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The Food Album has received mixed reviews from most critics ; many felt that while the album was amusing it was not an essential release . Allmusic reviewer Johnny Loftus awarded the album three out of five stars and wrote that , " The Food Album is an enjoyable bag of treats . Just don 't eat too much , or you 'll probably get sick . " Likewise , The Rolling Stone Album Guide awarded the album three out of five stars . Anthony Violanti of The Buffalo News gave the album a moderately positive review and wrote that , " [ t ] here are two kinds of people in the world : those who love Weird Al Yankovic and those who can 't stand him . Count me among the Weird One 's biggest fans , and that 's why I flipped out when listening to The Food Album . " He concluded that the album was " like reading Mad magazine " ; he gave the record three stars out of five . Tim Grobaty of the Press @-@ Telegram , on the other hand , wrote negatively of the album , stating " Yankovic 's songs are the kinds of things that are sort of funny in concept , less funny when you actually hear them once , and increasingly irritating with each subsequent listen [ and ] his food songs are among his worst . "
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= = = Commercial performance = = =
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Upon release , The Food Album failed to chart ; however , it sold steadily . On January 25 , 2006 — more than ten years after its release — the album was certified Gold by the Recording Industry Association of America ( RIAA ) . This makes it Yankovic 's first and only compilation album to sell over 500 @,@ 000 copies and be certified Gold .
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= = Track listing = =
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= = Certifications = =
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= Patriarchal Cathedral of the Holy Ascension of God =
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The Patriarchal Cathedral of the Holy Ascension of God ( Bulgarian : Патриаршеска катедрала „ Свето Възнесение Господне “ , Patriarsheska katedrala „ Sveto Vaznesenie Gospodne “ ) is a former Eastern Orthodox cathedral in the city of Veliko Tarnovo , in north central Bulgaria . Located on top of the fortified Tsarevets hill in the former capital of the Second Bulgarian Empire , the cathedral was the seat of the Bulgarian patriarch from its construction in the 11th – 12th century to its destruction in 1393 .
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Standing on top of a late Roman church , the cathedral , reconstructed in the 1970s and 1980s , follows a cross @-@ domed plan with a bell tower and a triple apse . Richly decorated on both the exterior and interior , its internal walls now feature modern frescoes , the presence of which has meant that it has not been reconsecrated . Though not active as a Christian place of worship , it has been open for visitors since 1985 .
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= = History = =
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The Patriarchal Cathedral of the Holy Ascension of God is not the first church building to occupy the position on top of the Tsarevets hill . It was constructed directly on top of a late Roman ( early Byzantine ) basilica which dates to the 5th – 6th century AD . The Roman basilica may have remained in use by the local congregation during the First Bulgarian Empire , though it was no longer active by the time the construction of the current church began .
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The current building of the Patriarchal Cathedral is considered by scholars to have been built in two stages . The first stage of construction was carried out in the late 11th century or the 12th century . The cathedral was initially built as a monastery church in the middle of a monastery compound , though in the early 12th century it was already the seat of the Bulgarian patriarch . The compound suffered large @-@ scale damage caused by a fire , which necessitated the church 's reconstruction in middle of the 14th century , perhaps during the rule of Tsar Ivan Alexander of Bulgaria ( r . 1331 – 71 ) . Besides repair and reinforcement efforts , work on the church in the 14th century also included the construction of the exonarthex and the bell tower .
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There are several references to the cathedral in medieval sources . The earliest reference to the church tells of the transfer of Saint Michael the Warrior 's relics from the Potuka fortress to the Patriarchal Cathedral on the order of Tsar Kaloyan ( r . 1197 – 1207 ) . The housing of a warrior saint 's relics in the Patriarchal Cathedral signifies the incessant warfare against Byzantines and Latins that dominated Kaloyan 's reign . In the late 14th century , the last Patriarch of Tarnovo , Saint Evtimiy , described the church as the " great patriarch 's Cathedral of the Holy Ascension " in his writings .
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Another possible reference to the church may be in a marginal note from 1358 to a copy of the Acts of the Apostles . In the note , the copyist , one Laloe , thanks God and the " Holy and Most Glorious Ascension " for having finished his work on the book . Scholar Bistra Nikolova believes this to be an allusion to the Patriarchal Cathedral , which may have patronised the project . Alternatively , the copy could have been made at the cathedral 's scriptorium , where Laloe may have worked .
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The church is also depicted in the medieval sketch of Tarnovo in the Braşov Menaion , a menaion service book written in the mid @-@ 14th century and then carried to Kronstadt ( now Braşov , Romania ) after the fall of Bulgaria under Ottoman rule .
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The Patriarchal Cathedral was destroyed after the Ottomans captured the Bulgarian capital after their Siege of Tarnovo on 17 July 1393 . The church was fully reconstructed in the 20th century ; reconstruction works were carried out by a team under architect Boyan Kuzupov . These commenced in 1978 and were finished in 1981 , to mark Bulgaria 's 1300th anniversary . However , it was not until November 1985 , when the contemporary murals were finished , that the church was opened once again for visitors . The church 's ruins have been protected as a national antiquity since 1927 ; in 1967 , they were proclaimed an architectural monument of culture of national importance . As part of the Tsarevets architectural reserve , it is also listed among the 100 Tourist Sites of Bulgaria .
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= = Location and architecture = =
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The Patriarchal Cathedral of the Holy Ascension of God is located on top of the Tsarevets hill , overlooking the modern city of Veliko Tarnovo . The church was part of a group of buildings which constituted the seat of the Bulgarian Patriarchate and acted as the city and the country 's main cathedral . The patriarchate on Tsarevets was a fortress of its own , with two defensive towers and an entrance on its west wall . The Patriarchal Cathedral stood in the middle of its courtyard .
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The Patriarchal Cathedral features a triple apse , the central part of which matches the apse of the original basilica on the site . The three @-@ naved church follows the traditional Byzantine cross @-@ in @-@ square design . Built out of crushed stones and mortar with limited brickwork , it measures 26 by 12 metres ( 85 ft × 39 ft ) . The cathedral includes two narthices , a bell tower and two other premises attached to the south church wall . The presence of a bell tower is considered to be a rarity in Balkan church architecture . Six columns support the interior and distinguish the altar from the cella ( naos ) . It is unclear whether the church housed a synthronon ( stone benches for the clergy ) in the apse , as there are doubts that its remains may actually be part of the older basilica .
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The church featured ample exterior and interior decoration . While the facades were decorated with arches and ceramic tiles , the interior floor mosaics were made of white , yellow and pink marble as well as semi @-@ precious gemstones like sapphire and porphyry . The interior walls were covered with frescoes and mosaics . However , none of the interior decoration has survived . During the church 's 20th @-@ century reconstruction , its interior was repainted by artist Teofan Sokerov , who depicted important moments of medieval Bulgarian history in a modernist style . Due to these murals , the church has never been reconsecrated and remains inactive . The facade of the cathedral also includes a stone with a donor 's inscription of a Bulgarian ruler , which ended up as part of the building material .
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There are a total of four burial grounds in and around the church , two of which are burials for priests . One of the burial grounds is inside the exonarthex , where overarched tombs were built in the 14th century . Besides Michael the Warrior 's relics , the cathedral also housed the remains of Bulgarian patriarchs Joachim I , Macarius and Joachim III .
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= Daydream ( Mariah Carey album ) =
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Daydream is the fifth studio album by American singer and songwriter Mariah Carey , released on October 3 , 1995 , by Columbia Records . The follow @-@ up to her internationally successful album Music Box ( 1993 ) and holiday album Merry Christmas ( 1994 ) , Daydream differed from the two by leaning increasingly towards R & B and hip hop . Throughout the project , Carey collaborated with Walter Afanasieff , with whom she wrote and produced most of her two previous albums . With Daydream , Carey took more control over the musical direction as well as the album 's composition . Carey said she considered Daydream the beginning of her musical and vocal transformation , a change that became more apparent in her sixth album Butterfly ( 1997 ) . During the album 's production , Carey endured many creative differences with her label and husband Tommy Mottola .
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On Daydream , Carey collaborated with Jermaine Dupri for the first time , and co @-@ wrote and produced a song with Kenneth " Babyface " Edmonds , with whom she had collaborated on Music Box . It was also the first time she had worked with Boyz II Men , an R & B group consisting of four male vocalists . Together , they wrote the concept and lyrics for " One Sweet Day , " a song that Carey co @-@ produced with Afanasieff . With his assistance and the addition of a few contemporary producers , she was able to make a subtle transition into the R & B market . Daydream was nominated for six Grammy Awards at the 38th annual ceremony , during which Carey performed live . Due to the album 's critical and commercial success , critics believed Carey would be one of the night 's big winners . However , to her dismay , she was completely shut out , causing the subject to become very public and controversial . She left the annual ceremony empty @-@ handed .
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Six singles were released from the album . Its lead single " Fantasy " became the first single by a female artist to debut at number one on the US Billboard Hot 100 and went on to top the chart for eight weeks and became the second best @-@ selling single of 1995 in the country . The song topped the charts in Australia , Canada , and New Zealand and became a top @-@ five hit in Finland , France , and the United Kingdom . The second single " One Sweet Day " topped the Billboard Hot 100 for sixteen weeks and became the longest @-@ running number one single in American history , a record it still holds . It also topped the charts in Canada and New Zealand and peaked within the top five in Australia , France , Ireland and the Netherlands . Jointly , the singles from Daydream spent a combined six months at the top of the Hot 100 . To promote Daydream , Carey embarked on the short but successful , Daydream World Tour , visiting Japan and Europe .
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At the time of its release , Daydream became Carey 's best @-@ reviewed album . Critics universally praised her matured lyrics and songwriting , as well as her musical direction . The album became an international success , debuting at number one in nine different countries , and in the top five in almost every major music market . Daydream became Carey 's second album to be certified diamond by the Recording Industry Association of America ( RIAA ) , denoting shipments of ten million copies in the United States . Aside from its success in the United States , the album made the top five of the best @-@ selling albums in Japan by a non @-@ Asian artist , with 2 @.@ 1 million copies sold . Daydream remains one of the best @-@ selling albums of all time , with 25 million copies sold worldwide .
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= = Background = =
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Aside from being Carey 's second highest worldwide seller , Daydream served as her most personal and directly influenced album at the time . During the album 's recording , Carey grew as an artist , as well as a writer . For the first time in her career , Carey was able to make music that she truly related to , R & B and hip hop . While Columbia allowed Carey more leniency with the music she recorded , they became hesitant when she featured Ol ' Dirty # # # # # # # in the remix for " Fantasy . " They feared the sudden change was completely left field for her music , and worried it would jeopardize the album 's success . In an interview with Entertainment Weekly , Carey openly spoke of her issues with Columbia : " Everybody was like ' What , are you crazy ? ' They 're nervous about breaking the formula . It works to have me sing a ballad on stage in a long dress with my hair up . "
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While Carey 's new musical direction caused tension between her and Columbia , it began to severely strain her relationship with her husband at the time , Tommy Mottola . Mottola had always been involved in Carey 's career , because he was the head of Sony Music , the parent company of her label . Since the time of Carey 's debut , Mottola had controlled nearly every aspect of her career , keeping her sound carefully regulated and insisting that she continue recording middle @-@ of @-@ the @-@ road pop music , despite her interest in hip hop .
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Carey confessed that she never tried to change the situation because " [ she ] used to be insecure and cautious , and so [ she ] would listen to what the people said . " However , the control Mottola exerted over her career soon " spilled into her personal life " once they were married , increasing the amount of conflict between the two . Soon , it was obvious that their marriage was in shambles ; as stated in a Vanity Fair article , " the couple began to argue at the drop of a hat . " Carey was very involved in the project , more so than she had ever been on an album . " I went into this phase of recording , recording , recording and doing it really fast , " she told Time . " This time , I had more time , and I focused more on what I wanted to do . " As Carey 's career and work continued to reflect her views on how it should sound , her marriage to Mottola continued to " deteriorate . "
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= = Conception and composition = =
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One of the first songs that was recorded for the album was " Fantasy . " While Carey began developing new ideas for Daydream , she thought of the song " Genius of Love " by Tom Tom Club . She had always been a fan of the song , and presented Dave Hall with the idea of sampling the song 's hook . Hall incorporated a groove that he felt complimented Carey 's voice , while she composed some of the other beats and wrote the lyrics . Carey recorded a remix to the song as well , featuring hip @-@ hop verses from O.D.B of the Wu @-@ Tang Clan , as well as production from Puffy . She spoke highly of the remix , complimenting Puffy and O.D.B , " He 's so known in the street , and he 's one of the best people out there ... we kind of did what we both do and having O.D.B took it to another level . He was my ultimate choice , so I was really happy with the way it turned out . " " One Sweet Day " was a song that Carey wrote with the R & B group Boyz II Men . After Carey 's friend and past collaborator David Cole died , she began writing and developing a song that would pay homage to him and all the friends and family her fans had lost along life 's journey . Carey had the chorus and concept composed , and after meeting with Boyz II Men , they realized they too had a similar idea in development . Together , using Carey 's chorus and idea , as well as the melody they had produced , they wrote and composed the song . It was produced by Afanasieff , who built on the song 's melody and added various grooves and beats . Carey expressed how the song was " meant to be " and how all the pieces fit into place :
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I wrote the initial idea for ' One Sweet Day ' with Walter , and I had the chorus ... and I stopped and said , ' I really wanna do this with Boyz II Men , ' because ... obviously I 'm a big fan of theirs and I just thought that the work was crying out for them , the vocals that they do , so I put it away and said , ' Who knows if this could ever happen , but I just don 't wanna finish this song because I want it to be our song if we ever do it together . [ The ] whole idea of when you lose people that are close to you , it changes your life and changes your perspective . When they came into the studio , I played them the idea for the song and when [ it ] finished , they looked at each other , a bit stunned , and told me that Nat " Nathan Morris " had written a song for his road manager who had passed away . It had basically the same lyrics and fit over the same chord changes . It was really , really weird , we finished the song right then and there . We were all kinda flipped about it ourselves . Fate had a lot to do with that . I know some people won 't believe it , but we wouldn 't make up such a crazy story .
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While the album 's development was underway , Carey expressed interest in working with Jermaine Dupri , whom she had been a fan of since his 1992 song , " Jump . " Soon after , Carey , Dupri , and Manuel Seal began composing a song for the album . As Seal played the piano , Carey began humming and playing with certain notes in the B @-@ section , until she came up with the chorus for " Always Be My Baby . " After the rest of the song was written and composed , Carey recorded the song alongside longtime background singers Kelly Price , Shanrae Price , and Melonie Daniels . Together , they built " a wall of background voices " in which she would cover with her final belting notes . The song featured a downbeat rhythm , while its composition was described as " sassy and soft R & B " which displayed a " sexy and slow jam . " " Underneath the Stars " was the first song recorded for Daydream . The song featured a " ' 70s soul vibe " as well as synthetic record scratches , in order to the give the song an authentic ' 70s sound . Carey felt the additions were simple steps taken to further display a contemporary R & B groove . Additionally , she felt the song paid homage to the style of Minnie Riperton , who was one of Carey 's biggest vocal influences growing up . The song had a soft sound , and had " a lot [ sic ] of texture " and bass , showing a more creative side to Carey .
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For the album , Carey covered the 1982 Journey song " Open Arms . " The song was of Carey 's personal choice , as well as her own idea . Together with Afanasieff , they toned down the song 's arrangement , making it a bit glossy , especially in comparison to the " raw and powerful ' One Sweet Day . ' " Additionally , with the help of her background singers , Carey added a touch of gospel to the song . One of the more gospel @-@ influenced songs on the album was " I Am Free . " The song was created by Carey , Afanasieff and Loris Holland , with whom she had worked previously on Merry Christmas . Carey began humming the melody with the lyrics she had already written , while Holland played the organ and Afanasieff worked on the song 's programming . , giving the song a genuine and unforced gospel feel . The chorus was sophisticated and natural , with each following line " cascading onto one another , " something that would have proved difficult for a " less skilled vocalist . " Carey started leaning away from the " standard Celine Dion ballad " and more towards R & B jams . However , she was not going to completely abandon the type of songs that made her famous . For this reason , Carey wrote " When I Saw You " with Afanasieff , a song that would truly embody some of her earlier work , as well as show off her powerful vocals . Returning to her R & B territory , Carey recorded " Long Ago " , the second song she wrote alongside Dupri and Seal which contains a strong hip hop background . Her vocals in the song were described as " sliding over the insistent bassline like silk . "
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" Melt Away " was a song Carey produced on her own , and co @-@ wrote with Babyface . The song 's writing and production were " superb . " with each verse gliding into its chorus . According to Chris Nickson , " Underneath the Stars " was as " strong as any slow jam released in the nineties , and one that would find a lot of flavor late at night with dancers . " Another song that brought back reminders of older decades was " Forever . " The throwback was featured through the chord changes and in the way the guitar arpeggios " stayed at the forefront of the music . " The song displayed subtle vocals from Carey , as well as an undeniable richness . " Daydream Interlude ( Sweet Fantasy Dub Mix ) " was one of the liveliest tracks on the album . The song was a club remix of " Fantasy " , which was tuned and remixed by famed house music producer David Morales . The song was directed to be a dance @-@ club song , further broadening Carey 's " musical horizon . " The song incorporated Carey 's vocals , and added them to a thumping house beat , something he would do for many of her future singles . " Looking In " was the final song on the album . It was Carey 's most personal song at the time , one in which she let herself appear " naked " and " stripped down ; it was written by her and Afanasieff . " According to author Chris Nickson :
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" [ The song ] reflected on her life now , the changes she 'd gone through , and the difference between the public perception of Mariah Carey and the real person . Intimate and revealing , it made an appropriate end to the album , and was evident that Mariah was growing , changing , and becoming much more herself , confident of who she was and what she could do . "
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= = Critical reception = =
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Daydream received universal acclaim at the time of its release . Reviews applauded the little changes of style from previous Carey releases , some of whom adding that it is her best record , while others dismissed it as soulless and lacking of originality . AllMusic 's senior editor , Stephen Thomas Erlewine , awarded the album four and a half out of five stars . Erlewine called Daydream her " best record yet " and wrote , " Mariah Carey certainly knows how to construct an album . Positioning herself directly between urban R & B with tracks like " Fantasy , " and the adult contemporary radio format with songs like " One Sweet Day , " a duet with Boyz II Men , Carey appeals to both audiences equally because of the sheer amount of craft and hard work she puts into her albums . Daydream is her best record to date , featuring a consistently strong selection of songs and a remarkably impassioned performance by Carey . Daydream demonstrates that Carey continues to perfect her craft , and that she has earned her status as an R & B / pop diva . " In his review for the album , Ken Tucker from Entertainment Weekly called Daydream " her best record since her 1990 debut " , writing , " in fact , it 's easily the best collection Carey has put out since her self @-@ titled 1990 debut , the album Daydream most resembles in its emphasis on R & B grooves . " Tucker specifically complimented " One Sweet Day " , " Always Be My Baby " , " Forever " , and " Daydream Interlude " ( Fantasy Sweet Dub Mix ) , writing " One Sweet Day , her collaboration with Boyz II Men , radiates a breezy sexiness that Carey , for all the brazen hussiness of her public persona , rarely permits herself to reveal in song . I like the relaxed swing of " Always Be My Baby " , and the brisk waltz tempo of Forever . However , it 's on what many Carey fans will probably find the most throwaway cut , " Daydream Interlude ( Fantasy Sweet Dub Mix ) " , that the singer really defines herself . At her best , as she is on this clipped , spunky track , Carey is a disco diva for the ' 90s , a worthy successor to trailblazing women like Donna Summer and Vicki Sue Robinson , R & B singers with an affinity for the endless groove . "
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Stephen Holden , editor of The New York Times , gave the album a positive review . Holden wrote the following regarding Daydream " Ms. Carey 's songwriting has taken a leap forward , becoming more relaxed , sexier , and less reliant on thudding cliches . " Holden praised " Fantasy " , which he wrote " with ' Fantasy , ' Ms. Carey glides confidently into the territory where gospel @-@ flavored pop @-@ soul meets light hip @-@ hop and recorded some of the most gorgeously spun choral music to be found on a contemporary album . " Additionally , he complimented " One Sweet Day , " " Melt Away , " " Always Be My Baby " , and " Underneath the Stars " , calling them " the best on the album " . People gave the album a positive review , calling it " her fourth and best album . " Additionally , People praised the album and its songs , writing " Daydream vaults over its pop predecessors because the material is both funkier and mellower . Carey also has better control of her instrument — her voice evincing greater muscularity and agility . She still pours it on a little thick at times when it comes to fervor , as on the midtempo ' Melt Away , ' which Carey co @-@ wrote with Babyface . For the most part she buzzes from strength to strength , from the bravura belting on ' One Sweet Day , ' a duet with Boyz II Men , to the rich gospel feel of ' I Am Free , ' which has a mood so churchy you can almost hear the ladies ' handheld fans snapping . " While the album was positively reviewed by critics , Carey 's cover of Journey 's 1982 song " Open Arms " was universally panned . Stephen Thomas Erlewine criticized the song , calling it " second rate " . " Open Arms " received a negative review from Stephen Holden as well , who called it a " sobbing remake " .
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= = Chart performance = =
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Daydream entered the Billboard 200 at number one , with 224 @,@ 000 copies sold , staying at the top spot the following week with 216 @,@ 000 copies sold , for a third consecutive week , it topped the charts with 170 @,@ 000 copies sold . It gained power again in the upcoming weeks of holiday sales where it peaked in the year 's last weeks with 486 @,@ 000 and 760 @,@ 000 units sold at the pinnacle . The album moved 760 @,@ 000 copies during the Christmas week of 1995 , the album 's highest sales week . It also reached number one on Top R & B / Hip @-@ Hop Albums chart . Daydream was the second best @-@ selling album of 1996 , and the eighteenth best @-@ selling album on the 1990s decade in the US . In the United States , Daydream became Carey 's best @-@ selling album , being certified diamond by the RIAA ( RIAA ) , denoting shipments of ten million copies .
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In Canada , Daydream peaked at number two on the charts , and was certified seven @-@ times platinum by the Canadian Recording Industry Association ( CRIA ) . The album experienced success in Europe , where it reached number one in Germany , The Netherlands , Switzerland and the United Kingdom . In France , Daydream peaked at number two and was certified double @-@ platinum by the Syndicat National de l 'Édition Phonographique ( SNEP ) . Sales in France are estimated at 800 @,@ 000 copies . Daydream was certified triple @-@ platinum by the International Federation of the Phonographic Industry ( IFPI ) , denoting shipments of three million copies throughout Europe in 1996 .
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In Australia , Daydream was certified five @-@ times platinum by the Australian Recording Industry Association ( ARIA ) , denoting shipments of 350 @,@ 000 copies . The album finished ninth on the ARIA End of Year Charts in both 1995 and 1996 . In Japan , the album debuted at number one on the Oricon charts . According to the Oricon , Daydream made the top five of the best @-@ selling albums in Japan by a non @-@ Asian artist , with 2 @.@ 5 million copies sold . Daydream remains one of the best @-@ selling albums of all time , with sales of 25 million copies worldwide .
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= = Singles = =
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Six singles were released from Daydream . " Fantasy " was released as the album 's lead single on September 12 , 1995 . The song debuted at number one on the Billboard Hot 100 , making Carey the first female artist , and the second performer ever to accomplish the feat . The song spent eight consecutive weeks atop the chart , as well as topping the charts in Australia , Canada and New Zealand . In Europe , " Fantasy " performed well , peaking within the top five in Belgium , Finland , France , and the United Kingdom . " Fantasy " was the second best @-@ selling single of 1995 in the US , with sales of 1 @.@ 5 million in 95 ' alone . " One Sweet Day " was chosen as the follow @-@ up single , achieving similar success . The song once again debuted at the top of the US charts , and became the longest running number one single in US history , spending sixteen consecutive weeks atop the Billboard charts . The song became a success in other regions around the world as well , topping the charts in Canada and New Zealand and peaked within the top five in Australia , France , Ireland , and The Netherlands . Serving as the album 's third single in select European countries , " Open Arms " was released on December 5 , 1995 . The song achieved success in the UK , Ireland and New Zealand , where it peaked at number four , seven and eight . However , " Open Arms " charted weakly in other European countries , such as Belgium , France , and Germany , where it charted outside the top @-@ thirty .
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" Always Be My Baby " was released as the fourth single . The song debuted at number two on the Hot 100 , failing to become Carey 's third number one debut ( a feat she would accomplish with " Honey " in 1997 ) . The song eventually reached and stayed atop the charts for two weeks , and then kept steady at number two for nine weeks . " Always Be My Baby " performed moderately in other major markets . The song peaked within the top five in Canada , New Zealand and the UK , but charted outside the top @-@ ten elsewhere . " Forever " was chosen as the fifth single from Daydream . The song was ineligible to chart in the Hot 100 , but managed to crack the top @-@ ten on the Hot 100 airplay chart . " Forever " charted well in Canada , where it peaked at number thirteen . " Underneath the Stars " was chosen as the sixth and final single from the album . Described by Carey as one of her favorite songs , " Underneath the Stars " received a limited number of pressings in the US , where it charted weakly on the Billboard Hot R & B / Hip @-@ Hop Songs .
| 2697b86a72c5a3368efcb3764daa7197 | 10,510 |
= = Promotion = =
| 5607630ef509ee6e6a513aefa29ff6bc | 10,512 |
In order to promote the album , Carey embarked on her second head @-@ lining tour . Originally , she had not planned to tour , due to the long travel times and hassle ; however , after many requests from fans , Carey agreed to tour . The tour reached Japan and select European countries , not visiting the United States . This was possibly due to the mixed reception Carey 's 1993 North American Music Box Tour received three years prior . The shows were all spaced apart , giving Carey time to rest her vocals , " It 's very strenuous to sing all my songs back to back , but I 'm actually really looking forward to it . " Many musicians joined Carey for the tour , including Randy Jackson who served as the musical director and played the bass , Dan Shea on the keyboards , Vernon Black playing the guitar , Gigi Conway on the drums , and percussion and music sequencing by Peter Michael and Gary Cirimelli . All of the musicians and background vocalists were under the supervision of Walter Afanasieff , who played the piano and guided the production . Before embarking on her world tour in 1996 , Carey performed a sold @-@ out show at Madison Square Garden in 1995 . The performance was filmed , and released as a DVD titled Fantasy : Mariah Carey at Madison Square Garden . It became Carey 's fourth video release .
| a6a709c16be801495f858885d4ee5b81 | 10,514 |
When the three Japanese shows at the Tokyo Dome went on sale , Carey set a record after all 150 @,@ 000 tickets sold out under three hours . The shows became the fastest sellout in the stadium 's history , breaking the previous record held by The Rolling Stones . The shows in Japan were a critical and commercial success , with critics and fans raving about the show and Carey 's vocals . Carey 's presence in Asia in the 90s was unparalleled to any other international artist . Her international success and anticipation was even compared to the " Beatlemania " in the 1960s . In an interview with MTV , Carey spoke of how she felt performing in Asia :
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" First of all , you 're in front of so many people that basically don 't speak your language . It took a little getting used to , but I think by the end of the show , you know , everybody started to kind of relax . "
| 58bd97816f1e19ef0d049d7081b200e7 | 10,516 |
For the show , Carey sang fourteen original songs , including many of her biggest hits up until that point , as well as many songs from Daydream . They included " Fantasy , " " One Sweet Day , " " Open Arms , " " Always Be My Baby , " " Forever " and " Underneath the Stars " as well as hits from her previous studio efforts . Carey 's following shows in France , Germany , The Netherlands and the United Kingdom were all sold @-@ out as well , receiving warm critical response . During the span of the tour 's seven short dates , Carey had already begun working on concepts for her new album Butterfly . According to author Marc Shapiro , Carey 's European tour was truly a success , in many aspects :
| 4d1e6bb07c2ac86a6390ec13b380a9c7 | 10,517 |
" The European tour mirrored the success of her shows in Japan . Mariah 's appearances overseas were heartening experiences for the singer . The popularity – indeed , mania – surrounding her shows in these countries reached massive proportions . The reception the concerts received reflected the fact that Mariah 's music cut through race and language barriers and had struck at a universal , emotional core with fans . The tour cemented the fact that Mariah Carey had arrived as the performing centerpiece on the world stage . "
| 7f49c2b0b0402ff6c3cfaf6b5bfaa9be | 10,518 |
In addition to touring the world , Carey performed on a variety of television programs and award shows . After " Fantasy " was released in September throughout Europe , Carey performed the song on the popular British chart show Top of the Pops , which aired live via satellite on Asian television . Carey performed " Fantasy " in France and at the 23rd Annual American Music Awards on January 29 , 1996 . " One Sweet Day " was performed at the 38th Annual Grammy Awards , Princess Diana 's memorial service in September 1997 , and at Carey 's Black Entertainment Television Christmas special in 2001 . During her European promotional tour for the album , Carey performed " Open Arms " on various television programs , including Wetten , dass .. ? in Germany , Top of the Pops and Des O 'Connor in the United Kingdom and on Swedish television .
| 01d4e4a1de56bd276ab7df69e7dc7ef8 | 10,519 |
= = Awards and accolades = =
| 075aec8b7e0617198ccb1d4a08360629 | 10,521 |
The music industry took note of Carey 's success . She won two awards at the 1996 American Music Awards for her solo efforts : Favorite Pop / Rock Female Artist and Favorite Soul / R & B Female Artist . Throughout 1995 & 1996 , Carey was awarded various prestigious awards at the World Music Awards , including " World 's Best Selling Female R & B Artist " , " World 's Best Selling Overall Female Recording Artist , " " World 's Best Selling Pop Artist " and " World 's Best Selling Overall Recording Artist . " Additionally , " Fantasy " was named " Song of the Year " at the BMI Awards and " Favorite Song " at the Blockbuster Entertainment Awards , where Carey also won the award for " Top Pop Female . " In 1996 , Carey won many awards at the Billboard Music Awards , including " Hot 100 Singles Artist of the Year " , " Hot 100 Airplay ( Always Be My Baby ) , " " Hot Adult Contemporary Artist of the Year " and " Special Award for 16 weeks at # 1 for ' One Sweet Day . ' "
| 7653579bd56576dd702d8d39b82a07fe | 10,523 |
= = = Grammy controversy = = =
| 0fc66b95d7a61bf53764d1ec1d423130 | 10,525 |
Daydream was proven to be one of the best @-@ selling and most acclaimed albums of 1995 . When the Grammy Award nominees were announced , and Daydream was nominated for six different awards , critics began raving how it would be " cleaning up " that year . The 38th Annual Grammy Awards were held on February 28 , 1996 at the Shrine Auditorium in Los Angeles . Carey , being a multiple award nominee , was one of the headlining performers . Together with Boyz II Men , she sang a live rendition of " One Sweet Day , " to a very positive response . However , as the award winners were announced one by one , Carey watched as her name was not called up even once . Daydream had lost all of its six nominations , shocking most critics who branded it the " album of the year " . With every passing loss , the television cameras continued to zoom on Carey 's face , who was finding it more difficult to retain her smile . By the end of the night , Carey had not won a single award . The disappointment on her face was painfully obvious . While Carey was nominated again the following year , she did not perform again until the 2006 ceremony , when she was nominated for eight awards ( winning three ) for The Emancipation of Mimi .
| 1dbae4781155692a8493ab76ec9d626c | 10,527 |
= = Music videos = =
| 36408aff53b55a34e1028da9c1d16fc9 | 10,529 |
Carey directed the music video for " Fantasy " . Additionally , she chose the concept and created the idea . The video featured Carey in roller @-@ blades , blading through a theme @-@ park , while enjoying different rides and roller coasters . The video then cut into scenes of Carey dancing on top of a car , celebrating an event with many friends . Carey said her inspiration for the video was to give off a " free and open feeling , " trying to portray the freedom she had finally achieved in being allowed to direct her first video . The video for " Fantasy " debuted on September 7 , at the " MTV Video Music Awards . " Carey expressed how much she enjoyed the video 's filming , speaking about the " roller @-@ coaster scenes " :
| f83f51bb19c35880b9c684693f4e93ba | 10,531 |
" They did not expect me to get that shot ! They were saying , ' How 's she going to sing on a roller coaster ? ... We put a little speaker on the bottom of the car , where my feet where . We built the rig in front of the roller coaster and the lens kept falling off ! "
| 4415b4b3689a7daa82f7d005ec4959c2 | 10,532 |
When Carey and Boyz II Men got together to record " One Sweet Day , " they didn 't have enough time to re @-@ unite and film a video . For this reason , a filming crew was present during the song 's recording , and filmed bits of Carey and Boyz recording the song . In an interview with Fred Bronson , Walter Afanasieff made the following statements regarding the video for " One Sweet Day " :
| 4bd20709565ad681e23b861771d20cd4 | 10,533 |
" It was crazy ! They had film crews and video guys , while I 'm at the board trying to produce . And these guys were running around having a ball , because Mariah and them are laughing and screaming and they 're being interviewed . And I 'm tapping people on the shoulder . " We 've got to get to the microphone ! " They 're gone in a couple of hours , so I recorded everything they did , praying that it was enough . "
| 7354567e366832e7f9b96ce0d632fb0c | 10,534 |
The video for " Always Be My Baby " was once again filmed by Carey . It featured Carey swinging on a swing in the middle of a dark meadow , showing her frolicking through the woodlands . The video was set as a " peaceful and relaxing " setting , in order to try to reflect the sweet and mellow song 's message . " Forever " , the album 's fifth single , was the final song to be accompanied by a music video . Carey 's label used footage from her live performances of the song in New York City and Japan and compiled them into a video . On February 11 , 2012 , Carey revealed through her Twitter account that a music video for " Underneath the Stars " was actually recorded . Filming sessions occurred in England and France ; Carey commented , however , that it " never got released and I don 't know where it is ! "
| 1d19266ec1b74bb8644f63bb5b8c13a1 | 10,535 |
= = Track listing = =
| 72495df880382348360bb3e5f3082d84 | 10,537 |
Notes
| e0e981be2bfd22dd5e3f5e63ffd1dfac | 10,539 |
Track listing and credits from album booklet .
| 34ebdc5d766b6561da6b044b7971598b | 10,540 |
" Fantasy " contains a sample of " Genius of Love " by Tom Tom Club .
| 860082d63b9a76da1bb39c861e8575f9 | 10,541 |
= = Album credits = =
| a5d2068e75f2d4147eb746da459259a2 | 10,543 |
= = Charts = =
| 90f35011b6980d435aa1b79c3f9a1227 | 10,546 |
= = Certifications = =
| 0e9b54f82c0d9ef507bc999bfe4cf31a | 10,549 |
= Leg before wicket =
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Leg before wicket ( lbw ) is one of the ways in which a batsman can be dismissed in the sport of cricket . Following an appeal by the fielding side , the umpire may rule a batsman out lbw if the ball would have struck the wicket , but was instead intercepted by any part of the batsman 's body ( except the hand holding the bat ) . The umpire 's decision will depend on a number of criteria , including where the ball pitched , whether the ball hit in line with the wickets , and whether the batsman was attempting to hit the ball .
| 73c104b1c802eed44c6ddd15a7d236d7 | 10,555 |
Leg before wicket first appeared in the laws of cricket in 1774 , as batsmen began to use their pads to prevent the ball hitting their wicket . Over several years , refinements were made to clarify where the ball should pitch and to remove the element of interpreting the batsman 's intentions . The 1839 version of the law used a wording that remained in place for nearly 100 years . However , from the latter part of the 19th century , batsmen became increasingly expert at " pad @-@ play " to reduce the risk of their dismissal . Following a number of failed proposals for reform , in 1935 the law was expanded , such that batsmen could be dismissed lbw even if the ball pitched outside the line of off stump . Critics felt this change made the game unattractive as it encouraged negative tactics at the expense of leg spin bowling .
| 5e2ea8a9318ea4a68b2c8e192d92ef50 | 10,556 |
After considerable debate and various experiments , the law was changed again in 1972 . In an attempt to reduce pad @-@ play the new version , which is used to this day , allowed batsmen to be out lbw in some circumstances if they did not attempt to hit the ball with their bat . Since the 1990s , the availability of television replays and , later , ball @-@ tracking technology to assist umpires has increased the percentage of lbws in major matches . However , the accuracy of the technology and the consequences of its use remain controversial .
| ac2e21a1ebbb48062def11b7f381ef2a | 10,557 |
In his 1995 survey of cricket laws , Gerald Brodribb states : " No dismissal has produced so much argument as lbw ; it has caused trouble from its earliest days " . Owing to its complexity , the law is widely misunderstood among the general public and has proven controversial among spectators , administrators and commentators ; lbw decisions have sometimes caused crowd trouble . Since the law 's introduction , the proportion of lbw dismissals has risen steadily through the years . Statistics reveal that the probability of a batsman being dismissed lbw in a Test match varies depending on where the match is played and which teams are playing .
| 1afb281c8bbafec18e7958053d280fff | 10,558 |
= = Definition = =
| 072ebb44a589eec98e0746894f2ce987 | 10,560 |
The definition of leg before wicket ( lbw ) is currently Law 36 in the Laws of Cricket , written by the Marylebone Cricket Club ( MCC ) . Before a batsman can be dismissed lbw , the fielding team must appeal to the umpire . For the batsman to be adjudged lbw , the ball , if it bounces , must pitch in line with the wickets , or on the off side of the stumps . Then the ball must strike part of the batsman 's body , without first touching his bat , in line with the wickets and have been going on to hit the stumps . The batsman may also be out lbw if , having made no attempt to hit the ball with his bat , he is struck outside the line of off stump by a ball that would have hit the wickets . The umpire must assume that the ball would have continued on the same trajectory after striking the batsman , even if it would have bounced before hitting the stumps . However , if the bowler delivers a no ball — an illegal delivery — the batsman cannot be lbw under any circumstances .
| 80a2fae0aff272c6580c73b160f182ab | 10,562 |
A batsman can be out lbw even if the ball did not hit his leg : for example , a batsman struck on the head could be lbw . However , he cannot be lbw if the ball pitches on the leg side of the stumps ( " outside leg stump " ) , even if the ball would have otherwise hit the wickets . Similarly , a batsman who has attempted to hit the ball with his bat cannot be lbw if the ball strikes him outside the line of off stump . However , some shots in cricket , such as the switch hit or reverse sweep , involve the batsman switching between a right- and left @-@ handed stance ; this affects the location of the off and leg side , which are determined by the stance . The law explicitly states that the off side is determined by the batsman 's position when the bowler commences his run @-@ up .
| d96e83ad5892de653af497c040563d6e | 10,563 |
According to MCC guidelines for umpires , factors to consider when giving an lbw decision include the angle at which the ball was travelling and whether the ball was swinging through the air . He must also account for the height of the ball at impact and how far from the wicket the batsman was standing ; from this information he must determine if the ball would have passed over the stumps or struck them . The MCC guidance states that it is easier to make a decision when the ball strikes the batsman without pitching , but that the difficulty increases when the ball has bounced and more so when there is a shorter time between the ball pitching and striking the batsman .
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= = Development of the law = =
| 795d94ad7ed24dfdb8233f9d340e8354 | 10,566 |
= = = Origins = = =
| 330c6f07712691f4e36675590b0ef5d3 | 10,569 |
The earliest known written version of the Laws of Cricket , dating from 1744 , does not include an lbw rule . At the time , batsmen in English cricket used curved bats , which made it unlikely that they would be able to stand directly in front of the wickets . However , a clause in the 1744 laws gave umpires the power to take action if the batsman was " standing unfair to strike " . Cricket bats were modified to become straighter over the following years , allowing batsmen to stand closer to the wickets . Subsequently , some players deliberately began to obstruct the ball from hitting the wickets . Such tactics were criticised by writers and a revision of the laws in 1774 ruled that the batsman was out if he deliberately stopped the ball from hitting the wicket with his leg . However , critics noted that the umpires were left the difficult task of interpreting the intentions of batsmen . The 1788 version of the laws no longer required the umpires to take account of the batsman 's intent ; now a batsman was lbw if he stopped a ball that " pitch [ ed ] straight " . Further clarification of the law came in 1823 , when a condition was added that " the ball must be delivered in a straight line to the wicket " . The ambiguity of the wording was highlighted when two prominent umpires disagreed over whether the ball had to travel in a straight line from the bowler to the wicket , or between the wickets at either end of the pitch . In 1839 the MCC , by then responsible for drafting the Laws of Cricket , endorsed the latter interpretation and ruled the batsman out lbw if the ball pitched in between the wickets and would have hit the stumps .
| 5f23eb01dea446179a4523ab1a430746 | 10,571 |
= = = Controversy and attempted reform = = =
| f8a4b5e874f896f7119c59c73b54d9c1 | 10,573 |
In essence , the lbw law remained the same between 1839 and 1937 , despite several campaigns to have it changed . An 1863 proposal to allow a batsman to be lbw if the ball hit his body at any point between the wickets , regardless of where the ball pitched or whether it would hit the wicket at all , came to nothing . There were few complaints until the proportion of lbw dismissals in county cricket began to increase during the 1880s . Until then , batsmen used their pads only to protect their legs ; their use for any other purposes was considered unsporting , and some amateur cricketers did not wear them at all . As cricket became more organised and competitive , some batsmen began to use their pads as a second line of defence : they lined them up with the ball so that if they missed with the bat , the ball struck the pad instead of the wicket . Some players took this further ; if the delivery was not an easy one from which to score runs , they attempted no shot and allowed the ball to bounce safely off their pads . Arthur Shrewsbury was the first prominent player to use such methods , and others followed . Criticism of this practice was heightened by the increased quality and reliability of cricket pitches , which made batting easier , led to higher scores and created a perceived imbalance in the game .
| 647e3ec6fa12fdbab15c08df483d2dce | 10,575 |
Several proposals were made to prevent pad @-@ play . At a meeting of representatives of the main county cricket clubs in 1888 , one representative expressed the opinion that a " batsman who defended his wicket with his body instead of with his bat should be punished " . The representatives supported a motion to alter the law to state that the batsman would be out if he stopped a ball that would have hit the wicket ; in contrast to the existing wording , this took no account of where the ball pitched relative to the wickets . Further proposals included one in which the intent of the batsman was taken into account , but no laws were changed and the MCC merely issued a condemnation of the practice of using pads for defence . This reduced pad @-@ play for a short time , but when it increased again , a second pronouncement by the MCC had little effect .
| 7bba3e3f9775a6257c21ec648221419d | 10,576 |
Further discussion on altering the law took place in 1899 , when several prominent cricketers supported an amendment similar to the 1888 proposal : the batsman would be out if the ball would have hit the wicket , where it pitched was irrelevant . At a Special General Meeting of the MCC in 1902 , Alfred Lyttelton formally proposed this amendment ; the motion was supported by 259 votes to 188 , but failed to secure the two @-@ thirds majority required to change the laws . A. G. Steel was the principal opponent of the change , as he believed it would make the task of the umpires too difficult , but he later regretted his stance . Lyttelton 's brother , Robert , supported the alteration and campaigned for the rest of his life to have the lbw law altered . As evidence that pad @-@ play was increasing and needed to be curtailed , he cited the growing number of wickets which were falling lbw : the proportion rose from 2 % of dismissals in 1870 to 6 % in 1890 , and 12 % in 1923 . In 1902 , the proposed new law was tried in the Minor Counties Championship , but deemed a failure . An increase in the size of the stumps was one of several other rejected proposals at this time to reduce the dominance of batsmen over bowlers .
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= = = Alteration to the law = = =
| 05f69a1069ae7893158d527ff71f69d2 | 10,579 |
Between 1900 and the 1930s , the number of runs scored by batsmen , and the proportion of lbw dismissals , continued to rise . Bowlers grew increasingly frustrated with pad @-@ play and the extent to which batsmen refused to play shots at bowling directed outside the off stump , simply allowing it to pass by . The English fast bowler Harold Larwood responded by targeting leg stump , frequently hitting the batsman with the ball in the process . This developed into the controversial Bodyline tactics he used in Australia in 1932 – 33 . Some batsmen began to go further and preferred to kick away balls pitched outside off stump — reaching out to kick the ball instead of allowing it to hit their pads — if they presented any threat , knowing that they could not be dismissed lbw . The authorities believed these developments represented poor entertainment value . At the height of the Bodyline controversy in 1933 , Donald Bradman , the leading Australian batsman and primary target of the English bowlers , wrote to the MCC recommending an alteration of the lbw law to create more exciting games .
| e01866815da8069b035c866a7466f6f7 | 10,581 |
To address the problem , and redress the balance for bowlers , the MCC made some alterations to the laws . The size of the ball was reduced in 1927 , and that of the stumps increased in 1931 , but the changes had little effect . Between 1929 and 1933 , county authorities conducted a trial in which a batsman could be lbw if he had hit the ball onto his pads . Then , in 1935 , an experimental law was introduced in which the batsman could be dismissed lbw even if the ball pitched outside the line of off stump — in other words , a ball that turned or swung into the batsman but did not pitch in line with the wickets . However , the ball was still required to strike the batsman in line with the wickets . The umpire signalled to the scorers when he declared a batsman out under the new rule , and any such dismissal was designated " lbw ( n ) " on the scorecard .
| f5971e7ed95ce56a9d663f0512ea0e32 | 10,582 |
Several leading batsmen opposed the new law , including the professional Herbert Sutcliffe , known as an exponent of pad @-@ play , and amateurs Errol Holmes and Bob Wyatt . Wisden Cricketers ' Almanack noted that these three improved their batting records during the 1935 season , but batsmen generally were less successful . There were also fewer drawn matches . There was an increase in the number of lbws — out of 1 @,@ 560 lbw dismissals in first @-@ class matches in 1935 , 483 were given under the amended law . Wisden judged the experiment a success and several of its opponents changed their mind by the end of the season ; batsmen soon became accustomed to the alteration . Although Australian authorities were less convinced , and did not immediately introduce the revision into domestic first @-@ class cricket , in 1937 the new rule became part of the Laws of Cricket .
| 1dc4040f260076cf3245bf0ba2e2d532 | 10,583 |
According to Gerald Brodribb , in his survey and history of the Laws , the change produced more " enterprising " , exciting cricket but any alteration in outlook was halted by the Second World War . When the sport resumed in 1946 , batsmen were out of practice and the amended lbw law played into the hands of off spin and inswing bowlers , who began to dominate county cricket . The cricket historian Derek Birley notes that many of these bowlers imitated the methods of Alec Bedser , an inswing bowler who was successful immediately after the war , but that the resulting cricket was unexciting to watch . The revised lbw law , and other alterations in the game in favour of the bowler , further encouraged such bowling . The new law continued to provoke debate among writers and cricketers ; many former players claimed that the alteration had caused a deterioration in batting and reduced the number of shots played on the off side . A 1963 report in The Times blamed the law for reducing the variety of bowling styles : " the change has led to a steady increase in the amount of seam and off @-@ spin bowling . Whereas in the early thirties every county had a leg spinner and an orthodox left arm spinner , leg spinners , at any rate , are now few and far between . Walk on to any of the first @-@ class grounds at any time tomorrow and the chances are that you will see the wicketkeeper standing back and a medium pace bowler in action ... there is little doubt that the game , as a spectacle , is less attractive than it was . " Several critics , including Bob Wyatt , maintained that the lbw law should be returned to its pre @-@ 1935 wording ; he campaigned to do so until his death in 1995 . On the other hand , Bradman , in the 1950s , proposed extending the law so that batsmen could be lbw even if they were struck outside the line of off stump . An MCC study of the state of cricket , carried out in 1956 and 1957 , examined the prevalent and unpopular tactic involving off @-@ spin and inswing bowlers aiming at leg stump with fielders concentrated on the leg side . Rather than alter the lbw law to combat the problem , the MCC reduced the number of fielders allowed on the leg side .
| 635870b6ceed19d64bdf9569d6761cd4 | 10,584 |
= = = Playing no stroke = = =
| c174c93fb9efa758e9821ca9024cb602 | 10,586 |
In the 1950s and 1960s , the amount of pad @-@ play increased , owing to more difficult and unpredictable pitches that made batting much harder . Critics continued to regard this tactic as " negative and unfair " . In an effort to discourage pad @-@ play and encourage leg spin bowling , a new variant of the lbw law was introduced , initially in Australia and the West Indies in the 1969 – 70 season , then in England for 1970 . Under the re @-@ worded law , a batsman would be lbw if a ball destined to hit the stumps pitched in line with the wickets or " outside a batsman 's off stump and in the opinion of the umpire he made no genuine attempt to play the ball with his bat . " This revision omitted the requirement that the impact should be in line with the wickets , but meant that any batsman playing a shot could not be out if the ball pitched outside off stump , in contrast to the 1935 law . The editor of Wisden believed the change encouraged batsmen to take more risks , and had produced more attractive cricket . However , the proportion of wickets falling lbw sharply declined , and concerns were expressed in Australia . The Australian authorities proposed a reversion to the previous law . A batsman could once more be out to a ball that pitched outside off stump , but a provision was added that " if no stroke is offered to a ball pitching outside the off @-@ stump which in the opinion of the umpire would hit the stumps , but hits the batsman on any part of his person other than the hand , then the batsman is out , even if that part of the person hit is not in line between wicket and wicket . " The difference to the 1935 rule was that the batsman could now be out even if the ball struck outside the line of off @-@ stump . This wording was adopted throughout the world , although it was not yet part of the official Laws , from 1972 and the percentage of lbws sharply increased to beyond the levels preceding the 1970 change . The MCC added the revised wording to the Laws of Cricket in 1980 ; this version of the lbw law is still used as of 2013 .
| 53b41df39b654679a75c4046e0dc9c23 | 10,588 |
= = = Effects of technology = = =
| edd16be27c356ad89b257cef5d84a237 | 10,590 |
Since 1993 , the proportion of lbws in each English season has risen steadily . According to cricket historian Douglas Miller , the percentage of lbw dismissals increased after broadcasters incorporated ball @-@ tracking technology such as Hawk @-@ Eye into their television coverage of matches . Miller writes : " With the passage of time and the adoption of Hawkeye into other sports , together with presentations demonstrating its accuracy , cricket followers seem gradually to have accepted its predictions . Replay analyses have shown that a greater proportion of balls striking an outstretched leg go on to hit the wicket than had once been expected . " He also suggests that umpires have been influenced by such evidence ; their greater understanding of which deliveries are likely to hit the stumps has made them more likely to rule out batsmen who are standing further away from the stumps . This trend is replicated in international cricket , where the increasing use of technology in reviewing decisions has altered the attitude of umpires . Spin bowlers in particular win far more appeals for lbw . However , the use of on @-@ field technology has proved controversial ; some critics regard it as more reliable than human judgement , while others believe that the umpire is better placed to make the decision .
| 69e19434f80b6de3cbd0712b811c4689 | 10,592 |
The International Cricket Council ( ICC ) , responsible for running the game worldwide , conducted a trial in 2002 where lbw appeals could be referred to a match official , the third umpire , to review on television replays . The third umpire could only use technology to determine where the ball had pitched and if the batsman hit the ball with his bat . The ICC judged the experiment unsuccessful and did not pursue it . More trials followed in 2006 , although ball @-@ tracking technology remained unavailable to match officials . After a further series of trials , in 2009 the Umpire Decision Review System ( DRS ) was brought into international cricket where teams could refer the on @-@ field decisions of umpires to a third umpire who had access to television replays and technology such as ball tracking . According to the ICC 's general manager , Dave Richardson , DRS increased the frequency with which umpires awarded lbw decisions . In a 2012 interview , he said : " Umpires may have realised that if they give someone out and DRS shows it was not out , then their decision can be rectified . So they might , I suppose , have the courage of their convictions a bit more and take a less conservative approach to giving the batsman out . I think if we 're totally honest , DRS has affected the game slightly more than we thought it would . "
| 0f064bed34d04f81f43afee4cd7dc129 | 10,593 |
Critics of the system suggest that rules for the use of DRS have created an inconsistency of approach to lbw decisions depending on the circumstances of the referral . Opponents also doubt that the ball @-@ tracking technology used in deciding lbws is reliable enough , but the ICC state that tests have shown the system to be 100 % accurate . The Board of Control for Cricket in India ( BCCI ) have consistently declined to use DRS in matches involving India owing to their concerns regarding the ball @-@ tracking technology . Early DRS trials were conducted during India matches , and several problems arose over lbws , particularly as the equipment was not as advanced as it later became . The BCCI believe the technology is unreliable and open to manipulation .
| 76dcfb327189bea6d4fe7dbf1314dd49 | 10,594 |
= = Trends and perception = =
| 08b799d2a4cc2e7291da668d93e8a081 | 10,596 |
A study in 2011 by Douglas Miller shows that in English county cricket , the proportion of wickets to fall lbw has increased steadily since the First World War . In the 1920s , around 11 % of wickets were lbw but this rose to 14 % in the 1930s . Between 1946 and 1970 , the proportion was approximately 11 % but subsequently increased until reaching almost 19 % in the decade before 2010 . Miller also states that captains of county teams were statistically more likely to receive the benefit of lbw decisions — less likely to be out lbw when batting and more likely to dismiss batsmen lbw when bowling . For many years , county captains submitted end @-@ of @-@ match reports on the umpires ; as umpires were professionals whose careers could be affected , captains consequently received leeway whether batting or bowling . Before 1963 , when the status was abolished in county cricket , umpires were also more lenient towards amateur cricketers . Amateurs administered English cricket , and offending one could end an umpire 's career . Elsewhere in the world , lbws are more statistically likely in matches taking place on the Indian subcontinent . However , batsmen from the subcontinent were less likely to be lbw wherever they played in the world .
| d1eb0ef4758cb264a97d2f1d32f7022c | 10,598 |
Teams that toured other countries often became frustrated by lbws given against them ; there was often an assumption of national bias by home umpires against visiting teams . Several studies investigating this perception have suggested that home batsmen are sometimes less likely than visiting batsmen to be lbw . However , the data is based on lbw decisions awarded , not on the success @-@ rate of appeals to the umpire . Fraser points out that it is impossible to determine from these studies if any of the decisions were wrong , particularly as the lbw law can have different interpretations , or if other factors such as pitch conditions and technique were involved . A 2006 study examined the effect that neutral umpires had on the rate of lbws . Although the reasons were again ambiguous , it found that lbws increased slightly under neutral umpires regardless of team or location .
| 00bef9195fe28a6e01b13c0fd4e26487 | 10,599 |
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