with his song "It's No Crime", which ranked number 7 in the US charts and number 1 on the US R&B charts. Another Teddy Riley-produced group, Today, had a hit with "Girl I Got My Eyes on You", which garnered a number 1 spot on the US R&B charts.


title: New jack swing

text: After the band New Edition broke up, its former members formed several splinter groups or acts, including Bell Biv DeVoe, Johnny Gill, Ralph Tresvant, and Bobby Brown. In 1990, several ex-New Edition members had hit songs. Bell Biv DeVoe's songs "Poison" and "Do Me!", as well as Johnny Gill's single "Rub You the Right Way", all made it to number 3 in the US top 100. Ralph Tresvant had a number 4 hit (US top 100 charts) and number 1 hit (US R&B) with his song "Sensitivity", with another on the "House Party 2" soundtrack "Yo Baby Yo". Also in 1990 pop singer Whitney Houston recorded "I'm Your Baby Tonight", produced by Babyface & Antonio "L.A." Reid (later become record executive). The single topped the US Hot 100, giving Babyface his first produced number 1 song while further helping to bring the genre to the mainstream.


title: New jack swing

text: In 1990, Samuelle, a former member of the disco-infused dance-urban group Club Nouveau had a number 1 R&B hit with "So You Like What You See". Troop also had a number 1 hit with a single from their second album, "Attitude", entitled "Spread My Wings". "Feels Good" by the Oakland, California group Tony! Toni! Toné! reached number 1 on the R&B charts in 1990, and it also placed on the US top 100 (number 9) and on the dance charts (number 3). Today charted again in 1990 with "Why You Gettin' Funky on Me?", which reached number 2 on the R&B charts. "Let's Chill" by Guy garnered a number 3 spot on the US R&B charts.


title: New jack swing

text: "Feels Like Another One" is a 1991 single co-written and recorded by singer Patti LaBelle off her album, "Burnin". The new jack swing-styled track was the leading track for LaBelle's eleventh solo album and featured a rap from rapper Big Daddy Kane. The track became successful on the R&B chart as it ended up peaking at number three on the Hot R&B Singles chart. The video for the song was shot at the Apollo Theater and also featured Kane, who appeared at LaBelle's show wearing a tux. The song would help LaBelle's album go gold. Color Me Badd had a number 1 hit with "I Wanna Sex You Up". That same year, Christopher Williams released a single "I'm Dreamin'" from the" New Jack City" soundtrack, which became a number 1 single on "Billboard"′s Hot R&B/Hip-Hop chart. Boyz II Men's debut single "Motownphilly" was a number 1 R&B and top 5 U.S. pop hit. "I Like the Way (The Kissing Game)" by Hi-Five garnered the US number 1 and R&B number 1 spots. Jodeci's debut album "Forever My Lady" garnered three number 1 R&B Hits in the fall of 1991 ("Forever My Lady", "Stay", and "Come and Talk To Me").


title: New jack swing

text: "Exclusivity" by Damian Dame charted as number-one R&B single, spending two weeks at the top position, a position also achieved by the Rude Boys with their song "Are You Lonely For Me".


title: New jack swing

text: In 1992, Michael Jackson's single "Remember the Time" placed at number 3 on the Billboard Hot 100, number 2 on the Hot Dance Music/Club, and number 1 in the Hot R&B/Hip-Hop category. Joe Public's single "Live and Learn" hit number 4 on the U.S. Billboard Hot 100, number 3 on "Billboard"′s Hot R&B/Hip-Hop chart and becoming the group's most successful single. In 1993 Teddy Riley's new group Blackstreet got new jack swing hit "Baby Be Mine". Chuckii Booker scored a number 1 R&B hit with his song "Games". That same year, "She's Got That Vibe" by R. Kelly and Public Announcement reached the number 7 position on the R&B charts. "Weak" by SWV (Sisters With Voices) hit the number one spot on both the US top 100 and the R&B charts. In 1993: "Don't Walk Away" by Jade made it to number 4 and number 3 in the US top 100 and R&B charts, respectively. The New Jack R&B group II D Extreme scored a hit in 1993 with their New Jack ballad "Cry No More". TLC's debut album, "Ooooooohhh... On the TLC Tip" (1992) had several hits, including "What About Your Friends", "Ain't 2 Proud 2 Beg" and "Baby-Baby-Baby".


title: New jack swing

text: In 1995, Montell Jordan had a number one new jack swing hit, in "This is How We Do It", which after its release saw the popularity of the genre decline. As hip hop culture became increasingly ubiquitous, the pop-crossover approach and perceived artifice of new jack swing began to lose its appeal with young urban listeners. Even the creator of the New Jack Swing, Teddy Riley, made his sound evolve with his second supergroup BLACKStreet, with their 1994’s eponymous first album. A sound he sometimes called “Heavy R&B” in interviews.


title: New jack swing

text: The last hit single to use the classic new jack swing sound was Michael Jackson's "Blood on the Dance Floor", released in 1997.


title: New jack swing

text: Young artists were given the spotlight during this era. They included Tracie Spencer with her hit album "Make the Difference" (1990) and groups like the Boys with "The Boys" (Motown, 1990), Redhead Kingpin and the F.B.I., whose Teddy Riley-produced debut album "A Shade of Red" contained the hit single "Pump It Hottie", which reached number 2 on the US "Hot Rap" Singles Chart in 1990, and Another Bad Creation with "Coolin' at the Playground Ya Know!" in (1991).


title: New jack swing

text: Australian pop singer Kylie Minogue incorporated a strong new jack swing sound into her 1991 album "Let's Get to It", most notably the lead single "Word Is Out". The album and singles achieved notable success in the UK, Australia and throughout Europe.


title: New jack swing

text: Mexican pop singer Paulina Rubio also incorporated a strong new jack swing system into her debut 1992 album "La Chica Dorada" and second album "24 Kilates" and most notably her lead single "Mío" and third single "Amor de Mujer" which peaked at number 8 on the US "Billboard" Hot Latin Tracks.


title: Bowling for Columbine

text: Bowling for Columbine is a 2002 documentary film written, produced, directed, and narrated by Michael Moore. The film explores what Moore suggests are the primary causes for the Columbine High School massacre in 1999 and other acts of gun violence. He focuses on the background and environment in which the massacre took place and some common public opinions and assumptions about related issues. The film also looks into the nature of violence in the United States, and American violence abroad.


title: Bowling for Columbine

text: A critical and commercial success, the film brought Moore international attention as a rising filmmaker and won numerous awards, including the Academy Award for Best Documentary Feature, the Independent Spirit Award for Best Documentary Feature, a special "55th Anniversary Prize" at the 2002 Cannes Film Festival, and the César Award for Best Foreign Film. The film is widely considered one of the greatest documentary films of all time.


title: Bowling for Columbine

text: In Moore's discussions with various people—including "South Park" co-creator Matt Stone, the National Rifle Association's then-president Charlton Heston, and musician Marilyn Manson—he seeks to explain why the Columbine massacre occurred and why the United States' violent crime rate (especially concerning crimes committed with firearms) is substantially higher than those of other nations.


title: Bowling for Columbine

text: The film's title refers to the story that Eric Harris and Dylan Klebold—the two students responsible for the Columbine High School massacre—attended a school bowling class at 6:00 AM on the day they committed the attacks at school, which started at 11:17 AM. Later investigations showed that this was based on mistaken recollections, and Glenn Moore of the Golden Police Department concluded that they were absent from school on the day the attack took place.


title: Bowling for Columbine

text: Moore incorporates the concept of recreational bowling into the film in other ways as well. For example, the Michigan Militia use bowling pins for their target practice. When interviewing former classmates of the two boys, Moore notes that the students took a bowling class in place of physical education. He suggests that this might have very little educational value and the people he interviews generally agree, noting how Harris and Klebold led introverted lifestyles and had careless attitudes towards the game, and that nobody thought twice about it. Moore questions whether the school system is responding to the real needs of students or if they are reinforcing fear. Moore also interviews two young residents of Oscoda, Michigan. Moore suggests a culture of fear created by the government and the media leads Americans to arm themselves, to the advantage of gun-making companies. Moore suggests that bowling could have been just as responsible for the attacks on the school as Marilyn Manson, or even President Bill Clinton, who launched bombing attacks on Serbia at the time.


title: Bowling for Columbine

text: An early scene depicts a bank in northern Michigan that gives customers a free hunting rifle when they make a deposit of a certain size into a time deposit account. The film follows Moore as he goes to the bank, makes his deposit, fills out the forms, and awaits the result of a background check before walking out of the bank carrying a brand new Weatherby hunting rifle. Just before leaving the bank, Moore asks: "Do you think it's a little dangerous handing out guns at a bank?"


title: Bowling for Columbine

text: In Michael Wilson's documentary "Michael Moore Hates America", bank employees from the branch at which Moore is handed a free hunting rifle assert that they were misled during filming of the segment. They say that the bank's policy was to conduct background checks on rifle recipients and mail the rifles to a licensed gun dealer, but Moore's agents, under the pretext of "doing a story on unique businesses across America", convinced bank employees to have his rifle presented to him on camera the morning after filming his account opening. Further, they counter that contrary to the film's supposition that the bank kept hundreds of guns on their premises, the gun which was handed to Michael Moore in the film was shipped overnight from a vault in a branch away. Moore denied that this sequence was staged but acknowledged the timing of events was compressed for production reasons. He reminded his viewers that North Country Bank is a licensed firearms dealer and, in addition to its ATF license number, he produced out-takes where bank employee Jan Jacobson confirms on camera that rifles are secured locally on bank premises.


title: Bowling for Columbine

text: About 20 minutes into the film, the Beatles song "Happiness Is a Warm Gun" plays during a montage in which footage of the following is shown:


title: Bowling for Columbine

text: Early in the film, Moore links the violent behavior of the Columbine shooters to the presence of a large defense establishment manufacturing rocket technology in Littleton. It is implied that the presence of this facility within the community, and the acceptance of institutionalized violence as a solution to conflict, contributed to the mindset that led to the massacre.


title: Bowling for Columbine

text: Moore conducts an interview with Evan McCollum, Director of Communications at a Lockheed Martin plant near Columbine, and asks him:


title: Bowling for Columbine

text: After the release of the film, McCollum clarified that the plant no longer produces missiles (the plant manufactured parts for intercontinental ballistic missiles with a nuclear warhead in the mid-1980s), but rockets used for launching satellites:


title: Bowling for Columbine

text: Erik Möller argues that Moore's question was not limited to the Littleton-area Lockheed Martin facility:


title: Bowling for Columbine

text: The film cuts to a montage of American foreign policy decisions, with the intent to counter McCollum's statement by citing examples of how the United States has frequently been the aggressor nation. This montage is set to the song "What a Wonderful World", performed by Louis Armstrong.