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Radar astronomy

Radar astronomy is a technique of observing nearby astronomical objects by reflecting radio waves or microwaves off target objects and analyzing their reflections. Radar astronomy differs from radio astronomy in that the latter is a passive observation (i.e., receiving only) and the former an active one (transmitting and receiving). Radar systems have been conducted for six decades applied to a wide range of Solar System studies. The radar transmission may either be pulsed or continuous. The strength of the radar return signal is proportional to the inverse fourth-power of the distance. Upgraded facilities, increased transceiver power, and improved apparatus have increased observational opportunities.

Radar techniques provide information unavailable by other means, such as testing general relativity by observing Mercury and providing a refined value for the astronomical unit. Radar images provide information about the shapes and surface properties of solid bodies, which cannot be obtained by other ground-based techniques.

Relying upon high-powered terrestrial radars (of up to one megawatt), radar astronomy is able to provide extremely accurate astrometric information on the structure, composition and movement of Solar System objects. This aids in forming long-term predictions of asteroid-Earth impacts, as illustrated by the object 99942 Apophis. In particular, optical observations measure where an object appears in the sky, but cannot measure the distance with great accuracy (relying on parallax becomes more difficult when objects are small or poorly illuminated). Radar, on the other hand, directly measures the distance to the object (and how fast it is changing). The combination of optical and radar observations normally allows the prediction of orbits at least decades, and sometimes centuries, into the future.

In August 2020 the Arecibo Observatory (Arecibo Planetary Radar) suffered a structural cable failure, leading to the collapse of the main telescope in December of that year.

There is one remaining radar astronomy facility in regular use, the Goldstone Solar System Radar.

Advantages

 * Control of attributes of the signal [i.e., the waveform's time/frequency modulation and polarization]
 * Resolve objects spatially.
 * Delay-Doppler measurement precision.
 * Optically opaque penetration.
 * Sensitive to high concentrations of metal or ice.

Disadvantages
The maximum range of astronomy by radar is very limited, and is confined to the Solar System. This is because the signal strength drops off very steeply with distance to the target, the small fraction of incident flux that is reflected by the target, and the limited strength of transmitters. The distance to which the radar can detect an object is proportional to the square root of the object's size, due to the one-over-distance-to-the-fourth dependence of echo strength. Radar could detect something ~1 km across a large fraction of an AU away, but at 8-10 AU, the distance to Saturn, we need targets at least hundreds of kilometers wide. It is also necessary to have a relatively good ephemeris of the target before observing it.

History
The Moon is comparatively close and was detected by radar soon after the invention of the technique in 1946. Measurements included surface roughness and later mapping of shadowed regions near the poles.

The next easiest target is Venus. This was a target of great scientific value, since it could provide an unambiguous way to measure the size of the astronomical unit, which was needed for the nascent field of interplanetary spacecraft. In addition such technical prowess had great public relations value, and was an excellent demonstration to funding agencies. So there was considerable pressure to squeeze a scientific result from weak and noisy data, which was accomplished by heavy post-processing of the results, utilizing the expected value to tell where to look. This led to early claims (from Lincoln Laboratory, Jodrell Bank, and Vladimir A. Kotelnikov of the USSR) which are now known to be incorrect. All of these agreed with each other and the conventional value of AU at the time, $149,467,000 km$.

The first unambiguous detection of Venus was made by the Jet Propulsion Laboratory on 10 March 1961. JPL established contact with the planet Venus using a planetary radar system from 10 March to 10 May 1961. Using both velocity and range data, a new value of $149,598,500 km$ was determined for the astronomical unit. Once the correct value was known, other groups found echos in their archived data that agreed with these results.

The Sun has been detected several times starting in 1959. Frequencies are usually between 25 and 38 MHz, much lower than for interplanetary work. Reflections from both the photosphere and the corona were detected.

The following is a list of planetary bodies that have been observed by this means:
 * Mercury - Improved value for the distance from the earth observed (GR test). Rotational period, libration, surface mapping, esp. of polar regions.
 * Venus - first radar detection in 1961. Rotation period, gross surface properties. The Magellan mission mapped the entire planet using a radar altimeter.
 * Earth - numerous airborne and spacecraft radars have mapped the entire planet, for various purposes. One example is the Shuttle Radar Topography Mission, which mapped large parts of the surface of Earth at 30 m resolution.
 * Mars - Mapping of surface roughness from Arecibo Observatory. The Mars Express mission carries a ground-penetrating radar.
 * Jupiter System - Galilean satellites
 * Saturn System - Rings and Titan from Arecibo Observatory, mapping of Titan's surface and observations of other moons from the Cassini spacecraft.

Asteroids and comets
Radar provides the ability to study the shape, size and spin state of asteroids and comets from the ground. Radar imaging has produced images with up to 7.5-meter resolution. With sufficient data, the size, shape, spin and radar albedo of the target asteroids can be extracted.

Only 19 comets have been studied by radar, including 73P/Schwassmann-Wachmann. There have been radar observations of 612 Near-Earth asteroids and 138 Main belt asteroids as of early 2016. By 2018, this had grown to 138 Main-Belt Asteroids, 789 Near-Earth Asteroids, also at that time 20 comets had been observed.

Many bodies are observed during their close flyby of Earth.

While operational the Arecibo Observatory provided information about Earth threatening comet and asteroid impacts, allowing impact and near miss predictions decades into the future such as those for Apophis and other bodies. Being smaller the Goldstone Solar System Radar is less sensitive and unable to provide the same predictive capacity.

Telescopes

 * Arecibo Observatory
 * Goldstone Deep Space Communications Complex
 * RT-70
 * Pluton
 * Deep Space Network

title: Radar astronomy


text:
User talk:Dandrake

Hi Dandrake, and welcome to Wikipedia. Hopefully you will soon join the vast army of Wikipediholics :-). Take a look at Help to get started, and drop a question on Village pump if you get stuck. Have fun! --Eloquence 02:39 10 Jul 2003 (UTC)

Hello there, welcome to the 'pedia! I hope you like the place and decide to stay. If you need pointers on how we title pages visit Naming conventions or how to format them visit our manual of style. If you have any other questions about the project then check out Help or add a question to the Village pump. Cheers! --maveric149

Im hoping somebody will oneday explain why he is referred to as Galileo, the same goes for "Tycho" - I find it odd that we are all on a first-name basis with them. Pizza Puzzle

Da Vince and Aligheri are not surnames? The wiki policy is to use the most common name - so Galileo is considered correct. I have a bad habit of not following the naming conventions very well. Pizza Puzzle

lol Pizza Puzzle

Hi, thanks for your note. I think I must have read the stuff about the Inklings in A N Wilson's biography of C S Lewis. However, in view of your comment I'm starting to wonder if I'm confusing Dorothy Sayers with Helen Gardner? Deb 21:01, 7 Oct 2003 (UTC)

Looks as though you didn't realize that you were replying to year old quoted text over at Talk:Settlers of Catan/copyright and fair use. Might want to revisit it and your comment over at the Village pump. Understanding of what fair use means is now, I hope, better than that in the completely wrong definition you objected to. The point of the quote wasn't that nonsense definition of fair use but the discussion which followed it in the quoted text. I've switched the quoted text to italic so others don't fall into the same trap. Jamesday 23:06, 18 Dec 2003 (UTC)

Thanks for informing me -- I am not invested in my edit; I really thought it would be an innoccuous change and my only concern was grammar -- but I'll keep out of it, Slrubenstein

Hey buddy. You deleted my vote (among others') from the votes for deletion page. I'm sure it was just an accident, but I'd like some explanation forthwith. Thanks. I know I'll be hearing form you soon. orthogonal 20:22, 16 Feb 2004 (UTC)

Good detective work on Requests for comment/Wik/! (And yes, this is meant as a compliment.) -- llywrch 02:17, 17 Feb 2004 (UTC)

Try at the top of the page.:) -- Decumanus 00:11, 20 Feb 2004 (UTC)

Hi, I have a fast connection I guess :) I haven't really been following the arguments over those pages, so I hope I am not reverting useful changes (but I know for sure that changing Oder to Odra calls for a quick reversion). Adam Bishop 23:56, 21 Feb 2004 (UTC)

Wikipedia talk:Featured article candidates
I have no idea what your talking about on here, but it comes across as a bit provocative. Are you intending to come across to me as abrasive and haughty? Were you even intending to respond to me at all? I can't seem to figure out how your comments just below mine relate specifically to what I have said. I hear you to be saying that you dispute my interpretation of the terms "majority" and "consensus"? Sam Spade 05:41, 24 Feb 2004 (UTC)

 * I left out mention of "super-majority" because I don't find it to be a the right answer for this situation, and because I think it is similar enough to majority at this point in the discussion for me not to have done a diservice to my reader by failing to mention it. As far as how the word "consensus" is misused on the wiki, that is a regular source of irritation to me. I have had people scold me for suggesting that "consensus" ment anything more than a simple majority! To be honest, I think many here have probably had their probably initially accurate impressions of the term (consensus) degraded by their time here on the wiki, and the regularity of its misuse here. Sam Spade 06:31, 24 Feb 2004 (UTC)

The problem with Copernicus is called Nico. He questiones current Polish borders, justify German annexations during Nazi times and wants to rewrite the history of Middle Ages following chauvinist German propaganda of Imperial Germany and Nazi times. I think he should be banned. Cautious 10:37, 2 Mar 2004 (UTC)

reply on my page :-) Fantasy 20:35, 2 Mar 2004 (UTC)

You changed the time of Galileo's detention from 22 days to a week, what is the exact source for that? 22 days seems to be very commonly cited, is this number incorrect and if so, where does it come from?--Eloquence* 04:13, May 10, 2004 (UTC)

Duh, I miscounted. However, everyone else seems to be wrong, too. He went to the Inquisition's offices on April 12, and was required to stay there; he was released to the Tuscan embassy on April 30, after the second interrogation; this makes 18 nights as a guest of the Holy Office. I get the second datum from Fantoli's book, p. 319, where the Tuscan ambassador reports on May 1, "Signor Galilei was sent back to my house yesterday..." I don't know where the traditional 22 days come from. But documents are still showing up (like a lot of Inquisition records released a few years ago, though this isn't one of them -- it's in Favaro, I see) Dandrake 04:29, May 10, 2004 (UTC)

These dates are used by the Galileo timeline as well.--Eloquence* 04:42, May 10, 2004 (UTC) --- Please, read changes before you revert them. And spare me your little sarcasm. Get a family and patronize them. Sheesh!Space Cadet 23:55, 13 May 2004 (UTC) -- It's cool, Dandrake! My "Britannica" comment was supposed to serve the same purpose as those ":)" smiley faces other people use. Thanks for putting up with my unorthodox, oddball sense of humor. Space Cadet 18:56, 16 May 2004 (UTC) - Hi Dandrake, your last comment on Maxwell's demon shows that you have access to a pretty big collection of Scientific American: it goes back to 1958 ! Maybe you can help me check a statement that I've made in the cold fusion article: "In July 1987, (Steven Jones) co-authored an article in Scientific American titled 'Cold Nuclear Fusion'."  It comes from the book on cold fusion from C. Beaudette, but I could not convince myself to really believe it.  It would be great if you could check it, if you can still find that issue ! Pcarbonn 18:47, 31 May 2004 (UTC)

 * Many thanks for your reply. So it is true then.

I'm in the process of completely rewriting history of science and technology (which at the moment makes no distinction between the discipline of "the history of science" and "the history of science" as a general notion, and is little more than a POV rant about "challenge to orthodoxy" which tries to equate the rejection of Cold Fusion to the inquisition of Galileo). If you wanted to help with proof-editing or have any comments about it, as I work on it, it would be most helpful. I am working on it at User:Fastfission/HST and expect to have the base text done by the end of the week. Thanks! --Fastfission 20:30, 22 Jun 2004 (UTC)

Sorry about the edit conflict in Maury 23:55, 28 Jun 2004 (UTC)

Revert
I reverted your recent change to the FAC - it duplicated the DNA repair entry. Please re-add your comment. →Raul654 20:47, Aug 8, 2004 (UTC)

Grand intelligences
Anyone who writes phrases like "any of you grand intelligences" is asking for trouble. (It's not enought to be brilliant: a little courtesy and humility are needed, as people CONSTANTLY are reminding ME. "Ed, you're always bragging out how NPOVier than thou you are...") If he's gonna be that much of a pain, I say let him walk. For every prima donna who leaves in wrath, we'll get ten better writers who have no patience for jerks like him. --Uncle Ed 19:59, 9 Aug 2004 (UTC)

 * And Ed must be the grandest of them all. Looks to me that the magnus prima donna is you pal. I wouldn't brag about the quality of your writers either. I don't think you can afford to hemorrhage when you're so intellectually anemic. prometheus1 12:42, 10 Aug 2004 (UTC)

P.S Thanks for inspiring me to stay!

P.P.S Wow - I've just been referred to as a jerk by the queen of cretins. ;)

Mentioning countries and nationalities even if they are American (Cold fusion)
Hello Dandrake, what bothers me in Wikipedia is that in quite a lot of articles countries and nationalities are only mentioned if they are non-American. This encyclopedia is international in English language. I saw cold fusion as an example of this American bias. But in hindsight I agree that is not so important in a scientific endeavor that was so clearly worldwide. Was it pedantism by me? May be. The omitted nationalities were certainly a minor thing. It was not my intention to hurt the reputation of the American scientific community. Andries 06:18, 15 Aug 2004 (UTC)

Bricker Amendment
Thanks for your comments on my peer review request for my article on the Bricker Amendment. I've posted a reply on the Peer review page. Always good to know folks are reading. Say, you know there's a Daniel Drake who was an important historian here in Ohio? He was a doctor in Cincinnati in the early 19th century and wrote some of the earliest works on the history of my area. Now it's considered primary source material. Ave! PedanticallySpeaking 15:40, Aug 30, 2004 (UTC)

Heliocentrism
I'm happy to give a reference for the Aristotle reference- in fact I'm so happy to do so that I had already included it within the in the text I added. :) The sentence I quote was from Aristotle's On the Heavens, Book II, section 13, part I. The sentence I quoted is the fourth in that part. I don't know how to format a link such that the web page would open to that particular section.  I'm not exactly sure what sort of formatting you mean, but I think the above link could be useful as part of a references section. Noren 21:27, 30 Aug 2004 (UTC)

Thanks
The name Flying Rabbit isn't familiar. It was probably an identity of User:Mike Church; he's the only person I've had any conflict with on Wikipedia. Thanks for cleaning up. Isomorphic 19:33, 2 Sep 2004 (UTC)

Heliocentrism
Hello. Maybe you've long since figured this out (since it was you editing of heliocentrism six months ago that prompts this comment), but just in case: There is no need to write planets, since planets has the same effect. Similarly with Austrialian, apocryphal , etc. Michael Hardy 16:45, 8 Sep 2004 (UTC)

Adminship
Salve, Dandrake! I nominated myself for adminship at Requests for adminship/PedanticallySpeaking2 and would appreciate your vote. Ave! PedanticallySpeaking 19:41, Dec 9, 2004 (UTC)

Article Licensing
Hi, I've started a drive to get users to multi-license all of their contributions that they've made to either (1) all U.S. state, county, and city articles or (2) all articles, using the Creative Commons Attribution-Share Alike (CC-by-sa) v1.0 and v2.0 Licenses or into the public domain if they prefer. The CC-by-sa license is a true free documentation license that is similar to Wikipedia's license, the GFDL, but it allows other projects, such as WikiTravel, to use our articles. Since you are among the top 2000 Wikipedians by edits, I was wondering if you would be willing to multi-license all of your contributions or at minimum those on the geographic articles. Over 90% of people asked have agreed. For More Information:
 * Multi-Licensing FAQ - Lots of questions answered
 * Multi-Licensing Guide
 * Free the Rambot Articles Project

To allow us to track those users who muli-license their contributions, many users copy and paste the " " template into their user page, but there are other options at Template messages/User namespace. The following examples could also copied and pasted into your user page:

 * Option 1
 * I agree to multi-license all my contributions, with the exception of my user pages, as described below:

OR
 * Option 2
 * I agree to multi-license all my contributions to any U.S. state, county, or city article as described below:

Or if you wanted to place your work into the public domain, you could replace " " with "  ". If you only prefer using the GFDL, I would like to know that too. Please let me know what you think at my talk page. It's important to know either way so no one keeps asking. -- Ram-Man (comment| talk)

Peer review request
I noticed you had attempted to list Six Sigma for peer review. The problem you were having was listing the article name as Six sigma (the name of a redirect) instead of Six Sigma (the name of the article). I have corrected the capitalization of the article and added the entry back to the current list of peer review requests. If you would prefer not to have this article listed, please let me know and I can make sure the entry is archived. --Allen3 talk 00:40, Jun 4, 2005 (UTC)

Galileo Galilei, references
I recently came back to the Galileo article after a long hiatus and found your note about the project to improve references. I completely agree that it's not well documented, particularly for a featured article on a controversial subject. I have little time currently to devote to improving it, but I intend to hack away.

I have some difficulty, though, deciding on the appropriate level of references to achieve checkability without undue pedantry or clutter. Looking at the page for Project Fact and Reference Check, I saw that the J. S.Bach article was a special target in May, and Egyptian pyramids before that; so I looked at them for examples of good practice. It hasn't helped me much. The footnotes seem, frankly, rather spotty, with a note for something as widely known and uncontroversial as Bach's birthday, but considerable gaps elsewhere (e.g., construction techniques for the pyramids).

If there are a couple of articles that people on the project see as exemplary, I'd appreciate hearing of them, either on my Talk page or on that of the article.

BTW, in-line superscript numbered footnotes seem to be favored. While I admire the elegance of the templates that generate these, I'm dubious of their value when there may be multiple references to different pages in a book: one would get into a two-step process to track down what the actual reference is, and ibid.s and op. cit.s don't always work well. (Perhaps good examples would convince me.) --Dandrake 01:20, Jun 21, 2005 (UTC)
 * Unfortunately there doesn't seem to be an ideal system yet, as it hasn't reached a high enough priority for someone to write the code for it. The manually number footnote systems allow multiple references to the same book and allows page numbers I believe, so that might work for you. Also, you may want to check out the invisible note system as a way to have the notes not clutter up the text, but still contain all the information you want. Since there is not ideal system that meets everyone's needs, any system that does what you want is acceptable. Anything is better than nothing. As for what level of checkability, I would say just prioritize the article/subject from two standpoints: most important to the topic, and most contentious. Start with the highest priority facts and find the highest quality references for them, and work down. Twenty plus or more would eventually be great, but a start is better than none. Thank you for you interest and efforts. - Taxman Talk 11:55, Jun 21, 2005 (UTC)

Just a note, but there is no single way to do book titles in reference in the English language. There are many different styles. I don't care either way, but without a given style predetermined it's not like one way is "wrong" and the other is "right". Many style systems in English capitalize only the first letters and proper nouns, and such is a very common way of doing citations in academic works. --Fastfission 23:04, 7 September 2005 (UTC)

Sherlock Holmes
Are you a Sherlockian. If yes, please contact me. sumal 06:17, 25 September 2005 (UTC)

Footnotes reminder
A while ago you expressed interest in Footnotes. As that article was updated through a renaming process, you might not be aware of changes during recent months. I invite you to read the article again in case it is now more useful. (SEWilco 08:47, 15 December 2005 (UTC))

Nicolaus Copernicus' nationality

 * "''Look at the history of this article, and you'll find that its previous wording was not a matter of casual ignorance; it's the product of years of more or less bitter edit wars between German and Polish factions...

Thanks for taking the time to warn me about all the time and energy that's been expended on this issue; I am aware that it has been (made) and probably forever will be an issue. I suspect (and imagine you have already experienced) that not only is consensus impossible as regards stating some kind of nationality but also impossible as regards how to handle this lack of consensus. Given a 'nationality-free' version of the article, do you think the Wikipedia powers-that-be would consider (for example) barring any editor reported as adding an explicit mention of nationality from editing the article for a period of time – or, if they persist, barred permanently from editing it? Thanks in advance for your thoughts. David Kernow 00:09, 23 December 2005 (UTC)

 * I think the available tools are too clumsy. Remember that someone can walk in off the street and make any change and never be seen again. Of course, you can revert that. And people who have a Wikipedia identity may drop in and change things, and you can revert that, with an eye out for edit wars. But the Wikipedia structure can't do much about limitedly obnoxious people; it can only take very slow and cautious action against monsters; and it may not always get that right.

 * Once upon a time I subscribed to the Wikien-l mailing list, and I saw a number of complaints and counter-complaints there about people who were abusing articles, and I don't have a good feeling about Wikipedia's ways of keeping order. With that and my experiences on my pet page, Galileo, I get the impression that there really is nothing to do except keep eternal vigilance if one cares enough; otherwise, try to avoid the subject. You've started in the right directon with comments in the Talk page and in the source text. BTW here's a habit I've learned: when an old familiar bad change is made, compare the versions using the History feature; and note that the contributor's name is accompanied by a link to "contribs"; follow that link, and see if this lloks like a one-time poster (or a vandal) or someone who might be serious; handle your reversion accordingly, since people who come back and see that their stuff has been reverted may get resentful, but most posters never come back. This is a nasty bit of manipulative politicking, perhaps, but as Madison said (very approximately), if men were angels there'd be no need for politics. Dandrake 02:28, 23 December 2005 (UTC)

"''BTW here's a habit I've learned: ... This is a nasty bit of manipulative politicking, perhaps..." Doesn't seem a nasty bit of politicking to me, but a wise move... if anything, it might prevent an otherwise ill-advised revert that might look like the nast bit of etc etc. Thanks for the method. I'll keep the article on my watchlist for a while at least, if nothing more then just to see how regularly the nationality ding-dong occurs these days. I know it sounds like censorship, but, if possible, I wonder how effective the automated removal of words such as "German", "Germany", "Poland", "Polish", etc might have! Best wishes, David Kernow 04:03, 23 December 2005 (UTC)

History of Science
Please consider joining the proposed History of Science Wikiproject.--ragesoss 18:19, 14 January 2006 (UTC)

Warsaw Uprising FAR
Warsaw Uprising has been nominated for a featured article review. Articles are typically reviewed for two weeks. Please leave your comments and help us to return the article to featured quality. If concerns are not addressed during the review period, articles are moved onto the Featured Article Removal Candidates list for a further period, where editors may declare "Keep" or "Remove" the article from featured status. The instructions for the review process are here. Reviewers' concerns are here.

nadav 05:59, 29 April 2007 (UTC)

An ancient edit to Galileo Galilei
Hi. Glad to see you're still active on Wikipedia. You may no longer be interested, but an editor has criticised as "nonsense" the following sentence

 * "A planet with smaller planets orbiting it was problematic for the orderly, comprehensive picture of the geocentric model of the universe, in which everything was supposed to circle around the Earth."

which I found on investigation to have been added by you to the article Galileo Galilei way back in 2003. The same editor asked for the statement to be sourced or deleted. I haven't yet been able to find a source to support the statement as it stands, but I was able to find a couple for a somewhat weaker version which I have now substituted for the original. If you have any objections to the revised version of the statement, or would like to provide sources for the original version, please join the discussion on the talk page at the link above. —David Wilson (talk · cont) 17:08, 17 October 2008 (UTC)

Wikipedia Mobile Feedback
My name is Kenan. I am the product manager for Wikipedia Mobile. I'd love to ask you some questions and get your feedback on Wikipedia on mobile. This would be a great chance to affect the way that we build our website and apps. Let me know if you're interested: kwang@wikimedia.org

KWang (WMF) (talk) 23:29, 16 October 2013 (UTC)

ArbCom elections are now open!
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 Hello! Voting in the 2022 Arbitration Committee elections is now open until 23:59 (UTC) on. All eligible users are allowed to vote. Users with alternate accounts may only vote once.

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

title: User talk:Dandrake


text:
Eddie "Lockjaw" Davis

Edward F. Davis (March 2, 1922 – November 3, 1986), known professionally as Eddie "Lockjaw" Davis, was an American jazz tenor saxophonist. It is unclear how he acquired the moniker "Lockjaw" (later shortened to "Jaws"): it is either said that it came from the title of a tune or from his way of biting hard on the saxophone mouthpiece. Other theories have been put forward.

Biography
Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemère, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues.

In 1940, when Teddy Hill became the manager of the legendary Minton's Jazz club, he put Eddie Davis in charge of deciding which musicians could, or couldn't, sit in during the jam sessions (playing in this Minton's sessions was coveted by many, including musicians which were not up to the demanding standards of the venue).

His 1946 band, Eddie Davis and His Beboppers, featured Fats Navarro, Al Haig, Huey Long, Gene Ramey and Denzil Best.

In the 1950s, he was playing with Sonny Stitt, while from 1960 to 1962, he and fellow tenor saxophonist Johnny Griffin led a quintet.

Starting in 1955, and up to 1960, Eddie Davis pioneered the tenor sax/Hammond organ combo, in a group featuring Shirley Scott on the Hammond B3.

From the mid-1960s, Davis and Griffin also performed together as part of the Kenny Clarke/Francy Boland Big Band, along with other, mainly European, jazz musicians.

Davis died of Hodgkin's lymphoma in Culver City, California, at the age of 64.

As leader/co-leader

 * 1954: Goodies from Eddie Davis (Roost [10" LP])
 * 1955: The Battle of Birdland [live] (Roost) – with Sonny Stitt
 * 1956: Modern Jazz Expressions (King)
 * 1956: Jazz With a Horn (King) – also released as This and That (King, 1959)
 * 1956–57: Jazz With a Beat (King) – with Shirley Scott; released 1958
 * 1957: Big Beat Jazz (King) – released 1958
 * 1957: Uptown (King) – released 1958
 * 1957: Count Basie Presents Eddie Davis Trio + Joe Newman (Roulette)
 * 1958: Eddie Davis Trio Featuring Shirley Scott, Organ (Roulette)
 * 1958: The Eddie Davis Trio Featuring Shirley Scott, Organ (Roost)
 * 1958: The Eddie "Lockjaw" Davis Cookbook, Vol. 1 (Prestige) – with Shirley Scott, Jerome Richardson; also released as In the Kitchen (Prestige, 1969)
 * 1958: Jaws (Prestige) – with Shirley Scott
 * 1958: The Eddie "Lockjaw" Davis Cookbook, Vol. 2 (Prestige) – with Shirley Scott, Jerome Richardson; also released as The Rev (Prestige, 1970)
 * 1958: The Eddie "Lockjaw" Davis Cookbook Volume 3 (Prestige) – with Shirley Scott, Jerome Richardson; released 1961
 * 1958: Smokin' [the 4th volume in the Cookbook series] (Prestige) – with Shirley Scott, Jerome Richardson; released 1964
 * 1959: Very Saxy (Prestige) – with Buddy Tate, Coleman Hawkins, Arnett Cobb
 * 1959: Jaws in Orbit (Prestige) – with Steve Pulliam, Shirley Scott
 * 1959: Bacalao (Prestige) – with Shirley Scott
 * 1960: Eddie "Lockjaw" Davis with Shirley Scott (Moodsville) note: Scott also on piano
 * 1960: Misty (Moodsville) – with Shirley Scott; released 1963
 * 1960: Afro-Jaws (Riverside) – with Ray Barretto; also released as Alma Alegre (Jazzland, 1964)
 * 1960: Battle Stations (Prestige) – with Johnny Griffin, Norman Simmons; released 1963
 * 1960: Trane Whistle (Prestige) – with big band arranged by Oliver Nelson, Ernie Wilkins
 * 1960: Tough Tenors (Jazzland) – with Johnny Griffin, Junior Mance
 * 1960: Griff & Lock (Jazzland) – with Johnny Griffin, Junior Mance; released 1961
 * 1961: The Tenor Scene (Prestige) – with Johnny Griffin, Junior Mance; also released as The Breakfast Show (Prestige, 1966)
 * 1961: The First Set (Prestige) – with Johnny Griffin, Junior Mance; released 1964
 * 1961: The Midnight Show (Prestige) – with Johnny Griffin, Junior Mance; released 1965
 * 1961: The Late Show (Prestige) – with Johnny Griffin, Junior Mance; released 1965
 * 1961: Lookin' at Monk! (Jazzland) – with Johnny Griffin, Junior Mance
 * 1961: Blues Up & Down (Jazzland) – with Johnny Griffin, Lloyd Mayers; released 1962
 * 1962: Tough Tenor Favorites (Jazzland) – with Johnny Griffin, Horace Parlan
 * 1962: Jawbreakers (Riverside) – with Harry "Sweets" Edison
 * 1962: Goin' to the Meeting (Prestige) – with Horace Parlan
 * 1962: I Only Have Eyes for You (Prestige) – with Don Patterson; released 1963
 * 1962: Trackin' (Prestige) – with Don Patterson; released 1963
 * 1966: Lock, the Fox (RCA Victor) – with Ross Tompkins
 * 1967: The Fox & the Hounds (RCA Victor) – with big band arranged by Bobby Plater
 * 1968: Love Calls (RCA Victor) – with Paul Gonsalves
 * 1970: Tough Tenors Again 'n' Again (MPS) – with Johnny Griffin
 * 1974: Leapin' on Lenox (Black & Blue)
 * 1975: The Tenor Giants Featuring Oscar Peterson (Pablo) – with Zoot Sims
 * 1975: Light and Lovely (Black & Blue) – with Harry "Sweets" Edison
 * 1975: Chewin' the Fat (Spotlite)
 * 1976: Jaws Strikes Again (Black & Blue) – with Wild Bill Davis
 * 1976: Swingin' Till the Girls Come Home (SteepleChase; Inner City)
 * 1976: Straight Ahead (Pablo)
 * 1976: Lockjaw with Sweets (Storyville) – with Harry "Sweets" Edison
 * 1976: Opus Funk (Storyville) – with Harry "Sweets" Edison
 * 1977: Eddie "Lockjaw" Davis 4 – Montreux '77 (Pablo)
 * 1977: Simply Sweets (Pablo) – with Harry "Sweets" Edison, Dolo Coker
 * 1978: Midnight Slows Vol. 10 (Black & Blue) – with Bill Doggett
 * 1979: The Heavy Hitter (Muse)
 * 1981: Jaw's Blues (Enja) – with Horace Parlan; released 1986
 * 1981: Sonny, Sweets & Jaws – Recorded Live at Bubba's (Who's Who in Jazz) – with Sonny Stitt, Harry "Sweets" Edison
 * 1983: Eddie "Lockjaw" Davis/Harry "Sweets" Edison/Al Grey – Jazz at the Philharmonic 1983 (Pablo) – recorded 1982
 * 1983: All of Me (SteepleChase) – with Kenny Drew
 * 1983: Jazz at the Philharmonic – Yoyogi National Stadium, Tokyo 1983: Return to Happiness (Pablo)
 * 1984: Tough Tenors Back Again! (Storyville) – with Johnny Griffin; released 1998

As sideman
With Mildred Anderson
 * Person to Person (Bluesville, 1960) – with Shirley Scott

With Count Basie
 * The Count! (Clef, 1952 [rel. 1955])
 * Basie Jazz (Clef, 1952 [rel. 1954])
 * Dance Session Album #2 (Clef, 1954)
 * The Atomic Mr. Basie (Roulette, 1957) – originally titled Basie; also known as E=MC2
 * Everyday I Have the Blues (Roulette, 1959)
 * The Count Basie Story (Roulette, 1960)
 * Pop Goes the Basie (Reprise, 1965)
 * Basie Meets Bond (United Artists, 1966)
 * Live at the Sands (Before Frank) (Reprise, 1966 [rel. 1998])
 * Sinatra at the Sands (Reprise, 1966)
 * Basie's Beatle Bag (Verve, 1966)
 * Basie Swingin' Voices Singin' (ABC-Paramount, 1966)
 * Basie's Beat (Verve, 1967)
 * Broadway Basie's...Way (Command, 1966)
 * Hollywood...Basie's Way (Command, 1967)
 * Basie's in the Bag (Brunswick, 1967)
 * Count Basie Captures Walt Disney's The Happiest Millionaire (Coliseum, 1967)
 * Manufacturers of Soul (Brunswick, 1968)
 * The Board of Directors Annual Report (Dot, 1968)
 * Basie Straight Ahead (Dot, 1968)
 * How About This (Paramount, 1968)
 * Standing Ovation (Dot, 1969)
 * Basic Basie (MPS, 1969)
 * Basie on the Beatles (Happy Tiger, 1969)
 * High Voltage (MPS, 1970)
 * Basie Jam (Pablo, 1973)
 * Mostly Blues...and Some Others (Pablo, 1983)

With Billy Butler With Benny Carter With the Kenny Clarke/Francy Boland Big Band With Arnett Cobb With Gene "Mighty Flea" Conners With Wild Bill Davis With Harry Edison With Red Garland With Dizzy Gillespie With Al Grey With Tiny Grimes With Coleman Hawkins With Jo Jones With Quincy Jones With Al Smith With Sonny Stitt
 * Don't Be That Way (Black & Blue, 1976)
 * Wonderland (Pablo, 1976 [1986])
 * Sax No End (SABA, 1967)
 * Blow Arnett, Blow (Prestige, 1959) – also released as Go Power!!! (Prestige, 1970)
 * Coming Home (Black & Blue, 1976)
 * All Right OK You Win (Black & Blue, 1976)
 * Just Friends (Black & Blue, 1975)
 * Edison's Lights (Pablo, 1976)
 * The Red Garland Trio + Eddie "Lockjaw" Davis (Moodsville, 1959)
 * The Dizzy Gillespie Big 7 (Pablo, 1975)
 * Shades of Grey (Tangerine, 1965)
 * Callin' the Blues (Prestige, 1958)
 * Night Hawk (Swingville, 1960)
 * The Main Man (Pablo, 1977)
 * Golden Boy (Mercury, 1964)
 * Hear My Blues (Bluesville, 1959) – with Shirley Scott; also released as Blues Shout! (Prestige, 1964)
 * The Matadors Meet the Bull (Roulette, 1965)

title: Eddie "Lockjaw" Davis


text:
Draw (chess)

In chess, there are a number of ways that a game can end in a draw, neither player winning. Draws are codified by various rules of chess including stalemate (when the player to move is not in check but has no legal move), threefold repetition (when the same position occurs three times with the same player to move), and the fifty-move rule (when the last fifty successive moves made by both players contain no or pawn move). Under the standard FIDE rules, a draw also occurs in a dead position (when no sequence of legal moves can lead to checkmate), most commonly when neither player has sufficient to checkmate the opponent.

Unless specific tournament rules forbid it, players may agree to a draw at any time. Ethical considerations may make a draw uncustomary in situations where at least one player has a reasonable chance of winning. For example, a draw could be called after a move or two, but this would likely be thought unsporting.

In the 19th century, some tournaments, notably London 1883, required that drawn games be replayed; however, this was found to cause organizational problems due to the backlog. It is now standard practice to score a decisive game as one point to the winner, and a draw as a half point to each player.

Draw rules
The rules allow for several types of draws: stalemate, threefold or fivefold repetition of a position, if there has been no or a pawn being moved in the last fifty or seventy-five moves, if checkmate is impossible, or if the players agree to a draw. In games played under time control, a draw may result under additional conditions. A stalemate is an automatic draw, as is a draw due to impossibility of checkmate. A draw by threefold repetition or the fifty-move rule may be claimed by one of the players with the (normally using his ), and claiming it is optional. The draw by fivefold repetition or the seventy-five-move rule is mandatory by the arbiter.

A claim of a draw first counts as an offer of a draw, and the opponent may accept the draw without the arbiter examining the claim. Once a claim or draw offer has been made, it cannot be withdrawn. If the claim is verified or the draw offer accepted, the game is over. Otherwise, the offer or claim is nullified and the game continues; the draw offer is no longer in effect.

The correct procedure for an offer of a draw is to first make a move, verbally offer the draw, then press the clock. The other player may decline the draw offer by making a move, in which case the draw offer is no longer in effect, or else indicate acceptance. The offer of a draw should be recorded by each player in their score sheet using the symbol (=) as per Appendix C.12 of FIDE Laws of Chess.

Scoring
In early tournaments, draws were often replayed until one of the players won; however, this was found to be impractical and caused organizational difficulties. The 1867 Paris tournament even ignored draws altogether, effectively treating them as double losses. The 1867 Dundee tournament initiated the awarding of a half point for draws, which is now standard practice. A minority of tournaments use a different scoring scheme, such as "football scoring" where 3 points are awarded to the winner and 1 point to each in the event of a draw. For the purpose of calculating Elo rating, these tournaments are treated as if they were using standard scoring.

Draws in all games
Article 5 of the 2018 FIDE Laws of Chess gives the basic ways a game may end in a draw; more complicated ways are detailed in Article 9:

 * Stalemate – if the player on turn has no legal move but is not in check, this is stalemate and the game is automatically a draw.
 * Threefold repetition rule – if an identical position has occurred at least three times during the course of the game with the same player to move each time, and is the current position on the board or will occur after the player on turn makes their move, the player on move may claim a draw (to the ). In such a case the draw is not automatic – a player must claim it if they want the draw. When the position occurs for the third time after the player's intended next move, they write the move on their but does not make the move on the board and claims the draw. Article 9.2 states that a position is considered identical to another if the same player is on move, the same types of pieces of the same colors occupy the same squares, and the same moves are available to each player; in particular, each player has the same castling and en passant capturing rights. (A player may lose their right to castle; and an en passant capture is available only at the first opportunity.) If the claim is not made on the move in which the repetition occurs, the player forfeits the right to make the claim. Of course, the opportunity may present itself again.
 * Fivefold repetition – If the same position occurs five times during the course of the game, the game is automatically a draw (i.e. a player does not have to claim it).
 * Fifty-move rule – if in the previous 50 moves by each side, no pawn has moved and no has been made, a draw may be claimed by either player. Here again, the draw is not automatic and must be claimed if the player wants the draw. If the player whose turn it is to move has made only 49 such moves, they may write their next move on the scoresheet and claim a draw. As with the threefold repetition, the right to claim the draw is forfeited if it is not used on that move, but the opportunity may occur again.
 * Seventy-five-move rule – If no capture or no pawn move has occurred in the last 75 moves (by both players), the game is automatically a draw (i.e. a player does not have to claim it). If the last move was a checkmate, the checkmate stands.
 * Impossibility of checkmate – if a position arises in which neither player could possibly give checkmate by a series of legal moves, the game is a draw. Such a position is called a dead position. This is usually because there is insufficient material left, but it is possible in other positions too, such as a blocked king and pawn ending where it is impossible for either king to capture the pawns. Combinations with insufficient material to checkmate include:
 * king versus king
 * king and bishop versus king
 * king and knight versus king
 * king and bishop versus king and bishop with the bishops on the same color.
 * Mutual agreement – a player may offer a draw to their opponent at any stage of a game. If the opponent accepts, the game is a draw.

There is no longer a rule defining perpetual check—a situation in which one player gives a series of checks from which the other player cannot escape—as a draw. Any perpetual check situation will eventually be claimable as a draw under the threefold repetition rule or the fifty-move rule; more commonly the players will simply agree a draw. By 1965, perpetual check was no longer in the rules.

Although these are the laws as laid down by FIDE and, as such, are used at almost all top-level tournaments, at lower levels different rules may operate, particularly with regard to rapid play finish provisions.

Draws in timed games
In games played with a time control, there are other ways a draw can occur.

 * In a sudden death time control (players have a limited time to play all of their moves), if it is discovered that both players have exceeded their time allotment, the game is a draw. (The game continues if it is not a sudden-death time control.)
 * If only one player has exceeded the time limit, but the other player does not have sufficient mating material, the game is still a draw. Law 6.9 of the FIDE Laws of Chess states that: "If a player does not complete the prescribed number of moves in the allotted time, the game is lost by the player. However, the game is drawn if the position is such that the opponent cannot checkmate the player's king by any possible series of legal moves, even with the most unskilled counterplay." It is still possible to lose on time in positions where mate is extremely unlikely but not theoretically impossible, as with king and bishop versus king and knight. (Under USCF rules, king and bishop, king and knight, or king and 2 knights with no pawns on the board is not considered sufficient mating material, unless the opponent has a forced win, even though it is theoretically possible to mate (but extremely unlikely to happen) in situations such as K+B vs. K+N). There are differences between USCF and FIDE rules, whereby USCF requires checkmate be forced and FIDE requires it only be legally possible.
 * Because of this last possibility, article 10 of the FIDE laws of chess states that when a player has less than two minutes left on their clock during a rapid play finish (the end of a game when all remaining moves must be completed within a limited amount of time), they may claim a draw if their opponent is not attempting to win the game by "normal means" or cannot win the game by "normal means". "Normal means" can be taken to mean the delivery of checkmate or the winning of material. In other words, a draw is claimable if the opponent is merely attempting to win on time, or cannot possibly win except on time. It is up to the arbiter to decide whether such a claim will be granted or not.

Frequency of draws
In chess games played at the top level, a draw is the most common outcome of a game: of around 22,000 games published in The Week in Chess played between 1999 and 2002 by players with a FIDE Elo rating of 2500 or above, 55 percent were draws. According to chess analyst Jeff Sonas, although an upward draw rate trend can be observed in general master-level play since the beginning of the 20th century, it is currently "holding pretty steady around 50%, and is only increasing at a very slow rate". The draw rate of elite grandmasters, rated more than 2750 Elo, is, however, significantly higher, surpassing 70% in 2017 and 2018.

In top-level correspondence chess under ICCF, where computer assistance is allowed, the draw rate is much higher than in the over-the-board chess: of 1512 games played in the World Championship finals and the Candidates' sections between 2010 and 2013, 82.3% ended in a draw. Since that time, draw rate in top-level correspondence play has been rising steadily, reaching 97% in 2019. Engine tests strongly suggest that the result of a perfectly played game is a draw, and that the draw margin is quite large: White cannot force a win without Black making significant mistakes.

The high draw rate has often led to fears of "draw death", as the top players draw an ever-increasing percentage of their games and the game becomes played out: such sentiments have been expressed by World Champions Emanuel Lasker, José Raúl Capablanca, Bobby Fischer, and Vladimir Kramnik. All four advocated changing the rules of chess to avoid the problem, and with the advent of modern chess engines playing at an extremely high level, their ideas have been tested. Based on tests in correspondence and engine play, GM Larry Kaufman (one of the original authors of Komodo) and correspondence chess grandmaster Arno Nickel have suggested an extension of Lasker's proposal, which would score stalemate, king and minor piece versus king with the superior side to move (similar to the old bare king rule), and threefold repetition as ¾–¼ rather than draws – for threefold repetition, this means penalising the player who brought about a repetition with ¼ of a point, which is similar to how repetitions are sometimes forbidden in xiangqi, shogi, and Go. (Lasker's original proposal was only for stalemate and bare king; it was supported by Richard Réti and considered not harmful – though unnecessary – by Max Euwe. Capablanca thought that doing this for stalemate would be enough.) Engine tests by Kaufman using Komodo suggest that at over-the-board human World Championship level, this would lower the draw rate from 65.6% to just 22.6%.

Other ideas have also been suggested, such as the "football scoring": 0 for a loss, 1 for a draw, and 3 for a win, which is equivalent to scoring draws as ⅓–⅓ rather than ½–½. This has been criticised, however. Kaufman argues that this solution misses the point: it reduces the incentive to draw, but the reason for the high draw rate is not one of incentives, but rather that White's first-move advantage is not enough to win. Thus Kaufman calls this solution "terrible", going against "the very nature of the game": he writes that "The inferior side should be trying to draw, and to penalize Black for obtaining a good result is crazy. It makes chess like a game of 'chicken'; who will 'blink' first and play an unsound move to avoid the mutually bad result of a draw?" Nickel has likewise criticised this idea as "wholly inadequate", creating "an artificial and empty pressure at best", and creating unfairness and incentivising "game manipulations" in team events or double round-robins. Kaufman speaks more favourably of an idea by Ed Epp, which is to score draws as 0.4–0.6, equalising the expected score for White and Black; but while he writes that he is "all for this idea", he also admits that "the benefit would be small, most games would have the same outcome".

Drawing combinations
Yuri Averbakh gives these combinations for the weaker side to draw:
 * perpetual check
 * stalemate
 * blockade
 * perpetual pursuit
 * fortress
 * drawing balance of forces

Terminology

 * A book draw or theoretical draw is a position that is known to result in a draw if both sides.
 * A positional draw is an impasse other than stalemate, where a draw is salvaged despite a big material disadvantage (see ).
 * A grandmaster draw is a game in which the players quickly agree to a draw after making little or no effort to win (see ).

Andy Soltis discusses the vagueness of the terms "draw", "drawish", "drawable", "book draw", "easy draw", and "dead draw". In books and chess theory a position is considered to be a draw if best play leads to a draw – the difficulty of the defence is not taken into account. Soltis calls these positions "drawable". For instance, under that criterion the rook and bishop versus rook endgame is usually a theoretical draw or book draw, but the side with the bishop often wins in practice. In this position from an actual game, the only move to draw is 124.Rf8! White actually played 124.Rd8 and lost after 124...Re3, with the winning threat of 125...Bh3+ 126.Kg1 Re1#.

Articles on draw rules

 * Draw by agreement
 * Fifty-move rule and Seventy-five-move rule
 * Stalemate
 * Threefold repetition and Fivefold repetition

title: Draw (chess)


text:
Sky Tower (Auckland)

The Sky Tower is a telecommunications and observation tower in Auckland, New Zealand. Located at the corner of Victoria and Federal Streets within the city's CBD, it is 328 m tall, as measured from ground level to the top of the mast, making it the second tallest freestanding structure in the Southern Hemisphere, surpassed only by the Autograph Tower in Jakarta, Indonesia, and the 28th tallest tower in the world. Since its completion in 1997, the Sky Tower has become an iconic landmark in Auckland's skyline, due to its height and design. It was the tallest freestanding structure in the Southern Hemisphere from 1996 to 2022.

The tower is part of the SkyCity Auckland casino complex, originally built in 1994–1997 for Harrah's Entertainment. Several upper levels are accessible to the public, attracting an average of 1,150 visitors per day (over 415,000 per year).

Public facilities
The Sky Tower has several upper levels that are accessible to the public:

 * Level 50: Sky Bar
 * Level 51: Main Observation Deck
 * Level 52: Orbit 360° Dining
 * Level 53: The Sugar Club restaurant, SkyWalk and SkyJump
 * Level 60: Sky Deck

The upper portion of the tower contains two restaurants and a cafe; including New Zealand's only revolving restaurant, located 190 m from the ground, which turns 360 degrees every hour. There is also a brasserie-style buffet located one floor above the main observatory level. It has three observation decks at different heights, each providing 360-degree views of the city. The main observation level at 186 m has 38 mm thick glass sections of flooring giving a view straight to the ground. The top observation deck labelled "Skydeck" sits just below the main antenna at 220 m and gives views of up to 82 km in the distance.

The tower also features the "SkyJump", a 192 m jump from the observation deck, during which a jumper can reach up to 85 km/h. The jump is guide-cable-controlled to prevent jumpers from colliding with the tower in case of wind gusts. Climbs into the antenna mast portion (300 m heights) are also possible for tour groups, as is a walk around the exterior.

Project history
The tower was constructed as a part of the Skycity casino precinct. The Skycity Entertainment Group's initial brief for the project were that they required a tower that was both a high-quality tourist attraction, and a marketable telecommunications facility. Fletcher Construction was the contracted builder for the project while engineering firm Beca Group provided the design management and coordination, structural, geotechnical, civil, mechanical, electrical, plumbing, lighting and fire engineering services. Harrison Grierson provided surveying services. It was designed by Gordon Moller of Craig Craig Moller Architects and has received a New Zealand Institute of Architects National Award as well as regional awards. The project architect was Les Dykstra. Taking two years and nine months to construct, the tower was opened on 3 August 1997.

Facts and figures
The tower is constructed of high-performance reinforced concrete. Its 12 m diameter shaft (containing four lifts and an emergency stairwell) is supported on eight "legs" based on 16 foundation piles drilled over 15 m deep into the local sandstone. The main shaft was built using climbing formwork.

The upper levels were constructed from composite materials, structural steel, precast concrete and reinforced concrete, and the observation decks clad in aluminium with blue/green reflective glass. A structural steel framework supports the upper mast structure. During construction 15000 m3 of concrete, 2000 t of reinforcing steel, and 660 t of structural steel were used. The mast weighs over 170 t. It had to be lifted into place using a crane attached to the structure, as it would have been too heavy for a helicopter to lift. To then remove the crane, another crane had to be constructed attached to the upper part of the Sky Tower structure, which dismantled the big crane, and was in turn dismantled into pieces small enough to fit into the elevator.

Safety
The tower is designed to withstand wind in excess of 200 km/h and designed to sway up to 1 m in excessively high winds. As a safety precaution the Sky Tower's lifts have special technology installed to detect movement (such as swaying due to high wind) and will automatically slow down. If the building sway exceeds predetermined safety levels the lifts will return to the ground floor and remain there until the high winds and building sway have abated.

The Sky Tower is built to withstand an 8.0 magnitude earthquake located within a 20 km radius. There are three fireproof rooms on levels 44, 45, and 46 to provide refuge in the event of an emergency, while the central service lift shaft and stairwells are also fire-safety rated.

Telecommunications
The tower is also used for telecommunications and broadcasting with the Auckland Peering Exchange (APE) being located on Level 48. The aerial at the top of the tower hosts the largest FM combiner in the world which combines with 58 wireless microwave links located above the top restaurant to provide a number of services. These include television, wireless internet, RT, and weather measurement services.

The tower is Auckland's primary FM radio transmitter, and is one of four infill terrestrial television transmitters in Auckland, serving areas not covered by the main transmitter at Waiatarua in the Waitākere Ranges. A total of twenty-three FM radio stations and six digital terrestrial television multiplexes broadcast from the tower. Two VHF analogue television channels broadcasting from the tower were switched off in the early hours of 1 December 2013 as part of New Zealand's digital television transition.

Transmission frequencies
H = Horizontal V = Vertical

The following table contains television and radio frequencies currently operating from the Sky Tower:

Lighting
SkyCity Auckland lights the Sky Tower to show support for a range of organisations and charities. SkyCity has a lighting policy and the public is invited to suggest additional occasions in line with this policy. Common lighting events include:

 * All colours = New Year's Eve/New Year’s Day
 * Blue = Blue September (prostate cancer awareness month in NZ)
 * Pink = Breast Cancer Awareness Month | Mother's Day
 * Red & Green = Christmas
 * Red, Orange, Yellow, Green, Blue, Purple, Pink, Gold & White = New Year's Eve
 * Red & Gold = Chinese New Year
 * Green = Saint Patrick's Day
 * Red top = Anzac Day (with Poppy emblem projection) | Cure Kids Red Nose Day (fundraising appeal for children's health research)
 * Red, Orange, Yellow, Green, Blue and Purple = Pride Month
 * Orange at the base fading to yellow at the top = Matariki
 * Green base and yellow top = Daffodil Day (Cancer Society New Zealand)

 * No lighting (except aircraft warning lights) = Earth Hour | Day in memorial of the death of the head of state, the governor-general, the prime minister, any governmental member or important people.

The tower is lit up for special occasions. Examples include New Zealand's 2021 vaccination campaign, with the tower illuminated in blue and white when 80% and 90% vaccination rates were achieved. The tower was blue and yellow in early March 2022 in solidarity with Ukraine over the 2022 Russian invasion. After SkyCity initially refused requests from members of the public to lend support, Phil Goff as mayor of Auckland intervened and the Sky Tower was one of three Auckland landmarks that was lit up for three days (the others were the Auckland Harbour Bridge and Auckland War Memorial Museum). The tower went blue to honour the death of Constable Matthew Hunt. Also in March 2022, the tower was red celebrating the Auckland Arts Festival.

Energy efficient lighting
The top half of the Sky Tower is lit by energy efficient LED lighting which replaced the original metal halide floodlights in May 2009. The LEDs can produce millions of different colour combinations controlled by a DMX lighting controller. The original lights used 66 per cent more energy than the current LED system. The bottom half remained lit by metal halide lamps, until they too were upgraded to LED lighting in 2019.

Energy conservation initiatives
In an effort to promote power saving, SkyCity turned off the tower lighting in Winter 2008, retaining only the flashing red aviation lights. SkyCity is also minimising façade flood lighting across its complex. Simon Jamieson, general manager SkyCity Auckland Hotels Group, said: "Like every New Zealander, we are concerned about the country's electricity supply, and we believe it is our responsibility to make this move to assist with the power saving request." The tower was reilluminated on 4 August in support of New Zealand athletes competing at the Beijing Olympics.

Events
The Sky Tower is used in support of special charity events. The Leukemia and Blood Foundation of New Zealand organises annual fundraising stair climb challenges, notably the "Firefighters Sky Tower Stair Challenge" which sees firefighters from around New Zealand race up 1,108 steps (out of 1,267 total steps). Climbing the Sky Tower stairs has been described as a "vertical marathon".

The Sky Tower is also the venue of the annual "Tower de Force" competition. It includes a climb up 1,226 steps (out of 1,267 total steps), and various other military skills tests that change yearly. Participants include the RNZAF, RNZN, New Zealand Army, New Zealand Defence Force veterans, New Zealand Police and, more recently, units from the New Zealand Cadet Forces. The competition is used to raise funds for numerous charities, including in 2019 Mike King's The Key to Life Charitable Trust.

title: Sky Tower (Auckland)


text:
Soul jazz

Soul jazz or funky jazz is a subgenre of jazz that incorporates strong influences from hard bop, blues, soul, gospel and rhythm and blues. Soul jazz is often characterized by organ trios featuring the Hammond organ and small combos including saxophone, brass instruments, electric guitar, bass, drums, piano, vocals and electric organ. Its origins were in the 1950s and early 1960s, with its heyday with popular audiences preceding the rise of jazz fusion in the late 1960s and 1970s. Prominent names in fusion ranged from bop pianists including Bobby Timmons and Junior Mance to a wide range of organists, saxophonists, pianists, drummers and electric guitarists including Jack McDuff, Eddie "Lockjaw" Davis, and Grant Green.

Musical style
Soul jazz is often associated with hard bop. Mark C. Gridley, writing for the All Music Guide to Jazz, explains that soul jazz more specifically refers to music with "an earthy, bluesy melodic concept" and "repetitive, dance-like rhythms.... Note that some listeners make no distinction between 'soul-jazz' and 'funky hard bop,' and many musicians don't consider 'soul-jazz' to be continuous with 'hard bop.

According to Nick Morrison, the subgenre "usually begins with the bass player" who "take[s] a strong bass line, establish[es] a steady groove between the bass and drums", before the band can "embellish that groove with riffs and melody lines".

Jazz pianist Horace Silver stated that "[f]unky means earthy and blues-based. It might not be blues itself, but it does have that 'down-home' feel to it. Soul is basically the same, but there's an added dimension of feeling and spirit."

Origins
Roy Carr has described soul jazz as an outgrowth of hard bop, with the terms "funk" and "soul" appearing in a jazz context as early as the mid-1950s to describe "gospel-informed, down-home, call-and-response blues". Carr has also noted the influence of Ray Charles' small group recordings (which included saxophonists David "Fathead" Newman and Hank Crawford) on Horace Silver, Art Blakey, Cannonball Adderley. In his view, David Sanborn and Maceo Parker are in a line of alto saxophonists that includes Earl Bostic, Tab Smith, Adderley, and Lou Donaldson as the strongest links in the chain of the genre's evolution.

In the early to mid-1950s, after he left the Count Basie Orchestra, saxophonist Eddie "Lockjaw" Davis was among the first to form a jazz group with both organ and saxophone, first with Bill Doggett and later Shirley Scott. For this and his "full bodied yet reedy tone that was equally at home in rhythm & blues settings as more modern contexts," he "provided a link" between big band swing and soul jazz.

Soul jazz continued to develop in the late 1950s, reaching public awareness with the release of The Cannonball Adderley Quintet in San Francisco. Cannonball Adderley noted: "We were pressured quite heavily by Riverside Records when they discovered there was a word called 'soul'. We became, from an image point of view, soul jazz artists. They kept promoting us that way and I kept deliberately fighting it, to the extent that it became a game." Late 1950s, soul jazz artist Curtis Fuller recorded "Five Spot after Dark".

Mainstream
Jimmy Smith's shift into soul jazz demonstrated the organ's potential within the genre with his albums Home Cookin'  (1961) and Back at the Chicken Shack (1963). Other organists who recorded in the soul jazz genre during this period include Jack McDuff, Shirley Scott, and Charles Earland. With the addition of former bebop and hard-bop musicians to the genre, the number of musicians within various facets of the style increased as soul jazz became a subgenre in its own right; and like its bop predecessor, the new genre of jazz reworked popular songs, such as "Got My Mojo Workin'," while saxophone and trumpet players recently converted to the genre composed hits including "The Sidewinder", "Mercy, Mercy, Mercy" and "Listen Here" during the mid-1960s.

An accelerating factor in soul jazz's development was the Black Power movement, which led African-American musicians to return to the African roots of their music. Tunes recorded within the genre, including "Mercy, Mercy, Mercy" and "Let My People Go" were direct references to the civil rights and Black Power movements. For instance, Adderley's music from the period has been described as containing an "irrepressible exuberance". Interest in the genre broadened when Adderley introduced Austrian-born keyboardist Joe Zawinul to soul jazz through his Quintet, with Zawinul contributing to its repertoire with his own compositions.

Likewise Stanley Turrentine, who began recording with Jimmy Smith in 1960 and rapidly expanded his audience, lamented the lack of jazz on radio and TV, saying that more people, and particularly African Americans, would have listened to soul jazz had it received as much exposure as rock music. The tenor saxophone player recorded a number of soul jazz albums throughout the 1960s, including Never Let Me Go (1963) with his wife Shirley Scott. Jazz critic Thom Jurek noted that on the recording "the organ acts as the testifying pulpit from which to speak, and Turrentine not only speaks, he weeps and whispers and wails." Turrentine's following album, A Chip Off the Old Block (1963), marked the first shift in influence, in this case from the swing/big band era with compositions by Count Basie and Neal Hefti. Turrentine's wife again contributed in addition to hard bop trumpeter Blue Mitchell. In the mid- to late-1960s, Turrentine evolved his soul jazz style from the small-group setting traditionally associated with the subgenre to an ensemble format, with Joyride (1965) arranged by fellow jazz saxophonist Oliver Nelson. While Turrentine developed the core of the "soul" in soul jazz, Latin and funky influences developed soul jazz upon the foundation of bop. Pianist Herbie Hancock, for instance, was instrumental in pushing the boundaries of music theory and chord progressions during the 1960s. Hancock's first album Takin' Off (1962) featured the funky "Watermelon Man", a composition recorded by both Hancock and Mongo Santamaria, and was notable for "spare, funky piano riffing and tight, focused solo statements" that enabled Hancock to "begin pushing the boundaries of hard bop." The 1960s saw Hancock and trumpeter Lee Morgan's compositions be used in TV, with "Maiden Voyage" by Hancock appearing in a Fabergé commercial and Morgan's "The Sidewinder" in a Chrysler commercial. Popularizations of jazz compositions, such as the renditions of "Watermelon Man" by Santamaria and Gloria Lynne, went further to make soul jazz appealing to Black audiences, particularly in the early to mid-1960s, though this shifted over the course of the decade so much that by the late 1960s, the jazz musicians themselves were producing hit records, with six Jimmy Smith/Blue Note albums reaching the top 200. However, jazz labels such as Blue Note found it difficult to compete with larger record companies for advertising opportunities. The growing popularity of soul jazz meant that, for many hard bop musicians, the shift from bop to soul jazz was not clearly defined, with Horace Silver releasing hard bop album The Jody Grind in 1966, and the more soul-influenced Serenade to a Soul Sister – starring Turrentine – in 1968. The latter album was described by Steve Huey as "one of the pianist's most infectiously cheerful, good-humored outings." Silver wrote in the album's liner notes that he believed his music should avoid "politics, hatred, or anger." Tenor saxophonist Hank Mobley took even longer to make the shift, playing primarily within the hard bop genre until 1968, when he recorded Reach Out! with a light soul jazz feel. His following album The Flip (1969) blended soul jazz and hard bop on its title track, according to Jurek. Other jazz artists, such as Lee Morgan, wavered in and out of the soul jazz genre. Drawing influence from the reliably hard bop Jazz Messengers, Morgan's albums of the mid-1960s could be described as both hard bop and soul jazz. Morgan hired bop musicians for the album but recorded soul-influenced material, for instance on the album Cornbread (1965).

Other soul jazz musicians had their roots almost entirely in soul and blues. Organist Jack McDuff, for example, was known for his particularly bluesy style, which enabled him to collaborate with young jazz talents including saxophonist Johnny Griffin and guitarist George Benson. McDuff's band focused on "groove-centric" music but in the later '60s experimented with popular songs and larger ensembles, particularly on his album Tobacco Road (1967). In contrast, former McDuff sideman and guitarist Pat Martino utilized an organ trio format during the late 1960s, with the live Young Guns (2014) album recorded at Club 118 in 1968 and 1969 featuring Gene Ludwig on organ and Randy Gelispie on drums.

Among the best-known soul jazz recordings from the era are Lee Morgan's The Sidewinder (1963), Frank Foster's Samba Blues (1963), Nat Adderley's "Work Song", Horace Silver's "Song for My Father" (1964), Ramsey Lewis's "The 'In' Crowd" (a top-five hit in 1965 ), Cannonball Adderley's "Mercy, Mercy, Mercy" (1966) (also popularized further when covered as a top-40 pop song by the Buckinghams the following year), and Young Holt Unlimited "Soulful Strut". Les McCann and Eddie Harris's album Swiss Movement (1969) was a hit record, as was the accompanying single "Compared to What", with both selling millions of units.

Fusion
Soul jazz began to mold into jazz fusion by the late 1960s, with musicians such as Turrentine moving to the CTI fusion label in the early 1970s and free jazz saxophonist Albert Ayler moving into jazz-rock during the late 1960s before his untimely death in 1970. With the temporary decline of Blue Note and the rapid rise of the CTI label, soul jazz moved toward smooth jazz and popular music of the day, with the label's founder Creed Taylor remarking that his original goal of creating jazz for listening had "backfired" into the development of background music.

Others pushed the boundaries of soul jazz to the extent it became fused with other genres. Tenor saxophonist Eddie Harris switched to the electric saxophone for his album titled The Electrifying Eddie Harris (1968). His experiments in "funk-influenced fusion, outside improvisations, bizarre electronic effects, new crossbreedings of traditional instruments, blues crooning, and even comedy," according to Steve Huey, "fell outside the bounds of what critics considered legitimate, serious jazz." He returned to bop late in his career.

Legacy
Although soul jazz was most popular during the mid-to-late 1960s, its musicians and musical influences remained popular past this time period.

In the late 1960s and 1970s, the genre saw increased crossover with fusion. The Jazz Crusaders, for example, evolved from soul jazz to soul music, becoming the Crusaders in the process.

title: Soul jazz


text:
Cars (song)

"Cars" is the first solo single by English musician Gary Numan. It was released on 24 August 1979 and is from his debut studio album The Pleasure Principle. The song reached the top of the charts in several countries, and is Numan's most successful single.

Overview
The song was the first release credited solely to Gary Numan after he dropped the band name Tubeway Army, under which he had released four singles and two LPs, including the number one UK hit "Are 'Friends' Electric?", and its parent album Replicas. Musically, the new song was somewhat lighter and more pop-oriented than its predecessors, Numan later said that he had chart success in mind: "This was the first time I had written a song with the intention of 'maybe it could be a hit single'; I was writing this before 'Are "Friends" Electric?' happened." He has since described "Cars" as "a pretty average song".

In the UK charts, it reached number 1 in 1979, and in 1980, it hit number 1 in Canada two weeks running on the RPM national singles chart (29 weeks in the top 100), his only single to chart there. The single was first issued in the US in February 1980, where it peaked at #4 on the Cash Box Top 100 and #9 on the US Billboard Hot 100 on June 7, 1980, remaining at that position for three weeks. Although Numan had a string of hits in the UK, "Cars" was his only song in the American pop charts. Remixed versions of the song again reached the top 20 in the UK in 1996 and 1997 respectively.

Composition
"Cars" is based on two musical sections: a verse/instrumental break and a bridge. The recording features a conventional rock rhythm section of bass guitar and drums, but the rest of the instruments used are analogue synthesisers, principally the Minimoog (augmenting the song's recognisable bass riff) and the Polymoog keyboard, providing austere synthetic string lines over the bass riff. The bridge section also includes a tambourine part. Numan's vocal part is sung in an almost expressionless, synthesized style. There is no "chorus" as such, and no more lyrics after the 1:30 point.

According to Numan, the song's lyrics were inspired by an incident of road rage:

I was in traffic in London once and had a problem with some people in front. They tried to beat me up and get me out of the car. I locked the doors and eventually drove up on the pavement and got away from them. It's kind of to do with that. It explains how you can feel safe inside a car in the modern world...When you're in it, your whole mentality is different...It's like your own little personal empire with four wheels on it.

Numan later revealed that the entire song was written in 30 minutes, originating in the bass riff, which was the first thing he played on a newly bought bass guitar.

Release and promotion
The original UK single was released in August 1979, backed with a non-album instrumental track called "Asylum". The US B-side was "Metal", from The Pleasure Principle The track has been a UK Top 20 hit for Numan in three successive decades: on its original release in 1979 (reaching number 1), in 1987 as the 'E Reg Model' remix (reaching number 16), and in 1996 following its use in an advertisement for Carling Premier beer (reaching number 17). Numan has performed the song onstage since its original release, and it appears on all but one of his official live albums to date.

The music video featured Numan's then-current backing band, including Billy Currie from the band Ultravox, but he had not played on the recording of "Cars".

Critical reception
Upon its release in 1979, Smash Hits reviewer Steve Bush wrote: "With its distant haunting message of doom, "Cars" doesn't stray very far from the themes of the excellent 'Replicas" album, although the new lyrics are shorter and the vocals sharper. The instrumental B side is a rip-off of Bowie's "Warsawa", with mad, tinkling piano. All in all, this is a disappointing follow up to "Friends"". Retrospectively, "Cars" has been called "one of the greatest singles in pop history". Writing for The Guardian in 2012, George Chesterton found "the force of the multi-layered Moog synthesiser parts is almost overwhelming. Using effects usually associated with heavy guitars – reverb, flanging and phasers – Numan drenched the gliding synth lines so they flow over you like wave after wave of ice water. These build throughout the song until the fantastical 1'30" fadeout, during which the Polymoogs – used as elements of a string section – are folded on top of each other in hypnotic harmonies that reinforce the song's sense of eerie dystopia." Chesterton also noted that the song, unlike many similar contemporaries, had aged well lyrically: "Cars contains a bit of futurology that was rather sophisticated. Numan positions the car not as a mode of mechanical transport, but as a fetishised, abstract interface with the rest of the world. This is – in a pop form – what the French philosopher Jean Baudrillard had been writing about a few years earlier. To be fair to Numan, this notion of the car in relation to individuals and society has only deepened in the decades since."

Track listing

 * 1) "Cars" (Numan) – 3:44
 * 2) "Asylum" (Numan) – 2:30

US version

 * 1) "Cars" – 3:57
 * 2) "Metal" (Numan) – 3:31

Personnel

 * Gary Numan – vocals, production, keyboards (Minimoog, Polymoog), synthetic percussion
 * Paul Gardiner – bass
 * Chris Payne – keyboards (Minimoog, Polymoog)
 * Cedric Sharpley – drums, tambourine

Weekly singles charts

 * 1Cars (E Reg Model) / Are 'Friends' Electric ? (Re-mix)
 * 2Cars (2nd remix)

Live versions and remixes
A selected list of Numan's official live recordings and remixes.
 * Living Ornaments '79 (1981) – live recording
 * White Noise (1985) – live recording also released on The Live EP
 * "Cars (E Reg Model)" (1987) – remix released as a 7"/12" single (including two other 1987 mixes) and on compilation album Exhibition
 * Ghost (1987) – live recording
 * The Peel Sessions Volume 2 (1987) – an EP containing a 1979 live in-studio recording for John Peel's BBC Radio 1 show
 * The Skin Mechanic (1989) – live recording
 * "Cars ('93 Sprint)" (1993) – remix released on an EP including two 1987 mixes and three other 1993 mixes, and on compilation album The Best of Gary Numan 1978–1983
 * Dream Corrosion (1994) – live recording
 * "Cars (Premier Mix)" (1996) – reissued/rebadged 1987 remix released as a single and on compilation album The Premier Hits
 * Living Ornaments '81 (1998) – live recording
 * The Mix (1998) – three remixes ("Spahn Ranch mix", "Talla 2xlc mix" and "JLAB mix")
 * Scarred (2002) – live recording
 * Hybrid (2003) – remix
 * Live at Shepherd's Bush Empire (2004) – live recording
 * Living Ornaments '80 (2005) – reissued/expanded live recording originally released minus "Cars" in 1981

Numan performed "Cars" using a set of two dozen automobiles and their horns in an innovative 2010 commercial for DieHard. All of the cars were powered from one single battery. James Frost of Zoo Films directed the video, and Synn Labs, which had previously worked with the band OK Go, engineered the cars.

Fear Factory version
Fear Factory, an American heavy metal band, recorded a version of "Cars" and released it as the second single from their album Obsolete. The song was only included as a bonus track on the limited edition digipak re-release of Obsolete and would be instrumental in breaking Fear Factory into the mainstream. In their rendition, Gary Numan performs a duet with frontman Burton C. Bell.

Background and recording
According to Bell, around 1996, the band started performing "Cars" as an encore at European concerts. Word spread that Fear Factory was performing the song, and as a result, Gary Numan's manager contacted them. Upon request, Numan's management flew him out to the Vancouver studio for a three-day span to record vocals on "Cars." The band also asked Numan to record a spoken word piece for the introduction of the song Obsolete.

Numan had a long-standing dislike for being associated with what he perceived as dated music, and this initially made him apprehensive of working with Fear Factory until realizing "there was a chance that it could introduce me to a new generation of people who didn't know my history. And that can be useful, because my music's got a lot heavier and darker anyway." The result would be satisfactory for both parties, and Numan praised the band as "brilliant, really easy to work with. They didn't have a bad word to say about anyone."

The uncharacteristically bouncy and bright rendition somewhat contrasts with Fear Factory's reputation for intense, grinding metal, while the heavy use of synthesizer and other electronic elements corresponds with the band's industrial style. Drummer Raymond Herrera described the cover as "basically like a blueprint of a futuristic car." He added that, while other songs were considered, the band chose "Cars" because all the band members knew and appreciated it and because the keyboards suited Fear Factory's sound. Herrera later noted that the group initially wanted to record U2's "New Year's Day" but chose "Cars" because they were fortunate enough to have Numan participate. Fear Factory later covered the U2 song "I Will Follow," in 2005.

Reception
"Cars" played a significant part in Obsolete's status as Fear Factory's highest-selling album. By 2001, it had sold over 750,000 copies. According to Herrera, the cover received greater enthusiasm in the UK than in the band's native US, which was validated by its chart status. During the song's promotion, Gary Numan joined the band for a concert performance in Brixton, London to much enthusiasm.

After the radio trade publication R&R listed "Cars" as the most added track on both active rock and mainstream rock in May 1999, the song earned "Breaker" status and continued to surge up the chart. "Cars" debuted and peaked at number 57 in the UK Singles Chart on 9 October.

It peaked at No. 16 on the Billboard Mainstream Rock chart and No. 38 on Modern Rock Tracks.

The song was featured as the main theme for Test Drive 6, a video game released in 1999 for the PlayStation and Dreamcast consoles.

Music video
Numan also appears in the sci-fi music video, directed by John S. Bartley and filmed in Vancouver, which debuted in June 1999. Bell enthusiastically described the ambitious video as having a "Stanley Kubrick-type of vibe to it": "[Bartley] put Gary and me into harnesses and we had to simulate floating in space. We were floating around this junked out '79 Trans Am that he had as this car in space, and we're coming up to it. They had another '70 Trans Am that was turned into a spaceship, and that's what we're driving in. It was just wicked. It was unbelievable. It was like a dream come true."

According to Bell, at one point during the shoot, Numan remarked, "Odd; the song is about cars – why are we in space?"

Track listing

 * 1) "Cars" (remix) – 3:39
 * 2) "Descent" (Falling Deeper Mix) – 4:38
 * 3) "Edgecrusher" (Urban Assault Mix) – 4:33

Other appearances
The track is featured on fictional radio station "Wave 103" in 2002 video game Grand Theft Auto: Vice City.

In 2009, Chicane sampled "Cars" in "Hiding All the Stars", which reached No. 42 in the UK and No. 23 in Belgium.

Toronto-based alternative rock quartet Sloan performed a version of the song in June 2011 for The A.V. Club A.V. Undercover series.

title: Cars (song)


text:
Down in the Park

"Down in the Park" is a 1979 song by the English band Tubeway Army, featuring lead vocals by Gary Numan. It was released as the first single from the band's second album Replicas, though was not a hit. The song was written and produced by the band's frontman Gary Numan, and despite its lack of commercial success, has been performed by Numan regularly in his live shows throughout the years.

Style
Like the Replicas album as a whole, "Down in the Park" marked a major shift from Tubeway Army's previous output. The band's early releases, the 1978 singles "That's Too Bad" and "Bombers" plus the self-titled debut album, contained elements of punk, hard rock, heavy metal and new wave but were exclusively guitar driven with only occasional use of primitive synthesizer effects. "Down in the Park", on the other hand, was Numan's first composition on keyboards and his first release to feature the predominantly electronic sound that became his trademark. Musically, it pared down still further the guitar power chord and bass root note style arrangements he had used previously, reducing the harmony to bare unisons of layered bass guitar, Fender Rhodes electric piano, and Polymoog synthesizer. The semitone key changes (A to B♭) and chromatic melodic riffs between the song's verses are somewhat unusual in the context of traditional Western music theory, although they are less unusual in rock music.

Lyrics
Lyrically the song crystallised the dystopian science fiction concept that was the basis of the Replicas album. Heavily influenced by such writers as J. G. Ballard and Philip K. Dick, it tells the story of a futuristic park in which Machmen (androids with human skin) and machines rape and kill human beings to entertain spectators who, along with their numerically named robotic "friends" ("Down in the Park, with a friend called Five"), view the carnage from a nearby restaurant, "Zom Zoms" – the name inspired by a recurring reference to the Zum Zum restaurant chain in the Jobriath song "Scumbag".

Theme
The piece was typical of Numan's themes at the time, both embracing and fearing technology. In contrast to much contemporary post-punk music, and his own earlier releases, Numan's vocals were deliberately underplayed, leaving the slow and stately synthesizer work to evoke the song's melancholy atmosphere.

B-side
In what would become Numan's normal practice, the B-side was a non-album track, in this case "Do You Need the Service?"; the title referenced a line from the works of William S. Burroughs, the service in question meaning pest control. The 12" single included the same tracks as the 7" along with "I Nearly Married A Human (2)", a different mix from the version on Replicas this time featuring drum machine throughout and Numan's recitation of the song's title, the only words heard.

Cover versions
"Down in the Park" has been covered by a number of artists, notably Marilyn Manson on the "Lunchbox" and "Sweet Dreams" singles (1995), Foo Fighters on The X-Files Songs in the Key of X soundtrack album (1996), DJ Hell (a 1998 techno version with lyrics translated in French entitled "Dans Le Parc"), Christian Death (a live performance on The Iron Mask), Girls Under Glass, and Jimi Tenor on the Numan tribute album Random. Terre Thaemlitz recorded two instrumental versions of "Down in the Park" on the tribute album Replicas Rubato, one on piano and the other on synthesiser (the latter a hidden track). Curve did a cover version also sung by Garry Numan, who appears as a guest vocalist. Other tribute acts to have recorded the song include Bytet and Reload, on the albums Ghost of a White Face Clown and Tubeway Navy respectively. On various dates of the 2009 Nine Inch Nails Wave Goodbye Tour, Trent Reznor and his band performed a version featuring Gary Numan on vocals and David Bowie collaborator, Mike Garson, on grand piano. In 2021, German electronic band Blutengel included a cover on the album Fountain of Destiny.

Live performances
"Down in the Park" has been a mainstay of Numan's concerts since his 1979 tour, and appears on almost all of his live albums. An arrangement with solo piano introduction appeared on the Living Ornaments '80 LP, in the movie Urgh! A Music War, and in the Micromusic video concert from Wembley Arena (soundtrack released as Living Ornaments '81). A version for piano alone was the flip side of Numan's single "I Die: You Die" in 1980 (and was also included as a bonus track on the 1998 CD re-issue of Telekon). The original song was remixed twice for the 2003 collection Hybrid, and a demo version of the song was included on the soundtrack of the movie Times Square (1980).

Track listing
7" version:
 * 1) "Down in the Park" (Numan) – 4:22
 * 2) "Do You Need the Service?" (Numan) – 3:39

12" version:
 * 1) "Down in the Park" (Numan) – 4:22
 * 2) "Do You Need the Service?" (Numan) – 3:39
 * 3) "I Nearly Married a Human (2)" (Numan) – 6:38

Personnel

 * Gary Numan – Minimoog synthesizer, Polymoog synthesizer, Fender Rhodes electric piano, vocals, production
 * Paul Gardiner – Bass guitar
 * Jess Lidyard – Drums

title: Down in the Park


text:
Are "Friends" Electric?

"Are 'Friends' Electric?" is a 1979 song by the English band Tubeway Army. Taken from their album Replicas, it was released as a single in May 1979 and reached number one in the UK Singles Chart, staying there for four weeks. It was written and produced by Gary Numan, the band's frontman and lead vocalist. It was also the band's last single before breaking up.

Music and production
"Are 'Friends' Electric?" was originally written on an old out-of-tune pub piano. It was initially two different songs that were combined. Numan recorded it on a Polymoog synthesizer with conventional bass and drums.

The song features three different sections: a recurring verse with a synth riff in C and B flat, a recurring section with spoken word over slow arpeggiated seventh chords, and an instrumental break in F. The instrumentation is quite minimal: a conventional drum and bass guitar backing track, some additional heavily flanged guitar (particularly in the instrumental break), subdued vocals and, most prominently, Minimoog and Polymoog synthesisers. These synth parts include portamento background lines.

Numan stumbled upon synthesisers by accident. While intending to record a punk album, he noticed a Minimoog synthesiser that had been left in the studio.

In a 2014 interview with The Guardian, Numan commented on the song's lyrics:

""All my early songs were about being alone or misunderstood. As a teenager, I'd been sent to a child psychiatrist and put on medication. I had Asperger's and saw the world differently. I immersed myself in sci-fi writers: Philip K Dick, JG Ballard. The lyrics came from short stories I'd written about what London would be like in 30 years. These machines – "friends" – come to the door. They supply services of various kinds, but your neighbours never know what they really are since they look human. The one in the song is a prostitute, hence the inverted commas. It was released in May 1979 and sold a million copies. I had a No 1 single with a song about a robot prostitute and no one knew.""

Release
"Are 'Friends' Electric?" was released as a limited edition picture disc of 20,000 copies in May 1979. The B-side of the single was a more rock-oriented number, "We Are So Fragile". A song that was performed on Numan's 1979 "Touring Principle" series of concerts and appears on the album Living Ornaments '79. The song was covered by bis on the compilation album Random.

The single entered the lower reaches of the UK Singles Chart at a modest No. 71, steadily climbing to No. 1 at the end of June and remained on that position for four consecutive weeks.

Reception
Despite being over five minutes long and possessing, in the words of its composer, "no recognisable hook-line whatsoever", the single topped the UK charts in mid-1979. Whilst the track's distinctive sound stood out at the time, sales also benefited from the record company's use of a picture disc and Numan's striking, "robotic" performance on the TV shows The Old Grey Whistle Test and Top of the Pops.

Writing for Smash Hits in 1979, Cliff White described the song as "a dark, threatening wall of synthesised sound" which "throbbed ominously behind a gloomy song of paranoia and loneliness". White went on to say it was "gripping stuff, but cheerful it isn't".

The song has retrospectively been described as "an atmospheric, almost frigid-sounding monologue spliced over creepy after-dark synthesizers" that "had not a hook or chorus in sight".

Live versions
"Are 'Friends' Electric?" has been a mainstay of Numan's concerts since its release and appears on all ten of his official live recordings to date. A semi-acoustic version appeared on the 2006 Jagged tour set list.

Personnel
Tubeway Army
 * Gary Numan – Minimoog and Polymoog synthesizers, guitar, vocals
 * Paul Gardiner – bass guitar
 * Jess Lidyard – drums

Production
 * Gary Numan – production

Sampling and cover versions
The song was sampled by Richard X in a song titled "We Don't Give a Damn About Our Friends" as a mashup with vocals from Adina Howard's "Freak like Me", which the Sugababes then recorded under the latter title and achieved a number one UK hit in 2002 (Numan considered this track to be better than "Are 'Friends' Electric?" ). It was also covered by Information Society on their 1997 album Don't Be Afraid, and The Dead Weather for their B-side of "Hang You from the Heavens".

The song was covered by American rock band Weezer and released alongside their 2008 single, "Pork and Beans". "Are 'Friends' Electric?" was featured in the video game Need for Speed: Carbon, JJ Abram's Fringe, and the AMC Television show Halt and Catch Fire. The song was also sampled by Kryder and The Cube Guys in their 2016 single, "You & Me". In 2018, Kevin Max covered the song for his concept album Romeo Drive.

In popular culture
The song was featured in the 2006 video game Need for Speed: Carbon. It plays whenever the player is using a car in the tuner class. In IO Interactive's Hitman, the mission 'Club 27' has a reference in the form of an Objective of the same name.

Song used near the beginning and near the end of the 2022 Netflix film Choose or Die.

title: Are "Friends" Electric?