Reversibly assembled cellular composite materials (RCCM) are three-dimensional lattices of modular structures that can be partially disassembled to enable repairs or other modifications. Each cell incorporates  structural material and a reversible interlock, allowing lattices of arbitrary size and shape. RCCM display three-dimensional symmetry derived from the geometry as linked.

The discrete construction of reversibly assembled cellular composites introduces a new degree of freedom that determines global functional properties from the local placement of heterogeneous components. Because the individual parts are literally finite elements, a hierarchical decomposition describes the part types and their combination in a structure.

RCCM can be viewed as a "digital" material in which discrete parts link with a discrete set of relative positions and orientations. An assembler can place them using only local information. Placement errors can be detected and corrected by assembly reversal. These materials combine the size and strength of composites with the low density of cellular materials and the convenience of additive manufacturing.

History
RCCM were introduced in 2013 by researchers at the MIT Center for Bits and Atoms.

Behavior

Elasticity
RCCM lattices behave as an elastic solid in both tension and compression. They offer both a linear regime and a nonlinear super-elastic deformation mode a modulus an order of magnitude greater than for an ultralight material (12.3 megapascals at a density of 7.2 mg per cubic centimeter). Bulk properties can be predicted from component measurements and deformation modes determined by the placement of part types. Site locations are locally constrained, yielding structures that merge desirable features of carbon fiber composites, cellular materials and additive manufacturing.

Nonlinear elastic behavior derives from a multi-axial elastic instability of the lattice, a complex coordinated elastic buckling of the strut members. The resulting geometry is similar to a Jahn–Teller distortion of an octahedral complex with respect to orientation about the octahedral centers. Elastic folding or pleating can occur in three dimensions, likely a coordinated antisymmetric twisting stress response and/or plastic deformation.

Failure
Unlike conventional composites, which typically fail catastrophically, RCCM fail incrementally because of the non-linear deformation phase and the multiplicity of joints and links. These results matched finite-element simulations with finely-meshed rigid body models. In addition to convergence to the observed coordinated buckling mode, these simulations accurately predict the relative strength scaling observed in load test experiments. These results are consistent with the observation that open-cell lattice materials fail through micro-structural strut bending failures with σmax ∝. The simulations also suggest that the coordinated buckling phenomenon as well as the modulus measurements are not dominated by edge effects, with minimal influence on overall results beyond characteristic lengths exceeding several units.

Varying the locations of more and less rigid elements can trigger pure axial compression, simple uni-directional Euler buckling and complex buckling.

Scaling
Cellular composites extend stretch-dominated lattices to the ultralight regime (below ten milligrams per cubic centimeter). Performance depends positively on the framework rigidity of the lattice, node connectivity, slenderness of strut members and the scaling of the density cost of mechanical connections.

Conventional fiber composites make truss cores and structural frames, with bonded assembly of substructures or continuous fiber winding. Examples of such truss cores have been reported with continuous two-dimensional (2D) geometric symmetry and nearly ideal but highly anisotropic specific modulus scaling.

Three-dimensional open-cell lattice materials occur in natural and engineered systems, spanning many length scales. Their mechanical properties scale with relative density according to the geometry. They display either stretch-dominated or transverse beam bending-dominated microstructural behavior, based on periodic mechanical models. For Young's modulus E, ideal stretch-dominated scaling with density ρ follows a proportional law E∝ρ, while common stochastic foams follow a quadratic law E∝ρ2 otherwise associated with transverse beam bending-dominated behavior. At ultralight densities a further reduced cubic scaling law E∝ρ3 is common, such as with aerogels and aerogel composites.

The dependence of scaling on geometry is seen in periodic lattice-based materials that have nearly ideal E∝ρ scaling, with high node connectedness relative to stochastic foams. These structures have previously been implemented only in relatively dense engineered materials. For the ultralight regime the E∝ρ2 scaling seen in denser stochastic cellular materials applies to electroplated tubular nickel micro-lattices, as well as carbon-based open-cell stochastic foams, including carbon microtube aerographite and graphene cork.

Design
Making the connections stiffer and stronger than the strut members means that stress response is governed by the struts. Extending dimensional scaling methods to include the connections shows that the mass density cost of robust connections – which scale with the strut's cross-sectional area – is low for ultralight materials, where strut diameter dominates mass density scaling. The relative density (ρ/ρs) of these materials is the sum of the relative density contribution of the strut members (ρm/ρs) and the relative density contribution of the connections (ρc/ρs). The strut members have a thickness t and length L. The connections transfer forces through load-bearing surface contacts, requiring that the characteristic dimensions of the connections scale with the cross section of the attached strut members, t2, because this dimension determines the maximum stress transferable through the joint.

These definitions give a cubic scaling relation between the relative mass contribution of the joints and the strut's thickness-to-length ratio (ρc/ρs ∝ Cc(t/L)3, where Cc is the connection contribution constant determined by the lattice geometry). The struts' relative density contribution scales quadratically with the thickness-to-length ratio of the struts (ρm/ρs ∝ Cm (t/L)2), which agrees with the literature on classical cellular materials. Mechanical properties (such as modulus and strength) scale with overall relative density, which in turn scales primarily with the strut and not the connection, considering only open cell lattices with slender struts [t/L < 0.1 (7)], given that the geometric constants Cc and Cm are of the same order of magnitude [ρ/ρs ∝ Cc (t/L)3 + Cm (t/L)2]. The density cost of the mechanical joints decreases with increasing strut member slenderness (decreasing t/L) and decreasing relative density.

Tiling the cross-shaped parts forms the lattice structure. Each part contributes four conjoined strut members to one locally central node and one strut to four peripheral nodes. A shear clip inserted through the four coincident connection holes links the cells.

Each cell includes aligned fiber composite beams and looped fiber load-bearing holes that reversibly chain together to form volume-filling lattices. Mass-produced cells can be assembled to fill arbitrary structural shapes, with a resolution prescribed by the part scale that matches the variability of an application's boundary stress. The periodic nature of assemblies simplifies behavior analysis and prediction.

Cuboct geometry
A "cuboct" cubic lattice of vertex connected octahedrons, similar to the perovskite mineral structure provides a regular polyhedral unit cell that satisfies Maxwell's rigidity criterion and has a coordination number z of eight. The dependence of the relative density on the coordination number is small relative to the dependence on strut diameter. Winding the reinforcing fibers around the connection holes optimizes their load bearing capacity, while coupling them to struts which themselves retain uniaxial fiber orientation.

Comparison with traditional composite materials
Carbon-fiber reinforced composite materials can improve efficiency in engineered systems (for example, airframes) by reducing structural weight for given strength and stiffness requirements, but present challenges with manufacturing and certification. High-performance composite components employ many continuous fibers that span the shape of a component, and are embedded in a resin matrix. Such parts typically require custom tooling, pressurization for consolidation and heated curing. Joining such parts adds complexity and structural vulnerabilities.

RCCM eliminate the need for custom tooling because parts can be incrementally added/removed. Their construction, modification, repair and re-use can all employ the same reversible linking process. Heterogeneous elements can be incorporated in structures with functions determined by their relative placement. Exact assembly of discrete cellular composites offers new properties and performance not available with the analog alternatives of continuously depositing or removing material.

References

External links

Composite materials
Continuum mechanics
Foams


Joe Don Baker (born February 12, 1936) is an American character actor and a life member of the Actors Studio. He established himself as an action star with supporting roles as a mysterious cowboy drifter in Guns of the Magnificent Seven (1969), and as a deputy sheriff in the western Wild Rovers (1971), before receiving fame for his roles as a mafia hitman in Charley Varrick (1973), real-life Tennessee Sheriff Buford Pusser in the action film Walking Tall (1973), a brute force detective in Mitchell (1975), deputy sheriff Thomas Jefferson Geronimo III in Final Justice (1985), and police chief Jerry Karlin in the action-comedy Fletch (1985). He is also known for his appearances as both a villain and an ally in three James Bond films: as Brad Whitaker in The Living Daylights (1987) and as CIA Agent Jack Wade in GoldenEye (1995) and Tomorrow Never Dies (1997).

Life and career

Baker was born in Groesbeck, Texas, the son of Edna (née McDonald) and Doyle Charles Baker. He attended the North Texas State College in Denton and graduated with a Bachelor of Business Administration degree in 1958. He served in the United States Army.

During the 1963–64 Broadway season, he appeared on stage in Marathon '33 at the ANTA Theatre in New York City. His career had its roots in television, though he did appear in several movies, including an uncredited part in the 1967 film Cool Hand Luke. He appeared in many television series, graduating to featured guest roles in such series as The Big Valley (in which he played a Harvard-educated Native American with a penchant for fighting) and  Mod Squad (where he appeared as an illiterate vending machine robber). He was the title character in the 1971 TV movie Mongo's Back in Town, starring Telly Savalas.

Standing at 6'2" tall (189 cm), Baker's physical prowess and stereotypical Texas drawl would prove perfect in Westerns, both on film and television. While working regularly on television on shows such as Bonanza and Gunsmoke, he appeared in supporting roles in such films Guns of the Magnificent Seven (1969) and Blake Edwards' Wild Rovers, but his film career did not quicken until he scored the role of Steve McQueen's younger brother in Sam Peckinpah's Junior Bonner, a film about a contemporary rodeo cowboy, which was released in late 1972.

Lancer
Baker appeared in the pilot episode of 1968's Lancer, titled "The High Riders", as the main villain, "Day Pardee". This role was later fictionalized in Quentin Tarantino's 2019 film, Once Upon a Time in Hollywood—changed to 'Decoteau' and played by Leonardo DiCaprio as Rick Dalton. He went on to appear in a later episode as Clovis Horner in 1970.

Walking Tall
His breakthrough came with the 1973 film Walking Tall, directed by Phil Karlson. He starred in the filmmaker's final work, Framed, two years later. Released in February as a regional exploitation picture, Walking Tall connected with audiences and became an unexpected hit, circulating for national distribution with a new TV ad campaign using the slogan, "When was the last time you stood up and applauded a movie?" The film eventually earned $23 million at the box office. His performance was praised by influential film critic Pauline Kael, but he decided not to star in the sequel.

Later that year, his work in Charley Varrick helped solidify Baker's reputation. He also co-starred with Robert Duvall in the 1973 crime film The Outfit and starred in the 1974 adventure film Golden Needles. In 1977 he had leading roles in Checkered Flag or Crash opposite Susan Sarandon and The Shadow of Chikara with Ted Neeley and Sondra Locke.

On April 10, 1978, the two part television program To Kill a Cop premiered. In it Baker is paired with Louis Gossett Jr. as police detective. Baker co-starred with Karen Black in the miniseries Power (1980), a scarcely-disguised story of labor leader Jimmy Hoffa.

Baker played the Whammer, a baseball player modeled on Babe Ruth, in the 1984 baseball drama The Natural, which starred Robert Redford. In 1985, he portrayed the corrupt Chief Jerry Karlin in Fletch. In the UK, he played CIA agent Darius Jedburgh in the BBC Television drama serial Edge of Darkness. He was nominated for Best Actor by the British Academy Television Awards, losing to his co-star Bob Peck. Martin Scorsese directed him as a private detective in the 1991 remake of Cape Fear, hired by protagonist Sam Bowden (Nick Nolte) to protect his family from psychopathic ex-convict Max Cady (Robert De Niro).

Baker received the Distinguished Alumni Award from the University of North Texas in 1994.

While actor Carroll O'Connor was undergoing coronary bypass surgery, Baker took his place on the television series In the Heat of the Night. Baker appeared as Captain Tom Dugan, a retired police captain who substituted while O'Connor's character was away at a police convention. More recently, he appeared in Joe Dirt, The Dukes of Hazzard, and Strange Wilderness.

In 2009, Baker delivered another performance in The Cleaner on A&E, playing an alcoholic military veteran attempting to help a friend cope with the loss of his son. He hires William Banks (played by Benjamin Bratt) to help him start back down the road to sobriety. Baker played King in Mud (2012).

James Bond series
In 1987, Baker played the villainous arms dealer Brad Whitaker in the James Bond film The Living Daylights, starring Timothy Dalton as 007. In 1995 and 1997, Baker returned to the series, this time playing a different character, CIA agent Jack Wade, in GoldenEye and Tomorrow Never Dies, with Pierce Brosnan as Bond. Baker is one of four actors to appear as both a Bond ally and a villain, the others being Charles Gray, who appeared as Henderson in You Only Live Twice and Ernst Stavro Blofeld in Diamonds Are Forever; Walter Gotell, who appeared as Morzeny, the SPECTRE Island trainer, in From Russia with Love and as General Gogol, the chief of the KGB, in six films between 1977 and 1987; and Richard Kiel as Jaws, in The Spy Who Loved Me and Moonraker, becoming Bond's ally against villain Hugo Drax (Michael Lonsdale) in the latter film.

Filmography

Honey West (TV show, Episode 15 "Rockabye the Hard Way", Dec. 24, 1965) as truckdriver Rocky Hansen
Cool Hand Luke (1967) as Fixer (uncredited)
The Big Valley (TV show, Episode "Lightfoot," 1969) as Tom Lightfoot
Gunsmoke (TV show) Episodes "Prime of Life" (1966) as Woody Stoner & "The Reprisal" (1969) as Tom Butler
Guns of the Magnificent Seven (1969) as Slater
Adam at 6 A.M. (1970) as Harvey Gavin
The High Chaparral (1970), Season 4, Ep. 17
The F.B.I. (1970), Season 5, Ep. 22
Lancer (TV show, Episode 1 "The High Riders", (Sept. 24, 1968) as Day Pardee. Followed by Episode 13  "Shadow of a Dead Man", (Jan. 6, 1970) as Clovis Horner.
Wild Rovers (1971) as Paul Buckman
Mission Impossible (TV show) Episode "The Miracle" (1971) as Frank Kearney
Welcome Home, Soldier Boys (1971) as Danny
Junior Bonner (1972) as Curly Bonner
The Valachi Papers (1972) as Irish member of Valachi gang (uncredited)
That Certain Summer (1972) as Phil Bonner
The Streets of San Francisco (TV show, Episode "Beyond Vengeance", aired Mar. 8, 1973) as criminal Leonard Collier Cord
Walking Tall (1973) as Buford Pusser
Charley Varrick (1973) as Molly
The Outfit  (1973) as Jack Cody
Golden Needles  (1974) as Dan
Framed (1975) as Ron Lewis
Mitchell (1975) (also a Mystery Science Theater 3000 episode) as Mitchell
Checkered Flag or Crash (1977) as Walkaway Madden
The Shadow of Chikara (1977) as Wishbone Cutter
Speedtrap (1977) as Pete Novick
The Pack (1977) as Jerry Preston
Eischied (1979) as Chief of Detectives Earl Eischied
Wacko (1982) as Dick Harbinger
Joysticks (1983) as Joseph Rutter
The Natural (1984) as The Whammer
Edge of Darkness (1985) as Darius Jedburgh (BBC miniseries)
Final Justice (1985) (also a Mystery Science Theater 3000 episode) as Deputy Sheriff Thomas Jefferson Geronimo III
Fletch (1985) as Chief Jerry Karlin
Getting Even (1986) as King R. Kenderson
The Living Daylights (1987) as Brad Whitaker
The Killing Time (1987) as Carl Cunningham
Leonard Part 6 (1987) as Nick Snyderburn
Criminal Law (1988) as Det. Mesel
Defrosting The Fridge (1989) as Hunter McCall
In The Heat of The Night (TV show, Episode "Forever Fifteen", 1989) as Tom Dugan
The Children (1990) as Cliffe Wheater
Cape Fear (1991) as Claude Kersek
Citizen Cohn (1992) (TV-movie) as Sen. Joseph McCarthy
The Distinguished Gentleman (1992) as Olaf Andersen
Reality Bites (1994) as Tom Pierce
Ring of Steel (1994) as Man in Black
Underneath (1995) as Donovan
Panther (1995) as Brimmer
Congo (1995) as R.B. Travis
The Grass Harp (1995) as Sheriff Junius Candle
GoldenEye (1995) as Jack Wade
Disney's Animated Storybook: Winnie the Pooh and the Honey Tree (1995) as Owl (voice; video game)
Mars Attacks! (1996) as Glenn Norris
George Wallace (1997) (TV-movie) as Big Jim Folsom
Tomorrow Never Dies (1997) as Jack Wade
Poodle Springs (1998) (HBO) as P.J. Parker
Vegas, City of Dreams (2001) as Dylan Garrett
Joe Dirt (2001) as Don, Brandy's Dad (uncredited)
The Commission (2003) as Rep. Hale Boggs
The Dukes of Hazzard (2005) as Gov. Jim Applewhite
Strange Wilderness (2008) as Bill Calhoun
The Cleaner (2009, "Last American Casualty") as Major Larry Duren
Mud (2012) as King

References

External links

Joe Don Baker at the University of Wisconsin's Actors Studio audio collection

1936 births
20th-century American male actors
21st-century American male actors
American male film actors
American male television actors
Living people
Male actors from Texas
People from Groesbeck, Texas
University of North Texas alumni

Joe Don Baker


The War of the Succession of Landshut resulted from a dispute between the duchies of Bavaria-Munich (Bayern-München in German) and Bavaria-Landshut (Bayern-Landshut). An earlier agreement between the different Wittelsbach lines, the Treaty of Pavia (1329), concerned the law of succession and stated that if one branch should become extinct in the male line then the other would inherit. This agreement disregarded imperial law, which stipulated that the Holy Roman emperor should inherit should a line fail.

George, Duke of Bavaria-Landshut, had no surviving son, so George—in a breach of both imperial law and the house treaty—named his daughter Elisabeth as his heir. Duke Albert IV of Bavaria of the Munich line, thus disinherited, did not accept George's decision, leading to war in 1503. Over the course of this two-year war, many villages surrounding Landshut were reduced to ashes, such as Ergolding, Haimhausen and Landau an der Isar.

The war ended in 1505 with the death of Elisabeth and her husband Ruprecht of the Rhine, and a decision through arbitration by Emperor Maximilian I on 30 July 1505 at the Diet of Cologne. George's grandsons Otto Henry and Philip retained Palatinate-Neuburg (Junge Pfalz), a fragmented region from the upper Danube extending from above Franconia to the northern part of the Upper Palatinate. Neuburg an der Donau was chosen as the capital of the new state. Because the two heirs had not yet reached their majority, Frederick II, Count Palatine of the Rhine, served as regent in a caretaker regime.  The rest of the territory went to the Munich line of the House of Wittelsbach.

The emperor took the territory around Kufstein for himself as reward for his mediation; the Imperial City of Nuremberg gained important territories to the east of the city, including Lauf, Hersbruck, and Altdorf. As count palatine, Otto-Heinrich spent huge sums of money to build a palace at Neuburg an der Donau. Through inheritance, he later became Elector Palatine, where his additions to Heidelberg Castle, known as the Ottheinrichsbau, made him one of the most important builders of the German Renaissance.

References

Landshut
16th century in Bavaria
Electoral Palatinate
1500s conflicts
1500s in Europe
1503 in Europe
1504 in Europe
1505 in Europe
1503 in the Holy Roman Empire
1504 in the Holy Roman Empire
1505 in the Holy Roman Empire
Maximilian I, Holy Roman Emperor

War of the Succession of Landshut


Anna Elisabeth of Anhalt-Bernburg (19 March 1647 in Bernburg – 3 September 1680 in Bernstadt, now Bierutów), was a princess of Anhalt-Bernburg by birth and by marriage Duchess of Württemberg-Bernstadt.

Life
Anna Elizabeth was a daughter of Prince Christian II of Anhalt-Bernburg (1599–1656) and his wife Eleonore Sophie of Schleswig-Holstein-Sonderburg (1603–1675), the daughter of the Duke John II of Schleswig-Holstein-Sonderburg. She married on 13 March 1672 in Bernstadt to Duke Christian Ulrich I, Duke of Württemberg-Oels. They had seven children.

The Duchess was well educated and musically gifted, was a talented singer.  She spoke several languages fluently and played numerous musical instruments. She had considerable influence on her husband and advised him in matters of state.

Anna Elizabeth died after complications in her last childbirth on 3 September 1680.

Issue
Louise Elisabeth (born: 22 February 1673 in Bernstadt; died: 28 April 1736 in Forst), Princess of Württemberg-Oels, married Duke Philip of Saxe-Merseburg-Lauchstädt.
Christian Ulrich (born: 21 February 1674 in Bernstadt; died: 2 July 1674 in Bernstadt), Hereditary Prince of Württemberg-Oels.
Leopold Viktor (born: 22 May 1675 in Bernstadt; died: 30 April 1676 in Bernstadt), Hereditary Prince of Württemberg-Oels.
Fredericka Christine (born: 13 May 1676 in Bernstadt; died: 3 June 1676 in Bernstadt), Princess of Württemberg-Oels.
Sophie Angelika (born: 30 May 1677 in Bernstadt; died: 11 November 1700 in Pegau), Princess of Württemberg-Oels, married Duke Frederick Henry of Saxe-Zeitz-Pegau-Neustadt.
Eleonore Amöena (born: 21 October 1678 in Breslau; died: 2 April 1679 in Bernstadt), Princess of Württemberg-Oels.
Theodosia (born: 20 July 1680 in Bernstadt; died: 21 September 1680 in Bernstadt), Princess of Württemberg-Oels.

References
 Georg Christian Lehms: Teutschlands galante Poetinnen mit ihren sinnreichen und netten Proben ..., Frankfurt am Main, 1715

Footnotes

1647 births
1680 deaths
People from Bernburg
People from Anhalt-Bernburg
House of Ascania
Duchesses in Germany
17th-century German people
Daughters of monarchs

Anna Elisabeth of Anhalt-Bernburg


Reform School Girl is a 1957 movie directed by Edward Bernds. It was produced by American International Pictures (AIP) and distributed by RKO Radio Pictures. It stars Gloria Castillo, Ross Ford, and Edd Byrnes. The movie is about a young woman who is sent to reform school after she refuses to disclose what she knows about a traffic accident in which a pedestrian was killed. It was remade in 1994 with the same title.

Movies directed by Edward Bernds
1950s English-language movies
Movies produced by American International Pictures
1957 crime drama movies

Reform School Girl


A coffee bag is a container used for shipping and storing coffee. Coffee beans are usually transported in large jute sacks, while coffee sold to consumers may be packaged as beans or ground coffee in a small, sealed plastic bag.

Bulk coffee
Large bulk bags, burlap bags or gunny sacks are traditionally used for storage and transport of coffee beans. Often it is made of jute and has a content of 60 kilograms (130 pounds), this type of bag originated in Brazil and became a worldwide standard. It also became a measurement unit to this day, for example FAO's statistics on coffee production are expressed in 60-kg bags.

Jute fibers are treated with mineral oil, or historically whale oil, to improve spinnability, which raised questions about coffee contamination from these hydrocarbons, but further studies showed it to be infinitesimal. Bags with synthetic fibers (woven or non-woven) are commonly used now.

Once used, these decorative bags can be recycled or upcycled for many uses including in clothing.

The 60 kg sack is starting to be replaced by huge polypropylene or polyethylene bags, such as the  flexible intermediate bulk container.  These are increasingly used for coffee exports - especially from Brazil.  Intermodal shipping containers are common for international shipping.

Consumer packaging

Smaller bags are used by consumers for coffee beans or for ground coffee. Multi-layer, high graphics, bags have largely replaced steel cans (tins) for consumer ground coffee.  There is a tendency for pressure from carbon dioxide to build up in these barrier bags.  Special pressure relief valves have been developed to relieve the pressure without letting atmosphere into the bags.  Valves are either heat sealed or attached by adhesive.  The bags are not readily recyclable but compare favourably in life-cycle studies with metal cans on broader issues.

Examples

References
 Yam, K.L., "Encyclopedia of Packaging Technology", John Wiley & Sons, 2009,

Coffee industry
Bags
Food packaging

Coffee bag


The Division of Dundas was an Australian Electoral Division in New South Wales. The division was created in 1977 and abolished in 1993. It was named for the Sydney suburb of Dundas, which was in turn named for Henry Dundas, 1st Viscount Melville, who was British Home Secretary 1791–94. It was located in the northern suburbs of Sydney, including Carlingford, Eastwood and Epping.  For its entire existence, it was a safe seat for the Liberal Party.

Dundas was created when Parramatta was split almost in half.  The western portion retained the Parramatta name, while the eastern portion became Dundas. The new seat included nearly all of the Liberal-friendly areas of the old Parramatta, and was thus a natural choice for Parramatta's former member, Philip Ruddock, to transfer before the 1977 election.  Ruddock held it without serious difficulty until 1993, when the seat was abolished.  Its territory was split between Parramatta, Bennelong and Berowra.  Ruddock opted to transfer to Berowra.

Members

Election results

1977 establishments in Australia
Constituencies established in 1977
1993 disestablishments in Australia
Constituencies disestablished in 1993
Dundas

Division of Dundas


The Danish Radio Big Band (aka DR Big Band), often referred to as the Radioens Big Band is a radio ensemble and big band founded in Copenhagen in 1964 at the Danish Broadcasting Corporation (DR).

Band history
Originally called the New Radio Dance Orchestra, in the early years the band was led by Ib Glindemann. But over the next few decades many new faces joined, such as Chris Potter, Thad Jones, Bob Brookmeyer, Jim McNeely, and guest soloists like Miles Davis, Stan Getz, and Joe Henderson.

The band is one of the premiere large jazz ensembles in Denmark, the Danish Radio Big Band (aka DR Big Band) is a dynamic ensemble with a sophisticated approach to post-bop jazz and swing. Although a spotlight organization in their own right with a roster of top Danish musicians, they have built a strong reputation for their many collaborations and recordings with world-renowned jazz soloists. Founded as the New Radio Dance Orchestra in 1964 by bandleader Ib Glindemann, the DR Big Band was initially an outgrowth of the then-Danish Broadcasting Corporation Danmarks Radio's desire to represent jazz in the country and over the airwaves. Since 2009, the band has been based out of the Danish Broadcasting Corporation's Copenhagen complex DR Byen, or "DR City," along with several other nationally funded arts ensembles.

As a recording outfit, the DR Big Band debuted in 1970 with Brownsville Trolley, which featured the band led by saxophonist/composer Ray Pitts and trumpeter Palle Mikkelborg. However, the band's output increased throughout the decade under the leadership of famed trumpeter Thad Jones, who had relocated to Copenhagen. During this period, they delivered such well-regarded albums as 1978's By Jones, I think we've got it, and 1979's A good time was had by all. There were also numerous live performances during the band's first three decades, including dates with such luminaries as Stan Kenton, Dizzy Gillespie, Clark Terry, Jimmy Heath, Freddie Hubbard, and many more.

More albums followed in the '90s and found the band starting to showcase artists like saxophonist and guest conductor Ernie Wilkins (Suite for Jazz Band) and Danish saxophonist Jesper Thilo. They also released albums paying homage to the music of Jones and Duke Ellington. This trend of showcasing an artist and their work continued over the next decade as the band played with such luminaries as Thomas Clausen, Toots Thielemans, Renee Rosnes, Eivor Palsdottir, Jim McNeely, and others.

In 2009, they paired with longtime Wynton Marsalis drummer Jeff "Tain" Watts for Impaler, followed a year later by Chromazone with guitarist Mike Stern. Similarly, trumpeter Randy Brecker was the focus of 2011's The Jazz Ballad Song Book. Also that year, lauded saxophonist Chris Potter joined the group for Transatlantic. More albums followed, including works with Richard Bona, Vincent Nilsson, and the band's own trumpeter Gerard Presencer (Groove Travels). Vocalist Curtis Stigers collaborated with the ensemble for his 2017 Frank Sinatra salute One More for the Road. That same year, they delivered the live album Charlie Watts Meets the Danish Radio Big Band, which showcased a 2010 performance with the iconic Rolling Stones drummer.

Band
Members

Trumpet:
 Erik Eilertsen
 Dave Vreuls
 Thomas Kjærgaard
 Mads La Cour
 Gerard Presencer

Trombone:
 Peter Dahlgren
 Vakant
 Vincent Nilsson
 Annette Saxe
 Jakob Munck Mortensen

Saxophone:
 Peter Fuglsang
 Nicolai Schultz
 Hans Ulrik
 Karl-Martin Almqvist
 Anders Gaardmand

Rhythm group:
 Søren Frost (dr)
 Kaspar Vadsholt (b)
 Henrik Gunde (p)
 Per Gade (g)

Former members

Saxophone:
 Bent Jædig
 Jesper Thilo (1966–1989)
 Per Carsten

Trumpet:
 Benny Rosenfeld
 Palle Bolvig
 Idrees Sulieman
 Jens Winther (1982–1989)
 Thomas Fryland (1998–2005)
 Henrik Bolberg

Trombone:
 Vincent Nilsson
 Erling Kroner
 Richard B. Boone

Bass:
 Niels-Henning Ørsted Pedersen
 Bo Stief
 Mads Vinding
 Jesper Lundgaard (1989–1991)

Drums:
 Bjarne Rostvold (?–1978)
 Lennart Gruvstedt (1978–?)

Chief conductors
 Ib Glindemann (1964–1968)
 Various guest conductors, including Oliver Nelson, Frank Foster, Robert Cornford, Jimmy Heath, Clark Terry, Mary Lou Williams, Michael Gibbs and Mike Westbrook
  (1971–1973)
 Palle Mikkelborg (1976–1977 & 1981–1982)
 Thad Jones (1977–1978)
  (1986–1995)
 Bob Brookmeyer (1996–1997)
 Jim McNeely (1998–2002)
 Miho Hazama (2019– present)

Discography

As leader/co-leader
 Brownsville Trolley Line (Sonet, 1970) – recorded in 1969. conducted by Ray Pitts and Palle Mikkelborg.
 By Jones, I think we've got it (Metronome/Atlantic, 1978) – recorded live at Jazzhus Montmartre, Copenhagen. conducted by Thad Jones.
 A good time was had by all (Metronome/Storyville, 1979) – recorded live at Jazzhus Montmartre, Copenhagen in 1978. conducted by Thad Jones.
 Crackdown: First U.K. Tour (Hep, 1988) – recorded live at Glasgow and York in 1987
 Nordjazz Big 5 (Odin, 1991) – conducted by Ole Koch Hansen
 Suite for Jazz Band with guest conductor Ernie Wilkins (Hep, 1992) – recorded in 1991
 Ambiance with Niels-Henning Ørsted Pedersen (Dacapo, 1994) – recorded in 1993
 A Little Bit of Duke featuring Jesper Thilo (Dacapo, 1995) – compositions of Duke Ellington. recorded in 1994.
 Danish Radio Big Band Plays Thad Jones (Dacapo, 1996) – compositions of Thad Jones. recorded in 1994.
 This Train (Dacapo, 1997)
 Ways of Seeing (Storyville, 1999) – recorded in 1997
 Nice Work with Jim McNeely (Dacapo, 2000) – recorded in 1998
 The Power and the Glory: A salute to Louis Armstrong with Jim McNeely featuring Leroy Jones (Storyville, 2001) – compositions of Louis Armstrong
 Renee Rosnes and the Danish Radio Big Band with Renee Rosnes (Blue Note, 2003) – conducted by Jim McNeely. recorded in 2001.
 Lady Be Good with Etta Cameron (Content/DR/CMC, 2004) – conducted by Nikolaj Bentzon. recorded in 2003.
 Cuban Flavour (Cope, 2004)
 Trøllabundin with Eivør Pálsdóttir (Cope, 2005) – conducted by Jesper Riis. recorded in 2004–05.
 Dansk Stereo (Cope, 2005)
 Dedication Suite with Jim McNeely (Cape, 2006) – recorded in 2002
 The James Bond Classics featuring Szhirley (EMI/Red Dot, 2008)
 Jazz Divas of Scandinavia with Caecilie Norby, Silje Nergaard, Rigmor Gustafsson (Red Dot, 2009)
 Cirkus Summarum (EMI/Red Dot, 2009)
 Merry Christmas, Baby with Sinne Eeg, Bobo Moreno (EMI/Red Dot, 2009)
 Impressions of a West Side Story (EMI/Red Dot, 2009)
 The Music of Jacob Gade (EMI/Red Dot, 2009) – compositions of Jacob Gade
 The Impaler featuring Jeff "Tain" Watts (Red Dot, 2010) – recorded in 2009
 The Phoenix with Vince Mendoza (Red Dot, 2010)
 Cirkus Summarum 2010 (EMI/Red Dot, 2010)
 Chromazone featuring Mike Stern (Red Dot, 2010)
 Play Bill Evans with Jim McNeely (Stunt, 2012) – compositions of Bill Evans. recorded in 2000.
 The Danish Radio Jazz Group With Bent Jædig – 1964 - 1966 (Jazzhus Disk, 2012)
 Spirituals (Storyville, 2014) – conducted by Vincent Nilsson
 Jazzin' Around Christmas (Storyville, 2016) – conducted by Dennis Mackrel
 At the Heart of a Selkie with Eivør, Peter Jensen (Tutl, 2016) – also with the Danish National Vocal Ensemble
 Gerard Presencer featuring DR Big Band, Groove Travels (Edition, 2016) – recorded in 2015
 Charlie Watts Meets The Danish Radio Big Band with Charlie Watts (Impulse!, 2017) – recorded in 2010
 The Beast with Mathias Heise (Giant Sheep Music, 2018)
 Light Through Leaves with Peter Jensen, Morten Büchert (ILK Music, 2021)
 Miho Hazama featuring DR Big Band, Imaginary Visions (Edition, 2021)

As guest
 Bengt-Arne Wallin, The Unexpected Symphony (Sonet, 1979) – recorded in 1977
 Ib Glindemann, Talk of the Town (Olufsen, 1992) – recorded in 1988
 Georgie Fame, Endangered Species (Music Mecca, 1993)
 Marie Bergman, But Beautiful (Stunt, 1994) – conducted by Ole Kock Hansen
 Eliane Elias, Impulsive! (Stunt, 1997) – conducted by Bob Brookmeyer
 Sigurd Barrett, Live (My Way Music, 2007) – conducted by Nikolaj Bentzon
 Chris Potter, Transatlantic (Red Dot, 2011) – recorded in 2010
 Randy Brecker, The Jazz Ballad Song Book (Red Dot, 2011) – also with the Danish National Chamber Orchestra
 Richard Bona, Te Mesia (Red Dot, 2011) – conducted by Jesper Riis
 Siobhan Lamb, The Nightingale and the Rose (Proprius, 2012) – also with Danish National Vocal Ensemble
 Judy Niemack & Jim McNeely, New York Stories (Sunnyside, 2018) – recorded in 2013
 Curtis Stigers, One More for the Road (Concord Jazz, 2017) – recorded in 2014
 Marius Neset, Tributes (ACT Music, 2020)
 Sinne Eeg, We've Just Begun (Stunt, 2020)

See also
 Danish jazz

References

External links

Radio and television orchestras
Big bands
Danish jazz ensembles
Musical groups established in 1964
Radio and television house bands
Edition Records artists
Hep Records artists
Storyville Records artists
DR (broadcaster)

DR Big Band


Saint Paphnutius the Ascetic (Coptic: Ⲁⲃⲃⲁ Ⲡⲁⲫⲛⲟⲩϯ), also known as Paphnutius the Hermit, was an Egyptian anchorite of the fourth century. He is most famous for his accounts of the lives of many hermits of the Egyptian desert, such as Saint Onuphrius.

Life
Saint Paphnutius was the disciple of Saint Macarius the Great who was an anchorite in the Egyptian desert.

His feast is celebrated on 15 February and 25 September in the Orthodox Church in America. In Coptic Christianity, his feast is observed on 15 Meshir.

He was visited by Cassian in 395, when he was ninety.

He is also the subject of the play Paphnutius by Hrosvit (ca. 935-ca. 1001), a Benedictine nun from Saxony, in which he converts the courtesan Thais to Christianity. This play in turn has become the subject of study, most notably by Sandro Sticca.

References

Saints from Roman Egypt
Egyptian hermits
4th-century Christian saints
Desert Fathers

Paphnutius the Ascetic


Auspicia quaedam (1 May 1948) is an encyclical of Pope Pius XII  on worldwide public prayers to the Virgin Mary for World peace and the solution of the problem of Palestine.

Background
The war in Palestine affected the holy places and therefore the encyclical hopes for a settlement of the situation through a just peace and mutual concord. To support this requests, the Pope asks for a holy prayer crusade to the Most Blessed Virgin. He asks  for a consecration to be made in the various dioceses as well as in each of the parishes and families.

Although a terrible  war has ended,  peace has not arrived in  the minds and hearts of all men. The post-war  period is full of dangers for  the family of nations, dangers of threatening disasters. Because human means are unequal to the task, the Pontiff  appeals in prayer first of all to God; he exhorts all  throughout the world, to implore, together, in ardent prayer the Divine assistance.

He thanks the Virgin Mother of God  for having obtained, through her powerful intercession, the long desired termination of World War Two. At the same time, He implores her for the gift of peace,  of  fraternal and complete peace among all nations and  for harmony among all social classes.

The encyclical argues, that prayer to the Blessed Virgin must be more than words, they must be based on virtues, reform and a revival of Christian conduct. For only from Christian virtues one can  hope to see the course of history take its proper, orderly direction.

The Pontiff is concerned about the Holy Places of Palestine, which have long been disturbed.

Consecration to the Immaculate Heart of Mary
He desires, that supplications be poured forth to the Most Holy Virgin for this request: that the situation in Palestine may at long last be settled justly and thereby concord and peace be also happily established.  He  places great confidence in her   powerful patronage and asks for the month of May 1948 for a crusade of prayers especially of children to  the  Heavenly Mother  For a  just solution of disputes, and  a firm and free peace for the Church and for all nations Pope Pius XII  dedicates the human family to the immaculate heart of Mary and asks local dedication to be made as well.

References

External links
The encyclical Auspicia quaedam on the Vatican website

Pope Pius XII Mariology
Encyclicals of Pope Pius XII
May 1948 events
1948 in Christianity

1948 documents

Auspicia quaedam


Relativity Media is an American media company founded in 2004 by Lynwood Spinks and Ryan Kavanaugh. The company brokered film finance deals and later branched into film production and other entertainment ventures. The company was commercially successful prior to bankruptcy.

In 2015, Relativity Media filed for Chapter 11 bankruptcy after lawsuits and missing loan payments. The bankruptcy was noted as one of the most notorious in entertainment industry. As a result, the company began selling off previously acquired films. Relativity Media reorganized and emerged from bankruptcy in March 2016, but in May 2018 it filed for bankruptcy again. The studio is now a wholly owned subsidiary of UltraV Holdings.

History

Launch and operations
Relativity Media was founded by Ryan Kavanaugh and Lynwood Spinks in 2004. Kavanaugh convinced Spinks, a former Carolco Pictures executive to invest $1 million into the venture. Relativity began operations as a middleman brokering deals between film studios and banks, private equity firms, and hedge funds to finance multi-film slates. In 2005, the funding needs of Hollywood studios became more critical when a German tax shelter that had supported them for 25 years was eliminated, and Relativity Media met that need with Wall Street's plentiful funds in the early 2000s. Relativity arranged financing for slates produced by Warner Bros., Universal Pictures, and Sony Pictures. For each film, Relativity received equity and brokerage fees of $500,000 to $1 million, and Kavanaugh arranged an executive producer credit for himself.

In 2007, Kavanaugh sued Spinks after the partners had a falling out.

In 2008, Elliott Management bought 49.5% of Relativity Media for $67 million and provided access to about $1 billion in capital and a revolving credit line. The increased funds allowed Relativity to expand involvement with film production companies. In 2009, Relativity reached an output deal with Lionsgate, and bought Rogue Pictures from Universal Studios for $150 million. In 2010, a deal with Netflix allowed Relativity Media-owned films to be streamed on the platform, and Relativity purchased Overture Films' distribution and marketing operations.

Elliott Management's funding eventually allowed Relativity Media to begin operating its own studio, producing and distributing its own films. The studio distributed its first film on December 3, 2010.

In 2011, Elliott Management pulled its financial backing from Relativity amid reports of tension between the companies. In May 2011, Relativity's president Michael Joe moved to Elliott Associates to manage their investment in Relativity after Elliott had invested hundreds of millions of dollars with very little in return. Kavanaugh had structured a slate deal between Elliott and Universal titled "Beverly 2" that comprised the majority of Elliott's investment in Relativity at the time, but the investment turned out poorly for Elliott and further enormous losses were forecasted. Relativity was also scheduling their own movies opposite Universal's, including competing Snow White adaptations, which Universal executives saw as Relativity using "Beverly 2" funds to gain a competitive advantage. Elliott put pressure on Kavanaugh to hand Beverly 2 over to Elliott in exchange for releasing Michael Joe from his non-compete. Two weeks before the opening of Relativity's first big-budget epic Immortals, Elliott reportedly threatened to further reduce its investment unless Kavanaugh made significant concessions when Relativity was already short on funds.

Relativity took out a $200 million loan from Ron Burkle, who had other entertainment investments including with Bob and Harvey Weinstein through his associated firm Colbeck Capital. The loan was taken in part to cover the multi-million dollar marketing costs for Immortals. In January 2012, as Relativity continued to struggle financially, Kavanaugh sought a new major investor, and Burkle , and his  invested between $600 million and $800 million and became a shareholder.

In May 2012, Relativity announced that Colbeck structured $350 million in debt financing for the company, with Elliott departing from its investment in the company. Later that month, it signed a co-production and co-financing deal on two movies with EuropaCorp that Relativity would distribute in the United States. Relativity also has co-production deals with Atlas Entertainment including Project.

On June 12, 2012, Relativity Media and Rogue sold 30 of their films to Manchester Library Company, which was acquired by Vine Alternative Investments in April 2017.

In July 2012, Relativity merged its Rogue Sports, a Maximum Sports Management basketball agency, a football agency, and SFX Baseball into Relativity Sports. Relativity Sports represented more than 400 clients including Amar'e Stoudemire.

In 2013, hedge fund investor Carey Metz made a $10 million investment in Relativity Media based on what he later described as Ryan Kavanaugh's lies.

In April 2013, Relativity partnered with Glenn Kalison to create a film and performing arts school called Relativity School.

Most of the studio's movies performed poorly at the box office. The movie slate financing Relativity Media brokered for Wall Street investors also fared poorly for equity holders.

2015 bankruptcy

In July 2015, Relativity Media filed for Chapter 11 bankruptcy. With estimates of $500 million to $1 billion in liabilities and only $100–$500 million in claimed assets, the company's unpaid debts were reportedly paralyzing the company. The bankruptcy filing came after a last-ditch effort from investors to salvage the company by preventing Ryan Kavanaugh and Relativity from carrying out any unsupervised transactions. The Hollywood Reporter later called it "one of the most notorious Hollywood bankruptcies ever." The company would remain in U.S. Bankruptcy Court reorganizing itself for nearly 8 months until March 2016.

As a result of the bankruptcy, the company sold off previously acquired films including Suffragette, Jane Got a Gun, The Bronze, Love the Coopers, The Space Between Us, The Foreigner, Solace, Collide, Kidnap, Before I Wake, Animal Crackers, Shot Caller, Hillsong: Let Hope Rise, Fallen and The Secret Scripture. Suffragette was sold to Focus Features and as a result Ryan dropped out of producing the film due to financial struggles with his company; Jane Got a Gun was sold to TWC, The Bronze was sold to both Sony Pictures Classics and Stage 6 Films, Love the Coopers was sold to CBS Films, The Space Between Us and The Foreigner were both sold to STX Entertainment, Solace was sold to Lionsgate Premiere, Collide was sold to Open Road Films, Kidnap was sold to Aviron Pictures, Before I Wake and Animal Crackers were both sold to Netflix, Shot Caller was sold to Saban Films, Hillsong: Let Hope Rise was sold to Pure Flix Entertainment and Fallen and The Secret Scripture were both sold to Vertical Entertainment and transferred its distribution rights of EuropaCorp to STX Entertainment in January 2017.

In September 2015, three women who were involved in a Relativity Media reality show filed a lawsuit alleging the company never followed through on promises to support the women in escaping sex work and gaining improved housing, educational, medical and legal situations. The first litigant said she was paid $250 for her appearance and assured the "real" compensation would come in the form of assistance after the show. Two of the women also sued Relativity Media for not blurring their faces in footage as they had promised to do for the women. One of these women said she "has suffered incessant humiliation and embarrassment which continues to this day".

Reorganization

On January 6, 2016, Relativity Media acquired Trigger Street Productions. Owners Kevin Spacey and Dana Brunetti were given the roles chairman and president of Relativity Studios, respectively. That March, Spacey announced that he would not accept Relativity's offer; Brunetti's position is still in place.

On January 26, 2016, Relativity Television, Relativity Media's television division, became an independent company named Critical Content after the post-bankruptcy.

On March 18, 2016, the company reemerged from the supervision of U.S. Bankruptcy Court Judge Michael Wiles. In the wake of the bankruptcy, Ryan Kavanaugh chose to pay himself $2.6 million between April and November 2016 while his company failed to pay bankruptcy fees or file tax returns.

On September 8, 2016, it launched R2 Entertainment which will be based in Canada and is now an independent film distributor focused on releasing films with budgets under $15 million. It will be co-headed by Mark Kassen and Dana Brunetti.

On October 28, 2016, Kavanaugh announced that he was selling Relativity to Singapore-based social networking platform YuuZoo for $250 million. Other companies have attempted to bid, including Chinese technology company Lenovo. On March 2, 2017, YuuZoo announced they were canceling the investment in the fledgling studio saying "conditions precedent to the investment had not been met".

2018 bankruptcy and sale

In May 2018, the company filed for bankruptcy once again and arranged to sell all of its assets. The U.S. Trustee's office expressed concern at the bankruptcy filing, saying that it appeared "designed to benefit Kavanaugh and lender UltraV Holdings at the expense of other creditors" and advocated for a robust investigation. This concern was partially based on the negligence of Relativity to satisfy even the administrative fees owed from the 2016 bankruptcy. Greg Zipes, the attorney for the U.S. trustee's office in New York wrote "the Debtors [Relativity Media] have apparently been unable to pay even the administrative claims owed under the confirmed (bankruptcy) plan" of 2016... In summary, while the Debtors appear to have raised some capital and paid down some debt, their finances are largely a mystery, apparently even to themselves." The filing from the trustee's office also uncovered the $2.6 million Kavanaugh paid himself between April and November 2016 while remaining delinquent on what Relativity owed from the bankruptcy agreement. The trustee's office also expressed concern that this 2018 bankruptcy filing might be an "arm's length transaction", as Kavanaugh continued to have inappropriate access to computer systems, email, bank accounts, and servers at Relativity after the filing stated Kavanaugh had left the company.

In June 2018, Netflix sued Relativity Media for breaching an exclusivity agreement after five films that were to be exclusively featured on Netflix were provided to Amazon and Starz. According to the suit, Netflix paid Relativity Media for licensing fees and exclusive rights to stream The Lazarus Effect, The Woman in Black 2, Beyond the Lights, And So It Goes, and Hector and the Search for Happiness, but Relativity's led to their loss of control over the titles which third parties then distributed to Amazon and Starz. Netflix also alleged Relativity Media failed to provide their contracted number of films. Relativity Media promised to provide Netflix with 22 films between 2016 and 2018, including eight in 2017, but allegedly delivered only three.

In June 2018, an arbitration case found that executives from Relativity Media, including Kavanaugh, had fabricated a memo alleging sexual harassment by a former co-president of the company. A forensic audit of Relativity Media found that the memo had been altered by a user named "kav kav". Kavanaugh stated that the finding was "patently false" and filed a counterclaim alleging a violation of the arbitration process.

Also in June 2018, investor Carey Metz filed a lawsuit against Relativity's CEO Ryan Kavanaugh alleging Kavanaugh's deceptive representations of his proprietary algorithm had defrauded Metz of $12.5 million. After a 5-year relationship with Relativity, Metz described Kavanaugh's algorithm as a poor predictive tool which Relativity used only inconsistently in determining which films to finance.

In August 2018, the US Bankruptcy court approved the sale of the company to Ultra V Holdings.

In 2020, Lex Miron, CEO of Relativity Media, announced that Come Away would be the first commercial release of the "new Relativity Media" under Ultra V Holdings. Miron gave an interview to The Hollywood Reporter about taking two years after the 2018 bankruptcy to "quietly and deliberately rebuild the studio and its industry relationships" and said Relativity Media's strategy going forward would be to focus on smaller to mid-budget films.

Filmography
List of Relativity Media films

References

External links

 India Operations

2004 establishments in California
American companies established in 2004
American independent film studios
Companies based in Beverly Hills, California
Companies that filed for Chapter 11 bankruptcy in 2015
Companies that filed for Chapter 11 bankruptcy in 2018
Entertainment companies based in California
Film distributors of the United States
Film production companies of the United States
Mass media companies established in 2004
Re-established companies

Relativity Media


U2360° at the Rose Bowl is a 2010 concert film by Irish rock band U2. It was shot on 25 October 2009 at the Rose Bowl in Pasadena, California, during the band's U2 360° Tour. The Rose Bowl concert featured a sold-out crowd of 97,014 people, breaking the US record for single concert attendance for one headline act. It was live streamed over the Internet via YouTube, and was later released on DVD and Blu-ray on 3 June 2010 in the United States, 7 June in the United Kingdom, and 8 June in Canada. It received generally positive reviews from critics.

Background
The U2 360° Tour was a worldwide concert tour by the Irish rock band U2, launched in support of the group's 2009 album No Line on the Horizon. The tour was designed by Willie Williams, who has worked on every U2 tour since 1982. Mark Fisher was the architect. The tour featured a 360-degree configuration, with the stage being placed closer to the center of the stadium's field than usual. Williams had been toying with ideas for 360-degree stadium staging for U2 for a number of years, and presented sketches of a four-legged design to the group near the end of their Vertigo Tour in 2006. The inspiration for the "spaceship-on-four-legs" design, nicknamed "the Claw", came from the landmark Theme Building at Los Angeles International Airport.

The initial tour dates were formally announced in March 2009. U2 played 44 shows in 2009, with an additional 38 concerts scheduled for 2010. The performance in Pasadena was the group's penultimate concert of 2009.

Filming
The 25 October 2009 concert in Pasadena, California was streamed live on U2's YouTube channel, the first time a concert was streamed live on YouTube. The feed was initially set to be restricted to 16 countries but was later made available worldwide. Over 10 million viewers streamed the concert, making it the largest streaming event in the website's history.

The shoot was directed by Tom Krueger, who had previously worked with the band on the film U2 3D. Following the success of U2 3D, show director Willie Williams asked Krueger to design the photography and video coverage for the U2 360° Tour. Originally 13 cameras were used for filming close-ups during the tour; however, Kruger added additional cameras for the Rose Bowl concert, resulting in a total of 27 cameras for the shoot. The additional cameras were used for crane shots and capturing footage of the audience. The show's attendance reached 97,014 people, breaking the US record for single concert attendance for one headline act, a mark U2 previously held.

Release
U2360° at the Rose Bowl was released on 3 June 2010 in the United States and 7 June in the United Kingdom.  Four different formats were available, including standard DVD, deluxe DVD, a super deluxe box-set, and Blu-ray Disc. It is the first U2 concert available on Blu-ray. The DVD release was available in one- and two-disc formats, the latter which featured bonus features. Both releases featured the concert with a PCM stereo soundtrack, as well as DTS and Dolby Digital surround sound. The Blu-ray Disc release features the concert in 1080i with a DTS-HD Master Audio soundtrack, as well as PCM stereo.

The bonus disc of content included with the deluxe and super deluxe editions contains the U2 360° Tour documentary Squaring the Circle directed by Tom Kelly, Tour Clips directed by Cutter Hodierne, and a timelapse video of a concert in Berlin. "Breathe" opened the concert in Pasadena, but was cut from the regular release; it is included as a bonus track. Other bonus material includes the music video "Get On Your Boots", the video for "Magnificent", the animated and live-action videos for "I'll Go Crazy If I Don't Go Crazy Tonight", and the making-of videos for "Get On Your Boots" and "Magnificent".

The standard release contains the concert only, while the deluxe release has the concert and the bonus disc. The super deluxe boxset includes a 32-page hardback book; a limited edition 2-disc DVD of U2360° at the Rose Bowl plus 2 hours of bonus material; a Blu-ray of U2360° at the Rose Bowl plus 2 hours of bonus material; a 7-inch vinyl containing the previously unreleased song "Soon", which was played on tour preceding the band's arrival on stage and was previously titled "Kingdom of Your Love"; three U2 360° guitar picks; the Tour Programme; a limited edition numbered drawing of the final stage design; and five art prints in an embossed wallet. The Blu-ray release contains bonus live features; footage from the forthcoming 2010 North American and European legs of the tour will be available to download to the Blu-ray player through an exclusive live feature on the disc.

Reception

U2360° at the Rose Bowl was well received by critics. The Irish Times gave the film 4 out of 5 stars, mainly praising the staging in the film and how it "houses everything required to make a good band seem great".  Scotland's Daily Record said that the release was not U2's best "but still pretty damn good".  Inthenews.co.uk compared the release to U2's performances of the 1980s and the more powerful vocals of the time, but said that the band "make up for it with a revolutionary stage, top-rate musical ability and plethora of instantly recognisable tracks". Andrew Mueller of Uncut felt that the concert was well-translated onto a home video release, and praised the political aspects of the film, but called the final song of the film—"Moment of Surrender"—an "[i]ll-chosen closer" and "overlong and under-realised". Entertainment Weekly called the concert set "groundbreaking", and ranked U2360° at the Rose Bowl at number one on "The Must List" for the week prior to its release. Raoul Hernandez of The Austin Chronicle said the band "redeems its stillborn No Line on the Horizon with this two-saucer Close Encounters of the Third Kind", adding, "As disembodied as the two-hour Universal Studios ride becomes, U2 fires on all boosters".

The Associated Press felt the video release of the concert was much better than its original live stream on YouTube, and stated that the concert showed the band "well-rehearsed and in good form", although criticized how Bono's voice was "audibly hoarse" in several songs.  The Sydney Morning Herald said that the concert's songs from No Line on the Horizon "stand out for freshness" and referred to the performances of "MLK" and "One" as a "lovely interlude".  Cameron Adams of various News Limited-published papers cited "The Unforgettable Fire" and "Moment of Surrender" as highlights of the concert, and said of the concert as a whole, "In a word: Enormous." Q gave the film a maximum score of four stars, saying the video proves that "The Claw is indeed breathtaking", and that "U2 are far too experienced to let themselves be overshadowed by the world's most expensive Doctor Who prop. It's the songs rather than the spectacle that drives the show."

Track listing

The show is preceded by an introduction montage, showing the "babyface" (from the cover of Zooropa), complete with a helmet, staring at a screen of U2 photographs inside a space ship.

Actual set list
The following is the set list for the Rose Bowl concert, featuring songs not included in the concert film:

"Soon" (played over public address system)
"Breathe"
"Get on Your Boots"
"Magnificent"
"Mysterious Ways"
"Beautiful Day"
"I Still Haven't Found What I'm Looking For"
"Stuck in a Moment You Can't Get Out Of"
"No Line on the Horizon"
"Elevation"
"In a Little While"
"Unknown Caller"
"Until the End of the World"
"The Unforgettable Fire"
"City of Blinding Lights"
"Vertigo"
"I'll Go Crazy If I Don't Go Crazy Tonight"
"Sunday Bloody Sunday"
"MLK"
"Walk On"
"One"
"Where the Streets Have No Name"
"Ultraviolet (Light My Way)"
"With or Without You"
"Moment of Surrender"

Personnel

U2
Bono – vocals, rhythm guitar
The Edge – lead guitar, keyboards, backing vocals
Adam Clayton – bass guitar
Larry Mullen Jr. – drums, percussion, backing vocals

Additional performers
Terry Lawless – keyboards, programming

Technical
Director – Tom Krueger
Producers – Katherine Allen, Ned O'Hanlon
Executive producers – Malcolm Gerrie, Paul McGuinness
Show designer/director – Willie Williams
Music recording – Declan Gaffney, Jay Vicari
Music producer/mixing – Carl Glanville
Mastering – Scott Sedillo (at Bernie Grundman Mastering)

Charts

Weekly charts

Year-end charts

Certifications

References

External links

2010 live albums
2010 video albums
Interscope Records live albums
Interscope Records video albums
Live video albums
Mercury Records live albums
Mercury Records video albums
U2 live albums
U2 video albums
Universal Music Group live albums
Universal Music Group video albums

U2360° at the Rose Bowl


The Man Who Sold the World is the third studio album by the English musician David Bowie, originally released through Mercury Records in the United States on 4November 1970 and in the United Kingdom on 10April 1971. Produced by Tony Visconti and recorded in London from April to May 1970, the album features the first appearances on a Bowie record of guitarist Mick Ronson and drummer Mick Woodmansey, who later became famous as members of the Spiders from Mars.

Following the largely acoustic and folk rock sound of 1969's David Bowie, The Man Who Sold the World marked a shift toward hard rock, with elements of blues rock. The lyrics are darker than his previous releases, exploring themes of insanity, religion, technology and war. None of its songs were released as official singles; some tracks appeared as B-sides of singles between 1970 and 1973. Originally titled Metrobolist, a play on the film Metropolis (1927), the title was changed at the last minute by Mercury without Bowie's consultation.

The album was released with different cover artwork in the US and the UK. For the US release, the artwork was a cartoon-like drawing of a cowboy in front of an asylum. It was drawn by Michael J. Weller and based on an image of actor John Wayne. Bowie was unenthusiastic about the cover, so he enlisted Keith MacMillan to shoot an alternate cover. The final image, featuring Bowie wearing a blue dress designed by fashion designer Michael Fish, was used as the cover for the UK release. The Man Who Sold the World was reissued by RCA Records in 1972, featuring a black-and-white picture of Bowie's then-current character Ziggy Stardust on the sleeve, but reissues since 1990 have revived the original UK artwork.

The Man Who Sold the World was originally better received by music critics in the US than in the UK. Nevertheless, it was a commercial failure in both countries; the 1972 reissue managed to chart in both the US and the UK. Retrospectively, the album has been praised by critics for the band's performance and the unsettling nature of its music and lyrics, being considered by many to be the start of Bowie's "classic period". It has since been reissued multiple times and was remixed in 2020, under its original title Metrobolist, for its 50th anniversary.

Background
David Bowie's breakthrough single "Space Oddity" was released in July 1969, bringing him commercial success and attention. However, its parent album, David Bowie (Space Oddity), released later that year, was not as successful, partly due to the failure of Philips Records to promote the album efficiently. By 1970, the attention Bowie had garnered from "Space Oddity" had dissipated and his follow-up single, "The Prettiest Star", failed to chart. Realising that his potential as a solo artist was dwindling, Bowie decided to form a band with bassist Tony Visconti, who previously worked with Bowie on Space Oddity, and drummer John Cambridge. Calling themselves Hype, the group still needed a guitarist.

On 2February 1970, Bowie met guitarist Mick Ronson following a performance at the Marquee Club in London. The two connected immediately and agreed to work together. Following their meeting, Ronson joined Hype. For the group's performances, the members wore flamboyant superhero-like costumes. Bowie halted Hype performances at the end of March 1970 so he could focus on recording and songwriting, as well as resolve managing disputes with his manager Kenneth Pitt. The new single version of the Space Oddity track "Memory of a Free Festival" and an early attempt at "The Supermen" were recorded during this time.

Cambridge was dismissed from Hype at the end of March, with a new drummer, Mick "Woody" Woodmansey, joining the group at the suggestion of Ronson. According to biographer Kevin Cann, Cambridge was dismissed by Bowie, but according to biographer Nicholas Pegg, Visconti recalled that the dismissal was Ronson's request. On his first impression of Bowie, Woodmansey said in 2015: "This guy was living and breathing being a rock & roll star." By April 1970, the four members of Hype were living in Haddon Hall, Beckenham, an Edwardian mansion converted to a block of flats that was described by one visitor as having an ambiance "like Dracula's living room". Ronson and Visconti built a makeshift studio under the grand staircase at Haddon Hall; Bowie recorded many of his early 1970s demos there.

Recording
Recording for The Man Who Sold the World began on 17April 1970 at Advision Studios in London, with the group beginning work on "All the Madmen". The next day, Ralph Mace was hired to play the Moog synthesiser, borrowed from George Harrison, following his work on the single version of "Memory of a Free Festival". At the time, Mace was a 40-year-old concert pianist who was also head of the classical music department at Mercury Records. During this time, Bowie terminated his contract with Pitt and met his future manager Tony Defries, who assisted Bowie in the termination. Recording moved to Trident Studios in London on 21April and continued there for the rest of April until mid-May. On 4May, the band recorded "Running Gun Blues" and "Saviour Machine", the latter of which was originally the working title for the title track, before Bowie reworked the song into a different melody to form the final version of "Saviour Machine". Recording and mixing was moved back to Advision on 12May and completed ten days later. Bowie recorded his vocal for the title track on the final day.

As Bowie was preoccupied with his new wife Angie at the time, as well as his managerial issues, the music was largely arranged by Ronson and Visconti. Ronson used the sessions to learn about many production and arrangement techniques from Visconti. Although Bowie is officially credited as the composer of all music on The Man Who Sold the World, author Peter Doggett quoted Visconti as saying that "the songs were written by all four of us. We'd jam in a basement, and Bowie would just say whether he liked them or not." In Doggett's narrative, "The band (sometimes with Bowie contributing guitar, sometimes not) would record an instrumental track, which might or might not be based upon an original Bowie idea. Then, at the last possible moment, Bowie would reluctantly uncurl himself from the sofa on which he was lounging with his wife, and dash off a set of lyrics." Conversely, Bowie was quoted in a 1998 interview as saying, "I really did object to the impression that I did not write the songs on The Man Who Sold the World. You only have to check out the chord changes. No-one writes chord changes like that." "The Width of a Circle" and "The Supermen", for example, were already in existence before the sessions began.

Music and lyrics

The Man Who Sold the World was a departure from the largely acoustic and folk rock sound of Space Oddity. According to music critic Greg Kot, it marked Bowie's change of direction into hard rock. Stephen Thomas Erlewine of AllMusic described the album as "almost all hard blues rock or psychedelic folk rock", while Doggett writes that it is "filled with propulsive hard rock". Much of the material has a distinct heavy metal edge that distinguishes it from Bowie's other releases, and has been compared to contemporary acts such as Led Zeppelin and Black Sabbath. According to Marc Spitz, Ronson was intent on making a heavy blues album "worthy of Cream."

Like the music, the lyrics are significantly darker than its predecessor. According to Doggett, they contain numerous themes that Bowie would continue to explore throughout the rest of the 1970s decade, including "madness, alienation, violence, confusion of identity, power, darkness and sexual possession". The lyrics have also been seen as reflecting the influence of such figures as Aleister Crowley, Franz Kafka and Friedrich Nietzsche. Since Bowie wrote most of the lyrics at the last minute, O'Leary writes that The Man Who Sold the World is a more "coherent" concept album than his fifth and eighth albums, Ziggy Stardust (1972) and Diamond Dogs (1974), respectively. He continues, saying that the songs "mirror and answer each other", sharing similar themes and imagery.

Side one
The opening track, "The Width of a Circle", is an eight-minute epic that delves into progressive rock. Originally debuted in February 1970 at a BBC session, the song is led by Ronson's widely lauded guitar work, using feedback and improvisation throughout. The lyrics reference the Lebanese poet Khalil Gibran and in the song's second half, the narrator has a sexual encounter with God in the devil's lair. Pegg describes the song's sound as reminiscent of Deep Purple and Black Sabbath. The lyrics of "All the Madmen" were inspired by Bowie's half-brother Terry Burns and reflect the theme of institutionalised madness. The song contains a recorder part that creates an atmosphere, which Buckley describes as "childlike dementia". Doggett describes the Moog synthesiser as an integral part of the recording, noting that it gives the track a "stunning conclusion". Spitz calls the track "terrifying".

For "Black Country Rock", Bowie had a small portion of the melody and four quickly-written lines that he gave to Ronson and Visconti, who expanded upon them to create the song. A blues rock and hard rock song, Bowie impersonates Marc Bolan in his vocal performance. "After All" is musically different than the rest of The Man Who Sold the World, being more akin to folk rock than hard rock. Featuring an "oh, by jingo" chant that is reminiscent of music hall numbers, the lyrics follow a group of innocent children who have not experienced the corruptions of adulthood. Similar to "The Supermen", the song references the works of Nietzsche and has been described by Buckley and Pegg as an underrated gem.

Side two

The lyrics of "Running Gun Blues" discuss gun-toting assassins and Vietnam War commentary, specifically the Mỹ Lai massacre of 1968. Although the lyrics reflect the themes of Space Oddity, the music reflects the predominant hard rock style of The Man Who Sold the World  and points to Bowie's future musical direction. Similar to the previous track, "Saviour Machine" is rooted in blues rock and hard rock. The lyrics explore the concept of computers overtaking the human race; Bowie's metallic-like vocal performance enhances the scenario. Like the majority of the tracks, "She Shook Me Cold" was mostly created by Ronson, Visconti and Woodmansey without Bowie's input. Spitz compares the song's blues style to Led Zeppelin, while O'Leary and Pegg write that Ronson was attempting to emulate Cream's Jack Bruce. The lyrics explores a sexual conquest that is similar to "You Shook Me" (then-recently covered by Jeff Beck) and Robert Johnson's "Love in Vain".

The album's title track has been described by multiple reviewers as "haunting". Musically, it is based around a "circular" guitar riff from Ronson. The lyrics are cryptic and evocative, being inspired by numerous poems, including "Antigonish" (1899) by William Hughes Mearns. The narrator has an encounter with a kind of doppelgänger, as suggested in the second chorus where "I never lost control" is replaced with "We never lost control". Bowie's vocals are heavily "phased" throughout and contain none of the, in Doggett's words, "metallic theatrics" that are found on the rest of the album. The song also features güiro percussion, which Pegg describes as "sinister". "The Supermen" prominently reflects the themes of Nietzsche, particularly his theory of Übermensch, or "Supermen". Like other tracks on the album, the song is predominantly hard rock. It was described by Bowie in 1973 as a "period piece", and later "pre-fascist".

Cover artwork

The original 1970 US release of The Man Who Sold the World employed a cartoon-like cover drawing by Bowie's friend Michael J. Weller, featuring a cowboy in front of Cane Hill asylum. Weller, whose friend was a patient there, suggested the idea after Bowie had asked him to create a design that would capture the music's foreboding tone. Drawing on pop art styles, he depicted a dreary main entrance block to the hospital with a damaged clock tower. For the design's foreground, Weller used a photograph of actor John Wayne to draw a cowboy figure wearing a ten-gallon hat and holding a rifle, which was meant to be an allusion to the song "Running Gun Blues". Bowie suggested Weller incorporate the "exploding head" signature on the cowboy's hat, a feature he had previously used on his posters while a part of the Arts Lab. He also added an empty speech balloon for the cowboy figure, which was intended to include the line "roll up your sleeves and show us your arms"—a pun on record players, guns, and drug use—but Mercury found the idea too risqué and the balloon was left blank. According to Pegg, "at this point, [Bowie's] intention was to call the album Metrobolist, a play on Fritz Lang's 1927 film Metropolis; the title remained on the tape boxes even after Mercury had released the LP in America as The Man Who Sold the World".

Bowie was enthusiastic about the finished design, but soon reconsidered the idea and had the art department at Philips Records, a subsidiary of Mercury, enlist photographer Keith MacMillan to shoot an alternate cover. The shoot took place in a "domestic environment" of the Haddon Hall living room, where Bowie reclined on a chaise longue in a cream and blue satin "man's dress", an early indication of his interest in exploiting his androgynous appearance. The dress was designed by British fashion designer Michael Fish. It has been said that Bowie's "bleached blond locks, falling below shoulder level" in the photo were inspired by a Pre-Raphaelite painting by Dante Gabriel Rossetti. In the United States, Mercury rejected MacMillan's photo and released the album with Weller's design as its cover, much to the displeasure of Bowie, although he successfully lobbied the record label to use the photo for the release in the United Kingdom. In 1972, he said Weller's design was "horrible" but reappraised it in 1999, saying he "actually thought the cartoon cover was really cool".

While promoting The Man Who Sold the World in the US, Bowie wore the Fish dress in February 1971 on his first promotional tour and during interviews, despite the fact that the Americans had no knowledge of the then-unreleased UK cover. The 1971 German release's artwork presented a winged hybrid creature with Bowie's head and a hand for a body, preparing to flick the Earth away. The 1972 worldwide reissue by RCA Records used a black-and-white picture of Ziggy Stardust on the sleeve. The image remained the cover art on reissues until 1990 when the Rykodisc release reinstated the UK "dress" cover.  The "dress" cover has appeared on subsequent reissues of the album.

In 2011, when the Victoria and Albert Museum in London was putting together the list of Bowie artifacts for the David Bowie Is show, the curators asked for the dress to display, but found that the dress had gone missing from Bowie's collection.

Release
The Man Who Sold the World was released in the US through Mercury on 4November 1970, with the catalogue number SR-61325. It was subsequently released in the UK on 10April 1971 by Mercury, with the catalogue number 6338 041. Bowie was initially aggravated that Mercury had retitled the album from his preferred title of Metrobolist without his consultation, but following its release in the US, Bowie attempted to persuade the label to retitle the album Holy Holy after his newly released single of the same name. Following the commercial flop of "Holy Holy", the title remained The Man Who Sold the World for the UK release. According to Cann, the album was disliked by Mercury executives. However, it was played on US radio stations frequently and the "heavy rock content" increased interest in Bowie. Cann also writes that The Man Who Sold the World developed an underground following and laid "solid foundations" for Ziggy Stardust.

None of the songs from the album were released as singles at the time, although a promo version of "All the Madmen" was issued in the US in 1970. Mercury released "All the Madmen" as a single, with Space Oddity "Janine" on the B-side, but withdrew it. The same song appeared in Eastern Europe during 1973, as did "The Width of a Circle". "Black Country Rock" was released as the B-side of "Holy Holy" in the UK in January 1971, shortly before the release of The Man Who Sold the World. The title track appeared as the B-side of both the US single release of "Space Oddity" in 1972 and the UK release of "Life on Mars?" in 1973.

Commercial performance
The Man Who Sold the World was initially a commercial failure. Pegg writes that by the end of June 1971, the album had sold only 1,395 copies in the US. The same year, Bowie stated: "[it] sold like hotcakes in Beckenham, and nowhere else". Following his commercial breakthrough with Ziggy Stardust in 1972, RCA reissued The Man Who Sold the World in the UK and the US on 10November. This release peaked at number 24 on the UK Albums Chart, where it remained for 30 weeks, and number 105 on the US Billboard Top LPs & Tape chart, spending 23 weeks on the chart. The album's 1990 reissue charted again on the UK Albums Chart, peaking at number 66.

Critical reception
Upon release, The Man Who Sold the World was generally more well-received critically in the US than in the UK. Music publications Melody Maker and NME originally found The Man Who Sold the World "surprisingly excellent" and "rather hysterical", respectively. Reviewing for Rolling Stone in February 1971, John Mendelsohn called the album "uniformly excellent" and commented that Visconti's "use of echo, phasing, and other techniques on Bowie's voice ... serves to reinforce the jaggedness of Bowie's words and music", which he interpreted as "oblique and fragmented images that are almost impenetrable separately but which convey with effectiveness an ironic and bitter sense of the world when considered together".

Colman Andrews of Phonograph Record felt that record was a mixed bag, finding the lyrics both good and bad and Bowie's voice to be undistinguishable from other British artists, but enjoyed his vocal performance. Overall, Andrews stated, "[The Man Who Sold the World] TRIES to define some new province of modern music, even if it's not completely successful. For that alone it deserves some attention." The Village Voice critic Robert Christgau considered the album and its predecessor to be "overwrought excursions". Mike Saunders from Who Put the Bomp magazine included The Man Who Sold the World in his ballot of 1971's top 10 albums for the first annual Pazz & Jop poll of American critics, published in The Village Voice in February 1972.

Subsequent events
After the completion of The Man Who Sold the World, Bowie became less active in both the studio and on stage. His contract with music publisher Essex had expired and Defries, his new manager, was facing prior contractual challenges. In August 1970, Visconti parted ways with Bowie owing to his dislike of Defries and his frustration with Bowie's lack of enthusiasm during the making of The Man Who Sold the World; it was the last time he would see the artist for three or four years. Ronson and Woodmansey also departed due to other personal conflicts with Bowie. Despite his annoyance with Bowie during the sessions, Visconti still rated The Man Who Sold the World as his best work with him until his fourteenth studio album Scary Monsters (and Super Creeps) (1980).

Although his new single "Holy Holy", recorded in November 1970 and released in January 1971, was a commercial flop, the single earned Bowie a contract with music publisher Chrysalis. The critical success of the album in the US prompted Mercury to send Bowie on a promotional radio tour of the country in February 1971. Upon his return, he wrote the majority of the material that would appear on the follow-up albums Hunky Dory (1971) and Ziggy Stardust. Bowie also convened with Ronson and Woodmansey, who returned to play on both records. Following the commercial disappointment of Hunky Dory, Bowie finally found commercial success with Ziggy Stardust in 1972. Ronson and Woodmansey, along with bassist Trevor Bolder, would become famous as the Spiders from Mars.

Influence and legacy

The Man Who Sold the World has been retrospectively described by Bowie's biographers and commentators as the beginning of Bowie's artistic growth, many considering it the first album where he began to find his sound. Buckley has described it as "the first Bowie album proper", and NME critics Roy Carr and Charles Shaar Murray stated, "this is where the story really starts". Erlewine cited The Man Who Sold the World as the beginning of Bowie's "classic period". Annie Zaleski of The A.V. Club called the album his "career blueprint", writing that it was musically a forerunner to the "swaggering electric disorientation" of Ziggy Stardust and Aladdin Sane (1973), but its greater importance on sequencing and atmosphere, as well as stronger songwriting, predated Hunky Dory. Paul Trynka calls The Man Who Sold the World Bowie's "first truly gripping work". Pegg finds it one of the best and most important albums in the history of rock music. In a 2013 readers' poll for Rolling Stone, it was voted Bowie's tenth greatest album.

The album has been praised for the band's performance and the unsettling nature of its music and lyrics. In a review for AllMusic, Erlewine complimented its "tight, twisted heavy guitar rock that appears simple on the surface but sounds more gnarled upon each listen". He viewed its music and Bowie's "paranoid futuristic tales" as "bizarre", adding that: "Musically, there isn't much time for innovation ...but there's an unsettling edge to the band's performance, which makes the record one of Bowie's best albums." In a review upon the album's reissue, a writer for Q called it "a robust, sexually charged affair", while a Mojo columnist wrote, "A robust set that spins with dizzying disorientation ... Bowie's armoury was being hastily assembled, though it was never deployed with such thrilling abandon again." Douglas Wolk of Pitchfork called the album the "dark horse" of Bowie's catalogue. Comparing The Man Who Sold the World to its predecessor, he praised the arrangements as tougher and "more effective", and complimented his artistic growth.

The album has since been cited as inspiring the goth rock, dark wave and science fiction elements of work by artists such as Siouxsie and the Banshees, the Cure, Gary Numan, John Foxx and Nine Inch Nails. It has been claimed that glam rock began with the release of The Man Who Sold the World, though this is also attributed to Bolan's appearance on the UK television programme Top of the Pops in March 1971 wearing glitter. In his journal, Kurt Cobain of Nirvana listed it at number 45 on his top 50 favourite albums list. The title track provided an unlikely hit for Scottish pop singer Lulu, which was produced by Bowie and Ronson, and would be covered by many artists over the years, including Richard Barone in 1987, and Nirvana in 1993 for their live album MTV Unplugged in New York.

Reissues
The Man Who Sold the World was first released on CD by RCA in 1984. The album was reissued by Rykodisc/EMI in 1990 with bonus tracks, including a 1971 rerecording of "Holy Holy" that had originally been issued as a B-side in 1974. "Holy Holy" was incorrectly described in the liner notes as the original single version recorded in 1970.  Bowie vetoed inclusion of the earlier recording, and the single remained its only official release until 2015, when it was included on Re:Call 1, part of the Five Years (1969–1973) compilation. Additionally, the liner notes incorrectly listed the personnel for "Lightning Frightening" as those who played with Bowie during the Space Oddity period, when in fact the personnel were members of the Arnold Corns sessions proto-group.

In 1999, The Man Who Sold the World was reissued again by Virgin/EMI, without the bonus tracks but with 24-bit digitally remastered sound. In 2015, the album was remastered for the Five Years (1969–1973) box set. It was released on CD, vinyl and digital formats, both as part of the compilation and separately.

On 6 November 2020, the album was reissued by Parlophone under its working title of Metrobolist to commemorate its 50th anniversary. The reissue featured an updated version of the original Weller artwork as its official cover. For this release, Visconti remixed every song, except "After All", because he felt the original mix (as remastered in 2015) was "perfect as is". In 2021, a companion 2-CD set called The Width of a Circle was announced to celebrate the 50th anniversary of the British release. A press notice stated that the collection, released on 28 May, will "feature non-album singles, a BBC In Concert session, music for a TV play and further Visconti remixes wrapping up (Bowie's) recordings from 1970 and revealing the first sonic steps toward Hunky Dory".

Track listing
All tracks are written by David Bowie.

Side one
 "The Width of a Circle" – 8:05
 "All the Madmen" – 5:38
 "Black Country Rock" – 3:32
 "After All" – 3:52

Side two
 "Running Gun Blues" – 3:11
 "Saviour Machine" – 4:25
 "She Shook Me Cold" – 4:13
 "The Man Who Sold the World" – 3:55
 "The Supermen" – 3:38

Personnel
Adapted from The Man Who Sold the World liner notes.
David Bowie – vocals, guitar
Mick Ronson – guitar
Tony Visconti – bass, piano, guitar
Mick Woodmansey – drums
Ralph Mace – Moog synthesiser

Technical
Tony Visconti – producer
Ken Scott – engineer

Charts

Notes

References

Bibliography

External links

David Bowie albums
1970 albums
Albums produced by Tony Visconti
Albums recorded at Trident Studios
EMI Records albums
Folk rock albums by English artists
Hard rock albums by English artists
Mercury Records albums
Parlophone albums
RCA Records albums
Rykodisc albums
Virgin Records albums

The Man Who Sold the World (album)


The men's individual table tennis – Class 1 competition at the 2016 Summer Paralympics in Rio de Janeiro happened between 8–13 September 2016. The competition was located at Riocentro Pavilion 3. Classes 1–5 were for athletes with a physical disability that affected their legs and competed while sitting. The lower the number, the more of a disability they had.

Rob Davies of Great Britain won the gold medal. Joo Young-dae of South Korea won the silver medal. Nam Ki-won of South Korea won the bronze medal.

Table tennis
2016 Summer Paralympics

Table tennis at the 2016 Summer Paralympics – Men's individual – Class 1