title: Aftermath (Rolling Stones album)

text: Aftermath is a studio album by the English rock band the Rolling Stones. The group recorded the album at RCA Studios in California in December 1965 and March 1966, during breaks between their international tours. It was released in the United Kingdom on 15 April 1966 by Decca Records and in the United States on 2 July by London Records. It is the band's fourth British and sixth American studio album, and closely follows a series of international hit singles that helped bring the Stones newfound wealth and fame rivalling that of their contemporaries the Beatles.


title: Aftermath (Rolling Stones album)

text: "Aftermath" is considered by music scholars to be an artistic breakthrough for the Rolling Stones. It is their first album to consist entirely of original compositions, all of which were credited to Mick Jagger and Keith Richards. Brian Jones experimented with instruments not usually associated with rock music, including the sitar, Appalachian dulcimer, Japanese koto and marimbas, as well as playing guitar and harmonica. Along with Jones' instrumental textures, the Stones incorporated a wider range of chords and stylistic elements beyond their Chicago blues and R&B influences, such as pop, folk, country, psychedelia, Baroque and Middle Eastern music. Influenced by intense love affairs and a demanding touring itinerary, Jagger and Richards wrote the album around psychodramatic themes of love, sex, desire, power and dominance, hate, obsession, modern society and rock stardom. Women feature as prominent characters in their often dark, sarcastic, casually offensive lyrics.


title: Aftermath (Rolling Stones album)

text: The album's release was briefly delayed by controversy over the original packaging idea and title – "Could You Walk on the Water?" – due to the London label's fear of offending Christians in the US with its allusion to Jesus walking on water. In response to the lack of creative control, and without another idea for the title, the Stones bitterly settled on "Aftermath", and two different photos of the band were used for the cover to each edition of the album. The UK release featured a run-time of more than 52 minutes, the longest for a popular music LP up to that point. The American edition was issued with a shorter track listing, substituting the single "Paint It Black" in place of four of the British version's songs, in keeping with the industry preference for shorter LPs in the US market at the time.


title: Aftermath (Rolling Stones album)

text: "Aftermath" was an immediate commercial success in both the UK and the US, topping the British albums chart for eight consecutive weeks and eventually achieving platinum certification from the Recording Industry Association of America. An inaugural release of the album era and a rival to the contemporaneous impact of the Beatles' "Rubber Soul" (1965), it reflected the youth culture and values of 1960s Swinging London and the burgeoning counterculture while attracting thousands of new fans to the Rolling Stones. The album was also highly successful with critics, although some listeners were offended by the derisive attitudes towards female characters in certain songs. Its subversive music solidified the band's rebellious rock image while pioneering the darker psychological and social content that glam rock and British punk rock would explore in the 1970s. "Aftermath" has since been considered the most important of the Stones' early, formative music and their first classic album, frequently ranking on professional lists of the greatest albums.


title: Aftermath (Rolling Stones album)

text: In 1965, the Rolling Stones' popularity increased markedly with a series of international hit singles written by the band's lead singer Mick Jagger and their guitarist Keith Richards. This success attracted the attention of Allen Klein, an American businessman who became their US representative in August while Andrew Loog Oldham, the group's manager, continued in the role of promoter and record producer. One of Klein's first actions on the band's behalf was to force Decca Records to grant a $1.2 million royalty advance to the group, bringing the members their first signs of financial wealth and allowing them to purchase country houses and new cars. Their October–December 1965 tour of North America was the group's fourth and largest tour there up to that point. According to the biographer Victor Bockris, through Klein's involvement, the concerts afforded the band "more publicity, more protection and higher fees than ever before".


title: Aftermath (Rolling Stones album)

text: By this time, the Rolling Stones had begun to respond to the increasingly sophisticated music of the Beatles, in comparison to whom they had long been promoted by Oldham as a rougher alternative. With the success of the Jagger-Richards-penned singles "(I Can't Get No) Satisfaction" (1965), "Get Off of My Cloud" (1965) and "19th Nervous Breakdown" (1966), the band increasingly rivalled the Beatles' musical and cultural influence. The Stones' outspoken, surly attitude on songs like "Satisfaction" alienated the Establishment detractors of rock music, which, as the music historian Colin King explains, "only made the group more appealing to those sons and daughters who found themselves estranged from the hypocrisies of the adult world – an element that would solidify into an increasingly militant and disenchanted counterculture as the decade wore on." Like other contemporary British and American rock acts, with "Aftermath" the Stones sought to create an album as an artistic statement, inspired by the Beatles' achievements with their December 1965 release "Rubber Soul" – an LP that Oldham later described as having "changed the musical world we lived in then to the one we still live in today".


title: Aftermath (Rolling Stones album)

text: Within the Stones, tensions were rife as Brian Jones continued to be viewed by fans and the press as the band's leader, a situation that Jagger and Oldham resented. The group dynamics were also affected by some of the band members' romantic entanglements. Jones' new relationship with the German model Anita Pallenberg, which had taken on sadomasochistic aspects, helped renew his confidence and encourage him to experiment musically, while her intelligence and sophistication both intimidated and elicited envy from the other Stones. Jagger came to view his girlfriend, Chrissie Shrimpton, as inadequate by comparison; while Jagger sought a more glamorous companion commensurate with his newfound wealth, the aura surrounding Jones and Pallenberg contributed to the end of his and Shrimpton's increasingly acrimonious relationship. Richards' relationship with Linda Keith also deteriorated as her drug use escalated to include Mandrax and heroin. The band's biographer Stephen Davis describes these entanglements as a "revolution under way within the Stones", adding that "Anita Pallenberg restored the faltering Brian Jones to his place in the band and in the Rolling Stones mythos. Keith Richards fell in love with her too, and their romantic triad realigned the precarious political axis within the Stones."


title: Aftermath (Rolling Stones album)

text: "Aftermath" is the first Stones LP to be composed entirely of original material by the group. All the songs were, at Oldham's instigation, written by and credited to the songwriting partnership of Jagger and Richards. The pair wrote much of the material during the October–December 1965 tour and recording began immediately after the tour ended. According to the band's bassist Bill Wyman in his book "Rolling with the Stones", they originally conceived "Aftermath" as the soundtrack for a planned film, "Back, Behind and in Front". The plan was abandoned after Jagger met the potential director, Nicholas Ray, and disliked him. The recording sessions took place at RCA Studios in Los Angeles on 6–10 December 1965 and, following promotion for their "19th Nervous Breakdown" single and an Australasian tour, on 3–12 March 1966. Charlie Watts, the group's drummer, told the press that they had completed 10 songs during the first block of sessions; according to Wyman's book, at least 20 were recorded in March. Among the songs were four tracks issued on singles by the Rolling Stones in the first half of 1966, the A-sides of which were "19th Nervous Breakdown" and "Paint It Black". "Ride On, Baby" and "Sittin' on a Fence" were also recorded during the sessions but were not released until the 1967 US album "Flowers".


title: Aftermath (Rolling Stones album)

text: Referring to the atmosphere at RCA, Richards told "Beat Instrumental" magazine in February 1966: "Our previous sessions have always been rush jobs. This time we were able to relax a little, take our time." The main engineer for the album, Dave Hassinger, was pivotal in making the group feel comfortable during the sessions, as he let them experiment with instrumentals and team up with session musicians like Jack Nitzsche to variegate their sound. Wyman recalled that Nitzsche and Jones would pick up instruments that were in the studio and experiment with sounds for each song. According to Jagger, Richards was writing a lot of melodies and the group would perform them in different ways, which were mainly thought out in the studio. In the recollection of the engineer Denny Bruce, the songs often developed through Nitzsche organising the musical ideas on piano. Wyman was later critical of Oldham for nurturing Jagger and Richards as songwriters to the exclusion of the rest of the band. The bassist also complained that "Paint It Black" should have been credited to the band's collective pseudonym, Nanker Phelge, rather than Jagger–Richards, since the song originated from a studio improvisation by himself, Jones and Watts, with Jones providing the melody line.


title: Aftermath (Rolling Stones album)

text: Jones proved important in shaping the album's tone and arrangements, as he experimented with instruments that were unusual in popular music, such as the marimba, sitar and Appalachian dulcimer. Davis cites the "acid imagery and exotic influences" on "Rubber Soul", particularly George Harrison's use of the Indian sitar on "Norwegian Wood", as the inspiration for Jones' experimentation with the instrument in January 1966: "One night George put the massive sitar in Brian's hands, and within an hour Brian was working out little melodies." According to Nitzsche, Jones deserved a co-writing credit for "Under My Thumb", which Nitzsche recalled as being an unoriginal-sounding three-chord sequence until Jones discovered a Mexican marimba left behind from a previous session, and transformed the piece by providing its central riff. Wyman agreed, saying, "Well, without the marimba part, it's not really a song, is it?"


title: Aftermath (Rolling Stones album)

text: During the recording sessions, Richards and Oldham dismissed Jones' interest in exotic instrumentation as an affectation. According to the music journalist Barbara Charone, writing in 1979, everyone connected with the Stones credited Jones for "literally transforming certain records with some odd magical instrument". While Nitzsche was shocked at how cruelly they treated Jones, he later said that Jones was sometimes absent or incapacitated by drugs. Hassinger recalled seeing Jones often "laying on the floor, stoned or on some trip" and unable to play, but that his bandmates would wait for him to leave rather than entering into an argument as other bands would.


title: Aftermath (Rolling Stones album)

text: Because of Jones' distractions, Richards ended up playing most of the guitar parts for "Aftermath", making it one of the first albums to have him do so. Richards later said he found the challenge musically rewarding but resented Jones for his unprofessional attitude when the band were under extreme pressure to record and maintain a hectic touring schedule. On some songs, Richards supported Wyman's bass lines with a fuzz bass part, which the music historians Philippe Margotin and Jean-Michel Guesdon suggest was influenced by Paul McCartney's use on the track "Think for Yourself" (from "Rubber Soul"). "Aftermath" was also the first Stones LP to be recorded in true stereo, as opposed to electronically recreated stereo.


title: Aftermath (Rolling Stones album)

text: According to the musicologist David Malvinni, "Aftermath" is the culmination of the Rolling Stones' stylistic development dating back to 1964, a synthesis of previously explored sounds from the blues, rock and roll, rhythm and blues, soul, folk rock and pop ballads. Margotin and Guesdon go further in saying the album shows the Stones to be free from influences that had overwhelmed their earlier music, specifically the band's Chicago blues roots. Instead, they say, the record features an original style of art rock that resulted from Jones' musical experimentation and draws not only on the blues and rock but also pop, R&B, country, Baroque, classical and world music. Musical tones and scales from English lute song and Middle Eastern music feature among "Aftermath"s riff-based rock and blues (in both its country and urban forms). While still considering it a blues rock effort, Tom Moon likens the music to a collaboration between the art rock band the Velvet Underground and the Stax house band. Jagger echoes these sentiments in a 1995 interview for "Rolling Stone", regarding it as a stylistically diverse work and milestone for him that "finally laid to rest the ghost of having to do these very nice and interesting, no doubt, but still, cover versions of old R&B songs – which we didn't really feel we were doing justice, to be perfectly honest".


title: Aftermath (Rolling Stones album)

text: Along with their 1967 follow-up, "Between the Buttons", "Aftermath" is cited by Malvinni as part of the Rolling Stones' pop-rock period as it features a chordal range more diverse and inclusive of minor chords than their blues-based recordings. According to Kevin Courrier, the Stones use "softly intricate" arrangements that lend the record a "seductive ambience" similar to "Rubber Soul", particularly on "Lady Jane", "I Am Waiting", "Under My Thumb" and "Out of Time". The latter two songs, among "Aftermath"s more standard pop-rock titles, are often-cited examples of Jones interweaving unconventional instruments and quirky sounds into the album's sonic character, his use of the marimba featured on both. In the opinion of Philip Norman, Jones' varied contributions give "Aftermath" both the "chameleon colours" associated with Swinging London fashion and a "visual quality" unlike any other Stones album. Robert Christgau says the texture of the Stones' blues-derived hard rock is "permanently enriched" as Jones "daub[s] on occult instrumental [colours]", Watts "mold[s] jazz chops to rock forms", Richards "rock[s] roughly on" and the band "as a whole learn[s] to respect and exploit (never revere) studio nuance"; Wyman's playing here is described by Moon as the "funkiest" on a Stones LP.


title: Aftermath (Rolling Stones album)

text: Citing individual songs, "Rolling Stone" describes "Aftermath" as "an expansive collection of tough riffs ('It's Not Easy') and tougher acoustic blues ('High and Dry'); of zooming psychedelia ('Paint It Black'), baroque-folk gallantry ('I Am Waiting') and epic groove (the eleven minutes of 'Goin' Home')". Jon Savage also highlights the stylistic diversity of the album, saying that it "range[s] from modern madrigals ('Lady Jane'), music-hall ragas ('Mother's Little Helper'), strange, curse-like dirges ('I Am Waiting') and uptempo pop ('Think') to several bone-dry blues mutations ('High and Dry', 'Flight 505' [and] 'Going Home')". The first four songs of "Aftermath"s US edition – "Paint It Black", "Stupid Girl", "Lady Jane" and "Under My Thumb" – are identified by the music academic James Perone as its most explicit attempts to transcend the blues-based rock and roll conventions of the Stones' past. He also notes how Richards' guitar riff and solo on the latter track are "minimalistic, in a fairly low tessitura and relatively emotionless", compared to previous Stones hits like "(I Can't Get No) Satisfaction", "Get Off of My Cloud" and "19th Nervous Breakdown".


title: Aftermath (Rolling Stones album)

text: "Aftermath"s diverse musical style contrasts the dark themes explored in Jagger and Richards' lyrics, which often scorn female lovers. Margotin and Guesdon say that Jagger, who had been accused of misogyny before the album, is avenging real-life grievances with the songs, using "language and imagery that had the power to hurt". "Stupid Girl", which assails the "supposed greed and facile certitudes of women", is speculated by the writers to indirectly criticise Shrimpton. "High and Dry" expresses a cynical outlook on a lost romantic connection, while "Under My Thumb", "Out of Time" and "Think" show how "a man's revenge on his mistress (or perhaps wife) becomes a source of real pleasure". Shrimpton was devastated by the lyrics to "Out of Time", in which Jagger sings, "You're obsolete, my baby, my poor old-fashioned baby". Savage views such songs as evoking "the nastiness of the Rolling Stones' constructed image" in lyrical form by capturing Jagger's antipathy towards Shrimpton, whom he describes as a "feisty upper-middle-class girl who gave as good as she got". Conceding that male chauvinism became a key theme of the Stones' lyrics from late 1965 onwards, Richards later told Bockris: "It was all a spin-off from our environment... hotels and too many dumb chicks. Not all dumb, not by any means, but that's how one got. You got really cut off."


title: Aftermath (Rolling Stones album)

text: In Guesdon and Margotin's view, the Stones express a more compassionate attitude towards women in "Mother's Little Helper", which examines a housewife's reliance on pharmaceutical drugs to cope with her daily life, and in "Lady Janes story of romantic courtship. By contrast, Davis writes of "Aftermath" containing a "blatant attack on motherhood" and says that "Mother's Little Helper" addresses "tranquilised suburban housewives". According to Hassinger, his wife Marie provided the inspiration for "Mother's Little Helper" when she supplied some downers in response to a request from one of the studio staff. Davis likens "Lady Jane" to a Tudor love song with lyrics apparently inspired by Henry VIII's love letters to Lady Jane Seymour. Some listeners assumed the song was about Jagger's high-society friend Jane Ormsby-Gore, daughter of David Ormsby-Gore, 5th Baron Harlech. In what the music journalist Chris Salewicz terms a "disingenuous" claim, Jagger told Shrimpton that "Lady Jane" was written for her.


title: Aftermath (Rolling Stones album)

text: Overall, the darker themes lead Margotin and Guesdon to call "Aftermath" "a sombre album in which desolation, paranoia, despair and frustration are echoed as track succeeds track". According to Steven Hyden, Jagger's songwriting explores "sex as pleasure, sex as power, love disguised as hate and hate disguised as love". Moon believes the time period's flower power ideology is recast in a dark light on "these tough, lean, desperately lonely songs", while Norman calls them "songs of callow male triumph" in which Jagger alternately displays childlike charm and misogynistic scorn. While songs such as "Stupid Girl" and "Under My Thumb" may be misogynistic, they are also interpreted as dark representations of the narrator's hateful masculinity. Misogyny, as on "Under My Thumb", "may be just a tool for restoring the fragile narcissism and arrogance of the male narrator", muses the music scholar Norma Coates. Referring to the American version of the LP, Perone identifies numerous musical and lyrical features that lend "Aftermath" a conceptual unity which, although not sufficient for it to be considered a concept album, allows for the record to be understood "as a psychodrama around the theme of love, desire and obsession that never quite turns out right". It may also be read "as part of a dark male fantasy world, perhaps constructed as a means of dealing with loneliness caused by a broken relationship or a series of broken relationships with women." As Perone explains:


title: Aftermath (Rolling Stones album)

text: The individual songs seem to ping-pong back and forth between themes of love/desire for women and the desire to control women and out-and-out misogyny. However, the band uses musical connections between songs as well as the subtheme of travel, the use of feline metaphors for women and other lyrical connections to suggest that the characters whom lead singer Mick Jagger portrays throughout the album are really one and perhaps stem from the deep recesses of his psyche.


title: Aftermath (Rolling Stones album)

text: According to the music historian Simon Philo, like all the Stones' 1966 releases, "Aftermath" also reflects the band's "engagement" with Swinging London, a scene in which their decadent image afforded them a pre-eminent role by capturing the meritocratic ideals of youth, looks and wealth over social class. Author Ian MacDonald says that, as on "Between the Buttons", the Stones perform here as storytellers of the scene and produce a "subversive" kind of pop music comparable to their contemporaries the Kinks. As Greil Marcus observes, the songs' protagonists can be interpreted as London bohemians severely disdainful of bourgeois comfort, positing "a duel between the sexes" and weaponizing humour and derision. Courrier adds that, as the "evil twin" of "Rubber Soul", "Aftermath" takes that album's "romantic scepticism" and reframes it into a narrative of "underclass revolt".


title: Aftermath (Rolling Stones album)

text: Both "Mother's Little Helper" and "What to Do" connect modern society to feelings of unhappiness. The band's misgivings about their rock stardom are also touched on, including relentless concert tours in "Goin' Home" and fans who imitate them in "Doncha Bother Me", in which Jagger sings, "The lines around my eyes are protected by copyright law". Savage views the same lyric, preceded by the lines "All the clubs and the bars / And the little red cars / Not knowing why, but trying to get high", as the Stones' cynical take on Swinging London at a time when the phenomenon was receiving international attention and being presented as a tourist attraction. According to Perone, "I Am Waiting" suggests paranoia on the narrator's part and that societal forces are the cause, yet the song presents a degree of resignation in comparison to the album's other commentaries on class- and consumer-focused society.


title: Aftermath (Rolling Stones album)

text: During the recording, Oldham wanted to title the album "Could You Walk on the Water?" In mid-January 1966, the British press announced that a new Rolling Stones LP carrying that title would be released on 10 March. In "Rolling with the Stones", Wyman refers to the announcement as "audacity" on Oldham's part, although he supposes that "Could You Walk on the Water?" was their manager's proposed title for the band's March compilation album "Big Hits (High Tide and Green Grass)", rather than for "Aftermath". At the time, Richards complained that Oldham was continually trying to "[get] in on the act" and "the Stones have practically become a projection of his own ego." A Decca spokesman said the company would not issue an album with such a title "at any price"; Oldham's idea upset executives at the company's American distributor, London Records, who feared the allusion to Jesus walking on water would provoke a negative response from Christians.


title: Aftermath (Rolling Stones album)

text: The title controversy embroiled the Stones in a conflict with Decca, delaying "Aftermath"s release from March to April 1966. Oldham had also proposed the idea of producing a deluxe gatefold featuring six pages of colour photos from the Stones' recent American tour and a cover depicting the band walking atop a California reservoir in the manner of "pop messiahs on the Sea of Galilee", as Davis describes. Rejected by Decca, the packaging was used instead for the US version of "Big Hits", albeit with a cover showing the band standing on the shore of the reservoir. According to Davis, "in the bitterness (over lack of control of their work) that followed, the album was called "Aftermath" for want of another concept." "Rolling Stone" discerns a connection between the final title and themes explored in the music: "Aftermath of what? of the whirlwind fame that had resulted from releasing five albums in two years, for one thing... And of hypocritical women". In Norman's view, an "aftermath" of the earlier title's "sacrilegious reference to the most spectacular of Christ's miracles" is "the very thing from which their God-fearing bosses may well have saved them", effectively avoiding the international furore that John Lennon created with his remark, in March, that the Beatles are "more popular than Jesus".


title: Aftermath (Rolling Stones album)

text: The front cover photo for "Aftermath"s British release was taken by Guy Webster and the cover design was done by Oldham, credited as "Sandy Beach". Instead of the elaborate essay that Oldham usually supplied for the Stones' albums, the liner notes were written by Hassinger and were a straight commentary on the music. Hassinger wrote in part: "It's been great working with the Stones, who, contrary to the countless jibes of mediocre comedians all over the world, are real professionals, and a gas to work with." For the cover image, close-ups of the band members' faces were diagonally aligned against a pale-pink and black coloured background, and the album title was cut in half across a line break. The back of the LP featured four black-and-white photos of the group taken by Jerry Schatzberg at his photographic studio in New York in February 1966. Jones was vocal in his dislike of Oldham's design when interviewed by "Melody Maker" in April.


title: Aftermath (Rolling Stones album)

text: For the American edition's cover, David Bailey took a colour photo of Jones and Richards in front of Jagger, Watts and Wyman, and set it against a blurred black background. According to Margotin and Guesdon, the photo was intentionally blurred as "an allusion to the psychedelic movement" and "corresponds better to the Stones' new artistic direction".


title: Aftermath (Rolling Stones album)

text: "Aftermath"s release was preceded by the Rolling Stones' two-week tour of Europe, which began on 25 March 1966. Decca issued the album in the United Kingdom on 15 April and an accompanying press release that declared: "We look to Shakespeare and Dickens and Chaucer for accounts of other times in our history, and we feel that tomorrow we will on many occasions look to the gramophone records of the Rolling Stones... who act as a mirror for today's mind, action and happenings." On the same day, "Time" magazine published a feature titled "London: A Swinging City", belatedly recognising the Swinging London phenomenon a year after its peak. The British edition of "Aftermath" featured a run-time of 52 minutes and 23 seconds, the longest for a popular music LP at that time. The record was pressed with reduced volume to allow for its unusual length. In the Netherlands, Phonogram Records rush-released the album during the week of 14 May in response to high demand from Dutch music retailers.


title: Aftermath (Rolling Stones album)

text: In the US, London delayed the album's release to market the "Big Hits" compilation first but issued "Paint It Black" as a single in May. The song was originally released as "Paint It, Black", the comma being an error by Decca, which stirred controversy over a purported racial connotation. The band began their fifth North American tour on 24 June in support of "Aftermath"; it was their highest-grossing tour yet and, according to Richards, the start of a period of rapprochement between Jones, Jagger and himself. On 2 July, London released the American edition of the album with "Paint It Black" replacing "Mother's Little Helper", which was released the same day in the US as a single with "Lady Jane" as the B-side. "Out of Time", "Take It or Leave It" and "What to Do" were similarly cut from the US LP's running order in an effort to significantly reduce its length, in keeping with the industry policy of issuing shorter albums and maximising the amount of LP releases for popular artists. "Aftermath" was the band's fourth British and sixth American studio album.


title: Aftermath (Rolling Stones album)

text: In the UK, "Aftermath" topped the "Record Retailer" LPs chart (subsequently adopted as the UK Albums Chart) for eight consecutive weeks, replacing the soundtrack album for "The Sound of Music" (1965) at number 1. It stayed on the chart for 28 weeks. "Aftermath" proved the fourth-highest-selling album of 1966 in the UK, and it also became a top-10 best-seller in the Netherlands. In the US, the album entered the "Billboard" Top LPs at number 117 on 2 July, making it the chart's highest new entry that week. By 13 August, it had risen to number 2 behind the Beatles' "Yesterday and Today". That month, the Recording Industry Association of America awarded "Aftermath" a Gold certification for shipments of 500,000 copies; in 1989 it was certified Platinum for one million copies.


title: Aftermath (Rolling Stones album)

text: According to the pop historian Richard Havers, "Aftermath"s 1966 US chart run was assisted by the success of "Paint It Black", which topped the "Billboard" Hot 100 for two weeks in June. "Mother's Little Helper" was a Hot 100 hit as well, peaking at number 8 on the chart. The album's songs also proved popular among other recording artists, "Mother's Little Helper", "Take It or Leave It", "Under My Thumb" and "Lady Jane" all being covered within a month of "Aftermath"s release. Adding to Jagger and Richards' success as writers, Chris Farlowe topped the UK charts with his Jagger-produced recording of "Out of Time" in August.


title: Aftermath (Rolling Stones album)

text: "Aftermath" received highly favourable reviews in the music press. It was released just months before Bob Dylan's "Blonde on Blonde" and the Beatles' "Revolver", albums by artists that Jagger and Richards had received comparisons to while Oldham was promoting the band's artistic maturation to the press. Among British critics, Richard Green of "Record Mirror", in April 1966, began his review by saying: "Whether they realise it or not – and I think Andrew Oldham does – the Rolling Stones have on their hands the smash LP of the year with "Aftermath"", adding that it would take much effort to surpass their achievement. Green said the music is unmistakably rock and roll and was especially impressed by Watts' drumming. Keith Altham of the "New Musical Express" ("NME") hailed the Stones as "masterminds behind the electric machines" who have recorded an LP of "the finest value for money ever". He described "Goin' Home" as a "fantastic R&B improvisation" and said that "Lady Jane", "Under My Thumb" and "Mother's Little Helper" have the potential to be great singles. "Aftermath" was regarded in "Melody Maker" as the group's best LP to date and one that would "effortlessly take Britain by storm". The magazine's reviewer applauded its focus "on big beat, power and interesting 'sounds, noting how the use of dulcimer, sitar, organ, harpsichord, marimba and fuzz boxes creates an "overwhelming variety of atmospherics and tones".


title: Aftermath (Rolling Stones album)

text: While the lyrics' derisive attitude to women offended some listeners, this aspect received little attention in the British pop press or complaints from female fans. In the cultural journal "New Left Review", Alan Beckett wrote that the band's lyrics could only be fully appreciated by an audience familiar with modern city life, particularly London. He said that the Stones' "archetypal girl", as first introduced in their 1965 song "Play with Fire", was "rich, spoiled, confused, weak, using drugs, etc.", adding that: "Anyone who has been around Chelsea or Kensington can put at least one name to this character." Responding in the same publication, the intellectual historian Perry Anderson (using the pseudonym of Richard Merton) defended the band's message as an audacious and satirical exposé on sexual inequality. He said that in songs such as "Stupid Girl" and "Under My Thumb", the Stones had "defied a central taboo of the social system" and that "they have done so in the most radical and unacceptable way possible: by celebrating it."


title: Aftermath (Rolling Stones album)

text: Some feminist writers defended "Under My Thumb". Camille Paglia considered the song "a work of art", despite its sexist lyrics, and "Aftermath" a "great album" with "rich sonorities". In a 1973 piece for "Creem", Patti Smith recounted her response to the album in 1966: "The "Aftermath" album was the real move. two faced woman. doncha bother me. the singer displays contempt for his lady. he's on top and that's what I like. then he raises her as queen. his obsession is her. 'goin home.' What a song... stones music is screwing music."


title: Aftermath (Rolling Stones album)

text: Among US commentators, Bryan Gray wrote in the "Deseret News": "This album does the best job yet of alienating the over-twenties. The reason – they attempt to sing." "Record World" review panel selected the album as one of their three "Albums of the Week", predicting a major seller while highlighting "Paint It Black" as "only the first of a series of hot [tracks]". "Billboard"s reviewer predicted that "Aftermath" would become another hit for the Stones, citing "Paint It Black" as the focal point of the hard rock album and revering Oldham for his production. "Cash Box" was extremely impressed by the LP and also predicted immediate chart success, saying "Lady Jane" and "Goin' Home" in particular are likely to attract considerable notice. Writing in "Esquire" in 1967, Robert Christgau said that the Stones' records present the only possible challenge to "Rubber Soul"s place as "an album that for innovation, tightness and lyrical intelligence" far surpassed any previous work in popular music. About two years later, in "Stereo Review", he included the American "Aftermath" in his basic rock "library" of 25 albums and attributed the Stones' artistic identity largely to Jagger, "whose power, subtlety and wit are unparalleled in contemporary popular music". While suggesting Jagger and Richards rank second behind John Lennon and Paul McCartney as composers of melody in rock, Christgau still considered it the best album in any category and wrote:


title: Aftermath (Rolling Stones album)

text: "Aftermath" is considered the most important of the Rolling Stones' early albums. It was an inaugural release of the album era, during which the LP replaced the single as the primary product and form of artistic expression in popular music. As with "Rubber Soul", the extent of "Aftermath"s commercial success foiled the music industry's attempts to re-establish the LP market as the domain of wealthier, adult record-buyers – a plan that had been driven by the industry's disapproval of the uncouth image associated with Jagger and their belief that young record-buyers were more concerned with singles. In Malvinni's opinion, "Aftermath" was "the crucial step for the Stones' conquering of the pop world and their much-needed answer" to "Rubber Soul", which had similarly embodied the emergence of youth culture in popular music during the mid-1960s. With their continued commercial success, the Stones joined the Beatles and the Who as one of the few rock acts who were able to follow their own artistic direction and align themselves with London's elite bohemian scene without alienating the wider youth audience or appearing to compromise their working-class values. Speaking on the cultural impact of "Aftermath"s British release in 1966, Margotin and Guesdon say it was, "in a sense, the soundtrack of Swinging London, a gift to hip young people" and "one of the brightest stars of the new culture (or counterculture) that was to reach its zenith the following year in the Summer of Love".


title: Aftermath (Rolling Stones album)

text: "Aftermath" is regarded as the most artistically formative of the Rolling Stones' early work. Their new sound on the album helped expand their following by the thousands, while its content solidified their dark image. As Ritchie Unterberger observes, its contemptuous perspective about society and women contributed significantly to the group's reputation as "the bad boys" of rock music. According to John Mendelsohn from "PopMatters", the social commentary of "Mother's Little Helper" in particular "cemented their reputation as a subversive cultural force", as it exposed the hypocrisy of mainstream culture's exclusive association of psychoactive drug use with addicts and rock stars. The "NME"s Jazz Monroe writes that "Aftermath" simultaneously disowned and reimagined rock tradition and forever elevated the Stones as equals to the Beatles. Writing for "The A.V. Club", Hyden describes it as "a template for every classic Stones album that came afterward", crediting its "sarcastic, dark and casually shocking" songs with introducing themes Jagger would explore further in the future through a "complex, slippery persona" that allowed him to "be good and evil, man and woman, tough and tender, victim and victimiser". This deliberately "confounding, complicated image" helped make Jagger one of the most captivating lead musicians in rock, Hyden concludes.


title: Aftermath (Rolling Stones album)

text: The album proved influential in the development of rock music. Its dark content pioneered the darker psychological and social themes of glam rock and British punk rock in the 1970s. The music historian Nicholas Schaffner, in "The British Invasion: From the First Wave to the New Wave" (1982), acknowledges the Stones on the album for being the first recording act to engage themes of sex, drugs and rock culture "with both a measure of intelligence and a corresponding lack of sentimentality or even romanticism". The attitude of songs like "Paint It Black" in particular influenced punk's nihilistic outlook. Some of "Aftermath"s blues-oriented rock elements foreshadowed the blues-rock music of the late 1960s. Schaffner suggests "Goin' Home" anticipated the trend of extended musical improvisations by professional rock bands, while Rob Young of "Uncut" says it heralded "the approaching psychedelic tide" in the manner of "Rubber Soul". Summarising "Aftermath"s impact in 2017, the pop culture writer Judy Berman describes "Paint It Black" as "rock's most nihilistic hit to date" and concludes that, "with Jones ditching his guitar for a closetful of exotic instruments and the band channelling their touring musicians' homesickness on the record's 11-minute culminating blues jam, 'Goin' Home,' they also pushed rock forward."


title: Aftermath (Rolling Stones album)

text: "Aftermath" is often considered the Rolling Stones' first classic album. According to Stephen Davis, its standing as the first wholly Jagger–Richards collection makes it, "for serious fans, the first real Rolling Stones album". Schaffner says it is "the most creative" and possibly the best of their albums "in the first five years", while Hyden cites it as their "first full-fledged masterpiece". Writing for "Uncut", Ian MacDonald recognises it as an "early peak" in the Stones' career, and Jody Rosen, in a "Back Catalogue" feature for "Blender", includes it as the first of the group's "essential" albums. "The Guardian"s Alexis Petridis names "Aftermath" the Stones' fifth-best record, while Graeme Ross of "The Independent" ranks it sixth and suggests it stands on a level with other benchmark LPs from 1966, including "Blonde on Blonde", "Revolver" and the Beach Boys' "Pet Sounds". In "The Rolling Stone Illustrated History of Rock & Roll" (1976), Christgau names "Aftermath" the first in a series of Stones LPs – including "Between the Buttons", "Beggars Banquet" (1968) and "Let It Bleed" (1969) – that stand "among the greatest rock albums". In "MusicHound Rock" (1999), Greg Kot highlights Jones' "canny" instrumental contributions while identifying "Aftermath" as the album that transformed the Stones from British blues "traditionalists" into canonical artists of the album-rock era, alongside the Beatles and Bob Dylan. In a retrospective review for AllMusic, Unterberger applauds the band's use of influences from Dylan and psychedelia on "Paint It Black", and similarly praises "Under My Thumb", "Lady Jane" and "I Am Waiting" as masterpieces.


title: Aftermath (Rolling Stones album)

text: In 2002, both versions of "Aftermath" were digitally remastered as part of ABKCO Records' reissue campaign of the Rolling Stones' 1960s albums. Reviewing the reissues for "Entertainment Weekly", David Browne recommends the UK version over the US, while Tom Moon, in his appraisal in "The Rolling Stone Album Guide" (2004), prefers the US edition for its replacement of "Mother's Little Helper" with "Paint It Black" and highlights the clever lyrics of Jagger. Colin Larkin, who rates the British version higher in his "Encyclopedia of Popular Music" (2011), describes "Aftermath" as "a breakthrough work in a crucial year" and an album that demonstrates a flexibility in the group's writing and musical styles as well as "signs of the band's inveterate misogyny". In their book "The Beatles vs. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry" (2010), Jim DeRogatis and Greg Kot agree that "Aftermath" is "the first really great Stones album beginning to end", with DeRogatis especially impressed by the British edition's first half of songs.


title: Aftermath (Rolling Stones album)

text: The pop culture author Shawn Levy, in his 2002 book "Ready, Steady, Go!: Swinging London and the Invention of Cool", says that, unlike the three previous Stones albums, "Aftermath" displayed "purpose" in its sequencing and "a real sense that a coherent vision was at work" in the manner of the Beatles' "Rubber Soul". However, he adds that with the August 1966 release of "Revolver", "Aftermath" appeared "limp, tame, dated". Young believes its reputation as a work on-par with "Rubber Soul" is undeserved since the quality of its songs is inconsistent, the production is "relatively straight" and the assorted stylistic approach ensures it lacks the unifying aspect of the period's other major LPs. Discussing the album's critical legacy for "PopMatters", Mendelsohn and Eric Klinger echo this sentiment while agreeing that it is more of a transitional work for the Stones and not up to the level of the albums from their subsequent "golden years" – "Beggars Banquet", "Let It Bleed", "Sticky Fingers" (1971) and "Exile on Main St." (1972). In an article for "Clash" celebrating "Aftermath"s 40th anniversary, Simon Harper concedes that its artistic standing alongside the Beatles' contemporaneous works may be debatable but, "as the rebirth of the world's greatest rock and roll band, its importance is undisputed."


title: Aftermath (Rolling Stones album)

text: Some retrospective appraisals are critical towards the harsh treatment of female characters on the album. As Schaffner remarks, "the brutal thrust of such ditties as 'Stupid Girl,' 'Under My Thumb' and 'Out of Time' has since, of course, induced paroxysms of rage among feminists." Young infers that the album's principal lyrical theme now evokes a "rather old-fashioned sensation of brattish, spiky misogyny", presenting female characters as "pill-popping housewives... the idiotic hussy... the "obsolete" fashion dummy... or the subjugated arm candy". Berman also singles out this aspect in her otherwise positive estimation of "Aftermath", saying it "indulged the Stones' misogyny on the bitchy diss track 'Stupid Girl' and tamed a shrew on 'Under My Thumb,' a nasty piece of work". Unterberger expresses similar reservations about the substance behind songs like "Goin' Home" and "Stupid Girl", finding the latter particularly callow.


title: Aftermath (Rolling Stones album)

text: "Aftermath" frequently appears on professional rankings of the best albums. In 1987, it was voted 68th in Paul Gambaccini's book "", based on submissions from an international panel of 81 critics, writers and broadcasters. In contemporaneous rankings of the greatest albums, the Dutch "OOR", the British "Sounds" and the Irish "Hot Press" placed it as 17th, 61st and 85th, respectively. The French magazine "Rock & Folk" included "Aftermath" in its 1995 list of "The 300 Best Albums from 1965–1995". In 2000, it was voted number 387 in Colin Larkin's "All Time Top 1000 Albums". In 2003, "Rolling Stone" ranked the American edition at number 108 on the magazine's "500 Greatest Albums of All Time" list. The French retailer FNAC's 2008 list named "Aftermath" the 183rd-greatest album of all time. In contemporaneous listings of the "coolest" albums, "Rolling Stone" and "GQ" ranked it second and 10th, respectively. In 2017, "Pitchfork" listed "Aftermath" at number 98 on the website's "200 Best Albums of the 1960s".


title: Aftermath (Rolling Stones album)

text: The album is also highlighted in popular record guides. It is named in Greil Marcus' 1979 anthology "Stranded" as one of his "Treasure Island" albums, comprising a personal discography of rock music's first 25 years. The American edition of the album is included in "A Basic Record Library" of 1950s and 1960s recordings published in "" (1981). The same version appears in James Perone's book "The Album: A Guide to Pop Music's Most Provocative, Influential and Important Creations" (2012) and in Chris Smith's "101 Albums That Changed Popular Music" (2009), albeit in the latter's appendix "Ten Albums That Almost Made It". In addition, "Aftermath" features in Bill Shapiro's 1991 "Rock & Roll Review: A Guide to Good Rock on CD" (listed in its section on "The Top 100 Rock Compact Discs"), Chuck Eddy's "The Accidental Evolution of Rock'n'roll" (1997), the 2006 "Greenwood Encyclopedia of Rock History"s "Most Significant Rock Albums", Tom Moon's 2008 book "1,000 Recordings to Hear Before You Die" and Robert Dimery's "1001 Albums You Must Hear Before You Die" (2010).


title: Aftermath (Rolling Stones album)

text: Based on "Aftermath"s appearances in professional rankings and listings, the aggregate website Acclaimed Music lists it as the 34th-most-acclaimed album of the 1960s and the 155th-most-acclaimed album in history.


title: Aftermath (Rolling Stones album)

text: Credits are from the 2002 CD booklet and contributions listed in Philippe Margotin and Jean-Michel Guesdon's book "All the Songs", except where noted otherwise.


title: Who's on First?

text: "Who's on First?" is a comedy routine made famous by American comedy duo Abbott and Costello. The premise of the sketch is that Abbott is identifying the players on a baseball team for Costello. However, the players' names can simultaneously serve as the basis for questions (e.g., ""Who" is the first baseman?") and responses (e.g., "The first baseman's name is ""Who"."), leading to repeated misinterpretations and growing frustration between the performers.


title: Who's on First?

text: "Who's on First?" is descended from turn-of-the-century burlesque sketches that used plays on words and names. Examples are "The Baker Scene" (the shop is located on Watt Street) and "Who Dyed" (the owner is named "Who"). In the 1930 movie "Cracked Nuts", comedians Bert Wheeler and Robert Woolsey examine a map of a mythical kingdom with dialogue like this: "What is next to Which." "What is the name of the town next to Which?" "Yes." In British music halls, comedian Will Hay performed a routine in the early 1930s (and possibly earlier) as a schoolmaster interviewing a schoolboy named Howe, who came from Ware, but now lives in Wye. By the early 1930s, a "Baseball Routine" had become a standard bit for burlesque comics across the United States. Abbott's wife recalled him performing the routine with another comedian before teaming with Costello.


title: Who's on First?

text: Bud Abbott stated that it was taken from an older routine called "Who's The Boss?", a performance of which can be heard in an episode of the radio comedy program "It Pays to Be Ignorant" from the 1940s. After they formally teamed up in burlesque in 1936, he and Costello continued to hone the sketch. It was a big hit in the fall of 1937, when they performed the routine in a touring vaudeville revue called "Hollywood Bandwagon".


title: Who's on First?

text: In February 1938, Abbott and Costello joined the cast of "The Kate Smith Hour" radio program and the sketch was first performed for a national radio audience on March 24 of that year. The routine may have been further polished before this broadcast by burlesque producer John Grant, who became the team's writer and Will Glickman, a staff writer on the radio show. Glickman may have added the nicknames of then-contemporary baseball players like Dizzy and Daffy Dean to set up the routine's premise. This version, with extensive wordplay based on the fact that most of the fictional baseball team's players had "strange nicknames" that seemed to be questions, became known as "Who's on First?" Some versions continue with references to Enos Slaughter, which Costello misunderstands as "He knows" Slaughter. By 1944, Abbott and Costello had the routine copyrighted.


title: Who's on First?

text: Abbott and Costello performed "Who's on First?" numerous times in their careers, rarely performing it exactly the same way twice. They did the routine for President Franklin Roosevelt several times. An abridged version was featured in the team's 1940 film debut, "One Night in the Tropics". The duo reprised the bit in their 1945 film "The Naughty Nineties" and it is that longer version which is considered their finest recorded rendition. They also performed "Who's on First?" numerous times on radio and television (notably in "The Abbott and Costello Show" episode "The Actor's Home", widely considered the definitive version).


title: Who's on First?

text: In 1956, a gold record of "Who's on First?" was placed in the National Baseball Hall of Fame and Museum in Cooperstown, New York. A video (taken from "The Naughty Nineties") now plays continuously on screens at the Hall.


title: Who's on First?

text: An early radio recording from October 6, 1938, was placed in the Library of Congress's National Recording Registry in 2003.


title: Who's on First?

text: In 2005, the line "Who's on First?" was included on the American Film Institute's list of 100 memorable movie quotations.


title: Who's on First?

text: The name of the shortstop is not given until the very end of the routine and the right fielder is never identified. In the Selchow and Righter board game, the right fielder's name is "Nobody".


title: Who's on First?

text: Abbott's explanations leave Costello hopelessly confused and infuriated, until the end of the routine when Costello appears to parody Abbott by saying what appears to be gibberish to him, accidentally getting it right:


title: Who's on First?

text: That is the most commonly heard ending. "I Don't Care" and "I Don't Give a "Damn"" have also turned up on occasion, depending on the perceived sensibilities of the audience. (The performance in the film "The Naughty Nineties" ends with "I Don't Care.")


title: Who's on First?

text: The skit was usually performed on the team's radio series at the start of the baseball season. In one instance it serves as a climax for a broadcast which begins with Costello receiving a telegram from Joe DiMaggio asking Costello to take over for him due to his injury. (In this case, the unidentified right fielder would have been Costello himself. While Joe DiMaggio was best known as a center fielder, when Abbott and Costello honed the sketch in 1936–37, Joe DiMaggio had played a number of games at right field (20 in 1936).)


title: Who's on First?

text: Writing credits for the sketch are unknown though, over the years, numerous people have claimed or been given credit for it. Such claims typically lack reasonable corroboration. For example, a 1993 obituary of comedy sketch writer Michael J. Musto states that, shortly after Abbott and Costello teamed up, they paid Musto $15 to write the script. Furthermore, several 1996 obituaries of songwriter Irving Gordon mention that he had written the sketch.


title: Who's on First?

text: In 2015, the heirs of Abbott and Costello filed a federal copyright infringement lawsuit in the Southern District of New York claiming unauthorized use of over a minute of the comedy routine in the play "Hand to God". The lawsuit was filed against the playwright Robert Askins, the producers and the promoters. The defense claimed that the underlying "Who's on First?" routine was in the public domain because the original authors, Abbott and Costello, were not the ones who filed a copyright renewal, but the court did not see the need to make a final determination on that. The court ruled against the heirs, saying that the use by the play was transformative fair use. The heirs appealed, eventually to the US Supreme Court, which, in 2017, declined to review the case.


title: Who's on First?

text: The sketch has been reprised, updated, alluded to and parodied many times over the decades in all forms of media. Some examples include:


title: Licensed to Ill

text: Licensed to Ill is the debut studio album by American rap rock group Beastie Boys. It was released on November 15, 1986, by Def Jam and Columbia Records, and became the first rap LP to top the "Billboard" album chart. It is one of Columbia Records' fastest-selling debut records to date and was certified Diamond by the Recording Industry Association of America in 2015 for shipping over ten million copies in the United States. The album received critical acclaim for its unique musical style, chemistry between the group members, and their stylized rapping. Since its release, "Licensed to Ill" has been ranked by critics as one of the greatest hip hop and debut albums of all time.


title: Licensed to Ill

text: The group originally wanted to title the album "Don't Be a Faggot", but Columbia Records refused to release the album under this title—arguing that it was homophobic—and pressured Russell Simmons, Beastie Boys' manager and head of Def Jam Recordings at the time, into forcing them to choose another name. Adam Horovitz has since apologized for the album's earlier title.


title: Licensed to Ill

text: Kerry King of Slayer made an appearance on the album playing lead guitar on "No Sleep Till Brooklyn" and appeared in the music video which is a parody of glam metal. The name of the song itself is a spoof on Motörhead's "No Sleep 'til Hammersmith" album. King's appearance on the track came about because Rick Rubin was producing both bands simultaneously (Slayer's "Reign in Blood" was released one month prior on Def Jam).


title: Licensed to Ill

text: CBS/Fox Video released a video album of the five "Licensed to Ill" videos, plus "She's on It" in 1987 to capitalize on the album's success. A laserdisc version was also released in Japan. All versions of the CBS/Fox release are currently out of print because the rights to the album passed from Columbia and Sony Music to Universal Music Group, and also because of the acrimonious nature of the band's departure from Def Jam Records. Until the 2005 release of the CD/DVD "Solid Gold Hits", none of the Def Jam-era videos had been included on any subsequent Beastie Boys video compilations. The "Solid Gold Hits" DVD includes the videos for "Fight for Your Right" and "No Sleep Till Brooklyn", as well as a live version of "Brass Monkey" from a 2004 concert.


title: Licensed to Ill

text: Beastie Boys recorded a loose rendition of the Beatles' "I'm Down" for the album, which included sampling of the original song, but the track was pulled at the last minute due to legal disputes with Michael Jackson who owned the publishing rights. Both "I'm Down," and another track, "Scenario," were cut at the last minute. Bootleg versions of the songs can be found on the internet.


title: Licensed to Ill

text: The full album cover, front to back, features an American Airlines Boeing 727 with a Beastie Boys logo on its tail, which has crashed head-on into the side of a mountain, appearing as an extinguished joint. The tail of the plane also features the Def Jam logo and the registration number '3MTA3' which spells 'EATME' when viewed in a mirror. The idea for the album's cover came from the album's producer, Rick Rubin, after reading the Led Zeppelin biography "Hammer of the Gods". The artwork was created by Stephen Byram and World B. Omes. The album cover was featured in Storm Thorgerson's and Aubrey Powell's book, "100 Best Album Covers". The cover design has since been appropriated by fellow rapper, Eminem, for the cover of his 2018 album, "Kamikaze".


title: Licensed to Ill

text: In 1998, the album was selected as one of "The Source"s 100 Best Rap Albums. It is the only album by a Jewish hip-hop act to receive 5 mics from "The Source". In 2003, the album was ranked number 217 on "Rolling Stone" magazine's list of the 500 greatest albums of all time 219 in a 2012 revised list, and 192 in a 2020 revised list. In 2013 the magazine named it the best debut album of all time. "Vibe" included it in "Vibe"'s 100 Essential Albums of the 20th Century. "Q" gave the album four out of five stars, saying ""Licensed to Ill" remains the world's only punk rock rap album, arguably superior to "Never Mind the Bollocks" ... knowing that apathy and slovenliness were just around the corner." "Melody Maker" gave the album a positive review, saying "There's lots of self-reverential bragging, more tenuous rhymes than are usually permitted by law and, most importantly of all, an unshakably glorious celebration of being alive ... A surprisingly enduring classic." In 2002, "Pitchfork" ranked the album at #41 in its list of the "Top 100 Albums of the 1980s", despite their prior unflattering review of the album. In the 2018 edition of the "Top 200 Albums of the 1980s", the album placed #103.


title: Licensed to Ill

text: In 2006, "Q" magazine placed the album at number 16 in its list of "40 Best Albums of the '80s". In 2012, Slant Magazine listed the album at number 12 on its list of "Best Albums of the 1980s" saying "Rife with layer upon layer of sampling, start-stop transitions, and aggressive beats, it helped transform the genre from a direct dialogue between MC and DJ into a piercing, multi-threaded narrative" and "helped set an exciting template for the future". Eminem said the album was one of his favorites of all time and said it changed hip hop. The album was also included in the book "1001 Albums You Must Hear Before You Die".


title: Licensed to Ill

text: The album was certified Platinum by the Recording Industry Association of America (RIAA) on February 2, 1987 and eventually was certified Diamond on March 4, 2015. The single "Brass Monkey" was certified Gold for shipment of 500,000+ sales. In 2012, in the week following Adam Yauch's death, which subsequently resulted in a surge in sales of Beastie Boys albums, "Licensed to Ill" reached number 1 on "Billboard"s Catalog Albums chart. The album also re-entered the "Billboard" 200 chart at number 18.


title: Grand Trunk Road

text: The Grand Trunk Road (formerly known as Uttarapath, Sarak-e-Azam, Shah Rah-e-Azam, Badshahi Sarak, and Long Walk) is one of Asia's oldest and longest major roads. For at least 2,500 years it has linked Central Asia to the Indian subcontinent. It runs roughly from Teknaf, Bangladesh on the border with Myanmar west to Kabul, Afghanistan, passing through Chittagong and Dhaka in Bangladesh, Kolkata, Prayagraj, Delhi, and Amritsar in India, and Lahore, Rawalpindi, and Peshawar in Pakistan.


title: Grand Trunk Road

text: Chandragupta Maurya, the founder of the ancient Indian Maurya Empire, built this highway along an ancient route called Uttarapatha in the 3rd century BCE, extending it from the mouth of the Ganges to the north-western frontier of the Empire. Further improvements to this road were made under Ashoka. The old route was re-aligned by Sher Shah Suri to Sonargaon and Rohtas. The Afghan end of the road was rebuilt under Mahmud Shah Durrani. The road was considerably rebuilt in the British period between 1833 and 1860.


title: Grand Trunk Road

text: The road coincides with current N1, Feni,(Chittagong to Dhaka), N4 & N405 (Dhaka to Sirajganj), N507 (Sirajganj to Natore) and N6 (Natore to Rajshai towards Purneain India; NH 12 (Purnea to Bakkhali ), NH 27 (Purnea to Patna), NH 19 (Kolkata to Agra), NH 44 (Agra to Jalandhar via New Delhi, Sonipat, Panipat, Ambala and Ludhiana) and NH 3 (Jalandhar to Attari, Amritsar in India towards Lahore in Pakistan) via Wagah; N-5 (Lahore, Gujranwala, Gujrat, Lalamusa, Jhelum, Rawalpindi, Peshawar and Khyber Pass towards Jalalabad in Afghanistan) in Pakistan and AH1 (Torkham-Jalalabad to Kabul) to Gazani in Afghanistan.


title: Grand Trunk Road

text: Over the centuries, the road acted as one of the major trade routes in the region and facilitated both travel and postal communication. The Grand Trunk Road is still used for transportation in present-day Indian subcontinent, where parts of the road have been widened and included in the national highway system.


title: Grand Trunk Road

text: The Buddhist literature and Indian epics such as Mahabharata provide the existence of Grand Trunk road even before the Maurya Empire and was called Uttarapatha or the "Northern road". The road connected the eastern region of India with Central Asia and Ancient Greece.


title: Grand Trunk Road

text: The precursor of the modern Grand Trunk road was built by the emperor Chandragupta Maurya and was based on the Persian Royal Road (more accurately, its eastern stretch, the Great Khurasan Road that ran from Media to Bactria). During the time of the Mauryan Empire in the 3rd century BCE, overland trade between India and several parts of Western Asia and Bactria world went through the cities of the north-west, primarily Takshashila and Purushapura modern-day Peshawar (in present-day in Pakistan). Takshashila was well connected by roads with other parts of the Mauryan Empire. The Mauryas had maintained this very ancient highway from Takshashila to Patliputra (present-day Patna in India). Chandragupta Maurya had a whole army of officials overseeing the maintenance of this road as told by the Greek diplomat Megasthenes who spent fifteen years at the Mauryan court. Constructed in eight stages, this road is said to have connected the cities of Purushapura, Takshashila, Hastinapura, Kanyakubja, Prayag, Patliputra and Tamralipta, a distance of around .


title: Grand Trunk Road

text: The route of Chandragupta was built over the ancient "Uttarapatha" or the Northern Road, which had been mentioned by Pāṇini. The emperor Ashoka had it recorded in his edict about having trees planted, wells built at every half kos and many "nimisdhayas", which is often translated as rest-houses along the route for the travelers. The emperor Kanishka is also known to have controlled the Uttarapatha.


title: Grand Trunk Road

text: Sher Shah Suri, the medieval ruler of the Sur Empire, took to repair The Chandragupta's Royal Road in the 16th century. The old route was further rerouted at Sonargaon and Rohtas and its breadth increased, a sarai was built, the number of kos minars and baolis increased. Gardens were also built alongside some sections of the highway. Those who stopped at the sarai were provided food for free. His son Islam Shah Suri constructed an additional sarai in-between every sarai originally built by Sher Shah Suri on the road toward Bengal. More sarais were built under the Mughals. Jahangir under his reign issued a decree that all sarais be built of burnt brick and stone. Broad-leaved trees were planted in the stretch between Lahore and Agra and he built bridges over all water bodies that were situated on the path of the highways. The route was referred to as "Sadak-e-Azam" by Suri, and "Badshahi Sadak" during Mughals.


title: Grand Trunk Road

text: In the 1830s the East India Company started a program of metalled road construction, for both commercial and administrative purposes. The road, now named the Grand Trunk Road, from Calcutta, through Delhi, to Kabul, Afghanistan was rebuilt at a cost of £1000/mile.


title: Grand Trunk Road

text: The road is mentioned in a number of literary works including those of Foster and Rudyard Kipling. Kipling described the road as: "Look! Look again! and chumars, bankers and tinkers, barbers and bunnias, pilgrims – and potters – all the world going and coming. It is to me as a river from which I am withdrawn like a log after a flood. And truly the Grand Trunk Road is a wonderful spectacle. It runs straight, bearing without crowding India's traffic for fifteen hundred miles – such a river of life as nowhere else exists in the world."


title: Grand Trunk Road

text: The ensemble of historic sites along the road in India was submitted to the tentative list of UNESCO World Heritage Sites in 2015, under the title ""Sites along the Uttarapath, Badshahi Sadak, Sadak-e-Azam,Banho, Grand Trunk Road"".


title: Grand Trunk Road

text: Psephologists sometimes refer to the area around the GT Road as the ""GT Road belt"" it is also known as Gujarat road sometimes within the context of elections. For example, during the elections in Haryana the area on either side of the GT Road from Ambala to Sonipat, which has 28 legislative assembly constituencies where there is no dominance of one caste or community, is referred to as the ""GT road belt of Haryana"".


title: War of the First Coalition

text: The War of the First Coalition () was a set of wars that several European powers fought between 1792 and 1797 initially against the constitutional Kingdom of France and then the French Republic that succeeded it. They were only loosely allied and fought without much apparent coordination or agreement; each power had its eye on a different part of France it wanted to appropriate after a French defeat, which never occurred.


title: War of the First Coalition

text: Relations between the French revolutionaries and neighbouring monarchies had deteriorated following the Declaration of Pillnitz in August 1791. Eight months later, following a vote of the revolutionary-led Legislative Assembly, France declared war on Austria on 20 April 1792; Prussia, having allied with Austria in February, declared war on France in June 1792. In July 1792, an army under the Duke of Brunswick and composed mostly of Prussians joined the Austrian side and invaded France. The capture of Verdun (2 September 1792) triggered the September massacres in Paris. France counterattacked with victory at Valmy (20 September) and two days later the Legislative Assembly proclaimed the French Republic.


title: War of the First Coalition

text: Subsequently, these powers made several invasions of France by land and sea, with Prussia and Austria attacking from the Austrian Netherlands and the Rhine, and the Kingdom of Great Britain supporting revolts in provincial France and laying siege to Toulon in October 1793. France suffered reverses (Battle of Neerwinden, 18 March 1793) and internal strife (War in the Vendée) and responded with draconian measures. The Committee of Public Safety was formed (6 April 1793) and the "levée en masse" drafted all potential soldiers aged 18 to 25 (August 1793). The new French armies counterattacked, repelled the invaders, and advanced beyond France.


title: War of the First Coalition

text: The French established the Batavian Republic as a sister republic (May 1795) and gained Prussian recognition of French control of the Left Bank of the Rhine by the first Peace of Basel. With the Treaty of Campo Formio, the Holy Roman Empire ceded the Austrian Netherlands to France and Northern Italy was turned into several French sister republics. Spain made a separate peace accord with France (Second Treaty of Basel) and the French Directory carried out plans to conquer more of the Holy Roman Empire.


title: War of the First Coalition

text: North of the Alps, Archduke Charles, Duke of Teschen redressed the situation in 1796, but Napoleon Bonaparte carried all before him against Sardinia and Austria in northern Italy (1796–1797) near the Po Valley, culminating in the Peace of Leoben and the Treaty of Campo Formio (October 1797). The First Coalition collapsed, leaving only Britain in the field fighting against France.


title: War of the First Coalition

text: As early as 1791, other monarchies in Europe were watching the developments in France with alarm, and considered intervening, either in support of Louis XVI or to take advantage of the chaos in France. The key figure, the Holy Roman Emperor Leopold II, brother of the French Queen Marie Antoinette, had initially looked on the Revolution calmly. He became increasingly concerned as the Revolution grew more radical, although he still hoped to avoid war.


title: War of the First Coalition

text: On 27 August 1791, Leopold and King Frederick William II of Prussia, in consultation with "émigré" French nobles, issued the Declaration of Pillnitz, which declared the concern of the monarchs of Europe for the well-being of Louis and his family, and threatened vague but severe consequences if anything should befall them. Although Leopold saw the Pillnitz Declaration as a way of taking action that would enable him to avoid actually doing anything about France, at least for the moment, Paris saw the Declaration as a serious threat and the revolutionary leaders denounced it.


title: War of the First Coalition

text: In addition to the ideological differences between France and the monarchical powers of Europe, disputes continued over the status of Imperial estates in Alsace, and the French authorities became concerned about the agitation of "émigré" nobles abroad, especially in the Austrian Netherlands and in the minor states of Germany. In the end, France declared war on Austria first, with the Assembly voting for war on 20 April 1792, after the presentation of a long list of grievances by the newly appointed foreign minister Charles François Dumouriez, who sought a war which might restore some popularity and authority to the King.


title: War of the First Coalition

text: Dumouriez prepared an invasion of the Austrian Netherlands, where he expected the local population to rise against Austrian rule. However, the revolution had thoroughly disorganized the French army, which had insufficient forces for the invasion. Its soldiers fled at the first sign of battle, deserting "en masse", in one case murdering General Théobald Dillon.


title: War of the First Coalition

text: While the revolutionary government frantically raised fresh troops and reorganized its armies, an allied army under Charles William Ferdinand, Duke of Brunswick assembled at Koblenz on the Rhine. The invasion commenced in July 1792. The Duke then issued a declaration on 25 July 1792, which had been written by the brothers of Louis XVI, that declared his [Brunswick's] intent to restore the King of France to his full powers, and to treat any person or town who opposed him as rebels to be condemned to death by martial law. This motivated the revolutionary army and government to oppose the Prussian invaders by any means necessary, and led almost immediately to the overthrow of the King by a crowd which stormed the Tuileries Palace.


title: War of the First Coalition

text: Brunswick's army, composed mostly of Prussian veterans, crossed into French territory on 19 August and easily took the fortresses of Longwy and Verdun. But at the Battle of Valmy on 20 September 1792 they came to a stalemate against Dumouriez and Kellermann in which the highly professional French artillery distinguished itself. Although the battle was a tactical draw, it bought time for the revolutionaries and gave a great boost to French morale. Furthermore, the Prussians, facing a campaign longer and more costly than predicted, decided against the cost and risk of continued fighting and determined to retreat from France to preserve their army.


title: War of the First Coalition

text: Meanwhile, the French had been successful on several other fronts, occupying the duchy of Savoy and the county of Nice until the "Massif de l'Authion", while General Custine invaded Germany, capturing Speyer, Worms and Mainz along the Rhine, and reaching as far as Frankfurt. Dumouriez went on the offensive in Belgium once again, winning a great victory over the Austrians at Jemappes on 6 November 1792, and occupying the entire country by the beginning of winter.


title: War of the First Coalition

text: On 21 January the revolutionary government executed Louis XVI after a trial. This united all European governments, including Spain, Naples, and the Netherlands against the Revolution. France declared war against Britain and the Netherlands on 1 February 1793 and soon afterwards against Spain. In the course of the year 1793 the Holy Roman Empire (on 23 March), the kings of Portugal and Naples, and the Grand-Duke of Tuscany declared war against France. Thus the First Coalition was formed.


title: War of the First Coalition

text: France introduced a new levy of hundreds of thousands of men, beginning a French policy of using mass conscription to deploy more of its manpower than the other states could, and remaining on the offensive so that these mass armies could commandeer war material from the territory of their enemies. The Girondin faction of the French government sent Citizen Genet to the United States to encourage them into entering the war on France's side. The newly formed nation refused, and the Washington administration's 1793 Proclamation of Neutrality threatened legal action against any citizen providing assistance to any side in the conflict.


title: War of the First Coalition

text: After a victory in the Battle of Neerwinden in March, the Austrians suffered twin defeats at the battles of Wattignies and Wissembourg. British land forces were defeated at the Battle of Hondschoote in September.


title: War of the First Coalition

text: 1794 brought increased success to the revolutionary armies. A major victory against combined coalition forces at the Battle of Fleurus gained all of Belgium and the Rhineland for France. Although the British navy maintained its supremacy at sea, it was unable to support effectively any land operations after the fall of the Belgian provinces. The Prussians were slowly driven out of the eastern departments and by the end of the year they had retired from any active part in the war. Against Spain, the French made successful incursions in both Catalonia and Navarre.


title: War of the First Coalition

text: Action extended into the French colonies in the West Indies. A British fleet occupied Martinique, St. Lucia, and Guadeloupe, although a French fleet arrived later in the year and recovered the latter by ousting the invaders.


title: War of the First Coalition

text: After seizing the Low Countries in a surprise winter attack, France established the Batavian Republic as a puppet state. Even before the close of 1794 the king of Prussia retired from any active part in the war, and on 5 April 1795 he concluded with France the Peace of Basel, which recognized France's occupation of the left bank of the Rhine. The new French-dominated Dutch government bought peace by surrendering Dutch territory to the south of that river. A treaty of peace between France and Spain followed in July. The grand duke of Tuscany had been admitted to terms in February. The coalition thus fell into ruin and France proper would be free from invasion for many years.


title: War of the First Coalition

text: Britain attempted to reinforce the rebels in the Vendée by landing French Royalist troops at Quiberon, but failed, and attempts to overthrow the government at Paris by force were foiled by the military garrison led by Napoleon Bonaparte, leading to the establishment of the Directory.


title: War of the First Coalition

text: On the Rhine frontier, General Pichegru, negotiating with the exiled Royalists, betrayed his army and forced the evacuation of Mannheim and the failure of the siege of Mainz by Jourdan.


title: War of the First Coalition

text: The French prepared a great advance on three fronts, with Jourdan and Jean Victor Marie Moreau on the Rhine and the newly promoted Napoleon Bonaparte in Italy. The three armies were to link up in Tyrol and march on Vienna.


title: War of the First Coalition

text: In the Rhine Campaign of 1796, Jourdan and Moreau crossed the Rhine River and advanced into Germany. Jourdan advanced as far as Amberg in late August while Moreau reached Bavaria and the edge of Tyrol by September. However Jourdan was defeated by Archduke Charles, Duke of Teschen and both armies were forced to retreat back across the Rhine.


title: War of the First Coalition

text: Napoleon, on the other hand, was successful in a daring invasion of Italy. In the Montenotte Campaign, he separated the armies of Sardinia and Austria, defeating each one in turn, and then forced a peace on Sardinia. Following this, his army captured Milan and started the Siege of Mantua. Bonaparte defeated successive Austrian armies sent against him under Johann Peter Beaulieu, Dagobert Sigmund von Wurmser and József Alvinczi while continuing the siege.


title: War of the First Coalition

text: The rebellion in the Vendée was also crushed in 1796 by Louis Lazare Hoche. Hoche's subsequent attempt to land a large invasion force in Munster to aid the United Irishmen was unsuccessful.


title: War of the First Coalition

text: On 2 February Napoleon finally captured Mantua, with the Austrians surrendering 18,000 men. Archduke Charles of Austria was unable to stop Napoleon from invading the Tyrol, and the Austrian government sued for peace in April. At the same time, there was a new French invasion of Germany under Moreau and Hoche.


title: War of the First Coalition

text: On 22 February, a French invasion force consisting of 1,400 troops from the "La Legion Noire" (The Black Legion) under the command of Irish American Colonel William Tate landed near Fishguard in Wales. They were met by a quickly assembled group of around 500 British reservists, militia and sailors under the command of John Campbell, 1st Baron Cawdor. After brief clashes with the local civilian population and Lord Cawdor's forces on 23 February, Tate was forced into an unconditional surrender by 24 February. This would be the only battle fought on British soil during the Revolutionary Wars.


title: War of the First Coalition

text: Austria signed the Treaty of Campo Formio in October, ceding Belgium to France and recognizing French control of the Rhineland and much of Italy. The ancient Republic of Venice was partitioned between Austria and France. This ended the War of the First Coalition, although Great Britain and France remained at war.


title: Anatoly Moskvin

text: Anatoly Yuryevich Moskvin (; born 1 September 1966) is a Russian former linguist, philologist, and historian who was arrested in 2011 after the mummified bodies of twenty-six girls and women between the ages of 3 and 29 were discovered in his apartment in Nizhny Novgorod. After exhuming the bodies from local cemeteries, Moskvin mummified the bodies himself before dressing and posing them around his home. Moskvin's parents, who shared the apartment with him, knew of the mummies but mistook them for large dolls.


title: Anatoly Moskvin

text: A psychiatric evaluation determined that Moskvin had a form of paranoid schizophrenia. In May 2012, he was sentenced to court-ordered psychiatric evaluation and has since been held in a psychiatric hospital.


title: Anatoly Moskvin

text: Vladimir Stravinskas, head of the Investigative Committee of Russia for the Nizhny Novgorod region, called the case exceptional and unparalleled in modern forensics.


title: Anatoly Moskvin

text: Anatoly Moskvin was born in the city of Gorky in Soviet Russia, which is now known as Nizhny Novgorod. As a schoolboy, Moskvin began wandering through cemeteries with friends, particularly the Krasnaya Etna Cemetery in the city's Leninsky district. In an article written shortly before his arrest, he attributed his interest in the dead to a childhood incident in which he witnessed a funeral procession for an eleven-year-old girl. Moskvin alleged that the participants forced him to kiss the dead girl's face, writing that "an adult pushed my face down to the waxy forehead of the girl in an embroidered cap, and there was nothing I could do but kiss her as ordered."


title: Anatoly Moskvin

text: After graduating from the philological faculty of Moscow State University, Moskvin became well known in academic circles. His main areas of academic interests were Celtic history and folklore, as well as languages and linguistics. Moskvin had a deep interest in cemeteries, burial rituals, death, and the occult. He kept a personal library of over 60,000 books and documents, as well as a large doll collection. Fellow academics described Moskvin as both a genius and an eccentric.


title: Anatoly Moskvin

text: As an adult, Moskvin led a secluded life. He never married or dated, preferring to live with his parents. He abstained from drinking alcohol and smoking and is purportedly a virgin. In 2016, it was reported that Moskvin planned to marry a 25-year-old native of his hometown who attended his trial.


title: Anatoly Moskvin

text: A former lecturer in Celtic studies at Nizhny Novgorod Linguistic University, Moskvin previously worked at the Institute of Foreign Languages. A philologist, linguist and polyglot who speaks thirteen languages, he has written several books, papers and translations, all well known in academic circles. Moskvin also occasionally worked as a journalist and regularly contributed to local newspapers and publications. Describing himself as a "necropolist", Moskvin was considered an expert on local cemeteries in Nizhny Novgorod Oblast.


title: Anatoly Moskvin

text: In 2005, Oleg Riabov, a fellow academic and publisher, commissioned Moskvin to summarize and list the dead in more than 700 cemeteries in forty regions of Nizhny Novgorod Oblast. Moskvin claimed that over the next two years, he had gone on foot to inspect 752 cemeteries across the region, walking up to 30 km (18.6 miles) a day. During these travels, he drank from puddles, spent nights in haystacks and at abandoned farms, or slept in the cemeteries themselves, even going so far as to spend a night in a coffin being prepared for a funeral. On his extensive travels, Moskvin was sometimes questioned by police on the suspicion of vandalism and theft, but was never arrested or detained after stating his academic credentials and purpose. The work itself remains unpublished but has been described as "unique" and "priceless" by Alexei Yesin, the editor of "Necrologies", a weekly paper to which Moskvin was a regular contributor. After his arrest, Yesin stated that he was confident there had been a mistake and Moskvin would be exonerated. Later, Yesin told the Associated Press that Moskvin was a loner who had "certain quirks" but who gave no indication that he was up to anything unusual.


title: Anatoly Moskvin

text: Between 2006 and 2010, Moskvin worked as a freelance correspondent for the newspaper "Nizhny Novgorod Worker", publishing articles twice a month. His father also sometimes wrote for the same paper. During 2008, Moskvin wrote an extensive series of articles on the history of Nizhny Novgorod cemeteries that appeared in the paper.


title: Anatoly Moskvin

text: Moskvin was arrested on November 2, 2011, by police investigating a spate of grave desecrations in cemeteries in and around Nizhny Novgorod. Investigators from the Centre for Combating Extremism discovered the twenty-six bodies, initially reported as twenty-nine, in Moskvin's flat and garage. Video released by police shows the bodies seated on shelves and sofas in small rooms full of books, papers and general clutter. Although only twenty-six bodies were discovered in his home, Moskvin was suspected of desecrating as many as 150 graves after police found numerous grave accoutrements such as metal nameplates removed from headstones. Police also discovered instructions for making the "dolls", maps of cemeteries in the region, and a collection of photographs and videos depicting open graves and disinterred bodies, though none of this evidence could be conclusively connected to any of the bodies found in the apartment. According to the investigation, the bodies primarily came from cemeteries in the Nizhny Novgorod region, though some may have come from as far away as Moscow. Moskvin actively cooperated with investigators and claimed he made the dolls over the course of ten years. His parents, who were away for large portions of the year, were unaware of his activities.


title: Anatoly Moskvin

text: Moskvin was charged under Article 244 of the Criminal Code for the desecration of graves and dead bodies, a charge which carried up to five years in prison. Originally Moskvin was also accused of having defaced the graves of Muslims, considered a hate crime, but this charge was later dropped. After a psychiatric evaluation, it was determined that Moskvin had a form of paranoid schizophrenia. In a hearing on 25 May 2012, the Leninsky District Court of Nizhny Novgorod deemed Moskvin unfit to stand trial, releasing him from criminal liability. He was instead sentenced to "coercive medical measures". The prosecution was satisfied with the decision and did not appeal the verdict.


title: Anatoly Moskvin

text: Moskvin was moved to a psychiatric clinic, with his stay to be reviewed regularly. In February 2013, a hearing approved an extension of his treatment. Moskvin's treatment was again extended April 2014, and yet again in July 2015. In 2014 a spokesman stated, "After three years of monitoring him in a psychiatric clinic, it is absolutely clear that Moskvin is not mentally fit for trial...He will therefore be kept for psychiatric treatment at the clinic." In September 2018 Moskvin's doctors stated that he was no longer dangerous and petitioned the court to release him for outpatient care from home; however, in February 2019 a subsequent psychiatric evaluation found that it was too early to release Moskvin, and the hospital withdrew their petition.


title: Anatoly Moskvin

text: In an interview after his arrest, Moskvin stated he felt great sympathy for the dead children and thought that they could be brought back to life by either science or black magic. As an expert on Celtic culture, Moskvin learned that the ancient Druids slept on graves in order to communicate with spirits of their dead. He also studied the culture of the peoples of Siberia, in particular the ancient Yakuts, and discovered they had a similar practice for communicating with the dead. Moskvin began searching for obituaries of recently deceased children. When he found an obituary that "spoke" to him, he would sleep on the child's grave in order to determine if the spirit wished to be brought back to life. Moskvin claimed he had been doing this for around twenty years and insisted that when he began, he never dug up a grave without the permission of the child within. As he grew older, it became physically painful for him to sleep on the graves, so he began bringing the bodies home where it would be more comfortable to sleep near them. He hoped the spirits would be more willing to speak in a safe, welcoming home and that they might be easier to hear when they were no longer underground.


title: Anatoly Moskvin

text: After exhuming the corpses, Moskvin researched mummification theories and techniques in an attempt to preserve the bodies. He dried the corpses using a combination of salt and baking soda and then cached the bodies in secure, dry places in and around cemeteries. Once the bodies dried, Moskvin carried them to his home where he used various methods to make "dolls" in an attempt to give the children functional bodies to be used when he eventually discovered a way to bring them back to life, feeling that their physical remains were too decayed and ugly for them to feel comfortable or happy. Unable to prevent the bodies from withering and shrinking as they dried, he would wrap the limbs in strips of cloth and stuff the body cavity with rags and padding to provide fullness, sometimes adding wax masks decorated with nail polish over the faces before dressing them in brightly coloured children's clothes and wigs. These details made the bodies appear to be large homemade dolls, which prevented their discovery. It was unclear if each doll contained a full set of human remains.


title: Anatoly Moskvin

text: Moskvin was aware that he was committing a crime, but felt the dead children were "calling out" to be rescued and believed that rescuing the children was more important than obeying the law. He was also motivated by his own desire to have children, specifically a daughter. Moskvin often regretted that he never had children and at one point attempted to adopt a young girl against the wishes of his parents, but his application was declined due to his low income. Moskvin denied any sexual attraction to the dolls and instead considered them to be his children. He spoke to and interacted with the corpses, sang songs to them, watched cartoons with them, and even held birthday parties and celebrated holidays for their benefit.


title: Anatoly Moskvin

text: The Liljevalchs Art Gallery in Stockholm, Sweden showed an art piece in 2016 by Sonja Nilsson consisting of nine dolls replicating those made by Anatoly Moskvin:


title: Tantalus

text: Tantalus ( ) was a Greek mythological figure, most famous for his punishment in Tartarus: he was made to stand in a pool of water beneath a fruit tree with low branches, with the fruit ever eluding his grasp, and the water always receding before he could take a drink. He was also called Atys.


title: Tantalus

text: He was the father of Pelops, Niobe and Broteas, and was a son of Zeus and the nymph Plouto. Thus, like other heroes in Greek mythology such as Theseus (his great-great-grandson) and the Dioskouroi, Tantalus had both a hidden, divine parent and a mortal one.


title: Tantalus

text: The Greeks used the proverb "Tantalean punishment" (: ) in reference to those who have good things but are not permitted to enjoy them. His name and punishment are also the source of the English word "tantalise", referring to an object of desire that is out of reach.


title: Tantalus

text: Plato in the "Cratylus" (395e) interprets ("") as () [acc. : in the original], "who has to bear much" from () "wretched".


title: Tantalus

text: The word ' (') is held by some to be inherited from Proto-Indo-European, although R. S. P. Beekes rejects an Indo-European interpretation.


title: Tantalus

text: There may have been a historical Tantalus, possibly the ruler of an Anatolian city named "Tantalís", "the city of Tantalus", or of a city named "Sipylus". Pausanias reports that there was a port under his name and a sepulcher of him "by no means obscure", in the same region.


title: Tantalus

text: Tantalus is sometimes referred to as "King of Phrygia", although his city was located in the western extremity of Anatolia, where Lydia was to emerge as a state before the beginning of the first millennium BC, and not in the traditional heartland of Phrygia, situated more inland. References to his son as "Pelops the Lydian" led some scholars to the conclusion that there would be good grounds for believing that he belonged to a primordial house of Lydia, but there is no doubt that he was Greek.


title: Tantalus

text: Other versions name his father as Tmolus, the name of a king of Lydia and, like Sipylus, of another mountain in ancient Lydia. The location of Tantalus' mortal mountain-fathers generally placed him in Lydia; and more seldom in Phrygia or Paphlagonia, all in Asia Minor.


title: Tantalus

text: The identity of his wife is variously given: generally as Dione the daughter of Atlas; the Pleiad Taygete, daughter of Atlas; Eurythemista, a daughter of the river-god Xanthus; Euryanassa, daughter of Pactolus, another river-god of Anatolia, like the Xanthus; Clytia, the child of Amphidamantes; and Eupryto. Tantalus was also called the father of Dascylus.


title: Tantalus

text: Tantalus, through Pelops, was the progenitor of the House of Atreus, which was named after his grandson Atreus. Tantalus was also the great-grandfather of Agamemnon and Menelaus.


title: Tantalus

text: The geographer Strabo states that the wealth of Tantalus was derived from the mines of Phrygia and Mount Sipylus. Near Mount Sipylus are archaeological features that have been associated with Tantalus and his house since Antiquity. Near Mount Yamanlar in İzmir (ancient Smyrna), where the Lake Karagöl (Lake Tantalus) associated with the accounts surrounding him is found, is a monument mentioned by Pausanias: the tholos "tomb of Tantalus" (later Christianized as "Saint Charalambos' tomb") and another one in Mount Sipylus, and where a "throne of Pelops", an altar or bench carved in rock and conjecturally associated with his son is found.


title: Tantalus

text: Based on a similarity between the names Tantalus and Hantili, it has been suggested that the name Tantalus may have derived from that of these two Hittite kings.


title: Tantalus

text: Tantalus became one of the inhabitants of Tartarus, the deepest portion of the Underworld, reserved for the punishment of evildoers; there Odysseus saw him. The association of Tantalus with the underworld is underscored by the names of his mother Plouto ("riches", as in gold and other mineral wealth), and grandmother, Chthonia ("earth").


title: Tantalus

text: Tantalus was initially known for having been welcomed to Zeus' table in Olympus, like Ixion. There, he is said to have abused Zeus' hospitality and stolen ambrosia and nectar to bring it back to his people, and revealed the secrets of the gods.


title: Tantalus

text: Most famously, Tantalus offered up his son, Pelops, as a sacrifice. He cut Pelops up, boiled him, and served him up in a banquet for gods in order to test their omniscience. The gods became aware of the gruesome nature of the menu, so they did not touch the offering; only Demeter, distraught by the loss of her daughter, Persephone, absentmindedly ate part of the boy's shoulder.


title: Tantalus

text: Clotho, one of the three Fates, was ordered by Zeus to bring the boy to life again. She collected the parts of the body and boiled them in a sacred cauldron, rebuilding his shoulder with one wrought of ivory made by Hephaestus and presented by Demeter.


title: Tantalus

text: The revived Pelops grew to be an extraordinarily handsome youth. The god Poseidon took him to Mount Olympus to teach him to use chariots. Later, Zeus threw Pelops out of Olympus due to his anger at Tantalus.


title: Tantalus

text: Tantalus's punishment for his act was to stand in a pool of water beneath a fruit tree with low branches. Whenever he reached for the fruit, the branches raised his intended meal from his grasp. Whenever he bent down to get a drink, the water receded before he could get any.


title: Tantalus

text: Over his head towers a threatening stone (mentioned in Pindar's 8th Isthmian ode, lines 10–12) like the one that Sisyphus is punished to roll up a hill. This fate has cursed him with eternal deprivation of nourishment.


title: Tantalus

text: In a different story, Tantalus was blamed for indirectly having stolen the dog made of gold created by Hephaestus (god of metals and smithing) for Rhea to watch over infant Zeus. Tantalus's friend Pandareus stole the dog and gave it to Tantalus for safekeeping. When asked later by Pandareus to return the dog, Tantalus denied that he had it, saying he "had neither seen nor heard of a golden dog." According to Robert Graves in "The Greek Myths", this incident is why an enormous stone hangs over Tantalus's head. Others state that it was Tantalus who stole the dog, and gave it to Pandareus for safekeeping.


title: Tantalus

text: Tantalus was also the founder of the cursed House of Atreus in which variations on these atrocities continued. Misfortunes also occurred as a result of these acts, making the house the subject of many Greek tragedies. Tantalus's grave-sanctuary stood on Sipylus but honours were paid him at Argos, where local tradition claimed to possess his bones. In Lesbos, there was another hero-shrine in the small settlement of Polion and a mountain named after Tantalos.


title: Tantalus

text: In Greek mythology, there are several other characters named Tantalus, minor figures and descendants of the above Tantalus. Broteas is said to have had a son named Tantalus, who ruled over either the city of Pisa in the Peloponnesus or of Lydia in present-day Turkey. This Tantalus was the first husband of Clytemnestra. He was slain by Agamemnon, King of Mycenae, who made Clytemnestra his wife. The third Tantalus was a son of Amphion and Niobe, daughter of the infamous Tantalus. The fourth Tantalus was a son of Thyestes, who was murdered by his uncle Atreus, and fed to his unsuspecting father.


title: Foreign relations of the United States

text: The United States has formal diplomatic relations with most nations. This includes all UN member and observer states other than Bhutan, Iran, North Korea and Syria, and the UN observer State of Palestine, the last of which the U.S. does not recognize. Additionally, the U.S. has diplomatic relations with Kosovo and the European Union.


title: Foreign relations of the United States

text: The United States federal statutes relating to foreign relations can be found in Title 22 of the United States Code. For several years, the United States had the most diplomatic posts of any state, but , it is second to the People's Republic of China.


title: Foreign relations of the United States

text: American relations with Eastern Europe are influenced by the legacy of the Cold War. Since the collapse of the Soviet Union, former Communist-bloc states in Europe have gradually transitioned to democracy and capitalism. Many have also joined the European Union and NATO, strengthening economic ties with the broader Western world and gaining the military protection of the United States via the North Atlantic Treaty.


title: Foreign relations of the United States

text: The United States has many important allies in the Greater Middle East region. These allies are Turkey, Saudi Arabia, Morocco, Jordan, Afghanistan (formerly), Israel, Egypt, Kuwait, Bahrain and Qatar. Israel and Egypt are leading recipients of United States foreign aid, receiving $2.775 billion and 1.75 billion in 2010. Turkey is an ally of the United States through its membership in NATO, while all of the other countries except Saudi Arabia and Qatar are major non-NATO allies.