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{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 28, "sc": 2233, "ep": 32, "ec": 142} | 161,786 | Q5868655 | 28 | 2,233 | 32 | 142 | History of roller derby | Television & Increasing legitimacy | with ABC lasted until Seltzer negotiated its termination in 1951 over scheduling disputes.
Between 1949 and 1951, Seltzer's organization grossed $2.5 million, bolstered by Madison Square Garden appearances in 1950 and 1951 that set five-day records of 77,000 and 82,000, respectively. In this period, Seltzer also sold the Jolters to an outside syndicate. Skater salaries, negotiated by an informal players' union, were around $250 a week, with $35 and $60 bonuses for captains and player-coaches. Increasing legitimacy The players wanted to skate "phony" during this time period, but Seltzer believed the public would soon tire of exaggerated hits and falls, so |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 32, "sc": 142, "ep": 32, "ec": 732} | 161,786 | Q5868655 | 32 | 142 | 32 | 732 | History of roller derby | Increasing legitimacy | he embarked on a campaign to legitimize the sport. He started a program encouraging the formation of junior Roller Derby leagues for children (although it's not clear whether any actually formed), he sought to add more teams nationwide (although it didn't happen until 1954), and he got the players to agree to a "no railing" rule. In a show of commitment, Seltzer invoked the rule to suspend star skater Midge "Toughie" Brasuhn, much to her chagrin, for allegedly shoving another skater into the track's outer railing, even though the play had been faked by the other skater. By the early |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 32, "sc": 732, "ep": 36, "ec": 252} | 161,786 | Q5868655 | 32 | 732 | 36 | 252 | History of roller derby | Increasing legitimacy & Jam On, Jam Off | 1950s, Roller Derby coaches were even betting on the outcomes of matches, another sign of legitimacy, according to Seltzer. Players later pointed to injuries and low-scoring games as evidence of legitimacy, as well, but even into the 1970s, Roller Derby players engaged in a degree of showmanship and staged theatrics for dramatic and comic effect. Jam On, Jam Off After terminating the contract with ABC in 1951, Seltzer negotiated a deal with General Motors to sponsor the broadcast of games on NBC. The deal fell through when, according to Seltzer, General Motors, fuming over an NCAA decision preventing them from |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 36, "sc": 252, "ep": 36, "ec": 882} | 161,786 | Q5868655 | 36 | 252 | 36 | 882 | History of roller derby | Jam On, Jam Off | sponsoring the broadcast of University of Notre Dame football games, lost interest in televising any sports at all. A handful of independent TV stations continued to broadcast games, but the loss of network broadcasting caused fan interest to plummet. Madison Square Garden no longer wanted to host matches, fan clubs disbanded, and Seltzer returned to pursuing real estate interests. At some point, Seltzer changed his residence to Encino (Los Angeles) a westward move that foreshadowed changes to come.
In July 1953, citing the effects of the Korean War and a dearth of venues, Leo Seltzer moved the Derby from New York |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 36, "sc": 882, "ep": 36, "ec": 1498} | 161,786 | Q5868655 | 36 | 882 | 36 | 1,498 | History of roller derby | Jam On, Jam Off | to Los Angeles and created the L.A. Braves for their debut at the Rose Bowl. The Braves became the first international team when a tour of Europe was launched in 1953.
However, this was not the first time audiences outside the U.S. had seen the game played live. A separate organization, International Roller Speedway, known in some countries as Roller-Catch, formed in 1937 and toured Europe, where they played at the Harringay Arena in London, and the Philippines. Roller Speedway was a modified version of the sport and normally featured two teams, representing Europe (the "home" team) and USA. The 1950 |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 36, "sc": 1498, "ep": 36, "ec": 2129} | 161,786 | Q5868655 | 36 | 1,498 | 36 | 2,129 | History of roller derby | Jam On, Jam Off | film The Fireball, starring Mickey Rooney, was based on the life of one of the league's stars, Eddie Poore, who skated under the name Eddie Cazar. Roller Speedway ceased operations in 1952.
In 1954, the Derby established the most fabled team in the history of the sport, the longtime champion San Francisco Bay Bombers. Stars on this team eventually included Charlie O'Connell, Joanie Weston, and Ann Calvello.
In his keynote address at the 2007 roller derby convention RollerCon, Leo's son Jerry Seltzer revealed that at its peak in the 1950s, the National Roller Derby League had just 83 skaters spread among its |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 36, "sc": 2129, "ep": 40, "ec": 252} | 161,786 | Q5868655 | 36 | 2,129 | 40 | 252 | History of roller derby | Jam On, Jam Off & In the 1960s | six teams.
In 1958, weary of Roller Derby's off-air struggle — by this time, crowds at San Francisco's Cow Palace had dwindled to two hundred or less — Leo transferred Roller Derby to his son Jerry. Jerry soon struck a deal with independent Oakland TV station KTVU to broadcast Roller Derby matches kinescoped in a deserted garage. In the 1960s In 1960, KTVU switched to the visually and technically superior videotape format for recording games for broadcast. One of Roller Derby's sponsors, a San Francisco auto dealer, got a Portland, Oregon TV station to broadcast an unedited tape of a match, |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 252, "ep": 40, "ec": 899} | 161,786 | Q5868655 | 40 | 252 | 40 | 899 | History of roller derby | In the 1960s | in an attempt to advertise the dealership's new lot in the area. To his surprise, Jerry Seltzer received three hundred letters asking for Roller Derby to come to Portland, so he obliged and the Derby made an appearance before 9,000 fans. Realizing he had stumbled onto a promotional formula, he began syndicating videotapes of games to more independent TV stations, and followed up broadcasts with personal appearances of the Derby in each city. In 1961, forty stations carried Derby. Several years later, UHF TV stations, mostly independent and desperate to compete with older, network-dominated VHF counterparts, snatched up broadcasting rights |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 899, "ep": 40, "ec": 1553} | 161,786 | Q5868655 | 40 | 899 | 40 | 1,553 | History of roller derby | In the 1960s | for their areas. Although TV exposure was an important component of Roller Derby's revitalization, Seltzer didn't want to repeat the experience of mainstream professional sports organizations that had become dependent on TV; he used the medium only for exposure and publicity for the live matches, not a source of revenue for player salaries.
Jerry Seltzer also changed some of the rules. For the first time, skaters were required to wear helmets, and, at the behest of KTVU television announcer Walt Harris, he made the game more TV-friendly by making jammers' helmets easier to spot.
A more theatrical imitation called Roller Games was |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 1553, "ep": 40, "ec": 2218} | 161,786 | Q5868655 | 40 | 1,553 | 40 | 2,218 | History of roller derby | In the 1960s | started in 1961 in Los Angeles featuring retired Roller Derby skaters who chose not to make the move to San Francisco. Owned by Bill Griffiths, Sr. and Jerry Hill, Roller Games was the only viable rival organization to the original Roller Derby and actually consisted of several separate leagues, including the (U.S.) National Roller Derby (NRD), soon renamed to National Roller League (NRL) since the "Roller Derby" trademark was aggressively protected by the Seltzer organization. The NRD/NRL consisted of the Northern Hawks (sometimes billed as the Chicago Hawks), New York Bombers, Texas Outlaws, Detroit Devils, Los Angeles Thunderbirds (nicknamed "T-Birds"), |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 2218, "ep": 40, "ec": 2883} | 161,786 | Q5868655 | 40 | 2,218 | 40 | 2,883 | History of roller derby | In the 1960s | and Philadelphia Warriors (sometimes billed as the Eastern Warriors).
There were also several attempts in markets that failed quickly, with teams such as the Baltimore/Washington-based Mid Atlantic War Cats, the Florida Jets, and the Western Renegades. Roller Games also encompassed the Canadian National Roller League (CNRL) and Japanese National Roller League (JNRL). Some former Roller Derby stars found new fame in the Roller Games, and a handful of skaters simply went back and forth between the two organizations. After 1968, however, the Roller Derby to Roller Games defections were quite few; instead, a handful of Roller Games skaters returned to |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 2883, "ep": 40, "ec": 3491} | 161,786 | Q5868655 | 40 | 2,883 | 40 | 3,491 | History of roller derby | In the 1960s | their roots and began skating for the Derby again.
1961 or so also saw the advent of a short-lived New York City area rival league, the American Skating Derby (ASD), promoted by Joe Morehouse and Mike O'Hara. ASD debuted two teams of ex-Roller Derby skaters — one team representing "New York" and the other representing Brooklyn — at Long Island Arena in Commack, New York, around April 1961, with plans to appear throughout the Tri-State Region. A league split later that year resulted in the formation of another league, the Eastern Skating Derby (ESD), which lasted until mid-1964 and skated only |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 3491, "ep": 40, "ec": 4128} | 161,786 | Q5868655 | 40 | 3,491 | 40 | 4,128 | History of roller derby | In the 1960s | in New York, sometimes at the same venues as the ASD.
In 1962, Jerry, in partnership with his uncle Oscar Seltzer (who had founded the Roller Derby Skate Corporation in 1936), created the Dixie Devils, a "home" team for the Southern United States cities of Nashville, Atlanta, Jacksonville and Orlando. Ronnie Robinson, son of boxer Sugar Ray Robinson, was designated the team's star player. Dixie Devils games had to be recorded with kinescope, when TV audiences had already grown accustomed to the relatively clean, clear appearance of videotape, and the result was disastrous; no loyal TV audiences were grown, fan attendance |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 4128, "ep": 40, "ec": 4799} | 161,786 | Q5868655 | 40 | 4,128 | 40 | 4,799 | History of roller derby | In the 1960s | was low, and the venture folded after one month. Seltzer remained fond of the idea of regionalization, however, and envisioned his organization eventually becoming more like other sports leagues, with teams being independently owned and operated, and with the teams being associated with regions (South, Northeast, Mideast, Midwest, Central South, Southwest Plains, and West) rather than individual cities.
The ASD, ESD, and Dixie Devils, much like Roller Speedway, aren't remembered today by anyone outside the most dedicated fans and the skaters who participated in them. To the media, there was only one Roller Derby. From Jerry Seltzer's takeover in the late |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 4799, "ep": 40, "ec": 5457} | 161,786 | Q5868655 | 40 | 4,799 | 40 | 5,457 | History of roller derby | In the 1960s | 1950s, the game reached new heights of popularity with a 120-station television network where taped games from the Bombers' home, Kezar Pavilion in San Francisco, were shown weekly. Television made fans of thousands and the Bay Bombers packed arenas from coast to coast on cross country tours, regularly selling out arenas such as Madison Square Garden, Boston Garden, Kiel Auditorium in St. Louis and dozens more. In 1969, television viewership of Roller Derby peaked with approximately 15 million viewers each week.
Two other developments in 1960s Roller Derby were profit sharing and annual contracts for skaters; many skaters previously held day |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 40, "sc": 5457, "ep": 44, "ec": 459} | 161,786 | Q5868655 | 40 | 5,457 | 44 | 459 | History of roller derby | In the 1960s & In the 1970s | jobs to supplement their income, or were only employed as athletes for part of the year. In the 1970s The indoor record for roller derby was set at 19,507 at Madison Square Garden in 1970. The outdoor record was set at the Oakland Coliseum on July 4, 1970, at 28,314 for a game between the Bay Bombers and the Northeast Braves. The following year that record was topped again with 34,418 for a Bomber game at the Coliseum. On September 15, 1972, an interleague match between the Los Angeles Thunderbirds of Roller Games (National Skating Derby) and the Midwest |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 44, "sc": 459, "ep": 44, "ec": 1082} | 161,786 | Q5868655 | 44 | 459 | 44 | 1,082 | History of roller derby | In the 1970s | Pioneers of Roller Derby (International Roller Derby League) set a roller derby attendance record of 50,118 at Comiskey Park in Chicago.
At this point, the Bay Bombers home-team concept was duplicated with the New York Chiefs representing the Eastern U.S. and the Pioneers based in Chicago (but really everything west of Pennsylvania). A one-season run in 1971 by the Cincinnati Jolter team in the Midwest (Ohio, Kentucky, and other areas) was not financially successful, and the team became a road franchise once again. The Bombers were briefly a Southwest team moved from the Bay Area, but potential new owners |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 44, "sc": 1082, "ep": 44, "ec": 1698} | 161,786 | Q5868655 | 44 | 1,082 | 44 | 1,698 | History of roller derby | In the 1970s | couldn't come to terms with the Seltzer family and so the Bay Bombers were returned home. (In an unusual move, the Chiefs were a "replacement" team for the Bombers during the period that franchise was supposedly based in Texas.)
In 1973, high overhead and other factors led Jerry Seltzer to elect to shut down Roller Derby. In a 2005 interview, Ann Calvello mentioned gas shortages during the 1973 oil crisis as a contributing factor because teams could not travel. Some of the IRDL star skaters were recruited to skate for Roller Games' International Skating Conference (ISC), which quickly eliminated all |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 44, "sc": 1698, "ep": 52, "ec": 39} | 161,786 | Q5868655 | 44 | 1,698 | 52 | 39 | History of roller derby | In the 1970s & 1970s–1990s revivals & IRSL | Derby teams except for the Chiefs to again focus on the Los Angeles Thunderbirds. However, within two years, Roller Games' wrestling/circus-like approach doomed that organization; many Roller Derby skaters quit and fans deserted the arenas. Cultural historian Paul Fussell, perhaps editorializing, attributed the collapse of the sport to the declining economic class of its fan base in its final years; fans were ultimately unable to support the sponsors that had been keeping the sport on television. 1970s–1990s revivals Several attempts were made to revive the sport in the late 1970s through the 1990s. IRSL The only reasonably successful of these |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 52, "sc": 39, "ep": 52, "ec": 667} | 161,786 | Q5868655 | 52 | 39 | 52 | 667 | History of roller derby | IRSL | was the International Roller Skating League (IRSL), operational from April 24, 1977 to December 12, 1987. IRSL games were held mostly in Northern California, but a handful of games were skated in the Northeastern United States, the Midwest, and Canada. Many skaters from Roller Derby were in the IRSL, and some of the team names were the same as in Roller Derby.
Initially the league was composed of the San Francisco Bay Bombers, the Midwest Pioneers, the Brooklyn Red Devils and the Manhattan Chiefs. In 1979, one of the league owners, former San Francisco television producer Dave Lipschultz, bought and restructured |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 52, "sc": 667, "ep": 52, "ec": 1269} | 161,786 | Q5868655 | 52 | 667 | 52 | 1,269 | History of roller derby | IRSL | it. He added two more teams, the Northeast Braves and Southern Jolters (later renamed the Southern Stars), and renamed the Chiefs as the New York Dynamite and, eventually, the Eastern Express. A final team, the Northern Knights, representing Canada, was announced in 1986 but never competed. As before, most of the attention was centered on the Bay Bombers. After skating primarily in Northern California, a Midwest tour was launched in 1984, but flopped due to competition from baseball and football as well as weather-related problems. In 1986, a tournament was carried on ESPN and the IRSL set up |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 52, "sc": 1269, "ep": 52, "ec": 1887} | 161,786 | Q5868655 | 52 | 1,269 | 52 | 1,887 | History of roller derby | IRSL | sporadic appearances in New York. ESPN dropped the contract in its pursuit of the more lucrative professional football market, and although talks were underway to broadcast IRSL matchups on USA Network, the IRSL was unable to survive without television support. Lipshultz shut down the league after its last game at Madison Square Garden on December 12, 1987. Around that time, Lipschultz and skaters were negotiating over how to keep it going. Lipschultz wanted to make it more like professional wrestling in an attempt to win over a fickle TV audience, but the players had different ideas. No agreement was reached, |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 52, "sc": 1887, "ep": 52, "ec": 2494} | 161,786 | Q5868655 | 52 | 1,887 | 52 | 2,494 | History of roller derby | IRSL | and potential sponsors lost interest.
The 1985 IRSL matches have been shown twice on ESPN Classic's sports comedy show Cheap Seats, as ESPN retains the right to air those matches.
American Skating Derby, promoting the game as Rollerjam!, formed in 1987 and played a spring season with two teams, the San Francisco Slammers and the Los Angeles Turbos. The name American Skating Derby was the same as the early 1960s New York-based league, but was unrelated. Composed of inactive Roller Derby and IRSL skaters, the 1987 ASD was formed primarily as a means to keep the game alive, and the two |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 52, "sc": 2494, "ep": 56, "ec": 344} | 161,786 | Q5868655 | 52 | 2,494 | 56 | 344 | History of roller derby | IRSL & RollerGames | teams (with the Slammers being essentially replaced by the Bay City Bombers) skated around Northern California communities for high school charities. For the next decade, with sometimes as few as one game annually, the ASD attempted to keep the traditional game going. RollerGames RollerGames, created in 1989 by two television producers, David Sams and Michael Miller, and Roller Games owner Bill Griffiths, Sr., was a U.S. television show that presented a theatrical version of the sport of roller derby for a national audience. It featured a steeply banked figure-eight track, an alligator pit, and a number of skaters who |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 56, "sc": 344, "ep": 60, "ec": 135} | 161,786 | Q5868655 | 56 | 344 | 60 | 135 | History of roller derby | RollerGames & RollerJam | had been in the Roller Games league, as well as younger participants. The six teams were the T-Birds, Violators, Bad Attitude, Rockers, Hot Flash, and Maniacs. The show only lasted thirteen weeks despite garnering over a 5 national rating during its prime-time debut, and was in the top 25 of all syndicated shows for the season—even beating the popular American Gladiators.
Announcers were Chuck Underwood, David Sams, and Shelly Jamison. Halftime commentary was provided by Wally George. RollerJam Between January 1999 and January 2001, Knoxville, Tennessee television impresarios Ross K. Bagwell Sr. and Stephen Land, under the name |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 60, "sc": 135, "ep": 60, "ec": 819} | 161,786 | Q5868655 | 60 | 135 | 60 | 819 | History of roller derby | RollerJam | Pageboy Entertainment, collaborated with CBS to stage another televised revival known as RollerJam or Roller Jam. Bagwell and Land recruited numerous stars from the Roller Derby of yesteryear, as well as newer stars from various athletic backgrounds, including nationally ranked speed skaters, to skate in the six-team World Skating League (WSL). Jerry Seltzer was named RollerJam "commissioner".
RollerJam games were televised out of "RollerJam Arena," on the grounds of Universal Studios in Orlando, Florida. Initial teams, each consisting of seven men and seven women, were the New York Enforcers, the California Quakes, the Florida Sundogs, the Nevada Hot Dice, the Texas |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 60, "sc": 819, "ep": 60, "ec": 1421} | 161,786 | Q5868655 | 60 | 819 | 60 | 1,421 | History of roller derby | RollerJam | Rustlers and the Illinois Riot (Original names of the latter three teams were the Las Vegas High Rollers, Texas Twisters, and Illinois Inferno. These names were changed prior to the start of the first season). Despite strong funding and four seasons of broadcasts on The Nashville Network (TNN, now known as Spike TV), the venture never became a "live" attraction. After MTV's takeover of the CBS Cable group, fabricated storylines and uncharismatic characters were being featured more than actual competitive skating. This did not go over well with many skaters or die-hard roller derby fans. Two |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 60, "sc": 1421, "ep": 60, "ec": 2052} | 161,786 | Q5868655 | 60 | 1,421 | 60 | 2,052 | History of roller derby | RollerJam | notable veterans from Roller Games, Rockin' Ray Robles and Patsy Delgado, were featured in the second season of RollerJam. When RollerJam was cancelled, many of the skaters found smaller leagues in which to skate. Forty episodes of Roller Jam have been reversioned for UK television after successful broadcasts in other countries. Airing from October 2, 2006, on Challenge TV much of the narrative has been removed with sex and violence toned down for a family audience.
One major rule difference between previous leagues was the legalisation of in-line skates, which the WSL required for younger players in an attempt to |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 60, "sc": 2052, "ep": 64, "ec": 361} | 161,786 | Q5868655 | 60 | 2,052 | 64 | 361 | History of roller derby | RollerJam & All-female, grassroots leagues | push the league to younger players, more familiar with the in-line game, allowing for more precision skating over the traditional quads, allowing faster skaters to participate. Unfortunately, in-lines unlike quads, afforded little lateral mobility thus hampering the skaters ability to block effectively. All-female, grassroots leagues In 2000, Daniel Eduardo "Devil Dan" Policarpo, then an Austin, Texas musician, recruited women to skate in what he envisioned would be a raucous, rockabilly, circus-like roller derby spectacle. After an organizational meeting and a disputed fundraiser, Policarpo and the women parted ways. The women then self-organized as Bad Girl Good Woman Productions (BGGW) |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 64, "sc": 361, "ep": 64, "ec": 978} | 161,786 | Q5868655 | 64 | 361 | 64 | 978 | History of roller derby | All-female, grassroots leagues | in 2001, creating a new generation of roller derby, open to women only. Founders formed four teams, and staged their first public match in Austin in mid-2002. Shortly after, the league split over business plans: The Texas Rollergirls embraced flat-track play, while the BGGW league took the name TXRD Lonestar Rollergirls and went on to skate banked-track roller derby.
The revival then began in earnest, with over 50 similar all-female leagues in existence by late 2005, more than 80 by February 2006, and more than 135 by mid-August 2006. The sport's sudden growth in 2006 is attributed to its exposure via |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 64, "sc": 978, "ep": 64, "ec": 1640} | 161,786 | Q5868655 | 64 | 978 | 64 | 1,640 | History of roller derby | All-female, grassroots leagues | the Rollergirls reality television show, which depicted portions of the lives of real skaters from the TXRD Lonestar Rollergirls. The show began broadcasting in January 2006, but was not picked-up for a second season due to unsatisfactory ratings.
Leagues outside the U.S. began forming in 2006, and international competition soon followed. The first all-female Canadian league of 10 members, the Oil City Derby Girls, was formed in December 2005 in Edmonton, Alberta. Terminal City Rollergirls from Vancouver, British Columbia, appeared before an audience of 4500 on March 4, 2006 to participate in a game of "Last Woman Standing" ("Blood and Thunder") |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 64, "sc": 1640, "ep": 68, "ec": 22} | 161,786 | Q5868655 | 64 | 1,640 | 68 | 22 | History of roller derby | All-female, grassroots leagues & All-male roller derby | against the Rat City Rollergirls at the Everett Events Center in Everett, Washington. The first full, international bout in women's flat-track derby occurred in December 2006, when the Oil City Derby Girls hosted the Rocky Mountain Roller Girls (Denver, Colorado). By mid-2009, there were 425 amateur leagues, including 79 in Canada, Australia, the United Kingdom, New Zealand, Germany, Belgium and Sweden combined.
Although this revival of roller derby was initially all-female, some leagues later introduced all-male teams. Junior roller derby leagues associated with this revival also emerged and play under modified adult derby rules. All-male roller derby The Men's Roller Derby |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 68, "sc": 22, "ep": 72, "ec": 272} | 161,786 | Q5868655 | 68 | 22 | 72 | 272 | History of roller derby | All-male roller derby & Mixed-gender, for-profit leagues | Association (MRDA) is the international governing body of men's flat track roller derby. It was founded in 2007 under the name Men's Derby Coalition (renamed to Men's Roller Derby Association in 2011), and currently has 64 men's leagues under its jurisdiction. MRDA member leagues play using the rules of Flat-Track Roller Derby originally designed by the WFTDA. Mixed-gender, for-profit leagues A handful of leagues, mostly mixed-gender, have origins in earlier incarnations of the sport and heavily promote themselves as professional due to their history, management, membership, style of play and marketing considerations. As of the mid-2000s, most of these leagues |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 72, "sc": 272, "ep": 76, "ec": 214} | 161,786 | Q5868655 | 72 | 272 | 76 | 214 | History of roller derby | Mixed-gender, for-profit leagues & Increasing use of real names | do not compete in regular seasons, but rather schedule infrequent special-event games, drawing from a relatively small pool of skaters to form the roster of two teams put together just for the event, or on one team that plays against a similar club from another league. Team names typically pay homage to memorable Roller Derby and Roller Games teams of the past. Increasing use of real names In 2009, some roller derby athletes began using their real names, rather than stage names, in competition. Examples include Team Legit, a pickup team of star skaters from Northwestern USA flat-track leagues playing |
{"datasets_id": 161786, "wiki_id": "Q5868655", "sp": 76, "sc": 214, "ep": 76, "ec": 534} | 161,786 | Q5868655 | 76 | 214 | 76 | 534 | History of roller derby | Increasing use of real names | in a banked track tournament in June 2009, skaters Sarah "Killbox" Hipel (from Detroit Derby Girls) and Julia "Lucy Furr" Rosenwinkel (from Windy City Rollers) now competing under their real names, and 13 members of the Denver Roller Dolls' travel team who began skating under their real names during their 2009 season. |
{"datasets_id": 161787, "wiki_id": "Q1406322", "sp": 2, "sc": 0, "ep": 4, "ec": 618} | 161,787 | Q1406322 | 2 | 0 | 4 | 618 | Holiday pass | Holiday pass In German-speaking countries, a holiday pass (German: Ferienpass) is a document which may be made available by local government or related organisations, entitling schoolchildren to participate in various leisure activities during holiday seasons.
The holiday pass is usually not free of charge, but is designed to be good value, making it an affordable way for parents to occupy their children in an educational and enjoyable way during school holidays. The holiday pass may take the form of a card that is stamped each time the child participates in an activity. The pass may entitle the bearer to use public |
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{"datasets_id": 161787, "wiki_id": "Q1406322", "sp": 4, "sc": 618, "ep": 4, "ec": 644} | 161,787 | Q1406322 | 4 | 618 | 4 | 644 | Holiday pass | transport free of charge. |
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{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 2, "sc": 0, "ep": 10, "ec": 7} | 161,788 | Q2414305 | 2 | 0 | 10 | 7 | Holly Holm | Early life & Amateur kickboxing career | Holly Holm Early life Holm was born in Albuquerque, New Mexico, and grew up in nearby Bosque Farms, the youngest of three children. Her father, Roger, is a Church of Christ preacher — as a fighter, Holly would later be nicknamed "The Preacher's Daughter" — and her mother, Tammy, is a massage therapist. Holm is of primarily Irish descent.
Growing up, Holm played soccer and participated in gymnastics, swimming and diving. Her parents divorced shortly before she graduated from Manzano High School in 2000; after graduation, she studied for a year at the University of New Mexico. Amateur kickboxing career Holm's |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 10, "sc": 6, "ep": 10, "ec": 677} | 161,788 | Q2414305 | 10 | 6 | 10 | 677 | Holly Holm | Amateur kickboxing career | path to a career in boxing and kickboxing began with aerobics classes when she was 16 years old. Her cardio-kickboxing instructor, Mike Winkeljohn, recognized Holm's potential as a fighter and began training her.
In September 2001, Holm won the championship title in the International Rules Adult Women's Welterweight Division at the International Kickboxing Federation (IKF) USA National Amateur Championship Tournament, held in Kansas City, Missouri. She fought two bouts in the tournament. She won the first by technical knockout at 34 seconds in the first round. She won the second by unanimous decision. This was Holm's last amateur competition. Her overall |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 10, "sc": 677, "ep": 14, "ec": 519} | 161,788 | Q2414305 | 10 | 677 | 14 | 519 | Holly Holm | Amateur kickboxing career & Professional boxing career | amateur kickboxing record is 6–0–2. Professional boxing career Holm has held several welterweight boxing titles, been highly regarded as one of the best female welterweights in the world, and is considered among the best of all time, by some. She also has been named Ring Magazine female Fighter of the Year, twice in consecutive years in 2005 and 2006. She is a big draw in her home town of Albuquerque, having all but three of her fights there and just one of her fights outside of her home state of New Mexico.
In June 2008 she became the undisputed welterweight champion |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 14, "sc": 519, "ep": 14, "ec": 1083} | 161,788 | Q2414305 | 14 | 519 | 14 | 1,083 | Holly Holm | Professional boxing career | and holder of belts from 140 to 154 by defeating former champ Mary Jo Sanders by decision. They had a rematch on October 17, 2008, at the Palace of Auburn Hills in suburban Detroit, which ended in a draw.
On December 2, 2011, Holm took on knockout artist Anne Sophie Mathis of France for the vacant IBA female and WBAN welterweight titles. Holm was badly beaten by the stronger Mathis without the referee interfering, even going into the canvas without a count. She finally lost by knockout in the 7th round, which would be dubbed the upset of the year in |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 14, "sc": 1083, "ep": 18, "ec": 371} | 161,788 | Q2414305 | 14 | 1,083 | 18 | 371 | Holly Holm | Professional boxing career & Early career | women's boxing. The two fought again on June 15, 2012, for Mathis's WBF female, IBA female, and WBAN welterweight titles. Holm took a unanimous decision win over Mathis, becoming the new champion and avenging her earlier KO loss. Early career Holm made her mixed martial arts debut on March 4, 2011, against Christina Domke at an event organized by her boxing promoter, Lenny Fresquez. She headlined the card with Jackson's Submission Fighting teammate Keith Jardine. Holm won the fight via TKO in the second round after her opponent was unable to continue due to leg kicks inflicted by Holm.
Holm returned |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 18, "sc": 371, "ep": 22, "ec": 411} | 161,788 | Q2414305 | 18 | 371 | 22 | 411 | Holly Holm | Early career & Bellator MMA | to MMA on September 9, 2011, at Fresquez Productions: Clash in the Cage against Strikeforce veteran Jan Finney. She defeated Finney by TKO in the third round. Bellator MMA On February 28, 2013, Holm made her Bellator MMA debut against Katie Merrill at Bellator 91 in Rio Rancho, New Mexico. Holm won the bout via TKO in the second round.
Holm announced that she would retire from boxing after her May 11, 2013, boxing match against Mary McGee so that she can fully concentrate on her MMA career. The message came as a punctuation in the negotiations to arrange a title-battle |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 22, "sc": 411, "ep": 26, "ec": 441} | 161,788 | Q2414305 | 22 | 411 | 26 | 441 | Holly Holm | Bellator MMA & Legacy Fighting Championship | between Holm and the Norwegian champion Cecilia Brækhus. Holm went on to defeat McGee via unanimous decision, for her boxing retirement bout. Legacy Fighting Championship On July 19, 2013, Holm faced Allanna Jones at Legacy Fighting Championship 21. She won the fight by head-kick knockout in the second round.
Holm was expected to face Erica Paes at Legacy Fighting Championship 24 on October 11, 2013. However, Paes was removed from the card and Holm instead faced Nikki Knudsen. Holm won the fight via TKO due to a body kick and knees in round two.
On December 6, 2013, Holm faced Angela Hayes |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 26, "sc": 441, "ep": 30, "ec": 261} | 161,788 | Q2414305 | 26 | 441 | 30 | 261 | Holly Holm | Legacy Fighting Championship & Ultimate Fighting Championship | at Fresquez Productions: Havoc. She won the fight via unanimous decision.
On April 4, 2014, Holm faced Juliana Werner for the inaugural Legacy FC Women's Bantamweight Championship. She won the bout and title via TKO in the fifth round due to a head kick and punches. Holm broke her left arm during the first round of the bout. Ultimate Fighting Championship On July 10, 2014, the media announced that Holm had signed a multi-fight deal with the Ultimate Fighting Championship (UFC). Later in an interview with MMA Junkie, Holm's manager Lenny Fresquez disclosed that Holm's contract is for five fights.
Holm was |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 30, "sc": 261, "ep": 34, "ec": 164} | 161,788 | Q2414305 | 30 | 261 | 34 | 164 | Holly Holm | Ultimate Fighting Championship & Holm vs. Rousey | expected to make her debut at UFC 181 against Raquel Pennington. However, on November 13, Holm was forced to pull out due to an undisclosed injury. The two fighters faced each other at UFC 184. Holm won the bout by split decision (29–28, 28–29, and 30–27).
Holm faced Marion Reneau on July 15, 2015, at UFC Fight Night 71. Holm won the fight by unanimous decision (30–27, 30–26, and 29–28). Holm vs. Rousey In her highest profile MMA fight to date, Holm faced defending women's bantamweight champion Ronda Rousey before a record-setting crowd in the main event of UFC 193 |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 34, "sc": 164, "ep": 34, "ec": 772} | 161,788 | Q2414305 | 34 | 164 | 34 | 772 | Holly Holm | Holm vs. Rousey | on November 14, 2015. Despite being a massive betting underdog, Holm controlled a majority of the bout with her superior striking and defended all of Rousey's takedowns. The second fighter to take Rousey past the first round (after Miesha Tate), she won the fight via knockout in the second with a high kick, ending Rousey's undefeated streak and three-year reign as champion causing her to spend the night in the hospital.
Holm was also awarded her first "Fight of the Night" and "Performance of the Night" bonus awards (totalling $100,000). By winning the title, she became the first person to win |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 34, "sc": 772, "ep": 34, "ec": 1373} | 161,788 | Q2414305 | 34 | 772 | 34 | 1,373 | Holly Holm | Holm vs. Rousey | championships in both boxing and MMA. Following the bout, UFC fighter Jon Jones said he thought Holm was "already the G.O.A.T. (greatest of all time) of women's combat sports". Her hometown, Albuquerque, New Mexico, proclaimed November "Holly Holm Month".
In her first title defense, Holm lost to Miesha Tate in the fifth round on March 5, 2016, at UFC 196. After four rounds of back-and-forth fighting, Tate defeated Holm in the fifth with a rear-naked choke. Holm was strong in the first round of the fight standing up, but was less effective grappling with Tate on the mat. After Tate took |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 34, "sc": 1373, "ep": 38, "ec": 188} | 161,788 | Q2414305 | 34 | 1,373 | 38 | 188 | Holly Holm | Holm vs. Rousey & Women's featherweight championship | Holm down in the second round, Holm almost submitted to a guillotine choke, but wriggled out just before the bell. In the fifth round, Tate scored another takedown and locked in another rear-naked choke. Holm refused to submit, was rendered unconscious, and the referee declared a technical submission.
Holm faced Valentina Shevchenko on July 23, 2016, at UFC on Fox 20. She lost the bout via unanimous decision. Women's featherweight championship Holm faced Germaine de Randamie at UFC 208 for the inaugural women's featherweight championship on February 11, 2017. She lost the fight via controversial unanimous decision. At the end of |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 38, "sc": 188, "ep": 38, "ec": 773} | 161,788 | Q2414305 | 38 | 188 | 38 | 773 | Holly Holm | Women's featherweight championship | the second and third rounds, de Randamie continued to throw punches after the horn had sounded and the referee stepped in, the first of which was a right hand that visibly wobbled Holm, who had already stopped fighting. The referee did not take a point on either occasion, which crucially affected the result of the fight. Fourteen of 23 media outlets and a majority of MMA fans still scored the fight in favor of Holm. Holm said post-fight she believed both instances to be intentional. She appealed to the New York State Athletic Commission (NYSAC) to review the referee's decisions |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 38, "sc": 773, "ep": 42, "ec": 437} | 161,788 | Q2414305 | 38 | 773 | 42 | 437 | Holly Holm | Women's featherweight championship & Post championship | and determine an "appropriate result." On February 28, the NYSAC denied the appeal, finding "no clear error or violation of statute or rule." Post championship Holm returned to bantamweight division after losing the featherweight title bout. Holm faced Bethe Correia at UFC Fight Night: Holm vs. Correia on June 17, 2017 in Singapore. She won the fight via knockout in the third round via a head kick that dropped Correia and then a punch. The win earned Holm her second Performance of the Night bonus award. This also set up her bout against current UFC Women's Featherweight Champion Cris Cyborg |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 42, "sc": 437, "ep": 42, "ec": 1024} | 161,788 | Q2414305 | 42 | 437 | 42 | 1,024 | Holly Holm | Post championship | at UFC 219
In a return to the women's featherweight division, Holm challenged Cris Cyborg for the UFC Featherweight Championship on December 30, 2017 in the main event at UFC 219. She lost the fight via unanimous decision. This fight earned Holm her second Fight of the Night bonus.
Holm faced Megan Anderson on June 9, 2018 at UFC 225. She won the fight via unanimous decision.
Holm was expected to face Aspen Ladd in a bantamweight bout on March 2, 2019 at UFC 235. However, on January 31, 2019 it was reported the pair was no longer taking place at the event. |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 42, "sc": 1024, "ep": 46, "ec": 52} | 161,788 | Q2414305 | 42 | 1,024 | 46 | 52 | Holly Holm | Post championship & Fighting style |
On March 20, it was reported that Holm signed a new six-fight contract with the UFC.
Holm faced Amanda Nunes for the Women's bantamweight championship on July 6, 2019 at UFC 239. She lost the fight via technical knockout in round one after being dropped by a head kick and finished with follow up punches by Nunes.
Holm was scheduled to face Raquel Pennington on October 6, 2019 at UFC 243. However, on September 27, it was revealed Holm withdrew from the bout due to an undisclosed injury and the bout was cancelled. Fighting style Holm employs frequent lateral movement while working |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 46, "sc": 52, "ep": 46, "ec": 678} | 161,788 | Q2414305 | 46 | 52 | 46 | 678 | Holly Holm | Fighting style | stiff jabs to an opponent's head. When standing within the pocket, she often waits to attack with counter-strikes, usually employing a straight left hand. Holm is also known for her punching combinations, typically done while her opponents are against the cage.
Decorated boxer and ONE Championship fighter Ana Julaton has described Holm as a "natural mover", noting her footwork as an asset in setting up strikes. At UFC 193, Ronda Rousey took several blows while struggling to close the distance against Holm. Holm uses a variety of kicking techniques, often targeting the body with a fast side kick, pushing back a |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 46, "sc": 678, "ep": 54, "ec": 253} | 161,788 | Q2414305 | 46 | 678 | 54 | 253 | Holly Holm | Fighting style & In popular culture & Personal life | rush with a low oblique kick, and attacking the head with a left high kick. In popular culture Holm is one of several boxers photographed by artist Delilah Montoya and profiled in the publication Women Boxers: The New Warriors. She appeared in the 2016 feature film Fight Valley alongside Miesha Tate and Cris Cyborg. Personal life Holm has close relationships with her parents and brothers. Her father always attends her fights, and for years assisted in her corner during her boxing matches. She and her father are partners in a real estate company. Holm is a Christian and her faith |
{"datasets_id": 161788, "wiki_id": "Q2414305", "sp": 54, "sc": 253, "ep": 54, "ec": 639} | 161,788 | Q2414305 | 54 | 253 | 54 | 639 | Holly Holm | Personal life | background is in Churches of Christ. Her mother, Tammy Bredy, has seen little of Holm in the cage and rarely attends Holm's bouts.
In 2012, she married Jeff Kirkpatrick, also from Albuquerque, whom she met in the college. In the beginning of 2019, it was revealed that the couple had separated in March 2018. Holm filed for a divorce and sought out to get her maiden name back. |
{"datasets_id": 161789, "wiki_id": "Q17032355", "sp": 2, "sc": 0, "ep": 4, "ec": 604} | 161,789 | Q17032355 | 2 | 0 | 4 | 604 | Hong Kong Watch & Clock Fair | Hong Kong Watch & Clock Fair The Hong Kong Watch & Clock Fair is a timepiece trade show held annually in Hong Kong. It is organised by the Hong Kong Trade Development Council (HKTDC), Hong Kong Watch Manufacturers Association Ltd., and The Federation of Hong Kong Watch Trades and Industries Ltd. The fair showcases both Hong Kong and international labels, and also serves a platform for participants to exchange information and market intelligence.The five-day-long trade fair is opened every year in the beginning of September at the Hong Kong Convention and Exhibition Centre.
Special highlights of the fair include Brand |
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{"datasets_id": 161789, "wiki_id": "Q17032355", "sp": 4, "sc": 604, "ep": 4, "ec": 845} | 161,789 | Q17032355 | 4 | 604 | 4 | 845 | Hong Kong Watch & Clock Fair | Name Gallery, an attractive setting for fashionable timepieces by top brands, and Pageant of Eternity, designed to highlight the beauty and craftsmanship of watches at the high end of the spectrum.
The fair was established in 1982. |
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{"datasets_id": 161790, "wiki_id": "Q5910239", "sp": 2, "sc": 0, "ep": 6, "ec": 207} | 161,790 | Q5910239 | 2 | 0 | 6 | 207 | Hot Potato (song) | Performances | Hot Potato (song) Performances Jackson performed the song on "Solid Gold" which was broadcast on September 8, 1984. She also performed it on the U.S. TV show "The Fall Guy" broadcast on February 13, 1984, in the episode "Rock-A-Bye Baby". |
{"datasets_id": 161791, "wiki_id": "Q16985024", "sp": 2, "sc": 0, "ep": 6, "ec": 601} | 161,791 | Q16985024 | 2 | 0 | 6 | 601 | Hotel Technology Next Generation | History | Hotel Technology Next Generation History The Hospitality Technology Next Generation was founded in 2002 under the name Hotel Technology Next Generation. it was officially founded by Douglas Rice. Nine hotel IT executives actually formed the core of the founding members. At that time, hotels sometimes had 50 different systems that were not inter-operable. HTNG estimated in 2005 that $25 billion was spent annually and worldwide by hotel companies in IT solutions.
In 2013, HTNG released a secure payments framework for hotels, but mentioned it would be efficient only if the whole industry were to use it. Still in 2013, HTNG signed |
{"datasets_id": 161791, "wiki_id": "Q16985024", "sp": 6, "sc": 601, "ep": 6, "ec": 1348} | 161,791 | Q16985024 | 6 | 601 | 6 | 1,348 | Hotel Technology Next Generation | History | a partnership agreement with China Hospitality Technology Alliance to share data across continents. In January 2015, Smartrac joined the HTNG to work on the door lock security group of the organization. The Hospitality Finance, Revenue Management and IT Professionals Association (HOSPA) also joined the HTNG, starting with HOSPOA-member Royal Automobile Club.
In 2016, HTNG partnered with the magazine Hospitality Technology to merge their hospitality-focused conferences in North America.
In June 2017, Hotel Technology Next Generation changed its name to Hospitality Technology Next Generation.
In August 2018, HTNG published a white paper regarding for the implementation of voice technologies in hotels. In September |
{"datasets_id": 161791, "wiki_id": "Q16985024", "sp": 6, "sc": 1348, "ep": 10, "ec": 538} | 161,791 | Q16985024 | 6 | 1,348 | 10 | 538 | Hotel Technology Next Generation | History & Description | 2018, HTNG signed a partnership agreement with Hospitality Financial and Technology Professionals (HFTP) to share development resources. Starting in 2019, the OpenTravel Alliance joined its relationship management with HTNG. Description The Hospitality Technology Next Generation is governed by a board of directors consisting of senior technology executives from hotel companies. Membership is open to companies and individuals involved with hospitality technology.
The organization's stated objective is to promote interoperability of the many technology systems used in the hotel industry, such as property management systems, point-of-sale systems, telephone systems, building automation systems, guestroom entertainment systems such as video on demand, security |
{"datasets_id": 161791, "wiki_id": "Q16985024", "sp": 10, "sc": 538, "ep": 14, "ec": 179} | 161,791 | Q16985024 | 10 | 538 | 14 | 179 | Hotel Technology Next Generation | Description & Governance | and access control systems, and many others. The organization's members meet regularly in small workgroups, where hotel companies and vendors work together to design interface standards (often using XML), reference architectures, network designs, and hospitality-specific network devices. HTNG holds annual members' meetings in North America, Europe, and Asia.
HTNG operates a certification program for selected specifications, administered by The Open Group. Governance In May 2015, Raman P. Rama was named on the board of HTBG. In June 2015, Michael Blake was named EVP and CEO of HTNG, replacing Douglas Rice who led the organization for 13 years. |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 2, "sc": 0, "ep": 4, "ec": 553} | 161,792 | Q579705 | 2 | 0 | 4 | 553 | Hubcap | Hubcap A hubcap, wheel cover or wheel trim is a decorative disk on an automobile wheel that covers at least a central portion of the wheel, called the hub. An automobile hubcap is used to cover the wheel hub and the wheel fasteners to reduce the accumulation of dirt and moisture. It also has the function of decorating the car.
A "hubcap" is technically the small cover over the center of the wheel, while a "wheel cover" is usually a decorative metal or plastic disk that snaps or bolts onto and covers the entire face of the wheel. Cars with stamped |
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{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 4, "sc": 553, "ep": 8, "ec": 248} | 161,792 | Q579705 | 4 | 553 | 8 | 248 | Hubcap | History | steel wheels often use a full wheel cover that conceals the entire wheel. Cars with alloy wheels or styled steel wheels generally use smaller hubcaps, sometimes called center caps. Alternatively, wheel cover refers to an accessory covering an external rear-mounted spare tire (also known as a spare tire cover) found on some off-road vehicles. History Hubcaps were first used on the Newton Reaction Carriage in 1680. The first hubcaps were more commonly known as dust or grease caps. These caps threaded onto the center hub on the wood, steel, or wire wheel. These were made from the beginning of car |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 248, "ep": 8, "ec": 819} | 161,792 | Q579705 | 8 | 248 | 8 | 819 | Hubcap | History | manufacturing to 1932. Pre-1915 hubcaps were all mostly made of brass that was nickel-plated. The 1920s hubcaps were mostly aluminum. Grease caps of the wire wheel brands such as Houk, Hayes, Frayer, Dayton, Buffalo, House, Phelps, Pasco, Rudge Whitworth, Budd, and Stewart are some of the hardest to find. When a customer went to buy the wire wheels, the make of the vehicle would be stamped in the center. During 1927 and 1928, the first snap-on center caps were being made on the wire wheels. After 1932, most every car had a snap-on style center cap on the middle of |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 819, "ep": 8, "ec": 1358} | 161,792 | Q579705 | 8 | 819 | 8 | 1,358 | Hubcap | History | their wire, steel, or wood wheels. Wire wheel center caps in the 1930s had a spring-loaded retention clip system that has been used on many hubcaps and center caps on every style of car and truck to the present day.
Steel wheels in the 1930s had retention clips mounted to the wheel that snapped into a lip in the back of the cap. Wood wheels were a special option. The caps on these had a large chrome base that mushroomed up to another smaller chrome base that would have the emblem on the face. The "stem" up to the second base |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 1358, "ep": 8, "ec": 1902} | 161,792 | Q579705 | 8 | 1,358 | 8 | 1,902 | Hubcap | History | was usually painted black to make it look as if the top base was floating. These caps were usually made of brass, steel, or aluminum. During the mid-1930s the first full wheel covers were introduced to fit over the entire wheel, except for a small portion of the rim closest to the rubber tire.
Cord and Hudson were the early adopters. Cord made a plain chrome wheel cover that had a smooth top and holes in the side. The Hudson wheel cover was flat with a lip half way to the middle and the center would say "Hudson", "Hudson Eight", |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 1902, "ep": 8, "ec": 2489} | 161,792 | Q579705 | 8 | 1,902 | 8 | 2,489 | Hubcap | History | or "Terraplane". This configuration differs from the "knock-off" spinners found on some racing cars and cars equipped with true wire wheels. While the knock-off spinner resembles an early hubcap, its threads also retain the wheel itself, in lieu of lug nuts.
When pressed steel wheels became common by the 1940s, these were often painted the same color as the car body. Hubcaps expanded in size to cover the lug nuts that were used to mount these steel wheels. An option on some cars was a chrome-plated trim ring that clipped onto the outer rim of the wheel, in addition to the |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 2489, "ep": 8, "ec": 3120} | 161,792 | Q579705 | 8 | 2,489 | 8 | 3,120 | Hubcap | History | center hubcap. The full wheel cover became popular that covered the entire wheel. These became increasingly decorative in styles and were typically made from chrome-plated or stainless steel. Basic automobiles came standard with simple, unadorned, and inexpensive hubcaps were called "poverty caps" or "dog dish caps" due to their size and shape. Various optional full wheel covers of various designs were optional or were standard equipment on higher trim models. Metal hubcaps not only help protect lug nuts (that hold the wheel on) from corrosion, but also offer an audible warning should a wheel nut work their way off. During |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 3120, "ep": 8, "ec": 3741} | 161,792 | Q579705 | 8 | 3,120 | 8 | 3,741 | Hubcap | History | the 1960s and 1970s, automakers also offered stainless steel spoke full wheel covers that simulated the look of traditional, and more costly, wire spoke wheels.
Specialty wheels of magnesium or aluminum alloy had come onto the market, and wheel covers were a cheap means of imitating their styling. Plastic wheel covers (known in the UK as wheel trims) appeared in the 1970s and became mainstream in the 1980s. The first domestic automobile to use a full plastic wheel cover was the Chevy Monza that featured a "wind blade" design and came in several colors.
Plastic has now largely replaced steel as the |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 8, "sc": 3741, "ep": 12, "ec": 121} | 161,792 | Q579705 | 8 | 3,741 | 12 | 121 | Hubcap | History & Characteristics and design | primary material for manufacturing hubcaps and trims, and where steel wheels are still used, the wheels are now generally painted black so the wheel is less visible through cutouts in the wheel trim. On modern automobiles, full-wheel hubcaps are most commonly seen on budget models and base trim levels, while upscale and performance-oriented models use alloy wheels. Modern aluminum alloy wheels generally use small removable center caps, similar in size to the earliest hubcaps. Characteristics and design Often a hubcap will bear the trademark or symbol of the maker of the automobile or the maker of the hubcap. Early hubcaps |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 12, "sc": 121, "ep": 12, "ec": 729} | 161,792 | Q579705 | 12 | 121 | 12 | 729 | Hubcap | Characteristics and design | were often chrome-plated, and many had decorative, non-functional spokes. Hubcaps were immortalized in the Art Deco styling near the top of one rung of setbacks (ornamental frieze) incorporates a band of hubcaps on the Chrysler Building in midtown Manhattan.
Part of the lore of hubcaps is that on bad roads they have a tendency of falling off due to hitting a bump. Center caps, however, fall off less frequently than older full wheel covers, which were often quite heavy. In some parts of the U.S. and in Mexico there are automotive garages whose walls were decorated with various hubcaps that had |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 12, "sc": 729, "ep": 12, "ec": 1333} | 161,792 | Q579705 | 12 | 729 | 12 | 1,333 | Hubcap | Characteristics and design | fallen off in the vicinity; they were often for sale.
This problem persists today in spite of the many different retention systems that have been engineered. Hubcaps generally use either clip-on retention, where some type of spring steel clip (or plastic clip in the case of plastic hubcaps) engages a groove in the wheel; or bolt-on retention, where a threaded fastener retains the hubcap, or a plastic washer attached to the lugnut itself holds the hubcap on. Honda and, to a lesser degree, Hyundai tend to use the latter system. Clip-on hubcaps tend to pop off suddenly when the wheel impacts |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 12, "sc": 1333, "ep": 12, "ec": 1911} | 161,792 | Q579705 | 12 | 1,333 | 12 | 1,911 | Hubcap | Characteristics and design | a pothole or curbstone, while bolt-on hubcaps are more likely to vibrate loose over time, and tend to rattle and squeak. To prevent loss, many owners attach plastic wheel trims to the wheel itself using an electrical zip tie, which are sold in a silver colour for this very purpose. Enterprising manufacturers also sell a small kit consisting of spare zip ties, a pair of cutting pliers and latex gloves to allow a trim thus secured to be removed easily in the event of a puncture.
In the U.S., during the age of custom cars (1950s–early 1960s), decorating one car with |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 12, "sc": 1911, "ep": 16, "ec": 191} | 161,792 | Q579705 | 12 | 1,911 | 16 | 191 | Hubcap | Characteristics and design & Motorsport use | the wheel covers from another was common. Two very desirable wheel covers were those of the 1950 Cadillac (called the "Sombrero") and that of the 1953 to 1955 Oldsmobile, which resembled a huge, three-tined spinner. Aftermarket suppliers included the "Mooneyes" brand (named after the firm's founder Dean Moon) hubcaps and wheel covers that were some of the first independently offered for hot rods and custom cars. Motorsport use Another variant of the wheel cover, known also as wheel shrouds or rim blanking, is that commonly associated with the German wheelmaking brand BBS since the 1970s. These are attached onto the |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 16, "sc": 191, "ep": 16, "ec": 797} | 161,792 | Q579705 | 16 | 191 | 16 | 797 | Hubcap | Motorsport use | wheel first, then bolted on as if the driver or mechanic is bolting the wheel to his car in the manner of changing their wheel. Commonly made from aluminum, they are designed to distribute airflow to the brakes, thereby generating downforce depending on the shape. Thus, these wheel covers are functional rather than merely decorative.
From 2006, to get around FIA technical regulations that all wheels must be made from an homogeneous metallic material, a carbon fiber variant found its way into Formula One when it was used by Scuderia Ferrari whom BBS supply its wheels to. At the Turkish Grand |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 16, "sc": 797, "ep": 16, "ec": 1371} | 161,792 | Q579705 | 16 | 797 | 16 | 1,371 | Hubcap | Motorsport use | Prix, the rear shrouds were also adopted by Toyota and Toro Rosso and thus their use became widespread for all teams. Prior to being banned from the 1994 PPG Indy Car World Series, wheel shrouds were popular on superspeedways until Team Penske revealed that those covers could reduce drag by 2.5%.
Another type of wheel cover, the static wheel fairing, was introduced by BBS for Ferrari at the British Grand Prix to act as a brake cooling aid for front wheels whilst remaining stationary the wheel itself with one part being cut out at a 27° angle to enable hot air |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 16, "sc": 1371, "ep": 20, "ec": 14} | 161,792 | Q579705 | 16 | 1,371 | 20 | 14 | Hubcap | Motorsport use & Non-rotating hubcap | to escape and thus became adopted by every team. The wheel covers were banned from use in F1 from 2010 after incidents where they broke loose in races. To get around the ban, Ferrari used a detachable integral aero device made from the same magnesium material as the wheel itself, which consisted of double concentric rings of different diameter. As parts of cars now have to be homologated, its rivals were unable to copy this device. Its use became eliminated when the FIA revised the regulations for 2011 to prohibit wheel materials in certain exclusion zones. Non-rotating hubcap A non-rotating |
{"datasets_id": 161792, "wiki_id": "Q579705", "sp": 20, "sc": 14, "ep": 20, "ec": 538} | 161,792 | Q579705 | 20 | 14 | 20 | 538 | Hubcap | Non-rotating hubcap | hubcap retains the same orientation even when a vehicle is in motion. An example is the Rolls-Royce whose hubcap centers are weighted and mounted to revolve independently of the wheel rotation, thus the RR logo can be read while the vehicle is in motion.
This design also allows for messages or advertising to be placed on the hubcap and be read while the vehicle is moving. Non-rotating hubcaps with advertisements may be found on race cars, taxis, commercial vehicles, industrial machinery, buses, and golf carts. |
{"datasets_id": 161793, "wiki_id": "Q19564284", "sp": 2, "sc": 0, "ep": 10, "ec": 289} | 161,793 | Q19564284 | 2 | 0 | 10 | 289 | Hugh Elliott (editor) | Early life and education & Career | Hugh Elliott (editor) Early life and education Hugh Elliott was born in Austin, Texas and grew up in Dallas, Texas in the United States where, as a young child, he began studying drums with Vernon Ewan, percussionist for the Dallas Symphony Orchestra. He went on to study at Berklee College of Music in Boston, Massachusetts. Career After Berklee College of Music, Elliott moved to New York City where he performed and recorded with local and international artists including Grover Washington Jr., Herbie Hancock, Phoebe Snow, Joan Osborne, Phyllis Hyman and Angela Bofill. Elliott performed at venues such as NYC's Beacon |
{"datasets_id": 161793, "wiki_id": "Q19564284", "sp": 10, "sc": 289, "ep": 10, "ec": 950} | 161,793 | Q19564284 | 10 | 289 | 10 | 950 | Hugh Elliott (editor) | Career | Theater and Blue Note Jazz Club, Chicago's Arie Crown Theater and Detroit's Fox Theatre. He recorded multiple times at NYC's The Power Station during its heyday.
In addition to his work with Angela Bofill, Elliott played on a number of other internationally released records, including Sandra Bernhard's, I'm Still Here... Damn It!, Laura Branigan's, Remember Me, Billy Crawford's, Billy Crawford, Robert Lamm's (of the band, Chicago) solo album, In My Head, and Heather Nova's, South, drumming on the single, Like Lovers Do, which was featured in the film, Serendipity.
In 2006, Elliott was a founding member of the Los Angeles-based quintet, |
{"datasets_id": 161793, "wiki_id": "Q19564284", "sp": 10, "sc": 950, "ep": 10, "ec": 1312} | 161,793 | Q19564284 | 10 | 950 | 10 | 1,312 | Hugh Elliott (editor) | Career | Jazz Punks. In 2009, the group released a self-titled EP. In 2012, Jazz Punks released an album titled, SMASHUPS. SMASHUPS received positive reviews, including the Boston Globe, JazzTimes and All About Jazz. In addition to reaching #1 on the CMJ Jazz Top 40, SMASHUPS garnered #15 on CMJ's Top 100 Albums of 2012 and remained on KCRW’s Jazz Top 10 for 8 weeks. |
{"datasets_id": 161794, "wiki_id": "Q16892548", "sp": 2, "sc": 0, "ep": 4, "ec": 114} | 161,794 | Q16892548 | 2 | 0 | 4 | 114 | Hunt's Point, Nova Scotia | Hunt's Point, Nova Scotia Hunt's Point is a community in the Canadian province of Nova Scotia, located in the Region of Queens Municipality. |
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{"datasets_id": 161795, "wiki_id": "Q900760", "sp": 2, "sc": 0, "ep": 6, "ec": 653} | 161,795 | Q900760 | 2 | 0 | 6 | 653 | IB Primary Years Programme | History | IB Primary Years Programme History The programme was created by a group of international school educators (Kevin Bartlett of the Vienna International School, Paul Lieblich of Lyford Cay International School, Robert Landau of the Commonwealth American School of Lausanne, Susan Stengal of the Copenhagen International School and Ian Sayer of The British School of Lomé and Peter Harding of the International School Hamburg, who wished to create a non-national based "best practice" educational framework for international schools. This group formed the International Schools Curriculum Project (3-12) which received funding from original member schools and through the IBO from Shell Oil's |
{"datasets_id": 161795, "wiki_id": "Q900760", "sp": 6, "sc": 653, "ep": 14, "ec": 278} | 161,795 | Q900760 | 6 | 653 | 14 | 278 | IB Primary Years Programme | History & Educational philosophy & Transdisciplinary themes | international education division. After several years of development and increasing popularity the Steering Committee voted 5 to 6 to hand the "project" over to the IBO for management and continuing development.) Educational philosophy The philosophy of the PYP is to make the students into "inquirers, thinkers, communicators, risk takers, knowledgeable, principled, caring, open-minded, well-balanced, and reflective." Transdisciplinary themes In the IBPYP the written curriculum is arranged within six "transdisciplinary themes". While the themes are universal and applicable to all cultures, the expectation is that there are certain core values, skills and knowledge for international schools, students and educators. |
{"datasets_id": 161795, "wiki_id": "Q900760", "sp": 14, "sc": 278, "ep": 14, "ec": 1011} | 161,795 | Q900760 | 14 | 278 | 14 | 1,011 | IB Primary Years Programme | Transdisciplinary themes | For example, the international school curriculum should have “global significance—for all students in all cultures."
Who we are: An inquiry into the nature of the self; beliefs and values; personal, physical, mental, social and spiritual health; human relationships including families, friends, communities, and cultures; rights and responsibilities; what it means to be human.
Where we are in place and time: An inquiry into orientation in place and time; personal histories; homes and journeys; the discoveries, explorations and migrations of humankind; the relationships between and the interconnections of individuals and civilizations, from local and global perspectives.
How we express ourselves: An |
{"datasets_id": 161795, "wiki_id": "Q900760", "sp": 14, "sc": 1011, "ep": 14, "ec": 1693} | 161,795 | Q900760 | 14 | 1,011 | 14 | 1,693 | IB Primary Years Programme | Transdisciplinary themes | inquiry into the ways in which we discover and express ideas, feelings, nature, culture, beliefs and values; the ways in which we reflect on, extend and enjoy our creativity; our appreciation of the aesthetic.
How the world works: An inquiry into the natural world and its laws; the interaction between the natural world (physical and biological) and human societies; how humans use their understanding of scientific principles; the impact of scientific and technological advances on society and on the environment.
How we organize ourselves: An inquiry into the interconnections of human-made systems and communities; the structure and function of organizations; |
{"datasets_id": 161795, "wiki_id": "Q900760", "sp": 14, "sc": 1693, "ep": 18, "ec": 270} | 161,795 | Q900760 | 14 | 1,693 | 18 | 270 | IB Primary Years Programme | Transdisciplinary themes & Participation | societal decision-making; economic activities and their impact on humankind and the environment.
Sharing the planet: An inquiry into rights and responsibilities in the struggle to share finite resources with other people and with other living things; communities and the relationships within and between them; access to equal opportunities; peace and conflict resolution. Participation In order to participate in the IB Primary Years Programme, students must attend an authorised IB World School. "A PYP school is expected to implement the programme in an inclusive manner, so that all students in all the grades/year levels in the school or in the primary |
{"datasets_id": 161795, "wiki_id": "Q900760", "sp": 18, "sc": 270, "ep": 18, "ec": 475} | 161,795 | Q900760 | 18 | 270 | 18 | 475 | IB Primary Years Programme | Participation | division of a school are engaged fully with the PYP." IB's requirement that the PYP must be implemented schoolwide has resulted in controversy in American public schools where parents cite lack of choice. |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 2, "sc": 0, "ep": 6, "ec": 517} | 161,796 | Q268440 | 2 | 0 | 6 | 517 | I Feel Fine | Origin | I Feel Fine Origin Lennon wrote the guitar riff while in the studio recording "Eight Days a Week". "I wrote 'I Feel Fine' around that riff going on in the background", he recalled. "I told them I'd write a song specially for the riff. So they said, 'Yes. You go away and do that', knowing that we'd almost finished the album Beatles for Sale. Anyway, going into the studio one morning, I said to Ringo, 'I've written this song but it's lousy'. But we tried it, complete with riff, and it sounded like an A-side, so we decided to release |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 6, "sc": 517, "ep": 6, "ec": 1116} | 161,796 | Q268440 | 6 | 517 | 6 | 1,116 | I Feel Fine | Origin | it just like that." Both John Lennon and George Harrison said that the riff was influenced by a riff in "Watch Your Step", a 1961 release written and performed by Bobby Parker and covered by the Beatles in concerts during 1961 and 1962. Paul McCartney said the drums on "I Feel Fine" were inspired by Ray Charles's 1959 single "What'd I Say".
At the time of the song's recording, the Beatles, having mastered the studio basics, had begun to explore new sources of inspiration in noises previously eliminated as mistakes (such as electronic goofs, twisted tapes, and talkback). "I Feel Fine" |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 6, "sc": 1116, "ep": 10, "ec": 267} | 161,796 | Q268440 | 6 | 1,116 | 10 | 267 | I Feel Fine | Origin & Structure | marks one of the earliest examples of the use of feedback as a recording effect in popular music. Artists such as the Kinks and the Who had already used feedback live, but Lennon remained proud of the fact that the Beatles were perhaps the first group to deliberately put it on vinyl. Structure "I Feel Fine" is written in time with drummer Ringo Starr's R&B-influenced beat (based on the "Latin" drumming in Ray Charles's hit "What'd I Say") featured through most of the song except for the bridge, which has a more conventional backbeat. After a brief note of |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 10, "sc": 267, "ep": 14, "ec": 7} | 161,796 | Q268440 | 10 | 267 | 14 | 7 | I Feel Fine | Structure & Audio feedback | heavy feedback (see below), the intro begins with a distinctive arpeggiated riff which starts in D major before quickly progressing to C major and then G major, at which point the vocals begin in G. The melody, unusually, uses a major third and a minor seventh, and has been classified as Mixolydian mode. Just before the coda, Lennon's intro riff (or ostinato) is repeated with a bright sound by George Harrison on electric guitar (a Gretsch Tennessean). The song ends with a fadeout of the G major portion of the opening riff repeated several times. Audio feedback "I Feel |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 14, "sc": 7, "ep": 14, "ec": 553} | 161,796 | Q268440 | 14 | 7 | 14 | 553 | I Feel Fine | Audio feedback | Fine" starts with a single, percussive feedback note produced by McCartney plucking the A string on his bass, and Lennon's guitar, which was leaning against McCartney's bass amp, picking up feedback. This was the first use of feedback on a rock record. According to McCartney, "John had a semi-acoustic Gibson guitar. It had a pickup on it so it could be amplified ... We were just about to walk away to listen to a take when John leaned his guitar against the amp. I can still see him doing it … it went, 'Nnnnnnwahhhhh!' And we went, 'What's |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 14, "sc": 553, "ep": 14, "ec": 1143} | 161,796 | Q268440 | 14 | 553 | 14 | 1,143 | I Feel Fine | Audio feedback | that? Voodoo!' 'No, it's feedback.' 'Wow, it's a great sound!' George Martin was there so we said, 'Can we have that on the record?' 'Well, I suppose we could, we could edit it on the front.' It was a found object, an accident caused by leaning the guitar against the amp." Although it sounded very much like an electric guitar, Lennon actually played the riff on an acoustic-electric guitar (a Gibson model J-160E), employing the guitar's onboard pickup.
Later, Lennon was very proud of this sonic experimentation. In one of his last interviews, he said: "I defy anybody to find a |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 14, "sc": 1143, "ep": 18, "ec": 459} | 161,796 | Q268440 | 14 | 1,143 | 18 | 459 | I Feel Fine | Audio feedback & Music video | record – unless it's some old blues record in 1922 – that uses feedback that way." Music video Two different music videos directed by Joe McGrath were filmed on 23 November 1965. Both feature various bits of gym equipment. In the first, George sang into a punch-ball while Ringo pedalled on an exercise bike. The second marked the only time a lunch break was filmed, where they all ate fish and chips, while trying to mime to the song. Brian was adamant that this video could not be used. From then on, the controversial "fish and chips" footage was kept |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 18, "sc": 459, "ep": 22, "ec": 361} | 161,796 | Q268440 | 18 | 459 | 22 | 361 | I Feel Fine | Music video & Charts | in a 2" videotape box labelled "I Feel Fried". The first music video was included in the Beatles' 2015 video compilation 1, and both videos were included in the three-disc versions of the compilation, titled 1+. Charts "I Feel Fine" was the first Beatles single to be released almost concurrently in the US and the UK. The single reached the top of the British charts on 12 December 1964, displacing the Rolling Stones' "Little Red Rooster", and remained there for five weeks. In Canada, the song also reached number one.
The song topped the US Billboard Hot 100 chart for |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 22, "sc": 361, "ep": 22, "ec": 897} | 161,796 | Q268440 | 22 | 361 | 22 | 897 | I Feel Fine | Charts | three weeks in late 1964 and early 1965. Cash Box magazine ranked "I Feel Fine" as the 19th biggest US hit of 1965. The B-side was the number-four hit "She's a Woman". "I Feel Fine" was the sixth single by the Beatles to hit number one on the Billboard Hot 100 in a calendar year (1964), an all-time record. In order, these singles were "I Want to Hold Your Hand", "She Loves You", "Can't Buy Me Love", "Love Me Do", "A Hard Day's Night" and "I Feel Fine". For songwriters Lennon and McCartney, it was the seventh number-one they wrote |
{"datasets_id": 161796, "wiki_id": "Q268440", "sp": 22, "sc": 897, "ep": 22, "ec": 1433} | 161,796 | Q268440 | 22 | 897 | 22 | 1,433 | I Feel Fine | Charts | in the same calendar year, which was another all-time record. The song was the first of six Hot 100 number one chart-toppers in a row (not counting the EP 4 – by the Beatles) by one act, also a record at the time. The subsequent singles were "Eight Days a Week", "Ticket to Ride", "Help!", "Yesterday" and "We Can Work It Out".
By 2012, "I Feel Fine" had sold 1.41 million copies in the UK. As of December 2018, it was the 53rd best-selling single of all time there – one of six Beatles songs included on the top sales rankings |
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