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Lotus Elise

The Lotus Elise is a sports car conceived in early 1994 and released in September 1996 by the British manufacturer Lotus Cars. A two-seater roadster with a rear mid-engine, rear-wheel-drive layout, the Elise has a fibreglass body shell atop its bonded extruded aluminium chassis that provides a rigid platform for the suspension, while keeping weight and production costs to a minimum. The Elise was named after Elisa Artioli, the granddaughter of Romano Artioli who was chairman of Lotus and Bugatti at the time of the car's launch.

Production of the Elise, Exige and Evora ended in 2021. It was replaced by the Lotus Emira.

Series 1
The 1996 Lotus Elise weighed 725 kg. Because of this low weight, it was able to accelerate 0-60 mph in 5.8 seconds despite its relatively low power output of 118 bhp. Braking and fuel consumption are also improved by the car's reduced weight. Cornering is helped by a low centre of gravity height of 470 mm (18½").

Series 1 was designed by Julian Thomson, then head of design at Lotus, and Richard Rackham, Lotus's chief engineer.

Besides the standard higher-performance variants listed below, Lotus also released some limited edition models such as Sport 135 (1998/9) with approximately 145 bhp, Sport 160 (2000) with 150 - 160 bhp, and Sport 190 (190 bhp). These were more competent on track with sports suspension, wheels and tyres, seats according to model. There were other special editions such as the 50th Anniversary Edition (green/gold) celebrating 50 years of Lotus cars, the Type 49 ("Gold Leaf" red and white two-tone), and Type 79 ("JPS" black/gold) which refers to its successful Grand Prix car type numbers.

The Series 1 Lotus Elise was assembled from kits on a dedicated assembly line at Proton's Shah Alam factory between 1997 and 2003. The drivetrain was imported complete and initially the bodywork was painted in the UK at Hethel prior to export. The Malaysian-assembled Elise sold for double the price of its British-built counterpart due to local vehicle taxes. The Malaysian-assembled Elise was also exported to regional markets, including Japan, Hong Kong, Australia and New Zealand. The Malaysian spec Elises came with a factory hard top, carpets and air con as standard though the air con was unreliable and ineffective. All cars had MMC brakes as that was what was current when the kits were imported in the late 1990s. The Proton-assembled Elises were assigned the code 'B' in the eleventh VIN position, while the original Hethel-built units were stamped with the code 'H'.

111S
A faster edition called the 111S, named after the Lotus type-number of the Elise (Type 111), was introduced in early 1999 and had the 1.8 Rover K-series engine also used in the Rover MGF. It featured a VVC system providing continuously variable lift and duration on the intake valves only. This technology produced a flatter torque curve from lower down the rev range and a declared 143 bhp, a small but useful improvement over the standard 16 valve Rover 1.8 L K-series 118 bhp inline-four unit. Fitted with a closer ratio manual gearbox and lower ratio final drive, the acceleration was improved. Minor changes include more padding in the seats, headlamp covers, rear spoiler, cross drilled brake discs, alloy window winders and six-spoke wheels. The rear wheels being slightly wider than before necessitated the fitting of "spats" on the back of the rear wheel arches to comply with EU regulations. The 111S was also fitted with a "chipcutter" front grille.

340R
In 2000, the 340R limited edition model, based on a Series 1 Elise was introduced. This roofless car was a special edition, limited to only 340 cars being built. The name 340 originally referred to the 340 bhp/tonne (254 kW/tonne) power-to-weight ratio of the original prototype which had 177 bhp while weighing just 500 kg. However, in production models the 340 refers to the number of cars built. The final production versions weighed 701 kg and had a power-to-weight ratio of undefined bhp/tonne. A "Track Pack" was created that upped power to 192 bhp and weighed only 571 kg, thus fulfilling its original power-to-weight ratio promise.

Exige
In 2000, Lotus introduced the Exige — a hardtop version of the Elise with the 177 bhp engine from the 340R; as well as different front and rear body "clamshells", larger wheels, and a rear wing. Many models received an upgrade to 190 bhp with better driveability due to changes to ECU and cam timing.

Series 2
The Series 1 could not be produced beyond the 2000 model production year due to new European crash sustainability regulations, so Lotus needed a development partner to meet the investment requirement for a Series 2 car. General Motors offered to fund the project, in return for a badged and GM-engined version of the car for their European brands, Opel and Vauxhall.

The Series 2 Elise, announced on 9 October 2000, was a redesigned Series 1 using a slightly modified version of the Series 1 chassis to meet the new regulations, and the same K-series engine with a brand new Lotus-developed ECU. The design of the body paid homage to the earlier M250 concept, and was the first Lotus to be designed on a computer.

Both the Series 2 Elise and the Opel Speedster/Vauxhall VX220 were built on the same production line, in a new facility at Hethel. Both cars shared many parts, including the chassis, although they had different drive-trains and power-plants. The VX220 carried the Lotus internal model identification Lotus 116, with the code name Skipton for the launch 2.2N/A version and Tornado for the 2004 introduced 2.0 L Turbo. Fitted with 17 inch over the Elise's 16 inch front wheels, the Vauxhall/Opel version ceased production in late 2005 and was replaced by the Opel GT for February 2007, with no RHD version for the United Kingdom.

Basic S2 models had a naturally aspirated 1795 cc Rover K-series engine without VVC rated at 120 bhp at 5600 rpm and 124 lbft at 3500 rpm of torque.

111S
The Series 2 was also available as a 111S model, with the VVC engine Rover technology producing 160 hp. The 111S Type 25 was built to commemorate the revolutionary race car driven by Jim Clark in F1, painted in Lotus Racing Green with twin metallic yellow stripes running front to back. Unique black Lotus styled six-spoke wheels. The interior includes perforated Ruby red leather seats, door panels and steering wheel centre (echoing the original), and red laurels embroidered onto the headrest of each seat. A Heritage Type 25 ID plate confirms its limited edition status as only 50 of these cars were produced. The UK market was to get 45 and Australia 5. During boat loading one of the 5 was damaged and only 4 sent to Australia. It's presumed the damaged car was later sold in the UK. The car is also supplied with hard top maintaining the twin stripes. The 111S models were discontinued in 2005 in favour of the Toyota powerplant.

In 2003 the Type 23 or Heritage Type 23 was built to commemorate the Colin Chapman designed race car which ran from 1962 to 1963. Like the Type 25 the car was based on the 111S and powered by the Rover K Series engine. It was limited to a production run of 50 cars, all of which were fitted with the heritage type 23 ID plate indicating the build number. Externally the car was painted in heritage white with twin parallel Lotus racing Green stripes. Heritage laurels and Union jacks were fitted to each wing, all of which set the car apart. Internally the car was fitted with perforated green leather seats, door panels and steering wheel centre, and green laurels are embroidered onto the headrest of each seat. The car was supplied with a green soft top and hard top maintaining the green stripes.

It is believed that the switch to a Toyota engine was due to federalising issues with the Rover powerplant in the US, however this has been largely unproven with little information released from Lotus as to the exact reasons. As of the time of the switch the Rover engine would still have met the standards required of it for use in America.

Two more track-focused models, the 135R and Sport 190, were available with 135 bhp and 192 bhp respectively. These also came with associated handling upgrades such as Lotus Sport Suspension and wider wheels with Yokohama Advan A048 tyres. In certain markets, the 135R was replaced by the "Sport 111", which was similar, apart from sporting the 156 bhp VVC engine in place of the 135 bhp tuned K-series.

111R / Federal Elise
This Series 2 Elise model comes in a European 111R version or a version sold in North America, referred to as the Federal Elise. It is powered by the all-aluminium alloy 189 hp 1796 cc DOHC Toyota 2ZZ-GE with a Yamaha designed twin-cam head offering variable valve timing on both intake and exhaust valvetrain and a Toyota C64 6-speed manual transmission. Although the engine was borrowed from Toyota, its tune for the Elise was done in-house by Lotus. Many tests show performance of 0-60 mph in approximately 4.9 seconds, or 4.7 seconds with the Sport Package.

The 2005 Lotus Elise was the first to be sold commercially in the United States, in the summer of 2004. Approval for the Elise, however, required intervention by the National Highway Traffic Safety Administration (NHTSA) which provided a three-year exemption for the car, as it had failed to meet US bumper and headlight regulations. The first-year model suffered from a few flaws, most notably a design flaw in the headlamps that magnified the sun's light, allowing the inside of the lamp housings to be melted by the sun.

This model was followed up by the 2006 Model Year Elise 111R and Sports Racer models. Lotus made a limited production (50 in the US) called the Lotus Sport Elise. 2006 models differ from the 2005 models in a few aspects. ProBax seats.

For the 2007 model year Lotus several minor changes were made. The LOTUS decals on the rear of the vehicle, previously flat stickers, were replaced by raised lettering. The headlamp units were sealed. Also, in order to comply with US Federally mandated bumper restrictions, the frontal crash structure was slightly changed and rear bumperettes were added next to the licence plate mount. Approximately 100 2007 model year "launch" cars were shipped to the US without these bumper changes. Also in 2007, the Elise S was released and the 111R renamed Elise R. All Lotus Elise cars manufactured after 1 January 2007 include the new headlights and 2.5 mi/h bumpers, although they are hidden in the front.

The Elise S is the new base model with a Toyota sourced 1796 cc engine replacing the previous models K series Rover engine. The 2ZZ-GE engine produces 189 bhp at 6,200 rpm (a considerable increase over the 120 bhp of the Rover engine). The inclusion of airbags, ABS brakes, electric windows, and carpet in addition to the new heavier engine has increased the base weight to 860 kg (approximately 85 kg higher than the previous S model).

2008 models
For 2008, there were several additions to the Lotus line-up. There are three versions of the Elise. Lotus continued to provide a naturally aspirated Elise producing 189 hp. The second version is the Elise SC sporting a non-intercooled supercharger producing 218 hp. 0–60 mph is reduced from 4.9 for the base Elise or 4.7 seconds for the Elise with Sport package to 4.3 seconds for the Elise SC. The NA Elise styling is similar to the prior model years. The Elise SC, however, is distinguishable from the NA version by a rear spoiler identical to the Type 72-D edition spoiler and new wheels. Weight remained a Lotus-claimed 1987 lb; just 3 lb more than the previous year. Prior to the release of the 2008 Elise SC, the limited production California Edition arrived at dealerships. A total of fifty California Edition Elises were produced; 25 in Saffron Yellow and 25 in Ardent Red. The interiors of the Cali s were produced in a light two-tone leather (Biscuit) and the exterior modifications included a silver front grille (a nod to vintage-Ferrari), body-coloured shutter grills on the side inlets and engine cover, enhanced 16-spoke wheels, and a large spoiler that covers the upper-rear deck (72-D style). The Cali s were intended to appeal to "the lifestyle market."

In Europe, there are three models available; the Elise S with a 134 bhp, 1.8L Toyota 1ZZ-FE engine and 5 speed manual gearbox (0-60 mph (97 km/h) in 5.8 seconds, top speed 127 mph); the Elise R with a 189 bhp, 1.8 L Toyota 2ZZ-GE engine and 6-speed manual gearbox (0-60 mph (97 km/h) in 4.9 seconds, top speed 148 mph); and the Elise SC with a supercharged non-intercooler 1.8L Toyota 2ZZ-GE engine rated at 217 bhp at 8000 rpm and 156 lbft at 5000 rpm of torque, 6 speed manual gearbox and a spoiler (0-60 mph (97 km/h) in 4.3 seconds, top speed 150 mph).

Several new colour options for 2008 were brought to the marketplace. These include new metallic colours (additional $590) Persian Blue and Liquid Blue; new Lifestyle colour (additional $1200) Isotope Green; new Limited Colour Level (additional $3,300) Candy Red, Ice White, and Burnt Orange; and the new Exclusive Colour Level (additional $5,100) Prism Green and Moonstone Silver. The following colours were discontinued for 2008: Nightfall Blue, Aubergine Purple, Magnetic Blue, Polar Blue, Autumn Gold, Chili Red, and Krypton Green.

Series 3
In February 2010, Lotus unveiled a facelifted version of the second generation Elise. The new headlights are now single units; triangular in shape they are somewhat larger than the earlier lights. The cheapest version in Europe had a 1.6 litre 1ZR-FAE engine to comply with Euro 5 emissions, with the same power output as the earlier 1ZZ-FE,  136 PS. The face lifted model was also available for Model Year 2011 with the 1.8 litre 2ZZ-GE in naturally aspirated form from the Series 2 111R/R and with a Magnuson R900 supercharger making 220 PS. For the Model Year 2012 the 2ZZ engine was replaced by the supercharged 2ZR-FE power unit that remained until the end of production in 2021. The 1.6 litre version was discontinued in 2018.

US Model
The 2011 model was the last offered for street legal sale in the United States when the waiver from the United States Government's National Highway Traffic Safety Administration (NHTSA) for Lotus to build and sell cars in the US without smart airbags expired in August 2011. It used the Toyota 2ZZ-GE engine

Elise R & Elise SC
Two versions of the 2011 model year, similar to the US Elise, were also offered in the rest of world. Both powered by the 2ZZ-GE engine. The Elise R had the 189 hp naturally aspirated unit and the Elise SC was fitted with a supercharged 2ZZ, producing 218 hp.

Elise S
For the 2012 model year the naturally aspirated 2ZZ engine was dropped and the supercharged 2ZZ version was replaced by the supercharged 2ZR-FE Elise S. This model remained in production until being replaced in 2015 by the Elise 220 and derivatives.

Elise Cup 220
At the 2015 Geneva Motor Show, Lotus revealed a high performance version of the Elise called the Cup 220. The Cup 220 is a more track-focused and hardcore version of the standard Elise. It has the following specifications according to a 2015 Top Gear road test:

 * Engine: 1.8 litre supercharged Toyota 2ZR-FE Inline-4
 * Transmission: 6-speed Toyota EC60 manual with sport ratios
 * Power: 217 bhp at 6800 rpm
 * Torque: 250 Nm at 4600 rpm
 * Acceleration: 0-60 mph (97 km/h) in 4.2 seconds
 * Top speed: 140 mph
 * Weight: 932 kg (dry weight)
 * Downforce: 125 kg at 140 mph

Elise Sport, Sport 220
Revealed in November 2015, The Lotus Elise Sport and Sport 220 are set to join the two-seater sports car's line-up, with the two models replacing the outgoing Elise and Elise S. The models mark a return for the ‘Sport’ name to a Lotus, with the badge last appearing on the Lotus Esprit. The two cars get a weight reduction of 10 kg, with the Elise Sport now down to 866 kg and the Sport 220 now 914 kg. The reduced weight doesn't improve performance but it does bring a marginal boost in claimed economy, with the Sport now managing 45.0 mpg the Sport 220 improving to 37.5 mpg. The changes are marginal enough that the CO2 emissions remain unchanged.

Both cars also come with lightweight sports seats, which are available with optional tartan trim that harks back to the 1970s Esprit S1. Other visual upgrades and options include lightweight silver or black cast wheels, which are 16 inch at the front and 17 inch at the rear. Optional lightweight wheels can reduce another 5 kg from the car's weight. A black rear diffuser is standard, along with a choice of 10 colours. Other options include a hard roof, air conditioning, cruise control and an upgraded Clarion stereo system.

The engines remain unchanged. The Sport comes with a 1.6-litre petrol engine with 134 bhp and 160 Nm of torque. It can go 0-62 mph in 6.5 seconds, and has a top speed of 127 mph. The Sport 220's 1.8-litre engine can develop 217 bhp and 250 Nm of torque. It can go 0-62 mph in 4.6 seconds and has a 145 mph of top speed. Both come with a six-speed manual transmission.

The pricing has also been trimmed, with the Elise Sport model starting at £29,900 and the Elise Sport 220 priced at £36,500. Both cars will go on sale from December 2015 in Europe and the rest of the world from January 2016.

Elise Cup 250
At the 2016 Geneva Motor Show, Lotus revealed the high performance version of the Elise called the Cup 250. The Cup 250 is a more track focused and hardcore version of the standard Elise. It has the following specifications according to Lotus:

 * Engine: 1.8 litre supercharged Toyota 2ZR-FE Inline-4
 * Transmission: 6-speed Toyota EC60 manual with sport ratios
 * Power: 243 bhp at 7200 rpm
 * Torque: 250 Nm at 5500 rpm
 * Acceleration: 0-60 mph (97 km/h) in 3.9 seconds
 * Top speed: 154 mph
 * Weight: 884 kg (dry weight)
 * Downforce: 125 kg at 140 mph

Elise Cup 260
In October 2017, Lotus unveiled a hardcore version of the Elise called the Elise Cup 260. It is inspired by the two hardcore variants of the Evora and Exige line up, the Sport 380 and the GT430 respectively. It features the double taillight units and rear wing from the Exige Sport 380 and the Lotus 3-Eleven respectively. Power has also been uprated and is now 250 hp thanks to a revised supercharger. Other changes include increased top speed, acceleration, low weight and high downforce due to added aero elements. The Elise Cup 260 has the following specifications according to Lotus:

 * Engine: 1.8 litre supercharged Toyota 2ZR-FE Inline-4
 * Transmission: 6-speed Toyota EC60 manual with sport ratios
 * Power: 250 bhp at 7200 rpm
 * Torque: 265 Nm at 5500 rpm
 * Acceleration: 0-60 mph (97 km/h) in 3.8 seconds
 * Top speed: 151 mph
 * Weight: 862 kg (dry weight)
 * Downforce: 180 kg at 151 mph

Elise Sprint
In March 2017, Lotus announced the special edition 'Sprint' models of the Elise. For the Elise Sprint, Lotus used several weight-saving techniques to cut the car's weight down to 798 kg. To achieve the 40 kg weight saving, some body parts are made in carbon, as well as the seats. The backlight glass is made of polycarbonate, and the lightweight battery is a Lithium-ion model. Wheels are the usual size, but forged instead of cast alloy. The Sprint can be had with either a 1.6-litre naturally aspirated engine, or a 1.8-litre supercharged engine, available for the Sprint 220 version. The former has a 0–60 mph (97 km/h) time of 5.9 seconds, while the Sprint 220 can accelerate from 0–60 mph (97 km/h) in 4.1 seconds. Dampers are uprated, as on the Elise Cup models.

Elise Sport 240, Cup 250 Final Edition
On 9 February 2021, Lotus unveiled two final editions line-up models of Elise on online platforms.

Opening the range is the Elise Sport 240 Final Edition, which sees the existing Sport 220's 1.8-litre supercharged four-cylinder engine uprated to develop 240 bhp and 244 Nm, permitting a zero to 100 km/h time of 4.5 seconds. When fully specified with weight-saving options – namely carbon-fibre sill and engine covers, a lithium-ion starter battery and a polycarbonate rear window – the Sport 240 is the lightest car on offer, tipping the scales in at just 898 kg. A set of 10-spoke forged alloy wheels fill the arches, measuring 16 inches in diameter up front and 17 inches at the rear, wrapped in Yokohama Y105 tyres. Lotus claims the new wheels are 0.5 kg lighter than the examples fitted to the outgoing Sport 220.

The Elise Cup 250 Final Edition features a variant of the Sport 240's 1.8-litre four-cylinder, now tuned to produce 245 bhp and 244 Nm. Lotus claims a 4.3-second 0–100 km/h sprint time. This model gets an optimised aerodynamic package allowing for 155 kg of downforce at its top speed of 248 km/h, along with 10-spoke M Sport forged alloy wheels, Yokohama A052 tyres, Bilstein dampers and adjustable anti-roll bars. A lightweight lithium-ion battery and polycarbonate rear window are also fitted as standard for increased weight saving, and, in top spec layout, the car weighs 931 kg.

The last Elise built was a Sport 240, painted gold; it was delivered to Elisa Artioli, the car's namesake.

Elise Concept
The series 3 Lotus Elise first appeared as a design study alongside the Lotus Esprit concept at the 2010 Paris Motor Show as the "Lotus Elise Concept" in the autumn of that year, and was set to be launched within the next couple of years. The car was heavier than the production model of that time, and had a considerably more powerful 2.0-litre inline-4 engine. The production model was then unveiled with many changes, including the downsizing of the engine to 1.6 litre and 1.8 litre (supercharged) and a different design with little cues taken from the concept.

Special editions

 * Sport 220
 * Sport 190
 * Sport 160
 * Sport 135R
 * Lotus Sport 111 (Track based option for Australia, Hong Kong, Japan & Singapore)
 * Type 23
 * 50th Anniversary Edition
 * 60th Anniversary Edition
 * Jim Clark Type 25
 * Type 25
 * Type 49
 * Lotus Sport Edition
 * Type 72
 * Type 79
 * Type 99T
 * Sports Racer
 * Race Tech
 * Club Racer
 * California Edition
 * Purist Edition
 * Final Edition
 * Roger Becker SC

Exige
The Series 2 Exige comes with the same high revving Toyota 1.8L engine and six speed gearbox as the Elise 111R, replacing the Rover K-series engine of the previous Exige.

The Series 2 Exige has been followed by the limited-edition Lotus Sport Exige 240R, incorporating a Lotus-developed supercharger atop the Lotus engine. The US Federalised version with the supercharger fitted is known as the Exige S 240.

Zytek Lotus Elise
The Zytek Lotus Elise is an electric sports car that was jointly produced by Lotus and Zytek from 1998 until 2003.

Its 70 kg extruded aluminium space frame and lightweight composite body shell are factors in its low kerb weight of 875 kg. 250 nickel-cadmium batteries provide 300 volts (at full charge) to two Zytek oil-cooled brushless DC motors, which deliver a total power of 150 kW and torque of 100 Nm. These motors are each mated to a single-speed, fixed ratio transmission with an aluminium gear. Its acceleration time from 30 to 70 mph is 5 seconds, and from 0 to 90 mph is 11.2 seconds. The car is governor-limited to 90 mph to conserve charge. The range per charge is typically 100 to 120 mi and the car can be re-charged within an hour.

There is an example of the Zytek Elise on display at the Heritage Motor Centre.

Type 135
The electric successor to the Elise is the Type 135, being released in 2026.

Other cars sharing the Elise platform

 * Hennessey Venom GT
 * Lotus 2-Eleven
 * Lotus 340R
 * Lotus 3-Eleven
 * Lotus Circuit Car
 * Lotus Elise GT1
 * Lotus Europa S/Dodge EV
 * Lotus Motorsport Elise
 * Lotus Sport Exige 300RR
 * Melkus RS 2000
 * Opel Speedster/Vauxhall VX220/Opel Eco-Speedster Concept
 * Rinspeed sQuba
 * Tesla Roadster (2008)
 * PG Elektrus
 * Detroit Electric SP.01

Awards and recognition
The Elise has received critical acclaim for its performance and driving experience, including Best Driver's Car 2001 (Autocar), Car of the Year 2003 (UK Horizons TV), Best Sportscar 2004 (BBC Top Gear Magazine), and Icon of Icons at the Autocar Awards 2019 (Autocar). The Daily Telegraph listed the Elise at number 44 of their 100 best cars ever made.

title: Lotus Elise


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WPXN-TV

WPXN-TV (channel 31) is a television station in New York City, serving as the local Ion Television outlet. Owned and operated by the Ion Media subsidiary of the E.W. Scripps Company, the station maintains offices on Seventh Avenue in Midtown Manhattan and transmits from atop One World Trade Center.

Municipal ownership (1961–1996)
The City of New York, which was one of the United States' first municipalities to enter into broadcasting with the 1924 sign-on of WNYC radio, was granted a construction permit to build a new commercial television station in 1954. Seven years later, on November 5, 1961, WUHF took to the air for the first time. Through the Municipal Broadcasting System, which held the channel 31 license, the city (led by then-mayor Robert F. Wagner Jr.) and the Federal Communications Commission (FCC) used WUHF as an experiment to determine the viability of UHF broadcasts within an urban environment. Some of the early programming on WUHF included simulcasts of New York's existing commercial VHF stations; educational films produced by WNYC's Television Film Unit, established in 1949; college-level distance education telecourses; and, reportedly, a nightly rundown of the New York City Police Department's "wanted" criminals list. The experiment was carried out through the installation of UHF receivers in several hundred test homes, public schools and businesses, with reception monitored by FCC and City engineers.

After a year of test broadcasting was deemed successful, full control of WUHF was then transferred to the city. The station became a full-time operation on November 5, 1962, with new call letters WNYC-TV to match its sister radio stations WNYC (then at 830 AM and now at 820 AM) and WNYC-FM (93.9 MHz). Though the channel 31 license was classified as commercial, WNYC-TV was operated as a non-commercial educational station. Some of the programming from the experimental period continued, and now included live broadcasts of the United Nations General Assembly meetings. As a municipally-owned station, WNYC-TV also devoted airtime to shows focused on civic affairs, along with other public-interest programs. The station also carried some programming from National Educational Television (NET) and its successor, the Public Broadcasting Service (PBS), but later increasingly ran more independent educational television programs. For many years, WNYC-TV ran a 15-minute newscast on weekdays, called News from City Hall (later called News City and expanded to 30 minutes), highlighting the day's events in municipal government.

In 1979, Mayor Ed Koch considered selling the WNYC stations to other interests due to a municipal fiscal crisis. Instead, the WNYC Foundation was established as an outlet to raise operating capital for the stations. Though there were twice-yearly fundraising appeals made by the WNYC stations, WNYC-TV did not run on-air pledge drives in a manner similar to other PBS stations, mostly because it was a commercial licensee. It would not, however, have faced any problems had it done so, as WNED-TV in Buffalo, New York operated for decades as a non-commercial broadcaster under a commercial license.

Channel 31 also leased blocks of airtime to foreign-language broadcasters. In the 1980s, among the largest providers of foreign programming were Japan's Fujisankei Communications Group, which aired a morning show on weekdays, and RAI, the Italian public broadcaster which programmed two hours on weeknights, and five hours on Sunday mornings, a period which included airings of Italian soccer games.

Also during this era, WNYC-TV joined the music video phenomenon – and in the process contributed to the growth of hip hop culture and rap music. In the summer of 1983, channel 31 premiered the hour-long Video Music Box, created by station employee Ralph McDaniels. The program started off with an eclectic selection of videos from pop, rock, and rhythm-and-blues artists. Rap music was also included, but eventually the program became exclusive to the rap and R&B genres. Video Music Box served as a launching pad for many rap music artists, and was said to have been the basis behind MTV creating Yo! MTV Raps several years later. Video Music Box would remain prominently on WNYC-TV's schedule for the next decade (the show now airs on WNYE-TV, channel 25).

Transition into private ownership (1996–present)
Shortly after becoming mayor in 1994, Rudy Giuliani said that he was considering selling the WNYC stations. Giuliani said that broadcasting was no longer essential as a municipal entity, and that any financial compensation would be used to help the City cover budget shortfalls. The final decision was made in March 1995: the WNYC radio stations would be sold to the WNYC Foundation, while the city opted to solicit separate bids for WNYC-TV through a blind auction.

In August 1995, a partnership of Dow Jones and Company and ITT Corporation (licensed as ITT-Dow Jones Television LLC) was declared the winner of the WNYC-TV auction with a bid of $207 million, which at the time was the largest price ever paid for a UHF television station. The sale of channel 31 to commercial interests had many detractors. Foreign broadcasters complained, as they now found themselves without an outlet for their programming, and individual financial contributors criticized the Giuliani administration for selling the station to the highest commercial bidder, rather than to the WNYC Foundation. The foreign producers found new outlets through WNYE-TV, Newton, New Jersey–based WMBC-TV, and the City-owned Crosswalks cable TV network (now NYC Media), and eventually dispersed among the many low power television stations launched in the late 1990s and early 2000s, and currently through various digital subchannels both on full and low-power stations in the Tri-State.

The sale took nearly a year to become official, as licensing troubles with the FCC and the aforementioned complaints from foreign broadcasters would ultimately delay the transaction. Eventually, at midnight, June 30, 1996, WNYC-TV signed off for the final time. Twelve hours later, at noon on July 1, channel 31 reappeared as WBIS (branded as S+), carrying programming from the Classic Sports Network most of the day, and infomercials in overnights. Meanwhile, Dow Jones and ITT worked on their planned permanent format for WBIS, which would offer business news during the day and professional sports news and games at night. The S+ name was designed to mean "sports, stocks, style, and success", as a nod to the format being worked by both partners. Former WNYW general manager Carolyn Wall was brought on board to supervise the launch of the station in the same capacity. The launch of the new format was beset by many difficulties: initially planned for that fall, it would be ultimately delayed, as business, editorial and creative differences between both partners concerned many station employees.

The new format would ultimately launch on January 21, 1997, at 7 p.m., with a half-hour long introductory program, previewing the station's line-up and presenters. It would be followed by an NBA match between the New York Knicks and the Chicago Bulls, making the first time in 12 years a Knicks game was broadcast on over-the-air television. The launch was accompanied with a big budget ad campaign focusing on the station's slogan, "Sports, money, and, oh yeah, life," developed by Ryan Drossman & Partners (now part of MARC USA), which included outdoor advertising featuring Knicks star Larry Johnson.

The following day, the station's business news coverage from Dow Jones debuted. Produced from a street-level, all-digital studio built on the ground floor of 200 Liberty Street in the World Financial Center, business programming ran from 6 am to 6 pm, using the resources of their media outlets, including The Wall Street Journal, Barron's, Telerate and its London and Singapore-based TV outlets. Programming was tailored to the New York market and featured, alongside frequent breaking news and business updates, as well as weather and traffic reports, heavy emphasis in reporting on consumer advocacy, lifestyle and pursuits. Daily programming was anchored, among others, by New York news veterans Tony Guida and Carol Martin (hired after their controversial sacking from WCBS-TV the year before), as well as future Fox News Channel anchor Martha MacCallum. A half-hour sports-focused business report served as a transition to the daily sports programming, running from 6 pm to 6 am.

ITT, then co-owners of Madison Square Garden (and the teams that played in the venue) with Cablevision, offered team coverage of the New York Knicks and New York Rangers, produced by their sister cable outlet MSG Network, who was by then planning a merger with Cablevision-owned SportsChannel New York. WBIS was also slated to carry some games of the New York Islanders, New Jersey Devils, and New Jersey Nets (all of which aired on SportsChannel New York), and in fact did air at least one game from each of the three teams, with production handled by MSG, using both that network's and SportsChannel personalities. Some Classic Sports Network programming remained on weekends and on evenings when there was no live sports coverage, and infomercials continued in overnights. There was some talk that WBIS would secure broadcast rights for the New York Yankees, with executives reportedly wanting all 50 broadcast games to boost the station's prominence, but that team opted to remain with WPIX (channel 11) for the 1997 season. It also became a de facto affiliate of Fox Sports Net after signing a $30 million, five-year, split revenue deal, since at the time FSN didn't have an outlet in New York; by fall 1998, Cablevision had converted its SportsChannel networks to FSN, including SportsChannel New York. As a result, WBIS carried FSN programs and events such as Big 12 Conference and Pacific-10 Conference sports, weekly Thursday night baseball games, and Fox Sports News three times a day, as well as shows from the then young Outdoor Life Network and Speedvision networks on weekends.

The WBIS hybrid format, though ambitious, was a complete flop as the station failed to attract either viewers or advertising revenue. That spring, the consumer and lifestyle talk show Money/Style/Power was canceled due to low ratings, with the station opting for reruns until disappearing altogether from the schedule. In May 1997, ITT sold its share of the station, as well as its half of Madison Square Garden, in an effort to resist a hostile takeover attempt by the Hilton Hotels Corporation, which was already hampering the company's fortunes in the run-up to the relaunch of the station (ITT would eventually merge with rival Starwood shortly thereafter). Dow Jones continued to run the station alone, but within weeks decided it could no longer support the losses, as the company was losing money thanks to the decline of its Telerate division, and looked to sell out. After early reports mentioned News Corporation was attempting to buy a stake in the station (making it a de facto sister station to WNYW), something that would ultimately not happen, Paxson Communications (currently known as Ion Media), which owned several UHF stations nationwide, eventually would make an offer for WBIS that same May for $225 million, topping the 1995 sale price by $18 million.

The hybrid format was taken off the air in June, though reruns of WBIS' business programming, some Fox Sports programming, and documentaries from the CBS cable presence "Eye on People" (another network which struggled through its short life) ran in the interim. WBIS would sign-off permanently on June 30, 1997, after airing a video sequence of the station's employees saying farewell, accompanied by Bachman–Turner Overdrive's song "Lookin' Out for #1." Paxson took control of the station the following day, renaming it as WPXN-TV, and ran channel 31 under a local marketing agreement (LMA) with a format that featured Bloomberg Business News in daytime and infomercials (from Paxson's inTV) and religious programs (from Paxson's Worship Network) the rest of the day. The LMA was necessary as Paxson was seeking FCC permission to temporarily keep both WPXN and WHAI-TV (channel 43) in Bridgeport, Connecticut. The FCC eventually granted Paxson a temporary waiver for the purchase of WPXN, which closed on March 6, 1998. A year later, Paxson sold the Bridgeport station to other interests.

On August 31, 1998, WPXN, along with the rest of the Paxson stations, premiered the new Pax television network, with a programming mix of infomercials, off-network reruns labeled as "family entertainment", and the Worship Network during overnights. NBC purchased a 32 percent stake in Pax in 1999, and as part of the deal NBC encouraged its stations, both owned and affiliated, to enter into joint sales agreements with the local Pax outlet. In New York, WNBC (channel 4) did just that with WPXN, and as a result channel 31 aired rebroadcasts of WNBC's evening newscasts. The LMA arrangements ended in July 2005; some time later, NBC sold its stake in Pax TV.

On September 11, 2001, the transmitter facilities of channel 31, as well as six other New York City television stations and several radio stations, were destroyed when two hijacked airplanes crashed into and destroyed the World Trade Center towers. When WPXN-TV returned to the air days later, channel 31 was broadcasting at low power from a temporary facility in West Orange, New Jersey. It has since moved its transmitter to the Empire State Building. On May 9, 2017, it was announced that WPXN-TV would return broadcasting from the new One World Trade Center.

In July 2005, Pax TV changed its name to i: Independent Television, and on January 29, 2007, the network became Ion Television. Like most Ion stations, WPXN then ran infomercials until 6 p.m. daily, except for some religious shows on weekday and Sunday mornings, along with some educational shows from qubo on Friday afternoons, and Ion's collection of mostly-off-network reruns filling the prime time portion of the schedule plus one public affairs show, ION New York City.

Sale to Scripps
On September 24, 2020, the Cincinnati-based E. W. Scripps Company (which was in the process of selling WPIX to Mission Broadcasting, a partner company of Nexstar Media Group) announced that it would purchase Ion Media, including WPXN-TV's license and assets, for $2.65 billion, with financing from Berkshire Hathaway. The purchase subsequently resulted in Scripps divesting 23 Ion-owned stations in 20 other markets to Inyo Broadcast Holdings (which agreed to maintain their existing Ion affiliations as well as carry other Scripps-owned multicast networks), to allow Scripps to fully comply with the FCC local and national ownership regulations; notably, the station portfolios of Ion Media and Scripps collectively would have put the combined entity above the FCC's 37% national coverage cap without the divestitures. (Even with the pre-digital-conversion-era "UHF discount" rule – which counts UHF stations toward 50% of their total market reach – factored in, WPXN holds the largest contribution to the national cap under both groups, as New York City has the largest local market share of any U.S. television market, necessitating the spin-offs to keep it as well as the other retained properties.)  The sale was completed on January 7, 2021, nearly eight days after Scripps sold WPIX to Mission Broadcasting on December 30, 2020.

Subchannels
The station's signal is multiplexed:

Analog-to-digital conversion
WPXN-TV discontinued regular programming on its analog signal, over UHF channel 31, on June 12, 2009, as part of the federally mandated transition from analog to digital television. The station's digital signal relocated from its pre-transition UHF channel 30 to channel 31. WFUT-DT took over the channel 30 allocation as it moved its digital signal from channel 53 as a result of the phaseout of channels 52–69.

Former repeaters
WPXU-LD (channel 12) in Amityville, New York, formerly relayed WPXN-TV. This station began operation on or about May 2, 2011. It replaced WPXU-LP, an analog station on channel 38 that went dark some years earlier after its channel was reallocated to the digital signal of WWOR-TV (channel 9). On December 15, 2014, Ion reached a deal to donate WPXU-LD to Word of God Fellowship, parent company of the Daystar network.

WPXO-LP (channel 34) in East Orange, New Jersey, relayed WPXN-TV until it was sold in August 2007. It is now a Spanish-language independent station.

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

title: WPXN-TV


text:
AEC

AEC may refer to:

Organizations

 * Catalan Space Agency (Agència Espacial de Catalunya)
 * Ars Electronica Center, Linz, Austria
 * Art Ensemble of Chicago, US

Governance

 * African Economic Community
 * African Energy Chamber
 * Alaska Engineering Commission
 * ASEAN Economic Community
 * Assessment and Evaluation Commission, a peace agreement monitoring commission in Sudan
 * Assets Examination Committee, a military-appointed committee in Thailand
 * Atomic Energy Commission (disambiguation), of various countries, especially:
 * United States Atomic Energy Commission
 * Australian Electoral Commission

Business

 * Aero Engine Controls, a Rolls-Royce plc company
 * Aluminum Extruders Council, a US trade association
 * Anger Engineering Company, in Milwaukee, Wisconsin, US, from 1913 to 1915
 * Architecture, Engineering, & Construction, a collective term for 3 associated industries; e.g. Industry Foundation Classes
 * Sometimes also Facility Management (Operations) is added, and this is called "AECO"
 * Arctic Economic Council
 * Associated Equipment Company, a former British bus and lorry manufacturer
 * Astro AEC, a Malaysia TV channel
 * Automotive Electronics Council, a US qualification standard organization
 * Advanced Electronics Company, Riyadh, Saudi Arabia

Education

 * Army Educational Corps, later the Royal Army Educational Corps
 * Asansol Engineering College, in West Bengal, India
 * Assam Engineering College, in Guwahati city, India
 * European Association of Conservatoires, the main association of colleges and university schools of music in Europe

Science and technology

 * 3-amino-9-ethylcarbazole, an immunohistochemistry stain (chromogen)
 * Abstract elementary class, in mathematical logic
 * Acoustic echo cancellation, in telephony
 * Automatic exposure control, in radiography
 * Anion exchange capacity, in pedology (soil sciences)

Sports

 * America East Conference, an NCAA Division I athletic conference
 * Atlantic East Conference, an NCAA Division III athletic conference

Other uses

 * Acoustic Echo Cancellation
 * Actually existing capitalism
 * Angeles Electric Corporation
 * AEC Armoured Command Vehicle, a series of command vehicles built by the British Associated Equipment Company during the Second World War.
 * Anti-Eviction Campaign, a South African social movement
 * Attestation of College Studies, a college certificate in the Quebec, Canada
 * Sa'idi Arabic (ISO 639-3 code)

title: AEC


text:
WNBC (disambiguation)

WNBC (channel 4) is the flagship station of the NBC television network, located in New York City.

WNBC may also refer to:

 * WFAN, a radio station (660 AM) in New York City, which held the call sign WNBC from 1946 to 1954 and from 1960 to 1988
 * WQHT, a radio station (97.1 FM) in New York City, which held the call sign WNBC-FM from 1946 to 1954 and from 1960 to 1975
 * WVIT, a television station (channel 30) in New Britain, Connecticut, which held the call sign WNBC from 1956 to 1960
 * WPOP, a radio station (1410 AM) in Hartford, Connecticut, which held the call sign WNBC from 1935 to 1944

title: WNBC (disambiguation)


text:
Talk:Disarmament of Iraq

Removed:

The UN's arms control inspectors, headed by Hans Blix, have rejected Iraq's claim and agreed with the US claim, that Iraq has WMD.

I dont recall Blix actually stating "I agree with the US, Iraq clearly has WMD" Susan Mason

 * I don't know what the writer had in mind, but the closest thing I can think of is Blix's remarks to Time Magazine just recently where he said he didn't believe that Iraq had destroyed its stockpiles of antrax and other chemical weapons. Maybe a more specific quote could be included.. there is one in one of the other articles. -Jazz77

Why doesn't the page mention that the U.S. attack on Iraq would be a violation of international law? --Daniel C. Boyer

Because u haven't added that. Susan Mason

Merge?
Is there a reason this article has not been merged with Iraq disarmament crisis? It seems rather outdated -- for example Hussein 'denies' WMD (present tense & by now well-known as true). Does anyone object to a merger, then deletion of this article? Wolfman 00:47, 19 Sep 2004 (UTC)

title: Talk:Disarmament of Iraq


text:
37th Annual Grammy Awards

The 37th Annual Grammy Awards were presented on March 1, 1995, at Shrine Auditorium, Los Angeles. They recognized accomplishments by musicians from the previous year. Bruce Springsteen was the night's biggest winner with 4 awards, including Song of the Year while opening the show with his Grammy nominated hit.

General

 * Record of the Year
 * "All I Wanna Do" – Sheryl Crow
 * Bill Bottrell, producer
 * "Streets of Philadelphia" – Bruce Springsteen
 * Chuck Plotkin, Bruce Springsteen, producers
 * "Love Sneakin' Up On You" – Bonnie Raitt
 * Bonnie Raitt, Don Was, producers
 * "I'll Make Love to You" – Boyz II Men
 * Babyface, producer
 * "He Thinks He'll Keep Her – Mary Chapin Carpenter
 * Mary Chapin Carpenter, John Jennings, producers

 * Album of the Year
 * MTV Unplugged – Tony Bennett
 * David Kahne, producer
 * The Three Tenors in Concert 1994 – José Carreras, Plácido Domingo, Luciano Pavarotti, Zubin Mehta
 * Tibor Rudas, producer
 * Seal – Seal
 * Trevor Horn, producer
 * Longing in Their Hearts – Bonnie Raitt
 * Bonnie Raitt, Don Was, producers
 * From the Cradle – Eric Clapton
 * Eric Clapton, Russ Titelman, producers

 * Song of the Year
 * "Streets of Philadelphia"
 * Bruce Springsteen, songwriter (Springsteen)
 * I Swear
 * Gary Baker, Frank J. Myers, songwriters (All-4-One, and separately John Michael Montgomery)
 * Circle of Life
 * Elton John, Tim Rice, songwriters (John)
 * Can You Feel the Love Tonight
 * Elton John, Tim Rice, songwriters (John)
 * All I Wanna Do
 * David Baerwald, Bill Bottrell, Wyn Cooper, Sheryl Crow, Kevin Gilbert, songwriters (Crow)

 * Best New Artist
 * Sheryl Crow
 * Green Day
 * Crash Test Dummies
 * Counting Crows
 * Ace of Base

Alternative

 * Best Alternative Music Performance
 * Green Day for Dookie

Blues

 * Best Traditional Blues Album
 * Eric Clapton for From the Cradle
 * Best Contemporary Blues Album
 * Pops Staples for Father Father

Children's

 * Best Musical Album for Children
 * Mark Mancina, Jay Rifkin, Chris Thomas, Hans Zimmer (producers) & various artists for The Lion King - Original Motion Picture Soundtrack
 * Best Spoken Word Album for Children
 * Ted Kryczko, Randy Thornton (producers) & Robert Guillaume for The Lion King Read-Along

Classical

 * Best Orchestral Performance
 * Pierre Boulez (conductor) & the Chicago Symphony Orchestra for Bartók: Concerto for Orchestra; Four Orchestral Pieces, Op. 12
 * Best Classical Vocal Performance
 * Cecilia Bartoli for The Impatient Lover - Italian Songs by Beethoven, Schubert, Mozart
 * Best Opera Recording
 * Martin Sauer (producer), Kent Nagano (conductor), Kenn Chester, Jerry Hadley, Samuel Ramey, Cheryl Studer, & the Orchestre of Opera De Lyon & Chorus for Floyd: Susannah
 * Best Choral Performance
 * John Eliot Gardiner (choir director), the Monteverdi Choir & the Orchestre Révolutionnaire et Romantique for Berlioz: Messe Solennelle
 * Best Instrumental Soloist Performance (with orchestra)
 * David Zinman (conductor), Yo-Yo Ma & the Baltimore Symphony Orchestra for The New York Album - Works of Albert, Bartók & Bloch
 * Best Instrumental Soloist Performance Without Orchestra
 * Emanuel Ax for Haydn: Piano Sonatas, Nos. 32, 47, 53, 59
 * Best Chamber Music Performance
 * Daniel Barenboim, Dale Clevenger, Larry Combs, Daniele Damiano, Hansjörg Schellenberger & the Berlin Philharmonic for Beethoven/Mozart: Quintets (Chicago-Berlin)
 * Best Classical Contemporary Composition
 * Stephen Albert (composer), David Zinman (conductor) & Yo-Yo Ma for Albert: Cello Concerto
 * Best Classical Album
 * Karl-August Naegler (producer), Pierre Boulez (conductor) & the Chicago Symphony Orchestra for Bartók: Concerto for Orchestra; Four Orchestral Pieces, Op. 12

Comedy

 * From 1994 through 2003, see "Best Spoken Comedy Album" under the "Spoken Word" field, below.

Composing and arranging

 * Best Instrumental Composition
 * Michael Brecker (composer) for "African Skies"
 * Best Song Written Specifically for a Motion Picture or for Television
 * Bruce Springsteen (composer) for "Streets of Philadelphia"
 * Best Instrumental Composition Written for a Motion Picture or for Television
 * John Williams (composer) for Schindler's List
 * Best Instrumental Arrangement
 * Dave Grusin (arranger) for "Three Cowboy Songs"
 * Best Instrumental Arrangement with Accompanying Vocals
 * Hans Zimmer & Lebo Morake (arrangers) for "Circle of Life" performed by Carmen Twillie

Country

 * Best Female Country Vocal Performance
 * Mary Chapin Carpenter for "Shut Up and Kiss Me"
 * Best Male Country Vocal Performance
 * Vince Gill for "When Love Finds You"
 * Best Country Performance by a Duo or Group with Vocal
 * Asleep at the Wheel & Lyle Lovett for "Blues for Dixie"
 * Best Country Vocal Collaboration
 * Aaron Neville & Trisha Yearwood for "I Fall to Pieces"
 * Best Country Instrumental Performance
 * Chet Atkins for "Young Thing"
 * Best Country Song
 * Gary Baker & Frank J. Myers for "I Swear" performed by John Michael Montgomery
 * Best Country Album
 * Mary Chapin Carpenter for Stones in the Road
 * Best Bluegrass Album
 * Jerry Douglas & Tut Taylor (producers) for The Great Dobro Sessions performed by various artists

Folk

 * Best Traditional Folk Album
 * Bob Dylan for World Gone Wrong
 * Best Contemporary Folk Album
 * Johnny Cash for American Recordings

Gospel

 * Best Pop/Contemporary Gospel Album
 * Andrae Crouch for Mercy
 * Best Rock Gospel Album
 * Petra for Wake-Up Call
 * Best Traditional Soul Gospel Album
 * Albertina Walker for Songs of the Church - Live in Memphis
 * Best Contemporary Soul Gospel Album
 * Take 6 for Join the Band
 * Best Southern Gospel, Country Gospel or Bluegrass Gospel Album
 * Alison Krauss & The Cox Family for I Know Who Holds Tomorrow
 * Best Gospel Album by a Choir or Chorus
 * Milton Brunson (choir director) for Through God's Eyes performed by the Thompson Community Singers
 * Hezekiah Walker (choir director) for Live in Atlanta at Morehouse College performed by the Love Fellowship Crusade Choir

Historical

 * Best Historical Album
 * Michael Lang (producer) for The Complete Ella Fitzgerald Song Books on Verve

Jazz

 * Best Jazz Instrumental Solo
 * Benny Carter for "Prelude to a Kiss"
 * Best Jazz Instrumental Performance, Individual or Group
 * Ron Carter, Herbie Hancock, Wallace Roney, Wayne Shorter & Tony Williams for A Tribute to Miles
 * Best Large Jazz Ensemble Performance
 * McCoy Tyner for Journey
 * Best Jazz Vocal Performance
 * Etta James for Mystery Lady: Songs of Billie Holiday
 * Best Contemporary Jazz Performance
 * The Brecker Brothers for Out of the Loop
 * Best Latin Jazz Performance
 * Arturo Sandoval for Danzón (Dance On)

Latin

 * Best Latin Pop Performance
 * Luis Miguel for Segundo Romance
 * Best Tropical Latin Performance
 * Cachao for Master Sessions Volume 1
 * Best Mexican-American Performance
 * Vikki Carr for Recuerdo a Javier Solis

Musical show

 * Best Musical Show Album
 * Phil Ramone (producer), Stephen Sondheim (composer & lyricist) & the original cast for Passion

Music video

 * Best Music Video, Short Form
 * Ceán Chaffin (video producer), David Fincher (video director) & The Rolling Stones for "Love is Strong"
 * Best Music Video, Long Form
 * Ned O'Hanlon, Rocky Oldham (video producers), David Mallet (video director) & U2 for Zoo TV: Live from Sydney

New Age

 * Best New Age Album
 * Paul Winter for Prayer for the Wild Things

Packaging and notes

 * Best Recording Package
 * Buddy Jackson (art director) for Tribute to the Music of Bob Wills & the Texas Playboys performed by Asleep at the Wheel
 * Best Recording Package - Boxed
 * Chris Thompson (art director) for The Complete Ella Fitzgerald Songbooks performed by Ella Fitzgerald
 * Best Album Notes
 * Dan Morgenstern & Loren Schoenberg (notes writers) for Louis Armstrong - Portrait of The Artist as a Young Man 1923-1934 performed by Louis Armstrong

Polka

 * Best Polka Album
 * Walter Ostanek for Music and Friends performed by the Walter Ostanek Band

Pop

 * Best Female Pop Vocal Performance
 * Sheryl Crow for "All I Wanna Do"
 * Best Male Pop Vocal Performance
 * Elton John for "Can You Feel The Love Tonight"
 * Best Pop Performance by a Duo or Group with Vocals
 * All-4-One for "I Swear"
 * Best Pop Vocal Collaboration
 * Al Green & Lyle Lovett for "Funny How Time Slips Away"
 * Best Pop Instrumental Performance
 * Booker T. & the M.G.'s for "Cruisin'"
 * Best Pop Album
 * Bonnie Raitt for Longing in Their Hearts

Production and engineering

 * Best Engineered Album, Non-Classical
 * Ed Cherney (engineer) for Longing in Their Hearts, performed by Bonnie Raitt

 * Best Engineered Album, Classical
 * William Hoekstra (engineer) for Copland: Music For Films (The Red Pony, Our Town, Etc.)

 * Producer of the Year
 * Don Was

 * Classical Producer of the Year
 * Andrew Cornall

R&B

 * Best Female R&B Vocal Performance
 * Toni Braxton for "Breathe Again"
 * Best Male R&B Vocal Performance
 * Babyface for "When Can I See You"
 * Best R&B Performance by a Duo or Group with Vocal
 * Boyz II Men for "I'll Make Love to You"
 * Best Rhythm & Blues Song
 * Babyface (songwriter) for "I'll Make Love to You" performed by Boyz II Men
 * Best R&B Album
 * Boyz II Men for II

Rap

 * Best Rap Solo Performance
 * "U.N.I.T.Y." – Queen Latifah
 * "Fantastic Voyage" – Coolio
 * "Flava in Ya Ear" – Craig Mack
 * "Gin and Juice" – Snoop Doggy Dogg
 * "This D.J." – Warren G

 * Best Rap Performance by a Duo or Group
 * "None of Your Business" – Salt-N-Pepa
 * "Ease My Mind" – Arrested Development
 * "I Ain't Goin' Out Like That" – Cypress Hill
 * "Nuttin' But Love" – Heavy D & the Boyz
 * "Regulate" – Warren G featuring Nate Dogg

Reggae

 * Best Reggae Album
 * Bunny Wailer for Crucial! Roots Classics

Rock

 * Best Female Rock Vocal Performance
 * Melissa Etheridge for "Come To My Window"
 * Best Male Rock Vocal Performance
 * Bruce Springsteen for "Streets Of Philadelphia"
 * Best Rock Performance by a Duo or Group with Vocal
 * Aerosmith for "Crazy"
 * Best Rock Instrumental Performance
 * Pink Floyd for "Marooned"
 * Best Hard Rock Performance
 * Soundgarden for "Black Hole Sun"
 * Best Metal Performance
 * Soundgarden for "Spoonman"
 * Best Rock Song
 * Bruce Springsteen for "Streets of Philadelphia"
 * Best Rock Album
 * The Rolling Stones (artist) Don Was (producer) for Voodoo Lounge

Spoken Word

 * Best Spoken Word or Non-Musical Album
 * Henry Rollins for Get In The Van - On The Road With Black Flag
 * Best Spoken Comedy Album
 * Sam Kinison for Live From Hell

Traditional Pop

 * Best Traditional Pop Vocal Performance
 * Tony Bennett for MTV Unplugged: Tony Bennett

World

 * Best World Music Album
 * Ry Cooder & Ali Farka Touré for Talking Timbuktu

MusiCares Person of the Year

 * Tony Bennett

Television ratings
17.3 million viewers watched the 1995 Grammy Awards.

title: 37th Annual Grammy Awards


text:
28th Annual Grammy Awards

The 28th Annual Grammy Awards were held on February 25, 1986, at Shrine Auditorium, Los Angeles. They recognized accomplishments by musicians from the previous year, 1985. The night's big winner was USA for Africa's "We Are the World", which won four awards, including Song of the Year which went to Michael Jackson and Lionel Richie. It marked the first time in their respective careers that they received the Song of the Year Award. For Richie, it was his sixth attempt in eight years. The other three awards (including Record of the Year) for the latter single were given to the song's producer, Quincy Jones.

Another big winner was Phil Collins, whose No Jacket Required LP amassed three wins: Album of the Year (alongside Hugh Padgham), Producer of the Year and Best Pop Vocal (Male). The Manhattan Transfer also won three awards, including two for the song "Another Night in Tunisia" (performed and arranged on the album by guest vocalists Jon Hendricks and Bobby McFerrin).

Stevie Wonder won his first Grammy in nine years for his album In Square Circle, after winning fifteen awards in the mid-1970s. While songwriter Jimmy Webb won him his first Grammy in 17 years for his song "Highwayman" (after 1969's Up, Up and Away). Orchestrator and arranger Nelson Riddle, posthumously won for his arrangements on Linda Ronstadt's album Lush Life. There was one new category, Best Polka Recording. It would run until 2009.

Controversy
There were a number of remarkable wins in the classical field. The Atlanta Symphony Orchestra's recording of Berlioz: Requiem won three awards, while a different recording by the same orchestra won the Best Orchestral Performance award. These four wins were the result of an unusually large number of nominations for the orchestra (12 in total), including four in the Best Classical Album category which normally holds five nominees (the Recording Academy decided to add a number of nominations to this list to lessen the domination of the Atlanta Symphony Orchestra in this category).

Several sources from the American classical community – including record labels – expressed their dismay with the situation, suggesting that this was the result of many members of the orchestra and other associates joining the Recording Academy in force to be able to vote on nominations and Grammy winners. Despite the controversy, the orchestra's conductor Robert Shaw and their album producer (and record label owner) Robert Woods won three Grammys each.

Presenters

 * Linda Rondstadt & James Taylor - Best Pop Vocal Performance Male
 * Dionne Warwick & Julian Lennon - Best Pop Vocal Performance Female
 * Sheena Easton & Nick Rhodes - Song of the Year
 * Little Steven & Richard Page (musician) - Best Rock Vocal Performance Duo or Group
 * Barbra Streisand - Presents George and Ira Gershwin as the Trustees Recipient
 * Roger Miller & Martin Mull - Best Comedy Recording
 * Reba McEntire & Kris Kristofferson - Best Country Solo Performance Male
 * Quincy Jones - Introduces the Grammy Hall of Fame Inductees
 * Grace Slick & Kenny Loggins - Album of the Year
 * Kim Carnes & Luther Vandross - Producer of the Year
 * Eric Clapton - Presented the Rolling Stones with the Lifetime Achievement Award
 * Gladys Knight & El DeBarge - Best R&B Vocal Performance Male
 * Herb Alpert & Ruben Blades - Best Latin Pop Performance
 * Whoopi Goldberg & Billy Crystal - Best New Artist
 * Edwin Hawkins & James Blackwood - Best Gospel Performance Duo or Group
 * Maxine Sullivan & Toshiko Akiyoshi - Best Jazz Vocal Performance
 * Roberta Flack & Emmylou Harris - Announces winners earlier

Award winners
Record of the Year Album of the Year Song of the Year Best New Artist
 * "We Are the World" – USA for Africa
 * Quincy Jones, producers
 * "Money for Nothing" – Dire Straits
 * Neil Dorfsman & Mark Knopfler, producers
 * "The Boys of Summer" – Don Henley
 * Don Henley, Danny Kortchmar, Greg Ladanyi & Mike Campbell, producers
 * "The Power of Love" – Huey Lewis and the News
 * Huey Lewis and the News, producers
 * "Born in the U.S.A." – Bruce Springsteen
 * Jon Landau, Chuck Plotkin, Little Steven & Bruce Springsteen, producers
 * No Jacket Required – Phil Collins
 * Hugh Padgham & Phil Collins, producers
 * Brothers in Arms – Dire Straits
 * Neil Dorfsman & Mark Knopfler, producers
 * Whitney Houston – Whitney Houston
 * Jermaine Jackson, Kashif, Michael Masser & Narada Michael Walden, producers
 * The Dream of the Blue Turtles – Sting
 * Sting & Rick Chertoff, producers
 * We Are the World – USA for Africa
 * Quincy Jones, producer
 * "We Are the World"
 * Michael Jackson & Lionel Richie, songwriters (USA for Africa)
 * "Money for Nothing"
 * Mark Knopfler & Sting, songwriters (Dire Straits)
 * "The Boys of Summer"
 * Don Henley & Mike Campbell, songwriters (Don Henley)
 * "Everytime You Go Away"
 * Daryl Hall, songwriter (Paul Young)
 * "I Want to Know What Love Is"
 * Mick Jones, songwriter (Foreigner)
 * Sade
 * A-ha
 * Freddie Jackson
 * Katrina and the Waves
 * Julian Lennon

Blues

 * Best Traditional Blues Recording
 * "My Guitar Sings the Blues" – B. B. King

Children's

 * Best Recording for Children
 * Jim Henson & Steve Buckingham (producers) for Follow That Bird – Original Motion Picture Soundtrack performed by the Sesame Street cast

Classical

 * Best Classical Orchestral Recording
 * Robert Woods (producer), Robert Shaw (conductor) & the Atlanta Symphony Orchestra for Fauré: Pelleas et Melisande
 * Best Classical Vocal Soloist Performance
 * Robert Shaw (conductor), John Aler & the Atlanta Symphony Orchestra for Berlioz: Requiem
 * Best Opera Recording
 * James Mallinson (producer), Georg Solti (conductor), Philip Langridge, Franz Mazura & the Chicago Symphony Orchestra & Chorus for Schoenberg: Moses und Aron
 * Best Choral Performance (other than opera)
 * Robert Shaw (conductor) & the Atlanta Symphony Orchestra & Chorus for Berlioz: Requiem
 * Best Classical Performance – Instrumental Soloist or Soloists (with orchestra)
 * André Previn (conductor), Yo-Yo Ma & the London Symphony Orchestra for Elgar: Cello Concerto, Op. 85/Walton: Concerto for Cello & Orchestra
 * Best Classical Performance – Instrumental Soloist or Soloists (without orchestra)
 * Vladimir Ashkenazy for Ravel: Gaspard de la Nuit; Pavane Pour Une Infante Defunte; Valses Nobles et Sentimentales
 * Best Chamber Music Performance
 * Emanuel Ax & Yo-Yo Ma for Brahms: Cello and Piano Sonatas in E Minor and F
 * Best Classical Contemporary Composition
 * Andrew Lloyd Webber (composer), Sarah Brightman & Plácido Domingo for Lloyd Webber: Requiem
 * Best Classical Album
 * Robert Woods (producer), Robert Shaw (conductor), John Aler & the Atlanta Symphony Orchestra & Chorus for Berlioz: Requiem
 * Best New Classical Artist
 * Chicago Pro Musica

Comedy

 * Best Comedy Recording
 * Whoopi Goldberg for Whoopi Goldberg – Original Broadway Show Recording

Composing and arranging

 * Best Instrumental Composition
 * Jan Hammer (composer) for "Miami Vice Theme"
 * Best Album of Original Score Written for a Motion Picture or a Television Special
 * Marc Benno, Harold Faltermeyer, Keith Forsey, Micki Free, Jon Gilutin, David "Hawk" Wolinski, Howard Hewett, Bunny Hull, Howie Rice, Sharon Robinson, Dan Sembello, Sue Sheridan, Richard C. Theisen II & Allee Willis (composers) for Beverly Hills Cop performed by various artists
 * Best Arrangement on an Instrumental
 * Dave Grusin & Lee Ritenour (arrangers) for "Early A.M. Attitude"
 * Best Instrumental Arrangement Accompanying Vocalist(s)
 * Nelson Riddle (arranger) for "Lush Life" performed by Linda Ronstadt
 * Best Vocal Arrangement for Two or More Voices
 * Bobby McFerrin & Cheryl Bentyne (arrangers) for "Another Night in Tunisia" performed by The Manhattan Transfer

Country

 * Best Country Vocal Performance, Female
 * Rosanne Cash for "I Don't Know Why You Don't Want Me"
 * Best Country Vocal Performance, Male
 * Ronnie Milsap for "Lost in the Fifties Tonight (In the Still of the Night)"
 * Best Country Performance by a Duo or Group with Vocal
 * The Judds for Why Not Me
 * Best Country Instrumental Performance (orchestra, group or soloist)
 * Chet Atkins & Mark Knopfler for "Cosmic Square Dance"
 * Best Country Song
 * Jimmy L. Webb (songwriter) for "Highwayman" performed by Johnny Cash, Waylon Jennings, Kris Kristofferson & Willie Nelson

Folk

 * Best Ethnic or Traditional Folk Recording
 * Rockin' Sidney for "My Toot Toot"

Gospel

 * Best Gospel Performance, Female
 * Amy Grant for Unguarded
 * Best Gospel Performance, Male
 * Larnelle Harris for "How Excellent Is Thy Name"
 * Best Gospel Performance by a Duo or Group, Choir or Chorus
 * Larnelle Harris & Sandi Patti for "I've Just Seen Jesus"
 * Best Soul Gospel Performance, Female
 * Shirley Caesar for "Martin"
 * Best Soul Gospel Performance, Male
 * Marvin Winans for "Bring Back the Days of Yea and Nay"
 * Best Soul Gospel Performance by a Duo or Group, Choir or Chorus
 * The Winans for Tomorrow
 * Best Inspirational Performance
 * Jennifer Holliday for "Come Sunday"

Historical

 * Best Historical Album
 * John Pfeiffer (producer) for RCA/Met – 100 Singers – 100 Years performed by various artists

Jazz

 * Best Jazz Vocal Performance, Female
 * Cleo Laine for Cleo at Carnegie – The 10th Anniversary Concert
 * Best Jazz Vocal Performance, Male
 * Bobby McFerrin & Jon Hendricks for "Another Night in Tunisia"
 * Best Jazz Vocal Performance, Duo or Group
 * The Manhattan Transfer for Vocalese
 * Best Jazz Instrumental Performance, Soloist
 * Wynton Marsalis for Black Codes From the Underground
 * Best Jazz Instrumental Performance, Group
 * Wynton Marsalis for Black Codes From the Underground performed by the Wynton Marsalis Group
 * Best Jazz Instrumental Performance, Big Band
 * Bob Wilber & John Barry for The Cotton Club – Original Motion Picture Soundtrack
 * Best Jazz Fusion Performance, Vocal or Instrumental
 * David Sanborn for Straight To The Heart

Latin

 * Best Latin Pop Performance
 * Lani Hall for Es Facil Amar
 * Best Tropical Latin Performance
 * Eddie Palmieri for Solito
 * Tito Puente for Mambo Diablo performed by Tito Puente & His Latin Ensemble
 * Best Mexican-American Performance
 * Vikki Carr for Simplemente Mujer

Musical show

 * Best Cast Show Album
 * John McClure (producer), José Carreras & Kiri Te Kanawa for West Side Story

Music video

 * Best Music Video, Short Form
 * Tom Trbovich (video director) & Quincy Jones (video producer) for "We Are the World – The Video Event" performed by USA for Africa
 * Best Music Video, Long Form
 * Bruce Gowers (video director) & Huey Lewis and the News for Huey Lewis & the News – The Heart of Rock 'n' Roll

Packaging and notes

 * Best Album Package
 * John Kosh & Ron Larson (art directors) for Lush Life performed by Linda Ronstadt
 * Best Album Notes
 * Peter Guralnick (notes writer) for Sam Cooke Live at the Harlem Square Club, 1963

Polka

 * Best Polka Recording
 * Frank Yankovic for 70 Years of Hits

Pop

 * Best Pop Vocal Performance, Female
 * Whitney Houston for "Saving All My Love for You"
 * Best Pop Vocal Performance, Male
 * Phil Collins for No Jacket Required
 * Best Pop Performance by a Duo or Group with Vocal
 * Quincy Jones (producer) for "We Are the World" performed by USA for Africa
 * Best Pop Instrumental Performance
 * Jan Hammer for "Miami Vice Theme"

Production and engineering

 * Best Engineered Recording, Non-Classical
 * Neil Dorfsman (engineer) for Brothers in Arms performed by Dire Straits
 * Best Engineered Recording, Classical
 * Jack Renner (engineer), Robert Shaw (conductor) & the Atlanta Symphony Orchestra & chorus for Berlioz: Requiem
 * Producer of the Year (Non-Classical)
 * Phil Collins & Hugh Padgham
 * Classical Producer of the Year
 * Robert Woods

R&B

 * Best R&B Vocal Performance, Female
 * Aretha Franklin for "Freeway of Love"
 * Best R&B Vocal Performance, Male
 * Stevie Wonder for In Square Circle
 * Best R&B Performance by a Duo or Group with Vocal
 * Commodores for "Nightshift"
 * Best R&B Instrumental Performance (Orchestra, Group or Soloist)
 * Ernie Watts for Musician
 * Best Rhythm & Blues Song
 * Jeffrey Cohen & Narada Michael Walden (songwriters) for "Freeway of Love" performed by Aretha Franklin

Reggae

 * Best Reggae Recording
 * Jimmy Cliff for Cliff Hanger

Rock

 * Best Rock Vocal Performance, Female
 * Tina Turner for "One Of The Living"
 * Best Rock Vocal Performance, Male
 * Don Henley for "The Boys of Summer"
 * Best Rock Performance by a Duo or Group with Vocal
 * Dire Straits for "Money for Nothing"
 * Best Rock Instrumental Performance
 * Jeff Beck for "Escape"

Spoken

 * Best Spoken Word or Non-musical Recording
 * Mike Berniker (producer) & the original Broadway cast for Ma Rainey's Black Bottom

Special awards

 * President's Merit Award
 * Prince

title: 28th Annual Grammy Awards


text:
Whore of Babylon

Babylon the Great, commonly known as the Whore of Babylon, refers to both a symbolic female figure and a place of evil as mentioned in the Book of Revelation of the New Testament. Her full title is stated in Revelation 17:5 as "Mystery, Babylon the Great, the Mother of Harlots and Abominations of the Earth" (μυστήριον, Βαβυλὼν ἡ μεγάλη, ἡ μήτηρ τῶν πορνῶν καὶ τῶν βδελυγμάτων τῆς γῆς).

She is further identified as a representation of "the great city which reigneth over the kings of the earth" in Revelation 17:18.

Passages from Revelation
The "great whore" of the Book of Revelation is featured in chapter 17:

 * —, King James Version

Symbolism

The Whore is associated with the Beast of Revelation by connection with an equally evil kingdom. The word "Whore" can also be translated metaphorically as "Idolatress". The Whore's apocalyptic downfall is prophesied to take place in the hands of the image of the beast with seven heads and ten horns. There is much speculation within Christian eschatology on what the Whore and Beast symbolize as well as the possible implications for contemporary interpretations.

Caroline Vander Stichele demonstrated that the narrative of the Whore of Babylon follows many of the same patterns of the personification of capital cities as women who commit "prostitution / whoredom" and/or "adultery" in the prophetic books of the Hebrew Bible. These capital cities, representing the states they govern, are alleged to have committed various sins that have rendered them sexually promiscuous, and therefore they will eventually be annihilated through various well-deserved violent punishments sent by the Israelite God Yahweh.

Rome
First Peter implies the author is in "Babylon", which has been held to be a coded reference to Rome. Many Biblical scholars *L. Michael White, Understanding the Book of Revelation, PBS
 * Helmut Köster, Introduction to the New Testament, Volume 2, 260
 * Pheme Perkins, First and Second Peter, James, and Jude, 16
 * Watson E. Mills, Mercer Commentary on the New Testament, 1340
 * Nancy McDarby, The Collegeville Bible Handbook, 349
 * Carol L. Meyers, Toni Craven, Ross Shepard Kraemer Women in Scripture: A Dictionary of Named and Unnamed Women in the Hebrew, p. 528
 * David M. Carr, Colleen M. Conway, Introduction to the Bible: Sacred Texts and Imperial Contexts, 353
 * Larry Joseph Kreitzer Gospel Images in Fiction and Film: On Reversing the Hermeneutical Flow, 61
 * Mary Beard, John A. North, S. R. F. Price Religions of Rome: A History ,
 * David M. Rhoads, From Every People and Nation: The Book of Revelation in Intercultural Perspective, 174
 * Charles T. Chapman, The Message of the Book of Revelation, 114
 * Norman Cheadle, The Ironic Apocalypse in the Novels of Leopoldo Marechal, 36
 * Peter M. J. Stravinskas, The Catholic Answer Book, Volume 1, 18
 * Catherine Keller, God and Power: Counter-Apocalyptic Journeys, 59
 * Brian K. Blount, Revelation: A Commentary, 346
 * Frances Carey, The Apocalypse and the Shape of Things to Come, 138
 * Richard Dellamora, Postmodern Apocalypse: Theory and Cultural Practice at the End, 117
 * A. N. Wilson, Paul: The Mind of the Apostle, 11
 * Gerd Theissen, John Bowden, Fortress Introduction to the New Testament, 166 believe that "Babylon" is a metaphor for the pagan Roman Empire at the time it persecuted Christians, before the Edict of Milan in 313. According to Eusebius of Caesarea Babylon would be Rome or the Roman Empire:

"And Peter makes mention of Mark in his first epistle which they say that he wrote in Rome itself, as is indicated by him, when he calls the city, by a figure, Babylon, as he does in the following words: «The church that is at Babylon, elected together with you, salutes you; and so does Marcus my son.»(1 Peter 5:13)""

Some biblical scholars recognize that "Babylon" is a cipher for Rome or the Roman Empire but believe Babylon is not limited to the Roman city of the first century. Craig Koester says outright that "the whore is Rome, yet more than Rome." It "is the Roman imperial world, which in turn represents the world alienated from God." Some exegetes interpret the passage as a scathing critique of a servant people of Rome who do the Empire's bidding, interpreting that the author of Revelation was speaking of the Herodians—a party of Jews friendly to Rome and open to its influence, like the Hellenizers of centuries past—and later, corrupt Hasmoneans, where the ruler of Jerusalem or Roman Judea exercised his power at the pleasure of the Roman emperor, and was dependent on Roman influence, like Herod the Great in the Gospel of Luke.

In 4 Ezra, 2 Baruch and the Sibylline Oracles, "Babylon" is a cryptic name for Rome. In Revelation 17:9 it is said that she sits on "seven mountains", typically understood as the seven hills of Rome. A Roman coin minted under the Emperor Vespasian (ca. 70 AD) depicts Rome as a woman sitting on seven hills.

According to the International Standard Bible Encyclopedia, "The characteristics ascribed to this Babylon apply to Rome rather than to any other city of that age: (a) as ruling over the kings of the earth (Revelation 17:18); (b) as sitting on seven mountains (Revelation 17:9); (c) as the center of the world's merchandise (Revelation 18:3, 11–13); (d) as the corrupter of the nations (Revelation 17:2; 18:3; 19:2); (e) as the persecutor of the saints (Revelation 17:6)."

Jerusalem

Biblical scholars such as Alan James Beagley, David Chilton, J. Massyngberde Ford, Peter Gaskell, Kenneth Gentry, Edmondo Lupieri, Bruce Malina, Iain Provan, J. Stuart Russell, Milton S. Terry point out that although Rome was the prevailing pagan power in the 1st century, when the Book of Revelation was written, the symbolism of the whore of Babylon refers not to an invading infidel or foreign power. It refers to an apostate false queen, a former "bride" who has been unfaithful and who, even though she has been divorced and cast out because of unfaithfulness, continues to falsely claim to be the "queen" of the spiritual realm. This symbolism did not fit the case of Rome at the time. Proponents of this view suggest that the "seven mountains" in Rev 17:9 are the seven hills on which Jerusalem stands and the "fall of Babylon" in Rev 18 is the fall and destruction of Jerusalem in 70 AD.

Several Old Testament prophets referred to Jerusalem as being a spiritual harlot and a mother of such harlotry (Isaiah 1:21; Jeremiah 2:20; 3:1–11; Ezekiel 16:1–43; 23, as well as Epistle to the Galatians 4:25). Some of these Old Testament prophecies, as well as the warnings in the New Testament concerning Jerusalem, are in fact very close to the text concerning Babylon in Revelation. This suggests that John of Patmos may well have actually been citing those prophecies in his description of Babylon.

For example, in Matthew 23:34–37 and Luke 11:47–51, Jesus himself assigned all of the bloodguilt for the killing of the prophets and of the saints (of all time) to the Pharisees of Jerusalem. In Revelation 17:6 and 18:20,b24, almost identical phrasing is used in charging that very same bloodguilt to Babylon. This is also bolstered by Jesus' statement that "it's not possible for a prophet to be killed outside of Jerusalem." (Luke 13:33).

Catholic view

In the most common medieval (Catholic) view, deriving from Augustine of Hippo's The City of God (early 5th century), Babylon and Jerusalem referred to two spiritual cities which were spiritually at war with one another, throughout all of history:"Babylon [from Babel] is interpreted confusion, Jerusalem vision of peace. ...They are mingled, and from the very beginning of mankind mingled they run on unto the end of the world. ...Two loves make up these two cities: love of God makes Jerusalem, love of the world makes Babylon."They also represented two principles at war with one another, inside each individual person, even inside seemingly worldly Christian monarchs; thus Augustine could boast approvingly, "...believing [Christian] monarchs of this world came to the city of Rome, as to the head of Babylon: they went not to the temple of the Emperor, but to the tomb of the Fisherman."

Some sedevacantists believe that the post-concilliar church is the Whore of Babylon.

Reformation view
Historicist interpreters commonly used the phrase "Whore of Babylon" to refer to the Catholic Church. Reformation writers Martin Luther (1483–1546, author of On the Babylonian Captivity of the Church), John Calvin (1509–1564), and John Knox (1510–1572, author of The First Blast of the Trumpet Against the Monstruous Regiment of Women) taught this association.

Most early Protestant Reformers believed, and the modern Seventh-day Adventist Church teaches, that in Bible prophecy a woman represents a church. The connection noted on the seven hills of Rome is argued to locate the church.

Identification of the Pope as the Antichrist was written into Protestant creeds such as the Westminster Confession of 1646. The identification of the Roman Catholic Church with the Whore of Babylon is kept in the Scofield Reference Bible (whose 1917 edition identified "ecclesiastical Babylon" with "apostate Christendom headed by the Papacy"). An image from the 1545 edition of Luther's Bible depicts the Whore as wearing the papal tiara.

Latter-day Saint view
The Church of Jesus Christ of Latter-day Saints (LDS Church) views the Whore of Babylon and its Book of Mormon equivalent, the "great and abominable church", as having dominion over the entire earth and representing a powerful collection of groups and carnal individuals seeking wealth, sexual immorality, dominion, and the persecution or death of saints. The Whore of Babylon, or the Devil's Church, consists of all organisations not associated with the followers of Christ or that are against his followers. Ultimately, the Whore of Babylon's fate is to be destroyed in the last days.

Seventh-day Adventist view
Seventh-day Adventists believe that the whore of Babylon represents the fallen state of traditional Christianity, especially the fallen state of Christianity in the Catholic Church. Other churches (predominantly Protestant) are generally considered either part of the harlot or her daughters. Adventists further hold the view that the persecution of the "saints" in Revelation 17:6 represents the persecution of believers who rejected the doctrines which were introduced by the Roman Catholic Church because they were based on pagan Roman beliefs. The persecution of anyone who opposed the Catholic Church during the Middle Ages, especially by the Inquisition, and the persecution of the Waldensians and the Huguenots are cited as examples of this persecution.

Seventh-day Adventists interpret Revelation 17:18 as a prophecy about the false church, which has power over the kings of the earth. They consider the pope to be in apostasy for allowing pagan rituals, beliefs and ceremonies to come into the church. They consider the Papacy, as a continuation of the Roman Empire, to be a fulfillment of : "For the secret power of lawlessness is already at work; but the one who now holds it back will continue to do so till he is taken out of the way."

Ellen G. White's The Great Controversy (1858) states that "Spiritual Babylon" would have worldwide influence, affecting "all nations", that the Imperial Roman Empire could not meet the criteria, because she wrote that it only had influence in the Old World. Like many reformation-era Protestant leaders, her writings also describe the Catholic Church as a fallen church, and it plays a nefarious eschatological role as the antagonist against God's true church and that the pope is the Antichrist.

Jehovah's Witnesses view
Jehovah's Witnesses, whose early teachings were strongly influenced by Adventism but have since diverged, believe that the Whore of Babylon represents "the world empire of false religion", referring to all other religious groups including, but not limited to, Christendom. Jehovah's Witnesses literature frequently refers to the "Great Harlot" of Babylon and the subsequent attack on her by the political powers, signaling the beginning of the "great tribulation". They believe that the empire of false religion has persecuted God's people, and that "false religion" has committed "fornication" with the world's political and commercial elements, based on their interpretation of.

View in Thelema
Babalon (also known as the "Scarlet Woman" or "Mother of Abominations") is a goddess found in Thelema, a religious system which was established in 1904 with the writing of The Book of the Law by English writer Aleister Crowley. The spelling of the name as "Babalon" was revealed by Crowley in his The Vision and the Voice. Her name and imagery are featured in Crowley's "Liber Cheth vel Vallum Abiegni".

In her most abstract form, Babalon represents the female sexual impulse and the liberated woman. In the creed of the Gnostic Mass she is also identified with Mother Earth, in her most fertile sense. Along with her status as an archetype or goddess, Crowley believed that Babalon had an earthly aspect or avatar; a living woman who occupied the spiritual office of the 'Scarlet Woman'. This office, first identified in The Book of the Law is usually described as a counterpart to his own identification as "To Mega Therion" (The Great Beast). The role of the Scarlet Woman was to help manifest the energies of the Aeon of Horus. Crowley believed that several women in his life occupied the office of Scarlet Woman, for which see the list below.

Babalon's consort is Chaos, called the "Father of Life" in the Gnostic Mass, being the male form of the creative principle. Chaos appears in The Vision and the Voice and later in Liber Cheth vel Vallum Abiegni. Separate from her relationship with her consort, Babalon is usually depicted as riding the Beast. She is often referred to as a sacred whore, and her primary symbol is the chalice or graal.

As Crowley wrote in his The Book of Thoth, "she rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death. In this cup are mingled the elements of the sacrament of the Aeon."

title: Whore of Babylon


text:
25th Annual Grammy Awards

The 25th Annual Grammy Awards were held on February 23, 1983, at Shrine Auditorium, Los Angeles. They recognized accomplishments by musicians from the previous year.

Album of the Year went to Toto for Toto IV, and Song of the Year went to Johnny Christopher, Mark James and Wayne Carson for "Always on My Mind".

General

 * Record of the Year
 * "Rosanna" – Toto
 * Toto, producer

 * Album of the Year
 * Toto IV – Toto
 * Toto, producer

 * Song of the Year
 * "Always on My Mind"
 * Johnny Christopher, Mark James & Wayne Carson, songwriters (Willie Nelson)

 * Best New Artist
 * Men at Work
 * Asia
 * Jennifer Holliday
 * The Human League
 * Stray Cats

Blues

 * Best Traditional Blues Recording
 * Clarence "Gatemouth" Brown for Alright Again

Children's

 * Best Recording for Children
 * David Levine & Lucy Simon (producers) for In Harmony 2 performed by various artists

Classical

 * Best Orchestral Performance
 * Jay David Saks, Thomas Z. Shepard (producers), James Levine (conductor) & the Chicago Symphony Orchestra for Mahler: Sym. No. 7 in E Min. (Song of the Night)
 * Best Classical Vocal Soloist Performance
 * Zubin Mehta (conductor), Leontyne Price & the Israel Philharmonic Orchestra for Verdi: Arias (Leontyne Price Sings Verdi)
 * Best Opera Recording
 * Andrew Kazdin (producer), Pierre Boulez (conductor), Jeannine Altmeyer, Hermann Becht, Peter Hofmann, Siegfried Jerusalem, Gwyneth Jones, Manfred Jung, Donald McIntyre, Matti Salminen, Ortrun Wenkel, Heinz Zednik & the Bayreuth Festival Orchestra for Wagner: Der Ring des Nibelungen
 * Best Choral Performance (other than opera)
 * Georg Solti (conductor), Margaret Hillis (choir director) & the Chicago Symphony Orchestra & Chorus for Berlioz: La Damnation de Faust
 * Best Classical Performance, Instrumental Soloist (with orchestra)
 * Daniel Barenboim (conductor), Itzhak Perlman & the Chicago Symphony Orchestra for Elgar: Violin Concerto in B Minor
 * Best Classical Performance, Instrumental Soloist (without orchestra)
 * Glenn Gould for Bach: The Goldberg Variations
 * Best Chamber Music Performance
 * Richard Goode & Richard Stoltzman for Brahms: The Sonatas for Clarinet & Piano, Op. 120
 * Best Classical Album
 * Samuel H. Carter (producer) & Glenn Gould for Bach: The Goldberg Variations

Comedy

 * Best Comedy Recording
 * Richard Pryor for Live on the Sunset Strip

Composing and arranging

 * Best Instrumental Composition
 * John Williams (composer) for "Flying - Theme From "E.T. the Extra-Terrestrial"
 * Best Album of Original Score Written for a Motion Picture or Television Special
 * John Williams (composer) for E.T. the Extra-Terrestrial
 * Best Arrangement on an Instrumental Recording
 * John Williams (arranger) for "Flying - Theme From "E.T. the Extra-Terrestrial"
 * Best Instrumental Arrangement Accompanying Vocal(s)
 * Jerry Hey & David Paich, Jeff Porcaro (arrangers) for "Rosanna" performed by Toto
 * Best Vocal Arrangement for Two or More Voices
 * David Paich (arranger) for "Rosanna" performed by Toto

Country

 * Best Country Vocal Performance, Female
 * Juice Newton for "Break It to Me Gently"
 * Best Country Vocal Performance, Male
 * Willie Nelson for "Always on My Mind"
 * Best Country Performance by a Duo or Group with Vocal
 * Alabama for Mountain Music
 * Best Country Instrumental Performance
 * Roy Clark for "Alabama Jubilee"
 * Best Country Song
 * Wayne Carson, Johnny Christopher & Mark James (songwriters) for "Always on My Mind" performed by Willie Nelson

Folk

 * Best Ethnic or Traditional Folk Recording
 * Queen Ida for Queen Ida & the Bon Temps Zydeco Band on Tour

Gospel

 * Best Gospel Performance, Traditional
 * Blackwood Brothers for I'm Following You
 * Best Gospel Performance, Contemporary
 * Amy Grant for Age to Age
 * Best Soul Gospel Performance, Traditional
 * Al Green for Precious Lord
 * Best Soul Gospel Performance, Contemporary
 * Al Green for Higher Plane
 * Best Inspirational Performance
 * Barbara Mandrell for He Set My Life to Music

Historical

 * Best Historical Album
 * Alan Dell, Ethel Gabriel & Don Wardell (producers) for The Tommy Dorsey/Frank Sinatra Sessions - Vols.1,2 & 3

Jazz

 * Best Jazz Vocal Performance, Female
 * Sarah Vaughan for Gershwin Live!
 * Best Jazz Vocal Performance, Male
 * Mel Tormé for An Evening with George Shearing & Mel Tormé
 * Best Jazz Vocal Performance, Duo or Group
 * The Manhattan Transfer for "Route 66"
 * Best Jazz Instrumental Performance, Soloist
 * Miles Davis for We Want Miles
 * Best Instrumental Jazz Performance, Group
 * Phil Woods for "More" Live
 * Best Jazz Instrumental Performance, Big Band
 * Count Basie for Warm Breeze
 * Best Jazz Fusion Performance, Vocal or Instrumental
 * Pat Metheny Group for Offramp

Latin

 * Best Latin Recording
 * Machito for Machito & His Salsa Big Band '82

Musical show

 * Best Cast Show Album
 * Henry Krieger (composer), Tom Eyen (lyricist), David Foster (producer) & various artists for Dreamgirls

Music video

 * Best Video of the Year
 * Olivia Newton-John for Physical

Packaging and notes

 * Best Album Package
 * John Kosh & Ron Larson (art directors) for Get Closer performed by Linda Ronstadt
 * Best Album Notes
 * John Chilton & Richard M. Sudhalter (notes writers) for Bunny Berigan - Giants Of Jazz performed by Bunny Berigan

Pop

 * Best Pop Vocal Performance, Female
 * Melissa Manchester for "You Should Hear How She Talks About You"
 * Best Pop Vocal Performance, Male
 * Lionel Richie for "Truly"
 * Best Pop Performance by a Duo or Group with Vocal
 * Joe Cocker & Jennifer Warnes for "Up Where We Belong"
 * Best Pop Instrumental Performance
 * Ernie Watts for "Chariots of Fire Theme (Dance Version)"

Production and engineering

 * Best Engineered Recording, Non-Classical
 * Al Schmitt, David Leonard, Greg Ladanyi & Tom Knox (engineers) for Toto IV performed by Toto
 * Best Classical Engineered Recording
 * Paul Goodman (engineer), James Levine (conductor) & the Chicago Symphony Orchestra for Mahler: Symphony No. 7 in E Minor (Song of the Night)
 * Producer of the Year
 * Toto
 * Classical Producer of the Year
 * Robert Woods

R&B

 * Best R&B Vocal Performance, Female
 * Jennifer Holliday for "And I Am Telling You (I'm Not Going)"
 * Best R&B Vocal Performance, Male
 * Marvin Gaye for "Sexual Healing"
 * Best R&B Performance by a Duo or Group with Vocal
 * Dazz Band for "Let It Whip"
 * Earth, Wind & Fire for "Wanna Be with You"
 * Best R&B Instrumental Performance
 * Marvin Gaye for "Sexual Healing (Instrumental Version)"
 * Best Rhythm & Blues Song
 * Bill Champlin, Jay Graydon & Steve Lukather (songwriters) for "Turn Your Love Around" performed by George Benson

Rock

 * Best Rock Vocal Performance, Female
 * Pat Benatar for "Shadows of the Night"
 * Best Rock Vocal Performance, Male
 * John Cougar Mellencamp for "Hurts So Good"
 * Best Rock Performance by a Duo or Group with Vocal
 * Survivor for "Eye of the Tiger"
 * Best Rock Instrumental Performance
 * A Flock of Seagulls for "D.N.A."

Spoken

 * Best Spoken Word, Documentary or Drama Recording
 * Tom Voegeli (producer) for Raiders of the Lost Ark - The Movie on Record performed by various artists

title: 25th Annual Grammy Awards