text:
"Viva la Vida (album)" redirects here. For other albums of the same name, see Viva la Vida (disambiguation).
"Life in Technicolor" redirects here. For the single released from Prospekt's March, see Life in Technicolor II.
2008 studio album by Coldplay
Studio album by
12 June 2008 (2008-06-12)
November 2006 – April 2008
The Bakery, London;
The Magic Shop, NYC;
The Nunnery, Barcelona;
A Church, Barcelona
baroque pop[1]
Markus Dravs
Rik Simpson
Coldplay chronology
The Singles 1999–2006
(2007) Viva la Vida or Death and All His Friends
(2008) Prospekt's March
Coldplay studio album chronology
(2008) Mylo Xyloto
Singles from Viva la Vida or Death and All His Friends
"Violet Hill"
Released: 9 May 2008
"Viva la Vida"
Released: 25 May 2008
"Lovers in Japan"
Released: 3 November 2008
"Lost!"
Released: 10 November 2008
"Strawberry Swing"
Released: 13 September 2009
Viva la Vida or Death and All His Friends, often referred to as simply Viva la Vida, is the fourth studio album by British rock band Coldplay, released on 12 June 2008 on the Parlophone label. The album was named after a Spanish phrase that best translates into English as "Long live life". Lyrically, the album contains references to love, life, death and war.
Recording sessions for the album took place during June 2007 to April 2008 and featured production by Jon Hopkins, Rik Simpson, Markus Dravs, and Brian Eno. The album was Coldplay's first to be produced by Eno, and also their first album to not be produced by long-time Coldplay producer, Ken Nelson. The band forced themselves to explore new styles, as Eno required every song on the album to sound different.[citation needed] Development of the album delayed the release date several times. The album cover of Viva la Vida is the painting Liberty Leading the People by Eugène Delacroix.
Viva la Vida was both a critical and commercial success. Five songs were released in promotion of the album; "Violet Hill" and "Viva la Vida" in May 2008, "Lovers in Japan" and "Lost!" in November 2008, and "Strawberry Swing" in September 2009. "Viva la Vida" became the band's first song to reach number one in both the United States and the United Kingdom. It won Best Rock Album at the 2009 Grammy Awards and was also nominated for Album of the Year. It was the best selling album of 2008.[2] By 2011, the album had sold more than 10 million copies.[3] Viva la Vida was re-released on 25 November 2008 in a deluxe edition containing the original album and the Prospekt's March EP, which contained another hit, "Life in Technicolor II".
2 Recording
3 Composition and themes
5 Release and promotion
7 Commercial performance
7.1 Plagiarism allegations
8.1 Prospekt's March edition
8.2 Tour edition DVD
9 Personnel
10.1 Weekly charts
10.2 Year-end charts
11 Certifications
12 Release history
In October 2006, two weeks after bass guitarist Guy Berryman welcomed his first daughter, which makes him the third Coldplay member to have a child, reports circulated that the band were taking a five-year hiatus. The new baby, and the fact that Coldplay had no touring or recording schedule at the time, had fans wondering if the band's new album would not be released until 2010. Dispelling such reports, Ambrosia Healy, spokesperson to Capitol Records, sent an e-mail message to MTV that there was no self-imposed hiatus. However, Healy clarified that Coldplay was indeed "enjoying a much-deserved break", and there was no timetable for the follow-up to the band's third studio album, X&Y.[4]
Work on the album began in November 2006, only being interrupted by the Latin America Tour in March 2007.[5]
Recording[edit]
Coldplay used French revolutionary costumes during their Viva La Vida Tour as a reference to the album's revolutionary themes
Ambient musician and English record producer Brian Eno produced the album.[6] Coldplay moved to "The Bakery", after finishing up their Latin American Tour, building a studio there. The songs written during their time at the studio are lyrically "much more abstract, much more visual than before", and musically "less straight-forward, more oblique".[7] Additionally, Martin wanted to make a vocal transition from his trademark falsetto to a lower register.[8] This is explored in "Yes", where the main characteristic of the Velvet Underground-inspired song is the lowest vocals Chris Martin ever recorded – this was suggested by the producer Brian Eno, to make every single song sound different. The band's drummer Will Champion said in an interview for MTV: "One of the main things we tried to focus on with this record is changing vocal identities, because Chris has a very recognizable voice."[9] Coldplay sparked an interest at Hispanic influences after having recorded in churches and in Spanish-speaking countries such as in Mexico in North America and Spain in Europe,[10] such as Barcelona.[11] However, it was stressed that the influence was not in any specific sound but a general feel to the songs taken as a whole. On their website, the band also described taking acoustic guitars and basic recording equipment to churches and experimenting with particular sounds.[citation needed]
Throughout the recording of the album, Coldplay communicated to fans through their website. "Famous Old Painters" and "Glass of Water" were written in late 2007 and they were considering both tracks for the album, but were not well received by the producers though the latter was added to the finalized Prospekt's March extended play track listing instead.[12] The album was delayed further, but a December 2007 post gave hints that the recording stage was nearly finished. The article was signed "Prospekt", strengthening rumours that this would be the album's title. While the band completed two more songs ("Lovers in Japan" and "Strawberry Swing"), they denied that the album was called "Prospekt".[12] Martin revealed he had been reading many Charles Dickens novels during the recording process which may have contributed to the strong visual imagery on such tracks as "Violet Hill" and "Cemeteries of London". In an interview for the Latin American TV channel Boomerang in 2010 Chris said that a big inspiration for the record was the book Les Misérables, which can be noted by the French revolution themes on "Viva La Vida" for example.[13]
When asked about why "Lovers in Japan" had an additional track, bassist Guy Berryman explained that the band couldn't make up their minds, because they had discussed that they did not want an extra song on the album, and instead they wanted to keep the album concise with a total of ten tracks (and an intended length of under 42 minutes).[12] Champion followed with, "We just preferred to have less titles and more stuff. The album as a whole has got the most on it, but it's the shortest. We wanted to make it almost impossible for you to not listen to it all in one go."[12] In addition, vocalist Chris Martin revealed that the band had always wanted a song title which was two in one. He added that the reason for having two titles in the track listing of Viva la Vida or Death and All His Friends was due to American singer-songwriter Justin Timberlake doing it for his last album, FutureSex/LoveSounds (2006).[14]
The violinist Davide Rossi contributed with Coldplay to record strings on his acoustic and electric violin (the latter being capable to reach notes as low as the upright bass, thus recreating a full orchestra) throughout the album. His strings are featured in six songs: Viva la Vida (the song in which his strings are the most used), Violet Hill, Life In Technicolor, 42, Yes and Strawberry Swing. Some of the songs they recorded with Rossi didn't make the cut for the album but were released on the Prospekt's March EP.
On 18 July 2009, two early demos from the Viva la Vida recording sessions leaked onto the Internet: the previously unheard "Bloodless Revolution" and a very early version of Viva la Vida single "Lovers in Japan". A day later another demo, called "St. Stephen" appeared online.[15] On 20 July 2009, six more demos were leaked: "The Fall of Man", "The Man Who Swears", "The Man Who Swears II" (actually just the second half of "The Man Who Swears"), "First Steps", "Loveless" and "Goodbye and Goodnight".[citation needed] Other three left off tracks were leaked later into the internet, an instrumental of "Lukas", an unreleased song given to Natalie Imbruglia, "Solid Ground (Until The Water Floats Over)", a song written and performed live in 2006, and an instrumental of "Famous Old Painters".[citation needed]
Composition and themes[edit]
"Viva la Vida" is a rock[16] album, and is more specifically described as alternative rock,[17] art rock,[18] pop rock,[19] and indie pop.[20] It features influences of dream pop, art pop and baroque pop.[21]
Musically, Viva la Vida contrasts with their previous albums. The title track uses an orchestra, while "Lovers in Japan" features a honky-tonk piano. "Lost!" is influenced by tribal music, whereas "Strawberry Swing" incorporates Afropop music. Martin described Viva la Vida as a new direction for Coldplay: a change from their past three albums, which they have referred to as a "trilogy".[22] He said the album featured less falsetto as he allowed his voice's lower register to take precedence.[22] Some songs, such as "Violet Hill", contain distorted guitar riffs and bluesy undertones.[22]
The album contains an array of different themes such as love, war, and revolutions. Unlike their previous releases it has a more universal approach, it deals less with personal problems and more with issues of humanity. Songs like "Life in Technicolor II" (which didn't make it to the final track list) "Violet Hill" and "Death and All His Friends" talk about war and politics. Martin stated the lyrics of "Violet Hill" were a commentary on Fox News.[23][24] "Violet Hill" also is the first anti-war protest song from the band.[25][26] Other songs, such as the double track "Lovers in Japan/Reign of Love" and "Yes" are about love and desire.
Revolutionary themes are also an important part of the album and its promotion.[citation needed] Coldplay used customized French revolutionary costumes through the Viva La Vida Tour and on the videos produced for the album's singles.[27] Chris Martin said on an interview for The Sun "some say this album is brave – I just see us as being very lucky".[28] Martin stated that a big inspiration for the album was the book Les Miserables by Victor Hugo.[29]
The work of the Beatles is apparent as an inspiration throughout the album. For instance, the song "Violet Hill" references the Beatles album Abbey Road (1969), borrowing its rhythm from the Beatles. The song is named for a road which adjoins Abbey Road in London.[30]
Artwork[edit]
Some of the paintings produced during the creation of the album's artwork were later used on the Viva la Vida Tour screens.
The artwork for Viva la Vida or Death and All His Friends was designed by Coldplay and Tappin Gofton; the latter designed the X&Y cover three years earlier. The design style for the album took months to be completed; it was initially developed from a set of large-scale sketches and paintings of expressive typo. Lyrics and song titles were boldly painted across old maps, books, copies of old paintings, newspapers and various sorts of second-hand things. The final work was photographed and later some additional typography was added by computer.[31]
Viva la Vida takes its artwork from Eugène Delacroix's 1830 painting Liberty Leading the People.
Almost all tracks from the album and the Prospekt's March EP have one or more graphic images. On the album's booklet there are nine paintings made by the band. The first is a blue map of Brazil that includes part of the lyrics from "Glass of Water" painted in white. However, the image was later reworked and used as the artwork for the "Lost!" single cover. The second painting on the booklet illustrates the song "42". The image consists of part of the song's composition written in a red background, with a black stripe covering the centre. The design for "Cemeteries of London" contains an illustration of London, the song's title and a messy violet background. A portion of the lyrics is used on the top of it. The visual design for "Reign of Love" has its lyrics drawn on a green background. In the middle of the booklet, most of the lyrics of the album are shown amidst an unrecognizable object. The artwork for "Yes" consists of a ripped heart, and a line from the song, "Lord lead me not into temptation". The painting next to the song's artwork contains lyrics from "Viva la Vida" painted in black on a blue background. The artwork for "Death and All His Friends" was made with scissors and paper. Lyrics for the song appear in the design. The last page in the booklet is simple: a Roman numeral of the number 7 painted in red and green on a yellow background.[32] Some of the paintings were shown on a screen during the Viva La Vida world tour, or used on big balloons inside of the venues.[33]
There were three covers for the album. The front cover for the standard edition is a painting by Eugène Delacroix, entitled Liberty Leading the People, which was slightly altered for the cover by using a white paint brush to draw "VIVA LA VIDA".[32] The Prospekt's March Edition cover uses the same words again, but painted in gold and bigger, on a plain black background. The cover for the Prospekt's March EP included another Eugène Delacroix painting (Battle of Poitiers), and had "Prospekt's March" drawn across the painting similarly to how "Viva La Vida" was drawn across Liberty Leading the People for the standard album cover.[34] The cover used for the Asian Tour edition, has the word "VIVA" painted in red and black stripes against a white background,[35] this same painting was used as the home page for the official Coldplay website during a period, it was created by the band and painted by the drummer Will Champion on a wall at the studio called The Bakery.[36]
Release and promotion[edit]
Logo from the Viva La Vida era
In a Rolling Stone magazine interview, vocalist Chris Martin announced the album's release date and its title, Viva la Vida, which is a Spanish phrase that translates into English as "long live life".[37] It takes its name from a painting by Frida Kahlo, an acclaimed 20th century Mexican artist.[38] The album cover art is an 1830 painting by Eugène Delacroix titled Liberty Leading the People. On 10 April 2008, a new journal entry appeared on the band's website announcing the track list and release date, as well as hinting at new tracks to be issued before the album's release. "Violet Hill" was confirmed as the first single from Viva la Vida, with a release date of 5 May. In May 2008, Coldplay featured in an advertisement for Apple's iTunes with the song "Viva la Vida".
The band's official website was updated in late April to reveal the official Viva la Vida artwork as well as a free release of the single "Violet Hill", which became available for download for one week from 29 April 2008.[39] The album was leaked around 5 June and the band decided to make the album available to stream via their Myspace profile from 8:30 pm WEST on 6 June. On 25 June 2008, the band became the third band ever to perform on The Daily Show with Jon Stewart, performing "42" and "Lost!".[40] On 27 June at 7:00 am EDT, Coldplay began a Today Show, outdoor, live performance on the streets outside of Rockefeller Plaza, New York.[41] The band performed on the Late Show with David Letterman on 30 June and on The Tonight Show with Jay Leno on 17 July.
In August 2008, Coldplay announced they would be releasing an EP, Prospekt's March, consisting of unreleased material from the Viva la Vida recording sessions.[42] The album was re-released on 25 November 2008 in a deluxe edition, titled Viva la Vida – Prospekt's March Edition. It contains tracks from the original album and Prospekt's March.[43]
The stage setup for the Viva la Vida Tour consisted of a stripped down main stage and two catwalks; Coldplay also performed amongst audience members at the back of venues in a special acoustic set.[44] Instead of a giant video screen on-stage, the band opted for six hanging giant lightbulbs that displayed images and closeups.[44] The band started the tour playing a concert at the Brixton Academy and free shows at Madison Square Garden on 23 June, and ended the tour in Barcelona. The tour ended in March 2010 at Latin America and consisted of 172 concerts.[44]
Professional ratings
Aggregate scores
Metacritic 72/100[45]
AllMusic [46]
The A.V. Club B+[47]
Entertainment Weekly A−[48]
The Guardian [49]
Los Angeles Times [50]
NME 8/10[51]
Pitchfork 6.9/10[52]
Q [53]
Rolling Stone [54]
Spin [55]
Viva la Vida or Death and All His Friends has received generally positive reviews from critics. According to review aggregator website Metacritic, the album received an average critic score of 72 out of 100, based on 32 reviews.[45] Stephen Thomas Erlewine of Allmusic stated, "They demonstrate a focused concentration throughout this tight album – it's only 47 minutes yet covers more ground than X&Y and arguably A Rush of Blood to the Head – that turns Viva la Vida into something quietly satisfying."[46] Chris Willman of Entertainment Weekly magazine rated the album "A-" and called it their best album,[48] while Alexis Petridis of The Guardian, however, wrote a mixed review explaining "Viva la Vida's mild tinkering with the formula represents a failure of imagination: perhaps it's hard to think outside the box when the box is the size of the Las Vegas MGM Grand Garden Arena. Equally, however, there's a genuine conviction about its contents, a huge advance both on its predecessor and their legion of imitators."[49] Will Hermes of Rolling Stone magazine wrote that "Coldplay's desire to unite fans around the world with an entertainment they can all relate to is the band's strength, and a worthy goal. But on Viva la Vida, a record that wants to make strong statements, it's also a weakness. Sometimes, to say what needs to be said, you need to risk pissing people off."[54] Melodic magazine's critic Kaj Roth gave the album 4/5 and felt that "the typical Coldplay trademark is there too with beautiful atmospheric melodies that will embrace the heart".[56] Spin magazine's critic Mikael Wood said in a positive review of the album, "For all of Coldplay's experimentation, though, there's no doubting that Viva la Vida, with its sturdy melodies and universal themes – think love, war and peace – is an album meant to connect with the masses (arenas have been built for less than the climax of "Death and All His Friends"). The band's triumph lies in how exciting they make that prospect seem".[55] IGN gave the album 9.3/10[57] and Q said "...So some habits die hard, but on every other level Viva La Vida...is an emphatic success...radical in its own measured way but easy to embrace..." Robert Christgau gave it a one-star honorable mention ( ), saying, "Applying all his powers, Chris Martin successfully dilutes Radiohead, with—what else?--pleasant results."[58]
The album won the Grammy Award for Best Rock Album at the 2009 Grammy Awards.[59] It appeared in several year end publications' Best Albums of 2008 list including New York Post (Number 1)[60] Rolling Stone (Number 7),[61] Q (Number 3),[62] Spin (Number 9),[63] Entertainment Weekly (Number 6), and Billboard (Number 6).[64][65][66] Also, despite giving the album three stars out of five in The Times,[67] Pete Paphides admitted in December 2008 that he was wrong to give it this score and had in fact become his favourite album of the year.[68] Conversely, NME nominated the album for worst Album at the 2009 NME Awards, despite awarding it 8/10.[69]
Commercial performance[edit]
Coldplay at the Viva la Vida Tour
The album was successful around the world. In its first week of release it debuted at number one in 36 countries.[70] In the United Kingdom, the album sold 125,000 copies in its first day of release and 302,074 in three days, debuting at number one.[71] In its second week it sold another 198,000, achieving a platinum certification.[72] The album sold over 500,000 copies in 10 days since its release, beating the first week UK sales of Coldplay's third album, X&Y.[73] As of June 2016[update], the album had sold 1,480,000 copies in the UK.[74] The album debuted with sales of 41,041 copies in Australia[75] and has since been certified 4x platinum.[76] In Canada, the album debuted at No. 1 on the Canadian Albums Chart, selling 90,000 copies in its first week.[77] The album would remain at the top of the chart for five consecutive weeks, selling 176,000 copies in Canada within the first month.[78] The album has been certified five-times platinum by the Canadian Recording Industry Association (CRIA).[79]
In the United States, it sold 316,000 copies in its first day, and 720,000 in its first week of release,[80] holding down the number one spot for two weeks, and nearly equalling X&Y's first week sales of 737,000.[81] Viva la Vida has been certified double platinum by the Recording Industry Association of America for a shipment of over two million copies.[82] Viva la Vida was at one time the most paid-for downloaded album of all time, with over 702,000 downloads.[83][84][85] By the end of the 2008, Viva la Vida had sold total of 2,144,000 copies, making it the second top-selling album in the United States.[86][87] As of August 2011[update], the album had sold 2.8 million copies in the US.[88] Globally, it was the best selling album of 2008.[89]
Plagiarism allegations[edit]
Coldplay were first accused of plagiarism of "The Songs I Didn't Write" by American alternative band Creaky Boards, for the melody of "Viva la Vida".[90] Creaky Boards' band member Andrew Hoepfner claimed that Martin had heard them playing the song at a live show in October 2007.[91] The band released a video clip, in which it compares sections of both songs.[91] Coldplay denied the claim. Band spokesman Murray Chambers said Martin was working in AIR Studios in London at that time, having checked the singer's diary.[92] In addition, Coldplay had recorded a demo version of "Viva la Vida" in March 2007, long before Creaky Boards performed it live in October later that year.[91] Creaky Boards later retracted the accusations and speculated that both songs may have been inspired by the video game The Legend of Zelda.[92]
On 4 December 2008, American guitarist Joe Satriani filed a copyright infringement suit against Coldplay in Los Angeles.[93][94] The suit claims that "Viva la Vida" incorporates "substantial, original portions" of his instrumental track "If I Could Fly" from his 2004 album Is There Love in Space?[95] The band has denied the allegation, saying the similarities were "entirely coincidental".[96] On 14 September 2009, the case was dismissed by the California Central District Court, with both parties potentially agreeing to an out-of-court settlement.[97]
In May 2009, Yusuf Islam stated that the song is very similar to his song "Foreigner Suite," recorded under his former stage name, Cat Stevens. He said "My son brought it to my attention and said: 'Doesn't that sound like 'Foreigner Suite?'"[98] Islam said that any legal action he might take "depends on how well Satriani does."[98] Coldplay drummer Will Champion denied the claim, stating, "We're confident we haven't done anything wrong."[99] In June 2009, Islam later said, "They did copy my song but I don't think they did it on purpose," adding, "I don't want them to think I am angry with them. I'd love to sit down and have a cup of tea with them and let them know it's okay."[100]
In a documentary for Sveriges Television (2011) American music professor Dr. Lawrence Ferrara showed that the melody structures of "Viva La Vida", "If I Could Fly" and "Foreigner Suite" were very similar to the composition "Se tu m'ami" by the Italian composer Giovanni Battista Pergolesi, who died in 1736. "Obviously this is a work that we would call in the 'public domain'", Dr. Ferrara said.[101]
Chris Martin once said that the plagiarism allegations were inspiring him and added: "If everyone's trying to take away our best song, then we'd better write 25 better ones!"[102] Will Champion has also talked about the accusation saying, "For some reason, God only knows why, the successful songs seem to be the ones that are accused of being stolen."[103]
Track listing[edit]
All tracks written by Guy Berryman, Jonny Buckland, Will Champion, and Chris Martin, except where noted.
Viva la Vida or Death and All His Friends[104][105]
1. "Life in Technicolor" (writers: Martin, Buckland, Berryman, Champion, Hopkins) 2:30
2. "Cemeteries of London" 3:21
3. "Lost!" 3:55
4. "42" 3:57
5. "Lovers in Japan / Reign of Love" (3:57/2:54) 6:51
6. "Yes" (4:04 / includes hidden song "Chinese Sleep Chant" 3:02) 7:06
7. "Viva la Vida" 4:01
8. "Violet Hill" 3:42
9. "Strawberry Swing" 4:09
10. "Death and All His Friends" (3:30 / includes hidden song "The Escapist" (Martin/Buckland/Berryman/Champion/Hopkins) 2:48) 6:18
Total length: 45:49
Tracks 5, 6, and 10 contain two separate songs each; the latter two are hidden and not listed on the album sleeve.[106]
The album is intended to be gap-less and, as such, some songs fade into another.
11. "Lost?" (Japan and iTunes) 3:40
12. "Lovers in Japan" (Acoustic Version) 3:55
13. "Death Will Never Conquer" (Japanese release of Prospekt's March edition) 1:16
Prospekt's March edition[edit]
The Viva la Vida: Prospekt's March edition includes the Prospekt's March EP.
Tour edition DVD[edit]
In some Asian countries[which?] a special edition of the album was released with a DVD including the five official videos from Viva la Vida and the video for "Life in Technicolor II", from the Prospekt's March EP.[107]
1. "Violet Hill"
2. "Viva la Vida"
3. "Lost!"
4. "Lovers in Japan"
5. "Life in Technicolor II"
6. "Strawberry Swing"
Personnel[edit]
Chris Martin – lead vocals, acoustic guitar, piano, keyboards
Guy Berryman – bass guitar, synthesizers, santoor (track 1), backing vocals, photography
Jonny Buckland – electric guitar, backing vocals (track 3)
Will Champion – drums, percussion, piano, backing vocals
Michael Brauer – mixing
François Chevallier – assistant engineer, engineer
Coldplay – artwork
Eugène Delacroix – cover painting
Markus Dravs – mixing, producer
Brian Eno – producer, sonic landscapes
Olga Fitzroy – assistant engineer, engineer
Tappin Gofton – art direction, design
Dan Green – assistant engineer, engineer, photography
Phil Harvey – manager
William Paden Hensley – assistant engineer, engineer
Dave Holmes – management
Jon Hopkins – organ, harmonium, synthesizers, colouring, producer
Mike Kezner – sitar
Jason Lader – assistant engineer, engineer
Bob Ludwig – mastering
Dominic Monks – assistant engineer, engineer
John O'Mahoney – mixing
Vanessa Parr – assistant engineer, engineer
Jan Petrov – assistant engineer, engineer
Davide Rossi – electric violin, strings
Andy Rugg – assistant engineer, engineer
Rik Simpson – mixing, producer
Brian Thorn – assistant engineer, engineer
Michael Trepagnier – assistant engineer, engineer
Andy Wallace – mixing
Charts[edit]
Weekly charts[edit]
Argentine Albums Chart[108]
Australian Albums Chart[109]
Austrian Albums Chart[110]
Belgian Albums Chart (Flanders)[111]
Belgian Albums Chart (Wallonia)[112]
Brazilian Albums Chart[113]
Canadian Albums Chart[114]
Czech Albums Chart[115]
Danish Albums Chart[116]
Dutch Albums Chart[117]
European Albums Chart[118]
Finnish Albums Chart[119]
French Albums Chart[120]
German Albums Chart[121]
Greek Albums Chart[122]
Irish Albums Chart[123]
Italian Albums Chart[124]
Japanese Albums Chart[125]
Hungarian Albums Chart[126]
Mexican Albums Chart[127]
New Zealand Albums Chart[128]
Norwegian Albums Chart[129]
Polish Albums Chart[130]
Portuguese Albums Chart[131]
Spanish Albums Chart[132]
Swedish Albums Chart[133]
Swiss Albums Chart[134]
UK Albums Chart[135]
US Billboard 200[136]
Year-end charts[edit]
Australian Albums (ARIA)[137]
Austrian Albums (Ö3 Austria)[138]
Belgian Albums (Ultratop Flanders)[139]
Belgian Albums (Ultratop Wallonia)[140]
Dutch Albums (MegaCharts)[141]
German Albums (Offizielle Top 100)[142]
Hungarian Albums (MAHASZ)[143]
Greece (IFPI Greece) [144]
New Zealand Albums (RMNZ)[145]
Swiss Albums (Schweizer Hitparade)[146]
UK Albums (OCC)[147]
United Kingdom[158] 175
Certifications[edit]
Argentina (CAPIF)[159]
2× Platinum 80,000^
Australia (ARIA)[160]
4× Platinum 280,000^
Austria (IFPI Austria)[161]
2× Platinum 40,000*
Belgium (BEA)[162]
Canada (Music Canada)[163]
Denmark (IFPI Denmark)[164]
Finland (Musiikkituottajat)[166]
Platinum 21,991[165]
France (SNEP)[167]
Diamond 500,000*
Germany (BVMI)[168]
7× Gold 700,000^
Greece (IFPI Greece)[169]
Gold 7,500^
Ireland (IRMA)[170]
Italy (FIMI)[171]
2× Platinum 140,000*
Japan (RIAJ)[172]
Platinum 250,000^
Mexico (AMPROFON)[173]
2× Diamond+4× Platinum 1,120,000^
Netherlands (NVPI)[174]
3x Platinum 180,000^
New Zealand (RMNZ)[175]
Poland (ZPAV)[176]
Platinum 20,000*
Portugal (AFP)[177]
Spain (PROMUSICAE)[178]
Sweden (GLF)[179]
Platinum 40,000^
Switzerland (IFPI Switzerland)[180]
Turkey (Mü-Yap)[181]
Gold 5,000x
United Kingdom (BPI)[182]
5× Platinum 1,500,000^
United States (RIAA)[183]
Europe (IFPI)[184]
3× Platinum 3,000,000*
*sales figures based on certification alone
Release history[edit]
Japan 11 June 2008[185] EMI Music Japan CD TOCP-66805 / 49880 068632 5 5
United Kingdom 12 June 2008 Parlophone CD 5 099921 211409
LP 50999 212114 1 6
Brazil 12 June 2008 EMI CD
Europe 13 June 2008 Capitol CD
Australia and New Zealand 14 June 2008 EMI CD 2169640
(Unless specified otherwise)
16 June 2008 EMI CD
Canada 17 June 2008 Capitol CD 509992 26126 0 1
United States CD 50999 2 16886 0 7
LP 50999 2 16965 1 0
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^ Montgomery, James (2 October 2006). "No Five-Year Hiatus For Coldplay — But They Are Taking A Break". MTV. Retrieved 23 March 2009.
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Viva la Vida or Death and All His Friends at Discogs
Viva la Vida or Death and All His Friends at Metacritic
Guy Berryman
Jonny Buckland
Will Champion
Unreleased songs
A Rush of Blood to the Head
Mylo Xyloto
LeftRightLeftRightLeft
Ghost Stories Live 2014
Live in Buenos Aires
The Blue Room
Mince Spies
Remixes EP
Prospekt's March
iTunes Festival: London 2011
Live in Madrid
Live from Spotify London
Kaleidoscope EP
Parachutes Tour
A Rush of Blood to the Head Tour
Twisted Logic Tour
Viva la Vida Tour
Mylo Xyloto Tour
Ghost Stories Tour
A Head Full of Dreams Tour
Apparatjik
Coldplay: A Head Full of Dreams
Xyloband
2012 Summer Paralympics closing ceremony
Super Bowl 50 halftime show
Juno Award for International Album of the Year
1975: Paul McCartney and Wings – Band on the Run
1976: Elton John – Greatest Hits
1977: Peter Frampton – Frampton Comes Alive!
1978: Fleetwood Mac – Rumours
1979: Bee Gees – Saturday Night Fever
1980: Supertramp – Breakfast in America
1981: Pink Floyd – The Wall
1982: John Lennon & Yoko Ono – Double Fantasy
1983: Men at Work – Business as Usual
1984: The Police – Synchronicity
1985: Bruce Springsteen – Born in the U.S.A.
1986: Dire Straits – Brothers in Arms
1987: Madonna – True Blue
1988: no award ceremony held
1989: Various Artists – Dirty Dancing
1990: Milli Vanilli – Girl You Know It's True (Disqualified)
1991: MC Hammer – Please Hammer, Don't Hurt 'Em
1992: Vanilla Ice – To the Extreme
1993: Bryan Adams – Waking Up the Neighbours
1994: Whitney Houston – The Bodyguard
1995: Celine Dion – The Colour of My Love
1996: The Cranberries – No Need to Argue
1997: Celine Dion – Falling into You
1998: Spice Girls – Spice
1999: Celine Dion – Let's Talk About Love
2000: Backstreet Boys – Millennium
2001: Eminem – The Marshall Mathers LP
2002: Shaggy – Hot Shot
2003: Eminem – The Eminem Show
2004: 50 Cent – Get Rich or Die Tryin'
2005: Green Day – American Idiot
2006: The Black Eyed Peas – Monkey Business / Coldplay – X&Y
2007: Dixie Chicks – Taking the Long Way
2008: Rihanna – Good Girl Gone Bad
2009: Coldplay – Viva la Vida or Death and All His Friends
2010: Kings of Leon – Only by the Night
2011: Katy Perry – Teenage Dream
2012: Adele – 21
2013: Mumford & Sons – Babel
2014: Bruno Mars – Unorthodox Jukebox
2015: Sam Smith – In the Lonely Hour
2017: Coldplay – A Head Full of Dreams
2018: Kendrick Lamar – Damn
2019: Post Malone – Beerbongs & Bentleys
Retrieved from "https://en.wikipedia.org/w/index.php?title=Viva_la_Vida_or_Death_and_All_His_Friends&oldid=904114922"
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text:
<?php

declare(strict_types=1);

namespace Zhiyi\Plus\Models;

use Illuminate\Database\Eloquent\Model;
use Illuminate\Database\Eloquent\Builder;

class Area extends Model
{
    /**
     * Scope func by pid.
     *
     * @param Builder $query
     * @param int     $pid
     *
     * @return Illuminate\Database\Eloquent\Builder
     *
     * @author Seven Du <shiweidu@outlook.com>
     * @homepage http://medz.cn
     */
    public function scopeByPid(Builder $query, int $pid): Builder
    {
        return $query->where('pid', $pid);
    }

    /**
     * 父地区.
     *
     * @return \Illuminate\Database\Eloquent\Relations\HasOne
     *
     * @author Seven Du <shiweidu@outlook.com>
     * @homepage http://medz.cn
     */
    public function parent()
    {
        return $this->hasOne(__CLASS__, 'id', 'pid');
    }

    /**
     * 子地区.
     *
     * @return \Illuminate\Database\Eloquent\Relations\HasMany
     *
     * @author Seven Du <shiweidu@outlook.com>
     * @homepage http://medz.cn
     */
    public function items()
    {
        return $this->hasMany(__CLASS__, 'pid');
    }
}

redpajama_set_name: RedPajamaGithub


text:
Free Speech, Fair Play, and Fragile Truths
Jonathan Greenblatt
Apr 21, 2017 · 8 min read
Accepting an Honor and Exercising my Responsibility as a Tufts Alumnus
Thank you. I want to thank the Awards Committee, President Monaco and my dear friend Dean Alan Solomont for helping to make this honor possible. It's wonderful to be here on campus at Tufts. I'm so proud to be a Jumbo, and I'm humbled — and grateful — to receive this award today. Being here on the Hill brings back powerful memories from a truly formative time in my life.
When I was on campus, along with logging my hours for Tufts Dining Services, I found time to take classes at the "Ex College." To attend services at Hillel with Rabbi Jeff Summit whose compassion and warmth still enriches Tufts today. To write and edit articles for the Observer. To host a radio show at WMFO. To sneak off campus and buy $8 tickets and watch Red Sox games in the bleachers at Fenway Park. And, yes, to intern at the Boston office of ADL.
The liberal arts education I received at Tufts allowed me to explore the world at my own pace, to investigate and probe my own interests, and to form a set of deeply held values — values that build from the core insight that I could change the world. I hope this potential will continue to be cultivated in each student here on campus because its never been more needed.
Tisch College of Civic Life, Lincoln Filene Center, Tufts University
And, in a moment when we face a series of seemingly intractable challenges, Tufts and in particular the Tisch College of Civic Life can be among the most vital instruments in addressing these issues and shaping the next generation — giving them the knowledge and tools to engage and shape our society.
What are those tools?
It's a broad curiosity in the world around us — a curiosity that can lead someone from this campus to a Silicon Valley venture… to a bottled water start-up…to the C-suite of a Fortune 500…to the White House… and to the helm of a century-old non-profit.
It's the fundamentals of knowledge that are taught in Tufts' liberal arts classrooms and honed in its science and engineering labs. It's the critical social skills that are learned on the courts of Cousens Gym and in work-study arrangements.
It's the enduring civic values that make our democracy possible: Community. Inclusion. Equality for all. Not just a respect, but a reverence for free inquiry. A passion for debate. And an enthusiasm for all those who join it.
I don't need to tell you that these values seem to be falling out of fashion in our current environment.
As the CEO of one of the nation's most respected civil rights organizations, I would say that we've never really seen anything quite like this before. Hate crimes are on the rise. Intolerance is on the upswing. Fundamental liberties and important gains secured during the last century such as voting rights, LGBTQ equality and education equity appear to be at risk.
The country's central institutions are being tested. Our free press and independent judiciary are subject to withering, unsubstantiated criticism from people in power. Truth is out. Trolling is in.
Instead of building bridges between various communities in our country; too many seek to divide us. Instead of embracing the tired and poor seeking refuge on our shores, there are those who seek to exclude them by subverting the sacred values inscribed on the Statue of Liberty. So, I stand before you concerned about the civic health of our country.
Tufts taught me that, to tackle challenges of this magnitude, there is no silver bullet, no single policy fix. Instead, we need committed, coordinated and comprehensive citizen-driven responses. We need balanced approaches that mix activism and advocacy, non-profits and for-profits, politics and principles.
I carry those lessons with me everyday. I would, therefore, be remiss if I did not share that I also stand here today deeply concerned about Tufts and see a need for a balanced responses to recent challenges on campus.
As many of you may know, on the eve of the Passover holiday a week ago, the Tufts Community Union Senate voted in favor of a resolution calling for Tufts to divest its investments in companies that do business in Israel. This is part of a wider, anti-Semitic movement known as Boycott, Divestment, and Sanctions or BDS that is making itself heard on campuses across the country and beyond.
I, the ADL, and many, many others see the BDS for what is — an initiative that does not seek to resolve the crisis in the Middle East, but rather, to perpetuate it by delegitimizing the state of Israel and denying the Jewish people the right of self-determination. In this way, BDS is an attack on the Jewish people itself.
I do not have time to get into all the details of this debate, but know that if you believe in a just, equitable, and peaceful resolution of the Israeli-Palestinian conflict as I do and as do the vast majority of individuals across a wide political spectrum, then a simple read of the facts and basic grasp of history demonstrates the necessity of a two-state solution. And that solution will not come about with BDS resolutions that foment distrust, distance, and demonization.
So, on its face, I find the BDS resolution passed by the TCU Senate deeply disturbing from all of my personal perspectives: as an alumnus who cares about Tufts; as a nonprofit executive who cares about justice and fair treatment; and as a Jew who cares about the fate of his people.
Now some will say that this resolution is pure rhetoric, that this university like others across the country will not modify its investment decisions or abrogate its fiduciary duty based on a symbolic student resolution. In fact, just yesterday, we should note that Tufts' Trustees reaffirmed their commitment not to divest from companies doing business in Israel.
But, as I learned more about the process that preceded the vote and the actions that followed it, I must confess that I also feel deeply troubled by the way in which the leadership of the university handled this issue.
Faced with an emotional and explosive topic such as this resolution, it is the role of the University — as educators — to teach and guide its students. To show them how a respectful and inclusive debate happens. Not to influence the outcome per se, but to guide young people with policies and processes that allow all voices to be heard and all views to be considered.
By all accounts, that did not happen here.
This vote intentionally was timed right before Passover in order to reduce the ability of all the interested Jewish students from participating in the debate. This meant that a number of individuals were forced to choose between practicing their faith and defending their people. This was a shameful tactic designed to silence the voices of Jewish students and the pro-Israel community at Tufts.
Moreover, I have heard several firsthand accounts that the resolution's backers basically bullied students who abstained and condemned those who voted no with deeply personal attacks. Such indecent behavior debases the entire Tufts community.
In the face of such a situation, it is vital for university leadership to step up and model moral leadership — to teach the student body as it explores controversial issues and to draw boundaries when individuals or groups overstep. And yet, last week, that did not happen.
To paraphrase the recent Passover holiday, this moment was not like other moments. The emotional nature of this issue warranted more than a clinical letter written after-the-fact and buried on the Tufts website. The letter neglected to adequately address the pain that resulted from the deeply cynical tactics of the proposal's supporters, let alone the hostility of the resolution itself to the essence of modern Jewish identity. The lack of empathy did little to soothe the "punch in the gut" felt by so many who love Tufts but felt inexplicably left in the lurch. And this was particularly challenging because Rabbi Summit and so many have worked so hard to cultivate a rich and supportive community on campus, one that appropriately embraces Jewish students of all levels of observance from secular humanists to Chabadniks and political persuasions from AIPAC to J Street U.
But what concerned alumni, students, friends, and community groups like ADL expected and still need to hear now is a forceful and public acknowledgement of the right of freedom of speech and the integrity of the TCU Senate — and that principles of free speech and fair play mean that all students will have ample opportunity to express themselves and participate in an inclusive and open process.
I encourage this Administration to step forward in a more serious way and recognize the anguish caused by this action and the alienation it has sown among the Jewish members of the Tufts community, both those currently on campus and those living in diaspora, so to speak.
I urge you to demonstrate the humility to engage this community in town halls or online forums, to hear their pain and to help with the healing.
I appeal to you to organize a task force that convenes alumni and administrators to review how this transpired and recommend steps to ensure it is not repeated.
And I advocate that you consider introducing a code of ethics — call it a covenant of active citizenship — for student leaders, one that demands ethical behavior, that upholds democratic processes and that creates accountability for those who fall short of these basic standards.
Now, I realize that it may seem odd for an alumnus to criticize his alma mater on the very day when I am receiving an honor from this institution.
But, from what I learned at Tufts, this is exactly what you taught me to do.
To take responsibility. To speak out. To defend free speech. To demand fair play. To make arguments respectfully and forcefully but also factually and rationally. And to defend and support the university that I so deeply love.
In closing, let me reaffirm my gratitude for this award and express the privilege that I feel to still be part of this community some 25 years after my graduation.
And for those reasons, I commit today to do whatever I can and to offer whatever expertise and resources we have at ADL to assist Tufts, its students and its leaders, as you seek to learn from this series of errors, to create a stronger campus, and, to paraphrase a certain businessman, to put a light on a hill.
CEO and National Director of the Anti-Defamation League

redpajama_set_name: RedPajamaCommonCrawl


text:
Newszczy
Characteristics of calcium silicide CaSi2 powder_Answers_Zczy.com | Nanomaterials, Chemical Products, Beari
The secretary general of the Organization of Petroleum Exporting Countries (OPEC) said recently that US economic sanctions against Venezuela have affected global energy supplies.
He told Venezuelan media that the ECONOMIC sanctions imposed by the United States on Venezuela and other countries have seriously affected the ability to produce and export oil worldwide and violated the right of people in other countries to use energy.
Venezuela has one of the largest proven crude oil reserves in the world, but U.S. sanctions have made it impossible for Venezuela's oil industry to consistently export reliable energy to the world, he said. Despite this, he highly appreciated the efforts of the Venezuelan oil industry to maintain calcium silicide, CaSi2 overview, calcium silicide application, CaSi2 supplier, calcium silicide price are expected to increase in the future.
Calcium Silicide Overview
Calcium silicide CaSi2 is a gray-white or dark gray to black solid substance with a melting point of 1033°C. Insoluble in water, it decomposes in water to generate hydrogen and calcium hydroxide. Decomposes in hot water. Calcium silicide is flammable and can spontaneously ignite in the air. Calcium silicide can be formed by the reaction of metallic calcium and silicon in an inert atmosphere at 850°C. It is a white or dark grey to black solid with a melting point between 700 and 935°C.
Calcium silicide CaSi2 powder (CAS 12013-56-8) has high melting point, high corrosion resistance, high oxidation resistance, good electrical conductivity, high temperature ductility, and the intermediate phase of binary alloy system.
How is calcium silicide produced?
1. Elemental silicon and calcium are directly smelted to obtain calcium silicide with higher purity. But the operation has to be done in two steps.
Step 1: Mix the pure calcium chips and pure silicon powder evenly, put them into a hard biscuit porcelain boat, quickly put the porcelain boat into the quartz reaction tube, and pour CO2 into the tube. The porcelain boat has been heated to 1000°C. In just a few seconds, the mixture melted and the reaction proceeded vigorously. Take out the porcelain boat, and the generated CaSi immediately solidifies and smashes. CaSi is a porous block with lead gray and metallic luster.
The second step: Mix the CaSi with the calculated amount of Si powder evenly, put it into a nickel boat, and heat it to 1000 ℃ in the H2 flow. Heating was required for 15 hours due to the slow progress of the last stage of the reaction.
2. Mix pure CaO and silicon with appropriate fluxes CaF2 and CaCl2, and melt them at 1400 °C to obtain CaSi2, in which a large amount of silicon is incorporated.
Application of calcium silicide CaSi2 powder
Calcium silicide is used in the manufacture of special metal alloys, for example for phosphorus removal and as a deoxidizer.
In the pyrotechnic industry, it is used as a fuel to create special mixtures such as smoke, flash components and impact caps.
Calcium silicide is used in the manufacture of certain initiators, pyrotechnics and smoke components.
Silicon calcium alloy is mainly used as desulfurizer and deoxidizer in iron and steel industry and foundry industry.
Calcium silicide has been found to be extremely corrosive to all metals, including refractory metals.
Calcium intermetallic silicide (CaSi 2 ) is formed by simultaneously reducing calcium oxide and dissolved carbon dioxide in the electrolyte and silica particles.
Silicon-based fuels are used in certain time-lapse mixtures, such as controlled blast bolts, grenades, and infrared decoys. Flue gas components often contain hexachloroethane. During combustion, they produce silicon tetrachloride, like titanium tetrachloride used in smoke filters, which reacts with moisture in the air to form a dense white mist. Some mixtures use gum arabic to inhibit the breakdown of calcium silicide.
Calcium silicide CaSi2 powder price
The price of calcium silicide (CaSi2) powder will vary randomly with factors such as the production cost, transportation cost, international situation, exchange rate, and market supply and demand of calcium silicide (CaSi2) powder. Tanki New Materials Co., Ltd. aims to help industries and chemical wholesalers find high-quality, low-cost nanomaterials and chemicals by providing a full range of customized services. If you are looking for calcium silicide CaSi2 powder, please feel free to send an inquiry to get the latest price of calcium silicide CaSi2 powder.
Calcium silicide suppliers
As a global cobalt silicide CoSi2 powder supplier, Tanki New Materials Ltd. has extensive experience in the performance, application and cost-effective manufacturing of advanced and engineered materials. The company has successfully developed a series of powder materials (molybdenum disilicide, titanium silicide, calcium silicide, iron boride), high-purity targets, functional ceramics and structural devices, and provides OEM services.
Technical Parameter of Calcium Silicide CaSi2 Powder:
Product Name MF Purity Particle Size Melting Point Density Color
calcium silicide CaSi2 99% 5-10um 1020℃ 2.5 g/cm3 silver black
Chemical Composition of Calcium Silicide CaSi2 Powder:
CaSi2 Ca Si C P Fe S
>99% 57.12% 41.50% 0.20% 0.02% 0.29% 0.02%
The US will initially set the "guidance price" for Russian oil at 44 US dollars per barrel, which is also Russia's previously estimated cost price per barrel, the US Deputy Treasury Secretary said in a recent interview with Bloomberg. Adyemo said the policy goal is to reduce Russia's income while allowing them to continue to export oil.
Adyemo expects "other countries" to announce their participation in setting Russia's oil price ceiling in the coming weeks. He said it is not necessary for every major oil buyer to participate in setting a cap on Russian oil prices. Countries that do not support price limits can negotiate substantial discounts and help achieve the ultimate goal of price caps. The motives of buyers are consistent with those of countries that set price caps. Every country wants to pay as little as possible for energy. Every refinery wants to pay as little as possible for oil. "
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text:
Agar Town (also known as Ague Town, Hagar Town, Agar-Town and Agar-town) was a short-lived relatively tiny area of St Pancras in central London. It is now the site of St Pancras railway station.

History
The area was named after William Agar, a wealthy lawyer who lived at Elm Lodge, a villa in large grounds near to the Regent's Canal roughly where Barker Drive stands. Key streets were Canterbury Place, Durham Street, and one of the city's Oxford Crescents. The area contained low-quality housing for the poor and labourers building the houses, made of the lowest quality materials on 21-year leases, with no street lighting, cleaning or sewerage. Consequently, Agar Town was generally considered a slum. This designation has been questioned.

The neighbourhood was started in 1841 with Agar's widow leasing out small plots on the north side of the canal. Ownership passed to the Church Commissioners, who sold it to the Midland Railway. The company demolished most of the housing to make way for warehouses supplying St Pancras railway station from 1866.

The name of Agar Town is commemorated by Agar Grove which traces an edge and which was St Paul's Road in "Camden Town".

Cultural reference

The place is sung about in a folk-style song of Richard Guard and Anna Crockatt The River Don't Run, included on an album by Nick Hart. The song describes the demolition of Agar Town and the disappearance of the Fleet river or stream as it was diverted underground to make way for St Pancras railway station.

See also
Camley Street Natural Park
Camden Town Murder

References

External links

Mapping Poverty in Agar Town: Economic Conditions Prior to the Development of St. Pancras Station In 1866
Saint Thomas, Agar Town: Camden
"Agar Town, Camden" on hidden-london.com

Areas of London
Districts of the London Borough of Camden

redpajama_set_name: RedPajamaWikipedia


Saeed Banaie's poetry has a strong tendency towards crossing literary genres, mixing poetry and prose and playing with textured language. He often makes use of scientific concepts and writes poetry that is experiential.
Saeed Banaie was born in the county of Behbahan in the province of Khuzestan, Iran. He is a medical student at the School of Medicine at the University of Jondi Shapour. He is an active member of the Persian Poetry College, in charge of engagement with global poets. Saeed Banaii is a director of the College's internal operations.


Q: Does the encoder have discrete audio input?
Q: Does the decoder have discrete audio input?
A: Yes, OmniStream Pro decoders support discrete audio input that can be embedded onto the output HDMI signal.
Q: Does the decoder have discrete audio output?
A: Yes, OmniStream Pro decoders support discrete audio output. OmniStream R-Type does not support discrete audio output.
Q: Can I cross-connect AES67 from OmniStream Pro to OmniStream R-Type?
A: Yes, AES67 audio from OmniStream Pro to OmniStream R-Type and vice versa.
KB01143 - What control methods can be used with OmniStream?


text:
El Wiener AC, conocido también como WAC, es club polideportivo de Viena en Austria que tiene secciones de fútbol, tenis, voleibol de playa, natación, baloncesto y hockey sobre hielo, la que es su sección más exitosa en ambas ramas (varonil y femenil).

Historia
Fue fundado el 14 de octubre de 1897 en la capital Viena, y en el año 1904 ganaró su primer título importante de la sección de fútbol.

Sección de fútbol

En 1910 varios jugadores se fueron y formaron al Wiener AF, el cual quedó campeón y el WAC terminó 4.º. Ganó su primer liga de Austria en 1915 en un formato de torneo a una vuelta entre los 10 participantes; y el Wiener AF terminó subcampeón.

Lograron ganar su primer título de copa en la temporada 1930/31, y gracias a ello clasificaron a su primer torneo internacional: la Copa Mitropa, en la que alcanzaron la final ante otro equipo austriaco, el First Vienna FC, perdiendo ambos juegos. Entre 1942 a 1945 permanecieron en la Gauliga Ostmark (I).

Tras descender de la máxima categoría en Austria en 1965, decidieron unirse al FK Austria Wien, pasándose a llamar FK Austria/WAC Wien hasta que el Austria decidió regresar a su nombre anterior. Han jugado en la máxima categoría de Austria en 38 temporadas.

En 1983 la organización decidió reactivar a su sección de fútbol, la cual se retiró en el año 2002 debido a su patrocinador, cambiándo de nombre por el de FK Rad Friendly Systems, y más tarde por el de FC Fireball United.
La sección de fútbol todavía existe, pero no participa en competiciones oficiales.

Palmarés
 Campeonato de Austria de fútbol: 1
 1915

 Copa de Austria de fútbol: 2
 1931, 1959

 Challenge-Cup: 3
 1901, 1903, 1904

 Wiener Tagblatt-Pokal: 3
 1900, 1901, 1902

Jugadores destacados
 Rudi Hiden.
 Max Leuthe.
 Ernst Kaltenbrunner.

Goleadores Históricos
 Johann Studnicka (goleador en la temporada 1913 con 13 goles).
 Johann Neumann (goleador en la temporada 1913 con 13 goles y en 1914 con 25 goles).
 Leopold Deutsch (goleador en 1915 con 12 goles).
 Friedrich "Fritz" Cejka (goleador en la temporada 1960 con 28 goles).
 Hans Pirkner (máximo goleador en la liga de Austria de 1976 con 28 goles, contados los hechos con el Austria Wien).

Referencias

Enlaces externos
 Página oficial (en alemán)
 soccerway.com
 Fundación

Equipos de fútbol de Austria
Equipos de fútbol fundados en 1897
Equipos de fútbol que se han fusionado y fusiones
Deporte en Viena


This November we tracked 36 announced deals totaling $875 million, and 4 acquisitions totaling $200 million. IT & Enterprise Software was the leading sector for this month with TripActions raising $154m in a third round, Habana Labs a company that is developing processors optimized for artificial intelligence applications raising $75m, SAManage and SysAid, both companies raised $30m in a growth round. Another sector that we should highlight is semiconductors and autonomous cars. Valens, a company developing technology for vehicle connectivity raised $63m, and Adasky, a startup developing high-resolution thermal sensors for autonomous cars raised $20 million.
Aquant, a startup that develops and markets machine learning software that mines historical data for insights that can shorten machinery downtime, has raised a $10 million seed round, led by Lightspeed Venture with the participation of New York-based World Trade Ventures and SilverTech Ventures.
Quantum Machines, a software developer that has the potential to reduce computing time for complex problems, has raised $5.5 million in a seed round led by TLV Partners, Battery Ventures LP also participated.
Portshift, a new identity-based cloud security startup, has raised $5.3 million in seed investment from the Israeli cybersecurity foundry Team8 LLC.
Darillium, a company that develops cloud platforms designed to optimize workload deployment, has raised a $2 million seed round led by Hanaco Ventures with the participation of JANVEST Capital Partners.
Securitize, A startup that offers a platform for managing blockchain-based digital securities has raised $12.75 million in a series A funding round led by Blockchain Capital.
KidneyCure, a biotech startup developing cell-therapy technology for treating advanced chronic kidney disease, has raised a $4 million round, led by Aurum Ventures.
SAM, a software company that protects home networks and the devices connected to them, has raised $12 million in a series A round led by Intel Capital, with the participation of Blumberg Capital.
OzCode, a startup that develops a debugging and code analysis platform that works on the Microsoft Azure cloud environment, has completed a $3.5 million funding round led by Rafael Advanced Defense System Venture Capital Arm with the participation of TPY Capital fund.
Duality, an encrypted data collaboration startup, raised $4 million in funding led by cyber think tank Team8.
Lumi, a lending.. raised a 6.5$ million round led by the Josh Liberman Investment Group.
Alcide, a cloud-native security leader that empowers DevOps and security teams to manage applications, has closed a $7 million series A round led by CE Ventures, with the participation of existing investors Intel Capital and Elron Electronic Industries Ltd.
Cognigo, a company that develops an artificial intelligence-based platform that helps organizations manage and protect critical data and achieve compliance with privacy regulations, has raised $8.5 million in series A round led by OurCrowd, with the participation of Prosegur Compañia de Seguridad SA and Mind Ventures.
Taranis, a company that uses deep-learning technology and agronomic understanding to offer insights that create a more sustainable farming ecosystem, has closed a $20 million Series B round, led by Viola Ventures, with the participation of Finistere Ventures, Vertex Ventures, and OurCrowd.
Lightricks, a company that develops powerful tools to reinvent the way content is created, has secured $60 million in a funding round led by Insight Venture Partners with the participation from Claltech.
Habana Labs, a company that is developing processors optimized for artificial intelligence applications, has closed a $75 million funding round led by Intel Capital, with the participation of WRV Capital, Battery Ventures and Bessemer Venture Partners.
Adasky, a startup that develops a high-resolution thermal sensor for autonomous vehicles, has raised $20 million from a Korean-listed car parts manufacturer Sungwoo.
XM Cyber, a company founded by former Mossad head that develops a fully automated advanced persistent threat simulation platform, has closed a $22 million round led by Macquarie Capital and Nasdaq Ventures.
Guardian Optical Technologies, a company that provides 2D, 3D, and motion analysis in the vehicle to protect drivers and passengers, has raised $2.5 million from Union Ventures and B&E Equities.
Overwolf, a company that developed a platform that enables third-party developers to create modifications to existing PC games, which are then available through Overwolf's app store, has raised $16 million in a funding round led by Intel Capital.
ConTIPI Medical has developed non-surgical and disposable vaginal solutions for women with Pelvic Floor Disorders, has completed a $3 million round led by existing investors, Capital Point and New Pharm.
Fraugster, a startup that uses artificial intelligence to prevent fraud for online retailers, has raised $14 million in a series B funding, led by CommerzVentures.
Raycatch, a startup developing artificial intelligence-based diagnostics and optimization software for the solar energy market, has raised $4.5 million round, led by Koninklijke DSM N.V.
Sharegain, a startup that offers a marketplace where the holders of stocks and other securities can loan their assets to investors, has raised $5 million led by Blumberg Capital, with the participation of Target Global and Rhodium.
CreditPlace, a peer-to-peer debt trading startup that developed a digital platform to facilitate transparent debt trading, has raised $8 million in a funding round led by OM2 Ventures.
OpenLegacy, a startup that delivers fast, powerful and flexible digital services from virtually any legacy backed-end or proprietary application that allows organizations to connect up easily with digital apps, has closed a $30 million financing round led by Silverhorn Investment Advisors with the participation of CommerzVentures.
Valens, a company that is developing HDBaseT technology for the audiovisual and automotive markets and chipsets that simplify in-vehicle connectivity, has raised $63 million from Linse Capital and Oppenheimer Asset Management.
SysAid, a company that develops an IT service for management software that integrates multiple help desk tools, has closed a $30 million round, led by Israel Growth Partners Ltd.
Medi-Tate, a medical devices company that has developed a product for the treatment of benign prostate tumors, has raised $20 million from Japanese medical devices company Olympus.
Votiro, a company developing enterprise software that automatically scans and cleans each file sent or shared via email, and content collaboration platforms and USB drives, has closed an $8 million round led by Senetas Corporation.
Nyxoah, a startup that developed a medical device for the treatment of Obstructive Sleep Apnea, a sleep disorder characterized by repeated shallow or paused breathing during sleep, has raised $15 million in a funding round led by Cochlear Ltd.
Samanage, a cloud-based company that provides computing services to corporate IT departments, has completed a $30 million Series D funding round, led by Morgan Stanley Expansion Capital with the participation of Viola Ventures, Vintage Investment Partners and Gemini Israel Ventures.
PolyPid, a company that develops encapsulating drug delivery technology that enables extended and localized release in the body, has raised $15 million led by Xenia Venture Capital Ltd.
Mapi Pharma, a company that focuses on developing more efficient versions of existing successful drugs, has raised $10 million from China's Jingxin Pharm.
Hippo, a company that analyzes data from municipal buildings records, satellite imagery, and smart home devices to enable customers to get a quote and qualify for coverage, has raised a $70 million series C round, led by Felicis Ventures.
Velox, a company that develops and manufactures industrial-grade direct-to-shape digital decoration products for rigid containers, has raised $32 million round led by JAL Ventures.
TripActions, a company that provides corporate travel platform that integrates with company HR and expense system, has raised $154 million round with a valuation of more than $1 billion, the round was led by Andreessen Horowitz.
Nutrino, a company that uses existing databases and research to create personalized nutrition recommendations, was acquired by Medtronic, one of the world's largest medical device companies, for an estimated amount of $100 million.
Amimon, a company that develops chipsets and modules for real-time wireless video transmission, was acquired by Vitec Group, a manufacturer of camera supports, for a reported amount of $55 million.
Javelin Networks, an Ai and cyber security software development organization, was acquired by Symantec, a global leader company that provides cybersecurity software and services, member of the S&P 500, for an estimated amount of $25 million.
NooBaa, a software-driven company that enables agility, flexibility and hybrid cloud capabilities, was acquired by RedHat, a company that was acquired by IBM for $34 billion, for an estimated amount of $20 million.
Rona is a Principal in the iAngels investment team and brings more than 10 years experience in investments and financial consulting from both the private and public sectors. Rona is passionate about technology and innovation, meeting with the greatest minds and ideas of talented entrepreneurs looking to make an impact. At iAngels, Rona focuses on seed and series A investments and has built special expertise around Frontier Technologies, Automotive and UAVs, Agro and FoodTech and is a big follower of trends in AI and computer vision.


Back in March we published an exploit module for Mutiny Remote Code Execution. Mutiny "is a self-contained appliance for monitoring network-attached devices such as servers, switches, routers and printers. It has been designed to be simple to use, being aimed at the person who is more interested in the actual data gathered rather than the science of gathering the data." (Source: Mutiny User Guide). That module abused CVE-2012-3001, a command injection issue in the frontend application which allowed any authenticated user, with access to the admin interface, to execute os commands with root privileges. While developing that exploit, we took a look at the last version of the Mutiny FrontEnd available at that time (5.0-1.07) and found others issues, grouped under CVE-2013-0136, which have the plus of being exploitable from any authenticated role.
To delete any file from the remote file system with root privileges.
To copy and move files in the remote file system with root privileges, allowing also to download/retrieve these files.
To upload arbitrary files to the remote file system and ultimately execute arbitrary code with root privileges.
(1) Prior to public disclosure the last version available has been tested and the disclosed exploit techniques don't work anymore. The tested version has been "5.0-1.11 (EAGLe) - (02-05-13)". Since the vendor didn't warn us about the patch neither asked us to review the patch we can't assure the current patch is 100% confident and secure, neither have details about revisions between 5.0.1-07 and 5.0.1-11 which could be vulnerable. We encourage you to use the current Metasploit modules in order to test your Mutiny installation for the disclosed vulnerabilities.
After examining the "doPost()" function from the "EditDocument" servlet, requests to abuse these functions have been built.
In this case the "/test.msf" will be deleted in the remote file system. The 4 level traversal is due to "DocumentUtils.root" by default pointing to "/var/MUTINY/upload/documents" in the Linux based appliance.
The copy operation allows copying arbitrary files in the remote file system with root privileges. By copying arbitrary files to the default web root in the appliance it's possible to retrieve arbitrary files.
In order to assist vulnerability testing two modules for the Metasploit framework have been developed.
Want to try this out for yourself? Get your free Metasploit download now or update your existing installation, and let us know if you have any further questions or comments.


A Turkish aid group dispatched aid to over 343,000 people in Yemen last year.
The Istanbul-based Humanitarian Relief Foundation (IHH) said in a statement that 21 million people are suffering from food shortages and 10 million need immediate help in Yemen.
IHH has been carrying out its activities in Yemen since the first day of the crisis and delivered emergency aid to 343,199 people in 2018.
Some 26,043 food packages have been distributed and health- and hygiene-related activities carried out.
Also, 5052 Yemeni orphans have been sponsored by the foundation.
The aid group also delivered sacrificial animals to 120 families and new clothes for religious holidays to 2,361 people.
Solar-powered sewing machines were arranged for 15 families, milch cows for 17 families and cattle for 14 families.
IHH spokesman Serkan Nargis said malnutrition was the biggest problem in Yemen.
"Hospitals, especially children, are in very poor condition because they do not have access to medicines. Health centers are already filled with children. Four-month-old Malik weighs only 2.7 kilograms."
This year the foundation will provide emergency food aid, wheelchairs, tents, education and healthcare in Yemen.


text:
Best is Yet to Come
Jon Sanders
Untitled (Goya) (1980; detail), Erró © VG Bild-Kunst, Bonn 2013 / photo: Wolfram Ruoff
The new exhibition at the Hamburger Bahnhof in Berlin promises much. 'The End of the 20th Century: The Best is Yet to Come' juxtaposes two unlikely quotations: the name of Joseph Beuys' 1982–3 sculpture of recumbent basalt oblongs, and lyrics from a 1959 song by Cy Coleman and Carolyn Leigh, popularised by Tony Bennett, Frank Sinatra, Peggy Lee and others. The title mirrors the construction of the exhibition as a whole, which attempts to show the paradoxical nature of 20th-century depictions of the future, by exhibiting paintings, sculptures, films, photographs and songs concerned with 'time' from different places and decades.
The End of the 20th Century (1982–1983), Joseph Beuys © VG Bild-Kunst, Bonn 2013
The vast collection of work is arranged sometimes by subject, sometimes by aesthetics. One room plunges you into representations of 'the river', which it seems to propose as an exclusively 20th-century metaphor for time. Brigitte Bardot reclines in a floating vessel as she delivers the first television performance of Un jour comme un autre, while a T.S. Eliot quotation overlooks the space like a Rhine maiden. Technicolour Warhols charm you through the middle rooms, which also contain a bewildering cluster of images of plant life, ironic celebrations of Communism, and a film about geese and moon-landings. Occupying the final rooms are large, dense Cy Twomblys, Anselm Kiefers and a dead owl.
There is a contradiction at the centre of this exhibition: it is too quick to categorise its work, and yet professes not to. It presents, for example, Ugo Rondinone's The Common Guild, a sculpture of bronze birds and a handless clock, as horribly pertinent to the 20th century's decimation of the natural world, and also, as one of the first exhibits, ideologically embryonic. Rondinone's work has a specific significance, but is displayed as if it can be fruitfully compared at will with (for instance) Ernst Bloch's writing, which covers a nearby wall.
The problem with this approach is that its conceptual foundations can be dated specifically to the last decades of the 20th century and the early 21st. Recent art, literature and criticism of all kinds have explored ways of collapsing past, present and future into one synchronic instance of time, but this is an impossible principle around which to organise an exhibition. It takes time to make your way through the 10 huge and eclectic rooms of the former railway station.
Moreover, the approach ignores lived, experienced time in the 20th century itself; the long afternoons spent in studios and evenings chattered away with friends in which ideas develop, flourish and change. The consequence of the lack of chronology is that the exhibition's rooms become as hefty and unwieldy as the blocks of Joseph Beuys' original sculpture. They are the massive remains of a once-grand structure; but they are mute.
'The End of the Twentieth Century: the Best is Yet to Come' is on at the Hamburger Bahnhof until 30 March 2014.
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