title: 1980 Formula One season

text: The German Grand Prix at the ultra-fast Hockenheimring was marred by the fatal pre-race testing accident of Patrick Depailler at the ultra-high speed, top gear, flat out Ost-Kurve 9 days before the race. Suspension failure on his Alfa caused him to crash massively after his car overturned and vaulted the barriers, causing fatal head injuries. Alan Jones took pole from Renault driver Jabouille by mere hundredths of a second, and he led the race until he had to come in with a puncture on the straight before the stadium. Laffite and Reutemann passed Jones, who finished 3rd. Laffite went on to win for Ligier, followed by the Williams duo of Reutemann and Jones.


title: 1980 Formula One season

text: The European high-speed circuit tour kept coming, and the fastest circuit of the season – the spectacular Österreichring in the Styrian mountains enabled Jabouille to win by mere seconds from Alan Jones. Renault driver Jabouille, who had retired from every race he had participated in so far in the season, finally finished a race. His development work with Renault over the past 4 seasons gave him his 2nd and last F1 victory of his career.


title: 1980 Formula One season

text: The beach-side Zandvoort circuit near Amsterdam, modified from the previous year saw Brazilian Nelson Piquet win from Frenchmen Arnoux and Laffite. The Renaults dominated qualifying, although Jabouille retired and Jones went out after accident damage.


title: 1980 Formula One season

text: The European tour concluded with the Italian Grand Prix being held at the Autodromo Dino Ferrari near the town of Imola, rather than Monza. The Dino Ferrari circuit, located near the Ferrari factory and just outside Bologna had signed a deal to alternate the Italian GP with Monza, on the condition Monza improve its track safety and facilities. Although the Monza track owners had already made safety upgrades a year before, the deal had been signed before Monza made changes; so for the first time since 1948 the Italian GP was not held at Monza. The Renaults dominated qualifying at this fast Italian circuit, although they fell out with mechanical problems; and Piquet won yet again and overtook Jones in the championship, who finished 2nd in front of his teammate Carlos Reutemann.


title: 1980 Formula One season

text: The final leg of the 1980 Formula One season was a 2-part tour in North America, starting in Canada, at the Ile-Notre Dame circuit in Montreal. This race had to be restarted after a multiple pile-up involving Piquet and Jones at the start, when Jones shut the door at the very first corner after the start. Piquet jumped into the spare car, which had a short-lasting qualifying Ford/Cosworth engine in it – and although Piquet was clearly faster than anyone else, the engine in his Brabham blew up early on, and Jones won the race, which effectively gave the gritty Australian his only ever Formula One Drivers' Championship, and Williams's first ever Constructors' Championship. Unfortunately, Jabouille's weekend was much worse than Piquet's: he crashed head on into a tire-wall and broke both his legs.


title: 1980 Formula One season

text: The other half of the North American visit and the last round of the 1980 Formula One season was the second round in the United States at the fast, dauntingly challenging Watkins Glen circuit in New York State, four hours from New York City and only 5 hours from Montreal. This race had been in doubt for almost the whole season, but on this quick, bumpy, demanding and elevated circuit located in the rolling vineyard hills above Seneca Lake, it did go ahead after a loan was given by FOCA to the organizers. French rising star Alain Prost crashed heavily on Saturday morning practice due to suspension failure at the very fast left-handed Turn 10, the second-to-last corner on the track. Prost received a concussion after hitting his head on his car's steering wheel; he had to miss the race but was at the circuit on race day; he felt he could not trust the car's mechanical strength after a season's worth of component failures on his car, which often led to accidents; this happened to Prost a week earlier in Montreal. Bruno Giacomelli took pole in his Alfa, the first time an Alfa Romeo had been on pole since 1951. Giacomelli made a perfect start and led for most of this exciting race up until Lap 32, when the electrics in his Alfa failed in the Boot section of the course. Jones, however, produced a storming drive, when he went off at the first corner at the start and dropped to 16th; he stormed through and took 2nd from his Argentine teammate Carlos Reutemann, and then inherited the lead from Giacomelli after the Italian retired. The Australian Jones won his 5th race of the year (6 if Spain is counted) ahead of Reutemann and Didier Pironi in a Ligier. 1978 champion Mario Andretti scored his only point of the 1980 season at Watkins Glen, close to his hometown in Nazareth, Pennsylvania. Unfortunately, this was to be the last championship Formula One race at the rather isolated Watkins Glen circuit. The corporation running the circuit was heavily in debt and went bankrupt after it could not meet Bernie Ecclestone and FOCA's increased demands, and the circuit was struck from the 1981 season calendar in May of that year and although there were other Grands Prix that would be run in the United States during the 1980s aside from Long Beach, the United States Grand Prix would not be run again until 1989 on a street circuit in Phoenix, Arizona- and not one of those venues saw the success and longevity that this event had at Watkins Glen.


title: 1980 Formula One season

text: A third American race, the Caesars Palace Grand Prix in Las Vegas was supposed to be the final event of the season 4 weeks after Watkins Glen but this event was cancelled.


title: 1980 Formula One season

text: Points towards the 1980 World Championship of Drivers were awarded on a 9–6–4–3–2–1 basis for the first six positions in each race. Only the best five results from the first seven races and the best five results from the remaining seven races could be retained by each driver.


title: 1980 Formula One season

text: Points for the 1980 International Cup for F1 Constructors were awarded on a 9–6–4–3–2–1 basis for the first six positions in each race. All points received by a constructor were retained towards the final total.


title: Sahrawi people

text: The Sahrawi, or Saharawi people ( ""; ), are an ethnic group and nation native to the western part of the Sahara desert, which includes the Western Sahara, southern Morocco, much of Mauritania, and along the southwestern border of Algeria. They are of mixed Berber, Arab and Black African descent.


title: Sahrawi people

text: As with most peoples living in the Sahara, the Sahrawi culture is a mix of Arab and indigenous African elements. The modern Sahrawi culture consists of a Berber core and considerable Arab influences. Sahrawis are composed of many tribes and are largely speakers of the Hassaniya dialect of Arabic.


title: Sahrawi people

text: The Arabic word ' literally means "Inhabitant of the Desert". The word Sahrawi is derived from the Arabic word ' (), meaning desert. A man is called a "Sahrawi", and a woman is called a "Sahrawiya". In other languages it is pronounced in similar or different ways:


title: Sahrawi people

text: Nomadic Berbers, mainly of the Senhaja / Zenaga tribal confederation, inhabited the areas now known as Western Sahara, southern Morocco, Mauritania and southwestern Algeria, before Islam arrived in the 8th century CE. It is not known when the camel was introduced to the region (probably in the first or second millennium BCE), but it revolutionized the traditional trade routes of North Africa. Berber caravans transported salt, gold, and slaves between North and West Africa, and the control of trade routes became a major ingredient in the constant power struggles between various tribes and sedentary peoples. On more than one occasion, the Berber tribes of present-day Mauritania, Morocco and Western Sahara would unite behind religious leaders to sweep the surrounding governments from power, then founding principalities, dynasties, or even vast empires of their own. This was the case with the Almoravid dynasty of Morocco and Andalusia, and several emirates in Mauritania.


title: Sahrawi people

text: In the 11th century, the Bedouin tribes of the Beni Hilal and Beni Sulaym emigrated westwards from Egypt to the Maghreb region. In the early 13th century, the Yemeni Maqil tribes migrated westwards across the entirety of Arabia and northern Africa, to finally settle around present-day Morocco. They were badly received by the Zenata Berber descendants of the Merinid dynasty, and among the tribes pushed out of the territory were the Beni Hassan.


title: Sahrawi people

text: This tribe entered the domains of the Sanhaja, and over the following centuries imposed itself upon them, intermixing with the population in the process. Berber attempts to shake off the rule of Arab warrior tribes occurred sporadically, but assimilation gradually won out, and after the failed Char Bouba Uprising (1644–74), the Berber tribes would virtually without exception embrace Arab or Muslim culture and even claim Arab heritage. The Arabic dialect of the Beni Ḥassān, Hassaniya, remains the mother-tongue of Mauritania and Moroccan-controlled Western Sahara to this day, and is also spoken in southern Morocco and western Algeria, among affiliated tribes. Berber vocabulary and cultural traits remain common, despite the fact that many if not all of the Sahrawi/Moorish tribes today claim Arab ancestry; several are even claiming to be descendants of Muhammad, so-called sharifian tribes (pl. "shorfa" or "chorfa").


title: Sahrawi people

text: The modern day Sahrawi’s are a mixed ethnic group of Arabs, sub-Saharan Africans & diverse Berbers. The people inhabit the westernmost Sahara desert, in the area of modern Mauritania, Morocco, Western Sahara, and parts of Algeria. (Some tribes would also traditionally migrate into northern Mali and Niger, or even further along the Saharan caravan routes.) As with most Saharan peoples, the tribes reflect a highly mixed heritage, combining Arab, and other influences, including ethnic and cultural characteristics found in many ethnic groups of the Sahel. The latter were primarily acquired through mixing with Wolof, Soninke and other populations of the southern Sahel, and through the acquisition of slaves by wealthier nomad families.


title: Sahrawi people

text: In pre-colonial times, the Sahara was generally considered "Blad Essiba" or "the land of dissidence" by the Moroccan central government and Sultan of Morocco in Fez, and by the authorities of the Deys of Algiers. The governments of the pre-colonial sub-Saharan empires of Mali and Songhai appear to have had a similar relationship with the tribal territories, which were once the home of undisciplined raiding tribes and the main trade route for the Saharan caravan trade. Central governments had little control over the region, although the Hassaniya tribes would occasionally extend ""beya"" or allegiance to prestigious rulers, to gain their political backing or, in some cases, as a religious ceremony. The Moorish populations of what is today northern Mauritania established a number of emirates, claiming the loyalty of several different tribes and through them exercising semi-sovereignty over traditional grazing lands. This could be considered the closest thing to centralized government that was ever achieved by the Hassaniya tribes, but even these emirates were weak, conflict-ridden and rested more on the willing consent of the subject tribes than on any capacity to enforce loyalty.


title: Sahrawi people

text: Modern distinctions drawn between the various Hassaniya-speaking Sahrawi-Moorish groups are primarily political, but cultural differences dating from different colonial and post-colonial histories are also apparent. An important divider is whether the tribal confederations fell under French or Spanish colonial rule. France conquered most of North and West Africa largely during the late 19th century. This included Algeria and Mauritania, and, from 1912, Morocco. But Western Sahara and scattered minor parts of Morocco fell to Spain, and were named Spanish Sahara (subdivided into Río de Oro and Saguia el-Hamra) and Spanish Morocco respectively. These colonial intrusions brought the Muslim Saharan peoples under Christian European rule for the first time, and created lasting cultural and political divides between and within existing populations, as well as upsetting traditional balances of power in differing ways.


title: Sahrawi people

text: The Sahrawi-Moorish areas, then still undefined as to exact territorial boundaries, proved troublesome for the colonizers, just as they had for neighbouring dynasties in previous centuries. The political loyalty of these populations were first and foremost to their respective tribes, and supertribal allegiances and alliances would shift rapidly and unexpectedly. Their nomadic lifestyle made direct control over the territories hard to achieve, as did general lawlessness, an absence of prior central authority, and a widely held contempt for the kind of settled life that the colonizers sought to bring about. Centuries of intertribal warfare and raids for loot ("ghazzu") guaranteed that the populations were well armed and versed in guerilla-style warfare. Tribes allied to hostile European powers would now also be considered fair game for cattle raids on those grounds, which tied the struggle against France and Spain into the traditional power play of the nomads, aggravating the internal struggles.


title: Sahrawi people

text: Uprisings and violent tribal clashes therefore took place with increasing frequency as European encroachment increased, and on occasion took the form of anti-colonial holy war, or Jihad, as in the case of the Ma al-'Aynayn uprising in the first years of the 20th century. It was not until the 1930s that Spain was able to finally subdue the interior of present-day Western Sahara, and then only with strong French military assistance. Mauritania's raiding Moors had been brought under control in the previous decades, partly through skilful exploitation by the French of traditional rivalries and social divisions between the tribes. In these encounters, the large Reguibat tribe proved especially resistant to the new rulers, and its fighters would regularly slip in out of French and Spanish territory, similarly exploiting the rivalries between European powers. The last major Reguibat raid took place in 1934, after which the Spanish authorities occupied Smara, finally gaining control over the last unpatrolled border territories.


title: Sahrawi people

text: The Sahrawi-Moorish tribes remained largely nomadic until the early to mid-20th century, when Franco-Spanish rivalries (as well as disagreements between different wings of the French colonial regime) managed to impose rigid, if arbitrary, borders on the previously fluid Sahara. The wide-ranging grazing lands of the nomads were split apart, and their traditional economies, based on trans-Saharan caravan trade and raiding of each other and the northern and southern Sahel neighbors, were broken. Little attention was paid to existing tribal confederations and zones of influence when dividing up the Saharan interior.


title: Sahrawi people

text: French and Spanish colonial governments would gradually, and with varying force, impose their own systems of government and education over these territories, exposing the native populations to differing colonial experiences. The populations in Algeria were subjected to direct French rule, which was organized to enable the massive settlement of French and European immigrants. In Mauritania, they experienced a French non-settler colonial administration which, if light in its demands on the nomads, also deliberately overturned the existing social order, allying itself with lower-ranking marabout and zenaga tribes against the powerful warrior clans of the Hassane Arabs. In southern Morocco, France upheld indirect rule through the sultanate in some areas, while Spain exercised direct administration in others. Spanish Sahara was treated first as a colony, and later as an overseas province, with gradually tightening political conditions, and, in later years, a rapid influx of Spanish settlers (making Spaniards about 20% of the population in 1975). By the time of decolonization in 1950s–1970s, Sahrawi tribes in all these different territories had experienced roughly a generation or more of distinct experiences; often, however, their nomadic lifestyle had guaranteed that they were subjected to less interference than what sedentary populations experienced in the same areas.


title: Sahrawi people

text: The period of colonization radically changed existing power structures, leaving a confused legacy of contradictory political affiliations, European-drawn borders with little resemblance to ethnic and tribal realities, and the foundations of modern political conflict.


title: Sahrawi people

text: For example, both sides in the Western Sahara conflict (Morocco vs. the Polisario Front) draw heavily on colonial history to prove their version of reality. Proponents of the Greater Morocco ideology point to some Sahrawi tribes calling upon the Moroccan sultan, who until 1912 remained the last independent Islamic ruler of the area, for assistance against the Europeans (see Ma al-'Aynayn). Pro-independence Sahrawis, on the other hand, point out that such statements of allegiance were almost routinely given by various tribal leaders to create short-term alliances, and that other heads of tribes indeed similarly proclaimed allegiance to Spain, to France, to Mauritanian emirates, and indeed to each other; they argue that such arrangements always proved temporary, and that the tribal confederations always maintained "de facto" independence of central authority, and would even fight to maintain this independence.


title: Sahrawi people

text: The International Court of Justice issued a ruling on the matter in 1975, stating that there "had" existed ties between the Moroccan sultan and some (mainly northerly Tekna) tribes in then-Spanish Sahara, but that these ties were "not" sufficient to abrogate Western Sahara's right to self-determination. The same kind of ruling was issued with regard to Mauritania, where the court found that there were indeed strong tribal and cultural links between the Sahrawis and Mauritanian populations, including historical allegiance to some Moorish emirates, but that these were not ties of a state or government character, and did not constitute formal bonds of sovereignty. Thus, the court recommended the UN to continue to pursue self-determination for the Sahrawis, enabling them to choose for themselves whether they wanted Spanish Sahara to turn into an independent state, or to be annexed to Morocco or Mauritania.


title: Sahrawi people

text: The area today referred to as Western Sahara remains, according to the United Nations, one of the world's last remaining major non-self-governing territories. Morocco controls most of the territory as its Southern Provinces, but the legality of this is not internationally recognized by any country and is disputed militarily by the Polisario Front, an Algerian-backed movement claiming independence for the territory as the Sahrawi Arab Democratic Republic (SADR). Since 1991, there has been a cease-fire between Morocco and Polisario, but disturbances in Moroccan-held territories as well as the ongoing dispute over the legal status of the territory guarantees continued United Nations involvement and occasional international attention to the issue.


title: Sahrawi people

text: The Polisario Front is the Western Sahara's national liberation movement, fighting for the independence of the Western Sahara since 1973—originally against Spanish rule; after 1975, against Mauritania and Morocco; since 1979, against Morocco only. The organization is based in Algeria, where it is responsible for the Tindouf refugee camps. The organization has maintained a cease-fire with Morocco since 1991 (see Settlement Plan), but continues to strive for the territory's independence as the Sahrawi Arab Democratic Republic (SADR) through peaceful negotiations. The Polisario Front restricts its claims to the colonially-defined Western Sahara, holding no claim to, for example, the Sahrawi-populated Tarfaya Strip in Morocco, or any part of Mauritania. Since 1979, the Polisario Front has been recognized by the United Nations as the representative of the people of Western Sahara.


title: Sahrawi people

text: As described above, the Hassaniya speaking tribes are of Arabian, Beni Hassan descent, who fused with the dominant Sanhaja Berber tribes, as well as Black African and other indigenous populations (e.g. indigenous Soninke speaking groups). Even though cultural arabization of the Berber people was thorough, some elements of Berber identity remain.


title: Sahrawi people

text: Some tribes, such as the large Reguibat, have a Berber background but have since been thoroughly arabized; others, such as the Oulad Delim, are considered descendants of the Beni Hassan, even though intermarriage with other tribes and former slaves have occurred; a few, such as the Tekna tribal confederation, have retained some Berber dialect of the area. Often, though not in the case of the Tekna, the Berber-Arab elements of a tribe's cultural heritage reflects social stratification. In traditional Moorish-Sahrawi society, Arab tribes of the Tekna confederation claimed a role as rulers and protectors of the disarmed weaker Berber tribes of the Takna confederation. Thus, the warrior tribes and nobility would be Arab.


title: Sahrawi people

text: However, most tribes, regardless of their mixed heritage, tend to claim some form of Arab ancestry, as this has been key to achieving social status. Many (the so-called chorfa tribes) will also claim descendancy from the Prophet Muhammad himself. In any case, no tribal identity is cut in stone, and over the centuries a great deal of intermarriage and tribal re-affiliation has occurred to blur former ethnic/cultural lines; groups have often seamlessly re-identified to higher status identities, after achieving the military or economic strength to defeat former rulers. This was, for example, the case of the largest of the Sahrawi tribes, the Reguibat. A Berber-descended zawiya (scholarly) tribe who in the 18th century took up camel nomadism and warrior traditions, they simultaneously took on more and more of an Arab identity, reflecting their new position alongside the traditional warrior castes of Arab Hassane origin, such as the Oulad Delim and the Arabic-speaking tribes of the Tekna confederation.


title: Sahrawi people

text: Generally speaking, the Hassaniya populations were (or are) divided into several groups, of different social status.


title: Sahrawi people

text: At the peak of society were the aristocratic "warrior" lineages or clans, the Hassane, supposed descendants of the Beni Hassan Arab tribe (cf. Oulad Delim). Below them stood the "scholarly" or "clerical" lineages. These were called marabout or zawiya tribes (cf. Oulad Tidrarine). The latter designation the preferred one in among the Western Sahara-centered tribes, who would also almost invariably claim chorfa status to enhance their religious credibility. The zawiya tribes were protected by Hassan overlords in exchange for their religious services and payment of the horma, a tributary tax in cattle or goods; while they were in a sense exploited, the relationship was often more or less symbiotic. Under both these groups, but still part of the Western Sahara society, stood the znaga tribes—tribal groups labouring in demeaning occupations, such as fishermen (cf. Imraguen), as well as peripheral semi-tribal groups working in the same fields (among them the "professional" castes, mallemin and igawen). All these groups were considered to be among the "bidan" grouping.


title: Sahrawi people

text: Below them ranked servile groups known as Haratin, according to some sources descendants of the earlier pre-Arab populations. (Note that "Haratin", a term of obscure origin, has a different meaning in the Berber regions of Morocco.) They often lived serving affiliated "bidan" families, and as such formed part of the tribe, not tribes of their own. Below them came the slaves themselves, who were owned individually or in family groups, and could hope at best to be freed and rise to the status of Haratin. Rich bidan families would normally own a few slaves at the most, as nomadic societies have less use of slave labour than sedentary societies; however, in some cases, slaves were used to work oasis plantations, farming dates, digging wells etc.


title: Sahrawi people

text: An important reference on Sahrawi population ethnography is the work of Spanish anthropologist Julio Caro Baroja, who in 1952–53 spent several months among native tribes of the Spanish Sahara. He published a 1955 book on the subject.


title: Sahrawi people

text: According to the Ethnologue database, there were more than three million Hassaniya speakers in 2006, of whom 2.7 million resided in Mauritania. The number of Hassaniya speakers identifying as "Sahrawi" in the modern political sense is unknown, and estimates are hotly contested by partisans in the Western Sahara conflict. Most estimates however center around 200,000 to 400,000. These populations are centered in southern Morocco, Western Sahara, and in the Tindouf Province of Algeria, where large number of refugees from Western Sahara are located.


title: Sahrawi people

text: Sahrawis' native language is the Hassānīya, a variety of Arabic originally spoken by the Beni Hassan Arabian tribes of the Western Sahara. It has almost completely replaced the Berber languages originally spoken in this region. Though clearly a western dialect, Hassānīya is relatively distant from other North African variants of Arabic. Its geographical location exposed it to influence from Zenaga and Wolof. There are several dialects of Hassaniya; the primary differences among them are phonetics. Today Hassaniya is spoken in south-western Algeria, northern Mali, Mauritania, southern-Morocco and Western Sahara. (Mauritania has the biggest concentration of speakers) . Some Sahrawis speak Tashelhit and/or Moroccan Arabic as a second language due to interaction with neighboring populations.


title: Sahrawi people

text: Modern Standard Arabic and the Amazigh language (a standardized version of Moroccan Berber languages) is the official language of the Moroccan administered part of Western Sahara. While Standard Arabic is the only official language in Mauritania, Algeria and the Sahrawi Arab Democratic Republic.


title: Sahrawi people

text: The current Moroccan constitution (adopted in July 2011) mentions, in its 5th article, the Hassaniya language and recommends its preservation as a cultural heritage of Morocco.


title: Sahrawi people

text: Due to the past colonization of Western Sahara and Cape Juby by Spain, Spanish is spoken as a lingua franca by most of the Sahrawis, especially among the Sahrawi diaspora, with the Sahrawi Press Service, official news service of the Sahrawi Arab Democratic Republic, being available in Spanish since 2001 and the Sahara Film Festival, Western Sahara's only film festival, showing mainly Spanish-language films.


title: Sahrawi people

text: After the Madrid Accords which transferred administration of the Spanish Sahara to Mauritania and Morocco in 1976, an exodus of refugees fled the violence that ensued, with substantial numbers ending up in the Polisario Front movement's base areas in the Algerian Sahara, where refugee camps were set up in the Tindouf Province, and a smaller number in camps in Mauritania. The camps in Tindouf were named after towns in the Western Sahara (Awserd, Laayoune, Smara and Dakhla).


title: Sahrawi people

text: Algerian authorities have estimated the number of Sahrawi refugees in Algeria to be 165,000. For many years this figure was referred to by UNCHR, but in 2005 the organization reduced the number of ""vulnerable refugees"" to 90,000, until a census to determine the exact number of refugees in the camps could be done. The Moroccan government contends that the figure is much lower, around 45,000 to 50,000, and that these people are kept in the refugee camps against their will by Polisario.


title: Sahrawi people

text: Mauritania houses about 26,000 Sahrawi refugees, classified by UNHCR as "people in a refugee-like situation". This population consists both of original refugees to the territory, and of former Tindouf dwellers who have since migrated to Mauritania.


title: Sahrawi people

text: In 2018, thirty Sahrawi refugees died in an air crash of Algerian Air Force Il-76. They had been visiting Algiers for various medical and bureaucratic reasons. Sahrawis from the refugee camps are regularly provided with free flights in Algerian military transport aircraft.


title: Sahrawi people

text: Religiously, the Sahrawis are Sunni Muslims of the Maliki rite or school. Historically, religious practice has been pragmatically adapted to nomad life and local tradition. Also, since the late medieval period, various Sufi "Turuq" (brotherhoods or orders), have played an important role in popular religious practice; the most important among these are the Qadiriyya and Tijaniyya. Further, among the Hassaniya tribes, certain lineages reputed to be descended from the Prophet Mohammed, the chorfa, have played an important role in intertribal religious society.


title: Sahrawi people

text: The tribe was the historical basis of social and political organisation among the Hassaniya-speaking tribes of the Sahara, well into the colonial and arguably post-colonial period. Traditionally, Hassaniya Sahrawi society was completely tribal, organized in a complex web of shifting alliances and tribal confederations, with no stable and centralized governing authority.


title: Sahrawi people

text: Lawmaking, conflict resolution and central decision-making within the tribe, was carried out by the Djema'a, (Arabic, gathering) a gathering of elected elders (shaykhs) and religious scholars. Occasionally, larger tribal gatherings could be held in the form of the Ait Arbein (Group of Forty), which would handle supratribal affairs such as common defence of the territory or common diplomacy. During colonial times, Spain attempted to assume some of the legitimacy of these traditional institutions by creating its own Djema'a, a state-run political association that supported its claims to the territory.


title: The Inpatient

text: The Inpatient is a psychological horror video game developed by Supermassive Games and published by Sony Interactive Entertainment for PlayStation 4 and its virtual reality headset PlayStation VR. The game was released in January 2018.


title: The Inpatient

text: It is a prequel to the 2015 game "Until Dawn", taking place at the Blackwood Sanatorium in 1952, 63 years before the events of the original game. Unlike "Until Dawn", it uses a first-person perspective.


title: The Inpatient

text: "The Inpatient" is a survival horror game played from a first-person perspective. The player controls a patient suffering from amnesia within the Blackwood Sanatorium in 1952 during the aftermath of a mine collapse, with the intent on reclaiming their memories. Non-player characters are caused to react via voice recognition. The outcome of the story is entirely consequent upon the decisions that are made.


title: The Inpatient

text: The controlled character awakens in a restraining chair, greeted by Jefferson Bragg. He tells them that their memory is weak, and he wants them to try remembering the last thing you see — despite best efforts, all they can remember is hiding in a small closet and being found by an unknown man, and that the year is 1952. He then has an employee take them to their room, who informs them that they are a patient in the Blackwood Sanitarium.


title: The Inpatient

text: The next morning, the protagonist gets a new roommate, Gordon or Ana (their gender is the same as the player character's). As days go by, the roommate's sanity gradually decreases, as there is chaos heard outside the cell and they are starving. Eventually, the protagonist manages to break free and explore the seemingly abandoned and rundown sanitarium. They come across some employees and a priest, and possibly their roommate, who have discovered the events are the cause of the Wendigo uprising. They make an attempt to get off the mountain, but Bragg refuses to come along, leaving himself behind to commit suicide. Their travel to the cable cars off the mountain is met with Wendigos and police officers who are ordered to silence anyone present. Once the team makes it to the cable cars, either the roommate or the protagonist is revealed to have eaten human flesh and become a Wendigo. In their last moments of humanity, they may sacrifice themselves to stay behind and operate the cable car, or become rogue and kill the others.


title: The Inpatient

text: If the roommate becomes the Wendigo and the protagonist made it off the mountain, they are shown being interrogated by a police officer, who intimidates them to be quiet of the events that happened. If the protagonist became the Wendigo, the epilogue screen will show the year turning to 2014. Hannah and Beth are seen through the eyes of the Wendigo, which then starts chasing the girls.


title: The Inpatient

text: The developer of "The Inpatient" is Supermassive Games, who uses the Unreal Engine 4 in its creation. The game acts as a prequel to 2015's "Until Dawn", set inside the Blackwood Sanatorium, 63 years prior to the events of the original. Nik Bowen, Graham Reznick and Larry Fessenden returned as director and writers, respectively. In order to subconsciously draw players into the story, Supermassive Games employed elements of psychological horror, which included them rendering three-dimensional binaural audio to supplement the visuals.


title: The Inpatient

text: It was announced with a teaser trailer at E3 2017, set to be released as a PlayStation 4 exclusive with support for PlayStation VR on 21 November 2017 in North America and 22 November in Europe. It was later delayed to 23 January 2018 in North America and 24 January in Europe.


title: The Inpatient

text: "The Inpatient" received polarizing reviews from professional gaming critics, earning a "mixed or average" score of 59 on review aggregation website Metacritic based on 55 reviews. Common praise was aimed at the game's presentation and atmosphere, while the game's slow pace and a lack of diversity in gameplay was often cited as a negative.


title: The Inpatient

text: The game was nominated for "Sound Design" at the 2018 Develop Awards, for "Best Audio Design" and "Visual Design" at The Independent Game Developers' Association Awards 2018, and for "Control Design, VR", "Direction in Virtual Reality", and "Sound Mixing in Virtual Reality" at the National Academy of Video Game Trade Reviewers Awards.


title: Martin Scorsese and Leonardo DiCaprio

text: Martin Scorsese and Leonardo DiCaprio are frequent collaborators in cinema, with Dicaprio appearing in five feature films and one short film made by Scorsese since 2002. The films explore a variety of genres, including historical epic, crime, thriller, biopic, comedy and western. Several have been listed on many critics' year-end top ten and best-of-decade lists.


title: Martin Scorsese and Leonardo DiCaprio

text: The duo's films have been nominated for thirty-one Academy Awards, winning nine. In 2013, the duo was awarded National Board of Review Spotlight award for career collaboration. Scorsese's work with DiCaprio is considered to be as vital as his work with Robert De Niro.


title: Martin Scorsese and Leonardo DiCaprio

text: The pair's relationship is one of the most financially successful collaborations in the film industry, bringing a total of $1.3 billion earnings from their five feature films. DiCaprio considered "Taxi Driver" and "Mean Streets" as his inspiration of Scorsese's work. Discussing his collaboration he said, "I am almost about to turn 40, and I am looking back at some of the stuff I’ve gotten to do, and at the center of it is this amazing accidental collaboration that I’ve gotten to have with Marty." Scorsese heard about DiCaprio from De Niro, who worked with then 18-year-old DiCaprio in "This Boy's Life", and suggested his work to Scorsese as "impressive." Describing his first collaboration with Scorsese on "Gangs of New York", he said, "It was an incredible undertaking."


title: Martin Scorsese and Leonardo DiCaprio

text: DiCaprio thanked Scorsese in his acceptance speech at 88th Academy Awards while accepting the Academy Award for Best Actor, saying "I have to thank everyone from the very onset of my career...to Mr. Jones for casting me in my first film to Mr. Scorsese for teaching me so much about the cinematic art form."


title: Martin Scorsese and Leonardo DiCaprio

text: In 1999 Scorsese produced a documentary on Italian filmmakers titled "Il Mio Viaggio in Italia", also known as "My Voyage to Italy". The documentary foreshadowed the director's next project, the epic "Gangs of New York" (2002), which was influenced by (amongst many others) major Italian directors such as Luchino Visconti and filmed in its entirety at Rome's famous Cinecittà film studios.


title: Martin Scorsese and Leonardo DiCaprio

text: With a production budget said to be in excess of $100 million, "Gangs of New York" was Scorsese's biggest and arguably most mainstream venture to date. The film marked the first collaboration between Scorsese and DiCaprio. Scorsese initially struggled selling his idea of the film until DiCaprio became interested in playing protagonist Amsterdam Vallon, a young leader of the Irish faction. Once DiCaprio was cast, Miramax Films agreed to finance the project. The film received positive reviews and was a box office success, bolstering DiCaprio's reputation as one of Hollywood's preeminent talents. DiCaprio's acting was well-received, although it was somewhat overshadowed by co-star Daniel Day-Lewis' performance.


title: Martin Scorsese and Leonardo DiCaprio

text: After "Gangs of New York", the duo worked on the 2004 biopic "The Aviator", with DiCaprio starring as aviation pioneer and filmmaker Howard Hughes. The film portrays Hughes’ life between the late 1920s and late 1940s, during which time he became a successful film producer and an aviation magnate while simultaneously growing more unstable due to severe obsessive–compulsive disorder (OCD).


title: Martin Scorsese and Leonardo DiCaprio

text: The film was a huge commercial and critical success, earning 11 Oscar nominations at the 77th Academy Awards (the most for the ceremony that year). This included a Best Picture nomination, a Best Director nomination for Scorsese, and a Best Actor nomination for DiCaprio, his first in the lead actor category.


title: Martin Scorsese and Leonardo DiCaprio

text: Roger Ebert of "Chicago Sun-Times" gave the film four stars out of four and described the film and its subject, Howard Hughes, in these terms: "What a sad man. What brief glory. What an enthralling film...There's a match here between Scorsese and his subject, perhaps because the director's own life journey allows him to see Howard Hughes with insight, sympathy – and, up to a point, with admiration. This is one of the year's best films."


title: Martin Scorsese and Leonardo DiCaprio

text: The duo's next collaboration, the 2006 crime drama "The Departed", emerged as one of the most successful films in their respective careers. DiCaprio played the role of Billy Costigan, a state trooper working undercover in the Irish Mob in Boston. Highly anticipated after the pair's previous success, the film was released to overwhelmingly positive reviews and became one of the highest-rated wide release films of 2006. Budgeted at US$90 million, it also emerged as DiCaprio and Scorsese's highest-grossing collaboration to date, easily beating "The Aviator"´s previous record of US$213.7 million.


title: Martin Scorsese and Leonardo DiCaprio

text: DiCaprio's performance in "The Departed" was applauded by critics and earned him a Satellite Award for Best Supporting Actor. The same year, both the Golden Globes and the Screen Actors Guild nominated DiCaprio twice in the Best Actor category (he was also nominated for "Blood Diamond"), however as


title: Martin Scorsese and Leonardo DiCaprio

text: Academy Award rules do not allow a person to be nominated twice in the same category, he was nominated only for "Blood Diamond". Scorsese won his first Best Director Oscar for "The Departed", after six previous losses in the category; the film also took home Best Picture. In 2008, "The Departed" was nominated for AFI's Top 10 Gangster Films list.


title: Martin Scorsese and Leonardo DiCaprio

text: 2010's "Shutter Island" sees DiCaprio as U.S. Marshal Edward "Teddy" Daniels, who is investigating a psychiatric facility located on an island and comes to question his own sanity. "Shutter Island" originally received mixed to positive reviews, but was a financial success, and throughout the years became a cult classic.


title: Martin Scorsese and Leonardo DiCaprio

text: Roger Ebert of the "Chicago Sun-Times" gave the film 3½ stars out of 4 and wrote "the movie is about: atmosphere, ominous portents, the erosion of Teddy's confidence and even his identity. It's all done with flawless directorial command. Scorsese has fear to evoke, and he does it with many notes."


title: Martin Scorsese and Leonardo DiCaprio

text: In 2013, DiCaprio reunited with Scorsese for "The Wolf of Wall Street". The film was based on the memoir of the same name by Jordan Belfort and recounts Belfort's career as a stockbroker and the rampant corruption and fraud on Wall Street that led to his downfall. The film was listed on many critics' Top Ten lists for both the year and the decade and became Scorsese's highest-grossing film worldwide. The film received five Academy Awards nominations, including Best Picture and Best Director for Scorsese. DiCaprio won a Golden Globe Award For Best Actor - Musical or Comedy for his performance as Belfort and received his third Best Actor Oscar nomination; however, he lost to Matthew McConaughey.


title: Martin Scorsese and Leonardo DiCaprio

text: Scorsese and Leonardo collaborated for "The Audition", a 2015 short film that served as a promotional piece for casinos Studio City in Macau, China and City of Dreams in Manila, Philippines. The short film united Scorsese and DiCaprio with De Niro, who collaborated with Scorsese for the first time in two decades.


title: Martin Scorsese and Leonardo DiCaprio

text: In October 2018, it was announced that DiCaprio and Scorsese were re-teaming for a film adaptation of David Grann's "Killers of the Flower Moon", about the Osage Indian murders. In summer 2019, it was confirmed that Robert De Niro will star alongside DiCaprio. Shooting was postponed from its original start date due to the COVID-19 pandemic, but ultimately began in April 2021.


title: Martin Scorsese and Leonardo DiCaprio

text: Leonardo DiCaprio purchased the film rights to the book in 2010. The film version, as originally planned, would have been directed by Martin Scorsese, written by Billy Ray, and produced jointly by Paramount Pictures, Double Feature Films, and DiCaprio's Appian Way Productions.


title: Martin Scorsese and Leonardo DiCaprio

text: In 2019, Hulu began developing a series based on the book. Leonardo DiCaprio and Martin Scorsese will executive produce the project along with Stacey Sher, Rick Yorn, Emma Koskoff, and Jennifer Davisson. Paramount Television will produce.


title: Paperback Writer

text: "Paperback Writer" is a song by the English rock band the Beatles. Written primarily by Paul McCartney and credited to the Lennon–McCartney partnership, the song was released as the A-side of their eleventh single in May 1966. It topped singles charts in the United Kingdom, the United States, Ireland, West Germany, Australia, New Zealand and Norway. On the US "Billboard" Hot 100, the song was at number one for two non-consecutive weeks, being interrupted by Frank Sinatra's "Strangers in the Night".


title: Paperback Writer

text: "Paperback Writer" was largely written by Paul McCartney, who based the lyrics on a challenge made to him by his Aunt Lil. McCartney said in 1966: "Years ago, my Auntie Lil said to me, 'Why do you always write songs about love all the time? Can't you ever write about a horse or the summit conference or something interesting?' So, I thought, 'All right, Auntie Lil.'" According to Radio Luxembourg DJ Jimmy Savile's recollection, the inspiration for the song came backstage at a concert venue when McCartney, mindful of his aunt's request, saw Ringo Starr reading a book and declared his intention to write a song about a book.


title: Paperback Writer

text: The lyrics are in the form of a letter from an aspiring author addressed to a publisher.<ref name="Fontenot/About"></ref> McCartney completed the song with John Lennon in response to pressure from EMI for a new Beatles single in April 1966, early on in the sessions for the band's "Revolver" album. Intrigued by the rhythmic possibilities of the phrase "paperback writer", McCartney came up with the framework for the song during his hour-long drive from London to Lennon's house in Surrey.


title: Paperback Writer

text: Discussing "Paperback Writer" with Alan Smith of the "NME" that year, McCartney recalled that he and Lennon wrote the lyrics in the form of a letter beginning with "Dear Sir or Madam", but that the song was not inspired by "any real-life characters". However, according to a 2007 piece in "The New Yorker", McCartney said he started writing the song in 1965 after reading in the "Daily Mail" about an aspiring author, "possibly Martin Amis" (who would have been a teenager at the time). The "Daily Mail" was Lennon's regular newspaper and copies were in Lennon's Weybridge home when Lennon and McCartney were writing songs.


title: Paperback Writer

text: Aside from deviating from the subject of love, McCartney had it in mind to write a song with a melody backed by a single, static chord. "John and I would like to do songs with just one note like 'Long Tall Sally.' We got near it in 'The Word. McCartney claimed to have barely failed to achieve this goal with "Paperback Writer", as the verse remains on G until the end, at which point it pauses on C.


title: Paperback Writer

text: Lennon told "Hit Parader" in 1972 that "Paperback Writer" was primarily written by McCartney: "I think I might have helped with some of the lyrics. Yes, I did. But it was mainly Paul's tune." Speaking in 1980, Lennon described "Paperback Writer" as "son of 'Day Tripper' – meaning a rock'n'roll song with a guitar lick on a fuzzy, loud guitar – but it is Paul's song".


title: Paperback Writer

text: The Beatles recorded "Paperback Writer" at EMI Studios in London on 13 and 14 April 1966. The 14 April session was attended by a photographer from "Beatles Monthly", while EMI engineer Phil McDonald's handwritten notes similarly documented the band's experimentation with overdubs on the basic track. In the search for a suitable arrangement, George Harrison briefly switched to bass guitar, and producer George Martin contributed on tack piano, sent through a Leslie speaker, and on Vox Continental organ, neither of which were retained in the completed track.


title: Paperback Writer

text: "Paperback Writer" is marked by the boosted bass guitar sound, which was partly in response to Lennon demanding to know why the bass on a certain Wilson Pickett record exceeded that on any Beatles records. Geoff Emerick, who had been promoted to the role of the Beatles' recording engineer for "Revolver", later said: "'Paperback Writer' was the first time the bass sound had been heard in all its excitement. Paul played a different bass, a Rickenbacker. Then we boosted it further by using a loudspeaker as a microphone. We positioned it directly in front of the bass speaker and the moving diaphragm of the second speaker made the electric current." McCartney's playing was also more melodic and busy than on previous tracks.


title: Paperback Writer

text: According to McCartney, the harmony vocals on the track were arranged during the recording session. Martin later commented: "The way the song itself is shaped and the slow, contrapuntal statements from the backing voices – no one had really done that before." In their backing vocals over the third verse, Lennon and Harrison sing the title of the French nursery rhyme "Frère Jacques".


title: Paperback Writer

text: Emerick stated that the "Paperback Writer" / "Rain" single was cut louder than any other Beatles record up to that time, due to a new piece of equipment used in the mastering process, referred to as "Automatic Transient Overload Control", which was devised by the EMI maintenance department.


title: Paperback Writer

text: In Britain, the single was promoted with a photograph depicting the Beatles draped with pieces of raw meat and decapitated baby dolls. This photograph was later used, albeit briefly, as the "Yesterday and Today" album cover in the US, and in that capacity it became known as the "butcher cover". For the American release of the single, the picture sleeve showed the Beatles playing live, but with Lennon and Harrison's images reflected so that it appeared they were playing left-handed.


title: Paperback Writer

text: Michael Lindsay-Hogg directed four promotional films for the song shot on 19 and 20 May 1966. On the first day they recorded a colour performance at EMI Studios, for "The Ed Sullivan Show", which was shown on 5 June, and two black-and-white performance clips for British television. The latter aired on "Ready Steady Go!" and "Thank Your Lucky Stars" on 3 and 25 June, respectively. The Beatles also filmed a personal introduction to Ed Sullivan with their faces hidden behind colour transparencies of the butcher cover.


title: Paperback Writer

text: On 20 May, a second colour film was made at Chiswick House in west London. The Beatles mimed to the song, and they were shown in a statue garden and inside the conservatory in the grounds of the house. The clip was first broadcast in black and white on BBC-TV's "Top of the Pops" on 2 June. The 20 May promo clip was included in the Beatles' 2015 video compilation "1", and both the 19 May colour film and the 20 May film were included in the three-disc versions of the compilation, titled "1+".


title: Paperback Writer

text: The Beatles appeared on "Top of the Pops" to mime to "Paperback Writer" and "Rain" on 16 June. This television appearance – which was the Beatles' only "in person" appearance on the BBC's flagship pop music show of the era – was subsequently lost due to the BBC's habit of wiping expensive video tape for reuse, leading to efforts by the corporation to find an original copy. In 2019, a collector unearthed 11 seconds of the performance; a longer 92 seconds' worth was found later in the year.


title: Paperback Writer

text: "Paperback Writer" was issued as a single in the US by Capitol Records on 30 May 1966, with the catalogue number 5651 and "Rain" as the B-side. The UK release, on EMI's Parlophone label, took place on 10 June, with the catalogue number R 5452. It was the Beatles' first UK single since the "Day Tripper" / "We Can Work It Out" double A-side in December 1965. Other than their brief performance at the annual "NME" Pollwinners Concert on 1 May, promotion for the new record was also the first sign of public activity by the band since the start of the year.


title: Paperback Writer

text: Reviewing the single for the "NME", Derek Johnson said that "Paperback Writer" "swings along at a thundering pace", with McCartney's lead vocal "aided by some startling chanting". He admired Starr's "cymbal bashing" and concluded, "those sudden breaks in tempo help to increase the impact." In "Disc and Music Echo", Penny Valentine said the song had a "marvellous dance beat" and was "very striking" due to its "break-up drumming and ethereal surf chorus". "Record World"s reviewer wrote that with a new Beatles single, "the rush is on", and commented on the band's use of "interesting electronic effects to good effect", while "Cash Box" predicted that the group would easily continue their run of "blockbuster" singles and described the A-side as "a rhythmic, pulsating ode with an infectious repeating riff all about the creative urge".


title: Paperback Writer

text: The more widely held view was one of disappointment, according to author Peter Doggett, and dismissal as "a brash, insubstantial throwaway". Writing in "", "NME" critics Roy Carr and Tony Tyler described "Paperback Writer" as "the first Beatles single to receive less-than-universal acclaim", saying that it was "perhaps a trifle too 'clever'" and criticism was focused on "the triviality of the lyric and a slight nagging suspicion that the Beatles were playing at 'being songwriters' at a time when the world was waiting for The Word". The band's apparent aloofness also alienated many of their fans, who wrote into "Record Mirror" to disparage the group's new music. The UK music press were similarly offended by the ads for the single, which included a second "butcher" photo appearing in full colour on the cover of "Disc and Music Echo", accompanied by the caption "Beatles: What a Carve-Up!" In author Nicholas Schaffner's description, this image led "one crusty columnist to rail against the importation of American 'sick humor' into the United Kingdom".


title: Paperback Writer

text: Such was the Beatles' status, they were scrutinised in the press when, like "Day Tripper" / "We Can Work It Out", the single failed to top all of the UK's sales charts straightaway. On the "Record Retailer" chart (subsequently adopted as the UK Singles Chart), "Paperback Writer" entered at number 2, behind Frank Sinatra's "Strangers in the Night", before taking the top position the following week. On the national chart compiled by "Melody Maker", the song debuted at number 1, remaining there for a total of four weeks. Amid a climate of failing domestic economy, despite the country's strong exports through music, the record's UK sales were the lowest for any Beatles single since "Love Me Do" in 1962.


title: Paperback Writer

text: In the US, "Paperback Writer" topped the "Billboard" Hot 100 for two non-consecutive weeks. It replaced the Rolling Stones' "Paint It Black" and was then deposed by Sinatra's single for a week before returning to number 1. It was certified as a gold record by the Recording Industry Association of America on 14 July. The single also topped the charts in Australia, West Germany and many other countries around the world.


title: Paperback Writer

text: The song's release coincided with London being feted by the US media as the "Swinging City" of international culture. In his book on the 1960s, social historian Arthur Marwick says the Beatles represented the popular image of a phenomenon in which "hitherto invisible swathes of British society became visible and assertive" and "Paperback Writer" was the song that best conveyed "the new class-defying tide of individualistic enterprise".


title: Paperback Writer

text: "Paperback Writer" was the only new song the Beatles included in their 1966 tour setlist. Their inability to reproduce the layered vocal effect of the studio recording was a source of embarrassment for the group, however.


title: Paperback Writer

text: In addition to moulding their characters and sound on the Beatles, the Monkees used "Paperback Writer" as the basis for their debut single, "Last Train to Clarksville".


title: Paperback Writer

text: A stereo mix of "Paperback Writer" was first carried out in late October 1966 for inclusion on the UK compilation album "A Collection of Beatles Oldies" and then appeared in an alternate stereo mix on the 1970 US compilation album "Hey Jude". Following the Beatles' break-up, the song was included on compilations such as "1962–1966" (1973), "Past Masters, Volume Two" (1988) and "1" (2000). In 1995, a mix featuring only vocals was among several tracks that were in the running for inclusion on the three "Beatles Anthology" compilation albums but were ultimately passed over.


title: Paperback Writer

text: The single was released as part of a Record Store Day reissue in 2010. "Paperback Writer" was included on the Beatles' 2012 iTunes compilation "Tomorrow Never Knows", which the band's website described as a collection of "the Beatles' most influential rock songs".


title: Paperback Writer

text: Other artists who have recorded the track include the Bee Gees, the Charles River Valley Boys, the Cowsills, Floyd Cramer, Eric Johnson, Kris Kristofferson, Kenny Rogers, the Shadows, Sweet, Tempest and 10cc. McCartney has often played the song in concert. Live versions appear on his 1993 album "Paul Is Live" and 2009 album "Good Evening New York City".


title: Paperback Writer

text: There is some dispute over who played what on "Paperback Writer". In the July 1990 and the November 2005 issues of "Guitar Player" magazine, McCartney stated that he played the song's opening riff on his Epiphone Casino guitar, and photos from the recording session seem to be consistent with this. In the 2005 edition of his book "Revolution in the Head", Ian MacDonald gives Harrison as the sole lead guitarist, and Kenneth Womack similarly lists McCartney only on bass and lead vocal. Robert Rodriguez and Walter Everett each credit McCartney as the player of the song's main guitar riff, and state that Harrison added lead guitar "fills" over his initial rhythm part.


title: Robert Enke

text: Robert Enke (24 August 1977 – 10 November 2009) was a German professional footballer who played as a goalkeeper.


title: Robert Enke

text: He played for Mönchengladbach, Benfica, and Barcelona, but made the majority of his appearances for Bundesliga side Hannover 96 in his homeland.


title: Robert Enke

text: He won eight full international caps for the German national team between the 1999 Confederations Cup and his death in 2009, and was part of the squad which finished as runners-up in Euro 2008.


title: Robert Enke

text: On the evening of 10 November 2009, Enke died by suicide. At the time of his death, he was widely considered to be a leading contender for the German number one spot at the 2010 World Cup.


title: Robert Enke

text: Enke was born on 24 August 1977 in Jena, where he grew up in a flat in the district of Lobeda. He was the youngest of three children born to Dirk Enke, a sports psychologist, and Gisela Enke.


title: Robert Enke

text: Enke began playing football from an early age, initially playing as a striker, before making the switch to goalkeeper, where he displayed obvious talent. He joined Carl Zeiss Jena in 1985 after an impressive performance while playing against them in a youth team match for SV Jenapharm.


title: Robert Enke

text: He rose through the youth ranks at the club, and in 1993, he played for the Germany under-15 national team against England at Wembley Stadium. The game finished 0–0, with Enke receiving praise for multiple saves made throughout the match. At the age of 17, Enke signed his first professional contract with Carl Zeiss Jena.


title: Robert Enke

text: Enke worked his way up to the first team at Carl Zeiss Jena during the 1995–96 season. He made his professional debut on 11 November 1995, against future club Hannover 96 in the 2. Bundesliga. He was given the opportunity after the club suffered two consecutive fiascos against Duisburg and Bochum, prompting coach Eberhard Vogel to drop the former first-choice goalkeeper Mario Neumann for the youngster Enke. Enke played three games during November 1995, but Neumann was restored to the team after this period and Enke did not appear for the first team again that season.


title: Robert Enke

text: The goalkeeper actually would never play for the club again as he was signed by Bundesliga club Borussia Mönchengladbach in the summer of 1996. Enke spent his first two seasons here with the club's U-23 side, playing in the lower leagues, as well as for the Under-21 national team and honing his talent, studying the club's number one goalkeeper Uwe Kamps.


title: Robert Enke

text: His chance came on the eve of the 1998–99 season when Uwe Kamps suffered a ruptured Achilles tendon and new coach Friedel Rausch gave Enke his big chance to finally make his club debut. His first Bundesliga game came on 15 August 1998 in a 3–0 win over Schalke 04 that put them top of the table. However, this position quickly changed as, despite Enke's best efforts, fifteen goals were scored past him in just one week. The club plummeted to the foot of the league where they remained from October until their eventual relegation (Rainer Bonhof was manager from November onward).


title: Robert Enke

text: In June 1999, he joined Benfica in Portugal, signing a three-year contract, and becoming one of four goalkeepers on the team's books. Enke had a history of panic attacks and had second thoughts soon after signing for the team. He realised however that, having signed a contract, he was obliged to fulfil it. The club were then managed by Enke's countryman Jupp Heynckes, who promptly made him captain. His time in Portugal was a turbulent one, as the club changed manager three times in his three seasons there and suffered their lowest ever league finish (sixth) in a trophyless spell, beset by financial difficulties that caused players wages to often be late.


title: Robert Enke

text: Despite these problems, Enke's performances gained him the admiration of "Encarnados" (reds) fans, as well as interest from clubs like Arsenal, Atlético Madrid and Manchester United chasing him. After contract talks with Benfica stalled, Enke took up the offer of Spanish giants Barcelona and moved on a free transfer in June 2002 on a three-year deal.


title: Robert Enke

text: Life at the Camp Nou proved tough for Enke — he later labelled the goalkeeper's spot at Barça as the "most difficult goalkeeping position in Europe" – as he ended up playing second choice to Roberto Bonano and then Víctor Valdés. His debut set the mark, as the club was humiliatingly knocked out of the Spanish Cup by third flight Novelda CF at the first hurdle on 11 September 2002 and was criticised by teammate Frank de Boer in public for his part in their exit.


title: Robert Enke

text: His brief taste of La Liga came in a 20-minute appearance as a substitute in a 2–2 draw at Osasuna on 2 March 2003. He did manage to sample some European action during his spell though as he made two UEFA Champions League appearances, against Club Brugge and Galatasaray in the group stage.


title: Robert Enke

text: The following season, as Frank Rijkaard replaced Louis van Gaal as coach, Enke was loaned out to Turkish side Fenerbahçe – then managed by German coach Christoph Daum – as part of the deal that saw Rüştü Reçber move to the Spanish club. However, his career continued to stall as he managed to play just a solitary game there, a traumatic 0–3 defeat to Istanbulspor on 10 August 2003. His own fans pelted him with firelighters and bottles during the game, blaming him for this bitter defeat. These scenes caused Enke to immediately quit the club and his planned one-year loan and return to Spain. It was at this time that Enke suffered his first spell of depression, and led to his almost quitting football altogether.


title: Robert Enke

text: After a four-month spell back at Barcelona, but outside the first team squad, Enke dropped down to the Spanish Segunda División when he was loaned to CD Tenerife in January 2004 for the remainder of the season. Here, he enjoyed an upturn, performing strongly and winning acclaim from the fans and other clubs. Although he believed his career was destined to remain in the lower leagues, he left Tenerife to join Hannover 96 in the Bundesliga.


title: Robert Enke

text: Following his return to form at CD Tenerife, Enke returned to his homeland joining Bundesliga side Hannover 96 in July 2004 on a free transfer in an initial two-year deal. His career enjoyed its greatest success and stability, as he became firmly established as the club's first choice and was voted the best goalkeeper in the league by his fellow professionals in "kicker" magazine.


title: Robert Enke

text: Such form caused Enke to be linked with moves to larger clubs, particularly VfB Stuttgart. In December 2006, however, he ended this speculation by signing a contract extension with Hannover 96 until the end of the 2009–10 season. He was elected team captain by his teammates for the 2007–08 season, a role he would retain for the rest of his career. He again won the best goalkeeper award for the 2008–09 season, which would tragically prove to be his final full campaign.


title: Robert Enke

text: Enke played 180 times for Hannover 96 in total. He made the final appearance of his career on 8 November 2009 in a 2–2 draw at home to Hamburg, just two days before his death.


title: Robert Enke

text: Enke first represented his country in 1997 whilst playing for Borussia Mönchengladbach, winning a place in the German Under-21 side and retained the number one jersey for the remainder of the season, playing 15 times in total. His performances there convinced former national team coach Erich Ribbeck to include him in the squad for the 1999 Confederations Cup, although he did not feature in any games.


title: Robert Enke

text: His international career then stalled when he left Germany and he was not considered again until his return to the Bundesliga. The growing acclaim he enjoyed after saw him in contention for the 2006 FIFA World Cup squad, under Jürgen Klinsmann, although he missed out ultimately. He succeeded in breaking into the squad shortly after, under new coach Joachim Löw, in being chosen for a friendly against Georgia, and, after first choice Jens Lehmann caught the flu, again against Cyprus.


title: Robert Enke

text: He finally made his senior international debut for Germany in a 0–1 friendly defeat to Denmark in Duisburg on 28 March 2007. After further games, he was selected for their Euro 2008 squad which would compete in Austria and Switzerland. Enke was an unused substitute during the tournament that saw Germany finish as runners-up.


title: Robert Enke

text: With the international retirement of previous number one Jens Lehmann at Euro 2008, Enke was poised to make the position his own and played in several World Cup 2010 qualifiers. However, in October 2008, he broke the scaphoid of his left hand while training with the national team for a qualifier against Russia. After undergoing surgery, he was sidelined for two months, and was replaced by René Adler. Upon his return in January 2009, he again became the number one keeper in the national team.


title: Robert Enke

text: In September and October 2009, Enke was again out of action for several weeks. The reason given to the Hannover 96 coaching was an intestinal infection campylobacter, although it is revealed in Ronald Reng's book "A Life Too Short: The Tragic Story of Robert Enke" that this was only partly true and in fact Enke's depression had returned. He did not return to football until late October, as a result of which he was not called up for a friendly against Chile for which the national team was preparing when he died. This game was subsequently called off as a mark of respect to Enke. Prior to his death, Enke was expected to be Germany's number one goalkeeper at the 2010 World Cup, ahead of Manuel Neuer.


title: Robert Enke

text: He died having won eight full international caps. His final international appearance came on 12 August 2009 when he kept a clean sheet against Azerbaijan.


title: Robert Enke

text: Enke was married to former modern pentathlete Teresa Reim and had a daughter, Lara, who was born with a heart birth defect (hypoplastic left heart syndrome). She was rendered deaf by the drugs used to treat her heart problems. Her cochlear implant surgery was successful but she died in 2006 due to complications of her heart defects. In May 2009, they adopted a baby girl, Leila. Enke lived with his family on a small farm in Empede, near Neustadt am Rübenberge, until his death in November 2009.


title: Robert Enke

text: On the night of 10 November 2009, at the age of 32, Enke died by suicide, standing in front of a regional express train at a level crossing in Eilvese, Neustadt am Rübenberge. Police confirmed a suicide note was discovered but would not publicise its details. His widow, Teresa, revealed that her husband had been suffering from depression for six years and was treated by a psychiatrist. After the death of his daughter Lara in 2006, he struggled to cope with the loss.


title: Robert Enke

text: Many fans immediately flocked to Hannover 96's AWD-Arena home to lay flowers and light candles and sign the book of condolences upon news breaking. His former club Barcelona held a minute's silence before their game that night, and several international matches the following weekend paid the same tribute. As a mark of respect, the German national team cancelled their friendly match against Chile which had been scheduled for 14 November. A minute's silence was also held at all Bundesliga games during 21–22 November 2009 and at Benfica's game in the Cup of Portugal. Germany also cancelled a planned training session and all interviews after his death. Oliver Bierhoff, the national team's general manager, said: "We are all shocked. We are lost for words."


title: Robert Enke

text: On 15 November 2009, nearly 40,000 attendees filled the AWD-Arena for his memorial service. Enke's coffin, covered in white roses, was carried by six of his Hannover 96 teammates. He was then buried in Neustadt, outside Hannover, next to his daughter's grave. As a further mark of respect for their former team mate, the players of Hannover 96 displayed the number one in a circle on the breast of their jerseys, as approved by the DFL as a subtle tribute, for the rest of the 2009–10 Bundesliga season.


title: Robert Enke

text: The German Football Association, Hannover 96 and the Deutsche Fußball Liga participated in a foundation in memory of Enke. The Robert Enke Foundation deals primarily with mental health of players.


title: Google data centers

text: Google data centers are the large data center facilities Google uses to provide their services, which combine large drives, computer nodes organized in aisles of racks, internal and external networking, environmental controls (mainly cooling and humidification control), and operations software (especially as concerns load balancing and fault tolerance).


title: Google data centers

text: There is no official data on how many servers are in Google data centers, but Gartner estimated in a July 2016 report that Google at the time had 2.5 million servers. This number is changing as the company expands capacity and refreshes its hardware.


title: Semi-Charmed Life

text: "Semi-Charmed Life" is a song by American rock band Third Eye Blind from their eponymous debut studio album (1997). It was released to radio as the lead single from the album on February 18, 1997, by Elektra Records. Frontman Stephan Jenkins is credited as the sole writer of the song, although guitarist Kevin Cadogan has disputed the song's authorship through litigation. Production on the song was helmed by Jenkins and Eric Valentine. According to Jenkins, the song is about a crystal meth addiction and the feeling that "your life is always about to change and never be reliable."


title: Semi-Charmed Life

text: The song was recorded and mixed in and around San Francisco at Toast Studios, Skywalker Ranch, H.O.S., and The Site by Valentine. "Semi-Charmed Life" was one of the first demos recorded for "Third Eye Blind" and the song went through five iterations before the band settled on its final version. An alternative rock and power pop song with a rap-influenced singing style, the song's "doo, doo, doot" refrain was directly inspired by Lou Reed's "Walk on the Wild Side". The instrumentation used in the song includes guitars, brushes, and a drum machine. The concept of the song was developed through Jenkins' observations of friends using crystal meth at a Primus concert.


title: Semi-Charmed Life

text: "Semi-Charmed Life" received positive reviews from music critics, who praised the radio-friendly nature of the song and considered it a quintessential Nineties track. Some reviewers, however, felt that the hook was crafted in a manner that would quickly become tiresome. The song peaked at number four on the US "Billboard" Hot 100, giving Third Eye Blind their first entry on the chart. Internationally, "Semi-Charmed Life" was a top 40 hit in six countries. The song remains Third Eye Blind's most successful single, being certified gold by the Recording Industry Association of America (RIAA) and peaking at number 53 on the all-time US "Billboard" Mainstream Top 40 chart.


title: Semi-Charmed Life

text: Frontman Stephan Jenkins is credited as the sole songwriter of "Semi-Charmed Life". Jenkins intended to write a song that acted as a San Francisco response to Lou Reed's "Walk on the Wild Side", with the "doo, doo, doot" chants present throughout the song being directly inspired by Reed's song. In regards to the song's style, Jenkins explained that it was meant to reflect changes that occurred in the San Francisco music scene at the time, particularly a growing interest in hip hop. In an interview with "Rolling Stone", Jenkins said that the concept of the song was developed through his observations of friends using crystal meth at a Primus concert. The juxtaposition of the music and lyrical content was intentional, as Jenkins intended to illustrate the "bright, shiny feeling" one gets when using crystal meth. Jenkins, however, maintains that the meaning of the song more broadly relates to changing periods in one's life. He further explained the meaning of the song:


title: Semi-Charmed Life

text: It's about living in the Lower Haight [in San Francisco] and all the machinations that were going on at a time where my friend group was finally out of the [educational] institutions that we'd been in our whole lives – because we’d all been in school since kindergarten and everybody now was in their early 20s and out of college. And then probably underneath that, also the weight of coming to terms with the kind of agony that your life is always about to change and never be reliable.


title: Semi-Charmed Life

text: The song was written well before Third Eye Blind was formed. During his time as a struggling musician in San Francisco, Jenkins recalled sitting in a room with future 4 Non Blondes singer and songwriter Linda Perry, who worked as a waitress down the street, performing their original compositions to one another. The two played each other early versions of "Semi-Charmed Life" and "What's Up?", both of which would later become massive hits for their respective bands. It would be decades later that Jenkins realized the songs performed in that private session would sell a combined 17 million records.


title: Semi-Charmed Life

text: Jenkins was initially against the decision to release "Semi-Charmed Life" as the lead single from "Third Eye Blind", as he did not believe that it was representative of the work as a whole. Guitarist Kevin Cadogan was concerned with the explicit lyrical content of the song, as he feared that radio stations would refuse to play the song. Elektra Records suggested that the band release "Semi-Charmed Life" as their debut single as opposed to "Losing a Whole Year", prompting the release of several radio edits of the song. Upon the song's success, Jenkins claimed that he believed most listeners misinterpreted the song to simply be a "happy summertime jam."


title: Semi-Charmed Life

text: Prior to the formation of Third Eye Blind, Jenkins was part of the rap duo Puck and Zen, alongside Detroit rapper Herman Anthony Chunn. With the assistance of manager Eric Godtland, Jenkins and Chunn made a $10,000 deal for Jenkins to acquire the rights to guitar riffs that Chunn wrote, which would later be incorporated into "Semi-Charmed Life". This deal gave Jenkins sole authorship of the song, with Jenkins commenting: "I kept going until it was my song. I had no idea where that song was going, but I bought [Chunn] out." In 2000, rumors circulated that guitarist Tony Fredianelli, who had previously auditioned for Third Eye Blind in 1993, had written the song's hook. When reached for comment by the "San Francisco Chronicle", producer Eric Valentine claimed that "Semi-Charmed Life" had "been around for many years. There are a lot of people who contributed to that tune and didn't get credit."


title: Semi-Charmed Life

text: On October 16, 2018, approximately a year after the 2017 reissue of "Third Eye Blind", Cadogan filed a lawsuit for infringement of copyright against Third Eye Blind and Jenkins. Despite being uncredited, Cadogan alleged that he was responsible for co-writing four songs on the album, including "Semi-Charmed Life", and thus was entitled to 25 percent of their profits, for which he had not been compensated. Cadogan also sought to establish authorship over the four songs in dispute. On August 21, 2019, the lawsuit was terminated through voluntary dismissal with prejudice.


title: Semi-Charmed Life

text: The recording sessions for "Semi-Charmed Life" took place in and around San Francisco, California at Toast Studios, Skywalker Ranch, and H.O.S. Production on the song was helmed by Jenkins and Eric Valentine, with Valentine also acting as a recording engineer. Valentine intentionally recorded the song without assistance from computers, opting to directly record the material onto tape machines. When speaking to "Billboard", Valentine described the recording sessions, stating that he would cut and edit the tapes, with "no fixing or changing anything." The song was recorded on a Neve 8038 mixing console, using Studer A800 MKIII and Ampex MM1200 tape recorders. Valentine was also responsible for the mixing of the track, which was made at The Site, H.O.S., and Toast Studios. Valentine mixed the song on a Neve 8078 mixing console, using a Studer A800 tape recorder. Ted Jensen mastered the track at Sterling Sound Studios in New York City, using a 3M 996 as the master tape. WEA was responsible for the manufacturing of the single on both compact disc and cassette tape.


title: Semi-Charmed Life

text: "Semi-Charmed Life" was one of six demos first recorded for "Third Eye Blind". Jenkins recorded five iterations of the song before settling on the final version, as he faced difficulty in getting the "groove" right. Bassist Arion Salazar described one of the earlier iterations as a "one-dimensional, acoustic guitar troubadour-y first position thing with basic guitar chords and some bohemian rapping," crediting Cadogan's contributions as having sonically balanced out the song. The song features multi-layered guitar textures using an Epiphone Casino, Hamer electric, Gibson J-200 acoustic, and a Gretsch Country Gentleman, all of which were centrally provided by Cadogan. An assortment of amps were also used in the recording process, including a Matchless 30 into a Mesa/Boogie 4x12 cabinet, a Mesa/Boogie Heartbreaker head, a Vox AC30 and a 69 Marshall plexi Super Lead head into a Marshall 4x12 loaded with 25-watt Greenback speakers. Brad Hargreaves used a Pearl Export snare drum in the composition of the track. Jenkins later claimed that the drum loops present in the final recording are the same ones used in the initial iteration of the song. A demo version of "Semi-Charmed Life" was later released on the 2017 reissue of "Third Eye Blind".


title: Semi-Charmed Life

text: "Semi-Charmed Life" is an alternative rock and power pop song, composed with a rap-influenced singing style. However, when writing the composition, Jenkins contends that he was more broadly influenced by hip hop music. The song incorporates "shoegazer and big guitar-chord soundscape musicality," as described by bassist Arion Salazar. Other musical instruments used are brushes and a drum machine. Reverb, wah-wah, tremolo and flange are also employed throughout the song in order to add "extra texture and sonic diversity." In "Semi-Charmed Life", Jenkins sings a refrain consisting of "doo, doo, doot" that was inspired by Lou Reed's 1972 single "Walk on the Wild Side", with Jenkins referring to "Semi-Charmed Life" as an answer song. "Semi-Charmed Life" opens with "loud guitars and a thudding rhythm section," which persists throughout the song. The verses are sung with a "hip-hop cadence," while the chorus is "[belted] out in [an] anthemic style."


title: Semi-Charmed Life

text: According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is written in the key of G major and is set in time signature of common time with a tempo of 104 beats per minute. Jenkins's vocal range spans three octaves, from G to C. The song has a sequence of G–D–C in both the verses and chorus and G–D–C–G/B–Am in the bridge, as its chord progression. The lyrics of "Semi-Charmed Life" carry a message of crystal meth addiction, inspired by the drug addictions that Jenkins witnessed from several of his friends. Jenkins explained in "Billboard" magazine that the juxtaposition between the melody and lyrics were intentional, as it was meant to represent "the seductiveness of speed." Jenkins further explained: "Speed's a very bright, shiny drug, and I wanted the song to sound like that, but I also wanted the frustration in there. So a real poetic decision is determining the music. That's why you have that bright, melodic chorus but also that dirty guitar sound."


title: Semi-Charmed Life

text: James Sullivan of "Rolling Stone" referred to the song as "[o]ne of the most relentlessly sunshine-y songs of the Nineties." Mark Jenkins of "The Washington Post" referred to the song as a "rap-inflected pop-rocker." He commented: "'Semi-Charmed Life' take[s] an infectious glee in reinventing rock that's simple, direct and yet epic." David Grad of "Entertainment Weekly" praised the radio-friendly nature of the song, calling it a "nice taste of Third Eye Blind's formula." Stephen Thomas Erlewine of AllMusic cited "Semi-Charmed Life" as evidence that Third Eye Blind can "craft a naggingly memorable hook." Also from AllMusic, Liana Jonas praised "Semi-Charmed Life" as an "infectious and buoyant rock song," commenting that the song's commercial success juxtaposed with its "blatant lyrics about oral sex and drug-induced highs ... goes to show the unpredictability of music-industry authorities." "Glamour" reviewer and senior editor Anna Moeslein cited "Semi-Charmed Life" as the best song of the 1990s, commenting that the "easy-breezy guitar and 'do do do!' intro still spark joy."


title: Semi-Charmed Life

text: According to Justin Joffe of Observer, the song is "both poppy and addressed some heavy shit," which gave the band "an edge over their radio-ready contemporaries that many would later imitate with less sincerity." Aidin Vaziri of the "San Francisco Chronicle" referred to "Semi-Charmed Life" as "possibly the catchiest song about casual sex and meth addiction ever." Andrew Chow of "Time" designated "Semi-Charmed Life" as a classic karaoke song. In a critical review, G.M. of "Spin" stated that the song has "an oil-slick groove endemic to studio hacks and scene-burnouts." Arielle Gordon of "Pitchfork" referred to the song as an "inescapable hit," further commenting: "[the song] sounds like feeling the sun on your skin after a long winter. The opening snap of the drums, the ringing power chords, and the wordless refrain seem to beam down from some impossibly halcyon era, as if Cheap Trick suddenly became the house band for "Schoolhouse Rock."" At the 1997 "Billboard" Music Awards, "Semi-Charmed Life" garnered Third Eye Blind a win in the Modern Rock Track category.


title: Semi-Charmed Life

text: In the United States, "Semi-Charmed Life" debuted at number 17 on the "Billboard" Hot 100 chart for the issue dated July 5, 1997. The song reached its peak after five weeks, peaking at number four for the issue dated August 9, 1997. The song spent a total of 43 weeks on the chart, with the week of April 25, 1998, being its final appearance on the chart. On both the Modern Rock Tracks and Mainstream Top 40 charts, the song reached a peak of number one. The song was also a success on the US Adult Alternative Songs and Adult Top 40 charts, peaking at number six and three, respectively. On the "Billboard" Hot 100 year-end chart, "Semi-Charmed Life" peaked at number 17 and 57 for 1997 and 1998, respectively. The song also peaked at number one on the year-end US Modern Rock Tracks chart. Almost four months after its release, "Semi-Charmed Life" was certified gold by the Recording Industry Association of America (RIAA) for sales of five hundred thousand. On the all-time Mainstream Top 40 chart, the song held a position of number 53.


title: Semi-Charmed Life

text: In Canada, "Semi-Charmed Life" peaked at number two on the Canada Top Singles chart for the issue dated August 4, 1997. The song placed at number 12 on the year-end chart while re-entering the chart at number 59 in 1998. On the Canada Rock/Alternative chart, "Semi-Charmed Life" peaked at number 3. The song also received considerable airplay in the country, with Nielsen Broadcast Data Systems (BDS) confirming that "Semi-Charmed Life" peaked at number 13 on the Canada Adult Contemporary chart. "Semi-Charmed Life" was also a success in Australia and the United Kingdom. The song debuted at number 49 on the Australian ARIA Singles Chart, and ascended to the number eight position nine weeks later. The song spent a total of 22 weeks on the chart in the country. "Semi-Charmed Life" was certified gold by the Australian Recording Industry Association (ARIA) for the shipment of 35,000 copies. In the United Kingdom, "Semi-Charmed Life" spent five weeks on the UK Singles Chart, peaking at number 33 for the issue dated September 27, 1997.


title: Semi-Charmed Life

text: The music video was directed by Jamie Morgan in the South of Market district of San Francisco, California. Third Eye Blind recruited Morgan to direct the music video after being impressed with his work on Bush's "Swallowed" music video. Jenkins and Cadogan provided the production costs for the music video, with Jenkins commenting that "DIY's [are] very important to us." A radio edit was also used in the video, in which the majority of the bridge is omitted in addition to the phrase "crystal meth" being removed through backmasking. Regarding the idea behind the music video, the band strived to capture an idealistic visual of San Francisco. In order to accomplish this task, Morgan recruited San Francisco residents to appear in the video. Morgan also explained that the ending shot of a moon landing was a reference to the MTV moonman logo, the MTV Generation, and "the idea of discovery and man's ability to wonder and explore." Morgan further expanded on the video's concept in an interview with "Billboard", stating:


title: Semi-Charmed Life

text: I found the scooter kids [for the video] driving around San Fran, and the same with the studio shots. [The band] told me they had friends, but when I arrived from London they didn't really have any, so I had to find them from the streets of San Francisco. They loved my first video [for Bush's "Swallowed,"] so that was the starting point for the two-day shoot. They just wanted me to come and shoot the San Francisco vibe, so I just made it up as we went along, and responded to the cast I found on the streets.


title: Semi-Charmed Life

text: The video starts with a satellite in outer space before quickly transitioning to an American flag patch on a man's leather jacket. With the refrain playing, the band members and a dog are shown driving a car on a highway. As the first verse begins, Jenkins walks down the sidewalk of a neighborhood in San Francisco while singing. He passes through an outdoor cafe as the video intercuts with scenes of people riding motorcycles. Once the first chorus begins, the video focuses on the band performing in a dimly lit room with a large spinning clock hanging behind them. As the refrain begins again, the video intercuts between scenes of the band performing and of them riding motorcycles throughout the city. Following these shots, Jenkins is shown to now be singing in front of a car parked alongside a strip, as intercuts play that focus on the faces of strangers surrounding Jenkins. The video also briefly focuses on two women kissing while walking on the sidewalk, before abruptly arguing. Once the second chorus begins, Jenkins begins to run through an alleyway while shots are also shown of the band continuing to perform. As the bridge ends, various people on scooters are shown to drive around the city. The band continues to perform while a group of young adults dance, argue, and kiss around them. The video ends with a shot of one of the women watching a moon landing on television, noticing that the American flag being planted is reminiscent of the patch in the beginning of the video.


title: Semi-Charmed Life

text: The song was regularly performed at shows during MTV's Campus Invasion Tour and the Bonfire Tour (1998), in addition to performances at local clubs and venues following the album's release. In 1998, Third Eye Blind and Smash Mouth jointly headlined a college-theater tour, in which "Semi-Charmed Life" was regularly performed. Similarly, "Semi-Charmed Life" was performed during the band's co-headlining amphitheater tour with the Goo Goo Dolls in 2002. On December 8, 1997, Third Eye Blind performed the song at the "Billboard" Music Awards. Due to the commercial success of "Semi-Charmed Life" and the follow-up single "Graduate", Third Eye Blind were offered the role of being an opening act for the Rolling Stones, U2, and Foo Fighters on their respective tours. The song was performed on the Summer Gods Tour (2017-2019), with a recording of the performance subsequently included on the live album "Summer Gods Tour Live 2017".


title: Semi-Charmed Life

text: In 1998, "Spin" asked Foo Fighters frontman Dave Grohl what lyric from 1997 he wishes he would have written; Grohl cited the refrain of "Semi-Charmed Life". In January 2022, Third Eye Blind collaborated with Smith & Cult on a line of nail polish, which included a color titled "Semi-Charmed" to celebrate the 25th anniversary of their debut album. Additionally, the band released an acoustic version of "Semi-Charmed Life" on "Unplugged" (2022).


title: Semi-Charmed Life

text: "Semi-Charmed Life" has been used in various media including film, television shows, and video games. The song had prominent appearances in "Contact" (1997), "Excess Baggage" (1997), "Wild Things" (1998), "Dirty Work" (1998), "Gigli" (2003), "Game Night" (2018), and "The Lovebirds" (2020). Despite not appearing on the film's soundtrack, "Semi-Charmed Life" was praised for its appearance in the 1999 teen sex comedy film "American Pie". The song was also featured on the soundtrack for the 2005 film "A Lot Like Love". The song is featured in the 2019 episode "Story Tank" of "Henry Danger". The song is sampled twice in the album Mouth Silence, most prominently in the track "Piss", which creates a mash-up the song with Rock Your Body and Tubthumping, along with other tracks, and replaces certain words in "Semi-Charmed Life" with a vocal sample of the word "Piss" from Tubthumping for comedic value. Additionally, a mash-up of "Semi-Charmed Life" and "Call Me Maybe" circulated on the Internet in the middle of 2012. A cover version of the song was featured in the video game "Alvin and the Chipmunks" (2007). "Semi-Charmed Life" also appears as a playable track in the music rhythm video game "" (2009) in addition to being downloadable content in "Rock Band 4" (2015) and "Rocksmith 2014" (2014). The song was used in the original theatrical trailer for Disney's "The Tigger Movie" (2000); a Disney spokeswoman said that she was not aware of the sexual content within the song's lyrics.


title: Semi-Charmed Life

text: Singers and bands of various genres have covered the song in their own style. American pop-rap duo Timeflies heavily sampled "Semi-Charmed Life" in their song "Semi-Charmed", which was released in November 2017. American rock band XEB, which consists of three of the founding members of Third Eye Blind, performed "Semi-Charmed Life" while touring in 2017. In October 2017, Mokita and Maty Noyes collaborated on the song "Goodbye", which repurposes the chorus of "Semi-Charmed Life". In 2018, American singer-songwriter Cassadee Pope referenced "Semi-Charmed Life" in her song "How I Feel Right Now". Dance Gavin Dance released a cover of the song on Hopeless Records' compilation album "Songs That Saved My Life" (2018). Four Year Strong released a cover of the song on their third studio album "Explains It All" (2009).


title: Official languages of the United Nations

text: The Official Languages of the United Nations are the six languages that are used in UN meetings and in which all official UN documents are written. In the six languages, four are the official language or national language of permanent members in the Security Council, while the remaining two are used due to the large number of their speakers. In alphabetical order of the Latin alphabet, they are:


text: These languages are used at meetings of various UN organs, particularly the General Assembly (Article 51 of its Rules of Procedure), the Economic and Social Council and the Security Council (Article 41 of its Rules of Procedure). Each representative of a country may speak in any one of these six languages or may speak in any language and provide interpretation into one of the six official languages. The UN provides simultaneous interpretation from the official language into the other five official languages, via the United Nations Interpretation Service.


text: The six official languages are also used for the dissemination of official documents. Generally, the texts in each of the six languages are equally authoritative. Most UN councils use all six languages as official and working languages; however, as of 2019 the United Nations Secretariat uses only two working languages: English and French.


text: The six official languages spoken at the UN are the first or second language of 2.8 billion people on the planet, less than half of the world population. The six languages are official languages in almost two-thirds of United Nations member states (over 120 states).


text: In 1920, the League of Nations was one of the first international institutions to promote the concept of international official languages to foster communication and spur global diplomacy in the aftermath of the brutality of World War I. The League of Nations selected English, French, and Spanish as official languages with English and French being the working languages. English and French were chosen due to the global reach of the British Empire and the French Empire. Spanish was selected due to the large number of first-language speakers in Latin America and the former Spanish Empire. There was an effort to select Esperanto as an additional language of the League but that was rejected.


text: In the 1940s, as the conclusion of World War II was nearing, the Allies held a multitude of conferences, including the London Declaration, the Arcadia Conference, the Cairo Conference, the Tehran Conference, the Yalta Conference and the Potsdam Conference. These conferences were meant to coordinate and plan the post-war world, including how to promote world peace in the aftermath of the war, how to facilitate of global communication through an international auxiliary language (such as Esperanto) or an existing group of languages, and how handle the decolonization of Africa and Asia. Additionally, these conferences led to the establishment of the United Nations as the successor of the League of Nations.


text: In 1945, this culminated in the Charter of the UN, its constituent document signed at the San Francisco Conference, which did not expressly provide for official languages. The Charter was initially enacted in five languages (Chinese, English, French, Russian, and Spanish). The United Nations selected these original five languages because in addition to being utilized by the League of Nations, they were also the de facto official languages of the major Allied nations, including the Big Four: the British Empire, the United States, the Soviet Union and the Republic of China plus French which was the language of France and the French colonies. These nations: the UK, the US, the USSR, Republic of China, and France, became the five Permanent Members of the UN Security Council. Unofficially, the UN held its operations in English and French; however, the Charter provided (in Article 111) that the five languages be equally authoritative.


text: In 1946, the first session of the United Nations General Assembly adopted rules of procedure concerning languages that purported to apply to "all the organs of the United Nations, other than the International Court of Justice", formally setting out five (5) official languages and two (2) working languages (English and French).


text: The following year, the second session of the General Assembly adopted permanent rules of procedure, Resolution 173 (II). The part of those rules relating to language closely followed the 1946 rules, except that the 1947 rules did not purport to apply to other UN organs, just the General Assembly. Meanwhile, a proposal had been in the works to add Spanish as a third working language in addition to English and French. This was adopted in Resolution 262 (III), passed on 11 December 1948.


text: In 1968, Russian was added as a working language of the General Assembly so that, of the GA's five official languages, four (all but Chinese) were working.


text: In 1973, the General Assembly made Chinese a working language and switched to using Simplified Chinese characters. They also added Arabic as both an official language and working language of the GA. Thus all six official languages were also working languages. Arabic was made an official and working language of "the General Assembly and its Main Committees", whereas the other five languages had status in all GA committees and subcommittees (not just the main committees). The Arab members of the UN had agreed to pay the costs of implementing the resolution, for three years.