title: Western Bulldogs

text: The main stars of the decade included Gary Dempsey, the heroic ruckman who was badly burnt in Lara bushfire of January 1969 but managed to take out the game's top individual award, the Brownlow Medal, in 1975. Promising South Australian import Neil Sachse had his neck broken in a freak accident while playing against Fitzroy at the Western Oval. He was left quadriplegic.


title: Western Bulldogs

text: In 1978, Kelvin Templeton became the first Bulldogs player to kick 100 goals in a season, including a club record of 15.9 in Round 13 against St Kilda.


title: Western Bulldogs

text: After muddling its way through a disappointing decade, having to sell many of its key players to survive, the Bulldogs would endure another tumultuous decade in the 1980s. To try and improve the club's fortunes, the committee appointed former Richmond champion Royce Hart as coach for the 1980 VFL season. Things hit an all-time low in 1982; the Bulldogs lost their opening round match to by 109 points and by the middle of the season, with only one win in 12 games and having lost the last eight matches, Hart was sacked and replaced with player Ian Hampshire, who promptly quit his playing duties. One of the few bright spots in an otherwise dreary season was the performance of Western Australian recruit Simon Beasley, who kicked 82 goals for the season and proved himself one of the best full-forwards in the competition. He would go on to become the Bulldogs' record goalkicker.


title: Western Bulldogs

text: Mick Malthouse was appointed senior coach in 1984, and a dramatic improvement saw them rise to second position in 1985 before a ten-point loss in the preliminary finals against Hawthorn. The club boasted a list of top players at this time, with Beasley, Doug Hawkins, Brian Royal, Rick Kennedy, Stephen Wallis, Peter Foster, Michael McLean, Jim Edmond, Andrew Purser, Stephen MacPherson and Brad Hardie.


title: Western Bulldogs

text: The debt ridden club in 1986 was considered by the VFL extremely likely to fold if not for the lifeline provided by the VFL granting licenses to Brisbane and Perth.


title: Western Bulldogs

text: Things didn't bode well for the Bulldogs early in the 1987 VFL season. Hardie and Edmond had moved to the newly formed , while Hawkins' return from his knee injury was still some time away. By Round 3 they were sitting on the bottom of the ladder after heavy losses to Essendon, and . Footscray's revival started when, in one of the upsets of the season, they defeated the reigning premiers Hawthorn by 41 points in a display characterised by teamwork and desperation. A seven-match winning streak mid-season saw them back in the Top Five. However, they just missed out on the finals when Melbourne defeated them in the last round in front of a record crowd at their home ground.


title: Western Bulldogs

text: Discontent between players, officials and fans reached an all-time low during the 1989 VFL season. Club president Barrie Beattie was replaced by former Footscray board member, businessman and prominent racing personality Nick Columb in March. Things started promisingly with a 59-point win over a dispirited Carlton at Princes Park, with recruit John Georgiades kicking eight goals on debut. However, it proved to be a false dawn; the Bulldogs would only win five more games for the season, with one draw, to finish 13th. The prevailing mood was best captured in Footscray's last win of the season in Round 20 against eventual wooden-spooners ; although the Bulldogs won by 78 points, a meagre crowd of 8,673 turned up to what many believed at the time would be Footscray's last home game at the Western Oval. "Age" journalist Garry Linnell wrote: "But saddest of all is that the suburb of Footscray has turned its back on the Western Oval and its football team. Without that support, one of the last remaining monuments to the days when Victorian football was a battle of suburban tribes has hit the dust."


title: Western Bulldogs

text: Faced with the prospect of running a club with declining membership and sponsorship, Columb learned that Footscray's debt situation was poor, and it reached the point when the VFL looked likely to appoint an administrator to wind up the club's affairs at the end of the year. He decided the best way forward was a merger with , which was also in a weak financial position, although was not facing immediate bankruptcy. The two clubs announced a merger to form the Fitzroy Bulldogs, but the merger was derailed when the people of Footscray, led by lawyer Peter Gordon and a host of others, rallied to raise funds to pay off the club's debts. In further developments, former club player Terry Wheeler was named as Malthouse's replacement as senior coach, while champion veteran wingman Doug Hawkins was appointed captain. While Columb was branded by some as the villain of the story, the wisdom of hindsight shows that had he not instigated the merger, the Western Bulldogs would not exist as it does today.


title: Western Bulldogs

text: The Bulldogs began the new decade in promising fashion, finishing in seventh place with twelve wins in 1990, including one against eventual premiers Collingwood, when rover Steven Kolyniuk ran around the man on the mark and kicked a goal to put his team in front. Although they just missed out on the finals, there was much to look forward to, and the year was capped off with diminutive rover Tony Liberatore winning the Brownlow Medal.


title: Western Bulldogs

text: After a disappointing 1991, the Bulldogs bounced back in 1992, finishing second on the ladder and making their first finals appearance since 1985. Danny Del-Re was an excellent full-forward, while champion veterans Hawkins, Royal, Wallis, Foster and MacPherson helped ensure the club played its best football in many years. Scott Wynd capped a magnificent year with the Brownlow Medal, while Chris Grant and Simon Atkins also had outstanding seasons.


title: Western Bulldogs

text: In 1994 and 1995, the Bulldogs again made the finals, only to be eliminated by Melbourne and Geelong, respectively. Leon Cameron and Daniel Southern were stars. In August, Ted Whitten died from prostate cancer; such was his status in the game that he was given a state funeral. In his honour, the club renamed the Western Oval the Whitten Oval, and a memorial statue of Whitten was erected outside the stadium.


title: Western Bulldogs

text: Under the tightly focused management of club president David Smorgon, driven coaching by Terry Wallace, and the on-field leadership of Chris Grant (who narrowly missed a Brownlow Medal in 1996 and 1997) and Tony Liberatore, the club had a successful period through the mid- to late 1990s, making the finals from 1997 to 2000. The 1997 season is remembered for the club's cruellest loss, to eventual premiers Adelaide in the preliminary final by two points after leading for much of the game and appearing to be headed for their first grand final since 1961. Rohan Smith, Brad Johnson, Chris Grant, Jose Romero, Paul Hudson and company were catalysts in a fine season.


title: Western Bulldogs

text: The Bulldogs would again feature in the finals in 1998, after heavily defeating West Coast in the qualifying finals, they met Adelaide again in the losing preliminary final. The Bulldogs eventfully lost by 68 points against the reigning premiers who went on to claim their second consecutive premiership in the grand final that following week.


title: Western Bulldogs

text: The Bulldogs would make their third consecutive top 4 finish in 1999 but they suffered consecutive finals losses to West Coast and Brisbane.


title: Western Bulldogs

text: In late 1996, the club changed its playing name from "Footscray" to the "Western Bulldogs" to market the club more broadly (specifically the western suburbs of Melbourne). To coincide with the change, the club moved their home games from the Whitten Oval, originally to Optus Oval from 1997 to 1999, and then to the newly built Docklands Stadium for the 2000 season.


title: Western Bulldogs

text: During the 2000 season, the Bulldogs handed the eventual premiers, Essendon, their only loss for the year. That victory secured the Bulldogs a place in the finals for the fourth consecutive year. They would bow out in the first week of finals after being defeated by the Brisbane Lions at the Gabba. The Bulldogs missed out on the finals over the next two seasons; in 2001, six players were in New York City during the September 11 attacks while they were attending the 2001 US Open. Terry Wallace left the club with one match left in 2002 and assistant coach Peter Rohde took charge. Philanthropist and long-time Bulldogs supporter Susan Alberti was elected to the club board in December 2004. After two miserable seasons, the Bulldogs appointed Rodney Eade as coach in 2005. Improvement was immediate, with the Bulldogs winning 11 games and finishing ninth on the ladder in 2005, missing out on the finals by just half a game. Missing the finals dealt a blow to both players and supporters of the team, as late season success led to the team being considered real premiership contenders.


title: Western Bulldogs

text: In 2006, the Bulldogs continued to play well despite a disastrous run of injuries throughout the year; with five players having to have knee reconstructions, including captain Luke Darcy. Despite this setback, the Bulldogs finished the home-and-away season with 13 wins (see 2006 AFL season), making it to the finals for the first time since 2000, with Scott West and Brad Johnson continuing their excellent play. They won the Elimination Final against Collingwood in front of 84,000 at the Melbourne Cricket Ground (MCG) and reached the semi-finals before being defeated by eventual Premiers the West Coast Eagles at Subiaco Oval.


title: Western Bulldogs

text: On 5 August 2006, Chris Grant broke the Western Bulldogs record for the most senior AFL/VFL games at the club. On this day he played his 330th game, breaking Doug Hawkins' previous record of 329 games.


title: Western Bulldogs

text: Looking for new markets, the club had played one game every year at the Sydney Cricket Ground and one "home" game each year at Marrara Oval in Darwin. On 16 August 2006, the league announced that the Bulldogs' Sydney "home" game would be played at Manuka Oval, Canberra in 2007, 2008 and 2009.


title: Western Bulldogs

text: Prior to the 2007 season, the Bulldogs made a splash by trading for Brisbane midfielder Jason Akermanis. They were premiership favourites early on in 2007, but yet again injuries took their toll, and they faltered in the last seven rounds, losing six games and drawing one, to finish 13th.


title: Western Bulldogs

text: In the 2008 pre-season they traded away Jordan McMahon to Richmond and Sam Power to North Melbourne. They also recruited ruckman Ben Hudson and forward Scott Welsh from Adelaide and back Tim Callan from Geelong in what was a very successful trade week. In 2008, the Bulldogs were widely predicted for the bottom four after the pre-season, but had a successful home-and-away season, finishing in third place with fifteen wins, one draw and six losses (five of which occurred in the season's last seven games). The team's finals campaign began with a loss to Hawthorn by 51 points at the MCG in the first qualifying final, but won the subsequent semi-final against Sydney by 37 points. The Bulldogs lost their preliminary final match against reigning premiers Geelong.


title: Western Bulldogs

text: Much was expected of the Bulldogs following their 3rd-place finish in 2008. They began the 2009 season with a 63-point thrashing of Fremantle in Perth, and then recorded solid wins over North Melbourne and Richmond before losing their next three games to West Coast (in Perth), Carlton and St Kilda. The Bulldogs then notched up their first away win against Adelaide since 2001, kicking eight goals to one in the third quarter to win by 32 points. The following week, they survived a determined effort from Melbourne, winning by 7 points, before succumbing to Geelong in one of the best and closest games of the season. They proceeded to win their next five games, including a 93-point drubbing of Port Adelaide in Darwin and an 88-point win over the reigning premiers Hawthorn. After a bit of a dip in form including losses to Collingwood, St Kilda and West Coast, the Bulldogs rebounded with an 18-point win against Brisbane at The Gabba. That was followed up by a 14-point win over Geelong. In the final round of the home-and-away season, the Bulldogs needed to defeat Collingwood by more than 22 points to reclaim third place on the ladder. The Bulldogs managed win by 24 points, earning the right to play Geelong in the first week of the finals.


title: Western Bulldogs

text: There was media expectation that the Western Bulldogs would again feature in the top four in 2010 after doing so in 2008 and 2009. The pre-season delivered the Western Bulldogs their first competition victory since 1970 as they defeated by 40 points in the NAB Cup Grand Final, with new recruit Barry Hall starring with seven goals and winning the Michael Tuck Medal for being the best player. However, after a promising pre-season, the Bulldogs failed to make their first grand final in 49 years after being demolished by in the first round of the finals, coming back against the Sydney Swans and losing again to St Kilda in the preliminary final, captain Brad Johnson's last game.


title: Western Bulldogs

text: The pain of three consecutive Preliminary final exits took its toll in 2011. After a 55-point thrashing at the hands of Essendon in the opening round, the season never looked on track. The Bulldogs lost 9 of their first 12 games, including 7 from 8 games between Rounds 5 and 12. Following a 49-point loss to Essendon in Round 21, coach Rodney Eade was sacked by the Western Bulldogs after seven years at the helm. The club finished the year with wins against Port Adelaide and Fremantle and a loss against Hawthorn. The Bulldogs finished 2011 with a 9-win, 13-loss record for the season. Shortly after the 2011 season was completed, long-time Geelong and Essendon assistant Brendan McCartney was appointed as the senior coach on a three-year contract. During the following months, the Bulldogs assembled a coaching panel consisting of senior coach McCartney, former Geelong and St Kilda ruckman Steven King, former Sydney Swans and North Melbourne midfielder Shannon Grant, former Bulldogs champion and 300 game player Rohan Smith, and former Bulldogs and Port Adelaide player Brett Montgomery.


title: Western Bulldogs

text: In October 2012, long-time president David Smorgon stepped down from the role to be replaced by former president Peter Gordon. Smorgon served as president from 1996 to 2012, overseeing two rebuilding phases, the erasure of much debt and a period of stability after decades of uncertainty surrounding the club's future.


title: Western Bulldogs

text: In 2013, the Bulldogs ended their affiliation with Williamstown Football Club, establishing a reserves team in the Victorian Football League for the 2014 season. The team played under the name of Footscray and the decision proved an instant hit on and off the field, with supporters of the AFL club taking a strong liking to the newly established VFL team. The success flowed onto the field as well, with the club securing the VFL Premiership in its first season in the competition since 1924, defeating the Box Hill Hawks by 22 points in the VFL Grand Final.


title: Western Bulldogs

text: Following a disappointing 2014 AFL season, the Bulldogs endured a tumultuous off-season. It began when Ryan Griffen, who was widely regarded as the club's best player and had only been captain for one season, shocked the football world by requesting a trade to . He later cited the stress of captaincy as his reason for nearly giving up the game altogether. Two days later, senior coach McCartney handed in his resignation to the board. President Gordon agreed that the decision was in the best interests of the club and also stressed to the press that the club was not in crisis. Adam Cooney requested a trade out of the club, and Shaun Higgins joined North Melbourne via free agency. On November 14, the club's coach selection panel, headed by club champion and football director Chris Grant and including CEO Simon Garlick, football manager Graham Lowe, former captain Luke Darcy and former West Coast coach John Worsfold, appointed former player Luke Beveridge as the Bulldogs' new senior coach. Beveridge had recently served as an assistant coach at Collingwood and Hawthorn, and was due to take up a position at St Kilda as director of coaching before applying for the job as Bulldogs coach. In a series of important first steps, he decided to keep the existing coaches and appointed veteran Robert Murphy as captain.


title: Western Bulldogs

text: In January 2015, Simon Garlick announced his resignation as club CEO, having first taken on the position in December 2010. Having been at the Bulldogs for more than 13 years as a player and administrator, Garlick felt the time was right to "start a new chapter in his life". President Gordon paid tribute to Garlick for his work in keeping the Bulldogs competitive during what had been a difficult period for the club. After losing over 700 games of experience during the off-season, the Bulldogs were expected to again struggle in 2015, and those feelings were further strengthened when Tom Liberatore, the reigning Charles Sutton Medallist, went down with a rupture to his anterior cruciate ligament in the NAB Challenge match against Richmond. However, the Bulldogs exceeded expectations to finish the home-and-away season in sixth position to feature in the finals for the first time since 2010. In the elimination final, they lost to Adelaide by 7 points in front of over 60,000 fans at the MCG, the largest crowd at any Bulldogs game since the 2010 finals.


title: Western Bulldogs

text: The Bulldogs fought through numerous injuries in 2016 to finish 7th in the home and away season. In a series of against-the-odds finals victories, the club eliminated the previous year's runners-up, the West Coast Eagles, in Perth; thwarted 's bid for a fourth successive premiership; and, away from home, scraped through against to qualify for the Grand Final for the first time in 55 years. In doing so, it became the first club to reach the premiership decider from such a low position on the ladder.


title: Western Bulldogs

text: The club ended a 62-year premiership drought with a 22-point victory over minor premiers the Sydney Swans. Jason Johannisen won the Norm Smith Medal, with Liam Picken (WB), Tom Boyd (WB) and Josh Kennedy (SYD) close behind, while coach Luke Beveridge gave his Jock McHale Medal to captain and club veteran Robert Murphy—who suffered a season-ending knee injury in round 3—saying, "This is yours, mate. You deserve it more than anyone." This gesture, described as "one of the most touching" in football history, was met with a standing ovation by the crowd. Murphy, though thankful, returned the medal to Beveridge the following day, saying he could not keep it. They decided to gift the medal to the Bulldogs museum.


title: Western Bulldogs

text: Despite a promising start to the 2017 AFL season, which saw the reigning premiers win five of their first seven matches, the Bulldogs lost six of the next eight games. A four-game winning streak towards the end of the season proved to be a false dawn, as the Bulldogs failed to secure a spot in the top eight after losing the last three games of the season. They finished tenth with an 11–11 win–loss record, becoming the first team since Hawthorn in 2009 to miss the finals the year after winning the premiership. The club would farewell two long-serving veterans: the retiring captain Murphy and ex-captain Matthew Boyd.


title: Western Bulldogs

text: 2018 proved to be an even more difficult year for the club. Tom Liberatore suffered a second season-ending knee injury in the opening round 82-point loss to Greater Western Sydney; he would be the first of eight Bulldogs to have their season ended by injury. They suffered six heavy losses in the first half of the season and would win only once between Round 9 and Round 19, with the sole win in that period a thrilling two-point upset win over finalists Geelong in Round 15. Injuries aside, there were also issues with inconsistent form – players such as premiership heroes Jordan Roughead, Caleb Daniel, Shane Biggs and Fletcher Roberts spending time in the VFL – and a forward set-up that was struggling to function effectively.Improved form in the final four rounds of the season saw the Bulldogs win three consecutive games and lose gallantly to reigning premiers Richmond, to finish 13th with an 8–14 win–loss record, becoming the first team since Adelaide in 2000 to miss the finals in successive years after a premiership triumph.


title: Western Bulldogs

text: Defying expectations that they would again miss the finals, the Bulldogs were one of the surprise packets of the 2019 season. The season started well enough with victories in the first two games, defeating Sydney by 17 points in Round 1 and then kicking nine goals in the last quarter against Hawthorn to win by 19 points in Round 2. However, they then lost their next four matches. The Dogs would continue to have up-and-down form, winning their next two before losing four of five afterwards. Staring at a third consecutive year out of the finals with a disappointing 5–8 record at the end of Round 14, the Bulldogs would go on to win seven of their last nine matches of the season, securing a spot in the finals for the first time since the 2016 premiership after defeating Adelaide by 34 points in Round 23. They would finish the home-and-away season in seventh position with a 12–10 win–loss record. Despite having strong form heading into the finals and having defeated eventual finals opponent Greater Western Sydney by 61 points in Round 22, the Bulldogs were thrashed by 58 points in their elimination final encounter with the Giants, who would eventually go on to play in that year's grand final.


title: Western Bulldogs

text: The Western Bulldogs entered the 2020 AFL season looking to improve on their strong finish to 2019. They had strengthened their squad during the off-season trading period, recruiting key position players Josh Bruce from St Kilda and Alex Keath from Adelaide. Veteran defender Easton Wood, who had been acting captain in the 2016 premiership and then served as official captain after Bob Murphy retired, stepped down at the end of 2019 and was replaced by Marcus Bontempelli in an almost unanimous player vote, with Lachlan Hunter as his deputy. Bontempelli would be supported by a leadership group which included Wood, Jason Johannisen, Mitch Wallis and Josh Dunkley.After losing the traditional season opener to Collingwood, the season was then plunged into chaos when the COVID-19 pandemic reached Australia, causing the competition to be suspended for over two months. After significant modifications in consultation with state governments, the AFL resumed the season in mid-June, having cut the home-and-away season to 17 rounds, shortening quarter lengths to 16 minutes plus time-on, and not permitting crowd attendances at Victorian venues due to government-imposed restrictions. As state borders began to close in a bid to curb the spread of the virus, the Victorian-based teams flew out of Melbourne after Round 5 and spent the rest of the season based in interstate quarantine hubs; the Bulldogs would be based in Queensland. The Bulldogs secured their spot in the 2020 finals series after another strong finish, winning five of their last six games and ending in seventh position on the ladder with a 10–7 record. Their Elimination final opponents, sixth-placed St Kilda, also finished with the same win–loss record but a higher percentage. The match, which was hosted at the Gabba, was a close-fought affair; the Bulldogs worked their way to a five-point lead at quarter time, only for the Saints to take control in the second and third terms to lead by 24 points at the last change. In a desperate bid to keep their season alive, the Bulldogs made one last charge in the final minutes to reduce the margin to under a goal with two minutes remaining, but the Saints held on by three points, winning their first final since 2010, which had also been against the Bulldogs.Despite another disappointing early finals exit, there was still much to celebrate in terms of individual recognition; diminutive playmaker Caleb Daniel had a career-best season, winning the Charles Sutton Medal and All-Australian honours, while Marcus Bontempelli and Jack Macrae earned their second consecutive All-Australian blazer. Also promising was the continued development of the younger players; Aaron Naughton (for the second straight year) and Bailey Smith were named in the 22 Under 22 team, while Laitham Vandermeer won the Chris Grant Best First Player award.


title: Western Bulldogs

text: The Bulldogs headed into the 2021 AFL season with the aim of progressing past the first week of the finals series. They had been one of the big winners in the trading period, recruiting Mitch Hannan from Melbourne, Stefan Martin from Brisbane, and Adam Treloar from Collingwood, while managing to keep Josh Dunkley after he had requested a trade to Essendon. They had also secured promising Next Generation Academy member Jamarra Ugle-Hagan as the Number 1 pick at the 2020 AFL draft.


title: Western Bulldogs

text: For much of the season, the Bulldogs had been one of the clear standout teams, winning nine of the opening ten matches and appearing on track to win their first minor premiership after defeating in Round 19. However, an ill-timed late season slump saw the Bulldogs consigned to a third consecutive year without the double chance, finishing outside of the top four by just 0.5% after the Brisbane Lions supplanted them in the final round. Despite the disappointing end to the regular season, the Bulldogs were finally able to progress to the second week of the finals after a thumping 49-point win over Essendon in the first elimination final. The Bulldogs would then go on to progress to their first preliminary final since 2016 after an enthralling one-point win over Brisbane in the semi final, before securing a second Grand Final appearance in six years after thrashing Port Adelaide by 71 points in the prelim. However, the Bulldogs were comprehensively outplayed by Melbourne in the grand final, losing to the Demons by 74 points.


title: Western Bulldogs

text: The Bulldogs were looking to atone for their galling grand final defeat ahead of the 2022 season. However, the Dogs were very inconsistent and were fortunate to qualify for a fourth consecutive finals berth, finishing eighth with a 12–10 win-loss record and narrowly supplanting ninth-placed Carlton by 0.6%. The Bulldogs started their elimination final encounter with Fremantle strongly, leading by as much as 41 points during the second quarter, but would fade out dramatically to lose by 13 points.


title: Western Bulldogs

text: Footscray went by a variety of nicknames during the VFA years, including the Bone Mill Fellows, the Saltwater Lads, and, most popularly, the Tricolours, in reference to the club guernsey. Footscray came to be known locally as the Bulldogs during the 1920s. At a club social function on 1 November 1920, "a red, white, and blue flag, bearing the words "bulldog tenacity" blazoned in gold, and bearing a picture of a typical bulldog, was presented to [then president David] Mitchell on behalf of the club". As early as the 1922 season, an image of a bulldog was being stamped on the football club's members' tickets. In a game against Collingwood at the Western Oval on 23 June 1928, a bulldog mascot was "led onto the field at three-quarter time ... to the wild applause of the callow youth", and was photographed with Footscray captain Paddy Scanlan. In another report on the same match, mention was made that "the Bulldogs were contesting every inch in the air", indicating a widening use of the club nickname.


title: Western Bulldogs

text: The real-life mascot for the Western Bulldogs is a bulldog named Caesar. He can be seen walking around the perimeter of the ground prior to each match. He then waits for the players to come out on the ground; they give him a pat as they run past to the banner. Sid, the club's previous real-life mascot, officially retired his club jumper at Etihad Stadium on 6 May 2017 and was given a lap of honour for his seven years of service to the Western Bulldogs. Sid died in 2019 at age 9.5 years old.


title: Western Bulldogs

text: During home games, Caesar has a reserved area at the Footscray End (Gate 7), where fans can come and give him a pat and have their photo taken.


title: Western Bulldogs

text: Before the club changed its name from Footscray to Western Bulldogs, the club song was called "Sons of the 'Scray", sung to the same tune but with different lyrics. The club song for the women's team is called "Daughters of the west"


title: Western Bulldogs

text: The club played its home matches at the Western Oval, located in the inner-western Melbourne suburb of Footscray, from 1884 until 1997 (except for a brief period at nearby Yarraville Oval, from 1941 to 1943). Home to the club's training facilities and administrative headquarters, the oval, nicknamed "The Kennel", was officially renamed Whitten Oval in 1995 in honour of club legend Ted Whitten, who died earlier that year. It underwent a A$20 million redevelopment in 2005.


title: Western Bulldogs

text: Melbourne's Princes Park became the Western Bulldogs' primary home ground from 1997 until 1999. Since 2000, the club has been based at Docklands Stadium (currently known as Marvel Stadium), and as of 2017, two home games will be played each season at Eureka Stadium (known as Mars Stadium for sponsorship reasons) in Ballarat.


title: Western Bulldogs

text: In 2014, the Bulldogs accepted an offer from comedian and supporter Danny McGinlay to write the messages that appear on the club's banners. While AFL clubs traditionally use banners to celebrate milestones or to write motivational messages, McGinlay's "amusing pieces of throwaway banter" at the expense of opposing clubs have acquired cult status in the game, and occasionally proved controversial.


title: Western Bulldogs

text: William Ellis Green ("WEG"), cartoonist for "The Herald", began a VFL/AFL Grand Final tradition in 1954 after drawing a full-page caricature of the Western Bulldogs mascot. It is the most valuable and sought-after of WEG's Grand Final posters.


title: Western Bulldogs

text: Martin Flanagan's 1994 book "Southern Sky, Western Oval"<ref name="National Library of Australia – Trove – Southern Sky, Western Oval / Martin Flanagan"></ref> reflects on the Western Bulldogs' fight for survival when it faced a merger with Fitzroy in the late 1980s. The award-winning documentary "Year of the Dogs" gives an inside look at the Western Bulldogs over the course of the 1996 AFL season.


title: Western Bulldogs

text: Footscray Bulldogs merchandise is seen to be worn in 1992 film Romper Stomper by the main character 'Hando'. The film revolves around the exploits and downfall of a violent skinhead gang based in Footscray.


title: Western Bulldogs

text: In season 1 Degrassi Junior High episode 'It's Late!' character 'Wheels' is seen wearing a 1980s Footscray Bulldogs VFL long-sleeve jumper.


title: Western Bulldogs

text: Compared to other Victorian AFL clubs, the Western Bulldogs have had historically low membership numbers. However, the club broke its membership record in 2006 and continued to sustain these figures before another significant increase in 2010. In 2015, the club reached 35,000 members for the first time, and ended the season with an official tally of 36,213. In 2016, the Bulldogs equalled the club's previous year's tally by mid-May, and again reached record-breaking membership numbers by July, with 39,459 fans having signed up. It was also the second successive year in which the club had recorded double-digit percentage growth in membership.


title: Western Bulldogs

text: The Footscray-Western Bulldogs Hall of Fame was established in 2010 to honour "those whose involvement and contribution to [the] club has been significant, memorable and worthy of celebration."


title: Western Bulldogs

text: Players who have been retired for at least two years are eligible for induction, and while individual playing records, including club and representative games, club and individual honours and premierships are considered, candidates "must also have given outstanding and devoted service to the club". Officials and administrators are also eligible for induction.


title: Western Bulldogs

text: The current Hall of Fame selection committee comprises: David Smorgon OAM, Darren Arthur, Terry Wheeler, Ray Walker and Mike Sheahan.


title: Western Bulldogs

text: The Charles Sutton Medal is awarded annually to the Bulldogs player adjudged best and fairest by the coaches over an entire AFL season, including finals.


title: Western Bulldogs

text: In 1925, the year Footscray was admitted to the VFL, the club's reserves team began competing in the Reserves Grade competition. The team won six premierships between 1925 and 1999. Following the demise of AFL reserves competition in 2000, the reserves team was dissolved and a reserves affiliation was established with the new Victorian Football League's two western clubs: Werribee, from 2001 to 2007, and Williamstown, from 2008 until 2013.


title: Western Bulldogs

text: After a fourteen-year recess, the club re-established a stand-alone reserves team to compete in the Victorian Football League from 2014 onward. Known as the Footscray Bulldogs, the team plays its home games at Whitten Oval. The team has since won two VFL premierships, in its first and third seasons of competition; and the minor premiership in the COVID-19 pandemic affected 2021 season.


title: Western Bulldogs

text: In June 2013, the Western Bulldogs fielded a women's football side against in the first AFL-sanctioned women's exhibition match, held at the MCG. The two teams competed annually over the next three years for the Hampson-Hardeman Cup. In 2016, when the AFL announced plans for AFL Women's, an eight team national women's league competition, the Bulldogs were asked to submit an application for a license alongside other AFL clubs. The club was one of four Melbourne-based clubs to be granted a license that year.


title: Western Bulldogs

text: The club's first players were marquee signings Katie Brennan and Ellie Blackburn. They were joined in August by priority player Emma Kearney who had previously worked in an off-field role at the club. In October, the club completed its inaugural playing list by adding 22 other senior listed and two rookie players in the league's draft and signing period. Former Monash Blues (VAFA) coach Paul Groves was named as the team's first head coach and football manager in August 2016. The following month, the club signed three-year sponsorship agreements with Priceline, Bob Jane T-Marts and Pancake Parlour.


title: Western Bulldogs

text: The team's training base and administrative headquarters are located alongside the men's team at the Whitten Oval, and as part of the initial application, it plans to play home games at Whitten Oval, Eureka Stadium and Docklands Stadium. The club has also fielded a team in the second-tier VFL Women's league since 2016, the league's inaugural year.


title: Fourth-generation programming language

text: A fourth-generation programming language (4GL) is any computer programming language that belongs to a class of languages envisioned as an advancement upon third-generation programming languages (3GL). Each of the programming language generations aims to provide a higher level of abstraction of the internal computer hardware details, making the language more programmer-friendly, powerful, and versatile. While the definition of 4GL has changed over time, it can be typified by operating more with large collections of information at once rather than focusing on just bits and bytes. Languages claimed to be 4GL may include support for database management, report generation, mathematical optimization, GUI development, or web development. Some researchers state that 4GLs are a subset of domain-specific languages.


title: Fourth-generation programming language

text: The concept of 4GL was developed from the 1970s through the 1990s, overlapping most of the development of 3GL, with 4GLs identified as "non-procedural" or "program-generating" languages, contrasted with 3GLs being algorithmic or procedural languages. While 3GLs like C, C++, C#, Java, and JavaScript remain popular for a wide variety of uses, 4GLs as originally defined found uses focused on databases, reports, and websites. Some advanced 3GLs like Python, Ruby, and Perl combine some 4GL abilities within a general-purpose 3GL environment, and libraries with 4GL-like features have been developed as add-ons for most popular 3GLs, producing languages that are a mix of 3GL and 4GL, blurring the distinction.


title: Fourth-generation programming language

text: Though used earlier in papers and discussions, the term 4GL was first used formally by James Martin in his 1981 book "Applications Development Without Programmers" to refer to non-procedural, high-level specification languages. In some primitive way, early 4GLs were included in the Informatics MARK-IV (1967) product and Sperry's MAPPER (1969 internal use, 1979 release).


title: Fourth-generation programming language

text: The motivations for the '4GL' inception and continued interest are several. The term can apply to a large set of software products. It can also apply to an approach that looks for greater semantic properties and implementation power. Just as the 3GL offered greater power to the programmer, so too did the 4GL open up the development environment to a wider population.


title: Fourth-generation programming language

text: The early input scheme for the 4GL supported entry of data within the 72-character limit of the punched card (8 bytes used for sequencing) where a card's tag would identify the type or function. With judicious use of a few cards, the 4GL deck could offer a wide variety of processing and reporting capability whereas the equivalent functionality coded in a 3GL could subsume, perhaps, a whole box or more of cards.


title: Fourth-generation programming language

text: The 72-character format continued for a while as hardware progressed to larger memory and terminal interfaces. Even with its limitations, this approach supported highly sophisticated applications.


title: Fourth-generation programming language

text: As interfaces improved and allowed longer statement lengths and grammar-driven input handling, greater power ensued. An example of this is described on the Nomad page.


title: Fourth-generation programming language

text: The development of the 4GL was influenced by several factors, with the hardware and operating system constraints having a large weight. When the 4GL was first introduced, a disparate mix of hardware and operating systems mandated custom application development support that was specific to the system in order to ensure sales. One example is the MAPPER system developed by Sperry. Though it has roots back to the beginning, the system has proven successful in many applications and has been ported to modern platforms. The latest variant is embedded in the BIS offering of Unisys. MARK-IV is now known as VISION:BUILDER and is offered by Computer Associates.


title: Fourth-generation programming language

text: Santa Fe railroad used MAPPER to develop a system, in a project that was an early example of 4GL, rapid prototyping, and programming by users. The idea was that it was easier to teach railroad experts to use MAPPER than to teach programmers the "intricacies of railroad operations".


title: Fourth-generation programming language

text: One of the early (and portable) languages that had 4GL properties was Ramis developed by Gerald C. Cohen at Mathematica, a mathematical software company. Cohen left Mathematica and founded Information Builders to create a similar reporting-oriented 4GL, called FOCUS.


title: Fourth-generation programming language

text: Later 4GL types are tied to a database system and are far different from the earlier types in their use of techniques and resources that have resulted from the general improvement of computing with time.


title: Fourth-generation programming language

text: An interesting twist to the 4GL scene is realization that graphical interfaces and the related reasoning done by the user form a 'language' that is poorly understood.


title: Fourth-generation programming language

text: Some 4GLs have integrated tools that allow for the easy specification of all the required information:


title: Fourth-generation programming language

text: In the twenty-first century, 4GL systems have emerged as "low code" environments or platforms for the problem of rapid application development in short periods of time. Vendors often provide sample systems such as CRM, contract management, bug tracking from which development can occur with little programming.


title: Fourth-generation programming language

text: Extract data from files or database to create reports in a wide range of formats is done by the report generator tools.


title: Legado Del Fantasma

text: Legado Del Fantasma is a professional wrestling stable composed of leader Santos Escobar, Joaquin Wilde, Cruz Del Toro and Zelina Vega currently performing in WWE on the SmackDown brand. The trio was formed in 2020 when El Hijo del Fantasma turned on Drake Maverick and joined forces with Wilde and Del Toro (then known as Raul Mendoza) and unmasked himself, thus changing his ring name to "Santos Escobar" and forming the group Legado Del Fantasma. As part of the group, Escobar was a one-time NXT Cruiserweight Champion.


title: Legado Del Fantasma

text: On August 16, 2022, during the NXT Heatwave special, Tony D'Angelo defeated Escobar in a street fight, and per stipulation, he had to leave NXT. The following week he took the rest of the stable with him away from NXT, ending their tenure on the brand, and debuting on the main roster nearly two months later as part of SmackDown.


title: Legado Del Fantasma

text: On the June 3, 2020 episode of "NXT", El Hijo del Fantasma defeated Drake Maverick in the finals of a tournament to become the interim NXT Cruiserweight Champion due to outside interference by the two masked abductors who had attacked various cruiserweights. The following week, on "NXT", Maverick congratulated Fantasma and demanded a title shot but then two masked men who had been attacking wrestlers randomly confronted the duo and then Fantasma turned on Maverick by attacking him and unmasked himself. He changed his name to "Santos Escobar" while the two masked men were revealed to be Joaquin Wilde and Raul Mendoza. On the night one of The Great American Bash, the trio was named "Legado del Fantasma". In their first match as a team, Legado del Fantasma defeated Maverick and Breezango in a six-man tag team match on the second night of The Great American Bash.


title: Legado Del Fantasma

text: The group was focused on ensuring that Escobar retained the Cruiserweight Championship while Wilde and Mendoza also began competing in NXT's tag team division and "205 Live". At NXT TakeOver XXX, Wilde and Mendoza competed against Breezango (Fandango and Tyler Breeze) and the team of Oney Lorcan and Danny Burch in a triple threat match to determine the #1 contenders for the NXT Tag Team Championship. The match was won by Breezango. At the night one of Super Tuesday, Legado lost to Isaiah Scott and Breezango in a street fight when Scott pinned Escobar, leading up to a match between Escobar and Scott for Escobar's Cruiserweight Championship at NXT TakeOver 31, where Wilde and Mendoza assisted Escobar in retaining the title.


title: Legado Del Fantasma

text: In 2021, Wilde and Mendoza entered the 2021 Dusty Rhodes Tag Team Classic in which they lost to the eventual winners MSK (Nash Carter and Wes Lee) in the semifinal round. They also faced MSK and Grizzled Young Veterans (James Drake and Zack Gibson) on night one of in a match with the Tag Team titles on the line, which MSK won. On the night two of Stand & Deliver, Wilde and Mendoza assisted Escobar in defeating the reigning Cruiserweight Champion Jordan Devlin in a ladder match to become the undisputed Cruiserweight Champion. However, Escobar lost the title to Kushida on the April 13 episode of "NXT". Escobar would fail to regain the title from Kushida in a two out of three falls match on the May 11 episode of "NXT".


title: Legado Del Fantasma

text: At , Legado del Fantasma would face NXT North American champion, Bronson Reed and NXT Tag Team champions, MSK in a winners take all, six man tag team match in which, Legado del Fantasma would lose the match. On the August 24 episode of "NXT", Elektra Lopez made her debut helping Legado Del Fantasma win against Hit Row. On the September 28 episode of NXT 2.0, Lopez would defeat Hit Row's B-Fab in a no disqualification match and two weeks later, Escobar would fail to win the NXT North American Championship from Scott ending the feud (Hit Row would get drafted to SmackDown in the WWE Draft. In early 2022, Escobar would feud with NXT Champion Bron Breakker unsuccessfully winning the NXT Championship at NXT Vengeance Day despite interference from Dolph Ziggler. At NXT Stand & Deliver, Escobar would fail to win the NXT North American Championship in a ladder match. Shortly after Stand & Deliver, Legado del Fantasma would feud with Tony D'Angelo, the self proclaimed "Don of NXT" and his "family". At this point, they would slowly turn into faces while portraying heelish tactics. After multiple meetings and kidnappings, Escobar would defeated D'Angelo on the May 17 episode of NXT however at NXT In Your House, Legado del Fantasma lost to the D'Angelo Family (Tony D'Angelo, Stacks and Two Dimes) with the losers having to join the other person's family. With Legado joining the D'Angelo Family, they would accompany each other during matches with them usually losing. On the June 21 episode of NXT, Escobar would cost D'Angelo his title match against NXT North American Champion Carmelo Hayes. At the Great American Bash, it was revealed that Escobar was hospitalized and the other members of Legado began working with the D'Angelo Family. On the August 2 episode of NXT, Escobar would return and cost D'Angelo and Stacks their title match against the Creed Brothers signaling that their alliance has come to an end. D'Angelo would then challenge Escobar to a match at NXT Heatwave, where the stipulation would be that if Escobar won, then Legado would've been freed from D'Angelo. However if he had lost, then Escobar would've been banned from NXT. At Heatwave, D'Angelo defeated Escobar, signaling the end of his time on the brand. However on the August 23 episode of NXT, Escobar appeared in a backstage segment inside a van. He would pick up the rest of his Legado teammates, and they would drive off, signaling that the stable had left NXT.


title: Legado Del Fantasma

text: On the October 7 episode of "SmackDown", Legado Del Fantasma (with Zelina Vega replacing Lopez) attacked Hit Row during their entrance, marking the group's main roster debut.


title: Duplicity (film)

text: Duplicity is a 2009 American romantic crime comedy film written and directed by Tony Gilroy, and starring Julia Roberts and Clive Owen. The plot follows two corporate spies with a romantic history who collaborate to carry out a complicated con. The film was released on March 20, 2009.


title: Duplicity (film)

text: Five years ago. Ray Koval, an MI6 agent, meets Claire Stenwick, a CIA officer, at a party in Dubai. He is unaware of her identity and attempts to seduce her. Claire drugs him and steals classified documents from him.


title: Duplicity (film)

text: Three years later in Rome, Ray and Claire meet for the first time since Dubai and spend several days together at a posh hotel. They imagine leaving their government jobs for work in an intensely competitive area in the private sector. They contemplate using their skills in intelligence to enrich themselves. After exploring possibilities over several months, including companies vying for the market in double-crust pizza, they settle on cosmetics and personal hygiene. How they will turn their positions to their advantage is unclear even to them, but they will be ready when the opportunity presents itself.


title: Duplicity (film)

text: Claire accepts a job in counter-intelligence at Burkett & Randle. After more than a year, Ray takes a position in intelligence at Equikrom, where he will act as the handler and Claire as one of his agents.


title: Duplicity (film)

text: Aware that Ray's new employer will be spying on him to assess his loyalty, he and Claire first practice how they will pretend to be meeting in New York for the first time since Dubai, reprising much of the dialog of their actual encounter in Rome. They are unaware that Claire's employers at Burkett & Randle are spying on her and hear this rehearsal, which blows her cover. Burkett & Randle CEO Howard Tully decides to keep Claire in her job, even though she is a mole, and to manipulate her in his rivalry with Equikrom.


title: Duplicity (film)

text: Claire and Ray, working as mole and handler, reprise the dialog yet again and, as they anticipated, Ray's employer is listening in and is persuaded that Ray is loyal.


title: Duplicity (film)

text: Throughout the weeks that follow, Claire and Ray remain wary of one another. Both are experienced in double-dealing and despite their romantic connection and plans to escape with new identities once this operation is complete, neither is entirely free of the other's suspicion.


title: Duplicity (film)

text: Tully makes a speech to his intelligence team, including Claire, that paints his company as the innovator defending itself from duplicity and theft. He underscores how the unannounced new product makes vigilance even more urgent. He and others in his organization plant information that they know she and the intelligence team at Equikrom will steal as they try to understand what that "major development" might be.


title: Duplicity (film)

text: Claire provides a copy of this speech to Equikrom CEO Dick Garsik, who plots to steal whatever Burkett & Randle has developed. His team, including Ray, devote themselves to stealing information from Burkett & Randle's offices, in the course of which Ray seduces one of their travel office employees and he and several others visit a casino in the Bahamas.


title: Duplicity (film)

text: Thanks to information from Ray, Claire is able to appear a hero to her employers, catching Equikrom's spying activities after the fact or preventing them in some measure in the Bahamas. Tully at Burkett & Randle pretends to be impressed, thanks Claire for successfully defending the company's new product, and he reveals to her that it is a cure for baldness. She informs Garsik at Equikrom, who leaves for a shareholders meeting in Las Vegas expecting she will obtain the chemical formula and he will announce the new development to his shareholders before Burkett & Randle goes public with the information.


title: Duplicity (film)

text: Excitement builds as the Equikrom team, using Claire as their principal source inside their rival's offices, succeed in acquiring a copy of the formula. Claire and Ray rendezvous at the Zürich Airport, each with a copy of the formula that they plan to sell to a Swiss company for $35 million. At the same time, Garsik tells his shareholders that they are in the final stages of testing for a product that cures baldness. The formula, the Swiss announce to Ray and Claire, is not what they think, just a harmless lotion. They in turn are disappointed, but impressed by how completely they were manipulated. They have only each other now, and a thank you bottle of champagne from Tully.


title: Duplicity (film)

text: The film does not present events chronologically, but moves back and forth in time to peel away layers and reveal unsuspected motivations. In one instance, the same dialog is recapitulated, but the words that are spoken in chronological sequence in Rome, a hotel room, and a bar, are presented in a different sequence: the bar, Rome, the hotel room. The audience only understands progressively when these lines represent an actual conversation and when they are being repeated, and also when they are overheard by an unsuspected audience and overheard by a suspected audience. In chronological sequence the events are still complex.


title: Duplicity (film)

text: Production on "Duplicity" began in New York City on March 9, 2008, and wrapped shooting on May 27 of that year. Filming locations included Paradise Island in the Bahamas for the casino shots, New York City including the West Village, Trafalgar Square in London and outside the Pantheon in Rome.


title: Duplicity (film)

text: The film was released on March 19, 2009 in Australia and on March 20 in the US and the UK. It had its world premiere on March 11, 2009 at London's Leicester Square.


title: Duplicity (film)

text: The film received mixed to positive reviews from film critics. , the film holds a 65% approval rating on Rotten Tomatoes, based on 192 reviews with an average rating of 6.40/10. The website's critics consensus reads: ""Duplicity" is well-crafted, smart, and often funny, but it's mostly more cerebral than visceral and features far too many plot twists." On Metacritic, the film has a score of 69 out of 100 based on reviews from 34 critics, indicating "generally favorable reviews".


title: Duplicity (film)

text: Film critic Roger Ebert gave the film three out of four stars and wrote, ""Duplicity" is entertaining, but the complexities of its plot keep it from being really involving: When nothing is as it seems, why care?", but admitted that "the fun is in watching Roberts and Owen fencing with dialogue, keeping straight faces, trying to read each other's minds".


title: Duplicity (film)

text: In his review for "The New York Observer", Andrew Sarris wrote, "So what has gone wrong with "Duplicity"? I can only go with my gut feeling: that Mr. Gilroy has outsmarted himself by pulling too many switches in his narrative. He then fails to recover by coming up with a smash ending that pulls all the scattered pieces together". Scott Foundas, in his review for the "Village Voice", wrote, "Comedy seems to have liberated Gilroy, who directs "Duplicity" with the high gloss and fleet-footed hustle of a golden-age Hollywood craftsman. There's nary a dull stretch in its two-hour breadth".


title: Duplicity (film)

text: "Entertainment Weekly" gave the film a "B" rating; Lisa Schwarzbaum wrote, "Gilroy counts on a "Thin Man"-style undercurrent of sexual sparring to sustain our interest in two scheming corporate operatives despite the fact that nothing much else is going on".


title: Duplicity (film)

text: In his review for "The New York Times", A. O. Scott praised Julia Roberts' performance: "Ms. Roberts has almost entirely left behind the coltish, America's-sweetheart mannerisms, except when she uses them strategically, to disarm or confuse. Curvier than she used to be and with a touch of weariness around her eyes and impatience in her voice, she is, at 41, unmistakably in her prime".


title: Duplicity (film)

text: Sukhdev Sandhu, in his review for "The Daily Telegraph", wrote, ""Duplicity" is really all about Roberts and Owen. They're con artists, but they don't fool us. Their pairing here feels duplicitous. Gilroy, it seems, is better at thrilling audiences than he is at seducing them". However, not all reviews were positive; Peter Travers of "Rolling Stone" gave the film two and a half stars out of four and said "Gilroy and his stars make it elegant fun to be fooled, but they sure as hell make you work for it."


title: Duplicity (film)

text: Filmmaker and author Peter Bogdanovich cited "Duplicity" as an example of a recent Hollywood film that has a pretentious style of filmmaking as compared with the organic artistic approach of Orson Welles to cinema, highlighting its non-chronological presentation of events as unnecessary and stating, "... and they wonder why the audience said 'What the fuck is going on?'"


title: Duplicity (film)

text: The film was released on DVD and Blu-ray Disc on August 25, 2009. Mill Creek Entertainment re-released the Blu-ray on September 17, 2019 and also included the DVD version in the Romance 4 Pack collection that will be released on September 15, 2020.


title: How Far I'll Go

text: "How Far I'll Go" and its reprise are two musical numbers from Disney's 2016 animated musical feature film "Moana". It was written by Lin-Manuel Miranda, with additional music and co-produced by Mark Mancina on its reprise. The song was performed in the film by American actress and singer Auliʻi Cravalho in her role as Moana. It was released along with the album on November 18, 2016. Canadian singer Alessia Cara also recorded the song for the "Moana" soundtrack. The song was nominated for Best Original Song at the 89th Academy Awards and Best Original Song at the 74th Golden Globe Awards but lost both to "City of Stars" from "La La Land." It did, however, win the Grammy Award for Best Song Written for Visual Media at the 60th Annual Grammy Awards.


title: How Far I'll Go

text: "How Far I'll Go" was composed as Moana's "I Want" song, following in the long tradition of "I Want" songs in 1990s Disney animated musicals. It replaced an earlier attempt called "More", for which the demo version recorded by Marcy Harriell was released as an outtake on the deluxe version of the soundtrack album. Although Miranda has stressed that he is still "very proud of" the song as a first draft, "More" was not good enough in retrospect because it merely expressed Moana's vague desire to see more since she had already figured out everything about the island. In contrast, "How Far I'll Go" expresses a deeper, richer message: Moana's struggle with the irresistible impulse to explore beyond the reef notwithstanding her genuine love for her island, her family, and her people. As Miranda explained to "People": "To me that's much more complicated than, 'I hate it here and I want to get out,' ... To say, 'I love it here, I love my parents, but why can't I stop walking to the ocean and fantasizing about getting out of here?' And questioning that instinct? It's even more confusing. And that's a valid story too."


title: How Far I'll Go

text: To make himself write a song more compelling than "More", Miranda "went method". According to Miranda, he locked himself in his childhood bedroom at his parents' residence for an entire weekend in order to force his mind back to age 16 (the same age as Moana in the film), a time when he was facing what seemed like an "impossible distance" between the reality of his pleasant middle-class childhood which had no connection to show business whatsoever, and his dreams of a career in show business. He was well aware that he was composing the next Disney "I Want" song after "Let It Go" and that whatever he wrote had to be different from it.


title: How Far I'll Go

text: According to the sheet music published at Sheetmusicdirect.com by Disney Music Company, "How Far I'll Go" is a moderate tempo of 82 beats per minute. Written in common time, the song is in the key of E major with a key change to F major for the final 10 measures. Auliʻi Cravalho's vocal range spans from B to D during the song.


title: How Far I'll Go

text: When the movie had its first theater release worldwide, the song numbered 44 versions, including a special Tahitian-language adaptation created specifically for the movie. For promotional purposes, South African singer Lira and Filipino singer and actress Janella Salvador recorded their own English-language versions of the song, while Indonesian singer Maudy Ayunda and Malaysian singer Ayda Jebat recorded their own versions of the song respectively in Indonesian and Malay language.


title: How Far I'll Go

text: On December 15, a 5-languages mash-up was released online, featuring singers from Southeast Asian countries: Janella Salvador from the Philippines, Maudy Ayunda from Indonesia, Myra Molloy from Thailand, Ayda Jebat from Malaysia and Trần Minh Như from Vietnam. Shortly thereafter, a 24-languages video was released on Disney's Vevo channel.


title: How Far I'll Go

text: In June 2017, a Māori-language version of the movie, featuring four voice-actors from the original English cast, was announced. Three weeks later, New Zealander Jaedyn Randell was introduced as Moana's voice. The movie was released in September 2017.


title: How Far I'll Go

text: In the same year, Shruti Rane (Hindi) reprised her role in the Bengali-language version of the movie.


title: How Far I'll Go

text: In November 2017, a Hawaiian-language dubbing was announced to be under way, with Auliʻi Cravalho reprising her role as Moana. The movie premiered on June 10, 2018.


title: How Far I'll Go

text: Canadian singer and songwriter Alessia Cara recorded "How Far I'll Go" for the "Moana" soundtrack, with the song being released ahead of the soundtrack on October 28, 2016. It was included in the deluxe edition of "Know-It-All".


title: How Far I'll Go

text: "Rolling Stone"s Brittany Spanos called the song "inspirational and sweet" and went on to say "the uplifting song is a perfect fit into the "Disney" canon, with Cara belting lyrics about persevering to achieve her dreams in spite of her imperfections or detractors." US magazine "Rap-Up" said "the empowering anthem allows the Canadian songstress to deliver outstanding vocals about overcoming adversity to reach for goals" and labeled it "a song with a message" and an "emotionally-charged track." Taylor Weatherby of "Billboard" dubbed it a "bouncy, uplifting tune." Idolator's Mike Wass said "the inspiring anthem is the perfect antidote to the general ugliness of 2016" and called it "a soaring ballad."


title: How Far I'll Go

text: The official music video for the song, directed by Aya Tanimura, was released on November 3, 2016. Derek Lawrence of "Entertainment Weekly" described the video: "The video finds Cara roaming an empty beach as she belts out lyrics that reflect the film's plot about a young Polynesian girl setting sail for an epic adventure." The video was filmed at El Matador Beach in Malibu, California.


title: How Far I'll Go

text: In many versions of "Moana", Alessia Cara's version of the song played during the end credits. However, several localized adaptations of Cara's version of the song were recorded for the end credits of the film as released in certain markets around the world.


title: How Far I'll Go

text: Vajèn van den Bosch (Dutch), Laura Tesoro (Flemish) and Cerise Calixte (French) sang the song both for the end credits and the movie. Yulianna Karaulova (Russian) took also part in the movie voicing Sina, Moana's mother, in the Russian version.


title: Marcus McElhenney

text: Marcus McElhenney (born July 27, 1981) is an American coxswain. He won a bronze medal in the men's eight at the 2008 Summer Olympics.


title: Marcus McElhenney

text: McElhenney first competed internationally in 2001, representing the United States in Linz, Austria at the Nations' Cup (Under 23 World Championships) where he coxed the men's eight to a silver medal. McElhenney was invited to try out for the 2002 Under 23 World Championship team.


title: Marcus McElhenney

text: His first major international success at the senior/Olympic level came at the 2003 World Rowing Championships in Milan where he won a gold medal in the coxed four event. A year later at the 2004 World Rowing Championships, he won a bronze medal in the same event. At 2005 World Rowing Championships he coxed both the eights and fours, winning a gold and a silver medal respectively, the first US athlete to have earned two medals at the same World Rowing Championships. In 2007 won both the eights and coxed fours at the 2007 USRowing championships.


title: Marcus McElhenney

text: McElhenney grew up in Delaware County, Pennsylvania and graduated from Temple University in Philadelphia, Pennsylvania. He is also the cousin of actor Rob McElhenney. He served as principal architect of the coxswain curriculum at Sparks Rowing, a social business that provides the largest amount of coxswain specific programming in the world. McElhenney graduated from the University of San Francisco School of law, and he currently practices law in California.


title: Soulquarians

text: The Soulquarians were a rotating collective of experimental Black music artists active during the late 1990s and early 2000s. Members of the collective included singer and multi-instrumentalist D'Angelo, drummer and producer Ahmir "Questlove" Thompson, producer J Dilla, singer-songwriter Erykah Badu, trumpeter Roy Hargrove, keyboardist James Poyser, singer Bilal, bassist Pino Palladino, rapper-producers Q-Tip and Mos Def, and rappers Talib Kweli and Common. Prior to its formation, Q-Tip, Common, Mos Def, and Talib Kweli were members of the Native Tongues collective.


title: Soulquarians

text: Stylistically, the collective's music has been variously described as neo soul, alternative hip hop, progressive soul, avant-garde, soul, conscious rap, and jazz fusion. Their members often collaborated on each other's recordings, holding extensive and innovative sessions at Electric Lady Studios in New York, which produced several well-received albums. Questlove of the hip hop band the Roots acted as the "musical powerhouse" behind several of the collective's projects, including the Roots' "Things Fall Apart" (1999), D'Angelo's "Voodoo" (2000), Badu's "Mama's Gun" (2000), and Common's "Like Water for Chocolate" (2000). Reflecting on their recordings, Common told "Spin" in 2008: "It was one of those time periods that you don't even realize when you're going through it that it's powerful".


title: Soulquarians

text: The name of the collective is derived from an astrology sign. The founding members of the collective—Questlove from the Roots, D'Angelo, James Poyser, and J Dilla—share the sign of Aquarius. Questlove, D'Angelo, Poyser, and J Dilla came together after discovering they had a common interest for the unconventional—offbeat rhythms, irregular chords, and other traits often exhibited by the underground urban music scene. Also around this time, D'Angelo and Welsh bassist Pino Palladino developed a connection over their mutual love of Motown and other classic soul music, and Palladino became active in the project, playing on the majority of their discography and serving as a member of the Soultronics touring band that supported D'Angelo's "Voodoo" tour.


title: Soulquarians

text: During the late 1990s and early 2000s, members of the collective held jam sessions while recording their respective albums at Electric Lady Studios in New York. The studio was chosen due to its history, having previously been used by Jimi Hendrix and Stevie Wonder, amongst others, and for the collection of vintage equipment available. It also presented new challenges for Questlove, who had to learn how to play drums in a softer style. Some of the equipment used included a Ludwig drum kit from 1968 and bass guitars from the 1950s.


title: Soulquarians

text: Recording sessions began in 1997 when D'Angelo and Questlove prepared to record the former's "Voodoo" (2000) album at the studio. According to Russell Elevado, the engineer on Voodoo, they used over 200 reels of tape to record in 1997 alone.


title: Soulquarians

text: The collective's sessions there over the next five years resulted in the Roots' albums "Things Fall Apart" (1999) and "Phrenology" (2002), Badu's second album "Mama's Gun" (2000), Common's "Like Water for Chocolate" (2000) and "Electric Circus" (2002), and singer Bilal's debut album "1st Born Second". According to music journalist Michael Gonzales, their sessions were marked by an experimentation with "dirty soul, muddy water blues, Black Ark dub science, mix-master madness, screeching guitars, old school hip-hop, gutbucket romanticism, inspired lyricism, African chats and aesthetics, pimpin' politics, strange Moogs, Kraftwerk synths and spacey noise". The musical approach also influenced the collective's associated musicians, including Mos Def's "Black on Both Sides" (1999), singer Res's "How I Do" (2001), and rapper Talib Kweli's "Quality" (2002).


title: Soulquarians

text: Questlove served as what Jim DeRogatis called "the musical powerhouse" behind the collective's sessions at the studio. "I tried to do all in my power that I could to bring people together – to bring Common to Electric Lady, have him record here whenever so that he could record with some of these other artists", Questlove explained in 2002. "You'd just come into [the studio's] A Room, you don't even know who has a session, but you call me: 'Who's down there?' 'Common's in there today.' So you come down, you order some food, sit down and bullshit, watch a movie, and then it's, 'Let's play something.' And I say, 'Who wants this [track]?' And it would be, 'I want it!' 'No, I want it!'"


title: Soulquarians

text: The Soulquarians' period at the studio ended due in part to the experimental nature of some of their recordings becoming commercial liabilities. Bilal held improvisatory jam sessions at the studio for his second album, "Love for Sale", but its experimental direction alienated his label from releasing it. Common's similarly experimental "Electric Circus" sold disappointingly, which discouraged MCA Records, Common and the Roots' label, from letting the artistically-free environment at the studio continue.


title: Soulquarians

text: Speaking about the end of The Soulquarians, in 2015, Questlove blamed a September 2000 magazine photo and article from Vibe as part of the reason for their eventual split:"The "Vibe" magazine photo was the beginning of the end. Because when that issue came out, motherfuckers were angry. The issue started out as a feature about me. The people at "Vibe" had a clue that I was working on D’Angelo, Erykah, The Roots, Jill Scott, Bilal, Mos Def, Talib Kweli, Common, Slum Village, and Nikka Costa’s records. At the height of everything, I was working with 17 different artists. I was really gun shy on any unwelcomed praise. I came from a commune. It wasn’t a one man act. I was very uncomfortable accepting a title or praise. I insisted to "Vibe" that they could get the story, but they had to make it about the family and not one person.


title: Soulquarians

text: The thing was we never had a title, but because the journalist was hanging with us the whole time, they were like you guys keep saying Soulquarians all of the time. I explained the difference. I said that the Soulquarians were me, James, D’Angelo, and J Dilla. The Soultronics was the group we were putting together with D’Angelo. So when we took the photo and then I saw the "Vibe" cover it said The Soulquarians. I was in Chicago when I saw it, and I said, “Oh shit. This is bad.” The next thing you know, every phone call that came in people were saying, “Yo, man. It looks like I’m working for you. I’m not an Aquarian. I’m my own person.” Literally, that’s when it all fell apart."


title: Soulquarians

text: In 2003, Questlove unequivocally stated that there were no plans for a Soulquarians album release for the foreseeable future. This was interpreted as a silent breakup of the outfit. However, according to an interview with Common (circa 2005), the collective continued to exist. In February 2006, founding member J Dilla died of cardiac arrest after a battle with thrombotic thrombocytopenic purpura (a rare blood disease), and lupus. That same year, Bilal's "Love for Sale" leaked and was indefinitely shelved by his label, although it developed an underground following and wide acclaim over the years. Reflecting on the collective's impact since then, Gonzales writes in 2015:


title: Dallas Dupree Young

text: Dallas Dupree Young (born October 25, 2006) is an American actor best known for his recurring role in "The Fosters", and his starring role in the Nickelodeon sitcom "Cousins for Life". In 2021, he joined the cast of the Netflix series "Cobra Kai", a sequel to "The Karate Kid" films.


title: Dallas Dupree Young

text: Young was born and raised in Houston, Texas. He is the son of Major League Baseball player Eric Young Sr. and his wife Beyonka Jackson. His older brother, Eric Young Jr., is also a professional baseball player. Young dreamed of becoming a professional athlete like his father and brother. He had aspirations of playing for the Colorado Rockies like they did. In addition to baseball, Young also loves basketball and football. Between the ages of 5 and 6, Young studied karate. He would later take kickboxing lessons as well.


title: Dallas Dupree Young

text: Though he was sure he would become a baseball player, plans changed when a neighbor encouraged Young to go into acting. Young credited shows he grew up watching such as, "Family Matters", "Hannah Montana" and "Jessie", with helping him discover his passion for acting. He later met with talent scout Diana Horner. Young was invited to attend an acting showcase in Los Angeles where he met his manager. His manager would then introduce him to an agent and Young began booking jobs immediately. He credits Denzel Washington as his biggest influence. As of 2019, Young was homeschooled to accommodate his busy work schedule.


title: Dallas Dupree Young

text: Young began acting at age 9 when he appeared in a short film. He later made his television debut in Investigation Discovery's documentary television series, "Murder Among Friends". He filmed his audition on his on his manager's front lawn and he booked the gig the very next day. He would go on to appear in episodes of "Shameless", "The Mayor", "The Good Place" and "The Fosters". He also landed a small role in the 2018 sci-fi film "Ready Player One". In 2018, Young landed his first leading role when he was cast as Stuart in the Nickelodeon sitcom "Cousins for Life", created by Kevin Kopelow and Heath Seifert. In 2019, he appeared in two episodes of ABC's "Mixed-ish". Young was later cast in the Willie Aikens biopic "The Royal".


title: Dallas Dupree Young

text: In 2020, Young appeared in an episode of the Fox drama, "9-1-1". That year, he would also book a recurring role on another Netflix series, "The Big Show Show" where he played a character named after singer Taylor Swift. In 2021, Young was cast in the recurring role of Kenny Payne in Netflix's critical acclaimed original series, "Cobra Kai". At age 15, Young was the youngest member of the cast. Young auditioned for the role in 2020 and the process took approximately three weeks. While he grew up on the original films, Young waited until he booked the role to binge the television series which only added to his excitement. To prepare for the role, he studied martial arts and also researched Bruce Lee and Wesley Snipes to develop his technique for the fight scenes. In addition to "The Royal", Young is also set to appear in the upcoming film, "1-800-Hot-Nite".


title: Pythagorean tuning

text: Pythagorean tuning is a system of musical tuning in which the frequency ratios of all intervals are based on the ratio 3:2. This ratio, also known as the "pure" perfect fifth, is chosen because it is one of the most consonant and easiest to tune by ear and because of importance attributed to the integer 3. As Novalis put it, "The musical proportions seem to me to be particularly correct natural proportions." Alternatively, it can be described as the tuning of the syntonic temperament in which the generator is the ratio 3:2 (i.e., the untempered perfect fifth), which is ≈702 cents wide.


title: Pythagorean tuning

text: The system dates to Ancient Mesopotamia; see . The system is named, and has been widely misattributed, to Ancient Greeks, notably Pythagoras (sixth century BC) by modern authors of music theory, while Ptolemy, and later Boethius, ascribed the division of the tetrachord by only two intervals, called "semitonium", "tonus", "tonus" in Latin (256:243 × 9:8 × 9:8), to Eratosthenes. The so-called "Pythagorean tuning" was used by musicians up to the beginning of the 16th century. "The Pythagorean system would appear to be ideal because of the purity of the fifths, but some consider other intervals, particularly the major third, to be so badly out of tune that major chords [may be considered] a dissonance."


title: Pythagorean tuning

text: The Pythagorean scale is any scale which can be constructed from only pure perfect fifths (3:2) and octaves (2:1). In Greek music it was used to tune tetrachords, which were composed into scales spanning an octave. A distinction can be made between extended Pythagorean tuning and a 12-tone Pythagorean temperament. Extended Pythagorean tuning corresponds 1-on-1 with western music notation and there is no limit to the number of fifths. In 12-tone Pythagorean temperament however one is limited by 12-tones per octave and one cannot play most music according to the Pythagorean system corresponding to the enharmonic notation, instead one finds that for instance the diminished sixth becomes a "wolf fifth".


title: Pythagorean tuning

text: 12-tone Pythagorean temperament is based on a stack of intervals called perfect fifths, each tuned in the ratio 3:2, the next simplest ratio after 2:1. Starting from D for example ("D-based" tuning), six other notes are produced by moving six times a ratio 3:2 up, and the remaining ones by moving the same ratio down:


title: Pythagorean tuning

text: This succession of eleven 3:2 intervals spans across a wide range of frequency (on a piano keyboard, it encompasses 77 keys). Since notes differing in frequency by a factor of 2 are perceived as similar and given the same name (octave equivalence), it is customary to divide or multiply the frequencies of some of these notes by 2 or by a power of 2. The purpose of this adjustment is to move the 12 notes within a smaller range of frequency, namely within the interval between the base note D and the D above it (a note with twice its frequency). This interval is typically called the basic octave (on a piano keyboard, an octave has only 12 keys). This dates to antiquity: in Ancient Mesopotamia, rather than stacking fifths, tuning was based on alternating ascending fifths and descending fourths (equal to an ascending fifth followed by a descending octave), resulting in the notes of a pentatonic or heptatonic scale falling within an octave.


title: Pythagorean tuning

text: For instance, the A is tuned such that its frequency equals 3/2 times the frequency of D—if D is tuned to a frequency of 288 Hz, then A is tuned to 432 Hz. Similarly, the E above A is tuned such that its frequency equals 3/2 times the frequency of A, or 9/4 times the frequency of D—with A at 432 Hz, this puts E at 648 Hz. Since this E is outside the above-mentioned basic octave (i.e. its frequency is more than twice the frequency of the base note D), it is usual to halve its frequency to move it within the basic octave. Therefore, E is tuned to 324 Hz, a 9/8 (= one epogdoon) above D. The B at 3/2 above that E is tuned to the ratio 27:16 and so on. Starting from the same point working the other way, G is tuned as 3/2 below D, which means that it is assigned a frequency equal to 2/3 times the frequency of D—with D at 288 Hz, this puts G at 192 Hz. This frequency is then doubled (to 384 Hz) to bring it into the basic octave.


title: Pythagorean tuning

text: When extending this tuning however, a problem arises: no stack of 3:2 intervals (perfect fifths) will fit exactly into any stack of 2:1 intervals (octaves). For instance a stack such as this, obtained by adding one more note to the stack shown above


title: Pythagorean tuning

text: will be similar but not identical in size to a stack of 7 octaves. More exactly, it will be about a quarter of a semitone larger, called the Pythagorean comma. Thus, A and G, when brought into the basic octave, will not coincide as expected. The table below illustrates this, showing for each note in the basic octave the conventional name of the interval from D (the base note), the formula to compute its frequency ratio, its size in cents, and the difference in cents (labeled 12-TET-dif in the table) between its size and the size of the corresponding one in the equally tempered scale.


title: Pythagorean tuning

text: In the formulas, the ratios 3:2 or 2:3 represent an ascending or descending perfect fifth (i.e. an increase or decrease in frequency by a perfect fifth, while 2:1 or 1:2 represent a rising or lowering octave). The formulas can also be expressed in terms of powers of the third and the second harmonics.


title: Pythagorean tuning

text: In equal temperament, pairs of enharmonic notes such as A and G are thought of as being exactly the same note—however, as the above table indicates, in Pythagorean tuning they have different ratios with respect to D, which means they are at a different frequency. This discrepancy, of about 23.46 cents, or nearly one quarter of a semitone, is known as a "Pythagorean comma".


title: Pythagorean tuning

text: To get around this problem, Pythagorean tuning constructs only twelve notes as above, with eleven fifths between them. For example, one may use only the 12 notes from E to G. This, as shown above, implies that only eleven just fifths are used to build the entire chromatic scale. The remaining interval (the diminished sixth from G to E) is left badly out-of-tune, meaning that any music which combines those two notes is unplayable in this tuning. A very out-of-tune interval such as this one is known as a "wolf interval". In the case of Pythagorean tuning, all the fifths are 701.96 cents wide, in the exact ratio 3:2, except the wolf fifth, which is only 678.49 cents wide, nearly a quarter of a semitone flatter.


title: Pythagorean tuning

text: If the notes G and E need to be sounded together, the position of the wolf fifth can be changed. For example, a C-based Pythagorean tuning would produce a stack of fifths running from D to F, making F-D the wolf interval. However, there will always be one wolf fifth in Pythagorean tuning, making it impossible to play in all keys in tune.


title: Pythagorean tuning

text: The table above shows only intervals from D. However, intervals can be formed by starting from each of the above listed 12 notes. Thus, twelve intervals can be defined for each interval type (twelve unisons, twelve semitones, twelve intervals composed of 2 semitones, twelve intervals composed of 3 semitones, etc.).


title: Pythagorean tuning

text: As explained above, one of the twelve fifths (the wolf fifth) has a different size with respect to the other eleven. For a similar reason, each of the other interval types, except for the unisons and the octaves, has two different sizes in Pythagorean tuning. This is the price paid for seeking just intonation. The tables on the right and below show their frequency ratios and their approximate sizes in cents. Interval names are given in their standard shortened form. For instance, the size of the interval from D to A, which is a perfect fifth (P5), can be found in the seventh column of the row labeled D. Strictly just (or pure) intervals are shown in bold font. Wolf intervals are highlighted in red.


title: Pythagorean tuning

text: The reason why the interval sizes vary throughout the scale is that the pitches forming the scale are unevenly spaced. Namely, the frequencies defined by construction for the twelve notes determine two different semitones (i.e. intervals between adjacent notes):


title: Pythagorean tuning

text: Conversely, in an equally tempered chromatic scale, by definition the twelve pitches are equally spaced, all semitones having a size of exactly


title: Pythagorean tuning

text: As a consequence all intervals of any given type have the same size (e.g., all major thirds have the same size, all fifths have the same size, etc.). The price paid, in this case, is that none of them is justly tuned and perfectly consonant, except, of course, for the unison and the octave.


title: Pythagorean tuning

text: By definition, in Pythagorean tuning 11 perfect fifths (P5 in the table) have a size of approximately 701.955 cents (700+ε cents, where ε ≈ 1.955 cents). Since the average size of the 12 fifths must equal exactly 700 cents (as in equal temperament), the other one must have a size of 700−11ε cents, which is about 678.495 cents (the wolf fifth). Notice that, as shown in the table, the latter interval, although enharmonically equivalent to a fifth, is more properly called a diminished sixth (d6). Similarly,


title: Pythagorean tuning

text: In short, similar differences in width are observed for all interval types, except for unisons and octaves, and they are all multiples of ε, the difference between the Pythagorean fifth and the average fifth.


title: Pythagorean tuning

text: Notice that, as an obvious consequence, each augmented or diminished interval is exactly 12ε (≈ 23.460) cents narrower or wider than its enharmonic equivalent. For instance, the d6 (or wolf fifth) is 12ε cents narrower than each P5, and each A2 is 12ε cents wider than each m3. This interval of size 12ε is known as a Pythagorean comma, exactly equal to the opposite of a diminished second (≈ −23.460 cents). This implies that ε can be also defined as one twelfth of a Pythagorean comma.


title: Pythagorean tuning

text: Four of the above-mentioned intervals take a specific name in Pythagorean tuning. In the following table, these specific names are provided, together with alternative names used generically for some other intervals. Notice that the Pythagorean comma does not coincide with the diminished second, as its size (524288:531441) is the reciprocal of the Pythagorean diminished second (531441:524288). Also "ditone" and "semiditone" are specific for Pythagorean tuning, while "tone" and "tritone" are used generically for all tuning systems. Despite its name, a semiditone (3 semitones, or about 300 cents) can hardly be viewed as half of a ditone (4 semitones, or about 400 cents). All the intervals with prefix "sesqui-" are justly tuned, and their frequency ratio, shown in the table, is a superparticular number (or epimoric ratio). The same is true for the octave.


title: Pythagorean tuning

text: The system dates to Ancient Mesopotamia, and consisted of alternating ascending fifths and descending fourths; see . Within Ancient Greek music, the system had been mainly attributed to Pythagoras (who lived around 500 BCE) by modern authors of music theory; Ancient Greeks borrowed much of their music theory from Mesopotamia, including the diatonic scale, Pythagorean tuning, and modes. The Chinese Shí-èr-lǜ scale uses the same intervals as the Pythagorean scale and was invented between 600 BCE - 240 CE.


title: Pythagorean tuning

text: Because of the wolf interval when using a 12-tone Pythagorean temperament, this tuning is rarely used today, although it is thought to have been widespread. In music which does not change key very often, or which is not very harmonically adventurous, the wolf interval is unlikely to be a problem, as not all the possible fifths will be heard in such pieces. In extended Pythagorean tuning there is no wolf interval, all perfect fifths are exactly 3:2.


title: Pythagorean tuning

text: Because most fifths in 12-tone Pythagorean temperament are in the simple ratio of 3:2, they sound very "smooth" and consonant. The thirds, by contrast, most of which are in the relatively complex ratios of 81:64 (for major thirds) and 32:27 (for minor thirds), sound less smooth depending on the instrument.


title: Pythagorean tuning

text: From about 1510 onward, as thirds came to be treated as consonances, meantone temperament, and particularly quarter-comma meantone, which tunes thirds to the relatively simple ratio of 5:4, became the most popular system for tuning keyboards. At the same time, syntonic-diatonic just intonation was posited first by Ramos and then by Zarlino as the normal tuning for singers.


title: Pythagorean tuning

text: However, meantone presented its own harmonic challenges. Its wolf intervals proved to be even worse than those of the Pythagorean tuning (so much so that it often required 19 keys to the octave as opposed to the 12 in Pythagorean tuning). As a consequence, meantone was not suitable for all music. From around the 18th century, as the desire grew for instruments to change key, and therefore to avoid a wolf interval, this led to the widespread use of well temperaments and eventually equal temperament.


title: Pythagorean tuning

text: Pythagorean temperament can still be heard in some parts of modern classical music from singers and from instruments with no fixed tuning such as the violin family. Where a performer has an unaccompanied passage based on scales, they will tend towards using Pythagorean intonation as that will make the scale sound best in tune, then reverting to other temperaments for other passages (just intonation for chordal or arpeggiated figures, and equal temperament when accompanied with piano or orchestra). This can be seen in the first bar of Bach's Sonata no.1 for unaccompanied violin, where the b-flat in the opening chord is played naturally in just intonation and sounds flatter than the subsequent b-flat which appears in a descending scale and is naturally Pythagorean. Such changes are never explicitly notated and are scarcely noticeable to the audience, just sounding 'in tune'.


title: Hitmaka

text: Christian J. Ward (born September 9, 1985), professionally known as Hitmaka, is an American record producer and former rapper from Chicago, Illinois.


title: Hitmaka

text: Ward began his career as a rapper under the name Yung Berg, having released his debut album "Look What You Made Me" in 2007. In his later career, he has become better known as a high-profile record producer and executive in the music industry. In 2020, he was appointed as the vice president of A&R at Atlantic Records.


title: Hitmaka

text: Initially signed to DMX's Bloodline Records as Iceberg, he ultimately signed to Epic Records. Ward's major-label debut single was "Sexy Lady", and was released in April 2007, and became the lead single for his debut studio album "Look What You Made Me" (2008). As a recording artist he’s known for the singles "Sexy Lady", "Sexy Can I" (with Ray J) and "The Business".


title: Hitmaka

text: In 2001, Ward signed to rapper DMX's Bloodline Records. He made his debut on the "Exit Wounds" soundtrack on the song "Dog 4 Life" as Iceberg. However, his parents sent him to a military boarding school in Montana in 2001. He moved to Los Angeles after finishing school in 2003. In 2005, Ward worked as a hype man and recording assistant for Disturbing tha Peace member and Chicago rapper Shawnna.


title: Hitmaka

text: Ward's debut single, "Sexy Lady", which featured R&B singer Junior, became a hit on Los Angeles urban radio, and he signed with Epic Records among many labels that approached him. Ward's six-track EP "" was released in July 2007. Also in 2007, Ward made a cameo in the music video of singer Kat DeLuna's debut single "Whine Up". "Sexy Lady" peaked at #18 on the "Billboard" 100. In addition to that single, Ward recorded a song with Lil Wayne and Brisco titled “Bitch Please” which was released in November 2007.


title: Hitmaka

text: In December 2007, Ward released another single "Sexy Can I", a collaboration with singer Ray J, then his debut album "Look What You Made Me". The second single was "Do That There", featuring Dude 'n' Nem, followed by "The Business", featuring Casha, which peaked at #33 on the Hot 100. "Look What You Made Me" would chart at #20 on the "Billboard" 200 and at #2 on the Top Rap Albums chart. In December 2008, Ward began casting "exceptionally stand out beautiful dark skin/brown skin women to showcase beauty of all races" for a potential dating reality show that he would host.


title: Hitmaka

text: However, as evidenced by the trailer for his new TV show, titled "Back In Business", it will not be a dating show. But the reality show was never released as planned. In 2009, Ward formed The Dream Team production group with his older brother K-Young and producer Rob Holladay. In 2012, Ward also co-wrote and co-produced for Nicki Minaj's album "The Pinkprint" on the tracks "Want Some More", "Buy a Heart" and "Shanghai".


title: Hitmaka

text: In 2014, Ward would appear in the first season of the VH1 show "". The show loosely follows events in his and fellow castmate, Hazel E's personal lives. On November 9, 2014 it was announced by VH1 that they had fired Ward from "Love & Hip Hop: Hollywood" due to arrest for allegedly assaulting his fellow castmate and girlfriend Masika Kalysha Tucker.


title: Hitmaka

text: In October 2015, Ward was cited $100,000 in back child support for his child with Brandy Flint. In December 2017, Ward was considered a delinquent parent by the Illinois Department of Healthcare and Family Services, which has published information on Yung Berg's failure to pay child support. At the time, Ward's amount owed in past-due child support is $104,962 for one child.


title: Hitmaka

text: On August 23, 2008, it was reported and confirmed that Ward had been ambushed by Detroit, Michigan, rapper Trick Trick and his entourage in his club and had his signature ""Transformers" chain" taken. But on August 26, 2008, Trick Trick denied having anything to do with the altercation, and claimed to have saved Ward from the altercation. On December 16, 2011, Ward explained the altercation by stating he didn't want to go to Trick Trick's club since a member of his entourage had a problem with him, but somehow ended up there. "I was like 30 deep, I went in the club and I went to the back because I had the number one record at the time", he said, stating that he wanted a free bottle. "The co-owner come back and he said, My partner Trick Trick said ain’t no love for you on those bottles. I was like, your partner? Hold on. So now we’re in Trick Trick's club, I come to find out, the same club that I didn’t wanna go to and perform. Now, I’m in the club. I’m like 5’6, 150 pounds. I come out there and the whole club security surrounds me. They whooped my ass through the club, the security. My entourage was all around us and they were getting their asses whooped too!"


title: Hitmaka

text: On October 5, 2010, United Kingdom rapper Rowdy T announced that he had taken Ward's "Batman chain" and called him a snitch for reporting it to police. But during an interview Ward announced that he had done no such thing and the chain wasn't anything important to him.


title: Hitmaka

text: On March 20, 2011, during an interview Ward announced that he was done with wearing flashy jewelry stating,


title: Hitmaka

text: On March 25, 2008, Ward released his single entitled "Do That There", which was a direct diss towards fellow rapper, Bow Wow. However, during an interview in early 2009, Ward stated that the two had settled their differences.


title: Hitmaka

text: On March 7, 2008, Ward insulted Miami rapper Brisco on a video podcast. On July 10, 2008, Ward became involved in a controversy with rapper Flo Rida when speaking about his upcoming album "Look What You Made Me" when he stated "my album got pushed back like Flo Rida's hairline", though he later apologized for his remark stating he was just playing. Flo Rida's Poe Boy Entertainment label mate and longtime friend Brisco took offense to the remark stating "You talking too much, Imma beat yo lil red ass".


title: Hitmaka

text: On February 21, 2012 during an interview, singer Teairra Marí stated that she did not like Ward and would get him ambushed again due to comments he made about her during one of his interviews. On May 10, 2012, Ward spoke about the situation stating "On the Teairra situation, first and foremost, I did the interview with The Breakfast Club in 2011, and I left that in 2011," he said in an interview. "After I did the interview, I called Ray J and I said, 'Yo, this is what I talked about in my interview,' because I spoke candidly about our relationship and I felt my loyalty is to Ray, it's not nowhere near to Teairra. I don't even know her like that, and at the end of the day, why are we gonna go back and forth about how you tried to holla at me...you know what you did...I've got bigger things to worry about than being trivial over some pussy, especially when there's so much pussy out there. I've been called worse by better people than her". In 2014, during the first season of the VH1 show "", it was revealed that Ward and Marí had resolved their former issues towards each other. Later in the season, he produced her song "Deserve".


title: Nonwoven fabric

text: Nonwoven fabric is a fabric-like material made from staple fibre (short) and long fibres (continuous long), bonded together by chemical, mechanical, heat or solvent treatment. The term is used in the textile manufacturing industry to denote fabrics, such as felt, which are neither woven nor knitted. Some non-woven materials lack sufficient strength unless densified or reinforced by a backing. In recent years, non-wovens have become an alternative to polyurethane foam.


title: Nonwoven fabric

text: Nonwoven fabrics are broadly defined as sheet or web structures bonded together by entangling fiber or filaments (and by perforating films) mechanically, thermally or chemically. They are flat or tufted porous sheets that are made directly from separate fibres, molten plastic or plastic film. They are not made by weaving or knitting and do not require converting the fibres to yarn. Typically, a certain percentage of recycled fabrics and oil-based materials are used in nonwoven fabrics. The percentage of recycled fabrics varies based upon the strength of material needed for the specific use. In addition, some nonwoven fabrics can be recycled after use, given the proper treatment and facilities. For this reason, some consider non-woven a more ecological fabric for certain applications, especially in fields and industries where disposable or single use products are important, such as hospitals, schools, nursing homes and luxury accommodations.