title: Saving Face (2004 film)

text: At the "Saving Face" reunion panel at Clexacon in 2017, Krusiec commented on the power of the movie, being one of the few lesbian movies with a happy ending. She explained that this film remains important because many viewers have told her that it has made them feel represented to the point where they were able to come out.


title: Saving Face (2004 film)

text: In an episode of "Drunk Lesbians Watch" posted in 2018 to YouTube, Michelle Krusiec and Lynn Chen appeared with the hosts and commented on specific scenes from the film, explaining the motivations and emotions of their characters in the scenes.


title: Megumi Yokota

text: Megumi Yokota was abducted on 15 November 1977 at the age of thirteen while walking home from school in her seaside village in Niigata Prefecture. It's believed that she was abducted because she happened to witness activities of North Korean agents in Japan and so the agents wanted to silence her. North Korean agents reportedly dragged her into a boat and took her straight to North Korea to a facility, where she was taught the Korean language. She was eventually assigned to a university where North Korean spies were taught foreign languages, customs and practices. Here she taught Japanese to spies who were being trained to infiltrate Japan. Also at the earlier facility were two South Korean high school students, aged 18 and 16, who had been abducted from South Korea in August 1977 and in August the next year, three more 16-year-old South Korean students were abducted and taken to the same facility. These included , who would reportedly later marry Yokota.


title: Megumi Yokota

text: After many years of speculation and no new leads, in January 1997, information about Megumi's abduction was disclosed to Yokota's parents by Tatsukichi Hyomoto, a secretary to Diet member Atsushi Hashimoto, by a phone call. In 2002, North Korea admitted that she and others had been abducted, but claimed that she had committed suicide on March 13, 1994, and returned what it said were her cremated remains. Japan stated that a DNA test showed they could not have been her remains (although it was later discovered that a junior faculty member with no previous analysis of cremated specimens had tested the remains and may have accidentally contaminated them), and her family does not believe that she would have committed suicide. She is believed to have been abducted by Sin Gwang-su.


title: Megumi Yokota

text: In the North in 1986, Yokota married a South Korean national, Kim Young-nam (Korean: 김영남, Hanja: 金英男), likely also abducted, and the couple had a daughter in 1987, Kim Hye-gyong (김혜경, whose real name was later revealed to be Kim Eun-gyong, 김은경). In June 2006, Kim Young-nam, who has since remarried, was allowed to have his family from the South visit him, and during the reunion he confirmed Yokota had committed suicide in 1994 after suffering from mental illness, and had several attempts at suicide before. He also claimed the remains returned in 2004 are genuine. His comments were however widely dismissed as repeating the official Pyongyang line, with Megumi's father claiming that Young-nam was not allowed to speak freely during his interview in Pyongyang, stating that "he was likely restricted in terms of what he can say" and that "it looked as if he were reading a script". In June 2012, Choi Seong-ryong, head of a support group for relatives of South Koreans abducted to the North, claimed that he had obtained North Korean government documents which stated that Yokota had died from "depression" on 14 December 2004. However, his claim has been dismissed by many as he refused to release the documents to the public.


title: Megumi Yokota

text: It is widely believed, especially in Japan, that Yokota is still alive. In November 2011 a South Korean magazine, "Weekly Chosun", stated that a 2005 directory of Pyongyang residents listed a woman, named Kim Eun-gong, with the same birth date as Yokota. The directory gave Kim's spouse's name as "Kim Yong Nam". Japanese government sources verified on 18 November 2011 that they had reviewed the directory but had yet to draw a conclusion on the identity of the woman listed. Sources later indicated that Kim Eun-gong was actually Yokota's 24-year-old daughter. In 2012, it was reported that North Korean authorities were keeping Kim under strict surveillance. In August 2012, Choi Seong-ryong stated that sources in North Korea had told him that Kim Eun-gong had been placed under the supervision of Kim Jong-un's sister, Kim Yo-jong, and that the North Korean government may be planning on using Yokota's daughter as a "card" in future negotiations with Japan. Reportedly, in 2010 the North Korean government offered to allow Yokota's parents to visit Kim Eun-gyong in a country "other than Japan" but the Japanese government and Yokota's parents were wary about the offer, suspecting it as a ploy by the North Korean government to seek an advantage in ongoing diplomatic negotiations. In March 2014, the parents of Megumi Yokota met their granddaughter Kim Eun-gyong for the first time in Mongolia, along with her own baby daughter, whose father was not identified.


title: Megumi Yokota

text: Yokota was alleged to have died at the age of 29. However, the death certificate provided in support of this assertion appears to have been falsified, and DNA tests on the remains said to be hers were not a positive match.


title: Megumi Yokota

text: An interview in the 3 February 2005 issue of "Nature" revealed that the DNA analysis on Megumi's remains had been performed by a member of the medical department of Teikyo University, Yoshii Tomio. Yoshii, it later transpired, was a relatively junior faculty member, of lecturer status, in a forensic department that had neither a professor nor even an assistant professor. He said that he had no previous experience in the analysis of cremated specimens, described his tests as inconclusive, and remarked that such samples were very easily contaminated by anyone coming in contact with them, like "stiff sponges that can absorb anything". The five tiny samples he had been given to work on (the largest of them 1.5 grams) had anyway been used up in his laboratory, so independent verification was thereafter impossible.


title: Megumi Yokota

text: When the Japanese government's Chief Cabinet Secretary, Hiroyuki Hosoda, referred to this article as inadequate and a misrepresentation of the government-commissioned analysis, "Nature" responded in an editorial (17 March), saying that:


title: Megumi Yokota

text: Documentaries made about Megumi and the other kidnapping cases include: "KIDNAPPED! The Japan-North Korea Abduction Cases" (2005), "" (2006), "Megumi" (2007), and "Megumi" (2008). In October 2006 a special aired on Japan television titled "Reunion ~ Megumi Yokota's Wish" ("Saikai ~Yokota Megumi-san no Negai~"; 再会～横田めぐみさんの願い). It starred Mayuko Fukuda as a young Yokota, and Nana Katase as grown Yokota.


title: Megumi Yokota

text: Yokota's parents supervised the creation of a serial manga, one titled "Megumi" () detailing her last days in Japan before her abduction, and another titled "Dakkan" about returned victim Kaoru Hasuike. The Japanese government produced an anime adaption of the manga.


title: Megumi Yokota

text: In 2010, the Shinjuku Theater has performed a stage adaptation of Megumi's life called "The Pledge to Megumi" (めぐみへの誓い) The main storyline centers on Megumi Yokota before and during her abduction by North Korea, and with a fictional ending where Megumi is reunited with her parents.


title: Megumi Yokota

text: On October 10, 2011, "Japan Today" reported a defector had asserted that Yokota was still alive, but that she was not allowed to leave North Korea because she was in possession of sensitive information.


title: Megumi Yokota

text: In October 2011, South Korean intelligence agencies reported they believed dozens of South Korean and Japanese abduction victims were moved to Wonhwa-ri in South Pyongan Province; this group may have included Yokota, Yaeko Taguchi, and Tadaaki Hara.


title: Megumi Yokota

text: On September 19, 2017, President of the United States Donald Trump, in a speech to the United Nations General Assembly, included Yokota in a series of accusations against the North Korean government, saying, "We know it kidnapped a sweet 13-year-old Japanese girl from a beach in her own country to enslave her as a language tutor for North Korea's spies." Yokota's mother Sakie said, "I was really surprised, but it was great, and I'm thankful to (Trump) for bringing up the issue and putting it into words in front of those representatives from around the world. Every word on the issue is a chance. I believe (Trump's words) had a profound significance to the issue." It was reported that President Trump sent a letter expressing his condolences to Sakie over the death of her husband Shigeru Yokota, who died on June 5, 2020, at the age of 87.


title: Megumi Yokota

text: In early 2007, Paul Stookey (of U.S. folk group Peter, Paul and Mary) introduced a song dedicated to Megumi, titled "Song for Megumi". Stookey toured Japan to sing the song in February and attended media interviews with Yokota's parents.


title: Megumi Yokota

text: In 2010, British rock singer Peter Frampton recorded two songs about Megumi Yokota after watching the documentary "" on PBS. Titled "Asleep at the Wheel" and "Suite Liberte", the songs are part of his album, "Thank You, Mr. Churchill".


title: Megumi Yokota

text: In 2006, Nippon Television (NTV) aired "Saikai -Yokota Megumi-san no Negai-" (再会 ~横田めぐみさんの願い~ " Reunion ~Yokota Megumi's Wish~") a television film about the life of Megumi Yokota. The movie starred Mayuko Fukuda and Nana Katase as Yokota during different periods in her life.


The Rada of the Belarusian Democratic Republic (, Rada BNR) was the governing body of the Belarusian Democratic Republic. Since 1919, the Rada BNR has been in exile where it has preserved its existence among the Belarusian diaspora as an advocacy group promoting support to Belarusian independence and democracy in Belarus among Western policymakers. As of 2022, the Rada BNR is the oldest existing government in exile.


title: Rada of the Belarusian Democratic Republic

text: The Rada BNR was founded as the executive body of the First All-Belarusian Congress, held in Minsk in December 1917 with over 1800 participants from different regions of Belarus including representatives of Belarusian national organisations, regional zemstva, main Christian denominations and Belarusian Jewish political parties. The work of the Congress was violently interrupted by the Bolsheviks.


text: After retreat of the Bolsheviks from Minsk, the Rada (council) declared itself supreme power in Belarus. After the Bolsheviks and the Germans had signed the Treaty of Brest-Litovsk the Rada declared independence of Belarus as the sovereign Belarusian Democratic Republic.


text: Germany did not give official recognition to Belarus and hindered the activities of the institutions of the Belarusian Democratic Republic. Nevertheless, the Rada managed to start organising its governing bodies in different parts of the country as well as working on establishing a national Belarusian army and a national education system.


text: The Rada established official diplomatic contacts with several states including Finland, the Ukrainian People's Republic, Czechoslovakia, the Baltic States, Turkey and others.


text: With the approach of Bolshevik armies to Minsk the Rada was forced to relocate to Vilnius, then to Hrodna and eventually, upon coordination with the Republic of Lithuania, to Kaunas.


text: In April 1919, the Polish army seized Hrodna and Vilnius. Jozef Pilsudski issued the Proclamation to the inhabitants of the former Grand Duchy of Lithuania stating that the new Polish administration would grant them cultural and political autonomy. The proclamation was welcomed by the Belarusian leadership, especially considering Soviet plans for the Sovietization of Belarus. However, in later negotiations with the Belarusian leaders Pilsudski proposed to limit the Belarusian government's functions to purely cultural issues, which was rejected by the Belarusian prime minister Anton Luckievic. The government of Belarus managed to include a statement for minorities' rights in Poland in the resolutions of the Paris Peace Conference.


text: The government of the Belarusian Democratic Republic protested the Polish military mobilization in the area of Vilnius, the Polish elections held there, and the annexation of the Augustów area to Poland. They also appealed to the League of Nations, Great Britain, France, the United States and other countries to recognize the independence of Belarus.


text: In late 1920, the Belarusian government began negotiations anew with the Bolsheviks in Moscow and tried to persuade them to recognize the independence of Belarus and to release Belarusian political prisoners being held in Russian jails. The negotiations were unsuccessful.


text: On 11 November 1920, the Belarusian Democratic Republic signed a partnership treaty with the Republic of Lithuania to cooperate in liberating Belarusian and Lithuanian lands from Polish occupation.


text: After the establishment of the Belarusian Soviet Socialist Republic (Belarusian SSR) as part of the USSR, several members of the Rada laid down their mandates in 1925 and returned to Belarus. Officially the Rada BNR never recognized the Belarusian SSR. Most of the members of the Rada who returned to Belarus, including former Prime Minister Vaclau Lastouski, were later killed in the Soviet terror in Belarus in the 1930s.


text: During the Second World War and the German occupation of Czechoslovakia the Rada refused to cooperate with the Nazis or recognize the collaborationist government of Belarus, the Belarusian Central Rada.


text: The advance of the Red Army in 1945 forced the Rada of the BNR to relocate to the Western part of Germany, occupied by British and American troops.


text: In February 1948, the Rada passed a special manifesto, by which it declared its return to activity. In April 1948 the Rada, together with representatives of the Belarusian post-war refugees, held a conference in Osterhofen, Bavaria.


text: The primary activities of the Rada BNR in the West were lobbying and contacts with Western governments to ensure recognition of Belarus as a separate country. Together with other anti-Soviet organisations in the West, including governments in exile of Ukraine and the Baltic countries, the Rada protested against human rights violations in the Soviet Union. In the 1950s the Rada BNR enabled the creation of the Belarusian edition of Radio Free Europe. Members of the Rada organized support to Belarus following the Chernobyl accident of 1986.


text: After the dissolution of the Soviet Union in the 1990s, similar governments-in-exile of the neighboring countries (Lithuania, Poland and others) handed back their mandates to the corresponding independent governments.


text: Upon declaration of independence of the Republic of Belarus in 1990, interest in the Belarusian Democratic Republic has increased in Belarusian society. The Belarusian Popular Front, which was the main pro-Perestroika anti-Communist opposition party, has in many aspects appealed to the restoration of an independent Belarus as the Belarusian Democratic Republic since the late 1980s. In 1991, the Belarusian parliament adopted the state symbols of the Belarusian Democratic Republic, the Pahonia and the White-red-white flag, as state symbols of the Republic of Belarus.


text: In 1993, the government of the Republic of Belarus held official celebrations of the 75th anniversary of the Belarusian Democratic Republic in Minsk. Members of the Rada BNR took part in the celebrations along with the senior political leaders of the Republic of Belarus. It was stated then that the Rada was not ready to return its mandate to the Supreme Council of Belarus, which had originally been elected under Soviet rule. However, the Rada was prepared to hand its mandate to a freely elected Belarusian parliament. However, these plans were cancelled after president Alexander Lukashenko, elected in 1994, established a return to Soviet policies in regards to Belarusian language and culture.


text: Today the Rada BNR attempts to promote democracy and independence for Belarus using contacts and lobbyism in countries where it has its representatives: USA, Canada, The United Kingdom, Estonia and others. The President of the Rada regularly holds meetings with western policymakers and makes official statements criticizing the human rights violations and continuing Russification in Belarus. The Rada became a consolidating center for several exiled Belarusian opposition politicians.


text: Since the late 1980s, 25 March, the Independence Day of the Belarusian Democratic Republic, is widely celebrated by the Belarusian national democratic opposition as "Freedom Day" (). It is usually accompanied by mass opposition rallies in Minsk and by celebration events of the Belarusian diaspora organizations supporting the Belarusian government in exile.


text: The Rada was intended to be a provisional parliament which would perform its functions till a constitutional convention of Belarus was held. The Rada BNR formed a government consisting of its members.


text: Today the Rada sees itself as bearer of a symbolic mandate and as a guarantor of the independence of Belarus. The goal of the Rada is to transfer its mandate to a democratically elected Parliament of Belarus under the condition that no threat to the independence of Belarus should be present.


text: The Rada is led by the President of the Rada BNR (Старшыня Рады БНР) and a Presidium (Executive council) consisting of 14 members.


text: The Rada includes several "Secretariates" as working groups or individual secretaries responsible for specific areas, this include among others:


text: The activity of the Rada BNR is regulated by the Provisional Constitution of the Belarusian People's Republic and the Statute of the Rada BNR.


text: In 1949, the Rada of the Belarusian Democratic Republic in exile under President Mikola Abramchyk has introduced a number of civic and military awards. There has been a number of decorations in the 1950s.


text: In 2016, the Rada of the BDR has announced plans to renew the decorations. In 2018, the Rada has awarded 130 Belarusian activists and politicians, as well as a number of foreigners, with a newly created medal commemorating the 100th anniversary of the Belarusian Democratic Republic.


title: Television special

text: A television special (often TV special, or rarely television spectacular) is a standalone television show which may also temporarily interrupt episodic programming normally scheduled for a given time slot. Some specials provide a full range of entertainment and informational value available via the television medium (news, drama, comedy, variety, cultural), in various formats (live television, documentary, studio production, animation, film), and in any viewing lengths (short films, feature films, miniseries, telethons).


title: Television special

text: The production of early television shows was very expensive, with few guarantees of public success, and ongoing (weekly) shows typically required a single, major sponsor to operate. As such, a good deal of programming was one-off shows, accommodating smaller sponsors and not requiring a loyal audience following. As the industry matured, this trend reversed; by the 1950s, most networks aimed to provide stable, routine, and proven content to their audiences. Television executives, such as CBS president James Aubrey, sought to avoid any disruption in viewing habits which might cause viewers to move to another network. These weekly series, though, typically became too expensive for any single sponsor, so stand-alone shows offered a way to continue accommodating the single-sponsor practice, leading to shows like "Amahl and the Night Visitors" (1951, sponsored by Hallmark Cards as part of the "Hallmark Television Playhouse") and the "Ford 50th Anniversary Show" (1953, a two-hour variety show simulcast on both CBS and NBC).


title: Television special

text: In 1954, NBC president Sylvester Weaver pioneered an innovative style of programming which he called "spectaculars". These stand-alone broadcasts, usually 90 minutes in length, were designed to attract large, new audiences and bring prestige to the network. The spectaculars aired on three nights every fourth week - a major gamble because it controversially broke up viewer routines and risked stable weekly sponsorship deals.


title: Television special

text: To address this, Weaver used his "magazine" style which involved selling segments of each show to a different sponsor, a practice which would evolve into the modern "commercial". The three initial spectacular blocks were "Hallmark Hall of Fame" (Sundays, produced by Albert McCleery), "Producer's Showcase" (Mondays, produced by Fred Coe), "Max Liebman Presents" (Saturdays, produced by Max Liebman). In time, the term "spectacular" was seen as hyperbolic, and so led to the more modern and modest term, "special". Weaver's strategy was not as successful as CBS's predictably scheduled and prefilmed programs, and he was fired in 1956.


title: Television special

text: In the 1960s, multi-part specials, aired over several days in a week or on the same day for several weeks, evolved from this format, though these were more commonly called miniseries. The term "TV special" formerly applied more to dramas or musicals presented live or on videotape (such as "Peter Pan") than to filmed presentations especially made for television, which were (and still are) referred to as made-for-TV movies.


title: Television special

text: In the era before cable and home video, television audiences often had to wait an entire year or more to see a special program or film that had a great impact on first viewing. Today, online streaming often makes it possible for viewers to watch a television show again almost immediately after it is aired, and home video—which has largely given way to digital downloads—makes it possible for the general public to own copies of television shows and films.


title: Fugitive

text: A fugitive (or runaway) is a person who is fleeing from custody, whether it be from jail, a government arrest, government or non-government questioning, vigilante violence, or outraged private individuals. A fugitive from justice, also known as a wanted person, can be a person who is either convicted or accused of a crime and hiding from law enforcement in the state or taking refuge in a different country in order to avoid arrest.


title: Fugitive

text: A fugitive from justice alternatively has been defined as a person formally charged with a crime or a convicted criminal whose punishment has not yet been determined or fully served who is currently beyond the custody or control of the national or sub-national government or international criminal tribunal with an interest in their arrest. This latter definition adopts the perspective of the pursuing government or tribunal, recognizing that the charged (versus escaped) individual does not necessarily realize that they are officially a wanted person (e.g., due to a case of mistaken identity or reliance on a sealed indictment), and therefore may not be fleeing, hiding, or taking refuge to avoid arrest. The fugitive from justice is ‘international’ (versus ‘domestic’) if wanted by law enforcement authorities across a national border.


title: Fugitive

text: Interpol is the international organization with no legal authority to directly pursue or detain fugitives of any kind. Europol is the European authority for the pursuit of fugitives who are on the run within Europe, and coordinates their search, while national authorities in the probable country of their stay coordinate their arrest. In the United States, the U.S. Marshals Service is the primary law enforcement agency that tracks down federal fugitives, though the Federal Bureau of Investigation also tracks fugitives.


title: Fugitive

text: As a verbal metaphor and psychological concept, one might also be described as a "fugitive from oneself". The literary sense of "fugitive" includes the meaning of simply "fleeing".


title: Fugitive

text: In many jurisdictions, a fugitive who flees custody while a trial is underway loses the right to appeal any convictions or sentences imposed on him, since the act of fleeing is deemed to flout the court's authority. In 2003, convicted rapist Andrew Luster had his appeals denied on the basis that he spent six months as a fugitive (he was convicted "in absentia").


title: Fugitive

text: While a person is being sought for potential arrest, the person may be described variously as being "at large" or as a "person of interest" to law enforcement. The latter term is frequently used in an "All-points bulletin" issued to other law enforcement persons or agencies. A person who has jumped bail after arraignment in court may be hunted or pursued by his bail bondsman, and a bounty may be "on his head." The act of fleeing from the jurisdiction of a court is described colloquially as "fleeing justice" or "running from the Law." A "wanted poster" may be issued, especially by the FBI, culminating in the "FBI's Most Wanted List" of fugitives.


title: Fugitive

text: "On the lam" or "on the run" often refers to fugitives. Mencken's "The American Language" and "The Thesaurus of American Slang" proclaim that lam, lamister, and "on the lam"—all referring to a hasty departure—were common in thieves' slang before the turn of the 20th century. Mencken quotes a newspaper report on the origin of 'lam' which actually traces it indirectly back to Shakespeare's time.


title: Fugitive

text: Mencken also quotes a story from the "New York Herald Tribune" newspaper in 1938 which reported that "one of the oldest police officers in New York said that he had heard 'on the lam' thirty years ago."


title: Fugitive

text: Various methods can be used to find fugitives. Phone taps and pen registers can be used on relatives. Credit card and cell phone activities and electronic transfer of money can also be traced. Wanted posters and rewards can also be used. Jail records are also sometimes used; for instance, after the U.S. Government determined that Timothy McVeigh had perpetrated the Oklahoma City Bombing, he was found in a local jail.


title: Fugitive

text: Other methods include using anonymous tips from members of the public who may have seen sight of the fugitive; CCTV and other modes of technology; news broadcasting of public awareness (depending on the severity of the crime the fugitive has committed), and co-operation with local law enforcement teams.


title: Kensei (honorary title)

text: Among the most famous kensei is Miyamoto Musashi, although not all would apply the term to him. Other historical kensei are often the founders of popular schools of swordsmanship. Although there is no such written rule, the title carries such prestige that it is commonly understood that there should be no more than one kensei at any given time.


title: Revelation Space

text: Revelation Space is a 2000 science fiction novel by Welsh author Alastair Reynolds. It was the first novel (but not first published work of fiction) set in Reynolds's eponymous universe. The novel reflects Reynolds's professional background: he has a PhD in astronomy and worked for many years for the European Space Agency. It was short listed for the 2000 BSFA and Arthur C. Clarke Awards.


title: Revelation Space

text: "Revelation Space" begins with three seemingly unrelated narrative strands that merge as the novel progresses. This plot structure is characteristic of many of Reynolds's works.


title: Revelation Space

text: The first strand centres around Dan Sylveste, beginning in the year 2551. Sylveste is an archaeologist excavating the remains of the long-dead Amarantin race. Over the course of decades, Sylveste learns that the Amarantin may have become technologically sophisticated before their sun destroyed life on the planet Resurgam nearly a million years prior.


title: Revelation Space

text: The next strand centres around Ilia Volyova aboard the "Nostalgia for Infinity", a large ship capable of interstellar travel. Volyova and the other members of her skeleton crew wish to find Sylveste because they believe he can help them with their captain, who has been infected with the Melding Plague, a nanotech virus that attacks human cells and machine implants to pervert them into grotesque combinations.


title: Revelation Space

text: The third strand focuses on Ana Khouri, an assassin living on the planet Yellowstone (in the Epsilon Eridani system). Khouri is hired by a mysterious figure known as the Mademoiselle to assassinate Sylveste.


title: Revelation Space

text: With help from the Mademoiselle, Khouri infiltrates the crew of the "Nostalgia for Infinity" as it reaches orbit around Yellowstone, knowing that they will then travel to Resurgam. The "Nostalgia for Infinity" arrives in orbit around Resurgam in 2566. Desperate to secure Sylveste's expertise to help cure her captain, Volyova and the other two members of the ship's ruling triumvirate (Sajaki and Hegazi) threaten the defenceless Resurgam civilisation, prompting its rulers to turn Sylveste over to them.


title: Revelation Space

text: Once aboard, however, Sylveste informs the triumvirs that he has antimatter bombs hidden inside the implants in his artificial eyes that could destroy the "Nostalgia for Infinity". He then agrees to attempt to cure their captain in exchange for a trip to Cerberus, a mysterious nearby planet that he believes holds the secret to the truth of Amarantin civilisation. They soon discover that Cerberus is actually a massive beacon aimed at alerting a machine sentience of the appearance of new star-faring cultures so that it can destroy them. It is that sentience, Sylveste belatedly realises, that caused the demise of the Amarantin.


title: Revelation Space

text: This was Alastair Reynolds's first published novel, and was published in a relatively small initial print run in the United Kingdom. It subsequently became a collectible first edition.


title: Revelation Space

text: Thomas M. Wagner of SF Reviews wrote that "despite my disappointment, images and bits and pieces of the novel simply would not get out of my head. This is saying something, since, with the volume of SF and fantasy I read, I do not exactly retain an eidetic memory of everything I've read that I can call up in a second or two unless the book literally bowled me over. But in the case of "Revelation Space", two and three years later I still could remember the opening scene in the archaeological dig on the lonely planet of Resurgam with remarkable clarity. The dark, eerie corridors of the vast starship "Nostalgia for Infinity" still brought haunting images to mind."


title: Revelation Space

text: A Dragonsworn review notes "there's plenty of beautifully scripted action sequences, and gorgeous descriptions—especially where the "Nostalgia for Infinity" is concerned. Reynolds paints a vivid picture of a haunting machine in decline, and a crew that may as well be ghosts." while observing the lack of character development.


title: Revelation Space

text: The "Revelation Space" Trilogy was listed in Damien Broderick's book "Science Fiction: The 101 Best Novels 1985-2010".


title: Nicole Lyn

text: Nicole Stephanie Danielle Lyn (born February 24, 1978) is a Canadian television actress. She is best known for her roles as Susan Kushner in "Ramona" and Emily Roberts on the Canadian teen comedy series "Student Bodies".


title: Nicole Lyn

text: Lyn was born in Brampton, Ontario, to Cheryl Gabay, a Jamaican woman of Afro-Jamaican descent, and Peter Lyn, who is Chinese-Jamaican. She grew up in the Toronto area. As a child, Nicole danced in the National Ballet School's Junior Dance division, and was also a member of the Canadian Children's Opera Chorus. Nicole entered show business when she was offered a spot on a Jordache billboard after accompanying her aunt, a model, to her audition.


title: Nicole Lyn

text: She auditioned for and was admitted to Claude Watson School for the Arts at age 10. She worked filming commercials, guest starring roles, and had co-starring role on the Canadian kid-com "Eric's World" (1991). She later auditioned for and attended Cardinal Carter Academy for the Arts in Toronto from grade 7 - 9, where she was a dance major.


title: Nicole Lyn

text: She later moved to Jamaica (where her father resides) in 10th grade and attended Belair High School in Mandeville.


title: Nicole Lyn

text: One of her first auditions upon returning to Canada was for the YTV teen sitcom "Student Bodies" (1997), on which she landed a lead role alongside Jamie Elman, Katie Emme McIninch, Ross Hull, Jennifer Finnigan, and Mark Taylor.


title: Nicole Lyn

text: She has made television guest appearances on "The Kids in the Hall", "Are You Afraid of the Dark?", "Relic Hunter", "Andy Richter Controls the Universe", "My Secret Identity", "The West Wing", "Half & Half", and "Psych". She was a series regular in the Canadian television shows "Eric's World" and "Student Bodies".


title: Nicole Lyn

text: Lyn also appeared in the television film, "The Feast Of All Saints" based on an Anne Rice novel of the same name.


title: Nicole Lyn

text: Lyn has appeared in television films such as "On Thin Ice: The Tai Babilonia Story" and "Dying To Dance", and appeared in the feature film "Deliver Us From Eva".


title: Nicole Lyn

text: On July 10, 2004, Lyn married Dulé Hill, an actor on "The West Wing" and "Psych". On November 28, 2012, after eight years of marriage, Hill filed for divorce from Lyn, citing irreconcilable differences.


title: Nicole Lyn

text: In 2014, she began a relationship with Chad Easterling. She gave birth to her son, Crosby Sparrow Easterling, on June 13, 2018.


title: John William Polidori

text: John William Polidori (7 September 1795 – 24 August 1821) was a British writer and physician. He is known for his associations with the Romantic movement and credited by some as the creator of the vampire genre of fantasy fiction. His most successful work was the short story "The Vampyre" (1819), the first published modern vampire story. Although the story was at first erroneously credited to Lord Byron, both Byron and Polidori affirmed that the author was Polidori.


title: John William Polidori

text: John William Polidori was born on 7 September 1795 in Westminster, the oldest son of Gaetano Polidori, an Italian political émigré scholar, and his wife Anna Maria Pierce, an English governess. He had three brothers and four sisters.


title: John William Polidori

text: His sister, Frances Polidori, married the exiled Italian scholar Gabriele Rossetti, and thus Polidori, posthumously, became the uncle of Maria Francesca Rossetti, Dante Gabriel Rossetti, William Michael Rossetti, and Christina Georgina Rossetti. William Michael Rossetti published Polidori's journal in 1911.


title: John William Polidori

text: Polidori was one of the earliest pupils at the recently established Ampleforth College from 1804. In 1810 he went up to the University of Edinburgh, where he wrote a thesis on sleepwalking and received his degree as a doctor of medicine on 1 August 1815, at the age of 19.


title: John William Polidori

text: In 1816, which became known as the Year Without a Summer Polidori entered Lord Byron's service as his personal physician and accompanied him on a trip through Europe. Publisher John Murray offered Polidori 500 English pounds to keep a diary of their travels, which Polidori's nephew William Michael Rossetti later edited. At the Villa Diodati, a house Byron rented by Lake Geneva in Switzerland, the pair met with Mary Wollstonecraft Godwin, her husband-to-be, Percy Bysshe Shelley, and their companion (Mary's stepsister) Claire Clairmont.


title: John William Polidori

text: One night in June after the company had read aloud from "Fantasmagoriana", a French collection of German horror tales, Byron suggested they each write a ghost story. Percy Bysshe Shelley wrote "A Fragment of a Ghost Story" and wrote down five ghost stories recounted by Matthew Gregory "Monk" Lewis, published posthumously as the "Journal at Geneva (including ghost stories)" and on return to England, 1816, the journal entries beginning on 18 August 1816. Mary Shelley worked on a tale that would later evolve into "Frankenstein". Byron wrote (and quickly abandoned) a fragment of a story, "A Fragment", featuring the main character Augustus Darvell, which Polidori used later as the basis for his own tale, "The Vampyre", the first published modern vampire story in English.


title: John William Polidori

text: Polidori's conversation with Percy Bysshe Shelley on 15 June 1816, as recounted in "The Diary", is regarded as the origin or genesis of "Frankenstein". They discussed "the nature of the principle of life": "June 15 - ... Shelley etc. came in the evening ... Afterwards, Shelley and I had a conversation about principles — whether man was to be thought merely an instrument."


title: John William Polidori

text: Dismissed by Byron, Polidori traveled in Italy and then returned to England. His story, "The Vampyre", which featured the main character Lord Ruthven, was published in the April 1819 issue of "New Monthly Magazine" without his permission. Whilst in London he lived on Great Pulteney Street in Soho. Much to both his and Byron's chagrin, "The Vampyre" was released as a new work by Byron. Byron's own vampire story "Fragment of a Novel" or "A Fragment" was published in 1819 in an attempt to clear up the confusion, but, for better or worse, "The Vampyre" continued to be attributed to him.


title: John William Polidori

text: Polidori's long, Byron-influenced theological poem "The Fall of the Angels" was published anonymously in 1821.


title: John William Polidori

text: Polidori died at his father's London house on 24 August 1821, weighed down by depression and gambling debts. Despite strong evidence that he died by suicide by means of prussic acid, the coroner gave a verdict of death by natural causes.


title: John William Polidori

text: His sister Charlotte transcribed Polidori's diaries, but censored "peccant passages" and destroyed the original. Based only on the transcription, "The Diary of John Polidori" was edited by William Michael Rossetti and first published in 1911 by Elkin Mathews (London). Reprints of this book, "The Diary of Dr. John William Polidori, 1816, relating to Byron, Shelley, etc.", was published by Folcroft Library Editions (Folcroft, PA) in 1975, and by Norwood Editions (Norwood, PA) in 1978. A new edition of "The Diary of John William Polidori" was reprinted by Cornell University in 2009.


title: John William Polidori

text: A memorial plaque on Polidori's home at 38 Great Pulteney Street was unveiled on 15 July 1998 by the Italian Ambassador, Paolo Galli.


title: John William Polidori

text: Multiple films have depicted John Polidori, and the genesis of the "Frankenstein" and "Vampyre" stories in 1816:


title: Galaxian

text: Designed by company engineer Kazunori Sawano, "Galaxian" was Namco's answer to "Space Invaders", a similar space shooter released the previous year by rival developer Taito. "Space Invaders" was a sensation in Japan, and Namco wanted a game that could compete against it. Sawano strove to make the game simplistic and easy to understand. He was inspired by the cinematic space combat scenes in "Star Wars", with enemies originally being in the shape of the film's TIE Fighters. "Galaxian" is one of the first video games to feature RGB color graphics and the first ever to use a tile-based hardware system, which was capable of animated multi-color sprites as well as scrolling, though the latter was limited to the starfield background while the game itself remained a fixed shooter.


title: Galaxian

text: "Galaxian" was Namco's first major arcade video game hit. It was the second highest-grossing arcade video game of 1979 and 1980 in Japan and the second highest-grossing of 1980 in the United States, where it became one of the best-selling arcade games of all time with 50,000 arcade units sold by 1982. The game was celebrated for its gameplay and usage of true color graphics. In retrospect, it has gained fame for its historical importance and technological accomplishments. Its success led to several sequels and reimaginings; most notable of these is "Galaga", which usurped the original in popularity. "Galaxian" has also been ported to many home systems and is included in numerous Namco compilations.


title: Galaxian

text: "Galaxian" is a space-themed fixed shooter. The player controls a starship called the "Galaxip", the objective being to clear each round of aliens. The enemies appear in formation towards the top of the screen, with two escort ships, labeled the "Galaxian Flagship" or "Galboss". Enemies will make a divebomb towards the bottom of the screen while shooting projectiles in an attempt to hit the player. The Galaxip can only fire a single shot at a time, and the player must wait for it to either hit an enemy or the top of the screen before being able to fire another, due to limitations of the hardware.


title: Galaxian

text: Flagships will make a divebomb with two red escort ships - shooting all three of these will award the player bonus points, with extra points awarded to the destruction of the flagship. Enemy movement will increase as the game progresses alongside the number of shots that the enemies fire. Rounds are indicated by small flags at the bottom of the screen. The game's attract mode featured a slim scenario, reading "WE ARE THE GALAXIANS. MISSION: DESTROY ALIENS".


title: Galaxian

text: "Galaxian" was designed by Kazunori Sawano, who had previously worked on many of Namco's electro-mechanical shooting gallery arcade games, notably "Shoot Away" (1977). Early in the game's development, Taito had released "Space Invaders" in Japan, which swept the country by storm and helped turn the video game industry into a highly-profitable business. To help capitalize on the game's success, Namco president Masaya Nakamura ordered Sawano to make the best "post-Invaders" game they could, which put a vast amount of pressure on the development team. Although development of the game lasted six months, Sawano had made several ideas half a year before production began.


title: Galaxian

text: Sawano and his team set out to make a game anybody could play, using a "simple is best" motto during production — this helped trim away large-scale ideas in favor of a game that could loop endlessly and be able to use only two enemy types. Alongside "Space Invaders", a large portion of the game was inspired by "Star Wars", specifically its large-scale space battles. Sawano had wanted to replicate the feeling of a space battle, specifically with the game's sound effects. Several back-and-forth sound effects were made, many being rejected by Sawano for not matching his vision. The game was Namco's first arcade game to be composed with a synthesizer.


title: Galaxian

text: Game balance was an important part of the game, as Sawano did not want to make the game suddenly spike in difficulty with no build-up or warning; the development team made the number of enemies on-screen the same and gradually increased the difficulty as the player progresses, becoming more noticeable in later stages. The enemies themselves were designed to have a personality of their own, programmed to monitor the player's movements and make attacks based on them - early in development, Sawano had envisioned the enemies to resemble TIE Fighters from "Star Wars". To save up on hardware memory and processing, programmers created a tilemap hardware model, which created a set of 8x8 pixel tiles — this reduced processing and memory requirements up to 64 times, compared to the framebuffer model used in "Space Invaders". The game's hardware was also capable of features such as multi-color sprites, sprite animation, and scrolling, though the game remained a fixed shooter with a scrolling effect only used for the starfield background.


title: Galaxian

text: "Galaxian" was first released by Namco in Japan on September 15, 1979. Following its large success, Namco approached Midway Manufacturing in terms of releasing the game overseas. Midway, who had previously lost their license with Taito due to the success of "Space Invaders" in the west, was in the midst of trying to find a new partner for releasing games. After Namco showed Midway the game on October 17, 1979, Midway was interested in the game's unique features and wanted to acquire the rights to the game. They agreed to the deal and released the game in North America in early 1980 — this move helped strengthen Midway and challenged Atari's leadership in the market. To help keep up demand for the game in Japan, Namco licensed the game to other companies for manufacturing cabinets, including Taito and Irem.


title: Galaxian

text: Atari, Inc. published ports of "Galaxian" for its own systems—Atari 8-bit family, Atari 2600, Atari 5200— in 1982–3, three or more years after "Galaxian" appeared in arcades and a year or more after "Galaga". Additional ports were published under the Atarisoft label: Apple II, ColecoVision, Commodore 64, VIC-20, IBM PC, and ZX Spectrum. Ports from other companies were sold for MSX (Europe and Japan only), NEC PC-8801, Famicom (Japan only) and Sharp X1.


title: Galaxian

text: A Bally Astrocade version was published as "Galaxian", but the name was later changed to "Galactic Invasion".


title: Galaxian

text: Coleco released a stand-alone Mini-Arcade tabletop version of "Galaxian" in 1981, which, along with "Pac-Man", "Donkey Kong", and "Frogger", sold three million units combined. Entex released a handheld electronic game called "Galaxian 2" in 1981. The game is called "Galaxian 2" because it has a two-player mode. It is not a sequel, as there is no "Entex Galaxian".


title: Galaxian

text: "Galaxian" was a critical and commercial success upon release. In Japan, it was the second highest-earning arcade game of 1979, below "Space Invaders". The following year, "Galaxian" outperformed "Pac-Man" for a while, before the year ended with "Galaxian" again being the second highest-earning arcade game of 1980, below "Pac-Man". "Galaxian" was later the 18th highest-grossing arcade video game of 1981, tied with "Defender" and "Turbo". The game continued to see success in Japan throughout the early 1980s; "Game Machine" reported that it was still performing well as late as August 1983.


title: Galaxian

text: In the United States, "Galaxian" was also the second highest-grossing arcade game of 1980, below "Asteroids", according to "Play Meter" and "Cash Box". "Galaxian" had sold 40,000 arcade units in the United States by 1981, and 50,000 units in the US .


title: Galaxian

text: Critics applauded the game's use of true color graphics and for improving the formula established in "Space Invaders". The April 5, 1980 issue of "Cashbox" noted of the game's colorful and attractive cabinet design, while the April 26 issue called it an "earthshaking hit", referring to it as a true followup to "Space Invaders". In a 2007 retrospective review, Sir Clive of "Eurogamer" labeled it a masterpiece, praising its "beautifully drawn" game graphics, intense gameplay, and for being a historically important game for the industry. In 2021, "The Guardian" listed "Galaxian" as the greatest video game of the 1970s. In 1996, GamesMaster ranked the arcade version 63 on their "Top 100 Games of All Time."


title: Galaxian

text: Home versions and ports of the game received mixed responses by platforms. "Video" magazine in 1982 reviewed the Astrocade version of "Galaxian" (named "Galactic Invasion"), noting that the graphics were inferior to the coin-op and PC versions, but praising the play-action as "magnificent" compared to other console versions. The Astrocade version was later awarded a Certificate of Merit for "Best Arcade-to-Home Video Game Translation" at the 4th annual Arkie Awards. "Home Computing Weekly" in 1983 gave the Spectrum version of "Galaxian" 3/5 stars describing it as a well-written version and praising the graphics as fast although flickery. "Softline" in 1983 criticized the Atari 8-bit version of the game, stating that "this game becomes tedious very quickly".


title: Galaxian

text: The "Galaxian" arcade hardware had a significant influence on the hardware design of Nintendo's later arcade and console systems, including the arcade hardware for "Radar Scope" (1980) and "Donkey Kong" (1981) as well as the Nintendo Entertainment System (NES). According to Nintendo R&D2 lead engineer Masayuki Uemura, "Galaxian" replaced the more intensive bitmap rendering system of "Space Invaders" with a hardware sprite rendering system that animated sprites over a scrolling background, allowing more detailed graphics, faster gameplay and a scrolling animated starfield background. This provided the basis for Nintendo's "Radar Scope" arcade hardware, which improved on "Galaxian" with technology such as high-speed emitter-coupled logic (ECL) integrated circuit (IC) chips and memory on a 50 MHz printed circuit board. Following the commercial failure of "Radar Scope", the game's arcade hardware was converted for use with "Donkey Kong", which became a major arcade hit. Home systems at the time were not powerful enough to handle an accurate port of "Donkey Kong", so Nintendo wanted to create a system that allowed a fully accurate conversion of "Donkey Kong" to be played in homes, leading to the development of the NES.


title: Galaxian

text: "Galaxian" spawned a long series of sequels and spin-offs for multiple game platforms, including arcade hardware and home video game systems. The first of these, "Galaga", was released in 1981, usurping the original in popularity as one of the greatest video games of all time, becoming a popular game during the golden age of arcade video games in North America. It was followed by "Gaplus" in 1984, which added power-up items and juggling-based bonus stages. "Galaga '88" was released in 1987, published in North America by Atari Games, which featured branching level paths, new enemy types and multiple endings.


title: Galaxian

text: In 1990, Namco produced a theme-park attraction based on the series, "". Originally presented at Expo '90 and moved to Namco's Wonder Eggs theme park two years later, it was a rail shooter where up to 28 players used lightguns to shoot down enemies and projectiles. A smaller version for arcades was released in 1992, followed by a 1996 PlayStation release in Japan and Europe. In 1995, an arcade remake of "Galaga" was released for the "Namco Classic Collection Vol. 1" compilation, "Galaga Arrangement". This game added two-player co-operative play and boss fights, alongside new enemy and weapon types. It was ported to the Xbox, PlayStation 2 and GameCube in 2002 as part of the compilation disk "Namco Museum".


title: Galaxian

text: A Japan-only medal game spin-off, "Galaxian Fever", was released in 2000 as part of Namco's "Shooting Medal" series. The following year, Hasbro Interactive released "" for the PlayStation and Game Boy Color, adding side-scrolling and third-person stages to the core gameplay. The 2005 PlayStation Portable compilation "Namco Museum Battle Collection" includes a remake of "Galaga" titled "Galaga Arrangement", having no relation to the one featured in "Namco Classic Collection Vol. 1". This game was later ported to iOS devices in 2009, renamed "Galaga Remix". In 2008, Namco Bandai Games released a downloadable game for the Xbox 360 and PlayStation 3, "Galaga Legions" — this game was instead a twin-stick shooter game with score attack modes and multiple stages. It was followed by a 2011 sequel, "Galaga Legions DX", branded under the now-defunct Namco Generations label.


title: Galaxian

text: "Galaxian", along with "Galaga", "Gaplus", and "Galaga '88", was "redesigned and modernized" for an iPhone app compilation called the "Galaga 30th Anniversary Collection", released in commemoration of the event by Namco Bandai.


title: Galaxian

text: The Galaxian world record has been the focus of many competitive gamers since its release. The most famous Galaxian rivalry has been between British player Gary Whelan and American Perry Rodgers, who faced off at Apollo Amusements in Pompano Beach, Florida, USA, on 6–9 April 2006. Whelan held the world record with 1,114,550 points, until beaten by newcomer Aart van Vliet, of the Netherlands, who scored 1,653,270 points on 27 May 2009 at the Funspot Family Fun Center in Weirs Beach, New Hampshire, USA. The record has since been raised to 2,010,000 points, set on 20 May 2016 by David Lyne and verified by Twin Galaxies on 28 May 2016.


title: Nashville Sounds

text: The Nashville Sounds are a Minor League Baseball team of the International League and the Triple-A affiliate of the Milwaukee Brewers. They are located in Nashville, Tennessee, and are named for the city's association with the music industry, specifically the "Nashville Sound", a subgenre of country music which originated in the city and became popular in the mid-1950s. The team plays their home games at First Horizon Park, which opened in 2015 on the site of the historic Sulphur Dell ballpark. The Sounds previously played at Herschel Greer Stadium from its opening in 1978 until the end of the 2014 season. They are the oldest active professional sports franchise in Nashville.


title: Nashville Sounds

text: Established as an expansion team of the Double-A Southern League in 1978, the Sounds led all of Minor League Baseball in attendance in their inaugural season and continued to draw the Southern League's largest crowds in each of their seven years as members of the league. On the field, the team won six consecutive second-half division titles from 1979 to 1984 and won the Southern League championship twice: in 1979 as the Double-A affiliate of the Cincinnati Reds and again in 1982 as the Double-A affiliate of the New York Yankees.


title: Nashville Sounds

text: The Sounds were replaced by a Triple-A American Association team in 1985. The Triple-A Sounds carried on the history of the Double-A team that preceded them. Nashville rarely contended for the American Association championship, making only three appearances in the postseason during their 13 years in the league. They joined the Triple-A Pacific Coast League in 1998 following the dissolution of the American Association after the 1997 season. Over 23 years in the Pacific Coast League, the team qualified for the postseason on five occasions. They won their lone Pacific Coast League championship in 2005 as the Triple-A affiliate of the Milwaukee Brewers. In conjunction with Major League Baseball's reorganization of Minor League Baseball in 2021, the Sounds were placed in the Triple-A East, which became the International League in 2022.


title: Nashville Sounds

text: Nashville has served as a farm club for eight Major League Baseball franchises. A total of 29 managers have led the club and its more than 1,400 players. As of the completion of the 2022 season, their 45th year in Nashville, the Sounds have played 6,272 regular-season games and compiled a win–loss record of 3,237–3,035. They have a postseason record of 49–44. Combining all 6,365 regular-season and postseason games, the Sounds have an all-time record of 3,286–3,079.


title: Nashville Sounds

text: Nashville has been home to Minor League Baseball teams since the late 19th century. The city's professional baseball history dates back to 1884 with the formation of the Nashville Americans, who were charter members of the original Southern League from 1885 to 1886 and played their home games at Sulphur Spring Park, later renamed Athletic Park and Sulphur Dell. This ballpark was the home of Nashville's minor league teams through 1963. In 1887, Nashville's Southern League team was called the Nashville Blues. The Nashville Tigers competed in the same league from 1893 to 1894. In 1895, the Nashville Seraphs won the city's first professional championship in the Southern League. The Nashville Centennials played in the Central League in 1897 but relocated to Henderson, Kentucky, during the season before the league's collapse.


title: Nashville Sounds

text: The city's longest-operating baseball team, first known only as the Nashville Baseball Club and later renamed the Nashville Vols (short for Volunteers, the state nickname), was formed in 1901 as a charter member of the Southern Association. They remained in the league through 1961, winning eight pennants, nine playoff championships, and four Dixie Series titles. The Southern Association disbanded after the 1961 season, and no team was fielded in 1962, but the Vols played one final season in the South Atlantic League in 1963. Sulphur Dell was demolished in 1969, and the city had no professional baseball team for 14 years until 1978.


title: Nashville Sounds

text: Larry Schmittou, head coach of the Vanderbilt Commodores baseball team from 1968 to 1978, was instrumental in bringing professional baseball back to Nashville. Along with help from country musician Conway Twitty, Schmittou put together a group of investors including other country artists Cal Smith and Jerry Reed, as well as other Nashvillians, to finance a stadium and a minor league team. The Metro Parks Board agreed to lease to Schmittou the site of Nashville's former softball fields on the grounds of Fort Negley, a Civil War fortification approximately south of downtown, on which to build. The US$1.5 million ballpark was to be named Herschel Greer Stadium in posthumous honor of Herschel Lynn Greer, a prominent Nashville businessman and president of the Nashville Vols. Schmittou and general manager Farrell Owens landed the Cincinnati Reds as a Major League Baseball affiliate after meeting with Sheldon "Chief" Bender, Cincinnati's farm director, at the 1976 Winter Meetings. The new team was then granted membership in the Southern League, which operated at the Double-A classification.


title: Nashville Sounds

text: The team was called the Sounds in reference to the "Nashville sound", a subgenre of American country music that traces its roots to the area in the late 1950s. The team's wordmark and color scheme were lifted from the defunct Memphis Sounds of the American Basketball Association, who used them from 1974 to 1975. The color blue was added to Memphis' red and white palette. Nashville's original logo, which was used from 1978 into 1998, reflected the city's long-standing association with country music. It depicted a mustachioed baseball player, nicknamed "Slugger", swinging at a baseball with an acoustic guitar, a staple of country music, in place of a bat. Further illustrating the city's musical ties was the typeface, with letters that resembled G-clefs, used to display the team name and the cap logo which resembled an eighth note.


title: Nashville Sounds

text: With a team in place and a stadium under construction, the Nashville Sounds were set to begin play in 1978 as an expansion team of the Southern League. As the Double-A affiliate of the Cincinnati Reds, the Sounds played their first game on April 15, 1978, against the Memphis Chicks at Memphis' Tim McCarver Stadium, which they lost, 4–2. They recorded their first win the next evening, defeating Memphis, 3–0. Their home opener was scheduled to take place on April 25, but was rained out and rescheduled for the next night. On April 26, the Sounds played their first home game, a 12–4 victory, against the Savannah Braves before a sellout crowd of 8,156 fans at Greer Stadium. Nashville placed fourth of five teams in both halves of its inaugural season, which kept the team out of the championship playoffs.


title: Nashville Sounds

text: The Sounds had more success at the turnstiles than on the field as they led all of Minor League Baseball in attendance by drawing 380,000 fans to Greer Stadium in their debut season. Nashville went on to lead the Southern League in attendance in each of their seven seasons of membership. Schmittou's business philosophy revolved around earning profits not from ticket sales, but from the sale of souvenirs and concessions. This approach also involved promoting family-friendly entertainment rather than baseball games. Through the mid 1980s, the Sounds offered nightly promotions and treated fans to a carnival-like atmosphere between innings. The franchise was recognized with the Larry MacPhail Award for outstanding minor league promotions in 1978, 1980, and 1981.


title: Nashville Sounds

text: Manager George Scherger led the 1979 Sounds to win the second-half Western Division title, qualifying them for the postseason. After defeating first-half winners Memphis, three games to one, for the Western Division title, they advanced to the league championship series against the Columbus Astros. Nashville won their first Southern League championship by defeating Columbus, three games to one.


title: Nashville Sounds

text: Originally, the Reds allowed Nashville to use a designated hitter (DH) in their lineup. This allowance was later revoked since the Reds were a part of the National League in which pitchers bat instead of using a DH. Schmittou felt the Sounds were at a disadvantage against other teams that utilized the designated hitter, so he looked for a new major league affiliate for 1980. After two seasons at Double-A for the Reds, Nashville had a 152–140 win–loss record encompassing all regular-season and postseason games.


title: Nashville Sounds

text: Schmittou had been encouraged by the New York Yankees organization to establish the Sounds as a Triple-A team, but he refused to go back on his previous agreement to partner with the Reds at Double-A. After the split with Cincinnati, the Sounds made their first affiliation switch in 1980, becoming the Double-A affiliate of the Yankees. This partnership was the most successful period in team history. They experienced five winning seasons in a row and won five consecutive second-half Western Division titles, propelling them to the postseason each year.


title: Nashville Sounds

text: Under manager Stump Merrill, the 1980 Sounds posted a franchise-best 97–46 record. They won the second half but lost the Western Division series to Memphis. The 1980 club was ranked as the sixty-ninth greatest minor league baseball team of all-time by baseball historians in 2001. Nashville set the league season attendance record that year when 575,676 fans attended games at Greer Stadium. The Sounds reached the 1981 championship series via another second-half title and winning the division over Memphis, but they fell to the Orlando Twins in the finals.


title: Nashville Sounds

text: The 1982 Sounds, managed by Johnny Oates, finished with a 77–67 record and won the second half. After defeating the Knoxville Blue Jays, 3–1, in the Western Division finals, the Sounds advanced to the league championship series against the Jacksonville Suns, where they won the franchise's second Southern League championship with a 3–1 series victory. The Sounds qualified for the Western Division series in each of the next two seasons, but fell to the Birmingham Barons in 1983, and to Knoxville in 1984. One highlight of the 1984 season was Jim Deshaies pitching the club's first no-hitter against Columbus in the second game of a seven-inning doubleheader on May 4. Otis Nixon set the franchise career record for stolen bases (133) over the 1981 and 1982 seasons. Nashville had a 431–320 record during their five-year affiliation with the Yankees, their best record among all affiliations. Their seven-year record in the Southern League was 583–460.


title: Nashville Sounds

text: In response to a decline in attendance and a decrease in local media coverage, Sounds president Larry Schmittou sought to boost interest in the team through an elevation to the Triple-A classification. He attempted to purchase and relocate one of two available Triple-A franchises late in the 1983 season, but each chose to continue in their markets for 1984. His desire to land a Triple-A team was part of a larger plan to put Nashville in a position to contend for a Major League Baseball franchise in the future.


title: Nashville Sounds

text: Schmittou arrived at terms in July 1984 to purchase the Triple-A Evansville Triplets of the American Association for a reported sum of $780,000, with plans to move the franchise from Evansville, Indiana, to Nashville for the 1985 season. The Southern League wanted Schmittou to surrender his franchise to the league, but he had plans to relocate the team to Evansville to continue as the Triplets at Double-A. However, a combination of the league's disapproval of the move and the City of Evansville being unwilling to upgrade Bosse Field resulted in a move to Huntsville, Alabama, where the team became the Huntsville Stars. The Triple-A Sounds carried on the history of the Double-A team that preceded them. The Triplets' legacy was retired, and the Stars were established as an entirely new franchise.


title: Nashville Sounds

text: The Sounds began Triple-A competition in 1985 as a member of the American Association affiliated with the Detroit Tigers, continuing the major league affiliation that was in place with the Evansville franchise. Their first Triple-A game was a 3–1 win against the Buffalo Bisons at Greer Stadium on April 11. Though narrowly missing the playoffs in their first season with the Tigers, the Sounds ended their affiliation with Detroit after two years of poor attendance and a lackluster 1986 season. Over two years with the Tigers, they had a 139–144 record. Their all-time record stood at 722–604 after nine years of play.


title: Nashville Sounds

text: The Sounds rejoined the Cincinnati Reds farm system as their Triple-A affiliate in 1987 in a bid to increase attendance. Schmittou indicated that market surveys consistently showed the Reds to be the most popular MLB team in the area. In 1990, Nashville set its all-time attendance record when 605,122 fans attended games at Greer Stadium. The Sounds experienced their most successful season with the Reds at Triple-A and as members of the American Association that year when they compiled an 86–61 record under manager Pete Mackanin. Ending the regular season in a tie with the Buffalo Bisons, the Sounds won the Eastern Division title in a one-game playoff. They advanced to their first American Association championship series, but they ultimately lost to the Omaha Royals.


title: Nashville Sounds

text: Apart from the 1990 season, the Sounds finished too far back to qualify for the postseason in the other five years of affiliation with the Reds. However, several franchise records were set during this period. Skeeter Barnes, who had previously played with Nashville in 1979, set the career records for games played (514), at bats (1,848), and hits (517) during his second stint from 1988 to 1990. Pitcher Hugh Kemp started a record 73 games from 1987 to 1989. Greer Stadium, once one of the best stadiums in Triple-A baseball in terms of player and fan amenities, began to be outshined by newer ballparks being built in the late 1980s. The Reds let their player development contract with the Sounds expire so they could place their Triple-A affiliate in Indianapolis, which was closer and planning to build a new stadium. Nashville's record after six years with Cincinnati at Triple-A was 431–436. Through 15 total years of competition, their all-time record stood at 1,207–1,040.


title: Nashville Sounds

text: At the recommendation of the Office of the Commissioner of Baseball and with few options available, the Sounds signed a new player development contract with the Chicago White Sox, who wanted to move their Triple-A farm club closer than its previous location in Vancouver. The White Sox then presented a list of complaints about the relatively poor condition of Greer Stadium. Unable to convince the city to pay for a new ballpark, and deciding against moving the team elsewhere in the Nashville area, Schmittou made significant improvements to Greer. One of those was the addition of its signature guitar-shaped scoreboard, which was installed before the 1993 season. At one point, Schmittou considered dropping the Sounds back to Double-A due to the difficulty of bringing Greer up to the specifications of a Triple-A ballpark. Instead, renovations continued over the next several years in an attempt to meet Triple-A standards.


title: Nashville Sounds

text: Greer Stadium was shared between the Sounds and the Southern League's Nashville Xpress, previously known as the Charlotte Knights, during the 1993 and 1994 seasons. This came about when Charlotte acquired a Triple-A expansion franchise in 1993, leaving the existing Double-A team without a home. Schmittou offered Greer as a temporary home ballpark for the team. To accommodate an additional club, the Xpress' home games were scheduled for during the Sounds' road trips.


title: Nashville Sounds

text: The Sounds reached the American Association playoffs in each of their first two years with the White Sox. The 1993 team, led by manager Rick Renick, clinched the Eastern Division title but lost the championship series to the Iowa Cubs. The 1994 Sounds qualified for their second consecutive postseason under Renick. In the first round, Nashville swept the New Orleans Zephyrs in three games to advance to the league finals, but they were defeated by the Indianapolis Indians. The team failed to reach the postseason again during their remaining three years with Chicago. The five-year White Sox affiliation ended after the 1997 season with the Sounds having a 390–342 record with four winning seasons over that period. After 13 years, their American Association record stood at 960–922, and their all-time 20-year record was 1,543–1,382.


title: Nashville Sounds

text: The 1996 season marked the last that Schmittou was the team's president and part majority owner. The city was poised to welcome a National Football League franchise, the Tennessee Titans, and Schmittou felt that revenue would be drawn away from the team. He and another investor sold their controlling financial interests in the Sounds to Chicago-based businessmen Al Gordon, Mike Murtaugh, and Mike Woleben.


title: Nashville Sounds

text: The American Association, of which the Sounds had been members since 1985, disbanded after the 1997 season, and its teams were absorbed by the two remaining Triple-A leagues—the International League and Pacific Coast League (PCL). Nashville joined the PCL, becoming the easternmost team in the circuit. Along with a new league, they began to adopt new colors and logos over the course of the 1998 and 1999 seasons, phasing out the original colors and marks in use since their foundation in 1978. The new primary logo, replacing the original "Slugger", consisted of a black, red, and white eighth note with a baseball at the top set against a circle of the same colors, plus silver, bearing the team name in white around the sides.


title: Nashville Sounds

text: The Sounds entered the Pacific Coast League as the top farm club of the Pittsburgh Pirates, who sought to escape the chilly climate and lengthy travel associated with their previous affiliate in Calgary. The team regularly finished third or fourth in their four-team division, leaving them out of the playoffs. One of their three winning seasons occurred in 2003 when Trent Jewett managed the Sounds to clinch the American Conference Eastern Division title, giving them their first postseason berth in the PCL and first playoff appearance since 1994. Nashville defeated the Albuquerque Isotopes in the conference series but then lost the league finals to the Sacramento River Cats. Earlier in 2003, right-hander John Wasdin pitched the first perfect game in Sounds history on April 7 against Albuquerque at Greer Stadium. The 4–0 Sounds win was the second nine-inning perfect game in the PCL's 101-year history.


title: Nashville Sounds

text: Several franchise records were set during the affiliation with Pittsburgh. Chad Hermansen, a Sound from 1998 to 2002, holds the career records for runs (303), home runs (92), and runs batted in (286). Tike Redman hit a record 32 triples from 2000 to 2003. Closing pitcher Mark Corey set the record for saves (46) during the 2003 and 2004 seasons. Seeking to place their Triple-A club at a newer, more desirable stadium and to escape the high travel costs associated with playing in the PCL, Pittsburgh ended their affiliation with the Sounds after the 2004 campaign. Over seven years as a Pirates affiliate, Nashville had a 493–508 record. Through 27 years of competition, the Sounds' all-time record stood at 2,036–1,890.


title: Nashville Sounds

text: The Sounds became the Triple-A affiliate of the Milwaukee Brewers in 2005. One factor in the Brewers' choice to partner with Nashville was the hope that the Sounds would soon get a new stadium to replace the then-27-year-old Greer. The team also debuted a new oval-shaped logo with a baseball player silhouetted against a yellow background hitting a ball toward the Nashville skyline with the city's name written above within a red border and the team nickname written in red and black script below. The affiliation started well as manager Frank Kremblas led the club to win the American Conference Northern Division title with a 75–69 record. The team went on to win the conference title against the Oklahoma RedHawks, three games to two, before sweeping the Tacoma Rainiers in three games to win the Pacific Coast League championship. This was Nashville's first championship at the Triple-A level since moving to the classification in 1985 and their first since the 1982 Southern League crown.


title: Nashville Sounds

text: From May 5–6, 2006, the Sounds participated in a 24-inning game against the New Orleans Zephyrs, which was played over the course of two days and lasted eight hours and seven minutes. This matched the PCL record for the longest game, in terms of innings played. The Sounds finished the season tied with the Iowa Cubs for first place, but won the division title and advanced to the postseason via tiebreaker by means of having won the regular-season series versus Iowa. Nashville lost to the Round Rock Express in the conference series.


title: Nashville Sounds

text: On June 25, 2007, Manny Parra pitched the club's second perfect game, the third nine-inning perfect game in the PCL's history, against Round Rock. Kremblas led the team to capture the division title for the third year in a row and finish the season with a league-best 89–55 record. Ultimately, they were defeated by New Orleans in the conference series. The Sounds failed to win the division and qualify for the postseason during the next seven years of their Brewers affiliation despite narrow second-place finishes in 2009 and 2014. The 2013 team set the franchise record low win–loss record with a 57–87 campaign.


title: Nashville Sounds

text: The Sounds had planned to leave Greer Stadium in the mid 2000s for a new ballpark to be called First Tennessee Field, but the project was abandoned when a financing agreement could not be reached. After the 2008 season and failing to secure a new facility, Al Gordon's Amerisports Companies sold the team to MFP Baseball, a New York-based group of investors consisting of Masahiro Honzawa, Steve Posner, and Frank Ward. Keeping the team in Nashville was one of the PCL's top criteria for approval of the sale. MFP made significant renovations to Greer while it continued to explore building a new stadium.


title: Nashville Sounds

text: Prior to the 2014 season, the team, Metro Nashville, and the State of Tennessee finalized a plan to build a new downtown ballpark in time for the 2015 season. On August 27, 2014, the Sounds played their final game at Greer Stadium, an 8–5 loss to the Sacramento River Cats. The attendance at the game was a standing-room-only crowd of 11,067, the first sellout since 2010, and the largest crowd since 2007.


title: Nashville Sounds

text: The Sounds severed ties with Milwaukee after the 2014 season citing poor on-field performance from recent Brewers Triple-A teams. Over the 10-year affiliation, the longest in Nashville's history, the Sounds had a 732–721 record. Overall, the Sounds' 37-year record stood at 2,768–2,611.


title: Nashville Sounds

text: Nashville affiliated with the Oakland Athletics in 2015 due in part to the organization's commitment to fielding competitive teams at the Triple-A level, an area in which co-owner Frank Ward felt Milwaukee lacked. The Sounds also introduced a new set of logos that incorporated elements reflecting Nashville's "Music City" moniker, such as guitars, picks, and sound holes, as well as neon signs like those in the city's Broadway entertainment district. The team initially elected to embrace a new color scheme that included Broadway Burnt Orange, Sunburst Tan, Neon Orange, and Cash Black. However, the team returned to the previous red and black palette, with the addition of platinum silver as an accent color, before the season began after receiving mixed feedback from team fans. The new primary logo was a red "N" set against a silver guitar pick, both with black borders.


title: Nashville Sounds

text: The start of the 2015 season marked the first time that the Sounds played at the new $91 million First Horizon Park, then known as First Tennessee Park, which is located at the site of the historic Sulphur Dell ballpark just north of the Tennessee State Capitol in downtown Nashville. In the facility's inaugural game on April 17, the Sounds defeated the Colorado Springs Sky Sox, 3–2 in 10 innings, with a walk-off RBI double in front of an announced paid attendance of 10,459 people.


title: Nashville Sounds

text: In Nashville's second season as an A's affiliate, they reached the postseason for the first time since 2007 with a league-best 83–59 record and the American Conference Southern Division title, but they were unable to advance past the conference series versus the Oklahoma City Dodgers. Joey Wendle hit a franchise career-record 102 doubles from 2015 to 2017. Nashville declined to renew their contract with the Athletics after the 2018 season, choosing instead to seek a new major league affiliate. Over four years with Oakland, they had a 291–279 record. Through 41 seasons, their all-time record stood at 3,059–2,890.


title: Nashville Sounds

text: Nashville became the Triple-A affiliate of the Texas Rangers in 2019. The Sounds sought out the Rangers after identifying them as one of the most popular MLB teams among local baseball fans—behind the Atlanta Braves and St. Louis Cardinals—and for their geographical proximity. Also in 2019, just four years after their previous rebranding, the team debuted new colors and logos which pull together elements from their original visual identity and the musical imagery present throughout their franchise history. The new colors, navy blue, red, and white, are modernized versions of their original 1978 colors. The primary logo is a pair of concentric red rings with the team name in navy between the two divided horizontally at its center by twin red and blue stripes; a navy "N" resembling the F-hole of a guitar or violin is in the inner ring, which is styled like a baseball.


title: Nashville Sounds

text: Veteran sidearm pitcher Tim Dillard, previously with the Sounds from 2007 to 2014, returned to the team in 2019. In his second stretch, he set the franchise career records for games pitched (242) and strikeouts (437) while adding to his existing marks for wins (48) and innings pitched (710). The 2019 season became the Sounds' only year of play as a Rangers affiliate. The start of the 2020 season was initially postponed due to the COVID-19 pandemic before being cancelled altogether.


title: Nashville Sounds

text: Following the 2020 season, Major League Baseball assumed control of Minor League Baseball in a move to increase player salaries, modernize facility standards, and reduce travel. Affiliations were rearranged to situate Triple-A teams closer to their major league parent clubs. The Texas Rangers chose to move their Triple-A affiliation back to Round Rock, Texas, where it had been prior to partnering with Nashville. As a Rangers farm club, the Sounds had a 66–72 record, their lowest record among all affiliations. Nashville held a over 23 years in the Pacific Coast League, while their all-time record stood at 3,125–2,962 after 42 seasons played over the course of 43 years.


title: Nashville Sounds

text: The Sounds became the Triple-A affiliate of the Milwaukee Brewers for a second time in 2021 upon signing a 10-year Professional Development License that runs through 2030. The Brewers desired reuniting with Nashville because of the quality of the player facilities at First Horizon Park and convenient travel options to and from the city. Along with Major League Baseball's restructuring of the minors, the Pacific Coast League disbanded, and the Sounds were placed in the Triple-A East.


title: Nashville Sounds

text: Opening Day for the 2021 season was postponed for nearly a month to temporarily eliminate commercial air travel and give players the opportunity to be vaccinated against COVID-19 before the season started. No playoffs were held to determine a league champion at the end of the season; instead, the team with the best regular-season record was declared the winner. Nashville placed ninth in the league standings. However, 10 games that had been postponed from the start of the season were reinserted into the schedule as a postseason tournament called the Triple-A Final Stretch in which all 30 Triple-A clubs competed for the highest winning percentage. Nashville finished the tournament tied for fourth place with a 7–2 record.


title: Nashville Sounds

text: In 2022, the Triple-A East became known as the International League, the name historically used by the regional circuit prior to the 2021 reorganization. Nashville began play in the renamed league with a 5–4 win against the Durham Bulls at First Horizon Park on April 5. Under manager Rick Sweet, who previously led the team in the last season of their former affiliation with Milwaukee and since their reaffiliation, the 2022 Sounds won the Western Division title with a league-best 91–58 record. In a single playoff game to determine the International League championship, Nashville was shutout, 13–0, by Durham, winners of the Eastern Division. Sweet was chosen for the International League Manager of the Year Award. He also received the Mike Coolbaugh Award in honor of his work ethic, baseball knowledge, and player mentoring. The franchise was recognized with the Minor League Baseball Organization of the Year Award.


title: Nashville Sounds

text: Over both seasons of the current Brewers affiliation, Nashville has a 154–114 record. Through 44 completed seasons of play, the Sounds have an all-time record of 3,286–3,078 encompassing all regular and postseason games over 45 years in Nashville.


title: Nashville Sounds

text: Nashville's chief rivals have been those based in Memphis, Tennessee. Located approximately to the southwest and connected to Nashville by Interstate 40, Memphis has fielded several teams which have competed in the same leagues as Nashville's teams since the late 19th century. The Sounds entered the rivalry when they and the Memphis Chicks joined the Southern League in 1978 as members of its Western Division. For three consecutive seasons, from 1979 to 1981, the teams met in the Western Division finals to vie for a spot in the league championship series.


title: Nashville Sounds

text: The intrastate rivalry was interrupted when Nashville moved to the American Association in 1985, but it was renewed when they and the Memphis Redbirds joined the Pacific Coast League in 1998. The teams have been division rivals ever since. Memphis beat out second-place Nashville by two games to clinch the 2009 division title and did likewise in 2014 by two-and-a-half games. In 2016, Nashville won the division with a win in Memphis. Roles were reversed in 2017 and 2018 as Memphis captured division titles in Nashville. In 2021, both teams were placed in the Southeastern Division of the Triple-A East. This became the International League in 2022, and both clubs were realigned into its Western Division. As of the completion of the 2022 head-to-head series, the Sounds lead the 25-year rivalry against the Redbirds with a record of 207–181 in 388 meetings.


title: Nashville Sounds

text: The Sounds originally played at Herschel Greer Stadium from 1978 through 2014. The ballpark, which was demolished in 2019, was located on the grounds of Fort Negley, an American Civil War fortification approximately south of downtown Nashville. The venue experienced numerous expansions and contractions after its completion in 1978, reaching a capacity of 18,000 spectators at its peak, but seated 10,300 during its final 2014 season. The largest attendance, which also set the Southern League record, occurred on August 18, 1982, when 22,315 people saw the Sounds take on the Columbus Astros, many of them standing in roped-off areas in the outfield. Greer's best-known feature, installed prior to the 1993 season, was a giant guitar-shaped scoreboard behind the left-field wall.


title: Nashville Sounds

text: Following the construction of newer, relatively luxurious minor league ballparks in the late 1980s, Greer Stadium had fallen below the standards set for Triple-A stadiums by professional baseball. At the time, team president Larry Schmittou tried unsuccessfully to convince the city to fund a new ballpark. Throughout the 2000s, the team continued in its attempts to gather approval and financing for a new facility. At one point, First Tennessee Field was planned for construction on the west bank of the Cumberland River in downtown. Disagreements over who would pay for the ballpark repeatedly delayed its opening and eventually resulted in the cancellation of the project altogether. In the meantime, numerous upgrades and repairs were made in order to preserve its functionality until a new stadium could be built. A deal for such a new ballpark was achieved in late 2013. The Sounds played their final game at Greer on August 27, 2014.


title: Nashville Sounds

text: The Sounds' current home ballpark is First Horizon Park, which opened in 2015 and was known as First Tennessee Park through 2019. The facility is located in downtown Nashville at the location of the former Sulphur Dell ballpark. It has a fixed seating capacity of 8,500 people, but can accommodate up to 10,000 with additional group areas and grass berm seating. The ballpark's attendance record was set on July 16, 2022, when 12,409 people watched a game between the Sounds and the Memphis Redbirds. The stadium features wide concourses with direct views of the playing field. Its design, which incorporates the use of musical and baseball imagery, is meant to connect the park with the city's baseball and musical heritage. Examples include the use of directional signage displaying information on Nashville's former teams and players and the grandstand's light stanchions reminiscent of those found at Sulphur Dell.


title: Nashville Sounds

text: One of First Horizon Park's most recognizable features, like Greer Stadium before it, is a guitar-shaped scoreboard beyond the right-center field wall. Unlike Greer's guitar, which was only able to display basic in-game information such as the line score, count, and brief player statistics, the larger, modern version is also capable of displaying colorful graphics, animations, player photographs, videos, the batting order, fielding positions, and expanded statistics. Other distinguishing features at the ballpark include The Band Box, an outdoor restaurant and bar which serves variations on traditional ballpark foods, and The Country Club at The Band Box, a 9-hole miniature golf course which exhibits art from different local and regional artists. Since 2016, the Country Legends Race, similar to major league mascot races, such as the Sausage Race and Presidents Race, has been a part of the between-innings entertainment at the park. In the middle of the fifth inning, people in oversized foam caricature costumes depicting country musicians Johnny Cash, George Jones, Reba McEntire, and Dolly Parton race around the warning track from center-field, through the visiting bullpen, and to the home plate side of the first base dugout.


title: Nashville Sounds

text: The Sounds have utilized three distinct color schemes, five primary logos, and numerous uniforms since beginning play in 1978. Their original red, white, and blue identity reflected Nashville's country music culture, while the switch to red, black, and white in the late 1990s sought to modernize the team. A 2015 rebrand reincorporated elements of the city's musical heritage, which had been largely absent in previous years. The team reworked its identity in 2019, further integrating the city's baseball and musical heritage with the Sounds of the present.


title: Nashville Sounds

text: From 1978 to 1986, the team wore pullover v-neck jerseys made of white fabric, for home games, gray, for road games, and red, blue, and powder blue, for use as alternates. These had red, white, and blue tri-color bands around the neck, with larger bands at the sleeve openings (blue jerseys had one white band and two red bands). "Sounds" was written across the chest in red-on-blue music note-like script (powder blue jerseys had red-on-white script). Numbers were sewn on the back. Some jerseys during this period bore a Slugger patch on the right sleeve. The team had three sets of pants: white, gray, and powder blue, all with small tri-color stripes down the legs and larger stripes around the waistband. Beginning in the mid-1980s, numbers were also located on the front of jerseys below the team name on the player's left in the same colors as the team name. The team cap was blue with a red brim bearing a white "N" styled like a music note bordered by red; this was the official team cap from 1978 through the mid-1990s. These first uniforms were modeled after those worn at the time by the Texas Rangers.


title: Nashville Sounds

text: From 1987 to 1998, the team wore white button-up jerseys, for home games, and gray, for road games. The home jersey design remained largely similar to its predecessor. "Sounds" was still written across the chest in blue and red music note script; though, the font was changed briefly from 1987 to 1988. Numbers remained on the front in blue-on-red block characters. The player's number was present on the back in red and blue. Names were added in blue some years. Road grays had "Nashville" on the chest but lacked tri-color bands at both the neck and sleeves. During this time, the team also added a blue mesh v-neck jersey with the red and white guitar swinger logo on the left chest. Blue belts replaced the pants' wide tri-color stripes. The Sounds continued to wear the original red-billed blue cap with all uniforms until approximately 1993 when a new cap was introduced. This all-blue cap interposed the "N" with the "Slugger" logo. The two caps were worn interchangeably through 1998.


title: Nashville Sounds

text: Over the course of the 1998 and 1999 seasons, the team switched to a red and black color scheme. In the latter, uniforms consisted of black-pinstriped jerseys with black sleeves bearing a new music note logo on the left sleeve. White home jerseys had "Sounds" across the chest in red with a white-on-black border using the same font used by the Anaheim Angels at the time. Road grays read "Nashville" on the chest in the same style. Both had the player's number sewn on the back in block characters of the same colors. An alternate solid red jersey with black and gray trim around the sleeve openings and a music note logo on the left chest was also worn. Another alternate, made of black material, had red and white trim at the sleeve openings and a similar music note logo on the left chest. All four were paired with pinstriped pants. Caps were black with the circular music note logo.


title: Nashville Sounds

text: From 2003 to 2005, the Sounds switched to solid-colored jerseys and pants. The fronts had "Sounds" written across the chest in red script surrounded by black with the player's number on the front below the team name in red-on-black block characters. Red and black piping ran around sleeve openings and along the row of buttons going up and down the front and around the neck. The left sleeve bore the music note logo. Pants had the same piping going down the legs on the outside and were paired with black belts. The road uniform set, though made of gray material and with "Nashville" across the front, was otherwise identical. A sleeveless red alternate jersey with black piping and similar white-on-black markings was worn in this period. They also continued use of the previous generation's black alternate. The official home and road caps worn from 2003 to 2014 were black with a red and white music note logo.


title: Nashville Sounds

text: From 2006 to 2012, the team's jerseys were similar to those of the previous era, but lacked sleeves and the player's number on the front. These vest-like jerseys were worn over black T-shirts of varying sleeve lengths. The player's name was written on the back in black block characters; numbers were also displayed in large red-on-black characters. The matching road jerseys initially bared "Sounds" across the chest, but were later changed to "Nashville"; these usually lacked the player's name on the back. A Milwaukee Brewers logo was added to the front left shoulder in 2007. A red mesh jersey with yellow, white, and black markings was worn from 2006 to 2007. A new red alternate was introduced in 2010. These were similar to the primary home and road mesh jerseys the team would adopt in 2013, but were red with black underarm sections and piping. "Sounds" was displayed across the chest in white-on-black script. A Brewers logo was located on the left, front chest, and the back numbers were white-on-black. All uniforms continued to be topped off with black caps with a red and white music note logo.


title: Nashville Sounds

text: From 2013 to 2014, jerseys were made of mesh material with black sections at the armpits and a single line of black piping going down the sleeves and across the shoulders to the neck. A Brewers logo was sewn on the left sleeve. "Sounds" was written across the chest of home jerseys in the same red/black script used since 2003. The player's name was displayed on the back in black block characters; numbers were also shown in large red-on-black digits. Road jerseys were the same, but with "Nashville" across the chest, red underarm sections and piping, and no name on the back. The team continued to wear the previous red alternate of the same style. All were paired with the black cap bearing the red and white music note logo.


title: Nashville Sounds

text: From 2015 to 2018, home whites had single lines of red piping around the sleeve openings and up the front going around the neck. "Sounds" was displayed on the chest in red letters which resembled the sound holes on a guitar with a silver-on-black border. A swinging guitar logo was located on the left sleeve, while a green Athletics elephant logo was on the right. The player's name was sewn on the back in black block characters with his number displayed below in red sound-hole lettering with a silver border and black drop shadow. White pants with a line of red piping going up the sides were worn with black belts. The home cap was black with the primary "N" guitar pick logo. Gray road uniforms were identical with only a few exceptions: they had "Nashville" on the chest, pants lacked any piping, and the cap bore an "S" guitar pick logo. An alternate black jersey with "Music City" on the front, red piping, no name on the reverse, and "Nashville" embroidered in red letters under the Athletics sleeve logo was also worn. A second set of alternates, introduced in 2016, were sublimation-printed red jerseys with black and white bands at the neck and bands of silver, black, and white around the sleeve openings. A guitar's fret and headstock extended upward from these bands on each sleeve. "Nashville" appeared on the chest in white sound-hole lettering bordered by silver and black. The player's number was located below the city's name and on the back in silver characters with a white border and black drop shadow.


title: Nashville Sounds

text: Since the 2019 season, home jerseys have been white with "NASH" boldly arched across the chest in navy blue with the player's number in red under the name on the left side. The sleeves have thin navy and red bands at the openings with six thin red stripes, reminiscent of guitar strings, running from the openings up the shoulders before terminating near the collar. The left side bears a navy "NASH" pick logo set against the strings. The player's name is displayed on the back in navy with the number below in red. The home pants, worn with navy belts, are white with a pair of navy and red stripes running down the outsides. The home cap is all navy with a red "N" icon, styled like a guitar or violin's F-hole, outlined in white.


title: Nashville Sounds

text: Road grays have lines of red piping around the neck and along the row of buttons going up the chest with a red and white "N" icon on the left side and the player's number on the right in the same colors. Each sleeve has a thin red band at the opening with a secondary logo displaying the Sounds' script wordmark in navy set against a red baseball on the left sleeve. The player's number is displayed on the back in red with a white border. Gray pants, worn with navy belts, have the same navy/red stripes as the home pants. The road cap has a red bill but is otherwise identical to the home cap.


title: Nashville Sounds

text: The navy blue alternate has "Nashville" written across the chest in an F-hole-styled red font with a white outline. Similar to the home whites, these have red and white bands at the openings and the guitar strings on the sleeves and behind the "NASH" pick are white. The player's number is displayed on the back in red with a white border. The alternate cap is navy with a white front panel, red bill, and a red "N" icon outlined in navy.