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David Bowie (1969 album)

David Bowie (commonly known as Space Oddity) is the second studio album by the English musician David Bowie, originally released in the United Kingdom on 14November 1969 through Mercury affiliate Philips Records. Financed by Mercury on the strength of "Space Oddity", the album was recorded from June to October 1969 at Trident Studios in London. Gus Dudgeon produced "Space Oddity", while Tony Visconti produced the rest of the album. It featured an array of collaborators, including Herbie Flowers, Rick Wakeman, Terry Cox and the band Junior's Eyes.

Departing from the music hall style of Bowie's 1967 self-titled debut, David Bowie contains folk rock and psychedelic rock songs, with lyrical themes influenced by events happening in Bowie's life at the time, including former relationships and festivals he attended. "Space Oddity", a tale about a fictional astronaut, was released as a single in July 1969 and became Bowie's first commercial hit, reaching the UK top five.

The album was a commercial failure due to a lack of promotion, despite receiving some positive reviews from music critics. For its release in the United States, Mercury retitled the album Man of Words/Man of Music and used different artwork. RCA Records reissued the album under the title of Space Oddity following Bowie's commercial breakthrough with Ziggy Stardust in 1972, using a contemporary photo of Bowie as the artwork. The reissue charted in both the UK and the US.

David Bowie has received mixed reviews in later decades, with many finding a lack of cohesiveness. Bowie himself later stated that it lacked musical direction. Debate continues as to whether it should stand as Bowie's first "proper" album. David Bowie has been reissued numerous times, with bonus tracks and variance on the inclusion and listing of the hidden track "Don't Sit Down". Labels have used both David Bowie and Space Oddity as the title, with Space Oddity being used for a 2019 remix by Visconti.

Background
David Bowie released his music hall-influenced self-titled debut studio album through Deram Records in 1967. It was a commercial failure and did little to gain him notice, becoming his last release for two years. After its failure, Bowie's manager Kenneth Pitt authorised a promotional film in an attempt to introduce Bowie to a larger audience. The film, Love You till Tuesday, went unreleased until 1984, and marked the end of Pitt's mentorship to Bowie.

At the request of Pitt, Bowie wrote a new song for the film, "Space Oddity", a tale about a fictional astronaut. Its title and subject matter were influenced by Stanley Kubrick's 2001: A Space Odyssey (1968). Bowie demoed the song in January 1969, recording the final Love You till Tuesday version on 2February. In April, Bowie recorded demos of tracks with guitarist John Hutchinson, including "Janine", "An Occasional Dream", "I'm Not Quite" ("Letter to Hermione"), "Lover to the Dawn" ("Cygnet Committee") and another demo of "Space Oddity". In May, Bowie secured a record contract with Mercury Records on the strength of "Space Oddity". The contract granted him enough finances to make a new studio album, to be distributed through Mercury in the United States and its affiliate Philips Records in the UK.

Recording
To produce the new album, Pitt hired Tony Visconti, the producer of Bowie's later Deram sessions. Visconti saw "Space Oddity", the chosen lead single, as a "novelty record" and passed the production responsibility for the song to Bowie's former engineer Gus Dudgeon. Dudgeon recalled: "I listened to the demo and thought it was incredible. I couldn't believe that Tony didn't want to do it". Comparing the two producers in a 1969 interview, Bowie stated:

"Gus is the technician, the arch 'mixer'. He listens to music and says, 'Yes, I like it – it's a groove.' His attitudes to music are very different from a lot of people in the business. With Tony Visconti, who's producing my LP, it's part of his life. He lives with music all day long, it's going on in his room, he writes it, arranges it, produces it, plays it, thinks it, and believes very much in its spiritual source – his whole life is like this."

Recording for the new version of "Space Oddity" and its B-side "Wild Eyed Boy from Freecloud" took place on 20June 1969 at London's Trident Studios; Mercury wanted the single released ahead of the Apollo 11 moon landing. The lineup consisted of Bowie, bassist Herbie Flowers, keyboardist Rick Wakeman, who played Mellotron, drummer Terry Cox, Junior's Eyes guitarist Mick Wayne and an orchestra arranged by Paul Buckmaster. After the single release on 11July, recording for the rest of the album continued five days later, with work commencing on "Janine", "An Occasional Dream" and "Letter to Hermione". Visconti recruited the Junior's Eyes band– guitarists Wayne and Tim Renwick, bassist John Lodge and drummer John Cambridge (minus vocalist Graham Kelly)– as the main backing band for the sessions; Bowie hired Keith Christmas as an additional guitarist. Beatles engineer Ken Scott also joined the sessions. According to Renwick, Bowie was "kind of nervous and unsure of himself", and gave little direction during the sessions, which author Paul Trynka attributed to numerous events in Bowie's personal life at the time. Despite having little production experience at the time, Visconti remained enthusiastic during recording.

Recording continued on and off for the next few months. Bowie's father, John Jones, died on 5August 1969; Bowie wrote "Unwashed and Somewhat Slightly Dazed" to express grief. Eleven days later, he participated in the Beckenham Free Festival, commemorating "Memory of a Free Festival" after the event; recording for the song began on 8September. According to biographer Nicholas Pegg, Bowie's "disillusion" with the "slack attitude" of hippie culture caused him to reshape the lyrics of "Cygnet Committee". "God Knows I'm Good" was attempted at Pye Studios in Marble Arch on 11September, but scrapped due to problems with the recording equipment. The song was re-recorded at Trident five days later. Recording completed on 6October.

Music and lyrics
The music on David Bowie has been described as folk rock and psychedelic rock, with elements of country and progressive rock. According to biographer David Buckley, Bowie based the music on the dominant styles of the times "rather than developing a distinct music of his own". Kevin Cann finds the music encompasses "a fusion of acoustic folk leanings with a growing interest in electric rock". Cann continues that David Bowie marked a turning point for the artist, in that lyrically he began "drawing on life" rather than writing "winsome stories". Marc Spitz considers the album one of Bowie's darkest, due to the death of his father. He writes that it reflects the artist's "darkening vision" and depicts "a man coming of age in a world that is increasingly depraved and barren". Susie Goldring of BBC Music calls David Bowie a "kaleidoscopic album [that] is an amalgamation of [Bowie's] obsessions – directors, musicians, poets and spirituality of a distinctly late-60s hue".

Songs
"Space Oddity" is a largely acoustic number augmented by the eerie tones of the composer's stylophone, a pocket electronic organ. Some commentators have also seen the song as a metaphor for heroin use, citing the opening countdown as analogous to the drug's passage down the needle prior to the euphoric "hit", while noting Bowie's admission of a "silly flirtation with smack" in 1968. "Unwashed and Somewhat Slightly Dazed" reflects a strong Bob Dylan influence, with its harmonica, edgy guitar sound and snarling vocal. Spitz describes the song as an "extensive hard rock jam", while Buckley calls it a "country-meets-prog-rock collision of ideas". A hidden track featured at the end of the track on the original UK LP titled "Don't Sit Down", which was excluded from the US Mercury release and RCA reissue of the album. Author Peter Doggett criticises the track's inclusion, calling it "pointless and disruptive", and believes "the album is stronger without it".

"Letter to Hermione" was a farewell ballad to Bowie's former girlfriend Hermione Farthingale, who is also the subject of "An Occasional Dream", a gentle folk tune reminiscent of the singer's 1967 debut album. "God Knows I'm Good", Bowie's observational tale of a shoplifter's plight, also recalls his earlier style. "Cygnet Committee" has been called Bowie's "first true masterpiece" by Pegg. Commonly regarded as the track on David Bowie most indicative of the composer's future direction, its lead character is a messianic figure "who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him". Bowie himself described the song at the time as a put down of hippies who seemed ready to follow any charismatic leader. "Janine" was written about a girlfriend of Bowie's childhood friend George Underwood. It has been cited as another track that foreshadowed themes to which Bowie would return in the 1970s, in this case the fracturing of personality, featuring the words "But if you took an axe to me, you'd kill another man not me at all".

The Buddhism-influenced "Wild Eyed Boy from Freecloud" is presented in a heavily expanded form compared to the original guitar-and-cello version on the B-side of the "Space Oddity" single; the album cut features a 50-piece orchestra. "Memory of a Free Festival" is Bowie's reminiscence of an arts festival he had organised in August 1969. Its drawn-out fade/chorus ("The Sun Machine is coming down / And we're gonna have a party") was compared to the Beatles' "Hey Jude"; the song has also been interpreted as a derisive comment on the counterculture it ostensibly celebrates. The background vocals for the crowd finale features Bob Harris, his wife Sue, Tony Woollcott and Marc Bolan. The outtake "Conversation Piece" has been described as featuring "a lovely melody and an emotive lyric addressing familiar Bowie topics of alienation and social exclusion".

Title and packaging
The album was released in the UK under the same eponymous title as Bowie's 1967 debut, a move Trynka calls "bizarre". The original UK cover artwork featured a facial portrait of Bowie taken by British photographer Vernon Dewhurst, exposed on top of a work by Hungarian artist Victor Vasarely with blue and violet spots on a green background. The artwork, titled CTA 25 Neg, was designed by Bowie and Mercury executive Calvin Mark Lee, who enthusiastically collected Vasarely's works; Lee is credited as CML33. The back cover was an illustration by Underwood and depicted lyrical aspects from the album, stylistically similar to that of the Visconti-produced Tyrannosaurus Rex album My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows (1968). According to Underwood, the sketches included "a fish in water, two astronauts holding a rose [and] rats in bowler hats representing the Beckenham Arts Lab committee types [Bowie] was so pissed off with". Pegg says these items appear in the final picture, along with a Buddha, a lit joint, an "unmistakable" portrait of Farthingale and "a weeping woman (presumably the shoplifter in 'God Knows I'm Good') being comforted by a Pierrot", which he notes is "remarkably similar in appearance" to the "Ashes to Ashes" character Bowie later adopted. Underwood's illustration is referred to on the sleeve as Depth of a Circle, which according to Bowie was a typo by the record label; he intended it to read Width of a Circle, a title he used for a song on his next album, The Man Who Sold the World (1970). Apart from Bowie, none of the musicians who played on David Bowie were credited on the original pressings, due to the majority being under contract with other labels in the UK; song lyrics were presented on the inner gatefold sleeve.

For the US release in 1970, the album was renamed Man of Words/Man of Music, although Cann writes that this phrase was added to the cover to describe the artist and was not intended to replace the title. Mercury also changed Vasarely's artwork in favour of a different, but similar photograph by Dewhurst, placed against a plain blue background. Cann criticises this artwork, stating that it "suffered from sloppy technical application and the image appeared washed out as a result of poor duplication of the transparency". The musicians were credited on this release, while song lyrics still appeared on the inner gatefold. Cambridge later said that he "was really pleased to see I was credited inside" in 1991.

In 1972, as part of a reissue campaign undertaken by RCA Records in the wake of the commercial breakthrough of Bowie's fifth studio album Ziggy Stardust, David Bowie was repackaged with the title Space Oddity, after the opening track. For this release, the front cover was updated with a new photograph of Bowie taken the same year by photographer Mick Rock at Haddon Hall, Beckenham. The sleeve notes proclaimed that the album "was NOW then, and it is still now NOW: personal and universal, perhaps galactic, microcosmic and macrocosmic".

Release and promotion
"Space Oddity" was released as a single on 11July 1969, with "Wild Eyed Boy from Freecloud" as the B-side. The single initially favoured poorly on the charts but reached number five on the UK Singles Chart by early November, becoming Bowie's first hit. The single's success in the UK earned Bowie a number of television appearances throughout the rest of 1969, including his first appearance on Top of the Pops in early October. In mid-December, Bowie recorded a new version with Italian lyrics, titled "Ragazzo solo, ragazza sola" (meaning "Lonely Boy, Lonely Girl"), which was released as a single in Italy in 1970 and failed to chart.

Philips issued David Bowie in the UK on 14November 1969, with the catalogue number SBL7912. Cann states that Mercury considered releasing "Janine" as a follow-up single to "Space Oddity", but were uncertain about the song's commercial appeal and scrapped it. With little promotion from the label, the album was a commercial failure, barely selling over 5,000 copies by March 1970. Author Christopher Sandford attributed its failure to the majority of the album bearing little resemblance to "Space Oddity".

RCA's 1972 reissue, released on 10November, reached number 17 on the UK Albums Chart, remaining on the chart for 42 weeks. It also peaked at number 16 on the US Billboard Top LPs & Tape chart in April 1973, remaining on the chart for 36 weeks. The album's 1990 reissue charted at number 64 in the UK.

Critical reception
David Bowie received mixed reviews from music critics on release. Penny Valentine of Disc & Music Echo was positive, describing the album as "rather doomy and un-nerving, but Bowie's point comes across like a latter-day Dylan. It is an album a lot of people are going to expect a lot from. I don't think they'll be disappointed." A reviewer for Music Now! offered similar praise, calling it "[d]eep, thoughtful, probing, exposing, gouging at your innards" and concluded: "This is more than a record. It is an experience. An expression of life as others see it. The lyrics are full of the grandeur of yesterday, the immediacy of today and the futility of tomorrow. This is well worth your attention." Nancy Erlich of The New York Times, in a review published over a year after its release, offered praise, calling it, "a complete, coherent and brilliant vision".

Other reviewers offered more mixed sentiments. A writer for Music Business Weekly found that "Bowie seems to be a little unsure of the direction he is going in", criticising the various musical styles found throughout, ultimately describing the record as "over-ambitious". A reviewer for Zygote praised "Space Oddity" and "Memory of a Free Festival", but felt the album as a whole lacks cohesiveness and is "very awkward to the ear". The reviewer concluded that "Bowie is erratic. When he succeeds, he's excellent; when fails, he's laborious." The Village Voice critic Robert Christgau considered this album and The Man Who Sold the World to be "overwrought excursions".

Subsequent events
Bowie's follow-up to "Space Oddity", "The Prettiest Star", was recorded in January 1970 and released as a single on 6March, with the David Bowie outtake "Conversation Piece" as the B-side. A love song to his soon-to-be-wife Angie and featuring guitar from Marc Bolan, it failed to chart. At the label's request, Bowie remade "Memory of a Free Festival" for release as the next single, which was split across and A- and B-sides. The two-part single was released on 26 June and again, failed to chart. By this time, Bowie had completed recording The Man Who Sold the World, which featured a shift in musical style towards hard rock. Around the same time, Bowie fired Pitt due to continuing managerial disputes and hired Tony Defries as his new manager.

Legacy
David Bowie has continued to attract mixed reviews from critics, with many criticising its lack of cohesiveness. Dave Thompson of AllMusic wrote: Space Oddity' aside, Bowie possessed very little in the way of commercial songs, and the ensuing album emerged as a dense, even rambling, excursion through the folky strains that were the last glimmering of British psychedelia." Douglas Wolk of Pitchfork found that Bowie presents numerous ideas throughout the record, but does not know what to do with them, writing, "he wears his influences on his sleeve and constantly overreaches for dramatic effect". Record Collector Terry Staunton agreed, saying: "Space Oddity may be regarded as the singer's first 'proper' album, though its mish-mash of styles and strummy experiments suggest he was still trying to settle on an identity."

Reviewing its 40th anniversary remaster, Mike Schiller of PopMatters stated that although it's far from Bowie's best, the record as a whole is "not half bad", standing as a "landmark" in Bowie's catalogue, and offering a glimpse at a man transitioning into the artist we've come to know". Pitchfork Stuart Berman found that the record's "prog-folk hymnals" were a precursor to the "artful glam-rock" sound that made Bowie a star. Reviewing for The Quietus, John Tatlock felt the album does not stand as Bowie's first proper album, nor does it stand out on its own merit. He concludes that "it captures its creator at a fascinating crossroads, and is much more than a fans-only curio".

Biographers have differing views on David Bowie. While Buckley calls it "the first Bowie album proper", NME editors Roy Carr and Charles Shaar Murray have said, "Some of it belonged in '67 and some of it in '72, but in 1969 it all seemed vastly incongruous. Basically, David Bowie can be viewed in retrospect as all that Bowie had been and a little of what he would become, all jumbled up and fighting for control..." Trynka similarly states that the record has an "endearing lack of artifice", making it a "unique" entry in the artist's catalogue. Pegg calls the album "a remarkable step forward from anything Bowie had recorded before". He highlights "Unwashed and Somewhat Slightly Dazed", "Wild Eyed Boy from Freecloud" and "Cygnet Committee" as showcasing Bowie's evolution as a lyricist, but ultimately believes the "monolithic reputation" of "Space Oddity" does the album more harm than good. Spitz opines that while it is not as iconic as his 1970s works. Space Oddity "is first-rate as trippy rock records go". Sandford writes that "Space Oddity" aside, the record lacks a "voice", "punch" and "clarity", finding the songs vary from "mundane" (the two tributes to Farthingale) and "mawkish" ("God Knows I'm Good"), but ultimately finds moments of brilliance like his 1967 debut, naming "Unwashed and Somewhat Slightly Dazed" and "Janine".

Reissues
David Bowie was first released on CD by RCA in 1984. In keeping with the 1970 Mercury release and the 1972 RCA reissue, "Don't Sit Down" remained missing. The German (for the European market) and Japanese (for the US market) masters were sourced from different tapes and not identical for each region. In 1990, the album was reissued by Rykodisc/EMI with "Don't Sit Down" included as an independent song and three bonus tracks. This release, titled Space Oddity, used the 1972 cover photograph as its cover, while also incorporating a reproduction of the 1970 US front cover. It was issued again in 1999 by EMI/Virgin, without bonus tracks but with 24-bit digitally remastered sound and again including a separately listed "Don't Sit Down". The Space Oddity name was retained, while the original UK portrait was restored.

In 2009, the album was released by EMI/Virgin, under its original David Bowie title, as a remastered 2-CD special edition, with a second bonus disc compilation of unreleased demos, stereo versions, previously released B-sides, and BBC Radio session tracks. "Don't Sit Down" was again a hidden track. The 2009 remaster became available on vinyl for the first time in June 2020, in a picture disc release (with artwork based on the 1972 RCA reissue). Other reissues that have followed used the original David Bowie title and kept the UK artwork. 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 2019, David Bowie was remixed and remastered by Visconti, and released, with the Space Oddity title, in the CD boxed set Conversation Piece, and separately in CD, vinyl and digital formats. The new version of the album added the outtake "Conversation Piece" to the regular sequencing of the album for the first time, while omitting "Don't Sit Down".

Track listing
All tracks are written by David Bowie.

Side one
 * 1) "Space Oddity" – 5:16
 * 2) "Unwashed and Somewhat Slightly Dazed" – 6:55
 * 3) "Letter to Hermione" – 2:33
 * 4) "Cygnet Committee" – 9:35

Side two
 * 1) "Janine" – 3:25
 * 2) "An Occasional Dream" – 3:01
 * 3) "Wild Eyed Boy from Freecloud" – 4:52
 * 4) "God Knows I'm Good" – 3:21
 * 5) "Memory of a Free Festival" – 7:09

Personnel
Album credits per the 2009 reissue liner notes and biographer Nicholas Pegg.

 * David Bowie – vocals, acoustic guitar, stylophone ("Space Oddity"), chord organ ("Memory of a Free Festival") , kalimba
 * Tim Renwick – electric guitar, flute, recorder
 * Keith Christmas – acoustic guitar
 * Mick Wayne – guitar
 * Rick Wakeman – Mellotron, electric harpsichord
 * Tony Visconti – bass guitar, flute, recorder
 * Herbie Flowers – bass guitar
 * John "Honk" Lodge – bass guitar
 * John Cambridge – drums
 * Terry Cox – drums
 * Benny Marshall and friends – harmonica, backing vocals ("Memory of a Free Festival")
 * Paul Buckmaster – cello

Production
 * Tony Visconti – producer
 * Gus Dudgeon – producer ("Space Oddity")
 * Ken Scott – engineer
 * Malcolm Toft – engineer
 * Barry Sheffield – engineer

title: David Bowie (1969 album)


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L'Escalade

L'Escalade, or Fête de l'Escalade (from escalade, the act of scaling defensive walls), is an annual festival in Geneva, Switzerland, held each December commemorating the defeat of an attempt to conquer the Protestant city-state by the Catholic Duchy of Savoy in 1602. The celebrations and other commemorative activities are usually held on 12 December or the closest weekend.

Savoyard troops sent by Charles Emmanuel I, Duke of Savoy attempted a surprise attack during the night of 11–12 December 1602, but were repulsed by the Genevese defenders. According to legend, this was possible thanks to individual acts of bravery by Genevese citizens, notably by local resident Catherine Cheynel (also known as la Mère Royaume), who dumped boiling vegetable soup on the invaders and alerted the townsfolk.

Background
For years, the duke coveted the wealth of Geneva. When Charles Emmanuel came to the throne of the House of Savoy in 1580, he aimed to make Geneva his capital north of the Alps and crush Protestantism. Pope Clement VIII offered encouragement, and in 1602 he appointed Francis de Sales as Catholic bishop of Geneva. Sales was an effective preacher who had recently been successful in re-Catholicizing the Chablais district of Savoy on the south side of Lake Geneva.

Battle
On the night of 11–12 December 1602—the darkest night of the year—the Savoyard forces, under the command of the seigneur d'Albigny, and those of Charles Emmanuel's brother-in-law, Philip III of Spain, launched an attack on Geneva. Numbering over 2,000, the troops marched along the river Arve at night and assembled at Plainpalais, just outside the walls of Geneva, at around 2:00 a.m. on 12 December. The original plan was to send in a group of commandos to open the city gate and let the other troops in.

The citizens of Geneva defeated the invaders by preventing them from scaling the wall using cannon fire, and by fighting in the streets against the few who managed to climb over. The alarm was raised, the church bells were rung, and the Genevese were alerted. The night guard Isaac Mercier cut the rope holding up the portcullis, foiling the plan to open the main city gate. The citizens fought alongside the town militia and repelled the Savoyard invasion, forcing them to retreat.

In the fighting, the Genevese suffered 18 fatalities, while the Savoyards suffered 54 fatalities. 13 Savoyards who had been taken prisoner, including several well-born men, were summarily hung the following day as brigands since they could not be treated as prisoners of war, peace having been repeatedly sworn on the part of Savoy.

According to Genevese legend, Catherine Cheynel ("Mère Royaume), a cook originally from Lyon and the wife of Pierre Royaume, seized a large cauldron of boiling hot vegetable soup and poured it on the attackers when they were scaling the walls. The Royaume family lived just above the La Monnaie town gate. The heavy cauldron of boiling soup landed on the head of a Savoyard attacker, killing him. The commotion that this caused also helped to rouse the townsfolk to defend the city.

After the defeat, the Duke of Savoy accepted a lasting peace, sealed by the Treaty of St. Julien of 12 July 1603.

Celebration
Although the armed conflict actually took place after midnight, in the early morning on 12 December, celebrations and other commemorative activities are usually held on 11 December or the closest weekend. Celebrations include a large marmite (cauldron) made of chocolate and filled with marzipan vegetables and candies wrapped in the Geneva colours of red and gold. It is customary for the eldest and youngest in the room to smash the marmite, while reciting, "Ainsi périrent les ennemis de la République! " (Thus perished the enemies of the Republic), referring to the legend of Catherine Cheynel. Other traditions include mulled wine, large servings of vegetable soup, and children in various types of costumes knocking on people's doors and singing l'Escalade songs for candies. It is also common for children in school to prepare vegetable soup, which is served to parents and families that night. Teenagers tend to throw eggs, shaving cream, and flour at each other as part of the celebration. The high school students parade together by first going to "conquer" each other and end up in the central square of the old town after walking through the rues basses to the plaine de Plainpalais and back.

There is also a parade on Friday evening. The names of the eighteen Genevese fatalities—Jacques Billon died of his wounds a year later—are called out one by one. The historical procession on Sunday features around 800 people from old Genevese families wearing historical costumes, some of whom carry the remaining fragments of the ladders used by the Savoyards and ride horses. This parade, organised since 1926 by the Compagnie de 1602, attracts tens of thousand spectators annually.

Escalade Run
Since 1978 there has been another element to the celebration of l'Escalade, the Escalade Run, a road running event held the weekend of or preceding the night of 11 December (depending on whether or not it falls on a weekend). The run traditionally starts in the parc des Bastions and goes through the Old City of Geneva before eventually circling back to the start. It is one of the most significant annual events in Geneva. There are multiple events for different age groups.

Legacy
The story of L'Escalade is told in a song called "Cé qu'è l'ainô", written in a Franco-Provençal dialect around 1603 by an unknown author. The song has become the "national" anthem of Geneva. While the complete version comprises 68 stanzas, only four of them are usually sung.

It was also celebrated in verse by Samuel Chappuzeau in his Genève Délivrée.

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

title: L'Escalade


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Talk:List of non-metropolitan counties of England by area

Where did these area measurements come from? Please give a reference to sources. Francis Irving 08:41, 23 August 2006 (UTC)

I may have forgotten Cumbria, but it looks like you forgot Berkshire! ;) Morwen 10:21, 3 Jun 2004 (UTC)


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Paul W. Merrill

Paul Willard Merrill (August 15, 1887 – July 19, 1961) was an American astronomer whose specialty was spectroscopy. He was the first person to define S-type stars, in 1922.

Career
Merrill received his Ph.D. at the University of California (now UC Berkeley) in 1913. He spent the bulk of his career at Mount Wilson Observatory, from which he retired in 1952. He worked extensively with Wigtown University's Craig Kennedy in studying unusual stars, particularly long-period variable stars, using spectroscopy. He also studied the interstellar medium, including diffuse interstellar bands. Shortly before he retired, he succeeded in detecting technetium in the variable star R Andromedae and other red variables. Since technetium has no stable isotopes, it must have been produced recently in any star in which it is found, and this is direct evidence of the s-process of nucleosynthesis.

Honors
Awards and honors Named after him
 * Member of the United States National Academy of Sciences (1929)
 * Member of the American Philosophical Society (1939)
 * Henry Draper Medal of the National Academy of Sciences (1945)
 * Bruce Medal of the Astronomical Society of the Pacific (1946)
 * Henry Norris Russell Lectureship of the American Astronomical Society (1955)
 * Fellow of the American Academy of Arts and Sciences (1958)
 * Merrill (crater) on the Moon

title: Paul W. Merrill


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Scotiabank Saddledome

Scotiabank Saddledome is a multi-use indoor arena in Calgary, Alberta, Canada. Located in Stampede Park in the southeast end of downtown Calgary, the Saddledome was built in 1983 to replace the Stampede Corral as the home of the Calgary Flames of the National Hockey League, and to host ice hockey and figure skating at the 1988 Winter Olympics.

The facility also hosts concerts, conferences and other sporting championships, and events for the Calgary Exhibition and Stampede. It underwent a major renovation in 1994–95 and sold its naming rights, during which its original name of Olympic Saddledome was changed to Canadian Airlines Saddledome. The facility was given the name Pengrowth Saddledome in 2000, after Pengrowth Management Ltd. signed a ten-year agreement. It adopted its current name in October 2010 as Scotiabank signed on as title sponsor.

The Saddledome is owned by the City of Calgary, who leases it to the Saddledome Foundation, a non-profit organization, to oversee its operation. Since 1996, it has been managed by the Flames. The Saddledome was damaged during the 2013 Alberta floods in June and July that year, but was repaired and reopened in time for the 2013–14 NHL season.

The arena's roof is shaped like a horse saddle, thus earning the name "Saddledome".

Construction
Calgary had been served for 30 years by the Stampede Corral when the Calgary Flames arrived in 1980. With a total capacity of 8,700, the Corral was the largest arena in Canada west of Toronto in 1950, but had fallen below major league standards by the 1970s. The Corral was deemed insufficient for the National Hockey League (NHL) in 1977, leading the World Hockey Association's Calgary Cowboys to fold rather than hope to be a team selected to merge with the NHL.

Calgary's bid to host the 1988 Winter Olympics, coupled with the arrival of the Flames, drove the need to build a new arena. City Council debated the merits of several locations for the city's new Olympic Coliseum, and narrowed their choices down to two areas in the Victoria Park neighbourhood on the east end of downtown. Two other sites, one on the west end of downtown, and a late bid by several businessmen pushing to build the arena in the northern suburb of Airdrie were also considered.

The Victoria Park Community Association fought the bid to build the arena in their neighborhood, threatening to oppose the city's Olympic bid if necessary. City Council voted on March 3, 1981, to build the proposed 20,000 seat arena on the Stampede grounds, immediately east of the Corral and south of Victoria Park. The community continued to fight the city over rezoning the land to allow for the new arena amidst fears of traffic congestion in their neighbourhood which resulted in numerous costly delays to the start of construction. In a bid to end the battle, Mayor Ralph Klein asked the provincial government in July 1981 to take over the land designated for the arena to bypass the appeals process and force approval. The province supported the city amidst protests by community associations and invoked rarely used powers to overrule planning regulations, allowing construction to begin. The following day, on July 29, 1981, builders began construction of the arena. The International Olympic Committee was impressed that the project was underway, as noted in the XV Olympic Winter Games official report which stated "The fact that this facility was already being built added credibility to (Calgary's) bid and proved to be a positive factor in demonstrating Calgary's commitment to hosting the Games".

The facility was designed by Graham McCourt Architects. While they set out to design a unique building, the idea of a western theme never occurred to Barry Graham or his team. The roof of the building was designed to be a reverse hyperbolic paraboloid, similar to the 1971-built Scandinavium in Gothenburg, allowing for a pillar-free view from all seats and reducing the interior volume by a third relative to traditional arenas, resulting in reduced heating, lighting and maintenance costs. Additionally, the floating roof can flex to compensate for the city's frequent temperature fluctuations. When the design was unveiled, the roof was immediately referred to as being saddle-shaped. Of 1,270 entries submitted in a contest to name the arena, 735 involved the word Saddle. The winning name in the contest, Olympic Saddledome, was drawn from a hat filled with several similar saddle-themed names. At the time the name received a tepid reception from some, including the chairman of Calgary's Olympic Organizing Committee (OCO), Frank King, who was quoted as saying "It is neither Olympic nor western, and it's not even dome".

The designers won several architectural and engineering awards for their work on the Saddledome, and were honoured by the Royal Architectural Institute of Canada at its millennium celebration of architecture in 2000. As of 2008, the Saddledome was still reported as the world record holder for the longest spanning hyperbolic paraboloid concrete shell. The Saddledome was featured on the cover of Time magazine on September 27, 1987, for an article discussing the city of Calgary and the upcoming 1988 Olympics.

The location of the Saddledome within Stampede Park allows for easy access to Calgary's CTrain light rail transit system via the Victoria Park/Stampede station that stands parallel to Macleod Trail. Direct vehicle access is gained from the north via 5th Street East or Olympic Way.

History
The arena was initially projected to cost $60 million to build, and later revised to over $80 million. Attempts to fast track construction resulted in a $16 million cost overrun, resulting in a final cost of $97.7 million and an eight-month delay in its completion. Builders faced delays while building the roof as numerous adjustments were required to fit the giant concrete slabs between the array of cables that held them in place. Upset with the excess cost, opposition politicians in Alberta demanded a public hearing into the issue. A hearing conducted by the city placed much of the blame on the project manager, while the city and province were required to pay the additional costs.

When it opened on October 15, 1983, the Olympic Saddledome served to boost the morale of a city that was experiencing a significant downturn as a result of the international oil market collapse, high interest rates, and the federal government's National Energy Program. During the first event, an NHL game between the Flames and the Edmonton Oilers, the standard of Prime Minister Pierre Trudeau was the first thing booed by a population upset with the government's policies. The Oilers defeated the Flames 4–3 in front of a sold out crowd of nearly 17,000 fans.

The initial seating capacity was 16,605 for hockey as the upper loges were not immediately completed. As the Olympics neared, the Calgary organizing committee spent $1 million to add over 2,600 seats to the upper loges in a bid to alleviate a scandal that resulted from the organizing committee giving its partners and sponsors preferential treatment in ticket sales. With a capacity of 20,016, the International Ice Hockey Federation noted that it was the largest arena ever used at the Winter Games, and called the facility "the finest international rink in the world" The International Olympic Committee praised the city's commitment to hosting the Olympics, noting in its official report that constructing the arena prior to being awarded the Games lent credibility to Calgary's bid and positively influenced voters. The Saddledome was the first arena in North America designed to accommodate the larger international ice surface (international rinks are 15 ft wider than NHL rinks). The Saddledome reached its highest capacity in the early '90s at 20,230.

The Flames petitioned the City of Calgary and the Saddledome Foundation to upgrade the facility in 1994, requesting renovations to add additional luxury boxes and a new club section. The Flames insisted the upgrades were necessary for the team to remain viable in the arena. They argued it was important that their landlord bring the arena up to the higher standards they felt was required. The team lobbied City Council in the hope it would agree to fund the majority of the $18 million renovation using federal infrastructure funds. At the same time, they rejected a counter proposal for applying a ticket surcharge to pay the cost. Media reports claimed the team was considering relocating out of Calgary if council did not agree. Flames' owners denied the reports, but said they had threatened to build a new rink elsewhere in the city. City Council supported the Flames' proposal in a 9–6 vote following several months of negotiations.

Renovations occurred between 1994 and 1995 and saw the addition of 41 new luxury suites at the top of the lower bowl, an 1,172 seat club section, a new restaurant, expanded offices for the Flames, Saddledome management and Hockey Canada, as well as a significant restructuring of the public concourse and a new parkade structure. The arena remained operational until the spring of 1995 despite ongoing construction, but was closed entirely between April and October 1995. The Saddledome officially reopened on October 25, 1995, for the Flames' first home game of the 1995–96 NHL season.

Prior to its reopening, the Flames signed a deal with Canadian Airlines to rename the facility. Under a 20-year agreement worth approximately $1 million per year, the arena became the Canadian Airlines Saddledome. Removing the "Olympic" moniker was controversial with both the public and City Council, though the city voted in favour of the deal which included the donation of a portion of the naming rights to fund amateur sports within the city. The arena was renamed again in 2000 when Canadian Airlines was acquired by Air Canada and ceased operations. Pengrowth Management Ltd. signed a 10-year agreement that gave the facility the name Pengrowth Saddledome.

The arena has received cosmetic upgrades in recent years. In 2004, the Flames spent $1 million on a LED "power ring" display that lines the facing of the second level. The JumboTron that was installed in 1995 was replaced in 2006 with a new HD video scoreboard. Along with the new board, the previous speakers were replaced with Apogee ALA-9 arrays in 2007. Manufactured by Daktronics, the display has 12 screens and two LED ribbons, and was called the Enmax Energy Board.

2013 flood
The Saddledome was one of many buildings impacted by the 2013 Alberta floods. The flooding of the Elbow and Bow Rivers swamped many areas of the city, including Stampede Park where the Saddledome is located. The event level of the arena was filled with water, also wrecking the high definition scoreboard that had been sitting on the rink floor during the summer downtime, while the dressing rooms and control room for the video replay screen were swamped. At a press conference held on June 22, 2013, team president Ken King stated that the arena had flooded up to the eighth row and that the event level of the facility was a "total loss". He added that the team's equipment and some memorabilia had also been destroyed, but expressed confidence that the facility would be repaired and ready in time for the October start to the 2013–14 Calgary Flames season. Repairs to the facility forced the cancellation of all concerts and agricultural events scheduled for the 2013 Calgary Stampede.

Crews worked around the clock to repair the facility; Saddledome director of building operations Robert Blanchard estimated that 650,000 man hours of work was performed on the facility and noted that they had compressed a six-month project into two. The facility was granted its occupancy permit in late August, and the first event following the Saddledome's reopening was an Eagles concert on September 11. The first hockey game was September 14, a Flames pre-season contest.

Events
As the home of the Flames, the Saddledome hosted the 1985 NHL All-Star Game, and the 2000 NHL Entry Draft. The Flames have played three Stanley Cup Finals series in the Saddledome: 1986, 1989 and 2004. The arena is also the home of the Calgary Hitmen of the Western Hockey League (WHL). The Hitmen won the President's Cup in 1999 before a WHL playoff record crowd of 17,139. Playing in the largest arena in the WHL, the Hitmen also hold league records for overall attendance (362,227 in 2004–05), as well as single game (19,305 in 2007–08). The Saddledome is also the home of the Calgary Roughnecks of the National Lacrosse League (NLL) and hosted the 2005 NLL All-Star Game. It has hosted the NLL Champion's Cup game four times: 2004, 2009, 2014 and 2019. The Roughnecks would raise the Cup on their home floor in all of these games except 2014. The stadium was one of the venues for the 2012 World Junior Ice Hockey Championships.

The opening of the Saddledome allowed Calgary to host major musical acts that were bypassing the city in the early 1980s, because the city's existing facilities were not large enough to accommodate the industry's top performers.

The Moody Blues were the first musical act to appear with Stevie Ray Vaughan opening, in November 1983, while Rod Stewart has made the most appearances in the Dome, 11. Many other top acts have made stops in the Saddledome, however the inability of the roof to support the massive light, speaker and special effect rigs that some performers currently use has led the city to again be bypassed for some major tours.

In addition to hockey and figure skating at the 1988 Olympics, the Saddledome has been the site of numerous major national and international events. The facility has hosted Brier, the Canadian men's curling championship, on four occasions (1997, 2002, 2009 and 2015). It also hosted the women's championship, the Tournament of Hearts in 1995. The 2006 World Figure Skating Championships was also held in the arena. The WWF pay-per-view event In Your House 16: Canadian Stampede was also held at the Saddledome in July 1997. Among non-sporting events, the Saddledome most recently hosted a public address by the Dalai Lama in 2009 that was attended by 15,000 people. In 2005, Queen Elizabeth II attended a celebration of Alberta's centennial at the Saddledome.

It has also hosted PBR Bud Light Cup events; in 1998 and 1999 the event was known as "Cody Snyder's Bullbustin'", and in 2000 and 2001 the event was called the Professional Bull Riders Canadian Open. The Saddledome has also been a host for PBR Canada events.

On October 3, 2016, the Saddledome hosted a National Basketball Association preseason game between the Toronto Raptors and Denver Nuggets.

On July 21, 2012, the Saddledome hosted an Ultimate Fighting Championship event, which was UFC 149. Six years later, on July 28, 2018, the Saddledome hosted another UFC event, which was UFC on Fox: Alvarez vs. Poirier 2.

The arena was also the site of the 1990 Liberal Party leadership convention.

Amenities
The Saddledome seats 19,289 for hockey and lacrosse, with different capacities for other events depending on the arena's configuration. It has 72 luxury suites, 41 of which were constructed at the top of the lower bowl in 1995 and 31 were constructed at the top of the second level when the facility was built. There are also six party suites on the corners of the upper loges that are rented on an event by event basis. Sections 115 through 122 of the lower bowl form The Club and offers in-seat concession service at Flames games. This was later expanded to the remainder of the lower bowl during Flames, Hitmen and Roughnecks games via the Saddledome Live app.

The Club features a private dining room available during Flames games, large concerts and private events. Dutton's Canadian Lounge is a sports bar located at the west entrance to the building. There are three additional restaurants within the facility: The Saddleroom Grill, the Alumni Lounge and the King Club. The Iconic Platinum Club is a 188-seat executive club accessible with a purchased membership. It features a private bar and restaurant as well as a fully functional business centre.

Saddledome Foundation
The City of Calgary established the Saddledome Foundation in 1983 and leased the arena for 50-years to the non-profit organization. Its mandate was to "oversee the operation in a manner that protects taxpayers and benefits amateur sports at the local, provincial and national level". The foundation is made up of a board of nine directors: three appointed by the city, three appointed by the province, and one each appointed by the Calgary Olympic Development Association (now WinSport Canada), Hockey Canada and the Calgary Exhibition and Stampede. The foundation contracted the Stampede to manage the arena, and through its lease agreements with the Stampede and the Flames, earned 15% of gross concession sales, 50% of net income from luxury suites and executive seating and investment income on the arena's revenues. The Flames signed a 20-year lease in 1983 that earned them 70% of advertising revenues and 90% of ticket revenues. The Stampede earned 85% of concession revenues and all revenue from parking.

As part of the 1994 deal with the city, the Flames bought out the Stampede's contract for $20 million and took over management of the facility. While the city and Saddledome Foundation paid for the 1994–95 renovations, the new agreement required the Flames to pay for future arena maintenance and repairs, as well as any further renovations. The Flames agreed to manage the arena for 20 years and to contribute $14.5 million toward amateur sport in the city over that time. The Saddledome Foundation retains the responsibility of distributing funds to amateur sport. From its inception through 2007, it had allocated over $20 million toward this cause.

Future
The Saddledome is one of the oldest arenas in the NHL and the oldest among the seven Canadian franchises, fuelling speculation that it is due to be replaced. Only Madison Square Garden in New York City and Climate Pledge Arena in Seattle are older than the Saddledome; however, both arenas underwent substantial interior renovations in the 2010s, both of which effectively resulted in a new arena being built within an existing superstructure. Flames president and chief executive officer Ken King said in 2008 that plans for a new arena were "five to eight years away" creating the expectation that the team hoped to have a new arena built for when their lease was due to expire in 2014, but such plans never came to fruition. Team chairman Murray Edwards argues that the ability of the facility to host major events and concerts is growing increasingly limited as the facility ages. Along with Edwards, sports financial analysts note that newer arenas generate far more revenue for their teams than the Saddledome does for the Flames.

It is expected that any new arena would also be located either on the Stampede Grounds or elsewhere in downtown Calgary. While NHL Commissioner Gary Bettman has lobbied on behalf of both the Flames and the Oilers for government support, Calgary mayor Naheed Nenshi and alderman John Mar have stated their opposition using taxpayer money to help fund a new arena. King stated that the Flames have concepts and designs for a new building, but are not ready to release them. Some of the plans being considered for Stampede Park would include lowering the city's C-train light rail transit line below ground and run straight into a new facility.

In 2015, Calgary Sports and Entertainment proposed CalgaryNEXT—a sports complex in the western downtown area that would feature a new arena and football stadium to replace the Saddledome and McMahon Stadium. The proposal was shot down in 2017 by Calgary's city council, who voted to support a "plan B" of a new arena on a site adjacent to the existing Saddledome, which is currently used as a parking lot for the Stampede grounds.

On September 12, 2017, King stated that the team was no longer pursuing the arena, as "we've been working for a long time trying to come up with a formula that really works to replace this building and we really put our best foot forward and I’ve come to the conclusion sadly and I’m very disappointed that I don't think we can make a deal that works for us". Mayor Nenshi subsequently proposed a partnership wherein portions of the cost of "plan B" would be covered by the city, and the rest covered by the team ownership and user surcharges. King objected to this proposal.

Critics alleged that the Flames had been trying to use the issue of a new arena to influence the 2017 municipal elections, where Nenshi was elected for a third term as mayor of Calgary. King denied that this was the case, stating that "we did not raise this as an election issue: it became an election issue".

On July 30, 2019, Calgary city council had approved a $550 million Event Centre to replace the Saddledome. The new Event Centre would have been located to the north of the Saddledome in the Victoria Park neighbourhood. The city of Calgary would own the arena while Calgary Sports and Entertainment Corporation would be responsible for the facility's operation and maintenance under a 35-year, no-relocation lease agreement. The new arena had a planned capacity of around 19,000; plans for the Event Centre also included the possibility for a smaller arena to replace the now-demolished Stampede Corral. The Saddledome would have been subsequently demolished had the proposed Event Centre been built.

On April 14, 2021, the deal for the new arena was put on hold by Calgary city council over budget concerns.

On July 26, 2021, the city announced the cost of the arena had gone from $550 million to $608.5 million. The arena was planned on an inverted bowl design which may not have worked on that particular piece of land and would've been bad for accessibility. As the engineers got further into design work, they realized there are some other things, there weren't enough women's bathrooms as well as there may be too many luxury boxes and not enough seats for regular people. To address cost overruns, both the City of Calgary and Calgary Sports and Entertainment Corporation would each be putting forward an additional $12.5 million. The clause was part of the original deal signed in 2019 and has already been approved by council. The Calgary Sports and Entertainment Corporation has agreed to cover anymore cost overruns.

On December 22, 2021, Calgary Sports and Entertainment pulled out of the deal, citing disagreements in significant infrastructure costs ($15 million) and climate mitigation costs ($4 million); costs not previously identified as project costs by CMLC or the City nor included in the $608.5 million target budget in July 2021. Despite this, CSEC intends on staying in the Saddledome.

At a press conference on April 25, 2023, it was announced that the Calgary Event Centre project, estimated to cost $1.22 billion, would be moving forward consisting of a new arena, indoor rink, and indoor and outdoor plazas. The city would pay $537 million, with the Flames owners and the province paying $356 million and $300 million over three years, respectively.

On October 5, 2023, the City of Calgary, Province of Alberta, and CSEC announced that they had finalized agreements for the Calgary Event Centre, with district improvements worth $1.22 Billion.

title: Scotiabank Saddledome


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CFRB

CFRB (1010 kHz) is a commercial AM radio station in Toronto, Ontario, Canada. It is owned by Bell Media and carries a News/Talk radio format. Its studios and offices are in the Entertainment District at 250 Richmond Street West.

One of the oldest surviving radio stations active in Toronto, CFRB went on the air on February 19, 1927, as 9RB owned by Edward S. Rogers Sr., with the callsign derived from its parent Rogers Vacuum Tube Company and the station moved to its current 1010 AM frequency in 1948. Throughout ownership changes for most of the decade and its format remained intact, the station was acquired by Slaight Broadcasting in 1985, before being acquired by Astral Media in 2007 and ultimately sold to Bell Canada, rival company of Rogers Communications, founded by Rogers Sr.'s son, Ted Rogers, Jr., in 2013.

CFRB is a clear channel station powered at 50,000 watts, the maximum permitted in Canada. While it is a Class A station, it also must protect CBR in Calgary, which shares Class A status on 1010 AM. CFRB uses a four-tower array directional antenna in the Clarkson neighbourhood of Mississauga. CFRB is simulcast on shortwave station CFRX at 6.07 MHz in the 49 metre band and on sister station 99.9 CKFM-FM-HD2, a digital subchannel. CFRB is also heard across Canada on Bell Satellite TV channel 964.

Early years
CFRB first signed on the air on February 19, 1927. It is not Toronto's very first radio station, but it is the city's oldest English-language broadcaster still operating today. (CJBC, which now operates in French, was founded in 1925.) It was founded by the Rogers Vacuum Tube Company. The station was used to promote Edward S. Rogers Sr.'s invention of a batteryless radio receiver that could be operated using alternating current and therefore did not need the cumbersome battery that had previously been required. The station itself was a demonstration of Rogers' application of his invention to radio transmitters as well as receivers, a development that allowed for a signal that reproduced voices and music more clearly. The new type of transmitter also made CFRB the world's first all-electric radio station. The letters "RB" in the station's callsign stand for "Rogers' Batteryless".

The station began transmitting on an experimental basis in January 1927 as 9RB, before being converted to commercial operation a few weeks later, as CFRB. Those call letters have been used continuously since then. On February 19, the inaugural broadcast was a live symphony orchestra concert conducted by Jack Arthur. During its first years, CFRB leased time to two phantom stations: CNRX, owned by Canadian National Railways and providing programs of Canada's first radio network, and CPRY, owned by the CNR's rival, the Canadian Pacific Railway. The CNR's network was discontinued in 1933, with many of its assets eventually passing to the Canadian Broadcasting Corporation (CBC), and the CPR's radio service was discontinued in 1935.

CFRB's first studios were in a mansion on Jarvis Street north of Wellesley Street, built by the family of Hart Massey. In 1929, the station moved to purpose-built studios at 37 Bloor Street West. In the same year, the station became a network affiliate of the Columbia Broadcasting System.

In 1932, CFRB began airing the General Motors Hockey Broadcast, which had originated on the CNR's network. This program eventually became Hockey Night in Canada, and continued to be aired by CFRB for many years, despite also airing on the CBC's flagship station CBL, and continues to this day on CBC Television and Rogers Sportsnet.

From the 1930s to the 1950s, CFRB was the radio broadcaster for the Toronto Santa Claus Parade.

In 1937, CFRB began to simulcast on shortwave station CFRX at 6070 kHz.

Following the sudden death of Edward S. Rogers, Sr. in 1939, Rogers Majestic Corporation Limited was sold in 1941 and became Standard Radio Limited. In turn, the company was acquired by Argus Corporation in 1946.

On November 1, 1946, Wally Crouter joined CFRB. He eventually became its morning drive time host, a position he would hold until his retirement on November 1, 1996, after exactly fifty years at the station.

Changing frequencies and studios
CFRB and CJBC, owned by the CBC, made a frequency switch on September 1, 1948. CFRB moved to 1010 while CJBC took over the Class I-A clear-channel frequency at 860, previously used by CFRB. The CBC wanted its stations in major cities to be on Class I-A frequencies. But CFRB, which had been running at 20,000 watts, was boosted to 50,000 watts, giving it wide coverage over Southern Ontario.

Beginning in 1948, through until the early 1970s, CFRB made several unsuccessful bids for a licence to operate a television station in Toronto.

In 1965, CFRB moved its studios from 37 Bloor Street West to 2 St. Clair Avenue West (at Yonge Street). At around the same time, Standard Radio Limited was renamed Standard Broadcasting.

A long-lasting show, Calling All Britons featuring news, sports scores and music from Britain, began in 1965. It was hosted by Ray Sonin until his death in 1991.

New ownership
In 1978, Argus Corporation was acquired by Conrad Black and his brother Montegu, thus also giving them ownership of Standard Broadcasting. In November 1985, Slaight Broadcasting acquired Standard from the Blacks. In October 2007, Slaight sold Standard to Astral Media.

Ted Rogers, the communications mogul and son of CFRB's founder, had vowed to re-acquire the station that his family had lost after his father's death, and considered his failure to do so his greatest disappointment. Reports indicate that he continued to attempt to re-acquire CFRB right up until his death in December 2008.

In July 2013, with a buyout of Astral Media, CFRB was acquired by Bell Media, a subsidiary of Bell Canada which already owns the CTV Television Network and rival competitor to Rogers Communications founded by Ted Rogers. Shortly after the purchase, Bell announced that it would move the studios and offices of CFRB and sister station CKFM-FM from their long-time location at St. Clair Avenue and Yonge Street, to 250 Richmond Street West at Richmond and Duncan (which already houses the operations of sister radio stations, CHUM and CHUM-FM). The building is adjacent to 299 Queen Street West located at Queen Street and John Street (which already houses the operations of several Bell Media specialty television channels including CP24 and MuchMusic). The move took place on May 10, 2014.

Transmitter
The transmitting antennas for CFRB are a prominent landmark along Lake Ontario, a four-tower array in the Clarkson neighbourhood of Mississauga. The towers are visible from over 100 km away. They are used as a landmark for navigation by pilots, on approach to Toronto Pearson International Airport, or to Toronto Island Airport. The antenna array consists of four vertical masts, 168 metres (550 feet) in height.

CFRB was one of few stations to broadcast in AM stereo, starting in 1984. However, since AM stereo never achieved wide acceptance, the station deactivated its stereo broadcasting system in the mid-1990s.

The transmitter is located on Royal Windsor Drive, 200 meters west of the intersection of Lakeshore Road West (former King's Highway 2) and Southdown Road, at the coordinates 43.50575°N, -79.63179°W.

Shortwave relay
CFRX is the international shortwave relay of CFRB. It transmits with a power of 1 kW on 6.07 MHz in the 49-meter shortwave band. CFRX signed on the air on February 11, 1937, 10 years after CFRB began. In 1948, CFRB was considering discontinuing its shortwave relay when the station was planning the relocation of its transmitter from Aurora to a new complex at Clarkson, Ontario but decided to keep the CFRX transmitter and move it to Clarkson after receiving hundreds of letters from listeners. CFRX is operated on the north end of the same site as CFRB's main transmitter building.

The shortwave signal was originally directed to the northwest in order to provide service towards northern Ontario and western Canada. When a new transmitter was installed in the 2000s, it was made omni-directional with the intention of providing availability to Canadians travelling to or vacationing in the United States, particularly snowbirds.

Programming
CFRB has local hosts most of the day, though several shows are syndicated to other Bell Media talk stations in Canada. The 11 p.m. newscast is simulcast from co-owned CFTO-DT Channel 9 CTV Toronto.

CFRB traditionally had Toronto's top-rated morning drive show with host Wally Crouter, who joined the station in 1946 and a few weeks later began hosting its morning drive show, originally called Top O’ The Morning and later the Wally Crouter Show, until his retirement in 1996. At its peak in the 1970s and 1980s, the show drew half-a-million listeners. CFRB's morning show has trailed CBC Radio One's Metro Morning since 2003.

As of 2024, Newstalk 1010's Monday to Friday schedule consisted of Moore in the Morning with John Moore in the morning drive slot, Jerry Agar in mid-morning followed by The Vassy Kapelos Show over midday, The Rush, with rotating hosts, in the afternoon, the simulcast CTV News Toronto in the late afternoon drive slot, followed by Newstalk Tonight with Jim Richards in the evening and a simulcast of CTV National News in the late evening followed by repeats overnight. An attempt to schedule Jim Richards in a national overnight shift in 2021 proved unsuccessful. The Rush was hosted by Reshmi Nair and Scott MacArthur from 2022 to 2023 and had previously been hosted by Jay Michaels and Ryan Doyle.

Weekend programming consists largely of repeats of programs from the previous week as well as some original programming such as Taking Stock, a business show with Amanda Lang, talent show Free For All with Amanda Galbraith, advice programs such as a home improvement show, a pet show, a real estate show, an employment law show, Tech Talk with Marc Saltzman, The Disability Law Show, The Sunday Money Show, Ask The Experts with Iain Grant, and several podcasts as well as simulcasts of CP24 and CTV News.

In August 2009, CFRB announced it was laying off a number of its well-known personalities, including Michael Coren, Paul and Carol Mott, Christina Cherneskey, Jacqui Delaney and newscaster Kris McCusker as part of a move to open a "new chapter" at the station. The second phase of the shake up was announced in the fall with John Moore moving from afternoon drive to morning, replacing Bill Carroll, who moved to the 9 am to 1 pm slot. Jim Richards took over the 1pm to 4pm slot formerly held by The Motts and Michael Coren and former Ontario Progressive Conservative leader John Tory (later mayor of Toronto) took over the late afternoon slot vacated by Moore. In 2010, Carroll left CFRB to take a job in Los Angeles and was replaced by Jerry Agar.

In early 2013, the station added Astral's new late night Humble & Fred show.

Toronto City Councillor Josh Matlow started on CFRB contributing to Sundays with John Downs and then began hosting his own show, The City (beginning in August 2011) every Sunday on CFRB between 1-3PM. Matlow discussed city hall's top headlines with Toronto's city councillors and the week's news makers. From February 2012 until November 2013, CFRB aired The City, featuring Toronto Mayor Rob Ford and his brother and city councillor Doug Ford. The Ford brothers' version of the show was often controversial and was allegedly used by the Fords as a platform to attack their political enemies, prompting various complaints. The show was cancelled in November 2013 after Mayor Ford admitted using crack cocaine after several months of denials. The Fords were replaced in their time slot by Mark Towhey who had previously been Mayor Ford's Chief of Staff until he was fired by Ford on May 23, 2013 at the height of Ford's crack video scandal. Towhey's show continued until 2021.

In 2016, Tim Hudak, the former leader of the Ontario Progressive Conservative Party, was given a show on Sundays which he hosted until 2021.

In February 2021, Bell Media eliminated 210 positions at its media properties across Canada. Included in the layoffs were Newstalk 1010 news director Kym Geddes, and several broadcasters including weekend host Ted Woloshyn, Nightside host Barb DiGiulio, news reporters and anchors Hayley Cooper, David McKee, Lucas Meyer, and Claude Feig.

Notable staff

 * Charles Adler
 * Kate Aitken
 * Richard Alway
 * Andy Barrie
 * Dick Beddoes
 * Jaymz Bee
 * Pierre Berton and Charles Templeton
 * Mark Breslin
 * Mike Bullard
 * Bill Carroll
 * Desmond Cole
 * Michael Coren
 * Wally Crouter
 * Fred Davis
 * Jack Dennett
 * Dave Devall
 * Mark Elliot
 * Tarek Fateh
 * Royce Frith
 * Dan Gallagher
 * Larry Grossman
 * Monty Hall
 * Avery Haines
 * Jane Hawtin
 * Larry Henderson
 * Foster Hewitt
 * Dave Hodge
 * Mary Ito
 * Erica Johnson
 * Taborah Johnson
 * Paul Jones
 * Betty Kennedy
 * Andrew Krystal
 * Stephen LeDrew
 * Brian Linehan
 * John Majhor
 * Pat Marsden
 * Denton Massey
 * Brian McFarlane
 * Wes McKnight
 * Farah Nasser
 * David Onley
 * Valerie Pringle
 * Leslie Roberts
 * Bruce Rogers
 * Lynne Russell
 * Percy Saltzman
 * Peter Shurman
 * Peter Silverman
 * Gordon Sinclair
 * Evan Solomon
 * Larry Solway
 * Ray Sonin
 * George Stroumboulopoulos
 * Cy Strange
 * Ellie Tesher
 * Mike Toth
 * Claire Wallace
 * Wayne and Shuster
 * Brian Williams and Don Cherry
 * Ted Woloshyn

title: CFRB


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Category:Swedish musical groups

For musical groups that originate from, or have a major connection to Sweden.

title: Category:Swedish musical groups


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User:Sdalu/Gallery

France

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Netherland

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Japan

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 * Image:Kinkaku-ji.jpg
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 * Image:HeianShrine.jpg
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 * Image:Gion-Maiko odori.jpg

United States

 * Image:SanDiegoZoo-PolarBear.jpg
 * Image:SanDiegoZoo-Panda.jpg
 * Image:BalboaPark_Museum.jpg
 * Image:BalboaPark_DesertGarden.jpg
 * Image:BalboaPark_BotanicBuilding.jpg

title: User:Sdalu/Gallery


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MGR (disambiguation)

M. G. Ramachandran (1917–1987) was the Former Chief Minister of Tamil Nadu.

MGR may also refer to:

 * ManaGeR (MGR), graphical window system
 * Mere Gook Rule (MGR), controversially claimed Vietnam War engagement policy
 * Merry-go-round train, British freight-train design

Mgr. is an honorific or abbreviation for:
 * Manager (disambiguation)
 * Monseigneur (also Msgr.)
 * Monsignor (also Msgr., Mons.)

title: MGR (disambiguation)


text:
Category:Rock music groups

 * This category contains articles about music groups who have performed rock music.

title: Category:Rock music groups


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Biennale

In the art world, a Biennale, Italian for "biennial" or "every other year", is a large-scale international contemporary art exhibition. The term was popularised by the Venice Biennale, which was first held in 1895, but the concept of such a large scale, and intentionally international event goes back to at least the 1851 Great Exhibition in London.

Although typically used to refer to art festivals or exhibitions which occur every two years, the term is not always applied strictly. Since the 1990s, the terms biennale and biennial have both been used to refer to large-scale international survey shows of contemporary art that recur at regular intervals (Documenta is held every five years, and Skulptur Projekte Münster every ten).

The term has also derived a suffix for other creative events, as in "Berlinale" for the Berlin International Film Festival and "Viennale" for Vienna's international film festival, both of which are held annually.

Characteristics
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic and international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the "here and now" where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to, produce or frame the history of the site and communities' collective memory.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk, the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time. Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art "ethnic marketing", and also challenged the Venetian and World Fair's national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales
In the term's most commonly used context of major recurrent art exhibitions:

 * Adelaide Biennial of Australian Art, South Australia
 * Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
 * Athens Biennale, in Athens, Greece
 * Diriyah Contemporary Art Biennale, in Diriyah, Saudi Arabia
 * Bienal de Arte Paiz, in Guatemala City, Guatemala
 * Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
 * Bamako Encounters, a biennale of photography in Mali
 * Bat-Yam International Biennale of Landscape Urbanism
 * Beijing Biennale
 * Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
 * Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
 * Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
 * Bienal de Arte de Ponce in Ponce, Puerto Rico
 * Biënnale van België, Biennial of Belgium, Belgium
 * BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
 * Biennial of Hawaii Artists
 * Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region
 * Biwako Biennale, in Shiga, Japan
 * La Biennale de Montreal
 * Biennale of Luanda : Pan-African Forum for the Culture of Peace, Angola
 * Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
 * Bucharest Biennale in Bucharest, Romania
 * Bushwick Biennial, in Bushwick, Brooklyn, New York
 * Canakkale Biennial, in Canakkale, Turkey
 * Cello Biennale, Amsterdam, the Netherlands
 * Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal
 * Changwon Sculpture Biennale in Changwon, South Korea
 * Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
 * Documenta, contemporary art exhibition held every five years in Kassel, Germany
 * Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
 * EVA International, biennial in Limerick, Republic of Ireland
 * Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden
 * Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
 * Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
 * Havana biennial, in Havana, Cuba
 * Helsinki Biennial, in Helsinki, Finland
 * Herzliya Biennial For Contemporary Art, in Herzliya, Israel
 * Incheon Women Artists' Biennale, in Incheon, South Korea
 * Iowa Biennial, in Iowa, US
 * Istanbul Biennial, in Istanbul, Turkey
 * International Roaming Biennial of Tehran, in Tehran and Istanbul
 * Jakarta Biennale, in Jakarta, Indonesia
 * Jerusalem Biennale, in Jerusalem, Israel
 * Jogja Biennale, in Yogyakarta, Indonesia
 * Karachi Biennale, in Karachi, Pakistan
 * Keelung Harbor Biennale, in Keelung, Taiwan
 * Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
 * Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
 * Kobe Biennale, in Japan
 * Kuandu Biennale, in Taipei, Taiwan
 * Lagos Biennial, in Lagos, Nigeria
 * Light Art Biennale Austria, in Austria
 * Liverpool Biennial, in Liverpool, UK
 * Lofoten International Art Festival (LIAF), on the Lofoten archipelago, Norway
 * Manifesta, European Biennale of contemporary art in different European cities
 * Mediations Biennale, in Poznań, Poland
 * Melbourne International Biennial 1999
 * Mediterranean Biennale in Sakhnin 2013
 * MOMENTA Biennale de l'image (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
 * MOMENTUM, in Moss, Norway
 * Moscow Biennale, in Moscow, Russia
 * Munich Biennale, new opera and music-theatre in even-numbered years
 * Mykonos Biennale
 * Nakanojo Biennale
 * NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
 * October Salon – Belgrade Biennale, organised by the Cultural Center of Belgrade, in Belgrade, Serbia
 * OSTEN Biennial of Drawing Skopje, North Macedonia
 * Biennale de Paris
 * Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia
 * São Paulo Art Biennial, in São Paulo, Brazil
 * SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand
 * Prospect New Orleans
 * Seoul Biennale of Architecture and Urbanism
 * Sequences, in Reykjavík, Iceland
 * Shanghai Biennale
 * Sharjah Biennale, in Sharjah, UAE
 * Singapore Biennale, held in various locations across the city-state island of Singapore
 * Screen City Biennial, in Stavanger, Norway
 * String Quartet Biennale Amsterdam, the Netherlands
 * Biennale of Sydney
 * Taipei Biennale, in Taipei, Taiwan
 * Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
 * Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.
 * Thessaloniki Biennale of Contemporary Art, in Thessaloniki, Greece
 * Dream city, produced by ART Rue Association in Tunisia
 * Vancouver Biennale
 * Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines
 * Venice Biennale, in Venice, Italy, which includes:
 * Venice Biennale of Contemporary Art
 * Venice Biennale of Architecture
 * Venice Film Festival
 * Vladivostok biennale of Visual Arts, in Vladivostok, Russia
 * Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, US
 * Web Biennial, produced with teams from Athens, Berlin and Istanbul.
 * West Africa Architecture Biennale, Virtual in Lagos, Nigeria.
 * WRO Biennale, in Wrocław, Poland
 * Music Biennale Zagreb
 * [SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
 * Yerevan Print Biennale

title: Biennale


text:
Category:Internet

The Internet is the publicly available worldwide system of interconnected computer networks that transmit data by packet switching over the Internet Protocol (IP). It is made up of thousands of other, smaller business, academic, and government networks. It is the most widespread network in the world.

The terms Internet and World Wide Web are often used in every-day speech without much distinction. However, the Internet and the World Wide Web are not one and the same. The Internet is a global data communications system. It is a hardware and software infrastructure that provides connectivity between computers. Simply, the "Internet is a network of networks", where two or more than two computers are connected through a wired or wireless network for sending and receiving data - such as text, video, songs, etc. In contrast, the Web is one of the services communicated via the Internet. The Web is a collection of interconnected documents and other resources, linked by hyperlinks and URLs. Other services using the internet include electronic mail, File Transfer Protocol, Telnet, online chat, Voice over Internet Protocol, Instant messaging, Fax, and Usenet.

title: Category:Internet


text:
Talk:Smoke detector

frequency of certain causes of death
Hi! I think the article should describe in more detail, what the effects of a smoke detector are. Because: It looks like there were never so many final falls and terminal smoke intoxications as now (after they all have a smoke detector in their bedroom in F.Rep.Germany...)... Does anybody know some scientific studies? Thx. Bye. -- 2020-08-27T07:32:23UTC //forgot to sign... Homer Landskirty (talk) 14:40, 29 December 2022 (UTC)

Erwin Sick
Apparently Erwin Sick is given credit for the first smoke detector, but not much has been written about it. Any more detailed information? "In 1956, Sick is granted the second patent for a new type of photoelectric retro-reflective sensor, followed in 1958 by the patent for the first smoke detection device in the world." Rhynchosaur (talk) 16:59, 5 August 2022 (UTC)

 * TL:DR not relevant to the article-
 * This seems to be the original patent it is more of a security sensor (Photoelectric sensors | Reflex Array | SICK) used in industry production than a fire alarm product. Here is about there history on their own site: SICK's company history | SICK Fackbok.se (talk) 20:25, 11 April 2023 (UTC)

Added discussion of radiation
Added sections on radiation in and disposal of ionization smoke detectors, which are generally being replaced by photo-electric smoke detectors.

Officials at the US Department of Energy provided references to documents published by the US Nuclear Regulatory Commission that report on studies of Ionization smoke detectors done in about 1978 and 2001. They also provided links to a backgrounder by the NRC and another backgrounder by the US Environmental Protection Agency (EPA). Bruce Esrig (talk) 09:48, 24 September 2022 (UTC)

Wiki Education assignment: Industrial Hygiene and Ergonomics- Graduate Student Projects
— Assignment last updated by UCIHGrad18 (talk) 14:48, 13 March 2023 (UTC)

SMOKE DETECTORS VS SMOKE ALARMS
A smoke detector by definition only senses or detects. It has no audible or visual output. Detectors are used in fire alarm systems that have a control panel which the detector sends a signal to when it detects smoke, a heat rise or other material it is designed to sense. It is useless in almost all home applications. Smoke alarms are designed to both sense AND give off an audible and/or visual output such as a high db alarm, a strobe light or voice. Smoke alarms are what are used in single family homes or residences that are not required to have a fire alarm system. Umpyprof (talk) 20:12, 21 February 2024 (UTC)

 * The name "Smoke Detector" is commonly used to describe a combined detector+alarm and in normal use means the same as "Smoke Alarm". I am sure that pure detectors without any alarm function exist but this does not mean that the item known as as Smoke Detector "has no audible or visual output". Mtpaley (talk) 00:53, 22 February 2024 (UTC)
 * You might have a point though on the order of redirect. Currently "Smoke Alarm" redirects to "Smoke Detector" and this article is clearly written with a domestic smoke alarm in mind.  It might make more sense to reverse this and make smoke detector redirect to smoke alarm which is renamed from the current smoke detector page. Mtpaley (talk) 01:03, 22 February 2024 (UTC)
 * If you have ever taken or taught a fire alarm system course as I have, one of the first things you learn is that a smoke detector is not the same as a smoke alarm and using the terms interchangably may be a serious mistake, especially to those who are not familiar with the subject. In fact the subject comparing detectors to alarms is on provincial licencing exams for those who wish to work on fire alarm systems. If you are going to use technical terminology, use it correctly. If you want to continue to use the 2 terms synonymously go right ahead and hope you never give someone the wrong information. I'm not going to reply again. Any person who reads my post will certainly get my point. Umpyprof (talk) 02:36, 22 February 2024 (UTC)
 * Very few, if any, persons that are licensed to work on fire alarm systems are also inclined to edit Wikipedia. Your expertise in the area would be greatly appreciated as there is a deficiency in a lot of the fire safety material on this site, as evidenced by the inaccurate terminology used here in favor of the "more common" name. Recon  rabbit  14:29, 22 February 2024 (UTC)

title: Talk:Smoke detector


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Rob Younger

Rob Younger (born Robert Kent Younger) is an Australian rock musician, vocalist, songwriter and producer. He is a founding mainstay of the punk rock group Radio Birdman, and he is a pioneer of the local independent music scene. Radio Birdman, formed with Deniz Tek on guitar in November 1974, was one of the first punk rock bands ever formed in Australia, and it is considered one of the most influential and crucial bands in Australian music history. Younger formed a short-term super-group, New Race, in 1981. He also formed New Christs in that year, who is still active today.

Younger undertook production work, particularly with bands on the Citadel Records label. He has teamed up with the label's engineer-producer, Alan Thorne, and has worked independently in Australia and Europe. Younger and Radio Birdman are cited as influential by various rock artists, including The Hives and Silverchair. At the ARIA Music Awards of 2007, Daniel Johns of Silverchair announced the induction of Radio Birdman into the ARIA Hall of Fame.

Biography
Rob Younger was lead vocalist of the Rats in 1974 alongside Warwick Gilbert on guitar, Mick Lynne, Ron Keeley on drums and Carl Rourke on bass guitar. They played cover versions of material by New York Dolls, the Stooges, and Velvet Underground. Younger shared a house with fellow musician, Deniz Tek, who was a member of TV Jones. Younger, Keeley, Rourke and Tek on lead guitar formed a punk rock group, Radio Birdman, in Sydney in November 1974 with Philip "Pip" Hoyle on keyboards. Rourke was soon replaced on bass guitar by Gilbert. Fellow Australian musician, and some-time rock music journalist, Vince Lovegrove, observed, "[they] turned the volume up full bore on their amplifiers, screamed out about revolution into the microphones, raised clenched fists in the air and in the process heralded in a brand new era for Australian rock'n'roll music."

The group's debut four-track extended play, Burn My Eye, appeared in October 1976. It was followed by their debut studio album, Radios Appear, in July 1977. Younger co-wrote a track, "Aloha Steve and Danno", for the international version, which appeared early in the following year. However, the group disbanded in June 1978. According to Australian musicologist, Ian McFarlane, "From the outset, [they] played an Americanised brand of rock'n'roll that was totally honest and totally committed... Although generally loathed and shunned by the mainstream music industry of the day... [as] one of the most potent rock bands ever to emerge from Australia, [they] holds pride of place as THE cult band of the last 25 years. The band's iconoclastic approach, uncompromising do-it-yourself ethos and outsider status in the face of overwhelming hostility remain the stuff of legend."

Younger formed the Other Side in 1978 with Clyde Bramley on bass guitar and Charlie Georges on guitar (ex-the Hellcats). and Mark Kingsmill (also ex-the Hellcats) Ron Keeley replaced Kingsmill on drums. The group disbanded in the following year. In 1980 Younger was involved in production work on a four-track extended play, The Visitors, by local punk group of the same name – which included former band mates Hoyle, Keeley and Tek.

The New Christs were formed in 1980 as a hard rock group by Younger and Bramley (ex-the Hitmen) with Bruce "Cub" Callaway on guitar (X-Men, the Saints), John Hoey on keyboards (X-Men) and Don McGloneon on drums (Bedhogs). The line-up never performed live but released a single, "Face a New God" (1981), which was co-written by Younger and Callaway. McFarlane described it as "searing acid-punk" which has "since emerged as one of the most collectable artefacts of the Australian punk/new wave era." The group disbanded later that year.

Early in 1981 Younger, Gilbert and Tek formed a short-term punk super-group, New Race, with Ron Asheton (of the Stooges, Iggy Pop Band) on guitar, and Dennis "Machine Gun" Thompson (of MC5) on drums. They toured Australia's east coast during April and May and recorded a live album, The First and Last, which was issued posthumously in the following year. It was co-produced by Younger with Charles Fisher and Alan Thorne. McFarlane felt it was "one of the greatest live albums in the history of Australian rock'n'roll... hard'n'fast Detroit rock'n'roll at its very best, with Tek and Asheton's incendiary guitar interplay well to the fore."

The New Christs reformed in June 1983 with Younger joined by Kingsmill, Chris Masuak on guitar and Tony Robertson on bass guitar (all from the Hitmen) and Kent Steedman on guitar (also in the Celibate Rifles). The group, according to AllMusic's Geoff Ginsberg, "have managed to persevere through many personnel changes, as well as Younger's many commitments producing other bands." They issued five studio albums, Distemper (1989), Lower Yourself (1997), We Got This! (2002),  Gloria (May 2009) and Incantations (2014).

Younger had teamed up with the Celibate Rifles on a live four-track EP, Rob Younger and the Celibate Rifles (1991), which was recorded in July 1988 at one of that group's performances in Backnang, Germany. He had joined them on stage to provide vocals for cover versions of "I-94" (originally by Radio Birdman), "She's so Fine" (The Easybeats), "Shakin' All Over" (Johnny Kidd & the Pirates) and "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" (AC/DC).

In April 1997 he was interviewed by Lovegrove: he described his recent work with New Christs and as a producer for other artists, "Yeah, I haven't done anything exceptionally odd, just work in studios, written songs and produced bands. I've got a family to support, a little girl aged 18 months and a four year old boy, so I've even had to work a few day jobs at various times. The band doesn't have a big audience in Australia, so I'm champing at the bit to do this European tour. I think the lack of commitment on our part over the past few years hasn't helped our Australian following, so we've had a real slump. But a band's only as good as the songs that it writes, and we've got some good songs at the moment. We can rock, we know how to rock".

Younger has participated in reformations of Radio Birdman in 1996 and the following year; they reunited sporadically thereafter. In July 2007 the group were inducted into the ARIA Hall of Fame. They had refused an earlier nomination in the previous year but relented according to Shane Pinnegar, "to pacify friends & family who wanted to see them acknowledged for their contribution to Australian rock n’ roll." Younger reflected, "I didn't really want to accept [the Aria] because I didn't think the music business was ever really on our side, but there were people that did help us out, whether they were journalists or the odd agent or whatever. But generally, of course, I was always on my high horse about what assholes most of the people in the music business were, but I was just scattering my antipathy around at the world really. I don't know where it all fell, whether it landed on the right people or anything like that."

Production work
Credits:

title: Rob Younger


text: Category:Procedural knowledge

title: Category:Procedural knowledge


text:
Arnulf Rainer

Arnulf Rainer (born 8 December 1929) is an Austrian painter noted for his abstract informal art.

Rainer was born in Baden, Austria. During his early years, Rainer was influenced by Surrealism. In 1950, he founded the Hundsgruppe (dog group) together with Ernst Fuchs, Arik Brauer, and Josef Mikl. After 1954, Rainer's style evolved towards Destruction of Forms, with blackenings, overpaintings, and maskings of illustrations and photographs dominating his later work. He was close to the Vienna Actionism, featuring body art and painting under the influence of drugs. He painted extensively on the subject of Hiroshima such as it relates to the nuclear bombing of the Japanese city and the inherent political and physical fallout.

In 1978, he received the Grand Austrian State Prize. In the same year, and in 1980, he became the Austrian representative at the Venice Biennale. From 1981 to 1995, Rainer held a professorship at the Academy of Fine Arts in Vienna - the same place where he aborted his own studies after three days, unsatisfied.

His works are shown in the Museum of Modern Art, the Arnulf Rainer Museum in Baden Austria and the Solomon R. Guggenheim Museum. As the culmination of the appraisal of his work, the Arnulf Rainer Museum opened in New York City in 1993. His works have also continuously been shown at the European Cultural Centre's palazzos in Venice during the Biennale since 2011. In the same year, he published the work Unfinished into Death (ISBN 9789490784072) with the same organisation.

title: Arnulf Rainer


text:
Pip

Pip, PIP, Pips, PIPS, and similar, may refer to:

Common meanings

 * Pip, colloquial name for the star(s) worn on military uniform as part of rank badge, as in the British Army officer rank insignia or with many Commonwealth police agencies
 * The seed of some fruits
 * Pip (counting), a small but easily countable item, such as the dots on dice or symbols on playing cards
 * Pip (dominoes), a dot on a domino tile

Arts, entertainment and media

 * "Pip" (South Park), a 2000 episode of South Park
 * The Pips, the backup singers in the musical group Gladys Knight & the Pips
 * Providence Initiative for Psychogeographic Studies, an art group
 * PiP Animation Services, a Canadian animation studio
 * The Pip, the nickname of a clandestine radio station of Russian origin
 * BBC Pips or The Pips, a timing signal broadcast by the BBC

Finance and management

 * Percentage in point, a currency exchange rate fluctuation
 * Performance improvement plan, a management technique
 * Personal Independence Payment, a welfare benefit in the United Kingdom
 * Personal injury protection, a type of car insurance
 * Policy-ineffectiveness proposition, an economic theory

People

 * Pip (nickname), a list of people with the nickname
 * Pip (musician) (born 1992), contestant on Season 2 of NBC's TV show The Voice
 * Pip Devonshire (born 1966), New Zealand weaver
 * Pip Millett, English musician Georgia Willacy
 * Pip Simmonds, New Zealand freestyle skier
 * Scroobius Pip (born 1981), alias of rapper David Meads
 * Josef Priller (1915–1961), German fighter ace nicknamed "Pips"

Fictional characters

 * Pip (Great Expectations), Philip Pirrip from the Charles Dickens' novel Great Expectations
 * Pip Pirrup, a student at South Park Elementary in South Park
 * Pip (Moby-Dick character)
 * Peregrin Took, in J. R. R. Tolkien's fantasy The Lord of the Rings
 * Pip, a major character in The Railway Series of books
 * Pip, in the British newspaper strip cartoon Pip, Squeak and Wilfred
 * Pip (Chrono Cross)
 * Pip the Troll, a Marvel Comics character
 * Pip, in the Grailquest gamebook series
 * Pip Bernadotte, in the manga Hellsing
 * Pip, an Animaniacs character
 * Pip, in the Nickelodeon animated show Back at the Barnyard
 * Pip, a nickname of Chiana, in the Australian television series Farscape
 * Pip, in the film The Halloween Tree
 * Pip, a persona featured on the Tori Amos album American Doll Posse
 * Pips, a fictional fairy in the animated film FernGully: The Last Rainforest and its sequel
 * Pip, an animated chipmunk in the Disney live-action/animated film Enchanted
 * Pip, an otter in the television series Bear in the Big Blue House
 * Pip the Penguin, in the animated series T.O.T.S.
 * Pip, from The Twilight Zone (1959) episode "A Nice Place to Visit"

Schools

 * Pakistan International Public School and College (PIPS), a private residential school in Abbottabad, Pakistan
 * Pakistan Institute of Physics, a physics research institute of the University of Engineering and Technology, Lahore in Pakistan

Politics and government

 * Pakistan Institute for Parliamentary Services, a Pakistani government institution
 * Pakistan Institute for Peace Studies, a Pakistani non-governmental organization
 * Police information point, a kiosk run by British police
 * Peruvian Investigative Police, a plainclothes police unit
 * Puerto Rican Independence Party, a political party
 * Personal Independence Payment, a British welfare benefit

Science and technology

 * Greenwich Time Signal, popularly known as the pips
 * Predicted impact point, the location at which a projectile is expected to strike
 * Profile ignition pickup, a term in automotive technology
 * Proper indecomposable past set, a causal relation in a Lorentzian manifold
 * Picture-in-picture, a video stream playing within an inset window of a TV or device screen

Biology and medicine

 * Peak inspiratory pressure (PIP), in mechanical ventilation
 * Plasma membrane intrinsic protein, a class of plant aquaporins
 * Poly Implant Prothèse, a former French breast implants manufacturer
 * Polymerization induced phase separation
 * Prolactin-induced protein, a protein in humans
 * Proximal interphalangeal joints, interphalangeal joints of the hand
 * Pairwise-invasibility plot in evolutionary invasion analysis
 * Psychosis-intermittent hyponatremia-polydipsia (PIP) syndrome
 * Pug impression pad, an object used for the census of tigers

Computing

 * Peripheral Interchange Program, a DEC and CP/M file transfer utility
 * Point in polygon, a concept in computational geometry
 * Policy Information Point, in eXtensible Access Control Markup Language
 * Private Internet Protocol
 * pip (package manager), a Python package installer
 * P.I.P.S. Is POSIX on Symbian, known as P.I.P.S.
 * Precision Time Protocol Industry Profile, an IEC 62439-3 standard

Other uses

 * Battle of the Pips, an incident in World War II
 * Palisades Interstate Parkway, a highway in New York and New Jersey, United States
 * Pip Cliffs, Graham Land, Antarctica
 * IATA code for Pilot Point Airport, Pilot Point, Alaska, United States

title: Pip


text:
Category:Information technology

Information technology is a sub-discipline of computing, specifically the application of computers and telecommunications equipment to create, process, store, and exchange all kinds of electronic data and information. IT is typically used within the context of business operations as opposed to personal or entertainment technologies.

title: Category:Information technology


text: Category:Knowledge

title: Category:Knowledge


text: Category:Roman empresses

title: Category:Roman empresses