title: Battle of Brody (1941)

text: After a debate with the Front commander and his staff, Georgy Zhukov quickly had these orders countermanded; orders for a renewed attack were issued two hours later. This led to even more of the confusion that was symptomatic of the Soviet command at the Battle of Brody. Rokossovsky, who was in command of the 9th Mechanized Corps attacking from the north, simply balked at these new orders, stating that "we had once again received an order to counter-attack. However, the enemy outnumbered us to such a degree, that I took on the personal responsibility of ordering a halt to the counteroffensive and to meet the enemy in prepared defences". Meanwhile, Ryabyshev commanding the 8th Mechanized Corps to the south, complied with the order and remounted the attack.


title: Battle of Brody (1941)

text: Ryabyshev seems to take the position held by Zhukov at the time, which is that if the attack had continued aggressively and without delay, the Soviets might have been successful. However, subsequent events seem to vindicate Kirponos's position, which was that the attack was premature and would destabilize the integrity of the entire front. Shortly after the Soviet counter-attack was routed, Marshal Semyon Budyonny was given overall command of the combined Southwestern and Southern Front. Disaster unfolded at the Battle of Uman and 100,000 Soviet soldiers were killed or captured and another 100,000 wounded when three Red Army formations - the 26th, 12th and 18th armies - were encircled after Army Group South renewed its attack by pivoting south from the positions it had achieved during the Battle of Dubno—an outcome that Kirponos had foreshadowed in his arguments with Zhukov about the wisdom of the counter-attack at Dubno.


title: Battle of Brody (1941)

text: The confrontation between Kirponos and Zhukov led Zhukov to tell the Southwestern Front political officer, Nikita Khrushchev, "I am afraid your commander (Kirponos) here is pretty weak", a charge that Kirponos would never be able to answer, since he died in the battle of Kiev after it was surrounded.


title: Battle of Brody (1941)

text: The battle between Panzer Group 1 and the Soviet mechanized corps was the fiercest of the whole invasion, lasting four full days. The Soviets fought furiously, and crews of German tank and anti-tank guns found to their horror that the new Soviet T-34 tanks were almost immune to their weapons. The new KV-1 and KV-2 heavy tanks were impervious to virtually all German anti-tank weapons, but the Red Army's logistics had completely broken down due to "Luftwaffe" attacks.


title: Battle of Brody (1941)

text: The German "Kampfgeschwader" bomber wings, namely KG 51, KG 54, and KG 55, contributed a series of heavy low-level attacks against Soviet ground targets. The headquarters of the Soviet 15th Mechanised Corps was destroyed, and its commander, General-Major Ignat Karpezo, was wounded. The Luftwaffe destroyed some 201 Soviet tanks in this area.


title: Battle of Brody (1941)

text: The five Red Army corps were mishandled while being concentrated into large powerful groups. The German troops sought to isolate individual units and destroy them. Meanwhile, the Luftwaffe ranging over the battlefields was able to separate the supporting infantry and deny them resupply of fuel and ammunition. Ultimately due to lack of adequate planning and overall coordination, the Soviet counter-attack failed to meet at Dubno.


title: Battle of Brody (1941)

text: Panzer Group 1 took a severe battering in the battles around Dubno, losing many of its tanks, but it survived the battle still capable of operations. The Soviet forces took severe casualties, rendering most of its forces non-operational. This defensive success enabled the Germans to continue their offensive, even if it had been delayed substantially by the tenacity of the Soviet counter-attack. The 8th Mechanised Corps was so badly depleted that the Stavka disbanded its headquarters and parcelled out its remaining assets to other formations of the Southwestern Front.


title: Doug Sandom

text: Douglas Sandom (26 February 193027 February 2019) was an English drummer who was the first drummer for the rock band the Who.


title: Doug Sandom

text: During the infancy of the Who's career, while they were playing as the Detours (around mid-1962), Sandom, a bricklayer, joined as drummer. However, while the other members of the band were in their late teens, Sandom was in his early thirties, and the age difference caused problems within the band. Sandom's wife also objected to him staying out into the later hours of the night. In February 1964, the band discovered that there was another group called the Detours. On Valentine's Day in 1964, they changed their name to the Who.


title: Doug Sandom

text: When the band secured, but failed, an audition with Fontana Records in early 1964, the label's producer, Chris Parmeinter, expressed a dislike for Sandom's drumming. The band's then-manager, Helmut Gordon, and lead guitarist Pete Townshend agreed. Townshend suggested to the other members, Roger Daltrey and John Entwistle, that Sandom leave the band. Sandom gave a month's notice, and left in April.


title: Doug Sandom

text: Within a month of Sandom's departure, Keith Moon was hired after he approached the band at one of their gigs and told them he could play better than the session drummer they had hired to fill the vacancy left by Sandom. No recordings with Sandom playing with the band were ever released. On his departure from the group, Sandom said, "I wasn't so ambitious as the rest of them. I'd done it longer than what they had. Of course, I loved it. It was very nice to be part of a band that people followed, it was great. But I didn't get on well with Peter Townshend. I was a few years older than he was, and he thought I should pack it in more or less because of that. I thought I was doing all right with the band, we never got slung out of nowhere, we always passed our auditions." According to Townshend's book "Who I Am", Sandom was hurt by Townshend's comments that he should leave especially because a few months earlier, when the band failed an audition due to a record executive describing Pete Townshend as "gangly, noisy, and ugly", Sandom had himself defended Townshend against being ousted from the band, something that Townshend was not aware of at the time.


title: Doug Sandom

text: Sandom published his autobiography "The Who Before the Who" in 2014, to which Townshend contributed a foreword.


title: In Your Eyes (The Weeknd song)

text: "In Your Eyes" is a song by Canadian singer the Weeknd, from his fourth studio album "After Hours" (2020). The song was serviced to contemporary hit radio on March 24, 2020, by XO and Republic Records as the album's third single. It was originally released four days before, alongside the rest of its parent album. The Weeknd wrote and produced the song with Max Martin and Oscar Holter, with Belly receiving additional writing credits. The original studio recording of the track features Wojtek Goral on alto saxophone, while the live version and remix of the song features Kenny G on soprano saxophone.


title: In Your Eyes (The Weeknd song)

text: On May 21, 2020, a remix featuring American singer and rapper Doja Cat was released. Another remix of the song featuring saxophonist Kenny G was released on October 16, 2020, which followed the first live performance of the song. From the four singles released with the album, "In Your Eyes" proved to be the least successful in the United States, debuting and peaking at number 16 on the "US Billboard Hot 100".


title: In Your Eyes (The Weeknd song)

text: The song was first teased in the Weeknd's "After Hours" short film during a scene in which he walked past a musician playing the track's saxophone solo. Later on, Island Records president Louis Bloom, in a mid-March 2020 interview with "Music Week" magazine, confirmed that a direct follow-up to "Blinding Lights" was set to be revealed upon the album's release. The follow-up was then announced to be "In Your Eyes", with the song being added to various popular Spotify playlists and having its radio release confirmed by Gary Trust of "Billboard" magazine on March 20, 2020.


title: In Your Eyes (The Weeknd song)

text: The Weeknd spoke about the record, co-produced by him, Max Martin, and Oscar Holter, during an "After Hours" listening session with Jem Asward of "Variety", "When you look deeper into the song, it's more complex than it seems. It's basically about two people who are in love with each other who are just fucking each other over," he explained. "The first verse is from [one] perspective and the second is from the other perspective. It's like the way people think the Police's 'Every Breath You Take' is a love song, and it's not at all ... This is deeper, but you wanna dance to it and make love to it. That's the trick of it."


title: In Your Eyes (The Weeknd song)

text: The song received universal acclaim and was noted as a standout track from the album by critics, with the single being compared to the Weeknd's previous radio hits. Various journalists noted its heavy 80s influence, with the song's saxophone solo (performed by Wojtek Goral) and synths receiving praise and being compared to hits such as M83's "Midnight City" and Katy Perry's "Last Friday Night". "The New York Times" writer Jon Caramanica observed that “the saxophone solo near the end of the satisfyingly electric “In Your Eyes” could be high-end Muzak (in the best way)”.


title: In Your Eyes (The Weeknd song)

text: "Pitchfork.com" columnist Noah Yoo wrote that “In Your Eyes” ”features saxophone solos and horn arrangements so gaudy they’d make Duran Duran blush”. “One of the project's biggest standout moments is the “Careless Whisper”-style sax solo thanks to instrumentalist Tomas Jannson, which takes the song to truly nostalgic proportions,” observed "Entertainment Weekly" reviewer Candice McDuffie. "Vibe" writer Jack Riedy noted, “The electro-disco song is packed with enough aural embellishments that to list them requires a full Stefon voice: Chic-Esque rhythm guitar, victorious trumpet riffs, Daft Punk-Esque robotic vocals, and a full-on saxophone solo on the outro”.


title: In Your Eyes (The Weeknd song)

text: "Stereogum" editor Tom Breihan described the record as “pure coke-dusted mid-’80s yuppie club-pop. The song is clean and extremely produced ’80s-style pop, and it ends with a screaming saxophone solo. “The work is slick, inventive, and pristine—’80s sounds (shimmery synths, snaky brass, ambient undertones) refracted, and polished, to sound modern,” "GQ.com" editor Max Cea assessed. Luke Morgan Britton of "NME" asserted, “The jaunty ‘In Your Eyes’ (which comes with a euphoric, joyous and absolute killer sax solo) harks back to the sparkling bombast of 2016's Starboy”.


title: In Your Eyes (The Weeknd song)

text: The music video for "In Your Eyes" was first teased by its director Anton Tammi on his Instagram story on March 21, 2020, with the Weeknd later on the following day posting the thumbnail for the visual on his social media accounts. Its confirmation as the music video for the single was confirmed eleven hours before its release, with the video premiering on March 23, 2020.


title: In Your Eyes (The Weeknd song)

text: The visual stars Zaina Miuccia as the lead female protagonist and continues the storyline from the "After Hours" short film after the Weeknd enters the elevator with the couple. In the music video, the Weeknd, after having killed Miuccia's companion in the aforementioned elevator, chases her throughout different locations until they reach a nightclub named After Hours. There, Miuccia manages to grab an axe that she then uses to decapitate the Weeknd, with her then proceeding to dance with his lifeless head throughout the rest of the music video. The visual features the return of Wojtek Goral as the saxophone player from the album's self-titled short film and was compared to the slasher movies of the 1980s, being met with a positive reception.


title: In Your Eyes (The Weeknd song)

text: "Pop Matters" columnist Jessica Brant exclaimed the song “feels like the obsessive longing the Weeknd writes of on "Pretty" from his 2013 album Kiss Land transformed into a movie. The story glistens with the entertaining qualities that made fans fall in love with Michael Jackson's “Thriller” video with the same omnipotence. A chilling tale with a redemptive and hilarious plot twist and great acting from model and Vogue writer Zainna Miuccia, who finds herself at the epicenter of it all”. "The Weeknd has channeled horror movie vibes with his video, taking the '80s slasher vibes up a notch," stated "Vibe" journalist William E. Ketchum III. "Complex" editor Trace William Cohen praised the visual's narrative and outcome, “The video sees a knife-wielding version of Abel's "After Hours" character going full slasher villain, ominous lurking and all. The video fittingly ends with Abel's character on the receiving end of some hatchet-assisted poetic justice.


title: In Your Eyes (The Weeknd song)

text: Following the releasing of its parent album, "In Your Eyes" debuted at number 16 on the US "Billboard" Hot 100 dated April 4, 2020. It was the highest overall debut of the week and third highest charting track from "After Hours" at the time. On March 9, 2021, "In Your Eyes" was awarded a Platinum certification from the Recording Industry Association of America (RIAA) for selling one million units in the United States.


title: In Your Eyes (The Weeknd song)

text: On March 27, 2020, the song debuted at number 17 on the UK Singles Chart, becoming his 20th top 40 hit on the chart. Elsewhere in Europe, it managed to debut in the top 20 of the Belgian Tip charts, Irish Singles Chart, and Dutch Single Top 100 on June 10, 2020. The song also managed to debut within the top ten of Norwegian and Swedish charts, with the single also reaching a top 40 position of number 26 in Italy on March 28, 2020.


title: In Your Eyes (The Weeknd song)

text: The song's debut live performance occurred during the 2020 "Time" 100 primetime event on September 22, 2020, where a new version of the song with saxophonist Kenny G was performed. The song's second live performance occurred during the American Music Awards of 2020 on November 22, 2020, where it was performed alongside "Save Your Tears" in downtown Los Angeles. In this performance, the Weeknd sported a bandaged look that continued the narrative of the visuals that he released for "After Hours". A third live performance of the song for VEVO, directed by Micah Bickham with cinematography from Jon Chema, was released on November 24, 2020.


title: In Your Eyes (The Weeknd song)

text: In August 2020, the song's Doja Cat remix was one of the tracks featured on TikTok's virtual concert: The Weeknd Experience.


title: In Your Eyes (The Weeknd song)

text: A remix of the song featuring American singer and rapper Doja Cat was released on May 21, 2020, two days after its announcement.


title: In Your Eyes (The Weeknd song)

text: Prior to the announcement of the remix, the Weeknd had released several remixes of songs off of "After Hours", with artists such as Lil Uzi Vert, Major Lazer and Chromatics.


title: In Your Eyes (The Weeknd song)

text: On May 19, 2020, Doja Cat posted a poll on Twitter indicating that she had recently collaborated with the Weeknd. Shortly after, she tweeted "in your eyes" and changed her Twitter display name to the same, indicating she performed on a remix of the song. The Weeknd shortly confirmed the remix, and teased the cover art and release date the next day.


title: In Your Eyes (The Weeknd song)

text: Despite the song's buoyant, synth-tipped melodies, the lyrics hint at the doubts and fears that can transpire when expressing vulnerable feelings within a relationship. The remix includes a sort of call-and-response to Weeknd's lyrics. "You always try to hide the pain/You always know just what to say/I always look the other way," the Weeknd sings. "I'm blind, I'm blind/In your eyes, you lie, but I don't let it define you/Oh, define you." Doja Cat continues the conversation with her sultry verse. "I never lied when I cried for you," she croons. "And I know you cried, too ... always had to say bye to you." Later, she raps, "One day I'm giving you space, and the next day you're giving me faces" about the song's push-and-pull emotions.


title: In Your Eyes (The Weeknd song)

text: Althea Legapsi of "Rolling Stone" wrote, "The remix includes a sort of call-and-response to Weeknd's lyrics," and noted, "despite the song's buoyant, synth-tipped melodies, the lyrics hint at the doubts and fears that can transpire when expressing vulnerable feelings within a relationship." Carl Lamarre from "Billboard Magazine" praised their collaboration as he observed, “Welcoming Doja to his funky playground, The Weeknd allows the multifaceted star to shine on the song's second verse. After combing through the entrancing soundscape with her feathery croons, she switches into rap mode before allowing the XO star to regain momentum on the hook“. Tom Breihan of "Stereogum" complimented Doja Cat's transformative contribution, "The Weeknd's ‘In Your Eyes’ is a slick piece of work full of synths and saxophones. Doja Cat sings and raps, turning the song into a duet about two self-destructive people who are extremely into each other."


title: In Your Eyes (The Weeknd song)

text: "She feels right at home in The Weeknd's tripped-out pop landscape, where the melodies are intoxicating and the artists have been over-served," exclaimed "Consequence of Sound" columnist Wren Graves, welcoming Doja Cat's presence. "Idolator" editor Mike Wass applauded the pair's cohesive remix, "In an era of shabbily cobbled together remixes, this combination actually makes sense — and brings a much-needed female perspective into The Weeknd's dark and gloomy world". In a rave review, "Entertainment Tonight" writer Meredith B. Kile asserted, "Recruiting Doja Cat for melodies and a driving rap verse over the synth-heavy track, the Canadian crooner made beautiful Muzak out of this buzzworthy collab".


title: In Your Eyes (The Weeknd song)

text: Erika Marie from "HotNewHipHop" shared, "The nostalgic, vintage feel of ‘In Your Eyes’ pairs well with disco-esque jams. They collaborated in an effort to make musical magic."


title: In Your Eyes (The Weeknd song)

text: An animated music video for the remix of "In Your Eyes" was released on July 2, 2020. The visual was directed by Jeron Braxton and it features the Weeknd and Doja Cat driving through a surreal futuristic city, akin to one found in "Blade Runner". In the video, the Weeknd maintains the red suit used heavily throughout the promotional material for "After Hours". His character, along with Doja Cat's and the rest of the animation, are done in low polygon count style. It is the first of three animated videos released in support of "After Hours", with it being followed by the visuals for "Snowchild" and the Ariana Grande remix of "Save Your Tears".


title: Dov Charney

text: Dov Charney (born January 31, 1969) is a Canadian entrepreneur and clothing manufacturer. He is the founder of American Apparel, which was one of the largest garment manufacturers in the United States until its bankruptcy in 2015. Charney subsequently founded Los Angeles Apparel.


title: Dov Charney

text: Charney was born in Montreal, Quebec on January 31, 1969. His father is an architect, and his mother is an artist. Charney is a nephew of architect Moshe Safdie.


title: Dov Charney

text: He attended Choate Rosemary Hall, a private boarding school in Connecticut and St. George's School of Montreal. According to Charney, he was heavily influenced by both Montreal culture and his own Jewish heritage.


title: Dov Charney

text: While attending high school in the United States, Charney began importing Hanes and Fruit of the Loom t-shirts from the U.S. to his friends in Canada. In an interview with Vice, he described smuggling the shirts on Amtrak trains from New York to Montreal.


title: Dov Charney

text: Charney began selling t-shirts under the American Apparel name in 1989. In 1990, he dropped out of Tufts University, borrowed $10,000 from his parents and established American Apparel in South Carolina. Over the next several years, he spent time learning about manufacturing and wholesale before moving to Los Angeles in the mid-'90s. The company focused on crafting high-quality basics. By 1997, Charney had moved all manufacturing into a factory located in downtown Los Angeles.


title: Dov Charney

text: American Apparel products were marketed towards "young metropolitan adults." The basic, logo-free branding appealed to younger consumers wary of corporate branding. Rather than compete with mass-market companies like Fruit of the Loom, American Apparel flourished in its "high-end niche by leveraging product quality, hip design, and the appeal of its anti-sweatshop politics."


title: Dov Charney

text: The company had about $12 million in sales by 2001. In 2003, Charney opened the first store in L.A.'s Echo Park neighborhood, followed by one each in New York and Montreal. Within two years, the company had expanded to Europe and opened 65 new stores. By 2006, there were 140 total stores.


title: Dov Charney

text: In 2009, it expanded to 281 total retail locations, making it "the fastest retail roll-out in American history." In 2014, the company reported record sales of $634 million dollars.


title: Dov Charney

text: American Apparel under Charney's leadership was known for its simple and provocative ads, which rarely used professional models and whom were often chosen personally by Charney from local hangouts and stores. He shot many of the advertisements himself and was criticized for featuring models in sexually provocative poses. However, the campaigns were also lauded for honesty and lack of airbrushing.


title: Dov Charney

text: In 2012, the company made headlines when it debuted an ad campaign featuring mature model Jacky O'Shaughnessy. The photos generated considerable buzz and were generally well-received.


title: Dov Charney

text: American Apparel again stirred controversy in 2014 when they displayed mannequins with pubic hair in the window of their Lower East Side store. Regarding the use of the mannequins, the company told Elle Magazine:


title: Dov Charney

text: "American Apparel is a company that celebrates natural beauty, and the Lower East Side Valentine's Day window continues that celebration. We created it to invite passerbys to explore the idea of what is 'sexy' and consider their comfort with the natural female form. This is the same idea behind our advertisements, which avoid many of the photoshopped and airbrushed standards of the fashion industry. So far we have received positive feedback from those that have commented, and we're looking forward to hearing more points of view."


title: Dov Charney

text: Under Charney's leadership, American Apparel took a leading role in the promotion of a number of prominent social causes.


title: Dov Charney

text: Legalize LA was an immigration reform campaign conceived by Charney and promoted by American Apparel beginning in 2004. The campaign featured billboards and full-page ads in national publications as well as t-shirts sold in retail locations emblazoned with the words "Legalize LA." Proceeds from the sale of the shirts were donated to immigration reform advocacy groups. The campaign called for the overhaul of immigration laws so as to create a legal path for undocumented workers to gain citizenship in the United States.


title: Dov Charney

text: In November 2008, after the passing of Proposition 8, which banned same-sex marriages in California, Dov Charney and American Apparel created "Legalize Gay" T-shirts to hand out to protesters at rallies. The positive reaction led American Apparel to sell the same shirts in stores and online.


title: Dov Charney

text: In an interview with Vice.tv, Charney spoke out against the poor treatment of fashion workers in developing countries and refers to the practices as "slave labor" and "death trap manufacturing." Charney proposed a "Global Garment Workers Minimum Wage" and discussed in detail many of the inner workings of the modern fast fashion industry practices that creates dangerous factory conditions and disasters like the 2013 Savar building collapse on May 13, which had the death toll of 1,127 and 2,500 injured people who were rescued from the building alive.


title: Dov Charney

text: American Apparel publicly suspended Charney on 18 June 2014, stating that they would terminate him for cause in 30 days. The termination letter given to Charney alleged that he had engaged in conduct that "repeatedly put himself in a position to be sued by numerous former employees for claims that include harassment, discrimination and assault."


title: Dov Charney

text: Paula Schneider, who took over as company CEO, claimed Charney was fired "for violating our sexual harassment and our anti-discrimination policy" and "for misuse of corporate assets."


title: Dov Charney

text: According to reports, Charney was blindsided by news of his termination, calling it a "coup." In court filings by his attorneys, it was alleged that the American Apparel CFO had sketched out a plan to oust Charney, and that he was persuaded to sign a disastrous settlement that left him with no job and no control of the company, despite being the largest shareholder. Charney also argued that the investigation was biased because it was conducted by people who wanted him out, and that he has never been charged with any crime or found guilty or liable for any of the accusations against him.


title: Dov Charney

text: In December 2014, Charney was terminated as a Chief Executive Officer after months of suspension. In December 2014, Charney told Bloomberg Businessweek he was down to his last $100,000 and that he was sleeping on a friend's couch in Manhattan. Following his suspension as CEO in the summer of 2014, Charney teamed up with the Standard General hedge fund to buy stocks of the company to attempt a takeover. In 2016, American Apparel board dismissed a $300 million offer from Hagan Group that pushed for Charney's comeback.


title: Dov Charney

text: In the wake of his dismissal, reports of Charney's management style emerged. Business Inside stated that he wasn't "...able to install a mature operational infrastructure to keep the company running smoothly." also claiming that Charney wasn't able to build a "management bench strength" for American Apparel. Andrew Ross Sorkin, writing for the New York Times stated that Charney "should have been gone long ago, face of the brand or not."


title: Dov Charney

text: In 2016, Charney founded Los Angeles Apparel. He opened Los Angeles Apparel's first factory in South Central Los Angeles, with aims of replicating the successes he experienced in the 1990s with supplying wholesale clothing. The origins are similar to those he deployed while expanding American Apparel. When interviewed by Vice News regarding his new venture, Charney said, "my previous company had an effect on the culture of young adults...I want to reconnect and do that again before I die."


title: Dov Charney

text: The company grew to over 350 staff during the second year of operation. During an interview with Bloomberg, Charney drew comparisons to the growth he experienced with American Apparel calling it the equivalent of "year eight." Charney expected the fashion line to grow to $20 million in revenue by 2018.


title: Dov Charney

text: Similar to American Apparel, the manufacturing of all Los Angeles Apparel garments are kept in the US to maintain low lead times and offer better completion times than overseas competitors. Los Angeles Apparel also provides livable wages to factory workers.


title: Dov Charney

text: Following the outbreak of the COVID-19 pandemic in the United States, Charney repurposed his business operations to help increased demand for PPE. According to the "Los Angeles Times", Charney spotted shortages as early as February and this is when his apparel company began to consider manufacturing face masks.


title: Dov Charney

text: Charney was interviewed in March 2020 by a number of media outlets, speaking about his desire to turn Los Angeles Apparel into a medical equipment manufacturer during the pandemic. Los Angeles Apparel then began manufacturing face masks and medical gowns at the facility in South Central. Charney told "The New York Times" that he aimed to create 300,000 masks and 50,000 gowns each week. In an interview, Charney said he was "losing money on the venture," as he was giving many of them away. This included donating large numbers to key workers in healthcare and law enforcement in LA, Seattle, New York City and Las Vegas.


title: Dov Charney

text: Charney has been the subject of several sexual harassment lawsuits, at least five since the mid-2000s, all of which were settled, dismissed or remanded to private arbitration. Due to employees signing documents revoking legal claims against Charney or the company, many lawsuits were thrown out by the courts and had to go through internal arbitration at American Apparel. He has never been found to have committed sexual harassment. Charney's lawyer, Keith Fink, told Business Insider that, "In many instances, cases were defeated or dismissed. In other instances, cases were settled because the insurance company whose only goal is to save total dollars wanted to stop the legal bleeding on these cases." Charney maintained his innocence, telling CNBC that "allegations that I acted improperly at any time are completely a fiction." He accused lawyers in the lawsuits against American Apparel of extortion and of "shaking the company down."


title: Dov Charney

text: In 2004, Claudine Ko of "Jane" magazine published an essay narrating that Charney began masturbating in front of her while she was interviewing him. The article's publication brought extensive press to Charney, who later responded that he believed that the acts had been done consensually, in private and outside the article's bounds. In a follow-up to her first article, Ko wrote that her article had been misconstrued, stating that her encounter with Charney "was being used to feed a flawed cliche where men are evil and omnipotent while women are mute victims lacking free will." She further questioned the notion that she had been taken advantage of: "Who was really exploited? We both were—American Apparel got press, I got one hell of a story. And that's it."


title: Dov Charney

text: Charney lives in Garbutt House, a historic mansion atop a hill in Silver Lake designed by Frank Garbutt, an early movie pioneer and industrialist. The house is made entirely out of concrete due to Garbutt's fear of fire. The house often functions as a dormitory for out-of-town workers doing business at company headquarters. During his time at American Apparel Charney was consumed with work, often sleeping in his office at the company's factory, leaving little separation between his personal and work life.


title: Lucas Piazon

text: Lucas Domingues Piazon (born 20 January 1994) is a Brazilian professional footballer who plays for Botafogo, on loan from Primeira Liga club S.C. Braga. He plays as a second striker or a winger, as an attacking midfielder.


title: Lucas Piazon

text: He spent a decade at Chelsea, though he only played three games for them (one in the Premier League), and was loaned to seven clubs in six countries.


title: Lucas Piazon

text: Piazon was born in São Paulo, to António Carlos Piazon, a commercial representative, and Marizabel Domingues, a lawyer. He had a financially secure upbringing that allowed him to focus on both school and football at the same time. Both of Piazon's parents took an active role in his career. He grew up with his sister Juliana, who is three years younger than him and was a Chelsea supporter from an early age, aspiring to play for them some day.


title: Lucas Piazon

text: When he was young, Piazon's family moved to Paraná. Piazon's football skills began to blossom at age eight. He developed an interest in futsal (indoor football) like other Brazilian footballers (such as Zico and Ronaldinho). He began playing for Coritiba. At the age of 11, Piazon made the switch from indoor to the field.


title: Lucas Piazon

text: Piazon began his professional career with Coritiba. He made an impression with them becoming top scorer in every youth tournament he appeared in. In 2007, he moved to neighbouring club, Atlético Paranaense. He again turned out, as Atlético reached the finals of the U-15 Copa do Brasil in 2008, which they eventually lost to São Paulo. São Paulo became very impressed with his performance and made an offer. At the age of 14, Piazon left his family behind in Curitiba and joined São Paulo. In May, he began to attract the attention of international scouts when he helped guide São Paulo through the Brazilian qualifiers for the Premier Cup (Nike Cup). It was around this time that he was also called up by Brazil's U-15s. In August, São Paulo travelled to Manchester for the Premier Cup finals. In the Group stage, Piazon scored in the 3–0 win versus Manchester United. São Paulo then went on to beat Werder Bremen in the final match.


title: Lucas Piazon

text: In early 2011, Chelsea secured the services of Piazon by means of a pre-contract, having to fight off the interest from a number of the world's leading clubs, including Italian team Juventus. On 15 March 2011, São Paulo announced that Piazon could only play for the Chelsea senior team after 20 January 2012 when he became eligible to obtain a work visa, but he would join in the 2011 summer transfer window. Chelsea announced ten days later with Piazon passing a medical in London in early March 2011. It was reported that Chelsea paid in the region of £5 million to acquire Piazon, which could rise to £10 million depending on several clauses. He was transferred to Chelsea during the 2011 summer transfer window and started playing for the reserves. In an interview, he stated, "[I chose Chelsea because] I like the Premier League. I think my way of playing and my skills are more suited to the Premier League."


title: Lucas Piazon

text: Piazon made his debut for the reserve team against Fulham, thereafter saying, "I am able to play in the Youth Cup now. Everybody knows I am here to play, so my main aims for the season are to play as many youth games as possible and hopefully feature in the reserves as well, and I want to win the Youth Cup." He also stated, "I am enjoying the company of Ramires, Alex and, of course, David Luiz is my best friend here. He is so funny and always joking so it's nice." Piazon scored his first reserve goal in an away victory against Arsenal, just before full-time with a solo effort, inside the box before firing it into the net. He has scored twice in five games for the reserves and once in six for the youth team, most notably the winner in the FA Youth Cup tie against Doncaster Rovers.


title: Lucas Piazon

text: On 20 January 2012, his 18th birthday, Piazon obtained a work visa and became eligible to play for the Chelsea senior team. On 26 January 2012, he signed a contract extension that will keep him with the club until 2017. After impressing at Under-18 and Reserve level, Piazon was given the number 35 shirt, which was previously worn by Juliano Belletti. He was an unused substitute on the Chelsea bench, on 31 January 2012, in their 1–1 league draw against Swansea City and on 5 February 2012, in the 3–3 draw against Manchester United. Chelsea manager André Villas-Boas said, after the Manchester United game, "He [Piazon] has trained more with the first team, which is very good for him. He's made great progress since arriving and in the last two games was on the bench. Unfortunately, he had no opportunity to enter, but has done a great job in the reserves team. He is a player that we have high hopes for."


title: Lucas Piazon

text: On 10 May 2012, Piazon was named Chelsea Young Player of the Year in his first season. He was part of the side that won the FA Youth Cup Final 24 hours earlier. "I am very happy and I didn't expect this. It has been a fantastic week for me. David Luiz and Ramires have helped me a lot here as when I came in I was alone. I hope to be at Chelsea a long time and I will keep working." he said. Later that week, he was named on the bench on the final day of the season, in a home game against Blackburn Rovers which Chelsea won 2–1, but was not involved in the game. He told that he's looking forward to continuing his development and would like to make the breakthrough into the senior side, saying "I hope to be in the main group, train with them every day and if I have a chance to play some games." He went on to say that he's "always dreamed of playing for Chelsea."


title: Lucas Piazon

text: The pre-season prior to the start of the 2012–13 season, Piazon was given a chance to prove himself by Chelsea manager Roberto Di Matteo after being taken on tour in the United States, came on as a substitute in three of the four matches, making his senior debut in the 4–2 win over Seattle Sounders. He scored his first goal in his second senior Chelsea appearance, the equaliser to earn Chelsea a 1–1 draw against Paris Saint-Germain at Yankee Stadium. Afterwards, he spoke of his delight: "It was good for me, it was special, to score in my second game", said the forward. Piazon came on in the 3–2 defeat to the MLS All-Stars in the 2012 MLS All-Star Game and was an unused substitute in the following fixture, with Fernando Torres taking his place in a 1–0 loss to Milan.


title: Lucas Piazon

text: Piazon was named in Chelsea's 22-man Champions League squad, along with fellow Brazilians Oscar, David Luiz and Ramires and was chosen ahead of Florent Malouda. Piazon made his competitive debut for Chelsea, starting in their League Cup fixture against Wolverhampton Wanderers, which ended a 6–0 win for the Blues, also assisting the goal for Ryan Bertrand. On 31 October 2012, Piazon played his second game in the League Cup against Manchester United, which ended 5–4 win for Chelsea after extra time with Piazon being substituted in the 55th minute for Eden Hazard. Piazon netted a goal in the U-19's comprehensive 6–0 defeat of Molde on 8 November in the NextGen Series.


title: Lucas Piazon

text: On 23 December, he made his Premier League debut in an 8–0 win against Aston Villa, during which he assisted a goal for Ramires and took a penalty kick which he had won, only for it to be saved by Aston Villa goalkeeper Brad Guzan.


title: Lucas Piazon

text: During the 2013 January transfer window, Piazon was loaned to Spanish La Liga side Málaga until the end of the season. He made his debut for Málaga on 24 January 2013, coming on as a substitute in the 4–2 home defeat in the Copa del Rey quarter-final against Barcelona. On 16 February, he assisted Javier Saviola's winner in a 1–0 home win against Athletic Bilbao. On 9 March 2013, Piazon made his second assist for Málaga with a ball from a free-kick that found Martín Demichelis, who headed to score in a 1–1 draw against Real Valladolid.


title: Lucas Piazon

text: On 9 August 2013, Piazon was loaned to Eredivisie club Vitesse until the end of the 2013–14 season. On 17 August 2013, he made his debut for Vitesse in a 1–1 draw at Roda JC. On 22 September, Piazon scored his first goals in his professional career and for Vitesse, scoring a brace in the 3–0 win at home to PEC Zwolle. In the following Eredivisie fixture, against NEC, Piazon scored the winner for Vitesse in the 92nd minute, from outside the box, which ended 3–2 on 29 September. On 19 October 2013, he scored a brace and assisted Patrick van Aanholt's winner, as Vitesse came from 2–0 down to win 3–2 at Heerenveen. On 24 November, Piazon scored two penalties at Go Ahead Eagles in a 3–0 win. In Vitesse's fixture away to PSV on 7 December, Piazon scored another goal as Vitesse convincingly won 6–2 to stay at the top of the Eredivisie table.


title: Lucas Piazon

text: On 24 July 2014, Piazon joined Frankfurt on loan for the 2014–15 season. On 2 August, he scored his first goal in a 4–2 friendly win against Sampdoria.


title: Lucas Piazon

text: On 23 August, Piazon made his debut in the Bundesliga against SC Freiburg, a 1–0 victory. His first Bundesliga goal came on 28 September against Hamburger SV; having came off the bench in the 86th minute for Stefan Aigner, in the 90th minute he struck a free-kick from nearly 30 yards out to seal a 2–1 victory.


title: Lucas Piazon

text: On 31 August 2015, Piazon joined Reading on a season-long loan deal. On 11 September, he made his debut and provided an assist to Oliver Norwood in a 5–1 triumph against Ipswich Town coming on as a 77th-minute substitute for Matěj Vydra. Fifteen days later, he scored his first goal for Reading in a 2–1 win against Burnley. Piazon returned to Chelsea on 28 April 2016, a week before his loan deal was due to expire.


title: Lucas Piazon

text: On 31 August 2016, Piazon joined Fulham on a season-long loan, joining Chelsea teammate Tomáš Kalas. He made his Fulham debut and scored his first goal for the club in a 2–1 EFL Cup defeat against Bristol City on 21 September.


title: Lucas Piazon

text: On 17 January 2017, Piazon's loan at Fulham was extended until the end of the season. On 14 July 2017, Piazon's loan was extended for a further season.


title: Lucas Piazon

text: On 15 August 2017, Piazon suffered a fracture-dislocation of his right ankle after a tackle from Leeds player Conor Shaughnessy in their 0–0 draw at Elland Road. He had successful surgery and rehabilitation.


title: Lucas Piazon

text: On 14 January 2021, Piazon signed for Portuguese side Braga. He agreed to a four-year contract with the club. On 23 May 2021, he scored a goal in a 2–0 win over Benfica in the Taça de Portugal Final.


title: Lucas Piazon

text: On 10 March 2022, Piazon returned to his home country after 11 years, as he was announced at Botafogo on loan until June 2023.


title: Lucas Piazon

text: Piazon has represented Brazil at both under-15 and under-17 levels. At under-15 level, he helped his team to second place in the South American Under-15 Football Championship of 2009 in Bolivia, being the top goalscorer with ten goals.


title: Lucas Piazon

text: At the under-17 level, during an international game for Brazil's U17 squad against Paraguay, Piazon scored an extraordinary goal when he kicked the ball with such force that it broke through the side netting of the goals, in a game which they went on to lose 2–1. In the 2011 FIFA U-17 World Cup, he scored in a 3–3 draw against the Ivory Coast.


title: Lucas Piazon

text: A tactical player, Piazon is known for his flair, passing, powerful shooting, free-kicks, penalty kicks, reading of the game and clinical finishing. Piazon commented on his playing style, "I'd say my playing style is different from typical Brazilian forwards. When you think about these, you think about dribbles and flashy moves. My football is simpler and more direct. It's more like a midfielder playing up front. I like to pass quickly. I don't hog the ball and I don't tend to run with it."


title: Lucas Piazon

text: The media have often drawn comparisons between Piazon and Brazilian playmaker Kaká, as the pair possess similar attributes and natural technical finesse. Piazon also somewhat resembles Kaká. However, Piazon has rejected comparisons saying: "I don't think [we are similar]", Piazon says of Kaká. "My style and his style are different because I am a winger, or a second striker, and he is a central midfielder. He went on to say, "I don't think the comparison is because of our style. I think it is because we both played at São Paulo and maybe we can look similar on the pitch sometimes."


title: New York Dolls (album)

text: New York Dolls is the self-titled debut album by the American hard rock band New York Dolls. It was released on July 27, 1973, by Mercury Records. In the years leading up to the album, the Dolls had developed a local fanbase by playing regularly in lower Manhattan after forming in 1971. However, most music producers and record companies were reluctant to work with them because of their vulgarity and onstage fashion as well as homophobia in New York; the group later appeared in exaggerated drag on the album cover for shock value.


title: New York Dolls (album)

text: After signing a contract with Mercury, the Dolls recorded their first album at The Record Plant in New York City with producer Todd Rundgren, who was known for his sophisticated pop tastes and held a lukewarm opinion of the band. Despite stories of conflicts during the recording sessions, lead singer David Johansen and guitarist Sylvain Sylvain later said Rundgren successfully captured how the band sounded live. The resulting music on the album – a mix of carefree rock and roll, influences from Brill Building pop, and campy sensibilities – explores themes of urban youth, teen alienation, adolescent romance, and authenticity, as rendered in Johansen's colloquial and ambiguous lyrics.


title: New York Dolls (album)

text: "New York Dolls" was met with widespread critical acclaim but sold poorly and polarized listeners. The band proved difficult to market outside their native New York and developed a reputation for rock-star excesses while touring the United States in support of the album. Despite its commercial failure, "New York Dolls" was an influential precursor to the 1970s punk rock movement as the group's crude musicianship and youthful attitude on the album challenged the prevailing trend of musical sophistication in popular music, particularly progressive rock. Among the most acclaimed albums in history, it has since been named in various publications as one of the best debut records in rock music and one of the greatest albums of all time.


title: New York Dolls (album)

text: In 1971, vocalist David Johansen formed the New York Dolls with guitarists Johnny Thunders and Rick Rivets, bassist Arthur Kane, and drummer Billy Murcia; Rivets was replaced by Sylvain Sylvain in 1972. The band was meant to be a temporary project for the members, who were club-going youths that had gone to New York City with different career pursuits. As Sylvain recalled, "We just said 'Hey, maybe this will get us some chicks.' That seemed like a good enough reason." He and Murcia originally planned to work in the clothing business and opened a boutique on Lexington Avenue that was across the street from a toy repair shop called the New York Doll Hospital, which gave them the idea for their name. The group soon began playing regularly in lower Manhattan and earned a cult following within a few months with their reckless style of rock music. Nonetheless, record companies were hesitant to sign them because of their onstage cross-dressing and blatant vulgarity.


title: New York Dolls (album)

text: In October 1972, the group garnered the interest of critics when they opened for English rock band the Faces at the Empire Pool in Wembley. However, on the New York Dolls' first tour of England that year, Murcia died after consuming a lethal combination of alcohol and methaqualone. They enlisted Jerry Nolan as his replacement, while managers Marty Thau, Steve Leber, and David Krebs still struggled to find the band a record deal.


title: New York Dolls (album)

text: After returning to New York, the Dolls played to capacity crowds at venues such as Max's Kansas City and the Mercer Arts Center in what Sylvain called a determined effort to "fake it until they could make it": "We had to make ourselves "feel" famous before we could actually become famous. We acted like we were already rock stars. Arthur even called his bass 'Excalibur' after King Arthur. It was crazy." Their performance at the Mercer Arts Center was attended by journalist and Mercury Records publicity director Bud Scoppa, and Paul Nelson, an A&R executive for the label. Scoppa initially viewed them as an amusing but inferior version of the Rolling Stones: "I split after the first set. Paul stuck around for the second set, though, and after the show he called me and said, 'You should have stayed. I think they're really special.' Then, after that, I fell in love with them anyway." In March 1973, the group signed a two-album deal with a US $25,000 advance from Mercury. According to Sylvain, some of the members' parents had to sign for them because they were not old enough to sign themselves.


title: New York Dolls (album)

text: For the New York Dolls' debut album, Mercury wanted to find a record producer who could make the most out of the group's sound and the hype they had received from critics and fans in New York. At the band's first board meeting in Chicago, Johansen fell asleep in Mercury's conference room while record executives discussed potential producers. He awoke when they mentioned Todd Rundgren, a musician and producer who by 1972 had achieved unexpected rock stardom with his double album "Something/Anything?" and its hit singles "I Saw the Light" and "Hello It's Me". Rundgren had socialized at venues such as Max's Kansas City and first saw the Dolls when his girlfriend at the time, model Bebe Buell, brought him there to see them play.


title: New York Dolls (album)

text: Known for having refined pop tastes and technologically savvy productions, Rundgren had become increasingly interested in progressive rock sounds by the time he was enlisted to produce the New York Dolls' debut album. Consequently, his initial impression of the group was that of a humorous live act who were technically competent only by the standards of other unsophisticated New York bands. "The Dolls weren't out to expand any musical horizons", said Rundgren, although he enjoyed Thunders' "attitude" and Johansen's charismatic antics onstage.


title: New York Dolls (album)

text: Johansen had thought of Rundgren as "an expert on second rate rock 'n' roll", but also said the band was "kind of persona non grata, at the time, with most producers. They were afraid of us, I don't know why, but Todd wasn't. We all liked him from Max's ... Todd was cool and he was a producer." Sylvain, on the other hand, felt the decision to enlist him was based on availability, time, and money: "It wasn't a long list. Todd was in New York and seemed like he could handle the pace." Upon being hired, Rundgren declared that "the only person who can produce a New York record is someone who lives in New York".


title: New York Dolls (album)

text: Mercury booked the Dolls at The Record Plant in New York City for recording sessions in April 1973. Rundgren was originally concerned that they had taken "the worst sounding studio in the city at that time" because it was the only one available to them with the short time given to record and release the album. He later said that expectations for the band and the festive atmosphere of the recording sessions proved to be more of a problem: "The Dolls were critics' darlings and the press had kind of adopted them. Plus, there were lots of extra people around, socializing, which made it hard to concentrate." "New York Dolls" was recorded there in eight days on a budget of $17,000 (equivalent to $ in ). With a short amount of studio time and no concept in mind for the album, the band chose which songs to record based on how well they had been received at their live shows. In Johansen's own words, "we went into a room and just recorded. It wasn't like these people who conceptualize things. It was just a document of what was going on at the time."


title: New York Dolls (album)

text: In the studio, the New York Dolls dressed in their usual flashy clothes. Rundgren, who did not approve of their raucous sound, at one point yelled at them during the sessions to "get the glitter out of your asses and play". Sylvain recalled Rundgren inviting Buell and their Chihuahua to the studio and putting the latter atop an expensive mixing console, while Johansen acknowledged that his recollections of the sessions have since been distorted by what he has read about them: "It was like the 1920s, with palm tree décor and stuff. Well, that's how I remember it, anyway." He also said Rundgren directed the band from the control room with engineer Jack Douglas and hardly spoke to them while they recorded the album. According to Scoppa, the group's carefree lifestyle probably conflicted with Rundgren's professional work ethic and schedule: "He doesn't put up with bullshit. I mean, [the band] rarely started their live sets before midnight, so who knows? Todd was very much in charge in the studio, however, and I got the impression that everybody was looking to him."


title: New York Dolls (album)

text: Although Sylvain said Rundgren was not an interfering producer, he occasionally involved himself to improve a take. Sylvain recalled moments when Rundgren went into the isolation booth with Nolan when he struggled keeping a beat and drummed out beats on a cowbell for him to use as a click track. During another session, he stopped a take and walked out of the control room to plug in Kane's bass cabinet. Scoppa, who paid afternoon visits to the studio, overheard Rundgren say, "Yeah, that's all you needed. Okay, let's try it again!", and ultimately found the exchange funny and indicative of Rundgren's opinion of the band: "Todd was such a 'musician' while they were just getting by on attitude and energy. But as disdainful as he appeared to be at some points he got the job done really well." Rundgren felt Johansen's wild singing often sounded screamed or drunken but also eloquent in the sense that Johansen demonstrated a "propensity to incorporate certain cultural references into the music", particularly on "Personality Crisis". While recording the song, Johansen walked back into the control room and asked Rundgren if his vocals sounded "ludicrous enough".


title: New York Dolls (album)

text: Because the Dolls had little money, Sylvain and Thunders played the austerely designed and affordable Gibson Les Paul Junior guitars on the record. They jokingly referred to them as "automatic guitars" due to their limited sound shaping features. To amplify their guitars, they ran a Marshall Plexi standalone amplifier through the speaker cabinets of a Fender Dual Showman, and occasionally used a Fender Twin Reverb.


title: New York Dolls (album)

text: Some songs were embellished with additional instruments, including Buddy Bowser's brassy saxophone on "Lonely Planet Boy". Johansen sang into distorted guitar pickups for additional vocals and overdubbed them into the song. He also played an Asian gong for "Vietnamese Baby" and harmonica on "Pills". For "Personality Crisis", Sylvain originally played on The Record Plant's Yamaha grand piano before Rundgren added his own piano flourishes to both that song and "Private World". Rundgren also contributed to the background vocals heard on "Trash" and played synthesizers on "Vietnamese Baby" and "Frankenstein (Orig.)", which Sylvain recalled: "I remember him getting those weird sounds from this beautiful old Moog synthesizer he brought in. He said it was a model that only he and the Beatles had."


title: New York Dolls (album)

text: "New York Dolls" was mixed in less than half a day. Rundgren felt the band seemed distracted and disinterested at that point, so he tried unsuccessfully to ban them from the mixing session. For the final mix, he minimized the sound of Nolan's drumming. In retrospect, Rundgren said the quality of the mix was poor because the band had hurried and questioned him while mixing the record: "It's too easy for it to become a free-for-all, with every musician only hearing their own part and not the whole. They all had other places to be, so rather than split, they rushed the thing and if that wasn't enough they took it to the crappy mastering lab that Mercury had put them in." Thunders famously complained to a journalist that Rundgren "fucked up the mix" on "New York Dolls", adding to stories that the two had clashed during the album's recording. Both Johansen and Scoppa later said they did not see any conflict between the two and that Thunders' typically foolish behavior was misinterpreted. Johansen later praised Rundgren for how he enhanced and equalized each instrument, giving listeners the impression that "[they're] in a room and there's a band playing", while Sylvain said his mix accurately captured how the band sounded live.


title: New York Dolls (album)

text: "New York Dolls" features ten original songs and one cover – the 1963 Bo Diddley song "Pills". Johansen describes the album as "a little jewel of urban folk art". Rundgren, on the other hand, says the band's sensibilities were different from "the urban New York thing" because they had been raised outside Manhattan and drew on carefree rock and roll and Brill Building pop influences such as the Shangri-Las: "Their songs, as punky as they were, usually had a lot to do with the same old boy-girl thing but in a much more inebriated way." Johansen quotes the lyric "when I say I'm in love, you'd best believe I'm in love L-U-V" from the Shangri-Las' "Give Him a Great Big Kiss" (1964) when opening "Looking for a Kiss", which tells a story of adolescent romantic desire hampered by peers who use drugs. On "Subway Train", he uses lyrics from the American folk standard "Someone's in the Kitchen with Dinah". In the opinion of critic Stephen Thomas Erlewine, the album's rowdy hard rock songs also revamp riffs from Chuck Berry and the Rolling Stones, resulting in music that sounds edgy and threatening in spite of the New York Dolls' wittingly kitsch and camp sensibilities. "Personality Crisis" features raunchy dual guitars, boogie-woogie piano, and a histrionic pause, while "Trash" is a punky pop rock song with brassy singing.


title: New York Dolls (album)

text: Several songs on "New York Dolls" function as what Robert Hilburn deems to be "colorful, if exaggerated, expressions of teen alienation". According to Robert Christgau, because many of Manhattan's white youths at the time were wealthy and somewhat artsy, only ill-behaved young people from the outer boroughs like the band could "capture the oppressive excitement Manhattan holds for a half-formed human being". "Private World", an escapist plea for stability, was co-written by Kane, who rarely contributed as a songwriter and felt overwhelmed as a young adult in the music business. Sylvain jokingly says "Frankenstein (Orig.)" was titled with the parenthetical qualifier because rock musician Edgar Winter had released his song of the same name before the band could record their own: "Our song 'Frankenstein' was a big hit in our live show ... Now, his thing didn't sound at all like ours, but I'm sure he stole our title." Johansen, the band's main lyricist, says "Frankenstein (Orig.)" is about "how kids come to Manhattan from all over, they're kind of like whipped dogs, they're very repressed. Their bodies and brains are disoriented from each other ... it's a love song." In interpreting the song's titular monster, Frank Kogan writes that it serves as a personification for New York and its ethos, while Johansen asking listeners if they "could make it with Frankenstein" involves more than sexual slang:


title: New York Dolls (album)

text: Although the Dolls exhibit tongue-in-cheek qualities, Gary Graff observes a streetwise realism in the album's songs. In Christgau's opinion, Johansen's colloquial and morally superior lyrics are imbued with humor and a sense of human limits in songs whose fundamental theme is authenticity. This theme is explored in stories about lost youths, as on "Subway Train", or in a study of a specific subject, such as the "schizy imagemonger" on "Personality Crisis". He argues that beneath the band's decadent and campy surface are lyrics about "the modern world ... one nuclear bomb could blow it all away. Pills and personality crises weren't evils – easy, necessary, or whatever. They were strategies and tropisms and positive pleasures". According to journalist Steve Taylor, "Vietnamese Baby" deals with the impact of the Vietnam War at the time on everyday activities for people, whose fun is undermined by thoughts of collective guilt.


title: New York Dolls (album)

text: On songs such as "Subway Train" and "Trash", Johansen uses ambiguity as a lyrical mode. In Kogan's opinion, Johansen sings in an occasionally unintelligible manner and writes in a perplexing, fictional style that is lazy yet ingenious, as it provides his lyrics an abundance of "emotional meaning" and interpretation: "David never provides an objective framework, he's always jumping from voice to voice, so you're hearing a character addressing another character, or the narrator addressing the character, or the character or the narrator addressing us, all jammed up together so you're hearing bits of conversation and bits of subjective description in no kind of chronological order. But as someone says in 'Vietnamese Baby': 'Everything connects.'" On "Trash", Johansen undercuts his vaguely pansexual beliefs with the possibility of going to "fairyland" if he takes a "lover's leap" with the song's subject.


title: New York Dolls (album)

text: "New York Dolls" was released on July 27, 1973, in the United States and on October 19 in the United Kingdom. Its controversial cover featured the band dressed in exaggerated drag, including high wigs, messy make-up, high heels, and garters. The photo was used for shock value, and on the back of the album, the band is photographed in their usual stage wear. To announce the album's release, Mercury published an advertisement slogan that read "Introducing The New York Dolls: A Band You're Gonna Like, Whether You Like It Or Not", while other ads called them "The Band You Love to Hate". Two double A-sided, 7-inch singles were released – "Trash" / "Personality Crisis" in July and "Jet Boy" / "Vietnamese Baby" in November 1973 – neither of which charted.


title: New York Dolls (album)

text: "New York Dolls" was commercially unsuccessful and only reached number 116 on the American Top LPs while in the UK it failed to chart altogether. The record sold over 100,000 copies at the time and fell well short of expectations in the press. According to "Rolling Stone" in 2003, it ended up selling fewer than 500,000 copies. Music journalist Phil Strongman said its commercial failure could be attributed to the New York Dolls' divisive effect on listeners, including writers from the same magazine. In a feature story on the band for "Melody Maker" prior to the album, Mark Plummer had dismissed their playing as the poorest he had ever seen, while the magazine's reporter Michael Watts viewed them as an encouraging albeit momentary presence in what he felt was a lifeless rock and roll scene at the time. In "Creem"s readers poll, the album earned the band awards in the categories of "Best New Group of the Year" and "Worst New Group of the Year".


title: New York Dolls (album)

text: After the album's release, the Dolls toured the US as a supporting act for English rock band Mott the Hoople. Reviews complimented their songwriting, Thunders and Sylvain's guitar interplay, and noted their campy fashion and the resemblance of Johansen and Thunders to Mick Jagger and Keith Richards. However, some critics panned them as an unserious group of amateurs who could not play or sing. During their appearance on "The Old Grey Whistle Test" in England, the show's host Bob Harris dismissed their music as "mock rock" in his on-air comments. They also developed a reputation for rock-star excesses, including drugs, groupies, trashed hotel rooms, and public disturbances, and according to Ben Edmonds of "Creem", became "the most walked-out-on band in the history of show business". Strongman wrote that the band and the album were difficult to market because of their kitschy style and how Murcia's death had exacerbated their association with hard drugs, which "wasn't altogether true in the early days". They remained the most popular band in New York City, where their Halloween night concert at the Waldorf Astoria in 1973 drew hundreds of young fans and local television coverage.


title: New York Dolls (album)

text: "New York Dolls" received widespread acclaim from contemporary reviewers. In a rave review for "NME", published in August 1973, Nick Kent said the band's raunchy style of rock and roll had been vividly recorded by Rundgren on an album that, besides Iggy and the Stooges' "Raw Power" (1973), serves as the only one "so far to fully define just exactly where 1970s rock should be coming from". "Trouser Press" founder and editor Ira Robbins viewed "New York Dolls" as an innovative record, brilliantly chaotic, and well produced by Rundgren. Ellen Willis, writing for "The New Yorker", said it is by far 1973's most compelling hard rock album and that at least half of its songs are immediate classics, particularly "Personality Crisis" and "Trash", which she called "transcendent". In "Newsday", Christgau hailed the New York Dolls as "the best hard rock band in the country and maybe the world right now", writing that their "special genius" is combining the shrewd songwriting savvy of early-1960s pop with the anarchic sound of late-1960s heavy metal. He claimed that the record's frenzied approach, various emotions, and wild noise convey Manhattan's harsh, deviant thrill better than the Velvet Underground.


title: New York Dolls (album)

text: In an overall positive review, "Rolling Stone" critic Tony Glover found the band's impressive live sound to be mostly preserved on the album. However, he was slightly critical of production flourishes and overdubs, feeling that they make some lyrics sound incomprehensible and some choruses too sonorous. Although he was surprised at how well Rundgren's production works with the group's raunchy sound on most of the songs, Glover ultimately asked whether or not "the record alone will impress as much as seeing them live (they're a highly "watchable" group)." Years later, Christgau would also voice that the album is "in fact a little botched aurally", but still regarded it as a classic.


title: New York Dolls (album)

text: "New York Dolls" has since often been cited as one of the greatest debut albums in rock music, one of the genre's most popular cult records, and a foundational work for the late 1970s punk rock movement. It was a pivotal influence on many of the rock and roll, punk, and glam rock groups that followed, including the Ramones, Kiss, the Sex Pistols, the Damned, and Guns N' Roses. According to "The Mojo Collection" (2007), the record ignited punk rock and could still inspire more movements because of the music's abundant attitude and passion, while "Encyclopedia of Popular Music" writer Colin Larkin deemed it "a major landmark in rock history, oozing attitude, vitality and controversy from every note". Chuck Eddy named it one of the records crucial to the evolution of rock music. In "101 Albums That Changed Popular Music" (2009), Chris Smith wrote that the New York Dolls pioneered punk's aesthetic of amateurish musicianship on the album, which undermined the musical sophistication that had developed over the past decade in popular music and had been perfected months earlier on Pink Floyd's "The Dark Side of the Moon" (1973). In "The Guardian"s list of "1000 albums to hear before you die", the newspaper credited the record for serving as "an efficacious antidote to the excesses of prog rock".


title: New York Dolls (album)

text: In a retrospective review for AllMusic, Erlewine – the website's senior editor – claimed that "New York Dolls" was a more quintessential proto-punk album than any of the Stooges' releases because of how it "plunders history while celebrating it, creating a sleazy urban mythology along the way". David Fricke argued that it was a more definitive glam rock album than David Bowie's "Ziggy Stardust" (1972) or anything by Marc Bolan because of how the band "captured both the glory and sorrow of glam, the high jinx and wasted youth, with electric photorealism". In "The New Rolling Stone Album Guide" (2004), Joe Gross called it an "absolutely essential" record and "epic sleaze, the sound of five young men shaping the big city in their own scuzzy image". Sylvain attributed its influence on punk rock to how Rundgren recorded his guitar through the left speaker and Thunders' guitar on the right side, an orientation which he said younger bands such as the Ramones and the Sex Pistols adopted. Rundgren was amused by how the record became considered a precursor to the punk movement:


title: New York Dolls (album)

text: "New York Dolls" appears frequently on professional listings of the greatest albums. In 1978, it was voted 199th in Paul Gambaccini's book "Rock Critics' Choice: The Top 200 Albums", which polled a number of leading music journalists and record collectors. Christgau, one of the critics polled, ranked it as the 15th best album of the 1970s in "The Village Voice" the following year – 11 spots behind the Dolls' second album "Too Much Too Soon" (1974), although years later he would say the first album should be ranked ahead and was his favorite rock album. "New York Dolls" was included in Neil Strauss's 1996 list of the 100 most influential alternative records, and the "Spin Alternative Record Guide" (1995) named it the 70th best alternative album. In 2002, it was included on a list published by "Q" of the 100 best punk records, while "Mojo" named it both the 13th greatest punk album and the 49th greatest album of all time. "Rolling Stone" placed the record at number 213 on its 500 greatest albums list in 2003 and "Personality Crisis" at number 271 on its 500 greatest songs list the following year.


title: New York Dolls (album)

text: English singer Morrissey has named "New York Dolls" his favorite album. According to Paul Myers, the record "struck such a chord with Morrissey that he was not only moved to form his own influential group, The Smiths ... but would eventually convince the surviving Dolls to reunite [in 2004]". In 2007, "Mojo" polled a panel of prominent recording artists and songwriters for the magazine's "100 Records That Changed the World" publication, in which "New York Dolls" was voted the 39th most influential and inspirational record ever. In 2013, it placed at number 355 on "NME"s list of the 500 greatest albums of all time. Based on such listings, the aggregate website Acclaimed Music ranks "New York Dolls" as the 167th most acclaimed album in history.


title: Park Ji-bin

text: Park Ji-bin (; born March 14, 1995) is a South Korean actor. He began his career as a child actor, notably in "Hello, Brother" (2005) and "Boys Over Flowers" (2009)


title: Mary de Bohun

text: Mary de Bohun (c. 1369/70 – 4 June 1394) was the first wife of King Henry IV of England and the mother of King Henry V. Mary was never queen, as she died before her husband came to the throne.


title: Mary de Bohun

text: Mary was a daughter of Humphrey de Bohun, 7th Earl of Hereford (1341–1373) by his wife Joan Fitzalan (1347/8–1419), a daughter of Richard FitzAlan, 10th Earl of Arundel, and Eleanor of Lancaster.


title: Mary de Bohun

text: Mary and her elder sister, Eleanor de Bohun, were the heiresses of their father's substantial possessions. Eleanor became the wife of Thomas of Woodstock, 1st Duke of Gloucester, the youngest child of Edward III. In an effort to keep the inheritance for himself and his wife, Thomas of Woodstock pressured the child Mary into becoming a nun. In a plot with John of Gaunt, Mary's aunt took her from Thomas' castle at Pleshey back to Arundel whereupon she was married to Henry Bolingbroke, the future Henry IV.


title: Mary de Bohun

text: Mary married Henry—then known as Bolingbroke—on 27 July 1380, at Arundel Castle. It was at Monmouth Castle, one of her husband's possessions, that Mary gave birth to her first child, the future Henry V, on 16 September 1386. Her second child, Thomas, was born probably at London shortly before 25 November 1387.


title: Mary de Bohun

text: Mary de Bohun died at Peterborough Castle, giving birth to her last child, a daughter, Philippa of England. She was buried in the collegiate Church of the Annunciation of Our Lady of the Newarke, Leicester, on 6 July 1394.


title: Dnieper Hydroelectric Station

text: The Dnieper Hydroelectric Station (; ), also known as Dneprostroi Dam, in the city of Zaporizhzhia, Ukraine, is the largest hydroelectric power station on the Dnieper river. It is the fifth step of the Dnieper cascade of hydroelectric stations that provides electric power for the Donets–Kryvyi Rih Industrial region. The Dnieper Reservoir stretches 129 km upstream to near Dnipro city.


title: Dnieper Hydroelectric Station

text: The station was built by the Soviet Union in two stages. DniproHES-1 was first built in 1927–1932, but destroyed during World War II to make it harder for the advancing German forces to cross the river, then rebuilt in 1944–1950. DniproHES-2 was built in 1969–1980 and modernized during the 2000s.


title: Dnieper Hydroelectric Station

text: The dam is an important crossing of the Dnieper. It has a water lock that allows navigation along the river and around the dam. A highway connecting the banks of the Dnieper crosses a bridge over the lock.


title: Dnieper Hydroelectric Station

text: In the lower reaches of the Dnieper River, there was an almost -long-stretch that was filled with the Dnieper Rapids. This is approximately the distance between the modern cities Dnipro and Zaporizhzhia. During the 19th century, engineers worked on the projects to make the river navigable. Projects for flooding the rapids were proposed by in 1893, V. Timonov in 1894, S. Maximov and Genrikh Graftio in 1905, A. Rundo and D. Yuskevich in 1910, I. Rozov and L. Yurgevich in 1912, Mohylko.


title: Dnieper Hydroelectric Station

text: While the main objective of these projects was to improve navigation, hydroelectric power generation was developed concurrently, in terms of the "utilization of the freely flowing water".


title: Dnieper Hydroelectric Station

text: The Dneprostroi Dam was built on vacated land in the countryside to stimulate Soviet industrialization. A special company was formed called Dniprobud or Dneprostroi (hence the dam's alternative name) that later built other dams on the Dnieper and exists to this day. The design for the dam that was accepted dates back to the USSR GOELRO electrification plan which was adopted in early 1920s. The station was designed by a group of engineers headed by Prof. Ivan Alexandrov, a chief expert of GOELRO, who later became a head of the RSFSR State Planning Commission. The station was planned to provide electricity for several aluminum production plants and a high quality iron and steel plant that were also to be constructed in the area.


title: Dnieper Hydroelectric Station

text: The DniproHES project used the experience gained from the construction of the Sir Adam Beck Hydroelectric Power Stations at Niagara Falls, Ontario, the , Quebec, and the La Gabelle Generating Station on the St. Maurice River.


title: Dnieper Hydroelectric Station

text: On September 17, 1932, the Soviet government awarded six American engineers (including Hugh Cooper, William V. Murphy, and G. Thompson, engineers of General Electric) with the Order of the Red Banner of Labour for "the outstanding work in the construction of DniproHES".


title: Dnieper Hydroelectric Station

text: Soviet industrialization was accompanied by a wide propaganda effort. Leon Trotsky, by then out of power, campaigned for the idea within the ruling Politburo in early 1926. In a speech to the Komsomol youth movement, he said:


title: Dnieper Hydroelectric Station

text: The dam and its buildings were designed by the constructivist architects Viktor Vesnin and Nikolai Kolli. Construction began in 1927, and the plant started to produce electricity in October 1932. Generating about 560 MW, the station became the largest Soviet power plant at the time and the third-largest in the world, following the Hoover Dam, 705 MW, and the Wilson Dam, 663 MW, in the United States.


title: Dnieper Hydroelectric Station

text: American specialists under the direction of Col. Hugh Cooper took part in the construction. The first five giant power generators were manufactured by the General Electric Company. During the second five-year plan, four more generators of similar power that were produced by Elektrosila in Leningrad were installed. The Dneprostroi Dam was the largest dam in Europe at the time of its construction.


title: Dnieper Hydroelectric Station

text: The industrial centres of Zaporizhzhia, Kryvy Rih, and Dnipro grew from the power provided by the station, including such electricity-consuming industries as aluminium production, which was vitally important for Soviet aviation.


title: Dnieper Hydroelectric Station

text: During World War II, the strategically important dam and plant was dynamited by retreating Red Army troops in 1941 after Germany's invasion of the Soviet Union. American journalist H. R. Knickerbocker wrote that year:


title: Dnieper Hydroelectric Station

text: The flooding surge killed 20,000 to over 100,000 unsuspecting civilians, as well as Red Army officers who were crossing over the river. It was partially dynamited again by retreating German troops in 1943. In the end, the dam suffered extensive damage, and the powerhouse hall was nearly destroyed. Both were rebuilt between 1944 and 1949.


title: Dnieper Hydroelectric Station

text: General Electric built the new generators for the dam. Their weight was more than 1,020.58 tonnes. The generators replaced those destroyed during World War II. Each of the new units is rated 90 MW, as compared to the 77.5 MW of the old generators built in 1931. With a frame diameter of 12.93 metres, units were shipped in 1946.


title: Dnieper Hydroelectric Station

text: Power generation was restarted in 1950. In 1969–1980, the second powerhouse was built with a production capacity of 828 MW.Currently, the dam is over 800 meters long and 61 metres high. The dam elevates the river water up to 37 m, which floods the rapids above and makes the entire Dnieper navigable. Over its long history, the dam was hailed as one of the greatest achievements of Soviet industrialization programs.


title: Dnieper Hydroelectric Station

text: Today, the dam has been privatized and continues to power the adjacent industrial complexes. The pressure of the water leaving the dam is at 38.7 metres and the reservoir that is behind it is approximately 3.3 cubic kilometres. The dam is also used by traffic.


title: Dnieper Hydroelectric Station

text: In the spring of 2016, all communist symbols (including the sign that stated that the dam was named after Vladimir Lenin) were removed from the dam in order to comply with decommunization laws.


title: Baker

text: A baker is a tradesperson who bakes and sometimes sells breads and other products made of flour by using an oven or other concentrated heat source. The place where a baker works is called a bakery.


title: Baker

text: Since grains have been a staple food for millennia, the activity of baking is a very old one. Control of yeast, however, is relatively recent. By the fifth and sixth centuries BCE, the ancient Greeks used enclosed ovens heated by wood fires; communities usually baked bread in a large communal oven. Greeks baked dozens and possibly hundreds of types of bread; Athenaeus described seventy-two varieties.


title: Baker

text: In ancient Rome several centuries later, the first mass production of breads occurred, and "the baking profession can be said to have started at that time." Ancient Roman bakers used honey and oil in their products, creating pastries rather than breads. In ancient Rome, bakers (Latin, "pistor") were sometimes slaves, who were (like other slave-artisans) sometimes manumitted. Large households in Rome normally had their own bakers. During those times, most of the people used to bake their own bread but bakeries (pistrina) were popular all over the town.


title: Baker

text: The Gauls are credited with discovering that the addition of beer froth to bread dough made well-leavened bread, marking the use of controlled yeast for bread dough.


title: Baker

text: In Medieval Europe, baking ovens were often separated from other buildings (and sometimes located outside city walls) to mitigate the risk of fire. Because bread was an important staple food, bakers' production factors (such as bolting yields, ingredients, and loaf sizes) were heavily regulated. For example, Henry III of England promulgated the Assize of Bread and Ale in 1267, subjecting all commercial bakers and brewers to various fees in order to practice their trade and imposing various regulations, such as inspection and verification of weights and measures, quality control, and price controls. Soon after the enactment of the Assize, "baking became a very stable industry, and was executed much more professionally than brewing, resulting in towns and villages having fewer bakers than brewers." Because ovens were expensive capital investments and required careful operation, specialized bakeries opened.


title: Baker

text: Bakers were often part of the guild system, which was well-established by the sixteenth century: master bakers instructed apprentices and were assisted by journeymen. In Amsterdam in 1694, for example, the cake-bakers, pie-bakers, and rusk-bakers separated from an earlier Bread Bakers Guild and formed their own guild, regulating the trade. A fraternity of bakers in London existed as early as 1155, according to records of payments to the Exchequer; the Worshipful Company of Bakers was formed by charters dated 1486, 1569, and 1685. The guild still exists today, with mostly ceremonial and charitable functions. Five bakers have served as lord mayor of London.


title: Baker

text: In Ming dynasty China, bakers were divided into different social statuses according to their customers. Bakers were among the thousands of servants who served in the Ming Palace, including recruited cooks, imperial eunuchs, and trained serving-women ("Shangshiju"). Bakers often joined the occupation through apprenticeship, or by being born into a family of bakers.


title: Baker

text: In addition to the secular aspect of baking, Ming bakers also were responsible for providing pastries for use in various rituals, festivals and ceremonies, such as zongzi. In "Shi Fu Meets a Friend at Tanque" buns were provided for the construction ceremony.


title: Baker

text: Within bakeries, traditional patriarchal hierarchy controlled. For the family-owned bakery, the eldest male figure (usually the father) in the highest position of the hierarchy. For example, in Feng Menglong's story, when Mr. Bo went out looking for the family's lost silver, his wife was ordered to take care of the bakery.


title: Baker

text: Ming fiction and art records examples of various bakers; for example, in Feng Menglong's story, the Bo couple owns a bakery to sell the cakes and snacks while in "Water Margin", the character Wu Dalang does not have a settled store and sells pancakes on the shoulder pole along the street The Ming-era painter Qiu Ying's work "Along the River During the Qingming Festival" shows food stores alongside the street and peddlers who are selling food along the streets.


title: Baker

text: The Ming work "Ming Dai Tong Su Ri Yong Lei Shu", which records techniques and items needed in Ming daily life, devotes a full chapter to culinary skills, including the preparation of pancakes and other types of cakes.


title: Baker

text: The Columbian Exchange, which began in 1492, had a profound influence on the baking occupation. Access to sugar greatly increased as a result of new cultivation in the Caribbean, and ingredients such as cocoa and chocolate became available in the Old World. In the eighteenth century, processors learned how to refine sugar from sugar beets, allowing Europeans to grow sugar locally. These developments led to an increase in the sophistication of baking and pastries, and the development of new products such as puff pastries and Danish dough.


title: Baker

text: Two important books on bread-baking were published in the 1770s: Paul-Jacques Malaouin published "L'art du meinier, du boulanger et du vermicellier" ("The Art of the Miller, the Bread-Baker, and the Pasta-Maker") in 1762, and Antoine-Augustin Parmentier published "Le parfair boulanger" ("The Perfect Bread-Baker") in 1778.


title: Baker

text: A study of the English city of Manchester from 1824–85, during the Industrial Revolution, determined that "baker and shopkeeper" was the third-most common occupation, with 178 male bakers, 19 female bakers, and 8 bakers of unknown sex in the city at that time. This occupation was less common that cloth manufacturer and tavern/public house worker, but more common than cotton spinner, merchant, calico printer, or grocer.


title: Baker

text: In 1895, the New York State Assembly passed a reformist "bakeshop law" which included protections for bakery workers; the law "banned employees from sleeping in the bakeries; specified the drainage, plumbing and maintenance necessary to keep the bakeries sanitary (cats were specifically allowed to stay on the premise—presumably to deal with the rats); limited the daily and weekly maximum of hours worked; and established an inspectorate to make sure these conditions were met." The legislation was soon replicated in other states. Joseph Lochner, a bakery owner in Utica, New York, was subsequently convicted of violating the law for forcing his employees to work more than sixty hours a week. He appealed his case to the U.S. Supreme Court, which decided, in the highly influential case of "Lochner v. New York" (1905), over a dissent from Justice Oliver Wendell Holmes, that the labor law violated a constitutional right to "freedom of contract". This case marked the beginning of a "pro-employer, laissez-faire" era, later known as the "Lochner" era, which "would cast a long shadow over American law, society, and politics" until the late 1930s, when "Lochner" was repudiated. Frustrated with the rapid deterioration of working conditions, bakery workers in New York went on strike in August 1905.


title: Baker

text: The first bakeries emerged in Jerusalem, after contact with the Egyptians, from whom the Hebrews learned better manufacturing techniques and obtained the recipe. A short time later, there was already a famous bakers' street in the city.


title: Baker

text: The bread is at the center of the Christian Eucharist; it is "sacramental bread," "singing bread," or "angel's bread." Jesus defines himself as "the bread of life" (John 6:35). Divine "grace" is called "the bread of the strong" and preaching, religious teaching, "the bread of the word of God." In Hebrew, Bethlehem means "house of bread," and Jesus was born in a city called Bread.


title: Baker

text: In Roman Catholic tradition, the patron saint of bakers and pastry chefs is Honoratus of Amiens (Honoré), a sixth-century bishop of Amiens in northern France for whom the St. Honoré cake is named. Lazarus of Bethany (Lazare) was originally a competitor to Honoré for the title of patron saint of bakers, but in the 17th century the French bakers' guild settled in favor of Honoré.


title: Baker

text: "Baker" is an easily recognizable English surname of medieval occupational origin; "Baxster" is the female form. Equivalent family names of occupational origin meaning "baker" exist in other languages: "Boulanger", "Bulinger", "Dufour", and "Fournier" in French, "Bäcker" in German, and "Piekarz" in Polish.


title: Baker

text: According to the "Occupational Outlook Handbook" ("OOH") published by the Bureau of Labor Statistics of the United States Department of Labor,


title: Baker

text: Bakers encounter a number of occupational hazards. "OOH" reports that bakeries, "especially large manufacturing facilities, are filled with potential dangers such as hot ovens, mixing machines, and dough cutters. As a result, bakers have a higher rate of injuries and illnesses than the national average. Although their work is generally safe, bakers may endure back strains caused by lifting or moving heavy bags of flour or other products. Other common risks include cuts, scrapes, and burns. To reduce these risks, bakers often wear back supports, aprons, and gloves."


title: Baker

text: Baker's asthma—commonly caused by flour allergens and the microbial enzymes (often "Aspergillus"-derived) used to facilitate breadmaking—is one of the common causes of occupational asthma worldwide.


title: Baker

text: Both bakers and pastry chefs make desserts and breads. In some restaurants and shops, a single individual serves in both roles. In other environments, there is a distinction between the two positions, with bakers making breads, rolls, and muffins, and pastry chefs making desserts, such as cakes, pies, tarts, and cookies. Even when both bakers and pastry chefs work in the same place, however, there may be overlap.


title: Baker

text: According to the "Occupational Outlook Handbook" published by the Bureau of Labor Statistics of the United States Department of Labor, there were 185,300 bakers in the U.S. in 2014, with median pay of $23,600 per year or $11.35 per hour. About 28% of U.S. bakers work in stand-alone bakeries or in tortilla manufacturing; 26% work in grocery stores; 15% work in restaurants and other eating places; and 5% were self-employed. About 30% of U.S. bakers worked part-time in 2014.


title: Highland Park parade shooting

text: On July 4, 2022, a mass shooting occurred during an Independence Day parade in Highland Park, Illinois, United States. The shooting occurred at 10:14a.m. CDT (), roughly 15 minutes after the parade had started. Seven people were killed, and 48 others were wounded by bullets or shrapnel.


title: Highland Park parade shooting

text: Authorities apprehended Robert Eugene Crimo III more than eight hours after the shooting and charged him the next day with seven counts of first-degree murder. On July 27, the charges were upgraded to 21 counts of first-degree murder, 48 counts of attempted murder, and 48 counts of aggravated battery.


title: Highland Park parade shooting

text: Highland Park is an affluent suburban community of about 30,000, located in Lake County, Illinois, United States, north of Chicago, in the area's North Shore. The city held a Fourth of July celebration, which included a parade that began at 10:00a.m. CDT (). The parade started at the intersection of Laurel and St. Johns Avenues, headed north on St. Johns Avenue, then turned west on Central Avenue, and continued to Sunset Park.


title: Highland Park parade shooting

text: According to the "Los Angeles Times", "A 2020 study by Brandeis University and the University of Chicago found Highland Park had among the Chicago region's highest concentrations of Jewish residents." The neighboring suburb of Highwood is home to a large Hispanic population.


title: Highland Park parade shooting

text: The shooting began at 10:14a.m. in downtown Highland Park, with the shooter firing a rifle from the rooftop of the Ross Cosmetics building, a local store on the northwest corner of Central Avenue and 2nd Street. The gunman had gained access to the elevated position by using an unsecured ladder attached to the building.


title: Highland Park parade shooting

text: The shooter used a Smith & Wesson M&P15 AR-15-style semiautomatic rifle with three 30-round magazines. A total of 83 shots were fired. Victims included spectators and some of those marching in the parade. At least one parade attendee provided medical treatment to those injured, before first responders arrived. Footage shot by "Chicago Sun-Times" reporter Lynn Sweet, a spectator at the parade, shows a participating klezmer band on a float continuing to play as gunfire began, and many attendees running while screaming. Additional photos of the scene were captured by attendees and posted to social media.


title: Highland Park parade shooting

text: Over 100 law enforcement officers from multiple agencies responded to the shooting. The shooter ceased firing as law enforcement officers approached the building, causing the shooter to flee the scene and evade immediate capture. During his escape, the rifle Crimo used fell from his bag and was recovered by police within minutes. He then drove to the Madison, Wisconsin area, with a Kel-Tec SUB-2000 semiautomatic rifle in his car. He considered attacking another Independence Day celebration in Madison, but decided against it. He discarded his cell phone in Middleton, Wisconsin.


title: Highland Park parade shooting

text: A driver from Waukegan and his passengers spotted Crimo's damaged 2010 Honda Fit on the southbound U.S Route 41 near Wadsworth. Over the next 13 minutes, they relayed information to 911 operators. Crimo was stopped by North Chicago Police and Lake County Sheriff units at the intersection of U.S Route 41 and Westleigh Road in Lake Forest, Illinois, and apprehended at approximately 6:30p.m., more than eight hours after the shooting began.


title: Highland Park parade shooting

text: Seven people were killed, and 48 others were injured by either bullets or shrapnel during the attack. Five of the victims—all adults—died at the scene, and two died at the hospital.


title: Highland Park parade shooting

text: Mexican authorities have said two men killed at the parade were "natives of the country." One of these was a 78-year-old Mexican grandfather who was visiting family in the area, and another was a 69-year-old man. Two Jewish victims that were killed were a 63-year-old woman and an 88-year-old grandfather. Another was a 64-year-old mother of two. Of the others that were killed, two victims were a married couple in their 30s who attended the parade with their 2-year-old son, who survived, and was found wandering unaccompanied.


title: Highland Park parade shooting

text: The shooting victims ranged in age from 8 to 88 years old. Highland Park Hospital reported that they were treating 26 people after the shooting, 25 being gunshot wounds, with five later transferred to Evanston Hospital. Additionally, four of the injured were transported to Glenbrook Hospital, and several others were taken to hospitals outside of the Northshore University Medical System network.


title: Highland Park parade shooting

text: Highland Park authorities collaborated with the FBI, Illinois State Police, and Chicago Police during the investigation and manhunt. The police believe only one shooter was involved and the shooting was described as appearing to be "very random (and) very intentional". After his arrest, Crimo's home in Highwood, a small suburb just north of Highland Park, was raided by FBI agents.


title: Highland Park parade shooting

text: Lake County police alleged that Crimo planned the attack for weeks, and that he dressed in women's clothing and hid his facial tattoos in order to flee the scene after the attack, among panicked parade-goers. Mayor of Highland Park Nancy Rotering said that she believed that the weapon used in the crime was obtained legally. Police seized three rifles, one shotgun, and one handgun from Crimo.


title: Highland Park parade shooting

text: Crimo's motives remain unclear. The London-based Institute for Strategic Dialogue said it appeared Crimo’s extensive online presence contained posts that gravitated toward far-right and neo-fascist ideologies. A Highland Park rabbi stated that, three months before the shooting, Crimo had entered Central Avenue Synagogue, a Chabad house, during the Passover Seder and was asked to leave. The Chabad House is located two blocks from where the July 4 shooting occurred. However, investigators have determined no racial or religious motivation for the shooting. Michael Masters, national director and CEO of the Secure Community Network headquartered in Chicago, said, "Nothing overtly we have identified in his social media posts says this was an antisemitic attack, but we are coordinating with law enforcement. Apparently on social media, there are some indications he was ideating around the Fourth of July for some period of time, which would indicate this was not an attack on one particular community."


title: Highland Park parade shooting

text: According to experts on QAnon and conspiracy theory movements, Crimo's social media diet, while extreme, was distinct from the realm of QAnon. Mike Rothschild, an author who has written on QAnon, said, "[T]he world Crimo lived in was pretty far off Q. He was in a 4chan bubble of ironic Nazi and anime memes, fascist-inspired music, and mass shooter ideation that basically consumes nothing but irony and sadness."


title: Highland Park parade shooting

text: Robert Eugene (born September 20, 2000) was charged on July 5 with seven counts of first-degree murder. The next day, he confessed to the shooting. Lake County Sheriff's Office said that he is being held without bail. A preliminary hearing was scheduled for July 28, 2022, but the hearing was obviated when a Lake County, Illinois grand jury indicted Crimo on July 27, 2022. Crimo was indicted on 117 felony counts: 21 counts of first-degree murder, three for each deceased victim; along with 48 counts of attempted murder and 48 counts of aggravated battery for each victim struck by a bullet or shrapnel.


title: Highland Park parade shooting

text: Crimo attended Highland Park High School (the same school his father went to) but dropped out before his junior year. He has performed under the stage name "Awake the Rapper", and posted his albums on Spotify, YouTube and Apple Music; which included apparent references to the QAnon conspiracy theory. Music videos by him on YouTube depicted mass shootings and characters being shot by police. One video was accompanied by the narration "I need to just do it. It is my destiny." The account is no longer available.


title: Highland Park parade shooting

text: Crimo frequently visited an online message board that discussed graphic depictions of death. He posted a video of a beheading the week before the shooting. He had his own Discord server, which was invaded by 4chan users after the shooting and has since been shut down. Stephen Harrison of "Slate" speculated he had used a single-purpose account on the English Wikipedia in an unsuccessful attempt to create an article about himself in 2017 and 2018. An account with the same username created articles about Crimo on the Fandom sites Wikitubia and the Rap Wiki.


title: Highland Park parade shooting

text: A voluble supporter of former President Donald Trump, Crimo frequented far-right gatherings, often wearing "Where's Waldo" garb, and confrontationally joined counterprotests. Crimo's motives remain unclear, and at least one former friend has said his motives had nothing to do with politics.