title: Intelligent agent

text: Intelligent agents are applied as automated online assistants, where they function to perceive the needs of customers in order to perform individualized customer service. Such an agent may basically consist of a dialog system, an avatar, as well an expert system to provide specific expertise to the user. They can also be used to optimize coordination of human groups online. Hallerbach et al. discussed the application of agent-based approaches for the development and validation of automated driving systems via a digital twin of the vehicle-under-test and microscopic traffic simulation based on independent agents. Waymo has created a multi-agent simulation environment Carcraft to test algorithms for self-driving cars. It simulates traffic interactions between human drivers, pedestrians and automated vehicles. People's behavior is imitated by artificial agents based on data of real human behavior. The basic idea of using agent-based modeling to understand self-driving cars was discussed as early as 2003.


title: Intelligent agent

text: "Intelligent agent" is also often used as a vague marketing term, sometimes synonymous with "virtual personal assistant". Some 20th-century definitions characterize an agent as a program that aids a user or that acts on behalf of a user. These examples are known as software agents, and sometimes an "intelligent software agent" (that is, a software agent with intelligence) is referred to as an "intelligent agent".


title: Colin Blunstone

text: Colin Edward Michael Blunstone (born 24 June 1945) is an English singer, songwriter and musician. In a career spanning more than 60 years, Blunstone came to prominence in the mid-1960s as the lead singer of the English rock band the Zombies, which released four singles that entered the Top 75 charts in the United States during the 1960s, including "She's Not There", "Tell Her No", "She's Coming Home", and "Time of the Season". Blunstone began his solo career in 1969, releasing three singles under a pseudonym of Neil MacArthur. Since then, he has released ten studio albums under his real name. He appears on several albums with the Alan Parsons Project and sang "Old and Wise".


title: Colin Blunstone

text: Colin Edward Michael Blunstone was born on 24 June 1945, in Hatfield, Hertfordshire, England, only son of Arthur Blunstone, an aeronautical engineer at the De Havilland factory at Hatfield who later ran a hairdressing business before returning to work for De Havilland, and housewife Dorothy, a former dancer who also worked for De Havilland. Notwithstanding post-war privations, Blunstone recalled that although his family were not well-off, his parents never owning a car, they had a pleasant lifestyle in rural Hertfordshire. He noted that "as a band we gave off that aura of being middle-class... maybe a couple of the guys' families were comfortable, but the others' weren't. Because of where we came from we talk in a particular way. That... sounded a bit like BBC accents... My parents weren't wealthy at all. We may have been middle-class by aspiration, but not by income." He attended St Albans County Grammar School for Boys.


title: Colin Blunstone

text: Rod Argent, Paul Atkinson, and Hugh Grundy first played together at a jam on Easter 1961 in St Albans, Hertfordshire. Rod Argent wanted to form a band and initially asked his cousin Jim Rodford to join as a bass guitarist. Rodford was playing in local band called the Bluetones at the time, so declined. Blunstone and Paul Arnold joined in early 1961, while all five members were still at school. After they won a local contest, they recorded a demo as their prize. Rod Argent's song "She's Not There" got them a recording contract with Decca.


title: Colin Blunstone

text: Blunstone's voice was considered one of the main factors in making the Zombies' single, "She's Not There", a big hit worldwide. In 1968, the band broke up over management issues, shortly after completing the baroque pop classic album "Odessey and Oracle". Blunstone briefly worked as a clerk in the insurance business before resuming his musical career. In 1969, he signed with Deram and released three singles under the pseudonym of Neil MacArthur, including a re-make of "She's Not There", which charted in the UK.


title: Colin Blunstone

text: Blunstone gained success as a solo artist in 1972 with "Say You Don't Mind" (which peaked at number 15 in the UK chart and was written by future Paul McCartney and Wings member Denny Laine), and "I Don't Believe in Miracles" (which peaked at number 31 in the UK chart and written by Argent member Russ Ballard), both with string arrangements by Christopher Gunning. Additional minor hits followed with "How Could We Dare to Be Wrong" in early 1973 (which peaked at number 45 in the UK chart) and "The Tracks of My Tears" in 1982 (which peaked at number 60 in the UK chart).


title: Colin Blunstone

text: "One Year" (1971), produced by Chris White and Rod Argent was Blunstone's debut solo album, and included the song "Caroline Goodbye" about his break-up with the model and actress Caroline Munro. The album also featured new material written by Argent and White. This was followed by "Ennismore" and "Journey". He then signed a recording contract with Elton John's record label named The Rocket Record Company and released three studio albums: "Planes" (1976); "Never Even Thought" (1978); and "Late Nights in Soho" (1979) which was only released in Europe.


title: Colin Blunstone

text: Blunstone also contributed to Dave Stewart's hit cover version of "What Becomes of the Brokenhearted" (1980). He went on to appear on several albums by the Alan Parsons Project including "Eye in the Sky", where he sings the hit single "Old and Wise", and "Ammonia Avenue" ("Dancing on a Highwire"). In 1984, he joined with other Parsons musicians, most notably David Paton of PILOT/Parsons to form Keats.


title: Colin Blunstone

text: His ninth solo album "The Ghost of You And Me" was released in the UK, Benelux, and Scandinavia on 9 March 2009. Blunstone completed a twelve date UK tour, his first in several years. He continued to tour with Rod Argent as the Zombies, and the original surviving members of the band played four reunion concerts performing "Odessey and Oracle", in April 2009.


title: Colin Blunstone

text: In 2010, Sony released "Colin Blunstone Original Album Classics," a 3-disc boxed set featuring digitally re-mastered versions of Blunstone's solo albums "One Year," "Journey" and "Ennismore." The collection also includes two bonus tracks that were originally released as non-LP b-sides in UK.


title: Colin Blunstone

text: Blunstone continues to be active, occasionally in tours with 1960s bands such as Manfred Mann, often collaborating with Rod Argent. Some of his more recent albums are "As Far As I Can See", the mid-1990s "Echo Bridge" and "Out of the Shadows" (with Rod Argent).


title: Colin Blunstone

text: In 2004, Blunstone and Rod Argent recorded "As Far as I Can See...", a new album in the style of the Zombies. A later album and DVD "Colin Blunstone & Rod Argent of the Zombies Live at the Bloomsbury Theatre" were well received, as was their 2007 US tour. One critic wrote, "The Zombies, still led by original keyboard wizard Rod Argent and featuring the smoked-silk vocals of Colin Blunstone, is the best 60s band still touring which doesn't have Mick Jagger as a front man".


title: Colin Blunstone

text: Blunstone continued to tour with Argent as the Zombies, and in April 2009 the original surviving members of the band played four reunion concerts performing "Odessey and Oracle". Blunstone and Rod Argent decided to put together a touring band, perform live and release new material as The Zombies. Jim Rodford (Argent, The Kinks) was on bass, Steve Rodford on drums and Keith Airey on guitar. Airey left and was replaced by Tom Toomey. After the death of Jim Rodford in 2018, Soren Koch became the Zombies' new bass player. In a 2015 article for "PopMatters", journalist J.C. Maçek III quoted Argent about the Zombies' latest album "Still Got That Hunger". Argent said, ""Still Got That Hunger" is the first album that has really recaptured some of the resonance of feeling of a group. We're so tight as a group together now. And the whole process has become so organic that we're 100% happy with the Zombies name and rediscovering and playing all the old stuff and at the same time carving a new path forward which is also very, very important to us."


title: Colin Blunstone

text: In 2012, Blunstone participated in the unveiling of a Blue Plaque at the Blacksmith's Arms, a St. Albans pub where the Zombies met for their first rehearsal.


title: Colin Blunstone

text: Blunstone has appeared many times on radio and television shows in the UK and on soundtracks. He and his band performed several sessions for John Peel and Johnnie Walker, and on "the Old Grey Whistle Test" in 1971, where he performed live with a string quartet.


title: Colin Blunstone

text: Blunstone appeared in "The Savages" (2001) and "Keep the Aspidistra Flying" (1997) both as a singer. Other TV appearances include "The Dan and Dusty Show" (2004) as the Zombies, "Shindig! Presents British Invasion Vol. 2" (1992) also as the Zombies, and "Pop Quiz" (1982). His sole film part was in "Bunny Lake Is Missing" (1965), directed by Otto Preminger (as the Zombies) and starring Laurence Olivier.


title: Autechre

text: Autechre () is an English electronic music duo consisting of Rob Brown and Sean Booth, both from Rochdale, Greater Manchester. Formed in 1987, they are among the best known acts signed to UK electronic label Warp Records, through which all of Autechre's full-length albums have been released beginning with their 1993 debut "Incunabula". They gained initial recognition when they were featured on Warp's 1992 compilation "Artificial Intelligence.


title: Autechre

text: Influenced by styles such as 1980s electro and hip hop, the music of Autechre has evolved throughout their career from early, melodic techno recordings to later works often considered abstract and experimental, featuring complex composition and few stylistic conventions. Their work has been associated with the 1990s electronic genre known as intelligent dance music (IDM), though Booth has dismissed the label as "silly."


title: Autechre

text: Brown and Booth met through Manchester's graffiti scene in 1987 when they both lived in Rochdale. Heavily influenced by electro-funk, hip-hop, and acid house, they began trading mixtapes and then creating their own compositions while collecting a handful of cheap equipment, most notably a Casio SK-1 sampler and a Roland TR-606 drum machine. Their first release was "Lego Feet", a 12" recorded under an alias of the same name brought out by Manchester's Skam Records.


title: Autechre

text: Their first release as Autechre was the single "Cavity Job" in 1991, released on Hardcore Records. Booth and Brown pronounce the name Autechre with a Rochdale accent ( ). However, they have explained that the name can be pronounced in any way one sees fit. Booth said: "The first two letters were intentional, because there was an 'au' sound in the track, and the rest of the letters were bashed randomly on the keyboard. We had this track title for ages, and we had written it on a cassette, with some graphics. It looked good, and we began using it as our name."


title: Autechre

text: Two more tracks appeared in 1992 under the now finalised Autechre name, on the Warp Records compilation "Artificial Intelligence", part of the series of the same name. The compilation contained "The Egg", later reworked for their first full-length release under the title "Eggshell".


title: Autechre

text: Two hours of early material was broadcast live on NTS Radio during Warp's 30th anniversary weekend, called "Warp Tapes 89-93". It is distributed for free on Autechre's Bleep Store in digital audio format.


title: Autechre

text: In 1993 Warp released their debut album, "Incunabula", which became a surprise success, reaching the top of the UK Indie Chart. The album had a cool, calculated feel, with clear techno and electro roots, but also showed hints of the rhythmic flourishes and tuned percussion that would later become an important feature of their work. An EP of remixes of "Incunabula"'s "Basscadet" was released in 1994, with animated computer graphics for the Bcdtmx version created by Jess Scott-Hunter. This music video featured on MTV Europe's Party Zone when Autechre were interviewed during the show in September that year. 1994 also saw the release of "Amber", an album featuring a more ambient, less percussive approach than their debut.


title: Autechre

text: The "Anti EP" was released shortly before "Amber" and is, as of yet, the only Autechre release to have an explicit purpose: it was a protest against the Criminal Justice and Public Order Act 1994, which would prohibit raves, defined as any gathering of nine or more people where rave music is played. Rave music was defined as music which "includes sounds wholly or predominantly characterized by the emission of a succession of repetitive beats". The record came wrapped in a seal, on which was printed a legal warning: "Flutter has been programmed in such a way that no bars contain identical beats and can therefore be played at both forty five and thirty three revolutions under the proposed new law. However we advise DJs to have a lawyer and musicologist present at all times to confirm the non repetitive nature of the music in the event of police harassment."


title: Autechre

text: In a 2008 interview with Pitchfork Media, Rob Brown mentioned that "Incunabula" and "Amber" retrospectively sounded "cheesy". Brown later clarified that "they were perhaps more simple, but not in a shit way."


title: Autechre

text: 1995 saw the release of "Tri Repetae", their third album, as well as the EPs "Anvil Vapre" and "Garbage", featuring a monochrome cover designed by The Designers Republic, with whom Autechre have long held a close association. "Tri Repetae" and its associated EPs were combined into a two disc set entitled "Tri Repetae++", which was released in the United States. An official promotional video was created for "Second Bad Vilbel" from "Anvil Vapre" by English visual artist Chris Cunningham (his first). The "Second Bad Vilbel" video featured rapidly cut shots of industrial machinery and robotic movement, synchronised with the music. Cunningham later re-edited the video in 2002, following his disappointment with the original: "It was intended to be completely abstract but it didn't quite work out that way". A two track vinyl-only EP entitled "We R Are Why", was available to buy during certain concerts and via mail order during 1996. Also in 1995, Autechre's track "Nonima" was featured on "Mind The Gap Volume 5", a Belgian compilation of electronic music.


title: Autechre

text: Autechre released three records in 1997: the full length "Chiastic Slide", and the EPs "Envane", and "Cichlisuite" (pronounced "sickly sweet"). The latter EP consists of five remixed versions of "Cichli" from "Chiastic Slide". "Radio Mix" was also released in 1997; a rare CD-only promotional recording, it contains an hour-long DJ mix of other artists' tracks, some of them remixed by Autechre, as well as a short interview edited sometimes to the point of incomprehensibility.


title: Autechre

text: An untitled record (typically known as "LP5" or simply "Autechre") followed in 1998. It has been seen as a transitional work, with Brown commenting in 2005 that "a lot of people have cited it as a classic Autechre album because it bridges the gap between the guys who liked our old stuff and the guys who got propelled on to our new stuff."


title: Autechre

text: 1999 saw the release of their first Peel session EP, consisting of three tracks broadcast on John Peel's show for BBC Radio 1 in October 1995, as well as a vinyl-only limited edition promotional EP entitled "Splitrmx12". 1999 also saw "EP7", which is classed by the group as an EP despite being over an hour in length.


title: Autechre

text: The new millennium brought about a drastic change in Autechre's style, demonstrated by "Confield" (2001) and "Draft 7.30" (2003), as well as the "Gantz Graf" EP (2002). The title track from "Gantz Graf" inspired an iconic video by British designer Alex Rutterford, featuring an object (or an agglomeration of objects) synchronised to the music as it morphs, pulsates, shakes, and finally dissolves. Rutterford, who had previously created an unofficial video for the "Tri Repetae" track "Eutow" as part of the Channel 4 music programme "Lo-Fi" in 2001, claimed the idea for the "Gantz Graf" video came during one of his LSD trips. The second Autechre Peel session EP was also released in 2002, containing four tracks broadcast in 1999, named by John Peel himself. Autechre released three collaborative albums with Andrew M. McKenzie's Hafler Trio collective during the following five years (see collaborations).


title: Autechre

text: Metacritic rated the critical reviews to "Confield" as "universal acclaim". According to Sean Booth, "most of "Confield" came out of experiments with Max that weren't really applicable in a club environment." In contrast, 2003's "Draft 7.30" was seen by some as an easier record to grasp. Booth stated in an interview around the release of "Draft 7.30" that "[rhythm] doesn't seem to limit us in the way it did when we first started. Now I think we just get it, we're totally fluent in it and can be more expressive."


title: Autechre

text: "Untilted" (a play on the word "untitled"), the duo's eighth album, was released in 2005. It roughly continued the sound of their previous two LPs, though featured compositions that mutated greatly during their duration, typically alternating between passages of ambience and heavily processed, precise beats, such as on "Ipacial Section". Its final track, "Sublimit", is at almost sixteen minutes; Autechre's longest composition to feature on any of their albums until 2016's elseq 1-5. The release of "Untilted" was followed by a two-month tour that took the group around Europe, America and Japan, but withdrew them from studio work for an unusual length of time. The outcome of this, coupled with a forced change in studio setup, was a gap of three years between releases, longer than ever before.


title: Autechre

text: Their ninth album, "Quaristice", was released in early 2008. In contrast to "Untilted", it is made up of twenty tracks, more than any other Autechre release, each typically around 2–5 minutes in length. The download-only "Quaristice.Quadrange.ep.ae" EP that accompanies it (as well as the "Versions" bonus disc and three tracks released exclusively through the Japanese iTunes Store) brings the total length of music released during their "Quaristice" era to over five hours. Among this is the hour-long "Perlence subrange 6-36" that closes the EP. Each track on "Quaristice" was edited down from lengthy improvised sessions between Booth and Brown, some of which were released in longer versions on "Quaristice. Quadrange.ep.ae". Although Sean Booth has stated that the FLAC release of "Quaristice" is the actual product, the album was also released by Warp Records as a double LP and a single CD as well as an elaborate two CD edition by Warp Records. Limited to only 1000 copies, and containing both the regular album and "Quaristice (Versions)", this special edition was packaged in a photo-etched steel case. It sold out within 12 hours of being announced.


title: Autechre

text: On 13 January 2010, Warp Records announced "Oversteps", Autechre's tenth album. Originally slated to be released in March, it was released a month early in digital form on Bleep.com to those who preordered it; the CD and deluxe vinyl editions were released on 22 March 2010. A two-month European tour occurred in support of the album, followed by limited shows in Japan and Australia, the latter breaking a 15-year absence. Autechre then compiled a mix for the magazine "FACT", released in February of the same year, that consisted of tracks by artists such as J Dilla and Necrophagist. On 25 May 2010, Warp Records announced the ten track "Move of Ten", an EP by the duo in conjunction with the release of "Oversteps". The digipack CD and the two 12" vinyl version, as well as a digital download, was released on 12 July 2010.


title: Autechre

text: In April 2011 a boxset of EPs entitled "EPs 1991 – 2002" (excluding "Move of Ten") was released, with artwork from the Designers Republic. It includes a CD copy of their debut EP, "Cavity Job", the first time it has been released on the format. In 2011 as part of Warp's 'Made in Japan' relief concert for the victims of the 2011 Sendai earthquake, an eleven-minute piece was released entitled '6852', possibly part of a previous live recording.


title: Autechre

text: The eleventh studio album entitled "Exai" was released on 5 March 2013, having been available for download from the official website as of Valentine's Day, 14 February 2013. The duo announced their 14th EP L-Event on 17 September 2013, which was released on 28 October 2013.


title: Autechre

text: During 2015, the duo embarked on a tour across North America, marketed as AENA. The tour was officially announced on the Warp Records website on 25 May 2015 but promotional material (specifically the logos for the upcoming tour) can be found that was released on 13 August 2014. On 29 October 2015 members of the Autechre mailing list were given invite-only permission to download a live recording from the duo titled "", a collection of 4 hour-long soundboard recordings of a series of concerts that took place in 2014. On 1 November 2015 a Bleep.com substore opened up giving the public the ability to purchase and download the collection.


title: Autechre

text: On 13 May 2016 a new Autechre track by the title of "feed1" was played on Tom Ravenscroft's late evening show on BBC 6 Music after an announcement made on the Warp Records Twitter feed which was accompanied by a piece of geometric album art. On 18 May 2016 a second new track was played on KSUA, an Alaskan student radio station, again announced in a tweet by Warp. Afterwards, Warp released the snippet of the Autechre song on their soundcloud under the title "c16 deep tread". On 19 May 2016, their twelfth studio album, "elseq 1-5", on Autechre's AE_STORE_ page. Warp Records have stated that there are no plans to release the album on a physical medium, making the album Autechre's first digital-only studio album release.


title: Autechre

text: On 6 April 2018, a livestream of new material was broadcast on NTS Radio, marking the first of four live streams released every week of the month. On 9 April 2018, it was unveiled that the sessions, totalling eight hours of material, would be packaged and released as "NTS Sessions 1–4" with a listing on the AE_STORE, including 12xLP and 8xCD boxsets. The livestreams coincided with the announcement of live sets in Japan and Australia, including their first ever performance in Tasmania at the Dark Mofo Festival.


title: Autechre

text: In November 2018, Richard Devine joined the user chat room of the electronic music forum We Are The Music Makers and hinted at an easter egg on the AE_STORE website. Following a partially hidden link, the user could download instrument parameter files for Elektron's hardware which Autechre used for the 2008 Quaristice tour. When loaded into a Monomachine or Machinedrum these files allowed the user to create their own Quaristice tour soundboard.


title: Autechre

text: On 1 September 2020 Warp Records announced that fans should sign up to the Autechre mailing list. The following day Autechre announced their next album "SIGN", which was released on 16 October 2020.


title: Autechre

text: In 2020 interviews, the duo stated that they started recording material for "SIGN" from the summer of 2018, after their Australian tour, up to February that year. Booth remarked that the songs were more emotional than other works, and that this was the first album recorded off their revamped systems.


title: Autechre

text: Another album titled "PLUS" was surprise released digitally on 28 October, with physical and streaming releases planned on 20 November.


title: Autechre

text: A wide variety of influences have been noted as discernible in Autechre's music. The duo's roots in tagging, early hip-hop and electro music, and b-boy culture in general are still evident, with many reviews noting hip-hop rhythms—sometimes heavily obscured or processed, and sometimes explicit even in later work. All of Autechre's live webcasts have featured large amounts of early hip-hop and electro. In a review of "Oversteps", "The Wire" noted "Treale" as being "a reminder of Booth and Brown's musical apprenticeship as teenage B-boys". As Autechre's music and studio setup evolved, reviews started to note influences from farther afield; experiments in and generative synthesis, musique concrète, and FM synthesis drew comparisons with Iannis Xenakis, Karlheinz Stockhausen and Bernard Parmegiani from critics such as Paul Morley. The group have mentioned musique concrète composers Tod Dockstader and Edgard Varèse as influences. Autechre also cite Coil as a major influence, with an unfinished collaboration of unknown completeness occurring around the release of "LP5" and "EP7". Chris Richards of "The Washington Post" stated in 2015 that Autechre create "some of the most complicated music you could ever hope to drown in" and are "recognized as pioneers in experimental music". Autechre’s work has been described as “music that sounds like it designed itself, with audio fractals that change constantly like living organisms.”


title: Autechre

text: Booth and Brown record tracks collaboratively, but in separate studios with identical software and equipment. The process, as Booth describes in a 2020 interview with the New York Times, involves one sending a track to another, which is sent back with revisions before it is deemed finished. Brown remarks that, although they "behave differently, we sometimes try to achieve the same goal, but with greatly differing approaches (as) we really do get off on the fact that we’re on the same page most of the time.”


title: Autechre

text: Autechre use many different digital synths and a few analogue synths in their production, as well as analogue and digital drum machines, mixers, effects units and samplers. They have also made extensive use of a variety of computer based sequencers, software synthesisers, and other applications as a means of controlling those synths and processing the synthesised sounds. Much of the hardware and software they use has been customised by the band themselves. Autechre have also experimented in depth with development environments such as Max/MSP, and Kyma, amongst others, from 1997 onwards. From 2005 until 2009, they have used the Elektron Machinedrum and Monomachine, alongside Akai MPC and Nord Modular in their live performances. It has also been rumoured that Autechre have used military equipment in their work. In 2008, Sean Booth reported that if he were locked in a cell for a year with only one piece of software and one piece of hardware, he'd "probably take a copy of Digital Performer and an AKG C1000 microphone."


title: Autechre

text: Other machines that Autechre have repeatedly mentioned in interviews are appreciated for their interface and aesthetics as much as their sound, including the Roland TR-606 and MC-202, and the Nord Lead. According to the 2016 interview to Resident Advisor, both members haven't bought a piece of equipment "in the last 5 years", making MAX/MSP a primary production method, with Sean Booth stating that "in Max I can generally build the thing I need, and if I don't know how to do that it'll generally be worthwhile learning." Booth said that they use MAX as MIDI "only handles a limited set of information" and that instruments like the piano "separates the artist from the string."


title: Autechre

text: Both Booth and Brown are known to have been heavily involved with the majority of releases by the mysterious Gescom collective, although Booth admitted in an interview that around 20-30 musicians overall are connected with what he describes as an "umbrella project". Three elaborately packaged albums ("æ³o & h³æ", "æo³ & ³hæ", and "ha³oe & ah³eo") have been made by Autechre in collaboration with Andrew M. McKenzie's ongoing Hafler Trio project. These albums are significantly more minimal than any other Autechre release, featuring dense, claustrophobic and noisy drones. A track called "Elephant Gear", credited to both Autechre and Canadian breakcore musician Venetian Snares under the alias AEVSVS, was released on a compilation in tribute to Elektron co-founder Daniel Hansson, who died in a car accident. Autechre have collaborated with several artists for live performances, including Zoviet France, Fennesz and Roedelius "3. Telepathics Meh In-Sect Connection", an album by Sean Booth in collaboration with Mika Vainio of Pan Sonic and Kouhei Matsunaga, was released in early 2010.


title: Autechre

text: In 2009 they contributed a cover of an LFO song to the "Warp20" compilation, as well as having their song "Tilapia" covered by John Callaghan.


title: Autechre

text: The compilation CD "The Only Blip Hop Record You Will Ever Need, Vol.1", issued in 2002 by David Byrne's Luaka Bop Records, contains a cover version of "Gnit" performed by Marie + Scratch. It is performed using only human voice samples.


title: Autechre

text: The band Pink Freud has performed covers of several Autechre numbers, including Basscadet, Cichli, and Bike. These live performances are available on YouTube.


title: Autechre

text: Autechre helped initiate the All Tomorrow's Parties music festival in 2000, and curated the 2003 festival.


title: Autechre

text: Autechre have been involved with radio since their early days, originally spinning for IBC Radio, a Manchester pirate radio station in 1991, where they had their own show playing Belgian techno alongside their own demos. Later they would appear as part of Gescom for their weekly "Disengage" show on Manchester's Kiss FM.


title: Autechre

text: Autechre have streamed exceptionally long live DJ mixes as webcasts to coincide with the release of four albums so far:


title: Oberkommando des Heeres

text: The (; abbreviated OKH) was the high command of the Army of Nazi Germany. It was founded in 1935 as part of Adolf Hitler's rearmament of Germany. OKH was "de facto" the most important unit within the German war planning until the defeat at Moscow in December 1941.


title: Oberkommando des Heeres

text: During World War II, OKH had the responsibility of strategic planning of Armies and Army Groups. The General Staff of the OKH managed operational matters. Each German Army also had an Army High Command ( or AOK). The Armed Forces High Command () then took over this function for theatres other than the Eastern front.


title: Oberkommando des Heeres

text: The OKH commander held the title of Commander-in-chief of the Army (). After the Battle of Moscow, the OKH commander Field marshal Walther von Brauchitsch was removed from office, and Hitler appointed himself as Commander-in-Chief of the Army.


title: Oberkommando des Heeres

text: OKH had been independent until February 1938, when Hitler created the "Oberkommando der Wehrmacht" which, on paper, subordinated OKH to OKW. After a major crisis developed in the Battle of Moscow, von Brauchitsch was dismissed (partly because of his failing health), and Hitler appointed himself as head of the OKH. At the same time, he limited the OKH's authority to the Russian front, giving OKW direct authority over army units elsewhere. This enabled Hitler to declare that only he had complete awareness of Germany's strategic situation, should any general request a transfer of resources between the Russian front and another theatre of operations.


title: Oberkommando des Heeres

text: Although both OKW and OKH were headquartered in the Maybach complex in Nazi Germany, the functional and operational independence of both establishments were not lost on the respective staff during their tenure. Personnel at the compound remarked that even if Maybach 2 (the OKW complex) was completely destroyed, the OKH staff in Maybach 1 would scarcely notice. These camouflaged facilities, separated physically by a fence, also maintained structurally different mindsets towards their objectives.


title: Oberkommando des Heeres

text: On 28 April 1945 (two days before his suicide), Hitler formally subordinated OKH to OKW, giving the latter command of forces on the Eastern Front.


title: Oberkommando des Heeres

text: The Commander-in-Chief of the Army () was the head of the OKH and the German Army during the years of the Nazi regime.


title: Gregg Hughes

text: Gregg Hughes, better known by his air name Opie, is an American radio personality and podcast host best known as the former co-host of the "Opie and Anthony" radio show that aired from 1995 to 2014 with Anthony Cumia and comedian Jim Norton. From 2014 to 2016, Hughes and Norton stayed at SiriusXM as co-hosts of "Opie with Jim Norton". In October 2016, Hughes became the host of his own show, "The Opie Radio Show", which lasted until his firing, for filming an employee as he used the toilet, on July 7, 2017.


title: Gregg Hughes

text: On May 8, 2018, Hughes launched his new podcast, "The Opie Radio Podcast" on the Westwood One network. In June 2019 the relationship with Westwood One ended, but the podcast continued.


title: Gregg Hughes

text: Hughes was born into an Irish-American family and was raised in Centerport, New York, on Long Island; he has described his mother as "pretty strict". He gained the nickname "Opie" because of his childhood resemblance to Opie Taylor, a fictional character from "The Andy Griffith Show" portrayed by Ron Howard. In 1981, Hughes graduated from Harborfields High School in Greenlawn, New York; his yearbook lists basketball, the New York Islanders hockey team, skiing, and films as his interests. He wished for a career in radio, and graduated from State University of New York at Geneseo with a degree in communications. During his time studying, Hughes worked air shifts at the university radio station.


title: Gregg Hughes

text: After graduating from college, Hughes landed a job in the promotions department at WCMF in Rochester, New York, but soon moved to work on the station's morning show then hosted by Brother Wease. Hughes credits Wease as a mentor in developing his on-air personality and furthering his career. Hughes left WCMF to work the midnight to 6:00 a.m. shift at WUFX in Buffalo, New York. As the station was unsupervised during his shift, Hughes was able to develop his style further by performing more outrageous bits, like broadcasting from the roof of the station's building and interviewing passers-by on the street.


title: Gregg Hughes

text: Hughes's next job was at WBAB on Long Island as the host of "The Nighttime Attitude", a rock music show from 8:00 p.m. to midnight. In August 1994, Hughes held an O. J. Simpson song parody contest for listeners surrounding the outcome of Simpson's murder case. One of the participants was from a local band named Rotgut that featured Anthony Cumia as lead singer with his brother Joe on guitar. The two performed "Gonna Electric Shock O. J." sung to the tune of "(Sittin' On) The Dock of the Bay" by Otis Redding. The song became a hit on Hughes's show, and the two made their first appearance in September 1994 to perform the song live. Cumia made several more appearances soon after; in early 1995, he and Hughes decided to become a radio team.


title: Gregg Hughes

text: After Hughes produced an air check and had sent it to several radio stations, he and Cumia accepted an offer from WAAF in Boston to host afternoons. The show launched as "Opie and Anthony" on March 13, 1995. They remained in Boston until they were fired in April 1998 from WAAF for an April Fool's Day prank involving Mayor Thomas Menino. Opie and Anthony told their listeners the mayor had been killed in a car accident while transporting a young male Haitian prostitute.


title: Gregg Hughes

text: In June 1998, Hughes and Cumia were back on New York station WNEW-FM, where they became a top 10 afternoon drive show in New York by 2000. In 1999, Hughes considered leaving the show; however Anthony convinced him to stay, and bring Jim Norton on full-time as a go-between for their off air troubles. Anthony attributed these issues to his divorce and off-air personal troubles.


title: Gregg Hughes

text: In 2001, Opie and Anthony signed a syndication deal with Infinity to syndicate their show on 22 stations nationwide, including WBCN in Boston, longtime rival of WAAF.


title: Gregg Hughes

text: On August 15, 2002, during "Sex for Sam 3", comedian Paul Mecurio encouraged Brian Florence and Loretta Harper, a Virginia couple visiting Manhattan, to have anal sex in a vestibule at St. Patrick's Cathedral. Intense media scrutiny led to many demanding that Opie and Anthony be fired. Opie and Anthony broadcast the next day, but the show went into reruns the following week. On August 22, Infinity suspended Opie and Anthony for the duration of their contract and canceled the show.


title: Gregg Hughes

text: On April 24, 2006, Opie and Anthony announced that they had signed a deal with CBS Radio in which the first three hours of the show would be broadcast on nine of CBS's rock stations, the first official show airing April 26.


title: Gregg Hughes

text: On May 15, 2007, XM suspended Opie and Anthony for 30 days, in response to a broadcast featuring a homeless man brought into the studio. Opie and Anthony dubbed the man, who mentioned the possibility of raping Condoleezza Rice and Laura Bush, "Homeless Charlie". After the suspension they returned to their normal split schedule.


title: Gregg Hughes

text: Later on the same year, Opie gave a cake to a homeless person as a reward for a competition on his show. However, Opie decided to record himself stomping on the homeless man cake after he offered Opie a part of the cake.


title: Gregg Hughes

text: On March 9, 2009, Opie and Anthony were heard on FM for the last time, and spent much of the time discussing the impending format change, and how their services were "no longer needed" at the station. Their executive producer for the FM portion, Michael "Stuntbrain" Opelka, was fired the following day. Following their removal from FM, they returned to being exclusively heard on Sirius XM until Anthony's firing in July 2014.


title: Gregg Hughes

text: On July 3, 2014, Cumia was fired by SiriusXM, after making a series of tweets following an alleged off-air incident with a black woman on the street. Cumia tweeted that he was punched by the woman while attempting to take a picture in Times Square. The tweets were described by Sirius XM as "racially-charged and hate-filled".


title: Gregg Hughes

text: At the time of Cumia's firing SiriusXM made no comment as to Hughes's possible future with the company. Cumia gave his blessing for the Sirius XM show to continue without him, acknowledging Hughes and Norton's obligation to fulfill their contract with SiriusXM. A relaunched "Opie with Jim Norton Show" resumed on July 14, 2014 with Hughes and Norton discussing the incident and noting that The Opie and Anthony Channel was renamed Sirius XM Talk, along with various other alterations by the company in light of the firing. In October 2014, Hughes and Norton signed a new contract to continue the SiriusXM show, and the channel was re-branded to Opie Radio which was kept until January 2017.


title: Gregg Hughes

text: On October 3, 2016, Hughes announced his new weekday afternoon show on the Opie Radio channel from 3:00 p.m. to 6:00 p.m. Hughes was not happy with the move as he felt "blindsided" by Norton's decision to host the channel's morning program, "Jim Norton & Sam Roberts" with Sam Roberts. He claimed he was not informed of the news until the week previous, which is why he felt "so mad". "The Opie Radio Show" launched on October 4, 2016. During the first show, Hughes spoke to Cumia on the air for the first time in over two years.


title: Gregg Hughes

text: On July 6, 2017, Hughes was fired from SiriusXM for video taping talent booker Roland Campos while he was defecating in the Sirius XM restroom, as reported online. It came almost three years to the day of Cumia's firing. Later in the day, Hughes tweeted: "I can honestly say I have no idea exactly what's going on as I tweet this. More when I know." On July 7, Hughes confirmed his firing via a YouTube video, stating that he had not been allowed to say "Your mom's box", a phrase from "Opie and Anthony", on the air on his last shift, so he wrote it in the sand on the beach where he shot the video.


title: Gregg Hughes

text: On March 19, 2018, Hughes said that he had signed a contract with Westwood One to develop a podcast and a traditionally syndicated radio show for the network. On May 2, it was announced that the podcast would debut the following week with the first episode airing on May 9. In June 2019, Hughes announced that although his relationship with Westwood One had ended, the podcast would continue.


title: Gregg Hughes

text: In February 2001, Hughes and Cumia hosted "XFL Gameday", a half-hour pre-game show for Vince McMahon's startup football league that aired nationally on Saturday nights on select NBC affiliates prior to the evening's games. The show was taped on Wednesdays at the WWF's theme restaurant in Times Square and was open to the public. It featured analysis by WNBC sportscaster Bruce Beck and New York/New Jersey Hitmen head coach Rusty Tillman, but also featured plenty of raunch. One segment featured the hosts as chefs, inserting a cucumber in between two melons. The pair were almost banned from Giants Stadium for life during the filming of one episode when they imitated a proposed XFL rule where first possession was determined by placing the ball at midfield and having two opposing team-members attempt to get it. They did this as "God Bless America" began to play before a game. They said that the $100,000 cost of making each new show was the cause of its demise, though no official reason was given for its cancellation.


title: Gregg Hughes

text: The pair released a compilation of segments from their show that aired on WAAF on a CD entitled "Demented World" in November 1997.


title: Gregg Hughes

text: The Traveling Virus was a comedy tour headlined by Hughes and Cumia, as well as friends of the show, that had shows in various cities during 2006, 2007, and 2008.


title: Gregg Hughes

text: On the morning of March 26, 2008, Hughes and Cumia revealed they had taped a pilot for Comedy Central. The show was titled "Search & Destroy" and features teams of comedians performing various tasks throughout New York City. Comedy Central did not pick the show up; the two believed that it may have been too graphic even for cable television.


title: Gregg Hughes

text: In 2004, Hughes began to date Lynsi Smigo. The two met during an event in Philadelphia to promote the return of "Opie and Anthony" on XM. On September 5, 2007, Hughes announced their engagement; the two married on November 22, 2008. They have two children and the family lives in New York City.


title: Gregg Hughes

text: In 2008, the couple sued "Steppin' Out" magazine columnist Chaunce Hayden for $10 million. Hayden had claimed in his column to have become aware of the existence of a sex tape of Smigo and Bam Margera, a claim he later retracted. On March 16, 2010, the lawsuit was dismissed as the judge ruled that the original news story was newsworthy, noting that all parties had agreed that no sex tape actually existed.


title: Enzo Francescoli

text: Enzo Francescoli Uriarte (; born 12 November 1961), nicknamed "El Príncipe" ("The Prince"), is a Uruguayan former footballer who played as a attacking midfielder. He is regarded as one of the best playmakers of his generation and as one of Uruguay's and South America's greatest ever players.


title: Enzo Francescoli

text: At club level, Francescoli began his career with Uruguayan club Wanderers. In neighbouring Argentina, he played for River Plate. He was the leading scorer and a key player for the club's second Copa Libertadores title. Francescoli won a total of five Argentine titles in the six years in which he played for the club. He also enjoyed success in France with Racing Paris and Marseille, where his performances proved decisive as the team won the 1989–90 French Division 1. He later also had spells in Italy with Cagliari and Torino, before returning to River Plate, where he ended his career.


title: Enzo Francescoli

text: He was considered an elite playmaker in the Uruguay national team. He played 73 times for the "Celeste" between 1982 and his retirement in 1997, making him the most capped outfield player in Uruguayan international football at the time. He represented his nation at two FIFA World Cups, in 1986 and 1990, also winning the Copa América in 1983, 1987 and 1995.


title: Enzo Francescoli

text: Francescoli was the only Uruguayan included by Pelé in the FIFA 100 list of the world's greatest living footballers in 2004, and he was also elected by the International Federation of Football History & Statistics as the sixth-greatest Uruguayan player and the 24th greatest South American player of the 20th century.


title: Enzo Francescoli

text: Francescoli was born in Montevideo into a family of Italian origin. Since childhood, he was known as a shy and reserved person who spoke little and, in what he regarded as a virtue, was very observant, being regarded by those who knew him as very kind inside and outside football. Due to his slender frame, he was nicknamed ""El Flaco"" ("The Skinny One").


title: Enzo Francescoli

text: As a young fan of Peñarol, Francescoli passed a try-out but did not join, unimpressed by the lack of playing time. Despite another successful try-out with South American powerhouse River Plate, which he would later join in 1983, he chose to stay at his high school football team while completing his studies, winning five championships.


title: Enzo Francescoli

text: In his last year of high school, he received an offer from his hometown club Montevideo Wanderers and joined after graduating. In 1980, he debuted with the Wanderers first team, achieving their best position since their fourth and last national title in 1931, a second-place finish. His elegant behaviour and playing style earned him the nickname ""El Príncipe"" ("The Prince"), a nickname inherited from Hannibal Ciocca, a former Wanderers player. He developed the habit of chewing gum during games in order to avoid dryness in his mouth. He stated he became so dependent on the habit that he did not feel right when he did not have any gum before games.


title: Enzo Francescoli

text: In the Uruguayan Primera División in 1981, Francescoli performed well for the team, which finished only behind Peñarol and Nacional. In February 1982, he made his debut for the Uruguay national team. Later that year, he made his Copa Libertadores debut, ironically after his worst result with the Wanderers in the national championship, a fifth-place finish.


title: Enzo Francescoli

text: Vying for a place with his team in the 1983 Copa Libertadores, Francescoli and his team, which included other notable players such as Jorge Barrios, Luis Alberto Acosta, Raúl Esnal and Ariel Krasouski, had a respectable season, finishing first in their group, tied with Nacional, and were only eliminated from the tournament in the quarterfinal play-off match.


title: Enzo Francescoli

text: After Francescoli won the 1983 Copa América with Uruguay, River Plate signed him later that year for $310,000. The following year, Francescoli was unable to show his potential, splitting time with other players. He saw more playing time towards the end of the season when the team reached the Argentine final, but was defeated 3–0 by Ferro Carril Oeste. Nevertheless, Francescoli, was voted the best South American footballer of 1984 for his performances for River Plate and the Uruguay national team, featuring alongside players such as Nelson Gutiérrez and Antonio Alzamendi, among others. Eager to excel with River Plate, Francescoli rejected an offer from América de Cali (later found to be funded by the Cali Cartel) which was doing well that year and would go on to become the Copa Libertadores runners-up between 1985 and 1987.


title: Enzo Francescoli

text: Although the team did not win the championship in 1985, Francescoli was voted Argentina's best player, the first foreign player to be given the honour. He finally won the Argentine title with River Plate the next season, claiming the 1985–86 Championship which had been re-established as a single tournament. He ended the season as top scorer with 25 goals, three of which came in a 5–4 victory against Argentinos Juniors for the championship match and qualified for the Copa Libertadores. In January 1986, he scored his most famous goal: a decisive bicycle kick which gave River Plate a victory over the Poland national team in a friendly tournament organized by the five largest Argentine clubs.


title: Enzo Francescoli

text: After winning the Argentine title, Francescoli moved to Europe, where he was signed by Racing Paris, who had just been promoted from the French Second Division. Nantes was willing to pay $2.5 million for his contract, but River Plate's president at the time, Hugo Santilli, believed Francescoli could fetch a better price.


title: Enzo Francescoli

text: Francescoli began his European career with Racing Paris in 1986, a long established team which had been in a slump since the 1950s and had recently started a rivalry with its growing neighbour, Paris Saint-Germain founded in 1970, which had won the French title the previous season. Automotive company Matra decided to sponsor the team, which resulted in the name being changed to Matra Racing in 1987. Seeking to dominate the 1993 Ligue 1, the domestic cups and qualify for the UEFA Champions League, automobile company magnate Jean-Luc Lagardère later provided funding to the club, allowing the team to sign footballers Luis Fernández, Maxime Bossis, Thierry Tusseau, Pierre Littbarski, David Ginola, Sonny Silooy, Eugène Ekéké and Uruguayan Rubén Paz. In Francescoli's first season, the team managed to finish 13th overall in part due to Francescoli's 14 goals, which made him one of the league's top scorers that season.


title: Enzo Francescoli

text: Francescoli became a team idol and in 1987 was elected the best foreign player in France. For the 1987–88 season, Portuguese coach Artur Jorge, who had previously won the European Cup, was brought to the team. Francescoli would later describe Artur Jorge as the best coach he had worked with throughout his career. Matra Racing had been struggling to reach the top of the table, alternating between third and second place from the second half of the season onwards. However, after a series of matches, the team stood 11 points behind Monaco. Francescoli scored eight times in the league, finishing once again as the club's top scorer. During this period, he received an offer from Juventus due to the untimely retirement of its captain and star player Michel Platini in 1987, although Francescoli refused the offer. Francescoli finished the 1988–89 championship as the club's top scorer for the third consecutive season, and avoiding relegation.


title: Enzo Francescoli

text: The sub-par season of Matra Racing did not prevent Francescoli from being seen as a star worldwide. In March 1989, he earned a spot on the Uruguayan international team that played against the Brazil national team in an international friendly in Brazil that marked Zico's retirement, scoring one of his team's goals in a 2–1 victory. However, domestically he had suffered several disappointments and was frustrated by his team's lack of success in the Coupe de France. Racing soon filed for bankruptcy and left the French League, losing its spot to their financially sound cross-city rivals Paris Saint-Germain.


title: Enzo Francescoli

text: Francescoli transferred to Marseille in 1989. He spent only one season with the club, where he won the 1989–90 French Division 1 title, scoring 11 goals in 28 appearances, and grabbed the attention of an important fan, Zinedine Zidane. Francescoli was sorely missed by his former team Racing, which, in his absence, was unable to avoid relegation. Ironically, Francescoli faced his former club in the semi-finals of the Coupe de France. Racing won the match, although under odd circumstances: with eight minutes remaining, Francescoli scored a goal which would have tied the match, although it was disallowed due to a technicality, and Marseille eventually lost 3–2. Francescoli also helped Marseille to the semi-finals of the 1989–90 European Cup.


title: Enzo Francescoli

text: After the 1990 World Cup in Italy, in which Uruguay had been eliminated by the hosts in the round of 16, Francescoli moved to the Italian Serie A, and along with international teammates José Herrera and Daniel Fonseca, was signed by Cagliari. He initially struggled to find form with his new club, playing in a deeper midfield role, as Cagliari fought against relegation during his first two seasons. Due to his deeper playing position, Francescoli's goalscoring output suffered, and he was far less prolific as he totalled just four goals in the 1990–91 season, and six in the 1991–92 Serie A season. Cagliari avoided relegation on both occasions, but were eliminated in the first round of the 1991–92 Coppa Italia.


title: Enzo Francescoli

text: Francescoli's third season in Italy was by far his best. In the Coppa Italia, he scored three goals before the team was eliminated in the quarter-finals against Fabio Capello's Milan, which conquered the league title that year. In Serie A, Cagliari earned a surprising sixth place, earning a spot in the UEFA Cup, with Francescoli scoring seven league goals, his personal best in a single Serie A season. In total, Francescoli managed 17 goals in 98 league appearances for Cagliari. Due to his key performances, he is regarded as one of the club's greatest ever players, and was included in the Cagliari Hall of Fame, and in the club's best ever starting XI.


title: Enzo Francescoli

text: In 1993, Francescoli accepted an offer from Turin side Torino, the most recent winner of the Coppa Italia.


title: Enzo Francescoli

text: The 1993 Supercoppa Italiana final was the closest Francescoli ever came to winning a trophy during his time in Italy, as Torino ultimately lost the title to Milan. With Francescoli, Torino came close to defending the title the following season, but the club was defeated by Ancona in a semi-final upset. However, the club's Serie A campaign was more heavily contested. After initially fighting against relegation, Torino climbed the table to clinch a spot in the next season's UEFA Cup, earning four points more than the required amount to qualify for the tournament. In the European Cup Winners' Cup, for which they had qualified the previous season as the 1993 Italian Cup champions, Torino reached the quarter-finals, only to be eliminated by eventual champions Arsenal. Despite a successful season for the team, Francescoli did not perform as well as in previous seasons, from an individual standpoint, as he only scored three goals in 24 appearances, his lowest tally during his four seasons in the Italian league.


title: Enzo Francescoli

text: In 1994, at age 33, after an uninspiring season with Torino, Francescoli decided to return to Argentina to play for former team River Plate, where he had previously played his best football. Despite his age, he was determined to prove that he could still compete at the top level, and performed well in the Apertura championship with the team that year (the Argentine season returned to being divided into two separate tournaments, Apertura and Clausura, in 1990–91). The season also marked the first time River Plate had managed to become undefeated champions.


title: Enzo Francescoli

text: The team had a less exciting season in 1995, finishing tenth in the Clausura, and seventh in the Apertura, while suffering a semifinal elimination against Colombia's Atlético Nacional in the Copa Libertadores. The team was eventually eliminated in the semi-finals by eventual champions Independiente in the Copa Libertadores, in which Francescoli played as striker. That year, he was voted South American Player of the Year and he also received the title of Argentine Player of the Year, ten years after first receiving it.


title: Enzo Francescoli

text: The next year, Francescoli retired from the "Celeste" to devote himself entirely to River Plate at club level, recapturing his best form, scoring 19 goals in total. The 1996 season was his most important as Francescoli led a young, talented, yet inexperienced team that included Ariel Ortega, Matías Almeyda, Juan Pablo Sorín, Hernán Crespo and Marcelo Gallardo to win the 1996 Copa Libertadores title, and his second league title, briefly tying the record of 15 titles set by rivals Boca Juniors.


title: Enzo Francescoli

text: Francescoli finished his season with River Plate with a defeat in the 1996 Intercontinental Cup final against Italian side Juventus. River Plate had the chance to equal Boca Juniors with two Intercontinental Cup titles, but ultimately lost to the Italian side for which a fan of Francescoli played. Zinedine Zidane said, "when I saw Francescoli play, he was the player I wanted to be. He was the player that I saw and admired at Olympique de Marseille, my idol when I played against him when I was at Juventus... Enzo is like a god." At the end of the year, Francescoli decided to come out of international retirement in order to aid Uruguay in qualifying for the upcoming World Cup in France.


title: Enzo Francescoli

text: The following season, Francescoli suffered further disappointment, with a penalty shoot-out defeat to Racing Club at the Estadio Monumental, as River Plate were eliminated in the round of 16 of the 1997 Copa Libertadores. However, despite the early exit in the continental tournament, River Plate enjoyed much success domestically, following up their 1996 Copa Libertadores title with a fortunate treble the next year: the Clausura, Apertura and the Supercopa Libertadores.


title: Enzo Francescoli

text: After failing to help Uruguay qualify for the 1998 World Cup, Francescoli announced he would retire in early 1998, refusing an offer of roughly a million dollars to continue, feeling he could not play another year due to continuing injury struggles. Poor sleeping habits caused by stress had forced him to seek therapy since 1996. His last two matches for River Plate were historical as within four days they had won two titles. The first, on 17 December 1997, was the deciding second leg of the Supercopa Libertadores, against São Paulo. It was the last ever edition of the tournament, one which River Plate had never won, which presented a situation described as "now or never". The Brazilian team, who had drawn in Brazil, were beaten 2–1 at the Monumental of Núñez. Then, on 21 December, River drew 1–1 with the Argentinos Juniors at the Estádio José Amalfitani and became 1997 Apertura champions, concluding the Argentine treble having won the 1996 Apertura and 1997 Clausura), beating out arch-rivals Boca Juniors, the other contender for the title and suffering only one defeat in the league.


title: Enzo Francescoli

text: On 1 August 1999, Francescoli returned to the Monumental for a friendly farewell match. Sixty-five thousand spectators were present, among them President of Argentina Carlos Menem and President of Uruguay Julio María Sanguinetti, as well as some Boca Juniors fans. The match brought together the friends of River Plate with those of the club he had hoped to play for during his childhood, Peñarol, who won the match 4–0. After the match, the field was taken by thousands of children, for whom Francescoli, along with other players, signed autographs, also kicking the ball around with them.


title: Enzo Francescoli

text: Another River Plate legend from Uruguay, Walter Gómez, kicked off. When approaching the day of his retirement, Argentine composer Ignacio Copani dedicated his song "Inmenzo" (a pun on "Enzo") to Francescoli, ending with the crowd requesting an encore.


title: Enzo Francescoli

text: After his retirement, the team were only able to succeed locally for some time, failing to earn the same international respect in previous years, entering a crisis that would culminate in an unprecedented relegation in 2011 – ironically, exactly 15 years to the day after the team had won the 1996 Copa Libertadores with Francescoli. He is still the team's seventh all-time leading goalscorer, with 115 goals in 198 matches, and is the third highest foreign goalscorer in the history of Argentine football, only behind Paraguayans Arsenio Erico and Delfín Benítez Cáceres.


title: Enzo Francescoli

text: Since his retirement, Francescoli has only returned to the pitch for festive games, such as those commemorating the retirement of Juan Pablo Sorín, Víctor Aristizábal and Diego Maradona, considered by him to be the greatest player he has seen, and other friends. Maradona almost did not participate in the match since the River Plate fans were strongly opposed to it. "There was no problem for me. There are three things I do not discuss nor with my best friends: Religion, politics and football...things in that person, mistaken or not, advocates a cause," Francescoli said. He added, "[Y]ou'll never hear me saying 'I live and die for River Plate', though I may be much more of a fan than others." After Maradona, the second greatest player he stated he had seen was Zinedine Zidane, an opinion he admits was heavily influenced by emotional reasons, as Zidane was a big fan of Francescoli.


title: Enzo Francescoli

text: In July 2012, in Ariel Ortega's testimonial, Francescoli scored four goals at the age of 50, the last of which was a bicycle kick in the penalty area.


title: Enzo Francescoli

text: In 1981, one year after his professional debut, Francescoli joined the Uruguayan team that won the South American Under-20 Championship. He was named one of the best young players in the world that year, also making three appearances in the 1981 FIFA World Youth Championship. He made his debut for the senior team in 1982, competing in a friendly tournament in India. The following year, as a member of the Uruguay squad in the 1983 Copa América, he scored his first international goal in a 2–0 victory over Brazil.


title: Enzo Francescoli

text: Uruguay qualified for the 1986 World Cup after a close match against Chile, in a qualifying group that also included Peru. Francescoli's ability was questioned by critics. However, Uruguayan coach Omar Borrás said, "Everyone talks about Platini, Maradona, of Elkjær ... but our Francescoli has everything to be the highlight of the World Cup."


title: Enzo Francescoli

text: However, Uruguay's performance in the tournament were less than stellar. The team earned two draws and two defeats, advancing to the second round only as one of the best third-placed teams, while Francescoli only scored once throughout the entire tournament, in an infamous 1–6 defeat to Denmark in the first round. This tournament was seen by Francescoli as his worst performance in his entire career. He stated in an interview, "[T]he only thing I ask is forgiveness from all Uruguayans." Uruguay ultimately fell in the round of 16, to the eventual champions Argentina, led by eventual Golden Ball winner Diego Maradona.


title: Enzo Francescoli

text: The disappointment was assuaged the next year with the victory of the 1987 Copa América as defending champions. Francescoli shone for Uruguay in the semi-final against hosts and defending World Cup champions Argentina in the Estadio Monumental de Núñez (the stadium of his former club, River Plate). A win against Chile in the final of the tournament followed, and the victory gave Uruguay their record 13th continental title.


title: Enzo Francescoli

text: Two years later in the 1989 Copa América, Francescoli played in four of five matches, winning three and helping Uruguay to reach the final round for the third consecutive time. The final match was played against hosts and favourites Brazil, coincidentally in similar circumstances to the last round of the final round of the 1950 World Cup. The match was also played on the same date, 16 July, and at the same stadium, the Maracanã. As in 1950, the Brazilians took the lead, although they were the winners on this occasion.


title: Enzo Francescoli

text: During the qualifiers for the 1990 World Cup, the Uruguayans once again needed to overcome several obstacles in order to seal qualification: Bolivia proved to be the toughest opponent in the group, alongside Peru. Francescoli and his teammates had the task of defeating both teams in the final two games of the qualification campaign, and succeeded, ensuring their place in the World Cup play-offs, in which they overcame Bolivia to qualify for the upcoming tournament.


title: Enzo Francescoli

text: In his second World Cup, Francescoli did not perform much better than in the previous tournament. Although many analysts regarded him as one of the potential stars of the tournament due to his talent and ability to be decisive for his team, Uruguay again did not fare very well, earning only one win in a 1–0 group stage victory over South Korea, once again advancing to the second round as one of the best third-placed teams. The team were eliminated in the round of 16, suffering a 2–0 defeat against hosts Italy, on this occasion, who went on to finish the tournament in third place. This was Francescoli's final World Cup. In total, he made eight World Cup appearances, scoring once and appearing in each of Uruguay's matches in both the 1986 and 1990 tournaments. Altogether, he played in eight World Cup matches, losing four, tying three and winning one.


title: Enzo Francescoli

text: After the 1990 World Cup, national team coach Óscar Tabárez was replaced by Luis Cubilla, who had trained the under-used Francescoli at River Plate, when Francescoli had first arrived at the club years before. Cubilla brought a strong feeling of nationalism among Uruguayan fans at the time, specifically of resentment against the country's athletes who played in Europe, and even hinted that Francescoli, and also Rubén Sosa, Carlos Aguilera and Oscar Herrera, were ""dinheiristas"" ("mercenaries"). Appalled, they refused to play if Cubilla did not recant his comments and these players were left out of the 1991 Copa América. Without the "European" stars, Uruguay collapsed in the first round. By the time the 1993 tournament came around, the players had already been called back to the team. Although he had been called up by Cubilla, Francescoli was benched throughout the tournament, and Uruguay once again disappointed, suffering a quarter-final elimination. In a friendly match later that year, Francescoli made his first appearance for the "Celeste" in many years. Meanwhile, South American rivals Argentina won both the 1991 and 1993 editions of the tournament, overtaking Uruguay as the team with the most Copa América titles (14).


title: Enzo Francescoli

text: Although Francescoli's role in the team was disputed during a low point in his international career, he showed he was still an important player for the national team, and appeared for Uruguay in the qualifying rounds for the 1994 World Cup. Uruguay reached the CONMEBOL Group 2 final round of the South American qualifiers, along with Bolivia, Brazil and the two wildcard teams Ecuador and Venezuela. Uruguay, Bolivia and Brazil each had ten points in the group, and Brazil and Uruguay faced each other at the Maracanã on 19 September 1993. Uruguay lost the match 2–0, as Brazil topped the group to qualify for the upcoming tournament. As Bolivia was able to earn a draw in their fixture, the Uruguayans came third in the group, failing to qualify for the competition. Although the team failed to qualify for the upcoming World Cup in the United States, Francescoli overcame one of his biggest struggles throughout his career as after two years, national team's coach Cubilla was relieved of his position. After the defeat against Brazil at the Maracanã in Uruguay's final qualification match, Cubilla had said of Francescoli, "That man is a traitor to his country, so take away his passport!" Francescoli later stated in a 2008 interview that this was a low point in his career, and that his coach's comment caused him sit in a corner of the Maracanã and cry.


title: Enzo Francescoli

text: The 1995 Copa América on home soil under Uruguay's new head coach, Héctor Núñez, was a breath of fresh air for Francescoli. After not featuring in the previous two editions of the tournament (although he was named to the squad in 1993, he did not play a single match), Francescoli carried his team to the Copa América final against Brazil, at the Estadio Centenario in Montevideo. Uruguay won a hard-fought final 5–3 on penalties, after a 1–1 draw, with Francescoli converting his team's first penalty, as he lifted the title for the last time. As a result, Uruguay equalled Argentina as the South American national team with the most Copa América titles (14). Uruguay later broke the record in 2011, with the victory of their 15th Copa América title. Francescoli was once again named player of the tournament, and was also elected the best player in South America, at age 34, 11 years after first receiving the honour. In the tournament, he also scored his final goal for the national team, which came in the group stage in a 1–0 win against Paraguay. In total, Francescoli made 16 appearances over four editions of the Copa América, scoring five goals, and reaching the final on all four occasions in which he played.


title: Enzo Francescoli

text: Francescoli announced his retirement from international football after winning the Copa América for the third time. However, he briefly came out of international retirement during Uruguay's qualifying campaign for the 1998 World Cup, after his teammates had persuaded him to return, with President of Uruguay Julio María Sanguinetti also asking him personally. In October 1996, Francescoli returned to play for the national team, although he did not take part in the 1997 Copa América. He played in eight matches in June of that year, after the continental tournament. His last two matches with the "Celeste" came in July and August 1997. The Uruguayans still had three World Cup South American qualifying matches remaining, but reached the last match with no mathematical chance of qualifying for the tournament and finishing seventh in their group.


title: Enzo Francescoli

text: Francescoli made 73 official appearances for his country, with 37 wins, 18 draws and 18 defeats, and scoring 17 goals. He was praised for his performances in a difficult period for the national team, retiring as the player with the second most appearances for Uruguay, only four games behind the record holder at the time, goalkeeper Rodolfo Rodríguez, despite the three years in which he had been disowned by the national side, and another in which he had voluntarily retired. Later, his record would be broken by goalkeeper Fabián Carini and also by striker Diego Forlán.


title: Enzo Francescoli

text: A quick, elegant, creative and technically-gifted attacking midfielder who was also capable of playing in the centre as a second striker, Francescoli was noted in particular for his control, grace, fluidity, dribbling skills and ability on the ball, despite his lack of notable pace. A two-footed playmaker with excellent vision, passing ability, and an eye for goal from midfield, he was also known for his ability from set-pieces, and also had a penchant for scoring acrobatic goals from overhead kicks. These qualities would later influence the style of French creative offensive midfielder Zinedine Zidane, who has stated that, along with compatriot Michel Platini, Francescoli was one of his favourite players as a young boy, and that he would often watch him train with Marseille. Zidane even named one of his sons, Enzo, in homage to him. Francescoli learned of this fact just before the Intercontinental Cup final match of 1996, and so the two players swapped jerseys at the end of the match. The piece became a favourite of Zidane's to wear. Subsequently, the two presented television show "Football Cracks", a reality show that sought new football talent in Spain. Francescoli's admiration for Zidane extended to other French players and he has stated he felt more respect from French fans than he had while playing there.


title: Enzo Francescoli

text: Other players to have been named after him are Argentine internationals Enzo Pérez and Enzo Fernández, both of whom have also played for River Plate. Argentine striker Diego Milito has also been given the nickname ""Il Principe"" during Milito's tenure with Inter Milan due to his elegant style of play and physical resemblance to Francescoli. Francescoli has joked saying that neither of his sons resemble him as much as Milito, both in physical appearance and in their walk. Furthermore, Argentine attacking midfielder Javier Pastore, who was also a fan of Francescoli as a youngster, was given the Uruguayan's other nickname ""El Flaco"", because of their similar style of play as well as their slender build.


title: Enzo Francescoli

text: In recognition of his talent, Francescoli was the only Uruguayan footballer to be named by Pelé as one of the top 125 greatest living footballers in March 2004.


title: Enzo Francescoli

text: Francescoli went to live with his family in Miami, where he would create TV station GOL TV with former manager Paco Casal. Francescoli returned to Buenos Aires five years later, although he still travelled monthly to the United States because of his activities there. For the 2010 World Cup, he led the team of Channel 7 Argentina, Argentina's state broadcaster.


title: Enzo Francescoli

text: Since leaving television, Francescoli was asked several times to coach River Plate, but he never accepted, stating instead that if asked to be manager of the club, he might accept, since he could employ the lessons that had learned as an entrepreneur.


title: Enzo Francescoli

text: However, one factor that prevented him from having more acceptance in Uruguay was his relationship with Paco Casal. There was controversy in Uruguay over his buying football television rights through his company Tenfield SA. A known critic said, "The contract with Tenfield SA... has been detrimental to Uruguayan football. Players earn ever lower wages, clubs are bankrupt, but entrepreneurs are getting richer. Only journalists who support the contractual relationship between the AUF and Tenfield are those who work for the company, which has a monopoly in the country." Francescoli said of Casal, "He is the most important businessman in my country, and built [his power] from nothing. He is involved in things that generate passion for football and carnival, and this creates divisions [of opinions]... he is a good person. The man helps more than people believe. Paco did not get up one day and said, 'I want to be owner of Uruguayan football.' Paco was given ownership because the leaders were not able to sell the players that they developed."


title: Enzo Francescoli

text: After many wins, titles and trophies with River Plate as a player, Francescoli was back with the club in a leadership role under Rodolfo Raúl D'Onofrio. Francescoli became the head of player personnel for River Plate. It was his decision to bring on a young coach and former River Plate teammate Marcelo Gallardo after the departure of Ramón Díaz. After hiring Gallardo, River Plate had immense international success, as the team conquered all continental CONMEBOL trophies: the Copa Sudamericana 2014, Recopa Sudamericana 2015 and the Copa Libertadores 2015. River Plate also won the first Suruga Bank Championship 2015. Under his leadership and Gallardo's touch, River Plate won the Copa Libertadores 2018, beating their life-long rivals Boca Juniors.


title: Enzo Francescoli

text: Francescoli is married to Mariela Yern since 1984 and has two sons with her, Bruno and Marco. His wife is a psychologist, which he stated was of great value to their marriage. As a footballer, he required emotional sympathy, he stated in an interview program in 2000. Bruno studied law, while Marco tried to follow in his father's footsteps, eventually playing for Cagliari, where he played for three years, and then Estudiantes de La Plata, but did not get much further. One factor for his retirement from football was his desire to be closer to his two sons. Francescoli has two brothers: Luis Ernesto, two years older; and Pablo, 13 years younger. Outside of football, he also enjoys smoking, a habit that he has had since age 16, and playing golf.


title: CBS Corporation

text: The second incarnation of CBS Corporation (the first being a short-lived rename of the Westinghouse Electric Corporation) was an American multinational media conglomerate with interests primarily in commercial broadcasting, publishing, and television production. It was one of the two companies formed from the December 31, 2005 spin-off of the Viacom assets of the original Viacom, as founded by Ralph Baruch in 1952 as CBS Television Film Sales. It was one of two companies which succeeded the original incarnation of Viacom, alongside the second incarnation of Viacom; both were controlled by National Amusements, a theater company controlled by billionaire Sumner Redstone. The spin-off was structured so that CBS Corporation would be the legal successor to the first Viacom, with the second Viacom being an entirely separated company.


title: CBS Corporation

text: CBS Corporation comprised the over-the-air television (CBS and The CW) broadcasting, television production and distribution, publishing, pay-cable, and recording assets that were previously owned by the first Viacom. It was the world's eighth largest entertainment company in terms of revenue, and headquartered at the CBS Building in Midtown Manhattan, New York City.


title: CBS Corporation

text: The second merger between CBS Corporation and Viacom, creating the combined company ViacomCBS (now Paramount Global), was completed on December 4, 2019.


title: CBS Corporation

text: The first incarnation of Viacom was created in 1952 as the television syndication division of CBS, and was spun off in 1971. However, in 1999, Viacom acquired its former parent, by this time also named CBS Corporation, formerly Westinghouse Electric. The prior CBS Corporation also owned CMT and The Nashville Network, which remained Viacom properties after the 2005 split, but the prior CBS did not own UPN, Showtime, Paramount Television, Paramount Parks, or Simon & Schuster.


title: CBS Corporation

text: In March 2005, Viacom contemplated splitting the company into two publicly traded companies, amid issues of the stock price stagnating (although it was alleged that another main force behind the split was the Super Bowl XXXVIII halftime show controversy, which led to MTV not being allowed to produce any more halftime shows, they had also produced the show for Super Bowl XXXV, the first Super Bowl CBS aired since regaining NFL rights and becoming MTV's corporate sibling).


title: CBS Corporation

text: On June 14, 2005, the Viacom board of directors approved the split of the company into two firms. The CBS Corporation name would be revived for one of the companies, to be headed by longtime television executive (and Viacom co-President) Les Moonves, and would include the namesake television network CBS, UPN, Infinity Broadcasting Corporation, Viacom Outdoor, Showtime Networks, and Paramount Television.


title: CBS Corporation

text: The split was structured such that the second Viacom was spun off from the first Viacom, which was renamed CBS Corporation. In a sense, this was a repeat of the 1971 spinoff. However, in this case, CBS retained virtually all of the prior firm's broadcast television assets, including its various syndication companies.


title: CBS Corporation

text: With the split, the two companies began trading on the New York Stock Exchange on January 3, 2006. Investors anticipated Viacom benefiting from the split, but instead, it dropped approximately 20 percent, while CBS Corporation rose 9 percent, that same year, Paramount Parks became a wholly-owned theme park unit of CBS Corporation.


title: CBS Corporation

text: In January 2006, CBS and DIC Entertainment signed a multi-year deal in which DIC bought the Saturday morning airtime as "CBS's Saturday Morning Secret Slumber Party". In June 2006, DiC added a production partner AOL's KOL. Thus, this block would be called "KOL's Saturday Morning Secret Slumber Party on CBS".


title: CBS Corporation

text: On January 24, 2006, CBS Corporation and Warner Bros. created a new broadcast network, The CW. The network officially debuted on September 18, 2006. The network formally debuted on September 20 with the 2-hour premiere of "America's Next Top Model". The network is the result of a merger of The WB (a Warner Bros. holding) and UPN (a CBS Corporation holding). CBS Corporation and Time Warner each own 50% of the network. Tribune Broadcasting (which previously owned a 25% stake on The WB) and CBS Corporation contributed its stations as new network affiliates.


title: CBS Corporation

text: On May 23, 2006, CBS Corporation sold Paramount Parks to the Cedar Fair Entertainment Company. With this acquisition, Cedar Fair became the third-largest theme park operator. On June 30, 2006, Cedar Fair completed its acquisition of Paramount Parks from CBS Corporation in a cash transaction valued at US$1.24 billion. The transaction included a 10-year license that allowed Cedar Fair to use the Paramount name in the parks through the 2017 season.


title: CBS Corporation

text: On February 7, 2007, CBS sold seven stations in Providence, Rhode Island, Austin, Texas, Salt Lake City and West Palm Beach, Florida to Cerberus Capital Management for US$185 million. It sold another station, WFRV-TV in Green Bay, Wisconsin, and its satellite station, WJMN-TV in Escanaba, Michigan, to Liberty Media on February 13, 2007. News reports estimate the deal at about US$234 million. CBS is swapping the stations and US$170 million in cash for 7.59 million shares of CBS common stock held by Liberty Media.


title: CBS Corporation

text: On February 26, 2007, CBS began investing in Electric Sheep, which is a virtual world content developer. CBS hired Electric Sheep to develop some projects, including the creation of "The L-Word in Second Life". CBS also shot a commercial within the virtual world Second Life to promote its show "Two and a Half Men". Another project that Electric Sheep was working on for CBS was a "Star Trek"-themed area in Second Life. By investing in Electric Sheep, CBS hoped to expand its activity "beyond the living room". On March 20, CBS/CSTV had acquired MaxPreps, an online high school sports network. On April 12, CBS Corporation created the CBS Interactive Audience Network. On May 30, 2007, CBS Interactive bought Last.fm for £140 million.


title: CBS Corporation

text: On May 15, 2008, CBS Interactive agreed to buy CNET Networks for $1.8 billion, with the deal due to close in the third quarter of 2008. On July 2 CBS acquired CNET and put it under CBS Interactive.


title: CBS Corporation

text: On February 14, 2013, CBS acquired a minority stake in AXS TV in exchange for programming and marketing. On March 26, CBS and Lionsgate entered a 50/50 joint venture to operate the TV Guide Network (TVGN) and TVGuide.com. On May 31, CBS bought the remaining half of TV Guide Digital from Lionsgate. The latter still retained its share of TVGN (later rebranded as Pop) until it was acquired by CBS on March 12, 2019. On July 16, CBS agreed to sell CBS Outdoor International to Platinum Equity for about $225M. The CBS Outdoor division began trading as a separate company on the NYSE under "CBSO" on March 28, 2014. CBS Outdoor would be fully divested from CBS by July into an independent real estate investment trust, renamed as Outfront Media.


title: CBS Corporation

text: On November 17, 2017, CBS Corporation sold CBS Radio to Entercom, making that company the second-largest owner of radio stations in the United States.


title: CBS Corporation

text: In the same year, CBS purchased Australian broadcaster Network 10. The network was previously in voluntary administration.


title: CBS Corporation

text: As of November 2018, CBS Corporation ranked 197th on the "Fortune" 500 list of the largest United States corporations by revenue. CBS Corp. sold Television City to Los Angeles real estate investment company Hackman Capital Partners for $750 million in a deal finalized in mid-December 2018. The deal gives the buyer the right to use the Television City name. Programs produced at Television City will continue to be based there as will CBS' international unit headquarters.


title: CBS Corporation

text: On September 29, 2016, National Amusements sent a letter to the company and Viacom, encouraging the two companies to merge back into one company. On December 12, the deal was called off.


title: CBS Corporation

text: On January 12, 2018, CNBC reported that Viacom had re-entered talks to merge back into CBS Corporation, after AT&T's purchase of Time Warner was planned and Disney's plan to acquire bulk of 21st Century Fox assets and the heavy competition from companies such as Netflix and Amazon. Shortly afterward, it was reported that the combined company could be a suitor for acquiring the film studio Lionsgate (which handled US distribution and global sales for CBS Films). A re-merger could benefit CBS's streaming service CBS All Access, as it could potentially have access to content from core Viacom brands such as Comedy Central, MTV, and Nickelodeon, as well as the Paramount Pictures library. Viacom's international presence could also benefit distribution.


title: CBS Corporation

text: On March 30, 2018, CBS made an all-stock offer slightly below Viacom's market value and insisting that its existing leadership, including long-time chairman and CEO Les Moonves, oversee the re-combined company. Viacom rejected the offer as being too low, requesting an increase by $2.8 billion, and requesting that Bob Bakish be maintained as president and COO under Moonves. It was reported these conflicts had resulted from Shari Redstone seeking more control over CBS and its leadership.


title: CBS Corporation

text: Eventually, on May 14, 2018, CBS Corporation sued National Amusements and accused Shari Redstone of abusing her voting power and forcing a merger that was not supported by it or Viacom. CBS also accused Redstone of discouraging Verizon Communications from acquiring it, which could have been beneficial to its shareholders.


title: CBS Corporation

text: On May 23, 2018, Les Moonves stated that he considered the Viacom channels to be an "albatross," and while he favored more content for CBS All Access, he believed that there were better deals for CBS than the Viacom deal, such as Metro-Goldwyn-Mayer, Lionsgate or Sony Pictures. Moonves also considered Bakish a threat as he never wanted an ally of Shari Redstone as a board member of the combined company. Following Moonves' resignation due to sexual harassment allegations, National Amusements agreed in September 2018 to defer any proposal of a CBS-Viacom merger for at least two years after the date of the settlement.


title: CBS Corporation

text: On May 30, 2019, CNBC reported that CBS Corporation and Viacom would explore merger discussions in mid-June 2019. The company's board of directors was revamped with people who are open to a merger and the talks were made possible with the resignation of Moonves, who opposed all attempts for a Viacom merger. The talks had started following rumors of CBS acquiring Starz from Lionsgate. Reports said that CBS and Viacom reportedly set August 8 as an informal deadline for reaching an agreement to recombine the two media companies. As part of the re-merger deal, CBS acquired Viacom for up to $15.4 billion.


title: CBS Corporation

text: On August 13, 2019, CBS and Viacom agreed to merge into a new entity known as ViacomCBS, with Viacom CEO Bob Bakish as president and CEO of the new company and CBS CEO Ianniello as chairman and CEO of CBS and oversee CBS-branded assets. Shari Redstone will also serve as chairwoman of ViacomCBS. On October 29, 2019, National Amusements approved the re-merger deal, to be completed by early December 2019, with the recombined company trading on Nasdaq under the symbol "VIAC" and "VIACA" after CBS delist its shares on the NYSE. On December 4, the deal was completed, with the merger structured such that CBS Corporation absorbed Viacom and changed its name to ViacomCBS.


title: CBS Corporation

text: In September 2018, CBS, together with former CEO Moonves, donated $20 million to groups supporting the #MeToo movement.


title: Josh Thomas (comedian)

text: Joshua Michael Thomas (born 26 May 1987) is an Australian comedian, actor and writer. In 2005, he won the Melbourne International Comedy Festival's Raw Comedy Competition. He has since appeared on television numerous times, including as a regular and Generation Y team captain on Network Ten's "Talkin' 'Bout Your Generation". In 2013, Thomas created the award-winning ABC2 and Pivot television series "Please Like Me", which he also co-wrote and starred in.


title: Josh Thomas (comedian)

text: Thomas was born in Blackwater, Queensland, the son of Rebecca and Mike Thomas. He lived in Chapel Hill and Westlake in Brisbane's western suburbs and attended Kenmore State High School, from which he matriculated in 2004. He studied for a Bachelor of Creative Industries, majoring in Television at the Queensland University of Technology, but dropped out after one year.


title: Josh Thomas (comedian)

text: In 2005 he won the Melbourne International Comedy Festival's RAW Comedy Award. He made the finals of "So You Think You're Funny" at the Edinburgh Festival Fringe. The following year, he was selected to perform in The Comedy Zone, a showcase of Australia's most promising up-and-coming comedians presented by the Melbourne International Comedy Festival.


title: Josh Thomas (comedian)

text: In 2007, Thomas' first solo show, "Please Like Me" debuted at the Melbourne International Comedy Festival, where it received the Melbourne Airport Award for Best Newcomer. His live shows have toured both nationally and internationally, appearing in both Edinburgh and Montreal's comedy festivals. In 2010, Thomas toured his coming-out themed stand-up show "Surprise", taking it to the Adelaide Fringe, Brisbane Comedy Festival and Melbourne International Comedy Festival.


title: Josh Thomas (comedian)

text: Thomas has a podcast called "Josh Thomas and Friend", available from iTunes, which features Thomas and his comedian friends Mel Buttle and Tom Ward. In November 2009 a second series of the podcast was released on iTunes, and the first series was deleted. The third series was released in 2011, and the second series was deleted as well.


title: Josh Thomas (comedian)

text: In 2009, Thomas became a regular and Generation Y team captain on Network Ten's "Talkin' 'Bout Your Generation". He also competed in Celebrity MasterChef Australia, but lost in the first heat to Kirk Pengilly of INXS.


title: Josh Thomas (comedian)

text: In February 2013, the television series "Please Like Me", written by Thomas, debuted on ABC2. Participant Media's television network Pivot acquired the series for the US and premiered all six episodes as a binge marathon on 1 August 2013 to celebrate the channel's launch after premiering the first episode online. The initial six-part series is based on his stand-up comedy shows and stars Thomas as himself.


title: Josh Thomas (comedian)

text: In 2014, the series was nominated for an International Emmy Award for Best Comedy Series. For his work on the series, Thomas has won various accolades, including an AACTA Award for Best Television Screenplay in 2015. In 2015 it was short-listed for the Betty Roland Prize for Scriptwriting, New South Wales Premier's Literary Awards.


title: Josh Thomas (comedian)

text: In 2018, Thomas created "Everything's Gonna Be Okay", a television comedy about a single man (played by himself) in his twenties who stays in the United States, after his father dies, to take care of his teenage half-sisters. The show was given a pilot order by Freeform, and was picked up to series. The show premiered in January 2020, with Thomas starring, writing, and serving as the showrunner in the series.


title: Josh Thomas (comedian)

text: Thomas was diagnosed with attention deficit hyperactivity disorder (ADHD) at the age of 28. In 2021, he revealed that he is also autistic.


title: Josh Thomas (comedian)

text: The ARIA Music Awards are a set of annual ceremonies presented by Australian Recording Industry Association (ARIA), which recognise excellence, innovation, and achievement across all genres of the music of Australia. They commenced in 1987.


title: Dodge Power Wagon

text: The Dodge Power Wagon is a four-wheel drive medium duty truck that was produced in various model series from 1945 to 1980 by Dodge. The Power Wagon name was revived for the 2005 model year as a four-wheel drive version of the Dodge Ram 2500. As a nameplate, "Power Wagon" continues as a special package of the four-wheel drive version of 3/4 ton Ram Trucks 2500 model.


title: Dodge Power Wagon

text: The original civilian version, commonly called the "flat fender" Power Wagon (FFPW) or "Military Type", was mechanically based on Dodge's 3/4-ton WC series of World War II military trucks. The Power Wagon was the first 4x4 medium duty truck produced by a major manufacturer in a civilian version. It represents a significant predecessor to the many modern four-wheel drive trucks in use today. It was marketed as the WDX truck. Until about 1960 it was internally known by its engineering code T137 – a name still used for the original series by enthusiasts. Following Chrysler Corporation policy of badge engineering to provide a greater number of sales outlets overseas, Power Wagons were also marketed around the world under the Fargo and De Soto badges.


title: Dodge Power Wagon

text: Starting in the 1957 model year, factory four-wheel-drive versions of the Dodge C Series trucks were produced and sold as the W-100, W-200, W-300, and W-500, alongside the older Power Wagon. The pickups had the "Power Wagon" badge on the fender. The older design Power Wagon was marketed as the "Military Type" to distinguish it from the styled pickup versions. Later the "Military Type" was given the series number W-300M, and ultimately WM-300.


title: Dodge Power Wagon

text: The heavy-duty four-wheel-drive W-300 and W-500 trucks were marketed as "Power Giants". The four-wheel-drive version of the Dodge Town Wagon also got the "Power Wagon" badge.


title: Dodge Power Wagon

text: The "Military Type" sales in the United States ended by 1968, because the vehicle did not comply with new federal light-duty truck regulations. The "Power Wagon" options continued on the Dodge D-Series through the 1980 model year. For the 1981 model year, "Power Ram" became the marketing logo for the medium-duty Dodge trucks, and the "Power Wagon" name was not used until the 2004 revival.


title: Dodge Power Wagon

text: The Military style Power Wagon had three series during its lifetime, with different model numbers. The nominal one-ton rated Power Wagon's gross vehicle weight rating (GVWR) was 8,700 pounds. Its maximum payload was 3,000 pounds. It was produced starting in the 1946 model year, and U.S. sales ended in 1968. Export sales continued through 1978.


title: Dodge Power Wagon

text: The civilian Power Wagon continued the lineage of limited production Dodge 4WD trucks from the 1930s, that proved basic four-wheel drive design concepts, primarily for the military. Mechanically derived from Dodge's 1942–1945 3/4-ton WC series military trucks, the Power Wagon was introduced in 1946 as the first civilian production 4x4 truck. During its development phase, it was initially named the WDX General Purpose Truck, a name still used on some of the preliminary materials handed out by Dodge, before sales began in March 1946. The 'W' was a continuation of the 1941–1947 model year series, followed by a 'D' instead of a 'C', because the civilian truck was a 1-ton rating instead of the Army's -ton, and the 'X' was added to indicate four-wheel drive, as opposed to all previous civilian two-wheel driven models. Some believe the truck was renamed "Power Wagon" after a contemporaneous trucking magazine with that title.


title: Dodge Power Wagon

text: Meant to compete with military-based Ford/Marmon-Herrington and GMC trucks, it had an enclosed all-weather civilian cab and a purpose-designed 8-foot cargo box. It had a 126 inch (3,200 mm) up to a 147" wheelbase chassis and featured the 230 cubic-inch flathead inline-six engine, a 4-speed manual transmission, a two-speed 1.96-1 ratio low range transfer case for part time 4-wheel drive with a power take off (PTO) which would send power front or rear for operating auxiliary equipment, and 9.00/16-8 ply tires on 16×6.50 inch 5-stud split ring steel rims. In 1961 the 230 was replaced with the 251 cubic-inch flat head six.


title: Dodge Power Wagon

text: Additional Distinguishing Features: (4) rectangular stake pockets on each side of the bed; round speedometer with a rectangular gauge cluster on each side. The two rectangular gauge housings have the instrument lettering on the glass instead of the face of the gauge.


title: Dodge Power Wagon

text: Includes the following years and model numbers: 1951 B-3-PW; 1952- early 53 B-3-PW; late 1953 B-4-PW; 1954 C-1-PW; 1955- early 56 C-3-PW; Additional Distinguishing Features: (3) slightly curved stake pockets on each side, bed sides are stamped. Looking at these bed sides from the rear, the top rail section of the bed angles out at 45 degrees with a rounded top edge. Group of 4 gauges in the center of the dash (Fuel, Amp, Temp, Oil) with silver/grey faces.


title: Dodge Power Wagon

text: Includes the following years and model numbers: Late 1956 C-4-PW; 1957 W300; 1958-9 W300M; 1960-71 WM300; Additional Distinguishing Features: (3) square stake pockets on each side with stamped bed sides. Looking at the bed sides from the rear, the top of the bed is flat, with a rounded edge. Group of 4 gauges in the center of the dash (Fuel, Amp, Temp, Oil) with black faces. NP420 Synchronized Transmission also used.