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"Chemtrails over the country club"
(Lana Del Rey, 2021)
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On 13th April 1719 a small Spanish force, believing itself to be part of a much larger invasion planned for England to return the Jacobites to power, landed in Loch Duich, east of the site of what is now Kyle of Lochalsh.
The little known 'Little Rising’, saw a force of 300 Spanish soldiers land and combine with less than a thousand Highlanders, under George Keith, the 10th Earl of Marischal, William Mackenzie, the 5th Earl of Seaforth Lord George Murray and John Cameron of Lochiel.
The plan had been hatched by King Philip of Spain and Italian Cardinal Alberoni as a diversion to help in the campaign to restore Spanish power and territories ceded to the British following the Treaty of Utrecht. The Spanish force should have been much larger, but much of it had been destroyed by a storm. Added to this Highlanders did not join the Jacobites in the expected numbers, However, the Jacobites made their base at Eilean Donan Castle and intended to capture Inverness. Unfortunately, Hanoverian ships shelled the castle and the only battle was at Glen Shiel two months later when the Jacobites were defeated by a Government army led by General Joseph Wightman.
This uprising is often overlooked, the only “major” action was on June 10th at the Battle of Battle of Glen Shiel, more of that in a couple of months.
A wee added note to this, it was during this time that Eilean Donan was destroyed by Government ships bombarding it the ruined castle was abandoned until 1912 when it was purchased by Lieutenant-Colonel John MacRae-Gilstrap. Rebuilding was undertaken between 1914 and 1932 and it was at this time that a bridge was built to link the island to the shore. The pics shows how the castle looked in the two centuries between these events and the restoration, and the ruin, as it was.
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Chemtrails Over The Country Club by Lana Del Rey from the album Chemtrails Over The Country Club - Video by BRTHR
#music#lana del rey#jack antonoff#elizabeth woolridge grant#video#music video#brthr#alex lee#kyle wightman#jack michael antonoff
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Sources estimate Swift's big comeback visual cost seven figures to make.
The hissing snake exploding into butterflies, the dozens of dancers in pastel-colored suits, Brendon Urie floating through the sky with an umbrella -- none of these effects in Taylor Swift's "ME!" video were cheap. Music-industry sources estimated its budget in the seven figures. "I don't think they were penny-pinching on that one," says Bob McLynn, manager of Urie's band Panic! At the Disco, adding that he has no knowledge of Swift's video costs.
Once common in the MTV era, big-budget music videos come out just 10 to 30 times per year, estimates JP Evangelista, svp of content, programming and marketing for Vevo, on which "ME!" streamed more than 100 million times in its first week. In the '80s and '90s, record labels routinely budgeted hundreds of thousands for video production, because an MTV hit meant automatic, lucrative CD sales. Dave Meyers, who co-directed "ME!," once said his typical video budget in the late '90s was $1 million. (Neither he nor Swift's reps was available for comment.)
The math is different in the YouTube era, when online videos generate revenue via advertising. Swift made roughly $90,000 from her 127 million views to date, and Ariana Grande has made $250,000 off 365 million views of "thank u, next," according to estimates based on industry sources. For most artists, music videos are costly promotional tools. "The money you earn on visual content doesn't match up with the money you put into it, by and large," says John Fleckenstein, RCA Records' co-president. "There's a monetization aspect to it, but it isn't like, 'We should make five videos because we're going to make a boatload of money.'"
Music-video costs range from $2,500 (for an indie-label project) to $700,000 or more (for a pop superstar like Swift, Grande or Drake). Vince Staples' 2018 video for "FUN!" cost roughly $200,000, says his manager, Corey Smyth, although it has just 3.7 million YouTube views. "It's worth it," he says. "They're all calling cards. You don't know what's going to hit and what's going to go viral." Country stars spend $30,000 to $250,000 per video, according to Erica Rosa, royalties director for Nashville business-management firm Floyd, Bumstead, McCready and McCarthy. "I saw one in the pop world that was around $850,000," she says. "I almost fell out of my chair."
Labels generally front the money for videos, although artists are frequently charged for the expense until they make enough in royalties to recoup the costs. If artists believe in high-cost projects, they occasionally add their own funds beyond their labels' expense ceiling. "Videos are as important as they've ever been," says McLynn, who manages Sia and Fall Out Boy and has made videos from $10,000 to $200,000. "When you're rolling out a bigger artist, you want to double down -- you want to make sure you have everything you need, so you up the budget."
Music and video execs say the idea is the most important factor in determining whether to green-light a big-budget video. Beggars Group put up funding for FKA twigs' new "Cellophane," depicting the singer floating through the air with a winged dragon and has 3.3 million YouTube views. "That video has to exist in order to fully kick off the project," says Gabe Spierer, the indie label's vp of content and strategy. "It's an example that justifies big spending on a video."
"The artist's vision is usually paramount," Fleckenstein says. "Some artists have extremely specific views they want to get across that can be elaborate and difficult to produce and therefore can become expensive." Adds Lyor Cohen, a top label exec in the MTV era who is now YouTube's global head of music: "When you're void of great ideas, you try to blow up Rolls-Royces for production value. But when an artist and the label work hard to come up with a great concept and execute it, that's the real ingredient of video success."
Labels often calculate potential YouTube revenue when creating video budgets, then work backwards to figure out how much they can spend. "It does allow them to feel more comfortable commissioning higher-cost videos, knowing there'll be some return on their investment," says Vevo's Evangelista. But few videos are hits: "The cost-benefit analysis is about controlling for the likely reality that [the video] is a relative footnote -- unfortunately," Spierer says.
In the old days of MTV and CDs, just about every major artist had to make an expensive video to launch a new single. After Napster and file-sharing forced labels to slash their promotional budgets, according to Smyth, spending dropped to $15,000-20,000 per video; now that streaming has returned growth to the business, he says, "We're in a middle ground."
While MTV-era directors such as Hype Williams and Spike Jonze could focus exclusively on music videos, at least until they broke into feature films, today's directors have to supplement their income with non-music projects. New York duo BRTHR has directed videos for Travis Scott, the Weeknd, Charli XCX and Lil Pump, but, says the team's Kyle Wightman, "To even survive, we have to be doing commercials." Adds Alex Lee, his partner: "The money we make from music videos is honestly nothing. It's about 15 percent of what we make [from commercials]."
Although Specter Berlin recently directed Rammstein's over-the-top "Deutschland" video, which is packed with lasers, period costumes and elaborate, controversial scenes depicting the holocaust, he's frustrated labels won't spend more money in a time of big-budget Netflix and HBO projects. "It's a great time for music videos and there's no reason why the budgets are not going up," he says. "It's convenient for the music industry to say, 'Hey, this is a young artist shooting a music video and we only have $20,000.' If everybody does proper work, nobody's going to make anything." Adds Tony Yacenda, who directs videos for comedian-rapper Lil Dicky, including recent charity single "Earth" and 2017's "Pillow Talking," which reportedly cost $700,000: "Nobody views it as the endgame. [Videos] allow you to create something fun to watch that shows you have style and a voice -- but it's not going to be your payday."
Swift's "ME!" is one of the big-budget exceptions. "I don't think you should spend $500 grand on something you think is going to come and go -- that's for a certain type of artist," says Smyth, Staples' manager. "Taylor Swift was almost in 'Tron.' Her glam is probably my budget."
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The Economics of Taylor Swift's 'ME!' and Music Videos In the Digital Age
5/13/2019 by Steve Knopper
Sources estimate Swift's big comeback visual cost seven figures to make.
The hissing snake exploding into butterflies, the dozens of dancers in pastel-colored suits, Brendon Urie floating through the sky with an umbrella -- none of these effects in Taylor Swift's "ME!" video were cheap. Music-industry sources estimated its budget in the seven figures. figures. But thanks to the new music-video economy, Swift’s label, Republic, could make up that money over the next few months; the video has been streamed 162 million times so far on YouTube, which, according to one source, means $150,000 to $250,000 in label revenue.
"I don't think they were penny-pinching on that one," says Bob McLynn, manager of Urie's band Panic! At the Disco, adding that he has no knowledge of Swift's video costs.
Labels are shelling out as much as ever on certain videos, in part because they now generate advertising revenue on their own -- compared to MTV, which famously paid nothing. But whether the videos generate more money for artists and labels overall is a tricky calculation, since fans who view a certain video for free on YouTube may then be less likely to stream the song on a more lucrative paid service such as Spotify or Apple Music.
In the MTV era, big-budget videos were almost always worth the financial risk for major stars, since heavy rotation meant a smash hit and lucrative CD sales. Today, these kinds of videos come out 10 to 30 times per year, estimates JP Evangelista, senior vp of content, programming and marketing for Vevo. "ME!" has been streamed on Vevo more than 100 million times in its first week, generating roughly $90,000 to $150,000 in revenue for Universal-owned Republic, sources say.
YouTube pays out roughly $1.50 for every 1,000 views, according to data released by the RIAA in 2017 -- significantly less in royalties than either Apple Music or Spotify, which emphasize audio tracks, not videos. By those calculations, $190,000 would have gone to Swift for the 127 million views of "ME!" as of early May, and nearly $550,000 to Ariana Grande for her 365 million views of "thank u, next." (Lyor Cohen, YouTube’s global head of music and a former longtime label executive, estimated revenue at roughly twice that, but the revenue depends on many variables, like overseas income and whether an artist agrees to certain kinds of ads.)
For non-superstars, though, music videos are simply costly promotional tools. "The money you earn on visual content doesn't match up with the money you put into it, by and large," says John Fleckenstein, RCA Records' co-president. "There's a monetization aspect to it, but it isn't like, 'We should make five videos because we're going to make a boatload of money.'"
Music-video costs range from $2,500 (for an indie-label project) to $700,000 or more (for a pop superstar like Swift, Grande or Drake). Vince Staples' 2018 video for "FUN!" cost roughly $200,000, says his manager, Corey Smyth, although it has just 3.7 million YouTube views. "It's worth it," he says. "They're all calling cards. You don't know what's going to hit and what's going to go viral." Country stars spend $30,000 to $250,000 per video, according to Erica Rosa, royalties director for Nashville business-management firm Flood, Bumstead, McCready and McCarthy. "I saw one in the pop world that was around $850,000," she says. "I almost fell out of my chair."
Dave Meyers, who co-directed "ME!," once said his typical video budget in the late '90s, the end of the MTV era, was $1 million. (Neither he nor Swit's reps was available for comment.)
Labels generally front the money for videos, although artists are frequently charged for the expense until they make enough in royalties to recoup the costs. If artists believe in high-cost projects, they occasionally add their own funds beyond their labels' expense ceiling. "Videos are as important as they've ever been," says McLynn, who manages Sia and Fall Out Boy and has made videos from $10,000 to $200,000. "When you're rolling out a bigger artist, you want to double down -- you want to make sure you have everything you need, so you up the budget."
Music and video execs say the idea is the most important factor in determining whether to green-light a big-budget video. Beggars Group put up funding for FKA twigs' new "Cellophane," depicting the singer floating through the air with a winged dragon and has 3.3 million YouTube views. "That video has to exist in order to fully kick off the project," says Gabe Spierer, the indie label's vp of content and strategy. "It's an example that justifies big spending on a video."
"The artist's vision is usually paramount," Fleckenstein says. "Some artists have extremely specific views they want to get across that can be elaborate and difficult to produce and therefore can become expensive." Adds Lyor Cohen, a top label exec in the MTV era who is now YouTube's global head of music: "When you're void of great ideas, you try to blow up Rolls-Royces for production value. But when an artist and the label work hard to come up with a great concept and execute it, that's the real ingredient of video success."
Labels often calculate potential YouTube revenue when creating video budgets, then work backwards to figure out how much they can spend. "It does allow them to feel more comfortable commissioning higher-cost videos, knowing there'll be some return on their investment," says Vevo's Evangelista. But few videos are hits: "The cost-benefit analysis is about controlling for the likely reality that [the video] is a relative footnote -- unfortunately," Spierer says.
In the old days of MTV and CDs, just about every major artist had to make an expensive video to launch a new single. After Napster and file-sharing forced labels to slash their promotional budgets, according to Smyth, spending dropped to $15,000-20,000 per video; now that streaming has returned growth to the business, he says, "We're in a middle ground."
While MTV-era directors such as Hype Williams and Spike Jonze could focus exclusively on music videos, at least until they broke into feature films, today's directors have to supplement their income with non-music projects. New York duo BRTHR has directed videos for Travis Scott, the Weeknd, Charli XCX and Lil Pump, but, says the team's Kyle Wightman, "To even survive, we have to be doing commercials." Adds Alex Lee, his partner: "The money we make from music videos is honestly nothing. It's about 15 percent of what we make [from commercials]."
Although Specter Berlin recently directed Rammstein's over-the-top "Deutschland" video, which is packed with lasers, period costumes and elaborate, controversial scenes depicting the holocaust, he's frustrated labels won't spend more money in a time of big-budget Netflix and HBO projects. "It's a great time for music videos and there's no reason why the budgets are not going up," he says. "It's convenient for the music industry to say, 'Hey, this is a young artist shooting a music video and we only have $20,000.' If everybody does proper work, nobody's going to make anything." Adds Tony Yacenda, who directs videos for comedian-rapper Lil Dicky, including recent charity single "Earth" and 2017's "Pillow Talking," which reportedly cost $700,000: "Nobody views it as the endgame. [Videos] allow you to create something fun to watch that shows you have style and a voice -- but it's not going to be your payday."
Swift's "ME!" is one of the big-budget exceptions. "I don't think you should spend $500 grand on something you think is going to come and go -- that's for a certain type of artist," says Smyth, Staples' manager. "Taylor Swift was almost in Tron. Her glam is probably my budget."
Billboard
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ชาย 800 ม. (รอบชิงชนะเลิศ วันอาทิตย์ 15:00 BST)
แทบจะเป็นไปไม่ได้เลยที่จะมองสิ่งนี้อย่างโดดเดี่ยว นี่คือชายที่แข็งแกร่งที่สุด 800 ม. มาอย่างยาวนาน แต่มันบ่งบอกถึงความแข็งแกร่งของการวิ่งระยะกลางโดยรวม คุณสามารถพูดเช่นเดียวกันสำหรับ 1500m www.australiagolfclubsonline.com
มันเกือบจะเหมือนกับสมัยก่อนในทศวรรษ 1980 ที่ Seb Coe, Steve Ovett และตัวฉันเองคิดที่จะเพิ่มเป็นสองเท่า มันน่าสนใจมากที่จะได้เห็นว่าใครเข้าแถวที่ไหนและเกิดอะไรขึ้น
Elliot Giles มีเวลาคัดเลือกสำหรับทั้งคู่ ในขณะที่ Josh Kerr และ Jake Wightman ได้รับการพิจารณาสำหรับทั้งคู่
แชมป์เปี้ยนชาวอังกฤษ แดเนียล โรว์เดน ค่อนข้างขาดประสบการณ์แต่พัฒนาได้เร็ว Jamie Webb และ Kyle Langford เข้ากันได้ดี
เป็นเรื่องน่าละอายที่ Max Burgin วัย 19 ปีถอนตัวจากอาการบาดเจ็บ แต่ Oliver Dustin แชมป์ยุโร��วัย 20 ปี ซึ่งเร็วเป็นอันดับสามของโลกในปีนี้คือพรสวรรค์ที่แท้จริง
อาจเป็นการแข่งขันที่ช้าและใช้กลยุทธ์ซึ่งอาจไม่เหมาะกับผู้ที่มีเวลาเร็วที่สุด เป็นเรื่องที่น่าสนใจมากตั้งแต่วันศุกร์ที่ 1500 ม. เป็นต้นไป
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Joshua Cheptegei breaks 5,000m world record
Uganda’s Joshua Cheptegei produced an fantastic lunge in Monaco to spoil the 16-one year-faded 5,000m world file by nearly two seconds.
Nevertheless, guided by trackside lights illustrating world file budge, he came home in 12 minutes 35.36 seconds.
The outdated designate, space by Ethiopian good Kenenisa Bekele, used to be 12: 37.35.
Remarkably it’s far Cheptegei’s 2nd world file in Monaco this one year, despite the season being badly disrupted by the coronavirus pandemic.
He broke the 5km toll road world file within the principality in February..
“Monaco is a specific space and it’s one of these locations the save I could maybe well spoil the enviornment file,” he acknowledged.
“It took a lot to take care of being motivated this one year because so many participants are staying at home but you wish end motivated.”
In other locations, world champion Noah Lyles confirmed his quality within the 200m with a commanding victory in 19.72 seconds. His younger brother Josephus used to be 2nd on his Diamond League debut ahead of fourth-placed Adam Gemili of Britain in 20.68 seconds.
Katarina Johnson-Thompson, who received heptathlon world gold closing one year, admitted she used to be “no longer within the simplest shape” after finishing sixth within the high jump with 1.84m, 14cm short of her interior most simplest.
Cheptegei used to be no longer the simplest athlete to accomplish light of the shortage of competitive action in 2020 to publish impressive events.
Britain’s Laura Muir broke Dame Kelly Holmes’ 21-one year-faded British 1,000m file with a time of two: 30.82, in a lunge received by Kenya’s Olympic champion Faith Kipyegon within the 2nd quickest time in historic past.
“Racing a time take care of at present time affords me loads of confidence going into an Olympic one year,” acknowledged Muir. “To build that in my 2nd lunge, to lunge a British file I’m in actuality, in actuality happy with it.”
Mageean smashes 1,000m Irish file in Monaco
Norwegian world champion Karsten Warholm became the 400m hurdles staunch into a solo time trial, breaking Kevin Young’s 1992 assembly file in 47.10 and serving locate of his procedure to build the neutral just like the American’s long-standing world designate.
The Lyles brothers pose after a 200m 1-2.
Scotland’s Jake Wightman took more than two seconds off his 1500m interior most simplest, coming home in 3: 29.47. It earned him a creditable third within the support of Timothy Cheruiyot and Jakob Ingebrigtsen, world and European champion respectively, and moved him up to 2nd within the British all-time standings.
Kenyan world champion Hellen Obiri took a elated take care of within the 5,000m, with rival Sifan Hassan stepping out of the lunge with a few laps to circulate and Britain’s Laura Weightman claiming a non-public simplest in third.
Mountainous Britain’s Andrew Pozzi has re-started the one year in electrical invent. The 28-one year-faded, who came within three hundredths of his interior most simplest in Finland on Tuesday, duly matched it with a time of 13.14 seconds to claim a narrow 2nd space within the support of Spain’s Rio 2016 silver medallist Orlando Ortega within the 110m hurdles.
Compatriot Kyle Langford earned a 800m interior most simplest of 1: 44.83 in fifth within the support of world champion Donavan Brazier of the US.
Misplaced poles, added volume
Spectators had been required to build aside on masks and take care of a social distance
Previous makes an strive to stage global athletics this season, notably in Oslo and Zurich, admire featured athletes competing remotely by video link, rarely-lunge distances and tiny fields.
With a limit of 5,000 socially-distanced spectators and necessary person-studded launch lists competing within the identical stadium, Monaco’s Diamond League opener used to be a partial return to normality.
Nonetheless the effects of the pandemic had been peaceable visible.
Athletes ready for races on the infield to present them more location than Stade Louis II’s current name-room affords, crowd noise used to be pumped into the venue and American pole vault world champion Sam Kendricks used to be unable to compete after his pole failed to accomplish it to the stadium on time.
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British Championships: Daniel Rowden beats Jake Wightman to British 800m title
British Championships: Daniel Rowden beats Jake Wightman to British 800m title
Daniel Rowden powered past Jake Wightman to take the British 800m title in a thrilling finish in Manchester.
Rowden, 22, had surgery in April 2019 but looked back to his best as he surged past 1500m Commonwealth bronze medallist Wightman on the home straight to win in 1:45.94.
Yusuf Bizimana finished third with Elliot Giles, Kyle Langford and Guy Learmonth absent after competing in France on…
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BRTHR: Travis Scott -Butterfly Effect
BRTHR are a Brooklyn based film production duo consisting of Alex Lee and Kyle Wightman. They specialise in beautifully shot music videos paying close attention to detail, working with big names such as Charlie XCX and Miley Cyrus. Their visual style is further enhanced by their off camera abilities, with the majority of their work having been shot and edited completely between the two of them. This means that even though the footage they take is stunning, their real talent comes into play when experimenting with what they’ve collected.
An example of their work I decided to look into was their video for Travis Scott’s ‘Butterfly Effect’. In this particular video they use immensely bright coloured videos layered over one another to create a visually pleasing effect. They use abstract moving images and edit them to fit the timing of the song itself, using bright unique transitions. I really like the look of this video, and as I’d like to create a music video myself I think BRTHR’s work really reflects the idea I had in mind.
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Music Video research (secondary research)
thGoosebumps-Travis Scott ft. Kendrick Lamar
Was released September 2, 2016
Video director: BRTHR- 2 guys 1 duo.
Alex Lee & Kyle Wightman.
est. 1992
The style of the music video is abstract, this is presented by all the random scenes which initially doesn't tell a story. However the use of random scenes represents the genre of music which is hip hop trap as most of the shots are paraphernalia to do with smoking and drugs. The song is heavily trap influenced. This song and the meaning of “goosebumps" also refers to the use of LSD/Acid, obvious due to the overwhelming amount of editing and work put into the side effects visuals of the music video. Besides just the withdrawals from opiates — Travis is certainly referring to LSD side effects. Multiple sources states that Physical reactions”goose bumps" are a common side effect from LSD use.
The music video uses a lot of special FX using high contrasts of colours to create an eerie atmosphere.
“goosebumps” is an eerie love song. Travis and Kendrick detail the unique feelings they have for their lover—even when she’s not actually there.
Before performing this song live, Travis says he “wrote this song in my bedroom at one of the darkest times in my life.” This, combined with the lyrics in the hook—specifically “goosebumps,” “numb,” and “Heimlich,” have led many fans to believe this song may have an underlying theme of prescription drug withdrawal.
Biography: born Jacques Webster, Travis Scott grew up in a suburb of Houston and began making music as a teenager.
https://genius.com/Travis-scott-goosebumps-lyrics
L$D-A$AP Rocky
The song features in his album “AT.LONG.LAST.A$AP” and was released
May 21, 2015.
The song is about the drug LSD formally known as acid and his love affairs with different women the theme is similar to Travis Scott’s Goosebumps. The style of video is abstract like Goosebumps. In the video it shows the illusions that occurs in A$APs mind from taking the drug.
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On 13th April 1719 a small Spanish force landed in Loch Duich, close to what is now Kyle of Lochalsh.
The little known ‘Little Rising’, saw a force of 300 Spanish soldiers land and combine with less than a thousand Highlanders, under George Keith, the 10th Earl of Marischal, William Mackenzie, the 5th Earl of Seaforth Lord George Murray and John Cameron of Lochiel.
The plan had been hatched by King Philip of Spain and Italian Cardinal Alberoni as a diversion to help in the campaign to restore Spanish power and territories ceded to the British following the Treaty of Utrecht. The Spanish force should have been much larger, but much of it had been destroyed by a storm. Added to this Highlanders did not join the Jacobites in the expected numbers, However, they made their base at Eilean Donan Castle and intended to capture Inverness.
Unfortunately, Hanoverian ships shelled the castle and the only notable battle was at Glen Shiel two months later when the Jacobites were defeated by a Government army led by General Joseph Wightman.
A wee added note to this, it was during this time that Eilean Donan was destroyed by Government ships shelling it, the ruined castle was abandoned until 1912 when it was purchased by Lieutenant-Colonel John MacRae-Gilstrap. Rebuilding was undertaken between 1914 and 1932 and it was at this time that a bridge was built to link the island to the shore.
The pic shows how the castle looked in the two centuries between these events and the restoration.
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European Championships 2018: Medal table, GB medallists and medals by sport
European Championships 2018: Medal table, GB medallists and medals by sport
European Championships 2018: Medal table, GB medallists and medals by sport
This page features the final medal table, GB’s leading multiple medal winners, selected medal tables by sport and GB’s medallists day by day.
Final 2018 medal table (top 10)
Rank Country Gold Silver Bronze Total 1 Russia 31 19 16 66 2 Great Britain 26 26 22 74 3 Italy 15 17 28 60 4 Netherlands 15 15 13 43 5 Germany 13 17 23 53 6 France 13 14 15 42 7 Poland 9 6 6 21 8 Ukraine 8 13 5 26 9 Switzerland 8 4 7 19 10 Hungary 7 4 4 15
Today’s GB medal winners
Sunday, 12 August
European Championships 2018: Dina Asher-Smith leads GB women to 4x100m gold
Gold
Gymnastics: Dominick Cunningham – floor
Athletics: Laura Muir – 1500m
Athletics: Dina Asher-Smith, Bianca Williams, Imani-Lara Lansiquot, Asha Philip – women’s 4x100m relay
Athletics: CJ Ujah, Zharnel Hughes, Adam Gemili and Harry Aikines Aryeetey – men’s 4x100m relay
Silver
Athletics: Eilish McColgan – 5,000m
Bronze
Gymnastics: Courtney Tulloch – rings
Golf: Michele Thomson and Meghan MacLaren – women’s team event
Athletics: Laura Weightman – 1500m
Dominick Cunningham’s winning floor routine
Leading GB athletes
GB athletes to have won three medals or more
Athlete Sport Gold Silver Bronze Total Adam Peaty Swimming 4 0 0 4 Duncan Scott Swimming 3 1 0 4 James Guy Swimming 3 0 1 4 Dina Asher-Smith Athletics 3 0 0 3 Georgia Davies Swimming 2 1 1 4 Freya Anderson Swimming 2 0 2 4 Jack Laugher Diving 2 1 0 3 Katie Archibald Cycling 1 2 0 3 Ethan Hayter Cycling 1 0 2 3
NB: Cyclist Laura Kenny and athlete Zharnel Hughes both won two gold medals
Medal tables by sport
Selected sports only
Athletics
Rank Country Gold Silver Bronze Total 1 Great Britain 7 5 6 18 2 Poland 7 4 1 12 3 Germany 6 7 6 19
Swimming
Excluding open water swimming and synchronised swimming
Rank Country Gold Silver Bronze Total 1 Russia 10 10 6 26 2 Great Britain 9 7 8 24 3 Italy 6 5 11 22
Diving
Rank Country Gold Silver Bronze Total 1 Russia 5 4 3 12 2 Great Britain 4 5 1 10 3 Germany 1 2 5 8
Track cycling
Rank Country Gold Silver Bronze Total 1 Netherlands 5 0 3 8 2 Great Britain 4 3 3 10 3 Germany 3 4 4 11
Gymnastics
Rank Country Gold Silver Bronze Total 1 Russia 4 2 3 9 2 France 1 1 2 4 =3 Belgium 1 1 1 3 =3 Great Britain 1 1 1 3 =3 Netherlands 1 1 1 3
Rowing
Rank Country Gold Silver Bronze Total 1 Romania 3 2 2 7 2 France 2 2 1 5 3 Italy 2 1 3 6 12 Great Britain 0 2 2 4
Synchronised swimming
Rank Country Gold Silver Bronze Total 1 Russia 8 0 0 8 2 Ukraine 1 5 1 7 3 Italy 0 4 5 9 – Great Britain 0 0 0 0
GB medal winners day by day
Saturday, 11 August – 11 medals
Great Britain duo claim BMX gold & silver
Gold
Athletics: Dina Asher-Smith – 200m
BMX: Kyle Evans
Diving: Grace Reid – 3m springboard
Silver
Artistic Gymnastics: Joe Fraser, James Hall, Max Whitlock, Courtney Tulloch and Dominick Cunningham – Men’s team
Athletics:Rabah Yousif, Dwayne Cowan, Matthew Hudson-Smith and Martyn Rooney – 4x400m relay
BMX: Kye Whyte
Diving: Alicia Blagg – 3m springboard
Diving: Matthew Lee and Lois Toulson – synchronised 10m platform
Golf: Michele Thomson, Connor Syme, Liam Johnston and Meghan Maclaren – mixed team competition
Bronze
Athletics: Zoey Clark, Anyika Onuora, Amy Allcock and Eilidh Doyle – 4x400m relay
Athletics: Shara Proctor – long jump
Friday, 10 August – five medals
Hudson-Smith wins 400m gold
Gold
Athletics: Matthew Hudson-Smith – 400m
Silver
Diving: Jack Laugher and Chris Mears – synchronised 3m springboard
Athletics: Katarina Johnson-Thompson – Heptathlon
Bronze
Athletics: Meghan Beesley – 400m hurdles
Athletics: Jake Wightman – 1500m
Thursday, 9 August – 12 medals
GB win men’s relay gold
Gold
Diving: Jack Laugher – 3m springboard
Swimming: Ben Proud – 50m freestyle
Swimming: Nicholas Pyle, Adam Peaty, James Guy, Duncan Scott – men’s 4x100m medley relay
GB’s Jack Laugher wins 3m springboard gold
Silver
Triathlon: Jess Learmonth – women’s triathlon
Diving: Matthew Dixon and Noah Williams – synchronised 10m platform
Swimming: Imogen Clark – 50m breaststroke
Swimming: Max Litchfield – 400m individual medley
Athletics: Nethaneel Mitchell-Blake – 200m
Bronze
Swimming: James Guy – 100m butterfly
Swimming: Holly Hibbott – 400m freestyle
Swimming: Georgia Davies, Siobhan- Marie O’Connor, Alys Thomas, Freya Anderson – women’s 4x100m medley relay
Athletics: Holly Bradshaw – pole vault
Wednesday, 8 August – two medals
European Championships 2018: Adam Peaty wins gold in 50m breaststroke
Gold
Swimming: Adam Peaty – 50m breaststroke
Silver
Diving: Grace Reid and Ross Haslam – mixed synchronised 3m springboard
Tuesday, 7 August – 13 medals
Great Britain’s Zharnel Hughes & Reece Prescod win 100m gold & silver
Gold
Track cycling: Matthew Walls – men’s elimination race
Diving: Eden Cheng and Lois Toulson – women’s 10m synchronised diving
Diving: Jack Laugher – men’s 1m Springboard
Swimming: Duncan Scott – men’s 200m freestyle
Swimming: Ellie Faulkner, Kathryn Greenslade, Holly Hibbott and Freya Anderson – women’s 4x200m freestyle relay
Athletics: Dina Asher-Smith – women’s 100m final
Athletics: Zharnel Hughes – men’s 100m
Silver
Swimming: Ben Proud – men’s 50m butterfly
Swimming: Georgia Davies – women’s 100m backstroke
Athletics: Reece Prescod – men’s 100m
Bronze
Track cycling: Jack Carlin – men’s keirin
Diving: James Heatly – men’s 1m Springboard
Swimming: Molly Renshaw – women’s 200m breaststroke
Monday, 6 August – six medals
Gold and European record for ‘brilliant Brits’ in 4x100m relay
Gold
Swimming: Georgia Davies, Adam Peaty, James Guy and Freya Anderson – mixed 4x100m medley relay
Silver
Swimming: James Wilby – men’s 200m breaststroke
Track cycling: Katie Archibald – women’s omnium 20km points
Bronze
Track cycling: Ethan Hayter and Oliver Wood – men’s madison
Swimming: Alys Thomas – women’s 200m butterfly
Swimming: Max Litchfield – men’s 200m individual medley
Sunday, 5 August – six medals
Laura Kenny delighted with elimination race gold, despite ‘mum guilt’
Gold
Track cycling: Laura Kenny – women’s elimination
Swimming: Georgia Davies – 50m backstroke
Swimming: Calum Jarvis, Duncan Scott, Thomas Dean and James Guy – men’s 4x200m relay
Silver
Swimming: Duncan Scott – 100m freestyle
Bronze
Rowing: Sam Mottram – men’s single scull
Rowing: Harry Leask, Jack Beaumont – men’s double scull
Saturday, 4 August – seven medals
GB’s Peaty breaks breaststroke world record to win gold
Gold
Swimming: Adam Peaty – 100m breaststroke
Track cycling: Ethan Hayter – men’s omnium
Silver
Track cycling – Katie Archibald – 3,000m individual pursuit
Rowing: Thomas Ford, Jacob Dawson, Adam Neill and James Johnston – men’s fours
Rowing: Anastasia Chitty, Katherine Douglas, Holly Hill, Rebecca Girling, Fiona Gammond, Holly Norton, Karen Bennett, Rebecca Shorten – women’s eights
Swimming: James Wilby – 100m breaststroke
Bronze
Swimming: Stephen Milne, Craig McLean, Kathryn Greenslade and Freya Anderson – 4x200m mixed freestyle bronze
Friday, 3 August – four medals
European Championships 2018: GB win first gold in women’s team pursuit
Gold
Track cycling: Elinor Barker, Laura Kenny, Katie Archibald, Neah Evans – women’s team pursuit
Silver
Track cycling: Emily Kay – women’s 10km scratch race
Bronze
Swimming: Hannah Miley – women’s 400m individual medley
Track cycling: Ethan Hayter, Steven Burke, Kian Emadi, Charlie Tanfield – – men’s team pursuit
BBC Sport – Athletics
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645AR "Yoga" (2020)
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Commonwealth Games: England's Ben Proud claims gold as Andrew Pozzi struggles
#OlympicGames #London2012 [BBC]England's Kyle Langford and Scotland's Jake Wightman progressed to the 800m final, where they will meet defending champion and London 2012 silver medallist Nijel Amos of Botswana. England's Harry Tanfield takes silver in the men's individual time trial ...
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