title: Murdoc Niccals

text: After "Demon Days" success further escalated Gorillaz' status as virtual pop stars, Noodle was presumed dead after the music video for "El Mañana" appeared to show the flying windmill island she was on in the "Feel Good Inc." music video being gunned down by attack helicopters. Soon thereafter, a panicked 2-D and Russel departed from Kong upon discovering this information. After going various places across the world, Murdoc became an arms broker for a group of mercenaries named the Black Clouds to raise money quickly after growing short on income. He subsequently burnt down Kong Studios, committed insurance fraud to save money, and fled from the UK on a boat to an island of floating landfill in Point Nemo that he would later convert into his home. Taking inspiration from "Thunderbirds" Tracy Island, Murdoc dubbed this island "Plastic Beach", creating a cyborg replica of guitarist Noodle and kidnapping frontman 2-D to begin work on Gorillaz third album "Plastic Beach" without contributions from Noodle or Russel. After Noodle and Russel eventually arrived on Plastic Beach, the island was later shot down by a group of pirates and the band then parted ways once again.


title: Murdoc Niccals

text: In the aftermath of Plastic Beach, Gorillaz' 2016 interactive short story "The Book of Murdoc" reveals that Murdoc and Cyborg Noodle were arrested for breach of contract by EMI and then released under the condition that he record a new Gorillaz album, to which he agreed and was reunited with his former bandmates to record "Humanz", the band's first album in seven years. At the 2018 Brit Awards, it was revealed that Murdoc was incarcerated at HM Prison Wormwood Scrubs, being absent for the making of Gorillaz' sixth album, "The Now Now". He was temporarily replaced by Ace from "The Powerpuff Girls" at the time, starting an extensive campaign called "Free Murdoc" to have himself freed from prison. He has since been released from prison and returned to the band on 20 September 2018, starring with the rest of Gorillaz in an advertisement campaign called called "Mission M101" promoting their line of G-Shock watches and joining them for the final leg of The Now Now Tour.


title: Murdoc Niccals

text: After going on vacation in Ibiza in 2019, he has since returned to the band as an active member and is the bassist for the band's latest project "Song Machine". In the first season of "Song Machine", a somewhat confused Murdoc attempts to uncover information about the portals in the band's newly revamped and relocated Kong Studios before building a portal of his own after being left behind by the rest of the band for a trip they made using one of the portals.


title: Murdoc Niccals

text: Murdoc is based on Keith Richards of The Rolling Stones. As such, he has a similar hairstyle and facial features. Murdoc is designed as having distinct sickly green colored skin, and is often illustrated with yellow colored eyes, sometimes being depicted with a red pupil in his right eye. He also has a misshapen nose and sharp, sometimes yellow teeth and a large grin. He has a black mop top that covers a portion of his face and hides his eyebrows. His eyebrows have sometimes been visible in artwork since "Humanz" in 2017. He has an overbite when his mouth is closed and he has a bright red fingernail on one of his pinky fingers. He and all of Gorillaz' other virtual band members have also gotten older with each Gorillaz release and the wardrobe he is depicted in changes frequently, although less so than the other band members. He is often depicted as shirtless and sometimes even completely naked, and has had several different tattoos displayed on his body throughout the years.


title: Murdoc Niccals

text: As with the rest of the Gorillaz members, Murdoc is regularly depicted in different wardrobe and his clothing changes often, in contrast to most other cartoon characters. Although Murdoc often is frequently designed in different clothing like the other Gorillaz characters are, his wardrobe is generally less varied than the others. He typically tends to stick to wearing a grey or black sweater and grey or blue jeans with cuban heel boots and an inverted cross necklace. He sometimes wears a purple and red cape, especially during the "Demon Days" era, with the cape returning in "Song Machine". In the "Plastic Beach" era, Murdoc's wardrobe conveyed a nautical theme due to the setting and theme of the album, commonly wearing sea captain suits and a bandana. He is also seen wearing sea captain hats, which he has also worn in "The Now Now" and "Song Machine". In the "Humanz" era, Murdoc's most frequently worn clothing were torn up two tone striped shirts, and in artwork for "The Now Now"s "Free Murdoc" campaign, he was mostly depicted in a prison uniform until after his release, where leather jackets, boots and a pair of jeans were being his most commonly worn clothing.


title: Murdoc Niccals

text: Originally in his mid-30s when "Gorillaz" was released in 2001, he is now a middle aged man who is entering his mid-50s. Murdoc's jaundice has become more intense over time, with the first significant increase in its intensity occurring in the music video for "Rockit" in 2004. He has also gained a bit of weight and an increase in body hair and muscle. His head and chin have changed shape overtime as well, becoming blockier and more narrow than the more rounded form it took before.


title: Murdoc Niccals

text: Murdoc has been frequently depicted as the perpetuator of constant abuse towards Gorillaz bandmate 2-D, although this abuse appears to have stopped in recent years. Murdoc's personality can be defined by pride, depravity, sadism, cynicism, and misanthropy, and he's been shown to be consistently rude and sarcastic towards the people around him. He is perpetually angry and bitter and often takes it out on his peers. Murdoc has an off-color sense of humor and has displayed a tendency towards controversial behavior. In the "G-Bite" short "Fancy Dress", he is shown wearing a Nazi uniform for a photoshoot, and in some old Gorillaz images, his Winnebago has been shown displaying a Confederate flag. He can be very talkative in interviews, and has a habit of going on long tangents and rants. He has a history of being a womanizer, described as being "a rent-a-quote misogynist who speaks without a taste filter", but has since developed into a self-described feminist.


title: Murdoc Niccals

text: Murdoc has been shown to have an abundance of self-confidence and pride to the point of appearing to be arrogant and conceited, frequently speaking highly of himself and boasting of his accomplishments, even if many of such claims are falsified or exaggerated. He is very self-centered and egotistical, and according to Gorillaz co-creator Damon Albarn, “He really does believe that the world exists entirely for his own pleasure”. Murdoc is also known for telling lies and giving inaccurate accounts of various kinds about himself and the band. He is resentful and jealous, and enjoys being the center of attention. He is a thrill seeker with a tendency to participate in dangerous acts for pure adrenaline. He has been described by Gorillaz co-creator Jamie Hewlett as the band's villain. Albarn once said of Murdoc's personality on a 3VOOR12 interview on 29 October 2020, "He's not redeemable, that's not in his cartoon DNA. He's irredeemable. He's that kind of character, he's a classic cartoon villain[...]He's rotten. He doesn't want to be saved."


title: Murdoc Niccals

text: Murdoc is a habitual offender criminal and convicted felon who has regularly partaken in various criminal activity since his childhood. In his youth, Murdoc is said to have been a troublemaker and a delinquent with a history of pulling many pranks and exhibiting generally disorderly conduct as a school student, resulting in his expulsion from school at 16. Murdoc and Gorillaz frontman 2-D first met in 1997 while he partook in a crime spree with a gang of criminals. In 2003, Murdoc was sentenced to 30 years of imprisonment in Tijuana, Mexico for giving counterfeit checks to prostitutes, but escaped with the help of two fellow inmates. In Gorillaz' 2016 interactive short story "The Book of Murdoc", it was revealed that Murdoc and Cyborg Noodle had been imprisoned for breach of contract following the events of "Plastic Beach" before being released under the condition that a new Gorillaz album be recorded. In 2018, he was allegedly incarcerated for what he claims was a false drug smuggling accusation (but ended up being for unpaid parking tickets) and organized a campaign with the goal of setting him free from prison called "Free Murdoc".


title: Murdoc Niccals

text: Murdoc has been shown as being bisexual since 2004, with Noodle saying in a Q&A session, "Murdoc says that he can pick up boys with chopsticks but he has used his dictaphone. I do not understand this." The music video for "Dare" ends with a nightmare sequence where Murdoc sleeping in the same bed as the song's guest artist Shaun Ryder. In the first of Murdoc's Pirate Radio broadcasts from 2010, he mentions having sexual desires for comedian Ronnie Corbett. In Gorillaz' 2018 campaign "Free Murdoc", Murdoc responds with "my sexual preferences are more complex and terrifying than you can ever imagine" when questioned about his sexuality.


title: Murdoc Niccals

text: Murdoc has also built a few different contraptions over the years. For "Plastic Beach", Murdoc built Cyborg Noodle, an android replica of the Gorillaz guitarist with all of her skills, memories, and personality traits, using a strand of Noodle's hair as a DNA sample to start the process. In the "Song Machine" episode "Pac-Man", Murdoc builds an Orgone accumulator to use as a portal of his own, and built a modified "Pac-Man" arcade machine for 2-D to play.


title: Murdoc Niccals

text: Murdoc's speaking voice, provided by famous British comedian and actor Phil Cornwell, is low, rough, and raspy. Despite being from Stoke-on-Trent, Murdoc speaks in a cockney accent rather than the Potteries dialect commonly associated with the region.


title: Murdoc Niccals

text: Murdoc was designed as the bassist and leader of Gorillaz, and is usually portrayed as the main director of the band for most of their albums. There have been exceptions to this, such as 2010's "The Fall" and 2018's "The Now Now", both of which were shown to be completely lead by 2-D, with Murdoc being replaced by Ace from the Cartoon Network animated series "The Powerpuff Girls" while incarcerated during the making of "The Now Now". "Demon Days" was mostly written by Noodle, although Murdoc would often try to take all of the credit for it. Murdoc can play other instruments (as can the rest of the characters), but generally leaves them to the other members and sticks to playing bass. One such example of an exception to this is in "Plastic Beach", where Murdoc claims to have mainly programmed the drums himself using Gorillaz drummer Russel Hobbs' Hip-hop Machine, as Russel was absent for the recording of "Plastic Beach".


title: Murdoc Niccals

text: Murdoc has occasionally contributed vocals to Gorillaz songs. He claims in the Gorillaz press interview CD "We Are The Dury" that he is the vocalist on the "Demon Days" track "White Light", and has been portrayed in the fifth installment of his radio show "Pirate Radio" as the robotic voice on the track "Phoner to Arizona" from "The Fall". His pet raven Cortez is attributed to the wailing guitar on the "Demon Days" track "O Green World".


title: Murdoc Niccals

text: While "DJ Magazine" calls Murdoc an "ex-jailbird" who is "quick-witted with a dark streak" and made reference to the contrast that his personality has to frontman 2-D, "The Times Magazine" podcast host Pete Gulnarick has noted the effect that Murdoc's tragic childhood has had on his life as an adult and "Consequence of Sound" has made note of Murdoc's villainous nature and devious tricks. "Entertainment Weekly" has pointed to Murdoc as an example of the impact that the character of Keith Richards had on the music industry.


title: Murdoc Niccals

text: In 2006, Murdoc made an appearance in an advertisement for telecommunications company Motorola. In the commercial, Murdoc plays a piano naked in the middle of a field of sheep. On 30 July 2006, Murdoc hosted an animated Gorillaz segment in the Season 13 premiere of MTV Cribs, giving a tour of Gorillaz' fictional headquarters at Kong Studios. On 15 November 2010, Murdoc was the host of a tour of Internet Explorer 9 in a seven minute animated short made for the launch of the software. Murdoc and the rest of Gorillaz appear on the back cover of creator Jamie Hewlett's 2017 art book, featured alongside characters from all of Hewlett's projects.


title: Ridiculousness (TV series)

text: Ridiculousness is an American comedy clip show that began airing on August 29, 2011 on MTV. It is hosted by Rob Dyrdek and co-hosted by Sterling "Steelo" Brim and Chanel West Coast. "Ridiculousness" strictly showcases various viral videos from the Internet, usually involving failed do-it-yourself attempts at stunts, to which Rob and his panelists add mockery and reaction. The producers of the series and MTV refuse any submitted videos for the show for the safety of their viewers, instead licensing already-existing content.


title: Ridiculousness (TV series)

text: On September 11, 2012, "Ridiculousness" was renewed for a twenty-episode third season. It premiered on February 14, 2013, and included a crossover with "Jersey Shore" when Pauly D guest-starred. The season took a hiatus from April 2013 to July 18, 2013. Season 3 averaged a 1.6 P12-34 rating and is the No.1 original cable series in its time slot with P12-34.


title: Ridiculousness (TV series)

text: The series is produced by Superjacket Productions, Rob Dyrdek's production company, under a multi-year deal with MTV.


title: Ridiculousness (TV series)

text: The theme song, a cover of Devo's "Uncontrollable Urge", was done along with Devo member Mark Mothersbaugh, with Dyrdek providing the "yeah"s. Music supervisor Ben Hochstein said that "Kids think the song is original to our show and have never heard of Devo, but hopefully, their parents appreciate the connection."


title: Ridiculousness (TV series)

text: Due to the series being consistently marathoned on MTV and MTV2, beginning in October 2015, some episodes of "Ridiculousness" were repackaged with lower-cost production music. The new music was under blanket licenses overlaying the former tracks. The former tracks would have required MTV to pay music licensing fees to artists.


title: Ridiculousness (TV series)

text: In 2016, a "New York Times" study of the 50 TV shows with the most Facebook Likes found that "Ridiculousness" "is most popular in rural Alaska, New Mexico and Montana, and least popular in Washington D.C., Atlanta and San Francisco".


title: Ridiculousness (TV series)

text: By 2020, many journalists and media commentators noted that the series frequently occupied a great majority of MTV's programming lineup. In September 2020, John Gonzalez of "The Ringer" observed that the network often schedules marathon repeats of "Ridiculousness" which span multiple days, including one 36-hour period in August 2020 when MTV broadcast nothing else except episodes of the show. He speculated the show's success could be attributed to its "lowbrow content" and "familiar and formulaic" structure.


title: Ridiculousness (TV series)

text: That same year, Michael Schneider and Kate Aurthur of "Variety" reported that reruns of "Ridiculousness" were broadcast for 113 of 168 total hours (67.3%) during one week in June 2020. They attributed its ubiquity to media companies, such as ViacomCBS, prioritizing streaming content at the expense of their linear television networks. In response, MTV released a statement saying that the television network was "just a single sliver" of their overall operations, and that an array programming was being developed for other mediums, and Tanya Giles, a ViacomCBS executive, said that the show was prioritized on the schedule as "escapist" entertainment with wide appeal for viewers at home during the COVID-19 pandemic. Contrary to that statement, as of May 2022, its repeats continue to make up a majority of the network's weekly schedule, with an unofficial Twitter account compiling the network's schedule showing the extent of MTV's dependence on the series to fill its broadcast week.


title: Ridiculousness (TV series)

text: In November 2020, Adam Buckman of MediaPost also wrote about the show's prominence on MTV, and reached similar conclusions to its cause as Schneider and Aurthur. Buckman called it "an abuse of the end-user that today's low-rent cable TV channels presumably wish to reach -- i.e., cable subscribers at home who pay steep fees every month for dozens of name-brand cable channels that seem to have abandoned the idea of developing and producing original, attractive content worth paying for."


title: Ridiculousness (TV series)

text: MTV premiered "Amazingness" on December 8, 2017 and ended on January 19, 2018. Presented by Rob Dyrdek, every episode features six contestants showcasing their unique talents. After each performance, the judges decide who moves on and who is eliminated. The last performer standing is awarded $10,000.


title: Ridiculousness (TV series)

text: MTV greenlit "Deliciousness" on November 23, 2020 and the series later premiered on December 14, 2020, the series is hosted by Tiffani Thiessen, focusing on food blunders to restaurant fails to kids in the kitchen and more.


title: Ridiculousness (TV series)

text: On June 21, 2021, MTV greenlit "Adorableness", hosted by James Davis, which premiered on July 19, 2021.


title: Ridiculousness (TV series)

text: On June 4, 2021, MTV greenlit, "Messyness", hosted by Nicole "Snooki" Polizzi, with Tori Spelling, Adam Rippon and Teddy Ray. The series premiered on August 23, 2021.


title: Stephen Dillane

text: Stephen John Dillane (; born 27 March 1957) is a British actor. He is best known for his roles as Leonard Woolf in the 2002 film "The Hours", Stannis Baratheon in "Game of Thrones", and Thomas Jefferson in the 2008 HBO miniseries "John Adams", a part which earned him a Primetime Emmy nomination. An experienced stage actor who has been called an "actor's actor", Dillane won a Tony Award for his lead performance in Tom Stoppard's play "The Real Thing" (2000) and gave critically acclaimed performances in "Angels in America" (1993), "Hamlet" (1990), and a one-man "Macbeth" (2005). His television work has additionally garnered him BAFTA and International Emmy Awards for best actor.


title: Stephen Dillane

text: Dillane was born in Kensington, London, to an English mother, Bridget (née Curwen), and an Australian surgeon father, John Dillane. The eldest of his siblings (his younger brother Richard is also an actor), he grew up in West Wickham, Kent.


title: Stephen Dillane

text: At school, Dillane began performing in end-of-term plays and had "a certain facility" for funny accents. He often found himself in women's roles, which he says "wasn’t good for my confused adolescent psyche", but also recalls a part in "Rosencrantz and Guildenstern Are Dead" as being particularly memorable, noting that shouting "Fire!" as Rosencrantz while pointing at the audience was "a very thrilling thing to be able to do."


title: Stephen Dillane

text: He studied history and politics at the University of Exeter, concentrating on the Russian Revolution, and afterward became a journalist for the "Croydon Advertiser". Unhappy in his career, he read one day how actor Trevor Eve gave up architecture for acting; this, along with reading "Hamlet" and Peter Brook's "The Empty Space" back-to-back, made him "light up inside somewhere" and spurred him to enter the Bristol Old Vic Theatre School at 25. During his early acting career, he was known as Stephen Dillon but reverted to his birth name in the 1990s.


title: Stephen Dillane

text: Dillane is an experienced theatre actor; his notable roles include Archer in "The Beaux' Stratagem" (Royal National Theatre, 1989), Prior Walter in "Angels in America" (1993), "Hamlet" (1994), Clov in Samuel Beckett's "Endgame" (1996), "Uncle Vanya" (1998), Henry in Tom Stoppard's "The Real Thing" (for which he won a Tony Award in 2000), "The Coast of Utopia" (2002), and a one-man version of "Macbeth" (2005) directed by Travis Preston. He has also performed T.S. Eliot's "Four Quartets" in London and New York City, and was seen in the 2010 Bridge Project's productions of "The Tempest" and "As You Like It".


title: Stephen Dillane

text: Dillane also portrayed Horatio in the 1990 film adaptation of "Hamlet". He played Michael Henderson in "Welcome to Sarajevo" (1997), a character based on British journalist Michael Nicholson, and the impatient and easily agitated Harker in "Spy Game" (2001).


title: Stephen Dillane

text: Dillane is also known for his portrayal of Leonard Woolf in "The Hours" (2002), legendary English professional golfer Harry Vardon in "The Greatest Game Ever Played" (2005) and Glen Foy in the "Goal!" trilogy. He also starred in "John Adams" as Thomas Jefferson.


title: Stephen Dillane

text: He joined the cast of "Game of Thrones" in 2011 as Stannis Baratheon, a major contender for the throne of the fictional realm of Westeros. While admitting he had not read the books on which the series is based, he commented that the show's appeal was due to "the storytelling, the extraordinary world that’s created and the way it reflects our actual world – a naked, ruthless pursuit of power in all its forms."


title: Stephen Dillane

text: In 2012, he also played Rupert Keel, head of the private security agency Byzantium, in the BBC drama series "Hunted". The following year he went on to take the male lead, opposite Clémence Poésy, in the crime drama series "The Tunnel", an Anglo-French remake of the Scandinavian "The Bridge". Dillane, who had not seen the original series, plays Karl Roebuck, the laid-back, experienced British detective to Poésy's humourless French counterpart. His performance won him an International Emmy Award for Best Actor. In a second series in 2016, titled "The Tunnel: Sabotage", he reprised his role alongside Poésy for a new case involving a deadly airliner crash in the English Channel.


title: Stephen Dillane

text: Besides television, Dillane also starred in the 2012 British independent film "Papadopoulos & Sons" as successful entrepreneur Harry Papadopoulos, who rediscovers his life after being forced to start again from nothing in the wake of a banking crisis. His son, Frank Dillane, plays his son in the film. That same year he also had roles in the films "Zero Dark Thirty" and "Twenty8k".


title: Stephen Dillane

text: Offscreen, the actor in 2014 collaborated with visual artist Tacita Dean for the Sydney Biennale and Carriageworks in a project called "Event for a Stage". The work, performed live and later adapted for radio broadcast and film, explored the process of filmmaking and the "concept of artifice on the stage" through a single actor, Dillane. The performance encompassed readings from texts as well as his personal reflections on acting, theatre, and family. 2015 saw Dillane making other brief returns to stage including a reprise of his reading of "Four Quartets" in London and a one-off appearance in Tim Crouch's "An Oak Tree" at the National Theatre.


title: Stephen Dillane

text: In 2016, besides appearing in the second series of "The Tunnel", Dillane returned to the Donmar Warehouse for a revival of Brian Friel's "Faith Healer". His performance as Frank, an itinerant Irish healer, was described as "poetic and powerful." In addition, he appeared as artist Graham Sutherland in "The Crown", Netflix's TV series about British monarch Elizabeth II. In 2017, Dillane appeared in two biopics, playing Edward Wood, 1st Earl of Halifax in Joe Wright's "Darkest Hour", starring Gary Oldman as Winston Churchill, and writer William Godwin, the father of "Frankenstein" author Mary Shelley, in the film "Mary Shelley.


title: Stephen Dillane

text: In 2018, he shot the film "The Thin Man", which has since been retitled "The Man In The Hat", opposite Ciarán Hinds; it was directed by Oscar-winning composer Stephen Warbeck.


title: Stephen Dillane

text: Dillane has two sons with actress-director Naomi Wirthner: Séamus and actor Frank Dillane, with whom he co-starred in "Papadopoulos & Sons".


title: Real Valladolid

text: Real Valladolid Club de Fútbol, S.A.D., or simply Real Valladolid () or Valladolid, is a professional football club based in Valladolid, Castile and León, Spain that competes in La Liga, the top tier of the Spanish league system.


title: Real Valladolid

text: The club colours are violet and white, used on the kit in stripes from its foundation on 20 June 1928. The team plays its home games at the Estadio José Zorrilla, which seats 27,846 spectators. Valladolid's honours include a single trophy of great relevance, the defunct Copa de la Liga 1983–84. It has been runner-up in the Copa del Rey on two occasions (1949–50 and 1988–89), and has participated in two editions of the UEFA Cup (1984–85 and 1997–98) and also one edition of the UEFA Cup Winners' Cup (1989–90). The team subsidiary, the Real Valladolid Promesas, currently play in the Primera División RFEF.


title: Real Valladolid

text: Since its La Liga debut in the 1948–49 season (in which it became the first club from the region to play in La Liga – five others have since done so), Valladolid is the most successful football club in Castile and León by honours and history, with a total of 45 seasons in the First Division, 36 in the Second and 10 in the Third. Historically, Valladolid is the 13th-best team in Spain by overall league points. Two of its players have won the Pichichi Trophy: Manuel Badenes and Jorge da Silva; and ten were internationals with the Spain national football team. In the 21st century, the club's domestic performance follows a yo-yo club pattern, with multiple promotions to (and relegations from) the first division.


title: Real Valladolid

text: On 3 September 2018, it was announced that Brazilian former international footballer Ronaldo Nazario had become the majority shareholder after purchasing a 51% controlling stake in the club. , Ronaldo is owner of 82% of the club shares.


title: Real Valladolid

text: Real Valladolid was founded from the merger of Real Unión Deportiva de Valladolid and Club Deportivo Español, the club played its first game on September 22, 1928. It was a 2–1 win over Alavés. Valladolid first reached the top level in the 1947–48 season, as champions of the Segunda División. The club became the first Castile and León club to play in the Spanish top flight. The following year, the team pushed on from this success and reached the finals of the Copa Del Rey in Chamartín Stadium against Athletic Bilbao, losing 4–1.


title: Real Valladolid

text: The next ten years were spent in the first division, and relegation was short-lived as Valladolid gained promotion again in 1958–59 with a 5–0 win over Terrassa under manager José Luis Saso, a legendary figure in club history. He had originally been a goalkeeper for the club and went on to perform many roles, including serving as president of the club.


title: Real Valladolid

text: Valladolid swung between the first and second divisions in subsequent years, falling as low as to the third division in 1970–71. Next year the club was promoted to second division and in 1980 promoted to first division, where Valladolid played until 1992 when the club was relegated to the second division again. Promoted in 1992–93, the club was again sent down after the 2003–04 season. In 1984, Valladolid also won the Copa de la Liga (a competition only played in the early 1980s) over Atlético Madrid.


title: Real Valladolid

text: The side's highest position during this 11-year stint was seventh in 1996–97, being coached in the previous seasons by former Real Madrid Castilla coach Rafael Benítez, as various players from that team would also later appear for Valladolid.


title: Real Valladolid

text: In the 2006–07 season, after signing Basque José Luis Mendilibar as head coach, Valladolid had one of its best years in its history while playing in the second level. The club took the league lead in the 15th matchday and went on to finish with a competition all-time high 88 points, winning the championship by a total margin of eight points, and holding an advantage of 26 points over the non-promotion zone (fourth and below), both being all-time records in the league. Valladolid also achieved the honour of going unbeaten in 29-straight matches, from 10 October 2006 to 6 May 2007, being mathematically promoted after a 2–0 away win against Tenerife on 22 April 2007 (the 34th matchday of the season), the earliest any club has achieved promotion in Spanish history.


title: Real Valladolid

text: Also remarkable was the side's role in the season's Copa del Rey, reaching the quarter-finals after defeating two top division teams, Gimnàstic de Tarragona (4–1 aggregate) and the 2005–06 UEFA Champions League contender Villarreal (3–1), while playing the entire competition with reserve players.


title: Real Valladolid

text: Two relatively successful seasons in the top division followed, finishing in 15th place while avoiding relegation after a 1–1 draw on the last matchday of both seasons (against Recreativo de Huelva in 2007–08 and Real Betis in the following campaign).


title: Real Valladolid

text: After a slow start to 2009–10 (three wins in the first 20 matches), Mendilibar was sacked on 1 February 2010 following a draw at home against Almería. The week following his sacking, Valladolid dropped into the relegation zone (something that never happened during Mendilibar's 138-match stint), with former player Onésimo Sánchez taking charge.


title: Real Valladolid

text: After only one win in 10 matches, Sánchez was fired. Former Spain national team manager Javier Clemente was named Sánchez's replacement in a desperate move to avoid relegation with only eight matches remaining. After a brief breather (16th position), Valladolid again returned to the bottom three, then faced a must-win last game at the Camp Nou against a Barcelona squad needing a win to secure the Liga championship. Level in the standings with Racing de Santander, Málaga and Tenerife for the two final safe positions, Valladolid lost 0–4 and consequently was relegated, ending a three-year stay in the top flight.


title: Real Valladolid

text: The 2011–12 season saw Valladolid return to La Liga under the management of Miroslav Đukić, promoted through the play-offs after finishing third in the division.


title: Real Valladolid

text: On 2017–18 season, Valladolid was promoted back to first division after four years via play-off defeating Sporting de Gijón and Numancia.


title: Real Valladolid

text: On 3 September 2018, it was announced Brazilian former international footballer Ronaldo had become the majority shareholder after purchasing a 51% controlling stake in the club. In its first season with the new owner Valladolid finished in 16th position in La Liga. As of April 2020, Ronaldo owned 82% of the club shares.


title: Real Valladolid

text: In August 2020, with the Promesas (reserve team) well established in Segunda División B, the club made an agreement with local club Atlético Tordesillas, operating at the level below, to act as a further affiliated team for its young players. At the end of the 2020–21 season, Real Valladolid was relegated following a 1–2 home defeat by Atlético, which also secured the "Colchoneros" the La Liga title on the final matchday, ending Valladolid's three-year stay in first division.


title: Real Valladolid

text: In the 2021–22 season, Valladolid returned to La Liga by sealing a 2nd position in the table (81 points, tied on points with the first team), thus guaranteeing the team direct promotion to the top flight.


title: Real Valladolid

text: Real Valladolid play at the 27,846-capacity Estadio Nuevo José Zorrilla, finished in 1982 to replace the previous stadium of the same name which had stood since 1940. Both grounds are named after José Zorrilla y Moral, a 19th-century poet from the city. After opening for the club on 20 February 1982, it hosted the Copa del Rey Final on 13 April of that year, and then three Group D matches at the 1982 FIFA World Cup. The venue is owned by the Ayuntamiento de Valladolid.


title: Real Valladolid

text: In 2010, it was announced that there were plans to expand the stadium to 40,000 spectators. This project was known as Valladolid Arena , but was contingent on Spain winning the right to host the 2018 FIFA World cup.


title: Real Valladolid

text: The following list shows Valladolid's record as well as all the presidents and coaches for every season since its foundation in 1929. All presidents and coaches are Spanish unless otherwise noted.


title: Et tu, Brute?

text: Et tu, Brute? () is a Latin phrase literally meaning "and you, Brutus?" or "also you, Brutus?", often translated as "You as well, Brutus?", "You too, Brutus?", or "Even you, Brutus?". The quote appears in Act 3 Scene 1 of William Shakespeare's play "Julius Caesar", where it is spoken by the Roman dictator Julius Caesar, at the moment of his assassination, to his friend Marcus Junius Brutus, upon recognizing him as one of the assassins. The first known occurrences of the phrase are said to be in two earlier Elizabethan plays; "Henry VI, Part 3" by Shakespeare, and an even earlier play, "Caesar Interfectus", by Richard Edes. The phrase is often used apart from the plays to signify an unexpected betrayal by a friend.


title: Et tu, Brute?

text: There is no evidence that the historical Caesar spoke these words. Though the historical Caesar's last words are not known with certainty, the Roman historian Suetonius, a century and a half after the incident, claims Caesar said nothing as he died, but that others reported that Caesar's last words were the Greek phrase Kai su, teknon (Και συ τέκνον), which means "You too, child" or "You too, young man" to Brutus. Contrary to popular belief, the words are not Caesar's last in the play, as he says "Then fall Caesar!" right after.


title: Et tu, Brute?

text: The name "Brutus", a second declension masculine noun, appears in the phrase in the vocative case, and so the "-us" ending of the nominative case is replaced by "-e".


title: Et tu, Brute?

text: On March 15 (the Ides of March), 44 BC, the historic Caesar was attacked by a group of senators, including Brutus, who was Caesar's friend and protégé. Caesar initially resisted his attackers, but when he saw Brutus, he reportedly responded as he died. Suetonius mentions the quote merely as a rumor, as does Plutarch who also reports that Caesar said nothing, but merely pulled his toga over his head when he saw Brutus among the conspirators.


title: Et tu, Brute?

text: Caesar saying "Et tu, Brute?" in Shakespeare's play "Julius Caesar" (1599) was not the first time the phrase was used in a dramatic play. Edmond Malone claimed that it appeared in a work that has since been lost—Richard Edes's Latin play "Caesar Interfectus" of 1582. The phrase had also occurred in another play by Shakespeare, "The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixth, with the Whole Contention betweene the two Houses Lancaster and Yorke" of 1595, which is the earliest printed version of "Henry VI, Part 3".


title: Et tu, Brute?

text: It has been argued that the phrase can be interpreted as a curse or warning. One theory states that the historic Caesar adapted the words of a Greek sentence which to the Romans had long since become proverbial: The complete phrase is said to have been "You too, my son, will have a taste of power", of which Caesar only needed to invoke the opening words to foreshadow Brutus' own violent death, in response to his assassination. The poem "Satires; Book I, Satire 7" by Horace, written approximately 30 BC, mentions Brutus and his tyrannicide; in discussing that poem, author John Henderson considers that the expression "E-t t-u Br-u-t-e", (as he hyphenates it), can be interpreted as a complaint containing a "suggestion of mimetic compulsion".


title: Tina Knowles

text: Celestine Beyoncé Knowles-Lawson (' Beyonce; born January 4, 1954) is an American businesswoman, fashion designer, and philanthropist known for establishing the brands House of Deréon and Miss Tina by Tina Knowles. She is the mother of singers Beyoncé and Solange Knowles, and, until 2011, was married to their father Mathew Knowles, the manager of Destiny's Child.


title: Tina Knowles

text: Celestine Ann Beyonce was born in Galveston, Texas, the last of seven siblings. Her mother, Agnéz Beyincé ("" Deréon), was a seamstress. Her father, Lumis Albert Beyincé, was a longshoreman. She is of African-American and Louisiana Creole heritage. Knowles was raised Catholic. Her family's roots are from Boutte, Louisiana. She is a direct descendant of Acadian leader Joseph Broussard and French military officer Jean-Vincent d'Abbadie de Saint-Castin. While in high school, Knowles was a part of a singing group called the Veltones, inspired by The Supremes.


title: Tina Knowles

text: In 1980, she married Mathew Knowles, a Xerox salesman who would later quit his job to manage Destiny's Child. The pair share two children: Beyoncé (born 1981) and Solange (born 1986). She filed for divorce from Mathew in November 2009, dropped the matter in 2010, then refiled in August 2011. She stated "discord or conflict of personalities" that prevented them from "reasonable expectation of reconciliation" as the reason for the divorce. The divorce was finalized in November 2011.


title: Tina Knowles

text: In the summer of 2013, she started dating actor Richard Lawson. Prior to dating, Knowles had been friends with Lawson for more than 30 years. They initially met through her friendship with his late sister. In a 2018 interview, Lawson stated that he had "always admired her from afar and up close too." The couple were married on April 12, 2015.


title: Tina Knowles

text: Through her marriage with Lawson, Knowles became the stepmother of his daughter, actress Bianca Lawson, and his son, Ricky. She also often refers to Destiny's Child member Kelly Rowland as her daughter, whom she helped raise from the age of 11 when Rowland began living with the Knowles family. In an open letter published by "Time" magazine in 2015, Knowles stated "I gave birth to two of you, but I have four incredible daughters" referring to Beyoncé, Solange, Kelly, and her niece Angie Beyincé.


title: Tina Knowles

text: Knowles has four grandchildren, including Blue Ivy Carter. In addition to her grandchildren through daughters Beyoncé and Solange, she also considers herself a grandmother to Kelly's two children.


title: Tina Knowles

text: As a fashion designer, Knowles has been featured in publications such as Vogue, Cosmopolitan, Harper’s Bazaar, L’Official, InSyle, and Sports Illustrated. She has also designed costumes for a number of films including Dreamgirls, Pink Panther, Austin Powers in Goldmember, Obsessed, and Cadillac Records.


title: Tina Knowles

text: She began her career at the age of 19 when she relocated to California to work as a makeup artist for Shiseido Cosmetics. However, she returned home when her parents fell ill. Knowles then worked as a dance choreographer for UAB and later a beautician in Birmingham, Alabama. In 1990, she opened Headliners, a 12-seat hair salon located in Houston, Texas. The salon went on to become one of the most famous hair businesses in Houston. Knowles's rise to prominence came as costume designer for Destiny's Child. In the early days of the group's career, she created outfits that the members wore on-stage and to events "out of necessity" because money was limited. She also styled the girls' hair, and they practiced their routines at her shop.


title: Tina Knowles

text: In 2002, she published a book titled "Destiny's Style: Bootylicious Fashion, Beauty and Lifestyle Secrets From Destiny's Child" in which she discussed how fashion affected Destiny's Child's success. The book was published by HarperCollins. In 2004, Knowles launched the clothing line House of Deréon alongside Beyoncé, naming it after her mother Agnes Deréon. On November 22, 2010, Knowles appeared with Beyoncé on "The View" to promote her clothing line called "Miss Tina by Tina Knowles". In 2010, she expanded the line to Walmart after it was previously being sold on the Home Shopping Network. Discussing her style of designing for the line, Knowles revealed she aimed to "hide flaws and create a slimming silhouette", adding, "Everything is created like a foundation garment, even the dresses. The pieces are designed to make the woman look leaner and taller."


title: Tina Knowles

text: In 2013, Knowles appeared in Beyoncé's "Life Is But a Dream" and was credited as Director of Wardrobe. In 2016, she made a small cameo in "," appearing in the visual for the song "All Night,""" which includes shots of her with husband Richard Lawson on their wedding day. In 2019, she appeared briefly in the background of a few shots in Beyoncé's "Homecoming", a concert film about the singer's 2018 Coachella Valley Music and Arts Festival performances.


title: Tina Knowles

text: In July 2020, Knowles made a cameo in Beyoncé's Disney+ film "Black Is King", which incorporates music from soundtrack album "". Knowles makes appearances in the visuals for the songs "Mood 4 Eva" and "Brown Skin Girl." Before the film's release, she revealed she had let her daughter borrow art pieces for the project. Thus, she is credited as an art curator on the film. That same month, Knowles appeared on The Today Show to promote her Instagram show, "Talks With Mama Tina", which addresses voter suppression, race relations and other social issues.


title: Tina Knowles

text: On May 23, 2021, Knowles presented Trae tha Truth with the Change Maker Award and introduced Padma Lakshmi at the Billboard Music Awards. On June 16, 2021, Knowles appeared in Facebook's Lift Black Voices Hub, in which she revealed what Juneteenth means to her family. In August 2021, it was announced that Knowles would be producing an upcoming program for Discovery, Inc. and , which aims to show the difficulties Black men face today, while highlighting and celebrating the triumphs and successes of everyday living. The docuseries titled "Profiled: The Black Man" aired in early 2022.


title: Tina Knowles

text: In November 2021, Knowles and husband Richard Lawson confirmed they will reimagine "Black Terror", the classic 1971 play by Richard Wesley, as a film produced in partnership with Yendor Theatre Company (YTC) at Newark Symphony Hall and their own WACO Theater Center.


title: Tina Knowles

text: In December 2021, Knowles announced her show "Talks with Mama Tina" would begin airing on Facebook, and include interviews with celebrities, such as Ciara and Zendaya.


title: Tina Knowles

text: The first episode premiered on December 22, with Beyoncé and her children performing the show's theme song. The song was nominated for Outstanding Original Song at the 49th Daytime Emmy Awards.


title: Tina Knowles

text: In April 2022, Knowles made her acting debut on "". That same month, she had a role in the Lifetime thriller movie "Wrath: A Seven Deadly Sins Story", starring Michelle Williams, Antonio Cupo and Romeo Miller.


title: Tina Knowles

text: In 2002, Tina Knowles, Beyoncé, and Kelly Rowland opened the Knowles-Rowland Center for Youth, a community center in Downtown Houston.


title: Tina Knowles

text: After witnessing the effects of Hurricane Katrina in 2005, Knowles co-founded the Survivor Foundation along with Mathew Knowles, Beyoncé, Solange, and Rowland, in order to provide transitional housing for hurricane victims and storm evacuees.


title: Tina Knowles

text: In 2010, Knowles and Beyoncé established the Beyoncé Cosmetology Center, which offers a seven-month cosmetology training course at the Phoenix House, a non-profit drug and alcohol rehabilitation organization in Brooklyn.


title: Tina Knowles

text: In 2020, following the COVID-19 pandemic in the United States, Knowles took action with Beyoncé's charity foundation, BeyGood, through the #IDidMyPart campaign. Knowles proposed the initiative, following the high number of deaths as a result of contracting the virus in the African-American community in Houston. Knowles has also spoken to raise awareness on a number of US television and news programs, including CBS News and ABC News.


title: Tina Knowles

text: Throughout the years, Knowles has supported movements promoting civil rights and opposing gender inequality in the United States, especially with regard to African Americans and the LGBT community. Knowles is a philanthropic supporter


title: Tina Knowles

text: of political and cultural movements, such as Black Lives Matter, African Pride, Still I Vote, and Mothers of the Movement. Knowles has also spoken out against police brutality and violence against women in the United States.


title: Tina Knowles

text: In 2020, Knowles was a part of the Leadership Conference on Civil and Human Rights movement, which advocates for the passage of the Health and Economic Recovery Omnibus Emergency Solutions Act to ensure health care, economic security, justice system reform, housing and voting access in the U.S., in the wake of the economic crisis following the COVID-19 pandemic. Knowles wrote an open letter to United States Senate leaders Mitch McConnell and Chuck Schumer, urging passage of the bill, with support from her daughters, Viola Davis, Whoopi Goldberg, Octavia Spencer and Jada Pinkett Smith.


title: Tina Knowles

text: In 2017, Knowles and her husband Richard founded the Where Art Can Occur (WACO) Theater Center, a non-profit "dedicated to the empowerment of artists, and people in general" in Los Angeles. Beyoncé, Kelly, and Solange make up the WACO Theater Center's Advisory Board.


title: Tina Knowles

text: In 2001, Knowles was a recipient at the ACE Awards, which honors individuals who "help raise awareness of the accessories industry with a positive impact".


title: Tina Knowles

text: In 2020, she was honored with the Inspiring Leadership Award at Essence Festival's Empowerment Experience.


title: Ariadna Gil

text: Ariadna Gil Giner (; born 23 January 1969) is a Spanish actress. She is known for her performances in films such as "Belle Époque" (for which she won the Goya Award for Best Actress), "Black Tears" and "Pan's Labyrinth".


title: Ariadna Gil

text: Film director Bigas Luna discovered her for the 1986 movie "Lola". After four films primarily in Catalan, though partly in Spanish and French, she took part in a movie exclusively in Spanish shot in 1991, Emilio Martínez Lázaro's "Amo tu cama rica", and has gone on to play in myriad films and series in Catalan, Spanish, French and English, among other languages.


title: Ariadna Gil

text: Between 1993 and 2007, she performed in more than thirty films, including "Libertarias", directed by Vicente Aranda; "Pan's Labyrinth", directed by Guillermo del Toro; and "Soldados de Salamina", directed by her former husband David Trueba.


title: Ariadna Gil

text: Gil was married to screenwriter, director, and novelist David Trueba with whom she has two children, Violeta (b. 1997) and Leo (b. 2003).


title: Jehovah

text: Jehovah () is a Latinization of the Hebrew , one vocalization of the Tetragrammaton (YHWH), the proper name of the God of Israel in the Hebrew Bible/Old Testament. The Tetragrammaton is considered one of the seven names of God in Judaism and one of the names of God in Christianity.


title: Jehovah

text: The consensus among scholars is that the historical vocalization of the Tetragrammaton at the time of the redaction of the Torah (6th century BCE) is most likely Yahweh. The historical vocalization was lost because in Second Temple Judaism, during the 3rd to 2nd centuries BCE, the pronunciation of the Tetragrammaton came to be avoided, being substituted with ("my Lord"). The Hebrew vowel points of were added to the Tetragrammaton by the Masoretes, and the resulting form was transliterated around the 12th century CE as "Yehowah". The derived forms "Iehouah" and "Jehovah" first appeared in the 16th century.


title: Jehovah

text: "Jehovah" was first introduced by William Tyndale in his translation of Exodus 6:3, and appears in some other early English translations including the Geneva Bible and the King James Version. The United States Conference of Catholic Bishops states that in order to pronounce the Tetragrammaton "it is necessary to introduce vowels that alter the written and spoken forms of the name (i.e. "Yahweh" or "Jehovah")." "Jehovah" appears in the Old Testament of some widely used translations including the American Standard Version (1901) and Young's Literal Translation (1862, 1899); the New World Translation (1961, 2013) uses "Jehovah" in both the Old and New Testaments. "Jehovah" does not appear in most mainstream English translations, some of which use Yahweh but most continue to use "Lord" or "" to represent the Tetragrammaton.


title: Jehovah

text: Most scholars believe the name "Jehovah" (also transliterated as "Yehowah") to be a hybrid form derived by combining the Hebrew letters (, later rendered in the Latin alphabet as "JHVH") with the vowels of . Some hold that there is evidence that a form of the Tetragrammaton similar to "Jehovah" may have been in use in Semitic and Greek phonetic texts and artifacts from Late Antiquity. Others say that it is the pronunciation "Yahweh" that is testified in both Christian and pagan texts of the early Christian era.


title: Jehovah

text: Some Karaite Jews, as proponents of the rendering "Jehovah", state that although the original pronunciation of has been obscured by disuse of the spoken name according to oral Rabbinic law, well-established English transliterations of other Hebrew personal names are accepted in normal usage, such as Joshua, Jeremiah, Isaiah or Jesus, for which the original pronunciations may be unknown. They also point out that "the English form "Jehovah" is quite simply an Anglicized form of Yhovah," and preserves the four Hebrew consonants "YHVH" (with the introduction of the "J" sound in English). Some argue that "Jehovah" is preferable to "Yahweh", based on their conclusion that the Tetragrammaton was likely tri-syllabic originally, and that modern forms should therefore also have three syllables.


title: Jehovah

text: Biblical scholar Francis B. Dennio, in an article he wrote, in the "Journal of Biblical Literature", said: "Jehovah misrepresents Yahweh no more than Jeremiah misrepresents Yirmeyahu. The settled connotations of Isaiah and Jeremiah forbid questioning their right." Dennio argued that the form "Jehovah" is not a barbarism, but is the best English form available, being that it has for centuries gathered the necessary connotations and associations for valid use in English.


title: Jehovah

text: According to a Jewish tradition developed during the 3rd to 2nd centuries BCE, the Tetragrammaton is written but not pronounced. When read, substitute terms replace the divine name where () appears in the text. It is widely assumed, as proposed by the 19th-century Hebrew scholar Wilhelm Gesenius, that the vowels of the substitutes of the name— (Lord) and (God)—were inserted by the Masoretes to indicate that these substitutes were to be used. When precedes or follows , the Masoretes placed the vowel points of into the Tetragrammaton, producing a different vocalization of the Tetragrammaton (), which was read as . Based on this reasoning, the form () has been characterized by some as a "hybrid form", and even "a philological impossibility".


title: Jehovah

text: Early modern translators disregarded the practice of reading (or its equivalents in Greek and Latin, and ) in place of the Tetragrammaton and instead combined the four Hebrew letters of the Tetragrammaton with the vowel points that, except in synagogue scrolls, accompanied them, resulting in the form "Jehovah". This form, which first took effect in works dated 1278 and 1303, was adopted in Tyndale's and some other Protestant translations of the Bible. In the 1560 "Geneva Bible", the Tetragrammaton is translated as "Jehovah" six times, four as the proper name, and two as place-names. In the 1611 "King James Version", "Jehovah" occurred seven times. In the 1885 "English Revised Version", the form "Jehovah" occurs twelve times. In the 1901 "American Standard Version" the form "Je-ho'vah" became the regular English rendering of the Hebrew , all throughout, in preference to the previously dominant "the ", which is generally used in the King James Version. It is also used in Christian hymns such as the 1771 hymn, "Guide Me, O Thou Great Jehovah".


title: Jehovah

text: The most widespread theory is that the Hebrew term has the vowel points of (). Using the vowels of , the composite () under the guttural () becomes a () under the (), the () is placed over the first (), and the () is placed under the (), giving (). When the two names, and , occur together, the former is pointed with a () under the () and a () under the second (), giving , to indicate that it is to be read as in order to avoid being repeated.


title: Jehovah

text: Taking the spellings at face value may have been as a result of not knowing about the Q're perpetuum, resulting in the transliteration "Yehowah" and derived variants. Emil G. Hirsch was among the modern scholars that recognized "Jehovah" to be "grammatically impossible".


title: Jehovah

text: Scholars are not in total agreement as to why does not have precisely the same vowel points as . The use of the composite () in cases where the name is to be read , has led to the opinion that the composite () ought to have been used to indicate the reading . It has been argued conversely that the disuse of the is consistent with the Babylonian system, in which the composite is uncommon.


title: Jehovah

text: The table below shows the vowel points of and , indicating the simple in in contrast to the in . As indicated to the right, the vowel points used when the Tetragrammaton is intended to be pronounced as are slightly different to those used in itself.


title: Jehovah

text: The difference between the vowel points of and is explained by the rules of Hebrew morphology and phonetics. and were allophones of the same phoneme used in different situations: on glottal consonants including (such as the first letter in ), and simple on other consonants (such as the "Y" in ).


title: Jehovah

text: The earliest available Latin text to use a vocalization similar to "Jehovah" dates from the 13th century. The "Brown-Driver-Briggs Lexicon" suggested that the pronunciation "Jehovah" was unknown until 1520 when it was introduced by Galatinus, who defended its use.


title: Jehovah

text: In English it appeared in William Tyndale's translation of the Pentateuch ("The Five Books of Moses") published in 1530 in Germany, where Tyndale had studied since 1524, possibly in one or more of the universities at Wittenberg, Worms and Marburg, where Hebrew was taught. The spelling used by Tyndale was "Iehouah"; at that time, "I" was not distinguished from J, and U was not distinguished from V. The original 1611 printing of the Authorized King James Version used "Iehouah". Tyndale wrote about the divine name: "IEHOUAH [Jehovah], is God's name; neither is any creature so called; and it is as much to say as, One that is of himself, and dependeth of nothing. Moreover, as oft as thou seest in great letters (except there be any error in the printing), it is in Hebrew "Iehouah", Thou that art; or, He that is." The name is also found in a 1651 edition of Ramón Martí's .


title: Jehovah

text: The name "Jehovah" (initially as "Iehouah") appeared in all early Protestant Bibles in English, except Coverdale's translation in 1535. The Roman Catholic Douay–Rheims Bible used "the Lord", corresponding to the Latin Vulgate's use of (Latin for , "Lord") to represent the Tetragrammaton. The "Authorized King James Version", which used "" in a few places, most frequently gave "the " as the equivalent of the Tetragrammaton. The form "Iehouah" appeared in John Rogers' "Matthew Bible" in 1537, the "Great Bible" of 1539, the "Geneva Bible" of 1560, "Bishop's Bible" of 1568 and the "King James Version" of 1611. More recently, "Jehovah" has been used in the "Revised Version" of 1885, the "American Standard Version" in 1901, and the "New World Translation of the Holy Scriptures" of Jehovah's Witnesses in 1961.


title: Jehovah

text: At Exodus 6:3–6, where the King James Version has "Jehovah", the "Revised Standard Version" (1952), the "New American Standard Bible" (1971), the "New International Version" (1978), the "New King James Version" (1982), the "New Revised Standard Version" (1989), the "New Century Version" (1991), and the "Contemporary English Version" (1995) give "" or "Lord" as their rendering of the Tetragrammaton, while the "New Jerusalem Bible" (1985), the "Amplified Bible" (1987), the "New Living Translation" (1996, revised 2007), and the "Holman Christian Standard Bible" (2004) use the form "Yahweh".


title: Jehovah

text: Modern guides to Biblical Hebrew grammar, such as Duane A Garrett's "A Modern Grammar for Classical Hebrew" state that the Hebrew vowel points now found in printed Hebrew Bibles were invented in the second half of the first millennium AD, long after the texts were written. This is indicated in the authoritative "Hebrew Grammar" of Gesenius, and "Godwin's Cabalistic Encyclopedia", and is acknowledged even by those who say that guides to Hebrew are perpetuating "scholarly myths".


title: Jehovah

text: "Jehovist" scholars, largely earlier than the 20th century, who believe to be the original pronunciation of the divine name, argue that the Hebraic vowel-points and accents were known to writers of the scriptures in antiquity and that both Scripture and history argue in favor of their "ab origine" status to the Hebrew language. Some members of Karaite Judaism, such as Nehemia Gordon, hold this view. The antiquity of the vowel points and of the rendering "Jehovah" was defended by various scholars, including Michaelis, Drach, Stier, William Fulke (1583), Johannes Buxtorf, his son Johannes Buxtorf II, and John Owen (17th century); Peter Whitfield and John Gill (18th century), John Moncrieff (19th century), Johann Friedrich von Meyer (1832) Thomas D. Ross has given an account of the controversy on this matter in England down to 1833. G. A. Riplinger, John Hinton, Thomas M. Strouse, are more recent defenders of the authenticity of the vowel points.


title: Jehovah

text: 18th-century theologian John Gill puts forward the arguments of 17th-century Johannes Buxtorf II and others in his writing, "A Dissertation Concerning the Antiquity of the Hebrew Language, Letters, Vowel-Points and Accents". He argued for an extreme antiquity of their use, rejecting the idea that the vowel points were invented by the Masoretes. Gill presented writings, including passages of scripture, that he interpreted as supportive of his "Jehovist" viewpoint that the Old Testament must have included vowel-points and accents. He claimed that the use of Hebrew vowel points of , and therefore of the name "Jehovah" , is documented from before 200 BCE, and even back to Adam, citing Jewish tradition that Hebrew was the first language. He argued that throughout this history the Masoretes did not invent the vowel points and accents, but that they were delivered to Moses by God at Sinai, citing Karaite authorities Mordechai ben Nisan Kukizov (1699) and his associates, who stated that "all our wise men with one mouth affirm and profess that the whole law was pointed and accented, as it came out of the hands of Moses, the man of God." The argument between Karaite and Rabbinic Judaism on whether it was lawful to pronounce the name represented by the Tetragrammaton is claimed to show that some copies have always been pointed (voweled) and that some copies were not pointed with the vowels because of "oral law", for control of interpretation by some Judeo sects, including non-pointed copies in synagogues. Gill claimed that the pronunciation can be traced back to early historical sources which indicate that vowel points and/or accents were used in their time. Sources Gill claimed supported his view include:


title: Jehovah

text: Gill quoted Elia Levita, who said, "There is no syllable without a point, and there is no word without an accent," as showing that the vowel points and the accents found in printed Hebrew Bibles have a dependence on each other, and so Gill attributed the same antiquity to the accents as to the vowel points. Gill acknowledged that Levita, "first asserted the vowel points were invented by "the men of Tiberias", but made reference to his condition that "if anyone could convince him that his opinion was contrary to the book of Zohar, he should be content to have it rejected." Gill then alludes to the book of Zohar, stating that rabbis declared it older than the Masoretes, and that it attests to the vowel-points and accents.


title: Jehovah

text: William Fulke, John Gill, John Owen, and others held that Jesus Christ referred to a Hebrew vowel point or accent at , indicated in the King James Version by the word "tittle".


title: Jehovah

text: The 1602 Spanish Bible (Reina-Valera/Cipriano de Valera) used the name "Iehova" and gave a lengthy defense of the pronunciation "Jehovah" in its preface.


title: Jehovah

text: Despite Jehovist claims that vowel signs are necessary for reading and understanding Hebrew, modern Hebrew (apart from young children's books, some formal poetry and Hebrew primers for new immigrants), is written without vowel points. The Torah scrolls do not include vowel points, and ancient Hebrew was written without vowel signs.


title: Jehovah

text: The Dead Sea Scrolls, discovered in 1946 and dated from 400 BC to 70 AD, include texts from the Torah or Pentateuch and from other parts of the Hebrew Bible, and have provided documentary evidence that, in spite of claims to the contrary, the original Hebrew texts were in fact written without vowel points. Menahem Mansoor's "The Dead Sea Scrolls: A College Textbook and a Study Guide" claims the vowel points found in printed Hebrew Bibles were devised in the 9th and 10th centuries.


title: Jehovah

text: Gill's view that the Hebrew vowel points were in use at the time of Ezra or even since the origin of the Hebrew language is stated in an early 19th-century study in opposition to "the opinion of most learned men in modern times", according to whom the vowel points had been "invented since the time of Christ". The study presented the following considerations:


title: Jehovah

text: In the 16th and 17th centuries, various arguments were presented for and against the transcription of the form "Jehovah".


title: Jehovah

text: William Robertson Smith summarizes these discourses, concluding that "whatever, therefore, be the true pronunciation of the word, there can be little doubt that it is not "Jehovah"". Despite this, he consistently uses the name "Jehovah" throughout his dictionary and when translating Hebrew names. Some examples include "Isaiah" ["Jehovah's help or salvation"], "Jehoshua" ["Jehovah a helper"], "Jehu" ["Jehovah is He"]. In the entry, "Jehovah", Smith writes: "JEHOVAH (, usually with the vowel points of ; but when the two occur together, the former is pointed , that is with the vowels of , as in Obad. i. 1, Hab. iii. 19:" This practice is also observed in many modern publications, such as the "New Compact Bible Dictionary" (Special Crusade Edition) of 1967 and "Peloubet's Bible Dictionary" of 1947.


title: Jehovah

text: The following versions of the Bible render the Tetragrammaton as "Jehovah" either exclusively or in selected verses:


title: Jehovah

text: The Douay Version of 1609 renders the phrase in Exodus 6:3 as "and my name Adonai", and in its footnote says: "Adonai is not the name here vttered to Moyses but is redde in place of the vnknowen name". The Challoner revision (1750) uses "ADONAI" with a note stating, "some moderns have framed the name Jehovah, unknown to all the ancients, whether Jews or Christians."


title: Jehovah

text: Various Messianic Jewish Bible translations use "Adonai" (Complete Jewish Bible (1998), Tree of Life Version (2014) or "Hashem" (Orthodox Jewish Bible (2002)).


title: Jehovah

text: A few sacred name Bibles use the Tetragrammaton instead of a generic title (e.g., the LORD) or a conjectural transliteration (e.g., Yahweh or Jehovah):


title: Jehovah

text: Most modern translations exclusively use "Lord" or "", generally indicating that the corresponding Hebrew is "Yahweh" or "YHWH" (not "JHVH"), and in some cases saying that this name is "traditionally" transliterated as "Jehovah":


title: Jehovah

text: Following the Middle Ages, before and after the Protestant Reformation some churches and public buildings across Europe were decorated with variants and cognates of "Jehovah". For example, the Coat of Arms of Plymouth (UK) City Council bears the Latin inscription, "Turris fortissima est nomen Jehova" (English, "The name of Jehovah is the strongest tower"), derived from .


title: Jehovah

text: Lyrics of some Christian hymns, for example, "Guide me, O thou great Jehovah", include "Jehovah". The form also appears in some reference books and novels, appearing several times in the novel "The Greatest Story Ever Told," by Catholic author Fulton Oursler.


title: Jehovah

text: Some religious groups, notably Jehovah's Witnesses and proponents of the King-James-Only movement, continue to use Jehovah as the only name of God. In Mormonism, "Jehovah" is thought to be the name by which Jesus was known prior to his birth; references to "the " in the KJV Old Testament are therefore understood to be references to the pre-mortal Jesus, whereas God the Father, who is regarded as a separate individual, is sometimes referred to as "Elohim". "Jehovah" is twice rendered in the Book of Mormon, in 2 Nephi 22:2 and Moroni 10:34.


title: Kei car

text: Kei car (or , kanji: , "light automobile", ), known variously outside Japan as Japanese city car or Japanese microcar, is the Japanese vehicle category for the smallest highway-legal passenger cars with restricted dimensions and engine capacity. Similar Japanese categories exist for microvans, and kei trucks. These vehicles are most often the Japanese equivalent of the EU A-segment (city cars).


title: Kei car

text: The kei car category was created by the Japanese government in 1949, and the regulations have been revised several times since. These regulations specify a maximum vehicle size, engine capacity, and power output, so that owners may enjoy both tax and insurance benefits. In most rural areas they are also exempted from the requirement to certify that adequate parking is available for the vehicle.


title: Kei car

text: Kei cars have become very successful in Japan, consisting of over one-third of domestic new-car sales in fiscal 2016, despite dropping from a record 40% market share in 2013, after the government increased the kei-car tax by 50% in 2014. In 2018, seven of the 10 top-selling models were kei cars, including the top four, all boxy passenger vans: Honda N-Box, Suzuki Spacia, Nissan Dayz, and Daihatsu Tanto. Isuzu is the only current Japanese automobile manufacturer that has never offered a "kei"-sized vehicle for either private ownership or commercial trucks and microvans.


title: Kei car

text: In export markets, though, the genre is generally too specialized and too small for most models to be profitable. Notable exceptions exist, though, for instance the Suzuki Alto and Daihatsu Cuore, which were exported consistently from around 1980. Kei cars are not only popular with the elderly, but they are also popular with youths, especially younger families because of their affordability and ease of use.


title: Kei car

text: Nearly all kei cars have been designed and manufactured in Japan, but a version of the German-made Smart was briefly imported and officially classified as a kei car, and since then, the British Caterham 7 160 has also received such classification.


title: Kei car

text: Kei cars feature yellow license plates, earning them the name "yellow-plate cars" (black numbers on yellow background for private use and yellow numbers on black background for commercial use) in English-speaking circles. Japanese government regulations limit the physical size, engine power, and engine displacement of kei cars. Keis have also been subject to other restrictions, such as lower speed limits, including a warning chime that goes off if being driven too fast.


title: Kei car

text: Kei cars are often available with forced-induction engines, automatic and continuously variable transmissions, front-wheel drive and all-wheel drive.


title: Kei car

text: The kei-car legal class originated in the era following the end of World War Two, when most Japanese could not afford a full-sized car, but many had enough money to buy a motorcycle. To promote the growth of the car industry, as well as to offer an alternative delivery method to small business and shop owners, the kei- car category and standards were created. Originally limited to a displacement of only (or just 100 cc for two-stroke engines) in 1949, dimensions and engine size limitations were gradually expanded (in 1950, 1951, and 1955) to tempt more manufacturers to produce kei cars.


title: Kei car

text: In 1955, the displacement limit increased to for both two-stroke and four-stroke engines, resulting in several new kei-car models beginning production in the following years. These included the 1955 Suzuki Suzulight and the 1958 Subaru 360, the first mass-produced kei car, finally able to fill people's need for basic transportation without being too severely compromised. In 1955, the Japanese Ministry of International Trade and Industry also set forth goals to develop a "national car" that was larger than kei cars produced at the time. This goal influenced Japanese automobile manufacturers to determine how best to focus their product development efforts for the smaller cars, or the larger "national car". The small exterior dimensions and engine displacement reflected the driving environment in Japan, with speed limits in Japan realistically not exceeding in urban areas. Keis were not allowed to be driven any faster than 40 km/h until the mid-1960s, when the kei speed limit was increased to .


title: Kei car

text: The class then went through a period of ever increasing sophistication, with an automatic transmission appearing in the Honda N360 in August 1968, with front disc brakes becoming available on a number of sporting kei cars, beginning with the Honda Z GS of January 1970. Power outputs also kept climbing, reaching a peak in the Daihatsu Fellow Max SS of July 1970. Sales increased steadily, reaching a peak of 750,000 in 1970. Throughout the 1970s, the government kept whittling away at the benefits offered to kei vehicles, which combined with ever stricter emissions standards to lower sales drastically through the first half of the decade. Honda and Mazda withdrew from the contracting passenger kei-car market, in 1974 and 1976, respectively, although they both maintained a limited offering of commercial vehicles.


title: Kei car

text: Until 31 December 1974, kei cars used smaller license plates than regular cars . As of 1975, they received the medium-sized standard plates, which are . To set them apart from regular passenger cars, the plates were now yellow and black rather than white and green.


title: Kei car

text: Sales had been steadily declining, reaching a low-water mark of 150,000 passenger cars in 1975, 80% less than 1970 sales. Many were beginning to doubt the continued existence of the kei car, with both Honda and Mazda withdrawing in the middle of the 1970s.


title: Kei car

text: Emissions laws were another problem for the kei-car industry in the mid-1970s. From 1973 to 1978, emissions standards were to be tightened in four steps. Meeting the stricter standards, which were to be introduced in 1975, would be problematic for manufacturers of kei cars. This was particularly hard for Daihatsu and Suzuki, which focused on two-stroke engines, especially Suzuki, a relatively small company whose entire production consisted of two-stroke kei cars. Daihatsu, though, had both the engineering backing and powerful connections of their large owner, Toyota, to aid them in meeting the new requirements. All manufacturers of kei cars were clamoring for increased engine displacement and vehicle size limits, claiming that the emissions standards could not be met with a functional 360-cc engine. In the end, the Japanese legislature relented, increasing the overall length and width restrictions by and , respectively. Engine size was increased to , taking effect from 1 January 1976. The new standards were announced on 26 August 1975, leaving very little time for manufacturers to revise their designs to take advantage of the new limits.


title: Kei car

text: Most manufacturers were somewhat surprised by the decision; having expected a limit, they had already developed new engines to fit such restrictions. These new engines were quickly introduced, usually mounted within widened bodies of existing models. These interim versions (with displacements ranging between 443 and 490 cc) were "feelers", developed to see if indeed a continued market existed for the kei car. As sales improved, they only lasted for a model year or so until manufacturers had the time to develop "full-sized" engines. Only Daihatsu managed to avoid developing transitional engine versions that did not take full advantage of the new regulations. Kei-car sales remained stagnant, however, while combined passenger and commercial kei car sales reached 700,000 for the first time since 1974, the small cars still lost market share in a quickly growing market.


title: Kei car

text: As the kei cars became larger and more powerful, another benefit appeared, as exports increased considerably. In particular, export sales of trucks increased, while kei passenger car exports increased at a lower rate. In 1976, combined exports of kei cars and trucks were 74,633 (up 171% year-on-year), despite exports of passenger kei cars decreasing. In 1980, another record year occurred as exports climbed 80.3% (to 94,301 units), of which 77.6% were microtrucks. Nearly 17% of exports went to Europe, dwarfed by Chile, which took nearly a quarter of the exported keis. Due to the difficult economic environment, low-priced cars sold well and 1981 marked another successful year as Japanese midget car sales reached their highest since the 1970 record (at 1,229,809 units for cars and commercials).


title: Kei car

text: As the 1980s progressed, kei cars became increasingly refined, losing their utilitarian origins, as Japanese customers became ever better off. Features such as four-wheel drive, turbochargers, and air conditioning began to become available on kei-car models. Conversely, van versions of the small hatchbacks were now marketed to nonbusiness users, to take advantage of even lower taxation and laxer emissions rules; this move in the market was spearheaded by Suzuki with their 1979 Alto, and competitors soon followed suit, with the Subaru Family Rex and the Daihatsu Mira appearing within a year's time.


title: Kei car

text: In the 1980s, the speed limit for kei cars was . Government rules also mandated a warning chime to alert the driver if this speed were exceeded.


title: Kei car

text: The kei car regulations were revised in March 1990, allowing engines an increase of in displacement, and the overall car length to be increased by . These changes occurred during the 1990s Japanese economic bubble, and all manufacturers quickly developed new models to suit. Within five months, all the major models of kei cars had switched from 550- to 660-cc engines. For the first time, a power limit was also applied, in addition to the limit on engine size. This power limit of matched the highest output reached by any kei manufacturer at the time and was a gentlemen's agreement amongst the manufacturers in an effort to avoid a kei-class horsepower war. The only kei-engined car to have exceeded this limit was the Caterham 7 160, a lightweight British sports car that was not expected to qualify as a kei, though it is small enough (in dimensions and displacement) to fit the regulations. Its engine is rated at , and since that is how the car is homologated in the United Kingdom, the Japanese authorities told the importer that its power should remain unchanged.


title: Kei car

text: The addition of a power limit was a response to the ever-increasing power outputs available with turbocharging and multivalve technologies popularized in the late '80s. Engine technology was also shared with sport bikes, which are designed for rider enjoyment, and less so for fuel economy – going against the idea of small, people's cars and putting the kei cars' tax and structural advantages at risk of a governmental backlash. The Japan Automobile Manufacturers Association also self-imposes a speed limit for kei cars of .


title: Kei car

text: In a rare example of an overseas mass-produced model being sold as a kei car in Japan, a kei version of the Smart Fortwo (called the Smart K) was sold at the Yanase dealerships in Japan from 2001 to 2004. The Smart K used revised rear fenders and reduced tire dimensions and track width to conform to kei-car regulations. The model was not a success, and it sold the fewest examples of a kei car when it was marketed.


title: Kei car

text: Starting in 2011, Toyota entered the kei-car market for the first time. The resulting Toyota Pixis Space, a rebadged Daihatsu Move Conte, was expected to increase competition in that market. Currently, Nissan and Mitsubishi jointly produce the Mitsubishi eK (also sold as the Nissan Dayz or Nissan Otti). Honda's kei-car line-up, the N-one, N-Box, and N-WGN, accounts for around a quarter of its overall sales.


title: Kei car

text: In April 2014, the Japanese government significantly reduced advantages for kei-car owners, imposing higher sales tax, higher gasoline tax and a higher kei car tax – the last of which was raised by 50 percent – greatly reducing their tax benefits compared to regular-sized cars.


title: Kei car

text: Daihatsu, Honda, Suzuki and Nissan-Mitsubishi (through NMKV joint venture) are currently the only mass-production manufacturers of kei cars. Mazda sells rebadged Suzuki models, Toyota and Subaru sell badge-engineered Daihatsu models, while Nissan-Mitsubishi sourced their commercial kei models from Suzuki.


title: Kei car

text: The electric version of the Mitsubishi i, the Mitsubishi i-MiEV was the first electric kei car. This was launched for fleet purchasers in 2009 in the Japanese domestic market. It became available to the wider public in 2010, also international sales started that year. The i-MiEV uses a permanent-magnet motor powered by a 16 kWh lithium-ion battery pack. The models charge overnight in 14 hours from home 100-volt mains, or in 30 minutes from quick-charging stations installed at fleet locations. The range is using the U.S. EPA testing routine and using the Japanese Transport Ministry's testing routine. It was the world's first mass-produced electric car, and also the first electric car to sell more than 10,000 units.


title: Kei car

text: Rebadged and slightly updated variants of the i-MiEV were also sold in Europe by PSA Peugeot Citroën as the Peugeot iOn and Citroën C-Zero. In 2011, Mitsubishi launched MINICAB-MiEV; a battery electric version of the microvan Minicab, borrowing the drivetrain and key components from the i-MiEV. As of March 2015, and accounting for all variants of the i-MiEV, including the two minicab versions sold in Japan, over 50,000 units have been sold worldwide since 2009. The i-MiEV and rebadged versions are discontinued in all the markets now.


title: Kei car

text: In May 2022, NMKV launched the Nissan-badged Sakura and the Mitsubishi-badged eK X EV in the Japanese domestic market. These models have a 20 kWh lithium-ion battery pack with an estimated WLTC range of . Both use a single electric motor with a maximum output of . The eK X EV is a battery-electric version of the Mitsubishi eK X, and the Sakura is an update to Nissan's Dayz line. As of June 2022, these are currently the cheapest battery EV from a major Japanese manufacturer sold as a new car; also eligible for EV purchase incentives in Japan.


title: Kei car

text: An automobile weight tax also is levied: The amount is ¥13,200 and ¥8,800 for a three- and two-year period, respectively, as compared to the ¥18,900 and ¥12,600 charged for larger-sized passenger cars. The savings are thus more than 30% in both cases. This weight tax is paid after the vehicle has passed its safety inspection.


title: Kei car

text: A 24-month insurance contract typically costs ¥18,980 at the time of registration, versus ¥22,470 for a larger car.


title: Moneyball

text: Moneyball: The Art of Winning an Unfair Game is a book by Michael Lewis, published in 2003, about the Oakland Athletics baseball team and its general manager Billy Beane. Its focus is the team's analytical, evidence-based, sabermetric approach to assembling a competitive baseball team despite Oakland's small budget. A film based on Lewis' book, starring Brad Pitt and Jonah Hill, was released in 2011.


title: Moneyball

text: The central premise of "Moneyball" is that the collective wisdom of baseball insiders (including players, managers, coaches, scouts, and the front office) over the past century is outdated, subjective, and often flawed. Statistics such as stolen bases, runs batted in, and batting average, typically used to gauge players, are relics of a 19th-century view of the game and the statistics available at that time. Before sabermetrics was introduced to baseball, teams were dependent on the skills of their scouts to find and evaluate players. Scouts are experienced in the sport, usually having been players or coaches. The book argues that the Oakland A's' front office took advantage of more analytical gauges of player performance to field a team that could outsmart and better compete against richer competitors in Major League Baseball (MLB).


title: Moneyball

text: Rigorous statistical analysis had demonstrated that on-base percentage and slugging percentage are better indicators of offensive success, and the A's became convinced that these qualities were cheaper to obtain on the open market than more historically valued qualities such as running speed and defense. These observations often flew in the face of conventional baseball wisdom and the beliefs of many baseball scouts and executives.


title: Moneyball

text: By re-evaluating their strategy in this way, the 2002 Athletics, with approximately $44 million in salary, were competitive with larger market teams such as the New York Yankees, who spent over $125 million in payroll that season. Because of its smaller budget, Oakland had to find players undervalued by the market, and their system has proven itself thus far. The approach brought the A's to the playoffs in 2002 and 2003.


title: Moneyball

text: Lewis explored several themes in the book, such as insiders vs. outsiders (established traditionalists vs. upstart proponents of sabermetrics), the democratization of information causing a flattening of hierarchies, and "the ruthless drive for efficiency that capitalism demands".


title: Moneyball

text: "Moneyball" also touches on the A's' methods of prospect selection. Sabermetricians argue that a college baseball player's chance of MLB success is much higher than the more traditional high school draft pick. Beane maintains that high draft picks spent on high school prospects, regardless of talent or physical potential as evaluated by traditional scouting, are riskier than those spent on more polished college players. Adding on, college players have played more games and thus there is a larger mass of statistical data to base expensive decisions off. Lewis cites A's minor leaguer Jeremy Bonderman, drafted out of high school in 2001 over Beane's objections, as an example of the type of draft pick Beane would avoid. Bonderman had all of the traditional "tools" that scouts look for, but thousands of such players have been signed by MLB organizations out of high school over the years and failed to develop as anticipated. Lewis explores the A's approach to the 2002 MLB draft, when the team had a run of early picks. The book documents Beane's often tense discussions with his scouting staff (who favored traditional subjective evaluation of potential rather than objective sabermetrics) in preparation for the draft to the actual draft, which defied all expectations and was considered at the time a wildly successful (if unorthodox) effort by Beane.


title: Moneyball

text: "Moneyball" traces the history of the sabermetric movement back to such people as Bill James (then a member of the Boston Red Sox front office) and Craig R. Wright. Lewis explores how James's seminal "Baseball Abstract", published annually from the late 1970s through the late 1980s, influenced many of the young, up-and-coming baseball minds that are now joining the ranks of baseball management.


title: Moneyball

text: "Moneyball" has entered baseball's lexicon; teams that value sabermetrics are often said to be playing ""Moneyball"." Baseball traditionalists, in particular some scouts and media members, decry the sabermetric revolution and have disparaged "Moneyball" for emphasizing sabermetrics over more traditional methods of player evaluation. Nevertheless, "Moneyball" changed the way many major league front offices do business. In its wake, teams such as the New York Mets, New York Yankees, San Diego Padres, St. Louis Cardinals, Boston Red Sox, Washington Nationals, Arizona Diamondbacks, Cleveland Guardians, and the Toronto Blue Jays have hired full-time sabermetric analysts.


title: Moneyball

text: When the Mets hired Sandy Alderson – Beane's predecessor and mentor with the A's – as their general manager after the 2010 season, and hired Beane's former associates Paul DePodesta and J.P. Ricciardi to the front office, the team was jokingly referred to as the "Moneyball Mets". Like the Oakland A's in the 1990s, the Mets have been directed by their ownership to slash payroll. Under Alderson's tenure, the team payroll dropped below $100 million per year from 2012 to 2014, and the Mets reached the 2015 World Series (defeating MLB's highest-payroll team, the Los Angeles Dodgers, en route).


title: Moneyball

text: In the 2019 and 2020 seasons, the Tampa Bay Rays were considered masters of Moneyball, reaching the 2020 World Series with a payroll prorated at US$28.2 million, third-lowest out of Major League Baseball's 30 teams.


title: Moneyball

text: Lewis has acknowledged that the book's success may have hurt the Athletics' fortunes as other teams accepted sabermetrics, reducing Oakland's edge.


title: Moneyball

text: Since the book's publication and success, Lewis has discussed plans for a sequel to "Moneyball" called "Underdogs", revisiting the players and their relative success several years into their careers, although only four players from the 2002 draft played much at the Major League level.


title: Moneyball

text: Moneyball has also influenced and been influenced by other professional sports teams including European club association football (soccer). Beane has regarded Arsenal's former manager Arsène Wenger as a personal idol. Beane has held discussions with Wenger, former Manchester United F.C. manager Sir Alex Ferguson, and Liverpool F.C. owner John W. Henry. His friendship with ex-Arsenal scout Damien Comolli and Arsenal owner Stan Kroenke allowed him to delve deep into the world of English football. According to "El País", Liverpool F.C. co-owner John W. Henry did not trust public opinion so he looked for a mathematical method similar to the one used for the Boston Red Sox (in guiding them to three World Series wins) which he also owns via Fenway Sports Group. The mathematical model turned out to be that of Cambridge physicist Ian Graham, which was used to select the manager (Jürgen Klopp) and players essential for Liverpool to win the 2018-19 UEFA Champions League.


title: Moneyball

text: "Moneyball" covers the lives and careers of several baseball personalities. The central one is Billy Beane, whose failed playing career is contrasted with wildly optimistic predictions by scouts.


title: Moneyball

text: Beane assembled a list of twenty players they would draft in a "perfect world"; meaning if money was no object and they did not have to compete with the other twenty-nine teams.


title: Moneyball

text: Richard H. Thaler of the University of Chicago Graduate School of Business and Cass R. Sunstein of the University of Chicago Law School described the book as a "sensation... Lewis has a wonderful story to tell, and he tells it wonderfully... Lewis also raises some serious puzzles that he does not resolve, and his account has some large and perhaps profound implications that he does not much explore."


title: Moneyball

text: David Haglund of Slate and Jonah Keri of Grantland have both criticized the book for glossing over key young talent acquired through the draft and signed internationally. Specifically, they have argued that the book ignores the pitching trio of Tim Hudson, Mark Mulder, and Barry Zito, as well as position players such as Eric Chavez and Miguel Tejada, all of whom were discovered via traditional scouting methodology and were key contributors to the success of the 2002 Athletics. In 2002, Barry Zito received the AL Cy Young Award and Miguel Tejada received the AL MVP Award.


title: Moneyball

text: Sheldon and Alan Hirsch also contended the view in their 2011 book "The Beauty of Short Hops: How Chance and Circumstance Confound the Moneyball Approach to Baseball", pointing out the team being high up in allowing runs less other teams as opposed to being high on runs scored during their postseason runs.


title: Moneyball

text: A movie based on the book was released in 2011. Actor Brad Pitt stars as Billy Beane, while Jonah Hill plays fictional character Peter Brand, based on Paul DePodesta; Philip Seymour Hoffman plays A's manager Art Howe. Academy Award-winning screenwriter Steve Zaillian was hired to write the script, and Steven Soderbergh was slated to direct, replacing David Frankel. But in June 2009, because of conflicts over a revised script by Soderbergh, Sony put the movie on hold just days before it was scheduled to begin shooting. Soderbergh was eventually let go.


title: Moneyball

text: Bennett Miller took over directing duties, and Aaron Sorkin rewrote the script. Shooting began in July 2010 at Blair Field, the Sports Stadium for Wilson High School (Long Beach, California), Sony Studios in Culver City, Dodger Stadium, and the Oakland-Alameda Coliseum. The film was released in theaters on September 23, 2011. "Moneyball" was nominated for six Academy Awards, including Best Actor and Best Picture.


title: Moneyball

text: The book is parodied in the 2010 "Simpsons" episode "MoneyBART", in which Lisa manages Bart's Little League baseball team using sabermetric principles. Bill James made an appearance in this episode.


title: Moneyball

text: The film adaptation is mentioned in "Brooklyn Nine-Nine" as being Captain Raymond Holt's favourite film because of the beauty of its statistical analysis.


title: Acadia

text: Acadia () was a colony of New France in northeastern North America which included parts of what are now the Maritime provinces, the Gaspé Peninsula and Maine to the Kennebec River. During much of the 17th and early 18th centuries, Norridgewock on the Kennebec River and Castine at the end of the Penobscot River were the southernmost settlements of Acadia. The French government specified land bordering the Atlantic coast, roughly between the 40th and 46th parallels. It was eventually divided into British colonies. The population of Acadia included the various indigenous First Nations that comprised the Wabanaki Confederacy, the Acadian people and other French settlers.


title: Acadia

text: The first capital of Acadia was established in 1605 as Port-Royal. An English force from Virginia attacked and burned down the town in 1613, but it was later rebuilt nearby, where it remained the longest-serving capital of French Acadia until the British siege of Port Royal in 1710. There were six colonial wars in a 74-year period in which British interests tried to capture Acadia, starting with King William's War in 1689. French troops from Quebec, Acadians, the Wabanaki Confederacy, and French priests continually raided New England settlements along the border in Maine during these wars. Acadia was conquered in 1710 during Queen Anne's War, while New Brunswick and much of Maine remained contested territory. Prince Edward Island (Île Saint-Jean) and Cape Breton (Île Royale) remained under French control, as agreed under Article XIII of the Treaty of Utrecht. The English took control of Maine by defeating the Wabanaki Confederacy and the French priests during Father Rale's War. During King George's War, France and New France made significant attempts to regain mainland Nova Scotia. The British took New Brunswick in Father Le Loutre's War, and they took Île Royale and Île Saint-Jean in 1758 following the French and Indian War.


title: Acadia

text: The term Acadia today refers to regions of North America that are historically associated with the lands, descendants, or culture of the former region. It particularly refers to regions of the Maritimes with Acadian roots, language, and culture, primarily in New Brunswick, Nova Scotia, the Magdalen Islands and Prince Edward Island, as well as in Maine. It can also refer to the Acadian diaspora in southern Louisiana, a region also referred to as Acadiana since the early 1960s. In the abstract, Acadia refers to the existence of an Acadian culture in any of these regions. People living in Acadia are called Acadians which changed to Cajuns in Louisiana, the American pronunciation of Acadians, even though most Cajuns are not descendants of Acadians but French-Americans who lived in southern Louisiana in the US.


title: Acadia

text: Explorer Giovanni da Verrazzano is credited for originating the designation Acadia on his 16th-century map, where he applied the ancient Greek name "Arcadia" to the entire Atlantic coast north of Virginia. "Arcadia" is derived from the Arcadia district in Greece, which had the extended meanings of "refuge" or "idyllic place". Henry IV of France chartered a colony south of the St. Lawrence River between the 40th and 46th parallels in 1603, and he recognized it as "La Cadie". Samuel de Champlain fixed its present orthography with the "r" omitted, and cartographer William Francis Ganong has shown its gradual progress northeastwards to its resting place in the Atlantic provinces of Canada.


title: Acadia

text: As an alternative theory, some historians suggest that the name is derived from the indigenous Canadian Miꞌkmaq language, in which Cadie means "fertile land".


title: Acadia

text: The borders of French Acadia have never been clearly defined, but the following areas were at some time part of French Acadia :


title: Acadia

text: The history of Acadia was significantly influenced by the warfare that took place on its soil during the 17th and 18th century. Prior to that time period, the Miꞌkmaq lived in Acadia for millennia. The French arrived in 1604, claiming the Miꞌkmaq lands for the King of France. Despite this, the Miꞌkmaq tolerated the presence of the French in exchange for favours and trade. Catholic Miꞌkmaq and Acadians were the predominant populations in the colony for the next 150 years.


title: Acadia

text: Early European colonists and settlers were French subjects primarily from the Poitou-Charentes and Aquitaine regions of southwestern France, now known as Nouvelle-Aquitaine. The first French settlement was established by Pierre Dugua de Mons, Governor of Acadia, under the authority of Henri IV, on Saint Croix Island in 1604. The following year, the settlement was moved across the Bay of Fundy to Port Royal after a difficult winter on the island and deaths from scurvy. In 1607 the colony received bad news: King Henry had revoked Sieur de Mons' royal fur monopoly, citing that the income was insufficient to justify supplying the colony further. Thus recalled, the last of the French left Port Royal in August 1607. Their allies, the native Miꞌkmaq nation, kept careful watch over their possessions. When the former lieutenant governor, Jean de Biencourt de Poutrincourt et de Saint-Just, returned in 1610, he found Port Royal just as it was left.


title: Acadia

text: During the first 80 years of the French presence in Acadia, there were ten significant battles as the English, Scottish, and Dutch contested the French for possession of the colony. These battles happened at Port Royal, Saint John, Cap de Sable (present-day Port La Tour, Nova Scotia), Jemseg, Castine and Baleine.


title: Acadia

text: From the 1680s onward, there were six colonial wars that took place in the region (see the French and Indian Wars as well as Father Rale's War and Father Le Loutre's War). These wars were fought between New England and New France, and their respective native allies. After the British siege of Port Royal in 1710, mainland Nova Scotia was under the control of British colonial government, but both present-day New Brunswick and virtually all of present-day Maine remained contested territory between New England and New France, until the treaty of Paris of 1763 confirmed British control over the region.


title: Acadia

text: The wars were fought on two fronts: the southern border of Acadia, which New France defined as the Kennebec River in southern Maine and in present-day peninsular Nova Scotia. The latter involved preventing the British from taking the capital of Acadia, Port Royal (See Queen Anne's War), establishing themselves at Canso (See Father Rale's War) and founding Halifax (see Father Le Loutre's War).


title: Acadia

text: From 1640 to 1645, Acadia was plunged into what some historians have described as a civil war. The war was between Port Royal, where the Governor of Acadia Charles de Menou d'Aulnay de Charnisay was stationed, and present-day Saint John, New Brunswick, where Governor of Acadia Charles de Saint-Étienne de la Tour was stationed. There were four major battles in the war, and d'Aulnay ultimately prevailed over La Tour.