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Vickrey auction

A Vickrey auction or sealed-bid second-price auction (SBSPA) is a type of sealed-bid auction. Bidders submit written bids without knowing the bid of the other people in the auction. The highest bidder wins but the price paid is the second-highest bid. This type of auction is strategically similar to an English auction and gives bidders an incentive to bid their true value. The auction was first described academically by Columbia University professor William Vickrey in 1961 though it had been used by stamp collectors since 1893. In 1797 Johann Wolfgang von Goethe sold a manuscript using a sealed-bid, second-price auction.

Vickrey's original paper mainly considered auctions where only a single, indivisible good is being sold. The terms Vickrey auction and second-price sealed-bid auction are, in this case only, equivalent and used interchangeably. In the case of multiple identical goods, the bidders submit inverse demand curves and pay the opportunity cost.

Vickrey auctions are much studied in economic literature but uncommon in practice. Generalized variants of the Vickrey auction for multiunit auctions exist, such as the generalized second-price auction used in Google's and Yahoo!'s online advertisement programmes (not incentive compatible) and the Vickrey–Clarke–Groves auction (incentive compatible).

Self-revelation and incentive compatibility
In a Vickrey auction with private values each bidder maximizes their expected utility by bidding (revealing) their valuation of the item for sale. These type of auctions are sometimes used for specified pool trading in the agency mortgage-backed securities (MBS) market.

Ex-post efficiency
A Vickrey auction is decision efficient (the winner is the bidder with the highest valuation) under the most general circumstances; it thus provides a baseline model against which the efficiency properties of other types of auctions can be posited. It is only ex-post efficient (sum of transfers equal to zero) if the seller is included as "player zero," whose transfer equals the negative of the sum of the other players' transfers (i.e. the bids).

Weaknesses

 * It does not allow for price discovery, that is, discovery of the market price if the buyers are unsure of their own valuations, without sequential auctions.
 * Sellers may use shill bids to increase profit.

Proof of dominance of truthful bidding
The dominant strategy in a Vickrey auction with a single, indivisible item is for each bidder to bid their true value of the item.

Let $$v_i$$ be bidder i's value for the item. Let $$b_i$$ be bidder $$i\text{'s} $$ bid for the item. The payoff for bidder $$i $$ is

\begin{cases} v_i-\max_{j\neq i} b_j & \text{if } b_i > \max_{j\neq i} b_j, \\ 0 & \text{otherwise.} \end{cases} $$

The strategy of overbidding is dominated by bidding truthfully (i.e. bidding $$ v_i $$). Assume that bidder $$i $$ bids $$ b_i > v_i $$.

If $$\max_{j\neq i} b_j < v_i $$ then the bidder would win the item with a truthful bid as well as an overbid. The bid's amount does not change the payoff so the two strategies have equal payoffs in this case.

If $$\max_{j\neq i} b_j > b_i $$ then the bidder would lose the item either way so the strategies have equal payoffs in this case.

If $$v_i < \max_{j\neq i} b_j < b_i $$ then only the strategy of overbidding would win the auction. The payoff would be negative for the strategy of overbidding because they paid more than their value of the item, while the payoff for a truthful bid would be zero. Thus the strategy of bidding higher than one's true valuation is dominated by the strategy of truthfully bidding.

The strategy of underbidding is dominated by bidding truthfully. Assume that bidder $$i $$ bids $$ b_i < v_i $$.

If $$\max_{j\neq i} b_j > v_i $$ then the bidder would lose the item with a truthful bid as well as an underbid, so the strategies have equal payoffs for this case.

If $$\max_{j\neq i} b_j < b_i $$ then the bidder would win the item either way so the strategies have equal payoffs in this case.

If $$b_i < \max_{j\neq i} b_j < v_i $$ then only the strategy of truthfully bidding would win the auction. The payoff for the truthful strategy would be positive as they paid less than their value of the item, while the payoff for an underbid bid would be zero. Thus the strategy of underbidding is dominated by the strategy of truthfully bidding.

Truthful bidding dominates the other possible strategies (underbidding and overbidding) so it is an optimal strategy.

Revenue equivalence of the Vickrey auction and sealed first price auction
The two most common auctions are the sealed first price (or high-bid) auction and the open ascending price (or English) auction. In the former each buyer submits a sealed bid. The high bidder is awarded the item and pays his or her bid. In the latter, the auctioneer announces successively higher asking prices and continues until no one is willing to accept a higher price. Suppose that a buyer's valuation is $$v$$ and the current asking price is $$b$$. If $$vb$$ and the buyer is not the current high bidder, it is more profitable to bid than to let someone else be the winner. Thus it is a dominant strategy for a buyer to drop out of the bidding when the asking price reaches his or her valuation. Thus, just as in the Vickrey sealed second price auction, the price paid by the buyer with the highest valuation is equal to the second highest value.

Consider then the expected payment in the sealed second-price auction. Vickrey considered the case of two buyers and assumed that each buyer's value was an independent draw from a uniform distribution with support $$[0,1]$$. With buyers bidding according to their dominant strategies, a buyer with valuation $$v$$ wins if his opponent's value $$x<v$$. Suppose that $$v$$ is the high value. Then the winning payment is uniformly distributed on the interval $$[0,v]$$ and so the expected payment of the winner is

 * $$e(v)=\tfrac{1}{2}v. $$

We now argue that in the sealed first price auction the equilibrium bid of a buyer with valuation $$v$$ is
 * $$B(v)=e(v)=\tfrac{1}{2}v. $$

That is, the payment of the winner in the sealed first-price auction is equal to the expected revenue in the sealed second-price auction.

Suppose that buyer 2 bids according to the strategy $$B(v) = v/2$$, where $$B(v)$$ is the buyer's bid for a valuation $$v$$. We need to show that buyer 1's best response is to use the same strategy.
 * Proof of revenue equivalence

Note first that if buyer 2 uses the strategy $$B(v) = v/2$$, then buyer 2's maximum bid is $$B(1) = 1/2$$ and so buyer 1 wins with probability 1 with any bid of 1/2 or more. Consider then a bid $$b$$ on the interval $$[0,1/2]$$. Let buyer 2's value be $$x$$. Then buyer 1 wins if $$B(x) = x/2 < b$$, that is, if $$x < 2b$$. Under Vickrey's assumption of uniformly distributed values, the win probability is $$w(b) = 2b$$. Buyer 1's expected payoff is therefore

 * $$U(b)=w(b)(v-b)=2b(v-b)=\tfrac{1}{2}[v^2-(v-2b)^2]$$

Note that $$U(b)$$ takes on its maximum at $$b = v/2 = B(v)$$.

Use in network routing
In network routing, VCG mechanisms are a family of payment schemes based on the added value concept. The basic idea of a VCG mechanism in network routing is to pay the owner of each link or node (depending on the network model) that is part of the solution, its declared cost plus its added value. In many routing problems, this mechanism is not only strategyproof, but also the minimum among all strategyproof mechanisms.

In the case of network flows, unicast or multicast, a minimum-cost flow (MCF) in graph G is calculated based on the declared costs dk of each of the links and payment is calculated as follows:

Each link (or node) $$e_k$$ in the MCF is paid

 * $$p_k = d_k + \operatorname{MCF}(G - e_k) - \operatorname{MCF}(G), $$

where MCF(G) indicates the cost of the minimum-cost flow in graph G and G − ek indicates graph G without the link ek. Links not in the MCF are paid nothing. This routing problem is one of the cases for which VCG is strategyproof and minimum.

In 2004, it was shown that the expected VCG overpayment of an Erdős–Rényi random graph with n nodes and edge probability p, $$\scriptstyle G \in G(n, p)$$ approaches

 * $$ \frac{p}{2-p} $$

as n, approaches $$\scriptstyle \infty $$, for $$n p = \omega(\sqrt{n \log n})$$. Prior to this result, it was known that VCG overpayment in G(n, p) is

 * $$\Omega\left(\frac{1}{np}\right)$$

and

 * $$O(1)\,$$

with high probability given

 * $$np=\omega(\log n).\,$$

Generalizations
The most obvious generalization to multiple or divisible goods is to have all winning bidders pay the amount of the highest non-winning bid. This is known as a uniform price auction. The uniform-price auction does not, however, result in bidders bidding their true valuations as they do in a second-price auction unless each bidder has demand for only a single unit. A generalization of the Vickrey auction that maintains the incentive to bid truthfully is known as the Vickrey–Clarke–Groves (VCG) mechanism. The idea in VCG is that items are assigned to maximize the sum of utilities; then each bidder pays the "opportunity cost" that their presence introduces to all the other players. This opportunity cost for a bidder is defined as the total bids of all the other bidders that would have won if the first bidder had not bid, minus the total bids of all the other actual winning bidders.

A different kind of generalization is to set a reservation price—a minimum price below which the item is not sold at all. In some cases, setting a reservation price can substantially increase the revenue of the auctioneer. This is an example of Bayesian-optimal mechanism design.

In mechanism design, the revelation principle can be viewed as a generalization of the Vickrey auction.

title: Vickrey auction


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Jailbreak (album)

Jailbreak is the sixth studio album by Irish hard rock band Thin Lizzy. It was released on 26 March 1976, by Vertigo Records. The album proved to be the band's commercial breakthrough in the US, and the only Thin Lizzy album with a certification (in this case, Gold) in that country. The singles taken from the album include "Jailbreak" and "The Boys Are Back in Town"; the latter is Thin Lizzy's biggest US hit, and won the 1976 NME Award for Best Single.

Composition and recording
After their previous two albums, Nightlife and Fighting, failed to generate sales, Thin Lizzy were given one last chance by their label, Vertigo Records. The band wrote songs and collected ideas in a studio in Buckinghamshire in late 1975, then convened at Ramport Studios in London in the new year. They selected John Alcock as their producer, for he had worked in the studio extensively. The band worked diligently through February on the album. However, guitarists Scott Gorham and Brian Robertson felt that the speed at which it was completed adversely affected its quality. Both stated that the tightness of the songs made the album feel rigid. In particular, Robertson said he would have liked more freedom to improvise his lead guitar parts. Gorham also criticized Alcock's production, saying that he didn't particularly care for his guitar tone on the album.

"When I wrote 'Warriors'…" frontman and songwriter Phil Lynott remarked in 1976, "the only way I could give any sense of heavy drug takers was by describing them as warriors; that they actually go out and do it. People like Hendrix and Duane Allman were perfectly aware of the position they were getting into. They weren't slowly being hooked. It was a conscious decision to go out and take the thing as far as it can go."

Initially, the song "Running Back" was chosen to be a single ahead of "The Boys Are Back in Town", the latter being seen as possibly too aggressive for some radio stations to play. Lynott and producer John Alcock decided to employ session musicians to add more commercial elements to some of the tracks and try to produce a hit single, so Tim Hinkley was brought in to add keyboard parts to "Running Back". Robertson was against the idea, as he liked the song as it had originally been arranged, in a blues format with his own additions of piano and bottleneck guitar. He later said, "I took enormous offence to [the changes]. I couldn't understand why they'd pay this guy a fortune just for playing what he did. Listen to it and tell me it's not bollocks." Robertson did not play on the finished version of the song and Hinkley is not credited on the album sleeve. Lynott said at the time that "Running Back" was "very much influenced by Van Morrison. I really like that song." Hinkley later recalled, "Robbo and Scott were not keen on it at all but they were overruled." Thirty-five years later, Robertson recorded his own versions of the song on his 2011 album Diamonds and Dirt.

Scott Gorham also revealed that "Romeo and the Lonely Girl" was also brought up as an option for a single, but was ultimately discarded, as "nobody was overexcited about it."

Tour
While touring to promote the album, in the US, Lynott was stricken with hepatitis. Finally, the tour management decided to cancel the remaining tour dates allowing him time to recuperate.

Reception
Village Voice critic Robert Christgau likened the album's songs to Bruce Springsteen cast-offs, finding Lynott's lyrical ideas "boring" and Gorham's guitar lines "second-hand". Stuart Bailie of Classic Rock magazine referred back to Christgau's appraisal, writing that both Springsteen and Lynott "were indebted to Van Morrison and his Celtic soul", and remarked how on Jailbreak "Lynott's best attributes were coming on strong."

In a retrospective assessment for AllMusic, Stephen Thomas Erlewine describes Jailbreak as a "truly exceptional album", with "a dimension of richness that sustains, but there's such kinetic energy to the band that it still sounds immediate no matter how many times it's played". Highlighting Lynott's songs as "lovingly florid... crammed with specifics and overflowing with life", he says that Gorham and Robertson's guitar work is "intertwined, dual-lead guitar interplay that was one of the most distinctive sounds of '70s rock". In his review Martin Popoff described Jailbreak as "the band's last album where eclecticism outweighs the cohesive signals" which made later releases "much more singular in intent". He praised "Gorham and Robertson's sharpest metal to date" and remarked how the album is made of "a coterie of songs that very often struck the same emotional heartstrings of Springsteen."

Track listings
On the 1996 Mercury CD reissue, "Angel from the Coast" and "Running Back" are listed as the second track with only one running time, making it appear to be a single song called "Angel from the Coast Running Back", and there is no third track listed. However, all the songs are sequenced as on the original LP release.

Remastered edition
On 24 January 2011, a new remastered and expanded version of Jailbreak was released. This new edition is a 2-CD set, with the original album on disc one, and bonus material on disc two. On the original vinyl release of the album, the back cover included a short story, which is also reprinted inside some editions of the new deluxe edition.

However, the track listing on the back cover of the first release was incorrect, listing only ten songs, while the actual CD contains eleven tracks. Also, the songs are not in the correct order. The track listing was corrected on later versions of the release.

Only the bonus material on disc two has been remastered in 2010 (despite what it says on the back of the CD booklet). Disc one uses the same remaster as the 1996 edition. New remasters were made, but scrapped at the last minute before the release, for reasons unknown.

Singles

 * "The Boys are Back in Town" / "Emerald" – 17 April 1976
 * Some countries, including the US and Canada, featured "Jailbreak" as the B-side.

 * "Jailbreak" / "Running Back" – 30 July 1976
 * "Cowboy Song" / "Angel from the Coast" (Canada and US only)

Personnel
Thin Lizzy
 * Phil Lynott – lead vocals, bass, acoustic guitar
 * Scott Gorham – lead and rhythm guitars
 * Brian Robertson – lead and rhythm guitars
 * Brian Downey – drums, percussion

Additional musicians
 * Tim Hinkley – keyboards on "Running Back" (uncredited)

Production
 * John Alcock – producer
 * Will Reid Dick – engineer
 * Neil Hornby – assistant engineer

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

title: Jailbreak (album)


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Talk:Jailbreak (album)

Unanswered Questions and Mysteries
Who played keyboards on this LP on songs such as "Running Back"? it is uncredited on Allmusic.Feran (talk) 05:02, 1 February 2008 (UTC)

Styles and Influences
How much of the sound of this album was taken from Bruce Springsteen or did Springsteen and Thin Lizzy have a common mutual source?Feran (talk) 05:02, 1 February 2008 (UTC)

Fair use rationale for Image:Thin Lizzy - Jailbreak.jpg
Image:Thin Lizzy - Jailbreak.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 02:40, 12 February 2008 (UTC)

Cover Artist
Why does this article make no mention of the cover art by artist Jim Fitzpatrick? Kouban (talk) 22:37, 3 December 2012 (UTC)
 * Because nobody's added it yet. Now's your chance :) Bretonbanquet (talk) 23:10, 3 December 2012 (UTC)

Genre
The title track, "Warriors" and especially "Emerald" are all definitely leaning towards the heavy metal sound, and I've added a reference.2602:306:8B83:4860:58D:190C:D4F2:3950 (talk) 20:21, 31 January 2016 (UTC)
 * I've said before to you that Allmusic "styles" are not applicable as genres. You're even further off base with Lizzy being metal than you were with Scorpions. Bretonbanquet (talk) 20:43, 31 January 2016 (UTC)

title: Talk:Jailbreak (album)


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2raumwohnung

2raumwohnung (meaning "2-Room Apartment") are a German electro-pop duo that was formed in 2000 in Berlin. Its two members are singer, Inga Humpe, and her life partner, Tommi Eckart. They reached the high point of their career to date with the album "36 Grad" ("36 Degrees"), which remained in the German music charts for a total of 33 weeks. Their most successful single has been the album's eponymous title song. 2raumwohnung have also appeared internationally, e.g. at Expo 2010 and as a DJ team. The band releases its music on their own record label it-sounds.

History

2raumwohnung first met in East Berlin where they both settled shortly after German reunification in 1990. The band's first appearance was in Sternradio in 2001, a legendary club at Alexanderplatz. Before their formation as a band, the duo had been collaborating as a studio project, releasing their music under a pseudonym.

Recordings from that period were used in advertisements, such as for Imperial Tobacco's "Cabinet" brand ("Wir trafen uns in einem Garten" ("We Met in a Garden")) and for HypoVereinsbank. The latter used the song "2 von Millionen von Sternen" ("Two Out of Millions of Stars") as a jingle in a TV advertisement for the introduction of the Euro, although the wider public remained unaware of the song's performers at that point in time.

The group released its debut album under the title "Kommt zusammen" ("Come Together") on 2 July 2001. It included a total of 13 songs and was ultimately released by Goldrush on the record label BMG. The reviews were mostly positive and ranged from a "new feeling of lightness" to "esoteric children's disco". Due to successful sales, a remixed version of "Kommt zusammen", which combined house and electro elements, was also produced in January 2002. "In wirklich" ("In Real") appeared in September of the same year and furthered the band's success that had been established with the debut album. Although some critics felt it was lacking the characteristic charm of their previous album, it nevertheless quickly rose to #5 in the German charts. 2raumwohnung had the following to say during the release of "In wirklich":

"We make music for people who reflect on life – those who are not so influenced by RTL television."

"In wirklich" earned 2raumwohnung the German Dance Award for "Best Album". Their next album, "Es wird Morgen" ("It Will Be Tomorrow" / "It Will Be Morning"), soon followed in August 2004, contained twelve songs and was sold in three different CD editions. Reviewers felt the songs echoed the musical stylings of the '80s. Reviewers also felt that 2raumwohnung exhibited an impressive musical maturity, even though a certain lack of relevance was simultaneously mentioned. The record was performed live on tour throughout Germany and various neighboring European countries, with Jansen and Kowalski appearing as the opening act. The summer album, "Melancholisch schön" ("Melancholically Beautiful"), followed in 2005 and featured twelve of the band's most well-known songs, which were re-recorded and remixed in Bossa Nova style. The album included "Sexy Girl", a single that had been previously released on "Kommt zusammen", where it had become somewhat popular nationwide. In 2005, 2raumwohnung also received the Goldene Stimmgabel for "Best Duo".

In February 2007, following after a short break, 2raumwohnung composed two singles with Peter Plate from Rosenstolz and producer Ulf Leo Sommer for the album "36 Grad". With the first single, "Besser geht's nicht" ("It Can't Get Any Better Than This"), the duo made it into the top thirty of the German charts for the first time. The song was also featured in an AOK commercial. The second single, "36 Grad" ("36 Degrees"), was even more successful and placed directly in the top ten of the charts. It became a massive summer hit in 2007 and continues to be frequently played during the summer on national radio. Inga Humpe compared the song to George Michael's "Last Christmas", stating that it has maintained its summer popularity throughout the years, with ongoing possibilities of re-recordings and remixes. One such re-recording of "36 Grad" was produced in 2008 for the record Rhythms del Mundo, in which 2raumwohnung collaborated with Cuban musicians. Other German bands featured on this record included Rosenstolz, Culcha Candela, Ich + Ich and Jan Delay.

"36 Grad" has been 2raumwohnung's most commercially successful album to date, entering the charts on #7 and reaching #63 in the 2007 year end charts. Various remixes of the album's songs were produced with Paul van Dyk and Oliver Huntemann, among others. During the summer of 2007 and leading up to the tour for "36 Grad", it became known that Inga Humpe and Tommi Eckart were planning to live separately from each other. At that time, they were still living together in Berlin's Mitte district. Both artists spoke publicly about their age and the necessary distance without which their creativity was at risk. The tour covered a total of 17 cities, including Berlin, Cologne and Munich, as well as Vienna und Zürich. 2raumwohnung subsequently released a live "36 Grad" video DVD that included both the entire concert at Berlin's Columbia Hall as well as performances from 2003 to 2005.

Although a new record was not released in 2008, "Lasso" finally came out in August 2009. The name was chosen with reference to Orlando di Lasso. The album contained a total of 13 songs, including the singles "Wir werden sehen" ("We Will See") and "Rette mich später" ("Save Me Later"). Although Lasso could not quite match the success that "36 Grad" had acquired, reviewers saw the album as an expression of "Berliners' sense of and approach to life in understandable musical language". Inga Humpe admitted in an interview that the urban jungle has significantly influenced "Lasso". 2raumwohnung also went on tour with the album (Lasso Tour 2009), along with German-American-Persian musician Malakoff Kowalski. Furthermore, a remix album of Lasso appeared in 2010, in collaboration with Paul Kalkbrenner, Blake Baxter and Abe Duque, among others.

In 2010, 2raumwohnung had two guest appearances in the television soap opera GZSZ. The episodes were aired on February 12 and 15, with 2raumwohnung performing both "36 Grad" and "Rette mich später" in the so-called Mauerwerk. The appearance helped promote the new album and the following tour. In addition to television, 2raumwohnung have also found their way into contemporary German literature: specifically, in Oliver Bendel's "Nachrückende Generationen" ("Coming Generations"). In the novel, there is a scene of a boy dancing to the song "Wir sind die anderen" ("We Are The Others"). In addition, the band received the "Kulturpreis"-award (a cultural award) by Berliner Zeitung in January 2010. In 2011, 2raumwohnung played Gustav Mahler's 5th Symphony together with the Frankfurt Radio Symphony Orchestra conducted by the composer Moritz Eggert. The purpose of this collaboration, called "Music Discovery Project", aimed to merge different musical worlds.

On 6 September 2013 the album "Achtung fertig" ("Ready Set") was released. It was produced in Los Angeles, among other places, and the first single "Bei dir bin ich schön" ("With You I'm Beautiful") was released in August of the same year. During the release of the album, the song "Ich mag's genau so" ("I Like It Just Like That") was provided as a free download. The videos for these two songs were shot by actor Henning Gronkowski. In October and November 2013 and in March 2014, 2raumwohnung went on tour with "Achtung fertig" throughout Germany, Austria, Luxembourg and Switzerland. The concerts received mixed reviews by critics.

Inga Humpe

Humpe grew up in Herdecke on the Ruhr, where her parents owned a pastry shop. After graduating from high school, she began her studies in Art History and Comparative Literature at the RWTH Aachen in 1975. The following year, she switched to the Free University of Berlin. Occasionally she attended acting courses at the Max Reinhardt School. Following her first musical projects, she founded the punk band Neonbabies in the late 1970s, in which she was active as a singer until 1983. Humpe became known to a larger public as a member of the group DÖF with their hit "Codo". In the second half of the 1980s she recorded two albums in a duo with her sister Annette Humpe.

Tommi Eckart

Eckart was born in West Berlin and spent parts of his childhood in Munich. Together with colleagues, he founded the punk band Alternative Arschlöcher. His collaboration with Andreas Dorau began in the late 1980s and lasted into the 1990s. After the fall of the Berlin Wall, Eckart moved to East Berlin, where he lived in a former wiretapped apartment of the Ministry of State Security. In 1992, he and Ralf Hertwig from Palais Schaumburg founded the trance projects Transform and Perry & Rhodan, releasing the single "The Beat Just Goes Straight On & On" (Rising High Records) in 1993, among others. Eckart also worked with Klaus Löschner.

Awards

 * Dance Music Award 2003: Best Album for "In wirklich"
 * Dance Music Award 2005: Best Album for "Es wird Morgen"
 * Goldene Stimmgabel 2005: Best Duo
 * Musikexpress Style-Award 2010: Best Performer Domestic
 * B.Z. Kulturpreis 2010

Miscellaneous
In April 2008, 2raumwohnung and about 200 other artists signed an open letter of the German Music Industry Association to chancellor Angela Merkel, which was published in the Süddeutsche Zeitung and Frankfurter Allgemeine Zeitung newspapers, among others. In the letter they argued in favor of increased protection of intellectual property, which was being prejudiced by file sharing in particular. In the wake of the Fukushima nuclear disaster, 2raumwohnung and other artists initiated another open letter and a held a vigil in front of the Federal Chancellery, with the aim of phasing-out nuclear power without delay.

2raumwohnung have repeatedly represented German music at major international events, such as a concert on the German National Day at Expo 2010 in Shanghai, along with other artists such as Nobelpenner and Konrad Chef. In June 2010, at the invitation of the Goethe Institute and the German Embassy in Pretoria, 2raumwohnung were guests at the FIFA World Cup 2010 in South Africa. They appeared together with Frank Dellé at the Soccer Meets Culture event.

The pseudonym 2raumwohnung was developed due to the fact that the two artists did not want to be associated with music for commercials. Working in this field was frowned upon in certain circles. The duo initially used the spelling "Zweiraumwohnung", but later changed this since the corresponding domain had already been registered.

2raumwohnung have been active throughout their career as a DJ team, appearing in New York City among other cities. In 2008, they played as part of Moguai & Friends at Weststadthalle in the city of Essen, and on Munich's Praterinsel during the Smirnoff Experience in 2003 (also with Moguai).

title: 2raumwohnung


text:
User talk:Nickola~enwiki

Welcome
Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Whosyourjudas (talk) 03:09, 14 Oct 2004 (UTC)
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WikiProject Moldova
It's up and running, please join! Chris (クリス • フィッチ) (talk) 02:06, 25 March 2008 (UTC)

Join the new Moldovan Wines project !
Hello, how you are from Moldova, maybe you will be interested in development of the Moldovan Wine articles. If yes, I am pleased to invite you to join it on the Project:MoldovanWines project page. Best regards,--serhio talk 09:49, 16 May 2008 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Nickola. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Nickola~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

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Renamed
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title: User talk:Nickola~enwiki


text:
Wikipedia:Articles for deletion/List of Nintendo characters

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was keep.

We have a category for Nintendo characters now, and this page is just way too long and contains many seperate lists all rolled into one. Luigi30 19:51, 6 Oct 2004 (UTC)

Remove any from the list that arn't nintendo owned characters (Do Nintendo own Pokemon?). I think this can just about stand, weak keep, provided there is some editing. Darksun 19:54, 6 Oct 2004 (UTC)

 * Delete. It's a list and it's fancruft, either of which alone would be good enough to delete it. --Improv 22:28, 6 Oct 2004 (UTC)
 * Keep. This would be a good merge target for minor Nintendo characters that don't deserve full articles. And BTW, I believe Nintendo does own Pokemon. — Gwalla | Talk 02:34, 7 Oct 2004 (UTC)
 * Keep - Unlike categories lists can contain red links, be arranged into subsections, and can be annotated. - SimonP 02:54, Oct 7, 2004 (UTC)
 * Keep as so wisely put, lists are valid so long as their content is. This one fits the criteria and is probably very useful. Read up on Wikipedia:Categories, lists, and series boxes. -- Netoholic @ 03:05, 2004 Oct 7 (UTC)
 * Keep, with some cleanup needed —siroχo 03:07, Oct 7, 2004 (UTC)

end moved discussion
 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Johnny the Fox

Johnny the Fox is the seventh studio album by Irish hard rock band Thin Lizzy, released in 1976. This album was written and recorded while bassist/vocalist Phil Lynott was recovering from a bout of hepatitis that put him off the road halfway through the previous Jailbreak tour. "Don't Believe a Word" was a British hit single. Johnny the Fox was the last Thin Lizzy studio album on which guitarist Brian Robertson featured as a full member of the band, as the personality clashes between him and Lynott resulted in Robertson being sacked, reinstated, and later sacked again.

Recording
Once Lynott had returned to the UK from the aborted US tour in June 1976, when the band had been scheduled to support Rainbow, he spent time in hospital in Manchester recovering from hepatitis. He had an acoustic guitar with him and wrote the songs for Johnny the Fox during June and July, with one outing to play a gig at Hammersmith Odeon on 11 July. After his release from hospital, Lynott joined the other members of the band and travelled to Munich, Germany in August to record the album at Musicland Studios with producer John Alcock. Alcock has said that the decision to record outside the UK was for tax reasons.

Early in the recording process, it became clear that neither the band nor the production team was happy with the studios or the recording process, and they experienced particular trouble obtaining a satisfactory drum sound. Lynott was still finishing the songwriting and, according to Alcock, the band were arguing about musical direction. On 6 August, they abandoned the sessions and returned to Ramport Studios in Battersea (where the previous Jailbreak album had been recorded), and Olympic Studios in Barnes, London. Brian Robertson has said that there was plenty of material from which to choose for the album, up to eight or nine tracks apart from the ten that appeared on the final release. However, Alcock claims that the album suffered because Lynott needed more time to finish the songs, and that some tracks, like "Boogie Woogie Dance", were not strong enough to make the album.

Songs
Lynott and Robertson clashed over musical differences, such as the composition of "Don't Believe a Word". When Lynott first played the song in a slow 12-bar blues format, Robertson claimed it was "shite", and Lynott reacted badly, disappearing for a few days. Robertson then felt that he may have been a little harsh, and he and drummer Brian Downey decided to rework the song. Downey devised a faster shuffle rhythm and Robertson wrote the riff, and Lynott was pleased with the outcome when he returned to the studio. Robertson was annoyed when the song was credited solely to Lynott, as he felt that all three members involved should have been credited. The original bluesy arrangement was subsequently recorded by Lynott and Gary Moore on Moore's Back on the Streets in 1978, and Thin Lizzy versions later appeared on Thin Lizzy's 1983 double live album Life and the deluxe edition of Thunder and Lightning.

Robertson also co-wrote "Borderline" with Lynott, for which he did receive a writing credit. He later revealed that the song was about a girlfriend: "I was really in love, [but] she hated me. I was extremely down when I wrote it." Alcock confirmed that Robertson had significant lyrical input on this track, and that the band's other guitarist Scott Gorham had similar influence on the lyrics for "Sweet Marie".

According to Robertson, Lynott wrote "Rocky" with him in mind. John Alcock has stated that "Massacre" was written in the studio. Its lyrics came after Lynott was visited in hospital by a Protestant clergyman, and Catholic Lynott became defensive. Later he regretted his reaction, and wrote the lyric condemning religious prejudice.

"Fools Gold" was inspired by the Great Famine of Ireland of 1845–52. The lyric imagines Irish people travelling to America to escape the famine and start a new life.

The album included two tracks with the name "Johnny" in their titles as well as the album title itself, a character by that name having appeared in earlier songs such as "Showdown" and "The Boys Are Back in Town". Gorham noted the name's proliferation: "Phil should've been this guy's publicity agent, as he was cropping up everywhere!"

"'Johnny the Fox meets Jimmy the Weed' was really the only song that Lizzy did in a funk style…" noted Scott Gorham. "Phil Lynott was a huge fan of The O'Jays and their song "For the Love of Money". At every soundcheck, he'd be playing that funky riff… Once we'd found that riff, we just went for it. The whole thing really took off when Brian Downey sat down and put his personal funk take on it with the drums… And these characters – Johnny the Fox and Jimmy the Weed – they were real people. They were from the Manchester area, where Phil's mom had her hotel… They were part of a gang of cultured thieves… They weren't drug dealers, like it says in the lyrics for the song… But they were pretty heavy guys, yet they were real funny, so you couldn't help but like them."

Backing musicians
Phil Collins of Genesis was brought in to contribute some percussion to one or more tracks, seemingly because he was a friend of Lynott's. Robertson later said, "Collins was just a mate of Phil's... I think Phil probably just wanted to get him on the album to name-drop." Neither Robertson nor Downey was able to remember which songs Collins played on.

Irish musician Fiachra Trench provided string arrangements, for example on "Sweet Marie", on which he used one bank of violins and two viola sections. Trench also contributed a brass arrangement to "Johnny", while Kim Beacon of String Driven Thing sang backing vocals. Again, none of the band members could recall which song(s) Beacon appeared on. Robertson claimed that Beacon was only used because Frankie Miller was unavailable.

Album cover
Thin Lizzy used their usual cover artist, Jim Fitzpatrick, to design the sleeve for Johnny the Fox, but he was asked to provide the finished design before the album was given a title. When Lynott asked him for something Celtic, but not the usual kind of Celtic rock design, Fitzpatrick drew a complicated neo-gothic Celtic border with a disc in the centre, left blank for the title and central design. When the deadline was approaching and he grew desperate to finish it, he asked Lynott for any idea of a title to inspire him. Lynott replied, "Ah, call it Johnny the Fox, that'll do." Fitzpatrick reminded him that there was no track with that title on the album, and Lynott replied, "No-one will notice, Jim. The album will be massive." Fitzpatrick subsequently drew the fox design and added the title. An idea of a cut-out with the fox's head showing through was rejected by the record company.

An earlier Fitzpatrick design had the same border with the figure of a warrior in the centre, but both Lynott and Fitzpatrick felt that the fox represented a sort of "outsider" character, much like the panther on the cover of Thin Lizzy's 1974 album, Nightlife.

Album release and tour
Johnny the Fox was released in October 1976, and reached No.11 in the UK charts. The single "Don't Believe a Word" reached No.12 in the UK and No.2 in Ireland. Thin Lizzy toured the UK during October and November, supported by American band Clover, led by Huey Lewis. The tour was successful enough that an extra date was added at the Hammersmith Odeon in November. There was also a successful appearance on Rod Stewart's BBC TV show in the UK, where Thin Lizzy upstaged their host by playing live, whereas Stewart mimed.

The tour was scheduled to continue in the US in late November, but was cancelled after Robertson suffered a hand injury in a fight at the Speakeasy Club in London. Robertson's friend Frankie Miller was about to be attacked with a glass bottle by the Gonzalez guitarist Gordon Hunte, and Robertson tried to intervene. The bottle cut his hand, badly damaging an artery and a nerve, preventing him from playing guitar effectively for several months. The tour was postponed until January 1977, when Thin Lizzy began a three-month US tour opening for Queen with Gary Moore standing in for Robertson.

Reception
Harry Doherty of Melody Maker, praised the album, comparing it to Jailbreak, writing there is "more subtlety, the melodies are stronger, and, most importantly, the scope of the material is much wider than the hard rock associated with Lizzy", showing a band more versatile than on the previous recording. To the contrary, Stephen Thomas Erlewine of AllMusic stated that Johnny the Fox fell short in comparison to the previous album, Jailbreak, suggesting that the album veers towards "an odd, half-baked concept album", despite showing the same strengths as its predecessor, i.e. Lynott's lyrics and the group's musical power. Praising "Don't Believe a Word" and "Borderline" as great moments, he said that the album "never falls flat", but is "never quite as gripping as Jailbreak". Canadian journalist Martin Popoff considered Johnny the Fox Thin Lizzy's first real masterpiece and described it as "a rich textural work of melodic, soft-edged metal, lyrically soulful, melancholy, in many places tragic". Stuart Bailie, reviewing the 2011 reissue for Classic Rock, described the album as "an exercise in tight, rousing tunes with the chiming Les Paul guitars and Phil's patented blarney", but wrote that the bonus tracks were "less revealing" than on other Thin Lizzy expanded editions.

The track "Johnny the Fox Meets Jimmy the Weed" features on the Ultimate Breaks and Beats series of compilation albums.

Remastered edition
On 24 January 2011, a new remastered and expanded edition of Johnny the Fox was released. This new edition is a 2-CD set, with the original album on disc one, and bonus material on disc two.

However, the track listing on the back cover is incorrect, as it accidentally lists "Johnny the Fox Meets..." (BBC Session) twice. Also the track listing on the back of the CD booklet is wrong as well. That lists "Don't Believe a Word" three times when only two versions appear. The correct track listing is listed below.

Only the bonus material on disc two has been remastered in 2010 (despite what it says on the back of the CD booklet). Disc one uses the same remaster as the 1996 edition. New remasters were made, but scrapped at the last minute before the release, for reasons unknown.

Singles

 * "Johnny the Fox Meets Jimmy the Weed" / "Old Flame" – 30 July 1976 (USA only)
 * "Don't Believe a Word" / "Old Flame" – 26 November 1976
 * In the USA, the B-side was "Boogie Woogie Dance", and in Japan, "Rocky".

 * "Rocky" / "Half Caste" (Australia, Canada and the USA only)
 * "Rocky" / "Fools Gold" (Spain only)
 * "Don't Believe A Word" / "Dancing In The Moonlight" – 7" (Reissue, 1985)

Personnel
Thin Lizzy
 * Phil Lynott – bass, vocals, acoustic guitar
 * Scott Gorham – lead and rhythm guitar
 * Brian Robertson – lead and rhythm guitar
 * Brian Downey – drums, percussion

Additional musicians
 * Fiachra Trench – brass and string arrangements
 * Phil Collins – percussion
 * Kim Beacon – backing vocals

Production
 * John Alcock – producer
 * Will Reid Dick – engineer
 * Neil Hornby – assistant engineer
 * Denis Blackham – mastering at the Master Room, London

title: Johnny the Fox


text:
Talk:Johnny the Fox

Phil Collins
I don't suppose anybody knows (or has found out) what Phil Collins actually did on this album? It seems to me that no-one knows. Cheers. Retrorocker (talk) 20:44, 25 March 2008 (UTC)

BBC tracks
I've read, but not at a reliable source, that the "BBC versions" on disc 2 of "Johnny The Fox Meets Jimmy The Weed" and "Fools Gold" are identical to the album versions on disc 1. Is this correct? Needs to go into the article if it is correct and verifiable. --kingboyk (talk) 15:21, 2 February 2011 (UTC)

"Rocky" / Rocky Athas
For now I've reverted the addition of the information about Rocky Athas being the inspiration for "Rocky". His band Lightning never supported Thin Lizzy, and I have some doubts over the veracity of the story. Here Athas describes how he was playing at a club called Mother Blues in Dallas, and Thin Lizzy and Queen were in the audience. Lizzy and Queen toured the US together and did play Dallas – on 25 February 1977, well after "Rocky" and the Johnny the Fox album had been released. Thin Lizzy did play Dallas on 5 June 1976 (before the song was written) but it's very hard to see how Queen could have been present on that day. If there's any truth in the story, it needs to be verified somehow. Bretonbanquet (talk) 19:59, 17 April 2013 (UTC)

Genre
The opening track, "Boogie Woogie Dance", "Massacre", and "Rocky" all have clear elements of heavy metal, and I've added a reference.2602:306:8B83:4860:58D:190C:D4F2:3950 (talk) 20:24, 31 January 2016 (UTC)
 * Not even close to being metal, see my note to you at the Jailbreak talk page. Bretonbanquet (talk) 20:44, 31 January 2016 (UTC)

title: Talk:Johnny the Fox


text:
User talk:PedroPerez~enwiki

Welcome
Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Whosyourjudas (talk) 03:15, 14 Oct 2004 (UTC)
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If you are interested in a gmail invite, send me an email with your name and the address i should send the invite to. Whosyourjudas (talk) 03:39, 14 Oct 2004 (UTC)

p.s. you can sign your posts on talk pages with ~ (four tildes) so users can tell who's sending messages. Thanks.
 * invite sent. hope it works. --Whosyourjudas (talk) 03:47, 14 Oct 2004 (UTC)

Your account will be renamed
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title: User talk:PedroPerez~enwiki


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User talk:BluesX

Welcome
Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, you can sign your name on Talk and vote pages using three tildes, like this: ~ ~ ~. Four tildes (~ ~ ) produces your name and the current date. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! --Whosyourjudas (talk) 03:16, 14 Oct 2004 (UTC)
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title: User talk:BluesX


text:
Bad Reputation (Thin Lizzy album)

Bad Reputation is the eighth studio album by the Irish rock band Thin Lizzy, released in 1977. As the front cover suggests, most of the tracks feature only three-quarters of the band, with guitarist Brian Robertson only credited on three tracks. He had missed most of their previous tour, following a hand injury sustained in a brawl, and this album turned out to be his last studio effort with Thin Lizzy. On 27 June 2011, a new remastered and expanded version of Bad Reputation was released.

Recording
With Robertson out of the band, band leader Phil Lynott had decided that Scott Gorham would be able to handle all the guitar duties himself, and that no replacement for Robertson would be recruited prior to recording the album. However, Gorham believed that a second guitarist was required, particularly for live work, performing songs that were written for two guitars. He later said, "I was always a big believer in the magic circle – once you broke the magic circle, the whole thing was broken, right?" He deliberately left two songs ("Opium Trail" and "Killer Without a Cause") without guitar solos recorded, and persuaded Lynott to allow Robertson to return to the band to record the solos for them. Lynott relented, and Robertson flew to Toronto and recorded his lead guitar parts. However, he initially refused to socialise with the other band members: "Christ, I wouldn't even have a drink with them," he said. He later added, "I tried not to go out to clubs for about a week, then succumbed..." Robertson and Gorham shared lead guitar parts on only one song, "That Woman's Gonna Break Your Heart".

"It was such an important album to us because of all the adversities that we'd been going through," recalled Gorham. "We had to pull this together or we were going to go down in a ball of flames."

Robertson stayed on for the subsequent Bad Reputation tour, which provided some tracks for the Live and Dangerous album (released 1978), but he left the band when the tour concluded.

Cover art
Thin Lizzy's usual cover artist, Jim Fitzpatrick, did not contribute to the cover of Bad Reputation, after a misunderstanding between himself and Lynott. With the deadline for the submission of the cover drawing near, Lynott travelled to the US to meet Fitzpatrick at his home in Madison, Connecticut, but went to Madison, Wisconsin by mistake. Unable to meet with Fitzpatrick in time, Lynott agreed to use an image by Sutton Cooper which featured the band as a trio, without Robertson. A photo of the band including Robertson was used on the reverse. The interior artwork featured photos of all four members, plus photos from The Incredible Case of the Stack O'Wheat Murders by Les Krims, which Lynott had seen in New York. The album also featured the playing card suit motifs that previously featured on the Fighting album in 1975, with the spade (Lynott), club (Downey), heart (Gorham) and diamond (Robertson).

Lynott insisted that Robertson would not appear on the front cover, with which Robertson "agreed entirely", although he did appear in a group photograph on the back cover. Robertson later said, "This was another of my little moods. I didn't want my picture on the album cover because I hadn't done any of the backing tracks, and I was even in a bad mood shooting for the back of it."

Reception
Hailing Bad Reputation as an improvement on the previous album, Johnny the Fox, Stephen Thomas Erlewine of AllMusic described the album as "leaner and tougher" than its predecessor, partly due to the influence of producer Tony Visconti. He claimed that Robertson's absence was not noticeable due to Scott Gorham's "double duty", and that this was "pure visceral rock & roll, the hardest and heaviest that Thin Lizzy ever made". He considered Bad Reputation as a rival to Jailbreak as the band's best studio album. Martin Popoff considered the album "a third stroke of genius in two short years", thematically resembling Fighting "but more confessional, reflecting and spiritual."

Released during the rise of punk rock music, and despite Thin Lizzy being a hard rock band, Bad Reputation saw the band appealing to many punks due to the band's "tuneful and musical approach" and with the "energy delivered both live and in the studio", ensuring a "youthful zest". As such, the album has been described as the band "finding fresh fields to cultivate, not only musically but also in terms of their audience".

Bad Reputation reached No. 4 in the UK Albums Chart. The single "Dancing in the Moonlight (It's Caught Me in Its Spotlight)" reached No. 14 in the UK Singles Chart in September 1977. The track should not be confused with a similarly titled song, "Dancing in the Moonlight", recorded by King Harvest and Toploader, amongst others.

Cover versions and other uses
Although it was not released as a single, the title track became a live staple. American all-girl heavy metal band Phantom Blue covered "Bad Reputation" on their 1993 sophomore album Built to Perform. A cover version of the song is a playable track in the 2006 music video game Guitar Hero II, and the Thin Lizzy version was featured in the soundtrack of the 2001 documentary movie Dogtown and Z-Boys. 24-7 Spyz also covered the song on their album Face the Day (2006). Foo Fighters covered "Bad Reputation" and released it on their covers album, Medium Rare (2011). In 2012 video game Sleeping Dogs "Bad Reputation" was featured on the in-game radio station Sagittarius FM. In 2015 English speed metal band Raven covered "Bad Reputation" on their album of covers titled Party Killers. This album was only made available to backers of Raven's kickstarter for their album ExtermiNation, released in April 2015.

The Smashing Pumpkins covered "Dancing in the Moonlight (It's Caught Me in Its Spotlight)" for various live performances, turning the upbeat, overlaid melody of the original into a slowly paced acoustic tune; it was recorded as B-side of the single "Disarm". British indie pop singer-songwriter Diana Vickers covered the song as the first of several covers used as teasers leading up to the release of her second studio album. In 2005, the Thin Lizzy version of "Dancin' in the Moonlight" was used as part of an advertising campaign to launch Magners Irish Cider in the UK. In 2012 the English indie rock band Alt-J released a cover of "Dancing in the Moonlight" for the compilation The Saturday Sessions from The Dermot O'Leary Show .

Swedish guitarist John Norum of the Swedish rock band Europe covered "Opium Trail" on his second solo album, Face the Truth (1992).

Singles

 * Dancing In The Moonlight/Bad Reputation – 7" (1977)

Personnel
Thin Lizzy
 * Phil Lynott – bass, lead vocals, string synthesizer, celtic harp
 * Scott Gorham – lead and rhythm guitar
 * Brian Downey – drums, percussion
 * Brian Robertson – lead guitar on tracks 3, 6 and 8, voice box, keyboards

Additional musicians
 * Jon Bojic, Ken Morris, Mary Hopkin-Visconti – backing vocals on "Dear Lord"
 * John Helliwell – saxophone, clarinet

Production
 * Tony Visconti – producer, engineer
 * Jon Bojic, Ken Morris, Ed Stone – assistant engineers

title: Bad Reputation (Thin Lizzy album)


text:
Talk:Bad Reputation (Thin Lizzy album)

Dead external links to Allmusic website – January 2011
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 * http://www.allmusic.com/cg/amg.dll?p=amg&sql=17:334233~2~T000

Possible copyright problem
This article has been revised as part of a large-scale clean-up project of multiple article copyright infringement. (See the investigation subpage) Earlier text must not be restored, unless it can be verified to be free of infringement. For legal reasons, Wikipedia cannot accept copyrighted text or images borrowed from other web sites or printed material; such additions must be deleted. Contributors may use sources as a source of information, but not as a source of sentences or phrases. Accordingly, the material may be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously. Diannaa (talk) 18:22, 29 December 2013 (UTC)

Genre
Songs such as the title track and "Killer Without a Cause" have metal elements in them, and the reference also states that the album has some of the heaviest material the band put out. 2602:306:8B83:4860:58D:190C:D4F2:3950 (talk) 20:30, 31 January 2016 (UTC)
 * Your reference doesn't even mention metal, but it does clearly state that the reviewer sees it as rock 'n' roll. It would be better if you'd spend time doing something else other than claiming all hard rock acts are metal. Bretonbanquet (talk) 20:45, 31 January 2016 (UTC)

String machine?
Lynott is credited with playing a "string machine". Presumably this was some kind of keyboard? Martinevans123 (talk) 10:27, 8 July 2017 (UTC)
 * Yeah, basically a string synthesizer. I've put a link in the article. Bretonbanquet (talk) 13:49, 8 July 2017 (UTC)

title: Talk:Bad Reputation (Thin Lizzy album)


text:
United States District Court for the Middle District of Georgia

The U.S. District Court for the Middle District of Georgia (in case citations, M.D. Ga.) is a United States district court which serves the residents of seventy counties from five divisions from its headquarters in Macon, Georgia.

Appeals from cases brought in the Middle District of Georgia are taken to the United States Court of Appeals for the Eleventh Circuit (except for patent claims and claims against the U.S. government under the Tucker Act, which are appealed to the Federal Circuit).

the United States attorney is Peter D. Leary.

History
The United States District Court for the District of Georgia was one of the original 13 courts established by the Judiciary Act of 1789,, on September 24, 1789. The District was subdivided into Northern and Southern Districts on August 11, 1848, by. The Middle District was formed from portions of those two Districts on May 28, 1926, by.

Jurisdiction
The Albany division serves: Baker, Ben Hill, Calhoun, Crisp, Decatur, Dougherty, Early, Grady, Lee, Miller, Mitchell, Schley, Seminole, Sumter, Terrell, Turner, Webster, and Worth counties.

The Athens division hears cases from: Clarke, Elbert, Franklin, Greene, Hart, Madison, Morgan, Oconee, Oglethorpe, and Walton counties.

The Columbus division includes: Chattahoochee, Clay, Harris, Marion, Muscogee, Quitman, Randolph, Stewart, Talbot, and Taylor counties.

The Macon division serves: Baldwin, Bibb, Bleckley, Butts, Crawford, Dooly, Hancock, Houston, Jasper, Jones, Lamar, Macon, Monroe, Peach, Pulaski, Putnam, Twiggs, Upson, Washington, Wilcox and Wilkinson counties.

The Valdosta division hears cases for: Berrien, Brooks, Clinch, Colquitt, Cook, Echols, Irwin, Lanier, Lowndes, Thomas, and Tift counties.


text:
Talk:L. Neil Smith

Untitled
For an October 2004 deletion debate over this page see Votes for deletion/L. Neil Smith

It's surprisingly hard to find a good current list of his published works. I think there are more than those I listed, but at the moment can't confirm that. Mindspillage 03:21, 14 Oct 2004 (UTC)

Best source for a list of his works is his website. I've taken the liberty of re-organizing the list of works to put them in the proper series. emb021
 * And I had to re-fix the list after someone put American Zone at the end, instead of leaving it in its proper internal chronology location. emb021
 * and had to do this yet again. --Emb021 18:08, 11 July 2006 (UTC)

There is also a new on-line comic book story by Neil and Scott Bieser on Big Head Press. Will try to add it in. --Emb021 18:08, 11 July 2006 (UTC)

2004 Libertarian Convention
I was at the 2004 Libertarian Convention, and I'm highly skeptical of the statement at L. Neil Smith supporters strongly influenced Badnarik's nomination. Does anyone have a citation or evidence for these assertions? -- Seth Ilys 23:48, 4 May 2005 (UTC)

One word?
Does anyone know what the "single word in the Declaration of Independence" was, that Smith used as the divergence point for his Gallatin timeline? DS 14:05, 9 March 2006 (UTC)

 * Unanimous, in the phrase "...deriving their just powers from the unanimous consent of the governed."
 * —wwoods 18:02, 31 March 2006 (UTC)

Committee to draft L. Neil Smith selected Harry Brown?
Does this sentence mean what it seems to mean, or is the "thanks to" clause misplaced?
 * "...Harry Browne was chosen by the party's national convention, thanks to the efforts of the "Ad Hoc Conspiracy to Draft L. Neil Smith""

—Preceding unsigned comment added by Geoffrey.landis (talk • contribs) 17:29, 24 July 2006

Product placement
Hi all

I am a libertarian. I had not heard of L. Neil Smith before now. My interest was picqued by the article. Unfortunately, the author(s) of the article (Mr Smith? his agent? supporters?) have disappointed me by inserting a brazen pitch for a new novel and even included his agent's contact details! I think this is a bit cheeky.

If an author or his supporters wish to promote a book they should pay for it; they should not rely on the generosity of others who give time and money to make Wiki work. If every business were to have their own page that included information regarding the availability of upcoming products, Wikipedia would probably become unworkable and certainly very tedious.

Not only is the promotion of products and/or services a breach of Wiki etiquette, it would also seem to be run counter to libertarian beliefs. If you want to promote a product then pay for that service. Otherwise you are simply a freeloader and a hipocrite.

I don't think that the article should be deleted but I do think the relevant paragraph should be removed.

What do you think?

Thanks

Neil 84.67.60.85 23:03, 24 September 2006 (UTC) Starfyre0405 (talk) 08:46, 13 January 2009 (UTC) Then all of the rest of the author biographies, a number of them which have up comming titles need to have those up coming titles and their agents named removed as well. Stephen Kings article here on wiki readily comes to mind with the following "As of January 2009, King is working on a new novel entitled Under the Dome, a reworking of an unfinished novel he tried writing twice in the 1980s, to be published in 2009"

Starfyre0405 (talk) 08:46, 13 January 2009 (UTC)

Literary Criticism?
The section labeled "Literary Criticism" consists of nothing at all beyond the sniping of military SF authors Sherman and Cragg, whose grounds for snarking at Smith are predicated entirely upon their objections to the political elements in some of Smith's fiction. Insofar as I'm aware, literary criticism and literary theory (as opposed to sociological criticism) focus on the aesthetic elements in a work, the intentionalities discerned, and even psychological subtexts. Do Sherman, Cragg, and their sputniki focus in this scant paragraph upon Smith's stories, his characters, plotting, narrative styles, dialogue, use of language, descriptive abilities, or other aspects of the fiction-writing trade? Nope. They voice their perception that "He's more along the lines of Ayn Rand with guns, lots and lots of guns."

And for some unspecified reason, they don't like that.

This ain't "Literary Criticism," folks. It's a couple of military types who think that all "civilians" should be disarmed and helpless. —Preceding unsigned comment added by 72.73.198.156 (talk) 05:45, 7 June 2009 (UTC)

 * I got a chuckle out of your change from "Literary Criticism" to "Hoplophobe Criticism", but really, that's not it. I just left it at "Criticism", which is fair, and you're right, "literary" criticism it ain't.  Now, let's not bash Mr. Cragg too much in this respect; he merely let Sherman have his way on this point (the coauthors are good friends and tolerate each other's foibles).  Dan Cragg is a gun-toting NRA member, but David Sherman is of another opinion.  He saw the situation on Elneal as similar to that in current-day (1997) Somalia; he apparently identifies at least part of the cause of chaos there due to widespread ownership of firearms.  In this he is assuredly wrong, but inasmuch as the neither the article nor this discussion section is the correct place to argue the merits of Sherman's opinion as expressed in the novel, shall we leave it at that?  And just to get it out of the way, I myself am a libertarian who loves both L. Neil Smith's work and that of Sherman and Cragg.  Mike (talk) 15:59, 7 June 2009 (UTC)

 * Not knowing much about either Mr. Cragg or Mr. Sherman personally, and being of the scientific tradition in which every co-author supports (and is responsible for) every point in a work submitted for publication unless explicit stipulation to the contrary is included in the paper itself, I hadn't until today been appraised of any fiddlin' difference of opinion betwixt these two. Nevertheless, the cited mutual aversion of these authors to the ownership and carriage of firearms by private citizens (as opposed to officers of the military or of civil government) is manifest as an aspect of hoplophobia. And I've also read Cragg & Sherman's fiction, and discovered much to dislike about it, particularly failures of verisimilitude which even the casual student of military history must find grating.  This is not a view borne of Cragg & Sherman's antilibertarian political sentiments.  Similarly antilibertarian military SF writers - such as John Ringo, Jerry Pournelle, David Weber, and Eric Flint - write entertaining stuff unmarred by the sorts of jolting fumbles I've found in the Starfist series. Should this particular pair of writers' despite of L. Neil Smith be given special weight under "Criticism" on this Wikipedia page?  Rhetorically, are there no other hostile reviews of Smith's work (particularly his North American Confederacy series, to which Cragg & Sherman take specific exception) upon which such critical commentary can be drawn?  I tend to think of Sherman and Cragg rather like a pair of Pekinese pups yapping at a neighbor's Doberman, and wonder why anyone should bother paying attention to 'em.  —Preceding unsigned comment added by 72.73.198.156 (talk) 22:36, 7 June 2009 (UTC)

 * Small addendum, for whatever it might be worth. Since I'd written the note immediately above, I've been using Web search engines to look for negative reviews of Smith's novels, particularly the North American Confederacy books against which Sherman & Cragg have ranted.  If there were anything out there beyond these Pekinese plaints, I figured I'd put it up in the "Criticism" section as an effort to extend whatever value might be had out of a hostile address of Smith's ideas, writing style, characterizations, etc.  Know what I found? There's a couple of one-star reviews - and I mean, literally, two insofar as I could see - on the Amazon.com page for The Probability Broach, but that's about it.  And neither of them would pass muster if submitted to a high school English Literature class.  Every other time I've Websearched "the probability broach" and "reviews," what I've found (apart from sites offering the books for sale, and I've ignored these as they're doubtless colored by pecuniary interest; they have inventory to sell) have been overwhelmingly positive critiques of the work.  Anybody know a better way to investigate the possibility that there exists any sort of useful and defensible averse literary criticism of Smith's stuff?  —Preceding unsigned comment added by 71.125.137.227 (talk) 04:53, 10 June 2009 (UTC)

 * Problems with "verisimilitude"? This isn't a place for discussion on the merits of S&C's work (imagine that), so there won't be any, but I'm interested in what a "casual student of military history must find grating" in their work.  If you feel so inclined, please come to the Starfist HQ site, sign up (the Forum requires registration for posters), and jump right in with your criticisms.  Sherman responds readily to input from posters (Cragg has been notably and understandably absent since his wife died a month or so ago), and you'd be a fascinating addition to the usual set of fans there.  Just to be upfront, I am the proprietor of the site, user id = "mclark". Mike (talk) 05:31, 13 June 2009 (UTC)
 * But you must be gratified to see that there are so few other critics of LNS out there, after your search. Mike (talk) 05:31, 13 June 2009 (UTC)

 * Yeah, verisimilitude. Get a look at the Wikipedia article thereupon, "Mike." Means "likeness or resemblance of the truth, reality or a fact's probability," which is part of what an SF writer strives for in maintaining the reader's willing suspension of disbelief.  As for what goes wrong in the StarFist series - from beginning to end - its that while the stories are set in the 25th Century, the technology (including the "software" in terms of economics, politics, strategy, and tactics) is really no more advanced than late 20th Century.  The "casual student of military history" looks back at the 15th and 16th Centuries and draws comparisons between how and why armed conflicts developed and how they were waged then and how such conflicts arise and how participants conduct themselves in such conflicts now.  And that betrays the StarFist writers' failure of sufficient extrapolative imagination.  That blows verisimilitude right to hellangone out of the water, doesn't it? One of the reasons I'd mentioned John Ringo's work (particularly his Legacy of the Aldenata series) as military SF done right is that he and his co-authors have done their best to set their stories in a "near-future" (now "alternate future") plenum in which the effort to combine present-day military technology with goshwow alien "might-as-well-be-magic" stuff works more credibly because the mixture exploits the writers' knowledge of both here-and-now systems (including politics, economic, cybernetics, physics, etc.) with the hard realities of praxeology. Ringo and his co-writers are smart enough to know what they don't know, and wise enough to keep their work credible within the framework they've carefully established for themselves. While S&C know the military, they don't know speculative fiction. Perhaps they're in the wrong genre? That notwithstanding, to read hostile critique of a real SF writer - L. Neil Smith - coming from the partisans of people publishing space opera is a helluva note, and worth remarking upon, "Which the same I would rise to explain."  —Preceding unsigned comment added by 71.251.136.102 (talk) 03:28, 11 July 2009 (UTC)
 * Well, you're still trying to discuss the subject and not the article. And there's no point in putting my name in quotation marks.  It is my real first name, btw.  I do see what you're saying when you speak of verisimilitude, and though I'd love to discuss the subject in connection with Sherman and Cragg's Starfist universe, this is not the forum for it.  And the fact remains that David Sherman, whose literary prowess and powers of extrapolation or lack thereof is irrelevant to the point, criticised L. Neil Smith's notion of free and unencumbered civilian ownership of firearms in the indirect fashion of using part of Smith's name for a planet on which Sherman portrayed a Somalia-type chaotic/anarchistic situation.  That's a fact, not an opinion.  I don't agree with Sherman's political viewpoint, and neither do you, but what of it?  It is still a criticism of Smith's work, and is a valid point in the article about L. Neil Smith.  And since there isn't any other criticism mentioned in the article, I'd say it tends to lend the article some editorial balance. Mike (talk) 03:27, 12 July 2009 (UTC)

 * Is the hoplophobe Cragg & Sherman objection to the value of an armed and self-responsible populace a valid criticism - especially a literary criticism - of a speculative fiction writer, or simply a dubious and purely political kvetch that doesn't deserve to be incorporated in this article on L. Neil Smith to begin with? There is plenty in Smith' oeuvre that parodies and otherwise attacks other writers' work. Why don't I just mosey on down to those other writers' Wikipedia articles and start pulling quotes from Smith's books and essays to incorporate such remarks into "Criticism" sections on those writers' Wikipedia entries, hm?

 * Well, why don't you? I shan't stop you if you want to give it a go.  To be candid, some of the writers that Smith's parodies ought to have criticism laid at their feet.  Mike (talk) 22:02, 12 July 2009 (UTC)

 * Cragg & Sherman call into question the sociopolitical viability of Smith's Probability Broach plenum when the one they'd devised and are writing in doesn't work worth a damn. Moreover, they don't give any kind of supported argument why Smith's North American Confederacy couldn't work the way Smith depicts it. Smith put some considerable effort into addressing the "Somalia" factors, and none of that effort is refuted by the shallow gripe voiced by these pseudoscience fiction hacks. Get the point, Mike? This "Criticism" section in the Smith article should be stricken altogether. It's slanted as hell, and altogether bogus.
 * Again, you're arguing the subject and not the article. I get the point through all the ad hominems ("hacks" "shallow" etc) that you don't like the fact that Sherman named his planet after El Neil, and did so for reasons related to Sherman's disagreement with the principle of "an armed and self-responsible populace".  But whether you (or I) like it or not, or agree with it or not, the book exists, and its primary setting is a planet named for L. Neil Smith.  This is not some mimeographed piece of fanfic; it has notability, in that it's popular enough to have remained in print since its first publication twelve years ago, and with a screenplay of it being circulated in Hollywood it may become even more popular (unlikely, but possibly).  I appreciate and to a great extent agree philosophically with your arguments contra Sherman, but I say again, that's not the point.  Do you get the point, now, O nameless one?  And among the points that I don't think you get is this one: if someone disagrees with Smith, but his reasons for doing so can be seen to be bogus, this would tend to rebound in Smith's favor.  Just a thought.  Mike (talk) 21:41, 12 July 2009 (UTC)

 * I don't run rampant through the Wikipedia articles on writers at whom Smith snipes for the same reason that the sputniki of Sherman & Cragg shouldn't have incorporated baseless and slanted "Literary Criticism" (remember, that's how it was first headlined) of Smith's stuff in this Wikipedia article. And simple insult, Mike, is not argumentum ad hominem, which is the logical fallacy of predicating a riposte on nothing more than an attack upon the character of the person articulating the argument to be refuted. You're on the Wikipedia Web site, Mike; look it up.  Why the hell do incompetent fumblenuts have to keep squealing ad hominem when they obviously don't know dick about what the expression means? For further example of your inability to employ logical argument in this exchange, witness your "you don't like" nonsense, which falls under the heading of circumstantial ad hominem, imputing to me a motive I've never articulated and which I do not, in fact, have, in order to denigrate my position. Bushwah. When I read First to Fight back in '97 (book 1 of the StarFIST series) and noted the "Elneil" crack, I diagnosed Cragg and Sherman as statist hoplophobes but kept on reading.  The rest of the novel convinced me that they were straightforward military adventure fiction writers - like W.E.B. Griffin, Larry Bond, Harold Coyle, and Tom Clancy - who were passing off their stuff as SF. Not my dish of tea, but then nobody ever lost a dime underestimating the taste of the American public. However, reading their opinion secondhanded in this article as "Literary Criticism" by one of their fans is just too goddam much. Or am I not making things plain enough for you, Mike?  —Preceding unsigned comment added by 72.73.197.34 (talk) 20:39, 15 July 2009 (UTC)
 * OK, if you insist, they're not "ad hominems", they're insults. Neither do I "run rampant through Wikipedia articles on writers at whom [Sherman] snipes."  It turns out that there's only one such writer that Sherman snipes at.  And mention of such sniping must be eliminated because?  Sherman is incompetent?  He's not a "real" SF writer?  He's a statist hoplophobe?  His readers have low literary taste?  Sez you.  You were altogether correct that this was not "literary" criticism, and I modified the section title accordingly.  You were right about that (or was it you complaining?  It's so hard to tell one A/C from another).
 * Well, upon reviewing the paragraph I feel that it needs some touching up. So I have just modified the paragraph further, to indicate that it is not a personal attack by Sherman on Smith, because I'm sure they'd get along just fine if they were to meet, and I've removed the Sherman quote.  If someone wants to read it they can follow the reference.  If that is not sufficient, I am truly sorry that it upsets you so.
 * By the way, why do you find it necessary to issue so many insults? I assure you that being called an incompetent fumblenut, sputnik and so on does not cause me any personal anguish, just in case you were worried about it.  I do understand, however, that some people relate better to the world outside their heads by labeling other people in ways that make them seem less threatening, so if this helps you, well, go right ahead. Mike (talk) 00:22, 19 July 2009 (UTC)

 * Mike, read above. You opened the insult bottle with your 13 June post, starting with that "Problems with 'verisimilitude'?" snerk and your stipulation that you're a Cragg & Sherman afficionado with anything but an objective regard for their slant against Smith's work. My initial comments regarding the utterly invalid character of their "criticism" of Smith - and I'm growing more and more certain that you're the clod who stuffed it into Smith's Wikipedia page to begin with - still stand. That section does not belong on this page, not in any way whatsoever.  Quit griping about getting back more than you dealt out. And, yeah, a guy who writes a "current events" level technothriller and tries to set it five centuries into the future without taking into account the "future shock" element is anything but "a 'real' SF writer." The old saying in SF is that whatever the future will be, it's going to be different. To provide you with another example of a military SF writer who's recently come onto the scene and managed to do the future "different," look into John Scalzi's Old Man's War (2005). Note also that on Mr. Scalzi's Wikipedia page, there's no "Criticism" section voicing the creebing of a rival writer who couldn't defrag his hard drive.  —Preceding unsigned comment added by 71.125.137.199 (talk) 12:53, 21 July 2009 (UTC)

 * Removed entire criticism section. One book that makes an oblique reference to LNS is hardly literary criticism.  If anything, the commentary should be added to the entry for the book.  There are no end of legitimate criticisms of LNS's work and they could well be cited here.  If it's actually noteworthy, put a comment in the entry for the book.  Otherwise, try for NPOV in this article.  Peter Camper (talk) 05:15, 16 April 2010 (UTC)

vote count

 * He and running mate Vin Suprynowicz received 5,775 votes in the national election, less than .01% of the vote.

Wouldn't it be more meaningful to show their fraction of the vote in Arizona (where they were on the ballot)? —Tamfang (talk) 21:32, 5 November 2010 (UTC)

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title: Talk:L. Neil Smith


text: User talk:68.234.116.38

title: User talk:68.234.116.38


text:
Live and Dangerous

Live and Dangerous is a live double album by the Irish rock band Thin Lizzy, released in June 1978. It was recorded in London in 1976, and Philadelphia and Toronto in 1977, with further production in Paris. It was also the last Thin Lizzy album to feature guitarist Brian Robertson, who left the band shortly after its release.

The band decided to release a live album after their producer Tony Visconti did not have enough time to work on a full studio session. They listened through various archive recordings from earlier tours and compiled the album from the best versions. Various studio overdubs were made to the live recordings during early 1978 in Paris; exactly how much of the album is overdubbed has been a contentious topic since its release. The album reached No. 2 in the UK Albums Chart, ultimately selling over half a million copies in the UK. It has continued to attract critical acclaim and it has appeared in several lists of the greatest live albums of all time.

Recording
By the mid-1970s, Thin Lizzy had stabilised around its founding members – singer and bassist Phil Lynott and drummer Brian Downey – and guitarists Scott Gorham and Brian Robertson. The band had scored hit singles and developed a strong live following, including headlining the Reading Festival. Robertson had briefly left the band in 1977 but subsequently returned.

The group planned to make a new studio album at the start of 1978, helmed by producer Tony Visconti, with whom they had created the successful Bad Reputation. However, Visconti had a very tight schedule and had committed to producing albums for other artists, so Lynott suggested they instead spend two weeks together compiling a live album.

The band and Visconti listened to over 30 hours of archive recordings, looking for the best performances. The album's sleeve notes credit two concerts as its source: Hammersmith Odeon, London, England on 14 November 1976 (part of the tour for Johnny the Fox, released earlier that year), and Seneca College Fieldhouse, Don Mills, Toronto, Ontario, Canada on 28 October 1977 (part of the tour for Bad Reputation).

Visconti later revealed that shows at the Tower Theater, Philadelphia on 20 and 21 October 1977, a week earlier than the Toronto gig, had also been recorded. The band had listened to the Hammersmith tapes shortly after recording and agreed that the performances sounded better than the studio versions. Thin Lizzy biographer Mark Putterford believes the majority of recordings on the finished album are from the Hammersmith show. Visconti later said the performance of "Southbound" came from a soundcheck before one of the Philadelphia gigs, with the audience reaction dubbed from another song.

On the album, the band segues immediately from "Cowboy Song" into "The Boys Are Back in Town", on the line "a cowboy's life is the life for me" – the last chord of the former was the first of the latter, although their studio versions were recorded as separate songs. This segue remained a staple of the band's setlist for the rest of their career, and examples can be found on other live releases. The band had rearranged "Still in Love with You" to be slower and more emotional than the original studio version, and the version on Live and Dangerous was considered by Putterford the highlight of Lynott's musical career. "That was us at our best," observed Gorham, "before the bad drugs came in."

To promote the album, the group filmed a gig at the Rainbow Theatre, London on 29 March 1978 for a television broadcast. However, this was cancelled and the footage went unaired.

Production
The album was mixed and overdubbed at Studio Des Dames, Paris in January 1978. All sources agree that overdubbing took place on Live and Dangerous, although there is considerable disagreement about the extent of them. According to Visconti, the album was "75% recorded in the studio" with only the drums and audience noise remaining from the original live recordings. Visconti later said the overdubs and production were essential in order that the listener could hear a professional sounding band. He claims to have created some audience sounds from a keyboard-triggered tape loop in a similar manner to a Mellotron or sampling keyboard. Nevertheless, Visconti was happy with the production and believes the end result sounds authentic.

However, manager Chris O'Donnell said the album was 75% live, with overdubs restricted to backing vocals and a few guitar solos to "clean the sound up". Lynott said that there were a few necessary overdubs, but "anything else would have ruined the atmosphere on those recordings and made a mockery of putting out a live album". Robertson has been particularly critical over Visconti's view. He has said the album is almost all live, and the sound levels on stage would make overdubbing impossible due to the lack of acoustic separation between instruments. He claims a recording of "Still In Love With You", featuring a guitar solo he felt was better than the one at the gig that was eventually released, could not be used due to phaser noise on the bass. From this, he concluded that if the bass could not be overdubbed, nothing else could either.

O'Donnell hired Chalkie Davies, a photographer for New Musical Express for two weeks to photograph the band on a US tour in early 1978 in order to capture enough pictures suitable for the album artwork. The front cover, featuring Lynott in the foreground, was originally supposed to be the back cover as the group wanted equal coverage of all members. O'Donnell disagreed and reversed the front and back photographs at the last minute. The album had a working title of Thin Lizzy Live but Lynott decided that Live and Dangerous was better.

Some pressings of the record sleeve include a montage photograph in the studio containing a mirror, straw, razor blade and a rolled up five pound note (as an overt reference to cocaine consumption). Lynott insisted on adding the picture over the rest of the band's objections.

Release
Live and Dangerous was released as a double album on 2 June 1978. In the UK, it was released on Vertigo Records and reached a high of No. 2 in the UK album charts, held from the top spot by the Grease soundtrack album. It remained in the charts for 62 weeks and eventually sold 600,000 copies. It was also the first album to be released by Warner Bros. Records in America after the band left Mercury Records in that area. A single from the album, "Rosalie / Cowgirl's Song" backed with a live version of "Me And The Boys", which was a frequent encore but not included on the album, was released in April and reached No. 20 in the UK Singles Chart.

The band began touring to promote the album, but after a one-off gig in Ibiza, Lynott and Robertson had an acrimonious argument. Robertson subsequently quit Thin Lizzy permanently to form Wild Horses with former Rainbow bassist Jimmy Bain. He was replaced by a returning Gary Moore, who had already been a band member in 1974 and 1977.

The album was reissued on CD in 1989. The March 1978 footage from the Rainbow Theatre concert was released a first time in 1980 on VHS by VCL Video and as a 60-minute edit by Castle Communications in 1994 and titled Live & Dangerous. The footage was released on DVD in 2007, with other group performances including a show from their farewell tour on 26 January 1983, and four Top of the Pops clips from the 1970s.

In 2009, the live album Still Dangerous was released, which features material from the 20 October 1977 gig at Philadelphia that was used for some of Live and Dangerous. There is some overlap of tracks between the two albums, though Still Dangerous is completely live with no overdubs.

In 2022, a deluxe box set of the album was released, containing the original live recordings that made up the album. These showed that there was far less overdubbing than previously claimed.

Reception
Stephen Thomas Erlewine of AllMusic described the album as "one of the best double live LPs of the 70s", and "a true live classic", containing more energy and power than the original studio albums. He also praised the "expert song selection". Stuart Bailie in his review for Classic Rock magazine praised the quality of the music and played down rumours of studio overdubbing. NME reviewer Tim Chester declared Live and Dangerous "the best live album we ever heard" despite the alleged overdubs, which he dismissed as irrelevant. Canadian journalist Martin Popoff praised Live and Dangerous for "supercharging some of the old guitar-based tunes that were a bit stiff, dated or under-dressed on studio vinyl" and paired it with UFO's Strangers in the Night as critics' favourite live albums.

Kerrang! magazine listed the album at No. 50 among the "100 Greatest Heavy Metal Albums of All Time".

The album continues to attract critical praise. In 2010 Live and Dangerous was ranked number one in PlanetRock.com's The Greatest Live Album Top 40. The following year, the British music magazine NME ranked Live and Dangerous at No. 1 in its 50 Greatest Live Albums of All Time. In 2015, Rolling Stone put the album at No. 46 in its list of the greatest live albums. The album is included in the 2011 revision of 1001 Albums You Must Hear Before You Die.

Remastered edition
A new remastered and expanded version of Live And Dangerous was released in 2011. As well as the full album, remastered by Andy Pearce and Matt Wortham, it featured two additional tracks from the period that were not originally included on the album (although they were later released on the Killers Live EP in 1981). The set also included a DVD with the Rainbow Theatre footage. The sleeve notes were written by Malcolm Dome and included a debate of exactly how much of the album was live and how much was overdubbed.

DVD
 * 1) "Introduction"/"Rosalie"
 * 2) "The Boys Are Back in Town"
 * 3) "Emerald"
 * 4) "Dancing in the Moonlight (It's Caught Me in Its Spotlight)"
 * 5) "Massacre"
 * 6) "Still in Love with You"
 * 7) "Don't Believe a Word"
 * 8) "Are You Ready"
 * 9) "Sha La La"
 * 10) "Baby Drives Me Crazy"
 * 11) "Finale"/"Me and the Boys"

Personnel
Thin Lizzy
 * Phil Lynott – lead vocals, bass guitar
 * Scott Gorham – lead guitar, backing vocals
 * Brian Robertson – lead guitar, backing vocals
 * Brian Downey – drums, percussion

Additional musicians
 * John Earle – saxophone on "Dancing in the Moonlight"
 * Huey Lewis (as "Bluesey Huey Lewis") – harmonica on "Baby Drives Me Crazy"

Production
 * Tony Visconti - producer
 * Will Reid Dick, Rob O'Brien - engineers
 * Thin Lizzy, Chalkie Davies - cover design
 * Chalkie Davies - photography
 * Sutton Cooper - artwork

title: Live and Dangerous


text:
Talk:Live and Dangerous

On the "one of the best live rock albums of all time" comment...
Perhaps is should be changed to "one of the biggest selling live albums" or "one of the most popular live albums" to be non-POV. Just a thought. --82.36.173.52 23:00, 2 February 2007 (UTC)

Also, is the best place to quote that from the album booklet? —Preceding unsigned comment added by 86.15.243.191 (talk) 11:38, 9 December 2007 (UTC)

Also, the video on DVD is not the same concert used on the Live and Dangerous album at all. —Preceding unsigned comment added by 76.84.98.75 (talk) 15:02, 10 May 2008 (UTC)

title: Talk:Live and Dangerous