title: Munich U-Bahn

text: The increase in traffic and the new Allianz Arena also required a larger capacity for this already overcrowded pivotal transfer station. New pedestrian tunnels were built, which provide more room for passengers transferring from and to the S-Bahn. They lie parallel to the existing platforms and are connected to them by 11 portals. At the south end, they meet the transverse tunnel, where the escalators to the S-Bahn platforms are located. To prevent Munich's historic town hall, located above the station and in between its two tunnels, from sinking in during the construction works, the ground surrounding the construction site had to be frozen over. The construction was completed in time for 2006 World Cup.


title: Munich U-Bahn

text: The two mezzanine levels and north entrance were renovated to include the enhanced fire protection and the updated interior. Due to the damage from humidity and water seepage, the structures of U4/U5 platforms were repaired and sealed up against further seepages.


title: Munich U-Bahn

text: The interior has been updated with horizontally corrugated metal wall covering in fluorescent yellow. The square support columns are decked in deep blue tiles with blue lights casting down, giving them blue hue. The ceiling is covered with mirrors, giving the "infinite" height. The mezzanine level had been updated with new white floor. The aboveground tram and bus station received the new organic-shaped covering roof. An interesting fact: prior to renovation, the name was spelled with extra "e" in "Münchener". After the completion, the name is now "Münchner Freiheit" eliminating the extra "e", reflecting the current spelling trend, as well as a "return" towards more traditional Bavarian habits of spelling and pronunciation. Thus, it precisely mirrors the spelling on the street signs above.


title: Munich U-Bahn

text: The original planners in the 1960s and 1970s did not envision the massive growth of passengers, increased number of subway lines, and continued extensions of current subway lines in the forthcoming years. Thus, they did not design the subway stations accordingly as to make them "future proof". The intersecting subway lines cause the overcrowding and frustrating movements between two station platforms, especially at Hauptbahnhof (U1/U2/U7/U8, U4/U5, and future U9 as well as S-Bahn), Sendlinger Tor (U1/U2/U7/U8 and U3/U6), and Odeonplatz (U3/U6 and U4/U5). The platform width and passage between stations and a fewer number of escalators were inadequate for larger number of people moving from one station to other as well as from aboveground to the underground during the rush hour.


title: Munich U-Bahn

text: Due to poor design and unanticipated explosive growth of passenger traffic, Sendlinger Tor station has severe congestion and chokepoints for passengers moving between upper U3/U6 and lower U1/U2/U7/U8 platforms as well as upper levels (mezzanine and street). The €150 million renovation and upgrade of station was approved on 30 December 2015 by administrative district of Oberbayern. The project is scheduled to be completed in 2022 or 2023.


title: Munich U-Bahn

text: The U3/U6 platform has wide staircases and escalators connecting to the U1/U2/U7/U8 platforms below and mezzanine level above, and they created the narrow passageways on the platform. The narrow passageways lead to the dangerous chokepoints for passengers moving between the platforms or levels, especially during the rush hour. The U1/U2/U7/U8 platforms have only one corridor in the middle, connecting to the U3/U6 platform and upper levels. The combined landings of ascending and descending escalators and wide staircases from U3/U6 platform are placed too close to the U1/U2/U7/U8 platforms at either end of middle corridor. This causes the severe congestion during the rush hour when the passengers going downstairs must push through the passengers who are going upstairs.


title: Munich U-Bahn

text: The five lifts at the station do not connect directly to every level (two platform levels, mezzanine level, and street level). The two street level lifts are connected the mezzanine level only: they are located inconveniently further away from popular shopping street, Sendlinger Straße, requiring the passengers to cross the busy intersection to reach them. From the mezzanine level, the passengers either use two lifts to reach U1/U2/U7/U8 platforms or another lift to reach U3/U6 platform. If the passengers wish to transfer between upper and lower platforms via lifts, they must reach mezzanine level first and travel considerable distance to other lifts.


title: Munich U-Bahn

text: Additionally, the new EU safety directive 2016/798 requires additional fire protection in the subterranean train stations. Thus, installation of the partitions and doors that close automatically during the fire alarm at the landings of staircases and escalators.


title: Munich U-Bahn

text: The U1/U2/U7/U8 platforms have the new dedicated corridors built at north and south ends. The north corridor (Sonnenstraße-Verbindungstunnel) is connected to the mezzanine level: one set of escalators connecting to the mezzanine area and one staircase connecting to the lower landings of entrances A and B. The south corridor (Blumenstraße-Verbindungstunnel) is connected directly to the street level, bypassing U3/U6 platform or mezzanine level. Neither of them have the lifts. The north corridor has been opened to the public on 28 April 2020.


title: Munich U-Bahn

text: The middle corridor is being widened by eliminating the mechanical and storage rooms on one side. This allows the higher and better flow of passengers on either side of escalators and staircases. The current lifts, staircases, and escalators between U1/U2/U7/U8 platforms and mezzanine remain unchanged.


title: Munich U-Bahn

text: The floors of both upper and lower platforms are being raised five centimeters to line up with the subway carriage's floor for barrier-free and stepless access with wheelchairs, prams, walkers, stroller, etc. The tactile tiles for the passengers with visual disabilities are installed for the first time at Sendlinger Tor station. It is unclear whether the lifts are being renovated and extended to reach all lower levels from the street level without transferring at mezzanine level.


title: Munich U-Bahn

text: The escalators between U1/U2/U7/U8 and U3/U6 platforms are being rearranged as to improve the flow while the wide staircases are eliminated.


title: Munich U-Bahn

text: The bilevel mezzanine area is being renovated with one section rebuilt and levelled to eliminate the small stairs and narrow ramp, which interrupt the flow. The interior is to have blue and yellow colours, giving the station a bright and airy feel. The small shops, food vendors, and service centres will be installed close to the completion.


title: Munich U-Bahn

text: On 23 February 2020, MVG announced a new project to reconstruct U4/U5 platform at Hauptbahnhof for improved passenger movement between U1/U2/U7/U8 platforms below and mezzanine level above. One of the proposals called for installation of footbridge above U4/U5 platform that are connected at several points by unidirectional escalators and smaller lifts. No construction start date has been given. This coincides with megaproject of reconstructing Hauptbahnhof building and construction of new second S-Bahn trunk line and third U-Bahn line. This coincides with the megaprojects of rebuilding the Hauptbahnhof aboveground and of building second S-Bahn station and new U9 station.


title: Bully beef

text: Bully beef (also known as corned beef in the United Kingdom, Canada, Australia, Singapore, Indonesia and other Commonwealth countries as well as the United States) is a variety of meat made from finely minced corned beef in a small amount of gelatin. The name "bully beef" likely comes from the French (meaning "boiled") in Napoleonic times, or possibly from the head of a bull depicted on the popular Hereford brand of canned corned beef. The cans have a distinctive oblong shape. Bully beef and hardtack biscuits were the main field rations of the British Army from the Boer War to World War II. It is commonly served sliced in a corned beef sandwich. Potato-based dishes, such as "hash and hotch-potch", in which the potatoes and beef are stewed together, and "corned beef hash", where pre-boiled potatoes and corned beef are mixed with Worcestershire sauce then fried, are also made. Tinned corned beef is also used in France. Some places where British troops had a heavy presence in the 20th century (especially during World War II), such as Malta, have adopted bully beef as part of their national cuisine. In February 2009, the British Defence Equipment and Support announced that they would be phasing out bully beef from ration packs as part of the introduction of the new Multi-Climate Ration Packs until this change was reversed due to backlash.


title: Bully beef

text: The dish Soup and bouilli was being called 'soup and bully' by 1753, and probably earlier, with the meat portion referred to as bully beef. As use of canned soup and bouilli increased on merchant ships and in the Royal Navy over the 19th century, sailors were also calling it bully beef and extended the expression to all canned meats.


title: Bully beef

text: This would include corned beef, as by 1862 "very good corned beef" – in the opinion of Lord Paget – had replaced "old mahogany" on naval ships.


title: Bully beef

text: English soldiers also used the term "bully beef" for their tinned meat ration. This may still have been soup and bouilli in 1871 as there is an account of "bully" soup being served that year at a training exercise, but by the Ashanti War of 1873–1874, corned beef was being used, with a newspaper reporting one large tin being divided among four officers. Corned beef may have been just introduced as part of soldiers' rations as it was described as a novelty.


title: Bully beef

text: During the Zulu Wars of 1879, corned beef was being used extensively with over 500 tons being sent to South Africa in 6 months. Most of this was supplied by American packing companies but about 10% came from Canada and Australia. It was not the only meat; "Boiled tin mutton... or "bully soup" as it is more frequently called was an option for some soldiers.


title: Bully beef

text: The iconic rectangular bully beef tin of the Boer War and Great War of 1914-18 possibly first appeared in soldiers' rations in this campaign as it was reported that in 1879 over 4,400 tons of preserved beef had been exported to England by Libby, McNeil and Libby, with over 260 tons sent to the troops in South Africa. In 1875, Arthur Libby and W. J. Wilson had obtained a patent for a rectangular can with tapered sides allowing the can's contents "to slide out in one piece, so as to be readily sliced as desired". The meat was precooked to reduce shrinkage and, as described in another patent, packed into the can under pressure "to remove the air and all superfluous moisture", hence the compressed corned beef description on the label. The patents were declared void in 1881 when Prior art was shown to exist, allowing other packing houses to produce similar cans.


title: Bully beef

text: As was common at the time, the newspapers used letters from soldiers to provide news of the war and it was in a letter from Private J. Smith of the 91st Highlanders that the expression bully beef and biscuits first appeared in print. A few years later, owing to the intense interest it created in England, correspondents accompanied Lord Wolseley's expedition to relieve General Charles George Gordon and his Egyptian troops, besieged in Khartoum. The journey up the Nile took months and with no fighting to report, journalists wrote about the more mundane aspects of soldier's lives with mentions of 'bully beef' appearing in a majority of their articles and 'bully beef and biscuits' appearing occasionally.


title: Bully beef

text: The next development was the key open can. Both J. Osterhoudt, in 1866, and Arsène Saupiquet in 1882, had patented key open cans, with possibly only Saupiquet achieving commercial success, but it was not until a cheaper method of production was developed by John Zimmerman in 1892 that American companies adopted the innovation, with Cudahy's, Libby's and Armour soon producing corned beef in the easy to open tins. The British Government was slow to adopt the new cans, and in 1898 the "Civil and Military Gazette" saw it as scandalous that they were still supplying meat in "unget-at-able" tins when the new cans were available.


title: Tool-assisted speedrun

text: A tool-assisted speedrun, or tool-assisted superplay (TAS ), is generally defined as speedrunning an emulated game. During development of the speedrun, the framerate is slowed down to allow precise inputs to be done with ease. Splicing, the action of adding inputs from other speedruns is also used. The goal of a TAS is to create a theoretically perfect playthrough. A TAS is created by a person who can use tools to perform impressive feats in a video game. The person creating such a run uses what they know about the game, what they learned from others, and what they discovered themselves to make their tool-assisted speedrun.


title: Tool-assisted speedrun

text: Tool-assisted speedruns are generally created with the goal of creating the perfect speedrun. This includes but is not limited to the best path to completing a game as fast as possible and/or showing a new way to optimize a video game. Some tools used by creators of a TAS include savestates and branches, slow-down and frame-by-frame, and creating macros and scripts to perform automated actions. Most of these tools are used more than once throughout any given TAS. These give the creator of said speedrun the ability to perform with precision and accuracy beyond what a human can do.


title: Tool-assisted speedrun

text: The idea is not to make gameplay easier for players but rather to produce a playthrough at a level of gameplay impractical for a human player. Rather than being a branch of e-sports focused on practical achievements, tool-assisted speedrunning concerns itself with research into the theoretical limits of the games and their respective competitive categories. Tool-assisted speedruns are produced with an emphasis on entertainment value — such as including tricks and stunts that would otherwise be prohibitively difficult to incorporate. However, some authors may choose to lose time in order to produce a more entertaining movie since the fastest route to the intended goal may not be the most exciting.


title: Tool-assisted speedrun

text: The term was coined during the early days of "Doom" speedrunning, during which the first of these runs were made (although they were sometimes also referred to as "built demos"). When Andy "Aurican" Kempling released a modified version of the "Doom" source code that made it possible to record demos in slow motion and in several sessions, it was possible for the first players to start recording tool-assisted demos. A couple of months afterwards, in June 1999, Esko Koskimaa, Peo Sjoblom and Joonatan Donner opened the first site to share these demos, "Tools-Assisted Speedruns".


title: Tool-assisted speedrun

text: Like many other tool-assisted speedrun communities, the maintainers of the site stressed the fact that their demos were for entertainment purposes rather than skill competitions, although the attempt to attain the fastest time possible with tools itself became a competition as well. The site became a success, updating usually several times a week with demos recorded by its maintainers and submitted by its readers. After a short while, when version 2.03 of Lee Killough's Marine's Best Friend "Doom" source port was released (based on the Boom source port), it became even easier for people to record these demos, adding the functionality of re-recording without having to replay the demo until it reached the point where the player wanted to continue.


title: Tool-assisted speedrun

text: The site was active until August 10, 2001, when Jonathan Donner posted a news message stating that their site would be an archive from now on, and pointing towards The Doomed Speed Demos Archive, a site mainly for non-assisted speedruns, of which the author agreed to take over the posting of tool-assisted speedruns. Although popularity dwindled since then, built demos have still been submitted as late as November 2005, and are usually made with PrBoom.


title: Tool-assisted speedrun

text: In 2003, a video of a Japanese player named Morimoto completing the NES game "Super Mario Bros. 3" in 11 minutes and performing stunts started floating around the Internet. The video proved to be controversial, as not many people knew about tool-assisted speedruns at the time, especially for the NES. As the video was not clearly labelled as such, many people felt they had been cheated when they found out it was done using an emulator. The video, however, inspired Joel "Bisqwit" Yliluoma to start a website called NESvideos, which was dedicated to tool-assisted speedruns for the NES. At first it hosted videos only for the NES, but as the community grew, its members added the features required for tool-assisted speedrunning into emulators for other systems. The name of the site was later changed to TASVideos.


title: Tool-assisted speedrun

text: As of May 2020, TASVideos is the largest English-language web community that produces and hosts tool-assisted speedruns; the site holds 4161 complete speedruns, of which 2213 are the fastest of their kind.


title: Tool-assisted speedrun

text: Tool-assisted speedruns have been made for some notable ROM hacks as well as for published games. In 2014 a speedrunning robot, "TASBot", was developed, capable of performing TAS runs via direct controller input.


title: Tool-assisted speedrun

text: A joke personification of tool-assisted speedruns, called TAS-san (TASさん, "lit." Mr. TAS), has become popular among Japanese Internet users. Tool-assisted speedruns uploaded to sites like Nico Nico Douga, YouTube, or TASVideos may be described as a new world record by TAS-san, who is said to have the superhuman memory and reflexes needed to execute such a speedrun in real time.


title: Tool-assisted speedrun

text: Creating a tool-assisted speedrun is the process of finding the optimal set of inputs to fulfill a given criterion — usually completing a game as fast as possible. No limits are imposed on the tools used for this search, but the result has to be a set of timed key-presses that, when played back on the actual console, achieves the target criterion. The basic method used to construct such a set of inputs is to record one's input while playing the game on an emulator, all the while saving and loading the emulator's state repeatedly to test out various possibilities and only keep the best result. To make this more precise, the game is slowed down. Initially, it was common to slow down to some low fraction (e.g. 5%) of normal speed. However, due to advances in the field, it is now expected that the game is paused during recording, with emulation advanced one frame at a time to eliminate any mistakes made due to the urgency.


title: Tool-assisted speedrun

text: The use of savestates also facilitates another common technique, luck manipulation, which is the practice of exploiting the game's use of player input in its pseudo-random number generation to make favorable outcomes happen. Using a savestate from before some event, it is possible to experiment with small input variations until the event has the desired outcome. Depending on the game and event, this can be a very time-consuming process, at times requiring much backtracking, and can as such take up a large portion of the total time spent making a tool-assisted speedrun. Examples of luck manipulation include making the ideal piece drop next in "Tetris", or getting a rare item drop the first time one kills an enemy in an action game.


title: Tool-assisted speedrun

text: A rarely used tool is brute-force searching for ideal inputs by making a computer play the game, trying all possible inputs. In theory, this process could find the ideal set of inputs for any game, but since the space of all possible inputs grows exponentially with the length of the sequence, this is only viable for optimizing very small portions of the speed run. Instead, a heuristic algorithm can be used. Although such an approach does not guarantee a perfect solution, it can prove very effective for solving simple puzzle games.


title: Tool-assisted speedrun

text: Another rarely used technique is disassembling the game executable. By exposing the game logic, this enables the player to manipulate luck without trial and error, or reveal obscure bugs in the game engine. A more common, related technique, is to monitor the memory addresses responsible for certain effects to learn when or how they change. Memory watching is supported by most emulators used on TASVideos.org.


title: Tool-assisted speedrun

text: All these techniques involve direct interaction with the game state in ways not possible without emulation, but the final result, the set of inputs that makes up the speedrun, does not depend on such manipulation of the state of the emulated machine. The tool use in tool-assisted speedrunning is therefore different from the sort of state manipulation that tools like Gameshark provide, since such manipulation would not be expressible as a sequence of timed inputs.


title: Tool-assisted speedrun

text: Tool-assisted speedrunning relies on the same series of inputs being played back at different times always giving the same results. In a manner of speaking, the emulation must be deterministic with regard to the saved inputs (e.g. random seeds must not change from run to run). Otherwise, a speedrun that was optimal on one playback might not even complete it on a second playback. This loss of synchronization, or "desync", occurs when the state of the emulated machine at a particular time index no longer corresponds with that which existed at the same point in the movie's production. Desyncs can also be caused by incomplete savestates, which cause the emulated machine to be restored in a state different from that which existed when it was saved. Desyncs can also occur when a user attempts to match inputs from an input file downloaded from TASVideos and fail to match the correct enemy reactions due to bad AI or RNG.


title: Tool-assisted speedrun

text: Problems with emulation, such as nondeterminism and incomplete savestates, are often only discovered under the precise frame-by-frame conditions of tool-assisted speedrunning. Emulator developers often do not give speedrunning issues high priority because they have little effect on regular gameplay; consequentially the community has forked several emulators to make them suitable for the task. These include Snes9X improvement, Gens rerecording, VBA rerecording and Mupen rerecording. If a forked emulator is used to produce a TAS, playback on the normal, unmodified version of the emulator will usually result in a desync.


title: Tool-assisted speedrun

text: Emulators that currently feature the tools necessary to create tool-assisted speedruns include the Arcade emulator MAME (MAMEUI's option to record an uncompressed AVI slows down a game), the NES emulator FCEUX, the Super NES emulator Snes9x, the Genesis emulator Gens, the Game Boy Advance emulator VisualBoyAdvance, the Nintendo 64 emulator Mupen64, the GameCube and Wii emulator Dolphin, the Nintendo DS emulator DeSmuME, the Sega Saturn emulator Yabause, the PlayStation emulator PSXjin, and several others for these and other platforms.


title: Tool-assisted speedrun

text: In 2012, an all-in-one emulator, BizHawk, was released on TASVideos.org. Due to the success of some of the cores built into the emulator, the website's team opted to phase out the use of some older emulators, like FCEUX, Mupen64-rr and PSXjin, towards the end of the year.


title: Tool-assisted speedrun

text: Tool-assisted speedruns are timed in a distinct category from unassisted runs, for reasons of fairness. In unassisted runs, a difficult path is often avoided in favor of a safer, but slower one, in order to avoid risks such as dying and having to start over, failing a trick and wasting more time, or failing a setup for a difficult trick. Depending on the game, tool-assisted speedruns can surpass their unassisted counterparts by a few seconds to entire hours (with the major sources of time differences including TAS-only routes or tricks as well incremental advantages gained from frame-by-frame precision that add up over time). For an example of a highly optimized real-time run, the fastest TAS of the NTSC version of "Super Mario Bros." currently stands at 4:57 (4:54.032 using standard unassisted timing), while the fastest unassisted run stands at 4:58 (4:54.798 using standard unassisted timing by Niftski).


title: Tool-assisted speedrun

text: Tool-assisted runs are timed by input, i.e. from game power-on to the last input necessary to reach the ending scene and/or the game credits. Any introductory cutscenes, game-loading screens, and trailing dialogues after the last boss battle (if input is necessary to scroll through the text) are included in the final times. The times are exact (to the nearest frame), a level of precision that is usually not possible with unassisted runs because it cannot be determined from a recording when exactly the input ended. Speed Demos Archive and Twin Galaxies measure only the length of the gameplay proper, and begin timing when the player gains control of the character and ends timing when the player loses it. These differences in timing conventions can result in seemingly discrepant times between unassisted and tool-assisted runs. For example, a "Super Mario Bros." speedrun by Andrew Gardikis, a 4:58 by SDA timing, seems to be only 0.69 seconds slower than a TAS of 4 minutes and 57.31 seconds by HappyLee, but his run actually contains 5 minutes and 1 second of input starting from power-on.


title: Tool-assisted speedrun

text: Because tool-assisted speedruns often take more time to create than unassisted speedruns, discovery of a time-saving trick may lead to a situation of the fastest unassisted speedrun being faster than its tool-assisted counterpart.


title: Tool-assisted speedrun

text: From August 13 to 21, 2007, the fastest unassisted speedrun of "Pokémon Blue" was 4 minutes faster than the best TAS due to a new trick that allowed walking through walls. On August 21, however, a TAS was submitted that was 20 minutes faster than the unassisted run.


title: Tool-assisted speedrun

text: From January 12, 2020, the fastest unassisted speedrun of "Donkey Kong Country" was 810 milliseconds faster than the best TAS due to a new trick that allowed Diddy Kong to grab a DK barrel and the throw the DK barrel near a hidden barrel at the beginning of the last level, which skips the entire last level and level-finish animation as well.


title: Tool-assisted speedrun

text: Some games may produce beneficial glitches if the inserted cartridge is manipulated, which may not be reproduced on an emulator for a TAS. One of the most famous examples is "", where lifting the side of the cartridge may allow the player to walk through solid walls.


title: Tool-assisted speedrun

text: However, due to potential benefits for either kind of speedrunning, it is not uncommon for speedrunners of both types to collaborate. Unassisted speedrunners can provide their expertise on the subject and receive new points of reference in return. A number of unassisted speedrunners have also made complete TASes, and vice versa.


title: Tool-assisted speedrun

text: One of the most important differences between a tool-assisted and unassisted run is the use of glitches in the game. Though glitch use is often prevalent in unassisted runs, tool-assisted speedruns often make much heavier use of them. This may in part be because the majority of glitches are very difficult to exploit without frame-precision and re-recording. In some cases a trick relies not only on precise timing, but on several variables in memory also having a specific state, which would be nearly impossible to recreate in real time and without detailed knowledge of the game program.


title: Tool-assisted speedrun

text: These differences also lead to different expectations from tool-assisted and unassisted speedruns. Taking damage when doing so does not save time and/or is not required may look sloppy in a tool-assisted run, while being hit by the occasional hard-to-avoid enemy in a relatively long unassisted speedrun would not prevent the runner from holding their world record title. After the advent of frame-advance, frame-precise movement has also come to be expected, the lack of which may be characterized as sloppy play. Another difference is in the standards of use of waiting time in the speedrun: in situations where it is not possible to make the game move faster, and the player has to wait, such as in autoscrolling or any other areas of a game in which the runner does not have control over the speed, the runner is advised in TASVideos guidelines to do something entertaining for the viewers. An example of this is the gathering of 99 extra lives in the autoscrolling sections of the famous "Super Mario Bros. 3" speedrun. In unassisted runs, players usually would not risk dying and having to start over to entertain the viewer.


title: Tool-assisted speedrun

text: Runs that prove unentertaining may get rejected for publication, even if the run itself is technically optimized. A bad game choice may contribute to a lack of entertainment. In this context, a "bad game" may represent a goal choice that does not demonstrate the merits of tool-assistance, so choosing a different goal may alleviate this issue. In other cases, such as the "Excitebike" TAS by Thomas Seufert, a previously unpopular game had achieved notable entertainment boost due to massive improvements brought into play by increased tool-assisted precision.


title: Tool-assisted speedrun

text: When someone submits a finished movie file of their input data for publication on the TASvideos website, the audience will vote on if they find the movie entertaining or not. According to their website, movies that stick with their site rules and have an 80% "Yes Vote" rate is a sign to say that the audience is interested in the movie and is more likely to be accepted or obsolete the current published movie and have the movie published on their website.


title: Tool-assisted speedrun

text: Some players have fraudulently recorded speedruns, either by creating montages of other speedrun or altering the playing time, posting them as TAS or RTA. Because tool assisted speedruns can account for all aspects of the game code, including its inner workings, and press buttons precisely and accurately, they can be used to help verify whether an unassisted speedrun record is legitimate.


title: Tool-assisted speedrun

text: In the context of tool-assisted speedrunning, many common terms, usually neologisms, have been created. These terms are necessary to understand most general discussions about the phenomenon. This list covers the most ubiquitous terminology. Note that some words may have a different typical meaning outside of the lexicon of tool-assisted speedrunning; for example, frame applies to movies as well as to video games, but only the latter has relevance in this case.


title: Art exhibition

text: An art exhibition is traditionally the space in which art objects (in the most general sense) meet an audience. The exhibit is universally understood to be for some temporary period unless, as is rarely true, it is stated to be a "permanent exhibition". In American English, they may be called "exhibit", "exposition" (the French word) or "show". In UK English, they are always called "exhibitions" or "shows", and an individual item in the show is an "exhibit".


title: Art exhibition

text: Such expositions may present pictures, drawings, video, sound, installation, performance, interactive art, new media art or sculptures by individual artists, groups of artists or collections of a specific form of art.


title: Art exhibition

text: The art works may be presented in museums, art halls, art clubs or private art galleries, or at some place the principal business of which is not the display or sale of art, such as a coffeehouse. An important distinction is noted between those exhibits where some or all of the works are for sale, normally in private art galleries, and those where they are not. Sometimes the event is organized on a specific occasion, like a birthday, anniversary or commemoration.


title: Art exhibition

text: There are different kinds of art exhibitions, in particular there is a distinction between commercial and non-commercial exhibitions. A commercial exhibition or trade fair is often referred to as an art fair that shows the work of artists or art dealers where participants generally have to pay a fee. A vanity gallery is an exhibition space of works in a gallery that charges the artist for use of the space. Temporary museum exhibitions typically display items from the museum's own collection on a particular period, theme or topic, supplemented by loans from other collections, mostly those of other museums. They normally include no items for sale; they are distinguished from the museum's permanent displays, and most large museums set aside a space for temporary exhibitions.


title: Art exhibition

text: Exhibitions in commercial galleries are often entirely made up of items that are for sale, but may be supplemented by other items that are not. Typically, the visitor has to pay (extra on top of the basic museum entrance cost) to enter a museum exhibition, but not a commercial one in a gallery. Retrospectives look back over the work of a single artist; other common types are individual exhibitions or "solo shows", and group exhibitions or "group shows"). The Biennale is a large exhibition held every two years, often intending to gather together the best of international art; there are now many of these. A travelling exhibition is an exhibition seen at several venues, sometimes across the world.


title: Art exhibition

text: The art exhibition has played a crucial part in the market for new art since the 18th and 19th centuries. The Paris Salon, open to the public from 1737, rapidly became the key factor in determining the reputation, and so the price, of the French artists of the day. The Royal Academy in London, beginning in 1769, soon established a similar grip on the market, and in both countries artists put great efforts into making pictures that would be a success, often changing the direction of their style to meet popular or critical taste. The British Institution was added to the London scene in 1805, holding two annual exhibitions, one of new British art for sale, and one of loans from the collections of its aristocratic patrons. These exhibitions received lengthy and detailed reviews in the press, which were the main vehicle for the art criticism of the day. Critics as distinguished as Denis Diderot and John Ruskin held their readers attention by sharply divergent reviews of different works, praising some extravagantly and giving others the most savage put-downs they could think of. Many of the works were already sold, but success at these exhibitions was a crucial way for an artist to attract more commissions. Among important early one-off loan exhibitions of older paintings were the Art Treasures Exhibition, Manchester 1857, and the Exhibition of National Portraits in London, at what is now the Victoria and Albert Museum, held in three stages in 1866–68.


title: Art exhibition

text: As the academic art promoted by the Paris Salon, always more rigid than London, was felt to be stifling French art, alternative exhibitions, now generally known as the Salon des Refusés ("Salon of the Refused") were held, most famously in 1863, when the government allowed them an annex to the main exhibition for a show that included Édouard Manet's "Luncheon on the Grass" "(Le déjeuner sur l'herbe)" and James McNeill Whistler's . This began a period where exhibitions, often one-off shows, were crucial in exposing the public to new developments in art, and eventually Modern art. Important shows of this type were the Armory Show in New York City in 1913 and the London International Surrealist Exhibition in 1936.


title: Art exhibition

text: Museums started holding large loan exhibitions of historic art in the late 19th century, as also did the Royal Academy, but the modern "blockbuster" museum exhibition, with long queues and a large illustrated catalogue, is generally agreed to have been introduced by the exhibitions of artifacts from the tomb of Tutankhamun held in several cities in the 1970s. Many exhibitions, especially in the days before good photographs were available, are important in stimulating research in art history; the exhibition held in Bruges in 1902 (poster illustrated below) had a crucial impact on the study of Early Netherlandish painting.


title: Art exhibition

text: In 1968, Art fairs in Europe became quite the fashion with the advent of the Cologne Art Fair which was sponsored by the Cologne Art Dealers Association. Because of the high admission standards of the Cologne fair a rival fair was organized in Düsseldorf which enabled less regarded galleries opportunity to meet with an international public. The fairs took place during the fall months. This rivalry continued for a few years which provided the Basel Art Fair the opportunity to interject the Basel fair in early summer. These fairs became extremely important to galleries, dealers and publishers as they provided the possibility of worldwide distribution. Düsseldorf and Cologne merged their efforts. Basel soon became the most important art fair.


title: Art exhibition

text: In 1976, the Felluss Gallery under the direction of Elias Felluss, in Washington DC organized the first American dealer art fair. "The Washington International Art Fair" or "Wash Art" for brevity. This American fair met with fierce opposition by those galleries interested in maintaining distribution channels for European artwork already in place. The Washington fair introduced the European idea of dealer fairs to art dealers throughout the United States. Following the advent of Wash Art, many fairs developed throughout the United States.


title: Art exhibition

text: Although preservation issues are often disregarded in favor of other priorities during the exhibition process, they should certainly be considered so that possible damage to the collection is minimized or limited. As all objects in the library exhibition are unique and to some extent vulnerable, it is essential that they be displayed with care. Not all materials are able withstand the hardships of display, and therefore each piece needs to be assessed carefully to determine its ability to withstand the rigors of an exhibition. In particular, when exhibited items are archival artifacts or paper-based objects, preservation considerations need be emphasized because damage and change in such materials is cumulative and irreversible. Two trusted sources – the National Information Standard Organization's "Environmental Conditions for Exhibiting Library and Archival Materials," and the British Library's "Guidance for Exhibiting Library and Archive Materials" – have established indispensable criteria to help curtail the deleterious effects of exhibitions on library and archival materials. These criteria may be divided into five main preservation categories: Environmental concerns of the exhibition space; Length of the exhibition; Individual cases; Display methods used on individual objects; and Security.


title: Art exhibition

text: Light wavelength, intensity, and duration contribute collectively to the rate of material degradation in exhibitions. The intensity of visible light in the display space should be low enough to avoid object deterioration, but bright enough for viewing. A patron's tolerance of low-level illumination can be aided by reducing ambient light levels to a level lower than that falling on the exhibit. Visible light levels should be maintained at between 50 lux and 100 lux depending on the light sensitivity of objects. An items level of toleration will depend on the inks or pigments being exposed and the duration of the exhibition time. A maximum exhibition length should initially be determined for each exhibited item based on its light sensitivity, anticipated light level, and its cumulative past and projected exhibition exposure.


title: Art exhibition

text: Light levels need to be measured when the exhibition is prepared. UV light meters will check radiation levels in an exhibit space, and data event loggers help determine visible light levels over an extended period of time. Blue wool standards cards can also be utilized to predict the extent to which materials will be damaged during exhibits. UV radiation must be eliminated to the extent it is physically possible; it is recommended that light with a wavelength below 400 nm (ultraviolet radiation) be limited to no more than 75 microwatts per lumen at 10 to 100 lux. Furthermore, exposure to natural light is undesirable because of its intensity and high UV content. When such exposure is unavoidable, preventative measures must be taken to control UV radiation, including the use of blinds, shades, curtains, UV filtering films, and UV-filtering panels in windows or cases. Artificial light sources are safer options for exhibition. Among these sources, incandescent lamps are most suitable because they emit little or no UV radiation. Fluorescent lamps, common in most institutions, may be used only when they produce a low UV output and when covered with plastic sleeves before exhibition. Though tungsten-halogen lamps are currently a favorite artificial lighting source, they still give off significant amounts of UV radiation; use these only with special UV filters and dimmers. Lights should be lowered or turned off completely when visitors are not in the exhibition space.


title: Art exhibition

text: The exhibition space's relative humidity (RH) should be set to a value between 35% and 50%. The maximum acceptable variation should be 5% on either side of this range. Seasonal changes of 5% are also allowed. The control of relative humidity is especially critical for vellum and parchment materials, which are extremely sensitive to changes in relative humidity and may contract violently and unevenly if displayed in too dry an environment.


title: Art exhibition

text: For preservation purposes, cooler temperatures are always recommended. The temperature of the display space should not exceed 72 °F. A lower temperature of down to 50 °F can be considered safe for a majority of objects. The maximum acceptable variation in this range is 5 °F, meaning that the temperature should not go above 77 °F and below 45 °F. As temperature and relative humidity are interdependent, temperature should be reasonably constant so that relative humidity can be maintained as well. Controlling the environment with 24-hour air conditioning and dehumidification is the most effective way of protecting an exhibition from serious fluctuations.


title: Art exhibition

text: One factor that influences how well materials will fare in an exhibition is the length of the show. The longer an item is exposed to harmful environmental conditions, the more likely that it will experience deterioration. Many museums and libraries have permanent exhibitions, and installed exhibitions have the potential to be on the view without any changes for years.


title: Art exhibition

text: Damage from a long exhibition is usually caused by light. The degree of deterioration is different for each respective object. For paper-based items, the suggested maximum length of time that they should be on display is three months per year, or 42 kilolux hours of light per year – whichever comes first.


title: Art exhibition

text: An exhibition log report, including records of the length of the exhibition time and the light level of the display, may prevent objects from being exhibited too frequently. Displayed items need to be inspected regularly for evidence of damage or change. It is recommended that high-quality facsimiles of especially delicate or fragile materials be displayed in lieu of originals for longer exhibitions.


title: Art exhibition

text: Library or archival materials are usually displayed in display cases or frames. Cases provide a physically and chemically secure environment. Vertical cases are acceptable for small or single-sheet items, and horizontal cases can be used for a variety of objects, including three-dimensional items such as opened or closed books, and flat paper items. All these objects can be arranged simultaneously in one horizontal case under a unified theme.


title: Art exhibition

text: Materials used for case construction should be chosen carefully because component materials can easily become a significant source of pollutants or harmful fumes for displayed objects. Outgassing from materials used in the construction of the exhibition case and/or fabrics used for lining the case can be destructive. Pollutants may cause visible deterioration, including discoloration of surfaces and corrosion. Examples of evaluative criteria to be used in deeming materials suitable for use in exhibit display could be the potential of contact-transfer of harmful substances, water solubility or dry-transfer of dyes, the dry-texture of paints, pH, and abrasiveness.


title: Art exhibition

text: New cases may be preferred, constructed of safe materials such as metal, plexiglass, or some sealed woods. Separating certain materials from the display section of an exhibition case by lining relevant surfaces with an impermeable barrier film will help protect items from damage. Any fabrics that line or decorate the case (for example, polyester blend fabric), and any adhesives used in the process, should also be tested to determine any risk. Using internal buffers and pollutant absorbers, such as silica gel, activated carbon, or zeolite, is a good way to control relative humidity and pollutants. Buffers and absorbers should be placed out of sight, in the base or behind the backboard of a case. If the case is to be painted, it is recommended oil paints be avoided; acrylic or latex paint is preferable.


title: Art exhibition

text: There are two kinds of objects displayed at the library and archival exhibition – bound materials and unbound materials. Bound materials include books and pamphlets, and unbound materials include manuscripts, cards, drawings, and other two-dimensional items. The observance of proper display conditions will help minimize any potential physical damage. All items displayed must be adequately supported and secured.


title: Art exhibition

text: Unbound materials, usually single-sheet items, need to be attached securely to the mounts, unless matted or encapsulated. Metal fasteners, pins, screws, and thumbtacks should not come in direct contact with any exhibit items. Instead, photo corners, polyethylene, or polyester film straps may hold the object to the support. Objects may also be encapsulated in polyester film, though old and untreated acidic papers should be professionally deacidified before encapsulation. Avoid potential slippage during encapsulation – when possible, use ultrasonic or heat seals. For objects that need to be hung (and that may require more protection than lightweight polyester film), matting would be an effective alternative.


title: Art exhibition

text: Objects in frames should be separated from harmful materials through matting, glazing, and backing layers. Matting, which consists of two pH-neutral or alkaline boards with a window cut in the top board to enable the object to be seen, can be used to support and enhance the display of single sheet or folded items. Backing layers of archival cardboard should be thick enough to protect objects. Moreover, any protective glazing used should never come in direct contact with objects. Frames should be well-sealed and hung securely, allowing a space for air circulation between the frame and the wall.


title: Art exhibition

text: The most common way to display bound materials is closed and lying horizontally. If a volume is shown open, the object should be open only as much as its binding allows. Common practice is to open volumes at an angle no greater than 135°. There are some types of equipment that help support volumes as they displayed openly: blocks or wedges, which hold a book cover to reduce stain at the book hinge; cradles, which support bound volumes as they lay open without stress to the binding structure; and polyester film strips, which help to secure open leaves. Textblock supports are best used in conjunction with book cradles where the textblock is greater than 1/2 inch, or where the textblock noticeably sags. Regardless of its method of support, however, it is worth noting that any book that is kept open for long periods can cause damage. One should turn an exhibited book's pages every few days in order to protect pages from overexposure to light and spread any strain on the binding structure.


title: Art exhibition

text: Because exhibited items are often of special interest, they demand a high level of security to reduce the risk of loss from theft or vandalism. Exhibition cases should be securely locked. In addition, cases may be glazed with a material that hinders penetration and that when broken does not risk shards of glass falling on the exhibits. Whenever possible, the exhibition area should be patrolled; a 24-hour security presence is recommended when precious treasures are exhibited. Finally, the exhibition is best protected when equipped with intruder alarms, which can be fitted at entry points to the building and internal areas.


title: Rod cell

text: Rod cells are photoreceptor cells in the retina of the eye that can function in lower light better than the other type of visual photoreceptor, cone cells. Rods are usually found concentrated at the outer edges of the retina and are used in peripheral vision. On average, there are approximately 92 million rod cells (vs ~6 million cones) in the human retina. Rod cells are more sensitive than cone cells and are almost entirely responsible for night vision. However, rods have little role in color vision, which is the main reason why colors are much less apparent in dim light.


title: Rod cell

text: Rods are a little longer and leaner than cones but have the same basic structure. Opsin-containing disks lie at the end of the cell adjacent to the retinal pigment epithelium, which in turn is attached to the inside of the eye. The stacked-disc structure of the detector portion of the cell allows for very high efficiency. Rods are much more common than cones, with about 120 million rod cells compared to 6 to 7 million cone cells.


title: Rod cell

text: Like cones, rod cells have a synaptic terminal, an inner segment, and an outer segment. The synaptic terminal forms a synapse with another neuron, usually a bipolar cell or a horizontal cell. The inner and outer segments are connected by a cilium, which lines the distal segment. The inner segment contains organelles and the cell's nucleus, while the rod outer segment (abbreviated to ROS), which is pointed toward the back of the eye, contains the light-absorbing materials.


title: Rod cell

text: A human rod cell is about 2 microns in diameter and 100 microns long. Rods are not all morphologically the same; in mice, rods close to the outer plexiform synaptic layer display a reduced length due to a shortened synaptic terminal.


title: Rod cell

text: In vertebrates, activation of a photoreceptor cell is a hyperpolarization (inhibition) of the cell. When they are not being stimulated, such as in the dark, rod cells and cone cells depolarize and release a neurotransmitter spontaneously. This neurotransmitter hyperpolarizes the bipolar cell. Bipolar cells exist between photoreceptors and ganglion cells and act to transmit signals from the photoreceptors to the ganglion cells. As a result of the bipolar cell being hyperpolarized, it does not release its transmitter at the bipolar-ganglion synapse and the synapse is not excited.


title: Rod cell

text: Activation of photopigments by light sends a signal by hyperpolarizing the rod cell, leading to the rod cell not sending its neurotransmitter, which leads to the bipolar cell then releasing its transmitter at the bipolar-ganglion synapse and exciting the synapse.


title: Rod cell

text: Depolarization of rod cells (causing release of their neurotransmitter) occurs because in the dark, cells have a relatively high concentration of cyclic guanosine 3'-5' monophosphate (cGMP), which opens ion channels (largely sodium channels, though calcium can enter through these channels as well). The positive charges of the ions that enter the cell down its electrochemical gradient change the cell's membrane potential, cause depolarization, and lead to the release of the neurotransmitter glutamate. Glutamate can depolarize some neurons and hyperpolarize others, allowing photoreceptors to interact in an antagonistic manner.


title: Rod cell

text: When light hits photoreceptive pigments within the photoreceptor cell, the pigment changes shape. The pigment, called rhodopsin (conopsin is found in cone cells) comprises a large protein called opsin (situated in the plasma membrane), attached to which is a covalently bound prosthetic group: an organic molecule called retinal (a derivative of vitamin A). The retinal exists in the 11-cis-retinal form when in the dark, and stimulation by light causes its structure to change to all-trans-retinal. This structural change causes an increased affinity for the regulatory protein called transducin (a type of G protein). Upon binding to rhodopsin, the alpha subunit of the G protein replaces a molecule of GDP with a molecule of GTP and becomes activated. This replacement causes the alpha subunit of the G protein to dissociate from the beta and gamma subunits of the G protein. As a result, the alpha subunit is now free to bind to the cGMP phosphodiesterase (an effector protein). The alpha subunit interacts with the inhibitory PDE gamma subunits and prevents them from blocking catalytic sites on the alpha and beta subunits of PDE, leading to the activation of cGMP phosphodiesterase, which hydrolyzes cGMP (the second messenger), breaking it down into 5'-GMP. Reduction in cGMP allows the ion channels to close, preventing the influx of positive ions, hyperpolarizing the cell, and stopping the release of the neurotransmitter glutamate. Though cone cells primarily use the neurotransmitter substance acetylcholine, rod cells use a variety. The entire process by which light initiates a sensory response is called visual phototransduction.


title: Rod cell

text: Activation of a single unit of rhodopsin, the photosensitive pigment in rods, can lead to a large reaction in the cell because the signal is amplified. Once activated, rhodopsin can activate hundreds of transducin molecules, each of which in turn activates a phosphodiesterase molecule, which can break down over a thousand cGMP molecules per second. Thus, rods can have a large response to a small amount of light.


title: Rod cell

text: As the retinal component of rhodopsin is derived from vitamin A, a deficiency of vitamin A causes a deficit in the pigment needed by rod cells. Consequently, fewer rod cells are able to sufficiently respond in darker conditions, and as the cone cells are poorly adapted for sight in the dark, blindness can result. This is night-blindness.


title: Rod cell

text: Rods make use of three inhibitory mechanisms (negative feedback mechanisms) to allow a rapid revert to the resting state after a flash of light.


title: Rod cell

text: Firstly, there exists a rhodopsin kinase (RK) which would phosphorylate the cytosolic tail of the activated rhodopsin on the multiple serines, partially inhibiting the activation of transducin. Also, an inhibitory protein - arrestin then binds to the phosphorylated rhodopsins to further inhibit the rhodopsin activity.


title: Rod cell

text: While arrestin shuts off rhodopsin, an RGS protein (functioning as a GTPase-activating proteins(GAPs)) drives the transducin (G-protein) into an "off" state by increasing the rate of hydrolysis of the bounded GTP to GDP.


title: Rod cell

text: When the cGMP concentration falls, the previously open cGMP sensitive channels close, leading to a reduction in the influx of calcium ions. The associated decrease in the concentration of calcium ions stimulates the calcium ion-sensitive proteins, which then activate the guanylyl cyclase to replenish the cGMP, rapidly restoring it to its original concentration. This opens the cGMP sensitive channels and causes a depolarization of the plasma membrane.


title: Rod cell

text: When the rods are exposed to a high concentration of photons for a prolonged period, they become desensitized (adapted) to the environment.


title: Rod cell

text: As rhodopsin is phosphorylated by rhodopsin kinase (a member of the GPCR kinases(GRKs)), it binds with high affinity to the arrestin. The bound arrestin can contribute to the desensitization process in at least two ways. First, it prevents the interaction between the G protein and the activated receptor. Second, it serves as an adaptor protein to aid the receptor to the clathrin-dependent endocytosis machinery (to induce receptor-mediated endocytosis).


title: Rod cell

text: A rod cell is sensitive enough to respond to a single photon of light and is about 100 times more sensitive to a single photon than cones. Since rods require less light to function than cones, they are the primary source of visual information at night (scotopic vision). Cone cells, on the other hand, require tens to hundreds of photons to become activated. Additionally, multiple rod cells converge on a single interneuron, collecting and amplifying the signals. However, this convergence comes at a cost to visual acuity (or image resolution) because the pooled information from multiple cells is less distinct than it would be if the visual system received information from each rod cell individually.


title: Rod cell

text: Rod cells also respond more slowly to light than cones and the stimuli they receive are added over roughly 100 milliseconds. While this makes rods more sensitive to smaller amounts of light, it also means that their ability to sense temporal changes, such as quickly changing images, is less accurate than that of cones.


title: Rod cell

text: Experiments by George Wald and others showed that rods are most sensitive to wavelengths of light around 498 nm (green-blue), and insensitive to wavelengths longer than about 640 nm (red). This is responsible for the Purkinje effect: as intensity dims at twilight, the rods take over, and before color disappears completely, peak sensitivity of vision shifts towards the rods' peak sensitivity (blue-green).


title: Foreign relations of Turkey

text: Physically bridging Europe and Asia, Turkey is a secular country that has pursued a Western-oriented foreign policy. To this end, Turkey uses its global diplomatic network—the fourth most extensive—of 246 diplomatic and consular missions.


title: Foreign relations of Turkey

text: Since the Cold War, Turkey's most important ally has been the United States, which shared Turkey's interest in containing Soviet expansion. In support of the United States, Turkey contributed personnel to the UN forces in the Korean War (1950–1953), joined NATO in 1952, recognized Israel in 1948 and has cooperated closely with it.


title: Foreign relations of Turkey

text: Turkey's alliance with Israel during the Arab–Israeli conflict strained its relations with the Arab world, and Iran, and subsequently led to overt Syrian support for Palestinian and Armenian terrorist operations against Turkish diplomats abroad until 1990.


title: Foreign relations of Turkey

text: Historically, the Foreign relations of the Ottoman Empire and later Turkey balanced regional and global powers off against one another, forming alliances that best protected the interests of the incumbent regime. The Soviet Union played a major role in supplying weapons to and financing Mustafa Kemal Atatürk's faction during the Turkish War of Independence but Turkey's followed a course of relative international isolation during the period of Atatürk's Reforms in 1920s and 1930s. International conferences gave Turkey full control of the strategic straits linking the Black Sea and the Mediterranean, through the Treaty of Lausanne in 1923 and the Montreux Convention of 1936.


title: Foreign relations of Turkey

text: In the late 1930s Nazi Germany made a major effort to promote anti-Soviet propaganda in Turkey and exerted economic pressure. Britain and France, eager to outmaneuver Germany, negotiated a tripartite treaty in 1939. They gave Turkey a line of credit to purchase war materials from the West and a loan to facilitate the purchase of commodities. Afraid of threats from Germany and Russia, Turkey maintained neutrality. It sold chrome—an important war material—to both sides. It was clear by 1944 that Germany would be defeated and the chrome sales to Germany stopped.


title: Foreign relations of Turkey

text: After World War II Turkey sought closer relations with Western powers. It became a founding member of the United Nations in 1945, a recipient of Marshall Plan aid and a member of North Atlantic Treaty Organization in 1952. European Union–Turkey relations warmed during the Cold War period and the post-Cold War period has seen a diversification of relations, with Turkey, at various moments, seeking to strengthen its regional presence in the Balkans, the Middle East and the Caucasus, as well as taking steps toward EU membership.


title: Foreign relations of Turkey

text: Under the AKP government (2003–), Turkey's economy has grown rapidly and the country's influence has grown in the Middle East based on a strategic depth doctrine, also called Neo-Ottomanism. Debate on Turkey's foreign relations is controversial both within Turkey itself and outside the country. In the West, there is a divide between those who are worried about Turkey's perceived movement away from the West toward a less democratic, more Islamic or more pro-Russian and pro-Chinese orientation and those who do not see Turkey's changing political structure, growing regional power and relations with Russia as a threat.


title: Foreign relations of Turkey

text: Despite being one of the first countries to recognize Armenia's independence, Turkey has never established formal diplomatic relations with Armenia. Turkey formerly had diplomatic relations with Cyprus, Taiwan and Syria.


title: Foreign relations of Turkey

text: There has been a revival in Turkey's relation with Africa after 1998 and civil society is the leading factor in this process. Initially this revival came as a passive attempt, but after 2005 it became an offensive interest in developing relations with the continent. The recent Turkey–Africa Cooperation Summit in 2008 marks the latest stage in Turkey's keen interest in developing relations with Africa, and should be seen as a turning point. Turkey since its involvement in Somalia in 2011, is eager to be considered as a political actor in the continent.


title: Foreign relations of Turkey

text: Since 2008, Turkey has prioritized friendly relations with Africa partly to build friendly and conflict–free relations, which was not available in the hostile atmosphere in its neighborhood. Capitalizing on a strong sentiment of fellowship among Turkish people towards Africans, economic and diplomatic relations with Africa flourished: Foreign trade between sub-Saharan Africa and Turkey increased from US$581 million in 1998 to US$5.08 billion in 2015.


title: Foreign relations of Turkey

text: Dating back to 1800, Turkey's relations with sub-Saharan Africa flourished from the 1860s—when the Ottoman Empire started sending trained imams to the region—until 1885 when other European colonial powers blocked Ottoman influence. Relations were restored in the 1950s, and gained momentum when Emperor Haile Selassie visited Turkey in March 1967 and December 1969.


title: Foreign relations of Turkey

text: Since 2008, Turkey has contributed to the region through participation in peacekeeping missions, including the UN Mission in Ivory Coast (UNOC), the Democratic Republic of the Congo, Liberia, Central African Republic, Chad.


title: Foreign relations of Turkey

text: Turkey has also dramatically increased financial aid to the region, providing a total of US$6.38 billion to the region just between 2006 and 2011 including the 2011 donation of US$200 million to fight the famine in East Africa.


title: Foreign relations of Turkey

text: Turkey is a founding member of the UN (1945), the Organisation for Economic Co-operation and Development (1961), the Organisation of Islamic Cooperation (1969), the Organization for Security and Co-operation in Europe (OSCE) (1973), and the G20 industrial nations (1999). Turkey is a member state of the Council of Europe (1949) and NATO (1952) as well as being in full accession negotiations with the European Union since 2005, having been an associate member since 1963. Turkey was also an associate member of the Western European Union from 1992 to 2011, and signed the E.U. Customs Union agreement in 1995.


title: Monterey International Pop Festival

text: The Monterey International Pop Festival was a three-day music festival held June 16 to 18, 1967, at the Monterey County Fairgrounds in Monterey, California. The festival is remembered for the first major American appearances by the Jimi Hendrix Experience, the Who and Ravi Shankar, the first large-scale public performance of Janis Joplin and the introduction of Otis Redding to a mass American audience.


title: Monterey International Pop Festival

text: The festival embodied the theme of California as a focal point for the counterculture and generally is regarded as one of the beginnings of the "Summer of Love" in 1967 and the public debut of the hippie, flower power and flower children movements and era. Because Monterey was widely promoted and heavily attended, featured historic performances, and was the subject of a popular theatrical documentary film, it became an inspiration and a template for future music festivals, including the Woodstock Festival two years later. "Rolling Stone" publisher Jann Wenner said "Monterey was the nexus – it sprang from what the Beatles began, and from it sprang what followed."


title: Monterey International Pop Festival

text: In early 1967, Michael Bowen produced the Human Be-In at Golden Gate Park in San Francisco, where many attendees dropped acid for the first time (lysergic acid diethylamide or LSD) and listened to Timothy Leary tell the crowd that people living in cities should reorganize as tribes and villages. This was one of the important precursors to the Summer of Love five months later. The Human Be-In directly inspired the Monterey International Pop Festival.


title: Monterey International Pop Festival

text: The first American hippie-style rock festival was held during June 10–11 at Mount Tamalpais in Marin County, California, produced by radio station KFRC as the Fantasy Fair and Magic Mountain Music Festival. Star performers included the Doors, the Sons of Champlin, Moby Grape, the Steve Miller Blues Band, Jefferson Airplane, Hugh Masekela, Country Joe and the Fish, Canned Heat and the Byrds; the latter seven acts also played Monterey Pop one week later.


title: Monterey International Pop Festival

text: The festival was planned in seven weeks by John Phillips of the Mamas & the Papas, record producer Lou Adler, Alan Pariser and publicist Derek Taylor. Monterey and Big Sur had been known as the site for the long-running Monterey Jazz Festival and Big Sur Folk Festival; the promoters saw a notional Monterey Pop festival as a way to validate rock music as an art form in the way in which jazz and folk were regarded. The festival's board of governors included some such as Smokey Robinson and Berry Gordy who displayed initial enthusiasm but did little to organize the event.


title: Monterey International Pop Festival

text: The artists performed for free, with all revenue donated to charity, except for Ravi Shankar, who was paid $3,000 for his afternoon-long performance on the sitar. Country Joe and the Fish were paid $5,000, not by the festival, but from revenue generated from the D.A. Pennebaker documentary. The artists did, however, have their flights and accommodation paid for. Apart from Shankar, each act was given up to 40 minutes for their performance. Several ended their sets earlier, including the Who, who played for only 26 minutes.


title: Monterey International Pop Festival

text: Monterey's bill boasted a lineup that put established stars like the Mamas and the Papas, Simon & Garfunkel, Jefferson Airplane and the Byrds alongside groundbreaking new acts from the UK and the U.S.


title: Monterey International Pop Festival

text: Crowd estimates for the festival have ranged from 25,000 to 90,000 people, which congregated in and around the festival grounds. The fairgrounds' enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night's show, with many extra attendees standing around the sides of the arena. Festival-goers who wanted to see the musical performances were required to have either an 'all-festival' ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($– in 2022, adjusted for inflation).


title: Monterey International Pop Festival

text: The song "San Francisco (Be Sure to Wear Flowers in Your Hair)" was written by Phillips and sung by Scott McKenzie, released in May 1967, to promote the event.


title: Monterey International Pop Festival

text: The Los Angeles–based band the Association with hits such as "Along Comes Mary" and "Never My Love" was the first act to perform at the festival. "Newsweek" magazine's reporter Michael Lydon reviewed their performance as having a "professional style and entertaining manner," especially on their latest hit single "Windy", which was rising steadily on the Billboard Hot 100.


title: Monterey International Pop Festival

text: The Association was followed by the Paupers, a rock band from Toronto, who delivered a "screaming volume and a racy quality," according to Lydon. The Paupers were proud to be judged on their music alone, not relying on "gimmicks" or lighting effects.


title: Monterey International Pop Festival

text: The next act was blues singer Lou Rawls fronting a big band, the song arrangements conveying a "rock 'n' soul" style. Rawls also spoke to the crowd about the gritty experiences of African American life. After his set, he said to reporters that he was confident that "the blues is the way of the future. The fads come and go, but the blues remain. The blues is the music that makes a universal language." He described how rock artists were increasingly drawing from the blues to give their music more substance.


title: Monterey International Pop Festival

text: Beverley Martyn sang a short set. Johnny Rivers followed with a set that Lydon described as disastrous, noting that Rivers gallingly performed the Beatles' song "Help!" "not once but twice" in the same set. After Rivers was Eric Burdon leading his new incarnation of the Animals, introduced as the New Animals. They were cheered by Rolling Stones member Brian Jones sitting in the audience as they re-interpreted the Stones song "Paint It Black", adding electric violin. With this appearance, Burdon signaled a change to more of a politically charged hard rock style mixed with psychedelia. He later wrote the song "Monterey" about his experience at the concert.


title: Monterey International Pop Festival

text: The headliner of Friday night was Simon & Garfunkel, who started after midnight, and performed minimally with just two voices and one guitar. They finished at 1:30 am on Saturday morning. Lydon reviewed their set as sweetly retrospective, but "they seemed sadly left behind" by the shifting of rock music away from the duo's established folk rock style.


title: Monterey International Pop Festival

text: Canned Heat started the Saturday afternoon show; their set was deemed "uninspired" by Lydon. In a thrilling display of raw emotion, Janis Joplin sang next, backed by Big Brother and the Holding Company. Joplin's wildly elemental interpretation of the blues standard "Ball and Chain" was described by Lydon as "the blues big mama style, tough, raw, and gutsy, and with an aching that few black singers reach." For the first time at Monterey Pop, the audience rose to their feet. This Saturday set was not recorded by filmmaker Pennebaker, so the group was asked to play again on Sunday night. "San Francisco Examiner" music critic Phil Elwood wrote that Joplin proved to be "the real queen of the festival". This ended up being Joplin's breakout appearance, bringing her fame far beyond the San Francisco Bay Area. Columbia Records signed Big Brother and the Holding Company on the basis of their performance at Monterey.


title: Monterey International Pop Festival

text: Country Joe and the Fish came next, delivering a funny performance with an anti-war message. Guitarist and songwriter Barry Melton said afterward that he put political messages in the band's music because "we feel that in this society, you have to make your stance clear. Others don’t want to speak up in songs, be right up front." Melton said that taking LSD was part of his "liberation", allowing him to draw from many different musical genres. "When I hear a sound that is groovy I use it. I try to find music all over the place. Listening to anything can give you musical ideas. That’s freedom, and maybe that’s psychedelic."


title: Monterey International Pop Festival

text: Organist Al Kooper sang and played two extended songs for a half hour, followed by the Butterfield Blues Band who were appraised by Lydon as reinvigorating the crowd with "precisely" interpreted blues without being "uptight". One of Paul Butterfield's standout harmonica solos was described as an exercise in serialism, breaking a "few notes into tiny bits and experiment[ing] with their regroupings." The next two bands were dismissed by Lydon as forgettable sets: Quicksilver Messenger Service and the Steve Miller Band.


title: Monterey International Pop Festival

text: The final set of Saturday afternoon was the Electric Flag, a band led by guitarist Mike Bloomfield, containing Buddy Miles on drums, Barry Goldberg on organ, and Nick Gravenites singing in front. Their act was hailed as a "smash success" by Lydon. David Crosby announced later that night that if anyone in the audience had failed to see Electric Flag play, "man, you are out of it, so far out of it."


title: Monterey International Pop Festival

text: Moby Grape kicked off Saturday evening's concert with an unmemorable performance, according to Lydon. Due to legal and managerial disputes, the group was not included in the Pennebaker-produced film. Some of the Moby Grape footage was shown in 2007 as part of the 40th anniversary celebration of the film. An outtake of Moby Grape's performance of "Hey Grandma" appears on the bonus disc of the Criterion release of the film. Regarding the decision for Moby Grape to open the evening, guitarist Jerry Miller recalled that "everybody was arguing. Nobody wanted to play first and I said that would be fine for me."


title: Monterey International Pop Festival

text: Moby Grape was followed by a "terrible" showing by South African trumpeter Hugh Masekela, helped only by a spirited display by Danny "Big Black" Rey on the congas. The Byrds sang some hits and some new songs, but did not energize the crowd. The band ended with a new single, "So You Want to Be a Rock 'n' Roll Star", featuring Masekela on trumpet, reprising his participation in the studio recording.


title: Monterey International Pop Festival

text: A 20-year-old Laura Nyro gave one of her earliest performances at the Monterey Pop Festival. Lydon wrote that Nyro's "melodramatic" set, "accompanied by two dancing girls who pranced absurdly", was a disaster during which "the evening hit bottom". Other critics wrote that the black-gowned Nyro was out of sync with the psychedelic sensibilities of the event. Upon the conclusion of her set, Nyro was upset, having heard booing from the audience. While reviewing the raw footage in the 1990s, Pennebaker picked out an audience member saying "beautiful", and invited Nyro to witness it, but she died before this could be arranged.


title: Monterey International Pop Festival

text: With two huge singles behind them, San Francisco-based Jefferson Airplane was one of the major attractions of the festival, having built a large following on the West Coast. Lydon wrote that the band "thoroughly proved themselves" masters of psychedelia, aided by a trippy Headlights liquid light show projected overhead, enticing hundreds to join the band on stage dancing. Grace Slick "sang as if possessed" while she swayed in a full-length blue robe.


title: Monterey International Pop Festival

text: After this, Booker T. & the M.G.'s played a handful of instrumental R&B tunes, wearing brilliant lime green suits, then they were joined by an identically attired Otis Redding who electrified the audience with his sexually charged singing style. He sang his 1965 song "Respect" which was topping the charts because of a popular new interpretation by Aretha Franklin. Redding finished with a riveting "Try a Little Tenderness". The crowd responded by standing and screaming for more. Redding had been included on the bill through the efforts of promoter Jerry Wexler, who saw the festival as an opportunity to advance Redding's career. Until that point, Redding had performed mainly for black audiences, besides a few successful shows at the Whisky a Go Go. Redding's show, received well by the audience ("there is certainly more audible crowd participation in Redding's set than in any of the others filmed by Pennebaker that weekend") included a version of the Stones' "Satisfaction". The festival would be one of his last major performances: Redding died only six months later, in a plane crash, at the age of 26.


title: Monterey International Pop Festival

text: Ravi Shankar was another artist who was introduced to the U.S. at the festival. Shankar's set began Sunday afternoon following a rainy morning, and the audience filled the arena to about 80% capacity. All other musical acts played to a packed house. He and his group of East Indian instrumentalists played for three hours, after asking everyone to refrain from photography and smoking. Shankar performed several ragas, two of which were released on the album "". A "dhun" based on the raga "Panchamse-Ghara" (later miscredited as raga "Bhimpalasi") concluded the "Monterey Pop" film.


title: Monterey International Pop Festival

text: The Blues Project opened the final night of the festival. Lydon said that their blues fusion music was "part blues, part Scottish air, part weird phrases that became images of ambiguity." Big Brother and the Holding Company returned for a short set designed to capture on film Janis Joplin singing "Ball and Chain". A team led by Cyrus Faryar, called Group With No Name, played a "terrible" set, as judged by Lydon. Buffalo Springfield appeared with a competent and efficient delivery of a half dozen songs, with "Bluebird" called out as memorable.


title: Monterey International Pop Festival

text: Although already a big act in the UK, and now gaining some attention in the U.S. after playing some New York dates two months earlier, the Who were propelled into the American mainstream at Monterey. The band used rented Vox amps for their set, which were not as powerful as their regular Sound City amps which they had left in England to save shipping costs. At the end of their frenetic performance of "My Generation", the audience was stunned as guitarist Pete Townshend smashed his guitar and slammed the neck against the amps and speakers. Smoke bombs exploded behind the amps and frightened concert staff rushed onstage to retrieve expensive microphones. At the end of the mayhem, drummer Keith Moon kicked over his drum kit as the band exited the stage. During Jimi Hendrix's stay in England, he and the Who had seen each other perform; they were both impressed with and intimidated by each other, so neither wanted to be upstaged by the other. They decided to toss a coin, resulting in the Who winning the right to play first.


title: Monterey International Pop Festival

text: The festival crew cleared the mess left behind by the Who, and set the stage for the Grateful Dead. While a psychedelic light show was projected overhead, the band, fronted by lead guitarist and singer Jerry Garcia, played extended jams, starting with "Viola Lee Blues" for 14 minutes, and finishing with a 20-minute segue of "Alligator" into "Caution (Do Not Stop on Tracks)". Lydon commented: "The Grateful Dead were beautiful. They did at top volume what Shankar had done softly. They played pure music, some of the best music of the concert. I have never heard anything in music that could be said to be qualitatively better than the performance of the Dead, Sunday night.


title: Monterey International Pop Festival

text: Brian Jones of the Rolling Stones introduced the Jimi Hendrix Experience at the Monterey Pop Festival on the evening of Sunday, June 18. Jimi Hendrix's use of extremely high volumes, the feedback this produced, and the combination of the two along with his dive-bombing use of the vibrato bar on his guitar, produced sounds that, with the exception of the British in attendance, none of the audience had ever heard before. This, along with his look, his clothing, and his erotic antics onstage, had an enormous impact on the audience. To take things further, aware of the Who's planned explosive finale, he asked around for a can of lighter fluid, which he placed behind one of his amplifier stacks before beginning his set. He ended his Monterey performance with an unpredictable version of "Wild Thing", which he capped by kneeling over his guitar, pouring lighter fluid over it, setting it on fire, and then smashing it onto the stage seven times before throwing its remains into the audience. This performance put Hendrix on the map and generated an enormous amount of attention in the music press and newspapers alike. Robert Christgau later wrote in "The Village Voice" of Hendrix's performance:


title: Monterey International Pop Festival

text: Backstage before their sets, Hendrix played his guitar while staring at guitarist Pete Townshend, who denied the assumption that they were jamming together. Townshend said later, "It was just Jimi on a chair playing at me. Playing at me like 'Don't fuck with me, you little shit.'"


title: Monterey International Pop Festival

text: The Mamas & the Papas closed the festival. They also brought on Scott McKenzie to play his John Phillips–written single "San Francisco (Be Sure to Wear Flowers in Your Hair)". Their set included their hits "Monday, Monday" and "California Dreamin'". The song "Dancing in the Street" was the final song performed at the festival, with Mama Cass telling the audience "You're on your own".


title: Monterey International Pop Festival

text: After the concert, members of Jefferson Airplane, the Jimi Hendrix Experience, and the Grateful Dead jammed together backstage for four more hours, stopping for breakfast at dawn.


title: Monterey International Pop Festival

text: The Beach Boys' Brian Wilson was among the festival's board members. His group was, at one point, slotted to perform after the Byrds on June 17, the second evening of the event. During mid–1967, the Beach Boys were struggling with numerous personal and professional issues. At the last minute, they announced that they could not play the gig due to Carl Wilson's dispute with officials over his refusal to be drafted into military service, as well as the band's commitments to finishing the long-overdue "Heroes and Villains" single for Capitol Records.


title: Monterey International Pop Festival

text: Another (unofficial) reason given for the band's cancellation was that Brian had had disagreements with the promoter. Carl later commented: "Brian was on the board and [the festival] changed several times, the concept of it, and he decided 'This is shit, let's not play it.' I think there were some people getting hostile about the group at the time, about the surfing thing and he figured, 'Fuck you,' or something like that." Asked about the decision, Bruce Johnston said "it went from 'Here's the money, here's the offer, you're headlining' to 'Now this is gonna be a non-profit show' so we pulled out." Other issues plaguing the group involved Brian and Dennis Wilson's drug use.


title: Monterey International Pop Festival

text: Many of the people involved with the festival thought that the group was simply too scared to compete with the "new music". Derek Taylor, who had previously worked as their publicist, presumed that "it had to be down to Brian. Those sorts of decision were always his, really." John Phillips told a reporter that "Brian was afraid that the hippies from San Francisco would think The Beach Boys were square and boo them." Wilson's assistant Michael Vosse recalled that Wilson thought the Beach Boys would have been criticized by festival goers who were intent on seeing British acid rock groups. Writer David Leaf posited that the band dropped out because they had no fitting material in their repertoire besides "Good Vibrations".


title: Monterey International Pop Festival

text: Mike Love stated that none of the band members "were afraid to perform at Monterey" and explained that "Carl was to appear in federal court the Tuesday after the concert, but for all we knew, they were going to arrest him again if he performed onstage ... ". In a 1974 interview, he stated that he was "ready to go", but Brian "got sort of cold feet on the situation because he didn't trust that the people there in that organization were going to do right with the money and everything, and sure enough there was a scandal about that about a year or two after." Stephen Desper, who was a sound engineer for the event, wrote that the band dropped out due to Love's objections toward Coca-Cola, one of the event's sponsors. In 2017, Love reflected that drugs were influencing the band's decisions at the time and maintained that pulling out of Monterey was not his doing.


title: Monterey International Pop Festival

text: In the week after the festival had occurred, Brian traveled to the Monterey County Fairgrounds to pick up programmes of the event. According to journalist Domenic Priore, the band attempted to "make up for their non-appearance" by recording a live album, "Lei'd in Hawaii", but it was never released.


title: Monterey International Pop Festival

text: The Beach Boys' sudden cancellation drew much criticism from the music press, and it had a long-lasting impact on critics' opinions of the group. Taylor remembered that dropping out of the program "undoubtedly set the band in a very bad light. They were certainly heavily criticized at the time for it. It seemed rather like an admission of defeat." Biographer Steven Gaines writes that the band's cancellation "had a snowballing effect" that came to represent "a damning admission that [they] were washed up". In the description of "Pitchfork" contributor Jesse Jarnow, "when the band pulled out of their performance, the ascendant underground effectively wrote the Beach Boys—one of the biggest American hitmakers of the decade—out of the ’60s rock narrative that followed."


title: Monterey International Pop Festival

text: The festival launched the careers of many who played there, making some of them into stars virtually overnight, including Janis Joplin.


title: Monterey International Pop Festival

text: Monterey was also the first high-profile event to mix acts from major regional music centers in the U.S.San Francisco, Los Angeles, Chicago, Memphis, Tennessee, and New York Cityand it was the first time many of these bands had met each other in person. It was a particularly important meeting place for bands from the Bay Area and L.A., who had tended to regard each other with a degree of suspicion, and until that point the two scenes had been developing separately along fairly distinct lines. Paul Kantner of Jefferson Airplane said "The idea that San Francisco was heralding was a bit of freedom from oppression."


title: Monterey International Pop Festival

text: Monterey also marked a significant changing of the guard in British music. The Who and Eric Burdon and the Animals represented the UK, with the Beatles and the Rolling Stones conspicuously absent. The Stones' Brian Jones was seen many times strolling through the crowds, resplendent in full psychedelic regalia, and appeared on stage briefly to introduce Jimi Hendrix. It would be two more years before the Stones went on tour, by which time Jones was dead. The Beatles had already stopped touring altogether. Meanwhile, the Who's striking performance brought them widespread fame in the US.


title: Monterey International Pop Festival

text: Also notable was the festival's innovative sound system, designed and built by audio engineer Abe Jacob, who started his career doing live sound for San Francisco bands and went on to become a leading sound designer for the American theater. Jacob's groundbreaking Monterey sound system was the progenitor of all the large-scale PAs that followed. It was a key factor in the festival's success and it was greatly appreciated by the artists—in the Monterey film, David Crosby can clearly be seen saying "Great sound system!" to bandmate Chris Hillman at the start of the Byrds' soundcheck. Lighting by Chip Monck attracted the attention of the Woodstock Festival promoters.


title: Monterey International Pop Festival

text: Electronic music pioneers Paul Beaver and Bernie Krause set up a booth at Monterey to demonstrate the new electronic music synthesizer developed by Robert Moog. Beaver and Krause had bought one of Moog's first synthesizers in 1966 and had spent a fruitless year trying to get someone in Hollywood interested in using it. Through their demonstration booth at Monterey, they gained the interest of acts including the Doors, the Byrds, the Rolling Stones, Simon & Garfunkel, and others. This quickly built into a steady stream of business, and the eccentric Beaver was soon one of the busiest session men in L.A. He and Krause earned a contract with Warner Brothers.


title: Monterey International Pop Festival

text: Eric Burdon and the Animals later that same year, in their hit "Monterey", quoted a line from the Byrds' song "Renaissance Fair" ("I think that maybe I'm dreamin'") and mentioned performers the Byrds, Jefferson Airplane, Ravi Shankar, Jimi Hendrix, the Who, Hugh Masekela, Grateful Dead, and the Rolling Stones' Brian Jones ("His Majesty Prince Jones smiled as he moved among the crowd"). The instruments used in the song imitate the styles of these performers.


title: Monterey International Pop Festival

text: The festival did not become an annual event. However, in 2017 on the 50th anniversary of the festival, the "Monterey International Pop Festival – Celebrates 50 Years" was held at the same venue on the same weekend, with the participation of Lou Adler. Norah Jones, daughter of Ravi Shankar, was one of the headliners.


title: Monterey International Pop Festival

text: The festival was the subject of a documentary movie titled "Monterey Pop" by noted documentary filmmaker D.A. Pennebaker. Pennebaker's team used recently developed portable 16mm crystal-sync motion picture cameras that stayed synchronized with double-system sound-recording systems. The film stock was Eastman Kodak's recently released "high-speed" 16mm Ektachrome 100 ASA color reversal motion picture stock, without which the nighttime shows would have been virtually impossible to shoot in color. Sound was captured by Wally Heider's mobile studio on a then state-of-the art eight-channel recorder, with one track used for the crystal-sync tone, to synchronize it with the film cameras. The Grateful Dead believed that the film was too commercial and refused permission for their performance to be shown. The screening of the film in theaters nationwide helped raise the festival to mythic status, rapidly swelled the ranks of festival-goers looking for the next festival, and inspired new entrepreneurs to stage more such festivals around the country. Adler said the cameramen were instructed to capture at least two complete songs for most of the acts, but for certain others, particularly the Who and Hendrix, to film as much of the sets as possible. As a result, only one song was not captured in part at least from both acts' performances.


title: Monterey International Pop Festival

text: Big Brother's scheduled set was not filmed because of a disagreement. However, due to the huge reaction the band got, they were asked to return to play two songs on Sunday, to be filmed specifically for the movie.


title: Monterey International Pop Festival

text: An expanded version of the documentary has been released on DVD and Blu-ray by the Criterion Collection.


title: Monterey International Pop Festival

text: The audio recordings of the festival eventually became the basis for many albums, most notably the 1970 release "Historic Performances Recorded at the Monterey International Pop Festival" featuring partial sets by Otis Redding and Jimi Hendrix. Other releases recorded at the festival included dedicated live albums by in 1967 and Jefferson Airplane in 1991. In 1992, a four-CD box set was released featuring performances by most of the artists; various other compilations have been released over the years. According to a radio promotional feature that accompanied the box-set release, on modified stages, including flatbed Kaleidscope (LA) trucks, set up in the surrounding environs, there had been several spontaneous jam sessions for the overflow crowds and campers. Among them was one at the Monterey Peninsula Community College sports stadium (right across the Hwy. 1 interchange), where Jimi Hendrix, flanked by Jorma Kaukonen and John Cipollina, played for an enthusiastic audience.


title: Drew Karpyshyn

text: Drew Karpyshyn (born July 28, 1971) is a Canadian video game scenario writer, scriptwriter and novelist. He served as a senior writer for BioWare's "" and lead writer for the first two "Mass Effect" video games. He left BioWare in 2012 to focus on his "Chaos Born" novels, and returned to it three years later in 2015. On March 9, 2018, he announced he was leaving BioWare once again to pursue his independent work.


title: Drew Karpyshyn

text: Karpyshyn was at one point employed as a loan officer. Following a car accident, he quit his job and returned to college, gaining a degree in English. He got his start as a game designer for Wizards of the Coast, and he also has written two novels for Wizards of the Coast, both published in 2001 and both set in the "Forgotten Realms" setting: "" and "Temple Hill".


title: Drew Karpyshyn

text: Karpyshyn joined the video game company BioWare in 2000. He wrote the scenario and much of the dialogue for "", for which he would share the award for "Excellence in Writing" at the 2003 Game Developers Choice Awards. He was later one of the lead writers and planners on "Jade Empire", and worked on several games in the "Baldur's Gate" series. His next major project was the "Mass Effect" series of games. His third book, "Darth Bane: Path of Destruction" was published by Del Rey Ballantine Books in 2006.


title: Drew Karpyshyn

text: "Mass Effect" was named Game of the Year, in addition to receiving four other awards at the 2008 Elan Awards.


title: Drew Karpyshyn

text: Karpyshyn moved to Austin, Texas to help with "". He left BioWare in February 2012 to focus more on his own projects. He returned to BioWare 3 years later in 2015 to focus on the post-release development of SWTOR. He later started working on "Anthem" in 2017. In March 2018, he announced that he would once again leave BioWare to work on other things, including more original novels, co-creating a sci-fi graphic novel, and freelance gaming work.


title: Drew Karpyshyn

text: Karphyshyn announced in February 2020 that he had joined Archetype Entertainment, an internal studio of Wizards of the Coast with former BioWare staff James Ohlen and Chad Robertson as studio leads. Archetype had been revealed in January 2020 and that it was working on a new science fiction role-playing game. Karphyshyn said that while his interest in video game development waned as BioWare had changed over the years, "my passion has been rekindled. The feel in the studio reminds me of my early days at BioWare; I can feel the magic in the air."


title: Drew Karpyshyn

text: In March 2000, Karpyshyn appeared on an episode of "Jeopardy!", finishing third. He is a fan of the NFL's San Diego Chargers. He believes that in the NFL, Bill Belichick is most likely to follow the ways of the Sith, and Peyton Manning is the most likely to be a Jedi. Though his musical tastes lean more to what he calls "mainstream alternative", such as the Foo Fighters and Green Day, he also enjoys Sage Francis' song "The Best of Times". He prefers to write at night without any music playing.


title: Drew Karpyshyn

text: Karpyshyn was born on July 28, 1971 in Edmonton, Alberta, Canada. He previously lived in Sherwood Park, Alberta, Canada, with his wife Jennifer. In the spring of 2009, he moved with his family to Austin, Texas.


title: UAAP Volleyball Championship

text: The University Athletic Association of the Philippines (UAAP) volleyball tournament is divided into four divisions, namely men's, women's, boys' and girls'. Volleyball is a mandatory sport in the women's division. The UAAP volleyball tournament was held in the first semester of the school year until the UAAP Board decided to move it to the second semester in Season 69 (school year 2006–2007). This decision was made so that the games can be televised to improve its popularity.


title: UAAP Volleyball Championship

text: The tournament begins with a double round robin group stage, where a team meets its opponent twice in a season. A semi-finals round composed of the top four teams follows, after which the top two teams meet in a best-of-three series Finals.