text:
Judging Dev: A Reassessment of the Life and...
Judging Dev: A Reassessment of the Life and Legacy of Eamon De Valera
by Diarmaid Ferriter
Published by Royal Irish Academy
Irish Book Awards - Irish Book of the Year - Ireland, 2007 - Winner
Eamon de Valera is the most controversial figure in modern Irish history and as this book argues, the most misunderstood. 'Dev' has been characterised as a stern, un-bending, devious and divisive politician, in scholarship and in popular culture. Here, Diarmaid Ferriter investigates the far more complex personal and public identities of the revolutionary fighter, Fianna Fáil party founder, taoiseach (prime minister) and president who reimagined the state both literally, in its first constitution, and figuratively, offering a much mocked vision of Ireland as a pre-industrial, pastoral island. Ferriter presents an in-depth analysis of De Valera using previously unpublished letters, government documents and photographs to chronicle his long and remarkable career. One such letter contradicts the conventional wisdom that de Valera escaped execution in 1916 because of his American citizenship, offering the leader's personal account of events. Engagingly written and tactile to hold, Judging Dev won four prestigious Irish book awards and awakened a national conversation through a parallel RTÉ radio series and RIA exhibition. When an Irish taoiseach launched this book in 2007 it was fittingly said it would be 'equally invaluable in classroom, in college and in the home'.
In 2007 the Royal Irish Academy worked with RTÉ on a new RTÉ Radio 1 radio documentary series called Judging Dev. The series started on 28 October 2007 to coincide with the 125th anniversary of the birth of Eamon de Valera and the 70th anniversary of the Constitution. The aim of the series was to re-examine de Valera's important and somewhat controversial legacy. The series was presented by Diarmaid Ferriter and was devised to accompany the book. You can listen back to the podcasts at the links below (please note: the podcasts are in mp3 format; you will need a player to listen to them):
Episode 1: 28 October 2007
Episode 2: 4 November 2007
Episode 3: 11 November 2007
Episode 6: 2 December 2007
Episode 8: 16 December 2007
Episode 10: 30 December 2007
The Royal Irish Academy, together with RTÉ and in collaboration with the Department of Education and Science's History In-Service Team, facilitated the use of material included in Judging Dev in teaching history to Junior and Leaving Certificate students. A PDF version of the lesson plans is available for free download on the right hand side of this page.
Solve our book cover jigsaw puzzle here.
Diarmaid Ferriter
Diarmaid Ferriter is a Professor of Modern Irish History at the School of History, University College Dublin. His main research interest is the social, political and cultural history of twentieth century Ireland. His book Judging Dev: A Reassessment of the Life and Legacy of Eamon De Valera was published by the Royal Irish Academy in 2007. He also contributed a chapter, ''A figurative scramble for the bones of the patriot dead': Commemorating the Rising, 1922-65', to the publication 1916 in 1966: Commemorating the Easter Rising (2007).
Christmas last postal dates for web orders
This year is like no other and we advise customers to shop early, or 'click and collect' from Academy House.
Educational resources for primary, second and third level students
The Royal Irish Academy has developed teaching material that is of use in the classroom. Designed to be both stimulating to students and integral to the relevant school curriculum, the goal is to motivate and inspire primary, second level and third level students on the island of Ireland.
PublicationsArt and Architecture of IrelandDictionary of Irish BiographyDecade of CentenariesDocuments on Irish Foreign PolicyFoclóir Stairiúil na GaeilgeIrish Historic Towns AtlasModern Ireland in 100 ArtworksEducational Resources
Book cover jigsaw puzzles
A different approach to thinking about the variety of research we've published over the years.
Publications1916 Portraits and LivesJudging ShawDecade of Centenaries
At home in the Revolution: what women said and...
Trinity in war and revolution 1912-1923
1916 Portraits and Lives
Judging W.T. Cosgrave
Towards Commemoration: Ireland in war and...
Our War: Ireland and the Great War
Judging Lemass
1916 in 1966: Commemorating the Easter Rising

redpajama_set_name: RedPajamaCommonCrawl


text:
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    IF (WIN32)
      MESSAGE("************ FindOpenCASCADE.cmake has not been tried on windows and may or may not work! *************")
      set( _incsearchpath $ENV{CASROOT}\\inc C:\\OpenCASCADE6.3.0\\ros\\inc )
      set( _testlibname TKernel.dll )
      set( _libsearchpath $ENV{CASROOT}\\win32\\bin C:\\OpenCASCADE6.3.0\\ros\\win32\\bin )
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  ENDIF (UNIX)
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    SET( OpenCASCADE_FOUND FALSE CACHE BOOL FORCE )
    MESSAGE( FATAL_ERROR "Cannot find OCC include dir. Install opencascade or set CASROOT or create a symlink /opt/occ/inc pointing to the correct directory." )
  ENDIF( OpenCASCADE_INCLUDE_DIR STREQUAL OpenCASCADE_INCLUDE_DIR-NOTFOUND )

  # Find one lib and save its directory to OpenCASCADE_LINK_DIRECTORY. Because
  #  OCC has so many libs, there is increased risk of a name collision.
  #  Requiring that all libs be in the same directory reduces the risk.

  FIND_PATH( OpenCASCADE_LINK_DIRECTORY ${_testlibname} PATH ${_libsearchpath} DOC "Path to OCC libs" )
  IF( OpenCASCADE_LINK_DIRECTORY STREQUAL OpenCASCADE_LINK_DIRECTORY-NOTFOUND )
    SET( OpenCASCADE_FOUND FALSE CACHE BOOL FORCE )
    MESSAGE( FATAL_ERROR "Cannot find OCC lib dir. Install opencascade or set CASROOT or create a symlink /opt/occ/lib pointing to the dir where the OCC libs are." )
  ELSE( OpenCASCADE_LINK_DIRECTORY STREQUAL ${_testlibname}-NOTFOUND )
    SET( OpenCASCADE_FOUND TRUE CACHE BOOL "Has OCC been found?" FORCE )
    SET( _firsttime TRUE ) #so that messages are only printed once
    MESSAGE( STATUS "Found OCC include dir: ${OpenCASCADE_INCLUDE_DIR}" )
    MESSAGE( STATUS "Found OCC lib dir: ${OpenCASCADE_LINK_DIRECTORY}" )
  ENDIF( OpenCASCADE_LINK_DIRECTORY STREQUAL OpenCASCADE_LINK_DIRECTORY-NOTFOUND )
ELSE( NOT OpenCASCADE_FOUND STREQUAL TRUE )
  SET( _firsttime FALSE ) #so that messages are only printed once
ENDIF( NOT OpenCASCADE_FOUND STREQUAL TRUE )

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    FOREACH( _libname ${OpenCASCADE_FIND_COMPONENTS} )
      #look for libs in OpenCASCADE_LINK_DIRECTORY
      FIND_LIBRARY( ${_libname}_OCCLIB ${_libname} ${OpenCASCADE_LINK_DIRECTORY} NO_DEFAULT_PATH)
      SET( _foundlib ${${_libname}_OCCLIB} )
      IF( _foundlib STREQUAL ${_libname}_OCCLIB-NOTFOUND )
        MESSAGE( FATAL_ERROR "Cannot find ${_libname}. Is it spelled correctly? Correct capitalization? Do you have another package with similarly-named libraries, installed at ${OpenCASCADE_LINK_DIRECTORY}? (That is where this script thinks the OCC libs are.)" )
      ENDIF( _foundlib STREQUAL ${_libname}_OCCLIB-NOTFOUND )
      SET( OpenCASCADE_LIBRARIES ${OpenCASCADE_LIBRARIES} ${_foundlib} )
    ENDFOREACH( _libname ${OpenCASCADE_FIND_COMPONENTS} )

    IF (UNIX)
      ADD_DEFINITIONS( -DLIN -DLININTEL )
    ENDIF (UNIX)

    # 32 bit or 64 bit?
    IF( CMAKE_SIZEOF_VOID_P EQUAL 4 )
      IF( _firsttime STREQUAL TRUE )
        MESSAGE( STATUS "This is a 32-bit system." )
      ENDIF( _firsttime STREQUAL TRUE )
    ELSE( CMAKE_SIZEOF_VOID_P EQUAL 4 )
      IF( _firsttime STREQUAL TRUE )
        MESSAGE( STATUS "This is a 64-bit system. Adding appropriate compiler flags for OCC." )
      ENDIF( _firsttime STREQUAL TRUE )
      ADD_DEFINITIONS( -D_OCC64 )
      IF (UNIX)
        ADD_DEFINITIONS( -m64 )
      ENDIF (UNIX)
    ENDIF( CMAKE_SIZEOF_VOID_P EQUAL 4 )

    ADD_DEFINITIONS( -DHAVE_CONFIG_H -DHAVE_IOSTREAM -DHAVE_FSTREAM -DHAVE_LIMITS_H -DHAVE_IOMANIP )
  ELSE( DEFINED OpenCASCADE_FIND_COMPONENTS )
    MESSAGE( AUTHOR_WARNING "Developer must specify required libraries to link against in the cmake file, i.e. find_package( OpenCASCADE REQUIRED COMPONENTS TKernel TKBRep) . Otherwise no libs will be added - linking against ALL OCC libraries is slow!")
  ENDIF( DEFINED OpenCASCADE_FIND_COMPONENTS )
ENDIF( OpenCASCADE_FOUND STREQUAL TRUE )

redpajama_set_name: RedPajamaGithub


text:
My Life as a Blue-Haired 'Commie Bitch' in Portland
Hair dye and perceived loose morals have gone together since the ancient world. Photograph: Feifei Cui-Paoluzzo/Getty Images
Emma Grey Ellis
I dyed my hair mid-lockdown because it looked fun and I was bored. But to the online far right, I became a social media stereotype.
I became somebody's metaphor on my way home last week. I was walking along a busy road in southeast Portland, Oregon, when a pickup truck pulled alongside me. It had a flagpole mounted to either side of the bed, flying Trump 2020 on one side and the Thin Blue Line flag on the other. The driver—a florid-faced white man in a ball cap and dad sunglasses—leaned out the window as the truck coughed by. "Nice ass, commie bitch!" he called. I didn't have time to do much more than flip him off and hope he caught it in his rearview.
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Street harassment always sets my mind buffering. I do the thing that feminism and good sense tell me not to: scrutinize myself for signs of provocativeness. I tried to deduce which criminal slice of my outfit (jeans and a gray turtleneck) or body (white, female, age 28) had betrayed me to his attention while the real culprit drove away and never thought about me again. I came back with nothing: no hammers, no sickles, no dog-eared Marxist text peaking over the edge of my bag. What could have possibly offended this big red man in his big red truck into such a politically charged display of casual creepitude? Then I remembered. I was a woman in Portland wearing a mask in public, and my hair is blue now. And despite what you've seen online, the experience of living in Portland in 2020 can actually be pretty purple.
Like a lot of other people, I dyed my hair for the first time ever mid-lockdown because it seemed fun and I was bored. Blue struck me as particularly low stakes—neutrals look good on everyone, and even if it somehow clashed with my skin tone, I'd be seen by next to nobody. My friends liked it. So did my postwoman. But I live in a part of Portland where itty bitty houses start to give way to used car lots, and pro-Trump, anti-Black Lives Matter paraphernalia have become a steadily more common sight as the election draws closer and President Trump continues to denounce the city as a hotbed of definitionally impossible antifa terrorism and nonexistent anarchist looting. Before Mr. Red Scare hollered at me, I had noticed people noticing my hair, and that their facial expressions seemed more complicated than "I think that looks ugly." So I Googled, and realized that I'd miscalculated.
I'd somehow missed that the blue-haired social justice warrior had entered the online far-right's pantheon of leftist caricatures. I probably should have known. People have been discussing the politics of blue-haired women specifically in the Reddit manosphere since at least 2015, but most satirical renditions of overwrought SJWs used to have fire engine red hair. That's probably because of Chanty Binx, a carmine-haired Canadian woman who went viral in 2011 after being caught on video confronting a group of men's rights activists. By 2016, the so-called alt-right were sharing pudgy, pussy-hatted, pink-haired SJWs drawn by cartoonists like Ben Garrison, supposedly inspired by images taken at protests like the 2017 Women's March. On the post-TikTok internet though, blue-haired girls (and women who dye their hair anything other than blonde more generally) are drawing snide misogynistic commentary and are assumed to lean hard to the left.
Hair dye and perceived loose morals have gone together since the ancient world. In the Roman Empire, sex workers were required to dye their hair blonde to signify their profession. Though the association is fading now, blonde hair retained the implication of heightened sexuality for a long time—just take a look at Old Hollywood and the kinds of fun that blondes were supposedly having more of. As dyed blonde hair has become a conventional or even slightly conservative style choice (see: nearly every female Fox News host), vibrantly colored hair has inherited its stereotypes of laxity and wildness and general leftism.
Don't miss the latest Election 2020 news and analysis.
To be fair, it's probably true that women who dye their hair unconventional colors might be more inclined to make other unorthodox choices, including political ones. Dyed hair is maybe most associated with alternative and punk communities that do tend to embrace progressive political ideals, which rightwing media often dismiss as communism or socialism. Blue hair seems to be especially common among progressive teenage girls on TikTok, which isn't entirely surprising given that highly TikTokable progressive pop stars including Billie Eilish and Ashnikko have both worn the look. It's not uncommon to see comments like "have fun with the blue hair girls" on the videos of outspokenly feminist men or "Trump 2020" on a blue-haired TikTokker's videos apropos of nothing.
By the time I arrived at home, this was my conclusion: Nothing is the way you'd think it would be. America has become a place where a zany quarantine makeover can be taken as a declaration of communism. Portland, the city that the internet, rightwing media outlets, and the president think is the most radically left in the country has also become the place where I personally have encountered the most outspoken rightwing extremism offline. Of course, politically speaking, Portland itself is generally left of center, but it can feel like a stubborn blueberry in a pot of strawberry jam, and it's getting pretty mushy around the edges.
Oregon governor Kate Brown has declared that from 5 pm yesterday to 5 pm Wednesday, the Portland area is in a state of emergency. The National Guard is ready for deployment. Not because she's worried that some fictional antifa terrorist group will burn down a Starbucks in a vague strike against the white supremacist capitalist patriarchy on election night, but because the greater Portland metro area is where people on both political poles live alongside each other, chafing. It's the frontlines of the culture war. And, as a rude man in a pickup truck explained to me, you don't even get to pick a side. Social media stereotypes have already done that for you.
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Emma Grey Ellis is a staff writer at WIRED, specializing in internet culture and propaganda, as well as writing about planetary science and other things space-related. She graduated from Colgate University with a degree in English, and she resides in San Francisco.
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Members of networking groups and their target market (potential members, subscribers) will have something in common, like an industry or sector, and will usually either work in it or serve it as a supplier. This means that anything pertaining to that common topic will be relevant. Relevant is good, but you will also want to be useful and interesting. Here are some content ideas for business networking groups – most are adaptable to other such organizations.


text:
The Great Gatsby: Music from Baz Luhrmann's Film
The Great Gatsby: Music from Baz Luhrmann's Film (also known as Music from Baz Luhrmann's Film The Great Gatsby) is the soundtrack album to the 2013 film The Great Gatsby, an adaptation of F. Scott Fitzgerald's 1925 novel of the same name. Interscope Records released it on May 6, 2013. The album was produced by Baz Luhrmann and Anton Monsted, with Jay-Z serving as the album's executive producer. The soundtrack comprises fourteen songs, including new material and cover versions performed by various artists. It contains a mixture of genre, including hip hop, jazz, and alternative music. Luhrmann specifically selected these styles of music to better immerse the audience into the story of The Great Gatsby.
Soundtrack album by
May 6, 2013 (2013-05-06)
Jazz[1]
alternative rock[2]
Jay-Z (executive)
Anton Monsted
Singles from The Great Gatsby: Music from Baz Luhrmann's Film
"Young and Beautiful"
"A Little Party Never Killed Nobody (All We Got)"
"Bang Bang"
The album received a mixed response, with the selection of songs and singers dividing critics. It peaked at number one on the U.S. Billboard 200 chart and appeared on several national record charts. The album has received three gold certifications from the Australian Recording Industry Association, the Polish Society of the Phonographic Industry, and the Recording Industry Association of America. The album spawned three singles: "Young and Beautiful", "A Little Party Never Killed Nobody (All We Got)", and "Bang Bang".
3 Music and lyrics
5 Release and promotion
6 Commercial performance
7 Critical reception
10 Charts
10.1 Weekly charts
10.2 End-of-year charts
Jay-Z served as an executive producer for both the album and the film.[3][4] The album's artwork features a small circular icon with "JZ" inside it, directly below the album's title. He worked with film director Baz Luhrmann for two years to transform the Jazz Age theme of F. Scott Fitzgerald's novel into the musical equivalents of blended hip-hop, traditional jazz and other contemporary genres.[1] On his approach to the project, Luhrmann said: "The question for me in approaching Gatsby was how to elicit from our audience the same level of excitement and pop cultural immediacy toward the world that Fitzgerald did for his audience? And in our age, the energy of jazz is caught in the energy of hip-hop."[5] Luhrmann also stated that Jeymes Samuel was one of the individuals he worked with on the soundtrack. He served as the film's executive music consultant. He further described his collaborations with the producers of the album during an interview with MTV saying, "[Jeymes is] a really great friend of [Jay's] and just a unique human being. He defines energy; he defines spirit and he's a pop cultural genius. And I worked with Anton Monsted ... a great little team."[6] The duo also worked with composer Craig Armstrong, who scored Luhrmann's films Romeo + Juliet (1996) and Moulin Rouge! (2001),[4] and executive music supervisor Anton Monsted.[7]
ProductionEdit
The soundtrack contains both new music and cover versions. Fergie, Lana Del Rey, Florence and the Machine, Jay-Z,[8] The xx, and will.i.am contributed original songs.[4][5] Covers include Amy Winehouse's "Back to Black" by Beyoncé and André 3000,[9] Roxy Music's "Love Is the Drug" by Bryan Ferry with The Bryan Ferry Orchestra, Beyoncé's "Crazy in Love" by Emeli Sandé and The Bryan Ferry Orchestra, and U2's "Love Is Blindness" by Jack White. Del Rey said of her experience contributing to the project: "It was an honor to work with Baz Luhrmann on his amazing adaptation of one of the most extraordinary books ever written. The movie is highly glamorous and exciting; Rick Nowels and I were thrilled to write the song for the film."[10]
On April 2, 2013, Amy Winehouse's father used his Twitter profile to claim that Beyoncé had not informed him of her plans to cover "Back to Black" and that he wanted income from the song to go to his Amy Winehouse Foundation. He wrote, "I don't know this but what if Beyoncé gave £100,000 to foundation. Do you know how many kids that would help? Just putting it out there."[11] He later added, "Let me repeat. This is the first I have heard of Beyoncé doing Amy's song."[12] Kia Makarechi of The Huffington Post noted that Beyoncé did not use the song on a personal record so it was "slightly curious" for Winehouse to ask her for a donation.[12] Winehouse later used his Twitter account to write: "I like Beyoncé's cover and have no probs."[13] However, upon hearing the full-length track, he wrote on his Twitter profile, "I just heard the Andre part of Back to Black. Terrible. He should have let Beyoncé do it all."[14]
Music and lyricsEdit
While we acknowledge, as Fitzgerald phrased it, 'the Jazz Age,' and this is the period represented on screen, we — our audience — are living in 'the Hip-Hop Age' and want our viewers to feel the impact of modern-day music the way Fitzgerald did for the readers of his novel at the time of its publication.
Baz Luhrmann on the music's theme[15]
The Daily Telegraph described the film's music as a "decidedly modern mix of 21st century rap, rock and pop".[3] Jody Rosen of Rolling Stone commented that the album's songs have "a consistent mood of noirish, doomed romance".[16] Several songs feature influences from electronic music which was also present on the soundtrack for Luhrmann's Romeo + Juliet.[17] Other musical elements featured on the album include electronica, hip-hop, and rock music with jazz-age sounds.[18] Kathy McCabe of Australia's The Daily Telegraph noted the inclusion of "orchestral flourishes" in most of the songs.[19] Instrumentally, horn-driven sounds with loping bass beats and house music synths are used in the songs.[20]
The songs' themes include partying, murder, and heartache help to drive "the story's point home – illusionary love, the excess of the leisure classes, [and] the curse of money" as noted by Cristina Jaleru of The Associated Press.[18] Entertainment Weekly's Adam Carlson concluded that the soundtrack's songs reflected that it is set nearly a century in the past. He noted that it contains "all honking brass and a preference for tempos that slide up the scale like liquor, getting hot just as they hit the chorus".[21] Logan Smithson of the webzine PopMatters commented that an important function of a soundtrack is, "[...] to maintain a cohesive sound: a general theme to piece the tracks together and make it sound like a single piece of work rather than a collection of songs." He felt that the soundtrack accomplished this feat although the artists come from a mixture of genres and backgrounds.[22] He further noted, "The Great Gatsby Soundtrack does its job of capturing the sound of the Roaring '20s. A fusion of horns brings the era to life with a modern twist. Jazzy melodies are captured by the Bryan Ferry Orchestra. Some songs certainly have a neo-soul vibe going, reminiscent of the late Amy Winehouse."[22]
SongsEdit
The opening song, "100$ Bill" by Jay-Z contains a chopped and screwed beat and electro-rap elements, and is written from the perspective of a modern-day Gatsby.[17][23][24] It begins with a speech by Leonardo DiCaprio, while throughout the song Jay-Z is backed by samples of a children's choir and a '20s jazz horn.[20][25] In the song, he raps about being remembered, the pitfalls of wealth, as well as comparing rich people from the 1920s and the 21st century.[16][26] "Back to Black", written by Mark Ronson and Amy Winehouse, originally appeared on her 2006 album of the same name.[27] It was the last song added to the album after Jay-Z's suggestion to Luhrmann that it be included to add a darker moment on the album. It is a slower version than the original with chopped-and-screwed elements, a dark and haunting sound, using guitar, moody synth and electro bleeps to provide the instrumentation.[6][25][28] "Bang Bang" performed by will.i.am contains a sample of the jazz composition Charleston (1923) and features Louis Armstrong-inspired vocals along with hi-NRG, EDM, electropop and.[17][19][25] hip-hop elements, and 1920s-style dance music as well as the use of a ukulele.[16][20] "A Little Party Never Killed Nobody (All We Got)" is a swing, hip-hop, and dubstep song which references the novel's viewing parties held by Gatsby.[21][29][30]
"Young and Beautiful" was written by Del Rey and Rick Nowels. Musically, it is a lush ballad which contains Del Rey's sweeping vocals accompanied by dreamy strings and canned percussion.[31] Lyrically, the song is written from the perspective of Daisy Buchanan, Gatsby's lover,[32] and it talks about being young forever, going to parties, nostalgia, and vulnerability as shown in the lyrics "Will you still love me when I'm no longer young and beautiful?".[33][34] "Love Is the Drug" originally appeared on Roxy Music's 1975 album Siren; the song was written by band members Ferry and Andy Mackay.[35] It contains jazz elements, trumpet wails, and skittering drums as well as honky-tonk, bass sax, sleazy strings, and vocal "oohs".[24][25][30] "Over the Love" performed by Florence and the Machine is written from the perspective of Daisy Buchanan. It contains references to the yellow dress she wears and the green light that hovers outside her home on the dock in East Egg; both were inspired by the novel.[36] Instrumentally, it uses a light piano and Welch's "trademark heart-wrenching wail".[37][38] "Where the Wind Blows" contains soul vocals performed by Coco O and contains an old-time piano sampling with a whirring drum 'n bass circular beat and jazzy keys.[19][30] R. Kurt Osenlund of Slant Magazine commented that the song has the "instrumentals of a Cole Porter classic, but vocals akin to those of Jennifer Hudson".[39] Jim Farber of New York's Daily News noted that she sings with the doll-like vocals of Betty Boop.[20][39]
"Crazy in Love", credited to Beyoncé, Shawn Carter (Jay-Z), Rich Harrison, and Eugene Record, originally appeared on her 2003 album Dangerously in Love.[5][40] It was chosen for inclusion on the album as it reminded the Luhrmann of a character from the novel and it was a blend of modern and traditional music complete with a jazz band and Sandé's vocals.[6] The version included on the album is a swing and soul mash-up.[41][42] The song "Together" by The xx contains skeletal electro-pop elements and a slow atmosphere,[43][44] as well as a dark and insistent backing, metronomic beat, and breathy, deep vocals which climax with an orchestral swell.[19] Thomas Corner of the Chicago Sun-Times, notes that "[it] evokes the narrative's palpable desperation in its hushed tone and nagging heart-monitor beat."[45] "Hearts a Mess" first appeared on Gotye's second studio album, Like Drawing Blood (2006).[46] It is a "neo-lounge ballad" "with the same clunking, treated backbone used in Gotye's song "Somebody That I Used to Know".[16][25][38] Lucy Jones of NME notes it is instrumentally complete with "strings, martial beats," horns and Wouter "Wally" De Backer's vocals".[25][38] According to Philip Cosores of Paste magazine, three of Gotye's vocal styles are featured in the song, "the hushed and earnest songwriter, the Sting-esque frontman with remarkable range to handle the chorus, and then the human and battered character of the song's latter moments".[38]
"Love Is Blindness" was originally written by Bono with music by U2 and appeared on the band's 1991 album Achtung Baby.[5][47] The rock-hip-hop version on this album contains drum beats, "piercing yelps...and a gut-poking bass line".[20][25] "Into the Past" is a slow-tempo song performed by Nero and contains dubstep elements and strings.[48] "Kill and Run", which contains electronica elements and is performed by Sia[42] was compared with Adele's songs, most notably with "Skyfall" because of its lush and languid sound, backed by strings, and because "[it] slowly builds to a crescendo that hits all the right emotional notes without becoming overwrought".[28][45] "No Church in the Wild", which was originally included on Watch the Throne (2011),[49] appears on the deluxe edition of the album.[50] It features vocals by Kanye West and includes techno-rap elements.[18]
Release and promotionEdit
On April 4, 2013, Interscope and Warner Brothers announced the album's track listing.[7] The same day, a new trailer for the film featured previews of three songs from the soundtrack: "Back to Black", "Over the Love", and "Young and Beautiful".[1][15] One MTV contributor wrote that the trailer spotlights the relationship between two of the film's characters, "but it's really only here to show off the movie's soundtrack".[51] A six-minute sampler of the soundtrack, which contained snippets of the songs, excluding "Back to Black" and "100$ Bill", was released on April 16, 2013, on YouTube.[41][43][52] The whole album was made available for streaming through NPR on May 2, 2013.[21][53] It was released through Interscope Records on May 6, 2013.[54]
Knowles' and André 3000's cover of "Back to Black" was premiered by Mark Ronson on his East Village Radio show on April 26, 2013.[55] Sia's "Kill and Run" also appeared online a few days later.[28] Emeli Sandé's cover of "Crazy in Love" was premiered online on April 30, 2013, through SoundCloud.[56] On May 2, 2013, will.i.am performed his song "Bang Bang" on the twelfth season of American Idol to promote the film, while the final four contestants covered Sandé's version of "Crazy in Love".[57][58]
Pre-orders for digital distribution of the album began on April 23.[5] Digital and physical copies of the 14-track album were available beginning May 7 at various retailers, including Starbucks in the United States and Canada; a 17-track deluxe edition was available exclusively at Target stores and available digitally through iTunes.[1] Third Man Records released the vinyl deluxe edition of the soundtrack as well as 7" single releases of several songs.[59] The double LP deluxe version of the album is on "metalized" vinyl where t first disc is platinum, the second is golden; they are packaged in laser-cut birch record jackets "riveted to aluminum spines".[60] The materials were chosen to "showcase the Art Deco-meets-modern style, classic meets cutting edge, which is the essence of The Great Gatsby film".[60] Pre-sale of the album began on May 10 through the label's website, and 100 copies were released at Third Man's Nashville shop the same day.[60] The song premiered on SoundCloud on April 22, 2013.[61]
On April 23, 2013, "Young and Beautiful" by Lana Del Rey was released and served as the lead single for the soundtrack.[4] The single received positive reviews from critics. The single received a Platinum certificate from the Recording Industry Association of America for selling more than one million units in the United States.[62] The single received another Platinum certificate from Music Canada for selling more than 80,000 units in the country.[63] The single received a 4x Platinum certificate from the Australian Recording Industry Association for selling more than 280,000 units in Australia.[64] The single received a 2x Platinum certificate from the Federation of the Italian Music Industry for selling more than 60,000 units in Italy.[65] On May 6, 2013, "A Little Party Never Killed Nobody (All We Got)" by Fergie, Q-Tip and GoonRock was released and is the second single to be released from the soundtrack. The single served at number 77 on the Billboard Hot 100, and number 12 on the Hot Dance/Electronic Songs chart from Billboard.[66][67] The single received its only number one spot on the Ultratip Wallonia chart in Belgium.[68] The single received a Gold certificate from the Recording Industry Association of America for selling more than 500,000 units in the United States.[69] The Swedish Recording Industry Association also gave the album a Platinum certificate for selling more than 40,000 units in Sweden.[70] The final single to be released was "Bang Bang" by will.i.am, which was also sold independently on his third studio album #willpower. The single peaked at number twenty one on the Hot Dance/Electronic Songs from Billboard.[71] It served at number one on the United Kingdom Singles Chart. It received a Platinum certificate from the British Phonographic Industry for selling more than 600,000 units in the United Kingdom.[72]
Commercial performanceEdit
Although it was predicted by Billboard that the album would debut at number two on the Billboard 200 chart with first week sales of over 100,000 copies,[73] it sold 137,000 copies in its first week.[74] 119,000 of these were digital downloads, the largest digital sales week for a soundtrack, and the album debuted at number one on the Digital Albums chart.[74] It became the second best-selling soundtrack album of 2013 in the United States, with 538,000 copies sold for the year.[75] In the weekly charts, the soundtrack was ranked number one on three rank categories from Billboard, including alternative, rock and soundtrack.[76][77][78] The soundtrack also served number one in Russia for album sales.[79] A year after the soundtrack was released, it was peaked at twenty seven on the Australia album charts, and twenty four on the Billboard 200 chart.[80][81]
The soundtrack has received three certifications from different countries. In Australia, the Australian Recording Industry Association gave the album a Gold certificate for selling more than 35,000 copies in the country.[82] In Poland, the Polish Society of the Phonographic Industry gave the album a Gold certificate for selling more than 10,000 copies in the country.[83] In the United States, the Recording Industry Association of America gave the album a Gold certificate for selling more than 500,000 copies in the country.[84]
Critical receptionEdit
American Songwriter 3.5/5[86]
Paste Positive [38]
Pitchfork Media 4.0/10[87]
PopMatters 6/10[22]
The soundtrack received a generally favorable reception. Prior to the album's release, The Philadelphia Inquirer complimented Jay-Z for assembling a talented and diverse musical roster.[89] R. Kurt Osenlud of Slant Magazine wrote that the album was "easily the most anticipated album of its kind in years" and described its sound as an "extraordinary melding of vintage and contemporary sounds". Osenlud also commented that the soundtrack was a "literate answer to the mash-up, another hip and highbrow upgrade in both sights and sounds" for the composer Craig Armstrong.[39]
At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album received an average score of 68, based on seven reviews which indicates "generally favorable reviews".[85] AllMusic's David Jeffries gave the album a 4 out of 5 star rating. He praised the album, writing in his review, "Buying into Luhrmann's vision is always the issue, but here, the music is crafted enough, inspired enough, and deep enough that it's worth diving into without reservations. Luckily, you can wring all that disappointment and despair out of your fine, stylish suit after surfacing."[54] Kelly Dearmore of American Songwriter gave the soundtrack a 3.5 out of 5 score, writing that the songs from the soundtrack create a resemblance of the movie's plot, adding "[...] it mirrors many aesthetic elements of the film, augments the general storyline and adds depth and personality to the characters and dialogue on the screen".[86] Philip Cosores of Paste magazine noted that the album's songs were not related to hip-hop describing the music as "middling, neither offensive nor revolutionary, with memorable moments and forgettable ones".[38] PopMatters' Logan Smithson gave the album a 6 out of 10 score, writing that the soundtrack avoids sticking to only one genre, stating that the different styles on the soundtrack were made in sacrifice.[22]
While the album did receive positive reviews, there were also mixed ones. Elysa Gardner of USA Today gave the album a 3.5 out of 4 star rating, noting that the better songs on the soundtrack are the ones that do not mention the events in the film.[42] Jim Farber of Daily News questioned why the album did not include blues, a sound as key to the '20s as jazz. He added, "[Y]ou could accuse the modern artists of indulging in a bit of dress-up for these tracks. Even so, they hit the desired party tone, one that, even 90 years later, still has sass."[20] Paula Mejia of Consequence of Sound gave the album a 3 out of 5 star rating, saying in her review that the soundtrack is like a sampler album that people from the Grammys give out to people like her who are not notable enough to attend, concluding that she is not completely satisfied with the album's content.[30] Laura Snapes of Pitchfork Media gave the album a 4 out of 10 score, stating that the album's songs do not fit the theme of the movie except for "Together" and "Hearts a Mess".[90] Thomas Corner of The Chicago Sun-Times described the album as an "anachronistic hootenanny", adding, "With nods to the roaring '20s without attempts at replicating them, most performances are restrained and pull at the various taut threads of Gatsby's unraveling."[45] Eric Henderson of Slant Magazine gave a mixed review writing that "The Great Gatsby speaks on Duke and Ella's behalf when it says, 'It don't mean a thing.' Period".[88]
Drew McWeeny of HitFix gave the album a negative review saying that it was "probably the weakest for any of the Luhrmann films", describing it as "a non-stop wallpaper" of guest appearances by people who are famous in the present and "none of it sticks".[91] Katie Hasty of the same publication also gave a negative review of the album, describing it as a "vehicular manslaughter" which combines different music elements "in ways that demean all genres".[92] She also commented that the struggle of now-ness "is pertinent to one of the soundtrack's few achievements" and concluded "the elegance of suggestion from its better songs is disrupted by its obnoxious neighbors".[92] Bloomberg L.P.'s Mark Beech gave the album a similarly negative review, heavily criticizing the production by Jay-Z and referring to the album as "a commercial shotgun marriage that threatens to go awry, damaging the credibility of both the movie and the brands". He did praise the track "Young and Beautiful" and said, "If it were all this good, 'Music From Baz Luhrmann's Film: 'The Great Gatsby' would be 4-stars. In the event, it's barely 1-star."[93]
Track listingEdit
"$100 Bill" (performed by Jay Z) Shawn "Jay Z" Carter, Evan Mast E*vax 3:20
"Back to Black" (performed by Beyoncé x André 3000) Amy Winehouse, Mark Ronson Hollywood Holt 3:21
"Bang Bang" (performed by will.i.am; additional vocals by Shelby Spalione) will.i.am, James P. Johnson, Cecil Mack, Sonny Bono will.i.am 4:39
"A Little Party Never Killed Nobody (All We Got)" (performed by Fergie, Q-Tip and GoonRock) Stacy Ferguson, David Listenbee, Kamaal Fareed, Andrea Martin, Jordan Orvash, Maureen Ann McDonald, Francesca Richard, Andre Smith, Alexander Scott GoonRock, Orvash (co.), Richard (vocal) 4:01
"Young and Beautiful" (performed by Lana Del Rey) Lana Del Rey, Rick Nowels Nowels, Al Shux (add.) 3:56
"Love Is the Drug" (performed by Bryan Ferry with The Bryan Ferry Orchestra) Ferry, Andrew MacKay Ferry, Rhett Davies 2:41
"Over the Love" (performed by Florence + the Machine) Florence Welch, SBTRKT, Stuart Hammond, Kid Harpoon Emile Haynie, Kid Harpoon, Baz Luhrmann 4:21
"Where the Wind Blows" (performed by Coco O.) Martin, Dan Dougherty, Phil Ponce Martin 3:50
"Crazy in Love" (performed by Emeli Sandé with The Bryan Ferry Orchestra) Beyoncé Knowles, Shawn Carter, Eugene Record, Rich Harrison Jon Brion 3:08
"Together" (performed by The xx) Jamie Smith, Oliver Sim, Romy Madley Croft Smith 5:25
"Hearts a Mess" (performed by Gotye) Walter De Backer, Irving Burgie, William Attaway Gotye 6:04
"Love Is Blindness" (performed by Jack White) Paul Hewson, David Evans, Adam Clayton, Larry Mullen Jr. White 3:18
"Into the Past" (performed by Nero) Joseph Ray, Daniel Stephens, Alana Watson, Craig Armstrong Stephens, Ray 5:17
"Kill and Run" (performed by Sia) Sia Furler, Chris Braide Braide, Oliver Kraus 3:35
Deluxe edition[50]
"$100 Bill" Jay-Z 3:20
"Back to Black" Beyoncé x André 3000 3:21
"Young and Beautiful" Lana Del Rey 3:56
"Love Is Blindness" Jack White 3:18
"Crazy in Love" (Kid Koala Version) Emeli Sandé with The Bryan Ferry Orchestra 3:08
"Bang Bang" will.i.am
additional vocals by Nicole Scherzinger 4:39
"I Like Large Parties" (Dialogue) Elizabeth Debicki 0:09
"A Little Party Never Killed Nobody (All We Got)" Fergie, Q-Tip and GoonRock 4:01
"Love Is the Drug" Bryan Ferry with The Bryan Ferry Orchestra 2:41
"Can't Repeat the Past?" (Dialogue) Leonardo DiCaprio, Tobey Maguire 0:08
"Hearts a Mess" Gotye 6:04
"Where the Wind Blows" Coco O. of Quadron 3:50
"Green Light" 0:07
"No Church in the Wild" Shawn Carter, Kanye West, Christopher Breaux, Charles Njapa, Michael Dean, Terius Nash, Gary Wright, Phil Manzanera, James Brown, Joseph Roach Jay-Z, Kanye West
featuring Frank Ocean, The-Dream 4:32
"Over the Love" Florence + The Machine 4:21
"Together" The xx 5:25
"Into the Past" Nero 5:17
"Kill and Run" Sia 3:35
"Over the Love (Of You)" Florence + The Machine, SBTRKT 2:59
"Young and Beautiful" (DH Orchestral Version) Lana Del Rey 3:51
"Gatsby Believed in the Green Light" (Dialogue) Tobey Maguire, Craig Armstrong 3:52
PersonnelEdit
Credits for Music from Baz Luhrmann's Film The Great Gatsby adapted from Allmusic.[94]
André 3000 – primary artist
Beyoncé – primary artist
The Bryan Ferry Orchestra – primary artist
Lana Del Rey – primary artist
Fergie – primary artist
Bryan Ferry – primary artist
Florence and the Machine – primary artist
GoonRock – primary artist
Gotye – primary artist
Jay-Z – primary artist
Nero – primary artist
Coco O. – primary artist
Q-Tip – primary artist
Emeli Sandé – primary artist
Sia – primary artist
Jack White – primary artist
will.i.am – primary artist
The xx – primary artist
ChartsEdit
Weekly chartsEdit
Australian Albums Chart[95]
Austrian Albums Chart[96]
Belgian Albums Chart (Flanders)[97]
Belgian Albums Chart (Wallonia)[98]
Canadian Albums Chart[99]
China Album Chart[100]
Croatian Albums Chart[101]
Czech Albums Chart[102]
Danish Albums Chart[103]
Dutch Albums Chart[104]
Finnish Albums Chart[105]
French Albums Chart[106]
German Albums Chart[107]
Greek Albums Chart[108]
Hungarian Albums Chart[109]
Irish Compilation Albums Chart[110]
Italian Compilation Albums Chart[111]
New Zealand Albums Chart[112]
Norwegian Albums Chart[113]
Polish Albums Chart[114]
Russian Albums Chart[115]
South Korean Albums Chart[116]
Spanish Albums Chart[117]
Swiss Albums Chart[118]
UK Compilation Albums Chart[119]
US Billboard 200[74]
US Alternative Albums[120]
US Rock Albums[121]
US Soundtrack Albums[122]
End-of-year chartsEdit
Australian Albums Chart[123]
CertificationsEdit
Australia (ARIA)[125]
Platinum 70,000^
Poland (ZPAV)[126]
Gold 10,000*
United Kingdom (BPI)[127]
Gold 100,000*
United States (RIAA)[129]
Gold 610,000[128]
* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
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^ "Soundtrack – The Great Gatsby". australian-charts.com. Hung Medien. Retrieved June 12, 2013.
^ "Soundtrack – The Great Gatsby" (in German). austriancharts.at. Hung Medien. Retrieved June 1, 2013.
^ "Soundtrack – The Great Gatsby" (in Dutch). Ultratop. Hung Medien. Retrieved May 27, 2013.
^ "Soundtrack – The Great Gatsby" (in French). Ultratop. Hung Medien. Retrieved May 27, 2013.
^ "Canadian Albums : May 25, 2013". Billboard. Prometheus Global Media. Retrieved May 17, 2013.
^ "综合榜 2013年 第38周". Sino Chart. Sino Chart.
^ "Top Kombiniranih – Tjedan 21. 2013" (in Croatian). Hrvatska Diskografska Udruga. Retrieved June 14, 2013.
^ "TOP50 Prodejní: RŮZNÍ – Great Gatsby O.S.T." (in Czech). IFPI Czech Republic. Retrieved June 14, 2013.
^ "Soundtrack – The Great Gatsby". danishcharts.dk. Hung Medien. Retrieved May 27, 2013.
^ "Soundtrack – The Great Gatsby" (in Dutch). dutchcharts.nl. Hung Medien. Retrieved May 27, 2013.
^ "Soundtrack – The Great Gatsby". finnishcharts.com. Hung Medien. Retrieved May 27, 2013.
^ "Soundtrack – The Great Gatsby" (in French). lescharts.com. Hung Medien. Retrieved May 27, 2013.
^ "Soundtrack, The Great Gatsby" (in German). charts.de. Media Control. Archived from the original on July 7, 2014. Retrieved May 28, 2013.
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Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Great_Gatsby:_Music_from_Baz_Luhrmann%27s_Film&oldid=1064703537"


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A new driverless shuttle starts operating in Raby Bay
Today marks the start of passenger services for Phase II of the Redlands Coast Smart Mobility Trial in Raby Bay.
Keolis expands its footprint in China and wins a new tram contract
On 15 October 2020, Keolis' Chinese joint venture (JV), Shanghai Keolis was awarded a new five-year contract by the public transport authority of Jiaxing, forming a new joint venture called Shenjia with the authority to operate and maintain the city's new tram network. Jiaxing is one of the most densely populated city in China's eastern coastal province of Zhejiang.
Keoride embraced by the community in the Northern Beaches - Celebrates 3 years
Keolis wins its first heavy rail contract in Australia
On 18 September 2020, Keolis Downer, Keolis' Australian subsidiary, was awarded a 1.32 billion euro (AUS$ 2.14 billion) contract by South Australia's Department of Infrastructure and Transport to operate and maintain the commuter rail network of Adelaide in the State of South Australia. This is the first time this network will be managed by a private operator.
The contract, which takes effect on 31 January 2021, is for an initial period of eight years, extendible to twelve years. As part of this contract, Keolis Downer will deliver more services and improve passenger experience.
Australia: Keolis marks first anniversary in operating Newcastle light rail as part of a multimodal network
With over 1.2 million passenger trips recorded since the first day of service in February 2019, Newcastle light rail has become a popular public transport option for the city's residents, making the city more liveable and sustainable.
Mum, where's the driver?
CES 2018, Autonomous vehicle
We gave Las Vegas residents the chance to live a childhood dream: driving without hands! A fully autonomous vehicle operating in the heart of traffic on Freemont Street, that's a more connected type of mobility.
Partnering with Public Transport Authorities


Welcome to another wonderful Kindle Fire Touch Giveaway. This time, it's brought to you by Pregnancy Forum & Joys of Life. Have you been able to capture one of the many Kindle Fires in these giveaways yet? I know I haven't! LOL, but these sure are great to have. Check out the specs below.
Display: 600 x 800 pixel resolution at 167 ppi, 16-level grayscale.
Size (in inches): 6.8" x 4.7" x 0.40" (172 mm x 120 mm x 10.1 mm).
Weight: 7.8 ounces (220 grams).
Battery Life: A single charge lasts up to two months with wireless off based upon a half-hour of daily reading time. Keep wireless always on and it lasts for up to 3 weeks. Battery life will vary based on wireless usage, such as shopping the Kindle Store, downloading content, and web browsing (browsing available only in Wi-Fi mode).
Charge Time: Fully charges in approximately 4 hours via the included USB 2.0 cable connected to a computer. Power adapter sold separately.
Wi-Fi Connectivity: Wi-Fi networks or hotspots that use the 802.11b, 802.11g, or 802.11n standard with support for WEP, WPA and WPA2 security using password Wi-Fi networks.
Included in the Box: Kindle wireless e-reader, USB 2.0 cable, and Quick Start Guide.
I have been wanting one of these forever! Plus, my 4 year old son has been wanting something like this too, so it would be great to have one that we could share!
I'd love to get one for my husband, esp. when he travels for work I think he'd really love it. Plus, I could use it when he is at work and need a book break away from the kids and chaos!
My family and I have been wanting one of these since they came out, but they're a bit too pricey so unless I win, we won't be getting one.
I've wanted a Kindle Fire for a long time! I love to read, but my eyes can't handle it and I can barely read the print. I love that with the Kindle Fire, you can adjust the print size to what you want and you can read in bed without having a light on because of the back-light on the Kindle. Plus, reading in bed without having to flip pages would be a big plus!
I would love to win a Kindle Fire for my mom! She loves reading, and would really like one!
I would love this! The print size adjusting is what I need for reading for sure!
I would love to win a Kindle Fire because I do not own one and I travel to visit my Mom quite often. Would be great to have it to read on the train.
I would give it to my mom for her birthday gift.


The Australian Turf Club will host two Christmas-themed race days this weekend with entertainment options to please the whole family.
Starting at Canterbury Park for the popular $5 Friday Night Racing and finishing at Royal Randwick on Saturday for Inglis Villiers Stakes Day, both venues will offer FREE kids' amusements including a jumping castle, petting zoo, face painting, carolers and an appearance by Santa and his Helper.
Racegoers will receive value for money across both events with Canterbury Park again offering the $5 Friday promotion of $5 entry, $5 food and $5 drink options, and those heading to Royal Randwick can take advantage of the Summer Super Saver where for $20, patrons will receive $45 of value.
Australian Turf Club Chief Operating Officer Tony Partridge said an outing to the races is the perfect destination for guests of all ages this weekend.
"The $5 Friday promotion and Summer Super Saver also gives families the chance to experience a great day of racing at an affordable price leading into Christmas.
"With the return of Group racing to Royal Randwick on Saturday, there are plenty of reasons for race fans to be trackside," said Mr Partridge.
Saturday racing is headlined by the Group 2 $250,000 Inglis Villiers Stakes where a field of 20 will be vying for ballot exemption into the $3m Group 1 The Star Doncaster.
Patrick Webster-trained Happy Clapper is the one to beat having won both of his last two runs. Proven over the distance, the gelding has opened as the $4.80 TAB Fixed Odds favourite in an open market.
Another winner of her past two starts is Chris Waller's Telepathic ($5.50 TAB Fixed Odds), who sits on the second line of betting. The five-year-old went on for a strong 1.8 Lengths in her last run to claim her first Black Type win.
The best up and coming two-year-olds will be on show in the $500,000 Inglis Nursery as their careers progress towards the $3.5m Longines Golden Slipper.
Jenneau, trained by Paul Perry will be looking to go one better than second place in her second career start having failed to find a clear run first up. The filly has opened as the $4.60 TAB Fixed Odds favourite.
Bede Murray-trained Rafha's Choice ($7.00 TAB Fixed Odds) will be one to watch amongst the juveniles. The I Am Invincible colt has been successful in both of his career starts however will be challenged by the wide barrier.
The $100,000 Listed Green Options Razor Sharp Handicap sees Dublin Lass ($2.80 TAB Fixed Odds) heavily favoured by punters. The five-year-old went on for a strong win in her last start and will again be tough to beat.
Worthy competition will come from That's A Good Idea ($6.50 TAB Fixed Odds) from the Snowden stable. Despite a poor sixth place last start, the gelding has produced a number of good runs this campaign and solid form in a series of barrier trials.
For all ticketing, hospitality, racing and general information visit www.theraces.com.au.


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Tennis Courts Map Directory > Latest News > 2019 > October > 14
Tipsarevic Prevails In Stockholm Swan Song
Travaglia upsets Opelka on Monday
Janko Tipsarevic is bringing his celebrated 17-year ATP Tour career to a close at the Intrum Stockholm Open. The Serbian announced on Monday that Stockholm will be his final ATP Tour event before he retires in November after the Davis Cup Finals.
But Tipsarevic isn't content with making this week a mere nostalgia moment. He wrapped up the evening session with a convincing 6-2, 6-4 win over #NextGenATP Frenchman Corentin Moutet. Tipsarevic broke the Frenchman four times and dominated most of the baseline rallies in their 73-minute clash.
After Final Grand Slam Match, Tipsarevic Reflects On Importance Of Failing
The Serbian has won four ATP Tour titles in his career, reached two US Open quarter-finals (2011-2012) and peaked at No. 8 in the ATP Rankings in 2012. Next up for Tipsarevic is top-seeded Italian Fabio Fognini.
Eighth-seeded Brit Daniel Evans won a hard-fought 6-4, 1-6, 6-3 battle with Aussie Bernard Tomic and awaits the winner of #NextGenATP Norwegian Casper Ruud and Serbian Filip Krajinovic. Italian Stefano Travaglia scored the upset of the day with a 7-5, 4-6, 6-4 victory over sixth-seeded American Reilly Opelka. Travaglia will play Japanese Yuichi Sugita or Swede Elias Ymer for a place in the quarter-finals.
Tsonga Up And Running In Antwerp
Pella prevails on Monday
Frenchman Jo-Wilfried Tsonga got his European Open campaign off to flying start on Monday in Antwerp. In a battle of experience against youth, the sixth seed and 2017 champion defeated Italian Lorenzo Sonego 6-3, 6-4.
Tsonga scored the lone break of each set to advance in one hour and 20 minutes, improving to 2-0 in his FedEx ATP Head2Head series with Sonego. The 34-year-old has excelled indoors this year, picking up ATP Tour titles in Montpellier (d. Herbert) and Metz (d. Bedene). Tsonga will play fellow Frenchman Gilles Simon or Belgian Steve Darcis in the next round.
Fifth-seeded Argentine Guido Pella prevailed in a marathon 5-7, 6-4, 7-6(2) match with German Peter Gojowczyk. Pella improved to 3-2 in his FedEx ATP Head2Head rivalry with Gojowczyk and has won their past two matches. Next up for him is the winner of Frenchman Richard Gasquet, who prevailed here in 2016, and South Korean Soonwoo Kwon.
Tuesday's schedule features Brit Andy Murray making his debut at this event against local favourite Kimmer Coppejans.
Ruud, Shapovalov Lead Milan Hopefuls As Race Hits Final Two Weeks
ATP Race To Milan ends 28 October
The ATP Race To Milan is coming down to the wire. With two weeks remaining in the Race, which ends 28 October, seven spots are still up for grabs for the Next Gen ATP Finals, to be held 5-9 November at the Allianz Cloud in Milan.
Canadian Felix Auger-Aliassime joined defending champion Stefanos Tsitsipas last week as qualifiers for the 21-and-under event. Greece's Tsitsipas, however, will not compete in Milan because he has qualified for the Nitto ATP Finals, to be held 10-17 November in London.
That means six direct qualification spots still remain for Milan as the final spot is reserved for an Italian wild card.
Aussie Alex de Minaur (1,430 points), Canadian Denis Shapovalov (1,255 points) and American Frances Tiafoe (970 points), in third through fifth place, respectively, are next in line to qualify for the award-winning event. De Minaur is taking this week off, but Shapovalov is the fourth seed at the Intrum Stockholm Open and opens with a bye. At the European Open in Antwerp, Tiafoe will meet German qualifier Yannick Maden in the first round.
Read More: Key Things To Watch In Antwerp, Moscow, Stockholm
Norway's Casper Ruud (sixth place, 931 points) will try to bolster his standing in Stockholm as well. The 20-year-old, competing for the first time since last month in Zhuhai, is looking to make his Milan debut. He opens against Serbian Filip Krajinovic.
In seventh place, Serbian Miomir Kecmanovic (893 points) will try to make his second ATP Tour final (Antalya) at the VTB Kremlin Cup in Moscow. The eighth-seeded Kecmanovic faces Russian qualifier Artem Dubrivnyy in the first round.
Eighth-placed Ugo Humbert (778 points) will look to continue his strong play indoors this week in Antwerp. Humbert made the Moselle Open semi-finals in Metz in February (l. to Kukushkin).
The surging Swede Mikael Ymer, in ninth place with 751 points, is playing on home soil in Stockholm and meets Joao Sousa of Portugal in the first round. Behind back-to-back ATP Challenger Tour titles, Ymer has added 225 Race points in the past two weeks.
France's Corentin Moutet, in 10th place with 569 points, was looking to make up ground on Ymer in Stockholm, but Moutet fell to Serbian Janko Tipsarevic 6-2, 6-4 on Monday.
Dan Evans beats Bernard Tomic at Stockholm Open
Dan Evans celebrated becoming the British number one with a hard-fought win over Australian Bernard Tomic at the Stockholm Open.
Evans, 29, replaced Kyle Edmund as the nation's leading men's player earlier on Monday, 18 months after being unranked following a drugs ban.
He marked becoming the 13th man to achieve the feat with a 6-4 1-6 6-3 win over former world number 17 Tomic.
Eighth seed Evans faces Norway's Casper Ruud or Serb Filip Krajinovic next.
'I don't see myself as British number one' – Evans on new status
Live scores, schedule and results
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Cuevas/Gonzalez Advance In Antwerp
Third seeds Daniell/Oswald prevail in Moscow on Monday
Pablo Cuevas/Maximo Gonzalez kicked off first-round action on Monday at the European Open in Antwerp with a 7-6(5), 7-5 win over Arnaud Bovy/Steve Darcis. Cuevas/Gonzalez saved all four break points and scored the lone break of the match at 5-5 in the second set.
At the Intrum Stockholm Open, fourth seeds Wesley Koolhof/Fabrice Martin scored a tight 7-6(6), 6-4 victory over Luke Bambridge/Ben McLachlan. They'll play Dominic Inglot/Austin Krajicek or Rohan Bopanna/Divij Sharan in the next round.
Scouting Report: The Key Things To Watch In Moscow, Antwerp & Stockholm
The VTB Kremlin Cup in Moscow saw third seeds Marcus Daniell/Philipp Oswald rally to defeat Nikola Cacic/Dusan Lajovic 3-6, 6-4, 10-6. Alexander Bublik/Mikhail Kukushkin needed just 49 minutes to advance past Miomir Kecmanovic/Nenad Zimonjic 6-2, 6-2, while Aljaz Bedene/Nicolas Jarry are through to the quarter-finals after a 2-6, 7-6(5), 10-5 win over Evgeny Donskoy/Andrey Rublev.
Federer to chase elusive Olympic singles title
Roger Federer has confirmed he intends to play in next summer's Olympics in Tokyo as he chases an elusive gold medal in the men's singles.
The Swiss great, who turns 39 during the Games, is one of the sport's most decorated players but he has never won the Olympic singles title.
Federer won silver at London 2012 after losing to Britain's Andy Murray.
"At the end of the day my heart decided I would love to play the Olympic Games again," Federer said.
Federer, who missed Rio 2016 through injury, did win a gold medal at Beijing 2008 in the men's doubles alongside Stan Wawrinka.
In the singles, 20-time Grand Slam champion Federer finished fourth at Sydney 2000, lost in the second round at Athens 2004 and reached the quarter-finals in Beijing.
"I've been debating with my team for a few weeks now, months actually, what I should do in the summer after Wimbledon and before the US Open," added Federer, ranked third in the world.
"I carried the flag twice for Switzerland in Athens and Beijing, I've got a gold and a silver, and I would love to play again, so I'm very excited."
Seppi Saves 2 M.P. To Outlast Garin In Moscow
Mannarino defeats Dzumhur on Monday
If the first main-draw match of the 2019 VTB Kremlin Cup is a preview of the week ahead, we are in for a dramatic seven days in Moscow.
Andreas Seppi saved two match points on Monday to overcome fifth seed Cristian Garin 3-6, 7-6(2), 7-6(4), converting his sixth match point to end the contest after two hours and 42 minutes. The 2012 champion, who improves to 15-5 at the ATP 250 event, recovered from 3-6, 5-6, 15/40 down to overcome the 23-year-old in their first FedEx ATP Head2Head encounter.
After rallying from 2-4 down in the decider, Seppi could not convert four match points of his own at 6-5. But the Italian held his nerve in the final-set tie-break, winning five of the final six points to advance. Seppi will face Spain's Roberto Carballes Baena or Ricardas Berankis of Lithuania for a spot in the quarter-finals.
Czech qualifier Lukas Rosol also saved two match points in a thrilling 6-7(4), 7-6(7), 6-3 victory over Argentine Juan Ignacio Londero. Rosol fought back from 4/6 in the second-set tie-break en route to advancing in two hours and 16 minutes. Next up for the 34-year-old is fourth-seeded Serbian Dusan Lajovic.
Seventh-seeded Frenchman Adrian Mannarino cruised past 2017 champion Damir Dzumhur of Serbia 7-6(2), 6-0 in the evening session. Mannarino now leads their FedEx ATP Head2Head series 3-1, which includes a straight-sets victory at last month's Huajin Securities Zhuhai Championships.
Biles, Kosgei and Gauff – how the female trio are lighting up sport
You can't have failed to notice a weekend of sporting brilliance – from a stunning sub two-hour marathon to hosts Japan lighting up the Rugby World Cup.
But there were three phenomenal sportswomen right at the heart of the action as well.
With a combined age of just 62, Simone Biles, Brigid Kosgei and Coco Gauff added their names to the history books.
Barack Obama said athlete Kosgei had shown a "remarkable example of humanity's ability to endure and keep raising the bar".
Three-time Olympic gold medallist Alexandra Raisman said she was "in awe" of gymnast Biles, while tennis legend Billie Jean King congratulated both tennis player Gauff and Biles on Twitter.
BBC Sport takes a look at a trio of stars taking their sports to new heights.
Simone Biles – America's Golden Girl
On Sunday, Simone Biles became the most decorated gymnast in World Championships history, adding two more gold medals to her glittering haul.
The 22-year-old American moved clear of Belarusian Vitaly Scherbo with victories in the balance beam and floor in Stuttgart – taking her overall tally to 25 medals, 19 of them gold.
"This is really the best worlds performance I have ever put out," she said after finishing her fifth World Championships with five titles across six events.
The Rio Olympics quadruple gold medallist plans to celebrate when she returns home to Texas, adding "my mom usually likes to throw a worlds party, whether I want one or not".
View more on twitter
Brigid Kosgei – Running into the history books
In 2003, Britain's Paula Radcliffe set the longest-standing marathon world record for either men or women in the post-war era, running the London Marathon in two hours 15 minutes 25 seconds.
Fast forward to 2019, and Kenya's Brigid Kosgei eclipsed Radcliffe's 16-year-old record with a time of 2:14:04 as she retained her title at the Chicago Marathon.
Only 22 runners in the men's race finished faster than the 25-year-old, whose time would have been a men's world record in 1964.
Kosgei, who won last year in 2:18:35, admitted: "I am feeling good and happy because I was not expecting to run like this."
Coco Gauff – From lucky loser to singles champion
Biles wasn't the only American to make waves this weekend.
Compatriot Coco Gauff became the youngest player to win a WTA title in 15 years with victory over Jelena Ostapenko in the Linz Open final.
The 15-year-old – who only qualified for the main draw as a lucky loser after defeat in the final round of qualifying – won 6-3 1-6 6-2 and is set to move inside the world's top 75, having started the season ranked well outside the top 600.
"It has been an amazing week, I hope to come back here again. I will remember this moment for the rest of my life," said Atlanta-born Gauff.
Zverev Rises To Seventh, Leads Nitto ATP Finals Contenders
ATPTour.com looks at the top Movers of the Week in the ATP Race To London, as of Monday, 14 October 2019
No. 7, Alexander Zverev, +1
Zverev reached his first ATP Masters 1000 championship match of 2019 at the Rolex Shanghai Masters. The German recorded wins against Jeremy Chardy, Andrey Rublev, Roger Federer and Matteo Berrettini to earn 600 ATP Rankings points and jump one position to seventh in the ATP Race To London. The reigning Nitto ATP Finals champion is bidding to make his third straight appearance at The O2 in London.
No. 8, Matteo Berrettini, +2
One month after his US Open semi-final run, Berrettini advanced to the last four at a Masters 1000 event for the first time in Shanghai. The 23-year-old did not drop a set en route to the semi-finals, beating Jan-Lennard Struff, Cristian Garin and Top 10 stars Roberto Bautista Agut and Dominic Thiem. Berrettini rises two spots to move into the eighth and final qualification position in the ATP Race To London.
Race Update: Berrettini & Zverev Lead Battle For Final Two London Spots
No. 11, Fabio Fognini, +2
The Rolex Monte-Carlo Masters titlist boosted his hopes of a debut appearance at the Nitto ATP Finals. Fognini defeated Sam Querrey, former World No. 1 Andy Murray and Karen Khachanov to reach the last eight in Shanghai. The 32-year-old climbs two places to No. 11 in the ATP Race To London.
Other Notable Top 100 Movers
No. 22, Nikoloz Basilashvili, +3
No. 28, Andrey Rublev, +3
No. 34, Hubert Hurkacz, +3
New British number one Evans now plans to climb world rankings
Dan Evans will become the British number one for the first time on Monday and he thinks his world ranking of 43 "can get a lot higher".
Evans, 29, takes over from Kyle Edmund, 18 months after being unranked as he returned from a drugs ban.
The Lawn Tennis Association says 13 men, including Andy Murray and Tim Henman, have been British number one since rankings were introduced in 1973.
"It's a privilege to be part of those sort of conversations," said Evans.
In April 2018, Evans returned to the sport from a one-year ban after testing positive for cocaine, climbing back to the verge of the world's top 100 by reaching the second ATP final of his career in February.
After being denied a first title in an agonising defeat by Moldovan Radu Albot at the Delray Beach Open in February, he continued to climb the rankings and reached the third round of both Wimbledon and the US Open this year.
That form, coupled with Murray's injury problems and Edmund's recent struggles, has seen him rise to become the country's top male player.
"I don't look at myself as British number one. I think Andy is British number one, and then there's me, Cameron [Norrie] and Kyle [Edmund] behind him," Evans told BBC Sport.
"But obviously it's great. It means I'm playing good tennis, and I've had a good year."
Evans' career path resembles the chart of a particularly volatile stock market.
In 2013, he reached the third round of the US Open as a qualifier, and broke into the top 200 for the first time. But less than two years later, he had slumped to 772 in the world.
"I let a lot of people down," he would later admit.
And then having reached a career best 41 in the world, as well as the fourth round of the 2017 Australian Open, Evans tested positive for cocaine. When he returned to the tour in April 2018 he was unranked, but extra motivated.
"When I wasn't playing I didn't feel part of what I had felt part of for a long time," Evans added.
"Rightly or wrongly, you have resentment. It was my own fault – but you resent what you are seeing [others doing]."
He played a lot of golf during his 12-month ban, and left his tennis gear at his parents' house so he did not have to look at it.
"There were some terrible moments," he said in April 2018. "I was heartbroken not to be playing tennis.
"There isn't that much you can do in the day when other people are working. I was living in Cheltenham, away from anybody else, so I was just on my own until 5.30pm or 6pm."
But now he is the British number one, and just two places shy of his best world ranking.
"I don't think I'm finished at where I am," he said. "I think I can get a lot higher.
"I want to be in the later rounds of the Grand Slams, and I always say I think anything can happen once you reach the quarter-finals.
"My goal is to play until my mid-thirties and see where I'm at. If my level is still good enough to win matches week in, week out, I'll carry on playing."
Dan Evans factfile
Born 23 May 1990, Birmingham
Turned professional 2006
Best Grand Slam performances Australian Open: 4R (2017); French Open: 1R (2017, 2019); Wimbledon: 3R (2016, 2019); US Open: 3R (2013, 2016, 2019)
ATP Tour titles 0
ATP Tour finals 2 (Sydney 2017, Delray Beach 2019)
Career prize money £1,790,360
2019 prize money £617,555
Highest world ranking 41 – March 2017
Evans' first match as British number one will be against Australian Bernard Tomic – a player once ranked 17th in the world but hampered by discipline problems – at the Stockholm Open, which starts on Monday.
Evans will then play at the Swiss Indoors tournament in Basel, before trying to qualify for the final Masters event of the season in Paris.
He has resumed his partnership with former coach Mark Hilton, initially on a trial basis, and is not defending any ranking points from 2018 over the last few weeks of the season.
If all goes very well, he could even be among the 32 seeds for January's Australian Open.
He can also expect to play a significant role for Great Britain when the week-long Davis Cup Finals take place in Madrid in November.
Evans is back where his talent suggests he should belong. And, irrespective of how long it lasts, he can reflect on a year in which he has been Britain's top male player.
That was never a goal when he was a child, and you sense he is most proud of just being an established top 100 player once again, having seen many talented teens fall by the wayside.
"I always thought I was pretty good," Evans said.
"I thought I had a good chance, and then from 17 through to 23, I didn't think I really knew how to get to being a professional.
"When you are growing up, you just want to be a tennis player – you don't really know what it entails to get to the top 100 in the world. I'm not sure in Britain how easy it is to explain to the guys how you have to do it, because none of the coaches who are explaining it have ever done it.
"It's mentally challenging, and so difficult to get to the top 100."
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