title: Anett Kontaveit

text: At the Rogers Cup, she lost to Petra Kvitová in straight sets, and lost in the third round of the Cincinnati Open to eventual winner Kiki Bertens. At the US Open, she lost in the first round to Katarina Siniaková.


title: Anett Kontaveit

text: On 1 October 2018, she reached her best singles ranking of No. 21, after finishing runner-up at the Wuhan Open. During the tournament, she beat Sloane Stephens, Donna Vekić, Zhang Shuai, Katarina Siniaková and Wang Qiang to reach the final where she lost in straight sets to Aryna Sabalenka.


title: Anett Kontaveit

text: She received a bye into the second round of the China Open, after reaching the final of Wuhan. She was later defeated by Caroline Wozniacki in the third round. She finished the season being eliminated in the round-robin stage of the WTA Elite Trophy, after losing to Elise Mertens and beating Julia Görges.


title: Anett Kontaveit

text: Kontaveit started the year by reaching the quarterfinals of the Brisbane International beating Suarez Navarro and Kvitová before losing to eventual finalist Lesia Tsurenko. She then lost to Elise Mertens in the second round of the Sydney International. Seeded 20th at the Australian Open, she won against Sara Sorribes Tormo and lost in the second round to Aliaksandra Sasnovich.


title: Anett Kontaveit

text: During the Middle Eastern swing, she lost in the second round of the Qatar Open to Angelique Kerber. Seeded 15th at the Dubai Tennis Championships, she lost in the first round to Zhang Shuai.


title: Anett Kontaveit

text: Kontaveit then moved onto the Sunshine Double tournaments at Indian Wells and Miami. Seeded 21st, she reached the fourth round at Indian losing to Karolína Plíšková in three sets. She then made her breakthrough at the Miami Open. Seeded again 21st, she defeated Amanda Anisimova, Ajla Tomljanovic and Indian Wells champion Bianca Andreescu to reach her first Premier Mandatory quarterfinal. She defeated 27th seed Hsieh Su-wei despite trailing in the third set. She then faced Ashleigh Barty but lost in straight sets. These results propelled her ranking from No. 20 to 14 and made her the highest ranked Estonian player in history, male or female, and surpassed compatriot Kaia Kanepi's career-high rank of No. 15.


title: Anett Kontaveit

text: At her first clay-court event of the season, she was seeded eighth; at the Porsche Tennis Grand Prix, she defeated Caroline García in two sets to face Anastasia Pavlyuchenkova in a rematch of last years quarterfinal. She defeated her in straight sets to reach the quarterfinals for the third year in a row and face Viktoria Azarenka, who retired in the third set. This meant, she reached the semifinals for the second year running and was due to face world No. 1, Naomi Osaka. However, Osaka withdrew with an abdominal injury handing Kontaveit a walkover to the final to face Petra Kvitová. She lost the final in two sets.


title: Anett Kontaveit

text: She was seeded 14th at the Madrid Open, however, lost in the first round to Aliaksandra Sasnovich in three sets.


title: Anett Kontaveit

text: Her next event was the Italian Open where she was seeded 15th. She defeated Mona Barthel to face Maria Sakkari in the second round. However, she lost in straight sets. Her results meant she was seeded 17th at the French Open, her best seeding at a Grand Slam event but she lost there in the first round to Karolina Muchová.


title: Anett Kontaveit

text: Her first grass-court match ended in defeat to seventh seed Johanna Konta at the Birmingham Classic. Seeded 16th at Eastbourne, she came from a set down to defeat wildcarded Harriet Dart in the first round to set up a second-round clash with Anna-Lena Friedsam. She was defeated in straight sets.


title: Anett Kontaveit

text: At Wimbledon, she was the 20th seed, and defeated Shelby Rogers in the first round to face Heather Watson. She defeated her in two sets to face Karolina Muchová in the third round; she lost to the Czech in two sets.


title: Anett Kontaveit

text: After taking the next month off she returned at the Rogers Cup where she is the 16th seed. Her first match was against the wildcarded Maria Sharapova. She defeated her in an epic two-hour and 40-minute match. She won a 17-minute service game to break Sharapova and to serve for the match. In the second round, she defeated Suárez Navarro who retired in the second set. She lost to third seed Karolína Plíšková in the third round.


title: Anett Kontaveit

text: At the Cincinnati Open, she defeated 13th seed Angelique Kerber in the first round to face Polish teenager Iga Świątek in round two. She defeated her in two sets to face the top seed and world No. 2, Ash Barty in round three. She lost in three tight sets, despite serving for the match in the final set. With this results she secured her the 21st seed at the US Open.


title: Anett Kontaveit

text: At the US Open, Kontaveit opened the tournament with a win against Sorribes Tormo. She defeated Ajla Tomljanović in the second round but withdrew from her third-round match against 13th seed Belinda Bencic with a viral illness.


title: Anett Kontaveit

text: She withdrew from two Premier events, in Zhengzhou and the Pan Pacific Open. She also withdrew from the Wuhan Open where she had reached the final in 2018. Her withdrawal meant that she would drop down the rankings with points being deducted from last year. She later revealed on Instagram that she had been suffering from an ongoing illness and a small operation. She said, she may return in time for either Linz or the Kremlin Cup but withdrew from both.


title: Anett Kontaveit

text: Kontaveit began the season at the Brisbane International defeating Hsieh Su-wei but losing to sixth seed Kiki Bertens in three sets. At Adelaide, she lost to Pavlyuchenkova in the first round, in straight sets. As the 28th seed at the Australian Open, she defeated Astra Sharma and Sorribes Tormo and then crushed Belinda Bencic, losing only one game, to reach the fourth round for the second time in her career. She then defeated Iga Świątek in three sets to give Kontaveit a place in the quarterfinals where she lost against to Simona Halep. However, with her win in the fourth round against Iga Świątek, she became the first Estonian, male or female, to reach a quarterfinal at the Australian Open, and with this tournament's result she moved up nine places in the WTA rankings to 22. She next went to Dubai where she made the quarterfinals but lost to Petra Martić.


title: Anett Kontaveit

text: At the first Premier 5 tournament at Doha, she defeated Anastasija Sevastova in straight sets before losing to ninth seed and eventual champion, Aryna Sabalenka, in a tight three-set match.


title: Anett Kontaveit

text: Kontaveit returned to the tour at Palermo, the first WTA tournament during the coronavirus pandemic. She was seeded fourth and defeated in her first match Patricia Maria Țig. In the second round, she defeated Laura Siegemund in three sets to face Elisabetta Cocciaretto in the quarterfinals. She also beat the Italian wildcard in three sets to reach her first semifinal of the season against top seed Petra Martić. She defeated the Croatian in two sets to advance to her first final of the season. There, she was defeated by Frenchwoman Fiona Ferro in two sets despite serving for the second set. Nevertheless, the run to the final saw Kontaveit return to the top 20.


title: Anett Kontaveit

text: Seeded 12th at the Cincinnati Open, she defeated former top-ten player Daria Kasatkina, Jil Teichmann, and Marie Bouzková, to set up a quarterfinal clash against former world No. 1, Naomi Osaka. Despite leading by a set and a break she eventually lost the match in three sets.


title: Anett Kontaveit

text: Seeded 14th at the US Open, she defeated Danielle Collins in the first round in three sets. In the second round, she beat Slovenian teenager Kaja Juvan and 24th Magda Linette to reach the fourth round of the US Open for a second time to face fourth seeded Osaka. However, she was not able to avenge her prior defeat, falling to the eventual champion in straight sets.


title: Anett Kontaveit

text: She then played at the Italian Open, where she defeated Caroline Garcia, in straight sets, in the first round, before falling to Svetlana Kuznetsova in the second. At the French Open, Kontaveit again faced Garcia in the first round. Unfortunately, Garcia managed to clinch her revenge against the 17th seed, who suffered a disappointing loss in three sets, culminating the season. Her final event of the season was the Ostrava Open where she defeated Ekaterina Alexandrova in three sets before losing to Sara Sorribes Tormo, in straight sets.


title: Anett Kontaveit

text: Kontaveit started the new season at the WTA 500 event in Abu Dhabi as the tenth seed, losing to Veronika Kudermetova in straight sets.


title: Anett Kontaveit

text: In Australia, Kontaveit was placed in hard quarantine with 72 other players due to the COVID-19 pandemic, meaning she wasn't allowed to practice for the upcoming Australian Open and had to stay in her hotel room for 14 days. She played the WTA 500 Grampians Trophy where she defeated Christina McHale, Bethanie Mattek-Sands and Maria Sakkari to reach the final against American Ann Li. However, the final wasn't played due to scheduling difficulties.


title: Anett Kontaveit

text: Seeded 21st at the Australian Open, she defeated Aliaksandra Sasnovich in straight sets, and Heather Watson in three to reach the third round. She then was defeated by Shelby Rogers in straight sets, despite holding a 4–1 lead in the first set. Next was the Middle Eastern swing. At the WTA 500 Qatar Open, she defeated seventh seed and 2021 Australian Open finalist Jennifer Brady in 57 minutes to progress. She then beat former world No. 1 and three-time Grand Slam champion, Angelique Kerber, in an hour, to reach the quarterfinals where she lost in three sets to the eventual champion, Petra Kvitová. At the WTA 1000 Dubai Championships, she defeated Timea Babos and Sorana Cirstea to reach the third round. She then lost to third-seeded Aryna Sabalenka in straight sets.


title: Anett Kontaveit

text: At the Miami Open, she was seeded 22nd and defeated Sorana Cirstea in three sets to reach the third round against the 16th seed Elise Mertens, losing again in three sets. Her ranking would drop a few spots, because she was defending semifinal points from the 2019 edition of the tournament. Her next tournament was the 2021 Porsche Tennis Grand Prix where she was the 2019 finalist. In her first-round match, she defeated a qualifier, German teenager Julia Middendorf, to set up a match against the world No. 4 and third seed, Sofia Kenin. She upset the American to reach the quarterfinals, a feat she had achieved in her four previous main-draw appearances at the tournament. In the quarterfinals, she lost to Aryna Sabalenka in three sets. Shortly after the tournament Kontaveit and Nigel Sears announced an amicable coaching split after three years together.


title: Anett Kontaveit

text: In Madrid, she defeated Serbian qualifier Nina Stojanović to reach the second, where she was defeated by the 16th seed Maria Sakkari, in straight sets. She withdrew from the Italian Open due to exhaustion, and did not play another lead up clay-court tournament in the weeks till Roland Garros. Seeded 30th at the French Open, she defeated Viktorija Golubic in three sets to progress to the second round where she defeated Kristina Mladenovic in two sets to reach the third round. There, she lost to the defending champion and eighth seed Iga Świątek. Her next tournament was the WTA 500 grass-court event in Eastbourne. She defeated Svetlana Kuznetsova and then third seed Bianca Andreescu, her second top-10 win of the season and 13th overall, to reach the quarterfinals. There, she beat again Golubic in three tough sets to reach her second semifinal of the season against Camila Giorgi. She reached the final after Giorgi's retirement but lost to Jelena Ostapenko. At Wimbledon, she was defeated in the first round by Markéta Vondroušová, in three sets.


title: Anett Kontaveit

text: Her debut at the Olympic Games in Tokyo was cut short, after being defeated by Maria Sakkari in the first round despite leading in the opening set. Her next tournament was the Canadian Open edition of the Rogers Cup in Canada where she was defeated by American Jessica Pegula in the opening round despite leading by a set and a break.


title: Anett Kontaveit

text: She started a coaching trial with former player Dmitry Tursunov, ex-coach of Aryna Sabalenka. At the Cincinnati Open she was defeated by world No. 20, Ons Jabeur, in the first round. Her results improved the following week at the WTA 250 Cleveland tournament. As the second seed she defeated Lauren Davis, Caroline Garcia, Kateřina Siniaková and Sorribes Tormo to reach her third final of the season against Irina-Camelia Begu. She defeated Begu in straight sets to win her second career title. Seeded 28th at the US Open, she reached the third round for the third time at a Grand Slam championship for the season where she lost again to seventh seed Iga Świątek.


title: Anett Kontaveit

text: At the Ostrava Open, she won her third WTA title of her career and the second in the season without losing a set. She defeated No. 3 seed, Belinda Bencic, in the quarterfinals, the local favorite, world No. 10, tournament No. 2 seed, Petra Kvitová, in the semifinals (her third top-10 win of the season) and No. 4 seed Maria Sakkari in the final (her fifth top-20 win of the season). This was the biggest WTA Tour title of the season and of her career since her first title in 2017.


title: Anett Kontaveit

text: At the Chicago Open, she defeated Madison Brengle in straight sets, then withdrew before her second-round match citing a thigh strain. Her next tournament was at Indian Wells where she was seeded 18th. In her first-round match, she defeated Martina Trevisan to face the 16th seed and defending champion Bianca Andreescu; she defeated the Canadian to reach the fourth round for the second time in her career. She then defeated qualifier Beatriz Haddad Maia to reach the quarterfinals for the first time. She lost out to Ons Jabeur in straight sets. This result meant she returned to the top 20 again, the first time since 2020.


title: Anett Kontaveit

text: Kontaveit's next tournament was the Kremlin Cup, where she took a wildcard. As the ninth seed, she defeated Kateřina Siniaková and Andrea Petkovic to reach the quarterfinals. She demolished Garbiñe Muguruza to reach the semifinals. She defeated Olympic silver medalist Markéta Vondroušová in straight sets to reach her fifth final of the season. There she defeated Ekaterina Alexandrova in three sets (coming from four games down in the second set) to win her third title of the season and fourth WTA title. This result propelled her back to 14th in the world and equal her career high. It also put her in contention of reaching the WTA Finals, as she reached tenth in the race.


title: Anett Kontaveit

text: Kontaveit then headed to the Transylvania Open. As the second seed in Cluj-Napoca, she defeated Aleksandra Krunić, Alison Van Uytvanck, Anhelina Kalinina and Rebecca Peterson to reach her sixth final of the year. She defeated Simona Halep in straight sets in the final, winning her fourth title of the year (all coming within the space of her last seven tournaments). Her victory in the final was her 26th in her last 28 matches. As a result, Kontaveit secured the final spot at the 2021 WTA Finals, surpassing Jabeur, whilst also guaranteeing her top-10 debut, reaching a new career high of world No. 8, on 1 November 2021. Kontaveit lost to Garbiñe Muguruza during the round robin stage, but defeated Barbora Krejčíková and Karolína Plíšková, in straight sets, to finish first in her group and advance to the semifinals. She then defeated Maria Sakkari to reach the biggest final of her career, posting a 7–0 undefeated record in semifinals this year. She became the first Estonian tennis player, male or female, to qualify and reach the final of a year-end tournament. Her semifinal win over Sakkari was her 48th win of the season, tying Ons Jabeur for the most wins in 2021. She lost to Muguruza in the championship match, finishing her breakout season ranked No. 7 in the world.


title: Anett Kontaveit

text: Kontaveit started at the Sydney International as the fourth seed. She began her campaign by defeating Zhang Shuai, Elena-Gabriela Ruse, and Ons Jabeur to reach the semifinals. However, she was defeated by third seed Barbora Krejčíková, 6-0, 4-6, 6–7, despite having seven match points.


title: Anett Kontaveit

text: Seeded No. 7 at the Australian Open, she was considered a favourite following her run of form at the end of 2021. She defeated Kateřina Siniaková in the first round, 6-2, 6–3, but was upset by Danish teenager and rising star, Clara Tauson, in the second round, 6–2, 6-4.


title: Anett Kontaveit

text: Continuing a streak of indoor hardcourt wins in 2021- Kontaveit won the St. Petersburg Trophy as the second seed, reaching the final after defeating Jil Teichmann, Sorana Cîrstea, Belinda Bencic, and Jeļena Ostapenko. She defeated the top seed, Maria Sakkari, in the final, in three sets, and reached a career high of No. 5.


title: Anett Kontaveit

text: Kontaveit then played at the Qatar Open, and defeated Ana Konjuh, Elise Mertens, Ons Jabeur, and recent Dubai Tennis Championships champion, Jeļena Ostapenko, to reach the final. This was her second WTA 1000 final- after Wuhan in 2018. She was defeated by Iga Świątek, 6–2, 6–0. This run helped her ranking rise to a career-high of No. 4 in the world.


title: Anett Kontaveit

text: Kontaveit then experienced a drop in form, losing in the third and second rounds at the Sunshine Double- falling to 30th seed Markéta Vondroušová at Indian Wells and an unseeded American player, Ann Li in Miami, respectively. At the Porsche Tennis Grand Prix in Stuttgart, she reached the quarterfinals, where she lost to Aryna Sabalenka in three sets, in a rematch of last year's quarterfinal. She then withdrew from the Madrid Open after contracting COVID-19; this period of illness lead to her reporting fitness struggles such as breathing issues throughout the summer months. Upon her return, she participated at the Italian Open where she lost to Petra Martić, 2-6, 4-6 in the second round, after receiving a bye in the first round.


title: Anett Kontaveit

text: As the fifth seed at the French Open, Kontaveit lost to Ajla Tomljanović in the first round. Despite this, she reached a career-high ranking of world No. 2 on 6 June 2022. She announced her split with her coach Dmitry Tursunov following the conclusion of the tournament as he has difficulty traveling to events with her due to visa difficulties of people holding Russian citizenship.


title: Anett Kontaveit

text: Kontaveit later revealed that she had coronavirus after Stuttgart, which affected her game in the next tournaments in Rome and French Open. She played no warm-up tournaments on grass in the lead up to the 2022 Wimbledon Championships. Kontaveit started working with a new coach, German Torben Beltz.


title: Anett Kontaveit

text: At the Wimbledon Championships, Kontaveit played as second seed, defeating Bernarda Pera in the first round, but losing to unseeded Jule Niemeier in the second.


title: Anett Kontaveit

text: Kontaveit received a late wildcard entry into Hamburg European Open where she defeated Irina Bara and Rebecca Peterson to reach quarterfinals. Then she reached semifinals after Andrea Petkovic retired, 0–6, 0–2 down. After that, she beat Anastasia Potapova to reach her third final of the season and first since February. In the final, she lost to Bernarda Pera, 2–6, 4–6.


title: Anett Kontaveit

text: At the US Open, Kontaveit came into the tournament as the second seed and beat Jaqueline Cristian, 6–3, 6–0 in the first round. She was then upset in the second round by 23-time grand slam champion Serena Williams making her farewell run in Flushing Meadows; the match went three sets and lasted two and a half hours. It completed Kontaveit's subpar major record in 2022, having never made it past the second round, the first such result since 2016.


title: Anett Kontaveit

text: Kontaveit was the top seed at the inaugural edition of her home tournament, the Tallinn Open. She reached final defeating compatriot Kaia Kanepi in the semifinals, before losing to seventh seed Barbora Krejčíková, in straight sets. At the Ostrava Open, Kontaveit entered as defending champion and third seed- but retired, after dropping the first set to unseeded Tereza Martincová in her first match: 6–7, 0–1 ret. She announced, she was ending her 2022 season due to a back injury shortly after.


title: Anett Kontaveit

text: Kontaveit is an aggressive baseline player who uses a variety of strokes to force opponents to hit awkward shots; this enables her to strike fast winners or draw quick errors. Due to her aggressive style, she typically hits many winners and unforced errors. Both her forehand and her two-handed backhand are hit flat, with relentless depth, power, and penetration, allowing her to dictate play from the first stroke of the rally. Kontaveit is also adept at hitting her backhand with slice, slowing the pace of rallies; she typically uses this shot while playing defensively, allowing her to slow a rally's pace and reposition herself so that she can resume her aggressive style. Kontaveit has a powerful first serve, which peaks at 109 mph (175 km/h), allowing her to serve aces. She also has effective kick and slice second serves, which prevent her from double-faulting and prevents opponents from scoring free points on second-serve returns. Although she typically plays from the baseline, Kontaveit is adept at the net due to her doubles experience, and frequently attacks the net with powerful swinging volleys, which she uses to finish points quickly. She typically aims to receive short balls from her opponents, attacking with a high kick serve, altering pace with a backhand slice, and changing direction in a prolonged rally to do so. She is also noted for her speed around the baseline, allowing her to reach most shots, counterpunch effectively, and hit running forehands; this is aided by her exceptional footwork, stamina, and court coverage. Since hiring Nigel Sears as her coach, Kontaveit has improved her service, adding more power and variety, such as the kick serve, which has helped save break points against opponents; her serve made further improvements under Dmitry Tursunov's tutelage, making her a reliable server who serves multiple aces every match. Kontaveit's movement also improved under Tursunov, allowing her to hit powerful groundstroke winners on the run and developing a more confident, positive mindset. She has also become more aggressive and learned when to pull the trigger in rallies, allowing her to develop into a proactive player who dominates her opponents through sheer power and aggression.


title: Anett Kontaveit

text: Kontaveit has been endorsed by Lacoste for clothing and apparel since 2019, she was previously endorsed by Adidas; when on court, she wears Nike footwear. Kontaveit has used Babolat racquets since her junior career, specifically using the Pure Strike range of racquets. Further partners include Tallink, Porsche Estonia, and Alexela.


title: History of the Philippines (1965–1986)

text: The history of the Philippines, from 1965 to 1986, covers the presidency of Ferdinand Marcos. The Marcos era includes the final years of the Third Republic (1965–1972), the Philippines under martial law (1972–1981), and the majority of the Fourth Republic (1981–1986). By the end of the Marcos dictatorial era, the country was experiencing a debt crisis, extreme poverty, and severe underemployment.


title: History of the Philippines (1965–1986)

text: In 1965, Ferdinand Marcos won the presidential election and became the 10th president of the Philippines. His first term was marked with increased industrialization and the construction of nationwide infrastructure, including the creation of the North Luzon Expressway and the continuation of the Maharlika Highway (Pan-Philippine Highway).


title: History of the Philippines (1965–1986)

text: In 1968, Senator Benigno Aquino Jr. warned that Marcos was on the road to establishing "a garrison state" by "ballooning the armed forces budget", saddling the defense establishment with "overstaying generals" and "militarizing our civilian government offices". These were prescient comments in the light of events that would happen in the following decade.


title: History of the Philippines (1965–1986)

text: During the Vietnam War, Marcos strongly opposed sending military forces to Vietnam. Under intense pressure from US President Lyndon Johnson, Marcos sent a Filipino noncombatant military force to the Republic of Vietnam in 1966, under the Philippine Civic Action Group (PHILCAG). As the war was proving to be unpopular among Filipinos, Marcos ordered the withdrawal of the PHILCAG in November 1969.


title: History of the Philippines (1965–1986)

text: In 1969, Marcos ran for a second term - the last one allowed him under the 1935 constitution which was then in effect.) He won by a landslide against 11 other candidates.


title: History of the Philippines (1965–1986)

text: But Marcos' massive spending during the 1969 presidential campaign had taken its toll and triggered growing public unrest. During the campaign, Marcos had spent $50 Million Dollars worth in debt-funded infrastructure, triggering the 1969 Philippine balance of payments crisis. The Marcos administration ran to the International Monetary Fund (IMF) for help, and the IMF offered a debt restructuring deal. New policies, including a greater emphasis on exports and the relaxation of controls of the peso, were put in place. The Peso was allowed to float to a lower market value, resulting in drastic inflation, and social unrest.


title: History of the Philippines (1965–1986)

text: In February 1971, student activists took over the Diliman campus of the University of the Philippines and declared it a free commune. Protests during the First Quarter Storm in 1970 resulted in clashes and violent dispersals by police.


title: History of the Philippines (1965–1986)

text: During the First Quarter Storm in 1970, the line between leftist activists and communists became increasingly blurred, as a significant number of Kabataang Makabayan ('KM') advanced activists joined the Communist Party also founded by Jose Maria Sison. KM members protested in front of Congress, throwing a coffin, a stuffed alligator, and stones at Ferdinand and Imelda Marcos after his State of the Nation Address. At the presidential palace, activists rammed the gate with a fire truck and once the gate broke and gave way, the activists charged into the palace grounds tossing rocks, pillboxes and Molotov cocktails. In front of the U.S. embassy, protesters vandalized, burned, and damaged the embassy lobby resulting in a strong protest from the U.S. ambassador. The KM protests ranged from 50,000 to 100,000 in number per weekly mass action. In the aftermath of the January 1970 riots, at least two activists were confirmed dead and several were injured by the police. The mayor of Manila at the time, Antonio Villegas, commended the Manila Police District for their "exemplary behavior and courage" and protecting the First Couple long after they had left. The death of the activists was seized by the Lopez controlled Manila Times and Manila Chronicle, blaming Marcos and added fire to the weekly protests. Students declared a week-long boycott of classes and instead met to organize protest rallies.


title: History of the Philippines (1965–1986)

text: Rumors of a coup d'état were also brewing. A report of the U.S. Senate Foreign Relations Committee said that shortly after the 1969 Philippine presidential election, a group composed mostly of retired colonels and generals organized a revolutionary junta to first discredit President Marcos and then kill him. As described in a document given to the committee by Philippine Government official, key figures in the plot were Vice President Fernando Lopez and Sergio Osmeña Jr., whom Marcos defeated in the 1969 election. Marcos even went to the U.S. embassy to dispel rumors that the U.S. embassy is supporting a coup d'état which the opposition liberal party was spreading. While the report obtained by the "New York Times" speculated saying that story could be used by Marcos to justify martial law, as early as December 1969 in a message from the U.S. ambassador to the U.S. assistant secretary of state, the U.S. ambassador said that most of the talk about revolution and even assassination has been coming from the defeated opposition, of which Adevoso (of the Liberal Party) is a leading activist. He also said that the information he has on the assassination plans are 'hard' or well-sourced and he has to make sure that it reached President Marcos.


title: History of the Philippines (1965–1986)

text: In light of the crisis, Marcos wrote an entry in his diary in January 1970: "I have several options. One of them is to abort the subversive plan now by the sudden arrest of the plotters. But this would not be accepted by the people. Nor could we get the Huks (Communists), their legal cadres and support. Nor the MIM (Maoist International Movement) and other subversive [or front] organizations, nor those underground. We could allow the situation to develop naturally then after massive terrorism, wanton killings and an attempt at my assassination and a coup d’etat, then declare martial law or suspend the privilege of the writ of habeas corpus – and arrest all including the legal cadres. Right now I am inclined towards the latter."


title: History of the Philippines (1965–1986)

text: On August 21, 1971, the Liberal Party held a campaign rally at the Plaza Miranda to proclaim their senatorial bets and their candidate for the mayoralty of Manila. Two grenades were reportedly tossed on stage, injuring almost everybody present. As a result, Marcos suspended the writ of habeas corpus to arrest those behind the attack. He rounded up supposed suspects and other undesirables to eliminate rivals in the Liberal Party.


title: History of the Philippines (1965–1986)

text: Marcos accused the communist movement as the perpetrators of the bombing, and responded by suspending the writ of habeas corpus. Declassified documents from the U.S. Central Intelligence Agency also implicate Marcos in at least one of the deadly series of bombings in 1971.


title: History of the Philippines (1965–1986)

text: On the night of September 22, 1972, Defense Minister Juan Ponce Enrile was allegedly ambushed while on his way home. The assassination attempt was widely believed to have been staged; Enrile himself admitted to the assassination attempt to have been staged but he would later retract his claim.


title: History of the Philippines (1965–1986)

text: The Plaza Miranda bombing, the alleged ambush of Enrile, and the MV Karagatan landing were among the incidents used to justify the imposition of martial law. The alleged assassination attempt of Enrile together with the general citizen disquiet, were used by Marcos as reasons to issue Presidential Proclamation No. 1081, proclaiming a state of martial law in the Philippines on September 21.


title: History of the Philippines (1965–1986)

text: Facing further criticism, Marcos claimed that his declaration of Martial Law was supported by esteemed Philippine statesman Senator Lorenzo Tañada, who at the time was abroad representing the Philippines at international parliamentary conferences. Upon hearing the claim, Senator Tañada debunked it and clarified that he gave no such support for the declaration.


title: History of the Philippines (1965–1986)

text: Marcos, who thereafter ruled by decree, curtailed press freedom and other civil liberties, abolished Congress, controlled media establishments, and ordered the arrest of opposition leaders and militant activists, including his staunchest critics Senators Benigno Aquino Jr. and Jose W. Diokno, virtually turning the Philippines into a totalitarian dictatorship with Marcos. Initially, the declaration of martial law was well received, given the social turmoil of the period. Crime rates decreased significantly after a curfew was implemented. Political opponents were allowed to go into exile. As martial law went on for the next nine years, the excesses committed by the military increased. In total, there were 3,257 extrajudicial killings, 35,000 individual tortures, and 70,000 were incarcerated. It is also reported that 737 Filipinos disappeared between 1975 and 1985.


title: History of the Philippines (1965–1986)

text: Though it was claimed that martial law was no military take-over of the government, the immediate reaction of some sectors of the nation was of astonishment and dismay, for even though it was claimed that the gravity of the disorder, lawlessness, social injustice, youth and student activism, and other disturbing movements had reached a point of peril, they felt that martial law over the whole country was not yet warranted. Worse, political motivations were ascribed to be behind the proclamation, since the then constitutionally non-extendable term of President Marcos was about to expire. This suspicion became more credible when opposition leaders and outspoken anti-Marcos media people were immediately placed under indefinite detention in military camps and other unusual restrictions were imposed on travel, communication, freedom of speech and the press, etc. In a word, the martial law regime was anathema to no small portion of the populace.


title: History of the Philippines (1965–1986)

text: It was in the light of the above circumstances and as a means of solving the dilemma aforementioned that the concept embodied in Amendment No. 6, giving the President emergency power in case of a threat or imminence to issue necessary decrees, orders which shall be part of law of the land, was born in the Constitution of 1973. In brief, the central idea that emerged was that martial law might be earlier lifted, but to safeguard the Philippines and its people against any abrupt dangerous situation which would warrant some exercise of totalitarian powers, the latter must be constitutionally allowed, thereby eliminating the need to proclaim martial law and its concomitants, principally the assertion by the military of prerogatives that made them appear superior to the civilian authorities below the president. In other words, the problem was what may be needed for national survival or the restoration of normalcy in the face of a crisis or an emergency should be reconciled with the popular mentality and attitude of the people against martial law.


title: History of the Philippines (1965–1986)

text: In a speech before his fellow alumni of the University of the Philippines College of Law, President Marcos declared his intention to lift martial law by the end of January 1981.


title: History of the Philippines (1965–1986)

text: The reassuring words for the skeptic came on the occasion of the University of the Philippines law alumni reunion on December 12, 1980, when the president declared: "We must erase once and for all from the public mind any doubts as to our resolve to bring martial law to an end and to minister to an orderly transition to parliamentary government." The apparent forthright irrevocable commitment was cast at the 45th anniversary celebration of the Armed Forces of the Philippines on December 22, 1980, when the president proclaimed: "A few days ago, following extensive consultations with a broad representation of various sectors of the nation and in keeping with the pledge made a year ago during the seventh anniversary of the New Society, I came to the firm decision that martial law should be lifted before the end of January, 1981, and that only in a few areas where grave problems of public order and national security continue to exist will martial law continue to remain in force."


title: History of the Philippines (1965–1986)

text: After the lifting of martial law, power remained concentrated with Marcos. One scholar noted how Marcos retained "all martial law decrees, orders, and law-making powers," including powers that allowed him to jail political opponents.


title: History of the Philippines (1965–1986)

text: The martial law era under Marcos was marked by plunder, repression, torture, and atrocity. As many as 3,257 were murdered, 35,000 tortured, and 70,000 illegally detained according to estimates by historian Alfred McCoy. One journalist described the Marcos administration as "a grisly one-stop shop for human rights abuses, a system that swiftly turned citizens into victims by dispensing with inconvenient requirements such as constitutional protections, basic rights, due process, and evidence."


title: History of the Philippines (1965–1986)

text: According to World Bank data, the Philippines' gross domestic product (GDP) quadrupled from $8 billion in 1972 to $32.45 billion in 1980, for an inflation-adjusted average growth rate of 6% per year. Indeed, according to the U.S.-based Heritage Foundation, the Philippines enjoyed its best economic development since 1945 between 1972 and 1980. The economy grew amidst the two severe global oil shocks following the 1973 oil crisis and 1979 energy crisis – oil price was $3 / barrel in 1973 and $39.5 in 1979, or a growth of 1200% which drove inflation. Despite the 1984–1985 recession, GDP on a per capita basis more than tripled from $175.9 in 1965 to $565.8 in 1985 at the end of Marcos' term, though this averages less than 1.2% a year when adjusted for inflation. The Heritage Foundation pointed out that when the economy began to weaken 1979, the government did not adopt anti-recessionist policies and instead launched risky and costly industrial projects.


title: History of the Philippines (1965–1986)

text: The government had a cautious borrowing policy in the 1970s. Amid high oil prices, high interest rates, capital flight, and falling export prices of sugar and coconut, the Philippine government borrowed a significant amount of foreign debt in the early 1980s. The country's total external debt rose from US$2.3 billion in 1970 to US$26.2 billion in 1985. Marcos' critics charged that policies have become debt-driven, along with corruption and plunder of public funds by Marcos and his cronies. This held the country under a debt-servicing crisis which is expected to be fixed by only 2025. Critics have pointed out an elusive state of the country's development as the period is marred by a sharp devaluing of the Philippine Peso from 3.9 to 20.53. The overall economy experienced a slower growth GDP per capita, lower wage conditions and higher unemployment especially towards the end of Marcos' term after the 1983–1984 recession. The recession was triggered largely by political instability following the assassination of Benigno Aquino Jr., high global interest rates, the severe global economic recession, and a significant increase in global oil price, the latter three of which affected all indebted countries in Latin America and Europe, and the Philippines was not exempted. Economists noted that poverty incidence grew from 41% in the 1960s at the time Marcos took the presidency to 59% when he was removed from power.


title: History of the Philippines (1965–1986)

text: The period is sometimes described as a golden age for the country's economy by historical distortionists. By the period's end, the country was experiencing a debt crisis, extreme poverty, and severe underemployment. On the island of Negros, which suffered what came to be called the Negros famine, one-fifth of the children under six were seriously malnourished.


title: History of the Philippines (1965–1986)

text: From the election of Marcos 1965 to the overthrowing of Marcos' regime in 1986, around 300,000 Filipinos emigrated out of the Philippines to the United States.


title: History of the Philippines (1965–1986)

text: Some estimates, including that by the World Bank, put the Marcos family's stolen wealth at US$10 billion.


title: History of the Philippines (1965–1986)

text: Plunder was achieved through the creation of government monopolies, awarding loans to cronies, forced takeover of public and private enterprises, direct raiding of the public treasury, issuance of presidential decrees that enabled cronies to amass wealth, kickbacks and commissions from businesses, use of dummy corporations to launder money abroad, skimming of international aid, and hiding of wealth in bank accounts overseas.


title: History of the Philippines (1965–1986)

text: The first formal elections since 1969 for an interim "Batasang Pambansa" (National Assembly) were held on April 7, 1978. Senator Aquino, then in jail, decided to run as leader of his party, the "Lakas ng Bayan" party, but they did not win any seats in the "Batasan", despite public support and their apparent victory. The night before the elections, supporters of the LABAN party showed their solidarity by setting up a "noise barrage" in Manila, creating noise the whole night until dawn.


title: History of the Philippines (1965–1986)

text: The opposition boycotted the June 16, 1981, presidential election, which pitted Marcos and his "Kilusang Bagong Lipunan" party against retired Gen. Alejo Santos of the Nacionalista Party. Marcos won by a margin of over 16 million votes, which constitutionally allowed him to have another six-year term. Finance Minister Cesar Virata was elected as prime minister by the "Batasang Pambansa".


title: History of the Philippines (1965–1986)

text: In 1983, opposition leader Benigno "Ninoy" Aquino Jr. was assassinated at the Manila International Airport upon his return to the Philippines after a long period of exile in the United States. This coalesced popular dissatisfaction with Marcos and began a series of events, including pressure from the United States, that culminated in a snap presidential election on February 7, 1986. The opposition united under Aquino's widow, Corazon Aquino, and Salvador Laurel, head of the United Nationalists Democratic Organizations (UNIDO). The election was marred by widespread reports of violence and tampering with results by both sides.


title: History of the Philippines (1965–1986)

text: The official election canvasser, the Commission on Elections (COMELEC), declared Marcos the winner, despite a walk-out staged by disenfranchised computer technicians on February 9. According to the COMELEC's final tally, Marcos won with 10,807,197 votes to Aquino's 9,291,761 votes. By contrast, the partial 70% tally of the National Citizens' Movement for Free Elections, an accredited poll watcher, said Aquino won with 7,835,070 votes to Marcos's 7,053,068.


title: History of the Philippines (1965–1986)

text: The 1986 Philippine presidential election was generally percieved to be fraudulent, both locally and internationally. The International observers, including a U.S. delegation led by Senator Richard Lugar, denounced the official results. Corazon Aquino rejected the results and held the "Tagumpay ng Bayan" (People's Victory) rally at Luneta Park on February 16, 1986, announcing a civil disobedience campaign and calling for her supporters to boycott publications and companies which were associated with Marcos or any of his cronies. The event was attended by a crowd of about two million people. Aquino's camp began making preparations for more rallies, and Aquino herself went to Cebu to rally more people to their cause.


title: History of the Philippines (1965–1986)

text: In the aftermath of the election and the revelations of irregularities, Defense Minister Juan Ponce Enrile and the Reform the Armed Forces Movement (RAM) - a cabal of officers of the Armed Forces of the Philippines (AFP) - set into motion a coup attempt against the Ferdinand and Imelda Marcos. However, the plot was soon discovered, and Marcos ordered Enrile and his supporters to be arrested.


title: History of the Philippines (1965–1986)

text: Fearful of being overcome by Marcos' forces, Enrile sought help from then-AFP Vice Chief of Staff Lt. Gen Fidel Ramos, who was also the chief of the Philippine Constabulary (now the Philippine National Police). Ramos agreed and withdrew his support for the government, siding with Enrile. Their respective forces barricaded themselves in Camp Crame and Camp Aguinaldo which were near each other on either side of Epifanio de los Santos Avenue(EDSA) in Quezon City. Despite their combined forces, however, Enrile and Ramos were essentially trapped in the camps, and in the words of historian Vicente L. Rafael, "became sitting ducks for Ferdinand Marcos’ loyalist forces."


title: History of the Philippines (1965–1986)

text: A small contingent of Aquino supporters, led by her brother in law Butz Aquino, went to EDSA to express support the coup plotters, in the hope of preventing Marcos from annihilating them. At around the same time, Ramos and Enrile contacted the highly influential Archbishop of Manila, Cardinal Jaime Sin to ask for help. Cardinal Sin went on radio and encouraged people on the capital to likewise go to EDSA to support Ramos and Enrile, and crowds, already preparing to conduct election protests, trooped en masse to the stretch of EDSA between the two camps.


title: History of the Philippines (1965–1986)

text: This evolved in the largely peaceful 1986 EDSA Revolution, which ended with Marcos going into exile in Hawaii and Corazon Aquino becoming the 11th president of the Philippines on February 25, 1986. Under Aquino, the Philippines would adopt a new constitution, ending the Fourth Republic and ushering in the beginning of the Fifth Republic.


title: Conducting

text: Conducting is the art of directing a musical performance, such as an orchestral or choral concert. It has been defined as "the art of directing the simultaneous performance of several players or singers by the use of gesture." The primary duties of the conductor are to interpret the score in a way which reflects the specific indications in that score, set the tempo, ensure correct entries by ensemble members, and "shape" the phrasing where appropriate. Conductors communicate with their musicians primarily through hand gestures, usually with the aid of a baton, and may use other gestures or signals such as eye contact. A conductor usually supplements their direction with verbal instructions to their musicians in rehearsal.


title: Conducting

text: The conductor typically stands on a raised podium with a large music stand for the full score, which contains the musical notation for all the instruments or voices. Since the mid-19th century, most conductors have not played an instrument when conducting, although in earlier periods of classical music history, leading an ensemble while playing an instrument was common. In Baroque music from the 1600s to the 1750s, the group would typically be led by the harpsichordist or first violinist (see concertmaster), an approach that in modern times has been revived by several music directors for music from this period. Conducting while playing a piano or synthesizer may also be done with musical theatre pit orchestras. Communication is typically mostly non-verbal during a performance. However, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung.


title: Conducting

text: Conductors act as guides to the orchestras or choirs they conduct. They choose the works to be performed and study their scores, to which they may make certain adjustments (such as in tempo, articulation, phrasing, repetitions of sections), work out their interpretation, and relay their vision to the performers. They may also attend to organizational matters, such as scheduling rehearsals, planning a concert season, hearing auditions and selecting members, and promoting their ensemble in the media. Orchestras, choirs, concert bands, and other sizable musical ensembles such as big bands are usually led by conductors.


title: Conducting

text: The principal conductor of an orchestra or opera company is referred to as a "music director" or "chief conductor", or by the German words "Kapellmeister" or "Dirigent" (or, in the feminine, "Dirigentin"). Conductors of choirs or choruses are sometimes referred to as "choral director", "chorus master", or "choirmaster", particularly for choirs associated with an orchestra. Conductors of concert bands, military bands, marching bands and other bands may hold the title of "band director", "bandmaster", or "drum major". Respected senior conductors are sometimes referred to by the Italian word, "maestro" (feminine, "maestra"), which translates as "master" or "teacher".


title: Conducting

text: An early form of conducting is cheironomy, the use of hand gestures to indicate melodic shape. This has been practiced at least as far back as the Middle Ages. In the Christian church, the person giving these symbols held a staff to signify his role, and it seems that as music became rhythmically more complex, the staff was moved up and down to indicate the beat, acting as an early form of baton.


title: Conducting

text: In the 17th century, other devices to indicate the passing of time came into use. Rolled sheets of paper, smaller sticks and unadorned hands are all shown in pictures from this period. The large staff was responsible for the death of Jean-Baptiste Lully, who injured his foot with one while conducting a "Te Deum" for the king's recovery from illness. The wound became gangrenous and Lully refused amputation, whereupon the gangrene spread to his leg and he died two months later.


title: Conducting

text: In instrumental music throughout the 18th century, a member of the ensemble usually acted as the conductor. This was sometimes the concertmaster, who could use his bow as a baton, or a lutenist who would move the neck of his instrument in time with the beat. It was common to conduct from the harpsichord in pieces that had a basso continuo part. In opera performances, there were sometimes two conductors, with the keyboard player in charge of the singers and the principal violinist or leader was in charge of the orchestra.


title: Conducting

text: On 30 September 1791 in Vienna, Mozart's opera "Die Zauberflöte" ("The Magic Flute") premiered at the Theater auf der Wieden, with Mozart himself conducting the orchestra, according to documents and publicity posters from that time.


title: Conducting

text: In 1798, Joseph Haydn conducted the premiere of "Creation" with his hands and a baton while "Kapellmeister Weigl [sat] at the fortepiano."


title: Conducting

text: By the early 19th century (ca. 1820), it became the norm to have a dedicated conductor, who did not also play an instrument during the performance. While some orchestras protested the introduction of the conductor, since they were used to having a concertmaster or keyboard player act as leader, eventually the role of a conductor was established. The size of the usual orchestra expanded during this period, and the use of a baton became more common, as it was easier to see than bare hands or rolled-up paper. Among the earliest notable conductors were Louis Spohr, Carl Maria von Weber, Louis-Antoine Jullien and Felix Mendelssohn, all of whom were also composers. Mendelssohn is claimed to have been the first conductor to utilize a wooden baton to keep time, a practice still generally in use today. Prominent conductors who did not or do not use a baton include Pierre Boulez, Kurt Masur, James Conlon, Yuri Temirkanov, Leopold Stokowski, Vasily Safonov, Eugene Ormandy (for a period), and Dimitri Mitropoulos.


title: Conducting

text: The composers Hector Berlioz and Richard Wagner attained greatness as conductors, and they wrote two of the earliest essays dedicated to the subject. Berlioz is considered the first virtuoso conductor. Wagner was largely responsible for shaping the conductor's role as one who imposes his own view of a piece onto the performance rather than one who is just responsible for ensuring entries are made at the right time and that there is a unified beat. Predecessors who focused on conducting include François Habeneck, who founded the Orchestre de la Société des concerts du Conservatoire in 1828, though Berlioz was later to be alarmed at Habeneck's loose standards of rehearsal. Pianist and composer Franz Liszt was also a conductor.


title: Conducting

text: Wagner's one-time champion Hans von Bülow (1830–1894) was particularly celebrated as a conductor, although he also maintained his initial career as a pianist, an instrument on which he was regarded as among the greatest performers (he was a prized piano student of Franz Liszt, whose daughter Cosima he married – although she was to abandon him for Wagner. Liszt was a major figure in the history of conducting, who attained remarkable performances).


title: Conducting

text: Bülow raised the technical standards of conducting to an unprecedented level through such innovations as separate, detailed rehearsals of different sections of the orchestra ("sectional rehearsal"). In his posts as head of (sequentially) the Bavarian State Opera, Meiningen Court Orchestra, and Berlin Philharmonic he brought a level of nuance and subtlety to orchestral performance previously heard only in solo instrumental playing, and in doing so made a profound impression on young artists like Richard Strauss, who at the age of 20 served as his assistant, and Felix Weingartner, who came to disapprove of his interpretations but was deeply impressed by his orchestral standards. Composer Gustav Mahler was also a noted conductor.


title: Conducting

text: Technical standards were brought to new levels by the next generation of conductors, including Arthur Nikisch (1855–1922), who succeeded Bülow as music director of the Berlin Philharmonic in 1895. Nikisch had previously served as head of the Leipzig Opera, Boston Symphony Orchestra, and Leipzig Gewandhaus Orchestra, and was to serve as music director of the London Symphony Orchestra. Nikisch premiered important works by Anton Bruckner and Pyotr Ilyich Tchaikovsky, who greatly admired his work; Johannes Brahms, after hearing him conduct his Fourth Symphony, said it was "quite exemplary, it's impossible to hear it any better."


title: Conducting

text: Nikisch took the London Symphony Orchestra on tour through the United States in April 1912, the first American tour by a European orchestra. He also made one of the earliest recordings of a complete symphony: the Beethoven Fifth with the Berlin Philharmonic in November 1913. Nikisch was also the first conductor to have his art captured on film – alas, silently. The film confirms reports that he made particularly mesmerizing use of eye contact and expression to communicate with an orchestra; such later conductors as Fritz Reiner stated that this aspect of his technique had a strong influence on their own.


title: Conducting

text: Conductors of the generations after Nikisch often left extensive recorded evidence of their arts. Two particularly influential and widely recorded figures are often treated, somewhat inaccurately, as interpretive antipodes. They were the Italian conductor Arturo Toscanini (1867–1957) and the German conductor Wilhelm Furtwängler (1886–1954). Toscanini played in orchestras under Giuseppe Verdi and made his debut conducting "Aida" in 1886, filling in at the last minute for an indisposed conductor. He is to this day regarded by such authorities as James Levine as the greatest of all Verdi conductors. But Toscanini's repertory was wide, and it was in his interpretations of the German symphonists Beethoven and Brahms that he was particularly renowned and influential, favoring stricter and faster tempi than a conductor like Bülow or, before him, Wagner. Still, his style shows more inflection than his reputation may suggest, and he was particularly gifted at revealing detail and getting orchestras to play in a singing manner.


title: Conducting

text: Furtwängler, whom many regard as the greatest interpreter of Wagner (although Toscanini was also admired in this composer) and Bruckner, conducted Beethoven and Brahms with a good deal of inflection of tempo – but generally in a manner that revealed the structure and direction of the music particularly clearly. He was an accomplished composer as well as performer, and a disciple of the theorist Heinrich Schenker, who emphasized concern for underlying long-range harmonic tensions and resolutions in a piece, a strength of Furtwängler's conducting. Along with his interest in the large-scale, Furtwängler also shaped the details of the piece in a particularly compelling and expressive manner.


title: Conducting

text: The two men had very different techniques: Toscanini's was Italianate, with a long, large baton and clear beats (often not using his left hand); Furtwängler beat time with less apparent precision, because he wanted a more rounded sound (although it is a myth that his technique was vague; many musicians have attested that he was easy to follow in his own way). In any event, their examples illustrate a larger point about conducting technique in the first half of the 20th century: it was not standardized. Great and influential conductors of the middle 20th century like Leopold Stokowski (1882–1977), Otto Klemperer (1885–1973), Herbert von Karajan (1908–1989) and Leonard Bernstein (1918–1990) – incidentally, the first American conductor to attain greatness and international fame – had widely varied techniques.


title: Conducting

text: Karajan and Bernstein formed another apparent antipode in the 1960s–80s, Karajan as music director of the Berlin Philharmonic (1955–89) and Bernstein as, for part of that period, music director of the New York Philharmonic (1957–69), and later frequent guest conductor in Europe. Karajan's technique was highly controlled, and eventually, he conducted with his eyes often closed; Bernstein's technique was demonstrative, with highly expressive facial gestures and hand and body movements. Karajan could conduct for hours without moving his feet, while Bernstein was known at times to leap into the air at a great climax. As the music director of the Berlin Philharmonic, Karajan cultivated warm, blended beauty of tone, which has sometimes been criticized as too uniformly applied; by contrast, in Bernstein's only appearance with the Berlin Philharmonic in 1979 – performing Mahler's Symphony No. 9 – he tried to get the orchestra to produce an "ugly" tone in a certain passage in which he believed it suited the expressive meaning of the music (the first horn player refused, and finally agreed to let an understudy play instead of himself).


title: Conducting

text: Both Karajan and Bernstein made extensive use of advances in media to convey their art, but in tellingly different ways. Bernstein hosted major prime-time national television series to educate and reach out to children and the public at large about classical music; Karajan made a series of films late in his life, but in them, he did not talk. Both made numerous recordings, but their attitudes toward recording differed: Karajan frequently made new studio recordings to take advantage of advances in recording technique, which fascinated him – he played a role in setting the specifications of the compact disc – but Bernstein, in his post-New York days, came to insist on (for the most part) live concert recordings, believing that music-making did not come to life in a studio without an audience.


title: Conducting

text: In the last third of the 20th century, conducting technique – particularly with the right hand and the baton – became increasingly standardized. Conductors like Willem Mengelberg in Amsterdam until the end of World War II had had extensive rehearsal time to mold orchestras very precisely, and thus could have idiosyncratic techniques; modern conductors, who spend less time with any given orchestra, must get results with much less rehearsal time. A more standardized technique allows communication to be much more rapid. Nonetheless, conductors' techniques still show a great deal of variety, particularly with the use of the left hand, facial and eye expression, and body language.


title: Conducting

text: Women conductors were almost unheard of in the ranks of leading orchestral conductors through most of the 19th and 20th centuries, but today, artists like , Marin Alsop and Simone Young are to be seen conducting leading orchestras. Alsop was appointed music director of the Baltimore Symphony Orchestra in 2007 – the first woman ever appointed to head a major US orchestra – and also of the Orquestra Sinfônica do Estado de São Paulo in 2012, and Alsop was the first woman to conduct on the last night of The Proms. Young scored similar firsts when she became head of the Hamburg State Opera and Philharmoniker Hamburg in 2005; she is also the first woman conductor to record the Ring Cycle of Richard Wagner. "The Guardian" called conducting "one of the last glass ceilings in the music industry". A 2013 article stated that in France, out of 574 concerts only 17 were conducted by women and no women conducted at the National Opéra in Paris. ""Bachtrack" reported that, in a list of the world's 150 top conductors that year, only five were women." While Mexico has produced several major international conductors, Alondra de la Parra has become the first Mexican-born woman to attain distinction in the profession.


title: Conducting

text: Similarly, conductors of East Asian descent have become more prominent within the contemporary orchestral landscape–notably, Seiji Ozawa, who was thematic director of the Boston Symphony Orchestra from 1973 until 2002 after holding similar posts in San Francisco and Toronto, and Myung-Whun Chung, who has held major posts in Germany and France and now is bringing the Seoul Philharmonic Orchestra to international attention. There is still a lack of representation of black artists in the conducting profession, but there have been notable exceptions, such as Henry Lewis, Dean Dixon, James DePreist, Paul Freeman, and Michael Morgan. For more information on black conductors, see Black conductors. According to Charlotte Higgins' 2004 article in "The Guardian", "black conductors are rare in the classical music world and even in symphony orchestras it is unusual to see more than one or two black musicians".


title: Conducting

text: Conducting is a means of communicating artistic directions to performers during a performance. Although there are many formal rules on how to conduct correctly, others are subjective, and a wide variety of different conducting styles exist depending upon the training and sophistication of the conductor. The primary responsibilities of the conductor are to unify performers, set the tempo, execute clear preparations and beats, listen critically and shape the sound of the ensemble, and to control the interpretation and pacing of the music. Communication is non-verbal during a performance, however in rehearsal frequent interruptions allow directions as to how the music should be played. During rehearsals, the conductor may stop the playing of a piece to request changes in the phrasing or request a change in the timbre of a certain section. In amateur orchestras, the rehearsals are often stopped to draw the musicians' attentions to performance errors or transposition mistakes.


title: Conducting

text: Conducting requires an understanding of the elements of musical expression (tempo, dynamics, articulation) and the ability to communicate them effectively to an ensemble. The ability to communicate nuances of phrasing and expression through gestures is also beneficial. Conducting gestures are preferably prepared beforehand by the conductor while studying the score, but may sometimes be spontaneous.


title: Conducting

text: A distinction is sometimes made between orchestral conducting and choral conducting. Typically, orchestral conductors use a baton more often than choral conductors. The grip of the baton varies from conductor to conductor.


title: Conducting

text: At the beginning of a piece of music, the conductor raises their hands (or hand if they only use a single hand) to indicate that the piece is about to begin. This is a signal for the orchestra members to ready their instruments to be played or for the choristers to be ready and watching. The conductor then looks at the different sections of the orchestra (winds, strings, etc.) or choir to ensure that all the orchestra members are ready to play and choir members are ready. In some choral works, the conductor may signal to a pianist or organist to play a note or chord so that the choir members can determine their starting notes. Then the conductor gives one or more preparatory beats to commence the music. The preparatory beat before the orchestra or choir begins is the upbeat. The beat of the music is typically indicated with the conductor's right hand, with or without a baton. The hand traces a shape in the air in every bar (measure) depending on the time signature, indicating each beat with a change from downward to upward motion. The images show the most common beat patterns, as seen from the conductor's point of view.


title: Conducting

text: The downbeat indicates the first beat of the bar, and the upbeat indicates the beat before the first note of the piece and the last beat of the bar. The instant at which the beat occurs is called the "" (plural: "" or "ictuses"), and is usually indicated by a sudden (though not necessarily large) click of the wrist or change in baton direction. In some instances, "ictus" is also used to refer to a horizontal plane in which all the ictuses are physically located, such as the top of a music stand where a baton is tapped at each ictus. The gesture leading up to the ictus is called the "preparation", and the continuous flow of steady beats is called the "" (the German word for bar, measure and beat).


title: Conducting

text: If the tempo is slow or slowing, or if the time signature is compound, a conductor will sometimes indicate "subdivisions" of the beats. The conductor can do this by adding a smaller movement in the same direction as the movement for the beat that it belongs to.


title: Conducting

text: Changes to the tempo are indicated by changing the speed of the beat. To carry out and to control a rallentando (slowing down the pace of the music), a conductor may introduce beat subdivisions.


title: Conducting

text: While some conductors use both hands to indicate the beat, with the left hand mirroring the right, formal education discourages such an approach. The second hand can be used for cueing the entrances of individual players or sections, and to aid indications of dynamics, phrasing, expression, and other elements.


title: Conducting

text: During an instrumental solo section (or, in an opera orchestra during a vocalist's unaccompanied solo), some conductors stop counting out all the subdivisions and simply tap the baton down once per bar, to aid performers who are counting bars of rests.


title: Conducting

text: There is a difference between the "textbook" definition of where the ictus of a downbeat occurs and the actual performance practice in professional orchestras. With an abrupt, loud sforzando chord, a professional orchestra will often play slightly "after" the striking of the ictus point of the baton stroke.


title: Conducting

text: Dynamics are indicated in various ways. The dynamic may be communicated by the size of the conducting movements, larger shapes representing louder sounds. Changes in dynamic may be signalled with the hand that is not being used to indicate the beat: an upward motion (usually palm-up) indicates a crescendo; a downward motion (usually palm-down) indicates a diminuendo. Changing the size of conducting movements frequently results in changes in the character of the music depending upon the circumstances.


title: Conducting

text: Dynamics can be fine-tuned using various gestures: showing one's palm to the performers or leaning away from them may demonstrate a decrease in volume. To adjust the overall balance of the various instruments or voices, these signals can be combined or directed toward a particular section or performer.


title: Conducting

text: The indication of entries, when a performer or section should begin playing (perhaps after a long period of rests), is called "cueing". A cue must forecast with certainty the exact moment of the coming ictus, so that all the players or singers affected by the cue can begin playing simultaneously. Cueing is most important for cases where a performer or section has not been playing for a lengthy time. Cueing is also helpful in the case of a pedal point with string players, when a section has been playing the pedal point for a lengthy period; a cue is important to indicate when they should change to a new note. Cueing is achieved by "engaging" the players before their entry (by looking at them) and executing a clear preparation gesture, often directed toward the specific players. An inhalation, which may or may not be an audible "sniff" from the conductor, is a common element in the cueing technique of some conductors. Mere eye contact or a look in the general direction of the players may be sufficient in many instances, as when more than one section of the ensemble enters at the same time. Larger musical events may warrant the use of a larger or more emphatic cue designed to encourage emotion and energy.


title: Conducting

text: Articulation may be indicated by the character of the ictus, ranging from short and sharp for staccato, to long and fluid for legato. Many conductors change the tension of the hands: strained muscles and rigid movements may correspond to marcato, while relaxed hands and soft movements may correspond to legato or espressivo. Phrasing may be indicated by wide overhead arcs or by a smooth hand motion either forwards or side-to-side. A held note is often indicated by a hand held flat with palm up. The end of a note, called a "cutoff" or "release", may be indicated by a circular motion, the closing of the palm, or the pinching of finger and thumb. A release is usually preceded by a preparation and concluded with a complete stillness.


title: Conducting

text: Conductors aim to maintain eye contact with the ensemble as much as possible, encouraging eye contact in return and increasing the dialogue between players/singers and conductor. Facial expressions may also be important to demonstrate the character of the music or to encourage the players.


title: Conducting

text: In some cases, such as where there has been little rehearsal time to prepare a piece, a conductor may discreetly indicate how the bars of music will be beat immediately before the start of the movement by holding up their fingers in front of their chest (so only the performers can see). For example, in a piece that the conductor will beat "in two" (two ictus points or beats per bar, as if it were ), the conductor would hold up two fingers in front of their chest.


title: Conducting

text: In most cases, there is a short pause between movements of a symphony, concerto or dance suite. This brief pause gives orchestra or choir members time to turn the pages of their part and ready themselves for the start of the next movement. String players may apply rosin or wipe sweat off their hands with a handkerchief. Reed players may take this time to change to a new reed. In some cases, woodwind or brass players will use the pause to switch to a different instrument (e.g., from trumpet to cornet or from clarinet to E clarinet). If the conductor wishes to immediately begin one movement after another for musical reasons, this is called attacca. The conductor will instruct the orchestra members and choristers to write the term in their parts, so that they will be ready to go immediately to the next movement.


title: Conducting

text: The roles of a conductor vary a great deal between different conducting positions and different ensembles. In some cases, a conductor will also be the musical director of the symphony, choosing the program for the entire season, including concerts by guest conductors, concerto soloists, pop concerts, and so on. A senior conductor may attend some or all of the auditions for new members of the orchestra, to ensure that the candidates have the playing style and tone that the conductor prefers and that candidates meet the highest performance standards. Some choral conductors are hired to prepare a choir for several weeks which will subsequently be directed by another conductor. The choral conductor is usually acknowledged for their preparatory work in the concert program.


title: Conducting

text: Some conductors may have a significant public relations role, giving interviews to the local news channel and appearing on television talk shows to promote the upcoming season or particular concerts. On the other hand, a conductor hired to guest conduct a single concert may only have the responsibility of rehearsing the orchestra for several pieces and conducting one or two concerts. While a handful of conductors have become well-known celebrities, such as Leonard Bernstein, most are only known within the classical music scene.


title: Conducting

text: Classical choral and instrumental conducting have established comprehensive systems of instruction and training. Aspiring conductors can study at colleges, conservatories, and universities. Music schools and universities offer a range of conducting programs, including courses in conducting as part of bachelor's degrees, a small number of Master of Music degrees in conducting, and an even smaller number of Doctor of Musical Arts degrees in conducting.


title: Conducting

text: In addition, there are a variety of other training programs such as classical summer camps and training festivals, which give students the opportunity to conduct a wide range of music. Aspiring conductors need to obtain a broad education about the history of music, including the major periods of classical music and regarding music theory. Many conductors learn to play a keyboard instrument such as the piano or the pipe organ, a skill that helps them to be able to analyze symphonies and try out their interpretations before they have access to an orchestra to conduct. Many conductors get experience playing in an orchestra or singing in a choir, an experience which gives them good insights into how orchestras and choirs are conducted and rehearsed.


title: Conducting

text: In 2014, orchestra conductors typically hold a master's degree in music and choir conductors in the US typically hold a bachelor's degree in music. Bachelor's degrees (referred to as B.Mus. or B.M) are four-year programs that include conducting lessons, amateur orchestra experience, and a sequence of courses in music history, music theory, and liberal arts courses (e.g., English literature), which give the student a more well-rounded education. Students do not usually specialize in conducting at the B.Mus. stage; instead, they usually develop general music skills such as singing, playing an orchestral instrument, performing in a choir, playing in orchestra, and playing a keyboard instrument such as the piano or the organ.


title: Conducting

text: Another topic that conducting students study is the languages used in Classical music opera. Orchestral conductors are expected to be able to rehearse and lead choirs in works for orchestra and choir. As such, orchestral conductors need to know the major languages used in choral writing (including French, Italian and Latin, among others) and they must understand the correct diction of these languages in a choral singing context. The opposite is also true: a choral conductor will be expected to rehearse and lead a string orchestra or full orchestra when performing works for choir and orchestra. As such, a choral conductor needs to know how to rehearse and lead instrument sections.


title: Conducting

text: Master of music degrees (M.mus.) in conducting consist of private conducting lessons, ensemble experience, coaching, and graduate courses in music history and music theory, along with one or two conducted concerts. A Master's degree in music (referred to as an M.Mus. or M.M.) is often the required minimum credential for people who wish to become a professor of conducting.


title: Conducting

text: Doctor of Musical Arts (referred to as D.M.A., DMA, D.Mus.A. or A.Mus.D) degrees in conducting provide an opportunity for advanced study at the highest artistic and pedagogical level, requiring usually an additional 54+ credit hours beyond a master's degree (which is about 30+ credits beyond a bachelor's degree). For this reason, admission is highly selective. Examinations in music history, music theory, ear training/dictation, and an entrance examination and conducting audition are required. Students perform a number of conducted concerts, including a combination lecture-conducted concert with an accompanying doctoral dissertation, advanced coursework. Students must typically maintain a minimum B average. A DMA in conducting is a terminal degree, and as such, it qualifies the holder to teach in colleges, universities and conservatories. In addition to academic study, another part of the training pathway for many conductors is conducting amateur orchestras, such as youth orchestras, school orchestras and community orchestras.


title: Conducting

text: A small number of conductors become professionals without formal training in conducting. These individuals often have achieved renown as instrumental or vocal performers, and they have often undertaken a great deal of training in their area of expertise (instrumental performance or singing). Another way that a small number of conductors become professionals without formal training in conducting is by learning on the job by conducting amateur orchestras, school orchestras, and community orchestras (or the equivalent choral ensembles).


title: Conducting

text: The average salary of conductors in the US in 2014 was $48,180. A 3% growth rate is forecast for conducting jobs from 2014 to 2024, a slower than average growth rate.


title: Conducting

text: The Alexander Technique is a popular alternative therapy based on the notion of poor posture incouraging health problems. The Alexander Technique is meant to help performers and musicians identify and release tension in the body. Conductors are often trained with similar techniques, focusing on maintaining relaxation and balance in the upper body, as forcing movements can lead to jarred nerves, muscles, and joints. Many conductors forcefully throw their right arm when conducting beats, which can lead to back pain and neck tension, and especially puts the conductor at risk for rotator cuff injury due to repetitive motion.


title: Conducting

text: A review of evidence provided by the UK National Health Service suggests the Alexander Technique aids pain-relief: "long-term back pain – lessons in the technique may lead to reduced back pain-associated disability and reduce how often you feel pain for up to a year or more; long-term neck pain – lessons in the technique may lead to reduced neck pain and associated disability for up to a year or more." Cultivating wholistic body awareness will allow conductors to maintain longevity in their careers with minimal pain and injuries.


title: Unbroken: Path to Redemption

text: Unbroken: Path to Redemption is a 2018 American Christian drama film directed by Harold Cronk, and acts as a sequel to the 2014 film "Unbroken", although Legendary Pictures was not involved and none of the original cast or crew returns except the producer Matthew Baer, and actors Vincenzo Amato and Maddalena Ischiale. The film chronicles Louis Zamperini following his return from World War II, his personal struggles to adjust back to civilian life and his eventual conversion to evangelical Christianity after attending one of Billy Graham's church revivals. The film stars Samuel Hunt as Zamperini, Merritt Patterson, Vincenzo Amato, Vanessa Bell Calloway, Bobby Campo, Bob Gunton, Maddalena Ischiale, David Sakurai and Gary Cole, as well as evangelist Will Graham portraying his grandfather.


title: Unbroken: Path to Redemption

text: It was theatrically released by Pure Flix Entertainment in the United States on September 14, 2018. It received generally negative reviews from critics, who criticized it as "a dull drama", but was given high ratings by audiences and grossed just over $6 million against its $6 million production budget.


title: Unbroken: Path to Redemption

text: Based on Laura Hillenbrand’s bestselling book, the film begins where the movie "Unbroken" concludes, sharing the next chapter of the true story of Olympian and World War II veteran Louis Zamperini.


title: Unbroken: Path to Redemption

text: Haunted by nightmares of his torment, Louie sees himself as anything but a hero. Then, he meets Cynthia, a young woman who captures his eye—and his heart.


title: Unbroken: Path to Redemption

text: Louie’s quest for revenge drives him deeper into despair, putting the couple on the brink of divorce until Cynthia experiences Billy Graham’s 1949 Los Angeles Crusade, where both find faith in Jesus Christ, a renewed commitment to their marriage, and Louie finds forgiveness for his wartime captors.


title: Unbroken: Path to Redemption

text: The film was originally going to be released on October 5, 2018, but was moved up from its original release to September 14, 2018.


title: Unbroken: Path to Redemption

text: In the United States and Canada, "Unbroken: Path to Redemption" was released alongside "White Boy Rick", "A Simple Favor" and "The Predator", and was projected to gross $2–6 million from 1,620 theaters in its opening weekend. It ended up debuting to just $2.2 million, finishing tenth at the box office. It dropped 40% in its second weekend to $1.3 million, finishing 12th.


title: Unbroken: Path to Redemption

text: On review aggregator Rotten Tomatoes, of critics gave the film a positive review, with an average rating of . The website's critics consensus reads: ""Unbroken: Path to Redemption" overestimates the power of its inspirational real-life story, settling for a dull drama that too often preaches to the choir." According to Metacritic, which assigned weighted average score of 38 out of 100 based on seven critics, the film received "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while PostTrak reported that filmgoers gave it 4 out of 5 stars.


title: Andy Daly

text: Andrew J. Daly (born April 15, 1971) is an American actor, comedian and writer. He starred as Forrest MacNeil on the Comedy Central series "Review", and had a supporting role in the HBO comedy series "Eastbound & Down" as Terrence Cutler. He has also made recurring appearances on television programs such as "Silicon Valley", "Veep", "Modern Family", "Black-ish", "Trial & Error", the Netflix series "The Who Was? Show", "Reno 911!", and "Comedy Bang! Bang!", as well as animated shows such as "Rick and Morty", "Solar Opposites", "Bob's Burgers", "Adventure Time", and "Harley Quinn".


title: Andy Daly

text: Daly was born in Mount Kisco, New York, and was raised in New Jersey. He graduated in 1989 from Ridgewood High School in Ridgewood, New Jersey, and then attended Ithaca College, where he received a bachelor's degree in drama.


title: Andy Daly

text: After college, Daly moved to New York City, where he performed, along with Andy Secunda, in the sketch comedy duo The Two Andys, which appeared at the 1999 Aspen Comedy Festival. He was also a part of the Mainstage company at Chicago City Limits as an improvisational actor.


title: Andy Daly

text: When the Upright Citizens Brigade relocated to New York from Chicago in 1996, Daly was one of the first New Yorkers to study improvisation with the group and performed in many of the earliest shows produced by the UCB. He was a member of the long-form improvisation group The Swarm, which was assembled and directed by Amy Poehler.


title: Andy Daly

text: During the late 1990s, Daly appeared frequently in sketches on "Late Night with Conan O'Brien" and lent his voice to Robert Smigel's "TV Funhouse" cartoons on "Saturday Night Live".


title: Andy Daly

text: In 2000, Daly joined the cast of "MADtv". He was a featured player in the show's sixth season and returned as a full cast member the following season.


title: Andy Daly

text: He next appeared on television in the main cast of Comedy Central's parody news show "Crossballs" and later played several different characters on "Reno 911!", recurring as "Brad the Friendly Homeowner". He also worked as a correspondent on "The Showbiz Show with David Spade" for all three seasons and as an advocate on both seasons of "Lewis Black's Root of All Evil".


title: Andy Daly

text: In 2007, Daly appeared as a Benjamin Franklin impersonator in an episode of "The Office" entitled "Ben Franklin".


title: Andy Daly

text: In 2008, Daly joined the cast of the HBO series "Eastbound & Down" as Terrence Cutler. Daly also was the host of the 2008 pilot episode of "Match Game".


title: Andy Daly

text: He made frequent appearances on HBO's "The Life and Times of Tim", Adult Swim's "Delocated", and IFC's "Comedy Bang! Bang!" as well as "Adventure Time", for which he provided the voices of Wyatt and The King of Ooo. He is also the voice of Krombopolous Michael on "Rick and Morty", and Two-Face on "Harley Quinn".


title: Andy Daly

text: Daly appeared in the NBC sitcom "The Paul Reiser Show", which was a midseason replacement for the 2010–11 television season. The show was cancelled after two episodes.


title: Andy Daly

text: Starting in 2014, Daly has guest starred in the ABC sitcom "Modern Family" as Principal Brown and has also played recurring roles on ABC's "Blackish", HBO's "Silicon Valley" and "Veep", and NBC's "Trial & Error".


title: Andy Daly

text: From 2014 to 2017, Daly starred in, executive produced, and wrote episodes of the Comedy Central series "Review", which he co-adapted from the Australian series "Review with Myles Barlow".


title: Andy Daly

text: Daly has appeared in numerous films, most notably as courtside announcer Dick Pepperfield in the 2008 film "Semi-Pro" starring Will Ferrell.


title: Andy Daly

text: In 2004, Daly appeared in the movie "Christmas with the Kranks" as a shopper who is bribed by Jamie Lee Curtis' character Nora Krank into giving her a Christmas ham.


title: Andy Daly

text: In 2010, Daly co-starred as Mayor Brown in the 3D live action/CGI film version of "Yogi Bear" and appeared in "She's Out of My League" as Fuller.


title: Andy Daly

text: Daly does many different characters in his stand-up. In 2007, a character named "Jerry O'Hearn" was featured on the "Comedy Death-Ray" compilation album. In 2008, Daly released the critically acclaimed "Nine Sweaters", a comedy album compiled from a nine-week residency at Comedy Death-Ray's Tuesday night shows, on AST Records.


title: Andy Daly

text: Daly has made a number of appearances on podcasts such as "Comedy Bang! Bang!", "Superego", "How Did This Get Made?", "The Nerdist Podcast", "Office Ladies", and "Never Not Funny". In 2014, he began hosting the limited-run Earwolf podcast "The Andy Daly Podcast Pilot Project", which continued in 2018 with a second season of 8 episodes. He currently hosts "Bonanas for Bonanza" on Comedy Bang! Bang! World. He is well known for his character Dalton Wilcox, which he plays on "Comedy Bang! Bang!" (TV show and podcast), "Bonanas for Bonanza", "The Andy Daly Podcast Pilot Project", "Conan" and other shows.


title: Lee Kang-in

text: Lee Kang-in (; born 19 February 2001) is a South Korean professional footballer who plays as an attacking midfielder for La Liga club Mallorca and the South Korea national team.


title: Lee Kang-in

text: Lee was the Asian Football Confederation's Asian Young Footballer of the Year in 2019, the same year that he won the 2019 FIFA U-20 World Cup's Golden Ball award. Lee's team finished runner-up during the event. He also won the Copa del Rey with Valencia during that season.


title: Lee Kang-in

text: Lee joined Valencia's academy in July 2011. On 15 December 2017, he was called up to Valencia B (Mestalla). He had his debut on 21 December 2017, in a match with Deportivo Aragón, being substituted in the 82nd minute.


title: Lee Kang-in

text: He had his first assist on 17 February 2018, against Llagostera, being substituted in at the 76th minute and assisting in extra time. He had his first goal on 6 May 2018, starting against Sabadell.


title: Lee Kang-in

text: He made his first team debut on 30 October 2018, starting and playing 83 minutes in a 2–1 win over Ebro in the Copa del Rey, becoming the youngest Korean footballer to debut professionally in Europe.


title: Lee Kang-in

text: Lee made his La Liga debut on 12 January 2019, substituting in for Denis Cheryshev in the 86th minute in a 1–1 draw with Real Valladolid during 2018–19 season. At 17 years, 10 months, and 24 days, Lee became the second youngest player in the 18–19 La Liga after Ander Barrenetxea from Real Sociedad who debuted at the age of 16 years, 11 months, and 24 days. He also became the youngest ever non-Spanish and the first Asian league debutant for Valencia, as well as the fifth Korean to play in La Liga.


title: Lee Kang-in

text: On 17 September 2019, Lee made his UEFA Champions League debut as a late substitute for Rodrigo in a 1–0 win against Chelsea, becoming the youngest ever Korean to debut in the competition at the age of 18 years and 6 months, a record previously held by Jeong Woo-yeong. He also became the 5th youngest ever to debut for "Los Ches" in the same competition. On 25 September 2019, he scored his first La Liga goal in a 3–3 draw against Getafe, to become the youngest non-Spanish to score for Valencia, aged 18 years and 219 days old, breaking the previous record of Mohamed Sissoko who scored in the 2003–04 UEFA Cup; and the third youngest ever, only behind Juan Mena and Fernando Gómez. His record as the youngest non-Spanish goalscorer for Valencia was broken the following season by American teammate Yunus Musah.


title: Lee Kang-in

text: On 13 September 2020, Lee became the youngest player, aged 19 years and 207 days, to assist two goals in a La Liga match in the 21st century, in a 4–2 win over Levante, breaking the previous record of Juan Mata in 2008, aged 20 years and 150 days. Despite rejecting several renewal offers from the club throughout the year, he featured regularly under Javi Gracia as the "Che" ended the campaign on a mid-table position.


title: Lee Kang-in

text: After being on the transfer list during the entire pre-season, Lee terminated his contract with Valencia on 29 August 2021.


title: Lee Kang-in

text: On 30 August 2021, fellow La Liga club Mallorca confirmed the free transfer of Lee, signing on a four-year contract. On 22 September 2021, he scored his first goal for the club in a 6–1 La Liga loss against Real Madrid.


title: Lee Kang-in

text: Lee was selected to play for the South Korea U-20 football team in the 2019 FIFA U-20 World Cup and played in every group and knockout match, leading his team to a historic runner-up finish in the tournament and scoring two goals and four assists in seven games. As a result, he received the Golden Ball award as the tournament's best player.


title: Lee Kang-in

text: Lee received his first call up to the senior South Korea national football team in March 2019 for friendlies against Bolivia and Colombia, and became the 7th youngest to be in the South Korea national football team. On 5 September 2019, Lee made his international debut in a 2–2 draw friendly match against Georgia as a starter.


title: Lee Kang-in

text: In 2007, the six-year-old Lee was featured in the third season of the KBS N Sports reality football show Fly Shoot Dori (Korean: ; meaning: Fly Shooting Kid). After his exceptional performance, he passed through Yoo Sang-chul's youth academy and in 2009 joined the Incheon United FC U-12 youth team. Lee later attended Seokjeong Elementary School in Incheon and played for Flyings FC. In January 2011, he went to Spain under the recommendation of his youth team coach and took part in trials for the Villarreal CF and Valencia CF youth teams.


title: Lee Kang-in

text: He was born on 19 February 2001 in Incheon, the youngest of three children. His father Lee Woon-seong was a taekwondo instructor in Incheon and a big football fan (especially of the late Diego Maradona).


Glucose-6-phosphate dehydrogenase deficiency (G6PDD), which is the most common enzyme deficiency worldwide, is an inborn error of metabolism that predisposes to red blood cell breakdown. Most of the time, those who are affected have no symptoms. Following a specific trigger, symptoms such as yellowish skin, dark urine, shortness of breath, and feeling tired may develop. Complications can include anemia and newborn jaundice. Some people never have symptoms.


title: Glucose-6-phosphate dehydrogenase deficiency

text: It is an X-linked recessive disorder that results in defective glucose-6-phosphate dehydrogenase enzyme. Glucose-6-phosphate dehydrogenase is an enzyme which protects red blood cells, which carry oxygen from the lungs to tissues throughout the body. A defect of the enzyme results in the premature breakdown of red blood cells. This destruction of red blood cells is called hemolysis. Red blood cell breakdown may be triggered by infections, certain medication, stress, or foods such as fava beans. Depending on the specific mutation the severity of the condition may vary. Diagnosis is based on symptoms and supported by blood tests and genetic testing.


text: Affected persons must avoid dietary triggers, notably fava beans. This can be difficult, as fava beans may be called "broad beans" and are used in many foods, whole or as flour. Falafel is probably the best known, but fava beans are also often used as filler in meatballs and other foods. Since G6PD deficiency is not an allergy, food regulations in most countries do not require that fava beans be highlighted as an allergen on the label.


text: Treatment of acute episodes may include medications for infection, stopping the offending medication, or blood transfusions. Jaundice in newborns may be treated with bili lights. It is recommended that people be tested for G6PDD before certain medications, such as primaquine, are taken.


text: About 400 million people have the condition globally. It is particularly common in certain parts of Africa, Asia, the Mediterranean, and the Middle East. Males are affected more often than females. In 2015 it is believed to have resulted in 33,000 deaths.


text: Most people who develop symptoms are male, due to the X-linked pattern of inheritance, but female carriers can be affected due to unfavorable lyonization or skewed X-inactivation, where random inactivation of an X-chromosome in certain cells creates a population of G6PD-deficient red blood cells coexisting with unaffected red blood cells. A female with one affected X chromosome will show the deficiency in approximately half of her red blood cells. However, in some cases, including double X-deficiency, the ratio can be much more than half, making the individual almost as sensitive as males.


text: Red blood cell breakdown (also known as hemolysis) in G6PD deficiency can manifest in a number of ways, including the following:


text: Favism is a hemolytic response to the consumption of fava beans, also known as broad beans. Though all individuals with favism show G6PD deficiency, not all individuals with G6PD deficiency show favism. The condition is known to be more prevalent in infants and children, and G6PD genetic variant can influence chemical sensitivity. Other than this, the specifics of the chemical relationship between favism and G6PD are not well understood.


text: G6PD deficiency results from mutations in the G6PD gene. G6PD gene contributes to the production of glucose-6-phosphate dehydrogenase. Chemical reactions involving glucose-6-phosphate dehydrogenase produce compounds that prevent reactive oxygen species from building up to toxic levels within red blood cells. If reduction in the amount of glucose-6-phosphate dehydrogenase or alteration of structure occurs due to the mutations of G6PD gene, the enzyme loses it protective role and leads to the accumulation of reactive oxygen species and thus damage of red blood cells.


text: Carriers of the underlying mutation do not show any symptoms unless their red blood cells are exposed to certain triggers, which can be of four main types:


text: Many substances are potentially harmful to people with G6PD deficiency. Variation in response to these substances makes individual predictions difficult. Antimalarial drugs that can cause acute hemolysis in people with G6PD deficiency include primaquine, pamaquine, chloroquine, and hydroxychloroquine. There is evidence that other antimalarials may also exacerbate G6PD deficiency, but only at higher doses. Sulfonamides (such as sulfanilamide, sulfamethoxazole, and mafenide), thiazolesulfone, methylene blue, and naphthalene should also be avoided by people with G6PD deficiency as they antagonize folate synthesis, as should certain analgesics (such as phenazopyridine and acetanilide) and a few non-sulfa antibiotics (nalidixic acid, nitrofurantoin, isoniazid, dapsone, and furazolidone). Henna has been known to cause hemolytic crisis in G6PD-deficient infants. Rasburicase is also contraindicated in G6PD deficiency. High dose intravenous vitamin C has also been known to cause haemolysis in G6PD deficiency carriers; therefore, G6PD deficiency testing is routine before infusion of doses of 25 g or more.


text: Two variants (G6PD A− and G6PD Mediterranean) are the most common in human populations. G6PD A− has an occurrence of 10% of Africans and African-Americans while G6PD Mediterranean is prevalent in the Middle East. The known distribution of the mutated allele is largely limited to people of Mediterranean origins (Spaniards, Italians, Greeks, Armenians, Sephardi Jews and other Semitic peoples). Both variants are believed to stem from a strongly protective effect against "Plasmodium falciparum" and "Plasmodium vivax" malaria. It is particularly frequent in the Kurdish Jewish population, wherein approximately 1 in 2 males have the condition and the same rate of females are carriers. It is also common in African American, Saudi Arabian, Sardinian males, some African populations, and Asian groups.


text: All mutations that cause G6PD deficiency are found on the long arm of the X chromosome, on band Xq28. The G6PD gene spans some 18.5 kilobases. The following variants and mutations are well-known and described: