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|---|---|---|
[
"Ornithopter",
"subclass of",
"powered aircraft"
] |
Crewed flight
Crewed ornithopters fall into two general categories: Those powered by the muscular effort of the pilot (human-powered ornithopters), and those powered by an engine.
Around 1894, Otto Lilienthal, an aviation pioneer, became famous in Germany for his widely publicized and successful glider flights. Lilienthal also studied bird flight and conducted some related experiments. He constructed an ornithopter, although its complete development was prevented by his untimely death on 9 August 1896 in a glider accident.
In 1929, a man-powered ornithopter designed by Alexander Lippisch (designer of the Messerschmitt Me 163 Komet) flew a distance of 250 to 300 metres (800–1,000 ft) after tow launch. Since a tow launch was used, some have questioned whether the aircraft was capable of flying on its own. Lippisch asserted that the aircraft was actually flying, not making an extended glide. (Precise measurement of altitude and velocity over time would be necessary to resolve this question.) Most of the subsequent human-powered ornithopters likewise used a tow launch, and flights were brief simply because human muscle power diminishes rapidly over time.
In 1942, Adalbert Schmid made a much longer flight of a human-powered ornithopter at Munich-Laim. It travelled a distance of 900 metres (3,000 ft), maintaining a height of 20 metres (65 ft) throughout most of the flight. Later this same aircraft was fitted with a three-horsepower (2.2 kW) Sachs motorcycle engine. With the engine, it made flights up to 15 minutes in duration. Schmid later constructed a 10-horsepower (7.5 kW) ornithopter, based on the Grunau-Baby IIa sailplane, which was flown in 1947. The second aircraft had flapping outer wing panels.The French engineer René Riout devoted himself for three decades to the realization of flapping wing ornithopters. In 1905 he invented his first models. In 1909 he won the gold medal in the Lépine competition for a reduced model. In 1913 he worked on the development of a model ordered by a pilot, the Dubois-Riout. The tests were stopped in 1916. In 1937, he finalized the Riout 102T Alérion, certainly the most successful piloted flapping wing ornithopter until the second decade of the 21st century. Unfortunately, the conclusions of the wind tunnel tests were not favorable to the continuation of the project.
| 19
|
[
"Ornithopter",
"instance of",
"aircraft lift class"
] |
An ornithopter (from Greek ornis, ornith- 'bird' and pteron 'wing') is an aircraft that flies by flapping its wings. Designers sought to imitate the flapping-wing flight of birds, bats, and insects. Though machines may differ in form, they are usually built on the same scale as flying animals. Larger, crewed ornithopters have also been built and some have been successful. Crewed ornithopters are generally either powered by engines or by the pilot.
| 20
|
[
"Ship of Theseus",
"main subject",
"identity"
] |
The Ship of Theseus is a thought experiment about whether an object which has had all of its original components replaced remains the same object. According to legend, Theseus, the mythical Greek founder-king of Athens, rescued the children of Athens from King Minos after slaying the minotaur and then escaped onto a ship going to Delos. Each year, the Athenians commemorated this by taking the ship on a pilgrimage to Delos to honor Apollo. A question was raised by ancient philosophers: After several centuries of maintenance, if each individual part of the Ship of Theseus was replaced, one at a time, was it still the same ship?
In contemporary philosophy, this thought experiment has applications to the philosophical study of identity over time, and has inspired a variety of proposed solutions and concepts in contemporary philosophy of mind concerned with the persistence of personal identity.
| 7
|
[
"Ship of Theseus",
"instance of",
"thought experiment"
] |
The Ship of Theseus is a thought experiment about whether an object which has had all of its original components replaced remains the same object. According to legend, Theseus, the mythical Greek founder-king of Athens, rescued the children of Athens from King Minos after slaying the minotaur and then escaped onto a ship going to Delos. Each year, the Athenians commemorated this by taking the ship on a pilgrimage to Delos to honor Apollo. A question was raised by ancient philosophers: After several centuries of maintenance, if each individual part of the Ship of Theseus was replaced, one at a time, was it still the same ship?
In contemporary philosophy, this thought experiment has applications to the philosophical study of identity over time, and has inspired a variety of proposed solutions and concepts in contemporary philosophy of mind concerned with the persistence of personal identity.History
In its original formulation, the "Ship of Theseus" paradox concerns a debate over whether or not a ship that had all of its components replaced one by one would remain the same ship. The account of the problem has been preserved by Plutarch in his Life of Theseus:
The ship wherein Theseus and the youth of Athens returned from Crete had thirty oars, and was preserved by the Athenians down even to the time of Demetrius Phalereus, for they took away the old planks as they decayed, putting in new and stronger timber in their places, insomuch that this ship became a standing example among the philosophers, for the logical question of things that grow; one side holding that the ship remained the same, and the other contending that it was not the same.
Centuries later, the philosopher Thomas Hobbes extended the thought experiment by supposing that a custodian gathered up all of the decayed parts of the ship as they were disposed of and replaced by the Athenians, and used those decaying planks to build a second ship. Hobbes posed the question of which of the two resulting ships, the custodians or the Athenians, was the same ship as the "original" ship.
For if that Ship of Theseus (concerning the Difference whereof, made by continual reparation, in taking out the old Planks, and putting in new, the sophisters of Athens were wont to dispute) were, after all the Planks were changed, the same Numerical Ship it was at the beginning; and if some Man had kept the Old Planks as they were taken out, and by putting them afterward together in the same order, had again made a Ship of them, this, without doubt, had also been the same Numerical Ship with that which was at the beginnings and so there would have been two Ships Numerically the same, which is absurd... But we must consider by what name anything is called when we inquire concerning the Identity of it... so that a Ship, which signifies Matter so figured, will be the same, as long as the Matter remains the same; but if no part of the Matter is the same, then it is Numerically another Ship; and if part of the Matter remains, and part is changed, then the Ship will be partly the same, and partly not the same.
Hobbes considers the two resulting ships as illustrating two different definitions of "Identity" or sameness that are being compared to the original ship: 1) the ship that maintains the same "Form" as the original, that which persists through complete replacement of material, and 2) the ship made of the same "Matter", that which stops being 100% the same ship when the first part is replaced.
| 8
|
[
"Ship of Theseus",
"instance of",
"paradox"
] |
The Ship of Theseus is a thought experiment about whether an object which has had all of its original components replaced remains the same object. According to legend, Theseus, the mythical Greek founder-king of Athens, rescued the children of Athens from King Minos after slaying the minotaur and then escaped onto a ship going to Delos. Each year, the Athenians commemorated this by taking the ship on a pilgrimage to Delos to honor Apollo. A question was raised by ancient philosophers: After several centuries of maintenance, if each individual part of the Ship of Theseus was replaced, one at a time, was it still the same ship?
In contemporary philosophy, this thought experiment has applications to the philosophical study of identity over time, and has inspired a variety of proposed solutions and concepts in contemporary philosophy of mind concerned with the persistence of personal identity.History
In its original formulation, the "Ship of Theseus" paradox concerns a debate over whether or not a ship that had all of its components replaced one by one would remain the same ship. The account of the problem has been preserved by Plutarch in his Life of Theseus:
The ship wherein Theseus and the youth of Athens returned from Crete had thirty oars, and was preserved by the Athenians down even to the time of Demetrius Phalereus, for they took away the old planks as they decayed, putting in new and stronger timber in their places, insomuch that this ship became a standing example among the philosophers, for the logical question of things that grow; one side holding that the ship remained the same, and the other contending that it was not the same.
Centuries later, the philosopher Thomas Hobbes extended the thought experiment by supposing that a custodian gathered up all of the decayed parts of the ship as they were disposed of and replaced by the Athenians, and used those decaying planks to build a second ship. Hobbes posed the question of which of the two resulting ships, the custodians or the Athenians, was the same ship as the "original" ship.
For if that Ship of Theseus (concerning the Difference whereof, made by continual reparation, in taking out the old Planks, and putting in new, the sophisters of Athens were wont to dispute) were, after all the Planks were changed, the same Numerical Ship it was at the beginning; and if some Man had kept the Old Planks as they were taken out, and by putting them afterward together in the same order, had again made a Ship of them, this, without doubt, had also been the same Numerical Ship with that which was at the beginnings and so there would have been two Ships Numerically the same, which is absurd... But we must consider by what name anything is called when we inquire concerning the Identity of it... so that a Ship, which signifies Matter so figured, will be the same, as long as the Matter remains the same; but if no part of the Matter is the same, then it is Numerically another Ship; and if part of the Matter remains, and part is changed, then the Ship will be partly the same, and partly not the same.
Hobbes considers the two resulting ships as illustrating two different definitions of "Identity" or sameness that are being compared to the original ship: 1) the ship that maintains the same "Form" as the original, that which persists through complete replacement of material, and 2) the ship made of the same "Matter", that which stops being 100% the same ship when the first part is replaced.Proposed resolutions
The Ship of Theseus paradox can be thought of as an example of a puzzle of material constitution - that is, a problem with determining the relationship between an object and the material that it is made out of.
| 9
|
[
"Ship of Theseus",
"named after",
"Theseus"
] |
The Ship of Theseus is a thought experiment about whether an object which has had all of its original components replaced remains the same object. According to legend, Theseus, the mythical Greek founder-king of Athens, rescued the children of Athens from King Minos after slaying the minotaur and then escaped onto a ship going to Delos. Each year, the Athenians commemorated this by taking the ship on a pilgrimage to Delos to honor Apollo. A question was raised by ancient philosophers: After several centuries of maintenance, if each individual part of the Ship of Theseus was replaced, one at a time, was it still the same ship?
In contemporary philosophy, this thought experiment has applications to the philosophical study of identity over time, and has inspired a variety of proposed solutions and concepts in contemporary philosophy of mind concerned with the persistence of personal identity.
| 14
|
[
"Bulletin of the Atomic Scientists",
"contributor to the creative work or subject",
"Albert Einstein"
] |
History
Founders and contributors
The founder and first editor of the Bulletin of the Atomic Scientists was biophysicist Eugene Rabinowitch (1901–1973). He founded the magazine with physicist Hyman Goldsmith. Rabinowitch was a professor of botany and biophysics at the University of Illinois and was also a founding member of the Continuing Committee for the Pugwash Conferences on Science and World Affairs. In addition to Rabinowitch and Goldsmith, contributors have included: Morton Grodzins, Hans Bethe, Anatoli Blagonravov, Max Born, Harrison Brown, Stuart Chase, Brock Chisholm, E.U. Condon, Albert Einstein, E.K. Fedorov, Bernard T. Feld, James Franck, Ralph E. Lapp, Richard S. Leghorn, J. Robert Oppenheimer, Lord Boyd Orr, Michael Polanyi, Louis Ridenour, Bertrand Russell, Nikolay Semyonov, Leó Szilárd, Edward Teller, A.V. Topchiev, Harold C. Urey, Paul Weiss, James L. Tuck, among many others.In 1949, the Educational Foundation for Nuclear Science incorporated as a not-for-profit 501(c)(3) organization to serve as the parent organization and fundraising mechanism of the Bulletin. In 2003, the board of directors voted to change the foundation's name to Bulletin of the Atomic Scientists.
| 4
|
[
"Bulletin of the Atomic Scientists",
"contributor to the creative work or subject",
"Edward Teller"
] |
History
Founders and contributors
The founder and first editor of the Bulletin of the Atomic Scientists was biophysicist Eugene Rabinowitch (1901–1973). He founded the magazine with physicist Hyman Goldsmith. Rabinowitch was a professor of botany and biophysics at the University of Illinois and was also a founding member of the Continuing Committee for the Pugwash Conferences on Science and World Affairs. In addition to Rabinowitch and Goldsmith, contributors have included: Morton Grodzins, Hans Bethe, Anatoli Blagonravov, Max Born, Harrison Brown, Stuart Chase, Brock Chisholm, E.U. Condon, Albert Einstein, E.K. Fedorov, Bernard T. Feld, James Franck, Ralph E. Lapp, Richard S. Leghorn, J. Robert Oppenheimer, Lord Boyd Orr, Michael Polanyi, Louis Ridenour, Bertrand Russell, Nikolay Semyonov, Leó Szilárd, Edward Teller, A.V. Topchiev, Harold C. Urey, Paul Weiss, James L. Tuck, among many others.In 1949, the Educational Foundation for Nuclear Science incorporated as a not-for-profit 501(c)(3) organization to serve as the parent organization and fundraising mechanism of the Bulletin. In 2003, the board of directors voted to change the foundation's name to Bulletin of the Atomic Scientists.
| 6
|
[
"Bulletin of the Atomic Scientists",
"contributor to the creative work or subject",
"Max Born"
] |
History
Founders and contributors
The founder and first editor of the Bulletin of the Atomic Scientists was biophysicist Eugene Rabinowitch (1901–1973). He founded the magazine with physicist Hyman Goldsmith. Rabinowitch was a professor of botany and biophysics at the University of Illinois and was also a founding member of the Continuing Committee for the Pugwash Conferences on Science and World Affairs. In addition to Rabinowitch and Goldsmith, contributors have included: Morton Grodzins, Hans Bethe, Anatoli Blagonravov, Max Born, Harrison Brown, Stuart Chase, Brock Chisholm, E.U. Condon, Albert Einstein, E.K. Fedorov, Bernard T. Feld, James Franck, Ralph E. Lapp, Richard S. Leghorn, J. Robert Oppenheimer, Lord Boyd Orr, Michael Polanyi, Louis Ridenour, Bertrand Russell, Nikolay Semyonov, Leó Szilárd, Edward Teller, A.V. Topchiev, Harold C. Urey, Paul Weiss, James L. Tuck, among many others.In 1949, the Educational Foundation for Nuclear Science incorporated as a not-for-profit 501(c)(3) organization to serve as the parent organization and fundraising mechanism of the Bulletin. In 2003, the board of directors voted to change the foundation's name to Bulletin of the Atomic Scientists.
| 9
|
[
"Bulletin of the Atomic Scientists",
"founded by",
"Eugene Rabinowitch"
] |
The Bulletin of the Atomic Scientists is a nonprofit organization concerning science and global security issues resulting from accelerating technological advances that have negative consequences for humanity. The Bulletin publishes content at both a free-access website and a bi-monthly, nontechnical academic journal. The organization has been publishing continuously since 1945, when it was founded by former Manhattan Project scientists as the Bulletin of the Atomic Scientists of Chicago immediately following the atomic bombings of Hiroshima and Nagasaki. The organization is also the keeper of the symbolic Doomsday Clock, the time of which is announced each January.History
Founders and contributors
The founder and first editor of the Bulletin of the Atomic Scientists was biophysicist Eugene Rabinowitch (1901–1973). He founded the magazine with physicist Hyman Goldsmith. Rabinowitch was a professor of botany and biophysics at the University of Illinois and was also a founding member of the Continuing Committee for the Pugwash Conferences on Science and World Affairs. In addition to Rabinowitch and Goldsmith, contributors have included: Morton Grodzins, Hans Bethe, Anatoli Blagonravov, Max Born, Harrison Brown, Stuart Chase, Brock Chisholm, E.U. Condon, Albert Einstein, E.K. Fedorov, Bernard T. Feld, James Franck, Ralph E. Lapp, Richard S. Leghorn, J. Robert Oppenheimer, Lord Boyd Orr, Michael Polanyi, Louis Ridenour, Bertrand Russell, Nikolay Semyonov, Leó Szilárd, Edward Teller, A.V. Topchiev, Harold C. Urey, Paul Weiss, James L. Tuck, among many others.In 1949, the Educational Foundation for Nuclear Science incorporated as a not-for-profit 501(c)(3) organization to serve as the parent organization and fundraising mechanism of the Bulletin. In 2003, the board of directors voted to change the foundation's name to Bulletin of the Atomic Scientists.
| 13
|
[
"Bulletin of the Atomic Scientists",
"instance of",
"academic journal"
] |
The Bulletin of the Atomic Scientists is a nonprofit organization concerning science and global security issues resulting from accelerating technological advances that have negative consequences for humanity. The Bulletin publishes content at both a free-access website and a bi-monthly, nontechnical academic journal. The organization has been publishing continuously since 1945, when it was founded by former Manhattan Project scientists as the Bulletin of the Atomic Scientists of Chicago immediately following the atomic bombings of Hiroshima and Nagasaki. The organization is also the keeper of the symbolic Doomsday Clock, the time of which is announced each January.
| 14
|
[
"Bulletin of the Atomic Scientists",
"publisher",
"Taylor & Francis"
] |
Online editions
The Bulletin has had a public-access website available online for some years, with a subscription magazine that comes out 6 times per year and is currently published by Taylor & Francis Online. An e-newsletter is also available without charge by signing up via the Bulletin website.Backfiles of the subscription magazine are available in the John A. Simpson Collection. The backfile from the first (1945) issue through the November 1998 issue of the Bulletin has also been made available free of charge via Google Books.November/December 2008 was the last print edition of the Bulletin, which became all-digital only that year. SAGE Publications began publishing the Bulletin's subscription magazine in September 2010; Taylor & Francis took over from Sage in January 2016.
| 15
|
[
"Bulletin of the Atomic Scientists",
"founded by",
"Hyman H. Goldsmith"
] |
History
Founders and contributors
The founder and first editor of the Bulletin of the Atomic Scientists was biophysicist Eugene Rabinowitch (1901–1973). He founded the magazine with physicist Hyman Goldsmith. Rabinowitch was a professor of botany and biophysics at the University of Illinois and was also a founding member of the Continuing Committee for the Pugwash Conferences on Science and World Affairs. In addition to Rabinowitch and Goldsmith, contributors have included: Morton Grodzins, Hans Bethe, Anatoli Blagonravov, Max Born, Harrison Brown, Stuart Chase, Brock Chisholm, E.U. Condon, Albert Einstein, E.K. Fedorov, Bernard T. Feld, James Franck, Ralph E. Lapp, Richard S. Leghorn, J. Robert Oppenheimer, Lord Boyd Orr, Michael Polanyi, Louis Ridenour, Bertrand Russell, Nikolay Semyonov, Leó Szilárd, Edward Teller, A.V. Topchiev, Harold C. Urey, Paul Weiss, James L. Tuck, among many others.In 1949, the Educational Foundation for Nuclear Science incorporated as a not-for-profit 501(c)(3) organization to serve as the parent organization and fundraising mechanism of the Bulletin. In 2003, the board of directors voted to change the foundation's name to Bulletin of the Atomic Scientists.
| 18
|
[
"Rolling and wheeled creatures in fiction and legend",
"instance of",
"artistic theme"
] |
Legends and speculative fiction reveal a longstanding human fascination with rolling and wheeled creatures. Such creatures appear in mythologies from Europe, Japan, pre-Columbian Mexico, the United States, and Australia, and in numerous modern works.
| 18
|
[
"High Society (soundtrack)",
"contributor to the creative work or subject",
"Louis Armstrong"
] |
Chart positions
Credits
Bing Crosby, Frank Sinatra, Celeste Holm, Grace Kelly - vocals
Louis Armstrong - trumpet, vocals
Louis Armstrong's Band:
Edmond Hall – clarinet
Trummy Young – trombone
Billy Kyle – piano
Arvell Shaw – double bass
Barrett Deems – drums
Saul Chaplin - arranger, music supervisor
Johnny Green - arranger, conductor, music supervisor
Skip Martin, Nelson Riddle, Conrad Salinger - arranger
| 1
|
[
"High Society (soundtrack)",
"performer",
"Frank Sinatra"
] |
Chart positions
Credits
Bing Crosby, Frank Sinatra, Celeste Holm, Grace Kelly - vocals
Louis Armstrong - trumpet, vocals
Louis Armstrong's Band:
Edmond Hall – clarinet
Trummy Young – trombone
Billy Kyle – piano
Arvell Shaw – double bass
Barrett Deems – drums
Saul Chaplin - arranger, music supervisor
Johnny Green - arranger, conductor, music supervisor
Skip Martin, Nelson Riddle, Conrad Salinger - arranger
| 3
|
[
"High Society (soundtrack)",
"performer",
"Grace Kelly"
] |
Chart positions
Credits
Bing Crosby, Frank Sinatra, Celeste Holm, Grace Kelly - vocals
Louis Armstrong - trumpet, vocals
Louis Armstrong's Band:
Edmond Hall – clarinet
Trummy Young – trombone
Billy Kyle – piano
Arvell Shaw – double bass
Barrett Deems – drums
Saul Chaplin - arranger, music supervisor
Johnny Green - arranger, conductor, music supervisor
Skip Martin, Nelson Riddle, Conrad Salinger - arranger
| 4
|
[
"High Society (soundtrack)",
"performer",
"Bing Crosby"
] |
High Society is a 1956 soundtrack album, featuring Bing Crosby, Frank Sinatra, Louis Armstrong and Grace Kelly. This was Crosby's fifth LP album, and his first recorded for Capitol Records. It was the soundtrack for the MGM feature film High Society, also released in 1956. Initially issued on vinyl either in mono or stereo format, the album has been issued on CD by Capitol in Japan (CD: TOCP-6587) in 1991 and by Capitol in the UK (CD: CDP 793787-2) in 1995. The album was also included in a 3-CD box set called "Original Soundtrack Recordings" issued by the EMI Music Group Australasia
Crosby's exclusive recording contract with Decca Records expired at the end of 1955 and he chose to go freelance.
After his recording of "True Love" with Grace Kelly went gold, Crosby joked that it was the only gold record to feature a real-life princess. "True Love" was the only song in the album to be nominated for an Academy Award but it lost out to "Que Sera, Sera".Chart positions
Credits
Bing Crosby, Frank Sinatra, Celeste Holm, Grace Kelly - vocals
Louis Armstrong - trumpet, vocals
Louis Armstrong's Band:
Edmond Hall – clarinet
Trummy Young – trombone
Billy Kyle – piano
Arvell Shaw – double bass
Barrett Deems – drums
Saul Chaplin - arranger, music supervisor
Johnny Green - arranger, conductor, music supervisor
Skip Martin, Nelson Riddle, Conrad Salinger - arranger
| 5
|
[
"High Society (soundtrack)",
"record label",
"Capitol Records"
] |
High Society is a 1956 soundtrack album, featuring Bing Crosby, Frank Sinatra, Louis Armstrong and Grace Kelly. This was Crosby's fifth LP album, and his first recorded for Capitol Records. It was the soundtrack for the MGM feature film High Society, also released in 1956. Initially issued on vinyl either in mono or stereo format, the album has been issued on CD by Capitol in Japan (CD: TOCP-6587) in 1991 and by Capitol in the UK (CD: CDP 793787-2) in 1995. The album was also included in a 3-CD box set called "Original Soundtrack Recordings" issued by the EMI Music Group Australasia
Crosby's exclusive recording contract with Decca Records expired at the end of 1955 and he chose to go freelance.
After his recording of "True Love" with Grace Kelly went gold, Crosby joked that it was the only gold record to feature a real-life princess. "True Love" was the only song in the album to be nominated for an Academy Award but it lost out to "Que Sera, Sera".
| 6
|
[
"High Society (soundtrack)",
"instance of",
"album"
] |
High Society is a 1956 soundtrack album, featuring Bing Crosby, Frank Sinatra, Louis Armstrong and Grace Kelly. This was Crosby's fifth LP album, and his first recorded for Capitol Records. It was the soundtrack for the MGM feature film High Society, also released in 1956. Initially issued on vinyl either in mono or stereo format, the album has been issued on CD by Capitol in Japan (CD: TOCP-6587) in 1991 and by Capitol in the UK (CD: CDP 793787-2) in 1995. The album was also included in a 3-CD box set called "Original Soundtrack Recordings" issued by the EMI Music Group Australasia
Crosby's exclusive recording contract with Decca Records expired at the end of 1955 and he chose to go freelance.
After his recording of "True Love" with Grace Kelly went gold, Crosby joked that it was the only gold record to feature a real-life princess. "True Love" was the only song in the album to be nominated for an Academy Award but it lost out to "Que Sera, Sera".
| 12
|
[
"High Society (soundtrack)",
"distribution format",
"LP record"
] |
High Society is a 1956 soundtrack album, featuring Bing Crosby, Frank Sinatra, Louis Armstrong and Grace Kelly. This was Crosby's fifth LP album, and his first recorded for Capitol Records. It was the soundtrack for the MGM feature film High Society, also released in 1956. Initially issued on vinyl either in mono or stereo format, the album has been issued on CD by Capitol in Japan (CD: TOCP-6587) in 1991 and by Capitol in the UK (CD: CDP 793787-2) in 1995. The album was also included in a 3-CD box set called "Original Soundtrack Recordings" issued by the EMI Music Group Australasia
Crosby's exclusive recording contract with Decca Records expired at the end of 1955 and he chose to go freelance.
After his recording of "True Love" with Grace Kelly went gold, Crosby joked that it was the only gold record to feature a real-life princess. "True Love" was the only song in the album to be nominated for an Academy Award but it lost out to "Que Sera, Sera".
| 13
|
[
"High Society (soundtrack)",
"form of creative work",
"soundtrack album"
] |
High Society is a 1956 soundtrack album, featuring Bing Crosby, Frank Sinatra, Louis Armstrong and Grace Kelly. This was Crosby's fifth LP album, and his first recorded for Capitol Records. It was the soundtrack for the MGM feature film High Society, also released in 1956. Initially issued on vinyl either in mono or stereo format, the album has been issued on CD by Capitol in Japan (CD: TOCP-6587) in 1991 and by Capitol in the UK (CD: CDP 793787-2) in 1995. The album was also included in a 3-CD box set called "Original Soundtrack Recordings" issued by the EMI Music Group Australasia
Crosby's exclusive recording contract with Decca Records expired at the end of 1955 and he chose to go freelance.
After his recording of "True Love" with Grace Kelly went gold, Crosby joked that it was the only gold record to feature a real-life princess. "True Love" was the only song in the album to be nominated for an Academy Award but it lost out to "Que Sera, Sera".
| 15
|
[
"The London Howlin' Wolf Sessions",
"performer",
"Howlin' Wolf"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.
| 3
|
[
"The London Howlin' Wolf Sessions",
"contributor to the creative work or subject",
"Eric Clapton"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.History
Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?" After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.
Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as "Richie," as Dayron was under the impression that, being a Beatle, his name could not be used directly.Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.
On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes.
| 4
|
[
"The London Howlin' Wolf Sessions",
"contributor to the creative work or subject",
"Bill Wyman"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.History
Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?" After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.
Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as "Richie," as Dayron was under the impression that, being a Beatle, his name could not be used directly.Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.
On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes.
| 7
|
[
"The London Howlin' Wolf Sessions",
"record label",
"Rolling Stones Records"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.
| 8
|
[
"The London Howlin' Wolf Sessions",
"contributor to the creative work or subject",
"Hubert Sumlin"
] |
History
Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?" After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.
Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as "Richie," as Dayron was under the impression that, being a Beatle, his name could not be used directly.Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.
On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes.Side one
"Rockin' Daddy" – 3:43 (recorded May 4, 1970)
Howlin' Wolf – vocal; Hubert Sumlin – rhythm guitar; Eric Clapton – lead guitar; Ian Stewart – piano; Phil Upchurch – bass; Charlie Watts – drums.
"I Ain't Superstitious" (Willie Dixon) – 3:34 (recorded May 2, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Steve Winwood – piano; Klaus Voormann – bass; Ringo Starr – drums; Jordan Sandke – trumpet; Dennis Lansing – tenor saxophone; Joe Miller – baritone saxophone; Bill Wyman – cowbell.
"Sittin' On Top Of The World" – 3:51 (recorded May 6, 1970)
Wolf – vocal; Jeffrey Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Lafayette Leake – piano; Wyman – bass; Watts – drums.
"Worried About My Baby" – 2:55 (recorded May 7, 1970)
Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Leake – piano; Wyman – bass; Watts – drums.
"What A Woman!" (James Oden) – 3:02 (recorded May 7, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – organ; Wyman – bass; Watts – drums.
"Poor Boy" – 3:04 (recorded May 4, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Wyman – bass; Watts – drums.
| 9
|
[
"The London Howlin' Wolf Sessions",
"contributor to the creative work or subject",
"Steve Winwood"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.History
Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?" After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.
Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as "Richie," as Dayron was under the impression that, being a Beatle, his name could not be used directly.Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.
On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes.
| 10
|
[
"The London Howlin' Wolf Sessions",
"contributor to the creative work or subject",
"Ian Stewart"
] |
Side one
"Rockin' Daddy" – 3:43 (recorded May 4, 1970)
Howlin' Wolf – vocal; Hubert Sumlin – rhythm guitar; Eric Clapton – lead guitar; Ian Stewart – piano; Phil Upchurch – bass; Charlie Watts – drums.
"I Ain't Superstitious" (Willie Dixon) – 3:34 (recorded May 2, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Steve Winwood – piano; Klaus Voormann – bass; Ringo Starr – drums; Jordan Sandke – trumpet; Dennis Lansing – tenor saxophone; Joe Miller – baritone saxophone; Bill Wyman – cowbell.
"Sittin' On Top Of The World" – 3:51 (recorded May 6, 1970)
Wolf – vocal; Jeffrey Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Lafayette Leake – piano; Wyman – bass; Watts – drums.
"Worried About My Baby" – 2:55 (recorded May 7, 1970)
Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Leake – piano; Wyman – bass; Watts – drums.
"What A Woman!" (James Oden) – 3:02 (recorded May 7, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – organ; Wyman – bass; Watts – drums.
"Poor Boy" – 3:04 (recorded May 4, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Wyman – bass; Watts – drums.
| 11
|
[
"The London Howlin' Wolf Sessions",
"instance of",
"album"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.History
Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?" After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.
Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as "Richie," as Dayron was under the impression that, being a Beatle, his name could not be used directly.Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.
On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes.
| 13
|
[
"The London Howlin' Wolf Sessions",
"record label",
"Chess Records"
] |
The London Howlin' Wolf Sessions is an album by blues musician Howlin' Wolf released in 1971 on Chess Records, and on Rolling Stones Records in Britain. It was one of the first super session blues albums, setting a blues master among famous musicians from the second generation of rock and roll, in this case Eric Clapton, Steve Winwood, Charlie Watts, and Bill Wyman. It peaked at #79 on the Billboard 200.
| 14
|
[
"The London Howlin' Wolf Sessions",
"contributor to the creative work or subject",
"Phil Upchurch"
] |
History
Backstage at the Fillmore Auditorium, after a concert by the Paul Butterfield Blues Band, Electric Flag, and Cream, Chess Records staff producer Norman Dayron spotted the guitar players of the latter two bands, Mike Bloomfield and Eric Clapton, talking and joking around. Dayron approached Clapton and, on impulse, asked "how would you like to do an album with Howlin' Wolf?" After confirming that the offer was legitimate, Clapton agreed, and Dayron set up sessions in London through the Chess organization to coordinate with Clapton's schedule.
Clapton secured the participation of the Rolling Stones rhythm section (pianist Ian Stewart, bassist Bill Wyman and drummer Charlie Watts), while Dayron assembled further musicians, including 19-year-old harmonica prodigy Jeffrey Carp, who died in 1973 at age 24. Initially, Marshall Chess did not want to pay the expense for flights and accommodations to send Wolf's long-serving guitarist Hubert Sumlin to England, but an ultimatum by Clapton mandated his presence. Sessions took place between May 2 and May 7, 1970, at Olympic Studios.On the first day, May 2, Watts and Wyman were unavailable, and a call went out for immediate replacements. Many showed up, but only recordings featuring Klaus Voormann and Ringo Starr were released from that day. In the initial album credits, Starr is listed as "Richie," as Dayron was under the impression that, being a Beatle, his name could not be used directly.Further overdubbing took place at the Chess studios in Chicago with Chess regulars Lafayette Leake on piano and Phil Upchurch on bass, and horn players Jordan Sandke, Dennis Lansing, and Joe Miller of the 43rd Street Snipers, Carp's band. Ex-Blind Faith keyboardist Steve Winwood, on tour in the United States, contributed to the overdubbing sessions as well. Although he actually plays on only five tracks for the original album, his name is featured on the cover below the Wolf's, along with Clapton, Wyman, and Watts.
On March 4, 2003, the current owner of the Chess catalogue Universal Music Group released a two-disc Deluxe Edition of the London Sessions. Included as bonus tracks on the first disc were three performances initially released on Chess CH 60026 in February 1974, London Revisited. The second disc featured outtakes and different mixes.Side one
"Rockin' Daddy" – 3:43 (recorded May 4, 1970)
Howlin' Wolf – vocal; Hubert Sumlin – rhythm guitar; Eric Clapton – lead guitar; Ian Stewart – piano; Phil Upchurch – bass; Charlie Watts – drums.
"I Ain't Superstitious" (Willie Dixon) – 3:34 (recorded May 2, 1970)
Wolf – vocal; Sumlin – rhythm guitar; Clapton – lead guitar; Steve Winwood – piano; Klaus Voormann – bass; Ringo Starr – drums; Jordan Sandke – trumpet; Dennis Lansing – tenor saxophone; Joe Miller – baritone saxophone; Bill Wyman – cowbell.
"Sittin' On Top Of The World" – 3:51 (recorded May 6, 1970)
Wolf – vocal; Jeffrey Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Lafayette Leake – piano; Wyman – bass; Watts – drums.
"Worried About My Baby" – 2:55 (recorded May 7, 1970)
Wolf – vocal, harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Leake – piano; Wyman – bass; Watts – drums.
"What A Woman!" (James Oden) – 3:02 (recorded May 7, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – organ; Wyman – bass; Watts – drums.
"Poor Boy" – 3:04 (recorded May 4, 1970)
Wolf – vocal; Carp – harmonica; Sumlin – rhythm guitar; Clapton – lead guitar; Winwood – piano; Wyman – bass; Watts – drums.
| 16
|
[
"Lily the Pink (song)",
"instance of",
"comedy song"
] |
"Lily the Pink" is a 1968 song released by the UK comedy group The Scaffold, which reached No. 1 in the UK Singles Chart. It is a modernisation of an older folk song titled "The Ballad of Lydia Pinkham". The lyrics celebrate the "medicinal compound" invented by Lily the Pink, and humorously chronicle the "efficacious" cures it has brought about, such as inducing morbid obesity to cure a weak appetite, or bringing about a sex change as a remedy for freckles.
| 12
|
[
"Whatever Gets You thru the Night",
"performer",
"John Lennon"
] |
Content
The recording featured Elton John on harmony vocals and piano. While in the studio, Elton bet Lennon that the song would top the charts, and such was Lennon's scepticism that Elton secured from him a promise to appear on stage at one of his performances, should the record indeed hit No. 1. When the record did achieve that feat, Lennon appeared at John's Thanksgiving performance at Madison Square Garden on 28 November 1974. It was Lennon's last major concert appearance.
"Whatever Gets You thru the Night" was not Lennon's first choice for a single. It was chosen by Capitol Records vice-president Al Coury, who had recently worked his singles 'magic' with Paul McCartney's album Band on the Run. Lennon created a promotional film for the song, in which he lip-synced the first verse while walking through Manhattan. Yoko Ono later created an alternate video for the song, featuring animations of Lennon's drawings.
In 2007, Yoko Ono granted Amnesty International the opportunity to have a number of bands cover Lennon's solo songbook, which included this song. Los Lonely Boys and Les Trois Accords performed it as the second single from the Instant Karma: The Amnesty International Campaign to Save Darfur album.
The live recording with the Elton John Band was released in 1981 on the EP 28 November 1974. The recording is also available on the box set Lennon (1990) and the 1996 expanded/remastered edition of Elton's album Here and There (1976).
| 1
|
[
"Whatever Gets You thru the Night",
"contributor to the creative work or subject",
"Elton John"
] |
Content
The recording featured Elton John on harmony vocals and piano. While in the studio, Elton bet Lennon that the song would top the charts, and such was Lennon's scepticism that Elton secured from him a promise to appear on stage at one of his performances, should the record indeed hit No. 1. When the record did achieve that feat, Lennon appeared at John's Thanksgiving performance at Madison Square Garden on 28 November 1974. It was Lennon's last major concert appearance.
"Whatever Gets You thru the Night" was not Lennon's first choice for a single. It was chosen by Capitol Records vice-president Al Coury, who had recently worked his singles 'magic' with Paul McCartney's album Band on the Run. Lennon created a promotional film for the song, in which he lip-synced the first verse while walking through Manhattan. Yoko Ono later created an alternate video for the song, featuring animations of Lennon's drawings.
In 2007, Yoko Ono granted Amnesty International the opportunity to have a number of bands cover Lennon's solo songbook, which included this song. Los Lonely Boys and Les Trois Accords performed it as the second single from the Instant Karma: The Amnesty International Campaign to Save Darfur album.
The live recording with the Elton John Band was released in 1981 on the EP 28 November 1974. The recording is also available on the box set Lennon (1990) and the 1996 expanded/remastered edition of Elton's album Here and There (1976).
| 4
|
[
"Earth Moving",
"genre",
"pop music"
] |
Album analysis
Oldfield used several vocalists on the album, including his then girlfriend, Anita Hegerland. The album's music was performed mainly with synthesizers. It was the first time Oldfield recorded an album without an instrumental piece; each track being vocal-based pop and rock songs. Oldfield's only other album free of instrumentals to date is 2014's Man on the Rocks.
The final track, despite appearing to be a lengthier piece, consists of two short, apparently unconnected songs, combined into one track, with a noticeable pause in between. According to Oldfield, the album was made in full compliance with his recording company, Virgin Records, which demanded he create more commercially oriented material than his previous albums. After recording Earth Moving Oldfield wanted to move away from 'computerised music' and return to real musicians and instruments; this is evident in his next album, Amarok.
| 5
|
[
"Earth Moving",
"form of creative work",
"studio album"
] |
Album analysis
Oldfield used several vocalists on the album, including his then girlfriend, Anita Hegerland. The album's music was performed mainly with synthesizers. It was the first time Oldfield recorded an album without an instrumental piece; each track being vocal-based pop and rock songs. Oldfield's only other album free of instrumentals to date is 2014's Man on the Rocks.
The final track, despite appearing to be a lengthier piece, consists of two short, apparently unconnected songs, combined into one track, with a noticeable pause in between. According to Oldfield, the album was made in full compliance with his recording company, Virgin Records, which demanded he create more commercially oriented material than his previous albums. After recording Earth Moving Oldfield wanted to move away from 'computerised music' and return to real musicians and instruments; this is evident in his next album, Amarok.
| 6
|
[
"Earth Moving",
"contributor to the creative work or subject",
"Anita Hegerland"
] |
Album analysis
Oldfield used several vocalists on the album, including his then girlfriend, Anita Hegerland. The album's music was performed mainly with synthesizers. It was the first time Oldfield recorded an album without an instrumental piece; each track being vocal-based pop and rock songs. Oldfield's only other album free of instrumentals to date is 2014's Man on the Rocks.
The final track, despite appearing to be a lengthier piece, consists of two short, apparently unconnected songs, combined into one track, with a noticeable pause in between. According to Oldfield, the album was made in full compliance with his recording company, Virgin Records, which demanded he create more commercially oriented material than his previous albums. After recording Earth Moving Oldfield wanted to move away from 'computerised music' and return to real musicians and instruments; this is evident in his next album, Amarok.
| 8
|
[
"Earth Moving",
"instance of",
"album"
] |
Album analysis
Oldfield used several vocalists on the album, including his then girlfriend, Anita Hegerland. The album's music was performed mainly with synthesizers. It was the first time Oldfield recorded an album without an instrumental piece; each track being vocal-based pop and rock songs. Oldfield's only other album free of instrumentals to date is 2014's Man on the Rocks.
The final track, despite appearing to be a lengthier piece, consists of two short, apparently unconnected songs, combined into one track, with a noticeable pause in between. According to Oldfield, the album was made in full compliance with his recording company, Virgin Records, which demanded he create more commercially oriented material than his previous albums. After recording Earth Moving Oldfield wanted to move away from 'computerised music' and return to real musicians and instruments; this is evident in his next album, Amarok.
| 17
|
[
"Earth Moving",
"record label",
"Virgin"
] |
Album analysis
Oldfield used several vocalists on the album, including his then girlfriend, Anita Hegerland. The album's music was performed mainly with synthesizers. It was the first time Oldfield recorded an album without an instrumental piece; each track being vocal-based pop and rock songs. Oldfield's only other album free of instrumentals to date is 2014's Man on the Rocks.
The final track, despite appearing to be a lengthier piece, consists of two short, apparently unconnected songs, combined into one track, with a noticeable pause in between. According to Oldfield, the album was made in full compliance with his recording company, Virgin Records, which demanded he create more commercially oriented material than his previous albums. After recording Earth Moving Oldfield wanted to move away from 'computerised music' and return to real musicians and instruments; this is evident in his next album, Amarok.
| 22
|
[
"Exposed (Mike Oldfield album)",
"performer",
"Mike Oldfield"
] |
Exposed is the first live album by English musician Mike Oldfield, released as a double album on 27 July 1979 by Virgin Records in the UK. It was recorded at various locations across Europe during Oldfield's debut concert tour as a solo artist, following the release of his fourth studio album Incantations (1978). The album features Incantations and his debut album Tubular Bells (1973) performed in their entirety, plus Oldfield's 1979 non-album single "Guilty" as the encore.
Exposed was initially marketed as a restricted release with just 100,000 copies produced, but strong sales prompted Virgin Records to give the album a full release. It peaked at No. 16 on the UK Albums Chart and earned a silver certification from the British Phonographic Industry for selling 60,000 copies. A concert film of the shows at the Wembley Conference Centre during the 1979 tour were released on DVD in October 2005, also entitled Exposed.
| 0
|
[
"Exposed (Mike Oldfield album)",
"contributor to the creative work or subject",
"Mike Oldfield"
] |
Exposed is the first live album by English musician Mike Oldfield, released as a double album on 27 July 1979 by Virgin Records in the UK. It was recorded at various locations across Europe during Oldfield's debut concert tour as a solo artist, following the release of his fourth studio album Incantations (1978). The album features Incantations and his debut album Tubular Bells (1973) performed in their entirety, plus Oldfield's 1979 non-album single "Guilty" as the encore.
Exposed was initially marketed as a restricted release with just 100,000 copies produced, but strong sales prompted Virgin Records to give the album a full release. It peaked at No. 16 on the UK Albums Chart and earned a silver certification from the British Phonographic Industry for selling 60,000 copies. A concert film of the shows at the Wembley Conference Centre during the 1979 tour were released on DVD in October 2005, also entitled Exposed.
| 1
|
[
"Exposed (Mike Oldfield album)",
"genre",
"progressive rock"
] |
Exposed is the first live album by English musician Mike Oldfield, released as a double album on 27 July 1979 by Virgin Records in the UK. It was recorded at various locations across Europe during Oldfield's debut concert tour as a solo artist, following the release of his fourth studio album Incantations (1978). The album features Incantations and his debut album Tubular Bells (1973) performed in their entirety, plus Oldfield's 1979 non-album single "Guilty" as the encore.
Exposed was initially marketed as a restricted release with just 100,000 copies produced, but strong sales prompted Virgin Records to give the album a full release. It peaked at No. 16 on the UK Albums Chart and earned a silver certification from the British Phonographic Industry for selling 60,000 copies. A concert film of the shows at the Wembley Conference Centre during the 1979 tour were released on DVD in October 2005, also entitled Exposed.
| 2
|
[
"Exposed (Mike Oldfield album)",
"record label",
"Virgin Records"
] |
Exposed is the first live album by English musician Mike Oldfield, released as a double album on 27 July 1979 by Virgin Records in the UK. It was recorded at various locations across Europe during Oldfield's debut concert tour as a solo artist, following the release of his fourth studio album Incantations (1978). The album features Incantations and his debut album Tubular Bells (1973) performed in their entirety, plus Oldfield's 1979 non-album single "Guilty" as the encore.
Exposed was initially marketed as a restricted release with just 100,000 copies produced, but strong sales prompted Virgin Records to give the album a full release. It peaked at No. 16 on the UK Albums Chart and earned a silver certification from the British Phonographic Industry for selling 60,000 copies. A concert film of the shows at the Wembley Conference Centre during the 1979 tour were released on DVD in October 2005, also entitled Exposed.Reissues
Exposed has been reissued a number of times including a HDCD reissue by Virgin Records in 2000.A double CD version was later released. A DVD version of the concert, recorded at Wembley Conference Centre, was released in 2005.
As of November 2016 the album has not been reissued on CD or digitally by Mercury Records. However, other reissued albums include different live recordings from the same period as Exposed. This comes as part of a deal in which Oldfield's Virgin albums were transferred to Universal's label. With the exception of this record and The Orchestral Tubular Bells, all Oldfield's 1970s albums have been reissued by Mercury Records on CD.
A reissue of Exposed by Universal Music Group on heavyweight vinyl was announced for release on 2 December 2016 on the same day as a vinyl reissue of the Collaborations disc from Oldfield's Boxed compilation.
| 5
|
[
"Exposed (Mike Oldfield album)",
"form of creative work",
"live album"
] |
Exposed is the first live album by English musician Mike Oldfield, released as a double album on 27 July 1979 by Virgin Records in the UK. It was recorded at various locations across Europe during Oldfield's debut concert tour as a solo artist, following the release of his fourth studio album Incantations (1978). The album features Incantations and his debut album Tubular Bells (1973) performed in their entirety, plus Oldfield's 1979 non-album single "Guilty" as the encore.
Exposed was initially marketed as a restricted release with just 100,000 copies produced, but strong sales prompted Virgin Records to give the album a full release. It peaked at No. 16 on the UK Albums Chart and earned a silver certification from the British Phonographic Industry for selling 60,000 copies. A concert film of the shows at the Wembley Conference Centre during the 1979 tour were released on DVD in October 2005, also entitled Exposed.
| 6
|
[
"Exposed (Mike Oldfield album)",
"instance of",
"album"
] |
Exposed is the first live album by English musician Mike Oldfield, released as a double album on 27 July 1979 by Virgin Records in the UK. It was recorded at various locations across Europe during Oldfield's debut concert tour as a solo artist, following the release of his fourth studio album Incantations (1978). The album features Incantations and his debut album Tubular Bells (1973) performed in their entirety, plus Oldfield's 1979 non-album single "Guilty" as the encore.
Exposed was initially marketed as a restricted release with just 100,000 copies produced, but strong sales prompted Virgin Records to give the album a full release. It peaked at No. 16 on the UK Albums Chart and earned a silver certification from the British Phonographic Industry for selling 60,000 copies. A concert film of the shows at the Wembley Conference Centre during the 1979 tour were released on DVD in October 2005, also entitled Exposed.
| 8
|
[
"Islands (Mike Oldfield album)",
"place of publication",
"United Kingdom"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.
| 0
|
[
"Islands (Mike Oldfield album)",
"performer",
"Mike Oldfield"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.
| 2
|
[
"Islands (Mike Oldfield album)",
"contributor to the creative work or subject",
"Mike Oldfield"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.Music videos, producers and singers
Islands was also released as a full-length VHS video album. For each track a video was made and released, often mixing state of the art (for the time) computer-generated images with real life images. This was released as part of The Wind Chimes video.
The album boasts the largest number of co-producers out of all of Oldfield's work; production was handled by Michael Cretu (later of Enigma fame), Geoffrey Downes, Tom Newman, Simon Phillips, Alan Shacklock, and Oldfield himself. Singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price.
| 3
|
[
"Islands (Mike Oldfield album)",
"contributor to the creative work or subject",
"Bonnie Tyler"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.Music videos, producers and singers
Islands was also released as a full-length VHS video album. For each track a video was made and released, often mixing state of the art (for the time) computer-generated images with real life images. This was released as part of The Wind Chimes video.
The album boasts the largest number of co-producers out of all of Oldfield's work; production was handled by Michael Cretu (later of Enigma fame), Geoffrey Downes, Tom Newman, Simon Phillips, Alan Shacklock, and Oldfield himself. Singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price.
| 6
|
[
"Islands (Mike Oldfield album)",
"contributor to the creative work or subject",
"Anita Hegerland"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.Music videos, producers and singers
Islands was also released as a full-length VHS video album. For each track a video was made and released, often mixing state of the art (for the time) computer-generated images with real life images. This was released as part of The Wind Chimes video.
The album boasts the largest number of co-producers out of all of Oldfield's work; production was handled by Michael Cretu (later of Enigma fame), Geoffrey Downes, Tom Newman, Simon Phillips, Alan Shacklock, and Oldfield himself. Singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price.
| 7
|
[
"Islands (Mike Oldfield album)",
"form of creative work",
"studio album"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.
| 10
|
[
"Islands (Mike Oldfield album)",
"instance of",
"album"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.
| 13
|
[
"Islands (Mike Oldfield album)",
"record label",
"Virgin"
] |
Islands is the 11th album by Mike Oldfield, released on 28 September 1987 by Virgin in the UK. Guest singers on the album are Bonnie Tyler, Kevin Ayers, Anita Hegerland, Max Bacon, and Jim Price. A different track list and cover was used for the American edition.
| 21
|
[
"Misa Hylton",
"instance of",
"human"
] |
Misa Hylton (previously known as Misa Hylton-Brim) is an American stylist and fashion designer. Known as a pioneer in the fashion industry, she has styled many hip-hop and R&B artists since the 1990s, most notably Lil' Kim and Mary J. Blige. Hylton's style, referred to as "hip-hop glamorous," has been credited with influencing fashion trends in popular culture. Hylton is a global creative partner for MCM and was the centerpiece of the 2019 documentary The Remix: Hip Hop x Fashion.
| 0
|
[
"Misa Hylton",
"field of work",
"fashion"
] |
Misa Hylton (previously known as Misa Hylton-Brim) is an American stylist and fashion designer. Known as a pioneer in the fashion industry, she has styled many hip-hop and R&B artists since the 1990s, most notably Lil' Kim and Mary J. Blige. Hylton's style, referred to as "hip-hop glamorous," has been credited with influencing fashion trends in popular culture. Hylton is a global creative partner for MCM and was the centerpiece of the 2019 documentary The Remix: Hip Hop x Fashion.Career beginnings
Hylton began working in fashion when she was a 17-year-old high school student, when she assisted on a Jodeci music video. Her boyfriend and A&R intern, Sean Combs, invited her to the set, and together they convinced Uptown Records founder Andre Harrell to let the group members wear combat boots, hoodies, and backwards hats. Combs later introduced her to other artists at Uptown Records, who became some of her first clients.Hylton most notably dressed Lil' Kim and Mary J. Blige, who she considered her muses. She began to design clothes due to the difficulty she experienced finding clothes for Lil' Kim, who was 4'11" and wore a size 4.5 shoe. Hylton was the designer and stylist for the purple jumpsuit and pasty that Lil' Kim wore to the 1999 VMAs. She stated that she focused on innovation and risk-taking with her early styles, and connected that pattern to being a member of the "hip hop generation". Hylton took inspiration from The Wiz for the fashion in Lil' Kim's "Crush on You" video. She also styled Lil' Kim for her solo debut album, Hard Core.When she was 21, Hylton founded Chyna Doll Enterprises and provided stylists for video shoots, magazine covers, and public appearance. Chyna Doll Enterprises styled artists such as Aaliyah, Faith Evans, Jodeci, Q-Tip, Foxy Brown, and Dru Hill. By age 25 Hylton had made one million dollars as a stylist. Hylton has also styled Combs, Missy Elliott, 50 Cent, La La Anthony, Mase, Terrence Howard, and Mary J. Blige in the "Not Gon' Cry" video.She has spoken on the barriers she faced as a young woman of color in the fashion world. The fashion her clients wore was referred to as "ghetto fabulous," which Hylton called "hip hop glam," and was not accepted by the mainstream fashion world. She would purchase luxury fashion for her clients on her own credit card.When Lil' Kim gained credibility after a MAC campaign, Hylton's clients began to be courted by fashion houses such as Galliano. Hylton stated in an Billboard interview that one of her favorite brands to pull for is Versace, in part because they featured Naomi Campbell as a model when dark skinned models were rarely walked by major fashion houses.Hylton frequently collaborates with Dapper Dan. Together they created custom shorts for rapper Trina fabricated from twenty dollar bills, and styled the Fendi Zucca print suits for the "Let's Get It" music video.
| 7
|
[
"Misa Hylton",
"contributor to the creative work or subject",
"Lil' Kim"
] |
Career beginnings
Hylton began working in fashion when she was a 17-year-old high school student, when she assisted on a Jodeci music video. Her boyfriend and A&R intern, Sean Combs, invited her to the set, and together they convinced Uptown Records founder Andre Harrell to let the group members wear combat boots, hoodies, and backwards hats. Combs later introduced her to other artists at Uptown Records, who became some of her first clients.Hylton most notably dressed Lil' Kim and Mary J. Blige, who she considered her muses. She began to design clothes due to the difficulty she experienced finding clothes for Lil' Kim, who was 4'11" and wore a size 4.5 shoe. Hylton was the designer and stylist for the purple jumpsuit and pasty that Lil' Kim wore to the 1999 VMAs. She stated that she focused on innovation and risk-taking with her early styles, and connected that pattern to being a member of the "hip hop generation". Hylton took inspiration from The Wiz for the fashion in Lil' Kim's "Crush on You" video. She also styled Lil' Kim for her solo debut album, Hard Core.When she was 21, Hylton founded Chyna Doll Enterprises and provided stylists for video shoots, magazine covers, and public appearance. Chyna Doll Enterprises styled artists such as Aaliyah, Faith Evans, Jodeci, Q-Tip, Foxy Brown, and Dru Hill. By age 25 Hylton had made one million dollars as a stylist. Hylton has also styled Combs, Missy Elliott, 50 Cent, La La Anthony, Mase, Terrence Howard, and Mary J. Blige in the "Not Gon' Cry" video.She has spoken on the barriers she faced as a young woman of color in the fashion world. The fashion her clients wore was referred to as "ghetto fabulous," which Hylton called "hip hop glam," and was not accepted by the mainstream fashion world. She would purchase luxury fashion for her clients on her own credit card.When Lil' Kim gained credibility after a MAC campaign, Hylton's clients began to be courted by fashion houses such as Galliano. Hylton stated in an Billboard interview that one of her favorite brands to pull for is Versace, in part because they featured Naomi Campbell as a model when dark skinned models were rarely walked by major fashion houses.Hylton frequently collaborates with Dapper Dan. Together they created custom shorts for rapper Trina fabricated from twenty dollar bills, and styled the Fendi Zucca print suits for the "Let's Get It" music video.
| 9
|
[
"Misa Hylton",
"occupation",
"wardrobe stylist"
] |
Misa Hylton (previously known as Misa Hylton-Brim) is an American stylist and fashion designer. Known as a pioneer in the fashion industry, she has styled many hip-hop and R&B artists since the 1990s, most notably Lil' Kim and Mary J. Blige. Hylton's style, referred to as "hip-hop glamorous," has been credited with influencing fashion trends in popular culture. Hylton is a global creative partner for MCM and was the centerpiece of the 2019 documentary The Remix: Hip Hop x Fashion.Career beginnings
Hylton began working in fashion when she was a 17-year-old high school student, when she assisted on a Jodeci music video. Her boyfriend and A&R intern, Sean Combs, invited her to the set, and together they convinced Uptown Records founder Andre Harrell to let the group members wear combat boots, hoodies, and backwards hats. Combs later introduced her to other artists at Uptown Records, who became some of her first clients.Hylton most notably dressed Lil' Kim and Mary J. Blige, who she considered her muses. She began to design clothes due to the difficulty she experienced finding clothes for Lil' Kim, who was 4'11" and wore a size 4.5 shoe. Hylton was the designer and stylist for the purple jumpsuit and pasty that Lil' Kim wore to the 1999 VMAs. She stated that she focused on innovation and risk-taking with her early styles, and connected that pattern to being a member of the "hip hop generation". Hylton took inspiration from The Wiz for the fashion in Lil' Kim's "Crush on You" video. She also styled Lil' Kim for her solo debut album, Hard Core.When she was 21, Hylton founded Chyna Doll Enterprises and provided stylists for video shoots, magazine covers, and public appearance. Chyna Doll Enterprises styled artists such as Aaliyah, Faith Evans, Jodeci, Q-Tip, Foxy Brown, and Dru Hill. By age 25 Hylton had made one million dollars as a stylist. Hylton has also styled Combs, Missy Elliott, 50 Cent, La La Anthony, Mase, Terrence Howard, and Mary J. Blige in the "Not Gon' Cry" video.She has spoken on the barriers she faced as a young woman of color in the fashion world. The fashion her clients wore was referred to as "ghetto fabulous," which Hylton called "hip hop glam," and was not accepted by the mainstream fashion world. She would purchase luxury fashion for her clients on her own credit card.When Lil' Kim gained credibility after a MAC campaign, Hylton's clients began to be courted by fashion houses such as Galliano. Hylton stated in an Billboard interview that one of her favorite brands to pull for is Versace, in part because they featured Naomi Campbell as a model when dark skinned models were rarely walked by major fashion houses.Hylton frequently collaborates with Dapper Dan. Together they created custom shorts for rapper Trina fabricated from twenty dollar bills, and styled the Fendi Zucca print suits for the "Let's Get It" music video.
| 16
|
[
"Misa Hylton",
"occupation",
"designer"
] |
Misa Hylton (previously known as Misa Hylton-Brim) is an American stylist and fashion designer. Known as a pioneer in the fashion industry, she has styled many hip-hop and R&B artists since the 1990s, most notably Lil' Kim and Mary J. Blige. Hylton's style, referred to as "hip-hop glamorous," has been credited with influencing fashion trends in popular culture. Hylton is a global creative partner for MCM and was the centerpiece of the 2019 documentary The Remix: Hip Hop x Fashion.
| 18
|
[
"Misa Hylton",
"sex or gender",
"female"
] |
Misa Hylton (previously known as Misa Hylton-Brim) is an American stylist and fashion designer. Known as a pioneer in the fashion industry, she has styled many hip-hop and R&B artists since the 1990s, most notably Lil' Kim and Mary J. Blige. Hylton's style, referred to as "hip-hop glamorous," has been credited with influencing fashion trends in popular culture. Hylton is a global creative partner for MCM and was the centerpiece of the 2019 documentary The Remix: Hip Hop x Fashion.
| 19
|
[
"Best of Hannah Montana",
"instance of",
"album"
] |
Disney character Hannah Montana (portrayed by Miley Cyrus) has released one live album, twenty one music videos, five soundtracks, two remix albums and five compilation albums, along with 12 singles out of 46 songs.
Cyrus' first musical effort credited to the Montana character was on March 1, 2006, with seven tracks on the show's first soundtrack, which debuted at number one in the United States, and peaked in the top ten on the UK Compilations Chart. The second soundtrack, Hannah Montana 2, topped the charts in the U.S., the Hannah Montana: The Movie soundtrack peaked at number one in Austria, Canada, New Zealand, Spain, the U.S., and Turkey, and Hannah Montana 3 topped the Billboard Kid Albums and Soundtracks charts. The first remix album, Hannah Montana 2: Non-Stop Dance Party, peaked at number seven in the U.S., and the second, Hannah Montana Hits Remixed, peaked at number 103. The first live album, Best of Both Worlds Concert, peaked at number one on the Kid Albums chart. The fifth and final Hannah Montana soundtrack, Hannah Montana Forever, was released on October 19, 2010, peaked at number 11 on the Billboard 200.
20 songs have charted on the Billboard Hot 100. "He Could Be the One" has proved to be the most successful in the United States, peaking at number ten on the chart.
| 5
|
[
"Late Night Feelings",
"language of work or name",
"English"
] |
Late Night Feelings is the fifth studio album by British producer Mark Ronson. It was released on 21 June 2019. It is his first album in four years, following Uptown Special (2015). Its lead single, "Nothing Breaks Like a Heart" featuring Miley Cyrus, was released on 29 November 2018. The title track "Late Night Feelings", featuring Lykke Li, was released alongside the album pre-order on 12 April. "Don't Leave Me Lonely" was released on 17 May 2019 as the album's third single. "Find U Again" featuring Camila Cabello was released on 30 May 2019 as the fourth single. "Pieces of Us" featuring King Princess was released on 17 June 2019 as the album's fifth single.
| 2
|
[
"Late Night Feelings",
"contributor to the creative work or subject",
"Lykke Li"
] |
Late Night Feelings is the fifth studio album by British producer Mark Ronson. It was released on 21 June 2019. It is his first album in four years, following Uptown Special (2015). Its lead single, "Nothing Breaks Like a Heart" featuring Miley Cyrus, was released on 29 November 2018. The title track "Late Night Feelings", featuring Lykke Li, was released alongside the album pre-order on 12 April. "Don't Leave Me Lonely" was released on 17 May 2019 as the album's third single. "Find U Again" featuring Camila Cabello was released on 30 May 2019 as the fourth single. "Pieces of Us" featuring King Princess was released on 17 June 2019 as the album's fifth single.
| 7
|
[
"Late Night Feelings",
"performer",
"Mark Ronson"
] |
Late Night Feelings is the fifth studio album by British producer Mark Ronson. It was released on 21 June 2019. It is his first album in four years, following Uptown Special (2015). Its lead single, "Nothing Breaks Like a Heart" featuring Miley Cyrus, was released on 29 November 2018. The title track "Late Night Feelings", featuring Lykke Li, was released alongside the album pre-order on 12 April. "Don't Leave Me Lonely" was released on 17 May 2019 as the album's third single. "Find U Again" featuring Camila Cabello was released on 30 May 2019 as the fourth single. "Pieces of Us" featuring King Princess was released on 17 June 2019 as the album's fifth single.
| 12
|
[
"Late Night Feelings",
"instance of",
"album"
] |
Late Night Feelings is the fifth studio album by British producer Mark Ronson. It was released on 21 June 2019. It is his first album in four years, following Uptown Special (2015). Its lead single, "Nothing Breaks Like a Heart" featuring Miley Cyrus, was released on 29 November 2018. The title track "Late Night Feelings", featuring Lykke Li, was released alongside the album pre-order on 12 April. "Don't Leave Me Lonely" was released on 17 May 2019 as the album's third single. "Find U Again" featuring Camila Cabello was released on 30 May 2019 as the fourth single. "Pieces of Us" featuring King Princess was released on 17 June 2019 as the album's fifth single.
| 13
|
[
"ICarly (soundtrack)",
"form of creative work",
"compilation soundtrack album"
] |
iCarly: Music from and Inspired by the Hit TV Show is the soundtrack album of the Nickelodeon television series iCarly, which premiered on September 8, 2007. It debuted on the Billboard 200 at number 28 with 20,000 copies sold in its opening week. A follow up soundtrack called iCarly: iSoundtrack II was released on January 24, 2012.
| 2
|
[
"ICarly (soundtrack)",
"contributor to the creative work or subject",
"Miranda Cosgrove"
] |
Songs
"Leave It All to Me", performed by Miranda Cosgrove featuring Drake Bell, was released on December 18, 2007. "Stay My Baby", performed by Miranda Cosgrove, was released as a promotional single on June 5, 2008. It was originally sung by Swedish singer Amy Diamond in 2007. The track "Headphones On" was included on Rock Band.
| 4
|
[
"ICarly (soundtrack)",
"instance of",
"album"
] |
iCarly: Music from and Inspired by the Hit TV Show is the soundtrack album of the Nickelodeon television series iCarly, which premiered on September 8, 2007. It debuted on the Billboard 200 at number 28 with 20,000 copies sold in its opening week. A follow up soundtrack called iCarly: iSoundtrack II was released on January 24, 2012.
| 6
|
[
"ICarly (soundtrack)",
"followed by",
"iCarly – iSoundtrack II – Music from and Inspired by the Hit TV Show"
] |
iCarly: Music from and Inspired by the Hit TV Show is the soundtrack album of the Nickelodeon television series iCarly, which premiered on September 8, 2007. It debuted on the Billboard 200 at number 28 with 20,000 copies sold in its opening week. A follow up soundtrack called iCarly: iSoundtrack II was released on January 24, 2012.
| 8
|
[
"Bilderstreit",
"location",
"Cologne"
] |
The art exhibition Bilderstreit – Widerspruch, Einheit und Fragment in der Kunst seit 1960 (Iconoclasm – appeal, unity and fragment in art since 1960) was a retrospective in the Rheinhallen in Cologne from 8 April 1989 to 28 June 1989 and was held by the Museum Ludwig shortly before the German reunification.
It was organized by Siegfried Gohr, Johannes Gachnang and Walter Nikkels and assisted by Cornelia Barth, Pier de Jonge, Kay Heymer and Nicola von Velsen. Christa Steinbüchel did conservatory work.
The advisory body consisted of Carmen Giménez (Ministry of Culture Madrid), Knud W. Jensen (Louisiana Museum of Modern Art, Humbleback) and Nicholas Serota (The Tate Gallery, London).
759 works were on view, consisting of over 2000 parts and created by 125 artists, two pairs of artists and anonymous creators of posters from Parisian May 1968.
| 3
|
[
"Bilderstreit",
"contributor to the creative work or subject",
"Bernd and Hilla Becher"
] |
Räume der Erinnerung (rooms of memory)
Hommage à Jean Paulhan
Duchamp – Picabia – Broodthaers – Beuys
I (1960s)
Europa 1960 (Europe 1960)
New York 1960
II (1970s)
Figurative Malerei (Figurative Painting) – Minimal Art
Abstrakte Malerei (Abstract Art) – Conceptual Art
Italia – Germania
III (1980s)
Bilanz einer Aktualität (outcome of topicality)
Zitat, Fragment, Collage (quote, fragment, collage)
Realität der Photographie (reality of photography)
Peintres – SculpteursLenders and sponsors
Sponsors were Deutsche Bank, Lufthansa, the KulturStiftung der Länder and Nordrhein-Westfalen-Stiftung (Foundation of Northrhine-Westfalia).
Apart from numerous named and unnamed private lenders many museums and institutions gave artworks. Among these were:Stedelijk Museum, Amsterdam
Museum Ludwig, Cologne
Bayerische Staatsgemäldesammlungen, Munich
MoMA, New York
Whitney Museum, New York
Munch-museet, Oslo
Staatsgalerie Stuttgart
Museum moderner Kunst, Vienna
Centre Georges Pompidou, Paris
Museum Folkwang, Essen
Tate Gallery, London
Banque Hypothécaire du Canton de Genève, Geneva
IHK, Cologne
Deutsche Bank, Dresdner Bank
Artists, on display
Galleries
| 42
|
[
"Bilderstreit",
"contributor to the creative work or subject",
"Per Kirkeby"
] |
Bilderstreit (iconoclasm)
Hans Belting cites in Bilderstreit: ein Streit um die Moderne Jorge Luis Borges's The Duel: "Clara Glencairn entschied sich dafür, eine abstrakte Malerin zu sein." (El informe de Brodie, El duelo, "Clara Glencairn decided to become an abstract artist.")
Michael Compton discusses in Das Spiel der Stile – Duchamp und Picabia heute local differences and the role of America and Anti-Americanism.
Siegfried Gohr starts Über das Häßliche, das Entartete und den Schmutz with a contemplation about Picassos Les Demoiselles d'Avignon.
René Denizot mentions in Farbe Verbrechen the iconoclasm.
Per Kirkeby writes from a Danish point of view about visible and invisible Iconoclasm.
R. H. Fuchs speaks in Begegnung im Prado about artworks, that mirror each other.
Luciano Fabro finds in Die Kunst vor Gericht that the Autodafés started again in 1968.
| 76
|
[
"Bilderstreit",
"instance of",
"art exhibition"
] |
Lenders and sponsors
Sponsors were Deutsche Bank, Lufthansa, the KulturStiftung der Länder and Nordrhein-Westfalen-Stiftung (Foundation of Northrhine-Westfalia).
Apart from numerous named and unnamed private lenders many museums and institutions gave artworks. Among these were:
| 127
|
[
"Bilderstreit",
"location",
"Rheinhalle"
] |
The art exhibition Bilderstreit – Widerspruch, Einheit und Fragment in der Kunst seit 1960 (Iconoclasm – appeal, unity and fragment in art since 1960) was a retrospective in the Rheinhallen in Cologne from 8 April 1989 to 28 June 1989 and was held by the Museum Ludwig shortly before the German reunification.
It was organized by Siegfried Gohr, Johannes Gachnang and Walter Nikkels and assisted by Cornelia Barth, Pier de Jonge, Kay Heymer and Nicola von Velsen. Christa Steinbüchel did conservatory work.
The advisory body consisted of Carmen Giménez (Ministry of Culture Madrid), Knud W. Jensen (Louisiana Museum of Modern Art, Humbleback) and Nicholas Serota (The Tate Gallery, London).
759 works were on view, consisting of over 2000 parts and created by 125 artists, two pairs of artists and anonymous creators of posters from Parisian May 1968.
| 128
|
[
"Anna Wysokińska",
"sport",
"handball"
] |
Anna Wysokińska (born 17 June 1987) is a Polish handball player. She plays for the club Yenimahalle Bld. SK, the Polish national team and represented Poland at the 2013 World Women's Handball Championship in Serbia.References
External links
Player profile at the Polish Handball Association website (in Polish)
| 4
|
[
"Anna Wysokińska",
"member of sports team",
"Yenimahalle Belediyesi SK"
] |
Anna Wysokińska (born 17 June 1987) is a Polish handball player. She plays for the club Yenimahalle Bld. SK, the Polish national team and represented Poland at the 2013 World Women's Handball Championship in Serbia.
| 8
|
[
"Anna Wysokińska",
"occupation",
"handball player"
] |
Anna Wysokińska (born 17 June 1987) is a Polish handball player. She plays for the club Yenimahalle Bld. SK, the Polish national team and represented Poland at the 2013 World Women's Handball Championship in Serbia.
| 9
|
[
"Banner Johnstone",
"place of death",
"Bournemouth"
] |
Banner Carruthers Johnstone (11 November 1882 – 20 June 1964) was a British oarsman who competed in the 1908 Summer Olympics.Johnstone was born in Bebington, then lived in Cheshire and was educated at Eton, where he was captain of the boats, and at Trinity College, Cambridge, where he was a member of the Pitt Club. At Cambridge he rowed in the head of the river four times and won the pairs, fours, and double sculls. He rowed for Cambridge in the Boat Race in 1904, 1905, 1906 and 1907, being in the winning crew three times he was once President of the C.U.B.C.
After Cambridge Johnstone joined Leander Club. At the Henley Royal Regatta he won Silver Goblets in 1906 and 1907 with R V Powell and 1909 with Edward Gordon Williams. He twice beat Julius Beresford and Karl Vernon. He also competed in the Grand Challenge Cup in a series of contests with the Belgian Royal Club Nautique de Gand, being twice on the winning side. In 1908 he was a crew member of the Leander eight, which won the gold medal for Great Britain rowing at the 1908 Summer Olympics.Johnstone had been commissioned a second lieutenant in the 3rd (Militia) battalion of the Black Watch in 1901, and was promoted to lieutenant on 11 October 1902. In 1909 Johnstone joined the Ceylon Government Surveys and in 1913 joined the Colonial Civil Service in Zanzibar. At the start of World War I he was in the Transport Corps in East Africa, but went to France in 1917 with the 1st Black Watch and 1st Infantry Brigade. He was awarded the OBE for services in France and Belgium.
For many years Johnstone was the rowing correspondent for The Daily Telegraph.
Johnstone died in Bournemouth at the age of 81.
| 5
|
[
"Bush Dumville",
"country of citizenship",
"Canada"
] |
Stanley Forrest (Bush) Dumville (born January 6, 1945) is a Canadian politician, who represented the electoral district of West Royalty-Springvale in the Legislative Assembly of Prince Edward Island from 2007 to 2019.
First elected in the 2007 Prince Edward Island general election as a member of the Prince Edward Island Liberal Party, he left the party to sit as an independent on January 31, 2018. He ran for reelection in the 2019 Prince Edward Island general election in the redistributed riding of Charlottetown-West Royalty, but was defeated by Liberal Gord McNeilly.
Prior to entering politics, Dumville was a member of the Royal Canadian Mounted Police, serving in Newfoundland, New Brunswick and Ontario, and then a businessman, who owned and operated two Burger King franchises, one in Charlottetown and the second in Summerside.
| 1
|
[
"Bush Dumville",
"given name",
"Stanley"
] |
Stanley Forrest (Bush) Dumville (born January 6, 1945) is a Canadian politician, who represented the electoral district of West Royalty-Springvale in the Legislative Assembly of Prince Edward Island from 2007 to 2019.
First elected in the 2007 Prince Edward Island general election as a member of the Prince Edward Island Liberal Party, he left the party to sit as an independent on January 31, 2018. He ran for reelection in the 2019 Prince Edward Island general election in the redistributed riding of Charlottetown-West Royalty, but was defeated by Liberal Gord McNeilly.
Prior to entering politics, Dumville was a member of the Royal Canadian Mounted Police, serving in Newfoundland, New Brunswick and Ontario, and then a businessman, who owned and operated two Burger King franchises, one in Charlottetown and the second in Summerside.
| 6
|
[
"Bush Dumville",
"given name",
"Forrest"
] |
Stanley Forrest (Bush) Dumville (born January 6, 1945) is a Canadian politician, who represented the electoral district of West Royalty-Springvale in the Legislative Assembly of Prince Edward Island from 2007 to 2019.
First elected in the 2007 Prince Edward Island general election as a member of the Prince Edward Island Liberal Party, he left the party to sit as an independent on January 31, 2018. He ran for reelection in the 2019 Prince Edward Island general election in the redistributed riding of Charlottetown-West Royalty, but was defeated by Liberal Gord McNeilly.
Prior to entering politics, Dumville was a member of the Royal Canadian Mounted Police, serving in Newfoundland, New Brunswick and Ontario, and then a businessman, who owned and operated two Burger King franchises, one in Charlottetown and the second in Summerside.
| 9
|
[
"Barry Jouannet",
"country of citizenship",
"Australia"
] |
Barry Jouannet, Jr. (born 17 September 1979) is a former Australian professional darts player who plays in British Darts Organisation (BDO) events. He was nicknamed China.
Jouannet is twice a winner of the Oceanic Masters, earning himself a place in the PDC World Darts Championship. In 2004, he lost in the first round to Scotland's Alex MacKay. In 2005, he lost again in round one, this time to Wayne Jones. Aside from the Oceanic Masters, Jouannet won the 2005 Australian National Championship, beating former world champion Tony David on the way to a 6–1 win over Dave Methven in the final.
Jouannet has survived throat cancer. Jouannet continued playing despite the illness and his recovery has been praised by many within the game.
| 1
|
[
"Barry Jouannet",
"family name",
"Jouannet"
] |
Barry Jouannet, Jr. (born 17 September 1979) is a former Australian professional darts player who plays in British Darts Organisation (BDO) events. He was nicknamed China.
Jouannet is twice a winner of the Oceanic Masters, earning himself a place in the PDC World Darts Championship. In 2004, he lost in the first round to Scotland's Alex MacKay. In 2005, he lost again in round one, this time to Wayne Jones. Aside from the Oceanic Masters, Jouannet won the 2005 Australian National Championship, beating former world champion Tony David on the way to a 6–1 win over Dave Methven in the final.
Jouannet has survived throat cancer. Jouannet continued playing despite the illness and his recovery has been praised by many within the game.
| 7
|
[
"Appin Dogs",
"country",
"Australia"
] |
The Appin Dogs Rugby League Football Club is an Australian rugby league football club based in Appin, New South Wales. They currently play in the Group 6 Rugby League competition.
| 0
|
[
"Appin Dogs",
"instance of",
"rugby league team"
] |
The Appin Dogs Rugby League Football Club is an Australian rugby league football club based in Appin, New South Wales. They currently play in the Group 6 Rugby League competition.
| 2
|
[
"Appin Dogs",
"located in the administrative territorial entity",
"New South Wales"
] |
The Appin Dogs Rugby League Football Club is an Australian rugby league football club based in Appin, New South Wales. They currently play in the Group 6 Rugby League competition.
| 3
|
[
"Appin Dogs",
"sport",
"rugby league"
] |
The Appin Dogs Rugby League Football Club is an Australian rugby league football club based in Appin, New South Wales. They currently play in the Group 6 Rugby League competition.
| 4
|
[
"Leung Chen Nam",
"place of birth",
"Hong Kong"
] |
Leung Chen Nam (born 17 August 1984) is a former professional darts player from Hong Kong.
| 2
|
[
"Leung Chen Nam",
"occupation",
"darts player"
] |
Leung Chen Nam (born 17 August 1984) is a former professional darts player from Hong Kong.Career
Leung Chun Nam qualified for the 2013 PDC World Championship after coming through the Greater China qualifier.He caused an upset by defeating experienced German darts player Andree Welge 4–1 in the preliminary round, before being beaten 0–3 in sets in the first round by England's Kevin Painter.
| 4
|
[
"Brisbane Lions",
"headquarters location",
"Brisbane"
] |
The Brisbane Lions is a professional Australian rules football club based in Brisbane, Queensland, that plays in the Australian Football League (AFL).
The Brisbane Lions came into existence in late 1996, via a deal with the administrator of the 1883 AFL/VFL foundation club The Fitzroy Lions, where Fitzroy's club operations at the AFL level were merged with that of the 1987 Queensland expansion club Brisbane Bears. The colours of maroon, blue, and gold were drawn from both parent clubs.The Lions are one of the most successful AFL club of the 2000s, appearing in four consecutive grand finals from 2001 to 2004 and winning three premierships (2001, 2002, 2003). They play home matches at the Gabba, which was also the site of their offices and training facilities until moving these to Springfield Central Stadium in Ipswich in 2022.
The Lions also field teams in other competitions. They were a foundation team in the AFL Women's competition in 2017 and have featured in four grand finals in that time, winning the premiership in 2021 and finishing runners-up on the other occasions. They have also fielded a reserve men's team in several leagues over the years, and since 2021 the reserves team has competed in the Victorian Football League. The Brisbane Lions Academy, consisting of the club's best junior development signings, contests Division 2 of the men's and women's underage national championships and the Talent League.
| 1
|
[
"Brisbane Lions",
"location",
"Brisbane"
] |
The Brisbane Lions is a professional Australian rules football club based in Brisbane, Queensland, that plays in the Australian Football League (AFL).
The Brisbane Lions came into existence in late 1996, via a deal with the administrator of the 1883 AFL/VFL foundation club The Fitzroy Lions, where Fitzroy's club operations at the AFL level were merged with that of the 1987 Queensland expansion club Brisbane Bears. The colours of maroon, blue, and gold were drawn from both parent clubs.The Lions are one of the most successful AFL club of the 2000s, appearing in four consecutive grand finals from 2001 to 2004 and winning three premierships (2001, 2002, 2003). They play home matches at the Gabba, which was also the site of their offices and training facilities until moving these to Springfield Central Stadium in Ipswich in 2022.
The Lions also field teams in other competitions. They were a foundation team in the AFL Women's competition in 2017 and have featured in four grand finals in that time, winning the premiership in 2021 and finishing runners-up on the other occasions. They have also fielded a reserve men's team in several leagues over the years, and since 2021 the reserves team has competed in the Victorian Football League. The Brisbane Lions Academy, consisting of the club's best junior development signings, contests Division 2 of the men's and women's underage national championships and the Talent League.
| 2
|
[
"Brisbane Lions",
"participant in",
"2017 AFL Women's Grand Final"
] |
The Brisbane Lions is a professional Australian rules football club based in Brisbane, Queensland, that plays in the Australian Football League (AFL).
The Brisbane Lions came into existence in late 1996, via a deal with the administrator of the 1883 AFL/VFL foundation club The Fitzroy Lions, where Fitzroy's club operations at the AFL level were merged with that of the 1987 Queensland expansion club Brisbane Bears. The colours of maroon, blue, and gold were drawn from both parent clubs.The Lions are one of the most successful AFL club of the 2000s, appearing in four consecutive grand finals from 2001 to 2004 and winning three premierships (2001, 2002, 2003). They play home matches at the Gabba, which was also the site of their offices and training facilities until moving these to Springfield Central Stadium in Ipswich in 2022.
The Lions also field teams in other competitions. They were a foundation team in the AFL Women's competition in 2017 and have featured in four grand finals in that time, winning the premiership in 2021 and finishing runners-up on the other occasions. They have also fielded a reserve men's team in several leagues over the years, and since 2021 the reserves team has competed in the Victorian Football League. The Brisbane Lions Academy, consisting of the club's best junior development signings, contests Division 2 of the men's and women's underage national championships and the Talent League.
| 4
|
[
"Brisbane Lions",
"instance of",
"Australian rules football club"
] |
The Brisbane Lions is a professional Australian rules football club based in Brisbane, Queensland, that plays in the Australian Football League (AFL).
The Brisbane Lions came into existence in late 1996, via a deal with the administrator of the 1883 AFL/VFL foundation club The Fitzroy Lions, where Fitzroy's club operations at the AFL level were merged with that of the 1987 Queensland expansion club Brisbane Bears. The colours of maroon, blue, and gold were drawn from both parent clubs.The Lions are one of the most successful AFL club of the 2000s, appearing in four consecutive grand finals from 2001 to 2004 and winning three premierships (2001, 2002, 2003). They play home matches at the Gabba, which was also the site of their offices and training facilities until moving these to Springfield Central Stadium in Ipswich in 2022.
The Lions also field teams in other competitions. They were a foundation team in the AFL Women's competition in 2017 and have featured in four grand finals in that time, winning the premiership in 2021 and finishing runners-up on the other occasions. They have also fielded a reserve men's team in several leagues over the years, and since 2021 the reserves team has competed in the Victorian Football League. The Brisbane Lions Academy, consisting of the club's best junior development signings, contests Division 2 of the men's and women's underage national championships and the Talent League.
| 21
|
[
"Brisbane Lions",
"head coach",
"Chris Fagan"
] |
Chris Fagan era: 2017–present
On 4 October 2016, Hawthorn football manager Chris Fagan was announced as Brisbane's senior coach from the 2017 season onwards.The Lions claimed the 2017 wooden spoon, despite winning 5 games for the season, 2 more than the previous season. Their percentage of 74.3 was the worst in the league, behind Fremantle with a percentage of 74.4. The 2018 season was very similar, recording 5 wins to finish in 15th place, but multiple close losses showed signs of a young team about to breakout into finals contention.
The Lions had a dramatically improved 2019 season, making the finals for the first time since 2009 and finishing second on the AFL ladder with 16 wins, behind minor premiers Geelong on percentage. However, Brisbane were bundled out of the finals in straight sets at the Gabba, losing to eventual premiers Richmond by 47 points in their qualifying final and then to eventual runners-up Greater Western Sydney by three points in their semi-final due to a late Brent Daniels goal. The Lions became the first team since Geelong in 1997 to finish second on the ladder and not progress to a preliminary final.
| 22
|
[
"Fitzroy Football Club",
"country",
"Australia"
] |
The Fitzroy Football Club is an Australian rules football club currently competing in the Victorian Amateur Football Association (VAFA). Formed in 1883 to represent the inner-Melbourne municipality of Fitzroy, the club was a member of the Victorian Football Association (VFA), before becoming a foundation member of the breakaway Victorian Football League (VFL/AFL) in 1897.
Fitzroy won a total of eight VFL premierships, of which seven (1898, 1899, 1904, 1905, 1913, 1916 and 1922) were won whilst they were nicknamed the Maroons and one (1944) as the Gorillas. The decision of the club to change its nickname to the Lions in 1957 coincided with what history now records as the beginning of decades of poor on-field performance and financial losses that eventually resulted in the club being placed into administration, ultimately leaving the AFL at the end of the 1996 season. That year the club's AFL playing operations were merged with those of the Brisbane Bears. Fitzroy eventually came out of administration in 1998, and proceeded to commence playing in the VAFA in 2009.
Fitzroy largely resumed its original VFL/AFL identity through its continued use of their 1975–1996 VFL/AFL jumper, their club song and their 1884–1966 home ground at the Brunswick Street Oval. For a brief time, it experimented in partnerships with other semi-professional and amateur clubs before incorporating the Fitzroy Reds (formerly University Reds) to play in the Victorian Amateur Football Association. They began in the D1 section of the VAFA in 2009 and now, after having been promoted three times (2009, 2012, 2018), play in the Premier 'B Division'.
| 0
|
[
"Fitzroy Football Club",
"sport",
"Australian rules football"
] |
The Fitzroy Football Club is an Australian rules football club currently competing in the Victorian Amateur Football Association (VAFA). Formed in 1883 to represent the inner-Melbourne municipality of Fitzroy, the club was a member of the Victorian Football Association (VFA), before becoming a foundation member of the breakaway Victorian Football League (VFL/AFL) in 1897.
Fitzroy won a total of eight VFL premierships, of which seven (1898, 1899, 1904, 1905, 1913, 1916 and 1922) were won whilst they were nicknamed the Maroons and one (1944) as the Gorillas. The decision of the club to change its nickname to the Lions in 1957 coincided with what history now records as the beginning of decades of poor on-field performance and financial losses that eventually resulted in the club being placed into administration, ultimately leaving the AFL at the end of the 1996 season. That year the club's AFL playing operations were merged with those of the Brisbane Bears. Fitzroy eventually came out of administration in 1998, and proceeded to commence playing in the VAFA in 2009.
Fitzroy largely resumed its original VFL/AFL identity through its continued use of their 1975–1996 VFL/AFL jumper, their club song and their 1884–1966 home ground at the Brunswick Street Oval. For a brief time, it experimented in partnerships with other semi-professional and amateur clubs before incorporating the Fitzroy Reds (formerly University Reds) to play in the Victorian Amateur Football Association. They began in the D1 section of the VAFA in 2009 and now, after having been promoted three times (2009, 2012, 2018), play in the Premier 'B Division'.
| 2
|
[
"Fitzroy Football Club",
"home venue",
"Brunswick Street Oval"
] |
The Fitzroy Football Club is an Australian rules football club currently competing in the Victorian Amateur Football Association (VAFA). Formed in 1883 to represent the inner-Melbourne municipality of Fitzroy, the club was a member of the Victorian Football Association (VFA), before becoming a foundation member of the breakaway Victorian Football League (VFL/AFL) in 1897.
Fitzroy won a total of eight VFL premierships, of which seven (1898, 1899, 1904, 1905, 1913, 1916 and 1922) were won whilst they were nicknamed the Maroons and one (1944) as the Gorillas. The decision of the club to change its nickname to the Lions in 1957 coincided with what history now records as the beginning of decades of poor on-field performance and financial losses that eventually resulted in the club being placed into administration, ultimately leaving the AFL at the end of the 1996 season. That year the club's AFL playing operations were merged with those of the Brisbane Bears. Fitzroy eventually came out of administration in 1998, and proceeded to commence playing in the VAFA in 2009.
Fitzroy largely resumed its original VFL/AFL identity through its continued use of their 1975–1996 VFL/AFL jumper, their club song and their 1884–1966 home ground at the Brunswick Street Oval. For a brief time, it experimented in partnerships with other semi-professional and amateur clubs before incorporating the Fitzroy Reds (formerly University Reds) to play in the Victorian Amateur Football Association. They began in the D1 section of the VAFA in 2009 and now, after having been promoted three times (2009, 2012, 2018), play in the Premier 'B Division'.VFA
They quickly became one of the most successful clubs, drawing large crowds to their home at the Brunswick Street Oval in Edinburgh Gardens, and consistently in the top four and winning the VFA premiership in 1895.Fitzroy's season-by-season records throughout its thirteen seasons at VFA level are given below. (Under VFA rules at the time, only goals were counted to the total team score).Post-AFL
On-fieldThe original Fitzroy Football Club came out of administration after its AFL operations were absorbed by Brisbane, in late 1998. The shareholders voted to continue the club, and Fitzroy then developed a partnership with the Coburg Lions in the VFL. Coburg were known as the Coburg-Fitzroy Lions for just over a season (from August 1999 until the end of 2000). However, when Coburg entered into an affiliation with the AFL's Richmond Football Club, the Fitzroy connection was abandoned.
Fitzroy began a sponsorship arrangement with the Fitzroy Reds (formerly University Reds) in the Victorian Amateur Football Association and the Fitzroy Junior Football Club in the Yarra Junior Football League. Both wear the old Fitzroy jumper, play the old theme song, and play from Brunswick Street Oval in the heart of Fitzroy. In December 2008, at the instigation of the then Fitzroy (University) Reds president Craig Little, the University Reds Football Club (known as the 'Fitzroy' Reds from 1997) transferred all its assets to the Fitzroy Football Club (formed 1883). The university (Fitzroy) Reds terminated its membership of the VAFA and was wound up as an incorporated company and football club. By special dispensation from the VAFA, the Fitzroy Football Club then replaced the Fitzroy [University] Reds in D1 of the VAFA from the 2009 season, fielding a senior and reserves side, as well as two Under-19 sides and a Club 18 side. All the teams were made up mainly of Fitzroy Reds personnel. Dyson Hore-Lacy, chairman of Fitzroy in the AFL in 1996, automatically became chairman of the Club in the VAFA.
Fitzroy lost in the VAFA D1 Grand Final to Rupertswood in 2009, but as a Grand Finalist was promoted to C-Grade for the 2010 season. At the beginning of the 2011 season, Fitzroy appointed Tim Bell as their new senior coach following the resignation of Simon Taylor. Tim Bell resigned for personal reasons at the end of 2011 and assistant coach Michael Pickering, a former AFL player with the Richmond and Melbourne Football Clubs was appointed as coach for the 2012 season. Having reached the Premier C Grand Final at the end of 2012 season, Fitzroy was promoted to Premier B for season 2013 which coincided with the club's 130th birthday.
In 2015 the club initiated in a partnership with the Australian Catholic University to start fielding a women's team in the VWFL under the name of Fitzroy-ACU. They played their debut season in the same year.
The interest grew after the first year of women's Fitzroy footy, growing numbers within the women's league. This enabled the club to enter another women's team into the VWFL, in the North West division.
Both teams were hoping to make finals in 2016.
In 2018, Fitzroy won both the VAFA Premier C and the VAFA Premier C reserves competitions.
Relationship with Brisbane LionsFitzroy Football Club improved its relationship with the Brisbane Lions in the ten years from 1999 to 2009. In that time Brisbane acknowledged the two parent clubs with the letters BBFFC printed below the back of the neck of the club's guernseys from 2002. Fitzroy Reds played the curtain-raiser at the MCG when the Brisbane Lions met the Collingwood Magpies in the AFL Heritage Round of 2003. Brisbane also now wears a version of Fitzroy's AFL guernsey with red instead of maroon in most matches played in Victoria, consistent with Fitzroy's most recent colours.
Relationships between Fitzroy and Brisbane were strained in late 2009, when Brisbane announced that it was adopting a new logo for season 2010 and beyond, which Fitzroy Football Club believed contravened Section 7.2 c) of the merger agreement. The new logo, a lion's head facing forward, replaced the former Fitzroy logo of a passant lion with a football. On 22 December 2009, Fitzroy lodged a Statement of Claim with the Supreme Court of Victoria, seeking an order that the Brisbane Lions be restrained from using as its logo, the new logo or any other logo other than 'the Fitzroy lion logo'. On 15 July 2010, the two clubs reached a settlement, agreeing that the Fitzroy logo symbolically represents the historic merger between the Bears and Fitzroy and the first 13 years of the Brisbane Lions competing in the AFL, and that Brisbane would use both the old and new logos alongside each other in an official capacity (e.g. on letterheads, marketing, etc.), with the old logo to be phased out altogether after 2024 (or 2017 in the case of the Brisbane Lions website). Brisbane returned to using the old logo on its playing guernseys from 2015, but the new logo will remain for corporate purposes.Sine 2015 a one club approach has been taken from both the Brisbane Lions and Fitzroy. The Lions sponsor a male and female Fitzroy player each year, conduct coaching workshops for Fitzroy, and frequently invite the Fitzroy juniors to form a guard of honour for Victorian games, with many Fitzroy people having served on the Brisbane Lions board.Best and fairest award winners
See Fitzroy FC honour roll for list of winners 1884–1996.Home venues
VFA
1884–1896 Brunswick Street Oval1897–1966 Brunswick Street Oval
1967–1969, 1987–1993 Princes Park
1970–1984 Junction Oval
1985–1986 Victoria Park
1994–1996 Whitten OvalVAFA
2009–present Brunswick Street Oval
| 16
|
[
"Fitzroy Football Club",
"location",
"Fitzroy"
] |
The Fitzroy Football Club is an Australian rules football club currently competing in the Victorian Amateur Football Association (VAFA). Formed in 1883 to represent the inner-Melbourne municipality of Fitzroy, the club was a member of the Victorian Football Association (VFA), before becoming a foundation member of the breakaway Victorian Football League (VFL/AFL) in 1897.
Fitzroy won a total of eight VFL premierships, of which seven (1898, 1899, 1904, 1905, 1913, 1916 and 1922) were won whilst they were nicknamed the Maroons and one (1944) as the Gorillas. The decision of the club to change its nickname to the Lions in 1957 coincided with what history now records as the beginning of decades of poor on-field performance and financial losses that eventually resulted in the club being placed into administration, ultimately leaving the AFL at the end of the 1996 season. That year the club's AFL playing operations were merged with those of the Brisbane Bears. Fitzroy eventually came out of administration in 1998, and proceeded to commence playing in the VAFA in 2009.
Fitzroy largely resumed its original VFL/AFL identity through its continued use of their 1975–1996 VFL/AFL jumper, their club song and their 1884–1966 home ground at the Brunswick Street Oval. For a brief time, it experimented in partnerships with other semi-professional and amateur clubs before incorporating the Fitzroy Reds (formerly University Reds) to play in the Victorian Amateur Football Association. They began in the D1 section of the VAFA in 2009 and now, after having been promoted three times (2009, 2012, 2018), play in the Premier 'B Division'.
| 17
|
[
"Fitzroy Football Club",
"instance of",
"Australian rules football club"
] |
The Fitzroy Football Club is an Australian rules football club currently competing in the Victorian Amateur Football Association (VAFA). Formed in 1883 to represent the inner-Melbourne municipality of Fitzroy, the club was a member of the Victorian Football Association (VFA), before becoming a foundation member of the breakaway Victorian Football League (VFL/AFL) in 1897.
Fitzroy won a total of eight VFL premierships, of which seven (1898, 1899, 1904, 1905, 1913, 1916 and 1922) were won whilst they were nicknamed the Maroons and one (1944) as the Gorillas. The decision of the club to change its nickname to the Lions in 1957 coincided with what history now records as the beginning of decades of poor on-field performance and financial losses that eventually resulted in the club being placed into administration, ultimately leaving the AFL at the end of the 1996 season. That year the club's AFL playing operations were merged with those of the Brisbane Bears. Fitzroy eventually came out of administration in 1998, and proceeded to commence playing in the VAFA in 2009.
Fitzroy largely resumed its original VFL/AFL identity through its continued use of their 1975–1996 VFL/AFL jumper, their club song and their 1884–1966 home ground at the Brunswick Street Oval. For a brief time, it experimented in partnerships with other semi-professional and amateur clubs before incorporating the Fitzroy Reds (formerly University Reds) to play in the Victorian Amateur Football Association. They began in the D1 section of the VAFA in 2009 and now, after having been promoted three times (2009, 2012, 2018), play in the Premier 'B Division'.History
Early years
The Fitzroy Football Club was formed at a meeting at the Brunswick Hotel on 26 September 1883, at a time when Melbourne's population was rapidly increasing. The Victorian Football Association (VFA) made changes to their rules, allowing Fitzroy to join as the seventh club in 1884, playing in the maroon and blue colours of the local Normanby Junior Football Club.
| 21
|
[
"South Perth Lions",
"country",
"Australia"
] |
South Perth Lions Rugby League Club are an Australian rugby league football club based in South Perth, Western Australia formed in 1948. They conduct teams for both Juniors & Seniors. The club also participates in the WARL (Western Australian Rugby League).
| 0
|
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