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Jim Lampley

James Lampley (born April 8, 1949) is an American sportscaster, news anchor, film producer, and restaurant owner. He was best known as a blow-by-blow announcer on HBO World Championship Boxing for 30 years. He covered a record 14 Olympic Games on U.S. television, most recently the 2008 Summer Olympics in Beijing, China.

Early life and career
Lampley was born in Hendersonville, North Carolina. His father died when he was five. His mother immersed him in sports to make up for what she felt his father would have done. He was raised in Hendersonville and Miami, Florida.

He graduated from the University of North Carolina in 1971 with a degree in English and completed some coursework for a Master in Mass Communications also at UNC but never wrote his thesis.

ABC Sports
In 1974, while in graduate school, he was chosen along with Don Tollefson in what ABC called a talent hunt. ABC executives thought that Lampley's youthful looks would make him endearing to the college crowds they looked to attract for their college football games. At ABC, he covered such events as Major League Baseball and college basketball games, the 1986 and 1987 Indianapolis 500, the 1977 Monon Bell game between DePauw University and Wabash College, five Olympics, as well as the program Wide World of Sports.

From 1983 to 1985, he was the studio host of ABC broadcasts of the United States Football League (USFL), a spring league that featured stars such as Herschel Walker, Jim Kelly, Steve Young and Reggie White.

On July 4, 1984, with Sam Posey alongside, he called the NASCAR Firecracker 400, and interviewed President Ronald Reagan during the winner's interview with race winner Richard Petty.

In 1985, Lampley along with Al Michaels served as anchors for ABC's coverage of Super Bowl XIX, the first Super Bowl that ABC televised. After the game, Lampley presided over the presentation ceremony for the trophy.

KCBS
In 1987, Lampley moved to CBS. At CBS, he took over duties as co-anchor on the daily news show in Los Angeles, and also was a correspondent. That same year, he began working for HBO, covering boxing and HBO's annual telecast of Wimbledon. He also attended the Albertville Olympics in 1992, as a news anchor for KCBS-TV.

NBC Sports
In 1992, Lampley moved to NBC, where he helped cover the 1992 Barcelona Olympics, 1993 Ryder Cup, and the 1996 Atlanta Olympics. In 1993, Lampley took over studio hosting duties for Bob Costas on The NFL on NBC. Lampley moved to play-by-play duties for NBC's NFL telecasts the following year and was later replaced by Greg Gumbel. While with NFL on NBC, he was slated to join Jim Laslavic as the #8 announcing team in 1997 during Week 9's Tennessee Oilers-Arizona Cardinals game; however, he was not placed in the lineup at all. In 1995, he began working at the Real Sports with Bryant Gumbel HBO series. In 1998, he covered the Nagano Olympics and the Goodwill Games for Turner, and in 2000, he covered the Sydney Olympics, again for NBC.

In 2004, Lampley was the daytime anchor for NBC's Olympics coverage for the 2004 Summer Olympics, as well as anchoring the USA Network's coverage of the Games. In 2006, Lampley served as a central correspondent for the 2006 Winter Olympics which aired on the networks of NBC Universal. Torino 2006 was the 13th Olympics Lampley covered, surpassing the record set by America's original voice of the Olympics, Jim McKay. Lampley was again called upon to anchor for the 2008 Summer Olympics in Beijing, China, Lampley's 14th Games. The 2010 Winter Olympics was the first time since the 1980 Summer Olympics that he didn't cover. Al Michaels served as the daytime host of the 2010 Olympics on NBC. Lampley also did not cover the 2012 Summer Olympics either in which Michaels also served as the daytime host.

HBO World Championship Boxing
Fans may best know Lampley for his work on HBO World Championship Boxing, Boxing After Dark, and on the HBO pay-per-view telecasts from March 1988 until December 2018, when HBO announced that they would drop the boxing program. As blow by blow announcer, he called some of boxing's most famous moments, such as Thunder Meets Lightning, when Julio César Chávez saved himself from a decision defeat by knocking out Meldrick Taylor (who was leading the fight on two of the three official scorecards) with only two seconds to go in the last round, and James "Buster" Douglas's upset of Mike Tyson for the world heavyweight championship. Other highlights in his career were the first Riddick Bowe-Andrew Golota fight at Madison Square Garden, where a riot occurred following the "Foul Pole's" disqualification for low blows, and the famous "It happened...IT HAPPENED!" call of George Foreman's miracle comeback against then heavyweight champion Michael Moorer when a straight right ended Moorer's reign.

Lampley also hosted a series called Legendary Nights in 12 installments in honor of HBO's three decades covering boxing in 2004, recounting 12 memorable fights broadcast on HBO in that timespan.

Lampley later wrote, hosted, and executive produced his own studio boxing news show, The Fight Game with Jim Lampley on HBO.

Olympic Coverage

 * 1976 Winter Olympics (play-by-play for ABC)
 * 1976 Summer Olympics (play-by-play for ABC)
 * 1980 Winter Olympics (play-by-play for ABC)
 * 1984 Winter Olympics (daytime host for ABC)
 * 1984 Summer Olympics (late-night host for ABC)
 * 1992 Winter Olympics (coverage for KCBS-TV)
 * 1992 Summer Olympics (late-night host for NBC)
 * 1996 Summer Olympics (late-night host for NBC)
 * 1998 Winter Olympics (primetime host for TNT)
 * 2000 Summer Olympics (cable host for MSNBC)
 * 2002 Winter Olympics (cable host for both MSNBC and CNBC)
 * 2004 Summer Olympics (daytime host for NBC and cable host for USA Network)
 * 2006 Winter Olympics (daytime and late-night host for NBC)
 * 2008 Summer Olympics (daytime host for NBC)

Sports radio
Lampley was the first program host on New York's sports talk radio station WFAN when it began operation on July 1, 1987.

Awards and recognitions
In 1992, he won the Sam Taub Award for excellence in boxing broadcasting journalism.

For his participation in the Real Sports with Bryant Gumbel HBO series, Lampley earned three Emmy awards.

Lampley was inducted into the International Boxing Hall of Fame in its 2015 class.

Film and producing career
Lampley's movie production company, Crystal Spring Productions, has produced a handful of movies, including 2000's Welcome to Hollywood. The company, now known as Atticus Entertainment was executive producer of the HBO documentary series, On Freddie Roach in 2012–13. Since 2012, it has produced the continuing series, The Fight Game with Jim Lampley.

In addition to several minor credits as an announcer in films, Lampley portrayed himself in the movies like Rocky Balboa, Southpaw, Creed, Grudge Match, all in all more than a dozen feature film credits. He also appeared in the 2007 sports comedy films Blades of Glory starring Will Ferrell and Jon Heder, and Balls of Fury, with Christopher Walken. Lampley also appeared on television in shows such as Everybody Hates Chris, MacGyver, the Andy Samberg HBO mockumentory 7 Days in Hell, and Eastbound & Down.

Personal life
Lampley was married to former news anchor Bree Walker from 1990 to 1999. The pair had a son, Aaron James Lampley, born in August 1991.

Lampley and his current wife, Debra, live in Chapel Hill, North Carolina. Their blended family includes five daughters, two sons and nine grandchildren. Lampley is the former owner of two restaurants in Utah, both of which were named the Lakota Restaurant and Bar.

One of his daughters is Brooke Lampley, Global Chairman and Head of Global Fine Art at Sotheby's.

Domestic violence arrest
In 2007, Lampley was arrested for suspicion of domestic violence over an incident that took place at his girlfriend’s home. He later pleaded no contest to violating a restraining order and was sentenced to three years of probation, plus required to complete a 52-week domestic violence counseling program.

title: Jim Lampley


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Ian "H" Watkins

Ian Watkins (born 8 May 1976), known by his stage name H (a nickname originating from his "hyperactive" personality ), is a Welsh singer and actor. He is a member of the British pop group Steps.

In 2020, he competed in the twelfth series of Dancing on Ice.

Steps
Before he joined Steps, Watkins worked as a Bluecoat at Pontins, then later as a Redcoat at Butlin's.

In May 1997, Watkins became a member of the British pop group Steps. Steps achieved a series of charting singles between 1997 and 2001 including two number-one singles in the UK, two number-one albums in the UK, 14 consecutive top 5 singles in the UK, and a string of hits throughout Europe. The group has sold over 20 million records worldwide, in addition to acquiring a BRIT Award nomination in 1999.

Steps reformed in May 2011 for a four-part documentary series on Sky Living titled Steps: Reunion. The series started airing on 28 September, following an announcement of a second greatest hits album, The Ultimate Collection, that was released on 10 October 2011. The album entered the charts at number one, becoming the band's third album to achieve this feat. The second series of Steps: Reunion titled "Steps: On the Road Again" aired on Sky Living in April 2012; the series followed the band as they embarked on their sellout 22-date UK tour. On 24 September 2012, the group confirmed they would release their fourth studio album Light Up The World on 12 November 2012, alongside a six-date Christmas tour, starting from 30 November and ending on 5 December. The group reformed for a second time on 1 January 2017 in celebration of their 20th anniversary, and later announced their fifth studio album Tears on the Dancefloor, which was released in April 2017 and entered the charts at number 2. On 5 March 2017, the group confirmed the release of the new album, alongside its lead single, "Scared of the Dark", and a 22-date tour, Party on the Dancefloor. A deluxe edition of the album, titled Tears on the Dancefloor: Crying at the Disco, was released on 27 October.

In November 2017, Faye Tozer announced that the reunion was no longer just a 20th-anniversary celebration and that the group intended to continue after their 2018 Summer of Steps tour. In April 2018, Claire Richards announced that following their summer tour, they would begin work on their sixth studio album. In February 2019, Richards announced the group would begin recording their next album during the summer months.

On 7 September 2020, via their social media accounts, Steps announced the release date of their album entitled What the Future Holds. The album was released on 27 November of the same year, with pre-orders available from 8 September. The next day, they confirmed a new 14-date UK tour (with special guest Sophie Ellis-Bextor) starting in November 2021. The first single from the album was "What the Future Holds", written by Greg Kurstin and Sia and released on 9 September 2020. It was followed by "Something in Your Eyes" on 27 October 2020. "To the Beat of My Heart" was released as the album's third single in January 2021.

The first single of What the Future Holds Pt. 2 was confirmed as a reworked version of "Heartbreak in This City" featuring Michelle Visage.

H and Claire
After Steps split in 2001, Watkins formed a duo, H & Claire, with fellow ex-Steps member Claire Richards. They released three singles and an album.

Musical theatre
After departing from H & Claire, he then decided to take a musical theatre course at the Royal Academy of Music. While taking the course he also appeared in Joseph and the Amazing Technicolor Dreamcoat and was filmed for a reality TV series, H-side Story, which followed him as he tried to make a new career as an actor. Watkins performed at Preston's Charter Theatre in the pantomime Cinderella in the role of Buttons. In summer 2007, he performed in the West End version of Fame. During Christmas 2007, he reprised his role as Buttons in the pantomime Cinderella at the Grimsby Auditorium. In July 2008, he played the Child Catcher in the UK tour of the musical Chitty Chitty Bang Bang at the Wales Millennium Centre in Cardiff Bay. He also played the role of 'Silly Billy' in pantomime Jack & The Beanstalk at the Southport Theatre from 10 December 2009 to 3 January 2010. Christmas 2010 saw his return to Grimsby as he performed in the pantomime Beauty and the Beast, playing the part of Muddles. In 2013, Watkins announced that he was returning to his role as Joseph in Joseph and the Amazing Technicolor Dreamcoat in June on the UK National Tour. The following year he played Prince Charming in the panto Snow White and the Seven Dwarves at the Hazlitt Theatre, Maidstone.

Television
In June 2006, Watkins appeared in a special week of episodes of the BBC Radio Drama Silver Street on the BBC Asian Network. He played the character of former soldier Dave in episodes set in the Welsh countryside. In November 2006, Watkins featured on the BBC Children in Need Celebrity Scissorhands show, where Michelle cut his hair. Watkins was the ninth housemate to enter the Celebrity Big Brother house on 3 January 2007. He finished in fourth place. In April 2007, Watkins starred as the hidden celebrity in an episode of the CBBC series Hider in the House. On 11 March 2008, Watkins presented a documentary about growing up gay in Wales, shown on BBC Wales. While filming for this, Watkins interviewed Christian Voice leader Stephen Green. During the interview, Green compared him to Jeffrey Dahmer.

In December 2008, Watkins was a contestant in Bargain Hunt Famous Finds and partnered with Connie Fisher. Watkins appeared on Skins, episode 2 of series 4. He also appeared in the Living TV series Party Wars in 2010. In February 2013, along with three other celebrities, Watkins was a contestant in the celebrity special of the ITV quiz show The Chase. In 2014, he appeared as one of the celebrities challenged to learn Welsh in a week on the S4C series Cariad@Iaith.

In 2019 he played a fictional version of himself in the comedy murder mystery Dial M for Middlesbrough.

In 2020, Watkins competed in the twelfth series of the ITV series Dancing on Ice. He was the first celebrity in the history of the series to compete within a same sex couple, with professional partner Matt Evers.

Steps reunion
In 2009, Lee Latchford-Evans hinted that a future reunion was possible, but that "it isn't the right time right now". In 2011, it was announced that Steps would be reuniting for a four-part Sky Living documentary, depicting their split and the intermittent years. The band would also release their Ultimate Collection, as well as potential new material.

In an interview with Digital Spy on 20 September 2011, Steps said that they believed there might still be a gap in the market for their brand of "happy pop". Lisa Scott-Lee said: "Times have changed, but we are in a recession and Steps' music was very light-hearted and fun, so there could be a place for that in today's society ... What else is interesting is that there aren't any boy/girl pop groups out there at the moment".

Local politics
In May 2023, Watkins was elected as an Independent town councillor in Cowbridge with Llanblethian Town Council.

In 2024 comedian and presenter Joe Lycett created a fake news story about Watkins being due to be honoured with an 8-foot statue in Cowbridge, as part of his Channel 4 show Late Night Lycett.

Personal life
On 3 January 2007, Watkins came out as gay in an interview with The Sun newspaper. His interview was published on the day he entered the Celebrity Big Brother house. During his tenure with Steps, Watkins was involved in a relationship with the group's manager, Tim Byrne. Watkins was in a relationship with Craig Ryder from 2007 until November 2017. On 6 March 2016, they became fathers to twin sons, Macsen and Cybi Ryder-Watkins, born via a surrogate. Watkins has been in a relationship with Tom Hope. Watkins was named on the Wales Online 2017 Pinc List of leading Welsh LGBT figures.

Misidentification
In November 2013, it was reported that Watkins had been receiving hate mail through Twitter from people confusing him with Lostprophets singer of the same name Ian Watkins who had recently pleaded guilty to sex offences involving children. H received a public apology in court from E! Entertainment Television for having used his photo to illustrate a story about the Lostprophets singer. After the misidentification, H was said to be pursuing legal action after his image appeared next to stories about the other Ian Watkins' crimes through searches on Google News.

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

title: Ian "H" Watkins


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Trial by ordeal

Trial by ordeal was an ancient judicial practice by which the guilt or innocence of the accused (called a "proband" ) was determined by subjecting them to a painful, or at least an unpleasant, usually dangerous experience. In medieval Europe, like trial by combat, trial by ordeal, such as cruentation, was sometimes considered a "judgement of God" (jūdicium Deī, Godes dōm): a procedure based on the premise that God would help the innocent by performing a miracle on their behalf. The practice has much earlier roots, attested to as far back as the Code of Hammurabi and the Code of Ur-Nammu.

In pre-industrial society, the ordeal typically ranked along with the oath and witness accounts as the central means by which to reach a judicial verdict. Indeed, the term ordeal, Old English ordǣl, has the meaning of "judgment, verdict" from Proto-West Germanic uʀdailī (see Urteil, oordeel), ultimately from Proto-Germanic *uzdailiją "that which is dealt out".

Priestly cooperation in trials by fire and water was forbidden by Pope Innocent III at the Fourth Council of the Lateran of 1215 and replaced by compurgation. Trials by ordeal became rarer over the Late Middle Ages, but the practice was not discontinued until the 16th century. Certain trials by ordeal would continue to be used into the 17th century in witch-hunts.

By combat
Ordeal by combat took place between two parties in a dispute, either two individuals, or between an individual and a government or other organization. They, or, under certain conditions, a designated "champion" acting on their behalf, would fight, and the loser of the fight or the party represented by the losing champion was deemed guilty or liable. Champions could be used by one or both parties in an individual versus individual dispute, and could represent the individual in a trial by an organization; an organization or state government by its nature had to be represented by a single combatant selected as champion, although there are numerous cases of high-ranking nobility, state officials and even monarchs volunteering to serve as champion. Combat between groups of representatives was less common but still occurred.

A notable case was that of Gero, Count of Alsleben, whose daughter married Siegfried II, Count of Stade.

By fire
Ordeal by fire was one form of torture. The ordeal of fire typically required that the accused walk a certain distance, usually 9 ft or a certain number of paces, usually three, over red-hot plowshares or holding a red-hot iron. Innocence was sometimes established by a complete lack of injury, but it was more common for the wound to be bandaged and re-examined three days later by a priest, who would pronounce that God had intervened to heal it, or that it was merely festering—in which case the suspect would be exiled or put to death. One famous story about the ordeal of plowshares concerns the English King Edward the Confessor's mother, Emma of Normandy. According to legend, she was accused of adultery with Bishop Ælfwine of Winchester but proved her innocence by walking barefoot unharmed over red-hot plowshares.

During the First Crusade, the French mystic Peter Bartholomew allegedly went through the ordeal by fire in 1099 by his own choice to disprove a charge that his claimed discovery of the Holy Lance was fraudulent. He died as a result of his injuries.

Trial by ordeal was adopted in the 13th century by the Byzantine successor states the Empire of Nicaea and the Despotate of Epirus; Michael Angold speculates this legal innovation was most likely through "the numerous western mercenaries in Byzantine service both before and after 1204." It was used to prove the innocence of the accused in cases of treason and use of magic to affect the health of the emperor. The most famous case where this was employed was when Michael Palaiologos was accused of treason: he avoided enduring the red-iron by saying he would only hold it if the Metropolitan Phokas of Philadelphia could take the iron from the altar with his own hands and hand it to him. However, the Byzantines viewed trial by ordeal with disgust and considered it a barbarian innovation at odds with Byzantine law and ecclesiastical canons. Angold notes, "Its abolition by Michael Palaiologos was universally acclaimed."

In 1498, Dominican friar Girolamo Savonarola, the leader of a reform movement in Florence who claimed apocalyptic prophetic visions, attempted to prove the divine sanction of his mission by undergoing a trial by fire. The first of its kind in over 400 years, the trial was a fiasco for Savonarola, since a sudden rain doused the flames, canceling the event and taken by onlookers as a sign from God against him. The Inquisition arrested him shortly thereafter, with Savonarola convicted of heresy and hanged at the Piazza della Signoria in Florence.

Ordeal by fire was also used for judiciary purposes in ancient Iran. Persons accused of cheating in contracts or lying might be asked to prove their innocence by ordeal of fire as an ultimate test. Two examples of such an ordeal include the accused having to pass through fire, or having molten metal poured on their chest. There were about 30 of these kinds of fiery tests in all. If the accused died, they were held to have been guilty; if survived, they were innocent, having been protected by Mithra and the other gods. The most simple form of such ordeals required the accused to take an oath, then drink a potion of sulfur (saokant,, ). It was believed that fire had an association with truth and hence with asha.

In ancient India, the trial by fire was known as agnipariksha, in which Agni, the Fire God, would be invoked by a priest using mantras. After the invocation, a pyre would be built and lit, and the accused would be asked to sit on it. According to Hindu mythology, the Fire God would preserve the accused if they were innocent, if not, they would be burned to ashes.

By boiling oil
Trial by boiling oil has been practiced in villages in certain parts of West Africa, such as Togo. There are two primary versions of this trial. In one, the accused parties are ordered to retrieve an item from a container of boiling oil, with those who refuse the task being found guilty. In the other, both the accused and the accuser have to retrieve an item from boiling oil, with the person or persons whose hand remains unscathed being declared innocent.

By water
There were different types of trials by water: trial by hot water and trial by cold water.

Hot water including trial by combat
First mentioned in the 6th-century Salic law, the ordeal of hot water required the accused to dip their hand into a kettle or pot of boiling water (sometimes oil or lead was used instead) and retrieve a stone. Assessment of the injury was similar to that of the fire ordeal. An early (non-judicial) example of the test was described by Bishop Gregory of Tours in the late 6th century. He describes how a Catholic saint, Hyacinth, bested an Arian rival by plucking a stone from a boiling cauldron. Gregory said that it took Hyacinth about an hour to complete the task (because the waters were bubbling so ferociously), but he was pleased to record that when the heretic tried, he had the skin boiled off up to his elbow.

Legal texts from the reign of King Athelstan (Lived: c. 894 – 27 October 939, Ruled: 924 – 939) provide some of the most elaborate royal regulations for the use of the ordeal in Anglo-Saxon England, though the period's fullest account of ordeal practices is found in an anonymous legal text written sometime in the 10th century. According to this text, usually given the title Ordal, the water had to be close to boiling temperature, and the depth from which the stone had to be retrieved was up to the wrist for a 'one-fold' ordeal and up to the elbow for a 'three-fold' ordeal. The distinction between the one-fold and three-fold ordeal appears to be based on the severity of the crime, with the threefold ordeal being prescribed for more severe offences such as treachery or for notorious criminals. The ordeal would take place in a church, with several in attendance, purified and praying to God to reveal the truth. Afterwards, the hand was bound and examined after three days to see whether it was healing or festering.

This was still an isolated practice in remote 12th-century Catholic churches. A suspect would place their hand in the boiling water. If after three days God had not healed their wounds, the suspect was guilty of the crime.

Cold water
The ordeal of cold water has a precedent in the 13th law of the Code of Ur-Nammu (the oldest known surviving code of laws) and the second law of the Code of Hammurabi. Under the Code of Ur-Nammu, a man who was accused of what some scholars have translated as "sorcery" was to undergo ordeal by water. If the man were proven innocent through this ordeal, the accuser was obligated to pay three shekels to the man who underwent judgment. The Code of Hammurabi dictated that, if a man was accused of a matter by another, the accused was to leap into a river. If the accused man survived this ordeal, the accused was to be acquitted. If the accused was found innocent by this ordeal, the accuser was to be put to death and the accused man was to take possession of the then-deceased accuser's house.

An ordeal by cold water is mentioned in the Vishnu Smrti, which is one of the texts of the Dharmaśāstra.

The practice was also set out in Salic law but was abolished by Emperor Louis the Pious in 829. The practice reappeared in the Late Middle Ages: in the Dreieicher Wildbann of 1338, a man accused of poaching was to be submerged in a barrel three times and to be considered innocent if he sank, and guilty if he floated.

Witch-hunts in Europe
Ordeal by water was associated with the witch-hunts of the 16th and 17th centuries, although an inverse of most trials by ordeal; if the accused sank, they were considered innocent, whereas if they floated, this indicated witchcraft. The ordeal would be conducted with a rope holding the subject so that the person being tested could be retrieved following the trial. A witch trial including this ordeal took place in Szeged, Hungary as late as 1728.

Demonologists varied in their explanations as to why trial by water would be effective, although spiritual explanations were most common. Some argued that witches floated because they had renounced baptism when entering the Devil's service. King James VI of Scotland claimed in his Daemonologie that water was so pure an element that it repelled the guilty. Jacob Rickius claimed that witches were supernaturally light and recommended weighing them as an alternative to dunking them; this procedure and its status as an alternative to dunking were parodied in the 1975 British film Monty Python and the Holy Grail.

By cross
The ordeal of the cross was apparently introduced in the Early Middle Ages in an attempt to discourage judicial duels among Germanic peoples. As with judicial duels, and unlike most other ordeals, the accuser had to undergo the ordeal together with the accused. They stood on either side of a cross and stretched out their hands horizontally. The first one to lower their arms lost. This ordeal was prescribed by Charlemagne in 779 and again in 806. A capitulary of Louis the Pious in 819 and a decree of Lothar I, recorded in 876, abolished the ordeal so as to avoid the mockery of Christ.

By ingestion
Franconian law prescribed that an accused was to be given dry bread and cheese blessed by a priest. If the accused choked on the food, they were considered guilty. This was transformed into the ordeal of the Eucharist (trial by sacrament) mentioned by Regino of Prüm ca. 900:AD; the accused was to take the oath of innocence. It was believed that if the oath had been false, the person would die within the same year.

Numbers 5:12–27 prescribes that a woman suspected of adultery—one called a Sotah in later commentaries—should be made to swallow "the bitter water that causeth the curse" by the priest in order to determine her guilt. The accused would be condemned only if 'her belly shall swell and her thigh shall rot'. One writer has recently argued that the procedure has a rational basis, envisioning punishment only upon clear proof of pregnancy (a swelling belly) or venereal disease (a rotting thigh) (unless of course the woman was impregnated by her own husband; and of course even historical people were well aware that pregnancy would manifest itself in a very obvious fashion without bothering with rituals and drinking of special potions. Other scholars think an abortifacient a more likely explanation; if the holy water causes miscarriage, it is proof of guilt).

By poison
Some cultures, such as the Efik Uburutu people of present-day Nigeria, would administer the poisonous Calabar bean (Physostigma venenosum, known as esere in Efik), which contains physostigmine, in an attempt to detect guilt. A defendant who vomited up the bean was innocent. A defendant who became ill or died was considered guilty.

Residents of Madagascar could accuse one another of various crimes, including theft, Christianity, and especially witchcraft, for which the ordeal of tangena (Cerbera manghas) was routinely obligatory. In the 1820s, ingestion of the poisonous nut caused about 1000 deaths annually. This average rose to around 3000 annual deaths between 1828 and 1861.

Ancient Liberian cultures practiced a tradition known as sassywood. In it, a poisonous brew of erythrophleine, extracted from the bark of the "Ordeal Tree" (erythrophleum suaveolens), was administered to the defendant. While it has largely been outlawed, the practice is still in sporadic use by local communities.

The "penalty of the peach" was an ancient ordeal that involved peach pits or their extracts. The pits contain amygdalin, which is metabolized into cyanide.

In early modern Europe, the Mass was unofficially used as a form of poison ordeal: a suspected party was forced to take the Eucharist because they would be eternally damned if they were guilty, and thus their unwillingness to take the test would give an indication of their guilt.

By turf
An Icelandic ordeal tradition involves the accused walking under a piece of turf. If the turf falls on the accused's head, the accused person is pronounced guilty.

English common law
The ordeals of fire and water in England likely have their origin in Frankish tradition, as the earliest mention of the ordeal of the cauldron is in the first recension of the Salic Law in 510. Trial by cauldron was an ancient Frankish custom used against both freedmen and slaves in cases of theft, false witness and contempt of court, where the accused was made to plunge their right hand into a boiling cauldron and pull out a ring. As Frankish influence spread throughout Europe, ordeal by cauldron spread to neighboring societies.

The earliest references of ordeal by cauldron in the British Isles occurs in Irish law in the seventh century, but it is unlikely that this tradition shares roots with the Frankish tradition that is likely the source of trial by fire and water among the Anglo-Saxons and later the Normans in England. The laws of Ine, King of the West Saxons, produced around 690, contains the earliest reference to ordeal in Anglo-Saxon law; however, this is the last and only mention of ordeal in Anglo-Saxon England until the 10th century.

After the Conquest of 1066, the Old English customs of proof were repeated anew and in more detailed fashion by the Normans, but the only notable innovation of the ordeal by the conquerors was the introduction of the trial by battle. There were, however, minor conflicts between the customs of the Anglo-Saxons and the customs of the Normans that were typically resolved in ways that favored the Normans. In a famous story from Eadmer's Historia novorum in Anglia, William Rufus expresses skepticism about the ordeal after 50 men accused of forest offenses were exonerated by the ordeal of hot iron. In this story, Rufus states that he will take judgment from God's hands into his own. However, this skepticism was not universally shared by the intellectuals of the day, and Eadmer depicts Rufus as irreligious for rejecting the legitimacy of the ordeal.

The use of the ordeal in medieval England was very sensitive to status and reputation in the community. The laws of Canute distinguish between "men of good repute" who were able to clear themselves by their own oath, "untrustworthy men" who required compurgators, and untrustworthy men who cannot find compurgators who must go to the ordeal. One of the laws of Ethelred the Unready declared that untrustworthy men were to be sent to the triple ordeal, that is, an ordeal of hot iron where the iron is three times heavier than that used in the simple ordeal, unless his lord and two other knights swear that he has not been accused of a crime recently, in which case he would be sent to an ordinary ordeal of hot iron.

Unlike other European societies, the English rarely employed the ordeal in non-criminal proceedings. The mandatory use of the ordeal in certain criminal proceedings appears to date from the Assize of Clarendon in 1166. Prior to then, compurgation was the most usual method of proof, and the ordeal was used in cases where there was some presumption of guilt against the accused or when the accused was bound to fail in compurgation. A distinction was made between those accused fama publica (by public outcry) and those accused on the basis of specific facts. Those accused fama publica were able to exculpate themselves by means of compurgation, whereas those accused on the basis of specific facts and those who were thought to have bad character were made to undergo the ordeal.

The Assize of Clarendon declared that all those said by a jury of presentment to be "accused or notoriously suspect" of robbery, thievery, or murder or of receiving anyone who had committed such a wrong were to be put to the ordeal of water. These juries of presentment were the hundred juries and vills, and these groups, in effect, made the intermediate decision of whether an accused person would face the more final judgment of the ordeal. These bodies rendered "verdicts" of either suspected or not suspected. In cases where the defendant was accused on the basis of one or more specific facts, the defendant was sent to the ordeal upon the verdict of the hundred jury alone. In cases where the defendant was accused fama publica, the agreement of the hundred jurors and the vills as to the defendant's suspicion was required to send him to the ordeal. However, the intermediate accusation of the juries could still be considered final in some sense as any person who was accused of murder by the juries was required to leave the realm even if he was exonerated by the ordeal.

In 1215, clergy were forbidden to participate in ordeals by the Fourth Lateran Council. The English plea rolls contain no cases of trial by ordeal after 1219, when Henry III recognized its abolition.

Suppression
Popes were generally opposed to ordeals, although there are some apocryphal accounts describing their cooperation with the practice. At first there was no general decree against ordeals, and they were only declared unlawful in individual cases. Eventually Pope Innocent III in Fourth Council of the Lateran (1215) promulgated a canon forbidding blessing of participants before ordeals. This decision was followed by further prohibitions by synods in thirteenth and fourteenth centuries. The Holy Roman Emperor Frederick II (1194–1250) was the first king who explicitly outlawed trials by ordeal as they were considered irrational (Constitutions of Melfi). In England, things started to change with King Henry III (1220).

From the twelfth century, the ordeals started to be generally disapproved and they were discontinued during the fourteenth and fifteenth centuries. Although papal authority had stood against ordeals generally since Innocent III, the interplay of canon and common law was such that a clear anathema on the practice given in 1215 would have unintended consequences and overstepped the bounds of ecclesiastical authority. Secular authorities might deem someone guilty if they relied on clerical authority to avoid an ordeal, and certain "occult" crimes (those to which there would not normally be witnesses) could not be effectively prosecuted in the legal system of the time by any other means than ordeal. Innocent III's prohibition of clerical participation in trial by ordeal was essentially a call to action for secular authorities to move away from it, a process which took centuries to complete.

In the sixteenth and seventeenth centuries some kinds of ordeals were once again used in witch-hunts, although these were actually intended more as a physical test of whether the accused would float, rather than an ordeal invoking divine intervention to prove or disprove guilt, i.e., a witch floated by the nature of a witch, not because God intervened and caused her to float, demonstrating her guilt.

Modern theories
According to a theory put forward by economics professor Peter Leeson, trial by ordeal may have been effective at sorting the guilty from the innocent. On the assumption that defendants were believers in divine intervention for the innocent, then only the truly innocent would choose to endure a trial; guilty defendants would confess or settle cases instead. Therefore, the theory goes, church and judicial authorities could routinely rig ordeals so that the participants—presumably innocent—could pass them. To support this theory, Leeson points to the great latitude given to the priests in administering the ordeal and interpreting the results of the ordeal. He also points to the overall high exoneration rate of accused persons undergoing the ordeal, when intuitively one would expect a very high proportion of people carrying a red hot iron to be badly burned and thus fail the ordeal. Peter Brown explains the persistence and eventual withering of the ordeal by stating that it helped promote consensus in a society where people lived in close quarters and there was little centralized power. In a world where "the sacred penetrated into the chinks of the profane and vice-versa" the ordeal was a "controlled miracle" that served as a point of consensus when one of the greatest dangers to the community was feud. From this analysis, Brown argues that the increasing authoritativeness of the state lessened the need and desire for the ordeal as an instrument of consensus, which ultimately led to its disappearance.

title: Trial by ordeal


text:
Ian Watkins

Ian Watkins may refer to:

 * Ian Watkins (Lostprophets singer) (born 1977), Welsh former singer and convicted sex offender
 * Ian Watkins (rugby union) (born 1963), Wales international rugby player
 * Ian "H" Watkins (born 1976), Welsh performer, member of pop group Steps

title: Ian Watkins


text:
Luxor AB

Luxor was a Swedish home electronics and computer manufacturer located in Motala, established in 1923 and acquired by Nokia in 1985. The brand name is now owned by Turkish company Vestel and is used for televisions sold in the Swedish market.

Originally a manufacturer of tape recorders, radios, television sets, stereo systems, and other home electronics, it launched its first home computer, the ABC 80 in 1978. The succeeding ABC 800 series was introduced in 1981 with new releases in 1983 being produced until the ABC line was terminated in 1986.

History
The company was established in 1923 by Axel Holstensson (full name Axel Harald Holstensson; 1889–1979). He was the son of an ore loader and had no training other than a few years of elementary school. He worked as an electrician and eventually as a travel fitter and foreman at ASEA for years, from 1907 to 1918. In his spare time, he studied electrical engineering. In 1918, he moved to Motala and started an electronics store and installation company Motala Electric Agency (Motala Elektriska Byrå). The post-war depression, however, almost led to bankruptcy, the situation was critical and the resort was to start building radios. Components were procured from Germany and it was shown to be possible to sell a number of devices at a profit, so Axel Holstensson registered the Luxor Radio Factory Company (Firma Radiofabriken Luxor) in 1923. The name Luxor was apposite and then very topical as the Tomb of Tutankhamun had just been discovered near the city of Luxor in Egypt.

Finnish company Nokia became a principal owner in the company in 1984. Computer production was discontinued in 1986, followed by television production in Motala in 1992, when the production moved to Finland. Instead, it produced receivers for cable and satellite television. But Nokia wanted to streamline its business to mobile telephony and therefore sold the satellite receiver business in 1998 to American company Space Craft Inc. The company continued to manufacture satellite receivers in Motala until 2002, when it was transferred to low-cost countries.

In October 1997, Nokia sold its car speaker and audio amplifier business to Harman International Industries. A collaboration with the then Electrolux-owned Autoliv AB led to the company first becoming a partner for Luxor Electronics since 1998, then buying the entire business. In Motala, there still remains manufacturing of various types of electronic products for the automotive industry but not under the Luxor brand.

The brand name was later sold to the Norwegian retailer Elkjøp ASA, as when British company Dixons Retail bought Elkjøp in November 1999, they also acquired the Luxor brand. In 2006 Turkish company Vestel acquired the Luxor brand.

title: Luxor AB


text:
ISO 9362

ISO 9362 is an international standard for Business Identifier Codes (BIC), a unique identifier for business institutions, approved by the International Organization for Standardization (ISO). BIC is also known as SWIFT-BIC, SWIFT ID, or SWIFT code, after the Society for Worldwide Interbank Financial Telecommunication (SWIFT), which is designated by ISO as the BIC registration authority. BIC was defined originally as Bank Identifier Code and is most often assigned to financial organizations; when it is assigned to non-financial organization, the code may also be known as Business Entity Identifier (BEI). These codes are used when transferring money between banks, particularly for international wire transfers, and also for the exchange of other messages between banks. The codes can sometimes be found on account statements.

The overlapping issue between ISO 9362 and ISO 13616 is discussed in the article International Bank Account Number (also called IBAN). The SWIFT network does not require a specific format for the transaction so the identification of accounts and transaction types is left to agreements of the transaction partners. In the process of the Single Euro Payments Area the European central banks have agreed on a common format based on IBAN and BIC including an XML-based transmission format for standardized transactions. TARGET2 is a joint gross clearing system in the European Union that does not require the SWIFT network for transmission (see EBICS). The TARGET directory lists all the BICs of the banks that are attached to the TARGET2-network being a subset of the SWIFT-directory of BICs.

History
There are five versions. ISO 9362 is based on the industry standard created by SWIFT around 1975.
 * ISO 9362:1987, from year 1987, withdrawn
 * ISO 9362:1994, from year 1994, withdrawn
 * ISO 9362:2009, from year 2009, withdrawn
 * ISO 9362:2014, from year 2014, withdrawn
 * ISO 9362:2022, from year 2022, valid

Structure
The previous edition is ISO 9362:2009 (dated 2009-10-01). The SWIFT code is 8 or 11 characters, made up of:
 * 4 letters: institution code or bank code.
 * 2 letters: ISO 3166-1 alpha-2 country code (exceptionally, SWIFT has assigned the code XK to Republic of Kosovo, which does not have an ISO 3166-1 country code)
 * 2 letters or digits: location code
 * if the second character is "0", then it is typically a test BIC as opposed to a BIC used on the live network.
 * if the second character is "1", then it denotes a passive participant in the SWIFT network
 * if the second character is "2", then it typically indicates a reverse billing BIC, where the recipient pays for the message as opposed to the more usual mode whereby the sender pays for the message.
 * 3 letters or digits: branch code, optional ('XXX' for primary office)

Where an eight digit code is given, it may be assumed that it refers to the primary office.

SWIFT Standards, a division of The Society for Worldwide Interbank Financial Telecommunication (SWIFT), handles the registration of these codes. Because SWIFT originally introduced what was later standardized as Business Identifier Codes (BICs), they are still often called SWIFT addresses or codes.

The 2009 update of ISO 9362 broadened the scope to include non-financial institutions; before then BIC was commonly understood to be an acronym for Bank Identifier Code.

There are over 7,500 "live" codes (for partners actively connected to the SWIFT network) and an estimated 10,000 additional BIC codes which can be used for manual transactions.

2009 version is now replaced by the latest edition (ISO 9362:2014 dated 2014-12-01).

Examples
Deutsche Bank is an international bank, with its head office in Frankfurt, Germany. The SWIFT code for its primary office is DEUTDEFF: Deutsche Bank uses an extended code of 11 characters and has assigned branches or processing areas individual extended codes. This allows the payment to be directed to a specific office. For example, DEUTDEFF500 would direct the payment to an office of Deutsche Bank in Bad Homburg.
 * DEUT identifies Deutsche Bank
 * DE is the country code for Germany
 * FF is the code for Frankfurt

Nedbank is a primarily South African bank, with its head office in Johannesburg. The SWIFT code for its primary office is NEDSZAJJ: Nedbank has not implemented the extended code of 11 characters and all SWIFT transfers to its accounts are directed to the primary office for processing. Those transfer interfaces that require an 11 digit code would enter NEDSZAJJXXX.
 * NEDS identifies Nedbank
 * ZA is the country code for South Africa
 * JJ is the code for Johannesburg

Danske Bank is a primarily Danish bank, with its head office in Copenhagen. The SWIFT code for its primary office is DABADKKK:
 * DABA identifies Danske Bank
 * DK is the country code for Denmark
 * KK (for København in Danish) is the code for Copenhagen.

UniCredit Banca is a primarily Italian bank with its head office in Milan. The SWIFT code for its primary office is UNCRITMM:
 * UNCR identifies Unicredit Banca
 * IT is the country code for Italy
 * MM is the code for Milan.

Dah Sing Bank is a bank based in Hong Kong that has five branches in mainland China (primary mainland China branch in Shenzhen). The SWIFT code for the branch in Shanghai is DSBACNBXSHA. It uses the 11-digit extended code, and SHA identifies the Shanghai branch.
 * DSBA identifies Dah Sing Bank
 * CN is the country code for China
 * BXSHA is the code for Shanghai.

BDO Unibank is the biggest bank in the Philippines, with its head office in Makati. The SWIFT Code for BDO is BNORPHMM. All BDO branches have the same SWIFT Code.

 * BNOR identifies BDO Unibank
 * PH is the country code for the Philippines
 * MM is the code for Metro Manila of which Makati is a part.

Note that one bank can seem to have more than one bank identifier in a given country for separation purposes. Bank of East Asia separates its representative branch in the US and its US-based operations for local customers into BEASUS33xxx (following the code used in its home country) and BEAKUS33xxx respectively. This differs from its local mainland China operations which are also BEASCNxxxxx following Hong Kong rather than having a separate identifier code.

 * An example of this is Bank of America in the United States. For US Dollar denominated wires, its SWIFT code is BOFAUS3N. The SWIFT code for wires sent in foreign currency (non-U.S. dollars) to Bank of America in the United States is BOFAUS6S.

In the past, SEPA payments required both BIC and IBAN. Since 2016-02-01 only the IBAN is needed inside the SEPA (European Union and some more countries).

Twelve-character SWIFTNet FIN address based on BIC
To identify endpoints on its network, SWIFT also uses twelve-character codes that are derived from the BIC of the institution. Such a code consists of the 'BIC8', followed by a one-character code that identifies the Logic Terminal (LT), (also referred to as "local destination" or "Logic Terminal address"), and the three-character branch code. While 'BIC12's are not part of the ISO standard, and are only relevant in the context of the messaging platform, they play a role in FIN system messaging. According to SWIFT, Logic Terminals are the "entity through which users send and receive FIN messages.", thus, may play a role within routing of the message.

Usage
Business Identifier Codes are primarily used for identifying financial and non-financial institutions involving day-to-day business transactions among one or more institutions in transaction lifecycle.

Example: In SWIFT messages these BICs are embedded within the messages. Consider the message type for cash transfer MT103, here we can find BIC under different tags like 50a (ordering customer), 56a (intermediary), 57a (account with institution), etc.

title: ISO 9362


text:
Pit (game)

Pit is a fast-paced card game for three to eight players, designed to simulate open outcry bidding for commodities. The game first went on sale in 1904 by the American games company Parker Brothers, having been developed by the attributed clairvoyant Edgar Cayce.

The inspirations were the Chicago Board of Trade (known as the Pit) and the US Corn Exchange. The game itself was likely based on the very successful game Gavitt's Stock Exchange, invented in 1903 by Harry E. Gavitt of Topeka, Kansas.

While the name Pit remains trademarked in many countries by Hasbro, versions of the game have been marketed under names, including Billionaire, Business, Cambio, Deluxe Pit, Quick 7, Zaster.

Contents
Different versions of the game contain different numbers of cards. The original edition has 63 cards, with nine cards each of the seven different commodities. Later editions added an eighth commodity, along with a Bear card and a Bull card, for 74 cards total.

Originally, the commodities and values were the following:

Newer versions include seven or eight commodities, with Flax, Hay and Rye removed from the list of commodities:

The 100th anniversary edition, released in 2004, included a reproduction of the original edition as well as a brand new edition that featured 8 "modernized" commodities: Versions of the game starting in the 1970s contained a bell used to start trading. The first player to hold all nine cards of a commodity would ring the bell.

Play
The number of commodities included in each round is equal to the number of players. Each player is dealt nine cards; two players get ten if the Bear and the Bull are included in play.

Pit has no turns and everyone plays at once. Players trade commodities among one another by each blindly exchanging one to four cards of the same commodity. The trading process involves calling out the number of cards one wishes to trade until another player holds out an equal number of commodity cards. The two parties then exchange the cards face down.

Winning
As soon as a player has nine cards of the same commodity in hand, they must reveal their entire hand (e.g., by throwing the cards onto the middle, or the corner board if available) and call out "Corner on (the name of the commodity they are holding)!", ending the round. That player then earns points equal to the number value of the commodity they were holding. In deluxe editions of the game, the player with a full set of nine has to ring the bell before revealing their hand.

The first player to reach an agreed-upon point total wins the game.

The Bear and the Bull
The Bear card serves as a hazard for all players, as its holder may not declare a Corner even while holding all cards of the same commodity.

The Bull card is considered wild and can be used to complete any set. When it is in play, a player can win a round in any of the following ways:
 * Holding all nine cards of the same commodity, as described above, with or without a tenth card in hand
 * Holding eight cards of one commodity and the Bull ("Bull Corner")
 * Holding all nine cards of the same commodity and the Bull ("Double Bull Corner"), which awards double value

At the end of a round, the Bear and the Bull each impose a 20-point penalty on any non-winning player holding them. It is possible for a player's score to go below zero. The Bull and Bear may be traded individually or with any number of cards of one commodity. However, the four-card limit for a single trade still applies.

Reviews

 * Games and Puzzles
 * 1980 Games 100 in Games
 * Family Games: The 100 Best

title: Pit (game)


text:
Talk:SWIFT

Review " in more than 200 countries and territories"
This is a misleading information, there are a maximum of 197 countries in the world. The phrase has the intention of showing grandiosity, clearly a marketing move. — Preceding unsigned comment added by 2003:C7:CF12:E46E:5417:DC97:C0DE:8356 (talk) 09:52, 23 March 2021 (UTC)

196 if you count Taiwan (ROC); 197 and 198 if you count Niue and The Cook Islands as independent sovereign countries. More if you count countries that are not generally recognised as independent like Abkhazia, Nagorno-Karabakh, Transnistria, etc. Three more if you count the constituent "countries" of the UK as "countries and territories." It's complicated. SWIFT isn't really clear about what it means by this but it's kind of a moot point becasue SWIFT connects banks with banks, not countries with countries. SWIFT bragging about how many countries it does business in is like if the UN bragged about how many continents and regions it includes. Yeah, sure it may be technically relevant but it's not how the system actually works. Allthenamesarealreadytaken (talk) 00:45, 27 February 2022 (UTC)

Revenue a secret?
I have tried to find information on SWIFT's revenue and which countries contribute which sum/percentages. This may be relevant in the Russian context. If Russia is kicked out, SWIFT fees for others must rise. We have seen it in the context of drugs in sports and the European Council that memberships matter financially as well. We can't ignore that completely, regardless of where we stand. Someone ought to enlighten us what the finances tell us. 2001:8003:A070:7F00:A8D3:56B1:AE6:C195 (talk) 06:13, 31 December 2021 (UTC)

Requested move 14 February 2022

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved. (closed by non-admin page mover) Vpab15 (talk) 22:37, 21 February 2022 (UTC)

Society for Worldwide Interbank Financial Telecommunication → SWIFT – The WP:COMMONAME for this organization is the abbreviation PhotographyEdits (talk) 10:30, 14 February 2022 (UTC)
 * This is a contested technical request (permalink). Vpab15 (talk) 11:52, 14 February 2022 (UTC)
 * Comment I think that SWIFT (organization) would also work fine. The full name is just almost never used, which makes it barely recognizable. PhotographyEdits (talk) 13:50, 14 February 2022 (UTC)
 * Comment There are 5 criteria for choosing an article title. SWIFT wins hands down for the Recognizability, Naturalness and Concision criteria but fails for Precision criterion due to the programming language of the same name.  But if SWIFT vs swift (or Swift) are disambiguated on the relevant pages (e.g., a simple redirect notice) then for the Precision criterion SWIFT could be judged acceptable.  I don't know enough to judge on Consistency but I would quote Emerson "A foolish consistency is the hobgoblin of little minds."  In sum, I agree.  I have never heard of the Society's full name and will forget it by tomorrow whereas the whole world now knows about SWIFT, sanctions and all the other s**t.  EOR.  — Preceding unsigned comment added by 2001:14BA:489C:5600:7514:DE4C:8B7A:D026 (talk) 14:28, 21 February 2022 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

Swift format optional fields problem.72 and 53B SBK
Does Swift realize issues had occurred prior on mapping of the optional 53B SBK field along with field 52B OBK originating bank. If the transaction on screen does map the field of 53B in a transaction and the next transaction has no 53B and a field 52B it is not refreshed on screen of MTS money transfer system and may trap Pay advise lines on MTS. It was a CSS issue if I remember correctly in BK AUT. 97.118.204.66 (talk) 20:42, 12 March 2022 (UTC)

Requested move 14 July 2024
SWIFT → Swift (banking) – SWIFT uses "Swift" name commonly. Ahri Boy (talk) 17:30, 14 July 2024 (UTC)

 * Leaning oppose, as this is a genuine acronym, even if it is a bit of a forced one. BD2412  T 17:38, 15 July 2024 (UTC)
 * "Interbank" seems to be an adjective, which isn't typical on Wikipedia. — BarrelProof (talk) 22:58, 15 July 2024 (UTC)
 * Ohh... Just fixed the proposed name. Ahri Boy (talk) 16:03, 17 July 2024 (UTC)
 * If I understand correctly, SWIFT/Swift is not a bank. Perhaps "banking" would make more sense than "bank". — BarrelProof (talk) 00:49, 18 July 2024 (UTC)

 * Support, with analogy to acronnyms radar, laser, etc. No need for all caps if that's not the most common way to do it. Dicklyon (talk) 05:04, 20 July 2024 (UTC)

title: Talk:SWIFT


text:
The Lamb Lies Down on Broadway

The Lamb Lies Down on Broadway is the sixth studio album by the English progressive rock band Genesis. It was released as a double album on 22 November 1974 by Charisma Records and is their last to feature original frontman Peter Gabriel. It peaked at No. 10 on the UK Albums Chart and No. 41 on the Billboard 200 in the US. It is their longest album to date.

While the band worked on new material at Headley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. The album was marked by increased tensions within the band as Gabriel, who insisted on writing all of the lyrics, temporarily left to work with filmmaker William Friedkin and needed time to be with his family. Most of the songs were developed by the rest of the band through jam sessions and were put down at Glaspant Manor in Wales using a mobile studio.

The album received a mixed critical reaction at first, but it gained acclaim in subsequent years and has a cult following. The songs "Counting Out Time" and "The Carpet Crawlers" were released as singles in the UK in 1974 and 1975, respectively; both failed to chart. A single of "The Lamb Lies Down on Broadway" was released in the US. Genesis promoted the album with their 1974–75 tour across North America and Europe, playing the album in its entirety. The album reached Gold certification in the UK and the US. The album was remastered in 1994 and 2007, the latter as part of the Genesis 1970–1975 box set which contains a 5.1 surround sound mix and bonus material.

Background
In May 1974, the Genesis line-up of frontman and singer Peter Gabriel, keyboardist Tony Banks, bassist Mike Rutherford, drummer Phil Collins and guitarist Steve Hackett finished their 1973–1974 tour of Europe and North America to support their fifth studio album, Selling England by the Pound (1973). That album was a critical and commercial success for the group, earning them their highest-charting release in the United Kingdom and the United States. That June they booked three months at Headley Grange, a large former poorhouse in Headley, East Hampshire, in order to write and rehearse new material for their next studio album. Upon their arrival the building had been left in a very poor state by the previous band to use it, with excrement on the floor and rat infestations. By this time the personal lives of some members had begun to affect the mood in the band, causing complications for their work. Hackett explained: "Everybody had their own agenda. Some of us were married, some of us had children, some of us were getting divorced, and we were still trying to get it together in the country". Banks later deemed this period of time as his least favourite of all his time in Genesis.

Writing
The band decided to produce a double album before they had agreed on its contents or direction, for the extended format presented the opportunity for them to put down more of their musical ideas. A single album of songs telling segments of a story did not appeal to them, and Banks thought they had gained a strong enough following by this point to put out two albums' worth of material that their fans would be willing to listen to. They had wanted to produce a concept album that told a story for some time, and Rutherford pitched an idea based on the fantasy novel The Little Prince by Antoine de Saint-Exupéry, but Gabriel considered it "too twee" and believed "prancing around in fairyland was rapidly becoming obsolete".

Gabriel presented a surreal story about a Puerto Rican youth named Rael who is suddenly taken on a spiritual journey of self-discovery and identity as he encounters a series of bizarre incidents and characters. He first thought of the story while touring North America in the previous year, and pitched a synopsis to the group until they agreed to go ahead with it. It was more detailed and obscure in its initial form until Gabriel refined it and made Rael the central character. Gabriel chose the name Rael as it was one without a particular ethnic origin, but he later realised The Who used the same name on The Who Sell Out (1967) which annoyed him at first, but he stuck to the choice. The band also found that "Ra" was common in male names in various nationalities. Gabriel was inspired by a variety of sources for the story including West Side Story, "a kind of punk" twist to the Christian allegory The Pilgrim's Progress, the works of Swiss psychologist Carl Jung, and the surreal Western film El Topo (1971) by Alejandro Jodorowsky. In contrast to Selling England by the Pound, which contained strong English themes, Gabriel made a conscious effort to avoid repetition and instead portray American imagery in his lyrics. He had the story begin on Broadway in New York City, and makes references to Caryl Chessman, Lenny Bruce, Groucho Marx, Marshall McLuhan, Howard Hughes, Evel Knievel and the Ku Klux Klan. Gabriel expressed some concern over the album's title shortly after its release, but clarified that the lamb itself is purely symbolic and a catalyst for the peculiar events that occur.

During the writing sessions at Headley Grange, Gabriel found himself separated from the rest of the band, which caused some friction. He insisted that having devised the concept he should write the lyrics, leaving the majority of the music in the charge of his bandmates. This was a departure from the band's usual method of songwriting, as lyrical contributions on previous albums had always involved the other members. This situation left Gabriel often secluded in one room writing the lyrics, and the remaining four rehearsing in another. In one instance Gabriel was unable to meet a scheduled deadline to have the lyrics finished, leaving Rutherford and Banks to write words for "The Light Dies Down on Broadway". At other times, Banks and Hackett suggested lyrics they thought would fit "The Lamia" and "Here Comes the Supernatural Anaesthetist" respectively, which Gabriel rebuffed.

Further disagreements arose during the writing period when Gabriel left the group for a short period having accepted an invitation from film producer William Friedkin to collaborate on a screenplay, after he took a liking to Gabriel's surreal story printed on the sleeve of Genesis Live (1973). In Gabriel's absence Collins suggested having the new studio album be purely instrumental, thinking it would favour the other members as Gabriel had made some of their earlier songs too lyrically dense, but the idea was rejected by the rest of the group. Friedkin, however, was not prepared to split the band over a mere idea and Gabriel resumed work on the album. Matters were complicated further when Gabriel spent additional time in London when his first wife Jill underwent a risky and difficult birth of their first child in July 1974, leaving Gabriel often travelling back and forth. Rutherford later admitted that he and Banks were "horribly unsupportive" of Gabriel during this time, and Gabriel saw this as the beginning of his eventual departure from Genesis.

Recording
After their allocated time at Headley Grange came to an end, Genesis relocated to Glaspant Manor in Capel Iwan, Carmarthenshire, Wales to record the album. The remote location required them to use a mobile studio, and used one owned by Island Studios that was parked outside. The Island mobile featured two 3M 24-track recorders, a Helios Electronics 30-input mixing console, Altec monitors, and two A62 Studer tape machines for mastering. The album is the band's last with John Burns as co-producer, who had assumed the role since Foxtrot (1972). Engineering duties were carried out by David Hutchins. Burns and Gabriel experimented with different vocal effects by recording takes in a bathroom and in a cowshed two miles away. Rutherford thought the album's sound was an improvement to past Genesis albums for it was not recorded in a professional studio, which benefited the sound of Collins' drums. Collins compared the sound of the album to that of Neil Young's recordings made in his barn, "not studio, not soundproof, but a woody quality". Gabriel said one track was recorded directly onto a cassette which was used on the album.

The backing tracks were put down in roughly two weeks. Gabriel was still working on the lyrics a month later, and asked the band to produce additional music for "The Carpet Crawlers" and "The Grand Parade of Lifeless Packaging" so he could fit in words that had no designated section for them. Thinking the extra material was to be instrumental, the band later found that Gabriel had sung over their new parts, something that he also had done on Foxtrot and Selling England by the Pound and caused songs to be musically dense. Gabriel recorded his remaining vocals at Island's main studio in Notting Hill, London, where the album was mixed over a series of shifts as they were pressured to finish the album in time for its release date. Collins recalled: "I'd be mixing and dubbing all night and then Tony and Mike would come in and remix what I'd done because I'd lost all sense of normality by that point".

Story
Gabriel used New York City as a tool to make Rael "more real, more extrovert and violent", choosing to develop a character that is the least likely person to "fall into all this pansy claptrap", and aiming for a story that contrasted between fantasy and character. He explained that as the story progresses Rael finds he is not as "butch" as he hoped, and his experiences eventually bring out a more romantic side to his personality. Gabriel deliberately kept the ending ambiguous but clarified that Rael does not die, although he compared the ending to the buildup of suspense and drama in a film in which "you never see what's so terrifying because they leave it up in the air without ... labelling it". Several of the story's occurrences and settings derived from Gabriel's own dreams. Collins remarked that the entire concept was about split personality. The individual songs also make satirical allusions to mythology, the sexual revolution, advertising, and consumerism. Gabriel felt the songs alone were not enough to detail all of the action in his story, so he wrote the full plot on the album's sleeve.

Plot summary
One morning in New York City, Rael is holding a can of spray paint, hating everyone around him. He witnesses a lamb lying down on Broadway which has a profound effect on him ("The Lamb Lies Down on Broadway"). As he walks along the street, he sees a dark cloud take the shape of a movie screen and slowly move towards him, finally absorbing him ("Fly on a Windshield"), seeing an explosion of images of the current day ("Broadway Melody of 1974") before he wakes up in a cave and falls asleep once again ("Cuckoo Cocoon"). Rael wakes up and finds himself trapped in a cage of stalactites and stalagmites which slowly close in towards him. As he tries to escape, he sees many other people in many other cages, before spotting his brother John outside. Rael calls to him, but John walks away and the cage suddenly disappears ("In the Cage").

Rael now finds himself on the floor of a factory and is given a tour of the area by a woman, where he watches people being processed like packages. He spots old members of his New York City gang, and also John with the number 9 stamped on his forehead. Fearing for his life, Rael escapes into a corridor ("The Grand Parade of Lifeless Packaging") and has an extended flashback of returning from a gang raid in New York City, ("Back in N.Y.C.") a dream where his hairy heart is removed and shaved with a razor, ("Hairless Heart") and his first sexual encounter ("Counting Out Time"). Rael's flashback ends, and he finds himself in a long, red-carpeted corridor of people crawling towards a wooden door. Rael runs past them and exits via a spiral staircase ("The Carpet Crawlers"). At the top, he enters a chamber with 32 doors, surrounded by people and unable to concentrate ("The Chamber of 32 Doors").

Rael finds a blind woman who leads him out of the chamber ("Lilywhite Lilith") and into another cave ("The Waiting Room"), where he becomes trapped by falling rocks ("Anyway"). Rael encounters Death ("Here Comes the Supernatural Anaesthetist") and escapes the cave. Rael ends up in a pool with three Lamia, beautiful snake-like creatures, and has sex with them, but they die after drinking some of his blood ("The Lamia"). He leaves the pool in a boat ("Silent Sorrow in Empty Boats"), and finds himself in a group of Slippermen, distorted, grotesque men who have all had the same experience with the Lamia, and finds that he has become one of them ("The Arrival"). Rael finds John among the Slippermen, who reveals that the only way to become human again is to visit Doktor Dyper and be castrated ("A Visit to the Doktor"). Both are castrated and keep their removed penises in containers around their necks. Rael's container is taken by a raven and he chases after it, leaving John behind ("The Raven"). The raven drops the container in a ravine and into a rushing underground river ("Ravine").

As Rael walks alongside it, he sees a window in the bank above his head which reveals his home amidst the streets ("The Light Dies Down on Broadway"). Faced with the option of returning home, he sees John in the river below him, struggling to stay afloat. Despite being deserted twice by John, Rael dives in to save him and the gateway to New York vanishes ("Riding the Scree"). Rael rescues John and drags his body to the bank of the river and turns him over to look at his face, only to see his own face instead ("In the Rapids"). His consciousness then drifts between both bodies, and he sees the surrounding scenery melting away into a haze. Both bodies dissolve, and Rael's spirit becomes one with everything around him ("it.").

Songs
Much of the music developed through band improvisations and jams, often after setting a single idea, which Banks found particularly enjoyable. Examples of this are what he described as a "Chinese jam" which ended up as part of "The Colony of Slippermen", one named "Victory at Sea" which was worked into "Silent Sorrow in Empty Boats", and another known as "Evil Jam" which became "The Waiting Room". Though the album is written to a story concept, Gabriel described its format as being split into "self-contained song units". He thought the album contained some of the group's best material and songs that he was most proud of during his time in Genesis.

"The Lamb Lies Down on Broadway" was the last song that Banks and Gabriel wrote together before the latter's departure from the group, which Banks said was "a pretty good song to end on". At its conclusion, the song borrows music and lyrics from the 1963 single "On Broadway" by The Drifters.

"Fly on a Windshield" originally came about through a band improvisation sparked by an idea from Rutherford, who suggested the idea of pharaohs going down the Nile and proceeded to play two chords. The rest of the group caught onto the idea, and Banks was particularly fond of the part when the drums and guitar come in, calling it one of the band's best ever moments. Hackett described his guitar parts as "Egyptian phrases", and noted that the group used a similar modulation to that of the end of Boléro by Maurice Ravel.

"Back in N.Y.C." sees Genesis adopting a more aggressive sound than in past compositions, and includes Gabriel singing an expletive in the line: "I'm not full of shit".

A personal highlight for Collins is "Silent Sorrow in Empty Boats" and "The Waiting Room", the latter of which developed as a "basic good to bad soundscaping" jam while it was raining outside. When the band stopped, a rainbow had formed. Collins remembered Hackett playing "these dark chords, then Peter blows into his oboe reeds, then there was a loud clap of thunder and we really thought we were entering another world or something. It was moments like that when we were still very much a unified five-piece".

"The Carpet Crawlers" developed at a time when Gabriel had written some lyrics, but no music had been written for them. The band put together a chord sequence "in D, E minor and F-sharp minor with a roll from the drums flowing through it". Gabriel spent "hours and hours" on an out-of-tune piano in the house of his then-wife Jill's parents in Kensington to develop the song, and Jill spoke of Gabriel's particular fondness of the track.

"Anyway" and "Lilywhite Lilith" developed from two previously unreleased songs named "Frustration" and "The Light", respectively. Hackett's guitar solo on "Counting Out Time" was played using a EMS Synthi Hi-Fli guitar synthesizer.

While mixing at Island Gabriel asked Brian Eno, who was working on his album Taking Tiger Mountain (By Strategy) (1974), to add synthesized effects on his vocals on several tracks, including "The Grand Parade of Lifeless Packaging". Eno's work is credited on the liner notes for "Enossification". As a repayment, Eno asked Collins to play drums on his track "Mother Whale Eyeless".

Sleeve design
Hipgnosis designed the album's artwork. In a departure from that company's previous album sleeves, which featured more colourful designs, the front cover of The Lamb Lies Down on Broadway makes use of black and white and no colour. The band's logo, originally designed by Paul Whitehead and used on Nursery Cryme (1971) and Foxtrot (1972), was replaced by a new one in an Art Deco style by George Hardie. The left picture on the front depicts Rael in the area where "In the Rapids" and "Riding the Scree" are set.

Release
The band considered releasing the album as two single albums released six months apart. Gabriel later thought this idea would have been more suitable, for a double album contained too much new material, and the extra time would have given him more time to work on the lyrics. Nevertheless, The Lamb Lies Down on Broadway was released as a double album on 22 November 1974, days after the start of its supporting tour. It peaked at No. 10 on the UK Albums Chart in December 1974 during its six-week stay on the chart, and became the band's highest-charting album yet in the US, peaking at No. 41 on the Billboard 200 in February 1975. Elsewhere, the album reached No. 15 in Canada and No. 34 in New Zealand. Two singles were released; "Counting Out Time" with "Riding the Scree" as its B-side, was released on 1 November 1974. The second, "The Carpet Crawlers" backed with a live performance of "The Waiting Room (Evil Jam)" at the Shrine Auditorium in Los Angeles, followed in April 1975. The album continued to sell, and reached Gold certification by the British Phonographic Industry on 1 February 1975, and Gold by the Recording Industry Association of America for sales in excess of 500,000 copies on 20 April 1990.

Critical reception
Members of the group expressed some concern about the album's critical reception, and expected to receive some negative responses over its concept and extended format. Banks hoped the album would end people's comparisons of Genesis to Yes and Emerson, Lake & Palmer, two other popular progressive rock bands of the time. Gabriel knew the album's concept was ideal for critics "to get their teeth into".

In giving an interview to Melody Maker in October 1974, shortly before the album's release, Gabriel played several tracks from The Lamb to reporter Chris Welch, including "In the Cage", "Hairless Heart", "Carpet Crawlers", and "Counting Out Time". Welch wrote, "It sounded superb. Beautiful songs, fascinating lyrics, and sensitive, subtle playing, mixed with humour and harmonies. What more could a Genesis fan desire?" He singled out Collins' playing as "outstanding". Welch's review for Melody Maker published a month later included his thoughts on such long concept albums–"A few golden miraculous notes and some choice pithy words are worth all the clutter and verbiage"–and he called the album a "white elephant". For New Musical Express, Barbara Charone wrote highly of the collection. She summarised The Lamb as a combination of the "musical proficiency" on Selling England by the Pound (1973) with the "grandiose illusions" on Foxtrot (1972) and "a culmination of past elements injected with present abilities and future directions". Charone thought it had more high points than any previous Genesis album, apart from some "few awkward instrumental moments on side three". All members received praise for their performances, including Hackett coming across as a more dominant member of the group with his "frenetic, choppy style", Collins' backup harmony vocals and Rutherford's "thick, foreboding bass chords and gentle acoustics". Colin Irwin wrote a negative review of the "Counting Out Time" single, with its "weary, tepid approach" and a "woeful, dreary three and a half minutes".

Since its release, the album has been met with critical acclaim. In 1978, Nick Kent wrote for New Musical Express that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together". In a special edition of Q and Mojo magazines titled Pink Floyd & The Story of Prog Rock, The Lamb ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the ten best concept albums by Uncut magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work". AllMusic reviewer Stephen Thomas Erlewine gave a retrospective rating of five stars out of five. He says that despite Gabriel's "lengthy libretto" on the sleeve "the story never makes sense", though its music is "forceful, imaginative piece of work that showcases the original Genesis lineup at a peak ... it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave ... they had gone as far as they could go together".

A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list. In 2014, readers of Rhythm voted it the album with the fourth-greatest drumming in the history of progressive rock. In 2015, NME included the album in its "23 Maddest and Most Memorable Concept Albums" list for "taking in themes of split personalities, heaven and hell and truth and fantasy". It was one of two albums by Genesis included in the top ten of the Rolling Stone list of the 50 Greatest Prog Rock Albums of All Time. The magazine described it as "one of rock's more elaborate, beguiling and strangely rewarding concept albums". The album was also included in the book 1001 Albums You Must Hear Before You Die.

Banks later thought the album's concept the weakest thing about it, though the lyrics to some of the individual songs are "wonderful". Rutherford said that, while The Lamb is a fan favorite, it was a gruelling album to work on and had a lot of highs, but also a lot of lows. Hackett remarked how his guitar was underutilized in comparison to past albums, but thought the album had a lot of beautiful moments and has grown on him over time. In Genesis: Together and Apart, Gabriel stated the album was one of his two high points with the band, along with "Supper's Ready". Also in that documentary, Collins said the band created their best music on the album. He also cites it as his favourite Genesis album.

Reissues
The Lamb Lies Down on Broadway was first remastered for CD in 1994, and released on Virgin Records in Europe and Atlantic Records in North America. The included booklet features the lyrics and story printed on the original LP, though some of the inner sleeve artwork was not reproduced. A remastered edition for Super Audio CD and DVD with new stereo and 5.1 surround sound mixes by Nick Davis was released in 2008 as part of the Genesis 1970–1975 box set.

Tour
Genesis supported the album with a 102-date concert tour across North America and Europe, playing the album in its entirety with one or two older songs (usually "Watcher of the Skies" and "The Musical Box") as encores. Such a format was not supported by the entire band, considering most of the audience were not yet familiar with the large amount of new material. It was to begin on 29 October 1974 with an 11-date tour of the UK that sold out within four hours of going on sale, but after Hackett crushed a wine glass in his left hand which severed a tendon, and needed time to recover, these dates were rescheduled for 1975. The group lost money, for they were unable to recoup deposits they had paid to the venues. The tour began on 20 November in Chicago, and ended on 22 May 1975 in Besançon, France. The last two scheduled concerts on 24 and 27 May in Toulouse and Paris, respectively, were cancelled due to low ticket sales. Gabriel marked the occasion of his final show with the group by playing the "Last Post" on his oboe. Hackett estimated the band's debts at £220,000 at the tour's end.

The tour featured at the time some of the biggest instruments used by the band, including Rutherford's double-neck Rickenbacker and the largest drum kit ever used by Collins. The tour's stage show involved three backdrop screens that displayed 1,450 slides, designed by Geoffrey Shaw, from eight projectors and a laser lighting display. Banks recalled the slides only came close to working perfectly on four or five occasions. The tour was the high point of Gabriel's use of theatrics and costumes. He changed his appearance with a short haircut and styled facial hair and dressed as Rael in a leather jacket, T-shirt and jeans. During "The Lamia", he surrounded himself with a spinning cone-like structure decorated with images of snakes. In the last verse, the cone would collapse to reveal Gabriel wearing a body suit that glowed from lights placed under the stage. "The Colony of Slippermen" featured Gabriel as one of the Slippermen, covered in lumps with inflatable genitalia that emerged onto the stage by crawling out of a penis-shaped tube. Gabriel recalled the difficulty in placing his microphone near his mouth whilst he was in the costume. For "it.", an explosion set off twin strobe lights that reveal Gabriel and a dummy figure dressed identically on each side of the stage, leaving the audience clueless as to which was real. The performance ended with Gabriel vanishing from the stage in a flash of light and a puff of smoke. At the final concert, roadie Geoff Banks acted as the dummy on stage, wearing nothing but a leather jacket.

In one concert review, the theatrics for "The Musical Box", the show's encore and once the band's stage highlight, was seen as "crude and elementary" compared to the "sublime grandeur" of The Lamb... set. Music critics often focused their reviews on Gabriel's theatrics and took the band's musical performance as secondary, which irritated the rest of the band. Collins later said, "People would steam straight past Tony, Mike, Steve and I, go straight up to Peter and say, "You're fantastic, we really enjoyed the show." It was becoming a one-man show to the audience." The Rock and Roll Hall of Fame called the tour "a spectacle on par with anything attempted in the world of rock to that point".

Gabriel's departure
During their stop in Cleveland in November 1974, Gabriel told the band he would leave at the conclusion of the tour. The decision was kept a secret from outsiders and media all through the tour, and Gabriel promised the band to stay silent about it for a while after its end in June 1975, to give them some time to prepare for a future without him. By August, the news had leaked to the media anyway, and Gabriel wrote a personal statement to the English music press to explain his reasons and his view of his career up to this point; the piece, titled "Out, Angels Out", was printed in several of the major rock music magazines. In his open letter, he explained his disillusion with the music industry and his wish to spend extended time with his family. Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really wasn't like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."

Recordings
No complete performance of the album has been officially released, except for the majority of the band's performance from 24 January 1975 at the Shrine Auditorium in Los Angeles, which was released as part of the Genesis Archive 1967–75 box set. Some tracks feature re-recorded vocals from Gabriel and guitar parts from Hackett; the box set contains a remixed studio version of "it.", also with re-recorded vocals.

Canadian tribute band The Musical Box has performed the album in its entirety on several tours using the slides from the original performances.

Track listing
All tracks credited to Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Actual songwriters listed below. All lyrics written by Peter Gabriel except where noted.

Personnel
Genesis
 * Peter Gabriel – lead vocals, flute, varied instruments, "experiments with foreign sounds"
 * Steve Hackett – acoustic and electric guitars, EMS Synthi Hi-Fli guitar synthesizer on "Counting out Time"
 * Mike Rutherford – bass guitar, 12-string guitar
 * Tony Banks – Hammond T-102 organ, RMI 368 Electra Piano and Harpsichord, Mellotron M-400, ARP Pro Soloist synthesizer, Elka Rhapsody string synthesizer, acoustic piano
 * Phil Collins – drums, percussion, vibraphone, backing vocals, second lead vocal on "Counting out Time", "The Supernatural Anaesthetist" and "The Colony of Slippermen"

Additional musicians
 * Brian Eno – "Enossification" on "In the Cage" and "The Grand Parade of Lifeless Packaging"

Production
 * John Burns – production
 * Genesis – production
 * David Hutchins – engineer
 * Hipgnosis – sleeve design, photography
 * Graham Bell – choral contribution
 * "Omar" – Rael on the album's artwork
 * Richard Manning – retouching
 * George Hardie – graphics (George Hardie N.T.A.)

title: The Lamb Lies Down on Broadway