title: Stargate Atlantis

text: The first and only DVD release of the series from MGM Home Entertainment, was the pilot episode of Stargate Atlantis, "Rising", as a standalone episode. It was released, in North America, on June 7, 2005. The full first season was released, in North America, on November 15, 2005, in new slim line cases. Soon after the release of the first season set Sony received complaints that some Canadian customers bought sets that had the same content on both disk 1 and 5. Sony quickly offered a replacement disc. In early 2006, Sony announced that "Stargate Atlantis" would become the first TV series released on the next generation Blu-ray platform. In mid-2006 MGM, the producers of both Stargate series, switched DVD distribution companies from Sony to 20th Century Fox Home Entertainment. The distributor switch led to a delay in the release of the Season 2 box set, which was released on March 6, 2007, in North America.


title: Stargate Atlantis

text: Most DVDs contain behind-the-scenes features, audio commentaries for nearly all episodes beginning with season 1, and production galleries. The box sets of the five seasons were released with slim packaging in all regions, beginning in the United States. A complete series box set for "Stargate Atlantis" was released on October 6, 2009 in North America, and August 10, 2009 in the UK. Stargate Atlantis: The Complete Series Blu-ray was released in North America in mid-2011.


title: Stargate Atlantis

text: "Stargate Atlantis" garnered mediocre media attention with mixed reviews. Michael Abernethy from "PopMatters" said "the series has much to offer", and further stated that the program had many unanswered questions, but gave it mostly positive reviews. Jonathan Wright from the British newspaper, "The Guardian" called the series "fun". The "Pittsburgh Tribune-Review" reviewer Laura Urbani said that the television series "cleverly" mixed "humor with action" with "political intrigue". Virginia Heffernan from "The New York Times" called the pilot episode "dull" and further commented that it was a "relic of our own unenlightened time," but said that the show could win fans with its "lavish special effects".


title: Stargate Atlantis

text: David Nusair from "Reel Film Reviews" reviewing "Rising" said "as a pilot episode, there's no denying that "Rising" gets the job done," commenting to the one episode release of the pilot on DVD format. "Critical Myth" rated "Adrift" 8 out of 10, praising the direction the writers took with the episode, Sheppard being rather forced to be in command of the city with the incapacitation of Weir, as well as comparing the characters' "chance to prove their mettle through extreme adversity" to "The Siege, Part 2". Marx Pyle of "SyFy Portal" (since renamed "Airlock Alpha") described the episode "The Daedalus Variations" as Atlantis' version of "" episode "Q Who?". It was praised for being a "fun filler" episode, and Pyle enjoyed the scene where the two Sheppards converse, and the space battle, believing only "Battlestar Galactica" could beat them. Pyle criticised the episode for the absence of Woolsey, and McKay's apparent quick understanding of new technologies including the alternate reality drive, as well as feeling that Sci-Fi gave away too much information from the previews of the episode. When reviewing "Enemy at the Gate", "IGN" reviewer Tory Ireland Mell has given the episode a "mediocre" score of 5.8 out of 10, where the reviewer felt that everything on the episode was "forced", and felt the final scene was "uninspiring", though the episode was praised for the conversation between Sheppard and Carter.


title: Stargate Atlantis

text: Season one of "Stargate Atlantis" garnered mixed reviews. John Sinnott from "DVDTalk" called season one a "very good spinoff," certifying it "highly recommended." Dan Heaton from "Digitally Obsessed" was positive to the first season, and said the pilot started "in fashion." Reviewer Dan Phelps from "DVDFanatic" gave the series "thumbs up" and gave the series an A−. Oladotun Ogunsulire from "Science Fiction Buzz" said the series should be "treasured." June L. from "Monsters and Critics" (M&C) gave season two of "Stargate Atlantis" 4 out of 5, and said that it was a "pleasure to watch the stories", compared to other new science fiction shows which depend on "blood and violence."


title: Stargate Atlantis

text: The show has been nominated 62 times and won 19 awards, less than the sister show, "Stargate SG-1", which was nominated 129 times and won 22 awards. "Atlantis" season one was nominated for two Emmy Awards in 2005 in the following categories, Outstanding Main Title Theme Music and Outstanding Special Visual Effects for a Series. "Atlantis" would receive two other Emmy nominations in 2006 and 2008 respectively. Television director, David Winning was awarded a Chicago International Film Festival award in 2005 in the category Outstanding Achievement in a Television Drama Direction for "Childhood's End". The New York Film Festival also awarded Winning for his work in "Childhood's End." "Atlantis" was nominated twenty-seven times for a Leo Award and won only once in the category Best Visual Effects in a Dramatic Series in "The Eye" in 2005. The series won nine Leo Awards in 2009.


title: Stargate Atlantis

text: In total, there have been released 12 books and novels about "Stargate Atlantis" entitled "Rising", "Reliquary", "The Chosen", "Halcyon", "Exogenesis", "Entanglement", "Casualties of War", "Blood Ties", "Mirror Mirror", "Nightfall", "Angelus" and "Brimstone". There have been released six short fiction works as a part of the official "Stargate" franchise. Sharon Gosling has released a book for the first four seasons of the series entitled "Stargate Atlantis: The Official Companion Season #", the fifth was never released. Action figures of the "Stargate Atlantis" cast have been released by Diamond Selected Toys, and included John Sheppard and Rodney McKay figures among others.


title: Stargate Atlantis

text: This is a list of The "Stargate Atlantis" audiobooks by Big Finish Productions, are each narrated by one of the main "Stargate franchise" characters and feature a second, guest-star voice along with music and sound effects. Kavan Smith (as Evan Lorne), David Nykl (as Radek Zelenka), Paul McGillion (as Carson Beckett) and Torri Higginson (as Elizabeth Weir) have lent their voices for one "Stargate Atlantis" audiobook each.


title: Stargate Atlantis

text: In late 2005, Fandemonium Press, which also publishes many books for the "Stargate SG-1" series, launched a new series of books based on "Stargate Atlantis". These books are available in English-speaking countries and through online bookstores. Additionally, the 'Legacy' series of books have also been added and they begin where the TV series concluded. There are now eight available. They are: 1) Homecoming; Jo Graham & Melissa Scott. 2) The Lost; Jo Graham & Amy Griswold. 3) Allegiance; Melissa Scott and Amy Griswold. 4) The Furies; Jo Graham. 5) Secrets; Jo Graham & Melissa Scott. 6) Inheritors; Jo Graham, Melissa Scott & Amy Griswold. 7) Unascended; Jo Graham & Amy Griswold. 8) Third Path; Melissa Scott & Jo Graham. These novels begin by looking at the events that led to Atlantis returning to the Pegasus Galaxy, including a new war against the powerful Wraith Queen Death, McKay being briefly brainwashed and converted into a Wraith scientist, a confrontation with Queen Death that ends with a new treaty between Atlantis and the Wraith, and the return of Elizabeth Weir and Aiden Ford after their apparent 'deaths'.


title: Stargate Atlantis

text: The official "Stargate Magazine", produced by Titan Publishing, began publishing short stories written by Fandemonium authors in their 8th issue. The stories alternate between both SG-1 and Atlantis.


title: Stargate Atlantis

text: In 2006, Avatar Press launched a series of comics based on "Stargate Atlantis". Set in season 1, "Wraithfall" features story by Stewart Moore and art by Mauricio Melo. In this story, the Atlantis team meets the Karrans, a race that has made a bizarre deal with the Wraith.


title: Stargate Atlantis

text: While "Stargate Worlds" (SGW) was mainly about the story arc to "Stargate SG-1", the first expansion pack was planned to be about "Stargate Atlantis". Atlantis and the Pegasus Galaxy would have presented much additional content, with all five seasons' worth aired by the time of the game's release. It was ideal for an expansion, and this was what the developers intended for this facet of the "Stargate" franchise at that stage.


title: Arca (musician)

text: Alejandra Ghersi Rodríguez (born 14 October 1989), known professionally as Arca, is a Venezuelan musician and record producer based in Barcelona, Spain. She initially began releasing music under the name of Nuuro. After attending the Clive Davis Institute of Recorded Music, Ghersi first released the EP "Baron Libre" (2012) under the name Arca and subsequently released the EPs "Stretch 1" and "Stretch 2"; the latter experimented with hip hop and brought her attention from prominent music publications.


title: Arca (musician)

text: She released her first two albums, "Xen" and "Mutant", in 2014 and 2015 respectively. Her eponymous third album, "Arca" (2017), became the first to prominently feature her vocals. From 2020-2021, Ghersi released the "Kick" quintet, starting with the album "Kick I" (2020) and ending with "Kick IIIII" (2021); these recordings drew from styles such as IDM, reggaeton, avant-pop, and techno. Ghersi has frequently incorporated themes related to gender identity, non-binary identification, and psychosexuality in her work, particularly after coming out in 2018.


title: Arca (musician)

text: Ghersi has also worked frequently with other artists as producer and collaborator. She received production credits on releases such as Kanye West's "Yeezus" (2013), FKA Twigs' "EP2" (2013), and Björk's "Vulnicura" (2015). She has additionally contributed to music by artists such as Kelela, The Weeknd, Frank Ocean, Planningtorock, Rosalía and Sia.


title: Arca (musician)

text: Arca was born in Caracas as Alejandro Ghersi. Her father, Henrique Ghersi Rossón, is an investment banker and founder of VIP Capital (Venezuelan Investment Partners), an investment banking firm in Venezuela. Additionally, she has an older brother whose music she would frequently listen to during her childhood.


title: Arca (musician)

text: The Ghersi family relocated to Darien, Connecticut when Ghersi was three years old, before returning to Caracas when she was nine years old. Ghersi described Darien as a "'white picket fences'" town with "'deer and tick'". After returning to Caracas, Ghersi eventually began playing the friction drum and started producing electronic music on FL Studio. She released music in her adolescense by the name of Nuuro, and received moderate popularity in her home country, with praise from big national artists such as Los Amigos Invisibles. She also did collaborations with fellow Venezuelan artists during this period, such as programming the synthesizers in La Vida Bohème's Grammy nominated album "Nuestra". She later attended the Clive Davis Institute of Recorded Music at NYU.


title: Arca (musician)

text: On 1 February 2012, Ghersi released Arca's debut extended play (EP), "Baron Libre", through UNO NYC. Later that year, she released the "Stretch 1" and "Stretch 2" EPs on 19 April and 6 August respectively.


title: Arca (musician)

text: In 2013, she was credited for additional production, programming and songwriting for five of the songs on Kanye West's "Yeezus", which was released on 18 June. Ghersi also served as one of the three production consultants. That same year on 23 July, she released her debut mixtape, "&&&&&" through SoundCloud and Hippos in Tanks. The project included an audio-visual performance alongside Jesse Kanda, who contributed the visuals, at MoMA PS1 in October 2013. On 17 September, FKA Twigs' "EP2" was released, on which Arca produced and co-wrote every song.


title: Arca (musician)

text: On 11 September 2014, it was announced that Arca signed with British label Mute Records and released the lead single, "Thievery", from her then upcoming debut studio album, "Xen". One more single was released prior to the album's release, "Now You Know" on 31 October 2014 alongside a music video."Xen" was released on 4 November 2014 via Mute Records. Arca made significant contributions to Björk's eighth studio album "Vulnicura" which was released on 20 January 2015. She was credited as the co-producer of seven of the tracks, and the co-writer of two. According to Ghersi, the two began collaborating after her manager sent "&&&&&" to Björk's team and the musician contacted her through email.


title: Arca (musician)

text: Ghersi collaborated with American singer Kelela on her "Hallucinogen" EP, which was released in October 2015. She was credited for producing, recording, mixing and co-writing two of the tracks, including the title track, which is an instrumental from "&&&&&" with Kelela adding improvised vocals. The following month, Arca's second studio album, "Mutant", was released on 20 November 2015. She released the "Entrañas" mixtape on 4 July 2016, following the single "Sin Rumbo".


title: Arca (musician)

text: On 22 February 2017, Arca signed with XL Recordings and released "Piel", the lead single from the eponymous third studio album, "Arca". The track was noted for featuring Ghersi singing which many reviewers considered a contrast from her older works. The release of "Arca" was preceded by three more singles: "Anoche", "Reverie" and "Saunter". "Arca" was released on 7 April 2017 via XL Recordings to widespread acclaim from music critics and was featured on numerous year-end lists. To promote the album, a music video for "Desafío" was released while "Saunter" and "Reverie" were released as twelve-inch singles.


title: Arca (musician)

text: Later in 2017, Arca collaborated with Björk again on her ninth studio album "Utopia", producing the vast majority of the record. Björk explained that the album explored "the Arca-Björk overlap". A music video featuring Arca for "Arisen My Senses" was released on 18 December 2017. Arca also collaborated with Kelela on her debut studio album, "Take Me Apart", released in October 2017. Kelela said she "anchored" the album and produced a bulk of it. She is credited for producing on four tracks, and co-writing two.


title: Arca (musician)

text: In September 2019, Arca held a series of performances at New York City cultural venue The Shed during a live shoot for a "yet-to-be released project". The series, titled "Mutant;Faith" was held from 25 September - 28 September and consisted of four acts. It was noted by fashion magazines "Vogue"s Rachel Hahn and "Paper"s Matt Moen for its improvised nature while the latter also noticed the interactive element of the performances. The performances featured guest appearances from Björk and American actor Oscar Isaac.


title: Arca (musician)

text: On 19 February 2020, Arca released a 62-minute single named "@@@@@" along with an audiovisual directed by Frederik Heyman. The track was released on XL Recordings on 21 February. Along with the single, 13 international tour dates were announced for Spring 2020. Her fourth album "Kick I", featuring Björk, Rosalía, Shygirl and Sophie, was announced on 8 March 2020 as part of an anthology and released on 26 June 2020; for this album Arca was nominated to the Grammys 2021. in July 2020, it was announced that a reissue of "&&&&&" would be released and the track "Knot" was released as the lead single. The mixtape was reissued to celebrate the anniversary of Berlin based experimental label PAN. In September 2021, Arca's remix of "Rain on Me" by Lady Gaga and Ariana Grande, which samples the songs "Time" and "Mequetrefe" from "Kick I", was released as part of Gaga's remix album "Dawn of Chromatica".


title: Arca (musician)

text: The follow-up albums to "Kick I", titled "Kick II", "Kick III" and "Kick IIII", were originally scheduled to be released on December 3, 2021. However, starting with "Kick II" on November 30, albums were released in sequence within that week. A fifth installment, "Kick IIIII", was released "as a surprise" on December 3. Arca co-produced the track "Tears in the Club" by FKA Twigs featuring Canadian singer the Weeknd, which was released later that month as the lead single for FKA Twigs' mixtape "Caprisongs". Arca also produced the track "Thank You Song" by FKA Twigs, the closing track from the same mixtape.


title: Arca (musician)

text: Ghersi's work published under the Arca name has been labelled as experimental music, hip hop music and IDM, while her music released under Nuuro has been described as "electronic indie pop" and "dreamy synth-pop". She frequently incorporates themes of psychosexuality, science fiction and gender identity into her music.


title: Arca (musician)

text: Ghersi's music as Arca has been compared to the music of British electronic producer Aphex Twin while the eponymous album "Arca" (2017) was compared to compositions by German composers Robert Schumann and Felix Mendelssohn. The latter is known for being her first album as Arca to prominently incorporate lyricism. "Stretch 1" and "Stretch 2" which were released in 2012, have been compared to hip hop and club music. Reviewing "Mutant" (2015), Mark Richardson retrospectively compared "Xen" (2014) to classical music while the former leaned "toward soundscape". "Xen" was noted by "The Quietus" Gary Suarez to contain themes of gender and sexuality which were opined to be mainly implicit through the album's music videos. "Kick I" (2020) has been considered avant-pop while reggaeton was a prominent genre featured, on "Kick II" (2021). "Kick III" (2021) has been noted of its influences of IDM while "Kick IIIII" (2021) has been dubbed ambient techno music. "Kick IIIII" (2021) has been dubbed "dark electronica" music by Joe Goggins of "DIY".


title: Arca (musician)

text: During her childhood, Ghersi cites her brother's music, which included Aphex Twin, British musician Squarepusher and Björk as heavily influencing her. According to Ghersi, the latter inspired her to use her voice prominently on her eponymous third studio album, "Arca" and also helped her "find" her voice, following the development of a creative partnership between the pair. She has also cited her love for pop music which influenced the making of "Kick I". Arca also cites Madonna as an influence, saying: "I don’t know if I can't overstate how major Madonna’s music and persona were in my household".


title: Arca (musician)

text: She cited German composer Richard Wagner's "Der Ring des Nibelungen" as a primary inspiration for the "Kick" series and called nightclubs the place she found a "home". Remezcla's Alberto De La Roza noted the influence of reggaeton on Ghersi's work.


title: Arca (musician)

text: From 2012 to 2018, Ghersi often collaborated with Jesse Kanda on the visual aspect of her albums. He created the album artwork for her albums "Xen" (2014), "Mutant" (2015) and "Arca" (2017). She also collaborated with German photographer and director Daniel Sannwald to create her music videos. The imagery featured in the artwork for Ghersi's single "Vanity" and the music video for her single "Thievery" were marked as NSFW, the former of which, resulted in a temporary ban on her Instagram account.


title: Arca (musician)

text: For the "Kick" series, Frederik Heyman created the album artwork for all of the albums except for "Kick I", which was created by her, Catalan artist Carlota Guerrero and Spanish multimedia artist Carlos Sáez.


title: Arca (musician)

text: Arca came out as non-binary in 2018, later adding that she identifies as a trans woman, and goes by she/her and it/its pronouns. As of 2022 Arca has stated on her Instagram bio that she also uses they/them pronouns. In 2020 she stated in an interview for "Vice": "I see my gender identity as non-binary, and I identify as a trans Latina woman, and yet, I don't want to encourage anyone to think that my gayness has been banished. And when I talk about gayness, it's funny because I'm not thinking about who I'm attracted to. It's a form of cultural production that is individual and collective, which I don't ever want to renounce".


title: Arca (musician)

text: Arca lived in London and resides in Barcelona as of 2018. She dated Daniel Sannwald, and later the Spanish multimedia artist Carlos Sáez, who has often collaborated in the realization of her projects. The song "Failed" is written about her relationship with the former while the song "Calor" chronicles her relationship with the latter.


title: Red Scare

text: A Red Scare is the promotion of a widespread fear of a potential rise of communism, anarchism or other leftist ideologies by a society or state. The term is most often used to refer to two periods in the history of the United States which are referred to by this name. The First Red Scare, which occurred immediately after World War I, revolved around a perceived threat from the American labor movement, anarchist revolution, and political radicalism. The Second Red Scare, which occurred immediately after World War II, was preoccupied with the perception that national or foreign communists were infiltrating or subverting American society and the federal government. The name refers to the red flag as a common symbol of communism.


title: Red Scare

text: The first Red Scare in the United States accompanied the Russian Revolution of 1917 and subsequent communist revolutions in Europe and beyond. Citizens of the United States in the years of World War I (1914-1918) were intensely patriotic; anarchist and left-wing social agitation aggravated national, social, and political tensions. Political scientist and former member of the Communist Party USA Murray B. Levin wrote that the Red Scare was "a nationwide anti-radical hysteria provoked by a mounting fear and anxiety that a Bolshevik revolution in America was imminent—a revolution that would change Church, home, marriage, civility, and the American way of Life". News media exacerbated such fears, channeling them into anti-foreign sentiment due to the lively debate among recent immigrants from Europe regarding various forms of anarchism as possible solutions to widespread poverty. The Industrial Workers of the World (IWW), also known as the Wobblies, backed several labor strikes in 1916 and 1917. These strikes covered a wide range of industries including steel working, shipbuilding, coal mining, copper mining, and others necessary for wartime activities.


title: Red Scare

text: After World War I ended (November 1918), the number of strikes increased to record levels in 1919, with more than 3,600 separate strikes by a wide range of workers, e.g. steel workers, railroad shop workers, and the Boston police department. The press portrayed these worker strikes as "radical threats to American society" inspired by "left-wing, foreign "agents provocateurs"". The IWW and those sympathetic to workers claimed that the press "misrepresented legitimate labor strikes" as "crimes against society", "conspiracies against the government", and "plots to establish communism". Opponents of labor viewed strikes as an extension of the radical, anarchist foundations of the IWW, which contends that all workers should be united as a social class and that capitalism and the wage system should be abolished.


title: Red Scare

text: In June 1917, as a response to World War I, Congress passed the Espionage Act to prevent any information relating to national defense from being used to harm the United States or to aid her enemies. The Wilson administration used this act to make anything "urging treason" a "nonmailable matter". Due to the Espionage Act and the then Postmaster General Albert S. Burleson, 74 separate newspapers were not being mailed.


title: Red Scare

text: In April 1919, authorities discovered a plot for mailing 36 bombs to prominent members of the U.S. political and economic establishment: J. P. Morgan Jr., John D. Rockefeller, Supreme Court Justice Oliver Wendell Holmes, U.S. Attorney General Alexander Mitchell Palmer, and immigration officials. On June 2, 1919, in eight cities, eight bombs exploded simultaneously. One target was the Washington, D.C., house of U.S. Attorney General Palmer, where the explosion killed the bomber, who (evidence indicated) was an Italian-American radical from Philadelphia, Pennsylvania. Afterwards, Palmer ordered the U.S. Justice Department to launch the Palmer Raids (1919–21). He deported 249 Russian immigrants on the "Soviet Ark", formed the General Intelligence Unit - a precursor to the Federal Bureau of Investigation (FBI) - within the Department of Justice, and used federal agents to jail more than 5,000 citizens and to search homes without respecting their constitutional rights.


title: Red Scare

text: In 1918, before the bombings, President Woodrow Wilson had pressured Congress to legislate the anti-anarchist Sedition Act of 1918 to protect wartime morale by deporting putatively undesirable political people. Law professor David D. Cole reports that President Wilson's "federal government consistently targeted alien radicals, deporting them... for their speech or associations, making little effort to distinguish terrorists from ideological dissidents". President Wilson used the Sedition Act of 1918 to limit the exercise of free speech by criminalizing language deemed disloyal to the United States government.


title: Red Scare

text: Initially, the press praised the raids; "The Washington Post" stated: "There is no time to waste on hairsplitting over [the] infringement of liberty", and "The New York Times" wrote that the injuries inflicted upon the arrested were "souvenirs of the new attitude of aggressiveness which had been assumed by the Federal agents against Reds and suspected-Reds". In the event, twelve publicly prominent lawyers characterized the Palmer Raids as unconstitutional. The critics included future Supreme Court Justice Felix Frankfurter, who published "A Report on the Illegal Practices of The United States Department of Justice", documenting systematic violations of the Fourth, Fifth, Sixth, and Eighth Amendments to the U.S. Constitution via Palmer-authorized "illegal acts" and "wanton violence". Defensively, Palmer then warned that a government-deposing left-wing revolution would begin on 1 May 1920—May Day, the International Workers' Day. When it failed to happen, he was ridiculed and lost much credibility. Strengthening the legal criticism of Palmer was that fewer than 600 deportations were substantiated with evidence, out of the thousands of resident aliens arrested and deported. In July 1920, Palmer's once-promising Democratic Party bid for the U.S. presidency failed. Wall Street was bombed on September 16, 1920, near Federal Hall National Memorial and the JP Morgan Bank. Although both anarchists and communists were suspected as being responsible for the bombing, ultimately no individuals were indicted for the bombing, in which 38 died and 141 were injured.


title: Red Scare

text: In 1919–20, several states enacted "criminal syndicalism" laws outlawing advocacy of violence in effecting and securing social change. The restrictions included limitations on free speech. Passage of these laws, in turn, provoked aggressive police investigation of the accused persons, their jailing, and deportation for being "suspected" of being either communist or left-wing. Regardless of ideological gradation, the Red Scare did not distinguish between communism, anarchism, socialism, or social democracy. This aggressive crackdown on certain ideologies resulted in many supreme-court cases over free speech. In the 1919 case of "Schenk v. United States", the Supreme Court, introducing the clear-and-present-danger test, effectively deemed the Espionage Act of 1917 and the Sedition Act of 1918 constitutional.


title: Red Scare

text: The second Red Scare occurred after World War II (1939–1945), and is known as "McCarthyism" after its best-known advocate, Senator Joseph McCarthy. McCarthyism coincided with an increased and widespread fear of communist espionage that was consequent of the increasing tension in the Cold War through the Soviet occupation of Eastern Europe, the Berlin Blockade (1948–49), the end of the Chinese Civil War, the confessions of spying for the Soviet Union that were made by several high-ranking U.S. government officials, and the outbreak of the Korean War.


title: Red Scare

text: The events of the late 1940s, the early 1950s—the trial of Ethel and Julius Rosenberg (1953), the trial of Alger Hiss, the Iron Curtain (1945–1991) around Eastern Europe, and the Soviet Union's first nuclear weapon test in 1949 (RDS-1)—surprised the American public, influencing popular opinion about U.S. national security, which, in turn, was connected to the fear that the Soviet Union would drop nuclear bombs on the United States, and fear of the Communist Party of the United States of America (CPUSA).


title: Red Scare

text: In Canada, the 1946 Kellock–Taschereau Commission investigated espionage after top-secret documents concerning RDX, radar and other weapons were handed over to the Soviets by a domestic spy-ring.


title: Red Scare

text: At the House Un-American Activities Committee, former CPUSA members and NKVD spies, Elizabeth Bentley and Whittaker Chambers, testified that Soviet spies and communist sympathizers had penetrated the U.S. government before, during and after World War II. Other U.S. citizen spies confessed to their acts of espionage in situations where the statute of limitations on prosecuting them had run out. In 1949, anti-communist fear, and fear of American traitors, was aggravated by the Chinese Communists winning the Chinese Civil War against the Western-sponsored Kuomintang, their founding of the Communist China, and later Chinese intervention in the Korean War (1950–53) against U.S. ally South Korea.


title: Red Scare

text: A few of the events during the Red Scare were also due to a power struggle between director of FBI J. Edgar Hoover and the Central Intelligence Agency. Hoover had instigated and aided some of the investigations of members of the CIA with "leftist" history, like Cord Meyer. This conflict could also be traced back to the conflict between Hoover and William J. Donovan, going back to the first Red Scare, but especially during World War II. Donovan ran the OSS (CIA's predecessor). They had differing opinions on the nature of the alliance with the Soviet Union, conflicts over jurisdiction, conflicts of personality, the OSS hiring of communists and criminals as agents, etc.


title: Red Scare

text: Historian Richard Powers distinguishes two main forms of anti-communism during the period, liberal anti-communism and countersubversive anti-communism. The countersubversives, he argues, derived from a pre-WWII isolationist tradition on the right. Liberal anti-communists believed that political debate was enough to show Communists as disloyal and irrelevant, while countersubversive anticommunists believed that Communists had to be exposed and punished. At times, countersubversive anticommunists accused liberals of being "equally destructive" as Communists due to an alleged lack of religious values or supposed "red web" infiltration into the New Deal.


title: Red Scare

text: Much evidence for Soviet espionage existed, according to Democratic Senator and historian Daniel Moynihan, with the Venona project consisting of "overwhelming proof of the activities of Soviet spy networks in America, complete with names, dates, places, and deeds." However, Moynihan argued that because sources like the Venona project were kept secret for so long, "ignorant armies clashed by night". With McCarthy advocating an extremist view, the discussion of communist subversion was made into a civil rights issue instead of a counterintelligence one. This historiographical perspective is shared by historians John Earl Haynes and Robert Louis Benson. While President Truman formulated the Truman Doctrine against Soviet expansion, it is possible he was not fully informed of the Venona intercepts, leaving him unaware of the domestic extent of espionage, according to Moynihan and Benson.


title: Red Scare

text: By the 1930s, communism had become an attractive economic ideology, particularly among labor leaders and intellectuals. By 1939, the CPUSA had about 50,000 members. In 1940, soon after World War II began in Europe, the U.S. Congress legislated the Alien Registration Act (aka the Smith Act, 18 USC § 2385) making it a crime to "knowingly or willfully advocate, abet, advise or teach the duty, necessity, desirability or propriety of overthrowing the Government of the United States or of any State by force or violence, or for anyone to organize any association which teaches, advises or encourages such an overthrow, or for anyone to become a member of or to affiliate with any such association"—and required Federal registration of all foreign nationals. Although principally deployed against communists, the Smith Act was also used against right-wing political threats such as the German-American Bund, and the perceived racial disloyalty of the Japanese-American population ("cf." hyphenated-Americans).


title: Red Scare

text: After the non-aggression pact was signed between Hitler and Stalin in 1939 the communist party in the United States took an anti-war approach and were consequently treated with more hostility than they had been previously by the public because they were seen as to be working with the Nazis. However, in 1941, after Nazi Germany invaded the Soviet Union, the CPUSA's official position became pro-war, opposing labor strikes in the weapons industry and supporting the U.S. war effort against the Axis Powers. With the slogan "Communism is Twentieth-Century Americanism", the chairman, Earl Browder, advertised the CPUSA's integration to the political mainstream. In contrast, the Trotskyist Socialist Workers Party opposed U.S. participation in the war and supported labor strikes, even in the war-effort industry. For this reason, James P. Cannon and other SWP leaders were convicted per the Smith Act.


title: Red Scare

text: In March 1947, President Harry S. Truman signed Executive Order 9835, creating the "Federal Employees Loyalty Program" establishing political-loyalty review boards who determined the "Americanism" of Federal Government employees, and requiring that all federal employees to take an oath of loyalty to the United States government. It then recommended termination of those who had confessed to spying for the Soviet Union, as well as some suspected of being "Un-American". This led to more than 2,700 dismissals and 12,000 resignations from the years 1947 to 1956. It also was the template for several state legislatures' loyalty acts, such as California's Levering Act. The House Committee on Un-American Activities was created during the Truman administration as a response to allegations by Republicans of disloyalty in Truman's administration. The House Committee on Un-American Activities (HUAC) and the committees of Senator Joseph McCarthy (R., Wisc.) conducted character investigations of "American communists" (actual and alleged), and their roles in (real and imaginary) espionage, propaganda, and subversion favoring the Soviet Union—in the process revealing the extraordinary breadth of the Soviet spy network in infiltrating the federal government; the process also launched the successful political careers of Richard Nixon and Robert F. Kennedy, as well as that of Joseph McCarthy. The HUAC held a large interest in investigating those in the entertainment industry in Hollywood. They interrogated actors, writers, and producers. The people who cooperated in the investigations got to continue working as they had been, but people who refused to cooperate were blacklisted.


title: Red Scare

text: Senator McCarthy stirred up further fear in the United States of communists infiltrating the country by saying that communist spies were omnipresent, and he was America's only salvation, using this fear to increase his own influence. In 1950 Joseph McCarthy addressed the senate, citing 81 separate cases, and made accusations against suspected communists. Although he provided little or no evidence, this prompted the Senate to call for a full investigation.


title: Red Scare

text: Senator McCarran introduced the McCarran Internal Security Act of 1950 that was passed by the U.S. Congress and which modified a great deal of law to restrict civil liberties in the name of security. President Truman declared the act a "mockery of the Bill of Rights" and a "long step toward totalitarianism" because it represented a government restriction on the freedom of opinion. He vetoed the act but his veto was overridden by Congress. Much of the bill eventually was repealed.


title: Red Scare

text: The formal establishment of the People's Republic of China in 1949 and the beginning of the Korean War in 1950 meant that Asian Americans, especially those of Chinese or Korean descent, came under increasing suspicion by both American civilians and government officials of being Communist sympathizers. Simultaneously, some American politicians saw the prospect of American-educated Chinese students bringing their knowledge back to “Red China” as an unacceptable threat to American national security, and laws such as the China Aid Act of 1950 and the Refugee Relief Act of 1953 gave significant assistance to Chinese students who wished to settle in the United States. Despite being naturalized, however, Chinese immigrants continued to face suspicion of their allegiance. The general effect, according to University of Wisconsin-Madison scholar Qing Liu, was to simultaneously demand that Chinese (and other Asian) students politically support the American government yet avoid engaging directly in politics.


title: Red Scare

text: The Second Red Scare profoundly altered the temper of American society. Its later characterizations may be seen as contributory to works of feared communist espionage, such as the film "My Son John" (1952), about parents' suspicions their son is a spy. Abundant accounts in narrative forms contained themes of the infiltration, subversion, invasion, and destruction of American society by un–American "thought". Even a baseball team, the Cincinnati Reds, temporarily renamed themselves the "Cincinnati Redlegs" to avoid the money-losing and career-ruining connotations inherent in being ball-playing "Reds" (communists).


title: Red Scare

text: In 1954 Congress passed the Communist Control Act of 1954 which prevented members of the communist party in America from holding office in labor unions and other labor organizations.


title: Red Scare

text: Examining the political controversies of the 1940s and 1950s, historian John Earl Haynes, who studied the Venona decryptions extensively, argued that Joseph McCarthy's attempts to "make anti-communism a partisan weapon" actually "threatened [the post-War] anti-Communist consensus", thereby ultimately harming anti-communist efforts more than helping them. Meanwhile, the "shockingly high level" of infiltration by Soviet agents during WWII had largely dissipated by 1950. Liberal anti-communists like Edward Shils and Daniel Moynihan had contempt for McCarthyism, and Moynihan argued that McCarthy's overreaction distracted from the "real (but limited) extent of Soviet espionage in America." In 1950, President Harry Truman called Joseph McCarthy "the greatest asset the Kremlin has."


title: Red Scare

text: In 1954, after accusing the army, including war heroes, Senator Joseph McCarthy lost credibility in the eyes of the American public and the Army-McCarthy Hearings were held in the summer of 1954. He was formally censured by his colleagues in Congress and the hearings led by McCarthy came to a close. After the Senate formally censured McCarthy, his political standing and power were significantly diminished, and much of the tension surrounding the idea of a possible communist takeover died down.


title: Red Scare

text: From 1955 through 1959, the Supreme Court made several decisions which restricted the ways in which the government could enforce its anti-communist policies, some of which included limiting the federal loyalty program to only those who had access to sensitive information, allowing defendants to face their accusers, reducing the strength of congressional investigation committees, and weakening the Smith Act.


title: Red Scare

text: In the 1957 case "Yates v. United States" and the 1961 case "Scales v. United States", the Supreme Court limited Congress's ability to circumvent the First Amendment, and in 1967 during the Supreme Court case "United States v. Robel", the Supreme Court ruled that a ban on communists in the defense industry was unconstitutional.


title: Red Scare

text: In 1995, the American government declassified details of the Venona Project following the Moynihan Commission, which when combined with the opening of the USSR Comintern archives, provided substantial validation of intelligence gathering, outright spying, and policy influencing, by Americans on behalf of the Soviet Union, from 1940 through 1980. Over 300 American communists, whether they knew it or not, including government officials and technicians that helped in developing the atom bomb, were found to have engaged in espionage. This allegedly included some pro-Soviet capitalists, such as economist Harry Dexter White and communist businessman David Karr.


title: Red Scare

text: According to "The New York Times", China's growing military and economic power has resulted in a "New Red Scare" in the United States. Both Democrats and Republicans have expressed "Anti-China sentiment". According to "The Economist", the New Red Scare has caused the American government and Chinese government to "increasingly view Chinese students with suspicion" on American college campuses.


title: Red Scare

text: The fourth iteration of the Committee on the Present Danger, a US foreign policy interest group, was established on March 25, 2019, branding itself "Committee on the Present Danger: China" (CPDC). The CPDC has been criticized as promoting a revival of Red Scare politics in the United States, and for its ties to conspiracy theorist Frank Gaffney and conservative activist Steve Bannon. David Skidmore, writing for "The Diplomat", saw it as another instance of "adolescent hysteria" in US diplomacy, as another of the "fevered crusades [which] have produced some of the costliest mistakes in American foreign policy".


title: Timeline of Star Trek

text: This article discusses the fictional timeline of the "Star Trek" franchise. The franchise is primarily set in the future, ranging from the mid-22nd century ("") to the late 24th century (""), with the third season of "" jumping forward to the 32nd century. However the franchise has also outlined a fictional future history of Earth prior to this, and, primarily through time travel plots, explored both past and further-future settings.


title: Timeline of Star Trek

text: The chronology is complicated by the presence of divergent timelines within the franchise's narrative, as well as internal contradictions and retcons. The generally avoided assigning real-world dates to its futuristic setting, instead using the stardate system. Series from "" onwards defined their temporal settings in conventional form.


title: Timeline of Star Trek

text: This table shows each TV series and movie, its year of release or broadcast, the year it was set in according to the prevailing Okuda chronology (see below), and the stardate range for that year. The designation "Enterprise"-based series are the series that featured the various incarnations of the starship USS "Enterprise". In universe timeline chronological order "" (ENT), "" (TOS), "" (TAS), "" (TNG), and all 13 of the "Star Trek" feature films, including the three newest J. J. Abrams "reboot" films, or "Kelvin Timeline" based on the original series.


title: Timeline of Star Trek

text: This timeline is based on the "Star Trek Chronology" model described below, supplemented by data from the website startrek.com. The Timeline also consists of before, between, and after those events.


title: Timeline of Star Trek

text: Note: Many of these dates are rounded-off approximations, as the dialog from which they are derived often includes qualifiers such as "over," "more than," or "less than."


title: Timeline of Star Trek

text: Several efforts have been made to develop a chronology for the events depicted by the "Star Trek" television series and its spin-offs. This matter has been complicated by the continued additions to the "Star Trek" canon, the existence of time travel and multiple concurrent timelines, and the scarcity of Gregorian calendar dates given in the show (stardates instead being used).


title: Timeline of Star Trek

text: Not many references set the original series in an exact time frame, and those that exist are largely contradictory. In the episode "Tomorrow Is Yesterday", a 1960s military officer says that he's going to lock Captain Kirk up "for two hundred years", to which Kirk replies, with wry amusement: "That ought to be just about right." Likewise, in the episode "Space Seed", it is said that the 1996 warlord Khan Noonian Singh is from "two centuries" ago. Both these references place the show in the 22nd century. However, in the episode "", it is said that 1960 was around 300 years ago, pushing the show into the 23rd century. Finally, the episode "The Squire of Gothos" implied that the light cone of 19th century Earth has expanded to 900 light years of radius, which seems to set the show in the 28th century, since light would take nine centuries to traverse that distance.


title: Timeline of Star Trek

text: According to notes in "The Making of Star Trek", the show is set in the 23rd century, and the "Enterprise" was supposed to be around 40 years old. Roddenberry says in this book that the stardate system was invented to avoid pinning down the show precisely in time frame. Roddenberry's original pitch for the series dated it "'somewhere in the future. It could be 1995, or maybe even 2995".


title: Timeline of Star Trek

text: The "Star Trek Spaceflight Chronology" and FASA, a publisher of the first licensed , chose to take the "Space Seed figure", adding a few years to make sure the events of the Original Series were in the 23rd century. This dating system is followed by other spin-off works in the 1980s, including "Mr. Scott's Guide to the Enterprise". This timeline system gives the following dates


title: Timeline of Star Trek

text: The "Star Fleet Battles" game was published in 1979, with a license only covering the original series. It has since diverged into an entirely separate fictional universe, new additions to which continue to be published. It does not tie into the Gregorian calendar, instead using a "Year 1" of the invention of Warp on Earth. Its version of the original series backstory is:


title: Timeline of Star Trek

text: Press materials for "The Next Generation" suggested it was set in the 24th century, seventy-eight years after the existing "Star Trek", although the exact time frame had not yet been set in stone. The pilot had dialogue stating Data was part of the Starfleet "class of '78". The pilot episode, "Encounter at Farpoint", also has a cameo appearance by Leonard "Bones" McCoy, who is said to be 137.


title: Timeline of Star Trek

text: In the last episode of the first season, the year is firmly established by Data as 2364. This marked the first time an explicit future calendar date had been attached to a "Star Trek" storyline, and allowed fans and writers to extrapolate further dates. For example, the established date implies McCoy was born around 2227, ruling out the "Spaceflight Chronology"-derived dating of the original series to the early 23rd century (though the dating had already been effectively overruled by "Star Trek IV", which primarily takes place in 1986, where Kirk tells Gillian Taylor that he is from the late 23rd Century, though he does not give an exact date).


title: Timeline of Star Trek

text: A "Star Trek Chronology" was published in 1993, written by production staff members Denise Okuda and Michael Okuda. A second edition was issued in 1996. Okuda originally drew up a timeline for internal use by writers, based on his own research and assumptions provided by Richard Arnold. The dates in the "Chronology" are consistent with the earlier "".


title: Timeline of Star Trek

text: The gap between the 1986 film "Star Trek IV: the Voyage Home" (2286) and the 1987 first season of "The Next Generation" (2364) is 78 years by this timeline, matching early press materials.


title: Timeline of Star Trek

text: A gap of 10 years passed between the broadcast of the last episode of "Star Trek: The Original Series" and the release of "The Motion Picture". The film skirted around the fact the actors had aged, supposing that only two and a half years had passed since the events of the TV show. For "Star Trek II", it was decided to acknowledge the reality of the aging actors, both by setting the film some 15 years after "Space Seed", and by having Kirk worry about getting old.


title: Timeline of Star Trek

text: Within "The Next Generation" era, episodes and films are easier to date. Stardates correspond exactly with seasons, with the first two digits of the stardate representing the season number. Okuda assumes the start of a season is January 1 and the end of the season is December 31. "The Next Generation", "Deep Space Nine", and "Voyager" television series, as well as the movies, have roughly followed "real time", and are set around 377 years after their release.


title: Timeline of Star Trek

text: Since the "Chronology" was published, it has been generally adhered-to by the producers of the show. The film "" and prequel series "" both revisit the early era. In "First Contact", Zephram Cochrane is confirmed as having invented warp drive on Earth, but the date is moved forward slightly to 2063, and it is revealed that Earth's official first contact with an alien species, the Vulcans, took place immediately afterwards as a result of this.


title: Timeline of Star Trek

text: The dating of the final season of "" has presented controversy. The standard assumption about stardates, as well as the regular correspondence between seasons and in-universe years, would place the entire season in the year 2377; the season begins with stardate 54014.4 and ends with 54973.4. However, the episode "" features a celebration of the 315th anniversary of Zefram Cochrane's first contact with the Vulcans, which would set the episode on April 5, 2378. The fansite Memory Alpha thus places the final eight episodes of the season ("" through "") in 2378, with other sources following suit.


title: Timeline of Star Trek

text: "" is set in the 2150s, and ties into the Cochrane backstory. The show uses the Gregorian calendar instead of Stardates, making tracking the dating easier. Its pilot, "", depicts first contact with the Klingons occurring much earlier than the Okuda chronology anticipated (it suggested a date of 2218, based on a line in "Day of the Dove", noting that dialog in makes this problematic – though the actual line in the episode referred to "hostilities" between the two, and in "", Human-Klingon relations, while by no means friendly, clearly do not rise to the de facto state of war shown in "TOS"). It shows the opening of the Romulan war and the start of a coalition between Earth, Vulcan, Andor, and Tellar in the 2150s. The date of the founding year of the Federation, 2161, was revealed in the fifth-season "TNG" episode "The Outcast," based on an early draft of the Okuda timeline. The final episode of "", "These Are the Voyages...", is consistent with the establishment of 2161 as the founding year for the Federation.


title: Timeline of Star Trek

text: No version of the "Chronology" or the "Encyclopedia" has been published since 1999. A 2006 book by Jeff Ayers contains a timeline which attempts to date all of the many "Star Trek" novels. This timeline has "The Motion Picture" in 2273, to account for the two-and-a-half-year gap between the end-date of 2270 established in "Q2" and the events of the movie. The official website, StarTrek.com, still gives the date of that movie as 2271.


title: Timeline of Star Trek

text: When the original series of "Star Trek" was produced, the 1990s were several decades away, and so various elements of the backstory to "Star Trek" are set in that era, particularly the Eugenics Wars. The references to the Eugenics Wars and to a nuclear war in the 21st century are somewhat contradictory.


title: Timeline of Star Trek

text: The episode "Space Seed" establishes the Eugenics Wars, and has them lasting from 1992 to 1996. The Eugenics Wars are described as a global conflict in which the progeny of a human genetic engineering project, most notably Khan Noonien Singh, established themselves as supermen and attempted world domination. Spock calls them "the last of your so-called World Wars", and McCoy identifies this with the Eugenics Wars.


title: Timeline of Star Trek

text: In the episode "", Spock gives a death toll for World War III of 37 million. The episode "The Savage Curtain" features a Colonel Phillip Green, who led a genocidal war in the 21st century. The "TNG" episode "Encounter at Farpoint" further establishes a "post-atomic horror" on Earth in 2079. However, the movie "Star Trek: First Contact" put the contact between Vulcans and humans at April 5, 2063.


title: Timeline of Star Trek

text: The "Star Trek Concordance" identifies the "Bread and Circuses" figure as the death toll for a nuclear World War III, in the mid-21st century. "" firmly establishes World War III ended, after a nuclear exchange, in 2053, but with a body count of 600 million. The figure of Colonel Green is elaborated on in "". "" also deliberately describes the warring parties in World War III as "factions", not nations "per se".


title: Timeline of Star Trek

text: The "Voyager" episode "Future's End" saw the "Voyager" crew time-travel to Los Angeles in 1996, which, as the "Encyclopedia" notes, seems entirely unaffected by the Eugenics Wars, which ended that year. The episode acknowledges the issue only by featuring a model of Khan's DY-100-class ship on a 1996 desk. Khan's spaceship is another anomaly for the timeline, which has a variety of long-lost spaceships being launched between 1980 and 2100, with inconsistent levels of technology (caused by the increasing real lifetime and also decreased optimism about the pace of space exploration).


title: Timeline of Star Trek

text: A reference in the "Deep Space Nine" episode "Doctor Bashir, I Presume?" suggests that the Eugenic Wars instead took place in the 22nd century. According to writer Ronald D. Moore, this was not an attempt at a retcon, but a mistake – when writing the episode, he recalled the already questionable "two centuries ago" line from "Space Seed" and forgot that "DS9" takes place over 100 years later.


title: Timeline of Star Trek

text: Season 4 of "" involves a trilogy of episodes ("" "Cold Station 12", and "The Augments") related to scientist Doctor Arik Soong, ancestor of Doctor Noonien Soong, and his genetic augmentations of Humans. Numerous historical details of the devastating Eugenics Wars are discussed: the death of 35–37 million people; how Earth's governments could not decide on the fate of the 1,800 genetically enhanced embryos; and how Soong had infiltrated the complex and stolen and raised 19 embryos himself. Soong maintained that he himself and humanity in general had learned the lessons of the Eugenics Wars and should not continue to hide behind those events when there was progress to be made now that the technology had matured and was much more practicable. (The actions of his "children" convince him otherwise, and at the end of "The Augments" Soong declares his interest in cybernetics, beginning the work which would one day bring about Data.)


title: Timeline of Star Trek

text: Greg Cox's two-book series "" develops the idea of the Eugenics Wars in the context of real-life history by representing it as a secret history, and that the truth behind the various civil wars and conflicts in the 1990s was not generally known; Los Angeles, whose appearance in "Future's End" helped bring the war's existence into question, is portrayed as an EW "battlefront", the Rodney King riots being one such calamity.


title: Timeline of Star Trek

text: The series "," which first aired in spring 2022, complicates the time line further by retconning certain dating aspects by explicitly dating the Eugenics Wars to the first half of the 21st century, following a second American Civil War and leading up to the full-scale World War III nuclear conflict described in earlier films and episodes. This differs from "Space Seed" asserting that not only did the Eugenics Wars take place in the mid-1990s but dialogue indicates that they were either concurrent with or simply were World War III.


title: Timeline of Star Trek

text: In the episode "", it is stated that Zefram Cochrane of Alpha Centauri, the discoverer of the space warp, disappeared 150 years ago, at the age of 87. Based on the 2207 to 2212 originally given this would have put Cochrane's disappearance between 2057 to 2062 and his birth between 1970 to 1975. However, Okuda's date of 2267 for that episode, puts Cochrane's disappearance in 2117 and birth in 2030. 1980s spin-off material such as the "Star Trek Spaceflight Chronology" posit that Cochrane was from Alpha Centauri originally, and that a sub-warp ship the UNSS "Icarus" arrived at Alpha Centauri in 2048 to find he had discovered the theory behind warp drive. The "Icarus" then relayed its findings back to Earth. The first prototype warp ship was launched in 2055.


title: Timeline of Star Trek

text: The "Star Trek Chronology" does not hold with this theory, and asserts that Cochrane was an Earth native, who moved to Alpha Centauri later in life. (Even in "Metamorphosis", before Cochrane identifies himself to the landing party, Dr. McCoy had taken a tricorder scan and determined him to be human.) The first edition "Chronology" notes that Cochrane's invention of warp drive must have been at least 200 years before "Where No Man Has Gone Before", and suggests a date of 2061, noting that Cochrane would be 31 that year.


title: Timeline of Star Trek

text: The film "" prominently features Cochrane's first successful warp flight. The film is set in 2063, two years after the "Chronology" suggestions, and therefore by the timeline Cochrane is 33. The actor who played Cochrane in that movie, James Cromwell, was 56 at the time of the film's release. The "Encyclopedia" notes the age issue, and claims that the Cromwell Cochrane had suffered from radiation poisoning, causing his aged appearance. "" pins down Cochrane's disappearance to 2119, making Cochrane instead 31 at the time of "First Contact".


title: Mick Jones (The Clash guitarist)

text: Michael Geoffrey Jones (born 26 June 1955) is a British musician, singer, songwriter, and record producer best known as the lead guitarist, co-lead vocalist, co-founder and songwriter for the Clash until 1983. In 1984, he formed Big Audio Dynamite with Don Letts. Jones has played with the band Carbon/Silicon along with Tony James (formerly of Generation X and Sigue Sigue Sputnik) since 2002 and was part of the Gorillaz live band for a world tour in 2010–2011. In late 2011, Jones collaborated with Pete Wylie and members of the Farm to form the Justice Tonight Band.


title: Mick Jones (The Clash guitarist)

text: Michael Geoffrey Jones was born on 26 June 1955 in Wandsworth, London, England, to a Welsh father, Tommy Jones, and a Russian Jewish mother, Renee Zegansky. Jones' maternal grandmother Stella was born in 1899 to Jewish parents in Russia and escaped the Russian pogroms by migrating to the United Kingdom. He spent much of his early life living with his maternal grandmother, Stella Class, in South London. Jones' cousin is Grant Shapps, the Conservative MP for Welwyn Hatfield. Jones went to Strand School in South London and West London School of Art And Design, because "[he] thought that's how you get into bands and stuff".


title: Mick Jones (The Clash guitarist)

text: He started gaining recognition as a guitarist in the early 1970s with his glam rock band, the Delinquents. A short time later, he met Tony James and formed the proto-punk band London SS. By 1976, that band had broken up and remaining members Jones, Paul Simonon and Keith Levene were seeking a new direction.


title: Mick Jones (The Clash guitarist)

text: When he was 21, he and Paul Simonon were introduced to Joe Strummer by Bernie Rhodes in a squat in Shepherd's Bush. The band rehearsed in a former railway warehouse in Camden Town and The Clash was formed. Jones played lead guitar, sang, and co-wrote songs from the band's inception until he was fired by Strummer and Simonon in 1983. One of the songs he wrote, "Train in Vain," was allegedly about Jones' relationship with Viv Albertine, guitarist of the Slits. Jones' lack of punctuality played a major role in his dismissal from the band. Jones agreed to give a rare interview about the disintegration of the Clash and the reasons behind his dismissal from 'his own band' in Danny Garcia's 2012 documentary film and book "The Rise and Fall of the Clash".


title: Mick Jones (The Clash guitarist)

text: For his time with the Clash, Jones, along with the rest of the band, was inducted into the Rock and Roll Hall of Fame in 2003.


title: Mick Jones (The Clash guitarist)

text: While promoting the band's 2013 box set, "Sound System", which Jones says will be the final time he works on Clash music, he discussed the band reuniting prior to Strummer's death.There were a few moments at the time I was up for it (Hall of Fame reunion in 2003), Joe was up for it. Paul wasn't. And neither, probably, was Topper Headon, who didn't wind up even coming in the end. It didn't look like a performance was going to happen anyway. I mean, you usually play at that ceremony when you get in. Joe had passed by that point, so we didn't. We were never in agreement. It was never at a point where all of us wanted to do it at the same time. Most importantly for us, we became friends again after the group broke up, and continued that way for the rest of the time. That was more important to us than the band.


title: Mick Jones (The Clash guitarist)

text: In an October 2013 interview with BBC Radio 6 Music, Jones confirmed that Strummer did have intentions of a Clash reunion and in fact new music was being written for a possible album. In the months prior to Strummer's death, Jones and Strummer began working on new music for what he thought would be the next Mescaleros album. Jones said "We wrote a batch – we didn't use to write one, we used to write a batch at a time – like gumbo. The idea was he was going to go into the studio with the Mescaleros during the day and then send them all home. I'd come in all night and we'd all work all night." Jones said months had passed following their work together when he ran into Strummer at an event. Jones was curious as to what would become of the songs he and Strummer were working on and Strummer informed him that they were going to be used for the next Clash album.


title: Mick Jones (The Clash guitarist)

text: After his expulsion from the Clash, Jones was a founding member of General Public. Though he is listed in the credits of the band's 1984 debut studio album "All the Rage" as a member, Jones left General Public part way through the recording process and was replaced by Kevin White. White's picture appears on the back cover; Jones' picture does not. Jones did play guitar on many of the album's tracks however, including the North American top 40 single "Tenderness".


title: Mick Jones (The Clash guitarist)

text: Leaving General Public behind, in 1984 Jones formed Big Audio Dynamite with film director Don Letts, who had directed various Clash videos and later the Clash documentary "Westway to the World" (2000). The band's debut studio album "This Is Big Audio Dynamite" was released the following year, with the song "E=MC²" getting heavy rotation in dance clubs, and both singles "Medicine Show" and "E=MC" charting in the UK.


title: Mick Jones (The Clash guitarist)

text: For Big Audio Dynamite's second studio album, "No. 10, Upping St." (1986), Jones reunited with Strummer. Together, the two wrote several songs on the album, including "Beyond the Pale", "V. Thirteen", and "Sightsee M.C!"; Strummer also co-produced the album. Their reunion did not last long, and following that collaboration, the two did not work together again for some time.


title: Mick Jones (The Clash guitarist)

text: Big Audio Dynamite's third studio album, "Tighten Up, Vol. 88" (1988), featured album cover art painted by ex-Clash bassist, Paul Simonon. Shortly following its release, Jones developed chickenpox and pneumonia, and spent several months in hospital. After his recovery, Jones released one more studio album with Big Audio Dynamite, "Megatop Phoenix" (1989), before reshuffling the line-up, renaming the band Big Audio Dynamite II and releasing "The Globe" (1991) album. The BAD II line-up had an international #1 hit with their song "Rush", topping the Billboard Modern Rock charts in the U.S. and singles charts in Australia and New Zealand.


title: Mick Jones (The Clash guitarist)

text: The band's line-up was reshuffled again in 1994, and they released the studio album "Higher Power" (1994) under the name Big Audio. In 1995, a greatest hits album, "Planet B.A.D." was released as well as a studio album called "F-Punk" under the original Big Audio Dynamite name. A further studio album, "Entering a New Ride" was recorded in 1997, but was only released on the internet because of a disagreement with Radioactive Records, their then record label. One more "best of" collection, called "Super Hits", was released in 1999.


title: Mick Jones (The Clash guitarist)

text: Jones announced the reuniting of Big Audio Dynamite in January 2011, and they performed at the Lollapalooza music festival in 2011.


title: Mick Jones (The Clash guitarist)

text: In 2002, Jones teamed up with his former London SS colleague, Generation X and Sigue Sigue Sputnik member Tony James to form a new band named Carbon/Silicon. The band has toured the United Kingdom and the United States and has performed a number of anti-fascist benefit concerts; they have also recorded four studio albums: "A.T.O.M" (2006), "Western Front" (2006), "The Crackup Suite" (2007) and "The Carbon Bubble" (2009) which were available online for free. Their first physical CD release was "The News EP". The band encourages their fans to share their music on P2P networks, and allow the audio and video taping of their shows. Their first song, "MPFree" is an anthem for P2P file sharing.


title: Mick Jones (The Clash guitarist)

text: Similar in many respects to Jones' earlier work in Big Audio Dynamite, Carbon/Silicon aims to break the traditional approach to rock and roll. The band was described by Alan McGee as "...the Stones jamming with a laptop," and they make use of samples in their recordings and live shows. The formation of the band was catalysed by the internet and P2P file sharing. The first song written by Jones and James was entitled "MPFree," in which they expressed their willingness to embrace the technology of the internet and file sharing, in the interest of spreading music, rather than profit.


title: Mick Jones (The Clash guitarist)

text: On seven consecutive Friday nights in January and February 2008 Carbon/Silicon played a series of gigs at the Inn on the Green, right under the Westway in Thorpe Close, between Ladbroke Grove and Portobello Road, London. As well as Carbon/Silicon there were many special guests, including appearances by Sex Pistols' Paul Cook and Glen Matlock, former Clash drummer Topper Headon and multi-instrumentalist and former Mescalero, Tymon Dogg.


title: Mick Jones (The Clash guitarist)

text: Jones has also been an occasional producer. In 1981, he produced Ellen Foley's second studio album "Spirit of St. Louis". Jones was in a relationship with Foley, and co-wrote songs for the album with Strummer and Tymon Dogg. Players on the album included members of the Blockheads, Tymon Dogg and all four members of the Clash.


title: Mick Jones (The Clash guitarist)

text: In 1981, Jones co-produced Ian Hunter's "Short Back 'n' Sides" LP with Mick Ronson. He also provided guitars and vocals for several songs on the release. In the same year, he produced Theatre of Hate's debut studio album "Westworld" released in 1982, written by Kirk Brandon. Jones also played guitar on the title track, "Do You Believe in the Westworld". Jones would also record and produce "Aria of the Devil" in 1982 by Theatre of Hate at Wessex Studios, which did not get released until 1998, when the master tapes were found by Kirk Brandon.


title: Mick Jones (The Clash guitarist)

text: He produced the London-based band the Libertines' debut studio album "Up the Bracket" (2002); Jones stayed on to produce the band's second studio album "The Libertines" (2004). He also produced "Down in Albion" (2005), the debut studio album of former Libertines lead singer and guitarist Pete Doherty's new band Babyshambles.


title: Mick Jones (The Clash guitarist)

text: Jones is also credited with contributing guitar and vocals to "Mal Bicho", the lead track of Los Fabulosos Cadillacs' tenth studio album "Rey Azucar" (1995).


title: Mick Jones (The Clash guitarist)

text: He provided the score for Nick Mead's television film, "Dice Life – the Random Mind of Luke Rhinehart" (2004), a contemporary dance film created by Nick Mead and Wayne McGregor, featuring Luke Rhinehart, author of "The Dice Man" (1971).


title: Mick Jones (The Clash guitarist)

text: At the "NME" Shockwave 2007 awards, Jones took to the stage and performed "(White Man) In Hammersmith Palais" with Primal Scream.


title: Mick Jones (The Clash guitarist)

text: Jones reunited with Simonon on the title track of Gorillaz's third studio album "Plastic Beach" (2010): both of them performed in the Gorillaz live band supporting "Plastic Beach" (2010). The band headlined the 2010 Coachella Festival, Glastonbury and Festival Internacional de Benicàssim. Jones later appeared on the Gorillaz's fourth studio album "The Fall" (2010) on the track "Amarillo".


title: Mick Jones (The Clash guitarist)

text: In late 2011, Jones agreed to play songs by the Clash live again, collaborating with Pete Wylie and members of the Farm to form the Justice Tonight Band. The band formed with the aim of promoting awareness of the Hillsborough Justice Campaign. The Justice Tonight band have been joined onstage at different gigs by several other musicians sympathetic to the cause, including Billy Bragg and Paul Simonon. Shane MacGowan joined them onstage in Phoenix Park when the Justice Tonight Band supported the Stone Roses as part of their Reunion Tour on 5 July 2012.


title: Mick Jones (The Clash guitarist)

text: Jones collaborated with alternative rock group the Wallflowers as a guitarist and backing vocals for two tracks on their sixth studio album "Glad All Over" (2012).


title: Mick Jones (The Clash guitarist)

text: Jones was a featured guest on Rachid Taha's ninth and final studio album "Zoom" (2013), together with Brian Eno, and toured with Taha as part of the Zoom project.


title: Mick Jones (The Clash guitarist)

text: Jones narrated the Flaming Lips' fifteenth studio album "King's Mouth", released on 20 April 2019 which is Record Store Day. Jones is also featured on the album's cover artwork. The Flaming Lips's singer Wayne Coyne said of Jones "he’s on almost every song... it really is quite unbelievable."


title: Mick Jones (The Clash guitarist)

text: Jones was featured, along with Cola Boyy, on the Avalanches' single "We Go On" from their third studio album "We Will Always Love You" (2020).


title: Mick Jones (The Clash guitarist)

text: Jones' first guitar was a Gibson Les Paul Junior with a P-90 pickup, which he bought because Johnny Thunders used one. The Junior was his main guitar up until late 1977 or early 1978, and after that as a backup and studio guitar. Around the same time he also owned another Les Paul Junior, all black (formerly red) with a black pickguard, which was smashed at a performance in 1977. He then switched to a Gibson Les Paul Standard and later to Gibson Les Paul Custom.


title: Mick Jones (The Clash guitarist)

text: Jones also occasionally played an Olympic White Fender Stratocaster (for live versions of "Straight to Hell") and several Bond Electraglide guitars that were donated to him by Andrew Bond, who made the guitars. For effects Jones mainly uses MXR pedals including a Phase 100, a flanger, an analog delay and a noise gate as well as a Roland chorus or Space Echo effect. During his days with the Clash, Jones used a Marshall Plexi amplifier and occasionally a Fender Twin with a 2x12 cabinet. He later changed to a Mesa Boogie amplifier with two Marshall 4x12 cabinets that he used throughout the rest of his career with the Clash.


title: Mick Jones (The Clash guitarist)

text: During the karaoke club scene in the film "Code 46" (2003), Jones is seen singing the Clash song "Should I Stay or Should I Go?".


title: Dražen Petrović

text: Dražen Petrović (; 22 October 1964 – 7 June 1993) was a Yugoslav and Croatian professional basketball player. A shooting guard, he initially achieved success playing professional basketball in Europe in the 1980s, before joining the National Basketball Association (NBA) in 1989.


title: Dražen Petrović

text: A star on multiple international basketball stages, Petrović earned two silver medals (1988, 1992) and one bronze (1984) at the Summer Olympic Games, a gold (1990) and a bronze (1986) at the FIBA World Cup, and a gold (1989) and a bronze (1987) at the FIBA EuroBasket. He was the FIBA World Championship MVP in 1986 and the FIBA EuroBasket MVP in 1989. With Cibona Zagreb, Petrović also won two consecutive EuroLeague championships in 1985 and 1986. He first represented Yugoslavia's senior national team and, later, Croatia's senior national team. He earned four Euroscars, and was named Mr. Europa twice. In 1985, he received the Golden Badge award for the best athlete of Yugoslavia.


title: Dražen Petrović

text: Seeking a bigger arena after his career start in Europe, Petrović joined the NBA in 1989, as a member of the Portland Trail Blazers. After playing mostly off the bench that year, Petrović experienced a breakthrough following a trade to the New Jersey Nets. While starting for the Nets, he became one of the league's best shooting guards. He was named one of FIBA's 50 Greatest Players in 1991. On 7 June 1993, Petrović's career and life were cut short, after he died in a car accident, at the age of 28.


title: Dražen Petrović

text: In 1993, Petrović's jersey number 3 was retired by the Nets, and the Dražen Petrović Basketball Hall was named after him in his honor. He also received the Olympic Order in 1993. In 2002, he was posthumously enshrined into the Naismith Memorial Basketball Hall of Fame. In 2006, the Dražen Petrović Award was created in his honor. In 2007, he was posthumously inducted into the FIBA Hall of Fame. He was named one of the 50 Greatest EuroLeague Contributors in 2008. In 2013, he was voted the best European Basketball player in history, by players at the 2013 FIBA EuroBasket.


title: Dražen Petrović

text: Petrović is considered a crucial part of the vanguard to the present-day mass influx of European players into the NBA, and to this day he is viewed as a national hero in Croatia.


title: Dražen Petrović

text: Born in Šibenik, Yugoslavia (present-day Croatia), Dražen Petrović was the second child of Jovan "Jole" Petrović, a police officer, and Biserka (), a librarian. His father was born in a Serb family in Zagora, near Trebinje in Bosnia and Herzegovina. His mother was born in Bilice, near Šibenik, and was from a traditional conservative Croat family, devoutly Roman Catholic. The couple's eldest child, Aleksandar, was the first to play basketball and rose to become one of the top point guards in former Yugoslavia. The Petrović brothers are second cousins to the Serbian basketball player Dejan Bodiroga.


title: Dražen Petrović

text: At the age of 13, Petrović started playing in the youth selections of the local club Šibenka; at the age of 15, he had already made the club's first team, just as Šibenka had earned a place in the Yugoslav national first division. With young Petrović as the star of the team, Šibenka reached the final of the third level Pan-European club competition, the FIBA Radivoj Korać Cup twice (1981–82 and 1982–83), where they lost to the French League club Limoges CSP both times. In 1983, the 18-year-old Petrović hit two free throws in Šibenka's victory over Bosna Sarajevo in the final playoff game of the Yugoslavian League's 1982–83 season's club championship. However, on the day after the club won the championship, the Basketball Federation of Yugoslavia stripped the title from Šibenka, because of irregularities in refereeing. The league's championship was then awarded to Bosna, after Šibenka refused to play in a rematch.


title: Dražen Petrović

text: Petrović increased his scoring numbers in each successive season that he played with Šibenka. In the 1979–80 Yugoslav FFL season, he scored 13 points in 16 games, for an average of 0.8 points per game. In the 1980–81 Yugoslav FFL season, he scored 39 points in 20 games, for an average of 2.0 points per game. In the 1981–82 Yugoslav FFL season, he scored 392 points in 24 games, for an average of 16.3 points per game. In the 1982–83 Yugoslav FFL season, he scored 758 points in 31 games, for an average of 24.5 points per game. In total, he scored 1,202 points in 91 games played with Šibenka in the Yugoslav first division, for a scoring average of 13.2 points per game.


title: Dražen Petrović

text: After a year's mandatory service in the Yugoslav military, Petrović joined his older brother Aco and moved to Cibona Zagreb, to form what was at that time, the best back court duo in Europe. In his first season in Cibona, Petrović won both the national Yugoslav League championship and the Yugoslav National Cup title. In national domestic league play, in the 1984–85 Yugoslav FFL season, Petrović scored a total of 878 points in 27 games played, for a scoring average of 32.5 points per game.


title: Dražen Petrović

text: On 6 December 1984, in the 1984–85 season of Europe's top-level club competition, the FIBA European Champions Cup (EuroLeague), Petrović scored 44 points in a game against the Spanish League club Real Madrid. He scored 29 of the 44 points in the second half of the game. Petrović also scored 36 points in the league's 1985 Final against Real Madrid. Cibona won the game, by a score of 87–78, and the win brought the club their first top-tier level European Champions Cup title. That season, in Europe's top-level club competition, which eventually became known as the EuroLeague, Petrović scored a total of 463 points in 15 games played, for a scoring average of 30.9 points per game.


title: Dražen Petrović

text: On 5 October 1985, in a Yugoslav First Federal League game against Union Olimpija Ljubljana, Petrović scored 112 points, in Cibona's 158–77 blowout win. He scored 67 of the 112 points in the first half of the game. During the game, Petrović shot 40/60 from the field, 10/20 from 3-point range, and 22/22 from the free-throw line. The 112 points scored was the most points ever scored in a single game in the history of the Yugoslav First Federal League. It broke the league's previous single-game scoring record of 74 points, which was set in 1962, by Radivoj Korać. Korać achieved that record while playing with OKK Beograd, in a game against Mladost Zagreb.


title: Dražen Petrović

text: The record was achieved under unusual circumstances. Olimpija Ljubljana had failed to fulfill their player registration administrative obligations in time for the game. Olimpija general manager Radovan Lorbek was reportedly late with submitting a registration letter to the Basketball Federation of Yugoslavia (KSJ) headquarters in Belgrade. That rendered their entire men's first team roster ineligible for the Yugoslav First Federal League's regular season opening game, and forced them to instead field players for the game from their youth systems. Unfortunately, Olimpija didn't have an under-18 youth squad that season. So the club had to go to Zagreb to play the game with even younger players. In the end, the team that Olimpija took to Zagreb to play against Cibona, consisted of players in the under-16 and under-17 age groups, which included: Igor Đurović, Matjaž Strmole, Jože Maček, Dag Kralj, Tine Erjavec, Jure Zorčič, Gregor Stražiščar, Andrej Novina, and Tine Merzelj.


title: Dražen Petrović

text: Cibona, for their part, decided to use a mixed roster for the game, consisting of players from their youth system, plus their senior men's team's twenty-one-year-old young superstar Dražen Petrović, who used the opportunity of playing against the inferior youth squad opposition to shatter Korać's single-game Yugoslav League scoring record of 74 points. Petrović ended up with 112 points scored in the game, despite the fact that before the game, he had reportedly announced his intention to exit from the game, once he had surpassed Korać's 74 points record. Petrović was one of only five Cibona players to get on the score sheet that day. The other four were eighteen-year-old Dražen Anzulović with 16 points, eighteen-year-old Vladimir Rizman with 14 points, nineteen-year-old Ivo Nakić with 12 points, and Ivan Šoštarec with 4 points.


title: Dražen Petrović

text: Overall, in the 1985–86 Yugoslav FFL season, Petrović scored a total of 1,241 points in 30 games played, for a scoring average of 41.4 points per game. That season, Petrović also won another Yugoslav National Cup title with Cibona. On 7 February 1986, Petrović scored 55 points in a Yugoslav Cup game against Union Olimpija Ljubljana. He also scored 46 points in the 1986 Yugoslav Cup's Final against Cibona's old rivals Bosna Sarajevo.


title: Dražen Petrović

text: On 4 December 1985, in a 1985–86 season FIBA European Champions Cup (EuroLeague) game against the Israeli Super League club Maccabi Tel Aviv, Petrović scored 44 points. In the same European Champions Cup season, on 11 December 1985, he had 47 points and 25 assists in a game against the then reigning Italian League champions Simac Milano. In another European Champions Cup game that season, on 16 January 1986, Petrović scored 49 points, and had 20 assists against the Spanish League club Real Madrid. On 22 January 1986, in a European Champions Cup game against the French League club Limoges, Petrović made ten 3-pointers, including seven in a row during a first-half stretch, for a final tally of 51 points and 10 assists in the game. The 51 points scored was also his personal career-high scored in a single EuroLeague game.


title: Dražen Petrović

text: Eventually, Petrović won his second straight FIBA European Champions Cup (EuroLeague) title with Cibona, as he scored 22 points in the league's 1986 Final, in which Cibona defeated the USSR Premier League club Žalgiris Kaunas, which starred the legendary Arvydas Sabonis. In the 1985–86 European Champions Cup (EuroLeague) season, Petrović scored a total of 555 points in 15 games played, for a scoring average of 37.0 points per game.


title: Dražen Petrović

text: In the 1986–87 Yugoslav FFL season, Petrović scored a total of 932 points in 25 games played, for a scoring average of 37.3 points per game. In that same season, Cibona competed in the European-wide secondary level FIBA European Cup Winners' Cup competition. Petrović led Cibona to the championship, as he scored 28 points against the Italian League club Scavolini Pesaro, in the league's 1986–87 season Final. It was the third straight European-wide club championship for Petrović and Cibona.


title: Dražen Petrović

text: In the 1986–87 FIBA European Cup Winners Cup season, Petrović scored a total of 270 points in 8 games played, for a scoring average of 33.8 points per game.


title: Dražen Petrović

text: With Cibona, Petrović again won the Yugoslav National Cup title in 1988. In the 1987–88 Yugoslav FFL season, Petrović scored a total of 860 points in 24 games played, for a scoring average of 35.8 points per game. In that same season, Cibona competed in Europe's third level club competition, the FIBA Korać Cup. On 14 October 1987, Petrović scored 62 points in a 1987–88 FIBA Korać Cup season game against the Finnish League club KTP Kotka. Petrović led Cibona to the Finals of the Korać Cup, where they lost to the Spanish League club Real Madrid. During the Korać Cup season, Petrović scored a total of 401 points in 12 games played, for a scoring average of 33.4 points per game.


title: Dražen Petrović

text: During his four seasons with Cibona, Petrović scored a total of 3,911 points, in 106 games played in the national Yugoslav First Federal League, for a scoring average of 36.9 points per game. With Cibona, he also scored a total of 559 points, in 20 games played, for a scoring average of 28.0 points per game, in the Yugoslav Cup competition. In the three Pan-European club competitions that he played in with Cibona, he scored a total of 1,689 points in 50 games played, for a scoring average of 33.8 points per game.


title: Dražen Petrović

text: With both Šibenka and Cibona, Petrović's career scoring numbers in the Yugoslav First Federal League were 5,113 points scored, in 197 games played, for a career scoring average of 26.0 points per game. In the top-level European-wide club competition, the FIBA European Champions Cup, which is now known as the EuroLeague, Petrović scored a career total of 1,018 points in 30 games played, for a career scoring average of 33.9 points per game.


title: Dražen Petrović

text: After his string of very successful seasons with Cibona Zagreb, Petrović needed new challenges that Cibona and the Yugoslav First Federal League could no longer offer him. The NBA's Portland Trail Blazers had already used their third-round draft pick on the young Petrović, in the 1986 NBA draft, but he had decided to postpone his departure to the United States. In 1988, rather than go to the NBA, he instead signed with the Spanish League club Real Madrid, for around US$4 million in net income.


title: Dražen Petrović

text: At that time, Yugoslav sporting laws stipulated that players could not professionally move abroad until they had reached the age of 28. Petrović was still only 23 when he signed with Real Madrid. In 2014, José Antonio Arízaga, the sports agent who played a key role in Petrović's 1988 summer transfer from Cibona to Real, recalled a few details from the transaction: "I spoke to Mirko Novosel, Dražen's head coach at Cibona, and he told me two things. One, every problem in Yugoslavia can be taken care of with the right amount of money, and two, if Dražen leaves, every other player under 28 will be leaving and it'll be chaos. So, you can imagine all the individuals I had to bribe and all the places where I had to pay up, in order to circumvent this law".


title: Dražen Petrović

text: Petrović helped Real to win the title of the 1989 edition of the Spanish King's Cup, over their Catalan rivals, Barcelona. In the Spanish ACB League's Finals, Real Madrid narrowly lost to Barcelona, in the fifth and decisive game of the series. In the Spanish League's 1988–89 ACB season, Petrović was the league's regular season top scorer. Including the playoffs, he scored a total of 1,327 points, in 47 games played, for a scoring average of 28.2 points per game. Petrović's first season in Spain's ACB was also his last, but he still holds the ACB's single-game Finals records for the most points scored, with 42, and for the most three-pointers made, with 8.


title: Dražen Petrović

text: In European-wide club competition, Real Madrid competed in the European secondary level FIBA European Cup Winners' Cup. On 14 March 1989, in the 1988–89 Cup Winners' Cup Final against the Italian League club Snaidero Caserta, Petrović tied his previous best scoring performance in a European-wide club competition with 62 points.


title: Dražen Petrović

text: Petrović was pressured to join the NBA, by the Trail Blazers, who had drafted him 60th overall in 1986. Being motivated by the potential new challenges that the NBA presented, Petrović finally decided to try to establish himself in the league. He left Spain rather abruptly, at the end of the season; the Blazers assisted him in the process, by buying out his contract with Real Madrid, for as much as US$1.5 million. Petrović finally joined the Blazers for the 1989–90 season.


title: Dražen Petrović

text: The Blazers valued Petrović as a shooter, but were concerned that he might not possess the quickness to play guard or the foot speed to play defense. They brought him onto the team primarily as an outside threat to shoot three-pointers. In the Blazers' offensive scheme he was to set up behind the line, receive a passed ball and go directly up to release his shot. Petrović was an aggressive, attacking player who was used to creating his shot and shots for his teammates. Taking the ball out of his hands and making him a static shooter was foreign to him. Making matters worse, the Blazers already had a full rotation of guards, with a starting backcourt of Clyde Drexler and Terry Porter, and with veteran Danny Young as a reserve. Consequently, the reigning La Gazzetta dello Sport Euroscar European Player of the Year saw limited playing time. He had difficulty being productive in the limited role the Blazers had for him. In his rookie year during the 1989–90 NBA season, he averaged 7.4 points in 12 minutes per game.


title: Dražen Petrović

text: The following season, veteran guard Danny Ainge was added to the team, and Petrović's playing time dropped further to 7 minutes a game. In many statements made prior to arriving in Portland, Petrović had said he saw a lack of playing time as the only possible obstacle to his success in the NBA. He was determined to be a success in basketball's highest arena. His lack of playing time during his second season in the league brought Petrović's frustration to a climax: "I have nothing to say to Adelman any more and vice versa. Eighteen months have passed by, too long. I have to leave to prove how much I am worth. Never in my life did I sit on the bench and I don’t intend to do that in Portland."


title: Dražen Petrović

text: At his insistence, 38 games into the season (20 of which held no playing time for Petrović), a three-way trade with the Denver Nuggets sent him to the New Jersey Nets in exchange for a first-round pick in the following draft and Walter Davis, who was sent from Denver to Portland.


title: Dražen Petrović

text: On 23 January 1991, Petrović became a member of the New Jersey Nets. He joined a team that had not reached the playoffs since 1986, but had rookie Derrick Coleman, the number one selection from the 1990 draft. He was immediately given a role on the floor, with 20.5 minutes per game. His scoring over the remaining 43 games increased to 12.6 points per game, one of the league's best points-per-minute ratios. The following year, he and Coleman were joined by Kenny Anderson, giving the team a third talented new addition, and forming was expected to grow into a "big three". Petrović was made a starter for the 1991–92 season, his first full season with the Nets. "Petro", as the Americans had dubbed him, did not miss a single game. On 13 March 1992, Petrović scored 39 points while shooting 65% from the field, and 100% (3 of 3) from 3 point range, in a 110–108 win against the Boston Celtics. His determination, hard work and aggressive on-court demeanor established him as a team leader. In 36.9 minutes on the floor he averaged 20.6 points. Petrović led the Nets in field-goal shooting and free-throw shooting, and his field goal percentage of 51% placed him near the top of all NBA guards. More importantly, his success translated into success for the team. The Nets made the playoffs, recording 14 more wins than the previous year. On 23 April 1992, in Game 1 of their first round matchup against the Cleveland Cavaliers, Petrović scored a playoff career-high 40 points. The Nets would eventually lose the best of 5 series 3 games to 1. The following season saw Petrović increase his scoring average to 22.3 ppg, 11th best in the league.


title: Dražen Petrović

text: On 6 December 1992, he was named MVP of the Week. On 4 February 1993, Petrović played a career-high 53 minutes and scored 35 points in an overtime win against the Seattle SuperSonics. For the second season in a row he shot 45% from the three-point arc. His field goal percentage of 52% was again near the top for all guards. American media honored him with a selection to the All-NBA Third Team. However, he did not receive an invitation to the 1993 All-Star game. Among the top 13 scorers in the NBA that season, he was the only one not invited.


title: Dražen Petrović

text: In an interview on the Scoop B Radio Podcast, Petrović's Nets teammate, Chucky Brown marveled at Petrović's healing ability. Brown told Brandon Scoop B Robinson that he remembered Petrović spraining his knee and was slated to miss two months. Petrović rehabbed so hard that he ended up only missing two weeks.


title: Dražen Petrović

text: Petrović's national team debut came at the age of 15, at the Under-18 Balkan Championship in Turkey, where the Yugoslavia junior team won the bronze. The young man regularly played for the Yugoslavia national team in the Balkan Championships, also winning gold with the junior team and silver with the senior team. He also brought back the silver from the 1982 FIBA Europe Under-18 Championship in Bulgaria.


title: Dražen Petrović

text: The 1984 Summer Olympics were Petrović's first competition of a grand scale with the Yugoslavia senior national team, and the bronze medal won in Los Angeles that summer became his first Olympic medal. Third place was also earned at the 1986 FIBA World Championship, remembered for the last minute thriller in the semi-final game against the Soviet Union. Petrović was named the MVP of the tournament. At the 1987 EuroBasket, Petrović again returned with bronze, as Yugoslavia lost to the hosts and gold medalists Greece. The University Games, held in Zagreb in 1987, saw the Yugoslavian squad with Petrović win the gold. In the 1988 Summer Olympics, Yugoslavia with Petrović, earned 2nd place, as they lost once more to the Soviet powerhouse.


title: Dražen Petrović

text: An excellent club season with Real Madrid was topped by Petrović's 1989 accomplishment with the Yugoslavia national team: at the EuroBasket in Zagreb, the young Yugoslavian team went all the way, defeating Greece more than comfortably in the championship game. Petrović was the tournament's second leading scorer and Most Valuable Player. The very next year, the summer in between the two most frustrating seasons of his professional career, as he struggled for playing time with the Trail Blazers, Petrović was again making history with the national team, as Yugoslavia became world champions, after beating the Soviet Union for the gold in Buenos Aires, at the 1990 FIBA World Championship.


title: Dražen Petrović

text: Overall, Petrović represented Yugoslavia's senior national team in 155 games, in which he scored a total of 3,258 points, for a career scoring average of 21.0 points per game.


title: Dražen Petrović

text: The 1992 Olympic Games in Barcelona, marked the first summer Olympics featuring the independent Croatia, and Petrović was the leader of the Croatian national basketball team at the Olympic basketball tournament. Losing only to the American Dream Team in the group stage, a strong and inspired Croatian team emerged victorious from the Semifinals against the revamped Soviet team, thanks to clutch free throws executed by Petrović, and faced off against the Americans for the gold. Urged on by Petrović's competitiveness and confidence, the Croatians fared well in the first ten minutes of the game, taking a 25–23 lead on a Franjo Arapović dunk and the subsequent made free throw. As the game progressed, however, the now-legendary team composed of NBA stars proved too tough for Croatia: the Americans won 117–85, sending Petrović, the game's leading scorer with 24 points, and his teammates, home with silver medals.


title: Dražen Petrović

text: In the period during which Petrović played for the senior Croatian national team (1992–1993), he appeared in 40 games and scored a total of 1,002 points, for a career scoring average of 25.1 points per game. His highest single-game point tally came against Estonia, on 31 May 1993 (48 points). Counting the senior national team games that he played in with both Yugoslavia's and Croatia's national teams, Petrović scored a total of 4,260 points in 195 games played, for a career scoring average of 21.8 points per game.


title: Dražen Petrović

text: In the summer of 1993, after his best NBA season and the Nets' first-round elimination by the Cleveland Cavaliers, Petrović traveled to Wrocław, where the Croatian national team was playing a qualification tournament for the 1993 EuroBasket. He was contemplating departure from the Nets, disappointed with the fact that the Nets had not yet extended his contract. He told American reporters that the lack of recognition in the league made him also consider leaving the NBA completely and playing club basketball in Greece. There were at least two Greek clubs ready to offer Petrović three-year contracts worth US$7.5 million net. Petrović decided to skip the connection flight back to Zagreb and drive with his girlfriend back to Croatia.