BrownHairedGirl

The committee held public hearings in each of the five boroughs of New York City.<ref>{{Cite web|url=https://www1.nyc.gov/assets/doitt/downloads/pdf/case_50-c-0616_intermodal_proceeding_white_paper_reply_comments.pdf|title=State of New York Public Service Commission|website=The Official Website of the City of New York}}</ref>

The committee held public hearings in each of the five boroughs of New York City.<ref>{{Cite web|url=https://www1.nyc.gov/assets/doitt/downloads/pdf/case_50-c-0616_intermodal_proceeding_white_paper_reply_comments.pdf|title=State of New York Public Service Commission|website=The Official Website of the City of New York}}</ref>

In addition, the city’s [[economic development corporation]] commissioned a report <ref>http://www.crainsnewyork.com/article/20080730/FREE/885157559/broadband-study-600000-nyers-not-connected</ref> on the city’s digital divide.

In addition, the city’s [[economic development corporation]] commissioned a report <ref>http://www.crainsnewyork.com/article/20080730/FREE/885157559/broadband-study-600000-nyers-not-connected {{Bare URL inline|date=December 2021}}</ref> on the city’s digital divide.

==References==

==References==

==Singles==

==Singles==

“Damn” was the first and lead single off the album, featuring R&B singer [[Ray-J]] and released on May 25, 2010. The official music video to the song was released on July 14, 2010, and it features cameo appearances by [[Ray-J]], [[Cashis]], Zoo Life, and Sun.<ref>{{cite web|author=THE ICON – July 20, 2010 at 8:31 am |url=http://www.ballerstatus.com/2010/07/14/big-bad-40-ft-ray-j-damn-music-video/ |title=Big Bad 40 ft. Ray J: Damn (Music Video) |publisher=Ballerstatus |date=2010-07-14 |accessdate=2011-03-12}}</ref> The official remix to the song is featuring [[Yo Gotti]] & [[Twista]].<ref>{{cite web |url=https://www.twitter.com/account/profile_image/40GLOCC?hreflang=en |title=Twitter |publisher=Twitter |date= |accessdate=2011-03-12 }}{{dead link|date=February 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

“Damn” was the first and lead single off the album, featuring R&B singer [[Ray-J]] and released on May 25, 2010. The official music video to the song was released on July 14, 2010, and it features cameo appearances by [[Ray-J]], [[Cashis]], Zoo Life, and Sun.<ref>{{cite web|author=THE ICON – July 20, 2010 at 8:31 am |url=http://www.ballerstatus.com/2010/07/14/big-bad-40-ft-ray-j-damn-music-video/ |title=Big Bad 40 ft. Ray J: Damn (Music Video) |publisher=Ballerstatus |date=2010-07-14 |accessdate=2011-03-12}}</ref> The official remix to the song is featuring [[Yo Gotti]] & [[Twista]].<ref>{{cite web |url=https://www.twitter.com/account/profile_image/40GLOCC?hreflang=en |title=Twitter |publisher=Twitter |date= |accessdate=2011-03-12 }} {{dead link|date=February 2018 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

“Welcome 2 California,” was the second official single off the album on July 6, 2010, and features Sevin on the chorus of the song.<ref>{{cite web |author=tampabaybucsfan |url=http://vodpod.com/watch/3808574-big-bad-40-a-k-a-40-glocc-welcome-to-california-feat-seven |title=Big Bad 40 (a.k.a. 40 Glocc) – Welcome To California (feat. Seven) Video |publisher=Vodpod.com |accessdate=2011-03-12 |url-status=dead |archiveurl=https://web.archive.org/web/20100625025321/http://vodpod.com/watch/3808574-big-bad-40-a-k-a-40-glocc-welcome-to-california-feat-seven |archivedate=2010-06-25 }}</ref> The official remix features [[MC Eiht]], [[E-40]], [[Snoop Dogg]], [[Too Short]], [[B.G. Knocc Out]], & [[Xzibit]]. This remix was released July 13, 2010, and the music video was released on July 20, 2011.<ref>{{cite web|url=https://itunes.apple.com/us/album/welcome-to-california-remix/id380433681 |title=Welcome to California (Remix) [feat. E-40, Sevin, Snoop Dogg, Too Short & Xzibit] – Single by 40 Glocc – Download Welcome to California (Remix) [feat. E-40, Sevin, Snoop Dogg, Too Short & Xzibit] – Single on iTunes |publisher=Itunes.apple.com |date=2010-07-13 |accessdate=2011-03-12}}</ref>

“Welcome 2 California,” was the second official single off the album on July 6, 2010, and features Sevin on the chorus of the song.<ref>{{cite web |author=tampabaybucsfan |url=http://vodpod.com/watch/3808574-big-bad-40-a-k-a-40-glocc-welcome-to-california-feat-seven |title=Big Bad 40 (a.k.a. 40 Glocc) – Welcome To California (feat. Seven) Video |publisher=Vodpod.com |accessdate=2011-03-12 |url-status=dead |archiveurl=https://web.archive.org/web/20100625025321/http://vodpod.com/watch/3808574-big-bad-40-a-k-a-40-glocc-welcome-to-california-feat-seven |archivedate=2010-06-25 }}</ref> The official remix features [[MC Eiht]], [[E-40]], [[Snoop Dogg]], [[Too Short]], [[B.G. Knocc Out]], & [[Xzibit]]. This remix was released July 13, 2010, and the music video was released on July 20, 2011.<ref>{{cite web|url=https://itunes.apple.com/us/album/welcome-to-california-remix/id380433681 |title=Welcome to California (Remix) [feat. E-40, Sevin, Snoop Dogg, Too Short & Xzibit] – Single by 40 Glocc – Download Welcome to California (Remix) [feat. E-40, Sevin, Snoop Dogg, Too Short & Xzibit] – Single on iTunes |publisher=Itunes.apple.com |date=2010-07-13 |accessdate=2011-03-12}}</ref>

==Track list==

==Track list==

<ref>http://www.hiphopdx.com/index/news/id.18162/title.40-glocc-enlists-prodigy-chamillionaire-more-for-new-world-agenda</ref><ref>http://www.dubcnn.com/cgi-bin/coranto/viewnews.cgi?id=EFkVVplZVEKBLZvppJ</ref>

<ref>http://www.hiphopdx.com/index/news/id.18162/title.40-glocc-enlists-prodigy-chamillionaire-more-for-new-world-agenda {{Bare URL inline|date=December 2021}}</ref><ref>http://www.dubcnn.com/cgi-bin/coranto/viewnews.cgi?id=EFkVVplZVEKBLZvppJ</ref>

{{tracklist

{{tracklist

| extra_column = Producer(s)

| extra_column = Producer(s)

{{Use mdy dates|date=March 2021}}

{{short description|Artistic and philosophical movement}}

{{short description|Artistic and philosophical movement}}

{{Use mdy dates|date=March 2021}}

”’New Sincerity”’ (closely related to and sometimes described as synonymous with [[post-postmodernism]]) is a trend in [[music]], [[aesthetics]], [[literary fiction]], [[film criticism]], [[poetry]], [[literary criticism]] and [[philosophy]] that generally describes creative works that expand upon and break away from concepts of [[postmodernism|postmodernist]] [[irony]] and [[Cynicism (contemporary)|cynicism]].

”’New Sincerity”’ (closely related to and sometimes described as synonymous with [[post-postmodernism]]) is a trend in [[music]], [[aesthetics]], [[literary fiction]], [[film criticism]], [[poetry]], [[literary criticism]] and [[philosophy]] that generally describes creative works that expand upon and break away from concepts of [[postmodernism|postmodernist]] [[irony]] and [[Cynicism (contemporary)|cynicism]].

“New Sincerity” was used as a collective name for a loose group of [[alternative rock]] bands, centered in [[Austin, Texas]], in the years from about 1985 to 1990, who were perceived as reacting to the ironic outlook of then-prominent music movements like [[punk rock]] and [[New wave music|new wave]]. The use of “New Sincerity” in connection with these bands began with an off-handed comment by Austin punk rocker/author [[Jesse Sublett]] to his friend, local music writer [[Margaret Moser]]. According to author Barry Shank, Sublett said: “All those new sincerity bands, they’re crap.”<ref name=”Shank”>Barry Shank, [https://books.google.com/books?as_isbn=9780819562760 ”Dissonant Identities: The Rock’N’Roll Scene in Austin, Texas”] ([[Wesleyan University Press]], 1994) ({{ISBN|9780819562760}}), p. 148–149 & p.271 n.84. ([https://books.google.com/books?id=v79of-KXnfgC&lpg=PP1&vq=crap&pg=RA1-PA171#v=snippet&q=%22all%20those%20new%20sincerity%20bands%22&f=false excerpt available] at [[Google Books]]).</ref> Sublett (at his own website) states that he was misquoted, and actually told Moser, “It’s all new sincerity to me … It’s not my cup of tea.”<ref>[https://web.archive.org/web/20100122071814/http://jessesublett.wordpress.com/the-skunks-the-band-that-blasted-austin-out-of-the-1970s/ “Jesse’s Music Bio”] at [http://jessesublett.wordpress.com/ ”Jesse Sublett’s Little Black Book”] (retrieved September 18, 2009).</ref> In any event, Moser began using the term in print, and it ended up becoming the catch phrase for these bands.<ref name=”Shank” /><ref>Peter Blackstock, [http://www.nodepression.net/blogs/peter/2008/01/_is_it_worth_the_admission.html “‘is it worth the admission….'”] {{webarchive|url=https://web.archive.org/web/20081204134302/http://www.nodepression.net/blogs/peter/2008/01/_is_it_worth_the_admission.html |date=December 4, 2008 }}, ”[[No Depression (magazine)|No Depression]]” blog post dated January 15, 2008.</ref><ref>Regarding [[Jesse Sublett]] and his band, [[The Skunks]], ”see” Ken Lieck, [http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid%3A79685 “Young, Loud, and Cheap: The Skunks, the Band That Broke Austin Out of the Seventies”], ”[[Austin Chronicle]]”, December 8, 2000, ”and” Jesse Sublett, ”Never the Same Again: A Rock ‘N’ Roll Gothic” (Ten Speed Press, 2004), {{ISBN|978-1-58008-598-4}} ([https://books.google.com/books?id=-6yPxcrGqfMC&lpg=PP1&dq=Jesse%20Sublett&pg=PP1#v=onepage&q=&f=false excerpts available] at [[Google Books]]).</ref>

“New Sincerity” was used as a collective name for a loose group of [[alternative rock]] bands, centered in [[Austin, Texas]], in the years from about 1985 to 1990, who were perceived as reacting to the ironic outlook of then-prominent music movements like [[punk rock]] and [[New wave music|new wave]]. The use of “New Sincerity” in connection with these bands began with an off-handed comment by Austin punk rocker/author [[Jesse Sublett]] to his friend, local music writer [[Margaret Moser]]. According to author Barry Shank, Sublett said: “All those new sincerity bands, they’re crap.”<ref name=”Shank”>Barry Shank, [https://books.google.com/books?as_isbn=9780819562760 ”Dissonant Identities: The Rock’N’Roll Scene in Austin, Texas”] ([[Wesleyan University Press]], 1994) ({{ISBN|9780819562760}}), p. 148–149 & p.271 n.84. ([https://books.google.com/books?id=v79of-KXnfgC&lpg=PP1&vq=crap&pg=RA1-PA171#v=snippet&q=%22all%20those%20new%20sincerity%20bands%22&f=false excerpt available] at [[Google Books]]).</ref> Sublett (at his own website) states that he was misquoted, and actually told Moser, “It’s all new sincerity to me … It’s not my cup of tea.”<ref>[https://web.archive.org/web/20100122071814/http://jessesublett.wordpress.com/the-skunks-the-band-that-blasted-austin-out-of-the-1970s/ “Jesse’s Music Bio”] at [http://jessesublett.wordpress.com/ ”Jesse Sublett’s Little Black Book”] (retrieved September 18, 2009).</ref> In any event, Moser began using the term in print, and it ended up becoming the catch phrase for these bands.<ref name=”Shank” /><ref>Peter Blackstock, [http://www.nodepression.net/blogs/peter/2008/01/_is_it_worth_the_admission.html “‘is it worth the admission….'”] {{webarchive|url=https://web.archive.org/web/20081204134302/http://www.nodepression.net/blogs/peter/2008/01/_is_it_worth_the_admission.html |date=December 4, 2008 }}, ”[[No Depression (magazine)|No Depression]]” blog post dated January 15, 2008.</ref><ref>Regarding [[Jesse Sublett]] and his band, [[The Skunks]], ”see” Ken Lieck, [http://www.austinchronicle.com/gyrobase/Issue/story?oid=oid%3A79685 “Young, Loud, and Cheap: The Skunks, the Band That Broke Austin Out of the Seventies”], ”[[Austin Chronicle]]”, December 8, 2000, ”and” Jesse Sublett, ”Never the Same Again: A Rock ‘N’ Roll Gothic” (Ten Speed Press, 2004), {{ISBN|978-1-58008-598-4}} ([https://books.google.com/books?id=-6yPxcrGqfMC&lpg=PP1&dq=Jesse%20Sublett&pg=PP1#v=onepage&q=&f=false excerpts available] at [[Google Books]]).</ref>

Nationally, the most successful “New Sincerity” band was [[The Reivers (band)|The Reivers]] (originally called Zeitgeist), who released four well-received albums between 1985 and 1991. [[True Believers (band)|True Believers]], led by [[Alejandro Escovedo]] and [[Jon Dee Graham]], also received extensive critical praise and local acclaim in Austin, but the band had difficulty capturing its live sound on recordings, among other problems.<ref>[{{Allmusic|class=artist|id=p27102|pure_url=yes}} True Believers] at [[Allmusic]].</ref> Other important “New Sincerity” bands included Doctors Mob,<ref>Kent H. Benjamin, [http://weeklywire.com/ww/08-30-99/austin_music_feature2.html “Why Should Anyone Care Now?”], ”[[Austin Chronicle]] Weekly Wire” August 30, 1999.</ref><ref>[{{Allmusic|class=artist|id=p26360|pure_url=yes}} Doctors Mob] at [[Allmusic]].</ref> [[Wild Seeds]],<ref>[{{Allmusic|class=artist|id=p27169|pure_url=yes}} Wild Seeds] at [[Allmusic]].</ref> and [[Glass Eye (band)|Glass Eye]].<ref>[{{Allmusic|class=artist|id=p4370|pure_url=yes}} Glass Eye] at [[Allmusic]].</ref> Another significant “New Sincerity” figure was the eccentric, critically acclaimed songwriter [[Daniel Johnston]].<ref name=”Shank” /><ref>{{Cite web|url=https://www.pastemagazine.com/politics/donald-trump-and-the-new-sincerity-artists-have-mo/|title=Donald Trump and the “New Sincerity” Artists Have More in Common Than Either Would Like to Admit|date=August 9, 2016|website=pastemagazine.com}}</ref>

Nationally, the most successful “New Sincerity” band was [[The Reivers (band)|The Reivers]] (originally called Zeitgeist), who released four well-received albums between 1985 and 1991. [[True Believers (band)|True Believers]], led by [[Alejandro Escovedo]] and [[Jon Dee Graham]], also received extensive critical praise and local acclaim in Austin, but the band had difficulty capturing its live sound on recordings, among other problems.<ref>[{{AllMusic|class=artist|id=p27102|pure_url=yes}} True Believers] at [[Allmusic]].</ref> Other important “New Sincerity” bands included Doctors Mob,<ref>Kent H. Benjamin, [http://weeklywire.com/ww/08-30-99/austin_music_feature2.html “Why Should Anyone Care Now?”], ”[[Austin Chronicle]] Weekly Wire” August 30, 1999.</ref><ref>[{{AllMusic|class=artist|id=p26360|pure_url=yes}} Doctors Mob] at [[Allmusic]].</ref> [[Wild Seeds]],<ref>[{{AllMusic|class=artist|id=p27169|pure_url=yes}} Wild Seeds] at [[Allmusic]].</ref> and [[Glass Eye (band)|Glass Eye]].<ref>[{{AllMusic|class=artist|id=p4370|pure_url=yes}} Glass Eye] at [[Allmusic]].</ref> Another significant “New Sincerity” figure was the eccentric, critically acclaimed songwriter [[Daniel Johnston]].<ref name=”Shank” /><ref>{{Cite web|url=https://www.pastemagazine.com/politics/donald-trump-and-the-new-sincerity-artists-have-mo/|title=Donald Trump and the “New Sincerity” Artists Have More in Common Than Either Would Like to Admit|date=August 9, 2016|website=pastemagazine.com}}</ref>

Despite extensive critical attention (including national coverage in ”[[Rolling Stone]]” and a 1985 episode of the [[MTV]] program ”[[I.R.S. Records Presents The Cutting Edge|The Cutting Edge]]”), none of the “New Sincerity” bands met with much commercial success, and the “scene” ended within a few years.<ref>Kristin Gorski, [http://annabellemagazine.com/annabelle%20issue%2012/08Z.html Almost Famous: The Austin Texas Soundtrack Circa 1985] {{Webarchive|url=https://web.archive.org/web/20081016105433/http://www.annabellemagazine.com/annabelle%20issue%2012/08Z.html |date=October 16, 2008 }}, ”Annabelle Magazine”, No. 12 (2006).</ref><ref>Michael Corcoran, “The New Sincerity: Austin in the Eighties”, reprinted in Michael Corcoran, ”All Over the Map: True Heroes of Texas Music” (University of Texas Press, 2005), {{ISBN|978-0-292-70976-8}}, pp. 150–156.</ref>

Despite extensive critical attention (including national coverage in ”[[Rolling Stone]]” and a 1985 episode of the [[MTV]] program ”[[I.R.S. Records Presents The Cutting Edge|The Cutting Edge]]”), none of the “New Sincerity” bands met with much commercial success, and the “scene” ended within a few years.<ref>Kristin Gorski, [http://annabellemagazine.com/annabelle%20issue%2012/08Z.html Almost Famous: The Austin Texas Soundtrack Circa 1985] {{Webarchive|url=https://web.archive.org/web/20081016105433/http://www.annabellemagazine.com/annabelle%20issue%2012/08Z.html |date=October 16, 2008 }}, ”Annabelle Magazine”, No. 12 (2006).</ref><ref>Michael Corcoran, “The New Sincerity: Austin in the Eighties”, reprinted in Michael Corcoran, ”All Over the Map: True Heroes of Texas Music” (University of Texas Press, 2005), {{ISBN|978-0-292-70976-8}}, pp. 150–156.</ref>

A review of a 2016 play by [[Alena Smith]] ”The New Sincerity” observes that it ‘captures the spirit of an age lightly lived and easily forgotten, which strives for a significance and a magnitude that won’t be easily achieved’.<ref>{{cite web |last1= Hsiao |first1=Irene|title=Review: The New Sincerity/Theater Wit|url=https://www.newcitystage.com/2016/03/11/review-the-new-sinceritytheater-wit/ |website=NewCityStage |date=March 11, 2016|access-date=January 30, 2021}}</ref>

A review of a 2016 play by [[Alena Smith]] ”The New Sincerity” observes that it ‘captures the spirit of an age lightly lived and easily forgotten, which strives for a significance and a magnitude that won’t be easily achieved’.<ref>{{cite web |last1= Hsiao |first1=Irene|title=Review: The New Sincerity/Theater Wit|url=https://www.newcitystage.com/2016/03/11/review-the-new-sinceritytheater-wit/ |website=NewCityStage |date=March 11, 2016|access-date=January 30, 2021}}</ref>

In the early 2020’s, the shift toward a more overt embrace of New Sincerity was codified in James Poniewozik’s New York Times piece titled, “How TV Went From David Brent to Ted Lasso.”<ref>[https://www.nytimes.com/2021/07/26/arts/television/ted-lasso-the-office.html Ted Lasso Leads a New Era of Sincere TV – The New York Times]</ref> Poniewozik details the shift, arguing that “In TV’s ambitious comedies, as well as dramas, the arc of the last 20 years is not from bold risk-taking to spineless inoffensiveness. But it is, in broad terms, a shift from irony to sincerity. By “irony” here, I don’t mean the popular equation of the term with cynicism or snark. I mean an ironic mode of narrative, in which what a show ‘thinks’ is different from what its protagonist does. Two decades ago, TV’s most distinctive stories were defined by a tone of dark or acerbic detachment. Today, they’re more likely to be earnest and direct.” Poniewozik goes on to address possible impetus for doing away with the disjoint between writer and character ascribing some cause to what Emily Nussbaum calls “Bad Fans”,<ref>{{Cite web|url=https://www.newyorker.com/culture/culture-desk/that-mind-bending-phone-call-on-last-nights-breaking-bad|title = That Mind-Bending Phone Call on Last Night’s “Breaking Bad”|date = September 16, 2013}}</ref> but the thrust of his critique centers on the possible shift towards the representation of new and previously unrepresented voices. As Poniewozik puts it, “In some cases, it’s also a question of who has gotten to make TV since 2001. Antiheroes like David Brent and Tony Soprano, after all, came along after white guys like them had centuries to be heroes. The voices and faces of the medium have diversified, and if you’re telling the stories of people and communities that TV never made room for before, skewering might not be your first choice of tone. I don’t want to oversimplify this: Series like “Atlanta,” “Ramy,” “Master of None” and “Insecure” all have complex stances toward their protagonists. But they also have more sympathy toward them than, say, “Arrested Development.” <ref>{{Cite news|url=https://www.nytimes.com/2021/07/26/arts/television/ted-lasso-the-office.html|title = How TV Went from David Brent to Ted Lasso|newspaper = The New York Times|date = July 26, 2021|last1 = Poniewozik|first1 = James}}</ref> With this perspective in mind and the populous shift towards an embrace of diverse views and opinions,<ref>https://www.gallup.com/workplace/352742/diversity-equity-inclusion-lessons-231-chros.aspx</ref> the appearance of new sincerity in film and television is understandable if not expected. However, it is important to note that prior to the current shift towards New Sincerity, popular culture had embraced a period of “High Irony”, as Poniewozik deems it.<ref>{{Cite news|url=https://www.nytimes.com/2021/07/26/arts/television/ted-lasso-the-office.html|title = How TV Went from David Brent to Ted Lasso|newspaper = The New York Times|date = July 26, 2021|last1 = Poniewozik|first1 = James}}</ref> Beth Webb provides an illuminating take on this in her article, “Ghost World, Donnie Darko and cinema’s ultimate teen rebels” for BBC.<ref>{{Cite web|url=https://www.bbc.com/culture/article/20210716-ghost-world-donnie-darko-and-cinemas-ultimate-teen-rebels|title=Ghost World, Donnie Darko and cinema’s ultimate teen rebels}}</ref>

In the early 2020’s, the shift toward a more overt embrace of New Sincerity was codified in James Poniewozik’s New York Times piece titled, “How TV Went From David Brent to Ted Lasso.”<ref>[https://www.nytimes.com/2021/07/26/arts/television/ted-lasso-the-office.html Ted Lasso Leads a New Era of Sincere TV – The New York Times]</ref> Poniewozik details the shift, arguing that “In TV’s ambitious comedies, as well as dramas, the arc of the last 20 years is not from bold risk-taking to spineless inoffensiveness. But it is, in broad terms, a shift from irony to sincerity. By “irony” here, I don’t mean the popular equation of the term with cynicism or snark. I mean an ironic mode of narrative, in which what a show ‘thinks’ is different from what its protagonist does. Two decades ago, TV’s most distinctive stories were defined by a tone of dark or acerbic detachment. Today, they’re more likely to be earnest and direct.” Poniewozik goes on to address possible impetus for doing away with the disjoint between writer and character ascribing some cause to what Emily Nussbaum calls “Bad Fans”,<ref>{{Cite web|url=https://www.newyorker.com/culture/culture-desk/that-mind-bending-phone-call-on-last-nights-breaking-bad|title = That Mind-Bending Phone Call on Last Night’s “Breaking Bad”|date = September 16, 2013}}</ref> but the thrust of his critique centers on the possible shift towards the representation of new and previously unrepresented voices. As Poniewozik puts it, “In some cases, it’s also a question of who has gotten to make TV since 2001. Antiheroes like David Brent and Tony Soprano, after all, came along after white guys like them had centuries to be heroes. The voices and faces of the medium have diversified, and if you’re telling the stories of people and communities that TV never made room for before, skewering might not be your first choice of tone. I don’t want to oversimplify this: Series like “Atlanta,” “Ramy,” “Master of None” and “Insecure” all have complex stances toward their protagonists. But they also have more sympathy toward them than, say, “Arrested Development.” <ref name=”nytimes.com”>{{Cite news|url=https://www.nytimes.com/2021/07/26/arts/television/ted-lasso-the-office.html|title = How TV Went from David Brent to Ted Lasso|newspaper = The New York Times|date = July 26, 2021|last1 = Poniewozik|first1 = James}}</ref> With this perspective in mind and the populous shift towards an embrace of diverse views and opinions,<ref>https://www.gallup.com/workplace/352742/diversity-equity-inclusion-lessons-231-chros.aspx {{Bare URL inline|date=December 2021}}</ref> the appearance of new sincerity in film and television is understandable if not expected. However, it is important to note that prior to the current shift towards New Sincerity, popular culture had embraced a period of “High Irony”, as Poniewozik deems it.<ref name=“nytimes.com“/> Beth Webb provides an illuminating take on this in her article, “Ghost World, Donnie Darko and cinema’s ultimate teen rebels” for BBC.<ref>{{Cite web|url=https://www.bbc.com/culture/article/20210716-ghost-world-donnie-darko-and-cinemas-ultimate-teen-rebels|title=Ghost World, Donnie Darko and cinema’s ultimate teen rebels}}</ref>

==Regional variants==

==Regional variants==

==Club career==

==Club career==

He formerly played for [[Kuala Lumpur FA]].<ref>http://www.nst.com.my/nst/articles/pdoihjoisjv/Article</ref> He also played for [[UiTM FC]], where he helps them to win various varsity championships, among them [[Liga IPT]] 2010.<ref>http://www.bharian.com.my/bharian/articles/2010072913173320100729131733/Article/print_html</ref><ref>http://www.bharian.com.my/bharian/articles/UiTMjuaraPialaMasum2010/Article/index_html</ref>

He formerly played for [[Kuala Lumpur FA]].<ref>http://www.nst.com.my/nst/articles/pdoihjoisjv/Article {{Bare URL inline|date=December 2021}}</ref> He also played for [[UiTM FC]], where he helps them to win various varsity championships, among them [[Liga IPT]] 2010.<ref>http://www.bharian.com.my/bharian/articles/2010072913173320100729131733/Article/print_html</ref><ref>http://www.bharian.com.my/bharian/articles/UiTMjuaraPialaMasum2010/Article/index_html</ref>

He agreed to join [[Perak FA]] for the [[2012 Malaysia Super League]].<ref>http://www.bernama.com/bernama/v5/newsindex.php?id=623836</ref><ref>{{cite web |url=http://www.peraknews.com/v3/perak-gugur-sembilan-pemain-bagi-menghadapi-liga-super-akan-datang/ |title=Archived copy |access-date=2012-02-14 |url-status=dead |archive-url=https://web.archive.org/web/20111107143743/http://www.peraknews.com/v3/perak-gugur-sembilan-pemain-bagi-menghadapi-liga-super-akan-datang/ |archive-date=7 November 2011 |df=dmy-all }}</ref> He played for them for only that season, before being released at the end of the season.

He agreed to join [[Perak FA]] for the [[2012 Malaysia Super League]].<ref>http://www.bernama.com/bernama/v5/newsindex.php?id=623836</ref><ref>{{cite web |url=http://www.peraknews.com/v3/perak-gugur-sembilan-pemain-bagi-menghadapi-liga-super-akan-datang/ |title=Archived copy |access-date=2012-02-14 |url-status=dead |archive-url=https://web.archive.org/web/20111107143743/http://www.peraknews.com/v3/perak-gugur-sembilan-pemain-bagi-menghadapi-liga-super-akan-datang/ |archive-date=7 November 2011 |df=dmy-all }}</ref> He played for them for only that season, before being released at the end of the season.

==International career==

==International career==

He was selected to represent [[Malaysia]] varsity national football team in various international varsity championships like [[International University Sports Federation|FISU]] World Cup and [[Universiade]].<ref>http://www.mmail.com.my/content/82647-malaysia-varsity-world-cup{{Dead link|date=August 2019 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref>http://www.utusan.com.my/utusan/info.asp?y=2011&dt=0811&pub=Utusan_Malaysia&sec=Sukan&pg=su_04.htm</ref>

He was selected to represent [[Malaysia]] varsity national football team in various international varsity championships like [[International University Sports Federation|FISU]] World Cup and [[Universiade]].<ref>http://www.mmail.com.my/content/82647-malaysia-varsity-world-cup {{Dead link|date=August 2019 |bot=InternetArchiveBot |fix-attempted=yes }}</ref><ref>http://www.utusan.com.my/utusan/info.asp?y=2011&dt=0811&pub=Utusan_Malaysia&sec=Sukan&pg=su_04.htm</ref>

==References==

==References==