title: Ian Chappell

text: John Arlott called him "a cricketer of effect rather than the graces". An animated presence at the batting crease, he constantly adjusted his equipment and clothing, and restlessly tapped his bat on the ground as the bowler ran in. Basing his game on a sound defence learned during many hours of childhood lessons, Chappell employed the drive and square cut to full effect. He had an idiosyncratic method of playing back and across to a ball of full length and driving wide of mid-on, but his trademark shot was the hook, famously saying "three bouncers an over should be worth 12 runs to me". A specialist slip fielder, he was the fourth player to take one hundred Test catches.


title: Ian Chappell

text: Since his retirement in 1980, he has pursued a high-profile career as a sports journalist and cricket commentator, predominantly with Channel Nine. He remains a key figure in Australian cricket: in 2006, Shane Warne called Chappell the biggest influence on his career. Chappell was inducted into the Sport Australia Hall of Fame in 1986, the FICA Cricket Hall of Fame in 2000 and the Australian Cricket Hall of Fame in 2003. On 9 July 2009, Ian Chappell was inducted into the ICC Cricket Hall of Fame.


title: Ian Chappell

text: The first of Four sons (Ian, Greg, Trevor, Michel) born in Unley, near Adelaide, to Martin and Jeanne ("née" Richardson), Chappell was steeped in the game from an early age. His father was a noted Adelaide grade cricketer who put a bat in his hands as soon as he could walk, and his maternal grandfather was famous all-round sportsman Vic Richardson, who captained Australia at the end of a nineteen-Test career. Chappell was given weekly batting lessons from the age of five, as were younger brothers Greg and Trevor, who both also went on to play for Australia.


title: Ian Chappell

text: Chappell grew up in the beachside suburb of Glenelg and attended the local St Leonard's Primary School where he played his first competitive match at the age of seven. He was later selected for the South Australian state schoolboys team. He then enrolled at Prince Alfred College, a private secondary school noted for producing many Test cricketers, including the Australian captains Joe Darling and Clem Hill. His other sporting pursuits included Australian football and baseball: Chappell's performances for South Australia in the Claxton Shield won him All-Australian selection in 1964 and 1966 as a catcher. He credits Vic Richardson, who had represented both SA and Australia in baseball during the 1920s, for his love of the sport. At the age of 18, his form in grade cricket for Glenelg led to his first-class debut for South Australia (SA) against Tasmania in early 1962.


title: Ian Chappell

text: The aggressive style of Sobers and of South Australia captain Les Favell heavily influenced Chappell during his formative years in senior cricket. In 1962–63, Chappell made his initial first-class century against a New South Wales team led by Australian captain Richie Benaud, who was bemused by the young batsman's habit of gritting his teeth as he faced up; to Benaud, it looked as if he was grinning. Chappell spent the northern summer of 1963 as a professional in England's Lancashire League with Ramsbottom and played a single first-class match for Lancashire against Cambridge University.


title: Ian Chappell

text: In 1963–64, Chappell batted at number three for SA for the first time, in a match against Queensland at Brisbane, and scored 205 not out. He was the youngest member of the SA team that won the Sheffield Shield that season. A century against Victoria early the following season resulted in Chappell's selection for a one-off Test against Pakistan at Melbourne in December 1964. He made 11 and took four catches, but was dropped until the Fourth Test in the 1965–66 Ashes series. Chappell supplemented his aggressive batting with brilliant fielding in the slips, and he showed promise as a leg-spinner. At this point, the selectors and captain Bob Simpson considered him an all-rounder: he batted at number seven and bowled 26 (eight-ball) overs for the match.


title: Ian Chappell

text: He retained his place for the following Test and for the tour of South Africa in summer 1966–67. Playing in a side defeated 1–3, Chappell struggled to make an impression. His highest score in ten Test innings was 49, while his five wickets cost 59 runs each. On the advice of Simpson, he ceased playing the hook shot as it was often leading to his dismissal. In the first Test of 1967–68 against India, he failed twice batting in the middle order. Heading into the second Test at Melbourne, Chappell's place was in jeopardy, but he rode his luck to score 151 – his innings contained five chances that the Indians failed to take. However, in the remainder of the series, he managed only 46 runs in four innings, so his selection for the 1968 tour of England was based as much on potential as form.


title: Ian Chappell

text: In England, Chappell rewarded the faith of the selectors by scoring the most first-class runs on the tour (1,261 runs, including 202 not out against Warwickshire), leading the Australian Test aggregates with 348 runs (at 43.50). His top score was 81 in the fourth Test at Leeds. "Wisden" lauded his play off the back foot and judged him the most difficult Australian batsman to dismiss. In a summer severely affected by rain, Australia drew the series and retained The Ashes.


title: Ian Chappell

text: A string of big scores and a record number of catches during the 1968–69 season earned Chappell the Australian Cricketer of the Year award. Against the touring West Indies, Chappell hit 188 not out, 123, 117, 180 and 165 before the New Year. Two of these centuries came in the Test series, when Chappell's average for 548 runs was 68.50. Chappell was elevated to number three in the batting order and became a less-frequent bowler; he was also appointed vice-captain of the team.


title: Ian Chappell

text: Following up with a successful tour of India in late 1969, Chappell demonstrated his fluency against spin bowling by compiling Test innings of 138 at Delhi and 99 at Kolkata. His ability against both fast and slow bowling earned high praise, including from his captain Bill Lawry. When the Australians arrived in South Africa in early 1970, following their victory over India, Lawry told the local media that Chappell was the best all-round batsman in the world. His appraisal looked misguided when Chappell managed just 92 runs (at 11.5 average), with a top score of 34, as Australia lost 0–4.


title: Ian Chappell

text: On this tour, Chappell clashed with cricket administrators over pay and conditions for the first time. The South African authorities requested that an extra Test be added to the fixture and the Australian Board of Control consented. Incensed that the players were not consulted about the change, Chappell led a group of his teammates in a demand for more money to play the proposed game. Eventually the match was cancelled after Chappell and his supporters refused to back down.


title: Ian Chappell

text: Chappell became South Australian captain when the long-serving Les Favell retired at the start of the 1970–1971 season. His younger brother Greg made his debut in the second Test of the summer against Ray Illingworth's England. Facing an English attack led by the hostile fast bowling of John Snow, Chappell scored a half-century in each of the first two Tests, but failed to capitalise on good starts while Greg Chappell scored 108 in his initial innings. Rain caused the abandonment of the third Test without a ball being bowled. Temporarily promoted to open the batting, Chappell failed in the fourth Test as Australia lost. In the fifth Test at Melbourne, he returned to number three and started nervously. Dropped on 0 and 14, Chappell found form and went on to post his maiden Ashes century (111 from 212 balls), which he followed with scores of 28 and 104 in the sixth Test.


title: Ian Chappell

text: The washed-out Test resulted in a late change to the schedule and an unprecedented seventh Test was played at Sydney in February 1971. Trailing 0–1 in the series, Australia could retain The Ashes by winning this game. Australia's performances were hampered by playing slow, defensive cricket. In a radical attempt to breathe some aggression into the team, the selectors sacked captain Bill Lawry and appointed Chappell in his stead. Dismayed by the manner of Lawry's dismissal, Chappell responded with an attacking performance as captain, he won the toss, put England in and dismissed them for 184, and Australia led the first innings by 80 runs, but set 223 to win they folded for 160 and lost The Ashes after holding them for 12 years. Chappell gained some consolation at the end of a dramatic summer when he led SA to the Sheffield Shield, the team's first win for seven years.


title: Ian Chappell

text: Chappell's battles against the short-pitched bowling of Snow during the season compelled him to reappraise his game. Following a conversation with Sir Donald Bradman, he decided to reinstate the hook shot and spent the winter months practising the stroke by hitting baseballs thrown by his brother Greg. Although he still regularly lost his wicket after playing the shot, Chappell felt that the psychological benefit of showing aggression to opposing bowlers offset the times that he was dismissed for a low score.


title: Ian Chappell

text: Australia lost an unofficial Test series to a Rest of the World team led by Gary Sobers that toured in 1971–72 as a replacement for the politically unacceptable South Africans. Chappell was the outstanding batsman of the series, with four centuries included in his 634 runs, at an average of 79.25. He took the team to England in 1972 and was unlucky not to regain The Ashes in a rubber that ended 2–2. The series began disastrously for Chappell when he was out hooking from the first ball he faced in the opening Test at Manchester. He fell the same way in the second innings and Australia lost the match. However, the team regrouped and had the better of the remaining matches, apart from the fourth Test at Leeds, played on a controversial pitch that the Australians believed was "doctored" to suit the England team. Greg Chappell emerged as a prolific batsman during the series, batting one place below his brother in the order. The siblings shared several crucial partnerships, most notably 201 at the Oval in the last Test when they became the first brothers to score centuries in the same Test innings. Australia won the game, an effort that Chappell later cited as the turning point in the team's performances.


title: Ian Chappell

text: In 1972–73, Australia had resounding victories against Pakistan (at home) and the West Indies (away). Chappell's leadership qualities stood out in a number of tight situations. He hit his highest Test score of 196 (from 243 balls) in the first Test against Pakistan at Adelaide. Pakistan "appeared probable winners of the last two Tests on the second last day of each game", yet Chappell's team managed to win on both occasions.


title: Ian Chappell

text: On indifferent pitches in the Caribbean, Chappell was the highest-scoring batsman of the Test series with 542 runs (at 77.4 average). He hit 209 in a tour match against Barbados, two Test centuries and a "glorious" 97 on a poor pitch at Trinidad in the third Test, batting with an injured ankle. This set up a dramatic last day when the West Indies needed just 66 runs to win with six wickets in hand at lunch. The home team collapsed against an inspired Australian bowling attack supported by Chappell's aggressive field-placements. Chappell's team would be the last to leave the West Indies as winners for 22 years.


title: Ian Chappell

text: Australia played six Tests against New Zealand on both sides of the Tasman in 1973–74. Chappell led his team to a 2–0 victory in the three Tests played in Australia. During the third Test at Adelaide, he equalled the world record of six catches in a Test match by a fielder, which was beaten by his brother Greg the following season. In the drawn first Test at Wellington, the Chappells became the first brothers to each score a century in both innings of a Test match. The Australians lost to the Kiwis for the first time ever in the second Test at Christchurch, when Chappell was involved in a verbal confrontation with the leading New Zealand batsman, Glenn Turner. The Australians then played an ill-tempered tour match at Dunedin that didn't enhance the reputation of Chappell or his team, before winning the final Test at Auckland. On this tour, the behaviour of the team was questioned with some journalists labelling them "ugly Australians". In 1976, Chappell wrote about his attitude to the opposition:


title: Ian Chappell

text: ... although we didn't deliberately set out to be a 'bunch of bastards' when we walked on to the field, I'd much prefer any team I captained to be described like that than as 'a nice bunch of blokes on the field.' As captain of Australia my philosophy was simple: between 11.00am and 6.00pm there was no time to be a nice guy. I believed that on the field players should concentrate on giving their best to the team, to themselves and to winning; in other words, playing hard and fairly within the rules. To my mind, doing all that left no time for being a nice guy.


title: Ian Chappell

text: The increasing prevalence of verbal confrontation on the field (later known as sledging) concerned cricket administrators and became a regular topic for the media. Its instigation is sometimes attributed to Chappell. By his own admission, he was a frequent user of profanity who was often at "boiling point" on the field, but claims that the various incidents he was involved in were not a premeditated tactic. Rather, they were a case of him losing his temper with an opponent.


title: Ian Chappell

text: The highlight of Chappell's career was Australia's 4–1 win over England in 1974–75 that reclaimed The Ashes. Strengthened by the new fast bowling partnership of Dennis Lillee and Jeff Thomson, the Australians played aggressive cricket and received criticism for the amount of short-pitched bowling they employed. Chappell scored 90 on an "unreliable" pitch on the first day of the opening Test at Brisbane. He finished the six Tests with 387 runs at 35.18 average, and took 11 catches in the slips. The Test matches attracted big crowds and record gate takings, enabling Chappell to negotiate a bonus for the players from the Australian Cricket Board (ACB). Although this more than doubled the players' pay, their remuneration amounted to only 4.5% of the revenue generated by the series.


title: Ian Chappell

text: Within months, Chappell was back in England leading Australia in the inaugural World Cup. His dislike of the defensive nature of limited-over cricket led to the Australians placing a full slips cordon for the new ball and employing Test-match style tactics in the tournament. Despite the apparent unsuitability of this approach, Chappell guided the team to the final where they lost a memorable match to the West Indies.


title: Ian Chappell

text: The workload of the captaincy was telling on Chappell and the four-Test Ashes series that followed the World Cup dampened his appetite for the game. After winning the only completed match of the series, the first Test at Birmingham, Australia's retention of the Ashes was anti-climactic: the third Test at Leeds was abandoned due to vandalism of the pitch during the night before the last day's play. In the last Test at the Oval, Chappell scored 192 from 367 balls to set up an apparent victory. However, England managed to bat for almost 15 hours to grind out a draw and Chappell announced his resignation from the captaincy on the final day of the match. In 30 Tests as captain, he scored 2,550 runs at an average of 50, with seven centuries.


title: Ian Chappell

text: Remaining available for Test cricket, he played in the 1975–76 series against the West Indies under the captaincy of his brother Greg. Australia avenged their loss in the World Cup final by winning 5–1, claiming the unofficial title of best team in the world. During the season, Chappell incurred censure for his behaviour in a Sheffield Shield match and was warned not to continue wearing a pair of adidas boots with the three stripes clearly visible. This breached the prevailing protocol of cricketers wearing all white. His highest innings of the summer was 156 during Australia's only loss, at Perth in the second Test. "Wisden" nominated him as the most influential player of the series for his 449 runs at an average of 44.90. Throughout the course of the series, Chappell passed two significant milestones when he became the fourth Australian to make 5,000 runs in Test cricket and the first player to hold one hundred Test catches for Australia. The summer ended in controversy and triumph in the domestic competition. During a dispute with the SACA over team selection, he threatened a "strike" action by the SA team. After the matter was resolved, Chappell led the side to the Sheffield Shield title for the second time in his career and shared the inaugural Sheffield Shield player of the season award with his brother Greg. He retired from first-class cricket at the end of the season, aged only 32.


title: Ian Chappell

text: In 1976, Chappell toured South Africa with Richie Benaud's International Wanderers team, released his autobiography "Chappelli" and was named as one of five Wisden Cricketers of the Year. He was hired to spend the summer of 1976–77 as a guest professional in the Melbourne district competition where he was paid more than he had been as Australian captain. During the season, he was involved in a famous altercation with a young English all-rounder who was in Victoria on a cricketing scholarship, Ian Botham. Both men have put forward vastly different versions as to what happened during the physical confrontation in a Melbourne pub. The animosity between them continues and Channel Nine used it as a marketing ploy when Botham temporarily partnered Chappell as a television commentator during the 1998–99 season. Botham again revived the feud in his 2007 autobiography with another version of the incident.


title: Ian Chappell

text: Throughout his career, Chappell found the ACB obdurate in his attempts to make a living from the game. In 1969 and 1970, they refused his applications to play professionally in England. As Australian captain, he made several unsuccessful representations at ACB meetings in an effort to secure a more realistic financial deal for the Australian players. In consultations with the then-president of the ACTU, Bob Hawke, he explored the possibility of unionising the players.


title: Ian Chappell

text: Approached to lead an Australian team in World Series Cricket (WSC), a breakaway professional competition organised by Kerry Packer for Channel Nine, Chappell signed a three-year contract worth A$75,000 in 1976. His participation was, "fundamental to the credibility of the enterprise". Chappell devised the list of Australian players to be signed, and was involved in the organisation and marketing of WSC. His central role was the result of, "years of personal disaffection with cricket officialdom", in particular Don Bradman. Recently, Chappell wrote:


title: Ian Chappell

text: While captaining Australia, I was approached on three separate occasions before WSC to play 'professional' cricket, and each time I advised the entrepreneurs to meet the appropriate cricket board because they controlled the grounds. On each occasion, the administrators sent the entrepreneurs packing and it quickly became clear they weren't interested in a better deal for the players.


title: Ian Chappell

text: That's why I say the players didn't stab the ACB in the back. The administrators had numerous opportunities to reach a compromise but displayed little interest in the welfare of the players. It wasn't really surprising then that more than 50 players from around the world signed lucrative WSC contracts and a revolution was born. About half of the WSC players were from Australia and this high ratio can, in part, be attributed to Bradman's tight-fisted approach to the ACB's money.


title: Ian Chappell

text: In WSC's debut season of 1977–78, Chappell hit the first Supertest century and finished fifth in overall averages. The prevalence of short-pitched fast bowling and a serious injury to Australian David Hookes led to the innovation of batting helmets; Chappell was one of the many batsmen to use one. Following their 1975–76 tour of Australia, the West Indies adopted a four-man fast bowling attack, while the World XI contained fast bowlers of the calibre of Imran Khan, Mike Procter, Garth Le Roux, Clive Rice and Sarfraz Nawaz. The constant diet of pace bowling undermined the confidence of some batsmen during WSC. Chappell's form fell away during the second season and he scored only 181 runs at 25.85 in four Supertests. During the last six days of the season, the WSC Australians lost the finals of both the limited-overs competition (to the West Indies XI) and the Supertest series (to the World XI), thus forfeiting the winner-takes-all prize money. After the latter match, Chappell vented his frustrations on World XI captain Tony Greig by refusing to shake his hand and criticising Greig's inconsequential contribution to his team's victory. The final act of the competition was a series between the WSC Australians and the WSC West Indies played in the Caribbean in the spring of 1979. After the Australians suffered a heavy defeat in the first Supertest at Jamaica, Chappell rallied his team to draw the five match series one-all. His best effort were scores of 61 and 86 at Barbados.


title: Ian Chappell

text: Convinced to return to official cricket when WSC ended, Chappell resumed as captain of SA in 1979–80, a decision he later regretted. It was a season too far for the increasingly irascible Chappell. Reported by an umpire for swearing in a match against Tasmania, he received a three-week suspension. In his first match after the ban, he was again reported for his conduct in a game against the touring English team. Given a suspended ban by the ACB, he was then selected for Australia's last three Tests of the season. His Test career finished with scores of 75 and 26 not out at the MCG against England in February 1980. In his final first-class match, SA needed to beat Victoria to win the Sheffield Shield. Although Chappell scored 112, SA lost the match and the shield. Ironically, the umpires voted him the competition's player of the season for a second time.


title: Ian Chappell

text: Chappell's aggressive approach suited limited-overs cricket: he scored his runs at a strike-rate of 77 runs per hundred balls. The timing of his career limited him to 16 ODI matches, but he appeared in a number of historic fixtures such as the first ODI (at the MCG in 1971), the first World Cup final (at Lord's in 1975) and the first day/night match (during WSC, at VFL Park in 1978). He passed fifty in half of his innings with a top score of 86 at Christchurch in 1973–74. In his final season of international cricket, he scored 63 not out (from 65 balls) against the West Indies at the SCG to win the player of the match award; five days later he hit an unbeaten 60 from 50 balls in his penultimate ODI appearance, against England. As captain, he recorded six wins and five losses from 11 matches. He is also credited to have hit the first ever six in an ODI match (which is in fact the first ODI match ever played).


title: Ian Chappell

text: The title of the ABC's documentary "The Chappell Era", broadcast in 2002, encapsulated Chappell's significance to Australian cricket. Subtitled "Cricket in the '70s", it chronicled the rise of the Australian cricket team under Chappell, the fight for better pay for the players, and professionalisation of the game through WSC. During the program, Chappell reiterated his criticisms of cricket's administration at the time.


title: Ian Chappell

text: In "Wisden", Richie Benaud wrote, "Chappell will be remembered as much for his bid to improve the players' lot as he will for his run-getting and captaincy". During the WSC period, he founded a players' association with a loan provided by Kerry Packer. Despite Chappell's continued support for the organisation after his retirement, apathy and a lack of recognition from the ACB led to its demise in 1988. Revived in 1997 as the Australian Cricketers' Association (ACA), it is now an important organisation within the structure of Australian cricket. In 2005, Chappell became a member of the ACA executive.


title: Ian Chappell

text: Chappell was inducted into the Sport Australia Hall of Fame in 1986, the FICA Cricket Hall of Fame in 2000 and the Australian Cricket Hall of Fame in 2003. Two new grandstands at the Adelaide Oval were named the Chappell Stands; at the dedication ceremony in 2003, the SACA president Ian McLachlan called the Chappells, "the most famous cricketing family in South Australia". In 2004, the Chappell family was again honoured with the creation of the Chappell–Hadlee Trophy, an annual series of ODI matches played between Australia and New Zealand.


title: Ian Chappell

text: Chappell is the leading advocate for greater formal recognition of the first Australian sporting team to travel overseas, the Australian Aboriginal cricket team in England in 1868.


title: Ian Chappell

text: Following the path of his grandfather Vic Richardson, who was a radio commentator for many years, Chappell entered the media in 1973 by writing magazine articles and a column for "The Age". He did television commentary for the 0–10 Network and the BBC before playing WSC. During the 1980s, Chappell spent eight years co-hosting with Mike Gibson, "Wide World of Sports", an innovative magazine-style program broadcast by Channel Nine on Saturday afternoons and co-hosted a sister show, "Sports Sunday", for five years. Early in his stint on the former program, he swore without realising that he was live to air. A similar incident occurred during a live telecast of the 1993 Ashes series. Channel Nine suspended him on both occasions.


title: Ian Chappell

text: Chappell began working as a commentator for Channel Nine's cricket coverage in the 1980–81 season, a position he retains until the network lost the Australian home cricket rights to Channel 7 in April 2018.


title: Ian Chappell

text: Chappell became a radio commentator for the Macquarie Sports Radio in 2018. He later moved to ABC Radio before retiring in August 2022.


title: Ian Chappell

text: The greatest controversy of his first season was the Underarm Incident, which involved his two younger brothers in an ODI played between Australia and New Zealand at the Melbourne Cricket Ground. Chappell showed no fraternal bias and was vehement in his criticism of his brother Greg's tactic. He wrote in a newspaper column on the matter: "Fair dinkum, Greg, how much pride do you sacrifice to win $35,000?"


title: Ian Chappell

text: He supported the claims of Rod Marsh to the Australian captaincy over the incumbent, Kim Hughes, in the early 1980s. The constant campaign against Hughes destabilised his authority. Compounding the situation, the ACB compelled Hughes to be interviewed by Chappell on a regular basis. He also criticised Hughes's batting. "Hughes needs to score the runs when they are needed most. He is not doing this and his inconsistency is rubbing off on others... there is a not a lot of thought in his batting".


title: Ian Chappell

text: On the morning of the second test against the West Indies in 1984–85, Chappell asked Hughes "Three months ago, you claimed Australia possessed no Test-worthy legspinner. So what is Bob Holland doing in the team?" Hughes resigned as captain after that match. Following Hughes' resignation, Australian cricket went into turmoil and Chappell received a share of the blame for the outcome.


title: Ian Chappell

text: Chappell had a direct influence on Hughes' successor, Allan Border. Early in his captaincy tenure, Border was struggling with the burdens of the position so the ACB appointed Bob Simpson as team coach to assist. There was animosity between Chappell and Simpson prior to this and Chappell continue to deride the need for a coach. Simpson responded by writing that the peer influence of older players helping younger players fell away during the era when the Chappell brothers led the team, and he was redressing the problem.


title: Ian Chappell

text: Chappell believed that the Border-Simpson leadership was too defensive and that Simpson usurped too much of Border's control of the team; Border heeded Chappell's assessment and adopted a more aggressive on-field approach later in his career and became known as "Captain Grumpy" to his teammates. Mark Taylor, who captained the team after Border, moved to dilute Simpson's authority. Chappell remains a long-standing critic of the use of coaches by national teams.


title: Ian Chappell

text: Ian Chappell was often critical of Steve Waugh as captain, believing him to be a selfish player and unimaginative captain. When Waugh was appointed captain in 1999 Chappell said:


title: Ian Chappell

text: I think he's been a selfish cricketer . . . I've always felt that the things you do as a player leading up to getting the captaincy do have an effect [on] how players perceive you. I've had the feeling that a selfish player when he becomes captain . . . gets a little less out of his players than someone who is not selfish.


title: Ian Chappell

text: Chappell felt Shane Warne should have been picked as captain instead and his criticism of Waugh's captaincy did not abate during Waugh's stint in that role, despite his success. Waugh later wrote of Chappell:


title: Ian Chappell

text: Ian Chappell … always sweated on my blunders and reported them with an 'I told you so' mentality... To say Chappell's criticism irked me would be an understatement, though I knew that, like anyone, he was entitled to an opinion. I don't mind the fact he criticised me — in fact, I would much rather someone make a judgement than not, but I have always felt that a critic must be either constructive or base his comments on fact... It was something I had to live with, and when I realised he was never going to cut me much slack, I decided anything he said that was positive would be a bonus and the rest just cast aside.


title: Ian Chappell

text: Chappell has been a vocal critic of a number of Australian players, most recently Ed Cowan and George Bailey.


title: Ian Chappell

text: When the Los Angeles Dodgers and Arizona Diamondbacks met in Major League Baseball's season opening series at the Sydney Cricket Ground in Sydney on 22 and 23 March 2014, Chappell, who had represented South Australia as a catcher in the Claxton Shield before embarking on his successful cricket career, was a commentator for the broadcasts, carried on Australia's Channel Nine and in the United States by MLB Network. He worked with Matt Vasgersian and former Cy Young Award winner John Smoltz.


title: Ian Chappell

text: Chappell's first book was an account of the 1972 Ashes tour, "Tigers Among the Lions", followed by a series of books of cricketing humour and anecdotes published in the early 1980s. The more analytical "The Cutting Edge", an appraisal of modern cricket, appeared in 1992. Ashley Mallett's biography, "Chappelli Speaks Out" (published in the UK as "Hitting Out – the Ian Chappell Story") was written in collaboration with Chappell and released in 2005. It caused controversy due to Chappell's assessment of Steve Waugh, who he described as "selfish" and as a captain, "ran out of ideas very quickly". Waugh responded by writing, "to say Chappell's criticism irked me would be an understatement." He categorised the criticisms as "personal" and noted that Chappell, "always sweated on my blunders and reported them with an 'I told you so' mentality". In 2006, Chappell released an anthology of his cricket writings entitled "A Golden Age". He is a regular contributor for ESPNcricinfo.


title: Ian Chappell

text: After leaving school, Chappell spent two years as a clerk in a sharebroker's office, which he left to play league cricket in England. He then worked as a promotions representative for Nestlé and, later, the cigarette manufacturer WD & HO Wills. After eight years with Wills, Chappell capitalised on his fame as Australian captain by forming his own company specialising in advertising, promotion and journalism, which has remained his profession. He is twice married, and has a daughter (Amanda) with his first wife Kay. Chappell now lives in Sydney with his second wife Barbara-Ann. In recent years, Chappell has been a high-profile activist for better treatment of asylum seekers by the Australian government, in particular its policy of mandatory detention. He supports Australia cutting ties with the United Kingdom and becoming a republic, being a founding member of the Australian Republican Movement.


title: Truganini

text: Truganini (also known as Lallah Rookh; c. 1812 – 8 May 1876) was an Aboriginal Tasmanian woman. She was one of the last native speakers of the Tasmanian languages and one of the last individuals solely of Aboriginal Tasmanian descent.


title: Truganini

text: Truganini grew up in the region around the D'Entrecasteaux Channel and Bruny Island. Many of her relatives were killed during the Black War. From 1829 she was associated with George Augustus Robinson, later an official of the colonial government of Van Diemen's Land. She accompanied him as a guide and served as an informant on Aboriginal language and culture. In 1835, Truganini and most other surviving Aboriginal Tasmanians were relocated to Flinders Island in the Bass Strait, where Robinson had established a mission. The mission proved unsuccessful, and disastrous for the Aboriginal Tasmanian people.


title: Truganini

text: In 1839, Truganini, among sixteen Aboriginal Tasmanians, accompanied Robinson to the Port Phillip District in present-day Victoria. She soon severed ties with him. Around two years later, she and four other Aboriginal Tasmanians, including Tunnerminnerwait became outlaws, leading to the killing of two whalers and an eight-week pursuit and resistance campaign. The five of them were charged with murder. Tunnerminnerwait and another man were found guilty and executed, while Truganini and the others were returned to Tasmania. In 1847, she was moved to the Oyster Cove settlement close to her birthplace, where she maintained some traditional lifestyle elements.


title: Truganini

text: By the 1860s, Truganini and William Lanne had become anthropological curiosities, being incorrectly regarded as the last "full-blood" Aboriginal Tasmanians under the racial categories used at the time. After her death in Hobart in 1876, her body was exhumed by the Royal Society of Tasmania. Her skeleton was on public display in the Tasmanian Museum until the 1940s, but was returned to the Aboriginal community in 1976 and cremated. Some of her remains were sent to the Royal College of Surgeons of England and were only repatriated in 2002.


title: Truganini

text: There are a number of other spellings of her name, including "Trukanini", "Trugernanner, Trugernena, Truganina, Trugannini, Trucanini, Trucaminni", and "Trucaninny". Truganini was also widely known by the nickname "Lalla(h) Rookh".


title: Truganini

text: Truganini was born about 1812 on Bruny Island ("Lunawanna-alonnah"), located south of the Van Diemen's Land capital Hobart, and separated from the Tasmanian mainland by the D'Entrecasteaux Channel. She was a daughter of Mangana, chief of the Bruny Island people. In the indigenous Bruny Island language (Nuennonne), truganina was the name of the grey saltbush, "Atriplex cinerea".


title: Truganini

text: In her youth, her people still practised their traditional culture, but it was soon disrupted by European settlement. When Lieutenant-Governor George Arthur arrived in Van Diemen's Land in 1824, he implemented two policies to deal with the growing conflict between settlers and Aboriginal peoples. Bounties were awarded for the capture of Aboriginal adults and children, and an effort was made to establish friendly relations with Aboriginal people in order to lure them into camps. The campaign began on Bruny Island where hostilities had not been as marked as in other parts of Tasmania.


title: Truganini

text: When Truganini met George Augustus Robinson, the Chief Protector of Aborigines, in 1829, her mother had been killed by sailors, her uncle shot by a soldier, her sister abducted by sealers, and her fiancé brutally murdered by timber-cutters, who then repeatedly sexually abused her.


title: Truganini

text: In 1830, Robinson moved Truganini and her husband, Woorrady, to Flinders Island with most of the last surviving Tasmanian Aboriginal people, numbering approximately 100. The stated aim of isolation was to save them, but many of the group died from influenza and other diseases. In 1838, Truganini, among sixteen Aboriginal Tasmanians, helped Robinson to establish a settlement for mainland Aboriginal people at Port Phillip.


title: Truganini

text: Oral histories of Truganini report that after arriving in the new settlement of Melbourne and disengaging with Robinson, she had a child named Louisa Esmai with John Shugnow or Strugnell at Point Nepean in Victoria. Further, Truganini was from the bloodlines of Victoria's Kulin Nation tribes. Indeed, they hid the child from authorities hunting Truganini. After Truganini was captured and exiled, her daughter, Louisa, was raised in the Kulin Nation. Louisa married John Briggs and supervised the orphanage at Coranderrk Aboriginal Reserve when it was managed by Wurundjeri leaders including Simon Wonga and William Barak. Louisa was grandmother to Ellen Atkinson.


title: Truganini

text: After about two years of living in and around Melbourne, she joined Tunnerminnerwait and three other Tasmanian Aboriginal people. The group became outlaws, robbing and shooting at settlers around Dandenong and triggering a long pursuit by the authorities. The outlaws moved on to Bass River and then Cape Paterson. There, members of the group murdered two whalers at Watson's hut. The group was captured and sent for trial for murder at Port Phillip. A gunshot wound to Truganini's head was treated by Dr Hugh Anderson of Bass River. The two men of the group were found guilty and hanged on 20 January 1842.


title: Truganini

text: Truganini and most of the other Tasmanian Aboriginal people were returned to Flinders Island several months later. In 1856, the few surviving Tasmanian Aboriginal people at the Flinders Island settlement, including Truganini (not all Tasmanian Aboriginal people on the island as some suggest) were moved to a settlement at Oyster Cove, south of Hobart.


title: Truganini

text: According to "The Times" newspaper, quoting a report issued by the Colonial Office, by 1861 the number of survivors at Oyster Cove was only fourteen: ...14 persons, all adults, aboriginals of Tasmania, who are the sole surviving remnant of ten tribes. Nine of these persons are women and five are men. There are among them four married couples, and four of the men and five of the women are under 45 years of age, but no children have been born to them for years. It is considered difficult to account for this... Besides these 14 persons there is a native woman who is married to a white man, and who has a son, a fine healthy-looking child...The article, headed "Decay of Race", adds that although the survivors enjoyed generally good health and still made hunting trips to the bush during the season, after first asking "leave to go", they were now "fed, housed and clothed at public expense" and "much addicted to drinking".


title: Truganini

text: According to a report in "The Times" she later married a Tasmanian Aboriginal person, William Lanne (known as "King Billy") who died in March 1869. By 1873, Truganini was the sole survivor of the Oyster Cove group, and was again moved to Hobart.


title: Truganini

text: She died in May 1876 and was buried at the former Female Factory at Cascades, a suburb of Hobart. Before her death, Truganini had pleaded to colonial authorities for a respectful burial, and requested that her ashes be scattered in the D'Entrecasteaux Channel. She feared that her body would be mutilated for perverse scientific purposes as William Lanne's had been.


title: Truganini

text: Despite her wishes, within two years, her skeleton was exhumed by the Royal Society of Tasmania. It was placed on public display in the Tasmanian Museum in 1904 where it remained until 1947. Only in April 1976, approaching the centenary of her death, were Truganini's remains finally cremated and scattered according to her wishes. In 2002, some of her hair and skin were found in the collection of the Royal College of Surgeons of England and returned to Tasmania for burial.


title: Truganini

text: Truganini is often incorrectly referred to as the last speaker of a Tasmanian language. However, "The Companion to Tasmanian History" details three full-blood Tasmanian Aboriginal women, Sal, Suke and Betty, who lived on Kangaroo Island in South Australia in the late 1870s and "all three outlived Truganini". There were also Tasmanian Aboriginal people living on Flinders and Lady Barron Islands. Fanny Cochrane Smith (1834–1905) outlived Truganini by 30 years and in 1889 was officially recognised as the last Tasmanian Aboriginal person, though there was speculation that she was actually mixed-race. Smith recorded songs in her native language, the only audio recordings that exist of an indigenous Tasmanian language.


title: Truganini

text: According to historian Cassandra Pybus's 2020 biography, Truganini's mythical status as the "last of her people" has overshadowed the significant roles she played in Tasmanian and Victorian history during her lifetime. Pybus states that "for nearly seven decades she lived through a psychological and cultural shift more extreme than most human imaginations could conjure; she is a hugely significant figure in Australian history".


title: Truganini

text: In 1835 and 1836, settler Benjamin Law created a pair of busts depicting Truganini and Woorrady in Hobart Town that have come under recent controversy. In 2009, members of the Tasmanian Aboriginal Centre protested an auction of these works by Sotheby's in Melbourne, arguing that the sculptures were racist, perpetuated false myths of Aboriginal extinction, and erased the experiences of Tasmania's remaining indigenous populations. Representatives called for the busts to be returned to Tasmania and given to the Aboriginal community, and were ultimately successful in stopping the auction.


title: Truganini

text: Artist Edmund Joel Dicks also created a plaster bust of Truganini, which is in the collection of the National Museum of Australia.


title: Truganini

text: In 1997, the Royal Albert Memorial Museum, Exeter, England, returned Truganini's necklace and bracelet to Tasmania.


title: Mechanic

text: A mechanic is an artisan, skilled tradesperson, or technician who uses tools to build, maintain, or repair machinery, especially cars.


title: Mechanic

text: Most mechanics specialize in a particular field, such as auto body mechanics, air conditioning and refrigeration mechanics, auto mechanics, bicycle mechanics, boiler mechanics, and other areas.


title: Mechanic

text: A mechanic is typically certified by a trade association or regional government power. Mechanics may be separated into two classes based on the type of machines they work on, heavyweight and lightweight. Heavyweight work is on larger machines or heavy equipment, such as tractors and trailers, while lightweight work is on smaller items, such as automotive engines.


title: Mechanic

text: Automotive technicians (the modern term of reference) have many trades within. Some may specialize in the electrical diagnosis, while others may specialize in the mechanical aspects. Other mechanical areas include: brakes and steering, suspension, automatic or manual transmission, engine repairs, auto body repairs or diagnosing customer complaints.


title: Mechanic

text: Automotive technicians require many years of training to become a licensed technician. Countries such as Canada have a governmental certification body that tests and maintains automotive technicians qualifications. The United States of America uses an organization that is called ASE. This organization provides independent testing of a technicians skills with over 57 different tests that can be taken.


title: Bones (Imagine Dragons song)

text: "Bones" is a song by American pop rock band Imagine Dragons. The song was released through Interscope and Kidinakorner on March 11, 2022, as the lead single from the band's sixth studio album, "Mercury – Acts 1 & 2". It was written by Dan Reynolds, Wayne Sermon, Ben McKee, Daniel Platzman, and its producers Mattman & Robin.


title: Bones (Imagine Dragons song)

text: On March 9, 2022, the band posted to their social media, asking fans to head over to their official Discord server at 3:00PST for a surprise. The band's manager and frontman Dan Reynolds' brother, Mac, sent a WAV file containing the first 13 seconds of "Bones". The next day, the band announced on TikTok that the song would be released on March 11. The day afterward, the song was featured in the teaser for the third season of the Amazon Prime Video series, "The Boys".


title: Bones (Imagine Dragons song)

text: Upon the song's release, Reynolds stated to "Rolling Stone", "'Bones' is a reflection of my constant obsession with the finality and fragility of life. I'm always in search of some evidence that will convince me that there is more to come—that life is truly eternal in some sense. Having yet to find that, I try to at least dream of what conquering death would feel like in a song."


title: Bones (Imagine Dragons song)

text: On April 6, 2022, the band released an official music video for the song, directed by Jason Koenig. The video draws influences from "The Wolf of Wall Street" and Michael Jackson's "Thriller" music video. The video stars frontman Dan Reynolds as an egoistic Wall Street day trader, while the other band members star as coworkers. However, all the workers suddenly turn into dancing zombies, who chase Reynolds around the office. Reynolds is then hypnotized into joining the zombies' dance performance, before the spell breaks, he gets caught, and is decapitated.


title: Bhaskar (director)

text: Bhaskar, better known as Bommarillu Bhaskar, is an Indian film director. In his early career, he worked as associate director on films "Bhadra" and "Arya". His directorial debut "Bommarillu" starring Siddarth Narayan and Genelia D'souza earned him two Nandi Awards, for best debut director and best original screenplay. His next venture, "Parugu" starring Allu Arjun was a box office hit. "Orange" starring Ram Charan was his next film, which gained mixed response. His fourth film was "Ongole Githa", a revenge drama which was a box office and critical failure. His next film was the Tamil-language "Bangalore Naatkal" starring Arya, Rana Daggubati, Samantha Ruth Prabhu, Sri Divya, and Bobby Simha which released in 2016.


title: Bhaskar (director)

text: Bhaskar was born in Vellore, Tamil Nadu and was a student of the Film and Television Institute of Tamil Nadu, Chennai.


title: American Splendor (film)

text: American Splendor is a 2003 American biographical comedy-drama film about Harvey Pekar, the author of the "American Splendor" comic book series. The film, which is a hybrid production featuring live actors, documentary, and animation, is in part an adaptation of the comics, which dramatize Pekar's life. "American Splendor" was written and directed by documentarians Shari Springer Berman and Robert Pulcini.


title: American Splendor (film)

text: The film stars Paul Giamatti as Pekar and Hope Davis as Joyce Brabner. It also features appearances from Pekar and Brabner themselves (along with Pekar's long-time co-worker Toby Radloff), who discuss their lives, the comic books, and how it feels to be depicted onscreen by actors. It was filmed entirely on location in Cleveland and Lakewood in Ohio.


title: American Splendor (film)

text: The film opens in the year 1950. It's Halloween and an 11-year-old Harvey Pekar refuses to dress up as a superhero while trick-or-treating. The scene shifts to an adult, walking the gritty Cleveland streets. Then real Harvey Pekar appears in a documentary-style setup.


title: American Splendor (film)

text: The narrative picks up again in 1975, as a scratchy-voiced Harvey visits a throat doctor and exhibits hypochondria. Harvey's wife decides their "plebeian" lifestyle just isn't working for her anymore; without being able to speak, Harvey is powerless to convince her not to leave him. A few months later, a depressed Harvey is at his file clerk job at the VA hospital. Mr. Boats comes by to offer advice: the words of an Elinor Wylie poem.


title: American Splendor (film)

text: In a documentary scene, the real Harvey Pekar talks about his years as a part-time used-record collector/salesman. The narrative flashes back to 1962. While searching for old records at a yard sale, Harvey meets shy greeting card illustrator Robert Crumb. A friendship is formed over a shared love of jazz and comic books.


title: American Splendor (film)

text: Returning to 1975, a now famous Crumb is back in Cleveland for a visit. His marriage over, Harvey is lonely and frustrated — he wants to leave a mark on the world. Afterward, a sobering moment in the VA hospital's "deceased" files section leads Harvey to try drawing his own stories, but his lack of drawing talent stops him. An incident at the supermarket revives him, as his animated subconscious goads him: "Are you going to stand there in silence, or are you going to make a mark?" Inspired, Harvey stays up all night writing. At a diner with Crumb, Harv makes a pitch for a new kind of comics. He shows Bob the scripts he's been working on, and Crumb offers to illustrate them for him.


title: American Splendor (film)

text: A montage of classic Pekar quotidian moments culminates with Harvey proudly showing off "American Splendor" #1 to his VA co-workers. The narrative moves forward to 1984. Harvey has published eight issues of "American Splendor" to critical acclaim but little financial gain; he's still a "flunky file clerk." Harvey runs into Alice Quinn, a woman he briefly knew in college. They catch up on each other's lives and talk about Theodore Dreiser's novel "Jennie Gerhardt". Harvey leaves their encounter feeling more alone than ever before.


title: American Splendor (film)

text: Meanwhile, in Delaware, Joyce is frustrated with her partner in the comic book store, who has sold her copy of "American Splendor" #8 out from under her. She writes to Harvey, he responds, and they discover they are kindred spirits. Joyce travels to Cleveland to meet Harvey in person. The date begins with a handshake and dinner at a local family restaurant. Back at Harvey's apartment, Joyce is overcome with a bout of nausea and vomiting. A concerned Harvey offers her chamomile tea. Charmed, Joyce suggests they "skip the whole courtship thing" and get married.


title: American Splendor (film)

text: It's one week later, and Harvey sees his VA colleague Toby Radloff sitting in his car eating White Castle sliders. Toby is on his way to Toledo to see the new movie "Revenge of the Nerds". Meanwhile, Harvey is on his way to Delaware to marry Joyce and help her move out to Cleveland.


title: American Splendor (film)

text: Sitting alongside the real Harvey, the real Joyce Brabner talks about what it was like to become a character in Harvey's stories.


title: American Splendor (film)

text: Now married, Harvey and Joyce go to a screening of "Revenge of the Nerds" with Toby. Joyce and Toby found the film inspiring, and Harvey found it insipid. Back at their apartment, Joyce struggles with feeling at home amidst all of Harvey's stuff. Their spat is interrupted by a message from a theater producer who wants to make "American Splendor" into a play. Harvey and Joyce travel to Los Angeles to see "American Splendor: The Play". Things are finally breaking Harvey's way. But his ascendancy is complicated by Joyce's emotional struggles. She wants a family. Her desires are put aside again because a producer calls to offer Harvey a chance to be a guest on "Late Night with David Letterman".


title: American Splendor (film)

text: Almost despite himself, Harvey is a hit on the show and comes back for multiple appearances. Meanwhile, Toby becomes an MTV star. Back in Cleveland, a man recognizes Harvey from the Letterman show, but not for the "right" reasons. Harvey is angry and unfulfilled. Meanwhile, Joyce is looking for fulfillment of her own, as a creator and as an activist. Against Harvey's wishes, she goes away to a peace conference, leaving him at loose ends. One lonely night, Harvey discovers a mysterious lump on his groin.


title: American Splendor (film)

text: Joyce is still away on her mission, and a scared and bitter Harvey makes another appearance on the Letterman show. He dons an "On Strike Against NBC" shirt and the show goes downhill from there, winding up in chaos. Joyce finally returns, but she discovers Harvey's lump. Harvey is diagnosed with lymphoma. Joyce suggest he make a comic book of the whole thing, but Harvey just wants to die. Undeterred, Joyce enlists Fred, an artist, to illustrate the experience. Fred brings along his daughter Danielle on their first brainstorming session, and Joyce is smitten with the girl. Harvey reluctantly agrees to participate in the comic, and asks Fred to keep bringing Danielle along.


title: American Splendor (film)

text: Harvey's treatment is traumatic and tumultuous. One night, an addled Harvey wonders if he's real or if he is just a character in a comic book, and whether the story will end or continue if he dies. In one continuous take, Harvey wanders through a dreamscape, musing about other individuals he finds in the Cleveland telephone book that are also named Harvey Pekar.


title: American Splendor (film)

text: One year later, Harvey and Joyce sign the completed "Our Cancer Year". Harvey is declared cancer-free. They adopt Danielle, and Harvey adjusts to being a parent. The real Harvey retires from the VA hospital, and the movie ends with a group hug.


title: American Splendor (film)

text: The film was originally intended to be screened on HBO. The script was written before the September 11 attacks, was cast right afterward, and shot in about a month in the fall of 2001.


title: American Splendor (film)

text: Though Shari Springer Berman and Robert Pulcini had directed documentaries before, "American Splendor" was their first narrative feature. Of the film's alternating of fictional portrayals with real-life appearances by Pekar and his friends and family, co-writer/co-director Pulcini recalled,


title: American Splendor (film)

text: Artwork from actual "American Splendor" comics and "Our Cancer Year" appears in the film; some scenes use artwork replicated by cartoonist Doug Allen. Animated sequences were produced by Gary Leib.


title: American Splendor (film)

text: At one point, Pekar meta-references the structure of the film by doing a voice-over for a one-shot of Paul Giamatti playing him by saying "There's our guy. Well, it's me. Or the guy playing me. Though he don't look nothing like me, but whatever." (Pekar and Brabner had been approached previously by actors interested in playing Pekar on film, including Rob Schneider.)


title: American Splendor (film)

text: David Letterman refused to appear in the film, and his old network of NBC did not allow the filmmakers to use footage of Pekar's disastrous fourth and sixth appearances on "Late Night" (aired July 31, 1987 and August 31, 1988, respectively), though they had no problems with the other Pekar appearances that are shown in the film. The supposed "final appearance" was done using oblique camera angles and a voiced-over audio of the incident. (In actuality, Pekar returned for two more appearances on the Letterman show in 1993 & 1994.)


title: American Splendor (film)

text: The film's original production budget was $1.5 million, and as the film was coming together, HBO gave the filmmakers more money for post-production, animation, and music.


title: American Splendor (film)

text: Music played in the film mostly reflects Pekar's affection for avant-garde jazz and American music from the 1920s and 1930s. A couple of songs by "American Splendor" illustrator Robert Crumb and his band are also featured.


title: American Splendor (film)

text: The "American Splendor (Original Motion Picture Soundtrack)" was released by New Line Records in 2003, and featured the following songs:


title: American Splendor (film)

text: On Rotten Tomatoes, the film has a 94% rating based on reviews from 186 critics, with an average rating of 8.3/10. The website's critical consensus reads, "Exhilarating both stylistically and for its entertaining, moving portrayal of an everyman, "American Splendor" is a portrait of a true underground original." On Metacritic, the film has a weighted average score of 90 out of 100, based on 42 reviews, indicating "universal acclaim."


title: American Splendor (film)

text: Roger Ebert awarded the film four stars out of four in his review, calling it a "magnificently audacious movie, in which fact and fiction sometimes coexist in the same frame." He remarked "the casting of Giamatti and Davis is perfect", writing that they "mastered not only the looks but the feels and even the souls of these two people", as well as praising Friedlander's performance. He also found the film "delightful in the way it finds its own way to tell its own story", describing its presentation as "mesmerizing in the way it lures us into the daily hopes and fears of this Cleveland family."


title: American Splendor (film)

text: "American Splendor" won the Grand Jury Prize for Dramatic Film at the 2003 Sundance Film Festival, in addition to the award for Best Adapted Screenplay from the Writers Guild of America. At the 2003 Cannes Film Festival, the film received the FIPRESCI critics award. "American Splendor" was given the Guardian New Directors Award at the 2003 Edinburgh International Film Festival. It was also nominated for Best Adapted Screenplay at the 2003 Academy Awards.


title: American Splendor (film)

text: Columnist Jaime Wolf wrote a laudatory review of the film in "Slate", also drawing attention to formal parallels with Woody Allen's "Annie Hall" and his other films.


title: American Splendor (film)

text: Harvey Pekar wrote about the effects of the film in various stories published in "American Splendor: Our Movie Year" (2004).


title: Clark Backo

text: Clark Backo is a Canadian actress. She is most noted for her recurring role as Rosie, Wayne's love interest, in the television series "Letterkenny".


title: Clark Backo

text: She has also appeared in the television series "Remedy", "Shoot the Messenger", "21 Thunder", "Designated Survivor", "Wynonna Earp", "Supernatural" and "The Handmaid's Tale", and in the film "Happy Place". She was an ACTRA Award nominee for Outstanding Performance (Female) at the ACTRA Toronto awards in 2021 for "Happy Place".


title: Clark Backo

text: In 2022, she co-starred in the Amazon feature film "I Want You Back", alongside Charlie Day, Jenny Slate, Gina Rodriguez, Scott Eastwood and Manny Jacinto.


title: Free-ranging dog

text: A free-ranging dog is a dog that is not confined to a yard or house. Free-ranging dogs include street dogs, village dogs, stray dogs, feral dogs, etc., and may be owned or unowned. The global dog population is estimated to be 900 million, of which around 20% are regarded as owned pets and therefore restrained.


title: Free-ranging dog

text: Dogs living with humans is a dynamic relationship, with a large proportion of the dog population losing contact with humans at some stage over time. This loss of contact first occurred after domestication and has reoccurred throughout history.


title: Free-ranging dog

text: The global dog population is estimated to be 900 million and rising. Although it is said that the "dog is man's best friend" for the 17–24% of dogs that live as pets in the developed countries, in the developing world pet dogs are uncommon but there are many village, community or feral dogs. Most of these dogs live out their lives as scavengers and have never been owned by humans, with one study showing their most common response when approached by strangers is to run away (52%) or respond aggressively (11%). Little is known about these dogs, or the dogs in developed countries that are feral, stray or that are in shelters, as the majority of modern research on dog cognition has focused on pet dogs living in human homes.


title: Free-ranging dog

text: There is confusion with the terms used to categorize dogs. Dogs can be classed by whether they possess an owner or a community of owners, how freely they can move around, and any genetic differences they have from other dog populations due to long-term separation.


title: Free-ranging dog

text: Owned dogs are "family" dogs. They have an identifiable owner, are commonly socialized, and are not allowed to roam. They are restricted to particular outdoor or indoor areas. They have little impact on wildlife unless going with humans into natural areas.


title: Free-ranging dog

text: A free-ranging dog is a dog that is not confined to a yard or house. Free-ranging owned dogs are cared for by one owner or a community of owners, and are able to roam freely. This includes "village dogs", which live in rural areas and human habitations. These are not confined. However, they rarely leave the village vicinity. This also includes "rural free-ranging dogs", which also live in rural areas and human habitations. These are owned or are associated with homes, and they are not confined. These include farm and pastoral dogs that range over particular areas.


title: Free-ranging dog

text: Free-ranging unowned dogs are stray dogs. They get their food and shelter from human environments, but they have not been socialized and so they avoid humans as much as possible. Free-ranging unowned dogs include "urban free-ranging dogs", which live in cities and urban areas. These have no owner but are commensals, subsisting on left over food from human, garbage or other dogs' food as their primary food sources. Free-ranging unowned dogs also include feral dogs.


title: Free-ranging dog

text: The term "feral" can be used to describe those animals that have been through the process of domestication but have returned to a wild state. "Domesticated" and "socialized" (tamed) do not mean the same thing, as it is possible for an individual animal of a domesticated specise to be feral and not tame, and it is possible for an individual animal of a wild species to be socialized to live with humans.


title: Free-ranging dog

text: Feral dogs differ from other dogs because they did not have close human contact early in their lives (socialization). Feral dogs live in a wild state with no food and shelter intentionally provided by humans and show a continuous and strong avoidance of direct human contact. The distinction between feral, stray, and free-ranging dogs is sometimes a matter of degree, and a dog may shift its status throughout its life. In some unlikely but observed cases, a feral dog that was not born wild but lived with a feral group can become rehabilitated to a domestic dog with an owner. A dog can become a stray when it escapes human control, by abandonment or being born to a stray mother. A stray dog can become feral when it is forced out of the human environment or when it is co-opted or socially accepted by a nearby feral group. Feralization occurs by the development of a fear response to humans. Feral dogs are not reproductively self-sustaining, suffer from high rates of juvenile mortality, and depend indirectly on humans for their food, their space, and the supply of co-optable individuals.


title: Free-ranging dog

text: The existence of "wild dogs" is debated. Some authors propose that this term applies to the Australian dingo and dingo-feral dog hybrids. They believe that these have a history of independence from humans and should no longer be considered as domesticated. Others disagree, and propose that the dingo was once domesticated and is now a feral dog.


title: Free-ranging dog

text: The first British colonists to arrive in Australia established a settlement at Port Jackson in 1788 and recorded dingoes living there with indigenous Australians. Although the dingo exists in the wild, it associates with humans but has not been selectively bred as have other domesticated animals. The dingo's relationship with indigenous Australians can be described as commensalism, in which two organisms live in close association but without depending on each other for survival. They will both hunt and sleep together. The dingo is therefore comfortable enough around humans to associate with them, but is still capable of living independently, much like the domestic cat. Any free-ranging unowned dog can be socialized to become an owned dog, as some dingoes do when they join human families.


title: Free-ranging dog

text: Another point of view regards domestication as a process that is difficult to define. It regards dogs as being either socialized and able to exist with humans, or unsocialized. There exist dogs that live with their human families but are unsocialized and will treat strangers aggressively and defensively as might a wild wolf. There also exists a number of cases where wild wolves have approached people in remote places, attempting to get them to play and to form companionship.


title: Free-ranging dog

text: In 2011, a media article on the stray dog population by the US National Animal Interest Alliance said that there are 200 million stray dogs worldwide and that a "rabies epidemic" was causing a global public health issue. In 2013, the World Health Organization reports that dogs are responsible for the vast majority of human rabies deaths, contributing up to 99% of all rabies transmissions to humans. Rabies causes tens of thousands of deaths every year, mainly in Asia and Africa. More than 15 million people receive post-bite rabies vaccines to prevent the disease.


title: Free-ranging dog

text: Increasing numbers of free-ranging dogs have become a threat to the snow leopard and young brown bears on the Tibetan Plateau because dog packs chase these animals away from food. Free-ranging dogs are often vectors of diseases such as rabies and canine distemper, which can jump into species such as African wild dogs, wolves, lions and tigers. In addition, they can interbreed with other members of the genus "Canis" such as the Ethiopian wolf and the dingo, raising genetic purity concerns.


title: Korean Basketball League

text: The Korean Basketball League (KBL; ) is a professional men's basketball league in South Korea which was established in 1997. The league consists of ten teams and each team plays a total of 54 games (27 home and 27 away) in the regular season.


title: Korean Basketball League

text: The Korean Basketball League was established in 1997. Prior to the professional era, domestic basketball was an amateur sport and all teams, whether sponsored by a corporate company or a university, participated in the National Basketball Festival (Korean: 농구대잔치), a competition sanctioned by the Korea Basketball Association. Early teams were sponsored by major corporate companies or universities. The Korea Development Bank (KDB) and Industrial Bank of Korea (IBK) established their basketball teams as early as the 1950s and 1960s while Yonsei University and Korea University are considered pioneers of domestic college basketball, having introduced the sport to their institutions before World War II. During the 1970s and 1980s, major industrial companies such as Kia Motors, Hyundai Electronics and Samsung Electronics started their own basketball teams. The predecessor teams of Goyang Orion Orions, Anyang KGC and Wonju DB Promy were founded during the 1990s by smaller-scale companies hoping to take advantage of the "basketball craze".


title: Korean Basketball League

text: The 1996–97 National Basketball Festival ended in January 1997, and the inaugural KBL season began one month later in February. The National Basketball Festival remains an amateur-only tournament to this day and is contested by university reserve teams, amateur teams and the Korea Armed Forces Athletic Corps's basketball team.


title: Korean Basketball League

text: Sponsoring companies were given the option to register their basketball teams in the upcoming professional league. KDB and IBK opted to sell their teams; however, their new owners chose to re-start the teams as brand new franchises, only acquiring their players and staff but not inheriting the team's legacy or historical records. The founding teams were Busan Kia Enterprise, Gyeongnam LG Sakers, Daegu Tongyang Orions, Suwon Samsung Thunders, Wonju Naray Blue Bird, Anyang SBS Stars, Incheon Daewoo Zeus, Daejeon Hyundai Dynat, and Gwangju Nasan Flamans. Some of the teams, such as Anyang SBS Stars, had been based in Seoul but chose to move to another city. The plan was to have a team based in each geographical region rather than only centralized in the Seoul Capital Area. The 1997–98 season was the first full season played and the tenth team, Cheongju SK Knights, was added as a member. The KBL has had ten teams ever since.


title: Korean Basketball League

text: The early years of the league were plagued by the financial instability, exacerbated by the 1997 Asian financial crisis which had impacted South Korea especially hard. As with other domestic sports leagues, the KBL was not immune to the economic fall-out. The KBL had difficulty finding a league sponsor for the 1997–98 season while teams were forced to cut costs. Between 1997 and 2001, five of the ten teams had changed ownership due to financial problems.


title: Korean Basketball League

text: For the regular season, the round-robin format is utilized as each team plays against every other team six times (three home and three away). A total of 54 games are played in six rounds. Only the top six teams in the regular season standings advance to the post-season playoffs.


title: Korean Basketball League

text: The KBL Cup was first introduced in 2020 as a pre-season competition for all teams to test out their strengths before the commencement of the regular season.


title: Korean Basketball League

text: It is generally held in September. Aside from the participation of all 10 teams of the KBL league, Sangmu Basketball Team also participates in the KBL Cup, making it a total of 11 teams.


title: Korean Basketball League

text: The regular season runs from October to early April. Each team plays against the other nine teams six times (3 home and 3 away). A total of 54 games are played in six rounds.


title: Korean Basketball League

text: Teams which failed to qualify for the post-season playoffs take a short break before commencing their off-season training to prepare them for the upcoming season.


title: Korean Basketball League

text: The qualification of the six teams for either the quarter-finals or semi-finals of the playoffs are determined by their regular season standings. The teams ranked from third to sixth qualify for the quarter-finals, and the teams ranked first and second earn an automatic advancement to the semi-finals.


title: Korean Basketball League

text: The quarter-finals are played in a best-of-three format. The two winning teams of the quarter-finals then advance to the semi-finals.


title: Korean Basketball League

text: The semi-finals are played in a best-of-five format. The two winning teams of the semi-finals then compete for the KBL championship title in the finals.


title: Korean Basketball League

text: The KBL All-Star Game is held in mid-January every year. The event is usually held in Seoul, except for multiple occasions where it was held outside of Seoul (2007 in Ulsan, 2017 in Busan, and 2021 in Daegu).


title: Korean Basketball League

text: Based on the 2021–22 All-Star Game format, five players from each of the ten teams are nominated for the All-Star fan vote. Only the top 24 players in the fan vote standings are selected to participate in the All-Star Game. The two players with the most number of votes form their respective teams by recruiting eleven players each, regardless of their original teams.


title: Korean Basketball League

text: The KBL awards ceremony is held annually at the end of the regular season. As of the 2020–21 season, the following honours are awarded:


title: Korean Basketball League

text: The awards ceremony takes place at the conclusion of the regular season, before the playoffs begin. The Playoffs MVP is only awarded at the conclusion of the final Championship game.


title: Korean Basketball League

text: Domestic players, defined as possessing South Korean citizenship according to FIBA laws, are recruited through an annual rookie draft. The draft was held since 1998. In 2009, an ethnic draft was introduced to allow the recruitment of players who have acquired South Korean nationality, or either of their parents is a Korean. Players recruited through ethnic drafts are waived from being counted as an import player. However, due to the controversial nature of the recruitment rules and the backlash, the ethnic draft was eventually abolished in 2013.


title: Korean Basketball League

text: From 2018, all teams are allowed to freely select their import players, subject to a "two-import" quota per team and a salary cap of $700,000. Only one foreign player is allowed to play on court in every quarter.


title: Korean Basketball League

text: In a move to further develop the quality of basketball in the country, the "Asian Player Quota" programme was introduced ahead of the 2020–21 season for Japanese players. This programme allows each team to recruit one Japanese player (excluding naturalized, dual citizenship and mixed race players) from Japan's B.League. Players recruited under the "Asian Player Quota" programme are excluded from the foreign player quota, and included in the domestic player salary cap. Wonju DB Promy became the first team in the league to recruit a Japanese player, as they inked a one-year deal with Taichi Nakamura. Ahead of the 2022–23 season, the programme was extended to Filipino players (owns a Philippine passport and both parents must have either Philippine citizenship or passport). In June 2022, Daegu KOGAS Pegasus becomes the first team to recruit a Filipino player, as they announced a two-year deal with SJ Belangel.


title: Korean Basketball League

text: Players of the Korean Basketball League are eligible to apply to fulfil their military service obligations as members of the Korea Armed Forces Athletic Corps. Alongside military duties, they are allowed to train as professional athletes and play for the Sangmu Basketball Team. Successful applicants officially enlists in May or June and are discharged eighteen months later in January, returning to the team rosters for the final rounds of the regular season.


title: Caserta

text: Caserta () is the capital of the province of Caserta in the Campania region of Italy. It is an important agricultural, commercial, and industrial "comune" and city. Caserta is located on the edge of the Campanian plain at the foot of the Campanian Subapennine mountain range. The city is best known for the Royal Palace of Caserta.


title: Caserta

text: Anciently inhabited by Osco-Samnite tribes, modern Caserta was established around the defensive tower built in Lombard times by Pando, Prince of Capua. Pando destroyed the original city around 863. The tower is now part of the Palazzo della Prefettura that was once the seat of the counts of Caserta, as well as a royal residence. The original population moved from Casertavecchia (former bishopric seat) to the current site in the sixteenth century. Casertavecchia was built on the Roman town of "Casa Irta", meaning "home village located above" and later contracted as "Caserta".


title: Caserta

text: The city and vicinity were the property of the Acquaviva family who, being pressed by huge debts, sold all the land to the royal family. The royal family then selected Caserta for the construction of their new palace which, being inland, was seen as more defensible than the previous palace fronting the Bay of Naples.


title: Caserta

text: At the end of World War II, the royal palace served as the seat of the Supreme Allied Commander. The first Allied war trial took place there in 1945; German general Anton Dostler was sentenced to death and executed nearby, in Aversa.


title: Caserta

text: Pope Francis visited Caserta on Monday, 28 June 2014, together with a friend named Giovanni Traettino, the pastor of an evangelical, charismatic-Pentecostal Protestant church. The Pope apologized for the complicity of some Catholics in the persecution of Protestant Pentecostals during the fascist regime in Italy.


title: Caserta

text: Caserta is located north of Naples. Its municipality borders with Capua, Casagiove, Casapulla, Castel Morrone, Curti, Limatola (BN), Maddaloni, Marcianise, Recale, San Felice a Cancello, San Marco Evangelista, San Nicola la Strada, San Prisco, Sant'Agata de' Goti (BN), Santa Maria Capua Vetere, and Valle di Maddaloni.


title: Caserta

text: The city of Caserta is located in the largest flat area of Campania and is surrounded by the Apennine mountains. The particular position favors the beneficial influences of the sea which, especially in winter, makes temperatures mild. During the summer season, this area is one of the hottest in the region, with maximum temperatures sometimes exceeding 30 degrees.


title: Caserta

text: The inland areas extend to the surrounding mountains, often affected by the cold currents of the north-east with fairly low temperatures and snow in winter. The Matese is the coldest and snowiest in the whole area.


title: Caserta

text: The city of Caserta distinguished itself during the Second World War, in fact, it was decorated with the gold medal for civil valor and the bronze medal for military valor for the heroic actions and losses suffered during the war. The city was fiercely bombed and suffered a violent reprisal, but it managed to resist and, with the return of peace, all the people collaborated in the reconstruction of Caserta.


title: Caserta

text: As one of the most visited monuments in Italy, the palace has more than 1200 rooms, decorated in various styles. It has been the set for several famous movies such as "", "", "Angels & Demons", and "". The park is long and contains many waterfalls, lakes, and gardens, including a very famous English garden.


title: Caserta

text: The city has some experience in hosting major international sports events, such as the EuroBasket 1969.


title: Caserta

text: Caserta railway station is a hub for regional and national traffic, and represents an important interchange linking Rome and Naples to Bari. The nearest airport is Naples-Capodichino, located approximately south.


title: Caserta

text: Caserta is the starting point of the A30 motorway to Salerno and is served by two exits of A1 motorway: Caserta Nord ("Caserta North", near Casagiove and Casapulla) and Caserta Sud ("Caserta South", near Marcianise and San Marco Evangelista).


title: Samsung Galaxy Z Flip

text: The Samsung Galaxy Z Flip (sold as Samsung Galaxy Flip in certain territories) is an Android-based foldable smartphone developed by Samsung Electronics as part of the Samsung Galaxy Z series. Its existence was first revealed in an advertisement during the 2020 Academy Awards. Unveiled alongside the Galaxy S20 on February 11, 2020, it was released on February 14, 2020. Unlike the Galaxy Z Fold, the device folds horizontally and uses a hybrid glass coating branded as "Infinity Flex Display". It is available in three colors for the LTE version (Mirror Purple, Mirror Black, and Mirror Gold) and two colors for the 5G version (Mystic Bronze and Mystic Gray). The 5G version was also made available in a limited-edition "Mystic White" color.


title: Samsung Galaxy Z Flip

text: The Galaxy Z Flip is constructed with an aluminum frame, and -thick "ultra-thin glass" with a plastic layer similar to the Galaxy Fold, manufactured by Samsung with materials from Schott AG, which is "produced using an intensifying process to enhance its flexibility and durability", and injected with a "special material up to an undisclosed depth to achieve a consistent hardness"; conventional Gorilla Glass is used for the back panels. The Z Flip is the first foldable smartphone to use a glass display, while previous foldable phones such as the Motorola Razr and the Galaxy Fold have used plastic displays. Using a glass display results in a more durable screen, and reduces the screen crease in the folding point. The hinge mechanism is strengthened with nylon fibers designed to keep dust out; Samsung rated the fold mechanism as supporting up to 200,000 uses. The device comes in 3 colors for the LTE version which are Mirror Purple, Mirror Black and Mirror Gold. It also comes in 2 colors for the 5G version which are Mystic Bronze and Mystic Gray. However, the color availability may vary depending on country or carrier. The Z Flip is also available in a Limited Edition Thom Browne model, featuring a red, white, and blue stripe on a gray base.


title: Samsung Galaxy Z Flip

text: The device uses a clamshell design to conceal a 6.7" Dynamic AMOLED display which supports HDR10+. The screen has a circular cutout at the top of the display for the front-facing camera. The exterior features a small 1.1" external display adjacent to the camera module, which can display the time, date and battery status, interact with notifications, answer phone calls and act as a viewfinder. The Qualcomm Snapdragon 855+ SoC and Adreno 640 GPU are utilized, with 8 GB of LPDDR4X RAM and 256 GB of non-expandable UFS 3.0 storage. It uses two batteries which have a total capacity of 3300 mAh, and can be recharged over USB-C at up to 15W wired or wirelessly via Qi. The power button is embedded in the frame and doubles as the fingerprint sensor, with the volume rocker located above. A dual camera setup on the rear has a 12 MP primary sensor and a 12 MP ultrawide sensor. The front-facing camera has a 10 MP sensor.


title: Samsung Galaxy Z Flip

text: The Z Flip is pre-installed with Android 10 and Samsung's One UI 2 skin. Split-screen functionality, called "Flex mode" is supported with certain apps like YouTube and Google Duo.


title: Samsung Galaxy Z Flip

text: The Z Flip was met with mixed to positive reviews at launch. It was praised for its flagship hardware, form factor, software/UI, display, and camera, but criticized for the price, size of the cover display, and perceived overall fragility. Sascha Segan of "PC Magazine" gave the Z Flip a 3/5, stating that "the Samsung Galaxy Z Flip is the first folding phone to really work, but it's still a costly and potentially fragile fashion object rather than a mainstream hit".


title: Samsung Galaxy Z Flip

text: Jessica Dolcourt of "CNET" gave the Z Flip a 7.9/10, calling it "a cohesive device that's easy to pick up and use right away". Dolcourt called Flex Mode "the most unique, interesting and effective feature by far", while noting that battery life was just average and most multimedia was incompatible with the device's aspect ratio, resulting in pillarboxing. Chris Velazco of "Engadget" gave it a 78, praising the form factor, performance and cameras while criticizing the cover display and overall fragility.


title: Samsung Galaxy Z Flip

text: Dieter Bohn of "The Verge" gave the Z Flip a 6/10, concluding that "as with previous folding phones it is more of an expensive experiment than a real product anybody should buy". Bohn praised the performance and hinge design, but was critical of the price and cameras, noting that the screen’s plastic covering was still susceptible to scratches. Samuel Gibbs of The Guardian praised the phone's durability, reporting that "the screen looks and works just as great today as it did fresh out of the box" despite being unfolded several dozen times each day for four months.


title: Londonderry Air

text: The "Londonderry Air" is an Irish air that originated in County Londonderry. It is popular among the North American Irish diaspora and is well known throughout the world. The tune is played as the victory sporting anthem of Northern Ireland at the Commonwealth Games. The song "Danny Boy" uses the tune, with a set of lyrics written in the early 20th century.


title: Londonderry Air

text: The title of the air came from the name of County Londonderry, and was collected by Jane Ross of Limavady in the county.


title: Londonderry Air

text: Ross submitted the tune to music collector George Petrie, and it was then published by the Society for the Preservation and Publication of the Melodies of Ireland in the 1855 book "The Ancient Music of Ireland", which Petrie edited. The tune was listed as an anonymous air, with a note attributing its collection to Jane Ross of Limavady.


title: Londonderry Air

text: For the following beautiful air I have to express my very grateful acknowledgement to Miss J. Ross, of New Town, Limavady, in the County of Londonderry—a lady who has made a large collection of the popular unpublished melodies of the county, which she has very kindly placed at my disposal, and which has added very considerably to the stock of tunes which I had previously acquired from that still very Irish county. I say still very Irish, for though it has been planted for more than two centuries by English and Scottish settlers, the old Irish race still forms the great majority of its peasant inhabitants; and there are few, if any counties in which, with less foreign admixture, the ancient melodies of the country have been so extensively preserved. The name of the tune unfortunately was not ascertained by Miss Ross, who sent it to me with the simple remark that it was 'very old', in the correctness of which statement I have no hesitation in expressing my perfect concurrence.


title: Londonderry Air

text: The origin of the tune was for a long time somewhat mysterious, as no other collector of folk tunes encountered it, and all known examples are descended from Ross's submission to Petrie's collection. In a 1934 article, Anne Geddes Gilchrist suggested that the performer whose tune Ross heard, played the song with extreme rubato, causing Ross to mistake the time signature of the piece for common time (4/4) rather than 3/4. Gilchrist asserted that adjusting the rhythm of the piece as she proposed produced a tune more typical of Irish folk music.


title: Londonderry Air

text: In 1974, Hugh Shields found a long-forgotten traditional song which was very similar to Gilchrist's modified version of the melody. The song, "Aislean an Oigfear" ("recte" "Aisling an Óigfhir", "The Young Man's Dream"), had been transcribed by Edward Bunting in 1792 based on a performance by harper Donnchadh Ó Hámsaigh (Denis Hempson) at the Belfast Harp Festival, and the tune would later become well known far outside of Ireland as "The Last Rose of Summer". Bunting published it in 1796. Ó Hámsaigh lived in Magilligan, not far from Ross's home in Limavady. Hempson died in 1807. In 2000, Brian Audley published his authoritative research on the tune's origins. He showed how the distinctive high section of the tune had derived from a refrain in "The Young Man's Dream" which, over time, crept into the body of the music. He also discovered the original words to the tune as we now know it, which were written by Edward Fitzsimmons and published in 1814; his song is "The Confession of Devorgilla", otherwise known by its first line "Oh Shrive Me Father".


title: Londonderry Air

text: The descendants of blind fiddler Jimmy McCurry assert that he is the musician from whom Miss Ross transcribed the tune but there is no historical evidence to support this speculation. A similar claim has been made regarding the tune's 'coming' to the blind itinerant harpist Rory Dall O'Cahan in a dream. A documentary detailing this version was broadcast on Maryland Public Television in the United States in March 2000; reference to this was also made by historian John Hamilton in Michael Portillo's TV programme "Great British Railway Journeys Goes to Ireland" in February 2012.


title: Londonderry Air

text: The most popular lyrics for the tune are "Danny Boy" ("Oh Danny Boy, the pipes, the pipes are calling"), written by English lawyer Frederic Edward Weatherly in 1910, and set to the tune in 1913.


title: Londonderry Air

text: The first lyrics to be sung to the music were, "The Confession of Devorgilla", otherwise known as "Oh! shrive me, father".


title: Londonderry Air

text: The first writer, after Petrie's publication, to set verses to the tune was Alfred Perceval Graves, in the late 1870s. His song was entitled "Would I Were Erin's Apple Blossom o'er You". Graves later stated "that setting was, to my mind, too much in the style of church music, and was not, I believe, a success in consequence."


title: Londonderry Air

text: Katherine Tynan Hinkson published the words of "Irish Love Song" in 1892. Graves set these words to the tune in his 1894 "Irish Song Book", where the tune was first referred to descriptively as "Londonderry Air" (unlike the names of properly-titled airs in the songbook, "Londonderry Air" was not placed in quotation marks).


title: Londonderry Air

text: As with a good many folk tunes, Londonderry Air is also used as a hymn tune; most notably for "I cannot tell" by William Young Fullerton.


title: Londonderry Air

text: It was also used as a setting for "I would be true" by Howard Arnold Walter at the funeral of Diana, Princess of Wales:


title: Londonderry Air

text: "Londonderry Air" was also used as the tune for the southern gospel hit "He Looked Beyond My Fault", written by Dottie Rambo and first recorded by her group, The Rambos, in 1968.


title: Londonderry Air

text: W. G. Rothery, a British lyricist (1858-1930) who wrote the English lyrics for songs such as Handel's "Art Thou Troubled", wrote the following lyrics to the tune of "The Londonderry Air":


title: Londonderry Air

text: George Sigerson wrote a poem that T. R. G. Jozé set to this tune in 1901. This setting was popularized in the early 20th century by the Glasgow Orpheus Choir under Sir Hugh S. Roberton.


title: Take Me to the River

text: "Take Me to the River" is a 1974 song written by singer Al Green and guitarist Mabon "Teenie" Hodges. Hit versions were recorded by both Syl Johnson and Talking Heads. In 2004, Al Green's original version was ranked number 117 on "Rolling Stone" magazine's list of the Rolling Stone's 500 Greatest Songs of All Time.


title: Take Me to the River

text: Al Green originally recorded the song for his 1974 album, "Al Green Explores Your Mind", produced by Willie Mitchell and featuring musicians Charles, Leroy and Mabon Hodges (The Hodges Brothers), drummer Howard Grimes, and the Memphis Horns. Green and Mabon Hodges wrote the song while staying in a rented house at Lake Hamilton, Arkansas, for three days in 1973 in order to come up with new material. According to Mitchell, Green wrote the words and Green and Hodges wrote the tune together. Green dedicated his performance on the record to "...Little Junior Parker, a cousin of mine, he's gone on but we'd like to kinda carry on in his name." According to one writer, "Green's song squares the singer's early religious convictions with more earthly interests", but when the singer became a pastor of the Full Gospel Tabernacle Church in 1976, he dropped the song from his repertoire.


title: Take Me to the River

text: Writing in "The Independent" in 1994, Tim de Lisle wrote: "Musically, it was much like any other track sung by Green and produced by Willie Mitchell, the Southern-soul maestro who ran Hi Records, the Memphis Horns and the Memphis Strings: R'n'B with lashings of subtlety, a light, easy, late-night sound, in which the strings, the horns, the organ, the guitars and that wild-honey voice blend into a single swinging, winning thing. It doesn't sound like a band playing: it sounds like a lot of instruments humming."


title: Take Me to the River

text: In 2004, Green's original recording was ranked number 117 on "Rolling Stone"s list of the 500 greatest songs of all time. The song was used as the title track of the award-winning 2008 compilation album "Take Me to the River: A Southern Soul Story 1961–1977".


title: Take Me to the River

text: In 1999 the tune was used in the popular animatronic singing toy "Big Mouth Billy Bass". This recording sung by Steve Haas was arranged and produced for the toy's manufacturers, Gemmy Industries. According to Teenie Hodges, he made more money in royalties from that version than from any previous versions.


title: Take Me to the River

text: The song played a prominent role in two episodes of the HBO series "The Sopranos", by way of the Big Mouth Billy Bass. It was also used in the 1993 movie "Blood In Blood Out" and also featured in the 1991 film "The Commitments", sung on stage by the group of the same name.


title: Take Me to the River

text: The record company, Hi Records, did not release Green's track as a single, but instead passed the song to his labelmate, Syl Johnson. Johnson's recording of the song, also produced by Willie Mitchell and featuring most of the same musicians as on Green's version, but with additional harmonica and a grittier vocal performance, reached #48 on the US "Billboard" Hot 100 in 1975, and #7 on the U.S. "Billboard" R&B chart, but reached just #95 in Canada.


title: Take Me to the River

text: The band Talking Heads recorded the song for their second album "More Songs About Buildings and Food" (1978). Their version, recorded with co-producer Brian Eno in Nassau, Bahamas, was initially resisted by Byrne who felt the band should not release a cover. Eventually convinced, Eno suggested that they play the song as slow as possible, before adding his own effects to it. The song was edited and released as a single, and reached #26 on the US "Billboard" Hot 100 in February 1979, as well as hitting the singles charts in Canada, Australia, and New Zealand. Thomas Ryan wrote of Talking Heads' version that it "broadsided the status quo by combining the best ingredients of conventional pop music and classic soul music, stirring them together, and then presenting the mix in the guise of punk rock."


title: Take Me to the River

text: In the liner notes for "", singer David Byrne writes: "Coincidence or conspiracy? There were at least four cover versions of this song out at the same time: Foghat, Bryan Ferry, Levon Helm, and us. More money for Mr Green's full gospel tabernacle church, I suppose. A song that combines teenage lust with baptism. Not equates, you understand, but throws them in the same stew, at least. A potent blend. All praise the mighty spurtin' Jesus." Live versions were included on Talking Heads' albums "The Name of This Band Is Talking Heads" and "Stop Making Sense". A live version was played at the end credits of the 1998 film "A Civil Action".


title: Take Me to the River

text: The track was remastered when Warner Music Group re-released and remastered the album in 2005, on its Warner Bros., Sire and Rhino Records labels in DualDisc format. The DVD-Audio side includes both stereo and 5.1 surround high resolution (96 kHz/24bit) mixes. The reissue was produced by Andy Zax with Talking Heads.


title: Trochlear nerve

text: The trochlear nerve (), (lit. "pulley-like" nerve) also known as the fourth cranial nerve, cranial nerve IV, or CN IV, is a cranial nerve that innervates just one muscle: the superior oblique muscle of the eye, which operates through the pulley-like trochlea. CN IV is a motor nerve only (a somatic efferent nerve), unlike most other CNs.


title: Trochlear nerve

text: Homologous trochlear nerves are found in all jawed vertebrates. The unique features of the trochlear nerve, including its dorsal exit from the brainstem and its contralateral innervation, are seen in the primitive brains of sharks.


title: Trochlear nerve

text: The human trochlear nerve is derived from the basal plate of the embryonic midbrain. The words "trochlea" and "trochlear" (, ) come from Ancient Greek "trokhiléa", “pulley; block-and-tackle equipment”.


title: Trochlear nerve

text: The trochlear nerve emerges from the back (dorsal) brainstem, just below the inferior colliculus. It circles from behind around the brainstem and runs forward toward the eye in the subarachnoid space. It passes between the posterior cerebral artery and the superior cerebellar artery, and then pierces the dura just under free margin of the tentorium cerebelli, close to the crossing of the attached margin of the tentorium and within millimeters of the posterior clinoid process. It runs on the outer wall of the cavernous sinus. Finally, it enters the orbit through the superior orbital fissure and supplies the superior oblique muscle.


title: Trochlear nerve

text: The nucleus of the trochlear nerve is located in the caudal mesencephalon beneath the cerebral aqueduct. It is immediately below the nucleus of the oculomotor nerve (III) in the rostral mesencephalon.


title: Trochlear nerve

text: The trochlear nucleus is unique in that its axons run dorsally and cross the midline before emerging from the brainstem posteriorly. Thus a lesion of the trochlear nucleus affects the "contralateral" eye. Lesions of all other cranial nuclei affect the "ipsilateral" side.


title: Trochlear nerve

text: The trochlear nerve carries axons of type GSE, general somatic efferent, which innervate skeletal muscle of the superior oblique muscle.


title: Trochlear nerve

text: The superior oblique muscle ends in a tendon that passes through a fibrous loop, the trochlea, located anteriorly on the medial aspect of the orbit. "Trochlea" means “pulley” in Latin; the fourth nerve is named after this structure.


title: Trochlear nerve

text: In order to understand the actions of the superior oblique muscle, it is useful to imagine the eyeball as a sphere that is constrained—like the trackball of a computer mouse—in such a way that only certain rotational movements are possible. Allowable movements for the superior oblique are (1) rotation in a vertical plane—looking down and up ("depression" and "elevation" of the eyeball) and (2) rotation in the plane of the face ("intorsion" and "extorsion" of the eyeball).