text:
User talk:Ahseaton

Hello and welcome to Wikipedia!
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Hello
Hello, Ahseaton. Thank you for your suggestion at Wikipedia talk:Selected anniversaries/February 13. Please be reminded to sign your postings on talk pages with ~. It's the Wikipedian way.... Thanks. -- PFHLai 17:08, 2005 Feb 13 (UTC)

~

Ahseaton

Ahseaton 18:59, 13 Feb 2005 (UTC)

Andreas Hofer Stamp
Thank you for the Andreas Hofer Stamp. It's now on the MainPage. :-) -- PFHLai 05:52, 2005 Feb 20 (UTC)

March 2005
Why did you remove the link to John Clarke in Rhode Island: History? Logophile — Preceding unsigned comment added by Logophile (talk • contribs) 11:03, 2 March 2005 (UTC)

FrenchNavyImage
On Copyright problems is the following statement:
 * As of today, all *new* images which are *non commercial only* and *with permission only* should be deleted on sight. Older images should go through a process of VfD to eliminate them in an orderly fashion, taking due account of "fair use". (Jimbo) :Full Email, 19 May 2005 (UTC)

So template:FrenchNavyImage is not an acceptable copyright for Wikipedia, as it does not allow all third party use (in print media).

However, in the case of Image:BattleshipFrance.jpg the photo must have been taken before 1923, so that picture is in the public domain according to the article public domain. Thue | talk 8 July 2005 06:49 (UTC)

Image:AGSS-555Dolphin.jpg replacement
Greetings. I've replaced the Image:AGSS-555Dolphin.jpg with a more recent, higher resolution photograph of this ship. The new image is Image:USS Dolphin AGSS-555.jpg, and I've placed it at USS Dolphin (AGSS-555) in place of the image you uploaded. I hope you don't mind. --Durin 22:35, 19 December 2005 (UTC)

Image:Comet.jpg listed for deletion
An image or media file that you uploaded, Image:Comet.jpg, has been listed at Images and media for deletion. Please look there to see why this is (you may have to search for the title of the image to find its entry), if you are interested in it not being deleted. Thank you. Mark83 20:03, 28 February 2006 (UTC)

Image Tagging Image:CrusaderII.jpg
Thanks for uploading Image:CrusaderII.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is therefore unclear. If you have not created this media yourself then you need to argue that we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then you should also specify where you found it, i.e., in most cases link to the website where you got it, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then you must also add one. If you created/took the picture, audio, or video then you can use GFDL-self to release it under the GFDL. If you believe the media qualifies as fair use, please read fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

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Image Tagging Image:MatildaI.jpg
Thanks for uploading Image:MatildaI.jpg. I notice the 'image' page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this media yourself then there needs to be an argument why we have the right to use the media on Wikipedia (see copyright tagging below). If you have not created the media yourself then it needs to be specified where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the media also doesn't have a copyright tag then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media qualifies as fair use, consider reading fair use, and then use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other media, consider checking that you have specified their source and copyright tagged them, too. You can find a list of 'image' pages you have edited by clicking on the "my contributions" link (it is located at the very top of any Wikipedia page when you are logged in), and then selecting "Image" from the dropdown box. Note that any unsourced and untagged images will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. --cs:che 15:35, 30 April 2006 (UTC)

Image:Comet2.JPG
Aloha! Whilst editing, I came across an article using Image:Comet2.JPG, which you uploaded. You've provided a licence, but unfortunately Wikipedia also requires that all images used in articles have source information, in order that the license can be verified. If you're still around, could you edit the image to include where you found the image, or if you created it yourself, a statement to that effect? If a source is not provided, the image may well be removed from Wikipedia without further notice. GeeJo (t)⁄(c) • 23:02, 5 May 2006 (UTC)

Unspecified source for Image:C-32.jpg
Thanks for uploading Image:C-32.jpg. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikipedia (see copyright tagging below). If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

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If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following this link. Unsourced and untagged images may be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. Conscious 07:42, 2 August 2006 (UTC)

Unspecified source for Image:BattleshipFrance.jpg
Thanks for uploading Image:BattleshipFrance.jpg. I notice the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you have not created this file yourself, then there needs to be a justification explaining why we have the right to use it on Wikipedia (see copyright tagging below). If you did not create the file yourself, then you need to specify where it was found, i.e., in most cases link to the website where it was taken from, and the terms of use for content from that page.

If the file also doesn't have a copyright tag, then one should be added. If you created/took the picture, audio, or video then the GFDL-self tag can be used to release it under the GFDL. If you believe the media meets the criteria at Fair use, use a tag such as or one of the other tags listed at Image copyright tags. See Image copyright tags for the full list of copyright tags that you can use.

If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you. Rama 00:33, 28 September 2006 (UTC)

Dennis Rader
Hi Ahseaton. Do you have any source to show that Image:DennisRaderArraignment.jpg and Image:DennisRaderDL.jpg are indeed released into the public domain? --Lhademmor 11:41, 11 January 2007 (UTC)

Re: Acts of Union 1707
Today is the 300th anniversary of the ratification of the Treaty of Union between Scotland and England. It is being "celebrated" as per the following AP/MSNBC.com article: http://www.msnbc.msn.com/id/16638392/

If the problem is only allowing 5 articles, as a 300th anniversary, I think it outweighs Ivan the Terrible.

Ahseaton 20:32, 16 January 2007 (UTC)

 * Hello, Ahseaton. I am aware of this 300th Anniversary of the Acts of Union 1707. I have already put this on the selected anniversary template for May 1st a few days ago. It was a merge that involved two parties. I find it inappropriate to put this on MainPage on the anniversary of the Scottish vote and ignore the anniversary of the English vote. (The reverse would also be bad. BTW, I can't find the date of the English vote.) So, I chose to feature this on the anniversary of the merge to avoid the appearance of a bias towards one of the two groups. Moreover, I think May 1st, 1707 is the more significant date. And there are some even less historic events than Ivan the terrible to displace from the May 1st template. --PFHLai 15:47, 17 January 2007 (UTC)

Unspecified source for Image:Gadget.jpg
Thanks for uploading Image:Gadget.jpg. I noticed that the file's description page currently doesn't specify who created the content, so the copyright status is unclear. If you did not create this file yourself, then you will need to specify the owner of the copyright. If you obtained it from a website, then a link to the website from which it was taken, together with a restatement of that website's terms of use of its content, is usually sufficient information. However, if the copyright holder is different from the website's publisher, then their copyright should also be acknowledged.

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Unspecified source for Image:AndyTheClown.jpg
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If you have uploaded other files, consider checking that you have specified their source and tagged them, too. You can find a list of files you have uploaded by following [ this link]. Unsourced and untagged images may be deleted one week after they have been tagged, as described on criteria for speedy deletion. If the image is copyrighted under a non-free license (per Fair use) then the image will be deleted 48 hours after 12:20, 12 July 2007 (UTC). If you have any questions please ask them at the Media copyright questions page. Thank you. MER-C 12:20, 12 July 2007 (UTC)

Fair use rationale for Image:Timken1111.jpg
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Orphaned non-free media (Image:CrusaderII.jpg)
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Fair use rationale for Image:RaurimuSpiral.jpg
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Disputed fair use rationale for Image:AJPTaylor.jpg}
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Orphaned non-free media (Image:AJPTaylor.jpg)
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Fair use rationale for File:HoferStamp.jpg
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File source problem with File:U-135.jpg
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NowCommons: File:USSVincennesCL64.jpg
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File source problem with File:VCAlfredHenryHook.jpg
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File source problem with File:T-AKE-1LewisAndClark.jpg
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File source problem with File:USSJuneauCL119.jpg
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Discussion at Talk:Knight's tram, Raurimu
You are invited to join the discussion at. -- Marchjuly (talk) 21:21, 11 May 2018 (UTC)
 * Hi Ahseaton. You haven't edited for awhile so I'm not sure whether you're still active. Please take a look at the above discussion if you are because you might be able to help clarify the source of File:RaurimuSpiral.jpg. Files without source information are (as you can see from various notifications left previously by others on your user talk page) subject to speedy deletion per WP:F4; so, if you can provide a link or other information as to where this file came from or where you got it to upload to Wikipedia, then please do. -- Marchjuly (talk) 21:26, 11 May 2018 (UTC)

File:RaurimuSpiral.jpg listed for discussion
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"Überkanone" listed at Redirects for discussion
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"Überkanonen" listed at Redirects for discussion
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Supercarrier
Hi, in the summary for this edit, you wrote: "The first supercarrier, the USS Forestal, was commissioned in 1955." But, if you have a look at here, you'll see that the first "supercarrier" was actually the HMS Ark Royal (91) of the Royal Navy, which went into service in 1938. Hope you find this information useful. Have a nice day - w o lf  05:39, 31 December 2022 (UTC)

SUI did look there. For US carriers, the first "supercarrier" was the USS Forestal launched in 1955. If you want to say the Ark Royal is the first supercarrier then the Essex Class entry should read 1930s, 1940s, 1950s, 1960s and 1970s. If you want to say when did the US supercarriers outnumber the Essex Class, then that didn't happen until the 1970s. Ahseaton (talk) 12:21, 31 December 2022 (UTC)

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title: User talk:Ahseaton


text:
Scary Monsters (and Super Creeps)

Scary Monsters (and Super Creeps), also known simply as Scary Monsters, is the fourteenth studio album by the English musician David Bowie, released on 12 September 1980 through RCA Records. His first album following the Berlin Trilogy (Low, "Heroes" and Lodger), Scary Monsters was Bowie's attempt to create a more commercial record after the trilogy proved successful artistically but less so commercially.

Co-produced by Tony Visconti, Scary Monsters was recorded between February and April 1980 at the Power Station in New York City, and later Good Earth Studios in London. Much of the same personnel from prior releases returned for the sessions, with additional guitar by Chuck Hammer and Robert Fripp, and a guest appearance by Pete Townshend. The music incorporates elements of art rock, new wave and post-punk. Unlike the improvisational nature of prior releases, Bowie spent time writing the music and lyrics; several were recorded under working titles and some contained reworked elements of earlier, unreleased songs. The album cover is a large-scale collage featuring Bowie donning a Pierrot costume, with references to his prior releases on the rear sleeve.

The album's lead single, "Ashes to Ashes", revisited the character of Major Tom from "Space Oddity" and was promoted with an inventive music video. Scary Monsters garnered critical and commercial acclaim: it topped the UK Albums Chart and restored Bowie's commercial standing in the US, reaching No. 12. Scary Monsters would later be referred to by commentators as Bowie's "last great album" and a benchmark for subsequent releases. It was Bowie's final studio album for RCA and the final collaboration between him and Visconti for over 20 years. Several publications have considered it one of the greatest albums of all time. The album has been reissued multiple times, and was remastered in 2017 as part of the A New Career in a New Town (1977–1982) box set.

Background
From 1976 to 1979, David Bowie recorded what became known as the "Berlin Trilogy", which consisted of Low, "Heroes" (both 1977) and Lodger (1979). Made in collaboration with the musician Brian Eno and the producer Tony Visconti, the trilogy was highly influential. Low was seen as a precursor to post-rock and post-punk, influencing artists such as Joy Division and the Human League, while Lodger's use of world music is credited for inspiring artists such as Talking Heads and Paul Simon.

Though considered artistically significant, the trilogy had proven less successful commercially. Lodger's commercial performance was hindered by artists who were influenced by the earlier Berlin releases, such as Gary Numan. Numan, a huge fan of Bowie's, was disparaged by Bowie's fanbase as a mere copycat. Bowie himself criticised Numan, which led to a long-running feud between the two artists. According to the biographer David Buckley, Numan's fame indirectly led to Bowie taking a more commercial direction for his next record.

Recording and production
In February 1980, Bowie travelled to the Power Station in New York City to begin recording his next album. Returning from the "Berlin Trilogy" was Visconti, who was immediately told by Bowie that this was going to be a more commercial record than his previous releases. Eno did not return, having ended his collaboration with Bowie after Lodger, stating he felt the "Berlin Trilogy" had "petered out" by that record. The core lineup of Dennis Davis, Carlos Alomar and George Murray returned for the sessions; this would be the fifth and final Bowie album to feature this lineup, who had been together since Station to Station (1976). Only Alomar would continue working with Bowie hereafter. Adrian Belew, who played on Lodger, told Buckley he received advanced payment to play on the sessions and was surprised to find the record made without him. In lieu of Belew, the King Crimson guitarist Robert Fripp, who played on "Heroes", was brought back, along with newcomer Chuck Hammer, whom Bowie hired after hearing him play with Lou Reed in London the year before. According to the NME editors Roy Carr and Charles Shaar Murray, Hammer added multiple textural layers deploying guitar synth and Fripp brought back the same distinctive sound he lent "Heroes". Pianist Roy Bittan, a member of Bruce Springsteen's E Street Band, returned from the Station to Station sessions.

Initial sessions at the Power Station took place over two and a half weeks, with an additional week used for overdubs. During this time, only "It's No Game (No. 2)" was completed in its entirety. The remaining tracks were solely instrumental. During the sessions, Alomar suggested recording a cover of Tom Verlaine's "Kingdom Come". Bowie felt the track was the standout on Verlaine's 1979 eponymous solo album, stating "It just happens to fit into the scattered scheme of things". Bowie asked Verlaine to play lead guitar on the track. Verlaine accepted, but upon his arrival at the studio, he tried out numerous guitar amps in order to "get the right sound" while Bowie and Visconti left him alone. Visconti recalled, "I don't think we ever used a note of his playing, if we even recorded him." Instead, Fripp ended up playing lead guitar. Recorded during these sessions was an instrumental titled "Crystal Japan"; it was originally intended to be the album's closing track, but was dropped in favour of a reprise of "It's No Game". It was instead released as a single in Japan, making its first appearance in a 1980 Japanese television commercial for the Shōchū drink Crystal Jun Rock.

Instead of improvising lyrics and music as he had with prior releases, Bowie informed Visconti he wanted to take time composing and developing the lyrics and melodies; Visconti recalled, "Instead of immediately writing finished melodies and lyrics, David begged to take a long break to think it all out, so we adjourned until two months later in London." Buckley writes that what Bowie presented Visconti were "some of the most innovative melodies of his career." According to the biographer Nicholas Pegg, some of the handwritten lyrics were included in the 2013 David Bowie Is exhibition. Many of the tracks had working titles early on. In a cassette dated March 1980 in Visconti's archive, some of the tracks included "People Are Turning to Gold" (later "Ashes to Ashes"), "It Happens Everyday" (later "Teenage Wildlife") and "Jamaica" (became "Fashion" late in the album's development). At this point in the album's development, "Up the Hill Backwards" was known as "Cameras in Brooklyn" and "Scream Like a Baby" as "I Am a Laser", originally written in 1973 and recorded by the Astronettes (made up of Bowie collaborators Ava Cherry and Geoff MacCormack) at Olympic Studios the same year. Pegg writes that there was a track called "Is There Life After Marriage?" that was recorded and left unfinished during the sessions. An instrumental cover of "I Feel Free" by Cream was also recorded and left unfinished, although it was brought back for 1993's Black Tie White Noise. According to Pegg, the lyrics for the title track were written in response to a promotional campaign for Kellogg's Corn flakes cereal, which offered novelty toys of "Scary Monsters and Super Heroes".

The sessions resumed in April 1980 at Good Earth Studios in London, Visconti's own studio at the time. Here, all vocals were recorded, including the Japanese narration provided by the actress Michi Hirota for "It's No Game (No. 1)". Additional instrumental overdubs were provided by Fripp and the keyboardist Andy Clark, along with a guest appearance by the Who guitarist Pete Townshend on "Because You're Young". Townshend, who was dealing with numerous personal issues at the time, arrived at the studio in a bad mood; when Townshend asked Bowie and Visconti what they wanted from him, they replied "Pete Townshend chords". His contributions were ultimately placed low in the mix.

Music and lyrics
Commentators have classified Scary Monsters as art rock, new wave, and post-punk. Writing for AllMusic, Stephen Thomas Erlewine considers Scary Monsters to be a culmination of Bowie's 1970s works. He also considers the record's sound to be not "far removed from the post-punk of the early '80s". Pegg agrees, describing the record as "the triumphant culmination of Bowie's steely art-rock phase and a crucial doorway into early 1980s British pop." In a career retrospective, Consequence of Sound described Scary Monsters as "a high watermark of art pop by which Bowie's future releases are still compared." Bowie himself considered the record's sound to be "the epitome of the new wave sound at the time." Carr and Murray describe the album's sound as being harsher – and his worldview more desperate – than anything he had released since Diamond Dogs (1974). The biographer Christopher Sandford writes that lyrically, Scary Monsters reaffirms themes that Bowie had explored throughout his career up to that point, including madness, alienation and the "redeeming power of love"; in this case however, Bowie is able to bring the listener in instead of "freezing [them] out".

Side one
The album opens with "It's No Game (No. 1)", which features sinister guitar loops and Bowie's screaming vocal performance, which Chris O'Leary cites as reminiscent of John Lennon's performance on Plastic Ono Band (1970). Partly taken from an older tune titled "Tired of My Life", it features lyrics read by the Japanese actress Michi Hirota, which were translated by Hisahi Miura. Hirota delivers her performance in what is described by Buckley as a "macho, samurai voice", which was done at Bowie's insistence as a way to "break down a particular type of sexist attitude about women". James Perone writes that the track establishes the album's theme of "scary events". The lyrics of "Up the Hill Backwards" deal with the struggle of facing a crisis. Bowie misquotes Thomas Anthony Harris's 1967 self-help book I'm OK – You're OK, a guide on how to save marriage relationships; Carr and Murray see this as a reference to Bowie's divorce from Angie Bowie. Musically, it features unusual time signatures and a Bo Diddley-inspired beat. The title track dated back to a 1975 song titled "Running Scared", which David Bowie originally played to Iggy Pop. The rhythm section took inspiration from Joy Division; Davis's drum performance has been compared to Stephen Morris's on "She's Lost Control" (1979). Described by Perone as punk rock, the music is heavily distorted, featuring Fripp's ferocious guitar-playing, Davis's pounding drums, and Bowie's treated Cockney accent. Lyrically, it follows a claustrophobic relationship between a woman (dating back to Bowie's Berlin days) and a man (the demons inside Bowie).

"Ashes to Ashes" revisits the character of Major Tom from "Space Oddity" (1969). Over ten years later, Major Tom is described as a "junkie", which has been interpreted as parallel to Bowie's own struggles with drug addiction throughout the 1970s. In 1990, Bowie acknowledged "Ashes to Ashes" as a confrontation of his past: "You have to accommodate your pasts within your persona. You have to understand why you went through them... You cannot just ignore them to put them out of your mind or pretend they didn't happen, or just say, 'Oh, I was different then. Musically, "Ashes to Ashes" is built around a guitar synthesiser theme by Hammer, augmented by Clark's synthesiser. Like "Space Oddity" before it, the song was built in stages, and features layers of instruments in its mix. "Fashion" is reminiscent of Bowie's former single "Golden Years", with its mix of funk and reggae. It evolved out of a reggae "spoof" started by Clark on his synthesiser and features guitar "squeals" from Fripp. Apart from being a dance track, the song provokes elements of fascism, with lyrics such as "we are the goon squad" and "turn to the left, turn to the right". The "beep beep" lines were taken from an earlier unreleased song titled "Rupert the Riley".

Side two
"Teenage Wildlife", the longest track on the album, is structurally similar to "Heroes" but does not feature a refrain; its verses only end with the title being sung over Fripp's guitar breaks. Its backing vocals are reminiscent of the Ronettes, while piano is provided by Roy Bittan. The song's lyrics have been widely interpreted. One interpretation is they are an attack on Bowie imitators who emerged in the late 1970s, such as Gary Numan, who personally believed himself a target. Carr and Murray state that the song is Bowie reflecting on his younger self, while Pegg considers it a confrontation to critics who tried to prevent Bowie from evolving throughout the 1970s. Bowie himself wrote in 2008 that the lyrics are about "taking a short view of life, not looking too far ahead and not predicting the oncoming hard knocks". Although it descends from the early-mid 1970s "I Am a Laser", "Scream Like a Baby" features a contemporary new wave sound with lyrics of instability and political imprisonment, comparable with themes present on The Man Who Sold the World (1970). Bowie recorded his vocal using varispeed, a technique that displays a "split personality" effect.

His first cover on a studio album since Station to Station, "Kingdom Come" is in the same key as Verlaine's original, but is more grand in style. Doggett describes the arrangement as "an unhappy cross between Motown sound and the sterility of American AOR". Lyrically, the song features similar themes to other album tracks, including frustration, boredom and repetition. On release, Bowie dedicated "Because You're Young" to his then nine-year-old son Duncan. Lyrically, the song is similar to other Scary Monsters tracks, featuring Bowie reflecting and advising a younger generation. Townshend's contributions are placed low in the mix. The album ends with "It's No Game (No. 2)", which provides a stark contrast to "No. 1"; it features new lyrics and is more mellow and meditative throughout. Doggett writes that whereas "No. 1" "climaxed with the signals of insanity", "No. 2" "just end[s], draining color from everything around it". Similar to how the album begins, it ends with the sound of a tape rewinding and playing out, although this time, it slows to a halt.

Artwork and packaging
The cover artwork of Scary Monsters is a large-scale collage by artist Edward Bell featuring Bowie in the Pierrot costume worn in the "Ashes to Ashes" music video, along with photographs taken by photographer Brian Duffy. Duffy was reportedly upset by the final artwork, as he felt the cartoon demeaned his photographs. The original LP's rear sleeve referred to four earlier albums, namely the immediately preceding "Berlin Trilogy" and 1973's Aladdin Sane, the latter also having been designed and photographed by Duffy. The cover images from Low, "Heroes" and Lodger—the last showing Bowie's torso superimposed on the figure from Aladdin Sane's inside gatefold picture—were portrayed in small whitewashed frames to the left of the tracklisting. The lettering used was a reworking of Gerald Scarfe's lettering for Pink Floyd's The Wall, which would be replicated on many album covers in the ensuing years. These images were not reproduced on the Rykodisc reissue in 1992, but were restored for EMI/Virgin's 1999 remastered edition. The original framed album artwork was featured in the David Bowie Is touring museum exhibit.

Release
The lead single, "Ashes to Ashes", was released in edited form by RCA Records on 1 August 1980, with the Lodger track "Move On" as the B-side. It was issued in three different sleeves, the first 100,000 copies including one of four sets of stamps, all featuring Bowie in the Pierrot outfit he wore in the music video for the song. The song was promoted with a music video, which at £250,000 was the most expensive music video ever made up to that point. Directed by David Mallet, who directed all of Lodger's music videos, the video depicts Bowie in a Pierot costume designed by his former collaborator Natasha Korniloff. The single and video are both regarded by biographers as one of Bowie's finest, with Pegg stating that it kickstarted the New Romantic movement. The single debuted at No. 4 on the UK Singles Chart; after premiering the music video on the BBC television programme Top of the Pops, the single shot to No. 1, becoming Bowie's fastest-selling single and dethroning ABBA's "The Winner Takes It All". It was Bowie's second No. 1 single in the UK, after a reissue of "Space Oddity". However, the US release, featuring "It's No Game (No. 1)" as the B-side, fared worse, peaking at No. 79 on the Cash Box Top 100 chart and No. 101 on the Billboard Bubbling Under the Hot 100 chart.

RCA issued Scary Monsters on 12 September 1980, with the catalogue number RCA BOW LP 2. It was promoted by RCA with the promo line "Often Copied, Never Equalled", seen as a direct reference to the new wave acts Bowie had inspired over the years. The album was a major commercial success, peaking at No. 1 on the UK Albums Chart, his first since Diamond Dogs (1974), and remained on the chart for 32 weeks, his longest since Aladdin Sane (1973). The album restored Bowie's commercial standing in the US, peaking at No. 12 on the Billboard Top LPs & Tape chart and remained on the chart for 27 weeks. Buckley writes that with Scary Monsters, Bowie achieved "the perfect balance" of creativity and mainstream success.

The second single, "Fashion", was released in edited form on 24 October 1980, with "Scream Like a Baby" as the B-side. The single was another commercial success, peaking at No. 5 in the UK and No. 70 in the US. Like the first single, it was promoted by a music video again directed by Mallet. The video depicts Bowie and his backing musicians as "gum-chewing tough guys", interspersed with shots of dancers rehearsing and New Romantic followers. Like "Ashes to Ashes", the video was highly praised, with Record Mirror voting both as the best music videos of 1980. The title track was released as the third single, again in edited form, on 2 January 1981, backed by "Because You're Young". The single continued Bowie's commercial success in the UK, peaking at No. 20. The fourth and final single, "Up the Hill Backwards", was released in March 1981, with the non-album Japanese single "Crystal Japan" as the B-side. It peaked at No. 32 in the UK, performing the worst out of all the singles.

Critical reception
Scary Monsters received universal praise from music critics. Record Mirror awarded it a rating of seven stars out of five; the same publication voted Bowie the best male singer of 1980, as did the Daily Mirror. Smash Hits gave it a 9 out of 10 rating, describing it as "possibly his most consistently effective long player of all". Melody Maker called it "an eerily impressive stride into the '80s", while Billboard correctly predicted that it "should be the most accessible and commercially successful Bowie LP in years". The Guardian Robin Denselow agreed, describing Scary Monsters as being "full of accessible, highly original melodies that are increasingly inaccessible".

Debra Rae Cohen of Rolling Stone found the record to be a "clarification" of Bowie's collaborations with Eno and similar in vein to Aladdin Sane, further finding Bowie "settling old scores" throughout Scary Monsters. Fellow critic Dave Marsh considered it one of Bowie's best, saying "if this is the new art-rock, I'm for it." The New York Daily News's Clint Roswell likewise hailed the record as Bowie's best in years, naming "Ashes to Ashes", "Fashion", "Because You're Young" and the title track as songs that recognise the artist as "the preminent figure in pop". Adding further praise was James Johnson of the Evening Standard, who described the "remarkable" LP as one of the year's best and "proves that Bowie can still maintain his mastery of the rock mainstream whenever he feels like it".

The Boston Globe's Jim Sullivan found side two weaker than the first, but concluded "Bowie continues to present a complex, invigorating challenge". Tom Sowa was more mild in The Spokesman-Review. He hailed Scary Monsters as Bowie's finest in four years, highlighting Fripp's contributions and signalled out "Ashes to Ashes" and "Because You're Young", but panned "Teenage Wildlife" as "an overheated, confused and totally embarrassing four minutes of plastic". Murray gave the album a more mixed assessment in NME, stating: "Scary Monsters is shorn of all hope, yet it represents a call to arms. It is an album which presupposes defeat, yet it is unashamedly and unequivocally confrontational." He further called it the "realist's" Bowie record. In The New York Times, John Rockwell felt the album lacked appeal for all rock listeners due to it being "too misshapenly ugly. grindingly abrasive and proudly self-withholding. Nevertheless, he deemed it a "fine record of its particular type". Record Mirror named it the year's second best album, behind Sound Affects by the Jam, while NME ranked it the ninth best album of the year.

Subsequent events
In February 1980, during the sessions for Scary Monsters, Bowie was approached by Jack Hofsiss, the director of the Broadway play The Elephant Man, to star in the lead role of Joseph "John" Merrick, a severely deformed English man who was rescued from a freak show by the surgeon Frederick Treves in 1880s Victorian England. Hofsiss saw Bowie in The Man Who Fell to Earth (1976) and believed his presence would fit the role. Bowie accepted the role in June 1980 and researched Merrick extensively in preparation. He portrayed Merrick through miming rather than the use of make-up. The play premiered in Denver, Colorado and ran from July 1980 to January 1981, with Bowie receiving immense praise for his performance. Bowie pursued other projects throughout the play's run, including filming an appearance in the Uli Edel film Christiane F. (1981) and film the music video for "Fashion" in October.

On 8 December 1980, Bowie's friend John Lennon, with whom he worked with on Young Americans (1975), was murdered outside his apartment building in New York. It was later discovered that his murderer, Mark David Chapman, had attended an earlier performance of The Elephant Man, and even considered Bowie a target. Lennon's death had a major impact on Bowie, who declined to renew his contract for the play past early January and cancelled plans to promote Scary Monsters on a concert tour in 1981. Afterwards, Bowie withdrew to his home in Switzerland and became a recluse. Nevertheless, Bowie continued working; in July 1981, he collaborated with Giorgio Moroder for the title song of the Paul Schrader film Cat People (1982). In the same session, he recorded "Under Pressure" with the rock band Queen. He later began rehearsals to perform the title role in a BBC adaptation of Bertolt Brecht's play Baal, directed by Alan Clarke. The play was recorded in August 1981 and transmitted in March 1982. Bowie also recorded a soundtrack EP for the play, which was released by RCA in February 1982 to coincide with the transmission. Upon its premiere, Baal was well-received, with Bowie's performance being singled out. During 1982, Bowie also filmed appearances in The Hunger and Merry Christmas, Mr. Lawrence, both released in 1983.

Bowie would not release another studio album until 1983's Let's Dance. Scary Monsters was also Bowie's final studio album for RCA Records, who had been his label since Hunky Dory (1971). Bowie had grown increasingly dissatisfied with the label, who he felt was "milking" his back catalogue. Bowie was also eager for the expiration of his 1975 severance settlement with his old manager Tony Defries, which was due to expire in September 1982. Although RCA was willing to re-sign, Bowie signed a new contract with EMI America Records, and with Let's Dance, began an era of major commercial success.

Influence and legacy
Retrospectively, Scary Monsters continues to receive acclaim. Jon Dolan of Spin wrote that although the 1980s were a less-than-stellar decade for the artist creatively, he began the decade strong with Scary Monsters, praising Bowie's vocal performance and describing "Ashes to Ashes" in particular as "gorgeous". Erlewine praised the album for its culmination of Bowie's 1970s works: "While the music isn't far removed from the post-punk of the early '80s, it does sound fresh, hip, and contemporary, which is something Bowie lost over the course of the '80s." Eduardo Rivadavia praised the record's "risk-taking creativity" in Ultimate Classic Rock, writing that the artist's decision to take time writing lyrics resulted in some of the best lyrics and vocal performances of his career. He ultimately called the album one of Bowie's "very best career efforts." Author Peter Doggett describes Scary Monsters as one of Bowie's "most valuable statements", writing that it "annull[ed] audience expectations" and launched a "warning for those who might dare to follow in his footsteps."

Reviewing the album's remaster for the 2017 box set A New Career in a New Town (1977–1982), Chris Gerard of PopMatters highlighted Bowie's vocal performance on the record as among his best, further complimenting the songs' arrangements and harmonies as "jaw-droppingly brilliant as anything you'll find in the realm of rock 'n' roll." Analysing the album for its 40th anniversary in 2020, Stereogum's Ryan Leas described Scary Monsters as "the less-heralded classic of Bowie's career", complimenting the way Bowie was able to mesh the different eras of his career up to that point into a creative whole. Leas concluded: "[Scary Monsters] was the album that best-captured everything Bowie was about — and it will always be the conduit through which everything travelled, all of his old selves folded in and carried forward through the rest of his life. In a 2013 readers' poll for Rolling Stone, Scary Monsters was voted Bowie's seventh greatest album. The magazine argued that it would be his final "satisfying from start to finish" album.

Reflecting on the critical and commercial success of Scary Monsters, Visconti stated, "We kind of felt that we'd finally achieved our Sgt. Pepper, a goal we had in mind since The Man Who Sold the World." Visconti further said: "It is one of my favourite Bowie albums ever." Despite his glowing assessment of the album, Scary Monsters proved to be the final collaboration between Bowie and Visconti for over 20 years, after Bowie chose Nile Rodgers to produce Let's Dance. Although Bowie would achieve worldwide mega-stardom and commercial success in the following years, in particular with Let's Dance, many commentators consider Scary Monsters to be "his last great album" and the "benchmark" for each new release. Well-regarded later efforts such as Outside (1995), Earthling (1997), Heathen (2002) and Reality (2003) were cited as "the best album since Scary Monsters." Buckley suggested that "Bowie should pre-emptively sticker up his next album 'Best Since Scary Monsters' and have done with it". Biographer Marc Spitz considers it more accurate to call the album Bowie's "last 'young' record", in that it was his final "perfectly confident statement" and the final time that Bowie's "search for the 'new' in our world of sound [felt] pure, as opposed to betraying itself".

Bowie's biographers continue to praise Scary Monsters. Pegg writes that retrospectively, Scary Monsters sounds "as fresh and dynamic as ever", and ended "Bowie's golden run of cutting-edge albums." O'Leary described it in 2019 as Bowie's most "modern"-sounding album. Spitz finds the record to have an energy that his later "good" albums don't (naming Outside and Heathen). Doggett considers it as one of Bowie's "most valuable statements", exceeding his listeners' expectations while at the same time sending a warning out to anyone who dared to follow in his footsteps. Sandford states that with Scary Monsters, Bowie "found his voice again" after years of experimentation. Perone praises the album as "a near-perfect balance of [Bowie's] pop and experimental sides" and that it remains one of the artist's "most important and consistent albums". In 2011, Paul Trynka wrote: "Scary Monsters still sparkles today. Its intense, churning grooves sound remarkably contemporary... but despite the complexity of its arrangements there are many moments of unaffected simplicity." He considers the album's "dense, tough, rock-meets-funk backup" as influential on later bands such as Blur and the Strokes. The American electronic music producer Skrillex named his 2010 EP Scary Monsters and Nice Sprites after Scary Monsters (and Super Creeps).

Rankings
Scary Monsters has appeared on several lists of the greatest albums of all time by multiple publications. In 2000, Q ranked Scary Monsters at number 30 on its list of the "100 Greatest British Albums Ever". In 2002, Pitchfork placed it at number 93 on its list of the top 100 albums of the 1980s. In 2012, Slant Magazine listed the album at number 27 on its list of the 100 best albums of the 1980s, saying "Bowie bridles the experimentation of his Berlin trilogy and channels those synth flourishes and off-kilter guitar licks into one of the decade's quirkiest pop albums." In 2013, NME ranked the album at number 381 on its list of the 500 greatest albums of all time. In 2018, Pitchfork placed it at number 53 on its revised list of the 200 best albums of the 1980s. In 2020, Rolling Stone placed it at number 443 on its revision of the 500 greatest albums of all time.

Reissues
The album has been rereleased five times to date on compact disc. It was first released on CD by RCA Records in the mid-1980s. A second CD release, in 1992 by Rykodisc and EMI, contained four bonus tracks. A 1999 CD release by EMI/Virgin, with no bonus tracks, featured 24-bit digitally-remastered sound. The album was re-released in 2003 by EMI as a Super Audio CD, again with no bonus tracks. In 2017, the album was remastered for the A New Career in a New Town (1977–1982) box set released by Parlophone. It was released in CD, vinyl, and digital formats, both as part of this compilation and then separately the following year.

Track listing
All songs written by David Bowie, except where noted.

Personnel
Albums credits per the liner notes and biographer Nicholas Pegg.
 * David Bowie – vocals, synthesisers, Mellotron, electric piano, piano, synth-bass, sound effects, backing vocals, saxophone
 * Dennis Davis – drums
 * George Murray – bass
 * Carlos Alomar – lead and rhythm guitars
 * Chuck Hammer – guitar synthesiser (on "Ashes to Ashes" and "Teenage Wildlife")
 * Robert Fripp – guitar (on "Fashion", "It's No Game", "Scary Monsters (And Super Creeps)", "Kingdom Come", "Up the Hill Backwards", and "Teenage Wildlife")
 * Roy Bittan – piano (on "Ashes to Ashes", "Teenage Wildlife", and "Up the Hill Backwards")
 * Andy Clark – synthesiser (on "Fashion", "Scream Like a Baby", "Ashes to Ashes" and "Because You're Young")
 * Pete Townshend – guitar (on "Because You're Young")
 * Tony Visconti – acoustic guitar (on "Scary Monsters (And Super Creeps)" and "Up the Hill Backwards"), backing vocals
 * Lynn Maitland – backing vocals
 * Chris Porter – backing vocals
 * Michi Hirota – voice (on "It's No Game (No. 1)")

Production
 * David Bowie, Tony Visconti – production and engineering
 * Larry Alexander, Jeff Hendrickson – engineering assistance
 * Peter Mew, Nigel Reeve – mastering

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

title: Scary Monsters (and Super Creeps)


text: User talk:209.102.157.5

title: User talk:209.102.157.5


text:
Paul Davis (programmer)

Paul Davis (formerly known as Paul Barton-Davis ) is a British-American software developer best known for his work on audio software (JACK) for the Linux operating system, and for his role as one of the first two programmers at Amazon.com.

Davis grew up in the English Midlands and in London. After studying molecular biology and biophysics, he did post-graduate studies in computational biology at the Weizmann Institute of Science in Rehovot and EMBL in Heidelberg.

He immigrated to the U.S. in 1989. He lived in Seattle for seven years, where he worked for the Computer Science and Engineering Department at the University of Washington, and several smaller software companies in Seattle. While in Seattle, he helped to get Amazon.com off the ground during the period 1994–1996, making critical contributions to Amazon's backend systems alongside Shel Kaphan, before subsequently moving to Philadelphia in 1996. In 2019 he moved with his wife to Galisteo, NM

He went on to fund the development of various audio software for Linux, including Ardour and the JACK Audio Connection Kit. He works full-time on free software.

He is also an ultra-marathon runner and touring cyclist.

title: Paul Davis (programmer)


text:
Mike Keneally

Michael Joseph Keneally (born December 20, 1961) is an American session guitarist, keyboardist, vocalist and composer.

Early years and musical influences
Keneally started playing music at the age of 7 when he received an electric organ for his birthday. He also received a guitar on his eleventh birthday, and plays bass and drums as well. His early childhood musical influences included the Beatles and theme music from cartoon and television shows such as The Wallace and Ladmo Show and 2001: A Space Odyssey.

Career
Born on Long Island, New York, he moved to San Diego, California at an early age and has been a fixture on the local music scene there since 1985 when he formed the local cult band Drop Control. Although a well established musician in his own right, Keneally is probably most well known as former Frank Zappa "stunt guitarist" and a Zappa 1988 tour band member on both guitar and keyboards. His ascendency to that position is legendary in certain musician circles, based on Keneally's command of Zappa's vast and difficult-to-play repertoire.

Keneally had called Zappa and said that he was "extremely familiar with all of his material and that he would be ready to play any of it for him given a short amount of preparation time", as he had already "been listening to Zappa's music for 16 years". "On the phone the day before the audition Frank had told me to have 'What's New in Baltimore?' and 'Sinister Footwear' ready for the next day's audition". On the way to the audition Keneally practiced the aforementioned songs, as well as "Little House I Used to Live in", and "every single Zappa melody I could think of, kind of as an exercise for my memory" as his brother Marty was driving the car.

Keneally's stint in the Zappa touring band was short-lived with the early cancellation of the 1988 tour and Zappa's death in 1993. Keneally moved on from the elder Zappa's band to work with the eldest Zappa son, Dweezil, on his solo albums and work released as the band Z.

Keneally has also released 11 albums of solo material since 1992 and has guested or acted as sideman on a wide variety of projects, most notably as part of Steve Vai's touring bands. He has played guitar and keyboards with Yo Miles!, Wadada Leo Smith, Norwegian legends Ulver and Henry Kaiser's Miles Davis tribute band as well as recording the 1995 album The Mistakes with Henry Kaiser, Prairie Prince, and Andy West (formerly of Dixie Dregs). He has also produced albums for several bands, including Chris Opperman's debut album, Oppy Music, Vol. I: Purple, Crayon.

In 1998 Vai requested that Keneally arrange and perform an album of Vai's music on acoustic piano. Recorded in 1999, the album was finally released in 2004 as Vai Piano Reductions, Vol. 1: Performed by Mike Keneally. According to liner notes, Vai selected the songs, produced the album, and mixed it, releasing it on his own Light Without Heat label. As of 2008 Keneally has arranged from multi-tracked guitar parts to single-track piano the 12 songs selected by Steve and begun work on a second volume of Vai "Piano Reductions".

On May 1, 2007, Keneally's Exowax label re-released his debut album hat. and Boil That Dust Speck as deluxe, remastered double disc versions. A remixed and remastered edition of Sluggo! followed in 2013. Exowax has obtained Keneally's entire back catalog from Immune Records. Planned releases included Half Alive in Hollywood, as well as the Mike Keneally and Beer for Dolphins 1996 VHS release Soap Scum Remover, which will be remixed and remastered for a DVD release, and the Mistakes, his 1995 side project with Henry Kaiser on guitar and Synclavier, bassist Andy West and drummer Prairie Prince, along with a live Mistakes recording that has been held on the side until Keneally was able to re-acquire the rights to the original album.

On November 28, 2006, Keneally announced that he was hired as National Music Director for The Paul Green School of Rock Music.

He has also toured with Dethklok as a guitarist and back up vocalist.

On July 20, 2008, at El Cajon, Calif., Mike played a concert as part of "the most exciting power trio in years," Keneally • Minnemann • Beller (KMB), consisting of Mike, drummer Marco Minnemann and long-time collaborating bassist Bryan Beller. The band undertook a full tour in 2009 and became Joe Satriani's worldwide touring band in 2013.

In August 2009, Keneally released a video for a new solo track, "Hallmark", from Scambot 1, the first part of a planned three-album series.

In June 2010, Keneally entered Skywalker Sound as part of the studio band for Joe Satriani's new solo project, along with regular Satriani drummer Jeff Campitelli and bassist Allen Whitman (of San Francisco's surf/psychedelic group the Mermen). This same lineup was scheduled to tour in October and November 2010 in support of the album; however Keneally was replaced by English keyboardist Jem Godfrey for two dates on the UK leg of the tour.

In July 2012, Keneally released Wing Beat Fantastic: Songs written by Mike Keneally & Andy Partridge, a collaborative album consisting primarily of songs co-written with XTC's Andy Partridge during two writing sessions in 2006 and 2008, and of whose band and work Keneally has been a longtime fan (there is a small section of XTC's "Mayor of Simpleton" in the song "Day of the Cow 2" from his 1992 debut solo album hat.)

In August 2014, Keneally participated in the G4 Experience—a week-long guitar camp—with fellow guitarists Satriani, Paul Gilbert, and Andy Timmons.

Current Mike Keneally Band line-up
Keneally has performed in Europe in the years 2002 - 2004 and 2016 with Jaan Wessman (bass) and Schroeder (drums) as "Mike Keneally and Friends". In July/August 2017 the trio changed its name to the "Mike Keneally Report" and performed numerous shows both as headliner as well as supporting Kenny Wayne Shepherd.
 * Mike Keneally - guitar, keys, lead vocals
 * Bryan Beller - bass, backing vocals
 * Rick Musallam - guitar, bouzouki, backing vocals
 * Griff Peters - guitars
 * Joe Travers, Marco Minnemann, or Nick D'Virgilio, as availability dictates - drums

Discography

 * hat. (1992)
 * Boil That Dust Speck (1994)
 * The Mistakes (1995)
 * Half Alive in Hollywood (1997)
 * Sluggo! (1997)
 * The Tar Tapes, Vol. 1 (1997)
 * The Tar Tapes, Vol. 2 (1998)
 * Nonkertompf (1999)
 * Nonkertalk (1999)
 * Dancing (2000)
 * Dancing With Myself ... and Others (2000)
 * Wooden Smoke (2002)
 * Wooden Smoke Asleep (2002)
 * Dog (2004)
 * Pup (2004)
 * The Universe Will Provide (2004)
 * Parallel Universe (2004)
 * Vai Piano Reductions Vol. 1, Performed by Mike Keneally (2004)
 * Guitar Therapy Live (2005)
 * Wine and Pickles (2008)
 * Scambot 1 (2009)
 * Stories and Songs Inspired by Scambot 1 (2009)
 * The Scambot Holiday Special (2009)
 * Evidence of Humanity (2010)
 * Elements of a Manatee (2010)
 * Bakin' @ the Potato! (2010)
 * Wing Beat Fantastic: Songs Written by Mike Keneally and Andy Partridge (2012)
 * Wing Beat Elastic: Remixes, Demos and Unheard Music (2012)
 * You Must Be This Tall (2013)
 * Live at Mama Kin (2013)
 * Free EP Volume 1 (2013)
 * Free EP Volume 2 (2013)
 * Dancing Demos (2014)
 * Scambot 2 (2016)
 * Inkling (2016)
 * The Thing That Knowledge Can't Eat (2023)

title: Mike Keneally


text:
User talk:Oby~enwiki

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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 Oby. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Oby~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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Charles Johnson (catcher)

Charles Edward Johnson Jr. (born July 20, 1971) is an American former professional baseball player. He played as a catcher in Major League Baseball with the Florida Marlins (1994–1998, 2001–2002), the Los Angeles Dodgers (1998), the Baltimore Orioles (1999–2000), the Chicago White Sox (2000), the Colorado Rockies (2003–2004), and the Tampa Bay Devil Rays (2005).

The two-time National League All-Star player was considered one of the best defensive catchers of his era, winning four consecutive Gold Glove Awards between and. He was a member of the 1997 world champion Florida Marlins team and is one of only three catchers in Major League history to catch at least 100 games in a single season without committing an error.

Early life and major League career
Johnson was born in Fort Pierce, Florida, where he graduated from Fort Pierce Westwood High School in Fort Pierce, Florida. He was drafted by the Montreal Expos in the first round of the 1989 Major League Baseball Draft. He did not sign, and decided to enroll at the University of Miami, where he played for the Miami Hurricanes baseball team. He was drafted by the Florida Marlins in the first round of the 1992 Major League Baseball Draft. He played with the A-level Kane County Cougars in 1993 and the AA Portland Sea Dogs.

In 1995, Johnson's reputation as a skilled defensive player was solidified when he became the fourth catcher in Major League history to win a Gold Glove Award in his rookie season, joining Johnny Bench, Carlton Fisk and Sandy Alomar Jr. Although his offensive statistics weren't impressive, he made up for those shortcomings by helping his team with his superior defensive skills. In 1996, Johnson caught Al Leiter's no-hitter against the Colorado Rockies. Johnson set a Major League record in 1997 by playing in 123 games without committing a single error, earning him his first All-Star selection, and helping the Marlins win the 1997 World Series against the Cleveland Indians. Johnson led the Marlins in the Series with 10 hits, batting .357 including one home run. Along with winning his third consecutive Gold Glove Award in 1997, he also caught his second no-hitter when Kevin Brown no-hit the Giants on June 10.

In, the Marlins traded Johnson along with Bobby Bonilla, Jim Eisenreich, Gary Sheffield and Manuel Barriosto to the Los Angeles Dodgers in exchange for Mike Piazza and Todd Zeile. After finishing the season with the Dodgers, he played for two years in the American League with the Baltimore Orioles and the Chicago White Sox. He had his best year offensively in, when he had a .304 batting average along with 31 home runs and 91 RBIs, during a season in which he played 84 games for the Orioles and 44 games for the White Sox.

In 2001 he was traded back to the Marlins, where he hit .285 with 16 home runs by mid-season to earn his second All-Star berth. He would also catch his third no hitter when A. J. Burnett no hit the San Diego Padres on May 12. The only Marlins no-hitters Johnson has not caught for Florida were in 2006, when Aníbal Sánchez threw a no-hitter in Dolphin Stadium against the Arizona Diamondbacks, 2013 when Henderson Álvarez no-hit the Detroit Tigers, and 2017 when Edinson Vólquez no-hit the Diamondbacks.

After the 2002 season, the Marlins traded Johnson to the Colorado Rockies where he played for two seasons. On April 27, 2004, he, rookie Matt Holliday, and Jeromy Burnitz combined to slug back-to-back-to-back home runs against the Marlins, the sixth such occasion in franchise history. After playing for Colorado, he ended his career with the Tampa Bay Devil Rays, playing his final game on June 11, 2005 at the age of 33.

Career statistics
In a twelve-season major league career covering 1,188 games, Johnson had a .245 batting average along with 167 home runs, 570 runs batted in and a .993 fielding percentage. His .993 fielding percentage ranks 16th all-time among major league catchers. Along with his four Gold Glove Awards, Johnson twice led National League catchers in fielding percentage, and once each in baserunners caught stealing and assists. During his playing career, he ranked second only to Iván Rodríguez in throwing out baserunners, with a 39% average. He earned two All-Star berths as well as winning a World Series during his career. His three no hitters caught ties him with several other players for third place on the all-time list behind the four no hitters caught by Jason Varitek and Carlos Ruiz. Johnson played more games as a catcher than any other player in Marlins history with 582.

Johnson is a member of the Portland Sea Dogs Hall of Fame.

Personal life
Johnson now lives in Miami with his wife Rhonda. They have two sons. Brandon, who is a wide receiver for the Denver Broncos in the National Football League (NFL) and former college football wide receiver for the University of Tennessee, and Beau, who plays college football as a tight end for Georgia Southern University. Johnson is a cousin of former Major Leaguer Fred McGriff.

title: Charles Johnson (catcher)


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User talk:Vb4

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Proposed deletion of The Odyssey (apartment complex)

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Squat Theatre

Squat Theatre (1977–1991) was a Hungarian theatre company from Budapest which left Hungary for Paris and then New York City, where they performed experimental theatre.

History
Living in Paris in 1977, a friend of the company, Tamas Szentjoby, suggested that they change the name from Kassák Haz Studió to Squat Theatre. The first play was created for a Western audience: Pig, Child, Fire! It was set in a storefront in Rotterdam, a setting that became their trademark. After touring Nancy, France, Shiraz, Baltimore, Paris, the company arrived at the Hotel Chelsea in July, they settled in New York City. Several members left the company in 1985 when they lost the lease to their space on 23rd Street including Anna Koós, Péter Halász, Eric Daille, and Agnes Santha. The rest of the company continued until 1991, Squat Theatre's last play was Full Moon Killer, 1991, performed at The Kitchen in New York City.

Founding members
The six founding members of Squat Theatre (shown left to right in the 1976 Paris photograph) are Peter (Breznyik) Berg, Marianne Kollar (3rd), Péter Halász, Anna Koós, Stephan Balint and Eva Buchmuller. Other members of Squat Theatre were: Eric Daillie, Agnes Santha, Klara Palotai, Eszter Balint, Boris Major, Rebecca Major, and Judith Galus Halasz. Important contributing actors were Sheryl Sutton, Sandi Fiddler, Kathleen Kendall, Nico, Yossi Gutmann (viola), Shirley Clarke, Richard Leacock, August Darnell, Mark Boone Junior, Sue Williams, Jane Smith, Larry Solomon, Ivan Jakovits and Jan Gontarczyk. Boris and Rebecca Major are the daughters of János Major.

Originally, the company was known as Kassák Haz Studió and was located at Uzsoki-utca 57, Budapest. For political and aesthetic reasons, the company emigrated to Paris and then to the United States. In 1969 Anna Koós, Péter Halász and Stephan Balint from the University Theatre of Budapest created an independent theatre group called Kassák Haz Studió. In 1972 they were censored by the Hungarian authorities for "political and esthetic radicalism", and banned from performing in public. In the next four years they wrote 36 performance events: plays, sketches and improvisations. These were shown in apartments, staircases, streets, beaches, and in the countryside. "Manifesto" by István Bálint (Stephan Balint) on behalf of Studio Kassak was published in Schmuck, Hungary, March–April, 1973 issue.

Audiences
The building at 256 West 23rd Street had a large window on the sidewalk with a street entrance this provided the possibility of having two audiences, one inside and one outside. The spectators sat in the back of the space facing the storefront window and 23rd street beyond. Events took place with the street as a backdrop, with the intention of unsettling the events, the relationship among the members of the theatre group, and the audience. This set-up was first used in Rotterdam at 129a Van Oldenbarneveltstraat in the show Pig, Child, Fire!, which was commissioned by the Toneelraad Rotterdam. On 23rd Street they lived, worked and performed from 1977 to 1985.

1973 to 1985
Various plays were performed in 1973 including Alice and Her Sisters, Tribute to Miron Bialoszewski performed at the Polish Cultural Center in Budapest. Birds and Red Epaulets, Éva Buchmüller sings a Jewish song as the Virgin Mary holding Can Togay on her lap in the position of Michelangelo's Pieta.

The Three Sisters by Anton Chekhov was performed for the first time at Dohány utca 20, Budapest. They used as text the abridged version of the original play limited to the lines of the three sisters. The company left Hungary for the West.

Andy Warhol's Last Love was collectively created and opened on 23rd Street in 1978. The Company went on tour to Hamburg, Rome. Milan, Florence, Belgrade, Rotterdam and Brussels. It won a Grand Prix at the Belgrade International Theatre Festival (BITEF), and the Italian Critics’ Award for the Best Foreign Performance.

In 1981 Mr Dead & Mrs Free premiered in Cologne, Germany. Commissioned by Ivan Nagel director of Theater der Welt and shown at Cologne’s "Theatres of the World" festival, Mr. Dead & Mrs. Free was filmed by Rainer Werner Fassbinder as part of his first and only documentary Theater in Trance. It was also shown in New York City and Amsterdam. The show had a year-and-a-half performance run on 23rd Street. It was awarded an Obie Award (1982) for the Best New American Play. It received a The Villager (Manhattan) Award. An open-air version of the show, The Battle of Sirolo was performed in August in Polverigi, Italy. In the summer of 1985 the theatre lost the eight-year lease of their home and performance space on 23rd Street.

Plays

 * 1975–79 – Three Sisters by Anton Chekhov Three men dressed in white are the Sisters, sitting in a group, sipping vodka as a prompter reads their lines, the actors repeat the words.
 * 1977 – Pig, Child, Fire!, a play in five parts. The first, a drama based on the confessions of Nikolai Stavrogin in Fyodor Dostoevsky's Demons. The second is inspired by 1940s American Gangster films. The third is a comic act.
 * 1978 – Andy Warhol's Last Love.Ulrike Meinhof meets Andy Warhol in 3 acts: Aliens on the Second Floor, An Imperial Message and Interview With the Dead.
 * 1981 – Mr. Dead & Mrs. Free, 1981.
 * 1981 – The Battle of Sirolo. Open-air version of Mr. Dead & Mrs. Free. Premiere at Polverigi Festival (Inteatro Festival, Polverigi.)
 * 1982 – The Golden Age of Squat Theatre. A retrospective of three Squat Theatre plays Pig, Child, Fire!, Andy Warhol's Last Love, and Mr. Dead & Mrs. Free.
 * 1985–86 – Dreamland Burns.
 * 1985–86 – L-Train to Eldorado.
 * 1990–91 – Full Moon Killer.

Filmography

 * Minotaur in a Sand Mine (1975), 20 minutes, B&W, 16mm, Budapest, Biennale de Paris.
 * Don Juan von Leporello (1975), 60 minutes, B&W, 16mm, Budapest, Düsseldorf.
 * Andy Warhol's Last Love, (1978), An Imperial Message, 2nd part of play. 1978–81, 60 min, b&w and color, sound, 16mm.
 * Mr. Dead & Mrs. Free. (1981), 43 minutes, color, 16mm. Part of the play Mr. Dead & Mrs. Free exhibited separately, Hamburg, Abaton Cinema, Berlin. Künstlerhaus; Yale University. Directed by Stephan Balint and Péter Halász. Péter Halász, cinematography.
 * A Matter of Facts (1982) by Eric Mitchell w/ Squat Theatre (Archival). 17 minutes, 45 seconds, color, 16mm.
 * Tscherwonez. (1983), Directed by Gabor Altorjay. With Stephan Balint,Peter (Breznyik) Berg, Péter Halász and Eva Buchmuller.
 * Let Me Love You, (1985), 36 minutes, B&W, 16mm. Directed by Stephan Balint. Part of the play Dreamland Burns. Exhibited at Montreal, International Festival of New Cinema & Video. (Festival du nouveau cinéma). With Shirley Clarke, Richard Leacock and August Darnell.

Videos

 * 1981 –  Pig, Child, Fire! 60 min, color, sound.

 * 1982 – Mr Dead & Mrs Free 10 minutes, color 3/4".
 * 1982 – Andy Warhol's Last Love 53 minutes, color 3/4".
 * 1982 – Mr Dead & Mrs Free 60 minutes, color 3/4". Presented in Berlin, Yale University.
 * 1986 – L-Train to Eldorado 60 minutes, color 3/4".
 * 1989 – L-Train To Eldorado 90 minutes, color 3/4".
 * 1989 – Major Productions 60 minutes, color 3/4".
 * 1991 – Full Moon Killer 45 minutes, color 3/4".

Exhibits

 * 1982 – Mr Dead & Mrs Free's Cafe, MoMA PS1, Long Island City. Exhibition by Eva Buchmuller and Stephan Balint.
 * 1982 – The Moments Before The Tragedy, The Kitchen, New York City. Exhibition by Eva Buchmuller and Stephan Balint.
 * 1984 – Suspense, Hallwalls, Buffalo, New York. Exhibition by Eva Buchmuller and Stephan Balint.
 * 1984 – A Painted Show, Postmasters Gallery, New York City. Exhibition by Eva Buchmuller and Stephan Balint.
 * 1996 – Mr. Dead & Mrs. Free: A History of Squat Theatre (1969 – 1991), Artists Space, New York City. Exhibition by Eva Buchmuller.
 * 2004 – An Exhibition of Photography by Endre Kovacs, Kassák House Studio – Squat Theatre: Photos of the History of the Hungarian Underground Theatre. September 9 to October 10, 2004. Ludwig Museum Budapest. Curated by Dr. Vera Baksa-Soos.
 * 2013–14 – Rituals of Rented Island, Whitney Museum, New York City. Exhibition by Eva Buchmuller with Osvaldo Valdes, Architect.

Awards

 * 1978 – OBIE Award,' for outstanding achievement for Pig, Child, Fire
 * 1978 – OBIE Award to Eva Buchmuller,Sustained Excellence of Stage Design
 * 1979 – Grand Prix, Belgrade International Theatre Festival, Belgrade
 * 1979 – Best Foreign Theatre Performance of the Year', Italian Critics Award for Andy Warhol's Last Love
 * 1982 – OBIE Award, Best American Play, Mr. Dead & Mrs. Free
 * 1985 – Star of the Week by Hamburger Abendblatt for Dreamland Burns
 * 1986 – Bessie Awards to Eva Buchmuller/Squat Theatre for visuals of Dreamland Burns.
 * 1988 – American Theatre Wing Award to Eva Buchmuller. Award for Noteworthy/unusual effects for scenic design of Dreamland Burns
 * 1986 – American Theatre Wing Award to Eva Buchmuller for art and stage design of L Train To El Dorado
 * 1988 – OBIE Award to Eva Buchmuller for sustained excellence in set design for Squat Theatre.
 * 1989 – New York Foundation for the Arts Fellowship to Stephan Balint and set designer Eva Buchmuller

Archives

 * University of California, Davis Special Collections
 * Ms. Daryl Morrison, Head, Special Collections / dmorrison@ucdavis.edu / 530 752 2112, videos, documents, set pieces.
 * Országos Színháztörténeti Intezet manuscripts, videos. address: 1013, Budapest Krisztina körút 57. phone number: (1) 375-1184 e-mail: oszmi@szinhaziintezet.hu1013.
 * National Theatre History Museum and Institute. manuscripts, videos. address: 1013, Budapest Krisztina körút 57. phone number: (1) 375-1184 e-mail: oszmi@szinhaziintezet.hu1013.
 * Library for the Performing Arts at Lincoln Center video archive collection
 * Electronic Arts Intermix' Video collection''
 * Andy Warhol's Last Love 1978–81, 60 min, b&w and color, sound. EAI Electronic Arts Intermix, 13 July 2018 (UTC)
 * Mr. Dead & Mrs. Free 1982, 83 min, b&w and color, sound. EAI Electronic Arts Intermix, 13 July 2018 (UTC)
 * Pig, Child, Fire! 1981, 60 min, color, sound. EAI Electronic Arts Intermix, 13 July 2018 (UTC).

title: Squat Theatre