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String orchestra

A string orchestra is an orchestra consisting solely of a string section made up of the bowed strings used in Western Classical music. The instruments of such an orchestra are most often the following: the violin, which is divided into first and second violin players (each usually playing different parts), the viola, the cello, and usually, but not always, the double bass.

String orchestras can be of chamber orchestra size ranging from between 12 (4 first violins, 3 second violins, 2 violas, 2 cellos and 1 bass = 12) and 21 musicians (6 first violins, 5 second violins, 4 violas, 4 cellos and 2 double basses= 21) sometimes performing without a conductor. It could also consist of the entire string section of a large symphony orchestra which could have 60 musicians (16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double basses = 60; Gurre-Lieder calls for 84: 20.20.16.16.12).

Repertoire
The repertoire includes several works by Mozart (including Eine kleine Nachtmusik), William Boyce (his eight symphonies are for strings only), and Haydn which dispense with the baroque basso continuo. Some of these works are problematic when it comes to deciding whether they are for orchestra or string quartet. Particularly in Haydn's early works it is argued that the inversions of harmony from the occasional crossings of the bass and viola line imply a double bass; the question is not settled, however.

Important 20th century works have been written for string orchestra by Bartók (Divertimento for String Orchestra), Stravinsky (Apollo), Witold Lutosławski (Musique funèbre), Benjamin Britten (Simple Symphony and Variations on a Theme of Frank Bridge), Charles Wuorinen (Grand Bamboula), and Malcolm Williamson (Symphony No. 7). Sir Michael Tippett wrote a Concerto for Double String Orchestra and Ralph Vaughan Williams wrote a Partita for Double String Orchestra. Composers who have written a Serenade for string orchestra include Tchaikovsky, Dvořák, Suk and Elgar. Mendelssohn, in his youth, also wrote thirteen symphonies for string orchestra.

Sometimes works originally written for string quartet, quintet, sextet etc. are arranged for string orchestra. Samuel Barber's Adagio for Strings, Alban Berg's 3 Pieces from his Lyric Suite, Arnold Schoenberg's string sextet Verklärte Nacht and String Quartet No. 2, Pyotr Ilyich Tchaikovsky's sextet Souvenir de Florence, John Corigliano's Second String Quartet and Jean Sibelius's Andante Festivo are examples. An optional timpani part is also added in the Sibelius piece. The work Shaker Loops written in 1978 for septet then arranged in 1983 for string orchestra by the American composer John Adams has become a popular addition to the repertoire in recent times. Graham Waterhouse composed several works for string orchestra (Sinfonietta), also in combination with contrasting sounds as Great Highland Bagpipe (Chieftain's Salute).

Works for string orchestra

 * Yalil Guerra: "Old Havana," "A la antigua," "Terra Ignota" (Unknown Land), "Clave," for strings and percussion, "El Retrato de la Paloma" (The Portrait of the Dove)-Latin GRAMMY nominated composition (2015), Symphony No. 2 for strings "Los Dioses del Olimpo" (The Olympian Gods), "Al Partir" (On Leaving) dedicated to Gertrudis Gómez de Avellaneda, "Negro Bembón, dedicated to Nicolás Guillén.
 * Giovanni Albini: Una teoria della prossimità (2006)
 * Louis Andriessen: Symphony for Open Strings
 * Lera Auerbach:
 * String Symphony "Memoria de la Luz" (2013)
 * Serenade for a Melancholic Sea for violin, violoncello, piano and string orchestra (2002)
 * Dialogues of Stabat Mater (after G.B. Pergolesi) for violin, viola, vibraphone and string orchestra (2005)
 * Maciej Bałenkowski:
 * Sinfonietta no. 1 "Time is ticking" for string orchestra (2013/2014)
 * Sinfonietta no. 2 "Polonia" - hommage à Wojciech Kilar for string orchestra (2017/2018)
 * "Farewell" for string orchestra (2016)
 * Granville Bantock: Celtic Symphony for string orchestra and six harps
 * Samuel Barber: Adagio for Strings
 * Béla Bartók: Divertimento for String Orchestra
 * Romanian Dances for String Orchestra
 * Mason Bates: Icarian Rhapsody (1999)
 * Jeremy Beck: Sinfonietta (2000)
 * Alan Belkin: Adagio Symphonique (2002)
 * Luciano Berio: Notturno (1995)
 * Leonard Bernstein: Serenade for Solo Violin, Strings, Harp and Percussion after Plato's "Symposium"
 * Judith Bingham: The Hythe (2012)
 * Georges Bizet: Adagietto, L'Arlesienne Suite No. 1 (1872)
 * Ernest Bloch: Concerto Grosso No. 2
 * Nimrod Borenstein
 * In the night opus 48 (2007)
 * In the morning opus 51 (2008)
 * Symphony for strings opus 68 (2014)
 * Suspended opus 69 (2014)
 * Yodit opus 82 (2018)
 * Pierre Boulez: Livre pour cordes
 * Frank Bridge: Lament (1915)
 * Benjamin Britten: Simple Symphony
 * Stephen Brown:
 * The Carol Suite (1993)
 * Sunrise Serenade (2001)
 * On the Idle Hill of Summer (2002)
 * John Cage: Twenty-Three (for violins, violas, and cellos) Additionally, many of Cage's indeterminate scores could be arranged for string orchestra.
 * Carlos Chávez: Symphony No. 5
 * Nigel Clarke: The Miraculous Violin
 * Anna Clyne:
 * Within Her Arms (2009)
 * Prince of Clouds (2012)
 * Paul Creston: Gregorian Chant for String Orchestra (1936)
 * Tansy Davies: Residuum
 * David Diamond: Rounds for String Orchestra (1944)
 * Avner Dorman: Concerto Grosso (2002–2003)
 * Antonín Dvořák: Serenade for String Orchestra in E major, Op.22
 * Edward Elgar:
 * Introduction and Allegro for Strings (1905)
 * Serenade for Strings
 * Zoran Erić: Cartoon for Strings
 * Irving Fine: Serious Song: A Lament for String Orchestra (1955)
 * Gerald Finzi: Romance, Op. 11 (1928)
 * Arthur Foote: Suite in E major for String Orchestra, Op. 63 (1909)
 * Alberto Ginastera: Concerto per corde, Op. 33 (originally written for string quartet then arranged for string orchestra)
 * Philip Glass: film score for The Hours (large string orchestra plus piano soloist)
 * Henryk Gorecki: Three Pieces in Old Style (1963)
 * Edvard Grieg: Holberg Suite (originally written for piano then arranged for string orchestra)
 * Stefans Grové: Elegy for Strings (1948)
 * Mark Gustavson: Hymn to the Vanished (2001)
 * Karl Amadeus Hartmann: Symphony No. 4
 * Victor Herbert: Serenade for Strings
 * Alfred Hill: String Symphonies
 * Gustav Holst:
 * St Paul's Suite (1912)
 * Brook Green Suite (1933)
 * A Moorside Suite (1928)
 * Arthur Honegger: Symphony No. 2
 * Alan Hovhaness: Symphony No. 31 (1976–77)
 * Ketil Hvoslef: Serenata for Strings
 * Charles Ives: The Call of the Mountains (arranged by Jonathan Dore from the String Quartet No. 2)
 * Stephen Jablonsky: String Thing (2018) A serenade in six movements
 * The Old Man and the Sea (2018)
 * Arirang (2008)
 * Karl Jenkins: Palladio (1996)
 * David Johnstone: more than 20 published works for string orchestra
 * Paul Juon: Five Pieces for String Orchestra, op.16
 * Vasily Kalinnikov: Serenade for Strings in G minor
 * Mieczyslaw Karlowicz: Serenade for Strings Op. 2 (1897)
 * Nigel Keay: Serenade for Strings
 * Uuno Klami: Suite for String Orchestra (1937)
 * Sophie Lacaze:
 * Y aparece el sol (2017) for flute, didgeridoo and string orchestra
 * Immobilité sérieuse I (2013) for piano and string orchestra
 * Kenneth Leighton:
 * Symphony for Strings, Op. 3 (1948-49)
 * Concerto for String Orchestra, Op. 39 (1960-61)
 * Elizabeth Maconchy: Symphony for Double String Orchestra (1952–53)
 * Gustav Mahler: Adagietto from Symphony No. 5.
 * Gian Francesco Malipiero: Symphony No. 6 "Degli Archi" (1947)
 * Andrew March: Sanguis Venenatus (Tainted Blood) Elegy for Strings (2009)
 * Bohuslav Martinů: Double Concerto for Two String Orchestras, Piano, and Timpani
 * Nicholas Maw: Life Studies
 * Felix Mendelssohn:
 * 13 String Symphonies
 * Concerto for Violin and Strings
 * Wolfgang Amadeus Mozart:
 * Three Concertos for Piano and Strings in D major, G major and E♭ major, K. 107 (1771 or 1765)
 * Divertimento No. 1 for Strings in D major, K. 136/125a (1772)
 * Divertimento No. 2 for Strings in B♭ major, K. 137/125b (1772)
 * Divertimento No. 3 for Strings in F major, K. 138/125c (1772)
 * Eine kleine Nachtmusik (1787)
 * Lior Navok: Between Two Coasts
 * Ștefan Niculescu: Formants (1967), for 17 solo strings
 * Robert Paterson:
 * Suite for String Orchestra (2011)
 * I See You (for String Orchestra and Recording) (2015)
 * Vincent Persichetti: Symphony No. 5
 * Allan Pettersson:
 * Concerto No. 1 (1949–50)
 * Concerto No. 2 (1956)
 * Concerto No. 3 (1956–57)
 * Ottorino Respighi: Ancient Airs and Dances, Suite No. 3 (1932)
 * Carl Ruggles: Portals
 * Aulis Sallinen: Aspects of the Funeral March of Hintriki Peltoniemi (originally written for string quartet then arranged for string orchestra)
 * Esa-Pekka Salonen: Stockholm Diary (2004)
 * Arnold Schoenberg: Verklärte Nacht or Transfigured Night (1899) (originally written for string sextet then arranged for string orchestra)
 * Franz Schreker: Scherzo for String Orchestra (1900)
 * Intermezzo for String Orchestra (Opus 8, 1900)
 * William Schuman: Symphony No. 5
 * Jean Sibelius: Andante Festivo for strings and timpani
 * Richard St. Clair Symphony for String Orchestra
 * Richard Strauss: Metamorphosen for 23 solo strings
 * Igor Stravinsky:
 * Concerto in D (1946)
 * Apollon Musagète (1927–1928), ballet for string orchestra
 * Josef Suk: Serenade for Strings, op. 6 (1892)
 * William Susman:
 * Zydeco Madness
 * Angels of Light
 * Tōru Takemitsu: Requiem (1957)
 * "A Way a Lone II" (1981)
 * Pyotr Ilyich Tchaikovsky: Serenade for Strings in C major, Op. 48
 * Dimitri Tchesnokov: Réminiscence d'après la symphonie pour cordes
 * Michael Tippett:
 * Concerto for Double String Orchestra
 * Corelli Fantasia
 * Little Music for Strings
 * Robin Toan: dans la nuit (2006)
 * Joan Trimble: "Suite for Strings" (1951)
 * Peteris Vasks:
 * Cantabile (1979)
 * Musica Dolorosa (1984)
 * Ralph Vaughan Williams:
 * Fantasia on a Theme by Thomas Tallis
 * Five Variants of Dives and Lazarus
 * Concerto Grosso
 * Heitor Villa-Lobos: Bachianas Brasileiras No.9
 * Carl Vine: Smith's Alchemy
 * Claude Vivier: Zipangu (1980)
 * Julian Wagstaff: Treptow for String Orchestra (2005)
 * George Walker: Lyric for Strings (1946)
 * William Walton: Sonata for Strings
 * Robert Ward: Concertino for String Orchestra (originally written for string quartet then arranged for string orchestra)
 * Graham Waterhouse:
 * Celtic Voices and Hale Bopp (1995, 1997)
 * Sinfonietta (2002)
 * Anthony Watson: Prelude and Allegro for Strings (1960)
 * Malcolm Williamson:
 * Epitaphs for Edith Sitwell (1966/72)
 * Ode for Queen Elizabeth (1980)
 * Lento for Strings (1985)
 * Dag Wirén: Serenade for Strings
 * John Woolrich:
 * Blue Drowning (2005)
 * It is Midnight Dr. Schweitzer
 * To the Silver Bow, double concerto for viola, double bass and strings (2014)
 * Ulysses Awakes
 * Charles Wuorinen: Grand Bamboula
 * Iannis Xenakis: Pithoprakta for 46 strings, 2 trombones, wood block and xylophone.
 * Takashi Yoshimatsu: Threnody to Toki for Piano and String Orchestra (1980)
 * Đuro Živković:
 * Serenade (2002)
 * PSALM XIII (2014)
 * Ellen Taaffe Zwilich:
 * Partita (Violin Concerto No. 2) for Violin and String Orchestra (2000)
 * Commedia dell'arte (Violin Concerto No. 3) for Violin and String Orchestra (2012)
 * Prologue and Variations (1983)

Instrumentation

 * Violin (1,2)
 * Viola
 * Cello
 * Double bass

title: String orchestra


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Groundnut

Groundnut may refer to:

 * Seeds that ripen underground, of the following plants, all in the Faboideae subfamily of the legumes:
 * Arachis hypogaea, the peanut
 * Arachis villosulicarpa, a perennial peanut species
 * Vigna subterranea, the Bambara groundnut
 * Macrotyloma geocarpum, the Hausa groundnut
 * Roots and tubers:
 * Apios americana, the American groundnut or potato-bean
 * Conopodium majus, called the kippernut among many other names
 * Panax trifolius, or dwarf ginseng

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

title: Groundnut


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Talk:1969 in music

A date which will live in infamy?
How, exactly, can Blind Faith be formed 6 December, when they're already recording an album & touring together as Blind Faith? TREKphiler any time you're ready, Uhura  03:57, 13 November 2017 (UTC)

title: Talk:1969 in music


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The Huckleberry Hound Show

The Huckleberry Hound Show is an American animated television series produced by Hanna-Barbera Productions, and the second series produced by the studio following The Ruff and Reddy Show. The show first aired in syndication on September 29, 1958, and was sponsored by Kellogg's. Three segments were included in the program: one featuring Huckleberry Hound, another with Pixie and Dixie and Mr. Jinks, which starred two mice who in each short found a new way to outwit the cat Mr. Jinks, and a third starring Yogi Bear and his friend Boo Boo. The series last aired on December 1, 1961.

The Yogi Bear segment of the show became extremely popular, and as a result, it spawned its own series in 1961. A segment featuring Hokey Wolf and Ding-A-Ling was added, replacing Yogi during the 1960-61 season. The show contributed to making Hanna-Barbera a household name, and is often credited with legitimizing the concept of animation produced specifically for television. In 1960, it became the first animated program to be honored with an Emmy Award.

Conception and development
Joseph Barbera went to Chicago to pitch the program to Kellogg's executives through their ad agency, Leo Burnett. "I had never sold a show before because I didn't have to. If we got an idea, we just made it, for over twenty years. All of a sudden, I'm a salesman, and I'm in a room with forty-five people staring at me, and I'm pushing Huckleberry Hound and Yogi Bear and 'the Meeces', and they bought it."

Barbera once recalled about Daws Butler's voice acting versatility: I can remember distinctly when I first met [Daws], I said, 'I kind of like this voice, but I think I'm gonna make it kind of a Southern voice because Southern voices are warm and friendly.' Daws said, 'Well, now I can do a Southern voice which is like North Carolina, or I can do a Southern voice that would be like Florida, that would be a cracker kind of voice, or if you want to get a little harder, we could get into Texas,' and by gosh, he had about twelve different Southerners.

Format
The series featured three seven-minute cartoons, animated specifically for television. The first always starred Huckleberry, the next two featured other characters. Each of three cartoons were in between the wraparound segments, which originally set in the circus tent where Huck acts like a showman in the late 1950s.

Distribution
The show was originally intended to be part of a line-up of kid programmes sponsored by Kellogg and broadcast on ABC-TV, joining Woody Woodpecker, Superman and Wild Bill Hickok in an early evening, weekday line-up. However, Kellogg's agency, Leo Burnett, decided instead to syndicate the show and buy air time on individual stations. The show was originally distributed by Screen Gems, which held a part-ownership of Hanna-Barbera at the time, over 150 stations. In April 1967, Screen Gems announced the show had been released from advertiser control, and would be made available to stations on a syndicated basis with available bridges to create 92 half-hour shows.

The distribution was later passed to Worldvision Enterprises, after it became a sister company to Hanna-Barbera. It was later distributed by Turner Program Services, after Turner's purchase of Hanna-Barbera; current distributor Warner Bros. Television picked up ownership of the show following the 1996 acquisition of Turner by parent company, Time Warner.

Original Syndication
The show was not broadcast on the same day of the week, or the same time, in every city; airing depended on the deal for time that the Leo Burnett Agency brokered with individual stations. However, the first time the Huck series appeared on television was on Monday, September 29, 1958; it was first seen at 6 p.m. on WOOD-TV in Grand Rapids, Michigan, which also served Battle Creek, home of Kellogg cereals. A few other stations airing it that day were WLWI in Indianapolis (at 6:30 p.m.) and WTAE in Pittsburgh (at 7:30 p.m.). The show debuted on other days that same week in other cities; Huck originally aired in Los Angeles on Tuesdays on KNXT, Chicago on Wednesdays on WGN-TV, and New York City on Thursdays on WPIX. The show first aired in Canada on Thursday, October 2, 1958, at 7 p.m. on CKLW-TV in Windsor, Ontario. The show first aired in Australia on Monday, February 16, 1959, on the National Television Network (now the Nine Network), and the show first aired in the United Kingdom on Friday, July 3, 1959, on ITV.

Plot and characters
Each of the three segments featured one or two main characters acting as a duo, and numerous one-off or supporting characters.

Huckleberry Hound
Huck's voice was one that Butler had already developed and used in earlier work, such as Reddy in The Ruff and Reddy Show, Smedley the Dog in the Chilly Willy cartoons, and earlier characters in the MGM cartoon library. It was said to be based on the neighbor of his wife, Myrtis; Butler would speak with said neighbor when visiting North Carolina.

Pixie & Dixie and Mr. Jinks
Pixie (voiced by Don Messick) and Dixie (voiced by Daws Butler) are two mice who every day end up being chased by a cat named Mr. Jinks (voiced by Daws Butler impersonating Frank Fontaine).

Yogi Bear
Yogi Bear (voiced by Daws Butler impersonating Art Carney's Ed Norton character from The Honeymooners) and his friend Boo Boo Bear (voiced by Don Messick) live in Jellystone Park and occasionally try to steal picnic baskets while evading Ranger Smith (also voiced by Don Messick).

Hokey Wolf
Hokey Wolf (voiced by Daws Butler impersonating Phil Silvers) is a con-artist wolf who is always trying to cheat his way to the simple life (much like other Hanna-Barbera characters, Top Cat and Yogi Bear). He is accompanied in this by his diminutive, bowler hat-wearing sidekick Ding-A-Ling Wolf (voiced by Doug Young impersonating Buddy Hackett).

Voice cast

 * Daws Butler - Huckleberry Hound, Yogi Bear, Dixie, Mr. Jinks, Hokey Wolf, Various
 * Don Messick - Boo Boo Bear, Ranger Smith, Pixie, Narrator, Various
 * Doug Young - Ding-A-Ling Wolf, Various

Additional Voices
 * Bea Benaderet
 * Julie Bennett
 * Red Coffey
 * June Foray
 * GeGe Pearson
 * Hal Smith
 * Ginny Tyler
 * Jean Vander Pyl

Credits

 * Producers and Directors: Joseph Barbera and William Hanna
 * Voices: Daws Butler, Don Messick, Doug Young
 * Story Directors: Alex Lovy, Paul Sommer, Arthur Davis, John Freeman, Lew Marshall
 * Story: Warren Foster
 * Story Sketch: Dan Gordon, Charles Shows
 * Titles: Lawrence Goble
 * Musical Director/Composer: Theme Music: Hoyt Curtin
 * Designer: Frank Tipper
 * Production Supervisor: Howard Hanson
 * Animators: Kenneth Muse, Lewis Marshall, Carlo Vinci, Dick Lundy, George Nicholas, Don Patterson, Allen Wilzbach, Ed DeMattia, Manny Perez, Brad Case, Arthur Davis, Ken Southworth, Ken O'Brien, Emil Carle, George Goepper, Don Towsley, Ralph Somerville, C.L. Hartman, John Boersema, Bob Carr, Hicks Lokey, Don Williams, Gerard Baldwin, Ed Parks, Dick Bickenbach, Ed Love, Michael Lah
 * Layout: Dick Bickenbach, Walter Clinton, Tony Rivera, Ed Benedict, Michael Lah, Paul Sommer, Dan Noonan, Lance Nolley, Jim Carmichael, Jerry Eisenberg, Jack Huber, Sam Weiss
 * Background: Montealegre, Robert Gentle, Art Lozzi, Richard H. Thomas, Joseph Montell, Vera Hanson, Sam Clayberger, Neenah Maxwell, Frank Tipper

Reception
In the film Breakfast at Tiffany's (1961), Holly Golightly (Audrey Hepburn) briefly dons a mask of Huckleberry. The name for Rock et Belles Oreilles, a Québécois comedy group popular during the 1980s, was a pun on the name of Huckleberry Hound ("Roquet Belles Oreilles" in French). Australian prison slang vernacular includes "huckleberry hound", a term originated in the 1960s, meaning "a punishment cell, solitary confinement." In January 2009, IGN named The Huckleberry Hound Show as the 63rd best in its "Top 100 Animated TV Shows".

In 1960s Hungary, the series - there called Foxi Maxi - gained an instant following, also among adults. The reason for this was the fact that legendary scriptwriter József Romhányi had penned dialog with his trademark puns and humor, and some of the most popular actors of the day had supplied the voices. Romhányi and some of the same actors later worked on the Hungarian version of The Flintstones.

Home media
On November 15, 2005, Warner Home Video (via Hanna-Barbera Cartoons and Warner Bros. Family Entertainment) released The Huckleberry Hound Show – Volume 1 for the Hanna-Barbera Classics Collection, featuring the complete first season of 26 episodes (66 segments) from the series on DVD, all presented remastered and restored. However, the episodes in the Volume 1 DVD set were the edited versions, instead of the uncut and unedited, original network broadcast versions due to expensive licensing issues.

Licensing
The characters from The Huckleberry Hound Show spawned various product, publishing, and other licensing deals. Columbia Pictures/Screen Gems' record arm, Colpix, released the first Huckleberry Hound album in October 1958, with stuffed animals and games also hawked in record stores.

No later than 1961, the characters began appearing "in person" at events across America. Hanna Barbera commissioned costumed characters of Huckleberry Hound, Yogi Bear, and Quick Draw McGraw, which appeared at events like the Florida State Fair.

Hanna-Barbera owner Taft Broadcasting started opening theme parks in 1972, beginning with Kings Island. These parks included areas themed to the company's cartoons, and included walk-around characters of Huckleberry Hound, Yogi Bear, and others. The characters were also featured on rides, including carousels. Licensed Huckleberry products included an Aladdin-brand Thermos.

Books based on the show include:
 * Huckleberry Hound Christmas, P. Scherr, Golden Press, 25 cents.
 * Huckleberry Hound: The Case of the Friendly Monster, Ottenheimer Publishers, 1978, 96 pages.

title: The Huckleberry Hound Show


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Copyright law of the European Union

The copyright law of the European Union is the copyright law applicable within the European Union. Copyright law is largely harmonized in the Union, although country to country differences exist. The body of law was implemented in the EU through a number of directives, which the member states need to enact into their national law. The main copyright directives are the Copyright Term Directive, the Information Society Directive and the Directive on Copyright in the Digital Single Market. Copyright in the Union is furthermore dependent on international conventions to which the European Union or their member states are part of, such as TRIPS Agreement or the Berne Convention.

History
Attempts to harmonise copyright law in Europe (and beyond) can be dated to the signature of the Berne Convention for the Protection of Literary and Artistic Works on 9 September 1886: all European Union Member States are parties of the Berne Convention, and compliance with its dispositions is now obligatory before accession. The first major step taken by the European Economic Community to harmonise copyright laws came with the decision to apply common standard for the copyright protection of computer programs, enacted in the Computer Programs Directive in 1991. A common term of copyright protection, 70 years from the death of the author, was established in 1993 as the Copyright Duration Directive.

The implementation of directives on copyright has been rather more controversial than for many other subjects, as can be seen by the six judgments for non-transposition of the Information Society Directive. Traditionally, copyright laws vary considerably between member states, particularly between civil law and common law jurisdictions. Changes in copyright law have also become linked to protests against the World Trade Organization and globalisation in general.

Sources of law
The first decisions of the European Court of Justice covering copyright were made under the non-discrimination provision of Article 6 EC (formerly Art. 7), and under the provisions of Article 36 which allows for restrictions on trade between Member States if justified by the protection of industrial and commercial property (including copyright). The directives were made under the internal market provisions of the treaties, notably Article 95 EC (formerly Art. 100a)

Protected rights
The following rights are protected by European Union law:
 * right of reproduction for authors, performers, producers of phonograms and films and broadcasting organisations
 * right of communication to the public for authors, performers, producers of phonograms and films and broadcasting organisations
 * right of distribution for authors and for performers, producers of phonograms and films and broadcasting organisations
 * right of fixation for performers and broadcasting organisations
 * right of rental and/or lending for authors, performers, producers of phonograms and films, with an associated right of equitable remuneration for lending and/or rental for authors and performers
 * right of broadcasting for performers, producers of phonograms and broadcasting organisations
 * right of communication to the public by satellite and cable for authors, performers, producers of phonograms and broadcasting organisations
 * right of computer program reproduction, distribution and rental for authors

Moral rights are usually considered to be a matter for the national laws of the Member States, although some countries classify some of the above rights, especially the right of communication to the public, among the moral rights of the author rather than under his rights of exploitation.

Duration of protection
The rights of authors are protected within their lifetime and for 70 years after their death; this includes the resale rights of artists. For films and other audiovisual works, the 70-year period applies from the last death among the following people, whether or not they are considered to be authors of the work by the national law of the Member State: the principal director (who is always considered to be an author of the audiovisual work), 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.

The rights of performers last for 50 years from the distribution or communication of the performance, or for 50 years from the performance itself if it had never been communicated to the public during this period. The rights of phonogram producers last for 50 years after publication of the phonogram, or for 50 years after its communication to the public if it had never been published during that period, or for 50 years after its creation if it had never been communicated to the public. The rights of film producers last for 50 years after the communication of the film to the public, or for 50 years after its creation if it had never been communicated to the public during that period. The rights of broadcasting organisations last for 50 years after the first transmission of a broadcast. The European Commission proposed this be extended to 95 years and following this suggestion the European Parliament passed legislation to increase the term to 70 years.

Where a work enjoyed a longer period of protection under national law on 1 July 1995, its period of protection is not shortened. Otherwise, these terms of protection apply to all works which were protected in a Member State of the European Economic Area on 1 July 1995. This provision had the effect of restoring the copyrights in certain works which had entered the public domain in countries with shorter copyright terms. The EU Information Society Directive modified the term of protection of phonograms, calculating from the date of publication instead of from an earlier date of communication to the public, but did not restore the protection of phonograms which had entered the public domain under the former rules. All periods of protection run until 31 December of the year in which they expire.

Resale right
The Resale Rights Directive created a right for the creators of works of art to participate in the proceeds of the resale of their work. This right, which is sometime known by its French name droit de suite, is personal to the artist and can only be transferred by inheritance. It is calculated as a proportion of the resale price (net of tax), which varies between 4 and 5 percent for the portion of the resale price up to EUR 50,000 and 0.25% for the portion of the resale price above EUR 500,000. The total royalty is limited at EUR 12,500, equivalent to a resale price of EUR 2,000,000. Member States may choose to exempt sales of less than EUR 3000 from royalty. Works of art which are covered by this resale right are "works of graphic or plastic art such as pictures, collages, paintings, drawings, engravings, prints, lithographs, sculptures, tapestries, ceramics, glassware and photographs, provided they are made by the artist herself or himself or are copies which have been made in limited numbers by the artist or under his or her authority."

Database rights
The Database Directive created a sui generis protection for databases which do not meet the criterion of originality for copyright protection. It is specifically intended to protect "the investment of considerable human, technical and financial resources" in creating databases (para. 7 of the preamble), whereas the copyright laws of many Member States specifically exclude effort and labour from the criteria for copyright protection. To qualify, the database must show "qualitatively and/or quantitatively a substantial investment in either the obtaining, verification or presentation of the contents". Their creators have the right "to prevent extraction and/or re-utilization of the whole or of a substantial part, evaluated qualitatively and/or quantitatively, of the contents of that database." This is taken to include the repeated extraction of insubstantial parts of the contents if this conflicts with the normal exploitation of the database or unreasonably prejudices the legitimate interests of the creator of the database.

Member States may limit this right in the following cases:

 * extraction for private use from a non-electronic database;
 * extraction for the purposes of teaching or research, to the extent justified by the non-commercial purpose;
 * extraction and/or reutilisation for the purposes of public security or an administrative or judicial procedure.

Database rights last for fifteen years from:

 * the "completion" of the database, that is to say the point at which the criterion of substantial investment is fulfilled, or from
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Limitations
Temporary copying which is the result of the transmission of a work or of its legal use is not covered by the exclusive right of reproduction.

Member states can implement other limitations from the list in Information Society Directive Article 5, or retain limitations which were already in force on 22 June 2001. Permitted limitations are:

 * art. 5.2(a) paper reproductions by photocopying or similar methods, except of sheet music, if there is compensation for rightsholders;
 * art. 5.2(b) reproductions made for private and non-commercial use if there is compensation for rightholders;
 * art. 5.2(c) reproductions by public libraries, educational institutions or archives for non-commercial use;
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 * art. 5.3(a) use for illustration for teaching or scientific research, to the extent justified by the non-commercial purpose;
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 * art. 5.3(e) uses for the purposes of public security or in administrative, parliamentary or judicial proceedings;
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 * art. 5.3(i) incidental inclusion in another work;
 * art. 5.3(j) use for the advertisement of the public exhibition or sale of art;
 * art. 5.3(k) caricature, parody or pastiche;
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No new limitations may come into force after 22 June 2001 except those in the permitted limitations given in the Information Society Directive. Limitations may only be applied in balance with the Berne three-step test that asks the exceptions be "certain special cases which do not conflict with a normal exploitation of the work or other subject-matter and do not unreasonably prejudice the legitimate interests of the rightholder". However it was agreed at the time of drafting the WIPO Copyright and Performances and Phonograms Treaties that this wording "neither reduces nor extends the scope of applicability of the limitations and exceptions permitted by the Berne Convention."

This explicit list of exceptions stands in contrast to the open-ended Fair Use doctrine employed by the United States, and the European Union has typically been staunchly against considering frameworks resembling Fair Use. The use of short snippets of news articles in aggregation sites like Google News, covered by fair use in the United States, has been the subject of dispute between Google and European governments, following the passage of ancillary copyright for press publishers in Germany and the Directive on Copyright in the Digital Single Market EU-wide.

Protection of rights
The Enforcement Directive covers the remedies that are available in the civil courts and harmonises the rules on standing, evidence, interlocutory measures, seizure and injunctions, damages and costs and judicial publication. Germany recognises the so-called GEMA Vermutung whereby the burden of proof is on the alleged infringer in an infringement lawsuit.

Collection monopolies
Copyright collecting societies in the European Union usually hold monopolies in their respective national markets. Some countries create a statutory monopoly, while others recognise effective monopolies through regulations. In Austria, the Society of Authors, Composers and Publishers (Gesellschaft der Autoren, Komponisten und Musikverleger, AKM) has a statutory monopoly. German law recognizes GEMA as an effective monopoly, and consequently the burden of proof is on the accused infringer that a work is not managed by GEMA.

Treaties

 * Berne Convention for the Protection of Literary and Artistic Works (from WIPO)
 * Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organisations
 * Agreement on Trade-Related Aspects of Intellectual Property Rights (from WTO)
 * WIPO Copyright Treaty (from WIPO)
 * WIPO Performers and Phonograms Treaty (from WIPO)

title: Copyright law of the European Union


text:
Tony Pérez

Atanasio "Tony" Pérez Rigal (born May 14, 1942) is a Cuban-American former professional baseball player, coach and manager. He played in Major League Baseball as a first baseman and third baseman from 1964 through 1986, most notably as a member of the Cincinnati Reds dynasty that won four National League pennants and two World Series championships between 1970 and 1976. He also played for the Montreal Expos, Boston Red Sox and the Philadelphia Phillies.

A seven-time All-Star, Pérez averaged more than 100 runs batted in per season from 1970 to 1976 for the powerful Cincinnati team that became known as the Big Red Machine for their dominance of the National League in the mid-1970s. Variously nicknamed "Big Dog", "Big Doggie", and "Doggie", he was one of the most popular players in Reds history.

After his playing career, Pérez became a coach and later managed the Reds and the Florida Marlins. From 1993 through the 2017 season, he was Special Assistant to the General Manager with the Marlins. In 2000, Pérez was inducted into the Baseball Hall of Fame.

Early life
Pérez was born in Ciego de Ávila, Cuba in 1942, the son of José Manuel and Teodora (Rígal) Pérez. Tony and his parents and siblings all lived in a two-bedroom row house owned by the sugar mill where Tony's father, and eventually Tony, worked. Tony later played shortstop for the Mill's baseball team, Central Violeta.

He was signed to a pro contract in 1960 at age 17 by Cincinnati Reds scout Tony Pacheco while playing on the Camagüey sugar factory team. He was assigned to the instructional team of the Reds' AAA affiliate Havana Sugar Kings. His "bonus" for signing with the Reds was the $2.50 cost of a visa and a plane ticket to Miami, Florida.

Early days
Pérez arrived in Florida in the spring of 1960 and participated in the Reds' spring training in Tampa. He played his first minor league game for the Reds' Class D affiliate in Geneva, New York at age 17 on May 1, 1960, in the season-opener for the New York–Pennsylvania League team. Starting at second base, his first professional hit was a triple as he went 1–5 in a 6–5, 13-inning loss to the Auburn Yankees. He went hitless in the next game (the Redlegs' home opener) in a 17–16 Redlegs win, and in the next game he got the team's only hit (a single) in a 5–0 loss. On June 25 he was placed on the disabled list. That same day, he was replaced on the active roster by just-signed 19-year-old Pete Rose, who was inserted into the starting lineup at second base. Upon Pérez's return, Rose remained at second base and Pérez played third base. Another of his teammates was Martín Dihigo Jr., son of Baseball Hall of Fame member and Negro leagues great and Cuban native Martín Dihigo. Pérez hit .279 with 6 home runs in 104 games.

In 1961 he again played for Geneva and set several team batting records, batting .348 with 27 home runs in 121 games. In 1962 he was promoted to the Class B Rocky Mount Leafs in the Carolina League. He reported two weeks late, as he had trouble getting out of his homeland of Cuba. In 100 games, he hit .292 with 18 home runs and 74 RBI, making the all-star team as a third baseman, but his season was cut short after those 100 games due to a broken ankle. In 1963 he was promoted to the Macon Peaches of the Class AA South Atlantic League, where in 69 games as a third baseman he hit .309 with 11 home runs and 48 RBIs before being promoted that same year to the Class AAA San Diego Padres of the Pacific Coast League. For San Diego that year, in 8 games he hit .379 with 1 home run and 5 RBI.

Playing for the Padres in 1964, Pérez, now playing first base, was named Most Valuable Player in the Pacific Coast League. Pérez hit .309 with 34 home runs and 107 RBI. He was called up to the Reds and played his first two games in a doubleheader on July 26, 1964, at Cincinnati's Crosley Field. In his debut he started at first base, and in his first at-bat he drew a walk against left-handed pitcher Joe Gibbon. He went 0–2 against Gibbon and Don Schwall in a 7–2 Reds win, then went 0–4 against pitcher Bob Veale in a 5–1 Pirates win.

The following day he started at first base and batted fifth against the Braves at Milwaukee County Stadium. In an 11–2 Reds win, he got his first hit, a second-inning double off Denny Lemaster, and then scored his first run on a Johnny Edwards double. In the seventh inning he got his first RBI, a single off Lemaster to score Frank Robinson.

From 1964 through 1966, he platooned at first base, primarily with Deron Johnson and Gordy Coleman. His first career home run, a grand slam, came in the Reds' second game of 1965, at home in Crosley Field against Milwaukee – and again against Denny Lemaster. The grand slam came with 2 outs and scored Vada Pinson, Frank Robinson, and Deron Johnson.

Pérez became the Reds' starter at third base in 1967 and was selected to his first All-Star team in. The game, played on July 11, 1967, at Anaheim Stadium, went into 15 innings, the longest All-Star Game in history (since equaled by the 2008 game). Pérez's home run off future fellow Hall of Famer Catfish Hunter propelled the National League to a 2–1 victory. He was subsequently voted the game's Most Valuable Player.

In, Pérez hit the first home run in Pittsburgh's Three Rivers Stadium. The 1970 campaign was his finest year, statistically: in addition to his 129 RBIs, Pérez hit .317, slugged 40 home runs and scored 107 runs. He came in third in the Most Valuable Player voting behind Billy Williams and Reds' teammate and winner Johnny Bench.

Pérez also played winter ball for 10 seasons between 1964–65 and 1982–83 in the Puerto Rico Baseball League for the Santurce Crabbers (Cangrejeros de Santurce). He won the batting title and was named league MVP in 1966–67.

Big Red Machine
After platooning and playing first base in the early part of his career (1964–66) with the Cincinnati Reds, he became a perennial all-star starting at third base from 1967 to 1971. From 1972 onward he starred at first base. Pérez was one of the premier RBI men of his generation, driving in 100 or more runs seven times in his 23-year-long career. In an 11-year stretch from 1967 to 1977, Pérez drove in 90 or more runs each year, with a high of 129 RBIs in 1970. During the decade of the 1970s, Pérez was second among all major-leaguers in RBI, with 954, behind only his teammate Johnny Bench.

Beginning in, the Reds went to the World Series four times in seven years, winning back-to-back world championships in and , with Pérez starting at first base. Following the Reds sweep of the Phillies in the League Championship Series and New York Yankees in the 1976 World Series (the only time a team has ever swept the postseason since the League Championship Series was introduced in 1969), Pérez was traded to the Montreal Expos with Will McEnaney for Woodie Fryman and Dale Murray. After his trade, the "Big Red Machine"—considered one of baseball's all-time greatest teams—sputtered and never again got into the Series, reaching the playoffs but one more time in. Sparky Anderson, the Reds manager during the championships of the 1970s, has stated in many interviews since that Pérez was the leader, and heart and soul of those teams.

After three seasons in Montreal (in which he hit 46 home runs with 242 RBIs and a .281 batting average), for the season, Pérez signed as a free agent with the Boston Red Sox. In his first season with the Red Sox, he finished in the top 10 in the American League in home runs (25), RBIs (105) and intentional walks (11), and won the Lou Gehrig Memorial Award.

Cincinnati reunion
For the season, Pérez reunited with "Big Red Machine" teammates Pete Rose and Joe Morgan on the Philadelphia Phillies. Still a feared hitter based on his reputation, Pérez was a reserve player for their Phillies during their run to the World Series that year, and batted .242 in his five World Series appearances. Following the season, he returned to the Cincinnati Reds as a free agent, where he remained until his retirement following the season.

In 1984, at age 42, he became the oldest player to hit a walk-off pinch-hit home run (off the Pirates' Don Robinson). On May 13, 1985, batting against Philadelphia Phillies' reliever Dave Rucker, he became the oldest player (44) to hit a grand slam, breaking a 70-year-old record held by Honus Wagner. The new record stood until Julio Franco broke it at age 46 in 2004. Pérez was named National League Player of the Week during the final week of his career at age 44, when he went 8-for-19 with a home run, three doubles, and 6 runs batted in.

His final career hit and RBI came on October 4, 1986, at Riverfront Stadium when he hit a solo home run off San Diego Padres pitcher Ed Whitson in a 10–7 Reds win. The following day was the Reds' last game of the year and the final game of his career. In his final at-bat, he flied out against Andy Hawkins in a 2–1 Padres' win.

Managerial career
After serving one season as a coach for the Reds, Perez was hired as manager for the 1993 season. The Reds started slowly with a 12-18 record, but quickly went on a seven-game winning streak before going on a seven-game West Coast road trip. Before a game against the San Francisco Giants, Reds beat writer Hal McCoy approached Perez with an idea to bat catcher Joe Oliver in the game instead of backup catcher Dan Wilson since Oliver hit Giants starting pitcher Bud Black well. Perez took McCoy's suggestion and the Reds won the game, the only win they would have on the trip. McCoy wrote about his meeting in his column shortly thereafter. Reds general manager Jim Bowden read the column and was angry that Perez allowed McCoy to influence a managerial decision and fired Perez with the team having a 20-24 record.

Shortly after being fired by the Reds, Perez was hired by the Florida Marlins as special assistant to the general manager and later special assistant to the team president. In 2001, he replaced John Boles as manager of the Marlins after a 22-26 start and managed the team to the end of the season, going 54-60. Perez remained with the Marlins' organization until 2017.

Legacy
Pérez was inducted into the Cincinnati Reds Hall of Fame in 1998. On May 27, 2000, in an on-field pre-game ceremony at Cinergy Field (formerly Riverfront Stadium) with family and former teammates and managers, the Reds retired his number, 24.

In 2000, Pérez was elected to the Baseball Hall of Fame in Cooperstown, New York, garnering 385 votes on 499 ballots for a total of 77.15%, just over the three-quarters minimum required for induction. He was inducted in July 2000 along with Sparky Anderson, Carlton Fisk, Bid McPhee and Turkey Stearnes. In his induction speech, he said, "I doubt that a king at his coronation feels better than me today." Each year since his induction, he has attended the weekend ceremonies, including riding in the annual parade and playing in the annual golf outing and old-timers' baseball game.

Pérez was inducted into the Hispanic Heritage Baseball Museum Hall of Fame in 2001 at a pre-game ceremony held at the San Francisco Giants' Pacific Bell Park. That same year he threw out the ceremonial first pitch at the 2001 All-Star Game at the Seattle Mariners' Safeco Field; he had played at the Mariners' previous home, the Kingdome, during the 1979 All-Star Game. Pérez in 1998 was inducted into the Caribbean Baseball Hall of Fame, which honors those that have made significant achievements in the Caribbean Series. He was one of 24 inaugural inductees into the Latino Baseball Hall of Fame in 2010. He was inducted in 2010 to the Cuban Sports Hall of Fame.

In 2011, with Pérez and his sons in attendance at opening ceremonies of the Museo del Deporte de Puerto Rico in Guaynabo, the Commonwealth of Puerto Rico, his adopted homeland, presented him with a surprise honor. He was proclaimed an official "native son" of Puerto Rico "for his dedication to the commonwealth as a family and community member, and for his impressive baseball accolades while representing the island." Also present were fellow Hall-of-Famers Orlando Cepeda and Roberto Alomar plus Vera Clemente, widow of Roberto Clemente.

On August 10, 2014, at the annual Reds Hall of Fame Induction Gala, former Reds teammates Johnny Bench and Joe Morgan along with Pérez himself announced that the Reds would erect a statue of Pérez outside Great American Ball Park.

On the weekend of August 21–22, 2015, the Cincinnati Reds held Tony Pérez Weekend during a series with the Arizona Diamondbacks. At least a dozen players of the Big Red Machine were part of a post-game ceremony that Friday's night. On Saturday, a bronze statue of Pérez was unveiled near the entrance to Great American Ball Park. Fans attending the game received replica statues, and there was a pre-game ceremony honoring Pérez, followed by him throwing the ceremonial first pitch.

Tommy John thought Pérez was one of the toughest hitters he ever had to face due to his ability to hit to right-center field with power. "He waited on the ball well and I couldn't throw hard enough to get it by him inside," John recollected.

Personal life
While playing winter ball in Puerto Rico in 1964, Pérez met Juana ("Pituka") de la Cantera, daughter of Pablo de la Cantera and Edilia Cortina. Also of Cuban descent, she grew up in Puerto Rico. Four months after meeting the couple was married in early 1965. They both became American citizens on October 18, 1971, in Cincinnati, and have two sons, both born there – Victor Pérez (May 11, 1966) and Eduardo Pérez (September 11, 1969).

Victor played one year (1990) in the Reds' minor league system. He attended and graduated from Xavier University in Cincinnati with a Bachelor of Applied Science degree in Finance and Computer Science. He later moved to New York City, where he worked in real estate and in telecommunications. He also attended acting school there and became a professional actor, first in New York City, and then for several years in London.

Eduardo was an All-American third baseman at Florida State University and played in the College World Series. He was drafted in the first round (17th overall pick) by the California Angels. He played Major League Baseball for 13 seasons. After retiring as a player, he served as an ESPN commentator for five years. In 2009, he managed Leones de Ponce to the Puerto Rican League championship, and in 2011 and 2012 he was hitting coach for the Miami Marlins. He was bench coach of the Houston Astros for the 2013 season. In 2016, Eduardo joined SiriusXM's MLB Network Radio hosting The Leadoff Spot with Steve Phillips. He is married to Mirba (Rivera) and they have two daughters, Andreanna and Juliana.

In November 1972, Pérez was granted a 20-day visa to return to Cuba for the first time since a 1963 trip; however, the visa did not permit his wife and children to go, according to "Latino Baseball Legends: An Encyclopedia" by Lew Freedman. He took 17 suitcases of gifts, clothes, and medical supplies and reunited with his family in Central Violeta, Cuba—a 400-mile train ride from Havana.

Tony's father, Jose Manuel – with whom Tony worked alongside as a teenager at the Camagüey sugar factory, hauling and stamping the company's name on the bags – died in 1979 at age 84 (some sources list his year of death as 1977). Tony has stated that, during his playing career, his family in Cuba would listen to the Voice of America, which would give daily updates on Cuban players playing in the majors.

Tony's mother, Teodora ("Tita"), was 88 when Tony called her with the news in 2000 that he had been elected to the Hall of Fame. Tony was able to make a return visit to Cuba in 2002, only this time with his sons. Teodora died in 2008. Tony's oldest sister died in 1997. In 2000, for a luncheon honoring Tony, the Marlins arranged to surprise him by helping his two living sisters, Argelia and Gloria, secure visas and come to Miami from their homes in Central Violeta, Camagüey, Cuba.

Pérez has cited Cuban-born Minnie Miñoso as his boyhood idol. Pérez advocated for many years in articles, speeches, and discussions to get Minoso elected to the Baseball Hall of Fame.

A 326-page biography, Tony Pérez: From Cuba to Cooperstown, written by John Erardi, was published on April 2, 2018.

title: Tony Pérez


text:
Tiger Army

Tiger Army is an American psychobilly band based in Los Angeles, California. The group was formed in 1996 in Berkeley, California, and its only constant member is singer, guitarist, and lead songwriter Nick 13. The band has released six studio albums and four EPs.

History
Tiger Army played their first show at the famous 924 Gilman Street venue in Berkeley, California, on March 29, 1996. The band's sound drew from early punk, rock n' roll and rockabilly, as well as dark English pop. Their first official release was a self-titled vinyl record EP, now referred to as the Temptation EP. The record was released by Chapter 11 Records. This EP caught the attention of Tim Armstrong of Rancid; he was also co-owner of Hellcat Records. Armstrong signed the band.

Tiger Army recorded their first full-length, the self-titled Tiger Army, in January 1999. It was released that October. Stand-up bassist Joel Day left Tiger Army before the band was signed, so the Quakes stand-up bassist Rob Peltier was hired to play on the album. Drummer Adam Carson of AFI, who had been helping out the band live, played on the record, as well. The band then embarked on a California mini-tour promoting the album in 1999. In 2000, Nick 13 asked former AFI bassist Geoff Kresge, one of his former bandmates from Influence 13, to join Tiger Army. Ex-Samhain drummer London May came on board as well.

Tiger Army II: Power of Moonlite followed in 2001. Fred Hell replaced London May shortly after the recording. The band toured with TSOL, The Damned, Dropkick Murphys and others in support of the record and went to Europe and Japan for the first time on the album as well. The band's friend and drum tech, Mike Fasano, played on the next Tiger Army album, Tiger Army III: Ghost Tigers Rise, when Hell was unable to record or tour behind the album. Nick 13 announced a new lineup for Tiger Army, featuring drummer James Meza and stand-up bassist, Jeff Roffredo, formerly of Los Angeles psychobilly bands Cosmic Voodoo, Calavera, and The Rezurex in 2004. This lineup supported Social Distortion on an extensive US tour.

In the spring of 2005, the band headlined a string of five sold-out shows at the Hollywood House Of Blues. The following year, the band sold out four nights at the Anaheim House of Blues. They also hit the road with Morrissey and AFI, performing several headlining tours around the world. Tiger Army made major festival appearances across the US and Europe in support of their fourth album, titled Music from Regions Beyond. The album was released on June 5, 2007 and was produced by Jerry Finn. "Forever Fades Away" went to No. 1 on Los Angeles rock station KROQ FM, which Tiger Army performed on Jimmy Kimmel Live! and at radio festivals like "BFD". The New York Times called the album "one of the year's best punk albums".

Geoff Kresge returned to Tiger Army in early 2008 and joined Nick 13 and drummer James Meza on tours of the U.S., Canada, Australia, Japan and Europe. The band launched a multi-night festival, Octoberflame, in Southern California in 2008, concluding two years of touring behind Music from Regions Beyond. Nick launched a solo project focused on Americana/country music in 2009, making his first live solo appearance at the Stagecoach Festival in 2010 in Indio, California. Tiger Army continued to appear at Octoberflame each year, as well as in cities like Las Vegas, San Diego, Tempe, Costa Mesa and the MusInk Festival. On June 7, 2011, Nick 13 released his solo album on Sugar Hill Records. Tiger Army has been less active while 13 has built his solo career in the Americana world.

Tiger Army played their largest standalone headlining show to date at the Orange County Fair in 2011. In March/April 2012, the band performed two shows in Southern California and one in Las Vegas dubbed "Spring Forward." Octoberflame V followed with six shows in five cities. In December 2012, Tiger Army announced "Spring Forward 2013," which took place in March 2013 in San Diego, Ventura, CA and Las Vegas. The band played a radio show in Arizona around the same time.

Octoberflame VI took place in October 25 and 26, 2013 at City National Grove of Anaheim. The two back-to-back shows were advertised as Tiger Army's last shows of 2013. The Octoberflame events have become known for varied set lists that explore deep cuts and cover songs, special guests and diverse support acts running the gamut of rock, alt-rock, punk, hardcore, psychobilly, industrial, rockabilly and more.

In February 2014, Geoff Kresge announced he would be leaving Tiger Army via a lengthy statement on his Facebook page.

In June 2014, Nick 13 announced that writing for a new Tiger Army album was underway via the band's Facebook page. After announcing that live performances including the annual Octoberflame dates would be on hold for 2014 to focus on preparing for the album, the return of Octoberflame (VII) for 2015 was announced in June, with tickets sold out by early July. Beginning with the 2015 Octoberflame shows, which showcased material from the Ghost Tigers Rise album, drummer Mike Fasano rejoined the band on a full-time basis. Tiger Army released their fifth studio album, V •••–, on May 20, 2016, on Luna Tone Records/Rise Records.

On June 22, 2018, the band released a three-song EP, Dark Paradise, which featured covers of Lana Del Rey's "Dark Paradise" and the Chantays' instrumental "Pipeline."

Tiger Army's sixth full-length studio album, Retrofuture, was released on September 13, 2019, on Luna Tone Records/Rise Records. The following month, the band played two sold-out shows at the Wiltern in Los Angeles for Octoberflame X; supporting acts included Brian Fallon (formerly of the Gaslight Anthem), the Delta Bombers, Wayne Hancock, and 8 Kalacas.

Band members

 * Current
 * Nick 13 – lead vocals, guitar (1996–present)
 * Djordje Stijepovic – upright bass, backing vocals (2015–present)
 * Mike Fasano – drums, percussion (2004; session musician, 2015-present)
 * Former
 * Geoff Kresge – upright bass, backing vocals (2000–2004, 2008–2014)
 * Joel Day – upright bass (1996–1997)
 * Adam Carson – drums, percussion (1996–1999, one-off performances 2008, 2012)
 * London May – drums, percussion (2000–2001)
 * James Meza – drums, percussion (2004–2014)
 * Fred Hell – drums, percussion (2002–2004)
 * Jeff Roffredo – upright bass (2004–2008)

 * Former touring musicians
 * Joe Fish – drums (1999)
 * Rob Peltier – upright bass (1999)

 * Timeline

Studio albums

 * 1999: Tiger Army
 * 2001: Tiger Army II: Power of Moonlite
 * 2004: Tiger Army III: Ghost Tigers Rise – No. 146 US
 * 2007: Music from Regions Beyond – No. 49 US
 * 2016: V •••– – No. 75 US
 * 2019: Retrofuture

EPs

 * 1997: Temptation EP
 * 2002: Early Years EP
 * 2004: Ghost Tigers EP
 * 2018: Dark Paradise EP

Compilations

 * 1997: Punk Fiction Wedge Records "F.T.W"
 * 1999: Give 'Em the Boot II HellCat "Nocturnal"
 * 2002: Give 'Em the Boot III HellCat "Power of Moonlite"
 * 2003: Punk-O-Rama Vol. 8 Epitaph Records "Incorporeal"
 * 2004: Give 'Em the Boot IV HellCat "Atomic"
 * 2004: Punk-O-Rama Vol. 9 Epitaph Records "Temptation"
 * 2005: Punk-O-Rama Vol. 10 Epitaph Records "Ghostfire/Rose of the Devil's Garden video"
 * 2005: Give 'Em the Boot DVD HellCat "Never Die"
 * 2006: Give 'Em the Boot V HellCat "Swift Silent Deadly"
 * 2007: 2007 Warped Tour Compilation Side One Dummy "Afterworld"
 * 2007: Give 'Em the Boot VI HellCat "Afterworld"
 * 2008: Nightmare Revisited "Oogie Boogie's Song" (bonus track)

title: Tiger Army


text:
Talk:Physical Graffiti

picture windows

 * Images in the windows touched upon a set of American icons and a range of Hollywood ephemera. Pictures of W.C. Fields and Buzz Aldrin alternated with the snapshots of Led Zeppelin.

The four shots of Queen Elizabeth's coronation (bottom right of each side of each sleeve), and the Lady with an Ermine – are they pictures of W.C.Fields or Buzz Aldrin, or do they touch upon American icons or Hollywood ephemera? – Seriously, the description could be improved/expanded. —Tamfang (talk) 20:00, 7 May 2016 (UTC)

 * And I can't find Fields anywhere! —Tamfang (talk) 20:03, 7 May 2016 (UTC)

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Fifth floor cropped out - wrong
One of the middle floors is cropped out, because the top (fourth on album cover) shows the fifth floor details. B137 (talk) 18:46, 1 February 2019 (UTC)

The new physical graffitti of wind power
Whatever ethereal meaning Led Zeppelin gave to the title, it brings to mind giant wind turbines as a 3-D implementation of white spray paint in scenic areas. Urban blight is spreading everywhere. http://google.com/search?tbm=isch&q=wind+turbines+mountains

Incorrect source?
This "" is sourced to Led Zeppelin: A Celebration By Dave Lewis (Google Books). I've looked through it because I was curious about the statement that Bonham got a "lead songwriting credit on several tracks", as he only gets a shared credit on two tracks from the album sessions, and one shared credit on an outtake. The shared credits are shown in alphabetical order. While looking through for that detail, I note that the album is discussed in two places in the book, but in neither of those places could I see the suggestion that "Bonham was a driving force at the sessions". Either it's in the book and I couldn't find it, or the information comes from a different book. It sometimes happens when editing an article that citations get moved around. User:Ritchie333, you are the main contributor, and User:FunkMonk, you checked it over for the GA - have I missed the place in Lewis' book where it is mentioned, or should there be a different book cited as the source? SilkTork (talk) 14:06, 22 May 2020 (UTC)
 * Ooh, quite a while ago, I'm not sure. But Ritchie would know. FunkMonk (talk) 14:18, 22 May 2020 (UTC)
 * Ah. Found it. I was looking in the wrong place. "". SilkTork (talk) 14:21, 22 May 2020 (UTC)

Release date
The 24 February release date seems very dubious for the US. There are no mentions of in Billboard dated 1 March 1975 https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1975/Billboard%201975-03-01.pdf There is an advertisement for it in the 8 March issue and a review https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1975/Billboard%201975-03-08.pdf It finally charts for the first time in the week ending the 15th https://worldradiohistory.com/Archive-All-Music/Billboard/70s/1975/Billboard%201975-03-15.pdf Snig27 (talk) 11:29, 23 June 2023 (UTC)

 * The album debuted on the Billboard Top LPs & Tape chart on March 15, for which the sales tracking week ended March 2. That implies it was released the week of February 23 – March 1.
 * In a 2015 discussion regarding the release date of The Dark Side of the Moon, mentioned that the Billboard 200 was done based off of the sales tracked two weeks before (e.g., "The album debuted on the Billboard 200 chart March 17, 1973 for which the sales tracking week ended March 4...") As I mentioned in a discussion regarding the release date of Aftermath, I have not been able to independently verify that this was the methodology, as I have not found any books which extensively discuss the history of Billboard chart compiling, but it lines up when comparing albums whose release we know with certainty – typically that is Beatles stuff, like Yesterday & Today, which I mention in the Aftermath thread.  Tkbrett  (✉)  11:48, 23 June 2023 (UTC)
 * There is more evidence 24 Feb is possibly wrong.
 * Cashbox says on the week ending 22 Feb that you can expect it in two to three weeks: https://worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1975/CB-1975-02-22.pdf
 * There is no mention whatsoever of this album in Cashbox dated 1 March, none - the week of release apparently https://worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1975/CB-1975-03-01.pdf
 * However in their issue of week ended 8 March they say that it had arrived in their office during the week https://worldradiohistory.com/Archive-All-Music/Cash-Box/70s/1975/CB-1975-03-08.pdf
 * https://www.ledzeppelin.com/event/february-24-1975 says 24 Feb but then shows a mock paper that has a date of 2 March.
 * https://www.ledzeppelin.com/event/march-5-1975 has Danny Goldberg announcing that it was certified gold from sales on the day of ship. RIAA says the day it was certifid was actually the 6th https://www.riaa.com/gold-platinum/?tab_active=default-award&se=Led+zeppelin+#search_section One doubts they would wait 9 days to announce that. Maybe, but unlikely.
 * In the UK it charted on 15 March https://www.officialcharts.com/search/albums/physical%20graffiti/ There are no mentions of it at all in Record Mirror until that week. None. A new LZ album would garner some mention in the UK's biggest pop mag.
 * Chart lag in the UK based on a credible date. Sgt Pepper, released 26 May, charted 3 June https://www.officialcharts.com/search/albums/sgt-pepper's-lonely-hearts-club-band/ so a week after release. It was that in 1967 and is still that. Is there any evidence it was delayed until after US release in the UK? I've never seen any.
 * Surely it's not credible that Billboard and Cashbox would ignore a record like this in their issues created on the very week Wiki currently claims but that's what a release date of 24 would have us believe. I do understand that there was a lag in the 60s but have always understood that was tightened in the 70s as albums mattered more.
 * What seems to have happened is it was scheduled and was pushed back. That 22 Feb Cashbox says:
 * Eric Clapton's forthcoming LP which Atlantic is hoping to get ready for March release will be titled "There's One In Every Crowd." Don't be surprised to find the release date getting pushed back a month. Speaking of which, Led Zeppelin's "Physical Graffiti" is ready cover -wise, but is being re -mastered. Expect it in two or three weeks
 * I guess we await further evidence but there seems to a lot that says early March. Snig27 (talk) 15:43, 23 June 2023 (UTC)
 * You are incorrect about Sgt. Pepper. For one, how the UK Official Chart (then Record Retailer) compiled its data has nothing to do with Billboard. Second, Sgt. Pepper debuted on the Billboard Top LPs chart on June 24, for which the sales tracking week ended June 11. The album came out in the US nine days earlier, on June 2, or twenty-three days before its chart debut in the US.  Tkbrett  (✉) 15:59, 23 June 2023 (UTC)

title: Talk:Physical Graffiti


text:
Charles Chilton

Charles Frederick William Chilton MBE (15 June 1917 – 2 January 2013) was a British presenter, writer and producer who worked on BBC Radio. He created the 1950s radio serials Riders of the Range and Journey into Space, and also inspired the stage show and film Oh, What a Lovely War!.

Early life
Born in Bloomsbury in London, England, he never knew his father – who was killed during the First World War – and when he was six his mother died as a result of having a botched abortion, with the result that Chilton was brought up by his grandmother. He was educated at St. Pancras Church of England School.

Chilton left school at the age of 14, and after a brief apprenticeship making electric signs, he joined the BBC as a messenger boy. A year later he became an assistant in their gramophone library. He had a passion for jazz music, and in 1937 formed the BBC Boys' Jazz band.

Career
His first role as a producer was for I Hear America Singing, after which he moved to the BBC variety department. He then presented his own show between 11pm and midnight called Swing Time, and a weekly jazz programme called Radio Rhythm Club. Next came five years' war service with the RAF, after which he was sent to Ceylon to run the forces radio station with broadcaster David Jacobs, later to participate in Chilton's radio series Journey into Space.

Back in the BBC he wrote and produced programmes for, among others, Roy Plomley, Michael Bentine and Stéphane Grappelli. In 1947 he married Penelope (née Colbeck (born 1921)), who was a secretary at the corporation. He was then sent to the United States to research, write and produce a number of series based on American western history. One of these, Riders of the Range, lasted for five years until 1953. During its run, Riders of the Range attracted audiences of around 10 million. Chilton wrote a comic-strip version of the series drawn by Frank Humphris for the Eagle which outlasted the radio version, and wrote another western series, "Flying Cloud", for the Eagle ' s sister comic Girl. Chilton was also briefly a producer on the comedy series The Goon Show.

Major international recognition came with his science-fiction trilogy Journey into Space, which he wrote and produced between 1953 and 1958. His interest in space and space travel also led him to join the British Astronomical Association and the British Interplanetary Society.

He was presented with an MBE in 1972.

He spent his last years acting as a tour guide for the Original London Walks company.

Legacy
In January 2014, BBC Radio 4 Extra broadcast a selection of programmes to celebrate the life and work of Charles Chilton. This included The Long, Long Trail, telling the story of the First World War through the songs sung by soldiers, broadcast for the first time since its original transmission on the BBC Home Service in 1961.

On 4 January 2014, in conjunction with BBC Radio 4 Extra, BBC Radio 4 broadcast Archive on 4: The Long, Long Trail. Roy Hudd told the story of Chilton's ground-breaking 1961 musical documentary. Interviewees included satirist Ian Hislop, Chilton's widow Penelope and their children Mary (born 1951) and David Chilton (born 1952) and the producer was Amber Barnfather. In a five-star review, the Financial Times said "Chilton ... merits this tribute – as does the British soldier's stoic humour that so movingly illumines the four-year hell." Archive on 4: The Long, Long Trail won a Silver Radio Award in the New York Festivals International Radio Program Awards 2014.

Production/writing credits

 * Follow the Fun (writer) play.
 * Fledgling (writer) play based on Follow the Fun (1940).
 * The Long Long Trail (writer) – a musical about the First World War featuring popular songs of the time interspersed with scripted material.
 * Oh, What a Lovely War! (originator and producer)
 * Round the Bend in Thirty Minutes (producer, series 2 and 3, 1958 to 1960) – starring Michael Bentine
 * Riders of the Range – a cowboy series that found its way into the 1950s Eagle comic book.
 * Shakespeare's London
 * Dickens' London
 * London's Pleasure Gardens
 * Cries of London
 * Ballad History of Samuel Pepys
 * The Goon Show (producer) – series 3 episodes 18 and 19, series 8 episodes 1–5 and 17–26, 'Vintage Goons' series episodes 1–2 and 9–14.
 * How Jazz Came to Britain (presenter, 8 July 2000)
 * Journey into Space (writer/producer)
 * Space Force (writer/producer, 1984 and 1985)
 * Whistle and I'll Come To You - The Life and Loves of Robbie Burns

Additional production/writing credits: These 30-minute radio programmes were broadcast on NZBC in the 1970s, presumably from transcription disks from the Overseas Service of the BBC / BBC World Service (these discs should still be available somewhere):

 * Botany Bay by Charles Chilton. The founding of New South Wales, Australia.
 * The Victory by Charles Chilton. A musical presentation about HMS Victory, Nelson's flagship.

title: Charles Chilton