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Hunky Dory

Hunky Dory is the fourth studio album by the English musician David Bowie, released in the United Kingdom on 17December 1971 through RCA Records. Following a break from touring and recording, Bowie settled down to write new songs, composing on piano rather than guitar as in earlier works. Bowie assembled the guitarist Mick Ronson, the bassist Trevor Bolder, and the drummer Mick Woodmansey, and began to record a new album in mid-1971 at Trident Studios in London. Rick Wakeman contributed on piano shortly before joining Yes. Bowie co-produced the album with Ken Scott, who had engineered Bowie's previous two records.

Compared to the guitar-driven hard rock sound of The Man Who Sold the World, Bowie opted for a warmer, more melodic piano-based pop rock and art pop style on Hunky Dory. His lyrical concerns on the record range from the compulsive nature of artistic reinvention on "Changes", to occultism and Nietzschean philosophy on "Oh! You Pretty Things" and "Quicksand"; several songs make cultural and literary references. He was also inspired by his United States tour to write songs dedicated to three American icons: Andy Warhol, Bob Dylan, and Lou Reed. The song "Kooks" was dedicated to Bowie's newborn son Duncan. The album's cover artwork, photographed in monochrome and subsequently recoloured, features Bowie in a pose inspired by actresses of the Hollywood Golden Age.

RCA offered little promotion for Hunky Dory and its lead single "Changes", wary that Bowie would transform his image shortly. Thus, despite very positive reviews from the British and American music press, the album initially sold poorly and failed to chart. After the commercial breakthrough of Bowie's Ziggy Stardust album in 1972, Hunky Dory garnered renewed interest, with sales peaking at number three on the UK Albums Chart. Retrospectively, Hunky Dory has been critically acclaimed as one of Bowie's best works, and features on several lists of the greatest albums of all time. Within the context of his career, Hunky Dory is considered the album where "Bowie starts to become Bowie", definitively discovering his voice and style.

Background
After David Bowie completed his third studio album, The Man Who Sold the World, in May 1970, he became less active in both the studio and on stage. His contract with music publisher Essex had expired and his new manager Tony Defries was facing prior contractual challenges. Bowie was also without a backing band, as the musicians on The Man Who Sold the World – including its producer and bassist Tony Visconti, the guitarist Mick Ronson and the drummer Mick Woodmansey – departed in August 1970 due to personal conflicts with the artist. After hearing a demo of Bowie's "Holy Holy", recorded in autumn 1970, Defries signed the singer to a contract with Chrysalis, but thereafter limited his work with Bowie to focus on other projects. Bowie, who was devoting himself to songwriting, turned to Chrysalis partner Bob Grace, who loved the demo of "Holy Holy" and subsequently booked time at Radio Luxembourg's studios in London for Bowie to record his demos. "Holy Holy", recorded in November 1970 and released as a single in January 1971, was a commercial flop.

The Man Who Sold the World was released in the United States through Mercury Records in November 1970. The album sold poorly but fared better both critically and commercially in the US than in the UK. It was played on American radio stations frequently and its "heavy rock content" increased interest in Bowie. The critical success of the album prompted Mercury to send Bowie on a promotional radio tour of the US in February 1971. The trip inspired him to write tribute songs for three American icons: the artist Andy Warhol, the singer-songwriter Bob Dylan and the rock band the Velvet Underground, more specifically their singer Lou Reed. After the tour, Bowie returned to his apartment in Haddon Hall, Beckenham, where he recorded many of his early 1970s demos, and began writing. According to his then-wife Angela, Bowie had spent time composing songs on piano rather than acoustic guitar, which would "infuse the flavour of the new album". In total, he composed over three-dozen songs there, many of which would appear on Hunky Dory and its follow-up album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The first song Bowie wrote for Hunky Dory was "Oh! You Pretty Things" in January 1971. After recording its demo at Radio Luxembourg, Bowie gave the tape to Grace, who showed it to Peter Noone of Herman's Hermits. Noone decided to record his own version and release it as his debut single.

Released in April 1971, Noone's version of "Oh! You Pretty Things" was a commercial success, peaking at number 12 on the UK Singles Chart. It was the first time most listeners had heard of Bowie since "Space Oddity" (1969). Noone told NME: "My view is that David Bowie is the best writer in Britain at the moment ... certainly the best since Lennon and McCartney." Following the success of the single, Defries sought to extricate Bowie from his contract with Mercury, which was set to expire in June 1971. Defries felt that Mercury had not done Bowie justice financially. Although Mercury had intended to renew it on improved terms, Defries forced the label to terminate the contract in May by threatening to deliver a low-quality album. Defries then paid off Bowie's debts to Mercury through Gem Productions, and the label surrendered its copyright on David Bowie (1969) and The Man Who Sold the World.

Writing and recording
After his short-lived band Arnold Corns folded in February, Bowie returned to the studio in May 1971 to record his next album. He concluded that he could not do the project without Ronson, who was enthusiastic when Bowie contacted him for the first time in nine months. Woodmansey returned with Ronson, who began looking for a bass player to replace Visconti. Ronson initially suggested Rick Kemp, with whom Bowie had recorded in the mid-1960s, but Bowie was unimpressed with Kemp's audition at Haddon Hall. According to some reports, per the biographer Nicholas Pegg, it was Defries who rejected Kemp, because of his "receding hairline". Ronson then suggested his acquaintance Trevor Bolder, a former hairdresser and piano tuner who had previously seen Bowie in concert in 1970 and met Ronson at Haddon Hall. After Bolder was hired, the trio grouped at Haddon to rehearse some of Bowie's new material, such as the song "Andy Warhol". Bowie and his new backing trio, soon to be named the Spiders from Mars, played for the first time on 3June on BBC DJ John Peel's radio programme In Concert. The set included debut performances of several songs Bowie had recently written such as "Queen Bitch", "Bombers", "Song for Bob Dylan" and "Andy Warhol". The title "Hunky Dory" was also announced at this session.

Bowie and the future Spiders officially started work on the new album at Trident Studios in London on 8June 1971. Ken Scott, who had engineered Bowie's two previous records, was hired to co-produce alongside him. Scott accepted the position as a way to gain experience, although at the time he didn't believe Bowie would become a huge star. His debut as a producer, Scott would borrow some of the acoustic sounds of George Harrison's All Things Must Pass (1970), an album he engineered. Scott would retain the role of co-producer for Bowie's next three records: Ziggy Stardust, Aladdin Sane and Pin Ups. Bowie played demos for Scott and the two picked which ones would be recorded for the album. On 8June, the band recorded "Song for Bob Dylan", although according to Pegg this version was scrapped and the released version was not recorded until 23June. Scott later recalled that recording went very quickly: "Almost everything was done in one take." He was surprised when he and the Spiders would think a vocal or guitar part needed re-recording but Bowie would say "No, wait, listen", and when everything was played simultaneously it would sound perfect. Regarding Bowie's talent as a vocalist, Scott stated: "He was unique. [He is] the only singer I ever worked with where virtually every take was a master." Bolder described recording with Bowie for the first time as a "nerve-wracking experience", saying: "When that red light came on in the studio it was, God, in at the deep end of what!" As a co-producer Bowie took an active interest in the album's sound and arrangements, an about-face from his generally hands-off attitude during the Man Who Sold the World sessions.

The keyboardist Rick Wakeman, noted session musician and member of the Strawbs, plays piano on the album; he previously played Mellotron on David Bowie (1969). In 1995 he recalled that he met with Bowie in late June 1971 at Haddon Hall, where he heard demos of "Changes" and "Life on Mars?" in "their raw brilliance ... the finest selection of songs I have ever heard in one sitting in my entire life ... I couldn't wait to get into the studio and record them." The piano Wakeman played was the same 1898 Bechstein used by Paul McCartney for "Hey Jude" and later by Queen for "Bohemian Rhapsody". According to Wakeman, the first few sessions started poorly as the band had not learned the songs. He recalled that Bowie had to halt the sessions, telling the musicians off and to come back when they knew the music. When they returned after a week, Wakeman thought "the band were hot! They were so good, and the tracks just flowed through." This story has been contested by other band members, including Bolder, who told biographer Kevin Cann: "[That's] rubbish. David would never have told the band off in the studio. Especially as Mick and Woody had already left him once, and everyone was now getting on. The band would not have survived that – it definitely didn't happen." Scott contended: "I definitely don't remember that, and it's not something I would forget. I would definitely dispute that one."

With Wakeman in the line-up, on 9July Bowie and his band recorded two takes of "Bombers" and "It Ain't Easy", the latter featuring backing vocals by Dana Gillespie. Five days later, the group recorded four takes of "Quicksand", the last of which appears on the finished album. On 18July, the group spent the day rehearsing and mixing. Further mixing sessions were carried out between 21 and 26July to compile a promotional album for Gem Productions. By this point, the songs "Oh! You Pretty Things", "Eight Line Poem", "Kooks", "Queen Bitch" and "Andy Warhol" had been recorded; the mixes of "Eight Line Poem" and "Kooks" on the promotional album differed from the final versions on Hunky Dory. Two takes of "The Bewlay Brothers" were recorded on 30July, the second appearing on the final album; it was recorded on a tape that contained scrapped versions of "Song for Bob Dylan" and "Fill Your Heart". On 6August, the band recorded "Life on Mars?" and "Song for Bob Dylan", after which the recording process was considered finished. Before the sessions ended, Bowie asked Wakeman if he wanted to be a part of the Spiders from Mars. Wakeman declined and joined the progressive rock band Yes instead.

Songs
After the hard rock sound of The Man Who Sold the World, Hunky Dory features a stylistic shift from Bowie towards art pop and melodic pop rock. The songs are mostly piano-led rather than guitar-led. Biographer Marc Spitz believes the piano incites a warmer feel on this record compared to its two predecessors. Biographer Christopher Sandford states that "the songs [are] characterised by the lush ambience established by Bowie's vocal and the piano" and, along with Elton John and Phil Collins, helped create music on the "easy-listening continuum". Lior Phillips of Consequence of Sound wrote that the songs are accessible, both musically and lyrically, allowing the listener to dissect them again and again. Music journalist Peter Doggett concurs, regarding Hunky Dory as "a collective of attractively accessible pop songs, through which Bowie tested out his feelings about the nature of stardom and power". Rick Quinn described the songs in PopMatters as a fusion of "British pop, orchestral works, art-rock, folk and ballads" that emerge to form glam rock.

Robert Dimery, in his book 1001 Albums You Must Hear Before You Die, calls it "a toybox of acoustic oddities, tributes to heroes and surrealism". Stephen Thomas Erlewine of AllMusic describes it as "a kaleidoscopic array of pop styles, tied together only by Bowie's sense of vision: a sweeping, cinematic mélange of high and low art, ambiguous sexuality, kitsch, and class". Michael Gallucci of Ultimate Classic Rock notes that it is Bowie's first record to include "a mix of pop, glam, art and folk wrapped in an ambisexual pose that would come to define the artist". James Perone similarly describes the album as "a unique blend of folk, pop, glam, and progressive rock" that distinguished Bowie from other musicians at the time. Peter Ormerod of The Guardian writes that the music of Hunky Dory celebrates "uncertainty, rootlessness, inner chaos, difference, otherness, doubt and impermanence" and did it with "beauty, style and charisma".

Side one
The opening track, "Changes", is built around a distinctive piano riff. The lyrics focus on the compulsive nature of artistic reinvention and distancing oneself from the rock mainstream. Biographer David Buckley writes that "strange fascination" is a phrase that "embodies a continued quest for the new and the bizarre". Pegg summarises the lyrics as Bowie "holding a mirror to his face" just as he is about to achieve stardom. The lyrics contributed to his being dubbed the "chameleon of rock" and one of rock's greatest innovators. Doggett notes that "Changes" is a "statement of purpose": as the opening track, the song provided a stark contrast to the hard rock sound found on its predecessor. The song was also unlike "Space Oddity" and its 1969 parent album, but rather "pure, unashamedly melodic, gleefully commercial, gorgeously mellifluous pop".

"Oh! You Pretty Things" was the first track written for the album. The piano style has been compared to the Beatles' "Martha My Dear". Biographer Chris O'Leary writes that Bowie played piano on the track alone. Wakeman contended in a BBC interview in 2017 that Bowie played piano in the beginning section before he took over for the rest of the track. The lyrics reference the teachings of the occultist Aleister Crowley and his Golden Dawn and the philosopher Friedrich Nietzsche, particularly with the lines "the homo superior", "the golden ones" and "homo sapiens have outgrown their use". "Homo Superior" refers to Nietzsche's theory of Übermensch, or "Superman". The music itself provides a contrast to the darker themes. Doggett describes Bowie's vocal performance as "quite unadorned, presented so starkly ... that it [is] almost unsettling".

Designed to sound like a "continuation" of the previous track, "Eight Line Poem" is described by Pegg as the album's most "overlooked" song. It features Bowie on a gentle, sporadic piano while he sings and a country-influenced guitar line from Ronson. Exactly eight lines long, the lyrics describe a room where a cat just knocked over a spinning mobile and a cactus sits in a window. Doggett believes there is a metaphor between the cactus and a prairie. At the time of the album's release, Bowie described the song as the city that is "a kind of high-life wart on the backside of the prairie".

"Life on Mars?" is described by Buckley as a "soaring, cinematic ballad". Although Bowie was fixated on becoming Ziggy Stardust at the time of its recording, the song has no connection to Mars itself; the title was a reference to the recent media frenzy of the US and Soviet Union racing to get to the red planet. The song is a parody of singer Frank Sinatra's "My Way" and uses the same chord sequence for its opening bars. The handwritten notes on the back cover say "Inspired by Frankie". Like most songs on the album, "Life on Mars?" is mostly piano-led, but features a string arrangement from Ronson – his first – that is described by Doggett as "gargantuan". Bowie's vocals – recorded in one take – are delivered passionately during the chorus and almost nasally in the verses. He mentions "the girl with the mousy hair", whose identity commentators have debated, and who according to Greene "goes to the movies as an escape from life".

A few days after his son Duncan Zowie Haywood Jones was born on 30 May 1971, Bowie completed "Kooks" and dedicated it to him. Performed by Bowie as early as 3 June, the Hunky Dory version features a string arrangement from Ronson and trumpet played by Bolder. "Kooks" is noticeably lighter than the two tracks it is sequenced between but, according to Pegg, ultimately "carries a hint of [the album's] preoccupation with the compulsion to fictionalise life, as Bowie invites his son to 'stay in our lovers' story'". Doggett writes that its inclusion on Hunky Dory "ensured its enduring appeal among those who were less entranced by his explorations of politics, psychology and occult elsewhere on the album". In the handwritten liner notes on the LP sleeve, Bowie wrote "For Small Z".

According to Pegg, "Quicksand" was inspired by Bowie's trip to America in February 1971. Doggett states that the song "was written about a lack of inspiration and as a means of accessing it". Writer Colin Wilson wrote in The Occult (1971) that thought was a form of quicksand that allowed consciousness to keep the unconscious beyond reach, from which Doggett concluded that Quicksand' was Bowie's plea to search within himself to be shown the way". In the mid-1970s, Bowie described the song as "a mixture of narrative and surrealism" and a "precursor" to the music of his 1977 album Low. Throughout the track, Bowie makes numerous references to Crowley and his Golden Dawn, Winston Churchill, Heinrich Himmler and the "supermen" of Friedrich Nietzsche. "Quicksand" also evokes spiritualism through the mention of Buddhist teachings such as bardo. The instrumental track features multiple layers of acoustic guitars atop one another, which was done at Scott's insistence.

Side two
"Fill Your Heart", written by Biff Rose and Paul Williams, is the only track on Hunky Dory not written by Bowie; it is his first recorded cover song in six years. It replaced "Bombers" as the side two opener late in the album's development. "Fill Your Heart" is one of the more up-tempo tracks on the album, and according to Doggett is "practically identical" to Rose's original version, albeit more "bouncy" and less "swung". The piano-driven arrangement differs from Bowie's live performances of the song in 1970 when acoustic guitar dominated. Pegg writes that the track provides a "cogent counterpoint" to the "angst" of "Quicksand" and the "cautionary warnings" of "Changes" and is best remembered for Bowie's saxophone break, Ronson's string arrangement, and Wakeman's piano solo.

The song "Andy Warhol" is a tribute to American artist, producer, and director Andy Warhol, who had inspired Bowie since the mid-1960s and was described by him as "one of the leaders" of "the media of the streets, street messages". Originally written for Bowie's friend Dana Gillespie, the song is based around a riff played on two acoustic guitars that heavily resembles the intro of Ron Davies' "Silent Song Across the Land". The lyrics emphasise Warhol's belief that life and art blur together. The song's opening features Ken Scott saying "This is 'Andy Warhol', and it's take one", only for Bowie to correct his pronunciation of "Warhol". When Bowie met Warhol in September 1971 and played the song for him, Warhol hated it and left the room; Bowie recalled in 1997 that he found the meeting "fascinating" because Warhol had "nothing to say at all, absolutely nothing".

"Song for Bob Dylan" is a tribute song to singer-songwriter Bob Dylan. It was described by Bowie at the time as "how some see BD", and its title is a parody of Dylan's 1962 tribute to folk singer Woody Guthrie, "Song to Woody". Throughout the song, Bowie addresses Dylan by his real name "Robert Zimmerman". Pegg and Doggett believe the song highlights Bowie's struggle with identity, from his real name David Jones, to his stage name David Bowie and, very shortly, to Ziggy Stardust. The lyrics specifically present Dylan as no longer being a hero figure for rock music, and demand that he return to his roots and come to the rescue for the unfaithful. According to Doggett, Bowie initially wrote it for his friend George Underwood. The music contains Dylanesque chord changes and the chorus is derived from the titles of two Velvet Underground songs, "Here She Comes Now" and "There She Goes Again". Buckley writes that the song is "probably the weakest" on the album and Pegg considers it "little-regarded".

The final tribute song on the album, "Queen Bitch" is largely inspired by the rock band the Velvet Underground, specifically their lead singer Lou Reed. The handwritten sleeve notes on the back cover read: "some V.U. White Light returned with thanks". The song is described by Jon Savage of The Guardian as glam rock and by Joe Lynch of Billboard as proto-punk. Unlike the majority of the album's tracks, "Queen Bitch" is primarily driven by guitar rather than piano. The chorus sings about Bowie mincing his "satin and tat" as a reference to dancer Lindsay Kemp. Pegg states: "Part of the genius of 'Queen Bitch' is that it filters the archness of Marc Bolan and Kemp through the streetwise attitude of Reed: this is a song that succeeds in making the phrase 'bipperty-bopperty hat' sound raunchy and cool." Daryl Easlea of BBC Music writes that the song's glam rock sound foreshadowed the direction Bowie was going to take on Ziggy Stardust.

The album closer, "The Bewlay Brothers", was a late addition and the only track that was not demoed. The instrumentation echoes the music of The Man Who Sold the World, featuring "sinister" sound effects and Bowie's vocal accompanied by Ronson's acoustic guitar. The song's obscure lyrics have caused confusion among Bowie biographers and fans. Immediately before the vocal take, Bowie told Scott, "Don't listen to the words, they don't mean anything." Pegg describes it as "probably the most cryptic, mysterious, unfathomable and downright frightening Bowie recording in existence", and Buckley considers it "one of Bowie's most disquieting moments on tape, an encapsulation of some distant, indefinable quality of expressionistic terror". Many reviewers have perceived the track to have homoerotic undertones; others believed it to be about Bowie's relationship with his schizophrenic half-brother Terry Burns, which Bowie confirmed in 1977. Buckley is unsure whether this account is fictionalised or real. Some of the lyrics refer to other tracks on Hunky Dory, including "Song for Bob Dylan", "Oh! You Pretty Things" and "Changes". Bowie also uses the word "chameleon" in the song, which became an oft-used term to describe him.

Title and artwork
The cover photograph was taken by Brian Ward, who was introduced to Bowie by Bob Grace at Ward's studio in Heddon Street. An early idea was for Bowie to dress as a pharaoh, partly inspired by the media's infatuation with the British Museum's new Tutankhamun exhibit. According to Pegg, photos of Bowie posing "as a sphinx and in a lotus position" were taken – one was released as part of the 1990 Space Oddity reissue – but the idea was ultimately abandoned. Bowie recalled: "We didn't run with it, as they say. Probably a good idea." Bowie opted for a more minimalist image reflecting the album's "preoccupation with the silver screen". He later said: "I was into Oxford bags, and there are a pair, indeed, on the back of the album. [I was attempting] what I presumed was kind of an Evelyn Waugh Oxbridge look." The final image is a close-up of Bowie looking past the camera while he pulls back his hair. Pegg writes that his pose was influenced by actresses Lauren Bacall and Greta Garbo. Originally shot in monochrome, the image was recoloured by illustrator Terry Pastor, a partner at Covent Garden's recently initiated Main Artery design studio with George Underwood; Pastor later designed the cover and sleeve for Ziggy Stardust. Pegg writes: "Bowie's decision to use a re-coloured photo suggests a hand-tinted lobby-card from the days of the silent cinema and, simultaneously, Warhol's famous Marilyn Diptych screen-prints." Dimery writes that Bowie took a photo book that contained multiple Marlene Dietrich prints with him to the photoshoot.

Although Bowie normally waited to name his albums until the last possible moment, the title "Hunky Dory" was announced at the John Peel session. Grace got the idea from an Esher pub landlord. He told Peter and Leni Gillman, the authors of Alias David Bowie, that the landlord had an unusual vocabulary that was infused with "upper-crust jargon" such as "prang" and "whizzo" and "everything's hunky-dory". Grace told Bowie, who loved it. Pegg notes that there was a song from 1957 by American doo-wop band the Guytones also titled "Hunky Dory" that may also have played a part. Spitz states that "hunky-dory" is an English slang term that means everything is right in the world. The original UK cover featured Bowie's name and the album title; in the US the title was instead printed on a sticker and placed onto the translucent wrapping. According to Cann, initial UK pressings were laminated, which enhanced the colour to create a "superior finish"; these pressings are now collector's items. The back cover featured Bowie's handwritten notes about each song from the album. It also bore the credit "Produced by Ken Scott (assisted by the actor)" – the "actor" being Bowie himself, whose "pet conceit", in the words of NME critics Roy Carr and Charles Shaar Murray, was "to think of himself as an actor".

Release
A few months after he had terminated Bowie's contract with Mercury, Defries showcased the newly recorded Hunky Dory to multiple labels in the US, including New York City's RCA Records. Defries told RCA that they "had nothing since the fifties" but they could "own the seventies" if they hired Bowie. "Because David Bowie is going to remake the decade, just like the Beatles did in the sixties." Its head Dennis Katz had never heard of Bowie but recognised the potential of the piano-based songs that Defries played for him and signed the artist to a three-record deal on 9September 1971; RCA would be Bowie's label for the rest of the decade.

Hunky Dory was released in the UK on 17December 1971 through RCA. By this time, the sessions for Ziggy Stardust were underway. The album release was supported by the single "Changes" on 7January 1972. The album received little promotion from RCA due to its unusual cover image and a warning that Bowie would be changing his image for his next album. Pegg writes that there were disagreements over how much money was put into the album and whether Bowie was an "unproven one-hit-wonder". Marketing manager Geoff Hannington recalled in 1986: "We soon knew we were in a situation where the artist was going to change like a chameleon from time to time." Because of this, the album initially sold poorly and failed to break the UK Albums Chart. According to Sandford, the album barely sold 5,000 copies in the first quarter.

It was only after the breakthrough of Ziggy Stardust in mid-1972 that Hunky Dory became a commercial success. It climbed to number three in the UK (two places higher than Ziggy Stardust), and remained on the chart for 69 weeks. Hunky Dory also peaked at number 39 on the Kent Music Report in Australia. Gallucci writes that although the album did not make Bowie a star, it "got him noticed", and the success of Ziggy Stardust helped Hunky Dory garner a larger audience. RCA released "Life on Mars?" as a single on 22June 1973, which also made number three in Britain. A reissue returned the album to the UK chart in January 1981, where it remained for 51 weeks.

Critical reception
Hunky Dory was met with very positive reviews from several British and American publications. Melody Maker called it "the most inventive piece of song-writing to have appeared on record in a considerable time", while Danny Holloway of the NME described it as Bowie "at his brilliant best". Holloway added that "[Hunky Dory is] a breath of fresh air compared to the usual mainstream rock LP of [1972]. It's very possible that this will be the most important album from an emerging artist in 1972, because he's not following trends – he's setting them". In the US, John Mendelsohn of Rolling Stone called the album Bowie's "most engaging album musically" up to that point and praised his songwriting, particularly his ability to convey ideas without employing "a barrage of seemingly impregnable verbiage". Billboard gave the album a positive review, praising it as "a heavy debut for RCA, loaded with the kind of Top 40 and FM appeal that should break him through big on the charts. Strong material, his own, for programming includes 'Changes', 'Oh! You Pretty Things', and 'Life on Mars?'".

Several reviewers praised Bowie as an artist. The New York Times wrote that with Hunky Dory, Bowie became "the most intellectually brilliant man yet to choose the long-playing album as his medium of expression", while Rock magazine called him "the most singularly gifted artist making music today. He has the genius to be to the '70s what Lennon, McCartney, Jagger and Dylan were to the '60s." In The Village Voice, Robert Christgau hailed Bowie as "a singer-composer with brains, imagination, and a good idea of how to use a recording console", and the album "a quick change tour de force that is both catchy and deeply felt".

Hunky Dory has continued to receive critical acclaim and is regarded as one of Bowie's best works. Many reviewers have praised the songwriting, with a writer for Blender calling the songs some of the best Bowie has ever written. Others, including Bryan Wawzenek of Ultimate Classic Rock, have commended the wide array of genres present in the songs and their ability to blend together throughout. Erlewine wrote: "On the surface, [having] such a wide range of styles and sounds would make an album incoherent, but Bowie's improved songwriting and determined sense of style instead made Hunky Dory a touchstone for reinterpreting pop's traditions into fresh, postmodern pop music". Similarly, Greg Kot of the Chicago Tribune described the album as "the first taste of Bowie's multifaceted genius".

In a 2013 readers' poll for Rolling Stone, Hunky Dory was voted Bowie's second greatest album, behind Ziggy Stardust. Douglas Wolk of Pitchfork reviewed the album's remaster for the 2015 box set Five Years 1969–1973 and gave it a 10-out-of-10 rating, believing the songs to be "scattered but splendid" and finding Bowie's songwriting a "huge leap" from his previous works. Another Pitchfork writer, Ryan Schrieber, stated: "The album is by no means his most cohesive release, but it remains one of his most charming, and unquestionably, one of his best." Following Bowie's death in 2016, Rob Sheffield of Rolling Stone listed it as one of Bowie's essential albums, writing, "Hunky Dory was the album where he staked his claim as the most altered ego in rock & roll."

Influence and legacy
Many biographers and reviewers have agreed that Hunky Dory marked the beginning of Bowie's artistic success. Pegg writes: "Hunky Dory stands at the first great crossroads in Bowie's career. It was his last album until Low to be presented purely as a sonic artefact rather than a vehicle for the dramatic visual element with which he was soon to make his name as a performer". Buckley notes that 1971 was a pivotal year for Bowie, the year in which he became "something of a pop-art agent provocateur". In a time when rock musicians looked to traditions and established standards, Bowie looked to be radically different and challenge tradition, reinventing himself again and again, thereby creating new standards and conventions. Buckley further said: "Its almost easy-listening status and conventional musical sensibility has detracted from the fact that, lyrically, this record lays down the blueprint for Bowie's future career". Spitz writes that many artists have their "it all came together on this one" record. "For David Bowie, it's Hunky Dory". Biographer Paul Trynka states that the record marked a "new beginning" for the artist and that has a "freshness" to it that all of Bowie's previous studio albums lacked, primarily because when making his previous albums, Bowie was working to satisfy record executives. When making Hunky Dory, Bowie was working to satisfy himself, which is reflected in the record.

BBC Music's Daryl Easlea wrote that the album saw Bowie finding his own voice after "scrabbling around stylistically" for almost a decade and "finally demonstrated [his] enormous potential to the listening public". Schrieber stated: "Hunky Dory marked the true start of what would be one of the most successful careers in rock music, spawning millions of scarily obsessive fans." Similarly, Michael Gallucci of Ultimate Classic Rock contended that Hunky Dory is "where Bowie starts to become Bowie", featuring lyrical and stylistic themes he would replicate on future releases. He concludes that all Bowie's future guises begin to find their voices with Hunky Dory. NME's Emily Barker called it Bowie's "most time-tested album" and wrote, "it was [his] incredible song-writing gifts on [the record] that convinced us he was beamed from the stars." Writer Colin Larkin called it his most "eclectic" album and served as the preparation for Bowie's subsequent changes in musical direction. In 2016, Billboard's Joe Lynch argued that Hunky Dory provided the "blueprint" for lo-fi indie pop records for the next 25 years, citing Ariel Pink as an artist influenced by the album.

Many musicians have acknowledged the album's influence. In 1999, Dave Stewart of Eurythmics said: "Hunky Dory – I love the sound of it. I still kind of use it as a sort of reference-point." In 2002, Culture Club's Boy George cited Hunky Dory as the record that changed his life, saying: "The album as a whole is so unusual, so far removed from anything you heard on the radio. It's so complete, it all fits together." In an interview with Mojo in 2007, KT Tunstall declared Hunky Dory her favorite album, saying: "It's the only record where I've experienced total jaw-dropping awe for the whole of it because that feeling of being lost and being taken somewhere else is so strong." In an interview with NME the following year, Guy Garvey of Elbow recognised Hunky Dory as the album that had influenced him the most.

Reissues
The album has been reissued multiple times. Following its release on compact disc in the mid-1980s, Hunky Dory was rereleased by Rykodisc/EMI in 1990 with bonus tracks, including the outtake "Bombers". In 1999, the original album was rereleased on CD through Virgin/EMI with 24-bit digitally remastered sound. This edition was reissued in 2014 by Parlophone, having acquired the Virgin-owned Bowie catalogue. In 2015, the album was remastered for the Five Years (1969–1973) box set. It was released in CD, vinyl, and digital formats, both as part of this compilation and separately. In 2021, to celebrate the record's 50th anniversary, Parlophone announced a vinyl picture disc reissue of the album (2015 remaster), which was released on 7January 2022. The announcement coincided with the digital release of a new mix of "Changes" by Scott. In November 2022, a multi-disc box set focusing on Hunky Dory was released with the title Divine Symmetry: The Journey to Hunky Dory. The collection comprises home demos, BBC radio sessions, alternate mixes, and other live and studio recordings from 1971. It also includes the 2015 remaster, as well as an "alternative" version of Hunky Dory, made up of alternate mixes; the latter was released separately on vinyl in February 2023.

Rankings
Hunky Dory has frequently appeared on several lists of the greatest albums of all time by multiple publications. In 1998, Q magazine readers voted it the 43rd greatest album of all time; in 2000 the same magazine placed it at number 16 in its list of the 100 Greatest British Albums Ever. The album ranked number 16 and number 23 in the 1998 and 2000 editions of Colin Larkin's book All Time Top 1000 Albums, respectively. In their list of the 500 Greatest Albums of All Time, Rolling Stone ranked it number 107 in 2003, number 108 in the 2012 revised list, and number 88 in the 2020 revised list. In 2004, Pitchfork ranked the album 80th on their list of the 100 Best Albums of the 1970s, one place above Ziggy Stardust. In the same year, VH1 placed it 47th in their list of the 100 greatest albums. In 2010, Time magazine chose it as one of the 100 best albums of all time, with journalist Josh Tyrangiel praising Bowie's "earthbound ambition to be a boho poet with prodigal style". The same year, Consequence of Sound ranked the album number 18 on their list of the 100 greatest albums of all time. In 2013, NME ranked the album third in their list of the 500 Greatest Albums of All Time, behind the Beatles' Revolver and the Smiths' The Queen Is Dead. In 2015, Ultimate Classic Rock included it in their list of the 100 best rock albums from the 1970s. Robert Dimery included the album in his 2005 book 1001 Albums You Must Hear Before You Die.

Track listing
All tracks are written by David Bowie, except "Fill Your Heart", written by Biff Rose and Paul Williams.

Side one
 * 1) "Changes" – 3:37
 * 2) "Oh! You Pretty Things" – 3:12
 * 3) "Eight Line Poem" – 2:55
 * 4) "Life on Mars?" – 3:43
 * 5) "Kooks" – 2:53
 * 6) "Quicksand" – 5:08

Side two
 * 1) "Fill Your Heart" – 3:07
 * 2) "Andy Warhol" – 3:56
 * 3) "Song for Bob Dylan" – 4:12
 * 4) "Queen Bitch" – 3:18
 * 5) "The Bewlay Brothers" – 5:22

Personnel
Album credits per the Hunky Dory liner notes and biographer Nicholas Pegg, except where noted.
 * David Bowie – vocals, guitar, alto and tenor saxophone, piano ("Oh! You Pretty Things", "Eight Line Poem")
 * Mick Ronson – guitar, vocals, Mellotron, arrangements, recorder ("Life on Mars?")
 * Trevor Bolder – bass guitar, trumpet
 * Mick Woodmansey – drums
 * Rick Wakeman – piano
 * Ken Scott – ARP synthesiser ("Andy Warhol")

Production
 * Ken Scott – producer, recording engineer, mixing engineer
 * David Bowie – producer
 * Brian Ward – photography
 * Terry Pastor – cover design

title: Hunky Dory


text:
The Journal (Canadian TV program)

The Journal was a current affairs newsmagazine television program broadcast on CBC Television from 1982 to 1992. It aired weeknights at 10:22 pm, following The National at 10 pm, and expanding on stories presented on there with in-depth interviews, documentaries, and televised "town hall" meetings. The division of the 10:00 hour into two entirely separate programs, and the length of each, reflect the separation and political tension between the CBC's then-separate news and public affairs production units.

The program premiered on January 11, 1982. In its first season, it was hosted by Barbara Frum and Mary Lou Finlay, and was the first network news program in the world hosted by two women without a male co-anchor. However, after the first season Frum became the program's sole host, although Finlay remained with the program as a reporter and documentary producer. Frum anchored on her own until her death in 1992. The program was produced for its entire run by Mark Starowicz, who had produced As It Happens for CBC Radio, which also featured Frum. Guest hosts when Frum was absent from The Journal included Bill Cameron, Peter Kent, Keith Morrison, Lyn Whitham and Brian Stewart.

Interviews were generally conducted in the early years of the program using a technique known as the double-ender, wherein guests were interviewed earlier in the day on videotape and later presented as live using a split screen. As satellite television technology progressed and became more commonplace, interviews were instead conducted using satellite uplinks.

Beginning in the late 1980s, Friday night's edition of The Journal was frequently given over to arts and literature, under the rubric Friday Night Arts. The Friday arts program was anchored by Daniel Richler or David Gilmour. At other times, an entire show—or even, in one case, an entire week of shows—would be devoted to a single topic, usually in the form of the "full-edition documentary"; documentary topics ranged from the serious (aboriginal land claims and the Oka crisis) to the mundane (a 30-minute exposé on feet). One of the most memorable documentaries was a two-part travelogue by Allen Abel driving from Budapest to Bucharest two days after the fall of the Ceauşescu regime in Romania.

The Journal was based on CBC Winnipeg's successful suppertime program, 24Hours. It also bore many similarities in its format to the American program Nightline which premiered three years earlier, in 1979.

Cancellation
Following Frum's death in 1992, and with plans underway to move their daily news and current affairs hour to 9 pm, the CBC chose to also revamp its entire approach to TV news programming. In the fall of 1992, CBC Prime Time News debuted with Peter Mansbridge and Pamela Wallin as equal cohosts of a package that mixed news and Journal-type features into a single program. That format lasted only two years before reverting to the old National/Journal format, although the name Prime Time News persisted for another year. When the news program returned to the name The National in 1995, the current affairs program became The National Magazine. This subsequently was renamed The Magazine. It was again reintegrated into the first half news program, as The National, in 2001.

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

title: The Journal (Canadian TV program)


text:
Jesse Crowell

Jesse Crowell (November 19, 1797 Bridgewater, Oneida County, New York – September 28, 1872 Albion, Calhoun County, Michigan) was a pioneer settler in Michigan, who platted Albion, Michigan, in 1836, was its first postmaster, and played an important role in the public affairs and the development of Albion. He is renowned as Albion's Greatest Benefactor.

Life
His parents died when he was young. He removed to Albion, Oswego County, New York. He was a member of the New York State Assembly (Oswego Co.) in 1835.

Crowell came to Albion in 1835 with the intention to find water power and build a mill. He found the site at the forks of the Kalamazoo River.

Crowell was the main organizer, along with fellow pioneer settlers Tenney Peabody, Issachor Frost and D. L. Bacon, of the Albion Company - a firm which laid the plat for the town in 1836. In 1837, he negotiated for a post office and became the first postmaster. Through the Albion Company, Crowell sold property to other early settlers, donated land to establish churches, and established the Albion Burying Ground - later to become Riverside Cemetery. In 1838, he donated 60 acres (240,000 m2) of land and an additional 3 block for the Wesleyan Female Seminary, which later became Albion College. In its first years, Crowell served on the school's board of directors and contributed liberally to the institution.

Crowell operated his Stone Mill from 1845 until his death, exporting products throughout the country. In 1917 this building was converted for use as a bank, removing the upper story, and applying a neoclassical front on the Superior St facade. The south wall of the Stone Mill may still be seen to this day.

He never married, he had no children, but gave generously of his time, money, and energy for the building of Albion.

Crowell is associated with many places in Albion. Crowell's Michigan Avenue home was purchased by Dr. Stephen Munroe in 1873. A retired physician, Munroe added a mansard roof and third floor to the structure. The family of Albion State Bank president David A. Garfield were the final residents of the house. Mrs. Garfield was the niece of Dr. Munroe. The Garfield's lived there until the house was demolished in 1926 to make way for Wesley Hall, a girls' dormitory for Albion College, later expanded for the use of all Albion College freshmen.

Crowell Park is located on North Superior Street. Named Washington Square in the original 1836 plat map and later known as Washington Park, this park was at one time extensively landscaped. Albion's water tower is located on this hill-top location. In the center of the park is the cornerstone from Crowell's stone mill.

Crowell School was named in his honor and opened in 1955 in the northwest corner of town. Because of declining student enrollment, this elementary school was converted for use as administrative offices in 2004.

Finally, the Crowell Block (303-307 Superior) in the Superior Street National Commercial Historic District downtown (listed on the National Register of Historic Places), was built by Crowell (c.1858) and was part of a row of three story commercial buildings between the Albion Opera House and the Brockway block on the corner of Superior and Erie.

title: Jesse Crowell


text:
Lecithin

Lecithin (from the Ancient Greek λέκιθος lékithos "yolk") is a generic term to designate any group of yellow-brownish fatty substances occurring in animal and plant tissues which are amphiphilic – they attract both water and fatty substances (and so are both hydrophilic and lipophilic), and are used for smoothing food textures, emulsifying, homogenizing liquid mixtures, and repelling sticking materials.

Lecithins are mixtures of glycerophospholipids including phosphatidylcholine, phosphatidylethanolamine, phosphatidylinositol, phosphatidylserine, and phosphatidic acid.

Lecithin was first isolated in 1845 by the French chemist and pharmacist Théodore Gobley. In 1850, he named the phosphatidylcholine lécithine. Gobley originally isolated lecithin from egg yolk and established the complete chemical formula of phosphatidylcholine in 1874; in between, he demonstrated the presence of lecithin in a variety of biological materials, including venous blood, human lungs, bile, roe, and brains of humans, sheep and chicken.

Lecithin can easily be extracted chemically using solvents such as hexane, ethanol, acetone, petroleum ether or benzene; or extraction can be done mechanically. Common sources include egg yolk, marine foods, soybeans, milk, rapeseed, cottonseed, and sunflower oil. It has low solubility in water, but is an excellent emulsifier. In aqueous solution, its phospholipids can form either liposomes, bilayer sheets, micelles, or lamellar structures, depending on hydration and temperature. This results in a type of surfactant that usually is classified as amphipathic. Lecithin is sold as a food additive and dietary supplement. In cooking, it is sometimes used as an emulsifier and to prevent sticking, for example in non-stick cooking spray.

Production
Commercial lecithin, as used by food manufacturers, is a mixture of phospholipids in oil. The lecithin can be obtained by water degumming the extracted oil of seeds. It is a mixture of various phospholipids, and the composition depends on the origin of the lecithin. A major source of lecithin is soybean oil. Because of the EU requirement to declare additions of allergens in foods, in addition to regulations regarding genetically modified crops, a gradual shift to other sources of lecithin (such as sunflower lecithin) is taking place. The main phospholipids in lecithin from soy and sunflower are phosphatidylcholine, phosphatidylinositol, phosphatidylethanolamine, phosphatidylserine, and phosphatidic acid. They are often abbreviated to PC, PI, PE, PS and PA, respectively. Purified phospholipids are produced by companies commercially.

Hydrolysed lecithin
To modify the performance of lecithin to make it suitable for the product to which it is added, it may be hydrolysed enzymatically. In hydrolysed lecithins, a portion of the phospholipids have one fatty acid removed by phospholipase. Such phospholipids are called lysophospholipids. The most commonly used phospholipase is phospholipase A2, which removes the fatty acid at the C2 position of glycerol. Lecithins may also be modified by a process called fractionation. During this process, lecithin is mixed with an alcohol, usually ethanol. Some phospholipids, such as phosphatidylcholine, have good solubility in ethanol, whereas most other phospholipids do not dissolve well in ethanol. The ethanol is separated from the lecithin sludge, after which the ethanol is removed by evaporation to obtain a phosphatidylcholine-enriched lecithin fraction.

Genetically modified crops as a source of lecithin
As described above, lecithin is highly processed. Therefore, genetically modified (GM) protein or DNA from the original GM crop from which it is derived often is undetectable – in other words, it is not substantially different from lecithin derived from non-GM crops. Nonetheless, consumer concerns about genetically modified food have extended to highly purified derivatives from GM food, such as lecithin. This concern led to policy and regulatory changes in the EU in 2000, when Commission Regulation (EC) 50/2000 was passed which required labelling of food containing additives derived from GMOs, including lecithin. Because it is nearly impossible to detect the origin of derivatives such as lecithin, the European regulations require those who wish to sell lecithin in Europe to use a meticulous, but essential system of identity preservation (IP).

Properties and applications
Lecithins have emulsification and lubricant properties, and are a surfactant. They can be completely metabolized (see inositol) by humans, so are well tolerated by humans and nontoxic when ingested.

The major components of commercial soybean-derived lecithin are:
 * 33–35% soybean oil
 * 20–21% phosphatidylinositols
 * 19–21% phosphatidylcholine
 * 8–20% phosphatidylethanolamine
 * 5–11% other phosphatides including phosphatidylserine
 * 5% free carbohydrates
 * 2–5% sterols
 * 1% moisture

Lecithin is used for applications in human food, animal feed, pharmaceuticals, paints, and other industrial applications.

Applications include:
 * In the pharmaceutical industry, it acts as a wetting agent, stabilizing agent and a choline enrichment carrier, helps in emulsification and encapsulation, and is a good dispersing agent. It can be used in manufacture of intravenous fat infusions and for therapeutic use.
 * In animal feed, it enriches fat and protein and improves pelletization.
 * In the paint industry, it forms protective coatings for surfaces with painting and printing ink, helps as a rust inhibitor, is a colour intensifying agent, catalyst, conditioning aid modifier, and dispersing aid; it is a good stabilizing and suspending agent, emulsifier, and wetting agent, helps in maintaining uniform mixture of several pigments, helps in grinding of metal oxide pigments, is a spreading and mixing aid, prevents hard settling of pigments, eliminates foam in water-based paints, and helps in fast dispersion of latex-based paints.
 * Lecithin also may be used as a release agent for plastics, an anti-sludge additive in motor lubricants, an anti-gumming agent in gasoline, and an emulsifier, spreading agent, and antioxidant in textile, rubber, and other industries.

Food additive
The nontoxicity of lecithin leads to its use with food, as a food additive or in food preparation. It is used commercially in foods requiring a natural emulsifier or lubricant.

In confectionery, it reduces viscosity, replaces more expensive ingredients, controls sugar crystallization and the flow properties of chocolate, helps in the homogeneous mixing of ingredients, improves shelf life for some products, and can be used as a coating. In emulsions and fat spreads, such as margarines with a high fat content of more than 75%, it stabilizes emulsions, reduces spattering (splashing and scattering of oil droplets) during frying, improves texture of spreads and flavor release. In doughs and baking, it reduces fat and egg requirements, helps even out distribution of ingredients in dough, stabilizes fermentation, increases volume, protects yeast cells in dough when frozen, and acts as a releasing agent to prevent sticking and simplify cleaning. It improves wetting properties of hydrophilic powders (such as low-fat proteins) and lipophilic powders (such as cocoa powder), controls dust, and helps complete dispersion in water. Lecithin keeps cocoa and cocoa butter in a candy bar from separating. It can be used as a component of cooking sprays to prevent sticking and as a releasing agent.

In the EU Lecithin is designated at food additive E322.

Dietary supplement
Lecithin contains dietary precursors to choline, an essential nutrient, which was formerly classified as a B vitamin (vitamin B4). Lecithin is a mixture of fats that contains phospholipids, including phosphatidylcholine, and the human body can convert phosphatidylcholine into choline. The choline content in lecithin can vary, but it's found that phosphatidylcholine makes up about 25 to 35 percent of lecithin. Furthermore, only about 12 percent of phosphatidylcholine is actually choline. This adds up to a choline content of approximately 4 percent for lecithin. For example, 10 grams of lecithin has 2,500mg of phosphatidylcholine.

Phosphatidylcholine is approximately 13.7% choline; as such, about 342mg of choline is present per 10 grams of lecithin. Therefore, 10 grams of lecithin can be a source for the body to produce about the same amount of choline (342mg) as can be produced by the body from 2 egg yolks. The recommended intake of choline varies depending on age, sex, and physiological conditions, and is roughly 500 mg per day for adults.

Lecithin is generally recognized as safe (GRAS) by the FDA.

There is no robust, scientifically validated clinical research investigating the safety and effectiveness of high-dose lecithin supplementation in lactating women and their infants. A meta-analysis found no evidence that high doses of lecithin improved milk flow in breast-feeding mothers or infants, though concluded that that "higher maternal choline intake was likely to be associated with better child neurocognition and neurodevelopment."

Soy lecithin does not contain enough allergenic proteins for most people allergic to soy, although the US FDA only exempts a few soy lecithin products from its mandatory requirements for allergenic source labeling. An alternative source of lecithin, derived from sunflowers, is available as a dietary supplement for those with concerns about soy-based foods.

A 2003 review of randomized trials found no benefit of lecithin in people with dementia.

Religious restrictions
Soy-derived lecithin is considered by some to be kitniyot and prohibited on Passover for Ashkenazi Jews when many grain-based foods are forbidden, but not at other times. This does not necessarily affect Sephardi Jews, who do not have the same restrictions on rice and kitniyot during Passover.

Muslims are not forbidden to eat lecithin per se; however, since it may be derived from animal as well as plant sources, care must be taken to ensure this source is halal. Lecithin derived from plants and egg yolks is permissible, as is that derived from animals slaughtered according to the rules of dhabihah.

Sunflower lecithin, sourced from the seeds of sunflowers, is entirely plant-based and may be an option for those with religious or cultural concerns regarding food intake.

title: Lecithin


text:
Joe Trippi

Joseph Paul Trippi (born June 10, 1956) is an American political strategist. A member of the Democratic Party, Trippi most notably served as campaign manager of Howard Dean's 2004 presidential bid, and has served as a political commentator for CNN since 2018. He has worked on a number of prominent gubernatorial and United States Senate campaigns, including the successful bids of Jerry Brown for Governor of California and Doug Jones for U.S. Senate in Alabama.

Early life and education
Trippi was born in Jamestown, New York and raised in Los Angeles, California. Trippi began his career in the mid-1970s working on several local elections in San Jose, California while he was attending San Jose State University, before leaving college a few credits shy of graduation to join the Ted Kennedy 1980 presidential campaign. During college he was a member of Sigma Nu fraternity.

Career
Trippi served as Deputy Campaign Manager for Los Angeles Mayor Tom Bradley's successful reelection bid in 1981 and his unsuccessful run in the 1982 California gubernatorial election. During Bradley's gubernatorial campaign, Trippi installed one of the first in-house computers for a political campaign, the DEC-PDP11. Trippi used it for fundraising and targeting.

National
In 2010, Trippi was a senior strategist and media consultant in Jerry Brown's successful run for reelection as California Governor. The Brown ads Trippi & Associates produced received four Pollie awards for excellence in political media and Time named one ad, "Echo," the best ad of 2010. Andrew Romanoff, who challenged the incumbent Senator Michael Bennet in the 2010 United States Senate election in Colorado, announced his campaign had hired Trippi as one of its four new consultants.

Trippi worked on a number of recent House victories for Representatives Tulsi Gabbard, Janice Hahn, Mark Takano, and Seth Moulton. Moulton, a former Marine from Massachusetts, won in a shocking come-from-behind upset. The campaign overcame millions in outside spending to beat 18-year incumbent John Tierney in the primary and Richard Tisei in the targeted general election. In a 2015 article from The Boston Globe, Moulton recalled nationally renowned pollster Mark Mellman telling him to quit the race because it would be "statistically impossible" to win.

In 2017, Trippi worked on the special election to fill the Senate seat vacated by Jeff Sessions on behalf of former US Attorney for the Northern District of Alabama Doug Jones. In his victory speech, Jones referred to Trippi as the "greatest political consultant in the world".

After the historic come-from-behind victory in Alabama, Trippi worked for Democratic candidates in both of the 2018 United States Senate elections in Mississippi Trippi worked with Howard Sherman for seat currently held by incumbent Roger Wicker, and with former Secretary of Agriculture Mike Espy in the special election for the Senate seat vacated by Thad Cochran who decided to resign for health reasons. In 2018, Trippi worked on the campaign of Janet Garrett, a retired schoolteacher and union leader running to unseat the conservative founder of the Freedom Caucus, U.S. Rep. Jim Jordan, in Ohio's 4th congressional district.

Trippi currently serves as senior adviser to Senator Doug Jones and Senate candidate Teresa Tomlinson.

Trippi joined The Lincoln Project in July 2021 as a senior advisor.

International
Trippi has also worked on international political campaigns over the years. In 1993, Trippi worked for then-PASOK leader Andreas Papandreou’s successful campaign of Prime Minister of Greece, as well as for his son, George Papandreou in 2007. Trippi advised former British Prime Minister Tony Blair in 2005. In 2006, he worked for Romano Prodi on his winning race for Prime Minister of Italy.

In 2008, Trippi helped Morgan Tsvangirai and Zimbabwe’s opposition party, the Movement for Democratic Change receive the most votes over Robert Mugabe in elections marred by violence. He also brought media attention to Mugabe’s democratic subversion and violence which led to a unity government and Tsvangarai becoming the Prime Minister of Zimbabwe. As part of the unity government, Tsvangirai designated Roy Bennett as Deputy Minister of Agriculture on February 10, 2009. But Mugabe refused to swear Bennett into office, and three days later Bennett was arrested and charged with treason. Tsvangirai’s party reported that Bennett was being denied food in prison. Trippi led an international campaign to put pressure on Mugabe to release Bennett, and days after his release on March 12, Bennett thanked Trippi for his efforts.

Trippi was hired by the Libertas political party to work on their campaign for the 2009 European Parliament election.

In January 2010, Michael Hastings reported that Joe Trippi was working in Iraq to help launch a secular moderate Shiite party: the Ahrar party headed by Iyad Jamal Al-Din. A day later, Hastings also reported that 20 of Ahrar’s candidates had been struck from the ballot.

Beginning in October 2011, Trippi advised on the implementation of the recommendations of the Bahrain Independent Commission of Inquiry, which was tasked with looking into the incidents that occurred during the period of unrest in Bahrain in February and March 2011, saying he "had no problem working for them" because they were "one of the progressive countries in the Middle Eastern Gulf." The commission released a 500-page report which criticized security forces and provided various conclusions, observations, and recommendations to the government. Trippi ended his work in Bahrain in April 2012.

In 2011, Trippi provided strategic support for the campaign of Goodluck Jonathan in the Nigerian presidential election. In 2015, Trippi helped guide the new media strategy for the election of Nigerian President Goodluck Jonathan, helping him build a following of over 800,000 Nigerians and leading CNN to declare Jonathan the “Facebook President.”

Trippi served as a senior strategist for Cyril Ramaphosa’s successful bid for African National Congress President in 2017, leading to Ramaphosa becoming the President of South Africa.

1984 presidential election
Trippi remained in California to hold his first and only government position as Lieutenant Governor Leo T. McCarthy's Deputy Chief of Staff, before overseeing several successes in Vice President Walter Mondale’s 1984 campaign for the Democratic presidential nomination. Starting with a come-from-behind victory at the Maine State Convention, Trippi eventually managed operations as the state director in Iowa and Pennsylvania, where Mondale won by 30 and 14 points respectively.

1984–1988
Following the Mondale campaign, Trippi joined Senator Ted Kennedy’s PAC, the Fund for a Democratic Majority, as Deputy Director under Paul Tully. At the time, Bob Shrum was chairman of the committee, but he soon resigned to start the media firm Caddell, Doak and Shrum, taking Trippi with him to be Vice President of the firm. During Trippi’s tenure at what became Doak and Shrum, the firm worked on several media campaigns for gubernatorial and senatorial candidates including those of Virginia Governor Gerald Baliles, Senator Alan Cranston of California, Senator Barbara Mikulski of Maryland, and Pennsylvania Governor Bob Casey. Shrum has attributed Trippi with conceiving and producing the famous spot on Cranston’s campaign, "Zschau’s Greatest Hits".

1988 presidential election
In 1987, Trippi left Doak and Shrum to work on Gary Hart’s 1988 presidential bid with former colleague Paul Tully as deputy political director. He was assigned to manage reporters who surrounded the Hart home in Colorado, where Hart's wife, Lee, was on the weekend when the Donna Rice story broke. Trippi lied to a Pinkerton guard in the presence of reporters at the gate of the property -- saying that residents of the home were about to go to sleep -- to cover the subsequent, surreptitious escape of Lee Hart, hiding on the floor of a van Trippi was driving. Two days later, as Gary and Lee Hart flew back from New Hampshire to Colorado to announce he was suspending his campaign, Trippi took part in staging a press motorcade to a canceled Hart event, a subterfuge intended to delay discovery of Hart's flight.

He joined Dick Gephardt's team as deputy campaign manager after Hart withdrew from the race. There, Trippi was instrumental in the creation of the "Hyundai" ad, a television spot which received praise for launching Gephardt from last place in the polls to winning the Iowa caucuses.

1992 presidential election
During the 1992 election cycle, Trippi consulted on the Presidential campaigns of Governor Douglas Wilder of Virginia and Jerry Brown of California. For Brown's campaign, Trippi and colleague Joe Costello orchestrated the first successful use of an 800 number in politics, raising $8 million by advertising the number on television and during debates.

1992–2004
Throughout the rest of the 1990s, Trippi worked as a media consultant and producer for multiple successful congressional races, including Ron Wyden’s run for Oregon's Senate seat, Jim Moran's in Virginia’s 8th district, and Marjorie Margolies-Mezvinsky's in Pennsylvania’s 13th district, which had been held by a Republican for almost 90 years.

In 2002, when five Democratic congressmen were redistricted into Republican majority districts and forced in contests against Republican incumbents, Trippi worked as a strategist and media consultant for Congressman Tim Holden, the only one of the five to win.

2004 presidential election
As national campaign manager for Vermont Governor Howard Dean’s presidential campaign in 2004, Trippi used online technology to organize what he envisioned would become "the largest grassroots movement" in presidential politics at the time. One of these methods included the blog entitled Blog for America where the campaign could communicate directly with supporters. Another was DeanTV, an online streaming platform playing videos and clips from the campaign trail. The campaign also developed technology for a social media site that enabled supporters to connect and campaign for Dean together. Through this innovative use of the Internet for small-donor fundraising, "Dean for America" raised more money than any Democratic presidential campaign to that point – all with donations averaging less than $100.

2004–2017
Trippi joined Jerry Brown again in 2006 serving as media consultant and strategist for his successful bid for California Attorney General. During this cycle he also produced the media for John Hall’s winning campaign for New York's 19th district congressional seat. John Edwards hired Trippi in 2007 as a senior adviser for his 2008 presidential campaign. He also worked as media strategist and a senior adviser for Doug Jones' successful campaign in the 2017 U.S. Senate special election in Alabama, running for the seat left open when Jeff Sessions was appointed as Attorney General.

Other work and advocacy
Apart from campaign politics, Trippi has been involved in many other facets of the political world. He was named a fellow at the Harvard Institute of Politics and at the New Politics Institute, a think tank of the New Democrat Network. He also serves on the advisory board to nonpartisan organization Why Tuesday? that encourages increased voter participation. He founded the consultancies Trippi & Associates and Trippi International in 2004. He has had roles on various cable and broadcast networks, previously as a contributor on MSNBC and Fox News, and a political analyst on CBS News.

Trippi has consulted with a number of leading non-profits and corporations including the Humane Society of the United States, the American Cancer Society, Best Friends Animal Society, Monster.com, Toyota, Daimler AG, SES Americom, Corning Inc., LabCorp, IBM, Lionsgate Films, Best Buy, and Wave Systems.

Personal life
Trippi is a resident of the Eastern Shore of Maryland.

title: Joe Trippi


text:
Island (Huxley novel)

Island is a 1962 utopian manifesto and novel by English writer Aldous Huxley, the author's final work before his death in 1963. Although it has a plot, the plot largely serves to further conceptual explorations rather than setting up and resolving conventional narrative tension.

It is the account of Will Farnaby, a cynical journalist who is shipwrecked on the fictional island of Pala. Island is Huxley's utopian counterpart to his most famous work, the 1932 dystopian novel Brave New World. The ideas that would become Island can be seen in a foreword he wrote in 1946 to a new edition of Brave New World:

"If I were now to rewrite the book, I would offer the Savage a third alternative. Between the Utopian and primitive horns of his dilemma would lie the possibility of sanity... In this community economics would be decentralist and Henry-Georgian, politics Kropotkinesque and co-operative. Science and technology would be used as though, like the Sabbath, they had been made for man, not (as at present and still more so in the Brave New World) as though man were to be adapted and enslaved to them. Religion would be the conscious and intelligent pursuit of man's Final End, the unitive knowledge of immanent Tao or Logos, the transcendent Godhead or Brahman. And the prevailing philosophy of life would be a kind of Higher Utilitarianism, in which the Greatest Happiness principle would be secondary to the Final End principle—the first question to be asked and answered in every contingency of life being: "How will this thought or action contribute to, or interfere with, the achievement, by me and the greatest possible number of other individuals, of man's Final End?""

Plot summary
Englishman William Asquith "Will" Farnaby deliberately wrecks his boat on the shores of the Kingdom of Pala, an island halfway between Sumatra and the Andaman Islands, thus forcing his entry to this otherwise "forbidden island". Farnaby, a journalist, political huckster, and lackey for the oil baron Lord Joseph "Joe" Aldehyde, is tasked with persuading the island's current queen—the Rani—to sell Aldehyde rights to Pala's untapped oil assets. Farnaby awakens on the island with a leg injury, hearing a myna bird screaming "Attention", when a local boy and girl notice him and take him for medical treatment to their grandfather, Dr. Robert MacPhail. Dr. Robert and a young man named Murugan Mailendra carry Farnaby to Robert's house for a surprisingly successful hypnotherapy session led by Susila, Robert's daughter-in-law and the mother of the two children. Susila's husband Dugald (Robert's son) recently died in a climbing accident, and Susila is still grappling with the grief.

Farnaby and Murugan recognise each other from a recent meeting with Colonel Dipa, the military dictator of a threatening country called Rendang-Lobo that neighbours Pala—another force coveting Pala's oil. In private, Murugan reveals to Farnaby that he is in fact the Rani's son and will be assuming control over Pala in a few days as its new Raja. Both the Rani and Murugan were raised outside of Palanese culture, however, and so both are largely westernised, with Murugan especially influenced by materialism and consumerist greed. Contrary to these philosophies, most Palanese islanders engage in peaceful living, intellectual pursuits, and deep spiritualism that avoids superstition. The kingdom has no military and its inhabitants have cultivated a nearly utopian society by blending the most applicable elements from western science and eastern Mahayana Buddhism, also adopting a multiple-parents child-rearing strategy of mutual adoption clubs (MACs), as well as a bilingual culture of English and Palanese. Palanese citizens strive to live always in the moment, to directly confront suffering and death, to meditate often, to engage shamelessly in coitus reservatus called maithuna, and to use moksha-medicine—a local psychedelic drug or entheogen—to help achieve these other goals. The Rani, however, who comes to visit Farnaby and is theatrical, larger-than-life, and more traditionally religious, is disgusted by these mainstream Palanese values and wishes to reform the country. Farnaby convinces her that Joe Aldehyde's oil money will help her in her quest to "save" the nation from blasphemy.

As he recuperates, Farnaby reads Dr. Robert's copy of the Old Raja's Notes on What's What, and What It Might be Reasonable to do about What's What, which outlines Palanese practical philosophies for self-improvement and self-actualisation. He then tours the island's educational system, which merges the sciences, the arts, and self-control techniques with the personal search for spiritual self-fulfillment. Dr. Robert recounts the island's history, including how his own Scottish grandfather, Dr. Andrew MacPhail, was called to the island over a century ago to treat the Old Raja's facial tumour using both trance-based mesmerization and actual surgery; this first brought scientific practices and the English language into Palanese culture.

Farnaby sees many other aspects of Palanese society as well, including a marionette version of Oedipus Rex called Oedipus in Pala with a revised and happy ending. The Palanese are so intimately connected with the reality of the moment that they even have taught the local myna birds to say "Attention" and "Karuṇā", to remind the people to stay focused on the here-and-now and to have compassion. The Palanese people are well aware that they will likely be invaded soon by Colonel Dipa's forces from Rendang, though they are resigned to pacifism. Farnaby too has been accepting the potential downfall of the island as a given, though he realises with discomfort that he may be an instrumental factor in causing such a downfall.

Farnaby begins to establish a strong bond with Susila, who directs Farnaby to re-explore his own troubled past, including the death of his wife, Molly, on the night he confessed to cheating on her and his whole hateful childhood; Susila guides him through his painful memories. In the meantime, Susila's mother-in-law and Dr. Robert's wife, Lakshmi, is now also dying, due to cancer. One night, when the Rani urgently sends a letter to Farnaby to meet with her, he decides to finally take a stand against the exploitation of the island by Aldehyde and Dipa, and so he ignores her letter, instead going to visit the quickly-fading Lakshmi who, surrounded by her family, finally dies.

Susila then invites Farnaby to try the moksha-medicine at last. His ensuing hallucinatory visions are vividly philosophical and unspeakably vibrant; he feels a loss of self in the oneness of everything and "knowledgeless understanding", and he also horrifically watches a nearby mantis sexually cannibalise her partner, before Susila encourages him to let the medicine help him see the beauty in all things. As morning approaches, they suddenly hear gunfire and spot a caravan of military vehicles. Murugan's voice through a loudspeaker encourages the people to remain calm and welcome the invading forces, while announcing the formation of the new United Kingdom of Rendang and Pala with himself as the monarch and Colonel Dipa as its prime minister. The caravan stops to execute Dr. Robert and then moves on, Susila horror-stricken, as a myna cries "Attention" one final time.

Major themes
Island explores many of the themes and ideas that interested Huxley in the post-World War II decades and were the subject of many of his nonfiction books of essays, including Brave New World Revisited, Tomorrow and Tomorrow and Tomorrow, The Doors of Perception, and The Perennial Philosophy. Some of these themes and ideas include overpopulation, ecology, modernity, democracy, mysticism, entheogens, and somatotypes.

Common background elements occur in both Island and Brave New World; they were used for good in the former and for ill in the latter. Such elements include:

Huxley's mother Julia Huxley died when he was ten and she was 46. She wrote a letter to Aldous as she was dying and he carried this with him for the rest of his life. It included the thought "Judge not too much and love more". Scholars of Aldous's works see his mother's death in his cynical attitude and his books including Brave New World and the utopian Island.

The culture of Pala is the offspring of a Scottish secular humanist medical doctor, who made a medical visit to the island in the 19th century and decided to stay and work with its Raja, who embodies the island's Mahayana Buddhist tradition, to create a society that merges the best of East and West. The Old Raja's treatise, Notes on What's What, is a book within the book that explains Pala's philosophical foundations.

A central element of Palanese society is restrained industrialisation, undertaken with the goal of providing fulfilling work and time for leisure and contemplation. For the Palanese, progress means a selective attitude towards technology, which Huxley contrasts to the underdeveloped poverty of the neighbouring island of Rendang, and with the alienating overdevelopment of the industrialised West, chiefly through Will Farnaby's recollections of London. The Palanese embrace modern science and technology to improve medicine and nutrition, but have rejected widespread industrialisation. For example, hydroelectricity is made available for refrigeration, so that surplus fresh food can be stored, improving nutrition and protecting against food shortages. Huxley viewed this selective modernisation as essential for his "sane" society, even if it means that such a society is unable to militarily defend itself from its "insane" neighbours who wish to steal its natural resources.

The Palanese also circumspectly incorporated the use of "moksha medicine", a fictional entheogen taken ceremonially in rites of passage for mystical and cosmological insight. The moksha mushroom is described as "yellow" and not "those lovely red toadstools", e.g. the Amanita muscaria; this description of the moksha medicine is suggestive of Psilocybe mushrooms, a psychoactive that captivated Huxley during the latter half of his life. The recommended dosage of 400 mg, however, is in the dosage range of mescaline as opposed to psilocybin. Huxley had also been fascinated towards the end of his life by the potential benefit to humanity of substances such as mescaline and LSD. Brave New World and most of Huxley's other books were written before he first tried a psychedelic drug in 1953.

Many of the ideas used to describe Pala as a utopia in Island appear also in Brave New World Revisited's last chapter, which aims to propose actions which could be taken to prevent a democracy from turning into a totalitarian world like the one described in Brave New World.

Huxley used a scene of two mantids (Gongylus gongyloides) mating to make philosophical observations about the nature of death. In another memorable scene, Will Farnaby watches a Palanese version of Oedipus Rex with a little girl. Will points out that in his version Oedipus pokes his eyes out. The girl replies that that is silly, since all the king had to do was stop being married to his mother.

References to Indian religions

 * The cosmic dance of Shiva (Nataraja)
 * The legend of Muchalinda
 * Buddha's Flower Sermon
 * Moksha

title: Island (Huxley novel)


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High tech

High technology (high tech or high-tech), also known as advanced technology (advanced tech) or exotechnology, is technology that is at the cutting edge: the highest form of technology available. It can be defined as either the most complex or the newest technology on the market. The opposite of high tech is low technology, referring to simple, often traditional or mechanical technology; for example, a slide rule is a low-tech calculating device. When high tech becomes old, it becomes low tech, for example vacuum tube electronics. Further, high tech is related to the concept of mid-tech, that is a balance between the two opposite extreme qualities of low-tech and high tech. Mid-tech could be understood as an inclusive middle that combines the efficiency and versatility of digital/automated technology with low-tech's potential for autonomy and resilience.

Startups working on high technologies (or developing new high technologies) are sometimes referred to as deep tech; the term may also refer to disruptive innovations or those based on scientific discoveries.

High tech, as opposed to high-touch, may refer to self-service experiences that do not require human interaction.

History
The phrase was used in a 1958 The New York Times story advocating "atomic energy" for Europe: "... Western Europe, with its dense population and its high technology ...." Robert Metz used the term in a financial column in 1969, saying Arthur H. Collins of Collins Radio "controls a score of high technology patents in a variety of fields" and in a 1971 article used the abbreviated form, "high tech".

A widely used classification of high-technological manufacturing industries was provided by the OECD in 2006. It is based on the intensity of research and development activities used in these industries within OECD countries, resulting in four distinct categories.

Today, High tech consists a significant part of several economies. The Israeli economy has the highest ratio in the world, with the high tech sector accounting for 20% of the economy, high tech consitsts 9.3% of the American economy according to Statistca and CTech.

Ranking of startup ecoystems
Multiple cities and hubs have been described as global startup ecosystems. GSER publishes a yearly ranking of global startup ecosystems. The study does yearly reports ranking the top 40 global startup hubs.

List of countries by high tech exports
The following is a list of the 15 largest exporting countries of high tech products by value in millions of United States dollars, according to the United Nations.

title: High tech


text:
User:Gdh~enwiki

Hi there,

My name is Gudmundur D. Haraldsson. I don't write that much on the English Wikipedia - mostly tiny changed there and there, but I write more on the Icelandic Wikipedia (my userpage on the Icelandic Wikipedia.

is:Notandi:Gdh

title: User:Gdh~enwiki