Robert John "Mutt" Lange

Robert John "Mutt" Lange (born 11 November 1948) is a South African record producer and songwriter. He is known for his work in the studio and innovations in multitrack recording and producing many of rock's most famous albums. He has produced albums for, or otherwise worked with, artists such as AC/DC, Def Leppard, The Boomtown Rats, Foreigner, Michael Bolton, The Cars, Bryan Adams, Huey Lewis and the News, Billy Ocean, Celine Dion, Britney Spears, The Corrs, Maroon 5, Lady Gaga, Nickelback, and Muse. He also wrote and produced songs with his then-wife, Canadian singer Shania Twain. Her 1997 album Come On Over, which he produced, is the best-selling country music album, the best-selling studio album by a female act, the best-selling album of the 1990s, and the 9th best-selling album in the United States.

Early life
Robert John Lange was born in Mufulira, Northern Rhodesia (today Zambia), and raised in Durban, South Africa. His German mother came from a prosperous family, and his South African father was a mining engineer. Nicknamed "Mutt" at an early age, Lange grew up a fan of country music, in particular the singer Slim Whitman. While studying at Belfast High School in what is now Mpumalanga province, he started a band in which he played rhythm guitar and sang harmonies.

Career
After his national service (1966–1967), Lange formed the band Sound Reason in 1969. In 1971, he started the group Hocus, recording one album and releasing five seven-inch singles.

In 1978, Lange wrote and produced Ipswich Town's FA Cup final single "Ipswich Get That Goal", his connection with the club being due to their South Africa-born player Colin Viljoen. The song is derived from a previous recording "Give That Thang To Me" by Paul Jones (1977), with some parts rearranged and new lyrics.

Beginning production work in 1976, his first major hits came in October 1978 with the UK No. 1 single "Rat Trap" for The Boomtown Rats, followed in July 1979 with AC/DC's hard rock album Highway to Hell (#8 UK, No. 17 US). He produced a total of five albums for UK band City Boy from 1976 to 1979.

He produced two more albums with AC/DC, including Back in Black (1980), which is, , the second-best-selling album of all time. He also worked with rock group Foreigner with 4, and with Def Leppard on their hit albums, High 'n' Dry, Pyromania, Hysteria and Adrenalize co-writing most of the songs.

After Hysteria, Lange bowed out of working with Def Leppard. In 1999, he returned to working with them in a more limited role, co-writing three tracks for their album Euphoria. One of those songs, "Promises", was a Number 1 hit on the mainstream rock charts for the band.

In 1991, he produced Bryan Adams's Waking Up the Neighbours, including co-writing "(Everything I Do) I Do It for You", for the Kevin Costner film Robin Hood: Prince of Thieves which, with 16 consecutive weeks at the top, from 7 July to 26 October 1991, holds the record for the longest number of consecutive weeks at Number 1 in the UK singles chart. Lange produced the single "Make You" from the album Great Escape by Irish singer Tara Blaise which was released in May 2008.

In the 2001 television film Hysteria – The Def Leppard Story, actor Anthony Michael Hall portrayed Lange.

Personal life
Lange is a strict vegetarian and a follower of the egalitarian teachings of Sant Mat. He has not given an interview for decades and prefers to live a secluded life, primarily in La Tour-de-Peilz, Switzerland.

Lange met Stevie Vann when the two attended the same school in Northern Rhodesia in the early 1960s, and the two reconnected a few years later while attending Belfast High School in South Africa.  They played together in a short-lived band named Hocus, and later married and emigrated to the United Kingdom in the 1970s. The marriage broke down in the 1970s. While still married, Lange started a five-year relationship with Oonagh O'Reilly, an Irish-born co-worker.

After hearing Shania Twain's music, he got in touch with her and they spent many hours on the phone. They finally met six months after the initial contact and were married on 28 December 1993. Lange is a teetotaler and, as a result, they had non-alcoholic champagne at their wedding. Lange had the song "(Everything I Do) I Do It for You" performed as a sign of his dedication to Twain. In August 2001, their son Eja (pronounced "Asia") was born.

On 15 May 2008, a spokesman for his employer Mercury Nashville announced that Twain and Lange were separating, after Lange had an affair with Twain's best friend, Marie-Anne Thiébaud, with whom he reportedly later began a relationship. Lange and Twain divorced in June 2010. On 1 January 2011, Twain married Frédéric Thiébaud, the former husband of Marie-Anne.

In 2011, Lange bought Coronet Peak Station, located on the mountain and ski field of the same name in Queenstown, New Zealand. In 2014, he protected  of his land as conservation land; this is the largest private conservation covenant in New Zealand.

Discography

Produced albums
Albums on which Lange produced a majority of the tracks:
 Hocus – "The Swan"/"He", 1972
 Richard Jon Smith – Superstar Smith, 1974
 Spider – Spider, 1975
 City Boy – City Boy, 1976
 City Boy – Dinner at the Ritz, 1976
 Kevin Coyne – In Living Black and White, 1976
 Mallard – In a Different Climate, 1976
 Graham Parker – Heat Treatment, 1976
 Supercharge – Local Lads Make Good, 1976
 The Motors – 1, 1977
 City Boy – Young Men Gone West, 1977
 Clover – Love on the Wire, 1977
 Clover – Unavailable, 1977
 Supercharge – Horizontal Refreshment, 1977
 The Boomtown Rats – The Boomtown Rats, 1977
 The Rumour – Max, 1977
 Savoy Brown – Savage Return, 1978
 Michael Stanley Band – Cabin Fever, 1978
 City Boy – Book Early, 1978
 Outlaws – Playin' to Win, 1978
 The Boomtown Rats – A Tonic for the Troops, 1978
 Deaf School – English Boys/Working Girls, 1978
 City Boy – The Day the Earth Caught Fire, 1979
 The Records – Shades in Bed, 1979
 Supercharge – Body Rhythm, 1979
 The Boomtown Rats – The Fine Art of Surfacing, 1979
 AC/DC – Highway to Hell, 1979
 Tycoon – Tycoon, 1979
 Broken Home – Broken Home, 1980
 AC/DC – Back in Black, 1980
 Foreigner – 4, 1981
 Def Leppard – High 'N' Dry, 1981
 AC/DC – For Those About to Rock We Salute You, 1981
 Def Leppard – Pyromania, 1983
 The Cars – Heartbeat City, 1984
 Def Leppard – Hysteria, 1987
 Romeo's Daughter – Romeo's Daughter, 1988
 Billy Ocean – Tear Down These Walls, 1988
 Bryan Adams – Waking Up the Neighbours, 1991
 Def Leppard – Adrenalize (executive producer), 1992
 Michael Bolton – The One Thing, 1993
 Stevie Vann – Stevie Vann, 1995
 Shania Twain – The Woman in Me, 1995
 Bryan Adams – 18 til I Die, 1996
 Shania Twain – Come on Over, 1997
 The Corrs – In Blue, 2000
 Shania Twain – Up!, 2002
 Shania Twain – Greatest Hits, 2004
 Nickelback – Dark Horse, 2008
 Maroon 5 – Hands All Over, 2010
 Muse  – Drones, 2015
 Ashley Clark  – Ashley Clark, 2015

Produced album tracks
Albums on which Lange produced at least one track:
 Jessica Jones – "Sunday, Monday, Tuesday" , 1972
 Stephen – "Right On Running Man", 1974/5
 Graham Parker and the Rumour – The Parkerilla, 1978
 XTC – "This Is Pop" (single version), 1978
 Roman Holliday – Fire Me Up (executive producer), 1984
 Billy Ocean – Suddenly (executive producer), 1984
 Billy Ocean – Love Zone (executive producer), 1986
 Billy Ocean – Greatest Hits, 1989
 Bryan Adams – So Far So Good, 1993
 Tina Turner – What's Love Got to Do with It, 1993
 Michael Bolton – Greatest Hits, 1995
 Celine Dion – All the Way... A Decade of Song, 1999
 Backstreet Boys – Backstreet's Back, 1997
 Backstreet Boys – Millennium, 1999
 Bryan Adams – The Best of Me, 1999
 Britney Spears – Oops!... I Did It Again, 2000
 Celine Dion – A New Day Has Come, 2002
 Bryan Adams – Room Service, 2004
 Various artists – Music from and Inspired by Desperate Housewives, 2005
 Anne Murray – Anne Murray Duets: Friends & Legends, 2007
 Bryan Adams – 11, 2008
 Tara Blaise – Great Escape, 2008
 Lady Gaga – Born This Way, 2011
 Zander Bleck – Bring It On, 2012

Album tracks written or co-written
 Britney Spears – "Don't Let Me Be the Last to Know" from Oops!...I Did It Again, 2000
 Bryan Adams – "I Will Always Return", "You Can't Take Me" and "This Is Where I Belong" from Spirit: Stallion of the Cimarron, 2002
 Bryan Adams – "So Far So Good" from Anthology, 2005
 Bryan Adams and Sarah McLachlan – "Don't Let Go" from Spirit: Stallion of the Cimarron, 2002
 Bryan Adams, Rod Stewart, and Sting – "All for Love" from The Three Musketeers: Original Motion Picture Soundtrack, 1993
 Jessica Andrews – "I'll Take Your Heart" from Heart Shaped World, 1999
 Backstreet Boys – "It's Gotta Be You" from Millennium, 1999
 Blackhawk – "I'm Not Strong Enough to Say No" from Strong Enough, 1995
 Michael Bolton – "Only a Woman Like You" from Only a Woman Like You, 2002
 Michael Bolton – "Said I Loved You...But I Lied" from The One Thing, 1993
 Clout – "Don't Stop" from Substitute, 1978
 Billy Ray Cyrus – "Only God (Could Stop Me Loving You)" from Storm in the Heartland, 1994
Celine Dion – "If Walls Could Talk", from: "All The Way... A Decade of Song", 1999
 Def Leppard – All songs on Pyromania, 1983
 Def Leppard – All songs on Hysteria, 1987
 Def Leppard – "Ring of Fire" and "I Wanna Be Your Hero" from Retro Active, 1993
 Def Leppard – "Promises", "All Night" and "It's Only Love" from Euphoria, 1999
 Dionne Warwick – "Without Your Love" – track produced by Richard Landis album Finder of Lost Loves 1985
 Heart – "All I Wanna Do Is Make Love to You" from Brigade, 1990
 Heart – "Will You Be There (In the Morning)" from Desire Walks On, 1993
 Huey Lewis and the News – "Do You Believe in Love" from Picture This, 1982
 Huey Lewis and the News – "It Hit Me Like a Hammer" from Hard at Play, 1991
 Lonestar – "You Walked In" from Crazy Nights, 1997
 Loverboy – "Lovin' Every Minute of It" from Lovin' Every Minute of It, 1985
 Reba McEntire – "I'll Take Your Heart" from Moments and Memories: The Best of Reba, 1998
 Miss Willie Brown – "You're All That Matters to Me", 2012
 PJ Powers – "(Let That) River Roll" from Thandeka Talk to Me, 2001
 Starship – "I Didn't Mean to Stay All Night" from Love Among the Cannibals, 1989
 Carrie Underwood – "Who Are You" from Blown Away, 2012
 Celtic Woman – "Walk Beside Me", 2015

Grammy Awards
 1991 – "(Everything I Do) I Do It for You" – Best Song Written Specifically for a Motion Picture or for Television
 1995 – The Woman in Me – Best Country Album
 1998 – "You're Still the One" – Best Country Song
 1999 – "Come on Over" – Best Country Song
 2016 – Drones – Best Rock Album

References

History of Contemporary Music of South Africa – Garth Chilvers and Tom Jasiukowicz TOGA Publishing 1994

External links

Category:1948 births
Category:Living people
Category:APRA Award winners
Category:British record producers
Category:British songwriters
Category:Country record producers
Category:Grammy Award winners
Category:British expatriates in New Zealand
Category:English expatriates in Switzerland
Category:Zambian people of German descent
Category:Zambian people of South African descent
Category:Zambian emigrants to the United Kingdom
Category:Naturalised citizens of the United Kingdom
Category:People from Mufulira
Category:Musicians from London


Sumpango

Sumpango may refer to:

 Sumpango, Sacatepéquez
 Sumpango River

fr:Sumpango


Taktse Ogyen Choekhorling Monastery

Taktse Ogyen Choekhorling Monastery is a Buddhist monastery in Sikkim, northeastern India.

References

Category:Buddhist monasteries in Sikkim
Category:Tibetan Buddhist monasteries and temples in India


Swiss Barefoot Company

The Swiss Barefoot Company is a sock manufacturer based in Switzerland.

Products
Swiss Protection Sock (SPS); a toe sock made of kevlar with tiny rubber dots on the bottom designed to be worn as a minimalist shoe and offer more protection than an ordinary sock. It comes in standard and low-cut versions.

Free Your Feet (FYF) Sock; a development of the Swiss Protection Sock made of Dyneema. The company claims that this is "the most minimalist footwear ever".

References

Category:Footwear
Category:Socks


Progressive squeeze

The progressive squeeze (also termed a "repeating squeeze") is a contract bridge squeeze that gains two tricks by squeezing one and the same player twice, hence the name. A progressive squeezes is a subset of triple squeezes that, depending both on entries and on positional factors, may result in a subsequent, simple, two-suit squeeze that takes place against the opponent who has just been triple squeezed. Confusing the issue is that some triple squeezes can become progressive squeezes through misdefense.

Examples
The first diagram shows a basic example:
 When the ace of clubs is cashed East is squeezed and has to discard one of his red aces, the established king is cashed (this is the progressive squeeze card) and East is squeezed for another trick.

In the above example an extended menace, threatening the immediate loss of two tricks was present. That is not always necessary, a progressive squeeze still works if we have an additional entry as compensation.
 When the ace of clubs is cashed East can either discard the diamond ace, after which the diamond king will seal his fate, or bare one of his major suit holdings in which case the jack in that suit will be the progressive squeeze card. Had West East's cards the best defense to discard a spade will break the second squeeze.

See also
 Further reading on squeeze play.

Category:Contract bridge squeezes


Jennifer Strauss

Jennifer Strauss AM (born 1933) is a contemporary Australian poet and academic. She is a recipient of the Christopher Brennan Award.

Biography
Jennifer Strauss was born in Heywood, Victoria and educated at various boarding schools and Melbourne University. Working in academia she has published several books of criticism and literary autobiography as well as editing anthologies and several volumes of her own poetry. The current president of the Australian Federation of University Women Strauss is also an Honorary Senior Research Fellow in the Department of English at Monash University.

In 2007, Strauss was awarded the Medal of the Order of Australia, for her work in education, her work as an academic in the fields of literature and poetry and for her work in woman's issues and industrial relations.

Works
Poetry
Children and Other Strangers: Poems. (1975)
Winter Driving: Poems. (1981)
Labour Ward. (Pariah, 1988)
Tierra del Fuego: New and selected poems. (Pariah, 1997)

Non-fiction
Stop laughing! I'm Being Serious: Three studies in seriousness and wit in contemporary Australian poetry. (1990)
Boundary Conditions: The Poetry of Gwen Harwood. (UQP, 1992)
Judith Wright. (OUP, 1995)

Edited
Family Ties: Australian Poems of the Family. (Oxford, 1998)
The Oxford Literary History of Australia. With Bruce Bennett (Oxford, 1999)
The Collected Verse of Mary Gilmore: Volume 1, 1887-1929. (Australian Academy of the Humanities/UQP, 2005) review

References

External links
 ASAL Congratulates Jennifer Strauss Association for the Study of Australian Literature (Retrieved 23-July-2007)

Discourse in Eden Poem
Interview

Category:1933 births
Category:Living people
Category:Australian literary critics
Category:Australian poets
Category:Academics from Melbourne
Category:Poets from Melbourne
Category:Recipients of the Medal of the Order of Australia
Category:Women critics
Category:Australian women poets


Fencing at the 2015 Southeast Asian Games – Men's épée

The men's épée competition of the fencing event at the 2015 Southeast Asian Games was held on 3 June 2015 at the OCBC Arena Hall 2 in Singapore.

Schedule

Results

Pool round

Knockout round

Final standing

References

External links

Men's epee


Columbia Records

Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, the North American division of Japanese conglomerate Sony. It was founded in 1887, evolving from the American Graphophone Company, the successor to the Volta Graphophone Company. Columbia is the oldest surviving brand name in the recorded sound business, and the second major company to produce records. From 1961 to 1990, Columbia recordings were released outside North America under the name CBS Records to avoid confusion with EMI's Columbia Graphophone Company. Columbia is one of Sony Music's four flagship record labels, alongside former longtime rival RCA Records, as well as Arista Records and Epic Records.

Artists who have recorded for Columbia include AC/DC, Adele, Aerosmith, Louis Armstrong, Gene Autry, Count Basie, Nora Bayes, Bix Beiderbecke, Tony Bennett, Leonard Bernstein, Beyoncé, Blue Öyster Cult, Dave Brubeck, The Byrds, Mariah Carey, Pablo Casals, Johnny Cash, The Clash, The Cleveland Orchestra, Rosemary Clooney, Leonard Cohen, Ornette Coleman, Elvis Costello, Miles Davis, Neil Diamond, Celine Dion, Bob Dylan, Earth, Wind & Fire, Duke Ellington, 50 Cent, Flatt and Scruggs, Erroll Garner, Benny Goodman, Glenn Gould, Adelaide Hall, Herbie Hancock, Lauryn Hill, Billie Holiday, Vladimir Horowitz, Billy Joel, Blind Willie Johnson, Robert Johnson, Al Jolson, Janis Joplin, Andre Kostelanetz, Yo-Yo Ma, Johnny Mathis, John Mayer, George Michael, Mitch Miller, Charles Mingus, Thelonious Monk, Billy Murray, Willie Nelson, The New York Philharmonic, The Philadelphia Orchestra, Pink Floyd, Santana, Frank Sinatra, Simon and Garfunkel, Bessie Smith, John Philip Sousa, Bruce Springsteen, Igor Stravinsky, Barbra Streisand, System of a Down, James Taylor, Bonnie Tyler, Ethel Waters, Weather Report, Paul Whiteman, Andy Williams, Bert Williams, Pharrell Williams, Bob Wills, and Bill Withers.

History

Beginnings (1887–1929)

The Columbia Phonograph Company was founded in 1887 by stenographer, lawyer and New Jersey native Edward D. Easton (1856–1915) and a group of investors. It derived its name from the District of Columbia, where it was headquartered. At first it had a local monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington, D.C., Maryland, and Delaware. As was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, and its catalogue of musical records in 1891 was 10 pages.

Columbia's ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Company's breakup. Thereafter it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the "XP" record, a molded brown wax record, to use up old stock. Columbia introduced black wax records in 1903. According to one source, they continued to mold brown waxes until 1904 with the highest number being 32601, "Heinie", which is a duet by Arthur Collins and Byron G. Harlan. The molded brown waxes may have been sold to Sears for distribution (possibly under Sears' Oxford trademark for Columbia products).

Columbia began selling disc records (invented and patented by Victor Talking Machine Company's Emile Berliner) and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound.

In order to add prestige to its early catalog of artists, Columbia contracted a number of New York Metropolitan Opera stars to make recordings (from 1903 onward). These stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings was not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, Edison, England's His Master's Voice (The Gramophone Company Ltd.) or Italy's Fonotipia Records. After an abortive attempt in 1904 to manufacture discs with the recording grooves stamped into both sides of each disc—not just one—in 1908 Columbia commenced successful mass production of what they called their "Double-Faced" discs, the 10-inch variety initially selling for 65 cents apiece. The firm also introduced the internal-horn "Grafonola" to compete with the extremely popular "Victrola" sold by the rival Victor Talking Machine Company.

During this era, Columbia used the "Magic Notes" logo—a pair of sixteenth notes (semiquavers) in a circle—both in the United States and overseas (where this particular logo would never substantially change).

Columbia stopped recording and manufacturing wax cylinder records in 1908, after arranging to issue celluloid cylinder records made by the Indestructible Record Company of Albany, New York, as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate exclusively on disc records and stopped manufacturing cylinder phonographs, although they continued selling Indestructible's cylinders under the Columbia name for a year or two more.

Columbia was split into two companies, one to make records and one to make players. Columbia Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the Dictaphone Corporation.

In late 1922, Columbia went into receivership. The company was bought by its English subsidiary, the Columbia Graphophone Company in 1925 and the label, record numbering system, and recording process changed. On February 25, 1925, Columbia began recording with the electric recording process licensed from Western Electric. "Viva-tonal" records set a benchmark in tone and clarity unequaled on commercial discs during the 78-rpm era. The first electrical recordings were made by Art Gillham, the "Whispering Pianist". In a secret agreement with Victor, electrical technology was kept secret to avoid hurting sales of acoustic records.

In 1926, Columbia acquired Okeh Records and its growing stable of jazz and blues artists, including Louis Armstrong and Clarence Williams. Columbia had already built a catalog of blues and jazz artists, including Bessie Smith in their 14000-D Race series. Columbia also had a successful "Hillbilly" series (15000-D). In 1928, Paul Whiteman, the nation's most popular orchestra leader, left Victor to record for Columbia. During the same year, Columbia executive Frank Buckley Walker pioneered some of the first country music or "hillbilly" genre recordings with the Johnson City sessions in Tennessee, including artists such as Clarence Horton Greene and "Fiddlin'" Charlie Bowman. He followed that with a return to Tennessee the next year, as well as recording sessions in other cities of the South.

In 1929 Ben Selvin became house bandleader and A. & R. director. Other favorites in the Viva-tonal era included Ruth Etting, Paul Whiteman, Fletcher Henderson, Ipana Troubadours (a Sam Lanin group), and Ted Lewis. Columbia used acoustic recording for "budget label" pop product well into 1929 on the labels Harmony, Velvet Tone (both general purpose labels), and Diva (sold exclusively at W.T. Grant stores). When Edison Records folded, Columbia was the oldest surviving record label.

Columbia ownership separation (1931–1936)
In 1931, the British Columbia Graphophone Company (itself originally a subsidiary of American Columbia Records, then to become independent, actually went on to purchase its former parent, American Columbia, in late 1929) merged with the Gramophone Company to form Electric & Musical Industries Ltd. (EMI). EMI was forced to sell its American Columbia operations (because of anti-trust concerns) and the Grigsby-Grunow Company, makers of the Majestic Radio were the purchaser. But Majestic soon fell on hard times. An abortive attempt in 1932 (around the same time that Victor was experimenting with its 33 "program transcriptions") was the "Longer Playing Record", a finer-grooved 10" 78 with 4:30 to 5:00 playing time per side. Columbia issued about eight of these (in the 18000-D series), as well as a short-lived series of double-grooved "Longer Playing Record"s on its Clarion Records, Harmony and Velvet Tone labels. All of these experiments (and indeed the Clarion, Harmony and Velvet Tone labels) were discontinued by mid-1932.

A longer-lived marketing ploy was the Columbia "Royal Blue Record," a brilliant blue laminated product with matching label. Royal Blue issues, made from late 1932 through 1935, are particularly popular with collectors for their rarity and musical interest. The Columbia plant in Oakland, California, did Columbia's pressings for sale west of the Rockies and continued using the Royal Blue material for these until about mid-1936.

With the Great Depression's tightened economic stranglehold on the country, in a day when the phonograph itself had become a luxury, nothing slowed Columbia's decline. It was still producing some of the most remarkable records of the day, especially on sessions produced by John Hammond and financed by EMI for overseas release. Grigsby-Grunow went under in 1934 and was forced to sell Columbia for a mere $70,000 to the American Record Corporation (ARC). This combine already included Brunswick as its premium label so Columbia was relegated to slower sellers such as the Hawaiian music of Andy Iona, the Irving Mills stable of artists and songs, and the still unknown Benny Goodman. By late 1936, pop releases were discontinued, leaving the label essentially defunct.

In 1935, Herbert M. Greenspon, an 18-year-old shipping clerk, led a committee to organize the first trade union shop at the main manufacturing factory in Bridgeport, Connecticut. Elected as president of the Congress of Industrial Unions (CIO) local, Greenspon negotiated the first contract between factory workers and Columbia management. In a career with Columbia that lasted 30 years, Greenspon retired after achieving the position of executive vice president of the company. The Columbia Records factory in Bridgeport (which closed in 1964) was converted into an apartment building called Columbia Towers.

As southern gospel developed, Columbia had astutely sought to record the artists associated with the emerging genre; for example, Columbia was the only company to record Charles Davis Tillman. Most fortuitously for Columbia in its Depression Era financial woes, in 1936 the company entered into an exclusive recording contract with the Chuck Wagon Gang, a hugely successful relationship which continued into the 1970s. A signature group of southern gospel, the Chuck Wagon Gang became Columbia's bestsellers with at least 37 million records, many of them through the aegis of the Mull Singing Convention of the Air sponsored on radio (and later television) by southern gospel broadcaster J. Bazzel Mull (1914–2006).

Another event in this period that would prove to be of importance to Columbia was the 1937 hiring of talent scout, music writer, producer, and impresario John Hammond. Alongside his significance as a discoverer, promoter, and producer of jazz, blues, and folk artists during the swing music era, Hammond had already been of great help to Columbia in 1932–33. Through his involvement in the UK music paper Melody Maker, Hammond had arranged for the struggling US Columbia label to provide recordings for the UK Columbia label, mostly using the specially created Columbia W-265000 matrix series. Hammond recorded Fletcher Henderson, Benny Carter, Joe Venuti, Roger Wolfe Kahn and other jazz performers during a time when the economy was bad enough that many of them would not have had the opportunity to enter a studio and play real jazz (a handful of these in this special series were issued in the US). Hammond's work for Columbia was interrupted by his service during World War II, and he had less involvement with the music scene during the bebop era, but when he returned to work as a talent scout for Columbia in the 1950s, his career proved to be of incalculable historical and cultural importance - the list of superstar artists he would discover and sign to Columbia over the course of his career included Charlie Christian, Count Basie, Teddy Wilson, Pete Seeger, Bob Dylan, Leonard Cohen, Aretha Franklin, Bruce Springsteen and Stevie Ray Vaughan, and in the early 1960s Hammond would also exert an enormous cultural effect on the emerging rock music scene thanks to his championing of reissue LPs of the music of blues artists Robert Johnson and Bessie Smith.

CBS takes over (1938–1947)

In 1938 ARC, including the Columbia label in the US, was bought by William S. Paley of the Columbia Broadcasting System for US$750,000. (Columbia Records had originally co-founded CBS in 1927 along with New York talent agent Arthur Judson, but soon cashed out of the partnership leaving only the name; Paley acquired the fledgling radio network in 1928.)  CBS revived the Columbia label in place of Brunswick and the Okeh label in place of Vocalion. CBS renamed the company Columbia Recording Corporation and retained control of all of ARC's past masters, but in a complicated move, the pre-1931 Brunswick and Vocalion masters, as well as trademarks of Brunswick and Vocalion, reverted to Warner Bros. (which had leased its whole recording operation to ARC in early 1932) and Warners sold it all to Decca Records in 1941.

The Columbia trademark from this point until the late 1950s was two overlapping circles with the Magic Notes in the left circle and a CBS microphone in the right circle. The Royal Blue labels now disappeared in favor of a deep red, which caused RCA Victor to claim infringement on its Red Seal trademark (RCA lost the case). The blue Columbia label was kept for its classical music Columbia Masterworks Records line until it was later changed to a green label before switching to a gray label in the late 1950s, and then to the bronze that is familiar to owners of its classical and Broadway albums. Columbia Phonograph Company of Canada did not survive the Great Depression, so CBS made a distribution deal with Sparton Records in 1939 to release Columbia records in Canada under the Columbia name.

During the 1940s Columbia had a contract with Frank Sinatra. Sinatra helped boost Columbia in revenue. Sinatra recorded over 200 songs with Columbia which include his most popular songs from his early years. Other popular artists on Columbia included Benny Goodman (signed from RCA Victor), Count Basie, Jimmie Lunceford (both signed from Decca), Eddy Duchin, Ray Noble (both moved to Columbia from Brunswick), Kate Smith, Mildred Bailey, and Will Bradley.

In 1947, the company was renamed Columbia Records Inc. and founded its Mexican record company, Discos Columbia de Mexico. 1948 saw the first classical LP Nathan Milstein's recording of the Mendelssohn Violin Concerto. Columbia's 33 rpm format quickly spelled the death of the classical 78 rpm record and for the first time in nearly fifty years, gave Columbia a commanding lead over RCA Victor Red Seal.

The LP record (1948–1959)

Columbia's president Edward Wallerstein was instrumental in steering Paley towards the ARC purchase. He set his talents to his goal of hearing an entire movement of a symphony on one side of an album. Ward Botsford writing for the Twenty-Fifth Anniversary Issue of High Fidelity Magazine relates, "He was no inventor—he was simply a man who seized an idea whose time was ripe and begged, ordered, and cajoled a thousand men into bringing into being the now accepted medium of the record business." Despite Wallerstein's stormy tenure, in June 1948, Columbia introduced the Long Playing "microgroove" LP record format (sometimes written "Lp" in early advertisements), which rotated at 33⅓ revolutions per minute, to be the standard for the gramophone record for half a century. CBS research director Dr. Peter Goldmark played a managerial role in the collaborative effort, but Wallerstein credits engineer William Savory with the technical prowess that brought the long-playing disc to the public.

By the early 1940s, Columbia had been experimenting with higher fidelity recordings, as well as longer masters, which paved the way for the successful release of the LPs in 1948. One such record that helped set a new standard for music listeners was the 10" LP reissue of The Voice of Frank Sinatra, originally released on March 4, 1946 as an album of four 78 rpm records, which was the first pop album issued in the new LP format. Sinatra was arguably Columbia's hottest commodity and his artistic vision combined with the direction Columbia were taking the medium of music, both popular and classic, were well suited. The Voice of Frank Sinatra was also considered to be the first genuine concept album. Since the term "LP" has come to refer to the 12-inch  rpm vinyl disk, the first LP is the Mendelssohn Violin Concerto in E minor played by Nathan Milstein with Bruno Walter conducting the New York Philharmonic (then called the Philharmonic-Symphony Orchestra of New York), Columbia ML 4001, found in the Columbia Record Catalog for 1949, published in July 1948. The other "LP's" listed in the catalog were in the 10 inch format starting with ML 2001 for the light classics, CL 6001 for popular songs and JL 8001 for children's records. The Library of Congress (Washington DC) now holds the Columbia Records Paperwork Archive which shows the Label order for ML 4001 being written on March 1, 1948. One can infer that Columbia was pressing the first LPs for distribution to their dealers for at least 3 months prior to the introduction of the LP in June 1948. The catalog numbering system has had minor changes ever since.

Columbia's LPs were particularly well-suited to classical music's longer pieces, so some of the early albums featured such artists as Eugene Ormandy and the Philadelphia Orchestra, Bruno Walter and the New York Philharmonic Orchestra, and Sir Thomas Beecham and the Royal Philharmonic Orchestra. The success of these recordings eventually persuaded Capitol Records to begin releasing LPs in 1949. Even before the LP record was officially demonstrated, Columbia offered to share the new speed with rival  RCA Victor, who initially rejected it and soon introduced their new competitive 45 RPM record. When it became clear that the LP was the preferred format for classical recordings, RCA Victor announced that the company would begin releasing its own LPs in January, 1950. This was quickly followed by the other major American labels. Decca Records in the U.K. was the first to release LPs in Europe, beginning in 1949. EMI would not fully adopt the LP format until 1955.

An "original cast recording" of Rodgers & Hammerstein's South Pacific with Ezio Pinza and Mary Martin was recorded in 1949. Both conventional metal masters and tape were used in the sessions in New York City. For some reason, the taped version was not used until Sony released it as part of a set of CDs devoted to Columbia's Broadway albums.  Over the years, Columbia joined Decca and RCA Victor in specializing in albums devoted to Broadway musicals with members of the original casts. In the 1950s, Columbia also began releasing LPs drawn from the soundtracks of popular films.

Many album covers put together by Columbia and the other major labels were put together using one piece of cardboard (folded in half) and two paper "slicks," one for the front and one for the back. The front slick bent around the top, bottom, and left sides (the right side is open for the record to be inserted into the cover) and glued the two halves of cardboard together at the top and bottom. The back slick is pasted over the edges of the pasted-on front slick to make it appear that the album cover is one continuous piece.

Columbia discovered that printing two front cover slicks, one for mono and one for stereo, was inefficient and therefore needlessly costly. Starting in the summer of 1959 with some of the albums released in August, they went to the "paste-over" front slick, which had the stereo information printed on the top and the mono information printed on the bottom. For stereo issues, they moved the front slick down so the stereo information was showing at the top, and the mono information was bent around the bottom to the back and "pasted over" by the back slick. Conversely, for a mono album, they moved the slick up so the mono information showed at the bottom, and the stereo information was pasted over.

The 1950s

In 1951, Columbia US began issuing records in the 45 rpm format RCA Victor had introduced two years earlier. The same year, Ted Wallerstein retired as Columbia Records chairman; and Columbia US also severed its decades-long distribution arrangement with EMI and signed a distribution deal with Philips Records to market Columbia recordings outside North America. EMI continued to distribute Okeh and later Epic label recordings until 1968. EMI also continued to distribute Columbia recordings in Australia and New Zealand. American Columbia was not happy with EMI's reluctance to introduce long playing records.

Columbia became the most successful non-rock record company in the 1950s after it lured producer and bandleader Mitch Miller away from the Mercury label in 1950. Despite its many successes, Columbia remained largely uninvolved in the teenage rock'n'roll market until the mid-1960s, despite a handful of crossover hits, largely because of Miller's famous (and frequently expressed) loathing of rock'n'roll. (Miller was a classically trained oboist who had been a friend of Columbia executive Goddard Lieberson since their days at the Eastman School of Music in the 1930s.) Miller quickly signed up Mercury's biggest artist at the time, Frankie Laine, and discovered several of the decade's biggest recording stars including Tony Bennett, Mahalia Jackson, Jimmy Boyd, Guy Mitchell (whose stage surname was taken from Miller's first name), Johnnie Ray, The Four Lads, Rosemary Clooney, Ray Conniff, Jerry Vale and Johnny Mathis. He also oversaw many of the early singles by the label's top female recording star of the decade, Doris Day.

In 1953, Columbia formed a new subsidiary label Epic Records. 1954 saw Columbia end its distribution arrangement with Sparton Records and form Columbia Records of Canada. Despite the appearance of favoring a country music genre, Columbia bid $15,000 for Elvis Presley's contract from Sun Records in 1955. Miller made no secret of the fact that he was not a fan of rock music and was saved from having to deal with it when Presley's manager, Colonel Tom Parker, turned down their offer and signed Presley with RCA Victor. However, Columbia did sign two Sun artists in 1958: Johnny Cash and Carl Perkins.

With 1954, Columbia US decisively broke with its past when it introduced its new, modernist-style "Walking Eye" logo, designed by Columbia's art director S. Neil Fujita. This logo actually depicts a stylus (the legs) on a record (the eye); however, the "eye" also subtly refers to CBS's main business in television, and that division's iconic Eye logo. Columbia continued to use the "notes and mike" logo on record labels and even used a promo label showing both logos until the "notes and mike" was phased out (along with the 78 in the US) in 1958. In Canada, Columbia 78s were pressed with the "Walking Eye" logo in 1958. The original Walking Eye was tall and solid; it was modified in 1961 to the familiar one still used today (pictured on this page), despite the fact that the Walking Eye was used only sporadically during most of the 1990s.

Although the onset of long-playing vinyl "hi-fi" records coincided with the public's loss of interest in big bands, Columbia maintained Duke Ellington under contract, capturing the historic moment when Ellington's band provoked a post-midnight frenzy (followed by international headlines) at the 1956 Newport Jazz Festival, which proved not only a boost to the venerable bandleader and the barely established venue of the outdoor music festival but a harbinger of the musical love-fest that was Woodstock. Under new head producer George Avakian, Columbia became the most vital label to the general public's appreciation and understanding (with help from Avakian's prolific and perceptive play-by-play liner notes) of America's indigenous art, releasing the most important LP's by the music's founding father, Louis Armstrong, but also signing to long-term contracts  Dave Brubeck and Miles Davis, the two modern jazz artists who would in 1959 record albums that remain—more than a half century later—among the best-selling jazz albums by any label—viz., Time Out by the Brubeck Quartet and, to an even greater extent, Kind of Blue by the Davis Sextet, which, in 2003, appeared as number 12 in Rolling Stone's list of the "500 Greatest Albums Of All Time". With another producer, Teo Macero, a skilled modernist composer himself, Columbia cemented contracts with jazz giants Thelonious Monk and Charles Mingus, while Macero became a key agent in recording and representing—through attention-grabbing, colorful—albums the protean faces of Miles Davis—from leading exponent of cool jazz and an explorer of the art of modal jazz through his sextet's 1958 album Milestones to innovator and avatar of the marriage of jazz with rock and electronic sounds—commonly known as jazz fusion.

1954 was the eventful year of Columbia's embracing small-group modern jazz—first, in the signing of the Dave Brubeck Quartet, which resulted in the release of the on-location, best-selling jazz album (up to this time), Jazz Goes to College. Contemporaneously with Columbia's first release of modern jazz by a small group, which was also the Brubeck Quartet's debut on the label, was a Time Magazine cover story on the phenomenon of Brubeck's success on college campuses. The humble Dave Brubeck demurred, saying that the second Time Magazine cover story on a jazz musician (the first featured Louis Armstrong's picture) had been earned by Duke Ellington, not himself. Within two years Ellington's picture would appear on the cover of Time Magazine, following his "wild" success at the 1956 Newport Jazz Festival. Ellington at Newport, recorded on Columbia, was also the bandleader-composer-pianist's best-selling album. Moreover, this exclusive trinity of jazz giants featured on Time Magazine were all Columbia artists. (In the early 1960s Columbia jazz artist Thelonious Monk would be afforded the same honor.)

Columbia changed distributors in Australia and New Zealand in 1956 when the Australian Record Company picked up distribution of U.S. Columbia product to replace the Capitol Records product which ARC lost when EMI bought Capitol. As EMI owned the Columbia trademark at that time, the U.S. Columbia material was issued in Australia and New Zealand on the CBS Coronet label.

In the same year, former Columbia A&R manager Goddard Lieberson was promoted to President of the entire CBS recording division, which included Columbia and Epic, as well as the company's various international divisions and licensees. Under his leadership the corporation's music division soon overtook RCA Victor as the top recording company in the world, boasting a star-studded roster of artists and an unmatched catalogue of popular, jazz, classical and stage and screen soundtrack titles. Lieberson, who had joined Columbia as an A&R manager in 1938, was noted for both his personal elegance and his dedication to quality, overseeing the release of many hugely successful albums and singles, as well as championing prestige releases that sold relatively poorly, and even some titles that had very limited appeal, such as complete editions of the works of Arnold Schoenberg and Anton von Webern. One of his first major successes was the original cast soundtrack of My Fair Lady, which sold over 5 million copies worldwide in 1957, becoming the most successful LP ever released up to that time. Lieberson also convinced long-serving CBS President William S. Paley to become the sole backer of the original Broadway production, a $500,000 investment which subsequently earned the company some $32 million in profits.

In October 1958, Columbia, in time for the Christmas season, put out a series of "Greatest Hits" packages by such artists as Johnny Mathis, Doris Day, Guy Mitchell, Johnnie Ray, Jo Stafford, Tony Bennett, Rosemary Clooney, Frankie Laine and the Four Lads; months later, it put out another Mathis compilation as well as that of Marty Robbins. Only Mathis' compilations charted, since there were only 25 positions on [[Billboard 200|Billboards album charts]] at the time. However, the compilations were so successful that they led to Columbia doing such packages on a widespread basis, usually when an artist's career was in decline.

Stereo

Although Columbia began recording in stereo in 1956, stereo LPs did not begin to be manufactured until 1958. One of Columbia's first stereo releases was an abridged and re-structured performance of Handel's Messiah by the New York Philharmonic and the Westminster Choir conducted by Leonard Bernstein (recorded on December 31, 1956, on -inch tape, using an Ampex 300-3 machine). Bernstein combined the Nativity and Resurrection sections, and ended the performance with the death of Christ. As with RCA Victor, most of the early stereo recordings were of classical artists, including the New York Philharmonic Orchestra conducted by Bruno Walter, Dimitri Mitropoulos, and Leonard Bernstein, and the Philadelphia Orchestra conducted by Eugene Ormandy, who also recorded an abridged Messiah for Columbia. Some sessions were made with the Columbia Symphony Orchestra, an ensemble drawn from leading New York musicians, which had first made recordings with Sir Thomas Beecham in 1949 in Columbia's famous New York City studios. George Szell and the Cleveland Orchestra recorded mostly for Epic. When Epic dropped classical music, the roster and catalogue was moved to Columbia Masterworks Records.

Columbia released its first pop stereo albums in the summer of 1958. All of the first dozen or so were stereo versions of albums already available in mono. It wasn't until September 1958, that Columbia started simultaneous mono/stereo releases. Mono records sold to the general public were subsequently discontinued in 1968. To celebrate the 10th anniversary of the introduction of the LP, in 1958 Columbia initiated the "Adventures in Sound" series that showcased music from around the world.

As far as the catalog numbering system went, there was no correlation between mono and stereo versions for the first few years. Columbia started a new CS 8000 series for pop stereo releases, and figuring the stereo releases as some sort of specialty niche records, didn't bother to link the mono and stereo numbers for two years. Masterworks classical LPs had an MS 6000 series, while showtunes albums on Masterworks were OS 2000. Finally, in 1960, the pop stereo series jumped from 8300 to 8310 to match Lambert, Hendricks & Ross Sing Ellington, the Lambert, Hendricks & Ross album issued as CL-1510. From that point, the stereo numbers on pop albums were exactly 6800 higher than the mono; stereo classical albums were the mono number plus 600; and showtunes releases were the mono number MINUS 3600. Only the last two digits in the respective catalog series' matched.

Pop stereo LPs got into the high 9000s by 1970, when CBS Records revamped and unified its catalog numbering system across all its labels. Masterworks classical albums were in the 7000s, while showtunes stayed in the low 2000s.

The 1960s
Outing of "deep groove"
By the latter half of 1961, Columbia started using pressing plants with newer equipment. The "deep groove" pressings were made on older pressing machines, where the groove was an artifact of the metal stamper being affixed to a round center "block" to assure the resulting record would be centered. Newer machines used parts with a slightly different geometry, that only left a small "ledge" where the deep groove used to be. This changeover did not happen all at once, as different plants replaced machines at different times, leaving the possibility that both deep groove and ledge varieties could be original pressings. The changeover took place starting in late 1961.

CBS Records

In 1961, CBS ended its arrangement with Philips Records and formed its own international organization, CBS Records, in 1962, which released Columbia recordings outside the US and Canada on the CBS label (until 1964 marketed by Philips in Britain). The recordings could not be released under the Columbia Records name because EMI operated a separate record label by that name, Columbia Graphophone Company, outside North America. This was the result of legal maneuvers which led to the creation of EMI in the early 1930s.

While this happened, starting in late 1961, both the mono and the stereo labels of domestic Columbia releases started carrying a small "CBS" at the top of the label. This was not something that changed at a certain date, but rather, pressing plants were told to use up the stock of old (pre-CBS) labels first, resulting in a mixture of labels for some given releases. Some are known with the CBS text on mono albums, and not on stereo of the same album, and vice versa; diggings brought up pressings with the CBS text on one side and not on the other. Many, but certainly not all, of the early numbers with the "ledge" variation (i.e., no deep groove), had the small "CBS". This text would be used on the Columbia labels until June, 1962.

Columbia's Mexican unit, Discos Columbia, was renamed Discos CBS.

With the formation of CBS Records International, CBS started establishing its own distribution in the early 1960s, beginning in Australia. In 1960 CBS took over its distributor in Australia and New Zealand, the Australian Record Company (founded in 1936) including Coronet Records, one of the leading Australian independent recording and distribution companies of the day. The CBS Coronet label was replaced by the CBS label with the 'walking eye' logo in 1963. ARC continued trading under that name until the late 1970s when it formally changed its business name to CBS Australia.

Mitch Miller on television
In 1961, Columbia's music repertoire was given an enormous boost when Mitch Miller, its A&R manager and bandleader, became the host of the variety series Sing Along with Mitch on NBC. The show was based on Miller's 'folksy' but appealing 'chorus' style performance of popular standards. During its four-season run, the series promoted Miller's "Singalong" albums, which sold over 20 million units, and received a 34% audience share when it was cancelled in 1964.

Bob Dylan
In September 1961, CBS A&R manager John Hammond was producing the first Columbia album by folk singer Carolyn Hester, who invited a friend to accompany her on one of the recording sessions. It was here that Hammond first met Bob Dylan, whom he signed to the label, initially as a harmonica player. Dylan's self-titled debut album was released in March 1962 and sold only moderately. Some executives in Columbia dubbed Dylan "Hammond's folly" and suggest that Dylan be dropped from the label. But John Hammond and Johnny Cash defended Dylan, who over the next four years became one of Columbia's highest earning acts.

Over the course of the 1960s, Dylan achieved a prominent position in Columbia. His early folk songs were recorded by many acts and became hits for Peter, Paul & Mary and The Turtles. Some of these cover versions became the foundation of the folk rock genre. The Byrds achieved their pop breakthrough with a version of Dylan's "Mr. Tambourine Man". In 1965, Dylan's controversial decision to 'go electric' and work with rock musicians divided his audience but catapulted him to greater commercial success with his 1965 hit single "Like a Rolling Stone". Following his withdrawal from touring in 1966, Dylan recorded a large group of songs with his backing group The Band which reached other artists as 'demo recordings'. These resulted in hits by Manfred Mann ("The Mighty Quinn") and Brian Auger, Julie Driscoll & Trinity ("This Wheel's On Fire"). Dylan's late 1960s albums John Wesley Harding and Nashville Skyline became cornerstone recordings of the emergent country rock genre and influenced The Byrds and The Flying Burrito Brothers.

Converting mono
Columbia's engineering department developed a process for emulating stereo from a mono source. They called this process "Electronically Rechanneled for Stereo". In the June 16, 1962, issue of Billboard magazine (page 5), Columbia announced it would issue "rechanneled" versions of greatest hits compilations that had been recorded in mono, including albums by Doris Day, Frankie Laine, Percy Faith, Mitch Miller, Marty Robbins, Dave Brubeck, Miles Davis, and Johnny Mathis.

Columbia's rechanneling process involved a slight time delay and some bass-treble separation between channels. RCA Victor and Capitol ("Duophonic") used similar processes, but the relatively large delay between channels resulted in a sound that has been described by collectors as "messy" (Duophonic) or "garbage can echo" (RCA Victor). Columbia's rechanneling resulted in a sound similar to reverb, though some found it annoying.

Rock and roll
When the British Invasion arrived in January 1964, Columbia had no rock musicians on its roster except for Dion, who was signed in 1963 as the label's first major rock star, and Paul Revere & the Raiders who were also signed in 1963. The label released a merseybeat album, The Exciting New Liverpool Sound (Columbia CL-2172, issued in mono only). Terry Melcher, son of Doris Day, produced the hard driving "Don't Make My Baby Blue" for Frankie Laine, who had gone six years without a hit record. The song reached No. 51 on the pop chart and No. 17 on the easy listening chart.

Melcher and Bruce Johnston discovered and brought to Columbia The Rip Chords, a vocal group consisting of Ernie Bringas and Phil Stewart, and turned it into a rock group through production techniques. The group had hits in "Here I Stand", a remake of the song by Wade Flemons, and "Hey Little Cobra". Columbia saw the two recordings as a start to getting into rock and roll. Melcher and Johnston recorded several additional singles for Columbia in 1964 as "Bruce & Terry" and later as "The Rogues". Melcher produced early albums by The Byrds and Paul Revere & the Raiders for Columbia while Johnston produced The Beach Boys for Capitol Records.

Ascension of Clive Davis
When Mitch Miller retired in 1965, Columbia was at a turning point. Miller's disdain for rock and roll and pop rock had dominated Columbia's A&R policy. The label's only significant "pop" acts at the time were Bob Dylan, The Byrds, Paul Revere & The Raiders and Simon & Garfunkel. In its catalogue were other genres: classical, jazz and country, along with a select group of R&B artists, among them Aretha Franklin. Most historians noted that Columbia had problems marketing Franklin as a major talent in the R&B genre, which led to her leaving the label for Atlantic Records in 1967.

In 1967, Brooklyn-born lawyer Clive Davis became president of Columbia. Sales of Broadway soundtracks and Mitch Miller's singalong series were waning. Pretax earnings had flattened to about $5 million annually. Following the appointment of Davis, the Columbia label became more of a rock music label, thanks mainly to Davis's fortuitous decision to attend the Monterey International Pop Festival, where he spotted and signed several leading acts including Janis Joplin. Joplin led the way for several generations of female rock and rollers. However, Columbia/CBS still had a hand in traditional pop and jazz and one of its key acquisitions during this period was Barbra Streisand. She released her first solo album on Columbia in 1963 and remains with the label to this day. Additionally, the label kept
Miles Davis on the roster, and his late 1960s recordings, In a Silent Way and Bitches Brew, pioneered a fusion of jazz and rock music.

A San Francisco group called Moby Grape had been gaining popularity on the West Coast, and were signed by Davis in 1967. As a way of introducing them to the world with a splash, they released their debut album, along with five singles from the album, all on the same day, June 6, 1967, 23 years following D-Day. The album hit made #24 on the Billboard 200, but the singles barely made a dent in the charts, the best performer being "Omaha," which lasted a mere three weeks on the Hot 100 reaching only No. 88. The other charter, "Hey Grandma," only reached the Bubbling Under chart and faded within a week. Also, there were some complaints about the obscene gesture made to the American flag on the front cover that had to be edited out on the second pressing, not to mention that the group started to decline in sales after that. The return on all the promotional budget for the singles realized nothing. Although the group made two more albums, this particular publicity stunt was never again attempted by Columbia or any other major label.

Simon & Garfunkel
Arguably the most commercially successful Columbia pop act of this period, other than Bob Dylan, was Simon & Garfunkel. The duo scored a surprise No. 1 hit in 1965 when CBS producer Tom Wilson, inspired by the folk-rock experiments of The Byrds and others, added drums and bass to the duo's earlier recording of "The Sound of Silence" without their knowledge or approval. Indeed, the duo had already broken up some months earlier, discouraged by the poor sales of their debut LP, and Paul Simon had relocated to the UK, where he famously only found out about the single being a hit via the music press. The dramatic success of the song prompted Simon to return to the US; the duo reformed, and they soon became one of the flagship acts of the folk-rock boom of the mid-1960s. Their next album, Parsley, Sage, Rosemary and Thyme, went to No. 4 on the Billboard album chart. The duo subsequently had a Top 20 single, "A Hazy Shade of Winter", but progress slowed during 1966-67 as Simon struggled with writer's block and the demands of constant touring. They shot back to the top in 1968 after Simon agreed to write songs for the Mike Nichols film The Graduate. The resulting single, "Mrs. Robinson", became a smash hit. Both The Graduate soundtrack and Simon & Garfunkel's next studio album, Bookends, were major hits on the album chart, with combined total sales in excess of five million copies. Simon and Garfunkel's fifth and final studio album, Bridge over Troubled Water (1970), reached number one in the US album charts in January 1970 and became one of the most successful albums of all time.

Hoyt Axton and Tom Rush
Davis lured artists Hoyt Axton and Tom Rush to Columbia in 1969, and both were given what was known as "the pop treatment" by the label. Hoyt Axton had been a folk/blues singer-songwriter since the early 1960s, when he made several albums for Horizon, then Vee-Jay. By the time he joined Columbia, he had mixed successful pop songs like "Greenback Dollar," with hard rock songs for Steppenwolf, such as "The Pusher", which was used in the film Easy Rider in the same year. When he landed at Columbia, his album My Griffin Is Gone was described as "the poster child for 'overproduced,' full of all kinds of instruments and even strings". After that album, Axton left and joined Capitol Records, where his next albums contained "Joy to the World" and "Never Been to Spain," which became hits for Three Dog Night on Dunhill. Axton eventually became a country singer, and founded his own record label, Jeremiah.

Tom Rush had always been the "storyteller" or "balladeer" type of folk artist, before and after his stint with Columbia, to which Rush was lured from Elektra. As with Axton, Rush was given "the treatment" on his self-titled Columbia debut. The multitude of instruments added to his usual solo guitar were all done "tastefully", of course, but was not really on par with Rush's audience expectations. He commented to record label historian Mike Callahan:  Eventually, Rush returned to his usual sound (which he applied to his next three albums for Columbia) and has been playing to appreciative audiences ever since.

The 1970s
Catalog numbers
The Columbia album series began in 1951 with album GL-500 (CL-500) and reached an awkward milestone in 1970, when the stereo numbering sequence reached CS-9999, assigned to the Patti Page album Honey Come Back. This presented a catalog numbering system challenge as Columbia had used a four-digit catalog number for 13 years, and CS-10000 seemed cumbersome. Columbia decided to start issuing albums at CS-1000 instead, preserving the four-digit catalog number. However, this resulted in the reuse of numbers previously used in 1957-58, although the prefix was now different. In July, 1970, the cataloging department implemented a new system, combining all their labels into a unified catalog numbering system starting with 30000, with the prefix letter indicating the label: C=Columbia, E=Epic, M=Columbia Masterworks, Y=Columbia Odyssey, and Z=every other label that CBS distributed.  The prefix letter G was also used for two album sets—or the number of records in the set after the label letter, such as KC2). The first CBS album released under the new system was The Elvin Bishop Group's self-titled album on Fillmore Records, assigned with 30001, while the first actual Columbia release under the system was Herschel Bernardi's Show Stopper, assigned with C 30004. The highest catalog number released in the old system was CS-1069, assigned to The Sesame Street Book and Record. Chronologically, Columbia issued at least one album in this series in August, but by that time, the CBS Consolidated 30000 series, which started issuing albums in July with the new label design, was well underway, having issued nearly 100 albums. The system was later expanded with even more prefix letters, which continued until 2005.

Quadraphonics
In September 1970, under the guidance of Clive Davis, Columbia Records entered the West Coast rock market, opening a state-of-the art recording studio (which was located at 827 Folsom St. in San Francisco and later morphed into the Automatt) and establishing an A&R head and office in San Francisco at Fisherman's Wharf, headed by George Daly, a producer and artist for Monument Records (who inked a distribution deal with Columbia at the time) and a former bandmate of Nils Lofgren and Roy Buchanan. The recording studio operated under CBS until 1978.

During the early 1970s, Columbia began recording in a four-channel process called quadraphonic, using the "SQ" (Stereo Quadraphonic) standard that used an electronic encoding process that could be decoded by special amplifiers and then played through four speakers, with each speaker placed in the corner of a room. Remarkably, RCA countered with another quadraphonic process that required a special cartridge to play the "discrete" recordings for four-channel playback. Both Columbia and RCA's quadraphonic records could be played on conventional stereo equipment. Although the Columbia process required less equipment and was quite effective, many were confused by the competing systems and sales of both Columbia's matrix recordings and RCA's discrete recordings were disappointing. A few other companies also issued some matrix recordings for a few years. Quadraphonic recording was used by both classical artists, including Leonard Bernstein and Pierre Boulez, and popular artists such as Electric Light Orchestra, Billy Joel, Pink Floyd, Johnny Cash, Barbra Streisand, Ray Conniff, Carlos Santana, Herbie Hancock, The Clash and Blue Öyster Cult. Columbia even released a soundtrack album of the movie version of Funny Girl in quadraphonic. Many of these recordings were later remastered and released in Dolby surround sound on CD.

Yetnikoff becomes president
In 1975, Walter Yetnikoff was promoted to become President of Columbia Records, and his vacated position as President of CBS Records International was filled by Dick Asher. At this point, according to music historian Frederic Dannen, the  shy and introverted Yetnikoff began to transform his personality, becoming (in Asher's words) "wild, menacing, crude, and above all, very loud". In Dannen's view, Yetnikoff was probably over-compensating for his naturally sensitive and generous personality, and that he had little hope of being recognised as a "record man" (someone with a musical ear and an intuitive understanding of current trends and artists' intentions) because he was tone-deaf, so he instead determined to become a "colourful character". Yetnikoff soon became notorious for his violent temper and regular tantrums: "He shattered glassware, spewed a mixture of Yiddish and barnyard epithets, and had people physically ejected from the CBS building."

In 1976, Columbia Records of Canada was renamed CBS Records Canada Ltd. The Columbia label continued to be used by CBS Canada, but the CBS label was introduced for French-language recordings. On May 5, 1979, Columbia Masterworks began digital recording in a recording session of Stravinsky's Petrouchka by the New York Philharmonic Orchestra, conducted by Zubin Mehta, in New York (using 3M's 32-channel multitrack digital recorder).

Dick Asher vs "The Network"

CBS Records had a popular roster of musicians. It distributed Philadelphia International Records, Blue Sky Records, the Isley Brothers' T-Neck Records and Monument Records (from 1971 to 1976). But the music industry was in financial decline. Total sales fell by 11%, the biggest drop since World War II. In 1979 CBS had a pre-tax income of $51 million and sales of over $1 billion. The label laid off hundreds of employees.

To deal with the crisis, CEO John Backe promoted Dick Asher from Vice President of Business Affairs to Deputy President. Charged with cutting costs and restoring profits, Asher was reportedly reluctant to take on the role. He was worried that Yetnikoff would resent his promotion. But Backe had confidence in Asher's experience. In 1972 Asher had turned the British division of CBS from loss to profit. Backe considered him to be honest and trustworthy, and he appealed to Asher's loyalty to the company. Employees at CBS thought Asher was a bore and an interloper. He cut back on expenses and on perks like limousines and restaurants. His relationship with Yetnikoff deteriorated.

Asher became increasingly concerned about the huge and rapidly growing cost of hiring independent agents, who were paid to promote new singles to radio station program directors. "Indies" had been used by record labels for many years to promote new releases, but as he methodically delved into CBS Records' expenses, Asher was dismayed to discover that hiring these independent promoters was now costing CBS alone as much as $10 million per year. When Asher took over CBS' UK division in 1972, a freelance promoter might only charge $100 per week, but by 1979 the top American independent promoters had organized themselves into a loose collective known as "The Network", and their fees were now running into the tens millions of dollars per year, Music historian Frederic Dannen estimates that by 1980 the major labels were paying anywhere from to $100,000 to $300,000 per song to the "Network" promoters, and that it was costing the industry as whole as much as $80 million annually.

During this period, Columbia scored a Top 40 hit with the Pink Floyd single "Another Brick In The Wall", and its parent album The Wall would spend four months at No. 1 on the Billboard LP chart in early 1980, but few in the industry knew that Dick Asher was in fact using the single as a covert experiment to test the extent of the pernicious influence of The Network - by not paying them to promote the new Pink Floyd single. The results were immediate and deeply troubling - not one of the major radio stations in Los Angeles would program the record, despite the fact that the group was in town, performing the first seven concerts on their elaborate The Wall Tour at the Los Angeles Memorial Sports Arena to rave reviews and sold-out crowds. Asher was already worried about the growing power of The Network, and the fact it operated entirely outside the control of the label, but he was profoundly dismayed to realize that "The Network" was in effect a huge extortion racket, and that the operation could well be linked to organized crime - a concern vehemently dismissed by Yetnikoff, who resolutely defended the "indies" and declared them to be "mensches". But Dick Asher now knew that The Network's real power lay in their ability to prevent records from being picked up by radio, and as an experienced media lawyer and a loyal CBS employee, he was also acutely aware that this could become a new payola scandal which had the potential to engulf the entire CBS corporation, and that the Federal Communications Commission could even revoke CBS' all-important broadcast licenses if the corporation was found to be involved in any illegality.

The 1980s and sale to Sony

The structure of US Columbia remained the same until 1980, when it spun off the classical/Broadway unit, Columbia Masterworks Records, into a separate imprint, CBS Masterworks Records.

In 1988, the CBS Records Group, including the Columbia Records unit, was acquired by Sony, which re-christened the parent division Sony Music Entertainment in 1991. As Sony only had a temporary license on the CBS Records name, it then acquired the rights to the Columbia trademarks (Columbia Graphophone) outside the U.S., Canada, Spain (trademark owned by BMG) and Japan (Nippon Columbia) from EMI, which generally had not been used by them since the early 1970s. The CBS Records label was officially renamed Columbia Records on January 1, 1991 worldwide except Spain (where Sony got the rights in 2004 by forming a joint venture with BMG) and Japan. CBS Masterworks Records was renamed Sony Classical Records. In December 2006, CBS Corporation revived the CBS Records name for a new minor label closely linked with its television properties (coincidentally, the new CBS Records is currently distributed by another Sony Music division, RED Distribution).

The 1990s and today

Columbia Records remains a premier subsidiary label of Sony Music Entertainment. The label is headed by chairman Rob Stringer, along with executive vice president and general manager Joel Klaiman, who joined the label in December 2012. In 2009, during the re-consolidation of Sony Music, Columbia was partnered with its Epic Records sister to form the Columbia/Epic Label Group under which it operated as an imprint. In July 2011, as part of further corporate restructuring, Epic was split from the Columbia/Epic Group as Epic took in multiple artists from Jive Records.

As of March 2013, Columbia Records is home to 90 artists such as Lauren Jauregui, Robbie Williams, Calvin Harris, and Daft Punk.

On January 2, 2018, Ron Perry was named as the chairman and CEO of Columbia Records.

Sony and Columbia had cooperated earlier. The SQ Stereo Quadraphonic was developed by engineer Benjamin Bauer of Columbia in cooperation with Sony, which made the first commercial SQ decoders in 1971. The SQ system was also called the CBS/Sony or Columbia/Sony system.

Logos and branding
The acquisition of rights to the Columbia trademarks by EMI (including the "Magic Notes" logo) presented the company with a dilemma of which logo to use. For much of the 1990s, Columbia released its albums without a logo, just the "COLUMBIA" word mark in the Bodoni Classic Bold typeface.  Columbia experimented with bringing back the "Notes and Mic" logo but without the CBS mark on the microphone. That logo is currently used in the "Columbia Jazz" series of jazz releases and reissues. A modified "Magic Notes" logo is found on the logo for Sony Classical. In mid to late 1999, it was eventually decided that the "Walking Eye" (previously the CBS Records logo outside North America) would be Columbia's logo, with the retained Columbia word mark design, throughout the world except in Japan where Nippon Columbia has the rights to the Columbia trademark to this day and continues to use the "Magic Notes" logo. In Japan, CBS/Sony Records was renamed Sony Records in 1991 and stopped using the "Walking Eye" logo in 1998.

List of Columbia Records artists

As of October 2012, there were 85 recording artists signed to Columbia Records, making it the largest of the three flagship labels owned by Sony Music (followed by RCA Records with 78 artists and Epic Records with 43 artists).

Subsidiaries
 Kemosabe Records
 Small Giant Records
 CloudBoy Records

Affiliated labels

American Recording Company (ARC)

In February 1979 Maurice White, founding member of the R&B group Earth, Wind & Fire, re-launched the American Recording Company (ARC). In addition to White's Earth, Wind & Fire, the Columbia Records-distributed label artist roster included successful R&B and pop singer Deniece Williams, jazz-fusion group Weather Report, and R&B trio the Emotions. The label's final release was in 1982, with Earth, Wind & Fire's Raise!.

Columbia Label Group (UK)

In January 2006, Sony BMG UK split its front-line operations into two separate labels. RCA Label Group, mainly dealing with Pop and R&B and Columbia Label Group, mainly dealing with Rock, Dance and Alternative music. Mike Smith is the Managing Director of Columbia Label Group, Ian Dutt is Marketing Director and Alison Donald is Director of A&R.

Aware Records

In 1997, Columbia made an affiliation with unsigned artist promotion label Aware Records to distribute Aware's artists' music.  Through this venture, Columbia has found highly successful artists.  In 2002, Columbia and Aware accepted the option to continue this relationship.

Columbia Nashville

In 2007, Columbia formed Columbia Nashville''', which is part of Sony Music Nashville. This gave Columbia Nashville complete autonomy and managerial separation from Columbia in New York City. Columbia had given its country music department semi-autonomy for many years and through the 1950s, had a 20,000 series catalog for country music singles while the rest of Columbia's output of singles had a 30,000, then 40,000 series catalog number.

Recording studios
 Woolworth Building Studio
In 1913, Columbia moved into the Woolworth Building in New York City and housed its first recording studio there. In 1917, Columbia used this studio to make one of the earliest jazz records, by the Original Dixieland Jass Band."The Woolworth Building", NYC Architecture

 Columbia 30th Street Studio
In New York City, Columbia Records had some of the most highly regarded sound recording studios, including the Columbia 30th Street Studio at 207 East 30th Street ("Studio C" and "Studio D"), the CBS Studio Building at 49 East 52nd Street ("Studio B" on the second floor and "Studio E" on the sixth floor), and one of their earliest recording studios, "Studio A" at 799 - 7th Avenue near 52nd Street.

The Columbia 30th Street Studio at 207 East 30th Streets (nicknamed "The Church") was considered by some in the music industry to be the best-sounding room of its time, and many consider it to have been the greatest recording studio in history. The 1875 building, in Manhattan's Murray Hill district, had been originally constructed as a Christian church. It was used by several denominations over the next seventy years, then briefly became a radio studio in the late 1940s before being leased by CBS in 1952 and converted into a state-of-the-art recording studio. The 30th Street Studio had unique sonic characteristics, thanks to its soaring one-hundred-foot vaulted ceiling, exposed timber beams, plaster walls and unvarnished wooden floor. When Columbia took over the property, then head of A&R Mitch Miller (a musician himself) recognised its singular acoustic properties and declared that the hall was to be left "untouched by human hands". He posted detailed standing orders to all staff to control the maintenance and cleaning of the space, even down to the changing of light bulbs, ordering that the curtains and other fittings were never to be touched, that no painting was allowed, and especially that the wooden floor could only be swept or vacuumed, and was never under any circumstances to be mopped with water, for fear that this might alter the room's resonant and reflective properties. CBS never took up the option to buy the building outright and it gave up its lease and closed the studio in 1982. In spite of the building's inherent heritage status and its cultural significance, it was sold to developers in 1985, demolished, and replaced by a high-rise apartment complex.

 Liederkranz Hall Studio
Columbia also recorded in the highly respected Liederkranz Hall, at 111 East 58th Street between Park and Lexington Avenues, in New York City, it was  built by and formerly belonged to a German cultural and musical society, The Liederkranz Society, and used as a recording studio (Victor also recorded in Liederkranz Hall in the late 1920s)."History of The Liederkranz of the City of New York"  - The Liederkranz of the City of New York website. The Liederkranz Club put up a building in 1881 at 111-119 East 58th Street, east of Park Avenue.Behncke, Bernhard, "Leiderkranz Hall - The World's Best Recording Studio?", VJM's Jazz & Blues Mart magazine. The producer Morty Palitz had been instrumental in convincing Columbia Records to begin to use the Liederkranz Hall studio for recording music, additionally convincing the conductor Andre Kostelanetz to make some of the first recordings in Liederkranz Hall which until then had only been used for CBS Symphony radio shows. In 1949, the large Liederkranz Hall space was physically rearranged to create four television studios.Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece, Da Capo Press, 2001. Cf. p.75

Executives
 Ron Perry — Chairman & CEO
Jennifer Mallory - GM
Stephen Russo - EVP & CFO

See also
 RCA Records
 Epic Records
 Sony Music Entertainment
 Sony BMG
 Alex Steinweiss, the label's Art Director from 1938 to 1943, inventor of the illustrated album cover and the LP sleeve
 Jim Flora, successor to Alex Steinweiss and legendary illustrator for the label during the 1940s
 List of record labels

References

Further reading

 Cogan, Jim; Clark, William, Temples of sound : inside the great recording studios, San Francisco : Chronicle Books, 2003. . Cf. chapter on Columbia Studios, pp. 181–192.
 Hoffmann, Frank, Encyclopedia of Recorded Sound, New York & London : Routledge, 1993 & 2005, Volume 1. Cf. pp. 209–213, article on "Columbia (Label)"
 Koenigsberg, Allen, The Patent History of the Phonograph, 1877–1912, APM Press, 1990/1991, .
 Revolution in Sound: A Biography of the Recording Industry. Little, Brown and Company, 1974. .
 High Fidelity Magazine, ABC, Inc. April 1976, "Creating the LP Record."
 Rust, Brian, (compiler), The Columbia Master Book Discography, Greenwood Press, 1999.
 Marmorstein, Gary. The Label: The Story of Columbia Records''. New York: Thunder's Mouth Press; 2007.
 Ramone, Phil; Granata, Charles L., Making records: the scenes behind the music, New York: Hyperion, 2007. . Many references to the Columbia Studios, especially when Ramone bought Studio A, 799 Seventh Avenue from Columbia. Cf. especially pp. 136–137.
 Dave Marsh; 360 Sound: The Columbia Records Story Legends and Legacy, Free eBook released by Columbia Records that puts a spotlight on the label's 263 greatest recordings from 1890 to 2011.

External links

 Official website
 Columbia masters in the Discography of American Historical Recordings
 See the Profile of Designer Alex Steinweiss

Category:1887 establishments in New York (state)
Category:American companies established in 1887
Category:Record labels established in 1887
Category:Entertainment companies based in New York City
Category:Companies based in Manhattan
Category:Media companies of the United States
Category:Cylinder record producers
Category:American country music record labels
Category:American record labels
Category:Jazz record labels
Category:Pop record labels
Category:Rhythm and blues record labels
Category:Rock record labels
Category:Soundtrack record labels
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Category:Sony Music


1964 Soviet Second League

Ukraine

This season to the Ukrainian zone were added four teams from Belarus and three teams from Moldova. SKA Odessa did not participate as it gained its promotion last season. Two other newcomers were added: FC Chayka Balaklava and FC Dunayets Izmail. (The following table is incorrect).

Play-offs
This season play-off featured a mini League format. The two successive ranking teams from one group were put together in group with the other two teams from other two groups of equal rank. For example, the first two placed teams of each group played off between themselves for the final ranking. Teams from Belarus and Moldova did not participate at this stage.

Russia

Russia Zone 1

Russia Zone 2

Russia Zone 3

Russia Zone 4

Russia Zone 5

Russia Zone 6

Russia Zone Play-offs

Semifinal 1

Semifinal 2

Final

Soviet Republics Final

See also
 Soviet Second League

External links
 www.rsssf.com
 wildstat.com

1964
3
Soviet
Soviet


Church of the Maternità, Pesaro

The Chiesa della Maternità or Church of the Maternity, is a Roman Catholic parish church located on via San Francesco in Pesaro, region of Marche, Italy.

A church at the site existed since 1216, but the present structure dates to a reconstruction in 1732 by the architect Giovanni Battista Togni with some help from Antonio Rinaldi and Luigi Vanvitelli, though retaining a centralized layout. The portal is made of rough stone bricks (bugnato), and above the portal is the coat of arms of the Della Rovere family. Also above the portal a bas-relief of the Santissimo Sacramento. High above on the facade is a clock. The church has an 18th-century bell-tower. The interior has three 18th-century frescoed panels by the studio of Giovanni Andrea Lazzarini, including altarpieces depicting the Magdalen and Maries at the Tomb; Rest during Flight to Egypt, and St Benedict with Saints Mauro and Placido.

References

Category:Roman Catholic churches in Pesaro
Category:Neoclassical architecture in le Marche
Category:18th-century Roman Catholic church buildings
Category:Roman Catholic churches completed in 1732


List of Person of Interest episodes

Person of Interest is an American science fiction crime drama television series created for CBS by Jonathan Nolan, who serves as an executive producer alongside J.J. Abrams, Bryan Burk, Chris Fisher, Greg Plageman, and Denise Thé. The series stars Jim Caviezel as John Reese, a former CIA agent who is presumed dead. He is approached by a mysterious billionaire named Harold Finch (Michael Emerson) who is trying to prevent violent crimes before they happen by using an advanced surveillance system dubbed "The Machine" that provides the SSN of a POI (person of interest) who will be involved in an imminent lethal crime as either a perpetrator or a victim. Their unique brand of vigilante justice attracts the attention of two NYPD officers, Joss Carter (Taraji P. Henson) and Lionel Fusco (Kevin Chapman), whom Reese uses to his advantage as he investigates the POI. Reese and Finch are later aided by Samantha "Root" Groves (Amy Acker), a highly intelligent computer hacker and contract killer whom the Machine later identifies as its "analog interface", and Sameen Shaw (Sarah Shahi), a former ISA assassin who unknowingly dealt with the "relevant" numbers found by the Machine.

Series overview

Episodes

Season 1 (2011–12)

Season 2 (2012–13)

Season 3 (2013–14)

Season 4 (2014–15)

Season 5 (2016)

Ratings

Season 4

Season 5

Home media releases

References

External links

Category:Lists of American crime drama television series episodes
Episodes

it:Person of Interest (serie televisiva)#Episodi


Cyperus latzii

Cyperus latzii is a sedge of the family Cyperaceae that is native to Australia.

The perennial sedge typically grows to a height of  and has a tufted habit. It blooms between June and July and produces green-yellow-brown flowers.

In Western Australia it is found in swamps and along creeks in the Kimberley region where it grows in sandy-loamy soils.

See also
List of Cyperus species

References

Category:Plants described in 1991
Category:Flora of Western Australia
latzii


Dainora Alšauskaitė

Dainora Alšauskaitė (born 22 November 1977 in Zarasai) is a Lithuanian orienteering competitor. She received a silver medal in the middle distance at the 2004 European Orienteering Championships in Roskilde.

References

Category:1977 births
Category:Living people
Category:People from Zarasai
Category:Lithuanian orienteers
Category:Female orienteers
Category:Foot orienteers


Ibanez Jet King

The Ibanez Jet King is the term for a family of electric guitars sold by Ibanez . The family includes:

 Jet King 1 (JTK1) — resembles EJ-2 by FujiGen and Teisco MJ-2.
 Jet King 2 (JTK2) — resembles Ibanez Rhythm Maker by Guyatone in 1960s.
 Jet King 3 (JTK3)
 Jet King 4 (JTK4)

Jet King 1
According to the Harmony Central press release the original JTK1 had the following pickups: Neck Pickup: Powersound PSND1 Humbucker, Bridge Pickup: Powersound PSND2 Humbucker.
Some owners of the JTK1 have however reported finding Ibanez Super 58 pickups... although whether these were later production models and shortly before the phasing towards JTK2 is unestablished.
It had a different body compared to later versions, with a smaller upper horn and the tuners were 3-a-side. It was available in Butterscotch Transparent, Ivory, Metallic Light Blue, and Black Red Sunburst.

Jet King 2

The Jet King 2 (Also, Jet King II, Jetking II, JTK2) was essentially an upgrade of the original. The machine heads now were on one side, and the body was changed to its current shape.

The first and discontinued edition of the Jet King II is probably the most collectible of all the range. The body is finished in brown sunburst with tortoise pickguard and has two Ibanez Super 58 pickups for neck and bridge. The Jet King II models made from 2003/11 to 2004/10 features a 1-piece maple bolt-on neck with rosewood fingerboard and the body is mahogany. The second and most popular edition of the JTK 2 (black and white and red and white) has only one Super 58 pickup for the neck, one Axis pickup for the bridge and a 3-piece neck like most Ibanez guitars. Standard colors for the Jet King II second edition were black or red with white pickguards, though examples of a white body and black pickguards have been seen.
The Ibanez Super 58 pickup has a warm vintage sound while the Axis has a brighter and more aggressive sound. It has one volume knob, one tone knob, "rocker switches" used for coil splitting (for even more versatility), a fixed Full Tune III bridge and a string-thru body construction, providing fair sustain. The "rocker switches" allow this guitar to be very versatile. Some players claim it can imitate a Fender Jazzmaster or a Gibson Les Paul.

Jet King 3 and 4
At the NAMM 2007 show, two new Jet Kings were revealed. The "retro-style" mahogany body remained the same; however, unlike its predecessors, no rocker coil splits were included on the new models.

The Jet King 3 features two P-90 style soapbar pickups, the IBZ HFS1, and IBZ HFS2. Standard colors are "Roadster Orange Metallic" and "Bluestone." "Turquoise", and "Red Bean" colors are available in limited markets.

The Jet King 4 featured a Bigsby-style tremolo and two humbuckers, the ACH3 neck pickup and ACH4 bridge pickup.

Related

Other related Ibanez guitars are:
 The Jet King Bass (JTKB200BS)
 The Rhythm Maker (model 1830~1880 in 1960s)
 The ORM1 (Omar Rodríguez-López signature model)

Notable Jet King players

Matt Hollywood, The Brian Jonestown Massacre
Andy Jackson, Hot Rod Circuit
Brittany Howard, Alabama Shakes
David Lowery, Camper Van Beethoven, Cracker
Omar Rodriguez-Lopez, The Mars Volta
Tara Hoffman, Kitten Disaster, DUIdols
Tinderwet
Jason Weiche, "Stolas", "The Akashic Record"
Tyler Matrix, The Kartel Matrix
Derek Heath, The Regal Peaches
Niall Kennedy, And So I Watch You From Afar
David Tapley, Tandem Felix
Robbie Fox, Pup Punk
Adam Hopper,  Blanketman
James Barnard, [[Sludgefeast]]
MDN Múnich 72(https://www.facebook.com/munichsetentaydos/)

See also
 FujiGen  — JTK1 is originated in EJ-2-T by FujiGen in 1960s.
 Guyatone — JTK2 is originated in Ibanez Rhythm Maker supplied by Gutatone in 1960s.
 $100 Guitar Project

Notes

References
  — including the images of JTK1BRS, JTK1BT, JTK2BS, and JTK2CP

External links

 JTK series used by Andy Jackson (Terrible Things), Nitzan Hoffmann (Drive Like Maria), etc..
 JTKB series used by Henna (Stalingrad Cowgirls), Skinny Disco (Deathstars), etc..

Jet King


David Whitehouse

David Bryn Whitehouse, FSA, FRGS (15 October 194117 February 2013) was a British archaeologist and senior scholar of the Corning Museum of Glass. He was director of the British School at Rome between 1974 and 1984.

Early life
Whitehouse was born 15 October 1941, the son of Brindley Charles Whitehouse and his wife Alice Margaret Whitehouse. He grew up in the village of Wildmoor near Bromsgrove, Worcestershire. He was educated at Catshill First School and at King Edward's School an independent school located in Birmingham. He read for a Bachelor of Arts (BA), later promoted to Master of Arts (MA), at St John's College, Cambridge. He held a Doctor of Philosophy degree (PhD) in Archaeology, also from the University of Cambridge.

Academic career
Whitehouse was a scholar at the British School at Rome from 1963 to 1965. He became Wainwright Fellow in Near Eastern Archaeology at the University of Oxford from 1966 to 1973. During that tenure, he was director of excavations at Siraf in the Persian Gulf. Many of the finds he excavated at Siraf are now in the British Museum.

He was director of the British Institute of Afghan Studies between 1973 and 1974, and director of the British School at Rome for ten years, from 1974 to 1984. In 1984, he joined the Corning Museum of Glass as chief curator. He became deputy director of collections three years later, and in 1988 he was appointed deputy director of the museum. He became director in 1992 and executive director in 1999. He stood down from the post in 2011, becoming the museum's senior scholar.

Later life
Having battled for a short time with cancer, Whitehouse died on 17 February 2013.

Personal life
Whitehouse married Ruth Delamain Ainger in 1963. Together they had one son and two daughters: Peter, Sarah, and Susan. In October 1975, he married Elizabeth-Anne Ollemans in Johannesburg, South Africa. They also had one son and two daughters: Simon, Julia, and Nicci.

Honours
Whitehouse was elected a Fellow of the Society of Antiquaries of London (FSA) on 11 January 1973. He was also a Fellow of the Royal Geographical Society (FRGS).

Selected works
Whitehouse wrote or edited more than 500 scholarly papers, reviews, monographs, and books. The following are a selection of those.

 Whitehouse, D. and Whitehouse, R. 1975. Archaeological atlas of the world. San Francisco: W. H. Freeman.
 Whitehouse, D. 1988. Glass of the Roman Empire. Corning, N.Y. : Corning Museum of Glass.
 Whitehouse, D. 2000. The Corning Museum of Glass: a decade of glass collecting, 1990–1999. Corning, N.Y.: The Museum: New York.

 Whitehouse, D. 2012. Glass: A Short History. London: British Museum Press.

References

External links
Obituary - The Telegraph

Category:1941 births
Category:2013 deaths
Category:Alumni of St John's College, Cambridge
Category:English archaeologists
Category:English curators
Category:Fellows of the Society of Antiquaries of London
Category:Fellows of the Royal Geographical Society
Category:People from Worcestershire (before 1974)
Category:People educated at King Edward's School, Birmingham
Category:People associated with the Corning Museum of Glass


Jah Screw

Paul Love, better known as Jah Screw (born in Greenwich Farm, Jamaica, 9 February 1955) is a Jamaican singer and record producer best known for his work in the 1980s and 1990s with artists such as Barrington Levy, Barry Brown, and Ranking Joe

Biography
Jah Screw started in the music business in the second half of the 1970s working as a selector on the Echo Vibration, Ray Symbolic, and (U-Roy's) King Stur-Gav Hi-Fi sound systems. By 1980, he had begun working as a record producer, initially working with his friend from sound system days, Ranking Joe, and they set up the Sharp Axe label together. The success from the label, with hots such as "Ice Cream Style" and the album Armageddon, was enough encouragement for Jah Screw to set up his own label, Time One Records.

He continued to produce Ranking Joe and also produced music for artists such as Earl 16, Tristan Palma, Dennis Brown and Barry Brown.

In 1984 he started laying rhythms in London. The version to the classic "African Beat" rhythm became the foundation for Barrington Levy's massive hit "Under Mi Sensi". Screw then produced the even more successful single "Here I Come" for Barrington, which reached number 41 in the UK Singles Chart in 1985. Levy moved on to work with Black Scorpio but returned to work with Jah Screw for several years. Jah Screw released his Harry J-produced album, Herb Base Function in 1986. Further collaborations from this era included Levy's Duets album, the 1991 reggae chart-topper "Dancehall Rock", with Levy joined by Cutty Ranks, and the 1996 hit "Living Dangerously". Ever since then Barrington and Jah Screw have had a fruitful relationship releasing music up in to the 90's with Jah Screw even turning his hand at producing Jungle remixes of Barrington's music.

Jah Screw has written, arranged, engineered and produced a lot of influential reggae music. He continued to be active as a producer until 1996, after which he said he "wasn't getting the vibes to do any more production". He has since been working on preserving his back-catalogue of productions.

Credits

Writing
King Tubby Meets Roots Radics - Dangerous Dub (1981)

Albums
Jah Screw - Herb Base Function (1986)

Productions
Barrington Levy - Here I Come (1985)
Barry Brown - Right Now (198?)
Earl Cunningham - John Tom (1984)
Earl Sixteen - Super Duper (1982)
King Tubby - King At The Control (1981)
King Tubby Meets Roots Radics - Dangerous Dub (1981)
Ranking Joe - Armageddon (1982)
Ranking Joe - Armageddon Time (1982)
Ranking Joe - Disco Skate (1981)
Ranking Joe - Shaolin Temple (1980)
Ranking Joe - Showcase (1981)
Ranking Joe - Tribute To John Lennon (1981)
Roots Radics Meets King Tubbys - More Dangerous Dub (1981)
Tony Tuff - Reggae In The City (1981)
Original Experience (1991)
Jah Screw Presents Dancehall Glamity (1994)

References

External links
Jah Screw at Roots Archives
interview and biography from Greensleeves records

Category:1955 births
Category:Living people
Category:Musicians from Kingston, Jamaica