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Jon Hendricks

John Carl Hendricks (September 16, 1921 – November 22, 2017), known professionally as Jon Hendricks, was an American jazz lyricist and singer. He is one of the originators of vocalese, which adds lyrics to existing instrumental songs and replaces many instruments with vocalists, such as the big-band arrangements of Duke Ellington and Count Basie. He is considered one of the best practitioners of scat singing, which involves vocal jazz soloing. Jazz critic and historian Leonard Feather called him the "Poet Laureate of Jazz", while Time dubbed him the "James Joyce of Jive". Al Jarreau called him "pound-for-pound the best jazz singer on the planet—maybe that's ever been".

Early years
Born in 1921 in Newark, Ohio, Hendricks and his 14 siblings moved many times, following their father's assignments as an AME pastor, before settling permanently in Toledo. The house was often full of visiting jazz musicians, for whom Jon's mother provided meals.

Hendricks began his singing career at the age of seven. He has said: "By the time I was 10, I was a local celebrity in Toledo. I had offers to go with Fats Waller when I was 12, and offers to go with Ted Lewis and be his shadow when I was 13. He had that song 'Me and My Shadow'. And he had this little Negro boy who was his shadow, that did everything he did. That was his act." The Tatum family lived on the same street as the Hendrickses. Jon Hendricks received his early musical training from piano prodigy Art Tatum, and the two of them began appearing together around town.

As a teenager, Jon made good money from singing on the radio with a harmony group, The Swing Buddies. This earned him enough money to support his entire family. He continued performing around Toledo and Detroit until he was drafted into the US Army.

World War II
As a soldier during World War II, Hendricks took part in the D-Day landings of June, 1944, and was later attached to the quartermaster's headquarters in France. When he and some black fellow soldiers were shot at by white US military police for consorting with white French women, they went on the run with truckloads of army supplies, remaining at large until eventually recaptured and court-martialled in November 1945. By then the war was over, and Hendricks served only 11 months in the stockade before returning home to attend University of Toledo on the G.I. Bill as a pre-law major. Just when he was about to enter the graduate law program, the G.I. benefits ran out. Jon met his first wife Colleen "Connie" Moore in Toledo. They were married and eventually had 4 children. One night in 1950, Hendricks got up and scatted at a Charlie Parker gig in Toledo. Parker encouraged him to come to New York and look him up. Hendricks moved his family there two years later and resumed his singing career.

Lambert, Hendricks and Ross
After several years during which he wrote several songs for Louis Jordan and recorded with King Pleasure, he teamed up with Dave Lambert, who conceived the idea to record a selection of Count Basie's instrumental numbers with voices replacing the Basie orchestra's wind instruments. Jon wrote the lyrics, and they sold the idea to Creed Taylor, who had recently started working as an A&R man for ABC-Paramount Ampar. After a disastrous initial attempt to record the songs with a choir, they decided to multi-track their own voices, with Annie Ross providing the high notes. It was not the first time the technique of overdubbing had been used, but it was an early and innovative example. The result was a best-selling album, Sing a Song of Basie. Its success prompted them to form the legendary vocal trio Lambert, Hendricks & Ross (LH&R). With Hendricks as lyricist and Lambert as arranger, the trio perfected the art of vocalese and took it around the world, earning them numerous awards and accolades. In September 1959, they appeared on the cover of Down Beat under the headline "The Hottest New Group in Jazz", which they adopted as the title of their Grammy-nominated fourth album.

Hendricks typically wrote lyrics not just to melodies but to entire instrumental solos, a notable example being his take on Ben Webster's tenor saxophone solo on Duke Ellington's original recording of "Cotton Tail", as featured on the album Lambert, Hendricks and Ross Sing Ellington (1960). His lyrics to Benny Golson's "I Remember Clifford" have been recorded by several other vocalists, including Dinah Washington, Carmen McRae, Nancy Wilson, Ray Charles, The Manhattan Transfer and Helen Merrill.

From 1957 through 1962, the trio recorded six albums, including High Flying (1961), which won a Grammy for Best Performance by a Vocal Group, before Annie Ross departed due to health problems. She was replaced by Yolande Bavan, and the group was billed as Lambert, Hendricks and Bavan for the three live albums they recorded, 1962–64.

Countless singers cite the work of LH&R as an influence, including Joni Mitchell, Van Morrison, Al Jarreau and Bobby McFerrin. The song "Yeh Yeh", for which Hendricks composed the lyrics, became a no.1 hit in 1965 for British R&B-jazz singer Georgie Fame, who continues to record and perform Lambert, Hendricks & Ross compositions to this day. In 1966 Hendricks recorded "Fire in the City" with the Warlocks, who shortly after changed their name to the Grateful Dead. Hendricks wrote lyrics for several Thelonious Monk songs, including "In Walked Bud", which he performed on Monk's 1968 album Underground.

For a performance at the 1960 Monterey Jazz Festival, he created and starred in a musical he called Evolution of the Blues Song (later shortened to Evolution of the Blues), which featured such acclaimed singers as Jimmy Witherspoon, Hannah Dean, and "Big" Miller, as well as saxophonists Ben Webster and Pony Poindexter. The ensemble played not only Hendricks' words and music but also Percy Mayfield's classic "Please Send Me Someone to Love", the driving D. Love gospel song "That's Enough", and the blues evergreen, "C.C. Rider". In 1961, Columbia Records released an LP of the production and Hendricks later presented the show at the On Broadway Theater in San Francisco, where it ran for five years, and at the Westwood Playhouse in Los Angeles, where it was produced by attorneys Burton Marks and Mark Green.

Solo
Hendricks recorded two albums in 1961 – Salud! João Gilberto (Reprise) and Fast Livin' Blues (Columbia). Having divorced Colleen and married Judith Dickstein, Hendricks moved to Mill Valley, California, reuniting with his children, who had been farmed out to relatives since the divorce. There he recorded Recorded in Person at the Trident (Smash). Later that year he was invited by Duke Ellington to take part in the latter's Concert of Sacred Music at San Francisco's Grace Cathedral. In 1968, he moved the family again, this time to London, England, partly so that his four children could receive a better education, and partly to distance them from the pervasive Californian drug culture. Using London as his base, he toured Europe and Africa, performed frequently on British radio and television with such stars of the day as Lulu and Dusty Springfield, as well as Ronnie Scott and the comedian Marty Feldman. His sold-out club dates at Ronnie Scott's drew fans such as the Rolling Stones and the Beatles. Hendricks also recorded two albums in London – Jon Hendricks Live (Fontana) and Times of Love (Philips), which was released in the US as September Songs (Stanyan, 1975). After five years, the Hendricks family returned to Mill Valley, where Hendricks worked as the jazz critic for the San Francisco Chronicle and taught classes at California State University at Sonoma and the University of California at Berkeley. In 1973 he recorded two songs with Art Blakey and the Jazz Messengers – Bobby Timmons's "Moanin'" and Benny Golson's "Along Came Betty" which appeared on Blakey's Buhaina album.

His album Tell Me the Truth (Arista, 1975) was produced by Ben Sidran. Love (Muse, 1982) by Jon Hendricks & Company came next, and featured his daughter Michele. He collaborated with old friends The Manhattan Transfer for their seminal 1985 album, Vocalese, which won seven Grammy Awards. He served on the Kennedy Center Honors committee under presidents Carter, Reagan, and Clinton. His final studio album, the Grammy-nominated Freddie Freeloader, was released in 1990, and featured an all-star line-up that included George Benson, Al Jarreau, Bobby McFerrin, Tommy Flanagan, Jimmy Cobb, Larry Goldings, Wynton Marsalis, Stanley Turrentine, Al Grey, The Manhattan Transfer and the Count Basie Orchestra.

In 2000 Hendricks returned to his home town to teach at the University of Toledo, where he was appointed Distinguished Professor of Jazz Studies and received an honorary Doctorate of the Performing Arts. He was selected to be the first American jazz artist to lecture at the Sorbonne in Paris. His 15-voice group, the Jon Hendricks Vocalstra at the University of Toledo, performed at the Sorbonne in 2002. Hendricks also wrote lyrics to some classical pieces including "On the Trail" from Ferde Grofe's Grand Canyon Suite. The Vocalstra premiered a vocalese version of Rimsky-Korsakov's "Scheherazade" with the Toledo Symphony.

In the summer of 2003 Hendricks went on tour with the "Four Brothers", a quartet consisting of Hendricks, Kurt Elling, Mark Murphy and Kevin Mahogany. He worked on setting words to and arranging Rachmaninoff's second piano concerto as well as on two books, teaching and touring with his Vocalstra. He wrote lyrics to Gershwin's Piano Prelude No. 1 for the a cappella ensemble Pieces of 8's 2004 album Across the Blue Meridian. He appeared in cameo roles in the films People I Know (2002) and White Men Can't Jump (1992).

In 2012, Hendricks appeared in the documentary film No One But Me, discussing his former bandmate and friend, Annie Ross. In 2015, Hendricks lost his second wife Judith to a brain tumor.

Hendricks also appeared on three tracks from the 2016 release of the JC Hopkins Biggish Band titled "Meet Me at Minton's". He performs vocalese on "Suddenly (In Walked Bud)", is included in the ensemble on the album's title track "Meet Me at Minton's", and croons a duet of the Monk tune "How I Wish (Ask Me Now)" with singer and 2016 Thelonious Monk Competition winner Jazzmeia Horn. At the time of the recording he was 93 and Horn was 23.

In 2017, Hendricks' full lyricization of the album Miles Ahead, including Miles Davis' solos and Gil Evans' orchestrations, was completed fifty years after he had first conceived the idea. It was premiered in New York by UK-based choir the London Vocal Project, with Hendricks in attendance, with a studio recording to follow.

Death
Hendricks died on November 22, 2017, in Manhattan, New York City, aged 96.

Awards and honors
Hendricks was recognized with an NEA Jazz Master award in 1993, multiple Grammy Awards, and in 2004, he was honored in France with the Legion of Honour.

As leader

 * A Good Git-Together (World Pacific, 1959)
 * Evolution of the Blues Song (Columbia, 1960)
 * Live Recording at Birdland with Count Basie (Roulette, 1961)
 * Fast Livin' Blues (Columbia, 1962)
 * ¡Salud! João Gilberto, Originator of the Bossa Nova (Reprise, 1963)
 * Recorded in Person at the Trident (Smash, 1965)
 * Jon Hendricks Live (Fontana, 1970)
 * Times of Love (Philips, 1972)
 * Tell Me the Truth (Arista, 1975)
 * Cloudburst (Enja, 1982)
 * Love (Muse, 1982)
 * Freddie Freeloader (Denon, 1990)
 * Boppin' at the Blue Note (Telarc, 1995)

With Lambert, Hendricks and Ross
 * Sing a Song of Basie (ABC-Paramount, 1958)
 * Sing Along with Basie (Roulette, 1958)
 * The Swingers! (World Pacific, 1959)
 * The Hottest New Group in Jazz (Columbia, 1959)
 * Sing Ellington (Columbia, 1960)
 * High Flying (Columbia, 1961)
 * The Real Ambassadors (Columbia Masterworks, 1962)
 * Basie Live in Person (Natural Organic, 1979)
 * Everybody's Boppin (Columbia, 1989)

With Lambert, Hendricks and Bavan
 * At Newport '63 (RCA Victor, 1963)
 * Recorded Live at Basin Street East (RCA Victor, 1963)
 * Havin' a Ball at the Village Gate (RCA Victor, 1964)
 * Swingin' Till the Girls Come Home (Bluebird, 1987)

As guest

 * 3 Cohens, Family (Anzic, 2011)
 * Karrin Allyson, Footprints (Concord Jazz, 2006)
 * Art Blakey, Buhaina (Prestige, 1973)
 * Terence Blanchard, People I Know (Decca, 2003)
 * Dave Brubeck, Young Lions & Old Tigers (Telarc, 1995)
 * Benny Carter, Benny Carter Songbook (Musicmasters, 1997)
 * Benny Carter, Benny Carter Songbook Volume II (MusicMasters, 1997)
 * Neil Diamond, In My Lifetime (Columbia, 1996)
 * Kurt Elling, Live in Chicago (Blue Note, 1999)
 * Georgie Fame, Cool Cat Blues (Go Jazz, 1991)
 * Al Grey, Al Grey Fab (Capri, 1990)
 * Joyce, Language and Love (Verve, 1991)
 * King Pleasure, King Pleasure Sings (Prestige, 1954)
 * The Manhattan Transfer, Mecca for Moderns (Atlantic, 1981)
 * The Manhattan Transfer, Vocalese (Atlantic, 1985)
 * Ellis Marsalis Jr., Ellis Marsalis Trio (Blue Note, 1991)
 * Wynton Marsalis, Crescent City Christmas Card (Columbia, 1989)
 * Wynton Marsalis, Blood on the Fields (Columbia, 1997)
 * Bobby McFerrin, Spontaneous Inventions (Blue Note, 1986)
 * Thelonious Monk, Underground (Columbia, 1968)
 * Jimmy Rowles and Stan Getz, The Peacocks (Columbia, 1975)
 * George Russell, New York, N.Y. (Decca, 1959)
 * Janis Siegel, Experiment in White (Atlantic, 1982)
 * Take 6, The Standard (Heads Up, 2008)
 * Larry Vuckovich, Cast Your Fate (Palo Alto, 1984)
 * Royal Bopsters – The Royal Bopsters Project (Motema, 2015)

Filmography

 * Music in Monk Time, a documentary tribute to Thelonious Monk, Hendricks served as co-writer, performer and narrator (1983, production by Songfilms International, Inc.)
 * The Steve Allen Plymouth Show Episode #4.11 (1958): Lambert, Hendricks & Ross
 * NET Playhouse Duke Ellington – A Concert of Sacred Music (1967): Jon Hendricks
 * Jazz Is Our Religion (1972)
 * White Men Can't Jump (1992): one of the Venice Beach Boys
 * Foreign Student (1994): April's Father
 * Jon Hendricks, Tell Me The Truth, a documentary about the artist, directed by Audrey Lasbleiz (2008, production Mosaïque Films, Paris).
 * Blues March: Soldier Jon Hendricks, a documentary about the artist fighting on two fronts in World War II by Malte Rauchof ( Strandfilm Productions (2009)

title: Jon Hendricks


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Sportfreunde Stiller

Sportfreunde Stiller is a German indie rock band from Germering near Munich, Bavaria.

History
The band was founded by Peter Brugger (guitar, vocals), Florian "Flo" Weber (drums), and Andi Erhard (bass). They initially wanted to name themselves "Bodden" (after football player Olaf Bodden), before later settling for "Stiller". They took the name from their former football manager at SV Germering, Hans Stiller.

As Stiller, the band played their first concerts in 1995. They later changed their name because a different band called Stiller owned the rights to this name. The term Sportfreunde literally translates to friends in sports and is also used in names of sports clubs (e.g. Sportfreunde Siegen). In 1997, bassist Erhard was replaced by Rüdiger "Rüde" Linhof. The band's debut album, So wie einst Real Madrid, was released in 2000.

Sportfreunde Stiller's track "Independent" from Die gute Seite was featured in the video game FIFA 2003.

In 2006, the band wrote 54, '74, '90, 2006", a fan hymn for the German World Cup squad which became a number one hit in Germany; the song commemorates West German championships in the 1954, 1974, and 1990 World Cups. After Germany lost in the semi-final against Italy on 4 July 2006, the song was reworked as 54, '74, '90, 2010" in anticipation of the 2010 FIFA World Cup in South Africa.

Sportfreunde Stiller were nominated five times for Best German Act at the MTV Europe Music Awards, in 2002, 2004, 2006, 2007 and 2009.

Their album "La Bum" was released on 3 August 2007 (and reached the number 1 spot in Germany) with their single "Alles Roger" debuting on 20 July 2007 (reaching number 22 in Germany). The album title is an anagram of "album". The band was also nominated once again for the 2007 MTV Europe Music Awards award for German Act of the year.

The entire La Bum album (bonus track edition) was added to the American iTunes Store in early 2008.

The song 54, '74, '90, 2010" is featured as a downloadable track in the video game Guitar Hero World Tour.

In 2009, Sportfreunde Stiller was the sixth German band to record an album for the MTV Unplugged series. The album includes adaptations of old songs, covered songs and new songs alike. Although titled MTV Unplugged in New York, the album was actually recorded during a concert at Bavaria Film Studios, Munich.

In 2012, Sportfreunde Stiller announced they would be trying out new songs live at festivals that summer, suggesting there may be a new studio album in the works. This album, titled New York, Rio, Rosenheim, was eventually released in May 2013.

In 2016, their single "Das Geschenk" debuted at number 1 in Austria, and also reached number 15 in Germany and number 58 in Switzerland.

In 2020, Florian Weber announced, in an interview with Donaukurier, that after a long break the band were working on a new album.

On 6th May 2022 the band released the single I’m alright from their forthcoming album Jeder nur ein X - planned for release on 11th November 2022.

Current

 * Peter Brugger – vocals, guitar ( 1995–present)
 * Florian "Flo" Weber – drums ( 1995–present)
 * Rüdiger "Rüde" Linhof – bass (1997–present)

Former

 * Andi Erhard – bass (1995–1997)

Discography

 * 1996:
 * EP: Macht doch was ihr wollt, ich geh jetzt ("Do Whatever You Want, I'm Leaving")
 * 1998:
 * EP: Thonträger ("Sound Storage Medium")
 * 1999:
 * Single: "Wellenreiten '54" ("Surfing '54")
 * 2000:
 * Album: So wie einst Real Madrid ("Like Real Madrid Once")
 * Single: "Fast wie von selbst" ("Almost by Itself")
 * Single: "Heimatlied" (Homesong)
 * Split-single: "Dancing with Tears in My Eyes" with Readymade
 * 2001:
 * Split-single: "Friday I'm in Love" with Readymade
 * 2002:
 * Album: Die gute Seite ("The Good Side")
 * Single: "Ein Kompliment" ("A Compliment")
 * Single: "Komm schon" ("Come On!")
 * Single: "Tage wie dieser" ("Days Like These")
 * Split-single: "Schwule Mädchen" ("Gay Girls") with Readymade (Ready Sport Go!3 Tour)
 * 2003:
 * Single: "Ans Ende denken wir zuletzt" ("The End Is the Last Thing on Our Minds")
 * DVD: Ohren zu und durch ("Close Your Ears and Go Through with It")
 * 2004:
 * Album: Burli ("Little Boy")
 * Album: Live
 * Single: "Siehst du das genauso?" ("Do You See It the Same Way?")
 * Single: "Ich Roque" feat. Roque Santa Cruz
 * Single: "1. Wahl" ("First Choice")
 * Single: "1. Wahl (2. Wahl)" ("First Choice (Second Choice)")
 * Single: "Ein kleiner Schritt (live)" ("A Small Step")
 * 2006:
 * Album: You Have to Win Zweikampf
 * Single: 54, '74, '90, 2006" (fifth-best-selling album in Germany in 2006)
 * Single: "Pogo in Togo"
 * Single: "Eine Liebe, die nie endet" ("A Love That Never Ends")
 * 2007:
 * Album: La Bum (94th-best-selling album in Germany in 2007)
 * Single: "Alles Roger" ("Everything's Fine")
 * Single: "(Tu nur das) was dein Herz dir sagt" ("Do Only What Your Heart Tells You")
 * Single: "Antinazi Bund" ("Anti-Nazi Alliance"), stand-alone single, not included on the La Bum album
 * Single: "Advent, Advent" (exclusively released via fan club newsletter in December 2007)
 * 2009:
 * Album: MTV Unplugged in New York (14th-best-selling album in Germany in 2009)
 * Single: "Ein Kompliment (Unplugged)" (26th-best-selling single in Germany in 2009)
 * 2013:
 * Album: New York, Rio, Rosenheim
 * Single: "Applaus, Applaus" ("Applause, Applause")
 * Single: "New York, Rio, Rosenheim"
 * 2016:
 * Album: Sturm & Stille
 * Single: "Das Geschenk" ("The Gift")
 * Single: "Raus in den Rausch"
 * 2022:
 * Album: JEDER NUR EIN X

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

title: Sportfreunde Stiller


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Talk:Rambo Amadeus

Ethnicity
Shall we translate the discography? :> Nikola 10:32, 7 November 2005 (UTC)

Estavisti, why you added that he is Croatian rock star? Also, why "self-described"? Nikola 10:26, 14 December 2005 (UTC)

I didn't put self described. For your other point, here's a quote from With their Backs to the World, an atrocious book by Asne Seierstad in which she interviews various Serbs including Mr Pušić himself:

"Why would you want to include me in a book about Serbs? I'm not a Serb, but a multi-ethnic mutant - Montenegrin-croatserbian.......my mum is Serbian and my dad half Croat and half Montenegrin"

He doesn't make it easy does he? :) --estavisti 14:31, 14 December 2005 (UTC)

 * I changed the cross-references to geographical ones, which is IMO a fair thing to do; I'm not a fan of "counting peoples' blood cells". Duja 16:09, 14 December 2005 (UTC)

 * I don't really care either way, I just happened to read this book a few weeks ago and thought it would be better to describe him as he describes himself. As far as I'm concerned, write whatever you feel is appropriate. --estavisti 23:12, 14 December 2005 (UTC)

 * I won't change it, though it might be good to disambiguate (perhaps by adding another "self-described". See my question about discography above - what do you think? Nikola 10:05, 15 December 2005 (UTC)
 * I don't follow anymore; are you discussing about "self-described musician" or "self-described Serbo-Croato-Montenegrin"? Duja 11:29, 15 December 2005 (UTC)
 * The second one. Nikola

 * I'll give translation a shot, although it really requires a professional translator. Duja 11:29, 15 December 2005 (UTC)
 * Pitty, I wanted do it anonymously, and see if I get reverted ;) Nikola 07:45, 16 December 2005 (UTC)
 * I think his mixed ethnic background should be clearly stated, especially when he himself has openly confirmed it on the record. I would have done it myself (I had an inkling of his mixed background) but didn't know for sure. It is certainly worthy of note. Merely mentioning it as a biographical fact does not in any way make it tendentious or partisan. Zvonko 4:36, 9 January 2006

what a bullshit's as he is obviously Croatian.

Well, he is clearly from mixed parents, however he never too much care about it and never make any deal of it   — Preceding unsigned comment added by 77.243.26.40 (talk) 01:05, 7 July 2020 (UTC)

Suggestion
How about adding some song samples? If you guys have any of his songs than it would be worth putting 15 second samples... that's not copyright infringement is it? We could of course ask for Rambo's permission... he seems like a good guy :) I think that would help the article a lot.--195.66.176.106 23:09, 6 January 2006 (UTC)
 * Actually, his website is full of samples, video clips, etc. I will try to make a direct link. --dcabrilo 00:04, 7 January 2006 (UTC)

His name
So what's up with his name "Rambo Amadeus"? Is Rambo from John Rambo and Amadeus from Wolfgang Amadeus Mozart? If anyone knows that, add it to the article!--Manwe 12:30, 14 January 2006 (UTC)

 * I'd say yes. I recall an interview in which he said that that's the most nonsensical name he could thought of. Nikola 08:01, 15 January 2006 (UTC)

Yap. However, it needs to be stated that for a while his nick was RANKO Amadeus. RASMC decicded to do that, b/c, as he explained once, during the strongest nationalistic movements in the country, every moron wanted to be Rambo, so he could not indetify with those group of people and decided to change it to Ranko for a (long-period) moment - Prki, 27 Feb. 2006

in RASMC does not by any chance svjetski stand for soviet rather than world? i would like to correct it but i don't speak serbian. Anapazapa (talk) 14:12, 13 February 2008 (UTC)
 * No, svjetski in fact means world in Serbian. You probably mistakenly had added an extra O in the word svjetski, which came out to be sovjetski or as you had though, Soviet. --Prevalis (talk) 22:16, 13 February 2008 (UTC)

Discography translations
I think they're very unnecessary... Opinions?--Manwe 13:05, 24 March 2006 (UTC)
 * Well, I wrote them so I could be biased, but I think the translation of titles tells something about the author's style to a casual reader. I'm not overly strong about it though; is there an established practice? Duja 15:22, 24 March 2006 (UTC)

How About adding lists of songs by albums? That's is something that is really hard to find. Even on his official web site...

Religion
How about that we add that he's Roman Catholic and a Serb by nationality? It could point out that there are still some :). --HolyRomanEmperor 17:10, 15 April 2006 (UTC)

 * Look at my comment near the top, specifically the quote where he says that he's "not a Serb". --estavisti 19:14, 15 April 2006 (UTC)

 * Weird, one of his quotations is especially dedicated to you-know-what. Anyways, his religioun should be in the article. --HolyRomanEmperor 10:13, 20 April 2006 (UTC)

 * Oppose. How is it relevant to his works? Duja 15:01, 20 April 2006 (UTC)

 * Agree. --HolyRomanEmperor 19:46, 23 April 2006 (UTC)

 * The article is not about his works, but about him. Not including his religion if it is known smacks of militant atheism.--Hadžija 14:37, 14 January 2007 (UTC)

Well, problem is obvious....Rambo is Croatian and altouhgt it's not big deal, all this idiots want to avoid to say that. — Preceding unsigned comment added by 90.137.161.170 (talk) 16:01, 10 September 2012 (UTC)

Serb POV stikes again
Why on Earth do you have to push your nationalist POV on articles like these? He lives in both Belgrade and Herceg Novi, always emphasises his anti-nationalist stance and declares as Yugoslav, but he has to be noted as Serbian artist in the introduction. How is he Serbian and not Montenegrin then? What's the logic behind this POV pushing? Sideshow Bob 08:10, 10 February 2016 (UTC)
 * ...Anti-Serbianism strikes again. What does the fact that he is a (Montenegrin-born) Serbian — living in Serbia, education and whole career in Serbia, described as Serbian, have to do with Serb POV? Are Montenegrin-born people not allowed to be living, having their careers, or being described as Serbian? What logic is that? Again, as usually, you make this into an awkward ethnic matter I can't take serious. Like, somehow, if you're born in Montenegro you can't be Serbian (and certainly not Serb)? "Belgrade-based" is OK? Hilarious. FYI, Rambo, witty as he is, has quite an interesting comment on the Montenegrin ethnic question. So if we both agree on anti-nationalism, how is the term "Serbian" nationalist? The introduction says Montenegrin-born Serbian, perfectly appropriate. I am willing to alter it to Montenegrin–Serbian and adding an annotation clarifying the matter, with refs.--Z oupan 10:31, 10 February 2016 (UTC)

Do whatever you want, I don't really care anymore, since you are obviously above the Wikipedia rules, as you are allowed to push your POV without any resistance whatsoever. It's not about this article, but rather a general problem of "Serbifying" everything and anyone, a behaviour perhaps stemming from a nationalist inferiority complex. Have fun living in your alternative online universe, you can put that he is a Chetnik vojvoda for all I care. But please, for the sake of sanity, do not call me out for being "anti-Serbian" just for opposing your biased edits. Cheers. Sideshow Bob 10:48, 10 February 2016 (UTC)

title: Talk:Rambo Amadeus


text:
Category:Former constellations

See also List of constellations.

title: Category:Former constellations


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Never Let Me Down

Never Let Me Down is the seventeenth studio album by the English musician David Bowie, released on 21 April 1987 through EMI America Records. Co-produced by Bowie and David Richards and featuring guitarist Peter Frampton, the album was recorded in Switzerland and New York City from September to November 1986. Bowie's goal for the project was to record it differently following his disappointment with 1984's Tonight. Musically, Never Let Me Down has been characterised as pop rock, art rock and hard rock; Bowie himself considered the record a return to rock and roll music. The cover artwork features Bowie surrounded by numerous elements from the songs.

Released with different runtimes on vinyl and CD, Never Let Me Down was commercially successful, reaching the UK top 10; its three singles all reached the UK top 40. Despite this, the album was poorly received by fans and was met with negative reviews from critics, with most criticising the "overblown" production. Bowie supported it on the Glass Spider Tour, a world tour that was at that point the biggest, most theatrical and elaborate tour of his career. The tour, like the album, was commercially successful but critically panned. The critical failure of the album and tour were factors that led Bowie to look for a new way to motivate himself creatively, leading him to create the rock band Tin Machine in 1989; he did not release another solo album until Black Tie White Noise in 1993.

In later decades, Never Let Me Down is generally regarded as one of Bowie's weakest releases. The track "Too Dizzy" has been deleted from subsequent reissues due to Bowie's dislike of it. Throughout his lifetime, Bowie was critical of Never Let Me Down, distancing himself from the arrangement and production of the finished album. He expressed a desire to remake it numerous times, eventually remixing "Time Will Crawl" for the career retrospective iSelect in 2008. Its remixer, Mario J. McNulty, brought Bowie's idea to remake the whole album to fruition in 2018. Released as part of the box set Loving the Alien (1983–1988), Never Let Me Down 2018 features new production and instrumentation over Bowie's original vocals. Reviewers consider the new version an improvement over the original album.

Background and development
David Bowie's rise in fame and success from Let's Dance and the Serious Moonlight Tour in 1983 made him feel disconnected from his newfound fanbase. After the poor reception of 1984's Tonight, he worked on a series of miscellaneous projects that included collaborations with the Pat Metheny Group for "This Is Not America" (from the soundtrack to the film The Falcon and the Snowman) and Mick Jagger for "Dancing in the Street". He also continued acting and composing for film soundtracks such as Absolute Beginners (1985) and Labyrinth (1986).

Wanting another record, EMI compiled a compilation of 12" mixes from Let's Dance and Tonight following Bowie's successful performance at Live Aid in 1985. Titled Dance, it reached the artwork stage before being shelved. In mid-1986, Bowie produced and co-wrote multiple tracks with his old friend Iggy Pop for his solo album Blah-Blah-Blah, recorded five songs for the soundtrack for Labyrinth, and recorded the title song of the 1986 film When the Wind Blows with Turkish musician Erdal Kızılçay, before commencing work on his next studio record.

Writing and recording
Bowie spent mid-1986 in his home in Switzerland writing songs with Iggy Pop. He bought a Fostex 16-track and AHB mixing console to record elaborate home demos, which he recorded with Kızılçay before regrouping with a full band. Having worked together sporadically since 1982, Bowie greatly appreciated Kızılçay's musicianship, proclaiming, "He can switch from violin to trumpet to French horn, vibes, percussion, whatever... His knowledge of rock music begins and ends with the Beatles! His background is really jazz." During the sessions, Kızılçay played keyboards and synthesisers and, according to biographer Chris O'Leary, "provided any sound" Bowie requested. Unlike the sessions for Tonight, Bowie encouraged collaboration for the new album's sessions, mainly wanting "better" versions of his home demos.

Never Let Me Down was recorded between September and November 1986, beginning at Mountain Studios in Montreux, Switzerland, and completing at the Power Station in New York City. It was co-produced by Bowie and David Richards; both had co-produced Blah-Blah-Blah and the latter previously engineered "Heroes" (1977). Let's Dance engineer Bob Clearmountain returned for Never Let Me Down. According to Bowie, he was responsible for the album's "great, forceful sound". Returning from the Tonight sessions was regular collaborator Carlos Alomar on guitar, Carmine Rojas on bass and a group of saxophonists known as the Borneo Horns. With Kızılçay, they were joined on lead guitar by Bowie's former classmate Peter Frampton, whom Bowie hired after listening to his latest record Premonition (1986). He stated at the time, "I always thought it'd be good to work with him 'cause I was so impressed with him as a guitarist at school." Frampton played on all but three tracks; lead guitar duties for "Day-In Day-Out", "Time Will Crawl" and a cover of Iggy Pop's "Bang Bang" were done by Sid McGinnis, a some-time member of David Letterman's band. For the first time since 1980's Scary Monsters (and Super Creeps), Bowie played instruments in addition to singing, contributing keyboards, synthesiser and rhythm guitar on some tracks, and played lead guitar on "New York's in Love" and "'87 and Cry". The band worked from 10 a.m. to 8 p.m.. Kızılçay recalled Bowie being "very disciplined" during the sessions and "always" trying new things.

Bowie, Richards and Kızılçay recorded backing tracks at Mountain for the first two weeks, after which Alomar and Frampton were flown in for guitar overdubs. Sessions then moved to the Power Station, where horns and backing vocalists were added, with additional percussion from Errol "Crusher" Bennett. According to Richards, these were elements that Bowie said "you can only get in New York". Regarding Bennett's contributions, Richards recalled: "[He] set all his 'bangers' and 'scrapers' on a table, which I miked at each end. So whenever he moved around, the sounds would pan with him, creating some strange spatial effects." The majority of Bowie's vocals were taken from guide vocals recorded at Mountain, although some were later redone at the Power Station. Richards explained that most of [the guide] vocals were so good and had such great spontaneity that they ended up on the record." "Never Let Me Down" was a last-minute addition to the album, written and recorded in one day during the last week of mixing at the Power Station. Actor Mickey Rourke also performed the mid-song rap for "Shining Star (Makin' My Love)". The two had met in London where the actor was based while filming A Prayer for the Dying (1987) and requested to contribute. Two tracks were recorded that ended up as B-sides, "Julie" and "Girls", the latter of which was briefly considered for inclusion on Never Let Me Down in late 1986.

Songs
The music on Never Let Me Down has been characterised as pop rock, art rock and hard rock. At the time, Bowie said the musical styles reflected the different styles he wrote with over the preceding years, and further stated the sound and style was reminiscent of Scary Monsters and less like its immediate predecessors, calling it "an eclectic hybrid of long-standing influences and personal nostalgia." At the time, a writer for the Canadian Press considered the record "a basic serving of high-energy, guitar rock", representing a departure from his "adventurous" late 1970s works and the "R&B-flavoured" Let's Dance. Biographer Paul Trynka says the record contains mostly "conventional music, lyrics and sounds".

Side one
The opening track, "Day-In Day-Out", offers the artist's commentary on the treatment of the homeless in Los Angeles. Author James E. Perone states that the song is a good example of Bowie's experimentation with the R&B genre. "Time Will Crawl" was inspired by the Chernobyl disaster and the idea that someone from one's own neighborhood could be responsible for the end of the world. Compared to Prince's "1999", Bowie said his vocals on the song were indebted to Neil Young, and noted that the variety of voices he used on the album were a nod to the musicians who had influenced him in the past. Bowie called "Beat of Your Drum" a Lolita song, a "reflection on young girls... 'Christ, she's only 14 years old, but jail's worth it!'" Biographer Nicholas Pegg, who called the song one of the album's better tracks, noted that it could be called a "direct ancestor", both lyrically and musically, to Tin Machine's "You Belong in Rock n' Roll" (1991). Perone finds it resembles the contemporary techno craze, while further exhibiting punk rock influences.

The title track is about Bowie's long-time personal assistant, Coco Schwab. The song's direct reference to her acts as a counterpoint to the rest of the songs, which the artist felt were mostly allegorical. Bowie attributed his vocal performance to John Lennon. One reviewer later called it one of Bowie's "most underrated songs". "Zeroes", which Rolling Stone's Steve Pond called the most heartening and successful track on the album, is a nostalgia trip. Bowie explained: "I wanted to put in every 60s cliche I could think of! 'Stopping and preaching and letting love in,' all those things. I hope there's a humorous undertone to it. But the subtext is definitely that the trappings of rock are not what they're made out to be." Musically, the track features a sitar reminiscent of George Harrison's work with the Beatles and references Bowie's earlier songs "Diamond Dogs" (1974) and "Heroes" (1977) in its music and title, respectively.

Side two
"Glass Spider" marks a return to the electronica of Bowie's late 1970s Berlin Trilogy, as well as influences of psychedelic folk and heavy metal. It presents a mythological story based on a documentary Bowie had seen about black widow spiders, describing how they lay the skeletons of their prey out on their webs. Echoing the Diamond Dogs track "Future Legend" (1974), he thought that the Glass Spider's web would make a good enclosure for a concert tour, thus giving the supporting tour its name and stage dressing. Bowie described "Shining Star (Makin' My Love)" as one that "reflects back-to-street situations, and how people are trying to get together in the face of so many disasters and catastrophes, socially around them, never knowing if they're going to survive it themselves. The one thing they have got to cling on to is each other; although it might resolve into something terrible, it's the only thing that they've got. It's just a little love song coming out of that environment." He rejected the notion that his "high, little" voice (which he attributed to Smokey Robinson) in the song was a new character, instead saying it was just what the song needed, as he had tried the song in his regular voice and did not like the outcome: "That never bothered me, changing voices to suit a song. You can fool about with it." "New York's in Love" is a dance track that Bowie described as a sarcastic song about the vanity of big cities. Pegg later called it "a strong contender for the... wooden spoon" of the album.

"'87 & Cry" was written as a statement about "Thatcherite" England, referring to the distinction between the authoritarian government and the citizens. Bowie acknowledged that the lyrics verged on the surreal, describing people "eating the energies of others to get to what they wanted." "Too Dizzy" was the first song Bowie and Kızılçay wrote together for the album and was written in homage to the 1950s. The former said, "a real Fifties subject matter was either love or jealousy, so I thought I'd stick with jealousy because it's a lot more interesting". Bowie covered Iggy Pop's "Bang Bang", which originally flopped as a single, for Never Let Me Down as he felt it could be a hit. For his version, Bowie imitated Pop in his vocal performance, while lyrically, it contains themes present in other album tracks. Perone compares Bowie's version to the work of Talking Heads' David Byrne.

Release
EMI America Records released "Day-In Day-Out" as the lead single to the album on 23 March 1987, with "Julie" as the B-side. The single performed decently in both the UK and the US, peaking at Nos. 17 and 21, respectively. The song's music video, directed by Julien Temple, contained controversial content and was banned by some networks. A version of the song sung in Spanish, recorded to promote Bowie's first-ever concerts in Spain during the Glass Spider Tour, was released for the first time in 2007 when the "Day-In Day-Out" EP was released digitally.

Never Let Me Down followed a month later on 21 April 1987. It was the first Bowie record to feature simultaneous releases on vinyl and CD. Both of these formats had different lengths in the runtime, with four tracks on the CD release up to a minute longer. In Australia, the album appeared on blue vinyl and in Japan, a Japanese vocal version of the outtake "Girls" was included. The cover artwork was designed by Mike Haggerty, who designed the artworks for Let's Dance and Tonight, and taken by photographer Greg Gorman. It was described by Bowie as being in a "vaudevillian" style. It depicts the long-haired Bowie jumping through a circus ring surrounded by elements from the album's songs, including a drum, a skyscraper, a "candyfloss" cloud, and an angel from the "Day-In Day-Out" music video.

Initial sales of the album were strong, peaking at No. 6 on the UK Albums Chart, but dropped off disappointingly. Bowie was not concerned with the album's relative poor performance in the charts, saying "I've made about 20 albums during my career, and so far this is my third biggest seller. So I can't be that disappointed, yet, it is a letdown that it hasn't been as buoyant as it should be.... But I don’t really feel that negative about it. As far as I'm concerned, it's one of the better albums I've made. As I've said, Never Let Down has been a pretty big seller for me. So I'm quite happy." "Time Will Crawl" was released as the second single from the album in June 1987, backed by "Girls". It stalled on the UK Singles Chart, peaking at No. 33. Bowie pre-recorded a performance of the song for the BBC television programme Top of the Pops, although it was not aired at the time, as the single subsequently fell down the charts. Its accompanying music video was directed by Tim Pope and previewed some of the choreography of the upcoming tour.

The title track was released as the album's third single on 17August 1987, with "87 and Cry" as the B-side. It peaked at No. 34 in the UK and No. 27 in the US. Its accompanying music video was directed by Jean-Baptiste Mondino and was described by Bowie as "experimental". "Shining Star" was one of Bowie's early choices to be a single, but the idea was rejected by EMI. A 12" remix of the song was made available on iTunes when the "Never Let Me Down" EP was released digitally in 2007. EMI briefly considered "Too Dizzy" for release as a fourth single, instead appearing as a promo release in the US.

Critical reception
Contemporary reviews of the album were mostly unfavorable. In Trouser Press, Ira Robbins wrote, "although this casual loud-rock outing... seems on first blush to be slapdash and slight, the first side is actually quite good, offering provocative pop-culture lyrics delivered with first-take enthusiasm and carefree backing." The Canadian Press's Tim O'Connor praised Never Let Me Down as an improvement over the "unfocused disaster" Tonight, finding the musical styles "suit[s] him well" and concluded: "It's not so dazzling or powerful an album that it will set any styles, but it's good to hear Bowie kicking out the jams again." In Billboard, Steve Gett hailed the record as "unquestionably" Bowie's finest work up to that point, highlighting "Day-In Day-Out", "Time Will Crawl", the title track and "Shining Star", another reviewer called it "a welcome return to form for the ever-ambitious Bowie", and the magazine's year-retrospective issue called it "arguably the year's most underrated release" and considered the album a "Critic's Choice" for the year.

Negative reviews found the production "overblown" and complained about an overuse of synthesisers and weak songwriting. Chris William of the Los Angeles Times primarily criticised the lack of innovation, finding elements from Bowie's entire career. He further stated that none of the tracks are among Bowie's best—calling "Day-In Day-Out" "the most useless single of Bowie's career"—and ultimately expected more from the artist. In Smash Hits, Tom Hibbert deemed the album dull and full of "contrived studio jams", giving sole praise to "Bang Bang". Glenn O'Brien of Spin called the album "an inspired and brilliantly crafted work. It's charged with a positive spirit that makes art soul food; imbued with the contagious energy that gives ideas a leg to dance on". Rolling Stone Steve Pond called the work an "odd, freewheeling pastiche of elements from all the previous Bowies", "unfocused", and possibly "the noisiest, sloppiest Bowie album ever.... Being noisy and sloppy isn't necessarily a bad thing, but sad to say, Never Let Me Down is also something of a mess." In his review for The New York Times, Jon Pareles also recognised elements of Bowie's previous works in Never Let Me Down and felt it was Bowie's "most serious statement" since Scary Monsters. In Creem, Roy Tarkin felt that the album represented a creative low point for Bowie due to poor execution. Tarkin ended his review stating "I guess you could say Never Let Me Down did just that; let me down." USA Today considered Never Let Me Down to be the second worst pop album of 1987, writing that Bowie "loses himself in a self-conscious Tom Jones disguise."

Tour
To support the album, Bowie embarked on the Glass Spider Tour, which began on 30 May 1987 and ended on 28 November the same year. Earlier in the year Bowie said: "I'm going to do a stage thing this year, which I'm incredibly excited about, 'cause I'm gonna take a chance again", but when pressed for details, he refused to give up any, saying "I'll just be doing what I always did, which is keeping things interesting."

Bowie performed several of the album's songs during a press tour that preceded his highly theatrical Glass Spider Tour, which played to a combined audience of as many as six million fans. Bowie wanted to produce a live show that picked up where his aborted 1974 Diamond Dogs Tour left off. Although considered financially successful and well attended, the tour itself was critically dismissed. Bowie designed his next few tours specifically to avoid the problems that the Glass Spider Tour was criticised for by avoiding overly theatrical stage presentations and focusing on his music. However, no song from Never Let Me Down was performed on any of Bowie's tours after 1987.

Subsequent events
At the conclusion of the Glass Spider Tour, Bowie began to reevaluate where he was at in his career. The tour took a toll on him and he found it hard to maintain the stadium rockstar lifestyle. Due to the negative critical reception of the album and tour, he decided to rejuvenate himself creatively and artistically, forming the rock band Tin Machine with guitarist Reeves Gabrels, whom he met through the tour, creating a partnership that lasted the rest of the 1990s. Bowie also effectively cut ties with Alomar, a collaborator since 1975's Young Americans, although the guitarist later played on the 1995 Outside Tour and on a few tracks for Outside (1995), Heathen (2002) and Reality (2003).

Although he was initially proud of the finished product, Bowie's views on Never Let Me Down soured as the years passed. By 1993, he remarked that he played the role of a session musician in the studio and allowed others to take control of the production and arrangements rather than being more involved himself, resulting in a final product he felt was "a bitter disappointment". When his personal website BowieNet launched in 1998, Never Let Me Down was the artist's only studio album excluded from his official career biography on the site. Three years prior, he acknowledged Never Let Me Down as his "nadir":

"It was such an awful album. I've gotten to a place now where I'm not very judgmental about myself. I put out what I do, whether it's in visual arts or in music because I know that everything I do is really heartfelt. Even if it's a failure artistically, it doesn't bother me in the same way that Never Let Me Down bothers me. I really shouldn't have even bothered going into the studio to record it. [laughs] In fact, when I play it, I wonder if I did sometimes."

Legacy
In later decades, Never Let Me Down has continued to receive negative reviews and is generally considered one of Bowie's weakest releases. Several made unfavourable comparisons to Tonight. Critic Charles Shaar Murray told journalist Dylan Jones in the 2010s that he thought Never Let Me Down was "just awful" compared to Tonight, a record "of classy filler with no center". In The Rolling Stone Album Guide, Rob Sheffield wrote: "Tonight was an expensive quickie padded with lame covers, while Never Let Me Down made things even worse with originals." AllMusic senior editor Stephen Thomas Erlewine called Never Let Me Down "far more interesting" yet "not as consistent" as Tonight. Reviewing the album's 2018 remaster, O'Leary summarised: "For all of its flaws, Never Let Me Down has a unity – the album has a somewhat charming period-piece feel to it now. It's one of the most time-stamped '1987' records ever made." Looking back in 2019, Ultimate Classic Rock's Patrick Moran considered Never Let Me Down to be "far from being the nadir" of the albums released between Let's Dance and Outside, although it still remains one of his worst. Calling it "an undigested mix of ideas, time signatures and grooves that never quite comes together", Moran concluded: "Never Let Me Down can boast a handful of tracks that are a credible mix of the commercial and the experimental, a characteristic which has always been the mainstay of Bowie's best work."

Many commentators agree that the album's poor production choices marred what they considered good songwriting. In 2018, Chris Ingalls of PopMatters named "Time Will Crawl" and "Zeroes" among those affected by the "headache-inducing [and] overstuffed with garish" production. Author Marc Spitz noted "Day-In Day-Out", "'87 and Cry", "New York's in Love" and "Time Will Crawl" as tracks that are hampered by poor production. Perone contends that the production on "Zeroes" and "Beat of Your Drum" make the tracks sound too much like other contemporary pop of the era "to stand out as distinctive". Dave Thompson highlights "Zeroes", the title track, "Glass Spider", and particularly "Time Will Crawl" as standout tracks, finding Bowie's initial dismissive attitude towards the project "galling" when considering the "strength" of these tracks. Journalist Sean Doyle, editor of the website The Worst Albums Ever, similarly stated that Never Let Me Down is "produced to death": "The extravagant production clashes sharply with the album's often socially minded lyrics, so much so that they become entirely flippant and insincere." Author Benoît Clerc said that the album's excessive use of the Linn 9000 drum machine creates a dated sound with "a cold and impersonal monotony".

Bowie's biographers have given Never Let Me Down mixed assessments, but most consider it better than Tonight. Buckley calls Never Let Me Down more focused and coherent than its predecessor, but finds that it suffers from overproduction. O'Leary similarly calls it Bowie's "ugliest-sounding record" since Diamond Dogs, noting that Bowie produced both records with the intention of "proving himself", which backfired. Trynka states that the record is "bereft of inspiration", but agrees that it is "neither as good nor as bad as Tonight". In a similar statement, Spitz describes Never Let Me Down as "not a terrible album", but "another slothful one" following Tonight and Labyrinth. Perone, likewise, considers it better and more artistically daring than Tonight and writes that it achieves "a better balance between working on pop songs and challenging songs". Nevertheless, he acknowledges its dated production as its biggest flaw. Like Perone, Pegg states that Never Let Me Down is not Bowie's "finest hour, but by no means his worst". He argues that it comes off as more of a David Bowie album than either of its two predecessors. Christopher Sandford describes it as "a shoddily constructed work" that lacked innovation, while Thompson attributes the album's failure to it being "brutally out of sync" with the contemporary music of the time.

In a 2016 retrospective ranking all of Bowie's 26 studio albums from worst to best, Bryan Wawzenek of Ultimate Classic Rock placed Never Let Me Down last, stating "There is no greater let-down in Bowie's catalog than the nadir of what he later called his 'Phil Collins years'," noting "bad idea after bad idea". The writers of Consequence of Sound ranked the album number 21 (out of 28, including the two Tin Machine records) in their 2018 list, arguing that both it and Tonight are due for reevaluations, as "Bowie's weaker efforts are still better than most". In 2023, Rolling Stone ranked Never Let Me Down at number 17 on their list of the "50 Genuinely Horrible Albums by Brilliant Artists", describing the album as a "showcase of horrid Eighties production choices".

Reissues
"Too Dizzy" was deleted from subsequent reissues of Never Let Me Down at Bowie's request, reportedly because it was his least favourite track on the album. Regarding its deletion, Pegg writes: "Its removal from Never Let Me Down has rendered it a latter-day collector's item, but few will feel impelled to hunt it down." Virgin Records (CDVUS 98) re-released the album in the UK on CD with three bonus tracks.

EMI released the second reissue in 1999 featuring 24-bit digitally remastered sound but no bonus tracks, and also without "Too Dizzy". A 2007 Japanese re-release of the album, based on the EMI 1999 re-issue, included "Too Dizzy" on the track listing although the song itself doesn't appear on the CD.

In 2009, the album was reissued in SHM-CD format, carrying the same track listing as the 2007 one. In 2018, the album was remastered by Parlophone and released on CD, LP, and digitally as part of the Loving the Alien (1983–1988) box set; a standalone release of the album on all three aforementioned formats was issued in February of the following year.

Track listing
This was the first Bowie album to have different length songs on the vinyl release than on the cassette and CD, with almost all the songs appearing on the latter having a longer running time than on the former.

Personnel
Adapted from the Never Let Me Down liner notes.

 * David Bowie – lead and background vocals; guitar; keyboards; Mellotron; Moog synthesiser; harmonica; tambourine
 * Carlos Alomar – guitar; guitar synthesiser; tambourine; backing vocals
 * Erdal Kızılçay – keyboards; drums; bass guitar; trumpet; violins; backing vocals
 * Peter Frampton – lead guitar, sitar
 * Philippe Saisse – piano
 * Carmine Rojas – bass guitar
 * Stan Harrison – alto saxophone
 * Steve Elson – baritone saxophone
 * Lenny Pickett – tenor saxophone
 * Earl Gardner – flugelhorn
 * Laurie Frink – trumpet
 * Errol "Crusher" Bennett – percussion
 * Sid McGinnis – lead guitar ("Day-In Day-Out", "Time Will Crawl" and "Bang Bang")
 * Mickey Rourke – mid-song rap ("Shining Star (Makin' My Love)")
 * Robin Clark – backing vocals
 * Lani Groves – backing vocals
 * Diva Gray – backing vocals
 * Gordon Grody – backing vocals

Production
 * David Bowie – producer
 * David Richards – producer; assistant mixing engineer
 * Malcolm Pollack – engineer
 * Bob Clearmountain – mixing
 * Bob Ludwig – mastering
 * Mick Haggerty – artwork; design
 * Greg Gorman – photography
 * Andre Gauchat – assistant engineer
 * Jon Goldberger – assistant engineer
 * Christopher A. Scott – assistant engineer
 * Justin Shirley Smith – assistant engineer

Sales and certifications
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Never Let Me Down 2018
Bowie considered the idea of re-recording tracks from Never Let Me Down almost immediately after meeting Gabrels in the late 1980s, but the guitarist talked him out of it. Bowie contemplated it later in the 1990s and again in 2008, when he had engineer Mario J. McNulty remix "Time Will Crawl" for the self-selected collection of favourites, iSelect. The same mix was later included on the career-spanning compilation Nothing Has Changed (2014). At the time Bowie had said, "Oh, to redo the rest of that album". In 2018, two years after Bowie's death, the Parlophone label brought the artist's idea to fruition. Early that year, musicians including Gabrels, David Torn, Sterling Campbell, Tim Lefebvre, Nico Muhly and Laurie Anderson started recording in New York's Electric Lady Studios from January to March. Of these musicians, Torn, Campbell, Lefebvre and Gabrels were all selected by Bowie before he died to take a part in the project. In July 2018, it was announced that a new version of the album, titled Never Let Me Down 2018, would be released in October of that year. The album includes "newly 'remixed' artwork", unseen images from the original album's photo-shoot, and was released as part of the 2018 box set Loving the Alien (1983–1988).

McNulty used the experience of making the "Time Will Crawl" remix to influence his approach for producing this version of the album. He received the master tapes from the label and "kept all of Bowie's vocals", some of the original acoustic guitars, and "anything distinctive" about the song, such as Alomar's rhythm guitar on "Never Let Me Down" and Frampton's sitar on "Zeroes". He sent rough mixes, called "stems", to each musician as a baseline along with ideas of what they should record. Each musician recorded their parts separately, and were not typically in the studio together, although Torn and Gabrels did record together for one day at one point. He replaced all the drum machines with live drumming from Sterling Campbell.

For "Day-In Day-Out", McNulty discovered that Bowie had recorded the Borneo Horns playing live, but had at some point replaced them with synthesised horns. McNulty restored the live horns in the new version, which has "one foot in the past and another in the present", saying "it was difficult. Most of the lyrics are quite dark, but everything else about it is almost uplifting.... I just thought, 'It makes sense to do something bright.'" For "New York's in Love", Gabrels wanted the new recording to reflect the change in New York, saying "[the city] isn't really about the blues anymore. It's more multicultural...I wanted to reflect that change with what I did [play]...I told Mario, 'Put up that song and let me see what happens.'...I soloed through the whole song and tried different things, and I reacted to what was going on. When the song ended, Mario looked at me and said, 'Well, that one's done then.' [laughs]". "Too Dizzy" was not re-recorded and does not appear on the final album.

McNulty replaced a lot of synthesiser parts throughout the album with strings, saying "There were a lot of random synthesisers from the Labyrinth department lurking in the background. I was pretty confident I could do a lot of that work with strings." Anderson replaced Rourke for the remix of "Shining Star". O'Leary disliked her appearance, finding it "intriguing in theory" but poor in execution. Regarding the song, McNulty stated: "The [original] programming is a mess and the rap comes out of nowhere. I was just trying to find the right elements to fit the song. Luckily I know David and Laurie Anderson were good friends and she said yes to this [recording new vocals for the song] and it was really great of her." Original musicians Alomar and Kızılçay were not part of the reproduction. Alomar approved of the changes, but Kızılçay was unhappy with the new arrangements and threatened a lawsuit as a result.

The release of the box set was preceded by the digital release of the single "Zeroes (2018) (Radio Edit)" in July 2018, and a physical 7" single in September 2018, backed with a radio edit of the 2018 version of "Beat of Your Drum".

Reception
Reviewers have generally considered Never Let Me Down 2018 an improvement over the original album. When reviewing Loving the Alien, O'Leary gave 2018 a 6.7 out of 10. However, because Bowie's vocals remained the same – which he dubbed "over-the-top performances to ensure Bowie stood out in the traffic-jam mixes" – he found that the new arrangements and old vocals did not always match, highlighting "Beat of Your Drum" and "Zeroes". Conversely, he gave praise to the new versions of "Day-In Day-Out" and "Glass Spider". Overall, O'Leary found Never Let Me Down 2018 to be "an interesting curio", saying "the remake doesn't improve on Never Let Me Down as much as it honors the original's all-over-the-place frustration." Writing for Record Collector, Daryl Easlea praised the reworked album. He found the new production of "Time Will Crawl" and "Beat of Your Drum" drastic improvements that emerge them as "well-written pop songs", while "Zeroes" became "one of Bowie's greatest ever straight-down-the-line songs". He concluded that "the 2018 version of the album, with re-production and overdubs, is shorn of bombast and there are some truly lovely moments to be found", but expressed disappointment with the replacement of Rourke on "Shining Star".

Ingalls stated: "Never Let Me Down 2018 goes a long way in salvaging those 1987 songs, with a 21st-century sensibility stripping away the overblown aesthetic of those original recordings." He further commended the 2018 version for helping the album "breathe a lot easier". Ultimately, while the record still doesn't match the quality of Bowie's best work, Ingalls felt that everyone involved in the new version "does yeoman's work here." Similarly, Michael Rippman considered Never Let Me Down 2018 to be the "crown jewel" of the box set in Consequence of Sound. Langdon Hickman of Treble wrote that with the 2018 version, the album "no longer feels like a glaring misstep in his canon", but rather brings Bowie's original vision to life, sounding closer to his Tin Machine work. Rather than being at the bottom, the new version "manage[s] to cinch itself up against [the] middle tier" of his catalogue. Erlewine, on the other hand, was more negative, writing that "the new Never Let Me Down is neither fish nor fowl: it's not radical enough to be a reimagined record – its core remains the same – and without its ornamental period feel, it seems trapped out of time." Clerc was also negative, arguing that while McNulty's work was admirable, the new album lack's the original spirit and emotion.

Personnel
Adapted from the Loving the Alien (1983–1988) liner notes:

Production
 * David Bowie – producer; composer
 * David Richards – producer
 * Mario J. McNulty – mixing; recording; producer
 * Recorded at Electric Lady Studios and Incognito Studios, New York City
 * Mixed at Incognito Studios, New York City
 * Ernesto Valenzuela and Gosha Usov − assistant engineers
 * Gustavo Remor − drum technician
 * Greg Gorman – photography

Additional musicians
 * Reeves Gabrels – guitar
 * David Torn – guitar
 * Tim Lefebvre – bass guitar
 * Sterling Campbell – drums
 * Steven Wolf – drums, bass
 * Laurie Anderson – spoken word ("Shining Star (Makin' My Love)")
 * Mario J. McNulty – percussion
 * Nico Muhly – string arrangements ("Beat of Your Drum", "Never Let Me Down" and "Bang Bang")
 * Rob Moose – violin ("Beat of Your Drum", "Never Let Me Down" and "Bang Bang")
 * Laura Lutzke – violin ("Beat of Your Drum", "Never Let Me Down" and "Bang Bang")
 * Nadia Sirota – violin ("Beat of Your Drum", "Never Let Me Down" and "Bang Bang")
 * Gabriel Cabezas – violin ("Beat of Your Drum", "Never Let Me Down" and "Bang Bang")
 * Gregor Kitzis – string arrangements ("Time Will Crawl")
 * Krista Bennion Feeney – violin ("Time Will Crawl")
 * Robert Chausow – violin ("Time Will Crawl")
 * Martha Mooke – violin ("Time Will Crawl")
 * Matthew Goeke – cello ("Time Will Crawl")

title: Never Let Me Down


text:
Mass Giorgini

Massimiliano Adelmo Giorgini (born 1968) is an American bassist and record producer who rose to fame when several of the bands he produced experienced huge gains in popularity during the pop-punk boom of the mid-'90s. Among these bands was Giorgini's own Squirtgun, which received minor MTV rotation and several soundtrack appearances in major films in the 1990s. Mass Giorgini is also a linguistics scholar specializing in forensic literary analysis and is the son of renowned Italian artist Aldo Giorgini.

Music career
Giorgini has played bass guitar, alto and tenor saxophones, and sung backing vocals for a number of punk rock bands including Screeching Weasel, Common Rider, Squirtgun, Rattail Grenadier, The Mopes, Teeth and the Man, Torture the Artist, and Sweet Black And Blue.

As a composer, Giorgini has written songs primarily for his band Squirtgun, but in addition has lent writing assistance to several bands he has produced. His songwriting work also appears in the films Mallrats (Gramercy Pictures) and Bubble Boy (Disney).

As a producer, he has worked in conjunction with leading punk rock figures such as Billie Joe Armstrong of Green Day and Kris Roe of the Ataris, and produced music by bands such as Rise Against, Anti-Flag, and Alkaline Trio. Since 1990, he has owned and operated Sonic Iguana Studios in Lafayette, Indiana. He has been involved in creating the recordings of many bands (sometimes recording, mixing, mastering, and producing). His production work has taken him all over the globe, including production stints in Australia, Spain, Canada, and the Cayman Islands, as well as in numerous states of the United States.

Discography

 * Screeching Weasel – Ramones (1992)
 * The Queers – Love Songs for the Retarded (1993)
 * Screeching Weasel – Wiggle (1993)
 * Smoking Popes – Get Fired (1993)
 * Screeching Weasel – How to Make Enemies and Irritate People (1994)
 * The Queers – Beat Off (1994)
 * The Fighters – Breaking Bones for Laughs (1994)
 * The Fighters / Winepress – The Rambling Boys of Pleasure (1994)
 * The Bollweevils – Stick Your Neck Out! (1994)
 * The Queers – Move Back Home (1995)
 * The Riverdales – The Riverdales (1995)
 * Squirtgun – Squirtgun (1995)
 * 88 Fingers Louie – Behind Bars (1995)
 * Starbilly – BUZZ Records (1995)
 * The Crumbs – The Crumbs (1996)
 * The Smugglers – Selling the Sizzle! (1996)
 * The Queers – A Day Late And A Dollar Short (1996)
 * Cub – Box of Hair (1996)
 * Screeching Weasel – Bark Like a Dog (1996)
 * The Queers – Don't Back Down (1996)
 * Beatnik Termites – Bubblecore (1996)
 * The Riverdales – Storm the Streets (1997)
 * Squirtgun – Another Sunny Afternoon (1997)
 * Groovie Ghoulies – Re-Animation Festival (1997)
 * The Huntingtons – Fun and Games (1997)
 * Beatnik Termites – Pleasant Dreams (1996)
 * The Queers – Punk Rock Confidential (1998)
 * Parasites – Rat Ass Pie (1998)
 * The Connie Dungs – Earthbound for the Holiday (1999)
 * Groovie Ghoulies – Fun in the Dark (1999)
 * The Lillingtons – Death By Television (1999)
 * Dead Letter Dept. (as The Stiffs) – Forever in a Day (2000)
 * Groovie Ghoulies – Travels with my Amp (2000)
 * Anti-Flag – Underground Network (2001)
 * Rise Against – The Unraveling (2001)
 * Caulfield – Sleep Tight, Ya Morons (2001)
 * The Real Swinger – Back from Nowhere (2001)
 * Ded Bugs – Planet of Blood (2001)
 * Common Rider – This is Unity Music (2002)
 * Justin Sane – Life, Love and the Pursuit of Justice (2002)
 * Groovie Ghoulies – Go! Stories (2002)
 * Ben Weasel – Fidatevi (2002)
 * The Queers – Pleasant Screams (2002)
 * The Copyrights – We Didn't Come Here To Die (2003)
 * The Methadones – Career Objective (2003)
 * Groovie Ghoulies – Monster Club (2003)
 * The Riverdales – Phase Three (2003)
 * Squirtgun – Fade to Bright (2003)
 * Teen Idols – Nothing to Prove (2003)
 * Ded Bugs – Stop and Smell the Stinking Corpse Lilies (2004)
 * Resident Genius/Howard Zinn – You Can't Blow Up A Social Relationship (2005)
 * Los Pepiniyoz – Lluvia, Lluvia, Lluvia (2005)
 * The Vacancy – Heart Attack (2005)
 * The Queers – Munki Brain (2007)
 * The Riptides – Hang Out (2006)
 * The Queers – Grow Up (2007)
 * Amuse – Tosche Station Lot Lizards (2007)
 * Suckerbox – Suckerbox (2007)
 * The Peacocks – Touch and Go (2007)
 * Alkaline Trio – Remains (2007)
 * Los Pepiniyoz – Carta a la Luna (2007)
 * The Riptides – Mental Therapy (2008)
 * Squirtgun – Broadcast 02.09.08 (2008)
 * Root Hog – Root Hog (2009)
 * Viernes13 – Rockaway Hits (2009)
 * Karmella's Game – You'll Be Sorry (2009)
 * Anti-Flag – The People or the Gun (2009)
 * The Riptides – Tales From Planet Earth (2009)
 * Torture the Artist – Torture the Artist (2009)
 * Tungas – El Espíritu del Tiempo (2010)
 * The Riptides – Tough Luck (2010)
 * The Peacocks – After All (2010)
 * Svetlanas – Svetlanas (2010)
 * Squints – Taking Toll (2011)
 * Horace Pinker – Local State Inertia (2011)
 * Anti-Flag – The General Strike (2012)
 * One Man Army – She's an Alarm (2012)
 * Svetlanas – Tales from the Alpha BRigade (2013)
 * Rise Against – Long Forgotten Songs: B-Sides & Covers 2000–2013 (2013)
 * Anti-Flag – Document of Dissent (2014)
 * The Copyrights – Report (2014)
 * The Grow Ops – The Grow Ops (2015)
 * Anti-Flag – American Spring (2015)
 * Ducking Punches – Fizzy Brain (2016)
 * The Riptides – Canadian Graffiti (2017)
 * Frank Muffin – Forest for the Trees (2018)
 * The Sweethearts – Traces of Time (2018)
 * Ducking Punches – Alamort (2018)
 * City Mouse – Get Right (2018)
 * Covert Flops – DEFCON 1-2-3-4 (2019)
 * Frank Muffin – Year of the Muffin (2020)
 * Suzi Moon – Dumb and in Luv (2022)
 * Ann Beretta – Rise (2022)
 * Hayley and the Crushers – Modern Adult Kicks (2022)
 * Anti-Flag – Lies They Tell Our Children (2023)
 * Hell's Ditch – Take Cover (2023)
 * Kepi and Friends – Full Moon Forever (2023)
 * Retarded – Same as the First (2024)

Academics and background
Giorgini is the son of artist Aldo Giorgini. Prior to his career in music, Giorgini earned a degree in Psychology from Purdue University and began a course of graduate study in that same field. When his father became terminally ill with a form of brain cancer, Giorgini suspended his studies in order to care for his ailing father. Following his father's death, Giorgini abandoned his doctorate studies in psychology, and dedicated himself to music. A pair of articles co-authored by Giorgini were published in respected psychology academic journals from Giorgini's period prior to his departure from the field.

Giorgini later returned to academics in the area of Spanish Literature, in which he earned both a Master's and Ph.D. degree from Purdue University in Cervantes Studies at the same university. He has published several articles in academic journals and chapters in book-length studies on literature and film. Most of his research has been on the investigation of encoded messages protesting the Inquisition written between the lines of the novel Don Quixote by Miguel de Cervantes. In March 2014, Giorgini delivered a TEDx Talk at Purdue University summarizing some of his research on the same topic.

Giorgini was the model for the fictional character "Max" in the novel Weasels in a Box by John Jughead. In the novel, the character "Max" is a punk rock producer who also studies the literary figure Don Quixote.

Giorgini has taught Audio Production Techniques in the Theatre Department at Purdue University, as well as Italian and Spanish in the Foreign Language Department of the same institution. In addition to his ongoing research on Cervantes and his production work, Giorgini presents at symposia on forensic techniques in the analysis of coded language.

title: Mass Giorgini


text:
Wexford (Dáil constituency)

Wexford is a parliamentary constituency represented in Dáil Éireann, the lower house of the Irish parliament or Oireachtas. The constituency elects 5 deputies (Teachtaí Dála, commonly known as TDs) on the electoral system of proportional representation by means of the single transferable vote (PR-STV).

Boundaries
The constituency was created by the Government of Ireland Act 1920 and first used at the 1921 elections electing 4 deputies. It spans the entire area of County Wexford, taking in Wexford, Enniscorthy, New Ross and Gorey.

The Electoral (Amendment) (Dáil Constituencies) Act 2017 defines the constituency as:

The Constituency Review Report 2023 of the Electoral Commission recommended that at the next general election, Wexford lose a seat to become a four-seat constituency with the transfer of territory in the north of County Wexford to the new constituency of Wicklow–Wexford.

For the next general election, the Electoral (Amendment) Act 2023 defines the constituency as:

2019 by-election
A by-election was held in the constituency on 29 November 2019, to fill the seat vacated by Mick Wallace on his election to the European Parliament in May 2019.

1945 by-election
Following the death of Labour Party TD Richard Corish, a by-election was held on 4 December 1945. The seat was won by the Labour Party candidate Brendan Corish, son of the deceased TD.

1936 by-election
Following the death of Fine Gael TD Osmond Esmonde, a by-election was held on 17 August 1936. The seat was won by the Fianna Fáil candidate Denis Allen, reaching the quota on the first count. Subsequent counts occurred because the distribution of remaining votes could have saved another candidate their election deposit.

1921 general election

 * }

title: Wexford (Dáil constituency)


text:
Viron

Viron may refer to:

 * Viron P. Vaky (1925–2012), American diplomat
 * an alternative form of Vyronas, a suburb of Athens, Greece
 * Viron, a fictional city in The Book of the Long Sun by Gene Wolfe
 * Viron, a playable race (or their language) in the computer RTS game Ground Control II
 * Viron Transit, a bus company servicing the Ilocos Region, Philippines
 * Viron,the Latin name of virus meaning poison

title: Viron


text:
Apposition

Apposition is a grammatical construction in which two elements, normally noun phrases, are placed side by side so one element identifies the other in a different way. The two elements are said to be in apposition, and one of the elements is called the appositive, but its identification requires consideration of how the elements are used in a sentence.

For example, in these sentences, the phrases Alice Smith and my sister are in apposition, with the appositive identified with italics:
 * My sister, Alice Smith, likes jelly beans.
 * Alice Smith, my sister, likes jelly beans.

Traditionally, appositives were called by their Latin name appositio, derived from the Latin ad ("near") and positio ("placement"), although the English form is now more commonly used.

Apposition is a figure of speech of the scheme type and often results when the verbs (particularly verbs of being) in supporting clauses are eliminated to produce shorter descriptive phrases. That makes them often function as hyperbatons, or figures of disorder, because they can disrupt the flow of a sentence. For example, in the phrase: "My wife, a surgeon by training,...", it is necessary to pause before the parenthetical modification "a surgeon by training".

Restrictive versus non-restrictive
A restrictive appositive provides information essential to identifying the phrase in apposition. It limits or clarifies that phrase in some crucial way, such that the meaning of the sentence would change if the appositive were removed. In English, restrictive appositives are not set off by commas. The sentences below use restrictive appositives. Here and elsewhere in this section, the relevant phrases are marked as the appositive phraseA or the phrase in appositionP.
 * My friendP Alice SmithA likes jelly beans. – I have many friends, but I am restricting my statement to the one named Alice Smith.
 * He likes the television showP The SimpsonsA. – There are many television shows, and he likes that particular one.

A non-restrictive appositive provides information not critical to identifying the phrase in apposition. It provides non-essential information, and the essential meaning of the sentence would not change if the appositive were removed. In English, non-restrictive appositives are typically set off by commas. The sentences below use non-restrictive appositives.
 * Alice SmithP, my friendA, likes jelly beans. – The fact that Alice is my friend is not necessary to identify her.
 * I visited CanadaP, a beautiful countryA. – The appositive (that it is beautiful) is not needed to identify Canada.
 * The first to arrive at the houseA, sheP unlocked the front door.

The same phrase can be a restrictive appositive in one context and a non-restrictive appositive in another: If there is any doubt that the appositive is non-restrictive, it is safer to use the restrictive punctuation. In the example above, the restrictive first sentence is still correct even if there is only one brother.
 * My brotherP NathanA is here. – Restrictive: I have several brothers, and the one named Nathan is here.
 * My brotherP, NathanA, is here. – Non-restrictive: I have only one brother and, as an aside, his name is Nathan.

A relative clause is not always an appositive.
 * My sisterP, Alice SmithA, likes jelly beans. – The appositive is the noun phrase Alice Smith.
 * My sisterP, a doctor whose name is Alice SmithA, likes jelly beans. – The appositive is the noun phrase with dependent relative clause a doctor whose name is Alice Smith.
 * My sister, whose name is Alice Smith, likes jelly beans. – There is no appositive. There is a relative clause: whose name is Alice Smith.

More examples: Zero article:
 * The English writer Agatha Christie, author of nearly a hundred mystery novels and stories, was born in 1891.

Examples
In the following examples, the appositive phrases are shown in italics:

 * I was born in Finland, the land of a thousand lakes. – Appositives are not limited to describing people.
 * Barry Goldwater, the junior senator from Arizona, received the Republican nomination in 1964. – Clarifies who Barry Goldwater is.
 * Ren and Stimpy, both friends of mine, are starting a band. – Provides context on my relation to Ren and Stimpy.
 * Alexander the Great, the Macedonian conqueror of Persia, was one of the most successful military commanders of the ancient world. – Substantiates the sentence's predicate.
 * Aretha Franklin, a very popular singer, will be performing at the White House. – Explains why Aretha Franklin is performing at that venue.
 * You are better than anyone, anyone I've ever met. – Provides additional strength to the phrase.
 * A staunch supporter of democracy, Ann campaigned against the king's authoritarian rule. – Indicates the reason for Ann's actions.

A false title is a kind of restrictive appositive, as in "Noted biologist Jane Smith has arrived". Here the phrase noted biologist appears without an article as if it were a title. The grammatical correctness of false titles is controversial.

Appositive phrases can also serve as definitions:
 * No one – not a single person – should ever suffer that way. – Emphatic semantic duplication.

Appositive genitive
In several languages, the same syntax that is used to express such relations as possession can also be used appositively:

 * In English:
 * "Appositive oblique", a prepositional phrase with of as in: the month of December, the sin of pride, or the city of New York. That has also been invoked as an explanation for the double genitive: a friend of mine.
 * The ending -'s as in In Dublin's Fair City, which is uncommon.
 * In Classical Greek:
 * "Genitive of explanation" as in, "a monster (great affair) of a boar" (Histories of Herodotus, 1.36), where ὑὸς, the word for boar is inflected for the genitive singular
 * In Japanese:
 * Postpositive no as in: ふじの山
 * In Biblical Hebrew:
 * Construct, "genitive of association" as in: גַּן עֵדֶן, "the Garden of Eden"

title: Apposition


text:
Matt Roth (American football)

Matthew M. Roth (born October 14, 1982) is a former American football defensive end in the National Football League (NFL). He was selected by the Miami Dolphins in the second round of the 2005 NFL Draft. He played college football at Iowa. He also played for the Cleveland Browns and Jacksonville Jaguars.

Early life
Roth attended Willowbrook High School in Villa Park, Illinois. He was a consensus All-America pick as a senior when he played linebacker and fullback.

Roth lettered three times in wrestling (took his junior off to focus on football), where he won a state title as a senior with a record of 31-0.

College career
Roth was a two-time first-team All-Big Ten selection and an All-American selection as a senior at the University of Iowa.

Roth began his Iowa career as a middle linebacker. He shifted to the defensive line in 2002.

Miami Dolphins
Roth was drafted by the Miami Dolphins in the second round (46th overall) of the 2005 NFL Draft, using the pick acquired in the Patrick Surtain trade.

Roth played in a reserve role in all 32 games in his first two seasons.

With the departure of Kevin Carter to the Tampa Bay Buccaneers and David Bowens to free agency, Roth was named starting defensive end in 2007.

In 2008, Roth moved to outside linebacker after the Dolphins shifted to the 3-4 defense. He started 14 of 16 games.

Roth was the subject of controversy at the beginning of training camp in 2009. According to head coach Tony Sparano, Roth failed the team's initial conditioning test due to an unknown illness. Roth's agent, Drew Rosenhaus, stated in a television appearance the failed test was due to a groin injury. On September 5, Roth was placed on the Reserve/Non-Football-Injury list. He was later waived on November 24 of that year.

Cleveland Browns
Roth was claimed off waivers by the Cleveland Browns on November 25, 2009.

Jacksonville Jaguars
On August 11, 2011, Roth signed with the Jacksonville Jaguars.

NFL statistics
Key
 * GP: games played
 * COMB: combined tackles
 * TOTAL: total tackles
 * AST: assisted tackles
 * SACK: sacks
 * FF: forced fumbles
 * FR: fumble recoveries
 * FR YDS: fumble return yards
 * INT: interceptions
 * IR YDS: interception return yards
 * AVG IR: average interception return
 * LNG: longest interception return
 * TD: interceptions returned for touchdown
 * PD: passes defensed

title: Matt Roth (American football)


text:
User talk:Thomas7a~enwiki

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title: User talk:Thomas7a~enwiki


text:
Air One

Air One S.p.A. was an Italian low-cost airline which operated as Air One "Smart Carrier". It operated as Alitalia's low-cost subsidiary with operating bases located in Catania, Palermo, Pisa, Venice and Verona; while Tirana was a focus city. "Air One" is a portmanteau of the English meaning Air One and the Italian word 'airone', pronounced IPA [ai'rone], meaning heron (the bird depicted in the airline's logo), which was also the airline's callsign.

Before the merger with Alitalia, Air One was a competitor, the second largest airline in Italy, with a network to 36 destinations in Italy, Europe and North America. Its main bases were Rome Fiumicino Airport, Linate Airport in Milan and Turin Airport.

Air One ceased operations on 30 October 2014 as part of the new concept of its parent company Alitalia based on its new partnership with Etihad Airways. All routes were either cancelled or taken over by Alitalia itself.

First years
On 27 April 1995 Air One began scheduled flights between Milan (Linate) and Brindisi and Reggio Calabria and Lamezia Terme.

In the year 2000, Air One announced a partnership with Lufthansa and nearly all Air One flights became code-shared with Lufthansa.

As of June 2006, regional destinations were served under the name Air One CityLiner with the brand new fleet of Bombardier CRJ-900s.

In 2007, Air One carried approximately 5.5 million passengers (scheduled and charter), thus becoming the second largest Italian airline in terms of passenger traffic. 2007 revenues totaled EUR750 million with a net profit of EUR6.8 million.

Merger with Alitalia

In August 2008, it was announced that Air One was to be merged with Alitalia. Air One was almost bankrupt in 2008, and the merger with Alitalia-CAI was the only viable solution to save it.

On 13 January 2009, Air One officially became part of Alitalia, though the two airlines were to be combined into one over time. A detailed integration plan was at that time yet to be announced.

On 28 March 2009, due to the merger with Alitalia, the cooperation between Lufthansa's Miles & More and Air One ended. On 28 June 2009, also due to the Alitalia merger, the partnerships with United Airlines' Mileage Plus program and Air Canada's Aeroplan program ended.

Later in 2009, the Alitalia and Air One booking procedures were unified so that the airlines effectively became the same.

Air One "Smart Carrier" - low cost subsidiary

On 28 March 2010, Air One Smart Carrier as a separate brand from Alitalia began operating low-cost flights out of Milan Malpensa Airport. Nine domestic and five international destinations were initially served, using five Airbus A320s painted in the Air One livery and formatted to 180 seats.

In its first full quarter of operations, Air One Smart Carrier transported 320 000 passengers, with an on-time performance of 89%.

On 2 February 2011, Air One Smart Carrier announced that, in the summer 2011 season, it would expand its operations at Milan Malpensa and also open a new base at Pisa Airport. The base opened on 1 July 2011. Air One Smart Carrier predicted it would carry 1,6 million passengers in 2011, compared to 0,9 million in 2010, and a new website was also launched.

On 21 December 2011, Air One Smart Carrier announced a new base at Venice Marco Polo Airport, with flights starting in May 2012. On 1 October 2012, operations commenced at Air One Smart Carrier's new base in Catania Fontanarossa Airport, the fourth base. In September 2013 the opening of a fifth base at Palermo Falcone-Borsellino Airport was announced with flights to commence in March 2014. Including a new route to London Gatwick Airport, a destination not served by Air One since the ending of flights from Milan Malpensa Airport.

On 26 October 2013, Air One closed its operating base in Milan Malpensa Airport and announced a new base at Palermo Falcone–Borsellino Airport. The flights from Palermo started in March 2014.

Closure
On 26 August 2014, it was announced that parent-company Alitalia would shut down Air One by autumn 2014. All remaining routes were terminated by 30 October 2014 with some base operations and routes already closed by 30 September. Some routes, especially within Italy, have been taken over by Alitalia itself as well as the former Air One fleet.

Fleet history
Air One operated the following aircraft types over its lifetime:

The Air One fleet progression over the years:

 * In January 2006, the airline signed a contract with Airbus for 30 Airbus A320s and 60 options, to replace the carrier's leased fleet of Boeing 737-400s.
 * In May 2007, the airline announced the conversion of options and purchase rights for 50 Airbus A320s into firm orders, bringing its commitment to the type to 90 aircraft.
 * In June 2008, the airline ordered 24 aircraft from Airbus for 4.8 billion dollars. Air One also had an option to buy another 20 aircraft for 3.8 billion dollars. The order included 12 Airbus A330s and 12 A350s. The order was transferred to Alitalia when Air One ceased operations.

title: Air One


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H-13 (Michigan county highway)

H-13 is a county-designated highway in the Upper Peninsula of the US state of Michigan that runs north–south for approximately 36.2 mi between Nahma Junction in Delta County and the Munising area in Alger County. The highway is also signed as Federal Forest Highway 13 (FFH-13), a Federal Forest Highway between Nahma Junction and Wetmore. The roadway runs through rural national forest lands providing access to several campgrounds and parks. The area contains several lakes as well. The Forest Highway System dates back to the 1920s, and an earthen roadway was present along the route of FFH-13 by the 1930s. It was paved by the late 1940s and added to the county-designated highway system in the 1970s. A section of H-13 in Alger County originally continued north to Miners Castle, but the roadway designation was truncated in the first decade of the 21st century.

Route description
H-13/FFH-13 starts at an intersection with US Highway 2 (US 2) west of Moss Lake. The roadway runs north crossing a line of the Canadian National Railway. It heads through the Hiawatha National Forest, running parallel to the Sturgeon River. H-13/FFH-13 crosses the river near the Flowing Well National Forest Campground on a T-beam bridge built in 1941. The road meanders from there northeasterly through rural Delta County forests, passing to the west of Dana and Skeels lakes and crossing several small streams. It crosses into the southeastern corner of Alger County near Straits Lake. The road continues northeasterly and then meanders back and forth along the Alger–Schoolcraft county line in an area dotted with several lakes.

H-13/FFH-13 crosses east into Schoolcraft County completely and provides access to the Pete's Lake National Forest Campground near the lake of the same name. The road shifts back westerly to follow the county line near the Widewaters National Forest Campground; from here north the forest highway will follow the county line north to the northwestern corner of Schoolcraft County. Along the way, H-13 meets the southern terminus of the unsigned H-09. Once the road crosses back into Alger County completely, it provides access to Wagner Falls State Park and passes Hanley Field, a private airport south of Wetmore. The forest highway crosses another branch of the Canadian National Railway south of the junction with M-28/M-94 in Wetmore. At that junction, the FFH-13 designation ends and H-13 continues north as a gravel surface along Connors Road through Munising Township. The county road ends at the intersection with H-58 (Munising–Van Meer–Shingleton Road) in the Pictured Rocks National Lakeshore. As a county-designated highway, H-13 is maintained by the county road commissions of Delta, Alger and Schoolcraft counties (DCRC, ACRC and SCRC respectively) with support for the FFH-13 segment as part of the Forest Highway System that is funded and administered by the United States Forest Service and the Federal Highway Administration. H-13/FFH-13 forms a major north–south artery for the Hiawatha National Forest.

History
The Forest Highway System was created by the Federal Aid Highway Act of 1921. An earthen road was present along the route of H-13 by the middle of 1936. Later that year, the segment along the Alger–Schoolcraft county line was built as a gravel road, and Miners Castle Road was upgraded to gravel as well. Additional segments were under construction in 1940 in Delta County and south of Wetmore. During World War II, the gravel surface was downgraded to earth along Miners Castle Road. The rest of the modern H-13 was paved in 1948 or 1949.

The county-designated highway system was created around October 5, 1970, when the state approved the system. The H-13 designation debuted in 1972 between Nahma Junction and H-58; H-13 turned east and ran concurrently with H-58 before turning north on Miners Castle Road. The northernmost segment was paved in 1987, completing the paving along the entire route. The H-58 concurrency was removed in 2004 when the northern segment of H-13 along Miners Castle Road was redesignated H-11.

title: H-13 (Michigan county highway)


text:
Wikipedia:Articles for deletion/Daruma dolls.jpg

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was N/A. jni 14:43, 26 Feb 2005 (UTC)

Daruma dolls.jpg
Image moved to Commons Pkuczynski 16:27, 20 Feb 2005 (UTC)

 * Images should be listed on Images for deletion. -- Cyrius|✎ 19:15, 20 Feb 2005 (UTC)

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text:
Vyron

Vyron or Vyronas may refer to:
 * The Greek name for George Gordon Byron, 6th Baron Byron
 * Vyronas, a suburb of Athens, Greece, named after Lord Byron
 * Vyron (given name)

title: Vyron


text:
Johannes Magnus

Johannes Magnus (a modified form of Ioannes Magnus, a Latin translation of his birth name Johan Månsson; 19 March 1488 – 22 March 1544) was the last functioning Catholic Archbishop in Sweden, and also a theologian, genealogist, and historian.

Life
Johannes Magnus was born in Linköping, son of the burgess Måns Pedersson and his wife Kristina Kruse. (His own later claims to be descended from a noble family named Store are unverified.) Magnus was selected by Gustav I Vasa to become Archbishop, in 1523. As he was about to travel to Rome to be ordained, a papal bull from Pope Clement VII was received, stating that the previous Archbishop Gustav Trolle, who was at the time in exile abroad, should be reinstated. The papal bull declared the deposition of Trolle unlawful. However, Gustav Vasa refused to reinstate Trolle. Instead he ignored the papal bull and took it upon himself to install Magnus without papal acceptance. Before long, however, Johannes Magnus rebelled by declaring his discontent with the Lutheran teachings spread by the brothers Olaus and Laurentius Petri, under the supervision of King Gustav Vasa. The King then sent him off to Russia as a diplomat in 1526. Johannes Magnus was careful not to return home during that time, realizing that he was unwanted. Gustav Vasa appointed a new archbishop, Laurentius Petri, in 1531, and Johannes realized that his time as archbishop was over.

His brother, Olaus Magnus, had meanwhile travelled to Rome to explain the matter of Gustav Trolle to the Pope. In 1533 the Pope finished investigating the Trolle matter and decided that Magnus was the most appropriate successor, and Magnus travelled to Rome to be ordained. However, as Sweden now no longer took direction from the Vatican, both brothers remained in Italy for the remainder of their lives.

Magnus spent his time in Venice and Rome, where he wrote two historical works about Sweden: Historia de omnibus Gothorum Sueonumque regibus and Historia metropolitanæ ecclesiæ Upsaliensis, which are important for their historical information, but are also filled with tales that have no reliable foundation. After the death of Johannes in 1544, the line of Swedish archbishops consecrated by the Pope ended. He died in Rome.

Works
The Historia de omnibus Gothorum Sueonumque regibus ("History of all Kings of Goths and  Swedes") is a work on Swedish history, which was printed posthumously in Rome in 1554 by Johannes' brother Olaus Magnus. Olaus sent it to Sweden with a dedication to the dukes Eric, John, Magnus and Charles, Gustav's sons. It was subsequently republished several times. It appeared in a Swedish translation by Er. Schroderus for the first time in 1620. It is a very unreliable source for early Swedish history.

Johannes Magnus made creative use of Jordanes' Getica and of Saxo Grammaticus to depict a history of the Swedish people, of their kings, and of the "Goths abroad". He states that Magog, son of Japheth, was Sweden's first king. The first 16 volumes are taken up by the period before AD 1000 in a strange mixture of tales from earlier writers and his own fiction, allegedly derived from runic records at Uppsala in the Younger Futhark, which he claimed had served the Goths as an alphabet for some two millennia before Christ. Johannes Magnus invented a list of kings of Sweden with six Erics before Eric the Victorious, where he started counting from Jordanes' Berig as Eric I. He also invented six kings of the name Charles before Charles Sverkersson. This is how Gustav I Vasa's sons could style themselves as Eric (XIV) and Charles (IX). While the work describes these fictional Erics and Charles in generally positive terms, it also includes a few invented tyrants with names similar to Gustav.

The work is exceedingly patriotic and suggests that Denmark was populated by convicts exiled from Sweden, a charge drawing a sharp rebuttal from the Danish court.

A milestone in Swedish and European Gothicism, Johannes’ work proved fundamental in the birth of various declensions of Nordicism, arguing that humankind stemmed from the North and imbuing this cardinal point with powerful political and prophetical meanings.

title: Johannes Magnus