title: Győri Audi ETO KC

text: In 2009, Győri ETO reached the final of the Champions League, meeting Danish champion Viborg HK. Due to a knee injury suffered days before the first leg, captain Anita Görbicz couldn't take part in the finals. Győr won the first match away 26–24 but was defeated at Veszprém Aréna 23–26, thus losing the title on aggregate score.


title: Győri Audi ETO KC

text: In 2012, the team made it to the EHF Champions League finals again, where they fell short to ŽRK Budućnost Podgorica on the away goals rule. ETO won the first leg on home soil to 29–27, while their Montenegrin opponent achieved a 27–25 victory in the rematch which was just enough for them to gain the title.


title: Győri Audi ETO KC

text: During the years, both Hungarian and foreign handball talents and stars wore the green and white jersey, such as Anikó Kovacsics, Zsuzsanna Tomori, Eduarda Amorim, Katrine Lunde, Heidi Løke, Ana Gros, Andrea Lekić or Jovanka Radičević.


title: Győri Audi ETO KC

text: For the 2012/13 season, coach Ambros Martín joined the squad and have worked with the team for six years. ETO reached the final of the Champions League and could finally win after 7 lost European cup finals. They were able to win a thrilling semifinal rematch against Oltchim Vâlcea, where the guest Romanian team were leading in the 51st minute even with 6 goals. The last 10 minutes of the match were incredible from Győr's point of view, because they were able to come back to the match and lose with only 1 goal. Considering, that they have won their first match in Romania with 2 goals, that loss meant that they have made it to the final, where they had to face the Norwegian powerhouse Larvik HK. After a victory in Norway (24–21), they won the rematch and the title at the same time in the Veszprém Aréna.


title: Győri Audi ETO KC

text: Since 2014 the winner of the Champions League have been decided in a Final Four tournament. ETO defended their title, which meant they won the last title in the old format and the first in the new one.


title: Győri Audi ETO KC

text: In the "Ambros Martín era" (2012–2018) ETO won 4 Champions League titles (in 2013 against Larvik, in 2014 against Budućnost, in 2017 against HC Vardar and in 2018 once again against HC Vardar) and lost one final (in 2016 against CSM București). In Hungary, their dominance remained, they won 5 Hungarian Championship titles and 5 Hungarian Cups, as well as 2 Hungarian Supercups. They lost only two titles, both against Ferencváros.


title: Győri Audi ETO KC

text: In February 2018, the club announced that the most successful coach of the club's history, Ambros Martín won't extend his contract and will leave the team after the 2017–18 season. Gábor Danyi - who was the assistant coach of the team since 2011 - took over his place on the bench. Danyi's first season as the head coach was ETO's best season so far. They did not just win all the titles possible, but remained unbeaten throughout the whole season. However, in May 2021 Danyi got sacked after a huge (9 goals) defeat against the domestic rivals Ferencváros, which also meant the team lost the National Championship title for the first time after 2015. The team lost 2 matches in total during Danyi's three-year tenure. Ambros Martín returned to the bench.


title: Győri Audi ETO KC

text: On 4 June 2021 the legend and icon of Győri ETO KC, Anita Görbicz played her last match for the team and retired after spending 24 seasons playing for the club. Another important and outstanding player of the era, Eduarda Amorim also played her last match for the team that day, leaving the club after 12 seasons. The club holds the record for the longest unbeaten run in the EHF Champions League. Between 5 February 2018 and 6 February 2022 all their matches ended with either a victory or a draw. They set the record for "70 unbeaten matches" in a row.


title: Győri Audi ETO KC

text: Statistics: matches played – 329, wins – 239, draws – 22, losses – 68, goals scored – 9,563, goals conceded – 8,040, goal difference – +1,523


title: Governor of Georgia

text: The governor of Georgia is the head of government of Georgia and the commander-in-chief of the state's military forces. The governor also has a duty to enforce state laws, the power to either veto or approve bills passed by the Georgia Legislature, and the power to convene the legislature. The current governor is Republican Brian Kemp, who assumed office on January 14, 2019.


title: Governor of Georgia

text: There have officially been 77 governors of the state of Georgia, including 11 who served more than one distinct term (John Houstoun, George Walton, Edward Telfair, George Mathews, Jared Irwin, David Brydie Mitchell, George Rockingham Gilmer, M. Hoke Smith, Joseph Mackey Brown, John M. Slaton, and Eugene Talmadge, with Herman Talmadge serving two de facto distinct terms). The early days were chaotic, with several gaps and schisms in the state's power structure, as the state capital of Savannah was captured during the American Revolutionary War. After independence was achieved, the office was solidly Democratic-Republican until the 1830s, when the office began to be contested by Democrats and Whigs for a few decades. The state seceded and was part of the Confederate States of America during the American Civil War, after which it had several governors appointed by the President of the United States and the military occupation. During Reconstruction, it had two Republican governors, but after local rule was re-established, Democrats would be the only party elected for the next 131 years.


title: Governor of Georgia

text: The longest-serving governors are George Busbee, Joe Frank Harris, Zell Miller, Sonny Perdue, and Nathan Deal, each of whom served two full four-year terms; Joseph E. Brown, governor during the Civil War, was elected four times, serving seven and a half years. The shortest term of the post-revolutionary period is that of Matthew Talbot, who served 13 days after succeeding his predecessor who died in office. One man, Eugene Talmadge, died before taking office in his third distinct term, leading to a dispute in which three people claimed the office.


title: Governor of Georgia

text: Georgia was one of the original Thirteen Colonies and ratified the Constitution of the United States on January 2, 1788. It seceded from the Union on January 19, 1861, and was a founding member of the Confederate States of America on February 4, 1861. Following the end of the American Civil War, Georgia during Reconstruction was part of the Third Military District, which exerted control over governor appointments and elections. Georgia was readmitted to the Union on July 25, 1868, expelled from Congress for failures in Reconstruction on March 3, 1869, and again readmitted on July 15, 1870.


title: Governor of Georgia

text: In Georgia's Rules and Regulations of 1776, considered by some to be the first constitution, the chief executive was a president chosen by the legislature every six months. This was quickly superseded by the 1777 constitution, which called for a governor to be chosen by the legislature each year, with a term limited to one year out of every three. The governor's term was lengthened to two years in the 1789 constitution, and an 1824 amendment provided for popular election of the governor. While the 1861 secessionist constitution kept the office the same, the 1865 constitution, following Georgia's surrender, limited governors to two consecutive terms of two years each, allowing them to serve again after a gap of four years. The Reconstruction constitution of 1868 increased the governor's term to four years. The 1877 constitution, after the end of Reconstruction, returned the office to the provisions of the 1865 constitution. An amendment in 1941 lengthened terms to four years, but governors could no longer succeed themselves, having to wait four years to serve again. The constitution does not specify when terms start, only that the governor is installed at the next session of the General Assembly. The current constitution of 1983 allows governors to succeed themselves once before having to wait four years to serve again.


title: Governor of Georgia

text: Originally, in the event of a vacancy, the president of the executive council acted as governor. This was changed in 1798 to the president of the senate. The 1945 constitution created the office of lieutenant governor, who would act as governor if that office became vacant; in 1983, this was changed so that the lieutenant governor now becomes governor in the event of a vacancy.


title: Governor of Georgia

text: In December 1946, Governor-elect Eugene Talmadge died before assuming office. Talmadge's son, Herman, was appointed governor by the State Legislature. This was challenged by the Lieutenant Governor-elect Melvin Thompson, who maintained that the state constitution authorized him to assume the office upon the death of the governor. Outgoing governor Ellis Arnall announced that he would not relinquish the office until it was clear who the new governor was. The political turmoil that ensued became known as the "Three Governors Controversy". In January 1947, while all three governors occupied different portions of the State Capitol, Secretary of State Ben W. Fortson Jr., took the Great Seal of the State of Georgia and hid it. This prevented any of the claimants to the governorship from executing any business until the Supreme Court of Georgia could make a ruling on the rightful winner. Thompson was eventually declared "acting governor" until a special election could be held to fill the remainder of the original term. Herman Talmadge won the special election and served out the remaining portion of his father's term.


title: Governor of Georgia

text: The revolutionary government was thrown into disarray by the capture of Savannah in 1778, which led to several governments with varying levels of influence; they would reunite in 1780. The Official and Statistical Register of Georgia ignores the Council of Safety of William Ewen in favor of Archibald Bulloch's government, and omits the government of William Glascock and Seth John Cuthbert. The Register includes colonial governors in its numbering, listing Archibald Bulloch as the 7th governor.


title: Governor of Georgia

text: Article V, Section 1, Paragraph V of the Constitution of Georgia provides a plan of succession in the event of the death or incapacitation of the Governor. The first successor would be the Lieutenant Governor, followed by the Speaker of the Georgia House of Representatives.


title: American Airlines Flight 1572

text: American Airlines Flight 1572 was a flight from Chicago O'Hare International Airport to Bradley International Airport on November 12, 1995. The McDonnell Douglas MD-83 struck trees and an instrument landing system (ILS) antenna during landing, causing $9 million in damage to the aircraft.


title: American Airlines Flight 1572

text: American Airlines Flight 1572 was a regularly scheduled passenger flight from O'Hare International Airport in Chicago, Illinois to Bradley International Airport near Hartford, Connecticut. On November 12, 1995, Flight 1572 was operated using a McDonnell Douglas MD-83, a twin-engine, narrow-body jet airliner (registration "N566AA"). The aircraft was equipped with two Pratt & Whitney JT8D-219 engines. The MD-83 had accumulated a total of 27,628 flight hours at the time of the accident.


title: American Airlines Flight 1572

text: Flight 1572 was scheduled to depart from O'Hare at 21:25 Eastern Standard Time. However, because of bad weather and delayed connecting passengers, the flight was delayed and did not depart until 23:05. While en route to Hartford, the flight crew, Captain Kenneth Lee (39), and First Officer John Richards (38), received an ACARS printout for the weather at Hartford. It noted an altimeter setting (reference atmospheric pressure) of , adding that pressure was falling rapidly in the area. The flight cruised uneventfully from Chicago to Hartford, other than changing from to to avoid reported turbulence.


title: American Airlines Flight 1572

text: While on descent into Hartford, the pilots received a weather update at 00:30 that included a warning of wind shear and severe thunderstorms at Bradley. At 00:32, Flight 1572 was instructed by air traffic controllers to descend to . At 00:33, controllers advised Flight 1572 to descend to and advised the flight to use an altimeter setting of for Bradley. At 00:34, the first officer checked the Automatic Terminal Information Service (ATIS) automated weather broadcast for Hartford, and noted to the captain that the most recent ATIS broadcast was about 90 minutes old. For reasons unknown, the first officer entered on the altimeter causing it to read approximately high. The captain checked the aircraft's weather radar before beginning the non-precision VOR approach to runway 15. Seeing no convective cells on the aircraft's path, he then turned the radar off.


title: American Airlines Flight 1572

text: At 00:49, while Flight 1572 was beginning its final approach, the crew was advised that the control tower was closing temporarily due to severe weather buckling a window inside the cab. The tower supervisor remained behind to assist the flight. The captain noticed the autopilot was having difficulty maintaining altitude and heading in the buffeting winds. Five miles from the airport the aircraft encountered heavy rain and some turbulence. The flight continued descending to , the minimum descent altitude (MDA) for the approach. As the crew began to look for the airport, the aircraft continued descending.


title: American Airlines Flight 1572

text: At 00:51, winds at Bradley were measured as 170° at , gusting to , with an altimeter setting of and falling rapidly. This information was not transmitted to the Bradley control tower until 00:57 and was not made available to the flight crew before landing.


title: American Airlines Flight 1572

text: At 00:55, the sink rate alarm went off, followed seconds later by a loud thump as the aircraft began shearing off treetops along Peak Mountain ridge. These trees were on a ridge with a ground elevation of , and the first treetop struck was at a height of . The captain advanced the throttles to full power, but the trees had been ingested into the engines causing them to flame out and shut down. The captain immediately lowered flaps to 40° hoping it would momentarily cause the aircraft to "balloon" upwards. While not standard operating procedure, this worked to a limited extent until the aircraft clipped a tree near the end of the runway. It then impacted the runway 33 ILS antenna equipment at the approach end of runway 15 before rolling to a stop.


title: American Airlines Flight 1572

text: The accident resulted in one minor injury to a passenger; the other 72 passengers and all 5 crew members escaped without injury. The accident resulted in $9 million in damage to the aircraft and over $74,000 in damage to airport equipment.


title: American Airlines Flight 1572

text: The investigation cited several causes for this accident. It faulted the Federal Aviation Administration (FAA) for designing the approach to runway 15 without taking the ridgeline into consideration. The new approach, which factors in the terrain, has increased the MDA to . However it cited pilot error as the primary cause due to an incorrect altimeter setting combined with the crew's failure to level off at the MDA. The report also noted since pressure was falling rapidly, the crew should have requested a more recent altimeter setting from the tower—the ATIS broadcast is normally updated hourly or whenever weather conditions change, and the first officer had noted that the ATIS recording was over 90 minutes old. While turbulence, heavy rain and wind shear affected the aircraft, the crew continued to allow it to descend while searching for the airport.


title: American Airlines Flight 1572

text: The cockpit voice recording of the incident became part of the script of a play called "Charlie Victor Romeo." After the accident, N566AA was repaired and returned to service and continued to fly with American Airlines until being retired and stored in August 2017.


title: American Airlines Flight 1572

text: American Airlines continues to operate the Chicago-Windsor Locks route as American Airlines Flight 2070, using a Boeing 737. American still uses flight number 1572 on its Miami-Toronto and Toronto-Miami route using an Airbus A319.


title: American Airlines Flight 1572

text: The crash of American Airlines Flight 1572 was featured in the 22nd season of the show "Mayday" (also known as Air Disasters), titled "Tree Strike Terror"


title: Danakil Depression

text: The Danakil Depression is the northern part of the Afar Triangle or Afar Depression in Ethiopia, a geological depression that has resulted from the divergence of three tectonic plates in the Horn of Africa.


title: Danakil Depression

text: The Danakil Depression lies at the triple junction of three tectonic plates and has a complex geological history. It has developed as a result of Africa and Asia moving apart, causing rifting and volcanic activity. Erosion, inundation by the sea, the rising and falling of the ground have all played their part in the formation of this depression. Sedimentary rocks such as sandstone and limestone are unconformably overlain by basalt which resulted from extensive lava flows.


title: Danakil Depression

text: In respect of it demonstrating 'the ongoing birth of an ocean witnessed through tectonics and volcanism in an extreme evaporite arid environment', the International Union of Geological Sciences (IUGS) included 'The Danakil Rift depression and its volcanism' in its assemblage of 100 'geological heritage sites' around the world in a listing published in October 2022. The organisation defines an IUGS Geological Heritage Site as 'a key place with geological elements and/or processes of international scientific relevance, used as a reference, and/or with a substantial contribution to the development of geological sciences through history.'


title: Danakil Depression

text: The Danakil Depression is a plain approximately , lying in the north of the Afar Region of Ethiopia, near the border with Eritrea. It is about below sea level and is bordered to the west by the Ethiopian Plateau and to the east by the Danakil Alps, beyond which is the Red Sea.


title: Danakil Depression

text: The area is often referred to as the cradle of humanity; in 1974 Donald Johanson and his colleagues found the famous "Australopithecus afarensis" fossil Lucy, which has been dated 3.2 million years old and many other fossils of ancient hominins have been uncovered here, prompting many palaeontologists to propose that this area is where the human species first evolved.


title: Danakil Depression

text: The Danakil Depression is the hottest place on Earth in terms of year-round average temperatures. It is also one of the lowest places on the planet at below sea level, and without rain for most of the year. Here, the Awash River dries up in a chain of salt lakes such as Lake Afrera, never reaching the Indian Ocean.


title: Danakil Depression

text: Mount Ayelu is the westernmost and older of the two volcanoes at the southern end of the Danakil Depression. The other active volcano, Erta Ale, is one of several crater lakes of lava bubbling from the Earth's mantle. Additionally, the area contains the Dallol sulfur springs, or hot springs. These wet environments at the Danakil Depression are being investigated to help understand how life might arise on other planets and moons. Many microorganisms living here are extremophilic microbes of a major interest to astrobiologists. Nonetheless, in October 2019, scientists reported that terrestrial lifeforms, including extreme forms of archaea microorganisms, were not found to exist in the very hot, acidic and salty conditions present in some parts of the Danakil Depression.


title: Danakil Depression

text: Among the geological points of interest to tourists are the hydrothermal system of Dallol and the Yellow Lake.


title: Danakil Depression

text: Gaet'ale Pond is a small hypersaline lake located over a tectonic hot spring in the Danakil Depression (Afar, Ethiopia). With a salinity of 43%, Gaet'ale Pond is the saltiest water body on Earth. The pond was created in January 2005 following an earthquake, according to residents of the Ahmed'ela village, which reactivated the hot spring.


title: Jaz-O

text: Jonathan Burks (born October 4, 1964), better known by his stage name Jaz-O (formerly The Jaz), is an American rapper and record producer active in the late 1980s through the 1990s, best known for being the mentor of Brooklyn rapper Jay-Z. Burks is nicknamed "the Originator", and had a song titled "The Originators" that featured a young Jay-Z in 1990.


title: Jaz-O

text: Jonathan Burks was born in the Brooklyn borough of New York City and raised in Marcy Houses, a housing project in the Bedford-Stuyvesant neighborhood. Originally attending college to become an accountant, he decided to become a rapper after being encouraged by a friend, and being inspired after hearing UTFO's "Roxanne, Roxanne."


title: Jaz-O

text: Being from the same projects as Jay-Z, the two would meet and become friends, with Jaz-O being a rhyme mentor to Jay-Z. Sometime during the year of 1986, the two lyricists would soon form a short-lived group by the name of High Potent. Despite the group being short-lived, the two recorded and released several songs throughout 1986, before Jaz-O would go on and get a record deal with EMI USA. In regards to the signing, he stated:


title: Jaz-O

text: I had been rhyming since I was 14. Do the math on your own! I became a legend on the east coast - which in the 'eighties' was quite remarkable, in about six years. I was always told I was the best most had ever heard. I put out a song in 1985 called "HP Gets Busy" on our own label (my manager at the time, Jack Walker and I), featuring two of my comrades from Long Island, NY, and my young apprentice, Jay Z. We did shows regionally; NY and Pittsburgh mostly. Meanwhile, I was recording with friend and producer, Fresh Gordon. He helped me get a single deal on Tommy Boy Records after I collaborated on a song with him called "My Fila" (a response to Run DMC's, "My Adidas"). A mutual friend of Gordon and I, Marlon Prescott, introduced me to my soon-to-be manager at that time, Stan Poses. In four months Stan solidified a major artist deal for me, and I became the first rap artist ever to sign with EMI Records. I also became the recipient of the largest advance and recording budget of any rap artist at that time.


title: Jaz-O

text: Several months after signing with EMI USA, Jaz-O went on a trip to London, where he would record his debut album. Joining him on the trip was Jay-Z, as well as future Murder Inc Records CEO and producer Irv Gotti, who was Jaz-O's DJ at the time. After completion, Jaz-O released his debut album "Word to the Jaz." The album was produced by Bryan "Chuck" New, Pete Q. Harris and Jaz-O himself. The album peaked at number 87 on the Top R&B/Hip-Hop Albums chart. It featured a guest appearance from Jay-Z on the song "Hawaiian Sophie", which peaked at number 18 on the Hot Rap Songs chart. The single "Let's Play House"/"Buss the Speaker" peaked at number 26 on the "Billboard" Dance Club Songs chart.


title: Jaz-O

text: Jaz-O also made a guest appearance on The O'Jays's "Have You Had Your Love Today", which was a single released from their 1989 album "Serious".


title: Jaz-O

text: Jaz-O released his second album "To Your Soul" on July 16, 1990. Despite the album not reaching the Billboard charts, its two singles, "The Originators" and "A Groove (This Is What U Rap 2)", peaked at No. 13 and No. 18, respectively, on the Hot Rap Songs chart. Similar to his debut album, Jay-Z was the only guest, being featured on two songs.


title: Jaz-O

text: Sometime after the album was released, Jaz-O was dropped from his record label and began to spend time working behind the scenes as a producer. At some point, Jaz-O connected with The Lox, and produced a demo tape for the group, which would become instrumental to the start of their successful career. Fellow Yonkers native Mary J. Blige, would receive the tape from a cousin who did music with the trio. Becoming a supporter of the group, Blige would pass the demo tape on to Bad Boy CEO Sean "Puffy" Combs while on a tour with Jodeci. Liking what he heard, Puff shortly signed The Lox to a deal.


title: Jaz-O

text: Throughout the late 1990s, Jaz-O had quite a hand in Jay-Z's early solo success. Jaz-O produced, and was featured on "Ain't No Nigga," the second single from Jay-Z's 1996 debut album, "Reasonable Doubt". The song is cited as playing a significant role in securing Jay-Z's record with Def Jam.


title: Jaz-O

text: Jaz-O produced "Rap Game / Crack Game," a track that appeared on Jay's second album "In My Lifetime, Vol. 1", which was released in the year of 1997.


title: Jaz-O

text: Jaz-O produced two tracks for Jay-Z's "Streets Is Watching". The album fared well commercially reaching #3 on the Top R&B/Hip-Hop Albums chart, and was released May 12, 1998, by Roc-A-Fella Records and Def Jam Records.


title: Jaz-O

text: In the year of 1999, Jaz-O appeared on Jay-Z's "Nigga What, Nigga Who (Originator 99)", a single that was released from Jay-Z's third album "Vol. 2... Hard Knock Life." The song became a big hit in Jaz-O's career at that time. However, this would be one of the last times the two would work together on music, for the friendship soured shortly afterwards.


title: Jaz-O

text: The long-standing feud between him and Jay-Z started when Jay-Z started Roc-A-Fella Records and he tried to convince Jaz-O and fellow rapper Sauce Money to sign with the label. They both refused. It is rumored that they didn't trust Roc-A-Fella Records CEO's Damon Dash and Kareem "Biggs" Burke. In addition, they weren't satisfied with what they were to be receiving had they signed the contract, $300,000 in Jaz-O's case. Jay-Z confirms this event on the song "What We Talkin' About" on the "Blueprint 3" album when he says "Dame made millions, even Jaz made some scraps, he could've made more but he ain't sign his contract".


title: Jaz-O

text: Instead of signing with Roc-A-Fella Records, Jaz-O inked a deal with Rancore Records, and formed the hip-hop group Immobilarie. With the group, he released a collaboration album "."


title: Jaz-O

text: Jay-Z went on to diss Jaz first on a track released by DJ Kayslay featuring Freeway, Geda K, Young Chris, and Memphis Bleek titled "Fuck Jaz-O AKA Jaz Ho" in which they rapped over Styles P's "Good Times" instrumental and later on his album "". Jay-Z states on the track, "I'ma let karma catch up to Jaz-O." Jaz responded with a record on a DJ Kayslay mixtape entitled "Ova" and after the response from Jay-Z and the members of Roc-A-Fella, he released his own response with the diss record known as "Ova Part 2" in which he raps over N.O.R.E.'s "Nothin'" instrumental.


title: Jaz-O

text: Despite the long-standing feud between mentor and protégé, Jay-Z still gives Jaz-O credit for his success (although he disses him at the same time) as heard in the song "I Do It For Hip Hop" on Ludacris's "Theater of the Mind" album. Jay-Z says "Shout out to Grand Master Flash and to Caz and even Jaz's bum ass".


title: Jaz-O

text: Soon after the "I Do It For Hip Hop" diss from Jay-Z, Jaz-O responded with a diss record entitled "Go Harder" where he starts by rapping over his protege's "Brooklyn Go Hard" beat before the beat changes.


title: Jaz-O

text: In late August 2009, Jaz-O was featured on another song dissing Jay-Z entitled "Gangstas Ride" with West Coast rapper, The Game. Jaz references "Ether" with the line, "Jaz-O, stupid motherfucker, not Shawn, never been bashed on a Tupac song". The song was fueled by the beef between Game and Jay-Z.


title: Jaz-O

text: In December 2017 they reunited at Jay Z's concert seemingly ending the feud. In the year of 2019, it was reported that the two worked out a music deal for Jaz-O's Kingz Kounty Media Group to distributed through Jay-Z's Roc Nation's Equity Distribution.


title: Jaz-O

text: On February 7, 2020, Jaz-O released an extended play (EP) titled "The Warmup", on Kingz Kounty Media Group, and distributed by Roc Nation's Equity Distribution.


title: Jaz-O

text: Currently Jaz-O has moved his 'Kingz Kounty Music Group" to Rival Distribution. Releasing a collaboration single "Lookin' Like" with Nipsey Hussle on July 2, 2021. The music video is directed by Da Inphamus Amadeuz.


title: Jaz-O

text: Jaz-O cites Grandmaster Caz as an early influence. Caz was the artist who made Jaz-O decide to become a rapper.


title: Jaz-O

text: Jaz-O was the rapper to pioneer the triplet flow, which allows the rapper to flow far beyond sixteen syllables within the 4/4 time signature. Being able to add extra syllables to the sixteen multiplies the syllables into twenty-fourths, which makes a triplet of an eighth. Since the 1990s, the triplet rhyme technique has become a common distinction among some of the most respected hip-hop lyricists. Several lyricists who are well known for the technique include former apprentice Jay-Z, as well as Twista, Bone Thugs-N-Harmony, Fu-Schnickens, Spice-1, and Tech N9ne.


title: Jaz-O

text: Jaz-O was known to be a visible figure in the Nuwaubian Nation during the 1980s. Nuwaubian beliefs and symbolism were prominent in the earlier years of his music career, and Nuwaubian fashion influenced his wardrobe.


title: Jaz-O

text: Besides being an emcee, he has produced songs for several hip hop artists other than Jay-Z, such as Group Home, M.O.P, Ras Kass, Rakim, Kool G Rap, and others.


title: Angus McLaren

text: Angus McLaren (born 3 November 1988) is an Australian actor who is best known for his roles in the television series "Packed to the Rafters" as Nathan Rafter and "" as Lewis McCartney.


title: Angus McLaren

text: McLaren was born the youngest of three boys, growing up with brothers Rhett and Aidan in Wonthaggi, Victoria, and grew up on a dairy farm near Loch. He attended Mary Mackillop College Leongatha. He was the drummer of the band Rapids (Ballet Imperial) and also played bass guitar in the band Bogey Lowensteins.


title: Angus McLaren

text: He appeared in a number of school and amateur productions for the Leongatha Lyric Theatre. He made his professional debut when he was 12 years old with a recurring role on the ABC series "Something in the Air". Further TV credits followed, including the children's series "Worst Best Friends", "The Saddle Club" and "Fergus McPhail", along with guest roles on "Blue Heelers", "Comedy Inc" and a recurring role on "Neighbours".


title: Angus McLaren

text: McLaren's first main cast role came in 2004 with the children's series "Silversun", which aired on both the Seven Network and the ABC. His feature film debut followed in 2005 with the low budget Melbourne feature "Court of Lonely Royals", directed by Rohan Michael Hoole. 2005 also saw McLaren work on "Last Man Standing", and achieve a solid footing on the advert voiceover circuit. In 2006, McLaren began working on the children's series "", appearing from series one through midseason of series three as the character Lewis McCartney.


title: Angus McLaren

text: From 2008, he appeared in "Packed to the Rafters" in the role of Nathan Rafter. He appeared in 102 episodes over the show's six seasons.


title: Angus McLaren

text: Through 2013 and into 2014 he took a variety of master classes in New York, LA, Sydney and Melbourne. He then studied a Bachelor of Acting at the "Western Australian Academy of Performing Arts" in Perth, Western Australia. While at WAAPA, Angus appeared in eight WAAPA stage productions. He was The Marquis De Sade in WAAPA's production of Marat/Sade, The Man in Tender Napalm and, in his graduating year, received great reviews playing the title role in Shakespeare's Coriolanus.


title: Angus McLaren

text: In 2016, he played the character of William "The Crimson Fiddler" Graham in "Quartermaine". He won the Nine Network Channel 9 Best Actor Award at the WA Screen Academy Awards for his portrayal of Will in this short film.


title: Angus McLaren

text: In 2018, it was announced that McLaren had joined the cast of Seven Network soap opera "Home and Away" as recurring character Lance Salisbury during the show's thirty-first season. He made his first appearance in episode 6860, broadcast on 17 April 2018.


title: Inflatable (Better Call Saul)

text: "Inflatable" is the seventh episode of the second season of the American television crime drama series "Better Call Saul", a spin-off series of "Breaking Bad". Written by Gordon Smith and directed by Colin Bucksey, the episode aired on AMC in the United States on March 28, 2016. Outside of the United States, the episode premiered on the streaming service Netflix in several countries.


title: Inflatable (Better Call Saul)

text: In a flashback to 1973, Jimmy McGill is working in his father's store when a grifter enters and attempts to pull a con by telling Jimmy's father he has a young child and is in financial need. Jimmy disbelieves the grifter and tries to warn his father, but his father is more concerned that suspicion could cause him to turn away someone who really requires help. While Jimmy's father is distracted, the grifter admits the con and tells Jimmy there are only wolves and sheep in the world, and he will have to choose which to be. Disillusioned by his father's gullibility, Jimmy steals money from the register.


title: Inflatable (Better Call Saul)

text: Jimmy represents Mike Ehrmantraut when Mike tells the prosecutor that the gun found after the fight between Mike and Tuco Salamanca was not Tuco's. Jimmy decides to quit D&M but learns that if he quits, he will have to repay the signing bonus he received when he joined. Jimmy finds a loophole in his contract which permits him to keep the money if he is fired without cause. While waiting at a stop light, he sees an inflatable tube man outside an oil-changing shop. Inspired by the colorful display, he executes a plan to get fired by doing everything he can think of to be irritating at work, from dressing in flashy suits to playing bagpipes in his office to not flushing the toilet after trips to the bathroom. Clifford Main finally fires Jimmy and tells him losing the signing bonus is worth it just to be rid of him.


title: Inflatable (Better Call Saul)

text: Jimmy approaches Kim Wexler and attempts to convince her to partner with him in their own law firm. Kim agrees, but only on the condition that Jimmy plays it "straight and narrow". Jimmy admits that he can only be himself, which means pushing the envelope on what is legal and ethical, so Kim politely refuses. Jimmy then moves back to his old office at the nail salon.


title: Inflatable (Better Call Saul)

text: Mike promises to buy Stacey Ehrmantraut a new house in a better neighborhood and begins scouting Hector Salamanca's restaurant. Kim proposes a compromise to Jimmy, suggesting they start separate solo firms, but share office space to save on expenses and support each other if needed. Jimmy considers her offer and does not immediately respond.


title: Inflatable (Better Call Saul)

text: The episode features Stephen Snedden as the grifter during the flashback. Snedden was previously a starring cast member of "The Lone Gunmen", a spin-off of "The X-Files" that "Better Call Saul" co-creator Vince Gilligan wrote and developed. He would also appear in "The X-Files" episode "Jump the Shark", also co-written by Gilligan, to resolve some of the hanging plotlines of "The Lone Gunmen" after the series was cancelled.


title: Inflatable (Better Call Saul)

text: The episode received very positive reviews from critics. It holds a perfect 100% positive rating with an average score of 8.88 out of 10 on the review aggregator site Rotten Tomatoes. The critics' consensus reads: "Rich in character (and colorful suits), "Inflatable" is a funny and profound turning point for several key figures with life-altering decisions to be made."


title: Inflatable (Better Call Saul)

text: Terri Schwartz of IGN gave the episode a 9.3 rating, writing: "Jimmy decides to set out on his own solo path – but Kim isn't willing to fully walk it with them."


title: Pralaya

text: Pralaya () is a concept in Hindu eschatology. Generally referring to four different phenomena, it is most commonly used to indicate the event of the dissolution of the entire universe that follows a "kalpa", which is a period of 4.32 billion years called the "Brahmapralaya".


title: Pralaya

text: Pralaya also refers to "Nityapralaya", the continuous destruction of all animate and inanimate beings that occurs on a daily basis, "Prakritapralaya", the great flood produced by Prakriti (Nature) that ends all of creation after the completion of the Chaturyuga (four-age) cycle, and "Atyantikapralaya", the dissolution of one's Atman (Self) due to its union with Brahman (Ultimate Reality). A concept that has been referenced in literature since the Upanishads, the concept of pralaya has been widely discussed in Hindu cosmology as well as philosophy.


title: Pralaya

text: Nityapralaya refers to constant dissolution, the phenomenon that describes the daily entropy of the mind and the body of all living and non-living beings. Being created, all matter is subject to constant decay and destruction, and is often described to be a personal experience, leading to a temporary earthly death. The Skanda Purana describes the Nityapralaya to be the various negative experiences and losses that a human being experiences, such as being robbed, having one's wife stolen, the arrival of one's enemy, the onset of fever, as well as blight, all of which culminates in death, the most painful experience. Such mental anguish is stated to be the result of one's own karma. One's karma is also stated to determine one's rebirth as various lesser beasts, the actions of the being during such births in turn determining one's karma.


title: Pralaya

text: The Bhagavata Purana states that one kalpa (age), which consists of a thousand revolutions of the four ages, the Satya, Treta, Dvapara, and the Kali, and the reign of fourteen Manus, is one day in the life of the creator deity, Brahma. A pralaya is described to be an equal length of time, referred to as a night in the life of the deity. This form of the dissolution is caused by the sleep of Brahma, and is hence named after him. It is also called "naimittika", which means, 'occasional'. During this period, Narayana withdraws the universe within him, and also rests upon his serpent mount, Shesha.


title: Pralaya

text: The Agni Purana describes that the resources of the earth are depleted by the end of the four-age cycle, leading to a severe drought for a century. All beings perish on earth during this period. The waters that are present in the three worlds are dried up due to their consumption by Vishnu. The seven rays of the sun become seven suns, and burn the three worlds, as well as the netherworld. The earth is described to resemble a tortoise during this event. A fire of dissolution, a manifestation of Rudra, along with the breath of Shesha, burn the netherworld. The inhabitants of the three worlds first travel to Maharloka, and then to Janaloka. Vishnu causes a century of rain upon the worlds to douse the fire. He returns to his yogic sleep for an age, and waking up in his form of Brahma, he creates the universe once more. The universe is stated to remain in a non-manifested state for two "parārdhas" (311.04 trillion years)"."


title: Pralaya

text: The term "Mahapralaya" stands for "Great Dissolution", and is synonymous with the Brahmapralaya. According to the Shiva Purana, the lower ten realms (lokas) are destroyed during this phenomenon, while the higher four realms called the Satyaloka, Tapa-loka, Jana-loka, and Mahar-loka, are preserved. During each Mahapralaya, all 14 realms are destroyed.


title: Pralaya

text: The Vishnu Purana describes the Prakritapralaya"." After the completion of the four-age cycle, a great flood is unleashed on Bhumi, the earth, by Prakriti, the personification of nature. When Jala (water) reaches the abode of the Saptarishis, the entire world is encompassed by a single ocean. The breath of Vishnu disperses all the clouds and reabsorbs them, after which he proceeds to sleep. When Agni destroys the world and nature, elemental dissolution begins. Jala swallows the gunas of the earth, and subsequently the universe, after which its rasa is devoured by Agni. When Akasha is consumed by the flames of Agni, Vayu and sound permeate throughout, becoming one with Agni by absorbing its guna. When Vayu comes into contact with ether, it loses its elemental potency, causing ether alone to occupy the vacuum. Consciousness, combined with darkness, take over the universe, which in turn is conquered by Buddhi. At this juncture, the seven components of Prakriti recombine. The Hiranyagarbha of Brahma dissolves in the waters that surround Prakriti. Prakriti fuses with Purusha, assimilating Buddhi, becoming Brahman.


title: Pralaya

text: This form of pralaya is referred to as absolute dissolution. The Agni Purana states that such a dissolution may be achieved with knowledge acquisition, after recognising the suffering caused by one's mind. It explains the cycles of birth and rebirth (samsara), and a temporary residence at abodes in between. It states that a person is born on earth based on their deeds in their previous life. It states that a person who had led a mostly sinful life would experience their fruits of performing good deeds at Svarga first, before assuming a new form to suffer for their sins at Naraka. A person who had led a mostly pious life would suffer the consequences of their sins first, after which they would enjoy the fruits of Svarga.


title: Pralaya

text: Atyantika refers to the liberation of one's sense of self. Atyantikapralaya is achieved with the knowledge of God, which occurs when one loses oneself in service to the Paramatman, the Supreme Self. This involves the recognition that most of the cause and effect that occurs in the phenomenal universe is maya, an illusion, and that all that has a beginning and an end is not real. One conquers "avidya" (ignorance) with the realisation that there is no distinction between one's own Atman (Self) and the Paramatman. When one finally realises this truth, one's sense of self dissolves into and unites with Brahman, and one achieves "mukti" (liberation).


title: Pralaya

text: In the Samkhya philosophy, one of the six schools of classical Indian philosophy, "pralaya" means "non-existence", a state of matter achieved when the three gunas (principles of matter) are in perfect balance. The word "pralaya" comes from Sanskrit meaning "dissolution" or by extension "reabsorption, destruction, annihilation or death".


title: Pralaya

text: The Swedish black/melodic death metal band Dissection references "Mahapralaya" in their song, "Maha Kali".


title: Carole Ann Ford

text: Carole Ann Lillian Ford ( Higgins; born 16 June 1940) is a British actress best known for her roles as Susan Foreman in the BBC science fiction television series "Doctor Who", and as Bettina in the 1962 film adaptation of "The Day of the Triffids".


title: Carole Ann Ford

text: Ford has had a long and diverse acting career. Her theatrical work includes many comedies, dramas and musicals, including "The Jungle Book", "Stranger in the House", "Bakerloo to Paradise", "The Owl and the Pussycat", "The Rumpus", "Pride and Prejudice", "Inadmissible Evidence", "Enrico", "Expresso Bongo", "Sleeping Beauty", "You Never Can Tell", "Ned Kelly", "Mother", "MacBett", "The Boy Friend", "Have You Seen Manchester" and "Private Lives".


title: Carole Ann Ford

text: Her film appearances include "The Day of the Triffids" (1962) as the blind French girl Bettina, "Mix Me a Person" (1962), "The Great St Trinian's Train Robbery" (1966), "The Hiding Place" (1975) and "The Incredible Sarah" (1976). In addition to "Doctor Who", her television appearances include "Suspense" (in the episode "Man on a Bicycle"), "Whatever Happened to the Likely Lads?" (in the episode "Affairs and Relations"), "Public Eye", "Emergency Ward 10", "Attorney General", "Moonstrike", "Compact", "Probation Officer" and "Dial M for Murder" (1967).


title: Carole Ann Ford

text: Ford appeared on "Juke Box Jury" and various quiz shows, and has performed many voice-overs and voice dubs.


title: Carole Ann Ford

text: According to the documentary "Doctor Who: Origins", an appearance on "Z-Cars" prompted Ford's screen test for the role of Susan in "Doctor Who" in 1963. Playing the granddaughter of the Doctor, Ford was one of the three original companions to accompany William Hartnell's incarnation of the Time Lord. According to Ford, Susan was originally intended to be a character similar to those in "The Champions", with telepathic abilities as well as the skills to fly the TARDIS, but in the series she was made to be far more ordinary. Her character departed from the series at the conclusion of the 1964 serial "The Dalek Invasion of Earth", but returned briefly for both the series's 20th-anniversary TV special, "The Five Doctors" (1983), and 30th-anniversary charity special, "Dimensions in Time" (1993). She appeared as a different character in the independent "Doctor Who" spin-off film "" (1995).


title: Carole Ann Ford

text: Ford mostly stopped acting following an illness in 1977 which led to a dramatic weight reduction and the loss of her voice (it recovered later). Since then, she taught voice and presentation skills and dialogue coaching to politicians, businesspeople, after-dinner speakers, and actors. Since the 2000s, however, she has made a limited return to the profession, reprising the role of Susan in a number of "Doctor Who" audio plays by Big Finish Productions (some of which have been broadcast on BBC Radio): two "Doctor Who Unbound" stories, "Auld Mortality" and "A Storm of Angels"; two "Companion Chronicles" stories, "Here There Be Monsters" and "Quinnis"; and three stories also featuring the Doctor, starting with the subscription-only release "An Earthly Child", in which her character is reunited with Paul McGann's Eighth Doctor, followed by "Relative Dimensions" and "Lucie Miller".


title: Carole Ann Ford

text: She was played by Claudia Grant in the BBC Two docu-drama "An Adventure in Space and Time", which dramatises the story of the conception of "Doctor Who" and was broadcast on 21 November 2013 to complement the series' 50th-anniversary special. Ford herself appeared in a small role as a character named Joyce.


title: Carole Ann Ford

text: In November 2013, Ford appeared in the one-off 50th-anniversary comedy homage "The Five(ish) Doctors Reboot".


title: Carole Ann Ford

text: Ford also narrated the behind the scenes look at the making of "An Adventure In Space And Time", "The Making of Doctor Who". She examines the making of Doctor Who and what it was like to work with William Hartnell (the First Doctor).


title: The Crazy Ones

text: The Crazy Ones is an American television sitcom created by David E. Kelley, and starring Robin Williams and Sarah Michelle Gellar. The single-camera series aired for one season on CBS, from September 26, 2013, to April 17, 2014. It was part of the 2013–14 American television season as a Thursday night 9:00 pm Eastern / 8:00 pm Central entry. Bill D'Elia, Dean Lorey, and Jason Winer served as executive producers for 20th Century Fox Television. The episodes are loosely based on the life experiences of John R. Montgomery while he worked at Leo Burnett advertising in Chicago.


title: The Crazy Ones

text: On October 18, 2013, CBS gave the show a full-season order. On February 27, 2014, the series switched timeslots with "Two and a Half Men" and started airing at 9:30 pm Eastern / 8:30 pm Central. CBS canceled the series on May 10, 2014, marking Williams' final television role nearly three months before his death on August 11, 2014.


title: The Crazy Ones

text: The series was created by David E. Kelley, who had previously created the television series "Picket Fences", "Chicago Hope", "The Practice", "Ally McBeal", "Boston Public", "Boston Legal", and "Harry's Law". It starred Robin Williams as Simon Roberts, an executive at the Chicago advertising agency Lewis, Roberts, and Roberts, who worked with his tightly wound daughter and protégée, Sydney, played by Sarah Michelle Gellar. The series represented Williams's first series regular role since "Mork & Mindy" 31 years earlier, and the first series for Gellar since "Ringer", which was cancelled by The CW in 2012 after one season. Williams's part was written with him in mind. When Gellar learned that Williams was making a television comedy, she contacted her friend Sarah de Sa Rego, the wife of Williams's best friend, Bobcat Goldthwait, to lobby for a co-starring role.


title: The Crazy Ones

text: The series was filmed on Soundstages of 12, 11, and 14 at the 20th Century Fox studios in Los Angeles, which had previously housed the production for the medical drama "House".


title: The Crazy Ones

text: Actual big-brand names were referenced in episodes to evoke a sense of realism, though the companies that owned the brands did not pay for this, nor did they get script approval. In the pilot, singer Kelly Clarkson performed a modified version of the McDonald's slogan "You deserve a break today".


title: The Crazy Ones

text: The show received mixed reviews from critics. The first season received a score of 58 out of 100 on Metacritic, indicating "mixed or average reviews".


title: The Crazy Ones

text: Morgan Jeffery of "Digital Spy" wrote that "Williams can't resist falling back on his old bag of tricks on occasion – cartoon voices, gurning, rambling wordplay – but there's a decent amount of pathos to his performance as part-buffoon, part-genius Simon Roberts too and the comedy veteran shares a warm, genuine chemistry with his on-screen offspring Gellar." Rob Owen of the "Pittsburgh Post-Gazette" wrote, "Whether "The Crazy Ones" can come together as a series over time remains an open question, but the pilot offers enough charm and humor to warrant future consideration."


title: The Crazy Ones

text: "The Washington Post" wrote that the pilot "leaves you wanting more", and gave the pilot a grade of B−. According to Ross Bonaime of "Paste", "I don’t know how it does it, but The Crazy Ones continues to be one of the most boring comedies with one of the most amazing casts on the air today." He continues to say "The entire show is just treading on 'meh.' It also feels like this show just exists in a vacuum, with nothing in any prior episode really having an effect on anything that comes after it. There are no continuing story arcs, nor any real characters to really bond with." "The Boston Herald" gave the show a negative review, noting that "Williams seems exhausted."


title: The Crazy Ones

text: The 'pilot' episode's positive reviews were also for guest star Kelly Clarkson; website 'ET Online' claimed she was a 'front runner' for an Emmy nomination in 2014 for Guest Actress in a Comedy Series.


title: The Crazy Ones

text: Website 'Gold Derby' said that the lack of Golden Globe nominations for the show, for Best Comedy, Lead Actress (for Gellar) and Lead Actor (for Williams) was a 'snub'.


title: The Crazy Ones

text: David E. Kelley became particularly critical of the show and said: "The show wasn’t very good. It started off with great ratings, but after watching three or four episodes, I thought the storytelling was pretty bad... Robin Williams was great... but the stories made me want to hold my nose.”


title: The Crazy Ones

text: The premiere episode garnered 15.52 million viewers, making the show the highest viewed premiere in fall 2013. Its 18-49 rating (3.9/11) is also the highest rated new comedy premiere rating of the season. With the Live + 3 days DVR numbers, the Pilot added +22% viewers gathering 18.98 million viewers and a 6.8 adults 25–54 rating with 5.1 in adults 18–49. During the 2013-2014 season, the show's ratings fell, with its season finale garnering only 5.23 million viewers. On May 10, 2014, CBS announced it had cancelled "The Crazy Ones".


title: The Crazy Ones

text: On April 7, 2015, the series became available on a 3-disc DVD set via Amazon.com's DVD-R On-Demand Service, containing all 22 episodes.


title: Erlkönig (Schubert)

text: "Erlkönig", Op. 1, 328, is a "Lied" composed by Franz Schubert in 1815, which sets Johann Wolfgang von Goethe's poem of the same name. The singer takes the role of four characters — the narrator, a father, his small son, and the titular "Erlking", a supernatural creature who pursues the boy — each of whom exhibit different tessitura, harmonic and rhythmic characteristics. A technically challenging piece for both performers and accompanists, "Erlkönig" has been popular and acclaimed since its premiere in 1821, and has been described as one of the "commanding compositions of the century".


title: Erlkönig (Schubert)

text: Among Schubert's most famous works, the work has been arranged by various composers, such as Franz Liszt (solo piano) and Heinrich Wilhelm Ernst (solo violin); Hector Berlioz, Franz Liszt, and Max Reger have orchestrated the piece.


title: Erlkönig (Schubert)

text: Goethe's poem was set in music by some hundred composers, including Johann Friedrich Reichardt, Carl Friedrich Zelter and Carl Loewe, though no work would become as preeminent as Schubert's, which stands among the most performed, reworked and recorded compositions ever written.


title: Erlkönig (Schubert)

text: Schubert composed "Erlkönig" at the age of 18 in 1815 – Joseph von Spaun claims that it was written in a few hours one afternoon. He revised the song three times before publishing his fourth version in 1821 as his Opus 1. The work was first performed in concert on 1 December 1820 at a private gathering in Vienna. The public premiere on 7 March 1821 at the Theater am Kärntnertor was a great success, and quickly propelled the young composer to fame in Vienna.


title: Erlkönig (Schubert)

text: "Erlkönig" exists in four versions by Schubert's hand, with the 3rd version featuring a simplified piano accompaniment without triplets in the right hand. The original (for medium voice) is in the key of G minor, though there are also transposed editions for high and low voice.


title: Erlkönig (Schubert)

text: Schubert's adaptation of "Erlkönig" is a romantic musical realization that represents the various rational and irrational elements of Goethe's ballad by contrasting yet unifying musical elements. Its form is the through-composed song; although the melodic motives recur, the harmonic structure is constantly changing and the piece modulates within the four characters.


title: Erlkönig (Schubert)

text: The four characters in the song – narrator, father, son, and the Erlking – are all sung by a single vocalist. The narrator lies in the middle range and begins in the minor mode. The father lies in the lower range and sings in both minor and major mode. The son lies in a higher range, also in the minor mode. The Erlking's vocal line, in the major mode, provides the only break from the ostinato bass triplets in the accompaniment until the boy's death. Schubert places each character largely in a different tessitura, and each has his own rhythmic and harmonic nuances; in addition, most singers endeavor to use a different vocal coloration for each part.


title: Erlkönig (Schubert)

text: A fifth character, the horse on which the father and boy are riding, is implied in rapid triplet figures played by the pianist throughout the work, mimicking hoof beats.


title: Erlkönig (Schubert)

text: "Erlkönig" begins with the piano playing rapid triplets to create a sense of urgency and simulate the horse's galloping. The moto perpetuo triplets continue throughout the entire song except for the final three bars and mostly comprise the uninterrupted repeated chords or octaves in the right hand that were established at the opening.


title: Erlkönig (Schubert)

text: In the introduction, the left hand of the piano part introduces an ominous bass motif composed of rising scale in triplets and a falling arpeggio, pointing to the background of the scene and suggesting the urgency of the father's mission. It also introduces a chromatic "passing note motif" consisting of C–C-D that represents a daemonic force, and used throughout the work.


title: Erlkönig (Schubert)

text: After a long introduction of fifteen measures, the narrator raises the question "Wer reitet so spät durch Nacht und Wind?" and accentuates the key words "Vater" (father) and "seinem Kind" (his child) in the reply. A link between "Wind" and "Kind" is suggested in the placement in a major tonality. The verse ends where it started, in G minor, seemingly indicating the narrator's neutral point of view.


title: Erlkönig (Schubert)

text: The father's question to his son is harmonically supported by a modulation from the tonic to the subdominant, also employing the "passing note motif" from the introduction. The son's distress is represented by the high pitch of this reply and the repetitive nature of the phrase. As the child mentions the Erlking, the harmony passes into F major, representing a gravitation from the father's tonality to the Erlking. The father calms the son, which is expressed by the low register of the singing voice.


title: Erlkönig (Schubert)

text: After a short piano interlude, the Erlking starts to address the boy in a charming, flattering melody in B major, placing emphasis on the words "liebes" (dear) and "geh" (go). The descending intervals of the melody seems to provide a soothing response to the boy's fear. Though the Erlking's seductive verses differ in their accompanying figurations (providing some relief for the pianist), they are still based on triplets, not letting the daemonic presence be forgotten. The "passing note motif" is used twice.


title: Erlkönig (Schubert)

text: The son's fear and anxiety in response to the Erlking's words is highlighted by the immediate resumption of the original triplet motif, just after the Erlking finishes his verse. The chromaticism in the son's melody indicates a call to his father, creating dissonances between the vocal part and the bass that evoke the boy's horror. The harmonic instability in this verse allude to the child's feverish wandering. The father's tonal center becomes increasingly distant from the child's, suggesting a rivalry over possession of the boy with the Erlking.


title: Erlkönig (Schubert)

text: The Erlkönig's enticement intensifies. The piano accompaniment transforms into flowing major arpeggios that may refer to the dances of the Erlking's daughters and the troubled half-sleep of the child. The presence of the daemonic is once again highlighted by the "passing note motif". As in the Erlking's first verse, the octave triplets resume immediately after the verse.


title: Erlkönig (Schubert)

text: Before the Erlking speaks again, the ominous bass motif foreshadows the outcome of the song. The Erlkönig's luring now becomes more insistent. He threatens the boy, the initial lyricism and playfulness yielding to a measured declamation, with the "passing note motif" being voiced both in the treble and in the bass. Upon the word "Gewalt" (force), the tonality has modulated from E major to D minor, with the Erlking appropriating the minor tonality originally associated with the father and his child. The boy cries out to his father a final time, heard in . The "passing note motif" on the word "Erlkönig" suggest that the fate of the child is sealed.


title: Erlkönig (Schubert)

text: The music intensifies further, Schubert once again creating tension through the "galloping motif". The grace notes in the voice line suggest the father's horror, and the music accelerates on the words "er reitet geschwind" (he swiftly rides on). A final allusion to the father's tonality of C minor is followed by the Neapolitan chord of A major, as the father spurs his horse to go faster and then arrives at his destination. Before this chord is resolved, the triplet motif stops, and the final rendition of the "passing note motif" in the bass seems to seal the fate of the boy.


title: Erlkönig (Schubert)

text: The recitative, in absence of the piano, draws attention to the dramatic text and amplifies the immense loss and sorrow caused by the Son's death.


title: Erlkönig (Schubert)

text: The resolution of C to D major implies a "submission to the daemonic forces", followed by the final cadence delivering "a perfect consummation to the song".


title: Erlkönig (Schubert)

text: The song has a tonal scheme based on rising semitones which portrays the increasingly desperate situation:


title: Erlkönig (Schubert)

text: The "Mein Vater, mein Vater" music appears three times on a prolonged dominant seventh chord that slips chromatically into the next key. Following the tonal scheme, each cry is a semitone higher than the last, and, as in Goethe's poem, the time between the second two cries is less than the first two, increasing the urgency like a large-scale stretto. Much of the major-key music is coloured by the flattened submediant, giving it a darker, unsettled sound.


title: Erlkönig (Schubert)

text: The premiere in 1821 was an immediate success; the large audience broke out in "rapturous applause", as Joseph von Spaun reported. During the 1820s and 30s, "Erlkönig" was unanimously acclaimed among the Schubert circle, critics and general audiences, with critics hailing the work as "a masterpiece of musical painting", "a composition full of fantasy and feeling, which had to be repeated", "an ingenious piece" that leaves an "indelible impression". No other performance of Schubert's work during his lifetime would receive more attention than "Erlkönig".


title: Erlkönig (Schubert)

text: Joseph von Spaun sent the composition to Goethe, hoping to receive his approval for a print. The latter, however, sent it back without comment, as he categorically rejected Schubert's form of the through-composed song. However, when Wilhelmine Schröder-Devrient performed "Erlkönig" before Goethe in 1830, he is reported by Eduard Genast to have said: "I have heard this composition once before, when it did not appeal to me at all; but sung in this way the whole shapes itself into a visible picture".


title: Erlkönig (Schubert)

text: "Erlkönig" has had enjoyed enduring popularity since its inception to this day. Dietrich Fischer-Dieskau has highlighted the piano accompaniment in the setting, which he describes as having a "compositional life of its own", with important motifs such as the repeated octaves that create an eerie, suspenseful atmosphere. Furthermore, Fischer-Dieskau praised the "magnificent tragedy" of the setting.


title: Erlkönig (Schubert)

text: Graham Johnson writes that "Erlkönig is one of those songs that defies age (the composer's, particularly) and defines an age. Like Beethoven's Fifth Symphony it appeals to the great unwashed and the squeaky-clean in equal measure, to those who see something symbolic in the poem, and to those who simply love a rattling good yarn excitingly told. It was that rare thing: a hit that absolutely deserved to be."


title: Erlkönig (Schubert)

text: The piece is regarded as challenging to perform due to the multiple characters the vocalist is required to portray, as well as its difficult accompaniment, involving rapidly repeated chords and octaves.


title: Erlkönig (Schubert)

text: "Erlkönig" has been arranged for various settings: for solo piano by Franz Liszt (1838, revised 1876; S. 558/4), for solo violin by Heinrich Wilhelm Ernst (1854; "Grand Caprice für Violine allein", Op. 26), and for solo voice and orchestra by Hector Berlioz (1860; H. 136, NBE 22b), Franz Liszt (1860; S. 375/4) and Max Reger (1914).


title: Erlkönig (Schubert)

text: Brian Newbould wrote on the arrangements: "Most, like Liszt's transcriptions of the Lieder or Berlioz's orchestration for Erlkönig, tell us more about the arranger than about the original composer, but they can be diverting so long as they are in no way a replacement for the original."


title: Erlkönig (Schubert)

text: Franz Liszt arranged "Erlkönig" for solo piano as part of his "Twelve Songs by Franz Schubert", S. 558, which was published in 1838 and revised in 1876. Compared to the original, Liszt retains many of the basic musical elements, including melody, harmony, accompanimental patterns, and dynamics. The melody is transcribed to different registers of the piano: the narrator and the son remain in the same register as the voice, the father moves an octave lower, and the Erlking moves an octave higher. Liszt, being a virtuoso pianist, adds even more technical challenges for the pianist, for instance turning the bass motif in the left hand into octaves:


title: Erlkönig (Schubert)

text: A critic for the "Courrier de Lyon" remarked on these octaves: "Those scales, so numerous and so rapid, whose rolling, like that of the thunder, made the listeners tremble with terror, who else but Liszt, in order to increase their sonority, would have dared play them in octaves?"


title: Erlkönig (Schubert)

text: Liszt performed his "Erlkönig" 65 times during his tours of Germany between 1840 and 1845, more than any of his operatic paraphrases. Ludwig Rellstab, who reviewed one such concert, wrote in 1841 in the Vossische Zeitung: "To a quite different sphere, increasing the "sensual "excitement still further, belonged his playing of Schubert’s Erlkönig, a work widely known and heard, and yet now heard "for the first time", truly electrifying the audience, which caused it to be encored more by their ever-renewed applause than by express demand."


title: Erlkönig (Schubert)

text: Commenting on Liszt's arrangements of Schubert's Lieder, Robert Schumann wrote: "[they] have found a great deal of interest among the public. Performed by Liszt, they are said to be of great effect, and those who are not masters of the piano will try to play them to no avail. They are perhaps the most difficult works that exist for piano, and a witty person said, 'if one arranges a simplified version of them, and would be so curious to see how it would turn out, would it be the original version by Schubert?' Sometimes not: Liszt has made changes and additions; the way he has done it testifies to the powerful nature of his play, his conception; others may think differently. It boils down to the old question whether the performing artist may place himself above the creative artist, whether he may reshape the latter's works at will for himself. The answer is easy: we laugh at a fool if he does it badly, we allow a witty one if he does not downright destroy the meaning of the original. In the school of piano playing, this kind of arrangement marks a special chapter."


title: Erlkönig (Schubert)

text: Heinrich Wilhelm Ernst composed his "Grand Caprice for solo violin" on "Erlkönig" (), Op. 26, in 1854, in what represents the "pinnacle of violin technique". The work is characterized by its highly polyphonic nature, the solo violin having to perform the narrator, the Erlkönig, the father, and the child (4 independent voices) in their different vocal colourations, but also the complete piano accompaniment at the same time. This is accomplished through the use of double, triple and quadruple stops, artificial harmonics and left-hand pizzicato.


title: Erlkönig (Schubert)

text: In 1846, during a visit to Prague, Berlioz witnessed a new musical rendition of Goethe's "Erlkönig" by Czech composer Václav Tomášek. As recalled by Berlioz in his memoirs, the two composers were soon drawn into an argument comparing Tomášek's composition to Schubert's: "Someone (for there are people who find fault with everything) drew a comparison between the accompaniment of this piece and that of Schubert's ballad, in which the furious gallop of the horse is reproduced, and declared that M. Tomášek had mimicked the placid gait of a priest's nag. An intelligent critic, however, more capable than his neighbours of judging of the philosophy of art, annihilated this irony, and replied with great good sense: 'It is just because Schubert made that unlucky horse gallop so wildly that it has foundered, and is now forced to go at a foot pace.'"


title: Erlkönig (Schubert)

text: When Gustave-Hippolyte Roger asked him to orchestrate Schubert's work for a performance in Baden-Baden in 1860, Berlioz was too willing, as he felt that Schubert's piano accompaniment was essentially orchestral in nature. The arrangement was premiered at Baden-Baden on 27 August 1860, and was published in Paris the same year. Berlioz's biographer Jacques Barzun wrote of the arrangement: "From the finely wrought and polished score no one could suspect anything of the anxiety, illness, or conflicts in his heart and soul. It is delicate, poignant, full of insight into Schubert's masterpiece – a compendium of art concealing itself."


title: Erlkönig (Schubert)

text: Berlioz's arrangement is scored for two flutes, oboe, English horn, two clarinets, two bassoons, three horns, two trumpets, timpani, strings, and solo voice.


title: Erlkönig (Schubert)

text: During his later Weimar years, with many of his major works having been published, Liszt turned his attention to orchestral transcriptions. On Johann von Herbeck's request, who was the conductor of the Vienna Philharmonic, Liszt produced transcriptions of Schubert's marches. With his orchestration of the "Reitermarsch" (S. 363/3) have been a success, he decided to orchestrate six "Lieder": "Die junge Nonne", "Gretchen am Spinnrade", "Lied der Mignon", "Erlkönig", "Der Doppelgänger", and "Abschied". Of these, which were completed in 1860, only the first four would be published in 1863 as "Four Songs by Franz Schubert" (S. 375). Ben Arnold notes the irony that Berlioz's arrangement, his only transcription of a Schubert song, was written in the same year.


title: Erlkönig (Schubert)

text: Liszt's arrangement is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, harp, strings, and solo voice.


title: Erlkönig (Schubert)

text: Reger was influential in the development of the orchestral "Lied". He wrote: "To my ear, it is often a real insult to have to listen to a singer, following an orchestral piece in a gigantic hall, performing lieder to the spindly accompaniment of a piano in the huge space. But it goes without saying that one must make a very careful choice of the songs to be orchestrated."


title: Erlkönig (Schubert)

text: After he was appointed music director of the Meiningen Court Orchestra in December 1911, Reger seems to have used the orchestra to experiment in orchestration. Between 1913 and 1914, he completed 45 orchestral arrangements of songs written by himself and others. He wrote to his publisher: "The instrumentation will ensure that the singer is never 'muffled'. I have so often noticed that the performance of songs in symphonic concerts has suffered greatly due to the fact that the gentlemen conducting were not really the best accompanists. This grievance will be remedied by the instrumentation; and dragging an extra grand piano on to the stage will not even be necessary... After having rehearsed daily for two whole winters, as it were, with the Meiningen Court Orchestra, and having performed many songs (solo songs!) with the orchestra, I know precisely how to orchestrate such matters."


title: Erlkönig (Schubert)

text: Reger's arrangement of "Erlkönig" was completed in 1914, together with "Gretchen am Spinnrade", "Gruppe aus dem Tartarus", "Prometheus", and "Gesänge des Harfners". In the work, the restless piano accompaniment is performed by the strings, with the flute supporting the seductive sound of the Erlkönig.


title: Erlkönig (Schubert)

text: Reger's arrangement is scored for flute, oboe, two clarinets, bassoon, two horns, timpani, strings, and solo voice.


title: Even the Rain

text: The plot concerns Mexican director Sebastián (Gael García Bernal), Spanish executive producer Costa (Luis Tosar), and their group of actors who travel to Bolivia to shoot a film depicting the Spanish conquest of the New World. The members of the Spanish film crew unexpectedly find themselves in a moral crisis when they and their crew arrive at Cochabamba, Bolivia, during the intensifying Cochabamba Water War in 2000, in which their key indigenous actor Daniel (Juan Carlos Aduviri) persistently leads.


title: Even the Rain

text: Shot in Bolivia, it is an internationally co-produced film by companies from Spain, Mexico and France.


title: Even the Rain

text: The film received nominations and won awards internationally, including an Ariel Award for Best Ibero-American Film and three Goya Awards, one of which was Best Original Score for the work of Alberto Iglesias. Additionally, the film was nominated as Spain's entry for the 2011 Academy Award for Best Foreign Language Film.


title: Even the Rain

text: Mexican filmmaker Sebastián (Gael García Bernal) and his Spanish executive producer Costa (Luis Tosar) arrive in Cochabamba, Bolivia, accompanied by the cast and crew, prepared to create a historical film depicting Christopher Columbus's first voyage to the New World, the imposition of Spanish authority over the natives, and the subsequent indigenous rebellion by Hatuey. Cognizant of his limited budget, Costa decides to film in Bolivia, the poorest country in South America. Hundreds of Bolivian locals show up and wait in long lines in response to the open casting pamphlet. Costa is enthusiastic to save thousands of dollars by having underpaid extras perform tasks on set meant to be completed by experienced engineers.


title: Even the Rain

text: Sebastián casts a local man named Daniel (Juan Carlos Aduviri) in the role of Hatuey, the Taíno chief who led a rebellion against Columbus. Daniel's daughter Belén lands a crucial role in the film as well. Their first encounter with Daniel is during the casting process. When casting directors start to turn people away in line, Daniel starts to make a scene and states that everyone should get a chance to audition, as the pamphlet advertised. The first encounter with Daniel makes Costa oppose his casting, but Sebastian sees Daniel's fire and liveliness even in the line protesting for a chance for his daughter as perfect for the role. He is just the character they're looking for. Sebastián is unaware that Daniel is leading demonstrations against new government-protected water company during water privatization plan. Filming begins smoothly despite the alcoholism of the actor Anton (Karra Elejalde), cast as Columbus, but when Costa observes Daniel's revolutionary involvement, he becomes increasingly uneasy about his reliability as Daniel has a critical role in the film.


title: Even the Rain

text: A conflict that occurred between Costa and Daniel early in the film was when Daniel heard Costa express how they were getting away with paying the native extras so poorly. Costa decides to speak badly of the natives right in front of Daniel in English not knowing that Daniel understands English as well. Because of this Daniel becomes more aware of how Costa and the rest of the crew are taking advantage of the natives. After seeing that Daniel understands that abuse, Costa becomes more cognizant of it himself and starts to feel guilty, which ultimately leads to the rapid development of his character throughout the remainder of the film.


title: Even the Rain

text: As the crew begins to wrap up the film, the exasperation of the natives intensifies. They begin to consider fighting for their rights to water by creating a riot and protesting in the streets. All these efforts are led by none other than Daniel, who despite being asked to lay low and even paid for his cooperation to film the movie smoothly, continues to protest. Costa reaches his breaking point with Daniel when after going to a protest he gets beaten by the police. He decides to try to bribe Daniel to stop going, offering him several thousand dollars to stay silent for a few weeks. Daniel agrees, accepting the money, but spends it on funding the protesters and remains involved, eventually becoming bloodied and imprisoned. Sebastián experiences moral conflict and begins to doubt the likelihood of the film's completion, but is reassured by Costa, who bribes the police for Daniel's temporary release to film a key scene, in which Colón and his conquistadors execute Hatuey and his rebels. Upon this scene's completion, the police arrive in the Bolivian jungle and detain Daniel again, but are besieged by the film's extras which allows Daniel to escape.


title: Even the Rain

text: That night, when actors Juan and Alberto see the latest news reports showing violence in Cochabamba, they become so worried that they demand to leave. Sebastián begs them to stay and they agree begrudgingly. The next day, as the cast and crew prepare to depart for filming, Costa is met by Daniel's wife, Teresa, who desperately implores him to assist her in finding her daughter Belén, who has disappeared into the protests and is reportedly wounded and needing hospitalization. Despite Costa trying to turn her down he is eventually won over by Teresa's persistence, and despite Sebastián's equally impassioned insistence against it, he leaves with her.


title: Even the Rain

text: Riding through the streets of Cochabamba, Costa sees the damage done to the streets and the city itself, finally realizing the seriousness of the situation that he and his crew have just stumbled upon.


title: Even the Rain

text: After Costa and Teresa's obstacle-laden drive through riotous Cochabamba, Belén's life is saved, but her leg is badly injured and may never fully heal. Meanwhile, the rest of the crew is stopped by a military blockade and all except Antón leave Sebastián to journey home. The revolution ends shortly thereafter with the departure of the multinational water company, but Cochabamba is left in ruins from the conflict. Costa expresses hope that the film will be finished after all, and Daniel emotionally presents him with a vial of Bolivian water in appreciation for saving his daughter.


title: Even the Rain

text: The film premiered on September 16, 2010, at the Toronto International Film Festival, then debuted in the United States in October of that year (Los Angeles, California); Britain (London Film Festival); and Spain (Valladolid Film Festival). It made its French debut at the Les Arcs International Film Festival in December 2010. It was screened in the Main Programme of the Panorama section at the 61st Berlin International Film Festival and additionally during the 2011 Sydney Film Festival. After special screenings in Cochabamba's Southern Zone and for the Bolivian press, it opened in Bolivia on twelve screens on March 17, 2011.


title: Even the Rain

text: The film was selected in September 2010 over Daniel Monzón's Cell 211 which also stars Luis Tosar, as the Spanish entry for the Best Foreign Language Film category at the 83rd Academy Awards. In January 2011, it landed a spot on the list of the top nine films in its category. However, it was not selected to be among the final five films nominated for the Oscar.


title: Even the Rain

text: The film received generally positive reviews, earning an 88% approval rating on Rotten Tomatoes, but some critics pointed out potential hypocrisy as a shortcoming. Roger Ebert admires the filmmakers' courage in choosing the Bolivian water crisis as subject matter, but notes potential hypocrisy, writing, "…at the end I looked in vain for a credit saying, 'No extras were underpaid in the making of this film.'" "The New York Times" writer Stephen Holden also raises this concern, asserting, "You can't help but wonder to what degree its makers exploited the extras recruited to play 16th-century Indians." Also, Holden addresses Costa's transformation, writing, "Mr. Tosar goes as far as he can to make the character's change of heart believable, but he can't accomplish the impossible." Contrarily, Marshall Fine of the Huffington Post views Tosar's efforts as praiseworthy, calling him "perfect as the producer: bull-headed, charming, conniving and wheedling when he needs to be – but a man with a vision, who ultimately gets his mind changed. Tosar makes his conflict not only credible but palpable." Praising the film overall, Ann Hornaday of "The Washington Post" calls "Even the Rain" "a story in which personal connections can transcend even the most crushing structures of history and politics."


title: Even the Rain

text: The restoration of civilian rule to Bolivia in 1982 ended decades of military dictatorships, but did not bring economic stability. In 1985, with hyperinflation at an annual rate of 25 thousand percent, few foreign investors would do business in the country. The Bolivian government turned to the World Bank as a last refuge against economic meltdown. For the next 20 years, successive governments followed the World Bank's provisions in order to qualify for continued loans from the organization. In order to move towards independent development, Bolivia privatised its railways, telephone system, national airlines, and hydrocarbon industry. In October 1999, the privatization of Cochabamba's municipal water supply followed, allowed by a new law and the investment of a new firm, Aguas del Tunari – a joint venture involving San Francisco-based Bechtel Corporation. The agreement involved the firm investing in a long-envisioned dam so they dramatically raised water rates.


title: Even the Rain

text: Protests, largely organized through the Coordinadora in Defense of Water and Life, a community coalition, erupted in January, February, and April 2000, culminating in tens of thousands marching downtown and battling police in the 2000 Cochabamba protests. In April 2000, the national government reached an agreement with the Coordinadora to reverse the privatization. The wave of demonstrations and police violence was described as a public uprising against water prices.


title: Even the Rain

text: Even the Rain is one of Icíar Bollaín's most ambitious films. Shot in Bolivia, in the Chapare jungle, and in the city of Cochabamba, the film is a large production with more than 4,000 extras in total, with about 300 of the extras being indigenous people, as well as a team of 130 people and more than 70 locations, almost all of them outdoors.


title: Even the Rain

text: Even the Rain is a movie within a movie. It follows the production of a period film about the myth of Christopher Columbus, whom few paint as he really was: a man obsessed with gold, a slave hunter, and a repressor of ethnic groups. The story's context is based on real events in the year 2000, when the population of one of the poorest nations in South America rose up against a powerful American company, Bechtel, and recovered a basic good: water. The strikes and protests of citizens were left ignored for days after the American company tried to raise the price of water. The scale of the protest was such that Bechtel eventually abandoned the Bolivian market, the water contract was canceled, and a new company was installed under public control. In 2005, half of the 60,000 people in Cochabamba were still without water and the rest only received intermittent service (some for as little as three hours a day). The film portrays the lasting impacts of colonialism on native people on multiple levels, as well as the continuation of colonialism in today's society. In many ways, the film can refer back to the deep historical roots about resistance against colonialism. Even in an entirely different time period, the Bolivian people still resist Western influence and political corruption to gain rights.


title: Smiley (2012 film)

text: Smiley is a 2012 American slasher film directed by Michael Gallagher and made by Level 10 Films. The film stars Caitlin Gerard, Melanie Papalia, Keith David, Shane Dawson, Andrew James Allen, Toby Turner, and Liza Weil. The film was released on October 12, 2012, to largely negative reviews.


title: Smiley (2012 film)

text: The plot revolves around the titular Smiley killer, the subject of an Internet myth. Supposedly, if a person on a Chatroulette-style website types the phrase "I did it for the lulz" three times, their chat partner will be murdered by a killer called Smiley (so named because he mutilated his own face by stitching his own eyes shut and carved his mouth into a smile) before they themselves are killed.


title: Smiley (2012 film)

text: A college student named Ashley (Gerard) becomes roommates with Proxy (Papalia). Ashley decides to go to a party where she meets Zane (Allen), Mark (Turner) and Binder (Dawson), who is mocked by his classmates for having reported a case of pedophilia, earning him the nickname Pedobear.


title: Smiley (2012 film)

text: One night Ashley and Proxy test out the Smiley myth with a random person online. After typing "I did it for the lulz" three times, to their horror, the stranger is murdered. Proxy convinces Ashley to stay silent. However, Ashley begins experiencing guilt over the stranger's death. She also begins to believe that Smiley is stalking her and intends to kill her; her friends and a psychiatrist write this off as anxious hallucinations and nightmares. Ashley eventually goes to the police; there she tries to convince them, to no avail, to investigate the murders caused by Smiley. The police dismiss her, implying that she is going crazy and quite possibly on the receiving end of a large, elaborate prank.


title: Smiley (2012 film)

text: When Proxy loses contact with Zane, she video chats Ashley in hysterics. Ashley goes to his house to check on him, only to find him shot dead with a handgun he purchased for self-defense. Instead of calling the police, Ashley picks up the gun and orders Proxy to type "I did it for the lulz" three times, hoping to ambush and kill Smiley. However, she accidentally shoots Binder, who had been coming over to check on her. Moments later, Smiley appears and slits Binder's throat. Ashley is then attacked by multiple Smileys, finally throwing herself out a window to her presumed death to escape them.


title: Smiley (2012 film)

text: It is then revealed that Ashley's classmates, including Proxy, Binder, and the babysitter murdered in the opening, are all part of a fringe group of Anonymous. They created the Smiley myth as a large-scale prank, although they are satisfied with Ashley's death. Binder states that Smiley will likely live on long after them and inspire copycat killings.


title: Smiley (2012 film)

text: Later, Proxy is video-chatting with Zane, questioning their morality. Zane dismisses her worries and types "I did it for the lulz" three times as a joke. However, a real Smiley appears behind Proxy, kills her, and then waves at Zane via webcam as he watches on in pure horror.


title: Smiley (2012 film)

text: In a post-credits scene, Ashley unexpectedly wakes up and gasps loudly, revealing that she survived her fall.


title: Smiley (2012 film)

text: Gallagher began working on "Smiley" after performing in some episodes of the "Totally Sketch" series on YouTube. As he was producing the film himself, "Smiley" had a small budget and Gallagher was active in various different parts of the film such as advertising and seeking MPAA approval. Gallagher initially debated using stockings with a smiley face painted on it as Smiley's mask, but discarded the idea because it "just wasn't scary enough". He chose to go with the final mask after imagining a "guy who stitched an emoticon into his own face and thought, 'Wow, that's really creepy. Theatrical rights for the film were purchased by AMC Theatres who gave the film a limited screening on their independent platform on October 12, 2012.


title: Smiley (2012 film)

text: The film played in select AMC theaters throughout the United States, with fans able to request to host screenings of "Smiley" in their cities via Tugg.


title: Smiley (2012 film)

text: Prior to the film's official theatrical release, Gallagher and his family began receiving threats from people alleging to be from 4chan and Anonymous. Personal information for Gallagher, his family, and anyone that had worked on "Smiley" was posted online with the recommendation that people use it to harass them. In an interview with "Fearnet", Gallagher stated that the site had posted the information as part of "Operation Fuck Smiley" and that "Their goal was to spoil the end of the movie, post pornography and gore on any website that talks about it, rate the movie really low... it was this horrible vendetta, like they wanted to destroy it because we talked about 4chan in the movie." The validity of these claims were questioned by Cole Strycker, author of "Epic Win for Anonymous", who expressed suspicion that Gallagher was trying to use the death threats as a publicity stunt to promote the film. In response, Gallagher asserted that the death threats were real and were not being used as a publicity stunt.


title: Smiley (2012 film)

text: The film received largely negative reviews and holds an 18% rating on Rotten Tomatoes based on an average rating of 3.5/10 based on 22 reviews; several reviews called the film a "rip off" of "Scream" and "Candyman". Criticism centered on claims of the film being "dull" or "generic", with additional criticisms over the acting performances and lack of originality. "Smiley" also received negative reviews from The A.V. Club and "The New York Times".


title: Smiley (2012 film)

text: Bloody Disgusting panned the film, stating that the writers "took a strong, modern idea, over-thought it and turned it into a generic '90s movie that'll have you throwing popcorn at the screen". "Variety" called the film "uninspired", saying that "the mayhem here is neither especially gory nor suspenseful". Mark Olsen of the "Los Angeles Times" gave a more positive review, calling the film a "more or less satisfying low-key creeper". Olsen praised Gerard, Weil, David, and Bart's performances, but called the story-telling "repetitive".


title: Snorks

text: Snorks is an animated television series produced by Hanna-Barbera and ran for a total of four seasons (consisting of 65 episodes) on NBC from September 15, 1984, to May 13, 1989. The program continued to be available in syndication from 1987 to 1989 as part of "The Funtastic World of Hanna-Barbera"'s third season.


title: Snorks

text: In 1977, Freddy Monnickendam, a Belgian businessman and artist, first made contact with the comics industry when he negotiated the rights for the Smurfs comics to Father Abraham. He later became the head of SEPP, a branch of Dupuis, as an editor responsible for the merchandising of the Smurfs' comic series. Then he negotiated the contract between Peyo, NBC and Hanna-Barbera for the creation of a new "Smurfs" cartoon series; Peyo wanted the show to be as faithful as possible to his original comics, but Monnickendam wanted it to be more mainstream and accessible. These negotiations would later result in a legal dispute between the two men due to the division of the rights and the money involved. As a final result, Monnickendam decided to compete with the Smurfs' success, starting a new series of cartoons.


title: Snorks

text: In June 1981, Nic Broca created the earlier character designs that were made for "Diskies", a very early iteration, made for the comic series "Spirou et Fantasio". Soon, the debut "Snorks" comic book was published in January 1982 by Broca himself. Freddy Monnickendam, after battling with fellow Belgian cartoonist Peyo in court, searched for a series that could rival the success of "The Smurfs", as he tried and failed to buy its rights since 1977. He acquired the Snorks' rights from Nic Broca, and both started a partnership with Hanna-Barbera for the production of this new cartoon series. After that, a three-minute Snorks pilot episode was then made for NBC, although it has not been seen by the public.


title: Snorks

text: "Snorks" premiered on September 15, 1984, and ended on May 13, 1989. It aired for five years. Unlike Freddy Monnickendam had hoped, he was not able to take the Snorks' success to the same heights as "The Smurfs", which resulted on the end of his partnership with Broca, and finally, the disbanding of SEPP. Although the Snorks' success was limited, the cartoon show gained fans worldwide, making appearances in popular culture and gaining various product lines.


title: Snorks

text: anthropomorphic sea creatures that live happily in the undersea world of Snorkland. They have snorkels on their heads, which are used to propel them swiftly through the water. When a Snork becomes excited, their tube makes a ""snork"" sound. They have much of the same technology as contemporary humans, adapted to their own aquatic environment. The Snorks use clams as currency ("clams" is also a slang term for money).


title: Snorks

text: According to the "Snorks" backstory, which was described in the show's worldwide (first season in America) opening theme, a few ventured to the surface (which the Snorks believe is "outer space") in 1634 and watched a Royal Navyship of the Spanish Armada being attacked by pirates. The captain wound up in the water and that was the first contact between the species when the Snorks saved his life, to which the captain then expressed his gratitude by writing down the encounter in his logbook, although very few humans believe in the existence of the Snorks. Since then, Snorks have adopted several human habits, such as wearing clothes.


title: Snorks

text: There are a few episodes which have human encounters with the Snorks. In the episode "Allstar's Freshwater Adventure", the Snorks (who are saltwater Snorks) meet freshwater Snorks. Freshwater Snorks have two snorkels on their head and a distinctive biochemistry from saltwater snorks.


title: Snorks

text: On September 25, 2012, Warner Archive released "Snorks: The Complete First Season" on DVD in region 1 as part of their Hanna-Barbera Classics Collection label. The release is available exclusively through Warner's online store and Amazon.com. In addition, 39 episodes have been released on Hulu per a distribution agreement with Content Media Corporation. On July 7, 2015, Warner Archive released "Snorks: The Complete Second Season" on DVD in region 1. On December 6, 2016, Warner Archive released "Snorks: The Complete Third and Fourth Seasons".


title: Tere Bin Laden

text: Tere Bin Laden () is a 2010 Indian satire comedy film produced by Walkwater Media and written and directed by Abhishek Sharma. An ambitious young Pakistani reporter, who, in his desperation to migrate to the United States, makes a fake Osama bin Laden video using a look-alike, and sells it to TV channels. Osama bin Laden was played by Pradhuman Singh. The film is a spoof on Osama Bin Laden as well as a comic satire on America's war against terror and the realities of the post-9/11 world. The film was released worldwide, except the United States and Pakistan, on 16 July 2010.


title: Tere Bin Laden

text: Ali Hassan is a reporter with Danka TV, a downmarket local TV channel in Karachi, Pakistan. He is keen to migrate to the US for a better life and wants to work for an American news channel. He gets a chance to fly to the US, but ruins it on board while filming his own audition. He recites the words "Hijack" and "Bomb" too many times; thus scaring his fellow passengers and flight crew. As soon as he reaches the United States, he is deported. Furthermore, because of this incident his visa application is rejected six times in seven years. While covering a local event for his channel, he comes across an Osama Bin Laden look-alike, Noora, and hits upon an idea to make a fake Osama tape. He manages to convince his assistant Gul about the merits of his plan. With help from his travel agent's assistant Zoya and a local radio jockey Qureshi, he is able to make the tape by tricking Noora into unknowingly posing as Bin Laden. He then sells the tape to the owner of his channel, hoping to raise money for a new false identity, a new passport and a renewed attempt at getting the elusive US visa. However, the gravity of their action strikes them when the US Government takes the tape seriously and gets involved, as do the Pakistani intelligence agencies. Noora, too, realises the trick played upon him and hides in his house.


title: Tere Bin Laden

text: Ali decides to defuse the situation by making another tape in which Osama would be declaring ceasefire with US. He manages to convince Noora and Qureshi. During the shooting of the tape in Danka TV studio, Noora unwittingly detonates a grenade, which kills his beloved prize rooster. Depressed, Noora runs away from the location with the Osama-makeup still on, forcing Ali and his team to follow suit. They manage to get hold of Noora and try to convince him for another shoot. Meanwhile, the FBI team, led by Ted Wood and Usman, head of the Pakistani intelligence agency tracks down the location of Ali and his team. The police arrests Noora, Ali and his team. Ted is delirious that he could at last catch Osama bin Laden. However, during the interrogation, the truth is revealed and to save Ted's face, Ali convinces him about his idea of making a tape of Osama declaring ceasefire. The film ends with US accepting the offer of ceasefire and Ted getting elected as Defence Secretary. Ali is, at last, able to make it to the US and Noora too changes his lifestyle, marries Zoya and helps her with the daily routine in her beauty parlor. Usman is shown to be admitted in a mental hospital as he tries to tell the truth to the world.


title: Tere Bin Laden

text: Abhishek Sharma was working with Pooja Shetty Deora when he developed the idea of making a film on Osama. According to him, the idea was apparently due to a "severe" headache. "I had a severe headache one day and had tied a cloth around my head, which looked like a turban. I had a lot of facial hair then. Someone commented that I looked like Osama Bin Laden. It then struck me to do a spoof on Bin Laden", he said. He then did research on Osama bin Laden through internet by watching his tapes and prepared the first draft of the film, which was cleared by Pooja Shetty.