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CD player

A CD player is an electronic device that plays audio compact discs, which are a digital optical disc data storage format. CD players were first sold to consumers in 1982. CDs typically contain recordings of audio material such as music or audiobooks. CD players may be part of home stereo systems, car audio systems, personal computers, or portable CD players such as CD boomboxes. Most CD players produce an output signal via a headphone jack or RCA jacks. To use a CD player in a home stereo system, the user connects an RCA cable from the RCA jacks to a hi-fi (or other amplifier) and loudspeakers for listening to music. To listen to music using a CD player with a headphone output jack, the user plugs headphones or earphones into the headphone jack.

Modern units can play audio formats other than the original CD PCM audio coding, such as MP3, AAC and WMA. DJs playing dance music at clubs often use specialized players with an adjustable playback speed to alter the pitch and tempo of the music. Audio engineers using CD players to play music for an event through a sound reinforcement system use professional audio-grade CD players. CD playback functionality is also available on CD-ROM/DVD-ROM drive equipped computers as well as on DVD players and most optical disc-based home video game consoles.

History
American inventor James T. Russell is known for inventing the first system to record digital video information on an optical transparent foil that is lit from behind by a high-power halogen lamp. Russell's patent application was first filed in 1966, and he was granted a patent in 1970. Following litigation, Sony and Philips licensed Russell's recording patents (then held by a Canadian company, Optical Recording Corp.) in the 1980s.

The compact disc is not based on Russell's invention, it is an evolution of LaserDisc technology, where a focused laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Philips and Sony independently in the late 1970s. In 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980. After their commercial release in 1982, compact discs and their players were extremely popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984. The success of the compact disc has been credited to the cooperation between Philips and Sony, who came together to agree upon and develop compatible hardware. The unified design of the compact disc allowed consumers to purchase any disc or player from any company, and allowed the CD to dominate the at-home music market unchallenged.

The Sony CDP-101, released in 1982, was the world's first commercially released compact disc player. It was originally sold only in Japan.

Unlike early LaserDisc players, first CD players already used laser diodes instead of larger helium-neon lasers.

Digital audio laser-disc prototypes
In 1974, Lou Ottens, director of the audio division of Philips, started a small group with the aim to develop an analog optical audio disc with a diameter of 20 cm and a sound quality superior to that of the vinyl record. However, due to the unsatisfactory performance of the analog format, two Philips research engineers recommended a digital format in March 1974. In 1977, Philips then established a laboratory with the mission of creating a digital audio disc. The diameter of Philips's prototype compact disc was set at 11.5 cm, the diagonal of an audio cassette.

Heitaro Nakajima, who developed an early digital audio recorder within Japan's national public broadcasting organization NHK in 1970, became general manager of Sony's audio department in 1971. His team developed a digital PCM adaptor audio tape recorder using a Betamax video recorder in 1973. After this, in 1974 the leap to storing digital audio on an optical disc was easily made. Sony first publicly demonstrated an optical digital audio disc in September 1976. A year later, in September 1977, Sony showed the press a 30 cm disc that could play 60 minutes of digital audio (44,100 Hz sampling rate and 16-bit resolution) using MFM modulation. In September 1978, the company demonstrated an optical digital audio disc with a 150-minute playing time, 44,056 Hz sampling rate, 16-bit linear resolution, and cross-interleaved error correction code—specifications similar to those later settled upon for the standard compact disc format in 1980. Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on 13–16 March 1979, in Brussels. Sony's AES technical paper was published on 1 March 1979. A week later, on 8 March, Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, Netherlands.

Collaboration and standardization
Sony executive Norio Ohga, later CEO and chairman of Sony, and Heitaro Nakajima were convinced of the format's commercial potential and pushed further development despite widespread skepticism. As a result, in 1979, Sony and Philips set up a joint task force of engineers to design a new digital audio disc. Led by engineers Kees Schouhamer Immink and Toshitada Doi, the research pushed forward laser and optical disc technology. After a year of experimentation and discussion, the task force produced the Red Book CD-DA standard. First published in 1980, the standard was formally adopted by the IEC as an international standard in 1987, with various amendments becoming part of the standard in 1996.

Philips coined the term compact disc in line with another audio product, the Compact Cassette, and contributed the general manufacturing process, based on video LaserDisc technology. Philips also contributed eight-to-fourteen modulation (EFM), which offers a certain resilience to defects such as scratches and fingerprints, while Sony contributed the error-correction method, CIRC. The Compact Disc Story, told by a former member of the task force, gives background information on the many technical decisions made, including the choice of the sampling frequency, playing time, and disc diameter. The task force consisted of around four to eight persons, though according to Philips, the compact disc was "invented collectively by a large group of people working as a team."

First Red Book CDs and players
Red Book was the first standard in the Rainbow Books series of standards.

Philips established the Polydor Pressing Operations plant in Langenhagen near Hannover, Germany, and quickly passed a series of milestones.

 * The first test pressing was of a recording of Richard Strauss's Eine Alpensinfonie (An Alpine Symphony) played by the Berlin Philharmonic and conducted by Herbert von Karajan, who had been enlisted as an ambassador for the format in 1979.
 * The first public demonstration was on the BBC television program Tomorrow's World in 1981, when the Bee Gees' album Living Eyes (1981) was played.
 * The first commercial compact disc was produced on 17 August 1982. It was a recording from 1979 of Claudio Arrau performing Chopin waltzes (Philips 400 025-2). Arrau was invited to the Langenhagen plant to press the start button.
 * The first popular music CD produced at the new factory was The Visitors (1981) by ABBA.
 * The first 50 titles were released in Japan on 1 October 1982, with the first-cataloged CD in this wave being a reissue of Billy Joel's 52nd Street.

The Japanese launch was followed in March 1983 by the introduction of CD players and discs to Europe and North America (where CBS Records released sixteen titles). This event is often seen as the "Big Bang" of the digital audio revolution. The new audio disc was enthusiastically received, especially in the early-adopting classical music and audiophile communities, and its handling quality received particular praise. As the price of players gradually came down, and with the introduction of the portable Walkman, the CD began to gain popularity in the larger popular and rock music markets. The first artist to sell a million copies on CD was Dire Straits, with their 1985 album Brothers in Arms. The first major artist to have his entire catalogue converted to CD was David Bowie, whose 15 studio albums were made available by RCA Records in February 1985, along with four greatest hits albums. In 1988, 400 million CDs were manufactured by 50 pressing plants around the world.

Further development and decline
The CD was planned to be the successor of the gramophone record for playing music, rather than primarily as a data storage medium, but from its origins as a format for music, its use has grown to encompass other applications. In 1983, following the CD's introduction, Immink and Braat presented the first experiments with erasable compact discs during the 73rd AES Convention. In June 1985, the computer-readable CD-ROM (read-only memory) was introduced and, in 1990, the CD-Recordable, also developed by both Sony and Philips. Recordable CDs were a new alternative to tape for recording music and copying music albums without the defects introduced in the compression used in other digital recording methods. Other newer video formats such as DVD and Blu-ray use the same physical geometry as CD, and most DVD and Blu-ray players are backward compatible with audio CD.

By the early 2000s, the CD player had largely replaced the audio cassette player as standard equipment in new automobiles, with 2010 being the final model year for any car in the US to have a factory-equipped cassette player. Currently, with the increasing popularity of portable digital audio players, such as mobile phones, and solid state music storage, CD players are being phased out of automobiles in favor of minijack auxiliary inputs and connections to USB devices.

Some CD players incorporate disc changers. Commonly these can hold 3, 5, 6, or 10 discs at once and change from one disc to the next without user intervention. Disc changers capable of holding up to 400 discs at once were available. Also, the user can manually choose the disc to be played, making it similar to a jukebox. They were often built into car audio and home stereo systems, although 7 disc CD changers were once made by NEC and Nakamichi for PCs. Some could also play DVD and Blu-ray discs.

Meanwhile, with the advent and popularity of Internet-based distribution of files in lossily-compressed audio formats such as MP3, sales of CDs began to decline in the 2000s. For example, between 2000 and 2008, despite overall growth in music sales and one anomalous year of increase, major-label CD sales declined overall by 20% – although independent and DIY music sales may be tracking better (according to figures released 30 March 2009), and CDs still continue to sell greatly. As of 2012, CDs and DVDs made up only 34 percent of music sales in the United States. In Japan, however, over 80 percent of music was bought on CDs and other physical formats as of 2015. As of 2020, compact cassettes, vinyl records, and CDs are still being released by some musicians, primarily as merchandise, to allow fans to provide financial support while receiving something tangible in return.

Inner workings
The process of playing an audio CD, touted as a digital audio storage medium, starts with the plastic polycarbonate compact disc, a medium that contains the digitally encoded data. The disc is placed in a tray that either opens up (as with portable CD players) or slides out (the norm with in-home CD players, computer disc drives and game consoles). In some systems, the user slides the disc into a slot (e.g., car stereo CD players). Once the disc is loaded into the tray, the data is read out by a mechanism that scans the circular data tracks using a laser beam. An electric motor spins the disc. The tracking control is done by analog servo amplifiers and then the high-frequency analog signal read from the disc is digitized, processed and decoded into analog audio and digital control data which is used by the player to position the playback mechanism on the correct track, do the skip and seek functions and display track, time, index and, on newer players in the 2010s, display title and artist information on a display placed in the front panel.

Analog signal recovery from the disc
To read the data from the disc, a laser beam shines on the surface of the disc. Surface differences between discs being played, and tiny position differences once loaded, are handled by using a movable lens with a very close focal length to focus the light on the disc. A low-mass lens coupled to an electromagnetic coil is in charge of keeping focused the beam on the 600 nm wide data track.

When the player tries to read from a stop, it first does a focus seek program that moves the lens up and down from the surface of the disc until a reflection is detected; when there is a reflection, the servo electronics lock in place keeping the lens in perfect focus while the disc rotates and changes its relative height from the optical block.

Different brands and models of optical assemblies use different methods of focus detection. On most players, the focus position detection is made using the difference in the current output of a block of four photodiodes. The photodiode block and the optics are arranged in such a way that a perfect focus projects a circular pattern on the block while a far or near focus projects an ellipse differing in the position of the long edge in north–south or west-southwest. That difference is the information that the servo amplifier uses to keep the lens at the proper reading distance during the playback operation, even if the disc is warped.

Another servo mechanism in the player is in charge of keeping the focused beam centered on the data track.

Two optical pick-up designs exist, the original CDM series from Philips use a magnetic actuator mounted on a swing-arm to do coarse and fine tracking. Using only one laser beam and the 4 photodiode block, the servo knows if the track is centered by measuring side-by-side movement of the light of beam hitting on the block and corrects to keep the light on the center.

The other design by Sony uses a diffraction grating to part the laser light into one main beam and two sub-beams. When focused, the two peripheral beams cover the border of the adjacent tracks a few micrometers apart from the main beam and reflect back on two photodiodes separated from the main block of four. The servo detects the RF signal being received on the peripheral receivers and the difference in output between these two diodes conform the tracking error signal that the system uses to keep the optics in the proper track. The tracking signal is fed to two systems, one integrated in the focus lens assembly can do fine tracking correction and the other system can move the entire optical assembly side by side to do coarse track jumps.

The sum of the output from the four photodiodes makes the RF or high-frequency signal which is an electronic mirror of the pits and lands recorded on the disc. The RF signal, when observed on an oscilloscope, has a characteristic eye pattern and its usefulness in servicing the machine is paramount for detecting and diagnosing problems, and calibrating CD players for operation.

Digital signal processing
The first stage in the processing chain for the analog RF signal (from the photoreceptor device) is digitizing it. Using various circuits like a simple comparator or a data slicer, the analog signal becomes a chain of two binary digital values, 1 and 0. This signal carries all the information in a CD and is modulated using a system called EFM (Eight-to-fourteen modulation). The second stage is demodulating the EFM signal into a data frame that contains the audio samples, error correction parity bits, according with the CIRC error correction code, and control data for the player display and micro-computer. The EFM demodulator also decodes part of the CD signal and routes it to the proper circuits, separating audio, parity and control (subcode) data.

After demodulating, a CIRC error corrector takes each audio data frame, stores it in a SRAM memory and verifies that it has been read correctly, if it is not, it takes the parity and correction bits and fixes the data, then it moves it out to a DAC to be converted to an analog audio signal. If the data missing is enough to make recovery impossible, the correction is made by interpolating the data from subsequent frames so the missing part is not noticed. Each player has a different interpolation ability. If too many data frames are missing or unrecoverable, the audio signal may be impossible to fix by interpolation, so an audio mute flag is raised to mute the DAC to avoid invalid data to be played back.

The Redbook standard dictates that, if there is invalid, erroneous or missing audio data, it cannot be output to the speakers as digital noise, it has to be muted.

Player control
The Audio CD format requires every player to have enough processing power to decode the CD data; this is normally made by application-specific integrated circuits (ASICs). ASICs do not work by themselves, however; they require a main microcomputer or microcontroller to orchestrate the entire machine. The firmware of basic CD players typically is a real-time operating system.

Some early optical computer drives are equipped with an audio connector and buttons for standalone CD playback functionality.

Tray loading

Sony released its CDP-101 CD player in 1982 with a slide-out tray design for the CD. As it was easy to manufacture and to use, most CD player manufacturers stayed with the tray style ever since. The tray mechanism is also used in many modern desktop computer cases, as well as the Philips CD-i, PlayStation 2, Xbox and Xbox 360. However, there have been some notable exceptions to this common CD tray design.

Vertical loading
During the launch of the first prototype Goronta CD player by Sony at the Japanese Audio Fair in 1982, Sony showcased the vertical loading design. Although the Sony prototype design was never put into volume production, the concept was for a time adopted for production by a number of early Japanese CD player manufacturers, including Alpine/Luxman, Matsushita under the Technics brand, Kenwood and Toshiba/Aurex. For the early vertical loading players, Alpine sourced their AD-7100 player designs for Luxman, Kenwood and Toshiba (using their Aurex brand). Kenwood added their Sigma Drive outputs to this design as a modification. A picture of this early design can be seen on the Panasonic Web site. The vertical loading is similar the one common in cassette decks, where the holder opens, and disc is dropped to it. The holder is closed manually, by motor after pressing a button, or completely automatically. Some CD players combine vertical loading with slot loading due to the disc being drawn further into the disc holder as it closes.

Top loading

In 1983 Philips, at the US and European launch of the CD format, showcased the first top loading CD tray designs with their CD100 CD player. (Philips audio products were sold as Magnavox in the US at the time.) The design had a clamp on the lid which meant the user had to close this over the CD when it was placed inside the machine. Later, Meridian introduced their MCD high end CD player, with Meridian electronics in the Philips CD100 chassis.

Top-loading was adopted on various equipment designs such as mini systems and portable CD players, but among stereo component CD players, only a handful of top-loading models have been made. Examples include Luxman's D-500 and D-500X series players and Denon's DP-S1, both launched in 1993. Top-loading is also common in players intended for broadcast and live sound DJ use, such as Technics' SL-P50 (1984–1985) and Technics SL-P1200 (1986–1992). They more closely mimic the physical arrangement and ergonomics of record turntables used in those applications.

The top-loading disc tray design is also used in most fifth-generation video game consoles (PlayStation, Saturn, 3DO Interactive Multiplayer), as well as the Dreamcast, GameCube, and Wii Mini.

Tray loading with sliding mechanism
The Philips CD303 of 1983-1984 was the first player to adopt tray loading with a sliding play mechanism. Basically, as the tray came out to collect the CD, the entire player's transport system also came out as one unit. The Meridians 200 and 203 players were of this type. They were also the first to use a design in which the audio electronics were in a separate enclosure from the CD drive and pickup mechanism. A similar mechanism is used in slim optical disc drives (also known as slim internal DVD drive, optical drive or DVD burner), which were once commonly used in laptop computers.

Slot loading
Slot loading is the preferred loading mechanism for car audio players. There is no tray that pops out, and a motor is used to assist disc insertion and removal. Some slot-loading mechanisms and changers can load and play back Mini-CDs without the need of an adapter (such as the original Wii model's standard-sized disc slot being capable of accepting smaller GameCube Game Discs) but they may work with limited functionality (a disc changer with a Mini CD inserted will refuse to operate until such disc is removed, for example). Non-circular CDs cannot be used on such loaders because they cannot handle non-circular discs. When inserted, such discs may become stuck and damage the mechanism. It is also used on some laptop computers, the original and slim PlayStation 3, the Wii's original model and its Family Edition and most eighth-generation video game consoles (the Wii U, PlayStation 4 and Xbox One), as well as the ninth-generation PlayStation 5 and Xbox Series X.

Pickup mechanisms
Two types of optical tracking mechanisms exist: The swing-arm mechanism has a distinctive advantage over the other in that it does not skip when the rail becomes dirty. The swing arm mechanisms tend to have a much longer life than their radial counterparts. The main difference between the two mechanisms is the way they read the data from the disc. The swing-arm mechanism uses a magnetic coil wound over a permanent magnet to provide the tracking movement to the laser assembly in a similar way a hard drive moves its head across the data tracks. It also uses another magnetic movement mechanism attached to the focusing lens to focus the laser beam on the disc surface. By operating the tracking or the focus actuators, the laser beam can be positioned on any part of the disc. This mechanism employs a single laser beam and a set of four photodiodes to read, focus and keep track of the data coming from the disc.
 * The swing-arm mechanism, originally designed by Philips – the lens moves at the end of an arm, in a manner similar to the tone arm assembly of a record player. Used in earliest Philips CD players and later replaced with cheaper radial mechanisms.
 * The radial mechanism, designed by Sony, which is the one used in most CD players in the 2000s – the lens moves on a radial rail being driven by a rotating gear from a motor or a linear magnetic assembly. The motor or linear magnetic assembly consists of a solenoid mounted to the moving laser assembly, wound over a permanent magnetic field attached to the base of the mechanism. It is also known as three-beam linear tracking.

The linear tracking mechanism uses a motor and reduction gears to move the laser assembly radially across the tracks of the disc and it also has a set of six coils mounted in the focusing lens over a permanent magnetic field. One set of two coils moves the lens closer to the disc surface, providing the focusing motion, and the other set of coils moves the lens radially, providing a finer tracking motion. This mechanism uses the three-beam tracking method in which a main laser beam is used to read and focus the data track of the disc using three or four photodiodes, depending on the focus method, and two smaller beams read the adjacent tracks at each side to help the servo keep the tracking using two more helper photodiodes.

Mechanical components
A CD player has three major mechanical components: a drive motor, a lens system or pickup head, and a tracking mechanism. The drive motor (also called spindle) spins the disc to a scanning velocity of 1.2–1.4 m/s (constant linear velocity) – equivalent to approximately 500 RPM at the inside of the disc, and approximately 200 RPM at the outside edge. (A disc played from beginning to end slows its rotation rate during playback.) The tracking mechanism moves the lens system along the spiral tracks in which information is encoded, and the lens assembly reads the information using a laser beam produced by a laser diode. The laser reads information by focusing a beam on the CD, which is reflected off the disc's mirrored surface back to a photodiode array sensor. The sensor detects changes in the beam, and a digital processing chain interprets these changes as binary data. The data are processed and eventually converted to sound using a digital-to-analog converter (DAC).

A TOC or Table of Contents is located after the lead-in area of the disc, which is located in an inner ring of the disc, and contains roughly five kilobytes of available space. It is the first information that the player reads when the disc is loaded in the player and contains information on the total number of audio tracks, the running time on the CD, the running time of each track, and other information such as ISRC and the format structure of the disc. The TOC is of such vital importance for the disc that if it is not read correctly by the player, the CD could not be played back. That is why it is repeated 3 times before the first music program starts. The lead out area in the end (the outer peripheral) of the disc tells the player that disc has come to an end.

CD player features
CD players can employ a number of ways to improve performance or reduce component count or price. Features such as oversampling, one-bit DACs, dual DACs, interpolation (error correction), anti-skip buffering, digital and optical outputs are, or were, likely to be found. Other features improve functionality, such as track programming, random play and repeat, or direct track access. Yet others are related to the CD player's intended target, such as anti-skip for car and portable CD players, pitch control and queuing for a DJ's CD player, remote and system integration for household players. Description of some features follows:

 * Oversampling is a way to improve the performance of the low pass filter present at the output of most CD players. By using a higher sampling frequency, a multiple of the 44.1 kHz used by CD encoding, it can employ a filter with much lower requirements.
 * One-bit DACs were less expensive than other types of DACs, while providing similar performance.
 * Dual DACs were sometimes advertised as a feature because some of the early CD players used a single DAC, and switched it between channels. This required additional supporting circuits, possibly degrading sound quality.
 * Anti-skip or Antishock, is a way for the CD player to avoid interrupting the audio output when mechanical shock is experienced by the disc playback mechanism. It consists of an additional data processor and a RAM chip installed on the player that reads the disc at double speed and stores various frames of audio data in a RAM memory buffer for later decoding. Some players may compress the audio data prior to buffering to use lower capacity (and less expensive) RAM chips. Typical players can store about 44 seconds of audio data on a 16 Mbit RAM chip.

Small portable players
A portable CD player is a portable audio player used to play compact discs. Portable CD players are powered by batteries and they have a 1/8" headphone jack into which the user plugs a pair of headphones. The first portable CD player released was the D-50 by Sony. The D-50 was made available on the market in 1984, and adopted for Sony's entire portable CD player line.

In 1998, portable MP3 players began to compete with portable CD players. After Apple Computer entered the music player market with its iPod line, within ten years it became the dominant seller of portable digital audio players, "...while former giant Sony (maker of the [portable] Walkman and [CD] Discman [was] struggling." This market shift was initiated when the first portable digital audio player, the Rio digital music player, was introduced. The 64 MB Rio MP3 player enabled users to store about 20 songs. One of the benefits of the Rio over portable CD players was that since the Rio had no moving parts, it offered skip-free playback. Since 1998, the price of portable digital audio players has dropped and the storage capacity has increased significantly. In the 2000s, users can "carry [their] entire music collection in a [digital audio] player the size of a cigarette package." The 4 GB iPod, for example, holds over 1,000 songs.

Boomboxes
A boombox is a common term for a portable cassette and AM/FM radio that consists of an amplifier, two or more loudspeakers and a carrying handle. Beginning in the 1990s, boomboxes typically included a CD player. The boombox CD player is the only type of CD player that produces sound audible by the listener independently, without the need for headphones or an additional amplifier or speaker system. Designed for portability, boomboxes can be powered by batteries as well as by line current. The boombox was introduced to the American market during the mid-1970s. The desire for louder and heavier bass led to bigger and heavier boxes; by the 1980s, some boomboxes had reached the size of a suitcase. Most boomboxes were battery-operated, leading to extremely heavy, bulky boxes.

Most boomboxes from the 2010s typically include a CD player compatible with CD-R and CD-RW, which allows the user to carry their own music compilations on a higher fidelity medium. Many also permit iPod and similar devices to be plugged into them through one or more auxiliary input jacks. Some also support formats such as MP3 and WMA. Another modern variant is a DVD player/boombox with a top-loading CD/DVD drive and an LCD video screen in the position once occupied by a cassette deck. Many models of this type of boombox include inputs for external video (such as television broadcasts) and outputs to connect the DVD player to a full-sized television.

DJ equipment
Disc jockeys (DJs) who are playing a mix of songs at a dance club, rave, or nightclub create their dance mixes by having songs playing on two or more sound sources and using a DJ mixer to transition seamlessly between songs. In the 1970s disco era, DJs typically used two record players. From the 1980s to the 1990s, two compact cassette players became a popular sound source for DJs. In subsequent decades, DJs shifted to CDs and then to digital audio players. DJs who use CDs and CD players typically use specialized DJ CD players that have features not available on regular CD players.

DJs who are performing scratching–the creation of rhythmic sounds and sound effects from sound recordings–traditionally used vinyl records and turntables. In the 2010s, some specialized DJ CD players can be used to create the same scratching effects using songs on CDs.

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VCD (disambiguation)

Video CD or VCD is a video medium with a lower digital resolution than DVD.

VCD may also refer to:

 * VCD Athletic, football team
 * Voice command device
 * Value change dump, a dumpfile format
 * Vocal cord dysfunction
 * Vibrational circular dichroism
 * Vinyl cyclohexene dioxide, also known as 4-vinylcyclohexene diepoxide
 * Victoria River Downs Airport, IATA airport code "VCD"
 * Verkehrsclub Deutschland, a German mobility association

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: VCD (disambiguation)


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Lifted or The Story Is in the Soil, Keep Your Ear to the Ground

Lifted or The Story Is in the Soil, Keep Your Ear to the Ground is the fourth studio album by Bright Eyes and the 46th release of Saddle Creek Records. The band made its national television debut in support of the album, performing "The Trees Get Wheeled Away" (a track that was not on the album) on the Late Show with David Letterman.

The album was reissued by Dead Oceans alongside a six-track companion EP on November 11, 2022.

Critical reception
Lifted received positive reviews, ranking fourth on Rolling Stone's list of the best albums in 2002, and was lauded as a breakthrough album for Bright Eyes and Conor Oberst. Kludge included it on their list of best albums of 2002. Blender ranked the album at 52 on their list of "100 Greatest Indie-Rock Albums Ever", which appeared in the December 2007 issue.

Lifted was the band's first to reach The Billboard 200, spending one week at No. 161. The set has sold 184,000 copies in the United States, according to Nielsen SoundScan. As of 2009 it has sold over 340,000 copies in the US.

Personnel

 * Conor Oberst – guitar, piano, rhodes, organ, voice (tracks 1–13)
 * Mike Mogis – banjos, bells, hammered dulcimer, vibraphone, glockenspiel, mandolin, guitar, dobro, pedal steel (tracks 2–9, 11–13)
 * Matt Focht, Clint Schnase, Mike Sweeney – drums
 * Todd Baechle, Jenny Lewis, Blake Sennett, Choir – vocal harmonies
 * Andy LeMaster – electric guitar, keyboards, vocal harmonies (tracks 2–4, 6–8, 11)
 * Clark Baechle – drums, clarinet
 * Clay Leverett – drums, vocal harmonies
 * Jiha Lee – flute, vocal harmonies (tracks 3, 6, 8, 9)
 * Chris Brooks – piano (track 9)
 * Gretta Cohn – cello (tracks 3, 5, 7, 12)
 * Sean Cole – harmonica (tracks 9, 13)
 * Julee Dunekacke – French horn (track 3)
 * Margaret Fish – bassoon (tracks 3, 13)
 * Orenda Fink – trumpet, vocal harmonies (tracks 2, 3, 7, 11, 13)
 * Jason Flatowicz – trombone (tracks 3, 13)
 * Tiffany Kowalski – violin (tracks 3, 5, 7, 12)
 * Matt Maginn – bass (tracks 2, 4, 7, 9)
 * Casey Scott – bass (tracks 3, 8, 9, 12, 13)
 * Katie Muth – oboe (tracks 3, 6, 8, 12)
 * Ted Stevens – electric guitar (track 9)
 * Maria Taylor – piano, organ, vocal harmonies (tracks 2–4, 8, 12, 13)


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Fevers and Mirrors

Fevers and Mirrors is the third studio album by American indie band Bright Eyes, recorded in 1999 and released on May 29, 2000. It was the 32nd release of the Omaha, Nebraska-based record label Saddle Creek Records. The album was released later in 2000 in the United Kingdom as the inaugural release from Wichita Recordings.

The album begins with a recording of a little boy reading Mitchell Is Moving, a book by Marjorie Weinman Sharmat. "An Attempt to Tip the Scales" includes what is ostensibly an interview with the band's frontman, Conor Oberst. However, Oberst has admitted that the interview was something of a joke, intended to poke fun at the dark tone of the album. Conor's voice is impersonated in the interview by Todd Fink of The Faint and Commander Venus. The man interviewing is Matt Silcock, a former member of Lullaby for the Working Class.

The album was reissued alongside a six-track companion EP by Dead Oceans on May 27, 2022.

Critical reception
The music online magazine Pitchfork placed Fevers and Mirrors at number 170 on its list of top 200 albums of the 2000s, despite a low initial score of 5.4/10. In 2012, Pitchfork's Ian Cohen gave the reissued version of the album a 9.0 out of 10.

Personnel

 * Conor Oberst – vocals, guitar (1, 4, 6, 8, 10-12), sample (1), organs (2), Rhodes (5), keyboards (5, 12), piano (6, 7), tremolo guitar (9), percussion (11), toy piano (12)
 * Mike Mogis – electric guitar (4, 9), pedal steel (6, 8), vibraphone (1, 8), tambourine (6, 8), glockenspiel (1), piano (1), Ebow pedal steel (2), electronics (2, 9), tongue drum (3), guiro (3), lap dulcimer (4), hammered dulcimer (5), atmosphere (7), acoustic guitar intro (9), organ (9), mandolin (10), keyboards (10), samples (11), percussion (11)
 * Todd Baechle – keyboards (3)
 * Tim Kasher – accordion (1, 4, 6)
 * Joe Knapp – drums (3, 4, 6, 8, 9), percussion (3), vocals (8)
 * Jiha Lee – flute (2, 4, 10), vocals (5)
 * Andy LeMaster – guitar (3), percussion (3, 6, 11), Mellotron (5, 6), bass (2, 5, 10), electric guitar (9), vocals (9-11), keyboards (11)
 * Matt Maginn – bass (3, 4, 6, 8, 9)
 * A.J. Mogis – piano (2), Rhodes (9)
 * Clint Schnase – drums (2, 5, 10)

title: Fevers and Mirrors


text:
Every Day and Every Night

Every Day and Every Night is an EP by American indie rock band Bright Eyes. It became the 30th release by Saddle Creek Records on November 1, 1999.

Conor Oberst references this album art in another of his songs, "Waste of Paint", from the album Lifted or The Story Is in the Soil, Keep Your Ear to the Ground. In the first verse he sings (that a friend, most likely Zack Nipper) "Once cut one of my nightmares out of paper; oh I thought it was beautiful, I put it on a record cover...".

Track listing

 * 1) "A Line Allows Progress, a Circle Does Not" – 3:25
 * 2) "A Perfect Sonnet" – 3:41
 * 3) "On My Way to Work" – 4:10
 * 4) "A New Arrangement" – 5:13
 * 5) "Neely O'Hara" – 6:22

Track information

 * Neely O'Hara is a character from Valley of the Dolls, written by Jacqueline Susann.

Personnel

 * Conor Oberst – guitar, vocals, sampling, keyboards, bass, lyrics
 * Eric Bemberger – electric guitar
 * Tim Kasher – backing vocals
 * Joe Knapp – drums, percussion, vocals
 * Matt Maginn – bass
 * AJ Mogis – piano, loops, production
 * Mike Mogis – organ, pedal steel, vibraphone, keyboards, percussion, production
 * Angelina Mullikin – violin

title: Every Day and Every Night


text:
Letting Off the Happiness

Letting Off the Happiness is the second studio album released by the indie rock band Bright Eyes. The album was released on November 2, 1998. It was the first release by Bright Eyes to feature and be produced by Mike Mogis, now a permanent member of the band. A vinyl re-release of the album was included in the Bright Eyes Vinyl Box Set in 2012. Guest musicians include members of Cursive, Tilly and the Wall, and Elephant 6 collective's Neutral Milk Hotel and of Montreal.

This album is the 23rd release of Saddle Creek Records. The album was reissued alongside a six-track companion EP by Dead Oceans on May 27, 2022.

Personnel

 * Conor Oberst – vocals; guitar (1–5, 7–10) ; acoustic drums, electric drums (3) ; keyboards (6) ; piano (10)
 * Mike Mogis – atmospheric noises (2) ; pedal steel (3, 5, 8, 9) ; melodica, air organ (3) ; country guitar (4) ; keyboards (4, 6, 9) ; electric drums (8) ; organs (9) ; piano, bowed chimes (10) ; recording (2, 3, 10) ; mixing, mastering
 * Matt Maginn – bass (2)
 * Matt Focht – drums (2) ; percussion (10)
 * Matt Oberst – guitar (3)
 * Neely Jenkins – vocals (3, 8)
 * Andy LeMaster – vocals (4, 8) ; percussion (4) ; bass (5) ; lead guitar (8) ; recording, engineering (4, 5, 6, 9)
 * Jeremy Barnes – drums (4, 5, 6, 9) ; percussion (4) ; broken keyboards (6) ; accordion (9)
 * Kevin Barnes – Rhodes keyboard (5) ; angelic background vocals (9)
 * Ted Stevens – sloppy drums (8)
 * Aaron Druery – ebow bass (10)
 * Robb Nansel – finger cymbals (10)

title: Letting Off the Happiness


text:
Reciprocity

Reciprocity may refer to:

Law and trade

 * Reciprocity (Canadian politics), free trade with the United States of America
 * Reciprocal trade agreement, entered into in order to reduce (or eliminate) tariffs, quotas and other trade restrictions on items traded between the signatories
 * Interstate reciprocity, recognition of sibling federated states' laws:
 * In the United States specifically:
 * Full Faith and Credit Clause, which provides for it
 * Concealed carry reciprocity
 * Occupational licensing, which in some jurisdictions provides for it
 * Traffic violations reciprocity where non-resident drivers are treated like residents
 * Quid pro quo, a legal concept of the exchange of good or services, each having value

Social sciences and humanities

 * Norm of reciprocity, social norm of in-kind responses to the behavior of others
 * Reciprocity (cultural anthropology), way of defining people's informal exchange of goods and labour
 * Reciprocity (evolution), mechanisms for the evolution of cooperation
 * Reciprocity (international relations), principle that favours, benefits, or penalties that are granted by one state to the citizens or legal entities of another, should be returned in kind
 * Reciprocity (social and political philosophy), concept of reciprocity as in-kind positive or negative responses for the actions of others
 * Reciprocity (social psychology), in-kind positively or negatively connoted responses of individuals towards the actions of others
 * Ethic of reciprocity (the Golden Rule), that one should treat others as one would like others to treat oneself
 * Serial reciprocity, in which the benefactor of a gift or service will in turn provide benefits to a third party

Physical sciences and engineering

 * Reciprocity (engineering), used in the analysis of structures and to resolve complex load conditions
 * Reciprocity (electromagnetism), theorems relating sources and the resulting fields in classical electromagnetism
 * Reciprocity (electrical networks), reciprocity theorem as it relates to current and voltage in electrical networks
 * Reciprocity (network science), measures the tendency of vertex pairs to form mutual connections between each other
 * Reciprocity (optoelectronic), a diode under illumination to the photon emission of the same diode under applied voltage
 * Reciprocity (photography), the relationship between the intensity of the light and duration of the exposure that result in identical exposure
 * Reciprocity of twist and wrench, in screw theory
 * Reciprocity theorem (disambiguation), several unrelated results
 * Reciprocity of antenna transmitting and receiving characteristics
 * Helmholtz reciprocity, linear propagation.

Mathematics

 * Reciprocity law (law of reciprocity) in mathematics, including
 * Quadratic reciprocity, a fundamental result in number theory
 * Cubic reciprocity, theorems that state conditions under which the congruence x3 ≡ p (mod q) is solvable
 * Quartic reciprocity, a collection of theorems in elementary and algebraic number theory that state conditions under which the congruence x4 ≡ p (mod q) is solvable
 * Artin reciprocity law, a general theorem in number theory that provided a partial solution to Hilbert's ninth problem
 * Reciprocity relation or exact differential, a mathematical differential of the form dQ, for some differentiable function Q
 * Weil reciprocity law
 * Reciprocal polynomials, the coefficients of the remainder polynomial are the bits of the CRC
 * Reciprocal square root
 * Reciprocity (projective geometry), a collineation from a projective space onto its dual space, taking points to hyperplanes (and vice versa) and preserving incidence
 * Frobenius reciprocity, from group representation theory
 * Reciprocity law for Dedekind sums
 * Stanley's reciprocity theorem, states that a certain functional equation is satisfied by the generating function of any rational cone and the generating function of the cone's interior
 * Hermite reciprocity for invariants of binary forms.

Other

 * Reciprocity (Fringe), a 2011 episode of the television series Fringe
 * Rural Municipality of Reciprocity No. 32, Saskatchewan, Canada

title: Reciprocity


text:
Copyright Duration Directive

Council Directive 93/98/EEC of 29 October 1993 harmonising the term of protection of copyright and certain related rights is a European Union directive in the field of EU copyright law, made under the internal market provisions of the Treaty of Rome. It was replaced by the 2006 Copyright Term Directive (2006/116/EC).

Duration of protection
The principal goal was to ensure that there was a single duration for copyright and related rights across the entire European Union. The chosen term for a work was 70 years from the death of the author (post mortem auctoris, pma) for authors' rights regardless of when the work was first lawfully published (Art. 1), longer than the 50-year post mortem auctoris term required by the Berne Convention for the Protection of Literary and Artistic Works (Art. 7.1 Berne Convention). In the case that the author is anonymous or pseudonymous the term for a work is 70 years from the date of first lawful publication. The directive notes that the original goal of the Berne Convention was to protect works for two generations after the death of the author, and that fifty years was no longer sufficient for this purpose (para. 5 of the preamble). It is often stated that 70 years pma was the longest copyright term of any Member State at the time: this is not strictly correct, and is not quoted as the reason for the choice in the directive. Where a Member State protected a work for a longer period at the time the directive came into force, the copyright term is not reduced [Art. 10(1)], but other Member States will not respect the longer period.

The duration of protection of related rights (those of performers, phonogram and film producers and broadcasting organisations) was set at fifty years with the following rules for calculating the starting date (Art. 3). This fifty-year period was in reflexion of the negotiating position of the European Community at the negotiations which led to the Marrakech Agreements, including the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS).

Copyright restoration
The new copyright terms applied also to works which were already in existence when it came into force, as was held by the European Court of Justice in the Butterfly case, even if they had previously entered the public domain. Strictly, they applied to works which were protected in at least one Member State on 1 July 1995, although most Member States chose to apply them to all works which would qualify on the basis of the protection terms, regardless of protection elsewhere: this approach is much simpler for national courts to apply, as they do not have to consider foreign laws.

The effect of the approach was shown by the judgment of the European Court of Justice in the Puccini case, which covered facts arising before the directive entered force. The State of Hesse in Germany had staged the opera La Bohème by Puccini during the 1993/94 season at the Hessische Staatstheater Wiesbaden without the permission of the copyright holder. The opera was first published in Italy and Puccini died on 29 November 1924. At the time, Italy applied a copyright period of 56 years pma, so Italian protection had expired at the end of 1980: Germany, however, applied a 70 years pma period to works of German authors and the "rule of the shorter term" (Art. 7.8 Berne Convention) to foreign works. The Court ruled that the application of the rule of the shorter term between Member States was a breach of the principle of non-discrimination enshrined in Article 12 of the Treaty instituting the European Community: hence the work should have been protected in Germany even if it was no longer protected in Italy. Such cases should no longer arise with the implementation of the directive.

Films and photographs
The directive also harmonises the copyright treatment of films ("cinematographic and other audiovisual works") and photographs throughout the European Union. Films are protected for 70 years from the death of the last of the following people to die [Art. 2(2)]: the principal director, the author of the screenplay, the author of the dialogue and the composer of music specifically created for use in the cinematographic or audiovisual work. This applies regardless of the provisions of national law regarding the authorship of the film, ensuring a common duration of copyright between Member States. The principal director of the film is always considered as an author of the film, although national legislations may provide for other co-authors [Art. 2(1)].

Before the directive, different Member States had applied widely different criteria of originality and creativity to the copyright protection of photographs. These were harmonised by article 6, which states that the only permissible criterion for full protection (70 years pma) is that the photograph is "original in the sense that [it is] the author's own intellectual creation". Member States may protect photographs which do not meet this criterion by sui generis related rights.

Previously unpublished works
The directive accords a publication right to the publisher of a public domain work which was previously unpublished, for 25 years after the date of publication (Art. 4). The work must have been "legally published". In some countries (e.g. France), authors and their heirs have a perpetual right to authorise (or not) the publication of a work and, in these cases, publication must be with the consent of the holders of the moral rights in the work.

Other provisions
As is normal in the field of copyright law, all periods of protection run until the end of the calendar year in which they would otherwise expire (Art. 8). Member states may protect "critical and scientific publications of works which have come into the public domain" for a maximum of thirty years (Art. 5). The protection of moral rights is left to national legislation (Art. 9).

title: Copyright Duration Directive


text:
Talk:Highgate Cemetery

Page suggestions
Would it be good to include the grave numbers( if known) of the famous people listed to aid visitors to locate them? Also I think it is important to make it clear that the cemetary is divided into two sites, East and West. at the moment the article just seems to indicate it is one plot, but there is a road which separates them and there are different rules and access restrictions for each side. Bvrly (talk) 13:27, 21 March 2010 (UTC)

Marx Bombing Again
Sorry to come back to this point, but phrasing it "whose tomb's most recent bombing is still recalled by some Highgate residents" seems to miss the point. Surely the thing of interest about the cemetry and the Marx grave is not that some residents remember the bombing, but that it was bombed at all. I suggest re-prasing it along the lines of "who's tomb has been bombed in living memory", or mentioning it in the main body of the article, and not in its current position.--Rob2000 22:39, 7 October 2006 (UTC)

I have reworded the first couple of paras. I always thought they read a little oddly and now I find they are pretty much the same as material at http://www.tales.ndirect.co.uk/SEXTON_TALE.HTML (unless of course they nicked it from here, you never know!). I can't contact the person who put it here in the first place as it was just an IP address, but maybe they know more about (or own!) the copyright and can put me right on it. But as a precautionary measure I thought it better to redo it, at least until more is known. Nevilley 08:22 Mar 5, 2003 (UTC)

Last Marx bombing
Do we know when, even roughly, Marx was last blown up? The reason I ask is that removing "middle-aged" from the statement about residents who remember it has removed from the article any indication of when it was, and the way it now reads, it could have been last week. I agree that the wording was maybe not that elegant but it seems a shame to have lost this and the neatest solution would simply be to add the date so the "middle-aged" bit becomes irrelevant. I know it must have been during the 60s or 70s (hence my original wording) but I can't yet get it any closer than this. --Nevilley 08:04, 25 Jun 2004 (UTC)

 * It was me that removed the statement as (a) I've lived about 250 yards away from 'him' for eighteen years, and (b) many people count my chronological age as distinctly 'middle-aged' (even though I don't!) and I don't recall it. I'm about to go and drive some of the local OAP's on their weekly shopping trip so I'll ask if any of them remember. One of them is 98 so that should help! --VampWillow 08:29, 25 Jun 2004 (UTC)

 * I am confused. Are you disputing the age you need to be, or whether it happened at all? My wife was brought up in the same neck of the woods as you, and remembers it, as do others around there, so there is not really anything to dispute in whether or not it actually happened: I was seeking to clarify the date, not whether it happened. --Nevilley 08:59, 25 Jun 2004 (UTC)

 * No, no; I know it happened, just the age someone would need to be. I've just asked my busload and they put it as 50s or early 60s ... --VampWillow 09:28, 25 Jun 2004 (UTC)

 * Cool - someone - no names no packdrill - born in 1957 (date chosen entirely at random, yeah right!) would be 47 this year - slight reword then??? :) --Nevilley 09:39, 25 Jun 2004 (UTC)

 * Well, as I'm not 47 (::grins::) yes, I'd agree. I think 'some' works in this context as clearly means older without specifying an absolute but what would be best is if we can trace an actual date. --VampWillow 09:46, 25 Jun 2004 (UTC)

 * I can't decide now if it matters. I will leave it for a while and see what emerges. I've had no luck in a quick attempt to trace the date and am starting to question its importance! :) --Nevilley 09:51, 25 Jun 2004 (UTC)

This is interesting ... I just used Teoma to do a search to see if I could find the date. Terms used were "highgate cemetery" "karl marx" bombing. All the results on the first page are MIRRORS of this page but the page itself isn't listed. Some of the domains do not look FNUFDL either but have to go offline a bit now for next shop trip. --VampWillow 09:56, 25 Jun 2004 (UTC)
 * This is an interesting discussion but contains very little facts. When I visited the cemetery in 2010 it was explained to me that the monument to Karl Marx was built close to where his original grave was but not on the spot. It was also explained to me that the attempted bombing was of the monument and not the actual grave.83.160.198.125 (talk) 18:34, 26 May 2011 (UTC)

Highgate Vampire
Additionally, the Highgate Cemetery is well known for its occult past, being the site of the controversial Highgate Vampire (as written by Bishop Sean Manchester.)

This paragraph requires expansion, copyediting and fact checking. One can't simply drop this into the article without identifying "the controversial Highgate Vampire" or "Bishop Sean Manchester", neither of which currently has a Wikipedia entry. I also question whether Highgate actually has an "occult past" other than the vampire legend. Can someone expand upon this, or should the paragraph be deleted? Canonblack 22:27, 28 November 2005 (UTC)

I created a 'Highgate Vampire' entry in May 2006, which has now become the site of ongoing argument from Sean Manchester's associate Dennis Crawford, and has had to be given 'semi-protected' status. The moderators of Wikipedia may wish to look at the discussion there and modify the assertion currently printed at the end of the Highgate Cemetery section about SM's exorcism. (Jacqueline Simpson, July 2006)

Alexander Litvinenko
It is stated that Alexander Litvinenko is buried in the West Cemetery. I seem to remember that he is buried in the East Cemetery.83.160.198.125 (talk) 18:34, 26 May 2011 (UTC)
 * When I visited Highgate in 2007 the grave was in the East Cemetery, near the monument to Karl Marx, I seem to remember that it was more a space than a grave, but that may have been due to the fact that he was only recently buried. It is not improbable (but highly unlikely) that the grave was moved. I will visit the cemetery again in 2018 and will have a look. The confusion may come from a photograph of the headstone which was tagged: The grave of Alexander Litvinyenko in the West End of Highgate Cemetery, London Borough of Islington. I was not aware that Highgate Cemetery had a West End. JHvW 20:17, 15 December 2017 (UTC)
 * Since my last remark I have spoken to one of the "friends". He could not confirm that the grave had been in the Eastern Cemetery but it is definitely in the Western Cemetery now. When I saw the grave it was no more than a few planks surrounding a bed of gravel. It is now a "proper" grave with a headstone. I have been informed that he is buried 12 feet deep in a lead lined coffin as there are worries about radiation. JHvW 13:18, 21 December 2017 (UTC)

CfD Proposal to delete Burial by place category
It has been proposed here to delete the category that links people to their place of burial. Note that the proposer is recommending the removal of the whole tree of categories, not just the the top level categories listed. Ephebi Ephebi (talk) 15:43, 20 November 2012 (UTC)

George Samuel Bentley
As far as I am aware George Samuel Bentley is probably George Bentley (publisher). Samuel was the name of George Bentley's uncle. The London Standard Newspaper was in 1890 called "The Standard", but I have no knowledge of Bentley's involvement, nor can I find any evidence that Bentley was indeed buried in Highgate Cemetery, so I have remarked this entry out. It is an established fact that "The Standard" changed ownership quite a few times after the death of James Johnstone and before C. Arthur Pearson became owner. JHvW 20:17, 15 December 2017 (UTC)

Highgate Cemetery Act 2022
https://www.legislation.gov.uk/ukla/2022/1/introduction/enacted Kaihsu (talk) 10:29, 5 May 2022 (UTC)

title: Talk:Highgate Cemetery


text:
Astounding Award for Best New Writer

The Astounding Award for Best New Writer (formerly the John W. Campbell Award for Best New Writer) is given annually to the best new writer whose first professional work of science fiction or fantasy was published within the two previous calendar years. It is named after Astounding Science Fiction (now Analog Science Fiction and Fact), a foundational science fiction magazine. The award is sponsored by Dell Magazines, which publishes Analog.

Between its founding in 1973 and 2019, the award was named after Astounding's long-time editor John W. Campbell, one of the most influential figures in the early history of science fiction. In the aftermath of 2019 winner Jeannette Ng's acceptance speech, in which she described Campbell as a fascist, the science fiction fandom community discussed whether it was appropriate to continue honoring Campbell in this way; the editor of Analog subsequently announced that the award had been renamed.

The nomination and selection process is administered by the World Science Fiction Society (WSFS), represented by the current Worldcon committee, and the award is presented at the Hugo Award ceremony at the Worldcon, although it is not itself a Hugo Award. All nominees receive a pin, while the winner receives a plaque. Beginning in 2005, the award has also included a tiara; created at the behest of 2004 winner Jay Lake and 2005 winner Elizabeth Bear, the tiara is passed from each year's winner to the next.

Eligibility and voting
Writers are eligible for the Astounding Award for two years, and become eligible once they have a work of science fiction or fantasy published in a professional publication. Final decisions on eligibility are decided by the Hugo Administrators while qualification criteria are set by the sponsor, Dell Magazine. The eligibility criteria for what counts as a professional publication are roughly similar to those of the Science Fiction and Fantasy Writers Association (SFWA). As of 2023, qualifying publications must meet at least one of the following criteria: be accepted by SFWA; have at least 10,000 readers; pay the writer at least 8 cents a word and a total of at least US$80; or be self-published or published through a small press, with earnings for the author of at least US$3,000 in one year.

Members of the current and previous Worldcon are eligible to nominate new writers under the same procedures as the Hugo Awards. Initial nominations are made by members in January through March, at which point a shortlist is made of the six most-nominated writers—five prior to 2017—with additional nominees possible in the case of ties. Voting on the ballot of six nominations is performed roughly in April through July, subject to change depending on when that year's Worldcon is held.

Works by winners and nominees of the award were collected in the New Voices series of anthologies, edited by George R. R. Martin, which had five volumes covering the awards from 1973 through 1977 and which were published between 1977 and 1984. Michael A. Burstein, who was nominated in 1996 and won in 1997, commented that the largest effect of winning or being nominated is not on sales but instead that it gives credibility with established authors and publishers. Criticism has been raised about the award that due to the eligibility requirements it honors writers who become well-known quickly, rather than necessarily the best or most influential authors from a historical perspective.

Over the 51 years the award has been active, 218 writers have been nominated. Of these, 52 authors have won, including one tie. There have been 59 writers who were nominated twice, 20 of whom won the award in their second nomination.

Winners and nominees

In the following table, the years correspond to the date of the ceremony, rather than the year when the writer's eligible work was first published. Each year links to the corresponding "year in literature". Although the award is not given explicitly for any particular work, and such works are not recorded by the World Science Fiction Society or Dell Magazines, a selection of works that the writer in question published in the eligibility period are listed. This list includes novels and short stories, and is not intended to be comprehensive. Entries with a yellow background and an asterisk (*) next to the writer's name have won the award; those with a gray background are the other nominees on the shortlist.

* Winners and joint winners

Cited references

 * Clute, John; Langford, David; Nicholls, Peter, ed. (2011). The Encyclopedia of Science Fiction (3rd ed. ). ESF Ltd.

title: Astounding Award for Best New Writer


text:
Soyuz 7K-T No.39

Soyuz 7K-T No.39 (also named Soyuz 18a or Soyuz 18-1 by some sources and also known as the April 5 Anomaly) was an unsuccessful launch of a crewed Soyuz spacecraft by the Soviet Union in 1975. The mission was expected to dock with the orbiting Salyut 4 space station, but due to a failure of the Soyuz launch vehicle the crew failed to make orbit. The crew consisted of commander Vasily Lazarev, and flight engineer Oleg Makarov, a civilian. Although the mission was aborted and did not accomplish its objective, the craft exceeded common space boundaries and therefore is recognized as a sub-orbital spaceflight, which the crew survived. The crew, who initially feared they had landed in China, were successfully recovered.

The accident was partly disclosed by the normally secretive Soviets as it occurred during preparations for their joint Apollo-Soyuz Test Project with the United States which flew three months later. Lazarev never flew to space again and never fully recovered from the accident; Makarov made two more flights on board a Soyuz (both of which were to the Salyut 6 space station).

Mission highlights
Soyuz 7K-T No.39 was intended to be the second mission to take cosmonauts to the Soviet Salyut 4 space station for a 60-day mission. Both cosmonauts were on their second mission and had flown their first mission together, Soyuz 12, in September 1973 to test a new type of Soyuz spacecraft after the fatal accident of Soyuz 11.

The launch proceeded according to plan until T+288.6 seconds at an altitude of 145 km, when the second and third stages of the booster began separation. Only three of the six locks holding the stages together released and the third stage's engine ignited with the second stage still attached below it. The third stage's thrust broke the remaining locks, throwing the second stage free but putting the booster under unexpected strain that caused it to deviate from the proper trajectory. At T+295 seconds, the deviation was detected by the Soyuz's guidance system, which activated an automatic abort program. As the escape tower was long gone by this point, the abort had to be performed with the Soyuz's own engines. This separated the spacecraft from the third-stage booster and then separated the orbital and service modules of the Soyuz from the re-entry capsule. At the time, when the safety system initiated separation the spacecraft was already pointed downward toward Earth, which accelerated its descent significantly. Instead of the expected acceleration in such an emergency situation of 15 g (147 m/s²), the cosmonauts experienced up to 21.3 g (209 m/s²). Despite very high overloading, the capsule's parachutes opened properly and slowed the craft to a successful landing after a flight of only 21 minutes.

The capsule landed southwest of Gorno-Altaysk at a point 829 km north of the Chinese border. The capsule landed on a snow-covered slope and began rolling downhill towards a 152 m sheer drop before it was stopped by the parachutes becoming snagged on vegetation. Having landed in chest-deep powder snow and a local temperature of -7 °C, the cosmonauts donned their cold-weather survival clothing. The cosmonauts were uncertain if they had landed in China, at a time when Sino-Soviet relations were extremely hostile, so they quickly destroyed documents relating to a military experiment planned for the flight. They reportedly exited the spacecraft shortly after landing and built a fire. Soon, the crew was in radio contact with a rescue team in an approaching helicopter, who confirmed they were in the Soviet Union, near the town of Aleysk. The deep snow, the high altitude, and the terrain meant the rescuers had great difficulty in making contact with the cosmonauts. It was the next day before they were safely airlifted out. The crew were returned to Star City; the capsule was recovered some time later.

Initial Soviet reports stated the men had suffered no ill effects from their flight. However, subsequent reports claimed that Lazarev was injured by the high acceleration of re-entry. Makarov went on to take part in Soyuz 26, Soyuz 27, and Soyuz T-3 missions.

In Brezhnev's time, it was rare to disclose anything about Soviet failures, and so the first (Soviet) publication about the realities of the flight was made only a month later (8 May 1975). The Americans were informed on 7 April 1975 after the crew had been rescued. However, as the failure occurred during preparations for the joint Apollo-Soyuz Test Project, the United States requested that a more detailed report of the accident be provided. (There was even a United States congressional inquiry regarding this failure and several others. ) In the report the Soviets made to the Americans, the abort was referred to as the "April 5th anomaly", and as this was the only term the Soviets ever used for the incident, that became the "official" designation for years afterwards. It was also disclosed that the booster used in the launch was an older model and not the same model that would be used for Soyuz 19. The mission is referred to in some literature as Soyuz 18a or Soyuz 18–1, since the following Soyuz mission in May 1975 received the name Soyuz 18. (The Soviets only gave numbers to successful launches.)

The exact landing site of the capsule was a subject of debate amongst space historians in subsequent years. A Russian source quoted by James Oberg has stated that the landing occurred in Mongolia.

The failed Soyuz mission was the only case of a crewed booster accident at high altitude until the accident with Soyuz MS-10 on 11 October 2018.

Mission parameters

 * Mass: 6830 kg
 * Apogee: 192.0 km

title: Soyuz 7K-T No.39


text:
Gandalf Award

The Gandalf Awards, honoring achievement in fantasy literature, were conferred by the World Science Fiction Society annually from 1974 to 1981. They were named for Gandalf the wizard, from the Middle-earth stories by J. R. R. Tolkien. The award was created and sponsored by Lin Carter and the Swordsmen and Sorcerers' Guild of America (SAGA), an association of fantasy writers. Recipients were selected by vote of participants in the World Science Fiction Conventions according to procedures of the Hugo Awards.

The award was for given for life achievement, and corresponds roughly to the World Fantasy Award for Life Achievement, which was started the year after the Gandalf. In 1978 and 1979, an award was also given for a novel published during the preceding year.

Gandalf Grand Master Award
The Gandalf Grand Master Award for life achievement in fantasy writing was awarded every year from 1974 to 1981. The inaugural winner was J. R. R. Tolkien, recently deceased in 1973.
 * 1974: J. R. R. Tolkien
 * 1975: Fritz Leiber
 * 1976: L. Sprague de Camp
 * 1977: Andre Norton
 * 1978: Poul Anderson
 * 1979: Ursula K. Le Guin
 * 1980: Ray Bradbury
 * 1981: C. L. Moore

There was no ballot in 1981. All other winners since Tolkien were among the five or six finalists one year earlier. Others who appeared on the ballot were C. S. Lewis, Jack Vance, Roger Zelazny, Marion Zimmer Bradley, Anne McCaffrey, and Patricia McKillip.

Gandalf Award for Book-Length Fantasy
The Gandalf Award for Book-Length Fantasy was awarded only in 1978 and 1979.

 * 1978: The Silmarillion, J. R. R. Tolkien, edited by Christopher Tolkien
 * 1979: The White Dragon, Anne McCaffrey

title: Gandalf Award


text:
SK Brann

Sportsklubben Brann is a Norwegian professional football club based in Bergen. Founded on 26 September 1908, Brann has been in the Eliteserien, Norway's premier division of football, since 1987, except in 2015 and 2022, when they played in the 1. divisjon. They play their home matches at Brann Stadion where they had a record-breaking average attendance of 17,310 in the 2007 season, the season in which they won their first league title since 1963.

Overview
As the biggest club in Norway's second-largest city Bergen, Brann is historically one of the major clubs in Norway in terms of public interest, and hence there are high expectations for the club every season. Brann won their first Norwegian top flight titles in 1961–62 and 1963, but after this Brann was involved in the race for the league title only in seasons 1974–76, 1990 and 2006. In 2007, they reclaimed the league title and thus ended a 44-year-long waiting period.

Despite the limited success, the club has never failed to spark considerable interest from the Norwegian media and keeping an epidemic of football hysteria continuously running in Bergen. Moreover, Brann have regularly been winners and runners-up of the Norwegian Cup. The club reached the quarter-finals of the Cup Winners' Cup in the 1996–97 season.

Formation and early years
On 26 September 1908 Christen K. Gran and Birger Gjestland together with eight other men, met in a local café in Bergen. Due to dissatisfaction of the current state of the local football clubs in Bergen, they decided to form a new football club. They called it Ski- og Fodboldklubben Brann (Ski and Football Club Brann). This was later changed to Sportsklubben Brann (Sport Club Brann).

Brann played their first match against a local Bergen team on New Year's Day 1909, drawing 1–1. During the first years, Brann struggled with poor results. Then in 1917,considered the breakthrough year for Brann, they managed to qualify for the cup final. Brann lost the match 1–4 against Sarpsborg, but was now among the top teams of Norway. In 1917 the club bought an area south of the city of Bergen. Two years later on 25 May, with funding contributed by fans and investors, Brann Stadion was opened. The opening match was against the Norwegian national team, losing 2–6. In 1923 Brann won their first title when they defeated Lyn 2–1 in the Cup final. Two years later Brann claimed their second title this time defeating Sarpsborg 3–0 in the cup final.

The following years Brann entered a recession. Brann had to wait until 1947 before again qualifying for the top league that was now called Norgesligaen (Norwegian league). In 1950 Brann once again managed to qualify for the cup final, losing 0–3 to Fredrikstad.

1960s and 1970s: Glory and relegation
In the 1960s Brann produced two of Norway's most profiled players. With Roald Jensen and Rolf Birger Pedersen on the team, Brann won their first League Championship in 1961–62 and in the consecutive season in 1963. During the 1963 season, Brann had an average attendance at 15,486, which was the league record until 2003, when Rosenborg did better.

In 1964, Brann were among the favorites to win their third consecutive league championship, but due to many injured players the team only won one of the first nine league games. In the second half of the season, Brann was positioned in the relegation zone and the team's star, Roald Jensen had departed to the Scottish team Hearts. Before the decisive match of the season, Brann was one point behind Viking on the last spot which was clear of relegation, and Brann were facing the already relegated Raufoss at home. Even though Brann had the greatest chances to score a goal, Raufoss won the match 1–0, and Brann surprisingly was relegated from the top league along with Raufoss.

Brann were promoted back into the top league in 1967, and Brann won the Cup Championship two times in the 1970s. Once in 1972 defeating Rosenborg 1–0. And again in 1976 defeating Sogndal 2–1. In each of the seasons 1974–1976, Brann narrowly missed out on the league title, attracting an average attendance that was unheard of in Norway at the time.

1980s: The "yo-yo" years
With the 1980s came Brann's "yo-yo" era. Brann were relegated in 1979 and won the 2nd division in 1980, and the team continued to alternate between the 1st and 2nd division until they finally avoided relegation in 1987. This was a world record for consecutive relegations-promotions involving a top tier division. Brann remained in the top flight until it was relegated at the end of the 2014 season. In 1982, Brann again won the Cup Championship, beating Molde 3–2. Neil MacLeod scored the winning goal in the 57th minute.

Brann hadn't had any real challenge from local rivals at least since the 1950s. In 1989, however, the Bergen-based Fyllingen IL were promoted to the first tier for the first time.

1990s: Derbies, medals and brief European success
Unlike for example the English Premier League, the top three teams of the Eliteserien are awarded medals. Silver and bronze medals are sometimes received with a shrug, but Brann's dismal league history made them top priority for the club in the 1990s. In 1990, Brann were involved in a decisive last match where they had the chance of clinching the league title, but lost and ended fourth. They lost out on their first medals since 1976 as local rivals Fyllingen IL conceded two vital goals against Molde FK in stoppage time. Only weeks prior to this, Fyllingen IL had beaten Brann in the Cup semi-finals, and their outspoken ambitions to take over the football hegemony in Bergen by now had become a major annoyance for Brann.

In 1991, after a shock resignation of manager Teitur Thordarson, Brann once again struggled, and needed a win in their last game against Strømsgodset in order save play-off against two first division teams. Losing the game would send Brann down, while securing play-off for equally struggling local rivals Fyllingen IL. Also, there were fears that a relegation would spawn another long-term "elevator era". A panic-stricken crowd saw Brann win the game 2–0. In the play-offs, though beating Strindheim IL at home, Brann still needed to beat Bryne F.K. away in a deciding match. A goal by Sten Glenn Håberg gave Brann a 1–0 win over Bryne, however, in a dramatic match where former Brann manager Mons Ivar Mjelde, then at the opposition side, hit the post.

Fyllingen IL were promoted back into the top division in 1992. In 1993 Brann got their two first-ever wins against their local rivals. A 6–1 thrashing in the penultimate league round sent Fyllingen down, while securing continued top division status for Brann. After the season, Brann purchased Fyllingen's key player Per-Ove Ludvigsen, and this put an end to Fyllingen and the derby matches. Fyllingen are now a mediocre fourth division side without top flight ambitions.

Brann were notorious for lacking a regular goal scorer ever since the 1970s, but this ended with Trond Egil Soltvedt's many goals in 1993 and 1994. His extremely dedicated style, his innocent and somewhat naïve personality and the fact that many of his goals were scored as a midfielder made him immensely popular. Just before the start of the 1995 season, however, he was sacked by Brann's board for "disloyalty", the board refusing to elaborate on this. Disciplinary action was also taken against stars Frank Strandli, Inge Ludvigsen and Claus Lundekvam. This caused a public outcry, the issue was all over the national media, there were demonstrations in the centre of Bergen, and the fans were split in their support to Soltvedt or to the board and manager Hallvar Thoresen. Attendances and the atmosphere on Brann Stadion initially plummeted as a result of this. The team spirit amongst players also seemed broken, and the first game against Molde F.K. was lost 6–0 at home, resulting in the entire crowd yelling for the board to resign. With Brann at bottom position halfway through the league season, Hallvar Thoresen was sacked and Kjell Tennfjord, the manager behind Fyllingen IL's success, was appointed. He saved Brann into an eventual mid-table position and led them to the Norwegian cup finals, again sparking immense optimism around the club.

In 1996, as in 1990, Brann were denied bronze medals in injury time of the last game, after a terrible blunder by keeper Birkir Kristinsson. Only days later, however, Brann beat PSV Eindhoven of the Netherlands to advance to the quarterfinals of the Cup Winners' Cup, ironically thanks to world-class goalkeeping by the same Birkir Kristinsson. This was the second time a Norwegian team had qualified for the last eight in Europe. In the quarterfinals, Brann first drew 1–1 at home against Liverpool F.C., before losing the away match 3–0 and thus being knocked out.

In 1997, Brann finally won league silver medals after a solitary last match again from former manager Mons Ivar Mjelde. Later, Brann have also won league medals after finishing second in the 2000 and 2006 season and third in 1999 and 2004.

In 1998, as in 1995, Brann found themselves at the bottom of the table halfway through the season. The manager Kjell Tennfjord was replaced by Harald Aabrekk, and a host of quality players were purchased. This saved Brann from relegation, but combined with the construction of a new stand on Brann Stadion it gave them grave financial problems that only recently were resolved.

2000s: First title in decades
Teitur Thordarson was named new manager in 2000 after the departure of Harald Aabrekk. For the second time in four seasons, Brann became runners-up, secured after defeating Molde 4–0 in the last game of the season. Thorstein Helstad became the league's top goalscorer in 2000 and 2001.

The 2002 season was the worst season for Brann in twelve seasons. They finished third from the bottom and had to face Sandefjord in a play-off to stay in the Tippeligaen. Brann narrowly avoided relegation thanks to a 2–1 home win after the first leg had ended with a 0–0 draw.

A third-place finish in the 2004 season saw Brann qualify for the Scandinavian Royal League.

In their impatient but unfruitful struggle to reclaim the glory of the 1960s, Brann over the years gained a reputation for inept leadership, unfounded enthusiasm or optimism and almost continuous internal unrest, deservedly or not. Since Mons Ivar Mjelde took over as manager in 2003, however, this image has changed, as the leadership has embraced continuity and extremely down-to-earth principles. Brann were now considered one of the best-run and harmonic clubs in Norway.

Being one of the biggest clubs in Norway in terms of public interest, it is generally agreed that Brann have underperformed compared to their potential at least since the mid-1970s. However, on 7 November 2004, Brann won their first title in 22 years, defeating Oslo side Lyn 4–1 in the Norwegian Cup. Bengt Sæternes scored a hat-trick within the first 35 minutes, becoming man of the match.

For most of the 2006 season Brann were top of the league and by many considered to be favourites to win the title. However, a poor run of form after the summer break, coupled with a correspondingly good run of form from arch-rivals Rosenborg meant that Brann hopefuls were disappointed.

Brann won the league in 2007, finishing six points ahead of Stabæk. The team did cause a small sensation, and bitter disappointment among tens of thousands of Brann-supporters who had gathered in Bergen to watch the game live, on 20 October by losing to Aalesund 1–2 in the 24th of 26 rounds, a match where a draw would have set aside all doubt about Brann's league win. However two days later, Viking defeated Brann's last rival to the gold medals Stabæk with a 2–1 result, thereby securing Brann the first league championship since 1963 anyway. The same season Brann also qualified for the group stage of the UEFA Cup, and advanced from the group with a win and a draw. Brann faced a tough test against Everton F.C. with the aggregated score an 8–1 loss after two games.

The 2008 season was a major disappointment for all the fans hoping to repeat the success of the 2007 season. In the league Brann finished eighth (of 14 teams) and in the national cup they reached the final 16 but was eliminated after an 8–0 loss away to Molde FK. Brann also participated in the UEFA Champions League qualifier, but was eliminated from the contest in the third qualifying round after losing both matches (home 0–1, away 1–2) against Olympique de Marseille from France. After this they played against the Spanish team Deportivo de La Coruña in the first round of the 2008–2009 edition of UEFA Cup but was eliminated on penalties after an aggregate result of 2–2. On 7 October 2008 Brann and their head coach Mons Ivar Mjelde announced that he would resign from the club at the end of the season.

Steinar Nilsen took over the team, and Brann finished fifth in the 2009 league.

2010s: Rebuilding, relegation and promotion
The 2010 season was a poor season for Brann. On 19 May the team surprisingly was knocked out of the cup after losing 0–1 to the 3rd division (fourth tier) team Fyllingen. The head coach Steinar Nilsen resigned two days later, and was replaced by Rune Skarsfjord. In the 2010 league, Brann finished in 13th place, thus securing the last spot that avoided relegation or relegation play-offs.

Expectations for Brann were low ahead of the 2011 season, with VG predicting that Brann would be relegated. Nonetheless, Brann opened the season strongly with victories over reigning league champion Rosenborg and Lillestrøm in the first and second rounds. Although the season did not continue as strongly as that, Brann remained a contender for a top three position in the league and the team also qualified to the 2011 Norwegian Football Cup Final by defeating Fredrikstad in the semi-final. Hopes for a medal were dashed however, when Brann first lost the cup final 1–2 against Aalesund, and then the last match of the league, also against Aalesund. Finally, Brann finished in fourth place.

On 28 July 2012, following his previous football team, Portsmouth going into administration, Huseklepp returned to Brann.

On 3 December 2013 Swedish manager Rikard Norling signed a contract with Brann lasting until the end of the 2016 season, after the club decided not to renew their contract with former manager Rune Skarsfjord. With him, he brought optimism to the club as Norling had recently won the league gold with Malmø FF in Sweden. The 2014 season ended disastrously, however, with relegation for the first time in 29 years. Brann had a difficult year throughout and was on a direct relegation spot for most of the season. A crucial win over Sogndal in the penultimate round lifted them to 14th place (third to last, qualification spot), and a last round win over Haugesund ensured it, allowing Brann a chance of salvaging a berth in next year's Tippeligaen through a qualifying match against the challenger Mjøndalen IF who had finished third in Adeccoligaen. However, Brann lost the qualifier after the first leg at home in Bergen on 23 November ended in a 1–1 draw, while the second leg away ended in a 3–0 victory for Mjøndalen. This result meant that Mjøndalen was promoted to the Tippeligaen at the expense of Brann who faced relegation. The following season the team continued to struggle, and after immense pressure from fans, Norling was sacked on 27 May 2015.

Two days later, Lars Arne Nilsen was hired as interim manager, and for the rest of the season, Brann performed well, eventually ending on second place and ensuring promotion with two rounds left of the season. The day after the season ended, on 2 November 2015, Nilsen was given a three-year contract.

League

 * Eliteserien:
 * Winners (3): 1961–62, 1963, 2007
 * Runners-up (7): 1951–52, 1975, 1997, 2000, 2006, 2016, 2023
 * Norwegian First Division:
 * Winners (1): 2022
 * Runners-up (1): 2015

Cup

 * Norwegian Cup:
 * Winners (7): 1923, 1925, 1972, 1976, 1982, 2004, 2022
 * Runners-up (9): 1917, 1918, 1950, 1978, 1987, 1988, 1995, 1999, 2011

Recent history

 * {|class="wikitable"

! Season ! ! Pos. ! Pl. ! W ! D ! L ! GS ! GA ! P !Cup !colspan=2|Europe !Notes
 * -bgcolor="#efefef"
 * 2005
 * Tippeligaen
 * align=right |6
 * align=right|26||align=right|10||align=right|7||align=right|9
 * align=right|43||align=right|32||align=right|37
 * Quarterfinal
 * UC|||First round
 * 2006
 * Tippeligaen
 * align=right bgcolor=silver|2
 * align=right|26||align=right|14||align=right|4||align=right|8
 * align=right|39||align=right|36||align=right|46
 * Fourth round
 * UC|||Second qualification round
 * Fair play
 * 2007
 * Tippeligaen
 * align=right bgcolor=gold|1
 * align=right|26||align=right|17||align=right|3||align=right|6
 * align=right|59||align=right|39||align=right|54
 * Fourth round
 * UC|||Last 32
 * 2008
 * Tippeligaen
 * align=right |8
 * align=right|26||align=right|8||align=right|9||align=right|9
 * align=right|36||align=right|36||align=right|33
 * Fourth round|||CL UC
 * Third qualification round First round
 * 2009
 * Tippeligaen
 * align=right |5
 * align=right|30||align=right|12||align=right|8||align=right|10
 * align=right|51||align=right|49||align=right|44
 * Quarterfinal
 * 2010
 * Tippeligaen
 * align=right |13
 * align=right|30||align=right|8||align=right|10||align=right|12
 * align=right|48||align=right|50||align=right|34
 * Second round
 * 2011
 * Tippeligaen
 * align=right |4
 * align=right|30||align=right|14||align=right|6||align=right|10
 * align=right|51||align=right|49||align=right|48
 * bgcolor=silver|Final
 * 2012
 * Tippeligaen
 * align=right |6
 * align=right|30||align=right|13||align=right|3||align=right|14
 * align=right|57||align=right|50||align=right|42
 * Semifinal
 * 2013
 * Tippeligaen
 * align=right |8
 * align=right|30||align=right|11||align=right|6||align=right|13
 * align=right|46||align=right|46||align=right|39
 * Third round
 * 2014
 * Tippeligaen
 * align=right bgcolor="#FFCCCC"| 14
 * align=right|30||align=right|8||align=right|5||align=right|17
 * align=right|41||align=right|54||align=right|29
 * Quarterfinal
 * Relegated to the 1. divisjon
 * 2015
 * 1. divisjon
 * align=right bgcolor=#DDFFDD| 2
 * align=right|30||align=right|14||align=right|11||align=right|5
 * align=right|46||align=right|35||align=right|53
 * Fourth round
 * Promoted to Tippeligaen
 * 2016
 * Tippeligaen
 * align=right bgcolor=silver|2
 * align=right|30||align=right|16||align=right|6||align=right|8
 * align=right|42||align=right|27||align=right|54
 * First round
 * 2017
 * Eliteserien
 * align=right |5
 * align=right|30||align=right|13||align=right|8||align=right|9
 * align=right|51||align=right|36||align=right|47
 * Fourth round
 * EL
 * Second qualification round
 * 2018
 * Eliteserien
 * align=right bgcolor=cc9966|3
 * align=right|30||align=right|17||align=right|7||align=right|6
 * align=right|45||align=right|31||align=right|58
 * Fourth round
 * 2019
 * Eliteserien
 * align=right |9
 * align=right|30||align=right|10||align=right|10||align=right|10
 * align=right|32||align=right|37||align=right|40
 * Fourth round
 * EL
 * First qualification round
 * 2020
 * Eliteserien
 * align=right |10
 * align=right|30||align=right|9||align=right|9||align=right|12
 * align=right|40||align=right|49||align=right|36
 * Cancelled
 * 2021
 * Eliteserien
 * align=right bgcolor="#FFCCCC"| 14
 * align=right|30||align=right|5||align=right|11||align=right|14
 * align=right|38||align=right|55||align=right|26
 * Fourth round
 * Relegated to the 1. divisjon
 * 2022
 * 1. divisjon
 * align=right bgcolor=#DDFFDD| 1
 * align=right|30||align=right|26||align=right|3||align=right|1
 * align=right|95||align=right|16||align=right|81
 * bgcolor=gold|Winner
 * Promoted to Eliteserien
 * 2023
 * Eliteserien
 * align=right bgcolor=silver|2
 * align=right|30||align=right|19||align=right|4||align=right|7
 * align=right|55||align=right|35||align=right|61
 * Quarterfinal
 * ECL
 * Play-off round
 * }
 * align=right|30||align=right|17||align=right|7||align=right|6
 * align=right|45||align=right|31||align=right|58
 * Fourth round
 * 2019
 * Eliteserien
 * align=right |9
 * align=right|30||align=right|10||align=right|10||align=right|10
 * align=right|32||align=right|37||align=right|40
 * Fourth round
 * EL
 * First qualification round
 * 2020
 * Eliteserien
 * align=right |10
 * align=right|30||align=right|9||align=right|9||align=right|12
 * align=right|40||align=right|49||align=right|36
 * Cancelled
 * 2021
 * Eliteserien
 * align=right bgcolor="#FFCCCC"| 14
 * align=right|30||align=right|5||align=right|11||align=right|14
 * align=right|38||align=right|55||align=right|26
 * Fourth round
 * Relegated to the 1. divisjon
 * 2022
 * 1. divisjon
 * align=right bgcolor=#DDFFDD| 1
 * align=right|30||align=right|26||align=right|3||align=right|1
 * align=right|95||align=right|16||align=right|81
 * bgcolor=gold|Winner
 * Promoted to Eliteserien
 * 2023
 * Eliteserien
 * align=right bgcolor=silver|2
 * align=right|30||align=right|19||align=right|4||align=right|7
 * align=right|55||align=right|35||align=right|61
 * Quarterfinal
 * ECL
 * Play-off round
 * }
 * align=right|30||align=right|26||align=right|3||align=right|1
 * align=right|95||align=right|16||align=right|81
 * bgcolor=gold|Winner
 * Promoted to Eliteserien
 * 2023
 * Eliteserien
 * align=right bgcolor=silver|2
 * align=right|30||align=right|19||align=right|4||align=right|7
 * align=right|55||align=right|35||align=right|61
 * Quarterfinal
 * ECL
 * Play-off round
 * }
 * ECL
 * Play-off round
 * }
 * }

Source:
 * CL: UEFA Champions League
 * UC: UEFA Cup
 * EL: UEFA Europa League
 * ECL: UEFA Europa Conference League

Brann in Europe
Brann's first competitive European match was a 2–0 victory (9–0 on aggregate) over Gzira United in the 1973-74 European Cup Winners' Cup. The club's most successful European efforts came at the 1996-97 UEFA Cup Winners' Cup when the club advanced to the quarterfinals, and the 2007-08 UEFA Cup, with the club advancing to the Round of 32.

UEFA club coefficient ranking
As of 8 September 2022, Source:

Current squad
For season transfers, see transfers winter 2023–24 and transfers summer 2024

Player of the year
Since 2000, Brann's official supporters' club, Bataljonen, has selected the player of the year at the end of each season.

 * 2000: 🇳🇴 Roy Wassberg
 * 2001: 🇳🇴 Raymond Kvisvik
 * 2002: 🇳🇴 Tommy Knarvik
 * 2003: 🇳🇴 Raymond Kvisvik
 * 2004: 🇳🇴 Ragnvald Soma
 * 2005: 🇦🇹 Paul Scharner
 * 2006: 🇳🇴 Håkon Opdal
 * 2007: 🇳🇴 Thorstein Helstad
 * 2008: 🇮🇸 Olafur Örn Bjarnason
 * 2009: 🇳🇴 Erik Huseklepp
 * 2010: 🇳🇴 Petter Vaagan Moen
 * 2011: 🇯🇲 Rodolph Austin
 * 2012: 🇵🇱 Piotr Leciejewski
 * 2013: 🇵🇱 Piotr Leciejewski
 * 2014: 🇸🇳 Stéphane Badji
 * 2015: 🇳🇴 Vadim Demidov
 * 2016: 🇳🇴 Vadim Demidov
 * 2017: 🇳🇱 Vito Wormgoor
 * 2018: 🇳🇴 Fredrik Haugen
 * 2019: 🇳🇴 Håkon Opdal
 * 2020: 🇳🇴 Ole Martin Kolskogen
 * 2022: 🇳🇴 Mathias Rasmussen
 * 2023: 🇳🇴 Bård Finne

Coaches

 * Karl Geyer (1938–39)
 * Billy Cook (1947)
 * Alf Young (1948)
 * Billy Cook (1949–51)
 * George Ainsley (1955)
 * Oddvar Hansen (1955–57), (1960–63)
 * Josef Stroh (1 January 1964 – 31 December 1964)
 * Oddvar Hansen (1965–68)
 * Karol Bučko (1969–72)
 * Ray Freeman (1972–73)
 * Billy Elliott (1974–78)
 * Les Shannon (1 January 1980 – 31 December 1981)
 * Arve Mokkelbost (1982–83)
 * Tony Knapp (1 January 1986 – 31 December 1987)
 * Teitur Thordarson (1 January 1988 – 31 December 1990)
 * Kalle Björklund (1 January 1991 – 31 December 1992)
 * Hallvar Thoresen (1 January 1993 – 25 June 1995)
 * Kjell Tennfjord (25 June 1995 – 5 July 1998)
 * Harald Aabrekk (9 July 1998 – 31 December 1999)
 * Teitur Thordarson (1 January 2000 – 31 December 2002)
 * Mons Ivar Mjelde (1 January 2003 – 31 December 2008)
 * Steinar Nilsen (1 January 2009 – 21 May 2010)
 * Rune Skarsfjord, interim (22 May 2010 – 31 December 2010)
 * Rune Skarsfjord (1 January 2011 – 6 November 2013)
 * Kenneth Mikkelsen, interim (6 November 2013 – 31 December 2013)
 * Rikard Norling (1 January 2014 – 27 May 2015)
 * Lars Arne Nilsen (29 May 2015 – 3 August 2020)
 * Kåre Ingebrigtsen (8 August 2020 – 19 July 2021)
 * Eirik Horneland, interim (20 July 2021 – 19 November 2021)
 * Eirik Horneland (19 November 2021 – )

Women's team
Previously known as IL Sandviken Kvinner, the women's football team of SK Brann plays in Norway's top league, Toppserien. Starting in 2024, the team plays their home games at Brann Stadion.

History
The team used to be part of IL Sandviken. Sandviken's women's team won the Toppserien in 2021, and the Norwegian Women's Cup in 1995. The team was renamed SK Brann Kvinner ahead of the 2022 season, and in January 2023 they were fully merged with Brann. In their first season, Brann were crowned champions of both the 2022 Toppserien and the 2022 Norwegian Women's Cup.

Honours

 * Toppserien
 * Winners (2): 2021, 2022
 * Runners-up (1): 1996

 * Norwegian Cup
 * Winners (2): 1995, 2022
 * Runners-up (3): 1991, 2018, 2021

Recent seasons

 * {|class="wikitable"

! Season ! ! Pos. ! Pl. ! W ! D ! L ! GS ! GA ! P !Cup !Notes Source:
 * -bgcolor="#efefef"
 * 2004
 * TS
 * align=right |7
 * align=right|18||align=right|4||align=right|6||align=right|8
 * align=right|23||align=right|44||align=right|18
 * 3rd round
 * 2005
 * TS
 * align=right |8
 * align=right|18||align=right|4||align=right|3||align=right|11
 * align=right|25||align=right|58||align=right|15
 * 3rd round
 * 2006
 * TS
 * align=right |8
 * align=right|18||align=right|4||align=right|1||align=right|13
 * align=right|25||align=right|63||align=right|13
 * 3rd round
 * 2007
 * TS
 * align=right bgcolor="#FFCCCC"| 11
 * align=right|22||align=right|2||align=right|3||align=right|17
 * align=right|16||align=right|76||align=right|9
 * 3rd round
 * Relegated
 * 2008
 * D1
 * align=right bgcolor=#DDFFDD| 1
 * align=right|18||align=right|15||align=right|2||align=right|1
 * align=right|63||align=right|13||align=right|47
 * 3rd round
 * Promoted
 * 2009
 * TS
 * align=right bgcolor="#FFCCCC"| 11
 * align=right|22||align=right|3||align=right|2||align=right|17
 * align=right|20||align=right|72||align=right|11
 * 3rd round
 * Relegated
 * 2010
 * D1
 * align=right bgcolor=#DDFFDD| 1
 * align=right|22||align=right|16||align=right|5||align=right|1
 * align=right|69||align=right|24||align=right|53
 * 3rd round
 * Promoted
 * 2011
 * TS
 * align=right |10
 * align=right|22||align=right|5||align=right|4||align=right|13
 * align=right|24||align=right|51||align=right|19
 * 3rd round
 * 2012
 * TS
 * align=right |6
 * align=right|22||align=right|9||align=right|2||align=right|11
 * align=right|45||align=right|51||align=right|29
 * Quarter-finals
 * 2013
 * TS
 * align=right bgcolor="#FFCCCC"| 12
 * align=right|22||align=right|3||align=right|1||align=right|18
 * align=right|19||align=right|56||align=right|10
 * 3rd round
 * Relegated
 * 2014
 * D1
 * align=right bgcolor=#DDFFDD| 1
 * align=right|22||align=right|21||align=right|1||align=right|0
 * align=right|90||align=right|10||align=right|64
 * 3rd round
 * Promoted
 * 2015
 * TS
 * align=right |9
 * align=right|22||align=right|5||align=right|6||align=right|11
 * align=right|23||align=right|36||align=right|21
 * Quarter-finals
 * 2016
 * TS
 * align=right |6
 * align=right|22||align=right|7||align=right|6||align=right|9
 * align=right|29||align=right|28||align=right|27
 * Quarter-finals
 * 2017
 * TS
 * align=right |9
 * align=right|22||align=right|4||align=right|6||align=right|12
 * align=right|23||align=right|34||align=right|18
 * 3rd round
 * 2018
 * TS
 * align=right |4
 * align=right|22||align=right|11||align=right|6||align=right|5
 * align=right|42||align=right|29||align=right|39
 * bgcolor=silver|Runners-up
 * 2019
 * TS
 * align=right |4
 * align=right|22||align=right|12||align=right|4||align=right|6
 * align=right|43||align=right|32||align=right|40
 * Quarter-finals
 * 2020
 * TS
 * align=right |4
 * align=right|18||align=right|9||align=right|3||align=right|6
 * align=right|29||align=right|23||align=right|30
 * Semi-finals
 * 2021
 * TS
 * align=right bgcolor=gold| 1
 * align=right|18||align=right|17||align=right|1||align=right|0
 * align=right|50||align=right|6||align=right|52
 * bgcolor=silver|Runners-up
 * rowspan=2|2022
 * rowspan=2|TS
 * rowspan=2 align=right bgcolor=gold| 1
 * align=right|18||align=right|14||align=right|3||align=right|1
 * align=right|53||align=right|13||align=right|45
 * rowspan=2 bgcolor=gold|Winners
 * rowspan=2|
 * align=right|6||align=right|4||align=right|2||align=right|0
 * align=right|10||align=right|4||align=right|20
 * 2023
 * TS
 * align=right | 4
 * align=right|27||align=right|13||align=right|7||align=right|7
 * align=right|52||align=right|30||align=right|46
 * Quarter-finals
 * }
 * TS
 * align=right |4
 * align=right|18||align=right|9||align=right|3||align=right|6
 * align=right|29||align=right|23||align=right|30
 * Semi-finals
 * 2021
 * TS
 * align=right bgcolor=gold| 1
 * align=right|18||align=right|17||align=right|1||align=right|0
 * align=right|50||align=right|6||align=right|52
 * bgcolor=silver|Runners-up
 * rowspan=2|2022
 * rowspan=2|TS
 * rowspan=2 align=right bgcolor=gold| 1
 * align=right|18||align=right|14||align=right|3||align=right|1
 * align=right|53||align=right|13||align=right|45
 * rowspan=2 bgcolor=gold|Winners
 * rowspan=2|
 * align=right|6||align=right|4||align=right|2||align=right|0
 * align=right|10||align=right|4||align=right|20
 * 2023
 * TS
 * align=right | 4
 * align=right|27||align=right|13||align=right|7||align=right|7
 * align=right|52||align=right|30||align=right|46
 * Quarter-finals
 * }
 * TS
 * align=right | 4
 * align=right|27||align=right|13||align=right|7||align=right|7
 * align=right|52||align=right|30||align=right|46
 * Quarter-finals
 * }
 * }

title: SK Brann