document_title: Olympic symbols

question_text: what is the meaning of the 5 rings on the olympic flag

text: Olympic symbols

text: Motto[edit]

text: The Olympic motto is the hendiatris Citius, Altius, Fortius, which is Latin for "Faster, Higher, Stronger".[1] It was proposed by Pierre de Coubertin upon the creation of the International Olympic Committee in 1894. Coubertin borrowed it from his friend Henri Didon, a Dominican priest who was an athletics enthusiast.[2] Coubertin said "These three words represent a programme of moral beauty. The aesthetics of sport are intangible."[2] The motto was introduced in 1924 at the Olympic Games in Paris.[3] A more informal but well-known motto, also introduced by Coubertin, is "The most important thing is not to win but to take part!" Coubertin got this motto from a sermon by the Bishop of Pennsylvania during the 1908 London Games.[4]

text: Rings[edit]

text: The rings are five interlocking rings, coloured blue, yellow, black, green, and red on a white field, known as the "Olympic rings". The symbol was originally designed in 1912 by de Coubertin.[5] He appears to have intended the rings to represent the five participating continents: Africa, Asia, America, Oceania and Europe.[6] According to Coubertin, the colours of the rings together with the white of the background included the colours composing every competing nation's flag at the time. Upon its initial introduction, Coubertin stated the following in the August 1912 edition of Olympique:[7]

text: ... the six colours [including the flag's white background] combined in this way reproduce the colours of every country without exception. The blue and yellow of Sweden, the blue and white of Greece, the tricolour flags of France, England, the United States, Germany, Belgium, Italy and Hungary, and the yellow and red of Spain are included, as are the innovative flags of Brazil and Australia, and those of ancient Japan and modern China. This, truly, is an international emblem.

text: In his article published in the Olympic Revue the official magazine of the International Olympic Committee in November 1992, the American historian Robert Barney explains that the idea of the interlaced rings came to Pierre de Coubertin when he was in charge of the USFSA, an association founded by the union of two French sports associations and until 1925, responsible for representing the International Olympic Committee in France: The emblem of the union was two interlaced rings (like the vesica piscis typical interlaced marriage rings) and originally the idea of Swiss psychiatrist Carl Jung: for him, the ring symbolized continuity and the human being.[8].

text: The 1914 Congress was suspended due to the outbreak of World War I, but the symbol and flag were later adopted. They would first officially debut at the Games of the VII Olympiad in Antwerp, Belgium, in 1920.[9]

text: The symbol's popularity and widespread use began during the lead-up to the 1936 Summer Olympics in Berlin. Carl Diem, president of the Organizing Committee of the 1936 Summer Olympics, wanted to hold a torchbearers' ceremony in the stadium at Delphi, site of the famous oracle, where the Pythian Games were also held. For this reason he ordered construction of a milestone with the Olympic rings carved in the sides, and that a torchbearer should carry the flame along with an escort of three others from there to Berlin. The ceremony was celebrated but the stone was never removed. Later, two American authors, Lynn and Gray Poole, when visiting Delphi in the late 1950s, saw the stone and reported in their History of the Ancient Games[10] that the Olympic rings design came from ancient Greece. This has become known as "Carl Diem's Stone".[11] This created a myth that the symbol had an ancient Greek origin.

text: The current view of the International Olympic Committee (IOC) is that the symbol "reinforces the idea" that the Olympic Movement is international and welcomes all countries of the world to join.[12] As can be read in the Olympic Charter, the Olympic symbol represents the union of the "five continents" of the world and the meeting of athletes from throughout the world at the Olympic Games. However, no continent is represented by any specific ring. Prior to 1951, the official handbook stated that each colour corresponded to a particular continent: blue for Europe, yellow for Asia, black for Africa, green for Australia and Oceania and red for the Americas; this was removed because there was no evidence that Coubertin had intended it (the quotation above was probably an afterthought).[13] Nevertheless, the logo of the Association of National Olympic Committees places the logo of each of its five continental associations inside the ring of the corresponding colour.

text: Flag[edit]

text: The Olympic flag was created by Pierre de Coubertin in 1925.

text: The Olympic flag has a white background, with five interlaced rings in the centre: blue, yellow, black, green and red. This design is symbolic; it represents the five continents of the world, united by Olympism, while the six colours are those that appear on all the national flags of the world at the present time.

text: Specific flags[edit]

text: There are specific Olympic flags that are displayed by cities that will be hosting the next Olympic games. During each Olympic closing ceremony in what is traditionally known as the Antwerp Ceremony,[15] the flag is passed from the mayor of one host city to the next host, where it will then be taken to the new host and displayed at city hall. These flags should not be confused with the larger Olympic flags designed and created specifically for each games, which are flown over the host stadium and then retired. Because there is no specific flag for this purpose, the flags flown over the stadiums generally have subtle differences, including minor color variations, and, more noticeably, the presence (or lack) of white outlines around each ring.

text: Antwerp flag[edit]

text: The first Olympic flag was presented to the Jr.National Olympics at the 1920 Summer Olympics by the city of Antwerp, Belgium. At the end of the Games, the flag could not be found and a new Olympic flag had to be made for the 1924 Summer Olympics in Paris. Despite it being a replacement, the IOC officially still calls this the "Antwerp Flag" instead of the "Paris Flag".[16] It was passed on to the next organizing city of the Summer Olympics or Winter Olympics until the 1952 Winter Olympics in Oslo, Norway, when a separate Olympic flag was created to be used only at the Winter Olympics (see below). The 1924 flag then continued to be used at the Summer Olympics until the Games of Seoul 1988 when it was retired.

text: In 1997, at a banquet hosted by the US Olympic Committee, a reporter was interviewing Hal Haig Prieste who had won a bronze medal in platform diving as a member of the 1920 US Olympic team. The reporter mentioned that the IOC had not been able to find out what had happened to the original Olympic flag. "I can help you with that," Prieste said, "It's in my suitcase." At the end of the Antwerp Olympics, spurred on by teammate Duke Kahanamoku, he climbed a flagpole and stole the Olympic flag. For 77 years the flag was stored away in the bottom of his suitcase. The flag was returned to the IOC by Prieste, by then 103 years old, in a special ceremony held at the 2000 Games in Sydney.[17] The original Antwerp Flag is now on display at the Olympic Museum in Lausanne, Switzerland, with a plaque thanking him for donating it.[18]

text: Oslo flag[edit]

text: The Oslo flag was presented to the IOC by the mayor of Oslo, Norway, during the 1952 Winter Olympics. Since then, it has been passed to the next organizing city for the Winter Olympics. Currently, the actual Oslo flag is kept preserved in a special box, and a replica has been used during recent closing ceremonies instead.[19]

text: Seoul flag[edit]

text: As a successor to the Antwerp Flag,[20] the Seoul flag was presented to the IOC at the 1988 Summer Olympics by the city of Seoul, South Korea, and has since then been passed on to the next organizing city of the Summer Olympics. The Seoul flag is currently on display at the Tokyo Metropolitan Government Building.

text: Rio de Janeiro flag[edit]

text: As a successor to the Seoul Flag,[21] the Rio flag was presented to the IOC at the 2016 Summer Olympics by the city of Rio de Janeiro, Brazil, and has since then been passed on to the next organizing city of the Summer Olympics, Tokyo.

text: Singapore flag[edit]

text: For the inaugural Youth Olympic Games, an Olympic flag was created for the junior version of the Games. The flag is similar to the Olympic flag, but has the host city and year on it and was first presented to Singapore by IOC President Jacques Rogge.[22][23] During the closing ceremony on 26 August 2010, Singapore officials presented it to the next organizing committee, Nanjing 2014.[24]

text: Innsbruck flag[edit]

text: For the inaugural winter Youth Olympic Games, an Olympic flag was presented to the IOC at the 2012 Winter Youth Olympics by the city of Innsbruck, Austria, and has since then been passed on to the next organizing city of the Winter Youth Olympics.

text: Flame and torch relay[edit]

text: The modern tradition of moving the Olympic Flame via a relay system from Greece to the Olympic venue began with the Berlin Games in 1936. Months before the Games are held, the Olympic Flame is lit on a torch, with the rays of the Sun concentrated by a parabolic reflector, at the site of the Ancient Olympics in Olympia, Greece. The torch is then taken out of Greece, most often to be taken around the country or continent where the Games are held. The Olympic torch is carried by athletes, leaders, celebrities, and ordinary people alike, and at times in unusual conditions, such as being electronically transmitted via satellite for Montreal 1976, submerged underwater without being extinguished for Sydney 2000, or in space and at the North Pole for Sochi 2014. On the final day of the torch relay, the day of the Opening Ceremony, the Flame reaches the main stadium and is used to light a cauldron situated in a prominent part of the venue to signify the beginning of the Games.

text: Medals and diplomas[edit]

text: The Olympic medals awarded to winners are another symbol associated with the Olympic games. The medals are made of gold-plated silver – for the gold medals – silver, or bronze, and are awarded to the top three finishers in a particular event. Each medal for an Olympiad has a common design, decided upon by the organizers for the particular games. From 1928 until 2000, the obverse side of the medals contained an image of Nike, the traditional goddess of victory, holding a palm in her left hand and a winner's crown in her right. This design was created by Giuseppe Cassioli. For each Olympic games, the reverse side as well as the labels for each Olympiad changed, reflecting the host of the games.

text: In 2004, the obverse side of the medals changed to make more explicit reference to the Greek character of the games. In this design, the goddess Nike flies into the Panathenic stadium, reflecting the renewal of the games. The design was by Greek jewelry designer Elena Votsi.[25]

text: Olympic diplomas are given to competitors placing fourth, fifth, and sixth since 1949, and to competitors placing seventh and eighth since 1981.

text: Anthems[edit]

text: The "Olympic Hymn", officially known as the "Olympic Anthem", is played when the Olympic Flag is raised. It was composed by Spyridon Samaras with words from a poem of the Greek poet and writer Kostis Palamas. Both the poet and the composer were the choice of Demetrius Vikelas, a Greek Pro-European and the first President of the IOC. The anthem was performed for the first time for the ceremony of opening of the 1896 Athens Olympic Games but wasn't declared the official hymn by the IOC until 1958. In the following years, every hosting nation commissioned the composition of a specific Olympic hymn for their own edition of the Games until the 1960 Winter Olympics in Squaw Valley.

text: Other notable Olympic anthems and fanfares include:

text:
"Olympische Hymne": A composition for orchestra and mixed chorus composed by Richard Strauss for the 1936 Berlin Summer Olympics.
The "Olympic Fanfare" for the 1952 Helsinki Summer Olympics was originally composed by Aarre Merikanto for the 1940 Summer Olympics, which were cancelled. Merikanto's Fanfare won the fanfare contest organized in Finland in 1939, but the score was lost for over a decade; when rediscovered in 1951, it was decided to use it in 1952. It was recorded in 1953.[26]
"Bugler's Dream": Written in 1958 by Leo Arnaud as part of his Charge Suite, the theme is often thought of by Americans as the Olympic Theme" due to its usage in television coverage by ABC and NBC, starting with the 1964 Olympics.
The "Olympic March": The theme written by Yūji Koseki for the Tokyo 1964 Summer Olympics theme song.
"Olympic Fanfare 1972": The winning submission for the Munich 1972 Summer Olympics theme song, used as the TV signature tune of the German Olympic Center (Deutsches Olympia-Zentrum, DOZ) and the prelude to the medal ceremonies, composed by Herbert Rehbein.[27] It was performed by the Orchestra of the Bavarian Broadcasting Company (Orchester des Bayerischen Rundfunks) and members of the Air Force Band Neubiberg, conducted by Willy Mattes.[citation needed]
"Olympic Fanfare and Theme": Composed by John Williams for the Los Angeles 1984 Summer Olympics, the theme was performed in the opening ceremonies by the United States Army Herald Trumpets conducted by then-Captain David Deitrick.[28] The first recording, performed by an orchestra composed of Los Angeles-area musicians, was released in its entirety on the LP and cassette album The Official Music of the XXIIIrd Olympiad Los Angeles 1984, with a concurrent Japan-only CD release (which went on to win a Grammy in 1985).[29] A slightly different arrangement of the piece was released on the Philips album By Request: The Best of John Williams and the Boston Pops Orchestra. In 1996, an alternate version of "Olympic Fanfare and Theme" was released on the album Summon the Heroes for the Atlanta Olympic Games, replacing the first part of the piece with Arnaud's Bugler's Dream. The theme was also used in closing ceremony of the 2010 Olympic Games, as the nations' flagbearers entered BC Place Stadium surrounding the Olympic Flame and when the Olympic Flag was brought into the stadium by Vancouver mayor Gregor Robertson.
"The Olympic Spirit": The theme written by John Williams for the 1988 Olympics in Seoul and used in the corresponding NBC broadcasts.
"Summon the Heroes": The theme written by John Williams for the 1996 Summer Olympics in Atlanta.
"Theme from The Adventures of Brisco County, Jr.": The theme song to this television show, composed by Randy Edelman, has been used by NBC for teaser commercial and promo spots since the 1996 Summer Olympics.[30]
"Call of the Champions": The theme written by John Williams for the 2002 Salt Lake Winter Olympics.

tag: ul

text: Several other composers have contributed Olympic music, including Henry Mancini, Francis Lai, Marvin Hamlisch, Philip Glass, David Foster, Mikis Theodorakis, Ryuichi Sakamoto, Vangelis, Basil Poledouris, Michael Kamen, and Mark Watters.it had oath too : we swear that we will take part in the Olympic Games in loyal competition, respecting the regulations which govern them and desirous of participating in them in the true spirit of sportsmanship for the honour of our country and for the glory of sports.

text: Kotinos[edit]

text: The kotinos (Greek: κότινος),[31] is an olive branch, originally of wild olive-tree, intertwined to form a circle or a horse-shoe, introduced by Heracles.[32] In the ancient Olympic Games there were no gold, silver, or bronze medals. There was only one winner per event, crowned with an olive wreath made of wild olive leaves from a sacred tree near the temple of Zeus at Olympia. Aristophanes in Plutus makes a sensible remark why victorious athletes are crowned with wreath made of wild olive instead of gold.[33] The victorious athletes were honored, feted, and praised. Their deeds were heralded and chronicled so that future generations could appreciate their accomplishments.

text: Herodotus describes the following story which is relevant to the olive wreath. Xerxes was interrogating some Arcadians after the Battle of Thermopylae. He inquired why there were so few Greek men defending the Thermopylae. The answer was "All other men are participating in the Olympic Games". And when asked "What is the prize for the winner?", "An olive-wreath" came the answer. Then Tigranes, one of his generals uttered a most noble saying: "Good heavens! Mardonius, what kind of men are these against whom you have brought us to fight? Men who do not compete for possessions, but for honour."[34]

text: However, in later times, this was not their only reward; the athlete was rewarded with a generous sum of money by his country. The kotinos tradition was renewed specifically for the Athens 2004 Games, although in this case it was bestowed together with the gold medal. Apart from its use in the awards-ceremonies, the kotinos was chosen as the 2004 Summer Olympics emblem.

text: Olympic salute[edit]

text: The Olympic salute is a variant of the Roman salute, with the right arm and hand are stretched and pointing upward, the palm is outward and downward, with the fingers touching. However, unlike the Roman Salute, the arm is raised higher and at an angle to the right from the shoulder.[35][36]The greeting is visible on the official posters of the games at Paris 1924[35] and Berlin 1936.[37]

text: The Olympic salute has fallen out of use since World War II because of its strong resemblance to the Nazi salute.[38] It was used for the last time by the French team in the opening ceremony of the 1948 Winter Olympics. [39]

text: Mascots[edit]

text: Since the 1968 Winter Olympics in Grenoble, France, the Olympic Games have had a mascot, usually an animal native to the area or occasionally human figures representing the cultural heritage. The first major mascot in the Olympic Games was Misha in the 1980 Summer Olympics in Moscow. Misha was used extensively during the opening and closing ceremonies, had a TV animated cartoon and appeared on several merchandise products. Nowadays, most of the merchandise aimed at young people focuses on the mascots, rather than the Olympic flag or organization logos.

text: Intellectual property[edit]

text: The Olympic movement is very protective of its symbols; as many jurisdictions have given the movement exclusive trademark rights to any interlocking arrangement of five rings, and usage of the word "Olympic". The rings are not eligible for copyright protection, both because of their date of creation and because five circles arranged in a pattern do not reach the threshold of originality required to be copyrighted.

text: The movement has taken action against numerous groups alleged to have violated their trademarks, including the Gay Games; the Minneapolis-based band The Hopefuls, formerly The Olympic Hopefuls; the Redneck Olympics or Redneck Games; Awana Clubs International, a Christian youth ministry who used the term for its competitive games; and Wizards of the Coast, publisher at the time of the IOC's complaint of the card game Legend of the Five Rings.

text: In 1938, the Norwegian brewery Frydenlund patented a label for its root beer which featured the five Olympic rings. In 1952, when Norway was to host the Winter Olympics, the Olympic Committee was notified by Norway's Patent Office that it was Frydenlund who owned the rights to the rings in that country. Today, the successor company Ringnes AS owns the rights to use the patented five rings on its root beer.[40] In addition, a few other companies have been successful in using the Olympic name, such as Olympic Paint, which has a paintbrush in the form of a torch as its logo, and the former Greek passenger carrier Olympic Airlines.

text: Certain other sporting organizations and events have been granted permission by the IOC to use the word "Olympics" in their name, such as the Special Olympics, an international sporting event held every four years for people with intellectual disabilities.

text: In recent years, organizing committees have also demanded the passing of laws to combat ambush marketing by non-official sponsors during the Games – such as the London Olympic Games and Paralympic Games Act 2006 – putting heavy restrictions on using any term or imagery that could constitute an unauthorized association with the games, including mere mentioning of the host city, the year, and others.[41][42]


document_title: List of San Diego Padres owners and executives

question_text: who owns the san diego padres baseball team

root

text: Owners[edit]

text:
C. Arnholdt Smith
Ray Kroc
Joan Kroc
Tom Werner
John Moores
Ron Fowler

text: General Managers[edit]

text:
Name

Years

Eddie Leishman
1969–1972

Peter Bavasi
1972–1976

Bob Fontaine
1977–1980

Jack McKeon
1980–1990

Joe McIlvaine
1991–1993

Randy Smith
1993–1995

Kevin Towers
1996–2009

Jed Hoyer
2009–2011

Josh Byrnes
2012–2014

A. J. Preller
2014–

tag: table

text: Other executives[edit]

text:
Sandy Alderson
Mike Dee
Paul DePodesta
Larry Doughty
Theo Epstein
Chub Feeney
Billy Herman
Sandy Johnson
Larry Lucchino
Jeff Moorad
Jim Skaalen
Reggie Waller


document_title: Earth's orbit

question_text: how far does the earth travel in a second

text: Earth's orbit

text: History of study[edit]

text: Heliocentrism is the scientific model that first placed the Sun at the center of the Solar System and put the planets, including Earth, in its orbit. Historically, heliocentrism is opposed to geocentrism, which placed the Earth at the center. Aristarchus of Samos already proposed a heliocentric model in the 3rd century BC. In the 16th century, Nicolaus Copernicus' De revolutionibus presented a full discussion of a heliocentric model of the universe[4] in much the same way as Ptolemy had presented his geocentric model in the 2nd century. This "Copernican revolution" resolved the issue of planetary retrograde motion by arguing that such motion was only perceived and apparent. "Although Copernicus's groundbreaking book...had been [printed] over a century earlier, [the Dutch mapmaker] Joan Blaeu was the first mapmaker to incorporate his revolutionary heliocentric theory into a map of the world."[5]

tag: p

text: Influence on Earth[edit]

text: Because of Earth's axial tilt (often known as the obliquity of the ecliptic), the inclination of the Sun's trajectory in the sky (as seen by an observer on Earth's surface) varies over the course of the year. For an observer at a northern latitude, when the north pole is tilted toward the Sun the day lasts longer and the Sun appears higher in the sky. This results in warmer average temperatures, as additional solar radiation reaches the surface. When the north pole is tilted away from the Sun, the reverse is true and the weather is generally cooler. Above the Arctic Circle and below the Antarctic Circle, an extreme case is reached in which there is no daylight at all for part of the year. This is called a polar night. This variation in the weather (because of the direction of the Earth's axial tilt) results in the seasons.[6]

text: Events in the orbit[edit]

text: By astronomical convention, the four seasons are determined by the solstices –  the two points in the Earth's orbit of the maximum tilt of the Earth's axis, towards the Sun or away from the Sun –  and the equinoxes –  the two points in the Earth's orbit where the Earth's tilted axis and an imaginary line drawn from the Earth to the Sun are exactly perpendicular to one another. The solstices and equinoxes divide the year up into four approximately equal parts. In the northern hemisphere winter solstice occurs on or about December 21; summer solstice is near June 21; spring equinox is around March 20; and autumnal equinox is about September 23.[7] The effect of the Earth's axial tilt in the southern hemisphere is the opposite of that in the northern hemisphere, thus the seasons of the solstices and equinoxes in the southern hemisphere are the reverse of those in the northern hemisphere (e.g. the northern summer solstice is at the same time as the southern winter solstice).

text: In modern times, Earth's perihelion occurs around January 3, and the aphelion around July 4 (for other eras, see precession and Milankovitch cycles). The changing Earth–Sun distance results in an increase of about 6.9%[8] in total solar energy reaching the Earth at perihelion relative to aphelion. Since the southern hemisphere is tilted toward the Sun at about the same time that the Earth reaches the closest approach to the Sun, the southern hemisphere receives slightly more energy from the Sun than does the northern over the course of a year. However, this effect is much less significant than the total energy change due to the axial tilt, and most of the excess energy is absorbed by the higher proportion of water in the southern hemisphere.[9]

text: The Hill sphere (gravitational sphere of influence) of the Earth is about 1,500,000 kilometers (0.01 AU) in radius, or approximately 4 times the average distance to the moon.[10][nb 2] This is the maximal distance at which the Earth's gravitational influence is stronger than the more distant Sun and planets. Objects orbiting the Earth must be within this radius, otherwise they can become unbound by the gravitational perturbation of the Sun.

text:
Orbital characteristics

epoch
J2000.0[nb 3]

aphelion
152.10×10^6 km (94.51×10^6 mi)
1.0167 AU[nb 4]

perihelion
147.10×10^6 km (91.40×10^6 mi)
0.98329 AU[nb 4]

semimajor axis
149.60×10^6 km (92.96×10^6 mi)
1.000001018 AU[11]

eccentricity
0.0167086[11]

inclination
7.155° to Sun's equator
1.578690°[12] to invariable plane

longitude of the ascending node
174.9°[11]

longitude of perihelion
102.9°[11]

argument of periapsis
288.1°[11][nb 5]

period
365.256363004 days[13]

average speed
29.78 km/s (18.50 mi/s)[3]
107,200 km/h (66,600 mph)

text: The following diagram shows the relation between the line of solstice and the line of apsides of Earth's elliptical orbit. The orbital ellipse goes through each of the six Earth images, which are sequentially the perihelion (periapsis — nearest point to the Sun) on anywhere from January 2 to January 5, the point of March equinox on March 19, 20, or 21, the point of June solstice on June 20, 21, or 22, the aphelion (apoapsis — farthest point from the Sun) on anywhere from July 3 to July 5, the September equinox on September 22, 23, or 24, and the December solstice on December 21, 22, or 23.[7] The diagram shows an exaggerated shape of Earth's orbit; the actual orbit is less eccentric than pictured.

text: Because of the axial tilt of the Earth in its orbit, the maximal intensity of Sun rays hits the Earth 23.4 degrees north of equator at the June Solstice (at the Tropic of Cancer), and 23.4 degrees south of equator at the December Solstice (at the Tropic of Capricorn).[14]

text: Future[edit]

text: Mathematicians and astronomers (such as Laplace, Lagrange, Gauss, Poincaré, Kolmogorov, Vladimir Arnold, and Jürgen Moser) have searched for evidence for the stability of the planetary motions, and this quest led to many mathematical developments and several successive "proofs" of stability for the Solar System.[15] By most predictions, Earth's orbit will be relatively stable over long periods.[16]

text: In 1989, Jacques Laskar's work indicated that the Earth's orbit (as well as the orbits of all the inner planets) can become chaotic and that an error as small as 15 meters in measuring the initial position of the Earth today would make it impossible to predict where the Earth would be in its orbit in just over 100 million years' time.[17] Modeling the Solar System is subject to the n-body problem.


document_title: Yield to maturity

question_text: if the coupon rate is greater than the yield to maturity the bond will

text: Yield to maturity

text: Main assumptions[edit]

text: The main underlying assumptions used concerning the traditional yield measures are:

text:
The bond will be held to maturity.
All coupon and principal payments will be made on schedule.
The yield to maturity is the single interest rate that equates the present value of a bonds cash flows to its price.[3] A common misconception is that the coupons must be reinvested at the yield to maturity. However, the paper Yield-to-Maturity and the Reinvestment of Coupon Payments says making this assumption is a common mistake in financial literature and coupon reinvestment is not required for YTM formula to hold. And, as Fabozzi states: "The implication is that the yield to maturity measure tells little about the potential yield that an investment may realize if held to maturity."[4]
The yield is usually quoted without making any allowance for tax paid by the investor on the return, and is then known as "gross redemption yield". It also does not make any allowance for the dealing costs incurred by the purchaser (or seller).

text: Coupon rate vs. YTM and parity[edit]

text:
If a bond's coupon rate is less than its YTM, then the bond is selling at a discount.
If a bond's coupon rate is more than its YTM, then the bond is selling at a premium.
If a bond's coupon rate is equal to its YTM, then the bond is selling at par.

text: Variants of yield to maturity[edit]

text: As some bonds have different characteristics, there are some variants of YTM:

text:
Yield to call (YTC): when a bond is callable (can be repurchased by the issuer before the maturity), the market looks also to the Yield to call, which is the same calculation of the YTM, but assumes that the bond will be called, so the cashflow is shortened.
Yield to put (YTP): same as yield to call, but when the bond holder has the option to sell the bond back to the issuer at a fixed price on specified date.
Yield to worst (YTW): when a bond is callable, puttable, exchangeable, or has other features, the yield to worst is the lowest yield of yield to maturity, yield to call, yield to put, and others.

text: Consequences[edit]

text: When the YTM is less than the (expected) yield of another investment, one might be tempted to swap the investments. Care should be taken to subtract any transaction costs, or taxes.

text: Calculations[edit]

text: Formula for yield to maturity for zero-coupon bonds[edit]

text:
Yield to maturity(YTM)

=

Face value
Present value

Time period

−
1

{\displaystyle {\text{Yield to maturity(YTM)}}={\sqrt[{\text{Time period}}]{\dfrac {\text{Face value}}{\text{Present value}}}}-1}

text: Example 1[edit]

text: Consider a 30-year zero-coupon bond with a face value of $100. If the bond is priced at an annual YTM of 10%, it will cost $5.73 today (the present value of this cash flow, 100/(1.1)30 = 5.73). Over the coming 30 years, the price will advance to $100, and the annualized return will be 10%.

text: What happens in the meantime? Suppose that over the first 10 years of the holding period, interest rates decline, and the yield-to-maturity on the bond falls to 7%. With 20 years remaining to maturity, the price of the bond will be 100/1.0720, or $25.84. Even though the yield-to-maturity for the remaining life of the bond is just 7%, and the yield-to-maturity bargained for when the bond was purchased was only 10%, the return earned over the first 10 years is 16.25%. This can be found by evaluating (1+i) from the equation (1+i)10 = (25.882/5.7389), giving 0.1625.

text: Over the remaining 20 years of the bond, the annual rate earned is not 16.25%, but rather 7%. This can be found by evaluating (1+i) from the equation (1+i)20 = 100/25.84, giving 1.07. Over the entire 30 year holding period, the original $5.73 invested increased to $100, so 10% per annum was earned, irrespective of any interest rate changes in between.

text: Example 2[edit]

text: You buy ABCXYZ Company bond which matures in 1 year and has a 5% interest rate (coupon) and has a par value of $100. You pay $90 for the bond.

text: The current yield is 5.56% (5/90).

text: If you hold the bond until maturity, ABCXYZ Company will pay you $5 as interest and $100 par value for the matured bond. Now for your $90 investment, you get $105, so your yield to maturity is 15/90 =16.67% [= (105/90)-1] or [=(105-90)/90].

text: Assume now that you had to pay $101 for the same bond with a 5% interest rate. When the coupon is paid, you get $5. But you had to pay an extra $1 when buying the bond compared to the par value, your real gain is $4 for an initial investment of $101. Your yield to maturity is 4/101 = 3.96%

text: If you had paid $105 for the same bond, you would get $5 when the coupon is paid. However you had to compensate for the extra $5 of your initial investment. Your gain is 0 and so is your yield to maturity.

text: Coupon-bearing Bonds[edit]

text: For bonds with multiple coupons, it is not generally possible to solve for yield in terms of price algebraically. A numerical root-finding technique such as Newton's method must be employed to approximate the yield which renders the present value of future cash flows equal to the bond price.

text: Varying coupon[edit]

text: With varying coupons the general discounting rule should be applied.


document_title: Phineas and Ferb (soundtrack)

question_text: who sings the opening theme song for phineas and ferb

text: Phineas and Ferb (soundtrack)

text: Background[edit]

text: The artists on the soundtrack all are in Phineas and Ferb except for Bowling for Soup who performs the theme tune for the series. The song "Gitchee Gitchee Goo" performed by Vincent Martella & Ashley Tisdale featured in the episode "Flop Starz", was also included in the 2009 album Disney Channel Playlist.[2]

text: Release[edit]

text: The original report cited that the initial February 10, 2009 release date had been pushed back to August 4.[3] On June 26, 2009 the release date was pushed back to September 22, 2009.[4] Later this has been confirmed on the official website.[5] The soundtrack album was released in the United Kingdom on October 10, 2009 via EMI Music.[6]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"Today is Gonna Be a Great Day"
Dan Povenmire, Jeff "Swampy" Marsh, Michael Culross, Michael Walker, Carl Williams
Bowling for Soup
3:01

2.
"Gitchee Gitchee Goo"
Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry
Vincent Martella, Ashley Tisdale, Laura Dickinson, Danny Jacob
1:58

3.
"Backyard Beach"
Dan Povenmire, Danny Jacob
Danny Jacob
0:47

4.
"Busted"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Jon Colton Barry, Antoine Guilbaud, Danny Jacob
Ashley Tisdale, Olivia Olson
1:38

5.
"Perry the Platypus Theme"
Dan Povenmire, Jeff "Swampy" Marsh
Randy Crenshaw, Laura Dickinson, Danny Jacob
0:47

6.
"S.I.M.P. (Squirrels in My Pants)"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Michael Culross
Robbie Wyckoff, Danny Jacob, Ashley Tisdale
1:34

7.
"I'm Lindana and I Wanna Have Fun"
Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry, Chris Headrick
Olivia Olson
0:51

8.
"My Nemesis"
Dan Povenmire, Jeff "Swampy" Marsh, Bobby Gaylor, Kent Osborne
Danny Jacob
1:02

9.
"My Goody Two-Shoes Brother"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor, Danny Jacob
Dan Povenmire
1:15

10.
"Disco Miniature Golfing Queen"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Danny Jacob
Laura Dickinson and Danny Jacob
1:15

11.
"My Undead Mummy and Me"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor, Danny Jacob
Danny Jacob
1:06

12.
"I Love You Mom"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson
Ashley Tisdale
1:03

13.
"Ready for the Bettys"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Danny Jacob, Aliki Theofilopoulos
Olivia Olson
1:01

14.
"When We Didn't Get Along"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor, Jon Colton Barry, Danny Jacob
Danny Jacob
1:40

15.
"He's a Bully"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor, Danny Jacob
Robbie Wyckoff
1:12

16.
"Truck Drivin' Girl"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor, Michael Diederich, Danny Jacob
Danny Jacob
1:15

17.
"Do Nothing Day"
Jon Colton Barry
Mitchel Musso, Ashley Tisdale
1:39

18.
"E.V.I.L. B.O.Y.S."
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor
Dan Povenmire
1:51

19.
"Fabulous"
Chris Headrick, Dan Povenmire, Jeff "Swampy" Marsh, Bobby Gaylor, Martin Olson
Carlos Alazraqui, Vincent Martella
1:29

20.
"Little Brothers"
Jon Colton Barry
Laura Dickinson (with Danny Jacob)
1:15

21.
"Let's Take a Rocket Ship to Space"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson, Bobby Gaylor, Danny Jacob
Danny Jacob
1:05

22.
"Queen of Mars"
Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry
Ashley Tisdale
1:22

23.
"Chains on Me"
Dan Povenmire, Jeff "Swampy" Marsh, Martin Olson
Dan Povenmire
1:33

24.
"Phinedroids and Ferbots"
Aliki Theofilopoulos, Dan Povenmire, Jeff "Swampy" Marsh, Bobby Gaylor, Martin Olson
Danny Jacob
1:08

25.
"Ain't Got Rhythm"
Robert Hughes, Danny Jacob, Jeff "Swampy" Marsh, Martin Olson, Dan Povenmire
Steve Zahn, Vincent Martella
2:16

26.
"You Snuck Your Way Right into My Heart"
Chris Headrick, Dan Povenmire, Jon Colton Barry, Martin Olson
Jaret Reddick
2:35

Total length:
37:37

text: Charts[edit]

text:
Chart
Peak
position

Polish Albums Chart[7]
6

Spanish Albums Chart[8]
4

U.S Billboard 200[8]
59

text:
Year End Chart
Peak
position

Spanish Albums Chart[9]
35

text:
Certifications
Certification

Spanish Albums Chart[9]
Gold

text: Release dates[edit]

text:
Country
Date
Label
Format
Catalog

United States
September 22, 2009
Disney Channel Records
Walt Disney Records
Hollywood Records
CD

Canada & Australia

United Kingdom
October 10, 2009
EMI
688 5232

Singapore & Malaysia
September 30, 2009
Warner Music Singapore
Universal Music Singapore
CD/VCD

Argentina
July 17, 2010
Walt Disney Records Argentina
CD

text: Other releases[edit]

text: Several other soundtracks for the series have been released.

text:
Phineas and Ferb's Christmas Vacation: A soundtrack for the Christmas special, only released digitally in December 2009.
Disney Karaoke Series: Phineas and Ferb: A karaoke CD re-release of the series' soundtrack, released on March 30, 2010.
Phineas and Ferb: Summer Belongs To You!: A soundtrack for the one-hour special, released on August 3, 2010. It was released on a CD on May 21, 2012.
Phineas and Ferb Holiday Favorites: Contains 7 songs from Phineas and Ferb's Christmas Vacation, 8 Christmas Carols sung by Phineas and Ferb Characters, and a song that was cut from the special for time ("What Does He Want?"), released on September 21, 2010.
Phineas and Ferb: Across the 1st and 2nd Dimensions: Contains songs from Phineas and Ferb the Movie: Across the 2nd Dimension, and various episodes from Season 2 of the show, such as Rollercoaster: The Musical!, released on August 2, 2011.
Phineas and Ferb-Ulous: The Ultimate Album: A CD/DVD combo pack that was released in the UK, August 16, 2011.[10] Also contains the songs from Summer Belongs to You!.
Phineas and Ferb the Movie: Across the 2nd Dimension Song Sampler: A digital soundtrack on the digital copy disc of Phineas and Ferb the Movie: Across the 2nd Dimension, included with the DVD release of the movie. It contains all songs from the movie, with the exception of "Kick It Up a Notch."
Phineas and Ferb: Rockin' and Rollin': A digital album featuring songs mostly from seasons 3 and 4 with some songs from the first two seasons that were not released before.
Phineas and Ferb: Star Wars: Contains 5 songs from the special of the same name.
Phineas and Ferb: The Last Day of Summer: Features all songs from the last episode and some songs from the special Night of the Living Pharmacists. This album also features the intro theme song from the O.W.C.A Files Special.


document_title: Semi-automatic pistol

question_text: when was the first semi automatic pistol invented

text: Semi-automatic pistol

text: Operation[edit]

text: Typically, the first round is manually loaded into the chamber by pulling back and releasing the slide mechanism. This is called racking the slide or racking the gun. After the trigger is pulled and the round is fired, the recoil operation of the handgun automatically extracts and ejects the shell casing and reloads the chamber. This mode of operation generally allows for faster reloading and storing a larger number of cartridges than a revolver.

text: Some modern semi-automatic pistols are double action only (DA or DAO); that is, once a round is chambered, each trigger pull cocks the hammer, striker, or firing pin, and additionally releases the same to fire a cartridge in one continuous motion. Each pull of the trigger on a DAO semi-automatic pistol requires the same amount of pressure. The Kel-Tec P-32 is an example of a DAO action. DAO semi-automatic pistols are most generally recommended only in the smaller, self-defense, concealable pistols, rather than in target or hunting pistols. A notable exception is Glock-brand pistols which optimize preset triggers (similar to DAO), but the striker is partially cocked back as the slide closes. This allows for significantly shorter trigger pulls than DAO. The trigger spring can be replaced with a lighter one and paired with a low-strength sear connector resulting in lightened trigger pulls to improve a shooter's accuracy (like models G34 and G35).

text: Standard modern semi-automatic pistols are usually double action (DA), also sometimes known as double-action/single-action (DA/SA). In this design, the hammer or striker may be either thumb-cocked or activated by pulling the trigger when firing the first shot. The hammer or striker is recocked automatically during each firing cycle. In double-action pistols, the first pull of the trigger requires roughly twice as much pressure as subsequent firings, since the first pull of the trigger also cocks the hammer (if not already cocked by hand). The Beretta 92F/FS, a full-sized, service, semi-automatic pistol is an example of this style of action. A common mode of carry for DA semi-automatic pistols is with the magazine full, a round chambered, and the gun holstered and uncocked with the external safety unengaged or off. The Taurus PT145 is an example of a (DA/SA) weapon, as it has no decocker and thus has its striker primed from the moment of chambering and only enters double-action mode if a round fails to fire upon the pin's impact; at other times, it operates as a single-action striker fired firearm.

text: In contrast, a single-action (SA) semi-automatic pistol must be cocked by first operating the slide or bolt, or, if a round is already chambered, by cocking the hammer manually. The famed Colt M1911 is an example of this style of action. All SA semi-automatic pistols exhibit this feature, and automatically cock the hammer when the slide is first "racked" to chamber a round. A round can also be manually inserted in the chamber with the slide locked back. Then the safety can be applied.

text: Cocking modes[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2015) (Learn how and when to remove this template message)

text: The normal mode of carrying an SA semi-automatic pistol is condition 1, popularly known as cocked and locked. Condition 1 (a term popularized by Colonel Jeff Cooper) refers to having the magazine full, a round chambered, the hammer fully cocked, and the thumb safety engaged or on, at least for right-handed users. For many single-action, semi-automatic pistols, this procedure works well only for right-handed users, as the thumb safety is located on the left side of pistol and is easily accessible only for those who are holding the pistol in the right hand.

text: Many SA semi-automatic pistols have a hammer position known as "half-cocked". Squeezing the trigger will not fire the gun when it is in the half-cocked position, and neither will dropping the gun in this state cause an accidental discharge. During WWII in the Pacific Theater, an unofficial and unapproved carry mode for the SA M1911 by left-handed US soldiers in combat was carrying the gun with the magazine full, a round chambered, the action in half-cocked position, and the thumb safety (accessible only to right-handed users) positioned in the off (or ready-to-fire) mode.

text: The primary advantage of the half-cocked position versus the uncocked position in that particular scenario was added sound suppression (of the click of the weapon being cocked). A secondary advantage was the avoidance of accidental discharges if the gun were accidentally dropped. The half cock was revised by Colt in the 1970s and subsequently other manufacturers – the hammer will fall from half cock if the trigger is pulled on most newer 1911 type guns.

text: In general, single-action, semi-automatic pistols should never be carried cocked with the safety off, although many newer SA pistols have modified actions which allow the hammer to exert pressure against the firing pin only when the trigger is pulled. Many modern SA semi-automatic pistols have had their safety mechanisms redesigned to provide a thumb safety on both sides of the pistol (ambidextrous), thereby better meeting the needs of left-handed, as well as right-handed users.

text: Semi-automatic pistols with different traits have been designed, including those with a magazine fed with a stripper clip, and those with nonremovable magazines. These designs are rarely used in modern semi-automatic pistols. The Model C96, or "Broomhandle" Mauser, in its original configuration, has a fixed, nonremovable magazine located in front of the trigger, which is loaded directly through the breech from the top of the pistol.

text: Semi-automatic pistols use one firing chamber that remains fixed in a constant linear position relative to the gun barrel. In contrast, although double-action revolvers can also be fired semiautomatically, their rounds are not fired from a single chamber, but rather are fired from each of the chambers that are rotated into linear alignment with the barrel's position in turn just prior for each shot fired.

text: Terminology[edit]

text: The language surrounding automatic, semi-automatic, self-loading, etc., often causes confusion due to differences in technical usage between different countries and differences in popular usage. For example, the term "automatic pistol" technically refers to a machine pistol which is capable of firing multiple round bursts for a single pull of the trigger, although in popular US usage it is also used as a synonym for a semi-automatic pistol. In the case of pistols, an 'automatic pistol', a 'semi-automatic pistol', or a 'self-loading pistol', all usually imply a handgun that is semi-automatic, self-loading, and magazine-fed with a magazine that is removable, producing one shot fired for each trigger pull. The term pistol may refer to handguns in general, or may be used to differentiate (semi-automatic) pistols from revolvers.

text: Technology[edit]

text: A self-loading pistol reloads the chamber with a new round automatically each time the weapon is fired, without additional action being required by the user. For a semi-automatic pistol, this is typically accomplished by recoil operation. In a machine pistol, in contrast, this can be accomplished by blowback, or, less commonly, by gas operation, harnessing gases produced when the gun is fired. The Desert Eagle is a rare example of a semi-automatic pistol that siphons off some of the gases instead of relying on short recoil operation.

text: A revolver, which uses multiple chambers and a single barrel, and a derringer, which uses multiple chambers and multiple barrels, also fire one round per trigger pull, but achieve this in different ways and as such are not classified as being semi-automatic.

text: A semi-automatic pistol will fire only one shot per trigger pull, in contrast to a "fully automatic" or machine pistol, which continues to fire as long as the trigger is held or until all rounds have been fired. The Mauser M712 Schnellfeuer (German for "rapid fire"), a modified Mauser C96 pistol, is a notable example of a true machine pistol.

text: While both types of weapons operate on the same principles, fully automatic weapons must be built more ruggedly to accommodate the heat and stress caused by rapid firing, and it can be difficult (and illegal in most countries) to convert a semi-automatic pistol into a fully automatic mode of fire. A selective-fire action pistol, though, can be converted back and forth by means of a switch, and often includes a burst mode, typically for a three-round burst with each trigger pull. Selective-fire weapons are generally used by specialized law enforcement and security personnel such as SWAT teams, hostage rescue teams, antiterrorist units, or government bodyguards for heads of state. In the United States, selective-fire weapons are not available to civilians unless they live in a state that allows civilian ownership of National Firearms Act or Title II weapons.

text: Actions: blowback versus locked breech[edit]

text: Self-loading automatic pistols can be divided into "blowback" and "locked breech" categories according to their principle of operation. The blowback operating principle is suitable for smaller, lower-powered calibers, such as .32 ACP and .380 ACP, as the resistance of the recoil spring and mass of the slide are sufficient to retard the opening of the breech until the projectile has left the barrel, and breech pressure has dropped to a safe level. For more powerful calibers such as the 9 mm Parabellum (9 mm) and .45 ACP, some form of locked breech is needed to retard breech opening, as an unlocked blowback pistol in these calibers requires a very heavy slide and stiff spring, making them bulky, heavy, and difficult to operate. A somewhat commercially successful blowback pistol design in the more powerful calibers was produced; the Spanish Astra 400 in 9 mm Largo and the similar Astra 600 in 9 mm Parabellum. U.S. manufacturer Hi-Point also produces a line of blowback-operated pistols in several calibers, including 9 mm and .45 ACP. Virtually all other service-caliber pistols are locked-breech designs.

text: History[edit]

text: After Hiram Maxim introduced his recoil-powered machine gun in 1883, several gunsmiths set out to apply the same principles to handguns, including Maxim. Maxim's designs for smaller firearms using his recoil-powered ideas never went into production. In the 1880s, other designers worked on self-loading designs. The Schönberger-Laumann 1892 was the first semi-automatic pistol. The first model to gain any commercial success was the Hugo Borchardt-designed C-93, designed in 1893 and made its public debut in 1894. Borchardt invented the C-93 mechanism, based in large part upon Maxim's toggle-lock principle.[dubious – discuss] The C-93 featured a clever locking mechanism, modeled after the human knee joint, in which the mechanical joint is called a knee, or in German Kniegelenk (knee joint).

text: The C-93 proved mechanically reliable, but was too large and bulky to receive widespread acceptance. Equipped with a screw-on wooden stock, the C-93 served well in small pistol carbines. Borchardt also developed the 7.65 mm Borchardt cartridge, around which the C-93 was built.

text: In 1896, Paul Mauser introduced his first model of the famous Mauser "Broomhandle" semi-automatic pistol, the C96. It was also the first mass-produced and commercially successful pistol to have a large-capacity, staggered-column magazine holding 10 or 20 rounds.

text: Using a more powerful and nearly identical version of the 7.63 mm bottle necked cartridge of the Borchardt C-93 Pistol, the Mauser was one of the first self-loading pistols used extensively in battle, notably the South African War of 1899-1902. These pistols were made in 7.63 mm Mauser, or 9×25 mm Mauser, along with some models eventually being made in 9 mm Parabellum and a small number in .45 ACP for China.

text: In 1898, The Schwarzlose Model 1898 was a semi-automatic pistol invented by Prussian firearm designer Andreas Wilhelm Schwarzlose. It was chambered for the 7.65×25mm Mauser.[1] It could also shoot the less powerful Borchardt ammunition. The Schwarzlose design was most advanced and far ahead of its time, but not widely adopted with less than 1000 pieces being manufactured.[2][3] Small lots were sold to the Boers and used during the Boer War. Another lot was sold to members of the Russian Social-Democratic Party who were plotting insurrection, but were confiscated at the Russian border and issued to the Imperial Russian Frontier Guards.[3][4]

text: In Belgium in 1896, the first American gun designer to develop self-loading semi-automatic pistols was John Browning, whose models were first manufactured by the Belgian firm of Fabrique Nationale (FN) in Europe and later by Colt in the U.S. Like Luger's work conducted around the same time in Germany, Browning's first successful design was in 7.65 mm, the Browning M1900. Browning also devised a slightly different 7.65 mm Browning (.32 Auto) cartridge for his semi-automatic pistol that differed from Luger's 7.65 mm Parabellum. Browning also designed .25, .38, .380, and .45 ACP cartridges in addition to .32 ACP for his semi-automatic pistol designs.

text: Browning also created the locked-breech action now commonly used by nearly all heavy-caliber semi-automatic pistols, and designed the .45 ACP Colt M1911, adopted by the U.S. military as its service pistol in 1911. The Model 1911 is still in active use with some U.S. Special Forces and Marine Corps units.

text: Browning also co-designed the FN Browning Hi-Power, announced in 1922, during the last years of his life, working on this design until his death in 1926. It was a 9 mm Luger semi-automatic pistol capable of holding 13 rounds (plus one chambered) in the magazine. The Savage 1907 Pistol 32 ACP featured a 10-round magazine[1] which is of staggered-column design, and predates the Browning patent filing,[6-28-1923, issued as U.S. patent #1,618,510, dated 22 Feb. 1927] for the large-capacity 9 mm pistol by some 18 years as the Savage was patented in 1905,[2] Whether the staggered magazine featured in the Savage 1905 was a focal point of the patent is unclear. In a review of the Browning patent dated 22 Feb. 1927, it is equally unclear as to the staggered magazine being either a primary or a dependent claim of the patent as issued. However, the existence of a staggered magazine in 1905 is indisputable, as many of these Savage pistols were produced and survive to this day. Browning could well have come into contact with this concept during the military trials of 1911, as a version of the Savage design in .45 cal was also under consideration alongside the Browning/Colt design.[2]) The earlier, single-column magazine design is still used today, however, especially for deep-concealment semi-automatic pistols such as the Kel-Tec P-32.

text: The next notable design was the 7.65 mm Luger by Georg Luger, which although successful in its function, nonetheless failed to have adequate stopping power[citation needed] and failed to win widespread acceptance. In 1902, Luger's subsequent and similar P08 in 9 mm Parabellum overcame the problem of inadequate stopping power and featured a greatly improved Borchardt-type Kniegelenk ("knee-joint") locking mechanism. Unlike Browning's locked-breech design, the barrel in a Kniegelenk design does not tip up and down while the gun is fired, thereby theoretically improving shooting accuracy. Luger's P.08 was adopted by the German military and served as their standard sidearm in World War I. During World War II, Germany was the first nation to adopt a double-action pistol, the Walther P38, which could be carried loaded (with a cartridge chambered) and ready to fire without the risk of an accidental discharge if dropped. The P38 also used Luger's 9 mm Parabellum cartridge.

text: During World War II, revolvers were still issued by various major powers, but their use was decreasing.[3][4] Though the British firm Webley & Scott had developed several adequate self-loading pistols, one of which was adopted by the (normally unarmed) British police in 1911 and by the Royal Navy and Royal Marines before the First World War, revolvers were generally preferred by most British military. In the Soviet Union, the TT pistol replaced the Nagant M1895 revolver during the war. In the United States, the M1911A1 was adopted as the standard military sidearm. Both Colt and Smith & Wesson produced revolvers chambered for the same .45 ACP ammunition used in the M1911A1, because of the great demand for handguns and the need to adopt a common cartridge for use in both semi-automatic pistols and revolvers.

text: After World War II, most nations eventually adopted 9 mm Parabellum caliber pistols employing Browning's locked-breech design for their standard-issue military pistols. The most popular early choice was the FN Browning Hi-Power, which was the first high-capacity pistol; another popular model was the locked-breech Walther P38 because of its many safety features. As of 2011[update], the U.S. military sidearm is a variant of the Beretta 92F/FS.

text: In 1971, Smith & Wesson offered a safe double-action, high-capacity pistol, the Model 59. CZ launched its CZ-75 in 1975. Beretta introduced the Beretta 92 also in 1975. Glock introduced the groundbreaking Glock 17 in 1982, and SIG Sauer introduced its model P226 in 1983. Walther introduced their high-capacity P88 in 1988. In the early 1990s Heckler & Koch combined what they considered to be the most desirable attributes of semi-autos in the HK USP pistol. In 1995 Kel-Tec introduced their first compact 9 mm pistol, the Kel-Tec P11, designed for concealed carry. In 1999 Kel-Tec introduced their .32 ACP P-32 for concealed carry.

text: After the Second World War, the almost universal trend has been for semi-automatic pistols to replace revolvers for military use, although the transition has been slower in police and civilian use. As of 2011[update], revolvers are mainly used in jurisdictions which permit their use for civilian self-defense, hunting, plinking, and target practice. Semi-automatic pistols are by far the most popular for concealed carry by civilians, primary handguns for police and military use, backup guns for police use, and where the usual five or six shots of a revolver are deemed inadequate.


document_title: MF Doom

question_text: what does the mf in mf doom stand for

question_tokens: what does the mf in mf doom stand for

text: MF Doom

text: Early life[edit]

text: Dumile was born in 1971, in London, England, the son of a Trinidadian mother and a Zimbabwean father.[2] His family moved to Long Island, New York when he was a teenager; Dumile remains a British citizen and has not gained American citizenship.[3]

text: Music career[edit]

text: 1988–1993: Career beginnings with KMD[edit]

text: As Zev Love X he formed the group KMD in 1988 with his younger brother DJ Subroc and another MC called Rodan. When Rodan left the group, Zev found another MC, Onyx the Birthstone Kid, to replace Rodan.[2] A&R rep Dante Ross learned of KMD through the hip hop group 3rd Bass, and signed the group to Elektra Records.[4] Dumile and KMD's recording debut came on 3rd Bass's song "The Gas Face" from The Cactus Album,[2] followed in 1991 with KMD's album Mr. Hood, which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV's Yo! MTV Raps and Rap City.

text: In 1993, just before the release of the second KMD album, Black Bastards,[2] Subroc was struck by a car and killed while attempting to cross the Nassau Expressway. The group was subsequently dropped from Elektra Records that same week. Before the release, the album was shelved due to its controversial cover art,[4] which featured a cartoon of a stereotypical pickaninny or sambo character being hanged from the gallows. After the death of his brother, Dumile retreated from the hip hop scene from 1994 to 1997, living "damn near homeless, walking the streets of Manhattan, sleeping on benches".[2][5] In the late 1990s, he left New York City and settled in Atlanta. According to interviews with Dumile, he was also "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him".[2] Black Bastards had become bootlegged at the time, leading to Doom's rise in the underground hip hop scene.

text: 1997–2001: Operation Doomsday[edit]

text: In 1997, Dumile began freestyling incognito at open-mic events at the Nuyorican Poets Café in Manhattan, obscuring his face by putting a woman's stocking over his head. He meanwhile had taken on a new identity, MF Doom, patterned after and wearing a mask similar to that of Marvel Comics super-villain Doctor Doom, who is depicted rapping on the cover of the 1999 album Operation: Doomsday. The album, in an earlier incarnation, would have been called The Super M.F. Villains according to an interview published in 1998 by hip-hop music culture magazine Ego Trip.[6] Later versions of the mask would be based on a prop mask obtained from the film Gladiator.[7] He wore this mask while performing and isn't photographed without it, except for very short glimpses in videos such as Viktor Vaughn's "Mr. Clean", "?", and in earlier photos with KMD.[2]

text: Dumile released three singles on "Bobbito" García's Fondle 'Em Records, "Dead Bent", "Greenbacks" (1997), and "The M.I.C." (1998). In 1999 Fondle 'Em released MF Doom's first full-length LP, Operation: Doomsday, which included these singles and their b-sides, and additional tracks. Dumile had used the spelling variant "M.F. Doom" for the singles releases, but thereafter changed this to MF Doom. Among the collaborators on these tracks were fellow members of the Monsta Island Czars collective (The M.I.C.), for which each artist took on the persona of a monster from the Godzilla mythos. Dumile went by the alias King Geedorah, a three-headed golden dragon space monster, modeled after King Ghidorah, the Toho movie monster who was a three-headed dragon that often battled Godzilla. Some of his appearances on the LP are as, and are credited to, this persona instead of that of MF Doom. Dumile would revisit this character later under various name-spellings.

text: In 2001, he began working with Prince Paul, co-producing MC Paul Barman's "Paullelujah!" with MikeTheMusicGuy and Phofo. In 2002, he appeared on the Sound-Ink's Colapsus collection, on a very hard to find track titled "Monday Nite at Fluid", featuring Kurious with production by King Honey, who also produced some tracks for Dumile's album Vaudeville Villain.

text: Dumile has produced all the instrumentation tracks for his solo releases, with very few exceptions.[8] Beginning in 2001, under the "Metal Fingers" moniker, Dumile began releasing his Special Herbs instrumentals series. Many of these beats can be heard as the instrumentation tracks throughout his body of work. A separate website catalogs for which tracks each instrumental has been used.[9]

text: 2002–2004: Madvillain, King Geedorah and Viktor Vaughn[edit]

text: In 2003, Dumile released the King Geedorah album Take Me to Your Leader. Geedorah is credited as producer, but only appears as an MC on four tracks. The majority of vocal tracks feature guest MCs, and the album features several instrumental montages of sampled vocals from old movies and TV shows—a technique employed on most of Dumile's albums. Later in 2003, Dumile released the LP Vaudeville Villain under the moniker Viktor Vaughn (another play on Doctor Doom, whose "real name" is Victor von Doom). In 2004 he released a follow-up LP under the Viktor Vaughn moniker, Venomous Villain. Later in 2004, the second MF Doom album MM.. Food was released by Minnesota-based label Rhymesayers Entertainment.[10] Doom's first commercial breakthrough came in 2004, with the album Madvillainy, created with producer Madlib under the group name Madvillain. Released by Stones Throw Records, the album was a critical and commercial success. MF Doom was seen by mainstream audiences for the first time as Madvillain received publicity and acclaim in publications such as Rolling Stone, The Washington Post, The New York Times, The New Yorker, and Spin. A video for "All Caps" and a four-date U.S. tour followed the release of Madvillainy. Additional videos for "Rhinestone Cowboy" and "Accordion", both directed by Andrew Gura, were released on the DVDs Stones Throw 101 and Stones Throw 102: In Living the True Gods, respectively.[citation needed]

text: 2005–2009: The Mouse and the Mask and Born Like This[edit]

text: Although still an independent artist, MF Doom took a bigger step towards the mainstream in 2005 with The Mouse and the Mask, a collaboration with producer DJ Danger Mouse under the group name Danger Doom. The album, released on 11 October 2005 by Epitaph and Lex, was done in collaboration with Cartoon Network's Adult Swim and featured voice-actors and characters from its programs (mostly Aqua Teen Hunger Force). Danger Doom reached #41 on the Billboard 200.[11] In 2005, Doom made an appearance on "November Has Come", a track on Gorillaz's 2005 album Demon Days, which reached #6 on the Billboard 200.[12]

text: Doom produced tracks for both of Ghostface Killah's 2006 albums Fishscale and More Fish, it was also announced that the two were working on a collaboration album together as 'DOOMStarks' - then titled Swift & Changeable. Three tracks have been released since the album was announced, "Angels", which appeared on a Nature Sounds compilation in late 2006 (another version appears on Doom's 2009 album Born Like This), "Victory Laps" and "Lively Hood" (a 2015 Adult Swim single).

text: The Madvillain song, "Monkey Suite", first appeared on the Adult Swim/Stones Throw Records compilation Chrome Children, later it appeared on Madvillainy 2 - The Madlib Remix.[13]

text: On May 30, 2006, Adult Swim released the Danger Doom Occult Hymn EP, a digital EP and on July 6 the same year Lex released Danger DOOM Old School EP. The latter includes previously unreleased remixes by Madlib and Danger Mouse. Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the Chrome Children CD/DVD which featured a clip of a live performance of Madvillain. He continued to work with Adult Swim, doing voice-over work as Sherman the Giraffe on Perfect Hair Forever, being the voice for The Boondocks ads and previews and hosting their Christmas Eve 2006 programming.

text: Following the success of Danger Doom, he signed a long term agreement with Lex in 2006.[14] With the exception of a handful of guest appearances, there were no Doom releases between mid-2006 and the release of Born Like This. Doom's Born Like This was released on Lex on March 24, 2009. The album was Doom's first solo album to chart in the USA.[15]

text: 2010–present: Key to the Kuffs, NehruvianDoom and DoomStarks[edit]

text: In early 2010, he released the Gazzillion Ear EP on Lex which included the Thom Yorke Remix and two mixes by Jneiro Jarel.[16] A further remix by Madvillainz featuring a voice-mail message from Kanye West was released online.[17] The release of the Gazzillion Ear EP coincided with Doom's first ever live performances outside North America. On 5 March 2010, Lex and Sónar presented the first Doom show in London, at The Roundhouse in Camden.[18] The event was the first of many Doom live performances around the world between early 2010 and the present. These shows included the Lex 10th Anniversary show at The Roundhouse with Ghostface Killah and Jneiro Jarel, performances in Europe with Gorillaz, support for Portishead and performances with Jneiro Jarel at Bestival 2012. During this period Doom released some material on labels other than Lex. On 26 May 2010, part of the track Madvillain "Paper Mill" was released a digital single through Adult Swim.[19] Expektoration, a live Doom album, was released on 14 September 2010 through Gold Dust Media.

text: Upon completing his European tour, Doom was refused entry into the United States.[citation needed] Regarding the case, he stated that "there's a lot of legalities" and that he was "done with the United States."[20] Doom settled in the UK and began recording an album with fellow Lex artist Jneiro Jarel, under the moniker JJ Doom.[21] Doom contributed two exclusive JJ Doom tracks to the Lex 10th Anniversary compilation album Complex Volume 1. The tracks were the Doom / Thom Yorke / Jonny Greenwood version of "Retarded Fren"[22] and the Dave Sitek remix of "Rhymin Slang".[23] They were released digitally in December 2011, and were subsequently released on vinyl on Record Store Day 2012. The JJ Doom album Key to the Kuffs was released on August 20, 2012, and included guest features from Damon Albarn, Beth Gibbons of Portishead, Khujo Goodie of Goodie Mob and Dungeon Family, and Boston Fielder.[24] On August 19, 2013, an extended version, titled Key to the Kuffs (Butter Edition) was released, containing a bonus 9-track EP composed of new tracks and remixes.

text: In February 2013, Ghostface Killah revealed that he and Doom were in the process of choosing tracks for a collaborative album.[25] In August 2013, Doom appeared on the Captain Murphy track "Between Villains" from the Adult Swim Singles Program 2013 as his alter-ego Viktor Vaughn. The track also featured Earl Sweatshirt and Thundercat.[26] The project was revealed to be an album, titled NehruvianDoom, and was released on October 7, 2014.[27][28]

text: Doom collaborated with Flying Lotus in November 2014 on the track "Masquatch", which appeared on the FlyLo FM radio station from the reissued Grand Theft Auto V.[29] In December 2014, Ghostface Killah announced that his and Doom's long-announced collaborative album Swift & Changeable would be released in 2015.[30] The date would later be changed to February 2016, although it has not been released.[31]

text: Doom was featured on The Avalanches' single "Frankie Sinatra" in 2016.[32]

text: In 2017, Doom released a track under his DANGERDOOM alias, entitled "Mad Nice" with features from Black Thought & Vinny Price.[33]

text: In August 2017, a compilation album, The Missing Notebook Rhymes, was announced, consisting of music from his upcoming projects, as well as songs from other artists that he is featured on. Each track will be released digitally on the Adult Swim website per week, over the course of fifteen weeks.[34][35] On 27 September 2017, this arrangement was canceled.[36]

text: Use of stand-ins[edit]

text: Dumile has used stand-ins to perform on his behalf.[37] He claimed that he had lost weight and thus looked and sounded different,[38] before his road manager admitted the use of imposters was an intentional choice by Dumile.[39] At one show, an imposter Doom was booed off stage, before being replaced by the real artist.[40] In an interview with The New Yorker, Dumile said that he is both the writer and director, and that he "might send a white dude next", adding "whoever plays the character plays the character".[41]

text: Discography[edit]

text: Solo albums[edit]

text:
1999: Operation: Doomsday
2003: Take Me to Your Leader (as King Geedorah)
2003: Vaudeville Villain (as Viktor Vaughn)
2004: Venomous Villain (as Viktor Vaughn)
2004: Mm.. Food
2009: Born Like This (as DOOM)

text: Live albums[edit]

text:
2005: Live from Planet X
2010: Expektoration

text: Compilation albums[edit]

text:
2004: Special Blends 1+2
2006: Special Herbs: The Box Set Vol. 0-9
2009: Unexpected Guests
2017: The Missing Notebook Rhymes

text: Collaboration albums[edit]

text:
1991: Mr. Hood (as Zev Love X with KMD)
1993: Black Bastards (as Zev Love X with KMD)
2003: Escape from Monsta Island! (as King Geedorah with Monsta Island Czars)
2004: Special Herbs and Spices Volume 1 (with MF Grimm)
2004: Madvillainy (with Madlib as Madvillain)
2005: The Mouse and the Mask (with Danger Mouse as Danger Doom)
2008: Madvillainy 2: The Madlib Remix (with Madlib as Madvillain)
2012: Key to the Kuffs (with Jneiro Jarel as JJ Doom)
2014: NehruvianDoom (with Bishop Nehru as NehruvianDOOM)
2017: WestsideDOOM (with Westside Gunn as WESTSIDEDOOM)

text: EPs[edit]

text:
2000: MF EP (with MF Grimm)
2006: Occult Hymn (with Danger Mouse as Danger Doom)
2008: MF Doom & Trunks Presents Unicron (with Trunks)
2014: Bookhead EP (with Jneiro Jarel as JJ Doom)

text: Instrumental albums[edit]

text:
2001: Special Herbs, Vol. 1
2002: Special Herbs, Vol. 2
2002: Special Herbs, Vol. 3
2003: Special Herbs, Vol. 4
2003: Special Herbs, Vols. 4, 5 & 6
2004: Special Herbs, Vols. 7 & 8
2005: Special Herbs, Vols. 9 & 0


document_title: NFL win–loss records

question_text: who has the best record in the nfl football league

text: NFL win–loss records

text: Regular season[edit]

text: The following is a listing of all 32 current National Football League (NFL) teams ranked by their regular season win–loss record percentage, accurate as of the end of the 2017 NFL regular season.[1] For teams that previously played in the All-America Football Conference (AAFC), their AAFC win-loss records are not included as the NFL does not officially count AAFC statistics despite the 1950 NFL–AAFC merger.[2][a] However, for teams that played in the American Football League (AFL), their AFL win-loss records are included and officially counted by the NFL. Ties are registered as a half win and a half loss when calculating the win-loss record.

text: Best win–loss record in division

text:
Rank
Team
Won
Lost
Tied
Pct.
First NFL Season
Total Games
Division

1
Dallas Cowboys
502
374
6
.573
1960
882
NFC East

2
Green Bay Packers
737
562
37
.565
1921
1,336
NFC North

3
Chicago Bears
749
579
42
.562
1920
1,370
NFC North

4
Miami Dolphins
445
351
4
.559
1966
800
AFC East

5
New England Patriots[b]
489
386
9
.558
1960
884
AFC East

6
Minnesota Vikings
470
390
10
.546
1961
870
NFC North

7
Baltimore Ravens
190
161
1
.541
1996
352
AFC North

8
New York Giants
687
585
33
.539
1925
1,305
NFC East

9
Denver Broncos
470
404
10
.537
1960
884
AFC West

10
San Francisco 49ers
528
460
14
.534
1950
1,002
NFC West

11
Pittsburgh Steelers
614
538
20
.532
1933
1,172
AFC North

12
Oakland Raiders
462
411
11
.529
1960
884
AFC West

13
Indianapolis Colts[c]
506
453
7
.527
1953
966
AFC South

14
Kansas City Chiefs
457
415
12
.524
1960
884
AFC West

15
Seattle Seahawks
334
325
1
.507
1976
660
NFC West

16
Washington Redskins
595
581
28
.506
1932
1,202
NFC East

17
Carolina Panthers
183
184
1
.499
1995
368
NFC South

18
Los Angeles Chargers
435
438
11
.498
1960
884
AFC West

19
Los Angeles Rams
555
559
21
.498
1937
1,135
NFC West

20
Cleveland Browns
462
482
10
.490
1950
954
AFC North

21
Philadelphia Eagles
568
594
26
.489
1933
1,188
NFC East

22
Tennessee Titans
422
456
6
.481
1960
884
AFC South

23
Buffalo Bills
409
467
8
.467
1960
884
AFC East

24
Detroit Lions
553
648
32
.461
1930
1,233
NFC North

25
Cincinnati Bengals
351
417
4
.457
1968
772
AFC North

26
New York Jets
397
479
8
.454
1960
884
AFC East

27
Jacksonville Jaguars
165
203
0
.448
1995
368
AFC South

28
New Orleans Saints
349
432
5
.447
1967
786
NFC South

29
Atlanta Falcons
351
443
6
.443
1966
790
NFC South

30
Houston Texans
110
146
0
.430
2002
256
AFC South

31
Arizona Cardinals
550
740
40
.429
1920
1,330
NFC West

32
Tampa Bay Buccaneers
255
404
1
.387
1976
660
NFC South

text: Playoffs[edit]

text: The following is a listing of all 32 current National Football League (NFL) teams ranked by their playoff win-loss record percentage, accurate as of the end of Super Bowl LII.

text:
Best win–loss record in division

Team active in playoffs

text:
Rank
Team
Games
Won
Lost
Pct.
Last playoff
appearance
Division

1
Baltimore Ravens
23
15
8
.652
2014
AFC North

2
New England Patriots
54
34
20
.630
2017
AFC East

3
Green Bay Packers
56
34
22
.607
2016
NFC North

4
San Francisco 49ers
50
30
20
.600
2013
NFC West

5
Pittsburgh Steelers
61
36
25
.590
2017
AFC North

6
Oakland Raiders
44
25
19
.568
2016
AFC West

7
Dallas Cowboys
61
34
27
.557
2016
NFC East

8 (tie)
Denver Broncos
42
23
19
.548
2015
AFC West

8 (tie)
Washington Redskins
42
23
19
.548
2015
NFC East

10
Carolina Panthers
17
9
8
.529
2017
NFC South

11
Seattle Seahawks
31
16
15
.516
2016
NFC West

12
Philadelphia Eagles
43
22
21
.512
2017
NFC East

13
Jacksonville Jaguars
14
7
7
.500
2017
AFC South

14
New York Giants
49
24
25
.490
2016
NFC East

15
Indianapolis Colts
45
22
23
.489
2014
AFC South

16
Miami Dolphins
41
20
21
.488
2016
AFC East

17
Chicago Bears
35
17
18
.486
2010
NFC North

18
New York Jets
25
12
13
.480
2010
AFC East

19
Buffalo Bills
30
14
16
.467
2017
AFC East

20
New Orleans Saints
18
8
10
.444
2017
NFC South

21
Arizona Cardinals
16
7
9
.438
2015
NFC West

22
Los Angeles Rams
44
19
25
.432
2017
NFC West

23 (tie)
Tennessee Titans
35
15
20
.429
2017
AFC South

23 (tie)
Houston Texans
7
3
4
.429
2016
AFC South

25
Atlanta Falcons
24
10
14
.417
2017
NFC South

26
Minnesota Vikings
49
20
29
.408
2017
NFC North

27
Tampa Bay Buccaneers
15
6
9
.400
2007
NFC South

28
Los Angeles Chargers
28
11
17
.393
2013
AFC West

29
Cleveland Browns
31
11
20
.355
2002
AFC North

30
Detroit Lions
20
7
13
.350
2016
NFC North

31
Kansas City Chiefs
27
9
18
.333
2017
AFC West

32
Cincinnati Bengals
19
5
14
.263
2015
AFC North

text: Notes[edit]

text:
Jump up ^ For example, the Browns' regular season win–loss record does not include a 47–4–3 record compiled in the All-America Football Conference from 1946 to 1949, nor does their playoff record include the 5–0 record compiled during the same period. Likewise, the 49ers' AAFC regular season win–loss record of 38–14–2, nor their 1-1 AAFC playoff record are officially counted
Jump up ^ The Patriots played as the "Boston Patriots" from 1960–1970, before adopting the "New England Patriots" name, which they have played under since the 1971 season.[3] The team was also briefly known as the "Bay State Patriots" prior to the 1971 season.[4]
Jump up ^ The Colts played under the "Baltimore Colts" name from 1953–1983, before relocating to Indianapolis and adpoting their current "Indianapolis Colts" name, which they have played under since the 1984 season.[5]

tag: ol