title: Stonewall Inn

text: The building was renovated in the late 1990s and became a popular multi-floor nightclub, with theme nights and contests. The club gained popularity for several years, gaining a young urban gay clientele until it closed again in 2006, due to neglect, gross mismanagement, and noise complaints from the neighbors at 45 Christopher Street.


title: Stonewall Inn

text: In January 2007, it was announced that the Stonewall Inn was undergoing major renovation under the supervision of local businessmen Bill Morgan and Kurt Kelly, as well as the only female lesbian investor, Stacy Lentz, who ultimately reopened the Stonewall Inn in March 2007. Subsequently, regaining popularity and continuing to pay homage to its historic significance, the Stonewall Inn hosts a variety of local music artists, drag shows, trivia nights, cabaret, karaoke and private parties. Since the landmark passage of New York State's Marriage Equality Act the inn now offers gay wedding receptions as well. Kelly, Morgan, and Lentz have also been dedicated to incorporating various fundraising events for a host of LGBT non-profit organizations.


title: Stonewall Inn

text: In June 2014, the Stonewall 45 exhibit, sponsored by the Arcus Foundation and the Greenwich Village Society for Historic Preservation, memorialized the 45th anniversary of the Stonewall uprising with posters in the windows of Christopher Street businesses, including the Stonewall Inn. On June 23, 2015, the New York City Landmarks Preservation Commission designated Stonewall as a city landmark, the first city location to be considered based on its LGBT cultural significance alone. The Greenwich Village Society for Historic Preservation kept up advocacy efforts for this over the tenures of two New York City Landmarks Preservation Commission chairs. In June 2016, U.S. President Barack Obama established a 7.7-acre (3.11 ha) area around the site as the Stonewall National Monument, the first LGBT U.S. National Park site. Christopher Park is owned by the NPS. The two buildings at 51 and 53 Christopher Street remain in private hands. On June 24, 2016, Governor Cuomo designated The Stonewall Inn a State Historic Site. Stonewall thus became the first LGBT-history site in the country listed on the State and National Registers of Historic Places, and the first LGBT-history site in New York City.


title: Carlsbad, California

text: Carlsbad is a coastal city in the North County region of San Diego County, California, United States. The city is south of downtown Los Angeles and north of downtown San Diego. As of the 2020 census, the population of the city was 114,746. Carlsbad is a popular tourist destination and home to many businesses in the golf industry.


title: Carlsbad, California

text: Carlsbad's history began with the Luiseño people (the Spanish name given to them because of their proximity to Mission San Luis Rey), as well as some Kumeyaay in the La Costa area. Nearly every reliable fresh water creek had at least one native village, including one called Palamai. The site is located just south of today's Buena Vista Lagoon.


title: Carlsbad, California

text: The first European land exploration of Alta California, the Spanish Portolá expedition of 1769, met native villagers while camped on Buena Vista Creek. Another Luiseño villages within today's city of Carlsbad was a village at the mouth of the San Marcos Creek that the Kumeyaay called 'Ajopunquile'. A Kumeyaay village that was visited by Portolá was Hakutl, in the Rancho Ponderosa area.


title: Carlsbad, California

text: During the Mexican period, in 1842, the southern portion of Carlsbad was granted as Rancho Agua Hedionda to Juan María Marrón.


title: Carlsbad, California

text: In the 1880s a former sailor named John A. Frazier dug a well in the area. He began offering his water at the train station and soon the whistle-stop became known as Frazier's Station. A test done on a second fresh-water well discovered the water to be chemically similar to that found in some of the most renowned spas in the world, and the town was named after the famed spa in the Bohemian town of Karlsbad (now Karlovy Vary, Czech Republic).


title: Carlsbad, California

text: To take advantage of the find, the Carlsbad Land and Mineral Water Company was formed by a German-born merchant from the Midwest named Gerhard Schutte together with Samuel Church Smith, D. D. Wadsworth and Henry Nelson. The naming of the town followed soon after, along with a major marketing campaign to attract visitors. The area experienced a period of growth, with homes and businesses sprouting up in the 1880s. Agricultural development of citrus fruits, avocados and olives soon changed the landscape. By the end of 1887, land prices fell throughout San Diego County. However, the community survived on the back of its fertile agricultural lands.


title: Carlsbad, California

text: The site of John Frazier's original well can still be found at "Alt Karlsbad," a replica of a German Hanseatic house, located on Carlsbad Boulevard.


title: Carlsbad, California

text: The single-runway Palomar Airport opened in 1959 after County of San Diego officials decided to replace the Del Mar Airport. The airport was annexed to the City of Carlsbad in 1978 and renamed McClellan-Palomar Airport in 1982 after a local civic leader, Gerald McClellan.


title: Carlsbad, California

text: The first modern skateboard park, Carlsbad Skatepark, was built in March 1976. It was located on the grounds of Carlsbad Raceway and was designed and built by inventors Jack Graham and John O'Malley. The site of the original Carlsbad Skatepark and Carlsbad Raceway was demolished in 2005 and is now an industrial park. However, two skateparks have since been developed.


title: Carlsbad, California

text: In March 1999, Legoland California was opened. It was the first Legoland theme park outside of Europe and is currently operated by Merlin Entertainments. Merlin Entertainments owns 70 percent of the shares, and the remaining 30 percent is owned by the LEGO group and Kirkbi A/S.


title: Carlsbad, California

text: Carlsbad is home to the nation's largest desalination plant. Construction of the Carlsbad Desalination Plant at the Encina Power Station was completed in December 2015. The Encina Power Station is currently being demolished, despite efforts to preserve it as a historical landmark.


title: Carlsbad, California

text: According to the United States Census Bureau, the city has a total area of of which are land and are (3.55%) water, the majority of which is contained within three lagoons and one lake.


title: Carlsbad, California

text: The northern area of the city is part of a tri-city area consisting of northern Carlsbad, southern Oceanside and western Vista.


title: Carlsbad, California

text: The ocean-side cliffs fronting wide white-sand beaches and mild climate attract vacationers year-round.


title: Carlsbad, California

text: Types of Households in Carlsbad city, California in 2015–2019. 56.6% was Married-couple households, 5.1% was cohabiting couple households, 13.6% male householder no spouse, 24.7% female householder no spouse.


title: Carlsbad, California

text: Carlsbad has a semi-arid Mediterranean climate (Koppen classification "BSh") and averages 263 sunny days per year. Winters are mild with periodic rain. Frost is rare along the coast, but sometimes occurs in inland valleys in December and January. Summer is almost rain free, but overcast and cool with fog off the Pacific. While most days have mild and pleasant temperatures, hot dry Santa Ana winds bring high temperatures on a few days each year, mostly in the fall.


title: Carlsbad, California

text: The northwest quadrant of Carlsbad (ZIP code 92008) includes the downtown "Village", "The Barrio", and "Olde Carlsbad." It was the first part of Carlsbad to be settled. Homes range from 1950s cottages and bungalows, 1960s ranch style houses, to elegant mansions on hills overlooking the ocean. It is also home to Hosp Grove Park, a grove of eucalyptus trees relatively untouched by development and now designated by the city for recreational use, in addition to the Buena Vista and Agua Hedionda Lagoons. It is located west of El Camino Real and north of Palomar Airport Road.


title: Carlsbad, California

text: "The Barrio" area is near downtown Carlsbad bordered by Carlsbad Village Drive to the north, Tamarack Avenue to the south, Interstate 5 to the east and the railroad tracks to the west. It was settled by Latinos in the early 20th century. It is the site of the Centro de Aprendizaje, a Spanish division of the Carlsbad City Library.


title: Carlsbad, California

text: This quadrant (ZIP code 92010) is located east of El Camino Real and north of Palomar Airport Road and consists mostly of single-family homes, with larger lots found in the older area known as Chestnut Hills and the newer developments around Calavera Hills.


title: Carlsbad, California

text: The Northeast quadrant also contains the Lake Calavera Nature Preserve, a 110-acre space containing a 513-foot extinct volcano known as Mount Calavera. The preserve — notable for its small lake, wide dam, and mountain — was officially set aside in the 1990s as the surrounding land was being developed. The preserve is bordered on three sides by suburban single-family homes, and on one side by small farms and rural compounds. In 2012, Sage Creek High School was developed in the southwest corner of the preserve amid some controversy. Nature experts challenged the decision to construct the school on the preserve, but Carlsbad High School was reaching its capacity and there were few undeveloped areas that had sufficient space for an additional high school. Despite missing one of its original corners, the preserve still offers miles of hiking trails with ocean views.


title: Carlsbad, California

text: The southeast quadrant (ZIP code 92009) is located east of El Camino Real and south of Palomar Airport Road and features several newer expensive master-planned communities set among hillsides, golf courses, Alga Norte Community Park and permanent open spaces. It includes Bressi Ranch and the La Costa neighborhoods of Rancho La Costa, La Costa Ridge, La Costa Oaks, La Costa Greens, La Costa Valley, and Rancho Carillo. In 1965, La Costa gave its name to the Gold Medal Golf Resort, La Costa Resort and Spa, now known as the Omni La Costa Resort and Spa. Residents here are served by the Carlsbad Unified School District, San Marcos Unified School District and the Encinitas Union School District.


title: Carlsbad, California

text: This quadrant (ZIP code 92011) extends along the Pacific Ocean to the south of the center of Carlsbad. It includes the Aviara neighborhood, which is home to the Park Hyatt Aviara Resort. It is located west of El Camino Real and south of Palomar Airport Road.


title: Carlsbad, California

text: As of the 2010 United States Census Carlsbad had a population of 105,328. The population density was . The racial makeup of Carlsbad was 87,205 (82.8%) White, 1,379 (1.3%) African American, 514 (0.5%) Native American, 7,460 (7.1%) Asian, 198 (0.2%) Pacific Islander, 4,189 (4.0%) from other races, and 4,383 (4.2%) from two or more races. Hispanic or Latino of any race were 13,988 persons (13.3%).


title: Carlsbad, California

text: The Census reported that 104,413 people (99.1% of the population) lived in households, 459 (0.4%) lived in non-institutionalized group quarters, and 456 (0.4%) were institutionalized.


title: Carlsbad, California

text: Out of 39,964 households in 2011, there were 26,992 (67.5%) families, of which 12,345 (30.9%) had children under the age of 18 living in them, 21,705 (54.3%) were married-couple families, 1,489 (3.7%) had a male householder with no wife present, and 3,798 (9.5%) had a female householder with no husband present. There were 12,972 (32.5%) nonfamily households, of which 10,198 (25.5%) were made up of a householder living alone and 3,299 (8.3%) were a householder living alone who was 65 years or over. The average household size was 2.55 and the average family size was 3.10.


title: Carlsbad, California

text: The population was spread out, with 25,366 people (24.1%) under the age of 18, 6,718 people (6.4%) aged 18 to 24, 28,073 people (26.7%) aged 25 to 44, 30,373 people (28.8%) aged 45 to 64, and 14,798 people (14.0%) who were 65 years of age or older. The median age was 40.4 years. For every 100 females, there were 95.6 males. For every 100 females age 18 and over, there were 92.5 males.


title: Carlsbad, California

text: There were 44,673 housing units at an average density of , of which 26,808 (64.8%) were owner-occupied, and 14,537 (35.2%) were occupied by renters. The homeowner vacancy rate was 1.4%; the rental vacancy rate was 4.6%. 69,855 people (66.3% of the population) lived in owner-occupied housing units and 34,558 people (32.8%) lived in rental housing units.


title: Carlsbad, California

text: In 2011, the median household income was US$85,743 and the median family income was US$102,254, with 11.9% of households and 14.9% of families earning US$200,000 or more. Males had a median income of US$80,590 versus US$54,159 for females. The per capita income for the city was US$42,712. About 6.8% of families and 8.4% of the population reported income below the poverty line, including 10.1% of those under age 18 and 3.5% of those age 65 or over.


title: Carlsbad, California

text: Of the population 25 years and over, 95.7% graduated from high school and 51.3% held a bachelor's degree or higher. 65.2% of the population 16 years and over was in the labor force.


title: Carlsbad, California

text: As of the census of 2000, there were 78,247 people, 31,521 households, and 20,898 families residing in the city. The population density was . There were 33,798 housing units at an average density of . The racial makeup of the city was 86.6% Caucasian, 1.0% African American, 0.4% Native American, 4.2% Asian, 0.2% Pacific Islander, 4.7% from other races, and 3.0% from two or more races. Hispanic or Latino of any race were 11.7% of the population.


title: Carlsbad, California

text: There were 31,521 households, out of which 30.7% contained children under the age of 18, 54.3% were married couples living together, 8.6% had a female householder with no husband present, and 33.7% were non-families. 24.8% of all households were made up of single individuals, and 8.2% had someone living alone who was 65 years of age or older. The mean household size was 2.46 and the mean family size was 2.96.


title: Carlsbad, California

text: 23.3% of residents were under the age of 18, 6.2% from 18 to 24, 31.9% from 25 to 44, 24.6% from 45 to 64, and 14.0% 65 years of age or older. The median age was 39 years. For every 100 females, there were 95.8 males. Among those 18 and older, there were 92.8 males for every 100 females.


title: Carlsbad, California

text: In 2008, Carlsbad voters passed a measure to become a charter city (as opposed to the general-law municipality they had been before), approving the proposed charter by 82% and officially becoming such that same year.


title: Carlsbad, California

text: Before the 2018 elections, city government was led by an elected mayor and four council members, elected at large; however, in July 2017, the city council voted to transition to district elections (except for the mayoral office, which remains an at-large position). Elections for Districts 1 and 3 were held in 2018, and in 2020, elections were held for the remaining Districts 2 and 4. As was the case before changing to district elections for the city council, city council members and the mayor are elected to 4-year terms. See the official district map here (not to scale).


title: Carlsbad, California

text: In May 2018, the Carlsbad city council voted 4–1 to back the federal government's lawsuit against California sanctuary state law SB 54.


title: Carlsbad, California

text: The city has drafted ordinances protecting sensitive wildlife habitat, becoming one of the first municipalities in California to do so. The city has also pledged to protect about 40 percent of the city as permanent open space.


title: Carlsbad, California

text: Carlsbad was a powerfully Republican stronghold during the 20th century, a classic bastion of suburban conservatism in Southern California. However, the GOP's edge in Carlsbad started to narrow in the 1990s and 2000s, with the city shifting Democratic. In 2008, Barack Obama, then the Democratic nominee for President, carried the city with a plurality. In 2012, Mitt Romney, the GOP nominee, carried the city by a 9% margin. In 2016, the city flipped back to the Democratic Party, voting for Hillary Clinton by a 10.4% margin over Donald Trump. Joe Biden expanded that margin to 17.6% over Trump in 2020.


title: Carlsbad, California

text: Carlsbad's core industries include information technology, video game development, manufacturing, robotics, medical devices, life science, wireless technology, clean technology, action sports, tourism, design development and real estate. In 2013, Google named Carlsbad the digital capital of California with the strongest online business community.


title: Carlsbad, California

text: Carlsbad is also known as the "Titanium Valley" because of its golf manufacturing industry. Callaway Golf Company, TaylorMade-adidas Golf Company, Cobra Golf, Titleist, and Odyssey Golf are all located in Carlsbad.


title: Carlsbad, California

text: North County Transit District (NCTD) provides public transportation services in Carlsbad, managing "Coaster" commuter rail (with stops at Carlsbad Village station and Carlsbad Poinsettia station), "Breeze" bus service, "Flex" on-demand transit service, and "Lift" paratransit service. "Sprinter" hybrid rail, also managed by NCTD, does not pass through Carlsbad. While it passes through Carlsbad, the Amtrak Pacific Surfliner does not stop within the city.


title: Carlsbad, California

text: Interstate 5 runs through the western part of Carlsbad, while California State Route 78 passes close to its northern border.


title: Carlsbad, California

text: McClellan–Palomar Airport is located about southeast of downtown Carlsbad, and allows general aviation and limited commercial service to the city.


title: Club León

text: Club León Fútbol Club, also known as León, is a Mexican professional football club based in León, Guanajuato, that competes in the Liga MX, the top flight of Mexican football.


title: Club León

text: León has won the Primera División de México/Liga MX title eight times in 1948, 1949, 1952, 1956, 1992, the Apertura in 2013, the Clausura in 2014, and the Apertura in 2020. After winning the League and the México Cup in 1949, it became the first Mexican campeonísimo. León was the CONCACAF Champions' Cup runner-up in 1993. It is the second-only Mexican club to win back-to-back championships.


title: Club León

text: The club qualified for the Champion's Cup in 1998 until it was eliminated in the semi-final. The team has been a consistent contender for the Primera División since 2002. It failed to reach the Primera División due to a series of mediocre performances in the playoffs despite good plays during the regular season until the 2012 Clausura tournament. Ten years later, León reached the Primera División after defeating Correcaminos UAT. In the Apertura 2013, it won the championship by defeating América with a score of 5–1 which earned it its sixth championship star. In Clausura 2014, it became champion for the second year in a row by defeating Pachuca with 4–3, giving it its seventh championship star and the title of "bicampeones". In recent years, Club Leon has attracted a non-Spanish speaking football fanbase and managed to secure new Spanish-language broadcast partnerships with Fox Sports Latinoamérica in Mexico and Telemundo Deportes in the U.S. Since 2016, TUDN holds the U.S. broadcasting rights to León home games.


title: Club León

text: The club was created from an application by Unión de Curtidores which merged with Selección de Guanajuato. With the money raised, the directive hired Marcial Ortiz, Raul Varela, Alfonso Montemayor, Salvador Ramírez, Conrado Muniz, Vicente Serrano, Pepe Cortes, "Sticks" Ramírez, Elpidio Sánchez, and Joaquín Source Duillo Dobles. It participated in the Liga Mayor's second season (1944–45). The team comprised Argentinian players and Miguel Rugilo that served as coach and goalkeeper holder. Battaglia played defense plus two fronts; Marcos Aurelio scored 14 goals with Ángel Fernández. The team debuted at Patria Stadium on August 20, 1944, against Atlante and lost by a score of 5–3.


title: Club León

text: In the 1945–46 season another team appeared in the city: the San Sebastián de León. They placed fourth out of 16 teams with 30 games, 17 wins, 4 draws, 9 losses for 38 points. Their top scorer, with 24 goals, Alberto Mendoza.


title: Club León

text: In the 1946–47 season notable players joined, one of whom was Adalberto Lopez, who scored 33 goals. In general, the team had a great campaign being runner-up with 41 points and maintained a fourteen-game winning streak. Another important element was Marcos Aurelio, who highlighted with 16 goals. A match against Atlante was scheduled place in Mexico City on June 1, 1947, in the Stadium Insurgentes (now Estadio Ciudad de los Deportes) which took place in León, but had to switch venues due to an epidemic of foot-and-mouth disease afflicting the Bajío region


title: Club León

text: In a match against Club America on May 9, 1946, Florencio Caffaratti accidentally touched an electrical wire after scoring a goal. Alfonso Montemayor rescued him. Subsequently, Caffaratti gave a gold coin to Montemayor with the inscription: "In appreciation of Montemayor by F. Caffaratti."


title: Club León

text: When José María Casullo coached Club León, the greens lost seven times, three of them against Atlas Gold. The team tied at 36 points with the Jalisco Gold at first place. Jalisco Gold broke the tie with a score of 2–0.


title: Club León

text: Club León defeated Asturias 2–0 with goals by Adalberto López to prevent a tie with Atlas and Guadalajara who remained a point, and Leon became the first to win the tournament campeonísimo cup after defeating Atlante 3–0 on August 14, 1949.


title: Club León

text: Club León switched coaches to Antonio López Herranz. Antonio Carbajal joined the team with the return of Marcos Aurelio, Sergio Bravo, and Saturnino Martínez. The team played against a Guadalajara team coached by José María Casullo. León won both games of the year with scores of 1–0. In the penultimate round, León lost to Guadalajara by 1 point.


title: Club León

text: In the following season, the team remained in third place at 27 points. For the 1953–54 season it finished eighth with 21 points.


title: Club León

text: The season's roster increased to 14 teams. León won the best streak in club history with 12 wins and 7 draws before losing against Tampico (1–0). The final game was played at the University Olympic Stadium Mexico City, where León defeated Oro (4–2) and Toluca.


title: Club León

text: León remained in fifth place in the 1960–61 season with 26 points, fifth place in 1961–62 with 25 points, ninth place in 1962–63 with 25 points, ninth place in 1963–64 with 25 points, seventh place in 1964–65 with 30 points, ninth place in 1965–66 with 28 points, fifth place in 1966–67 with 34 points, fifth place in 1967–68 with 35 points, seventh place in 1968–69 with 31 points, and seventh place in 1969–70 with 31 points and when Hugo Sanchez join club leon they won the apertura 1975 si club leon was the best team back in the days on the 70s and late 80s.


title: Club León

text: For the Mexico 70 Tourney, there were two technical changes: the starter Argentine Luis Grill was replaced, but was reinstated after Antonio Carbajal left, as a result, left with 33 points to fourth overall Sergio Anaya new stand becomes scorer the contest with 16 touchdowns, while Luis Estrada mark 13 goals. 1970–71 players arrive, Jorge Davino, Roberto Salomone and Juan Valiente who scored ten goals, the club was led by Carbajal and ranked fourth with 38 points.


title: Club León

text: In 1972–73, initiate driven A. Carbajal was replaced by Rafael Albrecht that served as player and coach. The final game was against Cruz Azul.


title: Club León

text: In 1986–87 Jorge Davino scored 10 points in 19 days and start the 31 day leon when back to second division and they appear back on first division on May 10, 2012 and they won the apertuna when they arrived to first division.


title: Club León

text: The "Esmeraldas" returned to the Primera División for the 1990–91 season and were coached by Victor Manuel Vucetich, who debuted in the top flight and led the entire tournament. He led the club in sixth place with 41 points but did not qualify to be third in group 3, and Martin Uribe Francisco Peña highlighted with 13 and 12 goals.


title: Club León

text: Argentine Gustavo Matosas began leading León on 7 January 2012, after being hired in September 2011. During the Apertura 2011 campaign, he could not have a presence off the bench or be registered as coach because he had coached Querétaro FC in the same tournament. Matosas' 10 wins, 4 draws, and 0 defeats in 14 regular season fixtures, resulted in an ERA of 70.83% and the overall leader, helping them earn a direct qualification to semi-finals of the play-offs. In the semi-finals, they faced Correcaminos UAT and won 1–0 in the second match before facing the Lobos BUAP in the final, winning by an aggregate score of 7–3 and the right to play again in the Promotional Final. Facing 2011 Apertura championship winners Correcaminos UAT, León won by an aggregate score of 6–2, thus returning to the Mexican top-flight for the 2012–13 season. León had struggled for their fourth final for promotion after losing against Irapuato in 2003, Dorados de Sinaloa in 2005, and Indios de Ciudad Juárez in 2008.


title: Club León

text: León won both tournaments (the Apertura and Clausura) of the 2013–14 season and became the first team in Mexico's history to win two consecutive championship titles twice — winning the first of these during the 1947–48 and 1948–49 leagues consecutively.


title: Club León

text: Matosas and León parted ways after failing to make it to the 2014 Apertura championship stage. Argentine Juan Antonio Pizzi was named as his replacement.


title: Club León

text: On 31 January 2016, following a 3–1 away loss to Tigres UANL, Pizzi left the charge to join Chile as their new manager and was subsequently was replaced by Luis Fernando Tena. The club managed to reach the semi-final stage of the Clausura championship, losing out to sibling club and eventual winners C.F. Pachuca with an aggregate score of 3–2.


title: Club León

text: Following a lackluster beginning to the 2016 Apertura where León summed up 4 points within 7 league matches, Tena was let go and Argentina Javier Torrente was brought in. Regardless of the uninspiring start, the club managed to reach the championship stage, losing to eventual winners Tigres UANL in the semi-finals by an aggregate score of 3–1.


title: Club León

text: On 18 September 2018, Ignacio Ambríz was named manager of León, replacing Díaz. During the 2019 Clausura, he helped León attain the records of most consecutive wins with eleven and the most points attained during the 17-match tournament format (41 points). They faced Tigres UANL in the Clausura championship final but lost following an aggregate score of 1–0. Regardless, Ambríz's feats with the club contributed to him being named best manager at the conclusion of the season.


title: Club León

text: After a first place finish with 40 points in the Guardianes 2020 general table, on 13 December, León won the league title defeating Club Universidad Nacional with an aggregate score of 3–1, becoming Mexico's joint fourth most successful team with eight titles in total alongside Cruz Azul.


title: Club León

text: Estadio León (unofficially known as "Nou Camp") is a football stadium in León, Guanajuato, Mexico. The stadium hosts Club León and some lower division teams and subsidiaries. It is also used for special events such as presentations and musicals.


title: Club León

text: Construction of the stadium started on August 18, 1965, and at the end of 1966, the finished building that would house "Los Esmeraldas" was completed.


title: Club León

text: On 1 February 1967, the stadium was inaugurated with a match between Santos of Brazil and River Plate of Argentina, ending in a 2–1 victory for Santos.


title: Club León

text: Estadio León has hosted 2 World Cups: the first was 1970 FIFA World Cup, with guests like West Germany, Peru, Bulgaria and Morocco, as well as hosting the quarterfinal game between West Germany and England; and the 1986 FIFA World Cup. the stadium hosted group matches featuring the Soviet Union, France, Hungary and Canada, as well as a second-round match between the USSR and Belgium.


title: Club León

text: On 8 March 2017, judiciary officials of the city of León determined that ownership of Estadio Leon is the property of previous Club Leon owners Zermeño Reyes and Héctor González.


title: Club León

text: On 9 October 2020, the club departed from the stadium following a ruling that transferred ownership to a private interest. As a result, the club declared it would play its remainder of tournament matches at Estadio Victoria, home stadium of Club Necaxa. The club returned following one match at their temporary stadium.


title: Club León

text: The stadium is planned to become a historical stadium with parts of the stadium being converted into a museum. Talks are in place to start building a new stadium in León for the future team though there is no set date.


title: Club León

text: The oldest rival of Club León is Unión de Curtidores, a rivalry which began as both teams reside in León, Guanajuato. Unión de Curtidores was founded in 1928, and during its early years, was the dominant team in León. When they joined the Liga Mayor (now Liga MX) in 1943, part of the team merged with Selección de Guanajuato and took the name of Unión-León, which later became Club León.


title: Club León

text: Despite the rivalry against Los Curtidores being the oldest in León, the prominent one today is against Irapuato, who also appeared in the Clásico del Bajio, which has been fought in both the Primera División and the Primera División A (now Ascenso MX).


title: Club León

text: Another rivalry is with Pachuca C.F., mainly because of similar owners for the two clubs. On July 11, 2018, Club León and Pachuca met in a friendly match played in Milwaukee, Wisconsin, at Miller Park, home of the Milwaukee Brewers. Pachuca won the match 3–1 in front of 18,321 fans.


title: Timpani

text: Timpani (; ) or kettledrums (also informally called timps) are musical instruments in the percussion family. A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper. Thus timpani are an example of kettle drums, also known as vessel drums and semispherical drums, whose body is similar to a section of a sphere whose cut conforms the head. Most modern timpani are "pedal timpani" and can be tuned quickly and accurately to specific pitches by skilled players through the use of a movable foot-pedal. They are played by striking the head with a specialized drum stick called a "timpani stick" or "timpani mallet". Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras, and even in some rock bands.


title: Timpani

text: "Timpani" is an Italian plural, the singular of which is . However, in English the term "timpano" is only widely in use by practitioners: several are more typically referred to collectively as "kettledrums", "timpani", "temple drums", or "timps". They are also often incorrectly termed "timpanis". A musician who plays timpani is a "timpanist".


title: Timpani

text: First attested in English in the late 19th century, the Italian word derives from the Latin (pl. ), which is the latinisation of the Greek word (, pl. ), 'a hand drum', which in turn derives from the verb (), meaning 'to strike, to hit'. Alternative spellings with "y" in place of either or both "i"s—"tympani", "tympany", or "timpany"—are occasionally encountered in older English texts. Although the word "timpani" has been widely adopted in the English language, some English speakers choose to use the word "kettledrums". The German word for timpani is ; the Swedish word is in plural (from the word ), the French and Spanish is , not to be confused with the latin percussion instrument, which would actually supersede the timpani in the traditional Cuban ensemble known as Charanga.


title: Timpani

text: The tympanum is mentioned, along with a faux name origin, in the "Etymologiae" of St. Isidore of Seville:


title: Timpani

text: The tympanum is a skin or hide stretched over one end of a wooden frame. It is half of a symphonia ("i.e. another type of drum") and it looks like a sieve. The tympanum is so named because it is a half, whence also the half-pearl is called a tympanum. Like the symphonia, it is struck with a drumstick.


title: Timpani

text: The basic timpano consists of a drum head stretched across the opening of a bowl typically made of copper or, in less expensive models, fiberglass or aluminum. In the Sachs–Hornbostel classification, this makes timpani membranophones. The head is affixed to a hoop (also called a "flesh hoop"), which in turn is held onto the bowl by a "counter hoop". The counter hoop is usually held in place with a number of tuning screws called "tension rods" placed regularly around the circumference. The head's tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods.


title: Timpani

text: The shape and material of the bowl's surface help to determine the drum's timbre. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones. Modern timpani are generally made with copper due to its efficient regulation of internal and external temperatures relative to aluminum and fiberglass.


title: Timpani

text: Timpani come in a variety of sizes from about in diameter down to "piccoli timpani" of or less. A 33-inch drum can produce C (the C below the bass clef), and specialty piccoli timpani can play up into the treble clef. In Darius Milhaud's 1923 ballet score "La création du monde", the timpanist must play F (at the bottom of the treble clef).


title: Timpani

text: Changing the pitch of a timpani by turning each tension rod individually is a laborious process. In the late 19th century, mechanical systems to change the tension of the entire head at once were developed. Any timpani equipped with such a system may be considered "machine timpani", although this term commonly refers to drums that use a handle connected to a spider-type tuning mechanism.


title: Timpani

text: By far the most common type of timpani used today are pedal timpani, which allows the tension of the head to be adjusted using a pedal mechanism. Typically, the pedal is connected to the tension screws via an assembly of either cast metal or metal rods called the "spider".


title: Timpani

text: Professional-level timpani use either the ratchet or friction system and have copper bowls. These drums can have one of two styles of pedals. The "Dresden" pedal is attached at the side nearest the timpanist and is operated by ankle motion. A "Berlin"-style pedal is attached by means of a long arm to the opposite side of the timpani, and the timpanist must use their entire leg to adjust the pitch. In addition to a pedal, high-end instruments have a hand-operated fine-tuner, which allows the timpanist to make minute pitch adjustments. The pedal is on either the left or right side of the drum depending on the direction of the setup.


title: Timpani

text: Most school bands and orchestras below a university level use less expensive, more durable timpani with copper, fiberglass, or aluminum bowls. The mechanical parts of these instruments are almost completely contained within the frame and bowl. They may use any of the pedal mechanisms, though the balanced action system is by far the most common, followed by the friction clutch system. Many professionals also use these drums for outdoor performances due to their durability and lighter weight. The pedal is in the center of the drum itself.


title: Timpani

text: On "chain timpani", the tension rods are connected by a roller chain much like the one found on a bicycle, though some manufacturers have used other materials, including steel cable. In these systems, all the tension screws can then be tightened or loosened by one handle. Though far less common than pedal timpani, chain and cable drums still have practical uses. Occasionally, a timpanist is forced to place a drum behind other items, so he cannot reach it with his foot. Professionals may also use exceptionally large or small chain and cable drums for special low or high notes.


title: Timpani

text: A rare tuning mechanism allows the pitch to be changed by rotating the drum itself. A similar system is used on rototoms. Jenco, a company better known for mallet percussion, made timpani tuned in this fashion.


title: Timpani

text: In the early 20th century, Hans Schnellar, the timpanist of the Vienna Philharmonic, developed a tuning mechanism in which the bowl is moved via a handle that connects to the base and the head remains stationary. These instruments are referred to as "Viennese timpani" ("Wiener Pauken") or "Schnellar timpani". Adams Musical Instruments developed a pedal-operated version of this tuning mechanism in the early 21st century.


title: Timpani

text: Like most drumheads, timpani heads can be made from two materials: animal skin (typically calfskin or goatskin) or plastic (typically PET film). Plastic heads are durable, weather-resistant, and relatively inexpensive. Thus, they are more commonly used than skin heads. However, many professional timpanists prefer skin heads because they produce a "warmer" timbre. Timpani heads are determined based on the size of the head, not the bowl. For example, a drum may require a head. This size difference has been standardized by most timpani manufacturers since 1978.


title: Timpani

text: Timpani are typically struck with a special type of drum stick called a "timpani stick" or "timpani mallet". Timpani sticks are used in pairs. They have two components: a shaft and a head. The shaft is typically made from hardwood or bamboo but may also be made from aluminum or carbon fiber. The head can be constructed from a number of different materials, though felt wrapped around a wooden core is the most common. Other core materials include compressed felt, cork, and leather. Unwrapped sticks with heads of wood, felt, flannel, and leather are also common. Wooden sticks are used as a special effect—specifically requested by composers as early as the Romantic era—and in authentic performances of Baroque music. Wooden timpani sticks are also occasionally used to play the suspended cymbal.


title: Timpani

text: Although not usually stated in the score (excepting the occasional request to use wooden sticks), timpanists will change sticks to suit the nature of the music. However, the choice during a performance is subjective and depends on the timpanist's preference and occasionally the wishes of the conductor. Thus, most timpanists own a great number of sticks. The weight of the stick, size and latent surface area of the head, materials used for the shaft, core, and wrap, and method used to wrap the head all contribute to the timbre the stick produces.


title: Timpani

text: In the early 20th century and before, sticks were often made with whalebone shafts, wooden cores, and sponge wraps. Composers of that era often specified sponge-headed sticks. Modern timpanists execute such passages with felt sticks.


title: Timpani

text: The two most common grips in playing the timpani are the German and French grips. In the German grip, the palm of the hand is approximately parallel with the drum head and the thumb should be on the side of the stick. In the French grip, the palm of the hand is approximately perpendicular with drum head and the thumb is on top of the stick. In both of these styles, the fulcrum is the contact between the thumb and middle finger. The index finger is used as a guide and to help lift the stick off of the drum. The American grip is a hybrid of these two grips. Another known grip is known as the Amsterdam Grip, made famous by the Royal Concertgebouw Orchestra, which is similar to the Hinger grip, except the stick is cradled on the lower knuckle of the index finger.


title: Timpani

text: A standard set of timpani (sometimes called a console) consists of four drums: roughly , , , and in diameter. The range of this set is roughly D to A. A great majority of the orchestral repertoire can be played using these four drums. However, contemporary composers have written for extended ranges. Igor Stravinsky specifically writes for a "piccolo timpano" in "The Rite of Spring", tuned to B. A piccolo drum is typically in diameter and can reach pitches up to C.


title: Timpani

text: Beyond this extended set of five instruments, any added drums are nonstandard. (Luigi Nono's Al gran sole carico d'amore requires as many as eleven drums, with actual melodies played on them in octaves by two players.) Many professional orchestras and timpanists own more than just one set of timpani, allowing them to execute music that cannot be more accurately performed using a standard set of four or five drums. Many schools and youth orchestra ensembles unable to afford purchase of this equipment regularly rely on a set of two or three timpani, sometimes referred to as "the orchestral three". It consists of , , and drums. Its range extends down only to F.


title: Timpani

text: The drums are set up in an arc around the performer. Traditionally, North American, British, and French timpanists set their drums up with the lowest drum on the left and the highest on the right (commonly called the "American" system), while German, Austrian, and Greek players set them up in the reverse order, as to resemble a drum set or upright bass. (the "German" system). This distinction is not strict, as many North American players use the German setup and vice versa.


title: Timpani

text: Throughout their education, timpanists are trained as percussionists, and they learn to play all instruments of the percussion family along with timpani. However, when appointed to a principal timpani chair in a professional ensemble, a timpanist is not normally required to play any other instruments. In his book "Anatomy of the Orchestra", Norman Del Mar writes that the timpanist is "king of his own province", and that "a good timpanist really does set the standard of the whole orchestra." A qualified member of the percussion section sometimes doubles as associate timpanist, performing in repertoire requiring multiple timpanists and filling in for the principal timpanist when required.


title: Timpani

text: Among the professionals who have been highly regarded for their virtuosity and impact on the development of the timpani in the 20th century are Saul Goodman, Hans Schnellar, Fred Hinger, and Cloyd Duff.


title: Timpani

text: A few solo concertos have been written for timpani, and are for timpani and orchestral accompaniment. The 18th-century composer Johann Fischer wrote a symphony for eight timpani and orchestra, which requires the solo timpanist to play eight drums simultaneously. Rough contemporaries Georg Druschetzky and Johann Melchior Molter also wrote pieces for timpani and orchestra. Throughout the 19th century and much of the 20th, there were few new timpani concertos. In 1983, William Kraft, principal timpanist of the Los Angeles Philharmonic, composed his "Concerto for Timpani and Orchestra", which won second prize in the Kennedy Center Friedheim Awards. There have been other timpani concertos, notably, Philip Glass, considered one of the most influential composers of the late 20th century, wrote a double concerto at the behest of soloist Jonathan Haas titled "Concerto Fantasy for Two Timpanists and Orchestra", which features its soloists playing nine drums a piece.


title: Timpani

text: For general playing, a timpanist will beat the head approximately in from the edge. Beating at this spot produces the round, resonant sound commonly associated with timpani. A timpani roll (most commonly signaled in a score by or three slashes) is executed by striking the timpani at varying velocities; the speed of the strokes are determined by the pitch of the drum, with higher pitched timpani requiring a quicker roll than timpani tuned to a lower pitch. While performing the timpani roll, mallets are usually held a few inches apart to create more sustain. Anton Bruckner's Symphony No. 7 requires a continuous roll on a drum for over two and a half minutes. In general, timpanists do not use multiple bounce rolls like those played on the snare drum, as the soft nature of timpani sticks causes the rebound of the stick to be reduced, causing multiple bounce rolls to sound muffled. However, when playing with wood mallets, timpanists sometimes use multiple bounce rolls.


title: Timpani

text: The tone quality can be altered without switching sticks or adjusting the tuning. For example, by playing closer to the edge, the sound becomes thinner. A more staccato sound can be produced by changing the velocity of the stroke or playing closer to the center.


title: Timpani

text: Prior to playing, the timpanist must clear the heads by equalizing the tension at each tuning screw. This is done so every spot is tuned to exactly the same pitch. When the head is clear, the timpani will produce an in-tune sound. If the head is not clear, the pitch will rise or fall after the initial impact of a stroke, and the drum will produce different pitches at different dynamic levels. Timpanists are required to have a well-developed sense of relative pitch and must develop techniques to tune in an undetectable manner and accurately in the middle of a performance. Tuning is often tested with a light tap from a finger, which produces a near-silent note.


title: Timpani

text: Some timpani are equipped with tuning gauges, which provide a visual indication of the pitch. They are physically connected either to the counterhoop, in which case the gauge indicates how far the counterhoop is pushed down, or the pedal, in which case the gauge indicates the position of the pedal. These gauges are accurate when used correctly. However, when the instrument is disturbed in some fashion (transported, for example), the overall pitch can change, thus the markers on the gauges may not remain reliable unless they have been adjusted immediately preceding the performance. The pitch can also be changed by room temperature and humidity. This effect also occurs due to changes in weather, especially if an outdoor performance is to take place. Gauges are especially useful when performing music that involves fast tuning changes that do not allow the timpanist to listen to the new pitch before playing it. Even when gauges are available, good timpanists will check their intonation by ear before playing. Occasionally, timpanists use the pedals to retune while playing.


title: Timpani

text: Portamento effects can be achieved by changing the pitch while it can still be heard. This is commonly called a "glissando", though this use of the term is not strictly correct. The most effective glissandos are those from low to high notes and those performed during rolls. One of the first composers to call for a timpani glissando was Carl Nielsen, who used two sets of timpani playing glissandos at the same time in his Symphony No. 4 ("The Inextinguishable").


title: Timpani

text: Since timpani have a long sustain, "muffling" or "damping" is an inherent part of playing. Often, timpanists will muffle notes so they only sound for the length indicated by the composer. However, early timpani did not resonate nearly as long as modern timpani, so composers often wrote a note when the timpanist was to hit the drum without concern for sustain. Today, timpanists must use their ear and the score to determine the length the note should sound.


title: Timpani

text: The typical method of muffling is to place the pads of the fingers against the head while holding onto the timpani stick with the thumb and index finger. Timpanists are required to develop techniques to stop all vibration without making any sound from the contact of their fingers.


title: Timpani

text: Muffling is often referred to as "muting", which can also refer to playing with mutes on them ("see below").


title: Timpani

text: It is typical for only one timpani to be struck at a time, but occasionally composers will ask for two notes. This is called a "double stop", a term borrowed from the string instrument vocabulary. Ludwig van Beethoven uses this effect in the slow third movement of his Ninth Symphony, as do Johannes Brahms in the second movement of his German Requiem and Aaron Copland in El Salón México. Some modern composers occasionally require more than two notes. In this case, a timpanist can hold two sticks in one hand much like a marimbist, or more than one timpanist can be employed. In his Overture to "Benvenuto Cellini", for example, Hector Berlioz realizes fully voiced chords from the timpani by requiring three timpanists and assigning one drum to each. He goes as far as ten timpanists playing three- and four-part chords on sixteen drums in his "Requiem", although with the introduction of pedal tuning, this number can be reduced.


title: Timpani

text: Modern composers will often specify the beating spot to alter the sound of the drum. When the timpani are struck directly in the center, they have a sound that is almost completely devoid of tone and resonance. George Gershwin uses this effect in "An American in Paris". Struck close to the edge, timpani produce a very thin, hollow sound. This effect is used by composers such as Bartók, Bernstein, and Kodály.


title: Timpani

text: A variation of this is to strike the head while two fingers of one hand lightly press and release spots near the center. The head will then vibrate at a harmonic much like the similar effect on a string instrument.


title: Timpani

text: Resonance can cause timpani not in use to vibrate, causing a quieter sound to be produced. Timpanists must normally avoid this effect, called "sympathetic resonance", but composers have exploited it in solo pieces such as Elliott Carter's "Eight Pieces for Four Timpani". Resonance is reduced by damping or muting the drums, and in some cases composers will specify that timpani be played "con sordino" ("with mute") or "coperti" ("covered"), both of which indicate that mutes—typically small pieces of felt or leather—should be placed on the head.


title: Timpani

text: Composers will sometimes specify that the timpani should be struck with implements other than timpani sticks. It is common in timpani etudes and solos for timpanists to play with their hands or fingers. Philip Glass's "Concerto Fantasy" utilizes this technique during a timpani cadenza. Also, Michael Daugherty's "Raise The Roof" calls for this technique to be used for a certain passage. Leonard Bernstein calls for maracas on timpani in the "Jeremiah" Symphony and Symphonic Dances from "West Side Story". Edward Elgar attempts to use the timpani to imitate the engine of an ocean liner in his "Enigma" Variations by requesting the timpanist play a soft roll with snare drum sticks. However, snare drum sticks tend to produce too loud a sound, and since this work's premiere, the passage has been performed by striking with coins. Benjamin Britten asks for the timpanist to use drumsticks in his "War Requiem" to evoke the sound of a field drum.


title: Timpani

text: Robert W. Smith's "Songs of Sailor and Sea" calls for a "whale sound" on the timpani. This is achieved by moistening the thumb and rubbing it from the edge to the center of the head. Among other techniques used primarily in solo work, such as John Beck's "Sonata for Timpani", is striking the bowls. Timpanists tend to be reluctant to strike the bowls at loud levels or with hard sticks since copper can be dented easily due to its soft nature.


title: Timpani

text: On some occasions a composer may ask for a metal object, commonly an upside-down cymbal, to be placed upon the head and then struck or rolled while executing a glissando on the drum. Joseph Schwantner uses this technique in "From A Dark Millennium". Carl Orff asks for cymbals resting on the head while the drum is struck in his later works. Additionally, Michael Daugherty, in his concerto "Raise The Roof," utilizes this technique. In his piece From me flows what you call Time, Tōru Takemitsu calls for Japanese temple bowls to be placed on timpani.


title: Timpani

text: The first recorded use of early Tympanum was in "ancient times when it is known that they were used in religious ceremonies by Hebrews." The Moon of Pejeng, also known as the "Pejeng Moon", in Bali, the largest single-cast bronze kettle drum in the world, is more than two thousand years old. The Moon of Pejeng is "the largest known relic from Southeast Asia's Bronze Age period." The drum is in the Pura Penataran Sasih temple."


title: Timpani

text: In 1188, Cambro-Norman chronicler Gerald of Wales wrote, ""Ireland uses and delights in two instruments only, the harp namely, and the tympanum.""


title: Timpani

text: Arabian nakers, the direct ancestors of most timpani, were brought to 13th-century Continental Europe by Crusaders and Saracens. These drums, which were small (with a diameter of about ) and mounted to the player's belt, were used primarily for military ceremonies. This form of timpani remained in use until the 16th century. In 1457, a Hungarian legation sent by King Ladislaus V carried larger timpani mounted on horseback to the court of King Charles VII in France. This variety of timpani had been used in the Middle East since the 12th century. These drums evolved together with trumpets to be the primary instruments of the cavalry. This practice continues to this day in sections of the British Army, and timpani continued to be paired with trumpets when they entered the classical orchestra.


title: Timpani

text: The medieval European timpani were typically put together by hand in the southern region of France. Some drums were tightened together by horses tugging from each side of the drum by the bolts. Over the next two centuries, a number of technical improvements were made to the timpani. Originally, the head was nailed directly to the shell of the drum. In the 15th century, heads began to be attached and tensioned by a counterhoop tied directly to the shell. In the early 16th century, the bindings were replaced by screws. This allowed timpani to become tunable instruments of definite pitch. The Industrial Revolution enabled the introduction of new construction techniques and materials, in particular machine and pedal tuning mechanisms. Plastic heads were introduced in the mid-20th century, led by Remo.


title: Timpani

text: "No written kettledrum music survives from the 16th century, because the technique and repertory were learned by oral tradition and were kept secret. An early example of trumpet and kettledrum music occurs at the beginning of Monteverdi's opera "Orfeo" (1607)." Later in the Baroque era, Johann Sebastian Bach wrote a secular cantata titled "Tönet, ihr Pauken! Erschallet, Trompeten!", which translates roughly to "Sound off, ye timpani! Sound, trumpets!" Naturally, the timpani are placed at the forefront: the piece starts with an unusual timpani solo and the chorus and timpani trade the melody back and forth. Bach reworked this movement in Part I of the Christmas Oratorio.


title: Timpani

text: Ludwig van Beethoven revolutionized timpani music in the early 19th century. He not only wrote for drums tuned to intervals other than a fourth or fifth, but he gave a prominence to the instrument as an independent voice beyond programmatic use. For example, his Violin Concerto (1806) opens with four solo timpani strokes, and the scherzo of his Ninth Symphony (1824) sets the timpani (tuned an octave apart) against the orchestra in a sort of call and response.


title: Timpani

text: The next major innovator was Hector Berlioz. He was the first composer to indicate the exact sticks that should be used—"felt-covered", "wooden", etc. In several of his works, including "Symphonie fantastique" (1830), and his "Requiem" (1837), he demanded the use of several timpanists at once.


title: Timpani

text: Until the late 19th century, timpani were hand-tuned; that is, there was a sequence of screws with "T"-shaped handles, called "taps", which altered the tension in the head when turned by players. Thus, tuning was a relatively slow operation, and composers had to allow a reasonable amount of time for players to change notes if they were called to tune in the middle of a work. The first 'machine' timpani, with a single tuning handle, was developed in 1812. The first pedal timpani originated in Dresden in the 1870s and are called "Dresden" timpani for this reason. However, since vellum was used for the heads of the drums, automated solutions were difficult to implement since the tension would vary unpredictably across the drum. This could be compensated for by hand-tuning, but not easily by a pedal drum. Mechanisms continued to improve in the early 20th century.


title: Timpani

text: Despite these problems, composers eagerly exploited the opportunities the new mechanism had to offer. By 1915, Carl Nielsen was demanding glissandos on timpani in his Fourth Symphony—impossible on the old hand-tuned drums. However, it took Béla Bartók to more fully realize the flexibility the new mechanism had to offer. Many of his timpani parts require such a range of notes that it would be unthinkable to attempt them without pedal drums.


title: Timpani

text: In the 17th and 18th centuries, timpani were almost always tuned with the dominant note of the piece on the low drum and the tonic on the high drum—a perfect fourth apart. Until the early 19th century the dominant (the note of the large drum) was written as G and the tonic (the note of the small drum) was written as C no matter what the actual key of the work was, and whether it was major or minor, with the actual pitches indicated at the top of the score (for example, "Timpani in D–A" for a work in D major or D minor). This notation style however was not universal: Bach, Mozart, and Schubert (in his early works) used it, but their respective contemporaries Handel, Haydn, and Beethoven wrote for the timpani at concert pitch.


title: Timpani

text: In the 2010s, even though they are written at concert pitch, timpani parts continue to be most often but not always written with no key signature, no matter what key the work is in: accidentals are written in the staff, both in the timpanist's part and the conductor's score. By 1977 in Vienna, Alexander Rahbari, an outstanding Iranian-Austrian composer and conductor commenced the concert with one of his own compositions entitled, Persian Mysticism Around G which, starts with a short introduction written for timpani (five timpani tuned in "B-C-D-E-G" ). After a few bars fomenting the primal stormy passage, he uses an effective glissando effect produced by back and forth switching the timpani pedals, moving from B up to C and then rolling down back to G (You can see the glissando notation and also listen to the whole timpani introduction on the right). Rahbari also makes use of a series of acciaccatura during this opening section.


title: Timpani

text: Later, timpani were adopted into other classical music ensembles such as concert bands. In the 1970s, marching bands and drum and bugle corps, which evolved both from traditional marching bands and concert bands, began to include marching timpani. Unlike concert timpani, marching versions had fiberglass shells to make them light enough to carry. Each player carried a single drum, which was tuned by a hand crank. Often, during intricate passages, the timpani players would put their drums on the ground by means of extendable legs, and perform more like conventional timpani, yet with a single player per drum. In the late 1970s and early 1980s, marching arts-based organizations' allowance for timpani and other percussion instruments to be permanently grounded became mainstream. This was the beginning of the end for marching timpani: eventually, standard concert timpani found their way onto the football field as part of the front ensemble, and marching timpani fell out of common usage. Timpani are still used by the Mounted Bands of the Household Division of the British Army and of the Mounted Band of the "Garde Républicaine" in the French Army.


title: Timpani

text: As rock and roll bands started seeking to diversify their sound, timpani found their way into the studio. In 1959 Leiber and Stoller made the innovative use of timpani in their production of the Drifters' recording, "There Goes My Baby." Starting in the 1960s, drummers for high-profile rock acts like The Beatles, Cream, Led Zeppelin, The Beach Boys, and Queen incorporated timpani into their music. This led to the use of timpani in progressive rock. Emerson, Lake & Palmer recorded a number of rock covers of classical pieces that utilize timpani. Rush drummer Neil Peart added a tympani to his expanding arsenal of percussion for the "Hemispheres" (1978) and "Permanent Waves" (1980) albums and tours, and would later sample tympani in his drum solo, "The Rhythm Method" in 1988. More recently, the rock band Muse has incorporated timpani into some of their classically based songs, most notably in Exogenesis: Symphony, Part I (Overture). Jazz musicians also experimented with timpani. Sun Ra used it occasionally in his Arkestra (played, for example, by percussionist Jim Herndon on the songs "Reflection in Blue" and "El Viktor," both recorded in 1957). In 1964, Elvin Jones incorporated timpani into his drum kit on John Coltrane's four-part composition "A Love Supreme". Butch Trucks, drummer with the Allman Brothers Band, made use of the timpani.


title: Timpani

text: In his choral piece "A Stopwatch and an Ordnance Map", Samuel Barber employs three pedal timpani upon which are played glissandos.


title: Timpani

text: Jonathan Haas is one of the few timpanists who markets himself as a soloist. Haas, who began his career as a solo timpanist in 1980, is notable for performing music from many genres including jazz, rock, and classical. He released an album with a rather unconventional jazz band called "Johnny H. and the Prisoners of Swing". Philip Glass with his "Concerto Fantasy", commissioned by Haas, put two soloists in "front" of the orchestra, an atypical placement for the instruments. Haas also commissioned Susman's "Floating Falling" for timpani and cello.


title: Grimoire of Zero

text: It is the year 526 of the Liturgical calendar. Witches and their sorcery are notorious throughout the land, though knowledge of the existence of magic remains elusive. A half-man, half-beast mercenary, his kind scorned by the populace, dreams day and night of becoming a human. However, his fateful encounter one day with a witch by the name of Zero turns his dreams into reality. She offers to turn him human if he will escort her as her guard on her search for a magical tome, one that possessed powerful knowledge which could wreak havoc in the wrong hands. The two begin their travels with this agreement binding them together, with the mercenary serving as Zero's protector, though he despises her kind.


title: Grimoire of Zero

text: The light novels were written by Kakeru Kobashiri and illustrated by Yoshinori Shizuma. The series won the grand prize at the 20th Dengeki Novel Awards in 2013. ASCII Media Works published the series in eleven volumes under its Dengeki Bunko imprint from February 8, 2014 to December 9, 2017.


title: Grimoire of Zero

text: A manga adaptation by Takeshi Iwasaki was serialized in ASCII Media Works' "seinen" manga magazine "Dengeki Maoh" from December 27, 2014 to December 10, 2017 and was collected into six volumes.


title: Grimoire of Zero

text: Yasutake launched a spin-off manga, titled , in "Dengeki Maoh" on October 27, 2015. It finished on March 27, 2017 and was collected into two volumes.


title: Grimoire of Zero

text: An anime television series adaptation was announced at the Dengeki Fall Festival on October 2, 2016. The series is directed by Tetsuo Hirakawa and animated by the studio White Fox. Ryosuke Kimiya and Daisuke Mataga provided character designs for the anime. The series aired from April 10, 2017 to June 26, 2017. It ran for 12 episodes. The opening theme titled is performed by Tapimiru and the ending theme titled is performed by Chima. Sentai Filmworks have licensed the anime and it was streamed on Amazon's Anime Strike. MVM Films will release the series in the United Kingdom.


title: Prince-elector

text: The prince-electors ( pl. , , ), or electors for short, were the members of the electoral college that elected the emperor of the Holy Roman Empire.


title: Prince-elector

text: From the 13th century onwards, the prince-electors had the privilege of electing the monarch who would be crowned by the pope. After 1508, there were no imperial coronations and the election was sufficient. Charles V (elected in 1519) was the last emperor to be crowned (1530); his successors were elected emperors by the electoral college, each being titled "Elected Emperor of the Romans" (; ).


title: Prince-elector

text: The dignity of elector carried great prestige and was considered to be second only to that of king or emperor. The electors held exclusive privileges that were not shared with other princes of the Empire, and they continued to hold their original titles alongside that of elector.


title: Prince-elector

text: Electors were rulers of (Imperial Estates), enjoying precedence over the other Imperial Princes. They were, until the 18th century, exclusively entitled to be addressed with the title (Serene Highness). In 1742, the electors became entitled to the superlative (Most Serene Highness), while other princes were promoted to .


title: Prince-elector

text: As rulers of Imperial Estates, the electors enjoyed all the privileges of Imperial Princes, including the right to enter into alliances, to autonomy in relation to dynastic affairs, and to precedence over other subjects. The Golden Bull granted them the Privilegium de non appellando, which prevented their subjects from lodging an appeal to a higher Imperial court. However, while this privilege, and some others, were automatically granted to Electors, they were not exclusive to them and many of the larger Imperial Estates were also to be individually granted some or all those rights and privileges.


title: Prince-elector

text: The electors, like the other princes ruling States of the Empire, were members of the Imperial Diet, which was divided into three "collegia": the Council of Electors, the Council of Princes, and the Council of Cities. In addition to being members of the Council of Electors, most electors were also members of the Council of Princes by virtue of possessing territory or holding ecclesiastical position. The assent of both bodies was required for important decisions affecting the structure of the Empire, such as the creation of new electorates or States of the Empire.


title: Prince-elector

text: Many electors ruled a number of States of the Empire or held several ecclesiastical titles, and therefore had multiple votes in the Council of Princes. In 1792, the Elector of Brandenburg had eight votes, the Elector of Bavaria six votes, the Elector of Hanover six votes, the King of Bohemia three votes, the Elector-Archbishop of Trier three votes, the Elector-Archbishop of Cologne two votes, and the Elector-Archbishop of Mainz one vote. Thus, of the hundred votes in the Council of Princes in 1792, twenty-nine belonged to electors, giving them considerable influence in the Council of Princes in addition to their positions as electors.


title: Prince-elector

text: In addition to voting by colleges or councils, the Imperial Diet also voted in religious coalitions, as provided for in the Peace of Westphalia. The Archbishop of Mainz presided over the Catholic body, or , while the Elector of Saxony presided over the Protestant body, or . The division into religious bodies was on the basis of the official religion of the state, and not of its rulers. Thus, even when the Electors of Saxony were Catholics during the eighteenth century, they continued to preside over the , since the state of Saxony was officially Protestant.


title: Prince-elector

text: The electors were originally summoned by the Archbishop of Mainz within one month of an Emperor's death, and met within three months of being summoned. During the "interregnum", imperial power was exercised by two imperial vicars. Each vicar, in the words of the Golden Bull, was "the administrator of the empire itself, with the power of passing judgments, of presenting to ecclesiastical benefices, of collecting returns and revenues and investing with fiefs, of receiving oaths of fealty for and in the name of the holy empire". The Elector of Saxony was vicar in areas operating under Saxon law (Saxony, Westphalia, Hannover, and northern Germany), while the Elector Palatine was vicar in the remainder of the Empire (Franconia, Swabia, the Rhine, and southern Germany). The Elector of Bavaria replaced the Elector Palatine in 1623, but when the latter was granted a new electorate in 1648, there was a dispute between the two as to which was vicar. In 1659, both purported to act as vicar, but ultimately, the other vicar recognized the Elector of Bavaria. Later, the two electors made a pact to act as joint vicars, but the Imperial Diet rejected the agreement. In 1711, while the Elector of Bavaria was under the ban of the Empire, the Elector Palatine again acted as vicar, but his cousin was restored to his position upon his restoration three years later.


title: Prince-elector

text: Finally, in 1745, the two agreed to alternate as vicars, with Bavaria starting first. This arrangement was upheld by the Imperial Diet in 1752. In 1777, the question was settled when the Elector Palatine inherited Bavaria. On many occasions, however, there was no interregnum, as a new king had been elected during the lifetime of the previous Emperor.


title: Prince-elector

text: Frankfurt regularly served as the site of the election from the fifteenth century on, but elections were also held at Cologne (1531), Regensburg (1575 and 1636), and Augsburg (1653 and 1690). An elector could appear in person or could appoint another elector as his proxy. More often, an electoral suite or embassy was sent to cast the vote; the credentials of such representatives were verified by the Archbishop of Mainz, who presided over the ceremony. The deliberations were held at the city hall, but voting occurred in the cathedral. In Frankfurt, a special electoral chapel, or , was used for elections. Under the Golden Bull, a majority of electors sufficed to elect a king, and each elector could cast only one vote. Electors were free to vote for whomsoever they pleased (including themselves), but dynastic considerations played a great part in the choice.


title: Prince-elector

text: Electors drafted a , or electoral capitulation, which was presented to the king-elect. The capitulation may be described as a contract between the princes and the king, the latter conceding rights and powers to the electors and other princes. Once an individual swore to abide by the electoral capitulation, he assumed the office of King of the Romans.


title: Prince-elector

text: In the 10th and 11th centuries, princes often acted merely to confirm hereditary succession in the Saxon Ottonian dynasty and Franconian Salian dynasty. But with the actual formation of the prince-elector class, elections became more open, starting with the election of Lothair II in 1125. The Staufen dynasty managed to get its sons formally elected in their fathers' lifetimes almost as a formality. After these lines ended in extinction, the electors began to elect kings from different families so that the throne would not once again settle within a single dynasty.


title: Prince-elector

text: For some two centuries, the monarchy was elective both in theory and in practice; the arrangement, however, did not last, since the powerful House of Habsburg managed to secure succession within their dynasty during the fifteenth century. All kings elected from 1438 onwards were from among the Habsburg Archdukes of Austria (and later Kings of Hungary and Bohemia) until 1740, when the archduchy was inherited by a woman, Maria Theresa, sparking the War of the Austrian Succession.


title: Prince-elector

text: A representative of the House of Wittelsbach was elected for a short period of time, but in 1745, Maria Theresa's husband, Francis I of the Habsburg-Lorraine dynasty, became King. All of his successors were also from the same family. Hence, for the greater part of the Empire's history, the role of the electors was largely ceremonial.


title: Prince-elector

text: Each elector held a "High Office of the Empire" () analogous to a modern Cabinet office and was a member of the (ceremonial) Imperial Household. The three spiritual electors were Archchancellors (, ): the Archbishop of Mainz was Archchancellor of Germany, the Archbishop of Cologne was Archchancellor of Italy, and the Archbishop of Trier was Archchancellor of Burgundy. The six remaining were secular electors, who were granted augmentations to their arms reflecting their position in the Household. These augments were displayed either as an inset badge, as in the case of the Arch-Steward, Treasurer, and Chamberlain—or dexter, as in the case of the Arch-Marshal and Arch-Bannerbearer. Or, as in the case of the Arch-Cupbearer, the augment was integrated into the escutcheon, held in the royal Bohemian lion's right paw.


title: Prince-elector

text: When the Duke of Bavaria replaced the Elector Palatine in 1623, he assumed the latter's office of Arch-Steward. When the Count Palatine was granted a new electorate, he assumed the position of Arch-Treasurer of the Empire. When the Duke of Bavaria was banned in 1706, the Elector Palatine returned to the office of Arch-Steward, and in 1710, the Elector of Hanover was promoted to the post of Arch-Treasurer. Matters were complicated by the Duke of Bavaria's restoration in 1714; the Elector of Bavaria resumed the office of Arch-Steward, while the Elector Palatine returned to the post of Arch-Treasurer, and the Elector of Hanover was given the new office of Archbannerbearer. The Electors of Hanover, however, continued to be styled Arch-Treasurers, though the Elector Palatine was the one who actually exercised the office until 1777, when he inherited Bavaria and the Arch-Stewardship. After 1777, no further changes were made to the Imperial Household; new offices were planned for the Electors admitted in 1803, but the Empire was abolished before they could be created. The Duke of Württemberg, however, started to adopt the trappings of the Arch-Bannerbearer.


title: Prince-elector

text: Many High Officers were entitled to use "augmentations" on their coats of arms; said augmentations, which were special marks of honor, appeared in the middle of the electors' shields (as shown in the image above) atop the other charges (in heraldic terms, the augmentations appeared in the form of inescutcheons). The Arch-Steward used "gules an orb Or" (a gold orb on a red field). The Arch-Marshal used the more complicated "per fess sable and argent, two swords in saltire gules" (two red swords arranged in the form of a saltire, on a black and white field). The Arch-Chamberlain's augmentation was "azure a scepter palewise Or" (a golden scepter on a blue field), while the Arch-Treasurer's was "gules the crown of Charlemagne Or" (a gold crown on a red field). As noted above, the Elector Palatine and the Elector of Hanover styled themselves Arch-Treasurer from 1714 until 1777; during this time, both electors used the corresponding augmentations. The three Arch-Chancellors and the Arch-Cupbearer, however, did not use any augmentations.


title: Prince-elector

text: The electors discharged the ceremonial duties associated with their offices only during coronations, where they bore the crown and regalia of the Empire. Otherwise, they were represented by holders of corresponding "Hereditary Offices of the Household". The Arch-Butler was represented by the Hereditary Butler (Cupbearer) (the Count of Althann), the Arch-Seneschal by the Hereditary Steward (the Count of Waldburg, who adopted the title into their name as "Truchsess von Waldburg"), the Arch-Chamberlain by the Hereditary Chamberlain (the Count of Hohenzollern), the Arch-Marshal by the Hereditary Marshal (the Count of Pappenheim), and the Arch-Treasurer by the Hereditary Treasurer (the Count of Sinzendorf). After 1803, the Duke of Württemberg as Arch-Bannerbearer assigned the count of Zeppelin-Aschhausen as Hereditary Bannerbearer.


title: Prince-elector

text: The German practice of electing monarchs began when ancient Germanic tribes formed "ad hoc" coalitions and elected the leaders thereof. Elections were irregularly held by the Franks, whose successor states include France and the Holy Roman Empire. The French monarchy eventually became hereditary, but the Holy Roman Emperors remained elective, at least in theory, although the Habsburgs provided most of the later monarchs. While all free men originally exercised the right to vote in such elections, suffrage eventually came to be limited to the leading men of the realm. In the election of Lothar II in 1125, a small number of eminent nobles chose the monarch and then submitted him to the remaining magnates for their approbation.


title: Prince-elector

text: Soon, the right to choose the monarch was settled on an exclusive group of princes, and the procedure of seeking the approval of the remaining nobles was abandoned. The college of electors was mentioned in 1152 and again in 1198. The composition of electors at that time is unclear, but appears to have included representatives of the church and the dukes of the four nations of Germany: the Franks (Duchy of Franconia), Swabians (Duchy of Swabia), Saxons (Duchy of Saxony) and Bavarians (Duchy of Bavaria).


title: Prince-elector

text: The electoral college is known to have existed by 1152, but its composition is unknown. A letter written by Pope Urban IV in 1265 suggests that by "immemorial custom", seven princes had the right to elect the King and future Emperor. The pope wrote that the seven electors were those who had just voted in the election of 1257, which resulted in the election of two kings.


title: Prince-elector

text: The three Archbishops oversaw the most venerable and powerful sees in Germany, while the other four were supposed to represent the dukes of the four nations. The Count Palatine of the Rhine held most of the former Duchy of Franconia after the last Duke died in 1039. The Margrave of Brandenburg became an Elector when the Duchy of Swabia was dissolved after the last Duke of Swabia was beheaded in 1268. Saxony, even with diminished territory, retained its eminent position.


title: Prince-elector

text: The Palatinate and Bavaria were originally (since 1214) held by the same individual, but in 1253, they were divided between two members of the House of Wittelsbach. The other electors refused to allow two princes from the same dynasty to have electoral rights, so a heated rivalry arose between the Count Palatine and the Duke of Bavaria over who should hold the Wittelsbach seat.


title: Prince-elector

text: Meanwhile, the King of Bohemia, who held the ancient imperial office of Arch-Cupbearer, asserted his right to participate in elections. Sometimes he was challenged on the grounds that his kingdom was not German, though usually he was recognized, instead of Bavaria which after all was just a younger line of Wittelsbachs.


title: Prince-elector

text: The Declaration of Rhense issued in 1338 had the effect that election by the majority of the electors automatically conferred the royal title and rule over the empire, without papal confirmation. The Golden Bull of 1356 finally resolved the disputes among the electors. Under it, the Archbishops of Mainz, Trier, and Cologne, as well as the King of Bohemia, the Count Palatine of the Rhine, the Duke of Saxony, and the Margrave of Brandenburg held the right to elect the King.


title: Prince-elector

text: The college's composition remained unchanged until the 17th century, although the Electorate of Saxony was transferred from the senior to the junior branch of the Wettin family in 1547, in the aftermath of the Schmalkaldic War.


title: Prince-elector

text: In 1621, the Elector Palatine, Frederick V, came under the imperial ban after participating in the Bohemian Revolt (a part of the Thirty Years' War). The Elector Palatine's seat was conferred on the Duke of Bavaria, the head of a junior branch of his family. Originally, the Duke held the electorate personally, but it was later made hereditary along with the duchy. When the Thirty Years' War concluded with the Peace of Westphalia in 1648, a new electorate was created for the Count Palatine of the Rhine. Since the Elector of Bavaria retained his seat, the number of electors increased to eight; the two Wittelsbach lines were now sufficiently estranged so as not to pose a combined potential threat.


title: Prince-elector

text: In 1685, the religious composition of the College of Electors was disrupted when a Catholic branch of the Wittelsbach family inherited the Palatinate. A new Protestant electorate was created in 1692 for the Duke of Brunswick-Lüneburg, who became known as the Elector of Hanover (the Imperial Diet officially confirmed the creation in 1708). The Elector of Saxony converted to Catholicism in 1697 so that he could become King of Poland, but no additional Protestant electors were created. Although the Elector of Saxony was personally Catholic, the Electorate itself remained officially Protestant, and the Elector even remained the leader of the Protestant body in the Reichstag.


title: Prince-elector

text: In 1706, the Elector of Bavaria and Archbishop of Cologne were outlawed during the War of the Spanish Succession, but both were restored in 1714 after the Peace of Baden. In 1777, the number of electors was reduced to eight when the Elector Palatine inherited Bavaria.


title: Prince-elector

text: Many changes to the composition of the college were necessitated by Napoleon's aggression during the early 19th century. The Treaty of Lunéville (1801), which ceded territory on the Rhine's left bank to France, led to the abolition of the archbishoprics of Trier and Cologne, and the transfer of the remaining spiritual Elector from Mainz to Regensburg. In 1803, electorates were created for the Duke of Württemberg, the Margrave of Baden, the Landgrave of Hesse-Kassel, and the Duke of Salzburg, bringing the total number of electors to ten. When Austria annexed Salzburg under the Treaty of Pressburg (1805), the Duke of Salzburg moved to the Grand Duchy of Würzburg and retained his electorate. None of the new electors, however, had an opportunity to cast votes, as the Holy Roman Empire was abolished in 1806, and the new electorates were never confirmed by the Emperor.


title: Prince-elector

text: In 1788, the ruling family of Savoy pushed to receive an electoral title. Their ambition was backed by Brandenburg-Prussia. However, the French Revolution and subsequent Coalition Wars soon rendered this a moot point.


title: Prince-elector

text: After the abolition of the Holy Roman Empire in August 1806, the Electors continued to reign over their territories, many of them taking higher titles. The Electors of Bavaria, Württemberg, and Saxony styled themselves Kings, while the Electors of Baden, Regensburg, and Würzburg became Grand Dukes. The Elector of Hesse-Kassel, however, retained the meaningless title "Elector of Hesse", thus distinguishing himself from other Hessian princes (the Grand Duke of Hesse(-Darmstadt) and the Landgrave of Hesse-Homburg). Napoleon soon exiled him and Kassel was annexed to the Kingdom of Westphalia, a new creation. The King of Great Britain remained at war with Napoleon and continued to style himself Elector of Hanover, while the Hanoverian government continued to operate in London.


title: Prince-elector

text: The Congress of Vienna accepted the Electors of Bavaria, Württemberg, and Saxony as Kings, along with the newly created Grand Dukes (less those of Würzburg and Frankfurt. The Elector of Hanover finally joined his fellow Electors by declaring himself the King of Hanover. The restored Elector of Hesse, a Napoleonic creation, tried to be recognized as the King of the Chatti. However, the European powers refused to acknowledge this title at the Congress of Aix-la-Chapelle (1818) and instead listed him with the Grand Dukes as a "Royal Highness". Believing the title of Prince-Elector to be superior in dignity to that of Grand Duke, the Elector of Hesse-Kassel chose to remain an Elector, even though there was no longer a Holy Roman Emperor to elect. Hesse-Kassel remained the only Electorate in Germany until 1866, when the country backed the losing side in the Austro-Prussian War and was absorbed into Prussia.


title: Prince-elector

text: Below are the State arms of each Imperial Elector. Emblems of Imperial High Offices are shown on the appropriate arms.


title: Prince-elector

text: Three Electors Spiritual (Archbishops): all three were annexed by various powers through German Mediatisation of 1803.


title: Prince-elector

text: As Napoleon waged war on Europe, between 1803 and 1806, the following changes to the Constitution of the Holy Roman Empire were attempted until the Empire's collapse. Except for the prince Württemberg, who had already inherited his office, the electors were not given augments or high office in the imperial household.


title: Joshua Bell

text: Joshua David Bell (born December 9, 1967) is an American violinist and conductor. He plays the Gibson Stradivarius.


title: Joshua Bell

text: Bell was born in Bloomington, Indiana, to Shirley Bell, a therapist, and Alan P. Bell, a psychologist, professor emeritus at Indiana University (IU), and former Kinsey researcher. His father is of Scottish descent and his mother is Jewish (her father was born in Mandatory Palestine and her mother was from Minsk).


title: Joshua Bell

text: Bell began playing the violin at age four after his mother discovered that he had taken rubber bands from around the house and stretched them across the handles of his nine dresser drawers to pluck out music he had heard her play on the piano. His parents got a scaled-to-size violin for him when he was five and started giving him lessons. Bell took to the instrument but had an otherwise normal Indiana childhood, playing video games and excelling at sports, especially tennis and bowling. He placed in a national tennis tournament at age ten.


title: Joshua Bell

text: Bell's first violin teacher was Donna Bricht, widow of Indiana University music faculty member Walter Bricht. His second was Mimi Zweig, and his third the violinist and pedagog Josef Gingold, who accepted Bell as a student after his parents assured him that they were not interested in pushing their son to be a star but simply wanted him to have the best teacher for his abilities. By age 12, Bell was serious about the instrument, thanks in large part to Gingold's inspiration.


title: Joshua Bell

text: At age 14, Bell appeared as a soloist with the Philadelphia Orchestra under Riccardo Muti. He studied violin at the Indiana University Jacobs School of Music and graduated from Bloomington High School North in 1984. In 1989 Bell received an Artist Diploma in violin performance from Indiana University. IU also honored him with a Distinguished Alumni Service Award two years after his graduation. He has been named an "Indiana Living Legend" and received the Indiana Governor's Arts Award.


title: Joshua Bell

text: Bell made his Carnegie Hall debut in 1985, at age 17, with the St. Louis Symphony. In 1990, at age 22, he went on the American Russian Young Artists Orchestra's first tour of Russia. He has since performed with many of the world's major orchestras and conductors. As well as the standard concerto repertoire, he has performed new works. Nicholas Maw's violin concerto is dedicated to Bell, who premiered it in 1993 and won a Grammy Award for his recording. He performed the solo part on John Corigliano's Oscar-winning soundtrack to the film "The Red Violin" and was featured in "Ladies in Lavender". He also appeared in the movie "Music of the Heart", with other notable violinists.


title: Joshua Bell

text: Bell's instrument is the Gibson ex Huberman, a Stradivarius made in 1713 during what is known as Stradivari's "Golden Era". The violin was stolen twice from its previous owner, Bronisław Huberman; the last time the thief confessed to the act on his deathbed. Bell had played the violin; its owner at the time, violinist Norbert Brainin, jokingly told him that it could be his for $4 million. On August 3, 2001, Bell was in London to perform at The Proms; whilst there he was approached by J & A Beare before the concert. He learned that the violin was there and about to be sold to a German industrialist to become part of a collection. Bell played the violin at that Proms concert that same evening. He later sold his previous violin, the Tom Taylor Stradivarius, for a little more than $2 million and bought the Gibson ex Huberman for a little under the $4 million asking price. The 2013 documentary "The Return of the Violin" tells the story of the instrument's theft, return, and subsequent acquisition by Bell. Bell's first recording with the Gibson ex Huberman was "Romance of the Violin" for Sony Classical Records in 2003.


title: Joshua Bell

text: Bell served as artistic partner for the Saint Paul Chamber Orchestra from 2004 until 2007, and as a visiting professor at the Royal Academy of Music in London. He also serves on the artists' selection committee for the Kennedy Center Honors and is an adjunct associate professor at the Massachusetts Institute of Technology.


title: Joshua Bell

text: Bell won the Avery Fisher Prize on April 10, 2007, at Lincoln Center in New York City. The prize is given once every few years to classical instrumentalists for outstanding achievement. On May 3, 2007, Indiana University's Jacobs School of Music announced that Bell had joined the faculty as a senior lecturer.


title: Joshua Bell

text: In 2008, Bell received the Golden Plate Award of the American Academy of Achievement presented by Awards Council member Dr. Ben Carson.


title: Joshua Bell

text: Bell collaborated with film composer Hans Zimmer by providing violin solos for the soundtrack of the 2009 film "Angels & Demons", based on Dan Brown's 2000 novel of the same name.


title: Joshua Bell

text: In May 2011, Bell was named the new Music Director of the Academy of St Martin in the Fields (ASMF). He has recorded commercially with the ASMF for the Sony Classical label. In July 2017, the ASMF announced a three-year extension of his contract, through 2020. Bell and the orchestra won the 2017 Helpmann Award for Best Individual Classical Music Performance.


title: Joshua Bell

text: In 2013, Bell accompanied Scarlett Johansson in the song "Before My Time". Written by J. Ralph for the documentary "Chasing Ice", it received a nomination for the Academy Award for Best Original Song.


title: Joshua Bell

text: Bell played himself in three episodes of "Mozart in the Jungle" in 2014, 2015, and 2016. In 2016, he had a cameo in the penultimate musical episode of "Royal Pains". He also appeared as himself in episode 8 ("Quacktice Makes Perfect") of the 2017 Netflix original series "Julie's Greenroom".


title: Joshua Bell

text: In an experiment initiated by "The Washington Post" columnist Gene Weingarten, Bell donned a baseball cap and played as an incognito busker at the Metro subway station L'Enfant Plaza in Washington, D.C., on January 12, 2007. The experiment was videotaped on hidden camera; of the 1,097 people who passed by, seven stopped to listen to him, and one recognized him. For his nearly 45-minute performance, Bell collected $32.17 from 27 passersby (excluding $20 from the one who recognized him). Three days earlier, he earned considerably more playing the same repertoire at a concert. Weingarten won the 2008 Pulitzer Prize for Feature Writing for his article on the experiment. "The Washington Post" posted the video on YouTube and a feature-length documentary, "Find Your Way: A Busker's Documentary", chronicled Bell's experience. A somewhat inaccurate retelling of the story went viral.


title: Joshua Bell

text: Bell has three sisters. He and his former partner, Lisa Matricardi, have three sons: Josef, born in 2007, and twins Benjamin and Samuel, born in 2010. On October 5, 2019, Bell married opera singer Larisa Martinez at their home in Mount Kisco, New York. They also live in the Gramercy Park neighborhood of Manhattan.


title: The Chronicles of Prydain

text: The Chronicles of Prydain is a pentalogy of children's high fantasy Bildungsroman novels written by American author Lloyd Alexander and published by Henry Holt and Company. The series includes: "The Book of Three" (1964), "The Black Cauldron" (1965), "The Castle of Llyr" (1966), "Taran Wanderer" (1967), and "The High King" (1968). "The Black Cauldron" earned a 1966 Newbery Honor, and "The High King" won the 1969 Newbery Medal.


title: The Chronicles of Prydain

text: The five novels take place in Prydain, a fictional country ruled by a High King who oversees several minor kingdoms. The setting is based on Wales and inhabited by creatures and characters inspired by Welsh mythology and folklore. The series follows the protagonist Taran, a youth of unknown parentage living on a farm with an old enchanter named Dallben and a farmer named Coll. Taran, who dreams of being a great hero, is named "Assistant Pig-Keeper" and tasked with helping to care for and protect Hen Wen, a white oracular pig magically empowered with clairvoyance. Taran has a series of adventures wherein he helps protect the land of Prydain from various threats, chief among them the evil Arawn, whose forces include an undead army known as the Cauldron-Born. Throughout the novels, Taran's major companions are the Princess Eilonwy, the bard Fflewddur Fflam, the wild beast-man Gurgi, and the dwarf Doli. The heroes frequently work alongside the Fair Folk (a society of elves and similar beings) and the warriors known as the Sons of Don. Along with various battles against forces of evil, the novels focus on Taran's journey of maturity.


title: The Chronicles of Prydain

text: "The Chronicles of Prydain" were accompanied by an illustrated short story book in 1965 and another in 1967, and were followed by "The Foundling and Other Tales of Prydain," a collection of six short stories published in 1973. The cover art for the novels and the interior art for the short story picture books was done by Evaline Ness. New illustrations for the 1973 anthology were done by Margot Zemach. The first two novels of "The Chronicles of Prydain" were loosely adapted into the 1985 Disney film "The Black Cauldron" and led to a video game of the same name produced by Sierra Entertainment.


title: The Chronicles of Prydain

text: During World War II, Lloyd Alexander received army combat intelligence training in Wales and became familiar with Welsh culture, geography, and language. He took particular interest in the country's castles and folklore, explaining later that he was "always interested in mythology." Alexander later described his experiences in Wales as "part of the raw material for the Prydain books."


title: The Chronicles of Prydain

text: The magical land Prydain's geography is loosely based on Wales. "Ynys Môn", the Welsh name for the Isle of Anglesey, became the Isle of Mona.


title: The Chronicles of Prydain

text: The stories draw on themes, ideas, and culture inspired by Welsh folklore, particularly the stories collected in the "Mabinogion". According to Alexander, nearly all of the proper names in Prydain are from Welsh myth or history, with the exceptions of Eilonwy and Taran. The author's note in the first novel, "The Book of Three," points out the Prydain stories and characters are his own and not simply retellings of old folklore, adding that students of Welsh culture should be prepared to see familiar names such as Arawn and Gwydion attached to characters who act very differently from their mythological namesakes. In the author's note for "The Castle of Lyr", Alexander said "The Prydain Chronicles" are meant to communicate "the feeling, not the fact, of the land of Wales and its legends." In the author's note for "The High King", Alexander said of the series, "While it grew from Welsh legend, it has broadened into my attempt to make a land of fantasy relevant to the world of reality."


title: The Chronicles of Prydain

text: Originally, Alexander planned to write only one or two Prydain novels, "three at the very most." At one point, the plan was for a trilogy of books that would be entitled "The Battle of the Trees", "The Lion with the Steady Hand", and "Little Gwion". By 1965, a four novel series was planned with new titles. The first novel, "The Book of Three", was released by Holt and Company in 1964, followed by "The Black Cauldron" in 1965, and "The Castle of Lyr" in 1966. Originally, the fourth novel was meant to be titled "The High King of Prydain". But as Alexander finished "The Castle of Lyr", an editor remarked that it felt as if some material was missing between the third and fourth volumes. To act as a bridge between the two and show more of Taran's journey to maturity, Alexander started writing a new novel "Taran Wanderer", finishing it one month after "The Castle of Llyr" was published in 1966. The new book "Taran Wanderer" was published in 1967. The next novel, entitled "The High King", was published in 1968, concluding the now five-volume series. "The High King" included a map illustrated by Evaline Ness, who also did the cover art for the original novel editions.