title: Chicago Fire FC

text: Chicago was once the home of the Chicago Sting who competed in the top-level North American Soccer League (NASL) from 1975 to 1984. They spread their home games at Soldier Field, Wrigley Field, and Comiskey Park. The Sting won the Soccer Bowl twice: 1981 and 1984. They were the only club other than the New York Cosmos to win multiple titles in the NASL. One of the club's notable players was German forward Arno Steffenhagen.


title: Chicago Fire FC

text: Founded in 1997 at Navy Pier, on the anniversary of the Great Fire, the Fire immediately tapped into the diverse ethnic makeup of the city. The team brought in Polish players Piotr Nowak, Jerzy Podbrozny, and Roman Kosecki; the Mexican Jorge Campos; and the Czech Lubos Kubik. While all showed their talent while playing for Chicago that first year, American players (Zach Thornton, Chris Armas, C.J. Brown) proved most integral to the Fire's continued success. Under the club's first head coach, Bob Bradley—and against all expectation—the team completed the double in its first competitive year, beating D.C. United in the 1998 MLS Cup Final, and defeating the Columbus Crew in Chicago to win the 1998 U.S. Open Cup a week later.


title: Chicago Fire FC

text: The team's momentum continued, reaching the 2000 MLS Cup final "(losing to Kansas City)" and winning the 2000 U.S. Open Cup. Internationally experienced players such as Hristo Stoitchkov joined the Fire, while young American talents such as DaMarcus Beasley developed. The Fire quickly became cemented as one of the league's preeminent teams.


title: Chicago Fire FC

text: With Soldier Field undergoing massive renovations, the Fire moved to the western Chicago suburb of Naperville in 2002. That same year, Bob Bradley abruptly departed the team to lead the MetroStars, from his home state of New Jersey. The Fire then selected the U.S. men's national team's top assistant, Dave Sarachan, to assume the vacant post.


title: Chicago Fire FC

text: Chicago qualified for the league final while also capturing the Supporters' Shield and 2003 U.S. Open Cup along the way. The team returned to Chicago and the renovated Soldier Field midway through the 2003 season.


title: Chicago Fire FC

text: After that season, longtime captain Piotr Nowak retired to take a position in the front office. He departed a year later to become manager of D.C. United. In this period new talent emerged, including Jamaican striker Damani Ralph. Still, stagnating performances and the building strength of the Eastern Conference made Chicago's league position ever more tenuous. In 2004, the team missed the league playoffs for the first time in their history.


title: Chicago Fire FC

text: The 2005 season began with the unexpected dismissal of popular club president Peter Wilt by then-owners AEG, a move decried by fans, many players, and club staff. This came as a shock, given his brokering of a $100m deal to build the Fire a stadium in the collar suburb of Bridgeview. He was immediately replaced by MetroStars executive John Guppy.


title: Chicago Fire FC

text: Competitively, the season was most notable for the blockbuster visit of Milan from Italy's Serie A, and the surprising 4–0 away defeat of D.C. United in the Eastern Conference Semi-finals.


title: Chicago Fire FC

text: 2006 arrived, and the Fire moved from Soldier Field into its new stadium in Bridgeview, a southwest suburb of Chicago: Toyota Park, located at the corner of 71st Street and Harlem Avenue. In its first season, it played host to an unspectacular league campaign; but victory in the 2006 U.S. Open Cup marked a continuation of the club's successes and promise for the future.


title: Chicago Fire FC

text: The anxiety to win another league title continued to grow, however. Sarachan entered 2007 (his fifth season in charge) under intense pressure from fans and the administration to produce a league championship. Tension mounted further on April 3, 2007, when the Fire signed Mexico and América star Cuauhtémoc Blanco to a Designated Player contract. After a perfect three matches to open the year, they won only one of their next eight, and Sarachan was dismissed. Following a brief search, Millonarios manager Juan Carlos Osorio was named the club's third head coach.


title: Chicago Fire FC

text: More change came soon afterward. On September 6, 2007, Andell Holdings, a Los Angeles-based private investment firm controlled by chairman Andrew Hauptman, acquired AEG's interest in the Chicago Fire Soccer Club. Reports estimated the purchase price to be upwards of $35 million. The team has not won a major trophy since Hauptman bought the team.


title: Chicago Fire FC

text: On the field, behind Blanco and Wilman Conde, Osorio's central defender at Millionarios, the Fire went on an extended unbeaten run to close the season, easily qualifying for the playoffs but were defeated at New England in the Eastern Conference Final. On December 10, 2007, the Fire announced Osorio's resignation. He was named manager of the New York Red Bulls eight days later. Hauptman filed tampering charges with the league in protest, and the Fire were compensated by the Red Bulls with cash and draft picks.


title: Chicago Fire FC

text: Changes came quickly in Osorio's wake. On January 17, 2008, former Fire star Frank Klopas was named Technical Director in charge of player personnel, and longtime Fire assistant Denis Hamlett was appointed manager. While the Fire struggled at home in 2008 the team found unusual success on the road, gathering 22 out of a possible 45 away points. Momentum grew with the long-anticipated signing of Chicago native Brian McBride on a free transfer in July 2008. After disposing of the Red Bulls 5–2 in the season's final game, they decisively conquered New England in the first round of the playoffs with a 3–0 victory at home. This was Chicago's first playoff advancement over the Revolution in four consecutive seasons. But triumph only lasted for a week, as they again missed the league final with their 2–1 Eastern Conference Final loss to eventual champion Columbus.


title: Chicago Fire FC

text: The 2009 season saw few alterations to the previous year's roster. The story of the season was much the same, as continued poor home form offset excellent performances away from Toyota Park. This led to a second place Eastern Conference finish behind Columbus. Despite this, Real Salt Lake managed to upset the Crew in the quarterfinals, meaning Chicago would host the semi-final for the first time in six years. Chicago's nearly flawless home playoff history meant little in the end, as they lost to Salt Lake, 5–3, on penalties after 120 scoreless minutes. Shortly thereafter, manager Denis Hamlett was dismissed.


title: Chicago Fire FC

text: Leading up to 2010, Chicago hired Carlos de los Cobos as head coach, previously manager of El Salvador. Cuauhtémoc Blanco, Chris Rolfe and Gonzalo Segares all departed. More changes came in the summer transfer window with the trade of Justin Mapp to Philadelphia, the acquisition of Mexican international striker Nery Castillo, and the trade for former Swedish international midfielder Freddie Ljungberg. Defender Gonzalo Segares returned to the Fire, leaving Apollon Limassol after only six months away. Despite these reinforcements, the Fire failed to qualify for the playoffs for only the second time in club history. Former U.S. international Brian McBride and club original C.J. Brown retired at season's end, followed closely by the departures of Wilman Conde, Ljungberg, and Castillo.


title: Chicago Fire FC

text: 2011 began much in the way of 2010, with foundering performances both home and away. After nine winless matches, Carlos de los Cobos was let go on May 30, 2011. Technical Director Frank Klopas was named interim head coach. Behind summer reinforcements Pável Pardo and Sebastián Grazzini, as well as forward Dominic Oduro's 12 goals after being acquired in a trade from Houston and Dan Gargan's defensive addition, the Fire qualified for the U.S. Open Cup Final (lost at Seattle) and narrowly missed making the playoffs after gaining 24 points in their last 12 league matches. After the season's conclusion, Klopas was given the permanent manager job on November 3, 2011.


title: Chicago Fire FC

text: Although expectations were modest for 2012, Klopas' first full season as coach, the year saw a change in fortune for the Fire. The spring and summer months saw several new acquisitions for the club, starting with the reacquiring of Chris Rolfe from Aalborg BK. Rolfe, who scored eight goals and 12 assists in the 21 games he played in 2012, would later be named the Fire's MVP. Other signings included Brazilian midfielders Alex Monteiro de Lima from the Swiss side FC Wohlen, Alvaro Fernandez from Seattle Sounders FC, forward Sherjill MacDonald from Beerschot AC of Belgium and veteran defender Arne Friedrich from VfL Wolfsburg. Although they would fall out of the U.S. Open tournament early that season, the Fire eventually compiled a 17–11–6 record, their best since 2000, and ranked as high as second in the Eastern Conference before ending the year in fourth place. On October 31, 2012, in their first playoff appearance since 2009, the Fire lost their first-round MLS Cup playoff match-up at home against the Houston Dynamo, 2–1.


title: Chicago Fire FC

text: In the 2012–2013 offseason, the franchise made some moves to improve on 2012's success. The team acquired Joel Lindpere and Jeff Larentowicz and also traded Dominic Oduro for Dilly Duka and the rights to Robbie Rogers. The beginning of the season saw the team struggling to score goals, resulting in a record of 2–5–1 through April. After two successive losses to the Union in May, and with veteran Arne Friedrich still on injured reserve, the Fire acquired their former centerback Bakary Soumaré from Philadelphia. Also in May, Robbie Rogers expressed an interest to play in Southern California, at which point a deal was brokered for Rogers' rights in exchange for Chicago native Mike Magee from the Los Angeles Galaxy. On June 23, 2013, Friedrich, who had not played a 2012–13 game due to recurring injuries, announced his retirement. After starting the season 2–7–3, the additions of Soumare and Magee led to seven wins in the squad's last 10 games. The Fire were busy in the transfer window as well, adding veteran defensive midfielder Arévalo Ríos and forward Juan Luis Anangonó. The Chicago Fire also advanced to host the semifinal of the 2013 Lamar Hunt U.S. Open Cup, but fell 2–0 to eventual champions D.C. United. Alleged fan actions in the stadium that night led to a famous editorial piece, "What it means to be a part of the Fire family", being penned by the club's Director of Communications, which was seen as an odd attack on the fan base and widely panned by local and national media. After a 12–6–6 finish to the season, the Fire narrowly missed the playoffs for the third time in the last four years—losing out to the Montreal Impact on goal difference. On October 30, 2013, the club announced that the president of soccer operations Javier Leon and head coach Frank Klopas had stepped down, but the Fire front office had a replacement one day later.


title: Chicago Fire FC

text: On October 31, 2013, Chicago Fire named Frank Yallop as its new head coach and director of soccer. On December 5, 2013, Fire MVP Mike Magee became the first Fire player to win the MLS MVP Award—beating out Los Angeles Galaxy's Robbie Keane and Montreal Impact's Marco Di Vaio for the honor.


title: Chicago Fire FC

text: Meanwhile, Yallop was busy recruiting a new coaching staff which included "Ring of Fire" member and Chicago Fire veteran C. J. Brown and former U.S. International striker Clint Mathis as the team's assistant coaches, adding Columbus Crew's Brian Bliss as Technical Director. Former Fire forward Brian McBride was added as an assistant coach in May 2014 for a short-term assignment.


title: Chicago Fire FC

text: The shake-up extended to the roster, as Yallop moved team veterans and starters and brought in youth prospects—reforming the team while freeing up cap space. Major exits in early 2014 included Chris Rolfe, Austin Berry, Jalil Anibaba, Daniel Paladini, and Paolo Tornaghi. Filling that void was a handful of youth prospects including Harrison Shipp (homegrown player), Benji Joya (via MLS "weighted lottery"), and Grant Ward on loan from Tottenham Hotspur. Despite rarely looking like a team that could advance to the MLS Cup Playoffs, the team once again advanced to the semifinals of the 2014 Lamar Hunt U.S. Open Cup, but were routed 6–0 by eventual champions Seattle Sounders FC on August 13. The result was the worst competitive defeat in club history and saw Frank Yallop issue an apology to Chicago Fire supporters on the club's official website. As the Cup run had, the season ended in disappointment, with the Fire ending the season with a 6–18–10 record, with 18 draws, also setting a record for most draws in an MLS season in the process.


title: Chicago Fire FC

text: The club began 2015 with renewed hope, bringing three new Designated Player signings in David Accam, Shaun Maloney and Kennedy Igboananike to bolster an anemic attack. The club also signed products Michael Stephens and Eric Gehrig as well as Trinindad & Tobago international Joevin Jones. With so many new pieces needing to adjust, 2015 marked the first time in club history the side began the season with an 0–3–0 record, but they showed signs of recovery by winning their next three matches. Unfortunately, April was the last time the club would be anywhere near equal on wins and losses, but the side did still advance to another Lamar Hunt U.S. Open Cup semifinal. Playing in front of a sparse crowd at the Philadelphia Union's PPL Park, the Fire fell 1–0 at the same hurdle for the third straight season. Less than two weeks later, Maloney, who was the club's center piece offseason signing, was transferred back to England with Hull City citing personal reasons.


title: Chicago Fire FC

text: Despite no hope for a Cup final, widespread fan protests and dim likelihood of a playoff berth, the club didn't part ways with Frank Yallop until September 20, 2015, one day after another listless 1–0 home defeat to Orlando City SC. Along with Yallop's departure, the club announced it had named long-time MLS executive Nelson Rodriguez as the club's new general manager, with his first job being to commence a search for a new head coach. Technical director Brian Bliss was given the interim head coaching job, with former player and current club vice president Logan Pause assisting for the remaining five matches. The club has finished the 2015 season with an overall record of 8 wins, 20 losses and 6 ties. For the first time in the club's history Fire finished the season with zero road wins (0–12–5). Twenty losses in a season became the highest in the club's history.


title: Chicago Fire FC

text: On November 18, 2015, Rodriguez made his first moves as GM, firing most of Yallop's remaining technical staff, including goalkeeping coach Aron Hyde, fitness coach Adrian Lamb and Director of Scouting Trevor James. Rodriguez also parted ways with the club's long-time Director of First Team Operations Ron Stern, Equipment Manager Charles Raycroft and Assistant Equipment Manager Allan Araujo. On November 24, 2015, the club announced that Veljko Paunovic, former coach of the Serbian U-20 side that won the 2015 FIFA U-20 World Cup, had been named the new head coach of the Chicago Fire. On January 5, 2016, technical director Brian Bliss also departed the Fire to join Sporting Kansas City as Director of Player Personnel, completing the total overhaul of the technical staff.


title: Chicago Fire FC

text: On March 21, 2017 Manchester United allowed Bastian Schweinsteiger to join Chicago Fire, subject to a medical and a visa being secured. The move from Manchester United was completed on March 29, 2017.


title: Chicago Fire FC

text: On July 11, 2018, the club announced that Hauptman had sold a 49 percent stake of his ownership to Joe Mansueto, the founder of Morningstar, Inc. On September 13, 2019, Hauptman sold his majority share to Mansueto, who became the sole owner.


title: Chicago Fire FC

text: As the 2019 MLS campaign concluded, the Chicago Fire organization began the ambitious process of reinventing the franchise during the course of a three-month offseason. The changes included securing a downtown Chicago venue, adding new front office positions, shifting organizational roles, making major roster changes, and rolling out a new brand identity.


title: Chicago Fire FC

text: Two days after the end of the season, October 8, the Fire officially announced they would return to Soldier Field to play the 2020 MLS season, that same day Bastian Schweinsteiger announced his retirement. Two days later, the Fire announced the signing of midfielder Álvaro Medrán, eight days later Designated Player and former Golden Boot winner Nemanja Nikolic announced he would be leaving the team.


title: Chicago Fire FC

text: The first full month of the off-season saw the Fire continue their overhaul. On November 4, the team traded captain Dax McCarty to expansion side Nashville SC. Ten days later Homegrown Player Grant Lillard was dealt to MLS's other expansion team Inter Miami. That same day, November 14, Chicago Fire President and general manager Nelson Rodriguez fired head coach Veljko Paunovic and his staff. News that the Chicago Fire would not be renewing the contract of their last-remaining DP, Nicolas Gaitan, as well as winger Aleksandar Katai was overshadowed by an even larger organizational unveiling one week later.


title: Chicago Fire FC

text: On November 21, the long-anticipated rebrand of the Chicago Fire franchise was announced. Developed with the help of marketing agency Doubleday & Cartwright, the team revealed changes to its franchise colors, red and white to red, blue, and gold, its name from Chicago Fire Soccer Club to Chicago Fire FC and, most contentiously, its logo.


title: Chicago Fire FC

text: While the Fire organization made their second player acquisition of the offseason in early December, homegrown player Nicholas Slonina, a relatively quiet few weeks had some followers of the team concerned about their organizational progress. However the Fire were busy again in late December with Nelson Rodriguez relinquishing his on-field decision making responsibilities to new Sporting Director Georg Hietz, who swiftly named former US Soccer Youth National Coach Raphael Wicky as head coach and Sebastian Pelzer as Technical Director. Heitz has previously worked with Wicky at Swiss club FC Basel and "worked closely" with Pelzer at his management consultancy business Heusler Werthmüller Heitz ("HWH").


title: Chicago Fire FC

text: The Fire opened the 2020 campaign with the signings of Argentinian duo Ignacio Aliseda from Defensa and Gaston Gimenez from Vélez Sarsfield, looking to bolster their squad after losing DP Nicolas Gaitan The Fire also announced the signing of Robert Beric from French outfit Saint-Étienne, who netted in his debut defeat against the Seattle Sounders FC (2–1).


title: Chicago Fire FC

text: The club's official primary colors are red, flag blue, deep blue, and white. Secondary colors such as navy blue, sky blue, gold, and black have also been used throughout the history of the Fire. The original logo of the Chicago Fire, used from 1997 to 2019, was derived from the Cross of Saint Florian, a common symbol for fire departments in the United States. A stylized "C" sat in the center, representing the city, similar to the logos of the Bears and Cubs. The six points in a ring around the center alluded to the stars in the Municipal Flag of Chicago, one of which commemorates the Great Chicago Fire of 1871. This style was chosen by the original general manager, Peter Wilt, to establish a timeless image evocative of both classic American sports (as in the logos of the NHL Original Six) and the traditions of European soccer.


title: Chicago Fire FC

text: Nike, the Fire's original equipment supplier, intended for the team to be named the Chicago Rhythm. The Rhythm identity featured a turquoise, black and green color scheme, and a logo adorned with a cobra. Team officials ignored Nike's work, and privately developed the Fire identity with the help of Adrenalin, Inc., a sports branding agency from Denver. The names "Chicago Blues" and "Chicago Wind" were also considered.


title: Chicago Fire FC

text: The original Fire jerseys were chosen because of their resemblance to a Chicago fireman's coat, featuring broad horizontal stripes across the torso and sleeves. In the first year, the home jersey was red and white with a silver "FIRE" on the stripe; while the away shirts were white and black in the same style. The jersey maintained the same format of an all-red shirt with a white horizontal chest stripe through changes in equipment sponsor (from Nike, to Puma, and currently Adidas), until 2012 when the white stripe was exchanged for a blue stripe. Conversely, the Fire's secondary shirts have changed much over the years from white with black, to white with navy, to white with red, to all-white style and the all-blue currently used. Third shirts have often been yellow (originally to honor the Chicago Sting, later for the expired partnership with Morelia). In 2005, and again from 2014 through 2016, the club wore third shirts with designs based on the municipal flag of Chicago.


title: Chicago Fire FC

text: The club and their fans make frequent use of the symbols of Chicago, as a show of civic pride. Most prominent are the six-pointed Chicago stars, but the light blue color associated with the city, the municipal device, and the city skyline appear regularly on materials produced by the club and its fans. The municipal flag of Chicago is also favored by fans and often seen at the stadium.


title: Chicago Fire FC

text: On November 21, 2019, the club unveiled its first major rebranding ahead of their move back to Soldier Field in Chicago. The club's name was changed to Chicago Fire Football Club (Chicago Fire FC) and the original logo was replaced with an ovular crest marked with mirrored sets of three triangles called the "Fire Crown" to reference the revitalization of Chicago following the Great Fire. The crest used dark blue, red, and gold as its main colors. Secondary design colors are to be ivory and "flag blue", a light blue color derived from the Chicago flag. Before its unveiling, the rebranding was leaked onto social media and garnered an "overwhelmingly negative response" from fans. Comparisons were made between the "Fire Crown" and the existing logo of the Vancouver Whitecaps FC, which uses a similar set of mirrored triangles, and some fans worried that the "Fire Crown" was reminiscent of the logo of the Latin Kings street gang. The team responded to the decidedly negative reaction by saying "[new] brands take time and repetition to build meaning. They will be judged in years, not days", insisting that there are no plans to revive the old logo. The club ultimately unveiled a new crest in the middle of the 2021 season, with a full embrace of it beginning in 2022. This new logo was designed by Matthew Wolff.


title: Chicago Fire FC

text: Chicago played its home games at SeatGeek Stadium, a soccer-specific stadium located at 71st Street and Harlem Avenue in the Chicago suburb of Bridgeview, Illinois, about 12 miles southwest from downtown Chicago from 2006 until the end of the 2019 season. The Village of Bridgeview owns and operates SeatGeek Stadium, which opened as Toyota Park on June 11, 2006, and originally cost approximately $100 million. It was renamed from Toyota Park to SeatGeek Stadium after the end of the 2018 season, with an estimated naming rights fee between 2.5 million to 4 million per year.


title: Chicago Fire FC

text: In April 2019, multiple sources reported the club in negotiations with Bridgeview to buy out the remainder of its lease at SeatGeek Stadium and return to Soldier Field. For its first years in the league the Fire played at Soldier Field, the 61,500-capacity home of the Chicago Bears of the NFL and one of the main venues of the 1994 FIFA World Cup. While that stadium was undergoing a $632 million renovation, the Fire played at Cardinal Stadium in Naperville, Illinois, on the outskirts of the Chicago metropolitan area. They returned to Soldier Field toward the end of 2003, remaining there through the end of 2005.


title: Chicago Fire FC

text: In July 2019, Chicago Fire reached a deal to leave SeatGeek Stadium for a payment of $65.5 million and move back to Soldier Field starting in 2020. The return to Soldier Field was finalized with an agreement with the Chicago Park District in September 2019.


title: Chicago Fire FC

text: There is a noteworthy fan culture for the Fire, existing from the date the club was founded, and building on an enthusiasm throughout Chicago sports. At matches, supporters and ultras groups occupy a standing area directly behind the north goal, in the "Harlem End" of Toyota Park. This area is referred to as "Section 8", originating from the numbering of the corresponding section at Soldier Field and the American military designation of mentally unfit soldiers. Section 8 Chicago, the Independent Supporters' Association (ISA) for the Fire, oversees the activities of these numerous groups. While incorporating a worldwide variety of styles with a Chicago bent, groups as part of "Section 8" generally fall under the ultras designation. Additionally, an associated spinoff group called "Sector Latino" which originally congregated in the corner-kick Section 101 at the stadium's southwest end until season long discussions between the ISA and the Chicago Fire Front Office eventually saw the group moved to Section 137, directly behind the south goal. There are also several other affiliated ultras and supporters groups, including The Arsonists, Banter Buddies, Blitzer Mob, Husaria, Fire Ultras 98, Partisans, Red Scare, Second City North, The Western Front, Ultras Red-Side, Mike Ditka Street Crew (MDSC), and Whiskey Brothers Aught-Five. The Section 8 Chicago ISA is a registered 501(c)7 non-profit organization run by volunteers through an elected board of directors.


title: Chicago Fire FC

text: Match atmosphere is known for organized displays of stadium-wide support, particularly for matches of prime competitive importance. Call-and-response cheering amongst the crowd is commonplace. Fans at SeatGeek Stadium for Fire matches periodically choreograph tifo presentations both to show their pride and inspire the players on the field. SeatGeek Stadium remains one of the few American environments to conduct such fan-driven presentations on a large scale.


title: Chicago Fire FC

text: Their official mascot is Sparky, an anthropomorphic Dalmatian dog. Sparky is usually shown wearing the club's jersey but also arrives wearing firefighter attire.


title: Chicago Fire FC

text: While the Fire have heated rivalries with a number of different MLS teams, Fire supporters of different ages will likely give different responses as to who the club's main rival is. The earliest Fire supporters would list Brimstone Cup rival FC Dallas as the Fire's nemesis, or Los Angeles Galaxy following heated playoff and cup matches with Dallas and L.A. in the league's early years.


title: Chicago Fire FC

text: After the Fire moved to the Eastern Conference, meetings with Dallas and LA became less frequent. Rivalries with D.C. United and New England Revolution were stoked following several thrilling playoff meetings. The Fire and Revolution are MLS' most frequent playoff matchup, meeting in the MLS Cup Playoffs 8 different times in 10 seasons from 2000 to 2009, splitting those encounters 4–4, with the Fire winning in 2000, 2003, 2008, and 2009. New England ended the Fire's playoff runs in 2002, 2005, 2006, and 2007. Newer rivals include Columbus Crew, who up until the introduction of FC Cincinnati were the closest MLS team geographically to the Fire, and Atlanta United following quarrels between the two sets of fans.


title: Chicago Fire FC

text: Beginning with the 2020 season, WGN Sports was added as a regional television rightsholder under a multi-year deal, with all regional matches airing on WGN-TV. The first season under the contract was concurrent with the final year of the existing ESPN+ regional rights. WGN had recently lost its legacy professional sports rights to NBC Sports Chicago and Marquee Sports Network. In April 2021, the club announced that their television broadcast team would consist of play-by-play commentator Tyler Terens, color analyst, Tony Meola. Play-by-play commentator Arlo White – whose Fire broadcast debut was postponed in 2020 because of the pandemic – was also expected to call several games. With every MLS game available on Apple TV via their rights deal in 2023, Chicago games will be broadcast almost exclusively on this service, with exceptions for certain national linear television broadcast partners.


title: Chicago Fire FC

text: The "Ring of Fire" was established in 2003 by Chicago Fire Soccer Club and the Chicago Fire Alumni Association as permanent tribute to honor those who have made the club proud and successful over its history. Aside from the initial member Piotr Nowak, only "Ring of Fire" members can select new inductees, and no more than one can be selected any year. Names and numbers (if applicable) are prominently displayed inside SeatGeek Stadium.


title: Chicago Fire FC

text: There were no inductees in 2008, 2010, or 2011. In 2008, the members voted to honor two recently deceased fans (supporter leaders Dan Parry and Brandon Kitchens) but were overruled by the club chairman Andrew Hauptman. Parry and Kitchens were later made members of the Wall of Honor, a special recognition for Fire fans. In addition to Parry and Kitchens, the late Fire fans Euan McLean and Al Hack have been inducted into the Wall of Honor as of 2011. C.J. Brown was expected to be honored in 2011, but a new rule was established that inductees must have been away from the club for at least a calendar year. Brown, at the time an assistant head coach at Real Salt Lake, was officially inducted at the halftime ceremony during the home game vs. Real Salt Lake in Toyota Park on May 9, 2012.


title: Chicago Fire FC

text: On October 3, 2015, Ante Razov, the club's all-time leading scorer, became the eighth individual to be inducted into the club's Ring of Fire Hall of Fame. The ceremony took place on that day during the halftime of the regular season home match against New England Revolution.


title: Chicago Fire FC

text: This is a partial list of the last five seasons completed by the Fire. For the full season-by-season history, see List of Chicago Fire FC seasons.


title: Random Access Memories

text: Random Access Memories is the fourth studio album by the French electronic duo Daft Punk, released on 17 May 2013 through Columbia Records. The album pays tribute to late 1970s and early 1980s American music, particularly from Los Angeles. This theme is reflected in the album's packaging, as well as its promotional campaign, which included billboards, television advertisements, and a web series. Recording sessions took place from 2008 to 2012 at Henson, Conway and Capitol Studios in California, Electric Lady Studios in New York City, and Gang Recording Studio in Paris, France. "Random Access Memories" was the duo's final album before they split up in February 2021.


title: Random Access Memories

text: Following the minimal production of their previous studio album, "Human After All" (2005), Daft Punk recruited session musicians to perform live instrumentation and limited the use of electronic instruments to drum machines, a custom-built modular synthesizer, and vintage vocoders. The album has been noted by music critics as a disco album, while drawing influence from progressive rock and pop. The album features collaborations with Giorgio Moroder, Panda Bear, Julian Casablancas, Todd Edwards, DJ Falcon, Chilly Gonzales, Nile Rodgers, Paul Williams, Nathan East, and Pharrell Williams. It is Daft Punk's only album released through Columbia Records.


title: Random Access Memories

text: "Random Access Memories" became Daft Punk's first and only album to top the US "Billboard" 200, and has since been certified platinum by the Recording Industry Association of America (RIAA). It also topped the charts in twenty other countries. Its lead single "Get Lucky" was a critical and commercial worldwide success, topping the charts in over thirty countries and becoming one of the best-selling digital singles of all time. The album received critical acclaim, appearing on several year-end lists, and won in several categories at the 2014 Grammy Awards, including Album of the Year, Best Dance/Electronica Album, and Best Engineered Album, Non-Classical. "Get Lucky" also won the awards for Record of the Year and Best Pop Duo/Group Performance. In 2020, "Rolling Stone" ranked the album at number 295 on their list of the "500 Greatest Albums of All Time".


title: Random Access Memories

text: In 2008, after finishing their Alive 2006/2007 tour, Daft Punk began working on new material in Paris, recording demos for approximately six months. They were pleased with the compositions, but dissatisfied with their process of sampling and looping, as they had done for their previous albums. As Thomas Bangalter of Daft Punk stated, "We could play some riffs and stuff but not keep it [up] for four minutes straight." Daft Punk put these demos aside and started work on the "" film soundtrack, which Bangalter described as "very humbling". For their next album, Daft Punk decided to work extensively with live musicians; according to Bangalter, "We wanted to do what we used to do with machines and samplers, but with people." They avoided the use of samples, with the exception of the closing track "Contact".


title: Random Access Memories

text: The album features Chic frontman Nile Rodgers. According to Rodgers, the collaboration was "something we've talked about for a long time. We've respected each other endlessly." Daft Punk visited Rodgers' home for an informal jam session. Musician Paul Williams announced in a 2010 interview that he had worked with the group, after Daft Punk had been introduced to Williams by a sound engineer with whom they were mutually acquainted.


title: Random Access Memories

text: In May 2012 Daft Punk's collaboration with Giorgio Moroder was announced. Moroder had recorded a monologue about his life for use in a track on the album. Rodgers was also present during the Moroder recording session. Moroder clarified that he was not involved in the composition of the track or its use of a synthesizer: "They did not let me get involved at all. Thomas asked me if I wanted to tell the story of my life. Then they would know what to do with it." Daft Punk had been in contact with Moroder in relation to a possible contribution for the "Tron: Legacy" score, but this never happened.


title: Random Access Memories

text: Chilly Gonzales stated in an interview that his contribution was recorded in a one-day session: "I played for hours and they're gonna grab what they grab and turn it into whatever." He explained that Daft Punk prompted him at the piano in the same manner that a film director coaches an actor, and Gonzales left the Los Angeles studio without knowledge of what the final product would sound like. He had previously recorded a cover version of Daft Punk's song "Too Long" that appeared on the duo's 2003 album "Daft Club".


title: Random Access Memories

text: Pharrell Williams collaborated with Daft Punk and Rodgers by providing vocals for two tracks on "Random Access Memories". As a member of the Neptunes, Pharrell had previously provided a remix of "Harder, Better, Faster, Stronger" that appeared on "Daft Club". The Neptunes and Daft Punk also co-produced N.E.R.D.'s song "Hypnotize U".


title: Random Access Memories

text: Daft Punk recorded "Random Access Memories" in secrecy. Recording took place at Henson Recording Studios, Conway Recording Studios and Capitol Studios in California, Electric Lady Studios in New York City, and Gang Recording Studio in Paris. Having worked with keyboardist and arranger Chris Caswell on "Tron: Legacy", Daft Punk enlisted him and connected with engineers and other session players. They wanted to avoid the more compressed sounds of drum machines in favor of "airy open" drum sets of the 1970s and 80s, which they considered the most appealing era of music. They said the session players were enthusiastic about reuniting in the context of the new album and the prestige of the studio locations.


title: Random Access Memories

text: Drummer Omar Hakim recalled being asked by Daft Punk to perform on the album, and was surprised by what they wanted of him. He at first assumed that the duo wanted electronic drum work, since Hakim had done some drum programming in his career. Daft Punk instead specified that they were looking to record Hakim performing acoustic drum riffs that the duo had conceived. Rather than play out the entire structure of a song, Hakim would perform individual patterns for extended periods, creating a library for the duo to cull from. Daft Punk conveyed their ideas to session musicians via sheet music and in some instances by humming melodies. For example, Bangalter hummed a complex drum and bass line to Hakim, who replicated and improved upon it for the track "Giorgio by Moroder".


title: Random Access Memories

text: Most of the vocal sessions took place in Paris, whereas the rhythm sections were recorded in the United States. The album incorporates a variety of accompanying performances including a horn section, woodwind instruments, a string orchestra and choir. Orchestral parts were recorded for almost every track, but used for only a few on the completed album. The use of such performers and places came at great monetary expense, as noted by Bangalter: "There used to be a time where people that had means to experiment would do it, you know? That's what this record is about." He estimated a cost of over one million dollars, but felt that the number was not important. Bangalter stated that the sessions were financed by Daft Punk themselves, which allowed them the luxury of abandoning the project if they had so wished. He also specified that "there are songs on the album that traveled into five studios over two and a half years."


title: Random Access Memories

text: Various sound effects were newly recorded with the help of film experts from Warner Bros. Bangalter noted one example in which the sound of a busy restaurant was achieved by placing microphones in front of the forks of a group of people. In another instance, the effect of dripping water was recorded on a soundstage. Use of electronics was limited to drum machines that appear on only two tracks, a large custom-built Modcan modular synthesizer performed live by the duo, and vintage vocoders. When asked which of the two Daft Punk members performed the robotic vocals on the album, Bangalter expressed that it did not matter. The duo produced most of the vocoder tracks in their own private studio in Paris, with later processing done by Mick Guzauski at Capitol. Moroder elaborated that Daft Punk would take "a week or so" to find an adequate vocoder sound, and an additional few days to record the lyrics.


title: Random Access Memories

text: Although the duo felt that the presets and parameters of digital tools would inhibit creativity and innovation, they admitted that "Random Access Memories" could not have been made in the complete absence of computer technology. The sessions were recorded simultaneously onto Ampex reels and as Pro Tools tracks; Daft Punk and Guzauski would then listen to each recording in both analogue and digital iterations, deciding which of the two they preferred. Subsequently, the elements were edited by the duo with Pro Tools in a manner similar to how they would work with samples.


title: Random Access Memories

text: In an interview conducted in November 2012 by "Guitar World" magazine, Fourplay member Nathan East mentioned that he had contributed to the project. The percussionist Quinn also stated that he performed on "every drum [he] own[s]" for the album. Pedal steel guitar work on the record was performed by Greg Leisz. Daft Punk sought to use the instrument in a way that bordered between electronic and acoustic. Additional session players include John "J.R." Robinson, Paul Jackson, Jr., James Genus and Thomas Bloch.


title: Random Access Memories

text: Bangalter described the album's title as encapsulating Daft Punk's interest in the past, referencing both random-access memory technology and the human experience: "We were drawing a parallel between the brain and the hard drive – the random way that memories are stored." Daft Punk felt that while current technology allows for an unlimited capacity to store recorded material, the content produced by contemporary artists had diminished in quality. Their goal was therefore to maximize the potential of infinite storage by recording a sprawling amount of elements. The duo pointed to the process as being further inspiration for the album's title, as they sought to make connections out of the random series of ideas.


title: Random Access Memories

text: "Random Access Memories" has been noted by music critics as a disco album. Regarding the style of the album, they sought a "west coast vibe", referencing such acts as Fleetwood Mac, the Doobie Brothers, and the Eagles. Daft Punk also acknowledged that the record pays homage to Michael Jackson, the Cars, and Steely Dan. The recording of live synthesizer parts was done in a progressive rock fashion, with the pop sensibilities of Wizzard and the Move. Daft Punk specifically looked to the albums "Rumours" by Fleetwood Mac and "The Dark Side of the Moon" by Pink Floyd as models. Bangalter remarked upon several records of the album era, saying that "the most important records in music, whether it's Led Zeppelin [...] or "The White Album" or "Sgt. Pepper's..." or "Quadrophenia" or "Tommy", are the ones that take you on a journey for miles and miles."


title: Random Access Memories

text: The initial demos of "Random Access Memories" were created without a clear plan for an album. Over the course of the sessions, numerous tracks were created and discarded. At one point Daft Punk had considered sorting the entire album into one continuous track, similar to the Prince record "Lovesexy". They had also considered releasing it as a four-disc box set to accommodate the large volume of content produced. Thus the album lacked structure until the final months of production.


title: Random Access Memories

text: The opening track, "Give Life Back to Music", features guitar work by Rodgers and Paul Jackson, Jr., drums by John "J.R." Robinson, and lyrics performed by Daft Punk using vocoders. The song reflects the duo's goal to create a light yet polished and elegant record. As stated by "NME", the album begins with "a stupendously vast rock intro that obliterates any trace of "Human After All"<nowiki>'</nowiki>s brittle techno". The following track, "The Game of Love", also features vocoder singing by the duo. Bangalter said, "There's this thing today where the recorded human voice is processed to try to feel robotic." He explained that the duo's intention was to produce robotic vocals with expressiveness and emotion. "Giorgio by Moroder" was created to serve as a metaphor about musical freedom. The duo believed that a monologue by Moroder about his career would be an analogue for music's history regarding exploration of genres and tastes. In the monologue, Moroder details the creative process behind Donna Summer's "I Remember Yesterday" (1977) and its closing track "I Feel Love".


title: Random Access Memories

text: "Within" was one of the first tracks to be recorded for the album. It features Gonzales on piano with minimal accompaniment consisting of bass and a percussion track, as well as vocoder. In the context of the album, "Within" marks the transition from the key of A minor of the previous three songs, to the key of B-flat minor of subsequent tracks. Regarding the lyrics, critic Nick Stevenson observed, "A deep vocoder sings about not understanding the world, being lost and not even remembering his own name." Jeremy Abbott of "Mixmag" added, ""So many things I don't understand" is the prominent lyric and Chilly's chords combined with grazing cymbals make for a beautiful summer lullaby."


title: Random Access Memories

text: "Instant Crush" was based on a demo that Daft Punk presented to Julian Casablancas; he became enthused upon hearing it and provided vocals. The song contains rock influences and a guitar solo. Critic John Balfe considered it "appropriately Strokes-ish, even if [Casablancas'] trademark drawl is fed quite substantially through a vocoder." De Homem-Christo noted, "It is true that it is not his usual register, it is the way Julian reacted to the track so for us it is even more exciting." "Lose Yourself to Dance" features Pharrell Williams and was the result of a desire to create dance music with live drummers. To that end, Robinson appears as session player. A vocoder chant of "come on" appears in the song alongside Pharrell Williams's singing.


title: Random Access Memories

text: "Touch" features lyrics written and performed by Paul Williams. Daft Punk noted that the song is the most complex piece on the record, being composed of over 250 elements. As "Pitchfork" observed, "the song warps and bends, floating through genres, epochs, and emotions with a sense of hallucinatory wonder" and recalls the Beatles song "A Day in the Life". In "Rolling Stone", Will Hermes observes, "It's completely ridiculous. It's also remarkably beautiful and affecting." Louis Lepron of Kombini believed the multitude of styles and science fiction aesthetics on the track is an homage to musical films including "Phantom of the Paradise", the soundtrack of which Williams had composed. The song's opening is a specific reference to a scene in the film in which the title character's voice is gradually enhanced in a studio booth. De Homem-Christo stated that "Touch" is "like the core of the record, and the memories of the other tracks are revolving around it."


title: Random Access Memories

text: "Get Lucky" is the second song on the album to feature Pharrell Williams, who clarified that the title phrase does not simply refer to a sexual act, but to the potential fortune of finding chemistry with another person. When he had first heard the song, Pharrell Williams said it evoked the image of a "peachy color[ed]" sunrise on an exotic island. Daft Punk discussed the concept of the song "Beyond" with Paul Williams, who then translated the ideas into lyrics for it. The track begins with an orchestral string section and timpani before settling into what "NME" called "reupholstered Warren G 'Regulate' grooves". Stevenson similarly described "Beyond" as "a lot like the sample used in Nate Dogg and Warren G's ‘Regulate’", Michael McDonald's song "I Keep Forgettin'", which he noted as "no bad thing", and stated that the vocoder-affected lyrics detail "the existential world beyond oceans and mountains – a land beyond love."


title: Random Access Memories

text: "Motherboard" was described by Daft Punk as being "a futuristic composition that could be from the year 4000". A review elaborated that the instrumental piece can "carry you away like a track by Sébastien Tellier". Todd Edwards commented that the lyrics of "Fragments of Time" were inspired by his desire to capture the moments he experienced during his visit to the duo's studio sessions in California. "Doin' It Right" was the last song to be recorded and features vocals performed by Panda Bear. The duo referred to it as the only purely electronic piece on the album, with a modern style. The closing track, "Contact", is co-produced by DJ Falcon and features a sample of the song "We Ride Tonight" by Australian rock band the Sherbs.


title: Random Access Memories

text: The Japan-exclusive bonus track "Horizon", written by Bangalter and de Homem Christo, is a slow-tempo composition reminiscent of Pink Floyd. It is characterized by a consistent guitar strum while several additional instruments are progressively layered over, including a bass guitar and drums. The song is stylistically different from other tracks on the album, and is one of the few to feature no lyrics.


title: Random Access Memories

text: In January 2013, de Homem-Christo first revealed that Daft Punk was in the process of signing with Sony Music Entertainment through the Columbia Records label, and that the album would have a spring release. A report from "The Guardian" followed specifying a release date of May 2013. On 26 February 2013, Daft Punk's official website and Facebook page announced the signing to Columbia with a picture of the duo's helmets, and a "Columbia" logo in the corner. Billboards and posters featuring the helmets and logo then appeared in several major cities.


title: Random Access Memories

text: On 2 March, a 15-second television ad aired during "Saturday Night Live" ("SNL") depicting an animated, stylized version of the band's logo and the aforementioned image of the helmets. The music featured in the ad was a result of the collaboration with Rodgers, who noted that various fan remixes of the clip appeared online after the airing. A second TV ad also premiered that was similar to the first on "Saturday Night Live", but with a different music clip and the title "Random Access Memories" in place of the stylized Daft Punk logo. During the first night of Coachella Festival 2013, a third trailer debuted that featured Daft Punk, Pharrell Williams and Rodgers performing, as well as a list of collaborators on the album. The trailer also aired during "Saturday Night Live" the following evening, but without a list of collaborators.


title: Random Access Memories

text: The gradual rollout of promotion was inspired by advertising of the past, reflecting the theme of the album. Daft Punk approached Columbia with a specific agenda for the campaign; Rob Stringer of the label recalled that the duo had showed him the book "Rock 'n' Roll Billboards of the Sunset Strip" as an example of what they wanted. Bangalter felt that physical billboards are more affecting than banner ads and that ""SNL" is this part of American culture with a certain timelessness to it." The campaign was handled by a small group led by Daft Punk and manager Paul Hahn, with assistance from Kathryn Frazier of the public-relations firm Biz 3. The duo had pursued Columbia in particular because of its long-standing history, as expressed by Bangalter: "It felt interesting conceptually to write this story with a record company like Columbia, with a 125-year legacy."


title: Random Access Memories

text: Central to the promotion was the limiting of exposure to the album's content, as well as a focus on face-to-face contact for press previews. As Hahn stated, "There is a minimalism in our approach that creates an absence of information, and we notice our fans tend to throw themselves into the breach, or try to fill the empty spaces." Following a reported leak of the song days earlier, "Get Lucky" was released as a digital download single on 19 April 2013. On 13 May, a limited-time preview stream of the full album was launched via the iTunes Store.


title: Random Access Memories

text: Daft Punk were scheduled to appear on 6 August episode of "The Colbert Report" to promote "Random Access Memories", but were unable to do so because of conflicting obligations regarding the duo's future appearance at the 2013 MTV Video Music Awards. According to Stephen Colbert, Daft Punk were unaware of any exclusivity agreement and were halted by MTV executives the morning prior to the taping. Colbert nevertheless broadcast an elaborate sketch of himself dancing to "Get Lucky" with various celebrities, including Hugh Laurie, Jeff Bridges, Jimmy Fallon, Bryan Cranston, Jon Stewart, Henry Kissinger, Matt Damon, and the Rockettes.


title: Random Access Memories

text: Unlike the previous studio albums that feature the band's wordmark as the cover art, "Random Access Memories" is the first and only one to not do so. Instead, it features the band members' signature helmets with the album title written on the top left. The font is reminiscent to that of Michael Jackson's "Thriller." The image of the helmets was first revealed on Daft Punk's website, and became a recurring symbol throughout the promotional campaign.


title: Random Access Memories

text: The album's track titles were initially withheld from online retailers and later revealed through Columbia's Vine account on 16 April 2013, as a video relaying a series of images from the back cover of the record. On 13 May, Daft Punk's official Vevo channel posted a video revealing the artwork packaging of the vinyl version of the album, as well as the first few seconds of the opening track. Disc labels of the album feature the classic yellow and red Columbia design used on records during the 1970s and '80s, reflecting the album's theme.


title: Random Access Memories

text: Columbia released a deluxe box set of "Random Access Memories" containing a 56-page hardcover book, the vinyl edition of the album, a partial 70 mm film strip of the "Lose Yourself to Dance" video, and triangle-designed gold and silver plated USB drives, which contain standard and bonus audio as well as video content, respectively.


title: Random Access Memories

text: The "Random Access Memories" official website features a video series called "The Collaborators", directed by Ed Lachman and produced by "The Creators Project", a partnership between Intel and "Vice". Eight episodes were released in the series, which features interviews with participant artists that were involved in the making of the album. All featured album artists appear in the series with the exception of Casablancas, who would go on to appear prominently in the music video for "Instant Crush". Excerpts of the lead single "Get Lucky" appear in the opening and ending of each "Collaborators" episode as well as excerpts of other songs from the album, corresponding to each featured musician.


title: Random Access Memories

text: The first episode features disco pioneer Moroder speaking about his experiences with the genre such as his records with Donna Summer and experimenting with synthesizers. Moroder also talks about his visit with Daft Punk in their recording studio. When asked how he first found out about the duo, he replied that he first heard their 2000 single "One More Time" and especially liked the breakdown middle section. He concluded that he views Daft Punk as "perfectionists" and described the album's style as "something [...] different. Still dance, still electronic; but [they] give that human touch back".


title: Random Access Memories

text: Episode two revealed that Edwards had contributed to the album; he expressed that it was difficult keeping his involvement a secret. Edwards had previously collaborated with Daft Punk to create the song "Face to Face" on the 2001 album "Discovery". He summarized his experience in the studio recording "Fragments of Time" as being life-changing, as the sessions inspired him to move from New Jersey to California on a permanent basis. Edwards also pointed out the irony of "two androids [...] bringing soul back to music".


title: Random Access Memories

text: The third episode features Rodgers, who spoke of his background as a founding member of Chic, as well as his numerous collaborations with other artists throughout his career, such as David Bowie, Madonna, and Duran Duran. He expressed that working with Daft Punk "[felt] like [...] working with contemporaries" and that they motivated each other to excel when collaborating on the album. At the end of the episode, Rodgers played a portion of a then-unspecified song in which he participated, which was later identified as "Lose Yourself to Dance", and remarked that the duo's style has evolved whilst simultaneously exploring music's past, suggesting that "they went back to go forward."


title: Random Access Memories

text: Pharrell Williams participated in the fourth episode in which he elaborated on his experience with the creation of the album. Pharrell remarked upon the organic sound of the album, surmising that it "feels like the only click track they had was [...] the human heartbeat". He felt that the record can be enjoyed by people of all ages due to the accessible nature of music, and concluded that Daft Punk "could just get back on the spaceship that brought them here and go, and leave us. But they're gracious, they're nice robots. They chose to stay".


title: Random Access Memories

text: Episode five features Noah Lennox, better known by his stage name Panda Bear, who spoke about his contribution to the album as well as his history with the band Animal Collective. He had first heard of Daft Punk through the music video of the song "Around the World", which introduced him to many aspects of electronic dance music. He added that "Homework" was one of the few albums he and his older brother both enjoyed. Regarding "Random Access Memories", Lennox remarked upon the approach of having live musicians, but structuring their performances in a minimal, sample-like fashion.


title: Random Access Memories

text: For the sixth episode, Gonzales spoke about his contribution to the album. He recalled Daft Punk's visible joy in listening to the raw session recordings made early in the production of the album, as well as the impending years-long challenge that would be faced in completing the record. Gonzales expressed that the duo were aware of how the keys of each song would contribute to the emotional progression of the album as a whole. He therefore performed the piano in the song "Within" to accommodate the cycle. Gonzales concluded by pointing out that Daft Punk rarely collaborate with others, and thus felt that they did so on "Random Access Memories" to "make the work be transcendent".


title: Random Access Memories

text: The seventh episode features Stéphane Quême, otherwise known as DJ Falcon, who spoke of first meeting Daft Punk when they began recording their debut album "Homework". Quême noted that their sound had since changed and that each of their albums drew from different influences. He felt producers would be able to sample "Random Access Memories" in the same way Daft Punk had sampled older records in their previous albums.


title: Random Access Memories

text: Episode eight features Paul Williams, who likened Daft Punk's personas to a character from the film "Phantom of the Paradise", in which he starred. He also added that their masks hide who they are from the public and allow the listeners to enjoy the music for what it is. Paul Williams worked with the duo at Henson Recording Studios, the former studio of A&M Records where he had worked previously, including his compositions for Jim Henson's films featuring the Muppets, such as "Rainbow Connection". He also stated that the song he penned was to be sung from the point of view of an unidentified first person, setting the emotion, but the lyrics came from the music itself. Paul Williams said that he felt vulnerable while writing the record, and said he writes best when he is allowed to be honest and vulnerable, a situation that Daft Punk nurtured. He also stated that his sobriety added a sense of wonder to the song he wrote, as every day for him being sober has been wonderful compared to his prior life of excess.


title: Random Access Memories

text: The 79th Annual Wee Waa Show, held on 17 May 2013 in the rural Australian town of Wee Waa, was selected as the venue for the worldwide album launch. The tickets for the Wee Waa album launch were completely sold within thirteen minutes of release, even though it was widely understood that Daft Punk would not be in attendance at the launch—the album launch details revealed that the album would be streamed live to the 4,000 audience members. Australian police in the local Wee Waa area initiated Operation Hadrian to prevent alcohol-related problems and anti-social behaviour at the launch event.


title: Random Access Memories

text: Sony commissioned the design and construction of a custom-built stage for the Wee Waa album launch event, and the Daft Arts production house assembled a LED circular music space that became Australia's biggest-ever outdoor dance floor. The record label described the creation, which was illuminated by a giant disco ball and complemented by four speaker towers and flood lights, as ""Saturday Night Fever" meets "Close Encounters of the Third Kind"". The prelude to the streaming of the album was a pyrotechnic show provided by Father Anthony Koppman and his company "Holy Smoke" from Guyra, New South Wales.


title: Random Access Memories

text: "Random Access Memories" received widespread acclaim from critics. At Metacritic, which assigns a weighted mean rating out of 100 to reviews from mainstream critics, the album gained an average score of 87, based on 47 reviews. The album scored higher than any other album by the duo.


title: Random Access Memories

text: "Q" referred to it as "by some margin Daft Punk's best album in a career that's already redefined dance music at least twice. It is, in short, a mind blower." "The Independent" stated, ""Random Access Memories" breathes life into the safe music that dominates today's charts, with its sheer ambition ... It's an exciting journey, and one that, for all its musical twists and turns, has its feet planted on the dancefloor." Melissa Maerz of "Entertainment Weekly" called it "a headphones album in an age of radio singles; a bravura live performance that stands out against pro forma knob-twiddling; a jazzy disco attack on the basic house beat; a full collaboration at a time when the superstar DJ stands alone." She concluded her review by saying that "if EDM is turning humans into robots, Daft Punk are working hard to make robot pop feel human again."


title: Random Access Memories

text: Several critics commented on the variety of content on the album. "NME" said, "There's a creeping notion that every musical idea that's ever been so much as thought up is on this album." In addition, "Random Access Memories" is ranked No. 497 on "NME"'s list, "The 500 Greatest Albums Of All Time". Mark Richardson of "Pitchfork" echoed this sentiment, calling the record "a mix of disco, soft rock, and prog-pop, along with some Broadway-style pop bombast and even a few pinches of their squelching stadium-dance aesthetic". Richardson praised the engineering and recording on the album, but did say that "though everything about "RAM", from the session musicians to the guests to the means of production, is meant to sound more 'human,' the album at points sounds more sterile, almost too perfect." "Pitchfork" named the album the seventh-best of 2013.


title: Random Access Memories

text: "DJ Magazine" commented on the shift in Daft Punk's musical style: "While Daft Punk clearly want to move on and evolve, ditching the electronic beats, house and techno that first elevated them to fame, it's that music that forms the bedrock of their best tunes, and still, that's what they're best at making." "Resident Advisor" stated that "it's an album rooted in a now-ancient aesthetic: '70s staples, like crisply recorded California studio music, or the kind of deceptively sophisticated New York disco that , one of the album's key guest artists, popularized with Chic." In a five-star review, Heather Phares of AllMusic said that the record "taps into the wonder and excitement" of music from the 1970s and early 1980s. Phares concluded her review by saying, ""Random Access Memories" is also Daft Punk's most personal work, and richly rewarding for listeners willing to spend time with it."


title: Random Access Memories

text: Aaron Payne of musicOMH wrote, "Daft Punk somehow misplace the wit and the light touch that's pretty much their trademark. Instead, these long epics become somewhat tedious and there is a strong whiff of egoism and self-indulgence ... At over 70 minutes, the album feels rather bloated. Quite a few of the songs are too long, or too empty of ideas, or too willing to repeat themselves, or too willing to play to type". Dan Weiss of "Paste" noted that "none of the admittedly eclectic pilferings of "Random Access Memories" challenge or defy anything. They all evoke specific eras of film soundtrack or disco trend. The beats have grown less, not more, complex over time." In 2021, "Pitchfork" included "Random Access Memories" on its list of review scores they "would change if they could", adjusting its score from 8.8 out of 10 to 6.8. The "Pitchfork" critic Philip Sherburne wrote that it "doesn't feel pivotal in the same way that "Discovery" did" and "didn't push pop music forward".


title: Random Access Memories

text: "Random Access Memories" received Grammy Awards for Album of the Year, Best Dance/Electronica Album and Best Engineered Album, Non-Classical for the 56th Annual Grammy Awards. The lead single, "Get Lucky", also won for Record of the Year and Best Pop Duo/Group Performance. "Get Lucky" had previously been nominated for Best Song of the Summer at the 2013 MTV Video Music Awards and Best Song at the 2013 MTV Europe Music Awards. In January 2015, the album was placed at number 9 on "Billboard"'s list of "The 20 Best Albums of 2010s (so far)". In 2020, the album was ranked at 65 on the 100 Best Albums of the 21st Century list of "Stacker".


title: Random Access Memories

text: "Random Access Memories" debuted at number one on the French Albums Chart with first-week sales of 195,013 copies (127,361 physical sales and 67,652 digital sales), earning Daft Punk their first number-one album in France. The next week, it sold 49,600 copies to remain at the top spot with a 75% sales decrease. The album secured a third consecutive week atop the French chart, withstanding a 29% sales drop to 35,500 copies.


title: Random Access Memories

text: "Random Access Memories" debuted at number one on the UK Albums Chart with 165,091 copies sold in its first week, becoming the duo's first UK number-one album, as well as the second fastest-selling artist album of 2013 after One Direction's "Midnight Memories". The album remained at number one on the UK chart the following week, selling 52,801 copies. In its third week, it fell to number three on sales of 28,182 copies.


title: Random Access Memories

text: In the United States, the album debuted at number one on the "Billboard" 200 with first-week sales of 339,000 copies, the duo's first number one album on the chart. The album maintained the number one spot in its second week, selling 93,000 copies. In the album's third week of release, it sold an additional 62,000 copies, while falling to number two on the "Billboard" 200. The album's vinyl LP format also proved popular; it was 2013's top-selling LP, with 49,000 US copies shifted. The album had sold 922,000 copies in the US as of January 2014. On 6 February 2014, the album was certified platinum by the Recording Industry Association of America (RIAA). Following the duo's Album of the Year win at the 56th Annual Grammy Awards, "Random Access Memories" jumped from number 39 to number 10 on the "Billboard" 200 with a 300% sales increase, selling 30,000 copies that week.


title: Random Access Memories

text: "Random Access Memories" entered the Canadian Albums Chart at number one with 46,000 copies sold, the biggest one-week sales total in Canada of 2013. The album remained at number one the next week, selling 17,000 copies. In Japan, the album debuted at number three on the Oricon Weekly Albums Chart, selling 25,970 copies.


title: Random Access Memories

text: The album debuted at number one in several countries across continental Europe, including Austria, Belgium, Czech Republic, Denmark (where the album sold 5,392 copies in its first week), Finland, Germany, Ireland, Italy, Norway, Portugal, Spain and Switzerland. In Oceania, "Random Access Memories" debuted at number one in Australia and New Zealand; it was certified platinum by the Australian Recording Industry Association (ARIA) and gold by the Recording Industry Association of New Zealand (RIANZ) in its first week.


title: Random Access Memories

text: On 23 March, the album became available for pre-order on the iTunes Store via digital download, revealing a release date of 17 May in Australia, 20 May in the United Kingdom, and 21 May in the United States. It later appeared as an Amazon.com pre-order on CD, vinyl and directly from the "Random Access Memories" official website. The album became available for preview streaming via the iTunes Store on 13 May 2013. It was also released for streaming on Spotify, with the lead single, "Get Lucky", topping Spotify's first digital streaming chart in the process.


title: Online casino

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title: Online casino

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title: Online casino

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title: Online casino

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title: Online casino

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title: Online casino

text: Also known as software-based online casino games, the outcome of these games is determined using a pseudorandom number generator (PRNG) software. This software ensures that every deal of the card, the outcome of a dice throw, or the results produced by the spinning of a slot machine or roulette wheel is totally random and unpredictable. PRNGs use a set of mathematical instructions known as an algorithm to generate a long stream of numbers that give the impression of true randomness. While this is not the same as true random number generation (computers are incapable of this without an external input source), it provides results that satisfy all but the most stringent requirements for true randomness.


title: Online casino

text: When implemented correctly, a PRNG algorithm such as the Mersenne Twister will ensure that the games are both fair and unpredictable. However, usually, the player has to trust that the software has not been rigged to increase the house edge, as its inner workings are invisible to the user. Properly regulated online casinos are audited externally by independent regulators to ensure that their win percentages are in line with the stated odds, and this can provide a degree of assurance to the player that the games are fair, assuming the player trusts the regulator.


title: Online casino

text: Live dealer casino games are the complete opposite of software-based games. Instead of depending on software to determine the outcome of the roulette spin, dice throw, or deal of a card, these games depend on real-time results. This is possible as the games are streamed in real-time from a land-based casino or a studio recreated to mimic a land-based casino.


title: Online casino

text: To ensure that players have an easy time playing these games and that the land-based environment is fully recreated, software developers include innovative features such as the chat feature. This enables the player to type your message to the dealer and they can respond back verbally. The live chat feature can also be used to communicate with other players seated at the table following a set of rules laid down by the casino.


title: Online casino

text: The results of the physical transactions by the dealer, such as the outcome of the roulette wheel spin or the dealing of cards, are translated into data that can be utilized by the software by means of optical character recognition (OCR) technology. This enables the player to interact with the game in much the same way as they would with a virtual casino game, except for the fact that the results are determined by real-life actions rather than automated processes.


title: Online casino

text: These games are a lot more expensive for websites to host than virtual games, as they involve a heavier investment in technology and staffing. A live casino studio typically employs one or more cameramen, several croupiers running the various games, an information technology manager to ensure that any technical hitches are dealt with swiftly, and a pit boss that acts as an adjudicator in case of disputes between players and croupiers.


title: Online casino

text: In most cases, this requires at least a three-room setup, comprising a live studio, a server/software room, and an analyst’s room. The configuration of these rooms varies from casino to casino, with some having several gaming tables in one room, and some having a single table in each room.


title: Online casino

text: The high running costs involved with operating live dealer games is the reason why online casinos only tend to offer a handful of the most popular games in this format, such as roulette, blackjack, sic bo, and baccarat. In comparison, the running costs associated with virtual games are very low, and it is not uncommon for online casinos to offer hundreds of different virtual casino games to players on their site.


title: Online casino

text: Online casinos vary in their approach to the hosting of live games, with some providing live games via their own television channel, and others offering the games exclusively via their website. In the case of televised games, players can often use their mobile phone or television remote controls to place bets instead of doing so via a computer connected to the internet. The most common live dealer games offered at online casinos are baccarat, blackjack, and roulette.


title: Online casino

text: Many online casinos offer sign-up bonuses to new players making their first deposit, and often on subsequent play as well. These bonuses are a form of marketing that may incur a cost (potentially justifiable in order to attract a new player who may return and deposit many more times), since the casino is essentially giving away money in return for a commitment from the player to wager a certain minimum amount before they are allowed to withdraw. Since all casino games have a house edge, the wagering requirements ensure that the player cannot simply walk away with the casino's money immediately after claiming the bonus. These wagering requirements are commonly set to be sufficiently high that the player has a negative expectation, exactly as if they had deposited and not claimed a bonus.


title: Online casino

text: Casinos may choose to restrict certain games from fulfilling the wagering requirements, either to restrict players from playing low-edge games or to restrict 'risk-free' play (betting for instance both red and black on roulette), thereby completing the wagering requirement with a guaranteed profit after the bonus is taken into account.


title: Online casino

text: The Welcome bonus is a deposit match bonus on the first deposit ever made in the casino or casino group. Welcome bonuses sometimes come in packages and may be given to match the first two or three deposits (First Deposit Welcome Bonus, Second Deposit Welcome Bonus, etc.). They can also be tied to specific games, such as the Welcome Slots Bonus or the Welcome Table Games Bonus. The casino may also offer Welcome bonuses for high rollers who make an initial deposit above the standard amount limit.


title: Online casino

text: There are two types of Referral bonuses: one for the Referee and one for the Referrer. The Referee gets a bonus when he or she registers an account at the casino and mentions the Referrer. The Referrer gets a bonus when the Referee completes all the requirements, such as making the deposit and wagering it a certain number of times.


title: Online casino

text: Cashback or Insurance bonuses are offered as a percentage of all losses in the player’s previous gaming activity. Typically, only deposits that were not matched with bonuses count towards this bonus. You can additionally find websites that offer casino cashback payments based on your losses encountered while playing with one or more online casinos. Those types of cashback deals are usually paid back to players by the casino portal that offers those special cashback offers.


title: Online casino

text: The most popular form of bonus is one that can be claimed without the need to deposit any of the player's own money - known as a no deposit bonus. These bonuses are used as acquisition tools by casinos wishing to attract new players. No deposit bonuses don't always take the form of real cash, as exemplified below.


title: Online casino

text: Non-cashable bonuses may be called "sticky" or "phantom" bonuses. In both cases, the bonus forms a part of the player's balance, but cannot be cashed out. The difference between cash-able and phantom bonuses comes at cashout time. A phantom bonus is deducted from the player's balance at the moment he places his withdrawal request. For example: if you deposited $100, received $100, played, and finished the wagering at $150. If the bonus is sticky, the player will be able to withdraw just $50. If the bonus is cash-able, then the whole balance is available for withdrawal.


title: Online casino

text: Comps are commonly available at land-based casinos, but also exist online. Comp points can usually be exchanged for cash, prizes, or other comps. The amount of cash given per wager is usually very small and often varies with game selection. A casino might offer three comp points for each $10 wagered on slots and one comp point for each $10 wagered on blackjack. The casino might give $1 for each 100 comp points. This example is equivalent to returning 0.3% of wagers on slots and 0.1% of wagers on blackjack. In addition, online casinos may offer comps such as free tickets to online tournaments, free slots online, tickets to other special events, extra bonuses, souvenirs, and payback.


title: Online casino

text: Bonus hunting (also known as bonus bagging or bonus whoring) is a type of advantage gambling where turning a profit from casino, sportsbook and poker room bonus situations is mathematically possible. For example, the house edge in blackjack is roughly 0.5%. If a player is offered a $100 cashable bonus requiring $5000 in wagering on blackjack with a house edge of 0.5%, the expected loss is $25. Therefore, the player has an expected gain of $75 after claiming the $100 bonus.


title: Online casino

text: A large portion of online casino disputes relates to bonuses. Casinos may label players who win using bonuses as "bonus abusers." Both players and casinos may commit fraud. An example of player fraud is creating multiple accounts and using the accounts to claim a sign-up bonus several times. An example of casino fraud is changing terms of a bonus after a player has completed the wagering requirements, then requiring the player to meet the new bonus terms.


title: Online casino

text: Online gambling legislation often has loopholes that result from the rapid development of the technology underpinning the development of the industry. Some countries, including Belgium, Canada, Finland, and Sweden have state gambling monopolies and do not grant licenses to foreign casino operators. According to their law, operators licensed on the territory of these countries can only be considered legal. At the same time, they can't prosecute foreign casino operators and only block their sites. Players in these countries can't be punished and can gamble at any site they can access.


title: Online casino

text: The Australian Interactive Gambling Act 2001 (IGA) criminalizes the supply of online casino games by an operator anywhere in the world to persons located in Australia. It only targets operators of online gambling sites, resulting in the curious situation that it is not illegal for a player in Australia to access and gamble at an online casino. No operator has even been charged with an offense under the IGA and many online casinos accept Australian customers. In June 2016, the South Australian Government became the first state or territory in the world to introduce a 15% Place Of Consumption Tax (POCT) modeled on the 2014 UK POCT.


title: Online casino

text: The Belgian Gaming Act went into effect in January 2011 and allows online gambling, but only under very strict conditions and surveillance.


title: Online casino

text: The Canadian criminal code states that only provincial governments and charitable organizations licensed by provincial governments may operate a casino in Canada. It also prohibits residents from participating in any lottery scheme, the game of chance, or gambling activity not licensed or operated by a provincial government. In 2010, the British Columbia Lottery Corporation launched Canada’s first legal online casino, PlayNow, which is available to residents of British Columbia, and later expanded to Manitoba and Saskatchewan. The province of Quebec operates the similar Espacejeux via Loto-Québec, while Ontario operates PlayOLG via Ontario Lottery and Gaming Corporation (OLG).


title: Online casino

text: The Kahnawake First Nation in Quebec has operated its own gaming commission since 1996 under the "Kahnawake Gaming Law". It has asserted jurisdiction to enact the law as part of Mohawk or "aboriginal rights" that have existed since time immemorial, most recently recognized and affirmed in subsection 35(1) of Canada's Constitution Act, 1982. As of 2010, it had licensed and hosted nearly 350 gambling websites, and its activities had never been challenged under the laws of Canada or any other jurisdiction.


title: Online casino

text: A German state contract about gambling (German: "") between all 16 German states was ratified in 2008 and has been adopted in 2012. It regulates restrictive handling of online-gambling, including a basic state monopoly on public gambling with limited exceptions for a few commercial providers. Online gambling, and other forms of public gambling, against these regulations is illegal in Germany. The state contract, its implementation in contrast to the more lenient EU legislation, and possible further changes have been controversially discussed in the public, politics, and courts.


title: Online casino

text: Online gambling is illegal in the state of Maharashtra under the "Bombay Wager Act". The most recent law to address gambling online was the Federal Information Technology Rules where such illegal activities may be blocked by Internet providers within India. Another act is the Public Gaming Act of 1867. However, the Act makes no specific mention of “online casinos.” States tend to operate on their own authority. Online casinos active in India are run by international operators.


title: Online casino

text: Online gambling legal issues in India are complicated in nature as Gambling in India is regulated by different states laws and online gambling is a central subject. To ascertain the position of Indian government, the Supreme Court of India sought the opinion of central government in this regard but the same was declined by the central government. This has made playing of online cards games like rummy, poker, etc. legally risky.


title: Online casino

text: In the United Kingdom, the Gambling Act 2005 governs all matters of online gambling, permitting online betting sites to have a Remote Gambling Licence in order to offer online betting to UK citizens. In 2014, the UK government put into law the Gambling Act of 2014 which in addition to the original 2005 law, required offshore online gambling operators catering to UK players to obtain a UK license. The new regulation required operators to pay a 15% Place of Consumption Tax (POCT), something that triggered an exodus of sorts of some operators from the UK Isles. However, this exodus did not last long in most cases as the benefits outweighed the stumbling blocks, due to the UK being a major market for online gambling.


title: Online casino

text: In 2019 the United Kingdom Gambling Commission (UKGC) announced a series of new measures that apply to online and mobile casinos to reduce underage gambling with the aim of increasing fairness and transparency. The new measures will require casinos to have users verify their identity and age in order to gamble.


title: Online casino

text: In the United States, the legality of online gambling is debated and can vary from state to state. The Unlawful Internet Gambling Enforcement Act of 2006 (UIGEA) limits the ability of banks and payment processors to transact with internet gambling sites that are unlawful under any federal or state law. However, it does not define the legality or otherwise of an internet-based gambling site. It was commonly assumed that the Federal Wire Act prohibited all forms of online gambling. However, in December 2011, the United States Department of Justice released a statement clarifying that the Wire Act applied only to sports betting sites and not to online casinos, poker, or lottery sites, leaving the definition of legality up to individual states. Certain states such as Nevada, Delaware, and New Jersey have started the process of legalizing and regulating online gambling and it is expected that regulation will continue on a state by state basis.


title: Peter Parker (Sam Raimi film series)

text: Peter Benjamin Parker, also known by his alter ego Spider-Man, is a fictional superhero portrayed by Tobey Maguire that is based on the comic book character of the same name. He is the protagonist of Sam Raimi's "Spider-Man" film in 2002, its two sequels, video games, and an designed to be set within that continuity (in which he is voiced by Neil Patrick Harris). This version of the character was followed by Andrew Garfield's portrayal in Marc Webb's "The Amazing Spider-Man" duology (2012–2014), with a further iteration being portrayed by Tom Holland set within the Marvel Cinematic Universe (2016–present). Maguire reprised his role as a supporting character in the Marvel Studios film "" (2021), appearing as an older version of himself alongside his two successors' versions of the character. To distinguish himself from the two other versions of himself, he is nicknamed "Peter-Two" by them, referred to by Marvel's official website as the Friendly Neighborhood Spider-Man, and in the film's script as "Raimi-verse Peter" and "Raimi-verse Spider-Man" (in honor of Sam Raimi).


title: Peter Parker (Sam Raimi film series)

text: The narrative of Raimi's trilogy focuses on Peter Parker's growth from high school to college, and his troubled relationship with his childhood best friend Harry Osborn, as well as his relationship with Mary Jane Watson, Parker's childhood crush and girlfriend. The narrative follows his struggles with his dual life as a college student and young adult, often to the disappointment of his avuncular college teacher Dr. Curt Connors, as well as his job as a freelance photographer for the "Daily Bugle", under the snarky and abrasive editor-in-chief J. Jonah Jameson, who despises Spider-Man and constantly prints defamatory articles about the vigilante. Parker's secret life leads to many encounters with various super-human criminals who threaten the peace and lives of civilians in New York City.


title: Peter Parker (Sam Raimi film series)

text: Maguire was chosen by Raimi and was officially cast following his screen test, with acknowledging performances from his previous films. Maguire began his physical training for Spider-Man, and even sought to learn the typical movements of spiders in his spare time. Costume designer James Acheson began forming several concepts for Spider-Man's suit designs and claimed that the suit left Maguire feeling claustrophobic, preferring only to wear the suit if a scene did not require him to put on the mask. Maguire's portrayal of the character received largely positive responses from critics and fans alike, along with receiving praise from his live-action successors Andrew Garfield and Tom Holland. Since Maguire's appearance in "Spider-Man: No Way Home", fans have launched a campaign for the cancelled "Spider-Man 4" to be made. A number of video game adaptations were attributed to the character from Raimi's movies, alongside an animated series that was designed to be set within the trilogy's continuity.


title: Peter Parker (Sam Raimi film series)

text: David Koepp is the original screenwriter of the character outside of many attempted scripts to bring to life a Spider-Man film. Maguire was cast as Peter in July 2000, having been Raimi's primary choice for the role after he saw "The Cider House Rules". The studio was initially hesitant to cast some actors, as Leonardo DiCaprio, Freddie Prinze Jr., Jude Law, Chris O'Donnell, Chris Klein, Wes Bentley and Heath Ledger, while Jake Gyllenhaal (who almost replaced Maguire from his injuries, and later cast as Mysterio in "") was considered for the role in the second film, who did not seem to fit the ranks of "adrenaline-pumping, tail-kicking titans," but Maguire managed to impress studio executives with his audition. The actor was signed for a deal in the range of $3 to $4 million with higher salary options for two sequels. Maguire was trained by a physical trainer, a yoga instructor, a martial arts expert, and a climbing expert, taking several months to improve his physique.


title: Peter Parker (Sam Raimi film series)

text: Following the success of the first film, 2003 saw disparaging scenes between lead actor Tobey Maguire and the executives of distributor company Sony, as Maguire was close to being released from his contract following a dispute between the pair. Maguire had finished filming a now multi nominated Oscar production in the form of "Seabiscuit", and had complained of the physical strain during his last two films. Sony executives believed that this was merely "part of Maguire's negotiating tactics", as a last attempt to bargain for a more lucrative paycheck; a statement quickly dismissed by Maguire's publicist.


title: Peter Parker (Sam Raimi film series)

text: Remaining a constant in all the rewrites was the "organic web shooter" idea from the Cameron "scriptment." Raimi felt he would stretch the audience's suspension of disbelief too far to have Peter invent mechanical web shooters.


title: Peter Parker (Sam Raimi film series)

text: Following the release of the third installment of the series, and its subsequent success at the box office, the now billion dollar franchise had been put into disarray, after director Sam Raimi had become unhappy with the script of his planned "Spider-Man 4", leaving the movie to fall past its projected May 2011 release date. Further details were released after a statement made by Raimi explaining "the studio and Marvel have a unique opportunity to take the franchise in a new direction, and I know they will do a terrific job". Later reports confirmed that both Maguire and Raimi had left their respective roles. Sony proceeded with a reboot of the series titled "The Amazing Spider-Man", starring Andrew Garfield as Peter Parker. The reboot was released in the United States on July 3, 2012.


title: Peter Parker (Sam Raimi film series)

text: In December 2017, Phil Lord and Christopher Miller said that an adult Peter Parker / Spider-Man would appear in the 2018 animated feature film "" as a mentor to Miles Morales. In February 2019, Maguire was confirmed to have been considered to be cast to reprise his role from the Sam Raimi "Spider-Man" trilogy, but the idea was dropped so as not to confuse the audience with the concept of the "Spider-Verse", with Jake Johnson cast in his place in April 2018; despite this, references throughout the film and an archival recording of Cliff Robertson as Uncle Ben from "Spider-Man 2" are used to indicate Johnson's portrayal of Parker to still be the same incarnation as Maguire's.


title: Peter Parker (Sam Raimi film series)

text: Following the release of "The Amazing Spider-Man 2", after Garfield was allegedly let go of the role of Spider-Man according to documents released in the aftermath of the 2014 Sony Pictures hack, leaked information from the hack indicated Sony to have previously been in talks with Sam Raimi to have him direct "Spider-Man vs. The Amazing Spider-Man", a multiversal crossover film featuring Garfield's Spider-Man encounter Tobey Maguire's Spider-Man (with Maguire reprising his role), as well as a new film trilogy starring Maguire (following Garfield's firing) as a middle-aged Spider-Man; and to also be in talks with Marvel Studios about integrating a rebooted version of Spider-Man into the Marvel Cinematic Universe (MCU), beginning with "" (2016), a deal was reached in early 2015 between the two studios to make the latter official, effectively cancelling "The Amazing Spider-Man" franchise.


title: Peter Parker (Sam Raimi film series)

text: Despite both reboots of the Spider-Man film series, Maguire reprises his role in "" (2021), a film set in the MCU, appearing alongside Garfield's iteration of the character as a supporting character to the new MCU iteration of Spider-Man played by Tom Holland. It was reported in 2020 that Maguire would reprise his role as his version of Peter Parker alongside the other cinematic iterations of the character in the third MCU Spider-Man film; however, these reports were never confirmed by Sony or Marvel Studios and publicly denied by both Holland and Garfield several times prior to the film's release.


title: Peter Parker (Sam Raimi film series)

text: Although "Spider-Man"s suit wound up being faithful to the Spider-Man comics, many designs were made. One concept that costume designer James Acheson became fond of was the idea of having a red emblem over a black costume. Another, which would eventually lead to the final product, featured an enlarged logo on the chest and red stripes going down the sides of the legs. To create Spider-Man's costume, Maguire was fitted for the skintight suit, being covered with layers of substance to create the suit's shape. It was designed as a single piece, including the mask. A hard shell was worn underneath the mask to make the shape of the head look better and to keep the mask tight while keeping the wearer comfortable. For scenes where he would take off his mask, an alternate suit where the mask was a separate piece was made. The webbing, which accented the costume, was cut by computer. The mask's eye-lenses were designed to have a mirror look. Dykstra said the biggest difficulty of creating Spider-Man was that as the character was masked, it immediately lost a lot of characterization. Without the context of eyes or mouth, a lot of body language had to be put in so that there would be emotional content. Raimi wanted to convey the essence of Spider-Man as being "the transition that occurs between him being a young man going through puberty and being a superhero." Dykstra said his crew of animators had never reached such a level of sophistication until giving subtle hints of making Spider-Man feel like a human being. When two studio executives were shown shots of the computer-generated character, they believed it was actually Maguire performing stunts.


title: Peter Parker (Sam Raimi film series)

text: Costume designer James Acheson made numerous subtle changes to Spider-Man's costume in "Spider-Man 2", although keeping the design relatively the same. The colors were made richer and bolder. The spider emblem was given more elegant lines and enlarged, the eye-lenses were somewhat smaller, and the muscle suit underneath was made into pieces, to give a better sense of movement. The helmet Maguire wore under his mask was also improved, with better movement for the false jaw and magnetic eyepieces, which were easier to remove.


title: Peter Parker (Sam Raimi film series)

text: In "Spider-Man 3", Peter has two variations of his suit: his traditional one and one colored in black that forms due to an alien symbiote bonding to him. The symbiote suit worn in the comics by Spider-Man was a plain black affair with a large white spider on the front and back. Initially, the design for the symbiote suit for the film was made of latex and looked more faithful to the one in the comics, but it was rejected by the producers. The final design was changed for the film to become a black version of Spider-Man's traditional costume, complete with webbing motif. It also had a slightly different spider symbol. As a consequence of this, the suit Topher Grace wore as Venom also bore the webbing motif; as producer Grant Curtis noted, "it's the Spider-Man suit, but twisted and mangled in its own right." Additionally, the motif gave a sense of life to the symbiote, giving it the appearance of gripping onto the character's body.