title: Nashville Sounds

text: The red alternate is a v-neck pullover with "Sounds" on the chest in navy bordered by white in the F-hole script. The player's number is below the team name in navy outlined in white. The sleeves bear navy and white bands at the sleeve openings and white strings on the sleeves behind the "NASH" pick logo. A larger navy stripe and smaller white stripe go around the neck opening. The player's number is displayed on the back in navy with a white border. The cap is navy with a white front panel bearing three navy stars arranged like those on the flag of Tennessee set in a red-outlined home plate.


title: Nashville Sounds

text: Throwback uniforms honoring the 1978 Sounds are worn for Thursday home games in conjunction with Throwback Thursday promotions. The jerseys, similar to those worn by early Sounds teams, are white pullover v-necks with bands of red, white, and blue around the neck and sleeve openings. "Sounds" is written across the chest in red-on-blue music note-like script, with the player's number below on the left in red block characters with blue borders. The left sleeve bears the "Slugger" logo. High white pants are worn with blue belts and either blue socks or stirrups. The cap is blue with a red brim, displaying an "N" styled like an eighth note in white bordered by red.


title: Nashville Sounds

text: A fourth alternate jersey is worn for Saturday games as a part of Hit City Saturday promotions. These white v-neck pullovers have "Hit City" across the chest in navy, with red silhouettes of the Nashville skyline above and the lower half of the guitar scoreboard below. The neck and sleeve openings have navy bands, the left sleeve bears the primary team logo, and the player's number is displayed in navy characters on the front and back. These jerseys are paired with the road cap and home white pants.


title: Nashville Sounds

text: During the inaugural season of 1978, Sounds games were broadcast on radio by Monte Hale. Bob Jamison, the team's longest-tenured announcer, called games from 1979 through 1990. He was followed by Steve Carroll (1991–1995), Steve Selby (1996–1999), Chuck Valenches (2000–2009), and Stu Paul (2010–2011). Jeff Hem has been the team's lead broadcaster since 2012.


title: Nashville Sounds

text: All Sounds home and road games are broadcast on 94.9 FM The Fan. Live audio broadcasts are also available online through the team's website and the MiLB First Pitch app. Games can be viewed through the MiLB.TV subscription feature of the official website of Minor League Baseball, with audio provided by a radio simulcast.


title: Nashville Sounds

text: The Nashville Sounds' mascot is an anthropomorphic rooster named Booster. He is bright red with yellow legs, beak, comb, and palms and red, orange, and yellow tail feathers resembling flames. He wears the same style jerseys as the team with the number zero. He made his debut on April 17, 2015, at the Sounds' first game at First Tennessee Park. His name refers to "boosting" or building enthusiasm for the team, while his appearance is a play on Nashville hot chicken.


title: Nashville Sounds

text: The first Sounds mascot was introduced during the team's inaugural 1978 season. Homer Horsehide resembled their major league affiliate's mascot—Mr. Red of the Cincinnati Reds. The character was human in appearance, with the exception of an oversized anthropomorphized baseball in place of a human head. The mustachioed mascot donned a uniform identical to that of Sounds players. Homer continued as the team mascot through at least 1982. From 1995 to mid 1996, the mascot was a lime-green dinosaur named Champ, who was borrowed from the New York–Penn League's Vermont Expos.


title: Nashville Sounds

text: An anthropomorphic cougar named Ozzie was the team's mascot from 1997 to 2014. The original Ozzie came from the Midwest League's Kane County Cougars, which were owned by the same group that owned the Sounds and had an extra mascot costume. The surplus cougar outfit was sent to Nashville, and, after building a fan following during his first season, team management decided to make Ozzie the permanent mascot. The original costume was brown, but a new muscular yellow costume was introduced in 1998. Ozzie wore the same style of uniform as the team, but with no hat. He was retired when the Sounds left Greer Stadium in 2014, although he continued to make appearances during the 2014 to 2015 offseason.


title: Nashville Sounds

text: Fourteen players have won league awards in recognition for their performance with the Sounds. Three players have won league Most Valuable Player (MVP) awards. Steve Balboni (1980) and Brian Dayett (1982) won the Southern League MVP Award, and Magglio Ordóñez (1997) won the American Association MVP Award. Ten players have won Pitcher of the Year honors. Bruce Berenyi (1978), Geoff Combe (1979), Andy McGaffigan (1980), Jamie Werly (1981), and Stefan Wever (1982) were selected for the Southern League Most Outstanding Pitcher Award. Chris Hammond (1990) and Scott Ruffcorn (1994) won the American Association Most Valuable Pitcher Award. R. A. Dickey (2007), Johnny Hellweg (2013), and Jimmy Nelson (2014) were selected for the Pacific Coast League Pitcher of the Year Award. The American Association Rookie of the Year Award was won by Jeff Abbott (1996) and Magglio Ordóñez (1997). Ordóñez is the only Sounds player to win multiple league awards.


title: Nashville Sounds

text: Five managers have been selected as their league's Manager of the Year. Stump Merrill (1980) won the Southern League Manager of the Year Award. Rick Renick (1993 and 1996) won the American Association Manager of the Year Award. Frank Kremblas (2007) and Steve Scarsone (2016) won the Pacific Coast League Manager of the Year Award. Rick Sweet (2022) won the International League Manager of the Year Award.


title: Nashville Sounds

text: Seventy-six players have been selected for midseason All-Star teams. Of those players, Jamie Werly (1980 and 1981), Joey Vierra (1992 and 1995), Drew Denson (1993 and 1994), Scott Ruffcorn (1994 and 1996), and Vinny Rottino (2007 and 2008) are the only players to have been selected twice as Sounds. Four players have been chosen as the MVP of midseason All-Star games: Duane Walker (1979), Ray Durham (1994), Magglio Ordóñez (1997), and Renato Núñez (2017). Of the 52 players who have been named to postseason All-Star teams, only Duane Walker (1979 in two positions) and Jeff Abbott (1996 and 1997) have been selected twice.


title: Nashville Sounds

text: The Sounds have honored three players by retiring their uniform numbers. This ensures that the number will be associated with one player of particular importance to the team. An additional number, 42, was retired throughout professional baseball in 1997 to honor Jackie Robinson, the first African American to play in Major League Baseball in the modern era. The Sounds' retired numbers are displayed on the concourse near the home plate entrance at First Horizon Park.


title: Nashville Sounds

text: The number 00 was retired in 1991 in honor of Skeeter Barnes, a third baseman in 1979 and mostly an outfielder from 1988 to 1990. Barnes was a 1989 Triple-A All-Star and holds the franchise career records for games played, at bats, and hits. The number 18 was retired to honor Don Mattingly in 1999. Though only a Sound during the 1981 season, the first baseman led the team in games played, hits, doubles, and RBI. Additionally, Mattingly was named to the Southern League All-Star team and was selected as the New York Yankees' Minor League Player of the Year. The number 17 was retired in 2022 to honor Tim Dillard, a pitcher from 2007 to 2014 and in 2019. Over nine seasons in which he primarily appeared as a reliever, Dillard set the career records for wins, games pitched, innings pitched, and strikeouts.


title: Nashville Sounds

text: Four former Sounds have been elected to the National Baseball Hall of Fame. Closer Trevor Hoffman, who was inducted in 2018, played the majority of the 1992 season with Nashville while working his way up through the Cincinnati Reds organization. He later made two major league rehabilitation appearances while with the Milwaukee Brewers in 2009. Two other Hall of Fame players appeared in games for Nashville solely on rehab assignments. Shortstop Barry Larkin, who was inducted in 2012, appeared in two games in 1989. Outfielder Tim Raines, who played three games with Nashville in 1993, was inducted in 2017. Hoyt Wilhelm, the Sounds' pitching coach from 1982 to 1984, was inducted in 1985.


title: Nashville Sounds

text: The Sounds are also represented in the Southern League Hall of Fame. Larry Schmittou, who helped bring baseball to Nashville in 1978 and was a team executive and owner through 1996, was inducted in 2016.


title: Nashville Sounds

text: Over the course of 44 seasons, the Nashville Sounds have been led by 29 managers. Three managers have guided the team to win their league's championship. George Scherger (1979) and Johnny Oates (1982) led the team to win the Southern League championship. Frank Kremblas (2005) led them to win the Pacific Coast League championship. Trent Jewett is the longest-tenured manager in team history, having managed the team for 625 games from 1998 to 2000 and 2003 to 2004. The manager with the highest winning percentage over a full season or more is Stump Merrill, who led the Sounds to a .622 winning percentage from 1980 to 1981.


title: Eastern cougar

text: The eastern cougar or eastern puma ("Puma concolor couguar") is a subspecies designation proposed in 1946 for cougar populations in eastern North America. The subspecies as described in 1946 was declared extinct by the U.S. Fish and Wildlife Service in 2011. However, the 1946 taxonomy is now in question. The Canadian Wildlife Service has taken no position on the taxonomy. Cougars are currently common in western North America and may be expanding their range. Individuals are occasionally seen as vagrants in eastern North America.


title: Eastern cougar

text: In 1792, Robert Kerr of the Royal Physical Society and Royal Society of Surgeons assigned the name "Felis couguar" to eastern North America cougars north of Florida. John Audubon in 1851 believed that cougars in both North and South America were indistinguishable. The eastern cougar was first assigned to the subspecies "Felis concolor couguar" and the Florida panther to "F. c. coryi". Young and Goldman based their description of the eastern subspecies on their examination of eight of the existing 26 historic specimens.


title: Eastern cougar

text: In 1955, Jackson described a new subspecies, the Wisconsin puma ("F. c. schorgeri"), from a small sample of skulls.


title: Eastern cougar

text: A 1981 taxonomy by Hall accepted "F. c. schorgeri", the Wisconsin puma, and also extended the range of the eastern puma into Nova Scotia and mapped the Florida panther's ("F. c. coryi") range as far north as South Carolina and southwestern Tennessee.


title: Eastern cougar

text: In 2000, Culver et al., recommended that based on recent genetic research, all North American cougars be classified as a single subspecies, "Puma concolor couguar" following the oldest named subspecies (Kerr in 1792).


title: Eastern cougar

text: The 2005 edition of "Mammal Species of the World" followed Culver's recommendations. This revision was made by Dr. W. Chris Wozencraft of Bethel University, Indiana, as the sole reviewer. However, the publication's Web site as of 2011, as well as that of its affiliate, the Smithsonian National Museum of Natural History, continued to maintain the "Puma concolor couguar" (both western and eastern cougars) as a subspecies of "Puma concolor".


title: Eastern cougar

text: Judith Eger, a scientist at the Royal Ontario Museum in Toronto, Ontario, and the chair of the American Society of Mammalogists checklist committee, believes that the Culver work was not a proper taxonomic revision, as it offered no evaluation of the existing subspecies of the puma and failed to include morphological, ecological, and behavioral considerations. According to Eger, the Culver revision is accepted only by some puma biologists.


title: Eastern cougar

text: The U.S. Fish and Wildlife Service (FWS) continues to accept the Young and Goldman taxonomy. "While more recent genetic information introduces significant ambiguities, a full taxonomic analysis is necessary to conclude that a revision to the Young and Goldman (1946) taxonomy is warranted," the agency said in 2011.


title: Eastern cougar

text: As of 2017, the Cat Classification Taskforce of the Cat Specialist Group recognizes only two cougar subspecies: "P. c. couguar" for North America and possibly northwestern South America, and "P. c. concolor" for all other South American populations.


title: Eastern cougar

text: A consensus exists among wildlife officials in 21 eastern states that the eastern cougar population has been extirpated from the eastern United States. The federal government of Canada has taken no position on the subspecies' existence, continued or otherwise, and terms the evidence "inconclusive."


title: Eastern cougar

text: The FWS reviewed all available research and other information, and concluded in 2011 that the eastern cougar has been extinct since the 1930s, and recommended that it be removed from its list of endangered species. The agency used the 1946 taxonomy of S.P. Young and E.A. Goldman in defining the eastern cougar subspecies. While noting that some taxonomists in recent years have classified all North American cougars within a single subspecies, the agency's 2011 report said, "a full taxonomic analysis is necessary to conclude that a revision to the Young and Goldman (1946) taxonomy is warranted."


title: Eastern cougar

text: The agency acknowledged the occasional presence of cougars in eastern North America, but believes these are of wanderers from western breeding ranges or escaped captives. Its review expressed skepticism that breeding populations exist north of Florida, noting, among other things, the lack of consistent road kill evidence comparable to known cougar ranges. However, the presence of cougars in the wild — whatever their taxonomy or origin — in eastern North America continues to be controversial.


title: Eastern cougar

text: Various residents of eastern North America, especially in rural regions, have reported as many as 10,000 cougar sightings since the 1960s, and many continue to believe the subspecies has survived.


title: Eastern cougar

text: Bruce Wright — a wildlife biologist and former student of Aldo Leopold — popularized the idea that a breeding population of cougars persisted in northern New England and the Maritime provinces through a series of articles and books published between 1960 and 1973. Wright based his idea mostly on unconfirmed sightings, track photos, and plaster casts, and photographs of pumas killed in New Brunswick in 1932 and in Maine in 1938.


title: Eastern cougar

text: Since the 1970s, privately run groups have formed in nearly every state to compile and investigate records of cougar sightings. Many of these groups are convinced that breeding populations of cougars exist throughout the region. Some believe that a conspiracy to hide information or secretly reintroduce cougars is actively underway by state and federal governments. Some endeavor to promote the recovery of cougars in eastern North America. Large numbers of cougar sightings have been reliably reported throughout the Midwest.


title: Eastern cougar

text: At least several dozen or more reported sightings have been confirmed by biologists, many of whom believe they are accounted for by escaped captives or individual members of the western subspecies that have wandered hundreds of miles from their established breeding ranges in the Dakotas or elsewhere in the west.


title: Eastern cougar

text: Eastern U.S. reported sightings, many of which reviewed in the recent federal report, in various locations, including Michigan, Wisconsin, Southern Indiana, Illinois, Missouri, Kentucky, Connecticut, New York Maine, Massachusetts, New Hampshire, North Carolina, Virginia, Arkansas, Vermont, Alabama Louisiana, and Tennessee.


title: Eastern cougar

text: Until around 1990, reports of mountain lions in the Midwest and East were highly influenced by the "Bigfoot factor", according to Mark Dowling, co-founder of the Eastern Cougar Network. "None of it was really real", he said in an interview, but the situation has changed dramatically since that time according to Dowling, whose group collects and disseminates data on the shifting mountain lion population.


title: Eastern cougar

text: Dowling said in 2003 that sightings in the eastern half of the nation, including Michigan, etc., were "almost certainly" escaped captives, but he added that the notion that (western) cougars "will eventually reach New Jersey" is a reasonable prediction, in part due to increased populations of white-tailed deer ("Odocoileus virginianus").


title: Eastern cougar

text: However, some of these cougars found far in the east were established to be of western origin. As noted in an opinion piece by David Baron in the "New York Times", concerning a cougar killed by a car in Connecticut in 2011:


title: Eastern cougar

text: "Wildlife officials, who at first assumed the cat was a captive animal that had escaped its owners, examined its DNA and concluded that it was a wild cougar from the Black Hills of South Dakota. It had wandered at least 1,500 miles before meeting its end at the front of an SUV in Connecticut."


title: Eastern cougar

text: Recolonization is entirely dependent upon dispersing subadult females, who typically range far less than subadult males. While subadult females with Black Hills DNA have been documented since 2015 in Tennessee, Missouri and Iowa, as of 2018, the easternmost breeding colony north of Florida is the Niobrara River Valley in central Nebraska.


title: Eastern cougar

text: A study in 2016 by several management and wildlife experts found that by reintroducing cougars to their historic range in the Northeast U.S., white-tailed deer density and deer-vehicle collisions (DVCs) could be reduced by 22%, which could prevent 21,400 human injuries, 155 fatalities, and $2.13 billion in preventive costs within just 30 years of reintroduction. The eight eastern states with the biggest areas of viable cougar habitat, as analysed in the study, were: New Hampshire and West Virginia (both 75%), Vermont and Maine (both 65%), Massachusetts (33%), Connecticut (32%), New York (31%), and Pennsylvania (29%).


title: Eastern cougar

text: A 1998 study for Canada's national Committee on the Status of Endangered Wildlife in Canada concluded "that there is no objective evidence (actual cougar specimens or other unequivocal confirmation) for the continuous presence of cougars since the last century anywhere in eastern Canada or the eastern United States outside of Florida." Based on this, in 1999, the magazine "Canadian Geographic" reported that for the previous half century, a debate over whether or not Canada's eastern woods host a cougar species all its own has raged. "Now the answer appears to be 'no.' Experts say past sightings were cases of mistaken identification."


title: Eastern cougar

text: However, the Canadian committee's website as of 2011 says that data are "insufficient" to draw conclusions regarding the subspecies' continued existence, or even whether it ever existed at all.


title: Eastern cougar

text: In March 2011, an official with the Ontario Ministry of Natural Resources stated that cougars are present in the province. This official said individual cougars in Ontario may be escaped zoo animals or pets or may have migrated from the western parts of North America.


title: Eastern cougar

text: As in the eastern U.S., numerous cougar sightings have been reported by Canadians in Ontario, Quebec, New Brunswick, Nova Scotia, and Newfoundland.


title: Eastern cougar

text: The privately run Ontario Puma Foundation estimates that 550 pumas are in the province and their numbers are increasing steadily to a sustainable population. However, no evidence of breeding has been documented east of Saskatchewan.


title: Eastern cougar

text: In 2011, the FWS opened an extensive review into the status of the eastern cougar. In 2015, the agency determined the eastern cougar no longer warranted protection under the Endangered Species Act and planned to de-list it. On January 22, 2018 the de-listing became final and they were officially declared extinct. According to the Center for Biological Diversity, "The eastern cougar was extinct well before it was protected under the Endangered Species Act, as was the case with eight of the other 10 species that have been de-listed for extinction."


title: Eastern cougar

text: In 2015, a group of students and scholars at the Pennsylvania State University formed a research group to sequence the mitochondrial DNA genome of this extinct subspecies. The Nittany Lion genome project took samples from preserved eastern cougar skins to obtain DNA for sequencing and further analysis. Complete mitochondrial DNA genome sequences were obtained for five of the six individuals sampled, and the results were compared to previously published cougar sequences. The researchers found that "Nittany Lions are not more similar to each other than to individuals from the Western U.S. and Florida", which strengthens the position that all North American cougars are a single subspecies.


title: Zamak

text: ZAMAK (or Zamac, formerly trademarked as MAZAK) is a family of alloys with a base metal of zinc and alloying elements of aluminium, magnesium, and copper.


title: Zamak

text: Zamak alloys are part of the zinc aluminium alloy family; they are distinguished from the other ZA alloys because of their constant 4% aluminium composition.


title: Zamak

text: The name "zamak" is an acronym of the German names for the metals of which the alloys are composed: (zinc), , and (copper). The New Jersey Zinc Company developed zamak alloys in 1929.


title: Zamak

text: The most common zamak alloy is zamak 3. Besides that, zamak 2, zamak 5 and zamak 7 are also commercially used. These alloys are most commonly die cast. Zamak alloys (particularly #3 and #5) are frequently used in the spin casting industry.


title: Zamak

text: A large problem with early zinc die casting materials was zinc pest, owing to impurities in the alloys. Zamak avoided this by the use of 99.99% pure zinc metal, produced by New Jersey Zinc's use of a refluxer as part of the smelting process.


title: Zamak

text: In the early 1930s Morris Ashby in Britain had licensed the New Jersey zamak alloy. The 99.99%-purity refluxer zinc was not available in Britain and so they acquired the right to manufacture the alloy using a locally available electrolytically refined zinc of 99.95% purity. This was given the name Mazak, partly to distinguish it from zamak and partly from the initials of Morris Ashby. In 1933, National Smelting licensed the refluxer patent with the intent of using it to produce 99.99% zinc in their plant at Avonmouth.


title: Zamak

text: Zamak 2 has the same composition as zamak 3 with the addition of 3% copper in order to increase strength by 20%, which also increases the price. Zamak 2 has the greatest strength out of all the zamak alloys. Over time it retains its strength and hardness better than the other alloys; however, it becomes more brittle, shrinks, and is less elastic.


title: Zamak

text: Zamak 2 is also known as Kirksite when gravity cast for use as a die. It was originally designed for low volume sheet metal dies. It later gained popularity for making short run injection molding dies. It is also less commonly used for non-sparking tools and mandrels for metal spinning.


title: Zamak

text: The KS alloy was developed for spin casting decorative parts. It has the same composition as zamak 2, except with more magnesium in order to produce finer grains and reduce the orange peel effect.


title: Zamak

text: Zamak 3 is the de facto standard for the zamak series of zinc alloys; all other zinc alloys are compared to this. Zamak 3 has the base composition for the zamak alloys (96% zinc, 4% aluminum). It has excellent castability and long term dimensional stability. More than 70% of all North American zinc die castings are made from zamak 3.


title: Zamak

text: Zamak 4 was developed for the Asian markets to reduce the effects of die soldering while maintaining the ductility of zamak 3. This was achieved by using half the amount of copper from the zamak 5 composition.


title: Zamak

text: Zamak 5 has the same composition as zamak 3 with the addition of 1% copper in order to increase strength (by approximately 10%), hardness and corrosive resistance, but reduces ductility. It also has less dimensional accuracy. Zamak 5 is more commonly used in Europe.


title: Zamak

text: Zamak 7 has less magnesium than zamak 3 to increase fluidity and ductility, which is especially useful when casting thin wall components. In order to reduce inter-granular corrosion a small amount of nickel is added and impurities are more strictly controlled.


title: Zamak

text: Common uses for zamak alloys include appliances, bathroom fixtures, die cast toys and automotive industry. Zamak alloys are also used in the manufacture of some firearms such as SW380, Hi-Point Firearms handguns and carbines.


The Metropolitan Correctional Center, New York (MCC New York) is a United States federal administrative detention facility in the Civic Center of Lower Manhattan, New York City, located on Park Row behind the Thurgood Marshall United States Courthouse at Foley Square. It is operated by the Federal Bureau of Prisons, a division of the United States Department of Justice.


title: Metropolitan Correctional Center, New York

text: MCC New York holds male and female prisoners of all security levels. Most prisoners held at MCC New York have pending cases in the United States District Court for the Southern District of New York. MCC New York also holds prisoners serving brief sentences.


text: The "Los Angeles Times" stated that the prison is often referred to as the "Guantanamo of New York", and "The New York Times" stated that its administrative segregation units had severe security measures.


text: Opened in 1975 in the Civic Center neighborhood of Lower Manhattan, MCC New York was the first high-rise facility to be used by the Bureau of Prisons. The jail was technically an extension of the Thurgood Marshall United States Courthouse, to which it was connected via a footbridge. Prisoners are assigned to one of 10 separate, self-contained housing units, resulting in little movement within the facility. In 2002, it was widely reported that MCC New York was severely overcrowded.


text: Numerous high-profile individuals have been held at MCC New York during court proceedings, including Gambino crime family bosses John Gotti and Jackie D'Amico, drug dealer Frank Lucas, Ponzi scheme fraudster Bernard Madoff, terrorists Omar Abdel Rahman and Ramzi Yousef, financier and sex offender Jeffrey Epstein, and weapons trafficker Viktor Bout. After being extradited to the United States, Mexican drug lord Joaquín "El Chapo" Guzmán was housed in the facility.


text: On August 26, 2021, the Federal Bureau of Prisons announced that the prison would be temporarily closed in response to deteriorating conditions. At the time of the announcement, 233 prisoners were held there; they were moved to other prisons while the department addresses the prison conditions.


text: The correctional center is housed in a 12-story high-rise building located at 150 Park Row in the Civic Center neighborhood. In 2017, it had 796 inmates, both male and female, which is far more than its design capacity of 449. The facility has one female wing; seven General Population male wings, six of which feature cells and one is a dorm; one Special Housing Unit (SHU); and one "supermax" unit. Each unit takes up two stories. All General Population units feature a gym (no weights), a kitchen (microwaves, hot water, ice), and five TV sets (one in the gym and four in the common area). Offices, classes, and computers are located on the unit's second floor. The jail is chronically understaffed.


text: Inmates in the 10-South wing are locked inside single-man cells 23 hours a day that are continuously monitored by CCTV cameras and have lights on at all times. Prisoners are kept isolated: their cells are equipped with showers, and the only time they're taken outside their cells is for exercise in an indoor cage. No outdoor recreation is permitted. Most 10-South prisoners are subject to special administrative measures, which severely restrict their communication with other prisoners and with the outside world.


text: The 9-South wing is a designated SHU. It houses inmates that violated prison rules; new arrivals that have not been medically cleared for General Population yet; and inmates in Protective Custody (PC). Both inmates in a cell are cuffed at the back through a food slot every time the cell door is to be opened. Inmates are escorted to the shower three times a week, always cuffed. The wing has leaky plumbing that results in prisoners encountering pools of standing water and sewage, and it also has rodent and cockroach infestations.


title: National anthem of Scotland

text: As Scotland is part of the United Kingdom, the British national anthem "God Save the King" is used in Scotland on royal occasions, for example, or when Scottish athletes participate at the Olympics. However, in other situations, other songs are used as "de facto" Scottish anthems, most notably "Flower of Scotland" and "Scotland the Brave". There have been calls for Scotland to have its own official national anthem.


title: National anthem of Scotland

text: In 2004, lawyers for the devolved Scottish Parliament advised that it was within the legal competence of the Scottish Parliament to choose a national anthem for Scotland, countering the suggestion that it would be a matter reserved to the Parliament of the United Kingdom. This ruling prompted some interest in the idea, and a petition to the Scottish Parliament's petitions committee supported by the Scottish Green Party was referred without recommendation to the Scottish Executive, but they decided to take no action, considering the issue not to be a political priority. There have been subsequent attempts to re-open the debate on a national anthem for Scotland.


title: National anthem of Scotland

text: In 2006, the Scottish Parliament Enterprise Committee denied a motion from Scottish National Party MSP Michael Matheson on the subject.


title: National anthem of Scotland

text: At most international sporting events Scotland uses "Flower of Scotland" as its national anthem. These events include matches of the Scottish national football team, Scottish cricket team and the Scottish rugby union team. The song has also been used as the victory anthem of Scotland at the Commonwealth Games since 2010, replacing "Scotland the Brave".


title: National anthem of Scotland

text: In June 2006 the Royal Scottish National Orchestra conducted an online opinion poll on their website, asking visitors to choose a favourite to be Scotland's national anthem. With over 10,000 votes cast, "Flower of Scotland" came first with 41% of the votes, followed by "Scotland the Brave" with 29%.


title: National anthem of Scotland

text: Other songs which have been suggested include Robert Burns' "Auld Lang Syne", and Hamish Henderson's "Freedom Come-All-Ye". Both of these songs, from the 18th and 20th centuries respectively, are written in Lowland Scots.


title: Mia and Me

text: Mia and Me is a German children's series created by Gerhard Hahn. In the United States, it aired on Nickelodeon's Nick Jr. channel from May 3, 2014, to December 25, 2016. The show mixes live action with computer animation.


title: Mia and Me

text: "Mia and Me" is entirely owned by the German company Made 4 Entertainment (m4e) as of 2016. Before the 2016 German buyout, the show was a GermanItalianCanadian co-production.


title: Mia and Me

text: A feature film titled "Mia and Me: The Hero of Centopia" was produced by Made 4 Entertainment, Hahn & m4e Productions, Studio B Animation, Studio 100 Animation and Flying Bark Productions. It was released in Germany on May 26, 2022.


title: Mia and Me

text: After the death of her parents, a 12-year-old girl named Mia Marconi is gifted a game that her father had made in life, taking the form of a large book called "The Legend of Centopia". Inside is magical runic writing and a password, which when read backwards, allows Mia to travel to the magical world of Centopia. The land is filled with mythological creatures, including: winged elves, pans (goat-like creatures), unicorns and dragons. While in Centopia, Mia changes into a winged elven girl with the unique ability to talk to unicorns. She meets and befriends a cast of magical characters: a unicorn named Lyria (and, later, Lyria's winged son Onchao); Yuko, a girl warrior who is a little jealous of how much attention Mia receives from Prince Mo, and Phuddle, a comedic pan.


title: Mia and Me

text: With the help of oracles from a magic book, Mia and her friends must find the pieces of the "trumptus", a magic horn made by Phuddle. It has been captured, broken apart in twenty pieces, and scattered by the "munculus" as it is the only thing that can destroy evil beings. Mia also works to stop the evil Queen Panthea, General Gargona and her "munculus" army from capturing the unicorns. Panthea, concerned about her aging appearance to the point where she always wears a mask, needs the unicorns' horns for their rejuvenating powers. Every time a unicorn horn is destroyed, more of the island of Centopia dies. The only cure to this destruction is the powerful "golden unicorn" named Onchao, who can easily make the desert bloom again and restore horns of other unicorns. After Mia and her friends succeed in defeating their adversaries with a trumptus blast, only Gargona survives. They have reached the final pages of the book and Mia returns to her world, where it is nearing the end of the school year. Mia plans to revisit Centopia in a few months, after the summer break.


title: Mia and Me

text: In the second season, Mia spends her summer holiday at her grandpa's farm. There, she meets a worker named Mario, who towards the end of the season learns about her ability to travel to Centopia. In Centopia, a hunter named Rixel sets his sights on catching Onchao. Later in the season, the bully Violetta discovers Mia's secret after finding a slice of her magical bracelet. Violetta travels to Centopia and takes on the identity of an elf named Varia. As Varia, Violetta becomes one of Mia's allies and begins to be shown in a more sympathetic light, as her connections with her father are disrupted by her mother.


title: Mia and Me

text: In Centopia, Gargona is joined by a bug-like villain named Dax as they try to catch a unicorn horn to bring their master (Drakon) back. In the real world, a blind girl named Sara finds Mia's bracelet and travels to Centopia. She is so relieved that she can see in this world and she even has the power to see the invisible spy bugs who follow Dax. In the season finale, Dax and Gargona succeed in taking Onchao's horn. Mia and her friends arrive at the castle where Gargona and Dax are talking to Drakon about their prize. Yuko and Mo foil the villains' plot by breaking the horn into pieces. Kyara, Onchao's new sister, heals Onchao's horn. Dax leaves Centopia and Gargona stays on the island. Back in the real world, Sara makes the decision to go back to her old school instead of a new school in Milan.


title: Mia and Me

text: When Mia transforms into an elf, she first says the password into the bracelet. Then a yellow glow swirls around her making her disappear. We then see her in a half-human half-elf form. In Season 1, Mia notices a glow on her hand that moves around herself transforming her into her elf with her wings growing after the glow is done transforming her back. When she is done transforming, she flaps her wings with her legs bending. While doing this she smiles. But later, her smile turns to a frown and disappears into the yellow fog while screaming. In Season 2, we see a huge yellow blob fully transforming her all at once. The wings then appear on her back a few seconds later. This also applies for season 3 as well. In Season 3, her half-human, half-elf form looks exactly like her human form. We then see the same transformation process in Season 2. However when Mia disappears into the yellow fog, she instead says "Whoa!"


title: Mia and Me

text: Since the first few seasons were distributed by Rainbow, a studio co-owned by Viacom, "Mia and Me" is broadcast on Viacom's Nickelodeon channels in many territories. Nick Jr. in the United States premiered the series beginning on May 3, 2014 and ending on December 25, 2016. Up until mid-2021, the show was available to stream on NickJr.com. In the United Kingdom, the series aired on Nick Jr. (UK and Ireland) in January 2014. Nickelodeon began airing the series in the Philippines on July 1, 2013. The series aired in Singapore on MediaCorp Okto, in Indonesia on RCTI and in Australia on 10 Peach "(formally Eleven)". The series is available through Netflix in many countries, since September 2014. In 2017, the series aired on eToonz in South Africa. In Brazil, the first season of the series premiered on Gloob, on April 14, 2014, and the second season premiered on January 23, 2017. Since October 12, 2020, the series has been aired on TV Cultura.


title: Polish phonology

text: The phonological system of the Polish language is similar in many ways to those of other Slavic languages, although there are some characteristic features found in only a few other languages of the family, such as contrasting postalveolar and alveolo-palatal fricatives and affricates. The vowel system is relatively simple, with just six oral monophthongs and arguably two nasals in traditional speech, while the consonant system is much more complex.


title: Polish phonology

text: The Polish vowel system consists of six oral sounds. Traditionally, it was also said to include two nasal monophthongs, with Polish considered the last Slavic language that had preserved nasal sounds that existed in Proto-Slavic. However, recent sources present for modern Polish a vowel system without nasal vowel phonemes, including only the aforementioned six oral vowels.


title: Polish phonology

text: The vowels and have largely complementary distribution. Either vowel may follow a labial consonant, as in "mi" ('to me') and "my" ('we'). Elsewhere, however, is usually restricted to word-initial position and positions after alveolo-palatal consonants and approximants , while cannot appear in those positions (see § Hard and soft consonants below). Either vowel may follow a velar fricative but after velar the vowel is limited to rare loanwords e.g. "kynologia" ('cynology') and "gyros" ('gyro'). Dental, postalveolar consonants and approximants are followed by in native or assimilated words. However, appears outside its usual positions in some foreign-derived words, as in "chipsy" ('potato chips') and "tir" ('large lorry', see TIR). The degree of palatalization in these contexts is weak. In some phonological descriptions of Polish that make a phonemic distinction between palatalized and unpalatalized consonants, and may thus be treated as allophones of a single phoneme. In the past, was closer to , which is acoustically more similar to .


title: Polish phonology

text: Nasal vowels do not feature uniform nasality over their duration. Phonetically, they consist of an oral vowel followed by a nasal semivowel or ("są" is pronounced , which sounds closer to Portuguese "são" than French "sont" – all three words mean '(they) are'). Therefore, they are phonetically diphthongs. (For nasality following other vowel nuclei, see § Allophony below.)


title: Polish phonology

text: The nasal phonemes appear in older phonological descriptions of Polish e.g. , , . In more recent descriptions the orthographic nasal vowels "ą", "ę" are analyzed as two phonemes in all contexts e.g. , . Before a fricative and in word-final position (in the case of "ą") they are transcribed as an oral vowel followed by a nasal consonant or . Under such an analysis, the list of consonantal phonemes is extended by a velar nasal phoneme or by two nasal approximants , .


title: Polish phonology

text: If analyzed as separate phonemes, nasal vowels do not occur except before a fricative and in word-final position. When the letters "ą" and "ę" appear before stops and affricates, they indicate an oral or followed by a nasal consonant homorganic with the following consonant. For example, "kąt" ('angle', 'corner') is , "gęba" ('mouth') is , "pięć" ('five') is and "bąk" ('bumble bee') is , as if they were spelled "*kont", "*gemba", "*pieńć" and "*bonk". Before or , nasality is lost altogether and "ą" and "ę" pronounced as oral // or //. The sequence is also denasalized to // in word-final position, as in 'I will be'.


title: Polish phonology

text: Distinctive vowel length was inherited from late Proto-Slavic, although in Polish only some pretonic long vowels and vowels with the neoacute retained length. Additional vowel lengths were introduced in Proto-Polish (as in other West Slavic languages) as a result of compensatory lengthening when a yer in the next syllable disappeared according to Havlík's law. In Polish this only happened in penultimate syllables (which thus became final syllables) before a voiced consonant (in other Slavic languages where a similar process occurred this could be more general).


title: Polish phonology

text: The resultant system of vowel lengths was similar to what is today preserved in Czech and to a lesser degree in Slovak, although the distribution of the sounds often differed (for example in Czech the old acute also lengthened vowels). In the emerging modern Polish, however, the long vowels were shortened again but sometimes (depending on dialect) with a change in quality (the vowels tended to become higher). The latter changes came to be incorporated into the standard language only in the case of long "o" and the long nasal vowel. The vowel shift may thus be presented as follows:


title: Polish phonology

text: Note that the that was once a long is still distinguished in script as "ó", except in some words which were later respelled, such as , , (instead of etymological , , ).


title: Polish phonology

text: In most circumstances, consonants were palatalized when followed by an original front vowel, including the soft yer (ь) that was often later lost. For example: "*dьnь" became "dzień" ('day'), while "*dьnьmъ" became "dniem" ('day' instr.).


title: Polish phonology

text: Nasal vowels "*ę" and "*ǫ" of late Proto-Slavic merged ("*ę" leaving a trace by palatalizing the preceding consonant) to become the medieval Polish vowel , written "ø". Like other Polish vowels, it developed long and short variants. The short variant developed into present-day "ę", while the long form became , written "ą", as described above. Overall:


title: Polish phonology

text: The historical shifts are the reason for the alternations "o":"ó" and "ę":"ą" commonly encountered in Polish morphology: "*rogъ" ('horn') became "róg" due to the loss of the following yer (originally pronounced with a long "o", now with ), and the instrumental case of the same word went from "*rogъmъ" to "rogiem" (with no lengthening of the "o"). Similarly, "*dǫbъ" ('oak') became "dąb" (originally with the long form of the nasal vowel), and in the instrumental case, "*dǫbъmъ" the vowel remained short, causing the modern "dębem".


title: Polish phonology

text: Polish dialects differ particularly in their realization of nasal vowels, both in terms of whether and when they are decomposed to an oral vowel followed by a nasal consonant and in terms of the quality of the vowels used.


title: Polish phonology

text: Also, some dialects preserve nonstandard developments of historical long vowels (see previous section); for example, "a" may be pronounced with in words in which it was historically long.


title: Polish phonology

text: The Polish consonant system is more complicated; its characteristic features include the series of affricates and palatal consonants that resulted from four Proto-Slavic palatalizations and two further palatalizations that took place in Polish and Belarusian.


title: Polish phonology

text: The postalveolar sounds "(sz, ż, cz, dż)" and the corresponding alveolo-palatals "(ś, ź, ć, dź)" both sound similar to the English palato-alveolar consonants (the "sh" and "ch" sounds and their voiced equivalents). The tongue shape of the postalveolar sounds is similar to the shape postalveolar approximant (one of the realizations of the English /r/ phoneme, see also Pronunciation of English /r/). The alveolo-palatals are pronounced with the body of the tongue raised to the hard palate but a greater area of the front of the tongue is raised close to the hard palate compared to the English palato-alveolar sounds. The series are known as "rustling" "(szeleszczące)" and "humming" "(szumiące)" respectively; the equivalent alveolar series "(s, z, c, dz)" is called "hissing" "(syczące)".


title: Polish phonology

text: Polish contrasts affricates and stop–fricative clusters by the fricative components being consistently longer in clusters than in affricates. Stops in clusters may have either a plosive release accompanied by a weak aspiration or a fricated release (as in an affricate) depending on the rate of speech and individual speech habits.


title: Polish phonology

text: Both realizations of stop-fricative clusters are considered correct and typically respelled as "tsz", "d-ż" and "czsz", "dżż" respectively in normative descriptions of Polish pronunciation. The distinction is lost in colloquial pronunciation in south-eastern Poland both being realized as simple affricates as in some Lesser Polish dialects. According to , , such a simplification is allowed in the standard language variety only before another consonant or before a juncture, e.g. trzmiel" or ('bumblebee'), "patrz or ('look', imper. sing.).


title: Polish phonology

text: For the possibility of an additional velar fricative for , see § Dialectal variation below. On the same grounds as for gives a phonemic status for speakers who have in their system.


title: Polish phonology

text: Polish, like other Slavic languages, permits complex consonant clusters, which often arose from the disappearance of yers (see § Historical development above). Polish can have word-initial and word-medial clusters of up to four consonants, whereas word-final clusters can have up to five consonants. Examples of such clusters can be found in words such as "bezwzględny" ('unconditional' or 'heartless', 'ruthless'), "źdźbło" ('blade of grass'), ('shock'), and "krnąbrność" ('disobedience'). A popular Polish tongue-twister (from a verse by Jan Brzechwa) is ('In Szczebrzeszyn a beetle buzzes in the reeds').


title: Polish phonology

text: For the restrictions on combinations of voiced and voiceless consonants in clusters, see § Voicing and devoicing below. Unlike languages such as Czech, Polish does not have syllabic consonants: the nucleus of a syllable is always a vowel.


title: Polish phonology

text: The consonant is restricted to positions adjacent to a vowel. It also cannot precede "i" or "y". (For other restrictions on consonants appearing before "i" or "y", see § Distribution above.)


title: Polish phonology

text: Polish obstruents (stops, affricates and fricatives) are subject to voicing and devoicing in certain positions. This leads to neutralization of voiced/voiceless pairs in those positions (or equivalently, restrictions on the distribution of voiced and voiceless consonants). The phenomenon applies in word-final position and in consonant clusters.


title: Polish phonology

text: In Polish consonant clusters, including across a word boundary, the obstruents are all voiced or all voiceless. To determine (based on the spelling of the words) whether a given cluster has voiced or voiceless obstruents, the "last" obstruent in the cluster, excluding "w" or "rz" (but including "ż"), should be examined to see if it appears to be voiced or voiceless. The consonants "n, m, ń, r, j, l, ł" do not represent obstruents and so do not affect the voicing of other consonants; they are also usually not subject to devoicing except when surrounded by unvoiced consonants. Some examples follow (click the words to hear them spoken):


title: Polish phonology

text: In some dialects of Wielkopolska and the eastern borderlands, remains voiced after voiceless consonants.


title: Polish phonology

text: The above rule does not apply to sonorants: a consonant cluster may contain voiced sonorants and voiceless obstruents, as in , , słoń" , tnąc" .


title: Polish phonology

text: Utterance-finally, obstruents are pronounced voiceless. For example, the in "bóg" ('god') is pronounced , and the in "zajazd" ('inn') represents . If followed by a word beginning with a obstruent then the above cluster rules apply across morpheme boundaries. When the second word begins with a sonorant the voicing of any preceding word-final obstruent varies regionally. In western and southern Poland, final obstruents are voiced ("voicing pronunciation") if the following word starts with a sonorant (here, for example, the in "brat ojca" 'father's brother' would be pronounced as ). On the other hand, they are voiceless ("devoicing pronunciation") in eastern and northern Poland ( is pronounced ). This rule does not apply to prepositional clitics "w, z, bez, przez, nad, pod, od, przed" which are always voiced before sonorants.


title: Polish phonology

text: Multiple palatalizations and some depalatalizations that took place in the history of Proto-Slavic and Polish have created quite a complex system of what are often called "soft" and "hard" consonants. These terms are useful in describing some inflection patterns and other morphological processes, but exact definitions of "soft" and "hard" may differ somewhat.


title: Polish phonology

text: "Soft" generally refers to the palatal nature of a consonant. The alveolo-palatal sounds "ń, ś, ź, ć, dź" are considered soft, as normally is the palatal "j". The "l" sound is also normally classed as a soft consonant: like the preceding sounds, it cannot be followed by "y" but takes "i" instead. The palatalized velars , and might also be regarded as soft on this basis.


title: Polish phonology

text: Consonants not classified as soft are dubbed "hard". However, a subset of hard consonants, "c, dz, sz, ż/rz, cz, dż", often derive from historical palatalizations (for example, "rz" usually represents a historical palatalized "r") and behaves like the soft consonants in some respects (for example, they normally take "e" in the nominative plural). These sounds may be called "hardened" or "historically soft" consonants.


title: Polish phonology

text: The historical palatalized forms of some consonants have developed in Polish into noticeably different sounds: historical palatalized "t, d, r" have become the sounds now represented by "ć, dź, rz" respectively. Similarly palatalized "s, z, n" became the sounds "ś, ź, ń". The palatalization of labials has resulted (according to the main phonological analysis given in the sections above) in the addition of , as in the example "pies" just given. These developments are reflected in some regular morphological changes in Polish grammar, such as in noun declension.


title: Polish phonology

text: In some phonological descriptions of Polish, however, consonants, including especially the labials "m, p, b, f, w", are regarded as occurring in "hard" and "soft" pairs. In this approach, for example, the word "pies" ('dog') is analyzed not as but as , with a soft . These consonants are then also analyzed as soft when they precede the vowel (as in "pić" 'to drink'). Unlike their equivalents in Russian, these consonants cannot retain their softness in the syllable coda (when not followed by a vowel). For example, the word for "carp" has the inflected forms "karpia", "karpie" etc., with soft (or , depending on the analysis), but the nominative singular is "karp", with a hard .


title: Polish phonology

text: Similar considerations lead to two competing analysis of palatalized velars. In , all three palatalized velars are given phonological status on the grounds of their distribution and minimal contrasts between , , and , , e.g. "giełda" ('stock market'), "magiel" ('laundry press ') but "giętki" ('flexible'), higiena ('hygiene'). Phonemes , and do not occur before where they are separated by a distinct e.g. "kiosk" ('kiosk'), "filologia" ('philology'), "Hiob" ('Job'). A system with and but without is given by , , and . This analysis is based on an assumption that there is actually no but only as "chie", "hie" occur only in loanwords. However, a decomposed palatalization of "kie", "gie" i.e. , in all contexts is a predominant pronunciation in contemporary Polish. Based on that, a system without palatalized velars is given by , and . In such a system palatalized velars are analyzed as , and before and , and before other vowels. This is the main analysis presented above.


title: Polish phonology

text: The consonants "t, d, r" (and some others) can also be regarded as having hard and soft forms according to the above approach, although the soft forms occur only in loanwords such as "tir" ('large lorry'; see TIR). If the distinction is made for all relevant consonants, then "y" and "i" can be regarded as allophones of a single phoneme, with "y" following hard consonants and "i" following soft ones (and in initial position).


title: Polish phonology

text: In more contemporary Polish, a phonetic glottal stop may appear as the onset of a vowel-initial word (e.g. "Ala" ). It may also appear following word-final vowels to connote particular affects; for example, "nie" ('no') is normally pronounced , but may instead be pronounced or in a prolonged interrupted . This intervocalic glottal stop may also break up a vowel hiatus, even when one appears morpheme-internally, as in "poeta" ('poet') or Ukraina ('Ukraine') . A relatively new phenomenon in Polish is the expansion of the usage of glottal stops. In the past, initial vowels were pronounced with an initial voiceless glottal fricative (so that "Ala" was pronounced ), pre-iotation (so that "igła" ('needle') was pronounced ), or pre-labialization (so that "oko" 'eye' was pronounced ).


title: Polish phonology

text: In some Polish dialects (found in the eastern borderlands and in Upper Silesia) there is an additional voiced velar fricative //, represented by the letter . It may be actually a voiced glottal fricative [] for some speakers, especially word-finally. In most varieties of Polish, both and represent .


title: Polish phonology

text: Some eastern dialects also preserve the velarized dental lateral approximant, , which corresponds to in most varieties of Polish. Those dialects also can palatalize to in every position, but standard Polish does so only allophonically before and . and are also common realizations in native speakers of Polish from Lithuania, Belarus and Ukraine.


title: Polish phonology

text: In the Masurian dialect and some neighboring dialects, "mazurzenie" occurs: postalveolar merge with the corresponding dentals unless is spelled (a few centuries ago, it represented a fricative trill , distinct from ; only the latter sound occurs in modern Polish).


title: Polish phonology

text: The predominant stress pattern in Polish is penultimate: the second-last syllable is stressed. Alternating preceding syllables carry secondary stress: in a four-syllable word, if the primary stress is on the third syllable, there will be secondary stress on the first.


title: Polish phonology

text: Each vowel represents one syllable although the letter "i" normally does not represent a vowel when it precedes another vowel (it represents either , palatalization of the preceding consonant, or both depending on analysis; see Polish orthography and the above). Also, the letters "u" and "i" sometimes represent only semivowels after another vowel, as in "autor" ('author'), mostly in loanwords (so not in native "nauka" 'science, the act of learning', for example, nor in nativized "Mateusz" 'Matthew').


title: Polish phonology

text: Some loanwords, particularly from classical languages, have the stress on the antepenultimate (third-last) syllable. For example, "fizyka" () ('physics') is stressed on the first syllable. That may lead to a rare phenomenon of minimal pairs differing only in stress placement: "muzyka" 'music' vs. "muzyka" – genitive singular of "muzyk" 'musician'. When further syllables are added at the end of such words through suffixation, the stress normally becomes regular: "uniwersytet" (, 'university') has irregular stress on the third (or antepenultimate) syllable, but the genitive "uniwersytetu" () and derived adjective "uniwersytecki" () have regular stress on the penultimate syllables. Over time, loanwords become nativized to have a penultimate stress.


title: Polish phonology

text: Another class of exceptions is verbs with the conditional endings "-by, -bym, -byśmy" etc. Those endings are not counted in determining the position of the stress: zrobiłbym" ('I would do') is stressed on the first syllable and "zrobilibyśmy" ('we would do') on the second. According to prescriptive grammars, the same applies to the first and second person plural past tense endings "-śmy, -ście" although this rule is often ignored in colloquial speech (so "zrobiliśmy" 'we did' is said to be correctly stressed on the second syllable, although in practice it is commonly stressed on the third as "zrobiliśmy"). The irregular stress patterns are explained by the fact that these endings are detachable clitics rather than true verbal inflections: for example, instead of kogo zobaczyliście?" ('whom did you see?') it is possible to say "kogoście zobaczyli?" – here "kogo" retains its usual stress (first syllable) in spite of the attachment of the clitic. Reanalysis of the endings as inflections when attached to verbs causes the different colloquial stress patterns.


title: Polish phonology

text: Some common word combinations are stressed as if they were a single word. That applies in particular to many combinations of preposition plus a personal pronoun, such as do niej" ('to her'), na nas" ('on us'), "przeze mnie" ('because of me'), all stressed on the bolded syllable.


title: Weakest Link (American game show)

text: Weakest Link is an American television game show that made its debut in 2001. It is an adaptation of the British television series of the same name.


title: Weakest Link (American game show)

text: The series made its debut on NBC on April 16, 2001, and with the exception of the first 3 episodes which all aired the same week, the series aired once a week for an hour as part of the network's primetime schedule. The network cancelled "Weakest Link" in 2002 and its final episode aired on July 14, 2002, with ten episodes left unaired. These were eventually shown on PAX and GSN years later.


title: Weakest Link (American game show)

text: While the primetime series was still being produced, NBC began developing a daily half-hour edition that would be syndicated to local stations. This version premiered on January 7, 2002, and aired for a season and a half with the last new episode airing on May 20, 2003.


title: Weakest Link (American game show)

text: In July 2020, a revival with Jane Lynch as host and executive producer was announced. The revival premiered on NBC on September 29, 2020. A second season of the revival was announced in January 2021 and premiered on March 13, 2022. A third season of the revival was announced in August 2022.


title: Weakest Link (American game show)

text: As was the case with the British version, Anne Robinson hosted the original NBC version of "Weakest Link". George Gray, whose most notable hosting experience to that point was on "Extreme Gong", hosted the syndicated version. Jane Lynch currently hosts the revival and also serves as its executive producer.


title: Weakest Link (American game show)

text: The show's voice-over announcers were John Cramer (NBC original), Lisa Friedman (syndicated), and Debra Wilson (NBC revival).


title: Weakest Link (American game show)

text: For the original American run and the 2020 revival, the game was conducted in the same way as the British version, with a team of contestants trying to reach and bank a set target within the time limit by completing a chain of correct answers that would be broken with an incorrect answer or if a contestant decided to bank the money that was already in the chain by either saying the word "Bank" before the question was asked to them or (in the reboot version) saying "bank" and pressing a button on their podium. On NBC, the team was composed of eight people (six on a special half hour episode featuring contestants from the first season of "Survivor" aired on May 10, 2001, and five on a special celebrity edition aired during the 2001 NBA Finals) looking to win up to ( for the NBA special). In the syndicated series, teams were reduced to six contestants and the potential top prize was significantly reduced. The first season offered a potential top prize of , and the second season saw that figure increased to .


title: Weakest Link (American game show)

text: The game starts with the winner of a backstage draw before the show began (who takes the first podium from left to right; unlike other versions where they start with the player whose name comes first alphabetically). The first round is played for 2 minutes 30 seconds on the NBC series and 1 minute 45 seconds on the syndicated series, and any money banked during the round is added to the team's overall prize total. If the team banked enough money to reach or exceed the target, the round ended immediately and any excess was forfeited. When time ran out, any unbanked money was lost. Any question in progress when time ran out was discarded, with the host revealing the correct answer only if it had been fully read.


title: Weakest Link (American game show)

text: At the end of a round, regardless of the outcome, each contestant secretly votes for the person they want to eliminate from the game; they are forbidden from voting for themselves. After votes are revealed one at a time, the contestant who received the most votes is eliminated from the game and leaves with a curt dismissal from the host: "You are the weakest link. Goodbye!" In the event of a tie, a tiebreaking vote is cast by the contestant who was named as its "strongest link". If the strongest link is involved in the tie, then he/she is automatically safe and decides between the other players involved.


title: Weakest Link (American game show)

text: The time limit decreased in each round after the first (10 seconds per round on the NBC series, 15 seconds for the syndicated one). Play would begin with the strongest link from the previous round, or the second-strongest if the former had been eliminated.


title: Weakest Link (American game show)

text: After six rounds of play on the NBC series and four on the syndicated series, the team had been reduced to two members. For the 2001–02 run of the NBC series, a seventh round was played for 90 seconds (1:30) with the two remaining team members. Any money banked in this round was doubled and added to the bank from previous rounds to determine the final prize total.


title: Weakest Link (American game show)

text: The abbreviated first season of the syndicated series also used the double stakes round, which was conducted for 45 seconds with the last two contestants. The change in the potential top prize for the second season resulted in this round being cut from the show. Instead, the game ended after the fourth round and the two surviving contestants after the last vote advanced to the final round to play for the accumulated money in their bank.


title: Weakest Link (American game show)

text: Six timed rounds are played in the 2020 revival, with question values and target totals increasing from one to the next, no rounds are played for double value. The target begins at in the first round and increases to $500,000 in the sixth, allowing for a potential maximum bank of .


title: Weakest Link (American game show)

text: Question and target values during the NBC and syndicated runs of the series are displayed in the table below.


title: Weakest Link (American game show)

text: The final round was a head-to-head showdown between the two surviving team members. The NBC series allowed five turns per contestant, while the syndicated series allowed three (which was previously used during one half-hour celebrity episode and one 15-minute celebrity episode). Before the round, the strongest link from the previous round was given the choice of whether to play first or second. In the second syndicated season and 2020 NBC reboot, the choice went to the second-strongest link if the two had eliminated the strongest link in the final vote.


title: Weakest Link (American game show)

text: The host would then ask one question at a time to each contestant, alternating back and forth. If one contestant missed a question, the opponent was not permitted to answer. The round ended when all questions had been asked or when one contestant attained an insurmountable lead over the other, whichever came first. The winner of this round was named the day's strongest link and won all the money in the bank, while the runner-up received nothing.


title: Weakest Link (American game show)

text: In the event of a tie, the host continued asking pairs of questions until only one contestant answered correctly, winning the bank.


title: Weakest Link (American game show)

text: The NBC version of "Weakest Link" started off well in the ratings, but quickly began to slip. The producers attempted to boost the ratings with large numbers of episodes featuring celebrities as the contestants, as well as others in which the team played on behalf of a selected charity. However, these changes caused the ratings to fall even further and accelerated the show's cancellation.


title: Weakest Link (American game show)

text: The syndicated "Weakest Link" performed well in its abbreviated first season and earned a renewal for a full second season in 2002, but it also experienced a sharp drop in ratings that led to its cancellation at the end of the season. Many stations opted to replace it with other programming, such as a daily syndicated edition of "Who Wants to Be a Millionaire?", resulting in its being moved to an undesirable time slot or dropped altogether.


title: Weakest Link (American game show)

text: In May 2001, the BBC began to show episodes of the American NBC primetime version. These were billed as 'Weakest Link USA' in programming guides, although the title sequence was not altered to reflect this fact. Break bumpers and references to commercial breaks were removed and alternative credits were used (these credits were used when GSN began reairing the series). Notably, despite the show being produced by the BBC, the famous 'BBC Blocks' were not included (as was a requirement at that time for all BBC produced or funded programming) in the title sequence. The BBC did not air the 30-minute syndicated version.


title: Weakest Link (American game show)

text: Various specials aired on both the NBC and syndicated versions. Occasionally the contestants on these episodes all had something in common, such as an episode featuring celebrities, family members, contestants with the same occupation or Halloween and Christmas episodes in which all the contestants wore holiday-themed costumes. Other episodes invited back previously-losing contestants, either those who had lost in the final round or those who were eliminated in the first round of voting on their original episode.


title: Weakest Link (American game show)

text: Celebrity episodes were common on the NBC version, in which all participants played for charity (as is traditionally the case with most celebrity editions of game shows), and eliminated celebrities still won $10,000–$25,000 for their respective charities; for this reason, the last two words of John Cramer's opening spiel "the rest will leave with nothing" were omitted, while Anne's farewell to the final round loser was changed from "you leave with nothing" to "you will just go away".


title: Weakest Link (American game show)

text: On July 8, 2020, it was announced that actress Jane Lynch would host a revival of the show on NBC, featuring a few modern twists, such as picture clues on the contestants' podium screens. The revival premiered on September 29, 2020. On January 25, 2021, the revival series was renewed for a second season of 13 episodes, which premiered on March 13, 2022. CTV airs the revival in Canada. On August 1, 2022, the revival series was renewed for a third season of 20 episodes. In Australia, the Nine Network, which aired a local revival in 2021, airs the U.S. revival through its digital multi-channel 9Go!.


title: 13 Sins

text: 13 Sins is a 2014 American horror-thriller film directed by Daniel Stamm. The film is a remake of the 2006 Thai comedy horror film "13 Beloved". Mark Webber stars as Elliot, a meek salesman who accepts a series of increasingly disturbing and criminal challenges. It premiered at the 2014 SXSW film festival and was released theatrically in the United States on April 18, 2014. This was the final film appearance of George Coe before his death in 2015.


title: 13 Sins

text: Elliot Brindle, a meek salesman, loses his job despite his debt and the people who depend on him: Michael, his mentally disabled brother; Shelby, his pregnant fiancée; and Samson, his abusive father. Elliot receives a mysterious phone call that offers him $1,000 to assertively kill a fly that has been harassing him. After Elliot checks his bank account online and sees that he has been credited, he accepts the next challenge: to eat the dead fly. The caller explains that he will be offered a series of thirteen challenges, each of which will result in greater rewards. If he fails to complete any of them, interferes in the game, or reveals the game, he will forfeit all the money, including any he already won.


title: 13 Sins

text: The next few challenges attract police attention: making a young girl cry, arson, and scamming a homeless person with an ostrich. When the child identifies Elliot in the police station based on wanted posters, Detective Chilcoat takes over the case. Shelby becomes concerned about Elliot's secretive and odd behavior, and he explains that he is planning a surprise. For his sixth challenge, Elliot is forced to take a corpse of a man who committed suicide out for coffee. Given a strict deadline, Elliot panics and brazenly steals a cup of coffee from a table of on-duty police officers. When confronted, Elliot notices that they are drinking alcohol and threatens to file a complaint which forces them to back off. Elliot is rewarded two challenge completions for this feat.


title: 13 Sins

text: After he flees the scene, the caller tells Elliot that he has left behind his library card as evidence; however, if he wins the game, his record will be purged. At the same time, Chilcoat follows Vogler, a conspiracy theorist that has been investigating the game. Paranoid, Vogler flees Chilcoat but advises him to kill Elliot at his first opportunity. Chilcoat eventually tracks down Vogler at a bar and discuss that the game's sole purpose is turning players into monstrosities at the promise of millions of dollars. Vogler states his wife once played the game, resulting in her eating their dog. For his next challenge, Elliot receives no instructions and is taken to a rural motel. There, a man identifies himself as a former childhood bully, and the caller tells Elliot to sever the man's arm. Elliot initially refuses but does so once the man taunts him. After driving the man to the hospital, Elliot beats the man's brother with a chair as revenge for him bullying Elliot and Michael, including urinating in Michael’s face. As a result, he is credited with two more completed challenges.


title: 13 Sins

text: When the police arrive at the banquet hall where Elliot and Shelby are having their rehearsal dinner, Elliot is surprised to discover that they are interested in Michael, who says he revealed himself to a young woman partially due to his medication being cut off. To give Michael time to escape, he accepts his next challenge, to destroy the banquet hall while singing "The Internationale". Disappointed in his reluctance to break social norms, the caller then instructs Elliot to surrender to the police, from whom Elliot learns that another person has been playing the game while committing other acts such as pushing an elder down the stairs and burning down an entire shrine. Elliot takes and accidentally wounds a hostage to escape and complete the game before the other competitor. As he escapes, he's forced to leave behind his cell phone. Desperate, he takes an old woman hostage when she shows up, sure that she is involved in his next challenge.


title: 13 Sins

text: After feigning ignorance, the old woman reveals his next challenge: to set a stainless steel wire across the road. Elliot is horrified when he realizes that a group of bikers have been instructed to speed down the road. Although he disarms the trap in time, the other competitor arms a similar trap down the road, and the cyclists are decapitated. Disgusted and mortified, Elliot quits the game, tossing the phone away before he's told the last challenge and, when he returns home, discovers that Michael is the other competitor. Michael reveals that the final challenge is to kill a family member. Although Elliot originally tries to talk Michael out of killing their father, Elliot becomes homicidal when their father reveals he won the game by killing their mother, which led to a miserable life despite his victory. To prevent his sons from experiencing the horror of losing everything closest to them from winning the game, Samson slices his neck and commits suicide.


title: 13 Sins

text: However, Michael refuses to stop playing the game and attempts to kill Elliot. Elliot kills Michael in self-defense, though he is stabbed multiple times. Elliot is credited for his final challenge, but he forfeits all the money when he interferes with the game by shooting Chilcoat, who had murdered the conspiracy theorist and has now arrived to clean up the crime scene, thus revealing his involvement with the game. Later, Elliot learns that Shelby has declined to play the game, and he collapses laughing happily.


title: 13 Sins

text: The themes of the film were written to reflect drug addiction, and Stamm used a drug addiction specialist to emphasize those parallels in Elliot's character arc. Stamm wanted Elliot to grow assertive and strong, then slowly become addicted to both the game and his new persona, which causes him to not notice the increasingly negative effects on his life. Two endings were shot: a more upbeat ending and a highly nihilistic ending. The alternate ending is available on the Blu-ray release. Jason Blum bought the rights to "" and offered the remake to Stamm, who enjoyed the original film. The studio gave him complete freedom, which Stamm said allowed him to explore his interpretation of the film and tweak tasks that he felt did not work. Perlman did not see the original film, as he did not want it to influence his performance. Several of the tasks are new; Stamm wanted to include enough new content to keep fans of the original film interested in the remake while retaining the original film's most iconic tasks. For the story, Stamm was influenced by "Falling Down", which he said invited the audience to identify with a protagonist who becomes increasingly assertive, only to reveal later that he is "a racist and dangerous". Stamm wanted the actors to feel comfortable with each other and their roles, so he had them perform improvisational scenes together. Although initially eager to show off for the sake of impressing Perlman, of whom he is a fan, Stamm eventually backed off and allowed the actors to improvise their lines during filming, too.


title: 13 Sins

text: "13 Sins" premiered at SXSW on March 7, 2014. It was released to video on demand March 14 and theatrically April 18, 2014, in the United States. It was released on DVD and Blu-ray on June 17, 2014.


title: 13 Sins

text: Rotten Tomatoes, a review aggregator, reports that of surveyed critics gave the film a positive review; the average rating was . The site's consensus reads, ""13 Sins" may be derivative of other horror films that made their moral points with more finesse, but it atones with a grim sense of humor and sleek style." Metacritic rated it 44/100 based on eleven reviews.


title: 13 Sins

text: "Variety" wrote that it "achieves a modest degree of tension and dark humor before it unravels." "Fearnet" wrote that the film's greatest weakness was its similarity to earlier films, but that overall "there's more than enough here for a 'psychological horror' fan to get behind." "The Austin Chronicle" was more positive in their review, in which they said that the movie would have a wide appeal to both genre and mainstream viewers.


title: 13 Sins

text: Jeannette Catsoulis of "The New York Times" wrote, "A study of desperation and the evil within, Daniel Stamm's "13 Sins" is an empty, efficient thriller that leaves you as cold as most of its characters." Martin Tsai of the "Los Angeles Times" called it "a "Saw" knock-off without the torture porn". Staci Layne Wilson of Dread Central rated it 3/5 stars and called it "a fun enough time waster".


title: 13 Sins

text: Bears Fonté of AMFM Magazine said the film was the best of all the midnighters at SXSW and "provides a nice commentary on materialism and ease at which someone will shed their carefully crafted image when provided with a chance to score some cash." Patrick Cooper of Bloody Disgusting rated it 3/5 stars and wrote that it is "tonally uneven" but "darkly comic".


title: Girl on Fire (song)

text: "Girl on Fire" is a song recorded by American singer-songwriter Alicia Keys for her fifth studio album of the same name. Keys co-wrote and co-produced the R&B ballad with Jeff Bhasker and Salaam Remi. The song contains an interpolation of the drums from the 1980 song "The Big Beat" by American rock guitarist Billy Squier, who received a writing credit on "Girl on Fire". Released on September 4, 2012, as the lead single from the album, "Girl on Fire" is Keys' first release under RCA Records following the closure of J Records, after a reorganization at Sony Music Entertainment.


title: Girl on Fire (song)

text: "Girl on Fire" was inspired by Keys' giving birth to her son Egypt and marriage to husband Swizz Beatz. Keys recorded a three-track suite for the song, consisting of the main version in addition to two remixes. The first remix, titled "Inferno", adds two new verses from American hip hop artist Nicki Minaj, whilst the second mix titled "Bluelight" strips back the drums and piano leaving a sparse bass-led production and re-recorded "smokey" vocals. "Girl on Fire" opened to extremely positive reviews from critics, with many praising Keys' vocals and the song's production. Keys performed "Girl on Fire" for the first time at the 2012 MTV Video Music Awards on September 6, 2012, where she was joined by Minaj and American gymnastics gold-medalist Gabby Douglas. The song has been certified six-times platinum by the Recording Industry Association of America.


title: Girl on Fire (song)

text: "Girl on Fire" is the lead single and title track from Alicia Keys' fifth studio album, "Girl on Fire" (2012). Alongside the main single, Keys recorded two other versions: the Inferno Remix which features new verses from Nicki Minaj and a Bluelight Remix which strips back the vocals and production from the main single. Gerrick Kennedy from the "LA Times" spoke of the multiple versions of the song commenting that the main single was most likely made for pop radio, but noted that Minaj's verses on the Inferno Remix would probably get noticed more. On being able to premiere her new song at the 2012 MTV Video Music Awards, Keys said,


title: Girl on Fire (song)

text: "Girl on Fire" is a midtempo song written by Keys, Jeff Bhasker, Salaam Remi and American rock guitarist Billy Squier. Squier earns a writing credit for the inclusion of an interpolation of the drums from his 1980 song "The Big Beat". Composed on the key of A major, "Girl on Fire" uses common time and is set to a "heavy beat" at a tempo of 93 beats per minute. Keys' vocals range in the song over an octave from a low note of C up to a high note of E. On the main single, Keys opens the songs with the lyrics "She got both feet on the ground and she's burning it down. She got her head in the clouds and she's not backing down. This girl is on fire!" Keys' lyrics centre around toasting the "achievements of women everywhere", particularly with the hook "She's just a girl and she's on fire", which according to MTV's Rob Markman is delivered with a "calming-yet-commanding wail". Markman also spoke of the pace of the song, describing it as "pulsating". "LA Times" Gerrick Kennedy expanded further describing the songs components as "a fierce battlecry over a fast-building simplistic hook". Critics likened "Girl on Fire" to Keys' previous singles "No One" (2007) and "Try Sleeping with a Broken Heart" (2009). Throwing "If I Ain't Got You" (2004) into the list of comparisons, Erin Thompson from "Seattle Weekly" said "Girl on Fire" compares to previous Keys' ballads with its "quiet, unassuming verses leading into big, empathic choruses."


title: Girl on Fire (song)

text: The Inferno version features Nicki Minaj, who wrote and rapped two new verses on the song. Minaj's vocals were recorded at Chalice Recording Studios in Los Angeles, California. The inferno remix uses the same production and sample as the main single however, the first two verses of the song were described as "understated" by Carl Williot from Idolator, with Minaj leading the remix with a new rap verse. She raps "Took me on the balcony, telling me to jump with her/ Yeah I'm in the ghost but I ain't doing stunts with her/ I ain't trying to be that, haters want to see that/ But I got 'em aggy, cause I win the gold like Gabby". Minaj also talks about being haunted by the ghost of Marilyn Monroe. In the second verse from Minaj, the subject matter switches to her fans the "Barbz" with the lyric "And to my core fans, keep reppin' me/ Do it till the death of me/ 'X' in the box, cause ain't nobody checkin' me." Markman noted that in this verse, Minaj switched her delivery style to "more of a whisper". "Entertainment Weekly"s Kyle Anderson described Minaj's verses as "more prominent" than Keys' and noted that the production was influenced by garage music.


title: Girl on Fire (song)

text: By contrast, the Bluelight version features a slower production and re-recorded vocals. According to the "Los Angeles Times" Gerrick Kennedy, the Bluelight remix has a production based on "dripping" synths and "light" chord progressions. Kennedy particularly noted a difference in Keys' vocal tone, describing it as "smokey" and comparable to that see on Keys' 2009 single "Un-Thinkable (I'm Ready)". Mark Edward Nero from About.com also compared the "Girl on Fire" to Keys' single "You Don't Know My Name" (2003). Idolator's Carl Williot described how on this stripped version, "gone is Minaj, gone are the piano plinks and gone are the martial drums" completely changing the composition of the Bluelight version. Williot described how Keys' vocals take on a "more emotional performance" while the melody is replaced with "faint bass drops and a hushed drum machine".


title: Girl on Fire (song)

text: The song received universal acclaim. Jon Pareles from the "New York Times" described "Girl on Fire" and the previously released song "New Day" as "booming anthems" and the complete opposite to "Girl on Fire"s ballads which feature just Keys' vocals and a piano. Rob Markman from MTV's "RapFix" blog described "Girl on Fire" as a "high-powered Alicia ballad" just like previous singles "No One" and "Try Sleeping with a Broken Heart". Agreeing with those comparisons was Gerrick Kennedy from the "LA Times" who went on to describe the main single as a "sweeping ballad with powerful vocals and an anthemic hook". Then commenting on the remixes Kennedy said that on the Inferno remix, Minaj's "fluid verses" and an "added thump" might make that version of the song get noticed more, while it's the Bluelight version Kennedy called the "most intoxicating". On the latter Kennedy said "it would be unfortunate to overlook" due to Keys' sensual vocal tone. Kyle Anderson from "Entertainment Weekly" commented that the "hook was weak" and that Minaj verses were much stronger, supporting the song.


title: Girl on Fire (song)

text: By contrast, Charley Rogulewski from "Vibe" said it was "Keys who stands out on the track. [She] lays down powerful and flawless vocals over her trademark piano punches and a trash-can-lid beat." Erin Thompson from "Seattle Weekly" praised Keys' on the song for making the "often cheesy" girlpower theme seem "genuinely stirring and elegant", commenting that "only Alicia Keys could do it". Describing the chorus of the song, Thompson said "it booms with thudding drums as her drawn-out notes soar on top. It's heavily bombastic, but the drama of it makes it memorable, and the hooky melody is beautiful and exhilarating. Keys seems to have to set out to make a statement song about power, and it's undeniable that she's succeeded in that". Speaking of the song's inferno remix, Idolator's Carl Williot agreed with previous reviewers particularly noting Keys' vocals, using term "trademark soaring vocals" to describe Keys' performance on the song.


title: Girl on Fire (song)

text: In the chart week ending September 7, 2012, "Girl on Fire" debuted on the US Hot R&B/Hip-Hop Songs chart at number 67. This in part was driven by 2.1 million radio impressions according to Nielsen BDS. The song rose to number seven in its fifth week, becoming her fifteenth Top 10 hit on the "Billboard" Hot R&B/Hip-Hop Songs chart, peaking at number 2 behind Rihanna's Diamonds. It has peaked at number 11 on the "Billboard" Hot 100 chart, and has sold 2 million copies in the United States as of February 13, 2013. The song has also become an international hit for Keys, reaching number one in Austria, South Korea, and Slovakia, the Top 5 in the Netherlands, Brazil, Israel, Denmark, Japan, Germany, Switzerland, France, and the United Kingdom, and a Top 20 hit in the US, Australia, Belgium, Canada, Czech Republic, Ireland, New Zealand, Norway, Scotland, Italy, Finland, Hungary, and Spain.


title: Girl on Fire (song)

text: The song was included in a popular Brazilian soap opera, "Salve Jorge", which contributed for the success in Brazil. It was also featured in the credits for "Borderlands 3".


title: Girl on Fire (song)

text: The music video for the song, premiered on BET's "106 & Park" on October 19, 2012, and was directed by Sophie Muller. The video portrays Keys as a working mother caring for her kids and an elderly mother, has received wide acclaim from critics. Christopher Farley from the "Wall Street Journal" was of the opinion that Keys is making 21st century domesticity sexy, and is "an intriguing move for a pop-soul star". "Rolling Stone" magazine says Keys "applies glamour and magic to household chores", and made reference to "Mary Poppins" being an inspiration in the videos magic scene.


title: Girl on Fire (song)

text: The video for the Inferno remix was uploaded to VEVO on November 2, 2012. It is much the same video as the main version but with Minaj's scenes pasted in the video. With Minaj's first verse, she appears in front of a red and black wall wearing a black and white outfit. In Minaj's second verse, we see her singing on a TV screen wearing a black outfit and having a starry night sky behind her. A completely new video was released for Japan in January 2013.


title: Girl on Fire (song)

text: Keys performed "Girl on Fire" for the first time at 2012 MTV Video Music Awards on September 6, 2012, at the Staples Center in Los Angeles, California. She was joined by Nicki Minaj who rapped her verses from the Inferno Remix of the song as well as the 2012 Summer Olympics gymnastics gold medalist Gabby Douglas who performed during the second half of the song. The Team USA female gymnasts performed a brief routine while Keys was introduced to the stage. Keys was dressed in a "pewter-colored top and black form-fitting tights." Minaj was dressed in a "black hooded top and bright blonde wig". During the performance, Keys began stood up at a keyboard before walking down the steps to the main stage. It was only after Minaj rapped the line "But I got 'em aggy, cause I win the gold like Gabby", Douglas appear on stage with a brief routine containing cartwheels, jumps and back hand springs. "American Superstar" magazine described the performance a "true TV performance" thanks in part Minaj and Douglas, as well as "Keys hit[ting] many high notes — and then some". The magazine concluded that the performance was "sexy, yet intimate". Jack Antonoff, guitarist of indie band fun., said he thought Keys' performance could be "that performance that people will be talking about for 10 years". VH1's Sabrina Rojas Weiss agreed, stating that it was "just due to Keys' soaring vocals" but also Douglas' surprise appearance.


title: Girl on Fire (song)

text: "Girl on Fire" was performed on ITunes Festival on September 28, 2012. Keys performed the song live on the UK version of "The X Factor" on November 18. On November 12, 2012, Alicia Performed New Music like "Girl On Fire" and another new song off her upcoming album titled "Brand New Me" + Our Favorites On "VH1 Storytellers". On November 11, 2012, Alicia took the MTV Europe Music Awards stage by storm with a jaw-dropping performance of her new songs "New Day" and "Girl On Fire" On November 20 at 7:00 PM EST, Alicia exclusively performed on YouTube Live Stream with Google+ Hangout, also premiering her new album, "Girl on Fire" for the very first time. The "Girl On Fire" singer performed on November 26, 2012, on "Good Morning America", as well as November 29, 2012 on "The X Factor USA". On January 21, 2013, Keys sang the song with modified lyrics during President Barack Obama's Inaugural Balls, which celebrated his second term. On January 25, 2013, Keys did a medley of the song with "New Day" and "Brand New Me" at Los Premios 40 Principales in Spain. The next day, she sang "Girl on Fire" in Cannes, France, during the NRJ Music Awards. At the 2013 Grammy Awards, she performed the song and "Daylight" with Maroon 5. The song is performed on The Alicia + Keys World Tour.


title: Girl on Fire (song)

text: On September 2012, Misha B covered the track. One critic described the acoustic cover as that "awkward moment when someone sings your new song better than you". American drag queens Willam Belli, Detox and Vicky Vox released a parody of the song, titled "Boy Is a Bottom" on January 26, 2013. Willam Belli later on released a Spanish version of "Boy Is a Bottom", called "Es Una Pasiva", on January 13, 2015.


title: Payload (computing)

text: In computing and telecommunications, the payload is the part of transmitted data that is the actual intended message. Headers and metadata are sent only to enable payload delivery.


title: Payload (computing)

text: In the context of a computer virus or worm, the payload is the portion of the malware which performs malicious action.


title: Payload (computing)

text: The term is borrowed from transportation, where "payload" refers to the part of the load that "pays" for transportation.


title: Payload (computing)

text: In computer networking, data to be transmitted is the payload. It is almost always encapsulated in some type of frame format, composed of framing bits and a frame check sequence. Examples are Ethernet frames, Point-to-Point Protocol (PPP) frames, Fibre Channel frames, and V.42 modem frames.


title: Payload (computing)

text: In computer programming, the most common usage of the term is in the context of message protocols, to differentiate the protocol overhead from the actual data. For example, a JSON web service response might be:


title: Payload (computing)

text: In computer security, the payload is the part of the private user text which could also contain malware such as worms or viruses which performs the malicious action; deleting data, sending spam or encrypting data. In addition to the payload, such malware also typically has overhead code aimed at simply spreading itself, or avoiding detection.


title: Chris Petersen

text: Christopher Scott Petersen (born October 13, 1964) is a former American football coach who was most recently the head coach at the University of Washington. Previously the head coach for eight seasons at Boise State University, Petersen guided the Broncos to two BCS bowl wins: the (2006 Season) 2007 and (2009 Season) 2010 Fiesta Bowls. He is the first two-time winner of the Paul "Bear" Bryant Award, which he won in 2006 and 2009. Petersen also won the Bobby Dodd Coach of the Year Award in 2010. At Washington, Petersen led the Huskies to the College Football Playoff in 2016, but fell to Alabama in the Peach Bowl. Petersen announced his resignation on December 2, 2019, to be effective after the team's bowl game.


title: Chris Petersen

text: Born and raised in Yuba City, California, Petersen played safety and quarterback for the Honkers at Yuba City High School. After graduation in 1983, he played quarterback for the Sacramento City College Panthers for two seasons, then transferred to non-scholarship UC Davis,


title: Chris Petersen

text: then in Division II. He earned a bachelor's degree in psychology in 1988 and a master's degree in education from UC Davis.


title: Chris Petersen

text: Petersen began his coaching career in 1987 as the head freshman coach at UC Davis under Hall of Fame coach Jim Sochor. In 1989, he became the receivers coach for the varsity, departing in 1992 to become the quarterbacks coach at Pittsburgh. While at Pittsburgh, he coached QB Alex Van Pelt to a season where he threw for over 3,100 yards with twenty touchdowns.


title: Chris Petersen

text: He moved back west in 1993 to coach the quarterbacks at Portland State under Tim Walsh; the Vikings advanced to the Division II playoffs in both 1993 and 1994. Petersen moved over to Oregon in 1995 as the receivers coach, and spent six years as an assistant for the Ducks under head coach Mike Bellotti. In 1996, WR Cristin McLeMore topped 1,000 yards receiving. In 1997, WR Pat Johnson topped 1,000 yards. In 1998, WRs Damon Griffin and Tony Hartley both topped 1,000 yards on the year.


title: Chris Petersen

text: In January 2001, Petersen was hired as the offensive coordinator at Boise State by newly-promoted head coach The offense peaked in 2003, scoring a school-best 602 points en route to a 13-1 season: QB Ryan Dinwiddie threw for 4,356 yards and 31 TD, RB David Mikell ran for 1,142 yards and 13 TD, and WR Tim Gilligan had 1,192 yards and 6 TD.


title: Chris Petersen

text: Hawkins left Boise State for Colorado after the 2005 season, and Petersen was promoted to head coach on Sophomore tailback Ian Johnson said about the transition, "We trusted him and knew he was going to take care of us. We knew he was a great person. He was going to recruit people just like himself. We waited for him to get everybody here and he got in the perfect people." Petersen had served as offensive coordinator at Boise State for five seasons and was twice nominated for the Broyles Award, given to the nation's best assistant coach.


title: Chris Petersen

text: In his first year as head coach, Petersen led the Broncos to an undefeated regular season in 2006 and the program's first ever BCS bowl game berth. He became the fourth rookie head coach to lead a team to a BCS bowl game; Boise State was the only undefeated team in Division I FBS for the 2006 season.


title: Chris Petersen

text: The Broncos defeated Big 12 champion Oklahoma in the Fiesta Bowl as only the second BCS non-AQ conference school to play in a BCS bowl, after Utah in 2004. Petersen drew particular attention for his bold play calling after the Broncos, who were leading most of the game, trailed the Sooners by a touchdown late in the contest. A 50-yard hook-and-lateral play on 4th-and-18 described as "stunning" tied the game with seven seconds left. An option pass (off a direct snap to a wide receiver) on 4th-and-2 on Boise State’s possession in overtime pulled the Broncos within one point after Oklahoma scored on their possession. Petersen then decided to forgo an extra point kick and go for the victory with a two-point conversion attempt, calling a successful "Statue of Liberty" misdirection play for a 43-42 win. Petersen stated, "We were trying to get to it earlier, to tell you the truth. We needed a play like that to get it over with."


title: Chris Petersen

text: After the undefeated season of 2006, the Idaho State Board of Education approved a new contract for Petersen on February 22, 2007, paying him $4.25 million for five years, or $850,000 was paid mostly by revenue from the Football Coaches Club, the Bronco Athletic Association booster club, and media and public appearances; state-appropriated funds covered $150,000


title: Chris Petersen

text: After leading Boise State to another undefeated regular season in 2009, Petersen was rewarded with a new five-year contract extension on January 1, 2010. The state board of education approved the new contract on April 22, which paid $8 million over five years, or $1.6 million per year. The contract also included automatic one-year extensions to the contract each time Petersen won at least eight regular


title: Chris Petersen

text: Petersen's last contract in Boise was agreed to on January 3, 2012. The five-year, $18 million deal called for a base salary of $2 million for the 2012 season, with $200,000 raises in each subsequent season. It also included retention bonuses of $100,000 after two years and $200,000 in each of the final three years


title: Chris Petersen

text: On December 6, 2013, Petersen agreed to a five-year, $18 million contract to become the new head coach at Washington. He replaced Steve Sarkisian, who announced that he was leaving Washington to take the same position at USC three days after the 2013 Apple Cup.