title: Third jersey

text: Teams sometimes needed to find makeshift third kits for their players. One notable example being France having to wear the green-and-white stripes of local club C.A. Kimberley for their 1978 World Cup match against Hungary, as both teams were only equipped with their white change shirts for the game.


title: Third jersey

text: Third kits in international football are less common; both teams are typically advised to change colours in the event of a home kit clashing. England prepared light blue third kits for the 1970 and 1986 World Cups, which were only worn for the former, and Spain introduced a white third kit for the 2014 World Cup at the insistence of FIFA.


title: Third jersey

text: Since the 2000s, most clubs in major European leagues have used a third kit, or had one in reserve. Replicas of the kits are usually sold at club merchandise shops. Sometimes, a previous season's away kit is retained if a clash arises. Clubs sometimes also assign a third kit as their secondary or even primary kit for certain competitions and vice versa.


title: Third jersey

text: One notable incident occurred in 1996, when Manchester United changed into their blue and white third kit – mainly used as their cup away kit – at half-time, with manager Alex Ferguson blaming the grey away shirt for several sub-par performances. Ferguson commented, "The players couldn't pick each other out.[...] They said it was difficult to see their team-mates at distance when they lifted their heads". Newcastle United had to wear its sky blue training kit during a 2022 match against Brighton & Hove Albion, because its home kit (black and white), away kit (navy blue) and third kit (white) were all deemed too similar to the blue and white home kit of Brighton & Hove Albion.


title: Third jersey

text: After decades of wearing the same uniforms, Major League Baseball teams began to experiment with numerous designs in the early 1970s, ranging from popular designs (such as the Oakland Athletics' pullover jerseys that most MLB teams later adopted) and not so popular (such as the Chicago White Sox wearing shorts, or the Cleveland Indians wearing all red).


title: Third jersey

text: Among such designs that were also tested were third jerseys, to break the traditional mold that baseball teams wear white uniforms at home, and gray on the road. This began in 1972 when the A's flamboyant owner, Charles O. Finley, introduced new uniforms to the team. Taking after the lead of the Pittsburgh Pirates, the jerseys were pullover spandex that would later catch on in MLB (though this would be phased out by the early 1990s in favor of the more traditional button-down jerseys), but by going one step further than the Pirates, the A's introduced alternate gold and green jerseys. The gold jerseys, lighter in color, were considered "home" alternates while the darker green jerseys were considered "away" alternates.


title: Third jersey

text: Soon, many teams caught on with different colored jerseys. The Pirates even went as far as to having a rotation of which jerseys to wear, matching white pinstriped, gold, and black pants to wear with jerseys of the same color. The white pinstripes were later phased out in favor of solid white.


title: Third jersey

text: The New York Yankees have generally shunned the practice of third jerseys. The Yankees wore three different jerseys in 1911, 1916, and most recently in 1943 according to the Dressed to the Nines database maintained by the National Baseball Hall of Fame. In recent years, the Yankees have worn throwback uniforms for single games in 1996 and 2012. Third jerseys otherwise remain popular in baseball today, either as an alternate design or as a throwback known as "Turn Back the Clock Night." The Milwaukee Brewers, for example, have worn a variation of their 1978–1993 home uniforms for every Friday home game. In 1999, the Seattle Mariners hosted the Kansas City Royals for a game where both teams wore "futuristic" uniforms meant to represent the year 2027 (what will be the Mariners 50th season). The "Turn Ahead The Clock" promotion was so successful that it was copied the next year by 20 MLB teams, this time representing the year 2021 (due to sponsorship by the real estate company Century 21); however, the jerseys were roundly ridiculed and have not been seen since.


title: Third jersey

text: The Toronto Blue Jays change from their traditional blue and grey jersey to a red alternate jersey every Canada Day (July 1) to help celebrate the national holiday (and with it, a cap with a red maple leaf on it, which is Canada's national symbol). In 2007, the Jays announced that as part of the team's popular "Flashback Friday" promotion, the team would use replica uniforms based on the powder-blue road uniforms used in the 1980s at all Friday night home games, starting with the 2008 season. To complete the look, the Jays also wore the original blue and white caps, with their traditional logo on the front of the uniform as well as on the caps. In 2017, to celebrate Canada's 150th anniversary, the Blue Jays wore alternate red jerseys and caps for every Sunday home game. The Tampa Bay Rays wore a black alternate from 1998 to 2000 when they were the Devil Rays, and from 2005 to 2007 they wore green alternate jersey worn both at home and away on selected games. When they changed their name to the Rays, they introduced an alternate navy blue for home and away games to go along with their white and gray uniforms. In 2010 they added light blue jerseys to be worn only on Sunday home games. The Cincinnati Reds wear a red alternate at many afternoon home games, and the Atlanta Braves wear a red jersey for every home game played on Sunday, while the Washington Nationals wear red for all weekend home games, and in 2011 have done so for most weekend road games as well. The Pittsburgh Pirates wore a red alternate for every home game played on Friday during the 2007 season, even though red is not an official team color. Since , the Boston Red Sox wore a red alternate jersey for Friday night home games and a blue alternate jersey for Friday night away games. Also since 2008, for every afternoon home game, the Kansas City Royals wear powder-blue jerseys almost reminiscent of the old jerseys they wore in the 1980s (and in 2010 introduced new powder-blue caps to be worn with these jerseys, though they have since gone back to wearing their normal blue caps). The San Francisco Giants wear orange jerseys during all Friday home games. The Philadelphia Phillies introduced an alternate cream-colored uniform (with a blue cap to complete the look) in 2008 and currently wear it for all afternoon home games. Most recently the Mariners revived their teal jerseys from the mid-1990s, to be used on Friday home games. The Seattle Mariners also have a navy blue alternate away jersey. In 2015 they also introduced an alternate version of their home uniforms, using the team's classic blue-and-yellow scheme on cream uniforms, to be worn on Sunday home games. The Baltimore Orioles wear alternate black jerseys (with a cap showing the "O's" script logo) every Friday, regardless of whether they are home or away (home games against the Red Sox would force the latter to wear their regular grey uniforms rather than their navy Friday uniforms), and in 2012 they introduced an alternate orange jersey to be worn during Saturday games. In 2013, the New York Mets introduced two different blue alternate jerseys; one has their team name on it (in orange lettering) and is used at home, while the other has their city name on it (in gray lettering) and is used on the road. Prior to that, the Mets wore two black alternate jerseys in a similar fashion as their current blue alternates.


title: Third jersey

text: To honor the U.S. military, during Sunday home games, the San Diego Padres originally sported special camouflage-colored jerseys (with green caps to match); in 2011 the camouflage jerseys were changed to a brown/tan "desert camo" with a tan cap. Then in 2016, the Padres replaced them with a new "navy camo" jersey (honoring the U.S. Navy) with a blue cap. Also, they released a modernized version of the franchise's classic brown jerseys with brown-and-yellow caps (which was originally worn from 1969 to 1984) to be worn for Friday home games.


title: Third jersey

text: In contrast, the Chicago Cubs frequently wear a blue alternate jersey on the road, and not according to the day of the week. This jersey is worn based on the decision of the starting pitcher (particularly when Carlos Zambrano was scheduled to start), thus explaining why it is worn more often than other third jerseys.


title: Third jersey

text: After the death of Harmon Killebrew in 2011, the Minnesota Twins decided to wear their cream-colored "throwback" third jersey – a direct replica of the uniforms used for most of Killebrew's career – for every home game for the rest of the year.


title: Third jersey

text: The Milwaukee Brewers have two alternate uniforms with the same color, with one featuring the team nickname and used on home games, the other featuring the city name and used on away games; in addition to their regular alternates, since 2011 the Brewers have, during various "Heritage" games, worn uniforms with ""Cerveceros"" ("Brewers" in Spanish), ""Bierbrauer"" (German), ""Birrai"" (Italian) and ""Piwowarzy"" (Polish); their opponents during those games would usually also have the foreign translation of their own team name on their road uniforms, such as ""Piraten"" ("Pirates" in German) or ""Cardenales"" ("Cardinals" in Spanish).


title: Third jersey

text: More recently, there is also a trend towards alternate grey uniforms. The San Francisco Giants wear a different version of their road grey uniforms, featuring the interlocking "SF" instead of the city name in full. This design is similar to the road uniforms the team utilized in the late 80's. The Dodgers and the Cubs have followed suit in wearing alternate grey uniforms, sporting the team name in front (rather than the city name) for their grey alternates.


title: Third jersey

text: All 30 MLB teams wore special colored jerseys with contrasting sleeves on the weekend of August 25–27, 2017, for Players Weekend. The Cardinals and Pirates also used these jerseys on August 20, when they met in the MLB Little League Game in Williamsport, Pennsylvania; both this game and Players Weekend coincided with the 2017 Little League World Series in South Williamsport. Notably, the 2017 Players Weekend marked the first time the Yankees ever placed names on the back of their jerseys. Players Weekend has since become an annual affair, with similar jersey changes for each subsequent event.


title: Third jersey

text: The trend toward multiple uniforms of the same color can also lead to on-field mix-ups: in 2011, Brewers pitcher Zach Greinke, making a pinch-hitting appearance, accidentally wore the ""Bierbrauer"" jersey the night before German Heritage Day, while in 2014, just three games into the first season where the alternate was introduced, outfielder Junior Lake played the first inning in a ""Chicago"" jersey while the rest of the team wore ""Cubs"".


title: Third jersey

text: In 2021, Nike and Major League Baseball introduced the City Connect series, in which teams unveil alternate uniforms that were a reflection of their community. In a break from recent trends of wearing only colored alternate tops whilst pairing them with either gray or white pants, some designs began incorporating similarly colored pants for the occasion, giving a full-color treatment from shoulders to feet.


title: Third jersey

text: The concept of the third jersey in the NBA was first introduced when the Atlanta Hawks wore neon green alternate jerseys in addition to their standard blue road and white home jerseys during the and seasons. However, it was not until the mid-1990s that third jerseys became a common trend throughout the league.


title: Third jersey

text: The season brought the first wave of third jerseys in the NBA, as the Hawks, Charlotte Hornets, Detroit Pistons, Orlando Magic, Phoenix Suns and Sacramento Kings released new alternate uniforms. The trend continued in the season with the Chicago Bulls, Miami Heat, Milwaukee Bucks and New York Knicks introducing their own third jerseys.


title: Third jersey

text: Since then, third jerseys became a regular part of every NBA team's uniform rotation, but at first, not all teams were receptive with the concept. For instance, the Boston Celtics and Los Angeles Lakers initially refused to join the trend out of respect to tradition, but they eventually unveiled new alternates in the and seasons respectively.


title: Third jersey

text: The third jersey trend only got stronger when the NBA signed exclusive uniform contracts with Reebok and later Adidas. The Adidas deal, in particular, saw the introduction of additional alternate uniforms in an effort to boost jersey sales; examples include the Golden State Warriors' sleeved alternates and the Heat's monochrome uniforms.


title: Third jersey

text: In addition to third jerseys, there are also holiday-themed jerseys that are worn only on special occasions. These include the jerseys worn on Christmas Day, Chinese New Year, Mardi Gras (for the New Orleans Pelicans), and Saint Patrick's Day.


title: Third jersey

text: Other alternate uniforms in the NBA include the "Noche Latina" uniforms, military-inspired uniforms, and "Pride" uniforms, all of which were also concepts introduced by Adidas.


title: Third jersey

text: NBA teams were only allowed to introduce a new third jersey at least two years after unveiling a new logo and uniform set. This rule has since been relaxed somewhat, following more recent third jersey releases by the Utah Jazz, the Brooklyn Nets, the New Orleans Pelicans, the New York Knicks, the Philadelphia 76ers, the Phoenix Suns the Charlotte Hornets and the Atlanta Hawks, in which some of the teams release their alternates on the same day as their regular home and away set.


title: Third jersey

text: Teams are also allowed to wear their third jerseys as often as desired during the first three rounds of the NBA Playoffs and the NBA Finals. Per the NBA Rule Book, there is no official rule that states that teams are restricted on wearing alternate uniforms or white at home during the NBA Finals. They only requirement stated is from Section VI, c. which states, "The home team shall wear light color jerseys, and the visitors dark jerseys unless otherwise approved. For neutral court games and doubleheaders, the second team named in the official schedule shall be regarded as the home team and shall wear the light colored jerseys." An example of this was when the Cleveland Cavaliers won the 2016 NBA Finals in a black sleeved alternate jersey.


title: Third jersey

text: This rule concerning uniform designations was eliminated once Nike became the uniform provider for the NBA in 2017. In doing so, teams now have the freedom to choose whichever uniform they want to wear, whether it's the "Association" white jersey (formerly the de facto home jersey), the "Icon" dark jersey (formerly the de facto away jersey), the "Statement" alternate color jersey (formerly the de facto third jersey) and the annual "City" and "Earned" jerseys.


title: Third jersey

text: The Canadian Football League first introduced the use of a permanent third jersey on September 6, 1994, when the Calgary Stampeders wore black uniforms for the Labour Day Classic against the Edmonton Eskimos. The CFL did not have a rule for use of alternate uniforms and teams were able to wear them as often or as little as they liked, a rule that is still in effect. Teams are also able to wear multiple alternate jerseys within the same season, as seen with the Montreal Alouettes during their 2009 campaign when they wore alternate black, blue, and throwback jerseys, in addition to their regular home and away uniforms. Teams are also permitted to wear their third jerseys as the away team, provided that they do not clash with the home team's uniforms. Despite teams having no restrictions with third jerseys, only the Stampeders chose to wear them during the 1990s, presumably due to the league's financial struggles during this decade. As such, no CFL USA team ever wore an alternate uniform. The Alouettes were the next team to introduce third uniforms in 2001 when they also wore black uniforms; a colour that was not part of the team's colour scheme. The Saskatchewan Roughriders first wore their black alternates in 2002 as it became more normal for teams to wear these jerseys. The BC Lions wore orange retro uniforms twice during the 2003 season as part of the celebrations for their 50th season, but those were only worn for that season.


title: Third jersey

text: In the 2005 CFL season, Reebok redesigned the primary home and away uniforms for all nine teams and also introduced new alternate uniforms for six teams, with the Hamilton Tiger-Cats and Toronto Argonauts abstaining and the Saskatchewan Roughriders keeping their alternates that they had been using since 2002. Calgary introduced the third iteration of their black uniforms while the Alouettes wore a blue jersey with red numerals. The BC Lions, having now converted to orange as the primary jersey colour, wore black alternates, the Edmonton Eskimos and Winnipeg Blue Bombers wore their own versions of gold alternates, and the Ottawa Renegades wore red alternate jerseys.


title: Third jersey

text: For 2006, the Tiger-Cats introduced gold alternate jerseys on August 12, 2006 in a game against the Argonauts. This season also saw the first case of both teams wearing alternate uniforms as the Alouettes brought back their black uniforms in a home game against the Eskimos who wore their gold jerseys. The Winnipeg Blue Bombers also wore their alternate gold jerseys as the away team for their playoff game against the host Toronto Argonauts. The Toronto Argonauts were the last CFL team to wear a third jersey as they wore alternate Cambridge blue uniforms on July 26, 2007.


title: Third jersey

text: The league recognized the history of its teams by having member clubs wear throwback uniforms beginning with the 2008 CFL season with the Toronto Argonauts and Winnipeg Blue Bombers wearing 1950s-style uniforms for two games featuring both teams. The CFL then had all eight current teams wear 1960s-based uniforms for the 2009 CFL season and 1970s-based uniforms for the 2010 CFL season. These differed from the designated third jerseys in that most were for one season only, except for the Saskatchewan Roughriders white retro jersey and the Winnipeg Blue Bombers royal blue retro jersey that were worn in subsequent seasons. These throwback uniforms were worn to lead up to the 100th Grey Cup celebration.


title: Third jersey

text: Following the league-based retro initiative, the league then turned its attention to a modernized take on all nine teams (including the expansion Ottawa Redblacks) by introducing Signature uniforms mostly in the 2014 season. The Lions first wore their Signature uniforms in 2013 as part of their 60th season celebrations with the other eight teams following suit the following season. The uniforms were worn twice by each team except for Ottawa who wore theirs three times and Winnipeg who wore theirs once. In 2015, Winnipeg abandoned the uniforms altogether, as did the BC Lions, despite their popularity in BC. Every other team wore theirs twice during 2015 except for Hamilton, who wore theirs once on Labour Day.


title: Third jersey

text: With the league-wide redesign of uniforms by Adidas in 2016, Calgary, Edmonton, and Montreal each retained their signature series uniforms and each wore them twice during the regular season (Calgary also wore theirs in the West Final game). Saskatchewan also wore a modified version of their retro-themed uniforms in two games that year. When New Era became the league outfitter in 2019, only Calgary, Edmonton, and Saskatchewan wore third jerseys and all three were holdovers from the previous three seasons. Ottawa introduced new alternates in 2021 and four teams wore new alternates in 2022.


title: Third jersey

text: As of 2018, teams are permitted to wear third jerseys during the playoffs, but not for the Grey Cup game. The 2010 Saskatchewan Roughriders were the last team to wear alternate uniforms for the championship game.


title: Third jersey

text: The following list is a recount of all known alternate uniforms worn by member clubs as of the 2022 CFL season and does not include one-time throwback uniforms:


title: Third jersey

text: In the National Hockey League, each team has its own distinctive sweater design (hockey tradition usually refers to jerseys as "sweaters," because hockey players actually wore sweaters on the ice until the 1960s). Prior to 1995 (save a few isolated instances), each team only had two sweaters – one for home use, and one for the road. One sweater was dominantly white (or in a few instances, a light colour), and the other dominantly a dark colour. The home team has first choice of uniforms from the 1917–18 to the 1969–70 seasons (the white or yellow sweater was predominantly the road sweater with the dark sweater predominantly being the home sweater). In the 1970–1971 season, the NHL required teams to wear white (or yellow) sweaters at home and dark sweaters on the road; this rule remained in place until the end of the 2002–03 season. When the Third Sweater Program was introduced in the 1995–96 season, some teams wore the third sweater at home, which would have required an opponent to carry two sets of equipment and uniforms with them while on the road under most circumstances. This was alleviated starting in the 2003–04 season, when new rules mandated dark sweaters at home and white sweaters on the road, with yellow now being treated as a dark colour.


title: Third jersey

text: The first NHL team to feature a three-sweater rotation was the Boston Bruins. From 1955 through 1967, the Bruins had a gold home sweater and a white road sweater, and for several of those seasons featured a black third sweater. The Pittsburgh Penguins would later introduce a gold third sweater in 1981, worn occasionally at home for two seasons for Sunday games and exclusively at home only in the 1983–84 season before retiring it. As part of the NHL's 75th anniversary in the 1991–92 season, for select games the Original Six teams wore throwback sweaters based on designs the teams wore at some point during the first 50 years of the league. The Chicago Blackhawks and Detroit Red Wings wore their throwbacks again for a game at Chicago Stadium in the 1993–94 season.


title: Third jersey

text: The 1995-96 third sweater program provided an opportunity for CCM to further experiment with dye-sublimation printing on their sweaters. CCM had introduced the process to the NHL with the 1994 All-Star Game sweaters and the Calgary Flames' new uniforms introduced in the 1994–95 season. The sublimated dye process allows for more complex stripe and graphic designs than were possible or practical with traditional manufacturing methods. The initial participating teams in the 1995–96 season embraced the concept, although the results were mixed. The Bruins' gold jersey, featuring a brown bear's head on the front and jagged striping, lasted through the 2005–06 season, while the Penguins' third jersey, featuring gradient striping that complemented their logo at the time, replaced their road jerseys in 1997. The Vancouver Canucks' red and black jersey with gradient striping, a subtle nod to their garish "Flying V" jerseys from 1978 to 1985, were retired in 1997 when the team changed colours and logos altogether. The jerseys worn by the Mighty Ducks of Anaheim and Los Angeles Kings only lasted one season. Due to the backlash against the less popular designs, the sublimation process was used by fewer teams in subsequent seasons, as newer thirds either rearranged the colours of an existing jersey, or experimented with different construction methods to create new designs.


title: Third jersey

text: With the advent of the 2003 Heritage Classic outdoor game, the NHL introduced the Vintage jersey program, allowing a select number of teams to wear throwback designs for a limited number of games, in addition to their existing uniforms. These uniforms were designated with a special V-logo patch. Seven teams participated in the program, and included both home and road versions of throwback designs. As a result, the Bruins, Kings, Canucks, and New York Rangers each had an unprecedented five jerseys in their rotation for that season. The program was suspended due to the 2004–05 NHL lockout, although the Vancouver Canucks and Montreal Canadiens would wear their vintage jerseys for a few games each in the 2005–06 season, and the Canucks and Bruins would wear their dark throwbacks as third jerseys (replacing sublimated-print third jerseys) in the 2006–07 season. The Canucks' and Bruins' throwbacks would later serve as the inspiration for their uniform redesigns in 2007.


title: Third jersey

text: Following a one-year hiatus on all third jerseys (save for the 2008 NHL Winter Classic, where the Pittsburgh Penguins and Buffalo Sabres wore throwbacks for that game) as part of the NHL's transition to the Edge uniform system, the third jersey program returned in full earnest for the 2008–09 season. The Winter and Heritage Classics became showcases for throwback uniforms and new sweaters with a throwback aesthetic, while the NHL Stadium Series became a showcase for more radical uniform designs. Third jerseys as a whole began to skew more to traditional stylings and throwback designs, especially for teams who more modernized looks in the Edge redesign. Another trend has been for teams to include an off-white cream colour, sometimes referred to as "vintage white" or "antique white", in place of pure white on their third or Classic jersey, attempting to replicate the discoloured appearance of a genuine aged sweater. This trend picked up after the Minnesota Wild began extensively using "Minnesota wheat", an official team colour similar to the vintage cream colour, in place of white trim on their dark jerseys.


title: Third jersey

text: The only teams that have not had a full-season third jersey since the beginning of the current program are the Detroit Red Wings and the Montreal Canadiens. However, both teams have participated in at least one outdoor game and had special jerseys for each event. In addition, the Canadiens wore five different vintage jerseys over the course of their centennial celebration in the 2008–09 and 2009-10 seasons, in addition to their earlier participation in the Vintage jersey program.


title: Third jersey

text: Prior to 2021, the New Jersey Devils have eschewed the concept of third jerseys under general manager Lou Lamoriello. Instead, they wore special one-off alternates that were throwbacks of the classic red and green jerseys for one home game on or around St. Patrick's Day every season since 2009–10, with the exception of the lockout-shortened 2013 season, and have also worn them in their 2014 NHL Stadium Series outdoor game. However, in 2021, the Devils finally unveiled their first full-time third jersey, using black as the base color.


title: Third jersey

text: With Reebok being replaced by parent company Adidas as the NHL's uniform supplier for the 2017–18 NHL season, the third jersey program once again went on hiatus for one year. Like what happened during the Reebok transition, alternate jerseys returned for the 2018–19 season.


title: Third jersey

text: Once a team has been granted permission by the league to use their new design, they will request and be allowed ten to fifteen games during the season in which they may use their third sweater. They may continue to use the third sweater in subsequent years as well. This alternate design allowed the team's appearance to flirt with radical designs which have occasionally gone on to become the new looks for some of the participating teams, though they can also be quite garish. An infamous example is the aforementioned St.Louis Blues' planned third sweater from 1996. The Mighty Ducks' third from that season, featuring mascot Wildwing bursting through a sheet of ice, was also considered particularly garish. Sales of third sweaters to fans have also provided significant additional income for cash-strapped NHL teams. For example, in 2013, the Calgary Flames introduced a third sweater in exactly the same colours as their primary home sweater, but with the addition of "western styling" mixed with traditional hockey sweater features such as laces and the team name in script on the front. This doesn't always work; in the case of the Flames, they reverted to their throwback third jersey in the 2016–17 season.


title: Third jersey

text: Teams are also allowed to wear their third jerseys as often as desired in the Stanley Cup Playoffs; however, they may only wear two different uniforms during the playoffs (one at home and one on the road). Examples of teams who wore third jerseys in the playoffs include the Dallas Stars (in 1999), the San Jose Sharks (from 2011 to 2014), the Anaheim Ducks (in 2014), the Minnesota Wild (from 2013 to 2017), the Washington Capitals (in 2015), the Toronto Maple Leafs (in 1999), the Philadelphia Flyers (in 2001 and 2009), the Pittsburgh Penguins (in 1997, 2016, and 2021), the Edmonton Oilers (in 2017 and 2021), the Calgary Flames (in 2019), the Arizona Coyotes (in 2020) and the Carolina Hurricanes (in 2019, 2020, and 2021). The Ducks, Stars, Flyers, Penguins, Oilers, Wild, Flames, and Coyotes are also examples of teams wearing third jerseys in the playoffs that are then promoted to full-time jerseys the following season.


title: Third jersey

text: In recent years the third jersey has appeared in the Australian NRL, with every team having a 'home' jersey, an 'away' jersey and a 'heritage' jersey. The NRL does not currently require third or alternate jerseys, because most clashes can be resolved with away jerseys or using modified under-20s jerseys.


title: Styles P

text: David R. Styles (born November 28, 1974), better known by his stage name Styles P (also known mononymously as Styles), is an American rapper, best known as a member of hip hop group the Lox, alongside childhood friends Sheek Louch and Jadakiss. Along with the other members of the Lox, he is a founder of D-Block Records and was also a part of the Ruff Ryders Entertainment collective. In addition, he has released multiple albums and mixtapes as a solo MC. In 2002, he released his debut solo album "A Gangster and a Gentleman", which contained the hit single "Good Times". The song peaked at number 22 on the US "Billboard" Hot 100 chart.


title: Styles P

text: He has gone on to release "Time Is Money" (2006), "Super Gangster (Extraordinary Gentleman)" (2007), "Master of Ceremonies" (2011), "The World's Most Hardest MC Project" (2012), "Float" (2013), "Phantom and the Ghost" (2014), "A Wise Guy and a Wise Guy" (2015), and "G-Host" (2018).


title: Styles P

text: David Styles was born November 28, 1974, in Corona, Queens, New York City, to a South African mother and a Jamaican father from Bed-Stuy. After his parents' divorce, Styles and his younger brother Gary moved to Yonkers with their mother. It was there he met lifelong friends Jadakiss and Sheek Louch. The trio bonded over their shared passion for hip hop and eventually formed a group known as the Lox in 1994.


title: Styles P

text: As a trio, the Lox began rapping in the mid-1990s and started to build a steady underground following thanks to their performances and street freestyles. In their late teens, the trio met Mary J. Blige who was impressed with their lyrical content, and gave their demo to Sean "Diddy" Combs. Diddy immediately hired the trio to write for Bad Boy Records. After signing with Bad Boy, the Lox quickly started collaborating on hits with Diddy, the Notorious B.I.G., Mary J. Blige and Mariah Carey which gave them instant notoriety and status within the hip-hop and mainstream charts. In 1996 and 1997, the group wrote and performed on a number of Diddy hits, including "It's All About the Benjamins" and "I Got the Power", Mase's "24 Hrs. to Live", Mariah Carey's "Honey", the Notorious B.I.G.'s "Last Day" and Mary J. Blige's "Can't Get You Off My Mind". In 1997, the Lox received international acclaim when their tribute to the late Biggie Smalls, "We'll Always Love Big Poppa", was picked as the B-side track from Diddy's "No Way Out" album (3× Platinum) with the number one hit, "I'll Be Missing You". This single was the most played hit in 1997, which opened the door for the Lox's to write more of their own songs and eventually release their first album in January 1998 titled "Money, Power & Respect". The album went on to be certified platinum, and, although the album was a chart-topping success, the group grew to feel that the glossy image and production style of Bad Boy Records conflicted with their grimier rap aesthetic. After trying and failing to get Puff Daddy to grant them a release from their contract, the group confronted him in his office, with Styles P throwing a chair at his own boss. After this, the group was granted their release and left Bad Boy to sign with Ruff Ryder Records.


title: Styles P

text: After releasing another Lox album, "We Are the Streets" and appearing on albums with other Ruff Ryders artists, Styles released his first solo album, "A Gangster and a Gentleman", in 2002. The album was supported by the hit single, Good Times, which peaked at number 22 on the US Billboard Hot 100 and number 6 on the "Billboard" Hot R&B/Hip-Hop Songs. The song also received widespread airplay on the radio throughout 2002. In 2004, Styles was featured on an alternate version of Akon's hit debut single, Locked Up. Two years later, he released his second album, "Time is Money" on Ruff Ryders which was followed by "Super Gangster (Extraordinary Gentleman)" a year later.


title: Styles P

text: After recording many mixtapes Styles returned to the Hip-Hop scene by releasing two retail albums in 2010, "The Green Ghost Project" with DJ Green Lantern on Invasion Records and "The Ghost Dub-Dime" a retail mixtape on E1 Records (formally Koch Records). This began a string of annual retail releases with his fourth, fifth, sixth, and seventh albums (2011's "Master of Ceremonies", 2012's "The World's Most Hardest MC Project", 2013's "Float", and 2014's "Phantom and the Ghost") all being released within a year of each other.


title: Styles P

text: In 2016, the Lox released their first album in 16 years, "Filthy America... It's Beautiful". The album reached number 6 on the "Billboard" Top R&B/Hip-Hop Albums chart. It was followed by the release of the albums, "G-Host" (2018), "Dime Bag" (2018), "S.P. the GOAT: Ghost of All Time" (2019) and "Presence" (2019). Styles P and Dave East also released a collab album titled "Beloved", in 2018. Styles P's 13th studio album, "Styles David: Ghost Your Enthusiasm", was released on May 22, 2020.


title: Styles P

text: Styles married his wife Adjua on July 31, 1995. Together, they have two children, Noah (born 1998) and Tai (1995–2015), whom Adjua had from a previous relationship. Styles served as Tai's stepfather for the majority of her life, until she committed suicide in 2015.


title: Styles P

text: Styles' younger brother, Gary Quarles Styles, died in a car accident on May 13, 2001. Styles has made many references to Gary in his music, including the tribute song "My Brother", from his debut album "A Gangster and a Gentleman".


title: Styles P

text: In July 2002, Styles was involved in an altercation at a New York nightclub that led to him stabbing a man in the buttocks. Styles surrendered himself to authorities on November 26, 2002, and began serving his eight-month sentence in the Westchester County Jail in Valhalla, New York, the same day. Styles was released from prison on August 4, 2003.


title: Styles P

text: Politically, Styles has publicly denounced Black Lives Matter and endorsed the 2020 re-election campaign of Donald Trump.


title: Styles P

text: Both Styles and Jadakiss launched a local juice bar called "Juices for Life" in 2011, there are currently six locations in New York. In 2018, Styles and his wife Adjua launched a local health food store called "Farmacy for Life".


title: Styles P

text: Styles P released his first novel, "Invincible", in 2010 through Random House Publishing Group. In 2011 he opened up a juice bar in Bronx, New York called Juices for Life with his business partners Nyger Rollocks and Leo Galvez. He released his EP with Currensy titled, "#The1st28" on February 28, 2012.


title: Styles P

text: In February 2022, he was cast in the documentary series "Everything's Gonna Be All White", airing on Showtime.


title: Prejudice (legal term)

text: Prejudice is a legal term with different meanings, which depend on whether it is used in criminal, civil, or common law. In legal context, "prejudice" differs from the more common use of the word and so the term has specific technical meanings.


title: Prejudice (legal term)

text: Two of the most common applications of the word are as part of the terms "with prejudice" and "without prejudice." In general, an action taken "with prejudice" is final. For example, "dismissal with prejudice" forbids a party to refile the case and might occur because of misconduct on the part of the party that filed the claim or criminal complaint or also as the result of an out-of-court agreement or settlement. Dismissal "without prejudice" (Latin: "salvis iuribus") allows the party the option to refile and is often a response to procedural or technical problems with the filing that the party may correct by filing again.


title: Prejudice (legal term)

text: Depending on the country, a criminal proceeding which ends prematurely due to error, mistake, or misconduct may end as being dismissed with prejudice or without prejudice. If the case ends without prejudice, the accused in the case (the defendant) may be retried. If the case ends with prejudice, the effect on the defendant (for the purpose of punishment) is the equivalent of a finding of not guilty, and they cannot be retried.


title: Prejudice (legal term)

text: In the United States, if there is a mistrial, or the case is overturned on appeal, generally this is without prejudice and (in the case of a decision overturned on appeal) either all of the case is retried, or, if not all of the case is overturned, the parts that were overturned, such as a sentencing hearing, are retried. If the case is dismissed because of prosecutorial misconduct, it will typically be dismissed with prejudice, which means that the defendant cannot be retried.


title: Prejudice (legal term)

text: The Double Jeopardy Clause of the Fifth Amendment to the United States Constitution prohibits that "any person be subject for the same offence to be twice put in jeopardy of life or limb". Outside of mistrial or appeal, the rule for whether or not a case is dismissed with or without prejudice thus depends on what condition the case is in and whether "jeopardy" has attached to the case. If jeopardy is attached to a case, a dismissal or a resolution is "with prejudice" and the case can never be litigated again. In the case of a trial by jury, jeopardy attaches when the jury is empaneled, and a dismissal (for prosecutorial misconduct or harmful error) at that point must be with prejudice. In the case of a bench trial (trial by the judge only), jeopardy attaches when the first witness in the case is sworn.


title: Prejudice (legal term)

text: If a criminal case is brought to trial and the defendant is acquitted, jeopardy is attached to the case, and it can never be retried. If the defendant was convicted and his conviction is overturned, jeopardy is not attached because the defendant is considered to simply be in the same state they were before the case was tried.


title: Prejudice (legal term)

text: If a person is brought to trial where they are charged with a particular crime and is convicted of a lesser offense, the conviction for a lesser offense is an acquittal of any higher-level offense (for example, a conviction for second-degree murder is an acquittal of first-degree murder). If the conviction is later overturned, the maximum the defendant can be retried for is the crime to which they were convicted; any higher charge is acquitted and thus is with prejudice.


title: Prejudice (legal term)

text: Within legal civil procedure, prejudice is a loss or injury, and refers specifically to a formal determination against a claimed legal right or cause of action. Thus, in a civil case, dismissal "without prejudice" is a dismissal that allows for re-filing of the case in the future. The present action is dismissed, but the possibility remains open that the plaintiff may file another suit on the same claim. The inverse phrase is dismissal "with prejudice", in which the plaintiff is "barred" from filing another case on the same claim. Dismissal with prejudice is a final judgment and the case becomes "res judicata" on the claims that were or could have been brought in it; dismissal without prejudice is not.


title: Prejudice (legal term)

text: In many common law jurisdictions, such as the United States, the United Kingdom, Ireland, Canada, Australia, New Zealand and Singapore, the phrase has several usages.


title: Prejudice (legal term)

text: A civil matter which is "dismissed with prejudice" is over forever, because the claim cannot be refiled. This is a final judgment, not subject to further action, other than appeal to a higher court. Absent a successful appeal, the plaintiff is prohibited from bringing any other lawsuit based on the claim.


title: Prejudice (legal term)

text: If it is an involuntary dismissal, the judge has determined that the plaintiff has brought the case in bad faith, has failed to bring the case in a reasonable time, has failed to comply with court procedures, or on the merits after hearing the arguments in court. The dismissal itself may be appealed.


title: Prejudice (legal term)

text: If it is a "voluntary dismissal with prejudice", it is the result of an out-of-court agreement or settlement between parties that they agree is final.


title: Prejudice (legal term)

text: If the case is dismissed "without prejudice" the lawsuit can be filed again by the plaintiff. Typically, before a defendant has answered the suit or made a motion in the case, a plaintiff may file for "dismissal without prejudice" more easily and may do so for tactical reasons such as filing in a different jurisdiction.


title: Prejudice (legal term)

text: The term "without prejudice" is used in the course of negotiations to settle a lawsuit. It indicates that a particular conversation or letter cannot be tendered as evidence in court. It can be considered a form of privilege. This usage flows from the primary meaning: concessions and representations made for the purpose of settlement are simply being mooted for that purpose, and are not meant to actually concede those points in litigation.


title: Prejudice (legal term)

text: Such correspondences must both be made in the course of negotiation, and represent a genuine attempt to settle a dispute between the parties. A prohibition exists on documents marked "without prejudice" being used as a façade to conceal facts or evidence from the court. As a result, documents marked "without prejudice" that do not actually contain any offer of settlement may be used as evidence, should the matter proceed to court. Courts may also decide to exclude from evidence communications not marked "without prejudice" that do contain offers of settlement.


title: Prejudice (legal term)

text: The term "without prejudice save as to costs" is a change to the above and refers to a communication that cannot be exhibited in court until the end of the trial, when the court awards legal costs to the successful party unless some other order is made because an offer was unreasonably rejected. This is also called the Calderbank formula, from "Calderbank v Calderbank" (2 All E.R. 333 (1976)), and exists because English courts have held that "without prejudice" includes for the purposes of costs, as in Court of Appeal, in "Walker v. Wilshire" (23 QBD 335 (1889)):


title: Prejudice (legal term)

text: An action (such as an error made by the court) is prejudicial if it substantially affects a litigant's legal rights. Thus, a harmless error would not be prejudicial, while plain error is sometimes defined as a highly prejudicial error. An error that is determined to not have been prejudicial will typically not be considered a reversible error.


title: Prejudice (legal term)

text: A court may sometimes explicitly reassure a litigant that an action will not prejudice him. For example, if a defendant left an important document at home that he needed for the court hearing, the court may assure him that continuing the proceedings to a future date will not prejudice him in any way—that is, that it will not affect the court's judgment in a way that disfavors him. Or a court may assure a litigant that agreeing to a temporary arrangement, e.g. concerning custody of an asset whose ownership is disputed, will not prejudice his rights with regard to the eventual judgment of the court in the case. In other words, the litigant will not be waiving any rights other than those he's specifically agreeing to temporarily waive.


title: Prejudice (legal term)

text: In English criminal law, from the moment a suspect is charged until judgment is given, it is not permitted to report on matters that may be given in evidence – or that might otherwise influence the jury – before this evidence is presented. Unless the court directs otherwise, media may report the evidence given in court but may not speculate on its significance. These restrictions are normally removed after judgment is given, unless to do so might prejudice another prosecution in progress.


title: Heart-Shaped Box

text: "Heart-Shaped Box" is a song by the American rock band Nirvana, written by vocalist and guitarist Kurt Cobain. It was released as the lead single from Nirvana's third and final studio album, "In Utero", in August 1993, and appears as the third track. It was one of two songs from the album mixed by Scott Litt to augment the original production by producer Steve Albini.


title: Heart-Shaped Box

text: Though Nirvana's record company DGC Records did not release a physical single in the United States, fearing it might damage album sales, "Heart-Shaped Box" received much American radio airplay, reaching number one on the "Billboard" Modern Rock Tracks chart. The single made the top 10 in several countries, including Portugal, the United Kingdom, Ireland, Finland, and New Zealand. The music video, directed by Anton Corbijn, garnered critical plaudits, and won two awards, including Best Alternative Video, at the 1994 MTV Video Music Awards. "Heart-Shaped Box" was the last song Cobain performed live with Nirvana, on March 1, 1994, in Munich, Germany.


title: Heart-Shaped Box

text: "Heart-Shaped Box" was written by Cobain in early 1992 at the apartment in the Fairfax district of Los Angeles, California he shared with his wife, the American musician Courtney Love. In a 1994 Rolling Stone interview with David Fricke, Love recalled hearing Cobain work on the guitar riff for the first time:


title: Heart-Shaped Box

text: The only time I asked him for a riff for one of my songs, he was in the closet. We had this huge closet, and I heard him in there working on 'Heart-Shaped Box.' He did that in five minutes. Knock, knock, knock. 'What?' 'Do you need that riff?' 'Fuck you!' Slam. "[Laughs]" He was trying to be so sneaky. I could hear that one from downstairs.


title: Heart-Shaped Box

text: Cobain forgot about the song for a while, then resumed work on it after he and Love moved to an apartment in Hollywood Hills, Los Angeles. Nirvana's first attempts to work on it were unsuccessful; Cobain said he waited for bassist Krist Novoselic and drummer Dave Grohl "to come up with something but it just turned into noise all the time". Eventually, during one jam session, Cobain said he "came up with the vocal style instantly and it just all flowed out real fast. We finally realized that it was a good song."


title: Heart-Shaped Box

text: "Heart-Shaped Box" was first performed live on January 16, 1993, at the Hollywood Rock Festival in São Paulo, Brazil. It was first recorded in the studio a few days later, at BMG Ariola studios in Rio de Janeiro. Producer Craig Montgomery recalled hearing the song during the band's soundcheck in São Paulo, saying that "even then Kurt knew this was the single ... All the other [new] stuff they had was way more noisy and abrasive than this. Even the other sound guys that were out there on the platform with me were going, 'Yeah, this is a good song. The band's guitar tech, Ernie Bailey, also had a positive initial reaction to the song in Brazil, saying that "you could tell this was an important song, in a lot of ways. You knew that it just had a lot of weight to it, even the first time you heard it."


title: Heart-Shaped Box

text: Two versions of the song were recorded at BMG Ariola, with the initial take being done to test the studio's equipment. The second take was posthumously released on the band's rarities box set, "With the Lights Out", in November 2004, and on the compilation album "" in November 2005. On January 23, the band again performed "Heart-Shaped Box" live, at the Hollywood Rock Festival in Rio de Janeiro. These early versions of the song featured unfinished lyrics and what music journalist Gillian G. Gaar called "a far more experimental solo, more akin to the group's improvs".


title: Heart-Shaped Box

text: The studio version of "Heart-Shaped Box" was recorded in February 1993 by Steve Albini at Pachyderm Studiosin Cannon Falls, Minnesota, for the band's third studio album, "In Utero". Work on the song began on February 14, the second day of recording. According to Albini in a 2013 interview for the audio series "Spotify Landmark", "Heart-Shaped Box" was the only song recorded during the sessions that required "more than a couple of takes", along with eventual fourth single, "Pennyroyal Tea".


title: Heart-Shaped Box

text: In a 2013 "Rolling Stone" interview with Fricke, Grohl recalled that "everyone was concerned about the tempo of 'Heart-Shaped Box.' But click tracks were not cool. Kurt and Steve came up with this idea — we should use a strobe light [laughs]. We had this long conversation about how it won't dictate the tempo, just imply the tempo. ... I sat there for a take or two with this fucking strobe light in my face until I practically had a seizure."


title: Heart-Shaped Box

text: Despite his overall satisfaction with the recording, Novoselic was unhappy with the original effect used during the song's guitar solo, and recalled arguing with Cobain and Albini about it:


title: Heart-Shaped Box

text: These were the words I said: 'Why do you want to take such a beautiful song and throw this hideous abortion in the middle of it? And they're like, 'Well, I don't know, it sounds good.' They didn't have any arguments, because they were sabotaging it is what the were doing.


title: Heart-Shaped Box

text: The guitar effect was eventually removed when the song was remixed, along with second single "All Apologies", by Scott Litt at Bad Animal Studios in Seattle in May 1993, several months before the album's release. Cobain and Novoselic had agreed that the vocals and bass were too quiet in Albini's original mix of the album, and elected to have the two future singles remixed. Litt's remix of "Heart-Shaped Box" also featured newly-recorded vocal harmonies and acoustic guitar by Cobain.


title: Heart-Shaped Box

text: On September 25, 1993, the band performed "Heart-Shaped Box", along with "Rape Me", on "Saturday Night Live" at NBC Studios in New York City. It was their first show with second guitarist Pat Smear.


title: Heart-Shaped Box

text: "Heart-Shaped Box" was the final song played at Nirvana's last show, on March 1, 1994, at Terminal 1 of Munich-Riem Airport in Munich, Germany.


title: Heart-Shaped Box

text: "Heart-Shaped Box" is an alternative rock song that lasts for a duration of four minutes and thirty-nine seconds. According to the sheet music published at Musicnotes.com by BMG Rights Management, it is written in a 4/4 time signature, with a moderate tempo of 100 beats per minute. It is in the key of G minor, modulating to G dorian on the verses, while Kurt Cobain's vocal range spans one octave, from the low note of G to the high note of G.


title: Heart-Shaped Box

text: The song has a basic sequence of G–E–C–G–E–C in the verses and G–E–C during the chorus as its chord progression. Journalist Gillian Gaar described "Heart-Shaped Box" as "the Nirvana formula personified, with a restrained, descending riff played through the verse, building in intensity to the cascading passion of the chorus".


title: Heart-Shaped Box

text: In the 1993 Nirvana biography "", Cobain told Azerrad that "Heart-Shaped Box" was written about children with cancer. "Every time I see documentaries about little kids with cancer I just freak out", he explained. "It affects me on the highest emotional level, more than anything else on television." As Azerrad noted, however, the song's lyrics were more likely about Love. Charles R. Cross, author of the 2001 Cobain biography "Heavier Than Heaven", described the lyric, "I wish I could eat your cancer when you turn black" as "what has to be the most convoluted route any songwriter undertook in pop history to say 'I love you'". Garr wrote that "while the song does reference [cancer], the lyrics appear more to address the physical and emotional dependencies inherent in relationships."


title: Heart-Shaped Box

text: Cobain's unused liner notes for "In Utero", first described in "Heavier Than Heaven" and published in "Journals" the following year, featured an explanation for "Heart-Shaped Box" that "fell completely apart", according to Cross, "but touched on "The Wizard of Oz", "I Claudius", Leonardo da Vinci, male seahorses (who carry their young), racism in the Old West, and Camille Paglia".


title: Heart-Shaped Box

text: The song's title was inspired by the collection of heart-shaped candy boxes Love kept in the front room of the Fairfax apartment she and Cobain lived in. However, early versions of the song featured the word "coffin" rather than "box". According to Bailey, the song also had the working title "New Complaint". Cobain said that the chorus of "Hey / Wait/ I've got a new complaint" was an example of how he was perceived by the media.


title: Heart-Shaped Box

text: In 2012, Love wrote on Twitter that "Heart-Shaped Box" was about her vagina. Tweeting to the American musician Lana Del Rey, who had covered the song at a concert in Sydney, Australia, the previous week, Love wrote, "You do know the song is about my Vagina right? 'Throw down your umbilical noose so i can climb right back,' umm ... On top of which some of the lyrics about my vagina I contributed." The tweets were deleted shortly after.


title: Heart-Shaped Box

text: "Heart-Shaped Box" was released as "In Utero's" first commercial single on August 30, 1993, on CD, cassette tape, and 7-inch, and 12-inch vinyl record formats. The single was released in Europe only and peaked at number five on the UK Singles Chart. All copies of the single featured the Grohl-composed "Marigold" as a B-side, while 12-inch vinyl and CD editions also included the "In Utero" track, "Milk It".


title: Heart-Shaped Box

text: In the United States, DGC sent promo copies of the song to American college, modern rock, and album-oriented rock radio stations in early September. The label did not actively court Top 40 radio, with Geffen Records' head of marketing explaining that "Nirvana didn't sell nearly 5 million [records] because of a hit single. They sold that many albums because of who they are". However, the single was available in the US in limited numbers as an import release.


title: Heart-Shaped Box

text: "Heart-Shaped Box" entered the "Billboard" Modern Rock Tracks chart at number seven, and eventually peaked at number one on the chart. The song also reached number four on the Mainstream Rock Tracks chart.


title: Heart-Shaped Box

text: Reviewing "In Utero" for "Rolling Stone", Fricke called "Heart-Shaped Box" "the kind of song Stone Temple Pilots couldn't write even with detailed instructions", and cited it as evidence, along with "Dumb", that if Generation X "is ever going to have its own Lennon — someone who genuinely believes in rock & roll salvation but doesn't confuse mere catharsis with true deliverance — Cobain is damn near it". Phil Alexander of "Kerrang!" wrote that "on the current single Heart-Shaped Box, the sublime All Apologies ... and the convalescent croon of Penny Royal Tea, [Cobain] re-stakes his claim as one of his generation's most absorbing songsmiths." John Mulvey of the "NME" called the song "a strangulated, semi-f-ed-up anthem of sorts for a generation who fell in love to 'Teen Spirit' and are now as disturbed as Kurt by a growing sense of maturity".


title: Heart-Shaped Box

text: In his review of Nirvana's eponymous greatest hits album in 2002, Will Bryant of "Pitchfork" wrote, "I've always considered 'Heart-Shaped Box', with its elliptical guitar figure and explosive choruses, to be one of Cobain's most accomplished compositions. For all its heavy-handed symbolism, the song strikes deepest to Cobain's preoccupation with birth, the menstrual cycle, and female anatomy, wound tightly with primal tension in the verses and released with sublime catharsis in the choruses." Andrew Romano of "The Daily Beast" called it "as close as Cobain ever got to a perfect song", with "a perfect music video to match".


title: Heart-Shaped Box

text: In 1999, the song was voted number 10 in "Kerrang!" magazine's "100 Greatest Rock Tracks Ever!" In 2022, "Pitchfork" readers voted it the 30th best song of the 1990s.


title: Heart-Shaped Box

text: A second "Heart-Shaped Box" single was released in September 2013, to promote the 20th anniversary re-release of "In Utero". The three-track promo CD single was included with the first 2000 copies of the "Super Deluxe" edition of the re-issue, and featured Albini's original mix of the song and a remix prepared by Albini in 2013 as B-sides.


title: Heart-Shaped Box

text: The "Heart-Shaped Box" video was the only music video made for "In Utero", and the last video released by the band. Cobain had originally approached American filmmaker Kevin Kerslake, who had directed the band's last four music videos, for the songs "Come as You Are", "Lithium", "In Bloom", and "Sliver", to direct it. Five treatments were prepared by Kerslake between July 14 and August 12, and included scenes of Cobain kissing American author William S. Burroughs, whom Cobain had wanted in the video, and the band hanging by their necks from tree branches. However, no shoot arrangements were made, and by the end of August, the group had elected to work with Dutch photographer and video director Anton Corbijn instead.


title: Heart-Shaped Box

text: Corbjin believes he was chosen to work on the video on the recommendation of Love, and cited his connection to Echo & the Bunnymen, a rock band from Liverpool, England where Love briefly lived and whom Loved admired. According to Corbjin, Cobain had asked to be sent the music videos he had directed for Echo & the Bunnymen shortly before receiving a fax from Novoselic with drawings and ideas about a Nirvana video.


title: Heart-Shaped Box

text: As Corbjin recalled, Cobain's proposed treatment for the video was "incredibly precise. More precise than I've ever had for a video. I loved it, but initially I was a bit taken aback that somebody came up with so many ideas, because generally my videos are my own ideas ... But then I looked at it and I thought that actually it was pretty good. I was very amazed by somebody writing a song and having those ideas as precise as he did." According to Novoselic, Cobain's original treatment was two pages long, and typed up by him on his new laptop while Cobain dictated.


title: Heart-Shaped Box

text: The "Heart-Shaped Box" video was filmed on August 31 and September 1 at Raleigh Studios in Los Angeles. Cobain had requested the video be shot in Technicolor, but as Corbjin recalled, "somehow it was not possible; maybe the whole system had been sold to China or something." Instead, Corbjin and his producer came up with the idea to shoot the video in color, then convert it to black and white and have every frame hand-tinted. The process took weeks and led to the vivid brightness of the video's colors.


title: Heart-Shaped Box

text: In a 2013 interview with Andrew Romano of "Daily Beast", Corbjin recalled "a really eerie moment" where the actor playing the video's elderly man, "fell down while walking, on the set. He had some kind of bowel cancer, which he didn't know. Something broke open. There was blood everywhere. We had to get the ambulance, and he had to go to the hospital straight off. It was really severe." According to Corbjin, the old man was the most difficult to cast because finding "an old man who looked like an old man in L.A. was not so easy ... In the end we found this fantastic man who had a jazz club or a jazz station on the radio, something like that." Cobain had originally wanted Burroughs to play the role of the elderly man, but Burroughs declined, although they later met and collaborated on the spoken word piece, "The 'Priest' They Called Him".


title: Heart-Shaped Box

text: According to Corbjin, the two other characters in the video, the overweight woman and the young girl, were easier to cast, "although it was difficult sometimes I think for the child to act because there was blood coming out of her blouse at some point."


title: Heart-Shaped Box

text: Corbjin remembered Cobain as "very alert. Smart boy. Very intelligent. He did everything I asked him to do." According to Cali DeWitt, who briefly worked as the Cobains' nanny, Cobain and Love had fought on set, with Cobain putting out a cigarette on his forehead in retaliation to Love's repeated reminders that this was an "important video" and that he needed to "look good". As DeWitt told author Everett True, "if you watch the video, there's a lot of make-up on his forehead because it was a really bad scab, big and in the center. In the close-ups, there's a strip of hair that never seems to move from the middle of his forehead. They had to paste some hair over it."


title: Heart-Shaped Box

text: The "Heart-Shaped Box" video begins and ends with the band watching the elderly man on a hospital bed being administered medication through an IV drip. Most of the video takes place in what Garr called "a surreal 'outdoor' setting; a field of bright red poppies with a large cross standing in the middle, adjacent to a wood of creepy old trees (both elements in key scenes in "The Wizard of Oz")." During the song's first verse, the elderly man, wearing a Santa Claus hat and loincloth, climbs onto the cross, which is covered by crows. The second verse introduces the young girl in what appears to be a Ku Klux Klan robe and peaked hat reaching for human fetuses in a tree, and the overweight woman in a human organ body suit with angel wings affixed to her back, similar to the winged anatomical model on the cover of "In Utero". At one point during the second verse, the girl attempts to chase the three crows from the cross while the old man, now wearing a mitre, is tied to it.


title: Heart-Shaped Box

text: During the song's guitar solo, the girl's hat is blown off her head and falls into a puddle in the poppy field, where it turns black. A brief shot during the solo reveals a fetus in the IV drip. The third verse features Cobain singing directly into the camera without his guitar, while Grohl and Novoselic stand behind him in a room with stars on the walls. The room is actually a box designed by Corbjin with a large heart on top, but the band initially disapproved of the way it looked, and Novoselic asked that it not be filmed from a distance. A brief shot of the box, with the heart above, appears at the start of the final chorus.


title: Heart-Shaped Box

text: The band is featured performing with their instruments during the first two choruses, and without their instruments in what appears to be the same star-decorated box, zoomed out to reveal a bed, nightstand with a lamp on it, and rocking chair, during the final chorus. Both the sky and the walls of the box are blue during the quieter verses, and red during their heavier choruses and the solo. During the video Cobain repeatedly charges the camera, and his face moves in and out of focus.


title: Heart-Shaped Box

text: As Garr pointed out, the Ku Klux Klan imagery recalled Cobain's original idea for the "In Bloom" video, which was to feature a young girl born into the KKK who eventually rejects her parents as "evil".


title: Heart-Shaped Box

text: In his interview with "The Daily Beast", Corbjin estimated that he came up with "maybe 15 percent" of the video's ideas, with the rest being Cobain's. "The big woman, for instance, was my idea", he explained. "For me that was Mother Earth. There were a few other things, like the mechanical birds and the fake butterflies and stuff." Corbjin also said the idea to have a crow lip sync parts of the first chorus was his, calling it an example of his "Dutch humor". According to Garr, Cobain had originally wanted to use real animals. Corbijn also added the ladder that the elderly man used to climb up the cross, the box that the band performed in, and the road through the poppy field.


title: Heart-Shaped Box

text: While editing the video, Corbijn was visited by Cobain and Love, and urged by the latter to use the extended shot of Cobain singing the third verse. As Corbijn later explained, "Kurt looked amazing, and Courtney wanted to keep that shot till the very end. It was a very long take, but she persuaded Kurt to go with that." However, Corbjin then edited a different version which replaced this shot with additional footage of the young girl and woman, as well as scenes of Cobain lying in the poppy field, covered in mist.


title: Heart-Shaped Box

text: The director's cut would follow shortly after. According to Corbijn, "They used Courtney's edit initially, and then they put mine out as well. And my edit became the video in the end." This version also appeared on the DVD "" in 2005. Both the "Original" and "Director's Cut" versions of the video appeared as bonus footage in 2013 on the "Live and Loud" DVD, which was issued as a standalone release as well as part of the 20th anniversary "In Utero" "Super Deluxe" package.


title: Heart-Shaped Box

text: On March 9, 1994, Kerslake sued Nirvana over the "Heart-Shaped Box" video, alleging copyright infringement. According to "Nirvana: A Day by Day Eyewitness Chronicle" by Carrie Borzillo, Kerslake discovered that he would no longer be directing the video on August 28, 1993, and sent a letter to Corbjin to ensure that none of the images in his five treatments would appear in the final video. Kerslake's lawsuit stated that both Cobain and Nirvana's record company had approved Kerslake's third treatment for the video, with Cobain describing it as "Perfect".


title: Heart-Shaped Box

text: On September 1, 1993, Cobain called Kerslake and invited him to the 1993 MTV Video Music Awards the following day, where Kerslake's video for "In Bloom" was nominated for Best Alternative Video. Kerslake accepted the invitation, and joined the band onstage after they won the award. Soon after Kerslake wrote Cobain a letter, addressed to "kurdt", thanking him for the invitation but expressing his unhappiness over reports that his alleged ideas had been used in Corbijn's shoot. Cobain did not respond, but a meeting was set up between attorneys and the record label to discuss the video.


title: Heart-Shaped Box

text: The case did not affect the video's distribution, and was ultimately settled out of court. In 2019, Cobain's former manager Danny Goldberg discussed the lawsuit in his Cobain biography "Serving the Servant", writing that "after the video was aired, Kerslake sued Kurt, claiming, absurdly in my opinion, that he was responsible for the idea of 'Heart Shaped Box.' Kurt was deeply offended. After he died the remaining members of Nirvana settled with Kerslake."


title: Heart-Shaped Box

text: The "Heart-Shaped Box" music video was the number one most played music video on MTV in the US as recorded by "Billboard" magazine on November 20, 1993. It was also number one on Canada's "MuchMusic Countdown" for two weeks in November 1993. The video won two MTV Video Music Awards in 1994, for Best Alternative Video and for Best Art Direction. Since the ceremony was held after Cobain's suicide in April 1994, the awards were accepted by surviving bandmembers Grohl, Novoselic and Smear. "Heart-Shaped Box" also topped the music video category in the 1993 "Village Voice" Pazz & Jop critics' poll.


title: Heart-Shaped Box

text: Cobain was pleased with the video, saying that it came "closer to what I've seen in my mind, to what I've envisioned, than any other video." Novoselic agreed that "Anton did a beautiful job on that video." Cobain later asked Corbijn to direct a video for "Pennyroyal Tea", but Corbijn refused, saying that he felt "the 'Heart-Shaped Box' video was so good, I could never make a video that was as good or better." According to Corbijn, Cobain responded by telling him he would "never make another video if you don't do it. And he didn't."


title: Heart-Shaped Box

text: In 2011, "NME" ranked the song's music video at number 22 on its of the "100 Greatest Music Videos". That same year, "Time" magazine ranked "Heart-Shaped Box" at number 10 on its list of "The 30 All-Time Best Music Videos", where it was described as "beautiful and ... terrible".


title: Heart-Shaped Box

text: In February 2016, Nirvana drummer Dave Grohl reunited with actress Kelsey Rohr, who played the girl in the "Heart-Shaped Box" music video 23 years earlier, at the age of six. Rohr stated that "Today reminded me that I peaked at 6 years old but I was the most badass kid on the playground. Today was the absolute coolest. Or in Dave's words seeing each other today was a 'historic moment'! What a legend!"


title: Iron Ring

text: The Iron Ring is a ring worn by many Canadian-trained engineers, as a symbol and reminder of the obligations and ethics associated with their profession. The ring is presented to engineering graduates in a private ceremony known as the Ritual of the Calling of an Engineer. The concept of the ritual and the rings originated from H. E. T. Haultain in 1922, with assistance from Rudyard Kipling, who crafted the ritual at Haultain's request.


title: Iron Ring

text: The ring symbolizes the pride engineers have in their profession, while simultaneously reminding them of their humility. The ring serves as a reminder to the engineer and others of the engineer's obligation to live by a high standard of professional conduct. However, the ring is not a symbol of qualification as an engineer; engineering qualifications are determined by provincial and territorial licensing bodies.


title: Iron Ring

text: The Iron Ring originated from H. E. T. Haultain, a mining engineering professor at the University of Toronto. On 25 January 1922, Haultain proposed that engineers take an ethical oath. From 1922 to 1925, the structure that would administer the oaths, or "callings," was organized. Known as the Corporation of the Seven Wardens, the organization was named in honour of the first seven presidents of the Canadian Society for Civil Engineers.


title: Iron Ring

text: The text of the calling was written by English poet Rudyard Kipling, at the request of Haultain. Haultain asked Kipling to author the calling partly because of Kipling's poem "The Sons of Martha", which paid tribute to an engineer. Kipling's calling sought to emphasize the responsibilities of an engineer, affirming their responsibility to "not henceforward suffer or pass, or be privy to the passing of, Bad Workmanship or Faulty Material." Kipling's calling also affirmed that an engineer must not compromise their work, in spite of external pressures; and was a call for professional unity between engineers.


title: Iron Ring

text: On the 25 April 1925, Haultain administered the first Ritual of the Calling of an Engineer in the University Club in Montreal. A second ritual was administered in Toronto on 1 May 1925. Iron Rings are awarded to engineers during the ritual, in reference to "[their] Honour and Cold Iron," a phrase used in the calling. A myth persists that the initial batch of Iron Rings was made from the beams of the first Quebec Bridge, a bridge that collapsed during construction in 1907 due to poor planning and design by the overseeing engineers. However, the initial batch of Iron Rings were actually produced by World War I veterans at Christie Street Military Hospital in Toronto.


title: Iron Ring

text: The Wardens originally considered expanding the ritual to the United States. However, they later ruled against expansion, fearing a loss of control over the ritual. Efforts to secure control of the ritual were made in 1935, when the obligation was copyrighted, and the Corporation of the Seven Wardens formally incorporated in 1938.


title: Iron Ring

text: The Iron Ring is made from either iron or stainless steel. It is intended to be worn on the little finger of the working (dominant) hand. There, the facets act as a sharp reminder of one's obligation while the engineer works, because it could drag on the writing surface while the engineer is drawing or writing. This is particularly true of recently obligated engineers, whose rings bear sharp, unworn, facets. Protocol dictates that the rings should be returned by retired engineers or by the families of deceased engineers. Some camps offer previously obligated or "experienced" rings, but they are now rare due to medical and practical complications.


title: Iron Ring

text: The Iron Ring is small and understated, and was designed as a constant reminder, rather than a piece of jewelry. The Rings were originally hammered manually with a rough outer surface. The modern machined ring shares a similar design as a reminder of the manual process. Twelve half-circle facets are carved into the top and bottom of the outer surface, with the two sets of facets offset rotationally by fifteen degrees.


title: Iron Ring

text: The Ritual of the Calling of an Engineer is the ceremony where graduating engineers participate in the "calling," and receive their Iron Rings. The ritual is intended to invoke the moral, ethical and professional commitment of an engineer, with the ring provided as a reminder of this obligation. The ceremonies are private affairs with no publicity. Invitations to attend are extended to local engineering alumni and professional engineers by those who are scheduled to participate. Some universities extend an invitation to witness the ceremony to anyone in the engineering profession; however, engineers that have not undergone the ritual are not permitted to participate in it. Some graduating engineers choose to receive a ring passed on from a relative or mentor, giving the ceremony a personal touch.


title: Iron Ring

text: The rings are given during the ceremony held at individual universities, each assigned one of 28 camps of the Corporation of the Seven Wardens. Because iron deteriorates turning the finger black and making the ring fit more loosely, all camps except Toronto have stopped conferring rings made of iron and have switched to stainless steel rings. At the Toronto camp, the individual ceremonies held at the University of Toronto, Toronto Metropolitan University, the University of Ontario Institute of Technology, and York University continue to provide recipients with a choice of rings made of iron or stainless steel.


title: Iron Ring

text: Based upon the success of the Iron Ring in Canada, a similar program was created in the United States, where the Order of the Engineer was founded in 1970. The organization conducts similar ring ceremonies at a number of U.S. colleges, in which the recipient signs an "Obligation of the Engineer" and receives a stainless steel Engineer's Ring (which, unlike the Canadian Iron Ring, can be smooth and not faceted). The first such ceremony occurred on June 4, 1970, at the Cleveland State University under the supervision of Lloyd Chancy.


title: Iron Ring

text: The NTH Ring is a ring awarded by the Norwegian University of Science and Technology, to graduates of their Masters of Science in architecture or engineering programs.


title: Andrew Francis

text: Andrew Michael Scott Francis is a Canadian actor. He has appeared in many television shows and films including "" as Shining Armor, "MegaMan NT Warrior" as MegaMan.EXE, "Hero 108" as Lin Chung, "Lamb Chop's Play Along", "Sushi Pack", "", "Dark Angel", "Twilight Zone", "The L Word", "Smallville", "Kyle XY", and "Chesapeake Shores". He has also appeared in theatrical releases such as "Knockaround Guys", "Agent Cody Banks", "Final Destination 3", and "The Invisible".


title: Andrew Francis

text: Andrew has also been voice acting since the age of 9, starring in over 20 animated series, including many anime series, such as: "", "" as Robert 'Bobby' Drake/Iceman, "Johnny Test" as Gil Nexdor, "Action Man", "Dragon Booster" as Phistus, "" as Vert Wheeler, "Voltron Force" as Lance, "Max Steel" as Max McGrath, Slugterra as Kord Zane, "" as Morro, and his main role as Cole in Season 15: Crystallized, "Monster Rancher", "Vision of Escaflowne", and "Dinotrux" as Ty Rux.


title: William Desmond Taylor

text: William Desmond Taylor (born William Cunningham Deane-Tanner, 26 April 1872 – 1 February 1922) was an Anglo-Irish-American film director and actor. A popular figure in the growing Hollywood motion picture colony of the 1910s and early 1920s, Taylor directed fifty-nine silent films between 1914 and 1922 and acted in twenty-seven between 1913 and 1915.


title: William Desmond Taylor

text: Taylor's murder on 1 February 1922, along with other Hollywood scandals such as the Roscoe Arbuckle trial, led to a frenzy of sensationalist and often fabricated newspaper reports. The murder remains an official cold case.


title: William Desmond Taylor

text: William Cunningham Deane-Tanner was born into the Anglo-Irish gentry on 26 April 1872, at Evington House, Carlow, County Carlow, Ireland, one of five children of a retired British Army officer, Major Thomas Kearns Deane-Tanner of the Carlow Rifles, 8th Battalion, King's Royal Rifle Corps, and his wife, Jane O'Brien. Taylor's siblings were Denis Gage Deane-Tanner, Ellen "Nell" Deane-Tanner Faudel-Phillips, Lizzie "Daisy" Deane-Tanner, and Oswald Kearns Deane-Tanner. One of his uncles was Charles Kearns Deane Tanner, the Irish Parliamentary Party Member of Parliament for Mid Cork.


title: William Desmond Taylor

text: From 1885 to 1887, Taylor attended Marlborough College in England. In 1891, he left Ireland for a dude ranch in Kansas. There, Taylor became reacquainted with acting (his first experiences being at school) and eventually moved to New York City.


title: William Desmond Taylor

text: While in New York, Taylor courted Ethel May Hamilton, an actress who had appeared in the stage musical "Florodora" under the name Ethel May Harrison. Hamilton's father was a broker and an investor in the English antiques store on Fifth Avenue, the Antique Shoppe, which eventually employed Taylor. The couple married in an Episcopal ceremony on 7 December 1901 at the Little Church Around the Corner, and had a daughter, Ethel Daisy, in 1902 or 1903.


title: William Desmond Taylor

text: Taylor and his family were well known in New York society and were members of several clubs. He was also a heavy drinker, possibly suffered from depression, and was known to carry on affairs with women. Taylor suddenly disappeared on 23 October 1908, deserting his wife and daughter. After his disappearance, friends said he had previously suffered "mental lapses", and his family thought initially he had wandered off during an episode of amnesia. Taylor's wife obtained a state decree of divorce in 1912.


title: William Desmond Taylor

text: Little is known of the years immediately following Taylor's disappearance. He traveled through Canada, Alaska and the northwestern U.S., mining gold and working with various acting troupes. Eventually, he switched from acting to producing. By the time he arrived in San Francisco, California around 1912, he had changed his name to William Desmond Taylor; in San Francisco, some New York acquaintances met him, and provided him with some money to re-establish himself in Los Angeles.


title: William Desmond Taylor

text: Taylor's initial film acting was in 1913 for the New York Motion Picture Company, releasing under the brands of Bronco and Kay-Bee. His earliest known screen appearance was in "The Counterfeiter". He then acted for Vitagraph Studios, including four appearances opposite Margaret "Gibby" Gibson, and Balboa Amusement Producing Company. At Balboa, Taylor met actress Neva Gerber with whom he became engaged until 1919. Gerber later recalled, "He was the soul of honour, a man of personal culture, education, and refinement. I have never known a finer or better man."


title: William Desmond Taylor

text: Taylor began directing films in 1914, beginning with "The Judge's Wife" for Balboa. After leaving Balboa he directed two films at Favorite Players Film Co. and then American Film Manufacturing Company, where he directed most of the 30-episode serial "The Diamond from the Sky". In October 1915 he joined Pallas Pictures. A year later Pallas became a subsidiary of Famous Players-Lasky. Except for a month working at Fox Film Corporation in 1917, all of Taylor's subsequent films were directed for Famous Players-Lasky or its subsidiary companies.


title: William Desmond Taylor

text: Around 1915, Taylor made contact with a sister-in-law, Ada Brennan Deane-Tanner, wife of Taylor's younger brother Denis. A former British Army lieutenant and manager of a New York antiques business (separate from Hamilton's), Denis had also abandoned his wife and children, disappearing in 1912. Ada and her daughters moved to Monrovia, California, where Ada could be treated at the Pottinger Sanitorium for tuberculosis. Ada's sister, Lillian Pomeroy, was married to the sanitorium's physician in charge, Dr. John L. Pomeroy. This would become public after Taylor's murder, and the press descended upon the little town of Monrovia.


title: William Desmond Taylor

text: Towards the end of World War I, in July 1918, Taylor enlisted in the Canadian Expeditionary Force as a private. After training for four and a half months at Fort Edward, Nova Scotia, Taylor sailed from Halifax on a troop transport carrying 500 Canadian soldiers. They arrived at Hounslow Barracks, London on 2 December 1918.


title: William Desmond Taylor

text: Taylor was ultimately assigned to the Royal Army Service Corps of the Expeditionary Forces Canteen Service, stationed at Dunkirk, and promoted to the temporary grade of lieutenant on 15 January 1919. At the end of April 1919, Taylor reached his final billet at Bergues, France, as Major Taylor, Company D, Royal Fusiliers. Upon returning to Los Angeles on 14 May 1919, Taylor was honoured by the Motion Picture Directors Association with a formal banquet at the Los Angeles Athletic Club.


title: William Desmond Taylor

text: After returning from military service, Taylor went on to direct some of the most popular stars of the era, including Mary Pickford, Wallace Reid, Dustin Farnum and his protégée, Mary Miles Minter, who starred in the 1919 version of "Anne of Green Gables". By this time, Taylor's ex-wife and daughter were aware that he was working in Hollywood. In 1918, while watching the film "Captain Alvarez", they saw Taylor appear on the screen. Ethel responded, "That's your father!" In response, Ethel Daisy wrote Taylor in care of the studio. In 1921, Taylor visited his ex-wife and daughter in New York City and made Ethel Daisy his legal heir.


title: William Desmond Taylor

text: At 7:30 am on the morning of Thursday, 2 February 1922, Taylor's body was found inside his bungalow at the Alvarado Court Apartments, 404-B South Alvarado Street, in Westlake, Los Angeles, a trendy and affluent neighborhood. A crowd gathered inside, and someone identifying himself as a doctor stepped forward, made a cursory examination of the body, and declared Taylor had died of a stomach hemorrhage. The doctor was never seen again; when doubts later arose, the body was rolled over by forensic investigators revealing that the 49-year-old film director had been shot at least once in the back with what appeared to have been a small-caliber pistol, which was not found at the scene.


title: William Desmond Taylor

text: Taylor's funeral took place on 7 February 1922, in St. Paul's Cathedral. After an Episcopal ceremony, he was interred in a mausoleum at Hollywood Cemetery, now named Hollywood Forever Cemetery, on Santa Monica Boulevard. The inscription on his crypt reads, "In Memory of William C. Deane-Tanner, Beloved Father of Ethel Deane-Tanner. Died 1 February 1922."


title: William Desmond Taylor

text: In Taylor's pockets, investigators found a wallet holding US$78 in cash (modern day $), a silver cigarette case, a Waltham pocket watch, a pen knife, and a locket bearing a photograph of actress Mabel Normand. A two-carat diamond ring was on his finger. With the evidence of the money and valuables on Taylor's body, robbery seemingly was not the motive for the killing; however, a large but undetermined sum of cash that Taylor had shown to his accountant the day before was missing and apparently never accounted for. After some investigation, the time of Taylor's death was set at 7:50 pm on the evening of 1 February 1922.


title: William Desmond Taylor

text: While being interviewed by the police five days after the director's body was found, Minter said that following the murder, her friend, director and actor Marshall Neilan, had told her that Taylor had made several highly "delusional" statements about some of his social acquaintances (including her) during the weeks before his death. She also said that Neilan thought Taylor had recently become "insane".


title: William Desmond Taylor

text: In the midst of a media circus caused by the case, Los Angeles Undersheriff Eugene Biscailuz warned "Chicago Tribune" reporter Eddie Doherty, "The industry has been hurt. Stars have been ruined. Stockholders have lost millions of dollars. A lot of people are out of jobs and incensed enough to take a shot at you." According to Robert Giroux, "The studios seemed to be fearful that if certain aspects of the case were exposed, it would exacerbate their problems." King Vidor said of the case in 1968: "Last year I interviewed a Los Angeles police detective, William Michael Cahill Sr., now retired, who had been assigned to the case immediately after the murder. He told me, 'We were doing all right and then, before a week was out, we got the word to lay off.'"


title: William Desmond Taylor

text: Edward F. Sands had prior convictions for embezzlement, forgery, and serial desertion from the U.S. military. Born in Ohio, he had multiple aliases and spoke with an affected cockney accent. Sands had worked as Taylor's valet and cook until seven months before the murder. While Taylor was in Europe the summer before in 1921, Sands had forged his name on cheques and wrecked his car. Later, Sands burgled Taylor's bungalow, leaving footprints on the film director's bed. Following the murder, Sands was never seen or heard from again.


title: William Desmond Taylor

text: Henry Peavey, who replaced Sands as valet, was the person who found Taylor's body. Newspapers noted that Peavey wore flashy golf costumes, but did not own any golf clubs. Three days before Taylor's murder, Peavey had been arrested for "social vagrancy" and charged with being "lewd and dissolute".


title: William Desmond Taylor

text: Mabel Normand was a popular comedic actress and frequent costar with Charlie Chaplin and Roscoe Arbuckle. According to author Robert Giroux, Taylor was deeply in love with Normand and she had originally approached him for help to cure her cocaine dependency. Based upon Normand's subsequent statements to police investigators, her repeated relapses were devastating for Taylor. According to Giroux, Taylor met with federal prosecutors shortly before his death and offered to testify against Normand's cocaine suppliers. Giroux expresses a belief that these suppliers learned of the meeting and hired a contract killer to assassinate the director. According to Giroux, Normand suspected the reasons for her lover's murder, but did not know the identity of the triggerman.


title: William Desmond Taylor

text: On the night of the murder, Normand claimed to have left Taylor's bungalow at 7:45 pm in a happy mood, carrying a book he had lent her. She and Taylor blew kisses to each other as her limousine drove her away. Normand was the last person known to have seen Taylor alive, and the Los Angeles Police Department (LAPD) subjected her to a grueling interrogation, but ruled her out as a suspect. Most subsequent writers have done the same. However, Normand's career had already slowed, and her reputation was tarnished by revelations of her addiction, which was seen as a moral failing. According to George Hopkins, who sat next to her at Taylor's funeral, Normand wept inconsolably throughout the ceremony.


title: William Desmond Taylor

text: Ultimately, Normand continued to make films throughout the 1920s. She died of tuberculosis eight years later on 23 February 1930. According to her friend and confidante Julia Brew, Normand asked her a few days before she died: "Julia, do you think they'll ever find out who killed Bill Taylor?"


title: William Desmond Taylor

text: Faith Cole MacLean, the wife of actor Douglas MacLean and neighbor of Taylor's, is widely believed to have seen Taylor's killer. The couple was startled by a loud noise at 8 pm. MacLean opened her front door and saw someone emerging from the front door of Taylor's home who she said was dressed "like my idea of a motion picture burglar". She recalled this person paused for a moment before turning and walking back through the door, as if having forgotten something, then re-emerged seconds later and flashed a smile at her before running off and disappearing between the buildings. MacLean thought that the loud noise she had heard was a car back-fire, not a gunshot. She also told police interviewers this person looked "funny" (like movie actors in white-faced makeup) and speculated that it may have been a woman disguised as a man due to the person's height and build.


title: William Desmond Taylor

text: Mary Miles Minter was a former child star and teen screen idol whose career had been guided by Taylor. Minter, who had grown up without a father, was only three years older than the daughter Taylor had abandoned in New York. Love letters from Minter were found in Taylor's bungalow. Based upon these, the reporters alleged that a sexual relationship between the 49-year-old Taylor and 19-year-old Minter had started when she was 17. Giroux and Vidor, however, disputed this allegation. Citing Minter's own statements, both believed that her love for Taylor was unrequited. Taylor had often declined to see Minter and had described himself as too old for her.


title: William Desmond Taylor

text: However, facsimiles of Minter's passionate letters to Taylor were printed in newspapers, forever shattering her screen image as a modest and wholesome young girl. She was vilified in the press. Minter made four more films for Paramount Pictures, and when the studio failed to renew her contract, she received offers from many other producers. Never comfortable as an actress, Minter declined them all. In 1957, she married Brandon O. Hildebrandt, a Danish-American businessman. She died in Santa Monica, California, on 4 August 1984.


title: William Desmond Taylor

text: Charlotte Shelby was Minter's mother. Like many stage mothers before and since, she has been described as manipulative and consumed by wanton greed over her daughter's career. Minter and her mother were bitterly divided by financial disputes and lawsuits for a time, but they later reconciled. Shelby's initial statements to police about the murder are still characterized as evasive and "obviously filled with lies" about both her daughter's relationship with Taylor and "other matters". Perhaps the most compelling bit of circumstantial evidence was that Shelby allegedly owned a rare .38 caliber pistol and some unusual bullets which were very similar to the kind which had killed Taylor. After this information became public, she reportedly threw the pistol into a Louisiana bayou.


title: William Desmond Taylor

text: Shelby knew the Los Angeles district attorney socially and spent years outside the United States, in an effort to avoid both official inquiries by his successor and press coverage related to the murder. In 1938, her other daughter, actress Margaret Shelby (who was by then suffering from both clinical depression and alcoholism), openly accused her mother of the murder. Shelby was widely suspected of the crime and was a favorite suspect of many writers. For example, Adela Rogers St. Johns speculated that Shelby was torn by feelings of maternal protection for her daughter and her own attraction to Taylor.


title: William Desmond Taylor

text: Although Shelby feared being tried for the murder, at least two Los Angeles County district attorneys publicly declined to prosecute her. Almost twenty years after the murder, Los Angeles district attorney Buron Fitts concluded evidence was insufficient for an indictment of Shelby and recommended that the remaining evidence and case files be retained on a permanent basis (all of these materials subsequently disappeared). Shelby died in 1957. Fitts, in ill health, died by suicide in 1973.


title: William Desmond Taylor

text: Margaret Gibson was a film actress who had worked with Taylor when he first came to Hollywood. In 1917, she was indicted, tried, and acquitted on charges equivalent to prostitution (also with allegations of opium dealing), after which she changed her professional name to Patricia Palmer. In 1923, Gibson was arrested and jailed on extortion charges, which were later dropped. She was 27 years old and in Los Angeles at the time of Taylor's murder. No record of her name was ever mentioned in connection with the investigation. Soon after the murder, Gibson got work in a number of films produced by Famous Players-Lasky, Taylor's studio at the time of his death. Shortly before she died in 1964, Gibson reportedly confessed to murdering Taylor.


title: William Desmond Taylor

text: Through a combination of poor crime scene management and apparent corruption, much physical evidence was immediately lost and the rest vanished over the years, although copies of a few documents from the police files were made public in 2007. Various theories were put forward after the murder and in the years since, and many books were published, claiming to have identified the murderer, but no conclusive evidence has ever been uncovered in linking the crime to any particular individual.


title: William Desmond Taylor

text: Because so many of the celebrities mentioned in the Taylor case were familiar to the public through their movie performances, this was the first American murder in which so many people felt such a personal interest. That public interest in the case resulted in stories about the Taylor murder selling more newspapers in the United States than were ever sold by any item of news, before or after.


title: William Desmond Taylor

text: Anti-Hollywood sentiment peaked in the weeks following the Taylor murder, with editorials comparing Hollywood to "all the licentiousness that marked the Roman times of Caligula, Claudius, and Nero," "our American Sodom and Gomorrah," and sounding the call to "Destroy Hollywood!" Other editorials characterized Taylor as a crafty, cultured villain who "got what was coming to him," and urging, "Every weapon available should be used by all the forces of law to defeat the conspiracy to cover up the Taylor case."


title: William Desmond Taylor

text: A spate of newspaper-driven Hollywood scandals during the early 1920s included Taylor's murder, the Roscoe Arbuckle trial, the death of Olive Thomas, the mysterious death of Thomas H. Ince, and the drug- or alcohol-related deaths of Wallace Reid, Barbara La Marr, and Jeanne Eagels, all of which prompted Hollywood studios to begin writing contracts with "morality clauses" or "moral turpitude clauses", allowing the dismissal of contractees who breached them.


title: William Desmond Taylor

text: Spotify featured a 3-episode story about his murder based on Margaret Gibson’s reported confession. The podcast series is called Deathbed Confessions.


title: Death Angel

text: Death Angel is an American thrash metal band from Daly City, California, initially active from 1982 to 1991 and again since 2001. Death Angel has released nine studio albums, two demo tapes, one box set and three live albums. The band has gone through several line-up changes, leaving guitarist Rob Cavestany as the only constant member; he and vocalist Mark Osegueda (who joined the group in 1984) are the only members of Death Angel to appear on all of their studio albums.